Van den Heuvel Mansion, ca 1900. In 1792 a Dutch merchant who was becoming wealthy in the trade and finance markets of New York purchased a plot of land on what is now the Upper West Side. The large plot and small complex of buildings had earlier belonged to Charles Apthorp, whose land still abutted this property to the north. Jan Cornelius Van den Heuvel was long credited with building the mansion on the land, though it was likely there in some form since the mid 18th century. The home was a grand house two stories tall with a steep gabled roof. Van den Heuvel, despite his recent immigrant status, was named director of a U.S. Branch Bank in 1801 and his family moved to a lower Manhattan home as their "city dwelling" while the uptown manse remained their "summer house." The family sold the plot following Jan's death in 1822 and the land was divided. The plot that included the large house was leased to a William Burnham in 1839 who converted the building into a respectable hotel known variously as Burnham’s Mansion House, Burnham’s Hotel, and Burnham’s Tavern. The house was purchased by John Jacob Astor (whose wife was a Van den Heuvel) in 1879 and it was occupied by a floral business in the late 19th century. It is unknown when the full third floor was added. The home was demolished in 1902, though some of its interiors and furnishings were saved. On the now empty land, William Waldorf Astor had built a massive apartment building constructed called the Apthorp.

Arthorpe Apartments ca. 1905 Following the lead of the Dakota on Central Park West, many of the new apartment houses were built with large central courtyards. This one, which occupies an entire city block, was remodeled several years ago, splitting each apartment into two. The division of rooms was balanced by using the living room and bedroom for one new apartment and the dining room, kitchen, and maids' room for the other. This ingenious scheme produced two fully remodeled apartments where only one existed formerly.

Euclid Hall, ca. 1930. This large, multi-section 1903 building was designed by Hill & Turner. It was developed as a luxury apartment buildings with most apartments arranged around narrow light courts. The units typically had four to five bedrooms, with a parlor-library-dining room arranged together. While the original tenants were somewhat prosperous New Yorkers, newer, more luxurious apartment buildings nearby quickly rendered the Euclid Hall less desirable. By the 1920s the entire Broadway front of the building had ground-level commercial spaces. And by the 1930s, it had been converted to the Euclid Hotel, a single occupancy residence (SRO) building. Decades of neglect left the building in a terrible state by the 1980s. It was purchased and refurbished in 1989 by a senior housing organization and continues to function today as a senior and supportive housing building.

Ansonia Apartments Strolling along upper Broadway, we are startled at this evocation of Paris with its gay towers and great mansard roofs. Yet there is one great difference: where such a building in Paris might not stand more than six of seven stories high, here, in its American version, it towers to a height of seventeen stories. Designed by the firm of Graves & Duboy for W.E.D. Stokes, it is a happy contribution to our street architecture.

Broadway, west side, north from West 77th (left) to 79th Streets, 1908.

310 West 80th Street (at right), ca. 1900. Constructed between 1899 and 1901, James Ware (the creator of the "dumbbell tenements") designed this Beaux Arts apartment building. The impressive orange brick with limestone trim building was once home to a young Dorothy Rothschild (later Dorothy Parker). Today the well-kept apartment house is part of the Riverside Drive- West 80th-81st Street Historic District.

West End Collegiate Church and School ARCHITECT: Robert W. Gibson DATE: 1892-93 STYLE: Dutch Renaissance, Flemish Renaissance The West End Collegiate Church and School are a well-integrated group of buildings executed in a uniform style of architecture providing an accent of quaint charm among the surrounding high-rise apartments of West End Avenue. Since the Church and School trace their origins back to the first Dutch community in New York, the architect, Robert W. Gibson, appropriately combined elements of Dutch and Flemish Renaissance styles for his design. This group of buildings is one of the few good examples of this character in the City.

In 1891, the First Baptist Church on 79th Street and Broadway was designed by George M. Keister, the architect of the Apollo theater. The exterior of the church was designed with symbolism from the bible. The original structure had a rather peculiar roof of stained glass. While beautiful, constant leaks proved that this was not sustainable. The roof was eventually replaced with tiles. The towers, notable asymmetrical, represent the Christ and the Church. The taller tower, symbolic of Christ, emits light while the lower tower, meant to symbolize the Church, appears incomplete to await the return of Christ. The location of this church was the fourth for this congregation. It sits near where its founder, pastor John Gano, escaped an ambush en route to joining George Washington's army.

The Board of Water Supply used models for design and celebration, from critically serious to comical and extravagant. Models were communication tools, explaining and promoting the City’s infrastructure projects, and sometimes helped determine the locations of structures or best way to build them. This story starts with some technical models, then looks at those that celebrated NYC’s water supply system and world-class engineering.

Photo is captioned: "Riverside Park, at the foot of West 79th Street, showing the information board locating the various U. S. vessels during their visit to New York City. June 17, 1934" In the summer of 1934, this sign was placed on 79th Street and the Hudson River. President Franklin Delano Roosevelt performed a Naval Review in the New York Harbor on May 31, 1934. The board indicated to onlookers the position of the naval ships along the Hudson. The ships included were the USS Chicago, the USS Salt Lake City, the USS Dickerson, and the USS Chester. This was one of the largest naval assemblages in New York City, with 86 warships and 35,000 officers participating. Over 80 of the vessels were anchored on the Hudson. FDR then led them downstream aboard the USS Indianapolis. Finally, the President's ship came to a halt so that the 12-miles of naval ships could pass by for his review. The practice of fleet reviews dates back to the 15th century. These events were often a showcase of military strength and booster of national morale rather than an actual assessment. It was reported that the event drew 500,000 spectators onshore and 300 private boats to the water.

520 West End Avenue, 1924. The little home on the corner (at right) is dwarfed by the larger apartment buildings that surround it. But, in fact, this small home is actually a mansion of considerable size. Built on a long and narrow plot (27 feet by 100 feet), the mansion, fashioned in Romanesque, Elizabethan, and Gothic Revival styles, was designed by Clarence True as a speculative development. It was purchased while still being constructed by a cotton broker named John Burgess Leech, who had nine children. The house was completed in 1892 and the family lived there until 1905. After the Leech family left, the home was converted into a school for girls and later into eight separate apartments with a doctor's office in the basement. The mansion was threatened by demolition in the late 1920s by an owner who thought the prime corner lot would better serve him financially as a large apartment building. The Great Depression halted his plans, and today the building remains apartments.

Ansonia Hotel ARCHITECT: Paul E. M. DuBoy DATE: 1899-1904 STYLE: French Beaux-Arts This apartment-hotel in the grand French Beaux-Arts style occupies the entire blockfront on the West side of Broadway between 73rd and 74th Streets. It rises on its conspicuous site to a height of seventeen stories. Built at the turn of the century, with over three hundred suites, it was at that time one of the largest apartment-hotels in the world. The Ansonia is a symbol of an era of opulence and elegance, and still stands as one of the truly grand buildings of Manhattan’s West Side. The most striking features of this vast structure are the corner towers on Broadway, with their domes and railings, which rise slightly above and repeat the theme of the three story convex mansard roof that crowns the building. Another noticeable feature, the result of a plan which provides maximum light and air, is a series of recessed courts: two on the north side, two on the south side and one on Broadway.

The Riverdale, 1908.

All Angels Episcopal Church was established as a parish in the 1830s as a mission-focused church serving the community of Seneca Village, a free black neighborhood that once stood in what is now Central Park (that also included poor Irish and German immigrants as well). In the late 1850s, the church moved to West End Avenue and 80th street after their former location was condemned by the city for the creation of Central Park. The grand church seen in this interior image was completed in 1890. In 1896 Karl Bitter, the Austrian-born American sculptor, renovated the church's interior. The church featured a two-and-a-half-story Tiffany window and a pulpit ringed with limestone angels. The congregation occupied the late 19th-century church until 1979 when it was demolished for an apartment building. Today the community worships in what was the parish house at 251 West 80th Street. The Bitter-designed pulpit was saved from demolition and is now in the collection at the American Wing at the Metropolitan Museum of Art.

Ansonia Apartment, ca. 1905. The Ansonia was built as a residential hotel by William Earle Dodge Stokes, one of nine children born to a banker and a copper heiress. When his father died, he contested the will and sued his brother – a move that netted him a $1 million inheritance. In 1895, Stokes married teenaged Rita Hernandez de Alba de Acosta, older sister to Mercedes de Acosta. Less than four years after their lavish wedding ceremony, she filed for divorce – the same year of the Ansonia’s groundbreaking. Stokes’ hotel opened on April 19th, 1904, comprising 1,400 rooms and 340 suites, and standing 17 stories tall. Pneumatic tubes snaked through the walls for the easy conveyance of messages between residents and staff. The luxurious apartments featured multiple bedrooms, parlors, libraries, and formal dining rooms. In the building’s basement, residents swam in what was, at the time, the world’s largest indoor pool. They also cooled off in the privacy of their own homes – the Ansonia was the first “air-conditioned hotel” in New York City, with a system in the walls pumping a freezing briny mixture. The hotel even had its own art curator, who collected around 600 paintings for the building to display. And today’s urban agriculture enthusiasts would be interested to know the Ansonia once featured a rooftop farm with chickens, duck, and goats – although it was eventually shut down by the health department. Famous residents of the hotel throughout the years included Babe Ruth, writer Theodore Dreiser, the leader of the Baha’i Faith \`Abdu’l-Bahá, conductor Arturo Toscanini, composer Igor Stravinsky, fashion designer Koos van den Akker, and Broadway impresario Florenz Ziegfeld. Stokes, who remarried in 1911, became a particularly notable resident himself after he became embroiled in scandal later that year. A young starlet with whom Stokes had allegedly been involved shot him, and he was found clinging to a balcony at the Varuna hotel, bleeding. The scandal brought droves of reporters to the Ansonia, even though Stokes refused to leave his room. The hotel also played host to Chicago White Sox first baseman Arnold “Chick” Gandil. It is said that on September 21, 1919, a group of Chicago White Sox players assembled in his room to plot the throwing of the World Series for the cost of roughly $10,000 per person. Stokes died in 1926 at age 74. His son eventually sold the building in 1945 to Samuel Bronxmeyer, a man widely regarded as a crooked landlord. In 1968, Bronxmeyer rented its abandoned basement pool to a man named Steve Ostrow, who turned it into the famous Continental Baths. This gay bathhouse operated an incredible cabaret to entertain its towel-clad denizens. Over the years it featured future stars like Bette Midler, Barry Manilow, and Patti Labelle, as well as established stars like Cab Calloway, Lesley Gore, Peter Allen, and even the Andrews Sisters. The bathhouse closed its doors in 1977 and was quickly converted into Plato’s Retreat under the ownership of Larry Levenson. At this membership-based swingers club, “committed heterosexual couples were the base of support,” according to the New York Times. Levenson explicitly forbid homosexual activity between men. The city shut the club down in the wake of the HIV epidemic; it served its final patrons on the afternoon of New Year’s Eve in 1985. The Ansonia was added to the National Register of Historic Places in 1980 and still accepts tenants today.

The Hotel Belleclaire, built in 1902, is an individual landmark building located at the corner of Broadway and West 77th Street. Designed by the famous architect Emery Roth, it is unique because it is one of very few art nouveau style buildings in the city and was one of Emery Roth’s first designs. This elaborate style gives the building a grand, luxurious look. Like rowhouses, apartment buildings, and tenements, apartment hotels were another common building type on the Upper West Side and in New York City. Wealthier people often lived in them for a long time because they provided the comforts of a hotel, with the privacy of separate apartments.

Beacon Theater ARCHITECT: Walter A. Ahlschlager DATE: 1927-28 STYLE: Greek, Roman, Renaissance, Rococo The Beacon Theater is a lavish space with stylistic effects drawn from the traditions of Greek, Roman, Renaissance, and Rococo architecture. The rotunda lobby, whose design echoes that of the now-demolished Roxy Theatre, was designed to contrast with the low-ceilinged ticket lobbies and create “the spell of the theater.” The auditorium is rich with exotic and decorative effects including vast murals. The Beacon Theater was designed with technical and stage features which now allow it to function as a multi-purpose performing arts center

161-165 West 83rd Street, 1912. As per the notes on the photograph, these wood-frame homes were demolished in the 1910s to make way for a large apartment building.

John B. and Isabella Leech House ARCHITECT: Clarence True DATE: 1892 STYLE: Romanesque, Gothic, Elizabethan In the bold form of its rusticated sandstone base, the complex massing of its tan Roman ironspot brick upper stories (now painted), the subtle handling and richness of its carved stone details of Romanesque, Gothic, and Elizabethan derivation, and decorative wrought-ironwork, it is a fine example of the diverse picturesque, eclectic architecture of the late 19th century which once characterized West End Avenue as one of New York City’s most desirable residential avenues. Its corner site, allowing for two principal designed facades linked by a curved corner bay, both enhances the prominence and integrity of its original architectural elements and emphasizes its status as one of the most significant surviving individually-designed large town houses on the Upper West Side.

322 West 81st Street (also known as 86 Riverside Drive), ca. 1925. The corner home seen here at right is one of a series of six homes built in 1897-1898 (nos. 316-320 West 81st Street and 84-86 Riverside Drive). Designed by Clarence True in an Elizabethan Renaissance Revival style, it has a rock face limestone facade with a three-story rounded bay on Riverside Drive.

234-236 West 74th Street, ca. 1911. In this photograph its seems that the home on the right (no. 236) is empty, evidenced by the covered and darkened windows. Both homes have had major alterations in the century since the photo was taken. No. 234 has had it stoop and mansard roof removed. The staircase on no. 236 has been straightened, but it also looks like the door from the 1911 photograph might, in fact, still be in place, or, at least, a very purposeful replacement.

The Apthrop, ca. 1905. Designed by architects Clinton & Russell for William Waldorf Astor, the Apthorp is a full-block apartment building. Named for Charles Ward Apthorp, who once owned the land, the Italian Renaissance Revival structure was completed in 1908. The large central barrel-vaulted entrance leads to a well-appointed interior courtyard and the building has four lobbies. The massive building originally had only 10 apartment to each floor. The floors were further divided in the 1930s and 1940s. Long a rental building, the Apthorp underwent a condo conversion in 2008, when the average price of apartments was offered at $6.5 million. Famous residents have included Douglas Fairbanks, Sr., Nora Ephron, Joseph Heller, George Balanchine, Al Pacino, and Conan O'Brien.

Like the other collegiate Churches that descended from the Dutch reformed Church of New Amsterdam, the West End Collegiate Church's Dutch origins are evident in the architecture. Built in the Colonial Revival style, its steep gables were modeled after a 1606 building, the meat market (Vleeshal) in the Dutch town of Haarlem. West End Collegiate Church also boasts stained-glass windows and plaques that commemorate its links with The Netherlands and the House of Orange.

Holy Trinity Church ca. 1931 Designed in the neo-Byzantine style popular at the time, the Holy Trinity Church exhibits the rich visual effects the Guastavinos could achieve even when using a relatively narrow color range. Panels of pale, herringbone-patterned tiles in the dome are framed by “ribs” of slightly darker tiles. As in many Guastavino projects, the company applied the exposed layer of tiles last, with protruding mortar joints that emphasize the intricate pattern when seen from a distance.

St. Agnes Branch, NYPL, June 10, 1928. Completed in 1906 to plans by Babb, Cook & Willard, the St. Agnes Library is designated a landmark as a part of the Upper West Side-Central Park West Historic District. The history of this library dates to 1893 when St. Agnes Chapel on West 91st Street opened a small parish library, which housed a small section for the Library for the Blind. The rapidly growing community prompted the chapel's pastor to expand the audience of the library to the entire neighborhood. St. Agnes Free Library was chartered by the University of the State of New York and merged with the New York Public Library in 1901. Five years later this structure would be built using funds from the 1901 Carnegie bequest.

Engine Company 74, ca. 1915. The ornate red brick and limestone facade of the Engine Co. 74 firehouse was a product of its time and its proponents. Completed in 1901, the building was designed by the largely heretofore unknown firm of Arthur Horgan and Vincent Slattery. In 1897 a new Tammany Hall-backed mayor was elected for the soon-to-be consolidated city and the look of municipal buildings became considerably more flamboyant. In fact, Horgan & Slattery, in an unprecedented move, were hired to both design new buildings and review plans for those already in the construction process. The firm lost most of their shady city commissions in 1901 after the election of a progressive mayor. And while they were often regarded as forgettable architects (particularly by their contemporaries in the architecture field), today their police stations and firehouses (including this one) are praised for the richness of style.

What do Stravinsky, the Black Sox, Bette Midler, and a swinger’s club have in common? At one point they were all inside New York City’s Ansonia Hotel.

Broadway, east side, at West 84th Street, showing the house in which Edgar Allan Poe wrote "The Raven". In the "Life of Poe' by William F. Gill (published 1877) on page 147-8 appears a drawi ng of this building. It is stated to have been a "few hundred feet from the corner of 84th St. and St. Nicholas Blvd. (formerly Bloomingdale Road)." A Mrs. Brennan lived here for 47 years and rented same to Poe in the Spring of 1844. He finished "The Raven" in the Winter of that year. The following Spring he moved to the City proper. It is inferred that General Washington and his officers used it as a shelter. G. E. Woodberry in his 'Life of E. A. Poe" (V. 2 page 113) reports the location as being "near what is now the eastern corner of 84th Street and Broadway. The sign hanging from the house reads "John Negel, Mason Builder, Ovens Built & Burners Set, Kalaomining". The inscription on the rock reads " R. Hamilton, Upholsterer, 11th Avenue.

In the last two decades of the 19th century, West End Avenue became a center for Dutch Colonial Revival architecture. Various architects including McKim, Mead, and White built Dutch (or Flemish) influenced rowhouses on West End, and in 1892 came the "Netherlandish crown of the West End" (as per Times architecture writer Christopher Gray), the West End Collegiate Church at 77th Street. Two years later, C.B.J. Snyder, Superintendent of School Buildings, designed Public School 9 in a what is usually described as an English Gothic style, but which can easily also be called Dutch, with its orange brick and prominent stepped gables. Since 2002, this building has been the home to the Mickey Mantle School (P.S. 811M), serving children with disabilities.

103, 104, 105, Riverside Drive Houses ARCHITECT: Clarence True DATE: 1898-99 STYLE: Elizabethan Revival 103, 104, 105 in Riverside Drive House and West 83rd Street are all Individual Landmarks. They were designed in architect Clarence True’s signature “Elizabethan Revival” style based on French and English Renaissance prototypes and built by True’s development firm, the Riverside Building Company; they are the northernmost of True’ s designs built along the Drive.

Level Club, 1928. Organized by a group of Freemasons called the The Levelers, the Level Club was a Mason social club. Opened at first only to The Levelers, quickly the club was opened to all Free Masons. In 1923 the club purchased four brownstones and razed them for a new building. Designed by the firm of Clinton Russell Wells George and Holton, the Art Deco the hotel and club opened in 1927 and featured luxury amenities, including a grand dining, lounge and club rooms, a 1,500-seat theater, an Olympic size pool and a roof garden. The set backed facade of the building was designed with Mason iconography in mind. A number of building features reflect biblical descriptions of the Temple of Solomon and the facade includes carvings of important Mason symbols such as the all-seeing eye, the hourglass, the level, the hexagram, the beehive and the Bible. Following the financial crash of 1929 the club and hotel was opened to anyone, regardless of their Mason affiliation, but the money issues persisted and the building was foreclosed on in May 1931. The Level Club was a series of hotels (with various reputations) over the next few decades. In 1984 it became a condominium complex.

Belleclaire Hotel ARCHITECT: Emery Roth; Stein Cohen & Roth DATE: 1901-03 The Hotel Belleclaire, one of a number of luxury apartment hotels constructed on the Upper West Side at the turn of the century, was the first major commission awarded to Emery Roth, at the time a struggling young architect. Roth went on to specialize in apartment house design, and during a career spanning more than forty years and well over two hundred projects, was to play an important role in the shaping of the Manhattan skyline. Best known for his towered apartment buildings on Central Park West, Roth’s early work has gone largely unrecognized.

Apthorp Apartments ARCHITECT: Clinton & Russell DATE: 1906-08 STYLE: Italian Renaissance This handsome apartment house built around a large central courtyard fills a short city block between Broadway and West End Avenue. Designed in the Italian Renaissance style by Clinton & Russell for the Astor Estate, it remains today much as it was when originally built with the exception that stores have been added at street level on the Broadway side. The most conspicuous feature of this handsome apartment house is the use of rustication as contrasted with the smooth ashlar masonry of the wall planes. Notable also is the adaptation of the Renaissance vocabulary from the scale of a single palazzo, perhaps three stories in height, to a block-long, twelve-story edifice.

"Riverside Drive, from and including 78th to and including 79th Streets, as seen from the park on the west side of the "drive," 1934." No. 67 Riverside Drive is the double tower apartment building with the window awnings seen at the far left. Called "The Riverdale" the building was completed in 1906. It was designed by George Fredrick Pelham in the Beaux Arts style. The apartments that front Riverside Drive have small, shallow balconies (called Juliet balconies). A 1908 advertisement for the building states that the apartments are being rented for $2,000 to $3,500 a year.

"Riverside Drive, north from West 80th Street, showing the transitional aspects of this marginal thoroughfare. In the foreground is one of the last squatters shacks. The row of buildings at the right is at the S. E. corner of West 82nd Street, ca. 1895." This area of Riverside Drive and Riverside Park (across the street behind the structure in this image) would see occupation by a number of shanty towns in the 19th and 20th century. Well known as a Hooverville during the Great Depression, it was also home to a shanty town earlier. The Hudson River was lined with these communities but as Riverside Drive and the Upper West Side in general began to be developed in the 1880s and 1890s, these types of dwellings were demolished. The notation on this photo suggests that this structure, still standing in 1895, was the last of the shacks to go.