When Toronto’s Coffee Went ‘Continental’

Note: This article first appeared in Spacing Magazine Issue 71. It has been reproduced here with permission.

When Toronto’s Coffee Went ‘Continental‘
By Bob Georgiou

Cover image: Jack & Jill Coffee Bar in ‘The Village’, Hayter Street and LaPlante Avenue, 1963. Source: City of Toronto Archives

In March 1955, The Globe and Mail reported a growing “Toronto Trend”: the coffee house. While the drink itself was already sold and consumed in Toronto in various establishments (one of which was created by the temperance movement in the last quarter of the 19^th century), in the middle of the 20^th century it adopted a European, Bohemian, and outdoor flair. The newspaper also identified the catalyst of the new craze as “an Italian device known as the ‘expresso machine’” that had already caused a resurgence in coffee consumption in Britain.

On April 22, 1955, the Concerto Coffee House opened at 89 Bloor Street West. It billed itself as “Toronto’s First Continental-style Coffee House.” It was launched by partners British Brigadier Claude Dewhurst and Hungarian Irving Bolgar.

That June, in her Globe and Mail column “Around The Town,” Mary Walpole wrote about the cafe’s success:

“…And now in Toronto, the Concerto Cafe has proved that what we wanted most was a place to relax with our coffee and our chatter where the atmosphere…the service and the food made you feel that silly it is to rush like mad and get nowhere. The only problem is that too many people want to relax at Concerto Cafe…they line up for lunch…they drop in by hundreds to talk over the theatre, the film and the concerts with one of the twelve famous brews of coffee…though it’s still the Espresso that most everyone orders…and to dally over the intriguing salads, the Danish smorgasbord and French hors d’oeuvres and those delicious ices and pastries.”

The Globe and Mail, June 15, 1955

Another article in The Globe and Mail described the cafe’s “unusual aspects” – specifically that it was located above street level and featured “long-legged stools at a serpentine counter” where patrons could people-watch. The restaurant displayed interesting design motifs by Hungarian-born ceramicist Maria Rahmer de Nagay and the artist Karl May. The cafe also had a second-floor space called the “Picture Room.”

The cafe’s coffee itself was a mix of South American, Central American, and South African beans. An assortment of cakes and pastries provided accompaniment. Main courses included Hungarian goulash, veal ragout, stuffed peppers, chicken Tetrazini, and lobster Meridon. Later reports suggested the Concerto increased its selection of coffees, with espresso notes as the highlight, from 12 to 25 types.

The cafe, which was self-described as “Continental Bohemian”, had a happening vibe, frequented by “stars and celebrities.” In May 1955, opera singer Zinka Milanov was hosted at a coffee party there by the Yugoslav Consult General. Another soprano, Licia Albanese, stopped by the cafe after her show at Massey Hall in December 1955. Folk singer Greg Curtis was brought in to perform at the club, and a ‘singing Troubadour’ was a regular showcase. The owners, seeing the early returns of the Concerto Cafe, soon opened a second restaurant, the Concertino, at 32 Avenue Road. It sought for a similar atmosphere, and Maria de Nagay also provided her work for this foray. The Concertino was sold by March 1956 and renamed La Coterie.

Despite its great impact on Toronto’s gastronomic scene, the Concerto had a relatively short life. On December 13, 1959, a devastating fire totaling $15,000 in damages forced the cafe to close forever. The ground floor partially collapsed, and two firemen were hurt. A cigarette butt in the basement was believed to be the cause.

Meanwhile, another cafe with European flavour was contributing to converting Toronto to the new coffee culture. In March 1956, the Gaggia House at 28 College Street opened with a lavish gala. The owner was Venetian-born Pino Riservato, who fashioned the restaurant with Italian artistic stylings and a wood-burning oven for ‘pizza pie.’

But the intrigue did not stop in the coffee house’s interior: Gaggia House was also to become a sidewalk cafe, one of the first — if not the first – of its kind in Toronto. The Gaggia House seems to have only lasted six months, according to the Toronto Daily Star. But the trend had been initiated. In July 1960, Mary Walpole reported on the new sidewalk cafe of the Chateau Briand at neighbouring 32 College Street. She described how the “Wondrous Italian, Viennese and French coffees taste just that much better in this [patio] setting.”

By the end of the 1950s, the coffee house trend had completely caught on in Toronto. The Toronto Daily Star declared an ‘espresso blitz’ was taking place. “The most tell-tale sign of espresso’s growing popularity is that it is now being drunk during the ubiquitous Canadian ‘coffee break.’” Since the middle of the decade, the “continental coffee habit” grew to thirty espresso-serving establishments in Toronto. Another that grew from Hungary’s famed café culture was the Domino Cafe at 255 College Street owned by Hungarian-born Louis (or Leslie) Fekete.

Further west on College, the Capriccio Restaurant and Billiard Hall at 580 College Street, run by brothers Dante, Claudio, and Vittorio Cocca, helped launch Toronto’s Little Italy neighbourhood as an epicentre of sidewalk cafes, with long-running establishments such as Café Diplomatico continuing the activity to this day.

In the 1960s, Toronto’s Bohemian, Continental, and accompanying coffee cultures settled into two other districts. The first was ‘The Village’, an area west of Bay along Gerrard, Elizabeth, and Hayter Streets. In March 1960, Estonian-born Peeter Seep opened a new coffee house at 23 Gerrard Street. The Jack and Jill Coffee Bar on Hayter Street, another Hungarian establishment, was a popular spot with a sidewalk cafe and “after-dark activity.” By the middle of the decade, the Village was known for its coffee houses, live music, and patios.

The second of these areas would become the most synonymous with coffee house culture in Toronto’s history. Interestingly, it was located in Yorkville, steps from the ill-fated Concerto Café. In 1963, the Star reported a sidewalk cafe “boom” in Toronto with sixteen patios in the city — many of them in the streets north of Bloor near Avenue Road. The newspaper described how, in 1960, the Half Beat on Cumberland Street was persuaded by a former sidewalk cafe restauranteur and espresso machine salesman to place some tables outside. Their clientele soon preferred to sit or stand in the open air to drink their coffee. More coffee houses followed, many of them European-owned and -operated: the Old York Lane Cafe, the Coffee Mill, the Roof at 137 Avenue Road, the Penny Farthing, the Das Uppenbrau, the Cumberland Cafe, and La Provencal. Yorkville’s coffee houses provided venues for folk, blues, and jazz artists – some who laid the groundwork for a Canadian popular music scene.

Redevelopment in the Village and Yorkville erased both districts as nexuses for coffee houses. Many of the former converted rowhouses that had hosted the cafes were demolished. Nonetheless, as of 2025 the location of the Concerto Cafe remains at 89 Bloor Street West. Although no physical marker exists yet, it’s a good reminder of where Toronto got its taste for coffee nearly 70 years ago.

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Andy Warhol: Revisited

The idea of a popup gallery is neat. It’s impermanent and for a limited time – a chance to take in something that one wouldn’t otherwise have a chance to see. That, in of itself, is a buzz creator. To make it about Andy Warhol is just icing.

In the case of the Andy Warhol: Revisited Pop Art exhibition, which makes its temporary home in a vacant store at 77 Bloor Street West, there isn’t a showcase of the famed artist’s works in Toronto, so it makes for a very cool initiative by Revolver Gallery.

Going into this, my own exposure to Andy Warhol was pretty limited. I’m aware that he was an odd artist from New York who employed a very distinct, colourful style, and himself became an identifiable figure in Western popular culture. Oh, and David Bowie was into his work. But the rhyme or reason behind his work? I couldn’t tell ya.

That started to change when I was at the Museum of Modern Art in NYC earlier this year. Two of his iconic pieces gave me an inside to him: the famed Campbell’s Soup Cans and Gold Marilyn Monroe.

They reveal two themes that play out in much of his artwork: growing commercialism and the obsession (his own and society’s) with the notion of ‘celebrity’.

So now, literally revisiting Warhol here in Toronto, I get a chance to learn more. Walking into the gallery, the first thing I encounter is a fun play on the soup cans.

Aesthetically and functionally, the space itself really works. It’s a nearly all white room with the works lining the walls. There’s lots of seating, many of them positioned in front of the pieces. In the centre of the room is a media area with walls of hundreds of self-portraits.

The back of the gallery notably features a wall of ‘Socialites’ – people that asked Warhol to capture them in his art, thereby offering them a kind of immortality.

Near that is a row of the recognizable soup cans. I’d like to know what Hot Dog Bean tastes like. Warhol himself must’ve known very well because at one point that’s all he ate.

There’s a wall of shadowy figures (including Warhol himself, who I didn’t make out at first and needed to ask a gallery docent)…

…and historical icons! The simple, yet powerful ‘Red Lenin’ might be my favourite piece in the entire exhibition. Its simplicity speaks to how compelling and bold a figure he was.

There’s plenty more to see beyond what I’ve shown, which definitely warrants a first hand look for yourself, reader.

All in all, Andy Warhol: Revisited really works as the ‘museum-style exhibition’ it presents itself as. It’s even got a tiny, yet tempting gift shop. It is on until December 31 of this year, and the works within the exhibit rotate throughout that duration. That’ll certainly warrant at least a few repeat visits!

Scenes From Yorkville

Before I can start my stroll, I note the taste for coffee developing in my buds. I opt not for Starbucks and not for Timmies, which hang beside each other in competition, but for the Toronto Reference Library. Yes, it may be closed on this Easter Monday, but Balzac’s isn’t. The customer in front of me in line tries to pronounce the name of the brew she’s ordering; the barista has to correct her. Me, I don’t bother with the given name of my amber roast; I grab it and am on my way. Now I can start.

Yorkville is about as quintessential a Toronto neighbourhood as you can get. It also has a deeply layered past and an ever evolving future, some of which I am already aware of and eager to see the evidence of. While its borders have expanded and contracted over its long history, it’s my thought that the part east of Yonge doesn’t get a lot of consideration.

And so, that’s what I intend to do to start things off.

I don’t get very far on Asquith before I see my first discovery. Although I’m hugging (not literally) the Bell building on the opposite side of the street, my eyes spot a pathway beyond the library across the way. The street sign reads ‘Sherlock Holmes Walk’. Literary giants next to one another! Having read Mr. Conan Doyle’s biography years ago, I imagine he would approve of the tribute – he loved Toronto and Canada (and hated the States).

At the end of the way is Church Street, whose curvy route between Bloor and Yonge Streets is the result of a project to relieve traffic congestion in the 1920s. Even without this knowledge, the odd meeting of Church, Collier, and Park streets and the island it forms in the middle just looks unnatural. I look towards Davenport, spotting the famed Masonic Temple, 1917, but opt to head in the opposite direction.

Goads Atlas 1884, Yorkville east of Yonge — Yorkville, east of Yonge Street. Source: Goads Atlas, 1884.

My next stop, situated beside a singular Victorian house (no doubt once part of a row), is Asquith Green, which sadly is more muggy brown than green. Still though, I remind myself of the parkette’s potential in the summer and give it points for the animal cutouts and accenting structure in the middle. I don’t know the source of what I think is a quote, but subsequent Googling has produced ‘We Rise Again’, an Eastern Canadian music classic. Here’s a moving version with the great Maritme songstresses, Anne Murray and the late Rita MacNeil.

Following Park Road up, I come to Rosedale Valley Road. This quiet throughway marks the border between Yorkville and its upscale residential sister, Rosedale.

It is also built on top of the now completely buried Castle Frank Brook. It is particularly important in shaping the modern geography of Yorkville, but also to its history – particularly in its brewing and brick making past. Located southwest of me near Sherbourne Street, for example, was Joseph Bloore’s brewery. Bloor Street, of course, is his namesake. (Mr. Bloore also holds the distinction of having the freakiest portrait of any figure in Toronto’s history.) Parkland marks the intersection, and trudge through it to arrive at Severn Street.

Joseph Bloor Brewery, 1865. Source: Toronto Public Library.

The tiny dead end street is anything but inconsequential. For one, it’s named after John Severn, another 19th century brewer. His establishment stood at Yonge and Church. Moreover, Castle Frank Brook’s alternate name is Severn/Brewery Creek.

Severn's Brewery, 1870s — Severn’s Brewery, 1870s. Source: Toronto Public Library.

Severn's Brewery, 1912 — Severn’s Brewery, 1912. Source: Toronto Public Library.

Perhaps even more notable to the street is that one can find the Studio Building. On the way here, I passed through Lawren Harris Park; Mr. Harris lived and worked in the Studio Building, 1914, along with other members of the Group of Seven.

The Studio Building holds double distinction as a National Historic Site and a Toronto heritage property. The Toronto Historical Board plaque in particular informs me that the Harris in Lawren Harris is of the Massey-Harris industrial empire. Learn something everyday. The Studio Building was designed to be a secluded quiet spot where artists can work their creative process. As I move around the building I hear the periodic screeching of the Yonge subway and somehow I think that doesn’t completely hold true today (although the surrounding parkland does help a bit).

I continue on my way, this time following Aylmer up. I stop for a moment to watch the trains roll in and out of Rosedale Station and then cross Yonge. The street becomes Belmont and I’m liking the streetscape on either side of me. Other than admiring the charm, however, I do have another purpose for being here.

Belmont House is a retirement home and long term care centre built in the 60s. More interesting to its story is that it is built on the site of an Aged Men’s Home, Aged Women’s Home, and Magdalen Asylum & Industrial House of Refuge.

The latter establishment is most fascinating. On first glance at the name, it doesn’t sound like a particularly good place – asylums generally don’t provoke the best connotations and the Biblical character it’s named for isn’t always portrayed in the best light either. The ever trustworthy Wikipedia tells that Magdalen Asylums are not just a Toronto thing. Its history, however, promotes it as a place of care for homeless women and I suppose I will take it as such.

This detour completed, I circle back to Yonge Street and walk north. I turn onto Ramsden Park, the former site of 19th century brickyards. Castle Frank Brook ran through here too, the riverbed making for rich clay deposits. The park’s uneven, dug-in landscape is the only remnant of its industrial past. (And here I’ll shamelessly plug my Industrial Heritage Map). There’s also a few stubborn remnants of winter in a file snow piles that refuse to acknowledge the existence of spring.

Yorkville Brickyards Goad's, 1884 - Copy — Yorkville Brickyards. Source: Goad’s Atlas, 1884.

Yorkville Brickyards, 1880s. Source: Toronto Public Library.

Pears Street, which runs adjacent, is named for one of the brick makers. A cat lounges on the sidewalk and soaks up the sun. He has the right idea. I eventually hit Avenue Road. Across the way is 174 Avenue, otherwise known as the Village Corner in the 1960s Yorkville folk scene. The Village Corner gave the first break to Ian & Silvia and a young Gordon Lightfoot in 1962. For more on Gordon Lightfoot’s Toronto, look here please.

With a skip down the street and a turn onto Hazelton Avenue, I’m onto more familiar settings when it comes to the neighbourhood of Yorkville. Hazelton is considered part of the heart of the Village and is pretty much an architecture lover’s dream. Bay and Gable, Gothic, Worker’s Cottage…it’s hard not to dream while being here. Alas, I stop myself from getting too ‘in the clouds’.

The southern end of the street has a more commercial character. It features Heliconian Hall, the second National Historic Site of the day (and, like the Studio Building, also holds dual heritage recognition). The Hall is the counterpart to a place like the Arts & Letters Club on Elm Street in that it was originally a professional association for women when they were excluded from Arts & Letter Clubs. Today it is an event space.

Across the way are a line of boutiques and neat little street art. I lament at the sight of one characters wearing a Leaf jerseys. Somehow the ‘maybe next year’ saying isn’t appropriate. They are also the lead in to Hazelton Lanes, the premiere mall of the Village.

Yorkville Avenue marks the end of the street. At the corner is the Hazelton Hotel, which represents everything Yorkville is today – fashionable, luxurious, and expensive. The Hotel replaced a series of rowhouses after the heyday of the bohemian village, one of which housed the Riverboat Coffee House. This was the most famous of all coffee houses and another venue Mr. Lightfoot got his ‘chops.’

I follow the street east, passing the first Mount Sinai Hospital (1922) and the Sheriff’s House (1837) on either side of the street. I peek down Bellair and inwardly judge the patio-ers. I know it’s a sunny day and there’s a certain desperation for more welcoming climates, but it is still very chilly and not quite patio weather. Moving on, the wideness of Bay Street to me breaks apart the neat, quiet street vibe. It’s no wonder that, like Church Street, it didn’t always run through Yorkville. Bay was extended north to Davenport in 1922.

In any case, I cross it and pass the shiny and blue Four Seasons Hotel (which might be my favourite tall towers in the city) and its adjoining parkette. Beside is Fire Hall #10, 1890, which displays the Yorkville Coat of Arms. The emblem was once located a stone’s throw away at the now lost Yorkville Town Hall on Yonge Street. Decked on the coat of arms are symbols of early industrialists that built the Village, including our friend Severn the brewer.

Beside the fire station is Yorkville Library, 1907. This Beaux-Arts gem is one of the famed Carnegie Libraries. Adjoined to it is Town Hall Square Park, which, and I know parks come in different forms and sizes, but isn’t too park-ish too me. Maybe users of the park, like the woman promenading around with her dog, disagree.

I leave the area and head down a laneway to Cumberland. Cumberland Terrace is to my left. It’s a bit of an oddity within its surroundings. It might have fit in well in 1970s when Yorkville was beginning its gentrification, but now it’s a bit of a tacky sour thumb.

Village of Yorkville Park (doesn’t really roll off the tongue, does it?) is a bit of an oddball park too. It’s meant to represent the diversity of Canadian landscapes from coast to coast. I wouldn’t have known this if I had not read it. The highlight for most people is the giant rock which represents the Canadian Shield (and actually the hunk of rock really did come from the Canadian Shield!). I take a seat on some nearby rest points, and, as the subway rumbles under me, I recognize that park does it’s job. It’s well used and a meeting point for people. It’s excellent for people watching, for example the people lining the other side of the street and sitting in the patio of Hemingway’s (more internal judgement).

Down Bellair I go and I’m at Bloor Street. Needing to cross the street, I head towards Bay. The Manulife Centre, 1974, presides over the intersection and its ill-fated scramble crossing. From mynew location, I get a good view of the ‘Mink Mile’ that is Bloor. A noted spotting is the Pottery Barn, whose facade alludes to its prior incarnation as the University Theatre.

I take a little detour down St. Thomas and catch a look at the sophisticated Windsor Arms Hotel, 1927. It actually reminds me of a fortress. This area wasn’t part of the original Village of Yorkville, but as mentioned earlier, borders have expanded and contracted, and somehow the area south of Bloor is lumped into Yorkville. The Windsor Arms fits in well with the swankiness of the neighbourhood anyways. As I’m admiring and snapping pictures, a UPS driver buzzes the door of the adjacent University Apartment. He doesn’t find who he’s looking for.

I have to let out an internal weep at what I see at the construction site on the opposing corner. There are Victorian facades fronting an empty pit, and I realize we’re about to get a facadist (ie, cop out) approach to preserving the heritage elements to whatever development is on the way. Shame.

Back on Bloor, I make a mental cue for Pink Floyd because I’m off to Yonge to end things where they began. It’s actually a sad note, because, like the site of Sultan and St. Thomas Streets, I note with a frown at the ‘progress’ on the Stollery’s site and how poorly the demolition unfolded. Across the way, One Bloor inches closer to completion.