Name/Title
Ox-Bow Inn/Shriver Inn historic inventoryEntry/Object ID
2021.41.26Scope and Content
Research about the 1850-60s Ox-Bow Inn, that is also called the Riverside Inn or the Charles Shriver family residence. The documents include a 1998 drawing by Kay Smalley, a rationale for assigning construction dates, a fax of the 1997 Michigan State Register of Historic Site application pages, a letter about the building, and draft text/notes by James Schmiechen.Context
OX-BOW STATEMENT OF SIGNIFICANCE: [from the MI SHPO application]
The core of the Ox-Bow complex is four structures which are representative examples of the Post-Civil War period. The original portion of the Inn is a fine example of Post-Colonial architecture. Four-square and cupoloed, it is well proportioned. The 1880's addition to the Inn has approximately the same volume as the first building. The Inn contains 20 guest rooms, 2 sitting rooms, a dining hall, kitchen and service spaces on two floors containing 6280 square feet. The Inn was originally built by Charles Schriver [Shriver] as a resort hotel in the 1860's, when this area served as an important landing before the channel was dredged to straighten the Kalamazoo River.
Three additional buildings on the site are the caretaker's cottage, the stable, and the shed/barn.
In 1898 John C. Johnsen and John Norton of the Chicago Art. Institute visited Saugatuck and went back to tell friends Frederick Frary Fursman and Walter Marshall Clute of the wonderful environment for artists. In 1906 Johansen set up the first art school in buildings on Bandle Farm, at the corner of Holland Street and Riverside Drive in Saugatuck. In 1910 Fursman and Clute joined him and began the Summer School of Painting in Johansen's old studio at Bandle's. They moved in 1913 to the Park House in Saugatuck on Holland Street and held classes that year at the Riverside Hotel near Fishtown out on the Ox-Bow Lagoon, the little section of the river left landlocked by the new cut. Later, with the help of Thomas Eddy Tallmadge and others, they bought the hotel, and established the Ox-Bow Summer School of Painting.
The various buildings are located in a secluded area of environmental importance. A prime beach and hemlock forest is included in the 107 acres which now comprise the Ox-Bow site. The term Ox-Bow is derived form the Ox-Bow shaped lagoon..
The men who established the school were important artists of their period and subsequently many young artists who have attained national prominence have attended Ox-Bow. The following represents a partial list: Peter Agostini, Richard Artschwager, Janet Fish, Leon Golub, Joan Mitchell, Claes Oldenburg, Richard Hunt, Peter Saul.Collection
1910 Ox-Bow, Buildings: Homes, cottages and private residencesCataloged By
Winthers, SallyAcquisition
Accession
2021.41Source or Donor
Schmiechen, James A.Acquisition Method
DonationLocation
Box
026 Ox-Bow School of ArtRelationships
Related Person or Organization
Person or Organization
Ox-Bow Inn/Riverside Hotel/Shriver family home, Shriver, Charles Sr. (d.1905), Smalley, Kay (Norton), Johansen, John Christen 1876-1964, Clute, Walter Marshall 1870-1915, Ox-Bow/Summer School of Art, Norton, John Warner 1876-1934, Fursman, Frederick Frary 1874-1943Create Date
July 22, 2025Update Date
July 22, 2025
![Architectural Statement Prepared by Donald Mahan, AIA, part1: The core of the Ox-Bow complex is four structures which are representative examples of Post Civil War resort building. They include the Shriber [Shriver] Inn, built in the 1860's, a caretaker's cottage, stable and shed which were constructed in the '80's When the Inn was expanded. This group of buildings was used as a summer hotel. until the mid-nineties, then abandoned after the harbor was relocated and the lumbering ran out. In 1910 the buildings were revitalized when the Ox-Bow Summer School of Painting was established in this beautiful setting of unspoiled dunes and a unique lagoon. The structures have been scarcely altered since 1890.
The original portion of, the inn is a fine example of continuing post-colonial' tradition unfettered by the nicetles of the Greek Revival vocabulary. Four-square and cupoloed, it has well proportioned voids placed within the narrow clapboards which are terminated by severe cornices and corner boards. The '80's addition has approximately the same volume as the first bullding. Although it sports a few naive Italianate pretensions in the cornice work and trim, its greatest asset is the verandas which contribute to the ambience and unify the design.
The three outbuildings were adapted in the '20's for student quarters when additional space was needed. Although they are now dubbed the White House, Lutz and the Red House, they remain recognizable as the caretaker's cottage, stable and shed.
During Ox-Bow's first fourty years "Artists-in-Residence" built cottages for personal use during their life-time. These structures were perched on the dunes away from the lagoon, The best of these was designed by Thomas Tallmage, the renowned architect and a generous benefactor to Ox-Bow, The cottage has origimality of space, structure and decoration.](https://d8e7jbdw4fu0e.cloudfront.net/4124/284844e1-6743-11f0-abf9-7339147de37c-vUU1ZHX.lg@2x.jpg)
