Oscar B. Bach
Commission List
Compiled by Tracy
Bernabo
Friends of Oscar Bach
pre-1913 New York American Building on Columbus Circle, New York City: design work unknown. (Arts & Decoration,
November 1938, p. 17; Heidi Nasstrom-Evans, Chronology of Oscar Bruno
Bach's (1884-1957) Career, 2000).
1913
Woolworth Building, Cass Gilbert, architect,
233 Broadway, New York City: lower portion metalwork.
(Arts & Decoration, November 1938, p.17; Heidi Nasstrom-Evans, Chronology
of Oscar Bruno Bach's (1884-1957) Career, 2000).
1913-1916 Brooklyn Trust
Company,
York & Sawyer, architects, 177-179 Montague Street: design work unknown. (M.
Price, Design & Craftsmanship in
Metals, the Creative Art of Oscar B. Bach, c. 1938, p. 28; Heidi
Nasstrom-Evans, Chronology of Oscar Bruno Bach's (1884-1957) Career,
2000).
1914-1917
Eugene duPont, Jr., Residence, “Owls Nest”, Harrie T.
Lindeberg, Architect, 201 Owls Nest Road,
Centreville, Delaware: molded sheet copper
transom arch fitted with eagle above central glass portal at main entrance,
mantel ornament with sailing ship. (Arts
& Decoration, Nov. 1922, pp. 26-27; M. Price, Design & Craftsmanship in Metals, the Creative Art of Oscar B.
Bach, c. 1938, pp. 22-23; Coronet,
October 1939, p. 36; H.T. Lindeberg with introduction by R. Cortissoz & new
introduction by Mark A. Hewitt, The
Domestic Architecture of Harrie T. Lindeberg, Acanthus Press reprint 1996,
pp. 149, 306; Heidi Nasstrom-Evans, Chronology of Oscar Bruno Bach's
(1884-1957) Career, 2000).
1915
Blessed Sacrament Cathedral,
Henry A.
Walsh, architect, 9844 Woodward Avenue, Detroit, Michigan: ornamental metalwork.
(Detroit Institute of Arts, Arts and
Crafts in Detroit, 1906-1976, p. 43; Heidi Nasstrom-Evans, Chronology
of Oscar Bruno Bach's (1884-1957) Career, 2000).
1915
Thomas Frederick Vietor, residence, Harrie T. Lindeberg, architect, 99 Rumson Road, Rumson, New
Jersey: bronze window grille with
peacock, iron and bronze grille door, lead lantern, fireplace valance. (Arts
& Decoration, November 1922, pp. 26-27; International Studio, January 1924, pp. 339, 341; M. Price, Design & Craftsmanship in Metals, the
Creative Art of Oscar B. Bach, c. 1938, p. 22; Randall Gabrielan, Rumson Volume I, 1996, p. 36; H.T.
Lindeberg with introduction by R. Cortissoz & new introduction by Mark A.
Hewitt, The Domestic Architecture of
Harrie T. Lindeberg, Acanthus Press reprint 1996, pp. 152-157, 310; Heidi
Nasstrom-Evans, Chronology of Oscar Bruno Bach's (1884-1957) Career,
2000).
1916
George Arents,
Jr., residence,
“Hillbrook”, Lewis Colt Albro,
architect, Lincoln Lane, Rye, New York:
molded sheet copper transom arch at main entrance,
signed lower right Oscar B Bach Studios and dated 1916 on the central shield,
matching copper hanging lanterns with bracket supports having exotic bird and
vine decoration. (Abbe-Barrymore, Dictionary of American Biography, 1928,
p. 137; M. Price, Design &
Craftsmanship in Metals, the Creative Art of Oscar B. Bach, c. 1938, p. 22).
1916 Nelson
Doubleday, esq., residence, Harrie T. Lindeberg, architect, Oyster Bay, Long Island: front entrance door and
lantern. (M. Price, Design &
Craftsmanship in Metals, the Creative Art of Oscar B. Bach, c. 1938, p. 22;
H.T. Lindeberg with introduction by R. Cortissoz & new introduction by Mark
A. Hewitt, The Domestic Architecture of
Harrie T. Lindeberg, Acanthus Press reprint 1996, pp. 193, 306).
1916-1917
Clyde M. Carr, esq.,
residence,
“Wyldewood”, Harrie T. Lindeberg, architect, 55 North Mayflower Road, Lake
Forest, Illinois: diamond window grille with rooster, bronze door surround and
transom arch with animal motifs, bronze side window grilles, bronze main
entrance door with zodiac and other symbols, lead leaderheads dated 1916 and
monogrammed CMC, lamp bracket. (Arts & Decoration, November 1922,
pp. 26-27; International Studio, January
1924, p.340; M. Price, Design &
Craftsmanship in Metals, the Creative Art of Oscar B. Bach, c. 1938, p. 22;
H.T. Lindeberg with introduction by R. Cortissoz & new introduction by Mark
A. Hewitt, The Domestic Architecture of
Harrie T. Lindeberg, Acanthus Press reprint 1996, pp. 183-187, 306; Heidi
Nasstrom-Evans, Chronology of Oscar Bruno Bach's (1884-1957) Career,
2000).
1917 Mrs. Lisbeth
Ledyard, residence, Harrie T. Lindeberg, architect, Stockbridge, Massachusetts: specific design work
unknown. (M. Price, Design &
Craftsmanship in Metals, the Creative Art of Oscar B. Bach, c. 1938, p. 22;
H. T. Lindeberg with introduction by R. Cortissoz & new introduction by
Mark A. Hewitt, The Domestic Architecture
of Harrie T. Lindeberg, Acanthus Press reprint 1996, pp. 176, 308).
1917 George
Frederick Humphreys, esq., residence, Harrie T. Lindeberg, architect, Normandie Parkway, Morristown, New Jersey: main entrance transom arch
with peacock motif over oak door. (M. Price, Design & Craftsmanship in Metals, the Creative Art of Oscar B. Bach
, c. 1938, p. 22; Harrie T. Lindeberg with introduction by R. Cortissoz
& new introduction by Mark A. Hewitt, The
Domestic Architecture of Harrie T. Lindeberg, Acanthus Press reprint 1996,
pp. 225, 307).
1917
Frederick L. Lutz, esq.,
residence, Harrie
T. Lindeberg, architect, Oyster Bay, Long Island: transom arch and door
surround at main entrance. (H.T. Lindeberg with introduction by R. Cortissoz
& new introduction by Mark A. Hewitt, The
Domestic Architecture of Harrie T. Lindeberg, Acanthus Press reprint 1996,
pp. 167, 308).
1917-1919 Horace Havemeyer, residence, “Olympic Point”, Harrie
T. Lindeberg, architect, Islip, Long Island, New York: lead leaderhead
dated 1917, bronze and Quezal glass hanging fixture?. (Arts & Decoration, November, 1922,
pp. 26-27; International Studio,
January 1924, p. 341; H.T. Lindeberg with
introduction by R. Cortissoz & new introduction
by Mark A. Hewitt, The Domestic
Architecture of Harrie T. Lindeberg,
Acanthus Press reprint 1996; Harry W. Havemeyer, Along the Great South Bay: From Oakdale to
Babylon – The Story of a Summer Spa, 1996, pp. 165-166, 307; Heidi Nasstrom-Evans, Chronology of Oscar Bruno Bach's
(1884-1957) Career, 2000).
1918
John Sargent
Pillsbury, esq., residence, “Southways” Harrie T. Lindeberg, architect, 2200
Stevens
Avenue, Wayzata (Lake Minnetonka), Minnesota: specific design work
unknown. (M. Price, Design &
Craftsmanship in Metals, the Creative Art of Oscar B. Bach, c. 1938, p. 22;
H.T. Lindeberg with introduction by R. Cortissoz & new introduction by Mark
A. Hewitt, The Domestic Architecture of
Harrie T. Lindeberg, Acanthus Press reprint 1996, pp. 177, 309).
c. 1918 Herbert Coppell, esq., residence, Harrie T. Lindeberg,
architect, Tenafly, New Jersey: peacock window grille,
front entrance, oriel window, possibly casement window with medallions. (H.T.
Lindeberg with introduction by R. Cortissoz & new introduction by Mark A.
Hewitt, The Domestic Architecture of
Harrie T. Lindeberg, Acanthus Press reprint 1996, pp. 131-133, 306).
1919 Albert
Pick, esq., residence, 445 Sheridan Road, Winnetka, Illinois: wrought iron and bronze
entrance door, and wrought iron door with bronze figures. (Arts & Decoration, December 1924, p. 4; M. Price, Design & Craftsmanship in Metals, the
Creative Art of Oscar B. Bach, c. 1938, p. 22; Caroline Thomas Harnsberger, Winnetka: The Biography of a Village,
1977, p. 47; Heidi Nasstrom-Evans, Chronology of Oscar Bruno Bach's
(1884-1957) Career, 2000).
1922 Chase Hotel (Chase Ullman, esq.), Preston J. Bradshaw, architect, 4965 Lindell
Boulevard, St. Louis, Missouri: bronze reading lamp with etched metal shade. (Arts & Decoration, October
1922, p. 440.).
c. 1922 Orson D. Munn residence, Short Hills, New Jersey: design work unknown. (M.
Price, Design & Craftsmanship in
Metals, the Creative Art of Oscar B. Bach, c. 1938, p. 22; Harrie T.
Lindeberg with introduction by R. Cortissoz & new introduction by Mark A.
Hewitt, The Domestic Architecture of
Harrie T. Lindeberg, Acanthus Press reprint 1996, p. 309).
c. 1922 James A. Farrel
residence, South Norwalk, Connecticut: bronze window grille, main
entrance door, transom, windows, iron serving table. (Arts & Decoration, November 1922, pp. 26-27; International Studio, January 1924, p.
338; M. Price, Design & Craftsmanship in Metals, the Creative Art of Oscar B.
Bach, c. 1938, p. 22; Heidi Nasstrom-Evans, Chronology of Oscar Bruno
Bach's (1884-1957) Career, 2000).
c. 1922 George E. Learnard, esq., residence, “Beausite”, North
Street, Greenwich, Connecticut: bronze and iron stairway (Arts
& Decoration, November 1922, pp. 26-27; M. Price, Design & Craftsmanship in Metals, the Creative Art of Oscar B.
Bach, c. 1938, p. 22).
c. 1924 Gaylord Hotel, North Rossmore
Avenue, Hollywood, California: wrought iron and bronze gates and frame, 7’
bronze, silver and iron fountain. (International
Studio, April 1924, p. xxix; Arts
& Decoration, December 1924, p. 4; M. Price Design & Craftsmanship in Metals, the Creative Art of Oscar B.
Bach, c. 1938, p. 28; Heidi Nasstrom-Evans, Chronology of Oscar Bruno
Bach's (1884-1957) Career, 2000).
c. 1924 West Side Savings Bank, 110 6th Avenue, New York City: design work unknown. (M.
Price, Design & Craftsmanship in
Metals, the Creative Art of Oscar B. Bach, c. 1938, p. 28).
1925 Architectural
League of New York, 215 West 57th Street, New York City: inner door of the club
rooms in hand-wrought forged iron with bronze symbolic figures. (Yearbook of the Architectural League of New
York Annual Exhibition, 1926 cat. 105; M. Price, Design & Craftsmanship in Metals, the Creative Art of Oscar B.
Bach, 1928, p. 2; Design &
Craftsmanship in Metals, the Creative Art of Oscar B. Bach, c. 1938, pp. 2,
28; Heidi Nasstrom-Evans, Chronology of Oscar Bruno Bach's (1884-1957)
Career, 2000).
1925 Lloyd Frank,
residence,
“Fir Acres Estate”, Herman Brookman, architect.
Currently part of Lewis & Clark College, Portland, Oregon: Two bronze
weathervanes, bronze lantern, bronze grille to servants entrance, four bronze
dolphin shaped swimming pool ladders, lead oriel window, bronze balcony, bronze
and oak door, fireplace valance, door hardware, stair rail, floor lamp. (Bach correspondence, Lewis & Clark archives; Country Life, June 1926, p. 112; M.
Price, Design & Craftsmanship in
Metals, the Creative Art of Oscar B. Bach, c. 1938, p. 22).
c. 1925 Alan Levin, esq., residence,Wynnewood, Philadelphia, Pennsylvania: radiator grille-console. (Arts & Decoration,
May 1925, p. 67; Heidi Nasstrom-Evans, Chronology of Oscar Bruno Bach's
(1884-1957) Career, 2000).
c. 1925 Charles S. Peabody, esq., residence, 141 East 72nd Street, New York City: entrance door of forged
iron with bronze inserts, having peacock design. (Arts
& Decoration, March 1925, p. 73; M. Price, Design & Craftsmanship in Metals, the Creative Art of Oscar B.
Bach, c. 1938, pp. 22-23; The
American Magazine of Art, April 1928, p. 193; Heidi Nasstrom-Evans, Chronology
of Oscar Bruno Bach's (1884-1957) Career, 2000).
c. 1925 St. Mary’s Chapel, Cleveland, Ohio: main lighting
fixture/chandelier. (Arts &
Decoration, October 1925, p. 83; M. Price, Design & Craftsmanship in Metals, the Creative Art of Oscar B.
Bach, c. 1938, p. 24; Heidi Nasstrom-Evans, Chronology of Oscar Bruno
Bach's (1884-1957) Career, 2000).
c. 1925 International
Telephone & Telegraph Company, 41 Broad Street, New York City: design work unknown. (M.
Price, Design & Craftsmanship in
Metals, the Creative Art of Oscar B. Bach, c. 1938, p. 28).
1925-1926 Toledo Museum of
Art, 2445 Monroe Street, Toledo, Ohio: steel, bronze, and repoussé silver main entrance doors for new wing with
symbols representing the arts and crafts. (Bach correspondence, Toledo Museum
archives; Arts & Decoration,
August 1925, p.65; Country Life, June
1926, p. 111; International Studio,
June 1926; The Toledo News Bee, June
1926; M. Price, Design &
Craftsmanship in Metals, the Creative Art of Oscar B. Bach, c. 1938, pp. 6,
28; Bach’s Obituary, New York Times,
May 5, 1957, p. 88; Heidi Nasstrom-Evans, Chronology of Oscar Bruno Bach's
(1884-1957) Career, 2000). Note: similar examples of these doors are now
in the permanent collection of the Wolfsonian at Florida International University, Miami Beach, FL. (Christies New York,
Important 20th Century Decorative Arts, March
24, 1990, lot 14; Wendy Kaplan, Designing
Modernity: The Arts of Reform and Persuasion,
1885-1945, 1995, p. 336, cat. 168.)
1925-1927
Waite Phillips, residence, “Villa Philbrook”
Charles Buehler Delk, architect, 2727 South Rockford Road, Tulsa, Oklahoma: bronze railings in main
hall, door in telephone alcove, and possibly two firescreens
with matching andirons. (Bach correspondence, Philbrook
archives; Account records of Percy French, French & Co., New York City,
July 26, 1927, p. 9).
1925-1927
Masonic Level Club, Harry Knowles with
Clinton, Russell, Wells, George, & Holton, architects, 253
West 73rd
Street, New York City: chandelier and other metalwork in lobby,
lighting in main dining room,
grille gates separating main
dining room for hallway, table lamps and chandeliers in Club Room, exterior
globe lanterns at main entrance. (M. Price,
Design & Craftsmanship in Metals, the Creative Art of Oscar B. Bach, c.
1938, p. 28; Bruno Bertuccioli, The Level
Club, 1991, pp. 68, 74-82).
1925-1930 Temple Emanu-El, Robert Kohn, Charles Butler, Clarence Stein,
architects, 1 East 65th Street at 5th Avenue, New York
City: Beth-el Chapel sanctuary light and door to Holy Ark, possibly stair rail.
(Yearbook of the Architectural League of
New York Annual Exhibition, 1930 cat. 67 & 70; M. Price, Design & Craftsmanship in Metals, the
Creative Art of Oscar B. Bach, c. 1938, pp. 24-25; Arts & Decoration, November 1938, p. 17; Heidi Nasstrom-Evans, Chronology
of Oscar Bruno Bach's (1884-1957) Career, 2000).
c. 1927 T.W. Phillips
Gas & Oil Company, 205 North Main Street, Butler, Pennsylvania: specific design work
unknown. (M. Price, Design &
Craftsmanship in Metals, the Creative Art of Oscar B. Bach, c. 1938, p.
28).
c. 1927 Temple Beth Israel, Herman Brookman,
architect, 1972 North West Flanders Street, Portland, Oregon: specific design work
unknown. (M. Price, Design & Craftsmanship
in Metals, the Creative Art of Oscar B. Bach, c. 1938, p. 24).
c. 1927 First National
Bank, 102-104 South Main Street, Ann Arbor, Michigan: chandelier, interior gate.
(M. Price, Design & Craftsmanship in
Metals, the Creative Art of Oscar B. Bach, c. 1938, pp. 28-29).
1927 Cranbrook Art School, 39221 Woodward Avenue, Bloomfield Hills, Michigan: bronze clockface
for dining room, lead sculpture of an eagle. Also in the collection is a bronze
& enamel smoking stand with ship finial from 1923. (The American Magazine of Art, April 1928, pp. 189; M. Price, Design & Craftsmanship in Metals, the
Creative Art of Oscar B. Bach, c. 1938, pp. 3, 28; R. Judson Clark, Design in America: The Cranbrook
Vision, 1984, p. 156; Barbara Kapitman, Michael
D. Kinerk, Dennis W. Wilhelm, Rediscovering Art Deco USA, 1994, p.94; Smithsonian Institution
Research Information System (SIRIS) Inventory of American Painting and
Sculpture (IAS 65790027) ; Heidi
Nasstrom-Evans, Chronology of Oscar Bruno Bach's (1884-1957) Career, 2000;
Forgers of Metal, George Booth & His
Patronage of Metalcraft at Cranbrook, Cranbrook Art
Museum Exhibition Catalogue, January 27-April 8, 2001).
1927 Harry F.
Knight, esq., residence, Harrie T. Lindeberg, architect, Warson and Litzinger Roads, St. Louis, Missouri: window grille with bird
motif, possibly awning over main entrance and trim over oriel window. (H.T.
Lindeberg with introduction by R. Cortissoz & new introduction by Mark A.
Hewitt, The Domestic Architecture of
Harrie T. Lindeberg, Acanthus Press reprint 1996, pp. 137-139, 308).
1927 W.E. Scripps,
residence,
Clarence Day, architect, Lake Orion, Michigan: grille gate, iron and bronze
door with oak framework, another door, and stair rail, Hunt lamp, steel
sconces, door hardware. (M. Price, Design
& Craftsmanship in Metals, the Creative Art of Oscar B. Bach, 1928, p.
10; M. Price, Design & Craftsmanship
in Metals, the Creative Art of Oscar B. Bach, c. 1938, pp. 20, 22-23; Yearbook of the Architectural League of New York Annual Exhibition,
1928 & 1929, illustration, The
American Architect, May 5, 1929, p. 590; Heidi Nasstrom-Evans, Chronology
of Oscar Bruno Bach's (1884-1957) Career, 2000).
1927-1929
The Episcopal Church of the
Heavenly Rest, Mayers, Murray & Phillip, architects, 5th Avenue and 90th Street, New York City: ornamental hinges of mild steel, pierced and engraved with applied bands of the same.
(Architecture Magazine, October 1934,
p. 207).
1927-1929 B.F. Jones Memorial Library, Brandon Smith, architect, 663 Franklin Avenue, Aliquippa,
Pennsylvania: bronze and iron grille
gates to adults’and children’s reading rooms. (Bach
correspondence, B.F. Jones Memorial Library archives; M. Price, Design & Craftsmanship in Metals, the
Creative Art of Oscar B. Bach, c. 1938, p. 28; B.F. Jones Memorial Library, 1929-1979, 50th Anniversary
booklet, 1979, back page).
1927-1929
Bank of New York & Trust
Company,
Benjamin Wistar Morris, architect, 48 Wall Street, New York
City: double stair-rail, doors, (M. Price, Design & Craftsmanship in Metals, the
Creative Art of Oscar B. Bach, c. 1938, p. 28).
1927-1929 Williamsburgh Savings Bank, Halsey, McCormick & Helmer, architects, 4th & Flatbush, One
Hanson Place, Brooklyn, New York: exterior
large windows depicting the Continents (War?), zodiac letterbox of iron & steel, 3 sets of symbolic bronze
grille/doors with blue, green & red enamel, iron hanging fixtures with
globes, bronze & enamel frieze with panels depicting symbols of finance,
ornamental bronze & enamel clock, small door, steel and bronze panel in
alcove, bronze check desks fitted with lamps & calendars, bronze &
enamel teller grates, counter around teller area. (The Metal Arts, May 1929, pp 189 – 195; pp 224-229; inner portfolio
and plates; M. Price, Design &
Craftsmanship in Metals, the Creative
Art of Oscar B. Bach, c. 1938, pp. 21, 28; Arts & Decoration, November 1938, p. 17; Heidi Nasstrom-Evans, Chronology
of Oscar Bruno Bach's (1884-1957) Career, 2000).
1928 Christ Church Cranbrook, 470 Church Road, Bloomfield Hills, Michigan: treasury room door of repoussé steel, inlaid with silver and gold. (The American Magazine of Art, April
1928, p. 190; M. Price, Design &
Craftsmanship in Metals, the Creative Art of Oscar B. Bach, 1928, pp.
12-13; M. Price, Design &
Craftsmanship in Metals, the Creative Art of Oscar B. Bach, c. 1938, p. 24;
Heidi Nasstrom-Evans, Chronology of Oscar Bruno Bach's (1884-1957) Career,
2000).
1928 Cranbrook Art School, 39221 Woodward Avenue, Bloomfield Hills, Michigan: wrought iron gates
executed by Bach after design by Eliel Saarinen. (Design
& Craftsmanship in Metals, the Creative Art of Oscar B. Bach, c. 1938,
p. 28; R. Judson Clark, Design in
America: The Cranbrook Vision, c. 1984, p. 156;
Barbara Kapitman, Michael D. Kinerk,
Dennis W. Wilhelm, Rediscovering Art Deco
USA, 1994, p. 94; Heidi Nasstrom-Evans, Chronology of Oscar Bruno
Bach's (1884-1957) Career, 2000; Forgers
of Metal, George Booth & His Patronage of Metalcraft
at Cranbrook,
Cranbrook Art Museum Exhibition Catalogue,
January 27-April 8, 2001).
1928
John Henry Kirby, residence, James Ruskin architect, 2000 Smith Street, Houston, Texas: specific design work
unknown. (M. Price, Design &
Craftsmanship in Metals, the Creative Art of Oscar B. Bach, c. 1938, p.
22).
1928 Kauffman T. Keller Building, Smith, Hinchman,
& Grylles, architects, 243 Highland Park, Wayne Co., Michigan: specific design work
unknown. (M. Price, Design &
Craftsmanship in Metals, the Creative Art of Oscar B. Bach, c. 1938, p.
22).
1928
Kauffman T. & Adelaide Keller,
residence,
Clarence Day, architect, 19800 Cumberland Way, Detroit, Michigan: specific design work
unknown. (M. Price, Design &
Craftsmanship in Metals, the Creative Art of Oscar B. Bach, c. 1938, p.
22).
1928 A. G. Wilson,
residence,
“Meadowbrook Hall”, William Kapp of Smith, Hinchman & Grylls, architect,
Oakland University, Rochester, Michigan: forecourt gates, lantern,
sundial, screen. (Yearbook of the Architectural League of New
York Annual Exhibition, 1929; M. Price, Design
& Craftsmanship in Metals, the Creative Art of Oscar B. Bach, c. 1938,
p. 22).
1928 B. Altman
& Co., 5th
Avenue at 34th Street, New York City: Eighth Floor Showroom,
Exhibition of Twentieth Century Taste in the newer expression of the arts,
September 17th 1928; office interior, tables, chairs, wall
decorations in steel with combinations of marble and leather and decorative
objects of pewter, stainless steel and bronze coated doors, figural screen. (Metalcraft, October 1928, p. 220-221; Paul Frankl, The Arts
& Decoration Home Study Course Covering the Modern Movement as Applied to
Interior Decoration and Kindred Subjects, 1929, page; The Literary Digest, January 12, 1929 p. 4, advertisement for
Armstrong’s Linoleum floors; Heidi Nasstrom-Evans, Chronology of Oscar
Bruno Bach's (1884-1957) Career, 2000).
1928-1930 Chrysler Building, William Van Alen, architect, 405 Lexington Avenue, New York City:
interior metalwork, including chrome nickel steel cresting over directory
board, main lobby; chrome nickel steel radiator grille under show window, main
lobby, information booth, clock. (American
Architect, August 1930, pp. 42, 45; Yearbook
of the Architectural League of New York Annual Exhibition, 1931 cat. 30; Arts & Decoration, November 1938, p.
17; M. Price, Design & Craftsmanship
in Metals, the Creative Art of Oscar B. Bach, c. 1938, p. 28; Alistair
Duncan, Art Deco in America, 1942, p.
100; Heidi Nasstrom-Evans, Chronology of Oscar Bruno Bach's (1884-1957)
Career, 2000).
1929 Herman F. W. Scharfenberg, residence, Clarence Day, architect, Grosse Pointe, Michigan: interior lighting
fixtures. (this entry based on information from
current owner)
1929 Congregation Rodeph Sholom, 7 West 83rd Street, New York City: bronze, gold and enamel
door of Holy Ark (M. Price, Design &
Craftsmanship in Metals, the Creative Art of Oscar B.Bach,
c. 1938, p. 24).
c. 1929 Mausoleum of
Ely Strook, esq., Benjamin Moscowitz,
architect: mausoleum door. (Yearbook of the Architectural League of New York Annual Exhibition,
1930 cat. 68).
c. 1929 Church (School)
of the Blessed Sacrament, 3443 93rd St, Flushing, New York: plaque. (M. Price, Design & Crafts