Queen Anne style architecture was one of a number of popularVictorian architectural styles that emerged in the United States during the period from roughly 1880 to 1910.[1] It is sometimes grouped asNew World Queen Anne Revival architecture. Popular there during this time, it followed theSecond Empire andStick styles and preceded theRichardsonian Romanesque andShingle styles. Sub-movements of Queen Anne include theEastlake movement.
The style bears almost no relationship to the originalQueen Anne style architecture in Britain (a toned-down version ofEnglish Baroque that was used mostly forgentry houses) which appeared during the time ofQueen Anne, who reigned from 1702 to 1714, nor ofQueen Anne Revival (which appeared in the latter 19th century there).
The American style covers a wide range of picturesque buildings with "free Renaissance" (non-Gothic Revival) details, rather than being a specific formulaic style in its own right.
The term "Queen Anne", as an alternative both to the French-derivedSecond Empire style and the less "domestic"Beaux-Arts style, is broadly applied to architecture, furniture and decorative arts of the period from 1880 to 1910. Some Queen Anne architectural elements, such as the wrap-around front porch, continued to be found into the 1920s.
Queen Anne style buildings in the United States came into vogue during the 1880s, replacing the French-derivedSecond Empire as the 'style of the moment'. The popularity of high Queen Anne style waned in the early 1900s, but some elements continued to be found on buildings into the 1920s, such as the wrap-around front porch (often L-shaped).[citation needed]
Distinctive features of the American Queen Anne style may include:[2]
TheBritish 19th-century Queen Anne style that had been formulated there byNorman Shaw and other architects arrived inNew York City with the new housing for the New York House and School of Industry[3] at 120 West 16th Street (designed bySidney V. Stratton, 1878). TheAstral Apartments that were built inBrooklyn in 1885–1886 (to house workers) are an example of red-brick and terracotta Queen Anne architecture in New York.E. Francis Baldwin's stations for theBaltimore and Ohio Railroad are also familiar examples of the style, built variously of brick and wood.
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Gabled and domestically scaled, these early American Queen Anne homes were built of warm, soft brick enclosing squareterracotta panels, with an arched side passage leading to an inner court and back house. Their detailing is largely confined to the treatment of picturesquely disposed windows, with small-paned upper sashes and plate glass lower ones. Triple windows of a Serlian motif and a two-storyoriel window that projects asymmetrically were frequently featured.[4]
The most famous American Queen Anne residence is theCarson Mansion inEureka, California.[5] Newsom and Newsom were notable builder-architects of 19th-century California homes and public buildings, and they designed and constructed (1884–1886) this 18-room home for William Carson, one of California's firstlumber barons.
After 1885, use ofEastlake-style trim shifted to "free classic" orColonial Revival trim, includingpedimented entryways andPalladian windows.[6]
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Smaller and somewhat plainer houses can also be Queen Anne. TheWilliam G. Harrison House is an example, built in 1904 in ruralNashville, Georgia. Characteristics of the Queen Anne cottage style are:
The Shingle style in America was made popular by the rise of the New England school of architecture, which eschewed the highly ornamented patterns of theEastlake style. In the Shingle style, English influence was combined with the renewed interest inColonial American architecture which followed the 1876 celebration of the United States Centennial. Architects emulated colonial houses' plain, shingled surfaces as well as their massing, whether in the simple gable ofMcKim, Mead and White'sLow House or in the complex massing ofKragsyde, which looked almost as if a colonial house had been fancifully expanded over many years. This impression of the passage of time was enhanced by the use of shingles. Some architects, in order to attain a weathered look on a new building, even had the cedar shakes dipped in buttermilk, dried, and then installed, to leave a grayish tinge to the façade.[citation needed]
The shingle-style also conveyed a sense of the house as continuous volume. This effect—of the building as an envelope of space, rather than a great mass, was enhanced by the visual tautness of the flat shingled surfaces, the horizontal shape of many shingle-style houses, and the emphasis on horizontal continuity, both in exterior details and in the flow of spaces within the houses.[citation needed]
McKim, Mead and White andPeabody and Stearns were two of the notable firms of the era that helped to popularize the shingle style, through their large-scale commissions for "seaside cottages" of the rich and the well-to-do in such places as Newport, Rhode Island. However, the most famous Shingle-style house built in America was "Kragsyde" (1882), the summer home commissioned by Bostonian G. Nixon Black, from Peabody and Stearns. Kragsyde was built atop the rocky coastal shore nearManchester-By-the-Sea, Massachusetts, and embodied every possible tenet of the shingle style.
Many of the concepts of the Shingle style were adopted byGustav Stickley, and adapted to the American version of theArts and Crafts Movement.
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