Santa Barbara Craftsman Style by Santa Barbara Historical Museum

Quarterly Magazine Of The Santa Barbara Historical Society Vol. XLV, No. 1

Spring 1999

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Santa Barbara Craftsman Style

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0/ Santa Barbara is indelibly linked to

the red tile roofs and white walls ofthe ubiquitous Spanish Colonial B^cvival style and its variants. Yet the cityscape has much more to offer. Tucked away in the 7ieighborhoods and suburbs ofSanta Barbara are outstanding examples ofa type ofarchitecture which flour' ished in thefirst three decades ofthis century,particidarly in California. Craftsman architects stressed the use ofnatural mateiials in construction and attempted to design structures which ivould be in harmony with their natural swroundings. The style was meantfor Everyman; the inexpensive bungalow was one ofthe most important manifestations ofCraftsman architecture. Kevin (Lex)Palmer examines the development of Craftsman aiohitecture in this area. He delineates the general tenets of the Arts and Crafts movement, looks at the significant Arts and Crafts community which developed here, and then discusses the evolution ofSanta Barbaras Craftsman architecture against this backdrop. Front cover photograph shows Hathan Bentz standing on the steps of his home, the only house in Santa Barbara designed by the Qreene and Qreene architecturalfirm ofPasadena, California. All photographs arefrom the collections of the Santa Barbara historical Society unless noted otherwise. The display typeface used in the article ivas oeated by Judy Sutcliffe, based on architectural lettering samples ofQreene &Qreene. The Author: Kevin (Lex)Palmer received his M.A.in Public Flistoryfrom the JJniva-sity ofCalifornia, Santa Barbara in 1993. Forfive years he worked as an histonan and ar~ chaeologistfor the V.S. Forest Service and has loorked with otherfederal agencies includmg the V.S. Air Force and the Bureau ofLand T^lanagement. Fie is presently working as a pri vate co^isultant, specializing in historical issues and sites on the Central Coast. He previ ously authored a piece on the history ofSanta Barbara County courthousesfor Noticias. INFORMATION FOR CONTRIBUTORS: NOTICIAS is a quarterly journal devoted to the study of the history of Santa Barbara County. Contributions of articles arc welcome. Those authors whose articles arc accepted for publication will receive ten gratis copies of the is sue in which their article appears. Further copies arc available to the contributor at cost. The authority in matters of style Is the University ofChicago Manual ofStyle, 14th edition. The Pub lications Committee reserves the right to return submitted manuscripts for required changes. Statements and opinions expressed in articles arc the sole responsibility of die author.

Michael Redmon, Editor Judy Sutcliffe, Designer

® 1999 The Santa Barbara Historical Society 136 E. Dc la Guerra Street, Santa Barbara, California 93101 ● Telephone: 805/966-1601 Single copies $5.00 ISSN 0581-5916

3ANTA DARDARA CKAfA3MAN 3TYL Klvin (Llx) Talmlk

From 1895-1930, Americans had a prcoccupation wich the Arc and Crafts move ment. an aesthetic philosophy rooted in the English intellectual community. The influence of this style can been seen across America in its art work, crafts, and archi-

Author’s Acknowtcdgmcncs: My wondcrtul wife Christine Palmer. City ot Santa Barbara Historian, provided inspiration and help edit

ceccurc. Thomas Carlyle (1795-1881) is considered the father ot the English Arcs and Crafts movement and provided the philosophical basis which his student John Ruskin (1819-1900) expanded. William Morris (1834-1896) also served as a guru for the movement and worked tirelessly to promote its ideals. Many have tried to detine the Arcs and Crates movement; one author wrote:

ing this work. I am indebted to Mary Louise Days, former City ot Santa Barbara Historian, who graciously provided me editorial and con tent suggestions and corrected my Santa Bar bara felloe(las. Photo: A^athan Bentz on stcpei oj hi.'^ home, the only house in Santa Barbara designed Iry Cjreene and Qreene, Pasadena Craftsman architects.

NOTICIAS

The Arts and Crafts movement, whether in America or Europe, was expressed not in a specific style hut as a mood, an attitude, a sensibility. At its core, the Arts and Crafts Movement advocated a search for a way of life that was true, contemplative, and filled with essences rather than superficialities.^ John Ruskin’s philosophical influence permeated the Arts and Crafts movement and can been seen in the period’s cultural ar tifacts and institutions. Transfusion of English aesthetic beliefs into America be came obvious in the 1870s, and matured into a budding American version of English Arts and Crafts by the mid-1890s. Califor nia embraced the movement and hosted the first Arts and Crafts exhibit in 1896. California developed its own Arts and Crafts style which stressed interaction with nature. Adoption of the bungalow by Californians and use of natural materials such as shell are the most graphic manifes tations of the California Craftsman mode. Arts and Crafts sought to stress communality, rusticity, and neo-medieval appreci ation of handicraft. Medieval traditions such as the artisan guild system became reactivated. Artisans sought to empha size natural and es sential forms while fusing them with com plex detail. The vernac ular tradition reigned supreme overall, em¬

Built in i8g6 at igtyAnacapa Street OS' a carriage house, this building exhib its Victonan StickstyLe ele ments, popular from i86oi8go. Ihe exposed rafter tails, however, are sugges tive of the coming Crafts manfashion. Author’s pho

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phasizing that the designer and maker should be the same individual. Such think ing spawned the rise of artisan and craft schools which sprang up around the coun try. Pottery, leather and tile-making be came popular national recreational pursuits in locations such as Santa Barbara, where children learned hand crafts at schools like the Blake Manual Arts School located at 816 Santa Barbara Street. These elements and influences came together to define San ta Barbara’s Craftsman style and culture. In the architectural arena, the Crafts man influence on American building forms faded as the Great Depression of the 1930s came into play. Architectural styles which replaced the Craftsman included the Colonial Revival and Art Deco/ Modernist styles. MANlfL3TATI0N3 Of TtIL 3TYLL The Arts and Crafts movement had an interior furnishing style which catered to the use of natural materials and hand crafting. Gustave Stickley successfully promoted the Mission furnishing style through his period magazine, The Craftsman. Mission Revival interior furnishings

CRAFTSMAN STYLE

tended CO be utilized in Craftsman structures, and stressed use ot stained glass, leather, colored tile, wood inlay, metal, and wood. Arcs and Crafts items olcen exhibited hammer marks, with uneven, handmade qualities. The works of Santa Barbara crahs workers such as Elizabeth Burton and Frederick Htircen Rhead exhibited these qualities. Besides Mission-style furniture and Tiffany glass, perhaps architecture is the Arcs and Crafts movement’s most common maniicstacion. In the 1880s and 1890s, a distinctly American syn thesis called the Craftsman style evolved in architectural expression. American Craftsman architectural styling grew out ol single-story Queen Anne cottages, the Shingle, and Stick stylcs. Craftsman striiccurcs exhibit low massing of Queen Anne cottages, shingle wall cladding and sloping foundations from the Shingle style, and stick ornamentation in porch and gable ends from the Stick style. These influences created the Craftsman-style bungalow, which becaine one of America's dominant architeccural modes for small homes built from about 1905 until the early 1930s. The Craftsman emphasis on simplicity aided the style in divorcing itself from old school elaborate Victorian architecture. Some of the best Craftsman examples arc located in California, which took the style to new heights. This trend began early in the 1890s, in Pasadena’s Arroyo Seco, A hotbed ot California Arts and Crates cul ture, homes began appearing in Arroyo Seco with Swiss chalet and Shingle style attributes which the owners decorated with Mission style interior turnishings. California quickly set the tone for the Arts and Cratts movement across the United States, and many considered the state to be the movement’s ultimate ex-

The Anna S. Blake Aianual Training, School at 8i6 Sa7ita Barbara Street ivas one oj the primary institution.s :itressing the importance of handicrafts. pression. One author noted chat English Arts and Crafts figure, Charles R. Ashbee, commenced on this during a 1909 visit: Cwious it is that the best ivork in Arts and Crafts in Amaica is already being pro duced on the Pacific Coast—Calijomia speaks Here things zvere really alive-and the'Arts and Crafts’that all the others ivere screaming about, are here actually being produced.^ Pasadena and Berkeley served as early Arts and Crafts stew pots. Pasadena’s tone tended to be more artisan in quality, with the Arroyo Seco culture revolving around writers and artists such as Charles Lummis, Robinson Jeffers, Mary Austin. William Lee Judson, and Maynard Dix on.3 The Berkeley experience locuscd around the University of California cam pus and was more socialistic and progres sive in nature. Architects such as Bernard Maybeck. who is credited with introduc ing the Bay Area style (an early version ol the Craftsman style) resided in the Berke-

4 Icy and Oakland hills. Myron Hunc and Edgar Matthews also played an important role in shaping the Calilornia Craftsman architectural style, California architectural historian Harold Kirker has called the Craftsman style "the first indigenous do mestic architecture in California.” Arts and Crafts architectural expression in Cal ifornia touched all regions in the state in cluding Santa Barbara. Tpl Artj. and Craft3 Movlmlnt

AND ThL 3anta Dardara 3lttinc:

NOTICIAS 40 miles, is Jound all that can delight the seeker]or health and pleasure, knoivledge and projit. Land and sea, mountain and island, canon and airoyo, tree and flower, under a cbudless shy, combine to realize the artist’s dream ofthe earthly Paradise.‘^ Santa Barbara’s isolated location and rugged setting could be easily be romanti cized by those attempting to uproot Vic torian era values and style. The Santa Barbara landscape provided a bridge from that era to the new Arts and Crafts men

meshed well with its back-to-nature goals. Julius Starke, a Santa Barbara Arts and

tality. Craftsman style stressed individual ism and a return to a simpler natureoriented way ot life. The Santa Barbara area’s arcadian landscape worked well with this emphasis in locations such as Mission Canyon and Montccito. The end result proved to be a natural extension of the Arts and Crafts movement to Santa Barbara between 1890-1905.

Crafts woodworker described the setting in 1905:

Women played a strong role in the Arts and Crafts movement, which coin

Among her livals the city oj Su7ita Barhard sits the queen on the amphitheater oj the Santa Ynez lip-nge. Here within a radius oj

cided with the Progressive Era. Although the socialist reform tone of Progrcssivisin associated with the Arts and Crafts com-

Santa Barbara’s natural setting be tween the Santa Ynez Mountains and Channel Islands has inspired generations of writers and artists. Santa Barbara’s en virons greatly appealed to practititmers of the Arts and Crafts movement and

CRAFTSMAN STYLE

head ran the school on his estate. Arcady, con^ structed on the north side a of Eucalyptus Hill,-'^ Semi-rural settings with rocky stream cours es located in forested sur roundings drew Arts and Crafts movement practi tioners, Mission Canyon provided a setting similar to Arroyo Seco in Pasade na. Artists and the mo

Ihc house at (S03 Bath Street zvas constnicted by grocer]. C.Kcmicy in 1907-otS. Note die use qj bcal sandstone as a building material and the Swiss chalet roojlinc. Author's photograph.

inunity did not gain a toehold in Santa Bar bara's conservative political climate, wom en did play an important part. During this period an activist Woman’s Club was founded. One of the strongest manitcscations of the Arts and Crafts movement in Santa Barbara occurred when Anna Sophia Cabot Blake established the Manual Arts and Domestic Science School in 1893 at 816 Santa Barbara Street, Anna Blake's school became one of the first in Southern California to use the Scandinavian sloyd teaching method which stressed arts and a home economics-oriented curriculum. A previous version of this manual arcs school had been established in Moncccico by Ralph Radcliffe Wliicchead (who studied under Arts and Crafts movement leaders William Morris and John Ruskin) and op erated there between 1898-1903. Whice-

LEFl:7he development ojthe streetcar system followed Iry the increasing use oj the automobile alloived for the growth oj sulnirban tracts in which Craltsman-style bungalows ivere ojien the residence of choice.

nied community attract ed to an avant-garde lifestyle moved to the Mission Canyon Heights area. By the early 1900s, the locale had become a center ot Bohemian residents devoted to an Arts and Crafts lifestyle. Santa Barbara's most famous Arts and Crafts potter. Frederick Hurten Rhcad. resided in the Mission Canyon community. Rhead lived in a studio at the corner of Foothill and Tornoc roads be tween 1913-1917 and produced pottery described as similar to that made by Ar royo Seco potters in Pasadena.^ One his torian has written, "Rhead settled in San ta Barbara not because the area yielded particularly suitable materials or markets, but because 'it was a beautiful place.”'" Examples ol Arts and Crafts work has surfaced in communities surrounding Santa Barbara as well. Craftsman bunga lows resting in farm and urban settings arc seen in communities around Santa Bar bara County such as Lompoc, Carpinteria. and Goleta. To the east, in Ventura County, architects Elmer Grey and My ron Hunt designed both the landscaping and a house in Ojai in 1906 for C.W. Robertson. This landscape design incorpo rated boulders, oaks, native grasses, and natural stone walls to offset the Swisschalct-inspircd Craftsman bungalow.^

NOTICIAS One oj the major jigiircs oj the Aits and CraJ'ts movement in Santa Barbara tvas pot ter, Fredcnck Hibten lijicad, ivho luid a stu dio in Mission Canyon. Photograph by W. Bdivinand Carolyn Qledliill. Barbara (1860-1900), residential neigh borhoods were situated in close prox imity to the commercial area, neigh borhoods cast of Anacapa Street, and the Wcstsidc. These residences tended to encompass large tracts of land and resulted in a spacious strcctscapc. Sur veyors platted Santa Barbara’s first subdivision outside the city boundary (Mission Street) between Constance Avenue and Mission Street in 1903. Growth in automobile and street car use encouraged other suburban devel opments across the city which elimi nated the large Victorian tracts, and compacted the cityscape by reducing lot size.

Thc Craftsman bungalow which sym bolized an escape from city and apartment life and a return to hand crafts, ironicallv ov'cd much of its success to tw'o ma chines—the automobile and mechanized street car. Santa Barbara reflected this trend with a rise in suburban development between 1910-1920 w'hich meshed with an escalation in auto use and street car sys tem growth. Despite the attempts to create a greater bond with nature, the Craftsman bungalow' can be considered an early icon ol suburban grow’th and a pre cursor to the post-W'-ar suburban tract house. As will be detailed later, this link between suburbia and the Craftsman stvle

The basis tor the street car system which served Craltsman-cra Santa Barba ra was established in 1875, when muledrawn streetcars ran between the new Ar lington Hotel to Stearns Wliarf. Electrical trollev cars served residents beginnino in 1896. During the 1900s, service extended to the Old Mission and up to the Riviera along Alameda Padre Serra. Spur lines branched out Irom State Street to the Eastsidc, One line ran on east Haley Street, to Quarantina Street, while an other traveled along portions of Mission, Garden, Laguna, and Victoria streets. Bus service replaced the street cars in 1929, at the end ol the Craftsman cra.^

reveals how the style lost focus as it be came popular.

Growth of the street car system en couraged the development ot suburban tracts such as Oak Park and Walnut Park,

The tenor ol Santa Barbara's early tw^enticth-cciitury residences altered as the city grew' to accommodate the automo bile. During the Victorian era in Santa

city. Since the Craftsman bungalow's pop ularity reached its height in Santa Barbara during the 1910-1920s, bungalow struc-

Bungalows could soon be found across the

CRAFTSMAN STYLE tures constructed during this time exhibit the most design variability due w sheer numbers. The rise of this type of Crafts man ow'cs much to the development ol the Santa Barbara trolley system and the auto mobile, the latter spaw'ning the bungalow' court. Automobiles began to appear in Santa Barbara during the late 1890s. As automo biles became more affordable their num bers rose and influenced h(wv Californians recreated and interacted with the built en vironment. Auto courts became part ol this car culture and served as the earliest motels. The Mountain View' Auto Court at 2819 State Street (demolished) catered to motorists beginning in 1920. Auto courts offered travelers a chance to shower or launder. In the Arts and Cral ts outdoor camping tradition, those in the auto courts could stay in sleeping cabins or campsites. The rise of autos also fueled an explo sion of residential Craftsman bungalows and bungalow courts by allowing individu als to reside a greater distance from their w'ork place. These Craltsman-style build ings replaced Victtirian boarding houses and residential hotels across Santa Barba-

Christoph lonioc also had /iLs studio in ^'^iLssion Canyon. Tomoc l^yad is named after this laorkeroj metal and uvod.

ra. Housing was no longer centered around the Bach and Garden Streets streetcar line corridors, and garage struc tures began to appear across Santa Barba ra. Casalino Court at 617 De la Vina Street became Santa Barbara's first auto mobile-culture bungalow court in 1915. As with many other locations, the bunga low's popularity combined with its ease ol construction promoted clustering in subur ban rows and ultimately defeated the Arts and Crafts movement’s back-to-nature in tent. Despite this, the affordable bunga low,' offered families a chance to move out of apartment complexes into a homier environment. As the citv grew' during the Arts and Crafts era, the need lor parks and facilities which could foster communion whth na ture arose. While Alameda Plaza had been largclv ignored since the citv set it aside in 1850 for public enjoyment, it underw'cnt improvements between 1903-1920. Santa Barbara’s natural surroundings fused w'ith the Craftsman ethic and encouraged use ol native building materials such as local rock. Sandstone, a traditional Santa Barba ra building material, enjoyed additional popularity in Santa Barbara during the Arts and Crafts era. The city Park Com mission engaged stonemason Peter Poole to install a series of sandstone steps on the

NOTICIAS

Garden and Santa Barbara street corners of the plaza in 1908; other landscaping fol lowed later. Similar sandstone features such as walls and curbs can be seen across Santa Barbara. Arts and Craks movement landscape architects worked to incorporate native stone walls and walkways with vegetation to integrate buildings with their natural setting. Local stonemasons who pcrlormed this work usually belonged to one of three ethnic groups: English. Scot tish. or Italian. The Scots and English dominated stonework in the upper Eastside and Riviera neighborhoods while Ital ians concentrated their efforts in Montccito.iO Despite this abundance of local stone and a tradition that dated to the Mission era, Santa Barbara Craftsman buildings ex hibit a very low degree of stonework. This is particularly evident when Santa Barbara Craftsman structures are compared to those in Pasadena, and even in the Pacific Northwest. Stream cobblestone particular ly appealed to Craftsman designers, and

The loiV'slung gables oj this home at iiii Dc la \'ina Street is typical oJ the "airplane”hungaUnc. 7 he tenn bungaloic initially referred to ajloorplan originating in India. Author’s pho tograph.

Mission Creek cobbles could have easily been incorporated into Santa Barbara Craftsman homes, yet tew exhibit this stone material. It is surprising that local building stone was not incorporated into more Santa Bar bara Craftsman buildings. An occasional glimpse ol a Craftsman cut stone porch or wall can be seen through a hedge in some neighborhoods. While this absence of stonework can be expected in most Crafts man bungalows, because they were pri marily cheaply-constructed tract houses, stonework also does not appear on more expensive Santa Barbara Craftsman-style residences. Even the Bentz house, Santa Barbara’s ultimate Craftsman house, incor porated clinker brick (over-burned decora tive brick) rather than building stone or stream cobbles. Clinker brick was a popu lar Craftsman exterior detailing material, which docs not appear often in Santa Bar bara. A Craftsman house on 1532 Castillo Street provides a nice example of clinker brick chimney construction techniques. One of the city’s best examples of cobblestone porch supports arc seen in a bungalow at 918 North Milpas Street.

CRAFTSMAN STYLE Some cut stone has been incorporated into a handlul of Craftsman bungalows. These specimens arc found at 116 West Ortega Street, 726 Bath Street, and at 2520 Dc la Vina Street. In addition, there

has a side-gabled rather than a frontgabled roof.

are two examples of how the Santa Bar bara stonework tradition could interact

Santa Barbara’s successful campaign to court wealthy eastern tourists estab¬ lished a market for local artists and crafts

with Craftsman style.

An Ovlrvilw or 3anta Dardara Arti3T3 and Craft Wor(clr3

workers during Craftsman era

the and

into the present day. Notable studios that operated

during

the

I Craftsman era as retail I shops included the Eai ton studio by the PotI ter Hotel on lower I Chapala Street, the Elizabeth Burton StuA fine example ofTTunsitional Craftsman styling is heated at 1435 Bath 1235 State Street. The vertical lines of the building are reminiscent of Victorian Queen dio at Anne style, ivhile features .such as the overhanging eaves and the dormer Street, and the Gift window prefigure the Craftsman era. Authors photograph. Shop of the Crafe-

Camarata Hawthorne Den located on 1103 Cas tillo Street is the earliest example. Local Scottish stonemason Peter Poole con structed this home between 1903-1908. Poole was considered Santa Barbara’s best stonemason and constructed the early San ta Barbara High School (1904). Poole’s neighbors became outraged when he built this house using surplus sandstone from the high school construction project. In his defense, Poole constructed the house on his own time,11 The Kenney House at 803 Bath Street serves as a second illustration of Santa Barbara Craftsman stonework. Construct ed between 1907-1908 by local grocer J.C. Kenney, the home is made of local sand stone blocks and veneer. Craftsman-style elements on this house include the use of native materials, a Swiss chalet rooflinc, and veranda. Unlike the majority of Santa Barbara Craftsman homes, this residence

Dcla-

ncy Studio found at 1201-1203 State Street. Tourists could purchase the artists’ wares from these stores and outdoor craft fairs. This Santa Barbara tourist industry spawned a triage of artisans—potters, painters, and craftsworkers. P0TTLR3 AND ClRAMICI3T3

Pottery proved to be one of the most popular aspects of the Arts and Crafts movement. Manual arts schools encour aged the public to take up crafts, particu larly pottery. The handmade nature of this media meshed well with Arts and Crafts dictums in turning away from machinemade objects. Artisans worked to perfect glazes and firing techniques during this time. While Arc Deco and Modernism be gan replacing the Arts and Crafts move ment in the art world by the mid-late 1920s, Arts and Crafts pottery remained popular into the 1930s.

NOTICIAS rKED^KICIC HURTEN KpILAD

A Craftsman Tortrait Frederick Hurten Rhead is considered one of Santa Barbara’s most prestigious contributors to the Arcs and Crafts movement. Rhead is best known for graffito, a technique chat involves scoring the cop layer of clay to uncover a design beneath. The potter ircqucncly employed motifs using leaves chat resembled bubbles. Rhead. along with many Santa Barba ra Arts and Craics practitioners, was a transplanted Englishman. He came from Staffordshire to Sc. Louis, then to Marin County, and finally south to Santa Barba ra. Before Rhead arrived in Santa Barbara,

organization associated with Lewis that promoted woman’s suffrage, and had a large number of aspiring potters within its ranks.12 Rhead first came to Santa Barbara in 1913 to begin a solo studio effort. He cscablished a studio in the artisan commu nity of Mission Canyon at the residence of Christoph Tornoe. located on today's 989 Tornoe Road. By that time, Tornoe had become well established within the Santa Barbara Arcs and Crafts communi ty as a metal and wood worker. This Danish craftsman is worthy of attention, as he built some notable Santa Barbara

he established mail-order pottery courses for Edward Gardner Lewis’s Atascadero

homes, including the Tudor Revival Glendessary estate in Mission Canyon lor Robert Cameron Rogers in the 1890s. Tornoe also constructed a home lor Her

community between 1912-1913. and for the American Woman’s League, a social

man H. Eddy on Pucsca del Sol Road, and executed hand-wrought iron lighting

Note the per^oLi ivhich extends into the porch and the ornamental knee braces which meet the Siviss chalet roojlinc ojthis High Style Craftsman house at iyi6 Santa Barbara Street. Author’s plwtograph.

CRAFTSMAN STYLE in

Eaton was best known for his integra tion of local resources such as abalonc. and

Rhead operated his pottery shop at Tornoc’s residence situated at the interscction of Tornoc and Foothill roads and bc-

employment of native tree motifs(such as sequoia) within metal work. Noted artisan Robert Wilson Hyde worked in concert with Eaton in designing. Lamps arc one of Eaton’s better known products. He issued a series of abalone shell lamps in 1903

fixtures for 1906.13

the

Unitarian

Church

gan issuing pots in 1914 under the name Rhead Pottery, which he sold from the Shop of the Craft-Camarata. Nathan Bentz struck up a partnership with Rhead and sold the potter's wares in his Los An geles shop.i'i Rhead also peddled his work outdoors shaded by umbrellas during nice weather, a local artisan tradition which continues today on Cabrillo Boulevard. Rhead worked with graffito styles, glaze and design experimentation while in Santa Barbara. He reportedly worked with over 11.000 recipes for a mirror-black glaze be fore the final product met his approval. Rhead focused on developing Asian motifs popular in the Santa Barbara pottery com munity then. He went on later to shape the famous Fiesta Ware, prized by collectors today.l-'^ Santa Barbara received world-wide attention due to talented ce¬ ramists and potters such as Rhead who shaped their way into fame. Santa Barbara also had a strong contingent of craits workers who fashioned fine hand-crafted works. Tfil CkAFT3 WoKICLK3 Charles Frederick Eaton worked in Santa Barbara for twenty years as a land scape architect and artisan. Eaton came to Montedto in 1886 a wealthy man. The crafts studio he constructed at his estate, i^iso R}vo. won rave reviews in a 1904 arti cle in The Craftsman magazine, following a tour of the large estate. Eaton attempted to frame the ocean views and accentuate sun sets by placing trees on an east-west axis around the estate. This landscaping set off his Craftsman home constructed of local stone and weathered oak.

which received complimentary reviews. Critics also gave praise to Elizabeth Eaton Burton, Eaton’s daughter. Elizabeth came to the Santa Barbara area in 1886 when her father moved to Montedto. She resided in Santa Barbara at 601 East Vale rio Street until 1910, and fabricated shell lamps, leather and metal work which she sold from a studio at 1235 State Street. Burton received a gold metal at the Seattle 1909 Alaska-Yukon-Pacific Exposition for lamps and leatherwork. This artist worked with bronze, copper, brass, and gave her lamp creations classical names such as Prometheus, Burton periodically returned to Santa Barbara to visit her fa ther, who died in 1930. and she exhibited her crafts locallv until 1932-34.^" Charles Eaton’s associate, Robert Wilson Hyde, moved to Santa Barbara from the East Coast in 1902. While he worked in concert with Eaton, perhaps Hyde is best known for practicing b(x)k il lumination. Illuminations were very Eng lish-oriented designs which incorporated Prince Valiant allegorical scenes in theme. Lettering around the art work was reminiscent of medieval monk script. Hyde’s illuminations serve as a monument to the influence of English tradition on the Arts and Crafts movement.13 The book bindings on Hyde’s illumi nations were works of art and incorporat ed white calf leather, parchment, watercolor drawings and calligraphy, Hyde made custom orders for marriage certifi cates and guest books, and sold his work

NOTICIAS

at the Gift Shop of the Crafe-Camarata between 1912-1917. While Santa Barbara artists and crafts workers influenced the interiors of Santa Barbara residences, architects affect ed the built environment which held these crafts. Craftsman Arcfiite.cturl AND ARCFflTE.CT3 Craftsman style is the designation used lor pure Arts and Crafts movement architectural statements. The style is thought to have originated in the San Francisco Bay Area and Arroyo Seco in Pasadena. Architect Bernard Maybeck is credited with creating an early example of the Craftsman style called Bay Area. This derivative came from the Shingle style which formed out of Richardsonian Ro manesque. Other influences on Craftsman architecture include the Queen Anne cottage and Stick styles. Charles Sumner Greene and Henry Mather Greene of Pasa dena took the Craftsman style to its pur est heights in homes such as the famous Gamble House in Pasadena. Francis Un derhill also contributed to the Craftsman motif through his design of LaChiquita in 1906(now part of the Biltmore Hotel) and the Robert Patterson house on East Valley Road in 1917. Structures constructed using this motif tended to have rooflines that combined Swiss and Asian styling, and large porches or verandas. Craftsman movement interior desian o ethics called for floor plans which stressed an exterior entryway into the living room and dining room. This replaced the Victo rian parlor, reception room, and hall. The

Gustav Stickley wrote that a residence built in the Craftsman style was "a house reduced to its simplest form.” that "never fails to harmonize with its surround ings. .. ” The Craftsman motif encouraged use of red, green, and brown exterior paint cokers to allow lor a harmonious integra tion with the surrounding yard. Crafts man landscaping elements often focused on Japanese gardening techniques which employed items such as native stone. Per golas often served to join the garden with the house by the use of wisteria and hon eysuckle. Many Craftsman houses and Craftsman bungalows had landscaping that emphasized the garden.19 The term "bungalow” is often used interchangeably to describe any Crafts man house. One source commented on this labeling trend: For many people involved in the Arts and Crafts movement, California meant the bungahnv and Aiission jumiture. The bungaloiv was the major American middle-class housing innovation oj those years, and the Qolden State, "Dungalowiand,"was said to he its birthplaces^ The term "bungalow” however, de scribes a floor plan which originated in East India. An Indian bungalow is a sim ple onc-story house with a large encircling sleeping porch or veranda. Tlae bungalow is believed to have first surfaced in Cali fornia in 1888, and has a floor plan or con figuration upon which a variety of archi tectural styles have been placed (such as a Colonial Revival style bungalow). One au thor described it this way;

interior was also designed to be straight forward and utilitarian and featured natu-

1 he bungaloiv in the United States was a type oJ house, a period ofarchitecture, and a

ral stone fireplaces, beamed ceilings, and natural wood stains. Craftsman proponent

movement. In tenns of thefirst category it can he recognized by itsfmn, which is low, over-

CRAFTSMAN STYLE

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●» ri ii I -

These bungalmvs in the i^oo binck »j Bath Street were cnnstnicted in ipzcS using hits provided by the Saiita Barbara PLming Mill. Use oj kits coidd sid'^stantially cut building costs. Au thor's photograph.

shadoived by the moj, restrained in the matter ofstyle, subdued in color, and blended uith its setting. Considered as a period, the title bungaloif can be given to all detached residential buildings produced during the first qiuvter oj the twentieth century. . .As a movement the building of bungalows ivas governed by pjinciplcs such as simplicity, vitality, and straightfonvardness 21 The presence of small garden or yard area, and sleeping porch which would provide a retreat from society, and serve as a link co nature became Craftsman bun galow hallmarks. Many families moved into bungalow's because they provided an affordable escape from crow'ded apartment life. Architectural historian David Gcbhard w^rocc about Southern California w’herc. . . . the bungaloiv, the apotheosis ofW'illiam Morris’ notion of a proletarian art that he could never himself attain, found its tnie home. Here a youngfamily on the make, a sick family on the mend, or an old family on meager savings could build a woodsy place in the stoi with palm trees and a rose garden.^^

Intcrprctacions ot chc Arcs and Crates movcmcnc umbrella which covered chc various bungalow manitcscacions have come co include chc Mission Revival and Spanish Colonial Revival archiccccural scylcs in addicion co chc Cratesman scylc. Mission Revival scylc intlucnccs ccrcainly found a place in Craftsman buildings. principally in chc interior furnishings. Ulcimaccly. chc Spanish Colonial Revival eventually overshadowed Craftsman/ bungalow' imagery in Sanca L3arbara largely through chc efforts of Bernhard Hoff mann and Pearl Chase. The Spanish Colo nial Revival movcmcnc meshed well w’ich chc Arcs and Crafts predilection for ro manticized history. One source has com menced on this trend in Santa Barbara.The other majorfeature of the new historicism u'os a cloying, su'eet-faced romanti cism, a total jiction that at its best could be ranarkably convincing, as in the new toivn oj Santa Barbara. 1 he rebuilding of downtoivn Santa Barbara after the igzy, earthquake into a movieland image of Old Spain orZorro

NOTICIAS

I i-H TJ^' il Vi

Casalino Cowt,one ofthejinest examples ofthe Craftsman bugahnv court, is located at 617 De la Vina Street, andivas constructed betiveen ipi^and Author’s photograph.

(a popular book

several movies of^92^-

25 starring Douglas Fairbanks, Sr.)shoived howfar it could go.23

in Santa Barbara by 1903 when architect Francis Underhill designed a bungalow with Greene and Greene attributes near Hill Road in Montecito. The Crattsman

Wliilc the "New Spain" red rile root landscape has come co define Santa Barba ra, a strong Crattsman style presence is scattered throughout city neighborhoods.

style influence wavered during this forma tive time. A hybrid Victorian home with Craftsman elements constructed in 1906

d.RArT3MAN Akcfiitlctukl Crattsman architecture in Santa Bar

at 1435 Bath Street serves as an example ot a transitional Victorian/Craftsman style. The High Style Craftsman came into being with the influence of finely crafted homes such as the Bentz House at

bara is varied and encompasses a variety of architectural stylistic elements. The city has four identifiable styles of Cratts man buildings. These building forms arc a

1741 Prospect Avenue designed by archi tects Greene and Greene and constructed in 1911. As the movement matured in Santa Barbara, it resulted in establishment

combined product ot architectural trends and economic status, and include Transi

of Craitsman bungalows such as the Ma guire Bungalows constructed in 1916 at

tional Crattsman, High Style, Crattsman bungalows and Bungalow courts.

1122-1126 Garden Street. Bungalow courts, which catered to the rise of car

The Craftsman style began to surface

culture, carried the style on into the early

CRAFTSMAN STYLE 1930s. as the Casalino Court, constructed between 1915-1931 at 617 De la Vina Street, illustrates. The Swiss chalet and Asian styles are the two primary stylistic influences that have been manifested in Santa Barbara Craftsman buildings, Swiss chalet stylistic elements applied to Craftsman are a fairly common element in Santa Barbara. These houses have a high degree of wood siding and decorative elements. Craftsman resi dences with Swiss chalet styling common ly have large steeply-pitched front-gabled roofs, a deep cave, decorative rafter tails, bargeboards, flower boxes, porch or balco ny rails. Cutout designs in balcony railings and above windows are the strongest indi cator of the Swiss chalet typology. The Asian influence may have been the most important stylistic influence on Santa Barbara Craftsman style. The prox imity to the Asian rim influence, coupled

with Grccnc and Grccnc and Frank Lloyd Wright’s interest in Japanese homes and gardens proved a potent stylistic force, Craksman buildings with this emphasis commonly have upswept gable peaks which recall pagodas within the roolline.

Transitional Craftsman As Santa Barbara began shifting away from Victorian architectural styles in the early 1900s, a hybrid class devel oped that combined new and old architec tural elements. Transitional Craftsman residences tended to be large structures that upper middle and upper class families could afford. Transitional-Queen Anne derivatives retain their Victorian verticality and arc two stories with horirontal sidins, triangular knee braces, and restrained integration of Craftsman features. The Law carriage house located at 1917 Ana-

One ofthe more notable conwierciai Craftsman buildings is the F.dgerly Apartment complex at 105 U-'est Sola Street. 7\’ote the elements of Sieiss chalet styling. Designed /n' Arthur Benton, architect oj the sec ond Arlington I lotel and oftheyMission Inn in Riverside, California, the building ivcLs completed in 1913.

NOTICIAS

I he igz^ CjirL Scout House at iS^S-iS-^S San Andres Street incorporated Asian elements similar to those used in late Qrcene aizci Qreenc bialdmgs. The wughdicivn pergola and shingled siding demon strate the Craftsman ideal ojaj-chitecture in hannon\ icith nature.

capa Street was constructed in 1896 and serves as an example of the shift from Victorian to Craftsman styles. As the transition from the Victorian era to the

Styling continued in the bungalow which middle and working class families could afford, and used pattern books and premanulactiired home kits which furnished

Craftsman era occurred, the High Style Craftsman came to define the style’s pure attributes.

design guidelines lor developers and home builders. High Style Craftsman houses tend to be large, finely crafted, and have high massing.

,3tyle. Craftsman High Style Craftsman structures were the domain of upper class residents who could afford well-known architects and the intensive labor and high quality con struction material costs. While the Arts and Crafts movement was geared towards "Everyman”, the high costs of handcraft ironically made this Craftsman class the domain of the wealthy. These residences appeared in Santa Barbara by 1903 and faded out by the mid-to-late 1910s. Wealthy residents who could afford to follow architectural styles abandoned the Craftsman style and adopted the Spanish Colonial craze of the 1920s. Craftsman

tial

Santa Barbara's proximity to intluenCalifornia architects allowed the

Craftsman style to filter into the city. The Greene brothers, who operated a Pasadena-based architectural design firm be tween 1893-1914, first issued bungalow style designs in 1903, which matured into High Style Craftsman design by 1909. As previously noted, local architect Francis Underhill designed a bungalow in Montecico with Greene and Greene styling in 1903-1904, which may be the first Crafts man bungalow in the Santa Barbara area. The Bentz house, completed by Greene and Greene in 1911, represents the pinna cle of Craftsman styling and skilled

CRAFTSMAN STATE craftsmanship in the city. The influential architect Bernard Maybcck designed an other example ol High Style Craftsman architecture when he fashioned the Bing ham house in Montecito at 699 San Ysidro Road. Constructed in 1916, this residence rcllectcd the Craftsman ethic with its fine ly crafted wood siding and rock founda tion, Like the Bentz house, wooden pegs instead of nails held the Bingham residence together. Around 1895, the upper Eastside be came known as an allluent neighborhood, and streets north of Valerio tend to be lined by expensive homes. Following this trend, the bulk of High Style Craltsman homes have predictably been constructed in wealthy locations like the upper Eastsidc. Mission Ridge, and Mission Canyon area.

Two High Style Craftsman stylistic subtypes exist in Santa Barbara and arc dilferentiated by their vertical massing. The first is influenced by the Greene and Greene emphasis on Asian styling, and exhibits numerous low-pitched gable roofs and a horizontal massing that is reminis cent of Japanese buildings and Prairie School styling brought forth by Frank Lloyd Wright. The second subtype has the Swiss chalet influence and typically has deep eaves, a steeply-pitched roof, and decorative cutouts in the balcony railings and window treatments. These subtypes have also been used in middle class bunga lows. Working class bungalows in neigh borhoods such as the Westside and lower Eastsidc generally exhibit only watereddown Asian style elements.

7 use ujcut stone and redivood makes the Idotelde l^viera at izy West Carrillo Street aJine example of the Arts and Crafts architectural philosophy.

NOTICIAS

The A’athan Bcntz hoiusc designed by brothas Charles and I Icnry Qreene oj Pasadena is per haps the. finest expression oj Craj'tsman ardiitecliire in Santa Barbara. The house, at Prospect Avenue,dates from i gn.Author's photograph.

Natfian Dlntz A Craft3man Tortkait Nathan Benez ow'ned che Santa Bar bara house w'hich embodied many Crafts man lifestyle ideals, Benez w'as a wellknown local arc merchant and made nu merous crans-Pacific crossings to purchase Asian art objects. Benez became aware of Greene and Greene and their interest in Asian design elements through his brother. John, a Pasadena resident and friend of the architects. The Bcntz house exhibits the Greene brothers' use of multiple plan roofs, use of a line of three or more windows, and trcllised porches as architectural ornamenta tion. The Bcntz house has a more vertical quality to it chan ocher contemporary Greene and Greene designs such as the Gamble house in Pasadena. Detailing on the house included mortising porch and exposed timbers with oak pins and use of selected clinker brick in portions of the chimney, and stained white cedar on che interior. The garden is still landscaped in

the original Asian manner, rdlcccing a popular cheme during the Craiesman Era. While the Benez house stands out, there are additional examples of High Style Cral esman homes located in the upper Eascside near the Old Mission. The Craftsman house at 2001 Anacapa Sc., has a pergola on the left chat joins the house CO che garden, a Craftsman symbol of nature. Such detailing incorporated wood tones and natural materials, illus trating che Craftsman movement ideal of mankind’s union with nature. The empha sis on an interaction between the garden and home oiten manifested itself in che pergola, a bridge between nature and house. Victorian homeowners loved their front lawn, while Arcs and Crafts adher ents championed the garden. Unfortunately, the emphasis on hand craft, individuality and proximity to na ture did not always translate to che major ity of society. These elements required fairly substantial fiscal resources and proved to be one of the movement’s fail ures in bringing such aesthetic qualities to

CRAFTSMAN STATE

die general public. The Craftsman style worked well in locations such as the upper Eastside. Mission Canyon, and Montecito which have been monied locales with largely natural settings. The allordability ol the Craftsman bunaalow made this Style ol Craftsman architectural manifes tation popular with middle class Santa Barbara. DufM^AL0W3 The Craftsman bungalow ultimately became associated with the rise of the mid dle class automobile culture and street car suburbs during the 1910-1920s. Through sheer numbers, availability of pattern books, and pre-cut kits, this style of Santa

Barbara Craltsman structure exhibit the largest degree of architectural variability. This bungalow plan became the principal small house style Irom 1905 into the early 1920s. After 1925 the style fell out of fa vor, and by 1930 lew owners and develop ers built Craltsman bungalow structures. Craltsman bungalows in Santa Barbara tend to be conlined to middle class neiahborhoods that developed during the early twentieth century such as Oak Park, the Westside, and lower Eastside, The bulk of Santa Barbara Craltsman buildings are bungalow's centered in these locales. Bungalow^s are commonly mistaken as the embodiment of Craftsman move ment architecture. As previously noted,

7 he Idrge ivindmvs oj the BenCz living worn ivere typieal of the Crathman motif of bringing the outdoors into living spaces. The furnishings attest to Bentz occupation as a dealer in Asian an and antUpiities.

- '

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the term "bungalow” is essentially a floorplan upon which any architectural style, Mission Revival, or Colonial Revival, can be placed. During the Arcs and Crafts movement, the term Craftsman became a catch-all phrase chat was applied to all contemporary buildings. Bungalows can range from nicely constructed middle class houses in the Oak Park area to small tract houses along West Mission Street and San Andres Street. The small Craftsman bun galows appealed to entry-level homeown ers, developers, and those handy with cools. The bungalow could be built using pre-fabricated materials and plans supplied in kits by firms such as Scars, Roebuck and Company, and local sawmills such as the Santa Barbara Planing Mill located at 418 Laguna Street, Other contemporary planing mills included the Acme Mill at 105 Gray Avenue, and the Boyd Mill at the corner of Mason and Anacapa streets. Developers funded construction of many of these homes which can vary from a modest row of bungalows to bun-

galow courcs. Architectural styles have long been utilized by Calilornia suburban tract developers in an oiten futile attempt CO elicit a sense ol communal identity. Noe all bungalows were small and situat ed in rows. Santa Barbara has examples of large bungalows which more affluent home owners could afford to build. The bungalow uses the front porch and roofline CO project its personality outward co wards the street. The majority of bunga lows had front-gabled roofs.

Trl Dun^alow Court The bungalow court also reflected the speculative building boom caking place in Santa Barbara during the i910s-1920s. Bungalow courcs began to show up in Pa sadena by 1909, and the style moved northward to Santa Barbara by 1915. The bungalow court offered the developer a maximization of space in an apartmentlike density while giving residences the il lusion of single-family suburban life-

The City I{ecreation Center at loo-n^ East Canillo Street, shortly after completion in igi^. Designed byj. Cnrbley Poole, the bidlding is afusion ofCraftsman and Prairie School elements.

; iU

CRAFTSMAN STYLE

style. This economy fit well into Santa Barbara’s early twentieth-century develop ment phase. Several bungalow courts exist in Santa Barbara which have Craftsman design ele ments. such as the complex at 332-338 East Victoria Street. As the Craftsman in fluence began to wane in Santa Barbara, bungalow courts with the Spanish Coloni al Revival style, such as Alameda Court at 220 East Sola Street, eclipsed the Crafts man version. While bungalow courts and bungalows housed many Santa Barbarans. the Craftsman style also translated into the work place. Commercial and Civic Crartcman Duildinl:3 The Craftsman style translated to a variety of architectural needs. A number of examples exist in Santa Barbara and range from civic organizations to commer cial hotels. The Edgerly Apartment/Hotel on 105 West Sola constructed in 1913 serves as a second example of such an Arts and Crafts era hotel. The building is identifiable as having Craftsman style ele ments fused with Swiss chalet and halftimbering reminiscent of Tudor styling. The Swiss elements arc best seen in the balcony railings, and steeply pitched roof. The exposed rafter tails have a Scandina vian motif to them. This hotel reportedly also served as a gathering place for person nel from the Flying A Studio. Not all Asian-stylc Craftsman struc tures in Santa Barbara were located on the

Woman’s Movcincnc played a large role in chc Craftsman design era and the Girl Scouts represented how recreational activ ity broadened for women during the early twentieth century. The Craftsman ideal of simple style and earth tones that al lowed buildings to harmonize with nature appealed to the Girl Scout officials. One of Santa Barbara’s best known civic Craftsman structures is the City Recreation Center at 100-114 East Carrillo Street.Designed by J. Corbley Pool and constructed in 1914. the brick building is very eclectic, and has Asian roof line ele ments which recall the designs of Greene and Greene and Frank Lloyd Wright’s Prairie School. A 1915 issue of The Crafts' man described the building, "its embodi ment is of such structural dignity and is so worthily adorned as to come near realiza tion of William Morris’s dream of the "noble communal hall of the future.’’ C0NCLU3I0N Craftsman buildings in Santa Barbara arc a refreshing break in a sea of red tile roofs and white walls. They serve as an important link between the Victorian home and suburban neo-Spanish Colonial Revival homes that typify Santa Barba ra’s residential areas today. Craftsman houses which range from the opulent Bentz house to the common Craftsman bungalow on San Andres Street illustrate how socioeconomic factors influence ar chitecture. The Craftsman style aided the transition from the Victorian era into the

Upper Eastside. Philanthropist Kathleen Burke had local contractor A.H. Avery construct a Girl Scout House in 1923 at

twentieth century, Wliile High Style Craftsman houses illustrate where Santa Barbara’s monied class resided. Craftsman

1836-1838 San Andres Street. The styling is a late use of Greene and Greene stylistic Asian elements illustrated by the low, hor izontal massing, and a pergola. Tlie

bungalows depict how Santa Barbara ex panded horizontally as the automobile and street car system allowed workers to live further away from the workplace. They

NOTICIAS

also reveal the move away from horses and scabies, co cars and garages. These bungalows and dcvciopmcncs such as Oak Park toreshadowed the suburban house traces of today. Such buildings illustrate how Santa Barbara looked liked prior co the 1925 earthquake—an event which un leashed the Spanish Colonial Revival mode across the city. Overall, the Craftsman style is one chat can be associated with early cwcncicch-ccntury families who have made Santa Barbara community. Whether it be a High Style Craftsman with Swiss chalet or Asian characteristics. a Craftsman bungalow, a civic or commer cial building, Craftsman buildings lend a pleasing homey image which is truly re flective of the California lifestyle. The artisans who resided in Santa Bar bara during the Craftsman era began a tra dition of catering to wealthy easterner tourists who purchased their crafts. Santa Barbara artisans now sell their wares to

monied visitors trom Los Angeles and other locations in galleries and the Sunday art walk on Cabrillo Boulevard. The local artist community continues co produce a high degree ol quality oil and wacercolor landscape paintings ot the Santa Barbara area. Craftsman design elements have en joyed a resurgence of popularity. Scicklcy Mission lurniture designs from the pages of The Craftsman can be seen in many Santa Barbara homes. Nco-Craksman ar chitecture is appearing in Santa Barbara commercial and residential areas, such as an ollicc building at 33 West Mission Street, and a new condominium complex at 315 West Los Olivos Street. Pergolas, an outdoor fixture popular on Craksman houses arc being incorporated into many new Santa Barbara buildings. These ele ments show chat Santa Barbara Crafts man style and culture has become an en during Icaciirc within the city.

The use ofstucco in this bugaloT.v at if20 East Anapamu Street illustrates hoic the Craftsman ideal ofusing natural construction materials began to ivaver as the movanent lostfavor. The house datesjrom Author's photograph.

: 23

CRAFTSMAN STYLE

ArrLNDix Asian Rooilinc: Roots wich flaring or pagoda-likc peaks. Bartered Foundation: A few Santa Barbara Craftsman houses exhibit battered or sloping foundations. Craftsman build ings tended to have river cobble skirt ing applied to the foundation, a trend uncommon in Santa Barbara. Clinker Brick: Over-tired brick which ap pears burned and distorted. Builders in corporated this into chimneys, founda tions. and porch supports. Exposed Rafter Tails: A design element found on all Craftsman structures.

Porch Supports; The full or partial-width porch was a hallmark of Craftsman homes and the supports presented an opportunity for artistic flair and the incorporation ot natural materials. Triangular Knee Brace; Found in the roofwall junctions in the gable ends, thesedecorative elements are common to all Craftsman buildings. They arc a hold over from the Victorian Eastlakc and Stick styles. Wall Cladding: Craltsman buildings com monly had shingle, stucco, or boardand-batten siding.

N0TL3 1 Kenneth R. Trapp, cd.. The Arts and Crafts Ahvement in Calijoniia (New York: Abbe ville Press Publishers, 1993), 16-19. 2 Ibid.. 13. 3 Kevin Starr, Inventing the Dream (New York: Oxford University Press, 1985), 120-124. 4 Trapp, 186. 5 Patricia G. deck. "The Talc ot Two Stu dios," Noticias 38 no. 4(Winter 1992): 62. 6 Trapp, 69. 7 Marianne Babal, "Frederick Hurcen Rhead." A'oticias 36 no. 1 (Spring 1990): 19. 8 Trapp, 44. 9 William B. Everett and Garv B. Combs. Mule Car and Trolley. (Santa Barbara: In stitute or American Rc.search. 1984). 1213. 10 Patricia G. deck, "Santa Barbara Stoncmasonry," Moticias 40 no. 1 (Spring 1994); 312. 11 Ibid.. 13-16. 12 Trapp. 18-19.

13 Babal, 19. 14 Patricia G. Cleck, "Rhead in Santa Barba ra," Aoticias26 no. 1 (Spring 1990): 23. 1,6 Babal. 20-21. deck. "Rhead in Santa Bar bara," 23-24. 16 Trapp. 186. 17 Ibid.. 188. deck,"The Talc of Two Studi os." 69-70. 18 Trapp, 192-193. 19 Gustav Stickley, "Nature and Art in Cali fornia," The Craftsman, April-Scptcmbcr, 11-15, 1904. 20 Trapp, 16. 21 day Lancaster, The American Bungalniv rtS(So-i930 (New York: Abbeville Press), 239. 22 David Gebhard and Robert Winter. A Cjuide tn Architecture in Los Angeles & Southern California (Santa Barbara: Pere grine Smith, 1977), 19-20. 23 Trapp. 240-241.

Tfil 3anta Dardara f1l3TORICAL 3oCILTY WI3FILi. TO ACRNOWLLD^L TPIL ^LNLR0U3 3UrrORT OF

TOWDL3 FOUNDATION FOR TRL FUbLICATlON OF TF1I3 I33UE. OF

NOTICIA3

SANTA BARBARA HISTORICAL SOCIETY 1998 Major Contributors The Santa Barbara Historical Society wishes to thank and to acknowledge with pride the following individuals and institutions for their generous contributions in 1998. GRAND PATRONS ($25,000 and above) Harold A- Parma Estate John Moran, Incorporated Antique & Fine Arts Auctioneers Smith-Walker Foundation Wallis Foundation PRESIDENTS CIRCLE ($10,000 to $24,999) Timothy & Lani Meanley Collins Harold C. Simmons Foundation

Mr. & Mrs. Trevor Povah Raintrce Foundation

($250 to $499)

John & Jane Reynolds Sanwa Trust & Investment William N. Shattuck

Mary T. Baldwin

Joan Corbin Smith Spectrum Tours/Lynn P. K.irst Starbuck Tisdale Tom & Abby Treloggcn Ivano Paolo Vit Ralph & Diane W^erhouse Albert & Cicely Wheelon William T. White, III William Sl Barbara Woods

Anne Jackson Family Foundation BENEFACTORS MAJOR BENEFACTORS ($5,000 to $9,999) Arlington Gallery/Marlenc Schulz Robert & Sally Arthur Charles & Patricia Cleek Lawrence & Astrid Hammett Beverley Jackson Keith & Nancy Marston MacFarlane Faletti &. Co. Warren P. Miller J^e Rich Mueller Donald & Jo Beth Van Geldercn PATRONS ($1,000 to $4,999) Meredith Brooks Abbott Stewart & Katherine Abercrombie Stephen A. Acronico Gilbert G. Aguirre Tom Azeveoo Paul Bagley Collection Don & Jennifer Barnes Boardroom Consultants/Walter Hardesty Michael & Sheila Bonsignore Richard & Barbara Cleveland Richard & Alexandra Crissmann James 6e Deanna Dehlscn Patrick & Marilyn Chandler De Young Roy & Betsy Edwards Harold & Diana Frank Nathan Sl Janet Gates Gentlemen Antiquarians/Michacl Olivas 6d Richard Weiss Richard 6l Katherine Godfrey Jean Smith Goodrich GST Call America Benjamin & Ruth Hammett Thomas & Eleanor Harriman Hugh Hayward/Hayward's T Hayward Hutton Foundation Essam & Layla Khashoggi Deborah Kunic Bill Lane. Jr. James Main Fine Arcs Hugh & Ann Rhcct Merrill The Myers Family Foundation H. Travers & Joanna Newton Don Oliphanc Mrs. Don Perceval Peregrine Galleries/Jim & Marlene Vitanza Mr.& Mrs. Mel Potter

($500 to $999) Carla A. Amussen & George C. Shattuck Robert & Sally Arthur Warren R. Austin Barbara Hannaford Bakeweli Stephen & Shelley Barnard Bartham & AssodatesWictor Bartholome Buck Bean R. W.Bruce Ernest & Gloria Bryant Edward Catty & Anne Catty Alger 6d Marge Chaney Channel Paper Chubb Group of Insurance Companies Janet Milligan Crary John V. Crawford Oswald & Kathleen Da Ros