Isaac Vail Brokaw Residence ca. 1901 This little castle on its corner site was one of the few remaining town houses which could boast such splendid isolation. Romanesque in many of its details, this mansion was basically of French Renaissance inspiration in its fenestration and roof lines. The marble interiors clove to the Romanesque Revival and were some of the finest and most original work of the style.

This curated scavenger hunt celebrates Pride and tests your LGBT history knowledge. Where did civil rights activist and literary icon James Baldwin reside? At what community church did transgender activist Sylvia Rivera find community on the Far West Side (the congregation renamed the food pantry in her honor)? Know the answers? Take part in the hunt! To get credit for solving a clue, check in at the location (tap the lock button to the left; if you’re in the right place, it will turn green). Each location you check in to is worth a single point. For clues that start with a camera emoji (📸), tap the image to re-create the historical photo for an additional point. After you’ve lined up your re-creation, please remember to tap the “submit to hunt” button.

James B. and Nanaline Duke House ARCHITECT: Horace Trumbauer DATE: 1909-12 STYLE: French Classical The impressive splendor of’ the Duke mansion is achieved through the simple grandeur of’ the French Classical style of’ Louis XY. It was designed in 1909 by the well-known architect, Horace Trumbauer of Philadelphia. He modeled it after the Labottiere mansion in Bordeaux, which had been designed by Laclotte in the 18th century.

Ukrainian Institute of America, ca. 1975. The Fletcher-Sinclair mansion (now the Ukrainian Institute of America) was built in 1897 and designed by the well-known architect Charles Pierrepont Henry Gilbert. The French Gothic mansion was constructed as a single family home for Isaac D. Fletcher, a banker and railroad investor. The building is elaborately designed with drip moldings, gargoyles, and a high mansard slate roof, though the narrow side (5th Avenue) facade is a bit plainer to blend in better with the neighboring buildings. The home, along with Fletcher's extensive art collection, was donated to the Metropolitan Museum of Art after his death in 1917. The museum turned around and sold the home to endow the prints and drawing collections. The buyer of the home was Harry Ford Sinclair, founder of the country's largest independent oil company. He would end up in jail for jury tampering related to the Teapot Dome scandal and sold the home in 1930. After one more private owner (supposed descendants of Peter Stuyvesant), the house was purchased in 1955 by The Ukrainian Institute of America, a new non-profit (started as a small organization on Long Island in 1948). The Institute is dedicated to promoting the art, music and literature of Ukraine and the Ukrainian diaspora. Since 1955, they have thoughtfully and professionally maintained and preserved both the interior and exterior of the building

Volney Apartments, 1916. This 12-story building was the final home of writer and critic Dorothy Parker. She first moved into a two-bedroom apartment in 1952 after a separation from her husband and being blacklisted during the anti-Communist years, forced her out of Los Angeles. At the Volney, she lived among largely elderly female residents and their many dogs. (She based the characters of the unsuccessful 1953 play, 'The Ladies of the Corridor,' on her neighbors.) After a brief two year reconciliation with her husband in California, which ended with his death from an overdose in 1963, Parker moved back into Volney. She remained here, when not hospitalized, until her own death in 1967.

In 1903, sisters Winifred and Edith Holt established the "New York Ticket Bureau for the Blind" after being inspired by a similar foundation in Florence, Italy. The charitable organization went on to become one with an international reach. Its mission: "to overcome vision impairment for people of all ages through worldwide leadership in rehabilitation services, education, research, prevention, and advocacy." Read on to learn the history and legacy of the Lighthouse Guild.

Mrs. James B. Duke Residence ca. 1979 When Horace Trumbauer, the Philadelphia architect, was asked to design a town house for the Duke family, his firm chose as the model a house in Bordeaux, modifying its proportions to suit the site. Some of the handsomest buildings ever erected in New York were designed by his firm. They included Eleanor Widener's house, now razed, at 901 Fifth Avenue; the Herbert N. Straus house at 9 East 71st Street; the Wildenstein Galleries at 19 East 64th Street; and the old Duveen Galleries, which once stood at the northwest corner of Fifth Avenue and West 56th Street. Many of his designs were directly inspired by those of the French architect Jacques Ange Gabriel.

Phillips Presbyterian Church, Madison Avenue between 73rd and 74th Street. Madison Avenue Presbyterian Church (organized in 1839) merged with Phillips Presbyterian Church (organized 1844) in 1899. Together, the two congregations constructed a new, neo-Gothic style building to replace the R.H. Robertson Building that was donated to the Madison Avenue congregation in 1972 by philanthropist James Lenox. The resulting structure includes an 800-seat sanctuary, and was designed by architect James E. Ware.

The Brokaw Mansion, ca. 1900. Constructed between 1887 and 1890 for the millionaire clothing manufacturer Issac Vail Brokaw, the opulent mansion was modeled on the 16th century Chateau Chenonceaux in France’s Loire Valley. Built along "Millionaire's Row" on the east side of Fifth Avenue, the mansion lavishly designed inside and out, with a marble entrance, stained glass, carved wood decoration, mosaics, murals, and even a moat! Brokaw also had constructed on the property a number of homes for his children, including 7 East 79th Street and the 1905-built Gothic twin buildings at 984 and 985 Fifth Avenue. The main house remained in the family until Brokaw's son George sold it in 1946 to the Institute of Radio Engineers (they would later also purchase two of the other Brokaw residences). In 1963 the organization, now called the Institute of Electrical and Electronics Engineers, sold the buildings to Campagna Construction Corporation, who announced in the fall of 1964 that they planned to demolish the buildings. This announcement, paired with interest from the press public, and citywide organization, caught the city's attention and resulted in ardent calls for landmarks legislation. Nonetheless, despite the articles and rallies, the buildings were quickly and somewhat stealthily demolished in February in 1965. A year later, a 26-story cooperative apartment building was erected on the site. The events surrounding the end of the Brokaw Mansion were a warning shot. The threat to the mansions moved the landmarks legislation off the Mayor's desk and into the City Council committee. It was the loss of the buildings that then pushed the legislation to a vote and the eventual signing into law on April 19, 1965.

This handsome, mid-block co-operative apartment building at 955 Fifth Avenue between 76th and 77th Street was built in 1938 and designed by Rosario Candela. With a one-story, rusticated limestone entrance beneath three stories of broadly fluted limestone, it's symmetrical setbacks are representative of Candela's style.

107 East 70th Street, date unknown (post 1921). This five-story building with stone trim was constructed in 1921-22 for Thomas Lamont, a principal at J.P. Morgan & Co. Inc. The architects Walker and Gillette were known for two types of structures: New York City townhouses and suburban mansions. This Tudor Revival style home features stone projected bay windows, a portico with Tuscan columns, large leaded-glass windows, and series of Tudor style chimneys. The architects also set the home back from the building ten feet, and did not build all the way to the lot line on the west side, creating a side garden hidden by a street wall. In 1954 the building was retrofitted for the offices of the Visiting Nurse Service of New York (upon donation of the home by the widow of Mr. Lamont). The organization still occupies the building, which underwent a massive interior renovation in 2009 by the preservation focused firm of Beyer Blinder Belle.

Temple Beth-El, ca. 1901. Congregation Beth-El was a wealthy community of Jewish New Yorkers established in the mid 19th century. In 1873 they moved into a new synagogue on the corner of Lexington Avenue and 63rd Street. In the ensuing years, the community merged with another congregation, sold their home to Congregation Rodeph Sholom, and built an impressive new structure at 76th Street and Fifth Avenue (seen here). The new Romanesque synagogue with Moorish influences was designed by Arnold Brunner and completed in 1891. The facade was constructed of rough cut Indiana limestone and topped with a soaring ribbed dome. The interior was equally impressive, a massive space that could seat nearly 3000 worshipers, dramatically illuminated by 1000 incandescent lamps (likely a spectacle given the era of its construction). The building housed the congregation's services until 1930 when the community, recently merged with Congregation Emanu-El, moved into a new synagogue. This space was used only sporadically for the next 15 years, largely as overflow seating during the high holy days. By the time of demolition in 1947, the once grand synagogue was gutted and looked like a "bombed-out building." In 1949 an 18-story Emery Roth-designed apartment house rose on the former synagogue site.

My Archive Summer 2019 “A group visit by Landmarks Commissioners and staff sometime between 1990 and 1994 to review proposed restoration work at Bethesda Terrace.“ —Jeremy Woodoff

740 Park Avenue ca. 1945 740 Park Avenue combined the efforts of Architect Rosario Candela, who most likely focused on apartment planning, and Arthur Loomis Harmon, who probably styled its sleek exterior. (In a similar streamline moderne style, Harmon's firm, Shreve, Lamb & Harmon, designed the Empire State Building, which was under construction when 740 Park was completed.) Setting back above the 12th floor on the building's Park Avenue side, 740 featured a distinctive two-story base of corrugated stone, a body decorated with shallow pilasters, and stainless-steel doorways with elaborate geometric decoration. The building originally contained 30 apartments and its first tenants included builder James T. Lee, whose house had stood on the site. Lee's granddaugher, Jacqueline Bouvier--later Kennedy Onassis--spent part of her childhood in the building, and, in 1937 John D. Rockefeller Jr. created a triplex apartment for his family.

35 East 68th Street (left), ca. 1977. This 1901 Carrère & Hastings townhouse was built for Edward K. Dunham, a doctor and professor of pathology at Bellevue, and his wife Mary (née Dows).

The Carlyle Hotel ca. 1947 The Carlyle Hotel, a 40-story yellow-brick and limestone building on 76th street and Madison Ave, was designed in 1929-30 by the architects Bien and Prince and decorated by Dorothy Draper in an Empire Manner. The 40 stories of the southern half are hotel rooms and the 17 stories of the northern half, not originally in the design, are apartments, both rise from a 12 story base and overlook Central Park. This asymmetry created a recognizable and unique silhouette in the "fashionable" Upper East Side.

Doorway of the Chemical Bank, ca. 1990.

Intersection of East 74th Street and Madison Avenue, looking west toward Central Park, 1929.

The Henry T. Sloane House, designed by John Mermen Carrere and Thomas Hastings— both had been educated at the Ecole des Beaux-Arts in Paris and both worked for McKim, Mead & White— demonstrated the viability of a modern French vocabulary for a New York townhouse. Begun before the Panic of 1893, the house was completed in 1894 on the north side of 72nd Street. Elaborate sculptural ornament enlivened the classically organized tripartite faced. Above a rather simple striated base, five engaged columns divided the second and third floors into four bays, each containing French doors surmounted by elaborately framed windows. Above a strong cornice, a mansard roof with four dormers articulated with scrolls and arched pediments completed the facade. The house stood apart from more restrained expressions of wealth. Architectural historian Wayne Craven has described the house as a "classicist's nightmare, a raging terror to the classical purist." At right is no. 15, once the home to the prominent businessman Benjamin Guggenheim, the brother of Solomon R. Guggenheim and father to Peggy Guggenheim. He and his family lived here until his tragic death on the RMS Titanic in 1912. As one of the most famous victims of the accident, his final moments aboard the ship have been portrayed in multiple films and TV series about the sinking. He famously met his death stoically- after helping women and children on to the lifeboats, he and his valet dressed in their finest clothes, poured themselves a glass of the finest brandy, and sat in the foyer of the grand staircase, smoking cigars as the ship went down. He remarked, "we've dressed in our best and are prepared to go down like gentlemen."

168 East 73rd Street CLIENT: William Baylis ARCHITECT: Charles W. Romeyn DATE: 1899 STYLE: Neo-Flemish Renaissance The 168 East 73rd Street Building is a fine example of the type of private carriage house built during the late 19th and early 20th centuries in this area of Manhattan. Constructed in 1899 for William Baylis, this carriage house was designed by Charles Romeyn in a sophisticated rendition of the neo-Flemish Renaissance style.

Whitney Museum of American Art, ca. 1974. Designed in the Brutalist style by Marcel Breuer in 1966, the building was the third location for the Whitney Museum of American Art. (The first two locations were on West Eighth Street and West 54th Street, respectively.) The modernist building with gray granite and reverse ziggurat facade was (and still is) a stark contrast to the surrounding 19th century brownstones, brick row houses, and postwar apartment buildings. The facade is made of 1,500 granite slabs with each weighing between 500 and 600 pounds). Ada Louise Huxtable, the New York Times architecture critic, said of the design, “the taste for its disconcertingly top-heavy, inverted pyramidal mass grows on one slowly, like a taste for olives or warm beer.” The museum always struggled with not enough space and finally in 2015 moved into a new building in the Meat Packing District. In 2016 the Metropolitan Museum of Art moved into the uptown building to display exhibitions that focus on modern and contemporary art.

William W. Cook House, October 23, 1944. Built for lawyer and corporate law expert, William Cook, the house on 71st Street was a French Renaissance mansion deigned by York & Sawyer. Completed in 1913, the two-story entrance with massive bronze gates and the fifth floor open portico (with tile ceiling by Rafael Guastavino) truly set the building apart from the other structures on the block. Upon his death, Cook donated the home to his alma mater, the University of Michigan, who sold it in 1942. During the middle of the 20th century the house was occupied by foundations that worked in scientific, educational and anthropological research and work. The home was converted back into a single family home in 1992 and remains remarkably similar to its original form.

117 East 69th Street, date unknown (post 1929). The neo-Federal building at no. 117 is a relative newbie in this neighborhood. While a number of other neo-Federals are the early 20th century renovations of original 19th-century rowhouses, this one was a brand new construction in 1928-9. Designed by Julius Gayler for the lawyer, banker, and one-time Governor of Puerto Rico (1904-07) Beekman Winthrop, the house has a huge skylight and dramatic spiral staircase. In 1977 the home was purchased by Jim Henson and became the New York headquarters of the Jim Henson Company and The Muppet Workshop. While it served this function, the home was supposedly extravagantly decorated to reflect the playful work of its occupants. Henson passed away in 1990 and the Henson business moved out of the building in 2003.

Tiffany House, ca. 1900. This stunning house on the northwest corner of East 72nd Street and Madison Avenue was commission by Charles Lewis Tiffany, the founder and owner of jewelry store,Tiffany & Co. in 1882. Tiffany hired the firm of McKim, Mead and White, who ended up working closely with Tiffany's son, Louis Comfort Tiffany (LCT) on the design and logistics of the massive 57-room home. Designed in a number of styles, the largely Romanesque and Queen Anne architecture suggested it was one single structure, when it was, in fact, four buildings stacked on top of each other around a courtyard. Different family members, such as LCT, his sisters and their families resided in the different "apartments" within the complex. Unsurprisingly the home was extravagantly decorated with stained glass, antique lacquerware, collections of porcelain, decorative metalwork, and exotic ornamentation. The home featured decoration created and designed by not only Tiffany, but his associates: Lockwood de Forest, who directed the production of architectural woodwork; glass worker John La Farge; and the sculptor, Augustus Saint-Gaudens. The same group had recently finished work on the interiors of the Seventh Regiment Armory on Park Avenue. By the 1890s financial issues resulted in a number of the "apartments" being rented out by non-Tiffany family (though still upper class family friends). Louis Comfort Tiffany died in this home in 1933 and the house was demolished in 1936.

Replacing the William A. Clark Mansion, 960 Fifth Avenue is one of Candela's most complex projects-"literally," according to The New York Times, "12 mansions built one on top another." Although the corner building appears to be one large volume, it actually comprises two sections, each defined by subtle variations in decorative details. One section, with the Fifth Avenue address, features a mixture of duplex and simplex units sold as co-operatives. The most expensive apartment, a duplex that contained a double-height, 58-foot living room, sold for the then-record price of $450,000, or about $6.5 million today. The building's second section, with a separate entrance at 3 East 77th Street, was made up of smaller apartments, intially rental but now a co-op.

720 Park Avenue, ca. 1928. Park Avenue at its N. W. corner of 70th Street, long before the Upper East Side became a desirable neighborhood. Pictured in the foreground is the old 1872 Presbyterian Church before it was torn down and replaced by apartments.

2 East 70th Street ca. Designed by Rosario Candela and the firm Walker & Gillette, 2 East 70th Street stands on the site of the Blair Mansion, a marble home built by Carrere & Hastings that survived for less than a decade before being torn down. Candela styled 2 East 70th street to take after the mansion in order to complement the Frick collection across the street. The simple stone clad design and quoined corners intended to leave a classic yet elegant impression.

820 Park Avenue, ca. 1922. This Park Avenue building is a glorious reminder of New York's past. It was built in 1927 for the flamboyant publisher of the Hearst organization, Albert J. Kobler, who got his start in the business selling newspaper ads around 1910. Kobler hired Harry Allan, the architect behind the Friars Club and many lavish residential projects, to erect what was then a "modern concept" in apartment living: multiple mansions stacked one upon another. With time, the duplex and penthouse triplex house that Allan constructed for Kobler has come to represent the last gasp of the old, extravagant ways of Manhattan living. The duplexes, however, have since been divided into single floor-throughs with only a few today that have returned to their initial grandeur.

55-57 East 75th Street, ca. 1911. Nos. 55 and 57 were both constructed in 1881-82 by architect John Prague. Both building have been renovated in the 20th century. In the late 1930s, the building on the left (no. 55) was renovated into brick front neo-Federalist style building that can be seen today. No. 57 had a much more dramatic facelift later in the century. In 1979 architect William Glickman completed a new Brutalist facade for the building, with angled concrete and projecting balconies on the second and third floors. The now nine-story building towers over its neighbors. The writers of the AIA Guide to NYC say this, " a curious former row house transformed into an early "sliver building. As an object it is abstractly handsome. As a citizen of the block it's inciting a riot."

By Dianne Durante As one walks around Central Park, statues, monuments, and memorials pop up left and right. Come along for the ride as the Gotham Center for New York City History explores this history of some of these Central Park landmarks. Adapted from "The Earliest Sculptures In Central Park": August 14, 2018, an article that originally appeared on the Gotham Center blog here.

By Dianne Durante In Olmsted and Vaux’s Greensward Plan, the only sculpture was one atop the fountain at the center of Bethesda Terrace.

J. William and Margaretta C. Clark House ARCHITECT: Trowbridge & Livingston DATE: 1913-14 Only two bays wide, No. 49 East 68th Street is given interest and importance by a twin-arched loggia at street level. This is made possible by having the wall of the first floor set back about six feet from the building Iine. The arch on the right leads to the arched entrance doorway, while that on the left leads directly to the basement stairs protected by a low iron railing and gate. An arched window is set above the basement entrance door.

Henry H. Cook Mansion, ca. 1900. In 1883, Henry Cook, a railroad millionaire, purchased the entire block between Fifth and Madison Avenues and 78th to 79th Streets. His plan was to preserve a particular type of neighborhood (read: not stables, tenements or the wrong type of people). He divided the block into single-family lots and wrote in deed restrictions that were severely limiting. In the 1890s, slowly and with purpose–to create a block of homes occupied only by the types of families he would want to be surrounded by– he sold the lots. Before selling the surrounding lots, he had built for himself a massive mansion on the corner of Fifth Avenue and 78th Street. The mansion was extravagant, with a $15,000 Italian fireplace and mantel and oak paneling that cost $55 a section. The exterior was a layered pile of white, blue and red granite. Cook would die in 1905 and in 1909 his estate sold the building to James Duke. It was a wedding present to his new wife. Duke considered renovating the mansion, but ultimately decided to demolish it and built a new house. Supposedly the contractor hired for the demolition called the mansion “the best-built house ever torn down in New York City.” (Though it is unlikely the contractor survived to mid century to see the wave of grand homes razed prior to the Landmarks Law.)

St. Jean Baptiste Church, 1913. The parish of St. Jean Baptiste dates to 1882 when it was founded to serve the long -established French Canadian immigrant population of the Yorkville section of the Upper East Side. The community first worshiped in the hall above a stable on East 77th Street, referred to as the “Crib of Bethlehem.” A purpose-built church was erected between 1883 and 1884 in a simple Gothic style. The church became both popular among the larger Catholic New York community and the home of eucharistic worship in the decades surrounding the turn of the century. The community recognized the need (and desire) for a larger and more "worthy" (in pomp and decoration) structure and their prayers were answered with the entrance of a benefactor in 1910. Financed by American tobacco, insurance and transportation tycoon, Thomas Fortune Ryan, the present church building was designed by Nicholas Serracino, an Italian architect, and completed in 1913. The domed church (one of only a few Catholic churches in the city that feature a dome) was rendered in a combination of Italian Renaissance Revival and Classical Revival architectural styles. The main dome reaches a height of 172 feet. The interior is richly decorated with stained glass windows brought in from the glass studios of Chartres, Frances.

W.C. Whitney Drawing Room ca. 1899-1900 William Collins Whitney spent more than $1,000,000 renovating the Fifth Avenue and 68th Street home that he shared with his second wife. Under the mastery of renowned architect Stanford White, this 1896-to-1899 project resulted in one of New York's most sumptuous Gilded Age interiors.

Architect Robert AM Stern designed this townhouse from an existing 1897 carriage house in 1975, when he was just starting his career as an architect. What began as one of three private stables was converted into a 10,000-square-foot townhouse. Unfortunately, a fire destroyed the 70’s interior in 1992. Of the design, Stern told Metropolis magazine: “The design has what I thought were pretty daring \[features] in those days— classically derived pilasters and proportions with ornaments…all of which I think fall into the Postmodern sensibility that was emerging at the time.”

“The city seen from the Queensboro Bridge is always the city seen for the first time, in its first wild promise of all the mystery and the beauty in the world.” 🏙️

55 East 72nd Street, 1943.

On June 30th, 1836, invitations were sent to various gentlemen of good social standing – Astors, Van Cortlandts, Stuyvesants, van Rensselaers, basically a roll call of every influential Dutch New York family – to join the newly founded Union Club, the first club devoted to wealth and social standing in New York. For decades it set the tone for every other club. As you can probably guess, the Union Club became very popular, very quickly and there was soon a waitlist to join. Their current clubhouse on Park and 69th, designed by William Adams Delano and Chester Holmes Aldrich and pictured below, was described by Christopher Gray as, “chunky with rusticated limestone and a huge angled mansard roof so big it looks like a Fifth Avenue mansion gone wild.” With five dining rooms and humidors stocked with cigars, it’s clear that the Union Club is still catering to the wealthy and connected of New York.

My Archive Spring 2019

151 East 74th Street, 1943. The brownstone rowhouse at no. 151 was constructed between 1877 and 1878 by architect John B. Snook for speculative developer W.H.Browning. Between 1919 and 1922, the home was owned by Captain Kermit (!) Roosevelt, son of TR. While a fourth story (not visible on the front facade) was added in 1906, the building underwent a drastic facelift in 1923. Then owned by New Yorker Magazine co-founder and publisher Raoul H. Fleischmann, the facade was updated to a sleek Colonial Revival style by architect Henry Lion. This move was in line with the popular practice in the 1910s and 1920s of updating New York's aging rowhouses. While some respected the styles and ornamentation of the decades old homes, many other drastically altered the look of the facades (and the interiors as well). The most common changes included removing the now passè stoops in exchange for ground floor entrances, discarding the window and door surrounds, and striping the facades of any Victorian adornments in favor of Colonial Revival or Mediterranean styles. (For more on this trend check out Andrew Dolkart's “The Row-House Reborn: Architecture and Neighborhoods in New York City, 1908-1929.”) The home had one more well-known resident. In 1955, actor Henry Fonda purchased no. 151 from Fleischmann. Two years later he wed a 23-year-old Italian countess Afdera Franchetti in a ceremony in the home. Although that marriage only lasted four years, Fonda resided in the nearly 6,000-square-foot house until his death in 1982.

The Percy R. Pyne House, ca. 1978. One of four adjacent neo-Georgian Park Avenue Mansions, the stately residence at No. 680 was designed by McKim, Mead & White for the financier and philanthropist Percy Rivington Pyne II.

Josiah M. Fiske Residence, ca. 1901-1902. The Gothic-inspired home on the southeast corner of Fifth Avenue and 70th Street was that of stockbroker Josiah Fiske and his wife, Martha. John Sloane, partner in the very successful firm of carpet and furniture retailers, W. & J. Sloane, occupied the residence directly adjacent, at 883 Fifth Avenue.

Designed by famed sculptor John Quincy Adams Ward, the Pilgrim Statue of Central Park depicts one of the men who landed at Plymouth Rock in November 1620. It was created for the 75th anniversary of the New England Society. Dedicated in 1885, the work stands atop a pedestal designed by American architectural master Richard Morris Hunt. The base features four bas-reliefs illustrating significant aspects of the Pilgrims’ landing. Pilgrim Hill, which descends from the monument, is a popular and long-standing locale for winter sledding. In 1979 the Central Park Conservancy began their restoration work on the park's impressive statue collection with this piece.

17 East 79th Street (at right), ca. 1917.

Fountain at Bethesda Terrace, ca 1890. The Angel of the Waters statue atop the Bethesda Fountain is the masterpiece of sculptor Emma Stebbins. She created the piece in the 1860s while living in Rome with her lover, the actress Charlotte Cushamn. With this commission she became the first woman to create a piece of public art in New York City. Though designers Olmstead and Vaux wished to limit any "artificial" additions to their natural landscape, this sculpture was the only one sanctioned as part of the early design and construction of Central Park. When the statue was unveiled in 1873 it was met with mixed reviews, though it has become an icon and well-loved feature of the Park.

While now replaced by an apartment building, 960 Fifth Avenue used to be the lavish home of Montana Senator and copper magnate William S. Clark Sr.

829 and 823 Park Avenue, date unknown. The three tall gleaming white residential towers (no. 829 has two towers, while no.813 has only one) were constructed in 1911 and designed by Pickering and Walker. Currently no. 823 (the mid block building) had only 11 apartments: ten full floor residences and a duplex penthouse.

19 East 72nd Street, 1937. The subtle Art Moderne apartment house that now stands on the lot of the former Tiffany mansion was designed by Mott B. Schmidt and Rosario Candela. Built immediately upon the razing of the old mansion (1936-1937) in the middle of the Great Depression, the limestone upper facade of the apartment house creates simple, clean lines, described by the AIA Guide to New York City as "succulent." The only highly decorative feature is the sculptural stonework around the main entrance, designed and carved by C. P. Jennewien and featuring classical figures and animals.

Thatcher and Frances Adams House ARCHITECT: Adams & Warren DATE: 1902-03 STYLE: Neo-English Classic The impressive neo-English Classic style townhouse at 63 East 79th Street was designed in 1902 by architects Adams & Warren for Thatcher M. Adams. The building is representative of the large houses erected on the Upper East Side of Manhattan in the early 20th century as this area became the most fashionable residential quarter of the city.

Clarence Whitman Mansion, 7 East 76th Street. This Renaissance Revival-style mansion was built in 1898 and designed by architects Parish and Schroeder. Originally, the address consisted of two neighboring facades until wealthy importer Clarence Whitman purchased the two houses and combined them in 1899, according to Daytonian in Manhattan. The mansion has since been home to a succession of notable owners, including art dealer Sam Salz, who displayed works by Cézanne, Monet, Renoir, and others inside.

Entrance to the Frick Residence, ca. 1915. The female figure depicted lounging in the relief over the door was modeled on famed early 20th century artist model, Audrey Munson.

Richard Morris Hunt Memorial, ca. 1900. Richard Morris Hunt, the dean of American architecture and the first American to study at the prestigious Ecole des Beaux-Arts in Paris, died in 1895. Immediately upon his death, friends and colleagues quickly undertook an effort to erect a monument to the man. Initially begun by the Municipal Arts Society (of which Hunt was the first president), the cause was soon taken up by other arts and architectural institutions as well the wealthy families for whom Hunt designed homes. The planned memorial was to be created by Bruce Price with the bust of Hunt and the flanking statues sculpted by Daniel Chester French. On October 23, 1898, the incomplete monument was unveiled. It was erected on Fifth Avenue between 70th and 71st Streets, across the street from Hunt's 1877 Lenox Library. The memorial would finally be completed in 1900 with the addition of the flanking female statues. Fun Fact! This was not the first likeness of Hunt in New York City. A bust of the well-loved architect already existed by the time of his death. In the early 1880s, as stone cutters were completing work on the William K. Vanderbilt mansion, the architect discovered that the artisans had created his likeness as a tribute. The statue of Hunt, depicted as a stone-cutter, was installed on the roof over the entrance to the house. With the home demolished in 1926, the fate of the statue is unknown (though likely it was destroyed with the house).

The French flag flying from 9 East 72nd Street looks right at home on this exuberant Beaux-Arts French Renaissance facade. But, this building was not built for French patrons. Though it housed the Lycee Francais from 1964-2002, this structure on 72nd was actually designed by Carrere and Hastings (who designed the New York Public Library), and completed in 1896, for Henry T. Sloane, a carpet magnate, and his wife Jessie.

960 Fifth Avenue, the home of Montana Senator and copper magnate William S. Clark Sr. ca. 1933 Clark, who was originally born in Pennsylvania, moved out west with his family to study law, then eventually found his way to financial success in the Montana Gold Rush of the early 1860s. It was through copper that Clark truly made his fortune, though, and became known as one of the three “Copper Kings” of Butte Montana, along with Marcus Daly and F. Augustus Heinze. His 34-room mansion in Butte, Montana, still stands today as the “Copper King Bed and Breakfast.” However, the 34-room home in Butte was clearly just a practice run for the mansion he commissioned in 1897 at 960 Fifth Avenue, here in New York. The house, which included 121 rooms, 31 baths, four art galleries, a swimming pool, a concealed garage, and underground rail line to bring in heating coal was completed in 1911. Also known as “Clark’s Folly,” the home was considered among the more egregious examples of Gilded Age excess. The original plans, drafted by the French architect Henri Deglane initially outlined a home that would cost approximately $415,000 to build. In 1901, Clark deemed these insufficient, especially in regards to the provisions for his art gallery. As he had contracted with the New York firm of Lord, Hewllet & Hull to execute the work, he engaged the partners to acquire additional land and revise the plans, bringing the new designs to $2,500,000. Upon completion, the house was estimated to have actually cost $6 million dollars to construct (over $150 million in 2018), with several lawsuits thrown in the mix along the way In addition to the cost of the house, in support of the effort to build it, Clark also acquired a quarry in New Hampshire for $50,000, and built a railroad to transport the stone out of it; a bronze foundry in which to fabricate the fittings; and imported marble from Italy, oak from Sherwood Forrest in England, and parts of a Chateau from France for the interior. Senator Clark’s New York mansion took 14 years to build, and a mere 14 years after completion, on March of 1925, Clark succumbed to pneumonia and died at age 86. Interestingly enough, Clark’s art collection, which prompted the aforementioned expansion of his home before it was even built, sparked yet another controversy. In his will, Clark left the majority of the collection, valued at nearly $3 million in 1925 (just under $44 million today), to the Metropolitan Museum of Art, “conditional on providing and maintenance of the museum of a well-lighted gallery or galleries for the exclusive occupancy of these works of art, to be designated the William A. Clark collection.” The Metropolitan Museum in turn declined the bequest, on the grounds that they did not feel they could commit to fulfilling the conditional terms in perpetuity. The Corcoran Gallery of Art in Washington, DC, was quick to step in and accept the collection, which they held until their dissolution in 2014, and then was subsumed by the National Gallery of Art. The mansion went on the market not long after Clark’s death, as well, but few bidders stepped forward. The substance of the mansion – a hulking mass of marble and steel – was actually considered an encumbrance to potential buyers. In a time when more and more Gilded Ages mansions along upper Fifth Avenue, or “Millionaires’ Row,” were sold and demolished to make way for apartments, Clark’s mansion was deemed especially burdensome to dismantle and cart away. Finally, in February 1927, the property sold for under $3 million which was less than half that the cost of construction early in the 20th century. The majority of the selling price was attributed to the land itself. As noted earlier, this property was to become 960 Fifth Avenue, the 12 story luxury cooperative apartment house designed by Rosario Candela, which at the time was already advertising suites for sale up to $350,000 (over $5 million in 2018). Thus, the single mansion was demolished, and the many – or shall we say “mini” – mansions were built in its place.

Alice in Wonderland Sculpture, Central Park, ca. 1976.

Henry Clay Frick House ARCHITECT: Carrère & Hastings DATE: 1913-14 Set in spacious grounds and surrounded by retaining walls, this great mansion presents a striking picture of imposing grandeur and architectural distinction on Fifth Avenue, where it occupies the entire blockfront between 70th and 71st Streets. Built as the residence of Henry Clay Frick, it has been a museum since 1935. The entrance to The Frick Collection is at No. 1 East 70th Street. Adjoining the mansion to the east and connected to it at basement level, is the newer Frick Art Reference Library Building at No. 10 East 71st Street.

Edward S. Harkness Residence ca. 1910 The latter-day town house on Fifth Avenue was indeed a splendid affair, complete with elevators, imported rooms, basements, subbasements, and quarters for legions of servants. This stone palazzo was built for the ages; one of the few Fifth Avenue mansions remaining.

Empty lot at the northwest corner of Madison Avenue and East 72nd Street, 1936. The Tiffany mansion had recently been demolished.

This mansion at 972 Fifth Avenue was designed by Stanford White in 1902 and was completed in 1906 shortly after White's murder. The house was built for the Payne Whitney family as a wedding gift from Payne Whitney's uncle, Oliver H. Payne. White drew inspiration from High Renaissance Italian palaces when designing the interior and exterior of this opulent home, which featured a Venetian themed reception, and a marble-clad rotunda with a Renaissance statue in the middle. In the 1990s, it was discovered that the statue was in fact a Michelangelo, unknowingly purchased by White in Italy. In 1952, the building was acquired by the French Embassy to host their cultural services.

Parke-Bernet Galleries, ca. 1975. Designed by Walker & Poor in 1949, this simple limestone facade modern building was originally the home of the Parke-Bernet Galleries. For many years Parke-Bernet was the largest auctioneer of fine art in the United States. They were purchased by Sotheby's in 1964. The aluminum sculpture of two figures above the entrance is called "Venus Bringing the Arts to Manhattan," an appropriate depiction for a fine arts auction house. Designed by Wheeler Williams, the chest of the female figure extends into what is considered public space by 18 inches. Because of this intrusion, the building owner was originally forced to pay a $25 a year "rental" fee. (According to a 2006 New York Time article the cost of the rental that year had grown to $3,251.) Considered largely unremarkable architecturally by commenters on the city's built environment, the building had an additional (set back) story added in 1957, and Sotheby's moved out by the mid-1980s. In 2006, the owner considered a full renovation of the building and the addition of two oval-shaped glass towers for apartments. Being within the Upper East Side Historic District, this plan was weighed by the LPC and found wanting. The towers were never built.

720 Park Avenue ca. 1938 Completed one month before the stock market crash of 1929, 720 Park Avenue represented the opulent excesses of the Jazz Age's giddy conclusion. Disparagingly dubbed "a disturbing pile" by the New Yorker magazine, the building featured asymmetrical massing of bay windows, terraces, and chimneys, among other architectural motifs. Jesse Isidor Straus, of the family that led R.H. Macy's department store, owned a duplex with a 40-foot entrance gallery and a large library. He had bought the land on which the structure sat and built the building because other high-end properties restricted Jews from living there.

1 East 75th Street ARCHITECT: Hale & Rogers DATE: 1907-08 STYLE: Italian Renaissance This imposing residence in the style of an Italian Renaissance palazzo is outstanding not only for the excellence of design and beauty of execution but also for a subtle richness of detail. Five stories high with basement and sub-basement, its dignity and quiet elegance are due in part to the large plain wall areas of Tennessee marble and the sparing but effective use of ornament.

17 East 70th Street ARCHITECT: Arthur C. Jackson DATE: 1909-11 STYLE: French Classical This house at 17 East 70th Street was built in 1909-11 and designed in the French Classical manner, one of the prominent styles during this period. The architect, Arthur C. Jackson was with the prominent New York City architectural firm of Heins and LaFarge when he designed this building. He was later noted for his public and commercial buildings in New York City

Fifth Avenue alongside Central Park is one of New York's most recognizable locales. This walk focuses on the institutions that lend this turf its name: the Museum Mile!

Duke Town House ca. 1979 Originally the location of a mansion built in the mid 1880s for the railroad magnate, Henry H. Cook, James Buchanan Duke replaced that hulking mansion with one of his own in 1912. Duke, a tobacco and electric power industrialist, purchased the plot at the corner of 78th Street in 1909 and considered renovating the earlier building but decided against it. Completed in 1912 the new mansion, seen here, was designed by Philadelphia architect Horace Trumbauer. Trumbaur created for his client a near replica of the Hotel Lobottiere in Bordeaux, France. Interestingly it is believed by architectural historians that Trumbaur did not design this building solo, as had been previous suggested, but that Julian Abele, his African American lead designer, was highly involved. Duke died in 1925 and left the home to his wife and daughter. (He also left $40 million to Trinity College in North Carolina, under the direction that it be renamed Duke University.) Doris Duke, James' daughter, would go on to make a name for herself as an art collector, historic preservationist, and pioneer of the wildlife and environmental conservation movement. (She was also the first female competitive surfer!) In 1958 the home was donated to NYU's Institute of Fine Arts for its graduate programs and it remains in this function today. It has been been completed and sensitively restored by the University.

177-179 East 73rd Street CLIENT: Automobile Realty Co. ARCHITECT: Charles F. Hoppe DATE: 1906 The 177-179 East 73rd Street Building is a fine example of the type of commercial garage built in New York City during the early years of the 20th century, at a time when automobiles were beginning to supplant horses and carriages as the primary mode of private urban transportation. The garage was designed in 1906 in the fashionable Beaux-Arts style by Charles F. Hoppe for the Automobile Realty Co. With its bold massing and detailing, the building reflects a sophistication of design unusual for a utilitarian structure.

Gertrude Rhinelander Waldo House ca. 1912 The Gertrude Rhinelander Waldo House was constructed for its eponymous creator in 1898. The heiress had bought the property in 1882, with the idea that she would create a mansion for herself there. However, she moved into a row house with her sister across the street from the Rhinelander house and lived there for many years. Indeed, construction wouldn't start until 1894 when Gertrude had moved to the Savoy. She sold some other properties she had inherited and used the proceeds to begin construction. The architecture firm Kimball & Thompson designed the homes based on a French chateau in the Loire Valley, and upon its completion, Gertrude filled it with antiquities and expensive furniture. However, she never moved in herself, and most of the furniture and material was never unpacked. She would never move into the homes, nor did she want to sell. Rhinelander would even go as far as backing out of a possible sale in 1910, and, when debts forced the property to go to auction in 1911, repurchasing it. Eventually, she was forced to sell one of the homes in 1912 and gave the other to her sister. She would die in debt in 1914 (partially due to the costs of building the home) and the Rhinelander properties would remain empty until 1920.

19 East 70th Street ARCHITECT: Thornton Chard DATE: 1909-10 STYLE: Italian Renaissance This extremely elegant and architecturally distinguished residence was designed by Thornton Chard (1873-1951), a New York architect, in a simplified but sophisticated version of early Italian Renaissance style. Chard had attended the Ecole des Beaux-Arts in Paris in 1901 and, upon his return from Europe, opened an architectural office in the city. His small but selective practice in this city and state spanned some three decades. His client, for whom the house was built in 1909-10, was Dave Hennen Morris and his wife Alice. Mr. Morris later served as United States Ambassador to Belgium during President Franklin D. Roosevelt’s first term.

Oliver Gould Jennings Residence (at left), ca. 1975. The Oliver Gould Jennings residence was built in 1898 by Paris-trained architects Ernest Flagg and Walter B. Chambers. Like his father, a founder of the Standard Oil Company, Oliver ranked among New York's wealthiest citizens. He served as the director of several companies, including the National Fuel Gas Company and Bethlehem Steel, and was a former member of the Connecticut House of Representatives. Oliver and his wife Mary lived in the Beaux-Arts townhouse until 1914, when they sold the house and relocated to their new home on Fifth Avenue between 69th and 70th Street. In August of 1960, the Lycée Français, a French high school, leased the mansion as additional space to its main campus on East 95th Street. The school occupied the building for several years before also purchasing the former Sloane mansion next door, combining the two units. In 2010, the school sold the former Oliver Gould Jennings residence and the Sloane mansion for $26 million. The buyer, an Emir of Qatar, has since commissioned architect Thornton Tomasetti to return it to a private residence.

C. C. Auchincloss residence, ca. 1912. Charles C. Auchincloss was a stock broker and book collector, who with his wife, Rosamond, were fixtures of New York society. They lived in this home in the first three decades of the 20th century. In the early 1930s the building, and its neighbor at no. 10 were purchased by the Frick collection and demolished to make way for a new library building. The new Frick Art Reference Library building opened to the public on January 14, 1935. By the time of this demolition and new building, Charles and Rosamond had moved on to 120 East 70th Street, a three-story brownstone house, which they demolished and replaced with a (still standing) five-story neo-Georgian mansion.

How did the stunning Frick Collection come into existence? A passion for art collecting and hard-nosed business practices of course!

10 East 76th Street, ca. 1910. No. 10, at center, is the James Brady house, the last in a row of ten four-story brownstone-fronted houses just off Central Park. Constructed in 1881 by speculative developer William Noble, and designed by architect John G. Prague, the facade seen here was a Beaux-Arts redesign by Schwartz & Gross completed in 1908. (Its original look can be seen in its neighbors at left.) The building at right (nos. 6 and 8) is the Ludlow-Parish Houses, a pair of separate mansions designed to look like one wide home. Completed in 1896, the the large shared drawing rooms of the homes served as the venue for the small 1905 wedding of F.D.R. and Eleanor Roosevelt, in which President Teddy Roosevelt (the bride's uncle) walked her down the aisle.

My Archive Spring 2019 "Marques and Jayden at the park." —Juana Rodriguez

Percy and Maud H. Pyne House ARCHITECT: McKim, Mead & White; Charles F. McKim DATE: 1906-12 STYLE: Neo-Federal This house is a part of that outstanding group of neo-Federal townhouses which extends along the west side of Park Avenue, between East 68th and 69th Streets, sometimes referred to as the “Pyne-Davison Blockfront” due to the uniform architectural quality of these houses. No. 680 Park Avenue, formerly the handsome townhouse of Percy Rivington Pyne, occupies a conspicuous site at the northwest corner of East 68th Street and Park Avenue. It was designed in the neo-Federal style by the architectural firm of McKim, Mead & White, and built in 1909-11. Percy Pyne was a New York financier and philanthropist; he resided here until his death in 1929. The house was sold in 1947 to the Chinese Delegation to the United Nations which in turn sold It to the Soviet Mission to the United Nations.

24 East 72nd Street, 1895. This five-story brownstone was designed by McKim, Mead & White for Mrs. Ruth Brown. The home was complete in 1895 but Brown sold the house to Alva Vanderbilt before ever even moved in. The freshly (and scandalously) divorced Alva was forced to leave her Fifth Avenue 'Petit Chateau' following the end of her marriage. Despite an initial shunning by the moneyed society after the divorce, Alva was welcomed back into the fold soon when she married her daughter to the Duke of Marlborough. The reception was held at Alva's new brownstone, a brunch for 115 guests. Alva herself also married at this house, a quiet wedding in January 1896 to a friend of her ex-husband, Oliver Belmont. Alva sold the house a few years later. It remained a private residence until 1949. Razed two years later for a simple, boxy two-story building, but the corner lot has recently had a facelift. Between 2008 and 2010 Ralph Lauren erected a new building to house his second flagship store. The Beaux Arts-inspired building was an homage to grand Gilded Age mansions such as Mrs. Brown's House and the James Duke House.

Central Park Casino, during demolition, 1936. It’s 1929 in an Art Deco ballroom. Dancers glide around, dimly reflected in the black glass ceiling while outside on the terrace, the sound of champagne corks popping intersperses with conversations, laughter, and jazz, all floating through the night air. Surrounded by Central Park, the Central Park Casino was the place for rich, fabulous, and socially and politically connected citizens of the late 1920s and early 1930s who wanted to party together and ignore the troublesome 18th Amendment. Yet by 1935, the party was over. How did a political rivalry end the revelry at one of the most exclusive Jazz Age nightclubs? The Central Park Casino began in 1864 as the Ladies’ Refreshment Salon, a quaint Victorian two-room stone cottage designed by Calvert Vaux on East Drive and 72nd Street. Unaccompanied ladies could relax during their excursions around the park and enjoy refreshments at decent prices, free of any threat to their propriety. Twenty years later, the salon had morphed into a far pricier destination, called The Casino, and was open to both sexes. The name was used to invoke the Italian translation of “little house” rather than denoting a gambling joint. Locals and tourists flocked to the restaurant, where one could get a sirloin steak for 75 cents (just under 20 dollars in today’s money) and choose from an extensive wine list. Because it was in the park and had the then rare attraction of outdoor seating, it was the place to see and be seen. Yet after decades of feeding and refreshing wealthy and hungry park-goers, the Casino fell onto hard times and according to an article from the New Yorker from September 20, 1941, by the early 1920’s it was being managed in “a somewhat dumpy nite-club style.” In 1926 New York City was swept up in the Jazz Age. Speakeasies, dancing, and just a general pursuit of good times engulfed the city. To go with this fun-loving era, New York City elected a new mayor, James “Gentleman Jimmy” or “Beau Jim” Walker, who personified this spirit. Walker was a successful songwriter with the 1905 hit “Will You Still Love Me in December as You do in May?” and was generally much more enthusiastic about the excesses of the Roaring Twenties than being the mayor of New York. This worked out well since Tammany Hall was quite content to manage the city while Walker functioned as its dashing figurehead. Walker reportedly never made it to City Hall before noon and when he did and wasn’t feeling up to the task, he had a private “hangover room,” complete with a bed and an exercise bike (the bike was reportedly never used). This is not to say that Walker was a bad mayor. His constituents loved him because he vowed to keep subway ride prices at a nickel, allowed baseball games to be played on Sundays, and promised to improve the parks. Mobsters loved him too since he was such a fan of the nightlife that they ran. On top of that, Walker was a gifted speaker, always ready with a quip, wisecrack or some delightful repartee. He was New York City’s master of ceremonies. Perhaps unsurprisingly, the next incarnation of the Central Park Casino started with a favor. Sidney Solomon, a noted hotelier, had introduced Walker to his personal tailor and that, to the always snazzily dressed mayor, was worth quite a bit. So when Solomon asked to take over the Casino to make it into an “outstanding restaurant instead of the shanty it is now,” Walker (through a series of somewhat sketchy maneuvers) made it happen. After a $500,000 renovation, the Casino added a tulip pavilion, orange terrace, a silver conservatory and, most importantly, a black-glass Art Deco ballroom. There were tables to seat 600 and a parking lot for 300 cars. Solomon said, very humbly, “it is not just a renovation. It’s something that has never before existed so perfectly in the world.” On the night of June 25, 1929, every seat was taken as the Casino opened to select guests, the so-called “fashionable and fastidious” to whom the restaurant now catered to. It was called “Walker’s Versailles,” where the bandleader would immediately start playing “Will You Still Love Me in December as You do in May?” as soon as Walker and his mistress, the actress Betty Compton, walked in the door. For the next few months, parties regularly lasted until 3 A.M., with Tammany hotshots mingling with Ziegfeld Follies’ showgirls. To get around the pesky Prohibition laws, patrons would leave their Rolls-Royces stocked with bootleg champagne parked outside. The maître d kept an eye on the drinks at the wealthiest tables and when they ran low, he would signal their chauffeur, standing near the doorway, to restock the alcohol from the stash in the car. It was the most exclusive playground for the most exclusive set. In the fall of 1929, Walker easily defeated Fiorello La Guardia for a second term as mayor. While the Casino was still dazzling its well-heeled guests, some people saw it as the epitome of...

770 Park Avenue ca. 1930 Primarily made up of duplexes, this apartment building matched the exuberant asymmetrical massing of its Candela-designed neighbor across 73rd Street. Together, they demonstrate architect Rosario Candela's capacity to use similar materials, window treatments, and ornamentation to create buildings that synchronize with each other to create a harmonious urbanism, without being monotonous.

The Frick Collection, ca. 1979. Like many of New York's richest men who supported the arts, Henry Clay Frick amassed his fortune through sharp—and often ruthless—business tactics. Born in 1849 in a rural Pennsylvania town, Frick sacrificed schooling to work as head bookkeeper in the family business. By 1883, when he was 34, he merged his own company with Andrew Carnegie's to form Carnegie Steel, at a capitalization of $25 million and with a labor force of 30,000. Frick opposed organized labor his entire life. In 1892, his efforts to slash costs and keep profits up resulted in the Homestead Strike, one of the 19th century's bloodiest labor conflicts. There was even an attempt on Frick's life. In 1899, Frick and Carnegie parted ways on bitter terms that lasted the rest of their lives. Following Frick's resignation from Carnegie Steel, he sued Carnegie and walked away with a $15 million settlement. Frick's interest in art began in his early 20s, when he filled his clapboard shack with prints and sketches. Though there's little record of Frick's thoughts about the art he went on to collect, it's clear the collections of other New York industrialists inspired him. After attending the Metropolitan Museum of Art's memorial exhibition for J.P. Morgan in 1914, Frick spent more than $3 million (more than $66 million today) to buy up Limoges enamels, Chinese porcelains, Renaissance bronzes, 18th century French furniture and sculpture, and a variety of other objects. The biggest single purchase was a series of paintings by Jean Honore Fragonard that had been commissioned by one of Louis XV's mistresses. While many of the city's elite built their homes around entertaining, Frick built his to house his art, making the picture gallery the grandest room. And when he executed his will he made explicit that the home should be open to the city "for the purpose of encouraging and the developing the study of the fine arts, and of advancing the general knowledge of kindred subjects." Frick died in 1919, just a few months after Andrew Carnegie, and the collection opened to the public in 1935, upon the death of his wife, Adelaide. Many of the rooms look just as Frick left them: the library bookshelves filled, and living room tables topped with Renaissance bronzes and Chinese porcelains.

Gertrude Rhinelander Waldo House ARCHITECT: Kimball & Thompson DATE: 1895-98 Gertrude Rhinelander Waldo was a member of one of New York’s old and established families. She was a descendant of Bernard Rhinelander who in the 1840s was described as “among the richest of the rich” in the city. At the age of thirty-four, Gertrude married Francis William Waldo. The couple had one son, Rhinelander Waldo, who served in the Philippine campaign of the Spanish American War, and was later a controversial figure in New York City government, first as Fire Commissioner and then as Police commissioner under Tammany administrations.

820 Park Avenue, ca. 1942.

My Archive Spring 2019 "I took this in the late 1960s on a day trip to Central Park. At that time I lived in the suburbs. I was taken by the three of them dressed in the same uniform. I wondered what their organization was because they were not in Boy Scout or Cub Scout uniforms. I wondered what they were thinking of the fabulous fountain and all of the people below." —Stephen Harmon

Sidewalk Excavation for Tree Planting at the Henry Clay Frick House, 1913. Henry Clay Frick commissioned the Beaux Arts masters Carrère & Hastings to design a residence for both his family and his art collection at the site of the former Lenox Library. Looking to create shade along 70th and 71st Streets, Frick had the sidewalk excavated to six feet in depth to install European horse-chestnut trees, which have dense canopies and shallow roots. Each of the trees was carefully selected and brought over on a special train from Germantown, PA, and fertile soil was trucked in from Long Island. Despite the care and attention of Frick’s gardeners, all the trees died less than a year later. The culprit? Illuminating gas was found seeping into the soil from faulty pipe connections from the mansion.

Situated at the edge of the area known as The Concert Ground, the Naumburg Bandshell is the only Neo-Classical building in the park. It replaced a previous (and acoustically poor) cast-iron bandstand in 1923. It has been the site of many musical performances across genres, with concerts by greats like Irving Berlin, Benny Goodman, Duke Ellington, and The Grateful Dead. The Central Park SummerStage concerts originated at this venue.

Architect Rosario Candela designed 780 Park Avenue before the stock market crash of 1929, but construction came to a halt in the summer of 1930 due to the worsening depression. When construction resumed in 1931, its new developers changed the address to 778 Park Avenue to eliminate the odor of its former failure.

Saint Jean Baptiste Church ARCHITECT: Nicholas Siracino DATE: 1910-13 STYLE: Church The principal facade on Lexington Avenue is a masterpiece of lively symmetry with a tasteful and intelligent statement and restatement of architectural motifs. A temple-front portico screens the central door of the three that gives access to the Church. Four free-standing Corinthian columns, on a high plinth, support a full entablature and pediment.

Stuyvesant Fish House, 25 East 78th Street; ca. 1900. Stuyvesant Fish was born in 1851, the son of prominent New York politician Hamilton Fish, who was then a US Senator from New York and would later be appointed Secretary of State under President Ulysses S. Grant. Rather than politics, the junior Fish took to business: he became a director of the Illinois Central Railroad at age 26, and was later appointed its President. While Fish's tenure was immensely profitable and secured his family's fortune, it was his wife Mamie's knack for entertaining that earned their place at the apex of New York society. Mamie (Marion Graves Anthon Fish) was known for hosting over-the-top dinners and balls in New York and Newport, which were known to include vaudeville entertainment and appearances by rented live animals. (One notable event was given in honor of "Prince Del Drago of Corsica," who turned out to be a monkey. Another featured an elephant. You had to be there.) By the 1890s, the Fishes were ready to upgrade their Gramercy Park townhouse to a fashionable uptown address, and commissioned leading firm McKim, Mead & White to design a new mansion, fit for entertaining. The five-story Italian Renaissance-style palazzo was completed in 1898, and features intricate brickwork and carved limestone ornamentation. After Stuyvesant Fish died 1923, the 78th Street mansion passed to a series of owners: a French magazine, a private school, and, from 1952, the Atran Center for Jewish Culture of the Jewish Labor Committee. Since 2006, it has been owned by Bloomberg Philanthropies.

Duke Town House, January 20, 1938 In the 1870s, upper Fifth Avenue opposite Central Park was a shanty town, but by World War I it had become “millionaire’s row,” lined with the mansions of the captions of industry. Constructed to last for centuries, these urban villas soon gave way to apartment buildings, as the wealthy chose the ease of apartment living over the costs and constraints of palace life. Abbott’s photograph of the mansion of tobacco king James B. Duke contrasted these two ways of life. Built in 1912 to resemble a French chateau, the house was occupied in 1938 by Duke’s widow. Across 78th Street was 969 Fifth Avenue, a new 15-story luxury apartment building. In 1958, the Duke house became New York University’s Institute of Fine Arts.

Blumenthal House, ca. 1915. George Blumenthal was a German-born financier, philanthropist, and art collector who made the bulk of his fortune in foreign exchange on Wall Street. Blumenthal built two homes in New York City. The first was a 1903 midblock mansion on West 53rd Street. The second was this four-story limestone mansion designed by Trowbridge & Livingston on the former site of the Union Theological Seminary. The large home was laid out to house Blumenthal's large collection of art, including an interior patio complex originally produced for the castle of Vélex Blanco in Spain (and a working fountain from Florence). Blumenthal died in 1941 bequeathing the home and much of his collection to the Metropolitan Museum, of which he was President of the Board at his death. Today the museum has the interior patio on display, while the home itself was demolished in 1943 for a 20-story apartment building.

775 Park Avenue ca. Built in 1927, 775 Park Avenue served to cement architect Rosario Candela's reputation for creating ultra luxury apartment buildings. Containing no less than 4 maisonettes (each with their own street level entrance), this limestone and brick structure's Italian Renaissance design falls in line with Rosario Candela's style of a restrained exterior hiding the vast apartments and homes within.

Replacing the ornate home of Charles Lewis Tiffany at the corner of Madison Avenue and 72nd Street, 19 East 72nd Street was one of the few apartment buildings Candela completed during the Great Depression. Stripped down to simple, stone surfaces with minimal ornamentation, the structure showed the rising influence of Modernism on American architecture and design. The curved profile of the building's lower three floors copied the Austrian Pavilion that Viennese architect and designer Josef Hoffmann had designed for the 1925 Exposition Internationale des Arts Décoratifs et Industriels Modernes in Paris.

W.C. Whitney ca. 1901-1902 William Collins Whitney and his second wife were the third owners of this mansard-roofed brownstone mansion. Mrs. Whitney died just prior to the 1899 completion of its three-year interior renovation, and her husband died in 1904 of appendicitis. Built by architect William Schickel in the early 1880s, the house passed through several hands over the years, until its 1942, just nine months after the death of its final occupant, Gertrude Vanderbilt Whitney.