Showing posts with label Cord Meyer Development Company. Show all posts
Showing posts with label Cord Meyer Development Company. Show all posts

Monday, March 2, 2020

A Forest Hills Map with A Story To Tell


1926 Forest Hills map by Ernest Clegg for Cord Meyer Development Company, Courtesy of Rego-Forest Preservation Council
In a dusty old box, if we look beyond the surface, there may be more to discover than what meets the eye. With a curious mind, one is bound to encounter a couple of surprises. This is the case with a highly illustrated Forest Hills street map from 1926 in a prospectus for Forest Close, an award-winning Arts & Crafts style village of rowhouses developed that same year by Cord Meyer Development Company. At the time, Forest Hills, which was named by the firm, was only 20 years old, while Rego Park was 3 years old. Cord Meyer’s client was Ernest Clegg (1876 – 1954), a largely respected pictorial cartographer, graphic designer, and calligrapher. Today, he is long-forgotten, but his extensive inventory of artistic maps serves as a testament.

Clegg’s creative illustrations include Forest Close, the West Side Tennis Club Stadium which was three years old, the “new” Forest Hills Theatre on Continental Avenue which opened in 1922, Our Lady Queen of Martyrs two years prior to developing the parochial school building on Austin Street, the Queens Valley Golf Club which would have been located in today’s Kew Gardens Hills. At the time, the Queensboro Bridge and Queens Boulevard had a trolley line, and commuters could either hop on a 30-minute trolley or a 20-minute bus. North of Queens Boulevard, thoroughfares included Yellowstone Avenue (renamed Yellowstone Boulevard), Continental Avenue (now 108th Street), Colonial Avenue (now 110th Street), and Seminole Avenue (now 112th Street). Further north was a proposed park, which would become Flushing Meadows Corona Park, as well as a sketching of Flushing Creek.

One of the cartouches features the original Georgian Colonial style real estate office for Cord Meyer Development, which stood where the Midway Theatre is located. The map also notes the location of other significant sites including the Forest Hills Masonic Temple, which later became Boulevard Bank and Sterling National Bank. Opposite Forest Close and its sister community of Arbor Close were tennis courts on Austin Street, facing the LIRR.

Numerical streets did not exist, but rather alphabetized Atom Street on the east to Zuni Street on the west, perpendicular to Queens Boulevard. A majority of unique streets have been renamed such as Atom Street as 75th Avenue, De Koven Street as 72nd Road, Pilgrim Street as 67th Drive, Sample Street as 66th Road, and Zuni Street as 63rd Drive. Jewel Street has been retained as Jewel Avenue. Some street names are preserved in building names, such as the Kelvin Apartments at 69-40 108th Street and Livingston Apartments at 68-60 108th Street. In other cases, building names based on streets are forgotten such as The Portsmouth at 72-22 Austin Street on Portsmouth Place, reserved for south of Queens Boulevard, now 72nd Road. These three properties are the earliest Cord Meyer apartment buildings standing.

Another category is buildings that pay tribute to street names that were no longer in circulation. A later Cord Meyer building, The Balfour at 112-20 72nd Drive memorializes Balfour Street. Quality & Ruskin Apartments on Yellowstone Boulevard and 108th Street pay tribute to Quality Street known as 67th Road and Ruskin Street as 67th Avenue.

South of Queens Boulevard, the map features Backus Place named after the Backus family farm, one of the major farming families, especially at the time of the Civil War. Further east, Ascan Avenue was retained, and named after farmer Ascan Backus, who was one of the most successful commercial farmers in the northeast. Between those boundaries, heading east, were streets including Herrick Avenue, Shelbourne Place, Continental Avenue, Windsor Place, Roman Avenue, and Portsmouth Place.

Clegg lived a diverse life. He was born in the suburbs of Birmingham in the U.K. and attended King Edward VI Grammar School and the Birmingham School of Art. His work was highly influenced by the Victorian Arts & Crafts Movement. As a calligrapher, he felt inspired by the medieval period’s gilded and illuminated manuscripts. During WWI in 1914, he was commissioned with the 7th Battalion, The Bedfordshire Regiment. Then in 1916, he earned the rank of Major and was a temporary Commanding Officer.

In 1919, he increasingly became well-known as a graphic designer and calligrapher in American and British veteran communities in New York. When he worked with William Edward Rudge, the New York Fine Art publisher, he illustrated and lettered a limited edition of Canadian war poet John McCrae’s “In Flanders Fields.” Another highlight was his illuminated manuscript for the British Princess Royal, Princess Mary on her wedding in 1922. A pictorial map from 1925 in the collection of the Museum of the City of New York features a chronology of part of New York City depicting six locations and buildings of Brooks Brothers since their founding in 1818. Another masterpiece was his Great War Map of Battle Lines in France and Belgium on September 25, 1918, copyrighted in 1926. It was presented by Marshal Sir Douglas Haig to the Old Guard of New York. The insignia of 42 American Divisions which witnessed service is depicted.

In 1928, his large map commemorated aviator Charles Lindbergh’s first independent flight navigating the Atlantic Ocean a year prior, and was published by the New York John Day Company. That same year, he produced a rare jigsaw puzzle map captioned “Firestone reaches around the world to give most miles per dollar,” which features factories and plantation buying offices of Firestone in countries including the United States, Mexico, Russia, China, and Africa.

His pursuits as a yachtsman led him in the direction of creating a series of decorative printed charts that recorded three America’s Cup competitions off Newport in the 1930s. After a request from the British Ambassador, Lord Halifax, he returned to England in 1944, and then began producing decorative County maps. It proved beneficial for the Women’s Land Army Benevolent Fund that offered post-war support for thousands of female volunteers who helped sustain British food production during WWII. Clegg’s Kent: Battle of Britain, 1940 – 1941 pictorial map was among many other highly recognized accomplishments.

Thursday, February 20, 2014

Richard Haas’ Mosaic Masterpiece on Queens Boulevard Turns 25


Richard Haas' mosaic mural, Photo by Michael Perlman, Rego-Forest Preservation Council



Queens Boulevard has shops, buildings, roadways, and a few public works of art… if you look carefully enough. This year marks the 25th anniversary of a mosaic mural designed by the famed architectural muralist, Richard Haas.  

The mural adorns the curved façade of TD Bank at 108-36 Queens Boulevard in Forest Hills. It showcases America’s earliest planned garden community, the Forest Hills Gardens, which originated in 1909. At the foot of Station Square sits the Long Island Railroad Station, which extends across its width. Bearing prominence in the mural is the Forest Hills Inn, which opened in 1912 and towers over Station Square. The scene commemorates the Gardens’ Tudor and Arts and Crafts styles, as well as monumental trees, which resulted from the partnership of principal architect Grosvenor Atterbury and landscape architect Frederick Law Olmsted, Jr. 

The charm is further captured through a birdseye view of homes beyond the Inn, as well as specific examples of cottages in individualized windows along its perimeters. Also depicted is a cornerstone of tennis and music history, the Forest Hills Tennis Stadium, which opened in 1923, and a backdrop of the Manhattan skyline featuring the Twin Towers. 

“I have always said this was one of my secret favorites,” said Richard Haas. “I was taken by the history of Forest Hills as a planned community based more on English and other European precedents.” He designed the mural as the first of an extensive series for the Home Savings Bank of America in 1989. It was executed in Spilimbergo, Italy by professional craftsmen under Mr. Trasavenuto’s leadership, and installed by Mr. Cravato in Forest Hills.      
 
Haas’ contemporary creations often become relics. “It's so classic-looking, that I had no idea it was such a recent creation,” said Kew Gardens resident Liz Manning Jarmel.
 
Actor Emil Beheshti, a former Forest Hills resident said, “I am proud to see Richard Haas’ beautiful mosaic, as it reflects my childhood and the care given by residents. It reminds us of the rich history of Forest Hills and its gorgeous architecture.”

The mural was on the brink of demolition when Commerce Bank became the tenant in the mid-2000s, and referenced their storefront design standards. That was when landlord Cord Meyer Development Company had requirements of their own. “It would have been almost sacrilegious to alter or remove the mural. We appreciated the mural’s beauty and significance, as well as the survival of the World Trade Center picture,” said Anthony Colletti, Chief Operating Officer of Cord Meyer. “We made keeping the mural a deal breaker. Soon after, everyone was a winner; Cord Meyer, Commerce Bank, and most importantly, the community.”

Queens residents expressed their pride. Kevin Walsh, Founder of Forgotten New York hopes the mural will not be forgotten. “Now we can be thankful that Richard Haas' fanciful depiction of Station Square and the Gardens beyond will remain, to inspire generations to come.” 

I pass this several times a week, and on sunny days, the gold mosaics absolutely gleam,” said Regina Judith Faighes. “It is an aesthetically beautiful monument to our beloved Forest Hills, and I feel there should be a ceremony honoring the very talented Richard Haas and his gift to our community.”

One of Haas’ major tools is his paintbrush, which he applies to a façade and redefines a technique known as “trompe l’oeil.” He creates an optical illusion by adding architectural detail and dimension to an otherwise blank canvas. Last year, he told CBS Sunday Morning, “A mural contains a neighborhood in many ways. It begins to make people aware of what the beauty is that’s around them.”

Richard Haas, Courtesy of the artist

In 1978, Paul Goldberger, a Pulitzer Prize-winning architectural critic and educator wrote, “The art of Richard Haas is at once entirely realistic and quite fantastic.” He then went on to say, “From a period when Haas began to make small dioramic boxes of artist’s interiors in the mid-Sixties and later New York street views, to the time when he was involved in full scale reshaping of urban exterior and interior environments, Richard Haas has been an ‘urban artist’ without peer.”

Richard Haas was born in 1936 and raised in Milwaukee. In the mid-1950s, he worked as a stonemason assistant to his great uncle George Haas, who was the master stonemason at Taliesin, the home of Frank Lloyd Wright. As an assistant professor at Michigan State between 1964 and 1968, it afforded him the opportunity to meet notable artists and critics such as Barnet Newman, Clement Greenberg, and Jules Olitski. In 1968, he made New York his home, and in 1975, painted his first outdoor mural featuring a replica of a cast-iron façade at Prince Street and Greene Street. This led to various outdoor commissions across America, which continues to this very day.

A similar version of this story appears in Michael Perlman's Forest Hills Times column: http://www.foresthillstimes.com/view/full_story/24564285/article-Queens-Boulevard-mosaic-turns-25