16-18 Charles Street ca. 1938 This house belonged to a row of 11 houses built in 1845-46 by carpenter Patrick Cogan. Abbott was attracted to the doorway, the result of an eccentric renovation of unknown date. Nos. 16 and 18 were combined and an original door frame and oval window were installed at the basement-level entry. The fanciful ironwork canopy and the flagstone sidewalk converted Abbott’s straightforward document into a maze of graphic patterns.

The Rhinelander Gardens row houses on West 11th Street, February 3, 1937. The Unadilla Apartment building is to the right of the image at 126 West 11th Street. A Sheffield Farms milkwagon stands out front.

453-463 Sixth Avenue (formerly 141-149), west side, from north of 10th to 11th Streets. February 14, 1932. The rowhouse at 457 Sixth Avenue near the Jefferson Market police court (now the Jefferson Market Library) was the last residence and office of well-known Tammany politico Murray H. Hall, who today would be considered gender non-conforming. Murray H. Hall (c. 1840-1901) was a Tammany politico who lived as a man for decades without his gender being questioned. Following Hall’s death, however, the New York Times reported that Hall’s “true sex” was revealed by the doctor. As an early instance of a gender non-conforming person in New York, this attracted worldwide attention, including that of pioneering English sexual psychologist Havelock Ellis. According to one source, Hall was born Mary Anderson in Scotland and around age 16 began dressing as a male, taking the name John Anderson. Anderson married young, but had a roving eye and a jealous wife who disclosed Anderson’s gender to the police. Fearing arrest, Anderson fled to America in 1870 and assumed the name Murray H. Hall. In 1872, Hall married Cecilia Florence Lowe, a schoolteacher, and by 1874 Hall had established an employment agency chiefly representing domestic help. The couple moved several times but remained close to the Jefferson Market police court (now the Jefferson Market Library) since Hall was also a bail bondsman. Hall’s last home and office was an upper-story apartment at 457 Sixth Avenue. As a Tammany figure, Hall played poker and pool with city and state officials and political leaders and was often able to secure appointments for friends.

Images of every one of the 2,200 buildings in the Greenwich Village Historic District, prior to designation in 1969 and today, along with tours of the district’s history, architecture, artists, theaters, houses of worship, and more. All pre-designation images: NYC Landmarks Preservation Commission. All 2019 images: Village Preservation Explore these images from the 1969 Designation of the Greenwich Village Historic District on Village Preservation's GVHD50 Then and Now map.

A guide to the places Bob Dylan worked, played and created in New York's Greenwich Village.

251 West 13th Street, unknown date. 251 West 13th Street was originally the Jackson Square Branch of the New York Free Circulating Library. It was built in 1877 by the legendary Beaux-Arts architect, Richard Morris Hunt, who also designed the main entrance of the Metropolitan Museum of Art. The library opened in one year later with a gift of over 6,000 books from the collector and philanthropist George W. Vanderbilt At the height of the library's popularity, it attracted over a hundred visitors every day and circulated about 126,000 volumes annually. The library closed in 1908 when presented with the challenge of disinfecting books that could transfer communicable diseases. In 1967, the performance artist Robert Delford Brown acquired the former library, which he dubbed "the Great Building Crack-Up." During Brown's tenure, the venue hosted various art events and performances and became the international headquarters of Brown's "Orthodox Pagan" First National Church of Exquisite Panic, Inc. Since 1995, television producer Tom Fontana has lived and had his offices here.

"Originally constructed in 1831 to house the fledgling Greenwich Village Free Medical Clinic, the building was a philanthropic venture designed to provide care to the working-class neighbors and domestic servants of the wealthy in the area, and to reduce communicable illness in the interest of public health. The founders of the Dispensary saw it as a valuable contribution to both social welfare and scientific good — particularly well-positioned to study the diseases of the working poor otherwise not receiving medical care. It served more than three thousand patients and was busy enough by 1855 to require the installation of a third floor. By the middle of the twentieth century, the Dispensary was primarily providing free dental care, but its operators’ reluctance to serve people with AIDS led to its shuttering in 1988." To learn more about the Dispensary, check out Salonee Bhaman's profile in Gotham: A Blog for Scholars of New York City History

154 West 14th Street ca. 1917 One of the few Viennese Secession-style buildings in the New York, 154 West 14th Street has anchored this bustling corner for nearly one hundred years and appears today almost exactly as it did at the time of construction. 154 West 14th Street was constructed in 1912-13 for lawyer-banker and real estate developer Leslie R. Palmer as a speculative loft. It was built in anticipation of the extension of Seventh Avenue, completed in 1917, and the construction of the Seventh Avenue subway line underneath. This steel-frame structure employed the latest technology in loft construction with maximum allowance for light to the interior spaces, accommodations for automotive delivery and freight elevators. The architect responsible for the design was Herman Lee Meader (1874-1930) who after graduating from Harvard in 1898 worked for the architectural office of Ernest Flagg. In 1911 he established his own practice and had some notable commissions, all of which included terra cotta as a cladding material. These included the Cliff Dwelling Apartments (1914-17 – also for Palmer) at 339 West 96th Street and the Greenwich Village Theater (1916, demolished) at Seventh Avenue and Christopher Street which was an experimental theater for Marguerite Abbott Barker (daughter of the president of Eastman Kodak Co.) 154 West 14th Street conforms to a tripartite arrangement of base-shaft-capital differentiated by color and materials. The three-story base is entirely clad in the polychromatic glazed tile, which is also featured at the mid-section on the spandrels between the white brick piers and at the top section. The terra cotta was manufactured by the New York Architectural Terra Cotta Company which was the city’s only major producer of architectural terra cotta at the time. Palmer was a long-time director of the company and this building served as a virtual advertisement for the product.

Village Community Church ca. 1020 Greenwich Village may have a proud history of welcoming immigrants, but not all of the neighborhood’s residents was quite so willing to extend their open arms. In fact, one prominent Greenwich Village leader’s disdain for Catholic immigrants led to the coining of one of the most notorious slurs in American political history, and arguably changed the outcome of the hotly-contest Presidential election of 1884. In 1884, Democrat Grover Cleveland was running for President against Republican James Blaine. Blaine was embroiled in a bribery and corruption scandal that resulted in many Republicans jumping ship and supporting Cleveland, presenting the possibility of the first Democrat to win the White House since the Civil War. But Republican loyalists pushed back, fanning the flames of a scandal which soon engulfed Cleveland – that he had apparently fathered a child out of wedlock. Seeking to rally their base against the Democratic insurgent, Republicans led by the Rev. Samuel Burchard, leader of the 13th Street Presbyterian Church, gathered before the election to sound the alarm against a potential Democratic victory, warning loyalists not to support the party (in Burchard’s words) of “rum, romanism, and rebellion,” citing the party’s large constituency of Southern former Confederates and northern Catholics (who were thought to be particularly fond of drink). A Democratic spy at the rally reported the insulting alliteration to the press, which painted Blaine as anti-Catholic. In one of the closest Presidential elections in history, Cleveland won the electoral college by just barely winning New York State’s 36 electoral votes by a mere 1,000 votes cast or 0.1 percent. His edge came from high levels of support in heavily Catholic New York City, whereas he lost to Blaine in predominantly-Protestant Upstate New York. Cleveland would be the only Democrat elected to the White House between 1860 and 1912.

Port of New York Authority Building,1949.

New York County National Bank ARCHITECT: DeLemos & Cordes; Rudolph L. Daus DATE: 1906-07 STYLE: Neo-Classical The Manufacturers Hanover Trust Company Building, built in 1907, is an exceptionally fine and well-conceived example of the neo-Classical bank type; that the overall design, though small in scale, employs the monumental classical type in a unified and structurally expressive manner. The well-proportioned composition superimposes two classical architectural systems, a trabeated and an arcuated order. The design is enhanced by fine stone carving, ‘Which incorporates Beaux-Arts ornamental motifs, classical symbols, and naturalistic elements. Among the noteworthy ornamental details are the entrance and window aedicules, the foliated spandrels, the classical balustrade and the imposing eagle in the pediment.

15 Christopher Street, ca. 1975. Built in 1827 by textile manufacturer and New York Assemblyman Samuel Whittemore, the wood frame house behind No. 15's brick facade is one of the oldest standing in Greenwich Village. In Edmund Vincent Gillon's 1970s photograph, the first-floor storefront is occupied by the Oscar Wilde Memorial Bookshop, which moved to this location in 1973. Founded in 1967 on Mercer Street, the shop is credited as the first bookstore with an avowed focus on gay and lesbian authors. In 2009, the store closed, undone by an industry-wide decline in book sales compounded by the financial crisis.

"Audre Lorde, too, points to the House of Detention as the epicenter of 1960s Greenwich Village. 'Information and endearments flew up and down, the conversants apparently oblivious to the ears of the passersby as they discussed the availability of lawyers, the length of stay, family, conditions, and the undying quality of true love. The Women's House of Detention, right smack in the middle of the Village, always felt like one up for our side — a defiant pocket of female resistance, ever-present as a reminder of possibility, as well as punishment.' …The House of D was an 11-story art deco stone structure that towered over Village rooftops. Billed when it opened in 1932 as a 'school for citizenship' with hospital wards, vocational training, and sinks, toilets, and windows in the cells, claims to its reform mission had faded by the 1960s… Inside the House of D lesbians stood their ground as boldly as they did outside. Confined in the 'skyscraper prison,' inmates and their visitors dominated the streets with their voices, their gestures, and their shouted intimacies. Stolen privacy led to the public, flaunted queerness that required bold defense in a hostile territory outside. Confinement did not contain lesbian ferocity." Continue reading this excerpt from the Gotham Center for New York City History's roundtable on the 50th anniversary of the Stonewall riots.

9th Regiment Armory, ca. 1921. The colossal granite fortress of the 9th Regiment Armory was built in 1894 to the designs of architects Edward Sargent and W. E. Cable. In addition to military use, the cavernous main hall was used as an exhibition space, athletic venue, and welfare administration center. The 19th-century redoubt was demolished in 1969, only to be replaced by a new armory for the 22nd Regiment, in 1971.

Rhinelander Gardens, February 3, 1937. Designed by James Renwick Jr. in a High Victorian Gothic style the balconied houses with ornate ironwork were built in 1855 for William C. Rhinelander as rental properties. The homes of Rhinelander Gardens were set back from the street, which allowed for lovely and somewhat uncommon front yards. The buildings survived more than 100 years; they were demolished in 1958 for the construction of a new school building.

The Gansevoort Market Historic District was landmarked in 2003 thanks to efforts by Village Preservation. In 2002 Village Preservation wrote: "Gansevoort Market is one of Manhattan's defining neighborhoods - gritty, hard-working, low-rise, with its own special character, and a rich collection of buildings and history that cannot be replaced." Since 2002 much of the grittiness has been replaced with luxury. The High Line has transformed from abandoned to desirable. The world-renowned Whitney Museum of American Art has replaced blue-collar meatpackers. But thanks to landmarking, the rich collection of buildings still define the area and remain (mostly) low-rise. The architecture of the district tells the story of an important era in New York City’s history when it became the financial center of the country and when its markets were expanding to serve the metropolitan region and beyond.

224 Waverly Place ca. 1933 St John’s in the Village suffered a catastrophic fire in the 1970s, destroying the previous church building on this site. The congregation decided to build a new church along with diverse performance and exhibition spaces to conform with its newly created mission statement which committed St John’s “to facilitate a continuing dialogue between the Christian faith and the artistic professions, acknowledging in this encounter that we share in common the enterprise of interpreting life, of advancing the quest for truth, and of reaching a fresh vision of reality.” The theater space at 224 Waverly Place has been home to Rattlestick Playwright’s Theater since 1994. Founded by Gary Bonasorte and Davis van Asselt, Rattlestick is an Obie-Award winning theatre that has developed and produced over 100 World Premieres in the past 23 seasons, including St. Vincent’s Project: Novenas for a Lost Hospital, an immersive play which Village Preservation is very proud to be a partner in creating. It will have its premiere on September 5th, 2019.

138 West 14th Street ca. 1928 144 West 14th Street (aka 138-146 W. 14th St.) is “a grandly-proportioned Renaissance Revival-style loft building” and was built between 1895-6. As described in its designation report, the structure is: “Faced with limestone, tan brick and terra cotta, it was designed by the architects Brunner & Tryon in 1895-96. Seven stories tall, the street facade is articulated through a series of monumental arches, embellished with handsome classical details.” The building served as a workshop for many different stores and products over the years, including Macy’s and Les Paul. Eventually in the late 90’s, the building was acquired by Pratt and now serves as their Manhattan campus. “Since its completion, many commercial tenants have occupied various floors, including R. H. Macy’s, which produced flags and silk underwear here, the silversmith Graff, Washbourne & Dunn, as well as Epiphone, a leading manufacturer of stringed instruments. In 1941, the noted American jazz guitarist Les Paul assembled a “solid-body” electric guitar in the company’s workshop; it became the prototype for many electric guitars played today. 144 West 14th Street was acquired by Pratt Institute in 1999. Restored by Ehrenkrantz, Eckstut & Kuhn Architects, it now serves as the school’s Manhattan campus.”

Pingpank Barber Shop ca. 1938 When Abbott photographed this shop window, August Pingpank was 87 years old, in business for more than 50 years, and said to be the oldest barber in New York City. On the verge of retirement, Pingpank remarked that “it’s different now with the men shaving themselves every morning at home.” Abbott’s photograph presents a distilled image of Pingpank’s world. Set up against a mirror are his customers’ personalized shaving mugs on a makeshift display stand. Given the place of honor on the stand are a Chinese porcelain jardiniere, a cut glass disinfectant jar, and a can of Jergen’s talcum powder. Attached to the mirror is a photograph of the shop’s interior, and on the left wall is a Victorian cigar advertisement. A horse-drawn cart is reflected in the window, a fitting accompaniment to this relic of a bygone era. Pingpank’s store, which falls within boundaries of the Greenwich Village Historic District, is currently occupied by an antique shop.

Sheridan Theatre, 1926. The theatre seen here is at the southern tip of the triangle formed by Seventh Avenue, Greenwich Avenue, and West 11th Street. The Sheridan Theatre opened in 1921 and was taken over by Loew's in 1926. The house sat 2,342 patrons. The building was demolished by St. Vincent's Hospital in 1969 for a proposed nurses residences (which never came to be).

Pedestrians crossing West 15th Street on the west side of Eighth Avenue; April 18, 1926. Every building on the blockfront behind them, between West 15th and 16th Streets, would be razed in the following years, making way for the city's largest building. The mammoth Port Authority Building (now Google's New York headquarters) was completed in 1932.

County Trust Company Building, March 16, 1933. Built as the home of the Country Trust Company, the 20-story structure with fanciful wedding cake-like setbacks was completed in 1930. The building was designed in a neo-Gothic style by William Whitehall.

On August 6, 1966, the first known recording of “I Heard It Through The Grapevine” was made by the Miracles. Written by Motown pioneers Norman Whitfield and Barrett Strong, the song was re-recorded several times, most famously by Gladys Night and the Pips and Marvin Gaye, whose version landed on the top of the charts for seven weeks in early 1969. But where did it come from? Plentiful evidence and credible sources say it all goes back to a beloved tavern on the corner of 6th Avenue and 11th Street in Greenwich Village.

51: 1843; 53: 1846; 1930, combined façade: William Bayard Willis) NYC IL, NYC HD, NR-P, NHL The Stonewall Inn was the starting point of the Stonewall Rebellion of June 28-July 2, 1969, which began when customers at the bar refused to leave during a police raid — in the 1960’s, it was illegal for a gay bar to obtain a liquor license and police routinely raided them. The uprising became a catalyst for the formation of organizations and groups across the country devoted to LGBTQ civil rights, and it’s commemorated nationwide and around the world with Pride marches and the celebration of LGBTQ Pride Month. In 2015, the Stonewall Inn became the city’s first Individual Landmark commemorating an LGBTQ site, designated entirely on the basis of its cultural, rather than architectural, significance. The area was designated as the Stonewall National Monument in 2016, the country’s first U.S. National Monument dedicated to LGBTQ civil rights history. Further State and National designations have made it one of the most decorated and protected sites in the city. Photo by Diana Davies/NYPL.

St. Vincent's Hospital opened in November 1849 in a rented house on 13th Street in Manhattan. Ellen Hughes, Irish-born sister of Archbishop John Hughes, known within her community as Sister Angela, was the hospital's first administrator. Patient rosters at St. Vincent's between 1888 until 1894 indicate a predominantly immigrant, Irish population. By the turn of the century, the patient population majority was native-born.

Doorway to 16-18 Charles Street, June 1, 1938.

Jefferson Market Library ca. 1938 The fanciful clock tower of the Jefferson Market Court, the tallest of Greenwich Village’s 19th-century buildings, was a local landmark that appeared in many of Abbott’s Village views. In 1877, Calvert Vaux and Frederic C. Withers designed this Ruskinian Gothic courthouse and jail to replace an old open market and wooden fire tower. In 1931, the jail was torn down for an eleven-story women’s house of detention, which in turn was torn down in 1974 and replaced by a community garden. Abbott photographed the front of the courthouse in 1935, revealing the full exuberance of the Vaux-Withers design. In 1938, she rephotographed the courthouse, this time standing on Sixth Avenue and using a hand-held camera. Vacated by the courts in 1945, the courthouse was saved from demolition in 1967 and renovated as a branch of the New York Public Library.

The White Horse Tavern, ca. 1975. In addition to its literary bona fides, the White Horse served as a meeting place for leftists, labor organizations, and journalists, including writers associated with the Village Voice, whose 1960s headquarters at Sheridan Square was a short walk away.

A tour of the architectural and cultural gems of Bleecker Street. From Bob Dylan to Dylan Thomas, from Federal style rowhouses to new law tenements, Bleecker Street represents a wonderful cross-section of New York City’s diverse history.

Greenwich Village may have a proud history of welcoming immigrants, but not all of the neighborhood’s residents was quite so willing to extend their open arms. In fact, one prominent Greenwich Village leader’s disdain for Catholic immigrants led to the coining of one of the most notorious slurs in American political history, and arguably changed the outcome of the hotly-contest Presidential election of 1884.

Public School 16, 1920. Originally School No. 16 of the Ninth Ward, the original section of the building was constructed in 1845, with additions erected in 1859 and later. The institution became Public School 16 by the turn of the 20th century, but was in bad condition by the 1920s. Reports of the facilities suggest “plumbing wet and foul" and “rooms small, dirty and dingy.” The school became a vocational campus in 1924 and during the Depression offered programs for unemployed adults. In 1938 Mayor LaGuardia opened the building as the Food Trades Vocational High School, where pupils learned skills needed to become butchers, bakers, cafeteria workers, tea room hostesses and store clerks. LaGuardia wished to create an educational experience that would prepare children of poor immigrants for jobs that would remain necessary during times of economic depression. Later in the 1960s the school would add Maritime trades to its vocational offerings, becoming the Food and Maritime Trades High School. That institution moved into a new building in 1980 and this structure was put up for lease. The building initially became the home of a number of social and community non-profits, including a few small LGBT-focused organizations. In 1983 the gay organizations and AIDS advocacy groups joined forces to purchase the building from the city, forming the Lesbian and Gay Community Services Center for that purpose. Over the last nearly 30 years the LGBT Community Center has become an integral organization in the gay community. It is a meeting place for community groups, the founding location of organizations such as Survivors of Transsexuality Anonymous and Gender Identity Project, and home to medical clinics and cultural programming.

Home and Office of WIlliam Kunstler ca. 1933 William Kunstler was an American radical lawyer and civil rights activist, known for his involvement in some of the most high-profile and controversial civil rights and civil liberties cases of the late 20th century. A native New Yorker, he attended DeWitt Clinton High School in the Bronx, Yale College, and Columbia University Law School in 1948. Kunstler practiced family and small business law in the 1950s and was an associate professor of law at New York Law School (1950–1951) before entering civil rights litigation in the 1960s. Kunstler's defense of the Chicago Seven from 1969–1970 led The New York Times to label him "the country's most controversial and, perhaps, its best-known lawyer". He is also well known for defending members of the Catonsville Nine, the Black Panther Party, the Weather Underground Organization, Attica Prison rioters, and the American Indian Movement. Kunstler also won a de facto segregation case regarding the District of Columbia's public schools and "disinterred, singlehandedly" the concept of federal removal jurisdiction in the 1960s. In late 1995, Kunstler died in New York City of heart failure at the age of 76.

253 West 16th Street adjoining the N.E. corner of Eighth Avenue, showing the Sixteenth Street Baptist Church. November 26, 1927.

National Maritime Union Headquarters Designed by famed Modernist architect Albert C. Ledner, the Joseph Curran Building (seen here at left) was completed in 1963 for the National Maritime Union. The building's notable architecture—it certainly was not a modernist glass box— caught the attention of critics and the public alike. The Union, which represented longshoreman and merchant sailors, capitalized on the interest, offered tours of the building in the late 1960s. Ledner also designed two other eye-catching buildings for the union nearby. In 1973, the white building became the Edward and Theresa O'Toole Medical Services Building when neighboring Saint Vincent Catholic Medical Center purchased it. Following St. Vincent's bankruptcy in 2005, this building became the center of a highly contested debate regarding contextual development. With plans to raze the building and erect a 21-story hospital tower, the community voiced their dissent and controversy ensued. In the end, the building was not demolished but restored and reused. In 2017 the ship-like structure reopened as the Lenox Health Greenwich Village, a state-of-the-art medical facility.

The Church of Our Lady Guadalupe was established in 1902 by the Augustinians of the Assumption. It was the first Spanish-speaking Catholic parish in New York City, serving working-class Spaniards. The church was popular with various Hispanic communities throughout the 20th century. The rapid growth of the Mexican population in the late 20th century overwhelmed the small church and forced it to move to a new location at St. Bernard Church in Chelsea. The church has been re-purposed since the 2003 move.

These images are taken from Certificate of Appropriateness applications to the Landmarks Preservation Commission (LPC) for sites located within the area covered by Village Preservation – Greenwich Village, the East Village, NoHo, the Meatpacking District, and the South Village – since late 2009, when Village Preservation began maintaining these applications on our website. These are applications for changes to landmarked properties which are substantial enough that they require review by the full Landmarks Preservation Commission and a full public hearing. Often times these applications include historic photos of the building or even surrounding buildings as part of the documentation and argument supporting the proposed application for changes. Regardless of the applications (which can also be viewed in each case – just click on the link to see along with the outcome), these images are invaluable visual documents of the history of these buildings. Explore more images like this here.

88 Grove Street, ca. 1915. No. 88 (at right with the ironwork at the roofline) was constructed in 1827 as a Federal style home by Henry Halsey, a mason. In the 1860s the house was remodeled into a French Second Empire style complete with slate mansard and classic dormer windows (all the rage at the time). When this view was captured in the early 1910s, the structure was obscured by ivy and home to Italian landscape architect Ferruccio Vitale. Later the building was purchased by James Graham Phelps Stokes, referred to as a “millionaire Socialist." Today no. 88 looks very much as it did when it was altered in the middle of the 19th century.

The Napolitana Kitchen, photographed by Berenice Abbott in 1947, in the ground floor space of no. 228, a 1900 Romanesque Revival tenement designed by Peter J. Herter.

High pressure water system trench crosses Jackson Square; undated photo. The city acquired the parcel at the intersection of Greenwich and Eighth Avenues and Horatio Street in 1826. While it's unclear exactly when or how this triangular park became known as Jackson Square, it is likely the name is in some way connected to President Andrew Jackson. Through the mid-19th century, Jackson Square served as a de facto meeting place for rallies and celebratory gatherings. In 1872, the Parks Commission officially recognized Jackson Square as parkland, and installed features including lamps, ironwork, and sidewalks. In the background, West 13th Street continues toward the Hudson River.

Moquins Restaurant. ca. 1910. Though today no. 456 Sixth Avenue is located at 11th Street, when this photograph was taken ca. 1910, no. 456 was located further uptown between 27th and 28th Streets. In 1929, during the extension of Sixth Avenue south from Greenwich Village to Canal Street for the Sixth Avenue IND subway, the addresses on the avenue were renumbered.

Trowmart Inn ca. 1906 While the Martha Washington Hotel established a model for housing business women, a 1907 housing exposé titled: “The Problem of Living for 97,000 Girls,” emphasized the “Absurd Restrictions and Poor Housing Conditions” working-class women continued to suffer. The article mentions one innovative solution, however: the Trowmart Inn. Completed in 1906, the Trowmart picked up on the ideas put into practice at the Martha Washington and, for the first time, provided accommodation for the working-class girl without the strict rules of a “Moral Home.” Like its inspiration, the Trowmart highlighted this fact in its promotional brochures. Compared to the Martha Washington, the inn’s interior spaces and furnishings were plain and even utilitarian, but the Trowmart provided similar amenities: a dining room and cafeteria, “beau parlors” (small parlors where the residents could entertain their gentlemen friends), a large parlor with a piano, a library, and doctor’s office. In addition, the Trowmart provided a sewing room, full laundry, and a drying room, essential spaces for the shop, millinery, and factory girls for whom the Inn was planned. Living expenses ran to $4.50 to $5 per work week, with breakfast and dinner included. The Trowmart Inn was an immediate success: a 1908 newspaper article reported the hotel, which housed 250 women, had been full since its 1906 opening. The Trowmart was the exception however. The majority of women’s hotels constructed during the first few decades of the 20th century were for professional women.

Few neighborhoods in New York can claim as rich a tradition of social advocacy as Greenwich Village. This collection documents the homes and lives of a few of them.

70 Greenwich Avenue, October 13, 1930. The lot at 70 Greenwich Avenue originally included three separate homes constructed in the 1850s. At some point in the late 19th century the homes were combined to create the small four-story brick building that now occupies the lot. Designed to fit in its sharply angled location, the first floor extends to a blunt narrow end (too slim for even a door). The second through fourth floors are set back from the narrow end and the facade is wide enough for a single window.

Felipe Rose of the Village People, Can't Stop the Music Film Set in front of 244 West 4th Street, 1979.

Rhinelander Row ca. 1937 Rhinelander Row — a group of 11 houses with wooden balconies and front yards — was built in 1843 by William C. Rhinelander, a powerful Greenwich Village landowner. For 75 years, the Row stood at the base of Seventh Avenue, but with the 1914 extension of the avenue south to Canal Street, the Row lost its neighboring residences and was stranded on the edge of a major intersection. When demolition began in 1936, only one house was occupied. Abbott first photographed the Row before the May 10 front page New York Times story, “Historic Greenwich Village Homes to be Demolished.” Her two return visits recorded the stages of the Row’s demise. Shortly before election day, she showed the Row abandoned and decorated with campaign posters for a Democratic candidate for City Court judge (not shown). The following May, while a WPA crew dismembered the porches, Abbott photographed the site again. Workmen, seen on the roof and the second-story porch, were responsible for collecting clothing left in the houses and draping it on a front yard tree, which Abbott placed in the center of her composition.

23 West 13th Street, c. 1994 Substation 235, located at 23 West 13th Street on at the intersection of Greenwich Avenue and Horatio Street. The structure was built in 1932 during the construction of the IND Eighth Avenue Line, a project that lasted from 1932 until 1940. A substation is fed power from a central station that is converted from high voltage alternating current (AC) into low voltage direct current (DC) to power the subway. This substation and others constructed for the IND line were the first to be non-manually operated. Greenwich Substation was listed on the National Register of Historic Places in 2005 as a unique piece of New York City's transit history. The masonry structure's footprint, a chamfered rectangle, reflects the infill lot's geometric condition at this bustling intersection. The facade is adorned with limestone, brick, and aluminum; its loading dock doors are framed by Art Deco motifs and sunburst patterns, not uncommon of substations and telephone buildings of the era. The human-scaled entrance is decorated more modestly and located at the level of the sidewalk.

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

Village Preservation places plaques on sites in our neighborhoods to mark the locations of historically significant events, organizations, places, or figures. Click here to learn more about our plaque program, including upcoming unveiling.

The Jefferson Market Library, constructed in 1874-77, was “one of the ten most beautiful buildings in America,” according to a poll of architects conducted in 1885. The Ruskinian Gothic structure, originally a courthouse, is considered one of the finest examples of High Victorian architecture in America.

This image is from the 1969 Designation of the Greenwich Village Historic District on Village Preservation's GVHD50 Then and Now map click here to explore the map.

The Salvation Army National and Territorial Headquarters ARCHITECT: Ralph Walker; Vorhees, Gmelin & Walker DATE: 1929-35 STYLE: Art Deco The complex includes a 12-story office building, adjacent to a 4-story auditorium building that included modern broadcast facilities. The building was designed by preeminent modernist architect Ralph Walker of the firm of Voorhees, Gmelin & Walker, using an Art Deco style. Both of these buildings are clad in brick, with a small amount of cast-stone ornament near the top and around the entrances.

Saint John's in the Village ca. 1970 The Greek Revival made several modifications in the conventional Greek temple form. Where the width of a building might have required six columns (hexastyle) and the cost of erecting them was prohibitive, the scheme of bringing the sidewalls forward (in antis) and using two columns (distyle) was followed; the balance of the width was met by widening as much as required on each side of the portico, with flush walls parallel to the street. These walls were the unusual feature, resulting in an exceedingly handsome innovation. This church is distyle in antis, combined with prostyle tetrastyle (having four columns).

By Salonee Bhaman The dusty red brick façade of the Northern Dispensary sports a hand-lettered sign, a throwback to a bygone era. Built in a neo-Georgian style, the triangular, three-story building occupies the entirety of its oddly shaped, now-trendy West Village block bound by Christopher Street, Grove Street, and on two sides by Waverly Place. Remarkably, given its bustling and costly surroundings, the Dispensary is empty—a shell observing a city in constant flux. Underwritten by a mixture of public and private funds, the building and the land it sits on fall under a restrictive deed requiring that the premises serve the poor and infirm. Just what that requirement means has become a question determining much of the Dispensary’s fate over the 20th century. Read this in its original format here.

Northern Dispensary, April 24, 1934. The triangular dispensary building is a cartographic curiosity: it has two sides on one street (Waverly Place, which forks around the building), and one side on two streets (Grove and Christopher Streets, which share its northwestern face).

53 Gansevoort Street, 1936. This triangular building (seen at its most narrow near Ninth Avenue) was constructed in 1887 for Robert and Ogden Goelet. Designed by Joseph M. Dunn, the five-story, store and loft building, housed dozens of food and meat manufacturers and purveyors through the 19th and 20th century. The Goelet family (whose ownership of the property began prior to this building in 1847) held onto the building until 1942. Today the food history of building remains seen in the faded painted logos of its facade which note "BURNHAM'S CLAM CHOWDER" and "NEW ENGLAND BISCUIT WORK."

St. Bernard's Roman Catholic Church ca. 1930 St. Bernard’s, at 328-332 West 14th Street and now known as Our Lady of Guadalupe at St. Bernard’s, was originally founded by Irish immigrants during the wave of immigration resulting from the 1840’s famine. This church served relatively middle class “Lace Curtain Irish” (opposed to the lower classes known as “Shanty Irish”), who worked as longshoreman, janitors, mechanics, and teamsters, and owned saloons, stables, blacksmith shops, and the other types of businesses needed to support the industries of the time.

"St. Joseph's Home for the Aged, 15th Street adjoining N.W. corner of Seventh Avenue. This institution, which opened in 1873 is maintained by the Society of St. Vincent De Paul. (Roman Catholic), 1931." The building that once housed the St. Joseph’s Home for the Aged, still exists below the simple Art Deco style brick apartment building that stands on 15th Street today. In 1940 a New York Times article described how the older building will be converted and modernized (not demolished) into a six-story elevator apartment building. The cost of the building for the development company was $75,000

“Looking down a narrow lane at children on the porch of 9 ½ Jane Street, 1915.” The three-story house is accessed by an alley to the west of no. 9 Jane Street, a four-story brick townhouse built in 1844 for tinsmith Walter H. Mead. The rear house was built in 1854.

Valerie Perrine being filmed in Can't Stop the Music in front of Sevilla Restaurant & Bar, 1979.

Rhinelander Row, Seventh Avenue, March 20, 1936. This set of eleven cottages along Seventh Avenue became known as Rhinelander Row, after the developer William C. Rhinelander. The three-decker style brick rowhouses were built in 1849, with each story allocated its own wooden porch (replaced by sturdier iron in 1888). The row was demolished in 1937, with a gas station occupying the site after plans for a contemporary apartment building fell through. In 1964, the Maritime Union Building, later the Maritime Hotel, was built on the site.

249 West 17th Street, ca. 1910. Built in 1902, this six-story structure was the former warehouse for the Siegel-Cooper Dry Goods Store. The company got its start in Chicago in 1887 and expanded to New York City in 1896. At the time of its opening, the storefront was the largest store in the world. The building was designed in the Beaux-Arts style by DeLemos & Cordes, who later went on to design the R. H. Macy's store in Herald Square.

View of Patchin Place with Jefferson Market Courthouse in the background, November 24, 1937. The houses along Patchin Place were built in the late 1840s, in close proximity to Jefferson Market and, later, the Jefferson Market Courthouse and Prison. Berenice Abbott’s photograph depicts the brick buildings lining Patchin Place, a single dead-end block off of West 10th Street, in 1937. At the time, the secluded side street was known as a popular spot for literary New Yorkers. Long-term residents included e.e. cummings, and Djuna Barnes, while Marlon Brando also stayed on the block for a short time. Today, Patchin Place looks much like it did 80 years ago, with one notable exception. Rather than poets and writers, the street’s seclusion has attracted a different kind of privacy-seeking professionals: therapists.

Civic Repertory Theater, 1900 This building is a theatre with a long history. The structure was originally constructed in 1866 as the Theatre Francais, a venue for French dramas and opera. Designed by German-born architect Alexander Saeltzer, his inspiration came from 18th century English styles. The resulting theatre was a large stone building with a two-story portico, classic pediment with sculptural figures, and supported by numerous Corinthian columns. Saeltzer is better known for his still extant buildings, including the Public Theatre (former Astor Library) and the Gothic Revival Anshe Chesed Synagogue, which is now the Angel Orensanz Center. The theatre would change hands and names with great frequency over the next 50 years. It was renamed the Lyceum in 1871 (one of a number of theatres to use that moniker). In 1879 it was taken over by J.H. Haverly and renamed Haverly's 14th Street Theatre. By the next decade it was called just the 14th Street Theatre. The theatre became a movie venue in the 1910s but returned to theatrical productions in 1926 when it was taken over by British actress Eva Le Gallienne, who was very involved in the American Repertory Movement. She successful produced high quality, low cost shows until the Depression forced the theatre's closure in 1933.

10 Sheridan Square, steel framing, March 6, 1929.

Milligan Place is a small alley off of Sixth Avenue, one of a number of hidden alleys in the Greenwich Village. Named for Samuel Milligan, the original owner of the property, the alley is lined with brick homes constructed in the 1850s. Today the small alley looks much like it did in this circa 1915 photograph and likely just as it did in the second half of the 19th century, quietly tucked away from the busy nearby street.

The same, a year and a half later. The church is about to be demolished and replaced by an apartment building, Chelsea Hall. May 30, 1929.

15 Christopher Street, Manhattan (1827, Architect unknown) NYC HD, NR-P Originally founded in 1967 in a storefront at 291 Mercer Street, the Oscar Wilde Memorial Bookshop moved to the parlor floor of this rowhouse in 1973 until it closed in 2009. The shop was the country’s first bookstore to cater to the LGBTQ community, selling LGBTQ literature and hosting book signings with LGBTQ authors. Its location in Greenwich Village, a prominent gay community in New York and the world, made it an important gathering place for both local customers and international visitors. Its founder, Craig Rodwell, was a leader in the gay rights movement, volunteering in gay rights groups and organizing protests. He also participated in the Stonewall Rebellion of 1969 and organized the Christopher Street Liberation Day March, held one year later, which became the precursor for all future Pride Marches. The Oscar Wilde Memorial Bookshop was also the headquarters of Rodwell’s organization, Homophile Youth Movement in Neighborhoods. In 1993, Rodwell sold the shop, passing away later that same year after a battle with stomach cancer. In 2006, the shop’s long-time manager, Kim Brinster, took over, but soon had to close due to pressures from the 2008 financial crisis and the rise in online book sales.

James Baldwin Residence ca. 1930 James Baldwin was born in Harlem in 1924 and became a celebrated writer and social critic in his lifetime, exploring complicated issues such as racial, sexual, and class tensions, as a gay African-American man. Baldwin spent some of his most prolific writing years living in Greenwich Village and wrote of his time there in many of his essays, such as "Notes of a Native Son". Many of Baldwin's works address the personal struggles faced by not only black men but of gay and bisexual men, amid a complex social atmosphere. His second novel, Giovanni's Room, focuses on the life of an American man living in Paris and his feelings and frustrations with his relationships with other men. It was published in 1956, well before gay rights were widely supported in America. His residence from 1958 to 1963 was 81 Horatio Street. A historic plaque memorializing his time there was unveiled on October 7, 2015.

Old Grapevine Tavern ca. 1895 On August 6, 1966, the first known recording of “I Heard It Through The Grapevine” was made by the Miracles. Written by Motown pioneers Norman Whitfield and Barrett Strong, the song was re-recorded several times; Marvin Gaye’s cover landed on the top of the charts for seven weeks in early 1969. While the song now a Motown standard, the famous saying about receiving important news or information through a person-to-person chain of communication significantly pre-dates the Motown era. In fact, plentiful evidence and credible sources trace it back to a beloved tavern on the corner of 6th Avenue and 11th Street in Greenwich Village. A wooden two and a half story house built in the 1700s that stood at the southeast corner of this intersection housed a saloon called the Hawthorne. Originally a private home, by the early 19th century it had become a refuge for those escaping the beehive of activity in Lower Manhattan. But by the late 19th century, as the city grew around it, the tavern took on a different role. In 1877, the Tavern became a noted hangout for lawyers and politicians, including future presidents Teddy Roosevelt and Chester A. Arthur. There they shared information from and speculated about the many goings-on at the nearby courthouse, and the tavern became known as the best place to hear political gossip in New York. Also in the 19th century was the growth of an ever-expanding grapevine along the 11th Street façade of the building. So prominent was the climbing plant that the Hawthorne simply came to be known as “The Grapevine.” And thus, at least according to legend, this fertile ground for gossip and reconnaissance became the source for the figure of speech that information could be “heard through the grapevine.” In 1915, the old Grapevine Tavern was demolished to make way for the six-story apartment building which now stands at 78 West 11th Street.

149 West 14th Street, ca. 1930. Kooky’s Cocktail Lounge, better known as Kooky’s (pronounced “cookies”), was a Mafia-owned lesbian bar that operated here from 1965 to 1973. Even though a female-operated bar at that time was unusual, Kooky (last name unknown) was not particularly welcoming to lesbian patrons. She enforced a door cover-charge policy ($3 – a large financial burden at that time) and had a lot of control over the imposing bouncers; rather than protect the patrons, which was supposedly their job, they would often bully them. Lesbian feminist author Karla Jay described Kooky’s memorable style: “Her hair was shellacked into a large golden beehive that suggested that she had last set, teased, and sprayed her hair in the 1950s and then left it permanently in place.”

New York has always been a great place to enjoy a pint (or three). A rare class of the city’s taverns date to Prohibition days or earlier, and each carries decades of local history: from the Revolutionary War to the gay rights movement. Starting with the Old Town Bar on 18th Street, take a loop through downtown Manhattan, and pay a visit to the dives that have withstood the test of time.

10 Sheridan Square, under construction, April 8, 1929. The 14-story apartment house called the Shenandoah loomed over its more low-rise neighbors when constructed in 1929. It remains still one of the taller buildings in the area, directly across from a pocket park on one side and a small garden on the other. Designed by famed apartment house and hotel architect Emery Roth, the simplified neo-Romanesque building includes a multi-colored stonework base with large segmental-arched windows. The tower, with arched loggia (open portico) can been seen in both construction photographs set back from the corner on the Sheridan Square-facing facade (on the right in the photographs). Take note of the small stone and metal sea creatures, elephants, and dragons that decorate the ground floor, which has been occupied by a gay bar called Monster since the 1970s.

Port of New York Authority Building, 1941.

59 Christopher Street, ca. 1909. This Greenwich Village standard, known as Kettle of Fish, was established 1950 as a Wisconsin Sconnie bar. In the early-1960s, when the bar was located at 116 MacDougal Street, it emerged as a major hangout for Beat writers like Jack Kerouac, and musicians and writers, including Gregory Corso, Allen Ginsberg, Joyce Johnson, Bob Dylan, and Andy Warhol among others. Kettle of Fish later moved to Third Street, where the live music venue Fat Black Pussy Cat is now, before relocating to its current Christopher Street location in the late 1990s. While the bar has moved twice since its opening, through the years, Kettle of Fish has proven to be popular with people from all walks of life -- intellects, musicians, writers, and sports fans alike. The owner, who hails from Wisconsin, has made the bar the go-to NYC spot for Packers and Badgers fans!

60-74 Gansevoort Street, ca. 1980. The buildings at 60-68 and 70-74 Gansevoort Street were constructed by the firm of Voorhees, Walker, Foley & Smith in the early 1940s. The one-story building at the corner (nos 70-74) was constructed for the Emigrant Industrial Savings Bank and served as a freight truck depot before becoming a wholesale meat market building in 1950. The two-story building at left (nos. 60-68) is the alteration of a 19th century structure. Constructed in 1881 as a five-story neo-Grec tenement, the building was reduced by three floors and converted into a market building in 1940, complete with metal canopy, a tell-tale feature of the market buildings.

Northern Dispensary, ca. 1975. The Northern Dispensary was founded in 1831, then in the northern part of the city. When New York deeded the land to the Northern Dispensary organization, the deed included a firm stipulation: that any building be used for the medical treatment of the city’s poor. Edgar Allan Poe, who lived nearby on Waverly Place, was among the facility’s patients in the winter of 1837. The clinic continued to operate until the 1980s, when the dispensary was fined for refusing to treat a prospective patient who had AIDS. In 1989, the building was purchased by the Roman Catholic Church, whose attempt to open a clinic for homeless AIDS patients was defeated by local opposition. The Northern Dispensary building sits on an extremely valuable lot in the middle of the West Village, but its 1831 deed restriction continues scare away developers. Today, the building is owned by the estate of William Gottlieb, an inscrutable real estate speculator who purchased the property in 1998.

"Built between 1874 and 1877 as the Third Judicial District Courthouse, the Jefferson Market Courthouse, located on Sixth Avenue between Greenwich Avenue and West 10th Street, remains a Greenwich Village landmark, albeit serving a very different function. Designed in the American High Victorian Gothic style by the firm Vaux & Withers, it was built to house the Police Court and the District Court. In 1906, Henry Thaw was indicted in this courthouse for the murder of architect Stanford White, whom Thaw suspected of dallying with his wife, the former actress Evelyn Nesbit. Reflecting its judicial function, the building’s sculptural detail includes the trial scene from The Merchant of Venice. The Sixth Avenue El rumbled past the courthouse from 1878 to 1939. By 1958, the building had not been used as a courthouse for over 10 years, and the City was planning to sell the entire block to private developers. Before the enactment of New York City’s Landmarks Preservation Law, a grassroots preservation group succeeded in eliciting the support of then Mayor Robert Wagner, who prevailed on the New York Public Library to acquire the building for a branch library, which it remains to this day." For more on Jefferson Market Library and NYC's other 'lost' courthouses, check out this article by Robert Pigott in Gotham: A Blog for Scholars of New York City History.

Civic Repertory Theater, July 2, 1936. From the 1860s to the turn of the century, New York’s theater district centered on 14th Street. Abbott photographed four 19th-century theaters in the old district, anticipating their imminent destruction. The Civic Repertory opened in 1866 as the Theatre Francaise and acquired its modern name in 1926, when Eva Le Gallienne reopened it to produce classic revivals and new plays at low prices. Between 1932 and 1935, it housed the Labor Theatre, which performed plays with social themes. When Abbott photographed the Civic Repertory in 1936, it was closed, and two years later, a motion picture chain tore it down with plans for a new movie house, which was never built. In 1974, a six-story apartment house went up on the site.

No. 12 Gay Street (left, with lantern), ca. 1975. The Federal style row houses at Nos. 12 and 14 were built in 1827-1828 by the developers Daniel H. Weed and Joseph D. Baldwin. During prohibition, No. 12 allegedly housed a speakeasy before becoming a different sort of clandestine meeting place: the house was purchased by the married Mayor Jimmy Walker, to be used for barely-secret assignations with Betty Compton, his showgirl girlfriend.

The original structure was a two-story Federal style frame house, built in 1826 and converted into a tavern in 1864. During Prohibition, by which time a third story and stucco finish had been added, the “Seven Doors” bar continued to operate as a speakeasy. Following the repeal of the Eighteenth Amendment, the bar was renamed Julius’. During the 1950s, Julius’ became known as a gathering place for gay New Yorkers, despite its management’s harassment of gay customers, under the auspices of liquor regulations prohibiting the sale of alcohol to “disorderly” customers (gay men were considered intrinsically disorderly). In 1966, a group of gay activists and members of the Mattachine society held a “sip-in” to challenge the discriminatory law: after first identifying themselves as homosexuals, they ordered drinks from the Julius’ bartender who then refused service (the New York Times headline read “3 Deviates Invite Exclusion by Bars”). The men successfully challenged the New York State Liquor Authority in court, winning a ruling that guaranteed gay New Yorkers the right to peaceful assembly, thereby opening the door to legal, licensed gay bars.

Old Homestead Steakhouse, ca. 1978. The Old Homestead Steakhouse is one of the longest operating steakhouses in the country. It first opened its doors back in 1868, just after the Civil War, when the meatpacking district was exclusively for butchers. The restaurant, which has now been in the same family for nearly seven decades, is currently owned by brothers Greg and Marc Sherry. Their grandfather Harry Sherry, who started out as the dishwasher, purchased the eatery in the 1940s from its former owner. One key to Old Homestead Steakhouse's longevity is the fact that the establishment, since its start, has been a rather upscale eatery. Unlike chophouses, the steakhouse has always been about serious quality. In fact, the Old Homestead Steakhouse is one of a few restaurants in the United States to serve Kobe Beef, pricing 12-oz portions at $350. Over the years, the restaurant has expanded its tablespace but its menu and atmosphere remain relatively untouched. In fact, it still prides itself in being the first restaurant to send patrons home with a doggy bag (leftovers to-go), because the portions sizes are too big!

Women's House of Detention, February 1939. Constructed in 1931 as the Women's House of Detention, the 11-story subtle Frech Art Deco building replaced the Jefferson Market, a jail, and a firehouse. The chapel in the prison included a turntable altar with wedges set up for Protestant, Catholic, and Jewish services. Never a popular building in the neighborhood, it was closed in 1971 and in 1973 then Mayor Lindsay ceremonially took a hammer to the building. Despite this early act of demolition, a local group fought, unsuccessfully, to retain the building for senior housing. The building was eventually demolished and replaced with the Jefferson Market Garden, a project supported by a group of local garden advocates, grant funding, and water from the Parks Department.

20 Christopher Street This pair (18 & 20 Christopher Street) of charming little Federal houses was built in 1827 by Daniel Simonson, a carpenter who had purchased the lots that year. These two and one-half story houses of Flemish bond brickwork have gambrel roofs, which are now echoed by the roofs of the dormers. Each house has a dormer window, which is triply divided while its gable is decorated with a sunburst pattern. No. 18 has three simple panels on the fascia board of its roof cornice and a paneled doorway with fanlight giving access to the upper floors. No. 20 has its original paneled Federal door and doorframe with panels replacing the original sidelights. In the corners may be seen the original semi-engaged colonnettes, while those which once stood in front of the pilasters on either side of the door have been replaced by brackets at the top under the transom bar. The transom bar is very handsome, consisting of a convex (pulvinated) frieze with a refined cornice above. The leaded transom above the bar is exceptionally graceful and displays circular and oval forms. At both houses the charming wood shop fronts, which were doubtless added at a later date, consist of glass windows and corner colonnettes set under small continuous hoods, which shelter both show window and door.

The Stonewall Inn, site of the 1969 Stonewall riots, 1969. The buildings at 51-53 Christopher Street were constructed in the 1840s as stables. In 1930 the two buildings were given a unified first floor of an Arts & Crafts style brick and stucco facade. The Stonewall Inn opened in 1967 and became a popular bar for the LGBT community. In the early morning of June 28th, 1969 the police raided the bar (as they often did to gay establishments in the 1960s). The patrons of the bar did not disperse as ordered but instead fought back, angrily remaining on the streets in front of the bar, growing in numbers, and chanting at the rough treatment of those arrested. The Stonewall Riots (sometimes referred to as the Stonewall Uprising) lasted for the next six days and included demonstrations that encompassed the surrounding blocks. This event is considered the beginning of the modern LGBT right movement. The buildings (today only no. 53 is the Stonewall Inn, an iteration that opened in 1993) are a part of the Greenwich Village Historic District, designated in 1969. In 2000 it was the first LGBT-related location to be named to the National Register of Historic Places and in 2015 an individual landmark designation was enacting, marking its cultural importance and making it the first landmark in New York City to be recognized on the basis of its status in LGBT history.

Former New York Bank for Savings Interior ARCHITECT: R. H. Robertson DATE: 1896-97 STYLE: Academic Classic The interior of the New York Savings Bank was built in the Academic Classic style popularized by the World’s Columbian Exposition in Chicago (1893). The interior is intrinsically linked with the exterior, reflecting the exterior volume in the interior space. It is exceptional for its use marble, bronze, stained glass, and plaster. The engaged Corinthian columns and pilasters, coffered ceiling, the drum and dome possess fine ornamental detail.

Jefferson Market Courthouse, ca. 1975. The Third Judicial District Courthouse was erected between 1874-1877 on a site adjacent to Jefferson Market. The building, which came to be known as the Jefferson Market Courthouse, was designed by architect Frederick Clarke Withers, the partner of Calvert Vaux. Withers’s ambitious design incorporated High Victorian and Ruskinian Gothic elements, including a 100-foot clock tower, eastern-facing gable, parapets, and countless intricate facade details. A matching prison, also designed by Withers, was built on the same triangular block. In 1927, the Jefferson Market Prison was demolished, ahead of the construction of the New York Women’s House of Detention. The courthouse survived that development, but its long-term future was imperiled. When redistricting shifted court operations to another location 1945, demolition seemed likely. In the meantime, the Police Academy used the structure as a training facility. In the late 1950s, a group of local residents started a campaign to convert the former courthouse into a library — first disguised as an effort to restart the stalled clock on its tower. The scheme was approved in 1961, and the Jefferson Market Library opened to the public in 1967.

Jefferson Market Library ca. The courthouse and watchtower which we see today is all that remains of a complex of buildings which once included, in addition, a market and a jail. These buildings, on their triangular site, were all designed in a uniform style and represented a remarkably coherent piece of town planning carried out by the city government. The style can best be described as Victorian Gothic.

Christopher Park, the triangular landscape across from the Stonewall Inn, has played an important role in the history of the LGBT rights movement. Interestingly, due to a number of possible factors, including the fact that a statue of General Sheridan was placed here in the 1930s, the park has historically been misidentified as Sheridan Square (this is actually a group of streets with a landscaped median around the corner). As such, accounts of the Stonewall uprising and other LGBT-related events that occurred in or near Christopher Park sometimes incorrectly refer to it as Sheridan Square. Even before the June/July 1969 Stonewall uprising, Christopher Park was a favorite hangout for a diverse group of (often homeless) gay street youth and those who might identify today as transgender. By the time of the uprising, crowds took over the park and Christopher Street and, at its peak, several thousand people filled the streets. In 1999, the 30th anniversary of the uprising, Christopher Park was included in the National Register of Historic Places nomination for the Stonewall Inn, a nomination co-written by two founders of the NYC LGBT Historic Sites Project. A month after the uprising, LGBT activists Marty Robinson and Martha Shelley addressed a crowd of several hundred people in the park, capping off a rally that began in Washington Square Park to protest the police’s actions at Stonewall. In 1979, the tenth anniversary of the Stonewall uprising, New York City announced that a commemorative statue by sculptor George Segal would be placed in Christopher Park. Activist Bruce Voeller initially proposed the idea to place a statue in the park commemorating LGBT liberation. Due to controversy from Village residents, LGBT activists, and lack of official support, Segal’s Gay Liberation (1980) sculpture was not installed here until 1992, when it was unveiled by Mayor David Dinkins. Executed in bronze, with the artist’s signature white patina, the memorial was commissioned by arts patron Peter Putnam, who stipulated that the figures “had to be loving and caring, and show the affection that is the hallmark of gay people…and it had to have equal representation of men and women.” Mysteriously abstract, Gay Liberation avoids direct reference to the uprising. The sculpture, commissioned through the Mariposa Foundation, has become an important focal point of the park. A second cast was installed on the campus of Stanford University in California in 1984, though it was vandalized and restored that year and again in 1994. In the 1980s, landscape architect Philip Winslow, who later died of AIDS-related causes, redesigned portions of the park. His work included installing new benches and brick paving. The overall park configuration still looks as it did during the Stonewall uprising.

367 Bleecker Street, ca. 1980.

Civic Repertory Theatre, 1936. The Civic Repertory Theatre opened in 1866 as a home for French language dramas and opera. Also known as Theatre Francais, it was designed by Alexander Saeltzer and presented French productions until 1869. It operated as a booking house from 1880 through the start of the twentieth century, most famously presenting Haverly's Minstrels. In 1871, the theatre was renamed to the Lyceum, after its new owner. The theater was again renamed in 1878 as Haverly's 14th Street when J.H. Haverly took it over. Despite its name change, by the mid-1880s, it had simply become known as the Fourteenth Street Theatre. The space was used as a movie theatre in the early part of the twentieth century until 1926 when actress Eva Le Gallienne turned it into the Civic Repertory Theatre. Although she put on 34 successful productions, the Great Depression ended that venture in 1934. The building was demolished in 1938.

"Southeast on Greenwich Avenue from Horatio Street on southwest side and 13th Street on northeast side to its southeastern terminus at Sixth Avenue, March 10, 1933." Designed by architect George F. Pelham in 1882, the building was constructed as studio apartments. The LPC Designation Report for Greenwich Village notes its "prow-like" shape at the narrow angled point between Greenwich Avenue and West 13th Street.

“The Shenandoah”/10 Sheridan Square/80 Grove Street This building was also originally an apartment hotel, albeit presumably intended for more middle-class residents than the intended tenants of 24 Fifth Avenue. It was built in 1928-29 and designed in what the Greenwich Village Historic District designation report refers to as “a severely simple version of Neo-Romanesque” style. The battlements, use of irregular and multi-colored stone and dark brick lend to a medieval feel to the exterior of the building. The living units were designed predominantly as one-room apartments which served as living, dining and sleeping space, with a bathroom and a pantry directly adjacent.

Patchin Place ca. 1936 The poet e. e. cummings lived at No. 4 Patchin Place for four decades, until his death in 1962. Patchin Place was a cul-de-sac of small workingmen’s houses off of West 10th Street between Sixth and Greenwich Avenues, across from the Jefferson Market Courthouse (now the Jefferson Market Library). It was during his years on Patchin Place that cummings was his most prolific. While clearly the Village was a source of inspiration for cummings, as it was for so many in those years of the early and mid-20th century, the Village actually only makes very few explicit appearances in his poetry. John Reed, the radical journalist and author of Ten Days That Shook the World, also lived at Patchin Place in the years just before he died in 1920 (and he was a friend and frequent attendee of Mabel Dodge’s salon, see more below!).

Doorway 204 West 13th Street, May 5, 1937. Somewhat strangely, this particular door on West 13th Street is the subject of photographs by two well-known American photographers. In 1931 Walker Evans captured the columned door frame of no. 204. Six years later, Berenice Abbott, under the auspices of the Federal Art Project, took a slightly wider framed shot. In the late 1920s through the early 1930s, the building at no. 204 was the home of Charles Seeger, American musicologist, composer, and father of folk singer Pete Seeger.

Photo, left: Ken Lustbader of the NYC LGBT Historic Sites Project, Julius’ owner Helen Buford, Sip-In participant Randy Wicker, author/activist John Cameron Mitchell, Andrew Berman of Village Preservation, and State Senator Brad Hoylman; photo, right: Berman, Wicker, and the plaque.

The Metropolitan Temple (Methodist Episcopal) at the northwest corner of Seventh Avenue and 13th Street, December 22, 1932. The Collegiate Gothic church, designed by Louis E. Jallade, opened in September 1932. The Montréal-born architect moved to New York City in childhood, and later become the commander of the city's Twelfth Regiment of the New York Guard, which he first joined in 1914. Openly gay Reverend C. Edward “Ed” Egan, Jr. led the Metropolitan-Duane United Methodist Church from 1971 to 1977, when he was forced into early retirement because of his homosexuality. From 1973 to c. 1996, the church was the meeting location of the support group now known as PFLAG, the first such group in the world for parents of lesbian and gay children. Between 1974 and 1976, the church was also the first meeting location of the Salsa Soul Sisters, a black and Latina lesbian group. From c. 1977 to 1988, the church hosted services by the Metropolitan Community Church of New York, which was founded to minister to the LGBT community whose members were not welcome in most churches.

Herring Building, May 4, 1927. Built in 1849 for Silas Clark Herring, the building served as the headquarters of the Herring Lock and Safe Company. The metal "Salamander" safes sold by this company included innovative plaster-of-Paris lining technology, which purported to be fireproof. The neo-Grec, though more generally vernacular building, is five stories tall and is given its odd shape by the meeting of Ninth Avenue and Hudson Street at 14th Street. The northern section of the building, which gives it the shape that earned the moniker of "Little Flatiron" was actually an addition circa 1860. In the late 19th and early 20th century the building was home to variety of food related businesses, including grocers, saloons, restaurants, and at least one butcher. This address has been best known in the late 20th century, as the location of a series of well-known clubs, the most prominent being the basement BDSM Hellfire Club (1971-2002).

By Robert Pigott When most New Yorkers think of courthouses, they visualize Foley Square in lower Manhattan or perhaps Court Street in Brooklyn. But there was a time when the City’s courthouses were not so centralized. If you travel to Brooklyn’s Sunset Park neighborhood and walk along 42nd Street towards the East River, when you get to Fourth Avenue, you will come upon a truly majestic building. An apparently recent sign out front says “Community Board 7.” But engraved in stone over the entrances on opposite sides of the building are the words “MAGISTRATES COURT” and “MUNICIPAL COURT.” This building unlocks the story of New York City’s lost neighborhood courthouses. Until a 1962 amendment of the New York State Constitution, there were Magistrates’ Courts handling minor criminal matters and Municipal Courts for small civil cases. By 1962, these courts had been abolished, and the City’s courthouses were largely centralized in each Borough. But from the late 19th century through the early 1960s, you could find courthouses in every corner of New York City. Some were very modest structures that you would not expect to have been preserved. Others were very grand structures that either has been put to new uses or are sadly lying fallow. Read this in its original format here.

St. Vincent's Triangle, ca, 1976. The plan for a nurses' residence on this plot never came to be. The triangle was used as a community garden and greening-recycling center for many years. Sometime in the late 20th century, St. Vincent's built a low-rise, brick materials receiving center on a section of the plot. The hospital closed in 2010, and a park was planned through community review, and constructed by the development company as part of the hospital to residence conversion work. The park was given to the city in 2017. A year earlier the park was dedicated as the NYC AIDS Memorial Park. (The former hospital was the city's first and largest AIDS ward.) The new park includes an 18-foot steel canopy-shaped public memorial, "to honor New York City's 100,000+ men, women and children who have died from AIDS, and to commemorate and celebrate the efforts of the caregivers and activists."

Milligan Place, March 20, 1936. Named for Samuel Milligan, whose home originally stood on the site, Milligan Place’s four houses were built in 1852 by Aaron Patchin, Milligan’s son-in-law, who owned nearby Patchin Place. Like Patchin Place, Milligan Place attracted bohemian tenants, such as George Cram Cook, co-founder of the Provincetown Players, and his wife, playwright Susan Glaspell. After 1917, the houses were modernized and subdivided into apartments. Abbott allowed the bright sunlight to impose a graphic pattern on the awkward space of Milligan Place, with the deep shadow of the El filling the foreground and the craggy branches of a barren tree filling the middle ground. The man standing at the apex of the triangular walkway cooperated with the photographer; a variant image shows that he walked into space twice. Threatened with demolition by a new owner, Patchin Place and Milligan Place were granted landmark status in 1969.

In 1967, neo-Dada artist Robert Delford Brown performed one of his greatest pieces of all time, which he titled "The Great Building Crack-Up." The performance was meant to evoke a collision of the new and the old. The site of the performance was the elegantly designed brownstone by Beaux-Arts master Richard Morris Hunt. It was a meeting of Avant-garde minds between Brown and the architect Paul Rudolph. This is the story of a building that has lived many lives.

My Archive Summer 2019 “In the photo is a co-worker. It is from a series of photos I took between 1977 and 1982, while I was a worker in the market. I had just moved back to NYC in late '77. Getting the job here was just supposed to be a "pit- stop" until I figured out what I wanted to do. I wound up staying 8 years.” —Richard Ovaduke

555 Hudson Street, Manhattan (1842, attributed to John Cole) NYC HD From 1947 to 1968, this was the home of author, urban theorist and activist Jane Jacobs (1916-2006). While it is not certain that she wrote her 1961 seminal work “The Death and Life of Great American Cities” here, she did often reference her home in Greenwich Village while extolling the virtues of thriving urban settings with bustling sidewalks and small-scale, mixed-use buildings —like 555 Hudson. She wrote and spoke out against the then-rising practice of slum clearance and urban renewal, and was instrumental in the fight to save the South Village, SoHo and Little Italy from Robert Moses’ Lower Manhattan Expressway. Her work heavily influenced contemporary urban thought, despite urban planners who, at the time, criticized her lack of formal education. Today, her legacy is celebrated every May with Jane’s Walks — volunteer-led walking tours in urban neighborhoods — throughout the country. Photo by NYC Municipal Archives

149 Eighth Avenue ca. 1938 During the Depression, New York City was home to 135 pawnshops and claimed more than half the nation’s pawnbroking business. Like peddling, pawnbroking catered to the poor and was subject to strict regulation. Abbott was drawn to the attention-grabbing storefronts of pawnbrokers, with their profusion of merchandise and hard-sell advertisements. She exposed several negatives of “Uncle” Rothman’s to capture just the right window-shopping gesture. Rothman’s remained on Eighth Avenue until the 1960s. Heavily remodeled, the building now houses the Food Bar, one of Chelsea’s many chic restaurants.

Greenwich Village Inn, 1933. The origins of the Greenwich Village Inn date to before the First World War when Polly Holliday ran a restaurant that became a gathering spot for Greenwich Village radicals and bohemians. In 1916 she moved her establishment to 5 Sheridan Square. She also took on a new partner, Barney Gallant, an early nightclub entrepreneur. Though the original venue had been full of tried and true Village bohemians, this new spot, with Gallant's marketing, became more of a place where outsiders came to see the bohemians. Soon the place was flooded with flappers, undergrads, and tourists. Gallant made a name for himself—and become a bit of a local hero— when in 1933 a few of his Greenwich Village Inn waiters were arrested for Prohibition violations. Gallant offered himself up in their place and served 30 days in the notorious Tombs. By the 1940s the venue had suffered in reputation and popularity. According to a 1971 book, the Inn was largely a mafia front in its final years. Closed in 1951 the building was taken over by the newly founded Circle in the Square theater and was demolished for a 17-story apartment house in the late 1950s.

One of New York’s most beloved and iconic landmarks, the Flatiron Building is known for (among other things) its unique shape. But of course, the corner of 23rd Street and Fifth Avenue isn’t the only place in Manhattan where streets intersect at quirky angles. In fact, the Village’s off-the-grid streets are full of them. More information can be found here.

Christopher Street—Sheridan Square Station, 1929.

Village Community Church, West 13th Street, ca. 1985. This temple-fronted Greek Revival church was built in 1846 as the Thirteenth Street Presbyterian Church. Mergers with nearby congregations led to a series of new names: Greenwich Presbyterian, Village Presbyterian, and the Village Community Church. In 1975, the church was sold to a residential developer, despite its inclusion in the Greenwich Village Historic District. It is now an apartment complex known as Portico Place.

The White Horse Tavern at Hudson and 11th (formerly Hammond) Streets, 1933. Opened in 1880, the White Horse became known as a hub for literary and “Bohemian” New Yorkers in the 1950s and 1960s. Among its notable patrons was Dylan Thomas, the Welsh poet — and prodigious drinker — who was a frequent visitor right up until his death in 1953 (two days after he is said to have ordered eighteen whiskeys at the White Horse).

1 Little West 12th Street Many people know the restaurant Bagatelle located at 1 Little West 12th Street for their lavish brunch parties, where as one recent brunch reviewer stated “I’ve never seen so many bottles of Dom Perignon ordered in my life”. Bagatelle helped changed the face of NYC brunch in 2008 from a laid back Sunday afternoon meal to a party atmosphere featuring live DJ’s and $15,000 bottles of champagne. 1 Little West 12th Street was built in 1909 and is located in NYC’s Gansevoort Market Historic District. It is also part of the Gansevoort Market National Register Historic District. This building plays a role in several important aspects of NYC history including the famous Astor family, the meatpacking industry, and currently, the tech industry, which according to Bloomberg News is now NYC’s second largest industry, employing almost 300,000 people. According to the designation report, “This Arts and Crafts style building, which is largely intact, contributes to the historically mixed architectural character and varied uses – including market-related functions – of the Gansevoort Market Historic District. Constructed in 1913, during one of the major phases of development of the area when storage- and market-related buildings continued to be constructed in the district, it further contributes to the visual cohesion of the district through its brick facade and metal canopy.” This property has a long and storied history. When built in 1913 by William Vincent Astor, a member of the prominent Astor family, the address was 5 Little West 12th Street, a.k.a. 2 Ninth Avenue. From 1913-1922 it served as a warehouse for the provisions firm of C. Percival, which was established in 1868, and according to the book History and Commerce of New York, published 1891, supplied “hotels, restaurants, and steamers on a large scale, as well as the general public, with pressed larding pork, breaded pig’s feet, sugar cured ham, bacon, pure lard, and provisions of a like description”. 1 Little West 12th was then owned by Ottman & Co. for use as a packaging and processing plant, with storage on one floor, and butchering and packaging on other floors. Ottman & Co. was owend and operated by Jacob “Jack” Ottman, descendant of Phillip of Philipp Ottmann & Company which was founded in 1859 and later renamed William Ottmann & Company (around 1876) of Fulton Market. William Ottmann & Company was sold around 1916 to rival Beinecke & Company, who were originally in the meatpacking business, and were also owners at the time of the Plaza Hotel. Note one of the n’s was dropped from the last name to work around a non-compete clause that was part of the sale of the original company. Ottman & Co., after a brief stint at 446-448 West 13th Street moved into part of the building in 1919, with C. Percival using the rest, and eventually bought the entire building along with the neighboring buildings 1 and 3 Little West 12th street, which Ottman & Co. had used as administrative offices. The former 1 Little West 12th Street was built in 1887 and was also known as the Middendorf building and housed Middendorf & Rohrs grocery company. The former 3 Little West 12th Street was built in 1918 and also housed the Middendorf & Rohrs company for many decades. The three buildings were sold in 1987 to Peter J. and Richard P. Kleinknecht, who ran Kleinknecht Electric Co. Inc. from the space. This company was founded in 1916, and is still “solving all of your electrical needs” from West 37th Street. In 1998 the property was sold to current owner William Gottlieb Real Estate. In 2011, after remaining vacant for over 10 years, once bricked over windows that shielded refrigerated spaces that were devoted to the production and storage of portion controlled frozen meats, were opened up to house new “boutique” office tenants WeWork, a company that leases office space to startups. Bagatelle moved into the ground floor space from a different Meatpacking District location in 2012.

Street & Smith Publishing is was one of the oldest publishing houses in the country. They can be credited with encouraging literacy en masse by churning out thousands of volumes of enticing and easy-to-read dime novels, pulp fiction books, comic books, and magazines. The company was founded in 1855 by Francis Scott Street and Francis Shubael Smith when the two revitalized a dying fiction magazine. Three short years later, they purchased the New York Weekly Dispatch and began growing their publishing empire. The house put forward novels in the following categories: adventure and sea stories, detective and mystery, romance, sci-fi, sports, westerns, and young adult fiction. They also published comic books including the likes of Jesse James, Buffalo Bill, and Nick Carter. Their weekly magazines included Popular Magazine, Pic, Charm, and Mademoiselle. Street & Smith ceased production of pulp fiction in 1949, largely due to increasing competition with television. The publishers turned their attention to their collection of magazines. The publisher was sold to Conde Nast for over 3.5 million dollars in 1957.

Workers lay pipe in a trench at the corner of West 11th Street and Greenwich Avenue; undated photo. In the early 1900s, the Monahan Express Company, an express mail courier service, operated from the ground floor and stables of No. 61-71 Greenwich Avenue, a former brewery also occupied by an industrial stamping company and a wine importer. In February 1907, a fire caused more that $100,000 of damage to the "old-time brewhouse." The fire-damaged building was eventually demolished ahead of construction for the Seventh Avenue Extension and the IRT Seventh Avenue subway line.

Jefferson Market Library, NYPL 425 Sixth Avenue Designed by Frederick Clarke Withers of Vaux and Withers, 1874-77; renovation: Giorgio Cavaglieri, 1967 In the 1830s, this small, triangular block became the heart of Greenwich Village when Jefferson Market was built here. In addition to the market, the block also had a small Police Court, prison and watchtower. In the 1870s and 80s, the block was renewed with a picturesque complex of buildings designed by the firm of Vaux and Withers, including the Third Judicial District Courthouse. This magnificent building, designed in the High Victorian Gothic style, is the only remnant of that complex. It features a rich, polychrome palette of materials with bandcourses, Gothic arches, stained glass windows, turrets, a large gable and variegated roof slates. The City seal is found on its Sixth Avenue façade. The crowning achievement is a prominent corner tower, whose top was designed as a fire lookout with an alarm bell and large clock faces to serve the community. When the building ceased to function as a courthouse in 1945, it briefly served as a Police Academy. The building was threatened with demolition in the late 1950s, but public outcry led to its conversion to a branch of the NYPL, one of the first adaptive reuse projects in the country. In 1996, after 135 years of silence, a campaign to reinstate the ringing of the fire bell was successful, and it has rung the hours from 9:00am to 10:00pm ever since.The library is located within the Greenwich Village Historic District, is listed on the State and National Register of Historic Places and is a National Historic Landmark.

New York City is known for many things: Art Deco skyscrapers, picturesque parks, the world’s greatest theater district, venerable museums and educational institutions, not to mention bagels and pizza! But above all of these, New York is most important as home to some of the world’s most fascinating and significant people and as the site of impactful and significant happenings throughout history. The city’s cultural influence is, perhaps, its greatest contribution to the world, and its built environment stands as a grand scavenger hunt of clues waiting to be uncovered. Lucky for us, the city’s Landmarks Law, passed in 1965, provides the legal framework for protecting the physical reminders of the city’s cultural wealth. In fact, one of the stated purposes of the Landmarks Law is to “safeguard the city’s historic, aesthetic and cultural heritage.” In the first 50 years that landmarks were designated by the City, much emphasis was placed on the historic and aesthetic. In recent years, though, more consideration has been made for the importance of sites associated with people or historical events, rather than just for their architectural or historical value. In 2015, the NYC Landmarks Preservation Commission (LPC) designated the Stonewall Inn as an Individual Landmark solely for its association with the Stonewall Uprising of 1969. In 2018, the Commission designated the Central Harlem—West 130th-132nd Streets Historic District, describing it as “not only representative of Central Harlem’s residential architecture, but the rich social, cultural, and political life of its African American population in the 20th century.” Also, in recent years, Greenwich Village’s Caffe Cino and Julius’ Bar were listed on the National Register of Historic Places as significant and influential sites connected to the Lesbian Gay Bisexual Transgender (LGBTQ) community, The New York Times profiled a historian giving tours of Muslim sites of significance in Harlem, and the City is commemorating some of our most storied and accomplished female citizens with the installation of statues in all five boroughs. Indeed, grassroots preservation activism around the city is also swelling around sites of cultural significance: Tin Pan Alley and Little Syria in Manhattan, Walt Whitman’s house in Brooklyn, Arthur Avenue in The Bronx and a recently-rediscovered African burial ground in Queens, to name a few. In response to this movement of interest in cultural landmarks, the Historic Districts Council undertook an initiative to highlight such places as one of its Six to Celebrate in 2018. The culmination of that effort was a conference in October 2018 entitled “Beyond Bricks and Mortar: Rethinking Sites of Cultural History.” The conference convened preservationists, historians, artists, planners, place-makers and more to work together to clarify what cultural significance is and how it can work, how to document and create compelling narratives around cultural sites, and how to identify the specific challenges of cultural sites from a preservationist perspective. This tour provides just a sample of some of the city’s cultural landmarks, organized thematically and representing all five boroughs. The list includes some sites that are legally protected — in some cases by more than one government body — and some that are unfortunately in danger of being lost. Preserving culturally significant sites that may not possess overtly aesthetic value often requires a particularly active and engaged form of advocacy to achieve protection from the wrecking ball. But, as long as there are interesting people making their mark on New York City and crucial events taking place here, that effort will never be in vain, since those stories are the lifeblood of this vibrant place.

New York Savings Bank ARCHITECT: R. H. Robertson DATE: 1896-97 The New York Savings Bank, built in two sections in 1896-97, has a significant place in the architectural and cultural history of New York City. It was designed by the well-known architect R. H. Robertson and is one of his most successful designs because of its scale, choice of materials, and relation to the two major thoroughfares on which it is situated. Its Eighth Avenue portico, the 14th Street elevation of pedimented bay and westernmost three windows, the wall clock, cornice and cresting, the drum and the dome comprise fine ornamental detail. Its materials–granite, marble, bronze and copper–and the workmanship these represent are exceptional.

Village Presbyterian Church ca. 1985 The simulation of stone in wood required that the carpenters produce absolutely flat, smooth surfaces for parts of the entablature and for the back of the pediment. Where these surfaces were not properly maintained and kept painted, the whole illusion was lost. In this hexastyle Doric church it was apparently not deemed necessary to return the entablature beyond the depth of the portico, as this was not a corner site.

April 13, 2020, marks the 150th anniversary of the founding of The Metropolitan Museum of Art. The Museum occupied two temporary buildings before opening its permanent location in Central Park in 1880. When it first opened to the public, The Met was located in the Dodworth Building at 681 Fifth Avenue. The Douglas Mansion became The Met’s second home from 1873 to 1879, situated at 128 West 14th Street. Since opening its permanent home on Fifth Avenue, the building has expanded greatly, and various additions now surround the original structure. These images chronicle the early decades of The Met’s 150-year history.

New York Savings Bank moved into the basement of this four-story bank building in 1857. Over the next few decades, the bank prospered and became more visible when it moved into the first-floor space. In 1896 the New York Savings Bank demolished this structure and commissioned a new building on the same site.

79 Eighth Avenue, ca. 1980. One of two landmark banks on this corner, the Manufacturers Hanover Trust Company Building was constructed in 1907 to the designs of De Lemos & Cordes. Created in the model of the "City Beautiful" movement, which postulated that beautiful civic and commercial buildings could promote moral and civic virtue among urban populations, the architects produced a stately, classical building that has enured more than a century.

299 West 12th Street ca. 1932 Built in 1929-31, this 16-story apartment house is clad in multi-colored brick set in Flemish bond creating an interesting texture to the exterior. Randomly cut and placed stones of varying colors are placed at the window and door openings and at the corners of the building. Along with 59 West 12th Street, this was one of two collaborations between Emery Roth and the development team of Bing & Bing and exemplified the elegant interwar style of New York apartment building for which both came to be known.

New York Savings Bank, ca. 1921. The New York Savings Bank has occupied the northwest corner of 14th Street and Eighth Avenue since the middle of the 19th century. By the turn of the century the bank deemed themselves in need of a new building. Robert Henderson Robertson designed a white marble Roman temple topped by a striking copper dome. The building, which remained a bank through the 1960s, was designated an exterior and interior landmark in 1988. As such each of its ensuing tenants (including a carpet shop, grocery store, and currently CVS) have has to abide by the rules governing interior landmarks (such as not attaching anything to walls or floors).

New York Port Authority building, 1937. 111 Eighth Avenue is an enormous building which takes up the entire block between Eighth and Ninth Avenues and 15th and 16th Streets. It is 2.9 million square feet and was the largest building in the city until 1963. Built in 1932 in the Art Deco style and designed by Lusby Simpson, the mammoth building was original constructed to be multi-use, with the first floor and basement used for the movement of goods by truck under the auspices of the Port Authority, and the upper floors used for manufacturing. With changing transportation and the dwindling of railroad freight in Manhattan, the original trucking functions of the building were largely abandoned by the mid 1940s. The building served as the headquarters of the Port Authority from the 1940s until the WTC opened in 1970. Since 2010 the building has been owned by Google (they paid a reported $1.9 billion), though other companies continue to rent space, including Nike and Bank of New York.

30 Christopher Street ca. 1933 30 Christopher replaced three smaller buildings when it was constructed in 1907 to the designs of the well-known firm Jardine, Kent & Jardine. (This was only a few years after they were commissioned to design the Van Tassell & Kearney Auction Mart, an East Village building we were thrilled to see landmarked last May!) Owned by the Waverly Realty Company, 30 Christopher Street was built to house The Fellows Company of New York, formerly known as The Fellows Medicine Manufacturing Company. According to medical journals of the time, the company produced the “famous” Syrup of Hypophosphites. The advertisements at left tout the syrup as a cure for several illnesses (note: the ads use the address of 26 Christopher). If you happen to be suffering from bronchitis, your ancestor 100 years ago with the same condition might have benefited from the syrup being produced right here in the Village. It’s not clear how long the company stayed in the building, but it did remain in use as a factory and office space for many decades. A 1974 Certificate of Occupancy reveals that, by that time, the building had been converted to residences. The building itself has an irregular floor plan, which is not surprising given the irregular shape of the block as a whole. This is the Village after all! It employed steel frame construction, an engineering feat that allowed for taller buildings without compromising the square footage of the lower floors, and reinforced concrete. For over 100 years, this elegantly-designed building has served as a wonderful contribution to the streetscape, and it’s nice to learn a bit more about it on this cold and blustery day.

Nos. 14-16 Gay Street, October 16, 1937. The provenance of the Gay Street name is unclear, but the name is mentioned in records as early as 1827 before the street was declared official in 1833. No 16 (right) was built for merchant Francis Barretto in 1828. No. 14 was built around the same time for plough manufacturer Curtis Hitchcock. Ruth McKenney published a series of stories in the New Yorker depicting her family’s life in the basement apartment of 14 Gay Street. These stories would be adapted into a 1953 Broadway musical, “Wonderful Town.”

Music is an integral part of the cultural legacy and impact of our neighborhoods! In March 2019 we explored the iconic music venues and punk meccas of the East Village through East Village Building Blocks. Today we’re venturing west into the Greenwich Village Historic District for another musical tour.