Warren Weaver Hall, ca. 1975. Upon its completion in 1965, the New York Times described New York University’s Warren Weaver Hall as “the largest mathematics and teaching center in the world.” Designed by the firm Warner, Burns, Toan and Lunde; Weaver Hall replaced “light manufacturing buildings” on Mercer, West 3rd and 4th Streets, and the former 15th Precinct police station at No. 251 Mercer.

Butterick Building ca. 1939 The Butterick company's success in producing both patterns and fashion magazines resulted in another big venture: the construction in 1903 of the Butterick Building at the corner of MacDougal (now Sixth Avenue) and Spring Streets. They commissioned the firm of Horgan & Slattery to design their new headquarters. The 15-story Beaux Arts style building became the jewel in the crown of the Butterick empire at the beginning of the 20th century. It’s hard to imagine nowadays, but a 15-story building in Manhattan would have been quite a commanding presence in 1903 (it’s no coincidence that the shock of such “skyscrapers” ultimately led to the passing of the city’s first zoning law in 1916). The Fuller Company, engineers of the iconic 22-story Flatiron Building going up at the same time, also built the Butterick Building. Standing at the head of Spring Street, the Butterick Building remains today a visual gateway to the Hudson Square neighborhood. Recently, when the City proposed to rezone Hudson Square to encourage new high-rise residential development, GVSHP asked that height limits for new construction be limited to 210 feet, about the height of the Butterick Building. The City ultimately opted for the more excessive 290 feet. Sparing no expense, when built, the interiors of the Butterick Building were designed by Tiffany. The building, marketed as “The Home of the Delineator Family,” operated 86 printing presses that produced Butterick’s 32 periodicals, which made it one of the largest magazine publishing companies in the country. With such a large floor area, the building accommodated a large range of activities, from seamstresses making sample garments to workers printing and shipping sewing pattern envelopes. But just what was The Delineator? The Butterick Publishing Company’s cultural and social significance was not limited to its home sewing patterns; it also created one of the most successful publications the country had ever seen: The Delineator. First created to help advertise Butterick sewing patterns in 1873, The Delineator ultimately became a champion of “the new woman” in the post-Civil War era. Finding herself balancing roles in and outside the home for the first time in history, the middle-class woman was the prime subscriber of Butterick’s magazine. With printing moving to the Butterick Building, the readership went from 30,000 in 1876 to 480,000 by the turn of the century, and by 1920 it climbed to over one million. It lasted until 1937. Butterick was located in this building until October 2001 when they were purchased by the McCall Pattern Company and were moved uptown to Penn Plaza, according to a former employee who now works for McCall’s. Even though they’re now gone, we’re glad to see this monument to women’s history still standing tall at its prominent spot on Sixth Avenue and Spring Street.

Provincetown Playhouse ca. 1992 On November 22, 1918, the Provincetown Playhouse staged their first performance in their Village location. Founded in 1915 in Massachusetts, the Provincetown Players were a group of actors and theater writers who moved their company down to the Village in 1916, eventually settling in their permanent home at 133-139 MacDougal Street.

108 Waverly Place ca. 1933 108 Waverly Place is as unusual as its residents. The building is one of a few that remain of nine rowhouses built around 1826, but extensively altered over the years. The facade of No. 108, with its cut masonry and crenelated cornices simulating a castle, dates to 1906, and was designed by Charles C. Haight. The arched window on the ground floor is a 1927 alteration that replaced a former garage entrance. From the Greenwich Village Historic District Designation Report of 1969: This group (108-114 Waverly Place), in its present appearance, is unique to Greenwich Village. These four houses are all that remain of a row of nine built in 1826 for Thomas R. Mercein. He was president of the New York Equitable Fire Insurance Company, and had also served as City comptroller. In No. 108, we see a love for the picturesque as this new front is a granite-faced, rough ashlar facade with crenelated cornice, simulating a small castle. It was designed in 1906 by Charles C. Haight for Miss Grace Wilkes. At that time the stable and coachman’s apartment were combined, and the roof over the attic floor was raised, and it now has a steeply sloping studio window. The present two-centered arched window at ground floor that replaces the former garage entrance is a further alteration in 1927 when the entire building was converted into a dwelling. Additionally, the building has a marker affixed to it that reads, “Prior Home of The Institute of The Jazz Studies founded by Marshall W. Stearns 1952.” Marshall W. Stearns played drums in his youth and studied medieval English at Yale University, obtaining a Ph.D. He taught English at a number of colleges, and during this time frequently wrote about jazz music for magazines. He received a Guggenheim Fellowship in 1950 and used the proceeds to finish his seminal 1956 work The Story of Jazz, a popular introduction to jazz. He taught jazz at New York University and the New School, and in 1952 he founded the Institute of Jazz Studies at 108 Waverly Place, which he also directed.

Hudson Park Library, Seventh Avenue South facade, 1937. In late 1910s the nearby park, which gave the branch its name, Hudson Park, was largely demolished in the construction of Seventh Avenue South. An addition was built for an entrance on the new street, in a slightly different style. The new facade had Common or American Bond brick work instead of the Flemish Bond of the original structure and double-height limestone enframements on the windows. Both of these factors give the Seventh Avenue South facade a more rigid and geometric look. The library, following this addition, seems to hug the seven-story brick apartment building at the southwest corner of Leroy Street and 7th Avenue (not visible at right).

The NoHo Historic District was designated by the New York City Landmarks Preservation Commission (LPC) on June 29, 1999, with the NoHo East Historic District designated in 2003 and expansions to the original district boundaries approved in 2008. This virtual walking tour features 25 buildings within the approximately 130-building original NoHo Historic District, in celebration of its 25th anniversary. The highlighted buildings represent the range of construction periods and array of building types, styles, and uses that occur throughout the district. We encourage you to explore this fascinating stretch of Manhattan virtually, or to use this tour as a jumping-off point as you take your own walk through the historic district! The three-part tour is organized by phases of development, based upon the same categories found within the LPC NoHo Designation Report. Part III includes buildings constructed from the 1890s to 1910s: The Booming Nineties a) 611-621 Broadway, The Cable Building b) 65-69 Bleecker Street, The Bayard-Condict Building c) 696-702 Broadway d) 34-36 Cooper Square, "Village Voice" Post-Consolidation Growth e) 756-770 Broadway, Wanamaker's Department Store Annex f) 684 Broadway (aka 2 Great Jones Street) g) 740-744 Broadway (aka 2 Astor Place) \-- To return to Part II of the tour, click here. To revert back to Part I of the tour, click here.

203 Prince Street ca. 1978 The land on which 203 Prince Street stands (and the rest of the block) had formerly been part of Richmond Hill, the estate of former Vice-President Aaron Burr (who, by coincidence was arrested and charged with treason on February 19, 1807; he was later acquitted, but the charge and his killing of Alexander Hamilton so tarnished his reputation in America that he fled the country, eventually selling his property such as this). By 1833, leather inspector John P. Haff owned the property and several additional lots on the block. According to Daytonian in Manhattan, while Haff’s official profession was inspector of sole leather, he was also an authority on agricultural techniques and a speculative builder both in New York and New Jersey. In 1833 Haff began building three handsome Federal-style residences on Prince Street where well-to-do merchants had begun settling. Among these was No. 203, a Flemish bond brick home two stories tall with a dormered attic. The Haff family leased the property until ca. 1865, when it was sold. At this time, the neighborhood around No. 203 Prince had dramatically changed. No longer an enclave of the wealthy merchant class, the Eighth Ward had a growing population of poor immigrants. In 1877 the Episcopal Church of Saint Ambrose at Thompson and Prince Streets opened a mission house in 203 Prince Street, headed by the Rev. D. G. Gunn and managed by Mrs. Mary Laidlaw. Its purpose, according to The Churchman on October 13 of that year, was “to give assistance to the worthy poor, to visit the sick and needy, to relieve the distressed, to feed the hungry, and to give employment to those out of work.” Originally 2½ stories tall, the house had a full third floor added in 1888, when the original attic floor was removed. The architect carefully lined up the windows with those below and designed nearly-identical sills and lintels. Note the change in the brick pattern above the second-floor windows, from Flemish bond — alternating long and short sides of brick — to running bond — all bricks with long side exposed. Flemish bond brickwork is characteristic of federal architecture while running bond is more common to late 19th-century construction.

Much like the history of the beloved Sunshine Cinema, which cycled from a church to a movie theatre with a couple of other uses in between, the IFC Center followed a similar path. The original building at 325 Sixth Avenue was constructed as a Universalist church in 1831 and later housed St. Jude's Episcopal Free Church and the Union Reformed Church. In 1893 it became the home of J.\&R. Lamb Studios. This firm was established in 1853 and stained glass, and later mosaics, marble, carved wood and metal pieces for churches, libraries, and private homes. In 1937 the former church was converted into the Art Deco Waverly Theatre by architect Harrison Wiseman. The Waverly was immortalized in a song in the musical Hair and hosted the original long-running midnight showings of the Rocky Horror Picture Show. Closed in 2001, the theatre reopened in 2005 as the IFC Center after another renovation, which added a new metal facade but retained the 150+-year-old gabled roof.

Greenwich Village has been the home of many women, whose actions have changed the fabric of New York and America.

Federal style townhouse at 41 Barrow Street, 1932. This brick house was one of seven built by the developer Charles Oakley between 1824-6. During the 19th century, it was home to Dr. Virgil Thompson and, later, Police Captain Ira S. Garland.

Washington Square Park ca. 1935 Washington Square, at the base of Fifth Avenue, emerged in the Victorian era as one of New York City's most fashionable neighborhoods. Projecting dignified calm and cosmopolitan charm, the square drew favorable comparisons to similar patrician precincts in nineteenth-century London and Paris. To Henry James, born on nearby Washington Place, Washington Square (where his grandmother lived) had "a riper, richer, more honorable look than any of the ramifications of the great longitudinal thoroughfare- the look of having something of a social history." Originally a marshland drained for use as a potter's field and public gallows in the later eighteenth century, Washington Square underwent its upscale metamorphosis in the mid-1820s, when the area was converted into a military parade ground and subsequently reconfigured as an eight-acre public park, complete with fountain and intersecting pedestrian paths. In 1837 New York University established its headquarters on the square's east border. Affluent downtowners soon gravitated to this newly developed section of Greenwich Village, moving into the stately Federal-style townhouses constructed at the park's perimeter. By the century's end, a monumental arch designed by Stanford White and built from Tuckahoe marble dominated the Northern edge of Washington Square. Largely financed by the well-heeled homeowners who lived on the square, this imposing structure replaced a temporary portal erected in 1889 to commemorate the centennial of George Washington's inauguration as the nations first president. By the 1890s, various economic and demographic changes had conspired to trigger the flight of upper-class families from Greenwich Village; much of the district's housing stock had grown dilapidated, real estate values and per capita income began to plummet, local church congregations started to migrate north, and slum tenements and drab factories were encroaching the side streets running east and south of Washington Square.

Carmine Street buildings slated for demolition ahead of the downtown extension of Sixth Avenue, July 30, 1926. Prior to the 1920s extension, Sixth Avenue terminated at Carmine Street. The extension and associated demolitions were undertaken for two purposes: facilitating construction of IND subway tracks and providing a connection for vehicular traffic to/from the Holland Tunnel, via Canal Street.

84 King Street, December 7, 1927. Built in the 1920s and replacing five old houses, no. 84 (at right) was constructed as a two-story parking garage. It functioned in that capacity for a number of decades. The address, though, is best known as the Paradise Garage, a night club opened between 1977 and 1987, whose patrons were predominantly African American gay men. The state-of-the-art sound system installed in the club was considered the best in New York at the time. The club was the base for DJ Larry Levan, a cult favorite who style and musical productions are considered the precursor of modern house music. The club was not open to the general public and they served no food or alcohol, meaning it was not limited to bar hours and often stayed open all night and into the next day. The club closed in September 1987, a few months before its owner, Michael Brody, died of complications from HIV/AIDS. Today the building is occupied by a Verizon Communications facility, though the club is still remembered and mourned by those who attended its infamous parties.

29 Washington Square West ca. 1930s During her time as First Lady, from 1933 to 1945, Eleanor Roosevelt changed the role from the passive hostess to active political leader and became an outspoken politician in her own right. She held press conferences on important issues such as women's rights and children's causes and led marches and protests. After the death of President Franklin Roosevelt in 1945, she resided here at 29 Washington Square West until 1949. She later became a U.S. delegate to the United Nations, chair of the UN Commission on Human Rights, and is widely regarded as one of the most renowned civil rights activists of the 20th Century.

Judson Memorial Church, 2000. Adoniram Judson was the first American Protestant foreign missionary. In 1888 his son, distinguished preacher and church leader Edward Judson, began the process to create a church in memorial to his father. Supported by a number of wealthy Northern Baptists, including John D. Rockefeller, Judson spared no expense in his plans for the church. He hired Standford White as architect, John LaFarge for the stained glass, and sculptor Augustus St. Gaudens. The resulting building, an eclectic Lombardo-Romanesque style church, was completed in 1893. The grand campanile, or bell tower, was completed in 1896. The church, nearly from its inception, has been engaged in social health and justice activities. In 1920 the Judson Health Center was established as a community healthcare facility. They opened the first drug-treatment clinic in Greenwich Village (1960-1962). Under the long leadership of pastor Howard Moody (1956-1990), the church became involved in arts, social justice, and anti-war movements. Art projects created include the Judson Dance Theatre and Art Gallery. They operated an abortion counseling and referral service before Roe v. Wade made abortion legal and a support group for those with HIV-AIDS and their caregivers in the 1980s, while many churches ignored the AIDS crisis. They were actively involved in local and national movements for civil rights, peace, women’s rights, and gay rights. Today the church remained active in the arts and is a leader of the leading role in the New Sanctuary Movement for immigrant rights.

Bertolotti's Restaurant, May 19, 1939. Though perhaps not apparent from this 1939 photograph, the building here at 85 West 3rd Street was constructed in the 1830s. In 1844 the writer Edgar Allan Poe moved into the building, then 85 Amity Street. Here he worked on “The Raven" and ''The Cask of Amontillado.'' He and his wife vacated the home in 1846 for a small cottage in the Bronx. Later tenants included actress Lillian Russell and, for nearly 70 years, an Italian restaurant called Bertolotti's. The small building survived most of the 20th century with NYU growing around it. In 2000 the school announced plans to demolish the building for an expanded law library and was met with vocal push back by preservationists, community members and scholars. Eventually NYU agreed to preserve the facade of the building. During construction of the new Furman Hall, the facade is moved down the block and reconstructed within the facade of the new building. Though it supposedly looks as it would have in 1845, preservationists have maintained that the changes of location and surroundings (it is no longer free-standing) and the new brick facade (the old bricks were not reused as planned) create something akin to a movie set, not a historic structure.

"Founded in 1890, Judson Church had served as a bridge between the upper classes on 5th Avenue and the impoverished Italian neighborhood below Washington Square. As many Italian families eventually moved to the suburbs, the congregation declined to fewer than 25 people by the 1950s. The church sought social relevance and hired ministers who were also artists to connect with the growing creative and intellectual communities in the Village. The idea was to open the sanctuary to bear witness rather than proselytize, and to embrace the 'free church' belief that the space of worship is not holy and need not be confined to traditional religious practices. The exhibition acknowledges Associate Minister Bud Scott‘s role in founding the Judson Gallery and Associate Minister Al Carmines’ vision for the Poets’ Theater. The theater was founded on two conditions: there would be no censorship and no requirement to produce religious dramas. However, the work of Reverend Howard Moody was also critical since he integrated activism into the church’s liturgy and mission and took up many of the social issues that the exhibition referenced, such as opening one of the first drug treatment facilities in the Village and an abortion referral service." For more on Judson Memorial Church, check out this article by Joanna Steinberg in Gotham: A Blog for Scholars of New York City History.

Bleecker Street Cinema, ca. 1977. Bleecker Street Cinema began its tenure at 144 Bleecker Street in 1962. Filmmaker and social activist Lionel Rogosin founded the space and opened the 200-seat theatre to present his 1959 film Come Back, Africa. A spot for art house, avant-garde, and foreign films the cinema closed in 1990. For less than a year the venue reopened and featured gay adult films, before a brief return to art films, and eventual closure in 1991. The theatre was an influential cultural venue for the independent film scene in New York. It was also a location for a number of more commercial movies including Desperately Seeking Susan and Woody Allen's Crimes and Misdemeanors. Today the building has been split again with no. 144 housing a pharmacy and no. 146 a stationary store.

276 Bleecker Street; February 2, 1937. Anchored by the famous Church of Our Lady of Pompeii, Bleecker Street stood in the center of Little Italy and was lined with food specialty stores. The Mandaro family, which owned this cheese store, made many of their own cheeses and imported others. Although Mandaro’s is gone, similar shops can still be found along Bleecker Street between Sixth and Seventh Avenues. The Mandaro storefront has been absorbed by the ever- expanding John’s Pizzeria, a neighborhood institution that opened in 1934.

Fifth Avenue Bus at Washington Square South and Thompson Street, October 21, 1936. Founded in 1885 as the Fifth Avenue Transportation Company, the horse-drawn omnibus line was established to hinder the installation of trolley tracks on fashionable Fifth Avenue. It was incorporated as The Fifth Avenue Coach Company in 1896. The Fifth Avenue vehicles went from horse-powered to gas-powered in 1907, and the company soon began manufacturing their own coaches, including those of the double-decker variety. In 1930, the Fifth Avenue Coach Company purchased 100 Yellow Coach “Z-type” double-decker buses. The bus in this image looks to be one of these coaches. The New York Transit Museum also has a 1930 coach in its historic fleet (its oldest bus rolling stock). The coach, affectionately nicknamed "Betsy," is featured during the Museum's annual Bus Fest.

The city's real estate has left us with some precarious addresses. Browse some of Manhattan's 1/2 Houses.

2-6 Minetta Street, November 21, 1935. Located above a small historic lower Manhattan waterway called Minetta Brook, Minetta Street has a long and diverse history. The stream was moved underground in the 1820s because it was impeding the development of the area. The crooked Minetta Street was originally a path along the brook, created by the “partially-freed” African American population that had settled nearby in the mid 17th century. In the late 19th and early 20th century the street was known for its seedy occupants, including prostitutes and saloons that catered to Irish gangsters. After a concerted effort by local police to clean up the area, by the 1920s, Minetta Street and Lane were the more quiet and quaint blocks they remain today.

Grand Central Hotel ca. 1870 On August 3rd in 1973, what was once one of the largest and most elegant hotels in the country collapsed onto Broadway, killing four and injuring many. The eight-story, 400-room Grand Central Hotel opened in 1870 and was built in the Second Empire style by architect Henry Engelbert for carpet manufacturer Elias S. Higgins. Located at 667-77 Broadway (near Bond Street, south of West 3rd Street), it was one of the largest hotels in the United States when it was built and was lavishly furnished. In the late 19th century, the hotel with its restaurants and grand spaces became a hub of New York society. As the 20th century progressed, the hotel’s name was changed to the Broadway Central, and its luster faded. By the 1960s and after changes in ownership, the building came to be used as a welfare hotel. Complaints from residents and neighbors about crime, drug use, and prostitution in the building, as well as deteriorating and unhygienic conditions, spurred the State to investigate and penalize the owners. Re-branded as The University Hotel by the early 1970s, the hotel attempted to salvage its image. But by the summer of 1973 bigger problems than image would reveal themselves. Residents reported to the City that cracks had formed throughout the hotel and several structural walls had begun bowing outward. Years of neglect and un-reported interior renovation work had taken its toll on the hundred year old structure. Early on August 3rd, hotel patrons began hearing what they described as “’bongs,’ ‘tings,’ and ‘groans,’ and other noises,” and seeing falling plasterwork throughout the building. By the late afternoon most of the over 300 hotel guests had evacuated, when at about 5:10 P.M. a huge section of the building abruptly collapsed, spilling a huge pile of rubble down on to Broadway. As firemen sifted through the rubble – more than twenty feet high in some places — four bodies were found. The remaining sections of the hotel were demolished and removed. Also lost on the Mercer Street side of the building were six popular off-Broadway theaters that composed the Mercer Arts center. Mercer Arts Center is featured on the HBO show Vinyl. The live theaters on the Mercer Street side were run by Sy and Cynthia Kaback. It was Steina and Woody Vasulka who rented the kitchen of the Center for shows starting on June 15, 1971 before moving to Wooster and Broome streets and finally locating The Kitchen to 512 West 19th Street, where it still is today. Housing for NYU Law School students was eventually built on the site and remains today.

Louisa May Alcott Residence ca. 1933 Though she is most associated with the city of Boston, abolitionist and feminist Louisa May Alcott stayed here at her uncle's house at 130-132 MacDougal Street for two years after the publication of her most famous work, Little Women. She was raised by transcendentalist parents Amos Bronson Alcott and Abigail May and grew up around intellectuals of the day such as Ralph Waldo Emerson, Nathaniel Hawthorne, and Henry David Thoreau. When she was young her family served as station masters on the Underground Railroad. She also read and was greatly influenced by the "Declaration of Sentiments", published by the Seneca Falls Convention on women's rights. As an adult, she wrote for the Atlantic Monthly and served as a nurse during the Civil War. It was her letters home-revised and published in the Boston anti-slavery paper Commonwealth and collected as 'Hospital Sketches'-that first brought her critical recognition for her observations and humor. She became even more successful with the publication of Little Women in 1868.

The Mad Hatter Tearoom ca. 1892 The one-story building at left has early LGBT history in its incarnation as the Mad Hatter, which was located in the basement from 1916 to c. 1930. The first tearoom in the Village, the Mad Hatter attracted a bohemian crowd (and a number of upper class “slummers” who came to watch them). Eliza Helen Criswell – who went by “Jimmie,” had short hair, and wore sandals, artsy smocks, and tailored suits and ties for formal events – owned the establishment with her partner Mathilda Spence for a number of years. Beginning in 1945, the ground floor space was the location of the Pony Stable Inn, a lesbian bar. Like other Greenwich Village lesbian bars of the 1940s-1960s, such as the Sea Colony and the Bagatelle, the Pony Stable Inn attracted mostly working-class white women who adhered to strict butch/femme gender roles \[for an explanation on butch/femme, see the entry on the Sea Colony]. Almost all gay bars of the time in New York City were run by the Mafia and frequently raided by the police. A McCarthy-era tactic of infiltrating gay spaces with informants was also common, making women reluctant to talk to those they did not know for fear of police entrapment. As Lee Zevy (who would later co-found Identity House NYC) described of her first visit to the Pony Stable Inn with a few more experienced friends, “Nobody talked to anybody because everybody was deeply, deeply in the closet, even at the bar.” Acclaimed black lesbian feminist, writer, and activist Audre Lorde wrote of the reluctance to speak with anyone at a lesbian bar at the time for fear of coming across a plainclothes policewoman: “There were always rumors of plainclothes women circulating among us, looking for gay girls with fewer than three pieces of female attire. That was enough to get you arrested for transvestism, which was illegal.”

Alexander Lyman Holley Statue, ca. 1900. Sculpted by John Quincy Adams Ward in collaboration with Thomas Hastings, this bronze bust casted and dedicated in 1889 commemorates one of the founding fathers of engineering and industry. Sitting atop an Indiana limestone pedestal in a park replete with a grand arch, fountain, dog park, and chess tables, funds from the Society of Mechanical Engineers and Save American Treasures allowed the MAS Adopt-A-Monument program to restore this sculpture in 1999.

205 Bleecker Street as viewed from Hancock Street, a now de-mapped road in Greenwich Village. The street disappeared not long after this photograph was taken, swallowed up by the creation of Sixth Avenue South.

59 (right) and 60 (left) Washington Square South are the two four-story homes next to the wood-frame corner structure. When writer Willa Cather moved to New York in 1906 she lived in a studio in no. 60.

“If you’ve never heard of Pfaff’s saloon, or its coterie of Bohemian artists, that’s not surprising. More than 150 years have elapsed since this scene’s heyday, and time moves in mysterious — sometimes heedless — ways. History is not a meritocracy... To be precise, Pfaff’s (pronounced fafs) was beneath where the shoe store is now. It was an underground saloon in every sense of the word. There’s still a hatchway in the Broadway sidewalk, just as there was in the nineteenth century. It provides entry into the store’s basement, a long, narrow space, lit by electric bulbs and piled high with boxes of shoes. During the 1850s, it was dim, gaslit, and packed with artists. Pfaff’s saloon was the site of an incredibly important cultural movement, the meeting place of America’s first Bohemians. Their leader, Henry Clapp Jr., was editor of the hugely influential Saturday Press. Clapp deserves credit as the person who brought Bohemianism to America, both the word and the way of life. He was joined by a struggling experimental poet, well into middle age, yet still living at home in Brooklyn with his mother, Walt Whitman.” For more on Pfaff's, check out this exclusive by Justin Martin in Gotham: A Blog for Scholars of New York City History.

Theater, performance spaces, and the arts have always been an important part of the Village, East Village, and NoHo’s cultural heritage and built environment.

San Remo Cafe, 1937. The San Remo was a cafe and bar which opened in 1925 and closed in 1967. In the 1950s it became a popular haunt for literary and artistic notables of the Beat and Bohemian generation. Regulars included Gore Vidal, William S. Burroughs, Jack Kerouac, Dylan Thomas, Miles Davis, Jackson Pollack, James Baldwin, and Allen Ginsberg. A later account of the Cafe said this, “With its pressed-tin ceiling, black-and-white tile floors and dollar salads with all the bread and butter you could eat, the San Remo attracted a younger, hipper crowd more into experimenting with drugs than The White Horse’s habituées,” The bar and its patrons are described in a number of literary works authored by those who hung out there, including Jack Kerouac's 'The Subterraneans.'

Our Lady of Pompeii Church ca. 1928 On March 7th, 1898, Our Lady of Pompeii Church was incorporated as a separate parish. This South Village icon has been serving the neighborhood since 1926, but Our Lady of Pompeii has been a part of the Village since 1892. The Our Lady of Pompeii church that stands today was designed by architect Matthew W. Del Gaudio and constructed between 1926 and 1928. But the parish had several prior homes. In 1890, it began in a building located at 113 Waverly Place, as part of the Saint Raphael Society for the Protection of Italian Immigrants, under the leadership of Father Pietro Bandini. Father Bandini named his chapel there “Our Lady of Pompeii.” He worked to help the many Italian immigrants adjust to their new lives in America. By 1895, the Society moved to 214 Sullivan Street, but fire forced them out and they moved to an existing church at 210 Bleecker Street. This church was originally built in 1836 for the Unitarian Universalists, but was sold to the African American Roman Catholic congregation of Saint Benedict the Moor in 1883. There had been a significant African-American population in the area around Minetta Street, but as the century was coming to a close, they began moving further uptown, and Our Lady of Pompeii parish acquired the property and moved in on May 8, 1898 under the leadership of Father Antonio Demo (the square adjacent to the church now bears his name).

75-1/2 Bedford Street, July 1948. With a facade of only nine and a half feet wide, 75 1/2 Bedford Street is the narrowest house in New York City. The interior space is even cozier, at its widest, 8 feet 7 inches, and at its narrowest, only 2 feet. Some sources suggest it was constructed in 1873 on what was a former carriage entranceway, while others believe the narrow home dates to earlier in the century. In the late 19th century the building was home to a cobbler's shop and candy factory. In 1923 the building was leased (with its surrounding neighbors) by a group of artists and actors, who established the Cherry Lane Theatre around the corner. Poet and playwright Edna St. Vincent Millay and her husband moved into the building in 1923 and only stayed a year. During their tenure, the building, which was constructed in a typical Italianate style with a cornice at the top, was renovated. Architect Ferdinand Savignano installed a skylight and made the top floor a studio for Millay. The original cornice was removed, and a small Dutch stepped gable was added (possibly as a reflection of the Dutch heritage of Millay's husband). According to numerous accounts, the house also was the residence (however briefly) to cartoonist William Steig, his sister-in-law anthropologist Margaret Mead, and actors John Barrymore and Cary Grant. The building was purchased in 1952 by a Greenwich Village local (saving it from redevelopment) and sold and renovated a number of times since the mid-1990s. It was sold in 2013 for $3.25 million.

17 Commerce Street, July 1967.

St. Joseph's Roman Catholic Church ca. 1932 Even before the Irish potato famine of 1845, waves of Irish immigrants began to enter New York City. St. Joseph’s parish (now called the University Parish of St. Joseph’s), located on Sixth Avenue between Waverly and Washington Places, just west of Washington Square Park, was formed in 1829. Its founding is credited to the first Irish who settled in Greenwich Village, those who came to serve as domestic servants or to work on the construction of buildings when the Village’s population swelled due to outbreaks of yellow fever and cholera that beset the core city in 1799, 1803, 1805, and 1821. The parish originally served an area from Canal Street to 20th Street and was the sixth Catholic parish established in New York City. The cornerstone of the Church was laid on June 10, 1833, and despite several extensive renovations, the church that stands now is still the original.

Sixth Avenue El over West Broadway at West Third Street, ca. 1938. This view is looking south on West Broadway, from near Washington Square Park. The photo was likely taken shortly before Sixth Avenue El service was discontinued in December, 1938. Few elements of this street scene remain: The elevated tracks were dismantled shortly thereafter; the Open Door (left) at No. 567 West Broadway has been replaced by the Elmer Holmes Bobst Library; No. 562 (upper right) has been replaced by new, low-rise construction. Even the street names have changed: West Broadway is now LaGuardia Place, above Houston Street.

When searching through the chronicles of Greenwich Village history, some things almost seem too Village-y to be true, with all their quirky details and theatrical anecdotes. A prime example: The Pepper Pot Inn at 146 West 4th Street, a 1920s multi-level restaurant that became a sensation. Purchased in 1918 by Carlyle “Doc” Sherlock and his wife Viola, this spot came into being as the neighborhood surrounding Washington Square Park transitioned from affluent enclave to working-class territory and artists’ haven. Doc and Viola themselves tried to make it as actors on the big screen, but they soon left that world to become the owners of “the most popular eating place in the Village and a nation-wide destination.” The basement level of 146 West 4th served as the bustling restaurant of The Pepper Pot, where customers could enjoy a variety of cuisines, followed by Viola Sherlock’s own homemade desserts. Strings of peppers and paper lanterns decorated the ceiling, while the tables displayed enormous candles made of the wax drippings of all the candles that had sat there before. Artists seated at the table would carve figures into these mounds of wax, and the light from these candles illuminated the dark basement room. Home › South Village › The Pepper Pot Inn, “The Realest Thing in Bohemian Atmosphere” The Pepper Pot Inn, “The Realest Thing in Bohemian Atmosphere” A view down West 4th Street with The Pepper Pot's big vertical sign and ads on neighboring buildings. Via http://daytoninmanhattan.blogspot.com. The Pepper Pot Inn, “The Realest Thing in Bohemian Atmosphere” Laura FleischmannLaura FleischmannPosted on August 2, 2019 Posted in South Village, Uncategorized — 4 Comments ↓ When searching through the chronicles of Greenwich Village history, some things almost seem too Village-y to be true, with all their quirky details and theatrical anecdotes. A prime example: The Pepper Pot Inn at 146 West 4th Street, a 1920s multi-level restaurant that became a sensation. Purchased in 1918 by Carlyle “Doc” Sherlock and his wife Viola, this spot came into being as the neighborhood surrounding Washington Square Park transitioned from affluent enclave to working-class territory and artists’ haven. Doc and Viola themselves tried to make it as actors on the big screen, but they soon left that world to become the owners of “the most popular eating place in the Village and a nation-wide destination.” A view down West 4th Street east from 6th Avenue with The Pepper Pot’s big vertical sign and ads on neighboring buildings. Via http://daytoninmanhattan.blogspot.com. Lanterns, Candles, and Chili Peppers The basement level of 146 West 4th served as the bustling restaurant of The Pepper Pot, where customers could enjoy a variety of cuisines, followed by Viola Sherlock’s own homemade desserts. Strings of peppers and paper lanterns decorated the ceiling, while the tables displayed enormous candles made of the wax drippings of all the candles that had sat there before. Artists seated at the table would carve figures into these mounds of wax, and the light from these candles illuminated the dark basement room. On the parlor and second floors of this 1828 house, guests could dance and enjoy music. An image of the dance floor also appears to show a ceiling of greenery and more lanterns, with beautiful sunlight coming in from a tall window. Then above this was the Bridge Room, where Carlyle and Viola’s “friends of the motion picture, theatrical, bridge and chess world” could play and watch “exhibitions” of expert players. As The Pepper Pot continued to flourish through the Roaring ‘20s, it became a popular spot for a new wave the neighbors didn’t care for – jazz! As Daytonian in Manhattan describes, “In the days before air conditioning open windows let in the night breezes but also let out the blaring music.” As a result, the Sherlocks’ landlady across the street, Mrs. Creveling, and her neighbor stopped by Jefferson Market Court to file a complaint. The landlady told the magistrate of “those funny ditties that they play” and the liquor continuing to flow despite prohibition. Dr. Sherlock arrived in court on February 17, 1921 ready to fight this case. But according to the New York Times from the following day, he “waited in vain for the complaintants.” And so, the music and enjoyment continued at The Pepper Pot. A year later The Evening World newspaper described the place as still “extremely Greenwich Village – with an automatic piano in the candle-lit basement and a group of furious jazzers two floors above.” A few years later, Carlyle and Viola moved to their country home and another person managed the place, which by this time had expanded to include Nos. 148 and 150. Newspaper reviews continued to paint a picture of a funky hangout, complete with a fortuneteller, tap dancing, singing, dim lights, and neighborhood celebrities “of whom there have been many in the proud Pepper Pot past.” The good times k...

John Althouse warehouses, Greene Street, March 28, 1947. A six-story brick and cast iron warehouse completed in 1884 for John Althouse, on the site of the Althouse Iron Works, an 1850s-era foundry. During the Civil War, the Althouse property served as a barracks for the 40th New York Volunteers. The warehouse was designed by William Ewan Worthen, who built an adjacent storage property at No. 146 Greene Street for Althouse in 1877.

Washington Square Park ca. 1908 Originally a potter's field and gallows, Washington Square was later reclaimed as a parade ground and then converted to a park. During the second quarter of the nineteenth century Georgian houses lined the park's periphery, several examples of which still stand on Washington Square North. By the early twentieth century, boarding houses appeared on the south side of the park, attracting many artists as tenants.

85 Sullivan Street ca. 1937 83 and 85 Sullivan Street are two of the district’s individually landmarked properties, both of which obtained landmark designation in 1973. The buildings were originally built in 1819, rebuilt in 1825, and modified 50 years later. As we previoulsy noted: “83 & 85 Sullivan Street were built as part of the very first stage of urban settlement of this part of town, even before the particularly virulent yellow fever and cholera epidemics of 1822 famously sent New Yorkers permanently packing from their downtown homes to the more salubrious, rural climes of Greenwich Village to the north of the City.” As the 1973 designation reports describe, the area on which these properties are located was originally part of the Bayard Farm. The first Nicholas Bayard was Peter Stuyvesant’s brother-in-law. A later Nicholas Bayard conveyed the property to Daniel Ludlow and Brockholst Livinsgton in 1789. They, in turn, sold it to Aaron Burr in 1791, who acquired a portion of the Bayard Farm contiguous to his estate “Richmond Hill”, which stood west of Sixth Avenue. Burr subdivided his property, and when he sold these lots to Anthony Bowrosan in 1802, they were on what Burr called Locust Street. Bowrosan, who operated a tavern and garden at Richmond Hill, sold the lots in 1807 to carpenters. The 83 Sullivan lot was sold to carpenter David Mulford, who first built the rear house on this lot in 1810, with 83 Sullivan being erected as a 2.5 story federal style home in 1819. 85 Sullivan was sold to carpenter Drake Crane, who first built the rear house on this lot in 1810, with 85 Sullivan being erected as a 2.5 story federal style home in 1819. Both original homes were destroyed in a fire, and rebuilt in 1825. Both homes were renovated to add a full third story, 83 Sullivan in 1880 and 85 Sullivan in 1874. The properties have remained basically the same since then. They both still have their original Federal style doorways and leaded transoms, noted by the designation reports as “unusually fine”, “Elegant and understated, they typify the architecture of good breeding”, and are among the earliest surviving Federal Style doorways in the city. The low stoops with wrought-iron railings, Flemish brickwork, and multi-paned wooden sash windows are also original.

My Archive Spring 2019 "This photo was taken in 1981. The gentleman on the right end is my grandfather, Paolo Anfosso, with his retired neighborhood cronies. They gathered most days in Minetta Triangle or Fr. Demo Square. He and my grandmother, Yolanda, were fixtures in what was then the very Italian Greenwich Village. They lived at 259 Bleecker Street above Zito's Bakery for over 70 years. Paolo was a chef in Jersey City who spoke mostly Italian. Yolanda was a kindergarten teacher first at the Children's Aid Society then, St. Anthony's on Sullivan St. The 3rd gentleman from the right was his good friend also named Paul. The story goes, someone saw them all gathered one day and stopped to ask if they would have their picture taken. To us, this has become a family classic moment in time." —Jean Gross

While it may look like the fountain has been standing since the park’s construction in 1852, the structure we see today was actually the product of a 2007 renovation. This renovation, spanning four years, reoriented the location of the fountain to properly align with the archway (designed by Stanford White), creating one of those picture-perfect NYC views down Fifth Avenue. However, the plan was not widely accepted by the community. Prior to construction, there were several lawsuits filed against the city to block the project from taking place. Ultimately the city won, and the final phase of the project was completed in 2011

Doorway of 61 Washington Square South, March 1945. Referred to as the “House of Genius,” the rowhouse at 61 Washington Square South was so named for the creative and bohemian writers, musicians, and artists that lived in the boarding house there. Madame Blanchard, a Swiss immigrant, began leasing the home in 1886. She converted the single-family home into a rooming house that only rented to creative types. Considered a cultural landmark, residents included writers Stephen Crane, O. Henry, and opera singer Adelina Patti. The four-story red brick rowhouse, which had been constructed in the early to mid 19th century, was one of a row of similar buildings between West Broadway and Thompson Street, which all occupied a role as literary and artistic residences. In 1937 Madame Blanchard, the house matron died. In the 1940s, no. 61 and its neighbors were purchased by developer Anthony Campagna, who planned to demolish the row for a new apartment complex. In response to this plan, the neighbors and artists pushed back, establishing the Committee for the Washington Square Living Art Center. They hoped to retain the structures for a live and work art space. Despite their efforts, the residents were evicted and the buildings were razed in 1948. The developer did not construct the planned apartment house and instead sold the land to NYU, which built a student center. This failed preservation battle is considered the impetus for passionate preservation efforts by the neighborhood and the eventual designation of the Greenwich Village Historic District in 1969.

Above the display windows of Crate & Barrel, and the crowded Broadway and Houston Street sidewalks is a facade of uniquely decorative flourishes that hint at a time of transition for New York’s infrastructure. This building is a massive structure and was included within the boundaries of the NoHo Historic District. Two sculptures of classically-garbed women stand astride a massive circular window, sitting atop a pediment that reads ‘The Cable Building.’ The ‘cable’ in the building’s name refers not the kind of cable that transmits telegraph, telephone, or television, but the kind that pulls cable cars. Built from 1892 to 1894 by the Broadway & Seventh Avenue Railroad Company (later the Metropolitan Traction Company), the building was a unique example of a multi-use structure. It housed in its lower floors the machinery needed to propel much of the Broadway cable car system, with a large office building above. Four 32-foot wheels kept the network of cables in motion for as many as sixty cable cars traveling up and down Broadway from the Battery to Midtown (the cars moved by clamping on to the moving cable embedded in the street). The building was built with a steel and iron frame, with terra cotta and stone facing by the noted firm of McKim, Mead, and White. The New York Times noted “Although the large windows clearly denote a commercial space, the delicate terra cotta, light orange brick and elaborate copper cornice are characteristic of more monumental design. The sculptor J. Massey Rhind designed two colossal female figures flanking the doorway — commissioned sculpture is also unusual on commercial buildings. The Real Estate Record and Guide called the new Cable Building ”the highest achievement of the art” and remarked that, with its example, ‘no excuse remains for building cheaply or meanly on any New York City property.’” As the prediction of the demise of ‘cheaply’ or ‘meanly’ made buildings didn’t quite pan out, neither did the Metropolitan Traction Company’s hopes for business success. Less than a decade after the building and its massive steam-powered cable moving machinery were constructed, electric technology made it obsolete. In May of 1901, the final cable car trundled down Broadway and the line was electrified. A few years later in 1904, the subway system would begin opening and connecting the city. The building would stand to see the significant widening of Houston Street in the 1930s and housed many small-scale manufacturers and offices, including businesses like National Pants, Hercules Shoe Lace and the Doll Parts Manufacturing Association. By the mid-1980s after changes in ownership, the building was largely converted back to office use, and in 1989, the Angelika Film Center opened on the southwest side of the building, occupying much of the space that previously housed the cable car machinery.

Longo Sanitary Bakery, ca. 1935.

The Village Gate, 158 Bleecker Street, on the ground floor and basement of the Atrium building, ca. 1975. Designed by Ernest Flagg, Mills House No. 1 (today called the Atrium Building) was completed in 1897. The building was the brainchild of Darius Ogden Mills. His idea was to develop clean, "healthful" hotels which would allow struggling men to get a leg up. Between 1897 and 1904 he built three single-room-occupancy hotels as alternatives to slum housing. The Mills House No. 1 was the largest. While the rooms were tiny by any standards, only five by seven feet, each one looked out onto either the street or one of two 50 by 50-foot courtyards. According to the New York Times, "each room had an iron bedstead, a hair mattress and pillow, a feather pillow, a chair and a clothes rack; there was no room for anything else. The walls stopped about a foot short of the ceilings, apparently to assure good ventilation." A stay here cost 20 cents a night. In the 1970's the building was reconfigured into regular apartments, although the airy courtyards, glass skylights, and most of Flagg's exterior survive. Between 1958 and 1996, the Village Gate, a nightclub, occupied the first floor and basement of the building at the corner of Thompson and Bleecker Streets.

Spring Street facade of 150 Varick Street, through the plots at 14-37 Dominick Street, ca. 1935.

Opened in 1992 and closed in 2001, the Guggenheim Soho was designed by Arata Isozaki. The museum's attendance never quite matched the 250,000 expected annual visitors and its costs eventually caused its closure.

Spring Street Presbyterian Church ca. 1927 Now the site of a hotel, the Spring Street Presbyterian Church was founded in 1809 and the original building was completed in 1811. It was known for its strong abolitionist stance. The church had a multiracial Sunday school and admitted African-Americans to full communion. Their stance was met with backlash, however, and was burned down twice by the 1830s. In June of 1836, a new brick structure was opened on the site. The Presbytery closed the church in 1963 and in 1966 the building was destroyed by a fire. The site was excavated in 2006 in the process of being cleared for the new Trump SoHo condo hotel, and the church’s former cemetery was uncovered.

Fugazzi's Bar and Grill, ca. 1940. Formerly a fish market, the all-night cafeteria is famously mentioned in Allen Ginsberg epic poem, Howl. Supposedly, Ginsberg worked as a custodian at the bar.

No. 142 Greene Street, ca. 1978. This cast iron-fronted commercial building was designed by German-born architect Henry Fernbach and completed in 1871. A century later, as Soho became the focus of the city's contemporary art scene, the building became home to a series of blue chip galleries, including Leo Castelli, Pace, and Sperone Westwater.

The former Mad Hatter tearoom, 150 West Fourth Street, 1932. The wood-framed, brick-fronted building at 150 West Fourth Street dates to the early 1800s, but became a Greenwich Village fixture in 1916 when the sculptor Edith Unger opened the Mad Hatter tearoom in its basement. The Mad Hatter claimed to be the first tearoom in Greenwich Village, a hangout for the neighborhood’s so-called Bohemian types: artists, writers, performers, and hangers on. As curiosity about the Bohemian lifestyle became fashionable, the Mad Hatter became a popular downtown destination. However, the tearoom’s popularity was to be short lived: by the time of Charles Von Urban’s 1932 photograph, the basement-level entrance had been sealed, though the “Mad Hatter” lettering is still visible, just above the sidewalk.

Zito's Bakery, 259 Bleecker Street. Taken February 3, 1937. The day after photographing Mandaro’s Cheese Store, Abbott returned to Bleecker Street to make its counterpart, Bread Store, owned by Anthony Zito. Zito’s was the older and larger of the two family businesses: Mandaro had been in the neighborhood for 15 years and Zito for more than 30; Mandaro’s business was primarily retail, while Zito supplied restaurants and groceries throughout the City; Mandaro’s business was valued at $5,000, and Zito’s at $12,000. The narrow, crowded Bleecker Street sidewalk afforded Abbott little flexibility in composing these storefront photographs. The intricate geometry of Bread Store — the fancifully shaped breads, the “five-cent” signs, the basement entryway, the large wicker baskets, the white brickwork, and the complicated reflections from across the street — make this one of Abbott’s most memorable photographs. In a variant, a young man’s head and shoulders rising from the basement lends the work a surrealist touch. Abbott preferred the version which, like many of Atget’s Parisian storefronts, shows a shopkeeper looking out at the photographer. Zito’s still operates at 259 Bleecker Street, run by Anthony’s son Charles and grandson Charles, Jr.

Mercer Hotel, ca. 1975. Commissioned by John Jacob Astor III for his office and business, the Romanesque Revival structure was completed in 1888 to the plans of architects William Schickel and Isaac E. Ditmars. Owing to its wealthy patron, the Astor Building was considerably more ornate than its industrial neighbors. This building is perhaps best known for its more recent history; in 1997 hotelier André Balazs opened the Mercer Hotel, a luxury boutique hotel of 75 rooms.

Judson Memorial Church ca. 1935 When McKim, Mead & White brought a note of gaiety to a drab city of brownstones with Madison Square Garden, they introduced the best of the Italian Renaissance to New York. It was followed by an ever increasing series of handsome buildings and churches, of which this group with its campanile is one of the finest.

Washington Square Arch ca. 1925 Originally erected in staff and plaster by Stanford White in celebration of the hundredth anniversary of Washington's inauguration as President, the arch found such popular favor that it was rebuilt in permanent materials. Statues of Washington in war and peace face northward up the Avenue, and it is interesting to note the freedom in design of the panels behind them relative to the otherwise Classical design.

Since its very beginnings, Greenwich Village has been a breeding ground for artistic free expression. Nowhere is this more evident than its historic theaters.

While their significance is often underestimated or dismissed by heterosexual society, bars and other establishments played a pivotal role throughout the 20th century — but particularly in the pre-Stonewall era — as centers for LGBT activism and community. These spaces, whether always gay friendly or only during certain times of the day or week, gave LGBT people the freedom to be themselves in a way they usually could not be in their personal or professional lives. This curated collection largely reflects the bar and nightlife scene of downtown Manhattan; as we research more sites we encourage you to reach out to us with suggestions in upper Manhattan and the outer boroughs.

127, 129, 131 MacDougal Street Houses ARCHITECT: Unknown DATE: 1828-29 STYLE: Federal These three buildings were constructed in the Federal style, characterized by its 2-1/2-story height, Flemish bond brickwork, low stoop with wrought-ironwork, entrance with Ionic columns, entablature and transom, molded lintels with end blocks, peaked roof, molded cornice, and pedimented double dormers.

82 Washington Place, ca. 1975. Rendered in a French Beaux-Arts style, this six-story apartment building was completed in 1903 by architects Horenburger & Straub. Famous residents have included author Willa Cather and urbanist and Robert Moses adversary Jane Jacobs.

Judson Memorial Church was named by founder Rev. Edward Judson for his father, Rev. Adoniram Judson,the first American Protestant "foreign missionary," who went to Burma in 1812 and died at sea on the way home with no other memorial.

Wm. Grotecloss photography studio, No. 227 Bleecker Street, circa 1860. This frame building stood at the corner of Bleecker and Carmine Streets, approximately at the location of present-day Father Demo Square.

Washington Square Arch Wrapped, 1980. In 1980 artist Francis Hines wrapped the Arch in 8,000 yards of polyester netting. Using rope and fabrics and metal and mechanical devices, Hines' work often included covering large objects, similar to artists Christo and Jean-Claude. Described as “a giant bandage for a wounded Monument,” the work stayed up for six days and aimed to call attention to and raise funds for park improvements.

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This is the location that the Fire Patrol moved to when it vacated 31 Great Jones Street. This new location is the 5th and last built for the Patrol. Constructed in 1907 and designed by architect Franklin Baylies, it has an immediately recognizable classic-firehouse look. The Patrol stayed in that building for almost a hundred years, saving damaged goods and chugging along as the only insurance supported salvage company. The Fire Patrol was suddenly disbanded in 2006 and the building put up for sale, sparking Village Preservation to seek to landmark it as quickly as possible. In 2010 news anchor Anderson Cooper bought the building, but lucky for us, he kept the character of it intact while renovating it to fit the needs of a private residence

Caffe Reggio, date unknown. This South Village mainstay opened in 1927 and its original owner, Domenico Parisi, spent his life savings of $1,000 to purchase their 1902 espresso machine. They claim to be the first coffee shop in the United States to serve Italian Cappuccino. According to a 1945 New York Herald Tribune article, "Dominic's Espresso machine is a shining Gargantua equipped with many spigots, filled with hot water and steam, which makes a cup of coffee in just about three seconds... A visit to the Caffe Reggio is an experience worth having." This spot was also one of the many locations in Greenwich Village where a young Bob Dylan played in the 1960s.

My Archive Spring 2019 "This is a family photograph of my grandfather, Andrew Bambace who was born in Calabria, Italy in 1900. He immigrated to America in 1920. Our family comes from a region rich in agriculture, so fruits and vegetables is what he knew. He literally built a push cart out of discarded wood and sold apples and oranges. He would push from West 4th Street to 34th Street. Then the great depression came, and he had to abandon his cart. He then roasted chestnuts on a corner of 34th Street. It became increasingly difficult to survive, but he managed to save for ship passage and in 1928 he returned to Italy, discouraged but not about to give up on his American dream. He married in 1931, sold a small piece of land and in 1934 he came back to New York and opened this store in the photograph at 10 Cornelia Street (between Bleecker and West 4th Street). “Nonno” lived right up the street in a 6th-floor walk-up, 165 West 4th Street." "That little fruit and vegetable store was patronized by many locals and some of them were the young, struggling writers, artists and actors of the day. My mother helped out in the store and she would tell us about these “regulars.” Eva Marie Saint and her then-boyfriend Jeff, (who she eventually married), Robert Culp and James Broderick. Also, the actor Dean Jagger (who played the General in the film “White Christmas”) were “Nonno’s customers”. My mother was very artistic and sometimes she would hang her paintings and drawings in the store. Dean Jagger bought one of them. They all shopped at Nonno’s because he always carried the best vegetables and fruit. When they asked him where did he get such fine quality produce, he would answer “I grow everything on my roof and window sill” and they believed him!" "Greenwich Village was populated with many Italian immigrants, and the narrow Village streets were bustling with Italian shops, my grandfather’s being one of them. He wanted to expand to a larger location on 8th Street, but he did not have enough money, (he continued to support his many siblings in Calabria who were impoverished and broken by the war). The 8th Street property was bought by his competitor, Mr. Balducci. My grandfather’s little store closed in 1963 after one of his daughters died suddenly, and then his health deteriorated. Growing up, I have fond memories of walking up Sixth Avenue with my Grandfather. He would hold my hand and as we made our way past 14th Street he would recount his many journeys on foot all the way uptown to meticulously choose his produce. I also vividly recall the aroma of the potted basil plants facing the sun on his kitchen windowsill on West 4th Street. Grandfather’s store never had an official name, but everyone in Greenwich Village knew where to go for the best produce and lively conversation with a charming, beloved shop keeper named Andrew." —Mary Lofaro

289 Bleecker Street, ca. 1979.

Washington Square Arch, ca. 1961. Clipping on the back of the photograph is entitled, "Guarding Washington Square Fountain Yesterday." The caption reads: "Police surround fountain in Washington Square to prevent troubadours from singing.

Longo Sanitary Bakery, 1937. This Bleecker Street bakery dates to 1905 when an Italian baker purchased the building at no. 201 for $5,000. The ground floor shop was opened by 1907 selling baked goods and items that the Italian immigrants were accustomed to buying, including espresso beans, dried mushrooms, and spices. According to the grandson of the original owner, the large bread baking ovens were also used by neighbors to cook items that did not fit in their smaller home appliances. The current owner's father learned the business of coffee after the long hours required for baking became too much. He purchased Porto Rico Coffee Importers and moved it from no. 195 to this storefront. Today the coffee store remains and is still owned and run by the Longo family.

Men playing bocce in James J. Walker Park near Hudson and Leroy Streets, ca. 1950. The park is named for the colorful and corrupt Mayor Jimmy Walker, who held office between 1926-1932. The park was still known as St. John's Cemetery when Walker's family moved into a townhouse on Leroy Street (also known as St. Luke's Place). In 1895, the land was acquired by the city and converted for recreation. After Walker's death in 1946, the park was re-named in his honor. Across Hudson Street, behind the bocce players, is the Printing House, a 1911 structure build for the Schweinler Press. At the time, the Hudson Square neighborhood was a hub of the city's printing trade. Today, those businesses have been replaced by contemporary media and publishing companies. The Printing House was converted to condos in the early 2000s and is today creatively marketed as..."The Printing House."

Cafe Wha? ca. 1933. The cafe and theater has a rich history. Built in 1907, it is one of the oldest Off-Broadway venues still in operation. It was originally used to house horses but was converted into a theater in the 1958. The Players Theatre contains a main stage with more than 200 seats and a 50-seat black box theatre as well as four rehearsal rooms. According to the South Village Historic District Designation Report, “Gene Frankel directed and held theatre workshops at the Players Theater from 1959 to at least 1968. The Café Wha? has occupied part of the building since the 1950s except for a period when it was replaced by the Café Feenjon. Bob Dylan, Peter, Paul & Mary, Jimi Hendrix, Janis Joplin, Bruce Springsteen, Richard Pryor, and Bill Cosby are among the performers who played the Café Wha?” Players Theatre has hosted a large number of off-Broadway productions since opening its doors. Most notably in the early 1990s, Natalie Portman starred in the musical Ruthless, in which Britney Spears also participated as an understudy. An archive of every production at the theater can be found here.

Washington Square Arch with No. 1 Fifth Avenue behind. March 3, 1929. The Washington Square Arch, a Tuckahoe marble triumphal arch designed by Stanford White, commemorates the centennial of George Washington’s inauguration as President. William Rhinelander Stewart, a Washington Square resident, had erected a wood and plaster arch in 1889. After Stewart’s temporary tribute proved popular, White was commissioned to design a permanent monument, which was completed in 1892. The arch includes a little-used 102-step spiral staircase inside its western end, leading to an skylit attic room and rooftop.

659 Broadway, ca. 1980. No. 657-659 was built in the late 1860s, to designs by architect Griffith Thomas. Like other buildings along this stretch of Broadway — many of which are also attributed to Thomas — No. 657-659's large block-through lofts were used by manufacturing companies, before conversion to residential in the latter 20th century. While a fire in February 1979 caused extensive damage to Nos. 643-655 to the south, this building was relatively unscathed.

Washington Square Arch with 2 Fifth Avenue (left) and 1 Fifth Avenue (right) visible in the background, ca. 1955.

Provincetown Playhouse, December 29, 1936. The Provincetown Players were began as a casual performance event put on by a group of writers and friends in the bohemian summer spot of Provincetown, Massachusetts. After two seasons in New England, the group officially organized and moved to New York City to present a season of theatre. They originally performed in a space in 139 MacDougal Street. In 1918 the group converted a former bottling plant into a theatre, known from then on as the Provincetown Playhouse. The original players included Eugene O’Neill, Edna St. Vincent Millay and Djuna Barnes. After the 1923 season, the Players formally disbanded, though there were a number of related associates who attempted to produce work under the name through the 1920s. The building that once housed the theatre was purchased by NYU and in 2008 they attempted to demolish the building for a new law school facility. After much community push back, they agreed to preserve the facade and a small section of the interior theatre walls (though a local preservation group has accused the school was breaking this agreement in regard to the interior features).

Paradise Garage was a semi-underground club focused solely on music and dance. Unlike many other clubs at the time, it was membership only – not open to the general public. Moreover, it did not discriminate among its membership based on race, class, or sexual identity. Sole proprietor Michael Brody, with financial backing from former boyfriend Mel Cheren, opened the club in 1977 as the 84 King Street Garage with a series of “construction” parties as the renovations continued for a year. DJ Larry Levan (born Lawrence Philpot) worked with Richard Long of Richard Long & Associates to develop, design, and assemble the award-winning sound system that was considered the best in New York. It officially opened as the Paradise Garage on January 28, 1978. Only open on weekends, patrons entered the club through a first-floor garage door entrance and walked up a long ramp to the second floor. The 10,000-square-foot space was divided into a 5,000-square-foot dance floor, which could accommodate 2,000 people, and a 2,000-square-foot lounge. The club served no alcohol – or food – allowing it to stay open after bar hours, often until noon the next morning. Levan chose records that sustained all-night dance marathons and changed the sound of dance music. Songs he played soon showed up on the radio and were featured at New York’s Vinylmania Records. His musical influence spread to dance clubs across the United States and Europe, and is recognized as a precursor to house music. The building was demolished in 2018.

Giuseppe Garibaldi monument, Washington Square Park, ca. 1975.

Washington Square Park, April 16, 1936. What today might be a scene of benches covered in lodging students, a dog park, and buskers trying to make a dime, was once a potters field. In 1797, New York City bought a plot of land that had once been a farm to create a potter’s field—a burial ground for the indigent, poor, criminals, and victims of epidemic. Occupying what is now the eastern two-thirds of the park, the burial grounds remained open for more than 30 years. The area also hosted a hangman's gallows used by a nearby prison. By the 1810s the potter's field had largely been filled to its capacity (unsurprising with yellow fever epidemics in 1797, 1798, 1801, and 1803). Burial spaces for the Cedar Street and Pearl Street Presbyterian churches were also located nearby in the early 19th century. In 1827 the area was declared a public square and over the next century became the park as we know it today.

120 West 3rd Street African Free School No. 3, 120 West 3rd Street (formerly 120 Amity Street): This is the former location of African Free School No. 3, one of seven schools dedicated to the education of the children of free and enslaved blacks in the late 18th and early 19th centuries. The first African Free School was the very first school for blacks in America. The African Free School Institution was founded in 1787 by members of the New York Manumission Society, an organization devoted to the full abolition of African slavery. At the time of its creation, many African residents in the city were still slaves. The mission of the institution was to empower young black people and educate them on something other than slavery, which was a complicated and bold proposition for the time. In 1785 the Society worked to pass a New York State law prohibiting the sale of slaves imported into the state. This preceded the national law prohibiting slave trade, passed in 1808. The 1783 New York law also lessened restrictions on the manumission of enslaved Africans. In New York, a gradual emancipation law was passed in 1799, which provided that children of enslaved mothers would be born free. However, long periods of indentured servitude were required; 28 years for men and 25 for women. Existing slaves were eventually freed until the last slaves were freed in 1827. The first African Free School, a one-room school house located in lower Manhattan, was established in 1794 and held about 40 students. Here, the children of both free and enslaved blacks were taught reading, writing, arithmetic, and geography. Boys were also taught astronomy, a skill required of seamen, and girls were taught sewing and knitting. After a fire destroyed the original building, a second school was opened in 1815 and held 500 students. African Free School No. 2, located on Mulberry Street, was Alma mater to abolitionist and educator Henry Highland Garnet. African Free School No. 3 was established on 19th Street near 6th Avenue, however, after objections from whites in the area, it was relocated to 120 Amity Street (now known as 120 West 3rd Street). By 1834 the seven existing African Free Schools, with enrollment surpassing a thousand students, had been absorbed into the public school system.

West side of Broadway from Bleecker Street to Bond Street. (No. 647 is the second building from the left), date unknown. The building at no. 647 was originally the Coleman House Hotel. In the late 1850s and early 1860s, the vault of the basement housed a Rathskeller-like beer and wine cellar restaurant called Pfaff’s; it was a favorite haunt of the bohemian literary set, including Henry Clapp, Jr (editor of the Saturday Press and "King of Bohemia") and Walt Whitman. It was known as a place where men could meet other men, and it was open to women at a time when the sexes did not meet in such public company. The saloon closed in this location in 1864 though it would move to various other buildings though much of the rest of the 19th century. This building's later tenants included a hat shop and an envelope factory. Today the original building still stands with a shoe store in the first floor retail space and a newly opened cellar bar that takes inspiration from its 19th century predecessor.

468-472 West Broadway, ca. 1976. W.B. Marvin, the owner of the Marvin Safe Company, hired architect Oscar S. Teale in 1855 to erect this six-story brick and iron factory after his firm's previous headquarters caught fire. At the time of construction, Marvin's company was a key player in the industry with products that ranged in size from small office models to large vaults. When the building opened in 1856, Marvin leased the ground floor to the C. & C. Electric Motors Company. More than 250 employees, all male, worked in the factory at the height of its use. The building, now also residential, maintains a commercial bottom floor that is leased to Hugo Fine Arts Galerie.

Located in the heart of the South Village and the South Village Historic District is the oldest continuing South Village Italian organization, Tiro a Segno, today located at 77 MacDougal Street. It has been at this location since 1924 and has served the Italian American community since its founding on August 14, 1888. Tiro a Segno calls itself “the oldest Italian heritage organization in the United States” and today it continues its mission, devoted to the dissemination of knowledge of Italian culture. 77 MacDougal almost looks like an Italian embassy with the Italian flag and American flag prominently displayed in front. In fact, it is three c. 1850 row houses that were originally built in the Gothic Revival style. Until about 1940, they had full-height cast-iron balconies on their front facades, as seen in the c. 1940 tax photo below. In 1924, Tiro A Segno moved to its permanent home at 77 MacDougal Street with a shooting range and bocce court in the basement. Today it is more typical to find visitors enjoying fine wine or cuisine than engaging in target practice. Some reports claim that Giuseppe Garibaldi, who unified Italy, was a member, although that is unlikely since he died in 1882. However, members have included Lee Iacocca, the tenor Enrico Caruso, and Fiorello H. LaGuardia, one of New York City’s most revered Mayors and the first Italian-American to hold that position.

Man playing chess in Washington Square Park; unknown date.

16 Minetta Street, ca. 1940. View looking east from rear (westerly) wall to No. 14 Minetta Street; today, this vantage point is near Minetta Green, a small park east of Sixth Avenue.

Provincetown Playhouse ca. 1936 The Provincetown Playhouse, which launched the theatrical career of Eugene O’Neill, was at the heart of pre-World War I Greenwich Village bohemia. The Playhouse had special significance for Abbott, who had left Ohio in 1918 to live at 137 MacDougal Street with her two college friends, who had moved to New York to join the Provincetown Players. Although Abbott’s photograph appears spontaneous — with a dapper young man in the doorway and an elderly passerby reacting to an off-camera occurrence — a variant shows that Abbott shot more than one “take.” In the discarded version, the young man sports a derby, and the overflowing garbage can has been removed. The Playhouse closed shortly after the stock market crash but reopened in 1936 under the aegis of the WPA Federal Theater Project. Rebuilt in 1941, it had a vigorous second life before closing again in the 1980s.

View up Fifth Avenue from the top of the Washington Square Arch, ca. 1908.

Cherry Lane Theater. Designated as part of the Greenwich Village Historic District in 1969 by the Landmarks Preservation Commission, the Cherry Lane has the distinction of being New York City’s oldest, continuously running Off-Broadway theatre. The building itself was originally constructed in 1836 to house a brewery for one Alexander McLachlan and later served as a tobacco warehouse and box factory. Tucked away from the bustle of the city along tree-lined Commerce Street between Barrow and Bedford Streets, the three-story brick theatre features 6-over-1 wood windows and an arched double-door entryway covered by an awning. In 1924, the Provincetown Players, which included the poet Edna St. Vincent Millay, founded the Cherry Lane Theatre here, which opened on May 24 of that year. They hired scenic designer, Cleon Throckmorton, to convert the building to a 200-seat auditorium and a small stage, to which renowned entertainer George M. Cohan amusingly remarked, “Might as well act in a telephone booth!” Small as it was, the theatre hosted three plays in its inaugural season: Saturday Night, The Man Who Ate Popomack, and The Way of the World. Over the years, the theatre became known for its avant-garde offerings. An eclectic array of theatre companies have operated there, including the New Playwrights (who moved there in 1927 in only their second season), the Savoy Opera, The Living Theatre, and the Theatre of the Absurd. The Cherry Lane has long given aspiring playwrights opportunities to share their work with a wide audience. Given the Village’s worldwide reputation as a haven for artists in the 20th century, the Cherry Lane is an integral part of that history. Even still, the theatre was threatened with demolition some 17 years before historic district designation when plans were made to erect an apartment house on the site in 1952; luckily for the theatre, a group of residents lead by a Kenneth Carroad gained ownership of the building. It appears that Carroad was also responsible for saving a number of theatres outside the city. For close to a century, the Cherry Lane has served as an Off-Broadway theatre and has seen the likes of Gene Hackman, Barbra Streisand, Kevin Bacon and Bea Arthur perform on its stage. In 1996, stage actress Angelina Fiordellisi saw potential in the historic landmark and raised funds to purchase and renovate the Cherry Lane. She also bought space in a neighboring brownstone and opened a 60-seat black box theatre now known as the Cherry Lane Studio.

The 1898 consolidation of all five boroughs as one unified City of New York brought the population from 2 million to 3.4 million people and intensified the need for more water. In 1905, the City established a Board of Water Supply to plan and build a new system of reservoirs and tunnels that would ensure access to clean water for the growing population. The next year, the Board started planning the Catskill Aqueduct and installed a laboratory at 147 Varick Street to test equipment and building materials, and to analyze water and soil samples. The Board also hired a photographer to document this monumental project, and put the photo lab here to print and store thousands of images.

186 Spring Street ca. 1933 In the era immediately following the Stonewall riots, 186 Spring Street (which was recently demolished) was home to a number of important figures of the Gay Rights movement, serving for a time as a "gay commune" of sorts. Bruce Voeller, who lived in the building, co-led the first delegation of gay rights leaders to ever meet with the White House, helped end the federal government's ban on employing gay people, helped get homosexuality removed from the American Psychiatric Association’s list of mental illnesses, got the very first piece of federal gay rights legislation introduced, and won the first Supreme Court case establishing rights for gay parents. Another resident, Jim Owles, was the first openly gay person to run for public office in New York. Owles, along with Voeller and Arnie Kantrowitz, founded several of the country's first and largest LGBT organizations.

While New York is now one of the safest cities in the country, it still has had its share of notorious murders, here are but a few!

Washington Square Art Show; ca. 1950.

17 Commerce Street ca. 1932 No. 17 serves as a welcome reminder of the original proportions and general appearance of the row adjoining to the east. This small two and one-half story late Federal house, with basement, has a low pitched roof and central dormer window. It was built in 1830 as an investment by Abraham R. Bogert, a stone-cutter, and rented immediately. With a brick front of Flemish bond, its handsome paneled stone lintels, dark exterior blinds, and small light fixtures flanking the doorway, it is easily the most attractive building on the block. Pilasters flank the deeply recessed door with leaded transom. The second story windows have muntined sash, and the dormer has a casement window. The ironwork of the stoop is the original and notable for its fine openwork newels of wrought iron.

233 Bleecker Street; ca. 1975.

The first European settlers arrived in modern-day New York in 1614. Twelve years later, the Dutch West India Company brought over eleven enslaved people from Africa. From the settlement of New Netherland, African Americans have played a critical role in the development of New York. In the early portion of New Netherland's history, the Dutch divided Black people into two groups: those who were enslaved, and those who were not. This division persisted until the Civil War in 1861. To southerners, a portion of this period from the 18th century to the start of the Civil War was called the "Antebellum" which means the pre-Civil War era. In the south, these years were marked by economic growth due to the reliance on slavery in the region. This period also marked the beginning of a divide between two schools of thought, those who were against slavery, the abolitionists, and those in support of slavery. This story teaches us about what that period was like for Black people in the North and specifically, in New York City. NYS Social Studies Scope and Sequence Standards: 4.7, 7.7, & 11.3. For Teachers: African American in Antebellum New York Lesson Plan

2,4,6 Minetta Street These three houses on Minetta Street dated to 1800, when ”the Minettas” — Street, Lane, and Place — were home to free African Americans. By 1900, the tiny houses had become rag pickers’ warehouses. They were renovated as private homes in the 1920s, when the Village attracted artists, writers, and professionals in search of an American Montmartre. Only months after Abbott photographed Minetta Street, the houses were demolished to make way for a five-story apartment building fronting on Sixth Avenue. Abbott’s composition was typically direct and artful. The stepped shadow falling across the facade of no. 4 echoes the stoop below, while the shadow of a bulbous chimney across the street breaks up the rectilinear pattern of light and dark.

H.H. Upham Company building, ca. 1975. In 1891, the H.H. Upham Company, a leading manufacturer of commercial signs, moved into its new headquarters on South Fifth Avenue (later West Broadway and LaGuardia Place). The Romanesque Revival building, designed by the Brunner & Tyron firm, features terra cotta ornamentation a bronze cartouches inscribed with the company’s founding date and the date of completion for the new structure.

77 Bleecker Street, ca. 1975.

(1877, Benjamin Warner) NYC IL, NYC HD, NR-P Open from 1958-68, Caffé Cino is widely considered to be the birthplace of Off-Off Broadway Theater and was an important incubator space for gay theater. Its founder, Joe Cino, envisioned a café where artists could exhibit their work, and soon began hosting performances of experimental and low-budget theater. At the time, the depiction of homosexual subject matter on stage was illegal, but the café constantly worked around the police through clever advertising and by not requiring a cabaret license since they did not serve alcohol. As such, Caffé Cino became a platform for gay playwrights who had no other venue to experiment so freely. By 1960, it had become an important touchstone for the gay community, but also for unknown artists and playwrights who could not otherwise afford to stage their work. With the burden of theater fees and financial success lifted, creativity flourished and many important playwrights, directors and actors got their start here. The café was also a significant meeting spot for gay men at a time when such places were few. The café closed in 1968, a year after Joe Cino took his own life following the accidental death of his partner, Jon Torrey.

While the holiday season seems to begin earlier and earlier every year, there is a point every winter when New Yorkers know Christmas has actually begun: when the Christmas trees markets come out. But how did this practice come about? Crowding sidewalks with the smell of pine, funneling pedestrians into a gauntlet of jutting branches. The answer involves two essential elements of New York's history: immigration and capitalism.

Minetta Lane and MacDougal Street, ca. 1925. Pictured at left is Minetta Tavern. The restaurant, established in 1937, is named after the lost Minetta Brook, which ran southwest from 23rd Street to the Hudson River. Along with Ernest Hemingway, Ezra Pound, Eugene O'Neill, E. E. Cummings, Dylan Thomas, and Joe Gould, the eatery has long been a favorite hangout of various artists, writers, and poets since its opening.

Isaacs-Hendricks House, 77 Bedford Street, ca. 1975. 77 Bedford Street is one of Manhattan's oldest surviving homes. Located in the Greenwich Village Historic District, the building was originally a free standing Federal style frame farmhouse with a yard. A Greek Revival brick facade was added to its exterior in 1836 and later, in 1928, the roof was raised to add additional living space. The first homeowner, Joshua Isaacs, was a Jewish-American merchant. He purchased the house in 1794, but soon-after lost the property to creditors. The subsequent homeowner, Harmon Hendricks, was also a merchant. Considered the wealthiest American Jew of the early 19th century, Hendricks famously supplied Robert Fulton with the materials that powered the historic 1807 Clermont steamboat. Other notable customers of Hendricks included the US Navy and Paul Revere, who later became a friend. Hendricks was also the husband of Frances Isaacs, the first owner's oldest child. Alongside his brother-in-law, he opened one of the first copper rolling mills in the United States.

Buildings at the southeast corner of Thompson and West Houston Streets; July 2, 1929. Signage for the corner building's storefront touts "Building Coming Down" fire sale prices, ahead of the razing of the entire southern blockfront for subway and street widening work. The white brick building at far right is 152-154 Thompson Street, which today sits at the Houston Street corner.

Washington Square Park, ca. 1975.

155 Wooster Street, ca. 1935. In 1968, Paula Cooper opened her first gallery in this building, becoming one of the first gallerists to open up shop downtown, in a neighborhood that would soon become synonymous with the city's contemporary art scene. Cooper's inaugural show included works by Sol LeWitt, Dan Flavin, and Donald Judd. The gallery relocated to Chelsea in 1996.

Washington Square Methodist Church, ca. 1972. The history of the Washington Square Methodist Church dates back to 1842 and the founding of the Sullivan Street Methodist Episcopal Church, from which the new congregation emerged. The church building on West 4th Street was designed by Charles Hadden and constructed in 1859-1860 and when the community moved into this new building, they changed their name. The Romanesque Revival building was home to the Methodist church until 2004 when the small community moved into a rented space in an NYU chapel. Known as the "Peace Church" for its anti-war advocacy, the congregation in the late 20th century was very progressive community. They welcomed LGBTQ members early on and they were led by the first openly gay clergyman (in New York and of a major major Christian denomination). Rev. Paul M. Abels served as pastor from 1973 to 1984. After selling the building, the church merger with a number of other local Methodist congregations to form Church of the Village, which meets at the former Metropolitan-Duane United Methodist Church on Seventh Avenue. The building was purchased by a real estate developer, but could not be knocked downing owing to its inclusion in a historic district. The building has been converted into condos called "Novare."

Call it whatever you’d like: antique, vintage, or historic. If one thing is for certain, the Village is really, really old. Old by New York City standards, and even old by American standards. But which building is the oldest of the old? On this walk, we'll guide you through the Village and show you some of the contenders.

Washington Square Methodist Church ca. 1993 The Spiderwoman Theater Ensemble was launched in 1976 at this Greenwich Village church by original members and sisters Lisa Mayo, Muriel Miguel and Gloria Miguel from the Kuna and Rappahannock nations. The Spiderwoman Theater Ensemble is the oldest Native American feminist theater group in the United States, and one of the leading performing arts groups to emerge out of the New York movement, gaining national and international attention. Additionally, this ensemble is the oldest continuing feminist theater group in the United States and internationally. Their work explores the issues of gender roles, cultural stereotypes, sexual and economic oppression – sexism, racism, classism, and violence against women. Spiderwoman Theater’s unique “story-weaving” methodology infuses traditional storytelling genre with organically layered movement, text, sound, music, and visual images. This culminates in a powerful voice for indigenous women and cultural artisans. They founded the Native American Women Playwrights Archive at Miami University in Ohio where they received honorary Doctorates of Fine Arts in 1997 for their life’s work and contribution to the theater.

In celebration of the centennial of George Washington's inauguration in 1889, a temporary wood and plaster arch was erected at Washington Square. Six years later it was replaced by the present seventy-seven-foot marble structure. In 1916 another celebration of sorts was held. A group of artists led by John Sloan and Marcel Duchamp forced open the door to the stairs leading to the top of the arch and held a midwinter party to declare the secession of Greenwich Village from the United States of America. They lit Japanese lanterns, read poems, fired cap pistols, and proclaimed the independence of the state of New Bohemia.

Manhattan: Washington Square North - 5th Avenue (I) Washington Square Park,showing the center fountain with the Washington Arch in thc background,and children at play in the water. I8-22 Washington Square North,west of Fifth Avenue,are the houses in background. August 6th,I932 P.L.Sperr. No Reproductions. NEG ~~376E (2) The same,from another angle . AES ~S766 August 6th,I932 P.L.Sperr. No Reproductions. (3) The same. Augaut 6th,I932 P.L.Sperr. No Reproductions. NES~~ 3767

My Archive Spring 2019 "Marques and Jayden at the park" —Juana Rodriguez

112 Prince Street, c. 1978. Artists Richard Haas' first mural, on the north party wall of 112 Prince Street, is called "Soho Mural." It was completed in 1975 after Haas proposed his idea to Doris Freedman, who led City Walls Inc. Haas drew from his surroundings in SoHo, a neighborhood rapidly changing due to plans of urban redevelopment and large-scale construction that disrupted the cityscape and left an abundance of exposed blank walls in the area. The mural's building, at 112 Prince Street, is now listed as part of the SoHo Cast-Iron Historic District, though this designation came after the completion of Haas' work. Haas worked with architect Hanford Yang to acquire drawings of the West facade, which he meticulously copied in oil paint onto the brick party wall of the building. Ada Louis Huxtable, renowned architecture critic for the New York Times, called the work "an exercise in art and wit and instant architecture," a year after it was painted. Her successor Paul Goldberger called Richard Haas "the great architectural muralist of our time" in 2000. Haas started a campaign to conserve his first piece of work, titled "Save 112 Prince," in 2015.

Varitype Building, ca. 1985. Designed in an Arts and Crafts style in 1907 by Fred Ebeling, the Varitype Building originally housed studio and manufacturing spaces on its upper floors. Painter John Sloan had studio space in the building in the 1910s and it is featured prominently in his 1922 painting, "City from Greenwich Village." In 1926, 1929, and then again when the building was converted to condos in 1982 the interior, exterior, and ground floor were altered. These modifications including window replacement, a drastic new look (not historically accurate) for the ground floor commercial space, and considerable changes to the facade at the top floor.

No. 420 West Broadway (left), ca. 1980. The loft building at 420 West Broadway dates to the 1870s, when it was built for the prominent developer Amos R. Eno by architect Robert Mook. The building was extended to Thompson Street during the 1880s. Until 1970, the building's tenants represented a variety of manufacturing industries, including glass and paper products. After 1970, the building became a locus of the burgeoning downtown art scene, and home to several prominent gallerists. In 2001, the remaining gallerists were displaced, as the building was redeveloped for residential use. Today, marketing materials refer to it as the "Soho Gallery Building."

114 Waverly Place ca. 1932 According to the designation report for the Greenwich Village Historic District, 114 Waverly Place was built in 1826 as part of a row of nine houses for Thomas R. Merecin. However it underwent a complete and dramatic alteration in 1920 per the designs of William Sanger for Murray P. Bewley. In some ways the studio window is among the least unusual parts of the redesign of this building, which has been described as both “Art Nouveau” and “German Expressionist.”

Produce market, ca. 1935. This long street view depicts the corner of Jones and Bleecker Streets south to the church of Our Lady of Pompeii at Bleecker and Carmine Streets.

This summer in New York might be different than the past. However, there are still many ways you can enjoy the season in the city or from the comfort of your home. Here are our top summer spots to visit in the Village.

The former residence of Mayor James Walker, St. Luke’s Place, 1939. One of fifteen relatively uniform Italianate townhouses on St. Luke’s Place, No. 6 was built between 1851-54. James John “Jimmy” Walker was born in 1881 and grew up on St. Luke’s Place. Walker rose quickly through the ranks of the state’s Democratic machine, serving as a New York Assemblyman and State Senator before serving as Mayor from 1926-32. The townhouse on St. Luke’s became the Mayoral residence, as indicated by the twin lanterns framing its stoop (a tradition dating to the city’s Dutch days). Walker, who had a deserved reputation for drinking and carousing, was not up to the task of public office in a post-crash environment. His political career ended in disgrace when an investigation by then-governor Franklin D. Roosevelt uncovered evidence of corruption and Walker was forced to resign. He quickly skipped town, traveling Europe with his girlfriend, the showgirl Betty Compton. Today, the playground across from Mayor Walker’s residence is named in his honor.

Josiah Purdy House, 1932. In 1818, Josiah Purdy built a Federal style frame house at the corner of Spring and Wooster Streets, likely including a ground floor storefront. The house was home to a succession of working class families on the upper floors, while the ground floor space had by 1870 been converted to a saloon. Charles Von Urban’s 1932 photograph, taken during Prohibition, shows a painted advertisement for Peter Doegler beer (“available in bottles and barrels”) on the upper-floor clapboards along Wooster street, though the storefront itself appears to be available for rent. From 1978-2006, Tennessee Mountain, a barbecue restaurant and bar, operated in the first two floors. The restaurant was likely responsible for the addition of ahistorical ground floor bay windows. A 2006 restoration project replaced the Wooster Street clapboards, refreshed the Spring Street Brickwork, and reverted the bay window alterations.

No. 205 Prince Street, ca. 1977. The corner house is one of two buildings said to have been constructed by Aaron Burr in 1834. Now owned by the artist Anna Thornhill and her husband Simon Nuchtern, the building today remains a residence and includes a studio for Simon's film and subtitling company, Katrina Productions. According to Thornhill, the cellar may have housed a Prohibition-era brewery. After Nuchtern and Thornhill purchased the house in the mid-70s, they hired architects James Swan and Thomas Pritchard to sketch plans for extensive renovations, including an ambitious and as-yet unrealized feature described in a 1976 New York Times feature: a roof made entirely of glass. Edmund Vincent Gillon's late 1970s photo was taken from Father Fagan Square, a small triangular plaza named after a Brazilian-born priest who died rescuing his fellow clergymen from a 1938 fire at the St. Anthony's rectory on Thompson Street.

Judson Memorial Church ca. 1933 Judson Memorial Church, 55 Washington Square South Judson Memorial Church was founded by Edward Judson in the late 19th century, during a time when the village had the largest African-American community in the city. Construction on the building began in 1888 with the backing of John D. Rockefeller and other prominent Baptists. The church’s mission has long been devoted to social outreach and since the 1890s, has been known for providing a home to artists, taking courageous stands and meaningful action for social justice, and welcoming everyone without exception. In 1957, Howard Moody became the senior minister and continued the church’s advocacy on civil rights issues, free speech, and and speaking out for issues usually considered immoral by Christians (such as abortion and the decriminalization of prostitution). In the 1950s, it was the first institution in the Village to offer counseling to drug addicts; in the 1960s, it led a nationwide network of Protestant and Jewish clergy who aided women in obtaining abortions before it became legal; in the 1970s, it offered refuge for runaway teens; and in the 1980s, it provided medical resources for AIDS patients. The church sanctuary (designed by Stanford White), campanile tower, and Judson Hall were designated landmarks by the New York City Landmarks Preservation Commission in 1966 and added to the National Register of Historic Places in 1974.

The former site of Bethel AME Church, 214 Sullivan Street, ca. 1944. Though it was demolished more than a century ago, this is the former location of the Bethel African Methodist Episcopal Church (Bethel AME), the heart of a growing African American community in what was then referred to as “Little Africa”. Before becoming home to the Bethel AME, the site was purchased for the Associated Methodist Protestant Church in 1837, and then sold to the Sullivan Street Methodist Church in 1842. The Bethel AME Church purchased the church in 1862. It is noted on maps of the time as the “Colored Bethel” (1879) and the “African Methodist Church” (1887). In 1895, the church became home to the parish of Our Lady of Pompeii for a short time, which had moved there from Waverly Place. Today, the building at 214 Sullivan Street is a Renaissance Revival factory building that was built in 1899 for a paper box company.

Washington Square Village, an iconic Robert Moses development right across the street from the Center for Architecture. Constructed in the 1950s, Washington Square Village was initially built as a middle-class housing complex, but due to a languishing rental market it was purchased by NYU in 1964 to be used for faculty housing. Those residents who were already living in WSV were able to retain their apartments, some of whom still live there 40 years later! However, it is important to note that Jane Jacobs vehemently opposed the construction of Washington Square Village and University Village. “This is not the rebuilding of cities,” said Jacobs, “this is the sacking of cities.” Jacobs frequently spoke out against “slum clearance” and believed that “There is no logic that can be superimposed on a city; people make it, and it is to them, not buildings, that we must fit our plans.” For Jacobs, the destruction of historic buildings and neighborhoods like Greenwich Village would irreparably harm the city and its inhabitants. Interestingly, Washington Square Village and University Village have become significant historic structures in their own right. Of particular interest are I.M. Pei and James Ingo Freed’s Silver Towers I and II, constructed in 1960 around a courtyard featuring a sculpture by Carl Nesjär and Pablo Picasso. In 2008, the NYC Landmarks Preservation Commission designated Washington Square Village and University Village as NYC landmarks. In 2012, NYU submitted a plan to redevelop the empty lots between the superblock’s existing buildings. In response, NYU faculty and Village Preservation formed a coalition to oppose the development; the group claimed victory in 2014. NYU immediately appealed the decision, and it remains to be seen what will happen to this once-reviled development.

Village Plaza Hotel, ca. 1975. Built in 1915, the Hotel Colborne was renamed the Village Plaza Hotel in 1960, when it was sold to new owners. A few years later, the Village Plaza was a seedy SRO hotel, named in contemporary reports as the final fixed address for Linda Fitzpatrick, who was bludgeoned to death alongside her boyfriend in the so-called “groovy murders” of 1967 (the boyfriend went by “Groovy” in Village circles).

Sullivan Street, March 20, 1927. The Raffetto Bros. pasta store is visible in the ground floor of No. 176. Mayor Fiorello La Guardia was born across the street (out of frame) at No. 177.

On May 25, 2020, George Floyd was murdered by then Minneapolis Police Officer Derek Chauvin. As Floyd was arrested for supposedly using a counterfeit $20 bill to buy a pack of cigarettes, the officer knelt on the back of his neck for 9 minutes and 29 seconds as he lay face down on the street. Despite Mr. Floyd’s pleading with the officer stating “I can’t breathe” several times Chauvin continued to use the non-sanctioned technique to restrain and subdue the victim until he died in what culminated in an extrajudicial murder. All of this was captured on video by witnesses, security cameras at a nearby restaurant, and the body camera of J. Alexander Keung, an officer complicity standing nearby. When the news broke and the footage hit the internet, the country was distraught. At the time, the world was already reeling from the Covid-19 pandemic, in the midst of a near nationwide lockdown with many out of work or working from home. Similar to the ways in which television made the injustices of the Jim Crow South no longer ignorable to Americans around the country it was almost impossible to miss the footage of this event as it proliferated across the internet and media outlets. Yet again, another murder in the seemingly never-ending string of violence committed by police forces against communities of color. Demonstrations began the very next day in Minneapolis. They spread throughout the country and eventually the entire world. All eyes were on this moment and communities mobilized to express frustration with the endemic of police brutality as well as the judicial and societal complacency towards that violence. They also came together in solidarity, ready to confront the reality of the murder, the truth behind the systemic inequalities that allowed the murder to occur, and not just to demand change but actively engage and construct ideas of what that change can and should look like. Things were no different in SoHo, Manhattan; a place that is known to be more aligned with the retail trends of the wealthy rather than a hotbed of community activism. Despite that reality the area was reclaimed by the community and made into a center of direct action. The streets, formerly deserted, were transformed into a parade ground of demonstration and the plywood boards that secured the storefronts of shops that serve the elite were co-opted by local artists and activists to transmit messages that resonated with those concerned with improving the whole of society. Since then, former police officer Derek Chauvin was charged with second-degree murder, third-degree murder, and second-degree manslaughter in the death of George Floyd and the three officers also present: J. Alexander Kueng, Thomas K. Lane, and Tou Thao have been charged with aiding and abetting second-degree murder. It is important to note that this is not justice this is accountability, but it could be a step in the right direction towards preventing further injustices by police. Local artist James Hong realized what was happening and knew it was important to capture and preserve this juxtaposition on display in the midst of a community reclaiming the streets as part of a nationwide response to the murder of George Floyd. In his own words “The poignancy of Soho – the pinnacle of consumerist society – transformed into a platform of social messaging cannot be lost. This may serve as a reminder that no matter how things in society may be beautifully cloaked in delivering subliminal messages of how we should live, a raw but potent social message can subvert it- not with iPhones and high tech, but with messy paint, caulk and spray cans.” James’ actions led to this selection of ten photographs, and many others not included here, to be exhibited at the Museum of Reclaimed Urban Space in the fall of 2020. The plywood windows of SoHo are torn down by this point but James and Bill DiPola, director of MoRUS, had the foresight to save the very same plywood in these photos and install them as gallery walls for the pictures to hang on, in effect recreating parts of SoHo within the museum and immortalizing the conversations these boards promoted from their storefronts. They are still on display at MoRUS and will live here on the Urban Archive so that you too might tour the neighborhood during one of its most critical moments of direct action taken by a community in the 21st century.

68 Bedford Street, 1963.

Last horse-drawn street car, 1917. The last horse-drawn streetcar line, the Bleecker Street & Fulton Ferry Line, finally ended service in 1917. Lasting more than a decade after the opening of the subway, the horse-drawn cars also shared the road with electric streetcars for decades. The Bleecker Street line had been in operation since 1864, transporting passengers from the West 14th Street Ferry in Chelsea to the Fulton Ferry in the Financial District. When it closed in July 1917 it was not replaced with a trolley or bus route.

Double-decker Fifth Avenue buses at the Washington Square Arch, March 3, 1929. Until 1958, vehicular traffic and parking were permitted in Washington Square Park. That year, activists including Jane Jacobs and Margaret Mead formed the Joint Emergency Committee to Close Washington Square Park to Traffic in opposition to Robert Moses’ plan to run a six-lane roadway down the middle of the park, as a Fifth Avenue connection to his proposed Lower Manhattan Expressway. On October 23, 1958, the Board of Estimate issues a ruling prohibiting traffic in the park. The ruling was made permanent five years later.

Mori Restaurant, Bleecker Street, November 21, 1935. 144 Bleecker Street was built 1832 as two townhouses (Nos. 144 and 146). Placido Mori established his Italian restaurant at No. 144 in 1883. In 1920, Mori enlisted then-unknown architect Raymond Hood — who would go on to design several New York skyscrapers, including Rockefeller Center — to create a new facade incorporating No. 146 for an expanded restaurant. As part of Hood’s compensation, he received an apartment upstairs. Mori closed in 1937 and the building was later occupied by another restaurant and a handful of activist organizations. Between 1962 and 1990, the building was home to the well-loved Bleecker Street Cinema. Today the building has been split up again with no. 144 housing a pharmacy and no. 146 a stationary store.

Photographs of New York City streets can show us sites and scenes that have long disappeared from the ever-changing city. Along with more permanent features like monuments and buildings, these snapshots can capture some of the most ephemeral aspects of New York: the broadsides, building signs and billboards that constantly changed with new businesses, consumer products and entertainments. From soap to Broadway shows, the street advertising in the Thomas W. Kennedy photographs in the Seaport Museum's collection can tell us a lot about what late 19th and early 20th century Manhattan was selling.

Eve Addams Tea Room, 129 MacDougal Street ca. 1933 In 1925, Eve Kotchever (better known by her pseudonym, Eve Addams) opened her tearoom here at 129 MacDougal Street. She was a Polish-Jewish lesbian immigrant known as the "queen of the third sex" and "man-hater" and supported this opinion with a sign on the door of her establishment that read "Men are admitted but not welcome". The Greenwich Village Quill called the tearoom a place where 'ladies prefer each other". On June 17, 1926, the club was raided by police and Addams was charged with disorderly conduct and with obscenity for her collection of short stories, Lesbian Love. She was deported and was later said to have opened a lesbian club in Paris.

Fugazi Theatre ca. 1923 From 1922 to about 1929, the short-lived though popular Fugazy Theatre stood on this site. Its interior housed 1,687 seats and one screen. Owned by Humbert J. Fugazy (1885-1964), a boxing promoter and prominent Italian resident who grew up in the South Village, the theater was designed by architects Reilly & Hall. A 1922 drawing appearing in The New York Times indicates that it was originally called the MacDougal Theatre, which makes sense since this was the street the entrance faced. Interestingly, plans had also been filed in 1921 to build a three-story brick theater here designed by F. E. Vitolo and C. W. Schlusing with Fugazy and one Anthony Rosetti as the owners. Numerous sources, including the Times article, show that the realized building was a Reilly & Hall design. The article mentions that the theater was five stories, which echoes what we see in the drawing, and that it was expected to open in October 1922. It also notes that “Besides providing an attractive building for the locality it will also furnish excellent entertainment, combining moving pictures with vaudeville.” The theater was touted as the largest in the heart of Greenwich Village at that time, and that Fugazy was the son of a well-known Italian banker in the neighborhood. At the time of the building’s construction, Fugazy lived at 157 Bleecker Street at the corner of Thompson Street. His past residences also included 142 Bleecker Street (at present-day LaGuardia Place) and 39 Charles Street (near West 4th Street). So what happened to the Fugazy Theatre? According to Cinema Treasures, the City purchased the theater in 1929 in anticipation of subway construction. A 1951 aerial shows that the stretch of property now occupying the Passannante Ballfield had long been cleared of any building here.

Today many are surprised to learn that cars and buses used to run through Washington Square for much of the mid-20th century. In fact, the large flat area of the park around the fountain and the arch is a vestige of the time when motor vehicles used the park as a turnaround. Jane Jacobs was not a fan of the automobile and its impact upon cities and neighborhoods. Along with her friends and neighbors, she waged the fight to get cars and buses out of the square, staging protests, gathering petitions, and lobbying city officials. Not only did the City not want to ban cars, they wanted to build an extension of Fifth Avenue through the park which would serve as an access route to the Lower Manhattan Expressway planned at the time, thus making Washington Square little more than the greenery surrounding a highway on-ramp. Jacobs and fellow activist Shirley Hayes would have none of it. The City tried to entice them with “alternative” plans for allowing cars to remain in the park, including building a pedestrian passageway over the cars. But Jacobs, Hayes, and company persevered, and in the late 1950s, cars were banned from the park on a trial basis, and in the 1960s the ban was made permanent.

Construction on the Sixth Avenue extension at Bedford Street, 1928. The six-story buildings at left are 174-178 West Houston Street (although the entrances are actually on Bedford). Until 1925, Sixth Avenue extended only as far South as Carmine Street. As it had done for the 1917 Seventh Avenue extension, the city used eminent domain to clear existing structures between Carmine and Canal Streets— including the entirety of the forgotten Hanover, Congress, and Clark Streets — to make way for construction of the IND Eighth Avenue subway under the new Sixth Avenue extension. The new Eighth Avenue line opened in September 1932, seven years after work began on the extension aboveground.

Washington Square Art Show display on the construction fence for the NYU Law Center, ca. 1950.

St. Anthony of Padua, during subway and street construction on West Houston Street; June 15, 1930. The congregation of St. Anthony of Padua was established in 1859 and was the first Roman Catholic Italian congregation organized in New York City. The first services were conducted at former site of the Church of St. Vincent de Paul on Canal Street. In 1866, the community moved into an edifice that had previously been the Sullivan Street Methodist Episcopal Church. It was organized was a hybrid between a national parish and a territorial parish. It had permission to minister to all Italians, wherever they resided, but it also had geographic bounds and welcomed all those within its borders. It opened a school in 1872, with some 500 Italian and Irish students taught by the Franciscan Sisters of Allegheny. Finally the parish began raising funds for their own purpose-built church. The new church, seen here, was designed by Arthur Crooks in the Romanesque Revival style, and completed in 1888. The church has been featured in a number of motion pictures including the The Godfather, Part II, Moonstruck, and Men in Black.

Hudson Park Branch, date unknown (pre-1920). Constructed between 1904 and 1906, the Hudson Park Library was designed by Carrère & Hastings. The library's location was chosen largely due to its proximity to the adjacent Hudson Park. That park, though, was effectively demolished during the south extension of Seventh Avenue. The construction that razed the park though also prompted the construction of a new addition to the building, so that patrons might also enter on the new Seventh Avenue South. The 1920 addition was also designed by the building's original architects. Given its location in an Italian community, the library, from its opening, offered Italian language books. Poet Marianne Moore worked as a library assistant from 1921 to 1925.