Tag Archives: Art Deco

Vanished New York City Art Deco: The Airlines Terminal

Today with ultra tight airline security such a building couldn’t exist. But back when flying was for the wealthy and the most glamorous form of travel, a building in the middle of Manhattan matched that glamour. The Airlines Terminal made getting to the brand new New York Municipal Airport-La Guardia Field in the borough of Queens easier.

 

Post Card view of the Arilines Terminal. Airlines Terminal Vintage Postcard. Circa 1941

 

Located at the southwest corner of Park Avenue and 42nd Street, the Airlines Terminal stood on the site of the Hotel Belmont (1906). The Belmont closed its doors in 1930. Torn down in 1931, a beer garden occupied the site for a short time in 1933. Other than that for most of the decade the site remained vacant.

 

The Belmont Hotel on 42nd Street. A postcard of The Hotel Belmont.

 

Demolition of the Hotel Belmont. The demolition of the Hotel Belmont in the summer of 1931. Photo: Digital Collection

 

Plans for the Airlines Terminal building at 80 East 42nd Street became public in September of 1939. Architect John B. Peterkin’s (1886 – 1969) design for the five-story building is best described as modern classical. The terminal consolidated the reservations, ticketing and baggage handling for the five major American airlines (American, Eastern, TWA, United and PamAm). Other facilities planned for Airlines Terminal were a restaurant, stores on the ground level and a 600 seat newsreel theatre.

 

Construction of the terminal began in the fall of 1939, with May, 1940 scheduled for the opening. The New York Herald-Tribune reported on September 12, 1939:

 

           The building will be of limestone on all street frontages and will incorporate many new devices, including automatic elevators for the airline buses, inclosed and separate from the rest of the building. The building will have mechanical ventilation throughout. Two street levels, one on Forty-second Street and the other on Forty-first Street, will permit the terminal to be on the grade floor on Forty-first Street, where the buses will take passengers to and from the flying fields. The terminal will be reached by two large escalators from the entrance on Forty-second Street.

 

Airlines Terminal construction site. 42nd Street construction site of the future Airlines Terminal. November, 1939. Photo: NYPL Digital Collection

 

The Airlines Terminal steel frame construction was noteworthy for its use of welding instead of riveting.  Shortly before it went up,  the Herald-Tribune reported on January 19, 1940:

 

               The steel frame of the new Airlines Terminal  to be erected on the site of the old Belmont Hotel at Park Avenue and Forty-second Street will be welded. John B. Peterkin, architect announced yesterday. No riveting will be used, either in the shop or on the site, to assemble the frame. The structure, which will rise five stories about the street level and extend four stories below, will require about 1,300 tons of welded steel. If riveting had been adopted, Mr. Peterkin said, 150 additional tons of steel would have been required. Work will be started in a few days.

 

In early 1940, while still under construction, the Airlines Terminal size was enlarged. The March 3, 1940 New York Times reported:

 

              The space to be occupied as a terminal has been doubled under a new arrangement without increasing the size of the building. Originally, the terminal itself was to be only on the street level on Forty-first Street and reached by an escalator from Forty-second Street. Now a lower floor will be taken by the terminal, giving it one floor for incoming passengers an another for outgoing. The airlines decided to enlarge their ticket and reservations facilities because of the great increase in flying by the American public and because of the success of the trans-oceanic clippers. When the terminal first was conceived in the early part of 1938 it was believed that a single floor of facilities would take care of all the requirements for many years. Developments since then have proved otherwise.

 

The steel frame of the Airlines Terminal the day the cornerstone was laid. April 22, 1940. The cornerstone ceremony. Photo from the New York Times, 4/23/40

 

 

Newspaper construction photo of the Airlines Terminal. The Airlines Terminal under construction. July, 1940. Photo from the New York Times.

 

Mayor Fiorello La Guardia laid the Airlines Terminal cornerstone on April 22, 1940. But the enlargement of the building delayed it’s opening. The New York Times reported the following day that the new planned opening would be in September. Then September came and went. A gala dedication dinner announced for December 17th got pushed back into the new year. On December 28, 1940 a jurisdictional dispute between two unions over telephone wiring threatened to further delay the opening. Members of the United Telephone Organization went on strike, halting work on the installation of telephones and switchboards. Due to the hard work of mediators the strike came to a quick end on December 30th. Finally on January 8, 1941 the gala dedication dinner was held, even though the terminal still needed its finishing touches completed. Speakers at the dinner included Mayor La Guardia and Juan Trippe, founder of Pam American Airways.

 

 

Almost three weeks following the gala dinner at 12:01 A.M., January 26, 1941 the doors opened for business. Twelve hours later Mayor La Guardia made an official visit to the terminal. Accompanied by his two children and a friend the mayor inspected the air line buses and the huge elevators that lifted them to the second floor. According to the New York Hearld-Tribune, January 27, 1941:

 

           “The mayor stopped to admire the mural in the rotunda. Made of cast aluminum it showed an eagle in flight beside a man. The symbolism of the mural as explained to the mayor is the eagle must have wings to fly, but man soars through his intellect. What Mayor La Guardia saw during his visit evidently pleased him, for he told John B. Peterkin, terminal architect: ‘You’ve done a fine job.'”

 

Airlines Terminal 1941 Airlines Terminal Park Avenue and 42nd Street. View looking Southwest, 1941. Photo NYPL Digital Collection

 

The symmetrical facade, devoid of almost all decoration, stood in modern contrast to the Beaux-Arts architecture of Grand Central Terminal directly opposite on 42nd Street. Otto Bach created the polychromatic stainless steel mural of the world set above the concave main entrance. This provided not only a grand gateway to the building itself but also symbolically to the airport and the world beyond.

 

Entrance Detail of the Airlines Terminal Detail of the Airlines Terminal showing the entrance and Otto Bach’s mural. Vintage Post card.

 

Main Entrance of the Airlines Terminal Detail: Airlines Terminal main entrance. Wurts Bros. Image – Museum of the City of New York.

 

Equally important in the exterior design was Rene Chambellan’s (1893-1955) decorative carvings and eagles sculpture and light fixture. The out stretched wings of the eagles supported the lantern and the 80 foot flag pole made of Oregon pine. The lantern originally flashed alternating green and amber light through filters, illuminating and dimming every 10 seconds.

 

Rene Chambellan's eagle sculpture and lantern. Detail of the Eagle Sculpture and Lantern, by Rene Chambellan.

 

Very few images of the interior exist of the Airlines Terminal. Because of the lack of photographs the best description of the inside of the building comes from the New York Times – January 5, 1941:

 

    New Airlines Depot
    Gay Decorations and Modern Mechanisms Give It an Arabian Nights Atmosphere
                             Walls of Gold. At the head of the escalator the traveler or sightseer will gaze south through a great oval salon. The ceiling is an elongated dome, sky blue and richly beautiful. One-eighth of an acre of stainless steel colored with pure gold makes up the first thirty perpendicular feet of wall all around the rotunda below the azure dome. Giant figures of a symbolic man and bird in flight (in aluminum) dominate the upper wall ends. Ticket offices of the various airlines occupy wall spaces below the upper golden sidewall.
                                 The circular information booth is located in the center of the rotunda floor. But in this one the four-faced clock is mounted at the intersection of right-angled wings of light-transmitting plastic eleven feet high. They are the largest sheets of this magic material ever produced. Edges of the wings are feathered to emit the inner light.

 

 

Airlines Terminal Rotunda. Airlines Terminal Rotunda. Showing circular information booth with illuminated plastic wings before the installation of the clock. Photo from the New York Times.

 

Photo postcard of the interior of the Airlines Terminal. Vintage postcard of the Airlines Terminal rotunda. Photo by William Hoff.

 

 

Escalator to the rotunda. Escalators just inside the Airlines Terminal main entrance on 42nd Street. Wurts Bros. Image – Museum of the City of New York.

 

The Airlines Terminal was an immediate success. Service to Newark Airport began shortly after its opening. After the end of the Second World War traveling by air started to gain in popularity. By the end of 1946 the terminal was serving between 11,000 and 12,000 people each day. As a result a small adjunct office opened on 42nd Street under the Park Avenue viaduct in Pershing Square. Approximately 235 12 passenger buses were leaving from the 41st Street ramps at the back of the terminal, with another 60 leaving from the smaller Pershing Square station per day. Then to make matters worse New York International Airport (better known as Idlewild and since 1963, JFK) in Queens opened in 1948.

 

 

Vintage photo postcard of the Airlines Terminal rotunda. Vintage William Hoff Postcard – Airlines Terminal interior detail showing rotunda entrance to the airport limousines. Rene Chambellan’s aluminum sculpture above the door.

 

 

Airlines Terminal limousine ramps. Limousine ramps and airport limousines in the basement of the Airlines Terminal. 1/22/41. Photo from Getty Images.

 

The increase of passengers of course resulted in an equal increase of airport buses on midtown streets. To reach the two Queens airports buses leaving the terminal had to travel a few blocks southeast to get into the Queens-Midtown Tunnel. If the traffic to Queens was bad, getting to Newark Airport was even worse. New Jersey bound buses would drive  on congested crosstown streets before entering the Lincoln Tunnel. Unfortunately the solution to the problem would eventually doom the 42nd Street building.

 

 

Airlines Terminal, 1951. Airlines Terminal March 8, 1951. Wurts Bros. image – Museum of the City New York.

 

In July, 1951 an announcement came that a new Airlines Terminal at First Avenue between 37th and 38th streets would open by 1953. The new location was directly across 37th Street from the entrance to the Queens-Midtown Tunnel. When the new terminal opened on November 30, 1953 all bus service transferred to the new east side facility. Even buses to Newark would leave from the East Side, at least temporarily. As a result the original Airlines Terminal on 42nd Street  became to a reservation service center only.

 

Vintage postcard of the East Side Airlines Terminal. Vintage postcard of the East Side Airlines Terminal. Circa 1955. The trees at the bottom left hide the entrance to the Queens-Midtown Tunnel.

 

East Side Airlines Terminal Interior of the East Side Airlines Terminal.

 

 

Before the east side terminal even opened to the public construction started on the West Side Airlines Terminal. The new facility would serve Newark Airport exclusively. At 42nd Street and Tenth Avenue, the new terminal had easy access to the Lincoln Tunnel. With the opening of the terminal on September 15, 1955, travel time to Newark reduced to only 21 minutes.

 

 

West Side Airlines Terminal West Side Airlines Terminal – 42nd Street & 10th Avenue. View looking South East across 10th Avenue. Photo: Getty Images.

 

 

West Side Airlines Terminal Interior of the West Side Terminal on its closing day, August 27, 1972. Photo: Getty Images

 

 

Comparing the two new terminals to the original one shows how much changed in less than 15 years. By the mid-1950’s air travel had become more commonplace than it was before the Second World War. While still thrilling, it lost some of its glamour and the architecture of the new terminals reflected that change. Gone were the symbolic murals and decorative metal work. Utilitarian is the best adjective to describe the interior decoration of the new facilities.

 

As a result of the two new terminals, the name of the original needed to change. In 1954 the Airlines Terminal on 42nd Street became the Airlines Building.

 

Airlines Terminal. Pre – 1954 Facade Engraving.

 

Airlines Terminal Building. 1954  from terminal to building and reduced importance.

 

And there were other changes too. Because of loss of patronage at newsreel theatres in general, the Airlines Terminal theatre became a first run art house for British and foreign films in May, 1949. But the change in programming was not enough to save  it from closing. By October, 1955 the space once occupied by the theatre was converted into a Horn & Hardart’s Automat.

 

Newsreel Theatre, Airlines Terminal Airlines Terminal Newsreel Theatre, Circa 1941.

 

 

The Airlines Building Automat Detail: An Automat in the space once occupied by the newsreel theatre. 1955.

 

Automat in the Airlines Building. The interior of the Airlines Building Automat, where once the news of the day was served now it is pot pies and coffee. Circa, 1955. NYPL Digital Collection

 

 

October, 1955 Airlines Building Airlines Building, October 20, 1955. Wurts Bros. Image – Museum of the City of New York.

 

 

Beginning in the early 1970’s the Airlines Building, and the city itself went into decline. Then the airlines moved out. Manhattan Air Terminal, Inc., told The New York Times:

                     That a more spacious and modern terminal would open at 8:00 A.M. tomorrow (6/12/72) in the Pershing Square Building, just across Park Avenue from the old terminal, at 100 East 42nd Street. The company said it had taken a 20-year lease on the mezzanine of the building, which has direct access to the IRT subway.

 

 

The Airlines Building, 1970's. Snapshot of the Airlines Building in the mid-1970’s.

 

In the photo above, the Airlines Building’s elegance shines through the grime, but its days were numbered. As is the case with so much Manhattan real estate the land value is far greater than the value of the building. And in a building so small, the rental income could not possibly cover its operating costs and taxes. Then the inevitable news came on August 2, 1978 (as reported in the New York Times):

 

                    The Airlines Terminal Building, once a thriving ticket and terminal headquarters for leading world airlines at 80 East 42nd Street, will be demolished beginning later this week, Philip Morris Inc. announced yesterday.
                  In its place the company, which manufactures cigarettes, beer and other products, is planning to build an office building of approximately 25 stories that will serve as an addition to its corporate headquarters, which are in an adjacent building.
                      Robert L. Ryan, a spokesman for the company, said that a demolition permit had been obtained and that safety scaffolding would be erected in the next few days, with demolition work on the three story Art Deco building expected to last two to three months.
                  The building has an imposing exterior, but it is not considered one of the better examples of the Art Deco style of architecture. Kent Barwick, chairman of the Landmarks Preservation Commission, said: “It is an interesting building, but certainly not among the most important architectural treasures of this city.”

 

 

The Philip Morris Building The 26 story, 360 foot Philip Morris Building. Completed in 1983. View southwest across 42nd Street.

 

Although gone from New York for nearly 40 years a bit of the Airlines Terminal survives. 350 miles south of Manhattan in Richmond, Virginia the eagles that once looked over 42nd street, stand in front the former Best Products headquarters building on Parham Road. So if you find yourself in Richmond and you want to see a bit of Art Deco New York check them out.

 

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

 

If you enjoyed this article then check out these earlier Driving For Deco blog posts:

Happy 85th Birthday, Empire State Building

Downtown Manhattan Art Deco

Chrysler Building Opened 85 Years Ago Today

 

Fiesta 101: Part Two 1937 – 1938


Fiestaware Dancing Lady Logo

*Post Updated June 22, 2019: Due to recent information regarding Fiesta with stripes, the section on striped Fiesta has been moved to Fiestaware 101: Part 1.

From 1937 – 1938 Fiesta introduced new pieces, redesigned others, eliminated some and added a new color.

 

March 1937 Eliminations

 

12 inch Compartment Plate

12 inch Compartment Plate. Production Dates: January, 1936 – March, 1937

 

As mentioned in the first Fiesta post, designer Frederick Rhead and Homer Laughlin executives listened carefully to suggestions from store owners. One being that the 12 inch compartment plate was too large and heavy for easy use. It was eliminated after being in stores for only 14 months. Even though it had a short production life and is a bit hard to find today, the 12 inch compartment plate only has a book value of $52.00 to $78.00 and can usually be found for less.

 

Mixing Bowl Lids.

Mixing Bowl Lids. Production Dates: August, 1936 – March, 1937

 

Removed from the Fiesta line at the same time were the mixing bowl lids. These never sold well, probably because they cost almost as much as the bowls they were made for. Having been produced for only seven months the lids are among the rarest pieces of Fiesta and have a corresponding high value. Mixing bowl lids sell between $900.00 for the smallest for the No. 1 bowl and $1,200.00 for the No. 4 bowl lid (the largest size in production). Lids for the three largest bowls were modeled and tested but never put into regular production.

 

March, 1937 Additions

 

Another rare piece of “Fiesta” is the cake plate. I’ve used quotes around Fiesta because there is speculation if it was produced for the line or for the Royal Metal Manufacturing company, to be sold with a chrome metal base. Lending credence to this confusion is the fact the cake plate was never listed on any Fiesta price list.

 

 

The cake plate looks very much like the 10 inch dinner plate, except that it is completely flat and the underside has many more rings. In fact this piece has more rings than any other piece of Fiesta. Introduced in March of 1937 and discontinued in less than a year, the cake plate is only found in the original five colors of Red, Blue, Green, Yellow and Old Ivory. I’ve only seen this piece for sale a couple of times since I started collecting vintage Fiesta and each time the it was over $1000.00.

 

 

The 101/2 compartment plate. Production Dates: March, 1937 - June, 1959

The 10 1/2 compartment plate in Blue (Cobalt). Production Dates: March, 1937 – June, 1959

To replace the 12 inch compartment plate, Homer Laughlin scaled it down to 10 1/2 inches and it proved to be a success. This version stayed in the Fiesta line for 22 years. The book value for these plates which can be found in the original five colors, turquoise and the 1950’s colors, is between $40.00 and $95.00. With some hunting and luck most of these plates can be purchased for about $25.00.

 

 

Medium Teapot in Green. Production Dates: March, 1937 - July, 1969.

Medium Teapot in Green.
Production Dates: March, 1937 – July, 1969.

 

The medium sized teapot (6 cups) is another item that was introduced  thanks to suggestions from retailers and complaints that the 8 cup teapot was too big and hard to handle. It is called medium, because a smaller two cup teapot was modeled but never went into production. Characteristics of the medium teapot to differentiate it from the large teapot is the “C” handle, a more pronounced spout and a slip cast lid and finial (the same style finial found on the mustard jar). The medium teapot is found in all 11 vintage Fiesta colors. Values for this piece $200.00 for the original five colors, $165.00 for the turquoise, $300.00 for the colors of the 1950’s and $1,600.00 for medium green (a color introduced in 1959 and is the rarest of all Fiesta colors).

 

 

fiesta_vintage_water_tumbler_radioactive_red_fiestaware_original

Water Tumblers. Production Dates March, 1937 – November, 1946.

Water tumblers were only in production for 9 years which is the reason that they are somewhat hard to find. The book value for water tumblers range from $60.00 – $75.00. When they are found, the prices are not too much lower than the book values.

 

Yellow, Green and Blue Tumblers. Molded in Fiesta mark on the bottom.

Yellow, Green and Blue Tumblers. Molded in Fiesta mark on the bottom.

 

 

January, 1938 Additions

 

Turquoise becomes the sixth Fiesta color. Back in 1935, Turquoise was in the running but  cut from the line up of colors going into production. In the fall of 1937 Homer Laughlin decided to add it and by January of 1938 it was in the stores. Turquoise had the second longest run of any Fiesta color, 32 years. Only  being surpassed by yellow, but just by one year. Fiesta pieces in these two colors are usually the ones easiest to find today.

 

Medium Teapot, Bud Vase and Marmalade in Turquoise.

Medium Teapot, Bud Vase and Marmalade in Turquoise.

 

 

Another retailer suggestion was a smaller sized fruit bowl and  the 4 3/4 inch bowl was the answer. Stylistically is matches its larger counterpart the 5 1/2 fruit bowl and the 8 and 9 inch nappy bowls. The small fruit bowl remained in the Fiesta line for almost 22 years, being discontinued in November, 1959. These bowls can be found for around $20.00 – $25.00 (and sometimes for even less) in the 1930’s – 1950’s colors. The 4 3/4 inch fruit bowl was only in production for five months after the medium green color was introduced in June of 1959 and the value jumps significantly to about $600.00.

 

4 3/4 inch Fruit Bowls. Production Dates: January, 1938 - November, 1959.

4 3/4 inch Fruit Bowls. Production Dates: January, 1938 – November, 1959.

 

The 11 3/4 inch fruit bowl was originally planned for Homer Laughlin’s Kitchen Kraft line as a salad bowl. The switch to the Fiesta line required a slight change of design and instead of being plain on the inside, the familiar concentric rings were added to the bowl and the Fiesta molded in mark was placed on the bottom.

 

 

Even though this piece was in production for nearly 9 years, it is not easy to find today. And as such has a correspondingly high book value, $305.00 for a yellow one on the low-end up to $360.00 on the high-end for a red or cobalt.

 

 

 

The sauce-boat is one of the few serving pieces that once it made it into production was always part of the line. After Fiesta became Fiesta Ironstone in 1970 the sauce-boat was still being produced, but in only three colors and minus the molded in mark on the bottom. It has also been part of the post ’86 Fiesta line. Since 1997 an “H” was added to the mark on the bottom of pieces to help them from being confused for vintage Fiesta. But knowing your colors will be your best defense from buying a new piece at vintage prices. Most sauce-boats are found in the $40.00 – $75.00 dollar range with the elusive medium green one selling for over $200.00.

 

January, 1938 Elimination

 

The one piece eliminated from the Fiesta line at the beginning of 1938 was the covered onion soup bowl. This bowl must have been just too formal for the casual dining atmosphere that Fiesta and the other solid color dinnerware lines were striving to create. The combination of not selling well to begin with and a short production life has made the covered onion soup a very hard to find and very expensive piece to add to a collection. The value of this piece in the original five colors usually ranges between $400.00 – $700.00. Because of being discontinued around the same time that turquoise glaze was introduced, very few onion soups are found in this color. The book value for turquoise onion soup is $6,000.00 – $7,000.00 and some have sold for over $10,000.00.

 

The very rare turquoise covered onion soup.

The very rare turquoise covered onion soup.

 

 

July, 1938 Elimination

 

The stick handle creamer was the only item eliminated from the line in July 1938 being replaced by the ring handle style creamer. One reason that was given for the change was that the stick handle creamer was somewhat difficult for left-handed people to use. The book value ranges from $43.00 (yellow) – $65.00 (red, cobalt & ivory). Because turquoise stick handle creamers were only in production for 7 months it has a higher value at $79.00.

 

 

July, 1938 Additions

 

Fiestaware Green Ring Handle Creamer. Production Dates: July, 1938 - July, 1969.

Fiestaware Green Ring Handle Creamer. Production Dates: July, 1938 – July, 1969.

 

 

The stick handle creamer was restyled using the same body but having the iconic ring handle applied.  This piece is available in all 11 vintage Fiesta colors and is easy to find between $25.00 – $40.00. The exception is medium green; expect to pay around $100.00 for that one.

 

 

Ring Handle Creamer in Red.

Ring Handle Creamer in Red.

 

 

12 inch oval platter, yellow. Production Dates: July, 1938 - July, 1969.

12 inch oval platter, yellow. Production Dates: July, 1938 – July, 1969.

 

In production for 31 years the oval platter is easy to find in all colors. As with all medium green pieces, expect to pay a premium price of around $165.00. The other colors are in the $35.00 – $60.00 price range.

 

Green 12 inch platter.

Green 12 inch platter.

 

 

 

Perhaps the most iconic piece of Fiesta, the “disc water pitcher” was not originally part of the line. Added to the line in July of 1938, it is still in production today and is available in all Fiesta colors, vintage and post ’86. Aside from color, the easiest way to distinguish a vintage disc pitcher from a modern one is to look inside where the handle joins the upper rim, vintage ones are smooth whereas the newer pitchers have a distinct dimple. Although a relatively common piece values range from $110.00 – $165.00 for the original six color. The fifties colors range $230.00 – $255.00 and the medium green top them all at $1,550.00.

 

 

The Iconic Fiestaware Disc Pitcher.

The Iconic Fiestaware Disc Pitcher.

 

 

Only 31 years to go (you lucky people). Part three of Fiesta 101 will look at the 1939 – 1943 promotional campaign.

 

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

 

For Fiesta 101: Part Three Click Here.

Photos: Personal collection, Vintage American Pottery, Strawser Auction, Replacements and Pinterest.