Edwin M. Colvin House (Edwin Colvin House)

“Site planning was also an integral part of Maher's designs, with ornamental terraces emphasizing the entrance and the relation of the house itself to its site. An important early example of Maher's work in this style was the John Farson House, erected in 1897 at Oak Park, Illinois, which shared a close affinity with the principles behind the Winslow House design, but exhibited a fresh originality unique to Maher's work.”

“Of the Americans, one of the most inventive and prolific was the Chicago architect George W. Maher. Maher's life-long dream was to create a truly indigenous American architecture.”

“Title records indicate that the house was originally built for Harry M. Stevenson, president of the H.M. Stevenson Company, tailors. However, after only two years the property was sold to Edwin M. Colvin who is listed in the 1916 Who's Who in Chicago as the owner and vice president of the W.F. Hall Printing Company.”

“Architectural historian Carl Condit noted that this plan made Maher "the first architect to design in a native and modern style for an American University." A bank building and an administration building for the J.R. Watkins Medical Company, both in Winona, Minnesota, are further examples of Maher's commercial designs.”

“He belonged to the Union League Club, the Chicago Athletic Association, and the American Institute of Architects, serving as president of the Illinois Chapter in 1918. Maher had also been one of the founding members of the Chicago Arts and Crafts Society, begun in 1895, and he was a leading figure in the Chicago Architectural Club, which was the representative organization of the Prairie movement.”

“Early in his career Maher also developed what he described as his "motif-rhythm theory." Although Maher was not alone in his single motif concept, he used it to a somewhat greater extent than any other architect of the period, and it became a unique and highly personal characteristic of his work.”

“A variety of progressive architectural periodicals criss-crossed between Europe and America documenting the new visual concepts, and the designers themselves travelled and taught, wrote and exhibited. Maher had seen Voysey's work in the English magazine Studio which was published in America as the International Studio.”

“As Maher himself explained, "ornament should be identified with some floral element of the locality to which it is confined, recognizing that the leading flower of a neighborhood is nature's symbol of the spirit breathed there." The second distinctive period of Maher's career, which is generally dated from 1904 onwards, reveals the increasing influence of European designers of the period.”

“A prominent feature of the rear elevation is a central, semi-circular arched window at the second story, marking the location of the main staircase within. Ornament is used sparingly on the house, the aesthetic qualities of the design relying more on the boldly articulated massing.”