New silver screens were installed in movie houses in the early 1950s for 3D projection. Wonder if this screen dates to that era, delivered after the heyday of 3D movies and never used. In any case, I’ve passed along this info to 3D enthusiasts who might find a use for it.
Growing up in this neighborhood, I didn’t recognize the theater until I saw Warren’s picture of the marquee. However, I can’t ever recall it as showing films. I do remember once going inside when it was used as a bingo hall, probably in the late 1950s.
I forgot to mention that I saw one of these plaques in the collection of the Theatre Historical Society in Chicago. I assume this came with the collection donated by Loew’s Inc. that includes thousands of photographs and other artifacts related to its theaters.
In addition to the 144, I read that 24 theaters were in planning or construction at the time of Loew’s death. I don’t know how many of those 24 were completed. So the outside number for the plaques was 168, but, as you say, not every theater might have installed one.
Warren, I’m sure you’re correct. The 1924 date was mistakenly taken from a bust of Loew designed by Keila in the collection of the Jewish Museum, New York. I don’t know the artist or date for the plaque, which is exactly as shown in your photo. I would assume that, after Loew’s death in 1927, a plaque was installed in each of the Loew theaters. I saw several in the New York City area.
Here are comments about the Bijou I recently wrote for the (now defunct) Knoxville Voice:
While the restored Tennessee Theatre, our grand movie palace, has hosted the bigger events, the honor of being the house of choice for music lovers goes to the Bijou. The theater opened its doors in 1909 and, over the years, served as a vaudeville hall, an opera house and movie theater. Its classical interior design was typical of the period, copying the elegant “legitimate” theaters on and near Broadway that were venues for vaudeville as well as dramatic plays and musical productions.
Attending a performance in this 700-seat gem is a visual and aural treat. Sightlines are near-perfect – wherever you sit, you never feel too far off to the side or distant from the stage. At the Tennessee Shines show, I sat in the last row of the balcony, just in front of the gallery seats, and was astonished when, at the prompting of ON THE AIR and APPLAUSE signs, the curtain lifted upward to reveal the stage. It seemed like I was very close to the performers. Because of its size and configuration (it’s practically a cube), the acoustic quality of the place is superb. String quartet or string band, Sweeney Todd or a rock group, everything sounds right, not too loud or soft. By design, the room itself is a fine musical instrument.
What I like most about the Bijou, though, is its mustiness, its not having been over-restored, just modestly renovated (by local architects Brewer Ingram Fuller between 1998 and 2005) to be functional, clean and comfortable. A new roof, fresh paint, clean carpet and upholstery can do wonders. A building whose age and quality is seen and felt, the skill and craftsmanship of its builders and thoughtful good taste and expertise of its unknown architects are embedded in every surface and space.
I inquired from United States Bronze, New Hyde Park NY, what a similar plaque would cost to produce today. Here’s the reply:
“The plaque shown in 18” x 12" would cost you $1,350 delivered."
So, I think my estimated value of between $1000-$5000 for the 1929 Marcus Loew would be correct, assuming there’s someone (or some group) interested.
New silver screens were installed in movie houses in the early 1950s for 3D projection. Wonder if this screen dates to that era, delivered after the heyday of 3D movies and never used. In any case, I’ve passed along this info to 3D enthusiasts who might find a use for it.
Growing up in this neighborhood, I didn’t recognize the theater until I saw Warren’s picture of the marquee. However, I can’t ever recall it as showing films. I do remember once going inside when it was used as a bingo hall, probably in the late 1950s.
Very interesting. It means there were a minimum of 144 installed, likely 168 or more.
I forgot to mention that I saw one of these plaques in the collection of the Theatre Historical Society in Chicago. I assume this came with the collection donated by Loew’s Inc. that includes thousands of photographs and other artifacts related to its theaters.
In addition to the 144, I read that 24 theaters were in planning or construction at the time of Loew’s death. I don’t know how many of those 24 were completed. So the outside number for the plaques was 168, but, as you say, not every theater might have installed one.
Warren, I’m sure you’re correct. The 1924 date was mistakenly taken from a bust of Loew designed by Keila in the collection of the Jewish Museum, New York. I don’t know the artist or date for the plaque, which is exactly as shown in your photo. I would assume that, after Loew’s death in 1927, a plaque was installed in each of the Loew theaters. I saw several in the New York City area.
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Kerry, which Loew’s theater did yours come from? I assume mine came from one of the 3 Loew’s movie palaces in the DC area.
Michael
Here are comments about the Bijou I recently wrote for the (now defunct) Knoxville Voice:
While the restored Tennessee Theatre, our grand movie palace, has hosted the bigger events, the honor of being the house of choice for music lovers goes to the Bijou. The theater opened its doors in 1909 and, over the years, served as a vaudeville hall, an opera house and movie theater. Its classical interior design was typical of the period, copying the elegant “legitimate” theaters on and near Broadway that were venues for vaudeville as well as dramatic plays and musical productions.
Attending a performance in this 700-seat gem is a visual and aural treat. Sightlines are near-perfect – wherever you sit, you never feel too far off to the side or distant from the stage. At the Tennessee Shines show, I sat in the last row of the balcony, just in front of the gallery seats, and was astonished when, at the prompting of ON THE AIR and APPLAUSE signs, the curtain lifted upward to reveal the stage. It seemed like I was very close to the performers. Because of its size and configuration (it’s practically a cube), the acoustic quality of the place is superb. String quartet or string band, Sweeney Todd or a rock group, everything sounds right, not too loud or soft. By design, the room itself is a fine musical instrument.
What I like most about the Bijou, though, is its mustiness, its not having been over-restored, just modestly renovated (by local architects Brewer Ingram Fuller between 1998 and 2005) to be functional, clean and comfortable. A new roof, fresh paint, clean carpet and upholstery can do wonders. A building whose age and quality is seen and felt, the skill and craftsmanship of its builders and thoughtful good taste and expertise of its unknown architects are embedded in every surface and space.