Tag Archives: Winold Reiss

Driving For Deco 2024 – Cincinnati Part Three: Union Terminal

Union Terminal Vintage Postcard.

Vintage Union Terminal postcard. Image from oldpostcards.com

Brunch

Sunday was our last full day in Cincinnati, and we began by a return to the Over-the-Rhine neighborhood for brunch. Settled by a large German population in the 19th Century, the area is noted for large collection of brick buildings constructed between the 1860s and the 1880s.

St. Francis Seraph Church and School

The Mellowtone Beer Project.

Mellotone Beer Project brewery in the former Taft Ale House in a former Over-the-Rhine church.

Not far from the former Taft Ale House and St. Francis Seraph Church was Alcove by Madtree Brewing where we stopped for brunch. This was another of Suzanne’s excellent recommendations. Located on Vine Street in another 19 Century building, it has a bright and open atmosphere. And the food is very good, too.

Alcove by Madtree Brewing. Photos by oswaldco.com.

After brunch we headed back to the Netherland Plaza where we said goodbye to Suzanne and we headed off to the Cincinnati Museum Center at Union Terminal for an early afternoon tour.

Cincinnati Museum Center at Union Terminal

The front facade of the Cincinnati Museum Center at Union Terminal.

The front facade of the Cincinnati Museum Center at Union Terminal.

Ten years ago, on our way home from “freakin’, tiqeun” in Texas, Chris and I paid a visit to Union Terminal. Tours are given on Fridays, Saturdays and Sundays but unfortunately, it was a Wednesday.

Chris and Anthony’s 2014 visit to Union Terminal. 

Therefore, we made sure not to leave Cincinnati this time without taking one. For more information about the tours click this link for the Cincinnati Heritage Programs.

History

The culmination of thirty-five years of work, Union Terminal would consolidate all five of Cincinnati’s train depots and seven railroads under one roof.

Placard showing Cincinnati's five depots.

Cincinnati’s five depots that were replaced by Union Terminal. Placard from the Cincinnati Heritage Programs.

1900 photograph of Lincoln Park and its lake.

Lincoln Park, circa 1900. Image from wikipedia.org.

The new terminal site replaced popular Lincoln Park and its lake. With this in mind, the architects, Alfred Fellheimer, Steward Wagner and Roland Wank, incorporated beautiful landscaping and a fountain and pool as compensation for the park’s loss.

Fellheimer and Wagner gave the task of actually designing the terminal to a younger employee Roland Wank. Wank’s original design featured traditional Gothic styling.

Early design drawing of the Rotunda.

Early design drawing of Cincinnati’s Union Terminal Rotunda. Originally published in the Cincinnati Enquirer, June 2, 1929.

During the early stages of construction, the terminal company persuaded the architects to employ Paul Phillippe Cret as a design consultant. And it is In this capacity that Cret altered the design from Gothic to Moderne. It was more cheerful than the original design, and more importantly less expensive to build, so his changes were approved.

In 1928 the regrading of Mill Creek began in preparation for the new station. Costing $41,000,000 ($1,001,885,500.000 in 2025), the actual construction began in August, 1929. Plans for Union Terminal did not halt despite the stock market crash the following October and construction continued on schedule through the worst of the depression.

Cross-sectional drawing of the rotunda of Union Terminal.

Architectural cross-section drawing of the Union Terminal rotunda, by Fehlheimer and Wagner. Image from the Library of Congress Prints and Photographs Collection.

The official opening date was set for March 31, 1933. However, flooding of the Ohio River caused four of the city’s downtown train stations to be shut down and trains started to use the terminal almost two weeks earlier on the 19th.

Train service peaked at Union Terminal during the Second World War. But, after the war, train travel began a steady decline caused in part by the creation of the interstate highway system and competition from airlines.

Subsequently, the last passenger train stopped at Union Terminal on October 29, 1972 less than forty years after opening.  Luckily abandonment did not mean demolition and in 1978, a shopping mall found a home in the former train station.

Union Terminal during the short time that is was being used as a shopping mall.

Union Terminal as the department store Loehmann’s, late 1970s. Image from Wikipedia.

The mall subsequently closed in the early 80s. Then in 1990, the building became home to the Cincinnati Museum Center at Union Terminal. And best of all, Amtrak began to use the station again in 1991.

The Exterior

The front exterior of the Cincinnati Museum Center at Union Terminal from the parking lot.

The approach to the Cincinnati Museum Center at Union Terminal from the parking lot.

At the end of the two long, landscaped drives is the Cincinnati Museum Center at Union Terminal. And looking very much like the Justice League of America’s Hall of Justice, the front of the half dome rotunda forms an enormous arch that welcomes visitors.

The turned off fountain in front of the Cincinnati Museum Center at Union Terminal.

Being winter the fountain in front of the museum center was not running.

Inside the arch are windows separated by wide mullions. New windows, mimicking the original’s texuture and appearance, replaced the deteriorating 1933 Magnalite Glass ones, in a 2010 renovation.

At the arch’s center is a large, 16-foot diameter illuminated clock. The clock’s face is white glass with red glass marking the hours and red neon outline the clock hands, making it easy to read from a great distance.

Detail of the illuminated clock on the facade of the Union Terminal.

Detail of the illuminated clock. Photo taken in 2014.

Two wide pilasters flanking the half dome’s front facade have figures in bas-relief.  Designed by Maxfield Keck (1880-1943), the 30-foot figures represent transportation in female form and commerce in male form.

Fine-grained Indiana limestone over a low granite base covers the exterior of the terminal. With the only exception being Cold Spring rainbow granite around the main entrance under the marquee.

The Cold Spring rainbow granite used around the main entrance under the marquee.

The Cold Spring rainbow granite around the main entrance under the marquee. Photo from 2014.

Flanking the rotunda are the three former passage ways for automobiles, taxis and buses for dropping off and picking up travelers. Museum exhibitions now occupy these passage ways.

Front of Union Terminal showing the entrances to the former passage ways.

Front of the Union Terminal showing the former passage way entrances.

The Rotunda

Cross-sectional drawing of the rotunda of Union Terminal.

Architectural cross-section drawing of the Union Terminal rotunda, by Fehlheimer and Wagner. Image from the Library of Congress Prints and Photographs Collection.

The Cincinnati Heritage Tours begin in the rotunda. The main hall of the former train station is said to be the largest half dome in the western hemisphere and measures 180 feet across and raises up to a height of 106 feet.

The rotunda of the Cincinnati Museum Center at Union Terminal.

The rotunda of the Cincinnati Museum Center at Union Terminal.

Just inside the main entrance stands the museum ticket counter, With the exception of a couple of video monitors and a no longer functioning digital clock, it looks very much like it did in 1933 as the information booth.

The former information stand turned into today's ticket booth.

The former information booth, now the Cincinnati Museum Center’s ticket booth.

The architects thoughtfully designed every detail of the station, right down to the floor. Using different shades of cream, gray and rose terrazzo divided by brass strips, the patterns created helped to visually guide travelers to important sections of the station.

The rotunda’s lower walls are of two types of marble. The baseboard is of Domestic Rouge antique, and Red Verona marble is used for the high dado, sides, soffits and passages. Panels are either flat or cylindrical and have aluminum decorative strips at the joints. And topping each cylinder is a frosted glass light.

The lower wall treatment at Union Terminal.

Lower wall treatment.

Looking toward the entrance of the rotunda.

Looking toward the front of the rotunda.

No doubt, the concentric circle and stepped ceiling and arch of acoustical plaster are the most stunning features of the terminal and the building is a marvel of construction; it hangs from double walled concrete over a steel frame.

As concrete is porous and steel rusts, this combination can severely compromise the bond between the two.  This is what happened when the building was largely abandoned, making parts of the building unstable. Remediation of this issue was a large part of the restoration.

Heading upstairs we passed by several small rooms now used for storage and building supplies. During the war they were used as small bedrooms where servicemen could take a quick nap before billeting out. The tour starts at the upper-level walkway seen in the above picture just over the main entrances.

Touring the Union Station Terminal

View from the second level walkway

From this vantage, there is an excellent view of two of the now eight Winold Reiss’s mosaic murals in the terminal. These two large panels, 22′ x 110′ in size, contain hundreds of thousands of individual pieces of glass, and depict both the history of Cincinnati and the United States from the Native American to the modern citizen. German born Reiss emigrated to the United States in 1913. He quickly gained fame for his work of strong graphic designs as well as his commercial interior work, which included the Longchamps chain of restaurants.

Winold Reiss "signature" in glass mosaic on one of the rotunda's murals.

Winold Reiss’ “signature” on the History of the United States mural in the terminal rotunda.

Terminal Offices

From here we headed to the office of H. A. Worcester. As president of the terminal, he was responsible for the day to day operations. Protecting the inner sanctum is the executive secretary office. Her responsibilities included maintaining business files, overseeing the master key locker and handling guests.

Union Terminal Executive Office

The secretary’s desk – a first line of defense.

Through the glass panel doors is a small lounge with access to a cloak room, powder room and president’s conference room. Opposite the built-in cabinetry are the curved doors leading into the president’s office.

Union Terminal's president's Office

View from inside the president’s office. presidents office.

The office is surprisingly small, but sumptuous as befitting the president of an important organization. The curved entrance wall and built-ins give counterpoint to the industrial elements in the room.

Union Terminal president's office

A comfortable chair behind an art deco desk.

Industrial lighting is built into the mullions between the windows.

Union Terminal President's office

Cast aluminum lamps.

Across from his desk is a streamlined fireplace with deco andirons, and a marquetry map of the USA fills the space above.  Just to the right of the fireplace is an inconspicuous door leading to the boardroom. 

Union Terminal president's office

Art Deco fireplace and andirons to keep him warm in the winter.

The board room is quite large, as expected, with bands of alternating dark and light cork and cast aluminum accents.

The Union Terminal board room.

With the exception of the flat screen TV the board room looks very much the same in 2024 as it did in 1933.

Leather and burl wood banquettes with integrated ash receptacles, line the wall.

Union Terminal boardroom

Looking toward the door coming from the president’s office.

Union Terminal boardroom

Banquette at the end of the room with integrated ashtrays.

Union Terminal boardroom

Display shelving

Details of the Union Terminal boardroom

Cast aluminum hardware

The exit door on the south side of the board room opens to the waiting room for guests of the president. Access to this room is primarily through the secretary’s office. It is a relatively small space and features veneered walls with a tan and light and dark brown cork floor. And a specially designed settee offers a place for waiting guests to sit.

The reception room for guests waiting to see the terminal's president.

The Formal Dining Room

The formal dining room of Union Terminal.

Union Terminal’s formal dining room, looking west.

This space has changed little from when the terminal first opened over 90 years ago. The windows to the west originally looked down on the platforms and the north and south walls have a series of mirrors separated by columns giving the illusion of the dining room extending into infinity. Originally at the base of each mirror was a planter with ferns to soften the hard edges of the woodwork and mirrors.

A small bar located at the eastern side of the dining room is underneath a balcony, that was used by small orchestras on special occasions.

The bar and balcony on the eastern wall of the formal balcony.

The small bar and balcony at the eastern side of the dining room.

Dark wood and aluminum inlays break up the lighter wood veneer of the lower walls. And above it all is a Pierre Bourdelle’s (1901 – 1966) ceiling mural featuring a map of Cincinnati, the terminal, other city landmarks and framed by four modes of transportation.

Pierre Bourdelle's Cincinnati map ceiling mural for the formal dining room.

Pierre Bourdelle’s Cincinnati map ceiling mural for the formal dining room.

And like all of the other public spaces, the floor is covered in terrazzo. For the dining room it is alternating slabs of pink and gray, separated by thin brass strips.

Formal dining room's terrazzo floor.

Detail of the formal dining room’s terrazzo flooring.

Lunchroom

Hostess counter of the Lunch Room.

The former hostess counter at the entrance of the Lunch Room.

A curved counter with display cases at either end greets one when entering the Lunchroom. Originally, this is where customers paid their bills after eating. The counter features two polished chrome uplighter lamps that focuses their light up to the Bourdelle ceiling mural. Hanging from the middle of the mural is a modernistic metal and frosted glass Saturn ring light.

Lunch room entrance ceiling light detail.

Detail of the ceiling light in the entrance for the lunch room.

Although the original serpentine counter is missing, the lunchroom has changed little over the years.

Union Terminal Lunchroom.

Union Terminal Lunchroom.

The marble tops of the now removed counters were of Vermont Verdi with a dado of red Verona. Surrounding the counter were aluminum stools with red leather upholstered seats and backs.

Lunchroom looking toward the north.

Lunchroom looking toward the north.

Surrounding the lunchroom red Verona walls rise to the height of the entrance’s drop ceiling and a band of green Campani separate it from the windows and painted panels above. The lunchroom’s barred ceiling is painted in a buff tan.

Detail of the polished aluminum and frosted glass lunchroom ceiling lights.

More Bourdelle paintings of different food themes form a border around the lunchroom’s upper walls.

The upper walls of the Union Terminal’s Lunch Room showing some of the food themed border by Bourdelle.

The Hallway leading from the rotunda to the lunch and dining rooms, features an  abstract Bourdelle ceiling painting.

A Bourdelle ceiling mural in the hallway from the rotunda to the dining rooms.

The Bourdelle ceiling mural in the hallway that leads from the rotunda to the station’s dining rooms.

Women’s Dining Room Lounge (Alcove)

The carved linoleum mural in the former Women's Dining Room Lounge.

Bourdelle’s carved linoleum mural in the former Women’s Dining Room Lounge.

Perhaps Bourdelle’s most spectacular mural is in the former Women’s Dining Room Lounge across from the Lunch Room. It is a fanciful jungle scene made from carved linoleum.

Details of the Jungle Mural.

Newsreel Theatre

Many large rail terminals had newsreel theatres. For .25¢, travelers could spend an hour watching the latest news and short subjects in air conditioned comfort. And Union Terminal was no exception with an intimate theatre running newsreels produced by the Scripps Howard News Service. Around 1948 it was rechristened the Terminal Art Theatre and programming switched to the exhibition of foreign films.

Circa 1933 photo of the interior of the newsreel theatre.

Circa 1933 photograph of Union Terminal’s New Reel Theatre. Photo from cinematreasures.org.

The 118-seat theatre featured more linoleum carved murals by Pierre Bourdelle, that were removed at some point, or have been covered over. Today railroad themed videos are shown in the former newsreel theatre.

The former newsreel theatre.

The former Union Terminal Newsreel Theatre.

Looking toward the back of the theatre. Chris is in the shadows of the second photo.

Theatre doors.

The doors leading from the auditorium to the lobby.

Tan marble, separated by aluminum strips cover the lobby walls while other inlaid aluminum strips create modernistic wall decorations. The white doors feature black ziggurat stripes, a very popular decorative effect in the 1920s and 1930s.

Box office door.

Box Office door.

2014 photo of the newsreel theater entrance.

A 2014 photo of the Newsreel Theatre entrance, showing the now removed Scripps Howard sign.

Rookwood Ice Cream Parlor

After the end of the tour, we wanted a snack and we were happy to see that the Rookwood Ice Parlor was open.

Rookwood Ice Cream Parlor welcome sign.

Rookwood Ice Cream Parlor welcome sign.

One steps back in time when entering the Rookwood Ice Cream Parlor, an original feature of the terminal. It was first constructed as a tea room, serving travelers and locals alike.

Rookwood Tearoom

Original view as the Tearoom. (Photo via Alamay.com)

The Rookwood trademark tile.

The Rookwood trademark tile in the Tearoom / Ice Cream Parlor.

The space was converted into the first USO transit lounge in the country. It is thought that one out of every five World War II serviceman passed through the station. 

Rookwood Ice Cream Parlor

Looking from the far corner.

It only closed when the building shuttered in 1972. But when the terminal reopened as a shopping mall, the Rookwood Ice Cream Parlor was born.

Rookwood Ice Cream Parlor

All original except for the tables and chairs.

Rookwood Ice Cream Parlor Tiles

Close-up of some of the bespoke tiles.

Attributed to Rookwood artist and designer William E Hentschel, whimsical faience tile is used throughout. The tiles are bespoke, and precious, and irreplaceable. And each tile is valued between a few hundred and a few thousand dollars.  And due to the careful conservation and preservation, the parlor looks almost as exactly as it did on opening day.

Rookwood Ice Cream Parlor

Overhead lights in the same style as the fixture in the lunch room.

Rookwood Ice Cream Parlor

A view into the past.

An interesting feature of the parlor are the large picture windows at the end which overlook the The Museum of Natural History & Science Dinosaur Hall next door. So, you can enjoy your treat with a dinosaur!

Rookwood Ice Cream Parlor

Original functioning water fountain.

Still thirsty after after your sugary treat?  Sate your thirst by using an original water fountain right outside the Rookwood Ice Cream Parlor doors.

With our snacks finished it was time to leave Union Terminal and head back to the hotel. The next day as we hit the road back home, there was still one more Deco stop to visit.

Chris at Union Terminal.

Chris enjoying his afternoon at Union Terminal.

Chris & Anthony (The Freakin’ Tiquen Guys)

 

Sources

Written

Cincinnati Union Terminal – The Design and Construction of an Art Deco Masterpiece

The Cincinnati Enquirer

Online

cincymusuem.org

frenchsculpture.org

wikipedia.org

winoldreiss.org

Vanished New York City Art Deco: Longchamps

Longchamps matchbook.

Late 1930’s matchbook cover from Longchamps. From the author’s collection.

 

In 1930’s Manhattan a chain of long forgotten restaurants brought café society elegance to the middle class. It all began when wholesaler Henry Lustig opened his first restaurant in 1919 at Madison Avenue and 78th Street. Being a race horse owner, Lustig decided to name his restaurant  Longchamps, after the famous Parisian racecourse. Longchamps specialized in offering an American version of French style cuisine at affordable prices. It met with fast success. By the mid 1920’s the company expanded, opening two new restaurants. One near the recently opened Saks Fifth Avenue, to cash in on the shopping trade.

In mid to late 1930’s the chain rapidly expanded, opening seven restaurants within five years. During this period Longchamps began their relationship with German émigré artist Winold Reiss (1886 – 1953). Reiss’ interior designs in four of these restaurants epitomized modern taste.

 

42nd Street and Lexington Avenue – The Chanin Building

On January 23, 1935 The New York Times announced the plans for the seventh restaurant in the Longchamps chain:

Louis Allen Abramson, architect, filed plans yesterday for an alteration in the Chanin Building, 122 East Forty-second Street. The changes will be made in space in the basement and first floor to be occupied by  a Longchamps Restaurant.

The first floor will be designed as a men’s grill, having an island bar eighty feet in circumference. The improvement will cost $100,000, the architect estimated. – The New York Times, January 23, 1935, Pg. 33. 

 

Winold Reiss, working in collaboration with architect Abramson, transformed the irregular shaped space into something special. Their use of mirrors, lighting, murals and a glamorous staircase combined to create a chic dining atmosphere.

 

Longchamps entrance on 42nd Street, Chanin Building.

Entrance on 42nd Steet to the Longchamps in the Chanin Building, circa 1935. Image from Pinterest.

May 15, 1935 The New York Times reported on the opening:

A new unit in the Longchamps chain of restaurants will be opened today. It occupies space on the ground floor and basement of the Chanin Building at Lexington Avenue and Forty-second Street. A feature of the decorations by Winold Reiss is a series of eight mural panels depicting garden scenes in the time of Louis XIV. – The New York Times, May 15, 1935, Pg. 40.

 

N. Y. Times ad for the new Longchamps.

Advertisement for the Chanin Building Longchamps opening, May 15, 1935. From The New York Times.

 

A few days later the New York Post enthusiastically wrote:

AN ART, EATING – AT LONGCHAMPS

Glittering Lexington Avenue Restaurant’s a Feast to Eye as Well as Palate

When epicures die they may go to heaven but in the meantime they can always go to Longchamps, and especially the last and most glittering of the Longchamps restaurants in the Chanin Building on Lexington Avenue. 

It is a feast to the eye as well as the palate. The decor, we are told is based on that gayest and most wicked of periods in French history, the time before the Revolution when the courts were at their best and worst, when living was lavish and high and handsome.

And that is just the feeling that one gets on entering the cocktail salon of this Longchamps. The colors are vermilion, black and white, and it is safe to say you will never go out the same man!

A Vista of Gardens

A grand staircase leads to the dining room below, and at a turn of the stairs a vista of sunlit gardens is spread before your eyes. The famous designer, Winold Reiss, certainly knows his French gardens and has produced them to the life in the murals that encompass the room. – New York Post, May 19, 1935. Pg. 6

 

 

Bar at the Chanin Building's Longchamps

Winold Reiss’ Louis XV mural behind the Chanin Building’s Longchamps bar. Photograph by Robert M. Damora. Image from winoldreiss.org

 

Mural detail. Chanin Building Longchamps.

Louis XV Mural 6′ x 6′ 4″ section. Image from winoldreiss.org

Upon its opening in May of 1935 the Chanin Building Longchamps was one of the largest restaurants in the area. The following year the New York Herald-Tribune reported:

 

Longchamps Chain to Occupy Additional Unit

The Restaurant Longchamps, which operated a unit in the Chanin Building, Lexington Avenue and Forty-second Street, have leased as additional space the store and basement at the southwest corner of the thoroughfares now occupied by Broadstreet’s. The enlarged restaurant will compare favorably in size of both restaurant and bar facilities with the chain’s new unit under construction at Broadway and Forty-first Street. – New York Herald-Tribune, June 9, 1936, Pg. 41.

 

The same day The New York Sun reporting on the expansion remarked that the enlargement would make the restaurant the largest in the Grand Central District. By the time the renovations on East Forty-second were underway a new and even larger Longchamps was nearing completion across town on West Forty-first street.

 

41st Street & Broadway

 

41st Street and Broadway Longchamps around 1937.

Longchamps restaurant at Broadway and 41st Street, circa 1937. Image from nyneon.blogspot.com.

 

Located in Ely Jacques Kahn’s Continental Building (1931), the new restaurant would be as modern as the building. For the decorative scheme inside this Longchamps Reiss chose to honor New York City’s past, present and future. Unfortunately there are not too many photographs that exist of the interior at this location. The news of the latest restaurant hit the papers on March 15, 1936:

Longchamps Restaurant Takes Lease of Street Floor in Continental Building

Longchamps announced yesterday it will open a branch restaurant in the Continental Building at the south-east corner of Broadway and Forty-first Street, in the Times Square section. The restaurant will be ready for the opening  of the theatrical season next fall. The entire interior of the premises will be made over. It was said yesterday that the restaurant will provide accommodation for 1,500 persons at one time. One feature of the new restaurant will be an oval-shaped bar which will be 200 feet long, one of the longest continuous drinking platforms in the city. More than 500 waiters, chefs, barmen and others will be employed in the establishment which, it was said yesterday, may be opened night and day. – New York Herald-Tribune, March 15, 1936, Pg. 11

 

Opening day ad from the New York Times.

New York Times advertisement for the opening day of the new Longchamps, describing the various NYC themes of the different rooms. Image from proquest.com

 

By late April with the awarding of construction contracts, alterations of the space began for the $500,000 restaurant. Architect Louis Allen Abramson created an outdoor cafe effect on the main floor by having the walls along Broadway and Forty-first street and the revolving door lowered to sub-street level. Of course the lowering of the walls only occurred during warm weather months. This proved popular and a couple of future Longchamps also included descending walls.

 

Longchamps_41st & Broadway_Walls and Door Up

The Broadway facade at night, with the revolving door and windows in their up position. Photograph by Zimmerman. Image from Architectural Record, December, 1937. Downloadable from usmodernist.org

 

Descending walls diagram.

Diagram of the descending walls and revolving door. Image from Architectural Record, December, 1937. Downloadable from usmodernist.org

 

Longchamps_41st & Broadway_Walls down.

Zimmerman photograph of the 41st Longchamps showing the Broadway facade with the walls lowered. Image from Architectural Record, December, 1937. Downloadable from usmodernist.org

Like the last Longchamps, Winold Reiss received the commission for the interior design at the Forty-first Street location. Modern and contemporary throughout with silk batik and a series of murals by Reiss. These blue, white and gold murals would depict future Manhattan.

 

City of the Future Mural

 

Album Room_Longchamps_41st

The Album Room of the Broadway and Forty-first Street Longchamps. Portraits of famous New Yorkers of the past, such as Lillian Russell and Diamond Jim Brady hung on the walls. Photograph by Robert Damora.

Abramson’s bold ceiling employed curves and levels. While giving the Album Room a very modern aesthetic, it also concealed the cove lighting. The ceiling curves matched those on the floor by mimicking the sinuous half wall (to divide seating areas) and steps.

 

Album Room Ceiling Detail.

Album Room ceiling detail showing mirrored column and cove lighting. Photograph by Robert Damora.

 

The new Longchamps opened its doors on October 13, 1936.  Due to its proximity to the Broadway Theatres and the Metropolitan Opera, it found immediate popularity. The following day The New York Times reported:

30 MEN TEND HUGE BAR

New Restaurant in Times Square Also Has Vast Wine Cellar.

One of the largest restaurants in the Times Square district, the tenth in the Longchamps chain, was opened last night in the Broadway Continental Building, with business executives and celebrities of the stage and screen in attendance.

New York’s growth and old favorites of Broadway are recalled in the murals and decorations of the restaurant, which features a wine cellar with a capacity of 120,000 bottles and an oval bar with thirty bartenders. 

In the cocktail lounge, murals depict important scenes in New York’s history and in the adjoining rooms, “dedicated to the twentieth and twenty-first centuries.” are large murals designed to show the city of the future. The Album on New Yorkers’ Room contains portraits of celebrities, including O. Henry, Florenze Ziegfeld and David Belasco.  – The New York Times, October 14, 1936, Pg. 28.

Several days later the New York Herald-Tribune had this to say:

New Longchamps a Smash

Record crowds (6,700 for luncheon alone) attended the opening of the new Longchamps at Broadway and Forty-first Street, Tuesday. The restaurant boasts air-conditioned kitchen and telephone booths, a huge oval bar and a glass street front that can be lowered on an elevator shaft. – New York Herald-Tribune, October 17, 1936, Pg. 8

 

Typical Menu, 1938

 

253 Broadway

 

253 Broadway Longchamps.

The eleventh Longchamps at 253 Broadway, across from City Hall, 1938. Ezra Stoller photograph from esto.com

 

Across lower Broadway from City Hall the eleventh Longchamps became the most expensive and largest restaurant built-in New York City to date. Occupying space in the basement and first three floors of the 1892 Paragon Building, major structural changes were necessary to accommodate the restaurant. This Longchamps would be a “five-in-one”, meaning there were five separate restaurant units at this site. This new location could seat 1,163 people at one time.  Total cost of construction and interior design, $1,000,000, a first for the city.

 

Main entrance detail. Longchamps at 253 Broadway

Detail of the main entrance to the Longchamps at 253 Broadway. This shows the restaurant with the front wall lowered to create the sidewalk cafe effect. Ezra Stoller photograph from esto.com

 

Winold Reiss using over 2,000 square feet of wall space for murals, the decorative theme according to The New York Times:

. . . will be an interweaving of the types, customs and costumes of the nations of the world. The theme is intended to portray the international relationships with which the location traditionally has been associated. – The New York Times, July 21, 1937, Pg. 40

 

Reiss' main mural for the Longchamps at 253 Broadway.

Winold Reiss’ huge two story mural just inside the main entrance to the restaurant. Ezra Stoller photograph from esto.com

 

At this Longchamps and the following one Reiss worked in collaboration with famed New York City architect Ely Jacques Kahn. Kahn arranged the almost acre of space into a series of connected terraces. The terraces were arranged in such a way to allow views of the restaurant from any of the floors. This included the lifting of part of the second floor for the creation of a new mezzanine level.

 

 

Like all the recent Longchamps this one was a showcase of modern design. Black vitrolite and two stories of glass block crowned the main entrance. The use of the glass block flooded the second floor with natural light.

 

Second floor on the Broadway side of the restaurant.

Third level interior showing the glass block front wall. Ezra Stoller photograph from esto.com

 

Other modern amenities would include complete air conditioning with an ionization plant to supposedly charge the air with a lively freshness, indirect lighting and an acoustical treatment to bring a quietness to the dining rooms.

 

Indirect lighting fixture

Indirect lighting fixture and mirrored wall in the “Restaurant of the Old World” Ezra Stoller photograph from esto.com

 

A dinner for 1,500 guests formally opened the restaurant on March 22, 1938. Among the guests were former New York State governor Al Smith and the  models  who posed for the murals by Winold Reiss that adorned the walls. These models were present in the costumes that they wore in the murals and included a Chickahominy native from Virginia, girls from Tibet and Tahiti, a Utah cowgirl, a native of Sicily and citizens from several countries all who were living in New York at the time.

 

On the ground floor the “Snug Harbor Bar” dominated the south side of the restaurant. Even though “snug” was part of the name there was nothing snug about the very long bar running almost the entire length of the establishment. A novel feature was the lighting underneath the front edge illuminating the outside of the bar.

 

Ground Floor 1

Back area of the “Snug Harbor Bar”, showing the indirect lighting above the bar. Ezra Stoller photograph from esto.com

Placed down in the basement the “Westward Ho! Grill” decorated in knotty pine provided a secluded area to dine and enjoy a cocktail. Lining one wall of the grill a mural depicting 15th Century ships sailing off to the New World gave the room its decorative theme.

 

Stairs down to the basement.

Staircase from the ground floor down to the Westward Ho! Grill in the basement. Ezra Stoller photograph from esto.com

 

 

 

Bar in the Westward Ho! Grill.

The bar in the “Westward Ho! Grill”. Ezra Stoller photograph from esto.com

 

A boldly painted staircase with a huge mural led up from the ground floor to the “Flying Bridge Cafe” on the newly built mezzanine level and the second floor.

 

Main staircase.

The staircase and mural leading up to the “Flying Bridge Cafe” on the mezzanine. Ezra Stoller photograph from esto.com

 

 

 

 

 

"Flying Bridge Cafe"

Looking down to the ground floor from the “Flying Bridge Cafe”. Ezra Stoller photograph from esto.com

 

Continuing up the stairs from the “Flying Bridge Cafe” would take one to the third level where there were two more additional dining rooms. The dining space at the very top of the stairs was known as the “Far Eastern Terrace”.

 

Looking towards the back of the "Far Eastern Terrace."

The stairs going the the third level and the “Far Eastern Terrace’. Ezra Stoller photograph from esto.com

 

 

The balance of the third level was taken up by “the Restaurant of the Old World”. This largest single dining space in the restaurant had murals by Reiss depicting the peoples and the customs of Europe.

 

 

Restaurant of the Old World 3

Back section of the “Restaurant of the Old World”. Ezra Stoller photograph from esto.com

 

Like all the previous restaurants in the Longchamps chain this one was another success. While the first customers were filing into 253 Broadway in March of 1938, a 12th Longchamps was already under construction in the most famous building in the world.

 

The Empire State Building

1931, The Empire State Building

The Empire State Building, circa 1931. Image from NYPL Digital Collections.

The 12th and last Longchamps to open in the 1930’s was another collaboration between artist Winold Reiss and architect Ely Jacques Kahn. Unlike the previous Longchamps decorated by Reiss, the one in the Empire State Building would not have a particular theme, like pre-revolutionary France in the Chanin Building Longchamps or old world / new world in the one on lower Broadway near City Hall. The New York Sun reported on December 15, 1937 that Longchamps took a 21 year lease for space at the 5th Avenue and Thirty-fourth street corner of the Empire State Building. The space which had been vacant since the building opened in 1931, would be converted into an ultra modern restaurant with a seating capacity for 1,000.

 

Love Affair (1939)

Extras at the RKO studio in front of a rear projection screen in the 1939 film Love Affair. A corner of Longchamps can be seen in the background. Image from DVD.

 

The new restaurant occupied the entire northeast section of the first floor, basement and sub-basement. Missing the originally announced opening date of May 1st, Al Smith, president of Empire State, Inc. opened the restaurant on September 21, 1938. Smith said in his welcoming speech that he believed “the architecture, decoration, service and food will do much to uphold the fine standards of Fifth Avenue and the Empire State area.”

 

It is especially noticeable at this Longchamps the changing style of interior decoration. Today, while this is still considered Art Deco, it comes near the end of that design era. Gone is the crazy exuberance and harsh angles of the 1920’s. By 1938 a new European influence is evident, popularized at the Exposition Internationale des Arts et Techniques dans la Vie Moderne held in Paris, 1937. Design elements are softer, dominated by biomorphic forms and curves.

 

Winold Reiss_Empire State_Longchamps

Winold Reiss sitting at a table beneath one of his murals in the lower level of the Empire State’s Longchamps. Ezra Stoller photographer. Image from winoldreiss.org.

 

An exuberantly painted bar greeted patrons on the ground floor. From there a large dining room filled the space at street level. To get down to lower levels a wide steel and mirror lined staircase led to the basement. Reiss continued the vermillion, cream and gold Longchamp color scheme at this latest location.

 

Ground floor bar.

Ground floor bar. Ezra Stoller photograph from the collection of the Museum of the City of New York.

 

Ground floor dining room.

The dining room on the ground floor. Ezra Stoller photograph from the collection of the Museum of the City of New York.

 

Staircase to lower level.

The mirror lined staircase leading to the lower level dining area. Ezra Stoller photograph from the collection of the Museum of the City of New York.

 

 

With the opening of the Empire State location the Longchamps chain reached its peak.  Winold Reiss continued to receive commissions from Longchamps into the 1940’s and 1950’s for locations in New York City and else where. But after suffering a stroke in 1951 Reiss’ output would be greatly reduced. On August 23, 1953 Reiss died in New York City. As for Longchamps its fortunes would start to change after the Second World War.

 

Post Second World War

It seems that Longchamps proprietor, Henry Lustig, started cheating the IRS in 1940. An audit in 1945 revealed that he and two of his associates had evaded paying $2,872,766.00 in taxes to the government. Brought to trial in May, 1946 the case reached a verdict on June 20 of that year. When sentenced on July 10th, Lustig had to pay $115,000.00 fine and received a four-year jail term.

 

Henry Lustig

Henry Lustig, 1946 at the time of his tax evasion trial. Photo from the New York Herald-Tribune.

In 1947 the government sold all of Longchamps stock to Valley Trust Co., nominee for the Springfield newspaper pension trusts and its subsidiary, Exchange Buffet Corp. Through the 1950’s Longchamps annual sales ran between $7,000,000.00 and $8,000,000.00 but lost money every year, except 1954 when it made a small profit of $7,258.00. Restaurateur Jan Mitchell acquired Longchamps in early 1959. He believed that the chain still held great potential. In 1950 Mitchell purchased the famous German restaurant, Luchow’s on 14th Street in Manhattan and tripled its business by the end of the decade.

 

Jan Mitchell at Luchow's in 1958.

Jan Mitchell serving up good cheer at Luchow’s in 1958. Photograph from The New York Times.

Beginning with the new decade it would be out with the old and in with the “Olde Tyme”. The interior decorations that were so modern and chic in the 1930’s had become tired and dated by 1960. The first change came to the lower level at the Longchamps in the Empire State Building. In honor of Luchows, Mitchell converted Reiss’ dining room into a Bavarian brauhaus. Martin Burden in his “Going Out Tonight? . . .” column in the New York Post described the room this way:

. . . the big terraced downstairs area becomes the Karneval Room, a gay and pleasant rathskeller. It stresses hearty German foods, big steins of imported beer, an oom-pa-pa band clad in lederhosen to provide the music, everything from ‘Ach, du Lieber Augustine’ to ‘You Are My Sunshine. There are souvenir hats, community sings, beer barrels, red-and-white checkered tablecloths, brightly colored paper streamers, huge confetti balls. Its cheery atmosphere should provide a fine attraction in the midtown section.  – New York Post, February 9, 1960, Pg. 51.

 

The Teutonic gaiety didn’t last very long and in the early months of 1964 the entire Empire State Longchamps underwent a complete renovation. And on April 16, 1964  “sailing” into the Empire State Building was Mark Twain’s Riverboat Restaurant. Do not be confused by the name, Mark Twain was not personally affiliated with the restaurant in any way.

 

Newspaper ad, 1964.

Newspaper ad for the opening of Mark Twain’s Riverboat Restaurant. New York World-Telegram & Sun, April 15, 1964.

Now instead of offering classic Longchamp dishes, like sizzling platters or crepe suzette, one could order “Good Vittles”. And why enjoy just a regular old style cocktail when “Hard Likker” was now being offered which one might need to drown out all the “banjos a-plunkin'”. In his “Tips on Tables” in the New York World-Telegram & Sun, Bob Dana had this to say of the renovated restaurant:

Tuneful Debut For Riverboat

The Mark Twain Riverboat Restaurant, inspired by the life and works of the beloved American author, will be unveiled by Jan Mitchell tomorrow at Longchamps in the Empire State Building. There will be dancing to the music of Stan Rubin and his Riverboat Ramblers, with additional music by a costumed banjo group, which will promenade through both levels of the restaurant. 

Stage designer Oliver Smith has designed the restaurant, the main floor  of which is largely a recreation of a dining saloon of a steamer that Mark Twain might have piloted down the Mississippi. Adjacent to the dining room are remainders of the high-stake gambling that flourished on riverboats; the Gaming Room and Gambler’s Den. Over the deep mirrored stairwell leading to the lower floor is a large revolving replica of a paddlewheel, gleaning in the reflection of lights that outline a huge horseshoe bar. 

A large selection of dishes, adapted from foods popular along the Mississippi of Mark Twain’s day, have been added to the extensive Longchamps menu. – New York World-Telegram & Sun, April 15, 1964, Pg. 36.

 

The renovated restaurant proving to be a hit, inspiring more Longchamps renovations the next year. Oliver Smith transformed the Art Deco spaces into 1960’s versions of nostalgia. The Chanin Building’s pre-revolutionary France theme was out. Now a railroad decor took its place, due to the proximity of Grand Central Terminal across the street.

 

Jan Mitchell, 1967.

Jan Mitchell introduces Longchamps chef, John van Hooff to Irving and Murray Riese the new owners of the Longchamps chain, 1967. John Orris photograph from The New York Times.

When Mitchell sold the chain to the Riese Brothers in 1967 the end was in sight. The Riese Corporation already purchased another famous New York City chain, Childs, now they swallowed Longchamps.  By 1970 only one restaurant in the chain still operated under the Longchamps name. The holding company Longchamps, Inc. formally dissolved in 1975.

 

Like so much of New York City’s past, Longchamps has vanished not only from the city but from most people’s memories. Which is a shame, for it was the most stylish of all the city’s eateries.

 

Matchbook inside.

The inside of a matchbook from Longchamps, late 1930’s. From the collection of the author.

 

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

If you enjoyed this post you might also like these earlier posts:

Vanished New York City Art Deco: The Persian Room

The Central Park Casino, Joseph Urban’s Long, Lost New York City Night Club