Hudson Console Table : Chinese Coffee Table.
Hudson Console Table
- A table supported by ornamented brackets, either movable or fixed against a wall
- A table meant to be displayed against a wall. It may be attached to the wall with only two front legs or freestanding on four legs.
- a small table fixed to a wall or designed to stand against a wall
- (Console Tables) Tables made for fixing against a wall and having no legs at the back. They came into fashion early in the eighteenth century, and were made often in pairs.
- a New York river; flows southward into New York Bay; explored by Henry Hudson early in the 17th century
- A town in southern New Hampshire, on the Merrimack River; pop. 22,928
- English naturalist (born in Argentina) (1841-1922)
- English navigator who discovered the Hudson River; in 1610 he attempted to winter in Hudson Bay but his crew mutinied and set him adrift to die (1565-1611)
hudson console table - Console Table
Console Table by Bernhardt - Prima Vera (581-910)
Bernhardt offers a collection of more than 400 occasional and accent pieces to enhance the decor of any room in your home. You'll discover a rich spectrum of design styles, ranging from traditional to transitional to contemporary. An eclectic mix of wood, veneers, metal, leather, and natural media gives each piece a distinctive flair. In addition to style and quality, Bernhardt occasionals provide you with additional benefits such as additional storage and extra working space with protected surfaces.
Midtown Manhattan, New York City, New York, United States The Hudson Theater survives today as one of the historic playhouses that symbolize American theater for both New York and the nation. Built in 1902-04, the Hudson was part of a burst in theater construction that shaped the character of Times Square as the new heart of New York's theater district. It survives today as one of the very few turn-of-the-century theaters in the Broadway/Times Square area. The Hudson was built for Henry B. Harris, one of the era's top Broadway producers. Harris, who grew up in Boston, worked in theaters in Boston and on the road, managing such stars as Lilly Langtry. His many production successes enable him to come to New York in 1900, where he built the Hudson to showcase his stars and productions. Harris's theatrical career, which led to the construction of another of Broadway's handsomest theaters, the Folies Bergere (later the Helen Hayes, demolished), was cut short by his untimely death on the Titanic. The Hudson survives as the chief monument to his theatrical career. Begun by theater specialists J.B. McElfatrick & Son, the Hudson's design was completed by Israels & Harder, an active New York architectural firm. Its major facade on West 44th Street is a restrained but handsome design reflecting the Beaux-Arts classicism current in New York architecture at the turn of the century. For three-quarters of a century, beginning with Henry B. Harris's productions, the Hudson Theater has served as home to countless numbers of the plays through which the Broadway theater has come to personify American theater. As such, it continues to help define the Broadway theater district, the largest and most famous concentration of legitimate stage theaters in the world. DESCRIPTION AND ANALYSIS The Architects: McElfatrick & Son and Israels & Harder Henry Harris initially hired the renowned firm of J.B. McElfatrick & Son to design his Hudson Theater. Although the firm did make initial drawings in 1902, by January 1903 the project had been taken over, for unknown reasons, by the firm of Israels & Harder. J.B. McElfatrick & Son specialized in theater architecture, designing over 200 theaters in over 90 cities around the country. The Hudson was one of sixty New York commissions the firm received, but one of only two theaters connected with their name that survive today in the Broadway theater district. John B. McElfatrick was born in Middletown, Pennsylvania, in 1828. As a young man he moved to Eort Wayne, Indiana, pursuing the career of a carpenter and architect. As McElfatrick's practice grew with such commissions as the Grand Opera House in Detroit and the National Theater in Washington, he and his sons John M. and William H. McElfatrick, who became his partners, moved to Louisville, Kentucky, St. Louis, and finally, in 1884, to New York City. The firm's first known New York commission was the Broadway Theater at Broadway and 41st Street (demolished). Completed in 1888, the Broadway was one of the few older theaters close enough to Longacre Square to become part of the Times Square/Broadway theater district after the turn of the century. The Broadway combined a theater with offices, and its facade was that of a Victorian office building. McElfatrick & Son went on to design some of the most important of the Broadway theaters. In 1892 the firm handled the commission for the Empire Theater on West 41st Street, and the adjoining three-story office building for the legendary showman Charles Frohman. Boasting a one-hundred foot lobby, improved fireproof construction, and electrical lighting with an alternate gas system, the Empire was among Broadway's best-known theaters. Before its thorough renovation in 1903, the Empire's interior was a typical late-19th-century horseshoe configuration with columns supporting two balconies. Paired boxes on each level flanked a high proscenium arch. In 1892-93 McElfatrick & Son designed Oscar Hammerstein's first Manhattan Opera House on 34th Street between Broadway and Seventh Avenue, and Abbey's Theater at Broadway and 38th Street. In 1895 the firm landed one of Oscar Hammerstein's most extravagant commissions: the Olympia, occupying the entire blockfront along the east side of Broadway between West 44th and 45th Streets, in Times Square. Envisioned as a palace of entertainment, the Olympia was to have included two theaters -- the Music Hall and the Lyric -- as well as a roof garden, a bowling alley, cafes, and restaurants. The firm's design for the facade of this complex was extraordinarily exuberant, and strongly suggestive of Stanford White's design for the recently opened Madison Square Garden. Although the Olympia failed as an enterprise, closing after only two years, Hammerstein continued to commission theaters from McElfatrick & Son. In 1899 Hammerstein built the Victoria theater at 42nd Street and Seventh Avenue, and in 1900 the adjoining Republic T
Engine Company Number 23
Midtown Manhattan Engine Company Number 23, built in 1905-06, was designed by Alexander H. Stevens in a straightforward Beaux-Arts style that served as a model for subsequent firehouse design. The symmetry of the three story facade, its materials — Indiana limestone and red brick laid in Flemish bond with dark headers, and its consistently ample fenestration successfully combine to give it its official character. The repetition of architectural elements and their functions — segmental door and window heads, compatible window head and entablature, the sill course, keystones, bracket stone and key consoles — combine to create a sophisticated and cohesive facade design. From this firehouse this engine company has continued to fulfill its mission of protecting the lives and property of the citizens of New York. Neighborhood History & Context Engine Company 23 is the only edifice on this section of West 58th Street still housing a function directly related to its original purpose. In the late nineteenth and early twentieth centuries, contemporary landbooks indicate that private stables stood on many of the lots along the street's north side. There were commercial liveries a's well: the Bennett Livery Stable was at 221 West 58th Street; there was a small livery on the northwest corner at Seventh Avenue; and on the southwest corner there was the Central Park Livery Stables. On Seventh Avenue just north of the small livery there was a Riding Academy. The presence of a firehouse on this block was appropriate and compatible: the steam engine, the hose and the fuel wagons, and the chief's buggy were all horse drawn; and as much as the residents nearby required stabling for the horses they hired and/or maintained for their own use, they relied upon the protective presence of the Fire Department. The warehouses west toward the Hudson River and the tenements to the south and northwest were equally or more susceptible to fire as the first class residential buildings and hotels along Fifth Avenue and Central Park South. The home of Engine Company 23 is constructed of load bearing brick with iron cross-bridging. It is three stories on a full basement (Plate 5). The facade, Indiana limestone and red brick laid in Flemish bond with dark headers, is articulated as a single, vertical bay comprising the apparatus entrance and above it the windows of the second story officers' room and third story chief's office. Flanking these broad central elements are relatively narrow apertures: the personnel entrance on the left of the apparatus door and a window (now blocked) on the right; and on both the second and third stories a window on the left and toilet roam window on the right. All of these have deep reveals. The bay containing a service entrance of the adjacent thirteen story apartment building at 221 West 58th Street is set back from the building line, creating a return (approximately five feet) of what had been the firehouse's western party wall. The first story is faced with ashlar limestone above a granite water table. The segmental-arched apparatus entrance is the central and dominant element. Its intrados and the lower portion of its extrados are protected by wrought-iron plates extending down to the granite spur stones. The window (now blind) embrasure to the right (Plate 6) has become a flat niche and contains a seated lion, sculpted in marble, supporting with his right paw a shield on which "23" is displayed in low relief. 5 Two gold colored metal lanterns flank the apparatus door. Three bronze plaques have been affixed to the ashlar to the right of the apparatus entrance, two of them one above the other, between the entrance and the flat niche and the third to the right of the flat niche.16 The ashlar wall surface is capped by a limestone belt course on which "23 ENGINE 23" is affixed in raised, bronze numbers and letters. A large bronze plaque occupies the central position of the limestone frieze above this course. The large second story window's ashlar surround is keyed into ttfe adjacent bond. Thick limestone mull ions subdivide it into a wide central window and two narrow side windows, each with a transom above. Hie windows are one over one, double-hung sash; the transoms pivot horizontally. A large, limestone scroll keystone and two conventional brackets support the balconet above. The sides of these brackets are articulated with panels containing horizontal reeding. Both of the small flanking windows are one over one, double-hung sash. Like the window below, the large third story window's limestone surround is both keyed into the adjacent brick bond and subdivided by limestone mullions. Again the sash configuration is one over one, double-hung and the transom lights pivot horizontally. But unlike the window below, this window is defined by an earred architrave interrupted only by the large limestone key console. The balconet supports the projecting architrave blocks to which the ends
hudson console table
The Stanley Hudson Street Demi Lune Console II is constructed of birch solids with walnut veneers. It is a perfect accent piece for a hallway or against a bedroom wall. The dark espresso finish gives it a classic feel while the functionality of the shelf and design reflects modern day living. The Hudson Street Dark Espresso Demi Lune Console II will make any decor stand out in style. Features: Storage Space,Self Finish: dark espresso Shape: Corner Table Top Material: Wood Top. Console crafted of birch and select hardwood solids with walnut veneers Console features one stationary shelf Demi lune design Specifications: Overall dimensions: 32" H x 36" W x 18" D Weight: 46 lb