17 East 128th Street ca. 1864 This charming building is one of the few surviving wood frame houses in Harlem, built when Harlem was still a rural village separate from New York City. Designed with Second Empire and Italianate elements by an unknown architect, the house is clad in wood clapboard and features a full-width porch and a slate mansard roof. The house stands as a reminder of Harlem’s early history before being annexed to the city in 1873. 17 East 128th Street is a designated New York City Individual Landmark .

Gus Hill's Minstrels, 1935. Gus Hill (born Gustave Metz) was vaudeville performer who was originally known for his juggling of large pins, called Indian clubs. Hill became a burlesque and vaudeville impresario. He founded the Columbia Amusement Company and was the president of the American Burlesque Association. The building seen here was constructed circa 1869. The Minstrels likely performed in a space within the building, which as various times also hosted political meetings and a gymnasium. The unseen ground floor of this large structure included a garage, a Chinese laundry, a paint store, a drugstore, a produce stand, and a restaurant.

Advance Division of the Universal Negro Improvement Organization, 1939. The UNIA, founded by Marcus Garvey in 1914, advocated universal black solidarity and exerted considerable influence prior to Garvey’s 1925 deportation. The organization was headquartered on 135th Street in Harlem, and operated hundreds of chapters worldwide. The buildings on in this photograph were demolished by Robert Moses, under the pretense of slum clearance, for the construction of the Lenox Terrace housing development, which now occupies the superblock between 132nd and 135th Streets, Fifth Avenue, and Malcolm X Boulevard (then Lenox Avenue).

New York Public Library, Schomburg Collection for Research in Black Culture ARCHITECT: McKim, Mead & White; Charles F. McKim DATE: 1903-05 STYLE: Neo-Classical Built as the West 135th Street Branch Library, the former Schomburg Collection building at 103 West 135th Street was designed in 1904 by the eminent firm of McKim, Mead & White. Small and dignified, the structure is one of the eleven elegant neo-Classical buildings that the firm designed for the New York City Public Library system under a generous grant from Andrew Carnegie. Located in the heart of Harlem, the Library Branch became a center of black cultural events during the 1920s, as the well-known Schomburg Collection on black history and culture, housed in the building, served as a magnet to countless intellectuals drawn to the area during the “Harlem Renaissance.” Distinguished by a fine architectural design, the building is also nationally significant as a cultural center and a site where the documentation of the black experience was a long and important tradition.

The Works Progress Administration's Federal Art Project (WPA/FAP), part of President Franklin D. Roosevelt's New Deal to stimulate the economy and create jobs during the Great Depression, employed thousands of artists between 1935 and 1943 to create artworks for public spaces. This groundbreaking democratic experiment celebrated and supported American art and artists by providing a source of income, enhancing public buildings, and enriching the lives of Americans in the throes of the Great Depression. The Art Commission reviewed hundreds of Federal Art Project commissions during this period, including murals, sculpture and mosaics. A significant portion of the WPA/FAP commissions in our collection were installed in public health and hospital facilities. There is a noticeable shift in theme and tone depending on the location of murals. Murals in children's wards often focused on nursery rhymes and fanciful themes, while those in nurses' recreation rooms were "relaxing" and focused on familial scenes. Murals in doctors' recreation rooms focused on the history and progress of medicine, while those in psychiatric wards sought to provide therapy for mental distress. In the late 1930s, the WPA/FAP commissioned a series of murals for Harlem Hospital, located on the east side of Lenox Avenue between 136th Street and 137th Street. It was the first major United States government commission awarded to African American artists. While the WPA approved the artists' sketches, the hospital's superintendent and the commissioner of hospitals objected to four of the proposed murals on the grounds that they included too much "Negro" subject matter. In response, the Harlem Artists Guild, the Artists Union, and the hospital's first African American physician, Louis T. Wright, worked to support the artists and publicize the controversy. With this support, the artists prevailed and their murals were submitted to the Art Commission for review and approval. In 1993, the two Harlem Hospital murals by Charles Alston were conserved through the Municipal Art Society's Adopt-A-Mural program. Starting in 2005, as part of the construction of the new Harlem Hospital Center, murals by Charles Alston, Alfred Crimi, Vertis Hayes and Georgette Seabrooke were removed from the old building and conserved. In 2012, they were reinstalled prominently in the center's Mural Pavilion, celebrating the hospital and Harlem's rich African American history and culture.

135th Street branch of the New York Public Library, home of the “Division of Negro Literature, History and Prints.” March 20, 1928. The Carnegie-funded library, designed by Charles Follen McKim, opened in July, 1905. During the 1920s, the 135th Street branch led the NYPL’s gradual integration of African-American works into its collections and programming. In 1921, the branch hosted the first annual exhibition of African-American art — the first show of its kind in Harlem. In 1926, the Afro-Puerto Rican scholar and book collector Arturo Alfonso Schomburg sold his collection — including “5,000 books; 3,000 manuscripts; 2,000 etchings and paintings; and several thousand pamphlets” — to the library, with the stipulation that the collection remain in Harlem. Schomburg himself was the collection’s curator from 1932 until his death in 1938. In 1940, the archive was renamed the Schomburg Collection of Negro Literature, History and Prints. In 1972, the branch became a Research Library and was renamed the Schomburg Collection for Research in Black Culture. In 1980, a new Schomburg Center extension opened on nearby Lenox Avenue.

The Harlem Hospital, now the Harlem Hospital Center, ca. 1915. The Harlem Hospital was opened as a holding center for patients awaiting treatment at Randalls Island, Ward Island, and Bellevue Hospital. The facilities were opened in 1897 in a Victorian Mansion at East 120th Street bordering the East River. The 54-bed facility, which was founded under the Department of Public Charities and Corrections, had to quickly expand to accommodate an influx of new African American residents to the neighborhood of Harlem in the early 20th century. By 1907, the Harlem Hospital moved to its current location, at Lenox Avenue between 136th and 137th Street. Today, the hospital remains a symbol of pride for the Black community of Harlem: it's where James Baldwin was born, where Martin Luther King was treated after a near-fatal stabbing and a site of many of the community's great struggles. In 1998, former state judge Bruce Wright told the New York Times the Harlem Hospital was "like a mother figure." From the 1890s until the 1920s, reforms were taking place in various cities across the country, and New York was no exception. City bureaucracies such as the police force, firefighters, and medical unions vied for autonomy from city governance. African American communities, who already found it difficult to secure positions of power in the political sphere, were now barred from participation altogether by discriminatory policies of unions, societies, and "expert" groups. Autonomous bureaucracies were formed to "reduce drastically both the access of nonwhite outsiders and of their own executive and supervisory ranks," according to an essay titled: "Black Power and the Rise of Bureaucratic Autonomy in New York City Politics: The Case of Harlem Hospital." The essay also asserts that the city hospital bureaucracy, comprised of various medical societies and "lay groups" in the field "skillfully asserted their monopoly in the area of health 'expertise' in order to resist what they viewed as the intrusion of nonwhite doctors and dentists." These groups maintained an unequal distribution of wealth and benefits amongst urban populations. Black New Yorkers were barred from joining self-governing city bureaucracies, firstly due to racist policies and because these communities had little access to reach the educational or fiscal status membership required. Bureaucracy leaders feared African Americans might outrank them if they were allowed to participate in these groups in any capacity. Following the end of World War I, city politicians became suspicious of these organizations and began pushing for greater integration. By 1919, the first African American physician in any city hospital, Dr. Louis T. Wright, was appointed a visiting-staff member at the Harlem Hospital. Though he was given the lowest possible position, this opened the doors for six other African American physicians to be hired. A group of white doctors and staff members resigned as an act of protest, but this only encouraged Wright. He later became the first Black Police Surgeon, the first Black recipient of the American College of Surgeons fellowship, and the Director of the Department of Surgery in 1943. However, Wright was not the only Black medical professional that Harlem Hospital fostered. In 1923, the Hospital opened the Harlem Hospital School of Nursing to train Black nurses, who weren't allowed to train at any other city hospital. The school closed in 1977, though it played a vital role in training generations of young Black medical professionals. The Harlem Hospital saved the life of Dr. Martin Luther King Jr. on September 20th, 1958. The civil rights activist was stabbed at his own book signing at the Harlem location of Blumstein's, pictured here. Reportedly, the wound was so severe that "a sneeze could have killed him:" the letter opener which was lodged in Dr. King's chest had barely missed his aorta. A team of Surgeons, both Black and white, operated on King for over two hours, saving the young leader's life. A few decades later, in the 1980s, the New York State Department of Health and Health Care Financing Administration (HCFA) found numerous instances of patient harm, violations of the state hospital and Medicare standards, and "primarily in the areas of nursing care and the building's cleanliness and safety," including an unusually high death rate, reported in "Medicare Standards at Harlem Hospital." Beginning in 1987, the HCFA has regularly monitored the conditions of the hospital and noted great improvements in the facilities and care the hospital offers. This would not be the last of the hospital's troubles: after reducing the tax subsidy to public hospitals from 228 million dollars to just 60 million dollars in 1995, Mayor Rudy Giuliani tried to lay off around 1,500 members of the hospital's staff. The Harlem Hospital, like other city hospitals, was in danger of being sold off to a private company due to its lack of profitability. ...

Harlem was once a quiet suburban village. Until the mid-19th century, the area was largely undeveloped; most structures were isolated, free-standing frame houses. This collection surveys some of the frame houses that once stood in Upper Manhattan — including a few hardy examples that have survived to the present day.

52 West 132nd Street, ca. 1932.

Playground on West 133rd Street, undated photo. The West 134th Street bath house is visible at upper left. The buildings in this photo would all be razed ahead of the construction of the Lincoln Houses.

Station house for the FDNY’s Engine 87 (Marine), November 24, 1937. The Engine 87 marine company was established in 1908, with a station house on the Harlem River at 132nd Street. The company moved to the facility shown in Berenice Abbott’s photo in 1922. Construction of the Harlem River Drive caused the station house to move to the Lower East Side, at the foot of Grand Street in 1954, before the company was disbanded in 1954.

As New York battles the Coronavirus pandemic this summer, city businesses and public spaces are re-opening in phases. In Phase 3, libraries, tattoo parlors, spas, massage and nail salons, basketball and tennis courts, dog runs, and public beaches are among the spaces to open back up to the public—including some of these long-standing New York City establishments.

Grocery at 552 Lenox Avenue (Malcolm X Boulevard), undated photo. In 1922, this grocery was part of a network of businesses associated with the Universal Negro Improvement Association (UNIA), the black nationalist fraternal organization founded by Marcus Garvey. It was part of a cooperative network of three such Harlem groceries. As part of the organization’s agenda, African Americans were encouraged to patronize UNIA businesses in an effort to build wealth among the community. In a 1922 advertisement for UNIA businesses, the grocery is listed with a simple tagline: “oit pays to patronize your own.” In 1919, Marcus Garvey himself resided at 552 Lenox Avenue, with his then-wife Amy Ashwood Garvey.

Harlem Hospital, ca. 1907.

12 West 129th Street, ca. 1932. This building was erected in the late 19th century by William Paul and Thomas Wilson. The two men, carpenters and business partners, had purchased the lot late in 1862 to construct a two-and-a-half-story house that they initially addressed as "129th off Fifth." Since 1862, this house has seen numerous alterations. The Moorish-inspired porch was added in 1882-83 after John Simpson, the founder of the Estey Piano Company, and his family moved into the home. A full third story was added in 1896 when an order of Franciscan Sisters took over the property. The Sisters converted the home into a convent and reception home for poor children. According to the 1900 census, six sisters resided here; in 1903, one priest, four sisters, and eight servants were in residence; in 1920 there were nine sisters; and in 1925, there were five sisters and fifteen children between the ages of two and nine. In order to accommodate its new use, the Franciscan Sisters made many grand changes to the home—including enlarging the building itself. Now known as 12 West 129th Street, the home is a landmarked building and one of the last free-standing houses in Harlem.

108-110 West 136th Street, 1936. In 1913 and 1915 Madam C.J. Walker, the African American businesswoman who made millions selling hair care products purchased two brownstones in Harlem. She was prompted to move to Harlem by her daughter A'Lelia, who had arrived in the city a few years earlier. Walker hired African American architect Vertner Tandy, the first black architect registered in New York State, to redesign the buildings. The resulting structure was a handsome, single, Georgian style townhouse. The building not only served as Walker's home, but the garden level was used as a beauty parlor, college, and spa. Women were able to receive training in the use of Walker's products, while also providing services to clients in an upscale locale. Walker died in 1919. Her daughter, who by the mid-1920s had become an influential figure in the Harlem Renaissance (known for hosting well-attended and extravagant parties), turned the 136th Street home into an event space and cultural salon she called the Dark Tower. Lasting only a year as the Dark Tower, the house was later rented to the city for use as a health clinic (pictured here as the Harlem Health Center). In 1941, the home, then owned by the city, was demolished for a branch of the New York Public Library, which in 1951 would be renamed for Countee Cullen, black poet, and friend of A'Lelia Walker.

The 135th Street Branch of the YMCA, unknown date. The third of 12 Carnegie libraries designed by the preeminent firm of McKim, Mead & White for the New York Public Library (NYPL), the 135th Street Branch opened in 1905. Within the next ten years, African Americans started to move to Harlem in large numbers. Under newly-appointed white librarian Ernestine Rose in 1921, the 135th Street Library made significant changes to better serve a burgeoning black community. That same year, it became the first NYPL branch to have an integrated staff; in 1922, Nella Larsen began working here as an assistant and was promoted to children’s librarian two years later. The 135th Street Branch, with its literary gatherings, art exhibitions, theatrical and musical productions, and lectures, was known as “the place to go” during the Harlem Renaissance. Importantly, the library provided a rare public platform for black artists, writers, and performers as well as the opportunity to share their work with audiences of color. A young Langston Hughes made a point to visit the library the day he arrived in Harlem in 1921 (he later wrote about it in his 1963 essay “My Early Days in Harlem”). Other Harlem Renaissance luminaries who frequented the branch included poet Countee Cullen (who met Hughes here), performer Florence Mills, poet Claude McKay and writer Eric Walrond, the latter two of whom also reserved space here to work. In 1926, the Krigwa Players Little Negro Theatre, which included playwright Harold Jackman, performed plays by, about, and for people of color in the library’s basement (The American Negro Theatre still performs here.)

Harlem native and former state judge Bruce Wright called the Harlem Hospital a "mother figure." The Harlem Hospital has provided healthcare for a majority of the area's residents for over a century. It's where a young Martin Luther King Jr. was saved from a near-fatal knife wound, which he referenced in his final public address, "I Have Been to the Mountaintop." Read on to learn the history of the Harlem Hospital.

Pilgrim Pentecostal Church of God, 1936. In the 1930s the majority of African American churches in Harlem met in residences and storefronts. According to a study of the religious institutions in the neighborhood in 1930, 122 congregations met in spaces that were not churches or assembly halls, and the number of these homes and storefront churches was likely much higher. The Reverend of this Pentecostal Church was Elder Johnson, seen here descending the church steps. He presided over a flock of only 28 when this photograph was taken.

Originally the West 135th Street Branch of the NYPL, this library grew exponentially over the 20th century to encompass a complex of buildings housing the prestigious Schomburg Collection for Research in Black Culture. The original building was one of 11 Carnegie-funded branches designed by the firm of McKim, Mead & White. All that remains of the building, which was designed in the firm’s characteristic Italian Renaissance Revival style, is its West 135th Street façade. During the 1920s Harlem Renaissance, the library became an important center for black cultural events and scholarship. This was due to the pioneering work of Branch Librarian Ernestine Rose, who began compiling a collection of black literature and history books beginning in the 1920s. As a result of this growing and influential collection, the library was renamed the 135th Street Branch Division of Negro Literature, History and Prints in 1925, and the following year, the NYPL increased it with the acquisition of historian, writer, and activist Arturo Alfonso Schomburg’s famous private collection. With its continued expansion, a new wing was added to the rear of the building on West 136th Street in 1941. With this addition, the library, which had doubled in size, was renamed the Countee Cullen Branch. In 1972 the collection was renamed the Schomburg Center for Research in Black Culture. In 1980, a new building was constructed at 515 Malcolm X Boulevard. The complex now represents three distinct eras for this venerable institution. 103 West 135th Street is a New York City Individual Landmark.

Ye Olde Barber Shop at 2193 Fifth Avenue in Harlem, 1939. These buildings were razed a few years later, ahead of the construction of the Lincoln Houses, a NYCHA development completed in December, 1948.

All Saints Roman Catholic Church Complex ARCHITECT: Architect: Renwick, Aspinwall & Russell DATE: Year Built: 1883-1893 STYLE: Italian Gothic Revival, Venetian Gothic Revival, Gothic Revival The Roman Catholic Church of All Saints, with its lively and animated design and exceptionally fine ornament, was created by one of New York’s leading nineteenth-century architects, James Renwick, Jr., of the firm of Renwick, Aspinwall and Russell. Among the many churches he designed during his long career, the Church of All Saints has been called his best. Constructed over the course of several years, the church (1883-93), parish house (1886-89) and school (1902-04) formed an important anchor for the rapidly expanding Harlem neighborhood when they were built, and continue that role today. Renwick, architect of the original Smithsonian building in Washington, designed many of New York City’s most beautiful and well-known churches, including Grace Church and St. Patrick’s Cathedral. The Church of All Saints is his most fully evolved Italian Gothic Revival style design, an unusual stylistic choice for a late nineteenth century church in New York. The building displayed the texture, shape and color variations that were so important during that period due to the influence of the writings of John Ruskin. The facades of All Saints combine the mixed tones of light and dark brick, terra cotta and stone, with an assortment of window shapes and sizes in a building which is both spirited and inspiring. The neighboring parish house displays elements of the Venetian Gothic Revival style, with its stone balconies pierced by pinwheeling designs, and its narrow windows topped by filled gothic arches. The school building, located north of the church along 130th Street and completed several years later by Renwick’s nephew, William W. Renwick, displays a simpler version of the Gothic Revival style, with plain brick wall surfaces juxtaposed with light-colored stone and areas of elaborate terra-cotta ornament.