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Diversey River Bowl
WPA Art, Uptown Post Office
4850 N. Broadway, Chicago IL 60640
The historic Uptown Station post office in Chicago, Illinois was constructed in 1939 with federal Treasury Department funds. The two murals in the Uptown Post Office celebrate two Chicago icons, Carl Sandburg and Louis Sullivan. They are glazed ceramic tile murals, painted by Henry Varnum Poor in 1943 and funded by the Treasury Section of Fine Arts.
The Sullivan mural shows iron-workers and factories, with Louis Sullivan holding a model of his Carson Pirie Scott & Co. building.
The other mural shows Sandburg in a rural setting holding a guitar, with a farmer standing on the left.
Wright Plus 2026
The Wright Plus open house tour in Oak Park on Saturday, May 16, featured 10 buildings open to ticket-holders for this sold-out annual event, sponsored by the Frank Lloyd Wright Trust.
Heurtley House, Frank Lloyd Wright , architect, 1902
Heurtley House, detail
Frank Lloyd Wright Home and Studio, studio facade detail, 1889-1909
Balch House, Frank Lloyd Wright, architect, 1911
Thoms House, Worthmann & Steinbach, architects, 1904
Mallen House, George Washington Maher, architect, 1905
Animal Court, Jane Addams Homes
National Public Housing Museum, 919 South Ada Street,
Chicago, IL 60607
Animal Court is a collection of seven art deco limestone sculptures designed by artist Edgar Miller in 1938 for the Jane Addams Homes, Chicago’s first public housing project. The animals served as a central, interactive play area for children.
Designed under the New Deal's Public Works Administration, the figures were intended to bring beauty and joy to affordable housing. The statues were removed and placed in storage in the 2000s during Chicago Housing Authority (CHA) redevelopment.
After a $300,000 restoration by Conservation of Sculpture and Objects Studio, the figures were are now displayed in the courtyard of the National Public Housing Museum, located in the last remaining building of the historic Jane Addams Homes at 1322 W. Taylor St., Chicago.
Archival Photos, courtesy National Public Housing Museum:
Links:
Edgar Miller Legacy
Jane Addams and the WPA
Animal Court in the Alphawood Foundation Sculpture Garden
Chicago Loop 5-8-2026
Craig Martell Studio Pottery Bowl, ebay purchase
Springfield IL trip May 8-9, 2026
Old Capitol building
Springfield Union Station
Dana-Thomas House, Frank Lloyd Wright, architect
Illinois State Capitol, 1868-1888
Chair, Driehaus Museum
My recent art pottery acquisitions: (L to R) Rookwood Cabinet Bowl "XX" 1920 #2215 Dusty Rose; Roseville Futura 2-Pole Bud Vase 422-6; Van Briggle Persian Rose "Philodedron" Pattern Vase
Shelf: Mission style floating wall shelf, oak, by Vollman Woodworking
North Clark Street
Abraham Lincoln Center, Chicago
Frank Lloyd Wright and Dwight H. Perkins, 1905
700 E Oakwood Blvd, Chicago, IL 60653
Now the Northeastern Illinois University Jacob H. Carruthers Center For Inner City Studies
Left: rendering of "All Souls Building, Chicago;" right: The Architectural Review, 1902, p. 72
The Abraham Lincoln Center (ALC) was founded as a settlement house in 1905 under the auspices of the All Souls Church. The Center quickly became the home to a variety of social, intellectual and cultural activities. The articles of incorporation at that time, state that the Abraham Lincoln Center corporation was formed to be "the advancement of the physical, intellectual, social, civic, moral and religious interests of humanity, irrespective of age, sex, creed, race, condition of political opinion and in furtherance thereof the maintenance of institutions of learning and philanthropy."
The Abraham Lincoln Center was commissioned in 1898 by Unitarian leader Jenkins Lloyd Jones to serve as a settlement house and community engagement center for his church, All Souls. Lloyd Jones hired his nephew, architect Frank Lloyd Wright, to design the building with classrooms, apartments, and a large auditorium. Wright worked through many designs and many options, but they were continually deemed to complex and to ornate for All Souls’ purposes. In 1903 Wright left the project and his collaborator Dwight Perkins took over until the buildings completion in 1905.
The Abraham Lincoln Center is a huge monolith of a building, a very forward looking simple design built to reflect the progressive views of Jones’ Unitarian congregation. It borrows more from factory design than it does church design with its boxy form and lack of ornament. In this way it is a direct predecessor to the late modern movement of the 30s-50s that also looked to the simplicity of factories for inspiration.
brickofchicago on Instagram https://www.instagram.com/p/C-Su2ECRCs5/?utm_source=ig_web_copy_link
The Center was unique in welcoming members of all races and religions during that period of history. Today, the Abraham Lincoln Center builds on the foundation that was laid in the early 1900s. The Center continues to meet the needs of people regardless of religious, ethnic or cultural background.
Frank Lloyd Wright enlisted the help of Dwight Perkins for his first public building, whose striking exterior was finished by Perkins alone after Wright had a falling-out with the client (who happened to be his uncle). Originally the Abraham Lincoln Center, it contained a health club, training school, rental offices and a social center. The auditorium prefigures Wright’s later Unity Temple. Since 1966, Northeastern Illinois University’s Carruthers Center for Inner City Studies has used the building as a home base for urban studies.
Jenkin Lloyd Jones
Reverend Jenkin Lloyd Jones began his innovative ministry in Chicago with the founding of All Souls Unitarian Church on the city's South Side in 1882. Jones's inaugural sermon in June of 1885 was entitled "The Ideal Church," which called for an institution to be based on unbounded intellectual freedom, nonsectarian fellowship, and humanitarian outreach. In 1886, after four years of meeting in rented halls, the congregation built and moved into a permanent building named "The Abraham Lincoln Centre" (ALC). "We wanted a name that would radiate benignity, humility, a Christ-like patience, in short, a saint of the new order, a martyr of the new day, and such a name we believe 'Abraham Lincoln' to be. So we dare Christen this centre of helpfulness, this home of kindness, this academy of life—The Abraham Lincoln Centre." — Reverend Jenkin Lloyd Jones Rev. Jones hired his nephew, Frank Lloyd Wright, as the project's chief designer from 1898 until 1903 (at 31 to 36 years old). It was Wright's first sizeable public commission. The final building plans were designed by architect [Dwight Perkins] at 700 East Oakwood Boulevard at the southeast corner of Langley Avenue in Chicago. Source: Digital Research Library of Illinois History Journal
Chicago Architectural Club, various illustrations in the design process for the Abraham Lincoln Center
Source: Siry: The Abraham Lincoln Center, p. 245
The The Abraham Lincoln Center in 1913. Source: Digital Research Library of Illinois History Journal
Author photograph
Author photograph
Floor plans. Source: Ryerson and Burnham Libraries, Art Institute of Chicago.
Auditorium interior
Vintage postcard
ABRAHAM LINCOLN CENTER CHICAGO SOURCES
Jenkin Lloyd Jones and the Abraham Lincoln Center
Abraham Lincoln Center, www.steinerag.com
Abraham Lincoln Centre, Settlement House of Chicago, and All Souls Unitarian Church, Digital Research Library of Illinois History
Joseph Siry, The Abraham Lincoln Center in Chicago, Journal of the Society of Architectural Historians, Sept. 1991
Belmont and Clark, Chicago
St. Pascal Catholic Church, 1930. 3935 N Melvina Ave, Chicago, IL 60634. Photo by the author
Sculpture detail. Source: A Chicago Sojourn
Madonna della Strada Chapel, interior
Photographs by the author
The modernist chapel was designed by architect Andrew Rebori and opened in 1943. Edgar Miller was a close friend and frequent collaborator with Rebori during the 1930s, and he submitted designs for many art installations for the chapel, including the large rose windows facing Lake Michigan at the front of the building. Its design process and many of its unique modernist-style ornamental pieces were created by a team of locally hired artists that included Miller, with many mysteries as to what elements were originally intended and which were ultimately incorporated. Edgar Miller.org
Madonna della Strada, Loyola
Original Madonna della Strada, Church of the Gesu, Rome, after which the Loyola chapel is named (internet photo)
The mural of the Coronation of the Virgin above the altar was painted by Melville Steinfels (1910-1997) and completed in 1947. During the chapel's renovation of 2006-2007, Turkish-born artist Meltem Aktas added four angels to adorn Steinfels' original mural.
The rose windows are a point of confusion because Miller and another craftsman-artist Karl Hackert both submitted designs for them, and while there is no evidence that Hackert's design was chosen, recent research done by a Loyola student, Guy Valponi, shows it was likely that Hackert was chosen as the final executor of the windows. Father Mertz, the priest in charge of the project, expressed that Hackert’s work was a lot cheaper and higher quality, although there are also reasons to believe that Mertz’s strong personality and Edgar’s devotion to art over practical costs created a rift between the two. Edgar Miller.org
Madonna della Strada Chapel
Loyola University, Chicago
6453 N. Sheridan Road, Loyola University campus
Completed 1938 - 1939
Andrew Nicholas Rebori (1886 - 1966), architect
Madonna della Strada from the northwest. Source: Ryerson and Burnham Archives, Art Institute of Chicago
The Madonna della Strada chapel faces Lake Michigan on the campus of Loyola University, Chicago. The chapel was commissioned by senior priest of the Jesuit Order and university instructor Father James Mertz in 1924. It is named after a painting of the Virgin Mary, known as Madonna Della Strada, enshrined at the Church of the Gesù in Rome, the mother church of the Society of Jesus.
Designed by Andrew Rebori, with associated artists Edgar Miller, Karl Hackert, and Melville Steinfels, among others, the chapel sits next to another Rebori-designed building on the campus, the Elizabeth M. Cudahy Memorial Library.
Caricature of Andrew Rebori, by John Stafford Cromelin. Art Institute of Chicago
Vintage postcard view of the chapel
Chapel drawing, Loyola University Chicago Digital Special Collections
View from the southeast
Facade facing Lake Michigan
The rose window is bordered by relief sculptures of the four Evangelists, designed by Edgar Miller.
Vintage images of the bas relief sculptures of three of the Four Evangelists before they were attached to the front facade of the chapel. Source: Edgar Miller Legacy
Elevations by Andrew Rebori, 1937. Right: The iconic front facade is meant to recall a priest raising the monstrance during Mass. Left: The distinctive five arches are meant to represent the five senses in service to God.
Stained glass design by Edgar Miller
Artist Melville Steinfels (1910-1997), painting the chapel mural Crowning of Mary: Queen of Heaven and Earth, and the Society of Jesus (completed 1947)
SOURCES:
The Chicago Architectural Journal, vol. 4 1984, "Andrew Rebori: Buildings and Business" [PDF]
Patroness of the Road that Never Was: Loyola’s Madonna della Strada Chapel
Edgar Miller Legacy: Madonna della Strada Chapel
Father Mertz, S.J.'s Dream: Madonna della Strada Chapel
Madonna della Strada: Song in Stone
Loyola University Chicago Digital Special Collections
Chicago Theater tour 4-18-2026
Adolf Schmidt House
Adolf Schmidt House (Burrowes Hall), 6331-33 N. Sheridan Road, Edgewater, Chicago, IL; Completed 1916, George Washington Maher, architect
2013, granted City of Chicago Landmark status as part of the Sheridan Road Mansions District
In my previous posts about architect George Washington Maher, I completely overlooked this stunning N. Sheridan Rd. example of early-20th-century prairie style, one of only a handful of North Sheridan private mansions to survive destruction. The house is owned by Loyola University, and now named Burrowes Hall.
Built in 1916, this Prairie-style house was designed by George W. Maher for Adolf Schmidt, president of the Columbian Colortype Company. The house is clad in buff roman brick with stone trim, a hipped roof with wide overhanging eaves, one-over-one windows, Sullivanesque ornament, corner pilasters, engaged stone columns flanked by windows on the second floor, and a corner entrance porch with a rooftop urn and arched openings. The building was designated a Chicago Landmark in 2013, and today serves as administrative offices for Loyola University. Wikimedia Commons
The distinctive yellow brick exterior of the house has since earned the building the name "Yellow House."
Cast ornament details of the facade
The lotus flower motif employed by Maher throughout the structure is evident in the vintage photo of a stained-glass window (right), as well as the column capitals above.
SOURCES:
Bldg. 51 Museum, Exterior Photographic Survey
Loyola University Chicago, "Yellow House"
Sheridan Road Mansions [PDF]
Wikimedia Commons