Wayne Andrews: Architecture (Esto)

Overview

ARTstor is collaborating with Esto and the estate of renowned architectural historian and photographer, Wayne Andrews. Through this partnership, the entire Wayne Andrews Archive of approximately 4,000 black- and-white architectural photographs — preserved as large format, black-and-white negatives in Esto's archives — will be digitized and distributed by ARTstor for non-commercial, educational and scholarly use.

The architectural photography of Wayne Andrews (1913-1987) is familiar to educators and scholars alike, both through Andrews' own seminal publications on American architectural history and by virtue of the fact that for the better part of 35 years (1952-1986) Andrews generously made his photographs available through his catalogues in a way that significantly advanced classroom instruction as well as scholarship in the history of American architecture. In the present collaboration, ARTstor and Esto seek to build upon Andrews' own commitment to the educational use of his photographs.

Lisa Andrews, Wayne Andrews' daughter, expresses her enthusiasm for this collaboration when she says: "I am grateful for the collaboration between ARTstor and Esto that will not only allow greater scholarly access but will preserve these images for future generations. I am thrilled that this record of the architectural past will survive, keeping alive my father's legacy along with many of the great buildings he loved." Max Marmor, ARTstor's Director of Collection Development, adds that "The inclusion of the unique Wayne Andrews Archive in ARTstor will enrich ARTstor's ability to support the teaching and study of architectural history. We are delighted to be working with Lisa Andrews and our friends at Esto to make this important archive more broadly available for educational and scholarly use."

The archive embraces not only the architecture of the United States, where Andrews photographed extensively, but also much of Europe — including Russia and Scandinavia — as well as Canada, Mexico and Brazil.


Wayne Andrews was born in Kenilworth, Illinois, September 5, 1913. Educated in the Winnetka Public Schools and at the Lawrenceville School, he graduated from Harvard College in 1936. Curator of Manuscripts at the New York Historical Society, and an editor at Charles Scribner's Sons, Andrews studied with Henry Steele Commager and received his doctorate in American history at Columbia University under Allan Nevins (1956). His PhD dissertation was published as Architecture, Ambition, and Americans (Harper's, 1955; revised edition, Macmillan, 1978). As Archives of American Art Professor at Wayne State University, Detroit from 1964 to 1983 — a position created for him — Wayne Andrews emerged as an important architectural historian and photographer who wrote extensively on architecture. In such publications as Architecture in America, Architecture in Michigan, Architecture in Chicago and Mid-America, Architecture in New York, Architecture in New England, American Gothic, and Pride of the South: A Social History of Southern Architecture — all illustrated with his own photographs — Andrews continued to explore architectural and social history in pioneering ways. His other scholarly works include social histories, such as Battle for Chicago and The Vanderbilt Legend; Germaine: A Portrait of Madame de Stael and Voltaire; Siegfried's Curse, a history of Germany focusing on artists and writers from Nietzsche to Hesse; and the posthumously published The Surrealist Parade.

As the final title suggests, Wayne Andrews was also a life-long Francophile and lover of Surrealism. As a young man, he corresponded with several of the French Surrealists, as well as with Salvador Dali. Andrews' own Pianos of Sympathy, written under the pseudonym of Montagu O'Reilly, was the very first book published by New Directions (1936). Who Has Been Tampering with These Pianos? (New Directions, 1948) followed, and was later reprinted by Atlas Press (London, 1988) with an introductory essay, "Montagu O'Reilly and Wayne Andrews," by James Laughlin that would also serve as the afterword to The Surrealist Parade (New Directions, 1990). Andrews was a man of many talents and many interests and tremendous energy. He was fluent in several languages, knew a great deal about opera, and for many years was a regular book reviewer for the NY Times Book Review.

Wayne Andrews died August 17, 1987, in Paris. He and his wife Elizabeth had flown to Europe that summer in order to take the remaining photographs for a book on 18th-century architectural follies, never published though the photographs have been preserved.

Wayne Andrews' collection of black-and-white architectural photographs and negatives are in the stewardship of Esto Photographics, Mamaroneck, NY. Esto also manages the archive of Ezra Stoller (1915-2004), the premier photographer of modernist architecture, and many other important architectural photographic archives. Erica Stoller, the director of Esto, works with a small, well-trained staff to manage the archive, handle research requests, and arrange photography assignments for the collaborating architectural photographers: Peter Aaron, Jeff Goldberg, Anton Grassl, Peter Mauss, David Sundberg, Jeffrey Totaro and Albert Vecerka. Through the present collaboration with Esto, the entire Andrews archive of some 4,000 black-and-white negatives is now being scanned. The archive embraces not only the architecture of the United States, where Andrews photographed extensively, but also much of Europe — including Russia and Scandinavia — as well as Canada, Mexico and Brazil. Esto continues to support the editorial and commercial use of images from the Wayne Andrews Archive, and ARTstor's presentation of the Andrews Archive will direct ARTstor users to Esto for such uses.

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Collection information

Total size of collection* 4,210
Percentage of completion 100%
Search terms andrews esto
Collection URL http://library.artstor.org/library/collection/esto_andrews

* Image totals should be regarded as an approximation until a given collection is 100% complete. Users should also bear in mind that the number of images available to them may vary from country to country, reflecting ARTstor’s approach to addressing an international copyright landscape that itself varies from country to country.

Last updated: November 20, 2008

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