17 Crossett Avenue
This classic Arts & Crafts style home was designed by Syracuse architect Merton E. Granger and built in 1917 for Allen Ames. With its exposed stucco and timber second floor, wooden shingles and exposed rafter ends, the structure reflects a picturesque Tudor forms. These were revived in the early 20th century by practitioners of the Arts & Crafts movement such as local architect Ward Wellington Ward, with whom Granger worked. Granger was a 1909 graduate of Syracuse University’s architecture program and practiced until his retirement in 1973.
The house boasts several works of stained glass. “St. George and the Dragon” in the main door is original to the house and is the work of Syracuse’s Henry Keck studio, as is the installation in the butler’s pantry.
Upon entering, one is struck with the strong English Tudor feeling, reflective of the 17th century. Hallmarks are the generous, mahogany paneled main hall; the detailing in the staircase woodwork , and the massively carved mantle complete with family crest and Tudor-arched opening. The living room fairly bursts with rich detail from the plastered ceiling to the inlaid oak floors The room opening off the main hall to the right initially served as the dining room. Beyond it is the butler’s pantry and an octagonal breakfast nook. The porch to the rear was originally open and the room to the left of the living room was a sun room.
Allen Ames, the first owner, lived in the house from 1918 until he died in 1942 at the age of 83. He was a native of Mexico, New York. He worked for many years as vice-president and general manager of the Ames Iron Works in Oswego where the home’s iron fence was reportedly cast. Ames was an avid yachtsman, known widely in the Lake Ontario and St. Lawrence River areas.
The homes setting is spectacular, opening up to unobstructed views of Upper Onondaga Park and Hiawatha Lake to the east and south.
256 Robineau Road
Here again is a Tudor inspired Arts & Crafts home, this time designed by Syracuse architect Melvin L. King in 1929. Tudor influence is apparent in the re-creation of “exposed” timber structural elements in second story gables and dormers. On the main facade, brick laid in a herringbone pattern is used as in-fill while other projections employ stucco.
The shallow-arched, plank door with stylized strap hinges and the entry’s heavy cast stone surround are additional Tudor detailing. “Cast” stone is a concrete product; colored, textured and formed to resemble real cut stone, but more inexpensive to use. The roof is the original slate. A small wall projects to the left of the entry, holding a baluster screen that helps hide the 2-car attached garage at the rear. The miniature wrought iron balcony above the entrance shelters a private, small room off the main stairway. The entry vestibule boasts an original ceramic tile floor with Arts & Crafts detailing and colors typical of the period.
The first owners, Carl and Gertrude Woese, lived in the house during the 1930’s and 40’s. Carl Woese graduated in 1925 from Syracuse University with a degree in Electrical engineering. He also was a grandson of Benedict Haberle, founder of the Haberle Brewing Company, and served as vice-president of that local brewery. Woese helped build and operate one of Syracuse’s first radio stations, WFAB, from 1921 to 1925. Eventually he founded the local engineering firm that today is known as Robeson & Woese.
105 Strathmore Drive
This home is the design of Ward Wellington Ward (1875-1932), Syracuse’s most notable architect of the Arts & Crafts period. In this example, he opted not to emulate the picturesque Tudor detailing found on much of his work, and opted for bolder and simpler forms as he did toward the latter part of his career. The first floor appears low due to the overhangs and the massing of the second and third floors together. Unadorned, heavy stucco columns define the corner. A simple stained glass window, likely by the Keck Studio, graces the entry doorway.
Inside, the house features Mission style lines in its wooden door surrounds and in the distinctive inglenook sitting area around the fireplace, itself complete with decorative ceramic tiles from Henry Mercer’s Moravian Pottery. The dining room boasts a beamed ceiling. These features are defining elements of a Ward house. A generous open porch to the right of the entry was enclosed made into an architecturally sympathetic sun room.
The home was built in 1919, reportedly for Judson W. Clark, as one of the first in the “new” Strathmore development, a real estate project following World War I that sought to take advantage of its exclusive proximity to the newly landscaped Onondaga Park. Leonard Thorn resided here in the 1920’s. He operated the Thorn Machine Tool Works on North Franklin Street.
The house became vacant about 1933 but then was lived in a short time in the mid-1930’s by Harry W. Miller, an insurance agent. From 1939 until the early 50’s, the William C. and Georgia Martin family resided here. William Martin was a 1921 graduate of Syracuse University’s College of Law. He practiced privately, but also served as county district attorney from 1932 to 1937, then as a state senator in 1939 and 40. Georgia Daley Martin was a teacher before marrying. She was active in Civic Morning Musicals, Inc., the auxiliaries of two local hospitals and was, reportedly, an avid hockey fan.
216 Robineau Road
This fine example of a small Arts & Crafts home appears to have been built for Walter Stillman and his wife Clarissa Alsop Stillman. Clarissa was the younger sister of Adelaide Alsop Robineau, the famous local ceramist. In the early 20th century, the Robineau’s owned most of this section of the street. The next door Robineau pottery was built in 1903 and in 1904 the Robineau’s completed their own home, Four Winds”, to the rear. The Stillman name is shown residing at 216 as early as 1911, but the parcel did not pass from Mr. and Mrs. Robineau to Clarissa until 1914. Walter Stillman was a practicing optometrist and optician.
The exterior’s low slung first floor with overhangs are distinctively an early 20th century Arts & Crafts style form. The overhang is supported with simple, broadly curving brackets that bear a striking resemblance to similar ones on “Four Winds”. In fact, other similarities between the two on the interior and the close family connections, points strongly to a conclusion that the architect for 216 Robineau was also Catherine Budd, the friend of Adelaide who designed “Four Winds”.
The inside boasts classic Mission style detailing in the vertical oak paneling, massive pocket doors and simple stairway balusters. Some brass door handles are formed with imitation wrought nail heads to create the handmade look advocated by Mission practitioners like Gustav Stickley. The entry foyer is surprisingly generous and the openings between all the downstairs rooms are wide enough to create an illusion of added space in a small overall area. The dining room is a true delight for lovers of Craftsman ideals with its corner fireplace, cozy fireside inglenook, and tall oak paneling culminating in a useful plate rail. Upstairs, the bedrooms at each end contain original built in dressers. A third, small room in-between them may have been planned as a nursery.