Category Archives: Architecture

Freakin’, Tiquen 2023 – Destination Detroit: Part Two – Tabernacles, Tables & Trays

 

Vintage postcard of Detroit Michigan.

Vintage postcard of Detroit, Michigan. Image from amazon.com.

Day two in Detroit. The only plans on our agenda for the second and third days of our Michigan trip were to hit some antique stores. Looking on line, several stores in the area seemed interesting, but more on that in a bit. When planning for the vacation, I Googled Art Deco Detroit and The National Shrine of the Little Flower Basilica popped up in my search list. Not knowing how much this stop would mean to Chris (I was fine with it – C.), I came up with a plan for the day. The antique stores in the area didn’t open until 11:00 AM, so we had time to stop at the basilica, take some photos and be on our way.

 

The National Shrine of the Little Flower Basilica

The National Shrine of the Little Flower Basilica in Royal Oak, Michigan.

The Charity Crucifixion Tower of the National Shrine of the Little Flower Basilica, Royal Oak, Michigan.

Not only is the Shrine a beautiful example of Art Deco architecture, it has another 1920s – 1930s connection that also interested me.

 

Sketch of the Shrine of the Little Flower from Pencil Points, September, 1935.

Prospective sketch of the National Shrine of the Little Flower Basilica in Royal Oak, Michigan. Image from Pencil Points, September, 1935.

Father Charles E. Coughlin

Father Charles E. Coughlin, circa 1935, during one of his radio broadcasts.

Father Charles E. Coughlin, circa, 1935. Photo from bbc.co.uk.

No post about the National Shrine of the Little Flower can be written without mentioning Father Charles E. Coughlin (1891 – 1979). Personally, I had been aware of Father Coughlin since I was in junior high school. Later, the more I read about the 1930s and the more I learned about him, an unsavory history emerged.

1938 photo of Father Coughlin.

Father Coughlin, 1938. Photo from wikipedia.com.

In the 1920s, Coughlin took to the airwaves as a way to teach catechism to children. He soon realized that it was also a great way to give sermons and to raise money for his new parish in the Detroit suburbs. Within a few years the tone of his sermons started to change from the spiritual to the political, especially as the depression worsened. Fervent anti-communist, he initially supported Roosevelt’s New Deal, seeing this as a way to combat the communist threat. Eventually he became disenchanted with FDR and the New Deal and used his radio platform of 30 million listeners to spread his message. He was also anti-Wall Street and anti-Semitic. These views were doing more harm to his church than good and he was eventually banned from the airwaves. Coughlin continued to serve the National Shrine of the Little Flower until his retirement in 1966, and passed away in 1979. Unfortunately his legacy is his  controversial and vitriolic political views and today he is known as “the father of hate radio”. But we did not visit the shrine to pay homage to Father Coughlin, we were there to see the magnificent Art Deco church that he helped to create.

 

Side elevation of the Shrine of the Little Flower.

Southern side elevation of the National Shrine of the Little Flower Basilica.

Operating continually in Royal Oak since 1926, Detroit Bishop Michael Gallagher chose Father Coughlin the task of establishing this Catholic parish in the largely Protestant community. The new church was named in honor of the recently canonized St. Thérèse de Lisieux, the Little Flower. This original chapel, a small wooden structure, burnt down in 1936.

Within two weeks of its opening, the Ku Klux Klan placed a burning cross in front of it. The church response to the cross burning was to build one they could not burn. Architect Henry J. McGill received the commission to design the new church. Construction took place in two phases. First came the Charity Crucifixion Tower, with construction beginning in 1929. The 104 foot limestone tower is adorned with sculptural figures designed by Rene Paul Chambellan (1893 – 1955). Using Chambellan’s plans the figures were executed by Enrico (Harry) Liva, an Italian stone carver of the Ingalls Stone Company located in Bedford, Indiana. The western facade features the 28 foot high figure of Christ. Immediately below the sculpture are Christ’s seven last words.

The western facade of the Charity Crucifixion Tower.

Charity Crucifixion Tower, Woodward Avenue facade. Featuring the Rene Paul Chambellan’s figure of Christ.

Just below the seven last words is a doorway with “Charity” and “Christ Crucified” carved above it. Items associated with the Passion surround the doorframe. This doorway opens to a pulpit at the center of the Tower’s base. The pulpit consists of five stepped stone slabs, each representing an Archangel, with Michael at the center. The entire tower stands on a base of polished granite.

 

Detail of the pulpit at the base of the Charity Crucifixion Tower.

Detail of the Charity Crucifixion Tower’s pulpit, showing the stepped stone slabs featuring the Archangels.

Framing the tower’s northwest and southwest corners are four more figures, also designed by Chambellan. On the northern corner there are representations of John the Apostle and the Virgin Mary. And opposite on the southern corner are Mary Magdalene and the Roman Centurion Longinus.

Crowning the tower are the symbols of the Four Evangelists, the Angel for Saint Matthew, the Lion for Saint Mark, the Ox for Saint Luke and the Eagle for Saint John.

 

Between the Charity Crucifixion Tower and the main body of the church is the Narthex.

The exterior wall of the Narthex.

The exterior of the Narthex

Covering the Narthex’s walls is Vermont granite, laid out in random ashlar. A ziggurat design made of Indiana limestone frames the doors and the windows. The doors leading into the Narthex are bronze and on each is a meaningful Catholic symbol. On the north entrance doors is a pelican and her hungry brood, while the other door is a ship.

 

The bronze doors of the north entrance to the Narthex.

The north entrance doors to the Narthex.

The header above the doors are decorated in a very modernistic style, in bronze and polished nickel and features a cross at its center. The header is framed by stepped polished granite that matches the foundation base and that is framed by ziggurat limestone.

Door and door header detail.

Detail of the door and door header, showing the pelican and ship motifs.

Window frames of bronze with flower design relief work are throughout the church. But the southern windows of the Narthex have a special feature. These windows are built out to form a conservatory for the preservation of flowers in the winter.

 

The built out conservatory windows on the southern side of the Narthex.

The conservatory windows on the south side of the Narthex.

A good amount of the money for the Shrine’s construction was raised from donations of listeners of the National Radio League of the Little Flower. It was originally intended to incorporate the seals of the 48 states on the exterior walls of the Shrine. Father Coughlin had the inspired idea to use state flowers instead and also to include the flowers and / or symbols of Hawaii and Alaska (still territories at the time of the Shrine’s construction), Puerto Rico, the Canal Zone, the Virgin Islands, the Philippines, the Dominion of Canada and Cuba.

 

Exterior Wall Kansas State Flower and Canal Zone plaques

Exterior wall showing the plaques of Kansas (lower left), Tennessee (right of the window) and the Canal Zone (upper right).

 

The main body of the church comprises of three wings with intermediate foyers. These foyers along with the Narthex, face the four points on the compass and are the church entrances. The exterior walls of the wings are constructed from the same limestone as the Crucifixion Tower. Two splayed-jamb designed to present radiant suns break up the limestone wall covering each wing.

The southern wall's exterior wing.

The exterior wall of the southern wing.

The northern and southern wing walls also have four very slender windows, pierced into the shape of a two edge sword of justice. These windows are the ventilators for the Confessionals.

Sword of Justice window and Confessional ventilator on the southern wing's wall.

One of the two Sword of Justice windows on the wing of the southern wall.

The majority of the exterior walls are covered in the same Seam-faced granite, from quarries in Massachusetts, laid out in coursed ashlar, the same as the Narthex.

The exterior wall of the church showing the Massachusetts granite laid out in coursed ashler.

Detail of the exterior wall of the church.

The tent shaped roof is faced with copper and nickel-chrome steel. The roof is capped by a crown surmounted by a golden cross. The crown also serves as ventilating grillage from the church.

Roof detail of the National Shrine of the Little Flower.

Detail of the roof, showing the ventilating grillage and golden cross.

The relief carvings over the foyer entrance represents the patron saint of some member of the Coughlin family. The saints depicted are Saint Amelia, Saint Thomas, Saint Charles and Saint Agnes.

The Saint Agnes relief over the Twelve Mile Road foyer entrance.

The relief of Saint Agnes above the Twelve Mile Road foyer entrance.

Now that we’re at the entrance, let’s go inside the church. The Narthex, originally planned to serve as a winter time chapel when crowds were smaller and to costly to heat the main church. The walls are line with Travertine marble, while Belgian marble bands the pillar and black marble terrazzo covers the floor.

Narthex original interior.

1936 photograph of the Narthex’s interior, showing the original lighting. Image from Shrine of the Little Flower: souvenir book, dedicatory volume.

Hand painted flowers originally decorated the ceiling and long, bent, flashed opal, etched Czechoslovakian glass lights ran its width. Vigil lights are bracketed to the columns with wrought bronze. These brackets harmonize with the delicate bronze gate leading into the Narthex’s sanctuary. At the base of the tower at the end of the Narthex is the Shrine of the Little Flower. The marble  full relief above the alter shows the Little Flower kneeling before the child Jesus seated on the knees of the Virgin Mary.

2023 view of the Narthex interior.

Contemporary photograph of the Narthex interior showing the Shrine at the base of the tower.

Through the years, a few changes have been made to the Narthex interior. The ceiling no longer has hand painted flowers or the Czechoslovakian, etched glass lights. Today a crystal chandelier hangs from the center of the ceiling.

Main floor plan of the National Shrine of the Little Flower.

National Shrine of the Little Flower main floor plan. Pencil Points, September, 1935, Pg. 464.

Because of the odd position of the property and various construction restrictions of the time, the architect, Henry J. McGill, had difficulty devising a plan for the church. After many schemes, McGill thought of expanding out the wings creating a form of a cross. Despite the church seemingly circular on the inside, from above one can see the cross shape. The tower is the base, the Narthex and altar the long beam and the two confessionals and main alter forming the cross arm.

The interior of the National Shrine of the Little Flower Basilica.

Inside the church of the National Shrine of the Little Flower Basilica.

The Nave’s main entrance is through two columns of Roman Breche marble standing on emerald-pearl granite bases.

Entrance to the Nave from the Narthex.

Main entrance to the Nave from the Narthex.

At the center of the church is the alter. Surrounding the alter are the pews. Because of the limited area of the plot the church is built upon, the wings have two levels which greatly increases the seating capacity.

Nave interior, main alter and ceiling decoration.

The interior of the Nave, showing both levels, main alter and ceiling decoration detail.

At twelve feet long, four feet ten inches wide and three feet high, the alter of Carrara marble and weighing eighteen tons, the alter was the largest in the United States at the time. A carved, gold leafed covered oak Baldachin hangs above the main alter. Suspended by eight bronze chains, originally draped with red damask valances. Today stained glass replaces the damask.

Baldachin Plan Drawing.

The plans for the Baldachin. Pencil Points, September, 1935, Pg. 469.

The Baldachin as it is today.

The Baldachin as it is today.

The Nave’s acoustical ceiling is painted with a modernistic design of rays and crosses. Early photos of the completed shrine show a plain ceiling. The painted design, although part of the original plan, was added a bit later.

Vintage postcard view of the Nave of the Shrine of the Little Flower.

Vintage postcard of the Nave of the Shrine of the Little Flower (circa 1936), showing the undecorated ceiling and the red damask of the Baldachin. Postcard from ebay.com.

On the eastern side of the Nave in the balcony is the pulpit. It is placed so it can be seen from every part of the church. The front of the pulpit features statues of six preacher-saints; St. Francis of Assis, St. Basil, St. Francis Xavier, St. Dominic, St. Paul and St. Anthony. These statues were carved by the firm of Jungwirth & Co. architectural sculptures and woodcarvers of Detroit. The canopy directly above the pulpit also houses a public address system.

The pulpit of the Shrine.

The pulpit showing the Jungwirth carved statues and the canopy / public address system.

Along the perimeter of the church, are five side chapels. These chapels form a crown around the main alter. Directly under the pulpit and opposite the Narthex is the Blessed Sacrament Chapel.

The entrance to the Blessed Sacrament Chapel below the pulpit.

The Blessed Sacrament Chapel.

The other chapels all feature an entrance with an arabesque carving in the shape of a perfect octagon.

Visiting the Shrine was a wonderful start to the morning. Should you find yourself in the area do not miss the opportunity to visit it, you will not be disappointed.

The Rectory of the National Shrine of the Little Flower.

The Rectory of the National Shrine of the Little Flower on Roseland Avenue.

After leaving the National Shrine of the Little Flower Basilica, it was time to go antiquing!

Vintage Eastern Market

Vintage Eastern Market

Vintage Eastern Market It doesn’t look like much from the outside but looks can be deceiving!

The first stop was Vintage Eastern Market. We had a bit of trouble finding this store as it is advertised at one address but had moved. Luckily, it was only a two block walk to get to the new location. The store front looks small. However, there are several areas off the main room each jammed packed with neatly displayed goods of all kinds.

Vintage Antique Market

Peek-a-boo! There’s something good here! I can feel it.

Vintage Market Antiques

A ready made deco fireplace

Anthony found and bought a 1935 Wolfgang Hoffmann smoking / side No. 100 table. It was designed for the Howell Company.

Wolfgang Hoffman side table

Wolfgang Hoffman side table

It has a chrome banded black Formica top supported by three chrome tubes on a stepped base. The top is 13 1/2 inches wide and 18 inches high. It is also very heavy (14 lbs). This table originally retailed for $6.00 (the equivalent of $134.75 in 2023). The asking price was good. But if you know me, it wasn’t quite good enough! A quick call to the vendor and he got a bit knocked off the asking price.

Howell Furniture Table No. 100 (1935)

Anthony’s TV room with Howell Table No. 100, designed by Wolfgang Hoffmann, in its new home.

While speaking with the shop keeper at the Vintage Eastern Market, we asked if there were any other store local that might have deco items. They mentioned a couple of places but felt Oddfellows’ Antiques store would suit us better than others.  Now, we passed this one on the way to the National Shrine of the Little Flower Basilica but it was closed. They said that store opens late and assured us it was now open.

Oddfellows’ Antiques

Oddfellows' Antiques

About to go into the Oddfellows’ Antiques

They also told us that Oddfellows’ stock is eclectic and leans more to mid-century. But they were sure to have some deco pieces.

It was just a short drive and on the same road as the shine.  This is a multi-floor business and we were pleasantly surprised.

The deco started at the first booth with a small stepped ashtray with chrome sailboat. Next up, a Homer Laughlin Tom & Jerry Punch bowl set followed by a display of some  Chase.

One vendor had an interesting chrome and ebonized wood triple plant stand / display unit. We liked it but ultimately passed. Mainly, we didn’t know where to put it and we realized it was just too long and not a practical design our needs.

Some dealers here display early American, deco, and mid-century all on one shelf. Other dealers organized item by style, era, etc… And still others piled things up in their booth like a Jenga.

It was in this last type of booth that I saw a tray. Made circa 1935 by Evercraft the “Finger Grip” has fluted chrome handles that aid in carrying your precious cargo of desired beverages. Initially Anthony passed on this but was a “possible” depending on what else we found.

Sure enough, in a different booth at the back of the store we found three Evercraft cocktail cups. The price was right for the cups and with the tray, (yes, we went back for it). Now, we are on our way to building a complete cocktail set.

Oddfellows' Antiques

Evercraft tray finger grip tray and unidentified Evercraft cocktail cups

The cups are apparently very rare and I was only able to find one example online but it offered no details about what they were called or actual year of production.

Evercraft giftware is not particularly difficult to find and is contemporary to Chase Copper & Brass and Revere giftware. It is good quality though perhaps not as good as Chase or Revere. However, it is equal in style to its competition. Evercraft never achieved the status of its rivals.

And more surprisingly, there is very little info out there about this company or their giftware lines.  In our opinion, Evercraft is worthy of collecting.

 

Heading downstairs we were excited to see what we would find – if anything.

Odd Fellows Antiques

A glimpse of the lower level

In my teen age years, I (Anthony) was an avid collector of Coca-Cola memorabilia. And although I more or less no longer collects it, there are some items I still seeks out, like the early straight-sided bottles and serving trays. So I was excited when I noticed that one of the dealers on the lower level had for sale a 1930 Coke serving tray. In 1930 Coca-Cola issued two style of trays (the last year they would do so), The one made for bottle distributors feature a young lady in a white bathing suit. And the tray for the soda fountain market featuring a lady on the phone and just above her is a quote: “Meet me at the soda fountain”. This is the tray that I came across at Oddfellows. Collectors referred to this tray as the “Telephone Girl”.

Odd Fellows Antiques

1930 “Telephone Girl” Coca-Cola serving tray.

As with all collectibles, condition effects the value. This tray is not in perfect condition. There is slight paint loss in the background of the image, along the rim and on the red boarder, and one corner is bent in.  But the seller’s price, originally $150 and marked down to $99, reflected its condition, and was more than fair.

Over the years some Coca-Cola trays have been reproduced (“Telephone Girl” isn’t one) and can fool novice collectors, here a few tips I have learned to distinguish an original from a repro.  The paint on original Coca-Cola trays in very vibrant. The gold paint is very metallic and is flecked. And the back of vintage trays is painted black. Along the bottom border of the image is marked with © COCA-COLA CO. and the year the tray was produced. Then comes the manufacturer (most Coke trays in the 1920s and 1930s were made by the American Art Works, Inc. of Coshocton, Ohio), and lastly MADE IN U.S.A. And finally my litmus test of an original tray – in the tail of the “C” in Coca is written TRADE MARK REGISTERED. All original Coke trays up till 1942 are marked this way. The tail of the “C” in reproduction trays is blank.

Detail 1930 Coca-Cola Tray

Detail of 1930 “Telephone Girl” Coca-Cola serving tray.

Across the aisle from the Coca-Cola tray, I (Chris) saw a beautiful unmarked art deco corner, curio table. The only draw back was the price. As lovely as it is, I just could not justify spending $295.00.  In a rare (read this as meaning never) moment of antiquing, Anthony actually encouraged me to haggle!

Deco display table at the Oddfellows' Antique Mall.

Deco display table in the lower level at the Oddfellows’ Antique Mall.

This is a delicate act. When haggling, you want to make a reasonable offer to your favor but not so low as to be insulting. I offered $200.00 and it was accepted.

Deco display table

Displaying our 1930’s C. Vuillermet ice bucket., Chase, and Revere.

As neither of us are carpenters, we are still trying to identify the woods used to create this. It is possible part bamboo strand tiger stripes or Madagascar rosewood, or Macassar ebony with either walnut and / or beech. Or, some combination of them.

Any wood workers out there? Your expertise is identifying the woods used is much appreciated. I can tell you it is a solid and well-built piece and in excellent condition. I would have kicked myself had I passed on this.

And there you have it. An exciting day for tabernacles, tables and trays!

Oh, my!

Anthony & Chris (the Freakin’ ‘Tiquen Guys)

Sources:

Emmett, Ric. American Art Deco Furniture. Buenos Aires, Argentina: Art Deco Pros Books, 2014.

Pencil Points, September, 1935

Petretti, Allan & Beyer, Chris. Classic Coca-Cola Serving Trays. Dubuque, Iowa: Antique Trader Books, 1998.

shrinechurch.com

Shrine of the Little Flower: souvenir book, dedicatory volume

Vanished New York City Art Deco – The International Casino

Thomas W. Lamb, Nicholas H. Weiss, Architects

Donald Deskey, Consulting Designer

1937 vintage postcard of the International Casino.

Vintage postcard of the International Casino and Wrigley sign, 1937. Image from knowol.com.

The International Casino, a huge streamline modern night club, dominated the east side of Times Square for a very short time (even by New York standards), in the late 1930s. Opening in the late summer of 1937, this largest of all Manhattan night spots, disappeared by the beginning of 1940. Situated on  Broadway between 44th and 45th Streets, the history of this site as an mega entertainment venue dates back to the 1890s.

 

Hammerstein’s Olympia

Hand tinted glass slide of Hammerstein's Olympia, circa 1895.

Hand-tinted glass slide of the Olympia Theater and Music Hall in New York City circa 1895. Image from wondersofthebible.org.

Breaking the north-of-42nd-Street, theatrical district boundary, impresario Oscar Hammerstein (1846-1919) constructed his Olympia complex. These became first theatres in Longacre Square.

1906 portrait of Oscar Hammerstein I.

Oscar Hammerstein I in 1906. Image from wikipedia.com.

The Hammerstein’s Olympia comprised of two main theatres.  The Olympia Music Hall with 2,800 seats on the north side of the building, and the Lyric Theatre with 1,700 seats  mirroring it on the south side.

Sandwiched between the two large theatres was the 600 seat concert hall. A glass enclosed Roof Garden, seating over 1,000, topped off the complex.  An Oriental Café, billiard pallor, and bowling alley were attractions in the building’s basement. And for only fifty cents ($17.74 in 2022) all this entertainment could be yours to enjoy.

 

The Roof Garden of Hammerstein's Olympia.

The Olympia Roof Garden, crica 1900, after it was renamed the New York Roof. Byron Company photograph. Image from mcny.org.

Opening on November 25, 1895, the Olympia offered customers a diverse range of entertainments, from concerts to vaudeville to musical theatre. Unfortunately, for Hammerstein, it proved to be a money losing venture. Within three years Hammerstein lost his Olympia. Sold at auction the by the New York Life Insurance Company, the three theatres reopened under separate ownership. Eventually, the Music Hall became the New York Theatre and by the mid-1910s would come under management of Loew’s Incorporated as a vaudeville and movie house. The Lyric was rechristened the Criterion and presented both legitimate theatre and movies until 1920 when it too switched exclusively to motion pictures.

 

And on the roof, the theatre rechristened the Jardin de Paris, played host to the first five editions of Florenz Ziegfeld’s Follies starting in 1907.

But within only a few years of Ziegfeld’s departure, the roof theatre also fell under the ownership of Loew’s. After the roof’s conversion into a movie theatre, Loew’s Roof and Loew’s New York Theatre found success by showing third run movies at bargain prices.

 

New York City and tastes in style change fast. Longacre Square became Times Square, which by 1920 had become Manhattan’s main entertainment district. And the complex once known as Hammerstein’s Olympia stood as a relic of the 19th Century. So when news of its demolition was announced in the spring of 1935, it surprised no one. Two days before demolition was to begin the New York Daily News ran the following article:

 

New York Daily News article announcing the start of demolition of the New York Theatre. June 8, 1935.

The New York Daily News, June 8, 1935, P31. Article from proquest.com.

 

While the New York Theatre and Roof were undergoing demolition the Criterion Theatre remained opened for another week or so. After the Criterion’s closing, the razing of the former Hammerstein’s Olympia began in earnest. It only took forty-four days to take the entire building down. By the summer’s end of 1935 nothing remained and the plot was ready for new construction.

The demolition of the Criterion and New York Theatres, 1935.

View looking northeast across Seventh Avenue and Broadway during the demolition of the Criterion and New York Theatres. Image from the NYPL Digital Collections.

 

The International Casino

Plans for the New York Theatre’s replacement hit the papers in late June. What was surprising, the new building would be much smaller than the existing one. The 1514 Broadway Corporation’s (the name refers to the building’s address) new entertainment center would only be two stories tall and would include shops, a new movie theatre and a large restaurant / nightclub.

 

Artist rending of the new building at 1514 Broadway.

Artist rendering of the new entertainment venue at 1514 Broadway. The image is from an article in the New York Herald-Tribune, June 23, 1935, Pg H1. Article from proquest.com.

Helping to off set the cost of taxes on such an expensive plot of land, the owners erected enormous steel work on the roof for a five story high advertising sign they would lease. Construction began shortly after the clearing of the site.

The announcement for the new night club hit the papers in late August, 1936.

Article announcing the new nightclub, New York Herald-Tribune, August 27, 1936.

Plans filed for new nightclub. New York Herald-Tribune, August 27, 1936, Pg 47. Article from proquest.com.

In 1933, due to the depression, a number of Broadway theatres were sitting vacant.  Showman Billy Rose converted two of them into night clubs, renamed The Music Hall and Casino de Paris. The following year the former Earl Carrroll Theatre found new life as  the French Casino. These three venues began the trend of enormous night spots featuring theatrical style stage shows.

The International Casino would be huge but newly built and not retrofitted into an existing space. And to design this mega nightclub Joe Moss hired famed architect Thomas W. Lamb (1870 – 1942) and his associate Nicholas H. Weiss.

Lamb made his reputation as the architect of major movie palaces. The Times Square theatres that Lamb designed were – the Strand (1914), the Rialto (1916), the Rivoli (1917) and the Capitol (1919). Each of these theatres became increasingly more elaborate. And like most theatres of the time relied on historic architectural styles for their decorative designs.

By the 1930s Lamb proved that he could keep up with new trends and design in the most up-to-date fashion. Lamb’s modern design work included the exuberant second Earl Carroll Theatre in 1931, Trans-Lux newsreel theatres, and the Pennsylvania and Capitol Greyhound Terminals in mid-town Manhattan.

 

Auditorium and left side of the proscenium arch.

Auditorium and left side of the proscenium arch. Image from The Architectural Forum, November, 1931, usmodernist.org.

The International Casino continued Lamb’s design work in the Streamline Moderne style. Unfortunately, the August announcement of a December opening was widely optimistic. December came and went and 1936 turned to 1937. The January 16, 1937 “Nite Club Notes” column of the New York Daily News informed readers that the International Casino would finally open on February 25, 1937. February came and went. Then in March, Chester King in his Brooklyn Daily Eagle column “Around the Tables” informed readers that Donald Deskey would be designing the decorative elements of the night club.

 

Donald Deskey hired to do the decorative work for the International Casino. Around the Tables with Chester King column, Brooklyn Daily Eagle.

“Around the Tables with Chester King” column from the Brooklyn Daily Eagle, March 19, 1937, Pg 14.

 

International Casino Designs by Donald Deskey

Industrial designer Donald Deskey, circa 1939.

Donald Deskey (circa 1939), industrial designer, interior architect, [and] painter, has designed pianos, billiard tables, clocks, silverware, oil burners, radios, glass, [and] slot machines. Introduced steel tube furniture in US, designed International Casino spiral bar, and decorations of Radio City Music Hall, and Hollywood Turf Club. Photograph from the Bettmann Collection, Getty Images.

The Cooper Hewitt, Smithsonian Design Museum’s collection contains many of Deskey’s drawings and papers for the International Casino. Whether the brown and red carpet design was used is unconfirmed. The carpet with the guitar and cocktail glass motif did cover the floor of the main restaurant.

Donald Deskey design for the auditorium carpet of the International Casino.

Design for auditorium carpet, 1937, brush and brown, red and black gouache, black crayon on off-white illustration board. Image from the Cooper Hewitt, Smithsonian Design Museum.

Deskey’s pattern of curvilinear, diamond shape forms highlighted a design trend starting to become popular in the late 1930s.

Donald Deskey design for the second floor restaurant carpet of the International Casino.

Design for second floor restaurant carpet, 1937, brush and brown, and tan gouache, on off-white illustration board. Image from the Cooper Hewitt, Smithsonian Design Museum.

Deskey’s design for the restaurant carpet is slightly more than just a little reminiscent of Ruth Reeves’ Radio City Music Hall grand foyer carpet Still Life with Musical Instruments. Deskey used the guitar and glass motif throughout his design for the nightclub.

 

But in the  end the “glass and guitar” motif was not chosen for the exterior signs.

The Opening

1938 night time view of the Broadway facade of the International Casino.

The International Casino at night with the enormous Wrigley’s Spearmint Gum sign on its roof, (1938). Photo from the Arthur W. Grumbine Collection, New York Historical Society.

The International Casino opening continually faced delays through the first three quarters of 1937. On June 19th the New York Daily News reported the nite spot would be opening around August 10th. But as the 10th approached it became apparent that  date  was too confident. An article in the New York Times on August 7th now said the International Casino would open on August 25th, with an elaborate Continental style show titled Bravo! and with George Olsen and his Orchestra providing music between shows. As the 25th neared the opening was pushed back to September 1st, which also did not happen. Next the 13th was given as the date for the long awaited opening. Unfortunately trouble with the stage mechanisms made the 13th impossible. Then the owners let the press know that September 17th would be the grand opening of the International Casino. And this time it happened, after so many delays the new Broadway nite spot finally opened its doors.

 

Newspaper advertisement from the New York Daily News for the opening of the International Casino, September 17, 1937.

The International Casino opens. Advertisement from the New York Daily News, September 17, 1937.

 

The Exterior

1937 daytime view of the International Casino.

Daytime view of Broadway looking north from 43rd Street toward the International Casino, 1937. Image from home movie on YouTube.

The November, 1937 issue of the Architectural Record said this about the exterior of the International Casino –

      With no daytime “elevation” to speak of, the Casino leaps into prominence at nightfall, topped by its 7-foot neon sign and encircled by three continuous lines of giant neon which marks the muntins of the building’s ribbon windows.

 

1937 nighttime view of the International Casino.

1937 nighttime view of the International Casino show the huge red neon sign and neon ribbons across the Broadway facade. A blue neon sign is above the entrance marquee. Image from home movie on YouTube.

 

Street Floor

The International Casino had two entrances, both small. Covered by a canvas awning, the lesser entrance on West 45th Street included the elevator to take guests up to the second floor.

Floor plan of the ground floor.

Floor plan for the International Casino’s ground floor. Image from Architectural Record, November, 1937, Pg 27.

 

Circa 1937 Wurts Bros. photograph of the International Casino and Crawford Clothing store at the southeast corner of Broadway and West 45th Street.

This circa 1937 Wurts Bros. photo of the southeast corner of Broadway and West 45th Street shows the Crawford Clothing store framed on both sides by the entrances to the International Casino. Photo from the Irma and Paul Milstein Collection, New York Public Library, Digital Collections.

 

Sandwiched between the Crawford Clothing store on the corner of West 45th Street and the Criterion Theatre to its right, was the International Casino’s main entrance.  Protecting the revolving and standard doors  from the elements was a long marquee with a curved end. Neon lights fitted inside cursive letters spelled out “International Casino” on the marquee’s three sides. The neon letters flashed on and off in alternation with the backlighting of the marquee.

Nighttime photograph of the Broadway entrance to the International Casino, circa, 1937.

INTERNATIONAL CASINO COCKTAIL BAR LIT UP ON A RAINY NIGHT. Photo by George Rinhart/Corbis via Getty Images

 

Looking at the revolving door main entrance towards Broadway.

Just inside the main entrance, looking through the revolving door out to Broadway. Image from the Life Photo Collection.

Once inside, the “spiral” bar and ground floor bar room greeted customers. The “spiral” bar’s name came from the fact that it ran the length of the stairs between the first floor and the mezzanine. This was not just a design gimmick, it satisfied the requirement of the New York State Liquor Authority which only allowed one standing bar per establishment.

Cross section design plan for the "spiral" bar of the International Casino.

Design plan showing the cross section of the “spiral” bar. Image from the Architectural Record, November, 1937, Pg 28.

The bottom of the 'spiral' bar just inside the main entrance.

The bottom of the ‘spiral’ bar. Robert M. Damora photograph from the Architectural Forum, November, 1937, Pg 385

 

Being arranged in a series of steps, drinking on the steep, slopping sections was made possible by small, draw out flaps. Making these sections of the bar usable brought its capacity up to 160.

Detail of the "spiral" bar showing the pull out flaps.

Detail of the “spiral” bar, showing the draw out flaps on the slopping section. Image from the Life Photo Collection.

The bar itself was made of white sycamore and East Indian rosewood, with railings of aluminum and bronze. The curved front of the bar gave it a very streamlined appearance, slightly resembling the front of a ship or locomotive. Like the all the furniture of the International Casino, the bar stools were of bleached ash and chrome-plated tube.

 

The front of the "spiral bar" looking up toward the mezzanine.

The ground floor showing the bar and looking up to the mezzanine. Photograph by Schnall from the Architectural Record, November, 1937, Pg 28.

Looking down the stairs and the "spiral bar" toward the main entrance on Broadway.

Looking down the “spiral bar” toward the main entrance. Photo by Schnall from the Architectural Record, November, 1937, Pg 28.

Squeezed underneath the stairs leading up to the second floor a long, leather covered bench and tables filled the right-side ground floor from front to the back. A large, moderne mural by Witold Gordon (1885 – 1968) decorated the wall behind the tables and bench.

Ground floor barroom, with Witold Gordon mural.

Ground floor barroom. Mural by Witold Gordon. Image from the Architectural Forum, November, 1937, Pg 388.

A special feature of the International Casino was the escalator (the first in a night club or restaurant) just inside the main entrance. So, in the event the staircase proved impassable due to people imbibing at the bar, the escalator would whisk one to the main (second) floor quickly.

The escalator of the International Casino.

The International Casino’s escalator. Looking up from the main floor to the mezzanine and second floor. Photo by Schnall from the Architectural Record, November, 1937, Pg 27.

Mezzanine

A modernistic fountain was the main decorative feature of the mezzanine. This fountain was basically a large chromium ball in a diagonal sheet of glass hanging from a mirrored plaque on the ceiling over a pool of water. Floodlighting gave the it a very theatrical appearance.

Tables for two arranged along the edge of the mezzanine looked down to the main entrance and up to the Cosmopolitan Salon. While in front of the pool and fountain were tables and a striped banquette. Here one could order drinks and light food while people watching patrons on the other levels. The table tops and the linoleum just inside the main entrance featured Deskey’s guitar and cocktail glass motif.

 

Looking down on the mezzanine and main floor from the second floor.

Schnall photograph of the mezzanine and main floor as seen from the Cosmopolitan Salon. Photo from the Architectural Record, November, 1937, Pg 28.

Main Floor

Floor plan of the main or second floor of the International Casino.

Main (Second) Floor plan of the International Casino. Image from the Architectural Record, November, 1937, Pg 27.

Taking up the entire second floor, the International Casino, gave customers two options for drinking, dining and entertainment, the Cosmopolitan Salon and the restaurant.

 

Cosmopolitan Salon

The top of the escalator at the cocktail room.

The top of the escalator. A Casino bellhop greets Louise “Teddy” Lynch and J. Paul Getty to the cocktail room on the opening night of the International Casino. Photo from the Bettmann Collection, Getty Images.

The Cosmopolitan Salon, was more than a bar, it offered food plus it had its own orchestra and dance floor.

Dancing in the Cosmopolitan Salon on the International Casino's second floor.

Couples dancing in the Cosmopolitan Salon of the International Casino. Image from the Life Photo Collection.

Its main area was located near the top of the stairs and escalator. But a section of the Salon with tables stretched along the length of the second floor at the front of the building. These tables provided guests with a view into Times Square, if the venetian blinds were open. Striped curtains and upholstery and some cocktail themed murals were the main decorative features of the space.

 

The mezzanine and the Cosmopolitan Salon of the International Casino.

Mezzanine looking up toward the Cosmopolitan Salon’s tables along the Broadway side of the building. Photo by Robert M. Damora from the Architectural Forum, November, 1937, Pg 388.

 

Corner of the Cosmopolitan Salon showing the cocktail themed mural.

The southwest corner of the Cosmopolitan Salon, showing the drink themed mural, by Witold Gordon, on the wall behind the guests. Image from the Life Photo Collection.

 

Showgirls from an International Casino revue sitting on the band stand of the Cosmopolitan Salon being judged in a face and feet beauty contest, 1938.

International Casino showgirls in being judged in a face and feet beauty contest, sitting on the Cosmopolitan Salon band stand, New York, New York, March 16, 1938. (Photo by Underwood Archives/Getty Images)

Just to the side of the entrance to the restaurant and on either side of the pantry’s door were two cashier booths to handle the checks of patrons of both the restaurant and Cosmopolitan Salon.

Cashier booth in the cocktail room.

Cashier booth at the edge of the cocktail room. Image from the Life Photo Collection.

Tucked into the northeast corner of the second floor were the coat check, elevator and restrooms.

The Restaurant

With a seating capacity of 1,200, the restaurant that took up most of the second floor’s space. As a restaurant the room was enormous, but as a fully equipped theatre it was on the small side. Stairways and platforms, mechanically lowered from the ceiling, increased the stage size during the floor show. Devoid of pattern and ornament, the restaurant relied on lighting and a wise use of color for creating the feeling of luxury.

 

The International Casino's main restaurant with a seating capacity of 1,200.

The International Casino’s restaurant, showing the dramatic semi-circular cove lighting of the ceiling. Robert M. Damora photograph, from the November, 1937 Architectural Forum, Pg 387.

The Architectural Forum of November, 1937 wrote this about the interior decorations of the International Casino’s restaurant –

     The lighting lines emphasize the width of the room which is also enhanced by the simple masses of color – terra cotta, red, gray blue and pale beige – unbroken by decorative panels. The subsidiary lounges are equally restrained in decoration, though their interrelation at the central stairway tends, inevitably, to be somewhat confused.

Looking towards the rear of the restaurant on a night of near capacity.

A busy night at the International Casino. The restaurant at near capacity with couples dancing on the stage between floor shows. Image from the Life Photo Collection.

Leaving the stage after a dance.

Dancers returning to their tables from the stage. Image from the Life Photo Collection.

Selling stuffed toys to guests dining at the International Casino.

Selling stuffed toy to guests dining at the International Casino. Image from the Life Photo Collection.

Wide angle view of the restaurant that clearly shows the projection booth.

The restaurant’s projection booth can be clearly seen in this photo just below the ceiling on the back wall. Photo by Schnall from the November, 1937 issue of the Architectural Record, Pg. 26.

Two alternating orchestras provided music for dancing before, between and after the elaborate show. Each evening a two hour plus revue was performed twice nightly at 7:45 and 11:45. While the International Casino did not have a cover charge, there was a $2.50 ($50.00 in 2023) minimum for each guest.

1937 – 1940

When the International Casino finally opened its doors in September, 1937, it was the new popular nightspot in Manhattan. But it was an expensive place to run. To potentially turn a profit, the Casino needed to be open from 11:00 AM – 4:00 AM.

 

New York Daily News advertisement for the International Casino.

International Casino advertisement, New York Daily News, February, 8, 1938, Pg, 36.

First to open, the “spiral” bar, street floor and mezzanine, served drinks and light food continuously till closing. This section had its own kitchen and pantries on the mezzanine level.

Customers having drinks at the street level section of the "spiral" bar.

Customers enjoying drinks at the street floor section of the “spiral” bar. Image from the Life Photo Collection.

Next to open in early afternoon was the Cosmopolitan Salon, serving lunch and tea to larger parties. It shared the third floor kitchen with the restaurant. Finally at 6:00 PM the restaurant opened its doors and ran continuously until closing.

The Shows

The revue that opened the International Casino, Bravo!, was a big hit, with a huge cast. While it opened with the Casino on opening night in mid-September, the stage did not become fully functional for another two weeks. Once the mechanical problems were worked out the improved show wowed the critics and public.  The Wall Street Journal said this about the improved Bravo! –

Review of Bravo! from The Wall Street Journal.

Review of Bravo!, The Wall Street Journal, October 1, 1937, Pg 13.

Scenes from Bravo!

Bravo! set the standard and style of the subsequent revues staged at the International Casino. The shows, glamour and the novelty of the this new show place / night club did bring the customers in, for a while. It averaged $65,000 a week for the first six weeks of operations. Then New Yorkers went else where and the out-of-towners did not arrive as expected. By New Year’s 1938-1939 the International Casino was in deep financial trouble.

1939 Closure

The International Casino suspends operations, New York Daily News article.

Article from the New York Daily News, January 12, 1939, Pg 41.

Theatrical producer Billy Rose made overtures to take over the International Casino. But Rose did not end up taking over Broadway’s latest white elephant. Later in January, the Casino announced it would be selling its equipment at a public auction on February 3rd. By mid-March the news hit that a Boston syndicate had taken a lease on the International Casino.

 

The New York Times article announcing the re-opening of the International Casino.

Article announcing the re-opening of the International Casino. New York Times, March 17, 1939, Pg. 28.

 

And with Alex Finn at the head of the take over, it was out with the old, in this case the moderne, and in with the new, meaning a nod back to the 1890s. Just a few blocks uptown at the Paramount Hotel, Billy Rose, was having great success with his 1890s themed restaurant / theatre, the Diamond Horseshoe. And to do the “olde tyme” make over, Finn brought in designer, Jac Lessman. Costing $100,000 ($2,105,000 in 2023), Lessman installed a new bar, restyled the second floor that included adding private booths at the side of the restaurant and new flower adorned, stepped walls on the staircases leading down to the stage. Not many photos have survived of this new International Casino, and the existing ones do not show much of a redesign inside the main restaurant.

The main restaurant on New Year's Eve, 1939-1940.

New Year’s Eve 1939-1940, the main restaurant of the International Casino. Not too much is changed from the original design that can be seen in this photo. Image from the Bettmann Collection – Getty Images.

As consistent with the history of the International Casino, the intended May 4, 1939 reopening date did not happen. It did finally reopen on May 25th. Unfortunately, between competition from the New York World’s Fair and other night spots, business remained about the same as before, good, but not enough to sustain the cost of running the enormous venue. Even though photos show a large crowd choosing to welcome 1940 at the Casino, it was too late.

Ringing in the New Year with dinner and dancing at the International Casino.

New Year’s Eve celebrators dancing at the International Casino. The new staircase walls can be seen on the right. Photo from the Bettmann Collection – Getty Images.

Less than two weeks after New Year’s, the International Casino, closed again.

New York Herald-Tribune article announcing the closing of the International Casino.

New York Herald-Tribune article announcing the closing of the International Casino, January 12, 1940, Pg. 11

The plan now was for another renovation, converting the night club into a ballroom. With a capacity of 4,000, admission would be in the  popular price range and feature the top name big bands of the day. The anticipated opening date was for sometime by the end of February or beginning of March. But the plan never came to fruition. It was over.  The International Casino was gone, and in less than two and half years since it opened. Within a few months, the owners of the building, the 1514 Broadway Corporation, would sell it to a very different type of business.

 

The International Casino's sign covered over by a Disney banner.

Summer of 1940, the International Casino’s sign covered over by a large banner for a Walt Disney film festival showing at Loew’s Criterion Theatre. Photo from the Showman’s Trade Review, August 10, 1940, Pg. 11.

Bond  Clothes

On May 4, 1940 Adda, Inc. purchased 1514 Broadway. Adda, Inc. just happened to be a subsidiary of Bond Clothes. Which meant that Bond would lease the 45th Street corner store and second floor from the Bond-controlled Adda, Inc. The new store, would not only be the largest store in the chain, it would be the largest men’s clothing store in the world.

Artist rending of the new Bond Clothes store in Times Square, from the Brooklyn Daily Eagle.

Artist rending of the new Times Square Bond Clothes store. Image from the Brooklyn Daily Eagle, August 20, 1940, Pg. 5.

Due to the stores location, this would not be an ordinary men’s clothing store. An $800,000 (the equivalent of nearly $17,000,000 today) renovation converted the space into the most modern and theatrical of clothings stores. The Exterior would feature a two story high sign spelling out Bond in pale blue neon with the “O” being a clock.

1941 photograph of Bond Clothes and the Loew's Criterion.

Bond Clothes and Loew’s Criterion Theatre, 1941. Photo from the Library of Congress Prints and Photographs Division.

While almost nothing was left of the interior of the International Casino, there were a few reminders of the past. The escalator (the first in a night club) still remained as did the tiered ceiling of the former restaurant. Also adding to the theatricality this new store were an elevator in a cylindrical shaft that resembled a giant pillar and a “flying staircase” built along the lines of a Gothic cathedral’s flying buttresses.

The ground floor of the Times Square Bond Clothing Store.

Bond Clothes, ground floor just inside the entrance on West 45th Street. Wurts Bros. photograph from the collection of the mcny.org.

More than 300 employees were on hand to greet customers when the doors opened for business on December 4, 1940. Twenty uniformed ushers were ready to take one to the departments suited to their size. This very large store had 26,000 suits and overcoats on display at all times. Within the first hour of the store’s opening, close to 400 suits and overcoats were sold. An estimated 100,000 persons entered the store by the 10:00 PM closing on opening day.

Looking down at the first floor.

Looking down at the first floor. Wurts Bros. photo from the mcny.org collection.

The former restaurant converted into a clothing store.

The former restaurant conversion into a clothing store. Wurts Bros. photo from the collection of mcny.org.

Bond Clothes found the success that eluded the International Casino. The store remained a Times Square fixture until 1977. In 1980 the space re-opened as the Bond International Casino, a large nightclub with a capacity of 1,800. Blondie, Grace Jones and The Clash are some of the notables that performed there. Another renovation in 1988 converted the space into two legitimate theatre venues, known as the Criterion Center. In 1991 the theatres were leased to the Roundabout Theatre Company. Toys “R” Us moved in after Roundabout moved out in 1999. This time the entire interior would be gutted for the renovation turning the space into a toy store, that included an indoor Ferris wheel.

The Times Square Toys "R" Us.

The north east corner of Broadway and West 44th Street. A Toys “R” Us occupies the building that once housed the International Casino. Image from Flicker.com.

The Toys “R” Us flagship store opened in 2001. But as the years passed and Broadway became a large pedestrian mall, Manhattan rents started to skyrocket. By 2015 Toys “R” Us could no longer afford the rent and closed the store in December, 2015. Today a Gap / Old Navy rents the building. And other than its location, nothing remains of the building’s original exterior or interior to make visitors to Times Square even suspect its often troubled and glamorous history.

2017 photo of Times Square.

The Gap / Old Navy flagship store under construction in this 2017 photograph. Image from alamy.com.

But let’s not end in present day Times Square. Here is a New Year’s Eve photo of Times Square ready to usher in 1938, when cars, taxi cabs, buses and streetcars  still traversed Broadway. And when, for a very brief moment, the International Casino was the place to go to enjoy a night on the town.

New Year's Eve 1938, Times Square.

Times Square, New Year’s Eve 1938. Photo from rmyauctions.com.

Anthony & Chris (The Freakin’, Tiquen Guys)

Sources: Architectural Forum; Architectural Record; The Baltimore Sun; The Bergen Evening Record; The Brooklyn Daily Eagle; The Buffalo Evening News; Cooper Hewitt, Smithsonian Design Museum; The New York Daily News; The New York Herald Tribune; The New York Times; Showman’s Trade Review; usmodernist.org; The Wall Street Journal.