38 East 14th Street, June 15, 1938. 14th Street (across foreground), at the S.E. corner of University Place, showing the former Springler Hotel under demolition. It will be replaced by a 2 story commercial structure. It is on a part of the old Brevoort farm of 22 acres that Elias Brevoort sold about 1758 to John Smith and whose heirs four years later sold to Henry Springler. The demolished building was originally a private dwelling and became a hotel after the Springler House of No. 5 Union Square burned down in the 1870's. It was a favorite rendezvous for actors playing at the old Academy of Music, Tony Pastors, the Union Square and other theaters of the vicinity. Tradition has it that well known Thespians lived here and that the "Lambs" had their inception here, though that organization has no record of having formally used these rooms.

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.

Tiffany and Company Building, 1903. The origins of Tiffany & Co date to 1837 when Irish immigrant Charles Lewis Tiffany opened a stationery and fancy-goods shop. Within a few decades Tiffany's was one of the most prominent jewelry stores in the country. In 1869, the business began construction on a new store on Union Square, The new building at 15 Union Square West (it is the first full building at left in the photograph) was designed by John Kellum. Clad in an elaborate cast iron facade, it was an imposing sight on the square. The New York Times called it a "palace of jewels." Louis Comfort Tiffany, the son of the founder, became the firm's first Design Director in 1902, creating jewelry with glass, enamel, and gemstones. Tiffany & Co. moved further uptown in 1906. The building on Union Square was then home to a number of garment companies and factories before becoming the headquarters for the Amalgamated Bank in 1925. In 1952 a piece of the cast iron facade fell from the building and struck a pedestrian, who later died. Following this accident the bank hired an architect to stripe the building of its projecting ornamentation and cover all the rest. The end result was a simple (almost Brutalist) white brick structure. In 2008 the building was sold and redeveloped in condos. The original structure was surrounded by dark glass and black aluminum framing, and an additional six stories were constructed.

The Margaret Louisa Home located at 14-16 East 16th Street is part of the Ladies’ Mile Historic District. It was commissioned by YWCA-benefactor Margaret Louisa Shepard, daughter of William H. Vanderbilt. It was built in connection with the YWCA to serve as a temporary home for Protestant women seeking employment. Robert Henderson Robertson designed the six-story home to accommodate 100 female residents. Construction was completed in 1891.

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.

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.

The New York Society Library was founded in 1754 as a subscription library and calls itself the oldest cultural institution in the city. The library was first housed in a room in the original City Hall during the colonial era. During the Revolutionary War, the collections were extensively damaged by looting and soldiers tearing up books to use for wadding in their muskets. During the years that New York City served as the country's capital (1789-1790), the Society Library effectively served as the first Library of Congress. (It is said that President Washington borrowed two books which he never returned). Following a number of moves in the first half of the 19th century, the Library settled in this purpose-built structure at 109 University Place building in 1856 where it remained for 81 years. In this venue, the Library was visited by luminaries such as Herman Melville and Willa Cather. The Library made its final move in 1937 into an Upper East Side mansion at 53 East 79th Street. At the time of this move the institution held 150,000 volumes; today, that number has nearly doubled. The building seen here was demolished for a new apartment building completed in 1940.

East 11th Street.

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.

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.

Salmagundi Club, November 24, 1937. The Salmagundi Club was an art club founded in 1871. Initially called New York Sketch Class and later the New York Sketch Club, the organization was a men's only group of artists, students, and friends who met once a week. It was renamed Salmagundi in 1877 and meet at a number of Greenwich Village locations during its first 40 years. In 1917 the club purchased and moved into the1853 Italianate-style townhouse at 47 Fifth Avenue. For the last century it has operated in this building as a center for fine arts, artists and collectors, exhibitions, classes, demonstrations,and auctions.

Edith Jones Wharton (1862-1937), one of America’s most important authors, lived at 14 West 23rd Street, Manhattan at a time when 23rd Street marked the northern boundary of fashionable New York. There, in her father’s extensive library, young Edith Jones discovered the world of literature. Wharton wrote with authority on gardens and design, but was most celebrated for her fiction. Her novels and stories are characterized by her intelligence, perception and the great beauty of her prose. Wharton lived in France for the latter part of her life, but the complex world of patrician New York remained the source of her greatest fiction. This includes The House of Mirth (1905) and The Age of Innocence (1920), for which, in 1921 she became the first woman to win the Pulitzer Prize for Literature.

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.

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.

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.

Shoppers and Carriages Outside Wanamakers, 1898. The cast iron building, that became Wanamakers Department Store in 1896, survived for 94 years. Despite the intense blaze that destroyed the interior of the building in 1956, the cast iron facade seen here remained standing and had to be dismantled.

Grove St Press moved here after a brief stay at 80 University Place from 1964-67. Less than half a block down to 53 East 11th Street the move came at a crucial time for the enterprise. In 1967 Grove became a public corporation, vastly expanding its scope and resources. According to “From the Third Eye: The Evergreen Review Film Reader”, in January of that year, the Press also announced the acquisition of the prestigious Cinema 16 Film Library, consisting of two hundred shorts and experimental works, including films by Stan Brakhage, Kenneth Anger, Michelangelo Antonioni, and Peter Weiss, all darlings of the cinematic avant-garde.

By the late 19 century, not only were unmarried working-class women toiling in factories, mills, shops, and various trades, but middle-class women were employed in new white-collar jobs as clerks, secretaries, stenographers, journalists, and telephone operators. An 1879 report of the Association for Inquiry into the Condition of Professional and Business Women estimated that there were about 50,000 women pursuing “professional, literary, and artistic pursuits” in and within 50 miles of New York, while there was only accommodation for 500. The need for housing was so great that the LCU and similar organizations were turning away three applicants for everyone they could house.

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.

31 Union Square West ARCHITECT: Bruce Price DATE: 1902-03 STYLE: Neo-Renaissance A limestone-faced bank and office tower, the Bank of the Metropolis, a columnar tripartite skyscraper, is a representative example of the major New York architect Bruce Price’s neo-Renaissance commercial architecture. The design incorporates classical elements which were traditionally associated with American bank architecture. Notable features include the bowed two-story portico with monumental polished granite columns, lions’ heads, consoles, foliated spandrels and spandrels with open-mouthed lions.

In the Gilded Age, this was the area where America went to shop. If today, New York's iconic shopping district is midtown Manhattan, in the 1880s and 1890s it was Ladies' Mile, the area extending between 15th and 24th streets from Broadway to Sixth Avenue. As a popular guidebook noted in 1892: "Ill fares the rural or provincial purse whose owner ventures before these attractive windows, extending for miles on miles, ever diversified and varied." Indeed between just 19th and 22nd streets on Broadway you could purchase a French velvet or antique Oriental rug at the carpet emporium, W. & J. Sloane (now ABC Carpet & Home); a silver punch bowl carved with twisted vine handles and lion paw feet at the silver maker Gotham Manufacturing Company; and a bespoke or ready-made suit at Brooks Brothers. It was Lord & Taylor that not only showcased the season's most luxurious fashions, but helped turn shopping into a social activity and form of entertainment. The store-which opened at 20th and Broadway in 1871-beckoned shoppers from the sidewalk. Its large plate-glass windows were a marvel-according to a guidebook, one of Broadway's greatest sites filled with the "richest and rarest good of every description." The windows were set in a five-story structure that architecture critic Montgomery Schuyler called "by far the most beautiful, sensible, and perfect iron building yet erected in New York." Once inside, visitors could take a ride in a passenger elevator. The innovation was less than two decades old-and Lord & Taylor was the first department store to have one. An article in Frank Leslie's Illustrated Newspaper toned the elevator as "luxurious as the grand saloon of the first-class steamboats." Though some went just to browse, those who shopped at Lord & Taylor were mostly from the so-called "carriage trade"- the middle class and wealthy who could afford a carriage ride rather than depend on mass transit. The store had grown from a small dry goods shop on Catharine Street in 1826 to an emporium compared to those in Paris. the New York Times routinely reported on the items in a new season's collection- such as brocaded silk and fur-trimmed boots; a white satin evening dress trimmed with Fedora lace; and a street costume featuring a jacket with matching jockey cap and muff in camel's hair. Lord & Taylor remained a premiere destination on Ladies' Mile until 1914, when it followed other stores upton to its current location at 38th and Fifth Avenue. Shortly thereafter, the owners of the location in front of you put up an interior wall separating off the section of the building fronting Broadway, and created the new stone facade you see on that half of the building today.

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.

29 Union Square West when it was Jason's Restaurant, 1978. In the 1890s this plot was the location of a five-story brick building that housed the Bank of the Metropolis. In 1903 the bank moved across the street to a new building at 31 Union Square West (where they had been founded in 1871). The building at no. 29 was demolished by 1928, and a one-story structure was erected on the site (likely as a taxpayer during the years of the Depression). The current blue-walled midcentury mundane building currently on the lot rose in 1959. It is unknown when the iconic coffee sign was installed. In the 1960s it was a coffee shop called Chase, and it was Jason's in the late 1970s and 1980s. The Coffee Shop, a dependable late-night spot opened in 1990. Slinging coffee, cocktails, and Brazilian fare, the locale became a well-known spot for a diverse crowd of students, East Villagers, scenesters, and celebrities. It often appeared on the show, Sex, and the City. After 28 years the restaurant closed in mid October 2018. A rumor the next week suggested that the location was to become a Chase Bank (ironic given that its first coffee shop tenant was Chase too)

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.

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.

The former Hotel Albert complex consists of four buildings at 23 East 10th Street/40-52 East 11th Street/65-67 University Place. The buildings were constructed in 1875-76, 1881-82, 1903-1904, and 1922-1924. From the 1880s through the early 1970s, the Hotel played a large role in New York City’s cultural life. During the postwar era, prominent painters, writers, photographers, and musicians found inspiration at the hotel. LGBTQ and African-American artists established communities here, as did radical, Jewish, and working-class organizations such as the Progressive Labor Party. The hotel hosted dramatic productions at the “Albert Theatre for a brief period.” To learn more about the Hotel Albert, click here.

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.

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.

Constable Building, ca. 1900. While the earlier building and extensions of the Arnold Constable flagship store in the Ladies' Mile shopping district were designed by architect Griffith Thomas in the 1870s, William Schickel was involved in the 1880s expansions of the monumental emporium complex. He designed the Renaissance Revival annex on 18th Street in 1884, as well as the 12-story structure at the corner of Fifth Avenue and East 18th Street, seen here, completed in 1895.

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.

12-14 West 12th Street ca. Architect Alexander Jackson Davis was born on July 24, 1803. Davis, one of the most successful and influential American architects of his generation, is perhaps best known for his association with the Gothic Revival style of architecture and rural settings. Though many surviving examples by Davis exist in upstate New York and at other locales along the East Coast, some very prominent examples of Davis’ fine work once stood on lower Fifth Avenue. In 1849, Davis designed two matching Italianate mansions on West 12th Street, Nos. 12 & No. 14. A description of these buildings can be found on Daytonian in Manhattan: ” …abutting the churchyard of First Presbyterian Church, which had been completed three years earlier. The handsome brick residences reflected the refined neighborhood. Each two bays wide, they featured arched entrances four steps above the sidewalk and a cast iron, second floor balcony that ran the width both structures. Brownstone lintels and a simple cornice added to the understated elegance of Davis’ design.” These mansions survived into the mid-20th century, changing hands a couple of times throughout their lifespan. Most famously, No. 12 was the home of Thurlow Weed, an influential statesman. After the death of Thurlow, ownership of No. 12 fell to his daughter Harriet, and after her passing both buildings were taken over by the First Presbyterian Church, becoming their parsonage. However, in 1958, the church, in need of a modern church house, made the decision to tear down Nos. 12 & 14. A necessary decision for the church proved to be an unpopular one with the community, as reported by The Times: “Though church folk dislike the idea of having the old mansions torn down, and architects in town frown on the notion, too, they know they must go. The space is sorely needed for the children. So, one by one, the master works of great architects vanish from the city.” Davis, who worked along with the architect Ithiel Town, had a hand in other architectural works within the Village, including a portion of the now-demolished Brevoort Mansion on 5th Avenue, and the designs for Colonnade Row. However, with the loss of Nos. 12 & 14, the city lost a truly wonderful example of Davis’s designs. As lamented by The Times, “All that will remain of his dreaming on paper when the Twelfth Street mansions go down in rubble…will be a few villas up in Hudson River Valley.” Architect Alexander Jackson Davis was born on July 24, 1803. Davis, one of the most successful and influential American architects of his generation, is perhaps best known for his association with the Gothic Revival style of architecture and rural settings. Though many surviving examples by Davis exist in upstate New York and at other locales along the East Coast, some very prominent examples of Davis’ fine work once stood on lower Fifth Avenue.

72 Fifth Avenue ca. 1915 In 1847, on Bond Street in London, a young man named Philip Morris opened a small tobacco shop. Eight years later, Morris began to produce his own cigarettes. When, in 1873, he died, his widow Margaret and brother Leopold took over the business. In 1885, the company gained international fame and was officially named Philip Morris & Co. LTD. By 1902, Philip Morris was incorporated in New York. After some shuffling around and restructuring, in 1917, the business moved to 72 5th Avenue, at the northwest corner of 13th Street. This 7-story building was erected in 1893 as a warehouse. The masonry façade ornamentation and rhythm is very characteristic of loft warehouse buildings in this area at the time. In 1913 an alteration was performed by the architect Adolph E. Nast who worked for the firm of John L. Sands. In 1931, after disappearing from his New York hotel, Nast’s body was found in Baltimore with a pistol wound to the head. It was believed to be a suicide. Up until the 1930s the building was owned by the estate of Katherine Lorrilard and throughout the 1940s a bank was located in the storefront. In 1960, Ginn & Company publishers occupied three floors of the space, totaling 15,000 square feet. Philip Morris relocated to 5th Avenue and 19th Street in 1938, where they continued to grow. In 1954 the company launched a major campaign with Marlboro Cigarettes, marketing them specifically to men. In 1970 Philip Morris acquired Miller Brewing Company and in 1985 acquired Kraft. In 2003 the name Philip Morris disappeared when Altria Group, Inc. took over the company. Five years later the entire company was relocated to Richmond, Virginia.

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.

The Macmillan Co. Building (later Forbes Building), April 1, 1925. Called a “pompous limestone cube” by the AIA Guide to New York, the Macmillan Co. headquarters was built between 1923-1925, in a collaborative effort by two firms known for New York City landmarks: Carrère & Hastings (New York Public Library, 5th Avenue) and Shreve & Lamb (Empire State Building). In 1965, the building was acquired by Forbes Magazine, whose Malcolm Forbes opened a small gallery there, showcasing his eclectic art collection. New York University purchased the building from Forbes in 2010.

Lord & Taylor Store ARCHITECT: James H. Giles DATE: 1869-70 STYLE: French Second Empire The Former Lord & Taylor Building is an impressive cast-iron structure handsomely designed in the French Second Empire style by the architect James H. Giles. It was constructed with the most up-to-date materials of the time, cast iron and glass, which were particularly suited to the design of commercial buildings. Its picturesque corner tower with tall mansard roof gives the building a highly distinctive and striking character.

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.

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!

Theodore Roosevelt Birthplace ARCHITECT: Theodate Pope Riddle DATE: 1923 STYLE: Gothic Revival An unusual note of elegance is shown in the drawing room windows at first-floor level which are full length and open upon a handsome cast-iron balcony. All windows and the front door have special drip moldings above them which were the hallmark of the Gothic Revival house. All the windows, with the exception of those in the basement, are shuttered. The cornice at the top of the front wall is carried on a continuous series of small arches, a concession to its having been designed in the Gothic style.

First Presbyterian Church ca. 1900 Set in ample grounds where it may be seen from three sides, this handsome exemplar of the Gothic Revival makes us realize that all was not necessarily fuss and gingerbread in this period. Joseph C. Wells, the architect, attempted a scholarly representation of an ecclesiastical style which, at best, was foreign to this country before 1835.

Forbes Building, 60-62 Fifth Avenue, ca. 1977.

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.

23 East 11th Street, ca. 1971.

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.

Sprague Building ca. 1905 On the corner of 12th Street, the highly ornamented 817 Broadway is a visual treat. The building, which turns 120 years old this year (in 2015) , was constructed in 1895 to the designs of prolific architect George B. Post. Post designed several well-known buildings in New York that have long been demolished, so it was nice to come across his name during our survey of the Broadway/University Place/14th Street area. As with many other buildings along Broadway at the turn of the century, 817 Broadway housed clothing manufacturing. This particular structure was designed for Meyer Jonasson & Company, cloak manufacturers, for a cost of $250,000. The building later became known as the Sprague Building. This 1905 photo, taken by Irving Underhill (courtesy of the Museum of the City of New York), shows what the intersection of Broadway and 12th Street looked like 110 years ago. Needless to say, this building made quite a statement. Post was known for his innovative skyscraper designs; his now-demolished New York World Building was, for a time, the tallest in the world. It seems surprising today that this would be considered a skyscraper, but when you look at the surrounding buildings in the photo you can see what an impression this building must have made. An alteration permit from 1940 indicates that the storefronts were changed in that year. The thing that is particularly striking about this building is the way the triangular piers change the look of the facade depending on where you’re looking. There is also the sense that there are two different facade designs – Broadway versus 12th Street – when in fact they are both exactly the same (except that Broadway is only three bays wide).

"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.

28 East 20th Street, south side, between Fourth Avenue and Broadway, 1925. This brownstone was built in 1848 and purchased by Theodore Roosevelt's grandfather, Cornelius Van Schaack Roosevelt, in 1850. He would go on to gift the home to his son and new daughter-in-law as a wedding present in 1854. Theodore Roosevelt was born here on October 27, 1858. The Roosevelt's moved uptown (as was the trend) in 1873, as the area surrounding his birthplace evolved into a primarily commercial district. After the family left, the home (and its neighbor at no. 26, which was also gifted to Roosevelt's uncle) went through a number of drastic alterations before being totally demolished in 1916. In 1919, after Roosevelt's death, the family repurchased nos. 26 and 28 and restored the structures to their 1865 state, complete with period rooms. Initially a private venture, the site became part of the National Park Service in 1962.

The Brittany Hotel ca. 1922 The Brittany dates to 1929, and was built as an apartment hotel. It was consciously and respectfully built in the Gothic Revival style in deference to the magnificent Grace Church across the street — one of New York’s great Gothic landmarks designed by one of America’s most prominent architect’s, James Renwick.

70 Fifth Avenue (at far right), May 19, 1933. Constructed in 1913 as a speculative office building, the 12-story structure on the corner of Fifth Avenue and West 13th Street was advertised as "office space at a prestige address." In 1914 it became the headquarters for the National Association for the Advancement of Colored People, and the offices of its official publication, The Crisis. (The NAACP had previous worked from offices at 20 Vesey Street for the first five years of their existence.)

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.

801 Broadway, unknown date. The middle of the 19th Century saw an influx of wealthy New Yorkers moving north of Washington Square. To cater to this growing population, lavish new developments began to spring up around Union Square. Gothic Revival religious institutions such as the James Renwick-designed Grace Church and the Richard Upjohn-designed Church of the Ascension (a 2011 GVSHP Village Award winner) served as local landmarks. For the more informal daily routines of wealthy women, stately department stores became the trend. Often known as dry goods stores (to distinguish their goods from those carried in hardware and grocery stores) , these large shopping meccas also served as social gathering places where women could mingle with their peers, have lunch, and, of course, spend money. The original Macy’s store was located on 14th Street (which was landmarked in 2011) and the A.T. Stewart store was on East 10th Street and Broadway. Another important retail presence was James McCreery & Co. James McCreery & Co. Dry Goods opened its doors in 1869. Previously, Mr. James McCreery was employed by Ubsdell, Pierson & Lake, a department store located on Broadway and Grand Streets. He worked his way up to become a partner in the company. Upon Lake’s retirement in 1867, the company was renamed James McCreery & Company. He then commissioned a new store on Broadway and 11th Street that would come to be known as one of the nation’s most esteemed dry goods stores. The building was designed by architect John Kellum, known for his work in the new medium of cast-iron. His reputation stemmed in part from his design of the A.T. Stewart Department Store. The James McCreery & Co. building occupied a large lot fronted by both Broadway and 11th Street. Both facades were cast-iron from the foundry of J. B. & W. W. Cornell Ironworks. The Italianate/French Second Empire style exemplified the extravagant goods housed inside, namely the luxurious silks unavailable elsewhere. Around 1895, McCreery followed the department store trend up to “Ladies’ Mile,” 6th Avenue between 14th and 23rd Streets, when he opened his second store on 6th Avenue and 23rd Street. According to CastIronNYC.org, “McCreery sold the \[11th Street] building to the Methodist Book Concern and Missionary Society and leased back space in the lower floors; McCreery repurchased the building in 1889. James McCreery & Co. remained in the building until 1902. By 1910 the original mansard roof had been replaced….and the storefront housed Fleischman’s Restaurant.” The original mansard roof referenced here was lost to a fire on July 3, 1909 and replaced by a one story addition. The upper floors were occupied by factories that produced suits, shoes, and leather wares. In 1971, a fire begun in one of the factories destroyed the interior of the building. Thanks to the cast-iron construction, though, the façade was left unscathed but the top story was lost. The following year, the building was purchased by the Elghanayan brothers. As noted by Daytonian in Manhattan, “When their intentions to demolish the remaining shell and erect a high-rise apartment building in its place were announced, the community protested. Residents rallied along with the Friends of Cast Iron and community groups, appearing before the Board of Appeals. The Board granted variances that made renovating the existing structure to residential use economically feasible.” This project became an early example of a commercial building converted to residential use. During the adaptation, the two setback stories were added at the roof. It was renamed the Cast Iron Building. There are 144 apartments, none of which are identical. The building is currently calendared for landmark designation.

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.

Marion Parker, a graduate of Michigan State University, designed the structure for the Whitehall, and Broad-Exchange buildings, and assisted in designing the Flatiron Building. Elmina Wilson, a graduate of Iowa State University, designed the structure for the Whitehall Annex, the Manhattan Municipal Building, and the Metropolitan Life Insurance Tower — the tallest building in the world from 1907 to 1913. Learn more here.

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.

Buildings on the west side of Fourth Avenue, below 9th Street, during construction of the IRT Lexington Avenue Line, December 10, 1902. The buildings were razed the next year, when construction began on 770 Broadway, the massive, full-block annex to the original Wanamaker department store.

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.

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.

New York City Fire Engine No. 72 Cinema Village, located at 22 East 12th Street, is the oldest continuously operated cinema in Greenwich Village and one of the oldest continuously operated art cinemas in the city. Information from GVSHP’s research notes the following about the Cinema Village building: The façade appears to date from a 1964 alteration. The NB application shows that the structure was built as a three-story fire engine house in 1898 and designed by Horgan & Slattery for the City of New York. (Horgan & Slattery designed the Butterick Building at the Corner of 6th and Spring Streets in 1903 and other sites around the city during the early twentieth century). The building at 22 East 12th Street remained in use as a firehouse until it was converted to a movie theater in the 1960s. A 1964 Certificate of Occupancy shows it was operating as a “moving picture theater and entrance lobby.” The theater opened on October 5th of that year with Ingmar Bergman’s All These Women. Through most of its early years, Cinema Village was one of the city’s many repertory cinemas, showcasing vintage movies, cult classics, and contemporary favorites on double bills (aka double features) that would usually change three times a week. This once essential programming format has mostly died out in commercial movie theaters throughout New York City and the United States. By the late 1980s – and due to the surge in home video, buy outs by large-name theaters, and real estate development – commercial repertory cinema all but disappeared in New York City. Cinema Village escaped closure, surviving by presenting limited engagements of unconventional first run shows. In the early 1990s, before Jackie Chan, John Woo, Michele Yeoh and their stunt coordinators went to Hollywood, Cinema Village became known, through its annual festivals and other bookings, as the place to see the Hong Kong films of what would soon be acknowledged as a filmmaking golden age.

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.

Amid the cast-iron facades of commercial and converted residential buildings between Broadway and University Place in the Village resides a large brick and brownstone institutional building. With its Police Athletic League (PAL) banners and Police Department signage over the door, it looks like it could have been an old station house re-purposed for PAL uses. In fact, this building on East 12th Street between University Place and Broadway is one of the city’s oldest surviving school structures and was the workplace of one of the pioneers of higher education for women.

The Hotel Grosvenor Apartments were constructed in 1926 on the site of the 1876 Grosvenor Hotel. The original hotel was one of the earliest businesses in the fashionable mansion district.

Lincoln Building ARCHITECT: R. H. Robertson DATE: 1889-90 STYLE: Romanesque Revival A classic example of the layered arcade design solution, a solution in which New York pioneered, the Romanesque Revival Lincoln Building is representative of an important transitional phase in the history of tall buildings. Using interior metal skeleton skyscraper construction in combination with traditional masonry bearing walls, the building is executed in limestone, granite, and brick, and has exceptionally fine carved and terra cotta detail, which includes the corner griffin, acanthus scrolls, Byzantine capitals, crisp moldings, human and lion heads.

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.

East 9th Street. Street Bridge, Wanamaker Building, 1923. Called the "Bridge of Progress" this sky bridge connected the 1862 Stewart department store building (which became a Wanamaker store in 1896) and the 1907 Wanamaker "Annex" Building between 8th and 9th Streets. These two buildings were lavish shopping destinations for the first half of the 20th century. In 1954 the store closed and the older north building was set to be demolished but the interior and sky bridge were first destroyed by a fire 1956.

Lord & Taylor building, ca. 1908. The grand Second Empire building was completed in 1870, becoming the third Lord & Taylor store, and the first north of Union Square. Architect James H. Giles designed an intricate cast iron facade, notable for its departure from previous cast iron designs, which sought to emulate stonework. This store is also said to be the site of New York’s first department store Christmas window display. In 1915, Lord & Taylor moved into a new showcase space uptown, and the building at Broadway and 20th Street was converted for manufacturing use.

The Decker Building was the site of Andy Warhol's Factory from 1968 and 1973. Fittingly, the building was designed by a radical anarchist architect, John H. Engelmann when he worked for Alfred Zucker in 1892. Engelmann had been expelled from the Socialist Labor Party and immediately formed the American Social League. Its name comes from the piano company that commissioned it: Decker. Andy Warhol moved his Factory to the Decker Building in 1968 after the original Factory's building on East 47th Street was slated for demolition. Warhol used a large portion of the sales of his work to fund his "Factory." It was at this factory where a bulk of Warhol's screenprints were produced by an assembly-line of workers. Conveniently, the Decker was in close proximity to Max's Kansas City, a nightclub he and his entourage would frequent. Warhol's sixth-floor unit was both a workspace and hangout frequently crowded with socialites, intellectuals, artists, adult film stars, drag queens, drug users, musicians, and many other characters on the fringes of society. These friends of Warhols became his "art-workers," producing his paintings, starring in his films, and generating the atmosphere the Factory became known for. It was here on a fateful afternoon in June (the 3rd) of 1968 that Warhol would be shot by Valerie Solanas. Solanas was a radical feminist and author who asked Warhol to produce her play titled "Up Your Ass," which she later accused Warhol of stealing. Solanas followed Warhol and Paul Morrisey into the elevator to the 6th-floor Factory where she shot Warhol three times and art critic Mario Amaya once. Warhol and Amaya recovered from their injuries and Solanas turned herself in. The Factory remained at this location until 1973.

Union Square West, north from and including the southwest corner of 15th Street, 1904.

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.

63 Fourth Avenue Building Date: Mid-19th c./1927 alt. Original Use : Residential Original Owner : Unknown Original Architect : Unknown Description & Building Alterations Lot 13 is a modern style building with a light panel design. Although the current building’s construction date is unknown, an alteration permit indicates it was used as a store and dwelling in 1927. Permits issued in 1954 and 1955 suggest that the building mainly consisted of stores and showrooms.

39 Fifth Avenue ca. 1923 Emery Roth designed this 14-story apartment building, his first in Greenwich Village, in 1922. It was the first of many of the larger apartment houses which would line this part of Fifth Avenue, typically replacing the 19th-century mansions which originally lined the thoroughfare. It is clad in Flemish bond brick and is restrained in its ornament with the exception of the multi-colored terra-cotta loggias at the third and the eleventh and twelfth floors.

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.

Located in the NoHo Historic District, this full block building at 770 Broadway was built in the Renaissance Revival style and was originally home to the department store, Wanamaker’s and its warehouse when this stretch of Broadway was a bustling commercial center at the beginning of the 20th century.

Most of us remember the famous line from Alfred Hitchcock’s 1954 thriller, Rear Window, “Meet me in the bar at the Albert Hotel,” delivered hauntingly by Jimmy Stewart to Raymond Burr. Today the building is a co-op complex comprised of four distinct structures functioning as a single entity and occupying the entire blockfront of University Place between East 10th Street and East 11th Street. The oldest of the buildings dates back to the 1870s, while another section was built by one of New York’s greatest and most celebrated architects. Collectively, the four buildings of the Albert Hotel have hosted a nearly unrivaled list of historically significant figures over the years. In 2012 the complex was listed on the New York State and National Registers of Historic Places — a largely honorific designation.

61 Fifth Avenue, ca. 1983. 61 Fifth Avenue first opened in 1938 as a Schrafft's luncheonette. The cozy restaurant, framed by a grand staircase, semi-circular open ceiling, and heaps of flowers, gift baskets and boxes of chocolate, was designed by architects Bloch & Hesse. By 1969, Schrafft's became the “official dining spot” for what New York Magazine then called “L.O.L.’s,” or Little Old Ladies. With the hope of reinventing its image, the owners hired Andy Warhol to film a trio of young girls in miniskirts with the tagline, “Have you seen the little old ladies in Schrafft's lately?" for a commercial. Despite efforts to appear hip, the restaurant closed in the 1970s and was replaced by a Brew Burger. Then came The Lone Star Café. Known for its “honkytonk” live music and the giant 40-foot iguana statue that sat on its roof, the Texas-themed cafe and club was the top venue for country music in New York from 1976 to 1989. Mr. Fuji's Tropicana opened at 61 Fifth Avenue in the early nineties, but only remained open for a short period of time. The club was famous for its tie to Vin Diesel, who is rumored to have worked the front door as a bouncer. A Korean deli with a secret karaoke bar on the second floor opened after Mr. Fuji’s shut down, and following that, a 24-hour convenience store. In 2006, the building was destroyed in a fire. The land was sold to a developer who recently erected a 10-story condominium at 61 Fifth Avenue. Designed by architect Alta Indelman, the building today is surrounded by a fence that has become a showcase for street art.

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.

Mansard roof of 881 Broadway, ca. 1973.

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.

Union Square West looking south, including the Decker Building (extreme right), date unknown. This 1893 building, designed by John H. Edelmann for the Decker Brothers piano company, replaced the company's previous headquarters designed by Leopold Edilitz. Edelmann, notable for his anarchist views and his mentorship of the architect Louis Sullivan (Edelmann came up with the idea for Sullivan's maxim "form follows function"), drew upon Venetian and Islamic influences in the design, which featured balconies, elaborate cast iron filigree, Islamic style terra cotta tiles, and culminated in a domed minaret. Later, from 1967 to 1973, the Decker building was the site of Andy Warhol's studio the "Factory," which was located on the 6th floor. This was where, in June of 1968, Valerie Solanas shot and injured Warhol, as well as art critic Mario Amaya.

Salmagundi Club ca. 1965 As written in the designation report, the four-and-a-half story Italianate style building at 47 Fifth Avenue was constructed in 1852-1853 for Irad Hawley, the president of the Pennsylvania Coal Company, which had yards along the Hudson River in the West Village. The building’s arresting entrance, up a flight of wide steps, is framed in original stone ornament and flanked by French doors that open onto cast-iron balconies. And, the report indicates, the inside is no less stunning. The first floor of the building showcases Italianate-style carved marble chimney pieces, rose wood doors, and an arcaded Corinthian screen dividing the front and back parlors. The dining room features elements of the Gothic Revival style and is one of the few remaining interiors in New York to do so. The Salmagundi Club, by 1969, was one-of-a-kind, the last architectural relic of the swath of mid-nineteenth century Anglo-Italianate brownstone mansions that once lined the lower portion of Fifth Avenue. Its dignified, former northern neighbors at 49 and 51 Fifth Avenue were razed to make way for a 19-story apartment building, built-in 1929 by Thomas W. Lamb, but the Salmagundi Club stayed put. Beyond the architectural significance of 47 Fifth Avenue, the designation report cites the building’s cultural significance as a key reason for its designation. The Salmagundi Club, before moving into its longtime home, was organized in 1871 for the “the promotion of social intercourse among artists and the advancement of the art” and named for the “Salmagundi Papers,” a satirical magazine published by short-story writer Washington Irving in which he coined the term “Gotham.” The Club purchased the grand Fifth Avenue mansion in 1917, and has resided there ever since. The designation report credits the maintenance of the historic building to the club, which had been, and continues to be, a reliable and generous steward. Notable members of the Club include illustrators Edwin Abbey, N.C. Wyeth, and Howard Pyle; Impressionist painters William Merritt Chase and Childe Hassam; Arts and Crafts pioneer John LaFarge; designer Louis C. Tiffany; Hudson River School artist Thomas Moran; and architect Stanford White. But that’s not all there is to celebrate today. The building is not only a historic cross-section of Fifth Avenue history and an esteemed center of orbit in the city’s art world. It is noteworthy also as one of the first individual landmarks named and protected by the city. The designation report is a mere page long, absolutely minuscule compared to the over 50-page reports put together today, but it set a crucial precedent in New York City’s landmarking process. And, from April 1, 1982 until 1999, Village Preservation’s offices were located in the building’s attic!

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.

A hot spot for writers and artists, this bar is credited as an important incubator of the Abstract Expressionist movement in the mid century. The Cedar Street Bar first opened in 1866 on (unsurprisingly) Cedar Street in lower Manhattan. After nearly a century and a number of moves further uptown, in 1964 the bar relocated to 82 University Place (seen here) after its venue a few blocks to the south was demolished for apartment buildings. While at its previous location at 24 University Place (1945-1964) the Cedar Tavern became a popular watering hole for many Abstract Expressionists. Artist Robert Motherwell held weekly salons in his nearby studio and this was the closed spot for a drink after the meetings. This group of patrons included Jackson Pollock, Willem de Kooning, Mark Rothko, Franz Kline, Michael Goldberg, Landes Lewitin, Aristodimos Kaldis, and others of the New York School of Abstract Expressionists. Beat Generation writers and artists, including Allen Ginsberg, Jack Kerouac, and Bob Dylan, also frequented Cedar Tavern. The 82 University Place location closed in 2006 and its century-old, 50-foot mahogany bar was sold and transported to a bar in Austin, Texas.

80 Fifth Avenue, an elaborately-detailed Renaissance Revival style office building constructed in 1907-1908 by the architecture firm of Buchman and Fox, has been a striking presence at the southwest corner of Fifth Avenue and 14th Street for well over a century. The stunning architecture would be enough to warrant landmark designation of the 17-story office, store, and loft building, which has housed law firms, clothing and jewelry shops, magazines and real estate offices, a school, and civic organizations over it’s more than one hundred ten year history. But beginning in 1973, the top floor was also home to the National Gay Task Force, the country’s first national LGBT rights organization, during its early period when it made groundbreaking advances — the first in fact ever made — for LGBT rights on the federal level. This building was constructed in 1908 to be used as manufacturing and office space. Known as both 80-82 Fifth Avenue and 2-4 West 14th Street, its facades facing two of New York’s busiest streets is full of stately embellishments. This beautiful building’s lower and upper levels feature decorative floral and geometric ornamentation, elaborate cornices, and angled bay windows on the third floor. Ornamented pilasters are found at either side of these windows, with slightly more austere middle floors and in its arched windows and elaborate ornamentation at the top story. The National Gay Task Force, now renamed as The National LGBTQ Task Force, works to advance full freedom, justice, and equality for LGBTQ people. The organization is the country’s oldest national LGBTQ advocacy group. The founding members of the Task Force included Dr. Howard Brown, Martin Duberman, Barbara Gittings, Ron Gold, Frank Kameny, Nathalie Rockhill, and Bruce Voeller. They were inspired by the Stonewall uprising and the burgeoning LGBTQ rights movements in the Village. Among the Task Force’s accomplishments during the time it was located at 80 Fifth Avenue included getting the American Psychiatric Association to end its classification of homosexuality as a mental illness; getting the federal government to end its ban on employing gay or lesbian people in any federal agencies (though a guarantee not to discriminate based upon sexual orientation was not implemented until decades later); and brokering the first meeting of gay rights advocates with the White House in 1977.

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.

31-41 Union Square West, October 26, 1938. The building at the far left is the Metropolis Bank, a neo-Renaissance structure designed by Bruce Price and completed in 1903. Next to it at no. 33 is the Decker or Union Building.The 1892 building was designed by John H. Edelmann. The style of the facade includes Venetian and Islamic traditions, rendered in terra cotta detail. From 1967 to 1973 the building was the venue for Andy Warhol's "Factory." It was here in 1968 that Valerie Solanas shot Warhol and critic Mario Amaya. The Hartford Building (no. 41 at the corner of 17th Street) dates to 1895 and was built as the headquarters of the Hartford Carpet Company. Today all of these buildings remain standing.

"“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."

Streetcar tracks alongside the high pressure water system trench on Union Square West; undated photo. At left is the shop of Victor S. Flechter, violin dealer, at No. 23 Union Square West. Flechter was not a merchant of high moral character: He twice ran afoul of the law during the 1890s: first for selling an imitation violin as a Gasparo Duiffopruggar original; and again in 1896, for possessing a Stradivarius violin stolen from the late Prof. Jean Joseph Bott, for which he was sentenced to one year in prison.

The University Place Presbyterian Church was officially established in 1845 by members of the Duane Street Presbyterian Church who wished for a community further uptown. With more than $60,000 in donations (or subscriptions), the new parish purchased a plot at the corner of University Place and 10th Street from the managers of Sailors' Snug Harbor who owned this and much of the surrounding acreage. The parish commissioned famed architect Richard Upjohn to design their new home. Rendered in an English Gothic style with soaring spire, the church was dedicated in June 1845. In the ensuing decades, the once wealthy surrounding neighborhood began to decline as well-to-do New Yorkers moved further uptown. The church merged with Mercer Street Church in 1870 while continuing to use this edifice. Further financial struggles due to declining membership necessitated the 1918 merger of this church and the Madison Square Presbyterian into the nearby Old First Presbyterian Church on Fifth Avenue and 12th Street. In 1927 the old church was razed and in its place, the Devonshire House, a 14-story apartment building, was erected the following year.

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.

Village Preservation successfully advocated for this building's landmark designation in 2021. This building housed the headquarters of the nation’s oldest and largest civil rights organizations, the NAACP, the first magazines for an African-American audience, The Crisis Magazine, and what would become the American Civil Liberties Union, among many other entities. To learn more about 70 Fifth Avenue, click here.

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.

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.

In 1892, 27% of the country's millionaires lived in New York, when the city only made up 2% of the country's population! Welcome to the society of the Gilded Age. This tour takes its inspiration from an exhibition at the Museum of the City of New York that explores the visual culture of New York's richest residents from the mid-1870s to the start of World War One. It stops at several places, such as the old headquarters of Tiffany \&Company that are connected to the dazzling objects in the show. It also introduces you to some of the people at the center of Gilded-age society, and illuminates how-over the course of three decades- the city transformed more rapidly than ever before. It was during this time that New York became a world capital on par with London and Paris. Before the 1870s the lives of the rich and the places they frequented had been more private and understated. By the 1890s they were public and over the top: Simple brownstones gave way to French chateaux, cluttered dry good stores became palatial department stores; and grand hotels and restaurants became premiere places to entertain, outside the home. Even if shoes are more comfortable now than they were in the Gilded Age, you may find it tiring to walk this tour from beginning to end. So feel free to split it up!

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.

A communist demonstration in front of the Hartford building on May 1, 1937.

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.

The Gilded Age describes the era following the Civil War and preceding the Progressive Era. From around 1870-1900 the United States industrialized rapidly. Factories sprung up throughout the towns and cities in the Northeast and Midwest. New railroad networks and telegraph lines connected these industries and cities with the financial centers of the nation, specifically New York City. The Gilded Age is a complicated period. It saw the rise of monopolies and the creation of vast wealth. However, this wealth was limited to only a few families. Most Americans, including the millions of immigrants arriving annually, remained incredibly poor. The inequality of the Gilded Age prompted Progressive Reformers to enact laws which helped those poorer Americans. New York City represented well this "tale of two cities." In 1892, 27% of the country's millionaires lived in New York, when the city only made up 2% of the country's population! Yet the vast majority of poor immigrants arriving to the country entered through New York Harbor. While many Progressive reforms got their start in the Big Apple, the city was also the center of Gilded Age opulence. NYS Social Studies Scope and Sequence Standards: 8.2 & 11.5 For Teachers: The Gilded Age Lesson Plan

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.

The "New" Albert Hotel refers to the last two parts of the hotel Albert complex. These were built as a 12-story extension on University Place, built 1903-04 and designed by the firm of Buchman & Fox. The final section of the Hotel Albert to be built was the 6-story neo-colonial style building located on the northeast corner of University Place and East 10th Street. It was built 1922-24, and designed by William L. Bottomly and the firm of Sugarman & Hess. Some of those writers who have stayed at the Albert (or St. Stephens) include Robert Louis Stevenson, Harte Crane, Richard Wright, Anais Nin, Diane di Prima and Leroi Jones/Amiri Baraka. Political radicals stayed at the Albert as early as 1906 including Ivan Ivanovich Norodny (chief executive commissioner of the Russian Military Revolutionary Party). John Gages, the editor of the Daily Worker, held a rally there in 1958. Many artists stayed there or gathered in the ground floor restaurant. Joseph Brody, who ran the restaurant from 1946 to 1968, hung the art of some of the many patron/artists on the walls and sponsored poetry contests; he also offered tours of the Village on a bus decoratively painted by Salvador Dali. Some of the famous musicians who spent time at the Albert during the 1960s and 70s included Jim Morrison, Carly Simon, Joni Mitchell, and James Taylor. The Mamas & the Papas wrote the hit “California Dreamin'” and Lovin’ Spoonful wrote “Do You Believe in Magic” at the Albert.

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.

Are you ready for a closeup? Try your hand at re-creating these historic photos at Union Square! This challenge is only available to our iOS app users. If you don't yet have the Urban Archive App, download it here. Each location in this challenge has an address and a historic image tied to it. Check-in at each location by tapping the lock icon to the left of the clue. If you’re in the right place, it will turn green. Your challenge today is to take as many then-and-now photos as you can. Tap the image, and then the recreate button to line up the historical image with your present-day view. Once you’re happy with your photo, hit save to add it to your camera roll. Please share these photos with team@urbanarchive.nyc once you’ve completed the challenge. Happy snapping!

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?"

Wanamaker's Annex Located in the NoHo Historic District, this full block building was built in the Renaissance Revival style and was originally home to the department store, Wanamaker’s and its warehouse when this stretch of Broadway was a bustling commercial center at the beginning of the 20th century. Wanamaker’s Department Store was founded by John Wanamaker (1838-1922) following the Civil War in Philadelphia. In 1896 the store expanded to New York. The first location of Wanamaker’s was across East 9th Street from what would be 770 Broadway in the old A.T. Stewart cast-iron store (demolished). Quickly Wanamakers became one of the leading department stores in New York City. In 1903 Wanamaker sought to expand his enterprise to the neighboring block to the south and hired the prominent Chicago-based architecture firm of D.H. Burnham & Co. to design his new building as an annex to the original. D.H. Burnham & Co. was originally Burnham & Root, a partnership between Daniel H. Burnham (1846-1912) and John Root formed in 1873. The association lasted until Root’s death in 1891 after which the name became D. H. Burnham & Co. The firm was famous for its early skyscraper designs and was spurred to national prominence in 1890 when it was selected as the consulting architect for the World’s Columbian Exposition held in Chicago in 1893. The full block building at 770 Broadway was built in two stages in 1903-07 and 1924-25. There was an existing building at the northeast corner of Broadway and East 8th Street known as the “Jones Building” which was under lease with the Broadway Trust Company. So the first part of the plan was executed initially around the Jones building and then later finished in 1924 when the store was able to demolish the “Jones Building” and complete the Burnham plan. This was only after having to file a case with the city’s Board of Standards and Appeals, which Wanamaker’s did successfully. The basis for the objection by the city was that the addition as designed back in 1903 did not meet the city’s 1916 Zoning Law’s setback requirement. Clad mostly in terra cotta, this grand shopping palace contained thirty-two acres of retail space, an auditorium with 1,300 seats and a large restaurant to round out the shopping experience. Bridges were built between the Wanamaker buildings which you can see at the left in the 1936 picture above. In 1945, the auditorium was converted into one of the city’s first television studios. Wanamakers closed in 1955 and the cast iron building to the north was lost to a fire shortly thereafter. Today 770 Broadway has retail space in its first two floors and offices above.

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.

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.

“45 East 18th Street, adjoining the N.W. corner of Fourth Avenue, showing an old enterprise; a feature of this locality (woolen’s) for years. To the right is the 12-story Belvedere Building located at the aforementioned corner. June 1938.” The “old enterprise” is, of course, the Old Town Bar and Restaurant, opened in 1892 and in continuous operation since (its proximity to Prohibition-era Tammany Hall probably didn’t hurt). Inside, you’ll find the original marble and mahogany bar, and one of New York’s oldest operating dumbwaiters.

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.

First Presbyterian Church, ca. 1915. Founded in 1716, the First Presbyterian Church in the City of New York first worshipped on Wall Street, before shifting to Cedar Street and, in 1846, to its present location on Fifth Avenue. The Gothic Revival church, designed by Joseph C. Wells, was built between 1844-6. Today, the First Presbyterian complex includes several additions and outbuildings, including a transept by McKim, Mead & White (1893-4) and a “church house” by Edgar Tafel.

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

Pageant Book Store, 109 East 9th Street; unknown date. Pageant Book Store was established in 1946 and located at a number of venues on Fourth Avenue (then called the “Book Row”) before moving into its most well-known location on 9th Street in 1981. At this location they expanded offerings to include prints, maps, and facsimiles of important works, produced in-house. The movie "Hannah and Her Sisters" filmed a scene here in the mid 1980s. Moved to West Houston Street in 1994, the store closed in 1999, though the bookselling continued on the web. A brick and mortar location opened in a small space on East 4th Street in 2006, where it remains today.

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.

The Hotel Albert The next part of what is now the Albert complex to be built was directly west of the St. Stephen. Also commissioned by Rosenbaum, it was the first section of today’s complex to use the Albert name (Rosenbaum’s given name), located on the southeast corner of University Place and East 11th Street. Built in 1881-82 as a high-end apartment house or “French Flats,” and called the Albert Apartment House, it was one of the earliest examples in New York of the then-novel concept of apartment house design for middle- or upper-class residents. It was designed by the great architect Henry Hardenbergh, designer of perhaps the most famous and beloved of all of New York’s early apartment houses, Central Park West’s the Dakota (1880-84), as well as other great New York City landmarks such as the Schermerhorn Building located just a few blocks away on Lafayette Street, and the Plaza Hotel. In 1887, the Albert Apartments was converted into a hotel, rechristened the Hotel Albert. Just a few years later in 1895 the Hotel Albert absorbed the neighboring St. Stephen, thus beginning the Albert’s outward sprawl.

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.

Harris (1855-1931), an Irish immigrant who became a naturalized U.S. citizen during his editorship of Pearson’s Magazine, was a noted author, journalist, editor, publisher, and provocateur. His autobiographical My Life and Loves was banned in the United States and Britain for 40 years due to its sexual content. In addition to publishing this and Pearson’s, Harris wrote two books about Shakespeare and biographies of his friends, the playwright George Bernard Shaw and the poet and playwright Oscar Wilde. Wilde, who was found guilty of engaging in acts of “gross indecency” in 1895, became an icon in the emergence of the modern LGBTQ rights movement. Harris’ close friendship with Wilde is portrayed in Moises Kaufman’s Gross Indecencies: The Three Trials of Oscar Wilde, as well as several other literary portrayals of Wilde’s life.

St. Denis Hotel ca. 1903 Completed in 1853, by architect James Renwick, the St. Denis Hotel stood at the corner of East 11th Street and Broadway. The property, which was owned by the Renwick family, had been given to them by their relative, Henry Brevoort, a successful farmer and prominent landowner during the late eighteenth century. The hotel was named after its first proprietor, Denis Julian, and its style was derived from Elizabethan and Renaissance models. It was said to be “one of the handsomest buildings on Broadway, occupying seventy-six feet on that thoroughfare and one hundred and twenty on Eleventh Street” by Miller’s New York as it Is, Or Stranger’s Guide-book to the Cities of New York, Brooklyn and Adjacent Places. James Renwick was a partner in the prominent architectural firm of Renwick, Aspinwall & Russell, who was responsible for numerous notable Gothic Revival-style buildings during the mid- to late-nineteenth century. His first commission was Grace Church, a notable French Gothic Revival-style work and a designated city landmark, built in 1847, which has been called “one of the city’s greatest treasures.” Besides the Trinity building, which was demolished in 1853, the St. Denis was the first building in New York to utilize terra cotta as exterior architectural ornament. During its heyday, the St. Denis was located in what was considered an upscale shopping district or “the most fashionable part of Broadway.” It was patronized by many notable individuals, wealthy businessmen, theatrical superstars and Presidents. Abraham and Mary Todd Lincoln often stayed there on their trips to New York. In September 1867, Mary Todd Lincoln stayed at the St. Denis, while visiting New York for the purpose of selling her personal belongings. After an 1873 fire, the St. Denis was rebuilt in 1875. In May of 1877, the St. Denis was the site of Alexander Graham Bell’s first public demonstration of the telephone in New York. He had already patented the telephone and made public demonstrations of it in Boston, a week prior, but was looking for financial backers. He demonstrated this in the hotel’s second-floor “gentlemen’s parlor,” while two hundred invited guests observed. Other distinguished individuals who stayed at the St. Denis were General Ulysses S. Grant, P.T. Barnum, Mark Twain, Roscoe Conkling, Buffalo Bill and Sarah Bernhardt. In 1917, after 64 years of operation, it was announced that the St. Denis would be closing its doors to make way for a loft building. The reason for its demise was the surrounding neighborhood’s change in character and the manager’s inability to keep up with modern hotel-keeping ideas. In February 1920, the Renwick family finally sold the property, which had been in their family for 250 years, at auction. “The changing of the St. Denis Hotel to an office building obliterates one of the oldest hotels in the city…The St. Denis Hotel was the fashionable headquarters half a century ago” said the New York Times. The hotel was converted into a modern store and office building and, during renovations, was stripped of its previous decorative front.

Twin townhouses on West 12th Street, which served as the Church House for the First Presbyterian Church on Fifth Avenue. July 16, 1936. These townhouses, designed by Alexander Jackson Davis, were likely completed during the 1840s. Decades later, No. 14 (right) was home to the sculptor John Rogers (1888-95) and the writer Theodore Dreiser (1897-98). The townhouses were razed during the 1950s, ahead of the construction of the new Church House, designed by Edgar Tafel, a student of Frank Lloyd Wright. One architectural element of the old Church House survives: a stained glass window, now part of the Brooklyn Museum collection.

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.

This building served as the home of the groundbreaking Pearson’s Magazine and bookstore. Pearson’s began as a progressive British magazine in 1896 with a socialist bent and focus on literature, publishing works by Upton Sinclair, George Bernard Shaw, and H.G. Wells, among others. However, the American version, founded in 1899, began to diverge in its content and focus more on American writers and issues, especially under the editorship of Frank Harris in the 1910s and 20s, when it was located here.

Margaret Louisa Home ca. 1907 By the late 19 century, not only were unmarried working-class women toiling in factories, mills, shops, and various trades, but middle-class women were employed in new white-collar jobs as clerks, secretaries, stenographers, journalists, and telephone operators. An 1879 report of the Association for Inquiry into the Condition of Professional and Business Women estimated that there were about 50,000 women pursuing “professional, literary, and artistic pursuits” in and within 50 miles of New York, while there was only accommodation for 500. The need for housing was so great that the LCU and similar organizations were turning away three applicants for every one they could house. The Young Women’s Christian Association of New York City constructed the first new building designed specifically to house single working women.] Completed in 1891 at 14-16 East 16th Street, the six-story Margaret Louisa Home was described as “a temporary home for the Protestant self-supporting woman who is a stranger within the gates of Gotham.” The requirements for acceptance to the house show the continued emphasis on moral character: “Those desiring admission \[must] provide a name, occupation, church denomination, and the name and address of a reliable person…” Thirty years on, the house rules were as strict as those in the earlier “moral homes.” Rent was payable in advance, no cooking or washing was allowed on the premises, electricity was “extinguished at 11 o’clock,” and “the house is closed at 11 pm; those liable to be detained later must report at the Superintendent’s office in advance.” The Margaret Louisa was a new type of building, much larger than any earlier home (it could accommodate up to 110 women). Still, it was consciously designed, under the leadership of the all-female association board, to “have that indescribable, indispensable something—sympathetic home influence.” Contemporary descriptions of the public spaces note the walls were “painted in warm, soft colors which add greatly to the charm of the finish,” while “the parlors are tastefully furnished, with engravings, a piano…reading lamps…all of which give a peculiar home-like air to these surroundings.” In contrast, the bedrooms at the Margaret Louisa were quite small and furnished plainly. Photos from about 1907 show a dormitory bedroom crowded with three iron bedsteads, small wash basins, a bureau, and a shelf. While the single-bedroom photo has similar furnishings, it appears staged as an attractive, feminine, middle-class space, a sort of “aspirational” bedroom with a vase of flowers, pictures on the bureau, and personal items pinned up behind a shelf, which also has assorted knick knacks More occupants meant a lower cost per boarder, which might explain the small size of the bedrooms and their spartan furniture. However, it is interesting to contrast the austere nature of the small, almost institutional bedrooms, with the attractively decorated public rooms—rooms where genteel practices like reading or playing the piano were encouraged. Even though the residents, for the most part, were middle-class, professional women—teachers, artists, and journalists—in form, furnishings, and rules, the Margaret Louisa continued the traditions of the “Moral Home.”

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.

Gramercy Park was never meant to be public. Designed by Samuel B. Ruggles, who also designed Union Square, the park was envisioned as a kind of "front yard" for the residents of the 66 lots which face the park. Ruggles described it as "ornamental" to the Greek Revival row houses surrounding it. A fence, rendered in an English Romantic style, was constructed around the park in 1833, supposedly to protect the landscaping. Even today, you will need to obtain one of the 383 circulating keys to gain access to the park. This access is only available to park-facing residents for a fee of $350 a year. Activities such as music playing, dog walking or socializing with groups of more than six people are prohibited. The well-manicured park, protected by shrubs and stately American elms, rarely sees more than a few people at a time. In recent years the exclusive greenspace has opened its gates for one hour to the general public for carols on Christmas Eve.

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.

881 Broadway, ca. 1976. The massive building that runs from Broadway to Fifth Avenue along the whole of 19th Street (and also actually has a small mid block facade on 18th Street) was built over 15 years. Designed by Griffith Thomas, the original section of this building fronted Broadway and a small section of 19th Street. Constructed in 1868 in an ornate Second Empire style, Thomas extended the building along 19th in 1872 and had a second entrance on that facade added. At this time the original top of the building was removed for the construction of the double-story mansard roof. The building was once again extended in 1876 so that it reached all the way to 5th Avenue. (The 1883 addition which is a mid block facade on 18th Street was completed in a very different style and by a different architect.) The building was constructed and subsequently altered for the Arnold Constable dry goods company. The origins of this business date to 1825 and a storefront on Front Street. The firm grew and prospered and moved a number of times before purchasing the lot on 19th Street. Already one of the largest dry goods stores in the city in 1868, the additions to the building allowed for new departments (carpet, upholstery, wholesale) and created a massive department store. It was said to be "one of the largest business establishments in the world." The store remained in this location until 1914, when it moved uptown to 40th Street. In 1925 Arnold Constable merged with specialty retailer Stewart & Company and began expanding to the suburbs. The store finally closed its Fifth Avenue and 40th Street location in 1975. It would go on to become the location of the Mid Manhattan Branch of the New York Public Library.

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.

In the Gilded Age, this was the area where America went to shop. If today, New York's iconic shopping district is midtown Manhattan, in the 1880s and 1890s it was Ladies' Mile, the area extending between 15th and 24th streets from Broadway to Sixth Avenue. As a popular guidebook noted in 1892: "Ill fares the rural or provincial purse whose owner ventures before these attractive windows, extending for miles on miles, ever diversified and varied." Indeed between just 19th and 22nd streets on Broadway you could purchase a French velvet or antique Oriental rug at the carpet emporium, W. & J. Sloane (now ABC Carpet & Home); a silver punch bowl carved with twisted vine handles and lion paw feet at the silver maker Gotham Manufacturing Company; and a bespoke or ready-made suit at Brooks Brothers.

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.

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.

"Meditations in an Emergency" by Frank O’Hara, 1957 was published five years after the American Psychiatric Association listed homosexuality as a sociopathic personality disturbance, and four years after President Dwight Eisenhower signed an executive order banning homosexuals from working for the federal government or any of its private contractors.

The Hudson Building, Union Square, May 18, 1942. This 1908 Beaux-Arts building by Buchman & Fox included both retail and office space. Though it was advertised to business clients, by the 1930s tenants included leftist groups like International Workers Order (IWO), who operated its own birth control clinic out of the building.

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.

7 East 15th Street, ca. 1970. Founded in 1906 by devotees of the Socialist Party of America, the Rand School of Social Science was created as an educational institution for worker, focused on a knowledge of class structure. The school consisted of evening courses and lectures in history, economics, and philosophy. The school's programming was originally housed in a series of converted homes on 19th Street. In 1912 the school moved into the 1887-built, Romanesque Revival, former Y.W.C.A building at 7 East 15th Street.

90 Fifth Avenue, ca. 1914. Designed by 1902 by Robert Maynicke, the loft building was one of a number commercial building constructed on Fifth Avenue by the Cooper Union-educated architect. The eleven-story, cast-iron building with classical details included 140,000 square feet of space. In the 1980s the large industrial building was gutted and converted into the headquarters for the Research Institute of America. Forbes became a longterm tenant in the 1990s (leaving in 2013), and today the 3rd through the 11th floor is home to the brokerage company, Compass.