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Claire, Museum Guide at the Driehaus Museum

Claire, Museum Guide at the Driehaus Museum

Our staff is always asked about our backgrounds and how they came to work at the Driehaus Museum.  So we wanted to share some of our amazing team with everyone.  And, as always, let us know if you have any other questions.

First name?  Claire

What is your title and what role does your position play at the Driehaus Museum?  Museum guide. I give tours of the Nickerson mansion to guests of the museum.

How long have you worked at the Museum? 8.5 Months

Where are you from/where do you currently reside?  I am from Minnesota and I currently live in Wicker Park

What is your education/experience background? How or why did you come to work at the Driehaus Museum?  I have a Bachelor’s degree from DePaul University in anthropology and art history. I also have a Master’s in Archaeology from the University of Glasgow.

If you were a staff member of the Nickerson Mansion at the turn of the century, what role would you have and why?  Probably something like a ladies’ maid because I hate doing dishes and laundry.

If you were trapped in the Museum overnight, what would you do?  Expect all of the objects to come to life.

What is your favorite movie?   My favorite movie is probably a tie between The Princess Bride and Star Wars: Return of the Jedi.

What is your favorite holiday/program or event at the Museum?  I liked working the Driehaus Prize event because we got to go into the Murphy Auditorium.

What is your dream job?  Something in the curatorial department in a museum dealing with art objects, artifacts, etc.

Tell us about one of your favorite moments during your time working at the Museum?  I thought it was pretty funny when someone asked me to explain hysteria during a tour.

Lindsay, Marketing Manager at the Driehaus Museum

Lindsay, Marketing Manager at the Driehaus Museum

Our staff is always asked about our backgrounds and why we ended up working for the Driehaus Museum.  So we wanted to share some of our amazing team with everyone.  And, as always, let us know if you have any other questions.

First name? Lindsay

What is your title and what role does your position play at the Driehaus Museum? Marketing Manager – I handle the advertising, marketing, social media, PR, as well as the website for the Museum.

Where are you from/where do you currently reside? I grew up in a tiny town outside of Houston, Texas.  In 2006, my wife and I moved to Chicago sight unseen and fell in love with the Lakeview area. We decided to try out downtown living in 2013, moved to the South Loop, and have enjoyed being able to walk to/from anything happening in the city such as the Pritzker Pavilion, Art Institute, Lollapalooza, Jazz Fest, etc.

What is your education/experience background? How or why did you come to work at the Driehaus Museum? I have a BFA in Graphic Design & Advertising, as well as minors in both English and Art History from Sam Houston State University in Huntsville, Texas.  My dream was to work in an art museum, and tried on many occasions to get a job at the Museum of Fine Arts in Houston.  Each time I was told to start lower – interning, volunteering, or taking a small job such as in the store.

When we moved to Chicago, the job I was transferring with fell through once we got into the city which caused me to start a hunt for something new.  A position opened up as a supervisor in the store at The Field Museum and I easily got the job with my extensive retail background.  It only took about 6 months until I was promoted to the back office area helping out the buyers.  I stayed with the Field for over 8 years, holding several different positions, lastly in the Communications department. During my time at the Field, I went back to school and earned a Masters of Arts in Museum Studies, as I had finally decided that this was the career for me.

I decided I missed my art history roots, began searching out art museums in the city and happened upon the Driehaus Museum.  After reading about how new (in the museum world) it was and how the Museum was started thanks to Mr. Driehaus, I was shocked that more people in the city didn’t know about it.  And I wanted to tell everyone.  So when the position for the Marketing Manager came up I knew I had to jump on it so I could tell everyone about this hidden treasure of a museum!

If you were a staff member of the Nickerson Mansion at the turn of the century, what role would you have and why? Most likely the cook since I love cooking and entertaining for others.

If you were trapped in the Museum overnight, what would you do? If it was possible, I would light the fireplace in the Front Parlor, pull the sofa from the Drawing Room into the Parlor, bring in a bottle of wine, and read by fire light in the mansion as the city bustles about outside.

What is your favorite movie?  Book? Favorite movie is Jurassic Park.  Favorite book is a tie between Orlando by Virginia Woolf, The Princess Bride and any of the Harry Potter books (though Goblet of Fire has always held a special place in my heart).

What is your favorite holiday/program or event at the Museum? The Summer Servants tour.  I have never experienced a living history tour until coming to the Driehaus Museum.  It is a engaging and educational way to learn about the Nickerson family, the house, as well as the Gilded Age.

What is your dream job? Ever since I was little I wanted to be a paleontologist – but then I discovered you had to be decent at math, which is my worst subject.  So if they took that part out and just let me dig in the dirt all day I would be a happy camper.

Tell us about one of your favorite moments during your time working at the Museum? The day we announced the Downton Abbey exhibition to the public was so much fun.  Watching the press and social media grabbing onto to the news and being so excited about it made me smile.  Not to mention the amount of messages from my own friends wanting to come see it.  Sorry guys! You have to wait until October to purchase tickets just like everyone else! I cannot wait to see this exhibition in person when it’s installed inside the mansion.  It’s going to be very elegant and so enjoyable for fans of the show, myself included.

It’s finally summer in Chicago and you’ve done the usual:  baseball game, boat tours, street festivals and so forth.  It’s time to check out some of the gems of the city, some of which a lot of people don’t realize are right near them.  We are going back through the archives of the Driehaus Museum Blog to suggest some great places to bike or take the train over and explore!

The Other McCormickville: Lincoln Park’s Seminary Townhouses – Right off the Fullerton Train Station are historic townhouses preserving pieces of Chicago’s Gilded Age.

A Visit to Jackson Park – Did you know that the Museum of Science and Industry is housed in a building built for the 1893 World’s Fair? Or that nearby there’s a Japanese garden from the same fair?  Take a step back to 1893 all throughout Jackson Park.

Going to Graceland – Burnham, McCormick, Sullivan, Field, Glessner.  If you live in Chicago, you most likely recognize these last names.  A visit to the Graceland Cemetery is a must for anyone who appreciates Chicago history.

Do you have any other favorite little-known places to visit in Chicago?





Art, according to John Ruskin, the influential writer of the British Arts and Crafts movement, is most beautiful when its forms are derived from nature.

Now, when we call Nature beautiful, it’s often her finer moments we’re thinking of. A rose, with its velvety bundled petals, is beautiful. So too are the colors of sunset, the splendor of a tree in summer, the simple asymmetry of a starfish, or the spread of a peacock’s tail.

But many art jewelry makers of the early 20th century embraced all kinds of flora and fauna—even the ones that today might be perceived as…well, the opposite of beautiful. Spiders, bats, snakes, frogs, naked branches, and rotting blossoms have all been immortalized in gold, silver, and stone. What some might consider nature’s ‘dark side’ today was actually a source of intrigue and inspiration—the muse of artists all over the world.

That resulted in some striking motifs in these makers’ works, as you’ll see in a number of pieces on view in our current exhibition, Maker & Muse: Women and Early Twentieth Century Art Jewelry. Let’s take a look at a few of them, and stretch the definition of beautiful in the natural world a little further.


René Lalique (French, 1860–1945), Chrysanthemum Pendant/Brooch, c. 1900. Collection of Richard H. Driehaus. © 2014 Artist Rights Society (ARS), New York / ADAGP, Paris. Photo by John Faier, 2014, © The Richard H. Driehaus Museum.

René Lalique (French, 1860–1945), Chrysanthemum Pendant/Brooch, c. 1900. Collection of Richard H. Driehaus. © 2014 Artist Rights Society (ARS), New York / ADAGP, Paris. Photo by John Faier, 2014, © The Richard H. Driehaus Museum.

Take this pendant featuring a trio of chrysanthemums. In the audio tour of the exhibition, Driehaus Museum founder and collector Richard H. Driehaus explains, “This is one of my favorite pieces in the collection, and by the great René Lalique, whose jewelry has always commanded worldwide attention. You can see how each of the chrysanthemums is in a different stage of its blooming.” A picture-perfect chrysanthemum blossom—with its tight puffball shape composed of tiny petals—doesn’t look exactly like these three flowers Lalique has masterfully carved in glass. Instead, the jeweler chose blossoms that were past their prime. The lower petals are beginning to droop and lose their shape, not quite wilting, but almost. Below the flowers Lalique features a misshapen drop pearl, or “baroque pearl”, which further emphasizes the statement this piece makes that beauty can also be found in imperfection.


René Lalique (French, 1860–1945), Aquamarine Pendant, c. 1900. Collection of Richard H. Driehaus. Photo by John Faier, 2014.

René Lalique (French, 1860–1945), Aquamarine Pendant, c. 1900. Collection of Richard H. Driehaus. Photo by John Faier, 2014.

Here’s another example by the masterful Lalique, also on view in the French Art Nouveau gallery of Maker & Muse. In the pendant above, he set an aquamarine stone into and below two pairs of spiked, thorny stems of icy-blue enameled gold. Especially when set against the skin of the wearer, the sharp contours of this piece are striking.


Wilhelm Lucas von Cranach (German, 1861 – 1918), Octopus Waist Clasp, c. 1900. Collection of Richard H. Driehaus. Photo by John Faier, 2014, © The Richard H. Driehaus Museum.

Wilhelm Lucas von Cranach (German, 1861 – 1918), Octopus Waist Clasp, c. 1900. Collection of Richard H. Driehaus. Photo by John Faier, 2014, © The Richard H. Driehaus Museum.

Also in about 1900, goldsmith Wilhelm Lucas von Cranach created this fascinating waist clasp in the Art Nouveau style; you can see it on the second floor, in the gallery dedicated to a wide variety of German and Austrian art jewelry. The two grotesque large-mouthed fish grasp the body of the octopus—here, a luminous opal—while simultaneously seeming to be entrapped by the creature’s silver tentacles. In addition to the sinuous symmetry of the fish tails and octopus arms, the German goldsmith has given careful attention to texture. Note the fish scales, elongated fish nostrils, and raised suction cups on the octopus’s curvilinear arms.

The Artificers’ Guild (English, 1901–1942), Pendant, c. 1900. Collection of Richard H. Driehaus. Photo by John Faier, 2014, © The Richard H. Driehaus Museum.

The Artificers’ Guild (English, 1901–1942), Pendant, c. 1900. Collection of Richard H. Driehaus. Photo by John Faier, 2014, © The Richard H. Driehaus Museum.

Spiders were other favorite themes. This spiderweb pendant was produced in turn-of-the-century London by the Artificers’ Guild, and is on view in the British Arts and Crafts gallery of Maker & Muse. The spiderweb form functions as a seven-pointed locus for a variety of colorful precious and semiprecious stones; the piece includes opal, sapphire, zircon, tourmaline, amethyst, almandine, garnet, moonstone, and pearl.


Frederick James Partridge (English, 1877 – 1942) for Liberty & Co. (English, est. 1875), Tiara with Corn Design, c. 1900. Collection of Richard H. Driehaus. Photo by John Faier, 2014, © The Richard H. Driehaus Museum.


In addition to the creepy-crawly side of nature, art jewelers also made the plain and ordinary into something awe-inspiring. This rare tiara by Fred Partridge, an important early British Arts and Crafts jeweler, is one of the highlights of the exhibition. Sheaves of grain are as humble a part of the natural world as there is to be found, and yet these five cornstalks, of semi-translucent horn topped with moonstones, are transformed into a supremely elegant work of art.


These are just a few of the stunning pieces of art jewelry featured in Maker & Muse: Women and Early Twentieth Century Art Jewelry. There are many more—over 250!—and the exhibition is open through January 3, 2016. Self-guided visits are included in the price of general admission. For more information, visit the Maker & Muse exhibition site.


Spring has come to Chicago—and to the Chicago gallery of our latest exhibition, Maker & Muse: Women and Early Twentieth Century Art Jewelry. A silver tiara, adorned with a spray of springtime lilacs, leaves, and vines, heralded the new season when it arrived at the Driehaus Museum this week.


The elegant circlet is repossé silver, crafted from melted silver spoons donated by the women of Lombard, Illinois, in 1930. It was created as a symbol of Lilac Time, the annual springtime celebration in this west-suburban village. The crown adorned the first Lilac Festival Queen—whose name and the names of several other early Queens are etched in the crown’s interior—and continues to be an integral part of the festivities today.


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It’s also a late commission from artist and designer Christia M. Reade. Reade’s heyday was right at the turn of the century in Chicago, when the ideas from the Arts and Crafts Movement, having drifted over from England, took root here and bred a unique regional movement of its own. Arts and Crafts was about the artisanal talents of makers, and they weren’t shy about showing off asymmetry, unfaceted semiprecious stones, minute imperfections, and common metals—all indications of items made by hand in a studio, rather than by machine. Nature, as you can see in the Lilac crown, was chief among Arts and Crafts inspirations, often depicted in a freeform, romantic, medieval way.


Reade was the daughter of Josiah and Christia Reade; her father was a Chicago native, her mother a New York schoolteacher. Reade studied at the School of the Art Institute in Chicago, and soon became one of the city’s biggest names associated with the Arts and Crafts movement here. She achieved prominence as a principal designer of the Krayle Company, a domestic decorative arts firm with its office in the Marshall Field Building. Her ambitions took her to study in Paris for two years, probably under the artist Luc-Olivier Merson. When she returned from Europe, Reade opened her own studio at 211 Wabash Avenue, which she maintained until the 1920s.


Near Reade’s crown in the Chicago gallery you’ll see other stunning works of jewelry from the same period, many of them made by her female contemporaries. These include Clara Barck Welles, founder of Kalo Shop. She and Reade were fellow graduate of the Art Institute, and are listed as co-jurors on the committee selecting works for the Art Institute’s first annual exhibition of “Original Designs for Decorations and Examples of Art Crafts Having Distinct Artistic Merit” in 1902–03. (This was, incidentally, also a time when Samuel M. Nickerson was still a trustee of this institution.)


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The February 1897 issue of The Decorator and Furnisher devoted a spread to “Miss Christina M. Reade, and Her Work.”


“The woman decorator of today is a well established institution. She demands—and receives—full and due recognition for her work, not because she is a woman, but because her work is as a rule meritorious, and deserving of notice. She has had much to struggle against in the way of popular prejudice, but in spite of adverse criticism she has worked her way steadily to the front in a field hitherto conceded to man alone. We refer to her as a coalition; but from this great and growing unit we take pleasure in selecting the work of Miss Christina M. Reade of Chicago as excellent examples of artistic work…”


Reade was best known for her metalwork, but commanded a range of media and exhibited throughout the Midwest. To the same Art Institute exhibition in 1902–3, for example, she submitted a carved walnut bellows, mahogany book rack, copper mounting for a leather bag, copper lock with plates and hinge ornaments, an oak screen with copper panels, and copper buckles, brooches, and cloak buttons set with semiprecious stones like opal, malachite, and amber. She also designed metal lampshades. In The House Beautiful (Volume XI, 1901–1902), a “pierced brass” shade designed by “Miss Christia M. Reade, of the Krayle Company,” was recommended by the publication for one reader’s library drop light.


Reade would have been around 70 years old when she designed the Lilac crown for her hometown of Lombard, but it is filled with the same Renaissance simplicity that imbued her early work. The geometric Art Deco movement may have prevailed in 1930, but in Reade’s world, the romance of nature and the rustic beauty of a perfectly handmade object still captivated her.


The Lilac Festival crown is on loan from the Lombard Historical Society and will be on view at the Richard H. Driehaus Museum through February 2016.



By: Tasia Hoffman (with a little help from Mariana Griswold Van Rensselaer)

World's Fair

The standard for the American mind, wrote M.G. Van Rensselaer, is to be “alive with mere curiosity as [much as] it is with a craving for instruction—pleased to look at anything, discontented only to think that other people are seeing things with which it cannot make acquaintance.” A perceptive and proactive woman, Mrs. Van Rensselaer published an article in Century Magazine that advised prospective visitors on how to best explore the 1893 World’s Colombian Exposition in Chicago. She warned that the visitor’s mind must be strictly trained to adhere to her “plan of campaign” but, in return, promised that time, energy, and disappointment would be saved.

MammothOctoMrs. Van Rensselaer’s steps are summarized as follows:

1. The first day belongs to curiosity. This is the day to roam the Fairgrounds, admire scenic views, and determine how much exertion the body can sustain. To ensure the best experience possible, utilize all available means of transportation—railways, boats, and rolling-chairs—and avoid entering any of the buildings.

2. On the second day, the wise visitor will stay in bed, at home, all day, to recover from the first day.

3. The third day is for learning; one must seek out what one has come to the Fair to study. If consumption of that material becomes exhausting, allow the mind to relax by visiting an unrelated exhibit.

“The things you know least about, and care least about, will then seem delightful, for you will have purchased the right to idle, and only its purchasers know the whole of the charm of idling.”

4. The previous step may need to be repeated in order to complete one’s studies.

Mrs. Van Rensselaer recommended that one tackle her “plan of campaign” as a solo endeavor. She tried the hand-in-hand method of perusing the Fair herself and reported, “I do not know which is more exasperating—to drag an unsympathetic soul about with you…or to be an unsympathetic soul dragged about…”

Lunch1893Mrs. Van Rensselaer encouraged husbands and wives to part willingly in order to view ethnological antiquities, dolls documenting the history of fashion, sporting goods, and kindergarten methods, among other exhibits, under more amiable circumstances. She also urged women to separate from their friends, stating, “Every woman knows that two women shopping together do not ‘accomplish’ half as much as though they had shopped separately…[and] the crowded galleries of the Fair will be like colossal shops…” She reassured her readers, vouching for the Fair as a safe place, one so filled with people that it would be impossible to annoyingly follow and observe any single individual.

The Van Rensselaer program never pledged a comprehensive experience of the Fair. In fact, Mrs. Van Rensselaer acknowledged the Fair’s unattainability by way of its size, “…no one can see the whole of a Fair like this [one]…” She did state, however, that her pupils would leave the Fair enriched and contented, knowing that they were able to enjoy the Fair as a place of knowledge and scholarship as well as a place of beauty and amusement.


For article:
Burns, Sarah, and John Davis. American Art to 1900: A Documentary History. Berkley: University of California Press, 2009.
For images:
  • “Palace of Mechanic Arts and lagoon at the World’s Columbian Exposition, Chicago, Illinois”
        Courtesy of the Library of Congress, Prints and Photographs Division

Fisher gallery picA young architect carved the distinctive lion heads on the lacquered-cherry wood fireplace mantel and the bookcases in the gallery of the Marble Palace. He was Robert E. Seyfarth, (Born 1878, Blue Island, Illinois) and an employee of both August Fiedler and George Washington Maher.

Seyfarth studied at the Chicago Manual Training School founded under the auspices of the Commercial Club of Chicago.

It was a private secondary institution that taught drafting and shop as well as a regular high school curriculum. Located at 11th and Michigan, the campus was later moved to the University of Chicago where it was absorbed into the lab school program.


Illustration of the Chicago Manual Training School

first Seyfarth house in Blue Island_cropped

The first Seyfarth house in Blue Island

Seyfarth went to work as a draughtsman for August Fiedler after graduation in 1895. At the same time he joined the Chicago Architectural Club where he most likely met influential Prairie School architect George Washington Maher. By 1900, Seyfarth was involved in the redecoration of the trophy room and gallery of the home that Lucius George Fisher Jr. had recently purchased from Samuel Mayo Nickerson. Maher designed homes in Seyfarth’s hometown of Blue Island and that possibly helped to cement their relationship.

However by 1909, Seyfarth went into business for himself. Until the Depression, he had offices downtown. But the economic downturn forced him to relocate his practice to Highland Park, Illinois. No longer identifying with Maher’s Prairie School designs, the handsome homes Seyfarth created along Chicago’s North Shore and in the city have elements associated with Tudor and Colonial styles.Lawrence_Howe_House_Winnetkaarticle on Seyfarth


800px-Seyfarth_House_-2_Highland_Park_1911_photoFor a gallery of Seyfarth’s homes click here.  Much of Seyfarth’s work was photographed and he was a proponent of advertising as a means of marketing his practice. He would remain a vibrant and engaged member of the Highland Park community until his death in 1950.





Visitors to the Driehaus Museum often cite the gallery as a favorite room with its marvelous stained glass dome and massive wood-burning fireplace. Lined with lacquered cherry bookcases and featuring an iridescent mosaic tile Art Nouveau surround, it is the one room in the mansion that was completely redecorated in 1901 thanks to the second owner, Lucius George Fisher Jr.Gallery, The Richard H. Driehaus Museum_Photo by Alexander Vertikoff, 2011

Perhaps Fisher wanted to put his own stamp on the Nickerson’s distinctive décor? Or did he just want a grand showcase for his collection of rare books and hunting memorabilia? Whatever his reasons, he hired one of the great Prairie School architects of the day, George Washington Maher.

George W. Maher

George W. Maher

Maher was born in Mill Creek, West Virginia in 1864. But by the age of thirteen he was living in Chicago and apprenticed to the architectural firm of Bauer and Hill. Thanks to the Fire of 1871, Chicago had become a center for innovative building design. After a stint with Joseph Silsbee where he worked as a draughtsman alongside Frank Lloyd Wright, Maher opened his own firm in 1888. Influenced by the styles of H. H. Richardson and Louis Sullivan, Maher’s houses reflect the “form follows function” dictum associated with Sullivan’s work. But while fellow architect Wright would follow the elaborate ornamentation of Sullivan’s cursive elements, Maher would eventually lean towards the Arts and Crafts movement in the houses he designed.

ely house

Ely House, Kenilworth, Illinois

hart house

Hart House, Kenilworth, Illinois

roe house


Beginning in 1893 with his own home in the northern suburb of Kenilworth, Maher went on to design forty distinctive houses there as well as several homes in Chicago’s historic Hutchinson Street District in Uptown. At the same time, he became allied with the developer of the Edgewater community on Chicago’s lakefront, producing a series of homes that still stand today on Sheridan Road.

pleasant home oak park

Pleasant Home, Oak Park, Illinois

But the most influential commission Maher would receive was from John Farson. The house now known as Pleasant Home in Oak Park, Illinois would establish the tenets of Prairie School design for posterity. Its success was copied time and again by other architects of the period.

At the same time, Maher was developing a unified design concept known as the Motif-Rhythm Theory. By incorporating an element in both the exterior and interior of the building—say a local plant, a geometric shape—he created some kind of decorative element throughout that ties the whole project together.

Maher Coffee Set

Maher silver coffee set.

Not only did Maher create plans for innovative and beautiful homes, he designed furniture, lamps, silverware and stained glass.

Many of his houses have distinctive windows that either he drew or commissioned from other firms such as Giannini and Hilgart, Healy and Millet, and Tiffany Studios.

Tiffany Window Winona National Bank

Maher designed Tiffany Window Winona National Bank

So the next time you visit the gallery, take a look at the detailed thistle frieze below the glass dome and the unifying design of the room with its carved lion heads by disciple and architect Robert Seyfarth. Take a moment to savor the genius of a unique artist, someone very much ahead of his time.


“We strongly advocate the use of different styles in different rooms, to avoid the monotonous effect invariably produced by the fanatic apostles of the so-called Eastlake or Modern Gothic. For the same reasons it will be necessary for articles of luxury, as Easels. Hanging Shelves, Cabinets, etc., to use motifs from the Mooresque, Byzantine, Japanese, etc., though diametrically opposed to the prevailing style of the room.” – August Fiedler

fielder pic

William August Fielder

The principal interior designer of the Nickerson Mansion was William August Fiedler. He was German, born at Elbing in 1842. August Fiedler as he would later come to be known studied architecture in his native country but immigrated to the United States in 1871. Like many of his fellow countrymen, he found his way to Chicago, taking advantage of the post Chicago Fire building boom. A perfectionist in his pursuit of quality, Fiedler began his career the way many architects of the period did–as an interior designer.



fieldler advertBy 1877, he had his own furniture business, A. Fiedler and Company at 24 - 26 Van Buren Street. As a decorator, Fieldler would leave behind a lasting legacy in the richly carved details of the Hegeler Carus Mansion in downstate LaSalle, Illinois, built between 1874-1876. The high finishes of his custom woodwork and furniture attracted the attention of Samuel Mayo Nickerson who hired him to design some of the rooms for his new home at 317 Erie Street in Chicago (now the Richard H. Driehaus Museum at 40 East Erie). fiedler dining room

Fiedler’s impeccable attention to the smallest elements of style shine. He created unique parquet flooring and architectural flourishes with such precision and beauty that he went bankrupt by not charging his wealthy clients enough to compensate for the quality work he produced.

Visitors to the Hegeler Carus Mansion will recognize many similarities between that home and the Nickerson’s Marble Palace. The hand turned columns and cornices of the two homes are reminiscent of each other as are the ornate carvings that surround the fireplaces. Fiedler’s innovative use of turned wood spindles, decorative mantels and wainscoting are common to both interiors.

millwork hegeler carus mansion

Millwork detail, Hegeler Carus Mansion

carved sideboard hegeler carus

Fiedler carved sideboard, Hegeler Carus Mansion


Parlor with parquet flooring and custom millwork, Hegeler Carus Mansion


Germania Hall now the Germania Club at Clark and Germania Place.

But August Fiedler also began to design buildings here in Chicago and around the Midwest. He completed the Germania Hall in 1888 along with fellow architect John Addison and built private homes in Blue Island and Milwaukee.


Moorish_palace_labyrinth,_august_fiedler_archIn 1893 when the World’s Fair drew the curious multitudes to the White City, one of the standout buildings was Fiedler’s Moorish Palace, patterned after the Alhambra of Spain. It was one of three pavilions Fiedler designed for the Colombian Exhibition.

Long time Chicagoans will remember Henrici’s Restaurant on Randolph Street, another Fiedler project. On the city’s Gold Coast, 1547 North Dearborn Parkway is another of his sumptuously detailed interiors replete with lavish woodcarvings in an 18,000 square foot city estate.

In 1893, Fiedler was named the first Chief Architect for the Chicago Board of Education. He supervised the construction of fifty-eight schools and designed many including Burley, Goethe, Eugene Field and Pullman.


Fiedler was elected a Fellow of the American Institute of Architects. He died in Chicago in 1903.


For information about our upcoming trip to the Hegeler Carus Mansion on Wednesday, June 4, please visit our website.




A. Fiedler and L. W. Murray, Artistic Furnishing and House Decoration, (C. H. Blakely & Co., printers, 1877)




The Driehaus Museum is excited to introduce its first Book Club series.  We begin the series with Sally Sexton Kalmbach’s book Jewel of the Gold Coast: Mrs. Potter Palmer’s Chicago. The Jewel of the Gold Coast book clubs take place on January 30th and February 5th.  Here is a brief selection from the book, as well as a conversation with Anna Wolff, Driehaus Museum Educator.


An Excerpt from The Jewel of the Gold Coast

On a warm day in late July of 1870, Bertha Honore married Potter Palmer at her parents’ fashionable limestone home at 157 Michigan Avenue, across the street from today’s site of the Art Institute of Chicago. The tree-lined residential street was filled with carriages depositing the forty relatives and close friends who attended the wedding ceremony. At 6 p.m. a pastor from the First Christian Church performed the ceremony. A wedding supper for seven hundred followed the service, catered by Kinsley’s, one of the most celebrated restaurants of the day. Noted for its oysters shipped from the East Coast, Kinsley’s was located on Washington Street between Dearborn and State, not far from the Honore home.

The petite 5’5″ dark-eyed woman of 21 was dressed in a gown of white satin and rose-point lace designed by Charles Frederick Worth, a designer who dominated Parisian fashion in the later half of the nineteenth century. Orange blossoms were arranged in her brown hair. Her small waist was encircled by a corset, an item of clothing in vogue throughout most of her life.

Potter Palmer was a happy man. At the age of forty-four, he was the most eligible bachelor in Chicago. He had illustrated his business acumen by amassing millions, traveled extensively in Europe, sown his wild oats, and now he was marrying the intelligent and graceful woman who had captured his attention eight years previously.

Her wedding present was the new Palmer House Hotel, valued at $3,500,000, and just being completed at the time of their marriage.

After the ceremony, the newly married couple departed for Europe, but Paris was not part of the itinerary because of the Franco-Prussian war raging in France. This was Bertha’s first journey to Europe, but her introduction to Paris and the Impressionists lay in the future.


What do you hope participants will get out of joining in the discussion?

Anna Wolff:  I see the book club as a relaxed way for our guests and members to further engage topics related to the museum.  We’ll be discussing Gilded Age fiction, biographies, and history with the authors and will expound upon the book from a literary perspective as well as discuss the larger historical context of its content.  Our Book Club is a great way for patrons to get to know each other better in an informal setting over shared interests.

How did you decide which books would be used for the first book club?

Clara_and_Mr_TiffanyWolff:  March’s Book Club will feature Clara and Mr. Tiffany by Susan Vreeland.  This was a natural fit for us since Ms. Vreeland will speak in an informal lecture earlier that week.  With our current exhibition “Louis Comfort Tiffany: Treasures from the Driehaus Collection” we chose a book that celebrates that time period.

People are always very interested in Bertha Palmer. Since the book, The Jewel of the Gold Coast: Mrs. Potter Palmer’s Chicago, sells well in our Museum Store we knew many visitors and members would be interested in discussing the book and meeting its author in an intimate setting. For the winter series we found it very fitting to have one historic fictional novel and one more rooted in fact.

The first book featured is Jewel of the Gold Coast by Sally Kalmbach. What has it been like working with her on this new project?

Wolff:  Sally is a wealth of knowledge that is always eager to share information.  She will be bringing historic documents, images, and illustrations to further explain who Bertha Palmer was.

What did you find most interesting when reading The Jewel of the Gold Coast: Mrs. Potter Palmer’s Chicago?

Wolff:  I found it particularly interesting to learn about Mrs. Palmer’s life as an art collector.  I gained an understanding of who she actually was as opposed to her legacy as an art collector.  The process of her becoming an art collector is far different than I ever expected.

What’s next…what are some books you would like to include in future book clubs?

Wolff:  I would love to feature Devil in the White City or Death in the Haymarket both have a strong connection to Chicago history and are fascinating reads.