Archival Collections
Avery Architectural & Fine Arts Library

Warren & Wetmore architectural drawings and photographs, 1889-1938 

Warren, Whitney, 1864-1943,.
Phys. Desc: 
.75 linear feet of papers; 3394 photographs (3,394 photographs); 332 drawings (332 drawings); 30 portfolio boxes (30 portfolio boxes 28 phase boxes 10 clamshell boxes 2 manuscript boxes 1 flatfile drawer)
Avery Architectural & Fine Arts Library
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Biographical Note

Architects Whitney Warren (1864-1943) and Charles D. Wetmore (1866-1941) are perhaps best known today for their monumental Beaux-Arts Grand Central Terminal in New York City (1904-1912). Their practice, however, included a diverse catalog of building types and architectural styles across the United States and internationally. Partners for more than three decades, their success was built on the far-reaching commercial and social networks that grew from the rapid growth of American cities during the Gilded Age, with long-standing commissions from many of America's most prominent businessmen and families. Educated in architecture at the Ecole des Beaux-Arts in Paris between 1887 and 1894, Whitney Warren maintained a life-long devotion to European classicism, especially in its French variants, and principles of Beaux-Arts planning. Shortly after returning from Paris, Warren's competition entry to design the Newport (Rhode Island) Country Club received first place, and his long career as an architect to New York's society began in earnest. With the subsequent commission for the New York Yacht Club's new headquarters in 1898, Warren invited Harvard-educated Charles Wetmore--lawyer, businessman, and real estate developer--to establish a joint partnership to complete the club and to undertake other architectural projects. From 1898 until retiring in 1931, Warren and Wetmore received multiple commissions from members of their prominent familal and social circles, as well as from leading hoteliers, transportation magnates, and developers, often sharing in the investment as stockholders. In addition to Grand Central Terminal (in partnership with architects Reed & Stem) and the New York Yacht Club, among the firm's most significant commissions were expansions to the William K. Vanderbilt Estate"Idle Hour" on Long Island; the Ritz, Vanderbilt, Ambassador and Biltmore hotels in Manhattan and across the United States, Canada, and the Caribbean; opulent Manhattan townhouses for relatives of the Vanderbilts and Astors; elite apartment buildings on Park Avenue and Fifth Avenue; country clubs and tennis and squash courts in Tuxedo Park, Long Island, South Carolina, and Massachusetts; and expansive estates in suburban New Jersey, the Hudson River Valley, and on Long Island. Other major commercial and institutional commissions included the Seamen's Church Institute, Steinway Hall, the Heckscher building, the New Aeolian Hall, and the Chelsea Piers complex, all in Manhattan. In the 1910s and 1920s, Warren & Wetmore were also deeply involved in designing railroad stations and terminals along the New York Central Line and for various Canadian railroad lines, an outgrowth of their association with Reed & Stem. After World War I, Whitney Warren also received considerable acclaim for his carefully conceived reconstruction of the war-damaged library for the University of Louvain in Belgium.

Scope and Contents

This collection contains architectural photographs, drawings and records related to the architectural projects and designs of Warren and Wetmore, principally in the United States, but also representing commissions in Canada, Cuba, and Puerto Rico. Unfortunately, the bulk of architectural drawings produced by the firm are no longer extant. Additionally, it holds a variety of photographs and other records used as reference materials in the course of Warren and Wetmore's professional work. Lastly, a small group of student and personal papers and photographs from Whitney Warren completes the collection.