LC Real Estate 09 2019

MUSEUM

PRESERVATION

Marciano Art Foundation building — the best of what’s old and what’s new.

DRIVE-IN

Columnist Christy McAvoy looks at historic landmarks that still survive today.

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Rooftop movies at The Grove are a nod to a romantic past.

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REAL ESTATE LIBRARIES, MUSEUMS HOME & GARDEN

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Section 2

LARCHMONT CHRONICLE

SEPTEMBER 2019

HANCOCK PARK • WINDSOR SQUARE • FREMONT PLACE • GREATER WILSHIRE • MIRACLE MILE • PARK LA BREA • LARCHMONT

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Miracle Mile | $499,000 1+1, Unit #311. Probate. Close to Grove & LACMA. Balcony. Roof top pool, gated parking.

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COLDWELLBANKERHOMES.COM Hancock Park 323.464.9272 | 251 N Larchmont Boulevard, Los Angeles, CA 90004 Real estate agents affiliated with Coldwell Banker Residential Brokerage are independent contractor agents and are not employees of the Company. The property information herein is derived from various sources that may include, but not be limited to, county records and the Multiple Listing Service, and it may include approximations. Although the information is believed to be accurate, it is not warranted and you should not rely upon it without personal verification. ©2019 Coldwell Banker Residential Brokerage. All Rights Reserved. Coldwell Banker Residential Brokerage fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Owned by a subsidiary of NRT LLC. Coldwell Banker and the Coldwell CalBRE# 00616212 Banker Logo are registered service marks owned by Coldwell Banker Real Estate LLC.

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Larchmont Chronicle

SEPTEMBER 2019

SECTION TWO

Permanence and renewal expressed in Marciano Art Foundation No building in the Greater Wilshire area so self-consciously expresses permanence and solidity as what is now the Marciano Art Foundation. The former Scottish Rite Cathedral was completed in 1961 — a near past relative to the construction dates of churches, libraries, theaters, and schools from surrounding neighborhoods. But while most of those older structures have held up fairly well over time, the temple’s 58 years have been mostly marked by decline and disuse.

From our current vantage point, it’s easy to see that the ambitious plans of the Masonic organization were realized at just the wrong historical moment: so much that was unthinkable when the Masons were planning the building in the 1950s happened so quickly after 1961. Quentin Tarantino’s new film, “Once Upon a Time in Hollywood,” invokes 1969 as a before/after turn, but several wrenching events had already marked the decade and put in motion change that would allow no going back.

The sixties and early seventies unfolded in ways that made a midtown men’s club of grand size unsustainable — even in the language of the day, “irrelevant.” By 1994, the

On Books and Places by

Bruce Beiderwell Masons were forced to surrender their temple. And one can imagine the 14-foot-tall figures of Imhotep, Hiram, Zerubbabel, Saint John (the Baptist), Saint John (the Divine), De Reims, Wren, Washington and Zebulon Pike that stand along the south and east walls looking in befuddlement over streets below. wHY Fortunately, Maurice and Paul Marciano bought the long abandoned building in 2013 and hired architect Kulapat Yantrasast (founder and creative director of the design studio wHY) to repurpose the space. For everyone involved, repurposing meant nothing less than re-enlivening. But that did not mean a complete reconceiving. To my mind, the Marciano Art Foundation and wHY saved a significant building in part by playing smartly both against and subtly with its type.

Exhibitions The “against” has been easy

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MARCIANO Art Foundation in Windsor Square is the former Scottish Rite Cathedral.

trasast signaled his respect towards the original design in an interview shortly before the opening of the repurposed space: “We cleaned it up and let the DNA of the building shine through.”

Book on Sheets Adam Arenson’s recently published book “Banking on Beauty: Millard Sheets and Midcentury Commercial Architecture in California” does an excellent job tracing the complex threads of that DNA. Arenson’s focus is on the works developed for Howard Ahmanson and his Home Savings and Loan branches (still about our neighborhood and beyond as Chase Bank branches). Ahmanson, a Hancock Park resident, wanted buildings that would last, that would call attention to their

IN ESCROW IN ESCROW

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to see in every one of the foundation’s major exhibitions to date. Donna Huanca’s “Obsidian Ladder” (on view) asserts a governing aesthetic explicitly contrary to the building it inhabits, one “built by and for men.” Past exhibitions found their own oppositions. Ai Weiwei’s “Life Cycle” referenced themes of displacement and dispossession amidst travertine, marble, and gold. Olafur Eliasson’s “Reality Projector” played with moving light and color in an almost windowless space. And Jim Shaw’s “Wig Museum” alluded to and even appropriated remnants of the building’s Masonic past to suggest nothing less than the coming end of “judiciary Anglo-Saxon power.”

Such dramatic language recalls past charges against this and other buildings from the Millard Sheets Studio, because the forces that undercut the Scottish Rite Cathedral were also at work against the imposing presence of Sheets’ many commercial projects: “fascist architecture,” some would label them.

But the Marciano brothers and Yantrasast saw something worth saving — saw that the temple could be a welcoming host to contemporary art and viewers of that art. Yan-

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solidity, and that would please the public. He gave Sheets, as would the Masons just a few years later, both the freedom and the budget to realize these goals.

The resulting buildings are more than, as some complain, stone fortresses. Arenson (Please turn to page 11)

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Larchmont Chronicle

SEPTEMBER 2019

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‘Once Upon a Time in Los Angeles,’ past and future Los Angeles is in demand.

More people want to experience what the city has to offer, be it as a tourist, resident, or job seeker. Our part of Los Angeles, so closely tied to the entertainment industry, is often “ground zero” for first impressions, both positive and negative. As the success of Quentin Tarantino’s “Once Upon a Time in Hollywood” shows, everyone is looking for the “story” (and there never is just one way of looking at things). Landmarks figure prominently in the film; Tarantino’s attention to detail in portraying 1969 Los Angeles allows us to see what’s changed and what still survives. The setting is a significant character in Tarantino’s latest work.

SurveyLA Preserving the character of this multi-faceted city is no easy task. Documenting our physical environment pre-1980 has been the mission of SurveyLA since 2006, when the city partnered with the Getty Conservation Institute to undertake the first city-wide survey of buildings, places and objects which tell the many-faceted stories of our neighborhoods and the diversity of our residents.

After 13 years, the fieldwork

McAvoy on Preservation by

Christy McAvoy is complete and dozens of contexts have been prepared to highlight SurveyLA’s components: architectural, ethnic and cultural. The immensity of this effort cannot be overstated, and the product is now debuting publicly through “MyHistoricLA: Guide to Public Participation in SurveyLA.” A new version (version 4) of an interactive map will arrive before the end of the year. This information should enable preservationists to be proactive about nominating significant buildings and neighborhoods as city Cultural Heritage Monuments and Historic Preservation Overlay Zones.

The survey provides the City Planning Department a valuable resource for its updates of the community plans, and each council district can start a dialogue about the history of its part of the city. Work is ongoing to integrate existing surveys from redevelopment areas.

National resources Cutting-edge programs such as SurveyLA have been recognized nationally and are used by others. In turn, we benefit from strong partners in Washington D.C. and Sacramento to expand protections and incentives. The National Trust for Historic Preservation has new leadership: the Board of Trustees has selected attorney Paul Edmonson to guide the organization.

Paul’s acumen in preservation has already been proven with his time as the Trust’s legal officer. Tim Whalen of Santa Monica, one of several local trustees and Chairman of the Board of the National Trust, is to be commended for heading a thorough search process and bringing it to this successful conclusion.

Women in preservation As we continue to celebrate women in history and find ways to tell their stories, this month’s “Preservation” magazine notes that 72 percent of master’s degrees in historic preservation are held by women, and more than half of the state historic preservation officers are female. Seventeen of the Trust’s 27 historic sites open to the public are run by women. The magazine profiles eight professional wom-

MUSSO & FRANK GRILL turns 100 this year and served as a location for Brad Pitt, Leonardo DiCaprio and Al Pacino in the movie “Once Upon a Time in Hollywood,” set in 1969.

en in the preservation trades, including Los Angeles’s own Rosa Lowinger, a materials conservator who maintains a team of 22 in Los Angeles and Miami through her company RLA Conservation of Art + Architecture. Says Rosa, “In a way, we function like healthcare professionals. We advocate for best practices so things don’t get damaged, and we have methodologies to diagnose what’s happening to them over time…” (Preservation magazine, p. 31).

An accomplished author as well, Rosa’s stories of projects in Cuba and the United States are fascinating.

Participate in preservation Continuing education is available this fall at the National Trust’s conference in Denver (October 10-12, 2019, PastForwardConference.org) and from the California Preservation Foundation’s webinars. Travel or stay home, but there is a method of study for everyone.

With that newfound education, consider volunteering or helping staff the new Preservation Resources Center in Hollywood.

Hollywood Heritage would welcome your support, and you could be an ambassador for the built environment to visitors and residents in the area. Visit hollywoodheritage.org.

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Larchmont Chronicle

SEPTEMBER 2019

Romantic and new, drive-in makes a comeback at The Grove

AERIAL SHOT of the rooftop in drive-in movie mode, before the sun goes down.

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By Sidney Gubernick The Drive-In Movie: a cultural staple of a bygone era that I, like many Generation Z’ers, have never had the chance to experience. With the continuous, rapid advancement of technology, the drive-in movie has joined the Game Boy, the Walkman and the rotary phone in the hall of technological relics discarded to make way for the newer and shinier. The drive-in’s demise is understandable, since not only do I have access to nearly every movie ever made by way of the Internet, but I can also enjoy this vast movie database from the comfort of my home while eating mac and cheese straight from the pot. This much cannot be said of the drive-in.

The drive-in, however, does have a lot going for it. It’s romantic. It conjures the image of handsome young couples sitting in cherry-colored Corvettes and mint Pontiacs, girls wearing gingham dresses and sipping sodas. We’re fascinated with the quaint, old-fashioned appeal of the ’50s and ’60s seen in movies, which explains the drive-in’s comeback in recent years.

A brief history lesson will now follow, found on the New York Film Academy website: The drive-in was invented in the ’30s, but gained its popularity in the ’50s and ’60s as an inexpensive activity for both families and couples. (One advertised draw of the drive-in was that kids were welcome and could be as loud as they wanted, for each family would have its own space.) The popularity declined in the ’70s, during the oil crisis, when cars were downsized to save on gas.

THE FILM’S 1932 Duesenberg, on loan from the Petersen Automotive Museum.

These new cars were uncomfortable to watch movies in, so to compensate for this loss of market, the drive-ins started targeting new audiences with horror and adult flicks. And then, the VCR came about and everyone decided to just stay home and watch movies there.

And thus was the rise and fall of the drive-in movie.

Now, Los Angeles has only a few regular drive-ins remaining. However, for those wanting to experience the drive-in movie, there is a local option, a summer series called “Level-8 Drive-In,” hosted by The Grove with the Petersen Automotive Museum, which provides classic cars to complement the movie experience. I attended a July 31 screening of “The Great Gatsby,” to see what this new breed of drive-in had to offer.

The 2013 movie was played on the roof of the parking structure, which was outfitted with a screen, lounge, bar, popcorn station, and luxury cars on loan from the Petersen for VIP guests. In one corner was the film’s actual 1932 Duesenberg, surrounded by lights that glanced off the glossy red paint. In addition, there were about 150 guest cars lined up, radios tuned to (Please turn to page 5)

Larchmont Chronicle

SEPTEMBER 2019

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Grove drive-in

term “Uber lounge” would be gibberish to the movie-goers of the 1960s. But at a time when the movie theater is not novel or exciting but routine, when sitting down in a dark theater to disappear for a few hours is not magic but a goto day-off activity, the drive-in is a much needed break from tradition. Nearly 900 movies were releasesd in 2018. With numbers like that, it’s easy to forget what a powerful experience film can be. So taking

(Continued from page 4)

the frequency over which the movie’s audio would travel.

I found myself in the lounge, sponsored by Uber, nestled in a beanbag chair and enjoying the free popcorn as the sun went down and the movie began.

And I must say, I think the drive-in model works as well in 2019 as I assume it did back when. Sure, it’s not exactly the same thing. For example, the

the time to experience one in a new way can be a refreshing change, and remind us why movies matter so much.

The series will conclude Wed., Sept. 25 with “Iron Man” featuring Tony Stark’s Ford Flathead Roadster. Tickets are free but space is limited, so visit TheGroveLA.com to reserve yours if I’ve inspired you to check it out.

Sidney Gubernick will be a sophomore at St. John’s College, Annapolis, Md. this fall.

NEWSPAPERS from the 1920s found in the wall inspired the homeowner to do the same.

2019 Chronicle sealed for posterity, or 99 years on

By Suzan Filipek The April 2019 issue of the Larchmont Chronicle has been sealed for posterity or at least another 99 years, give or take.

Alysoun Higgins hid the copy inside the walls of her 1911 Craftsman home in the Wilton Historic District.

She was inspired by two nearly-100-year-old newspapers she discovered when remodeling her master bathroom — a 1921 copy of the “Los Angeles Evening Express” and a 1920 edition of the “Los Angeles Daily Times.”

“They are definitely readable, but fragile,” Higgins told us.

Before resealing and closing up the walls of her remodeled bathroom, she left behind the recent isssue of the Chronicle.

“Maybe in 99 years someone will discover it just like we did,” said Higgins, who shares her home with husband Al and their three daughters.

A member of the Windsor Square-Hancock Park Historical Society, Higgins is also a member of the Friends of Wilshire Branch Library. She called Central Library downtown to see if they wanted the archive issues. They already had both copies digitized, they told her.

The “Los Angeles Daily Times” included an announcement of an auction of a two-story Spanish architecture home at 832 S. St. Andrews Place for $50,000 and its “wondrous furnishings.”

The “Los Angeles Evening Express” front page featured “Bill Finds Jailed Men Dissatisfied Despite [Sheriff] Traeger’s Efforts to Please.” There was also an article teaching housewives to “Learn the New Way to Cook — by steam under pressure” and “Elaborate Evening Gown Wins Praise” with a photograph of a fashionable flapper.

What stories were featured (Please turn to page 15)

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Larchmont Chronicle

SEPTEMBER 2019

SECTION TWO

‘Art form dying under your nose’: Tamarind Lithography (Part I) When artist June Wayne was 90 years old, she told a “Los Angeles Times” interviewer: “I am fueled by indignation.”

We should all be so lucky.

June Wayne (1918 to 2011) was a fierce crusader for the rescue of fine art lithography not only in Los Angeles, but in the country, and she was no less passionate about tutoring women in the fine art of becoming professional artists.

When Wayne, originally a painter, founded Tamarind Lithography Workshop on Tamarind Avenue in Hollywood in 1960, lithography in this country had become an industrial process — in order to print her work with a master lithographer on a proper press on proper lithography paper, she was forced to travel to Europe to do it.

What is fine art lithography?

It is a direct printmaking technique wherein an artist draws on limestone or metal with a greasy material. The process is usually a collaboration between a master printer and an artist; a printing “plate” is produced by a chemical process working on the stone or metal, and the image is transferred to a piece of special paper through a lithography press. It was invented in Munich in 1789.

Wayne was a force of nature.

She was born in Chicago and

Home Ground by

Paula Panich left high school at 15 to become a painter. She had her second show in Mexico City; she became an artist for the WPA (Works Progress Administration) Easel Project in Chicago in 1938; at Caltech, she was trained in production illustration and then worked in the aircraft industry.

By the 1950s, she was questioning the physical reality of her painting practice. In a 1965 oral history for the Smithsonian Archives of American Art, she said, in part, that she wanted to explore her ideas in another medium “because oil on canvas had been, to me, a sick kind of medium. The materials are antithetical to each other; that is to say, oil expands and shrinks at a different rate than does canvas. The colors are fugitive.”

But, by the 1950s, in the history of American art, fine art prints of any kind — lithographs, etchings, woodblocks — had little value. Nevertheless, Wayne opened Tamarind Lithography Workshop in 1960.

Tamarind flourished on Tamarind Avenue from 1960 to 1970, when, exactly on the schedule Wayne had set for it, it moved to the University of New Mexico. In that Los Angeles decade, Wayne received Ford Foundation grants; in making her case to the Foundation, she told it straight: “[An] American artist can’t make a lithograph if he stands on his head ... there isn’t a soul in this entire country who can help me with lithography. Here’s a whole art form dying under your nose.”

It didn’t die, and she, along with the Ford Foundation, helped save it. Tamarind trained master printers, a multi-year task, and invited established artists to make series of prints. Wayne was clear-eyed about the economics of lithography; there is no way to speed up the process.

Wayne also became a role model to generations of women artists. She gave workshops in the 1970s to educate women how to become professionals in their field.

Among the artists who came to work in the collaborative context at Tamarind in Los Angeles were Richard Diebenkorn, Sam Francis, Josef and Anni Albers, and others, including the redoubtable Lou-

ARTIST Louise Nevelson at Tamarind Lithography Workshop in Los Angeles, 1963.

Photo courtesy Tamarind Institute, Albuquerque, New Mexico

ise Nevelson.

Some readers might recall the stunning show at the Los Angeles County Museum of Art in early 2015, “Louise Nevelson in L.A.: Tamarind Workshop Lithographs from the 1960s.”

Nevelson is known for monochromatic wood assemblages.

But these Tamarind lithographs can set one’s imagination on fire. June Wayne and Louise Nevelson in the same studio?

Talk about heat and light.

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Larchmont Chronicle

SEPTEMBER 2019

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Larchmont Chronicle

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ntry

By Sidney Gubernick Last month, in the first installment of our three-part series, we noted the prominent role played by women in the history of Wilshire Country Club. The following describes the founding years and early growth of the club. The October issue will report on more recent history plus the centennial celebration events taking place at the end of this month.

Before it was a lush golf course, the land that is now home to the Wilshire Country Club was part of an oil field owned by G. Allan Hancock. Before that, it belonged to his father, Henry Hancock, who made a small fortune by developing the nearby tar pits. And before that, the land passed from the Native Americans to the Spanish and Mexican governments as land up and down California was confiscated and settled.

Mexican land grant In 1828, José Antonio Carrillo, the Alcalde (mayor) of Los Angeles, granted Rancho La Brea to Antonio José Rocha.

When the Mexican-American War ended in 1848 and California was ceded to the United States, the Treaty of Guadalupe Hidalgo ensured that land grants given before the war would be protected.

When, however, the Rocha family filed their claim to Rancho La Brea, it was rejected by the Public Land Commission established in California in 1851 to adjudicate the validity of Spanish and Mexican land grants. A legal battle followed, and the Rocha claim was championed by surveyor and lawyer Henry Hancock. They eventually established

r ani e near tar fie s in t e wi

P P for potential members shows the new club’s location (looking east). Marlborough School had moved to Third Street three years earlier.

their title to the land, but legal expenses left the Rochas broke, and they deeded the land to Hancock for $2.50 an acre.

There, Hancock found success developing the asphalt deposits on the land.

When he died, the land passed to his wife, and then to his son, G. Allan, the man responsible for subdividing and developing the land. He based his oil company, the Rancho La Brea Oil Company, here. A few years later, in 1919, the land’s tar deposits made the oil unprofitable. Thus, when a small group of businessmen approached Hancock with the desire to construct a golf course on the land, Hancock agreed.

He initially rented them the land for $1,650 for the first two years.

Around this time, Hancock also donated 23 acres of Rancho La Brea to Los Angeles County for the excavation and preservation of the fossils found in the tar deposits. To this day, the La Brea Tar Pits is still excavating fossils onsite.

Back to the golf course: The men who approached Hancock with a vision went on to found Wilshire Country Club. It may owe its name, “Country Club,” to the fact that, at that point, Rancho La Brea was undeveloped and practically wilderness, although it bordered the already-sprawling Hollywood.

The club was officially incorporated on Sept. 25, 1919. Groundbreaking quickly took place, led by the club’s architect, Norman Macbeth. His legacy can still

be seen throughout the club, both in its designs and in the annual invitational tournament in his name, which remains one of the club’s most prestigious tournaments.

In 1919, the organizer published ads for membership, offering them for $250 each, along with “special” memberships for women. sh Play began in December of 1920, and by then, the price of a regular membership had climbed to $1,000.

The heart of the club’s social activities, the clubhouse, was built at this time on the corner of Rossmore Avenue and Temple Street (now Beverly Boulevard), in a classic California Mission-style building which served the club for the next 50 years. Through funds raised from members, the club was able to buy the property from Hancock in 1925.

In its early years, the club agreed to the idea of a go hosted the Los owned in the Los Angele

J E N N A CO O P E R | L A

LUXU R Y LO S A N G E L E S R E A L E S TAT E

J E N N ACO O P E R L A .CO M Ca lD R E : 0 1 3 5 2 7 10 J E N N A @ J E N N ACO O P E R L A .CO M

Larchmont Chronicle

erness

SEPTEMBER 2019

y

hows Wilshire Country Club, circa 1920.

Angeles Open four times: 1928, 1931, 1933, and 1944. At the 1944 Open, war rationing meant that golf balls were scarce, and instead of money, the prize was war bonds and food stamps.

Many of the visitors in the club’s early years were Hollywood stars and starlets. Howard Hughes played frequently in , the 20s and , 30s, entertaining professional ambitions for a time. Later, he and girlfriend Katherine Hepwould MBER G. Allan Hancock burn olf course on the land he often visit the es Wilshire District. course to play in

a

siness en in

SECTION TWO

e e rates

9

t

secret. Their Muirfield Road home abutted the 8th green. Bob Hope also liked to visit the club, and he would often bring friends during his lunch break.

One such friend was Bing Crosby who, during one visit, began practicing on the course. A member approached him to scold him, and after a heated argument, Crosby vowed never to return to the club. True to his word, he never did.

Fast forward to 1971. After 50 years standing proudly on its corner, the clubhouse was due for a renovation.

The members decided to tear it down entirely and build a new $2.16 million clubhouse designed by member architect and Fremont Place resident, Ragnar Qvale. However, the clubhouse you see today is the third clubhouse. It was (Please turn to page 10)

WILSHIRE COUNTRY CLUB WAS HOST of the 1928 Los Angeles Open.

BING CROSBY played at Wilshire in the early 1930s before his film career took off.

A MEMBER CHIPS OUT of the barranca on the 16th hole during the 1955 Macbeth tournament.

1920s American Colonial Gem!

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Kitchen w/white Carrera marble counter top, copper plumbing (both vertical and horizontal), natural gas lines, electrical system, HVAC (dual zone; 2 separate units), doors, windows and window-framing, recessed lighting throughout, staircase and decorative brick hardscape for backyard entertainment area. Newer roof (including new plywood substrate, and attic fans). CCTV hardwired exterior monitoring system. Spacious basement for storage.

June Ahn cell: 323.855.5558 juneahn21@gmail.com CalDRE# 01188513

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T h e p r o p e r t y in f o r m at io n h e r e in is d e r iv e d f r o m v ar io u s s o u r c e s t h at m ay in c lu d e , b u t n o t b e lim it e d t o , c o u n t y r e c o r d s an d t h e M u lt ip le L is t in g S e r v ic e , an d it m ay in c lu d e ap p r o x im at io n s . A lt h o u g h t h e in f o r m at io n is b e lie v e d t o b e ac c u r at e , it is n o t w ar r an t e d an d y o u s h o u ld n o t r e ly A ll R ig h t s R e s e r v e d . Co ld w e ll Ban k e r R e s id e n t ial Br o k e r ag e f u lly s u p p o r t s t h e p r in c ip le s o f t h e F air H o u s in g A c t an d t h e E q u al O p p o r t u n it y A c t . O w n e d b y a s u b s id iar y o f N R T L L C. Co ld w e ll Ban k e r an d t h e Co ld w e ll Ban k e r L o g o ar e r e g is t e r e d s e r v ic e m ar k s o w n e d b y Co ld w e ll Ban k e r R e al E s t at e L L C.

10

Larchmont Chronicle

SEPTEMBER 2019

SECTION TWO

Wilshire Country Club

(Continued from page 9)

THE ORIGINAL CLUBHOUSE was demolished in 1970.

CURRENT CLUBHOUSE was completed in 2001 and remodeled in 2008.

Diana Knox

with

presents

“The SEVENS”

designed by former Larchmont Village resident and architect Scott Johnson and was completed in 2001.

Further remodeling of the clubhouse, again overseen by the Johnson Fain firm, was done in 2008, with an eye toward redesigning the building in conformance with Macbeth’s original vision for the property.

Next Month In the October issue, the Larchmont Chronicle will cover the club’s later years and its 2019 centennial celebration events.

Sidney Gubernick will be a sophomore at St. John’s College, Annapolis, Md. this fall.

The Chronicle thanks WCC for the use of photographs from “The History of Wilshire Country Club: A Centennial Celebration,” written by club member Douglas N. Dickey.

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SECOND CLUBHOUSE (1971) is behind head golf professional Frank Morey (left), who shows members how to putt the ball.

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428 N. Las Palmas Ave. 836 Mullen Ave. 574 N. Arden Blvd.

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Larchmont Chronicle

SEPTEMBER 2019

SECTION TWO

11

Redesigned Container Store Custom Closets also offers design

By John Welborne Last month saw local shoppers enjoying a fully redesigned, remodeled and reopened store in the Original Farmers Market’s “North Market” area. Now known as “The Container Store Custom Closets,” the former and familiar store showcasing containers has become a showroom for closets to hold those containers (and much more).

The debut last month was proof that the Texas-based company, the nation’s leading retailer of storage and organization products and solutions, is delivering on its previously announced commitment to grow its custom closet busi-

Books & Places (Continued from page 2)

greatly appreciates the textures, shapes, and colors evident in the sculptures, stained glass, tapestries, and mosaics that decorate these buildings. And he attends closely to the cooperative processes that grew from one project to another. As gifted and energetic as Sheets was, he was not the sole creative force at the studio. In fact, one of his greatest accomplishments was surely the team he put

and lifestyle displays and a personalized design experience.

Store general manager Kim Baumbach says that the store has not changed size;

it’s just been reorganized. The most distinctive feature is the numerous closet examples, each with clothing on hangers (Please turn to page 12)

CONTAINER STORE at the Original Farmers Market is now featuring custom closets.

ness. The new store concept, as is evident from the Farmers Market location, is to make it easy for customers, both in the design community and

everyday shoppers, to better understand and visualize the breadth of custom opportunities available. This is done through more than 65 closet

together. That team, it must be noted, included many women; Jean Goodwin Ames, Nancy Colbath, Martha Menke Underwood, and Sue Lautmann Hertel were crucial forces.

It strikes me as appropriate that Yantrasast sees his own role at wHY as an essentially collaborative one. Perhaps that explains how wHY played so successfully with the type encoded in the original temple’s design. I recommend that you visit “Obsidian Ladder.”

It’s an exhibition well worth experiencing: multi-sensory,

immersive, spatially unfixed, and vibrantly colored.

But look closely too at the features of the host, the building, both what’s old and what’s new. In particular, view the mosaic on the east wall outside and the mosaic inside on the top floor, both original productions of the Sheets Studio. And think of how those works are complemented rather than contested by the exciting new mural by Nicolas Party that lines the stairwell, bottom to top. Walk the stairs and enjoy every step.

Sold in 1 Week with Multiple Offers 413 N. McCadden Pl. $2,995,000 ......The entry welcomes you with a sweeping staircase highlighted by a gorgeous stained glass window. Spacious living room with leaded windows, crown moldings, hardwood floors and a fireplace. Cozy den with bar. Formal dining room with French doors opens out to a covered patio and lovely landscaped yard. On a deep lot with an inviting pool. Updated kitchen with breakfast area. One bedroom and full bath downstairs. Upstairs master suite with sitting area, updated bathroom and spacious walk-in closet. Two additional bedrooms (one with a sunroom) and another updated full bathroom. Central heat/air plus large two-car garage.

Rick Llanos

Peggy Bartenetti

Luxury Property Specialist 323-460-7617

Sales Associate 323-610-9721

kgless130@gmail.com

rllanos@outlook.com

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The property information herein is derived from various sources that may include, but not be limited to, county records and the Multiple Listing Service, and it may include approximations. Although the information is believed to be accurate, it is not warranted and you should not rely upon it without personal verification. Real estate agents affiliated with Coldwell Banker Residential Brokerage are independent contractor agents and are not employees of the Company. ©2019 Coldwell Banker Residential Brokerage. All Rights Reserved. Coldwell Banker Residential Brokerage fully supports the principles of the Fair Housing Act and the Equal Opportunity Act. Owned by a subsidiary of NRT LLC. Coldwell Banker, the Coldwell Banker Logo, Coldwell Banker Global Luxury and the Coldwell Banker Global Luxury logo service marks are registered or pending registrations owned by Coldwell Banker Real Estate LLC.

©LC0919

Kathy Gless

Luxury Property Specialist 323-460-7622

Larchmont Chronicle

SEPTEMBER 2019

SECTION TWO

Container Store (Continued from page 11)

wherever there is a closet rod.

But those clothes are for display only; The Container Store does not sell skirts, blouses, etc.!

Those on-the-showroom-floor closets also feature a lot of containers on shelves. Says manager Baumbach, “We have the product inside the closet, showcased inside the closet... so you can see how it all works.” She adds, “One thing that this place offers is that there is a bigger selection of sample closets and living spaces so it kind of helps the customers envision what the products could really look like in their homes.”

The company features four design lines for closets: Avera (just added), Elfa Classic, Elfa Décor and Laren. Free inhome design service is available, which includes a design consultation and professional measurements to ensure that the selected solution will best fit the customer’s space and needs.

Corporate managers state that their staff includes experts in storage and organization solutions. That leads, they say, to creating attractive functionality for one of the most utilized spaces in a home, the closet. The address for the Los Angeles store is 110 S. Fairfax Ave., Suite A-17, 323-648-3120.

Open-air music concert series at Descanso Gardens

Listen to different genres of music through a new concert series, “Silence,” Saturdays Sept. 7, 21 and 28 at Descanso Gardens, 1418 Descanso Dr., La Cañada Flintridge.

Themes of the performances are “Ritual,” “Light” and “Listening” and include music, spoken word and other types of performances meant to take place in open-air spaces.

Tickets are $30 for members and $37 for non-members.

Call 818-949-7980 or go to descansogardens.org/silence.

Take a ‘forest bath’ at the Arboretum

Slow down, listen to the birds and get immersed in nature while on a “forest bath” this month at the Los Angeles County Arboretum and Botanic Gardens, 301 N. Baldwin Ave., Arcadia.

An adaptation of the Japanese practice shinrin-yoku, the relaxed walk through nature, is said to reduce stress, improve moods and even boost the immune system. The “baths” are Saturdays, Sept. 7 and 21, 8 to 10 a.m. and Sun., Sept. 15, 6:30 to 8:30 p.m.

Tickets are $25 for members and $35 for non-members.

Take a tour of some of the Australian transplants and learn which would be best for your garden Sat., Sept. 21 from 10 to 11 a.m.

For more information visit arboretum.org.

Return to the wild, learn to be firewise at Payne

Hear how to work with nature, and learn the best times and conditions for planting this month at Theodore Payne Foundation, 10459 Tuxford St., Sun Valley.

Learn about the right placements for plants in your garden Sat., Sept. 7, 10 a.m. to 12:30 p.m. and again from 1:30 to 4 p.m.

Gain insight on working with nature to get your garden back Sat., Sept. 14, 1:30 to 2:30 p.m.

Learn about native plant maintenance on a walk and talk tour Fri., Sept. 20 from 9 to 10 a.m.

Hear how to be a firewise gardener Sat., Sept. 21, 1:30 to 3 p.m.

Learn about California succulents at a talk Sat., Sept. 28, 1:30 to 3:30 p.m.

Visit theodorepayne.org.

KOONTZ

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Come in and check out our fun selection of Thermos bottles, lunchboxes and afterschool toys.

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Get the children involved and having fun in the kitchen too! Koontz has cooking tools like “Simon the Sifter,” cupcake-decorating and pizza-making kits and kitchen clothing for all ages and levels of culinary ability.

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12

Larchmont Chronicle

SEPTEMBER 2019

Author talk at Memorial library

Ivy Pochoda, whose book “Wonder Valley” was finalist for the Los Angeles Times

Comic books and cookies at Wilshire

Discuss graphic novels and comic books from “Batman” to “V is for Vendetta” with other like-minded readers ages 16 and up at the “Cookies and Comics” book club at the Wilshire branch library, 149 N. St. Andrews Pl., Tues., Sept. 24 at 6:30 p.m. Call 323957-4550.

LIBRARIES

FAIRFAX 161 S. Gardner St. 323-936-6191 JOHN C. FREMONT 6121 Melrose Ave. 323-962-3521 MEMORIAL 4625 W. Olympic Blvd.

323-938-2732 WILSHIRE 149 N. St. Andrews Place 323-957-4550

Hours

Mon., Weds.: 10 a.m. – 8 p.m.

Tues., Thurs.: 12 – 8 p.m.

Fri., Sat.: 9:30 a.m. – 5:30 p.m.

Closed Mon., Sept. 2

Young Adult Book Prize, will speak on her new middlegrade novel “Epoca, the Tree of Epcrof,” Sat., Sept. 21 at 2 p.m.

The book, published in November, is a collaborative effort with NBA giant Kobe Bryant. Pochoda will be reading from the work and answering questions. She is also the author of “Visitation,” an Amazon Best Book. Call 323-9382732.

Fill your TAP card at Fairfax library

Load or purchase a TAP commuter card or pick up cards for Los Angeles Dept. of Transportation commuter buses, Metro or Foothill Transit buses, or student, senior or disabled passes at Fairfax branch library, 161 S. Gardner St., Fri., Sept. 27, 2:30 to 4:30 p.m. Call 323-936-6191.

Make tile coasters at Fremont library

Make coasters from tiles, cork, decorative paper and Mod Podge at a craft class at John C. Fremont branch library, 6121 Melrose Ave., Tues., Sept.

24, 3:30 to 4:30 p.m. Participants can also bring their own images to put on the coasters.

Call 323-962-3521.

SECTION TWO

13

NOW OPEN DIAMOND FOAM & FABRIC

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14

Larchmont Chronicle

SEPTEMBER 2019

SECTION TWO

Evaluate high card points when opening

LIPSON

How would you open this hand?

♠ KT4 ♥ AQ82

♦ Q8

♣ A753

Plumbing, Inc.

With 15 high card points (HCP), it’s tempting to open in 1NT, which shows 15-17 HCP and a balanced hand.

This is a balanced hand and it has 15 HCP. But two of the points are the doubleton diamond Queen. Is that worth 2 HCP? Here’s what happened when South, in second seat, opened the hand 1NT:

©LC0119

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South West North East P 1NT P 2C P 2H P 4C* P 4S** P 6H All Pass *Gerber (asking for aces) **Two aces Here’s the layout: North ♠ AQJ ♥ KJT3 ♦ 96 ♣ KJT9 West East ♠ 9875 ♠ 632 ♥ 965 ♥ 74 ♦ AJT42 ♦ K753 ♣Q ♣ 8642 South ♠ KT4 ♥ AQ82 ♦ Q8 ♣ A753

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West led the diamond Ace and East signaled she had the King by playing the diamond 7, so South lost the first two tricks for down one. Lots of people don’t go to slam holding a worthless doubleton without confidence that partner has a first or second round stopper in the suit. But North was Bridge aggressive Matters and should by not have Grand jumped to Slam slam because she only has 15 HCP. If partner is at the bottom of his bid with 15 HCP, there should be no slam and that’s the situation here.

The question is, how to invite? The answer is not an Ace-asking auction. After South bids 2H, North can cue bid her spade Ace. That would not be showing a spade suit because if North had four spades but not four hearts, she would bid 2N, then if South has four spades as well as four hearts, he can bid 3S. And if North had five spades to go with her four hearts there is no reason to bid the spades after finding the 4-4 heart fit.

So for her to bid the spade Ace, that should be confirming a heart fit and showing

slam interest and South could either accept the invitation by cue bidding an Ace or just going directly to blackwood.

In this instance, with a minimum, South would close out in four hearts.

However, South arguably erred by opening this hand 1NT. His doubleton diamond Queen is not worth 2 HCP. A doubleton King would be worth 3 HCP because it is a trick unless the Ace is behind him. The doubleton Queen cannot be counted on as a trick or even a possible trick, so it is an illusory 2 HCP. The hand could (and probably should) have been downgraded to 13-14 HCP and opened 1C. When North bids 1H, South would then bid 2H showing a normal opening hand with seven losers. North would forget about slam and close out in four hearts. However, many players would still open this 1NT. The hand was played 13 times in a club game. Five pairs were in slam, all going down. I don’t know how the bidding went elsewhere, but I would bet that all slam players opened the hand 1NT and (Please turn to page 15)

Sun’s Out....

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SCOOTERS were enjoyed at the Larchmont Village Neighborhood Association block party Aug. 18. Pizza, hot dogs and live music were also at the annual family event.

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Larchmont Chronicle

SEPTEMBER 2019

SECTION TWO

15

An attorney-at-law in the U.S. combines two British roles

Bill Bentley

tor. A solicitor, then, is more or less an agent, a lesser legal practitioner who is in first contact with the client, and who then recommends and

IN 1920, the “Los Angeles Daily Times” included an announcement of the auction of a two-story Spanish architecture home at 832 S. St. Andrews Place for $50,000.

2019 Chronicle sealed in wall on the front page of the April 2019 issue of the Larchmont Chronicle for future readers to peruse?

Summer camps for kids,

Bridge Matters

(Continued from page 14) those that were in four hearts (five pairs; two others played in 3NT and one played in 5 hearts) opened it 1C because if it’s opened 1NT by South, any good player holding the

historic status considered for Tom Bergin’s Bar and Restaurant, and Ladies Professional Golf Association returning to the Wilshire Country Club were among those offerings.

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Larchmont Chronicle's

ClaSSified adS

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For rent

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Seeking to rent ~ARMY VETERAN~

2 Blks. NE of Pico & Fairfax Seeks unfurn. 1BD apt.

1300 Block of S. Ogden Dr. or detached guest hse. in 1) Email circulation@ LA, CA 90019 larchmontchronicle.com. 1 Bdrm., 1 Bath., $1,500 Moly. Hancock Park, under $1,300 & at least 500 sq. ft.

2 Bdrms., 2 Baths., $2,000 Moly.

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3) We send you a proof Application Needed co., LA Chamber member, of the ad to approve.

Phone Intvw. & Sec. Dep. Req. LA Dream Ctr. & LAPD vol.

4) Pay $35/inch (about

15-20 words per inch).

5) See the results!

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©LC1010

Service & Repairs

How to advertise in the classifieds:

Inc.

north cards with 15 HCP opposite at least 15 HCP will look for slam.

Grand Slam is the nom de plume for an author of a bestselling book on bridge, an ACBL accredited director and a Silver Life Master.

since 1978.

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name connote? queries Ted Sorenson.

Fitz is the ancient Norman form of the modern French fils (son): as in Fitz-Herbert, Fitz-William, Fitz-Gerald, etc.

Professor Know-It-All is the nom de plume of Bill Bentley, who invites readers to try and stump him. Send your questions to willbent@prodigy.net.

Contact (323) 394-0606.

Ask for Carolyn.

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(Continued from page 5)

Since 1959

Catherine the Great of Russia’s (1762-1796), leading and most influential advisor was one Grigori Aleksandrovich Potemkin, who had elaborate fake villages built in order to impress his Empress on her tours of the Ukraine and the Crimea.

• • • What does the “fitz” in a

Lic.#386172

ProfessorKnowIt-All

approaches a barrister to get him to take the case (or brief).

A solicitor is also qualified to draw up wills and contracts, advise clients, and even represent them in the lower courts.

In this country, an attorney-at-law is a combination of both barrister and solicitor.

• • • Why is a gloomy person “saturnine”? wonders Ann Terhune.

Not just gloomy, but sullen in disposition and having a sardonic or even bitter aspect.

The origin of the word resides in the heavens with the planet Saturn. You see, in medieval times it was believed to be the most remote planet from the Sun and thereby the coldest and most inhospitable.

• • • I was reading an article and something fake was called a “Potemkin village.” What did they mean? ponders Susan Banning.

© LC 1113

Please tell me what the difference is between a barrister, a solicitor and an attorney? asks Peter Grass.

In Britain, a barrister is one who is called to the “bar” (which of course is the horizontal rail which separates the trial participants from the audience in a courtroom), and is thereafter entitled to plead in any court high or low, having first received a brief (or particular case) from a solici-

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For your childcare, housekeeper, cheffing or P.A. needs, please call:

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tell our aDvertiSerS you "Saw it in the larChmont ChroniCle!"

volunteerS employment Freewaves seeks volunteers

for "LOVE &/OR FEAR: A Celebration of Genders" Sat., Sept. 7, 8-11 pm FREE art event with 30 artists and organizations 6500-6600 Hollywood Blvd.

Email: freewavesvolunteer @freewaves.org

WANTED: CHIEF FINANCIAL OFFICER AT THE WALLIS

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16

SECTION TWO

Larchmont Chronicle

SEPTEMBER 2019

“

’

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208 S PLYMOUTH BLVD LOS ANGELES CA 90004 COMING SOON | GREAT FAMILY HOME | PRIME WINDSOR SQUARE | WALK TO LARCHMONT co-listed - THE

WOODWARDS | 323.697.5808 | Andrew@TheWoodwardTeam.com

2329 HOLLY DR LOS ANGELES CA 90068 $1,338,000 | Beds: 3 | Baths: 3.5 | SF: 2,036

1375 S ORANGE DR LOS ANGELES CA 90019 - DUPLEX: 2 Units $1,690,000 | Beds: 4 | Baths: 4.5 | SF: 6,217

TERRI GERGER | 323.333.2537 | tgerger@pacbell.net

ANNA LEE | 213.675.6407 | annalee@kw.com

1651 VIRGINIA RD LOS ANGELES CA 90019 $1,849,000 | Beds: 4 | Baths: 4 | SF: 3,038

826 S BRONSON AVE LOS ANGELES CA 90005 $1,579,000 | Beds: 4 | Baths: 3 | SF: 2,845

BATES | HENNINGTON | 310.739.6884 | BatesHennington.com

BATES | HENNINGTON | 323.762.2600 | BatesHennington.com

118 N LARCHMONT BLVD. | KWLARCHMONT.COM | 323.762.2600 | DRE # 01870534 Each Office Independently Owned and Operated