Reprinted from INTERIOR DESIGN, July 1977
Restaurant Jonathan
A superbly detailed recreation of the Art Deco era by Jack Cosner
In New Orleans, food is a serious business. And
although the cuisine at Jonathan may be of gourmet
calibre, it is the restaurant's design that is truly spectacular.
For Jack Cosner, co-owner /architect/ designer
has transformed two abandoned townhouses (built in
1825) into a virtual Art Deco museum.
"At first, I planned to base the motif on Hollywood
Deco," says Cosner after determining that he would
indeed conjoin the two structures and use the facility
for a restaurant. ("I had no intention of entering the
restaurant business at all when I bought the property,"
he interjects.) "Then when I discovered that original
material was available, I decided to design an authentic
Deco installation rather then a stage set. Jonathan is
authentic because it's concerned with architectural elements,
spatial flow, and what was really used then,
as opposed to present conceptions of the period," he
explains.
Why Art Deco? "Because," says Cosner, "there are
no commercial interiors of the period remaining in New
Orleans. Further, it is a period in interior design which
adapts well to commercial projects, particularly restaurants."
Add these to the obvious connotations of
glamour the era holds, and the fact that the owners
previously had amassed a small collection of art and
artifacts, and the choice of idiom is easily explained.
Beginning with structural alterations, Cosner demolished
the wall that had divided the two buildings
and completely gutted the three-floor, 5700-square-foot
interior space. Rebuilding (Cosner acted as general
contractor as well) concentrated on establishing a flow
Continued
Back page: Dominating the entrance foyer is a canvas
mural of aquatic life by Dennis Abbe. The artist also created
the maitre d's stand which is finished with black lacquer,
gold leaf, and eggshell. The ceiling is covered with gold foil ·
squares that have been given a tortoise treatment ; the ziggurat
lightwell is typical of the era. Both the bronze lamp and
marbleized glass vase are originals. Above: Glass plate was
created by Dennis Abbe to commemorate the restaurant 's
opening.
Photographer: Jaime Ardiles-Arce
'•.
among the three floors. There is an actual opening
between the three floors on one side of the building;
terraces and patios provide further visual linkage among
levels. (See drawing).
Each dining facility and lounge has a distinct character
and color palette. On the first floor are: the Night
and Day Lounge, dramatic in its oxblood/black/gold
coloration; the salmon and grey-blue toned Paradise
dining room; and the kitchen and support systems. On
the second floor, characterized by a dark blue and
silver palette, are the main dining rooms named after
the two artists most frequently associated with the
period-Erte and lcart. The third floor holds two private
dining facilities, Diva's Den and the Carnival Room. The
former, silver and blue in color palette, is dedicated to
Cosner's friend Leontyne Price, and displays her tiara
from the Metropolitan Opera's production of Tosca.
The other dining room based on Mardi Gras colors of
purple, green and gold, has as its focal point exhibits of
carnival memorabilia dating from the 1880's to 1940's.
Aside from the art and objects (with Lalique, Sabino,
Erte and lcart represented), probably the most extraordinary
aspect is a group of larger-than-life scaled murals
and glass work by Dennis Abbe of New York. In the
entrance foyer, his painted canvas mural is based on
an aquatic theme to relate to the Gulf of Mexico. The
major glass work, a huge piece rising two stories from
the Night and Day Lounge through the ceil ing into the
lcart dining room, is said by the designer to epitomize
the era. Other works are a sliding four-panel double
faced piece, " Deco Goddesses with Birds," for this
first-floor lounge, and an egret fantasy for the smaller
second floor bar.
No detail escaped Cosner's attention. Crown moldings
were cast from originals from Manhattan's Roxy Theatre.
The Deco signature ziggurat is repeated in the entrance
ceiling light well and in the second floor Egret Bar.
When original items could not be found, Cosner created
them to recall the period. Such is the case with the door
frames and also a wall covering in the Erte dining room
-half rounds on pieces of plaster lathe. Even the tableware
(already in commercial production) and graphics
were specially attended to by Cosner.
Working for approximately nine and one-half months,
" almost 24 hours a day," Jack Cosner has recreated an
era in New Orleans. D
Restaurant Jonathan
THROUGHOUT
Floor tile: American Olean
Paint: Pittsburgh Paints
Manufacture of glass murals: Shells Brothers
of Carved Glass & Signs
Recessed lighting fixtures : Lightolier
Mirror work and glass mural installation:
Lester Glass Co.
Dining tables (custom): L&B Manufacturing
Corp. (bases)
Dining chairs: Fanta Inc .
Upholstery vinyl: "Corda" Naugahyde
by Uniroyal
Carpet: Magee
Crown molding: Lachin Plasterers
- --,
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PARADISE ROOM
NIGHT AND DAY LOUNGE
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LOADING
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DIVA'S DEN ~:OR ~ PRIVATE DINING
01 ttrS
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THIRD FLOOR PLAN
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CARNIVAL ROOM
PRIVATE DINING
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I ERTE ROOM
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!CART ROOM
- - - - BALCONY -SECOND FLOOR PLAN r
Tables: Gampef-Stof
Chairs : Jansko
Bar stoo ls: L&B Manufacturing
Viny l covering on bar: Naugahyde by Uni royal
Fans, fighting fixtures: A&G Machinery Corp.
Chandelie r: Gamer
Wall sconce: San Jacinto House
Fan mirror: Marion Thomas Antiques
Railing (custom): Iron Work Service
Coffee maker: American Best Coffee
Night and Day Lounge. The major B'x20' glass work begins here and rises through the ceiling
to the second floor !cart dining room . Behind the custom built bar is a sliding, double-faced,
four-panel work that separates this main lounge from the Paradise dining room . Cosner's own
baby grand piano (foreground) was lacquered oxblood to match the walls. Crown molding
was cast from originals from Manhattan's Roxy Theatre. The bronze and crystal sconce is a
Sabino piece ; bronze theater light, one visible behind bar, is from the Paris Opera Comique.
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Paradise Room. The salmon and blue-grey color palette makes this the most tranquil of the
various rooms. To the rear is the glass work that separates this dining facility from the
Night and Day Lounge. Art Deco accents include: three white fiber glass palm trees with metal
leaves (not visible here), taken from a display window in an R. H. Macy Corporation store; an
original figurine of silver washed copper on an etched glass globe; and mirrored detailing
on the custom banquettes.
Banquettes (custom): Orleans Cabinet Works
Tables (custom): L&B Manufacturing Corp. (bases)
Chairs: Fanta Inc .
Fans: A&G Machinery Corp .
Place settings (throughout): Shenango (china) ;
Delco (flatware);
Libbey (glasses); Bolter Sales (salt and pepper shakers)
Restaurant Jonathan
Erte room. Named for the artist whose work is displayed there, this second-floor dining room
opens onto a balcony. The wall covering on the far wall is made from half rounds and wood
lathes. A canopy covered with navy blue and silver-grey fabrics (foreground) creates an
illusion of intimacy. The figure in the foreground is a signed French bronze; the sconces
(circa 1928) are from part of the Smithsonian Institution that has been demolished.
Lighting fixtures: A&G Machinery Corp.
Canopy fabric: David & Dash (navy blue); Westgate (grey)
Blinds: Levator
Egret Bar. Focal point of this small second
f loor stat ion is Abbe's glass work, framed
in the same motif that is used for crown
molding in the Paradise Room. The bar unit
is a custom des ign.
Bar top: Formica
Vinyl covering on bar: Naugahyde by Uniroyaf
Bar stoofs: L&B Manufacturing Corp.
Lighting fixtures: A&G Machinery Corp.
