ARCHITECTURAL TILES, GLASS AND ORNAMENTATION IN NEW YORK

A blog about architectural tiles, terra cotta and other ceramic surfaces, architectural glass and ornamentation in and around New York.

Showing posts with label Batchelder. Show all posts
Showing posts with label Batchelder. Show all posts

Wednesday, November 1, 2017

Bits and Pieces: Updates for the Lever House, the Kesner Building and 2116 Ditmas Avenue, Brooklyn and an obituary

ROBERT PINART (1927-2017), Maître de verre vitrail
We are saddened to report that our friend, stained and dalle de verre glass artist Robert Pinart, died on October 1. 
Robert Pinart in Chartres, 1950s
Robert had been in deteriorating health for some time, and after ninety years his body was laid to rest in Gethsemane Cemetery in Congers, New York. His spirit and art will live on, however, in the stained and dalle de verre glass windows he designed for synagogues, churches, schools and residences throughout the United States and Canada. 

BITS AND PIECES

 Every so often I receive a message about one of my blogs. Usually, someone has new information about a subject I’ve written about that significantly adds to that conversation. Below are two of these updates, and a third piece about a building that relates to a previous blog.
Jean Nison’s Fireplace Surround for Lever Brothers
(Photo taken and edited from: Jean Nison, "Fantasies in Tile", Craft Horizons, Vol. 13, No. 3, May-June 1953, p. 36+; edited by the author)

 In my article about the mid-century modern ceramic tile artist, Jean Nison, I mentioned that she was commissioned to create a tile installation in the Lever Brother’s Boardroom in New York City’s landmarked Lever Building. According to Nison, she visited decorators, left tiles with them and hoped they would call her. This was how, she believed, Raymond Lowey Associates, the industrial design firm, asked her to make a wall decoration for Lever House, at that time the headquarters of Lever Brothers Corporation (now Unilever). I contacted the curator of the Lever House Art Collection, Mr. Richard Marshall, but he had no information about the fate of Nison's tile installation. Unilever Corporation moved out of the building in the 1980s, and may have taken the tiles with them. A request to Unilever for information, however, went unanswered.
Two of the tile designs from the Lever Brothers Boardroom fireplace surround illustrating the color scheme of the installation. (From the Mobile Museum of Art: Jean Nison, American, born in Egypt of French parents [sic]. Lever House, NYC, (Boardroom Tiles) (framed pair), c. 1952. Ceramic, Size 6 x 6 in. Gift of Eric M. and Joy Hart. G2005.21.13)

 After reading my article, the Chief Curator of the Mobile (AL) Museum of Art, Paul Richelson, contacted me. Two tiles from the Boardroom Fireplace in Lever House had been donated to the Mobile Museum by Eric M. and Joy Hart in 2005. Either these were extra tiles that were not used in the installation, or the installation was removed when Unilever moved from Lever House to Connecticut and tiles were boxed and given to some of the executives. In either case, tiles from this installation may still exist.



To prove my point, a recent ebay auction listed a “replica” boxed tile of one of the donated Lever Brothers' fireplace tiles. Nison must have made extras to sell at Lever House as the box indicates.
The Restoration of the Hartford Faience Tiles on the Kesner Building (695-709 Sixth Avenue)


In 2010 I took photos of the Hartford Faience tiles on the Ehrich Brothers Emporium/J. L. Kesner Building, which is located between 22nd and 23rd Streets on the west side of Sixth Avenue in Manhattan.


The photos I used in my June 2015 blog were taken in 2000 and 2010, and many tiles were in poor condition--some even with holes drilled through them.



I again passed by the Kesner Building in 2014, and much of the street-level facade was obscured by ongoing construction. At that time I thought that whatever was happening would only further destroy the tilework on the facade. I was wrong!
The Sixth Avenue entrance to the Kesner Building with two pier columns of restored tiles.


"A restoration team from Jablonski Building Conservation, Inc. [...restored] the facade of 105 W 22nd Street/695-709 Sixth Avenue. Xsusha Flandro, Senior Conservator, was kind enough to explain the process:

 'The tiles are glazed ceramic tiles manufactured by the Hartford Faience Company... . The current building was erected in phases between 1889 and 1911. The tiles are ca. 1913 when Chicago business man J.L. Kesner (hence the 'K' on the tile columns) leased the building and submitted plans for alteration to the first floor store fronts. Oddly enough Kesner was never in the building as he backed out of the lease, but since the construction plans were already submitted the Ehrich Brothers (owners of the building) went through with the building plans and completed the tile columns. The building is a contributing member to the Ladies Mile Historic District.

 'A lot of prep work goes into the restoration of tiles. The first thing we did were cleaning tests. We completed small cleaning test samples and then based on results proceeded with the most gentle and effective of the cleaners tested to clean all the tiles. We also tested paint strippers (all pH neutral – not acidic and not alkaline – because harsh strippers can damage the glazes) in the same manner as the cleaners because some columns had graffiti and general over paint. After cleaning and paint removal we moved into removing abandoned anchors (where signage and such had been attached over the years). Then we moved into patching. We utilized a repair system manufactured by Edison Coatings out of Connecticut. Edison Coatings provided us with custom colored patch repair material for each color of glaze, after the patching was complete the patches are sanded and shaped to the correct profile, and then in-painted (only painted where the patch is) using a polyurethane paint system (also by Edison Coatings) custom colored to the glazes on the tiles. This is where the artistry comes in and we blend the colors onsite to match the adjacent historic tile glazes. No coating is placed over the work after we are finished, as everything we use is specifically manufactured for outdoor use.
Three views of the cleaning and in-painting of the tile work. (Photos courtesy of Jablonski Building Conservation, Inc., http://jbconservation.com/index.html)
'In this project we are conserving nine tile columns. All missing tiles or tiles which we could not successfully conserve are being replaced with custom tiles, manufactured by Shenfeld Studios, to match the existing. It took us approximately three weeks to complete all the conservation work on site. The replacement tiles are still a few months out.

 'Ms. Flandro noted that the work requires extensive training.

 'To be an architectural conservator you have to have a Master’s degree in Historic Preservation – and usually in the conservation sector of historic preservation, which is where you gain a lot of your materials knowledge. Similar to how art conservators go through school and then specialize in one material, we go through school and specialize in building materials. In our company in order to progress past junior conservator we are required to apply to be a Professional Associate with the American Institute of Conservation (of which I hold PA status and the owner of Jablonski Building Conservation, Mary Jablonski, is a Fellow.) AIC – Professional Associate requires at very least 3 years’ experience and your previous projects/works are peer reviewed and letters of recommendation are required.'”(1)


2116 Ditmas Avenue, Brooklyn
(Clockwise from UL) 2116 Ditmas Avenue facade; main entrance; painted tilework on both sides of entrance(2); from foyer looking into the lobby. (Photo credits: Michael Padwee)

 Recently, while on an errand in the East Flatbush and Ditmas Park sections of Brooklyn, I passed by an apartment house that caught my eye because of some architectural elements on its facade, parts of which had been painted over. On closer inspection of the entranceway I saw what looked like 12” x 12” tiles, which had also been partially obscured by paint. The building had been constructed in 1935 according to New York City records, but there was no indication of an architect.

Terra cotta ornamentation on the exterior facade of 2116 Ditmas Avenue, Brooklyn. (Photo credits: Michael Padwee)
I entered the ground floor foyer and lobby, both of which had tile floors, as well as other wall decorations.

Five interior decorative wall elements in the building lobby. The column separating the two niches echoes the column and windows decoration on the facade. (Photos: Michael Padwee)

 The foyer and lobby floors were composed mainly of hexagonal tiles with square and rectangular border tiles. There were at least seven hexagonal designs interspersed throughout the floors.

Some of the hexagonal insert tiles above were previously identified as Batchelder tiles in my October 1, 2013 blog post, “Ernest Batchelder in Manhattan”.

 Ernest Batchelder's tile company in Pasadena, California, and later, Los Angeles, produced many craftsman-style tiles that were used in building construction throughout the country. I wrote of the use of Batchelder floor tiles in Manhattan apartment buildings, and published an article about the tiles in the RKO Keith's theater in Flushing, Queens in my October 2013 blog. I suspect there are many more such buildings throughout the city as Batchelder did have a showroom in Manhattan for architects and the construction industry, among others.

NOTES:

(1) http://www.newyorkitecture.com/restoration-in-progress/. Permission to reprint Ms. Flandro's remarks granted by Mary Jablonski, the president and founder of Jablonski Building Conservation, Inc. 
(2) This 12” square tile is Stock #97, page 18 in Batchelder Tiles: A Catalog of Hand Made Tiles, Batchelder-Wilson Company, Los Angeles, California, Fourth Edition, 1923. (Reprinted by the Tile Heritage Foundation in the 1990s.) 
Acknowledgements

 My thanks to the following for their help with these articles: Paul Richelson, Chief Curator of the Mobile (AL) Museum of Art; Mary Jablonski, Executive Director of the Jablonski Building Conservation, Inc.; Robert Shenfeld of Shenfeld Studios.
*****
LINKS TO MY PAST BLOG ARTICLES

"The Commercial and Personal Art Tiles of Rafael Guastavino, Jr." (Part I)
read more...

 "Art Deco Commercial Architecture: Montgomery Ward’s Mid-Size Department Stores"
read more...

"Tessellations: Islamic Tile Patterns and M.C. Escher"
read more...

"Grant's Tomb, the Community and the Gaudi-esque benches of Pedro Silva" AND A request for help
read more...

"A Factory As It Might Be" and the 2016 Ortner Preservation Awards
read more... 


The Atlantic Terra Cotta Company and the Beginnings of Polychrome Terra Cotta Use
read more...

Bits and Pieces: The Brooklyn-Battery Tunnel and following up on the James N. Gamble House and the Charles Volkmar Overmantle Mural

Art Deco Buildings and Their Lobbies: the Chrysler Building, the Film Center Building and the Kent Garage/Sofia Brothers Storage Warehouse

ARCHITECTURAL MURALS OF LUMEN MARTIN WINTER and a REPORT ON THE EMPIRE STATE DAIRY BUILDING

The Heart of the Park: Bethesda Terrace and its suspended Minton Tile ceiling

A Landmarks hearing was held on July 19, 2016...

Two Restorations: The City Hall Subway Station and the Tweed Courthouse

Egyptian, Moorish and Middle Eastern Ornamentation Used In Art Deco Terra Cotta in New York City, and Empire State Dairy Update
Wall Murals in Brooklyn: A Mini Survey

Inside Prospect Park: The park's Rustic, Classical and other Internal Architecture

Herman Carl Mueller in Titusville and Trenton, New Jersey; A Charles Volkmar Discovery in Clifton, New Jersey

A Book Review and New Discoveries and Updates-II: Jean Nisan, Ceramic Tile Artist

Polychrome Terra Cotta Buildings in Newark, New Jersey

New Discoveries-I: The Tiled House of Jere T. Smith

Introducing the Stained and Dalle de Verre Glass Art of Robert Pinart

Bits and Pieces: Polychrome Terra Cotta- and Tile-Clad Buildings

Socialist and Labor Architecture and Iconography in New York City

Bits and Pieces: Two Mosaics--Hamden, CT and Manchester, NH

The Renaissance Casino and Ballroom Complex in Harlem: Another Tunisian Tile Installation Headed for Demolition

Clement J. Barnhorn and the Rookwood Pottery

The Woolworth Building

The Mosaic Art of Hildreth Meière

Lost Tile Installations: The Tunisian Tiles of the Chemla Family

The Grueby Children's Murals on East 104th Street

The Experimental Lustre Tiles of Rafael Guastavino, Jr.

Bits and Pieces: Two "E"s--Eltinge and Elks; and more about Jean Nison

The Ceramic Tiles and Murals of Jean Nison

Pleasant Days in Short Hills: A Rookwood Wonderland

Architectural Ceramics in the Queen City

Isaac Broome: Innovation and Design in the Tile Industry after the Centennial Exhibition

"Immigration on the Lower East Side": A Public Arts Mural Created by Richard Haas

Movie Palaces-Part 2: The Loews 175th Street Theatre

Béton-Coignet in New York: The New York and Long Island Coignet Stone Company

Michelin House, London

Movie Palaces, Part 1: Loew's Valencia Theatre

An Architectural and Ceramic Tour of Istanbul - Part II

The Tiles of Fonthill Castle

An Architectural and Ceramic Tour of Istanbul - Part I

Tiled Facades in Madrid

Nineteenth Century Brooklyn Potteries

Ernest Batchelder in Manhattan

Leon Victor Solon: Color, Ceramics and Architecture

Architectural Art Tiles in Reading, Pennsylvania

Charles Lamb and Charles Volkmar

Kansas City Architecture - II

Kansas City Architecture - I

Westchester County--Atwood and Grueby

Modern Houses in New Caanan, Connecticut

PPG Place, Pittsburgh

Aluminum City Terrace, New Kensington, Pennsylvania

Newark's WPA Tile Murals: “Fine Art is an Important Part of Everyday Life”

Public Art Programs in New York City: The CETA Tile Murals at Clark Street

Concrete and Tiles-I: Moyer, Mercer, Murosa

The Café Savarin and the Rookwood Pottery; Chocolate Shoppe Rebounds

Architectural Ceramics of Henry Varnum Poor

Herman Carl Mueller and the Church of St. Thomas the Apostle

Meet Me at the Astor

The Mikvah Under 5 Allen Street; "Historic Hall" Apartments Revisited

London Post-3

Some Moravian Tile Sites in New York

London Post-2

London Post-1

Brooklyn's International Tile Company

Subway Tiles-Part III, the Squire Vickers Era

Subway Tiles-Part II, Heins and LaFarge

Subway Tiles--Part I, Guastavino tiles

Trent in New York-Part III, Historic Hall Apartment House

American Encaustic Tiling Company-Part II, Artists' Tiles

Trent in New York-Part II, a Dey Street Restaurant

American Encaustic Tiling Company-Part I, Tile Showrooms

Trent in New York-Part I, The Bronx Theatre

Fred Dana Marsh's Tiles

*****


About this blog:

This is a non-commercial, educational blog. Content is compiled/written by Michael Padwee and all opinions expressed herein are my own, or quoted, and are offered without intending to harm any person or company.

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Saturday, February 1, 2014

Movie Palaces, Part 1: Loew's Valencia Theatre

Recently, we went on two tours of 1920s movie palaces in New York City. The first was a church-sponsored tour of the Loew’s Valencia Theatre in Jamaica, Queens, and the second was a tour of the Loew’s 175th Street Theatre in Manhattan sponsored by the Historic Districts Council. Both tours were interesting and informative and allowed people like myself to take photos of usually off-limits areas. Our grateful thanks to the Tabernacle of Prayer Church, the United Palace Cathedral, Mike Feitelson and the United Palace Theatre, and the Historic Districts Council.
In the middle of a block on Jamaica Avenue, near 165th Street, in Queens, hemmed in by other buildings, is a small, but amazing building facade. Built in 1929, designed by the architect John Eberson, the Loew’s Valencia Theatre, one a of a few “movie palaces” in the New York Metropolitan area, still exists in all its glory. The polychrome terra cotta and brick facade leads through a terra cotta-and-tile-decorated lobby into the much-larger theater section of the building.
(Color photos courtesy of Michael Padwee, unless otherwise noted)

 For many years an elevated train ran along Jamaica Avenue, and the top of this facade could only be seen clearly from the 168th Street train station.
Photo taken in 1956 by Frank Pfuhler at the 168th Street Station of the BMT Nassau Street/Jamaica Line, now demolished; http://www.nycsubway.org/perl/show?75581. 






Even though dingy, the blues and reds of the terra cotta carvings snap out at the passersby.








“Marcus Loew [...1870 –1927] was an American business magnate and a pioneer of the motion picture industry who formed Loews Theatres and Metro-Goldwyn-Mayer
(http://en.wikipedia.org/wiki/Marcus_Loew)
(MGM). ...By 1913, Loew managed several theatres in New York City… . ...In 1920, Loew purchased Metro Pictures Corporation. A few years later, he acquired a controlling interest in the financially troubled Goldwyn Picture Corporation… . Loew [needed someone to manage his Los Angeles companies and] recalled meeting a film producer named Louis B. Mayer and [hired Mayer and...] his Chief of Production, a former Universal Pictures executive, Irving Thalberg. ...Loew, Mayer, and Thalberg set about to create the world's premier film studio…, [MGM].”  (http://en.wikipedia.org/wiki/Marcus_Loew) 


The design of the Valencia Theatre followed the classic design of an early twentieth-century movie palace.
The exterior ticket booth.

 “Among [the movie palace’s] most distinguishing characteristics were its numerous appointments, lavish decorations, and enormous size.  ...All the iconographic features of the exterior of the movie palace were designed to make the front of the theater a ‘show window’ that invited the customer to attend the performance. The most common type of entrance consisted of a broad unobstructed recessed exterior vestibule or ticket lobby which was either open in the front or enclosed behind double glass doors.
Looking into the front lobby from the interior ticket booth vestibule.
The interior ticket booth.
The back of the exterior ticket booth.

 “[...This] vestibule had to provide ‘a generous and alluring glimpse of the interior' of the theater. ...The exterior and interior of the theater were lavishly decorated in a romantic but highly eclectic historic mode to distinguish it from the other buildings around it and to give it the stamp of legitimacy. With the help of materials like terra cotta and plaster, architects combined their own improvisations with exact reproductions of entire renowned buildings or parts of buildings to achieve their effects.”  (Charlotte Herzog, “The Movie Palace and the Theatrical Sources of its Architectural Style”, Cinema Journal, Vol. 20, No. 2, Spring, 1981)
MGM lions decorate the ticket booth vestibule.
MGM lions and the coffered ceiling.

 John Eberson (1875-1954), the architect of the Valencia, was born in Cernauti, Bukovina in Romania. He left this
(http://historicdetroit.org/architect/john-eberson/)
rural region to attend high school in Dresden, Germany and then moved to Vienna, Austria to study at the university in the vibrant period at the end of the nineteenth century when design innovation and fantastic theatricality were part of the city's culture. Eberson emigrated to the United States in 1901… .” (http://blog.timothypflueger.com/category/john-eberson/)  The “...theaters Eberson designed during the nineteen-teens were in the conventional style of the era. However, his Wichita Orpheum and Houston Majestic of 1922-1923 started a revolution as the first ‘atmospheric theatres’. ‘Atmospheric theaters’ were in many ways the first act of the show. They sought to pull the audience from the quotidian to a suspension of disbelief and state of impressionability. On the exterior, they resembled fantastic castles or Moorish palaces. Their interiors often suggested outdoor settlings such as gardens or grottoes.”  (http://www.victoriansecrets.net/eberson.html) “While other theater architects concentrated on creating evermore lavish interiors for their buildings, Eberson set about creating lavish exterior spaces within the walls of his theaters.
Auditorium photos.



“Instead of resembling oversized palace ballrooms, Eberson's auditoria were gardens-the interior walls like building exteriors with windows, balconies and sections of red tile roof all lavishly set with statuary and flower urns. Atop the garden walls were full sized artificial trees and vines which trailed down the facades.








“...The ceiling of an atmospheric theater was an unornamented plaster dome painted dark blue. Tiny electric lights arranged in constellation clusters twinkled through this finite ‘sky’* and electric projectors concealed behind pavilions and fountains created, with startling realism, the effect of floating clouds.” (Craig Morrison, “From Nickelodeon to Picture Palace and Back”, Design Quarterly, No. 93, Film Spaces (1974), pp. 13,15; http://www.jstor.org/stable/4090905) In a 1926 Tampa Tribune interview, Eberson explained how he got the idea for his “atmospheric theatres”. “I have been wintering in Florida for the past several years, and it is from this state that I got the atmospheric idea. I was impressed with the colorful scenes that greeted me at Miami, Palm Beach and Tampa. Visions of Italian gardens, Spanish patios, Persian shrines and French formal gardens flashed through my mind, and at once I directed my energies to carrying out these ideas.” (Christopher Gray, “ Loew’s Paradise Is Once Again Worthy of Its Name”, The New York Times, November 19, 2006; http://www.nytimes.com/2006/11/19/realestate/19scap.html?_r=0)    


 *[This “sky” still twinkles in the Valencia/Tabernacle!]

The front lobby.








The back lobby.


The Depression effectively ended Eberson’s “atmospheric theatre” designs, but he changed with the times. “By the time that the building climate improved in late 1935-1936, Eberson had fully metamorphized [sic] into the Fred Astaire of theatre design. His new ‘Classical Moderne’ style incorporated such art deco elements as streamlining, rounded corners, and sweeping marquees. His designs became ‘cool, restrained, and practically unadorned’, with ‘speed stripes’ and hard edges that led the eye to follow their lines. Instead of ceilings with projected clouds, his interiors featured sumptuous use of patterned color, with a bold geometrically patterned screen curtain as the individual hallmark of each theatre.” (http://www.victoriansecrets.net/eberson.html)   
Eberson’s Penn Theatre, Washington, DC. (Photo courtesy of “The Victorian Secrets of Washington, DC”; http://www.victoriansecrets.net/0)

 Although I do not know which terra cotta company made the polychrome exterior, I have been able to determine which tile company made the art tiles that adorn the walls, lobby fountain and floors of the Valencia. A number of the tiles on the walls are pictured in Norman Karlson’s Encyclopedia of American Art Tiles. 
Tiles in the front lobby.









Tiles in the back lobby.




The company that made the tiles was the American Encaustic Tiling Company, which had factories in Zanesville, Ohio, Los Angeles, and Perth Amboy, New Jersey. 
American Encaustic Tiling Company, picture post card canceled in 1912.

 It was the largest American tile company just before the Depression.
The wall of the lobby to the Men’s Room. I have one of the 6” square ship tiles in my collection.



There was one tiled fountain and pool in the back lobby, 






but there may also have been other, smaller tiled fountains in the back lobby and on the floor with the Men’s and Women’s rooms. These floors have tiled areas where there are now more modern fountains, or places where there could have once been a fountain or a food concession.
Floor tiles in the back lobby.

Tiles in the balcony lobby.
There is/was another “atmospheric” theatre built in Flushing, Queens, the RKO Keith-Albee Theatre, designed by Thomas Lamb in 1928, which contained thousands of Batchelder tiles and Batchelder-tiled fountains. It has lain deserted, and has been vandalized for decades, even after it was landmarked in the 1980s, then de-landmarked illegally so it could be developed. Compare the Loews Valencia as seen above with the Flushing RKO Keith’s Theatre photos:  http://www.wideimaging.com/Queens/Landmarks-Preservation/Flushing-RKO-Keiths-Theatre/8166185_DHZQqx#!i=466771971&k=gzKVjMh.

*****
I would like to thank the Tabernacle of Prayer Church, 165-11 Jamaica Avenue, Queens for preserving the exterior and interior of this historic building, and then for opening their church for architectural tours. Sister Forbes and her volunteers were very helpful and knowledgeable about the building’s history. A large thanks also goes to the Scouting NY blog which first brought attention to the Valencia Theatre and to the role of the Tabernacle of Prayer Church in the preservation of the building. It is partially because of the publicity generated by Scouting NY that the Church opened its doors to these tours.

Thanks to David Pirmann and his incredible website, NYCSubway.org, for permission to use Frank Pfuhler’s photo of the 168th Street El station from 1956. Sadly, Mr. Pfuhler died recently. And, thanks to Susan Tunick of Friends of Terra Cotta and to the Tile Heritage Foundation for their help.

*****

UPDATE to "ERNEST BATCHELDER IN MANHATTAN"

In October I posted an article about four buildings in Manhattan that had halls and lobbys covered with tiles made by the Arts and Crafts tilemaker/designer Ernest Batchelder. (http://tilesinnewyork.blogspot.com/2013/10/ernest-batchelder-in-manhattan.html) Two of those buildings were designed by the architect Emery Roth. The Real Estate section of the 26 Jan. 2014 New York Times had an article about Emery Roth's penthouse at 210 West 101st Street, Manhattan that was for rent (over $15,000/month!). Photos showed the apartment's tiled entrance lobby: http://www.nytimes.com/2014/01/26/realestate/emery-roth-lived-here.html?_r=0. One of the rental websites had other photos including one of the fireplace: http://www.blocksy.com/nyc/rental/9304610-210-west-101st-street-ph11#/0.
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