Search Results : Dray

A. D. German Warehouse

 Posted by on May 22, 2018
May 222018
 

300 South Church Street
Richland Center, Wisconsin

AD German Warehouse

The Albert Dell German Warehouse was designed by  Frank Lloyd Wright in the  Mayan Revival style, between 1917 and 1921.

While there is some controversy, it is believed that Wright was born in Richland Center, making this his only building in his birth town.

The building is a four-story, rectangular structure of brick and cast concrete. It was commissioned by the A.D. German Wholesale Grocery Company to store flour, feed, and groceries. The three lower floors were designed for storage of non-refrigerated goods, and the fourth floor was to be refrigerated for perishable items.

There is a small annex to the left that was to be the music studios of A. D. German’s sister.

Each of the four levels is an open-floor-plan, single-pour, concrete slab, supported by poured concrete columns 16 feet apart.  The ceiling heights grow slightly lower as one proceeds upward. The building was never completed. Construction stopped in 1921 after Mr. German had spent $125,000. The projected cost of the building had been a mere $30,000.  A. D. German fell on hard times over the course of its construction on several occasions but was never able to recover completely to fulfill the dream of occupying the building. The building has been altered over the years by various occupants, but never so much as to damage its overall condition.  Neglect, however, has taken a more severe toll.

The business entrance to the building is on Church Street, and it was to have been marked by horizontal rectangular windows topped by a decorative concrete frieze.  These elements were never finished.

A. D. German Warehouse

The interior of the building is yellow brick, the exterior red. The wythe wall construction uses every fourth red brick of the pattern to tie the two walls together.

The windows of the storage areas in the building are 12 inch wide slits. This allows for more storage area along the walls and deters vandalism

The windows of the storage areas in the building are 12 inch wide slits. This allows for more storage area along the walls and deters vandalism

Interior of the 2nd floor graced by the remains of a retrospective of Wright held in Europe just before his death

Presently the 2nd floor is graced by the remains of a retrospective of Wright, held in Europe, just before his death.

The cast concrete frieze on the warehouse is Frank Lloyd Wright’s first expression of Mayan forms. This building predates his use of these forms in Hollyhock House of 1920 in Los Angeles and the Millard House of 1923 in Pasadena, California.

The Mayan Revival, Cast Concrete, Frieze

The Mayan Revival, cast concrete, frieze

A. D. German Warehouse

The use of cast concrete most likely was new to the area.  The concrete company hired was The Daughhetee family, with the workers being the Piasecki brothers.  The concrete was mixed in a one bag mixer and then placed in wheelbarrows to be run up to the top floor. The concrete was poured with a crew of up to eight.  There would be four on the ground and then two, three or four on the building as needed.

The contractor was Arthur Judevine, a trusted contractor of Frank Lloyd Wright.

A few of the wooden molds used for the frieze still exist

A few of the wooden molds used for the frieze still exist

A corner of the building on the second floor, above the elevator, showing the concrete capitals and the brick walls.

A reinforced column sits in the corner of the building on the second floor, above the elevator.

The columns in the public spaces were also given a Mayan Revival decoration

The columns in the public spaces were also given a Mayan Revival decoration

At three corners of the building are these slightly ornamented concrete projections. The plans show that they were for flagpoles and hanging gas lanterns.

At three corners of the building are these slightly ornamented concrete projections. The plans show that they were for flagpoles and hanging gas lanterns.

Looking down through the hallway between the old and new warehouses, one can see the change in dock height to first accomodate horse drawn drays, and later motorized transport

Looking down through the hallway between the old and new (unfinished) warehouse, one can see the change in dock height to first accommodate horse-drawn drays, and later motorized transport

The building now stands in the hands of The German Warehouse Conservancy.  They have launched a $4million capital campaign to restore the building and give life back to it by turning it into a community use center.

The building is open for tours on Sundays.  They are $10. There is a terrific 15-minute video at the beginning of the tour that helps put the history of the place in perspective.

I had the pleasure of being led around by Lou Arbegust, a founding member of the Conservancy, who’s passionate love of the building is infectious.

You are not allowed above the second floor and must sign a waiver, but the hour plus drive from Madison is well worth the visit.

 You can also purchase Frank Lloyd Wright’s Warehouse by Margaret Scott at the site.  A lovely paperback of the family history of both the Wrights and the Germans.  It also contains descriptions of the building’s design and construction processes.

Thomas Starr King

 Posted by on September 12, 2013
Sep 122013
 

Franklin between Starr King and Geary
Japantown/Western Addition/ Fillmore

Starr King

Due to the lack of land their are very few bodies actually buried within the City of San Francisco.  This is why the Sarcophogus of Thomas Starr King is so unusual.

Thomas Starr King, a young, inexperienced Unitarian minister, came to San Francisco in 1860 when the state was undergoing an intense political struggle to determine which side of the Civil War it would follow. In public speeches, up and down the state, King rallied against slavery and secession. Through his eloquence and the sheer strength of personality he is credited with shifting the balance and making California a Unionist state. In his oratories King prodded Abraham Lincoln to issue an emancipation proclamation well before it was actually enacted.

During the Civil War, King turned his energy to raising funds for the United States Sanitary Commission, which cared for wounded soldiers and was the predecessor to the American Red Cross. King personally raised over $1.5 million, one-fifth of the total contributions from all the states in the Union. Exhausted from his campaigning Thomas Starr King died in 1864 of pneumonia and diphtheria. He never lived to see the end of the war or the Union re-established. Today Union Square is still named for the pro-Union, abolitionist speeches that he delivered on that site. (From the Fog Bay Blog)

 The sculpture was commissioned in 1954 by the San Francisco Unified School District to be installed at the new Starr King Elementary School.  In 1965, the sculpture was damaged by vandals and repaired on site by the artist, Ruth Cravath.  The sculpture was extensively damaged by vandals in 1970 and was removed to the artist’s studio for repair.  Because of the history of vandalism to the sculpture, the newly repaired sculpture was given on long-term loan to the First Unitarian Church, where it was installed in 1978.  Martin Rosse, architect for the First Unitarian Church, designed the base; and Sheedy Drayage served as the contractor during the 1978 installation.

plague at starr king sarcophagus

Sarcophagus of Thomas Starr King

Apostle of liberty, humanitarian, Unitarian, minister, who in the Civil War bound California to the Union and led her to excel all other states in support of the United States Sanitary Commission, predecessor to the American Red Cross. His statue, together with that of Father Junipero Serra, represents California in the national capitol. His name is borne by a Yosemite peak. “A man to match our mountains.”

California Registered Historical Landmark No. 691

Plaque placed by the California State Park Commission in cooperation with the California Historical Society and the First Unitarian Church of San Francisco.

April 24, 1960

Starr King Statue

Ruth Cravath (1902-1986)  has been in this website with a sculpture at the Forty-Niners Stadium.  In 1965 she gave a wonderful interview to the Smithsonian, the history of the art world of San Francisco opens up so beautifully in her interview.

Carl G. Larsen. Chickens to Jet Fighters

 Posted by on May 2, 2013
May 022013
 

Larsen Park
19th Avenue at Ulloa
Sunset District

Larsen the Gentle Dane by Cummings

This plaque can be found on the corner of 19th Avenue and Ulloa.  The plaque was done  by  M. Earl Cummings in 1913 of Carl G. Larsen.

Cummings has appeared prominently in this website for the many sculptures he has done around town.

“In the late 1800s, many speculators began buying land in the Sunset District. By the early twentieth century, landowners in the area included Michael deYoung, Fernando Nelson, and Adolph Sutro. But one of the largest land owners, Carl Larsen, also had other ties to the district.

Larsen did not live in the Sunset District, but he owned a business and a lot of land in the area. Sometimes called the “Gentle Dane,” he donated land for parks in the Sunset and probably would have given more to his city, but underhandedness after his death prevented any further gifts.

Carl Gustave Larsen was born in 1844 in Odense, Denmark. He came to San Francisco in his late 20s and worked as a carpenter. In 1879, he started the Tivoli Café downtown at 18 Eddy Street. In 1905, he moved across the street, constructing his own building at 50 Eddy Street. A popular restaurant, the Tivoli Café was destroyed in the earthquake and fire of 1906. Undaunted, Larsen rebuilt and opened the Tivoli Café and Hotel Larsen.

Plenty of land was available in the Outside Lands in the late 1800s. Larsen’s first venture into real estate was in 1888, when he bought one block in the Sunset at an auction. He continued to buy land in the area, and by 1910 he owned fourteen entire city blocks and lots that totaled about nine more blocks. At this time, all of the land was sand dunes. Few of the streets were cut through, and accessibility was difficult.

As time passed, Larsen sold or donated parts of his holdings. Well-known structures that sit on land once owned by Carl Larsen include St. Cecilia’s Church on Vicente Street and the (former) Shriner’s Hospital on Nineteenth Avenue.

Earl Cummings and Carl G. Larsen

Larsen’s Chicken Ranch

Larsen operated a chicken ranch on one square block bounded by Moraga and Noreiga streets, Sixteenth and Seventeenth avenues. Each morning, a horse-drawn carriage took eggs from the chicken ranch to the Tivoli Café downtown, probably along the only through road in the Sunset, the Central Ocean Road. Tivoli Café ads boasted, “Fresh eggs from Sunset Ranch EVERY DAY.”

Once a year, at Easter, the Larsen chicken ranch hosted a large party for the neighborhood, with open bars and tables of food. Some reports say that these annual parties got out of hand and were discontinued in 1913.

Local Activism

Larsen lived downtown, but he was very involved in the Sunset neighborhood. He was a member of the Sunset Improvement Club and the Nineteenth Avenue Boulevard Club, a group that lobbied for a macadamized road and beautification along today’s Nineteenth Avenue, from Golden Gate Park toIngleside. In 1900, this group raised money to plant “bunch grass” on the west side of the newly macadamized Nineteenth Avenue.

Although he worked for civic improvements and streetcar service to the area, Larsen was not completely happy when his efforts were successful. To help pay for the Twin Peaks Tunnel, a tax assessment was made of Sunset landowners, who would benefit the most from the tunnel’s construction. What happened at this point is not clear. According to the San Francisco Chronicle, Larsen owed about $60,000 and filed an unsucessful protest with the city. The newpaper said that to pay his assessment, Larsen sold many of his lots to the city and to private bidders on May 22, 1914. However, Block Books from 1915 and 1920 show Larsen owning most of the same Sunset land he owned in 1910. In More Parkside Pranks and Sunset Stunts, George Stanton wrote that Larsen did not have enough money to pay the tunnel assessment and “died a broken hearted man.” However, according to the Chronicle, the Larsen estate was worth close to $800,000 when he died.

 

              Screen Shot 2013-04-14 at 9.30.19 AM
                                                                                                      Navy Jet – 1960’s Photo:Richard Lim                          F-8 in 1975 Larsen Park Photo: Gary Fong

Land Donation

Larsen is best remembered as the donor of Larsen Park, two blocks between Nineteenth and Twentieth avenues, between Ulloa and Wawona streets. Current Sunset residents know the green lawns, baseball diamond, tennis court, basketball court, and Charlie Sava Pool. Sunset residents in the 1950s and 1960s swam in the “modern” Larsen Pool, and remember the military airplanes that sat on the land, one at a time, for years, unique life-sized toys for children to climb over and sit in.

In 1926, when Larsen donated this park to the city, Mayor James (“Sunny Jim”) Rolph thanked him on the steps of City Hall proclaiming that Larsen would “be remembered in company with other benefactors, who have accumulated great wealth within our boundaries and were inspired to reciprocate with gifts to the commonwealth.”

Larsen Park was unique in that two spaces were set aside as “out-of-door card rooms,” one for men and the other for women. The outside card rooms and soccer field are long gone, but the tennis court and baseball diamond remain, now accompanied by a basketball court and an indoor swimming pool.

A memorial to Larsen stands at the Nineteenth Avenue and Ulloa Street corner of Larsen Park. The bronze plaque, mounted on a large stone, displays a bust of Carl Larsen sculpted by Melvin Earl Cummings, who also sculpted Sather Gate at UC Berkeley. Below the sculpture, the plaque reads, “Carl G. Larsen has generously given these two blocks to the city of San Francisco for park pleasure purposes.”

Larsen also donated land at the southern edge of Golden Gate Heights. Golden Gate Heights Park (or “Larsen’s Peak”) rises 725 feet above sea level, one of the city’s highest hills.

Larsen’s Death and Disputed Will

Carl Larsen died on November 5, 1928. He was remembered as generous both to the City of San Francisco and to his employees at the Tivoli Café. Newspapers reported that the Tivoli Café had been losing money for years before Larsen’s death but that he would not close it or terminate any workers.

Evidence indicates Larsen wanted to leave some of his estate to San Francisco. A handwritten will, dated July 27, 1909 and found after his death, gave $10,000 to a brother, $5,000 each to his other brothers and a sister, $25,000 to a friend, $25,000 to the Danish Ladies’ Relief Society of San Francisco, and $5,000 to the Boys and Girls’ Aid Society of San Francisco. The remainder, estimated at more than $500,000, was given to San Francisco for a museum in Golden Gate Park.

Some people listed in the will never saw those funds. When the will was discovered, Larsen’s signature and the signature of a witness had been “cut off.” Larsen’s relatives (22 of them, some living in Denmark) disputed the will and, in 1931, Superior Court Judge Dunne declared the will invalid. The friend mentioned in the will received a settlement; the rest of the estate was divided among Larsen’s relatives.

Larsen’s museum was never built in Golden Gate Park, but two Sunset parks—Golden Gate Heights Park and Carl G. Larsen Park—remain as reminders of the Gentle Dane.”

Lorri Ungaretti, is the author of the above history.

As a child I was fascinated with the airplanes that sat in Larsen park.  There were three planes in the park over time.  The first was a WWII recon camera plane that sat in the park from 1959 to the mid 1960’s. The jet was hauled to the park by G.W. Thomas Drayage and Rigging Company then the Russell Hinton Painting Company and the District Council of Painters Repainted it.

The second plane was a Navy FJ-Fury fighter that sat in the park from 1967 to the 1970’s.

In 1975 an old F-8 Crusader replaced the fighter plane.  The F-8 was slung on a Marine Helicopter and flown under the Bay Bridge, a sight that must have been something to behold. From there it was taken to the San Francisco Zoo and trucked to the park.  The F-8 was removed on orders from the City as there was not enough money to do lead-paint abatement.  That plane was eventually moved to Santa Rosa and restored.

There is an effort to bring back a play structure that mimics an old military jet, donations are being taken at the Larsen Park Jet Organization.

TheTenderloin – Fern Alley

 Posted by on January 28, 2012
Jan 282012
 
100 Block of Fern Street
The Tenderloin
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Dray has been in this site before, and is a really terrific guy.  In researching this piece I found a lovely article about him from his days in Las Vegas.
Dray did this mural pro bono in hopes that the alley would attract more muralists.  Fern Alley is a part of a recently launched quarterly art walk called LoPo (Lower Polk) Art Walk. The alley is blocked off and artists display their art right there in the alley. All of the local galleries participate as well as some merchants.

If you are interested in the LoPo Art Walk you can follow them on Facebook.

Polk Street History in Murals

 Posted by on September 19, 2011
Sep 192011
 
Tenderloin
1221 Polk Street
This series is by Dray.  This set of murals is on the side of Lush Lounge at 1221 Polk Street in San Francisco.  When I spoke to Dray about these murals he relayed an article in the San Francisco Examiner that discussed the controversy regarding a series of murals that was to be scheduled in the neighborhood on Hemlock, just down the street.
While Dray’s murals were not quite as controversial the Examiner stated “The Fern Alley mural proposal was far less contentious — the artist, Dray, proposed a visual timeline of Polk Street dating back to 1906.
The artist faced some heat for featuring an image of a gay hustler, and for depicting famous graffiti artist Shepard Fairey at work, which a few residents said glorified vandalism. Still, the mural proposal is moving forward.”
Here is Dray’s explanation: “There are seven 6ft by 10ft panels which were painted and then later installed on the building.  Each panel depicts a certain era with relative imagery to reflect that era.  Even some of the styles of painting reflect the era also.  Depending on which panel you are looking at you will see Max Beckmann, Picasso, Dali, Andy Warhol and Shepard Fairy.  If you research the history of Polk Street you will see that this illustration is somewhat mild compared to what was REALLY going on on that street.”

 

Aug 162011
 
Tenderloin, San Francisco
Polk and Hemlock
This mural, commissioned by the Mayor’s Office of Economic Workforce and Development as part of the Polk Street Alley’s Program, was painted by Dray.  It is “Friedel Klussman, the Cable Car Lady”.  I happened upon Dray while he was cleaning the tags off the mural and we got into a great history chat about the cable cars and its depiction in his mural.  Front and center you see a horse. That is because originally horses drew the cars, often with heavy loads.  On a typically damp summer day in 1869 one of these cars slipped back, flipped over and killed five horses. While a frightening sight to anyone, it was witnessed by Andrew Smith Hallidie who at the time had the resources and know how to do something about it.
Hallidie had been born in England and moved to the U.S. in 1852. His father filed the first patent in Great Britain for the manufacture of wire- rope. As a young man, Hallidie found uses for this technology in California’s Gold Country. He used the wire-rope when designing and building a suspension bridge across Sacramento’s American River. He also found another use for the wire-rope when pulling heavy ore cars out of the underground mines on tracks. The technology was in place for pulling cable cars.  The first successful cable car run was August 2nd, 1873.
Then in 1947, Mayor of San Francisco Roger Lapham proposed the closure of the two Powell Street cable car lines, which were owned by the city as part of the San Francisco Municipal Railway. Onto the scene steps Friedel Klussmann, a prominent San Franciscan that had started the San Francisco Beautiful Committee.   She gathered a group of 27 women’s organizations and formed the Citizens’ Committee to Save the Cable Cars. In a famous battle of wills, the citizen’s committee eventually forced a referendum on an amendment to the city charter, compelling the city to continue operating the Powell Street lines.
In 1951, the three cable car lines owned by the private California Street Cable Railroad (Cal Cable) were shut down when the company was unable to afford insurance. The city purchased and re-opened the lines in 1952, but the amendment to the city charter did not protect these lines, and the city proceeded with plans to replace them with buses. Again Mrs Klussmann came to the rescue, but with less success this time. The result was a compromise protected system made up of the California Street line from Cal Cable, the Powell-Mason line already in municipal ownership, and a third hybrid line made up by grafting the Hyde Street section of Cal Cable’s O’Farrell, Jones & Hyde line onto a truncated Powell-Washington-Jackson line (now known as the Powell-Hyde line).
When Mrs Klussmann died at the age of 90 in 1986, the cable cars were decorated in black in her memory. In 1997, the city dedicated the turntable at the outer terminal of the Powell-Hyde line to Mrs Klussmann
I am often asked if tagging another persons mural is unseemly, well yes it is, and it does force someone to come clean up the mess.  As sad as that is it led to my having the absolute pleasure of meeting Dray as he worked.
Some other works of Drays’ in the block are a little decoration for Maharani, an Indian Restaurant on Polk.
 You can find Dray on Facebook under Visual Compositions by Dray.

 

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