Grand Foyer—Roxy Theatre 
 50th Street and yth Avenue, New York Ci:y 
 
 2 ?loom Studios Inc. 
 
 Specialists on C ontractin g Plasterers 
 
 SCAGLIOLA ~ ART MARBLE ~ CAEN STONE ~ LIMESTONE 
 TRAVERTINE AND ORNAMENTAL PLASTERING 
 
 PHILADELPHIA, PA. 
 
 MAIN OFFICE—REAL ESTATE TRUST BLDG. 
 FACTOR A'—3739 FILBERT STREET 
 
RED NUMIDIAN 
 
 CONNEMARA OR ROYAL GREEN 
 
 JAUNE FLEURI 
 
 VERD-ANTIQUE 
 
 
AUDITORIUM—ROXY THEATRE, New York City 
 
 Architect: W. W. AHLSCHLAGER, Chicago, Ill. 
 Contractor: CHANIN CONST. CO., New York, N. Y. ' 
 
GRAND FOYER—UPTOWN THEATRE, Chicago, Ill 
 Architects: RAPP & RAPP, Chicago, Ill. 
 
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AUDITORIUM — ORIENTAL THEATRE, Chicago, Ill. 
 Architects: RAPP & RAPP, Chicago, Ill. 
 
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REAL ESTATE - LAND TITLE 6? TRUST CO. 
 
 Broad and Chestnut Streets, Philadelphia, Pa. 
 Architect: HORACE TRUMBAUER, Philadelphia, Pa. 
 
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GREENWICH SAVINGS BANK, New York City 
 Architects: YORK 6? SAWYER, New York, N. Y. 
 
PARK AVENUE BAPTIST CHURCH 
 Artificial Lime Stone walls and ceilings and plain and 
 ornamental plastering. 
 
 Architects: HENRY C. PELTON and ALLEN & COLLINS 
 
 Bloom Studios Inc. 
 
 Contracting Plasterers 
 
 i 
 
 
THE LOUIS BLOOM STUDIOS 
 
 ■ysjj HE PRODUCTS of the Louis Bloom Studios— 
 Art Marble, Art Travertine Stone and Caen 
 Stone—are acknowledged, approved and recom¬ 
 mended by discriminating architects throughout the 
 United States as the standard of beauty, quality and 
 economy. 
 
 These products are cement composition. In the case 
 of the Art Marble, Imported Keene’s Cement is used, and 
 in the case of the Art Stones, Domestic Keene’s Cement. 
 In both cases, the cement, color and other ingredients are 
 mixed in such a manner that an exact reproduction of 
 the desired stone is secured. 
 
 Architects, builders and owners will do well to ac¬ 
 quaint themselves with the decorative possibilities of our 
 products. Complete specifications and full information 
 furnished upon request. 
 
 RT MARBLE, Art Travertine Stone and Caen Stone, 
 
 Tv a few of the many and various uses and applications 
 of which are pictured in this booklet, are today recognized 
 by the foremost architects and builders of the country 
 as faithful and exact replicas of the natural marble 
 and stone. 
 
 Used for columns, pilasters, wainscoting, comics, 
 ceiling beams and panels, groined arch ribs, stairways, 
 balustrades and for innumerable interior purposes— their 
 effectiveness from the standpoint of both decorative 
 beauty and durability is beyond question. 
 
 4 
 
THE LOUIS BLOOM STUDIOS 
 
 300 PARK AVENUE ( New York) 
 
 1 he most expensive and most exclusive apartment 
 house in the world Contracts in excess of $400,000. 
 for all plastering, both plain and ornamental. Caen 
 Stone and Art Marble, executed by the Louis Bloom 
 Studios. 
 
 Architects: WARREN (d WETMORE 
 
 T~\NLY after years of constant and practical experience, together 
 with a thorough understanding of the architects' problems, have 
 the Louis Bloom Studios succeeded in perfecting these products 
 which exactly duplicate the finest natural marble and stone. 
 
 5 
 
THE LOUIS BLOOM STUDIOS 
 
 S W STRAUS 
 Banking Room 
 
 Contains one of 
 the largest pre¬ 
 cast ceilings in 
 New York City, 
 each coffer being 
 over twelve feet 
 in diameter. 
 
 STRAUS BUILDING 
 (New York) 
 
 All plain and ornamen¬ 
 tal plastering in this 
 building executed by 
 us We also installed 
 the Art Marble and 
 Caen Stone. 
 
 Architects 
 
 WARREN & WETMORF 
 
 6 
 
THE LOUIS BLOOM STUDIOS 
 
 In addition, there is the advantage of greater utility, for these 
 products readily solve many construction problems which cannot be 
 satisfactorily overcome with the use of natural marble and stone. 
 
 The illustrations in this booklet show but a few of the many 
 buildings throughout the country in which we have installed Art 
 Marble, Art Travertine Stone and Caen Stone. Study these illus¬ 
 trations—you will note that they picture buildings of the type into 
 which nothing short of the very best materials enter. Note the 
 versatility in the use of our products—how they are used wherever 
 natural marble or stone can be applied. Then, of utmost importance, 
 bear in mind that the cost of Art Marble, Art Travertine Stone and 
 Caen Stone is remarkably low in proportion to the decorative effect 
 obtainable through their use. 
 
 The Louis Bloom Studios will gladly co-operate with interested 
 architects, builders or private owners. Let us explain to you the 
 advantage of our ' ‘one man contract, ’ ’ whereby the complete interior, 
 be it Art Marble, Stone or plain and ornamental plastering, or any 
 combination of these, is handled in its entirety by the Louis Bloom 
 Studios. 
 
 “A Consultation 
 Involves No Obligation" 
 
 GUARANTEE TRUST BUILDING, Atlantic City, N. J. 
 
 An unusually pleasing effect obtained through the use of Limestone for 
 ceiling, Travertine walls and Art Marble columns. The work in its 
 entirety executed by the Louis Bloom Studios. 
 
 Architect: J. VAUGHN MATHIS 
 
 7 
 
THE LOUIS BLOOM STUDIOS 
 
 AMBASSADOR 
 HOTEL 
 Atlantic City 
 N.J. 
 
 Warren (4 Wetmore 
 Architects 
 
 LOGGIA ENTRANCE of the Ambassador Hotel 
 
 Showing the distinctive effect obtained through the 
 use of Travertine Stone. We also installed all Art 
 Marble and plain and ornamental plastering in this 
 structure 
 
 8 
 
THE LOUIS BLOOM STUDIOS 
 
 
 LOUNGE of 
 theRitz-Carlton 
 Hotel, Atlantic 
 City,N.J.,show¬ 
 ing a period ceil¬ 
 ing in plaster. 
 
 Art Marble, 
 plain and orna¬ 
 mental plaster¬ 
 ing throughout, 
 installed by the 
 Louis Bloom 
 Studios 
 
 By § J e r 
 s!!Pbb 
 
 mui 
 
 ji-B B 11 r f 
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 f% r rr r rr 
 
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 r nr nrrrr rr 
 
 RITZ-CARLTON HOTEL, Atlantic City, N. J. 
 
 WARREN 6- WETMORE, Architects 
 
 9 
 
THE LOUIS BLOOM STUDIOS 
 
 The installation 
 of Art Marble 
 and Caen Stone 
 in this structure 
 was made by us 
 We also ex¬ 
 ecuted all plain 
 and ornamental 
 plastering 
 
 APARTMENT BUILDING 
 Sixteenth and Locust Streets, Philadelphia, Pa. 
 Architect: FREDERICK WEBBER 
 
 10 
 
THE LOUIS BLOOM STUDIOS 
 
 UNION NATIONAL BANK, Philadelphia 
 Illustrating a useful application of Carian Caen Stone in Directors’ Room. 
 
 
 I 
 
 CHICAGO & NORTHWESTERN RAILWAY STATION, Chicago, III. 
 
 Here is shown a remarkable example of the extensive use of Carian Art 
 Marble for wall and column treatment. 
 
 11 
 
THE LOUIS BLOOM STUDIOS 
 
 PAIGE SHOWROOM 
 
 Showing Carian Travertine as a medium of decoration in one of 
 Philadelphia's largest automobile salesrooms. 
 
 MARYLAND CASUALTY CO. BUILDING, Baltimore. Md 
 Rotunda in one of Baltimore's largest insurance buildings. Art Marble 
 applied to structural columns. 
 
 12 
 
THE LOUIS B L O O M STUDIOS 
 
 FORT STEUBEN HOTEL, Steubenville, Ohio 
 Architect: FREDERICK WEBBER 
 
 13 
 
THE LOUIS BLOOM STUDIOS 
 
 Exterior view of 
 PARK AVENUE 
 BAPTIST CHURCH 
 
 RECENT INSTALLATIONS 
 
 COMPLETED BY 
 
 THE LOUIS BLOOM STUDIOS 
 
 STRUCTURE 
 3<X) Park Avenue 
 Fifth Ave. Church 
 Straus Bank Bldg. 
 Ambassador Hotel 
 16th & Locust Apts. 
 17th & Rittenhouse 
 Ritz-Carlton Hotel 
 Gas and Water Bldg. 
 Babies’ Hospital 
 Home Club 
 Guarantee Trust Bldg. 
 Kresge Dept. Store 
 Grade School No. 9 
 Palace Theatre 
 14th St. Theatre 
 Hemsley Store Bldgs. 
 Central Pier 
 Sterling Laboratory / 
 Yale University ^ 
 Fort Steuben Hotel 
 
 LOCATION 
 New York City 
 New York City -J 
 New York City 
 Atlantic City 
 Philadelphia 
 Philadelphia 
 Atlantic City 
 Scranton, Pa. 
 Philadelphia 
 New York 
 Atlantic City 
 Philadelphia 
 White Plains, N. Y. 
 Lakewood, N. J. 
 New York City 
 Atlantic City 
 Atlantic City 
 New Haven Conn. 
 Steubenville, Ohio 
 
 ARCHITECTS 
 Warren & Wetmore 
 Henry C. Pelton and 
 Allen & Collins 
 Warren & Wetmore 
 Warren &l Wetmore 
 Frederick Webber 
 Frederick Webber 
 Warren & Wetmore 
 E. H. Davis and 
 Geo. M. D. Lewis 
 Carl A. Ziegler 
 Warren & Wetmore 
 J. Vaughn Mathis 
 H. B. Weldon 
 Tooker &l Marsh 
 Cook & Godfrey 
 
 Price & McLanahan 
 McLanahan & Bencker 
 Delano &l Aldrich 
 Frederick Webber 
 
 BUILDERS 
 
 Thompson-Starrett Co. 
 Marc-Eidlitz &i Son 
 Thompson-Starrett Co. 
 Thompson-Starrett Co. 
 O'Meara Const. Co. 
 Geo. Wallace Simpson 
 Thompson-Starrett Co. 
 Ludwig T. Stipp 
 Wark & Company 
 45th & 46th Realty 
 J. Mathis &i Son 
 Geo. A. Fuller Co. 
 Faillace Brothers 
 Farral Const. Co. 
 
 Seigal Const. Co. 
 Pringle Borthwick 
 P. G. Hannum 
 Thompson-Starrett Co. 
 Geo. Hershey 
 
 The LOUIS BLOOM 
 
 PHILADELPHIA NEW YORK 
 
 STUDIOS 
 
 ATLANTIC CITY 
 
 14 
 
15 
 
 
 
 THE RECORD BUILDING, PHILADELPHIA Eight large, beautiful columns in our Dark Sienna ap¬ 
 
 peal to the eye instantly as one enters this building. 
 
SENATE CHAMBER. STATE HOUSE, TRENTON. N. J. 
 
 ARNOLD H. MOSES, Architect 
 
 Another important public building in which our Marble 
 is used. Note the effectiveness of the Dark Sienna columns 
 against the wainscoting of our Light Sienna. Such work, 
 done on the radius, is most economical and effective in 
 American Art Marble; in natural marble its cost would be 
 practically prohibitive. 
 
 All modeled work in our Keene’s Cement. 
 
 V 
 
 16 
 
THE CORRIDOR IN THE STATE HOUSE 
 LEADING TO THE SENATE CHAMBER. TRENTON, N. J. 
 
 ARNOLD H. MOSES. Architect 
 
 Our Light Sienna and our Dark Sienna used in 
 this work, both for wainscotings and columns. 
 
 ARNOLD H. MOSES 
 
 Associate American Institute of Architects 
 Offices, 136 South Fourth Street 
 
 Philadelphia, February 4, 1904. 
 
 The American Art Marble Company, 
 
 609-613 North American Street, Philadelphia. 
 
 Dear Sirs:—It gives me great pleasure to be able to compliment you 
 upon the excellent artificial marble work that you have made and set up in 
 the new Senatb Building at Trenton, N. J. 
 
 1 he color effect of the Sienna Marble is particularly pleasing, and your 
 work has been very satisfactory. 
 
 Very truly yours, 
 
 
 
 17 
 
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FOR HOTELS AND APARTMENT HOUSES 
 
 our American Art Marble is used where natural marble would be an impossi¬ 
 bility from many standpoints other than cost. 
 
 Our marble has been used in some of the highest-class buildings of this 
 kind in the country, the selection being made, not only on the basis of saving 
 in cost which was effected, but because of the increased utility of American Art 
 Marble. 
 
 VESTIBULES IN WELL-KNOWN BROOKLYN APARTMENT HOUSES 
 
 RICHMAN & PROUSE Columns of our Light Sienna; wainscotings, caps, 
 
 Architects bases, and so on, are our Old Convent Sienna. 
 
 19 
 
BALTIMORE APARTMENTS 
 Two notable Apartment Houses in Baltimore 
 
 E. H. GUDDEN, Architect 
 American Art Marble used throughout 
 
 20 
 

 A SEASHORE HOTEL NOTED FOR FINE APPOINTMENTS 
 ADDISON HUTTON and SAVERY, SHEETZ & SAVERY, Architects 
 
 These two views show our American Art 
 Marble in different portions of the hotel. 
 
 Our Connemara Green used throughout 
 first floor, our Dark Sienna on second floor. 
 
 21 
 
22 
 
 AMERICAN ART MARBLE IN THE Our Old Convent Sienna used throughout main lobby and cafe for col- 
 LORBY OF HARTFORD'S FINEST umns, pilasters and wainscotings. Our Red Numidian Marble used for 
 HOTEL bar fj x t ures an( J side-wall wainscotings. The photograph does not 
 
 BA'iLEV^COODRICH show the many large pilasters of our marble for which the hotel is noted. 
 
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 23 
 
24 
 
 ANOTHER LARGE Connemara Green columns, pilasters, bases and trim- 
 
 ROCHESTER HOTEL mings throughout lobby are American Art Marble. Bal- 
 
 GORDON & MADDEN. Architect* ustrade and wainscoting of stairway also of same marble. 
 

 
 
 
 
 
 
 
 
 
 
 
 
 
 
\V. L. PLACK 
 
 Atchilect and Structural Engineer 
 Office, 1208 Chestnut Street 
 
 FROM ARCHITECT'S COLORED DRAWING OF BLAIR COUNTY COURT HOUSE, 
 HOLLIDAYSBURG, PA. W. L. PLACK, Architect. 
 
 Corridors and court-rooms are decorated with our marble in Rose Numidian, Old Convent Sienna 
 and Verd-Antique. Our Keene’s Cement used (or decorating all cast ceiling decorations. 
 
 Philadelphia, February 2, 1904. 
 
 American Art Marble Company, 609 North American Street, Philadelphia. 
 
 Gentlemen:—It affords me much pleasure to speak in the highest terms of the matchless imitation, wonderful strength 
 and durability of the artificial marble you have made for buildings erected under my direction during the past ten years. Its 
 application for interior effects makes it, for obvious reasons, a most desirable material—particularly when imposing architectural 
 treatment is desired in some classes of public buildings, where, as a rule, the limit of cost prohibits the use of natural marbles; 
 in fact, it is impractical to use real marble for decorative purposes in many cases when expense is not considered; the problem 
 then would be a serious one were artificial marble not available. From my viewpoint, can see a growing demand for your 
 product and I am disposed to continue its use within consistent limitations. 
 
 Yours very truly. 
 
 

 
 
 
! 
 
 i 
 
 Another 
 
 view 
 
 showing 
 
 American 
 
 Art 
 
 Marble 
 
 in 
 
 Hotel 
 Rochester 
 (See page 23) 
 
 AN ATTRACTIVE USE OF AMERICAN ART MARBLE 
 IN A SEASHORE HOTEL 
 
 This marble balustrade, used in connection with our Connemara Green 
 and Verd-Antique Marble, appeals favorably to most discriminating guests. 
 
 23 
 
PROMINENT BANK OF BALTIMORE, MD. 
 
 A. H. TAYLOR, Architect 
 
 A financial institution of high grade, in which American 
 Art Marble has been used. 
 
 Note particularly the striking effect of the 24-foot col¬ 
 umns in the background. This and other columns not shown 
 in this illustration are of our Italian Pavonazza. 
 
 26 
 
IN BANKS AND TRUST 
 COMPANIES 
 
 our American Art 
 Marble is available for 
 many uses. 
 
 It has been used from 
 president’s office or vault 
 to safe-deposit rooms, and 
 for every purpose be¬ 
 tween. 
 
 A. A. RITCHER, Architect 
 
 Banking-room in a noted Reading 
 (Pa.) bank; our Connemara 
 Green used here 
 
 | 
 
 The following pages show a 
 few uses. The names of the 
 banks illustrated, and of many 
 others for which we have fur¬ 
 nished the American Art Marble. 
 
 Note also the front cover illus¬ 
 tration — a well-known bank of 
 Pittsburg — in which wainscot¬ 
 ing, pilasters, and so on, even 
 to window-sills, are of our Ital¬ 
 ian Pavonazza, used in connec¬ 
 tion with natural marble. 
 
 The president’s office, in same bank, 
 showing our Marble 
 
 27 
 
28 
 
 A NATIONAL BANK IN EASTON, MD. Note the extensive use of our product in banking- 
 
 room. 
 
WM. COPELAND FURBER 
 Architect, Consulting Engineer 
 Commercial Union Building 
 Seventh Floor, 418 Walnut Street 
 
 
 29 
 
 A WELL-KNOWN PHILADELPF1IA Note the large fluted columns of our 
 
 TRUST COMPANY Pavonazza American Art Marble, highly 
 
 WILLIAM COPELAND FURBER. Architect decorative caps of Keene s Cement 
 
AMERICAN ART MARBLE IN A BANK AT NORWICH. CONN. 
 CUDWORTH & WOODWORTH. Architects 
 
 The beautifully fluted columns and curved wainscoting can be successfully 
 and economically produced by the use of American Art Marble. 
 
 Columns are our Italian Pavonazza; wainscoting, bank fixtures, pilasters, 
 and so forth, our Royal Connemara Green. 
 
 30 
 
SEMI-PUBLIC 
 
 BUILDINGS 
 
 From churches, theatres and other 
 auditoriums on one hand, to the best- 
 appointed of ferry-stations on the other, 
 is a far cry. 
 
 Yet our American Art Marble 
 has been used for all such purposes, 
 particularly in the form of columns, 
 wainscotings, pilasters, balustrades, 
 and so forth. 
 
 A few typical illustrations follow. 
 
 TICKET OFFICES IN A LEADING RAILROAD TERMINAL NEW YORK 
 
 This and all other marble work in the build¬ 
 ing is in Pavonazza American Art Marble. 
 
 31 
 
A THEATRE LOBBY WITH EXCEPTIONAL COLOR APPEAL 
 
 ALBERT E. WESTOVER. Architect 
 
 Royal Connemara Green American Art Marble for columns, pilasters 
 and cornice gives a decidedly rich color effect. 
 
 The same effect in auditorium. 
 
 ANOTHER THEATRE IN ANOTHER STATE. BUT THE SAME MARBLE 
 JOHN D. ALLEN COMPANY. Architect. 
 
 32 
 
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 34 
 
 1 
 
 familiar with the best work in marble, both 
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 35 
 
 
36 
 
 A MOST PROMINENT ROMAN CATHOLIC A beautilul interior, fittingly decorated with our American Art 
 CHURCH—WEST PHILADELPHIA Marble. The octagonal and round columns are of our Sienna 
 
 FRANK R. WATSON, Archiiect Marble; the small cluster columns in the sacristry of our Light Sienna. 
 
37 
 
 ANOTHER ROMAN CATHOLIC CHURCH OF PROMI- For cluster columns our Sienna; the small columns in 
 
 NENCE—FRANKFORD, PHILADELPHIA sacristry are our Onyx; the wainscoting in body of church 
 
 p p pitzmauriCE our Llight Sienna; the vestibule is of our Flumidian. 
 
38 
 
 A T'l PICAL USE OF OUR AMERICAN This library shows columns of our Italian Pavonazza, 24 feet high and 
 ART MARBL.E IN A LIBRARY 4 feet in diameter. Also, large pilasters. In other libraries we have 
 
 BAKER & DALLETT, Architects used combinations that are exceptionally attractive. 
 
AMERICAN ART MARBLE IN A JEWELRY STORE 
 
 GEORGE STARRETT, Architect 
 
 Our English veined Italian is used throughout the building. Forty large 
 columns, 3 feet in diameter and over 20 feet high, and pilasters of a similar pro¬ 
 portion, show the exquisite vein of this marble to good advantage. 
 
 IN STORES AND BUSINESS PLACES 
 
 as well as in office buildings, our American Art Marble has been most attract¬ 
 ively used. Some idea of its versatility for this purpose may be had from the 
 few buildings illustrated herewith. 
 
 The following page shows views in a grocery store which has become 
 known from coast to coast as the “Quality Shop.” The cut above is from a 
 high-quality jewelry store as well known. 
 
 And in addition to those mentioned, and those illustrated on following 
 pages, there are many others. 
 
 Philadelphia has five prominent department stores. Of those five, three 
 of the largest have used American Art Marble in the most important parts of 
 their stores. 
 
 39 
 
TWO VIEWS IN PHILADELPHIA S MOST PROMINENT GROCERY STORE AND 
 
 RESTAURANT 
 
 A. H. MOSES. Architect 
 
 All columns and pilasters on the first floor in a pink veined Pavonazza, 
 lending itself to the decorative scheme. Connemara Green, Pink Numidian, 
 American Pavonazza, Sienna, English veined Italian and Onyx used in the 
 grand staircase and the highly decorative portions above. 
 
 40 
 

 
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 46 
 
WATERPROOFING AMERICAN ART MARBLE 
 
 Possibly you have heard the criticism urged against the use of marble for 
 decorative purposes—that it does not retain its brilliant lustre where moisture 
 is present in the atmosphere. 
 
 This has been too true in the past. Most of the attempts to imitate marble 
 have been made in plaster of paris, which, in addition to being brittle, is of such 
 a porous character that it absorbs moisture like a sponge, with a resulting loss 
 of luster. 
 
 The rarest of imported marbles have been open to the same criticism 
 where moisture was at all prevalent. And while our product, because of the 
 different material used in its composition, has been more satisfactory in this 
 respect from the start, we have given long study to the question of making 
 American Art Marble absolutely waterproof. 
 
 A secret process which we have developed comes so close to perfection in 
 this respect that we have no hesitancy in guaranteeing American Art Marble for 
 use around refrigerators, for bar fixtures, soda-water counters and for other 
 similar purposes. 
 
 I he cut below illustrates our smaller waterproofing tank; the pages pre- 
 
 Showing the smaller waterproofing tank, in which we apply our secret 
 preparation for waterproofing marble to be used in moisture-laden positions. 
 
 47 
 
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 48 
 
Because of the universal satisfaction given by American Art Marble and 
 the growing demand for such an adaptable, high-grade, interior decorative 
 marble, attempts have been made by the unscrupulous to substitute the so-called 
 scagliola, produced at a considerably lower cost. 
 
 At best, this material is not durable, because the stock from which it is 
 made is ordinary plaster of paris, with a little glue to give temporary hardness. 
 The product of the American Art Marble Company is always and only made 
 of a very costly cement, which becomes harder and harder as it ages, never 
 disintegrating. Therefore, to insure the use of proper material, manipulated 
 by expert craftsmen, we would suggest that you use the following 
 
 SPECIFICATION 
 
 First.—All artificial marble work to be American Art Marble, furnished and 
 set by American Art Marble Company, 609-613 North American Street, 
 Philadelphia. 
 
 Second. — Imported Victoria Keene’s Cement only shall be used in all artificial 
 marble work, the face of superfine, backed with coarse of the same cement 
 
 Third. — No Portland cement, no plaster of paris, no King’s Windsor Cement, 
 or other substitute for Victoria Keene's Cement, shall be used in any 
 part of the manufacture of Art Marble work. 
 
 Fourth. — No artificial marble work shall be less than one inch in thickness; 
 that the surface be stoned and honed till a true, smooth face has been ob¬ 
 tained, and then rubbed to a high, durable polish. 
 
 Fifth.—All artificial marble work shall be set in place and held with brass wire, 
 well doweled and bedded, coarse Victoria Keene’s Cement to be the only 
 cement used in setting. No screws or plaster to be used in connection with 
 this work. 
 
 49 
 
The foregoing pages give some idea of the myriad uses to which American 
 Art Marble can be successfully applied. We have many additional photographs 
 suggestive of these uses. In short, American Art Marble can be used in any 
 place where the rarest imported marble can be utilized. 
 
 Owner 
 
 Location 
 
 Architect 
 
 Keith's Theatre 
 
 Portland, Me. 
 
 A. E. Westover 
 
 Apollo Theatre 
 
 Atlantic City. N. J. 
 
 John D. Allen Co. 
 
 Maryland Life Building 
 
 Baltimore. Md. 
 
 Parker & Thomas 
 
 Howard Theatre 
 
 Lancaster, Pa. 
 
 C. E. Urban 
 
 Cotton Belt Saving & Trust Company 
 
 Little Rock, Ark. 
 
 
 Bamberger Real Estate Office 
 
 Philadelphia. Pa. 
 
 
 Colonial Hotel 
 
 Pittsburg, Pa. 
 
 
 Church of Sacred Heart 
 
 Camden, N. J. 
 
 Father Brick 
 
 Dake Building 
 
 Rochester, N. Y. 
 
 Gordon & Madden 
 
 Hess’ Theatre 
 
 Philadelphia, Pa. 
 
 Otto C. Wolf 
 
 Macht Building 
 
 Baltimore, Md. 
 
 A. L. Forrest 
 
 Blank s Restaurant 
 
 Philadelphia, Pa. 
 
 Savery, Sheetz & Savery 
 
 North American Building 
 
 Philadelphia, Pa. 
 
 J. T. Windrim 
 
 Burlington Apartments 
 
 Washington, D. C. 
 
 T. F. Schneider 
 
 Strawbridge & Clothier's Store 
 
 Philadelphia, Pa. 
 
 Savery, Sheetz & Savery 
 
 Peabody Library 
 
 Athens, Ga. 
 
 Harrison Bleckley 
 
 Grand Opera House 
 
 Pittsburg, Pa. 
 
 
 Historical Society 
 
 Philadelphia, Pa. 
 
 Addison Hutton, and Savery, 
 Sheetz & Savery 
 
 Lyric Theatre 
 
 Altoona, Pa. 
 
 W. L. Plack 
 
 Poli's Theatre 
 
 Scranton, Pa. 
 
 A. E. Westover 
 
 Church of Sacred Heart of Jesus 
 
 Philadelphia, Pa. 
 
 Rev. J. J. Ward 
 
 St. Teresa’s R. C. Church 
 
 Philadelphia, Pa. 
 
 Geo. I. Lovatt 
 
 First National Bank of New London 
 
 New London, Conn. 
 
 James Sweeney 
 
 Mishler’s Theatre 
 
 Altoona, Pa. 
 
 A. E. Westover 
 
 First National Bank 
 
 Kane, Pa. 
 
 W. L Plack 
 
 Camden Fire Insurance Association 
 
 Camden, N. J. 
 
 Arthur Tru scott 
 
 Continental Hotel 
 
 Philadelphia, Pa. 
 
 Milligan & Webber 
 
 Hotel Anderson 
 
 Pittsburg, Pa. 
 
 W. H. Vantine 
 
 Beth-Israel Synagogue 
 
 Philadelphia, Pa. 
 
 Sauer & Hahn 
 
 Hospital for Insane 
 
 Allentown, Pa. 
 
 P. H. Johnson 
 
 Municipal Hospital 
 
 Holmesburg, Pa. 
 
 P. H. Johnson 
 
 Hotel Graemar 
 
 Shamokin, Pa. 
 
 T. P. Reitmeyer 
 
 Chambersburg Trust Company 
 
 Chambersburg, Pa. 
 
 Maurice R. Rhodes 
 
 Union 1 rust Company 
 
 Baltimore, Md. 
 
 Parker & Thomas 
 
 Gaither Estate 
 
 Baltimore, Md. 
 
 M.C. Miller 
 
 Carnegie Library 
 
 Atlantic City, N. J. 
 
 A. R. Ross 
 
 Washington Apartments 
 
 Baltimore Md. 
 
 E. H. Glidden 
 
 Hotel Deneschaude 
 
 New Orleans, La. 
 
 Toledano & Wogan 
 
 Blair County Court House 
 
 Hollidaysburg, Pa. 
 
 W. L. Plack 
 
 Traymore Hotel 
 
 Atlantic City, N. J. 
 
 Price & McLanahan 
 
 Union Station 
 
 Washington, D. C. 
 
 D. H. Burnham Company 
 
 50 
 
Owner 
 
 Location 
 
 Architect 
 
 Municipal Building 
 
 Washington, D. C. 
 
 Cope & Stewardson 
 
 Central Trust Company 
 
 Philadelphia, Pa. 
 
 W. C. Furber 
 
 Mitchell & Fletcher Store 
 
 Philadelphia, Pa. 
 
 Wm. Steele & Sons Company 
 
 Lyric Theatre 
 
 Philadelphia, Pa. 
 
 John T. Windrim 
 
 Burk's Store 
 
 Philadelphia, Pa. 
 
 
 Clearfield Trust Company 
 
 Clearfield, Pa. 
 
 W. L. Plack 
 
 Trust Company 
 
 Lansdowne, Pa. 
 
 Bunting & Schrigley 
 
 Home Savings Bank 
 
 Washington, D. C. 
 
 A. P. Clark 
 
 Northern Trust Company 
 
 Philadelphia, Pa. 
 
 Geo. T. Pearson 
 
 Trust Company 
 
 Allentown, Pa 
 
 Jacoby & Weishample 
 
 West End Trust Company 
 
 Philadelphia, Pa. 
 
 Furness, Evans & Co. 
 
 St. Bonaventura’s R. C. Church 
 
 Philadelphia, Pa. 
 
 Rev. H. Hammeke 
 
 Land Title Building 
 
 Philadelphia, Pa. 
 
 Horace Trumbauer 
 
 North American Building 
 
 Philadelphia, Pa. 
 
 John T. Windrim 
 
 M. E. Church 
 
 Waynesboro, Pa. 
 
 H. E. Yessler 
 
 Blair County Retreat 
 
 Hollidaysburg, Pa. 
 
 W. L. Plack 
 
 Horn & Hardart Restaurants 
 
 Philadelphia, Pa. 
 
 J. F. Stuckert & Son 
 
 Masonic Temple 
 
 Philadelphia, Pa. 
 
 Jas. H. Windrim 
 
 Hotel Henry 
 
 Pittsburg, Pa. 
 
 Alden & Harlow 
 
 Mechanics’ National Bank 
 
 Baltimore, Md. 
 
 A. H. Taylor 
 
 The Majestic Apartments 
 
 Philadelphia, Pa. 
 
 Carl De Moll 
 
 Gaiety Theatre 
 
 Baltimore, Md. 
 
 Fuller Construction Company 
 
 Hepner’s Store 
 
 Philadelphia, Pa. 
 
 Steams & Castor 
 
 Union National Bank 
 
 Philadelphia, Pa. 
 
 Newman & Harris 
 
 Bank of Pittsburg 
 
 Pittsburg, Pa. 
 
 Vrydaugh & Wolfe 
 
 City Hall 
 
 Latrobe, Pa. 
 
 
 Methodist Church 
 
 Pottsville, Pa. 
 
 F. D. Kramer 
 
 St. James Hotel 
 
 Philadelphia, Pa. 
 
 Horace Trumbauer 
 
 Krise Building 
 
 Lynchburg, Va. 
 
 Frye & Chesterman 
 
 Elks' Hall 
 
 Philadelphia, Pa. 
 
 E. P. Simons 
 
 Binghamton Bank 
 
 Binghamton, N. Y. 
 
 Chapman Decorative Company 
 
 Library Building 
 
 Rock Hill, S. C. 
 
 J. M. McMichael 
 
 St. Patrick’s R. C. Church 
 
 Wilmington, Del. 
 
 Father Birmingham 
 
 Art Gallery 
 
 Lincoln, Mass. 
 
 Woodbury & Leighton 
 
 Citizens' National Bank 
 
 Lehighton, Pa. 
 
 John B. Knapp 
 
 Bishop's Residence 
 
 Scranton, Pa. 
 
 Owen McGlynn 
 
 National Bank 
 
 Pen Argyl, Pa. 
 
 Jacoby & Weishample 
 
 Marlborough Apartments 
 
 Baltimore, Md. 
 
 E. H. Glidden 
 
 St. Elizabeth's R. C. Church 
 
 Philadelphia, Pa. 
 
 F. Baraldi 
 
 Haughton & Muir Building 
 
 Philadelphia, Pa. 
 
 Duhring, Okie & Ziegler 
 
 Chapman Decorative Co. Bldg. 
 
 Philadelphia, Pa. 
 
 Chapman Decorative Company 
 
 Exhibit, St. Louis 
 
 St. Louis, Mo. 
 
 W. L. Plack 
 
 St. Bridget’s R. C. Church 
 
 Philadelphia, Pa. 
 
 Father Walsh 
 
 St. Joachim’s R. C. Church 
 
 Philadelphia, Pa. 
 
 Father Fitzmaurice 
 
 Y. M. C. A. Building 
 
 Buffalo, N. Y. 
 
 Green & Wicks 
 
 German-American Trust Company 
 
 Philadelphia, Pa. 
 
 Brockie & Hastings 
 
 Lafayette Building 
 
 Philadelphia, Pa. 
 
 James H. Windrim 
 
 Elks' Hall 
 
 Bridgeport, Conn. 
 
 Jos. A. O Brien 
 
 51 
 
FURNESS. EVANS & co.. A,ch,.ecu STEPHENS' PATENTED FIRE- 
 
 Philadelphia 
 
 RETARDING COMPOSITION 
 
 is a patented use of Cement, on flexible wire and steel frames, which not 
 only serves the purpose of decreasing insurance rates, but also provides 
 ceilings free from danger of cracking under severe shocks. For this reason it 
 is used in prominent ferry-houses and similar buildings, and has been used for 
 fifteen years past on leading steamships. 
 
 Comparatively inexpensive, much more durable than work in staff or 
 plaster of paris, and proof against rats and vermin, it is being used for many 
 additional purposes, from large seashore pavilions to the providing of new 
 ceilings in residences. Another advantage is the possibility of beautiful relief 
 effects, with an under-cut of 6 to 8 inches. Do you know of any other material 
 with which you can safely do this? 
 
 The cut on this page illustrates in a general way the method of 
 applying Stephens’ Patented Fire-Retarding Composition, which is being used 
 
 52 
 
in many residences to form a new ceiling where the old has outlived its usefulness. 
 In such cases a perfectly smooth ceiling, which increases in hardness as years 
 go by, is secured with a loss of less than 4 inches from the room height, and this 
 ceiling is of such a non-staining character that it can be safely decorated with 
 the most delicate tints. 
 
 DECORATIVE PANEL—“THE PROGRESS OF TRANSPORTATION ” 
 WEST WALL. BROAD STREET STATION, PHILADELPHIA 
 
 FURNESS. EVANS & CO.. Architects 
 
 1 his massive allegorical panel was designed and modeled by Karl Bitter, 
 and is recognized by art critics as being one of America’s exceptional creations. 
 
 The figures are life-size and bas-relief work of immense depth. 
 
 The largest ferry house in the World is illustrated on page 55. It is an ex¬ 
 ample of the class of buildings in which Stephens’ Patented Fire-Retarding 
 Composition is used. 
 
 Questions of foundation, of shock from ferry-landings and of immense 
 spans made all other materials impractical for ceiling and side-walls. 
 
 Throughout the main lobby (660 feet long) and the restaurants and wait¬ 
 ing-rooms (one-fourth as long and 70 feet broad), Stephens’ Fire-Retarding 
 Composition has been used for entire construction. The test of years has 
 proved it so satisfactory— immune to shocks, free from falling and sagging— 
 that all the Pennsylvania ferry-boats have been equipped with this material 
 throughout. 
 
 53 
 
54 
 
 Showing the use of Stephens’ Fire-Retarding Composition in the Lackawanna Ferry-House, in connection with 
 our American Art Marble. These ceilings have successfully withstood the ravages of moisture, of vermin 
 and of shock, and are harder to-day than the day they were finished. 
 
ADDITIONAL USES OF OUR KEENE'S CEMENT 
 
 The same properties which make Keene’s Cement the best material for 
 use in producing artificial marble commend it for many purposes which come 
 to the daily attention of the architect. Wherever ornamental objects in rooms, 
 vestibules, staircases, etc., are likely to come into contact with furniture, or are 
 subject to chipping or breakage from other causes if made of plaster of paris, 
 the use of Keene’s Cement is desirable, for it becomes in time as hard as stone 
 or marble. 
 
 Mouldings without the decorative effect of artificial marble, as well as 
 those in artificial marble, should be executed in Keene’s Cement, of which we 
 have an extremely strong grade, which is specially adapted to such work. 
 The greater durability and the satisfactory prices which we have been able 
 to quote for Keene’s Cement castings and mouldings have led to widespread 
 specification by prominent architects. 
 
 Freedom from acids, quick setting and a variation from the coarse to our 
 superfine grade make Keene’s Cement firft choice for finishing walls and col¬ 
 umns and for all kinds of castings and run mouldings. 
 
 Specify No. 2 Victoria Keene’s Cement for gauge in lime mortar, for ordi¬ 
 nary plastering, and for a wall-finish where grayish pink color is not unsatis¬ 
 factory. 
 
 Specify No. 1 Victoria Keene’s Cement for use as a white finish on walls 
 plastered with the No. 2 mortar. Experience has demonstrated that this mortar, 
 finished with the No. 1 Victoria Keene’s Cement, hardens continually till it is 
 practically indestructible, while all other compositions depending for their 
 strength on plaster of paris weaken in time. 
 
 The wall made with mortar and finished per above specifications will 
 take the most delicate tints of paint in the decorations without staining; in fact, 
 we have known walls finished with Keene’s Cement to be successfully painted 
 the next day. And such a wall is proof against rats and all vermin, which 
 thrive in plaster of paris walls. 
 
 We are importers of Keene’s Cement in largest quantities, and exclusive 
 agents for a territory covering practically the entire country. Suggestions which 
 we have been able to offer architects on the use of this cement have proven 
 valuable to them. We desire you to feel at perfect liberty to ask us any ques¬ 
 tions on the subject. 
 
 57 
 
TESTIMONIALS 
 
 CHURCH OF OUR MOTHER OF SORROWS 
 Forty-eighth and Lancaster Avenue, Philadelphia 
 
 One year ago Mr. Bloom superintended the work of incasing the pillars of our Church with 
 artificial marble. The work done by and under him has added, in my opinion, more to the beauty 
 of ihe interior of the edifice than the other decorations. Lately he has embarked in business, and 
 I take the greatest pleasure in unreservedly recommending him as a capable workman, obliging 
 gentleman and one who will surely give satisfaction wherever engaged. 
 
 September 8, 1902. 
 
 ST. JOACHIM’S CHURCH 
 Frankford, Philadelphia 
 
 American Art Marble Company. 
 
 Gentlemen: — Almost a year has gone by since you completed the artificial marble work in 
 St. Joachim’s Church, which gave such great satisfaction to the congregation and myself at the 
 time, and which has been a source of pleasure to us ever since. Your contract called for the keeping 
 it for one year in the admirable condition in which you left it, and I am happy to inform you that, 
 although it has been tried by the cold of winter as well as the heat of summer, it has stood the test 
 of both, and thus far does not need attention at your hands. 1 he luster on the columns is as brilliant 
 as on the day they were finished, and the wainscoting and window sills are in an equally satisfactory 
 state. Your work was well done; yes, even better than the terms of the contract called for, and I 
 shall always remember our dealings with pleasure. Yours sincerely 
 
 October 4, 1903. 
 
 
 CHARLES F. CRANDALL 
 
 Architect 
 
 400 Ellwanger & Barry Building 
 
 Rochester, N. Y., October 15, 1908. 
 American Art Marble Company, Philadelphia, Pa. 
 
 Gentlemen:—Regarding the Numidian Art Marble work manufactured and installed by you 
 in the Hotel Rochester, it is not only thoroughly well executed, but remarkably fine as to its natural 
 coloring. 
 
 We are recommending this material for u«e in hotels and other public buildings; in fact, 
 we would prefer it in certain cases to the natural material itself. 
 
 Very truly yours, 
 
 American Art Marble Company, Philadelphia, Pa. 
 
 Gentlemen:—The work done in the Union Station dining-room 
 Very truly yours, 
 
 (Signed) EDW. WILMANN, 
 
 is beautiful and is accepted, 
 
 D. H. BURNHAM CO. 
 
 58 
 
 AVERY LIBRARY 
 COLUMBIA UNIVERSITY 
 
A. A. R1TCHER 
 
 Architect 
 
 New Shenk Building, 779 Cumberland Street 
 
 Lebanon, Pa., October 16, 1908. 
 
 American Art Marble Company, Philadelphia, Pa. 
 
 Gentlemen:—The Art Marble wainscot, pilasters and counter front, etc., for the Penn Na¬ 
 tional Bank, Reading, Pa., and furnished by you, were done very artistically; in fact, the execution 
 of this work was an agreeable surprise. 
 
 It is very difficult to distinguish the work done from real marble, except to the eye of an expert. 
 1 will be pleased to have you do any work for me in this line that I may have at my disposal 
 in the future. Truly yours, 
 
 M ' B ' C7 o. - 
 
 JAMES L. PARSONS 
 Contractor and Builder 
 616 Union Trust Building 
 
 Washington, D. C., October 26, 1908. 
 
 MR. LOUIS BLOOM, Manager American Art Marble Company, Philadelphia. 
 
 Dear Sir:—With reference to the execution of the contract of the American Art Marble Com¬ 
 pany with me for the Art Marble in the Municipal Building, this city, I am pleased to state that the 
 woik done by this Company was very satisfactory in every respect; that is, in quality and the 
 prompt execution of the same. Respectfully, 
 
 MILLIGAN & WEBBER SAMUEL MILLIGAN 
 
 Architects and Engineers FREDERICK WEBBER 
 
 520 Walnut Street 
 
 Philadelphia, December II, 1908. 
 
 American Art Marble Company, 609-13 North American Street, Philadelphia, Pa. 
 
 Gentlemen:—It gives us pleasure to testify to your ability as artists and practical people 
 in Art Marble work. Any work furnished us has certainly been right, especially the rendering 
 and work of the columns in main meeting-room and wainscoting on stairs and walls of stair 
 halls of Lu Lu Temple A.A.O.N.M.S., Philadelphia. We will be very glad to have you on 
 any of our future work. Very truly yours, 
 
 - 
 
 Rectory of ST. BONAVENTURA'S CHURCH 
 2831 Hutchinson Street 
 
 Philadelphia, Pa., December I I, 1908. 
 
 American Art Marble Company, 609-1 I-13 North American Street, Philadelphia, Pa. 
 
 Gentlemen: — It has been two years since you put up the Art Marble work in St. 
 Bonaventura s Church for me, and I can gladly say that your work gives the congregation and 
 myself entire satisfaction, and I assure you that 1 will be glad to recommend same wherever 
 opportunity arises. Very truly yours, 
 
 /■Zc-c-Gy- 
 
 59 
 
ADDISON HUTTON 
 1328 Stephen Girard Building, Philadelphia 
 
 December 8, 1908. 
 
 American Art Marble Company, 609 North American Street, Philadelphia, Pa. 
 
 Gentlemen:—The Art Marble work which you furnished for The Chalfonte Hotel. 
 Atlantic City, N. J„ in 1905, is satisfactory to me, the coloring and veining being artistic and 
 the material and workmanship equal to any that 1 have examined. 
 
 Very truly yours. 
 
 ST. BRIDGET'S RECTORY 
 
 Falls of Schuylkill, February I, 1904. 
 
 American Art Marble Company. 
 
 Gentlemen:—It gives me much pleasure to state that the Artificial Marble wainscoting, 
 placed by you in St. Bridget’s Church last September, has given entire satisfaction to myself, as 
 well as to the congregation. The work is well and neatly done, even better than the contract 
 called for. 
 
 Yours sincerely. 
 
 Edwin S. Gordon 
 
 
 William V. Madden 
 
 GORDON & MADDEN 
 
 Architects 
 300 Sibley Block 
 
 Rochester, N. Y.. November 9, 1908. 
 
 American Art Marble Company, 609 North American Street, Philadelphia, Pa. 
 
 Gentlemen:—We wish to say that we are very much pleased with the Art Marble work 
 which you did for us at the Whitcomb House, particularly as the work was pushed forward 
 very rapidly and under the most adverse conditions. 
 
 We would be pleased to answer any inquiries made in reference to this Art Marble work 
 and our experience with your Company. 
 
 Very truly yours. 
 
 60 
 
 Written and Arranged b 
 Charier Blum. Advertw 
 Philadelphia 
 
 Primed by | 
 Edward Stern fit Co., Ii 
 Philadelphia 
 
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 ■OizidrltCrii, ODILIj) * MESIAL £r trfrCcCrCrC: 
 
 UIOS 
 
 AMERICAN ART MARBLE COMPANY 
 APPLICATION AND DECORATIVE USE OF ARTIFICIAL MARBLE 
 
 {/&Mi /// ^ 
 
 Two Gold Medals awarded, St. Louis Exposition 
 No other artificial marble has received this recognition in United States or Europe