Bellevue United Presbyterian Church
Bellevue United Presbyterian Church was organized in February, 1872. A year later, the congregation built its first building on South Howard Avenue. As the congregation grew, a larger church was commissioned. The cornerstone of the current church was laid on November 10, 1900, and the building was dedicated on November 1, 1901. A stone located in the front left of the church building is etched with the name of the church and the year 1901. The church is constructed of Beaver gray stone and the stained glass windows in the Sanctuary are the original windows. The architect, J. Lewis Beatty, was also the architect for West Penn Hospital. The lot cost $7,500 and the building cost $29,999. In 1903, the Estey Organ Company installed the pipe organ at a total cost of $4,000, $2,000 of which was donated as a gift from Andrew Carnegie. The sanctuary was built to seat 675 people, but a few of the pews in front and in back were removed to make more space. The sanctuary of Bellevue United Presbyterian Church is graced by large stained glass windows on three of its walls. These are the original windows made by the Willet Stained Glass Company in 1900. Anne Lee Willett also worked with the company. William Willet wrote that “Mrs. Willet does not merely advise or assist but does much of the work and in all our commissions we find each others help invaluable and in many instances divide the important features.” At the time of his death in 1921, William Willet was considered one of the most important stained glass artists in America. In Pittsburgh, other windows 6designed by Willet can be found in the Cathedral of Saint Paul, the First Presbyterian Church, and Calvary Episcopal Church. To the right of the pulpit (if you are facing the pulpit) is a trio of windows. The middle window has three sections. On the left is the verse “Consider the lilies of the field, how they grow; they toil not, neither do they spin; and yet I say unto you, that even Solomon in all his glory was not arrayed as one of these.” Matthew 6:28-29. The middle section portrays Jesus knocking at the door with the verse “Behold I stand at the door, and knock; if any man hear my voice, and open the door, I will come in to him, and sup with him, and he with me.” Revelation 3:20. The section on the right has the verse “The wilderness and the solitary place shall be glad for them; and the desert shall rejoice, and blossom as the rose.” Isaiah 35:1. To the left of the pulpit is another trio of stained glass windows, the middle of which also has three sections. The middle section portrays Job with the verse “I know that my Redeemer liveth.” Job 19:25. The left and right sections state “Worship the Lord in the beauty of holiness” and “Praise Him all angels of His.” Under these can be found the names of Hugh and Mary Bole who were among the original 21 members of the church.
62 S Harrison Avenue
The brick Colonial Revival-style home owned by Brian Maier is located at 62 South Harrison Avenue on the corner of South Harrison and Caughey Avenues. In 1900 the the property was conveyed to Edward P. McMillan for $500, and MacMillan probably constructed the present house that year. Edward P. McMillan was a bookkeeper for the Enterprise National Bank of Allegheny. The 1900 federal census lists his residence as 53 Harrison Avenue, three houses up from #62, but this may be the result of changing street numbers — not uncommon during the development boom of the early 20th century. The McMillan household included Edward, his wife Ida, sons Carter and Warren, and daughter Grace. The inscription “C.C. McM Jan. 7, 1907” is carved into the attic floor of Brian’s house, undoubtedly the work of Carter C. McMillan who would have been 15 years old at the time. In October 1905 the Enterprise National Bank and Edward P. McMillan were at the center of a well-publicized scandal involving alleged conspiracy and bank fraud. When the crime was discovered, a cashier committed suicide, and several officers including McMillan were convicted and sent to prison. After repeated entreaties by Ida McMillan and others, President Theodore Roosevelt commuted the 6 and ½ year sentence to 2 and ½ years, and Edward was released in July 1909. There were other consequences, however; the property of the bank and all of the convicted officers was liquidated in early 1907 in order to return money to depositors. In March 1907 — only two months after young Carter C. McMillan had carved his initials into the attic floor — the McMillan family’s home at 62 South Harrison was sold at sheriff’s sale. On April 1, 1909 the property was 62 S Harrison Avenueconveyed to Benjamin and Margaret Moore for $2,900. The Moore family would own it for the next 98 years. In August 1945, Benjamin Moore conveyed the property at 62 South Harrison Avenue to Benjamin H. and Lucy C. Moore for $1.00. The elder Benjamin was still living as 62 South Harrison at the time of the death in 1959. Benjamin H. and Lucy Moore would live at 62 South Harrison for the rest of their lives. Like his father, Benjamin H. Moore was a pillar of the community. Following Lucy’s death in 1974, Benjamin remained in the house until his own death in 2000 at the age of 97. Near the end of his life he conveyed the property at 62 South Harrison to his niece, Martha M. Tea in February 1997. In 1961 Martha had married Charles Miller Tea, Jr. in the same room at 62 South Harrison where her parents had wed, wearing the same wedding dress as her mother and grandmother. Martha was a freelance cellist who taught and performed throughout the Pittsburgh and Butler areas. This home is a fine example of one of the early 20th century’s most popular residential building forms, the American Foursquare, ubiquitous throughout Bellevue, Avalon, and Brighton Heights. At 62 South Harrison, the use of Colonial Revival ornamentation — a style that put great value on symmetry and proportion — strongly accentuates the balance and symmetry of the basic Foursquare form. The facade of the house is rigidly symmetrical, with a central entrance flanked by a pair of windows on the first floor and four windows on the second floor, as well as a full-width front porch featuring four columns linked by a balustrade. The house possesses many outstanding decorative features exhibiting a high level of early 20th century craftsmanship: beautiful leaded glass windows, a full-height side bay, dentilated cornice, and a prominent front dormer with entablature featuring a pair of windows. Inside are seven fireplaces, quartersawn oak staircase and balustrade, original faux-grained woodwork and doors, and three sets of working pocket doors. All of its important architectural features are meticulously preserved. Brian Maier bought the house nearly two years ago. He has done minor work-painting, landscaping, and repairs to the woodwork in the short time he's lived there. Brian is surprised and disappointed that the original wrap-around porch was destroyed rather than saved as were so many other of the original architectural details. His favorite place is the front parlor. "It lends itself to quiet reflection as well as entertaining guests. The antique furniture and lack of modern distractions, i.e., TV, encourage guests to converse and play parlor games."
Hermann Museum
The John A. Hermann Jr. Memorial Art Museum has been located at 318 Lincoln Avenue since 1976. The museum showcases an enormously diverse collection and continues to house the entire life work of Bellevue artist John A. Hermann, Jr. (1855-1942). There is a broad series of Pittsburgh paintings that evoke warm memories of past events and neighborhoods that are an integral part of our local history. Along with landscape images of Pennsylvania nature, Hermann captured in watercolor every single fountain and statue that once stood in Allegheny Park, now the North Side. Beyond the local images, there are a multitude of European landscapes, domestic seascapes, and portraits. Hermann generously bequeathed over 1,000 beautifully framed paintings to the Bellevue community as well as various bronzes and ivories that he collected during a later period of world travel and exploration. His intent was for people of Bellevue to enjoy his art as much as he enjoyed creating it. John Hermann's prolific collection of oil paintings, sketches and watercolors are a chronicle of earlier times and places. Hermann, the artist, was always growing and exploring his craft up until his death in 1942, and his determination to keep his work and collection of fine art intact surrounds all visitors to the museum. In addition to the collection of John A. Hermann, Jr., the museum exhibits the work of outstanding local artists in its first-floor gallery spaces and also hosts special educational events for all ages.
218 Lincoln Avenue
The two story brick duplex at 216-218 Lincoln Avenue has had many occupants since it was built a century ago. During the second half of the 19th century the lot was part of a much larger property owned by Richard Straw. Arriving here in 1854, Straw became a prosperous businessman and a leading citizen, and was one of the founders of Bellevue in 1867. Architecturally, the building can be considered a vernacular expression of the early 20th century Prairie style, popular between 1900 and 1920. Contemporary Arts and Crafts influences are evident throughout the interior. The tour committee secured the empty first floor unit for the 2019 tour. This space had been used as a dentist office for decades and just recently has been reconverted back to living space. It still shows signs of its commercial past, but sports some great built ins, a fireplace, French doors, a sunroom, and an original all-white bath. Since apartments in Bellevue are quite popular among under-30 residents, the volunteers working on this space created 2 fictional roommates -- Jen (age 23) and Megan (age 25) and used them to inspire the design. They designed the space to combine Jen's love for traditional and industrial design with Megan's love affair with Mid-Century modern. In addition, the team kept to a strict budget and furnished the space using as many thrift store, Craigslist, and curbside finds as possible. The group also added some personality to the space using totally-reversible, renter-friendly, preserve-the-security-deposit design products like removable wallpaper, cheap lighting fixtures, tension-style curtain rods, and faux, removable kitchen backsplash tile.
83 Sumner Avenue
racey Krofcheck and Frank Locastro relocated from the South Hills to Bellevue last year in search of a walkable community with a more diverse population. They hit the jackpot! The garden behind their home, a Tudorinspired Revival, built around 1930 is what sold them on the house. The private driveway, a treasure in and of itself, is lined with luxurious ferns and perennials. The plants segue into the backyard which is a welcome respite from the stresses of everyday life. Now empty-nesters, Tracey and Frank wanted an open and inviting play space for their visiting grandchildren and an easily accessible, serene entertainment and conversation space. They envisioned a backyard with evening lighting from the chiminea and solar ground light. Bocce ball and badminton are favorites, and the terraced lawn is large enough for both. Tracey watched this spring and summer in anticipation for the garden beds to sprout their surprises planted by previous owners. To her delight, irises dot the beds and an array of flowering bushes frame the landscape. The hydrangea tree produces terra-cotta colored flowers which welcome autumn and give color to the fading scenery of summer. Tracy and Frank haven’t decided which flowers they’d like to see next year, but coneflowers and an assortment of spring bulbs are tops on the list. They invite you to meander through their yard, enjoy a moment on the patio, and reflect on the beauty of nature. 1
86 Sumner Avenue
Mary Carroll and Lee Brigido have been busy making updates since moving in 4 years ago with their dogs Bill and Phoenix. Painting over 30 years of nicotine stained walls and ceilings was the first project, then a kitchen renovation opened up the space into the dining room where stained glass windows which had been dry walled over in years past were recently uncovered. Another stained glass window on the staircase landing is affectionately referred to as the “sweet potato” window. Their charming home may have been built about 1928 by William and Mary McPherson, or possibly a few years earlier by the family of George F. Wright. This house is an excellent example of a Craftsman bungalow, one of the most popular American house forms of the early 20th century. The form was especially well-suited for suburban settings and middle-class owners, and many examples can be found throughout Pittsburgh’s streetcar suburbs like Bellevue and the other North Boroughs. The form emphasizes interplay between the inside and the outside of the home, the use of natural materials, and an open floor plan that is airy, bright, and cozy. Design and materials were intended to make the house blend into its site. Hallmarks include: one-story or one-and-ahalf-story height; irregular massing; rectangular form; broad low-pitched roof with one or more prominent dormers; low horizontal lines; visually-dominant porch contained under the main roof; and an abundance of windows, often grouped in blocks of two or three. The landscaping on this property, conceived and executed by Mary Carroll and Lee Brigido, complements the house perfectly.
53 N Euclid Avenue
The brick Foursquare home owned by David Seman and Keri Harmicar is located at 53 North Euclid Avenue. It probably was built around 1909 by Henry F. and Lillian Matthews. Keri and David have only lived in their home for 3 years but have already infused it with their creative style. The sunny enclosed porch invites you into the living room and entry where they gather with friends to enjoy music and cocktails and cuddle with their furry child Henry Buckminster. Much of the artwork you’ll see throughout the house was painted by David. Be sure to notice the display of bereavement cards and letters from the 1960s that have been passed down through all of the owners since then. Lots in the Roseburg Plan were in high demand, and 75 houses already had been built by 1912 (Figure 5). On March 1, 1908, the Pittsburgh Press noted that “the Roseburg plan especially has developed into one of the most popular residence sections [of Bellevue], and there is a good demand for property there. The lots are level, with paved streets, building restrictions, sewers, sidewalks, electric lights and all modern improvements. Ten room houses are to be had at exceptionally reasonable prices, and these homes are fitted up in an elegant manner and with all conveniences. The location can be easily and expeditiously reached by three car lines, ... all the cars running by the Roseburg lots.” Lots in the Roseburg Plan were subject to building restrictions designed to discourage rental units and cheap construction: all houses 53 N Euclid Avenuehad to be set back 20 feet from the street; they had to be built of brick, stone or cement, with no frame houses permitted; and the construction cost had to be at least $5,000. The Seman/Harmicar home is a good example of one of the early 20th century’s most popular residential building forms, the American Foursquare, ubiquitous throughout Bellevue, Avalon, and Brighton Heights. Foursquare is a house form rather than a style, and different styles of stylistic ornamentation could be (and were) applied to houses of this type. Although the Foursquare is typically associated with the Prairie style, most local examples display Craftsman, Colonial Revival, and Queen Anne decorative elements, often mixed together in the same structure. The Foursquare was descended from vernacular Classical Revival forms of the mid-19th century, and since the simple form was ideally suited to mass-production, it was a popular mail-order offering of the 1900-1930 period. The hallmarks of the Foursquare are its cube-like shape and interior plan of four rooms per floor plus a side stairway. It was ideally suited to the typical long and narrow house lot found in streetcar suburbs during the 1900-1930 period. Nearly all examples feature a pyramidal roof with one or more dormers, and a full-width or half-width porch across the facade. In the case of 53 North Euclid, the front porch has been enclosed. According to historian Alan Gowans, “despite commonly having only three instead of four columns across the front, asymmetrical placement of porches, irregular fenestration (window arrangement), and side bay windows breaking up boxy outlines, the fundamental visual effect is balanced and symmetrical.” Despite their inherent similarity of form, Foursquare houses exhibit an almost infinite variety of wall treatments, porch designs, and fenestration.
68 N Harrison Avenue
The 1906 home of Samuel and Angela Onuska stands on the southeast corner of North Harrison and Teece Avenues. It occupies Lot 69 in the “Roseburg Revised Plan of Lots,” a tract of 13 acres between North Fremont and North Bryant Avenues, acquired by J. I. McClurg in 1905 and subdivided into 94 building lots. When first laid out, North Harrison was known as Seville or Clark Avenue and Teece was known as Bayne Avenue. North Bryant originally was known as Ellsworth Avenue. The Onuska house is typical of the substantial single-family homes envisioned by the Roseburg Land Company, which promoted its property to attract “the leading business and professional men of Pittsburgh” (Pittsburgh Gazette Times, February 15, 1911). The Onuska house possesses the same distinguishing features of the Foursquare form as the other Foursquare houses on the 2019 tour, including two-story height with four fairly equal-sized rooms on each floor, a square shape, pyramidal roof, hipped dormers, two-story side window bay, and full-width front porch. The front porch with its supporting concrete columns is original. Rather than brick veneer over frame construction which was common at the time, the house features structural brick/masonry construction with three brick wythes on most walls consisting of two common layers and an outer yellow glazed brick layer, with a half-inch gap between the layers. The interior walls were wood lath covered with traditional horse hair plaster varying in 24thickness from ½” to ¾”. The Onuskas faced an enormous rehabilitation challenge. Failure of the roof had allowed water and snow to accumulate on interior floors, walls, and wood structural members. The box gutters were rusted, rotted, and decayed for 50 percent of their length, allowing additional water to run along the brick walls and cause damage. Approximately half of the concrete window/door sills and lintels were cracked and required replacement. Many of the joist members were either rotted or cracked, the footers for structural columns had sagged, and the stairs and landings were water damaged. Nearly all of the plumbing supply and drain lines had been removed from the house prior to purchase, and presumably, sold for scrap. Many of the radiators were cracked due to freeze-thaw cycles from the home being left vacant with water still in the heat exchanger channels. All of the stained glass had been removed from the house either through salvage or theft. The initial task was to evict a family of raccoons who were living on the third floor and had the run of the house. They left on their own when Sam and Angela installed motion sensor lights which encouraged the raccoons to find a quieter and darker home. The next task was to make the building weather tight, requiring replacement of the roof and repairs to the gutters and eaves. All three chimneys were significantly damaged and were disassembled by hand without the use of tools. Some of the cracked radiators were scrapped, several were salvaged for similar homes that needed replacements, and a couple were used on the set of “Last Flag Flying” when the show was filming in Pittsburgh; one pair were retained for use as decorative pieces. All plumbing and wiring were replaced. To create more headroom in the basement, Sam and Angela excavated over one-foot of clay by hand and carried it out in buckets. The Onuskas were able to salvage four pocket doors and plan to re-use them at the entrance to the living room and from the master to the main bath. They demolished and secured the original tile work at the entry and salvaged many decorative windows and the original main staircase wood paneling which will be saved and re-used. Many slabs of marble and stone found in the yard and basement will be re-used for steps, kitchen surfaces, and in certain tile/stone floors. Previous owners had closed off all of the fireplaces, so Sam and Angela opened several of them and plan to use them as gas-burning. They will maintain most of the house’s interior layout while making minor modifications to wall locations.
447 Dawson Avenue
The brick Foursquare home owned by Tom and Mary Vic Taylor has been their home for 35 years. It had been converted into 3 apartments in the 1960s and over time Mary Vic and Tom have made updates and created a cozy home for their children, grandson Will, foreign exchange students, family, and friends to gather — it’s a busy place! Mary Vic’s favorite thing is the new kitchen which was renovated last year. As you leave through the kitchen door take time to enjoy the backyard gardens cloaked in fall colors. The house was built between 1899 and 1902 by Leonard and Dora B. Albrecht. At that time the street address was 19 Dawson Avenue. After passing to several owners, the property was conveyed to Harry E. and Maria L. McClumpha in 1916. The McClumphas would own the property until 1949. Harry E. McClumpha was a metallurgist of some renown and from 1906 to 1930 was general manager of the Keystone Car Wheel Company and its successor the Southern Wheel Company. According to his obituary, “he originated the modern continuous method of casting wheels on moveable platforms accurately timed for the heat treatment cycle.” After Harry's death in 1939, Louisa stayed on at 447 Dawson for another decade and began to take in boarders. In October 1939 she advertised a room for rent at 447 Dawson, “suitable for 1-2 gentlemen.” In May 1949 the propertey was conveyed to the Carson family — they would own it until 1965. Thomas E. Carson began his career as an inspector at the Hermes Milk Company and later was sales manager for the Pittsburgh Milk Company. He married Margaret Wills and the couple had two sons. After the 26home passed to the Carson sons, a rapid turnover in ownership began that lasted from the 1960s through the 1980s, contrasting with the stability of the property’s first 60 years. In March 1967 the house was purchased to be used as a rental property. This may have been when the house was converted into three apartments and other interior changes were made as noted by the present owners. Ownership stability returned in May 1983 when the property was acquired by Thomas F. and Mary Victoria Taylor and Mary’s parents, Donald J. and Patricia L. Plazek. In 1991 the Plazeks conveyed their interest to Tom and Mary Vic who are the current owners. The Taylor home is an excellent example of one of the early 20th century’s most popular residential building forms, the American Foursquare, ubiquitous throughout Bellevue, Avalon, and Brighton Heights. Foursquare is a house form rather than a style, and different styles of stylistic ornamentation could be (and were) applied to houses of this type. Most local examples display Craftsman, Colonial Revival, Prairie, and Queen Anne decorative elements, often mixed together in the same structure. The Foursquare was descended from vernacular Classical Revival forms of the mid-19th century, and since the simple form was ideally suited to mass-production, it was a popular mail-order offering of the 19001930 period. The hallmarks of the Foursquare are its cube-like shape and interior plan of four rooms per floor plus a side stairway. It was ideally suited to the typical long and narrow house lot found in streetcar suburbs during the 1900-1930 period. Nearly all examples feature a pyramidal roof with one or more dormers, and a full-width or half-width porch across the facade. According to historian Alan Gowans, “despite commonly having only three instead of four columns across the front, asymmetrical placement of porches, irregular fenestration (window arrangement), and side bay windows breaking up boxy outlines, the fundamental visual effect is balanced and symmetrical.” Despite their inherent similarity of form, Foursquare houses exhibit an almost infinite variety of wall treatments, porch designs, and fenestration. The Taylor home exhibits a number of interesting details including the paired columns of the full-width front porch; the ornamental brickwork at the roof/wall junction; the massive window lintels; the fine leaded glass sidelights and transom surrounding the entry; the triple window in the second-floor facade; the large arched window that dominates the west elevation, although the original leaded glass has been removed; and the one-story bay in the east elevation.
