Author: Jeff Elliott

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THE ART OF THE UNDERTAKER

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Had LinkedIn existed a century ago, his profile would have been the thinnest. POSITION: Assistant undertaker, Santa Rosa CA. EXPERIENCE: 33 years. It would seem like the profile of an inconsequential (and probably boring) fellow, yet he was close friends with some of the best artists in America. Curators from top museums were regularly visiting his modest homes, first on Chinn street in Santa Rosa and then on Vine street in Sebastopol. His name was John Pearson Stanley and he was one of the most interesting people living here around the turn of the century.

Today he’s mentioned only by local cemetery buffs because a teardrop-shaped corner of the Santa Rosa Rural Cemetery bears his name. Back then he was known as the kindly middle-aged – and then elderly – man who arranged the funeral and burial of hundreds and hundreds of local people between 1883 and 1918. He was also popular because he had a knack for growing chrysanthemums and in the 1890s our ancestors were chrysanthemum crazy, with a chrysanthemum festival every year or so. It’s a wonder Santa Rosa wasn’t renamed Santa Crisantemo.

But the reason he had a measure of nationwide fame was because he was such a connoisseur of fine art. His homes were galleries of paintings by William Keith, Lorenzo Latimer, Grace Hudson and others, some whom he encouraged and befriended before their careers took off. Mostly, however, he was renowned as having a remarkable collection of Indian baskets.

Over the years he had hundreds of baskets and appears to have bought them directly from local Pomo weavers. From the 1898 PD:


On Thursday when a Press Democrat reporter passed the undertaking parlors of M. S. Davis on Fourth street, Mr. Stanley was sitting amidst a group of the dark gentlemen examining some of their handiwork in the shape of baskets. One of the little baskets which the Indians had, upon which probably work had been put on and off for three months or so, could have been bought for about ten dollars.

Art collectors and museums were just starting to recognize the incredible artistry of these baskets and word spread about Stanley’s collection. He sold everything he had to the de Young Museum, rebuilt his holdings, and then the Hearst Museum again bought everything he had. He started anew and buyers kept queuing up at his door – two visited on the same day once, and a purchasing agent for “several of the large eastern museums” came to him on a buying trip.

How could an assistant undertaker afford to build collections such as these? The PD reported Mrs. Hearst’s curator “made him a good offer for it” so his occasional forays as a basket art dealer were likely quite profitable. His obituary suggests some of the paintings were gifts, and some may have been bartered; it’s known he gave Grace Hudson and her husband valuable antiques, including a bronze Roman candlestick, a Russian samovar from Fort Ross, a fine Turkish rug and a 49er gold miner’s pan.1 Plus aside from his undertaking salary, Stanley also had an income stream from his side business – selling graves.

Current map of Santa Rosa Rural Cemetery with Stanley section highlighted (see PDF of full color map)

(RIGHT: The full Stanley Addition of 1884)

From the same family that originally owned the Santa Rosa Rural Cemetery land, Stanley bought 5.3 adjacent acres at $250 per. This was the property between the cemetery and Poppy Creek; he also acquired the use of water lines across the entire place.2 He added roads to his addition to the cemetery, made other improvements and began selling lots, starting with a low, low sale price of $10 a grave (see advertisement below). That may not seem like much today, but in 1884 most workers were lucky to earn that much in a week.

Even back then, everything involved with caring for the dead was obscenely expensive. In 1883 the Daily Democrat ran a summary of a New York World muckraking article titled, “Undertakers’ Enormous Profits,” which revealed there was a markup of 100 percent or more on coffins and related funeral goods. Stanley knew this before he came to Santa Rosa because he had just spent a decade in Salinas running a combo furniture and undertaking business, a frequent mix in the Old West – Pedersen’s in Santa Rosa sold “undertaking supplies” up to 1906, although they didn’t do embalming and such.

When he arrived in Santa Rosa in 1883, Stanley opened a store here but it didn’t last long; by that September he was advertising a going-out-of-business furniture sale. The ad stated he had decided “to change his business,” and presumably that meant shifting to just the undertaking trade.

From a county history we learn he was an assistant to Milo S. Davis, Santa Rosa’s established mortician: “…Mr. J. P. Stanley, who has active charge of much of his business, possesses rare qualifications, both by nature and training, for performing the last sad rites for the dead and comforting the bereaved hearts of the living.”3

(RIGHT: Ad from the June 20, 1885 Sonoma Democrat)

We also know about his early years in Santa Rosa because he made and collected beautiful things. Before he veered into the furniture and undertaking game he had worked as a jeweler in the Gold Country for a while and became quite a rock hound; the very first mentions of him in the local papers were about his remarkable collection of minerals, some of which he had highly polished. He sent about a ton of them to an exhibit in San Francisco, and the main Santa Rosa drugstore had a display case with over two thousand specimens.

He also created an exhibit of dried flowers that was compared to an oil painting, and which became part of the Sonoma County exhibit sent to the 1887 Great Mechanics’ Fair in Boston (sort of a mini world’s fair). Aside from that we didn’t read much about him in the papers in the years after he opened his cemetery; presumably he quietly went about his unusual double life.

But from 1896 on, he was mentioned in the papers almost every year. Personal items appeared: His son, James, became the sole owner of the art store a few doors down on Fourth street from the funeral parlor where he worked; it was the go-to place for picture frames, lamp shade, and whatnot. And in a Believe-it-or-Not! coincidence, that year his wife here and his mother in Massachusetts died at nearly the same time.

(Years later, James would follow his dad and become a casket maker, which really isn’t surprising – dealing with the dead is one of those trades that often gets passed down through families. When Milo Davis eventually retired he transferred the funeral parlor to Herbert Moke, who was Mrs. Davis’ nephew and grew up in the Davis household. Stanley stayed on and worked for Moke, and still continued after Moke quit and sold the business to Frank Welti.)

Mostly, though, the years around the turn of the century were busy with his chrysanthemums and that parade of visits from artists and art collectors and curators – even the governor came by to see his collection. He opened his home for an art exhibit to benefit his church in 1898; the nattering nabobs over at the Press Democrat seemed gobsmacked to discover there was a major art collection in town and it wasn’t owned by the McDonald’s, Overtons, or other of the town’s wheeler-dealers – but by a lowly assistant to an undertaker.

Stanley built and sold two substantial collections of Indian baskets as already noted, but he apparently never parted with any of his beloved paintings – which made the 1906 earthquake all the more tragic for him. From his eulogy, transcribed below:


When the earthquake destroyed the business portion of our little city, he walked out of his rooms over a shattered pile of bricks and timbers, leaving behind him $20,000 worth of canvases to be consumed by the fury of the flames that swept the district. He loved his pictures, and the loss was a sad blow to him. But he soon accumulated – not so large or valuable – but a rare collection indeed.

Today that $20,000 would be worth over a half million, but the fame of some of those artists would put the modern value of what was destroyed at many times that figure.

He moved to Sebastopol and continued working even as he passed seventy, commuting to Santa Rosa every day via the electric train. In 1907 he sold all interests in his cemetery to his boss, Moke. He died at age 83 in 1918.

There’s a final Believe-it-or-Not! epilogue often mentioned by Rural Cemetery tour guides: John Stanley is not in fact buried in the Stanley cemetery – he’s in Colma’s Mt. Olivet Cemetery. His wife Emily is supposedly next to him, but she had been buried in her husband’s cemetery when she died in 1896, and a couple of years later he erected some sort of elaborate monument for her. Why John would later have her disinterred and them both buried in San Francisco is another mystery of that old graveyard.

1 Days of Grace: California Artist Grace Hudson in Hawaii; Karen Holmes and Sherrie Smith-Ferri, 2014; pg 105

2 Santa Rosa Rural cemetery 1853-1997: a listing of burials in Fulkerson, Moke, Rural and Stanley cemeteries, now known collectively as Santa Rosa Rural Cemetery; Sonoma County Genealogical Society, 1997; appendix pg vi

3 https://books.google.com/books?id=NKI9QAAACAAJ&pg=463

RIP John Preston Stanley, June 16, 1834 – January 11, 1918

J. P. Stanley has boxed up 2,000 specimens of minerals, his own collection, and will ship them to the Mining Bureau 212, Sutter street San Francisco, for exhibition during the conclave. The five cases weigh about a ton, and forms one of the finest private collections in the State.

– Sonoma Democrat, July 28 1883

J. P. Stanley of this city is an enthusiastic geologist and mineralogist, and on Saturday morning showed us a number of beautiful specimens of agate and cornelians that he has gathered in this county. A number of them have been polished to some extent,and are really beautiful and beautifully veined. This is one feature of old Sonoma that has hitherto been neglected.

– Sonoma Democrat, August 4 1883

Cheap Furniture.

J. P. Stanley has concluded to change his business, and is selling off his entire stock of furniture at cost. Parties desirous of good bargains will do well to call on him during the next ten days.

– Daily Democrat, September 20 1883

Jacob Harris to J. P. Stanley, 5-33.100 acres near Santa Rosa; $1,332.50.

– Sonoma Democrat, August 2 1884

A Rare Cabinet.

J. P. Stanley has had an elegant case put in J. W. Warboys’ drug store, in which are tastely arranged over a thousand specimens of minerals, from all parts of the world. Mr. Stanley is an enthusiastic mineralogist, and has over two thousand specimens, collected daring the past sixteen years, from all parts of the earth. A portion of this collection has been on exhibition at the rooms of the State Mineralogist, and Mr. Stanley has a letter from him referring to them in the highest terms. Among the samples on exhibition are numerous rare and beautiful stones from this county, among which are actinolite, chalcedony, jasper, agates and silenite. Some of these are highly polished and present a beautiful appearance. Many are not aware of the fact, that, as beautiful samples of these classes of stones can be found here as in any other part of the world.

– Sonoma Democrat, October 4 1884

C. De Lange to J. P. Stanley, lot 6, block 1, J. Davis’ addition to Santa Rosa; $1,700 [editor’s note: This property sold by Conradus DeLange is a typical residential lot on College avenue.]

– Sonoma Democrat, November 15 1884

J. P. Stanley has purchased five and one half acres adjoining the Rural Cemetery on the east, which he proposes to improve and subdivide into burial lots. The ground selected is very suitable for the purpose, and he proposes to afford all an opportunity to obtain plots at low prices. The intervening fence will be removed shortly, roads graded, etc.

– Sonoma Democrat, December 27 1884

John P. Stanley to Patrick Gleason, a portion of Stanley’s addition to Santa Rosa Rural Cemetery ; $l.

– Sonoma Democrat, February 21 1885

We would call the attention of our readers to the advertisment of J. P. Stanley in relation to his addition to Rural Cemetery. All the fences have been removed, and lanes and drives laid out so as to make this a part of the original cemetery. For a few days lots can be obtained at reduced rates, and persons will do well to call and make their selections early.

– Sonoma Democrat, June 20 1885

A Work of Art.

J. P. Stanley has displayed not a little ingenuity and exquisite taste in the arrangement of a boquet of pressed flowers, composed of varieties commonly in bloom in Santa Rosa gardens during the winter months. The boquet is of pyramidal form, on a dark ground work, and surrounded bv a handsome and costly gilt frame. So perfect and vividly lifelike are the flowers, that at first glance they would be taken for a painting in oil, but upon closer examination the true and delicate tint, so often exaggerated by the brush but seldom imitated, discovers the deception which has been practiced on art. The tastely piece of workmanship is to be sent to Boston with the Sonoma County exhibit, and will be invaluable as an illustration of the mild and balmy climate of the land of the setting sun.

– Sonoma Democrat, September 24 1887

J. P. Stanley is making a number of improvements in the grounds of his addition to the Rural Cemetery.

– Sonoma Democrat, October 22 1887

J. P. Stanley is making a number of improvements in his addition to the Rural Cemetery.

– Daily Democrat, December 12 1889

Death of Mrs. M. A. Stanley.

J. P. Stanley has received a message announcing the death of his mother, Mrs. Mary A. Stanley, at North Attleborough, Mass.

DEATH OF MRS. STANLEY.
An Estimable Lady Passes Away Monday Night.

After a short illness Mrs. Emily C. wife of Mr. J. P. Stanley died at the family residence on Fifth and Chinn streets, Monday evening at 9 o’clock. Deceased was 60 years of age and was born in Rhode Island. She was the daughter of J. P. and the late Lydia W. Goodwin and sister of Mrs. M. R. Britton and Mrs. E. L. May of San Francisco. She leaves one son, James F. Stanley. She was an estimable lady who had many friends. The funeral of Mrs. J. P. Stanley took place Thursday afternoon. Services were held at the home and at the grave by Rev. R. L. Rathbone and Rev. E. H. Hayden. The pall-bearers were Judge R. F. Crawford, A. B. Ware, W. E. McConnell, E. F. Woodward, E. Brooks and R. M. Swain. A number of friends of the deceased were present from Penngrove, San Francisco and other places.

– Sonoma Democrat, October 24 1896

J. F. STANLEY.
Dealer In Fine Artist’s Materials, Picture Frames, Wall Paper, Window Shades, Cornice Poles, Moulding, Etc,-434 Fourth St., Opp. Occidental Hotel.

Prominent among the beat stores of of the city is the one belonging to the above gentleman; it has been established for ten years, and was purchased by him three years and a half ago.

One of the largest stocks in this part of the state is carried by this house, and it is seldom that a patron asks for anything that is not forthcoming. The most of the stock ia shipped to this store direct from the east, thereby getting the lowest prices hy saving the middleman’s profit, and getting the newest and freshest goods. For this reason patrons are able to get at this store the finest goods at the prices that are charged at much larger cities.

Those wishing anything in the various lines carried could do no better than to call at this store.

– Sonoma Democrat, November 21 1896

A Beautiful Bloom

Thursday morning J. P. Stanley placed on exhibition in the window at the M. S. Davis undertaking parlors a beautiful variety of the chrysanthemum, an imported species from Japan. The bloom was greatly admired by a large number of people. The variety is known by the name, “Tbe Emerald,” or the green chrysanthemum of Japan.

– Daily Democrat, December 4 1897

Erected a Sarcophagus

On Wednesday Fisher and Kinslow of this city erected an elegant sarcophagus of Scotch granite in Stanley’s cemetery over the grave of the late Mrs. J. P. Stanley. A fitting tribute to the memory of that good woman.

– Press Democrat, February 26 1898

Collection of Indian Baskets

J. P. Stanley of this city has one of the best collections of Indian baskets in the state. For years he has been collecting the baskets and has them in many artistic designs. Al one time Mr. Stanley had over two hundred Indian baskets, which were very much admired. On Thursday when a Press Democrat reporter passed the undertaking parlors of M. S. Davis on Fourth street, Mr. Stanley was silting amidst a group of the dark gentlemen examining some of their handiwork in the shape of baskets. One of the little baskets which the Indians had, upon which probably work had been put on and off for three months or so, could have been bought for about ten dollars.

– Press Democrat, March 26 1898

At the Stanley Residence

At the residence of Mrs. J. P. Stanley about the last of this month, tbe ladies of ths Congregational church will hold an art exhibition, that is Mr. Stanley has consented to let them show off the many wonderful curios in the art line to he found at his home. Mr. Stanley has probably one of ths finest collections of Indian baskets on the Pacific coast, worth hundreds of dollars. Of tnese beautiful baskets he has over one hundred specimens. Then he has a number of paintings by the “Turner of America,” Keith; and also by Latimer and other artists. The art exhibition at Mr. Stanley’s should and will be a fine event.

– Press Democrat, May 7 1898

Art Exhibit at Mr. Stanley’s

On Friday afternoon and evening of this week the ladies of the Congregational church have an art exhibition at the residence of Mr. J. P. Stanley. This exhibit should prove a great attraction and should be well patronized, for everything choice in the art line will be on view. Mr. Stanley’s splendid collection of Indian baskets, the famous paintings which adorn the walls of his home, and other curios of endless variety and worth, will all be fonnd worthy of inspection, and the opportunity given should be embraced.

– Press Democrat, May 25 1898

THE ART EXHIBIT
Beautiful Display at the Home of J. P. Stanley
The Exhibition Will Remain Open this Afternoon and Evening—A Grand Success

Art in perfection was shown at the exhibition held under the auspices of the ladies of the Congregational church, at the pretty home of Mr. J. P. Stanley on Friday afternoon and evening. Rather, it should be said, Mr. Stanley kindly allowed the ladies the freedom of his “museum,” for such every room in the house could well be named, to exhibit to the public the many rare specimens in art collected by him, and in that way, by charging a small admittance fee, benefit their church.

Owing to the unpropitious weather the attendance on Friday was small. Realising that many who otherwise would have attended were prevented from doing so by the rain, the ladies have decided to keep the exhibit open Saturday afternoon and evening, when all who can should attend.

The exhibit is very nicely arranged in three rooms, not forgetting the elegant display in the hall.

Adorning the walls of the rooms are masterpieces of such renowned artists as Latimer, Keith, Deacon, Holdridge, Edmondson and Prof. Davenport, and some excellent work by Miss Edith Olson of this city.

Then there is to be seen one of the finest displays of Indian basket work in ths west, composed of scores of baskets of endless variety, made by Indians of many tribes; a display of minerological specimens from every quarter of the globe, a rare collection of antique china, and other delights of the antiquarian. Too much praise cannot be bestowed on the whole exhibit.

– Press Democrat, May 28 1898

A Unique Present

On Wednesday J.P. Stanley received a unique specimen to add to his famous museum of Indian relics. His friend, Dr. Hudson of Ukiah, sent him a “cowtee,“ or Indian dress made of bark. Mr. Stanley prizes this addition to his treasures very highly.

– Press Democrat, October 22 1898

Inspected Mr. Stanley’s Collection

Curator Wycomb, director of the Park museum, at San Francisco, spent Wednesday in Santa Rosa, the guest of J. P. Stanley. Mr. Wycomb came up to inspect Mr. Stanley’s fine collection of curios, and on Wednesday afternoon went up to Ukiah to see Dr. Hudson’s famous collection of Indian baskets.

– Press Democrat, January 28 1899

 Dr. Hudson of Ukiah, the well known expert on Indian baskets and relics, was the guest of J. P. Stanley.

– Press Democrat, September 13 1899

Amadee Joullin Visits Santa Rosa

Amedee Joullin [sic: Amédée Joullin], the famous painter of Indian life was in town on Thursday to Inspect J. P. Stanley’s splendid collection of Indian baskets and other curios. He was very much pleased. In conversation with a reporter Mr. Joullin said that Mr. Stanley’s collection of Indian baskets was certainly the most marvelous he had ever seen. He said he doubted very much if there was a more complete collection anywhere. In some of the baskets he said he found exquisite color blending. The other curios in the collection are very good. Such a collection, the visitor said, was worthy of a prominent place in one of the national museums. While in this city Mr. Joullin was the guest of C. H. E. Hardin at the Hardin residence on Fifth street. He returned to San Francisco on the afternoon train to be present at the reception given Bernard, the distinguished French architect, whose plans were accepted for the new buildings at the State University.

– Press Democrat, December 16 1899

Mr. Stanley’s Indian Baskets

J. P. Stanley was in Petaluma Wednesday in connection with Miss Connolly’s funeral. While there the Argus says that be sold his second collection of Indian baskets and relics to a representative of Mrs. Hearst. Some time ago Mr. Stanley sold his fine collection of baskets and curios for the art museum in Golden Gate park. He at once commenced work on a second collection and had gathered together a large quantity of baskets when Mrs. Hearst’s agent came along in quest of baskets. The agent was greatly taken by Mr Stanley’s collection and made him a good offer for it. In about a week the deal was closed and now Mr. Stanley is free to again commence a collection.

– Press Democrat, July 25 1901

Indian Baskets Bought by Mrs. Hearst

PETALUMA, July 27.– J. P. Stanley, a well-known collector of Indian baskets and curios, has sold his splendid collection of baskets and curios, has sold his splendid collection of baskets to Mrs. Phebe Hearst. Mrs. Hearst will donate the collection to the State University Museum. Dr. Philips Mills Jones secured the collection for Mrs. Hearst.

– San Francisco Chronicle, July 28, 1901

Mrs. Smith of San Francisco, a well known collector of Indian baskets was in town on Saturday.

Professor Wilcomb, curator of the Park Museum, San Francisco, was in town on Saturday, the guest of J. P. Stanley.

– Press Democrat, September 29 1901

Dr. J. W. Hudson of Ukiah. an authority on Indian relics and baskets, was the guest of J. P. Stanley on Wednesday.

– Press Democrat, May 22 1902

MAY BE INDIAN IDOL
Curious Specimen of the Ancients Unearthed while Man Was Plowing

While engaged in plowing on his place on the Guerneville road, three miles from this city, a few days ago, H. T. Noel unearthed what is considered to have been an idol of the nomadic tribes of Indians who formerly roamed about this country at will. It is a well preserved head and face presumably of an Indian god, carved in stone, with well defined features. Mr. J. P. Stanley, who is an authority on Indian habits as well as their skilful work along the lines of art, and others are of the opinion that the article discovered, which is now on exhibition at the Press Democrat office, is a valuable specimen.

– Press Democrat, January 28 1904

H. H. MOKE ASSUMES CONTROL OF BUSINESS

It is rumored on the best of authority that Herbert Henry Moke of the undertaking establishment of M. S. Davis will shortly assume control of the business by the retirement of its old and esteemed head, Mr. Davis. Mr. Davis has been in business here for thirty years and no man is better known or more generally respected than he is. He feels, however, that he would like to take a rest from business cares. Mr. Moke has been with Mr. Davis since boyhood and thoroughly understands the business in all its details. Mr. John P. Stanley, who has been connected with the establishment for many years will remain with Mr. Moke after he has taken over the business. It is rumored that the deal will be consummated in a day or two.

– Press Democrat, January 4 1905

The presence of Governor and Mrs. Pardee has added interest to several of the parties of last week, notably the dinner at the Woodward residence, and Mr. Spencer’s euchre party on Tuesday evening. Mrs. Pardee is especially interested in Indian baskets, and during her visit here, she visited Mr. John P. Stanley’s rooms with Mrs. Henry Hahmann, and enjoyed Mr. Stanley’s, collection of Indian curios and fine paintings.

– Press Democrat, December 17 1905

J P Stanley to H H Moke, July 27 07 —all int, rights and privileges in Santa Rosa Rural Cemetery.

– Press Democrat, July 31 1907

NOTED INDIAN PANITER A VISITOR IN THIS CITY

Dr. Hudson of Ukiah, accompanied by his wife, Grace Hudson, a noted Indian painter, were visitors in Santa Rosa yesterday, and were guests of John P. Stanley, an old-time friend of theirs. They witnessed the coronation of Queen Nancy, and will participate In the festivities today.

– Press Democrat, May 16 1908

BUYING INDIAN BASKETS
J. P. Stanley Disposes of a Number of Fine Specimens of Indian Work

Miss Grace Nicholson and A. Hartman of Pasadena, were in this city on Monday and while here bought from J. P. Stanley a number of Indian baskets and curios. The Pasadenans are traveling through this section. and in Mendocino and Lake counties buying baskets, etc. Miss Nicholsen buys for the collection in several of the large eastern museums. On Sunday she and Mr. Hartman, her brother-in-law, were in Healdsburg.

– Press Democrat, August 14 1908

J. P. STANLEY QUITE ILL AT HIS HOME

…Mr. Stanley, up to the present time, has led a very active life, despite his age, and it is hoped that this factor in a measure will help his recovery. Up to the fore part of the present year he has made regular trips to and from his business in Santa Rosa, hardly missing a day, and his genial face has been sadly missed by those who make the daily ride…

– Sebastopol Times, May 25, 1917

GRAND OLD MAN HEARS SUMMONS TO FINAL REST
James P. Stanley Crosses Great Divide Thursday Evening After Day of Unconsciousness at His Hill Home in Sebastopol.

AS GOOD and kindly a soul as ever breathed passed from earth into the presence of its Maker when John P. Stanley died on Thursday night.

 Nearly eighty-four years of age when the end came, his had been an active life almost up to the last. Of course, as legions of his friends will remember, the past few years he had manifested bodily weakness, but still his mind was bright and clear and he look pleasure in the things of life.

 Hundreds of friends today will pause as they read the death notice of the grand old man and will remember many of his kindnesses. For years his business had brought him In touch with hundreds of sorrow stricken hearts and on such occasions he was ever to the fore with the word that brought solace.

During the latter months of his life Mr. Stanley had suffered several severe illnesses and had more than once been in the shadowland, returning to diminished health and strength with the same, kindly smile and the same spirit of thankfulness that friends were so kind and attentive.

Wednesday night Mr. Stanley relapsed into unconsciousness and remained in this state until the end came on Thursday night in his attractive little bungalow on the hillside in Sebastopol, just across from his old and true friend. Arthur B. Swain, the latter and his good wife always most attentive to see that he had the little things that made life happier for him.

The deceased was a great lover of art. He was a warm friend of Artist William Keith, Mrs. Grace Hudson and Artist L P. Latimer and on numerous occasions they presented him with some of their choice paintings. Other artists had a firm friend in Mr. Stanley. As late as Christmas he received as a gift two of Keith’s pictures and a Hudson painting. He was an art connoisseur and many valuable works of art adorned his rooms. He was a great lover of pictures and antiques, old furniture and the like. He was also a profound lover of Nature and particularly her flower gifts. For years the Stanley garden here raised rare and magnificent chrysanthemums and other blossoms and they were his delight.

He was a friend to all alike. He loved children and young people and was never so pleased as when he was in their company. He used to tell the writer years ago that he liked to be in the company of young people. To this association he attributed his wonderful vigor when three score and ten had passed.

Years ago the deceased’s wife passed away here and her death was a great sorrow for the pioneer. He is survived by a son, James P. [sic] Stanley, and a grandson. Other relatives survive and are in the east.

In the death of Mr. Stanley Santa Rosa and Sebastopol and the community generally has lost an honored and upright citizen and all hope that there was an abundant entrance for his soul into the realms that are brighter than day as a toward for his uprightness of life and his smoothing of the pathway of sadness for so many while here below.

BIOGRAPHICAL SKETCH

John Preston Stanley was a native of Massachusetts and was born June 16 1834. His early years were spent on a farm but he later became a jeweler and came to California in 1858, settling In Amador county, at a place called “Olita,” an Indian word meaning “home.”

He remained there in business until 1867 when he went to Sutter creek and was in business there until 1873 when he went to Salinas and embarked in the furniture and undertaking business.

Mr. Stanley came to Santa Rosa in 1883 and engaged in the hardware business with two well-known residents of that day, under the firm name of Stanley, Neblett & Julliard, being located at Second and Main streets, the center of business activities of the city. His old partner, C. V. Julliard, passed away only a few weeks ago. [sic: The man involved was W. B. Stanley, not John, and that business failed in 1880]

He was for many years with the late M. S. Davis in the undertaking business and remained with the Welti Bros., when the latter purchased the business after the fire of 1906 up to within a few months ago when he was compelled to give up active life.

He became well known through his interest in art, his fine collection of paintings by California masters and his collection of Indian basketry and Indian relics.

The fire of 1906 had destroyed his then fine collection. among which were several fine Keiths, a loss that can never be replaced. Mr. Stanley at once began another collection and through his wide acquaintance was able to get a notable gallery together at his home in Sebastopol.

He was married in 1871 to Emily Goodwin of San Francisco, who died in 1896. One son survives, James F. Stanley. Deceased was a member of the Odd Fellows fraternity for more than 53 years and was a past grand of Salinas (California) lodge.

– Press Democrat, January 11 1918

J. P. STANLEY IS AT FINAL REST
Remains Taken to Mt. Olivet Cemetery Monday Following Funeral Services in Odd Fellow Hall Sunday.

The remains of the late John P. Stanley were taken to San Francisco and laid to their final rest in Mt. Olivet cemetery, as requested by the deceased before his death.

The funeral in Odd Fellows’ hall Sunday afternoon was very largely attended by members of the Congregational church and Santa Rosa Lodge of Odd Fellows, the two organizations under whose auspices the services were held and the many friends of the deceased…

– Press Democrat January 15 1918

TRIBUTE TO LATE JOHN P. STANLEY

Attorney Rolfe L. Thompson, an old and valued friend of decedent, delivered the eulogy which is remarkable for the temperateness with which the many and varied virtues of Mr. Stanley were exploited. He said in part:

[..]

His little bungalow on the hill overlooking Sebastopol, surrounded with a luxury of plants and flowers; embellished within by an unusual selection of antique furniture; an assortment of Indian baskets and curios, and rare paintings from the brushes of Keith, Latimer, Welch, Hudson and a number of other famous artists, was a veritable dream of comfort and pleasure, where his many friends were always welcome, and where they frequently enjoyed the hospitality of this grand and kindly man…

…Those who were fortunate enough to have visited his apartments in this city before the earthquake will recall with astonishment the rare and valuable canvasses from the brushes of noted artist which he then possessed; and the collection of Indian baskets probably never elsewhere equaled, and which was sold to Mrs. Heart for thousands of dollars.

These strange and silent children of nature – the basket-makers – were one and all his friends. They trusted and loved him. These great and famous artists were his personal friends, and highly prized his friendship. When the earthquake destroyed the business portion of our little city, he walked out of his rooms over a shattered pile of bricks and timbers, leaving behind him $20,000 worth of canvases to be consumed by the fury of the flames that swept the district. He loved his pictures, and the loss was a sad blow to him. But he soon accumulated – not so large or valuable – but a rare collection indeed. These, and memory, are all that is now left to us…

…Officiating as he has for many years in the burial of thousands of the dead, none could surpass him in the grace, the precision and the nice little details with which he ingratiated himself into the hearts of the bereaved families. With deft hands he arranged the tributes of flowers; with silent tread, well modulated voice and genuine sympathy he moved about and performed his task. It seemed marvelous that one who had experienced the trials attendant upon that now picturesque journey across the plains by means of the historic old prairie schooner and ox team; the rough life of the mining camps in the days of ’49, and the harrowing ordeal of caring for the dead, that it is possible to preserve so happy a disposition; such a love for art and literature and flowers and antiques, and such a genuine sympathy and pleasure in the company of his fellow men, as he possessed…

– Sebastopol Times, January 18, 1918

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53

YOUNG BRAINERD JONES

Jeff Elliott Leave a comment

If it can be said that there was a renaissance period of American architecture, then it had to be San Francisco in the 1890s. The city was vibrant with possibility; buildings were being designed that had never been imagined before. And in the middle of this was a twenty-something young man from Petaluma who was absorbing it all.

(This is the final part of a presentation made at the Petaluma Historical Library & Museum on October 20, 2018. Part one, “THE MAKING OF BRAINERD JONES,” explained how Queen Anne style and Shingle style architecture came about and became the groundwork for his career, and that his early clients were likely hyper-literate about trends in modern architecture because of the profusion of articles in popular magazines.)

Was Brainerd Jones a genius? A genius is not simply a person with a big grab bag of tricks and techniques. Whether he was a genius or not I can’t say – but he was certainly a very fine architect.

Or can we say any of his work qualifies as a masterpiece? A masterpiece is more than the sum of its parts, checking off items from a list of what’s considered attractive and pleasing – at the time. To weigh the merits of a work of nice architecture, I like to play a game called, “How easy would it be to screw this up?”

Today’s Petaluma Historical Library & Museum

 

Instead of bringing sand-colored stone from the quarry at Stony Point, Jones could have used basalt from McNear’s quarry less than a mile north of town. Besides being locally sourced, the dark gray stone would have matched Santa Rosa’s Carnegie Library, which was built in 1903.

 

Santa Rosa’s 1910 post office (now the Sonoma County Museum) is a Beaux Arts-Neoclassical-Spanish Colonial mashup with a tile roof and a portico with Corinthian columns. (MORE)
Why not a clock tower for an important public building like the town library? In 1907, John Galen Howard, one of the top architects on the West Coast, designed a lovely Beaux Arts building for a bank in downtown Santa Rosa. But the elegant architecture became merely a base for the clock tower that harkened back to the too-busy Second Empire style from about forty years before. (MORE)

 

Brainerd Jones was born in Chicago in 1869, moving to Petaluma at age six after his father died. As a teenager he was recognized at the local fair for his drawing skills and his ability in “netting,” which is a kind of crocheting. He supposedly took art lessons from Max Roth, a marble cutter and monument maker who had a yard on Western ave. The first sighting as an adult (at least, that I can find) is as a carpenter in Tiburon in 1892, and a carpenter in San Mateo the year after that. His first known professional gig was as a draftsman in 1896 for the construction firm McDougall & Son. This was not a prestigious place to work; although their main offices were in San Francisco, between 1894-1897 most of their work was around Bakersfield building hospitals, schools and jails. The successor business, McDougall Brothers, became quite important after 1906 and remained so for the next twenty years. That was long after Jones was gone, however.

 

The San Francisco that Brainerd Jones knew was still a gaudy party town, but by the mid 1890s it was quickly developing a reputation for cultural and intellectual advancement. The 1894 Exposition in Golden Gate Park celebrated the city’s progress and drew 2.5 million visitors.

 

This world’s fair also brought the city its first art museum with this odd, neo-Egyptian building which became the de Young after the fair. It was destroyed int the 1906 quake.

 

This was also a time of heated politics and all kinds of activism. Architecture was no exception; In “the Wave,” the leading local periodical of literature and the arts, Willis Polk savagely attacked the popular Queen Anne style, with photos of “monstrosities” on “Chaos Avenue.” After the 1906 earthquake, Polk would play a key role in the “City Beautiful” reconstruction of San Francisco.

 

The excitement wasn’t contained to San Francisco. Berkeley and Oakland were becoming the intellectual centers of the Bay Area, thanks in part to the growth of UC/Berkeley. Like the wildly inventive Shingle style buildings seen in part one, there were plenty of innovative homes being built in Piedmont and the Berkeley Hills. Although Jones only lived four or so years in San Francisco, imagine being twenty-something and having all this swirling around you – there was probably no better time or place in American history to be studying architecture.

 

Just as the Shingle style had architects arguing over “unity,” the byword in artistic Californian circles was simplicity in all things, and living in surroundings as natural as possible. Poet Charles Keeler, whose Maybeck home was shown in part one, wrote: “The home must suggest the life it is to encompass. The mere architecture and furnishings of the house do not make the man any more than do his clothes, but they certainly have an effect in modifying him.” The popular architecture magazines discussed the philosophy of John Ruskin, with “Ruskin Clubs” in America joining the movement already in England. In this photo c. 1901, the man seated on the far right is Jack London.

 

Jones moved back to Petaluma in 1898, where he registered to vote and gave his profession as “glassman,” which presumably meant someone who worked in leaded and stained glass. This window is from the dining room in a 1901 home designed by Jones. In the 1900 census he’s listed as an architect living on English street.

 

Jones’ first known commissions came from sisters Mary Theresa and Helen Burn in 1900 and 1901 (MORE on the Burn family). They lived in Petaluma from 1900 to 1907, but why they came here is unknown; they previously lived in Chicago and were originally from the Kitchener, Ontario area. Mary – who went by the name, “Miss M. T. Burn” – had a business on Main st. where she taught and sold “fancy work” (embroidery). The four cottages they commissioned were scattered on both east and west side lots. One is definitely lost, one can’t be found (and may not have been built) and one has been heavily modified.

 

The best surviving Burn cottage is at 332 Post street and is firmly in the popular Queen Anne cottage style, using spindlework to frame the porch. This was the last of the four Burn commissions, being built in late 1901.

 

The Byce House at 226 Liberty street also dates to 1901. It’s mostly a conventional Queen Anne with a corner tower and the usual fish scale shingles.

 

The window pediments and ornamental molding around the attic window are neoclassical, but all the finials are gothic, as is the metalwork around them on each gable.

 

Compare the Byce House wit the 1904 Harriet Brown House at 901 D st. They share some similarities, such as the porte-cochère, but this house might be his most conservative design. Victorian neoclassical elements are everywhere, from the widow’s walk at the top to the profusion of finials to garlands on the columns. Of interest is the use of two elements that would become Brainerd Jones’ signatures: The “union jack” pattern (actually classical Roman) and deconstructed Palladian windows. Note the bit of whimsy in the attic gable, which has a broken pediment inside another broken pediment.

 

Jumping back to 1901, a third Queen Anne built that year was the Lumsden House at 727 Mendocino Avenue in Santa Rosa. Today the front view is obscured by mature foliage

 

The stained glass seen earlier was from the Lumsden House; here is another example.

 

Like the other two homes we’ve seen from 1901, the Lumsden House is firmly American Queen Anne style. This was probably the busiest year of his career, with no fewer than nine houses under construction. At the exact same time this was being built, the Blitz Paxton House was going up next door.

 

Although the building was torn down in 1969, its footprint can be seen on the old fire maps. Guesstimating from the irregular shape, Paxton House was between 6,500 and 7,000 square feet – the largest residence Jones ever designed (MORE). As far as I know, Jones was the only architect who designed in both the popular Queen Anne style and the more artistic Shingle style.

 

In my opinion, this was based on the 1892 Anna Head school seen earlier. They have the same massing – a wider than usual building with a heavy roof. This view of the Paxton House clips off the southern end, but in the previous image it can be seen there was a significant gabled extension projecting out from the main building. Although the face of both buildings is anything but flat, they share deep eaves and a second floor slight overhang which creates a shadow to emphasize the horizontal lines. Both used decorative corbels to lend an illusion of support for projecting walls. Even if all the similarities were coincidental, they shared an unusual design for the entrances, with the front door recessed several feet and steps coming up sideways, from the left. The porch landing is concealed by a parapet, and we know from the family photos the Paxtons used this as part of their main outdoor living area, which was in keeping with the design principles of the artistic shingle architects.

 

Three years later, Jones designed another Shingle style house for Paxton’s friends who lived two doors down on the same block. Now known as Comstock House at 767 Mendocino avenue, the two houses must have made quite a statement. 

 

Seen here just after completion in 1905, the house had an astonishing number of windows and many whimsical features. Almost everything appears off-center; left/right, front/back views of the house are never symmetrical. The right sides of the gambrel gables are uncompleted (but on the east and south side only) and on south end of the porch is a decorative giant corbel that appears to be supporting the top floors. The deconstructed Palladian attic windows are above another set of deconstructed Palladian windows. In his directions to the contractor Jones even embraced the radical ideals of Wills Polk and specified no paint was to be used on any wood, inside or out; architecture, in this view, a house was no different than fine, artisan furniture.

 

But the design also shows Jones was closely following the new architectural ideas appearing in magazines, particularly Stickley’s “The Craftsman.” In 1904, Jones painted this concept shortly after Stickley published the design seen here inset. These designs would have been structurally unstable because the upper portion of the gambrel roof was too broad; the static load would have predominantly pushed outward instead of downward. As a result, Stickley’s design and this one would have probably flung itself apart under stress – such as the 1906 earthquake. That he copied Stickley’s roof profile makes another point: Jones – and most architects of his day – were terrible engineers.

 

This photo from 2006 before restoration began shows Jones also did not understand the physics of water on this type of roof. Note previous owners installed a rainstop at the end of the roof to slow the deluge in a heavy rain. The problem was that over two-thirds of the water would shoot down the small portion of the roof seen here on the left. The solution was to add gutters twice as wide and deep as the original plus a diverter where the angles change.

 

Several houses Jones designed in the 1910s seem derived from Stickley’s Craftsman Homes, but he was very much in touch with other modern trends. His 1908 design for the Saturday Afternoon Club in Santa Rosa (MORE) was in synch with the the Arts and Crafts movement’s cottage style now called “First Bay Tradition.”

 

Let’s end this survey of young Brainerd Jones with the earliest known picture of him. Here he is, age 39, at the groundbreaking for the clubhouse just mentioned. As you can see, he was a short man and was apparently sensitive about that; in the voter registrations his height kept growing from 5′ 6-3/4″ to 5-7 and then 5-8. But at this point in his life he had designed at least 25 homes as well as commercial buildings and a remarkable public library. Should he have retired on this day he would still have left a towering legacy – but he remained working at his drafting table for another 37 years.

 
So let’s ask again the questions I raised at the beginning.

Was he a genius? It’s jaw-dropping that he accomplished this work with his minimal training and education apparently limited to what he read in magazines and saw on the street. Yes, his lack of engineering caused some of his buildings to be flawed, but so were many of the works of Frank Lloyd Wright.

Were his designs architectural masterpieces? I would argue the Petaluma Museum qualifies. It’s neoclassical but also original, with yet another take on deconstructed Palladian windows. And then there’s the stained glass dome – something usually found in upscale hotels and businesses or churches. And that raises another “how easy it is to screw up” test; since this is a library and patrons are supposed to be looking down at books, wouldn’t clear skylights and hanging drop lights be more practical?

I believe every home he designed was considered a masterpiece by its original owner. Each was designed to fit their tastes and lifestyle like a glove. Mrs. Brown obviously wanted an old-fashioned design and Jones gave it to her, yet without larding on Victorian ornamentation. Blitz Paxton wanted the biggest house in town so he and his wife could throw lavish parties. And Jones gave him that, plus an ultra-modern look which dialed it up to bring attention to his ostentatious lifestyle.

That, I think, was Brainerd Jones’ real genius; he listened intensely to his clients so as to fully understand what would make them happy. The design became a collaborative effort.

And this also shows he deeply understood the principles of John Ruskin. When you live in a house that has been put together thoughtfully – even a simple California craftsman cottage – it has an impact on your outlook every day. Coxhead, Polk, Maybeck and other California architects at the time also knew this; it was about something deeper than picturesque street views – it was about creating art someone actually lived in.

 

 

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25

THE MAKING OF BRAINERD JONES

Jeff Elliott 1 Comment

Brainerd Jones designed high-fashioned mansions and simple homes; he was adept with both the old styles and the avant-guarde. If there was any other architect as versatile as this, I do not know who it is.

But he had no formal training. He did not study architecture at any college, nor did he apprentice at a major architectural firm. His only credentials were having worked as a carpenter and a draftsman. Yet there he was at the turn of the century, hanging out his shingle as an architect.

This is the first part of a presentation made at the Petaluma Historical Library & Museum on October 20, 2018, and explains the developments in late 19th century architecture which had the most impact on Jones. Part two covers his background and some of his residential architecture up to 1906.

When Brainerd Jones was born in 1869, America was mainly a nation of plain Greek Revival farmhouses, federal style and assorted regional styles that didn’t travel very far from where they emerged. Builders had limited skills and worked without plans, having previously built nearly identical houses many times before. Builder’s guides and manuals often only contained directions on how to best follow classical principles and apply decorations.

 

Modern American architecture started after the 1876 Centennial Exhibition in Philadelphia as a wave of nostalgia swept the country for the first time. Probably driven in part by escapism from hardships of the ongoing Long Depression, popular books and magazines glorified America’s colonial past with sentimental tales of Revolutionary days of yore, illustrated with drawings of cozy cottages and Elysian farms, where everyone supposedly lived and worked in harmony and fought the heroic cause (the bloody and divisive Civil War had also ended just a few years before, remember). All things colonial became fashionable again, particularly furniture and building styles.

 

Fairgoers also packed a replica New England Kitchen of 1776, where they could interact with players in colonial costumes.

 

Pavilions representing the states, such as this one for Illinois, exposed the limited range of American architecture, where the Gothic style loaded with ornamentation was considered the ideal design.

 

At the fair visitors encountered architecture completely unlike anything back home. Most talked about were the Queen Anne style buildings at the British compound. In England this revival style already had been popular for several years.

 

The “Japanese Dwelling” presented an architectural esthetic with simple, clean lines and the highest craftsmanship; an observer said it was “as nicely put together as a piece of cabinet work.” Inside was an open floor plan without doors or even permanent interior walls. The Atlantic Monthly commented it made everything else look “commonplace and vulgar.”

 

About ten million people attended the fair, the equivalent of 1 in 5 Americans. Victorian Gothic, with its busy gingerbread ornamentation quickly lost popularity as American Queen Anne began evolving as the popular favorite nationwide. This house still has lots of scrollwork but also many of the curvy elements of Queen Anne, including a gazebo wrap.

 

Another transitional Queen Anne, with more curved surfaces and a prominent, irregular roof.

 

In a remarkably short time, Queen Anne evolved into the style we all recognize today, in all its boundless variations. But American Queen Anne lost all relationship to its historic roots; it was popular because it was a new, highly picturesque style.

 

Where the Pacific states were usually slow to adopt new trends from the East Coast, Queen Anne emerged simultaneously throughout the country; this is the 1881 Atherton House in San Francisco.

 

One reason Queen Annes caught on so quickly was because there was now a trade magazine that taught builders how to make those turrets and other unfamiliar elements. American Architect and Building News – which also appeared in the Centennial year of 1876 – did much to standardize construction methods nationwide.

Through the late 1880s and 1890s, Queen Annes sprouted like mushrooms all over San Francisco.

 

 

Let’s rewind back to the Centennial Exposition to meet the birth of Queen Anne’s twin. Now called “Shingle Style,” it was really Artistic Queen Anne, created by a cadre of East Coast architects, particularly the firm of McKim, Mead and White. It mixed the Tudor elements with aspects of the Japanese building. Usually wider more than tall and with a prominent roof, the designs incorporated as many windows as possible and open interiors, which transformed hallways and vestibules from mere circulation corridors into living spaces.

 

Unlike the popular Queen Anne style with its flashy look, these architects were consciously trying to create artistic houses that looked as if they could be centuries old. Plain shingles were sometimes aged in buttermilk or painted the color of moss. These homes had minimal ornamentation; notice here the fine latticework that suggested Asian wicker or rattan. (For more background, see my history of the East Coast Shingle Style, “Behind the Design” with illustrations and footnotes.)

 

In the letters section of magazines like American Architect and Building News and Harper’s, philosophy and aesthetics were hotly debated. For some it was a crusade to forge a unique style of American architecture, while others argued a higher objective was “unity,” which meant in part that a building must be in harmony with its setting.

 

And some designs look ultra-modern even today.

 

These mammoth “cottages” were commissioned by the wealthy families of the Gilded Age living in Newport and elsewhere in New England. This is Elberon, New Jersey, which was the Newport for the nouveau riche.

 

While popular Queen Anne was immediately embraced by San Francisco, it took ten years for Shingle Style to arrive. The city had a reputation as a provincial backwater indifferent to the arts, including architecture. Big commissions for commercial buildings went to firms in Chicago and New York. A. Page Brown opened an office in 1889 on a trial basis and soon found himself swamped with clients. Brown hired Willis Polk, Alexander Oakey and other A-team architects from the East who had been associated with McKim, Mead and White. Bernard Maybeck worked with Brown’s firm on and off for several years.

 

This 1890 card party at Willis Polk’s apartment included Ernest Coxhead, whose designs straddled Shingle Style and the British Queen Anne Style. All of them were with a few years of Brainerd Jones’ age, as was Julia Morgan, who would be studying under Maybeck at UC/Berkeley in the following years. The man on the far right is Soule Edgar Fisher. (Photo: On the Edge of the World: Four Architects in San Francisco at the Turn of the Century, Richard Longstreth)

 

Fisher’s 1892 Anna Head school in Berkeley was firmly in the East Coast Shingle Style, avoiding any ties to popular Queen Anne. Here are some others:

 

A. Page Brown’s Crocker Old People’s House in San Francisco, 1889.

 

Coxhead’s Carrigan House, San Anselmo, c. 1895

 

Coxhead’s Beta Theta Pi Chapter House in Berkeley, 1893

 

Coxhead’s Churchill House 1892 Napa, now Cedar Gables Inn

 

Maybeck house for Charles Keeler, 1895

 

Hearst’s Wyntoon, which involved Willis Polk, Bernard Maybeck and Julia Morgan

 

Coxhead’s 1890 St. John’s Episcopal Church in San Francisco

 

American Queen Anne and Shingle style architecture are two of the three significant influences on Jones as he began his career. The last element was the news stand. Trade periodicals had taught builders how to make a Queen Anne but in the mid-1880s, general public interest in home design was strong enough to support periodicals. Shoppell’s was the most popular, selling about 10,000 copies of every issue by the turn of the century.

 

George Barber’s pattern books were the other main source for “mail order houses.” More than anyone else, Barber established the American Queen Anne style. His firm sold plans for over 20,000 houses, but it’s likely a far greater number of houses were built without buying blueprints, instead improvised from the floor plans and basic drawing shown in his pattern books.

 

Barber launched his monthly “American Homes” in 1895 to appeal to a wider audience of people who may not be building in the near future. The magazine included poetry and general interest articles with many photographic illustrations.

 

Keith’s Magazine was somewhat like the nerdy Popular Mechanics/Popular Electronics magazines of the mid 20th century. Plenty of DIY projects and technical articles aimed at builders and architects. When Barber’s American Homes ended publication the firm’s designs were featured here.

 

Magazines with enormous circulations such as House Beautiful began presenting readers with more articles about modern trends in residential design. Even Country Gentleman, the oldest magazine aimed at rural America, began running articles about modern architectural design. (This issue is from much later, but the cover is a personal favorite.)

 

Gustav Stickley’s The Craftsman was a true general interest magazine, with short fiction, poetry, children’s stories as well as in-depth articles about all kinds of art, particularly fine furniture and home decoration. The magazine popularized the word, “bungalow” and nearly every issue included a “Modern Craftsman” house design following the clean look of the Arts & Crafts movement, free of decoration and with exposed construction elements, Stickley’s houses meshed with the philosophy of John Ruskin, who promoted skilled craftsmanship and the pleasures of a simpler way of life.

 

A group of magazines such as shown above is probably what Brainerd Jones saw on the coffee table (or dining room table, more likely) when he first met with a new client. With so much exposure to modern architecture through popular media, they probably already had strong opinions about the kind of home they expected Jones to design, making it more of a collaborative effort with the architect than we have today, where a client is expected to pick a design from the contractor’s brochure. This helps explain why Jones’ work represents so many different styles.

 


NEXT: YOUNG BRAINERD JONES

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