By Nathalie Belkin, Lead Processor; Gabriella Carl-Johnson, Kay Menick, Sara Fetherolf, Erin Allsop, Jessica Mack, and Katie Alleman, Interns
Title: Architectural Drawings and Blueprints, c. 1880s-1990s
Predominant Dates:1910-1930s
Extent: 0.0
Subjects: A. Faranda and Son, Acea family, Agoglia family, Altar to Liberty: Minerva, Architectural Drawings, Architecture, Arnold, K.F., Arnold, N.B., Arnold family, Art nouveau (Architecture), Bahrenburg, John H., Bahrenburg family, Barclay family, Barrow, ME James T., Barrow family, Barthman family, Beaux-Arts architecture, Benisch Bros. Monumental Works, Blueprints, Bourne family, Bromell family, Brown, John W., Brown family, Buildings--Design and construction, C.E. Tayntor & Co., Cemeteries--New York (State)--New York--History, Cinerary urns, Colyer family, Cushman, Eugene, Cutting, James D.W., Cutting family, Daly, Margaret, Daly family, Davis Granite Co, Architects and Contractors, de Aldama family, DeLaCour and Ferrara, Delafield, Major Rich D., Delafield family, Dewey family, Doerschuck family, Dunne family, Egyptian revival (Architecture), Euler family, Farrington, Gould and Hoagland, Feitner, John, Felzmann family, Flagg, Ernest, Gilbert family, Goodnough family, Gothic revival (Architecture), Gould, J. R, Gould, James S., Gould family, Green-Wood Cemetery--New York, N.Y., Greve family, Griswold family, Hapgood family, Harder family, Harrison Granite Co., Havemeyer family, Heins and La Farge Architects, Higgins, Charles, Higgins family, Hillside architecture, Hoffman & Prochazka, Designers, Sculptors, and Builders, Horn, Alfred E., Horn family, Howland family, John Thatcher & Son, Kampfe family, Kenneth, W.D., Lawrence family, Lingard family, Ludlum, Emma R., Ludlum family, Martin, Robert, Martin family, Mausoleums, McAlpin family, Murdock family, Obelisks, Parish family, Parsons family, Penn Brass and Bronze Works, Pitbladdo Monumental Works, Polak family, Presbrey-Coykendall Company, Presbrey-Leland Monument Company, Renwick, Aspinwall, and Tucker, Reynolds family, Riley family, Ritzheimer family, Robinson, F. Delancey, Romanesque architecture, Rosanelli family, Ruckstull, F. W. (Fred Wellington), 1853-1942, Sands family, Sarcophagi, Sculpture and architecture, Sepulchral chapels, Sepulchral monuments, Victorian, Sepulchral monuments--New York (State)--New York, Sepulchral monuments--United States, Sepulchral monuments industry, Smallman, Thomas F., Smallman family, Somers family, Stephens, Annie W., Stephens, Benjamin F., Stephens family, Stevenson family, Stone, Gould, & Co, Designers and Builders, Sullivan, John W., Sullivan family, Texter family, Tiefel family, Tombs & sepulchral monuments, Torrio, Johnny, Torrio Family, Umberto Innocenti and Richard K. Webel, Landscape Architects, Underground architecture, Upjohn, Hobart, VanRensselaer family, Vaults (Sepulchral), W.F. Benedict & Son, W.W. Leland Co. Inc., Walsh, James F., Warren & Wetmore, Wesselman family, Wood family, Woolley family
Languages: English
The Architectural Drawings and Blueprints collection contains over 150 separate series of designs, each of which has one to around 20 individual drawings. Each series represents designs for a mausoleum or other architectural feature at Green-Wood Cemetery.
Most of the designs are for private family mausoleums, although the collection also includes blueprint materials for the historic Green-Wood chapel designed by Warren & Wetmore, alterations made to the Fifth Avenue gate, and plans for the mid-twentieth-century Columbarium. Other notable features in the collection include the Higgins mausoleum series, which contains photographs and early designs of the famous Battle Hill monument Altar to Liberty: Minerva by sculptor F. Wellington Ruxell. Many additional series may include more famous names in New York City history, such as those for the Cooper-Hewitt family and the Torrio family.
The majority of these drawings are printed on large blueprint paper, although there are a significant number of series that contain original drawings on tracing paper or drafting linen, as well as prints on Mylar, photocopy paper, or other reproduction materials. Many series also contain specifications documents—legal agreements between the architectural firm and the cemetery, which outline the plans, materials, and workman regulations for construction. In some cases, there is additional material, such as correspondence with lot owners and alternate mausoleum designs.
The collection’s dates range from the 1880s to the 1990s; the majority of the mausoleum designs were created between 1910 and 1930, at a time when it was widely popular among upper-class families to have a mausoleum or vault in which to inter their deceased relatives. Many architects of the time specialized in mausoleum design. Architectural firms that produced a large number of mausoleum designs in this collection include the Presbrey-Leland Monument Company, John Feitner Architects, and the Harrison Granite Company.
Researchers may wish to consult a specific series, which can give an interesting insight into the family in question, or they may wish to look at multiple series in the collection, in order to gain an example of the way construction and design aesthetics changed over time. The collection is a particularly valuable example of the way cemetery architecture developed in its golden years, particularly because many of the wealthiest and most prestigious New York families chose to be interred at Green-Wood.
The collection is currently stored in two locations—some material is in the Green-Wood archives, while many other blueprints are kept in the surveyor’s office of the administrative building. The container list has additional information on each item in this significant and highly variable collection, including notes on the date of designs, the architectural firm that created the drawings, and information on the size, condition, markings, and design features of each piece. All blueprint materials have been scanned and are digitally available; a preview of the image file is attached to each item. High-resolution images of each scan are available upon request.
The material is in varying condition, and embrittled drawings have been encapsulated in Mylar to ensure preservation.
The Green-Wood archives hold additional records acquired from the Presbrey-Leland Monument Company relating to Green-Wood Cemetery, and researchers may find it useful to consult this collection in conjunction with the Architectural Drawings and Blueprints.
A. Faranda and Son
Acea family
Agoglia family
Altar to Liberty: Minerva
Architectural Drawings
Architecture
Arnold, K.F.
Arnold, N.B.
Arnold family
Art nouveau (Architecture)
Bahrenburg, John H.
Bahrenburg family
Barclay family
Barrow, ME James T.
Barrow family
Barthman family
Beaux-Arts architecture
Benisch Bros. Monumental Works
Blueprints
Bourne family
Bromell family
Brown, John W.
Brown family
Buildings--Design and construction
C.E. Tayntor & Co.
Cemeteries--New York (State)--New York--History
Cinerary urns
Colyer family
Cushman, Eugene
Cutting, James D.W.
Cutting family
Daly, Margaret
Daly family
Davis Granite Co, Architects and Contractors
de Aldama family
DeLaCour and Ferrara
Delafield, Major Rich D.
Delafield family
Dewey family
Doerschuck family
Dunne family
Egyptian revival (Architecture)
Euler family
Farrington, Gould and Hoagland
Feitner, John
Felzmann family
Flagg, Ernest
Gilbert family
Goodnough family
Gothic revival (Architecture)
Gould, J. R
Gould, James S.
Gould family
Green-Wood Cemetery--New York, N.Y.
Greve family
Griswold family
Hapgood family
Harder family
Harrison Granite Co.
Havemeyer family
Heins and La Farge Architects
Higgins, Charles
Higgins family
Hillside architecture
Hoffman & Prochazka, Designers, Sculptors, and Builders
Horn, Alfred E.
Horn family
Howland family
John Thatcher & Son
Kampfe family
Kenneth, W.D.
Lawrence family
Lingard family
Ludlum, Emma R.
Ludlum family
Martin, Robert
Martin family
Mausoleums
McAlpin family
Murdock family
Obelisks
Parish family
Parsons family
Penn Brass and Bronze Works
Pitbladdo Monumental Works
Polak family
Presbrey-Coykendall Company
Presbrey-Leland Monument Company
Renwick, Aspinwall, and Tucker
Reynolds family
Riley family
Ritzheimer family
Robinson, F. Delancey
Romanesque architecture
Rosanelli family
Ruckstull, F. W. (Fred Wellington), 1853-1942
Sands family
Sarcophagi
Sculpture and architecture
Sepulchral chapels
Sepulchral monuments, Victorian
Sepulchral monuments--New York (State)--New York
Sepulchral monuments--United States
Sepulchral monuments industry
Smallman, Thomas F.
Smallman family
Somers family
Stephens, Annie W.
Stephens, Benjamin F.
Stephens family
Stevenson family
Stone, Gould, & Co, Designers and Builders
Sullivan, John W.
Sullivan family
Texter family
Tiefel family
Tombs & sepulchral monuments
Torrio, Johnny
Torrio Family
Umberto Innocenti and Richard K. Webel, Landscape Architects
Underground architecture
Upjohn, Hobart
VanRensselaer family
Vaults (Sepulchral)
W.F. Benedict & Son
W.W. Leland Co. Inc.
Walsh, James F.
Warren & Wetmore
Wesselman family
Wood family
Woolley family
The Higgins Mausoleum is particularly significant because it includes plans for the famous Minerva “Altar of Liberty” statue, located on Green-Wood’s Battle Hill, where the Battle of Brooklyn took place in 1776. The mausoleum and accompanying statue were designed by The Davis Granite Co, Architects and Contractors, at 425 Fifth Avenue, New York, in 1918. Most of the drawings are for the mausoleum itself, and represent a neoclassical, Beaux Arts design aesthetic, characterized by Doric columns and angle pilasters, and a frieze with carved wreath detailing. Also included in the drawings is an early design for the Minerva statue, and a lot plan indicating its position within the lot. Because both designs are not consistent with the final form, the researcher may find in this series a document of the progression of designs for the historic statue. In addition, the series contains a specifications document and correspondence items. More information on each item’s condition, notes and markings, scale, size, design details, etc. may be found in the individual listings.
For further information on Charles Higgins, the commemoration of the Battle of Brooklyn, and the original designs for the Minerva statue, as well as its current significance as a cemetery landmark, please view the link: http://www.green-wood.com/2012/minerva-facing-what/
Scale: ¾” = 1’
Details: Hand-lettered title block at center below drawing.
Size: 16” x 22”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: None specified.
Notes/Markings: Signed in red pencil at lower right corner—probably says: “OK WCG 12/9/18”.
Condition: Fold across upper edge, weakening along fold line. Small holes along upper edge from binding staples. Folded corner and embrittlement along lower edge.
Style / Design Details: Neoclassical/Beaux-Arts style. Entrance is flanked by two Doric columns which widen toward the bottom, which meet the floor with no base. Angle pilasters at each of the front corners. Two-panel entrance door, likely cast bronze. Carved wreath detailing in frieze—four wreaths, each placed above the angle pilasters on Doric columns. Family name is inscribed in frieze above door.
Details: 7-page bound contract document, specifying materials and construction.
Size: 8” x 13” in 9” x 14” binding.
Drawing Materials: Typewritten on bond paper, bound in packet with brass brads.
Materials Noted: All building materials specified in detail.
Notes/Markings: Noted in the margin on page 3, near “Foundation”, in red pencil “concrete”.
Condition: Wrinkling and folding across pages and at edges.
Date: September 20, 1918
Details: Cover letter to Mr. Whistler of Green-Wood Cemetery, accompanying original mausoleum plans.
Size: 8.5” x 7”
Drawing Materials: Typed in black ink on Davis Granite Co. letterhead.
Notes/Markings: “CDJ” in lower left corner. Two handwritten corrections in text of letter, in same blue ink as signature, both amending typographical errors. In lower left corner, in pencil: “10/23554 to Sec G/J”. On reverse is stamped: “Received/ The Green-Wood Cemetery/ Sep 21 9:02AM – 18/ Brooklyn, New York”.
Condition: Small holes in lower right corner from staple binding. Discoloration and wear along central fold line; embrittlement and discoloration along edges.
Details: Handwritten letter to Mr. Grassow of Green-Wood Cemetery, amending detail in foundation measurements for Minerva altar.
Size: 8.5” x 7”
Drawing Materials: Handwritten in black ink on Davis Granite Co. letterhead.
Notes/Markings: Reverse is stamped in dark blue ink: “Received/ The Green-Wood Cemetery/ Mar 15 9:01AM – 19/ Brooklyn, New York”.
Condition: Some darkening along original fold lines. Small holes at upper left corner from staple binding.
Scale: 1” = 1’
Details: Detail of sculpture to be placed near entrance of burial plot, i.e. Minerva, indicated on site plan as 7’ x 7’ square.
Size: 12” x 12”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Bronze panel.
Notes/Markings: Signed in red pencil in lower right corner: “OK WCG 12/9/18”.
Condition: Relatively good—small holes in upper left corner from staple binding. Some discoloration, folding, and embrittlement along edges.
Style / Design Details: Statue consists of a 7’ x 7’ x 1’ plinth, upon which a 2’ 9” x 2’ 9” x 3’ 8” pedestal is centered, with a statue of Minerva to the right of the pedestal. Minerva’s left arm is full of laurel or olive branches; her right hand appears to place branches atop the pedestal. A bronze panel is noted to be placed on the front of the pedestal beneath triglyphs; in metope are circular bas-relief medallions with stars at the center. Inscribed beneath cornice of plinth are the words “Altar of Liberty”.
Scale: ¾” = 1’
Details: Three part drawing—front elevations, side elevation levels, and plan (drawing is identical to following drawing on drafting linen).
Size: 27” x 21”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Earth, rubble masonry, granite beams.
Notes/Markings: Pencil notes in plan and side elevation: “346” in plan; “546” inside elevation—no further notes or marks to indicate meaning.
Condition: Embrittlement, discoloration, wrinkling, and small tears along all edges. Deep fold line at center, which has caused weakening along line and uneven wear on reverse—one half is more damaged and dirty than the other. Two large folds at upper right corner and along right edge. One three-inch tear along right edge.
Style / Design Details: Straightforward foundation plan.
Scale: ¾” = 1’
Details: Three-part drawing—front elevations, side elevation levels, and plan.
Size: 27” x 21”
Drawing Materials: Blueprint reproduction on drafting linen.
Materials Noted: Earth, rubble masonry, granite beams.
Notes/Markings: Pencil marks appear to negate printed text that reads “Rubble masonry around building 3.0 from bottom”.
Condition: Worn at center line lengthwise and widthwise, and at regular intervals across drawing; appears to have been folded into sixteenths. Upper left and lower right corners are folded and worn. Discoloration on reverse. In black ink on reverse: “Higgins”.
Style / Design Details: Straightforward foundation plan.
Scale: ¼” = 1’
Details: No title block or signature.
Size: 18” x 20”
Drawing Materials: Pencil drawing on vellum/heavy tracing paper.
Materials Noted: None specified.
Notes/Markings: An arrow with accompanying note specifies “Face N.W. to the Woolworth Building.”
Condition: Embrittled, numerous fold lines at regular intervals (in twelfths), and irregular fold marks as a result of storage. Small tears along fold lines.
Style / Design Details: Front elevation of mausoleum is situated on the center line of the inscribed circle of the plot.
Scale: ¼” = 1’
Details: No title block. Unsigned and undated.
Size: 22” x 23”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: None specified.
Notes/Markings: In pencil in upper right: “Dia 69.5””. At center left: “Dia. 29’0””. At lower center at square dimensions are amended from 7’ to 6’ 10”. Pencil sketch at right margin. Dimensioning notes in pencil on reverse. In pen on reverse: “Higgins 23554”.
Condition: Folded in half and weakened and torn along center line. Large tear at upper left corner; small tears along all edges. Crease marks at regular intervals from being folded into twelfths.
Style / Design Details: Plot is designed as an arc inscribed within a circle, with two rectangular benches set along the arc and a square obelisk set on axis with mausoleum entrance, along center line of circle.
Scale: ¾” = 1’
Details: Two transverse sections—1) through catacombs, and 2) in front of catacombs. No title block—only text is drawing type.
Size: 16” x 22”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Slate, granite beam, brick.
Notes/Markings: In red pencil at lower right corner is signed: “OK WCG 12/9/18”. In wall section and roof section are arrows in pencil with no accompanying text. In roof section are two arrows in red pencil, presumably indicating a proposed thickening of the roof depth.
Condition: Red pencil has bled through, discoloring reverse with pinkish stains. Wrinkling along top edge; small holes from staple binding.
Style / Design Details: Grille beneath window is decorated with Fleur de Lys end caps and radiant patterns. Small Doric columns beneath windowsill; rosettes above centers of columns in architrave. Catacombs four tall. Large granite beam—14” x 14”—runs beneath inner edge of catacombs.
Scale: ¾” = 1’
Details: No title block—only text is drawing type.
Size: 16” x 22”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Marble beam, granite blocks, slate.
Notes/Markings: In red pencil in foundation level is noted “rubble”, under entrance portico to line even with entrance. Signed in pencil, in same hand, at lower right: “OK WCG 12/9/18”.
Condition: Notes in red pencil have bled through to reverse, leaving pinkish stains. Small tears and embrittling along edges. Small holes from staple binding.
Style / Design Details: Mausoleum interior is divided into a seating area, with benches beneath the windows at either side, and catacomb area at furthest interior point, with catacombs four high on either side. Ceiling vents are placed at regular intervals in interior space.
Scale: ¾” = 1’
Details: No title block—only text is drawing type.
Size: 16” x 22”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Slate.
Notes/Markings: Signed at lower right corner: “OK WCG 12/9/18”.
Condition: Folds and wrinkling along upper edge; small holes from staple binding. Pencil pigment has bled through paper, resulting in pinkish stain on reverse. Embrittlement and small tears along edges.
Style / Design Details: Laterally symmetrical plan. Classical 20-sided Doric columns. Seats below each window along side elevations.
Scale: ¾” = 1’
Details: No title block—only text is that stating drawing type.
Size: 16” x 22”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: None specified.
Notes/Markings: Signed at lower right corner: “OK WCG 12/9/18”.
Condition: Relatively good—small holes in upper left corner from staple binding. Some discoloration, folding, and embrittlement along edges.
Style / Design Details: Six courses of stone masonry comprising elevation between base and capital of corner pilasters. Capitals of corner pilasters carved with several layers of flat banding. Wreaths carved in frieze of rear elevation, above first course of masonry, extending to architrave. Classical roof pediment.
Scale: ¾” = 1’
Details: No title block—only text is that stating drawing type.
Size: 16” x 22”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: None specified.
Notes/Markings: Signed at lower right corner: “OK WCG 12/9/18”. Pencil sketches on reverse, possibly of anchor ties on door handle.
Condition: Folds and wrinkling along upper edge; small holes from staple binding. Pencil pigment has bled through paper, resulting in pinkish stain on reverse. Embrittlment and small tears along edges.
Style / Design Details: Six courses of stone masonry comprise elevation between base and capital of angle pilasters. One large window is placed above first course of masonry; frame extends to full height of wall, ending just under the architrave; window is placed to the left of the center line of side elevation. Two wreaths in frieze, above each corner pilaster. Corner pilaster capitals carved with several courses composing capital.
