Siegel-Cooper ca. 1975 When the Siegel-Cooper store opened its doors on September 12, 1896, 150,000 people attended for a glimpse of what the New York Times called "a shopping resort." The store, which ran from 18th to 19th street on Sixth Avenue, and could be reached by the new El, sold everything from feather boas to feather dusters, abdominal bands to zephyrs, as well as live animals and birds, on four selling floors and a basement. The fifth and sixth floors were stockrooms, and a conservatory could be found on the roof where plants were for sale. Adjacent to the conservatory was a photography studio and a staircase which led to a public observatory on the roof. The tower at the top of the building housed a searchlight with a lens thirty-six inches in diameter, "the largest ever made," whose light could be seen for 30 miles and was used "for the benefit of the public in signaling the results of elections and like matters, and for the benefit of the Big Store by throwing advertising announcements upon the lower surface of clouds by night." Services included a bank, telegraph office, dental parlors, a barber shop were "especial attention is paid to children's haircutting," and a restaurant which could seat 350 people.

Proctor's 23rd Street Theater ca. 1895 When the church that originally occupied this site was torn down. F.F. Proctor purchased the land and erected his theater. It was here that he began his career as the foremost producer of vaudeville and popular melodramas. Proctor's was the first vaudeville house in New York City to offer "continuous vaudeville," with shows running from 11 in the morning to 11 at night. Advertisements for Proctor's read "After Breakfast, Go to Proctor's, After Proctor's Go To Bed." Located in the Flatiron district, Proctor's made a special appeal to women shoppers, who could catch a show any time during the day. With the coming of movies, the theater began to offer a mix of movies and vaudeville, and then movies alone.

(1875, Mortimer C. Merritt; expanded 1895) As early as the 1860’s, the West 20s above Union Square had a reputation as a shopping district for a new class of retail consumer, primarily women with disposable income and leisure time to spend on shopping for ready-made clothing and goods. The Hugh O’Neill Dry Goods Store is perhaps the most visible department store on this stretch of Sixth Avenue. With its domed corner towers and central pediment, it is among the finest examples of cast-iron architecture in the city. The original fourstory, French-inspired Renaissance Revival design was expanded in 1895 with a fifth floor. The domes and pediment were temporarily removed and then reinstalled on top of the addition. Adding stories or whole new bays on cast-iron fronted buildings was a fairly frequent occurrence, and pointed up the advantages of cast iron as a modular construction technology in which standardized, mass-produced facade components and ornament could be replicated and installed with relative ease.

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.

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.

St. Francis Xavier High School, 30 West 16th Street, ca. 1928. Founded in 1847 by Father John Larkin, a professor at St. John's College (now Fordham University), the school was originally known as the College of St. Francis Xavier and offered instruction to boys from the ages eight to twenty-one. A military training operation began at Xavier High School in 1886 under the direction of the National Guard; membership became mandatory in 1892. In the years that followed, collegiate and secondary studies were separated, and the college level department at the school closed in 1912. From 1935 to 1968, Xavier High School acted as a Junior ROTC unit. Students took four years of military science and training, which was recognized upon enrollment in any branch of the United States Military. After 1971, participation in military studies was no longer mandatory. Today, Xavier High School is an independent Jesuit university-preparatory high school for boys. Since 1928, when the school was first accredited, Xavier High School has held membership in the Jesuit Schools Network, the National Catholic Education Association, and the New York State Association of Independent Schools.

(1883-85; Hubert, Pirsson \&Co.)NYC IL; S/NR) The famed Hotel Chelsea was one of the city’s first cooperative apartment buildings, originally named the Chelsea Apartments. Architect and developer Philip Hubert was influenced in bringing the co-op to America by the philosophy of early socialist French thinker Charles Fourier, who imagined a utopian society based on communal associations. Hubert designed the Chelsea with apartments for both co-op members and renters at a variety of income levels, with shared spaces to facilitate community interaction. The massive and imposing 12-story, red-brick building is 25 bays wide, fronted by tiers of delicate iron balconies, and capped by dramatic pyramidal slate roofs, gables, dormers, and chimneys. It has elements of Aesthetic Movement, Queen Anne, and High Victorian Gothic styles, and is notable for its early use of fireproof construction methods such as load-bearing masonry walls and wrought iron beams. When Hubert’s experiment bankrupted in 1905, the building was converted into a luxury hotel visited by prominent guests including Mark Twain, William Dean Howells, Sarah Bernhardt, and painter John Sloan. After World War II, as the hotel declined and room prices fell, it attracted Jackson Pollock, Virgil Thomson, Larry Rivers, James Schuyler, Dylan Thomas, Tennessee Williams, and Jack Kerouac. Arthur Miller moved into Room 614 after his divorce from Marilyn Monroe. Arthur C. Clarke and Stanley Kubrick wrote the screenplay for 2001: A Space Odyssey at the Chelsea. From 1957 to 2007, the hotel was an informal artists’ colony benevolently and tolerantly “curated” by manager Stanley Bard. Artwork he accepted in lieu of back rent from struggling artists filled the lobby and main staircase. Bard fashioned and maintained the unique creative dynamic for which the hotel is perhaps most famous, presiding during the 1960’s when Bob Dylan and Leonard Cohen wrote some of their greatest songs. Andy Warhol filmed Chelsea Girls here. Bard’s departure was mourned by many residents of the hotel and the Chelsea community. The building continues to house a significant number of permanent tenants.

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.

The time-honored tradition of window shopping truly comes alive during the holiday season, when retailers pull out all of the stops to make their window displays ever more eye-catching, festive and uplifting. Countless visitors and New Yorkers alike participate in this yearly ritual, which has its roots in the Gilded Age. That era of rapid economic growth and industrialization, which began in the 1870s and lasted until around 1900, generated the building technology that made window shopping in the city possible.

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.”

"Sixth Avenue, north from and across West 18th Street, showing mainly the west side of this Avenue, 1939. The corner building with the A. Shulte store was formerly part of Altman's Department Store. This bears No. 615-9 Sixth Avenue and is at the N.W. corner of W. 18th Street. The store covered the entire block front from 18th to 19th Streets. The New York Times of March 7, 1939 reports the 1st transfer of this holding since 1817 when it was acquired as farmlands by John Tonnele." (text from the photographer P.L. Speer) The neo-Grec structure was opened in 1877 as the B. Altman store and within the next decade additions were added on 18th and 19th Streets to house the expanding department store. This store was a mainstay of the Ladies' Mile, a section of the Flatiron neighborhood that became a prime shopping district (with most of the larger stores on 6th Avenue) during the late 19th and early 20th century. Interesting features of the building when it opened included an ornate cast iron facade, pneumatic tubes for the movement of money and paperwork, and electric lights.

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.

Third Cemetery of the Spanish and Portuguese Synagogue, June 11, 1933. This cemetery is one of the burial places of the oldest Jewish congregation in North America, Congregation Shearith Israel. While the exact location of the first cemetery for the congregation has been lost (it might have been near the African Burial Ground), two other graveyards for this community pre-date this one and remain extant. They are located at Chatham Square and just east of Sixth Avenue on West 11th Street, established 1682 and 1805, respectively. Due to the encroaching city development and changes in the law regarding burials in Manhattan, both of these cemeteries were unfit for the community's needs by the 1820s. Referred to as the 'Third' Cemetery or the 21st Street Cemetery this plot was established in 1829 to move the disinterred graves from the 11th Street location. The active period of this cemetery was brief, as the city banned burials below 86th Street in 1851. The congregation looked to the outer boroughs (a popular cemetery locale by that time). Joining with two other Jewish congregations they founded the Beth Olam Cemetery in Ridgewood, which is still active today.

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.

Chelsea Hotel, ca. 1985. Opened in 1884, as a grand Co-Op Apartment building, the Hotel Chelsea became a long-term hotel for generations of bohemians, including artists, writers, and musicians. Famous musical residents included the Grateful Dead, Nico, Tom Waits, Patti Smith, Jim Morrison, Alice Cooper, Pink Floyd, Madonna, and Jimi Hendrix. Bob Dylan composed Blonde On Blonde in room 211, and later wrote about the experience. Leonard Cohen wrote "Chelsea Hotel #2," a song about hooking up with Janis Joplin in room 222. Most infamously, Sid Vicious and his girlfriend Nancy Spungen rented room 100 in 1978 and after several months of epic drug abuse, Spungen was found stabbed to death in their bathroom. Sid Vicious was charged with the crime but died of a heroin overdose before the trial.

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.

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.

"Sixth Avenue, at the N. E. corner of West 20th Street, showing the P. E. Church of the Holy Communion. 1940."

"Sixth Avenue, east side, north from West 19th Street, 1939." View of the same corner just after the removed of the elevated train infrastructure.

Siegel-Cooper department store, ca. 1975. The crowds at the opening of Siegel-Cooper department store on September 12, 1896 were so crushing the police had to call in for back up. Eleven thousand pushed inside the doors within just the first ten minutes, and there was a solid wall of people stretching along Sixth Avenue, from 14th to 23rd streets. By the time doors closed at 10:30pm, 150,000 shoppers had been inside. Siegel-Cooper was the largest retail space in New York, occupying the entire block between 18th and 19th streets on Sixth Avenue. It quickly became a spectacle on a par with museums, theaters, and other cultural attractions. It felt like a small city, with aisles as wide as streets. Inside, shoppers were greeted by a 10-foot high fountain with a statue of The Republic in marble and gilded bronze- a replica of the one Daniel Chester French had designed for the 1893 Chicago World's Fair. After dropping their children at a nursery, women could wander through the store's 125 departments on six floors, admiring goods as diverse as canned food, feather boas, live animals, and sheet music. They could then lunch on lamb stew or chicken pot pie in the restaurant and head up to the roof for a view of the city from the observatory. Before picking up their kids—and without ever leaving the building—they could visit the dentist, send a message from the telegraph office or deposit a check at the bank. Department stores, epitomized by Siegel-Cooper, were unlike anything shoppers had experienced before. Over the course of the 19th century there were dramatic changes in what retail stores looked like, what they sold and how they sold it. Before the Civil War, shops mostly specialized in one type of item, such as books, purses, or carpets. Or there were dry goods stores that sold ready-made items, fabrics, and other sewing materials. Window displays and interiors were cluttered and customers went in to negotiate the best price for just the items they needed. A.T. Stewart and Macy's ushered in the era of New York City's department stores—building marble and cast-iron palaces with window displays that lured passersby. They had dozens of departments with ready-made goods from corsets and parasols to furniture and toys. They had lounges and lunchrooms that fortified customers to stay and buy items on impulse. And throughout the store, scores of shop girls, trained in the art of selling offered merchandise at a fixed price.

17 West 16th Street, Manhattan (ca. 1846) NYC IL, NHL From 1930 to 1973, this Greek Revival style townhouse was home to the clinic of birth control pioneer Margaret Sanger (1879-1966). Sanger moved to New York City in 1911 and began working as a nurse on the Lower East Side, where she treated women with frequent births, miscarriages and self-induced abortions. At the time, birth control, a term she popularized, was not available in the United States, and the federal Comstock law of 1873 prohibited the distribution of information on the topic. She founded a monthly newsletter entitled The Woman Rebel in 1914, and was indicted for sending “obscene” material through the mail. In 1916, Sanger opened her first clinic in Brownsville, Brooklyn, and in 1921 she helped found the American Birth Control League, which later became known as the Planned Parenthood Federation of America. In 1930, she established a more permanent home for her Birth Control Clinical Research Bureau here at 17 West 16th Street, where research was performed, patients were treated and instructed on contraceptives, and medical professionals from across the country were educated about sex, contraception and disease. The building, today a private residence, still stands as a reminder of Margaret Sanger’s groundbreaking work to advance women’s health and quality of life. Photo from Wikipedia

St. Francis Xavier R.C. Church, ca. 1895. St. Francis Xavier Church was established in 1847 by Jesuits who came down from Fordham (then in Westchester) to start a Manhattan parish. The original building was a simple classical style building, constructed in the 1850s. In 1877 the original church was site of a false alarm panic after someone yelled 'fire' during a service. The ensuing stampede caused the death of seven people. The first structure was demolished a year after this event, and a new church was built in a grand neo-Baroque style, completed in 1882. The tall church with an imposing granite-block facade was designed by well-known church architect Patrick Charles Keely. At the time of its completion it dwarfed most of the surrounding buildings. The interior too was designed in a colossal scale, with frescos, carved plaster and stone, arches, niches, and inlaid marble. A local newspaper in 1884 called the church "sumptuous and exhilarating.”

New York Public Library, Muhlenberg Branch, ca. 1912. Completed in 1906, the Muhlenburg Branch is a Carnegie library designed by the same architects of the Main Branch of the NYPL, Carrère and Hastings. The simplified Beaux Arts style building is named for William Augustus Muhlenberg. He was the first rector of the nearby Church of the Holy Communion, and donated many books to the Free Circulating Library (a precursor to the NYPL).

Northwest corner of Seventh Avenue and 21st Street, January 25, 1914. The newspaper stand on the corner has a poster which reads: "Why I shot Wm. E. Annis. Capt. Peter C. Hains Jr. USA lays bare for the first time the full facts of the surprising domestic tragedy which reached its climax when he shot Annis dead. In the next Sunday's American." This flashy headline refers to an event that had occurred eight years earlier. Believing that Annis, a magazine publisher, was having an affair with his wife while he was stationed in Manila, the Army captain shot the man six times at a regatta in Little Neck Bay. Hains was found guilty and served only two and a half years of his 8-16 year sentence. Presumably he was telling his story so many years later to cash in on the fame.

56 West 14th Street Everyone knows the iconic Macy’s flagship store on 34th Street and Broadway. But before moving to 34th Street, Macy’s operated out of a series of buildings on West 14th Street between 5th and 6th Avenues. H. Macy & Co. was founded by Rowland Hussey Macy in 1858. The original Macy’s stood on the southeast corner of 14th Street and 6th Avenue. As the company succeeded over the next few decades, claiming to have “pioneered such revolutionary business practices as the one-price system, in which the same item was sold to every customer at one price, and quoting specific prices for goods in newspaper advertising. Known for its creative merchandising, Macy’s was the first to introduce such products as the tea bag, the Idaho baked potato and colored bath towels.” it expanded into neighboring buildings on West 14th Street. After Macy’s passing in 1877, the company remained in family hands until 1895, when brothers Isadore and Nathan Straus took over the company. In 1898, the Straus brothers built a new Macy’s Annex at 56 West 14th Street. This tall (nine stories) and narrow (25 feet) building is ornately designed in the Neo-Classical style popular at the time. Landmarked in 2011, the building is now home to a 5 Guys Burgers and Fries. Macy’s moved to 34th Street in 1902. It is not clear if any retail took place in the 14th Street Macy’s Annex, or whether it was just used for offices, storage, or rented out. According to the designation report, “The former Macy 14th Street Annex, owned by the Straus family until 1939 and internally connected to the 13th Street Annex through the 20th century, housed a variety of firms over subsequent decades.” The Macy’s logo has always featured a red star, which allegedly comes from a tattoo that Macy got as a teenager when he worked on a Nantucket whaling ship. 56 West 14th Street is still ornately decorated, and if you look closely you can still see the Macy’s logo and stars on the building facade.

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.

Chelsea Hotel ca. 1947 The Chelsea Hotel, with a cliff of solid red-brick paired with lacy High Victorian cast-iron balconies, was designed by Philip Hubert and his architecture firm, Hubert Pirsson & Company Construction started in 1883. The building opened in 1885, not as The Chelsea Hotel, but as The Chelsea Apartments. Like other residences of the Hubert Home Club, The Chelsea was originally intended to be a cooperative-apartment sold to multiple owners. The cooperative-apartment model appealed to those concerned with both price and prestige as a more permanent home rather than temporary accommodations. Following the success of earlier Hubert Homes ventures, The Chelsea received generous financial backing from capitalists, allowing for its extravagant interior fittings. The rooms sold out immediately upon opening with suites at premium over the original cost. The Chelsea contained 97 suites, each ranging from 3 to 12 rooms, furnished with woodwork of the owner’s choice. In addition to its elevator, the lobby boasted a spiraling staircase with cast-iron railings and mahogany handrails. Residents also received a continuous income from the building’s storefront and tenants on the upper two stories. The attic story in the pavilions originally served as a studio apartment for artists, since its opening. At 180 feet tall, the Chelsea stood twice as tall as what the residential height limit of 1885 allowed, remaining the tallest building in New York

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.

"6th Avenue between 18th and 19th Street. Westerly block front, looking S.W., B. Altman store, cast iron architecture, 1948"

30-32 West 21st Street, ca. 1985. The second location of Danceteria had four floors of dancers hidden behind this dour facade. In its short-lived location it was known for new wave and post-punk music as well as early hip-hop. Madonna, New Order, Duran Duran, Billy Idol, The Smiths, Cyndi Lauper, Depeche Mode, Sonic Youth, the Violent Femmes, Nick Cave and the Bad Seeds, Beastie Boys, and LL Cool J all played here. If you missed hanging out with Madonna here, watch Desperately Seeking Susan. Danceteria reopened in the Martha Washington Hotel ballroom from 1989 to 1992 and a Hamptons outpost ran from 1984 to 1995.

"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

Church of the Holy Communion Complex ARCHITECT: Richard Upjohn DATE: 1844-46 STYLE: Gothic Revival The Church of the Holy Communion and Sisters House and Chapel form a remarkably attractive homogenous architectural group of buildings executed in the Gothic Revival style of architecture. It was the first “free” church in the City. It had the first boys choir, and it was the home of New York’s first Anglican Sisterhood. The Sisters founded St. Luke’s Hospital in the Sisters House, destined to become one of the great hospitals of New York City.

"Sixth Avenue, east side, north from West 19th Street, 1933. Appearing progressively are the former Alexander and Cammeyer Buildings, the Protestant Episcopal Church of the Holy Communion, the Masonic Temple building and the Hotel McAlpin. Towering above the church is the dominant Empire State Building." (text from the photographer P.L. Speer)

St. Vincent de Paul ca. 1932 French-speaking Catholics from both France and its New World colonies were among the earliest Catholic settlers in New York and were some of the first parishioners of St. Peter's, New York's original parish. The French population tended to assimilate quickly into the larger society; however, bolstered by continued immigration, in 1841, they organized their own parish, St. Vincent de Paul, on Canal Street, in lower Manhattan, which later relocated to West 23rd Street.

Cavanagh's Restaurant ca. 1905 Irish pubs and taverns, some serving restaurant food , were central features of New York City Irish neighborhoods. By the end of the nineteenth century, Irish pubs could be found throughout the City. Irish New Yorker patronized such places because they attracted a clientele of countrymen. Relatively small amounts of capital were required to open a bar and proprietors were perennial employers of foreign-born Irish. Cavanagh's opened in 1876, and became one of the City's most popular Irish eateries. As with many like institutions, its Irishness went beyond its name. Chappell's guide to The Restaurants of New York (1925) noted: "A worthwhile stopping place is Cavanagh's at 258 West 23rd, a well-known restaurant which still keeps its fair share of patronage. It is in this part of town that the ethnologist will be able to discern traces of that rare survival, Irish New York...Cavanagh's is Irish to the core...The touch of Erin creeps in the menu."

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.

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.

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.

Atrium of the Simpson-Crawford Company decorated for Easter, 1904. Simpson-Crawford Co. began as a small dry good store opened in the 1860s at Sixth Avenue and 19th Street. Through a series of new partnerships, the store grew and prospered (and changed names a few times), catering to a very high end clientele. At the turn of the 20th century, the owner selected architectural firm, William H. Hume & Son, to expand the large store to a full block width on Sixth Avenue. The building, complete in 1902, was stately and conservative, rendered in an understated Beaux Arts style. The building included the first escalator (called “moving stairs”) on Sixth Avenue and used a new marketing device, the mannequin. The interior featured a soaring cast iron atrium with a colored-glass skylight. This space was perfect for over the top holiday displays, such as the Easter one depicted here.

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.”

Church of the Holy Communion ca. 1928 Rarely does such a complete ecclesiastical group survive intact from the Gothic Revival. Although this diminutive church, parish house, and rectory represent that style pared down to its bare essentials, the general effect is delightful and sincerely religious in its lack of pretentiousness.

"127-123 West 20th Street, north side, just west of Sixth Avenue. No. 123 adjoins the Partola Building, which is on Sixth Avenue at the N.W. corner of 20th Street, 1931." The Partola Building was originally the the O'Neill-Adams department store building. After an extensive renovation in 1920, the building became home to the Partola Manufacturing Company, a chemical company.

"Seventh Avenue, east side, from 20th to 19th Streets,1931." Notice the police officer on horseback, and the two different types of ornamental light poles.

Seventh Avenue, west side, from 20th Street to 21st Street, ca. 1920.

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.

23rd Street, looking east from about Seventh Avenue, September 14, 1928. The building at center, 71 West 23rd Street, is home to the Freemason Garabaldi Lodge #542. The 19-story loft building was constructed between 1911 and 1913 in a neo-Renaissance style by Free Mason Harry P. Knowles. The structure was always meant to be, and continues to be, a means of generating income to the support the functions of the Masons. Spaces in the building have always been rented to organizations and companies as offices and event spaces. The building offers at least 15 rooms for events of various sizes with varied and spectacular interior design. The ceremonial functions of the Mason's are located in the 1909 building that fronts West 24th Street and can be reached through a through-block pedestrian passageway. Well-known members of this lodge have included Mayor Fiorello La Guardia, John Jacob Astor, and Harry Houdini.

(1886-87, Schwarzmann & Buchman)) The late 19th-century commercial takeover of Sixth Avenue wasn’t limited to just high-end department stores. The area surrounding 23rd Street was once a nexus of theatrical productions, of both vaudeville and legitimate persuasions alike. In 1879, Koster & Bial took over Bryant’s Opera House (established 1870, infamously one of the last minstrel theaters in the city). The partners soon expanded to a 1,200-seat theater on 23rd Street and eventually took up the entire Sixth Avenue frontage as well with a beer garden and a corner annex, which served as a saloon and beer store. The latter’s pediment and corner plaque still proudly advertise “The Corner” and “Koster & Bial.” In 1893, the partners were forced to close their Chelsea operations on charges of “encouraging prostitution.” A few days later they had opened a new venue on 34th Street (later famous for hosting the city’s first motion picture exhibition in 1896).

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.

Asociación de Arte Latinoamericano (ADAL), 682 Sixth Avenue. For nearly 40 years, gay artistic director Max Ferrá led INTAR, a Latino theater company first known as Asociación de Arte Latinoamericano (ADAL) when it was located in this building from 1966 to 1971. Under Ferrá, who was also a co-founder, the company became a major force in developing Hispanic-American theater talent, including original works by several notable LGBT playwrights.

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.

St. Peter's Episcopal Church This church is an exceptionally fine example of the Gothic Revival. Its central tower was once flanked by openwork side porches. These unique porches were recently removed due to decay, and no vestige of their beauty remains. Some of the interior details and the fine old organ further contribute to the beauty of this church in Chelsea.

(1927, Abraham Fisher) This six-story commercial building is notable for its striking façade and unusual name, a reference to the “Traffic Cafeteria” that occupied the lower two stories in the late 1920s. “Traffic” referred to the trucking industry in its nascent years. Cafeteria-style restaurants catering to budget-conscious urbanites became popular in the 1920s. Designed by little-known architect Fisher, the building is a wonder of patterned brickwork and rich, Celtic-inspired terra cotta ornament. Rather than bearing weight, this façade is a “curtain wall” held up floor-by-floor by the building’s concealed steel frame. Fisher’s treatment of the Traffic Building’s façade as a tapestry and use of diagonally-laid brick acknowledge this up-to-date reality. At the same time, traditional elements make it seem anachronistic. It is one of those buildings which, when noticed, rivet and reward.

Few hotels in New York can match the cultural history of the Chelsea Hotel. From its beginnings as a luxurious apartment building to its later life as temporary accommodations for a host of artists, the Chelsea Hotel has seen been a fixture of New York throughout the years. This story is adapted from the Skyscraper Museum's "Ten & Taller."

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.

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.

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.

In 1750, British naval officer Thomas Clarke bought a Dutch farm to create his retirement estate, named “Chelsea” after the Royal Hospital Chelsea in London. His property extended from approximately Eighth Avenue to the Hudson—its shore ran roughly along today’s Tenth Avenue—between 20th and 28th Streets. The estate was subdivided in 1813 between two grandsons; Clement Clarke Moore received the southern half below 24th Street while his cousin, Thomas B. Clarke, inherited the northern section. The two halves developed distinctly different characters due to the split. Today, Chelsea contains a variety of historic architecture, including some of the city’s most intact nineteenth-century residential blocks, significant commercial buildings, and industrial complexes near the Hudson River.

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.

Church of the Holy Communion, date unknown. The Gothic Revival church was constructed between 1844-1845. Designed by well-known church architect Richard Upjohn, it was the first asymmetrical Gothic Revival church building in the United States. The architect designed it to resemble a small medieval English parish church. Though the church was an influential building in the 19th century, it is the building's later 20th century history that is most well known. In the mid-1970s, the church was the Lindisfarne Association's headquarters, which created a cultural center, hosting poetry readings, concerts and lectures. Oddysey House, a drug rehabiliation program, next occupied the church. Then, from 1983 until 2007 the church housed the Limelight, a notorious nightclub. First a disco and rock club, it would evolve into a place for techno, goth, and industrial music. It was frequented by the club kids of the 1990s and was closed and reopened a number of times during its history due to police raids. The Limelight finally closed in 2007 (by that point it had been renamed Avalon). Today the 1840s church is occupied by an upscale Chinese restaurant and a branch of the David Barton Gym chain.

"Eighth Avenue at S.W. corner of 21st Street., 1929." The light colored brick building seen at left in the original photograph still stands, while the wood-frame structure on corner (which is seemingly being demolished) has been replaced by a red brick building, likely constructed soon thereafter, given its simple Art Deco style.

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.

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.

Chelsea Hotel ca. 1936 The eleven-story Hotel Chelsea opened in 1884 as one of the first cooperative apartment buildings in New York City. A list of some of the famous people who have lived there reads like a Who's Who of art, theater and literary circles: Sarah Bernhardt, Lillian Russell, Mark Twain, O. Henry, Thomas Wolfe, John Sloan, Arthur Miller (after his break up with Marilyn Monroe), Tennessee Williams, and Jackson Pollock. The survivors of the Titanic stayed here for a few days, and here Dylan Thomas collapsed after an alcoholic binge from which he never recovered.

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.

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).

From the 1870's-90's, approximately 20,000 French immigrants lived in South Village and SoHo area. By the end of the 19th century, most of that colony had relocated to the Chelsea area.

My Archive Spring 2019 "Starve a rat day, an event on 21st Street Chelsea. This was the block I lived on from 1966 or 1967 until 1979. I am in the background wearing the plaid pants." —Amy Peck

With the onset of the Gilded Age, New Yorkers began looking for the best places to outfit themselves and their home. Department stores served that need and few did so better than Siegel-Cooper. This story is a preview of our Spring Retail exhibition.

My Archive Spring 2019 "Amy Peck, seven years old, and her sister Sally Peck, five years old. I think my father liked the advertisements." — Amy Peck