In 1902 , Theodore Foucar opened Foucar's Cafe at 429 Walnut St. The interior boasted of gold-gilt mirrors and a polished mahogany bar trimmed with Brazilian onyx and Vermont marble. Free roast beef lunches were given out. One room was called the rathskeller. It was styled in eighteenth century Flemish with black oak walls, mounted elk heads and a large fireplace dominating one end of the room. A friend and supporter of the art community, Foucar adorned his walls with paintings by many of the local artists including John Rettig, Henry Farney and sculptor, Clement Barnhorn.
Entrance #1 Entrance #2 Main Counter Wall opposite Main Counter
At first glance the first two Kraemer postcards of the entrance to Foucar's above look identical, but upon closer examination it can be seen that when Kraemer produced the first card they (or, more likely, Theodore Foucar) were not happy with the image because the two Foucar signs were not completely in the image. They then produced the second card in which they moved the signs down the two columns until they could be read. The backs of the two cards are completely different.
Drawing Drawing of Rathskeller Rathskeller Actual Photograph
Frank Duveneck's Siesta
Frank Duveneck was also a regular visitor to Foucar's and his pastel of a reclining nude female called "Siesta" (AKA Foucar's Nude) hung opposite the main counter. Although women were not allowed entrance to saloons at this time, the ladies of Cincinnati heard so much about this painting that they demanded that it be removed. Foucar donated the painting to the Cincinnati Art Museum, saying "That girl was too naked for my saloon, but she was not too naked for high society." This painting, plus all the others, can still be seen at the Cincinnati Art Museum.
Not a postcard Postcard