of the new horses
were never wired, and the panels
lay invisible and
forgotten like their earlier prototypes.
The new Feltman
merry-go-round was inaugurated in
1903. It became a favorite with generations of
New Yorkers and visiting
celebrities. According to tradition, Diamond Jim Brady was so
fond of the atmosphere at
Feltman's that he maintained an apartment
there with a secret passage to the carousel. The
merry-go-round was the site of
hundreds of private parties and a center of revelry during
the annual Autumn Mardi Gras.
Over the years the horses accumulated
a cargo of confetti, filtered into the narrow
cleft surrounding the support rods. The hollow interiors
trapped other artifacts as well, including Indian-head pennies and
Mercury dimes dropped by excited
little hands as they clutched the roped brass poles.
The
Mangels-Illions coalition produced a number
of outstanding
machines after Feltman's, and at least
two remained in
Coney Island. One was in Kister's
Restaurant at
Eleventh Street and Surf Avenue. Kister's
ride ran faster than any other carousel on Coney. It was a challenge
to the aplomb of the most
experienced operators who took quiet pride in
stepping calmly on and off the
whirling platforms, never
losing a step.
The other Mangels
machine was commissioned by
George and Henry
Stubbmann for their beer garden.
The building
housing the merry-go-round was prominently
labeled, "Hotel Eleanor, Open All Year," a
tribute to Henry's daughter and a
practical concession to the temperance law in force at the time which
prohibited the serving of drinks
except in hotels. The
carousel itself was a proud addition to the Mangels-Illions
stable. Its handsome Louis XIV chariots put
the primitive snake-headed, winged dragons of the Feltman to
shame. Some of the featured carvings
were more lifelike and inventive
than the Feltman horses, but the overall effect of the rim and central enclosure
was less magical; the Stubbmann never
gained the widespread acclaim and
popularity of its predecessor.
By the time the
Stubbmann Brothers' carousel was
built, about 1908,
Illions had a style quite different
from the Feltman horses. The evolution of
Illions' carving technique
represented partly a refinement of
design and partly an expedient to
meet the accelerating
demand for his carvings. The slightly attenuated
noses of the Feltman era assumed
stronger proportions,
Page 4 |
|
and the eyes took
on a wider, more intelligent
quality. The
manes became more flattened, closer to
the neck,
gracefully folded and faceted to show off
their distinctive
gold-leaf finish to best advantage.
Trappings were
less deeply and elaborately carved,
but they took on
intricate, distinctive patterns that
became an Illions
hallmark. Most characteristic, were
parallel rows of
straps sweeping at an angle over the
shoulder and
flank, each strap studded with jewels
or carved into
repetitive patterns of gilded buckles,"
bells, chain
mail, rope, or fringe.
Around 1909
Illions became increasingly independent
of Mangels, forming his own company and offering rides bearing the
proud insignia "M. C. Illions
and Sons Carousell
Works, Coney Island, N.Y." His son, Harry, was sixteen by then and
already an
accomplished
carver. Within a few years Philip, two
years younger,
would take over much of the administration
of the company as well as some of the more
exacting carving.
Twelve year old Rudolph would
eventually become
the machinist and mechanical designer,
freeing the family from dependence on Mangels
for frames and running gear. Rose, ten, and Bernard,
seven, grew into appropriate roles in the family
enterprise, with
Bernard emerging as a creative decorator
and commercial artist. Whenever sons were
lacking there was
a coterie of nephews and cousins
to fill the gaps.
In his first
catalog, Illions declared, "We no longer
cater our trade to the framemaker. Our
product is the product of experience and can only be had
coming direct to us." To celebrate his independence
(and perhaps his initial leisure)
he created a new line of horses with explosive, flying manes and
powerful, straining
bodies, decked out with latticework harnesses
and other virtuoso feats of carving. Illions found a local showcase
for his liberated talents by
refurbishing the Stubbmann
Brothers' carousel with
a new outer row of these
latest creations.
OTHER
ILLIONS PRODUCTIONS |
Illions carousels
continued in an elite tradition of
art for art's
sake. Illions' careful dedication to family
standards of
craftsmanship, his abhorrence of carving machines, and his proud
determination to carve every
head himself made
volume production impossible. His work was so prized locally that
few of his productions
ever escaped the Atlantic Seaboard. Most of
|
|
all, his
masterpieces clustered in Coney During the
twenties a string
of Illions merry-go-rounds spun off along Surf Avenue like eddies
from an oar. The first
in line was on
Ocean Parkway in Brighton Beach. On
the southwest
corner of Surf and Fifth Street the big four-abreast
of Theodore Chafatino filled the site
vacated by
EL Dorado. A
little to the west, bordering
Old Iron Pier
Walk, was a Mangels-Illions machine
operated by Mangels. A block west,
opposite the Culver depot, was
Stubbmann's. A graceful three-abreast occupied the lobby of
the Prospect Hotel across the
street in the next block. At the corner of
Eleventh was Kister's, just
across
Surf Avenue from
the fabulous Feltman. Luna Park
housed a large three-abreast Illions. Finally, at the corner of
Still-well
Avenue and the Bowery a sparkling three-abreast
nestled unafraid under the rumbling plunge
of Bob's Coaster.
In later years
still another Illions masterpiece found its home in Coney. This was
one of a trio of
three-abreast
machines produced during the twenties,
the other two
installed in the Prospect Hotel (1927) and under Bob's Coaster
(1926). The third machine
was originally
sent to Long Beach, Long Island
in 1927. The
proprietor was a rabbi who had established
a bathhouse on the proceeds of a warehouseful
of wine he had
bought during Prohibition and made available for sacramental use.
There was apparently less demand
for his hospitality than for his liquid
ministrations, however; he lost
his merry-go-round at
auction by order of the creditors, Prudence Bond
Company. The carousel was
returned to
Surf Avenue,
destined to be the final survivor
of the Illions era in
Coney
Island.
Although Illions dominated the island
with ten resident machines, he was not the only carver of
Coney Island
carousels. Other companies emerged from time to time, most of which
bore the stamp of
Illions'
influence. A pioneer Brooklyn amusement manufacturer, Charles W. F.
Dare, established the
New York Carosal
Manufacturing Company around
1890. This company
supplied carvings for the opening of George C. Tilyou's
Steeplechase Park in 1897,
probably
including the horses for the famous steeplechase
ride itself.
Another early
Brooklyn manufacturer with at least
one ride in Coney Island was the Bungarz
Steam Wagon and Carrousele Works. Illions carved for
Bungarz during his free-lance
period prior to 1900. |