“Know from whence you came. If you know whence you came, there are absolutely no limitations to where you can go.” – James Baldwin
In March of 2018, I’m not tramping through the alleyways of Cairo, or watching glassmakers in Bida, or meeting the director of Karakalpakstan Art Museum in Nukus, or sitting with silk farmers in the mountains of Syria. No, my task is to sell my family home of 100 years (98 and ½ years to be exact) in Colorado…the home of four generations.
Since I left the USA in 1971 to marry my husband in Lebanon and move to West Africa, my cultural identity, lifestyle, family, community ties have not been that from where I came. After nearly fifty years, twice the time outside of the USA, my identity is chameleon-like or camouflaged. I don’t think too much about my heritage except now as I am letting go of the last property of my family heritage, I offer my appeasement to:
This Old House
Both sides of my mother’s family arrived in the late 1600s to the ‘new world’. My father’s family arrive in the mid-1800 first through Canada then to Colorado. My parents were raised in a small community along the foothills of the Rocky Mountains.
There, one of the family homes, has remained in our family. Three years ago my, then, 92-year-old mother decided to move to Florida and live with her daughter, my younger sister, Lynn Kitchen. Mother could no longer maintain the house and decided to sell. For many reasons, I felt a responsibility to keep the house in the family. So purely on an emotion decision, I bought the house from my mother. Soon to realize that maintaining such a house when I do not live in the USA was an expensive burden. Yet engulfed in guilt, I chastised myself, “how could I spend much of my time writing about other people’s heritage when I cannot save my own?” But money was flying out of my bank account going into a property with which I could not build a future. With a heavy heart, I began to clear out, throw out and hold on.
March and April and May, these months, I polished the brass door knobs and wax the wood floors; I piled the last of the boxes and bags on the lawn for the charity to haul off; I jotted down historical notes of this 1920 house and whispered out-loud to my great aunt who built the house those many years ago. I readied the house and garden to see the day when the FOR SALE sign was hammered into the lawn along the corner sidewalk.
The house is cleared of things now.
It is different, emptied, probably more like when it was first built…an empty vessel to put memories into; now an empty vessel again, waiting.
So in honor of my family heritage, this is the story of 610 North Jefferson as told by cultural historian, Carl McWilliams and my mother, Pollyann Baird:
Harter House was constructed in 1920 at a cost of $32,255.53 (with inflation, today, that amount would equal: $404,074.70). Designed by renowned architect, Robert K. Fuller, the house is among northern Colorado’s best examples of the Craftsman style of architecture. When the house was built, the lots were graced by five stately elm trees, today it is professionally landscaped with green lawn, heritage rose garden, cedar trees and shrubs, and several Norwegian maple trees.
The 2-storey house features an irregular plan It is supported by a concrete foundation and has solid brown brick masonry walls. There is a full basement beneath the home. The home’s solid brick walls are laid in common bond, and there are battered brick piers at the corners. Cream colour stucco, with false hall-timbering, appears in the upper gable ends on the south and west elevations, and in the upper half storey on the east elevation. The roof is broadly pitched, and features intersecting clipped gables, green asphalt shingles, and widely-overhanging boxed eaves. An original sleeping porch is on the north elevation. There are three brown brick chimneys.
The Craftsman-style porch features brick steps flanked by black wrought iron railings, brick flooring laid in herringbone pattern, and brick pedestals with large urns. The windows feature decorative window boxes with Craftsman detailing.
The interior of the home’s main and upper floor is divided into ten rooms including a vestibule, parlour, dining room, kitchen and breakfast room, conservatory (smoking room), an office, sleeping porch, two bedrooms, two bathrooms, and attic. There are six room in the basement, the largest of which is the billiards room and used to practice ballroom dancing. Other rooms in the basement include the fruit cellar, laundry room, coal room, a boiler room, and workshop with an original built-in work bench.
The home has tongue-in-groove maple flooring, except in the parlour which has oak flooring. The interior wood work is stained natural brown with distinctive diamond-shaped motifs adorning the interior. The main stairway is pure Craftsman with a square newel post, carved balusters, curved hand rails, and wide stair risers that give way to a graceful ascent to the second floor.
All original light fixtures are intact as are the original bathroom fixtures including a pull-handle flush toilet.
The fireplace tiles are similar to those found on the façade of the Rialto Theatre in Loveland, which were designed by Earnest Batchelder of Pasadena, California. Thirteen decorative tiles echo the glorious past of medieval masters by depicting Viking ships, knights, castles, and stylized animals and birds.
From the parlour, French doors open onto the dining room. All walls feature shoulder high panelled wainscoting. Onto these panels, European (most probably Germans from Russia who arrived in Loveland in 1902) applied a grey-blue paint stippled on with a sponge – a technique named “Tiffany finish”. The original chandelier and scones were specially designed to match the painted walls.
A central vacuum system was installed to remove dirt and dust through tubing installed inside the walls to a collection container in a remote utility space in the basement. Inlets installed in walls throughout the house that attach to a hose and was meant to be a labor saving device.
Also built in 1920, the garage is located north of the house and is connected to the residence by a brick garden wall, where there is a wood gate with a pergola covering. There is a small, pentagon-shaped garden in shed located at the rear northeast corner of the property. Brick garden walls effectively tie the house, garage, and the natural features into a cohesive harmonious landscape design.
The Harter/Borland House is historically significant as it has been associated with notable persons of Loveland – Charles A. Harter, Maude E. Harter Borland, Eugene W. Borland, and Pollyann (Castle) Kitchen Baird. The property is architecturally significant for its fine expression of the Craftsman style of architecture and because it was designed by prominent Colorado Architect Robert K. Fuller.
Robert K. Fuller was born in 1886 in Fort Collins. Robert grew up in Fort Collins and attended Colorado A&M and Cornell University where he received his degree in architecture. By 1910, Fuller had opened and architectural firm in Denver. By 1920, Fuller had designed some of his most notable buildings, including several Colorado courthouses and schools. Work credited to Fuller in Loveland include the Harter House, the Rialto Theatre and Loveland High School, renovation on the Lovelander Hotel and the original Herzinger & Harter Building.
The Craftsman style house, at the time, was the most popular style of the day. Inspired by the Arts and Crafts movement led by Gustav Stickley, the Craftsman style of architecture was principally influenced by the work of brothers, Charles Sumner Greene and Henry Mather Greene. Popularized throughout the country by pattern books and magazines, examples of the style included both elaborate architecture designed, Craftsman houses as well as more modest bungalows. Stickley philosophy of design stressed comfort, utility and simplicity through the use of natural materials and a lack of pretention. As publisher of the Craftsman, a magazine he founded in 1901, Stickley sought to expound upon the concept of ‘total design,” which sought to integrated the house with its surroundings through all aspects of design: house construction landscaping, interiors and furnishing.
Gustav Stickley’s concept of “total design” is clearly evident in Robert Fuller’s design of the Harter House, executed in 1919. From the complementary architecture of the house and garage to the unifying brick garden wall, to the duplicate pergola roofs over the front porch and gate to the home’s harmonized interior fixtures and furnishings, Fuller’s design embraces all of the elements of the Craftsman style.
A little family history:
Charles A. and Maude E. (Stanfield) Harter were the home’s original owners. In the spring of 1919, they commissioned Fuller to design the house in a style which they referred to as a “Brittany Bungalow.” Construction work on the residence was completed by a contractor named Danielson. Mr. Harter passed away, of complications from Bright’s disease and diabetes, in November 1920 having lived in the new home for less than a year. Mrs Harter, though, lived the rest of her life until her death in December 1992 at the age of 101. Along the way she married her second husband, Eugene W. Borland on December 24, 1926, and eventually passed the house on to her niece (my mother, Pollyann (Castle) Kitchen Baird who, in 2015, sold the house to me, great niece of Maude.
Born in 1889, Charles A. Harter was son of prominent Loveland pioneers Samuel B. and Emma B. Harter. The elder Mr. Harter arrived in Colorado Territory in the years prior to 1871. Determined to capitalize on the burgeoning mining industry, Harter made his way to Caribou, a bustling mining camp located west of Nederland, near the Continental Divide. There Harter entered into a partnership with John Lewis Herzinger, in a mercantile business, they moved their business to Loveland and purchased a corner lot at what is today the northwest corner of East 4th Street and North Cleveland Avenue. At this location, Harter and Herzinger constructed Loveland’s first brick commercial building, a two-storey edifice with the Herzinger and Harter Mercantile on the ground floor and a grange hall on the second floor.
Charles A. Harter grew up in Loveland and attended Colorado College in Colorado Springs where he met Miss Maude Stanfield (my great aunt), also attending Colorado College. They graduated and married in 1916. After his father’s death, Charles took on the family business. In early 1919, the Harters commissioned architect Robert K. Fuller to undertake two project. One was to design their new home at the northeast corner of Jefferson Avenue and East 6thstreet, and the other was to design a major addition to the Lovelander Hotel, which was owned by the Harter family. Charles was diagnosed with Bright disease and diabetes and died in November 1921 at the young age of 31. Auntie Maude was 29 years old. In 1926, Maude met Gene W. Borland who had founded the Loveland Realty Association, House of Neighbourly Services, and was a successful investment banker. Maude managed the Harter family farms and ranches almost to the day she died in 1992, active in DAR, and many community projects throughout her life.
My mother, Pollyann, lived with Auntie Maude and Uncle Gene and attended Loveland High School where she met my father, Richard S. Kitchen. In 1992, after Auntie Maude’s death, my mother inherited 610 North Jefferson. In 2015, I took over and today, the story ends but not the memories…
In this old house…an attic treasure, a first edition book, The Secret Garden inscribed with a poem from Dudley, my grandmother’s suitor, when she was attending college in Tennessee.
***Recognizing that millions of people are forced to leave their homes or their homes are destroyed by natural disasters or by war leaving refugees, homeless, and untold grief, I am grateful to have the opportunity to leave this house peacefully and with love.
To read more about the grief of letting go of a family home read:
“Goodbye to the House My Grandmother Built.” By Yasmine El Rashidi
Watch the movie: Nostalgia:”A mosaic of stories about love and loss, exploring our relationship to the objects, artifacts, and memories that shape our lives.”