Cincinnati

The bi-annual New York Pier Antique Show was an event that Chris and I always looked forward to. We attended our last on in November, 2015. But due to increasing rental fees, the shows were discontinued in New York City soon thereafter.

November, 2015 – Chris heading to Pier 94 for our last Pier Antique Show. The interior of the pier as set up for the show.

Since then, we have traveled other places for similar shows. In 2019 we went to the DC Big Flea. And our friend Meg and I (Chris was in Vegas for a nephew’s birthday) attended the DC Modernism Show in 2022.

Last February, to kick off our 2024 Driving for Deco, Chris and I drove down to Cincinnati. Both to meet up with our friend Suzanne, and for the 20th Century Cincinnati Vintage Modern Expo. And for this trip, we decided to make it full out Art Deco. Starting by staying at the Hilton Netherland Plaza Hotel, and a planned tour of Union Terminal. Finally, stopping at the Xavier University Alumni Center on our way back home.

This was also the inaugural journey for our newest Freakin’ Tiquen mobile, Tachi (short for pistachio)!

Passing through Columbus, Ohio we drove by the LeVeque Tower. Originally built as the American Insurance Union Citadel in 1927, today it is a boutique hotel under Marriott ownership. And I imagine we will be staying there sometime in the future since Ohio is a place we often go “freakin’ tiquen”.

A couple of hours later and we pulled into the garage of the Hilton Netherland Plaza in downtown Cincinnati.

Hilton Netherland Plaza

Years ago I spent a Christmas Eve at the Netherland Plaza hotel, so I knew what to expect, but this was Chris’ first time to this wonderful Art Deco hotel.  The Netherland Plaza hotel is part of multipurpose complex that includes the Carew Tower and a shopping arcade.

HISTORY

Real estate developer, John J. Emery came up with the idea for the complex that included a hotel that would rival New York’s Waldorf-Astoria. To assist with the financing Emery partnered with William A. Starrett. The two decided to use Starrett Brothers as the general contractor using designs by W. W. Ahlschlager & Associates, which was the firm that designed the Roxy and Beacon Theatres in Manhattan and the City Place Tower in Oklahoma City, among other notable buildings.

Construction started in September, 1929 and might have ended with the collapse of the stock market just a month later. But to have more cash to put into the project, Emery liquidated his stock before the crash and the complex opened in early 1931 to great success.

The hotel’s interior public spaces are some of the best examples of French Art Deco design in the United States. In the 1960s many of the hotel’s original details were looking dated and were covered over with paint, plywood and vinyl wall covering and bland carpeting in an effort to modernize the interior.

With the revived interest in Art Deco in the 1970s and 1980s, the public spaces were restored to their original glory in 1981 at a cost of 28 million dollars. Thanks to the hotel’s meticulous restoration it is on the National Historic Register and earned National Landmark status. Alastair Duncan, in his seminal 1986 book American Art Deco had this to say of the Netherland Plaza –

                   Art Deco predominates among an eclectic mix of Beaux-Arts, rococo, and  Egyptian  Revival themes. The Art Deco was plucked unashamedly from 1925 Paris; designs by  Edgar Brandt, in particular, are repeated in balustrades, chandeliers, and the molded borders on the rococo-style ceiling murals. The Continental Room, the Hall of Mirrors,  and the Palm Court, the last mentioned with sea-horse torchères and a fountain in Rookwood Pottery, are replete with replicas of high style French art moderne. The lavish ambience, so unexpected in Midwestern America, continues to astonish today’s hotel  guests.

CAREW TOWER ARCADE

A hallway of tan travertine with black marble trim and a painted gold frieze connects the basement garage to the Carew Tower arcade. At the top of the tiered ceiling hang rectangular light fixtures of frosted glass. The wall is lined with brushed aluminum vent grilles of stylized flora and display cases also framed in brushed aluminum with modernistic finials.

From this hallway one can either take elevators directly to the hotel or enter the Carew Tower Arcade. Lined with shops, the two-story arcade entrances are framed in polychromatic Rookwood Pottery tiles of modernistic floral and geometric design.

Tan and black marble line the arcade topped by a marble framed aluminum geometric border. Above that is a tray ceiling with dark maroon painted plaster leading up to the silver leaf ceiling. Indirect lighting illuminates the ceiling, providing most of the light for the arcade. Diamond shaped, indirect lighting pendants hang from filagree brass medallions on the ceiling.

Separating  tan and black marble pilasters are panels of black marble inset with tan marble striated with strips of aluminum. Each of the these panels also features an  allegorical figure representing a modern industry.

The allegorical figures representing the Radio, Aviation and Automotive industries.

On our way to the lobby to check in, we passed these other Art Deco features.

Carew Tower Vent Grille and Mailbox

LOBBY

You are able to enter the hotel from several entrances. This is, perhaps, the most stunning of all. Deep teal walls offer a contrast to the gold accents and Roman Breccia Marble.

You can also enter from the side street.  It is to the right of the picture above.

To the left of the grand staircase, and through beautiful milled rosewood, is the hotel’s elevator bay. No surface was considered too unimportant. Note the etched design on the elevator doors.

Decorative elements abound as you head up the main staircase. Beautiful  sconces, and intricately carved wooden urns flank the staircase. And decorative brass floral metalwork act as low safety barriers where different floor levels meet.

At the first landing, guests can check themselves out and ensure they are looking their best. This dramatic mirror reflects hints at what is to come.

Indirect lighting offers a soft romantic feel throughout the main concourse of the hotel.

E. F. Caldwell & Co., the same company that made the lights for Detroit’s Fisher Building, were responsible for the many metal light fixtures in the Netherland Plaza.

THE PALM COURT 

The Palm Court, originally the hotel’s lounge, is today The 1931 restaurant and the Palm Court Bar. Two-and-one half stories high the space is spectacular. One can easily imagine being on a 1930s ocean liner while sipping a cocktail at the bar.

Lining the main room are eight floor to ceiling rosewood columns each with a brass wall sconce, providing indirect light for the restaurant and bar. Topping the wall space between the columns are ten French themed murals by Louis Grell (1887-1960). All of the murals feature a stylized outline of the Carew Tower in the background. Surrounding the murals are gold painted, plaster frames of highly stylized Art Deco flora and geometric shapes.

Dominating the far end of the Palm Court is a large ziggurat-shaped fountain topped by a ram’s head. Guarding the fountain are two large seahorses with lotus light crowns. The seahorses and the fountain were made by the Rookwood Pottery Company, and this level also serves as a stage for special occasions.

MEZZANINE

From the Palm court, there are several ways to access the mezzanine level. You can choose either of the stairs to the right and left of the fountain. Or, you can used the. stairs at the opposite end.

But it is from the mezzanine, you can truly appreciate the details of the chandelier suspended over the grand staircase, and the murals surrounding it.

From the mezzanine, you can really appreciate the artisan’s work. Whether viewing the court below or a having a better view of the individual murals. Soft lighting from column lights and sconces flank the stairway leading up to our next stop.

A glance back from the landing. The stepped, curved architecture frames the lower mezzanine’s floral carpet. This provides both a transition and a unification of different deco styles.

Note that the medallion duplicates the carpet’s motif.

THE HALL OF MIRRORS

One short flight up and we enter the Hall of Mirrors’ lobby. This open space is the reception area for guests. As such, there is little ornamentation compared to the lower mezzanine.

Just around the corner from the main reception area is an ornate bar. Molded pilasters decorate the walls and offer a natural divide for the soft tan, peach and taupe paint palette.  And, again, the graphic floral carpet.

I think someone is saying, “Hello!”

Back in the main reception room, either of the two semi-circular staircases lead to the two story Hall of Mirrors, originally the hotel’s main ballroom. The walls of the staircases are decorated with colorful and contemporary (1984) murals by artist Tom Bacher. They feature stylized views of Cincinnati and the paint is luminescent that glows when the lights are dimmed

Double doors lead onto a grand terrace overlooking the great room.

The dominant feature of the room is the large painted and gilded ceiling medallion. It offers a soft glow to the room rather than general task lighting.

Around the upper tier is a decorative brass guard rail. Also, as found elsewhere in the Netherland Plaza Hotel, low, decorative brass fences provide a barrier to changing levels and offer a level of protection to the large mirrors.

A view of the staircase clad in Roman Breccia Marble with brass accents descending to the lower level. Note the plaster reliefs on and under the balcony as well as on the walls.

A last look at the Hall of Mirrors from the lower level before heading off to a recently unearthed hotel treasure.

THE JULEP ROOM

Anthony found an article mentioning a recently uncovered artifact in the Julep Room. We knew the room in question was located near, and could be accessed from the Hall of Mirrors reception area.

A brief search of the lobby and we ascended the only possibility – a staircase off the far end. To be clear, this space is not off limits to guests; just not well known.

Outside the room is this interesting light fixture. This offered us a promise of what was to come.

This space was originally the hotel’s wedding chapel but after the repeal of Prohibition it was converted into a cocktail lounge. It is now used as a small meeting and reception room for up to 70 guests. And note the ever present floral carpet.

A fairly recent renovation uncovered a formerly unknown, fully milled Brazilian rosewood wall with a “frozen fountain” metal wall grille. This, like most of the 1960s renovations, relied on cover-up rather than tear-out. Thank goodness or this would be lost to time.

The room has eight beautiful sconces in the style of Edgar Brandt.  An octagon wood frame surrounds faceted glass. The floral overlay is cast aluminum with a drape spilling out of the frame and onto the wall.  Thankfully, these escaped being covered up or worse, being  removed during earlier “modernization”.

After exploring the Julip Room we went back to our room. Just a word about the accommodations. As stylish as the public spaces are, the room is, by comparison, utilitarian. High ceilings with plain clean walls, and crisp bed linens. The bathroom is modern with floating counters and a wall of mirrors.  We grabbed our coats and headed out for dinner.

IN THE NEIGHBORHOOD

After a full day exploring our accommodations, Anthony and I were hungry. There are plenty of restaurants to choose from within walking distance of the hotel.  However, most close around 8:00.

Guess what time we decided to eat?

We passed BRU Burger Bar several times. Mostly because we were looking for something other than a burger.

Time to guess again. Where did we end up?

If you guessed BRU, you guessed correctly. And it couldn’t have been a better choice. It has an industrial pub atmosphere with friendly and attentive servers.

And the food was delicious. So much, in fact, that we went back on our last night in Cincinnati!

There are Deco touches all around. Here are some photos taken during our walk back to the hotel.

It was a long drive from Rochester to Cincinnati, and with our bellies full from dinner, we were pretty tired. Soon after getting back to the hotel it wasn’t long before calling it a night and hitting the hay early. We wanted to be well rested for the next day, when we were meeting up with our friend Suzanne and hitting the 20th Century Cincinnati Vintage Modern Expo in Sharonville. But that is a story for part two of our 2024 driving for deco.

 

Chris and Anthony (The Freakin’, Tiquen Guys)

 

Unless otherwise noted all photographs were taken by the authors.

SOURCES

Written

Duncan, Alastair, American Art Deco, Harry N. Abrams, Inc., 1986

Walking Tour & Pocket History Netherland Plaza: Historic Hotels of America, National Trust for Historic Preservation

Online

historichotels.org