1930's Archives - Driving for Deco

Last year Driving For Deco concluded its history of Homer Laughlin’s famous dinnerware Fiesta. This year we begin Fiesta 201, looking at their other lines related to Fiesta.

Fiesta Kitchen Kraft

A nice addition to any Fiesta collection is its half sibling line Fiesta Kitchen Kraft. These big, bold, colorful pieces look great in any 1930s or 1940s vintage kitchen. Fiesta Kitchen Kraft’s life was a short six years, from the spring of 1938 to early 1944. It ended when Homer Laughlin discontinued their Fiesta red glaze. Because of the short life span, most these pieces fall into the hard to find category. And pieces in excellent condition usually sell for high prices.

Oven Serve

OvenServe back stamp. From the collection of Chris Arena.

By the early 1930s, Homer Laughlin, had become one of the United States leading producers of china. Expanding their business they introduced OvenServe in 1933. And as the name implies these pieces were durable enough to withstand the heat of an oven and yet nice enough to be placed on the dinner table.

OvenServe sticker. Image from laurelhollowpark.net

Most of the pieces featured floral embossing and decals over white or ivory ceramic. Pieces in the OvenServe line include, custard cups, pie plates, casseroles, cake server, spoon and fork, nappy bowl and platters.

An OvenServe Daisy Chain covered casserole with the clematis decal.

OvenServe Daisy Chain covered casserole with the clematis decal and floral embossing typical of pieces from this line. From the collection of Chris Arena.

: Royal OvenServe bowl. The embossing is typical of Oven Serve pieces. Clematis decal. From the collection of Chris Arena.

: Underside of the Royal OvenServe bowl, showing the identifying ink stamp.

Only pieces with a platinum trim get the Royal OvenServe back stamp. On the bowl pictured above the trim is the thin stripe along bowl’s rim.

OvenServe pie plate and cake server decorated with the clematis decal. From the collection of Chris Arena.

: Royal OvenServe oval vegetable bowl with platinum trim and clematis decal. From the collection of Chris Arena.

: Underside of the oval vegetable bowl. Chris Arena collection.

Kitchen Kraft

Kitchen Kraft OvenServe back stamp. From the collection of Anthony L’Abbate.

Because of the success of OvenServe, Homer Laughlin designer Frederick H. Rhead expanded the line with new pieces and modification to others. Twenty pieces were modeled in March, April and May of 1937. Covered refrigerator bowls and a salad fork were new additions, while the remodeled pieces gave the line a fresh and modern look. Gone was the floral embossing, the new items would all have smooth surfaces. The only decorations on the Kitchen Kraft OvenServe pieces were two stepped rings under the rim of the bowls and casseroles and one ring on the cake plate and covered jars. Homer Laughlin introduced Kitchen Kraft at the New York Housewares show held between July 11 – July 17 at the Hotel Pennsylvania. The East Liverpool Ohio newspaper The Evening Review had this to say about the new line:

Newspaper clipping about the introduction of Kitchen Kraft at the NY Housewares Show, 1937

Homer Laughlin features Kitchen Kraft at the New York Housewares Show. The Evening Review, Pg. 3. July 9, 1937. Clipping from newspapers.com

Soon after the New York show, advertisement started appearing in magazines and newspapers. By autumn of ’37 Kitchen Kraft – OvenServe started selling in stores.

October, 1937 for Kitchen Kraft OvenServe from Springville, New York.

Advertisement for Smith Furniture Store announcing the arrival of Kitchen Kraft OvenServe pieces. Springville, New York. Springville Journal, October 7, 1937, Pg. 5. Clipping from newspapers.com.

These pieces were only available in white or ivory decorated with various decals.

Kitchen Kraft cake plate, Clematis decal.

Kitchen Kraft cake plate with Clematis decal. Chris Arena collection.

Set of Kitchen Kraft Oven Serve mixing bowls.

Set of the three sizes of Kitchen Kraft Oven Serve mixing bowls with the Clematis decal. From the collection of Chris Arena.

Kitchen Kraft cake plate in the Harmony pattern.

Kitchen Kraft cake plate in the Harmony (Deco Leaf) pattern. From the collection of Anthony L’Abbate.

A very popular series of decals featured Mexican themes, with Mexicana being the most popular. The bright colors of the decal matched well with the colors of Homer Laughlin’s most popular dinnerware Fiesta.

: Large Kitchen Kraft Oven Serve covered jar with the Mexicana decal. From the collection of Anthony L’Abbate.

: Showing the lid detail of the covered jar, featuring the Mexicana decal.

Medium and large Kitchen Kraft Oven Serve mixing bowls. Rim detail.

Medium and large mixing bowls with Mexican decal, showing stepped, two ring detail under the rim. From the Anthony L’Abbate collection.

: Covered Kitchen Kraft jug with Mexicana decal. From the collection of Anthony L’Abbate.

: Showing the Mexicana lid decal of the covered jug. From the Anthony L’Abbate collection.

Because of the immediate success of Kitchen Kraft, Homer Laughlin decided to create a subset line. The subset would be even more compatible to their best selling dinnerware. J.M. Wells, general manager of Homer Laughlin, decided to offer Kitchen Kraft glazed in four Fiesta colors (red, blue, green and yellow). These pieces would be inscribed with a new mark “Fiesta Kitchen Kraft”. The new line had its introduction at the January, 1938 Houseware shows in Chicago and Pittsburgh. Soon after stores began advertising its imminent arrival.

Ad for Donohue's, January, 1938 for the arrival of Fiesta Kitchen Kraft.

Donohue’s announcing the spring arrival of Fiesta Kitchen Kraft. Delaware County Daily Times (Chester, Pa.). January 27, 1938. Pg. 8. Clipping from newspapers.com.

And starting in the spring of 1938 Fiesta Kitchen Kraft was on store shelves.

Beginning in part two, Driving For Deco will start to look at the individual pieces that made up the line.

The Fiesta Kitchen Kraft inscribed mark.

The inscribed mark. From the collection of Chris Arena.

CLICK HERE FOR PART TWO

Anthony & Chris (The Freakin’ ‘Tiquen Guys)

CLICK HERE FOR PART TWO

Photograph of the entrance to the French Casino, 1937. Image from ebay.com

1934

By the end of 1934 the former Earl Carroll Theatre found the formula for success, with its conversion into the French Casino. But for most of the second half of the year, it sat empty. In July it looked as though a new enterprise would come to the rescue. The enormous theatre would undergo a conversion into a mixed entertainment venue.

Theatrical Notes, The New York Times, July 9, 1934, Pg. 18. Article from proquest.com.

For reasons now lost to us today, the plan for converting the theatre into the largest radio studio in the world never materialized. Instead a new entertainment trend was beginning. By the time the United States hit the rock bottom depths of the depression in the summer of 1932, many Manhattan theatres sat unused. The election of Franklin Roosevelt created hope and the economy started a very slow recovery. Repeal of prohibition in December of 1933 brought the speakeasy era to and end. Probably the most famous NYC speakeasies turned cafe society nightclubs were, 21 Club, The Stork Club and El Morocco. These typified Manhattan nightclubs, small spaces crammed into basements or brownstones.

: 21 Club, circa 1946: Richard Rodgers and his wife, lunching with friends in bar at “21” Club. (Photo by Eileen Darby/The LIFE Images Collection via Getty Images/Getty Images)

: 1933 postcard showing the main dining room of the Stork Club. Image from wikiwand.com.

: Visitors of the night club ‘El Morocco’ in New York celebrate the transition into the New Year 1936). Image from alamy.com.

With the combination of repeal and a seemingly recovering economy, the nightclub industry in New York City started to boom. New and larger venues were needed and empty theatres were perfect for conversion into large nightclubs. And with full stage facilities, providing elaborate shows was easy. In 1933 Continental Music Halls, Inc. took over the Hammerstein Theatre on Broadway and, directly adjacent to it on 54th Street, the Gallo Opera House. The Hammerstein became the Music Hall and the Gallo the Casino de Paris. Showman Billy Rose (1899-1966) oversaw the operations of both nightclubs and produced their shows.

: Billy Rose, circa 1935. Image from britannica.com.

: The former Gallo Opera House after its conversion into the Casino de Paris, circa 1934. Image from the book Lost Broadway Theatres.

French Casino producer, Clifford C. Fischer.

Producer Clifford C. Fischer (1882-1951) who staged the Folies Bergeres show at the Century Progress World’s Fair in Chicago was looking for a venue in Manhattan for his revue. The empty Casino / Earl Carroll Theatre proved to be the spot being three times the size of either the Gallo Opera House or the Hammerstein Theatre. The enormous stage facilities were perfect for his elaborate Folies Bergeres show. The New York Times ran this announcement –

Clifford C. Fischer article, New York Times, November 7, 1934, Pg. 33.

The New York Times, November 7, 1934, Pg. 33. Article from proquest.com

Christmas, 1934

Advertisement for the Folies Bergeres, the show that opened the French Casino. New York Herald-Tribune, December 24, 1934, Pg. 4. Image from Proquest.com.

On 10:00 P.M. of Christmas Day, the French Casino opened to the public. The remodeled interior consisted of some decorations applied to the black velvet walls. Tables replaced the seats in the orchestra and balcony. By enlarging and extending the stage into the house it became a dance floor between shows. New staircases extending down from the former box seats allowed guests in the balcony direct access to the dance floor. The enormous lounge under the balcony became a cocktail lounge. A new room length bar completed the space. This new cocktail lounge alone was nearly the size of the average Manhattan nightclub.

French Casino view from under the balcony looking toward the stage. Image from the Folie Parisienne program, collection of the author.

French Casino, view from the stage / dance floor, showing new staircase and wall decorations. Image from the Folie Parisienne program, collection of the author.

The former lounge underneath the balcony converted to a cocktail lounge of the French Casino. On the right is the newly installed bar. Image from the Folie Parisienne program, collection of the author.

The new nightclub and the Revue Folies Bergeres received excellent reviews. The French Casino immediately became the place to go for a night on the town.

New York Times review of the Revue Folies Bergeres, December 27, 1934.

Review of the Revue Folies Bergeres, New York Times, December 27, 1934, Pg. 25. Article from proquest.com.

Scenes from the Revue Folies Bergeres

: Image from mcny.org

: Image from mcny.org

: Image from mcny.org

: Image from mcny.org

1935 – 1937

As the economy continued its slow improvement during the mid-1930s, the French Casino remained a popular night spot. And celebrities were often seen in the audience. Which made the French Casino even more popular with the general public.

John Barrymore and friend at the French Casino. (Photo by NY Daily News Archive via Getty Images)

Mrs. John Jacob Astor, 3r. at the French Casino.

Mrs. John Jacob Astor 3rd is chatting with Robert Gardiner, and some of their friends at the French Casino here. Photo from Getty Images.

Jack Dempsey and Wife at the French Casino_Getty Images_Bettmann

Jack Dempsey, the Mansassa Mauler, and his wife, the former Hannah Williams, singer, are pictured in the French Casino. Soon Jack will open a restaurant of his own. Photo from Getty Images.

Over the next three years, the French Casino presented some of the most continental nightclub shows in Manhattan. Even the French Line’s S.S. Normandie was featured in the show. Folie Parisienne featured scenes at the boat train, on board and at customs on the pier.

Folie Parisienne program cover, French Casino.

Cover of the Folie Parisienne program. From the collection of the author.

: Folie Parisienne revue. Normandie boat train scene. Image from mcny.org

: Normandie scene from the revue Folie Parisienne, 1935. Image from the Folie Parisienne program, collection of the author.

The French Casino was such a success that the Clifford C. Fischer expanded the company by opening night clubs in other cities. Over the next couple of years French Casinos opened in Chicago, Miami and a London Casino in that city’s West End theatre district. Then in 1937 two events took place that would effect the fortune of the French Casino. First in August, the slowly recovering economy stalled and the United States slid back into a severe recession. Then less than a month later a new, large night club theatre opened in the heart of Times Square. The International Casino, after many delays, opened on September 17, 1937. It was huge, streamline moderne in design and it offered shows just as lavish and continental as the French Casino.

The International Casino, 1938. Located on the east side of Times Square between 44th and 45th Street.(Photo by Keystone/FPG/Getty Images)

The Interior of the International Casino.

New Year’s Eve 1939-1940 inside the International Casino. Photo from Getty Images.

The combination of the new night spot, a shrinking economy and over expansion from opening night clubs in other cities dealt a death blow to the French Casino. Without any notice the French Casino closed on November 20, 1937.

The New York Herald-Tribune article about the abrupt closing of the French Casino. November 23, 1937, Pg. 17. Article from proquest.com

After almost four years, the former Earl Carroll Theatre sat empty once again. But this was just a temporary situation. Soon into 1938 a new tenant decided to try his luck with the unlucky theatre.

1938

It’s time to welcome Producer Billy Rose back into the story. Rose who started the vogue of the theater/restaurant/nightclub back in 1933 with the Casino de Paris, moved into the former French Casino. In 1935 the success of the French Casino was the direct reason that those first two Billy Rose nightclub/theatres went out of business. Now Rose moved into the white elephant at 7th Avenue and 50th Street. The French Casino became the Casa Manana. For the Texas Centennial in 1936 Billy Rose was hired by Amon G. Carter to produce shows in a 4000 seat, amphitheatre / restaurant, the Casa Manana. It was very successful and popular remaining in operation even after the Centennial had passed. Now Rose decided to bring the Casa Manana to New York City. Just two months after the French Casino’s closing, on January 18, 1938 the Casa Manana opened its doors.

Advertisement for the opening night of Billy Rose's Casa Manana.

Advertisement for the opening night of the Casa Manana. New York Daily News, January 13, 1938. Clipping from newspapers.com.

The opening night show, Let’s Play Fair spoofed the up coming 1939 World’s Fair. Like the French Casino, the Casa Manana was off to a successful start. It was not unusual to spot celebrities in the audience.

Edward G. Robinson and wife with Claire Trevor at the opening of the Casa Manana.

Claire Trevor joins Edward G. Robinson and wife for the opening of the Casa Manana. Image from Getty Images.

Daily News review of the Casa Manana's opening night.

Review of the opening of the Casa Manana. New York Daily News, January 19, 1938, Pg.47. Clipping from newspapers.com.

Billy Rose and Eleanor Holm in the lounge.

Billy Rose and Aquacade swimming star and the future Mrs. Rose, Eleanor Holm relaxing in the Casa Manana lounge. Image from Getty Images.

Outside of some fresh paint the interior remained basically unchanged.

The Casa Manana stage and dance floor. The proscenium arch was little changed from the days when it was the Earl Carroll Theatre. Image from the Bill Morrison Collection – Shubert Archive.

Casa Manana auditorium. Daily News Collection – Getty Images.

1939

The new year began well for the Casa Manana, with shows generally receiving good reviews and audiences still filling the large nightclub. But with the upcoming World’s Fair and Billy Rose getting his Aquacade ready, the quality of the shows in the spring started to lessen. So the inevitable of course happened. In mid-June Billy Rose closed the Casa Manana. After just a year and a half the large theatre sat vacant once again.

The closing notice for the Casa Manana. New York Daily News, June 13, 1939, Pg. 41. Clipping from newspapers.com.

1939 – 1940

For the rest of 1939 many items appeared in the newspapers about what would happen next to the former Earl Carroll Theatre. George White showed interest in leasing the space to stage another revue of his, but it did not happen. Then, pretty much to everyone’s surprise just before New Year’s 1939/1940 The French Casino moved back into its old home. Song writer / producer Lew Brown reopened the place with a variety show. But this show was nothing like the continental revues that Clifford C. Fischer produced during the French Casino’s heyday.

The French Casino reopens. The New York Daily News, December 27, 1939, Pg. 43. Clipping from newspapers.com

And pretty much to no one’s surprise, it was not long into 1940 that this new version of the French Casino, closed. The owners, Haring and Blumenthal, must have been fed up with show business. By the summer, looking around for a new tenant, they made it known that they would not refuse a commercial business a lease. And that is just what happened.

New article announcing a five and dime to move into the former Casa Manana site.

The New York Daily News, May 23, 1940, Pg. 48. Clipping for newspapers.com.

In preparation for the conversion of the former Earl Carroll Theatre / Casino Theatre / French Casino / Casa Manana into a retail space, the six story building fronting 7th Avenue was demolished in the summer. It would be replaced by a two story “taxpayer”. A “taxpayer” is a small two, or three story building constructed to cover the property taxes.

: Looking east across 7th Avenue, August, 1940. Image from NYPL Digital Collection.

: Looking east along 50th Street, summer of 1940. The Roxy Theatre is on the left, and the R.C.A. building can be seen in the background center right. Image from NYPL Digital Collection.

: The six story office during demolition. Looking south east down 7th Avenue. Image from NYPL Digital Collection.

On August 28, 1940 Variety ran an article announcing the new tenant for the former Theatre/nightclub.

The former Earl Carroll Theatre becomes a Woolworth's.

Variety, August 28, 1940, Pg. 45. Clipping for proquest.com.

Finally Haring and Bluementhal found a successful tenant. Woolworth’s moved in by the end of 1940 and stayed for the next 50 years.

Looking south east along 7th Avenue at the 1940 two floor taxpayer built on the former six story office building site, 1956. Photo from CInema Treasures.

The lobby was completely demolished. But the auditorium partially survived. The orchestra floor and balcony were completely torn out. New walls and a drop ceiling were installed and the stage was blocked off. But above the drop ceiling some of the original 1931 theatre remained. Some black velvet still survived on the walls, the original proscenium light fixtures and the top of the proscenium arch were there. And beyond that, most of the backstage facilities remained intact and unused. The dressing rooms sat empty and abandoned. Some of the black and buff modernistic brick work was still visible on 50th Street.

: The remains of the proscenium arch, 1988. From the book Lost Broadway Theatres.

: What was left of the back of the upper auditorium, 1988. From the book Lost Broadway Theatres.

: Dressing room, 1988. From the book Lost Broadway Theatres.

Color photograph showing proscenium, ceiling and sidewall detail (1988). Image from the book Lost Broadway Theatres.

Looking east on 50th Street towards the former Earl Carroll Theatre / French Casino. 1980 NYC tax photo.

But nothing in Manhattan is forever. Even Woolworth’s passed from the scene. Finally in 1990, the Woolworth’s at 7th Avenue and 50th Street was demolished and with it what was left the second Earl Carroll Theatre.

The second Earl Carroll Theatre at 7th Avenue & 50th Street. View looking Southeast. Image from Getty Images / New York Historical Society.

Last year Driving For Deco concluded its history of Homer Laughlin’s famous dinnerware Fiesta. This year we begin Fiesta 201, looking at their other lines related to Fiesta.

Fiesta Kitchen Kraft

Oven Serve

Most of the pieces featured floral embossing and decals over white or ivory ceramic. Pieces in the OvenServe line include, custard cups, pie plates, casseroles, cake server, spoon and fork, nappy bowl and platters.

Only pieces with a platinum trim get the Royal OvenServe back stamp. On the bowl pictured above the trim is the thin stripe along bowl’s rim.

Kitchen Kraft

Soon after the New York show, advertisement started appearing in magazines and newspapers. By autumn of ’37 Kitchen Kraft – OvenServe started selling in stores.

These pieces were only available in white or ivory decorated with various decals.

A very popular series of decals featured Mexican themes, with Mexicana being the most popular. The bright colors of the decal matched well with the colors of Homer Laughlin’s most popular dinnerware Fiesta.

And starting in the spring of 1938 Fiesta Kitchen Kraft was on store shelves.

Beginning in part two, Driving For Deco will start to look at the individual pieces that made up the line.

CLICK HERE FOR PART TWO

Anthony & Chris (The Freakin’ ‘Tiquen Guys)

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Like this:

CLICK HERE FOR PART ONE

CLICK HERE FOR PART TWO

1934

Christmas, 1934

The new nightclub and the Revue Folies Bergeres received excellent reviews. The French Casino immediately became the place to go for a night on the town.

Scenes from the Revue Folies Bergeres

1935 – 1937

As the economy continued its slow improvement during the mid-1930s, the French Casino remained a popular night spot. And celebrities were often seen in the audience. Which made the French Casino even more popular with the general public.

Over the next three years, the French Casino presented some of the most continental nightclub shows in Manhattan. Even the French Line’s S.S. Normandie was featured in the show. Folie Parisienne featured scenes at the boat train, on board and at customs on the pier.

The combination of the new night spot, a shrinking economy and over expansion from opening night clubs in other cities dealt a death blow to the French Casino. Without any notice the French Casino closed on November 20, 1937.

After almost four years, the former Earl Carroll Theatre sat empty once again. But this was just a temporary situation. Soon into 1938 a new tenant decided to try his luck with the unlucky theatre.

1938

The opening night show, Let’s Play Fair spoofed the up coming 1939 World’s Fair. Like the French Casino, the Casa Manana was off to a successful start. It was not unusual to spot celebrities in the audience.

Outside of some fresh paint the interior remained basically unchanged.

1939

1939 – 1940

On August 28, 1940 Variety ran an article announcing the new tenant for the former Theatre/nightclub.

Finally Haring and Bluementhal found a successful tenant. Woolworth’s moved in by the end of 1940 and stayed for the next 50 years.

But nothing in Manhattan is forever. Even Woolworth’s passed from the scene. Finally in 1990, the Woolworth’s at 7th Avenue and 50th Street was demolished and with it what was left the second Earl Carroll Theatre.

Anthony & Chris (The Freakin’, ‘Tiquen Guys)

Sources: Lost Broadway Theatres, New York Times, New York Herald-Tribune, New York Daily News, Variety.

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