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"
From House
of
Mr. John
Hay,
Washington, D.
From House
of
Mr
Henry Adams,
Washington, D
ARCHITECTURAL
WROUGHT-IRON
ANCIENT AND MODERN.
A COMPILATION OF EXAMPLES FROM VARIOUS SOURCES, OF GERMAN, SWISS, ITALIAN, FRENCH, ENGLISH AND AMERICAN IRON-
BY
NEW
YORK.
WM.
23
T.
COMSTOCK,
1888.
WARREN STREET,
COPYRIGHT,
W.
W.
K E H
T,
1888.
NA
6o
'
If
0/3
DEDICATION.
To
with
I lie
the
t
younger members of
it
tlie
profession,
hope that
t/iis
will prove
of
interest
and
assistance
CONTENTS.
Frontispiece.
Grille from the
D.
C.,
house of Mr. John Hay, Washington, and Gate from the house of Mr. Henry
C.
Adams, Washington, D.
INTRODUCTION
...........
CHAPTER
.......
I.
15
HINGES
............ ........
II.
CHAPTER.
22
CHAPTER
III.
28
CHAPTER
ITALIAN
IV.
WALL
RINGS
WROUGHT-! RON..
.....
AND STAPLES.
FINISH FOR
PRESERVING
.
.
-33
PLATES.
I.
GRILLES, from
&
Marshall, Architects.
House
of Mr.
son,
tects.
XI. IRON
the Colt
in
Baltimore
House,
Messrs.
Mc-
House,
1811.)
R.
I.
(Built
Kim, Meade & White, Architects. House of Mr. B. H. Warder, Washington, D. C.; Mr. H. son, Architect.
II.
H. Richard-
House of Mr. John Hay, and House of Mr.Henry Adams, Washington, D. C.; Mr. son, Architect.
H. H. Richard-
XVIIth
XIII.
GERMAN HINGE,
Museum.
South Kensington
III.
WINDOW
GATES
IV.
St.
Aventin,
France.
V. FIRK- SCREEN.
VI.
EXAMPLES
Wrought-Iron Work," by William Penstone, Architect. Panel of Front VII. GUARD to Upper for Charles H. House Mrs. Door,
Sherrill,
Monastery
land.
at
Einsiedeln,
Switzer-
Museum
tury).
at
Zurich
(XVIIth Cen-
L. Page, Architect
House
of
Mr.
Henry
Adams,
of the
Messrs. McMeade & Architects. White, Kim, House of Mr. John Hay, Washington,
possession of
From church
land.
at Einsiedeln, Switzer
D.
C.;
Mr. H.
H.
Rich-
ardson, Architect.
IX. BALCONY,
House
C.;
for Lieut.
Door
and
ington, D. Architect.
Plates,
1
Finial
Old
Cabinet, United
College,
St.
in
Cathedral,
Andrews, England. XIX. GOTHIC HINGES, from " A-n Analysis of Gothic Architecture," by R. and J. A. Brandon. XX. WALL RINGS AND STAPLES, Siena,
Italy.
Breda, Holland.
XXVIII.
House
Detail of Grille.
England.
Finial to a Grille.
of
Miscellaneous Finials.
John
XXIX.
FINIALS,
from
Hospital
at
Metz,
Century
XXIII. ANDIRONS in Cluny Museum, Paris. XXIV. OFFICE SKETCHES. Sketches for Harvard Law-School
Andirons.
possession of
W. W.
Boppart,
Andiron Andiron
Study.
in
Harvard Law-School.
for
Shutter Board
Handle,
Mr.
Richardson's
XXV.
(XVIth CenXurich.
XXVII.
FINIALS.
Miscellaneous.
XXXIV.
XXXV.
details
abbreviations subjects have been taken from periodicals, the following " have been used to indicate the source A, from English Architectural Association Sketch-Book ;" " " Aus der Kunst-Schmiede-Eisen-Sammlung;" C, English "Building News;" D, British ArchiB,
ABBREVIATIONS.
Where
tect ;" E,
Photograph.
PREFACE.
IT
is
much
attention
The
think, the
same
that
have retarded
want
of direct
and the
carelessness
natural
that
to
nation,
which
has a practical
in this
respect,
and
is
exerting
every day on
the
quality of
is
architectural
design
sufficiently interested in
What
and
of wealth,
consequent
improvement
in
the
is
certainly
to
be desired and
this
is,
wish
Architect, for
acknowledge my indebtedness to Mr. H. C. Burdett, the assistance which several of his excellent sketches have
to to
given,
and
likewise
Messrs.
G.
Krug
for
&
Son,
loan
of of
Baltimore,
and
Mr.
Jno. Williams,
of
New
York,
the
photographs
and
NEW
YORK, Sept.
ist,
1888,
INTRODUCTION.
AN
does not progress far in the direction of the practical and useful before the
in his inventions
spirit
of
beautifying
at
it
takes
possession
of
him,
first
served him
for material
under
mental character,
added
to
its
useful
is
property,
skill
gradually To use
man made
its
for purely
he decorated
and improved
its
until, in
came
as near perfection as
it
has
ever come.
I
we know
intended for purely practical ends is that necessity and the attendant conditions of
is
often
into shapes
which
all
the efforts of
see this in the would-be-greater descendants fail to improve upon. canoe paddle of the Fiji, in the outlines of the bungalow, in the modeling
of the Viking ship, in
spear.
We
bow and
Indeed,
it is
and where man, independent of tradition and precedent, has solved the problems of construction and ornament, there is
sity are
deformed
often a
more
is
attained by later
generations,
who
Yet
man improves
Introduction.
by retrospective study and research. The workman, whether artist or artisan, works to better advantage if he knows what has been done bechiefly
fore
how
his brother
workman
of centuries
to-day.
The
metals.
malleability and
ever since
man
learned
use,
made
it
For weapons
and
in all its
war and the chase, for agricultural implements, constructive uses, iron, and especially wrought-iron, has been
of
fact that in
he has taxed his inventive ability to its out of the old forms spring new ones, better suited to modern needs,
find
it
and to-day we
filling
all
things considered, it would be difficult to find a satisfactory substitute. But it is chiefly in connection with architecture that wrought-iron has been used
most varied and interesting forms, both as regards art and science. Hence, while some small space must necessarily be given to a brief description of the domestic uses to which it has been put, yet in the main this
in its
it
in its
architectural
field,
and especially
in
its
As one
iron
it is
among some
shapes and patterns more closely in keeping with its peculiar properties than has been the case among later and more cultivated
was worked
in
Moreover, during the Middle Ages generally, its properties and use seem to have been better understood than they are now. In_those days its forms were generally such as suggested its combined baseness, strength and
races.
pliability,
all
and
in
we
usually find
it
That
is
to say,
we
find
first
of all
proper place, serving the purpose for which it was made, and not overwrought or made into forms and patterns which suggest and belong to the more precious metals. To-day we often expend on it all the skill and labor
in its
it
and placing
is
it
repels us.
An
a sensible protection against thieves, and ornamentation does not destroy its usefulness but when we make iron picture frames,
;
Introduction.
we go beyond
province.
It
is
a question
if
how
far realism
should be followed
in its
in
certainly
there
is
wrought-
proof of this
in
the better examples of the work of respective nations that is, the examples in which the characteristics of the people and their times are most forcibly
expressed
from the path of conventional ornament, and wherever we do find a departure, from that very point we can
find little divergence
we
Let us
mediaeval Germans, in ornamenting their work with conventional suggestions of the gnomes, goblins and monsters in which
their legends abound,
one instance.
The
imbued
tried
of
art,
but
when they
and
It
to
follow nature
too
closely in
the
forms
of leaf, twig
was
signal
mediocrity easy.
may be
always a sign that the strength of national imagination is growing less, and However that may be, it is perhaps in time it must come in all designs.
seen to be universally the case that when the designer ceases to make full use of his imaginative powers, his work ceases to improve and finally
deteriorates.
It
seems as
certain
this
if
mind a
of
it
;
might be said of other materials also. In our own day the village blacksmith, probably because he handles iron constantly, is
and
better able to forge a beautiful hinge or finial than half the skilled of the towns, because by constantly using iron he comes to
properties,
and so can put his spirit into it, and is not afraid of the marks of his hammer. This is why, in his work, we find all the strength and crispness of an artist's first sketch.
The
best
tenth to the seventeenth century. At least we find it was jn these centuries that most of the best now remaining examples were executed. Italy,
France,
filled
14
quality of which the
Introduction.
workman
its
it.
of to-day cannot
hope
to rival until he
is
which produced
That study of the older forms and comparison with the best modern work can in some measure assist to such an understanding, the writer believes, and hence into this collection has been put what seemed best
calculated to help the designer and the artisan to a better appreciation of
still
constitutes
good design
in
wrought-iron.
CHAPTER
I.
earlier
times,
when
more
we enjoy
to-day, the
in fact,
guard
in
necessary accessory many buildings. The portcullis, with its sharpened spikes, the window grille, with threatening
finials,
of which
in
examples
designs,
his
are
familiar
common
form
is
the
window
grille,
which we use
chiefly as a pro-
is
important
in
pay some
attention to
their design
when
so located.
tv.tv.ic.
"WINDOW
"DiPP.FRAc.
i.
No
Nos.
i
and
and being made from one piece, the decorative effect expense, the iron bar being simply cut and branched.
of
obtained with
little
and placing several side by side with the branchings distances, very simple and effective guards are obtained, as
No.
i
shown
in
No.
2.
!5
Architectural
Wrought-Iron.
No.
Amsteg, These are interesting chiefly on account because they have also the qualities of
found
in
houses at a shutter guard, common to many of the Swiss Lake Lucerne to the Furca pass. Altorf, and along the road from
3
is
and
originality
in
more elaborate
/vvv JNo.
2.
NO.
3.
No.
4.
Chancel "Kailina
ter Cathedral.
tlaU7<?dfal
at
6.
No.
A.
No.
6 are examples of very common motives in both ancient and in molds modern designs. Shapes ike these are often nowadays beaten out It is needless to say that such treat to save the expense of skilled labor.
Nos.
4, 5,
Grilles,
Gates,
Guards, Etc.
at
once of
all
work and
reduces them to the commonplace level of machine stampinga fact which many modern manufacturers are constantly overlooking. Indeed, if iron is
to
be worked
in
molds,
why
make use
of cast-iron
No. 7
C.
fills
No. 8-C.
its
in
proper place ? The attempt to cheat the mind such a way is as short-sighted as it is generally
No. 9
B.
a sixteenth century grille of German workmanship of a type which deserves considerable study. It is simple and relies for effect on the arrangement of the curves and angles made by a round rod of iron without
No.
7 is
resort to
any
foliation,
i8
Architectural
Wrought-Iron.
No.
8,
a sixteenth
character, but in
century gate, is one of much the same general this notice the introduction of the graceful leaf and bud
form
in
No. 9
entitled "
This piece is dated 1576. also a German grille, from an excellent book on iron-work,
Friedr.
Halselman,"and the whole design, of which this is a part, is one of the most refined and beautiful examples of wrought-iron. The splendid conventional
No. lo-B.
is
particularly interesting.
The
rosettes on the
but altogether it is an unusually good grille. Several examples have been taken from this book, which is one of the best collections ever published.
little stiff,
No. 10
is
half of a
transom
grille,
No.
ii.
This is also German. The ornament in the lower left-hand gate or fence. corner has a curious resemblance to late Renaissance design. The detail of No. 1 1 shows how valuable it is to study in perspective.
and presenting the narrow edge first to the eye, delicacy and strength of construction are obtained and a constantly varying Whereas, in No. 4, a certain profile, as seen from different points of view.
By making
the hoops
flat
unrelieved flatness
is
Grilles,
Gates,
Guards, Etc.
in
almost wholly for its beauty on the outline, seen from directly while the construction is more difficult and less stable.
In continuing this subject,
it
front,
will
work
is
interesting in
many
cases,
the
=^<i>
VI
V ^
No.
13
A.
result of
hand workmanship,
this quality
etc.
to-day by false
is
hammer
marks,
exceedingly amateurish and weak, like any similar trickery. No. 12 is a grille which combines delicacy, symmetry, strength and variety of movement to a remarkable degree, and altogether is an excellent
design.
No. 14
A.
No.
15.
Nos. 13 and 14 are circular and semi-circular grilles for a round window and a transom light respectively. They are, I believe, Venetian.
fore a shrine of the
Nos. 15 and 16 are also outlines of grilles at Venice No. 16 being beMadonna the sketch shows only one-quarter of the
;
design.
20
Architectural
Wrought-Iron.
railing
No. 17
It
is
a comparatively
modern
from a
New York
door-step.
what a respectable design even a plain bar of iron without taper can be made. No. 1 8 is a French grille, showing an interesting treatment of whirls at
shows
into
No.
19.
No.
20.
the top.
often.
The
cross
is
grille
Grilles,
Gates,
Guards, Etc.
21
No. 20
is
modern American
all
good
which, having the elements of a the bars being monotonously alike and too
grille
its
heavy.
Compare
this with
No. 8 and
21
Nos. 21 and 22 are modern American grilles of considerable merit. No. is from the studio of the late H. H. Richardson, as is also No. 23,
I
which
believe
is
an unexecuted design.
No.
23.
No. 24 is a modern American design which, though having a plain geometrical frame work, is nevertheless made very graceful and interesting by the skillful disposition of its more delicate members.
CHAPTER
HINGES.
II.
most important articles of metal-work in public and private use during the Middle Ages was the hinge, which was very generally made of iron, owing to the low cost of this metal and the
of the
ease of working
it.
In household
all
furniture, the
chest,
cabinet,
furnished with hinges of more or less elaborate design, and among public edifices, the entrance doors both of civil and ecclesiastical buildings, were generally orna-
mented with
strap
decorating and binding the door more firmly together, and this last was no small desideratum in an age when the changes of government
LUEUUEI
No.
I
C.
The
ing the
mediaeval
demand
great scope to his imagination in supplywhich was caused by such a general use. The Germans
workman gave
were pre-eminently the great hinge-makers, and, as has been before remarked, their best work was unmistakably stamped with characteristic decoration, and in the flatter forms of metal-work, such as hinges, escut-
Hinges.
cheons,
etc.,
23
they found ample opportunity for the conventional expression of the weird and peculiar ideas with which not only their folk lore, but even
their
they brought the design of the hinge to such a state of excellence, I have never completely understood, but that they did must be evident to anyone who has studied carefully the relative metal-work of the different nations at this period.
literature,
filled.
minds and
were
Why
No.
7..
It
is
Northern nations to embody in art the spirit which pervaded, and which but the Teutons still, in a measure, does pervade, their Hves and traditions
;
No. 3
B.
this desire
in
consequence
work possesses
No.
i
is
of
or early sixteenth century, and illustrates what has been said of the prev-
The work
is
crude
in
some
respects,
24
Architectural -Wrought-Iron.
but the chisel cuts most effectively atone for the apparent rudeness of outline.
No.
2 is
one of a
on the doors
of the old
outlet
of
Lake
Zurich.
They
are
full
situated close by the edge of the of spirit and thoroughly like the
No. 4 -B.
German work
in
every particular.
is in
very effective contrast to the undulating curves of Sketches of some of the other hinges are given
among
the plates.
3
Nos.
chisel
ornaments are
No.
B.
particularly
good.
common
in early
The German
scale
gouge,
is
very
work.
is
No.
is
5 is
German work.
like
It
manship.
No. 6
is
It
Hinges.
outlines,
25
trefoil
is
very happily
done.
No.
fered
7 is
like
an English door-hinge of about 1600. The edges are chammuch of the German work, and the heads at the end are also
of the shutter of a house at Zurich. a Swiss hinoe 3
It is
No. 8
is
is
The end
rather refined.
No. 6
B.
TVorw
Ko.<
NO.
8.
No.
C.
curves are remarkably good. There is a large monastery at Einsiedeln, where the working of iron by the brotherhood for the cathedral has had, no doubt, some influence on local designs,
is
No. 9
also Swiss,
and
its
in
No. 10
outline
consists.
is
a more clumsy one than the preceding, but like it in general comparison of the two shows wherein the excellence of No. 9
26
No.
ii is
Italy,
No.
10.
No.
ii.
it
a modern design on old French lines be seen on many a provincial church door.
No. 12
is
and
its
prototype
may
Hinges.
27
No. 13
is
No.
12.
"ft
jfatrlc
n.
Clr<hiT<-ctr
No.
13.
it.
ing and
it
collection.
CHAPTER
HE
of
III.
RINGS.
to
country houses
regretted,
and
the
artists'
and
it
is
to
be
since
does not give that chance for design which was afforded by the ancient knocker. But worse
than
this,
modern
left
COLOGNE
of
the
on which even
imagination
the
can
work.
However,
though
knocker
No.
itself
its
i.
can
rarely
now-a-days
so
many
of
old forms which exhibit the results of careful thought and study, that at
29
of assistance in other
directions.
have seen very few examples of so-called Colonial knockers, which were of wrought-iron, and so, unfortunately, am unable to give any examples, if indeed any good ones exist. Most of them are made of cast iron,
I
some
of the
common forms
are very
good
in
day should not be to some extent continued. Certainly it is much safer to close a heavy door by a central ring than by the usual knob, since with the
NO.
2.
former one runs no risk of shutting in fingers. On church doors and the doors of public buildings it would seem especially advisable to use them
both for the reason above given and for their which, when combined with those of hinge straps, are
do,
No.
there are
a rather rude knocker of Spanish workmanship, on which several good decorative patterns which, from their character
is
(being easily rnacle with gouges and chisel) are well adapted to the material. No. 2, a Pisan knocker, has a very graceful ring and an excellent conventional animal head.
beautiful.
The
entire modelling
is
30
Architectural Wrought-Iron.
latch, is a remarkably good and the curves are full of the design, strength and spirit which is so often seen in the French iron-work, and noticeably lacking in a great many of the
3,
No.
raise
the
English designs.
No.
4,
which
believe
is
of Scotch workmanship,
set in effect,
is
is
bold
in
outline,
altogether decorative.
Clt
^enqv/eux.
Jb/'s
No. 4
A.
No.
trance.
5 is
There
it
Nos. 6 and
of animal forms.
show good conventional treatment They have a great deal of rude life and vigor, and yet do
at
fine
head well
There
is, I
believe,
work
"
Documents."
BARCELONA
CALk'C
OEU-BAHnig-NUtVO
SPAIN
NO.
6.
No.
PLA-iUtLA-ADUANA SPAIN
No.
8.
No.
7.
Architectural Wrought-Iron.
an extremely simple design, and from its character, I judge the original was a piece of French work, executed under Gothic influence. No. 10 has nothing but its simplicity and inexpensiveness to recom-
No. 9
is
mend
it.
No.
9,
No.
little
10.
No.
ing,
ii
shows but
its
hang-
&TOCKSU*
rtCNT
No. u.
No.
little
12.
study might be
much
CHAPTER
HESE
IV.
and staples are from the walls of houses and palaces at Siena. They were used in many of the Northern Italian cities during the middle ages, but those
rings
we
of
and Florence are especially fine examples decorated iron-work. They were used for various
find at Siena
purposes.
In
times of
civil
disturbance
chains
were
stretched across
mobs
the streets to impede the advance of or soldiery. In Florence and Siena during the
of
struggles
the
Guelphs
and
Ghibellines
it
is
said
and
advanced they were used on new buildings more as architectural accessories than from any real need, and to-day they are cher-
As
civilization
ished as
much
decorative patterns upon them are very plain, but well suited to the character of the material, while the expression and life-like vigor of the
The
is
heads
more
On some
banners and
poles in
striking in reality than can be easily indicated in a sketch. buildings they are placed so high above the street between
the second-story
also
festivals,
As
architectural accessories
the smith's art they are interesting reminders of the spirit of one of the most remarkable periods in the history of Northern Italy.
*
34-
Architectural Wrought-Iron.
FINISHES FOR PRESERVING
WROUGHT
IRON.
it
from the
in
hardly necessary to advise the use of black paint preference to any color for general work. A finish which is used by some of the American manufacturers, and
If
paint be used,
it is
said to be good,
is
the following
mixture of asphaltum and lamp black of about the consistency of If a lustre ordinary varnish applied with a brush and polished when dry.
is
may be
added.
Black shellac
is
Iron
laced.
may
also
This
is
be galvanized and stained with acid stains and then said to be very durable.
shel-
'
SWI5S-AND-1TALIAN -NAILS"
Window
Grilles
from
Washington
and
Baltimore
Houses.
NO.
1.
MESSRS.
HORNBLOWER
UNO
MARSHALL, ARCHITECTS.
NO.
2.
IN
Y,
WASHINGTON,
Ma. H. H.
RICHARDSON. ARCHITECT.
NO.
3.
MESSRS. MCK/M,
WHITE, ARCHITECTS.
MEAD &
WARDER,
MR. H. H.
HO 4.-IN HOUSE OF
MR. B. H.
D. C.
WASHINGTON,
RICHARDSON, ARCHITECT.
No
No.
2.
No.
3.
No. 4.
PLATE
I.
NVREMBVR&'
NVREMBVRG-'RAT.HAVS-
'GRILLES
PLATE
II.
WINDOW
JSTC
>J
Yenstiayi
WmdoW Grilles
,
Venetian. Grille,
PLATE
z
z
IL
u
X.
9 r
D E U
PLATE
IV.
z
H4 OJ
u
o
ID
^
IL
PLATE
V.
.:
Jitanar jSCTecE.
EXAMPLE5JLLV5TRATINGA-PAPERFgnliglij'
d[
Iron
16* Centyru
17*
(Sirmoo
.
VV&rli,
CoVrJ
%td
Ate. -I,
*
CLntVn)
p.lto
WM-PEN5TONE-
_ J
ARCHITECT
PLATE
VI.
Guard fo
ffouse jf
ufifier*Jbariet
-T^kojvr DOOR,
-7D-C
PLATE
VII.
"BASKET GRILLE
HOY5E<OF<MR'HENRY
GRILLE 'PROM' A
BALTIMORE,
-GRILLES*
HOYSB-OP'
JOHN- HAY
1WVHOV5E-OF
JOHN 'HAY'
WASHINGTON
D-O
AND-50N- BALTIMORE
PLATE
VIII.
PLATE
IX.
I)
1
;
13
r
s. en
^ o
(U x
PLATE
X.
BR1STOL-TM
HALF-OP-FRONT-GATE
PLATE
XI.
a
-a
O
_o "Sn
Q
c o
o o
'
-t-^
*;
j:
c o
o
v o
"Sn
O
c
o
E
PLATE
X\\
p-
PLATE
XIII.
Sou-tk
MINGES
PLATE
XIV.
PLATE
XV.
PLATE
XVI.
IU
GO
PLATE
XVII.
naf
YarioTuin
ir*
anoThr^/rnv^*",
-Hinfle
<fw-i
old cabinet"
PLATE
XVIII.
c
o
[I
PLATE
OJ
PLATE
XX.
PLATE
XXI.
From House
of
Mr. John
D. C.
Hay,
Washington,
Plate XXII.
MR. H. H.
RICHARDSON. ARCHITECT
PLATE
XXIII.
orr
ETCME5
ANDIRON-FOR-
A W-LONGF.EU-OW-D??
PLATE
XXIV.
ITALIAN
AN M EK
PLATE
XXV.
orence
BANNER-
HOLDER
PLATE
XXVi.
f (jfertnan l5l*""CntUrc<
WBOUGHT
PLATE
XXVII.
PLATE
XXVIII.
HOSPITAL-
fe
CENTURY
PLATE
XXIX.
PLATE XXX.
JOtfN
WILLIAMS
--/A
AKER
PLATE
XXXI.
PLATE XXXI
HTHFOMSLI 1UJ1\IQ
1
PLATE
XXXIII
(0
N!
PLATE
XXXIV.
i
==s<
>>
--
c "-~
>*>
"^i*-*^-^-;
rt'f
r
'^'fe
^~iS.^~:=:--^_L~
.fc
ft)
PLATE XXXV.
EXECUTED
IN
WROUGHT I^ON
DEC. lasj.
Xz Sizi.
JOHN WILLIAMS,
115
TO
i2i
EAST
i3Ti-i
ST.,
NEW
YORK.
ESTABLISHED 1875.
MAKER OF WROUGHT
GAS
FIXTURES,
GtRILLJiS,
IRON,
RAILINGS,
LAMPS,
HINGES, LOCKS
&
DOOR TRIMMINGS,
FENDERS,
ANDIRONS,
FIRE-PLACE FRAMES
TO SPECIAL
ORDER
ONLY.
I^ef ereaces
Tiffany
;
& Co., N. Y. Cottier & Co., N. Y. L. Marcotte & Co., N. Y. McKim, Mead & White, N. Y. Babb, Cook & Wiliard, N. Y. Bruce Price, N. Y. Bailey, Banks & Biddle, Phil. Frank Hill Smith, Boston A. H. Davenport, Boston The Henry Dibblee Co., Chicago.
; ; ; ; ; ; ;
H.
t
237
BROADWAY,
NEW
YORK.
Grilles,
Gates,
Railings,
Etc.
on
~F~T~
H d/
I
T"
^v
OFFICE:
FACTORY:
North 10th, North 11th and Berry Streets,
BROOKLYN,
N. Y,
OF
ARTISTIC
GH
\l
Cor,
BAITIMORE, MD.
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