Artistic License News

Bunga-Mansion Benefit Sunday February 12

2012-02-09T14:26:00.000-08:00

Guild member and preservation activist Jane Powell is fighting to to keep her 1905 Craftsman mansion in Oakland. She has put years of work and all of her resources into saving this architecturally significant home from ruin. You can help by attending this fabulous benefit party.

Sunset House, the "Bunga-Mansion" built in 1905

Save the Bunga-Mansion Benefit

Jane Powell is best known for her informative, witty, and passionate writing about house restoration and renovation. She advocates for the big picture philosophy behind preserving historic bungalows and buildings.
Best known for her books Bungalow Kitchens and Bungalow Bathrooms, in addition to countless articles for Old House Journal, American Bungalow, and other publications, Jane has given lectures around the country and actively participated in preservation efforts locally, including serving as President of Oakland Heritage Alliance.

Jane acquired Sunset House in the Fruitvale District of Oakland in 2002. This one-of-a kind Arts & Crafts treasure from 1905 was suffering from years of neglect. Even though she applied for, and was granted, Mills Act protection for the house providing limited property tax relief, the designation obligates her to make ongoing, expensive repairs.

ATTEND: A fabulous event at the Sunset House 2708 Sunset Ave., Oakland, on Sunday Feb. 12, from 2-5 p.m. You will have the opportunity to tour this unique historic house.

MAKE A CONTRIBUTION: to help Jane with her mortgage can be sent directly to her at 2708 Sunset Ave., Oakland, Ca. 94601 or by credit card at PayPal.

For more information, and to RSVP: Robert Brokl / Alfred Crofts, (510) 655-3841, broklcrofts@earthlink.net.

even more info here: http://www.janepowell.org/index.html

Resurrecting a Roman Soldier

2012-01-30T23:43:00.000-08:00

Guild member Chris Yerke of Restoration Workshop, shares the details of restoring an historic fireplace in a San Francisco Queen Anne house.

the beautifully restored fireplace

In 2010 I was engaged in the exterior restoration of a Queen Anne house by the prolific designer/builder Cranston and Keenan. Cranston and Keenan homes are staples of San Francisco’s Western Addition. This house turned out to be a particular jewel. It was clearly one of their more expensive models, replete with many fine examples of interior decorative arts products of the day. Moreover, during its 117 year existence it had survived practically free of painting and remodeling. It had suffered some deterioration with time and neglect, but was largely intact as a time capsule of this particular architect’s style.

Due to the zeal of our passionate client, it was not long before I was tasked with a number of interior restoration projects, concurrent with the exterior restoration. Among these was the restoration of the 5 fireplaces. Like the other fireplaces there were loose and/or missing tiles, the firebox was badly deteriorated, and the wood surround could use a touch up from a restorer. The owner had been lamenting the long lost art tile containing the upper torso of the reclining Roman soldier.

the missing torso tile

As with many fields of endeavor, the secret to being a good general contractor lies not in knowing everything, but rather in knowing how to ask the right questions. I went to my favorite source for all things tile, Riley Doty of Doty Tile. Accustomed to hunting up missing period hardware, I asked Riley what he figured my chances would be of coming up with a surviving example of that tile. He laid my odds at something just slightly better than finding the Holy Grail. He explained that these tiles were made in a variety of different glazes. The odds of finding one that had survived demolition or been stuck in some hidden corner of an old stock room were quite remote, and if I did find one, the chances of it having the matching glaze would be astronomical. He then offered that he knew an artisan who could reproduce the missing tile. He gave me the contact information for L’Esperance Tile Works in Rock City Falls, NY.

Catalogue page from American Encaustic Tile Co.

In order to reproduce the tile, we would need some idea of what the original looked like. Riley came to the rescue by contacting the Tile Heritage Foundation to see if this set of tiles was to be found in their collection of old tile catalogues. His theory that the tiles were made by the American Encaustic Tile Company turned out to be correct, and the Tile Heritage foundation quickly located the catalogue page with photos of the three roman soldier tile sets, exactly as seen on the fireplace.

Linda sculpting the Roman soldier in wax

I removed the remaining two tiles of the set, packed them very well, and sent them off to Linda Ellet of L’Esperance Tile works. Linda would be tasked with sculpting the reproduction tile. She explained that among the challenges would be shrinkage in drying and firing. Because clay shrinks, you have to make a calculated guess and sculpt the tile appropriately oversized in its wet state. Then you hope everything will line up exactly with the originals after shrinkage. It is a real head-scratcher, involving years of experience offset by the fact that the shrinkage of clay is subject to many factors not entirely controllable by the artisan. The original sculptor had the advantage sculpting all three tiles at the same time, vastly aiding his chances that all the many visual elements would align from one tile to the next.

Tile figure sculpted in wax

In the end, Linda sculpted the entire panel of three tiles to aid her in the process. She did such a superb job that the head tile aligns beautifully with original center tile. The reproduction is installed in its place at the head of the two originals.

The restored fireplace

Riley Doty reset loose tiles, realigned shifted tiles, and fixed a multitude of grouting issues. United Chimney, Inc. rebuilt the firebox and smoke shelf, expanding depth of the firebox in the process and adding a damper. The restored product is the result of a pleasing and fruitful collaboration between highly skilled artisans.

Mosaic Tiled Bench at Lincoln Park

2012-01-29T21:55:00.000-08:00

Riley Doty setting tile for the Lincoln Park Bench

California Street in San Francisco rises as it approaches its western terminus at Lincoln Park, meeting a set of concrete steps dating to the early 1900s that lead up to Lincoln Park in the Richmond District of the city. Thanks to the Friends of Lincoln Park, there is now a beautiful new tiled bench that greets you as you ascend.
The bench is the most recent creation of mosaic artist and tile maker, Aileen Barr.

Installation of the tiles was a challenge, expertly handled by Guild Member Riley Doty and Phylece Snyder. The imagery for the Lincoln Park bench was derived from historic photographs from the 1890s, including the Sutro Baths and the Midwinter International Exposition in 1894. The tiles themselves were produced in Barr’s ceramic studio in San Francisco, supplemented by the rectangular tiles supplied by Heath Ceramics in Sausalito.

With thanks to Tile Heritage for this story - read more at the Tile Heritage website

Fireplace Ideas for Bungalows

2012-01-29T21:25:00.000-08:00

Recently published in Old house Journal: Jane Powell's look at the wide array of Arts & Crafts-era fireplaces.

Green Motawi field tiles are combined with landscape and other decorative tiles in a seemingly random layout designed by Guild Member Michelle Nelson

"Fire fulfills a deep and primal role in the human psyche. Even today, when fires are no longer needed for heating or cooking, fireplaces are routinely installed in houses. In Arts & Crafts homes, the fireplace took on almost religious significance, and even bungalows in warm climates were built with one. Gustav Stickley was a big proponent, writing in The Craftsman, “The big hospitable fireplace is almost a necessity, for the hearthstone is always the center of true home life.”

Read the rest of the article at Old House Journal.

Hamilton Grange: Historic Floorcloths recreated by Gracewood Design

2011-09-03T11:21:00.000-07:00

Guild members Gwen Jones and Ken Forcier of Gracewood Design have recently completed a project for the Hamilton Grange, the historic home of Alexander Hamilton, which will reopen to the public in September 2011.
This is the most significant National Parks Services site in New York City. The house has been moved into Manhattan's St. Nicholas Park and undergone a five-year restoration.

The Hamilton Grange in Saint Nicholas Park, New York City

Original details of the house such as the marvelous side porches have been restored to their 1802 form. These are accessed from a trio of floor level windows that can be walked through from the living room and dining room, which abut each porch. Another exceptional original detail is that the inside of the doors that access the living room and dining room from the entry halls are mirrored, reflecting the views outside the porches. In 1802, in the home’s original location, this view was the Harlem River on one side and the East River on the other.
Gracewood Design was awarded the contract to make three floorcloths for the Grange - for the front and back entry hall and a side hall. The pattern is based on floorcloth remnant from the archive of the project’s architects and and is a version of a pattern from John Carwitham’s 1739 publication, “Various Kinds of Floor Decorations.”

detail of the floorcloth pattern

Gwen stenciling the floorcloth

The floorcloth was made in Gracewood's studio in Portland, Oregon, oversized, so it could be installed on site wall to wall and trimmed to fit perfectly.

The floorcloth in production at Gracewood's studio

Installation was done on site covering the original floorboards.

Back Entry Hall floor

To the extent possible, the original floorboards were used, and their position maintained. The floor, as no doubt it was originally, is somewhat uneven and pitched.
Heavy grade canvas (#4 cotton duck, weighing 24 ounces per square yard) was used as the underlayment for the floorcloths. The canvas was laid in place and then stapled around the edges of the floor, and the excess was cut away. This was a somewhat tricky job, due to the fluting on the trim and the angles of the arrowhead end of the entry halls.

Heavy canvas underlayment in place

Ken likes a clean site!

In order to fit the floorcloths, a template was painstakingly constructed of each hall. The template was then placed on the rectangular floorcloth and the floorcloth was cut to exactly match the template.

Template being made for the back entry

Ken in the Front Entry after installation

installed side hall- staircase view

Congratulations to Gracewood Design for another amazing and unusual historic installation!
*
You can read more about this project and the fabrication and installation details details at the Gracewood Design website.

Adrian Card featured in Canson newsletter

2011-08-22T00:38:00.000-07:00


Canson's recent newsletter features Adrian Card

Guild Member Adrian Card, who specializes in harpsichord decoration as well as historically-inspired decorative painting, is featured in this recent newsletter from Canson, makers of fine art papers including Rives paper designed for printmaking.
Adrian prints custom papers from his own hand-carved woodblock designs for use in antique and reproduction instruments.

click on the image to view the article at larger, readable size.

Decorative Painting at the Historic MacDonald Mansion

2011-07-27T22:13:00.000-07:00

Ladies' Parlor: Glazing and antiquing on woodwork, trim and pocket panel doors

Master decorative artist George Shadow's masterful contribution to an important historic restoration project in California.

Guild members George and Elise Shadow of Classic Art and Design, Inc. have been working for many months on the interior finishes for the historic MacDonald Mansion, in Santa Rosa, CA, also called Mableton. Here now is a sneak peak at some of the stunning finished rooms featuring some of George's outstanding work.

The Mantel of the Ladies' Parlor, marbleized to match the true marble.

The Powder Room, with gilt ceiling dome and glazed woodwork

Gents Parlor Ceiling with faux walnut beams, coffers, and crown mouldings

This project also features outstanding design work from guild members Paul Duchscherer, Steve Rynerson and copious amounts of wallpaper from Bradbury and Bradbury.
Read more about the progress of the Mableton restoration.

Lynne Rutter in the Spotlight

2011-07-15T00:00:00.000-07:00

Guild member Lynne Rutter is featured in the San Francisco Chronicle "Stylemaker Spotlight" this week.

Check out her interview in which she discusses her current projects, the benefits of traditional paints, commissioning custom work from local artisans, and why you need to hire professionals with expertise in historic buildings.

"Island Creatures" at the Alameda West End Library

2011-05-09T00:53:00.000-07:00

mural detail: blue heron

The West End Library of Alameda was designed by architect Carl Werner and built in 1936 as a Public Work Administration (PWA) project. The recent restoration included funding for a public art commission.

In competition with over 100 artists, Debey Zito and Terry Schmitt, the creative forces behind Debey Zito Fine Furniture and Design, were chosen to create artwork for a 4’ x 28’ wall above the circulation desk.

Debey designed a frieze mural incorporating Terry’s carvings devoted to the wildlife of Alameda Island. With over 20 miles of shoreline, the citizens of Alameda are never far from the creatures they share their island with.

The completed mural at the Alameda West End Library

The mural is carved in black walnut and polychromed to compliment the stained oak original to the library. The artwork is “framed” with an arch, tapered posts and waves. Leopard sharks and surf fish swim in the bay, crab and shorebirds on the sand, hills and water and least terns fly under the bridge.

The bunny frieze was created using a combination of carving, cast plaster, and faux finishing

For the children’s section of the Library, Debey and Terry enlisted ornamental plasterer and fellow guild member Lorna Kollmeyer, to cast a 21 foot long plaster frieze of romping rabbits and monarch butterflies, after their original carved wood model. The plaster work was then faux finished to match the wood carvings. Flanking this frieze, four be-speckled hares carved in wood, are relaxing and reading books.

mural detail: native grasses

The work was unveiled to the public on April 14th 2011

The Alameda West End Library is located at 788 Santa Clara Ave, Alameda, California.

photos in this post by Nathanael Bennett Photography

click on images to view larger.

Tulips at Sunset

2011-05-08T23:05:00.000-07:00

"Tulips at Sunset" is a beautiful new piece by Ted Ellison of Theodore Ellison Designs. The layered window piece incorporates glass made in collaboration with Evan Chambers of Pavonine Glass in Pasadena, as well as glass painted and fired at the TED studio. Says Ted: "It's a technique that's used in European cathedrals, but I'm using the Tiffany off-shoot version where there is a painted/shaded layer, a modulating color / texture layer and a overall color layer. Each cell is between 1 - 4 layers thick."
The painstaking process certainly pays off, with a soft, luminous color and the elegant lead lines that are the signature of Ted Ellison's work.

Golden Gate Park- Historic District?

2011-04-22T18:56:00.000-07:00

an antique postcard of Golden Gate Park in the 1890s

At a recent guild meeting, Alan Wayne Martinez of the San Francisco Historic Preservation Commission spoke to us about a plan to preserve Golden Gate Park as a "Local Historic District"
The Park is already listed in the National Register of Historic Places, but lacks protection locally.

Here is an excerpt from Golden Gate Park Preservation Alliance flier: "Why Golden Gate Park should be a Local Historic District"

The best qualities that Golden Gate Park embodies are timeless.
The Park is more than a collection of utilitarian functions and recreational activities – it offers a peaceful, bucolic and natural setting where people can participate in the social and solitary rites and activities that are an important part of our lives. To be able have a setting as beautiful as Golden Gate Park available to San Franciscans is a precious thing. The beauty and qualities that the Park brings to our lives is priceless and should not be turned into an organized and packaged experience.

sunlight on Stowe Lake, image via Wikipedia

The Park was conceived of as a refuge from urban life, a refuge that could be enjoyed in a degree of relative comfort, but without every concession to comfort.
While there are comforts, there is a limit to the concessions made to comfort and nature is not entirely tamed in the Park: the meadows are not surrounded by benches, nor are they perfectly flat. While there are museums, playing fields and courts, for the most part people are expected to either be entertained by the contemplation of natural beauty or to bring one’s own recreational amusements. While there are a few places to buy food, you are mostly expected to bring your own food and drink to most parts of the park, just as you would bring your own food to any real wilderness. This distinction, that this park is not an urbanized plaza in the sense that Union Square is, or an assembly of sports spaces such as the Joe DiMaggio Playground and Pool, is part of the Park’s historic character and purpose.
Historic District Status is in harmony with the Golden Gate Master Plan.
The Master Plan calls for a “respect for the original design intent”, for the minimization of “the impacts that buildings and monuments have on the park landscape”, for the preservation of “open space of Golden Gate Park” and the maintenance and preservation of historic buildings and structures. Other policies speak to the preservation of the character of the varied woodlands and forested areas.
As San Francisco’s population and density of buildings increases, Golden Gate Park’s natural setting will become its most precious asset.

read the rest of the flier here: PDF

a comprehensive guide to Golden Gate Park is here

If you wish to write in support of the Golden Gate Park Historic District:
Mayor’s office: mayoredwinlee@sfgov.org
The Historic Preservation Commission: Commission Secretary: linda.avery@sfgov.org
The Recreation and Parks Commission: Commission Secretary: recpark.commission@sfgov.org
Please also cc your letter to the Golden Gate Park Preservation Alliance: ggppa@earthlink.net

McDonald Mansion Interior taking shape

2011-04-22T11:51:00.000-07:00

Architect Steve Rynerson and historic deign consultant Paul Duchscherer have collaborated for the last five years on the renovations of the McDonald Mansion in Santa Rosa.

The Sonoma County Press Democrat has today published a great article about the interior renovations at the McDonald Mansion (also known as Mableton) in Santa Rosa, CA, as led by guild members Steve Rynerson and Paul Duchscherer.
The new interior features the work of other guild members as well: wallpapers by Bradbury and Bradbury, and faux bois finishes by George and Elise Shadow of Classic Art and Design.

view of the McDonald Mansion exterior.

Full article in the Press Democrat, and more images here.

Previous articles about the McDonald Mansion history here.

photos by Christopher Chung/The Press Democrat ©2011

Woodworker's Guide to Handplanes

2011-04-06T13:42:00.000-07:00

Scott Wynn's new book, available at amazon.com!

Guild member Scott Wynn is not only a talented architect but a skilled woodworker and an expert with traditional hand tools.

He has just published a book on hand planes which he both wrote and illustrated:
Woodworker's Guide to Handplanes: How to Choose, Setup, and Master the Most Useful Planes for Today's Workshop

Congratulations, Scott!

Arts and Crafts Dining Room a Collaborative Beauty

2011-02-28T15:47:00.000-08:00

A San Francisco dining room designed in the Arts and Crafts style by Debey Zito Fine Furniture and Design, became a wonderful opportunity for collaboration between several members of Artistic License.

As part of the room's design, a frieze panel of California poppies was hand-carved by Debey's partner, Terry Schmitt. To carve the frieze for the entire room was cost-prohibitive, so ornamental plasterer Lorna Kollmeyer cast them in plaster.
The new plaster frieze was then painted with a faux bois finish by decorative painter Lynne Rutter to match the furniture-quality paneling that Debey and Terry installed the room, and painted the iridescent poppies using mica powders and pigment.
Terry also sculpted the plaster Eucalyptus leaves which Lynne gilt with 23k gold leaf.

This project is featured in the Spring 2011 edition of Arts and Crafts Homes magazine, where you can see more details about this "Collaborative Beauty."

Peter Bridgman 1942 - 2010

2011-02-19T00:25:00.000-08:00

Peter Bridgman

Artistic License is very sad to announce the loss of our master wallcovering expert, Peter Bridgman, who died late last year from a brain tumor at his home in Oakland, California. Peter was an active member of the guild for over twenty years and his abundant energy and devotion to guild activities will be sorely missed.

Peter was widely known for his intricate and precise installations of period wallpaper systems such as those designed by Bradbury and Bradbury: he installed over 450 ornamental ceilings that were designed with their hand-printed papers. His work can be seen in homes and commercial buildings all across the country.

<--Turkish Parlor in the Brune-Reutlinger House (1886) San Francisco. A combination of wallpaper elements by Bradbury & Bradbury, designed by Paul Duchscherer, installed by Peter Bridgman

Photos of Peter's work grace the pages of numerous publications, especially those of his longtime friend, Paul Duchscherer, author of many books about period design. No design was too complicated for Peter to handle.

He was an expert at mural installations, being especially appreciated by mural painters for his keen eye and knowledge of art and decor. In his later years Peter studied art restoration, spending a year in Florence, Italy, to learn new skills and techniques.

Artistic License members bid goodbye to our friend and colleague in the most fitting way, celebrating his memory with a spectacular party.

Historic Floorcloth Recreated for Hay House

2010-12-14T20:37:00.000-08:00

The dining room at Hay House with its new floorcloth

Gracewood Design, our brilliant Associates based in Portland, Oregon, just completed a monumental project as part of the restoration of historic Hay House, The Palace of the South, in Macon, Georgia: a custom floorcloth of over 1,300 square feet, recreating the original 1870 floorcloth.

Painted floorcloths were a popular and fashionable floor covering choice in English and early American interiors, prior to the invention of linoleum in the late 19th century.

Original Hay House remnant and new reproduction by Gracewood Design

Remnants of the original Hay House floorcloth were found under cabinetry that was being removed as part of the dining room renovation. The complex pattern required six stencils to create. To obtain the textured look of the original, an extra pattern of stenciled thin lines was added, in a slightly different hue than their red and black backgrounds.

One of five 10 x 30' floorcloth panels in production

The new floorcloth was painted in long canvas panels, using many layers of paint, topcoat, and hand-finished with wax. The finished canvases were installed wall to wall, as was the original.
The result is absolutely thrilling and beautiful surface as you can see in the above photo.

Read more about floorcloths and the Hay House floorcloth, with step by step progress photos at the Gracewood Design website.
Congratulations to our members Gwen Jones and Ken Forcier and the entire Gracewood team on this outstanding project!

A Lead "Primer"

2010-12-12T20:35:00.000-08:00

Lead Paint, Our Bodies, Our Homes

Guild Member Robert Dufort explains why lead is such a hot topic for period building owners:

The presence of lead paint in older homes is a common problem. According to EPA studies, 69% of homes built before 1960 contain lead. Among homes built before 1940 that figure jumps to a whopping 87%!
Lead is a serious health and safety issue. Our bodies have zero use for lead, and we can only tolerate it in minimal amounts without negative effects to our health. In children the consequences of lead exposure are more severe and more likely to be permanent.
Many older homes already contain some level of lead contamination created by friction points (e.g. the movement of doors and windows) and deteriorated paint. Furthermore, virtually all construction activities also have the potential to create lead paint dust - it is not just paint prep that disturbs lead containing surfaces!

Magic Brush's trained crew removing old paint- note the fashionable safety gear

EPA-RRP Certifications, Regulations, and More...
There are numerous regulatory agencies with jurisdiction over lead paint contamination, including the EPA, OSHA, and the California Department of Public Health (CDPH). San Francisco even has its own local ordinances, as do other municipalities.

The EPA, in yet another attempt to inform contractors and homeowners of lead hazards and safe methods of mitigating "lead pollution", created the Renovation, Repair, and Painting Rule (RRP). Effective April, 2010, it mandated the certification of all contractors who work in pre-1978 housing and childcare facilities.
Any contractor who disturbs old lead paint must be EPA-RRP certified themselves, and only hire RRP certified subs. Additionally, painting contractors who work on older residences should also be certified by the CDPH Childhood Lead Division.

Obviously, certification is only half the battle. Implementing the regulations is certainly the more important aspect. And for that, one needs concerned employers, trained employees, and informed owners, general contractors, architects, and designers.

About Robert Dufort:

Robert Dufort founded his company Magic Brush, Inc. in 1976.
One of their specialties then (as now) was the "Painting Restoration" of Victorian facades, which often included stripping old lead paint. In the "good ole days" this meant using propane torches to "burn" the paint off the building (without burning down the building, of course.) Back then, we had virtually no knowledge of the hazards of disturbing lead paint. Gradually, our growing awareness of the issues demanded we take corresponding action.

In 1998, Robert completed the requirements for California Department of Public Health Certification to become a Lead Paint Supervisor, and in 2010 he passed the state Lead Risk Assessor exam, and is now known as Inspector #3894.

To read Robert's "Lead Essay", please visit: www.magicbrush.net/lead.html

Clay Expectations in Oakland

2010-09-04T11:43:00.000-07:00

Art Deco tile facade of the I. Magnin Building, Downtown Oakland.

“Clay Expectations”
is being presented by the Tile Heritage Foundation as a fund-raising event featuring the work of tile artists and artisans in support of the Foundation’s archival and cataloging programs now underway.

Contemporary tile and mosaic artists will show and sell their wares side by side with historic tile dealers; scholars will present both lectures and tours, and both clay and mosaic workshops will be available.

This unique one-day even is being presented for the first time in a tile-clad historic setting ideally suited to the occasion.

Sunday September 12, 2010
Join tile expert Riley Doty for a short walking tour:
Tiles and Terra Cotta in Uptown Oakland
Presented by Oakland Heritage Alliance

UPDATE:
On Sun. Sept. 19 Riley Doty will give a repeat presentation-- Anybody who wants to can join our small group - meet at corner of 17th St. & Webster St. in Oakland at 10:00 am. Tour lasts 2 1/2 hours and there is no admission charge. No reservations, just show up.

Restoration Workshop hosts Eli Rios in 2011

2010-08-30T22:08:00.000-07:00

Eli Rios

Coming in February 2011!

Christopher Yerke and Restoration Workshop, Ltd. will be hosting the legendary New York conservator and master finisher Eli Rios, here in San Francisco for a special class on how to touch up, restore, and maintain antique wooden furniture. This is a rare opportunity to learn from one of the world's finest!

Period Furniture Restoration

Instructor: Eli Rios, Conservator and Master Finisher

Location: Restoration Workshop,Ltd., San Francisco

Please join us for this highly informative, hands-on class on Basic Period Restoration and Touch-Up for Period Furniture. In this class you will learn the history and basic principles of traditional colors, coatings and consolidants, as well as early paints such as shellac and oil paints. Emphasis will be on color and color adjustment, using aniline dyes and earth pigments. Bring a repaired antique (small and not stripped, please) and match the color and topcoat to match the existing finish, color and patina. Students may also bring in a piece to discuss and/or problem solve. Learn from one of the best in the antiques business!

Eli Rios with Martha Stewart

ECR Antique Conservation & Restoration, Inc was established in 1989. Professor Eli Rios, Owner and Principal Conservator, has amassed more than 30 years of experience and is considered one of the country’s leading experts on fine antique conservation and restoration, with clients ranging from the Keno Brothers to Christies Auction House and Private Collectors. Professor Rios is an expert in a vast array of techniques, and regularly appears as a furniture expert on Martha Stewart's show.

Mr. Rios also trained and mentored our own Melissa Goldman, who will be teaching a Painted Furniture class at Lynne Rutter studio in November.

Paul Ivazes to the rescue!

2010-07-03T19:24:00.000-07:00

<--- Paul Ivazes of Quality Lighting- if you've ever met Paul, you know he loves his work, and will tell you ALL about it!

Observe our wonderful Associate, Paul Ivazes of Quality Lighting as he wins praise and gratitude for his work restoring three 1860s chandeliers for a Healdsburg Victorian.

Check out this amazing blog "227 North Street" chronicling the adventures of homeowners Mark and Phillip, as they restore their beloved old house, and read more about Paul's incalculable contribution to their efforts.

Mableton's Evolution

2010-02-26T17:18:00.000-08:00

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

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

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

Mableton's Architectural Style

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

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

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

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

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

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

Mableton's Planning and Features

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

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

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

Mableton's Evolving Plan

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

Area A represents the remaining extent of the original structure.

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

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

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

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

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

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

Mableton's Latest Changes

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

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

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

Mableton’s Newest Plan: An Overview

1. Verandah

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

2. Entry Vestibule

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

3. Main Hall

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

4. Library

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

5. Turkish Parlor

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

6. Ladies’ Parlor

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

6a. Hall/Powder Room/ Closet

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

6b. Service Pantry

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

7. Gentlemen’s Parlor

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

8. Stair Hall
8a. Elevator

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

9. Dining Room

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

9a. Butler’s Pantry

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

10. Breakfast Room
10a. Balcony

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

11. Kitchen

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

12. Family Room

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

13. Master Sitting Room

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

13a. Master Bath

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

13b. Master Closet
14. Master Bedroom

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

15. Rear Terrace

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

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

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

Bradbury's New Blog Explores Wallpaper's Storied History

2010-01-06T18:02:00.000-08:00

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

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

William Campbell Wall Paper Co., circa 1912

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

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

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

“Mableton” and The McDonald Family, a brief history

2009-08-08T17:07:00.000-07:00

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

“Mableton”, circa 1882.

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

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

Early History

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

Ralphine North McDonald (1843-1918)

Col. Mark Lindsey McDonald (1833-1917)

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

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

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

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

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

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

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

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

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

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

The Middle Years

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

Mark McDonald, Jr., with daughter Marcia

Like her husband, Isabelle was a native Californian with family roots dating back to the Gold Rush. Her parents, Mr. and Mrs. Charles Frederick Juilliard, settled in Santa Rosa. The site of their family home was donated to the city by Isabelle’s father, and survives today as Juilliard Park in downtown Santa Rosa. Isabelle’s privileged upbringing included private East Coast schooling and several years of residence in Tuxedo Park, New York with her wealthy uncle Augustus Juilliard, who was the founder of the Juilliard School of Music.
By the early 1920’s, Mark and Isabelle had begun to extensively remodel Mableton to suit their own tastes. Among the changes they implemented were alterations to the rear of the house, installation of additional bathrooms, and numerous landscape improvements, including a tennis court (now the site of a formal garden). The couple had two children who survived into adulthood: a daughter, Marcia, and a son, Juilliard (a third child, Mark McDonald III, died in infancy).

Marcia Augusta McDonald, around age 18

Juilliard McDonald, as a young adult.

The Last of the McDonalds

After Mark L. McDonald, Jr. died in 1932, Isabelle occupied a Nob Hill apartment in San Francisco as her primary residence. Until her death in 1960, Mableton was once again used mostly as a summer home. Isabelle’s son, Juilliard McDonald, had a successful career and maintained the family’s business interests. Although he was married twice, Juilliard died childless in 1946. Following the death of Isabelle, her daughter Marcia became the last surviving McDonald heir. Like her mother, Marcia chose to make her primary home in a San Francisco apartment. However, after her mother's death, she was less inclined to visit Mableton, and subsequently allowed the property to fall into disrepair.
When Marcia, who never married, died childless in 1971 at the age of 65, the fate of the mansion was uncertain. The terms of Isabelle’s will and trust had dictated that, upon Marcia’s death, Mableton was to be left jointly to the University of California and Stanford University. Eventually, the property was offered for sale to the City of Santa Rosa, and local controversy over possible development plans for the site ensued.

Mableton circa 1971.

Mableton In Transition

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

Santa Rosa Fire Department extinguishing fire in Mableton in 1977.

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

Aftermath of 1977 fire.

Re-framing Mableton roof after 1977 fire.

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

Mableton in December 2005.

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

Chris Yerke shares his old house expertise on SFGTV

2009-07-26T16:38:00.000-07:00

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

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

Tiffany's legacy in the Bay Area

2009-07-03T20:32:00.000-07:00

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

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

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

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

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

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

Lake Merritt Methodist Church , Oakland

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

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

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

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

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

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

photos by Ted Ellison
click on images to view larger

Jane Powell at "Bathonista"

2009-06-20T13:43:00.000-07:00

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

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

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

New Life for Oakland Cathedral's historic artwork

2009-06-02T14:16:00.000-07:00

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

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

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

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

Diane Winters working on repairs to the tile mural

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

Riley Doty, working on repairs to the tile mural

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

Restored tile mural fragments, displayed in the new cathedral.

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

--- Riley Doty

2009 Alameda Museum Lecture Series

2009-03-31T10:24:00.000-07:00

Photo by Dennis Evanosky / Alameda Sun

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

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

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

Upcoming Lectures include:

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

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

for more information, visit the Alameda Museum website

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

2009-02-08T16:08:00.000-08:00

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

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

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

2009-01-14T16:57:00.000-08:00

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

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

photo courtesy The Craftsman Home.

The Best Decorative Painting in the Bay Area

2008-12-26T15:08:00.000-08:00

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

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

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

AL members featured in Old House Interiors

2008-11-23T12:34:00.000-08:00

Cover Story!

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

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

Children's Mural at Burlingame Public Library

2008-11-05T13:55:00.000-08:00

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

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

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

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

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

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

Amazing baths in Old House Journal

2008-11-05T13:35:00.001-08:00

Beautiful Bathrooms for the Period Home

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

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

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

Madonna della Guardia Rises from the Ashes

2008-10-20T22:40:00.000-07:00

Guild members Phil Diers and Adrian Card restore a beloved sculpture

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

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

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

Never Do Plumbing on Sundays

2008-10-17T23:14:00.000-07:00

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

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

Bruce Aidell's Ultimate Craftsman

2008-09-07T19:27:00.000-07:00

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

Leaded Glass door detail, via www.jmalick.com

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

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

Tiles and Terra Cotta in "Uptown Oakland"

2008-08-16T00:12:00.000-07:00

Check out this cool event with our own Riley Doty

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

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

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

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

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

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

San Francisco Arts and Crafts Show

2008-08-07T15:31:00.000-07:00

This Saturday and Sunday, August 9th and 10th, Debey Zito will be exhibiting at the San Francisco Arts and Crafts Show at the Concourse, 8th and Brannan. The show hours are 10-6 Saturday and 11-5 on Sunday.
Look for other Artistic License members there as well!

New Restoration Workshop

2008-07-16T19:10:00.000-07:00

A recent visit to the enormous new shop of Christopher L. Yerke's Restoration Workshop.

Restoration Workshop has recently moved into a huge new space in San Francisco Mission District, where among other exciting projects, several talented carpenters and apprentices are hard at work rebuilding and restoring the redwood paneling and woodwork for an important historic San Francisco home that was damaged by fire.

George Zaffle at the 2008 SALI Convention

2008-07-16T18:38:00.000-07:00

Fans of Decorative Painting will surely want to catch George Zaffle's class at the 23rd annual convention of the Stencil Artisans League, Inc. being held this week in Charleston, NC.

George will be teaching a Decorative Painting Extravaganza as well as demystifying the World of Decorative Painting to eager students from across the country.

Friend or Faux? Examining the Origin of House Materials

2008-05-09T16:00:00.000-07:00

May, 2008

"I don’t necessarily have a problem with fakeness as a concept. Faux finishing has a long and splendid history, and I like a linoleum oriental rug as much as the next person. Okay, more than the next person. But I despair for a world that so willingly sends real old growth timber to the landfill by demolishing old buildings, while building new ones using materials that are often synthetic or composite because that is more “green.” "

Read more of Jane Powell's article for the Berkeley Daily Planet

Understanding the Virtual World of Home Price Fluctuations

2008-04-25T15:53:00.000-07:00

April, 2008

"If your house disappears from zillow.com, does that mean it no longer exists?"

find out more in this article by Jane Powell for the Berkeley Daily Planet

Adrian Card featured in SF Chronicle

2007-08-16T14:45:00.000-07:00

August, 2007

The San Francisco Chronicle ran a wonderful piece on the home of AL member Adrian Card and John Tinker. They've spent years rehabbing one of the oldest houses in San Francisco, with respect for its architecture, and its previous owners.
Lots of great pictures in that article as well.

Erik Kramvik in the New York Times

2007-07-16T14:38:00.000-07:00

July, 2007

Designer Erik Kramvik gets noticed in this article in the New York Times

"And even in houses that would seem to be all about the past, it’s possible to create a period bathroom that isn’t mired in it. Ingrid Weiss, a real estate agent who lives on Belvedere Island in San Francisco Bay, has just finished a two-year renovation that included the gutting and enlargement of the master bathroom in the 1892 Queen Anne-style house that she and her husband bought in 1978.

“It’s been the love of our lives and dear, dear friend,” she said of the house, which is considered a historic landmark on the island. But Ms. Weiss, working with Erik Kramvik, an architectural designer (he is part of a Bay Area collective called Artistic License, which brings together architects and artisans specializing in period restoration), set out to capture the essence of a Victorian bath without giving the room a kitschy bond to the era."

Green Envy by Jane Powell

2007-05-26T14:18:00.000-07:00

May, 2007

"Green building is an oxymoron..." our own Jane Powell debunks the myth of green building. Read her article in the San Francisco Chronicle

2007 San Francisco Decorator Showcase

2007-04-26T13:58:00.000-07:00

April, 2007

Lynne Rutter designed a Vintage Laundry Room for the 2007 San Francisco Decorator Showcase, open April 28 - May 28 at 2901 Broadway Street a spectacular 1927 neoclassical villa designed by architect Henry Clay Smith, in original period condition.

Several guild members contributed to the production of this room.

above photo by David Papas Photographer

Berkeley Hillside Club

2007-03-16T13:51:00.000-07:00

March, 2007
Dianne Ayres has been elected the President of the Berkeley Hillside Club.

Bruce Bradbury voted into AL Hall of Fame

2006-04-06T13:34:00.000-07:00

This portrait of Bruce first appeared on the cover of SF Magazine in January, 1990.

Bruce Bradbury, founder of Bradbury and Bradbury Art Wallpapers, and one of the founding members of Artistic License, retired from business in 2006. The members of the guild have unanimously elected him our inaugural Hall of Fame Member, so that Bruce could found yet another great Institution of Period Design.

Read more about Bruce and his accomplishments on our members page.