Park is a street of great and little treasures, not the least of which is DeAutte Alley which runs behind, and is one of the few streets in Buffalo still sporting its original brick paving. The other treasure lies in the homes that line the street. Park is a street of heady imagination.
No. 38 Park combines frame and shingle in a Queene Anne structure of extreme simplicity, except that the treatment of its pediments is lovely and unusual. The structure’s front facing gable end is covered in fishscale shingles, incorporates two multilight windows divided by a panel of Chippendale-inspired strapwork which is hooded by a small scrolled pediment enclosing a medallion. Strap-work panels beneath small windows mimic their small, square panes and the same theme is repeated in the tympanum of the pediment overhanging the porch.
Across the street at No. 40 is a simple frame house gone Dutch by the addition of a false gambrel roof in its shallow, front facing gable. Further on, at No.46 is a simple Italianate house gone Early American with the addition of a pedimented portico. At No. 41 is another gable-end treatment of note. Corniced and separated by a return, the peak of the main gable is filled in by strapwork while the remaining shingled space is taken by three stepped twelve-light windows with a cornice surround. The secondary gable boasts a semi-circular hooded window. At No. 120 the bungalow craze of the 1920’s hit a lovely Italianate house that now sports a two-storey mid-western porch. An exceptional house, built in 1878, stands next door at No. 122. The double-hip roof supports a series of shallow gabled dormers housing windows flanked by pilasters supporting beautiful little bargeboards. The roof treatment renders this house unique among Second Empire homes in Allentown.
Across the street at No. 123 there is an outstanding example of the Queen Anne style as genre, built in 1888. The lines of the broad-beamed house are deceptively simple, and. are accentuated by sawtooth and fishscale shingles. The pedimented gable roof is supported by two-storey bays on the facade as well as the north and south sides, and overhangs an inset second-storey porch distinguished by its arched openings, turned posts and delicate spindle balustrade. An oriel on the south face of the structure has leaded transoms and a wood panelled apron. Flathead windows boast nine-light transoms over single-light sashes. The entry porch echoes the arches of the upper porch supported by its canopy, and lattice frets engage simple square columns.
At No. 134–136 Park you’ll find a three-storey Georgian Revival home built in 1905 whose pristine features are evocative of the mid-eighteenth century. The entrance has a panelled door flanked by sidelights and Corinthian pilasters, and crowned by an elliptical fan fight with traceries. Flat-headed windows are double-hung, six-overnine lights, capped by entablatures on the first floor and entablature-like cornices on the second. The steep-pitched gable is corniced and delineated by returns and houses a palladian window. Corner dormers echo the severe pitch of the main gable. The whole is a finely drawn super-imposition of an older, formal tradition on the newer and more vigorous thrust of post-Victorian building.
The twentieth-century Craftsman School in America was a natural outgrowth of the romantic philosophies of the nineteenth. Frederick Law Olmsted’s lush, re-creations of nature, the social consciousness of the age exemplified by chronicler Jacob Riis, and William Morris’ fascination with the forms and attributes of a by-gone age were part of cultural yearning for a simpler life, built with solidity, honesty and painstaking craft. The house at No. 156 Park Street is an example of the Craftsman ideal elevated to high art.
Built by Charles Rohlfs, one of Elbert Hubbard’s world renowned Roycrofters, the two-and-one-half storey stucco house rests under a broad-gabled roof housing four flatheaded mufti-light windows separated by hand-carved sticks extending from beneath the sills upward to the eaves. The hooded and bracketed center entrance shadows a vertical plank door secured by huge, hand-made hinges and flanked by leaded side-lights. A lion’s head knocker marks the rustic door. Windows on the left hand side of the first floor are five-sectioned eight light sashed crowned by a shingled cornice; on the right are three-sectioned eight light sashes with a shingled head. The second floor windows are capped with a continuous shingled cornice and consist of a central single-light window, flanked by a four-section eight-light window on the left and a five-section eight-light window on the right. The carport has a vertical plank door, and three round arched windows in the upper storey.
Charles Rohlfs was not the only artist in residence here; the furniture designer built the house for his wife, Anna Katharine Green, who was the pioneer writer of the mystery genre, to whose standards the likes of Josephine Tey, Dorothy Sayers and Agatha Christie would later aspire. The internationally noted house was recently proposed for individual recognition as an Historic Landmark.
Down the street, Queen Anne reigns again in marvelous diversity. A massive polygonal bay dominates the facade of the Queen Anne house at No. 165 Park, built in 1870. At No. 167, the gabled roof is supported by a vergeboard decorated by a pinwheel motif. A roofto-foundation bay dominates the facade and is intricately Stick detailed, making it unique in the District. At No. 174 Park is an 1878 carriage house converted to residential use. A corbel table beneath the structure’s roof is interrupted by a steeply pitched front-facing gable shaded by a bargeboard, surrounded by a balcony, and housing a pentagonal door. The Mansard roof is crowned by a cupola. Shed dormers incorporate single-light windows with diamond tracery. The entrance porch is distinguished by an ogee arch cornered with lattice-work and resting on square supports, Another ogee arch surmounts a fountain, the spout of which is a man’s head carved in stone.
No properties were found on this street.