For medium voice and piano. Caption title. Holograph (Ink). Caption: London 2 January 1843.
State University of New York at Buffalo. Music Library
Copyright Statement for Digitized Materials from the Music Library
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Mary Beaton's song : [from] Chastelar[d]
For medium voice and piano. Cover title. Holograph (Ink). Sung by the character Mary Beaton in Act I, scene ii in Swinburne's tragedy, Chastelard.
Mein Liebchen hat mich verlassen : Volkslied
For medium voice and piano. Caption title. Holograph (Ink).
For medium voice and piano. German words. Title from first line of text. Holograph (Ink), p. [3] in pencil. Incomplete work.
For medium voice and piano. Caption title (difficult to decipher, possibly incorrect). Holograph (Ink). Incomplete work. Caption: Juny 1844.
O sweet to my soul is that beautiful grove
For high voice and piano. Title from first line of text. Text from a stanza of the poem "Bolehill trees" by James Montgomery. Holograph (Ink).
For medium voice and piano. Caption title. Holograph (Ink). Caption: Prize composition. "Motto: After a storm cometh a calm"--Caption.
For medium voice and piano. Caption title. Holograph (Ink). Caption: Oct. 90.
For medium voice and piano. Caption title. Holograph (Ink). Caption: Februar 1888.
[Song cycle for medium voice and piano]
For medium voice and piano. Texts not present. Title supplied by cataloger. Holograph (Ink). Songs 1-10 were received in the same folder. Song 11 was originally listed as a violin and piano work in the Finkelman inventory and song 12 (War song) was received in a separate folder, but both appear to belong to this set. Contents: Ballad song (Very moderate) [G major] -- Song (Slowly) [G major] -- Song (Very slowly, dreamily) [A♭ major] -- Song (Moderate time) [E♭ major] -- Ballad (Allegretto) [G major] -- Song (Very slowly) [E♭ major] -- Ballad (Moderate) [F major] -- Song (Lively with emotion) [E♭ major] -- Ballad (With spirit) [G major] -- Song (Slowly, gracefully) [F major] -- War song or military ditty (Moderato) [F major].
Song of Mary, Queen of Scots :[from] Chastelard
For medium voice and piano. Caption title. Holograph (Ink). Sung by the character Mary, Queen of Scots in Act II, scene i in Swinburne's tragedy, Chastelard.
For medium voice and piano. Cover title. Holograph (Ink). Corrections on inserts pasted on p. [2].
Das Standchen von Uhland : National lied , Tempo di Bolero , Im Style Russischer national Lieder
First work for voice and piano, second work for piano, third work possibly for violin and piano, fourth work for voice and piano. German words. Caption title. Holograph (Ink). Third and fourth works are incomplete. Caption, p. 1: August 1839 , p. 4: April 28/1840 , p. 5: 22 May 1839, 26 May 1839 , p. 6: 29 Dec. 1840.
For medium voice and piano. Caption title. Holograph (Ink). Caption: 12 July 1842.
For medium voice and piano. Caption title. Holograph (Ink). Corrections in manuscript pasted on p. [1, 2].
For medium voice and piano. Title supplied by cataloger. Indecipherable song text. Holograph (Ink). Caption: London 19th November 1829. "für das Emil"--Caption.
Come back : duet for soprano and contralto
For soprano, alto, and piano. Cover title. Text from Henry Wadsworth Longfellow's poem "The golden legend". Holograph (Ink). Cover: 5th Sept. 1888.
For soprano, alto, and piano. Cover title. Holograph (Ink). Caption: Sept 88. "The words from: The Golden Legend by Longfellow, Duet for soprano and contralto"--Caption.
Daybreak : duet for soprano and contralto
For soprano, alto, and piano. Cover title. Holograph (Ink). At end of piece: 22/9/88.
May morning : duet for soprano and contralto
For soprano, alto, and piano. Cover title. Manuscript (Ink). Cover: Septr 1888.
For soprano, alto, and piano. Caption title. Holograph (Ink). Caption: 1891.
The stars are with the voyager : duet for soprano and contralto
For soprano, alto, and piano. Cover title. Holograph (Ink). Cover: Septr. 1888.
Spring : part-song for four female voices
For 2 sopranos and 2 altos. Cover title. Manuscript (Ink).
Tell me my lute : serenade from Sheridan's Duenna
For 2 tenors and 2 basses. Cover title. Holograph (Ink). Paper is extremely fragile.
Opera. Caption title. Holograph (Ink). Incomplete work. In caption, p. [16]: 29/4 90 , p. [17]: 23/4 90 , p. [50]: 1 May 90 , p. [60]: 3/12 90. Contents: Overture -- National songs -- Valse sentimentale -- Turkish march -- Turkish drinking song -- Chorus of Turkish soldiers -- Quartet -- Constantine's story -- Chorus -- Trio -- Pas seul -- Song Helena -- Song Michaela -- Song Helena (Moderato) -- Vocal duet.
[Selections from] Gustav Wasa: herosiche Oper
Opera. Caption title. Holograph (Ink). Possibly an incomplete vocal score, no text is present. Correction on insert pasted on p. [2]. "Copied from an old mspt of 1837, one of my youthful operas. F. Praeger"--left margin. Caption: 1842. Contents: Chor (Maestoso) -- Chor (Allegro moderato) -- Lieges marsch -- Hymnus -- Lied -- Romance -- March and chorus -- March -- Lied (Molto moderato).
Dysart, William Tollemache, Earl of, 1859-1935
Specifies that Praeger is to send compositions to the Earl of Dysart quarterly for 12 years, beginning on Mar. 1, 1890. Signed by J.A. Bertram, Esq.
Folder for delivery of compositions to the Earl of Dysart
Front of folder: 2d Grand Symphonic Poem in F for full orchestra. Received housing Legend for winds. Specifies two dates of delivery in accordance with the agreement with the Earl of Dysart. Signed by B.L. Mosely, Ferdinand Praeger, H.J. Edwards, and Lilian Grace Mary Blyth.
Praeger, Ferdinand, 1815-1891--Portraits
Portrait of Ferdinand Praeger held by great great grandson, Andrew Leach
A detailed portrait sketch shows a bearded individual facing slightly to the right. The drawing is done in red tones, highlighting the subject’s facial features, hair, and clothing with fine shading and line work.
Photographic portrait of Ferdinand Praeger
Scan of portrait of Ferdinand Praeger held by great great grandson, Andrew Leach. Includes verso.
Photographic portrait of Ferdinand Praeger's wife, Léonie Praeger
Scan of portrait of Ferdinand Praeger's wife held by great great grandson, Andrew Leach. Includes verso.
Photographic portrait of Ferdinand Praeger's wife, Léonie, with their daughter Brunnhilde
Scan of portrait of Ferdinand Praeger's wife and daughter Brunhilde held by great great grandson, Andrew Leach. Includes verso.
Photographic portrait of Ferdinand Praeger's son, Richard Wagner Charles Henry Praeger
Praeger, Richard Wagner Charles Henry, 1855-1878--Portraits
Scan of portrait of Ferdinand Praeger's son held by great great grandson, Andrew Leach. Includes verso.
Playbill for 6 March 1834 concert by Ferdinand Praeger's father, Heinrich Aloys Praeger (1783-1854) at London Tavern, Bishopsgate Street, London, England
Playbills--England--London--19th century
Digital photograph of concert playbill held by Ferdinand Praeger's great great grandson, Andrew Leach.
Program for lecture, Richard Wagner & his works, the music of the future, at Chelsea Literary & Scientific Institution, Vestry Hall, King's Road, Chelsea, Friday December 3 [probably 1875]
Digital photograph of lecture program held by Ferdinand Praeger's great great grandson, Andrew Leach.
Chelsea Literary and Scientific Institution
Program for 7 November 1885 concert by the Crystal Palace Saturday Orchestra, at Crystal Palace, London, with performance of Praeger's Symphonic Poem, Leben und Liebe, Kampf und Sieg
Concert programs--England--London--19th century
Scan of pages related to Ferdinand Praeger, including themes from his composition, in a concert program held by Praeger's great great grandson, Andrew Leach.
Crystal Palace (Sydenham, London, England)
Program for 4-5 January 1887 concert at the annual conference of the National Society of Professional Musicians and the Birmingham and Midland Musical Guild in Birmingham, England, with performance of Praeger's String quartet number 15 in A major
Concert programs--England--Birmingham--19th century
Scan of a concert program held by Praeger's great great grandson, Andrew Leach.
Program for 8 December 1888 concert by the Crystal Palace Saturday Orchestra, at Crystal Palace, London, with performance of Praeger's Symphonic Prelude to Byron's "Manfred". Only includes pages relevant to Praeger.
Marriage certificate of Ferdinand Praeger and Léonie Bazile, 18 January 1849
Scan of document held by Praeger's great great grandson, Andrew Leach.
Contract between the Earl of Dysart and Ferdinand Praeger for Praeger's book Wagner, As I Knew Him 16 April 1885
Last will and testament of Ferdinand Praeger, May 25 1891
Digital photograph of document held by Praeger's great great grandson, Andrew Leach.
The Falsehoods of Houston Chamberlain, by Rudolf Cyriax (born 1873). Unpublished typescript, [1932].
Scan of unpublished typescript presumably by Rudolf Cyriax, the son of Julius Cyriax. Scanned by permission and arrangement with Andrew Leach, Praeger's great great grandson.
Letter from Edward Roeckel to Léonie Praeger
Röckel, Eduard, 1816-1899--Correspondence
Scan of letter by pianist/composer Edward Roeckel to Praeger's wife. Original document held by Praeger's great great grandson, Andrew Leach.
Musical Standard, 7 March 1884, p. 153. Correspondence titled "Wagner" by George Tolhurst.
Scan of article from the journal Musical Standard regarding Ferdinand Praeger's views on Richard Wagner. Original document held by Praeger's great great grandson, Andrew Leach.
The Biograph and Review, September 1880, Volume 4, number 21, pages 242-247.
Scan of a biographical entry for Ferdinand Praeger. Original document held by Praeger's great great grandson, Andrew Leach.
Musical World, 7 December 1889. Portion of article by B. L. Mosely.
Scan of an article about Praeger's role as supporter of Wagner's music in England. Original document held by Praeger's great great grandson, Andrew Leach.
To the editor of the Musical Courier: Praeger-Wagner Controversy, by Wilfred Praeger, August 1895.
Scan of letter to the editor by Ferdinand Praeger's son, Wilfred, regarding texts by Houston Stewart Chamberlain about Ferdinand Praeger's text on Richard Wagner. Original document held by Praeger's great great grandson, Andrew Leach.
Letter from Agnes Praeger, with some genealogical information about the Praeger family
Scan of manuscript letter by a niece of Ferdinand Praeger. Original document held by Praeger's great great grandson, Andrew Leach.
Quarterly school report for Adelhaid Präger, 1824
Scan of original document held by Praeger's great great grandson, Andrew Leach.
Quarterly school report for Ferdinand Praeger, 1824
Quarterly school report for Ferdinand Praeger, undated
From HOW(ever). vol. 1, no. 1, May 1983, pp. 5-7.
State University of New York at Buffalo. Poetry Collection.
Copyright Gail Sher and used with permission. Contact the Poetry Collection for more information.
IN COPYRIGHT. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s).
With Merry White Benezra; Review of Lascaux by Beau Beausoleil. Poetry Flash, no. 124, July 1983
The Science of Cooking: The sponge method
The Cook’s Magazine, vol. 6, no 1, Jan.-Feb. 1985, pp. 62-65.
Review of (As) on things which (headpiece) touches the Moslem by Gail Sher (San Francisco: Square Zero Editions, 1982)
Photograph of Dr. Rodgers holding an invitation with a glass of wine in front of her.
Suzanne Rodgers is seated indoors, smiling while holding a handwritten note in one hand. The person wears a light-colored sweater with a patterned design around the neckline. The note appears to contain an address and several lines of text written in cursive. A partially filled wine glass sits on the table in front of the person, and a window with curtains is visible in the background.
IN COPYRIGHT. This Item is protected by copyright and/or related rights. You are free to use this Item in any way that is permitted by the copyright and related rights legislation that applies to your use. For other uses you need to obtain permission from the rights-holder(s). Copyright Estate of Suzanne Rodgers
A drawing showing a partial view of the plaza.
A view of the main plaza at the Pan-American Exposition featuring a circular bandstand with a domed roof at the center, surrounded by decorative balustrades, stairways, and arranged seating. The surrounding architecture includes large exhibition buildings with domes, towers, arches, and elaborate ornamentation. Flags fly atop several structures, and visitors are seen walking and sitting around the open area.
Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. (http://bit.ly/JKxGuD) Sources of the images are noted with each.
State University of New York at Buffalo. University Libraries
Pan-American Exposition--(1901:BuffaloN.Y.)--Plaza
Map Illustrating Bitter's "Progress of Man" as Related to the Ground Plan
Pan-American Exposition--(1901:Buffalo, N.Y.)-- Maps
A map dipicting the ground plan for the Pan-American Exposition.
A color-coded map of the Pan-American Exposition grounds with superimposed labeled axes. A red line marks the main axis running vertically from the "Main Entrance" at the bottom to the "Temple of Music" near the top. Black dashed lines highlight themes such as "Man’s use of Nature’s materials and forces" and "Man’s intellectual mastery of his world." Purple dashed lines cross the center, labeled "Nature’s Provisions" and "People and Institutions." The layout is surrounded by pathways, buildings, and water features.
Derived from the 1901 map, Plan of the Pan-American Exposition to be Held at Buffalo, New York, May 1 - Nov. 1, 1901, (Plan revised to April 15, 1901). Original map was drawn by C. E. Peltz and published in Buffalo, N.Y., 1901. From the collection of the University Archives, State University of New York at Buffalo.
Propylaea (Pan-American Exposition1901Buffalo, N.Y.)
Pan-American Exposition--(1901 : Buffalo, N.Y.)--Photographs
Interior view of the Propylaea. It shows large pillars and statues of people.
A nighttime view of a colonnade lined with tall columns, each set in front of niches containing classical statues. Decorative molding is visible above the niches, and string lighting outlines the upper structure.
Watercolor Sketch of the Propylæa at the Pan-American Exposition, 1901
Pan-American Exposition (1901:Buffalo, N.Y.)--Buildings
Pan-American Exposition--(1901:Buffalo, N.Y.)--Pictorial works
A watercolor architectural rendering of a grand entrance structure featuring a tall decorative tower on the left, an arched gateway, and an adjoining colonnaded building with red doors and ornate detailing. The design is colorful, with light shades of pink, red, and gold accents.
The Delineator, v. 58, no. 1 (July 1901) p. 74
Pan-American Exposition--(1901:BuffaloN.Y.)--Propylæa
Pan-American Exposition (1901 : Buffalo, N.Y.)--Photographs
A close-up, front exterior view of the Temple of Music. The photograph was taken during the day.
A domed building with elaborate architectural details, including arched entrances, decorative reliefs, and sculptural ornamentation. The structure is symmetrical with smaller domed sections flanking the central dome. People are gathered around the building’s entrance and open plaza.
The Pan-American Exposition Illustrated by C. D. Arnold. Buffalo, N. Y.: C. D. Arnold, 1901, p. 54 (http://bit.ly/LmdOKw)
Pan-American Exposition--(1901:BuffaloN.Y.)--Temple of Music
Temple of Music as seen Through the Colonnade
A photograph taken in the walkway in front of the temple, including people.
A view of a domed building at the Pan-American Exposition, with a long colonnade extending to the right. The structure features arched doorways and elaborate architectural details. People are seen walking and gathering along the colonnade and in front of the building.
Pan-American Souvenir by Charles Cutter. Niagara Falls, N.Y.: Charles Cutter, 1901. Courtesy of Kerry S. Grant
A domed building at the Pan-American Exposition featuring elaborate architectural details. The structure has arched windows, ornate carvings, and sculptural decorations along the upper façade and dome. Crowds of people gather around the building in the foreground.
Frontal view of the Electric Tower taken during the day. Off centered shot of the middle of the water.
A view of a large decorative fountain at the Pan-American Exposition. Jets of water rise in arcs from several smaller fountains in the pool, while water also cascades from sculpted figures and an arched opening on the building’s façade. Ornamental statues flank the central water feature.
Source: The Pan-American and its Midway, Philadelphia : J. Murray Jordan, 1901, p. [23.]
Pan-American Exposition--(1901:BuffaloN.Y.)--Electric Tower
An aerial drawing of the stadium. There is no artist listed. There are players on the field. Text at the bottom of the image reads: Pan-American Exposition Buffalo The Stadium
An illustration of the stadium at the Pan-American Exposition in Buffalo. The large oval-shaped arena is surrounded by tiered seating and enclosed by colonnades and tall decorative towers. The field within the stadium is open, with a central area marked for events.
Pan-American Exposition--(1901:BuffaloN.Y.)--Stadium
On either side or the square are buildings closely resembling one another, and having a double use. The lower part of each is largely an open arcade, forming the entrance on the one side to the Midway, and on the other to the Stadium. The remainder of these buildings serve as restaurants. The style of architecture adopted in these buildings is freely reminiscent of Spanish examples, and of their descendants in Spanish America, while no single building has been taken as a prototype. The character of the exhibition, in which only the Americas are represented, naturally suggested this inspiration, which is indeed evident in many other parts of the grounds. And it is this character which suggested calling the little square the Plaza.
A watercolor rendering of a decorative building façade featuring three arched openings on the lower level and two elaborately framed windows above. The roof is steeply pitched in red with ornate cresting along the ridge. Decorative details adorn the arches and window frames.
Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. (http://bit.ly/JKxGuD)
Pan-American Exposition--(1901:BuffaloN.Y.)--Buildings
The Acetylene Building, situated on the Mall at the west of the Machinery Building and across the Canal, was built by the Exposition Company for the exhibits of the acetylene industry. Just opposite from the Bazaar Building, it shows an interesting contrast in architectural style. The main structural elements are equally simple and frank
ample openings for light give it the museum or exhibit-building character, while the seriousness of the nature of its exhibits is expressed by the reserve with which the ornament is applied in well-defined architectural limits, and the particular nature of the exhibits is made evident to the careful observer in the symbolism of the ornaments themselves. The evolution of lighting methods is worked out in the ornaments around the windows, from the fire-brand below up through the candle and classic lamp to the acetylene burner at the top, while above the cornice are groups of children holding acetylene torches which light the globe by M. Loester.
A neoclassical-style exhibition building with ornate detailing stands along a canal or waterway. The structure features large arched windows, decorative reliefs, and a sculpted roofline. Several groups of people are gathered near the entrance and along the walkway.
Cosmopolitan, v. 31, no. 5 (September 1901) p. 472.
Pan-American Exposition--(1901:BuffaloN.Y.)-- Acetylene Building
THE Agricultural Building is situated at the east of the Electric Tower, the narrow front, 150 feet in length, facing the Court of Fountains, and the principal front, 500 feet in length, on the Mall. This building is treated with great simplicity and very few features. The principal entrance is toward the Mall, facing the Manufactures and Liberal Arts Building. Around this entrance is the greatest amount of enrichment. The decorations are designed with fruit, vegetables, and flowers, expressing the character of the building
and the large corbels are in the form of heads of animals of the field. This idea is carried around in the decorations of the cornice. There is a loggia on the south side of the building, overlooking the Mall, formed of arches resting on single columns, with a ceiling of groined vaulting. The treatment of the exterior, like that of the Manufactures and Liberal Arts Building, designed by the same architect, is Spanish Renaissance, adapted to express a spirit of exposition gaiety.
A large exhibition building is illuminated at night, its architectural details highlighted by rows of lights outlining the roof and arches. A fountain in the foreground reflects the glowing lights on the surface of a pool.
Shepley, George F. (George Foster), 1860-1903
Pan-American Exposition--(1901:BuffaloN.Y.)-- Agriculture Building
The Approach From the Park (Looking South from the Triumphal Bridge)
A large crowd is gathered in an open plaza lined with tall columns topped with statues. Several winged sculptures stand on pedestals among the columns, and trees border the space in the background.
The Pan-American Exposition Illustrated by C. D. Arnold. Buffalo, N. Y.: C. D. Arnold, 1901, p. 36.
Approaching the Triumphal Bridge From the South (Carrère's "ideal approach" to the Exposition)
A wide promenade lined with monumental columns and statues leads toward a tall central tower in the distance. People are walking along the broad pathway, framed by the large sculptural structures on either side.
The Pan-American Exposition Illustrated by C. D. Arnold. Buffalo, N. Y.: C. D. Arnold, 1901, p. 47. (http://bit.ly/LmdOKw)
Pan-American Exposition (1901:Buffalo, N.Y.)--Electricity Building
Pan-American Exposition (1901:Buffalo, N.Y.)--Electric Tower
EVERY artistic composition, whether it be a picture, a piece of sculpture, or a group of buildings, can be said to have a focus-some Point or dominant feature which serves as a resting-place for the eye. The Electric Tower, by reason of its height and its central position, is such a focus in the midst of the main group of buildings of the Pan-American Exposition. Since this may be called the Age of Electricity, it was fitting that the focal point of the Exposition should be so designed as to afford an opportunity of accentuating that fact by a lavish display of electric power. This display is in the form of a majestic fountain and a scheme of brilliant illumination. The source of the power is Niagara, and this is suggested not alone by the fountain and the basin at the base of the tower, but by various groups of statuary in the wings, which have been designed to symbolize the great bodies of water which are tributary to the stupendous cataract. The following groups occupy the niches at the extreme ends of the curved wings, and are arranged from west to east in order: Lake Michigan, by Mr. Louis A. Gudebrod
Lake Erie, by Mr. Carl E. Tefft. The spandrels of the niche in the south face of the tower and the smaller ones above the arch of entrance on the north side were modeled by Mr. Adolph A. Weinman, under the direction of Mr. Karl Bitter. They represent the four rivers Niagara, Buffalo, St. Lawrence, and St. Clair. The keystones of these arches were modeled by the same sculptor. Another feature of the sculptural embellishment of the tower which deserves special note is the Pan-American escutcheon on the south front of the shaft of the tower, above the water niche. This was modeled by Mr. Philip Martiny and Mr. Michele Giusti. Mr. Martiny was also the sculptor of the torch-bearers crowning the four corners of the terminal pavilions, and of the groups typifying Progress which embellish the pyramidal pylons on the east, west, and north sides of the tower. The groups ornamenting the pylons on the south side adjoining the water niche were modeled by Mr. George Gray Barnard, and typify "The Great Waters in the Time of the Indian" and "The Great Waters in the Time of the White Man." The frieze with children, garlands of fruit, and eagles, beneath the loggia at the top of the shaft, was executed by Mr. Karl Bitter. The Goddess of Light which crowns the tower is the design of Mr. Herbert Adams, and is 16 feet in height. The total height of the tower is 389 feet. The shaft of the tower is 77 ½ feet square at the base and is built with steel framework, the walls being of staff. The colonnades which form the curved wings at the sides of the tower have an extreme width of 255 feet. The promenades on these colonnades afford a fine view of the court and the other main buildings. If one approaches the tower from the north, he may cross a bridge, enter, and take an elevator to the lantern at a level of 252 feet, which commands a superb outlook of the Exposition and the surrounding country. Aside from its function as an observatory, the interior of the tower is made of service to the people by means of restaurants. As regards the architectural design of the Electric Tower, it may be called essentially American. As in the other buildings, use has here been made of classic and Renaissance forms, and certain "influences" may perhaps be pointed out by the critic
but the tower cannot be said to have been designed in any strictly defined traditional "style." It shows the trend of thought in this country, and may be taken as an example of modern American architecture.
An illuminated nighttime scene of a tall ornate tower with decorative lighting beams projecting into the sky. The tower is part of a grand exhibition complex with domed and colonnaded buildings. In the foreground, fountains spray water, and crowds of people gather in the plaza.
The Delineator, v. 58, no. 1 (July 1901) p. 79.
Description text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. (http://bit.ly/JKxGuD)
Map Showing the Main and Secondary Axes and Illustrating the Symmetry of Scale
based on information found in John M. Carrère, "The Architectural Scheme," Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. (http://bit.ly/JKxGuD)
A detailed map of an exposition site with color-coded buildings, pathways, lakes, and gardens. Overlaid red and blue lines indicate the "Main Axis (Esplanade Axis)" running vertically through the center and multiple "Secondary Axes" running horizontally. Labels identify entrances and major features across the grounds.
Three-Dimensional Map Illustrating the Axes and Symmetry of Scale of the Exposition Plan
Axes diagram was added in 2003, and is based on information found in John M. Carrère, "The Architectural Scheme," Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. (http://bit.ly/JKxGuD)
A color-coded illustration of an exposition site with labeled directional axes. A central "Main Axis (Esplanade Axis)" is marked in red, running from the foreground toward a tall tower in the distance. Two "Secondary Axis" routes are marked in blue, extending diagonally from either side of the main axis. The grounds feature buildings, fountains, waterways, and gardens arranged symmetrically.
Derived from a rendering by Murray Smith, published by Orvis and Smith, Buffalo, N.Y., [1901]. Original is from the collection of the Buffalo and Erie County Historical Society. In Kerry S. Grant, The Rainbow City : Celebrating Light, Color and Architecture at the Pan-American Exposition, Buffalo, 1901, Buffalo, N.Y. : Canisius College Press, 2001.
Situated beyond the Canal at the junction of the Mall and the Midway, and fronting on the Midway, was the only large building outside the main scheme which was built by the Exposition Company. Destined for the exhibit and sale of all sorts of bijoux and souvenirs, the character of the design was studied to express a gaiety and "laisser aller" spirit consistent with the uses of the building. To express this spirit no style in the history of architecture is so well adapted as that of the French trellis-decorated buildings of the epoch of Louis XV, though it is dangerous when not used with restraint, being the expression of a generation renowned for moral decadence. When used as in this instance, where it is merely applied as surface decoration to a building composed with strong structural masses of wall surfaces in their relation to openings and great simplicity of architectural line and silhouette, it has great charm. The groups of children surmounting the balustrade, as well as the decorative bronzed figures in the niches between the windows, are the work of the sculptor Isidore Konti.
Photo caption: Bazaar Building. - The style of the Bazaar building comports with its purpose, that of a building designed for the exhibit and sale of all sorts of souvenirs. The architect, William Welles Bosworth, found in the French architecture of the Louis XV period many ideas which he embodied in the decoration of this building with most successful results. Isidore Konti modeled the groups of children surmounting the balustrade and the bronzed figures in the niches between the windows.
A large ornate building with domed roof structures, arched windows, and decorative detailing along the façade. Flags fly from the roof, and several people are seen walking and gathering in the open area in front of the building.
Exhibition buildings--New York (State)--Buffalo
Pan-American Exposition (1901 : Buffalo, N.Y.)
Pan-American Exposition (1901 : Buffalo, N.Y.)--Buildings
An exterior view of the Court of Cypresses, which was partly enclosed by the Liberal Arts Building, Ethnology Building and the north wing of the Government Building. Photograph copyright 1901, by C. D. Arnold.
A landscaped garden courtyard with pathways, trees, and decorative plantings in front of an ornate building. The structure features a domed roof, arched colonnade, and sculptural details, with statues placed near the garden.
Pan-American Exposition--(1901:BuffaloN.Y.)--Terraces
Grounds at twilight - Pan-American Exposition, Buffalo, 1901
Buffalo (N.Y.)--History--20th century-- Pictorial works
Pan-American Exposition--(1901:Buffalo, N.Y.) --Views
Postcard depicting aerial view of Pan Am Exposition at twilight.
A colorful aerial illustration of a grand exposition site with a central canal, fountains, and numerous ornate buildings. A tall tower rises prominently in the background, while domed and colonnaded structures line the waterway. Crowds are visible throughout the grounds, and formal gardens occupy part of the foreground.
From a postcard produced by the Gray Lithograph Company and printed by the Niagara Envelope Manufacturing Company, Buffalo, N.Y. c1901.
Architectural drawings, Promotional materials
A detailed drawing of the Propylaea. There are people outside the building. It is a frontal view.
An ornate exhibition entrance structure with a large central archway flanked by decorative towers. The façade is richly adorned with sculptural elements, reliefs, and decorative details. Several people stand near the base of the building, emphasizing its scale.
A front view of the Propylaea. It shows the columns of the building. The photograph was taken during the day.
A sweeping curved colonnade with tall columns forming part of a grand architectural structure. Decorative reliefs and statues are visible along the walls. A few people walk across the open plaza in front of the colonnade.
A photograph of the Triumphal Bridge. The bridge is a little far away and is hard to see.
A tree-lined walkway in a park-like setting with benches along the sides. In the background, fountains, statues, and open plazas are visible, with several people walking and sitting throughout the scene.
Cosmopolitan, v. 31, no. 5 (September 1901), p. 538.
A colorful drawing of the Stadium. There is no source of artist listed on the drawing. There is water, with a gondola, in front of the Stadium.
A colorful illustration of a grand exhibition building with tall columns, arched windows, and decorative details. Red poles and flags line the roof, and a large crowd gathers along the building’s base. In the foreground, a gondola-style boat floats on the water near the structure.
Applying staff to the Temple of Music's wood frame
The photograph is of the Temple of Music. The building is under construction in this photograph.
A domed exhibition building under construction, surrounded by extensive scaffolding. The structure features arched entrances, decorative architectural details, and sculptural elements partially visible through the scaffolding.
From the collection of the Buffalo and Erie County Historical Society. In Thomas Leary and Elisabeth Sholes, Buffalo's Pan-American Exposition, Charleston, SC : Arcadia Publishing, 1998, p. 21
Details of a wall of the Temple of Music
This is a view of a wall from the outside of the Temple of Music. In the photograph there are three windows with a head above each window. In from of the Temple are two benches. There is also a door. There is a lot of detail within the photograph.
A highly decorated building façade featuring three large windows framed by intricate sculptural ornamentation. The decoration includes carved figures, faces in medallions, and elaborate scrollwork extending vertically between the windows. A doorway is visible to the right of the windows.
From the collection of the Buffalo and Erie County Historical Society. In Thomas Leary and Elisabeth Sholes, Buffalo's Pan-American Exposition, Charleston, SC : Arcadia Publishing, 1998, p. 34.
Testing the electric illumination on the Machinery Building
The photograph was taken at night of the Machinery Building. The building is all lit up.
A nighttime view of a large domed exhibition building illuminated by electric lights. The structure features arched entrances, towers, and decorative architectural details, all glowing brightly against the dark sky.
Architectural photographs, Night photographs
Pan-American Exposition--(1901:BuffaloN.Y.)--Machinery Building
This is a photograph of the fountain in front of the Electric Tower. The picture was taken during the day and the water in the fountain is running.
An ornate architectural façade featuring a central arched niche with a sculptural figure, flanked by two elaborate statues. In the foreground, water fountains spray into a pool at the base of the structure.
This watercolor is a picture of the Electric Tower. It shows the fountain in front of the tower.
A colorful illustration of a tall ornate tower rising above a grand exhibition building. The tower is richly decorated and surrounded by smaller domed structures and fountains in the foreground. Flags line the upper levels of the building, and the scene is reflected in a large pool of water at the base.
This is a drawing of the Triumphal Bridge. There is no source and no artist listed. There is also no date.
A canal scene with boats on the water passing between large, ornate monumental arches. The structures are decorated with sculptures and topped with equestrian statues. Smaller architectural features and decorative elements line the waterway in the background.
Pan-American Exposition--(1901:BuffaloN.Y.)--Triumphal Bridge
This is a drawing of the inside C.Y. Turner's studio. They men are working on making watercolor drawings as guides for painting the exposition buildings.
Several people work in a drafting room filled with long tables, stools, and drawing tools. Some are seated and sketching architectural plans, while others stand and work on models or drawings pinned to the walls. The room is decorated with wall murals and lit by windows.
Scientific American. November 10, 1900, p. 293
This is a drawing of the inside of C. Y. Turner's studio. Here they are grouping the models of the exposition buildings.
A group of people works on architectural scale models inside a large room. In the center, one person stands and points to a tall model of a clock tower with surrounding structures, while others sit nearby with additional smaller models arranged on tables.
This is a black and white photograph of Walter Cook.
A formal portrait of Walter Cook shown from the chest up in profile view. He has short hair, a beard, and is dressed in a dark suit with a collared shirt and tie. The background is softly blurred.
The Pan-American Herald, v. 1, no. 2 (August 15, 1899), p. 2
This is a black and white photograph of August C. Esenwein.
A formal portrait of August C. Esenwein shown from the chest up, facing sideways. He has a mustache and is wearing a wide-brimmed hat, suit jacket, high-collared shirt, and tie. The background is softly blurred.
This is a black and white photograph of Edward B. Green.
A formal portrait of Edward B. Green shown from the shoulders up, facing forward. He has a mustache, glasses, and short hair, and is dressed in a dark suit with a high-collared shirt and bow tie. The background is plain and dark.
The Pan-American Herald, v. 1, no. 2 (August 15, 1899), p. 4
Bridge of the Three Americas, viewed from the Delaware Park Casino
The Exposition view from the Casino and in Delaware Park. Proximity to Delaware park was advantageous to planners. The New York State Building is on the left of the "Bridge of the Three Americas." To the right is the roof of the Horticulture building.
A stone bridge with three arches spans a body of water. Trees line the background, partially obscuring a building with domes and towers visible above the treetops. The bridge and its reflection are visible in the calm water below.
American Monthly Review of Reviews, v. 23, no. 137 (June 1901), p. 677.
Panoramic photographs, Photographic prints, Panoramic views
Pan-American Exposition--(1901:BuffaloN.Y.)--Horticultural Building
Pan-American Exposition--(1901:BuffaloN.Y.)--New York State Building
A technical drawing illustrating details of typical transverse truss construction. The diagram includes labeled parts such as beams, braces, bolts, and shoes, with multiple sectional views showing how the structural elements are joined.
Text quoted directly from the Art Hand-Book, Official Handbook of Architecture and Sculpture and Art Catalogue to the Pan-American Exposition. Ed. David Gray. Buffalo, N.Y.: David Gray, 1901. Sources of the images are noted with each.
Pan-American Exposition--(1901:BuffaloN.Y.)--Agriculture Building
Birdseye view of the Pan-American Exposition
Pan-American Exposition--(1901:Buffalo)-- Maps
Artistic representation of the Exposition taking the birds-eye view of the Exposition grounds, with details such as trains, pleasure boats, hot air balloons and people. There are no identifying markers for anything in the picture, just the three-dimensional representation of the buildings.
A colorful aerial illustration of an exposition site featuring a central plaza with grand buildings, fountains, and towers. Pathways extend outward through landscaped grounds, with multiple lakes and waterways in the foreground. The layout is symmetrical, with exhibition halls arranged around the central axis.
Kerry S. Grant. The Rainbow City: Celebrating Light, Color, and Architecture at the Pan-American Exposition, Buffalo, 1901. Image from the collection of the Buffalo and Erie County Historical Society
This is a photograph of the Machinery building. There is no source, no date, and no caption title.
A large exhibition building with arched entrances, towers, and domed roof structures is shown partially surrounded by scaffolding. The foreground includes construction activity with workers, tents, and unfinished grounds.
This is a drawing of the Machine building towers. There is no source, date, or caption.
A large architectural structure with two ornate towers featuring decorative arches, columns, and spires. The base is massive and solid, with scaffolding visible nearby, suggesting the structure is under construction or recently completed.
This is a sketch of the tower and boating platform. There is no date, caption, or source. The height of the tower will be 878 feet and the length of the platform will be 490 feet.
An architectural drawing of a tall domed tower with a detailed framework and supporting cables extending outward. The structure includes a multi-story base and an ornate upper dome capped with a decorative element. Smaller sectional views of the tower’s interior framework and design details are shown around the main elevation.