350 West Street, east side, adjoining the south corner of Clarkson Street, opposite Pier 40, North River. This is a frame house with stucco facing. It is shortly to be demolished, being a part of the site of the new St. John's Park Freight Terminal. June 3, 1930.

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.

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).

High pressure water system trench at Christopher and Washington Streets; undated photo. At left, the storefront at No. 163 Christopher Street (today known as 649 Washington Street) is occupied by druggist M.B. McAvoy. At right is the Christopher Street station of the Ninth Avenue Elevated line, above Greenwich Street. Between the two is the Church of St. Veronica.

Doherty's Hotel, 342 West Street, at the foot of West Houston Street opposite Pier 39; October 25, 1927. This westernmost portion of Houston Street (at left) was known as Hammersley Street until at least 1858, when the two streets were connected. The vacant lots either side of the hotel were formerly occupied by the Church of the Holy Comforter (West Houston Street, at left) and the Seamen's Church Institute at 341-340 West Street (at right, with diner car). Photographer P.L. Sperr notes "the hotel itself will have to go in 1930" (it's unclear if Sperr's note was contemporaneous). The hotel was purchased by the New York Central Railroad in 1930, and was soon razed. Today, the site is part of 550 Washington Street, better known as the St. John's Freight Terminal. The massive warehouse served as the southern terminus of New York's Central's West Side freight line (the High Line).

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.

The same, better view of the buildings which supplanted the Weehawken Market. About 1830.

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.

Whittemore House, October 21, 1935. President Abraham Lincoln, after saving the Union and winning the Civil War, was shot by actor John Wilkes Booth at the Ford Theater in Washington, D.C. on April 14, 1865, finally succumbing to his wounds the next morning on April 15th. Lincoln was the first U.S. President ever assassinated, and his death led to a protracted period of national mourning and political tumult, including the first impeachment of a U.S. President, Lincoln’s successor Andrew Johnson. But this event which changed the course of history might never have happened were it not for events connected to one of the most unusual houses in Greenwich Village, constructed by one of Greenwich Village’s most prolific builders, which thanks to landmark protections still stands. 45 Grove Street, just west of Bleecker Street, was originally a free-standing home built in 1830. According to the Greenwich Village Historic District designation report “it was undoubtedly one of the finest and largest Federal residences in Greenwich Village,” often referred to ask the Whittemore Mansion. It was built for Samuel Whittemore one of the major property owners in the area, and who was largely responsible for the early development of this part of the Village. Whittemore was the senior member of the firm of S. Whittemore & Company, manufacturers of steam-propelled carding equipment used in textile manufacturing. One of his factories was located nearby on Waverly Place, then known as Factory Street. When 45 Grove Street was originally built it was just two stories, and many of its original details including Flemish bond brickwork, arched doorway, and Federal lintels at the windows are still intact (the two upper stories were added in 1871). But by 1851, the neighborhood was becoming increasingly crowded with immigrants and industry, and the Whittemore Family sold it. Not long after the sale, the home was operating as a boarding house. One of the boarders was a man named Samuel K. Chester. Chester was an actor and associate of fellow actor John Wilkes Booth. Around the beginning of 1865, Booth came to 45 Grove Street to meet Chester at his home and try to persuade him to participate in a “conspiracy to take over the government” including kidnapping President Lincoln. Booth was a strong supporter of the Confederate cause, and wildly opposed to Lincoln’s war to save the Union and his move to free the slaves. After Chester turned Booth down the offer to assist with the kidnapping of the President, Booth changed his plan, deciding to murder the President. Had Chester either agreed to participate in the plan to kidnap the President, or reported Booth’s plot, Lincoln’s life might have been spared, and the course of history quite different. But he did neither. Just days after Lee’s surrender at Appamatox and the collapse of the Confederacy, Booth shot Lincoln as he watched a performance of ‘Our American Cousin’ at Ford’s Theater, shouting (by various accounts) “Sic semper tyrannis” (“Thus always to tyrants,” the state motto of Virginia) or “The South is avenged!” as he leaped from Lincoln’s box and onto the stage. He escaped, but after the largest manhunt in American history up to that time, he was shot and killed. Lincoln was replaced as President by Andrew Johnson, a Southern Democrat who was significantly more sympathetic to the Confederate cause than Lincoln, who refused to adopt or enforce many of the Republican party’s Reconstructionist programs granting rights to freed slaves. By another twist of fate, shortly after the Civil War, 45 Grove became known as the “Lincoln Home” for destitute soldiers and sailors. Early 20th century residents included the poet Hart Crane, who lived at this address when he wrote "The Bridge," a paean to the Brooklyn Bridge and New York.

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.

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.

Thanksgiving Ragamuffins, 1933. A little girl applying lipstick, at 367 Hudson Street, west side, between King and West Houston Streets. November 30, 1933.

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

The city might feel like its been on fire this last record-breaking summer, but there have been times in the past when it has been. In the 1970s the Bronx was burning and Lower East Side was also suffering from fires and abandoned buildings. Before that, the Triangle Shirtwaist Factory fire became one of the worst workplace tragedies to ever occur. In the late 19th century, the booming population of the city brought with it a great need for fire protection. During that time, some beautiful firehouses were built and served a crucial function for the city, both before and after the creation of the Fire Department of New York (FDNY). Here, we’re going to tour some of these beautiful historic buildings in Greenwich Village, the East Village, and NoHo.

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.

Dilapidated Federal style frame house, once home to Thomas Paine, 1932. Paine, the English-born Revolutionary era author, moved to the wooden house on Herring Street (as Bleecker was then known, west of Sixth Avenue) after his release from French prison in 1802. He would live there nearly until his death in 1809. Nearby Barrow Street was briefly renamed Reason Street in Paine’s honor, referencing “In Praise of Reason,” a tract he wrote while imprisoned in France. Locals, however, had difficulty embracing the new name: it was often bastardized as “Raisin Street.” In 1827, the Barrow Street name was restored.

Grocery store at the corner of Christopher and Bleecker Streets, June, 1925. This tiny corner store was built between 1802 and 1808 by a grocer named William Patterson, in what was then a rural village. In 1807, the house at the corner of Herring (Bleecker) and Christopher Streets served as a meeting place for the commission charged with designing Manhattan’s street grid. Lead surveyor John Randel spent ten years staking out and marking intersections from 1st Street to 155th Street. Recognized as a work of genius today, Randel and his surveyors were pelted with cabbages and artichokes by landowners furious at the prospect of streets being plowed through their properties.

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.

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).

102 Bedford Street. 102 Bedford Street began its life around 1830 as a 2 1/2 story wood-frame Federal style house — the kind of simple structure one sees throughout Greenwich Village and Lower Manhattan. It seemed to live a pretty unremarkable life until 1925 when Clifford Daily purchased the building. According to NY Times Streetscapes columnist Christopher Gray, records show Daily, 39 years old at the time, was unmarried, lived in an old house on Sheridan Square, and was the decorator of “The Little House,” a tea room located next door at 100 Bedford Street in the tiny former back shed of 17 Grove Street. The 1910s and 1920s saw a lot of new interest in Greenwich Village from artists and those who simply wanted to live around artists. Like today, real estate developers were quick to try to capitalize on this trend, and rundown buildings in the neighborhood were often given makeovers intended to project an artistic image. Few, however, were as complete, or as fanciful, in their transformation as 102 Bedford Street. The two and a half story building was raised to five stories and given a sort of Tudor/Medieval/Swiss Chalet facade, including the twin-peaked roofs, from which its name is derived. The building was specifically intended to attract artists, with 10 one-room studios with casement windows, similar to the “artists’ studios” which had been popping up on the top of houses throughout the Village during this time. Again according to Gray (citing the NY Herald Tribune) the building was originally painted black, green, orange, and blue — a color scheme which has long since been replaced with the more conventional brown and beige we see today, and of which there seems to be little or no photographic record. Perhaps most notable, however, was the building’s dedication ceremony: On May 21, 1926…the actress Mabel Normand stood on a platform on top of one of the gables and shattered a bottle of Champagne over the roof. Next to her, Princess Amelie Troubetskoy (an American novelist who had married a Russian prince in czarist days) burned acorns in a charcoal brazier in honor of the Greek god Pan. Holy water, flowers, and other rites also inaugurated the building. The studio apartments in the building are all tiny, approximately 20 by 18 feet. However, many maintain original details, and the interiors of the building literally ooze Village bohemian charm. Despite the incredible appeal of the apartment’s unique charms, their modest dimensions have given rise to some skepticism about claims that Douglas Fairbanks Jr., Walt Disney, Cary Grant, and Miles Davis each lived there for a time

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.

Built in 1911, the large building at 421 Hudson Street was originally the printing facility for Schweinler Press. Ten stories tall and occupying the fill blockfront, this building printed McClure's Magazine, The Ladies World, and Harper's Weekly. The press produced more than six million magazines monthly by 1913. In the 1910s the printing firm became the target of a highly contested court case which challenged new labor laws that forbade female workers from toiling in "factories and mercantile establishments" between 10 P.M. and 6 A.M. In its first few years women had been hired for night work here. A New York State Court of Appeals ruling in 1915 upheld the ban of nighttime workers in "People v. Charles Schweinler Press." In the 1970s the printing facility was converted into rental loft residences, a common transformation at the time in this neighborhood. In the late 1980s, a condo conversion was completed on 80% of the units. In 2013 the building was renovated completely and 60 condo units were put on the market.

The West Street facade of 6 Weehawken Street.

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

Longo Sanitary Bakery, ca. 1935.

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

666 Greenwich Street Rising like an ark over Christopher Street, the Archive Building’s construction and multiple uses over a New York century reflect the changing character of the Far West Village waterfront and the city as a whole. Join us as we trace the unique history of this colossus of the West Village. Filling the entire block bounded by Barrow, Greenwich, Washington, and Christopher Streets, the Archive Building sits on an irregularly shaped lot more than an acre in size. In the best tradition of the Village street plan (or lack thereof), none of the lot sides are actually parallel to each other. Construction began in 1892 and was completed in 1899 based on the designs of Willoughby J. Edbrooke, the supervising architect of the U.S. Treasury. Crafted in the Romanesque Revival style, the structure is capped by a weighty cornice atop a masonry façade that features wide brick support piers and round Roman arches and a three-foot thick brick base. The massive building reflected the Far West Village’s transition from earlier light residential use to a more commercial and industrial character that would remain for much of the twentieth century. Though English-born, Edbrooke came to the U.S. government from a successful practice in Chicago where the influence of the developing “Chicago Style,” disseminated by the likes of Louis Sullivan and Dankmar Adler, was strong. It’s been noted that the façade of the Archive Building reflects the Chicago work of Sullivan and Adler’s Auditorium building. You can find an actual Louis Sullivan building here in New York right over in NoHo – the Bayard-Condict Building on Bleecker Street. The building, originally termed the U.S. Appraisers’ Warehouse, was used by the U.S. Customs Service to assess the tariffs on goods arriving in New York via ship. Originally it was meant to be built near the planned U.S. Custom House at Bowling Green far downtown, but shipping owners lobbied to have the building constructed closer to the West Side piers near Christopher Street so they would not have to deal with the headache of navigating their cargoes from the piers and through the congested, narrow streets of lower Manhattan. After the Federal income tax was instituted in 1913, revenue generated by import tariffs was no longer a crucial component of the Federal budget and by the 1930s the building was reconfigured into office space for the National Archives, a post office, and other Federal agencies. Even as the various Federal tenants gradually began to depart, the City recognized the important character of the structure and in 1966 designated it a city landmark. It was later recognized by the State and National Register of Historic Places in 1973. By 1976 the federal government deemed the building to be government surplus property and its future was in jeopardy. However a deal was successfully arranged to preserve the structure by transferring ownership to the New York State Urban Development Corporation. The UDC in turn leased the property to a private developer for residential conversion. By the 1980s, despite its continuing industrial, gritty character, the Far West Village had lost many of the industries housed in the large structures in the neighborhood. The area was beginning its transformation into one of the most sought after residential communities in the city. By the late 80s several large residential buildings were constructed or re-purposed from existing commercial structures farther and farther west. The renovation of the current Archive Building as we know it was completed in 1988. Although many historic elements were retained, many new elements were added and an entire interior atrium was cut into the structure to make the floor plans viable for apartment living. It was one of the earlier examples of preservation by commercial conversion in to residences in the city. The conversion of Westbeth (which was just landmarked) to the north is another, but it did not have the same overtly commercial character.

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.

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.

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

Bedford Street at Commerce Street, ca. 1910. The clapboard house at the corner (no. 76) has long since disappeared, but there’s a historic under-the-radar building just visible further up Bedford Street. At far left (zoom in!), past Barrow Street is no. 86 Bedford, a Federal style house with twin dormer windows on its third floor. From 1922-2007, it was the home of Chumley’s, a legendary Prohibition-era speakeasy established by the leftist activist Leland Stanford Chumley. The bar was accessed by a secret entrance off Barrow Street, along with an alleyway called Pamela Court. As legend has it, the restaurant industry term “86” (meaning something has run out or should be thrown out) originated here, either in reference to ejecting unruly customers via the door at 86 Bedford Street, or to Prohibition cops tipping Chumley off to impending raids, so patrons could exit through the side door — while police used the courtyard entrance. The bar was also known as a meeting place for writers — the walls were lined with the dust jackets of books by regular visitors — both for the modernist generation (Edna St. Vincent Millay lived down the street) and the Beats who followed. Sadly, a chimney collapse in 2007 spelled the end for Chumley’s. The building has been restored, but the restaurant that opened in October 2016 is, despite the dust-jackets, a successor in name only.

St. John's Evangelical Lutheran Church, ca. 1978. Built 1821-22 as the Eighth Presbyterian Church, the Federal style church was sold to St. Matthew’s Episcopal in 1842. The church was sold again in 1855, this time to a Lutheran congregation of German immigrants. In 1886, Victorian embellishments were added to the facade, including a new pediment inscription commemorating the church’s German-American heritage: “Deutsche Evangelish-Lutherische St. Johannes Kirche.

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.

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.

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.

39-41 Commerce Street, ca. 1933. An interesting example of the Second Empire style can be found at 39 and 41 Commerce Street in the Greenwich Village Historic District. These two houses were built in 1831-32 in the Federal style for Peter Huyler, a milkman. Later, in the early 1870s, architect D.T. Atwood added the mansard roof for owner George Huyler. The slate at the roof, as well as the hipped roof dormers, are still intact.

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.

St. Luke’s Chapel (Church of St. Luke in the Fields), ca. 1912. St. Luke’s was established in 1820 as a chapel of Trinity Church. Clement C. Moore, the first pastor, was responsible for planning the full-block complex that included a brick church building in the Federal style (1821-2), private burial ground, rectory, and surrounding townhouses. James N. Wells, a prolific builder, was responsible for construction. The popular moniker “St. Luke’s in-the-fields” arose from the character of the surrounding neighborhood at the time the church was built. Greenwich Village, though starting to be developed, still included considerable tracts of farmland. St. Luke’s has long had a reputation for philanthropy and ministry to the poor, including in recent decades, as the West Village community was hard-hit by the AIDS crisis. The AIDS Project of St. Luke’s, founded in 1987, provided food and care to New Yorkers, including many parishioners, affected by the crisis.

10 Grove Street This fine row of Federal two and one-half story houses from 4-10 Grove Street is one of the most delightful in the Village. They are frame structures with brick fronts in Flemish bond and were built between,1825 and 1834 on land leased from Trinity Church and St. Luke’s Chapel. The builder associated with the row is James N. Wells, who, like Samuel Winant and John Degraw, had started out as a carpenter, but soon achieved recognition as a builder. He did a great deal of work for Trinity Church and built St. Luke’s Chapel. With the exception of No. 2 1/2, subsequently altered by the addition of a third story with bracketed cornice and steel casement windows, this row of houses has been modified very little. They faithfully reflect the type of modest dwelling which a conscientious builder erected in the late Eighteen-twenties and early Eighteen-thirties. No. 6, built in 1827 by and for D. G. Van Winkle, a house carpenter, and No. 8, erected in 1829 for Abraham Storms, Jr., merchant, were extensively remodeled by James N. Wells in 1833-34, as was No. 2 1/2, the earliest house of the row, which Wells had originally built in 1825. No. 4, erected by Wells in 1833-34, replaced a shop owned by William J. Roome, a house painter. Consequently, Wells should certainly be credited with the fine proportions and good taste so evident here. All of these Federal houses, with the exception of No. 2 1/2, are three windows wide, two and one-half stories high, and surmounted by two dormer windows at roof level. A low stoop leads to a doorway framed by paneled reveals. Although No. 4 was the last house in the row to be built, it is interesting to note that it has a prototype Federal doorway flanked by columns, standing in front of rusticated wood blocks simulating stone. The three other doors are similar, but have pilasters instead of columns. The transom of No. 10 retains its handsome leadwork applied over the glass. The eight-paneled entrance doors of these houses, surmounted by a rectangular transom, are also typical of the era. The stone lintels, flush with the brickwork, above the doorways and windows have lost their cornices, but the plain wood cornices with undecorated fascia board may be the originals. The dormer windows at Nos. 4, 8, and 10, have double-hung muntined sash; they have frames with small square paneled blocks at the meeting of vertical and horizontal trim members and are crowned with little pediments. At No. 6, the two dormers have been combined under a low gambrel-shaped gable with a small diamond-shaped window inserted between the two original ones.

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.

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.

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.

357 West Street. The same view, but ten years later May 7th, I940.

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.

289 Hudson Street, 1974. The Half Note Club was one of the premier places to hear jazz in the 1960s, and at least a half-dozen records were “live from the Half Note.” John Coltrane, Charles Mingus, Cannonball Adderly, Billie Holiday, and Judy Garland all performed here before it became a topless bar in 1974. It’s now a deli.

Entrance to Grove Court, 1939. Grove Court is one of several private courts that dot the city. Entered through a gate on the south side of Grove Street near no. 10, the residence is a row of six, brick-faced townhouses. Completed in 1853, the development was funded by a local grocery store owner. While today the Grove Court homes are offered on the market in the range of $4 million, when constructed they were considered 'backhouses,' occupied by poor residents.

Christopher Street Station, June 18, 1936.

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.

From 1972 until 1982, a racially and economically diverse crowd patronized the Duchess, a lesbian bar located on the ground floor of 70 Grove Street. Guidebooks at the time described the bar as, “A friendly and relaxed atmosphere, popular with ‘movement’ women.” and with a “relaxed Feminist atmosphere.” A small space, the Duchess did not offer as many attractions as other bars; a jukebox near the entrance provided music for the small dance floor. It also offered a Sunday buffet and table service, like some other lesbian bars of the time. While staff at earlier Mafia-run lesbian bars monitored bathroom use to supposedly prevent sexual activity, this was not the case at the Duchess. Alison Bechdel, cartoonist and author of the graphic memoir Fun Home, said of the bar: “There was a lot of routine anti-gay hostility on the street. Even in Sheridan Square \[Christopher Park] on a weekend night you’d get hassled for holding hands. But then you’d step past the bouncer at the Duchess, and you were home free …. it afforded me the space to just be, with my guard down, and that was salvational.” - Alison Bechdel, 2016 By 1980, however, the Duchess ran into legal trouble for not serving alcohol to men, an act of “discrimination” that led to the bar losing its liquor license. However, it continued to serve liquor and, on September 8, 1982, the bartender and bouncer were arrested for doing so by two undercover police officers from the “NYC Morals Division.” Ironically, the “anti-discrimination” law for which the Duchess’s license was revoked was one many movement women who patronized the bar had actively supported in an earlier era. Fran Greenfield of Womannews explained the justification for the Duchess’s discrimination as opposed to misogynistic discrimination, against which the law was meant to protect: “On one side there are privileged and powerful groups who use their clubs to keep ‘social undesirables’ clearly on the outside. On the other side there are the people denied privilege and power who rely on their own clubs as a haven in an otherwise hostile world.” The Grove Café / Duchess II / Grove Club / Pandora’s Box After an unsuccessful attempt to continue the space as a lesbian “juice bar” without liquor, and a brief hiatus (based on guidebooks), soon after 1983, the Grove Café opened with a similar atmosphere to the Duchess. By 1989, the name changed to Duchess II, and then again in 1990 to Grove Club, and finally in 1992 to Pandora’s Box. The Grove Club was described in a guidebook as, “One of the most famous women’s bars in the entire world, known as one hang-out where you can still have a good feminist conversation.” By 1992, the bar was again running into legal trouble, but this time from neighborhood residents complaining about bar fights and noise. Cynthia Russo, then-manager of the club, claimed “residents dislike the club because many of the patrons are lesbians and because most are black or Hispanic.” Pandora’s Box apparently closed shortly after, ending the over twenty-year long lesbian legacy of 70 Grove Street.

Just on the edge of Village Preservation’s neighborhoods, this historic firehouse is especially unique because of its size. When it was being built in 1904, the New York Times said it would become “one of the largest fire engine houses in the city.” Designed by architect Edward P. Casey, the iconic large rusticated limestone base supports a beautiful brick facade and elegant windows. In 1987 the city decided the location was no longer needed as an active firehouse. When considering what to do with the building, the Department decided that, because of its size, it would be a perfect home for their museum, then located at 100 Duane Street, which was growing too large for its space. And so they relocated the New York City Fire Museum to Spring Street and opened on July 6th of that year.

Just behind 17 Grove’s wooden workshop lies a building that captures the whimsy, flamboyance, and bohemian spirit of early-20th-century Greenwich Village like no other. This Story is adapted from a blog, which can be viewed here.

70 Barrow Street ca. 1933 One of the oldest firehouses in New York, this structure was built in 1852, before there even was an organized Fire Department of New York. In 1865, the city created the Metropolitan Fire Department (MFD) which managed all of the city’s fire responses. Before that, firehouses were operated by volunteers who formed groups and petitioned the city to build them a firehouse and provide them with the materials. Most firehouse members were blue-collar workers, volunteering any extra time they had. At 70 Barrow street, a volunteer group called Empire Hose Company No. 40 had around 30 members until it was disbanded after the act of 1865. The original firehouse doorway has been bricked over partially, but its classic look is still legible. Our friend Tom Miller at the Daytonian in Manhattan blog noted “The carved, faceted keystones at street level and the third floor were an added touch of sophistication to the handsome four-story structure. Unusually tall windows, deft brickwork, and a deeply-overhanging cornice set the firehouse apart from the norm”

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.

(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.

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.

39-41 Commerce Street, February 2, 1937. The L-shaped Commerce Street, which runs between 7th Avenue South and Barrow Street, has a number of, likely apocryphal, stories about its name origins. Some say that it was called Commerce after an early 19th Century smallpox breakout prompted business from downtown to move to this area of the Village. Another suggests that it was named as part of a series of streets named after French revolutionary virtues, including Art, Science, and Reason. This theory though has been thoroughly debunked by Don Rogerson, author of Manhattan Street Names Past and Present. Commerce was truncated in the 1910s when Seventh Avenue South was extended to Varick Street and nos. 1-8 were demolished for the construction of the new Avenue. Nos. 39 and 41, seen here, were constructed in 1832 by Peter Huyler of New Jersey. The original homes were two-and-a-half stories high, with dormers in a peaked roof (the mansards were added by Peter's heirs in 1873). A unique feature of the homes is the shared garden space between them (a large enough space to have been occupied by an additional home). While the entrances to the homes were once on the Commerce Street facades, by 1932 they had been moved into the garden-facing walls . By the time this photograph was taken in 1937 the homes had been long sold away from the Huyler family and had been divided into four apartments in each home.

163 Christopher Street, at the N. W. corner of Washington Street showing "McAvoy's Drug Store" which was operated by a local character lovingly known as "Mother McAvoy." To sailors and truckmen of the neighborhood she was more than a druggist. She was a friendly counsellor, and a 'bank" and "post office" for sailors on their brief stays ashore. From her old-fashioned desk in the store and through her self-acquired knowledge of various foreign languages, and acting as a Notary Public she helped many sailors turn to land lubbering. Proximity to the Federal Building increased her field of operations. She was born in Rome, N. Y. and was graduated from N. Y. C. P. in 1902. After clerking in several drug-stores she bought this little store for $3500. At this time her clientele consisted of many New Jersey people who commuted on the Christopher Street Ferry. She died at the age of 64.

This one got a very liberal application of lipstick. The location is 381 Hudson Street, in the same block. Notice the NRA Blue Eagle in the window; these had just come in that fall. November 30, 1933.

St. Veronica's ca. 1985 St. Veronica’s, located on Christopher Street between Washington and Greenwich Streets, was built to accommodate the growing congregation of St. Joseph’s, as the Irish population of longshoreman who worked along the docks of the Hudson River grew. The parish was formed in 1887 by the Reverend John Fitzharris of St. Joseph’s Church with a collection by local parishes. Services began in a warehouse at the corner of Washington and Barrow Streets. The Irish congregation laid the cornerstone in 1890, but the final dedication would not be until 1903, owing to the limited financial means of the congregation’s working class parishioners. The church is named for named for Veronica, the woman who is credited with wiping the face of Jesus and is depicted on the 6th Station of the Cross.

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.

Horse-drawn steam engine apparatus, outside the Engine Co. 24 firehouse at 78 Morton Street, 1911. No. 78 Morton Street served as the firehouse for Engine 24 from 1865 to 1975. Built in 1864 as the ‘Howard Engine Company No. 34,” known affectionately as “Red Rover,” this engine company was first organized in 1807 as a volunteer fire-fighting company. It was eventually absorbed by the FDNY and became Engine No. 24. In 1975 in the middle of the city’s financial crisis it was decommissioned, and lay empty for many years. Much of the facade’s ornament was stripped away, but ealier this decade the elaborate detailing over and around the building’s windows were restored. The building now contains a residence.

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.

St. Luke's Chapel, October 21, 1935. The parish of St. Luke's was organized by Greenwich Village community members in the fall of 1820. They named the church after St. Luke, the physician, as a reference to the town's use as refuge from the yellow fever epidemics that plagued New York City during the summers. One of the church's founders was Clement Clark Moore, Oriental and Greek Literature scholar, author of "Twas the Night Before Christmas," and real estate developer of Chelsea. The church building was constructed between 1821 and 1822 on a plot of land donated by Trinity Church. In 1891 St. Luke's would become a chapel of Trinity Church. That relationship lasted through 1976, when St. Luke's once again became an independent parish of the Episcopal Church. A major fire in 1981destroyed much of the church building, but thought fundraising the structure was restored. Throughout the later 20th century the church became very active in community ministries, working with people with AIDS and at-risk LGBTQ youth.

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.

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.

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.

Constructed on a newly laid out street and on land that had most recently been the Newgate State Prison, the wood-frame building at 6 Weehawken Street has a long and varied history. Opened in 1834 by the City as part of an open-air market called the Greenwich Market, its design was purposeful. The deep eaves of the roof protected the produce from the weather. The market lasted just a decade. In 1848 the building was bought and repurposed by a boat builder for his business (and also probably a saloon). The proximity to the water and its related businesses and sea-going, likely hard-drinking populations, made this an ideal location for a tavern. In the late 19th and early 20th century, it served variously as an insurance brokerage, cigar store, and pool hall. By the 1920s it was “Billie’s Original Clam Broth House.” Further tenants in the 20th century included a sort of clothing/accessory shop for dock workers, a trucking company, and a couple of gay bars. In late 2016 the building's owner, Jean-Louis Goldwater Bourgeois, architectural historian and son of the famed sculptor, Louise Bourgeois, announced he was giving the building, and more land it was on back to the original Manhattanites. Having bought it in 2006 for $2.2 million, he was gifting it to a nonprofit controlled by the Lenape tribe. A few years later, it is unclear if the transfer of property went through.

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.

Weehawken Street, west side, north from but not including Christopher Street (where it commences), to and including West 10th Street (where it terminates), showing an old 2-story house in a state of collapse. On the extreme left appears a portion of the West Side Vehicular Express.

68 Bedford Street, 1963.

The wooden house at 17 Grove Street (at Bedford Street) is often assumed to be one of the oldest houses, if not the oldest house, in Greenwich Village. It’s a good guess since wooden house construction was banned in Manhattan starting in the early 19th century in response to fires in these densely-packed precincts. The prohibition was enacted first below Canal Street in 1816, then below 32nd Street in 1849, and finally below 155th Street in 1882. But 17 Grove Street only dates to 1822 (actually, just the first two floors do; the third floor was added in 1870). This makes it a relative youngster compared to some of the houses found in these parts, in spite of its charmingly anachronistic look. But regardless of its date of construction, 17 Grove is one of the most photographed and beloved houses to be found anywhere in the Village. And while there are several wooden houses in the Greenwich Village Historic District (including the 1799 Isaac Hendricks House diagonally across the street at 77 Bedford Street), most of those have been covered in brick. But 17 Grove proudly wears its woodenness on its sleeve. It also improbably maintains the wooden workshop behind it on Bedford Street, built by the original owner William Hyde, a window sash maker. Both the main house and the former workshop are now single-family residences.

The Lucille Lortel Theatre, ca. 1984. This landmark theater is the Lucille Lortel Theater, formerly known to many as the Theatre de Lys. The facade of the theater today does not reflect the rich overall history of the site. In fact, who knew the theater was converted from two row houses and rear stables dating back to 1868? Before becoming a motion picture house and theater, the two homes were owned by a rug and carpet merchant named Jeremiah W. Dimick. It is not certain if he and his family lived at this home because Dimick was a bit of a real estate mogul. Shortly before his death in 1896, Dimick was shamed in the New York Times with other property owners for creating unfathomably terrible housing for lower class tenants. His rear stables at 121 and 123 Christopher Street were converted into housing; piling 14 and 10 tenants into each respectively. His son, also named Jeremiah, would take over the property and allow the site, with rear stables and all, to be converted into a motion picture house, called the New Hudson Theater, around 1913. In 1932, the Dimick family no longer owned the property and the theater would change hands several times as the Hudson Playhouse, Theatre de Lys and finally its current owners, the Lucille Lortel Foundation. The theater today is still going strong with a performance almost every day.

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.

Wood-frame house at the corner of Grove and Bedford Streets, May 12, 1936. This house was built by window sash-maker William Hyde in 1822, the year of a yellow fever outbreak which drove New Yorkers to the safety of rural Greenwich Village. Originally a two-story structure in the Federal style, a third floor and new cornice were added in 1870. No. 17 Grove Street is the Village's largest remaining wood-frame structure, predating Manhattan’s 1866 ban on new construction of wooden homes. In addition to the main house, Hyde’s workshop at 100 Bedford Street (rear, at left) has survived to the present day.

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.

“Twin Peaks” house at 102 Bedford Street, 1932. In its first incarnation, 102 Bedford was an 1830s Federal style wood-frame house. In 1925, Clifford Reed Daily — with financial backing from financier Otto Kahn — bought the house and undertook a whimsical renovation, adding its distinctive peaks and subdividing the interior into small and unusual living quarters. Stranger still was the building’s dedication ceremony, originally reported in the Herald Tribune, reproduced in the New York Times in 2003: “The actress Mabel Normand stood on a platform on top of one of the gables and shattered a bottle of Champagne over the roof. Next to her, Princess Amelie Troubetskoy (an American novelist who had married a Russian prince in czarist days) burned acorns in a charcoal brazier in honor of the Greek god Pan. Holy water, flowers and other rites also inaugurated the building.”

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.

8 Grove Street ca. 1936 When Abbott photographed an old-fashioned milkwagon in 1936, New York City’s milk industry was rapidly changing. Distribution was dominated by Sheffield Farms and Borden Company. One-third of their daily three million quarts of milk and one million quarts of cream was still delivered by horses, the rest by truck. In 1938, Sheffield Farms opened a $2.5 million plant and replaced horse-drawn wagons with motorized vehicles. Abbott took this photograph on Grove Street, a few blocks from her Commerce Street home.

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.

Grocery store at the corner of Christopher and Bleecker Streets, June 18, 1936. One of Greenwich Village’s oldest buildings, this corner store was built as a grocery in 1802. Its top floor was reputedly the office of the commission that laid out the 1811 grid plan for the development of Manhattan Island. The structure was itself a victim of urban planning: in 1828, when a bend in Bleecker Street was eliminated to facilitate the smooth flow of traffic across Christopher Street, the store lost 20 feet of its width. Abbott’s photograph shows the brick wall, extending behind and above the old clapboard structure, which marks the building’s truncation. The grocery was run by a single owner for 25 years and remained remarkably unchanged until 1997. It is currently under renovation as a pizza shop.