The Last Day of the Floridan Hotel, Howey-in-the-Hills

 It looked good, right up until the first kaboom.

The Floridan Hotel and Country Club in Howey-in-the-Hills was built in 1924, on the site of the former Hotel  Bougainvillea which had burned to the ground in 1920.  

The photo above shows construction underway as the Floridan Hotel takes shape.  This may have been the original work from 1924, or perhaps the expansion of the hotel's rooms from 75 to 105, two years later.  

As you can see, the hotel had a cute surrey to transport guests from their lodgings to the golf course. 

I believe the above photo shows the hotel just about when it was completed, based on the mid-1920s automobiles parked in the driveway.

This is a mid-1930's photo of the same view of the front of the hotel, as you can tell by the cars.  

The 75-room Hotel Floridan was designed in the Spanish Colonial Revival style, then being popularized by the architects of Central Florida.  

Stucco walls red tile roofs, and an arched portico, all set the theme.  

Owned by William J. Howey, the hotel was the ideal destination for potential investors in his Lake County citrus growing ventures.  

Golf course architect George O'Neil of Chicago was commissioned to create a golf course at Howey-in-the-Hills. His 18-hole course continues to delight golfers.  O'Neil is well known for designing or co-designing many fine courses including Pasadena, Mountain Meadows, Maxwelton Braes, South Bend Country Club, Barrington Hills Country Club, and the Greenbriar Course in West Virginia. 

The course underwent further enhancements in 1926, by Charles E. Clarke (perhaps best remember as the golf architect of the Troon Golf Course in Scotland).  That original course is still in existence, and is the highly-ranked El Campion Golf Course, part of the Mission Inn Resort.

To appeal to golfers, the resort was later advertised as the Floridan Country Club and Hotel, as in these vintage match book covers.

As such, the hotel was still in operation in the 1950s, as you see in the next photo.  By this time, the hotel was also marketed to small plane owners, who could fly in to stay at the hotel.  In this, it was similar to Chalet Suzanne in Lake Wales.  Interestingly, William J. Howey had once owned the land in Lake Wales where Bok Tower Gardens are, before relocating and concentrating his development goals in Lake County.  Of interest is the fact that sometime between the mid 1930s and the early 1950s, the third floor penthouse situated over the main entry of the hotel was removed, and the corner towers there, lowered. As yet, we do not know why this remodeling took place.  

The Floridan Hotel would later become a victim to a weird economic phenomenon that became popular in parts of Florida, where movie production companies would pay cities to blow up buildings for their movies (so much for historic preservation...!).  It was blown up in 1994 for Hulk Hogan's "Thunder in Paradise" episodes 17 & 18, "Deadly Lessons". It still looked good, right up to the end.  

So here's the question...

Who designed the hotel?  I would very much like to know.  It could have been any of the architectural firms active in Central Florida in the 1920s.  I have a hunch it was either Ryan and Roberts, or Frederick H. Trimble, who was the architect of the nearby academic buildings of the Monteverde Academy.  

I would like to hear from anyone who can tell me who the architect was.  Please send me a comment or message.  

Murry S. King Brought Sunny Spain to Central Florida

The Spanish Revival building that has been home to the Park Lake Presbyterian Church since its completion in 1925 is an excellent example of early environmentally appropriate design.  Architect Murry S. King created the church building to be beautiful and functional, with a manner entirely in keeping with Florida’s history.  Inspired by Spanish mission churches of California and cathedrals of South America, the design features elements that were innovative then, and have become familiar over the past century.  Stucco walls, red roofs, round headed window openings, and bold geometric roof parapets all contribute to the building’s lasting appeal.

Situated on the shores of bucolic Park Lake, the church building was part of a larger intentional movement among the dozen or so Orlando architects practicing in the 1920’s, who, together, sought to design in a manner that was appropriate to Central Florida.  In so doing, they fostered a poetic romanticism that approaches fantasy architecture, giving the burgeoning “City Beautiful” a sense of glamour; and foreshadowed later theme-park architecture.

Building Name:                Park Lake Presbyterian Church

Address:                           309 East Colonial Drive, Orlando, FL 32801

Year Built:                              1924-1926

Architect of Record:           Murry S. King

Noteworthy Architectural Features:   

        The house of worship follows Spanish Revival or Mediterranean Revival inspiration.  The stucco exterior, arched windows, elaborate parapets, and attached towers all contribute to an over-all romantic and pleasing design.  The design includes an inviting and inspirational Sanctuary, suitable for what was then and remains a close-in suburban location.  The design is in keeping with the homes surrounding Park Lake, which utilize similar design elements, creating a neighborhood with an historic architectural appeal.

How to Visit: 

        Park Lake Presbyterian Church offers worship services every Sunday morning at 10:30 a.m.   Arrangements may be made for groups or individuals to visit the church at other times by calling the church office.

Architectural Style:                      Florida Spanish Revival

Website:                                       www.plpc.org

Related Links:

Murry S. King Wikipedia:    

         https://en.wikipedia.org/wiki/Murry_S._King

Description:

 

Park Lake Presbyterian Church – 309 East Colonial Drive, Orlando – is one of the most accessible and well-preserved works by the dean of Orlando architecture, Murry S. King, whose influential practice was centered in Central Florida in the`1910s and 1920s. King is an important figure in the profession of architecture in Florida.  He was a charter member of the Florida State Association of Architects, and served on Florida Board of Architecture, as well as being a pioneering member of the Florida chapter of the American Institute of Architects (his architect’s seal is engraved with the number 1).  A native of Murrysville, in Allegheny County Pennsylvania, King and his family relocated to Orlando in 1904.

Dr. Clarence Ferran was a distinguished Presbyterian minister who held pastorates in Deland and other Florida towns before founding the Park Lake Presbyterian Church. The site his congregation selected for the new building was what had formerly been Orlando’s first public laundry owned by a Mrs. Manning.

 

 “Park Lake was first known as Manning's Pond. On the site of the Park Lake Presbyterian Church, Mrs. Manning, a widow, established what may be called Orlando's first public laundry. A few wooden barrels, cut in two, served as tubs, an iron wash pot, the bushes as clothes lines, a "flat iron" heated on the coals made up the equipment. When Dr. Givens homesteaded that section, it became known as Givens Lake. Later a wilderness of guava bushes grew upon the southeast side, it was commonly called Guava Lake. Prof. Norman Robinson bought twenty acres in 1875, and renamed it Leora in honor of his wife. In 1912 it was changed to Park Lake.”  (Orlando in the long, long ago and now Kena Fries, 1938)

Now approaching its centenary, the Park Lake Presbyterian Church offers a glimpse into what was then cutting-edge design for houses of worship in Central Florida.  The collegial group of architects working in the Orlando area in the early 1920s had sought to create an architecture that was specifically suited to the climate and character of their community.  Together, they chose motifs hearkening back to Spanish Colonial architectural forebears.  This was partly an outgrowth of their awareness of the Spanish influence on early Florida history, and also prompted by contemporary scholarly articles about the California mission architecture. 

 

Murry S. King was the leader of a collection of significantly likeminded architects practicing in Central Florida during the boom decade of the 1920s.  This Orlando Group of architects worked to create an architecture that was appropriate to the Florida environment.  In “The Florida Circle” of May 1924, they described it (in part):

 

"Just as architects of old created styles to harmonize with their environment, so have the architects of Florida been creating, from native motifs, a style that is carefully adapted to the climatic conditions and surroundings of the state. This style has an individuality all its own…” 

 

Murry S. King was the dean of these Central Florida architects, not only because of his stature as the first registered architect in the state, but also because he was highly and fondly regarded by area colleagues in his profession.  It was a logical decision for the building committee of Park Lake Presbyterian Church to select King as the architect for their new building.

 

The building design was a happy confluence of prevailing theories about worship spaces in the 1920s, and the commitment that Murry S. King and his collegial group of Orlando architects had sought to create in Central Florida.  Thus, the Sanctuary, which forms the spiritual and literal heart of the facilities, was designed in a nave-and-chancel configuration, with a long central aisle, side aisles, a raised chancel that included a place for the choir as well as the pulpit and communion table, and a lofty ceiling height both as a visual symbol of the aspirations of the worshipers as they gathered in God’s presence, and also as a means to create acoustical resonance.  Supporting the Sanctuary were rooms to accommodate offices, meetings, and Sunday school classrooms.  

The aesthetic of the structure alludes specifically to Spanish Colonial antecedents.  Stucco is the medium of choice for creating a plasticity of form that is consistent with historic precedents.  Shapes derived from both the Spanish architypes of Europe, and the California missions; these merged to create the poetic and romantic ideal.  It might seem somewhat incongruous that the church which had its origins in Scotland would have an architecture that did not allude to that locality whatsoever.  Instead of hewn stone and pointed arches, the church has smooth walls and rounded arches. And yet, this same style was used elsewhere in Central Florida protestant worship centers such as the St. Cloud Presbyterian Church by Ryan and Roberts, and the now-replaced First Presbyterian Church of Orlando.  It was, for Central Florida, the prevailing mode.

The entrance facade on Colonial Drive is graced by asymmetric towers, between which is a vestibule-porch consisting of three arched doorways. The arch motif is used throughout the exterior. On each of the towers, groups of arched window openings helped create a sense of verticality, as well as a statement of the Spanish revival themes.

 

The tower parapets are somewhat elaborate; to the right of the doorway, a castellated affect. And to the left of the doorway, the higher tower makes use of curved geometric forms and open arches that suggest a setting for church bells. Also notable is the red roof., the combination of white stucco and red roof being a hallmark of the Spanish Revival style.

 

        The side entrance façade on Highland Avenue is extremely pleasing. 

        The placement of the arched and round windows to the right and left of the entry vestibule enliven an otherwise plain wall. The angular forms of the parapet above are a pleasing counterpoint to the arched forms elsewhere. 

        The recessed arch doorway with supporting columns, and the decorative urn at the peak of the vestibule roof all add to visual appeal.

 

Inside, the sanctuary is graced by a rectangular shape, supported overhead by trusses and a gable roof, the wood stained a dark shade. Arch forms continue in the side walls, supported by columns, above which ae smaller arched windows.

 

It’s clear that the Chancel area has undergone at least one revision, probably more than one. It now has broad steps that span the width of the church, creating an elevated platform for worship leader ship. The choir is divided from this platform by a decorative low screen, original to the building.  The reredos behind the chancel conceal the organ pipes and serve as a screen for them; while it is a reworking of what was originally there, it is subtle enough not to be jarring.

 

Overhead, suspended from the roof trusses are the typical elongated lamps of the period, which are an interesting mixture of Spanish revival meets Art Deco.

 

Park Lake Presbyterian Church is part of a cohesive group of religious buildings created in central Florida in the 1920s, including First Presbyterian Church of Orlando and St. Cloud Presbyterian Church (both no longer extant), as well as the former Calvary Presbyterian Church at 709 Edgewater Drive, Orlando. The style persisted for some years, and can be seen in the Central Christian Church of Orlando (Disciples of Christ), Knowles Chapel on the campus of Rollins College in Winter Park, and in the First United Methodist Church in Mount Dora. To many observers, these look “the way a church ought to look in Florida”.  Park Lake Presbyterian Church has retained its original features and is a significant contributor to the charm of the Park Lake neighborhood and the architectural heritage of Central Florida.

 

Murry S. King designed many other notable works in Central Florida, including the Angebilt Hotel (27 N. Orange Ave.), the Beardall Residence (700 Euclid Avenue), the Woodruff Residence (236 S. Lucerne Circle E,), and his last work, the Orange County Regional History Center (formerly the Orange County Courthouse].

 

King was adept at many different architectural effects, such as his neoclassical Orange County Courthouse. A casual observer would not immediately grasp that it and the Park Lake Presbyterian Church were from the same drafting board.  Yet, it might be supposed that King was more closely adhering to the shared vision of the Orlando Group of architects in using Spanish revival forms for the church structure.

Today, such buildings sometimes get lumped into a category that does not do justice to the theoretical focus of the Orlando architects. There has been a worldwide tendency since the mid 1900s to deride any architecture except the international style.  This is unfortunate.  Excellent regional work therefore is often ignored or deemed unworthy of appreciation or preservation.  And it flies the face of what King and his fellow architects were attempting to accomplish.  They were intentionally seeking a type of architecture that was suitable to Florida’s history and environment.  If one studies the work of the architects listed in the Orlando City Directory of the mid 1920’s one finds that they were all creating pleasing buildings in this manner.  

Early postcards of Orlando include a very poetic view of the newly completed Park Lake Presbyterian Church as seen from the far shore of Park Lake.  It is a picturesque building in a pastoral setting.  No doubt the new church building became an admired feature for those who passed by on busy Colonial Drive, as well.

Similarities to the buildings on the Rollins College Campus are worth noting, especially the poetic allure of Knowles Chapel, which, both inside and out, echoes Park Lake Presbyterian Church’s aesthetic.  That the college chapel was designed by a nationally celebrated architect, Ralph Adams Cram, means that it enjoys greater historic appreciation today than does Park Lake Presbyterian Church.  

The church building was dedicated on October 14, 1925. On the preceding Sunday, October 7, the congregation received its first group of more than 160 members.  From its beginnings, Park Lake Presbyterian Church has had a strong group of constituents and a building they would utilize with a sense of pride.

 

The streetscape of Orlando has much changed in the past 100 years.  Colonial Drive was formerly a quiet two lane street, that actually curved to follow the south shore of Park Lake.  Today, it is a straight, extremely busy four lane commuting artery.  Nonetheless, Park Lake Presbyterian Church continues to serve as a striking visual landmark for the community.  

 

Amazing Architecture of Sam Stoltz

Article Extensively Updated on April 16, 2022

Imagine finding this house on an otherwise ordinary street! Hansel and Gretel would feel right at home here. Or Snow White and the Seven Dwarfs, and all of their singing woodland furry and feathered friends.

Actually, the home is a creation of the Central Florida artist, architectural designer, and developer, Sam Stoltz. He named the house The Plymouthonian (Number 2). Here is what he had to say about it...

"Nature confines her lines entirely to curves. Mount Plymouth, with its beautiful hills and valleys is full of curves. When we created The Plymouthonian, we followed the teachings of the old masters and modern artists, eliminating the usual harsh lines and produced a type of home in keeping with its surroundings, just as if it grew there - a part of landscape." - Sam Stoltz

There was actually a Plymouthonian No. 1; it was built for Virgil Bolyard of Indianapolis, Indiana. But it burned down in 1927. The Plymouthonian No. 2 is pictured here. 

For an interior view (not by me) click this link:
extimages2.living.net/ImagesHomeProd3/FL/idx/photos/midfl...

The house is currently for sale. Mount Plymouth is a charming town but it has seen better days. The "St. Andrews" golf course is closed, ever since 2007. Before the resort hotel there burned down, it was the stopping place of famous people like Babe Ruth, Connie Mack, Johnny Weissmuller ("Tarzan"), Maurine O'Sullivan ("Jane", Mia Farrow's mom ), John and Pierie (of the Chicago department store family), Graves Whitmire (Chicago newspaper owner), Lester Beeman (Chicago chewing gum magnate - think "Black Jack" gum), Joe Tinker, Walter Hagan, Mickey Mantle, and Kate Smith. If you have to ask who Kate Smith was, look her up and listen to her sing "God Bless America!" 

T

he Plymouthonian No. 2 is said to have been Al Capone's bookkeeper's home for a time and Al is said to have been a frequent visitor. The listing agent has looked but could not find the "rumored tunnels."  The story is probably based in truth; the Chicago "Outfit" was heavily invested in the development of Mount Plymouth.  This may be one reason why its history has been a tad obscure until recently.  The people who "knew" kept quiet about it.  Of course, by now anyone who was developing a Florida neighbored in the 1920s is long gone.  

Unique features include the Stoltz bird murals, the pecky cypress and stone floors and the curb appeal that sets the house apart from others houses.  Anne has a special affinity for Sam's work. Anne, Steven, and I toured this house when the current owners / artists had it on an arts tour of Lake County.  We were delighted to see it up close and personal.  

* * * * * *

Here are the ways the 2012 listing agent described the house:

The PLYMOUTHONIAN No. 2 - historical artistic creation by the renowned Builder Sam Stoltz depicting the history of Florida! Soaring 45 ft. Chimney; Stone and Wood Floors; Cypress Beams; Architectural Designs ; This beautiful 'historical' residence is enlivened by a fountain and a rustic interior stone fireplace w/ round plaster relief inset featuring a bird; wonderful colored and textured artistic walls; hammered metal chandelier; wood balusters of wavy irregular shapes; Mexican tile & Gothic archways in the bathrooms.

The Plymouthonian No. 2 is described as surpassing anything Stoltz had created, including half timbering in the gable ends, pointed window heads & rough stone trim and chimney. Many prominent persons have owned and occupied several of Sam Stoltz's homes, including 'Muppeteer Jim Henson' in Windermere!

Art and Life abound in this unique 'Tudor Style' fascinating architecture pronounced as one of the most artistic 'Old World to the Modern New in the 1920's'. The builder's fascination with the birds and fauna of Florida led him to embellish his homes with depictions of herons, flamingos, fauna - sculpted in plaster relief and stucco. In-Law Suite; Workshop 40X20; Pole Barn 30X24.
Orlando Sentinel reported...in the late 1920's, Builders 'success' is a new departure with mural decorative painting, depicting the History of Florida. This magnificent Estate Home is 'Tudor-derived with Fairyland' as a theme, and 'Tudor Revival' as the style.

For a photo when the house was new (not by me) see this link:
books.google.com/books?id=r5As5ABg1REC&pg=PA51&lp...

It would be nice to know if there was a connection between Sam Stoltz's ideas and the well-known Spadena House (also known as "The Witch's House"), in Beverley Hills, shown below.  Maybe one belonged to the Witch of the East and the other to the Witch of the West?:

Sam Stoltz was born in Nebraska to parents who had moved there from Pennsylvania.  His Pennsylvania Dutch origins are evident in his surname, "Stoltz" which is a shortened version of the very familiar "Stoltzfus" of Central Pennsylvania.  Sam was a gifted artist. And a larger than life character who enjoyed sporting plus fours with coordinated hose and vests.  He and his wife Patti relocated to Central Florida in 1925, and it was full steam ahead in creating fantasy homes for adventurous clients.  Today, they contribute tremendously to the architectural heritage of the Orlando area.

There is some indication that Central Florida's pioneering woman architect Ida Annah Ryan collaborated with Sam Stoltz on some of his architectural designs.  Whether her partner Isabel Roberts shared in this effort is not yet known, but it is highly likely.  Perhaps Ryan provided the architectural "stamp" or other professional expertise.

Regarding Mount Plymouth, (Hanford) Carl Dann was the developer and Sam Stoltz, his friend, designed the hotel and 18 residences.  Some of the houses remain, some have been remodeled to the point of being unrecognizable, and some have been torn down to make way for newer, nondescript houses.  Sigh.  Progress often gets in the way of our enjoyment of artistic creativity, doesn't it?  Mount Plymouth Hotel was only open during the "season" (Christmas through Easter) - guest could arrive in style using the private airstrip.  The hotel patrons were not only notable, they were highly affluent, many were members of the Chicago crowd.   

Life is too short not to enjoy being out of the ordinary.  Sam Stoltz knew that, and helped others to achieve that intangible goal with the choices they made for their homes and other buildings.  Whether in the Spanish Revival (Sam called it "Spanish Orlando" or"Florida Spanish"), or a Woodland Lodge Style (of which Dubsdred Country Club is a fine example). or his over-the-top picturesque storybook cottages (sometimes dubbed "Tudor Revival"), they were noticeable and popular in the 1920s and 1930s, and have remained so.  It is not every client who will "go for" a Sam Stoltz residence, but for those who do, every day is like a fairy tale!

Architecture by Sam Stoltz (1876-1952).  

Open to the public; you can visit and enjoy a meal there during their hours of operation:

- Historic Dubsdred Country Club Clubhouse, College Park, Florida

In spotlighting the work of Sam Stoltz we want to look at a place that is easily accessible to the general public, both outside and in.  That is frankly hard to find.  Most of Stoltz’s work was residential and continues to be enjoyed by private owners today.  We would never recommend anything but a passing glance from the public street or sidewalk at these many private residences.  Be very respectful if you go out looking at them.  But Dubsdred welcomes diners to the clubhouse Tap Room grill, and if you ask very nicely, they will let you take a look at the ballroom, which is the best-preserved portion of the building from the Sam Stoltz era.

Dubsdred Country Club  is of the “Woodland Lodge Style” of Sam Stoltz’s work.  One of three general aesthetics he chose to work in. The Woodland Lodge Style usually has wood siding, simple gable roof forms, stone chimneys, exterior porches, grouped windows and French doors  These are hallmarks of Dubsdred, as we see it today, as well as other notable buildings in this style: the Carl Dann Residence (AKA "Dann Ranch", 3206 Greens Avenue, Winter Park, Florida - 1935.) and Carl Dann’s vacation home at 25343 Troon Avenue, Mount Plymouth, Sorrento, Florida - 1926, among others.  Those who lived in or visited such structures were to have a sense of getting away from it all, in the dappled shade of the forest, amid the quiet and beauty of nature.

 

Stoltz loved using coquina stone as perimeter landscaping walls, or incorporated in to the building itself.  At Dubsdred, the huge and handsome chimney is a fine example of this penchant for utilizing native stone as a natural, organic feature.  

Private Homes - Please be super-respectful and view from the public street, only:

- Stoltz Residence I, 1318 Eastin, College Park - 1926

- 1322 Eastin, College Park. This lovely 1920s home has an unexpected color scheme, but it does not obscure the many Sam Stoltz preferred Florida Spanish elements: Barrel tile roof, stucco walls, round headed windows and door, Juliet balcony, french doors, and whimsical window placement.  

- Robert Fox Residence, 1314 Eastin, College Park - 1926. Barrel tile roof, round headed openings, Juliet balcony, decorative parapet, and stucco exterior all all expected elements of Sam Stoltz's Florida Spanish style.  

- Miles Dawson Residence, 868 Golfview Terrace, Winter Park, Florida 

- 843 Palmer Avenue, Winter Park, Florida  A lovely Tudor Revival, complete with cat slide, rounded door and windows, prominent chimney, French doors, and sculptural details including the confine rock around the front door (a Sam Stoltz favorite).  Although this house is well maintained, the color scheme does not show off the architecture to the best effect.  One suspects the half circle recess above the windows in the gable once held a Stoltz bas relief sculpture.  I can almost hear the conversation.  Painter: "Hey folks what do  you want me to do about that bird mural?" Homeowners: "Scrape it off or spackle over it; we've never much liked it."  (Sigh).

Oh, you are wondering about my color recommendations?  Roof in a medium to dark grey to brown slate look.  Walls painted the palest beige or parchment color (satin, not glossy, this is Florida folks, you do not want  your house reflecting like a mirror). Trim windows and door surrounds, in a medium to dark charcoal or sienna depending on the other color choices.  Front door?  The ladies lounge pink has got to go.  Best solution, refinished in its natural wood (I am sure it is under there); or short of that, dark forest green or dark navy blue (glossy). Tera cotta, black, or dark brown are other possible choices.  The chimney pots and projecting round tiles point you in the tera cotta direction naturally.  Match them in the door color and the whole facade will sing.  Oh, and restore the Stoltz mural in the half circle, please.

- 533 Greeley, College Park, Florida.  Here's a lesson in how to make the most of a modest home.  Stucco exterior, pent roof over the french doors, curved headed windows, cat slide with arched garden gate, and side entry providing an entry terrace, are all elements that set this home apart from the ordinarily.  Best of all is the Sam Stoltz half circle bas relief of birds in flight.   It is a petite version of the Stoltz House I at 1318 Eastin.  

- Stoltz Residence II, 610 Greeley, College Park - 1928.  Here the Orlando Spanish Revival is expressed in the barrel tile and stucco exterior, the round headed windows, Juliet balcony, rounded garden entry, and whimsical window placement.  The half-circle niche in the parapet has a very lovely Sam Stoltz bas relief sculpture of birds in flight. 

- 406 Niblick, College Park, Florida (in collaboration with Ida Annah Ryan and Isabel Roberts, probably).  This simplified Spanish Revival style has some expected elements such as the stucco exterior, decorative parapet (which once held a Stoltz bas relief sculpture, barrel tile roof, rounded entry porch, mission style curves, and round headed and grouped widows.  A charming detail is the use of urns on the parapet ends.

- College Park, Florida"

- Carl Dann Residence (AKA "Dann Ranch"), 3206 Greens Avenue, Winter Park, Florida - 1935. This magnificent and beautifully situated home remained in the Dann family for nearly a century.  The design  is very much in the woodland lodge style that Stoltz also used on Dubsdred Country Club and elsewhere.

- Private Residence (for a time, Rollins College Music Conservatory's Martin Hall. Recently much altered and added on to, and again a private residence),  Most of the "character" fo this house disappeared in the remodeling.  Notably the exterior Sam Stoltz relief sculpture in the central pediment.   1000 Genius Drive, Winter Park, Florida.  These vintage photos show how it looked, originally:

- 515 Ridgewood Drive, Windermere, Florida - 1934 (on a heavily landscaped lot, impossible to view in any detail)

- "Piney Green" The Horne / Nicholson / Brock Residence, 1018 E. Livingston Street, Orlando, Florida - 1934 (one of the woodland lodge style homes; loving tended by its current owners)

See; Sam Stoltz's Piney Green

- The Mount Plymouth Hotel, Mount Plymouth, Florida (destroyed by fire in 1983)

Finally, we come to a wonderful collection of 18 houses in Mount Plymouth.  They appear, below.   The location is Mount Plymouth but the street addresses are for Sorrento, the nearest post office.  The houses vary from Woodland Lodge Style, to Florida Spanish / Mediterranean Revival, to Tudor Revival, (whether very modest, slightly restrained, or of course the most easily discovered storybook style).  In Mount Plymouth, Stoltz showed the same versatility as in Orlando, College Park, and Winter Park, with homes of various styles and sizes.  

The following have been identified, thus far:

- Virgil Bolyard House, Plymothonian Number 1, destroyed by fire in 1927

- The Plymohonian Number 2, 30801 Ridgeview, Mount Plymouth, Sorrento, Florida. (lovingly cared for by the current artist/owners who sometimes open the house on Christmas time tours)

- Plymouthonioin No. ?, 30308 County Road 435, Sorrento, Florida - 1926.  Favorite Sam Stoltz features include the cat-slide, coquina stone for the chimney and garden wall, Tudoresque gables, wrapped roof emulating thatch, stucco exterior, whimsical window placement, and garden archway.

- The Cornelius House, Plymouthonion No. ?, 31121 Interlanchen Drive at the 10th fairway, Mount Plymouth, Florida.  Sam Stoltz told Oscar Torbert that he built the chimney "so crooked on this one" that no one would buy it. Even so, word of mouth says that a man named George Cornelius bought it because he liked the chimney on this home more than any of the others.  Bolyard and Cornelius were partners in the oil business.    George Cornelius was a partner with Virgil Bolyard of Plymothonian Number 1, in the oil business.  Typical Sam Stoltz storybook design elements linclude the gables, half timbering, diamond pane windows, stucco exterior, wrapped roof emulating thatch, coquina stone chimney, cat-slides, and whimsical window placement.  The garage is a later addition.  The original one car garage was to the right of the front door (the garage door is still there).  Somewhat hard to view because of the wonderful landscaping, this is one of the best-preserved Plymouthonians:

- Plymouthonian Number ?, 30852 Westward Ho Avenue, Mount Plymouth, Sorrento, Florida.  A modest tudoresque cottage ornee, with two different gable ends on the front facade, and a round entry porch:

- 31151 Overbrook Street, Plymothonian Number ?, Mount Plymouth, Sorrento, Florida.  Beautiful Italian Villa Revival style, including the stucco exterior, barrel tile roof, round headed windows and entry porch, and the Juliet balcony.  There is a lovely collection of Sam Stoltz tropical birds in the gable end over the front entry, see the detail photo:

- Plymouthonian Number ?, 25411 Carnoustie Drive, Mount Plymouth, Sorrento, Florida. Although this house has been much remodeled, (and is in very nice condition), the Sam Stoltz original features include the gables, the rusticated (now, painted) coquina stone chimney, and the grouped curve top windows reminiscent of a similar design on 533 Greeley Street in College Park.  Presumably, the original exterior was stucco.  The country charm porch is of course not original.  

- 30943 Deal Drive, Mount Plymouth, Sorrento, Florida - 1926.  A modest tudoresque cottage ornee, with a gable end and slant roofed dormer on the front facade:

- 30835 Deal Drive, Mount Plymouth, Sorrento, Florida - 1930. Essentiall the mirror image of the house shown above.  Another modest tudoresque cottage ornee, with a gable end, and a slant roof dormer.  The entry porch has been enclosed.  The dressed stone exterior may be a later renovation:

- Plymouthonian Number ?, 30825 County Road 435, Mount Plymouth, Sorrento, Florida.  This house is beautifully located as you enter Mount Plymouth from the south, on the left side of the road.  Even without slowing down much, you get a lovely look at it.  Stoltz design elements include the stucco exterior, non-matching forward facing gables, curved roofline over the entry porch, cat slide, and the side-entry front door, which he used on his own house on Eastin Avenue in College Park. 

- Carl Dann Vacation Home, 25343 Troon Avenue, Mount Plymouth, Sorrento, Florida - 1926.  Some experts on Sam Stoltz will be surprised that this is one of his designs  It is one of his Woodland Lodge style homes.  The clue for passers by is the coquina stone wall at the front of the property, one of Stoltz's trademarks.  This home has affinities to Carl Dann's home in Orlando, "Dann's Ranch" as well as the country club he developed in College Park, Dubsdread Country Club, and the Piney Green house in Orlando.  Interestingly, Piney Green Road intersects Troon Avenue nearby, and Dubsdread Avenue is another named street in the Mount Plymouth development.  Carl Dann was the Mount Plymouth real estate developer and promotor - this is his own home.  The woodland lodge style Sam Stoltz houses are 'sleepers', in that they are less dramatic than the Florida Spanish and Storybook Tudor Revival homes (which regularly turn heads).  Whether or not Sam dubbed this one a Plymothonian is not yet known.  Wood sided, simple gable roof forms, stone chimney, exterior porches, and grouped windows are usual details of Stolt's woodland lodge style.

- "Blarney Castle", Plymouthonian Number ?, (no longer standing).  The three story witch's hat tower is the main feature of this house, along with the coquina stone fireplace.  Coquina stone comprises potions of the walls as well as the garden walls.  

I have enjoyed creating this list of Sam Stoltz's designs, searching property records and other similar leads.  If you wish to include the list, or portions of it, in your own publications, please give me credit.

This list is incomplete.  You can help add to it, if you know of buildings by Sam Stoltz.  Just send me a message, thanks!