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I could afford such a home.” But by paragraph’s end, Williams has dismissed the possibility, “because … I am a Negro.” “Sometimes I have dreamed of living there. “Today I sketched the preliminary plans for a large country house which will be erected in one of the most beautiful residential districts in the world,” it reads in part. The wall text for the exhibition’s entrance comes from an article Williams wrote for American Magazine in 1937. In her starkly tender photographs Ireland transforms Williams’s stalwart pews into stand-ins for long-departed parishioners while the peeling facade’s sunburst window observes the ignominies of time. Unsuccessfully repurposed as a theater in 1998, it sits empty while the City of Reno decides its fate. In 1938, Williams bested fierce competition to design Reno’s First Church of Christ, Scientist.
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Despite the restraint, Ireland’s photographs show such hallmark Williams flourishes as the swirl of a grand entrance staircase or imposing mullioned windows inside, and outside, the New Orleans-style ironwork he favored as reflecting his racial heritage. To announce her prominence in an exclusive new neighborhood, Williams designed a genteel mansion in a westernized Colonial Revival style. Williams, who drove a streamlined Cord motor car manufactured by the automobile company founded by Errett Lobban (“E.L.”) Cord, a major residential client in Beverly Hills, was summoned to Nevada in 1934 by Luella Garvey, a wealthy Pasadena doyenne drawn, like many, to the state as a tax haven, and to Reno for a quickie divorce from a second husband. 9, 2017, at the Woodbury University Hollywood gallery. Williams: A Portrait by Janna Ireland” opened on Dec. Curated by Bestor, “There is Only One Paul R. The artist James Welling, a teacher of Ireland’s at U.C.L.A, mentioned her interest in house portraiture. “I wanted to start a discourse around Williams’s work that wasn’t based on models and blueprints but in photography,” Bestor said. Ireland learned of Williams when she was approached in 2016 by Barbara Bestor, executive director of the Julius Shulman Institute in Los Angeles, who was planning a show on Williams. Williams: A Photographer’s View,” a collection of distinctive black-and-white images by the Los Angeles photographer Janna Ireland, published in 2020.
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And devotees of his signature design vocabulary are enhancing their coffee tables with “ Regarding Paul R. Hudson, his granddaughter and archivist, that first spurred his rediscovery in the early 1990s.
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Architectural historians are expanding on the research and writing by Karen E. That is no longer the case, as Hollywood’s elite from Hancock Park to Beverly Hills scramble for documented mansions in the array of revival styles he employed.
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In two best-selling books, he championed affordable housing for a new generation of homeowners.īut in those same decades racial discrimination and prejudice were still so unrelenting that many enamored of Williams’s achievements were unaware that he was Black, and his life and legacy, consigned to segregated professional and social worlds, were long obscured. He created homes for Frank Sinatra and Lucille Ball, among others, and helped erect elegant municipal, federal and commercial developments as far afield as Washington, D.C. Paul Revere Williams came by his nickname “architect to the stars” over a career that saw his designs dot the wealthiest enclaves of Southern California, leaving a silver-screen-size impact during the decades coinciding with Hollywood’s golden era.