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.

Orange Riots at 25th Street and Eighth Avenue, 1871. Following violence the year before uptown on July 12th, (known as Marching Day in Northern Ireland), in 1871 the police barred the Loyal Order of Orange (an Irish Protestant group) from parading again. After complaints were lodged by newspaper, the order itself, and a number of elite businessmen, the police and Tammany Hall relented and allowed the parade. The event began under heavy police and National Guard presence (about 5000 men) at Lamartine Hall, the Orangemen’s headquarters at Eighth Avenue and 29th Street. The parade was met by angry Irish Catholic crowds and the violence escalated to the point that rocks, shoes, and bottles were being thrown; the police and militia were using their clubs and bayonets; and shots were fired into the dense crowds. In all the riot caused the deaths of over 60 civilians – mostly Irish laborers – and three Guardsmen.

339 West 29th Street (1846-47) NYC HD Lamartine Place Inspired by the terraced houses of England, the north side of this block was developed as a continuous row of Greek Revival residences by William Torrey and Cyrus Mason, who gave it the vanity address Lamartine Place. It soon attracted a respectable group of homeowners including Abby Hopper Gibbons and James Sloan Gibbons, who purchased no. 339 in 1852. Well-regarded philanthropists and abolitionists, their house became a nexus for anti- slavery activity in pre-Civil War New York, and is the only documented stop on the Underground Railroad in Manhattan. During the Draft Riots of 1863, the Gibbons residence was targeted by a mob that set it afire. Family members fled across the roofs of the adjacent houses. The family later returned to their houses and made repairs. Though somewhat altered since, it is one of the few surviving sites directly associated with the Draft Riots.

48-54 West 25th Street, ca. 1923. Architects George and Edward Blum erected this 12-story building in 1910 for Abraham E. Lefcourt, who at the time was a cloak and suit manufacturer. While Lefcourt eventually came to be a prolific real estate developer, erecting more than 20 buildings in Manhattan in under a decade, this lofted-structure was his first construction in the city. Before his commissioning career took off, Lefcourt designated the bottom two floors of this building as a space for his own clothing factory.

(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.

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.

The Fifth Avenue Hotel, across from Madison Square Park, following an 1899 snowstorm. "The Fifth-Avenue Hotel has borne a conspicuous part in the public life of the metropolis, and has been identified with the most notable local events of the generation since its opening, in 1859. The house fronts upon Madison Square, the most charming of the smaller parks of the city, at the junction of Broadway and Fifth Avenue the two great thoroughfares. It is unequalled in the number and spaciousness of its corridors, halls, and public rooms, and the commodious character of its guest rooms." This description by King's Handbook of New York (1893) demonstrates The Fifth Avenue Hotel's luxurious reputation. When Amos Eno built the hotel in 1859, the neighborhood was still dominated by town houses and it was thought to be so far uptown that it was called "Eno's Folly." Luxurious touches including a fireplace in every bedroom, private bathrooms, lavish public rooms, an Otis elevator and four hundred servants and fifty conveyances standing ready to serve the hotel's 800 guests, compensated for its location and assured its success. The hotel was razed in 1908, ahead of the construction of the Toy Center Building on the same site.

"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.

\*“Tin Pan Alley had an indelible impact on the history of American popular music and paved the way for what would become “the Great American Songbook.” However, arising during the period following the Civil War and the failure of Reconstruction, when Jim Crow laws and other unjust, discriminatory practices were reversing newly won freedoms and rights for African Americans and entrenching systemic racism throughout American society, racist caricatures and stereotypes of African Americans were increasingly spread through mass media, including sheet music produced on Tin Pan Alley. At the same time, Tin Pan Alley’s music publishing brought ragtime to an international public, offered unprecedented opportunities for African American artists and publishers to create mainstream American music, and saw many gain acclaim and prominence. The proposed designation of this row of five buildings, which represent the history of Tin Pan Alley, recognizes the significant contributions and achievements of African Americans here, and acknowledges the harsh realities they faced.” \*Tin Pan Alley Designation Report

Eighth avenue, east side, from West 25th (right, not seen) to 26th Streets, showing at No. 312 the Chelsea Theatre. This structure, prior to 1913 was formerly Miner's Theatre which opened here in 1881. It burned in 1903 and was rebuilt in 1904. A photograph of 1910 closely compared, will indicate the present building minus the marquee. June 25, 1928.

314 Eight Avenue, ca. 1910. This structure, originally built in 1881, was rebuilt in 1904 after a fire the proceeding year. In 1913 it closed, to be later reopened as the Chelsea Movie Theatre.

SERBIAN ORTHODOX CATHEDRAL OF SAINT SAVA & PARISH HOUSE, FORMER ARLINGTON HOTEL 15 West 25th Street, Richard Upjohn, Cathedral: 1850-55; Parish House: 1860 18 West 25th Street, Israels & Harder, 1901 Across from one another on this block are two formidable structures. On the north side is the brownstone-clad Serbian Orthodox Cathedral of Saint Sava, designed in the English Gothic Revival style by Richard Upjohn, one of the most prominent church architects of his day, as an uptown branch chapel of Trinity Church. The West 25th Street façade features a steeply pitched gable with an impressive rose window and a pointed arch entry with slender columns. Next door to the east is the Parish House, also designed in the English Gothic Revival style, which features a charming arched belfry at its crown. The Serbian Orthodox Cathedral of Saint Sava & Parish House was designated a New York City Individual Landmark in 1968. Across the street is the Renaissance Revival style former Arlington Hotel, a much later structure than the church. It is richly decorated with sculpted limestone quoins, bandcourses, window surrounds and a dentilled cornice.

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.

Lefcourt Clothing Center, 1929. This 1929 building, commissioned by Garment District developer Abraham E. Lefcourt, was originally designed to house garment shops. The building was erected by the architect firm of Buchman & Kahn at a time when clothing manufacturers were beginning to relocate from Manhattan and into the boroughs. Upon its completion, the building became a magnet that started the relocation of what remained of New York's declining men's clothing industry.

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.

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

Though the Eden Musee is now primarily known for its motion picture shows, the institution boasted a vast collection of wax figures organized in diorama-like scenes. The Musee opened in 1884 and quickly became a staple on 23rd Street.

"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.

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.

Although it is often forgotten, Chelsea played a significant role in New York's African American community and its history, particularly in the second half of the 19th Century. As early as the 1840’s Pierre Toussaint a freed Haitian slave, now in the process of canonization, played a significant role in establishing St Vincent DePauls Roman Catholic on W 23 St for French speaking New Yorkers. This Church started an early school for African Americans in the city. On Lamartine Place, the block of West 29th St between 8th and 9th Aves, the Hopper-Gibbons a Quaker family that played a crucial role in Abolitionism and many progressive and charitable causes, used their house as a stop in the Underground Railroad. The house, still stands is to date the only verifiable Underground Railroad safe House in Manhattan. Particularly from the 1880s to 1900's (and lingering onto WWI), New York's African American community having been displaced from southern Greenwich Village settled in the West 20s and 30s. Thus the areas “Negro Tenderloin” was to the citys largest African-American settlement by the 1890s until once again the community was forced to move because of a brutal race riot in 1900 and displacement due to the demolition of a core area to build Penn Station. Faced with the prospects of bad living conditions, a violent and dangerous environment and displacement, St. Philips Episcopal Church, the city's oldest African American congregation which at the time was located on West 25th St played a central role in fomenting the move to Harlem by a significant portion of the cities African population. Several other of the cities older and most prominent black churches and institutions were in the neighborhood in the latter 19th Century including Bethel AME Church on W25 St and Mt Oliver and Shiloh on West 26th Street and the Colored Mission and the Sons of New York Club on West 30th St.

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

Mattachine Society & Daughters of Bilitis Offices, 1133 Broadway. From at least December 1958 to July 1968, this building near Madison Square was the location of the offices of the New York Area Council of the Mattachine Society, Inc., and its successor after 1961, the Mattachine Society Inc. of New York. Mattachine was one of New York’s most important early homophile groups, predominantly for men. Another pioneering homophile group, the Daughters of Bilitis, New York Chapter, shared office space with Mattachine until September 1961.

"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.

32-46 West 23rd Street, ca. 1981. The original section of this wide, multi-address building is at left (nos. 32-36). This three-lot-wide, cast iron fronted building (with an out of context glass curtain wall on the top floors) was designed by Henry Fernbach in 1878 for the Stern's Dry Good Store. Stern's was a large emporium with imported goods that served middle-class to upper-class shoppers. In 1880 the three lots to the east were purchased for an extension, and then a number of lots to the west were purchased in 1886. Still the business grew and the store required more space. In 1892 William Schickel enlarged the building on the western lots, creating another cast iron building at nos. 38-46. The entire building now looked like a center section with matching sides. Stern's moved out in 1913, but the building went on to house industrial and manufacturing firms. By 1920 it is one of a number of Manhattan locations that housed functions of the Tiffany Studios, the stained glass company. Many well-known Tiffany pieces are stamped with 46 West 23rd Street.

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."

57 West 28th Street, ca. 1980. From the 1880s through the 1920s a small section of West 28th Street was the center of composing, lyric writing, and sheet music publishing. Known as Tin Pan Alley, some of the most well-known compositions in the American songbook, by the likes of Irving Berlin and George Gershwin, were written in a series of row houses between Broadway and Sixth Avenue. The advent of phonographs and the radio in the 1920s sounded the death knell for Tin Pan Alley. Today the buildings remain, though in poor condition, with ground and second floor retail. They do not have landmark protection despite preservation efforts.

The Eden Musee boasted a waxwork collection and other oddities such as magic lantern shows, marionettes, and a "Chamber of Horrors" in its basement. Though the institution had a collection of paintings, it was mostly known for the motion pictures which were shown in its various halls. The Musee was the first venue in the country with motion pictures as part of its standard programming. In fact, the Eden was Edison's first movie licensee. After the venue declared bankruptcy in 1915, much of its collection was auctioned off or exhibited on Coney Island.

Bayard Rustin Residence at Penn South (Building 7), 312 West 25th Street. Bayard Rustin, one of the most important yet little-known figures of the civil rights movement, lived in an apartment in this Chelsea building complex from 1963 to 1987 (his death). While here, he served as the lead organizer of the 1963 March on Washington for Jobs and Freedom and took part in numerous social justice campaigns around the world.

The Jeanne D’Arc Home, ca. 1912. The Jeanne D’Arc Home, originally founded in 1896 as a refuge for French girls separated from their families, has remained to this day a safe place for women in New York City. Run by the Congregation of Divine Providence, the home accepts women from all religions and cultures – often women from other countries who have come to New York temporarily to study or to work. On any given day, the home can house up 140 women!

International Toy Center, ca. 1916 Construction began on the beguilingly named International Toy Center in 1908 and was completed the next year. It had large shoes to fill, as it replaced the famed Fifth Avenue Hotel, one of the first (but hardly the last) of New York's luxury hotels. Moreover, the building showed the speed at which the city was industrializing; only 70 years before, this area had been farmland. Though initially named the Fifth Avenue Building, it earned its new moniker during the First World War when scarcity in European manufactures caused a boost in the toy industry. By the end of the following World War, many of the industry's largest players inhabited the building and in the 1960s manager Helmsley-Spear restricted the leases to toy companies. By the early 1980s, 95% of toy transactions in the United States were handled by the complex's 600 toy tenants (by then the Toy Center comprised two buildings). Though a series of sales and changing markets left the building partly unoccupied during the early 2000s, 200 Fifth Avenue now hoasts Eataly, Tiffany, and many others.

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.

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.

Trinity Chapel ca. 1926 Designed by Richard Upjohn, the architect of Trinity Church on Broadway, this chapel is one of the finer evocations of the Gothic Revival. The straightforward design utilizes wood trusses instead of simulated rib vaulting. The handsome yet simple apse provides a fine setting for the altar and closes the long nave of the chapel most effectively.

"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.

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).

(c. 1854, Amnon Macvey, Superintendent of School Buildings) The New York City Board of Education was established in 1842, and in 1853 it merged with the older Public School Society to create Manhattan’s first true municipal public school system. Under it, schools were overseen by the local ward trustees who had considerable oversight over the construction and operation of school buildings. This building was completed during the long tenure of Macvey, who served from the 1830’s (under the Public School Society) through the 1870’s. One of the three oldest public school buildings in Manhattan, its Italianate design is characteristic of the period, with a symmetrical facade featuring a slightly projecting central section with shallow pediment.

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.

(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."

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.

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.

Jews’ Hospital in the City of New York (later Mount Sinai), sketch ca. 1866. The hospital that would become Mount Sinai opened on June 5, 1855, in a townhouse on West 28th Street. As its original name suggests, Jews’ Hospital served the needs of Jewish patients — and employed Jewish doctors — at a time when other hospitals in the city refused service. Non-Jewish patients were admitted in cases of emergency, as were Union soldiers wounded in the Civil War. In 1866, hospital directors adopted the new name Mount Sinai, signaling that patients of all backgrounds were welcome. In the early 1870s, the hospital moved to a new and larger facility at Lexington Avenue and 66th Street.

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.

12 West 23rd Street, date unknown. In 1870 the four-story mansion at 12 West 23rd Street was occupied by Benjamin Nathan and his family. Nathan was a wealthy Jewish stockbroker, descendant of the early Spanish and Portuguese 17th century Jewish arrivals to New York, and uncle of poet Emma Lazarus. The home at no. 12 was described by the New York Times as “one of the most elegant and spacious of the private residences of the City.” On the night of July 28 Nathan and two of his adult sons returned to the city, while the rest of the family remained at their rented vacation home in Morristown, New Jersey. That evening, while asleep in a makeshift bedroom on the second floor (owing to renovation work on the upper floors) Nathan was brutally murdered in his bed, bludgeoned to death. The diamonds and gold worn on his clothes were stolen as were items from the safe in the next room. Despite hefty rewards, thousands of tips, and the belief of many that Washington Nathan (the wild 22 year old son) was involved, the murder was never solved. The family, of course, moved out of the home. Over the next decade or so the once wealthy residential neighborhood was replaced with commercial tenants. The family continued to own the building, though finding a tenant in those early years after the murder was challenging given the notoriety of the address. By the 1890s the front of no. 12 had been covered by a cast iron facade and businesses finally began to occupy the building. Almost destroyed by a gas explosion in 1914, the building was restored and had a fifth floor added. Today the former mansion, now rusting cast iron-fronted commercial building, still stands.

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.

Grand Opera House, 1937. Originally opened as Pike's Opera House in 1868, the building became the Grand Opera House the next year when it was purchased by James Fisk and Jay Gould. The repertoire was expanded beyond classic opera to include plays and light opera. Fisk's motivation for this was to create opportunity for his girlfriend, actress Josie Mansfield. He put her up in a nearby brownstone and gifted her cash and lavish jewels. The mansion also had a secret tunnel that led to the opera house and the upstairs offices of Fisk's Erie Railway. Fisk became the silent partner in an oil business run by a man named Ned Stokes. Stokes would became Mansfield's other lover and after much drama, including extortion, blackmail, libel lawsuits, and false charges of embezzlement, Stokes murdered Fisk, shooting him in 1872. Fisk lay in state at the opera house. The theatre became a venue for more popular, working class productions, as the changing audience on the west side enjoyed a cheaper and less cultured repertoire. The building became an RKO theatre in 1938 after a renovation by theatre architect Thomas Lamb. Finally closed in preparation for demolition in June of 1960, the building was gutted by a fire in July of the same year.

Trinity Chapel, ca. 1914. Dedicated in 1855 as the uptown (25th Street was uptown at that point) chapel of Trinity Church, the structure was designed by the same architect as the mother church, Richard Upjohn. The brownstone edifice was the venue of the1885 marriage of Edith Jones and Edward Wharton. Edith Wharton later used the church as a setting in her novel 'Age of Innocence." The church suffered in the early 20th century from the same action that had created it, the movement of parishioners uptown. In 1942, the Episcopal Diocese sold the complex to the growing Serbian community. Rechristened the Cathedral of St. Sava, it became the first Serbian Orthodox church on the east coast. The later 20th century saw some of the Protestant ornamentation replaced with Byzantine-style stained glass and Serbia iconography. On the evening of May 1, 2016, the day of Orthodox Easter celebrations, the church suffered a devastating fire. While the roof and most of the interior was completely destroyed, the stone walls of the church remained. As of December of 2017 the work was being completed on the church to clear out some of the damaged interior and erect scaffolding for the eventual reconstruction of the building.

Kabo Corset Company ca. 1915 The Chicago-based Kabo Corset Company had its New York offices at 800 Sixth Avenue near West 45th Street. In Bowman's Corset and Brassiere Trade directory of 1920, Kabo was listed as "manufacturers of back lace, front lace, maternity and sport corsets, also corsets waists, brassieres, all types, garters and sanitary specialities."

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