213 Second Avenue Building Date : 1865 Original Use : Residential/Commercial Original Owner : George Kruster Original Architect : Unknown Description & Building Alterations Likely built in 1865, this 5-story corner lot brick building has since been stuccoed and painted, obscuring much of the original detailing. The sills are still evident and the cornice is intact

3-4 Gramercy Park West, ca. 1970-1990.

New York Post-Graduate Medical School and Hospital. October 7, 1911. The hospital at Second Avenue and 20th Street opened in May, 1894, with a reception attended by friends and benefactors of the institution. The New York Times described the new facilities: “Physicians who have visited the great hospitals of Europe pronounce the new building as second to none In Its equipments for advanced medical work,” also noting that “the baby incubator, in which there was a baby, was a source of great interest.” The hospital closed in 1963, when it was rendered obsolete by the newly-completed Bellevue Hospital. The building was demolished and its site was converted to a playground for the Simon Baruch Junior High School.

189 Second Avenue, Harrison G. Wiseman, 1925-26 This part of Second Avenue was once referred to as the “Yiddish Rialto” for its many theaters catering to Jewish immigrants, for whom theater was a popular form of entertainment and an important cultural institution. The Moorish Revival structure was built for Brooklyn lawyer and civic leader Louis N. Jaffe to house the Yiddish Art Theater company, which ultimately only held four seasons here. Subsequently, it functioned as a Yiddish playhouse and theater until being converted to a cinema in 1988. The Former Yiddish Art Theater is a designated New York City Individual and Interior Landmark and listed on the State and National Register of Historic Places.

Street scene of Third Avenue at East 13th Street, ca. 1935. At left, on the west side of the avenue, is the Variety Theatre, one of New York's earliest motion-picture houses. The building dated to about 1897, and was likely altered to house a conventional theater around 1914. The Variety screened short films, “photo plays,” second-run features, and, later, adult films, before it was closed by the health department in 1989 — illicit activities were not uncommon. From 1991-2004, the Variety operated as a live theater venue. Despite preservation efforts by the Greenwich Village Society for Historic Preservation, the old theater was demolished in 2005. The tall building in the background, at right, is 200 East 16th Street, a 20-story Art Deco apartment building completed in 1930.

44 Stuyvesant Street ca. 1927 On January 31, 1795, Nicholas William Stuyvesant, descendent of Director-General Petrus Stuyvesant, married Catherine Livingston Reade, herself a descendant of New York royalty of sorts (the family name can be found on streets in Lower Manhattan and Brooklyn). While clearly this was a significant date for these two early New Yorkers, why should we care over two centuries later? Because that marriage led to the construction of what is today the oldest residence in Manhattan, 44 Stuyvesant Street. Nicholas built 44 Stuyvesant Street for his wife and what would end up being a very, very large family. Walking down the unusually angled Stuyvesant Street today, this subtly elegant early Federal building may seem to fold seamlessly into the streetscape. However, if you were to stand across the street and turn the clock back to 1795, you would see the surrounding buildings disappear one by one, and the street grid as we know it dissolve in place of a completely different configuration. You would recognize but one structure: No. 44, the oldest building in the Village and the oldest structure in Manhattan continuously used for residential purposes. The land upon which 44 Stuyvesant Street was built was part of the original farm of Petrus Stuyvesant, Director-General of the West India Company in New Netherlands. Almost a century and a half before Nicholas and Catherine started their life together, Petrus Stuyvesant purchased two adjacent “boweries” (rooted in the old Dutch word for “farm”) from the West India Company on March 12, 1651. On November 30, 1787, a lane was cut between the two sections, running true east-west. The path became Stuyvesant Street, the only street preserved from the period when the Stuyvesants owned a huge swath of land within and beyond today’s East Village (roughly between Fourth Avenue, the East River, East 5th Street, and East 20th Street). The Stuyvesant street grid squared with the points of the compass: the streets running north-south were named for the female members of the family, and those bisecting them were named for the male members of the family. When Nicholas Stuyvesant built 44 Stuyvesant Street, it was a free-standing structure at the southwest corner of Stuyvesant Street and the no-longer-extant Judith Street. Nicholas and Catherine lived here together for twenty-three years, raising six sons and three daughters, just as the generations that followed them would raise their own families. When Nicholas’ mother, Margaret Livingston, passed away in 1818, Nicholas and Catherine moved into the Bowery house where she had lived. Nicholas had inherited the building upon the death of his father, Petrus Stuyvesant. After moving, he and Catherine rented out their former home at 44 Stuyvesant Street for the rest of their lives. It was during this period, in 1832, that the parlor floor of the house was remodeled in the later Federal style. In 1861, the rows of Anglo-Italianate homes that today fill in and form the rest of the St. Mark’s Historic District and ‘Renwick Triangle’ were finally developed. No. 44 Stuyvesant Street’s historical significance is amplified all the more by its important place in New York City landmarks history. After the New York City Landmarks Preservation Commission began to identify and protect significant buildings and districts in the city in 1965, this was one of the first buildings, within one of the first districts, to be formally recognized. No. 44 Stuyvesant Street was designated as part of the St. Mark’s Historic District on January 14, 1969, almost one hundred seventy-five years after its original date of construction. Today, 44 Stuyvesant Street is one of two remaining houses from the early generations of the Stuyvesant family (along with the Stuyvesant Fish House at 21 Stuyvesant Street, built-in 1803 by Petrus Stuyvesant and similarly rich in architectural integrity and historical associations). Along with the Jumel Mansion and the Dyckman Farmhouse in Upper Manhattan, this is the only surviving residential building from the 18th century in Manhattan, and the only one “which has been solely used for residential use, successfully retaining …its original plan (which is two rooms off the hall) and its many architectural elements.” It also reflects the early building traditions in the area, displaying original Flemish-bond brickwork, splayed lintels, and a brownstone basement. Furthermore, 44 Stuyvesant Street showcases a 20th-century artist’s studio window, emblematic of the cultural and demographic shifts that took place in the East Village at that time, and the architectural features that defined it.

The Krueger Cafe and Restaurant at No. 56 Union Square (later 213 Park Avenue South), ca. 1910. This space would later become the legendary Max's Kansas City, the venue of choice for New York School artists of the 1960s and Andy Warhol's coterie of avant-garde performers and hangers-on. Later, the bar was reinvented as a music venue, becoming a crucible of the city's nascent punk, post-punk, and no-wave scenes.

326 East 18th Street ARCHITECT: Unknown DATE: 1853 STYLE: Italianate No. 326 is the Western most house of a charming row of three brick Italianate residences. This low-lying, two story row is set far back from the street behind exceptionally deep front yards, a great rarity in Manhattan. This row recalls a time when the area east of Third Avenue was just beginning to be developed.

East 11th Street.

190 Second Avenue; 300 East 12th Street Building Date : 1903 Original Use : Residential/Commercial Original Owner : David Perelman Original Architect : Bernstein & Bernstein Description & Building Alterations This six-story new law brick tenement was erected in 1903 for stores and 20 families. It was designed by architect Bernstein & Bernstein. The first story used to be occupied by Café Royal from 1908 until 1952, one of the most popular social venues for Yiddish theater performers, as well as other Jewish writers, celebrities, and characters during that time. Paul Muni, Jack Benny, David Sarnoff, Fannie Hurst, Eddie Cantor, Will Durant, Carl Van Vechen, and Sarah Adler were all Café Royal habitués. The building shares many similar elements with other works by Bernstein & Bernstein. Like many other new law tenements, it sits on a corner lot. Its current facade features a curving, projecting bracketed cornice with a garlanded frieze, a chamfered corner, terra-cotta panels, beltcourses, window lintels with keystones, triangular and segmental-arched pediments, decorated panels beneath fourth-story windows, brick quoins, elaborate window surrounds, and a molded cornice above the first floor. The rounded window pediments connect the third and fourth floor windows in continuous enframements. The storefront has been reconfigured and refaced.

236 East 14th Street ca. 1941 There is an unexpectedly grand treat on the south side of this busy thoroughfare between 3rd and 2nd Avenues. The entire row of New Law tenements at 226-240 East 14th Street were built in 1902 to the designs of the architectural firm of Sass & Smallheiser. These red brick buildings with terra cotta details employ a rich Renaissance Revival style. The outer-bay, second floor bowed windows are surrounded by detailed ionic columns and topped with a fluted frieze. The four recessed bays on the second floor have arched enframements with exaggerated keystones. The second floor also has recessed belt courses of white brick, a popular feature of Renaissance Revival tenement design. The windows on the third through fifth floors have either splayed lintels or full enframements all in classically inspired motifs, and the fourth floor has windows topped with curved pediments. The sixth floor, like the second, has recessed belt courses in white brick. The pressed-metal cornice follows the curve of the projecting bays and acts as a lintel for the sixth floor windows. Though the cornice has been removed from 236, and 238-240 was painted, these buildings are still in remarkable condition.

Manhattan: 11th Street (East) - 4th Avenue.

Samuel Tilden House ARCHITECT: Vaux & Radford DATE: 1881-84 STYLE: Victorian Gothic This building is a fine example of conservative Victorian Gothic architecture. It displays a wealth of unusual details and varicolored stones. It was once the home of an American distinguished both in the realm of politics and the world of culture and scholarship.

12th Street Cinema, ca. 1975. The theatre at 189 Second Avenue was the once a part of the Jewish Rialto that lined Second Avenue; more than two dozen theatres lined that street between Houston and 14th Street. Funded by Russian-born lawyer Louis Nathaniel Jaffe and created for the theatre company of actor Maurice Schwartz (called Mr. Second Avenue), the theatre was designed by Harrison G. Wiseman. Completed in 1926, the Yiddish Art Theatre only produced two seasons of work in the Moorish-influenced building, owing to problems between Jaffe and Schwartz. Between 1929 and 1936 various Jewish folk theatre companies produced shows there. In March of 1936 the Depression-era WPA Theatre Project took over the venue. By the 1940s a nightclub had opened in the basement, a gay supper club that was, in fact, a front for the mob. The venue showcased live performances into the 1970s. Since 1991 the building has been the Village East Cinema.

Tammany Hall ARCHITECT: Thompson, Holmes & Converse; Charles B. Meyers DATE: 1928-29 STYLE: Neo-Georgian Tammany Hall features a rusticated stone base, pedimented portico, and double height pilasters, sculptural reliefs in limestone and terra cotta, and neo-Georgian details. It is in the words of New Yorker architectural critic George S. Chappell (T-Square) “an exceptionally charming design” and “a real adornment to the neighborhood” and remains a significant reminder of New York City’s political, theatrical, and labor history.

Trade and banking energized New York in the early 1800s, drawing new businesses and people. Growth fueled prosperity. And prosperity fueled more growth. Railroads were a vital part of this dynamic cycle—both a response to and catalyst for the city’s expansion. This story originally appeared in the Grand by Design virtual exhibition here.

Luchow's Restaurant ca. 1975 Luchow’s was a German restaurant/beer garden. It opened in 1882 at 110 East 14th Street at a time when the East Village was known as “Little Germany”, or Kleindeutschland. The restaurant would expand over the years in size and prominence, eventually occupying a space eight times as large as the original venue. In its heydey, Luchow’s was the place to see and be seen if you were a part of the music, theater, or literary crowd. It imported 70,000 half-barrels of beer a year, a daily consumption of 24,000 liters. Famous diners include Theodore Roosevelt, Diamond Jim Brady, Oscar Hammerstein, John Barrymore, Arturo Caruso, Sigmund Romberg, Lillian Russell, O. Henry, Theodore Dreiser, Thomas Wolfe, and Edgar Lee Masters. Luchow’s was the first restaurant in the city to get its liquor license following Prohibition’s repeal in 1933. Union Square lost much of its luster and Luchow’s moved to midtown in the early 1980s. The Palace restaurant and disco opened in Luchow’s former space, followed by a gay bar. But a 1992 fire led to the building’s demolition in 1995, despite efforts to landmark the Victorian building. NYU bought the site and locals were hopeful when plans were announced to revive Luchow’s with a ground-floor “Gay 90’s”-themed restaurant with a (less warmly-received) 600-bed dorm atop it. In the end, the dorm was built, but the restaurant was never revived.

215 East 10th Street Building Date : 1891 Original Use : Residential Original Owner : Fay Stacom Original Architect : Charles Rentz Description & Building Alterations The two tenements at 213 and 215 East 10th Street were erected together in 1891. They were designed by architect Charles Rentz, who also designed Webster Hall. The two buildings share identical facade elements despite being different building heights. No. 215 is six stories high and features a bracketed cornice with a paneled frieze, floral decorated window surrounds at the fifth and sixth stories, balconettes at the fifth story with cubic carvings beneath, molded arches at the fourth story, figural keystones, ornate panels, and quoins flanking the side windows of the second and third stories. There is a molded cornice above the first story, acanthus ornaments over the second-floor windows, masks at the keystones of the segmental-arched windows of the third floor, and cherubs in the spandrels of the arched windows of the fourth floor. The entrance is flanked by incised pilasters with lion head carvings at the top supporting a molded entablature.

Stuyvesant Fish House, 19 Gramercy Park South; March, 1909. In 1845, the politician and Whig Party official Samuel Johnson, built a four-story townhouse at 86 Irving Place, just south of the newly-developed Gramercy Park (the fifth floor would added by its next owner, paper merchant Horace Brooks). Just as developer Samuel Ruggles intended, Gramercy Park became a fashionable address in the latter 19th century, and attracted a set of socially prominent residents. In 1887, the house was purchased by Stuyvesant and Mamie Fish, the son of Secretary of State and New York governor Hamilton Fish. Mamie, a renowned hostess in possession of biting wit, immediately set about brining the townhouse up to her standards. The first order of business was a change of address, to the more desirable 19 Gramercy Park South. Next, the Fishes hired architect Stanford White, himself a Gramercy Park resident, to lead a thorough redesign of the interior — including a top-floor ballroom. The spectacular results were described by Brendan Gill, writing in The New Yorker in 1979, as "Unquestionably, the greatest house remaining in private hands in New York." (Some sources, including the Times' Christopher Gray insist that another architect, Sidney V. Stratton, was responsible for the redesign.) Mamie Fish, however, had her sights set on even greater things: the Fishes decamped for a new uptown mansion, also designed by White, in 1898. During the 20th century, the publicist and art collector Benjamin Sonnenberg lived at No. 19 for nearly 50 years.

Academy of Music, 1909. The Academy of Music opera house, opened in October 1854 with a production of Vincenzo Bellini’s ""Norma."" That opera house was destroyed in a May, 1866 fire. (The building pictured above is the second Academy, opened in February 1867). In 1887, the Academy of Music, no longer able to compete with the popular Metropolitan Opera uptown, was sold and to a theatrical venue. Pictured above in 1909, the marquee advertises a production of “Brewster’s Millions” starring Edward Abeles. The building was demolished in 1926. Today its site is occupied by the Consolidated Edison headquarters, a 24-story Beaux Arts skyscraper.

Jefferson Theater, 212 E. 14th Street. For much of the twentieth century, this piece of real estate with a small front along 14th Street and a large space along 13th Street housed a theater and offices. Erected in 1912 and opened in 1913 as the B.F. Keith’s vaudeville theater, the building was designed by George Keister. Keister’s other New York works include the Astor, Belasco, Earl Carroll, and Selwyn theatres. The narrow theater entrance at 214 East 14th Street was nestled between two tenements with the bulk of the building (the theater’s auditorium) located on 13th Street side of the property. As vaudeville died out and film became popular, the theater was re-branded as the RKO Jefferson Theatre. The Jefferson operated into the late 1970s as a theater, when it was closed for good. It stood empty for decades and was finally demolished in 2000, creating the empty lot many East Villagers are familiar with today (2017).

Did you know that this eight-story Arts & Crafts style loft building designed by Robinson & Potter now known as “The Petersfield,” was once known as the “The Fish Building” due to its direct connection to the area’s Dutch-colonial history? This building’s name comes from Stuyvesant Fish, who constructed the building and was a direct descendant of the last Dutch colonial governor Peter Stuyvesant. The loft building was converted to residences in 1986 and was named The Petersfield after the name given to the original home of Peter Stuyvesant, which was located nearby. This and surrounding blocks were part of the original Stuyvesant Farm. Click here to read more.

Klein Department Store, ca. 1984. S. Klein On The Square was department store whose flagship location sat in two buildings on the corner of 14th Street and Union Square East. Considered a more affordable option to stores such as Macy's and A\&S, Klein still offered a furniture department, fur salon, and a full service pet department. The original store (at 14th Street) opened in either 1905 (as stated in the founder's obituary) or by 1912 (as noted in the Landmarks Preservation Commission's East 17th Street/Irving Place Historic District Designation Report). The store expanded in 1930 to include the former Union Square Hotel building at the southeast of 15th Street (out of frame at left). During the 1960s the business expanded opening stores in New Jersey, Maryland, and Virginia. By the late 1970s the parent company of the store began closing the locations en masse and selling off the property, including the flagship location, which closed in 1975. The building was demolished in the mid 1980s for the 1987-completed, Zeckendorf Towers apartment complex.

109 Third Avenue | Block : 469 | Lot #7501 Building Date : 1837 Original Use : Residential/Commercial Original Owner : William Stone Original Architect : Unknown Description & Building Alterations Formerly two separate lots, the buildings at 109 Third Avenue have been combined as Lot 7501. The smaller of the two, owned by William Stone, was constructed as a Federal style row house with three full floors and an attic level with dormer windows in 1837. Now heavily altered, little remains of the Federal details, but the fourth floor windows give a hint of the dormers that were once there. The second and third floors were originally two bays wide with shuttered windows. These two buildings have been combined and house the flagship store for Kiehl’s Since 1851. Founder John Kiehl started his career as an employee at Englehardt & Huber Apothecary at the corner of Third Avenue and East 13th Street. Englehardt and Huber were the store’s second owners, and had purchased it from German immigrant Louis Brunswick. Brunswick has started selling herbs and oils at his Brusnwick Apotheke in 1851. John Kiehl began working at the apothecary when he was approximately 20 years old, and in 1921, his apprentice Irving Moskovitz took over the store. In 1959, Moskovitz (now using the surname Morse) was running the store and Kiehl’s was moved next door to 109 Third Avenue. In 1961, Morse’s son began operating Kiehl’s and revamped the brand into what it is today.

129 East 19th Street ca. 1904 Son of the author Frances Hopkinson Smith, F. Berkley Smith (1868-1931) resided and worked at this charming Gothic Revival row house near Gramercy Park, at 129 East 19th Street. Smith was an architect and practiced that profession until 1896, when he turned his attention to painting. Built originally as a stable in 1860-1861, the house still stands today under landmark protection.

St. Mark’s-in-the-Bowery was constructed 1795-99 and designed by John McComb. In 1807 the tower designed by Town was added, consisting of four massive elegant pedestals with minimal Greek detail. The top pedestal has a clock face on each facet. In 1828 the crowning jewel was added in the form of a pyramid spire, designed by Town and Martin Thompson which terminates in a ball and cross finial.

Union Square Savings Bank ARCHITECT: Henry Bacon DATE: 1905-07 STYLE: Academic Classic, Bank The Union Square Savings Bank was designed in a bold and monumental Academic Classic style popularized by the World’s Columbian Exposition of 1893 in Chicago. Bacon’s design accentuates its prominence with a freestanding portico supported on four giant Corinthian columns and a monumental entranceway behind the columns.

208 East 13th Street, Manhattan (1901, Charles Rentz) From 1903 to 1913, this tenement was the home of the anarchist and revolutionary Emma Goldman (1869-1940), a Jewish immigrant from Lithuania (then part of the Russian Empire). Goldman wrote and lectured in support of women’s rights, birth control, free speech, sexual freedom and labor unions. Beginning in 1906, she published a monthly periodical from this residence entitled Mother Earth, in which she and other radical thinkers and artists expressed their ideas. Her lectures, given all over the country, drew large crowds, and her activism led to multiple arrests, the last of which would be for her anti-draft activism at the beginning of the United States’ involvement in World War I. She and her long-time partner and fellow-anarchist, Alexander Berkman, were imprisoned for two years. After her release from prison in 1919, the federal government, under the Anarchist Exclusion Act, deported Goldman and 248 others, including Berkman, back to Russia. She continued to write and support her causes, spending time in England, Canada, France and Spain before she died in 1940 in Toronto, Canada. Photo by Village Preservation

Consolidated Edison Company Building ARCHITECT: Henry Hardenbergh DATE: 1910-14 STYLE: Classical Revival, Renaissance The Con Edison Building was constructed in stages between 1910 and 1929 for the Consolidated Gas Company, the predecessor to Consolidated Edison. Hardenbergh’s eighteen-story, classically-inspired facades feature giant segmental arches and double-story porticos at the base and rusticated limestone piers balanced by strong horizontal moldings at the upper stories and are enlivened by a rich blend of Classical Revival and Renaissance motifs.

St. Mark's Church-in-the-Bowery, ca. 1979. The land on which this 1799 church sits was once farmland owned by the Dutch West India Company. In 1651, Peter Stuyvesant, Director General of New Netherland, purchased the farm or "bouwerie," and constructed a chapel. When Stuyvesant died in 1672, he was buried under the chapel (he remains are still interred here). A descendant sold the old chapel and its land to the Episcopal Church under the condition that a new structure be erected. The cornerstone of the late Georgian style church was laid in 1795 and the fieldstone building was consecrated in 1799. Its architect, John McComb Jr., was the designer of a number of iconic late 18th and early 19th century landmarks, including Gracie Mansion, City Hall, Hamilton Grange, and Castle Clinton. At the turn of the 19th century Alexander Hamilton assisting in the legal efforts to recognize St. Mark's Church as the first American Episcopal parish autonomous of the 1697-founded Trinity Church. In 1828 a Greek Revival steeple was added to the building, with renovated columns, a new parish house, a Sunday school, and a cast- and wrought iron fence all completed in the 1830s. Later, a cast iron portico (attributed to cast iron innovator James Bogardus) was constructed. While the parish had long been engaged in charity work, the 20th century saw the community expand their social justice and cultural efforts, hosting multicultural religious leaders, dance, poetry, and art events, and work training programs. Following a devastating fire in 1978, the community and local preservationists banned together to form the Citizens to Save St Mark's. Through advocacy, financial support, and the physical labors of the Preservation Youth Project, the building restoration was completed in 1986.

German Savings Bank, ca. 1905. The Central Savings Bank was constructed between 1870 and 1872 as the German Savings Bank. The bank, founded by successful German businessman Jacob Windmuller, dated to 1859. Windmuller created the bank for the large and growing lower Manhattan German population. Business was conducted in German and the immigrant community flocked to the institution. In 1864 the successful bank moved north to a location at the corner of 14th Street and Fourth Avenue. They outgrew their original building, purchased some of the surrounding lots, and hired German-born architect Henry Fernbach to design a French Second Empire style building. The resulting five-story structure had a facade of arched openings, separating pilasters, and cornices at each level. While the bank occupied the lower floor, the upper floor tenants included artist and glassmaker David Maitland Armstrong and sculptor Augustus Saint-Gaudens. Following the anti-German sentiments of the First World War, the banks changed its name to ‘The Central Savings Bank in the City of New York.' The bank left the neighborhood in 1928, relocating to a large new building that occupied the entire block between Broadway and Amsterdam Avenue, 73rd to 74th Streets. The upper floors of the 14th Street bank building housed the New York County Committee of the Communist Party for a number of years in the 1940s. The bank building was demolished in 1962 and replaced by a no-style red brick apartment building.

George Bellows house (center). Ca. 1915. The painter George Bellows, known for his realist depictions of boxing matches, New York City scenes, and portraiture, purchased this Greek Revival townhouse in 1910. He renovated the building’s top floor, raising the ceiling and adding large windows to provide light for his studio.

The Players ARCHITECT: Unknown DATE: 1845 The porch of this building represents the epitome of refinement and elegance and that this handsome addition brought a new gaiety to New York City. This building was remodeled from a Gothic Revival townhouse. The very distinguished front porch of the Players with its handsome iron railings and gorgeous wrought iron lamps is the work of Stanford White.

Germania Life Insurance Company Building ARCHITECT: D'Oench & Yost DATE: 1910-11 STYLE: French Second Empire This twenty-story commercial building, crowned by an early and impressive example of modern signage, was designed by the architectural firm of D’Oench & Yost and built in 1910-11 as the national headquarters for the Germania Life Insurance Company of New York. The building is a tripartite columnar skyscraper which incorporates in its design motifs from traditional European architecture, most prominently the grand four-story mansard roof with varied dormer windows. The mansard roof and other features tie the building’s design to French architecture, both the Second Empire style and the modern French mode that dominated Parisian architecture of the 1890s.

98 Third Avenue Building Date : 1839 Original Use : Residential Original Owner : Caleb Bartlett Original Architect : Unknown Description & Building Alterations Lot 31 is occupied by a mixed-use four-story building, built as a single-family residence in 1839 for Caleb Bartlett. The facade is similar to those belonging to nos. 92-96, except this building has a double window with a shared lintel and sill at the top story. A 1872 alteration permit indicates that the building had been utilized as a dwelling with a ground floor store and would become a three-family dwelling with a new storefront.

Old Stuyvesant High School 345 E. 15th Street, Manhattan 1907 Founded in 1904 and constructed between 1905 and 1907, the (former) Stuyvesant High School was one of the first high schools built after the creation of a citywide system of public secondary education. Designed by C.B.J. Snyder, the school’s innovative H-plan allowed more natural light and air into the classrooms than older designs. Featuring a distinctive façade in the Beaux-Arts style, the building was designated a New York City Landmark in 1997 and today is home to the Institute for Collaborative Education, the High School for Health Professions and Human Services and P.S. 226.

The Century Building, East 17th Street, ca. 1975. William Schickel’s Queen Anne style headquarters for the Century Publishing Company was built in 1880-1, facing south toward Union Square.

50 & 52 Third Avenue | Block : 556-1 | Lot #26 Building Date : Mid-19th c./1991 alt. Original Use : Commercial/Residential Original Owner : Unknown Original Architect : Unknown Description & Building Alterations This three-story conjoined building was once two separate buildings. Today there are still two separate storefronts. The buildings were likely constructed in the 19th century, but their facades have been given a complete 20th century makeover. From the late 19th century until sometime in the 1960’s, a store called Sig Klein’s Fat Men’s Shop existed in the northern storefront. As evidenced by the tax photo, around the 1930’s and 40’s Stuyvesant Loan Office was housed in the southern storefront.

Century Association Building ARCHITECT: Gambrill & Richardson DATE: 1869 STYLE: Neo-Grec The Century Association Building is the oldest known surviving structure erected as a clubhouse in Manhattan. Its stone-trimmed brick exterior, which remains remarkably intact, heralded a wave of neo-Grec buildings in the early 1870s.

New York City abounds with tales of ghosts, and with each retelling, we breathe new life into these stories. In the grand Halloween tradition, join us as we venture into the most haunted sites of our city.

Scheffel Hall ARCHITECT: Weber & Drosser DATE: 1894-95 STYLE: German Renaissance Revival The (former) Scheffel Hall, dating from 1894-95, is a significant reminder of the German-American community known as Kleindeutschland which flourished on the Lower East Side in the last half of the nineteenth century. Scheffel Hall’s unusual and flamboyant facade, designed by the architectural firm of Weber & Drosser after the modeled of the famous Friedrichsbau at Heidelberg Castle, is one of the few examples of the German Renaissance Revival style in New York.

Southeast corner of 14th Street and Fourth Avenue, ca. 1977. The now unrecognizable corner of Union Square where today a large CitiBank occupies the corner lot.

Beth Israel Hospital, April 4, 1929. When Beth Israel’s new, 500-bed facility opened in 1929, the thirteen-story building was the world’s tallest hospital.

216-222 Second Avenue; 301-309 East 13th Street Building Date : 1856/1890-1893 alt. Original Use : Institutional Original Owner : New York Eye and Ear Infirmary Original Architect : Unknown/Robert Williams Gibson (alt.) Description & Building Alterations The New York Eye and Ear Infirmary was founded in 1820, originally located at 83 Park Row. It is the oldest specialized hospital in the Western Hemisphere and the third-oldest hospital in New York City after the New York Hospital and Bellevue. In its first year, the hospital attempted the first surgery to restore sight to the blind. The infirmary built a four-story Italianate building faced in brownstone at this site in 1856, and remodeled and enlarged the site between 1890 and 1893. This expanded building was designed in a Richardsonian Romanesque style by Robert Williams Gibson. The base is rusticated in rock-face stone with arched windows and deep reveals, and the building has a high arched entryway on Second Avenue. It features golden brick with sills, lintels, courses of rough stone, recesses and projections, transom bars, and clustered blind arches. Alterations include an additional building in 1900, an additional story in 1908, the extension of the rear elevation in 1909, and the addition of a wooden gravity tank on the roof in 1924. The building is six stories in height and is clad in buff brick with limestone classical details and a quarry-cut stone block base. This base unites the upper story sections and features round arched windows and round arched entries on both the Second Avenue elevation and the East 13th Street elevation. There are quarry-cut stone belt courses at the upper stories, round arches above the fifth story windows, and paired windows at the attic or sixth story.

170 Second Avenue Building Date : 1929 Original Use : Residential/Commercial Original Owner : Saul Birns Original Architect : Segal & Sohn Description & Building Alterations This 15-story brick building, known as the Peter Stuyvesant Apartments, was constructed in 1927 by architects Segal & Sohn for owner Saul Birns, a prominent property-owner in the East Village. It was intended to serve as tenements and stores, and was originally leased to a Woolworth store and an opulent branch of the Bank of United States, which failed a year later. A replacement tenant was not found until 1933, when the ground floor was leased to Ratner’s dairy restaurant. Prior to construction, The New York Historical Society was located on this lot in a two-story building designed by Mettam & Burke from 1857 until 1908, when it moved to its current Central Park West location. The present building features window surrounds at the third, sixth, and thirteenth to fifteenth stories, molded banding, engaged piers, decorative panels beneath the roof line, and roping details at the building’s corners. The recessed point-arched window opening with spandrels and floral details on the north facade appears to be a former entrance.

Variety Theatre ca. 2005 The Variety Photoplays Theater on 3rd Avenue between 13thand 14th Streets was never a grand movie palace like the RKO Keith’s, the Loew’s Kings, or the Loew’s Paradise, but for its 90 years of existence it played a notable supporting role in the East Village theater scene as the neighborhood transformed around it. Though its earliest history is somewhat sketchy, it seems that the original building that housed the Variety Theater at 110 3rd Avenue was constructed as early as 1897. Only 25 feet wide and just under 100 feet deep, it was most likely a store or residence that was altered to convert the space into a two story theater in 1914. As the moving picture craze swept the city in the early twentieth century, nickelodeon theaters sprung up all around the city to cash in and bring the new medium to the masses. While the Union Square area had served as home to the center of legitimate theater in New York in the late 19th century, as the twentieth century progressed that center moved north, and the neighboring East Village area became a center of ethnic theater and popular theater, movie houses, nickelodeons, and dance halls. The uses of other nearby sites such as Webster Hall, the Yiddish Art Theater, and the Academy of Music/Palladium on 14th Street all reflect this. The Variety seated 450 and as the Times notes, “first presented groups of two-reelers, collections of individual features, each 15 or 20 minutes long. This was at a period when the feature-length film was still uncommon and films in general were generally considered low-culture — ”photo plays” or not.” In 1930 a balcony, new lobby, and art deco renovations to the original 1923 marquee sign were made by architects Boak and Paris. Because of its limited size, the Variety never attracted the best first-run films, and by the late 1960s, the Variety — like many other struggling theaters in New York — turned to blue movies to help keep it afloat. By the 1970s and 1980s, the theater screened a somewhat unpredictable mélange of B and/or C-grade films as well as soft and hardcore pornography. The theater space also became a meeting place for gay men. A writer for the Bright Lights Film Journal described the scene when he visited the Variety in 1984: “Upon entering the auditorium, I saw the movie was playing upside-down. This lasted a good fifteen minutes. Nobody complained or perhaps even noticed… It was like stepping into a time capsule. I noticed four large globe-like lighting fixtures that had somehow survived the decades. The walls were an unremarkable (patched) plaster, but the ceiling was special, composed of patterned pressed tin. There was a single modest balcony. My main memory was of patrons moving about the theater in a constant bustle and streaming into and out of the toilets oddly situated down front below the screen and surely a distraction for anyone trying to watch the film. The room was filled with the continual rustlings and creakings of people on the move. It was more like a mass happening than a movie screening, and in fact I have no recollection of the film at all.” As the cinematic quality of the films shown at the Variety declined during the 1970s and 80s, so did the reputation of the surrounding East Village neighborhood. The Variety Theater was even featured in the film Taxi Driver. You can read more about Taxi Driver filming locations which happen to be just down the block from the Variety in a previous Off the Grid post. The Variety ended its run as a movie theater in 1989 when it was closed by the city’s health department, but later reopened in 1991 as a live off-Broadway theater. It ran for more than a decade as the Variety Arts Theater until 2004 when it was closed and demolished in 2005 to make room for a 21-story condominium tower.

406 East 14th Street; 413 East 13th Street Building Date : 1894-96 (No. 406), 1945 (No. 413) Original Use : Institutional Original Owner : Church of the Immaculate Conception Original Architect : Barney & Chapman (No. 406), Eggers & Higgins (No. 413) Description & Building Alterations Two buildings currently stand on this lot, both originally built and owned by the Church of Immaculate Conception. No. 406 East 14th Street, the former Grace Chapel, was designed by architect Barney & Chapman and erected in 1894 in stone and Roman brick. The mission closed in 1943, after which the complex was bought by Immaculate Conception, which had lost its 1858 Gothic Revival church during the construction of Stuyvesant Town. This building is a great example of Gothic Eclectic architecture and as such was designated as a New York City landmark in 1966 and added to the National Register of Historic Places in 1980. The church consists of three major sections, a free-standing tower with clean-cut profile at center, a church section with a steep gable facing the street and an attached intimate round chapel, and two wings of three and a half stories with peaked roofs. According to the Office for Metropolitan History, the four-story building at No. 413 East 13th Street was built in 1945 as a convent and school. It features brick facing, simple window enframements, crosses at the top of the side bays, an inscription on top of the first floor, and projecting brickwork at the first and second stories.

Two storefronts on East 21st Street: Frank J Baker, Plumber; and a kosher meat and poultry shop. June 28, 1926.

Here at Urban Archive, we often focus our stories on the city streets and the public-facing architecture of the city. However, being stuck inside our apartments has given us a new appreciation for interiors so we thought we'd take a look at a diverse array of New York's interiors over the years. This particular story dives inside the homes and lives of New York's elite at the turn of the century and what their interiors meant to them.

United States Post Office, Station D (Peter Cooper Station), August 12, 1937. Though the Village isn’t known for having too many stand-out post office buildings (many are small offices located within other buildings scattered throughout the neighborhood), Cooper Station is an exception. Located at 93 Fourth Avenue, on the northeast corner of 11th Street, the building was designed by William Dewey Foster and constructed in 1936-37 as part of the W.P.A. (Works Progress Administration) to combat the Great Depression. Foster was responsible for designing structures in both New York City and Washington D.C., including ten post offices in New York City and its immediate suburbs. Cooper Station was designed in the Classical Revival style and its most dramatic feature is the curve of the facade at the irregular corner of the site. Further highlighting the curve of this building is the two-story colonnade comprised of six receded Doric columns which delineate the corner bays.

October, the month when we mark Columbus Day, is also Italian-American Heritage and Culture Month. That combined with the recent celebrations around the 125th anniversary of Veniero’s inspires a closer look at the East Village’s own historic Little Italy, centered around First Avenue near the beloved pastry shop and cafe. While not nearly as famous or intact as similar districts around Mulberry Street or Bleecker and Carmine Street in the South Village, if you look closely, or know where to dig, vestiges of the East Village’s once-thriving Italian community are all around.

853 Broadway, ca. 1945. The Domestic Sewing Machine Company Building, which previously occupied the lot at the southwest corner of Broadway and 14th Street, was designed by Griffith Thomas. The structure was tall (for its time!) and capped with an eye-catching cupola and “DOMESTIC” sign at its rooftop. At the time of its 1873 construction, it was hailed as an early skyscraper, the tallest cast-iron building yet built. It’s hard to imagine a seven-story building as a skyscraper nowadays, but in the late 19th century it certainly was. The Domestic Sewing Machine Company showcased its sewing machines on the first floor. Its corporate headquarters were on the upper floors.

Stuyvesant Apartments, December 18, 1936. Completed in 1870, the Stuyvesant Apartments are considered New York’s first apartment building for middle-class residents (as opposed to tenement dwellings). The Victorian Gothic building was designed by Richard Morris Hunt, the celebrated architect who designed the Metropolitan Museum of Art’s Fifth Avenue facade, and numerous private residences. Annual rent at the Stuyvesant Apartments was between $1,000-1,800, and tenants included the landscape architect Calvert Vaux, and Elizabeth B. Custer, the widow of General George Custer. The apartment house concept took off; soon, similar developments were planned throughout the city. The Stuyvesant, however, was demolished in 1958, making way for a new — what else — apartment building.

For much of New York's history, its Easter Parade was one of the most important parts of the Easter holiday. Starting in the 1880s, it quickly became one of the social events of the season.

Hancock Building, 1978. Built in 1897 by the firm of Marsh, Israels & Harder, the Hancock Building was the home of Hammacher & Schlemmer beginning in 1904. The city's first hardware store, established in 1848 in a building on the Bowery, moved into this new structure after its small local storefront boomed into national company and popular mail order catalog. The seven-story building has Romanesque details such as the arched windows on the top floor. It also features Beaux-Arts decoration, like the elegant scrolled detail above the entrance and Ionic pilasters (columns projected from the facade) on the middle stories of the building. The hardware company moved once more to a larger location out of necessity in 1926. (The new location was 147 East 57th, which remains the flagship store today.) Today the building looks very much the same as it did in this 1970s photograph.

Louis N. Jaffe Art Theater (Yiddish Art Theater/Yiddish Folks Theater) ARCHITECT: Harrison G. Wiseman DATE: 1925-26 STYLE: Moorish Revival The Jaffe Art Theater is one of the most tangible reminders of the heyday of Yiddish theater in New York City in the early twentieth century. The Moorish Revival design of the cast-stone front portion of the theater building incorporates Alhambraic motifs and Judaic references, but also reflects contemporary architectural trends of the 1920s, including the search for an appropriate stylistic expression for synagogues and other Jewish institutions, the interest in contrast between areas of blank wall surface and concentrated areas of flat decoration, and the use of “exotic” styles for theaters. The interior design reflects contemporary architectural trends of the 1920s, including the search for an appropriate stylistic expression for synagogues and other Jewish institutions, and the use of exotic styles for theaters. The theater presented the work of many of the most important figures of the twentieth-century Yiddish and English-language stages, including actors, directors, writers, and designers.

Southeast corner of 14th Street and Broadway, ca. 1977.

128 East 10th Street; 37 Stuyvesant Street Building Date : 1861 Original Use : Residential Original Owner : James Sinclair Original Architect : James Renwick, Jr. Description & Building Alterations Situated at the prow, or point, of the triangular piece of land formed by Stuyvesant and East 10th Streets, this beautifully preserved four-and-a-half-story Anglo-Italianate townhouse was built in conjunction with the surrounding houses as part of the disposal of the Stuyvesant family estate surrounding St. Mark’s Church-in-the-Bowery. The most prominent feature of this house is the wall that faces the prow of the block, distinctive from the rest of the houses in that it is faced in stone, rather than brick, with decorative quoinwork and a large, ornamented bay window in the center of the ground and parlor floors. Like its neighbors, the house also displays a rusticated light-colored stone ground floor with vermiculated keystones and cornerstones and corbeled entablatures over the entry doors. The parlor floor is higher than the others in the Italianate tradition of the piano nobile or “grand floor,” and the upper floors of the facade are red brick with light stone window surrounds. This is the only house of the group to have retained the original ironwork handrails and balconies. The original owner of this lot was Mathias Banta, the developer. Elizabeth Stuyvesant Fish willed that her estate, which included the land upon which this group of town houses is built, be divided equally amongst her four children, and the property was subsequently sold to Mathias Banta in 1858 for development on the condition that no “dangerous, noxious or offensive establishments whatsoever, nor any houses generally known as tenement house” be erected there. Banta subdivided the property into the present lots and listed the properties for sale in the newspapers. The lots were sold within a few months, and construction on the triangular piece of land encompassing nos. 23 through 35 Stuyvesant Street and 112 through 128 East 10th Street began in 1859. The architecture has been attributed to architect James Renwick Jr. The five-story buildings at 112-128 East 10th Street have parlor floors covered in rusticated brownstone with vermiculated panels at the bottom. The segmental-arched doorways have carved brackets and hold double doors, but the stoops are low and narrow. Each building is faced in red brick set off by Italianate-style stone window enframements from the second through fifth floors. They are part of the St. Mark’s Historic District, designated in 1969.

Any opera lover in New York knows one of the best places to hear an aria (or a couple dozen) is at the Metropolitan Opera. But many may not know about its contentious beginnings! It was at 39th and Broadway where one of the greatest Gilded Age dramas played out. And it wasn't on stage!

Built in 1919, this 6-story office building between 2nd and 3rd Avenue originally housed the Cloakmakers Local 48 of the International Ladies’ Garment Workers’ Union. In New York in the early 20th century, nearly all-female garment workers were Jewish or Italian, and while they often worked closely together, there were also separate organizations and entities catering to differences of language and culture. The dramatic relief marble carvings on the building depicting workers’ struggle against exploitation are believed to be the work of poet and sculptor Onorio Ruotolo. In the 1920s, after Mussolini’s takeover of Italy, the Center was a hub of anti-Fascist organizing in New York.

3-4 Gramercy Park West, 1935.

The Union Square Theatre, on the southeast side of the Square, was next to the Union Square Hotel. It Opened in 187 as a variety house and was transformed into a legitimate theatre the following year. Originally the most prestigious dramatic house on the Square, it faltered after a series of managers who tried to continue the tradition of serious fare, and became a vaudeville house which enjoyed a successful twenty year run under the management of B.F. Keith and E.F. Albee.

"The Tweed Ring was more than a Democratic Party scandal. William 'Boss' Tweed, leader of Tammany Hall — Manhattan's county Democratic organization — was chief architect of the scheme that embezzled millions of dollars of public funds between 1868 and 1871. Yet, Republicans also deserve a fair share of the blame... A clique of officeholders, the so-called Tammany Republicans, openly joined with the Tweed Ring during its climb to power. As early as 1868, newspapers reported 'a nice little arrangement.' The group was 'doing their best to defeat our Mayor and reelect the regular Tammany incumbent,' complained the New York Tribune. 'Perhaps this is the very way to promote Gen. Grant’s election. Do they expect to nominate him in Tammany Hall?'" For more on Tammany Hall and the Tammany Republicans, check out this article by Jeff Broxmeyer in Gotham: A Blog for Scholars of New York City History.

The church tower was built in 1847 and the nave in 1870 to the designs of renowned architect Napoleon LeBrun. At the time of demolition in 2005 to make way for NYU’s Founder’s Hall, it was one of the only structures in all of New York City to have served what had been the city’s three main religions – it was originally a Protestant Church, later became the first home of Temple Beth El synagogue, and served as an Armenian National Shrine for the Roman Catholic Church. The demolished rectory (blue brick building) dated to the 1840’s.

Con Edison Building ca. 1983 Though situated on the north side of 14th Street, the tower of the Consolidated Edison Building looms over the East Village to its south and has served as neighborhood place marker for decades. The complex of buildings including the tower we see today actually took almost two decades to arrive at its final form. By the turn of the twentieth century, the headquarters of the Consolidated Gas Company (an earlier iteration of what we know today as Consolidated Edison—Con Ed) was based in a warren of buildings on Irving Place near East 15th Street. When it was decided to consolidate into a single new building, the company tasked architect Henry Hardenbergh with creating a new design. The new 12-story structure on Irving Place between East 14th and 15th Streets was completed in 1911. The company soon realized it would require additional office space, and with the purchase of addition lots on the block, expanded the building to the north and south and increased its height to 19 stories. As the report notes, “because the original twelve story section at the center of the building had not been framed to carry the weight of seven additional stories, a complicated system of trusses was designed to off-load the weight of the upper floors above the old wing onto the newer portions for the building.” An innovative exterior lighting plan was also included (see image below), but was discontinued by the 1920s. It was in the 1920s when the need for expansion came again. This time, the company gave the commission for the additions to the noted firm of Warren & Wetmore, who also designed Grand Central Terminal and Pier 54 on the Hudson. With the acquisition of more land on the block to the east, the expanded building and clock tower that we see today was begun in 1926 and not completed until 1929. Warren & Wetmore looked to the Mausoleum of Halicarnassus in Turkey for inspiration for the distinctive tower top. Throughout the new building design, imagery of urns, fire, and light are present, and was meant to reflect the company’s purpose, as well as serve as a memorial to the service and sacrifice of company workers during the First World War.

Bryant's Minstrel Hall, Later Tony Pastor's New Fourteenth Street Theatre, was the first tenant of Tammany Hall, which was dedicated on July 4, 1868. Audiences flocked there to enjoy the best in entertainment at what became the most famous vaudeville house of the eighties and nineties. It would later be renamed yet again as the Olympic Theatre

118-124 3rd Avenue Building Date : Mid-19th c./1990 alt. Original Use : Residential/Commercial Original Owner : Unknown Original Architect : Unknown Description & Building Alterations As seen on the 1853 map, this site was originally four lots with a manufactory at the corner lot and row houses with stores at the lots to the south and along Third Avenue. According to the Musical Instrument Makers of New York directory, Laurence P. Cummings made and sold pianos at this address from 1854 to 1856 (p. 34). All four buildings were still intact as of 1955 according to the map from that year. By the 1980’s tax photo, the northern lots still had their original 19th structures while at the southern lots, the upper stories had been removed from the houses. By 2007 all of the buildings had been reduced to single story and in 2011 they were renovated to their current appearance.

120 East 14th Street, September 2, 1936. Irving Place, south from East 15th to 14th (where it terminates) Streets, showing prominently what was once the City Theatre.

A & P, Great American and Pacific Tea Company ca. 1936 Begun on Vesey Street in 1859 as a tea and coffee importer, the Atlantic & Pacific Tea Company grew into the world’s largest chain store. In 1937, there were 119 A & P’s in Manhattan and 15,500 stores nationwide. The store in Abbott’s photograph occupied the ground floor of a tenement one block east of Gramercy Park. As the window indicates, most of the store’s products were nationally advertised brands. A comparison of the image with Abbott’s photographs of ethnic groceries documents a dramatic change in modern American life. Today the store is a plumbing supply outlet.

8 Third Avenue & 95 East 10th Street Building Date : 1886 Original Use : Residential Original Owner : S. Thorne & S.F. Jenkins Original Architect : James M. Farnsworth & Co. Description & Building Alterations This five-story old-law tenement still retains its original cornice, but its ground floor storefront has been altered. The quirky Stuyvesant Curiosity Shop occupied this ground floor in the 1920’s and 30’s. In the 1950’s through 1970’s a wine and liquor store occupied the 3rd Avenue and 10th Street storefronts. The building also housed the March Gallery from 1957 until 1960, which was run by Boris Lurie, a Holocaust survivor. Lurie gained national attention in 1960 as one of the founders of the NO!art movement, which stood in opposition to the popular movements of the era such as Abstract Expressionism and Pop Art.

Webster Hall, a run-down community center on East 11th Street, was the site of a succession of masquerade balls during the 1910s that enhanced the image of Greenwich Village as a perpetual party place. Patterned after the bacchanals staged in the art-student quarter of Paris, these costume spectacles were conceived initially as fund-raisers for local radical organizations. However, the causes they purported to support receded in importance as the balls grew rowdier, drawing many oglers and uptowners to the Village. At their peak of popularity around 1918, as many as two balls per week were being presented at what the Villagers teasingly had branded "The Devil's Playhouse."

100 Third Avenue Building Date : 1837-39/2012 alt. Original Use : Industrial Original Owner : Ebenezer Pray Original Architect : Unknown Description & Building Alterations Formerly a four-story, 19th-century building, the facade was completely refaced and an extensive rooftop addition was built between 2009 and 2012. The now seven-story building features a metal facade. In the past this lot held many different functions. In the 1830s, it composed part of was a factory owned by Ebenezer Pray along with Lots 28 and 29. The lots were divided by 1865 and Lot 30 was used as a saloon. By 1899, it was converted into lofts and a concert hall. During the 1900s, different theater companies occupied the space: first the Comet, and then the Lyric Theater in 1936. In the 1960s-70s, it was called the Jewel Theater, known for playing all-male films. In the 1980s it was the Bijou, which played XXX fares until city officials had it closed in 1989.

Grace Church ca. 1893 Completed in 1846, Grace Church in New York is one of the earliest examples of Gothic revival architecture in New York City. Designed by James Renwick, Jr. at the age of twenty three, the building and its campus hold three celebrated distinctions: New York City Landmark, National Register of Historic Places, and National Historic Landmark. Grace Church remains an active Episcopal congregation, with worship throughout the week and abundant opportunities for service and fellowship. Its landmark buildings feature designs by Renwick, a renovation and extension by Heins & La Farge, decoration by Tiffany, windows by Clayton & Bell, along with many other celebrated artisans. The Bicentennial Organ, Opus 65, one of the finest instruments in the city, was completed in September 2013 by Taylor & Boody of Staunton, VA. It's comprised of 97 ranks and over five thousand pipes. Throughout the last decade, Grace Church has undergone significant interior restoration, including the Te Deum window rising above the altar and chancel at the front of the church. In the summer of 2017, the entire expanse of the high ceiling was restored to its original condition. Taken together, this important work will ensure that Grace Church lives on as a Greenwich Village landmark for generations to come.

410-414 East 13th Street Building Date : 1907 Original Use : Residential/Commercial Original Owner : S. Wanderman & Sons Original Architect : Henry G. Harris Description & Building Alterations This six-story brick new law tenement was erected at the same time as the three buildings at 416-426 East 13th Street. It was also designed by the same architect, Henry G. Harris, who gave these buildings similar facade designs and elements. This six-bay wide building, originally for stores and 34 families, features elaborate window surrounds with pilasters and triangular pediments, splayed lintels with keystones, and rectangular sills with ornaments. The lintels at the sixth story have been stripped and the roof cornice has been removed. Before the present building was constructed, the lot held a wagon factory.

New York's Doughnut Hut of the Salvation Army. The Salvation Army's connection to donut making originated in 1917 when a troop of 250 American volunteers traveled to the front lines in France during World War I. Stationed to provide spiritual and emotional support for the fighters, the volunteers, primarily women, wanted to give the soldiers a taste of home by serving them home-baked goods. However, they found it difficult to procure the ingredients necessary to bake pastries or cakes and so opted for a simple dessert that wouldn't even require an oven: donuts! Ensign Margaret Sheldon and Adjutant Helen Purviance began coordinating an effort to provide this taste of home to the soldiers in the trenches. They were quickly able to produce around 2,500 to 9,000 donuts daily, using a cutter fastened out of a condensed milk can and a camphor ice tube. This heroic effort has been credited for donuts' popularity in the states today. During the Great Depression, the Salvation Army used the donut in yet another campaign to boost morale. National Donut Day, celebrated on June 4th, was invented in Chicago in 1938 to fundraise for aid efforts provided by the Salvation Army.

Pretzel vendor at First Avenue and 14th Street, under the Second Avenue elevated station, ca. 1935.

Century Building ARCHITECT: William Schikel DATE: 1880-81 STYLE: Queen Anne Schickel designed the Century Building in the Queen Anne style, an English import defined by a picturesque use of 17th- and 18th-century motifs. The Century is an unusually handsome example of the Queen Anne, notable particularly for its richly carved stonework, its two-story oriel window, its gambrel roof framed by massive chimney stacks, and its terra-cotta details including sunflowers, the trademark of the style.

"Healy’s Cafe at the corner of 18th Street and Irving Place, March 1909. The 1829 building was originally the Porter Hotel and has been home to a tavern since at least 1864. In 1899, the bar was purchased by Tom and Jon Healy, who opened Healy’s Cafe, a regular haunt of the short story author O. Henry, who lived nearby. Henry is said to have written some of his stories in the establishment, though these tales are likely apocryphal. Now known as Pete's Tavern, the restaurant has officially been in business for more 150 years. It even survived prohibition, when a flower shop served as a front for its clandestine business.

97 Third Avenue. May 18, 1934. 97 Third Avenue has been run by Yuko Nose (pronounced no-ZAY) for the past five years. Before that, she had a clothing store, Air Market, in the same space for 15 years. Originally from Tokyo, Nose has lived in New York City for three decades, now calling Greenpoint home. As to why she switched from selling clothing to objets d’art, she said: “I got bored.”

Church of All Souls, ca. 1908. The bold, polychrome Byzantine Revival church was designed by Jacob Wrey Mould and completed in 1855. Mould used red and yellow stone, from Philadelphia and Italy, respectively, to create a distinctive — and divisive — visual effect. The church earned nicknames, including “Church of the Holy Zebra” and “Beefsteak Church.” By the early 20th century, the building was somewhat worse for wear and was sold for development in 1929. Two years later, it was destroyed in a fire.

"Taken from above and across Broadway of Grace Church in the snow at 11th Street with adjacent courtyard and parish house," 1902.

Stuyvesant High School ARCHITECT: C. B. J. Snyder DATE: 1905-07 STYLE: Beaux-Arts The (former) Stuyvesant High School was built in 1905-07 as Manhattan’s first “manual training” public school for boys, one of the educational reforms brought about by William H. Maxwell, first Superintendent of Schools following the consolidation of Greater New York in 1898. The five-story building was designed by Superintendent of School Buildings C.B.J. Snyder in a Beaux-Arts style, with distinctive classically-inspired and Secessionist detail, and has an H-plan organized around light courts at the sides. The main facade on East 15th Street, clad in tan brick and limestone, is dominated by a pedimented entrance pavilion, flanked by three bays of windows on each side, while the East 16th Street facade, of red brick above a limestone base, has more restrained ornamental detail.

346 East 13th Street Building Date : 1903 Original Use : Residential Original Owner : Isidore Gottlieb Original Architect : Sass & Smallheiser Description & Building Alterations This new-law tenement building was completed in 1903 by architects Sass & Smallheiser for owner Isidore Gottlieb. The building housed 25 families. In 1910 a water closet was added by the then-owner Aaron Gottlieb and architect Harry Zlat. In 1914 the front wall beyond the building line was removed and rebuilt behind the property line. The present building is six stories in height, six bays wide, and clad in brick with a rusticated stone clad first floor. The symmetrical front elevation has segmental and round arched openings at the fist floor with scrolled keystones and a centered entry with a portico. The portico features an entablature with modillions and is supported by columns with folliated capitals. Stone ornament in the upper floors include quoins, lintels, and sills, and thin cornices between the second and third floors, as well as the fifth and sixth floors. The sixth floor has round arched windows. Unfortunately, the cornice at the parapet has been removed

184 Second Avenue Building Date : 1849-50 Original Use : Residential Original Owner : Abram Voorhis Original Architect : Unknown Description & Building Alterations This three-bay wide, five-story tenement was originally erected in 1849-50. The front wall on the first and second floors was rebuilt during an alteration in 1919. Part of the second story was occupied by a factory in the mid-20th century. Its front portion was extended to the building line in 1953. Many of the historic details have been lost, including the bracketed cornice.

National Arts Club ca. 1977 Designed by Vaux and Radford for Samuel J. Tilden, the two houses now combined at this address were executed in a scholarly version of Ruskinian Gothic. They display on the exteriors a carefully modulated banding of polychromy replete with foliated sculpture and medallions containing busts of famous authors. The interiors are very rich and to our tastes gloomy, abounding in highly original foliate carvings. There is an exquisite glass dome in the westerly house.

Statue of the Marquis de Lafayette, Union Square, March 20, 1936. S. Klein, a discount department store, the Union Square Savings Bank and the tower of the Consolidated Edison Building are visible in the background. Frédéric Auguste Bartholdi’s bronze sculpture, a gift from prominent French residents, was installed in Union Square on September 6, 1876. Bartholdi is best known for another iconic, French-funded civic sculpture: the Statue of Liberty.

The Players Club ca. 1935 Originally a Gothic Revival town house, this building was purchased by Edwin Booth for his home. In 1888 he made it into a clubhouse for his actor friends. At about this time Stanford White offered his services in remodeling the interior and adding the Italian Renaissance loggia and lanterns, which provide such a handsome entrance.

87-91 Third Avenue | Block : 468 | Lot #1 Building Date : 1902 Original Use : Industrial Original Owner : A.C. Gale & Company Original Architect : Ballantyne & Evans Architects Description & Building Alterations Sitting on three lots on the northeast corner of Third Avenue and East 12th Street, this 5-story brick and terra cotta building combined two Pre-Law tenements located at 91 and 89 Third Avenue with a new building at 87 Third Avenue in 1902. The original two tenements and their land were originally owned by A.C. Gale & Company, as stated in the tax assessment records, and owned by the trustees of the Hamilton Fish Estate by 1902, when they were leased to Trow’s Directory Printing and Book Binding Company. Since Hamilton Fish owned the lots before buildings were erected, it is possible that his estate owned them all along. This new, large factory space was adjacent, and possibly even adjoined to, the existing factory for Trow’s Directory Printing and Book Binding Company at 201-213 East 12th Street. Within the newly expanded factory and office space, the company was able to print and bind its directories for an ever-growing city. It likely occupied these two buildings until the mid-1950s when the Third Avenue portion was converted into apartments and shops and the East 12th Street building was leased out to another industrial manufacturer. For more information about directories and their role in early New York City history, click on the NYPL Direct Me NYC link on the side of the page… The newly conjoined three buildings on Third Avenue were originally 5-stories tall and designed in the English Neo-Classical style by Myron E. Evans of Ballantyne & Evans Architects. Today, the brick building contrasts the white terra-cotta details such as the quoins and the classically inspired splayed lintels. The original entrance to the building on East 12th Street features a triangular pediment and classical columns. Originally, the building had a cornice in the Greek style with block modillions and dentils. The sixth floor was likely added in the mid-1980s. In 2014 this building and its adjoining one at 87-91 Third Avenue were restored and the owners, the Manocherian Brothers and the architects of the restoration, Thomas Fenniman, Christopher Rome and Karl Vinge of Thomas A. Fenniman, Architect were recipients of a 2015 Village award by GVSHP for this restoration.

Houses on Gramercy Park West, ca. 1923. The two Greek Revival houses at left (Nos. 3-4) share a cast iron porch designed by Alexander Jackson Davis. The pair were build around 1844, the same year planting began with the gates of Gramercy Park, signaling the beginning of the surrounding neighborhood's development. No. 4 (furthest left) was home to John Harper, Sr., a former Mayor of New York who moved to Gramercy Park West after leaving office. Harper’s tenure is commemorated by the twin gas lanterns at the gates of No. 4, a borrowed Dutch tradition marking mayoral residences. No. 4 also has a place in music history: the cover image of Bob Dylan’s “Highway 61 Revisited” was shot on its front steps; Albert Grossman, Dylan’s manager at the time, was the building’s owner.

April 17th kicks off NYC's Immigrant Heritage Week as the day when Ellis Island set its record for processing immigrants. In celebration of this day and the many different ethnic immigrant groups that have come to the Lower East Side / East Village over the years we will walk in their footsteps and see what they saw with the Urban Archive app as our guide. On this walk, we will explore the sites together and meet with some of the local business owners whose paths brought them to the Village, creating the landscape we see today.

120 East 12th Street, ca. 1975. The parish of St. Ann's was established in 1852 in the fashionable neighborhood near Bond Street, in what is now NoHo. The church began a habit of occupying churches that had been constructed for other, earlier congregations when they moved into a sanctuary on on East 8th Street, opposite Lafayette Place. In the 1860 the congregation had outgrown their space and also wished to constructed a school. The parish purchased the plot at 120 East 12th Street, which included a building constructed in 1847 for a Christian church, which had subsequently been converted to a synagogue. St. Ann's retained the original 1847 facade but demolished the rest of the structure to build their own church and an adjacent school. Dedicated on New Year’s Day, 1871, the church was a spectacular French Gothic style church, a fitting venue for one of the wealthiest congregations in the city. Over the next century the church remained a vibrant part of the community, becoming a shrine in 1929 (they held a relic of St. Ann, a bit of her finger bone). Re-established as St. Ann’s Armenian Rite Catholic Cathedral in the early 1980s, it was one of the last churches to have traditional, pre-Vatican II, Latin masses. The Archdiocese announced their intention to close the church and sell the property in 2003 and by the following year the doors were shut. Despite the efforts of preservationists and the community, the Landmarks Preservation Commission declined to designate the building. The lot was sold in 2005 with plans drawn up for a new 26-story NYU dorm. In the end all but the facade was demolished (supposedly as a concession to the preservationists) and the new tower was constructed. In the shadow of the tower is the disembodied front of the more than century and half old church.

The Renwick, 808 Broadway, ca. 1978. Named for James Renwick, Jr., the celebrated architect of Grace Church, this mixed-use Gothic Revival building was designed by Renwick’s firm — Renwick, Aspinwall & Russell — in 1887. Renwick himself is unlikely to have been involved in the design, which features repeated arch motifs echoing the facade of Grace Church next door. Over the years, the Renwick’s tenants included a variety of clothiers and manufacturers of consumer goods, with a storefront available at street level (in recent years it has been occupied by a Halloween-themed costume store). In 1981, the building was converted for residential use.

Friends Meeting House, Stuyvesant Square, ca, 1900. The Friends Meeting House and Seminary in Stuyvesant Square date to 1860. In the 1820s a schism occurred within the Society of Friends in New York. When the larger Quaker community began accepting the then in-fashion focus on intense Bible study, a group led by Elias Hicks of Long Island defected. (Traditional Quaker practice places the utmost importance on the personal relationship and direct interaction between worshiper and deity.) The break off group, referred to as Hicksites, purchased land on what had formerly been Peter Stuyvesant's estate. In 1860 one of their own, Charles Bunting, designed and built the pictured the Meeting House and Seminary. The red brick buildings are a mix of Federal and Greek Revival styles, rendered in a simple and unassuming design. In the 1950s, more then a century after the split, the two Quaker sects reunited. Today, they continue to occupy these buildings. The Friends Seminary, a private day school, run here is the oldest continuously coeducational school in New York City. The school was founded in 1786 with funds from a $10,000 bequest by wealthy merchant Robert Murray (who the neighborhood Murray Hills named).

Marquis de Lafayette Statue, ca. 1917 Located at a prominent site of protest and political gathering, this statue, designed by Henry Kirke Brown, with assistance by John Quincy Adams Ward and Richard Upjohn, depicts this founding father as an equestrian hero. Celebrating the General's arrival in New York on November 25, 1783, the day the British troops evacuated the city after a seven-year occupation, the monument was unveiled on July 4, 1856. It remains one of the earliest examples of bronze statues cast in the United States and a unique record of nineteenth-century American foundry techniques. After over a century of vandalism, corrosion, and missing elements, such as a sword that once fit into the scabbard, MAS's Adopt-A-Monument program facilitated restoration efforts in 1989 with a grant from the Glick Organization.

235-237 First Avenue; 350 East 14th Street Building Date : 1949 Original Use : Commercial Original Owner : First Federal Saving & Loan Association Original Architect : R.B. O'Connor & W.H. Kiham Jr. Description & Building Alterations Built in 1949, this five-story building was originally the First Federal Savings & Loan Bank, designed by R.B. O’Conner & W.H. Kiham Jr. The building housed a vault, offices, banking hall, and a store front. In 1951, two dental offices were housed in the upper floors of the building. It is five stories in height, three bays on the First Avenue elevation and five bays at the East 14th Street elevation. It is clad in brick in a Flemish stretcher bond. There are limestone classical details and belt courses above and below the top story. A limestone cornice caps the first floor. There are stone lintels with keystones at the second floor. The corner of the building is chamferred and the main entry is at that corner. The entry features a classical surround with pediment and half columns. Some of the first floor windows are arched with limestone keystones. The building no longer houses a bank; however, the name of the original tenant is carved in the limestone over the first floor.

Friends Meeting House and Seminary ARCHITECT: Charles T. Bunting DATE: 1861 These two buildings are fine brick buildings built in the style of an earlier period. They display great elegance in their simplicity and, as a pair of buildings, set off in spacious grounds, they are a positive addition to Stuyvesant Square.

Union Square Park, 1902. In 1815, the former potter's field at the intersection of Bowery and Bloomingdale Road (Broadway) was designated Union Place, a public commons. Official establishment as a park came in 1833, and re-designed in 1839 to adopt the spirit of the public spaces dotting the London city map. Development in the surrounding neighborhood accelerated during the middle decades of the 19th century, as Manhattan's fashionable residential and commercial districts shifted uptown. In 1872, Frederick Law Olmsted and Calvert Vaux, the celebrated landscape architects behind Central Park and Prospect Park, were enlisted to redesign Union Square. The Olmsted and Vaux design is still evident in today's park, with its emphasis on space for public assembly and greenery.

Van Tassell and Kearney Auction Ring ca. 1910 Did you know that 126 East 13th Street is believed to be the last surviving horse and carriage auction mart building in New York City? It was threatened with demolition until GVSHP got the Landmark Preservation Commission to hold an emergency hearing on landmarking the building on September 7, 2006, which started the long path toward designation of the building as an official New York City Landmark. A once-common building type in New York, these marts are distinguished by their high central halls, where horses were paraded around on rings for potential buyers to review. This particular survivor also has an unusually distinguished history. It was built in 1903 by Jardine, Kent, and Jardine, one of the era’s most distinguished architectural firms. According to contemporary reports in the New York Times, in the mart’s early years “the Belmonts and the Vanderbilts and other families transacted their horse affairs” there. Later, the building was converted to a machine shop, and there according to the New York Times during World War II women were taught “assembly and inspection work, the reading of blueprints, and various mechanical aspects needed in defense industries.” Most recently, the building served as the studio of Frank Stella, one of the 20th century’s most notable and influential artists. Few buildings in New York could be said to have had such a distinguished history, intersecting with so many key phases of our city’s development and transformation.

Players Club, June 1925. The building that has houses the private social club, the Players Clubs (or just Players) was once Elihu Townsend's actual house. The Greek Revival townhouse was constructed in 1847 the banker, Townsend, and was purchased in 1888 by actor Edwin Booth to be the home of his passion project. Inspired by a social club for actors that he visited in London, Booth and 15 colleagues and friends (including Mark Twain and General William Tecumseh Sherman) established a social club. It was too be a place where actors "mingle \[..] with minds that influence the world." The Players is the oldest social club in New York City that remains in its original location.

St. Mark's Church-in-the-Bowery Occupying what is often described as the oldest site of continuous worship in Manhattan, this church as seen today embodies a series of additions in various styles of architecture, made over a considerable period of years. The main body of the church is basically Georgian, while the steeple is Greek Revival and the cast-iron porch is Italianate.

100 East 12th Street ca. 1925 This 12-story terra cotta and brick building was completed in 1920. It was designed by Starrett & Van Vleck Architects as manufacturing lofts for the International Tailoring Company with a retail ground floor. In 1938, an adjoining 3-story building on the northeast corner of the lot was demolished by the W.P.A. and turned into a loading dock. In 1955, the dock gave way to a parking lot. Starrett and Van Vleck became known for their designs of department stores, including those buildings for Bloomingdales, Saks Fifth Avenue, and Lord & Taylor (their first department store commission, which is now a designated New York City Landmark).

Rock pit at 17th Street and Fourth Avenue (as Union Square East and Park Avenue South were then known), during the construction of the IRT Lexington Avenue Line, January 9, 1901. The trees visible at upper right are in Union Square Park. Note the subterranean surveyor at the bottom of the image.

197 Second Avenue Building Date : 1878 Original Use : Residential Original Owner : Jacob Schmitt Original Architect : William Jose Description & Building Alterations A pair of twin five story buildings, 199 and 197 Second Avenue were built in 1878 as French Flats designed by William Jose. The buildings each had one flat per floor, for a total of four families in each building. This class of buildings were some of the earliest types of middle-class apartment housing seen in New York City and unlike tenements, they were marketed to and attracted a wealthier clientele. Little now remains of the original detailing of this building other than the metal cornice. The brownstone facade, which has been stuccoed and painted, would have once had projecting window lintels and sills and a projecting entry surround atop a raised-stoop. The stoop was removed in 1915 and commercial space was put into the new first floor. From 1941 until 2008 the first floor was home to Jade Mountain, a Chinese restaurant that was a hallmark of the East Village. It was here that singer, songwriter, and civil rights activist Pete Seeger held his first gig, at a lunch for refugees of the Spanish Civil War, in 1941.

830 Broadway This eleven-story brick building was constructed in 1897 for owner Ferdinand H. Mela, and designed by the architectural firm of Cleverdon & Putzel in the Renaissance Revival style. On January 1, 1898, the Real Estate Record and Guide noted that “Builder F.H. Mela has just completed a new 11-story mercantile building at no. 830 Broadway which contains several features that are likely to be imitated, notably the arrangement of stairs and elevators. Mr. Mella reports a good demand for lofts, and the fact that more than half of his new building is already rented testifies forcibly that the inquirers have meant business.” During the 20th century, a number of businesses were located at No. 830, largely within the clothing industry. Beginning in the 1970’s, artists occupied the building for studio and living space.

Palladium, ca. 1985.

Fleischmann’s Vienna Model Bakery, Broadway and 10th Street, 1898. Sometime after 1876, Louis Fleischmann built his bakery on Broadway, in the shadow on James Renwick’s Grace Church (left). The bakery, which sold a popular “new dough” style of bread made with yeast, also operated a restaurant and rented storefront space to other vendors. Beyond baking technique, Louis Fleischmann’s influence endures in an evocative turn of phrase: the bread line. Noticing the indigent New Yorkers who gathered near the bakery, Fleischmann instituted a practice whereby the bakery would give away its unsold loaves at the close of business. When hungry men lined up for their daily loaves, the phrase was born. Fleischmann’s Broadway bakery remained open until 1908, when the property was razed, having been acquired by Grace Church. Today, the Fleischmann name lives on in a brand of baker’s yeast available in supermarkets.

840 Broadway ca. 1927 840 Broadway was constructed for garment industry tenants in 1899-1901. This 12-story, steel-frame Renaissance Revival style building was designed by Robert Maynicke, and is a prominent reminder of Broadway’s turn-of-the-20th century development below Union Square. The report tells us that permits to construct 840 Broadway were filed with the Bureau of Buildings in December 1899. Construction began in 1900 and was completed in 1901. The structural framing was fabricated by the Hecla Ironworks, possibly at their North 11th Street Williamsburg factory During the first half of the 20th century, the ground (or first) floor was leased to companies that sold men’s clothing. Thompson & Company was first, signing a ten-year lease in 1899. A 1901 ad described 840 Broadway as “The Thompson Building.” It was the clothier’s uptown branch, selling “haberdashery and hats, as well as men’s and youth’s clothing.” The store closed at the end of 1907. Lester & Lester, another men’s clothing company, was the next tenant, followed by the Goodyear Waterproof Company, which sold raincoats and waterproof apparel. Goodyear operated in this location until 1953.” The architect of 840 Broadway was the German-born Robert Maynicke (1848- 1913). He took night courses at the Cooper Union (also a New York City Landmark). He supervised the construction of the New York Times (1888-89), Equitable (1886- 89), World/Pulitzer (1889-90), Union Trust (1889- 90) and Havemeyer (1891-93) Buildings, as well as the New York Produce (1881-84) and New York Cotton (1883-85) Exchanges. Further south on Broadway and Waverly Place, Maynicke was also responsible for the Guggenheimer Building. Maynicke was an expert on the structural properties of iron and steel and, consequently, tall buildings. Not just an engineering expert, Maynicke used various types of classical ornament here. The upper stories have elaborate terra-cotta details that draw from Greek, Roman, Renaissance, and Baroque sources. Such features include wreaths, garlands, margents, fasces, rosettes, banded arches with keystones, and banded Ionic columns with fluting.

Grace Church at night, ca. 1975. Grace Church was first organized in 1805, and they built a church at Broadway and Rector Street three years later. The parish moved uptown in 1843. They commissioned 24-year-old James Renwick Jr.—in his first major work—to design their new edifice. The cornerstone of the French Gothic Revival masterpiece was laid in 1843, and the church was consecrated in 1846. The stone of the church was Sing Sing marble (cut by inmates of the infamous prison). At the time of completion, the steeple was built of plain wood (a cost saving measure). They also used plaster and lath (and not cut stone) for some of the interiors—it was quite the scandal! Over the next few decades, through the generous support of various congregants, most notably philanthropist Catharine Lorillard Wolfe, the church complex was expanded. The new features included a beautiful stained glass East Window (1878), a small chapel next to the church (1879), and a stone spire (1883). Additions and updates continued into the early 20th century. In the second half of the 19th century, the church was one of New York's most fashionable. Minister and author Matthew Hale Smith wrote in 1869 that, "To be married or buried within its walls has been ever considered the height of felicity." Pews within the society church were traditionally rented at a premium, though this practice was abolished in the 1960s. According to the Municipal Art Society, it is "one of the few buildings in New York that closes a vista." Visible from far south on Broadway and prominent at its location where Broadway begins its path northwestward, the church is one of the most significant examples of Gothic Revival architecture in America. It underwent a multi-million dollar rehabilitation project in the mid-1990s which focused on the restoration of crumbling marble exterior and the stained glass windows.

48 Third Avenue Built in 1886 by Samuel Thorne and S. F. Jenkins as a tenement with stores, 48 Third Avenue cost $15,000 to construct and was designed by James M. Farnsworth. Samuel Thorne (1835-1915) was kind of a big deal in his day — he was President of the Pennsylvania Coal Company, and served on the boards of Bank of America, the New York Life Insurance Company, and the Metropolitan Museum of Art. As a member of tony private social clubs, the Union League and the Metropolitan Club , he regularly rubbed shoulders with J. P. Morgan and the Vanderbilts. Appropriately enough, Thorne’s building at 48 Third Avenue was no less distinguished, in spite of it being a tenement located in what was then a hard-scrabble, working-class district. Compared to the heavier ornament typical of other Victorian era buildings, architect James M. Farnsworth (1847-1917) used a light and purposeful approach to the building’s detailing. Recessed mortar joints and belt courses wrapping the building emphasize its structure. The patterns of its cornice imply more abstract, naturalistic forms than the classically derived ornament more typically found on tenement cornices from this era. However, the most richly detailed element of the building is the gorgeous, balconette-like iron fire escapes on the 10th Street elevation, more reminiscent of New Orleans that New York. What kind of talent created such a building? James Mace Farnsworth worked as a draftsman for Calvert Vaux, the man who, along with Frederick Law Olmsted, designed Central Park and a number of buildings for the Children’s Aid Society. Later, with his partner Benjamin Sillman, Jr., Farnsworth designed office and institutional buildings including the Morse Building (1878-80) at 138-142 Nassau Street, and the Temple Court Building (1881-83) at 3-9 Beekman Street, both designated New York City landmarks. Red brick buildings in the Romanesque Revival style seemed to be a favorite motif. From 1883-1897, Farnsworth also practiced independently and one of his most notable works was the renovation and additions to the Bennett Building (1872-73, 1890-92, and 1894) at 93-99 Nassau Street, one of New York’s finest and largest Second Empire cast iron buildings. On the applications submitted to construct 48 Third Avenue, Farnsworth listed his address as 218 West 23rd Street. Can you guess what iconic New York City building that is? Give up or did you Google it? Yep, it’s the Chelsea Hotel. Hmm, wonder if Farnsworth was inspired by the then-recently completed (1885) Chelsea Hotel’s lovely balconies (the work of the Cornell Foundry)?

Temporary staircases for buildings along Fourth Avenue, June 5, 1906. Stations between City Hall and and 33rd Street on the IRT Lexington Avenue line opened in October, 1904. In this photo 1906 photo, it’s unclear what work is being done, though the placement of the wooden stairways suggests sidewalk work.

"“E. 17th Street, north side, west from Third Avenue, to and across Irving Place. The low ornate structure at the right (No. 143 East) is now occupied by a Greek Orthodox Church. It was formerly Scheffel Hall, a German restaurant, owned and operated by one, William Allaire. 1938.” In 1928, the heirs of former proprietor William Allaire sold the Third Avenue beer hall to the German-American Athletic Club, while the 17th Street wing was acquired by the Greek Church of St. John the Baptist."

20th Street east of Second Avenue was in the old "gashouse district" named for the gas houses built along the East River. Berenice Abbott's photograph shows one of the remaining Con Ed tanks between First Avenue and Avenue A. Also in the distance, the Second Avenue El, which ran on First Avenue below 23rd Street.

Northwest corner of 14th Street and Fourth Avenue, ca. 2001.

Lincoln Funeral on Broadway, 1865. This 1865 photograph of President Lincoln's funeral procession shows Broadway looking north from 13th Street. The large home on corner is that of Cornelius van Schaack Roosevelt, grandfather of future president Teddy Roosevelt. Cornelius was a very successful plate glass importer and he owned the entire blockfront of Broadway from Union Square to 13th Street. In the 1940s a filmmaker and author named Stefan Lorant was putting together a pictorial biography of Lincoln. Upon closer inspection of this photograph he noticed two small figures in the second-story window. Lorant proposed that the two children were Teddy and his brother. He was able to ask Roosevelt's widow, Edith Carow Roosevelt, who was then in her late 80s, and she confirmed that it was very likely them.

Everett Building ARCHITECT: Goldwin Starrett & Van Vleck DATE: 1908 STYLE: Chicago Built in 1908 for the Everett Investing Company, was designed by Goldwin Starrett & Van Vleck, a firm known for its commercial architecture. In its design, the Everett Building synthesizes classical elements with key aspects of both the New York and the Chicago styles. Goldwin Starrett, the architect, brought to his New York practice familiarity with the Chicago style. The building reflects its structure in its cladding while employing a design vocabulary that includes classical motifs.

The Ritz (at Webster Hall), ca. 1985. In 1980, a club called The Ritz (1980-1992) took over the space, and performers such as U2, Guns & Roses, Depeche Mode, Ozzy Osbourne, Run-DMC, and Duran Duran played gigs there. In the 1980s a new cable music channel called MTV broadcast its first live show from here and “Live from the Ritz” was a regular feature.

\#345 East 15th Street, north side, showing Stuyvesant High School.

219 First Avenue; 351 East 13th Street Building Date : 1848-50/2014 Original Use : Residential Original Owner : Bowen Original Architect : Unknown Description & Building Alterations While this building was originally constructed as a row house in 1849-50 for owner John Bowen, little remains of the structure except for the four story, three bay facade on First Avenue and a small part of the brick facade facing East 13th Street. In 2014, it was given a mostly new facade and a two and a half-story rooftop addition. According to tax assessment records, the original building on this site was constructed along with those on the adjacent three lots. It was home to a dry goods store in 1934.

Henry William Poor House, 1899-1901. Formerly known the Cyrus W. Field mansion, this turn of the century photo depicts 1 Lexington Avenue after renovations by the architect Stanford White (a fellow Gramercy Park resident) on behalf of its new owner, the banker Henry William Poor. Poor purchased adjacent townhouses, both previously in the Field family, in April 1899, with the intention of building a larger and more modern mansion on their site. Apparently, White was able to convince Poor to abandon his tear-down project. Instead, the architect led a comprehensive interior renovation in characteristically opulent style. Outdoors, the building’s entrance was shifted to Lexington Avenue, in order to accommodate a windowed conservatory facing the park. Poor, for whom Standard & Poor’s is named, was forced to sell the mansion and its furnishings after the 1908 failure of certain investments and the subsequent liquidation of his assets. The house was razed in 1910 to be replaced by a 12-story apartment building.

The Hamilton Fish House, 21 Stuyvesant Street, ca. 1971. The Hamilton Fish House (a.k.a. Nicholas and Elizabeth Stuyvesant Fish House, Stuyvesant Fish House), was built in 1803-04 by Peter Stuyvesant, the great-grandson of the last Dutch Director-General of New Amsterdam. The three-story Federal style townhouse sits on a parcel granted to the first Peter Stuyvesant in 1651, by the Dutch West India Company . The house was a wedding gift to Stuyvesant's daughter Elizabeth and her husband, the Revolutionary War officer Nicholas Fish, a veteran of Valley Forge. Fish served throughout the Revolutionary War and at the age of 18, was commissioned as the youngest Major in the history of the United States army. His son, Hamilton Fish, who later served as Governor of New York and as Secretary of State, was born at this address in 1808.

The Renwick The striking loft building at 806-808 Broadway/104-106 Fourth Avenue, which runs the entire block from Broadway to Fourth Avenue behind Grace Church at 11th Street, was designed in 1887 by James Renwick (architect of the adjacent landmarked church forty years earlier) and the partners in historic successor firm –James Lawrence Aspinwall and William Hamilton Russell, Renwick’s grand-nephew. Though a utilitarian structure housing offices, storage, and manufacturing, Renwick and partners designed it with vivid Gothic detail to serve as an appropriate backdrop to Grace Church, a New York City and National Historic Landmark. Aside from some storefront signage, the building is almost completely intact to its original design, from the gothic arches and tracery to the more robust, industrial Romanesque detailing of the Fourth Avenue façade. Both sides of the building maintain beautifully intact cast-iron storefronts, while the Broadway side boasts florid Art Noveau-style ironwork over the doorway and entry. The harmony between this structure, built as a store and manufacturing building, and one of the most delicate and important Gothic Revival structures in the United States, is nothing short of remarkable. In 1981 the building was converted to residences and renamed ‘The Renwick,’ in honor of its architect. The building gained additional notoriety with the publication of Caleb Carr’s The Alienist, in which the building serves as the headquarters for the team of investigators looking into the murders at the heart of the book’s story. The Grace Church, Grace Church Rectory, Grace Church Memorial House, The Renwick, and The Lancaster, an 1887 apartment building at 39-41 East 10th Street also designed by Renwick –all within feet of one another –provide an unrivaled example of the skill of James Renwick as an architect. The sadly recently-demolished St. Denis Hotel at Broadway and 11th Street added even further to this rich ensemble of Renwick designs added over time. While the master architect constructed other ensembles elsewhere, few if any span nearly half a century as these do, and serve such varied purposes –religious worship, residences, and commercial loft space –while maintaining such compatibility and dialogue between the pieces.

19 Stuyvesant Street Building Date : 1894 Original Use : Residential Original Owner : Andrew Brose & Charles Rentz Original Architect : Charles Rentz Description & Building Alterations Built in 1894 by architect Charles Rentz for himself and co-owner Andrew Brose, this five-story building was meant to house twenty families. The lower half of the building is solid brownstone where as the top half is made of tan stone with window sills of the same brown as the bellow. In 1937, the projecting high stone steps were removed and a new entrance was installed.

Abe Lebewohl Park, undated. This triangular space in front of the St. Mark’s-in-the-Bowery Church dates to 1799 when it was acquired by the city for street-pattern purposes. It was developed into a seating area in 1938 under the auspices of the Works Progress Administration. By the 1970s, the so-called St. Mark’s Park was a mess and known as a spot used by drug users. In the 1980s, a neighborhood group, the 10th and Stuyvesant Streets Block Association, realized the land was under the authority of the Parks Department. With the support of the local council member, the park was cleaned up and began hosting programming from a weekly farmers market to summer concert series. The park was directly catty-corner from the 2nd Avenue Deli, an East Village institution, owned and run since 1954 by Ukrainian immigrant Abe Lebewohl. A beloved member of the community, he was instrumental in the creation of the Walkway of Yiddish Actors outside the deli and an early supporter of the renewed park across the street. In 1996, sadly, Mr. Lebewohl was shot and killed while making a deposit at a local bank. A renovation of the park was undertaken that same year and the Parks Department agreed to rename the park in memory of Mr. Lebewohl.

Prohibition began in 1920 with the passage of the 18th Amendment to the Constitution. For the next thirteen years, the production, sale, and consumption of alcohol in the United States was illegal. The Prohibition Movement originated with organizations like the Women's Christian Temperance Union and the Anti-Saloon League in the second half of the 19th century. Belonging to the Progressive Movement, these temperance organizations sought not only to address the effects of society's problems, but to eliminate the root cause of crime and poverty by prohibiting the sale and consumption of alcohol. While these ideas might seem noble, they involved a darker side. These organizations were rooted in Protestant ideas of the Social Gospel and exhibited prejudice towards the growing number of immigrants and Catholics in America's cities. Many supporters of Prohibition viewed the newly arriving immigrants' enjoyment of beer and whiskey as the reason for the rising poverty and crime rates in many American cities, especially New York. Prohibitionists' intentions of eliminating crime and poverty not only failed, they backfired! Prohibition actually led to an increase in crime and illegal activity, as many began to profit from the illegal importing, production, and selling of alcohol. While the experiment with Prohibition ultimately ended with the passage of the 21st Amendment, it transformed American society and culture. NYS Social Scope and Sequence Standards: 8.4 & 11.7 For Teachers: Prohibition Lesson Plan

Manhattan: 11th Street (East) - 4th Avenue, 1936. Corner buildings shown in the process of demolition for the new United States Post Office.

Union Square is known today as a site of public gathering and for expressions of discontent. This is built upon Union Square’s rich, multi-layered history as a public space in Manhattan. The name of the park comes from its location within the downtown area, placed between, or at the “union,” of the then-Bloomingdale Road and Bowery Road, which is now Fourth Avenue and Broadway. Only thirty years after it was designated a public space by the State Legislature in 1831, despite its fencing and narrow sidewalks, Union Square evolved into a space where mass demonstrations, rallies, and protests took place.

In 1864 William Steinway opened a showroom for his pianos on 14th Street near Fifth Avenue. Owing to their overwhelming popularity, he decided to build a new concert hall as a venue to display and promote his pianos. The original Steinway Hall was constructed at the rear of this white marble building. Opened in 1866 the hall sat 2,500 guests and was one of the largest auditoriums in the city. Over the next 25 years, it was the home of the New York Philharmonic. The success of Steinway Hall in promoting Steinway's instruments was considerable, so much so that his competitors, the Aeolian Company and Chickering & Sons, felt the need to open concert halls as well. Following a few decades as a hub of musical and literary performances, in 1890 Steinway Hall ceased live shows. By then the neighborhood had lost its identity as both an upscale commercial district and a hub of entertainment. These areas had long been on the move uptown. For many years the auditorium was used largely for storage. Owing to a desire to have their showroom and a concert venue near Carnegie Hall, Steinway & Sons commissioned a new building on 57th Street in the late 1910s and moved to 111 West 57th Street in 1925. This photograph was taken just after the move. The sign on the front of the building notes that the building had commercial space for rent. Less than a year later the building was razed, and in its place, the S. Klein Department Store rose.

100 Third Avenue Built about 1880, the Lyric Theatre began as a restaurant and was converted into a music hall before its 1910 renovation as one of New York’s earliest motion picture houses. Originally holding 274 seats, the theater doubled its seating in 1923 in response to the growing taste for movie-going. By the 1930s, the Lyric’s clientele consisted chiefly of transients from the Bowery, a few blocks to the south, who paid ten cents to see two features (one a western), a newsreel, and a short subject.

Stuyvesant High School Front Building, ca. 1914. This 1905 building was constructed to house Stuyvesant High School. The school, which was established in 1904 as a manual training school for boys, was originally located on East 23rd Street. In 1907, the school moved into the Snyder-built Beaux-Arts building where it remained for the next 85 years. In 1919 the school, which was cultivating a reputation for excellence in math and science, began limiting admissions based on scholastic achievement, and in 1934 they implemented an entrance exam. Though Stuyvesant High School moved out in 1992 for a larger, more modern facility in Battery Park City, this building remains an educational institution. Famous alum of this school include mathematician Paul Cohen (1950), jazz pianist and composer Thelonious Monk (who attended in 1935 but did not graduate), actor Tim Robbins, former United States Attorney General Eric Holder, and Bram Cohen, the creator of BitTorrent.

James Renwick’s Gothic Revival Grace Church sits prominently at the bend of Broadway. Built in 1846, the building has all the accolades – it is a United States National Historic Landmark, New York City Landmark, and is also on the National Register of Historic Places. The building was one of the young (23 years old!) architect’s first projects. Renwick’s most well-known building, St. Patrick’s Cathedral, is among his many other notable works which include St. Bartholomew’s Church on Park Avenue in New York and the Smithsonian Institution Building in Washington, DC. Now back to the Grace Church – while the building itself has not undergone any major renovations, Grace Church School (which sits just to the east of the church) received a major subterranean addition ten years ago, affecting the land that the church sits on. At the southwest corner of the lawn in the image you see here, there is a hidden underground gymnasium two stories below, with additional staff offices and facilities for students!

Stuyvesant Pear tree, N.E. corner, 13th & 3rd. Ave. This corner was once called "Pear Tree Corner' because it was believed that the first tree planted in New York City, was the pear tree planted here in 1647 by Peter Stuyvesant, the former Dutch governor of New Amsterdam.

The Everett Building, 200 Park Avenue South, ca. 1975. Erected in 1908, the Everett Building was designed by the Goldwin Starrett & Van Vleck firm. The facade of this 16-story high rise reflects the philosophy, taste, and style of acclaimed architect, Daniel Burnham — best known for the Flatiron Building — who previously employed Starrett in Chicago.

View north from 7th Street and Fourth Avenue (today Park Avenue South), August 2, 1902. During the cut and cover process of construction of the IRT East Side line, the busy streets of the city needed to maintain their necessary uses. Here a fully loaded trolley rolls over the tracks of the Metropolitan Street Railway Company. The tracks have been raised above the large excavation pit and shored up with thick timbers.

159 Second Avenue Building Date : 1901 Original Use : Residential/Commercial Original Owner : Leopold Kaufman Original Architect : Schneider & Herter Description & Building Alterations This seven story brick Old-Law tenement was designed by Schneider & Herter in 1901, just before the tenement law changed, to house 20 families over ground-floor shops. The windows at the third story are arched. Other architectural details include engaged columns, scrolled keystones, and dentiled and bracketed continuous sills at the fourth and sixth story windows. The historic cornice (as seen in the 1980s tax photo) has been removed.

212 East 14th Street Building Date : 1855 Original Use : Residential/Commercial Original Owner : Gerard Stuyvesant Original Architect : Unknown Description & Building Alterations Like its neighboring building, 212 East 14th Street was built for Gerard Stuyvesant in 1855 and was also clad in brownstone. While most of the original Neo-Grec details have been removed, the building still retains its pressed-metal cornice. Likely built as a single family or possibly two family dwelling over ground-floor shops, by 1884 the building housed five families over shops. The front-stoop was removed as a result of the widening of East 14th Street in 1911. The small, 3-bay wide fenestration was replaced with large, single openings likely in 1935 though it is hard to date them since the windows themselves have been replaced.

231-237 Second Avenue ca. 1900-1910 U.S. Senate and The W.M. Evarts are somewhat peculiar names for apartment buildings. But these two structures were called such after William Maxwell Evarts, a distinguished 19th-century lawyer, and politician. Evarts, who lived in a brownstone on the site during the 1850s when the area was quite fashionable, was Secretary of State under Rutherford B. Hayes and a United States Senator. Though Evarts would move his family out of the brownstone, he would continue to rent it and supposedly had great affection for the building. Following Evart's death, it was demolished and the pair of apartment buildings were erected. The New Yorker reported that "none of the family had anything to do with naming the buildings that are there now." Evart's grandson stated " I suppose The U.S. Senate got its name in honor of Grandfather's last public office, but the connection seems pretty thin. It was the style in those days to give apartment buildings fancy names, and the builders must have been desperate." Adding insult to injury, he added "drab-looking places, aren't they?"

Luchow's Restaurant, October 26, 1938. Originally opened prior to 1882 as a small beer hall, August Luchow, a German immigrant and waiter at the beer hall, purchased the business, with a loan from the piano-maker William Steinway, whose office was across the street. The large German restaurant that Luchow created was a neighborhood landmark for 100 years. The popular dinning hall was in close proximity to the Academy of Music and Steinway Hall, which boosted its reputation as a pre or post-performance hot spot. The author Ludwig Bemelmans called Luchow's a goulash and Wiener schnitzel emporium. When Teddy Roosevelt dined there he had venison. By 1910 Luchow had purchased a number of neighboring lots and greatly expanded its footprint. Despite the depressions and wars of the first half of the 20th century (and the anti-German sentiment that accompanied those wars) the restaurant survived and largely thrived. Luchow's was the recipient of the first cafe liquor license in New York City following the repeal of Prohibition. The business would change hands a number of times post 1950, but despite a number of renovations, both the quality of the food and the quality of the surrounding neighborhood had declined measurably. The 14th street restaurant closed in 1982, 100 years after it had opened. The owners attempted to move a version of the place uptown closer to the theatre district, though this iteration only lasted a few years.

334-336 East 14th Street Building Date: 1869-70 Original Use: Institutional Original Owner: First German Baptist Church Original Architect: Julius Boekell Description & Building Alterations This Romanesque Revival building was originally The First German Baptist Church, and later became the Ukrainian Autocephalic Orthodox Church of St. Volodymyr (1926-1962). Since 1962, the building has been home to Congregation Tifereth Israel, Town and Village Synagogue, which was founded in 1949. The religious structure, built in 1869-70 in the Rundbogenstil style, was designated a New York City Landmark in 2014.

116-124 East 14th Street Building Date : 1993 Original Use : Commercial Original Owner : Department of General Services Original Architect : Schuman, Lichtenstein, Claman & Efron Description & Building Alterations Now the site of a two-story commercial building, this lot once held the 2,267-seat City Theatre. Built in 1909-10 for William Fox, the theater housed both vaudeville and motion pictures and was one of the first large theaters to show movies in New York City, as stated in the Ridgewood Theater Building designation report. The French Renaissance-style theater was designed by Thomas W. Lamb, a prolific American theater specialist responsible for over three hundred theater buildings in the United States and around the world. The 14th Street facade is visible in a 1938 photo taken by Berenice Abbott for her Changing New York series. The City Theatre was demolished in 1952 and the current building was constructed in 1993. This building is set to be demolished and replaced with a 21-story Tech hub.

21 Stuyvesant Street | Block : 465 | Lot #29 Building Date : 1803 Original Use : Residential Original Owner : Elizabeth Stuyvesant & Nicholas Fish Original Architect : Peter Stuyvesant Description & Building Alterations This early-19th century Federal style house, the Elizabeth Stuyvesant and Nicholas Fish residence, is a magnificent example of the architectural traditions of fine urban dwellings in the in the early period of the Union. It is the oldest house in the area with a fully intact facade. Significant in size, the house is three bays wide and three and a half stories tall with a solidly built brownstone basement and a shallow doorway. The facade wall is brick laid in the characteristic Flemish bond pattern, the entry door is of a grand width with a wood and glass surround, and the double hung windows are topped with splayed stone lintels. A simple white cornice underlies the sloped roof with twin arched dormer windows, exemplary of the Federal style. Furthermore, the house showcases a low brownstone stoop, brownstone sills and lintels, sidelights set off by slender columns, a semi-elliptical fanlight, and six-over-six windows. Peter Stuyvesant built this house for his daughter, Elizabeth, and her husband, Revolutionary War veteran Nicholas Fish. Their son, future Governor of New York, United States Senator, and Secretary of State, Hamilton Fish, would be born in this house. This house is part of the St. Mark’s Historic District, designated by the Landmarks Preservation Commission in 1969.

Saint George’s Church ARCHITECT: Blesch & Eidlit DATE: 1846-56 STYLE: Romanesque Revival, Church The Saint George’s Church is one of the great examples of Romanesque Revival architecture in New York. It has characteristics which may be identified with the sturdy Romanesque architecture of South Germany. It is notable for its excellent detail and that it makes a significant contribution to the architectural beauty of Stuyvesant Square.

Damage to the original mansard roof of Webster Hall, following a fire in March 1930.

Grace Chapel ARCHITECT: Barney & Chapman DATE: 1894-96 STYLE: Gothic Eclectic Among its important qualities, the Grace Chapel is a superb example of Gothic Eclectic architecture. The building possesses individual distinction and character. Along with its companion buildings, the Clergy Houses, it combines to form a notable architectural composition, adding to the prestige of the neighborhood and that the building contributes a rare charm and architectural beauty to New York City.

206 East 11th Street ca. 1934 All Saints Ukrainian Church has been faced with stucco for as long as most people can remember. This building was constructed in 1851-52 and originally housed the Welsh Congregational Church, which continued to operate out of the building until well into the 20th century. In 1944 the building was sold to the Free Magyar Reformed Church of New York for a Hungarian congregation. It remained a church until 1960 when it was converted to an off-Broadway playhouse owned by St. John Terrell, “a flamboyant Chicago-born actor and impresario who pronounced his name Sinjin and led a campaign to clear Richard III’s blackened name,” according to his 1998 obituary in the New York Times. A renowned and eccentric talent, Terrell left behind a great legacy as the founder of the Lambertville Music Circus in New Jersey and the Bucks County Playhouse in New Hope, PA. Terrell was known for being a showman, and every Christmas Day for 25 years he dressed as George Washington to re-enact his famous 1776 crossing of the Delaware River. “Moon on a Rainbow Shawl,” the East 11th Street Theatre’s first show, began its run in 1962 starring a young James Earl Jones whose career was just taking off. He received an Obie for his performance in the show. The building’s run as a theater was short-lived, however, and by 1971 it resumed use as a church operated by the All Saints Ukrainian Orthodox Church of NYC, Inc, which still occupies the building today.

Guardian Life Building, 1918. Forced out of their previous headquarters on Cedar and Nassau Streets because of serious structural complications, the Germania Life Insurance planned a move uptown in 1909. They purchased land near Union Square and commissioned the firm of D’Oench & Yost. The resulting 20-story building, completed in 1911, was largely Renaissance Revival in style, though it featured elements of other styles, such as its eye-catching four-story mansard roof (their previous building had been a Second Empire structure with a stately mansard). The mansard, tiled in reddish-orange terra cotta, had scores of windows in various shapes and styles. And on top an electric sign broadcasted the firm's name. Renamed the Guardian Life Insurance Company of America during the anti-German sentiments of the First Wold War, the firm had a new sign manufactured. Guardian remained in the building until 1999, when they moved back downtown. Today the building is the W New York, Union Square, a hotel.

826 Broadway ca. 1910 Built in the Renaissance Revival style, this 11 story building was constructed in 1902 and designed by William Birkmire. It is located on the northeast corner of Broadway and East 12th Street, and today is well known as home to The Strand bookstore, a GVSHP Village Awards winner and beloved New York institution. The architect, William Harvey Birkmire (1860-1924) began his career in the steel industry in Philadelphia and was an authority on modern steel construction. By 1895 Birkmire established his architectural firm in New York, applying his steel construction techniques to the design of large store and loft buildings. The brick and stone commercial store and loft building at 826 Broadway was occupied by garment industry businesses in its earlier years and various commercial interests since including a medical device company during the 1930s.

Completed in 1846, Grace Church in New York is one of the earliest examples of Gothic revival architecture in New York City.

166 Second Avenue Building Date : 1929 Original Use : Religious Institution Original Owner : N. Y. C. Baptist Mission Society Original Architect : Emery Roth Description & Building Alterations This 15-story with tower apartment building, Warren Hall, was erected in 1929 by architect Emery Roth for the N. Y. C. Baptist Mission Society during a period when developers pinpointed this area as a site for luxury high-rises. It replaced a Gothic sanctuary built in 1850 by the Baptist Tabernacle, which was founded in 1839. Warren Hall was partially used as sanctuary originally, and the inscription “Baptist Tabernacle” still decorates the main entrance today. The building facade features projecting brick piers, banding, recessed point-arched entrance openings with incised ornament, three round-arched openings on the central tower, and decorative panels beneath roof railings.

Burning of the Second Avenue Armory, July 1863.

Hammacher, Schlemmer & Company ca. 1906 Hammacher & Schlemmer (say that ten times fast!) was the city’s first hardware store, opened in 1848, and is the country’s longest running catalog, first published in 1881. The store originally opened in 1848 at 221 Bowery at a time when high-quality hardware was hard to find. Then just 12 years old, William Schlemmer would sell tools in front of his uncle’s store. By 1867, he, along with newly acquired partner Alfred Hammacher (a fellow German immigrant), bought the business and renamed it Hammacher & Schlemmer. The two men turned this local shop into a national company, inventing numerous firsts: pop-up-toaster (1930), electric razor (1934), stem iron (1948), microwave oven (1968), cordless telephone (1975), among many others. In 1904, having outgrown its quaint Bowery location, Hammacher & Schlemmer moved to 133 Fourth Avenue (also known as 127-135 Fourth Avenue and 102-104 East 13th Street). Built in 1897 by Marsh, Israels & Harder, this building occupies an odd plot of land- picture a square corner lot with a little square cut out of the very corner. The AIA Guide refers to the building as the Hancock Building, but we haven’t been able to dig up any more information on the origins of that moniker (any tips?). The Fourth Avenue facade is more elaborate than its 13th Street counterpart, as it was the entrance to the store. The facade contains Romanesque elements like rounded arches on the top story and a subtle contrast of limestone texture. It also has Beaux-Arts elements, like the elegant cartouche above the doorway, Ionic pilasters flanking the middle stories, and the V-shaped decoration above the windows. This eclectic mash-up of styles makes this building extremely unique, not dissimilar from its hardware tenant that gained the motto, “if you can’t find it, try Hammacher & Schlemmer,” for its wide array of hard-to-find products. By 1926, the company had once again grown too large for its home and moved to 147 East 57th Street. 133 Fourth Avenue, however, remained in the family until 1936 under the ownership of William Schlemmer’s daughter Ida S. Bruch, who owned several other properties in the area.

An important early work of renowned Gothic Revival architect James Renwick, Jr., Grace Church (built 1843 - 1846), at Broadway at East 10th Street, is one of the most significant examples of this style in America.

Tammany Hall was the home to the political machine known as the Tammany Society from 1929 until they could no longer afford the building in 1943. Despite its storied political history, the Neo-Georgian building was only designated a New York City landmark in 2013. A renovation proposed by BKSK Architects a year later in 2014 included a multi-story glass dome perched on the top of the existing landmarked building. This design was deemed too stark by the LPC, but a year later BKSK came back to the commission with a slightly pared-down version and it was unanimously approved. There will still be a large glass dome that rises two stories above the roofline of the existing building, but the profile is much lower from the street. If you look up the designs (which you should!), you’ll notice that the glass dome rather resembles a turtle shell, which is precisely what the architects were after. Inspired by the namesake of the original chief of the Tammany organization and leader of the Lenape people in the late 17th century, Chief Tamanend.

Academy of Music (later Palladium), 1962. On their first US tour in 1965, the Rolling Stones played at the Academy of Music, a movie palace and music venue. In 1976, The Band played the first show under the newly named Palladium. It saw a wide range of music acts, including the Grateful Dead, Bruce Springsteen, The Ramones, Iggy Pop, U2, Def Leppard, P. Diddy, and Lil’ Kim. From 1985 to 1997 it was a nightclub with the same name, it’s now a dormitory for NYU students.

Grace Church, ca. 1875. One of the few buildings in New York that closes a vista, this church has a spire that may be seen from far down lower Broadway. Architecturally, it is one of the monuments of the Gothic Revival, complete with rectory and parish house. Although private pews were recently abolished, it was once the most popular church with New York society, and its pews, reigned over by the famous Sexton Brown, sold at a premium.

827-831 Broadway (two middle buildings with peaks at the roofline), c. 1910. The pair of cast iron-fronted buildings at 827 and 831 Broadway were built in 1866 and designed in the Italianate style by cast iron master Griffith Thomas. Constructed for Pierre Lorillard III, the grandson of New York's earliest maker of snuff, the four-story buildings were designed for retail, office, and manufacturing spaces. The symmetrical rows of arched windows, crafted by Thomas in 1866, remain nearly unchanged today. Not long after completion the building became the headquarters of Wheeler & Wilson Manufacturing, which invented some of the first successful sewing machines and forever changed clothing manufacturing. In the mid to late 20th century the ground floor was occupied by a well-known high end antique shop, one of many on this section of Broadway at that time. The most famous tenant of no. 831, though, was the artist Willem deKooning, who began renting an industrial space in 1958. His studio was described in 1962 by photographer Dan Budnik: “Walking into his studio was like entering a New York artist’s dream space. Daylight from skylights and large front windows reflected off white walls and a polished natural wood floor, creating a proper balance in the ambient light." Despite earlier threats of demolition, the twin buildings were landmarked in October of 2017, with the LPC noting their significant cultural history in addition to their architectural merit.

Manhattan: 4th Avenue - 11th Street (East). Designed in the Art Moderne style by William Dewey Foster, who designed a number of post offices around the New York area, this New Deal era building is perhaps most well-known in pop culture as the post office that employed Newman in the TV series Seinfeld.

George Washington Statue, ca. 1975. This equestrian memorial to America's first president is the oldest sculpture in the collection cared for by the NYC Parks Department. In 1851 a group of citizens approached two artists regarding a desired Washington sculptor. Horatio Greenough was well-known for a previous marble sculpture he created of the president, but passed away before a design could be planned. The resulting bronze monument was created by Henry Kirke Brown, who had already sculpted DeWitt Clinton for Green-Wood Cemetery. Kirke choose to recreate a scene from Evacuation Day, November 25, 1783, when Washington reclaimed the city from the British. He spent more than 18 months modeling the horse and its rider. Placed on a simple pedestal designed by Richard Upjohn, the statue was dedicated June 5, 1856 before a crowd of thousands. Originally located in a fenced traffic island in the middle of the intersection at the southeast corner of Union Square (see the next image below), the statue was moved to a more central location in the south plaza of the park during a redesign and reconstruction in the late 1920s.

Unique Theatre ca. 1908 Today, we think of Times Square when we think of the theatre district, but over 100 years ago, 14th Street centered around Union Square was full of theatre houses. The photo above shows what 136 East 14th Street looked like in 1908 when it was occupied by the Theatre Unique. It’s hard to believe that for 10 cents, a person could spend the day seeing several Vaudeville acts and 10 reels of the latest movies, according to Warren G. Harris at the Cinema Treasures website. Can you guess what sits in this spot now? Although the Cinema Treasures page shows the P.C. Richards store as the current building that occupies 136 East 14th Street, it is actually this NYU dormitory constructed in 1998. Far from unique, the building covers a large portion of this stretch of 14th Street and represents the non-descript designs we’ve come to expect from NYU. Taking a look back at what stood here 100 years ago, the Theatre Unique lived up to its name in design. Though not a huge structure, the large arched entrance gave the building an imposing air. When it opened as a penny arcade in 1907, this stretch of 14th Street was no stranger to entertainment venues; since about 1870, New York’s elite came to this district to see the latest live performances. Leading up to World War I, however, legitimate theatre moved northward to 23rd Street, then 34th Street, and finally 42nd Street where it still remains. The arrival of the movies gave new life to several theatres along 14th Street, and the Theatre Unique was one of the first in the city to offer movie screenings. The opulent movie house held about 800 seats, according to Cinema Treasures. New ways of attracting patrons presented itself in the form of bright lights and illuminated signs. The 1908 book, “The Illuminating Engineer” includes a chapter entitled “Light and the Moving Picture Show” by H. Thurston Owens which goes into detail about the use of electricity to draw crowds. In 1926, the Theatre Unique was demolished for the New Academy of Music, which had previously been located across 14th Street (where the landmarked Con Edison building now stands). That structure was designed by celebrated theatre architect Thomas Lamb and seated a much larger audience of 3,600.

27 Stuyvesant Street Building Date : 1861 Original Use : Residential Original Owner : Samuel Adems Original Architect : James Renwick, Jr. Description & Building Alterations This beautifully preserved four-and-a-half-story Anglo-Italianate townhouse was built in conjunction with the surrounding houses on Stuyvesant and East 10th Streets as part of the disposal of the Stuyvesant family estate surrounding St. Mark’s Church-in-the-Bowery. The house features a rusticated light-colored stone ground floor with vermiculated keystones and cornerstones and a corbeled entablature over the entry door. The parlor floor is higher than the others in the Italianate tradition of the piano nobile or “grand floor”, and the upper floors of the facade are red brick with light stone window surrounds. Original ironwork, including a wrought iron balcony off the parlor floor, has been removed. The original owners of this lot were Samuel Adams and Mathias Banta, the developer. Elizabeth Stuyvesant Fish willed that her estate, which included the land upon which this group of town houses is built, be divided equally amongst her four children, and the property was subsequently sold to Mathias Banta in 1858 for development on the condition that no “dangerous, noxious or offensive establishments whatsoever, nor any houses generally known as tenement house” be erected there. Banta subdivided the property into the present lots and listed the properties for sale in the newspapers. The lots were sold within a few months, and construction on the triangular piece of land encompassing Numbers 23 through 35 Stuyvesant Street and 112 through 128 East 10th Street began in 1859. This house is part of the St. Mark’s Historic District, designated 1969. More information is available in the Landmarks Preservation Commission’s designation report.

183-189 Second Avenue Building Date : 1925-26 Original Use : Institutional Original Owner : Louis Jaffe Original Architect : Harrison Wiseman Description & Building Alterations The Yiddish Art Theater was designed for prominent Brooklyn lawyer and Jewish community leader Louis Jaffe. The historic building was constructed as an elaborate, 1,265 seat live theater for the Yiddish Art Theater company, which was directed by Maurice Schwartz. The interior was designed in the Moorish Revival style that was popular in synagogues at the time, and included a forty-foot ornamental ceiling with a spectacular Star of David in the center that is still present today. The Yiddish Art Theater housed elaborate productions from Maurice Schwartz and his troupe, including The Tenth Commandment in 1928, which featured dances by Michel Fokine and sets by Tony-award-winning Boris Aronson. The theater showcased I.J. Singer’s Yoshe Kalb in 1932. Schwartz’s loyal following and festive, imaginative plays attracted renowned guests such as Albert Einstein, Charlie Chaplin, George Gershwin, and former New York City mayor Fiorello LaGuardia. The building went through several names and incarnations throughout the mid-1900s, including The Stuyvesant Theater, a film exhibition house, and a stint as the East Village landmark The Phoenix Theater. In 1930, the space was occupied by Molly Picon’s Folks Theater, named for Molly Picon, one of the greatest female stars of the Yiddish stage. In 1991, the theater was restored and converted into the Village East Cinema, and in 1993 the interior and exterior were designated as landmarks by the New York City Landmarks Preservation Commission.

East 14th Street, east of the Second Avenue El station, April 18, 1917. Despite its name, the Second Avenue El tracks ran over First Avenue between Houston and 23rd Streets.

Webster Hall, ca. 1949. A theater and event space since 1886, Webster Hall was an important stop for union organizers and radicals like Emma Goldman. In the 1950s it was known as a folk music venue, with performers such as Pete Seeger and Woody Guthrie, as well as Elvis Presley, Ray Charles, and Frank Sinatra.

A city is not just buildings but the people who live there and visit - so we added your history to the map. Enjoy reading through the stories that we selected as part of our second NYC Memories initiative!