128 East 93rd Street, 1932. Just after the Civil War, Henry W. Shaw, a manufacturer of artificial limbs who dabbled in real estate, hired architect Edmund Waring to design a simple wood-frame home. The resulting home was rendered in the Italianate stye, with the Second Empire mansard roof with three dormers and the bracketed cornice, added later in the 19th century. Created as a speculative development, it was soon purchased by a series of owners, as the city, once decidedly to the south of this area, crept north and surrounded the once sparse neighborhood. In 1920 the home was purchased by wealthy Yorkville brewer George Ehret and operated as a rental property. The original configuration of the home included steep stoop, creating the entrance at a parlor level. Alas, in 1922, the widening of 93rd Street necessitated the removal of the stoop. In 1966, just after the passage of the Landmarks Law, the home was considered for landmark status. At the time the owner was opposed the designation and the process never moved forward. This house was later included in the Carnegie Hill Historic District Extension, designated in 1993. (The original Carnegie Hill Historic District was so named in 1974.)

Storefronts at The Marion, a Lexington Avenue Apartment building. November 8, 1911.

Our Lady of Good Counsel, ca. 1975. This late 19th century Roman Catholic Church stood across from the Ruppert & Company brewery in Yorkville for more than 70 years. Our Lady of Good Counsel was part of a wave of new churches built by the Archdiocese of New York to serve Yorkville’s growing population, including the German immigrant communities who made up Ruppert’s workforce. The brewery complex closed in 1965 and was later razed, opening new sightlines architect Thomas Poole’s Gothic facade — described in the AIA Guide to New York as “robust, undisciplined, deeply three-dimensional.”

Carnegie Mansion, ca. 1905. In 1898 Andrew Carnegie began purchasing lots that would result in his owning two full blockfronts on Fifth Avenue between 90th and 92nd Streets. His choice of this land so far uptown—and away from his society peers—was purposeful. Commissioning the firm of Babb, Cook & Willard, he had built a massive 64-room mansion in the style of a English Georgian country house. The property included 30,000 square feet of outdoor space. The house, constructed between 1899 and 1902, features a number of engineering and technological innovations. It was first private residence in the United States to have a structural steel frame and the first in the city to have a residential Otis passenger elevator. The huge house was warmed with central heating. Alas, most were not impressed, The New York Tribune noted that "many people are disappointed by the plainness of the house." (Actually, that is exactly what Carnegie wanted.) The house was occupied by Carnegie's wife until her death in 1946 (Carnegie had died in 1919). The surrounding neighborhood became known as Carnegie Hill. The home remained in the holdings of the Carnegie Corporation and served as Columbia University School of Social Work for a few decades in the mid century. Since 1976, when the Corporation donated it to the Smithsonian who opened the Smithsonian Institution’s Cooper-Hewitt Museum. After an extensive renovation that had the museum closed between 2011 to 2014, it was reopened as the Cooper Hewitt, Smithsonian Design Museum.

Jewish Museum ca. 1978 When Jacob Schiff saw the design for this building, he told his daughter, Frieda, that it was "terribly conspicuous" and that it would "add to the social anti-Semitism" if she and her husband Felix Warburg, built "such an ornate house right on Fifth Avenue." Schiff was the longtime and exceedingly successful president of the German-Jewish investment banking firm Kuhn, Loeb, and Company, and his thoughts on the mansion spoke to the divide between elite Jews and Protestants in Gilded-era New York. The two groups had what was called "a nine-to-five relationship." They did business with one another because it was in their financial interest. But outside of office hours, and particularly between the 18880s and 1920s, they traveled in their own social circles. The Jewish elite formed their own social clubs, which didn't make it into the social register. And wealthy Jewish families took a vacation at the Jersey Shore while the non-Jewish elite vacationed in Newport. The separation was due in some part to choice. German Jews-mostly members of banking families- referred to themselves as "Unser Kreis," German for "Our Crowd." There was an interest in preserving cultural and religious values, and children often married within the circle. But prejudice was the greater cause. Anti-Semitism had increased with the influx of Eastern European Jews at the end of the 19th and beginning of the 20th century, and prejudiced remarks often referred to Jewish people not only as foreign but as non-white. In 1904, J.P. Morgan that he considered his firm and Barings (a British firm with a branch in New York) to be the only "white firms in New York." And Morgan's son, Jack, wrote to his relative- who was the president of the board of the American Museum of Natural History Museum- that he wouldn't go to any of the meetings if Felix Warburg was there. "I cannot stand the German Jews," he said. "In my opinion, they have made themselves impossible as associates for any white people for all time." Felix Warburg, however, was concerned neither with what his father-in-law, nor those outside the Jewish community might think of his new house. He proceeded with the design that you see in front of you, which was drafted by architect Charles P.H. Gilbert who had designed the Fletcher Mansion, just a few blocks down from the Metropolitan Museum of Art on 79th and Fifth.

As every New Yorker who spots a celebrity at Duane Reade knows, thousands of art and pop culture luminaries have called the city home. From Whitman to Warhol, this is a quick guide to the places notable New Yorkers have lived and worked.

The Immanuel Lutheran Church was founded by German immigrants in Yorkville in 1863. The congregation initially settled on East 87th Street near Lexington Avenue. Its current building at 122 East 88th Street, seen in this 1937 photo, was designed in 1886 in a Gothic Revival style by Arthur Crooks. Its 200-foot granite tower houses bells given to the church as a gift from the Empress of Germany in the later nineteenth century. By the turn of the twentieth century, the church was one of the largest Lutheran churches in New York City and was devoted exclusively to German-language services.

The Willard D. Straight House was designed by the firm of Delano & Aldrich in the neo-Georgian style and completed in 1915. Straight, an American diplomat, and his wife, the philanthropist Dorothy Payne Whitney, founded the New Republic magazine in 1914. Whitney sold the house in 1927, nine years after her husband’s death. From 1973-1999, 1130 Fifth Avenue was the headquarters of the International Center of Photography.

Former George F. Baker 69-75 East 93rd Street Designed by Delano & Aldrich 1917-18 and 1928-29 NYC ILs, NYC HD, NR-P, NR-D This L-shaped, red brick and limestone complex was built in two phases by two different owners. The three-story building that abuts Park Avenue was built for banker Francis F. Palmer. In 1928, banker and philanthropist George F. Baker, Jr. purchased the house and added the L-shaped ballroom wing, set back from the street by a courtyard. On the other end, a garage with apartments above was also constructed. The Synod of Bishops of the Russian Orthodox Church Outside of Russia purchased the house and ballroom wing in 1958. The garage wing remains a private residence.

Immanuel Lutheran Church, April, 1961. The Immanuel Lutheran Church, a Gothic edifice designed by Arthur Crooks, features a 200-foot bell tower at the corner of 88th Street and Lexington Avenue. The tower houses three bells, presented as a gift from Empress Auguste Victoria of Germany at the church’s 1886 dedication, in recognition of the German heritage of many Immanuel congregants. In June 1969, blasting for the construction of a new Gimbel’s department store one block south caused Immanuel’s vaulted plaster ceiling to collapse, damaging the church interior and stained glass windows. Luckily, the altar and hand-carved Black Forest reredos (the carved, wooden decoration behind the altar area) were unharmed.

“308 and 310 East 94th Street, south side, east of Second Ave. Upon the excavation at the right was constructed a 2-story garage (No. 304-306). April 21, 1917.” The storefront at 308 East 94th reads J Reich Fancy Groceries.

Third Avenue, North from 95th Street, 1876. Telegraph lines along Third Avenue and buildings visible in the distance indicate the late-19th century transition from farmland to the Upper East Side’s familiar street grid. In this photo, Third Avenue is likely being prepared for the construction of the elevated railway tracks. The Third Avenue El’s Upper East Side stations opened in December 1878. Wooden advertising boards for Murtaugh’s Dumb-Waiters and Rising Sun Stove Polish are visible on the East side of Third Avenue, while graffiti on rocks lining the West side promotes “cigars” and “liver oil pills.”

21 East 94th Street, north side, west of Madison Avenue, about 1912.

304 East 94th Street, ca. 1917. Constructed as a garage in the late 1910s or early 1920s as a garage during the influx of cars in the city, this 94th Street building has been home to Telesca-Heyman for more than half a century. Telesca-Heyman is a custom cabinet shop which alters, resizes and retrofits wood furniture and architectural woodwork.

Park Avenue storefronts at East 88th Street, 1938. At left, businesses No. 1080 include Boghen Pharmacy and Park Avenue Jeweler. At right, at No. 1082 are an unlikely pair: The Great Atlantic & Pacific Tea Co., at street level; and the J.P. Linahan Casket Display showroom one store above.

92nd Street Young Men's and Young Women's Hebrew Association, June 3, 1928. Founded in 1874 as the Young Men's Hebrew Association, the 92nd Street Y (as it is more commonly known) is a social institution whose mission was originally, "to promote a better feeling and a higher culture among young men and to unite them into a liberal organization, which shall tend to their moral, intellectual, and social improvement.” First housed in a rented building on West 21st Street that included parlors, a reading and a gym, the Y moved to larger quarters on 42nd Street a few years later. During the 1880s and 1890s the Y slowly continued its move uptown at various location along Lexington Avenue. In 1899 Jewish-American banker, businessman, and philanthropist, Jacob H. Schiff donated $150,00 for the construction of a new building at 92nd Street. The new building (seen here) opens in 1900 and provides educational, religious, and recreational programs for young Jewish men. The building has an annex with pool and dormitories added in 1911. The first Jewish Boys Scout troop is organized at the Y in 1913. In the late 1920s, the original build is razed and by 1930 the new Art Deco building opens, with a dormitory for 235 men, two gymnasiums, a 25-yard pool, the wood-paneled, 917-seat auditorium, kosher cafeteria, billiard room, and Art Center facilities. The 1920s and 1930s marked a major expansion of the programming under visionary leadership. The Y's place as a hub of music, arts, and community service is solidified, as they also open their educational and arts programming to the general public. Today the 92nd Street Y remains a preeminent and busy New York cultural institution, nearly 150 years after its founding.

Grafton W. and Anne Minot House ARCHITECT: A. Wallace McCrea DATE: 1929 STYLE: Beaux-Arts This elegant residence, built in 1902-03 for M. Louise McAlpin, was designed by the New York City architectural firm of Barney & Chapman. In keeping with their training at the Ecole des Beaux-Arts in Paris, the architects’ design was inspired by the classical traditions of the 18th-century French Hotel particular.

120 East 92nd Street ARCHITECT: Unknown DATE: 1871 STYLE: Italianate This house has a front yard with iron railing and stands three stories above a high brick basement. A steep flight of wood steps leads to a porch with open-work columns. The handsome paneled double front door with rope moldings is at the right and a pair of French doors at the left. The shuttered windows at all floors have handsome wood frames surmounted by cornices with modillions and this theme is repeated at the prominent cornice of the porch roof. The clapboard front wall is surmounted by an Italianate cornice carried on evenly spaced brackets with panels in between.

When Andrew Carnegie purchased the land for his new home in 1898, one magazine described the area as "only one remove from goatville"-with almost half the lots on the adjacent block still empty. Rather than continue the march of millionaires up Fifth, Carnegie decided to leap more than ten blocks past the northern most mansion to the avenue's highest point. The location made sense for a man who stood apart. In an era filled with big businessmen and philanthropists- he was bigger than them all. Born in 1835 in a one-room cottage in Scotland, Carnegie became the richest man in the world. He made his hundreds of millions through the steel industry- at one point his company, Carnegie Steel, produced more steel than all of Britain. Then later in life he decided to give most the money away. This philanthropic bent, as one historian notes, paradoxically made him a more ruthless boss. Though he had once supported unions, in the mid-1880s he cut wages and lengthened the eight-hour workday to 12. And in 1892, decisions by him and manager of his steel plant, Henry Clay Frick, led to one of the bloodiest labor battles the country had ever seen. The mansion's design-overseen by Carnegie's wife, Louise- reflected Carnegie's priorities in his retirement years: family, friends, and philanthropy. He and his wife loved nature and wanted a place for their five-year-old daughter Margaret to play. So they installed a garden more than half the size of the mansion and filled it with azaleas, rhododendrons, roses, and fully grown trees uprooted and transported from Connecticut and New York State. Louise sized the dining room to suite Carnegie's appetite for entertaining. His most frequent guests were writers, statesmen, and scientists and he asked them to sign the tablecloth, which servants then embroidered. Among them were several U.S. presidents, Madame Curie, Henry James, and Mark Twain, one of Carnegie's closest friends, who regularly received whiskey form the seventy-five gallon cask Carnegie kept in his basement. The greatest attention, however, was lavished on his libraries , where he indulged his lifelong love of books. A private elevator dropped him right in from of the family library on the second floor, also called the "teak room" for its intricately carved paneling from India. There, Carnegie enjoyed reading Shakespeare, Wordsworth, and the Bible and listening to Scottish ballads and American folksongs on the Victor Talking Machine.

Andrew Carnegie Mansion ca. 1901 The Cooper Hewitt Smithsonian Design Museum at 2 East 91st Street is a renowned museum and institution, the only of its kind in the United States, born of a long history and connection between philanthropy and industry. The landmarked building is an exemplary bit of ornate, turn-of-the-20th-century architecture, and today we explore its history and ties to the Village. In 1898, Andrew Carnegie and his wife Louisa purchased land for their family’s home “far north” of the center of New York City and where they had previously been living. This new space would allow them a mansion of much greater size, along with a private garden. Designed by the firm Babb, Cook & Willard, the Carnegie family moved into their grand new home in 1902. The mansion put its neighborhood on the map — the lower 90s west of Lexington Avenue is still called Carnegie Hill to this day. The Georgian style Mansion boasted a modern steel-frame construction, the first private residence in the United States to use this method. It was technologically advanced, too: multiple electric Otis elevators, a fully electrified laundry, an extremely sophisticated air conditioning system capable of heating, cooling, and humidifying individual rooms, and a cellar coal car that traveled over a miniature train track to transfer fuel from a storage bin to enormous twin boilers were installed. The mansion had 64 rooms on five floors, the top of which was for servants’ quarters. There were multiple libraries, parlors, sitting rooms, bedrooms, halls, pantries, and skylights. The family library on the second floor, known also as the Teak Room, was made entirely of intricately carved Teak wood, from India or Myanmar. Andrew Carnegie spent 20 years in his mansion before he died in 1919. His wife, Louise Carnegie, remained in the mansion until she died in 1946. Louise left the mansion to the Carnegie Corporation, which leased the building to Columbia University’s School of Social Work in 1949. The school remained in its grand home until the mid-1960s. In 1966, the Carnegie Mansion was named a national historic landmark, bestowing upon it a great honor, but not protecting it from potential demolition. Like many great Historic New York City buildings in the 1960s, when tastes and uses were rapidly changing, the Carnegie Mansion’s fate was in doubt. Some worried it would go the way of Penn Station and other no-longer-used mansions, succumbing to the wrecking ball.

John B. and Caroline Trevor House ARCHITECT: Trowbridge & Livingston DATE: 1909-11 STYLE: French Smoothly finished limestone faces the handsome five-story house which is crowned by a mansard roof. The rusticated ground story acts as a base to set off the upper stories. A cornice slab supported on brackets crowns the entranceway with its dignified carved door. When open it reveals an elegant vestibule with classical details and a glass and wrought-iron inner door. Three deeply recessed high round-arched windows set with radial voussoirs and keystones emphasize the second floor and add to the elegance of the facade. The French casement windows open onto a ledge protected by delicate wrought-iron grilles.

Northern Renaissance Revival row houses on Lexington Avenue, now part of the Hardenbergh/Rhinelander Historic District; August 13, 1937. In the late 19th century, the family of William C. Rhinelander set about developing their parcels of land on Manhattan's Upper East Side. The four row houses pictured, part of a set of six at the northwest corner of Lexington Avenue at East 89th Street, were designed by architect Henry J. Hardenbergh and completed in 1889. Andy Warhol purchased No. 1342 Lexington (second from left) in 1960. Warhol lived in the building, as did his mother, until her death in 1972, after which point it was leased to an associate.

Congregation Orach Chaim at 1461 Lexington Avenue, 1927. Founded in 1879, the Orthodox congregation’s synagogue opened in its present location in 1907.

Northeast corner of 87th Street and Lexington Avenue, October 13, 1911.

“1215 Park Avenue, adjoining the S.E. corner of 95th Street. This and its neighbors will be standing in 1935. About 1912.” Indeed, 1215 Park Avenue (once home to the writer Joan Didion) and its neighbors are still standing in 2016.

160 East 92nd Street ARCHITECT: Unknown DATE: 1852-53 STYLE: Greek Revival, Italianate A rare surviving remnant of the early years of the village of Yorkville, the 160 East 92nd street House (1852-53) is a two-and-a-half story vernacular clapboard dwelling which displays elements of the Greek Revival and Italianate styles. One of the oldest of the few intact nineteenth-century wooden houses which remain in Manhattan north of Greenwich Village, it dates from a period in which many of the houses on the outskirts of the city were of frame construction (prior to the implementation of an overall ban in Manhattan, due to fire hazards). It was probably built by Albro Howell, a carpenter and builder who lived next door and was active in developing the block.

1340 Lexington Avenue, 1913. Nos. 1340 through 1350 Lexington Avenue are a row of three-story houses built in 1888 by Henry Hardenbergh. The architect created charming Renaissance Revival buildings of red brick, brownstone, and terra cotta. The LPC designation report for the Hardenbergh/Rhinelander Historic District describes them as "form\[ing] a picturesque yet symmetrical composition." They maintain their original "lively" roofline of alternating pointy pediments and flat, but detailed, cornices. Though they were built with stoops (as can be seen in this image), renovations over time have moved all of the entrances to the street level.

Emily Trevor House ARCHITECT: Mott B. Schmidt DATE: 1927-28 STYLE: Neo-Federal This charming neo-Federal house was built in 1927-28 and designed by architect Mott B. Schmidt. Schmidt had also used this popular style several years earlier in the Sutton Place development. The area in which the house is located acquired the name “Carnegie Hill” soon after Andrew Carnegie erected his mansion at Fifth Avenue and 91st Street at the turn of the century. Although middle-class residences had been built in the area in the 1880s and 1890s, Carnegie’s move uptown inspired other well-to-do business and professional people to build here. Emily Trevor ‘s brother, John B. Trevor, built a house at 11 East 91st Street in 1909-11. Miss Trevor acquired the 90th Street property in 1926 and had an earlier house-dating from the 1880s on the site demolished. She moved into her new house in 1929 and lived there until her death in 1943 at the age of 70. The house is presently occupied by her nephew, John B. Trevor, Jr.

No. 1217 underwent extensive restoration and facade resurfacing in 2006 when it was converted back to a single-family dwelling. Except for the absence of carved panels, the upper two stories on Park Avenue are identical to those of No. 1213. Under the oriel, a corbeled brick facing was added. Round-arched windows on the parlor floor have hood moldings; a trio of whimsical creatures eye passersby. On either side are terra-cotta escutcheons, incised to suggest tiny bearded faces. The basement doors on Park Avenue are windows, restoring the original entrance to 95th Street. A wide three-step stoop is flanked with newel posts and iron railings. On either side of the door are gas-burning lanterns. Only the lowest portion on 95th Street is of brownstone; the top three stories are of red brick, with brownstone quoins defining the corners. Centered over the entrance, brick pilasters flank second and third-story windows, between which is a carved spandrel (including, perhaps, another face). The upper round-arched window has a hood molding. Narrow arched niches shelter foliate carvings.

96th Street Branch, NYPL, September 24, 1928. Constructed between 1904 and 1905 to the plans of architectural firm Babb, Cook & Willard, the 96th Street Library is a Italian Renaissance Revival building. Typical of other upper Manhattan Carnegie libraries, it is a mid block three-story, three-bay structure. The library closed for six months in 2012 for HVAC and additional infrastructure updates.

Night Presence IV, 1972. Night Presence IV is a 22.5-foot tall free-standing sculpture by Louise Nevelson. The sculpture was originally located at the southeast corner of Central Park but was moved after the original location was decided as "a showcase in which sculptures were changed from time to time," according to an article of the New York Times in 1973. This entrance would later be dedicated to Doris C. Freedman for rotating works of public art. Nevelson's piece now sits at the intersection of 92nd Street and Park Avenue on part of the Park Avenue Mall. Nevelson was a Russian-born New Yorker who gifted this sculpture to the city in her 50th year living in New York. Of the gesture, she said: "New York represents the whole of my conscious life and I thought it fitting that I should give it something of myself."

The Lucy Drexel Dahlgren House is a historic home located at 15 East 96th Street. It was built in 1915-16, and was designed by Ogden Codman, Jr. in the French Renaissance Revival style. Codman, Jr, with the novelist Edith Wharton, authored The Decoration of Houses (1897), a well-respected manual on interior design that criticized Victorian interior design as heavy, poorly planned, and wasteful of space. The wealthy and socially prominent Lucy Drexel Dahlgren spent little time in her house at 15 East 96th Street. Apparently, Dahlgren rented the house to the French jeweler Pierre Cartier from 1922 until she sold it to him in 1927. In 1945, on his retirement, Cartier sold the house to the Roman Catholic Church of St. Francis de Sales (135 East 96th Street), which used it as a convent for the nuns who taught at the church's parochial school. In 1981 the church sold the house to a private owner, who restored it.

“Tenement conditions, 1840-1842 Second Avenue, c. 1910.” The Yorkville neighborhood of the Upper East Side was home to working class immigrant communities from Europe, most notably Germany. In the first decade of the 1900s, and especially following the General Slocum steamboat disaster (which killed over 1000 community members), German immigrant families began to move from “Kleindeutschland” on the Lower East Side to Yorkville.

Otto Kahn Residence ca. 1917 One of the largest private houses ever built in Manhattan this Italian palazzo, including a drive-in for automobiles, has a modest self-effacing quality, due to the uniformity of its architectural effect, which makes it possible to pass and repass it many times without realizing what it is. In this respect it represents the epitome of restrained good taste.

Squadron A Armory 1339 Madison Avenue In 1884, a group of gentlemen horseback riders formed the “First New York Hussars” or “First Dragoons,” and by 1889, its 53 members became Troop “A.” By 1895, the group became Squadron “A,” and served in the Spanish American War and in World War I as the 105th Machine Gun Battalion. The Squadron A Armory was built for the group in 1895 and initially included roughly 100 horse stalls. Its Madison Avenue frontage was landmarked in 1966 as part of a dramatic, mid-demolition emergency action by the LPC. Based on what the Landmarks Preservation Commission calls, “twelfth-century French prototypes” and “American Inventiveness,” the Squadron A Armory was designed as “an excellent example of a medieval castle,” by John Rochester Thomas (who also designed New York’s Surrogates Courthouse – now home to the Municipal Archives).

Emily Trevor House, May 20, 1930. A stately neo-Georgian townhouse by architect Mott B. Schmidt, built between 1927-8 for Emily Trevor.

Spence School ca. 1931 The Spence School, an 8 story independent college-preparatory day school for girls kindergarten through 12th, located on East 91st street, was designed by John Russell Pope in 1929. It was founded by Clara B. Spence in 1892 to “educate girls and young women to the highest academic and personal standards necessary for responsible, effective citizenship and for the successful pursuit of higher education. " More like a club than a house or apartment block, Pope’s elegant but restrained Georgian design took advantage of the adjacent gardens of the Andrew Carnegie mansion to permit windows on the inventively composed west façade of his mid-block building.

“3 East 95th Street, east of the N.E. corner of Fifth Avenue. This house was formerly the residence of Clarence Mackay. About 1922.” The Mrs. Amory S. Carhart mansion, designed in 1913 by prominent Philadelphia architect Horace Trumbauer, was completed in 1921, under the ownership of financier Clarence Mackay (Marion Carhart died in 1919 with the construction unfinished). The Lycée Français de New York acquired the building in 1935. Made a New York City Landmark in 1974, the Lycée Français sold the mansion in the early 2000s.

1850s wood-frame house on East 92nd Street. 1932. This pre-Civil War wood frame house was built between 1852-3, probably by Albro Howell, a carpenter who owned property owner who was likely the builder of a number of similar frame houses nearby. It is one of seven surviving frame houses on the Upper East Side, as noted by the Landmarks Preservation Commission in its 1988 designation report for No. 160. In 1914, the house was purchased by Fifth Avenue residents Willard D. Straight and his wife Dorothy Payne Whitney, as living quarters for their household’s staff (they also built the adjacent garage). Straight, a diplomat, and Whitney, a philanthropist and member of the prominent Whitney family, founded The New Republic in 1914. After Straight’s death in 1918, Whitney remarried and relocated to England. The house remained a staff residence for the Straight estate until 1942.

Brick Presbyterian Church 1140-1144 Park Avenue Designed by York & Sawyer, 1938-40 parish house: 1948-49 – NYC HD, NR-D The congregation of Brick Presbyterian Church dates back to 1767. Its original home was the “old Brick Church” at the corner of Beekman and Nassau Streets. After a stay in midtown, the church merged with the Park Avenue Presbyterian Church in the 1930s and constructed this lovely building. In reference to the congregation’s roots, the church was designed in the neo-Georgian style popular during the Colonial period. It features a temple front and a polygonal tower topped by a ball finial. There is a chapel extension on the north façade, and the parish house is around the corner at 62 East 92nd Street. The church interior was fashioned after St. Paul’s Chapel, a contemporary of the original Brick Church.

1770 Second Avenue, June 7, 1940. The small two-story building has hosted a number of divergent tenants. In 1904 a Henry D. Hoppe sold milk (and likely other items) here. In the 1920s it was the home of the Lexington Cigar Company. In the mid century, a firm of plumbing and heating contractors worked from here. Since 1990 the building has cycled through a series of restaurant, with its most recent tenant, Manny's (a sports bar) closing in 2017. A fun fact about this building. In 2007 the lot was considered by the MTA as a possible location for a vent plant at the southern end of the planned 96th Street Station on the Second Avenue line. The fact that the building only had a single commercial tenant made the impact of demolition much lower than other options in the neighborhood. In the end, concerns about the structural stability of the neighboring buildings (had this one been razed) caused the MTA to look elsewhere for the vent plant. And this tiny two-story survivor remains!

Church of the Heavenly Rest, December 14, 1929. When Andrew Carnegie decided to build his Fifth Avenue estate at 91st Street, he purchased adjoining parcels of land in order to secure his role in the neighborhoods development. In 1926, seven years after Carnegie’s death, his widow Louise Whitfield Carnegie sold the site south of 90th Street to the Church of the Heavenly Rest, an Episcopal congregation founded by Civil War veterans in 1865. The neo-Gothic church, designed by Hardie Phillip, opened on Easter Sunday, 1929. Phillip’s design incorporated Arte Moderne elements and was to include significant architectural sculpture, before the turmoil of the 1929 market crash imperiled funding. A 1993 fire badly damaged the church organ and parts of the sanctuary, but fast-acting firefighters were able to salvage the original stained glass.

Our Lady of Good Counsel, 1931. By the 1880 and 1890s, Yorkville was a booming area with a large influx of German and Irish immigrant families. During this time the only major Catholic church in the neighborhood was St. Lawrence O'Toole (now St. Ignatius Loyola) on 84th Street. To accommodate this growing community the diocese planned to built a few new churches. The Church of Our Lady of Good Counsel was one of these buildings. It was completed in 1892. The distinctive stone facade includes crenelated coping and turrets, and echos similar architectural details of the nearby Calvary Squadron A Armory (Madison between 94th and 95th Streets).

1185 Park Avenue Designed by Schwartz & Gross, 1928-29 – NYC HD, NR-D Occupying the entire blockfront, this enormous Gothic Revival style apartment building is accessed through a grand triple-arched doorway leading into a landscaped interior courtyard and to the building’s six lobbies. The five bays on either end of the building resemble bookends, as their windows are surrounded by cream-colored, ornamental terra-cotta. Across the street, 1192 Park Avenue now stands where the home of prominent brewer George Ehret once stood. The brownstone mansion was built in 1878 (demolished 1928) when the area was largely unoccupied, but its location was convenient to Ehret’s Hell Gate Brewery on the East River. As one of the first “fine” residences on upper Park Avenue, the mansion inspired other prominent families to move here.

Brick Presbyterian Church, ca. 1939. The Brick Church on Park Avenue is the third location of a congregation founded in 1768. The first and second Brick Churches were located on Beekman Street and East 37th Street, respectively. By the mid-1930s, the congregation had shifted further uptown, and church leadership acted to meet the community’s needs by merging with the Park Avenue Presbyterian Church, and building a new structure (brick, of course) at 91st Street.

“View from the roof of George Ehret's home at Park Avenue and 94th Street. Looking northwest, showing High Bridge and water tower in the distance.” At right, the Park Avenue Tunnel at 97th Street. The New York Central and Hudson River Railroad lowered the tracks into what was originally called the Yorkville Tunnel from 59th Street to 96th Street between 1872-1876, at the same time that the final destination of the trains —the original Grand Central Depot— was being built.

Second Avenue El trestle at East 94th Street; March 6, 1941.

“George Ehret residence and garden, 1197 Park Avenue at S.E. corner of 94th Street. The house, which is at least fifty years old, has just been sold for demolition. 1928.” A German immigrant, Ehret established the Hell Gate Brewery in 1866, overlooking the Hell Gate strait of the East River from a large facility occupying an area bounded by 91-94th Streets and Second-Third Avenues. Built in 1878, Ehret’s Park Avenue mansion was sold in 1928, one year after his death. In 1929, a fifteen-story apartment building was built on its site.

Willard and Dorothy Whitney Straight House ARCHITECT: Delano & Aldrich DATE: 1913-15 STYLE: Federal The elegant doorway with its arched opening is framed by a pair of engaged Tuscan columns. It is crowned by an entablature that connects with the second-floor belt course. Reminiscent of the Federal style are the floor-length windows of the second story and the plain lintels above the square-headed openings. The bulls-eye (oculus) windows of the fourth floor and the belt courses, together with the carved marble cornice and balustrade above it, have an urban richness and refinement which give the building great dignity and considerable architectural sophistication.

William Goadby and Florence Baker House ARCHITECT: Walker & Gillette DATE: 1930-31 STYLE: English ENGLISH MANHATTAN UPPER EAST SIDE This large, modern townhouse is framed in steel. It has a handsome smooth ashlar masonry facade with rusticated English basement. As it stands, it is a remarkably free interpretation of the style in which it was designed, utilizing 19th-century elements in a facade which belongs to the 20th century. It is three stories high and crowned by a roof with dormer windows set behind a parapet. This symmetrical building is set back from the street and has two-story wings, one at each end, extending forward to create a shallowly recessed forecourt at the center. These wings are joined to the house, on the court side by concavely curved walls with square-headed windows in them, further enhancing the gracious porticoed entry.

Hook & Ladder 13, October, 1960. In the 1860s, the cities of New York and Brooklyn moved to professionalize firefighting, combining the volunteer and independent firefighting companies into a single Metropolitan District. The newly-established Hook & Ladder Company No. 13 moved into its East 87th Street firehouse in January, 1868. In 1961, the company moved to a new firehouse on East 85th Street, leaving their former home vacant — but not for long. In 1962, a young, unknown artist named Andy Warhol rented the second floor studio for $150/month.

Pair of mid-19th century frame houses, East 92nd Street. 1932. No. 120 (right) was built first, in 1859, likely by Albro Howell, the carpenter-builder also responsible for the frame house at No. 160 East 92nd Street, and a number of since-demolished homes from the same period. No. 122 was built twelve years later, in 1871, six years before the construction of wooden homes was banned in Manhattan. Both houses are among the seven surviving wood-frame homes on the Upper East Side.

Park Avenue and 95th Street, Looking South, 1936. The fifteen-story apartment building, built in 1929, occupies the former site of the George Ehret mansion.

John Henry and Emily Vanderbilt Sloane Hammond House ARCHITECT: Carrère & Hasting DATE: 1902-03 John Henry Hammond, a New York lawyer, banker and corporation director, married Emily Vanderbilt Sloane; in 1901 her father, William D. Sloane of W. & J. Sloane, purchased the 91st Street property from Andrew Carnegie and then transferred the property to Emily as a wedding present. Mrs. Hammond, an heiress to the Sloane and Vanderbilt fortunes, devoted much of her time to philanthropic activities including the restoration of the Theodore Roosevelt House at 28 East 20th Street. The Hammond house is now occupied by the 9 East 91st Street Hospital. The five-story house with its impressive limestone facade harmonizes extremely well with the distinguished Landmarks buildings immediately to the west, the Otto Kahn and James Burden Houses. The boldly rusticated base is pierced by a high round-arched central entrance, flanked by arched windows. The entrance doors are fine examples of wrought iron. Rising above the base are three floors faced with smooth limestone, clearly defined at the edges by exceptionally wide quoins.

Second Avenue Railway Car Barn, April 25, 1941. This block-long, fortress-like structure was constructed in 1870s to house the horses that powered the lines of the Second Avenue Railroad. When the railway was electrified in the 1890s, the building was used as the car barn for the rolling stock. The electrified streetcar lines were replaced in the early 1930s with buses, and this building was abandoned until it was razed in 1941. In 1947 a new 1.5 acre park was opened on the land, named for some former famous residents of the neighborhood. The Marx Brothers, children of Jewish emigrants from Germany and France, grew up in Yorkville before making it big as vaudeville performers and movie stars. As of 2018, plans for a playground-replacing 670-foot tower has stirred controversy between developers and the local community and preservationists regarding the planned structure and its effect on the neighborhood.

“View from the roof of George Ehret's home at Park Avenue and 94th Street. Looking west. Shows the Metropolitan Museum of Art (and Cleopatra's Needle) and the 86th Street Station \[on Park Avenue].” Designed by Calvert Vaux, the Met’s original red-brick Victorian Gothic building (center-right) was completed in 1880.

Ernesto and Edith Fabri House ARCHITECT: Egisto Fabri; Grosvenor Atterbury DATE: 1914-16 The L-shape of the plan with a rear wing at the western side of the main section of the house forms a courtyard, an unusual feature in the New York City block system. The courtyard is entered through an elaborate wrought-iron gate set between urn-topped stone pillars. A two-story section containing the entrance hall extends along the main section to the rear wing. The two-story section is lined with handsome French windows set in stone arches at both floors. The windows have balustrades at the bases, and they are separated by stone pilasters, providing an elegant contrast to the brick wall surface. The section terminates in a stone cornice surmounted by a stone parapet. The impressive entranceway, flanked by rusticated pilasters, is set within a heavy rusticated stone frame. Handsome carved wood doors beneath a wrought-iron fanlight contribute to the dignity of the entrance.

Otto and Addie Kahn House ARCHITECT: J. Armstrong Stenhouse; C. P. H. Gilbert DATE: 1913-18 STYLE: Italian Renaissance Among its important qualities, the Otto Kahn House is the finest Italian Renaissance style mansion in New York City. It belonged to a great patron of the arts, and was almost unique at the date of its erection in its simplicity and purity of detail, and that, although it is prominently located on a Fifth Avenue corner site, it is most notable for its restrained and quiet dignity.

Our Lady of Good Counsel, at 230 East 90th Street, was built in 1892 as one of the first churches in Northern Yorkville. It was designed by architect Thomas H. Poole in a melange of styles including Gothic and Tudor elements. The church also features elaborate stained-glass windows by Franz Mayer and Co., a renowned German manufacturer. Our Lady originally served Yorkville’s Irish and German communities, comprised of workers from the nearby breweries and factories. Our Lady overlooked the looming bulk of the breweries that dominated the neighborhood’s streetscape. As the Parish grew, the church expanded in 1905 to include a school and convent, and in 1908 to offer a nursery and parish house. Today Our Lady still serves and reflects our community: In addition to Mass in English, the Church conducts Mass in Spanish and offers a Spanish Youth Group. With the breweries gone, the church now looks over Ruppert Park and its popular children’s playground

“View from the roof of George Ehret's home at Park Avenue and 94th Street. Looking east by south. Looking east on 94th Street showing 2nd and 3rd Avenue Els. Also Hell Rock. On the right is Ehret's brewery.”

John Henry Hammond House, ca. 1910. When Andrew Carnegie built his Fifth Avenue residence at 91st Street, he also purchased several adjoining lots in order to ensure that new neighbors would meet his standards. Hammond, a banker, and his wife Emily Vanderbilt Sloane, received the 91st Street plot as a wedding gift, and enlisted the firm Carrère & Hastings to build a Renaissance Revival palazzo. The Italian palazzo style was very popular in the opening decade of the 20th century. Indeed, several Carnegie libraries in Upper Manhattan were built in a similar style by McKim, Mead & White. (Perhaps the philanthropist next door was an admirer of the Hammond residence? Within the decade, Carrère & Hastings would be enlisted to build the New York Public Library’s main branch). In 1975, the Soviet Union purchased the Hammond mansion and renovated the building for use as its sole American consulate. The consulate opened in 1978, but closed abruptly in 1980 after President Carter ordered the expulsion of Soviet diplomats in response to the invasion of Afghanistan. Thereafter, the consulate fell into disrepair. Between 1992-1994, the Russian Federation restored the building, officially reopening it as the Consulate-General of New York City in January 1995.

“E. 94th Street, north side, east from Third Avenue, as viewed across a clearance at the S.E. corner of this point, September 13, 1938." The Third Avenue El was the last elevated line to operate in Manhattan (apart from sections of the 1 train in Upper Manhattan).

This pair of stately Romanesque Revival style brick apartment buildings was constructed at a time when apartment-style living was becoming more socially acceptable for New York’s burgeoning middle class. They exemplified the use of distinctive architecture and evocative naming to elevate the image of the multiple-dwelling building type, which had long been associated with the cramped and squalid quarters of Manhattan’s worst tenement districts. In this case, the choice of the noble-sounding names “Kaiser” and “Rhine” signaled the overwhelmingly German heritage of their presumed occupants, as well as the prominent Rhinelander family’s involvement in their construction and in broader real estate development in Yorkville. Although built as two separate structures joined along a party wall with interior courtyards, the buildings’ Second Avenue façades present a unified, monumental appearance. The decorative iron balcony and pent eave roof anchor the façade’s center bay, while the round arches that are a hallmark of the Romanesque Revival style play across the façade at different scales. The red-orange brick façade is embellished by rich geometric patterning and detailing, including corbels, quoins and window spandrels featuring delicate cartouches with ribbons. The building was recently restored with the removal of white paint obscuring the building’s subtle texture and fine ornament. With luck, the cornices that flanked the pent eave roof in this once-picturesque roofline will also be restored.

Willard Straight Residence ca. 1979 This large, sunny dwelling is an excellent example of the American town house at its best. The bull's-eye windows at the top lend an air of novelty to an otherwise conservative Federal design. The interior woodwork is extremely fine and demonstrates the loving care with which Delano and Aldrich executed their commissions.

My Archive Spring 2019 "Eliot Nolen outside of her apartment building on her way to a birthday party circa 1968." —Tim Bradley

The Kaiser and the Rhine, August 13, 1941. In 1886 Gertrude Rhinelander, a scion of a well-established and wealthy New York family, purchased a series of lots on the corner of Second Avenue and 89th Street. She commissioned architects Lamb & Rich to design two matching apartment buildings with ground floor commercial spaces. Christened The Rhine (nos. 1716-18) and The Kaiser (nos. 1720-22) by Rhinelander, the buildings were completed in 1887. Rendered in a Romanesque Revival style to look as though a single structure, the building did feature some unexpected architectural details, including an almost Modern style maze-like pattern of brickwork on the second floor facade. A massive and devastating fire in 1904 gutted the building. Gertrude Rhinelander, who still collected the rents herself, rebuilt. It was likely at this time that the Tuscan Revival style roofs were added. In the late 20th century the buildings were painted in muted grey and white tones, but in 2016 the paint was striped off, revealing the rich tones of the original red brick.