In the early 1920s, architect John F. Staub, a native of Knoxville, Tennessee, who had studied at MIT and worked in New York, came to the burgeoning city of Houston as an assistant to nationally prominent architect Harrie T. Lindeberg. Staub was charged with administering construction of three houses designed by Lindeberg for members of the city's rapidly emerging elite. He would go on to establish one of the most influential architectural practices in Houston, where he would remain until his death in 1981. Over four ...
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In the early 1920s, architect John F. Staub, a native of Knoxville, Tennessee, who had studied at MIT and worked in New York, came to the burgeoning city of Houston as an assistant to nationally prominent architect Harrie T. Lindeberg. Staub was charged with administering construction of three houses designed by Lindeberg for members of the city's rapidly emerging elite. He would go on to establish one of the most influential architectural practices in Houston, where he would remain until his death in 1981. Over four decades, Staub designed grand houses in such communities as Shadyside, Broadacres, and, perhaps most notably, River Oaks. His clients included the Hoggs, for whom he created Bayou Bend; the Mastersons, his clients for Rienzi; and members of the Wiess, Cullen, Farish, Welder, Fay, and Elkins families. Although Staub also completed commissions for clients elsewhere in Texas and the United States, it was primarily in Houston that his work and influence took root. This ambitious study of Staub's work by architectural historian Stephen Fox goes beyond a description of Staub's houses. Fox analyzes the roles of space, structure, and decoration in creating, defining, and maintaining social class structures and expectations and shows how Staub was able to incorporate these elements and understandings into the elegant buildings he designed for his clients. In the process, he contributes greatly to a fuller understanding of Houston's emergence as a premier American city. Stunning color images by architectural photographer Richard Cheek, combined with Fox's well-grounded and expansive thesis, create a volume that will enchant, inform, and entertain. Students and aficionados of American domestic architecture of the 1920s, '30s, '40s, and '50s will appreciate the wealth of material, and the volume's contribution to architectural history and the sociology of architecture will commend itself to readers across the nation.
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Add this copy of The Country Houses of John F. Staub (Volume 11) (Sara to cart. $37.40, good condition, Sold by HPB-Red rated 5.0 out of 5 stars, ships from Dallas, TX, UNITED STATES, published 2007 by Texas A&M University Press.
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Add this copy of The Country Houses of John F. Staub to cart. $55.00, like new condition, Sold by Plain Tales Books rated 3.0 out of 5 stars, ships from Arlington Heights, IL, UNITED STATES, published 2007 by Texas A&M University Press.
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Cheek, Richard (photographs) Fine in Fine jacket. Folio-over 12-15" tall Profusely illustrated with color photographs and floor plans, Clean, bright, and unmarked.
Add this copy of The Country Houses of John Staub to cart. $60.00, like new condition, Sold by Brazos Bend Books rated 3.0 out of 5 stars, ships from Houston, TX, UNITED STATES, published 2007 by Texas A&M University.
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Fine in Very Good jacket. Book Fine in a Very Good dust jacket. Half-title page bears a very large, stylized S or F, possibly the signature of the author. No other marks. Jacket has a small nick at the back edge of the spine. No chips or tears. 388 pages.
Add this copy of The Country Houses of John F. Staub [Signed] to cart. $75.00, very good condition, Sold by Exquisite Corpse Booksellers rated 4.0 out of 5 stars, ships from Houston, TX, UNITED STATES, published 2007 by Texas A&M University Press, College Station.
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Richard Cheek. Near Fine in Near Fine jacket. Book. Inscribed by Author(s) 388 pages. Hardcover. Text in English. [SIGNED] inscribed by both author and photographer to the previous owner on the half title page. An additional inscription (not by the author) is on the front free endpaper, along with some slight soiling. Other wear to the edges of boards and jacket is minimal, the binding is tight, the interior clean and unmarked. Bound in black cloth covered boards and wrapped in an illustrated paper dustjacket. Lavishly illustrated with color photography by Richard Cheek.
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