Cover image for McKim, Mead & White : the masterworks
McKim, Mead & White : the masterworks
White, Samuel G.
Personal Author:
Publication Information:
New York : Rizzoli, [2003]

Physical Description:
303 pages : illustrations (chiefly color) ; 34 cm
Newport Casino : Newport, Rhode Island -- St. Paul's Episcopal Church : Stockbridge, Massachusetts -- New York Life Insurance Company Building : Kansas City, Missouri -- Madison Square Garden : New York, New York -- Boston Public Library : Boston, Massachusetts -- Harvard University gates : Cambridge, Massachusetts -- The Century Association : New York, New York -- Washington Memorial Arch : New York, New York -- Metropolitan Club : New York, New York -- World's Columbian Exposition : Chicago, Illinois -- Rhode Island State House : Providence, Rhode Island -- New York University : University Heights, Bronx, New York -- The Harvard Club of New York City : New York, New York -- The Bowery Savings Bank : New York, New York -- Columbia University : New York, New York -- The University Club : New York, New York -- Boston Symphony Hall : Boston, Massachusetts -- Bank of Montreal : Montreal, Quebec -- Ferncliff Casino : Rhinebeck, New York -- Pennsylvania Station : New York, New York -- The Pierpont Morgan Library : New York, New York -- Madison Square Presbyterian Church : New York, New York -- Trinity Episcopal Church and Parish House : Roslyn, New York -- American Academy in Rome : Rome, Italy.
Corporate Subject:
Format :


Call Number
Material Type
Home Location
Item Holds
NA737.M4 A4 2003 Adult Non-Fiction Non-Fiction Area-Oversize

On Order



The Boston Public Library, Madison Square Garden, Washington Memorial Arch, the campuses of Columbia and Harvard, and the Century, Harvard, Metropolitan, and University clubs in New York are among the creations of McKim, Mead & White. This illustrious American firm flourished in the period 1879-1915

Reviews 2

Library Journal Review

The timing is right for this lavish tribute to America's most prominent architectural firm of the decades preceding World War I. Today's historic preservation movement is going strong, mainstream architects and designers are seriously reevaluating premodernist design principles, and numerous McKim, Mead & White buildings have undergone stunning restorations. Samuel White's The Houses of McKim, Mead & White (1998) surveyed the firm's residential buildings. This follow-up, written with former Rizzoli editor Elizabeth White, treats a judicious selection of its commercial, governmental, and institutional structures built between 1879 and 1914, most of which exemplify the neoclassical "American Renaissance" style. Plans, drawings, and 300 sumptuous photos illustrate a text written from an insider's perspective, Samuel White being a grandson of the White in the book's title. Richard Wilson's and Leland Roth's books (both titled McKim, Mead & White, Architects; both o.p.) together offer a far more balanced and probing analysis into the firm's antecedents, design philosophy, and influence. But this current volume and The Houses of McKim, Mead & White will bring these architects' finest creations alive to a general audience. Highly recommended for both public and academic libraries.-David Soltesz, Cuyahoga Cty. P.L., Parma, OH (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

If one accepts the premise of a "masterworks" compilation for any architectural firm, then this book, coauthored by a great-grandson of one of the partners, offers a stunning array of illustrations for 24 of McKim, Mead and White's buildings. The text adds little to our knowledge, and the selection focuses on public, classical-inspired projects rather than their brilliant residential work. These shortcomings do not detract from the most valuable aspect of this book--crisp color photographs of the projects and illustrations of vintage photographs and other documents. The real surprises here are the least predictable images--a grid of Harvard University Gates, fanciful White Star and Puck Columbian Exposition pavilions, and the understated beauty in the Guastavino vaults at Ferncliff Casino. Sometimes the obvious rather than insightful detail is chosen--a typical ribbon panel detail on the Newport Casino rather than the playful dragon snouts meant as a sophisticated nod to colleague H.H. Richardson; but mostly, these photographs reveal how through such attention to detail, the trio transcended their generation to become one of the most influential firms in American architectural history. ^BSumming Up: Highly recommended. General readers; upper-division undergraduates through professionals. R. J. Onorato University of Rhode Island