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Kirtland Kelsey Cutter, Who Worked in Spokane, Seattle and California

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Kirtland Kelsey Cutter, Who Worked in Spokane, Seattle and California Kirtland Kelsey 1860-1939 Cutter he Arts and Crafts movement was a powerful, worldwide force in art and architecture. Beautifully designed furniture, decorative arts and homes were in high demand from consumers in booming new cities. Local, natural materials of logs, shingles and stone were plentiful in the west and creative architects were needed. One of them was TKirtland Kelsey Cutter, who worked in Spokane, Seattle and California. His imagination reflected the artistic values of that era — from rustic chapels and distinctive homes to glorious public spaces of great beauty. Cutter was born in Cleveland in 1860, the grandson of a distinguished naturalist. A love of nature was an essential part of Kirtland’s work and he integrated garden design and natural, local materials into his plans. He studied painting and sculp- ture in New York and spent several years traveling and studying in Europe. This exposure to art and culture abroad influenced his taste and the style of his architecture. The rural buildings of Europe inspired him throughout his career. One style associated with Cutter is the Swiss chalet, which he used for his own home in Spokane. Inspired by the homes of the Bernese Oberland region of Switzerland, it featured deep eaves that extended out from the roofline. The inside was pure Arts and Crafts, with a rustic, tiled stone fireplace, stained glass windows and elegant woodwork. Its simplicity contrasted with the grand homes many of his clients requested. The railroads brought people to the Northwest looking for opportunities in mining, logging and real estate. My great grandfather, Victor Dessert, came from France and settled in Spokane in the 1880s. Cutter designed a downtown hotel for him in 1888 but it only lasted a year before it burned in the Great Spokane Cutter personal residence, Spokane, 1930. fire of 1889. For Cutter, this fire that destroyed the city was a boost to his career Northwest Museum of Arts & Culture/ Eastern Washington State Historical Society, and offered great opportunities to rebuild. Spokane, Washington, L87-1.43548-30, Charles Libby photographer. Pacific Hotel,Spokane, 1888. Northwest Museum of Arts & Culture/ Pacific Hotel after Great Fire of 1889, Spokane. Northwest Museum Eastern Washington State Historical Society, Spokane, Washington. of Arts & Culture/Eastern Washington State Historical Society. pokane leaders in the turn of the century benefited from more than just mining. Hydroelectric power, wheat fields and timber created new capitalists who chose Cutter and his partner, Karl Gunnar Malgren, to design their impressive homes. Cutter was the idea person with refined taste and an understanding of architectural styles. Malgren was the Sskilled draftsman who could bring Cutter’s artistic sketches to completion. The team experimented with styles that ranged from half-timbered Tudors to Colonials and Mission Revivals. Cutter not only designed these homes but helped furnish them with rich interiors. He supervised every detail. One of Cutter’s most elaborate Spokane homes was built for Patrick Clark in the Browne’s Addition neighborhood. Clark was a successful investor in Coeur d’Alene and British Columbia mines and he wanted the most impressive mansion west of the Mississippi. The exterior features warm bricks, round towers and a magnificent entrance arch. Inside, ornate staircases with Islamic arches and a pair of Tiffany stained-glass windows of peacocks showed Cutter’s ability to mix eastern influences with Art Nouveau glass. Patrick Clark house, built in 1889. Photos courtesy of Eric Tucker, John L. Scott Realty, Spokane. Kirtland Kelsey Cutter Page 2 ot all of Cutter’s work involved Gilded Age mansions. A little chapel he designed in 1890 for the Fairmount Cemetery in Spokane may have been one of the first examples of Arts and Crafts design used in a religious building in our region. Its exterior walls of local lava rock contrast with an elegant art glass window. It was featured Nin architectural magazines as an excellent example of the Craftsman style, using simple construction and natural materials. In his personal life Cutter married Mary Corbin, the daughter of a businessman who had opened up the Coeur d’Alene mining area to railroads and steamship lines. Mary was attracted to the charming, well dressed and elegant young architect. But Mary grew tired of Spokane and of him, moving away to England with their three year old son after a contentious divorce. In 1893 Cutter and his partner Karl Malgren worked together on the Idaho building at the World’s Fair Exposition in Chicago, using the Swiss chalet style for their inspiration. The outer design featured massive logs and wide eaves while the inside displayed the frontier life of miners and trappers. Its rustic appearance stood out from exhibits using classical styles and was a great success. Fairmount Cemetery Chapel, Spokane, 2012. Photographer Leanne Olson, All rights reserved. Cutter also built the Lake McDonald Lodge in Glacier Park. Its exterior is a European, Swiss style. The lobby features soaring, 25 foot high tree trunks and an inviting stone fireplace with depictions of Native Americans. These Cutter designs influenced other lodges in national parks that were becoming hugely popular at that time in the United States. Kirtland Kelsey Cutter Lake McDonald Lodge, Glacier Park, Montana, 2019. Photograph by author. Page 3 is great work in Spokane was the Davenport Hotel, started in 1900. It began as a Hrestaurant with a second floor suite of rooms with custom wood and metal work for his client Louis Davenport, inspired by the Austrian secession. The exterior of the restaurant was a lively Spanish Mission hacienda with arched windows, tile roofs and stepped gabels. Mission architecture first ap- peared in a San Francisco Exposition in 1894 and was popular in the Arts and Crafts era. It was used in churches, schools and libraries throughout the Northwest at that time. Cutter later expanded the Davenport Hotel to the entire block in an Italian Renaissance style. The large lobby featured an Italian marble fountain and enormous bronze column lamps Davenport Hotel/Restaurant, Spokane, 1939. Northwest Museum of Arts & Culture/Eastern Washington decorated with grapevines and alabas- State Historical Society, Spokane, Washington, L87-1.16145A-39, Charles Libby photographer. ter shells. A walkway mezzanine above overlooks this expansive public space. Visitors enjoyed banquets in the Dav- enport’s Marie Antoinette and Isabella rooms, or in the unique ballroom, The Hall of Doges. Dancing there, under its crystal chandeliers and painted ceilings, would feel like a quick trip to Venice. These elaborate rooms were a wide departure from the Arts and Crafts ideal of the simple life, but they illustrate how Cutter found beauty and inspiration from Europe. Davenport Hotel Hall of Doges, Spokane, 2020. Photographer Fred Williams. Kirtland Kelsey Cutter Page 4 nfortunately, by the time I attended my senior prom at the Davenport in 1971, Ugarish red carpeting covered the floors and the walls were painted a ghostly white. The Spokane hotel closed in 1974 and went into bankruptcy reorganization. When plans for demo- lition came in 1986, a committee was formed to save it. Over 4,000 people took action and the property was spared and eventually renovated by Walt and Karen Worthy. Many changes were needed to update the 111 year old hotel. The exterior Mission style section had to be completely rebuilt, losing much of its original character. Fortunately, the main lobby was beautifully restored and richly painted details of carved Davenport Hotel Lobby, Spokane, 2020. Photographer Fred Williams. figures emerged on its decorative wood beams. The 30 ton Hall of Doges ballroom was hoisted into the air by two cranes and moved to another sec- tion of the hotel, to be saved for future admirers. You can visit all these areas today when you tour the hotel. Returning to 1900, Cutter also had important clients in Seattle. His best known work here is the English manor house he built for C.D. Stimson on First Hill, similar in floor plan to another Tudor house in Spokane. The main room was de- signed as a library with a stage for evening musicals and plays performed by the children. The Stimson Green Mansion today is preserved as a his- toric landmark and makes a dramatic setting for weddings. My husband and I were married there in 1982. Kirtland Kelsey Cutter Page 5 Stimson Green Mansion, Seattle, 2019. Photograph by author. ther Cutter projects in Seattle included the Rainier Club on Fourth Ave. The Oexclusive men’s club had been founded in 1888 and needed to expand. Cut- ter designed it with exterior curved Dutch gables of clinker brick, a local material often used in Seattle. The design was inspired by Aston Hall in Warwickshire, England and the inte- rior rooms were also interpretations of an Old English theme. While working on the Rainier Club, Cutter met Judge Thomas Burke, a future chief justice of the Washington Supreme Court. Burke asked Cutter to design a room in his Madison home for his extensive collection of Native American artifacts. This Northwest art was the foundation of the Native American art collection at the Burke Museum. Judge Burke was also one of the first presidents of The Seattle Golf and Country Club in the Highlands, which Cutter designed in 1908. The Swiss chalet clubhouse used a more horizontal roof, perhaps influenced by the Prairie style. Cutter also featured a broader roof in this Capitol Hill home on Harvard Avenue, built in 1908 for L.B. Peeples. These current photos show that Cutter used the similar Swiss style that he loved in his personal residence in Spokane. Kirtland Kelsey Cutter Page 6 Peeples Capitol Hill House, Seattle, 2020. Photos courtesy of Bennion Deville Home, photographer Matthew Gallant.
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