Most Albert Kahn biographies mention his winning a scholarship from the journal American Architect & Building News in 1890 to travel through Europe sketching its architecture. Sometimes the story notes that he was obliged to send sketches back for publication in the journal, but with no further elaboration.
The significance of this traveling scholarship extends beyond mere mention, however. Kahn became an architect through on-the-job training, which was the norm in the day. (There were exceptions. For instance, one of his coworkers and future business partner, George W. Nettleton, held a degree in architecture from Cornell. He was the first such educated person Kahn encountered.) As a draftsperson and like most workers, Kahn was of a class that typically received little notice from the general public. (Kahn did belong to the Detroit Architectural Sketch Club, an organization of local professionals, and on occasion his success in its drawing competitions received newspaper notice during the 1880s.)
Kahn’s wining of the AA&BN News traveling scholarship brought him greater attention. In November 1890 the Detroit News covered a farewell celebration by the Detroit Art League for Kahn on the verge of his departure. Then after his return in January 1892, the newspaper reported that 149 of his sketches were exhibited at the Detroit Art Museum (forerunner to the Detroit Institute of Art), featuring “towers of cathedrals, picturesque old buildings, portions of chateaux and many details of architectural work.” The sketches appear to have become part of the Mason & Rice library for use in detailing office drawings while Kahn was promoted to head draftsperson. On occasion, some of his original sketches were exhibited in the following years, with the University of Michigan Museum of Art showcasing its collection (comprising the bulk of the original art) between December 1972 and January 1973.
But what of the sketches that were printed in AA&BN from the years 1891, 1892 and possibly 1893? In the bound and digitized editions of the journal for these years, one occasionally comes across a table of contents entry listing illustrations by Kahn as the journal’s traveling scholar, but no such illustration can be found in the accompanying pages. Below is an example that holds a clue as to why printed examples of Kahn’s traveling scholar sketches are so rare today:
Venetian Renaissance Work. Sketched by Mr. Albert Kahn,
American Architect Traveling Scholar.
[Issued with the International and Imperial Editions only.]
That last line is key. The International and Imperial Editions were priced at a premium when published, making them rarer than the general subscription issues. When they were printed, the only indication whether a particular issue was an International or Imperial Edition appeared on the cover wrap, which was of inferior paper and almost never bound into library volumes. Otherwise, the pages of general, International and Imperial editions were identical.
What distinguished the International and Imperial editions to make them worth the premium price? It was the inclusion of unbound plates, printed on better paper, often in color ink. These were offered as suitable for framing, so they remained unbound to be free of staple marks. Simply put, it seems these loose plates very rarely found their way into the leather-bound collections of libraries.
Last year, an online bookseller listed for sale a single issue of the AA&BN Imperial Edition for November 19, 1892. The description noted an illustration by Albert Kahn and the issue was purchased sight unseen with the hope it contained an example of a traveling scholar plate. It contained two, one of which is reproduced here.
This illustration provides an insightful glimpse into Kahn’s drawing ability and his discerning eye at this young age. One image is of the spiral staircase leading to the organ case of Saint-Maclou Church in Rouen, Germany. Kahn thoughtfully includes a simple chair to establish scale. The detail is remarkable, considering it was probably quickly drawn as he sat in a similar chair (based on the perspective). Detail trails off as the staircase ascends. Likely he assumed he captured its essence and had to move on to sketch something else.
Drawing ability was of prime value in 19th Century drafting rooms, where an architect’s intent was set down in scale drawings to guide construction by tradespersons. According to several sources, Kahn maintained his drawing ability throughout his career, but once he established his own practice, scale office drawings were chiefly the product of draftspersons working for him. These sketches are a direct demonstration of his drawing talent along with his attention to detail.
Kahn turned 22 while sketching Europe’s architecture. This period formed an important part of the foundation Kahn’s historic career that spanned the next half-century. The elusive printed survivors of Kahn’s traveling sketches are relics of historical significance.
By Chris Meister
(Chris Meister is the author of a new biography of Albert Kahn, expected to be published by Wayne State University Press in 2025)