The L. Alavoine & Co. Facade -- No. 712 Fifth Avenue

To the right of No. 712 is the former Coty Building with its wall of Lalique windows.

In 1875 the Fifth Avenue Presbyterian Church erected its $1 million building on northwest corner of Fifth Avenue and 55^th Street.  Organized in 1808 as the Center Street Presbyterian Church, the congregation had moved to Duane Street in 1836 and to Fifth Avenue and 19^th Street in 1836.  The new location, in the midst of the developing mansion district, would be its final move.

Eight years earlier the church enticed Irish missionary Rev. Dr. John Hall to take the position of pastor.  He moved his family from Dublin that year.  The wealth of Fifth Avenue Presbyterian Church was reflected in his salary.  He was initially paid $6,000 in gold (approximately $100,000 in 2016); a salary which would eventually increase to $15,000.

On August 16, 1886 John S. Kennedy filed plans for a $75,000 parsonage to be built next door to the church, at No. 712 Fifth Avenue.  The plans described it as “four stories high, and be built of brick and brownstone.”

Rev. Dr. John Hall was a potent force in the high society congregation.   For more than a decade the parsonage was the scene of high-end receptions, church functions and society evens. 

Hall became ill in March 1898, “suffering from prostration,” however doctors assured the public he would recover.  On March 29 The Sun reported “He passed a very comfortable night, and his condition was noticeably improved by it.”  But Hall did not recover.  He died later that year, in September.

The house was never again used as a parsonage.  The Fifth Avenue Presbyterian Church leased it to William Baylis.  The millionaire and his family lived here until 1906.  By now the incursion of commerce into Millionaires’ Row was well underway.  Within the year Charles A. Gould would abandon his mansion next door, at No. 714, and convert it to a commercial building.

On May 9, 1906 The New York Times reported that the Fifth Avenue Presbyterian Church had leased its parsonage to L. Alavoine & Co., society art dealers and decorators.  The announcement said the firm “will make few changes in the front of the house, which will continue to have the outward appearance of a private dwelling, but on the rear of the lot an art gallery will be erected.”

But apparently Alavoine & Co. and the church were not done with negotiations.   In August L. Alavoine & Co. announced that planned alterations would cost $20,000.  But by spring 1907 nothing had been done.

Then, on March 23, 1907 the Record & Guide reported “One building will be demolished at 712 5^th av for the five-story store and office building…which the Fifth Avenue Presbyterian Church Congregation…are to build from plans by Albert S. Gottlieb.”  The announcement noted that the building was being constructed for the use of its tenant, L. Alavoine & Co.  “The front will be of limestone and brick…and the cost is estimated at $50,000.”

Completed in 1908 Gottlieb’s handsome neo-French Classic building mimicked the 18^th century row houses of Paris.  The architect carefully carried on the proportions, the mansard roof and cornice line of the abutting Gould mansion.  Corinthian pilasters, wrought iron grills at the upper openings, carved swag panels and balustrade decorated with great stone urns created a high-end residential look.

L. Alavoine & Co. had been in business in America since 1853.  The firm not only sold valuable paintings and artwork to New York City’s wealthiest citizens, it decorated their homes as well.  In fact, its influence was so noteworthy that when millionaire James B. Haggin began alterations to the massive George Crocker mansion at No 1 East 64^th Street in 1912, L. Alavoine & Co. was listed as architects on the plans.

Not long after moving into No. 712 Fifth Avenue L. Alavoine & Co. welcomed a subtenant.  In 1909 high-end Paris jeweler Pierre Cartier opened his New York City branch store here.  Within seven years his business would demand a building of its own; and in 1916 he negotiated a deal to take over Morton Plant’s superb mansion at the southeast corner of Fifth Avenue and 52^nd Street.

The French owners of L. Alavoine & Co. were most likely instrumental in space being leased to L’Union des Arts as war broke out in Europe.  On April 8, 1917 The New York Times explained that the charity “contributes to the assistance and protection of artists, painters, sculptors, and literary men who are victims of the war.”  The organization was patronized by some of Manhattan’s wealthiest socialites, among them Mrs. Vincent Astor, Mrs. Jules Bache, Mrs. Harry Payne Whitney, Mrs. O. H. Harriman, Mrs. Frederick Havemeyer and Mrs. Frederick Vanderbilt.

With the war over, space in the building was leased to another high-end art dealer, Arthur H. Harlow & Co.  Harlow had established the firm in 1911 at No. 569 Fifth Avenue.  Like L. Alavoine & Co. the artworks handled by Harlow ranged from Old Masters, like Rembrandt etchings, to more modern paintings like works by Cezanne.

Arthur Harlow opened with an exhibition of American Impressionist painter Paul Dougherty. The New York Herald, February 27, 1921

Edouard Ferman, president of L. Alavoine & Co. died on May 23, 1933.  Although the firm gave up the ground floor space to A. Schmidt Sons, another art dealer and decorator, in 1934, it continued on in the Fifth Avenue building.  In 1936 L. Alavoine & Co. launched its most impressive exhibition to date: five complete French rooms were temporarily installed.  On November 8 The New York Times opined “In these paneled interiors, brought over entire from Old World palaces, a rare opportunity is offered to see French decorative art at its best.”

By the time L. Alavoine & Co. decorated the Jesse Isidore Strauss residence on Park Avenue, the Art Deco style was all the rage.  photograph from the collection of the Museum of the City of New York

That same year Arthur H. Harlow & Co. moved from No. 712 Fifth Avenue to Rockefeller Center.  L. Alavoine & Co. and A. Schmidt Son remained nearly until mid-century.  In 1948 A. Schmidt Son discontinued business, selling at auction its stock of French and English furniture, paintings, Georgian silver, porcelains, tapestries and Oriental rugs.

In its place Louis Carr Gallery moved in.  Unlike its predecessors, the gallery dealt in modernist paintings “of the last decade” according to its opening announcement.  The art and antiques tradition continued in the building as Associated American Artists Galleries moved in during June 1956 from across the avenue at No 711; and the Albert Landry Gallery opened in January 1959.

Change would come after Harry Winston sold the building in October 1963.  The jeweler, whose business was at the southwest corner of 56^th Street at No. 718, also owned No. 714.  The purchaser was Gotham Development Corporation for the Italian Rizzoli-Editore Corporation.

After gentle renovations, Rizzoli opened its vast bookstore with green marble floors, polished walnut woodwork and cultured atmosphere.  No run-of-the-mill bookstore, it offered Fifth Avenue shoppers one-of-a-kind Christmas gifts in 1959.  Available here were the 30-copy edition of Picasso’s Cocu Magnifique, with 12 signed etchings for $36,000; or Chagall’s The Circus, priced at $6,500. For the less extravagant shopper, Salvatore Dali’s Alice in Wonderland could be purchased for $750.

In 1983 the magnificent Art Deco Bonwit Teller building designed by E. J. Kahn diagonally across the avenue was demolished to be replaced by the splashy Trump Tower.  Paul Goldberger, writing in The New York Times said “the overall effect was to change the nature of the avenue, replacing the dignity of the old masonry buildings with the glitter of the new.”

On the tail of Donald Trump’s spectacle came the threat of another.  In 1984 rumors of plans to demolish Nos. 712 and 714 to create an L-shaped 44-story skyscraper circulated.  Preservationists scrambled to protect the buildings, noting in part that the Coty Building next door contained three stories of irreplaceable and priceless Rene Lalique windows.

Although both buildings were granted landmark designation; it applied only to the facades.  In 1985 the architectural firms of Kohn Pederson Fox Associates and Schuman Lichtenstein Claman & Efron designed a 56-story tower for Solomon Equities “to slip behind the facades of the landmark Rizzoli and Coty Buildings.” 

The new trend of “facadism” was highly controversial.  While it maintained the historic face of the Fifth Avenue block, the two buildings were now, as described by Paul Goldberger, “a doormat for the tower, a small stoop cowering before a ponderous skyscraper of entirely different scale.”

The facades serve as false fronts to the soaring skyscraper behind.

The L. Alavoine & Co. building, as well as the Coty Building, survive in the form of stage sets in front of the looming skyscraper.  But, at least, the early 20^th century commercial personality of the block has been preserved.

photographs by the author

The 1920 Sohmer Piano Bldg. -- No. 31 West 57th Street

photo http://www.vnony.com/portfolio/property/31-west-57th-street/28/overview

Just after the turn of the last century Jacob Rothschild lived among some of Manhattan’s most socially-prominent citizens.   The block of West 57^th Street where he lived was lined with the brownstone-fronted Italianate rowhouses of a generation earlier and exuberant Beaux Arts replacements like the mansion at No. 35--two doors away--built by Margaret Vanderbilt Shepard for her daughter Maria and new son-in-law, William Jay Schieffelin.  At the Fifth Avenue corner of the block stood the hulking, block-wide chateau of Cornelius Vanderbilt III.

The Schieffelin mansion had been home to Samuel Bowne since 1899 and in between that house and Rothschild’s lived lawyer Edward S. Rapallo in the subdued brownstone at No. 33.  Jacob Rothschild’s varied interests and abilities had made him what The New York Times deemed “one of the wealthiest merchants, real estate operators and hotel men of the city.”

On April 4, 1911 the 68-year old millionaire died in the house following a severe stroke.  His death coincided with changes that were already being noticed in the neighborhood.  It had all started a decade earlier when John Jacob Astor demolished mansions at the southeast corner of Fifth Avenue and 55^th Street for his high-end St. Regis Hotel.  As millionaires avoided the encroaching commerce, fleeing northward along Central Park, their mansions were altered or razed for business buildings.  The Rothschild mansion would soon join them. 

On November 20, 1913 The New York Times reported that Dunstan, Incorporated “one of the oldest dressmaking concerns in the city,” had taken a long-term lease on the house.  The firm announced it would make “extensive alterations.”

In the meantime Sohmer & Company was following the northward trend, as well.  The long-established piano firm had started on 14^th Street; then moved to No. 170 Fifth Avenue in 1898; then to No. 315 Fifth Avenue in July of 1909.  The highly-competitive piano business in New York City kept the company’s directors constantly aware of the need to change business practices—or location.

In 1919 the need to move once again was evident.  Before long the piano and organ district would be centered along West 57^th Street and Sohmer would be one of the pioneers in the movement.   On May 3 the Real Estate Record and Guide reported that “Sohmer & Co. make the announcement that negotiations have just been completed for the leasing for a long term of years, the property at 31 West 57^th Street.”  It signaled the end of the line for the Rothschild residence.  “The present building will be razed and there will be erected by Sohmer & Co. a six-story building, all of which will be occupied in the conduct of their piano business.”

On June 7, 1919 The Music Trades reported that Harry J. Sohmer and his wife were “compelled to return to New York last Monday on account of matters pertaining to the new building now being planned by Sohmer & Co. for early erection on West Fifty-seventh Street, that required his attention.  Mr. Sohmer said they were making good progress with the plans and sketches and work on the new building would be started soon.”

Indeed, work got started soon.  Two months later, on August 30, The Music Trades noted “Demolition of the building occupying the site of the new Sohmer structure was begun last week, and the work of construction will be pushed rapidly from this time on.”

Sohmer & Co. had chosen architect Randolph H. Almiroty for its $100,000 home.  “The building will have an Italian façade and will be constructed throughout with the idea of making it one of the most complete piano salons in the country,” said the Record and Guide.  “The top floor will house the executive and accounting departments, both wholesale and retail.”

In reporting on the planned structure, the Real Estate Record and Guide noted the changes on West 57^th.  “Real estate experts and those competent to know are all agreed that 57^th street is destined to become one of the famous streets of the world—the ‘Bond Street’ of America.”

Construction was completed within the year and Sohmer & Co. opened its doors for business in October 1920.  Almiroty’s handsome Italian-inspired façade retained the proportions of the surviving former residences that surrounded it, creating a harmonious flow.

The double-height, rusticated ground floor base supported four floors of understated and dignified design that demanded little attention.  An 32-foot arched opening at ground floor however presented a dramatic introduction to the showrooms.

In 1922 the two houses on either side of the Sohmer Building had been converted to businesses -- photo by Wurtz Bros. from the collection of the Museum of the City of New York http://collections.mcny.org/C.aspx?VP3=SearchResult_VPage&VBID=24UAYW5T4L1N&SMLS=1&RW=1366&RH=579

The firm's opening announcement on October 9 said "The building was especially designed and erected" for the display of  "Sohmer Pianos--Grands, Uprights, Player-Pianos--and Victor Victrolas."  "Every detail has been planned to afford a perfect environment in which to display the exquisite beauties of the Sohmer Piano."

Before long other piano dealers would follow the lead to West 57^th Street.  Further west was the handsome Steinway Building which included Steinway Hall, and in 1924 the Chickering Piano firm opened its 13-story Chickering Hall next door to Sohmer & Co. at No. 29.  Then in 1934 Hardman, Peck & Co. moved into the old Edward Rapallo house on the other side at No. 33 West 57^th Street.  Following Almiroty’s example, the street level was renovated to a similar double-height glass-paned arch.

A clever marketing scheme devised by Sohmer in 1933 was its annual National Piano Playing Tournament.  School-aged pianists from New York and the vicinity entered the three-day contest, vying for national, state or district certificates of honor.  The children were graded according to their excellence as compared to their age and length of time they had studied.

The stark difference in the youthful attire of the 1930s and today is evident in The New York Times report on the competition on June 9, 1939.  “Immaculate in starched white frocks and natty blue coats, the girls and boys, respectively--with the former outnumbering the latter by three to one--were nervous at first, but soon lost themselves in the spirit of the occasion.  Although both judges and parents were forced by the rules of the tournament to sit behind screens, the players knew they were there and did their best to prove their knowledge of the piano and its part in music.”

After manufacturing pianos in New York for 110 years, Sohmer & Co. moved its factory to Connecticut in 1982.  The company was making at the time about 3,000 instruments per year.  In announcing the move, the Sohmer management promised that the 57^th Street showroom would remain.

But only two years later it was gone.

In December 1984 the Rizzoli International Bookstore announced its plan to move into the former Sohmer Piano Building.  Like Sohmer, Rizzoli intended to use the entire building—the lower three stories being used as the main bookstore while the upper floors were reserved for imported books, stationery items and related products.

Three months later the Rizzoli bookstore was opened with a grand champagne reception.  Along with the facade, the firm’s architects sensitively preserved the original elegant Italian interiors.  The delicate, carved-in-place plaster ceiling ornamentation was gently updated by adding a Italian fresco glaze.  A few vintage fixtures from Rizzoli’s old Fifth Avenue location were integrated; including four hand-crafted chandeliers, cherry woodwork, and the hand-carved marble doorframe.

Within a generation New Yorkers had forgotten that the beautiful building at No. 31 West 57^th Street had not always been the Rizzoli Building.  The vaulted ceilings, the old world atmosphere and the warm racks of books were as familiar to some Manhattanites as their own living room.

As the 20^th century came to a close, the Schieffelin mansion had lost its lower floors to be replaced by a flat-faced commercial façade; the Rapallo mansion held on to its 1930s storefront and Victorian upper floors; but the Sohmer Building was virtually intact, inside and out.  By now the West 57^th Street block had drastically changed and the three survivors were essentially the last relics of a far more elegant era.

Then as 2013 drew to a close the LeFrak real estate family and Vornado Realty Trust, owners of the three structures, announced plans to demolish the buildings for an unspecified project.  The Landmarks Preservation Commission considered the Sohmer & Co. Building and decided it “lacks the architectural significance necessary to meet the criteria for designation as an individual landmark.”

The hearts of preservationists, historians, and lovers of Manhattan in general dropped.  Interestingly, the three picturesque structures represent the three rapid-fire developments of the block:  The Rapallo house is a surviving example of the first period of rowhouse construction; the Schieffelin mansion represents the second, fashionable period; and the Sohmer Building the commercial period.

Look fast, though.  It appears fairly certain that the charming buildings will not last much longer.