In 1875, renowned architects George B. Post and Peter
B. Wight designed the WILLIAMSBURGH SAVINGS
BANK headquarters. One of the earliest Beaux Arts
buildings in the country, setting the standard for institu-
tional structures across the nation.

It thrived as a bank for decades until it fell into dispair. In
January 2014, its current owners completed an award
winning restoration that meticulously revived every  

square inch into its original glory. It was designated a
landmark by the New York City Landmarks Preserva-
tion Commission and is listed on the National Register
of Historic Places.
Today, with its spectacular frescoed dome, intricate
mosaics, luscious gold leaf trim, wooden carvings and
period wallpaper, it exists as a rare vestige of another
time now given life by a new generation of guests and
celebration.

My role took place on the branding; the restoration of
two ceilings by Peter B. Wight; and the concept and
direction of the period wallpaper installed on the
interior walls.

All of it was for me a joy, an immense challenge, and a
huge responsibility with the history of New York. I felt it
was my time to give back to this incredible city that
inspired and taught me so much.

I collaborated with masters in calligraphy
Roballos-Naab Studio, from Buenos Aires.
Originally I wanted to design a font that came out
of the bank’s monogram; but when I sketched it I
realized it was too rigid, as if it was for a bank, logi-
cally. So I found out we had to go calligraphic if we
wanted to communicate a celebratory mood.

It’s a beautiful case for letter press on the
business cards, with hand painted edges.

Counting with the names acronym,
I proposed bringing the original
monogram back to life on the printed
stationery pieces; so we used it in a
decorative way, as a seal. In this case it stayed a dry
deboss on the info side of the business cards.

The rest of the set was printed in plain
traditional offset. The envelopes with black
flaps are powerful.    

Carlos Perez San Martin
Weylin B. Seymour's
Executive Director

Juan A. Figueroa
Dome Voyagers
Developer

Stephen Bauer
Bradbury & Bradbury Art Wallpapers
Wallpaper Design & Manufacturing

Danillo Bonazza
Art & Mosaics
Mosaic Artist

Scott Holland
French polish and wood finishing

David Scott Parker
David Scott Parker Architects
Preservation Architect

Ernest Porcelli
Ernerst Porcelli Art Glass
Leaded Glass Restoration

Federico Rozo
Graphic Designer

Michael Smart
Urban Aesthetics
Materials Conservation Consultant

Sandra Spannan
see. Painting / see. Gold
Decorative Painting Conservation and Gilding 

Weylin B. Seymour’s is named after a 
legendary character of 19th Century 
Williamsburg. Weylin B. Seymour was a
well-loved socialite, party host and fruitful
matchmaker. Serendipitously, he shared
initials with the Williamsburgh Savings
Bank sealing his fate as our beloved 
namesake. We used the acronym to bring
the old bank’s monogram back to life. 

Weylin was able to pick up on the subtle
signs of attraction between potential
couples. This skill was honed at a very
early age. During his time working at a
barber shop, after listening in on a conver-
sation about relationships, he suggested a
potential match between client and shoe-
maker Mr. Roy Albany, and New York hat
designer, Bethany Beaver. The match was
a success and the two were married short-
ly afterwards.

Encouraged by his accomplishment,
Weylin introduced a second barber shop
client to a different woman. This match
was another success. Weylin B. Seymour
quickly found fame as a matchmaker in
New York and turned his matchmaking
skills into a moneymaking business.
Continuing to help his mother, he sold
Mrs. Seymour's catering and celebration
arranging services as a side product.

He never married and had no children.
His closest friends have divulged he was
not concerned about finding such things
for himself. Instead, Weylin settled for
helping everybody else around him and
creating a happy, extended family for
himself in New York. The truth about his
private family life remains uncertain.

The portrait was found in the building
during the dome restoration; and restored
by artist Juan Herrera under my direction.