REPLACEMENT GLASS SHADES FOR CEILING FANS - FOR CEILING
Replacement glass shades for ceiling fans - Small lamp shades.
Replacement Glass Shades For Ceiling Fans
- We keep all replacement glass in stock and can therefore provide prompt delivery of required replacement glass.
- A ceiling fan is a device suspended from the ceiling of a room, which employs hub-mounted rotating paddles to air.
- (Ceiling Fan) A mechanical device used for air circulation and to provide cooling.
- (CEILING FAN [n.]) The hardcore fan who sits in the last seat in the arena.
- (shade) shadow: cast a shadow over
- A shadow or area of darkness
- (shade) relative darkness caused by light rays being intercepted by an opaque body; "it is much cooler in the shade"; "there's too much shadiness to take good photographs"
- sunglasses: spectacles that are darkened or polarized to protect the eyes from the glare of the sun; "he was wearing a pair of mirrored shades"
- Comparative darkness and coolness caused by shelter from direct sunlight
- The darker part of a picture
116 Richmond Road
Douglaston Historic District, Douglaston, Queens, New York City, New York, United States
Date: 1926
Architect: E.L. Maher
Original Owner: Carl Johansen
Type: Freestanding house
Style: Colonial Revival
Structure/material: Frame with brick veneer and stucco facing
Notable building features: Slate-covered gambrel roof; exposed brick chimney; three-bay dormer with sloping roofs (front and rear); gabled entry portico with arched ceiling, corner columns, and light fixture; fanlit entryway with sidelights; enclosed side porches, one with second-story sleeping porch; windows with historic multi-pane sash and casements; panelled shutters.
Alterations: Sleeping porch enclosed.
Related structure on lot: Matching, two-car garage, entered from East Drive; lunette in gable; replacement vehicle door; contemporary with the house.
Notable site features: Mature trees; perimeter hedge; brick walkway and steps; gravel driveway. Photos: 4 views
INTRODUCTION
The Douglaston Historic District contains more than 600 houses set along landscaped streets on a mile-long peninsula extending into Little Neck Bay, at the northeastern edge of Queens adjoining Nassau County.
Its history over the past four centuries ranges from a native American settlement to an eighteenth-century farm, a nineteenth-century estate called Douglas Manor, and an early twentieth-century planned suburb, also called Douglas Manor.
The Douglaston Historic District encompasses the entire Douglas Manor suburban development, plus several contiguous blocks. Most of the houses in the proposed district date from the early- to mid-twentieth century, while a few survive from the nineteenth century, and one from the eighteenth century.
The landscape includes many impressive and exotic specimen trees planted on the mid-nineteenth-century estate, as well as a great white oak, located at 233 Arleigh Road, believed to be 600 years old.
Douglaston's location on a peninsula jutting into Flushing Bay at the eastern border of Queens County is an important factor in establishing the character of the district. The very early buildings surviving in the district include the c.1735 Van Wyck House, the c. 1819 Van Zandt manor house (expanded in the early twentieth century for use as the Douglaston Club), and the Greek Revival style c. 1848-50 Benjamin Allen House.
Much of the landscaping, including the specimen trees, survives from the estate of Douglas Manor, established by George Douglas and maintained by his son William Douglas.
Most of the houses in the historic district were built as part of the planned suburb of Douglas Manor, developed by the Rickert-Finlay Company, that was part of the residential redevelopment of the Borough of Queens following its creation and annexation to the City of Greater New York in 1898.
A set of covenants devised by the Rickert-Finlay Company helped assure a carefully planned environment, including a shorefront held in common, winding streets following the topography of the peninsula, and single-family houses ranging in size from substantial mansions along Shore Road on the west to more modest cottages closer to Udalls Cove on the east.
The houses of the historic district, which are representative of twentieth-century residential architecture, were designed in a variety of styles including the many variants of the Colonial Revival, many houses in the English manner incorporating Tudor Revival, English cottage, and Arts and Crafts motifs, as well as the Mediterranean Revival. In most cases, they were designed by local Queens architects, including over a dozen who lived in Douglaston itself.
The district includes three houses of the Craftsman type pioneered by Gustav Stickley. Eight of the houses in the district were designed by Josephine Wright Chapman, one of America's earliest successful women architects, and they constitute an important body of her work.
The Douglaston Historic District survives today as an important example of an early twentieth-century planned suburb adapted to the site of a nineteenth-century estate. The stylistically varied suburban residences, the distinctive topography, the landscaped setting, and the winding streets create a distinct sense of place and give the district its special character.
HISTORICAL AND ARCHITECTURAL BACKGROUND OF THE DOUGLASTON HISTORIC DISTRICT
Native American and Colonial antecedents
The Native American presence on the Little Neck peninsula today known as Douglaston included the Matinecoc,1 one of a group on western Long Island linked by culture and language to others in the area surrounding Manhattan Island (including the Nayack, Marechkawieck, Canarsee, Rockaway, and Massapequa). A number of finds from those settlements have been identified at various sites on the peninsula.2 The Matinecoc, who fanned the peninsula and apparently also produced wampum, were summarily evicted in the 1660s by Thomas Hicks, later Judge Hicks, in what has been described as the only such seizure of pr
George B. and Susan Elkins House
Crown Heights, Brooklyn, New York City, New York, United States
Summary
The only-known freestanding, midnineteenth-century, wood country house remaining in northwestern Crown Heights, and the former home of a prominent figure in the neighborhood’s early history, the George B. and Susan Elkins House is a significant link to Crown Heights’ suburban past. Constructed before 1869 on the former Lefferts farm, which had been subdivided into “1,600 desirable lots” in the 1850s, this modest residence predates the hundreds of late-nineteenth- and earlytwentieth-century rowhouses, flats, and apartment buildings that fill its surrounding blocks.
Today, the Elkins House stands in striking contrast to these brick and stone dwellings, a sparely ornamented country home displaying Greek Revival and Italianate influences and a strong kinship with cottage and villa designs published in the mid-nineteenth-century pattern books of Andrew Jackson Downing, Samuel Sloan, and Henry W. Cleaveland. With a cubical form that is characteristic of both Greek Revival and Italianate residences, the Elkins House features a three-bay main façade, flat roof, wide front porch, molded entrance-door surround, and attic windows with delicate cusped surrounds, as well as a broadly overhanging and beautifully detailed wood cornice decorated with bead-and-reel moldings. Its simple ornamentation conveys the house’s early history in an almost pastoral setting, where the Elkinses lived with their four daughters, and where George received prospective buyers for the “two beautiful fresh cows” that he offered for sale, in 1869, in the pages of the Brooklyn Eagle.
When the Elkins House was constructed, it was considered to be within the Bedford area of Brooklyn. Today, it sits within Crown Heights’ northwestern section—an area roughly bounded by Atlantic Avenue and Eastern Parkway on the north and south, and by Albany and Bedford Avenues on the east and west—which developed separately from the other portions of Crown Heights, including the early African-American neighborhood of Weeksville to the east, and the area south of Eastern Parkway. Massachusetts natives, the Elkinses moved to Brooklyn by 1845; George was a merchant in Lower Manhattan through the 1850s, but by 1861, he had entered the real estate business, and by 1865, the Elkins family appears to have been living in this house. Elkins was active in Bedford’s real estate trade, particularly on the blocks near his home; by the mid-1860s, his advertisements were running regularly in the Eagle, offering “very desirable residences” and “villa sites” and urging buyers to act “while lots are low and houses are selling at almost fabulous prices.” By 1867, Elkins was transacting business in his home, asking clients to call “at his residence, Bedford.” Toward the end of the nineteenth century, with the extension of elevated railroads to the vicinity of the former Lefferts farm, its suburban character faded as its blocks became thickly built with masonry rowhouses and multiple dwellings. Today, the George B. and Susan Elkins House stands as a remarkable survivor of its area’s urban transformation and a unique link to the suburban years of northwestern Crown Heights, when freestanding wood country houses like this one were a common feature of its landscape.
DESCRIPTION AND ANALYSIS
The Development of Northwestern Crown Heights
Although the George B. and Susan Elkins House stands within what is now Crown Heights’ northwestern section—an area roughly bounded by Atlantic Avenue and Eastern Parkway on the north and south, and by Albany and Bedford Avenues on the east and west—the Crown Heights name dates only to around the first decade of the twentieth century. Before about 1620, when Europeans first made contact with Native Americans on what is now called Long Island, large portions of the island, including present-day Brooklyn, were occupied by the Lenape, or Delaware, Indians. Traveling over land by foot, the Lenape used trails developed by Native Americans over thousands of years; among those present in and near Crown Heights were the thoroughfares known in the eighteenth and nineteenth centuries as Clove Road, Hunterfly Road, and the King’s Highway, or Brooklyn and Jamaica Road. These would remain important routes through the Colonial period and into the nineteenth century, but most traces of these ancient highways were lost after Brooklyn’s street grid, adopted in 1835, began to transform the city’s landscape as urbanization spread beyond Brooklyn’s original center near Fulton Ferry.
By the 1630s, Dutch and English settlers were taking control of the western end of Long Island. In 1637, Joris Hansen de Rapalie “purchased” about 335 acres around Wallabout Bay, and over the following two years, Director Kieft of the Dutch West India Company “secured by purchase from the Indians the title to nearly all the land in the counties of Kings and Queens,” according to Henry J. Stiles’ 1884 hi
Related topics:
closet drapes
canon eos remote shutter
mary j blinds
bed drapes
arizona tent and awning
designer sun shades
outwell canopy
booka shade movements blogspot
|