Tag Archives: Art Deco

Virtual Visits: Kirkland Museum of Fine & Decorative Art


Kirkland Museum of Fine & Decorative Art

As Chris mentioned in our last post, we are not Driving for Deco much right now. But it doesn’t mean we can’t “visit” some great museums. Thanks to the internet some of the best Art Deco collections are literally at our fingertips. One of the places at the top of our driving list is the Kirkland Museum of Fine & Decorative Art, in Denver, Colorado.

 

Vintage postcard of Denver Colorado.

VIntage Denver, Colorado postcard. Image from flickr.com.

The Kirkland Museum landed on our radar after being feature on The Antiques Road Show in 2010. Roadshow was there highlighting their very large collection of Ruba Rombic glass.

Vance Kirkland (1904 - 1981)

Vance Kirkland in front of his studio at 1311 Pearl Street, 1941. Photo courtesy of the Denver Public Library, Western History Collection, WH1062

In 1929, the University of Denver hired Kirkland to become their founding director of the School of Art. He only held the position for three years before resigning over a dispute with the University not granting credit for art courses toward graduation. Upon leaving the University he leased the Arts and Crafts style building at 1311 Pearl Street and opened the Kirkland School of Art in 1933. Classes he taught there were accredited by the University of Colorado. When he returned to the University of Denver as director of the School of Art in 1946, the Pearl Street building became his studio. Although he retired from academic life in 1969, Kirkland continue to paint up to his death in 1981. Being predeceased by his wife and having no children he will his estate to friend, Hugh A. Grant.

 

Hugh A. Grant

Hugh A. Grant, the Kirkland’s founding director and curator. Image from bonfils-stantonfoundation.org

 

 

 

Under Hugh A. Grant the founding director and curator, the museum started taking shape. Construction began in 1998 on a 8,830 square foot addition to the original studio for exhibition space and visitor amenities. Completed in 2000, the museum opened to the public in 2003.

 

Kirkland's original studio and the first home of the museum.

1311 Pearl Street. Vance Kirkland’s original studio and part of the museum’s first home. Image from kirklandmuseum.org.

 For thirteen years this was the home of the Kirkland Museum. The museum houses three primary collections:

1. International Decorative Arts, featuring objects from most of the major decorative movements between 1875 – 1990.

2. The Colorado / Regional Collection which includes over 7,000 works by 700 local artists.

3. Kirkland Retrospective highlighting his 55 years of paintings.

 

Using a salon-style to display collection items is somewhat unusual for museums. Instead of separating fine art from decorative art they are displayed together, much like in a home. And by placing furniture on the floor allows visitors to experience the pieces in their intended perspective.

 

The Art Deco Collection at the Pearl Street location.

The Art Deco collection as it was displayed at the Pearl Street location. Image from kirklandmuseum.org.

 

It only took less than a decade to realize a larger space would be needed. In 2016 construction began on the present museum. Because Kirkland’s studio was so integral to their identity it also made the move to its present location. At 1201 Bannock Street, in Denver’s Golden Triangle Creative District, the new Kirkland is more than four times the size of the original. The new building opened on March 10, 2018.

 

The new Kirkland Museum.

The Kirkland Museum at 1201 Bannock Street. Photo by Daniel Holton from Facebook.

 

Now that we’ve set the stage, here’s how to “visit” the Kirkland virtually. Start by going to the museum’s home page at kirklandmuseum.org.

 

Kirkland Museum's home page.

Home page at kirklandmuseum.org.

 

There are two ways to view the museum’s items: for in depth details about select pieces, select collections from the header. Then click on “SEARCH COLLECTION HIGHLIGHTS” from the drop down menu.

 

Choose search collection highlights.

Choose search collection highlights.

Once the “Collection Search” window pops up, type in “Art Deco” and hit enter.

Collection search window.

The Collection Search window.

 

 

Here are the results. To learn more about any of these items, just click on the photo.

Search collection results.

Results of “Search the Collection”.

 

I really love the black chair by Wolfgang Hoffmann. So to learn more about it, I’m going to click on its photo.

 

Wolfgang Hoffmann lounge chair.

Information about the Wolfgang Hoffmann, Art Deco lounge chair.

 

And here is a lot of great information about this item. Facts about the designer, when the chair dates from, its manufacturer, dimensions to what gallery it is on view in.  And when you are done with this slide, clicking on the “Art Deco” tab on top, will bring up even more great collection pieces.

Kirkland's Art Deco collection highlights.

Highlights of the Kirkland Museums Art Deco Collection.

It’s impossible for a museum to have all of its collection on display. But by going to a museum’s website one can see much more of the collection. I think the Kirkland Museum is an exception to this rule. It seems there’s a lot more of its Art Deco collection on display, than online. I found this out by “walking” through the museum on their virtual tour. To begin “click” on the “Explore our Virtual Exhibition Online!” window. That will take you to the page with the “Take a 360 Degree Virtual Tour!”

 

The start of the Kirkland Museum's virtual visit.

The “entrance” to the virtual tour on the Kirkland Museum’s Home page.

 

 

This works just like Google Street View, so click on the arrows and start to explore.

 

Kirkland Museum admission desk.

The Kirkland’s admission desk.

 

Here are some of the great Art Deco pieces I saw on my tour.

 

Display case of Art Deco, ceramics, metal and glass pieces.

Art Deco glass, ceramics and metal works.

 

This display case features ceramics by Viktor and Paul Schreckengost, Chase metal work including the Pretzel Man by Lurelle Guild and some wonderful glass items.

 

More Art Deco glass and ceramics, including Ruba Rombic.

More Art Deco glass and ceramics.

Here is another case chock full of Art Deco glass and ceramics. Not only do they have Reuben Haley’s Ruba Rombic glassware he designed for Consolidated Glass in 1928, there’s also his Ruba Rombic ceramics he made for Muncie Pottery. Also in the case are pieces in the Tearoom and Pyramid patterns by Indiana Glass. And in the lower right is Norman Bel Geddes’ Manhattan cocktail set (tray, shaker and two cups) for Revere.

 

Salon setting for larger pieces, including furniture and paintings.

Salon setting for furniture , accessories and paintings.

 

A few of the Deco standouts in this Salon Setting are, a teal and gold Skyscraper bookcase by Paul Frankl, circa 1927. There’s the Wolfgang Hoffmann lounge chair, a machine age Pattyn Products Company table lamp, circa 1935 attributed to Walter von Nessen. And a wonderful green leather and aluminum tube chair by Warren McArthur.

 

Another Kirkland Museum Salon Setting, with pieces by Gilbert Rohde, Walter von Nessen and Paul Frankl.

Another setting with a impressive pieces.

 

Aside from a couple of great chairs and a terrific rug, the standout in this grouping the sideboard. This is a piece designed in 1933 by Gilbert Rohde for the Herman Miller Furniture Company. Sitting on top is the Chase Coronet Coffee service, another von Nessen design. And all the way on the right of the case is Paul Fankl’s Modernique or Fifty Dollar clock (because that how much it cost in 1929) made by Telechron.

 

This was just the tip of the iceberg of their collection of over 4,400 pieces. So when it is really safe to travel and gather together once more, consider making the Kirkland Museum a place to visit. You might even see us there.

 

Exterior of the Kirkland Museum.

Exterior of the Kirkland Museum on Bannock Street. Photo by Wes Magyar, from kirklandmuseum.org.

 

Anthony & Chris – The Freakin”tiquen Guys.

 

 

Vanished New York City Art Deco: The French Casino

 

CLICK HERE FOR PART ONE

CLICK HERE FOR PART TWO

Marquee of the French Casino.

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.

 

Radio at the Casino Theatre.

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.

 

 

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.

 

 

 

Clifford C. Fischer

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

 

Opening night Ad for the French Casino.

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 toward the stage.

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.

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

 

French Casino cocktail lounge.

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

 

 

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 at the French Casino.

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.

 

 

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.

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 closing of the French Casino.

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.

 

Casa Manana stage and dance floor.

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.

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 Casa Manana closing notice, June, 1939.

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 reopening of the French Casino.

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.

 

 

 

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.

Woolworths and the taxpayer.

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.

 

Earl Carroll Theatre color photograph.

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

 

1980 photo of Woolworths.

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, 1931

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

 

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

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