The Works Progress Administration's Federal Art Project (WPA/FAP), part of President Franklin D. Roosevelt's New Deal to stimulate the economy and create jobs during the Great Depression, employed thousands of artists between 1935 and 1943 to create artworks for public spaces. This groundbreaking democratic experiment celebrated and supported American art and artists by providing a source of income, enhancing public buildings, and enriching the lives of Americans in the throes of the Great Depression. The Art Commission reviewed hundreds of Federal Art Project commissions during this period, including murals, sculpture and mosaics. A significant portion of the WPA/FAP commissions in our collection were installed in public health and hospital facilities. There is a noticeable shift in theme and tone depending on the location of murals. Murals in children's wards often focused on nursery rhymes and fanciful themes, while those in nurses' recreation rooms were "relaxing" and focused on familial scenes. Murals in doctors' recreation rooms focused on the history and progress of medicine, while those in psychiatric wards sought to provide therapy for mental distress.

Riverview Terrace at the foot of Sutton Square, ca. 1977. This iconic view of the East River and the Queensboro Bridge was made famous by Woody Allen's 1979 film, "Manhattan." Riverview Terrace itself (out of frame at left) is a private cobblestoned block, once part of an 1878 development of 24 townhouses, of which six remain.

1 Sutton Place, July 6, 1927. Architect Rosario Candela and the firm Cross and Cross designed this 13-story Italian Renaissance building in 1927. The structure was funded by the Phipps family, former Pittsburgh steel barons. Though Phipps was known for funding lower- and middle-income housing, this building was created for the city's elite, who were moving east from their former massive mansions on Fifth Avenue. The large three- and four-bedroom apartments and private river-facing garden attracted wealthy residents, as the rest of Sutton Place became a street of exclusive addresses. Practicality and exclusivity came together in many Candela-designed buildings. The prime building in the Sutton Place enclave along the East River in midtown Manhattan, 1 Sutton Place South featured a porte-cochère for cars and people behind a trio of two-story arches.

City Hospital Blackwell's Island ca. 1896 The City Hospital on Blackwell's Island was originally called Penitentiary Hospital due to its nature as the hospital for the inmates of Blackwell's Penitentiary. Built in 1832, its name changed to the City Hospital Blackwell's Island after a fire caused its reconstruction in 1861. The new building, designed by James Renwick Jr. and constructed by inmates, served both the prisoners and the city's poorer inhabitants. Its name changed once again to Charity Hospital in 1873 due to the nature of its work. This, in turn, caused Blackwell's Island to be renamed Welfare Island in 1921. To complete all this renaming, the island itself was redesignated Roosevelt Island in 1973. WIth many of the City Hospital's facilities growing obsolete, the City Hosptial was moved to Queens in the 1950s. The hospital building on Roosevelt Island was abandoned and left to ruin. Though it has fallen into disrepair, the Landmarks Preservation Committee granted it landmark status in 1975 for its important architectural details.

Anne Morgan House (second from right), now the official residence of the Secretary-General of the United Nations, Sutton Place; April 2, 1936. In 1921, newly-widowed Anne Vanderbilt sold her huge Fifth Avenue mansion and moved to a renovated townhouse on the corner of 57th Street and Sutton Place. She convinced her friend Anne Morgan, daughter of JP Morgan, to create a home next door at 3 Sutton Place. Architect Mott B. Schmidt transformed several existing Victorian style row houses into two neo-Georgian mansions. After Morgan’s death in 1952, the glass magnate and philanthropist Arthur A. Houghton, Jr. acquired the residence. In 1972, Houghton donated the building to the United Nations — and thereby received a hefty tax deduction — for use as the Secretary-General’s official residence. Until then, past UN leaders had leased homes for the duration of their terms.

The nurses plunged her into an ice-cold bath, pulled her out sopping wet, and threw a sheer flannel slip over her head. Large black letters spelled “Lunatic Asylum, B.I., H. 6.” across the garment. Nellie Brown, the now-freezing woman, was relegated to Blackwell’s Island, Hall 6.

Rosario Candela played a major role in shaping the architectural legacy of 20th-century Manhattan. Candela's elegant yet understated high rises created the look of New York urbanism between the world wars. This walking tour takes you through some of Candela's iconic buildings on the Upper East Side.

Penitentiary and City Hospital, on the south end of Welfare Island; as seen from the Queensboro Bridge, March 5, 1933. In 1832, on what was then called Blackwell's Island, a large penitentiary was constructed. The long imposing arcaded structure looked a bit like a castle with crenelations at the roofline and turrets. This complex included areas for both male and female prisoners. In the 1830s hundreds of prisoners were head there and spent their days in labor, often breaking rocks. Boss Tweed was imprisoned here in 1874, though he had a private unlocked room and a secretary. Though the island prison likely had a long history of poor conditions and corruption, it was not until the early 20th century that the conditions were widely made public by Katharine Davis, the female Commissioner of Correction in 1914. Despite the accusations of overcrowding, drug-dealing, and favoritism the prison survived until reforms by Mayor La Guardia in the mid 1930s finally prompted the closing of the facility and the removal of prisoners to the nearly complete complex on Riker's Island.

Who is the Bridge and Tunnel crowd? In more quotidian times, that moniker might call to mind tourists from New Jersey. Currently, the crowd in question might be New Yorkers themselves: Over the past several months, many New Yorkers have sped across these spans on their way out of the city. At the same time, subway-wary city-dwellers have also streamed across New York’s bridges, and through its tunnels, making what would ordinarily be public transit trips by foot, bike or car. Whether you’re in-town or out-of-town, this is a bridge and tunnel moment for New York City. Since the pandemic has redefined our relationship the city’s iconic modes of ingress and egress, let’s take this moment to recognize the bridges and tunnels that carry us in and out of the Upper East Side. Scroll on for a bridge and tunnel history of the neighborhood. Read this story in its original format here.

Queensboro Bridge ca. 1910 Restoration and reuse have saved many Guastavino projects. Originally an open-air market under the Queensboro Bridge, the Bridgemarket served the community from 1914 to 1930. For nearly 60 years thereafter, the space functioned as a storage garage. In 1999, extensive restoration returned the area to public use as a market and popular event space named in honor of the Guastavinos.

The Queensboro Bridge, viewed from Sutton Square, ca. 1930. When the Queensboro— originally named the Blackwell's Island Bridge for the island close to the Queens side of the East River— was built, the area around the Queens approach was still sparsely settled. Large portions of land in the vicinity were owned by a few wealthy families and the remainder of the borough was home to truck farms, cemeteries, and race tracks. Following the consolidation of Greater New York in 1898, consolidationist politicians sought to accelerate the development of industry and housing in Queens; completion of a bridge connecting Queens to Manhattan was essential to these ambitions. Engineer Gustav Lindenthal, who was also chief engineer for the Hell Gate Bridge, collaborated extensively with architect Henry Hornbostel to conceive a bridge both functional and architecturally appealing. Hornbostel and Lindenthal used symmetry and repetition, towers capped with spires, and falsework support in an effort to compensate for the bridge's massiveness and relative lack of decorative ornamentation. The finished structure has been described as a cantilever bridge wit suspensions bridge lines. When the Quebec Bridge, a contemporary cantilever project planned as the longest cantilever in the world, collapse in 1907, apprehensive City officials ordered exhaustive tests of Lindenthal and Hornbostel's design. Administrative misgivings led also to concern about the quality of materials, which were subjected to exhaustive reinspection.