LPBCurrentNom WeatherfordAntiques

Name (common, present, or historic): Year Built: 1902 Street and Number: 133 14th Avenue E.
Assessor's File No. 600300-1840
Weatherford Antiques
Legal Description:
Lot 7 and the North half of Lot 8, Block 42, Addition to the City of Seattle, as laid off by D.T. Denny, guardian of the Estate of J.H. Nagle (commonly known as Nagles Addition to the City of Seattle), according to the plat thereof, recorded in Volume 1 of Plats, page 153, in King County, Washington; except the West 8 feet thereof conveyed to the City of Seattle for Alley by deed recorded under recording number 179537.
Plat Name:
Nagles Addition
Block: 42
Lot: 7-8
Present Owner: Murray Franklyn Companies Owner Address: 14410 Bel-Red Road
Bellevue, WA 98007 Phone: 425-644-2323 Contact: Ron Boscola
Present Use: Antiques store & apartment
Original Owner: Unknown; first known owner Vernon D. Maddocks (1907) Original Use: Single Family residence Architect: Builder:
(None; builder-house) Unknown
Weatherford Antiques Seattle Landmark Nomination
March 12, 2012
This report was prepared by: David Peterson Nicholson Kovalchick Architects 4302 SW Alaska Street, Suite 200 Seattle WA 98116 206-933-1150 www.nkarch.com
Weatherford Antiques Seattle Landmark Nomination INDEX I. Introduction II. Building information III. Architectural description A. Adjacent neighborhood context B. Site C. Building exterior and structure D. Building interior E. Alterations to the building F. Other buildings on site G. Summary of primary alterations IV. Historical context A. The development of the Capitol Hill neighborhood B. The Queen Anne Free Classic style, and the Colonial Revival style C. Building owners and occupants 1. Vernon D. and Carrie S. Maddocks, owner 1907-1934 2. George Matheny and C. Henry Bacon, owner 1936-1939 3. Richard H. and Elizabeth H. Anderson, owner 1939-1972 4. Ella McBride, resident 1939-c.1962 5. Morris L. and Emily R. Weatherford, and David Weatherford, owner 1965-2011 6. Murray Franklyn Companies, owner 2011 D. Elizabeth Ayer, architect of remodels V. Bibliography and sources VI. Preparer and Reviewer information VII. Report illustrations Appendix A Images of the subject building, and selected architectural material Tax assessor records, site plan 3 4 5
10 11 12
16 19 21 22 30 Following
This report was prepared by: David Peterson Nicholson Kovalchick Architects 4302 SW Alaska Street, Suite 200 Seattle WA 98116 206-933-1150 www.nkarch.com
Nicholson Kovalchick Architects 133 14 t h Avenue E. Seattle Landmark Nomination March 12, 2012
I. INTRODUCTION This report was written at the request of the owners of the property, the Murray Franklyn Companies (14410 Bel-Red Road, Bellevue, WA 98007, Contact: Ron Boscola), as part of the land-use permit and SEPA process to ascertain the historical nature of the subject building. Sources used in this report include: Records of permits from the Seattle Department of Planning and Development microfilm library; unfortunately, no original drawings are on file at the microfilm library. Assessor's photographs and property card from the Puget Sound Regional Archives in Bellevue, Washington. Newspaper, book, city directories, and maps referencing the property (see bibliography). Author's on-site photographs and building inspection, or by other NKA employees. Information on owners and residents was derived from the sources above, as well as a 100-year title search on the property. Historic photographs of the subject property provided an important source of information on changes to the exterior to the building [Fig 19-Fig 26]: 1937 tax assessor photo, but the house is obscured by vegetation. Undated, but c. 1939, or before renovation, showing the house as sold (photo courtesy of David Weatherford). Undated, but c. 1941, or after renovation (photo courtesy of David Weatherford). 1972 tax assessor photo 2001 Department of Neighborhoods photo 2002 tax assessor photo Unless noted otherwise, all images are by NK Architects and date from summer 2011.
II. BUILDING INFORMATION Name (Traditional/current): Year Built: Street & Number: Assessors File No.: Original Owner: Present Owner: Weatherford Antiques 1902 1 133 14th Avenue E. (at E. John Street) 600300-1840 Unknown; first known owner Vernon D. Maddocks (1907) Murray Franklyn Companies 14410 Bel-Red Road Bellevue, WA 98007 P: 425.644.2323, F: 425.643.3475 Contact: Ron Boscola Antiques store and apartment Single family house Unknown Nagles Addition / 42 / 7-8 Lot 7 and the North half of Lot 8, Block 42, Addition to the City of Seattle, as laid off by D.T. Denny, guardian of the Estate of J.H. Nagle (commonly known as Nagles Addition to the City of Seattle), according to the plat thereof, recorded in Volume 1 of Plats, page 153, in King County, Washington; except the West 8 feet thereof conveyed to the City of Seattle for Alley by deed recorded under recording number 179537.
Present Use: Original Use: Original Builder: Plat/Block/Lot: Legal Description:
King County tax assessor website lists date as 1904.

III. ARCHITECTURAL DESCRIPTION A. Adjacent Neighborhood Context The subject building, which has housed Weatherford Antiques for decades and is commonly called by that name, is located in Seattles Capitol Hill neighborhood at 133 14th Avenue E., at the corner of E. John Street. [Fig 1-Fig 2] The immediate neighborhood is primarily a dense mix of apartment/condominium buildings, and large houses subdivided into apartments, with a few single-family houses remaining. While the neighborhood has been continuously developed every decade from the early 1900s to the present, the area was heavily developed in the decade between 1900-1910. [Fig 3-Fig 4] The immediate area derives considerable character from c.1900-1920 wood frame multistory builder houses, three-to-four-story c.1910-30s brick apartment blocks, two-to-three-story c.1910-30s U-shaped garden apartments with central courtyards, and mature street trees. Interspersed throughout are generally unremarkable modernist apartment buildings from the 1950s-1960s, or post-modernist apartment buildings from another burst of development in the 1980s-1990s. In general terms, the Capitol Hill neighborhood is an established, vibrant, varied, and fine-grained urban fabric of residences and businesses, which overall is one of the densest on the West Coast. Restaurants, bars, clubs, small shops, grocery stores, drugstores, services, and the like (both locally owned and chains), as well as civic and institutional buildings, are dispersed throughout the neighborhood. In the immediate neighborhood, the primary commercial activity is two blocks east, along 15th Avenue E., between E. Mercer Street and E. Denny Way. Broadway Avenue, the primary north-south commercial corridor for all of Capitol Hill, is five blocks west, and visible downhill from the site. E. John Street directly adjacent to the subject building is today a major neighborhood east-west arterial, connecting this part of Capitol Hill to downtown (becoming Olive Way at Broadway) and the Madison valley (becoming E. Thomas Street at 15th Avenue E). In 1902, when the subject house was built, the only nearby streets served by streetcar lines were Broadway and Madison. By 1911, streetcars ran along 14th Avenue in front of the house, and along 15th Avenue, connecting Volunteer Park and downtown via Pine Street. Although now a significant bus route and automobile arterial, John Street never had streetcar service. A notable presence in the immediate neighborhood is the Group Health Clinic campus, which occupies about two city blocks, including the built-over E. John Street right of way, so that the street does not continue through the campus. Large mid-to-late 20th c. institutional buildings occupy the site, and are a larger scale and character than the surrounding blocks. Nearby Seattle historic landmarks include: The Cooper House (attributed to Fred Fehren, 1904), a neoclassical duplex, one block north at E. Thomas Street & 14th Avenue E. Capitol Hill United Methodist Church (John Fulton, 1906), about three to four blocks east at E. John Street & 16th Avenue E. 1st Church of Christ, Scientist (Bebb & Mendel, 1908, 1912); the Hillcrest Apartment Building (1909); and the Galbraith House/Seattle Mental Health (1900), about four to five blocks to the southeast around the intersections of E. Howell Street and 16th & 17th Avenue E. St. Nicholas Russian Orthodox Cathedral (1937), three to four blocks south at about E. Olive Street & 13th Avenue. 1st African Methodist Episcopal Church (1912), four to five blocks south at E. Pine Street & 14th Avenue. Cal Anderson Park, Lincoln Reservoir and Bobby Morris Playfield (Olmsted Brothers, 1901, altered), four blocks to the southwest at E. Denny Way & 11th Avenue E. Nearby notable buildings [Fig 5-Fig 7] that are not landmarks include the Bischofberger Violin shop across the street at 1314 E. John Street (1906); Tudor Manor Condominiums (1929) two parcels south at 111 14th Avenue E; the Bering apartment building one block north at E Thomas Street & 14th Avenue E (1930); the Rosemont Co-op apartment building one block northwest at 214 13th Avenue E (1917); the LaCrosse Apartments (1907) one and a half blocks
northeast at Malden Avenue & Thomas Street; and three Frederick Anhalt apartment buildings at the intersections of John Street and 16th, 14th, and 12th Avenues (1928-1930). B. Site The subject house is located on the corner of 14th Avenue E. and E. John Street, with the front of the house facing east towards 14th Avenue. [Fig 8-Fig 10] The lot measures 120 ft. E-W x 90 ft. N-S, and slopes downward from the northeast corner to the southwest corner approximately 12 feet, creating something of a ravine at the southwest corner. The house occupies the north center of the lot, situated close to E. John Street, with mature trees shielding it from the busy street. There is an alley along the west property line, and a 1910 garage building with apartment directly adjacent to it. The southwest portion of the lot is a low, informal terraced garden area forming the entrance to the garage apartment. An asphalt parking pad for approximately four automobiles occupies the northwest corner of the lot, and is accessed from the alley and John Street. The east portion of the lot in front of the house is a paved horseshoe drive around a raised brick planter (installed sometime after 1972, based on photos), and additional parking for about two cars, accessed from 14th Avenue. The center south portion of the site is landscaped and features a large maple tree. Although the lot is relatively dense with buildings and pavement, it projects a highly landscaped albeit informal impression due to mature plantings and some undergrowth, making some of the house difficult to see. To the south, the adjacent property is a 16-unit brick-clad lanai-style two-story apartment building, built in 1956. The building is L-shaped, with a parking lot filling the open part of the L. To the west, across the alley at the corner of 13th Avenue and John Street, is the 21-unit wood-clad three-story Margan apartment building, built in 1965. The buildings parking lot is adjacent to the subject building, and is accessed off the alley. To the north, across John Street, is a 1906 Queen Anne Free Classic style house, which has housed the Bischofberger Violin shop since about 1970. To the east, across 14th Avenue, is a 9-unit brick-clad two-and-a-half-story apartment building, built in 1928 by Frederick Anhalt in his typical Norman revival style. The building features a steeply pitched roof, highly decorative brickwork, some half-timbered walls, and a picturesque landscaped courtyard. While there are a few landmarked Anhalt buildings in Seattle, this one is not. Also to the east, still across from the subject property but south of the Anhalt building, is the 18-unit brick-clad fourstory Kahala apartment building, built in 1964. To the northeast, kitty-corner from the subject property, is a large Safeway surface parking lot, and beyond that is the grocery store it serves. Although partly landscaped, the parking lot is a visually dominant presence from the subject property. From the intersection of 14th Avenue and John Street, because this location is near the top western flank of Capitol Hill, there are views westward of Puget Sound, and Bainbridge Island beyond that. Although not visible from the ground of the subject lot itself, these views are visible from the uppermost stories. The site is located in a sliver of NC2-40 (Neighborhood Commercial) zone, extending northeastward towards a core along 15th Avenue. Surrounding the property to the southeast, southwest, and northwest is the LR3 (Lowrise) zone. The 1975 neighborhood survey of Capitol Hill by Folke Nyberg and Victor Steinbrueck lists the subject house as a "Building Significant to the City, as well as the c. 1905 house across E. John Street at 203 14th Avenue E. (which it calls the Judge Stone House), and the nearby Cooper House up the block at 225 14th Avenue E. 2
The Nyberg/Steinbrueck survey appears to list erroneous dates, placing the subject building in the late 1890s.
C. Building Exterior and Structure This two-and-a-half story house [Fig 19-Fig 26] was constructed in 1902, at an estimated cost of $4,800 (about $119,300 in 2010 dollars). No record of the builder or an architect could be found. The structure appears to be a builder house, perhaps built speculatively. Today, the building houses the Weatherford Antiques interior design company on the main floor and partially-finished basement, with offices and a dwelling unit on the second floor, and an attic lit by dormers that is used for storage. The primary entrance is on the east from 14th Avenue, but there is also a back door and porch on the south side leading to the first and second floors, and a third entrance on the west side at the basement level accessing a small parking pad. The house is wood framed, on a brick basement wall, and is clad with horizontal wood siding throughout, except at gable ends which are shingled. The house could be described as an example of the Queen Anne Free Classic style, which was updated in the 1940s to appear more Colonial Revival, although the house remains a Queen Anne Free Classic house. 3 The mass of the house is an irregular block approximately 58 E-W x 42 N-S, with the peak of the main roof running E-W. There is a hipped roof is on the east (or primary) elevation, and cross gables on the north and south. The west end of the roof is gabled. The roof features an additional gabled dormer on the north, and a prominent gabled dormer with a above the hipped roof on the east. Overall, the roof presents an asymmetrical and complicated, but restrained, appearance. This latter dormer on the east side [Fig 28-Fig 29] is shingled, has a broken pediment supported by simple corner pilasters, and includes a tripartite window with a separate semicircular window (with a wooden keystone) above, creating the appearance of something like a Palladian window. Also on east elevation is a projecting entrance porch supported by grouped, fluted Tuscan columns and a projecting closed-pediment gable containing decorative relief work (perhaps jig-cut wood). The porch was glassed-in around 1989 and serves as an extension of the interior space for the interior design offices. On the second floor of the east elevation are two vertically-oriented double-hung windows with 6-over-6 lites, and a single large fixed horizontally-oriented window with 24 lites. Like most of the windows on the other elevations, these three are framed with shutters. Enhancing the building corners of the primary elevation are full-height, two-story, narrow pilasters with a recessed central panel. These more ornate pilasters do not appear on the other building corners, where one instead finds simple vertical wood bands. The north elevation [Fig 30], facing E. John Street, is difficult to see due to large trees, but is marked by a two-and-ahalf story gabled projection having a bay window with angled sides at both floors. These bay windows have metal sash, installed during the 1940s renovationseight fixed lites on the angled side panels; and twenty lites on the main window, all fixed except for two operable casements of one lite wide each, at each end. This shingled gable is lit by a multi-lite, single vertically-oriented window with semicircular head accented with a wooden keystone and simple pilasters at the jambs. A small, windowless, shed-roofed one-story projection to the left of this bay was added in the 1940s during renovations. A small bit of gable from the higher south side cross-gable peeks over to the north side, enhancing the picturesque asymmetry of the roofline, and is lit by a small semicircular window. The west end of the north elevation is marked by three 6-over-6 windows at the first and second floorsone set at the half-story, indicating the climbing interior service stairway behind it. Above these is a gabled dormer window with wide eaves and a small but strongly projecting unbroken pediment, which further adding to the variety of window types above the roofline. The west elevation [Fig 31-Fig 33] has the simplest appearance, with a long gable stretching the width of the building, having a somewhat shallow pitch. This gable is lit by a single vertically-oriented double-hung window, having a semicircular head accented with a wooden keystone and simple pilasters at the jambs. The rest of the west elevation is a flat expanse of wall with horizontal siding. One relatively small 6-over-6 double-hung window is centered beneath the gable at the second floor, and to the right of that is a corner window of plate glass which had once been a sleeping porch (and is now the upstairs kitchen). The first floor at this elevation is lit by three relatively small 6-over-6 doublehung windows, centered across the elevation. At the basement level, which on this elevation is daylit and at ground level due to the sloping grade, there are two separate doors providing access to different portions of the basement, a large multi-lite fixed window with metal sash, and a fixed window with contemporary glass in the brick basement wall. All the windows have shutters, except at the basement.
3
Swope, p. 28.
The south elevation [Fig 34] is much less formally arranged than the two street-facing elevations. The south side features a two superimposed gabled projections, one centered with a tall masonry chimney reaching from basement to above the roofline. At the first floor in this portion are tall, wood sash, double-hung, 9-over-9 windows flanking the chimney. On the second floor, there is a single fixed window with non-original glass. To the left of these gabled projections the rest of the house projects to the west in a plain two-story wing, similar to the north side. However, dominating the south elevation is a non-original wooden covered porch projecting perpendicular to the building faade, with a related wooden stairway and balustrade descending down from it parallel to the building faade. The porch covers the entry to the side door, which is relatively ornate with pediment-like trim and side lights. This porch and side door [Fig 34], at first seemingly oversized for a side entry, were added (or enlarged) during the 1940s renovations, apparently in order to provide a primary entry for the upstairs apartment. Through this door, the stairs inside were re-oriented to this south side entry, creating a wide stairhall leading directly to the second floor. In this fashion, the upstairs resident Ella McBride would have a suitable private entry on the south side of the building, separate from the front door of the house on the east side which would have primarily been used by customers headed directly to the photography studio located on the ground floor. A recent structural inspection and visual survey of the building by CT Engineers found evidence of long-term water intrusion affecting the building foundation and siding, resulting in degradation of the brick and some rot to the siding. To bring the main house structure up to todays standards, the report recommended replacement of the brick foundation with reinforced concrete; a full perimeter drainage system; new roofing, plywood sheathing, and siding; and all windows rebuilt and adequately flashed. The report added that some framing members may need to be supplemented to ensure adequate load capacities. 4 D. Building interior Interior spaces have been significantly re-arranged or altered several times over the decades. Today the house retains a somewhat residential layout of rooms and parlors on the first floor, appropriate for the display and sale of antiques and interior design furnishings. Some rooms function as offices, office support rooms, or storage rooms. The glazed front porch serves as additional office and display space. Interior features such as crown molding, door and window trim, mantels, ceiling coves or soffits, built-in window seating and storage (such as around the fireplace in the southeast corner room) may or may not be original, and are difficult to date. [Fig 37-Fig 43] A stair hall at the center west portion of the building leads to a wide stair hall on the second floor, with the main rooms all accessed off this hall. The upstairs includes a variety of room sizes, as this level had formerly been used as an apartment. Former bedrooms and a large living room are now used as offices for the interior design firm, and bathrooms, closets, a kitchen round out the floor. A back or service stair at the northwest corner of the building connects all of the floors, from basement to attic. The partially finished attic and basement are both used for storage. E. Alterations to the building As originally built in 1902, the house was a Queen Anne Free Classic style house, but notably more Victorian in detail than now. As evidenced by a c. 1939 photo, the east elevation of the house featured a decorative oval-shaped window to the left of the front door, and a rectangular stained glass window with decorative surrounds above the entry on the second floor. [Fig 21] No information is available about the interiors, but they were presumably Victorian in character, with formal living/entertaining rooms on the first floor, and less formal private rooms on the second floor. From 1936-1939, the house was owned by the two owners of a demolition and architectural salvage firm, Matheny & Bacon, and directories list the house as vacant for at least part of this time (see Building Owners and Occupants). It is unknown whether the demolition and salvage firm made any alterations to the interior or exterior of the building.
CT Engineers, January 27, 2012, pp 1-3.

While original drawings for the building could not be found, the earliest available drawings on file at the building department date from the 1940 and 1942 renovations. While only barely legible, these are very faint and difficult to reproduce for this report. However, the drawings give some indication of how the original floor plan may have been arranged. [Fig 46-Fig 49] In the 1940s, after the purchase by Dick Anderson, the architecture firm of Edwin Ivey & Elizabeth Ayer was hired to adapt the building from a single-family residence to a photography studio on the ground floor, with an apartment on the upper floor. The 1940 drawings are poor but indicate wholesale alteration to interior, with new first floor partition walls, furred ceilings, removed/relocated chimneys and flues, and new mantels. Original reception rooms and main living rooms were adapted or enlarged (through wall removal) to function as a photography studio; these changes included a new dressing room and waiting area for clients, a small lavatory, new display cases, closets, storage, passages, and so forth. The rear portion of the first floor was altered to accommodate two offices, a dark room and an enlarging room for developing photos, a work room, and at this time the rear stair at the northwest corner may have been altered or lengthened to reach all four floors. Additional unfinished spaces in the basement were renovated and finished at this time, particularly for storage space. Drawings show that what had apparently been the original main stair hall is located in the center of the house, and features chamfered interior corner walls and a coved ceiling. Originally, these stairs would have been approached from the east. Today, this room houses a reception desk behind a half-wall, framed opening, and counter. [Fig 37] In 1942, this stair was completely removed from this space, creating the reception desk area. Instead, the stairs were reoriented for approach from the south, up several irregular landings, leading directly to the upstairs apartment. A side door and a few steps connects this stair hall with the rest of the first floor, which would have provided easy access for McBride to the studio downstairs. [Fig 41] On the exterior, these 1940 and 1942 renovations essentially updated the house from a more Victorian appearance to a more Colonial Revival appearance, within the framework of a Queen Anne Free Classic style residence. These changes essentially involved changing all windows on first and second floors to multi-lite Colonial-style windows (although attic windows were unchanged), and adding shutters. Round porthole windows were also added, flanking the front door. [Fig 22] The house remains a Queen Anne Free Classic style house, primarily due to its asymmetry, picturesque roofline, variety of windows and dormers, and Classical elements such as Tuscan columns and Palladian windows. However, the changes made in the 1940s pushed the house towards the Colonial Revival, a style known to be favored by the architect of the renovations, Elizabeth Ayer. Interestingly, the 1940 renovation drawings specifically call out some of the replacement windows to be wood sash (the material of the originals), others the more modern (for the 1940s) steel sash. The large bay windows were steel sash, perhaps necessary for the operable casement portion. The reason may have been structural, financial, ease of maintenance, preference of the client, or a desire to project a certain appearance to the public. However, the overall rationale is not clear from the drawings. In the 1970s, alterations to the kitchen and bathroom were made on the second floor. Further alterations were made to the first floor to adapt the building to interior design studios. In 1989, the front porch was glazed to create more interior space. The existing interior wall, which had had porthole windows from the 1940s renovations [Fig 22], was altered to remove those windows. The glazed wall was built on the interior side of the original porch columns and structure, apparently impacting the original condition as minimally as possible. [Fig 35] F. Other buildings on site Along the alley on the west side of the property are a former garage (b. 1910, now a rental apartment) and a smaller storage shed (b. 1916). [Fig 44-Fig 45] Both were remodeled in 1945/47. Due to the sloping site, the former garage building is partly below grade on the east side, with window sills nearly at grade level and the roof low. Because the two buildings are connected but offset, they form an L-shape, with an informal, somewhat sunken entry garden on the east side. The simple Craftsman bracketed hood over the entry is not original and does not appear in the 1945 tax assessors photo of the shed, but probably was added in the 1945/47 remodel. The buildings are clad in the original horizontal wood siding and feature a simple utilitarian trim around windows and doors. Rectangular windows on the
former garage are originally, wood sash, double-hung, and feature a decorative upper pane with triangular lites divided by muntins arranged in an eight-armed asterisk pattern. Eave brackets and decoratively-cut rafter ends enhance the roof. On the alley side, the building is in poor condition, and features two non-original windows, and a closet-like projection added at an indeterminate date. G. Summary of Primary Alterations [see Fig 27] Main house 1902 1940 1942 1967 1967-72 1972 1977 "Build - 2 stories - 32x48 - Occupancy: Residence" "Make alterations to residence (no attic use) - Occupancy: Photo studio & 1 apt." "Alter per plan - 2 stories - 34x49 - Occupancy: Photo studio & 1 apt." "Alter studio area 2 stories Occupancy: Studio; 1 apt." [Two permits for unknown alterations] "Alter portion of existing building & occupy as interior decorators office 2-B stories Occupancy: G-offices (1st floor)" "Alter portion of second floor (dwelling unit) of existing building per plan. Studio and office existing on first floor." According to former owner David Weatherford, the second floor alterations were to accommodate family members. "Alteration to enclose porch of commercial space (to remain as porch), subject to field inspection." "Build 1-story frame garage24x48" "Build 1-story storage room & chicken shed" "Remodeled shed" and "Building B remodeled" [per Assessor card]
1989 Outbuildings 1910 1916 1945/47
IV. HISTORICAL CONTEXT A. The development of the Capitol Hill neighborhood Capitol Hill is one of Seattle's largest, oldest and well-established neighborhoods. As early as the 1880s, this ridge overlooking downtown and Lake Washington was logged off, and Lake View Cemetery and Volunteer Park were established at one of its highest points, but settlement was relatively sparse. By the turn of the century, Seattle's population was growing rapidly and the city was expanding. In 1900 and 1901, much of the hillside just east of the developing city was purchased and platted by James A. Moore, a real estate developer with an eye for predicting city growth and a skilled advertiser. He may have named the hill after another neighborhood of the same name in Denver, Colorado, or it may have been based on an expectation that the state capitol might be located there. 5 Soon, other landowners got into the act, and there was a patchwork of more than 40 additions platted, including those by James Moore, as well as by the Furth, Yesler, and Pontius families. The neighborhood was convenient to downtown, enjoyed water views and fresh air, and was one of the earliest areas served by streetcar lines. Because the neighborhood was so extensively developed in the first decade of the 1900s, the neighborhood is particularly noted for structures built in a wide range of eclectic styles popular at that time. By 1908, Capitol Hill was already the most fashionable residence after First Hill, and was the location of elegant mansions built by many of Seattle's families made newly rich by the prospering city, many clustered around Volunteer Park at the top of the hill, and designed by prominent architecture firms. This park became a focus of early Olmsted plans for the city, and was described as the "jewel" of the city parks.
5
Williams, The Hill With A Future, pp.15-17.

10
On the interior of the hill and on lower slopes, such as around the subject property, more modest middle-class homes and a large number of apartment buildings were built, creating a dense, pedestrian-scaled neighborhood. First Broadway, and later 15th and 19th Avenues, were developed into commercial corridors, following street car lines established in the first decades of the 20th century. Broadway's streetcar line was built in 1891. With the growing popularity of the automobile, Broadway became an early "auto row", with car sales and service shops, particularly near Pike and Pine Streets. The nearby 15th Avenue corridor remained at the scale of small neighborhood shops and services, while Broadway grew to be the primary north-south commercial spine of Capitol Hill. Several prominent institutions were established on Capitol Hill early in the 20th century, including the Cornish School for the Arts, Seattle High School (later replaced by Seattle Central Community College), Holy Names Academy, and St. Mark's Episcopal Cathedral. In the 1930s, the Seattle Art Museum was built in Volunteer Park (today's Seattle Asian Art Museum). 6
B. The Queen Anne Free Classic style, and the Colonial Revival style The Weatherford Antiques building could be classified as a Queen Anne style house, in the restrained Free Classic substyle. In the 1940s, the subject house was renovated, and updated on the exterior with features and details that are more associated with the Colonial Revival style. The Queen Anne style is one of several Victorian-era styles which were popular in Seattle and the United States in the late 19th and very early 20th centuries. It is found throughout older Seattle neighborhoods. The popularity of the Queen Anne style was closely related to the development of balloon framing techniques (which allowed freer form to now-lightweight exterior walls), and the mass production and mass availability of doors, windows, decorative elements, and other building components. The style is particularly noted for elaborate and eclectic detailing, asymmetrical building massing, and steeply-pitched and complicated roofs. Queen Anne style houses also generally have at least one prominent gable, frequently used to establish asymmetry and as a prominent surface for additional architectural decoration. 7 [Fig 11] Details in the Queen Anne style are generally architectural elements freely borrowed from earlier historic building styles or traditionsfor example, Gothic, Tudor, Roman, Greek, Renaissance, Moorish, Swiss, and so forthand are mixed together for picturesque effect rather than historical accuracy. Additionally, the style revels in the possibilities and new variety of mass-produced architectural elements such as spindles, brackets, shaped shingles or varieties of siding, stained glass, window and door shapes, casework, pressed brick, metalwork, and so forth. Queen Anne style homes were often designed by builders and contractors, rather than architects, allowing the builders free rein to experiment. Many builders used the same plans to construct several houses, often with slight variations in form or detail, in order to create a range of homes to suit a variety of tastes, sizes, and budgets. In the late 1800s, periodicals and circulating plan books provided a rich source of ideas and plans for builders, potential home owners, and property owners. Some of these were created by architects or architecture firms throughout the country, then collected and published, and available regularly through subscription, advertisements, or at the public library. 8 Standard house plans remained popular throughout the 20th century, providing developers and builders with efficient and standard designs, so that most Seattle neighborhoods derive their character from these contractor-builder homes. 9 Because of the wide range of architectural sources and the emphasis on variety, houses in this style can often be elaborate and eclectic. The line between the Queen Anne style and other styles is sometimes not a clear one. However, in the late 19th century and first decade of the 20th, classically-derived details (such as Tuscan columns,
HistoryLink.org, "Seattle Neighborhoods: Capitol Hill Thumbnail History," essay 3188, by Paul Dorpat, May 7, 2001; accessed September 10, 2011. 7 McAlester, p. 262-268, and Swope, p. 28-29. 8 Local architects such as Victor Voorhees, E. Ellsworth Green, and Jud Yoho were also noted for successfully generating plans for periodicals. Voorhees' book, Western Home Builder, was in its seventh printing by 1911, and was particularly popular in Seattle. Plans generally noted the number of rooms, square footage, and cost, but once purchased, the plans could be altered as needed on site. 9 Andersen, Dennis A. and Katheryn Hills Krafft, "Pattern Books, Plan Books, Periodicals," in Ochsner, pp. 64-71.
6
11
pedimented gables with dentils, Palladian windows, and so forth) became more fashionable in Queen Anne style houses, probably due to the cultural influence of the Philadelphia Centennial of 1876, which popularized Colonial Revival, and the 1893 Worlds Columbian Exposition in Chicago, which popularized Beaux-Arts and Neoclassical architecture. Generally, this period was also marked by more restrained details, rather than the exuberance and eclecticism of the previous decades. This substyle is sometimes called Free Classic Queen Anne, and is noted for asymmetrical massing, less complicated rooflines, and mostly classical details (although still arranged without historical accuracy). 10 Later, this transitional period (approximately 1890s-1910s) would be the end of the popularity of the Queen Anne style and Victorian styles in general, and be replaced with Colonial Revival and other historicist styles of architecture which would become widespread in American architecture in the late 1910s and 1920s. 11 The Colonial Revival style [Fig 12] refers to the reawakened interest in the primarily Georgian or Classical Revival (c. 1730s-1820s) American colonial architecture of the Atlantic seaboard, following the 1876 Philadelphia Centennial. The style was championed by McKim, Mead, and White and other prominent architects in the 1880s. Early versions of the style were often asymmetrical compositions with applied details inspired by colonial precedents, without concern for historical accuracy. However, the Colonial Revival style soon became marked by very symmetrical facades, particularly center doors and balanced windows. By the early 1910s, increased interest, as well as widely published monographs of photographs and measured drawings of colonial buildings, resulted in a wide understanding of the architectural precedents and prototypes upon which the Colonial Revival style(s) were based. According to Virginia and Lee McAlester, Colonial Revival houses built between 1915 and 1935 more closely resemble the colonial prototypes than those built earlier or later. Typical Colonial Revival houses include a prominent central entry elaborated with sidelights, pilasters, pediment, broken pediment, or fanlights; and multi-lite double-hung windows, often 6-over-6, 8-over-8, 12-over-12, and the like. Window shutters are common, particularly in later examples. Colonial Revival roofs are much simpler compared to Queen Anne roofs, and are frequently side-gabled, gambrel, or hipped. Roof cornices have little overhang, and are often marked by dentils or modillions. Porches on Colonial Revival houses are often small entry porches, essentially the door pediment projecting forward and supported on slender columns; alternatively, full-width porch with hipped roof occurs occasionally. Porches on Colonial Revival houses are always one-story highthe presence of two-story (or monumental) columns is a distinctive identifying feature of another style, Neoclassical, which was popular the same time as the Colonial Revival style. The Colonial Revival style was widespread by the 1920s, and remained popular until the mid-1950s, at which time it merged into the more modernist styles of the postwar years. During the Depression years of the 1930s, the economic restrictions of World War II, and postwar changes in taste, the Colonial Revival style was simplified from the 1940s to the 1950s. These later examples of the style often have more low-pitched roofs, stylized door surrounds, cornices, and details which only suggest the colonial precedents, rather than more closely replicating them. Postwar tract housing developments were regularly filled with one-story builder homes in even more simplified versions of Colonial Revival (or other historicist styles of the past), which at that point are sometimes called Minimal Traditional. 12 C. Building owners and occupants According to city building permit records, the house was built in 1902, but no record could be found indicating by whom, or for whom. 1. Vernon D. Maddocks (owner 1907-1934) In 1907, the house was purchased by Vernon D. and Carrie S. Maddocks. Prior to 1907, the owner is still unknownthe house may have been empty, or it may have been unfinished.
McAlester, p. 326. As well as an the non-historicist Arts & Crafts and Craftsman styles. 12 McAlester, p. 326, 478.
10 11
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Vernon D. Maddocks was born in Maine in 1863 and moved to White River, Washington Territory in 1883 (the territory would become a state in 1889). In 1898 he arrived in Seattle and established a livery business, the Benjamin & Maddocks Stables at 2200 Western Avenue. The business, also known as the Union Stables, was wellknown for many years, according to his obituary. Benjamin & Maddocks built in 1909 the five-story brick building at an estimated cost of $55,000 (over $1.3 million in 2010 dollars). 13 [Fig 13] The structure still stands, and is a Category 3 building (ie, no immediate significance) as classified by the 2007 Historic Preservation Programs Downtown Historic Resource Survey. From 1914 to 1926 Maddocks was co-owner of the Hoyt Shoe Company, with J. Frank Hoyt, but no further information could be found about Hoyt or the shoe company. Maddocks may have moved to Seattle because he was the nephew of Moses R. Maddocks, one of the early Seattle pioneers. Moses Maddocks, a Republican, was appointed mayor of Seattle for two months in 1873, filling the remaining term of the former Mayor Corliss P. Stone following his scandalous departure from the city. 14 When Moses Maddocks died in 1919, he had no children and left a considerable fortune to 17 heirs, mostly in Maine and Massachusetts. Vernon Maddocks, one of those heirs, was the only one living in Seattle. 15 Vernon Maddocks wife, Carrie, died in 1929, and deeded half of the subject house to Vernon. In 1934, during the depths of the Great Depression, Vernon died. The couple apparently had no children, although Vernon was survived by four sisters in Maine. It is not clear if the house at this time was sold, transferred through probate court, or some other action. For 1935, and through most of 1936, the house was apparently vacant. 2. George Matheny and C. Henry Bacon (owner 1936-1939) The house was purchased in December 1936 by George Matheny and C. Henry Bacon. Matheny & Bacon was a Seattle demolition and architectural salvage company which existed in Seattle from approximately 1900s to the 1950s. They may have also had offices in other cities on the West Coast. From 1936 to 1939, the house was not used as a residence by either partner; their addresses are listed elsewhere in the city directories at the time. The firm may have used the house for salvage, perhaps for some interior architectural elementsa clue to this might be the typewritten remark dating from 1937 on the historic tax assessor building card that This house is in very bad, run-down condition. In the 1938 Polks city directorythe first year that reverse listings are providedthe house is listed as vacant. 3. Richard H. and Elizabeth H. Anderson (owner 1939-1972) In February 1939, the house was sold to Richard and Elizabeth Anderson, who owned the house, but did not use it as their residence. For 1939 only, the house is listed in Polks as the residence of Mrs. Mina E. Comings and Ethel C. Utter. These two women were apparently sisters-in-law, and presumably renters for a part of that year. Ethel Utter ran for City Council in the 1920s after the 1926-28 Bertha Knight Landes mayoralty (Landes was the pioneering first woman executive of a major American city), saying there needed to be a woman on the city council, but lost the election. From about 1939 to around the early 1960s, the upstairs part of the house was occupied by Ella McBride (see below). Richard Dick Anderson was born in Cincinnati in 1909 and came to Seattle in 1925, attending Roosevelt High School and the University of Washington. He moved to Philadelphia afterwards, where he worked at the prestigious Bachrach Studios, and became skilled in portrait photography. 16 In 1932 he returned to Seattle and formed the partnership of McBride & Anderson Photography, with Ella McBride (see below), where he specialized in childrens portraiture. 17
Notes about building and real estate, The Seattle Sunday Times, Sep. 12, 1909, p. 8. Stone, for whom Corliss Avenue and Stone Way in Wallingford are named, embezzled $15,000 from his company and ran off to San Francisco with a married woman in February 1873. (HistoryLink essay #197 Seattle Mayor Corliss P. Stone by Greg Lange and Cassandra Tate, Nov. 4, 1998). 15 Moses Maddocks mansion was featured in The Seattle Times Early-Day Mansions series on December 31, 1944. 16 Bachrach Photography was established in Baltimore in 1868 and is today widely believed to be the oldest continuously operating photo studio in the world[They] routinely photographed luminaries in the arts, sports, business and politics, including nearly every American president from Abraham Lincoln on... At its height in 1929, there were 48 Bachrach studios throughout the United States. Fabian Bachrach, 92, Portraitist who photographed Kennedy, dies obituary, The New York Times, March 1, 2010. 17 Death takes Dick Anderson, Photographer, The Seattle Times, Feb. 8, 1970, p. C-9. See also McBride, Ella E. (1862-1965), HistoryLink essay #8513, by David F. Martin, March 3, 2008.
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Dick Anderson was also instrumental in the development of the commercial core of Mercer Island after the construction and opening of the Lake Washington Floating Bridge in 1940 (later called the Lacey V. Murrow Memorial Bridge). The island was relatively rural prior to the new bridge, which connected Seattle directly to the island, although development had begun to increase after the 1920s opening of a small wooden bridge connecting the east side of the island to Bellevue. Anderson owned property at SE 27th Street & 78th Avenue SE, and planned a large, red-brick neo-colonial shopping center with a pedestrian mall, perimeter parking, and landscaping, which would have been relatively unique for the time. However, he could not get zoning approval and adjacent owners to agree to the plan. Instead, Anderson on his own property built a scaled-down version in early 1940s, a few stores and doctors offices (called Mercer Island Square) that later became the core of the Mercer Island town center. 18 4. Ella McBride (resident, 1939-c.1962) Ella McBride lived in the upstairs part of the subject house from 1939, at age 77, until about the early 1960s when she was in her 90s. Alterations were made to the house in the 1940s to reconfigure the upstairs into an apartment for her. Ella McBride was born in Albia, Iowa, in 1862, one of two children to Samuel and America McBride. At age 3, her parents moved the family to Albany, Oregon, on the long journey from Iowa via New York City first, then by steamship to Panama, then by train across the isthmus of Panama, then by steamer to San Francisco, then Portland, then by riverboat to Albany. A few years later, the family settled in Portland, Oregon. 19 Ella graduated from high school in Portland in 1882, and became an instructor, then a principal, in the school system there, for almost 25 years. During this period of the 1890s and early 1900s, McBride became an outdoor enthusiast, and joined the Mazamas, a mountaineering organization in Portland. She served as their secretary/historian from 1897-1899. From 1896 to 1906, McBride participated in 37 major mountain climbing expeditions, including Mt. Hood and Mt. Rainier, which often included distinguished climbers and scientists. Through these mountain climbing expeditions, McBride met and became friends with the famed Seattle photographer Edward S. Curtis. 20 Curtis urged McBride to move to Seattle to work for him. By 1907, McBride had left her teaching position in Portland and moved to Seattle. She became manager of the Edward Curtis Studio, working in the darkroom and showroom, serving in that capacity for about eight years. Celebrated photographer Imogen Cunningham was also working at the Curtis studio at the same time, so they likely crossed paths. During this time McBride became close to the Curtis family. By 1916, Curtiss constant financial and marital problems interfered with the studio, so McBride and Curtiss daughter, Beth, attempted to purchase it from him. He refused. In 1916, McBride left, and opened her own commercial photography studio with Edmund Schwinke, a photographer closely associated with Curtis. In 1919, Wayne Albee of Tacoma became another partner in the McBride-Schwinke studio, as chief photographer. Albees expertise and interests exposed McBride to fine-art photography. During this period, McBride became associated with (and employer of) Frank Kunishige, a photographic Pictorialist, 21 and Soichi Sunami, a dance
Gellatly, pp. 101-103. Information in this section from Martin, pp. 63-69 and 141-144; and McBride, Ella E. (1862-1965), HistoryLink essay #8513, by David F. Martin, March 3, 2008. 20 Edward Curtis was one of the most prominent figures in the cultural history of Washington state. He is acknowledged as one of the leading American photographers of his time and has produced iconic portraits of many important historical figures such as Chief Joseph, J. P. Morgan, and President Theodore Roosevelt, who was among his most ardent supporters. Best known today for his epic 20-volume book, The North American Indian, Curtis also served as Seattles finest commercial and portrait photographer in the early twentieth century. His studio became a nexus for important figures when anyone of prominence visiting Seattle made it a point to be photographed by the famed master. His studio was also the starting ground for several regional photographers who would go on to establish international reputations in their own right. These included Imogen Cunningham, Ella McBride, and Frank Asakichi Kunishige. Asahel Curtis, Edwards brother also became a noted photographer who concentrated on commercial landscape and documentary photography as well as poetic studies of Mt. Rainier. From Curtis, Edward S. (1868-1952), Photographer, HistoryLink essay #8857, by David F. Martin, Jan. 7, 2009. 21 Pictorialist photographs often appear softer, less focused, or abstracted, as compared to documentary photographs. Pictorialism [is] an approach to photography that emphasizes beauty of subject matter, tonality, and composition rather than the documentation of reality. The Pictorialist perspective was born in the late 1860s and held sway through the first decade of the 20th century. It
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photographer, and she also became involved in the newly-opened Cornish School of the Arts. 22 In 1922, Schwinke, who had moved to Ohio a few years earlier, left the partnership. In 1920, at age 58, McBride began experiments in fine-art photography, specializing in floral studies. [Fig 14] Her photographs were often characterized by strong Japanese design elements. Over the next several years she found notable success in local, national, and international competitions, prominent publications, and won many awards. For example, three of her floral study photographs were accepted into the 1922 Royal Photographic Society of Great Britain 67th annual competition, out of thousands submitted internationally, 154 accepted, and 12 of those by Americans. Later, McBride would become well-known for figure study photographs of dancers, artists, and performers through her connections to the Cornish School. McBride was also an early member of the Seattle Camera Club, a small group of mainly Japanese-American male hobbyist and professional photographers interested in the artistic possibilities of photography. The group experimented with alternative techniques, shared methods, hosted speakers, published a club journal, entered competitions, and held their own juried exhibitions. Although the club only existed from 1924 to 1929, many members of the group achieved considerable success. In 1925, members had 367 prints accepted to 21 salons (photography exhibitions) throughout the world. The clubs success peaked the following year, when 589 photos from 21 members were accepted into 33 salons. In 1925, McBride was the sixth most exhibited Pictorial photographer in the world, and in 1926-27, club members were among the top exhibited Pictorial photographers worldwide. 23 Camera clubs of this sort were organized by Japanese-American photographers in other west coast cities such as San Francisco or Los Angeles, but the Seattle club was unique in welcoming non-Japanese and female members. The club was the subject of a recent 2011 exhibition at Seattles Henry Art Gallery, called Shadows of a Fleeting World: Pictorial Photography and the Seattle Camera Club. 24 In 1929 the club disbanded due to the onset of the Depression, and McBride focused instead on her commercial studio, her source of income. At about this time, Wayne Albee left the partnership and moved to California, and McBride added Richard Dick Anderson (see above) to her studio to replace Albee in 1932. The first studio location for McBride & Anderson was the Loveless Building at the corner of Roy Street and Broadway on Capitol Hill. Also located in this building at the time was the home and studio of the Northwests first internationally known artistic photographer, Myra Albert Wiggins. From 1939 to 1968, the subject house of this report served as the studio of McBride & Anderson Photography. The architecture firm of Edwin Ivey & Elizabeth Ayer was hired in 1940 to renovate and reconfigure the building to accommodate the photography studio on the first floor, and an apartment on the second floor for McBride (see building description). McBride & Anderson Photography was well-known and well-loved in Seattle, and specialized in portraits of everyday Seattleites and their families. In 1953, at age 91, McBride essentially retired from the business due to failing eyesight, but remained a partner in an advisory capacity. In these later years, McBride remained active in the Seattle Metropolitan Soroptimists, a professional womens organization which she had co-founded in 1925. Also during this period she appears to have moved; in 1962 she was living at the Edgewater Apartments in Madison Park. McBride died in 1965 at nearly 103 years of age.
approached the camera as a tool that, like the paintbrush and chisel, could be used to make an artistic statement. Thus photographs could have aesthetic value and be linked to the world of art expression. From Pictorialism. (2012). In Encyclopdia Britannica. Retrieved from www.britannica.com/EBchecked/topic/752375/Pictorialism. 22 Both Kunishige and Sunami would go on with successful careers. Kunishige patented a tissue paper photographic development technique called Textura Tissue, and Sunami moved to New York to become the chief photographer for the Museum of Modern Art from its opening in 1929 until his death in 1971 (McBride, Ella E. (1862-1965), HistoryLink essay #8513, by David F. Martin, March 3, 2008). 23 Martin, David F., and Nicolette Bromberg. Shadows of a Fleeting World: Pictorial Photography and the Seattle Camera Club. Seattle, University of Washington Press: 2011. Notable prize-winning members were Dr. Kyo Koike, Frank Kunishige, Hiromu Kira, Hideo Onishi, Yukio Morinaga, Fred Ogasawara, and Ella McBride. 24 Martin, David F., and Nicolette Bromberg. Shadows of a Fleeting World: Pictorial Photography and the Seattle Camera Club. Seattle, University of Washington Press: 2011.
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In 1966, Dick Anderson closed the McBride & Anderson photography studio, but operated the building as an art studio through the rest of the 1960s. Anderson died in 1970, at age 61. In the early 1970s, the archive of tens of thousands of negatives produced by the McBride & Anderson studio (dating from 1916 to the 1950s) were offered to several local institutions and archives, but all declined to take them. Except for a small selection of McBrides work from the 1920s and 1930s retained by the Museum of History and Industry, the entire collection was destroyed. 25 5. Morris L. and Emily R. Weatherford, and David Weatherford, (owners 1972-2011) In 1972, the Weatherfords contracted to buy the subject house from the estate of Richard Anderson, based on using the building as an interior decorators office, completing the transaction and receiving the deed in 1975. Following alterations made to the interior in 1972, the building has been used since that time as the interior design office and showroom of Weatherford Antiques. To accommodate family members, the apartment on the second floor was altered in 1977 to add a bathroom, and to install the current upstairs kitchen in what had been (according to the owner) a sleeping porch. In 1989, the front porch was completely enclosed with glazing, to expand the interior usable floor space. 6. Murray Franklyn Companies (owner 2011) Murray Franklyn is a homebuilder based in Bellevue, Washington. Established in 1966, they specialize in building new housing communities in the Seattle suburbs, particularly Sammamish, Snoqualmie, Redmond, Redmond Ridge, Bothell, Mukilteo, and Mill Creek. 26
D. Elizabeth Ayer, architect of remodels The alterations made to the subject house in 1940 (drawings dated April 1940) and 1942 were by the firm of Edwin Ivey, Inc., but the designs were probably by Iveys associate, Elizabeth Ayer, because Ivey died unexpectedly in February 1940. Also, it is possible that Ella McBride may have approached Ayer for the work, because they appear to have known each other for several years, since Ayer had joined the Soroptimists club in 1935. Ayer and McBride were certainly lifelong friends in later years, and remained in weekly contact after McBrides retirement. 27 Finally, at the time, Iveys architecture office was across the street from the subject building of this report, so it was no doubt convenient for the firm to handle the renovation. Edwin J. Ivey (1883-1940) was born in Seattle and graduated in architecture from the University of Pennsylvania in 1910. Through the 1910s and early 1920s he was in the partnership of Ivey & Riley, with Howard Riley. From 1922 to 1940, he was in private practice. Elizabeth Ayer was born in Thurston County, Washington, in 1897. She attended the University of Washington, and in 1921 became the fourth graduate, and the first woman graduate, in architecture there. In 1930, she would become the first woman to receive an architectural license in Washington State. 28 During the early and mid-1920s, Ayer worked in Iveys office, as well as travelling Europe and living in New York City for a year. In New York she briefly worked for Cross & Cross, and Grosvenor Atterbury. She returned to Seattle around 1928, worked briefly for Andrew Willatsen, and then began working for Ivey on a permanent basis. Ivey was very supportive of Ayers career and served as her mentor. Throughout the late 1920s through the late 1930s, the firm was known for well-designed, often high-end residences in traditional modes such as Colonial Revival, Norman, or Tudor styles, like his contemporaries George W. Stoddard, J. Lister Holmes, Arthur Loveless, and William Bain.
McBride, Ella E. (1862-1965), HistoryLink essay #8513, by David F. Martin, March 3, 2008. Information from company website, www.murrayfranklyn.com. 27 Ella McBride, 100 Saturday, wants big party at age 200, The Seattle Times, Nov. 15, 1962, p. 19; and Woman architect prefers downtown, The Seattle Times, Nov. 30, 1966, p. 36. 28 Ochsner, pp. 210-215, Elizabeth Ayer, by S. Sian Roberts and Mary Shaughnessy.
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During this period, notable high-style residential designs from the firm included the CW Stimson home (1924) 29 and the Langdon C. Henry residence in the Highlands (1927-28), and the Perry Truax house in Windermere (1929), all notable for refined exterior and interior details. In 1930-31 Ayer worked on the Colonial Revival style Seattle Childrens Home (demolished 1962), which she later described as one of her favorite projects. [Fig 15] Another favorite project was the Albert Schafer castle on Hood Canal (1938-39), a Norman-style home which was owned by a lumber baron, who fabricated in his mills many of the details that Ayer designed. The firm produced relatively more modest homes as well, often in the popular Colonial Revival style. The 1937 Winston Chambers residence in Laurelhurst was featured in the January 1940 issue of the national publication Architectural Record, which described it as a fresh handling of a traditional form and noted the relatively modest $10,000 budget. The home was two stories, with a traditional center-hall plan, and simply detailed, but included decorative panel molding in the living room and master bedroom. Ayers design for a one and a half story residence at 603 34th Avenue (built 1940) in Washington Park is a textbook example of a Colonial Revival Cape Cod cottage, and features multi-light windows, dormers, a central chimney, simple detailing, and minimal roof overhang. [Fig 16] In late February 1940, Ivey was killed in an automobile accident. Ayer and another employee, Rolland Lamping, continued the firm under Iveys name until the late 1940s, when they changed the name to Ayer & Lamping. The firm remained in existence for three more decades, specializing in modest single-family homes, residential remodels, and small commercial projects. Ayer continued to favor the Colonial Revival style in particular. 30 According to S. Sian Roberts and Mary Shaughnessys analysis of Ayers work, in the late 1930s with Ivey, and later in the 1940s with Lamping, the firm began to introduce modern, free-plan elements into their projects, while resisting overtly modernist imagery on the exterior: Like many of their contemporaries, Ayer & Lamping began developing plans that emphasized functional rather than stylistic requirements. Functionally related spaces were often expressed individually on the exterior, creating an informally organized collection of volumes. Yet, while the plans of their houses became increasingly modern, Ayer & Lamping resisted the modern imagery favored by many of their contemporaries. Between 1940 and 1970, Ayer & Lamping produced a remarkably consistent body of work which successfully adapted traditional models to modern functional needs. 31 After World War II, Ayer & Lamping designed three Lutheran churches with Frederick Lockman, between 1947-1949, each carefully scaled to their modest surrounding residential neighborhoods with low walls and sweeping roofs. [Fig 16] After the late 1940s, Ayer & Lamping houses were increasingly located in Seattles growing outer suburbs. These designs were increasingly driven by functional contemporary needs rather than stylistic requirements. Exteriors were expressed with a looser Colonial Revival vocabulary, often more freely composed on the back side of the house, as seen at 1700 Magnolia Boulevard. [Fig 17] Interiors increasingly reflected modern, open-plan arrangements. However, in the public spaces such as foyers, dining rooms, and living rooms, Ayer regularly included traditional Georgian/ Colonial Revival interior details such as decorative panel molding at wainscoting and around shallow fireplace mantels. In the 1962 William Pratt residence, the first house built in Bellevues Newport Shores neighborhood, the contemporary split-level house has minimal and nearly abstracted Colonial Revival details on the exterior, but Ayer incorporates an unexpected (and Georgian-derived) circular entry hall with panel molding and curving stairwell. [Fig 18] Ayer & Lampings commercial work included modernist designs, but this may have been driven by Lamping. A notable modernist example is the Swept Wing Inn (built 1960, now demolished), a 300-unit motor hotel built near the SeattleTacoma Airport at a cost of $3 million (a sizeable commission, at over $22 million in 2010 dollars). The motel, in the V-shape of airplane wings, featured a restaurant cantilivered over an innovative two-level driveway which allowed automobile access to each room. However, the majority of the firms work was residential remodels and single-family residences. In the early years that Ayer worked for Edwin Ivey, their office was located in the small triangular building at 1416 Olive Way, which they designed and built. In 1938 they moved their office to 1314 E. John Street (today the Bischofberger Violin shop), across the street from the subject building of this report. In 1961 or 1962, Ayer & Lamping moved from 1314 E. John Street across the street to 1315 E. John Streetapparently occupying space within the
Ayer, Elizabeth (1897-1987), Architect, HistoryLink.org essay 1721, by Heather Macintosh, revised April 30, 2001. States First Lady of architecture, The Seattle Times, Pacific magazine, Jan. 18, 1981. 31 Ochsner, pp. 210-215, Elizabeth Ayer, by S. Sian Roberts and Mary Shaughnessy.
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subject building of this report, or possibly the former garage building. At this point, Ella McBride had moved out of her apartment, so it seems possible that the architecture firm occupied the top floor of the house. In any event, they remained at this address until Ayer retired and the firm closed in 1970. 32
32
Architect takes down shingle, The Seattle Times, Nov. 16, 1970, p. C-1.
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V. BIBLIOGRAPHY Andersen, Dennis A. and Katheryn H. Krafft, Plan and Pattern Books: Shaping Early Seattle Architecture, Pacific Northwest Quarterly , October 1994, vol. 85, no. 4. Berner, Richard C. Seattle 1900-1920: From Boomtown, Urban Turbulence, to Restoration. Seattle: Charles Press, 1991. CT Engineering (Seattle WA), ASCE-31 Building Structural Evaluation for Weatherford House 133 14th Avenue E, report by John Heavner PE, dated January 27, 2012. Report for Murray Franklyn Company, owner of the property. City of Seattle: Department of Neighborhoods, Historic Resources Survey database, www.seattle.gov/neighborhoods/preservation/historicresources Department of Planning and Development, Microfilm Library, permit records and drawings. Department Of Planning and Development Parcel Data, 2010. www.seattle.gov. D.A. Sanborn. Sanborn Fire Insurance Maps. Seattle, Washington (various dates) maps accessed from Seattle Public Libraries, online. www.spl.org. Gellatly, Judy. Mercer Island Heritage. Mercer Island, WA: Mercer Island Historical Society, 1989. HistoryLink, the Online Encyclopedia to Washington State History. www.historylink.org. King County Assessors Records, at Puget Sound Regional Archives, at Bellevue Community College, Bellevue, WA. King County Parcel Viewer website. www.metrokc.gov/gis/mapportal/PViewer_main. Kroll Map Company Inc., "Kroll Map of Seattle," various dates. Martin, David F., and Nicolette Bromberg. Shadows of a Fleeting World: Pictorial Photography and the Seattle Camera Club. Seattle, University of Washington Press: 2011. McAlester, Virginia, and Lee McAlester. A Field Guide to American Houses. New York: Alfred A. Knopf, 1984. National Register of Historic Places online database, www.nrhp.focus.nps.gov. Nyberg, Folke, and Victor Steinbrueck, for the Historic Seattle Preservation and Development Authority. Capitol Hill: An Inventory of Buildings and Urban Design Resources. Seattle: Historic Seattle, 1975. Ochsner, Jeffrey Karl, ed. Shaping Seattle Architecture: A Historical Guide to the Architects. Seattle: University of Washington Press, 1994. R.L. Polk and Company. Polks Directory to the City of Seattle. Seattle: various dates. Rosenberg, Casey. Streetcar Suburb: Architectural Roots of a Seattle Neighborhood. Seattle, WA: Fanlight Press, 1989. The Seattle Times newspaper. Seattle, Washington. Includes previous incarnations as The Seattle Press Times, The Seattle Daily Times, and The Seattle Sunday Times. Swope, Caroline. Classic Houses of Seattle: High Style to Vernacular, 1870-1950. Portland, Oregon: The Timber Press, 2005.
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Upchurch, Michael. Shadows of a Fleeting World reveals a hidden chapter in Seattles cultural history, The Seattle Times, Mar. 12, 2011. Washington State Division of Archives and Record Management. Historic Photo and Assessor Documentation. Williams, Jacqueline. "A New Seattle Neighborhood, Courtesy of J. A. Moore." Columbia Magazine, Spring 2002, Vol. 16, No. 1, pp. 30-35. Williams, Jacqueline. The Hill With A Future: Seattle's Capitol Hill, 1900-1946. Seattle: CPK Ink, 2001. Woodbridge, Sally, and Roger Montgomery. A Guide to Architecture in Washington State. Seattle: University of Washington Press, 1980.
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VI. PREPARER AND REVIEWER INFORMATION Submitted & Prepared by: Nicholson Kovalchick Architects 4302 SW Alaska Street, Suite 200 Seattle WA 98116 Phone: 206-933-1150 Contact: Email: Direct: David Peterson david@nkarch.com 206-225-9308
Date:
March 12, 2012
Reviewed by:
Date:
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VII. REPORT ILLUSTRATIONS
Fig 1 - Site map; red box indicates location of site. North is up. (Google Maps, 2011)H
Fig 2 - Site map; red dashed box indicates location of site. North is up. (Google Maps, 2011)
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1893
Fig 3 - Sanborn Fire Insurance 1893 key map. At that time, the area around the subject site was apparently not yet platted and was not yet covered by a detailed parcel map by Sanborn. The subject site would later be at the southwest corner of what was then May and Jones Streets (see red dashed box). North is up.
1905
Fig 4 - Sanborn Fire Insurance 1905 map (two maps stitched together), showing rapid early development of the neighborhood. Red dashed box indicates subject site. North is up.
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Fig 5 - Site Context in 2011 1314 E. John Street, the Bischofberger Violin shop (building c. 1906), in 1935 (left, UW Digital Archives #UW6252_sea0707) and in 2011 (right).
Fig 6 - Site Context in 2011 Cooper House at E. Thomas St & 14th Avenue E. in 2010 (left) and Rosemont Co-op at 214 13th Avenue E. in 2006 (right). Tax assessor photos.
Fig 7 - Site Context in 2011 Tudor Manor Condominiums (1929) at 111 14th Avenue E. in 2010 (left) and apartment building (1928) by Frederick Anhalt at 14th Avenue E. & E. John Street (right).
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Fig 8 - Site Context in 2011 view along 14th Avenue E. towards the intersection with E. John Street; view looking south (left), and north (right). Arrow indicates location of house, only partly visible through trees. (Google Earth, 2011)
Fig 9 - Site Context in 2011 View eastward along E. John Street from 13th Avenue E; houses across street from site between 13th and 14th Avenues (left; house not visible), and both sides of block (right; arrow shows location of house). (Google Earth, 2011)
Fig 10 - Site Context in 2011 View westward along E. John Street; approaching the intersection at 14th Avenue E. (left; arrow shows location of house hidden behind trees), and at the intersection of 14th Avenue E. (right). (Google Earth, 2011)
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Fig 11 Examples of Queen Anne Free Classic style houses in Seattle, built c. 1900-1910. All are located between E Aloha Street & E Prospect Street, and 16th & 17th Avenue E, except the lower right, which is at 1415 35th Ave in Madrona. While asymmetrical massing, corner turrets, bay windows, bracketed eaves, and complicated rooflines reflect the Victorian-era Queen Anne style, the Free Classic substyle is recognizable in classical details such as Tuscan porch columns (sometimes Corinthian or Ionic), dentils, pedimented gables, or Palladian windows.
Fig 12 Examples of Colonial Revival style houses on Capitol Hill. (Left) Bucklin House at 1620 E. Prospect, built 1908, is a high style example, showing the more symmetrical massing and facade, as well as the classically-derived Ionic columns and modillions suggesting some colonial Georgian inspiration. The asymmetrical porch, however, betrays some lingering Queen Anne influence. (Right) The Kerry House at 1117 Federal Avenue, built a few years later in 1917, features symmetrical massing, a center entry, a simple side-gable roof, balanced windows, and no hint of Victorianism.
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Fig 13 Benjamin & Maddocks Stables (aka Union Stables), 2200 Western Avenue, built 1908 by Vernon Maddocks. Photo from Dept of Neighborhoods, 2011.
Fig 14 (Left) Ella McBride, 1910, Photo by Edward Curtis. Photo in private collection, from HistoryLink.org. (Right) Shirley Poppy, 1925, photo by Ella McBride. Photo in private collection, from HistoryLink.org.
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Fig 15 Work by Edwin Ivey Architects with Elizabeth Ayer, Associate, prior to 1940. Langdon Henry residence (1927-28), exterior (upper left) and interior (upper right) [UW Special Collections #SEA2648 & SEA2650]; Perry Truax residence (1929, middle left) [tax assessor photo]; Seattle Childrens Home (1930-31, middle right; demolished) [MOHAI 1986.5.7813.3]; Winston Chambers residence (1937, lower left and right) [from January 1940 Architectural Record magazine].
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Fig 16 Work by Ayer & Lamping. 603 34th Avenue (left, b. 1941); Beacon Lutheran Church (right, 1947, w/Frederick Lockman) [both tax assessor photos]
Fig 17 Work by Ayer & Lamping. 1700 Magnolia (b. 1953, upper three photos) [tax assessor photos]
Fig 18 Work by Ayer & Lamping. William Pratt residence (1962, left and right above) [from Seattle Times, July 22, 1962]
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APPENDIX A IMAGES OF SUBJECT BUILDING
Fig 19 - House in 1937. Tax assessor photo.
Fig 20 - 1937 Seattle Municipal Archives photo #14752 showing newly-widened John Street. West elevation of subject house is visible in middle distance, to the right of sidewalk pedestrian (see arrow).
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Fig 21 - House in approximately 1939; oldest known unobstructed image of the building. Note Victorian elements such as oval window to left of entry, stained glass window above entry on second floor, Palladian window in dormer, and asymmetrical massing. Photo courtesy of David Weatherford.
Fig 22 - House in approximately 1941, after renovations by Edwin Ivey & Elizabeth Ayer. Photo courtesy of David Weatherford. Note multi-lite windows replacing double-hung windows, circular porthole windows on left and right of entry, and shutters, compared to previous photo.
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Fig 23 - House in 1972. Tax assessor photo. Note that circular porthole windows adjacent to entry are now gone.
Fig 24 - House in 2001. Department of Neighborhoods Historic Preservation office photo. Original composite shingle roof has now been replaced with wood shingles.
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Fig 25 - House in 2002, tax assessor photo.
Fig 26 - House in 2011, tax assessor photo.
33
A E
C A
Fig 27 Tax assessor photo from 2002 A Original double-hung windows replaced in 1940 with multi-lite wood sash windows and shutters. B Original stained-glass window with decorative trim replaced in 1940 with multi-lite wood sash windows and shutters. C Original double-hung bay windows replaced in 1940 with multi-lite steel sash windows. D Shed-roofed projection added in 1940 as part of interior renovations. E Porch enclosed with glazing in 1989, to create additional interior space. Behind the glazing, the former exterior wall of the house (visible in Fig 22 and notable for 1940 alterations replacing the original 1902 windows with multi-lite and circular porthole windows), was itself altered with the removal of the porthole windows at least by 1972.
34
Fig 28 - House in 2011, east elevation.
Fig 29 - House in 2011, east elevation.
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Fig 30 - House in 2011, north elevation.
Fig 31 - House in 2011, west elevation. Shed at lower right of photo.
36
Fig 32 - House in 2011, west elevation. Photo on left showing all of the windows at first and second floors, otherwise hidden by trees. Photo on right showing detail of basement entrance and windows.
Fig 33 - House in 2011, view of northwest corner.
37
Fig 34 - House in 2011, south elevation, showing side entry which leads directly to second floor apartment.
Fig 35 Detail, 1989 porch enclosure in 2011. The porch addition is separated from the original porch structure.
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Fig 36 Interior of glazed porch, 2011 (left and right).
Fig 37 Interior of house, 2011. Reception desk area which had originally been main stair hall. Looking from entry hall towards reception desk (left), and looking from reception desk towards entry area (right).
Fig 38 Interior of house, 2011 (left and right). Built-ins and mantel on left may not be original.
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Fig 39 Interior of house, 2011. First floor room with north-facing bay window (left), and first floor room which previously had been photography work room in 1940s-1960s (right).
Fig 40 Interior of house, 2011. First floor room (left), and rear service stair (right).
Fig 41 Interior of house, 2011. Stair hall accessed from south elevation porch and entry, looking towards entry (left), and same stair looking from entry; stairs lead directly to upstairs (right). Open door shown leads to first floor rooms.
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Fig 42 Interior of house, 2011. Upstairs stair hall (left), and upstairs room/office (right).
Fig 43 Interior of house, 2011. Basement rooms (left), and attic rooms (right).
Fig 44 1945 Assessor's photo of Garage and shed buildings, north and east elevations
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Fig 45 Shed and former garage buildings.
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Fig 46 Detail, 1940 alterations, Level 1, Edwin Ivey & Elizabeth Ayer, Arch. (north is down). Traced over in pencil for readability. This floor adapted to photo studio in front (left), and offices/darkroom/workroom in back. In 1942, the central stairs shown were removed and reoriented to porch stairs to the north.
Fig 47 1940 alterations, Level 2, Edwin Ivey & Elizabeth Ayer, Arch. (north is down). Traced over in pencil for readability. This floor adapted to living quarters for Ella McBride.
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Fig 48 Later 1940 revisions to design of the work spaces at the west side of Level 1, as actually built.
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Fig 49 1972 alterations, Level 1, David Weatherford, David Weatherford Interior Design, designer. (north is down). Further alterations to adapt photo studio to interior design offices and showrooms. Entry area, studio, and reception area/display area enlarged and altered through the removal of interior walls. Rear office areas altered by removing or adding partition walls. No change to exterior walls.
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Name (common, present, or historic): Year Built: 1902 Street and Number: 133 14th Avenue E.

Assessor's File No. 600300-1840

Present Use: Antiques store & apartment

Weatherford Antiques Seattle Landmark Nomination

March 12, 2012

Present Use: Original Use: Original Builder: Plat/Block/Lot: Legal Description:

King County tax assessor website lists date as 1904.

CT Engineers, January 27, 2012, pp 1-3.

1989 Outbuildings 1910 1916 1945/47

Williams, The Hill With A Future, pp.15-17.

March 12, 2012

VII. REPORT ILLUSTRATIONS

APPENDIX A IMAGES OF SUBJECT BUILDING

Fig 19 - House in 1937. Tax assessor photo.

Fig 25 - House in 2002, tax assessor photo.

Fig 26 - House in 2011, tax assessor photo.

Fig 28 - House in 2011, east elevation.

Fig 29 - House in 2011, east elevation.

Fig 30 - House in 2011, north elevation.

Fig 31 - House in 2011, west elevation. Shed at lower right of photo.

Fig 33 - House in 2011, view of northwest corner.

Fig 36 Interior of glazed porch, 2011 (left and right).

Fig 45 Shed and former garage buildings.

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