This house probably dates from the 1870s, making it much earlier than the city neighborhood that filled in around it. Because Point Breeze is such a desirable neighborhood (this house is just around the corner from the Frick Art Museum), it has been worth the expense to restore this house to something like its original appearance.
Looking for something else entirely, old Pa Pitt accidentally solved a mystery that had struck him back in May, when he photographed the First Church of the Brethren in Garfield. At that time, he had thought that the attached parsonage was “in an extraordinarily rich and accurate Tudor style for such a small house.”
It turns out that the little house was by a big architect: John T. Comès, probably our most prolific architect of Catholic churches, and one—not surprisingly—known for his love of accurate historical detail. He was working for Beezer Brothers at the time, and he exhibited this drawing at the Pittsburgh Architectural Club’s 1900 exhibition:
Here is how one critic described the drawing:
Mr. John T. Comes renders an admirable Pastor’s Residence for “First Brethren Church,” by Beezer Brothers, which leans hard to an old church and breaks away from the sidewalk in a most happy manner, winding up the stone stairs to a reserved and “strong door.” The drawing itself is a happy one. The pots on the chimney are swelling beyond redemption.
The front has been replaced by a later porch, but otherwise Comès’ happy little house survives much as he drew it. And Father Pitt is delighted to add one more to the known works of a remarkable artist.
This house has a sign in front identifying it as “Graswick” and telling us that it was built in 1873. This spares old Pa Pitt a lot of research, and he suggests that all owners of historic houses should imitate the owners of this one. It is perched on the side of a steep hill, and it has a magnificent view straight down High Street to the town and the Pine Creek valley below.
These three Queen Anne duplexes were once identical, or nearly so. Each one has had separate adventures, and each one has preserved some details and lost others.
This one probably preserves the original appearance best, though it has lost the stained glass in the parlor windows.
This one has suffered badly from separate ownership of the two sides. Some contractor charged quite a bit of money for mutilating the left-hand side. The right side has also been modernized, but with more taste, using windows that are the right size and shape for the wall.
This one has had similar alterations, but at least the parlor windows have not been filled in with toy blocks.
Old Pa Pitt is constantly surprised by the number of Pittsburgh homeowners who say, “I hate all that natural light and fresh air! Block in those big ugly windows and give me just enough glass to see what the weather is out there.”
The Bellevue line just narrowly misses this house, making it the first building in Avalon outside Bellevue, and the first on California Avenue outside the city, since California Avenue turns into Lincoln Avenue while it passes through Bellevue. The house was used as the Orion C. Pinkerton funeral home, but when old Pa Pitt took this picture a few days ago, the house was for sale.
This is clearly the work of an architect rather than just a builder, and enough details are preserved that it would be worth restoring. That blank spot above the awning, for example, probably had a stained-glass window in it, and it could have one again.
The off-center front door bothers Father Pitt. He finds it hard to imagine an architect designing the house that way originally. Yet the ornamental brickwork above the door matches that above the windows, as if it had always been that way. At the cost of making the picture look a little artificial, Father Pitt has compressed the shadows and highlights to make the details under the porch roof mire visible: enlarge the picture and judge for yourself what is going on with that front door.
Father Pitt has featured this row of modest but attractive houses with Romanesque details before, but he decided to get some better pictures of the whole row while the sun was shining on the front. The composite picture above gives us a very good impression of the row as a whole, and you will probably notice that the houses are not the same width. The two at the left are wider than the rest. You might think that meant they were bigger, perhaps designed to rent for more money, but you would be mistaken. The houses are not rectangular: 24th Street marks a kink in the street grid of the South Side. The change in width distributes the area more evenly among the houses on their trapezoidal lot: the narrower houses are also deeper.
The houses were built as rental properties in the 1890s, to judge by the fact that they appear first on the 1903–1906 layer at the Pittsburgh Historic Maps site, all owned by one Jonathan O. Phillips, who owned the empty lot in 1890. Mr. Phillips still owned the row in 1923, the last layer on the map where property owners are marked.
From the Fox Way end of the row. Note the extension behind the last house.
The Sidney Street end of the row, where the houses are wider but shallower: note the lack of extension behind.
From the parking lot across the street.
Father Pitt was out for a walk yesterday and suddenly realized that he had spotted an odd anomaly: a country I-house with a neat little yard and a fence and gate—but that’s the top of the Birmingham Bridge right behind it. A little research confirmed what he suspected. This old house is a rare, and maybe even unique, survivor from the time before this part of the South Side was urbanized. It appears on the 1872 layer at the Pittsburgh Historic Maps site, where it is an isolated house along the river in a section the urban sprawl has not reached yet. It belonged to Mrs. Sarah M. Phillips, whose property went all the way back to the river, the banks of which were as yet unencumbered by railroad tracks. The house has been much altered externally, with fake siding and new windows with fake shutters, but the shape (as viewed by satellite) is the same today as on the 1872 map.
The big blue “CONDEMNATION” sticker appeared on a fine Italianate rowhouse in the 1100 block of Sarah Street a while ago, and old Pa Pitt decided to document the house before it vanished. You can imagine how delighted he was to find that the blue sticker is gone and the house is under renovation, with new windows installed already.
Nothing can stop a contractor from installing Georgian-style fake “multipane” windows, which contractors think of as the mark of quality, even when they are completely inappropriate for the style of the house, and even when the “panes” are false divisions made by laying a cartoon grid over a single sheet of glass. But at least these windows are the right size for the holes, and therefore no lasting damage has been done. Father Pitt would guess that a house like this originally had two-over-two windows: see, for comparison, this house of similar age Uptown.
The woodwork is a bit tattered, but we hope it can be preserved.
This transom is crying out for an address in stained glass. Emerald Art Glass is only a dozen blocks away.
Of course Father Pitt could not leave without documenting this fine breezeway.
Like the windows, the front door is a standard model that fits properly and could be replaced with a more appropriate style later by a more ambitious owner.
We often see diamond-shaped asbestos-cement siding like this in neglected neighborhoods, but seldom in such good shape. Note that this old house, which old Pa Pitt would tentatively date to the 1870s, has also preserved its fine Victorian woodwork in front. The original wood siding can still be seen under the porch roof.
The splendid Queen Anne mansion next door looks as though it needs a new roof, but is otherwise in a good state of preservation.
The 2100 block of Sidney Street has some of the finest high-Victorian houses on the South Side, and several of them have unusual decorative details worth a closer examination. Old Pa Pitt took an evening stroll down Sidney Street the other day and, as always, came back with a few pictures. We’ll start with No. 2109. Note the multiple shapes of roof slates, the woodwork in the dormers, and the rusticated lintels in the picture above.
Since we have fifteen pictures, we’ll put the rest below the fold to avoid slowing down the main page for a week.
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