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
Scale: ¾” = 1’
Date: undated
Details: “2608” noted in lower right corner. “J.R. Gould & W.D. Kenneth Associate Architects”.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: “Glass” noted in pane of front door.
Notes/Markings: None supplemental.
Condition: Embrittling along all edges; corners folded and weakened. Small tears along lower edge; small creases and wrinkling at center of lower edge. Small holes along upper edge from staple binding. Right edge faded, likely due to light exposure.
Style/Design Details: Greek chapel style building of roughly square proportions in elevation (similar height as width), with shallow pitched roof. Entrance door is flanked by two Doric columns; family name is inscribed or carved (specifications document calls for a raised carving) in architrave. Door is a wide single door with glass upper panel covered with bronze grillework. A single bronze pull is placed centrally below the window.
Date: undated
Details: Five page (includes cover page) typewritten legal document, in packet bound with brass brads at top margin.
Size: 8 ½” x 13”
Drawing Materials: Typewritten on bond paper.
Materials Noted: Atlas Portland cement, Bronze, Pennsylvania ribbon slate, Barre Vermont granite, pink Tennessee marble.
Notes/Markings: On page two, in “Granite” section, “Victoria White” is crossed out in black ink and changed to “Barre Granite”.
Condition: Good overall. Lower edge wrinkled and damaged; front cover discolored and slightly dirtied.
Date: undated
Details: Four page typewritten legal document in packet bound with brass brads at top margin.
Size: 8 ½” x 13”
Drawing Materials: Linen paper.
Materials Noted: Atlas Portland cement, bronze, Pennsylvania ribbon slate, Barre Vermont granite, pink Tennessee marble.
Notes/Markings: None supplemental.
Condition: Good.
Scale: ¾” = 1’
Date: undated
Details: “2608” noted in lower right corner.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: None specified.
Notes/Markings: Several dimensions corrected: in black ink, the blocks of the second course of masonry are noted to be 9’ 5 ¾” instead of 9’ 8”, and 1’ 7” instead of 1’ 4 ¼”; in the foundation level masonry the frontmost block which is set halfway below grad is noted to increase in depth from 2’ 0” to 2’ 11”.
Condition: Embrittling along all edges; corners folded and weakened. Small tears along lower edge, particularly at center of lower edge. Small holes along upper edge from staple binding. Small creases and wrinkling along center of lower edge.
Style/Design Details: Four courses of rusticated ashlar masonry between base/plinth and architrave. Blocks of second and fourth courses span nearly the full length of the building. Plinth is less than half the height of a single course of masonry, at 10” (at front elevation), whereas masonry is 2’ tall per course.
Scale: ¾” = 1’
Date: undated
Details: “2608” noted in lower right corner.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: None specified.
Notes/Markings: None supplemental.
Condition: Embrittling along all edges; corners folded and weakened. Small tears along lower edge, particularly at center of lower edge. Small holes along upper edge from staple binding. Lower corners folded and weakened; creases and wrinkling at center of lower edge.
Style/Design Details: Base of building rear elevation is roughly three feet below the front edge of base of building at front elevation. One window placed centrally at rear elevation, above second major course of masonry (counting four courses above front plinth/base level) and below architrave.
Scale: ¾” = 1’
Date: undated
Details: “2608” noted in lower right corner.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Materials key is noted along right margin: granite, marble, slate, brick, and concrete are noted. Art glass window in bronze frame and bronze ventilating rosettes.
Notes/Markings: In original, at roof level is noted: “Lewis and Block may be used to move bodies.”
Condition: Lower edge Embrittled, wrinkled, and folded, with small tears and wrinkling along lower central edge.
Style/Design Details: Roughly square, symmetrical design, with two catacombs at either side, art glass window placed centrally. Exterior edge of masonry is stepped outward, extending slightly over architrave belowroof line. Four catacombs in total.
Scale: ¾” = 1’
Date: undated
Details: “2608” noted in lower right corner.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Cast bronze rosettes, bronze doors, granite, marble, concrete.
Notes/Markings: None supplemental.
Condition: Embrittling along all edges; lower edge wrinkled and discolored. Folding and slight tears at upper edge. Small holes along upper edge from staple binding.
Style/Design Details: Two catacombs tall, marble panels above. Columns at front entrance 8’ tall, noted to be carved of one piece.
Scale: ¾” = 1’
Date: undated
Details: “2608” noted in lower right corner.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Polished granite floor slab, top slate of catacomb, brick.
Notes/Markings: Corner piers at front elevation are indicated as separate masonry via lines in black ink; depth adjusted to 1’ 7” per note on left side.
Condition: Three inch tear near upper right corner. Lower edge wrinkled, warped, and Embrittled with discoloration on reverse. Lower left corner folded and weakened.
Style/Design Details: Two 8” square brick piers extend from top slate surface of catacombs to ceiling. Laterally symmetric design with exception of door, which latches at the right and swings to the left. Door is full width of occupiable interior floor space—no interior seat, etc., and relatively little room to stand—visiting is not privileged in the design over the permanent resting space.
Scale: ¾” = 1’
Date: undated
Details: “Lot No. 8016-8017, Section No. 70, Greenwood Cemetery, Brooklyn, NY”. “2608” noted in lower right corner.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Concrete.
Notes/Markings: On reverse in pencil is noted “Goodnough 8016/7”.
Condition: Five inch tear from upper edge near right corner toward center. Lower corners folded and weakened. Embrittling along all edges. Small tears along edges.
Style/Design Details: Foundation is perfectly square at 12’ 10” per side. Three cavities denoted in plan—one central cavity larger in width at 3’ 1” and 7’ 8” long—side cavities are same length but 1’ 10 ½” wide.
Details: Six-page (including cover) typewritten legal document, in bound packet with pale blue linen paper as backing/binding; bound at top margin with two brass brads. Included with drawings marked as Set #2, which were originally bound with brass brads, and contained a piece of construction paper at the front of packet, with handwritten note in black ink: “From E.G. Pohle 86 Westville Ave, Caldwell NJ”; “Greenwood Cemetery Corp—Brooklyn, New York”. Noted on same front sheet in red pencil: “8016/7”.
Size: 8 ½” x 13” typewritten pages; 9” x 13 ½” including blue backing paper.
Drawing Materials: Roman bond paper; woven linen cover.
Materials Noted: Atlas Portland cement, bronze, Pennsylvania ribbon slate, barre Vermont granite, pink Tennessee marble.
Notes/Markings: Second page of document (not paginated, but immediately following cover page) contains a payment schedule and work schedule (Farrington, Gould, and Hoagland to be paid a total of $11,600). Second page signed by J.R. Gould, Prest.; W.B.R Hoeffner; Annie F. Wallace. Final page of document (numbered 4 but appearing as 6th page in packet) is signed by the same three parties, and dated in Annie F. Wallace’s hand: “November 6, 1922”. On reverse of packet are several notes in Annie F. Wallace’s hand. In pencil: “Contract for Goodnough Mausoleum”. In black ink: “These specifications, blueprints, inscriptions, etc. are for the assistance of my executors in case the mausoleum now completed should be destroyed. A.F.W. Feb 1, 1924”; “$15,000.00 being the maximum to cover entire cost.”
Condition: Relatively good.
Scale: ¾” = 1’
Details: “2608” noted in lower right corner; “J.R. Gould & W.D. Kenneth Associate Architects.”
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: “Glass” noted in pane of front door.
Notes/Markings: Stamped and signed on original; reproduced in copy: “Approved Aug 13 1920 by W.E. Grassau Superintendent”.
Condition: Embrittling along all edges. Tear at center lower edge, portion of drawing is folded over at tear. Many small tears and folds along lower edge. Small holes along upper edge from staple and brad bindings. Three deep horizontal fold lines.
Style/Design Details: Greek chapel style building of nearly square proportions in elevation (similar height as width) with shallow pitched roof. Entrance is flanked by two Doric columns; family name is inscribed or carved (specifications document calls for a raised carving) in architrave. Door is a wide single door with glass upper panel covered with bronze grillework. A single bronze pull is placed centrally below the window.
Scale: ¾” = 1’
Details: “2608” noted in lower right corner.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: None specified.
Notes/Markings: Stamped and signed on original; reproduced in copy: “Approved Aug 13 1920 by W.E. Grassau Superintendent”. One dimension adjusted in black ink in second course of masonry—9’ 5” is corrected to 9’ 5 ¼”.
Condition: Embrittling along all edges. Tear at center lower edge. Two deep horizontal folds across drawing. Small tears along lower edge.
Style/Design Details: Four courses of rusticated ashlar masonry between base/plinth and architrave. Blocks of second and fourth courses span nearly the full length of the building, at 9’ 5 ¼”. Plinth /base course is less than half the height of a single course of masonry, at 10” (at front elevation) whereas masonry is 2’ tall per course.
Scale: ¾” = 1’
Details: “2608” noted in lower right corner.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: None specified.
Notes/Markings: Stamped and signed on original; reproduced in copy: “Approved Aug 13 1920 by W.E. Grassau Superintendent”.
Condition: Embrittling along all edges. Tear at center lower edge. Three deep horizontal folds across drawing. Small tears along lower edge. Less pronounced vertical folds divide the drawing into fifths.
Style/Design Details: Base of building at rear elevation is roughly three feet below the front edge of base of building at front elevation. One window is placed centrally at rear elevation, above second major course of masonry (counting four courses total, above front plinth/base level) and below architrave.
Scale: ¾” = 1’
Details: “2608” noted in lower right corner.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Materials key is noted along right margin: granite, marble, slate, brick, concrete. Art glass window and bronze ventilating rosettes.
Notes/Markings: In original, at roof level is noted: “Lewis and Block may be used to move bodies.”
Condition: Lower edge embrittled and torn; right edge has many small tears and folds. Two deep horizontal folds across drawing; four less pronounced vertical folds. One inch tear at center of lower edge.
Style/Design Details: Roughly square, symmetrical design, with two catacombs at either side. Art glass window placed centrally. Exterior edge of masonry is stepped outward near the roofline, extending slightly over architrave below roofline. Four catacombs in total.
Scale: ¾” = 1’
Date: undated
Details: “2608” stamped in lower right corner. Original signed “Grassau”.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Cast bronze rosettes, bronze doors, granite, marble, concrete.
Notes/Markings: None supplemental.
Condition: Embrittling along all edges; lower edge has slightly larger tears. One inch tear at center of lower edge. Two deep horizontal folds across drawing; four less pronounced vertical folds. Drawing is wrinkled overall.
Style/Design Details: Two catacombs stacked; marble panels above. Columns at front entrance are 8’ tall, noted to be carved in one piece.
Scale: ¾” = 1’
Details: “2608” stamped in lower right corner; original signed by W.C. Grassau.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Polished granite floor slab, top slate of catacomb, brick.
Notes/Markings: Corner piers at front elevation are indicated as separate masonry, in contradiction with earlier drawing set. (This set is thus more recent.)
Condition: All edges embrittled; one inch tear at center of lower edge. Two deep horizontal folds across drawing; four less pronounced vertical folds.
Style/Design Details: Two 8” square brick piers are indicated to extend from top slate surface of catacombs to ceiling. Laterally symmetric design, with exception of door, which latches at the right and swings open to the left. Door is full width of occupiable interior floorspace—no interior seat, etc., and relatively little room to stand—visiting is not privileged in the design over the permanent resting space.
Scale: ¾” = 1’
Details: “2608” stamped in lower right corner. Original signed by W.C. Grassau. Noted along lower edge: “Lot No. 8016-8017, Section No. 70, Greenwood Cemetery, Brooklyn, NY.”
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Concrete.
Notes/Markings: On reverse in black ink: “Inscriptions on catacombs. Annie Frances Goodnough/ Beloved Daughter of Rev. Alfred E. & Annie F. Goodnough/ 1881-1920/ I have always tried to be fair./ Rev. Alfred Everett Goodnough/ 1855-1888/ Pastor of the First Unitarian Society/ He went about doing good.”
Condition: Lower left corner cut (with scissors or blade) and missing, just below and in line with inscription notes above. Horizontal holds are discolored and weakened on reverse, with holes forming at all junctions of horizontal and vertical folds. Embrittling along all edges; small tears along bottom.
Style/Design Details: Perfectly square at 12’ 10” each side.
Details: The front of this paper contains information regarding the lot and section numbers, name of lot owner, and lot size, plus a diagram of the lot and its relative dimensions. The back has an outline of the circular lot in relation to two nearby lots.
Drawing Materials: Ink on paper.
Condition: There is a crease down the left side and a brad hole in the upper left corner.
Details: The photograph of the stained-glass window is black and white. The note from Mrs. Wallace describes the subject of the window, lists the name and address of the person who made it, and states the final price of the window. It is initialed A.F.W.
Condition: The note is slightly stained around the edges and the photo is in good condition.
Scale: ¾” = 1’
Details: “2608” noted in lower right corner; “J.R. Gould & W.D. Kenneth Associate Architects.” Original signed by W.C. Grassau, Superintendent.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: “Glass” noted in pane of front door.
Notes/Markings: None supplemental.
Condition: Embrittling along all edges; lower edge particularly damaged. Tears at center of lower edge; folded and wrinkled around tears. Discolored on revers, particularly at lower edge. Horizontal band of discoloration near upper edge.
Style/Design Details: Greek chapel style building of roughly square proportions (similar height as width) with shallow pitched roof. Entrance is flanked by two Doric columns. Family name is inscribed or carved (specifications document calls for a raised carving) in architrave. Door is a wide single door with glass upper panel covered with bronze grillework. A single bronze pull is placed centrally below the window.
Scale: ¾” = 1’
Details: “2608” noted in lower right corner. Original signed by W.C. Grassau.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: None specified.
Notes/Markings: None supplemental. (Dimensions are the same as corrected dimensions of earlier drawing.)
Condition: Embrittling along all edges. Lower edge has small tears and folds, with wrinkling extending from tears on lower edge. Right edge slightly faded.
Style/Design Details: Four courses of rusticated ashlar masonry between base/plinth and architrave. Blocks of second and fourth courses span nearly the full length of building. Plinth is less than half the height of a single course of masonry, at 10” (at front elevation) whereas masonry is 2’ tall per course. Additional 2’ deep course of masonry below plinth level; lower grade level at rear of building.
Scale: ¾” = 1’
Details: “2608” noted in lower right corner. Original signed by W.C. Grassau.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: None specified.
Notes/Markings: None supplemental.
Condition: Embrittling along all edges; small tears and discoloration along lower edge. Wrinkling and slight warping at lower edge and upward.
Style/Design Details: Base of building at rear elevation is roughly three feet below the front edge of base of building at front elevation. One window is placed centrally at rear elevation, above second major course of masonry (counting four courses total, above front plinth/base level) and below architrave.
Scale: ¾” = 1’
Details: “2608” noted in lower right corner. Original signed by W.C. Grassau.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Materials key is noted along right margin: granite, marble, slate, brick, concrete. Art glass window and bronze ventilating rosettes.
Notes/Markings: In original, at roof level is noted: “Lewis and Block may be used to move bodies.”
Condition: Lower edge wrinkled and warped with small tears. Embrittling along all edges. Discoloration on reverse along edges.
Style/Design Details: Roughly square, symmetrical design, with two catacombs at either side. Art glass window placed centrally. Exterior edge of masonry is stepped outward as it approaches the roofline, extending slightly over architrave below roofline. Four catacombs in total.
Scale: ¾” = 1’
Details: “2608” stamped in lower right corner. Original signed by W. C. Grassau.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Cast bronze rosettes, bronze doors, granite, marble, concrete.
Notes/Markings: In pencil is noted: “3’ 0”” along masonry of rear elevation at foundation level.
Condition: Lower edge wrinkled and warped with small tears and folds. Embrittling along all edges. Slight white stains along left margin, as if from blueprint developing process.
Style/Design Details: Two catacombs tall; marble panels above. Columns at front entrance are 8’ tall, noted to be carved in one piece.
Scale: ¾” = 1’
Details: “Lot No. 8016-8017, Section No. 70, Greenwood Cemetery, Brooklyn, NY”. “2608” stamped in lower right corner. Original signed by W.C. Grassau, superintendent.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Concrete.
Notes/Markings: On reverse in pencil is noted: “Goodnough 8016/7”; in another hand: “Goodnough Vault” and “6”. In red pencil: “2608”. In black ink: “Goodnough”.
Condition: Embrittling and discoloration along all edges. Reverse is smudged and discolored, particularly at lower portion. Small tears along edges, especially left edge and at center of lower edge. Three small holes along upper edge—has been detached from stapled packet.
Style/Design Details: Foundation is perfectly square at 12’ 10” each side. Three cavities denoted in plan—one central cavity larger in width at 3’ 1” and 7’ 8” long; side cavities are same length but 1’ 10 ½” wide.
Scale: ¾” = 1’
Details: “2608” stamped in lower right corner; original signed by W.C. Grassau.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Polished granite floor slab, top slate of catacomb, brick.
Notes/Markings: Corner piers at front elevation are indicated as separate masonry, in contradiction with earlier drawing set. (This set is thus more recent.) On reverse in pencil is noted: “Goodnough 8016”.
Condition: Embrittling at all edges, discoloration at edges on reverse. Small tears, wrinkling, and warping.
Style/Design Details: Two 8” square brick piers are indicated to extend from top slate surface of catacombs to ceiling. Laterally symmetric design, with exception of door, which latches at the right and swings open to the left. Door is full width of occupiable interior floorspace—no interior seat, etc., and relatively little room to stand—visiting is not privileged in the design over the permanent resting space.
Scale: ¾” = 1’
Details: “2608” noted in lower right corner. Original signed by W.C. Grassau, superintendent. “J.R. Gould and W.D. Kenneth Associate Architects”.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: “Glass” is noted in upper panel of front door.
Notes/Markings: None supplemental.
Condition: Embrittling along all edges; several small tears along lower edge. Two deep fold marks across drawing packet: one vertical; one horizontal.
Style/Design Details: Greek chapel style building of roughly square proportions (similar height as width), with shallow pitched roof. Entrance door is flanked by two Doric columns. Family name is inscribed or carved (specifications document calls for a raised carving) in architrave. Door is a wide single door with glass upper panel covered in bronze grillework. A single bronze pull is placed centrally below the window.
Scale: ¾” = 1’
Details: “2608” noted in lower right corner; original signed by W.C. Grassau.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: None specified.
Notes/Markings: None supplemental. Dimensions are the same as corrected dimensions of earlier drawings.
Condition: Embrittling along all edges. Small tears particularly along right edge. Two deep folds across drawing packet—one vertical; one horizontal.
Style/Design Details: Base of building at rear elevation is roughly three feet below the front edge of base of building at front elevation. One window placed centrally at rear elevation, above second major course of masonry (counting four courses above front plinth/base level) and below architrave.
Scale: ¾” = 1’
Details: “2608” noted in lower right corner. Original signed by W.C. Grassau.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: None specified.
Notes/Markings: In second course of masonry above base, “¼”” is noted over the printed measurement of 9’ 5 ¼”.
Condition: Embrittling along all edges. Left edge especially has small tears. Two deep creases—one vertical, one horizontal—which warp the drawing.
Style/Design Details: Four courses of rusticated ashlar masonry between base/plinth and architrave. Blocks of second and fourth courses span nearly the full length of building. Plinth is less than half the height of a single course of masonry, at 10” (at front elevation) whereas masonry is 2’ tall per course. Additional 2’ deep course of masonry below plinth level; lower grade level at rear of building.
Scale: ¾” = 1’
Details: “2608” stamped in lower right corner. Original signed by W.C. Grassau.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Cast bronze rosettes, bronze doors, granite, marble, concrete.
Notes/Markings: In pencil several dimensions are corrected or added, including 8’ 8” as width of wall from ends of catacomb, etc.
Condition: Embrittling along all edges. Left edge has several small tears, with one larger near midpoint. Two deep creases—one vertical, one horizontal—across drawing. Slight white staining at lower left corner, as if from blueprint developing process.
Style/Design Details: Two catacombs tall, marble panels above. Columns at front entrance are 8’ tall, noted to be carved of one piece.
Scale: ¾” = 1’
Details: “Lot No. 8016-8017, Section No. 70, Greenwood Cemetery, Brooklyn, NY”. “2608” noted in lower right corner. Original signed by W.C. Grassau, superintendent.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Concrete.
Notes/Markings: On reverse in black pen is a list of monetary figures: “Lot 5000, Window 700, Door 445, Building 11600, Plans 100, Foundation 1000 = 18845 + 1155 (Extras moorings & reinterments & receiving vault & new caskets &c.) = $20,000”
Condition: Embrittling along all edges. Left edge has several small tears, and one larger tear near midpoint. Several small holes near the center of drawing. Reverse of drawing is discolored, especially lower half which is particularly browned.
Style/Design Details: Foundation is perfectly square at 12’ 10” per side. Three cavities denoted in plan—one central cavity larger in width at 3’ 1” and 7’ 8” long; side cavities are same length but 1’ 10 ½” wide.
Scale: ¾” = 1’
Details: “2608” stamped in lower right corner. Original signed by W.C. Grassau.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Polished granite floor slab, top slate of catacomb, brick.
Notes/Markings: Corner piers at front elevation are indicated as separate masonry (in contradiction to earlier drawing set—thus this set is more recent).
Condition: Small vertical holes along top edge from brads—was detached from set. Embrittling along all edges, especially lower edge.
Style/Design Details: Two 8” square brick piers are indicated to extend from top slate surface of catacombs to ceiling. Laterally symmetric design, with exception of door, which latches at the right and swings open to the left. Door is full width of occupiable interior floor space—no interior seat, etc., and relatively little room to stand—in other words, visiting is not privileged in the design over permanent resting space.
Scale: ¾” = 1’
Details: “2608” stamped in lower right corner. Original signed by W.C. Grassau.
Size: 18” x 26”
Drawing Materials: Blueprint reproduction on paper.
Materials Noted: Materials key is included along right margin: granite, marble, slate, brick, concrete. Art glass window and bronze ventilating rosettes.
Notes/Markings: In original, at roof level, is noted: “Lewis and Black may be used to move bodies.”
Condition: Embrittling along all edges. Upper right and lower left corners are folded with small tears. Large 4” tear at center of top edge. 3” tear at lower edge repaired on reverse with archival tape.
Style/Design Details: Roughly square, symmetrical design, with two catacombs at either side; art glass window placed centrally. Exterior edge of masonry is stepped outward as it approaches roofline, extending slightly over architrave below roofline. Four catacombs in total.
