Hidden in plainy sight behind a wall of glass is a world-class mural by one of American’s most esteemed sculptors
Coinciding with the opening of the Chas. Pfizer Company’s World Headquarters at 235 East 42nd Street in the Turtle Bay neighborhood, a monumental piece of artwork has stood watch on 42nd Street, seemingly hidden through glass in plain sight. The architects, Leonard, Colangelo & Peters and Emery Roth & Sons, planned an International Style building which emphasized clean lines and modernity for a burgeoning pharmaceutical company. In 1960, the company commissioned a mixed-media mural at a cost of $36,000 (which would be equivalent to over $386,500 today) as a dramatic statement piece to set the tone for their offices for all who entered or passed by. The work, entitled “Medical Research Through the Ages”, is a 36’ x 14’ mural composed of a series of burnished metal sculptures atop thousands of hand-cut tiles representing seminal figures in the field of medicine. The scene has a particular kinship with the sculptural work of Hildreth Meière and Louis C. Tiffany, using texture and iridescence as a subtle visual element. The metal was imprinted by Bel-Jon through the use of steel wool and a paintbrush to abrade the aluminum panel. This unexpected technique left a burnished surface that absorbed or reflected light in unique ways resulting in a three-dimensional appearance. To complement the mural, an accompanying lighting schematic brought hues of vivid color and shadow evoking a sunset for additional drama when being viewed, akin to painting with light. The fact that Pfizer chose this work to be the first impression for visitors, officials, and shareholders speaks to the company wanting to instill a sense of continuum, linking what they are doing in that moment with the past and future of scientific discovery. Nikos Bel-Jon held a storied career as one of the most acclaimed and regarded sculptors in all of America. Born in Greece in 1911, he studied at Superior School of Fine Art in Athens and the eminent École des Beaux-Arts in Paris under scholarship from the government of Greece. By his mid-20’s, his prolific paintings were exhibited throughout Europe. By 1946, Bel-Jon immigrated to the United States where he was the first Greek artist to arrive in the United States after the war. He subsequently opened a workspace that primarily illustrated the decorations of Fox Studio movie houses, including the renowned Grauman’s Egyptian Theater. His career as an artist of metal as the medium of choice was launched in 1950. He would later relocate to New York City in 1959. Some of his most significant works included installations for General Motors, Reynolds Metals, U.S. Steel, Kaiser Aluminum, Air India, Consulate of Greek in New York, the Lincoln Center for the Performing Arts, and even the offices of the Federal Bureau of Investigation. In 1963, Bel-Jon was awarded the Order of the Phoenix Medal by Amb. Vassilis Vitsaxis in recognition to his exemplary contribution to the culture of the Greek nation. He would later pass away prematurely in 1966. Bel-Jon’s mural has been the centerpiece of Pfizer’s lobby and a gem in their corporate art portfolio for several decades, giving a glimmer of dynamism through plate glass windows for all to see who walk along 42nd Street. Conservation Solutions (now known as EverGreene Architectural Arts), one of the nation’s premier restoration firms, has performed preventative maintenance and proactive monitoring for the work with an eye for long-term stewardship of this asset. Their company of artisans and technicians stabilized missing tesserae and polished the existing surfaces to ensure further damage is mitigated.
In April of 2024, Metro Loft Management announced that it intends to convert the structure to residential after Pfizer’s earlier departure for Hudson Yards. This should yield roughly 1,500 apartments which will uplift an underutilized structure for a new purpose of significant demand. However, the new owners intend to draft an entirely new lobby but are willing to donate the artwork so it can find a new home instead of being scrapped. Relocation has been deemed feasible with thorough documentation of a potential move. An initial deadline has been established of roughly September 10, 2024 before the lobby is gutted if action is not taken.
As one of a selection of Bel-Jon’s work remaining in existence and just a handful in New York, ensuring this mural is not lost to history is of remarkable importance to not just New York but arts and culture as a whole. It would make a thrilling addition especially to a school or hospital environment for the public to access. At a time when confidence in institutions of public health remain fraught, rich artwork allows us to engage in dialogue that would otherwise not be easily facilitated. These difficult conversations are even more challenging in an era of intense politicization to be able to instill and renew trust in the medical community. It is even more impactful for communities of color and those disinvested from care to know that their needs are being served in a dignified way. Bel-Jon’s mural is both literal and abstract with dynamic ways of being seen that change from person to person, much how our own lived perspectives are different. The artwork is able to draw people in to be mindful in a way that is increasingly-rare.
Bel-Jon’s piece would imbue a piece of world-class sculpture in a location that is unexpected but meaningful, whether it be a school, hospital, or museum setting. Increasingly, the privilege of masterworks being on public view is a matter of happenstance after an artist had died and subsequently gaining fame and visibility from the auction world, but this is the opportunity to intentionally make that link with a practitioner that is finally getting the recognition they deserve. It is a rare gift that belongs to be cherished instead of laid to waste. These elements of serendipity are what make living in this city so rewarding and awe-inspiring. The mural is a tangible monument to honor not only those lost in the recent COVID-19 pandemic but also the millions who were saved as well by rapid scientific innovation.
The task is now upon the preservation and philanthropic community of New York to take the initiative to ensure this work of art will remain for generations to come. An ad-hoc committee of Rhea Bel-Jon Calkins, Andrew Cronson, Dr. Paul Groncki, and Liz Waytkus of DOCOMOMO is in formation to determine the next best steps in this challenging but rewarding opportunity. Further information can be found in the corresponding website linked on this page which will be updated regularly.
Leave a Reply