Earlscourt_Lad
Active Member
I think they also built the interior of the Lakeview on Dundas.
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More Lost Toronto in colour
- Thread starter LowPolygon
- Start date
I think they also built the interior of the Lakeview on Dundas.
Mustapha
Senior Member
Quite a nice interior too; wish someone had some pics; very "30's".
The Boston cream pie was renowned, as was the rice pudding and the Chicken fricasee dish.
The Boston cream pie was renowned, as was the rice pudding and the Chicken fricasee dish.
adma
Superstar
Interesting deduction from this picture compared to others: the Edison Hotel at Yonge + Gould was still whitepainted and signed-over for the 1973 Yonge Street Mall season; but by 1974's mall, it had been sandblasted and sported Music World at the corner. (Maybe the sandblasting was the first step t/w its recent collapse?)
Another thing: was the Zanzibar momentarily known as "Circus" or something or another?
LowPolygon
Senior Member
great interior shots of quotidian spaces like clubs, taverns, restaurants, bars etc, are one of the 'holy grails' of lost Toronto images! there are so few of them around....
Mustapha
Senior Member
Interesting deduction from this picture compared to others: the Edison Hotel at Yonge + Gould was still whitepainted and signed-over for the 1973 Yonge Street Mall season; but by 1974's mall, it had been sandblasted and sported Music World at the corner. (Maybe the sandblasting was the first step t/w its recent collapse?)
Another thing: was the Zanzibar momentarily known as "Circus" or something or another?
A great couple of summers for Yonge in '73 and '74. Was a happenin' place.
J T CUNNINGHAM
Senior Member
They were a 'specialty shop', in the world of Toronto cabinettes & restaurant furnishings -
Paul's Fine Foods, when on the east side of Spadina Road in The Village, was also by
his company. They were located one door west of the hotel at Queen/Strachan where
the new towne homes are now. A pic on the Toronto Archives shows the building
being erected during the 1940's. - art decco. Sidney was my exwife's uncle.
Regards,
J T
Earlscourt_Lad
Active Member
Thanks for the information! The work that I've seen typically tends to be of a high calibre, and I say that as a professional woodworker. I'd love to know more about them, if you have anything to share.
J T CUNNINGHAM
Senior Member
Not too much, but I do remember that aside from Sidney being a nice man with a nice wife,
the company specialty was african ribbon mahogany work, he drove a late 1950's white
Lincoln Continental, and his son was a custom home builder in Miss Suaga.
Regards,
J T
the company specialty was african ribbon mahogany work, he drove a late 1950's white
Lincoln Continental, and his son was a custom home builder in Miss Suaga.
Regards,
J T
Parkdalian
Senior Member
Was looking for something else, but found this cute picture of a TD girder.
Urban Shocker
Doyenne
Two design classics in that last image ...
http://lauramoore.ca/where-the-sidewalk-ends.php
Artist statement: "In the series entitled where the sidewalk ends, I carved five portable curbs from limestone. Standard curbs are eight feet in length, by one foot wide and nine inches tall. They are mundane, everyday, modernist forms used to organize and restrict space. My intent was to alter and shift the scale of these forms, from objects of authority to references for self-scale. The curbs are a response to my surroundings, a place for contemplation and a space for reflection. The work revisits the language of minimalism in its engagement with everyday material culture."
http://lauramoore.ca/where-the-sidewalk-ends.php
Artist statement: "In the series entitled where the sidewalk ends, I carved five portable curbs from limestone. Standard curbs are eight feet in length, by one foot wide and nine inches tall. They are mundane, everyday, modernist forms used to organize and restrict space. My intent was to alter and shift the scale of these forms, from objects of authority to references for self-scale. The curbs are a response to my surroundings, a place for contemplation and a space for reflection. The work revisits the language of minimalism in its engagement with everyday material culture."
J T CUNNINGHAM
Senior Member
I
D0 not BElive
a
WORD
of
IT .
Regourds,
J T
D0 not BElive
a
WORD
of
IT .
Regourds,
J T
JordanRHughes
New Member
I miss it so much. Thanks for posting these pictures and thanks for having this forum. Some of the best places to travel around the world are the ones that no one knows about. The secrets that lay just off the beaten path are usually the spectacular sites that the locals keep to themselves. Next time your at any of the jamaica Hotels ask the local where the best places to visit and you'll be surprise what they have to offer...dominican republic hotels
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adma
Superstar
Would the white building on the left be the back of the about-to-be-demolished Bank of Toronto?
LowPolygon
Senior Member
Interesting work, but typically overdetermined by the laboured intellectualization that is the fate of every artist who has had to fill out too many Ontario Arts Council applications. Grant-speak is the bane of the art world in Canada. In a perfect world artists would 'let the work speak for itself', unfortunately Canadian art's reliance on state funding demands that artists get all pretzel shaped trying to explain themselves in writing, by using the most woolly kind of bafflegab, to show how their work is intellectually and socially engaged, ideologically challenging and politically progressive--ie, fundable.
the work is always interrogating our assumptions; de-centering the subject; provoking a crisis of objectivity; deploying strategies that create a crisis in the subjecthood of the viewer. blah blah etc etc until every last Lacanian or Poststructuralist cow comes home.
although the above is hardly all that bad, here is a good example of how it gets totally out of hand:
‘The shuffling and unfolding of the information of her body in sensory space is enacted across a gap or trajectory of subjecthood that is multiple and present. Subjectivity is the lens and connector through which the spatio-temporal dislocation gets focused and bridged. The gap is outside vision – felt not seen – and always existing on the threshold in between nodes. Like the monster’s subjectivities, all knots in the matrix are linked.’
yikes--where's that Ruskin book?....
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J T CUNNINGHAM
Senior Member
thedeepend,
your GRANT
is HEREWITH
APPROVED!
OAC, J T
your GRANT
is HEREWITH
APPROVED!
OAC, J T