The career of Frances Adler Elkins (1888-1953), sister of renownedChicago architect David Adler, spanned more than three decades.

New York magazine was born in 1968 after a run as an insert of the New York Herald Tribune and quickly made a place for itself as the trusted resource for readers across the country. With award-winning writing and photography covering everything from politics and food to theater and fashion, the magazine's consistent mission has been to reflect back to its audience the energy and excitement of the city itself, while celebrating New York as both a place and an idea.

The aura and romance of Old California lives on in this treasury of inviting homes. The California House presents the magic of the "golden state," that land of infinite promise and dreams, the most tangible expression of which can be found in the homes built by early California dreamers. Here domestic visions of tranquility and repose were inventively realized—in stucco or stone, wood and wrought iron, plaster, and glass and tile. Spanish Colonial Revival–style homes with elaborate wrought-iron window grilles, romantic, shadowy interiors, and lush courtyard gardens stand beside other particularly Californian architectural wonders such as the San Francisco Victorian Painted Lady, the Monterey Colonial, Eurekan Queen Anne, and the homey California Arts & Crafts. Including houses designed by luminaries George Washington Smith, Stanford White, Greene & Greene, and Reginald Johnson, this book will fascinate both the architecture aficionado and interior design enthusiasts, as well as the everyday lover of homes. Including, but going beyond, the much-adored Spanish style (in its many manifestations) and Mission Revival, the book features as well the Victorian of San Francisco's Painted Lady and Eureka's Queen Anne, Monterey Colonial, California Arts & Crafts, French Chateau, classic Colonial farm house, and more. All new color photography of 25 houses in California ranging in style from Spanish Colonial Revival, Mission, Victorian, Queen Anne, California Arts & Crafts, Monterey, French Chateau, Colonial Farm House. The book includes little known California work by well known architect Stanford White, known primarily for his East Coast work (designer of the original Penn Station with McKim, Mead & White, and original Madison Square Garden, and many others); as well as the Magdelena Zanone House (Queen Anne late Victorian style home in Eureka, CA); the Murphy House, San Francisco (Classic French Chateau); a Gothic Victorian 1860s home in Sonoma; Casa Amesti (Monterey style home); "El Cerrito" designed by Russel Ray and Winsor Soule and built in 1913 in Santa Barbara (an amalgam of Mission and Spanish Colonial Revival); the Frothingham House designed by George Washington Smith in 1922 (Spanish Colonial Rev.); Cuartro Ventos House by Reginald Johnson, 1929 in Santa Barbara; William Edwards House by Roland E. Coate, Sr. in San Marino, 1926; Robinson House by Greene and Greene in Pasadena, 1905; Sack House in Berkeley (California Arts & Crafts) Brune-Reutlinger House in San Francisco (classic Painted Lady Victorian); a colonial mid-19th cent farm house in Sonoma; "Mariposa," classic Spanish style in Montecito; The Marston House in San Diego (Arts & Crafts/Tudoresque); Rancho Los Alamos De Santa Elena in Los Alamos (Span. Col. Rev.); Pepper Hill Farm in Balard.

This book surveys modernism as interpreted in the private residences of the San Francisco Bay Area. An ecelectic array of over 30 homes are presented , showcasing modernist ideas in the context of everyday life.

"Contains an itemized list of the births, marriages, and deaths found in approximately 1,000 family Bibles ... The collection spans a period stretching from the early 1700s to the 1900s."--Note to the Reader.

A collection of photocopied articles published about the David Adler exhibition held at the Art Institute of Chicago, December 6, 2002 to May 18, 2003.

A wide-ranging book on the timeless, elegant interiors of the versatile Frances Elkins, the grande dame of early twentieth-century design who influenced so many important designers of our time. Called “the most creative designer we have ever had” by Billy Baldwin, Frances Elkins has been revered for her classic, erudite, and multidimensional decor. Ahead of her time, Elkins became a successful decorator who by the early 1930s had reached the top of her profession and was considered the only rival to Elsie de Wolfe. Working throughout the United States, Elkins brought an international perspective and architectural sensibility to her work. Elkins traveled widely with her architect brother David Adler, educated at the Ecole des Beaux Arts, and he was a strong influence on her. Her social circle included interior designer Jean-Michel Frank, couturière Coco Chanel, aesthete Charles de Beistegui, arts patron Misia Sert and painter Salvador Dali, For her clients, she brought a modern European chic as well as a melding of the best of American, English, French,, Asian and Mexican traditions. A talented furniture and fabric designer as well as interior designer, she collaborated with many luminaries, including Frank; architects Adler, Gardner Dailey, and William Wurster; weaver Dorothy Liebes; decorator Syrie Maugham; the artist Bruton sisters; and furniture maker Myron Oliver. Her carefully planned interiors were known for their distinctive sophistication and polish, and an inviting sense of comfort. Showcasing never-before-published material , Frances Elkins: Visionary American Designer includes more than sixty interiors that illustrate her outstanding sense of color and her gift of mixing periods and styles —from her early work on the Monterey Peninsula, to houses she designed with her brother in Chicago in the 1920s and 1930s, to iconic hotel commissions such as the Royal Hawaiian Hotel in Honolulu, to homes for film star Edward G. Robinson, banking heiress Celia Tobin Clark and advertising legend Albert Lasker. With images by top photographers of the day as well as newly commissioned images of extant Elkins interiors, this volume will serve as a revelation and inspiration to fans of design.

Best-selling style writer Diane Dorrans Saeks consulted leading designers, decorators, and architects to discover today's most innovative approaches to that beloved sanctuary for entertaining and relaxing, the living room. Showcasing a host of inspiring California spaces, Living Rooms features hundreds of creative ideas and tips on everything from choosing terrific color schemes to selecting the ultimate sofa. Complete with a helpful design resource guide, Living Rooms makes the timeless, comfortable elegance of West Coast style a perfect fit for any home, no matter where you live.

With color photographs and artwork, Sisters in Art is the first biography to capture the lives and works of Margaret, Esther, and Helen Bruton, three exceptionally talented sisters whose mark on the California modernist art scene still impacts our world. Nominee, 2021 New Deal Book Award "Great stories abound in this book, including the goings-on of the 'Monterey Group' of painters and an encounter with a teetotaling Henri Matisse at a North Beach cocktail party. If California had a Belle Époque, this was it. From their chubby-cheeked 'Gibson Girl' childhood through their sunlit dotage, the Brutons were exemplars of many aspects of California history and, in recent years, overlooked. Good’s book corrects this." —Library Journal "Both beautiful and substantial, Sisters in Art: The Biography of Margaret, Esther, and Helen Bruton. . . would make a great gift for the art lover in your life […] The book contains detailed-but-lively accounts of the sisters' lives and work, and is filled with black-and-white and color plates of their art." —The Carmel Pine Cone "An illuminating and heroic work... [Good] writes vividly about how all three Brutons continued to make art until the very end of their lives." —Jasmin Darznik, New York Times–bestselling author of The Bohemians "For decades, Margaret, Esther and Helen Bruton have been relegated to a side note in California art history. Yet their work has found new appreciation in the 21st century, and their fascinating lives and impressive artistic achievements are finally coming back into the light." —Carmel Magazine Educated at art schools in New York and Paris, the Brutons ran in elite artistic circles and often found themselves in the company of luminaries including Frida Kahlo, Diego Rivera, Henri Matisse, Armin Hansen, Maynard Dixon, Imogen Cunningham, and Ansel Adams. Their contemporaries described the sisters as geniuses, for they were bold experimenters who excelled in a wide variety of mediums and styles, each eventually finding a specialization that expressed her best: Margaret turned to oil paintings, watercolors, and terrazzo tabletops; Esther became known for her murals, etchings, fashion illustrations, and decorative screens; and Helen lost herself in large-scale mosaics. Although celebrated for their achievements during the 1920s and 1930s, the Brutons cared little about fame, failing to promote themselves or their work. Over time, the "famous Bruton sisters" and their impressive art careers were nearly forgotten. Now for the first time, Sisters in Art reveals the contributions of Margaret, Esther, and Helen Bruton as their works continue to inspire and find new appreciation today.

As pointed out in my last two publications, no comprehensive study has been undertaken about the American Learned Men and Women with Czechoslovak roots. The aim of this work is to correct this glaring deficiency, with the focus on immigration from the period of mass migration and beyond, irrespective whether they were born in their European ancestral homes or whether they have descended from them. Whereas in the two mentioned monographs, the emphasis has been on scholars and social and natural scientists; and men and women in medicine, applied sciences and engineering, respectively, the present compendium deals with notable Americans of Czechoslovak ancestry in arts and letters, and in education. With respect to women, although most professional fields were closed to them through much of the nineteenth century, the area of arts and letters was opened to them, as noted earlier and as this compendium authenticates.