Category Archives: Digital Project

The Apartment That Wasn’t

John Williams Campbell was born in Brooklyn in 1880 into a well-to-do family. His father was treasurer of the Credit Clearing House, a credit bureau for merchandise wholesalers. At the age of 18, Campbell joined his father at the firm and moved up the ranks, becoming a senior executive seven years later. By the 1920s Campbell was making millions as president of the Credit Clearing House and served on the board of the New York Central Railroad. In 1923 he focused his attention on building a private office, one that would showcase his position and wealth. To that end, he hired architect Augustus N. Allen to design the space. Campbell’s choice of location – a 60-foot long, 30-foot wide single room on the ground floor of Grand Central Terminal – was a departure from the typical skyscraper suite.

Wurts Bros. (New York, N.Y.) 15 Vanderbilt Avenue. Credit Clearing House. Office of John W. Campbell. ca. 1923. Museum of the City of New York. X2010.7.2.24894

Wurts Bros. (New York, N.Y.) 15 Vanderbilt Avenue. Credit Clearing House. Office of John W. Campbell. ca. 1923. Museum of the City of New York. X2010.7.2.24894

The office boasted a butler, a pipe organ, and a piano, as well as Campbell’s private art collection.  A mahogany musician’s gallery with carved quatrefoils was installed. After hours, Campbell’s office doubled as a private recital hall, where guests could relax on 19th century Italian seating furniture (masquerading as 13th century) and listen to famous musicians play.

Wurts Bros. (New York, N.Y.) 15 Vanderbilt Avenue. Credit Clearing House. Office of John W. Campbell. ca. 1923. Museum of the City of New York. X2010.7.2.21631

Wurts Bros. (New York, N.Y.) 15 Vanderbilt Avenue. Credit Clearing House. Office of John W. Campbell. ca. 1923. Museum of the City of New York. X2010.7.2.21631

Hand-painted wooden beams adorned the 25-foot ceiling. The large stone fireplace behind Campbell’s desk housed a steel safe. Perhaps the most notable feature of all was the hand-woven Persian rug that covered almost the entire floor. It was rumored to have cost $300,000, nearly $4 million in today’s dollars.

Wurts Bros. (New York, N.Y.) 15 Vanderbilt Avenue. Credit Clearing House. Office of John W. Campbell. ca. 1923. Museum of the City of New York. X2010.7.2.24893

Wurts Bros. (New York, N.Y.) 15 Vanderbilt Avenue. Credit Clearing House. Office of John W. Campbell. ca. 1923. Museum of the City of New York. X2010.7.2.24893

Perhaps because of all its amenities, the office was dubbed “Campbell’s Apartment,” but there is no evidence that he or anybody else lived there. After Campbell’s death in 1957, the space became a signalman’s office. It was later used by the Metro-North Railroad police, as gun storage and then as a jail. During these years, it seemed to follow the fate of its mother building Grand Central in neglect and decline: the leaded glass windows were covered with plywood board, the timbered ceiling was concealed unceremoniously with a dropped ceiling, and the beautiful furnishings gradually disappeared (current whereabouts are unknown). Luckily, the restoration of Grand Central that began in 1993 saved Campbell’s office from a fluorescent-lighted fate. Two costly renovations in 1999 and again in 2007 ($1.5 million and $350,000, respectively) restored the office to its former glory and transformed it into a luxury cocktail bar and lounge with the purposely adopted misnomer, Campbell Apartment.

Wurts Bros. (New York, N.Y.) 15 Vanderbilt Avenue. Credit Clearing House. Office of John W. Campbell. ca. 1923. Museum of the City of New York. X2010.7.2.24895

Wurts Bros. (New York, N.Y.) 15 Vanderbilt Avenue. Credit Clearing House. Office of John W. Campbell. ca. 1923. Museum of the City of New York. X2010.7.2.24895

The “Forgotten” Father of Greater New York: Andrew Haswell Green

November 13, 1903. An 83 year old man leaves his office at 214 Broadway and gets on the Fourth Avenue street car by City Hall to join his nieces for lunch at his home. At 38th Street and Park Avenue, he disembarks the car and walks toward his house at 91 Park Avenue, a mere three houses away from the station. At his front gate, a man rushes at him, accusing the older man of turning a woman’s affection against him. (For a highly dramatic take on the confrontation read the opening of this Daily News article.) A passer-by hears the older man shout, “Who are you anyway? I don’t know you! Get away from me!” Five shots are fired, and the older man falls dead, right inside of the gate to his property. The shooter stands over the body with his revolver, his shoulders heaving, but his feet rooted in place. When the police arrive, he finally turns and blurts out: “He deserved it, —- him! He forced me to do it!” (New York Times.)

Funeral of Andrew H. Green. 1903. Museum of the City of New York. 2011.5.15.

Funeral of Andrew H. Green. 1903. Museum of the City of New York. 2011.5.15.

So begins the strange tale of the life — and death — of Andrew Haswell Green. Never heard of him? That’s completely understandable. Despite doing so much for New York City, and helping make it into the city we know today, his name faded into obscurity. However, it just takes a cursory glance around the five boroughs to see that the legacy of A.H. Green never faded at all. In fact, it thrives: Consolidation of the five boroughs? Green did that. Central Park? A.H. Green. The American Museum of Natural History, Metropolitan Museum of Art, the Bronx Zoo, Washington Bridge in Harlem, and New York Public Library? They all owe their existence to this one man. Green could perhaps be compared to the other great master builder of New York City, Robert Moses, just without the controversy. He is also one of the first preservationists, and was praised by nearly everyone for his single-minded, constant effort to improve his adopted city.

Stacy. Andrew Haswell Green. ca. 1868. Museum of the City of New York. X2011.5.10.

Stacy. Andrew Haswell Green. ca. 1868. Museum of the City of New York. 2011.5.10.

Andrew Haswell Green was born in Worcester, Massachusetts in 1820. He moved to New York City at the age of 15, where he worked as an errand boy, before eventually making his way through law school to became a partner in Samuel J. Tilden’s law firm. Perhaps inspired by Tilden, it was during this time that he began his lifelong quest for the betterment of New York City with a position on the Board of Education in 1855; three years later he was the president of the Board. He had found his passion.

Certificate from  New York Board of Education Honoring Andrew Haswell Green. 1857. 2011.5.12

Certificate from New York Board of Education Honoring Andrew Haswell Green. 1857. 2011.5.12.

Public parks and green spaces were not part of the 19th century idea of a city. Due to the rapidly growing population of Manhattan, however, city officials began looking for an area in the wilderness above 42nd Street to locate a park, and Green was elected to the Board formed to oversee its creation. When the landscape architects Calvert Vaux and Frederick Law Olmsted presented their plans for the urban oasis, Green was so taken and inspired by their proposal that he had the board create the position of comptroller for him, ensuring his close involvement. As with many public building projects, the park was already over budget and behind schedule. But in short order, Green managed the finances and even stepped into controlling the daily operations of the park building, from the construction schedule to the deciding of materials — much to the dismay of Vaux and Olmsted. Green drove the architects crazy with his own ideas about everything in the park, while also keeping them on a tight financial leash.  Despite their personal difficulties, the three men managed to fund and create one of the world’s most beautiful and recognizable urban open spaces: Central Park.

Sarony, Major & Knapp Lith. Map showing the original Topography of the site of Central Park with a Diagram of Roads and Walks now under construction. Museum of the City of New York. 50.358.60

Sarony, Major & Knapp Lith. Map showing the original Topography of the site of Central Park with a Diagram of Roads and Walks now under construction. Museum of the City of New York. 50.358.60

In 1871, the Tweed Ring, the corrupt political organization that controlled the city’s finances, was ousted and its leader, Boss Tweed, thrown in jail by Green’s old friend and mentor Samuel J. Tilden. The city reeled from the sudden loss of leadership, and was nearly left in financial ruin. Andrew Haswell Green came to the rescue again. He was elected Acting-Comptroller and went to work balancing the budget and doing whatever else it took: things were so bad, an apocryphal story tells of him paying the police force out of his own pocket. He stayed on as the city’s Comptroller for the next five years, leaving the city’s coffers in much better shape than he found them.

Green was discussed as a candidate in nearly every mayoral election from 1876 to 1896. The closest he came to actually running was in 1876 when the Independent Citizens Committee nominated him on a Reform Ticket. For once, he was unsuccessful.

Reform Ticket, Independent Citizen's Committee, Mayor, Andrew H. Green. 1875-1876. Museum of the City of New York. 2011.5.13.

Reform Ticket, Independent Citizen’s Committee, Mayor, Andrew H. Green. 1875-1876. Museum of the City of New York. 2011.5.13.

However amazing all of these contributions are, they are overshadowed by what the press dubbed “Green’s hobby.” In a word: consolidation. Green wanted to see all the competing towns, villages, and settlements in Manhattan, Richmond, Kings, The Bronx, and Queens counties under one government. As early at 1868 he was the sole voice championing consolidation. For over 20 years he lobbied hard for this, despite bitter opposition from entire cities (namely Brooklyn) and various political hurdles. He helped draft the Consolidation Law in 1895 which was passed in 1897. On January 1, 1898 Greater New York was a reality.

Colton, Ohman & Co. Map of the City of New York. 1901. Museum of the City of New York. 53.191.8.

Colton, Ohman & Co. Map of the City of New York. 1901. Museum of the City of New York. 53.191.8.

One explanation for why Green’s legacy faded into obscurity, other than just New York being fickle, might be related to his shocking death. His murderer, Cornelius M. Williams, was in love with a woman who had moved her affections on to an older gentleman with the last name of Green. Williams was so jealous that he consulted the city directory and found the first Green listed, Andrew H. Green, and laid in wait for an opportunity to show his displeasure. That opportunity presented itself on November 3, 1903 when he murdered a man for having a common last name. For a more detailed overview, read this New York Times article.

Right after Green’s death, there was a plan to name a road running along the edge of Manhattan after him, but plans floundered and for years, the only public monument dedicated to Green was a bench in a remote area of Central Park. In 2011, thanks to the tireless efforts of Manhattan Borough Historian Michael Miscione, Andrew Haswell Green Park on the bank of the East River between 59th and 63rd Streets opened to the public. Hopefully this will be the first step in remembering the forgotten father of Greater New York.

Rockwood. Andrew Haswell Green. 1895. Museum of the City of New York. 2011.5.4.

Rockwood. Andrew Haswell Green. 1895. Museum of the City of New York. 2011.5.4.

Wurts Bros. New York City Photography

X2010_7_1_12414

Wurts Bros. (New York, N.Y.) Rockefeller Center. Ca. 1931. Museum of the City of new York. X2010.7.1.12414

Many photographers have captured New York City architecture over the years, but few have been so prolific, nor have they documented the construction of so many iconic New York City landmarks as the Wurts Brothers.

In 1894 Lionel and Norman Wurts established one of the first architectural photography studios in New York City.  Over the next 85 years the two brothers, and later Lionel’s son, Richard, gained recognition and many prominent clients including Cass Gilbert (The Woolworth Building), Consolidated Gas Company (now known as Con Ed) , and Skidmore, Owings & Merrill (the firm now building One World Trade Center).

X2010_7_1_2507_117477 001

Wurts Bros. (New York, N.Y.) Wurts Brothers Signs. Ca. 1919. Museum of the City of New York. X2010.7.1.2507

The Wurts Bros. worked alongside architects, engineers, and rental agents to record major New York City landmarks under construction during some of the city’s most dynamic years of expansion. Their images are widely recognizable and have been reproduced in many architectural and general interest magazines over the years. The Museum of the City of New York retains the firm’s archives of over 45,000 prints and negatives. Over the last four years our Collections team has worked on cataloging, rehousing, and digitizing this collection, supported by two generous grants from the Leon Levy Foundation.

A good example of the historic record contained within the Wurts Bros. photographs is the construction of the Woolworth Building.  On April 24, 1913, nearly 100 years ago, construction was completed on the 792-foot skyscraper. The Woolworth Building was the tallest building in the world until 1930, when the Chrysler Building would overtake it.

woolworths

Clockwise from upper left hand corner: Wurts Bros. Woolworth Building, exterior from S.E Corner. February 3, 1912. Museum of the City of New York. X2010.7.1.3857. Wurts Bros. Woolworth Building, exterior from S.E. April 4, 1912. Museum of the City of New York. X2010.7.1.3875. Wurts Bros. Broadway and Barclay Street. Woolworth Building, general view from S.E. April 8, 1913. Museum of the City of New York. X2010.7.1.4390. Wurts Bros. Woolworth Building, general exterior from S.E. June 7, 1912. Museum of the City of New York. X2010.7.1.3886

The Wurts Bros. captured the majority of their beautiful images utilizing a large format view camera and glass plate negatives, which render the images incredibly sharp, striking, and detailed.  They shot with wide angle lenses and bellows that allowed them to twist and turn the camera for spectacular views that are otherwise impossible to see. To a viewer standing at ground level looking up, buildings appear tall and skinny like a needle. To correct for this misleading perspective, Lionel Wurts crafted a technique of shooting from the upper floors of an adjacent building while skillfully working with the camera bellows and lenses to create perfectly even and square portraits of skyscrapers and buildings. The majority of the Wurts Bros. collection was captured on these large, heavily detailed glass plate negatives, but as acetate film became more ubiquitous they began to shoot with smaller format film as well.

Wurts Bros. (New York, N.Y.) Broadway and Exchange Place. Norman Wurts making photos from 4th-story ledge on Exchange Court Building, 1937. Museum of the City of New York. X2010.7.1.8427

Wurts Bros. Broadway and Exchange Place. Norman Wurts making photos from 4th-story ledge on Exchange Court Building, 1937. Museum of the City of New York. X2010.7.1.8427

Here are some fabulous examples of the type of documentary style the Wurts Bros. are best known for:

X2010_7_1_730

Wurts Bros. (New York, N.Y.) 5th Avenue West 58th Street. Central Park South. Plaza Hotel. Ca. 1905 Museum of the City of New York. X2010.7.1.730

X2010_7_1_1948

Wurts Bros. (New York, N.Y.) Broadway and 34th Street. R.H. Macy Co. Ca. 1915. Museum of the City of New York. X2010.7.1.1948

The Wurts Bros. were also contracted to photograph facades and interiors of luxurious New York residences like this one from 40 West 57th Street, giving  viewers a glimpse inside spectacular upper class residences they could only before imagine.

Wurts Bros. 40 West 57th Street. H.B. Gilbert residence, front. Ca. 1910. Museum of the City of New York. X2010.7.1.11

Wurts Bros. (New York, N.Y.) 40 West 57th Street. H.B. Gilbert residence, front. Ca. 1910. Museum of the City of New York. X2010.7.1.1185

Wurts Bros. (New York, N.Y.) 40 West 57th Street. H.B. Gilbert residence, parlor at windows. Ca. 1910. Museum of the City of new York. X2010.7.1.1196

Wurts Bros. (New York, N.Y.) 40 West 57th Street. H.B. Gilbert residence, parlor at windows. Ca. 1910. Museum of the City of new York. X2010.7.1.1196

The Wurts Bros. name is also synonymous with the New York World’s Fair Exhibition of 1939. Richard Wurts, the son of Lionel, documented the construction and grandeur of the fair grounds. In the winter of 1939 he had a one man show of these photos at the Museum of the City of New York called “Building the 1939 New York World’s Fair.” Here are some photos from the exhibition:

39_567_1_031-copy

Richard Wurts. Supreme (Food and Sports Building, dome). 1938. Museum of the City of New York. 39.567.1.31

39_567_1_011-copy

Richard Wurts. See My Shadow (Perisphere from top Trylon). 1938. Museum of the City of New York. 39.567.1.11

X2010_7_1 030

Wurts Bros. (New York, N.Y.) ca. 1939. View of World’s Fair from a subdivision. Museum of the City of New York. X2010.7.1.15559

X2010_7_1 1398

Wurts Bros. (New York, N.Y.) ca. 1939. Richard Wurts with his photograph of World’s Fair. Museum of the City of New York. X2010.7.1.15437

Operating as a commercial studio through several generations of New York City history, the Wurts Bros. had a broad spectrum of clientele. They chronicled everything from skyscrapers to houses; office buildings to schools; tools to artwork. They documented so much of New York City that it’s hard to find something they didn’t photograph.

X2010.7.1.304

Wurts Bros. (New York, N.Y.) Madison Avenue at the corner of 129th Street. All Saints Roman Catholic Church, interior view looking at organ. Ca. 1905. Museum of the City of New York. X2010.7.1.304.

wurts_G0810_808019 001

Wurts Bros. (New York, N.Y.) 31st Street and 6th Avenue, N.W. corner. Greeley Square Building, men’s urinal partitions. Museum of the City of New York. X2010.7.1.6250

X2010_7_2_07577

Wurts Bros. (New York, N.Y.) Master plumber with lead windmill model made up of lead wiped joints, lead pipe, 1931. Museum of the City of New York. X2010.7.2.7577

Wurts Bros. (New York, NY) Museum of the City of New York. X2010.7.1.5505

Wurts Bros. (New York, NY) 40th Street and 5th Avenue. Murphy Door Bed Co., interior, Ca. 1921. Museum of the City of New York, X2010.7.1.5505

For more images click here

Art Deco Treasures

Art Deco architecture flourished in Europe and the United States during the 1920s and 1930s. Spurred by the 1925 Paris exhibition Exposition Internationale des Arts Décoratifs et Industriels Modernes which boasted over 16 million visitors, structures such as the Chrysler Building and the Empire State Building began dotting the New York City skyline. Below are some recently digitized photographs, not yet available on the Museum’s portal, that struck me as particularly beautiful in their exemplification of Art Deco architecture.

The Ziegfeld Theatre opened to audiences on February 2, 1927 with the musical comedy “Rio Rita”. The 1,638-seat theater, named in honor of impresario Florenz Ziegfeld, was financed by William Randolph Hearst and Arthur Brisbane and designed by Joseph Urban and Thomas W. Lamb. Located at the corner of Sixth Avenue and 54th Street, the theater dazzled audiences during its 38-year tenure with original productions of “Ziegfeld Follies of 1931″ and “Gentlemen Prefer Blondes”, to name a few. The limestone structure was razed in 1966 to make way for an office building. In 1969 a 1,131-seat movie palace named after the original Ziegfeld Theatre opened just a few hundred feet away.

Ziegfeld Theatre. 1927. Museum of the City of New York. X2010.7.2.84

Wurts Bros. (New York, N.Y.) Ziegfeld Theatre. 1927. Museum of the City of New York. X2010.7.2.84

Graybar built their namesake building at the intersection of Lexington Avenue and 43rd Street from 1926-27, which served as the distribution company’s corporate headquarters until 1982 . In 2012, New York City Department of Planning (DEP) announced a proposal to rezone East Midtown, the area generally located between Second and Fifth Avenues, from 39th to 57th Streets. Some people are worried that the proposed rezoning could lead to the demolition of older buildings which are not protected by landmark status. Following the DEP’s announcement, the Municipal Art Society of New York submitted the Graybar Building as well as 16 other structures in East Midtown to the Landmarks Preservation Commission for evaluation.

420 Lexington Avenue. Graybar Building, detail of middle entrance. 1927. Museum of the City of New York. X2010.7.2.2609

Wurts Bros. (New York, N.Y.) 420 Lexington Avenue. Graybar Building, detail of middle entrance. 1927. Museum of the City of New York. X2010.7.2.2609

The Goelet Building, now called the Swiss Center Building, was built from 1930-32 and designed by Victor L. S. Hafner. The engineering firm E.H. Faile & Co. produced the building’s structural frame. Commissioned by Robert Goelet, the building was constructed at the intersection of Fifth Avenue and 49th Street, on land previously occupied by the Goelet family mansion. The building’s heritage was beautifully displayed on the main entrance at 608 Fifth Avenue: the cast metal tympanum, shown in the three photographs below, featured a shield with the family monogram “G” as well as the family crest, the swan. Subsequent modifications to the building in 1965 by the Swiss Center included removal of the entrance arch on Fifth Avenue.

608 Fifth Avenue. Goelet Building. Detail of metalwork over entrance. 1931. Museum of the City of New York. X2010.7.2.4841

Wurts Bros. (New York, N.Y.) 608 Fifth Avenue. Goelet Building. Detail of metalwork over entrance. 1931. Museum of the City of New York. X2010.7.2.4841

608 Fifth Avenue. Goelet Building. Detail of metalwork over entrance. 1931. Museum of the City of New York. X2010.7.2.4842

Wurts Bros. (New York, N.Y.) 608 Fifth Avenue. Goelet Building. Detail of metalwork over entrance. 1931. Museum of the City of New York. X2010.7.2.4842

Wurts Bros. (New York, N.Y.) 608 Fifth Avenue. Goelet Building. Entrance. 1930. Museum of the City of New York. X2010.7.2.4906

Wurts Bros. (New York, N.Y.) 608 Fifth Avenue. Goelet Building. Entrance. 1930. Museum of the City of New York. X2010.7.2.4906

The Herman Ridder Junior High School (Public School 98) in the Crotona Park East section of the Bronx was designed by the Board of Education’s Bureau of Design and Construction and built from 1929-31 in response to the borough’s rapid increase in population during the 1920s. The concept of junior high schools, where young teenagers could transition to high school or prepare to enter the workforce, was relatively recent at that time.  The junior high schools in existence were modeled after elementary school plans, albeit with some modifications. The Herman Ridder Junior High school was the first school in New York City built specifically with the needs of junior high students in mind.

Wurts Bros. (New York, N.Y.) Boston Road and 173rd Street. PS 98, Herman Ridder Junior High School. 1933. Museum of the City of New York. X2010.7.2.5573

Wurts Bros. (New York, N.Y.) Boston Road and 173rd Street. PS 98, Herman Ridder Junior High School. 1933. Museum of the City of New York. X2010.7.2.5573

The Bronx had become a magnet for the middle class with upwardly mobile aspirations, an affordable alternative to pricey Manhattan real estate. The completion of the Jerome Avenue subway line in 1918 made the area more accessible and therefore, more desirable. Scores of Art Deco apartment houses were being constructed during this time. The boom was particularly evident along Grand Concourse. Perhaps one of the most beautiful examples is 888 Grand Concourse, shown in the photographs below. It was designed by renowned architect Emery Roth in 1937.

Wurts Bros. (New York, N.Y.) 888 Grand Concourse. Apartment building. 1937. Museum of the City of New York. X2010.7.2.7464

Wurts Bros. (New York, N.Y.) 888 Grand Concourse. Apartment building. 1937. Museum of the City of New York. X2010.7.2.7464

Wurts Bros. (New York, N.Y.) 888 Grand Concourse. Apartment building. 1937. Museum of the City of New York. X2010.7.2.7465

Wurts Bros. (New York, N.Y.) 888 Grand Concourse. Apartment building. Entrance. 1937. Museum of the City of New York. X2010.7.2.7465

Wurts Bros. (New York, N.Y.) 888 Grand Concourse. Apartment building. Entrance. 1937. Museum of the City of New York. X2010.7.2.7467

Wurts Bros. (New York, N.Y.) 888 Grand Concourse. Apartment building. Entrance. 1937. Museum of the City of New York. X2010.7.2.7467

Digitization of the Wurts Bros. Collection was made possible by the generous funding and support of the Leon Levy Foundation.

A Century of Grand Central Terminal

There’s no place like Grand Central. The sheer scale and elegance of the main concourse transforms the daily commute into a complex choreography as commuters and tourists negotiate through the hallways, overheard conversations turn into mysterious plots of other people’s dramas, and what can be mundane becomes a unique experience. Grand Central has seen a steady tide of humanity for the past 100 years,  becoming  a beloved  New York landmark.

The first Grand Station Station on 42nd Street was Grand Central Depot, a beautiful but almost immediately obsolete building that was shared by the Harlem,  New Haven, and Vanderbilt’s New York Central Railroads. Its glass topped train yard, seen below, was based on St. Pancras in London and was the largest train station in the States at the time. Yet each railroad had its individual waiting rooms and tracks making it “ill-arranged, dark and repelling”. (For more of this fantastically in-depth complaint of the old station in the New York Times, click here   and here.)

Unknown. Grand Central Terminal. ca. 1885. Museum of the City of New York. X2010.11.2776.

Unknown. Grand Central Terminal. ca. 1885. Museum of the City of New York. X2010.11.2776.

What was even worse than the interior was the jumble of tracks and belching of steam engines that rumbled down Fourth Avenue from Harlem. The streets from 42nd to 59th were intersected by train tracks which meant that merely crossing the street was so dangerous that for a while, Fourth Avenue was called “Death Avenue. (Read the fabulous 1913 article about the opening of the station.)  This was more or less fine when the surrounding areas were still relatively rural, but as the population of New York increased and respectable classes moved farther uptown, it made the area less than desirable.  Thankfully, a shift in technology came at just the right time. In 1900 trains were switching to electric power, which eliminated the unsightly steam, the omnipresent cinders, and noise.  By 1903  steam engines were banned in the city, and with new tunnels effectively hiding all hints of the railroads, Fourth (or Death) Avenue completed its transformation into Park Avenue.

Unknown. Grand Central Terminal. 1906. Museum of the City of New York. X2010.11.2820.

Unknown. Grand Central Terminal. 1906. Museum of the City of New York. X2010.11.2820.

In 1903,  as the plans for Penn Station were nearing completion, it was clear that a new Grand Central needed to be built if New York Central Railroad wanted to remain relevant.  So the heads of New York Central had a contest for the new station that reads almost like a Who’s Who of Gilded Age architecture – even McKim, Mead and White submitted a proposal: Stanford White’s fanciful  concept of a 60-story building topped by a tower of steam 300 feet tall and illuminated red at night.

McKim, Mead & White. Grand Central Terminal proposal. ca. 1903. museum of the City of New York. 90.44.1.486

McKim, Mead & White. Grand Central Terminal proposal. ca. 1903. museum of the City of New York. 90.44.1.486.

But it was St. Louis architectural firm Reed & Stern that eventually got the commission.  The New York firm of  Warren & Wetmore became consulting architects mostly due to Whitney Warren being the cousin of William Vanderbilt. However tumultuous the relationship between the architects may have been, the resulting building was a perfect marriage of their ideals. Reed & Stern were responsible for the effortless blending of engineering and design, but  it was Warren who elevated the building into art with Beaux-Arts details.

Unknown. Grand Central Terminal. ca. 1910. Museum of the City of New York. X2010.11.2818.

Unknown. Grand Central Terminal. ca. 1910. Museum of the City of New York. X2010.11.2818.

The construction of Grand Central was one of the biggest projects at that point in the history of Manhattan.  10 years passed; $65 million was spent; and  3.2 million cubic yards of earth and rock were removed. “The daily detritus, coupled with debris from the demolition of the old station, amounted to 1,000 cubic yards and filled nearly 300 railway dump cars…At peak periods, 10,000 workers were assigned to the site and work progressed around the clock.” (New York Times)  The scope of the project is astounding: Grand Central was built on 70 acres with 31.8 miles of tracks and 30 platforms totally eclipsing its nearest competitor, Penn Station, which was built on 23 acres and boasted 16 miles of tracks and 11 platforms.  Grand Central opened to the public on February 2, 1913 and New York has never been the same.

Unknown. Grand Central Terminal construction. ca. 1905. Museum of the City of New York. X2010.11.2804

Unknown. Grand Central Terminal construction. ca. 1905. Museum of the City of New York. X2010.11.2804.

Dr. Percy Fridenberg. Construction of Grand Central Terminal. ca. 1911. Museum of the City of New York. X2010.11.5467.

Dr. Percy Fridenberg. Construction of Grand Central Terminal. ca. 1911. Museum of the City of New York. X2010.11.5467.

The New York Times reported that in its first day 150,000 people visited Grand Central and were immediately in awe. Some of the more incredible features that have since fallen the wayside, such as women-only shoe polishing rooms safe from men catching a glimpse of ankle, and of course a separate hair parlor just in case the commute made her curls limp. What is really amazing is that for a mere 25 cents a woman could hire a private dressing room complete with a maid to make sure she would be ready for any social function. Men were not left out of these kinds of perks. They had private barber shops which offered shaves by a team of barbers who could speak up to 30 languages. A man could also rent a valet to make sure he was flawlessly fashionable.  And if tragedy were to strike either sex, the station doctor would be there within moments to treat them. It was the epitome of luxury.

Unknown. Grand Central Station. ca. 1918. Museum of the City of New York. X2010.11.2827.

Unknown. Grand Central Station. ca. 1918. Museum of the City of New York. X2010.11.2827.

Unknown. Interior, Grand Central. ca. 1918. Museum of the City of New York. X2010.11.2798.

Unknown. Interior, Grand Central. ca. 1918. Museum of the City of New York. X2010.11.2798.

Irving Underhill (d. 1960). Grand Central Depot, 42nd St. 1914. Museum of the City of New York. X2010.28.297.

Irving Underhill (d. 1960). Grand Central Depot, 42nd St. 1914. Museum of the City of New York. X2010.28.297.

For the next 50 years Grand Central was the epicenter of New York. Everyone passed through the terminal.  However, the decline of train travel affected Grand Central as much as it did the less fortunate Penn Station. During World War II the once grand skylights were painted over. By the 1950s, decades of nicotine tar coated the once blue constellation-adorned ceiling, and the east balcony had been covered with a giant Kodak advertisement. During the 1970s and 1980s it became the center of  one of largest homeless populations in New York.

John Harry Lufbery. Kodachrome Ad, Grand Central Station, #2. 1947. Museum of the City of New York. 2004.18.5

John Harry Lufbery. Kodachrome Ad, Grand Central Station, #2. 1947. Museum of the City of New York. 2004.18.5.

Save Grand Central. ca. 1968. Museum of the City of New York. 97.102.29

Save Grand Central. ca. 1968. Museum of the City of New York. 97.102.29.

In 1963, Pennsylvania Station was demolished (read our previous blog about its destruction here)  and by 1975  it looked like Grand Central would be next on the chopping block. But thanks to the recently created Landmark Preservation Board and supporters like Jacqueline Kennedy Onassis, it was spared from becoming an office building.

Starting in 1993, Grand Central underwent a badly needed restoration and has now returned to its previous glory. Sunlight is again streaming in, the constellations twinkle on the ceiling, and the mere act of traveling is once again elegant.

Wurts Bros. (New York, N.Y.) Museum of the City of New York. X2010.7.1.1695.

Wurts Bros. (New York, N.Y.) Interior of Grand Central. Museum of the City of New York. X2010.7.1.16795.

 

Click here for more images of Grand Central from the Museum’s collection.

Winter in the City

In case you missed it, winter descended on New York City last week. Freezing temperatures (the coldest in two years), snow, and wind made many New Yorkers remember why they love the summer.  To observe the late arrival of winter, and the snow that’s falling as this is being written, here are some of our favorite winter images.

There is something undeniably magical about New York in the winter. The fall of snow on skyscrapers muffles the usual street noises until you can almost believe you’re walking in an earlier time. Blankets of snow transform the hard geometries of familiar sights like Herald Square and the Flatiron Building with the soft brush-like strokes of impressionist art.

Byron Company (New York, N.Y.) Broadway North from 34th Street. 1899. Museum of the City of New York. 93.1.1.17918

Byron Company (New York, N.Y.). Broadway North from 34th Street. 1899. Museum of the City of New York. 93.1.1.17918.

Jessie Tarbox Beals. Flatiron Building. ca. 1905. Museum of the City of New York. 91.53.38.

Jessie Tarbox Beals. Flatiron Building. ca. 1905. Museum of the City of New York. 91.53.38.

Central Park has been the place to enjoy winter in Manhattan since it opened in 1857. Generations of New Yorkers have skated, sledded, had snowball fight,s and simply enjoyed nature in its 843 acres. (If you want to see an amazing 1898 short film by Edison depicting the splendor of Central Park in the winter, especially sleighing, go here.)

Currier & Ives. Central Park in Winter. ca. 1885. Museum of the City of New York. 57.100.5.2

Currier & Ives. Central Park in Winter. ca. 1885. Museum of the City of New York. 57.100.5.2.

While this Currier and Ives print has sleighing in the forefront, New Yorkers have found ways many ways to enjoy the snow throughout the boroughs.

The ever popular sledding in Central Park:

Unknown. Sleigh riding in Central Park. 1897. Museum of the City of New York. X2010.11.1313.

Skating with friends:

Wurts Bros. (New York, N.Y.). Brooklyn Friends Seminary – ice skating. 1940. Museum of the City of New York. X2010.7.1.12630.

And proving that New Yorkers are nothing, if not intrepid:

Unknown. Bicycle in the snow, C. W. Hadley at the handlebars. 1898. Museum of the City of New York. X2010.11.13336

Unknown. Bicycle in the snow, C. W. Hadley at the handlebars. 1898. Museum of the City of New York. X2010.11.13336.

In all the five boroughs, during winter, you can feel like you’re in the depths of nature and not in one of the largest cities in the world.

Irving Underhill (d. 1960). Central Park Snow Scene. 1923.Muiseum of the City of New York. X2010.28.362

Irving Underhill (d. 1960). Central Park Snow Scene. 1923.Museum of the City of New York. X2010.28.362.

George Miller, Jr. When Winter Comes - Riverdale - N.Y. City. ca. 1930. Museum of the City of New York. X2010.12.152

George Miller, Jr. When Winter Comes – Riverdale – N.Y. City. ca. 1930. Museum of the City of New York. X2010.12.152.

Enjoy the rest of the of winter, whatever it might bring!

Click here to view more images of winter and New Yorkers having fun in the snow from the Museum’s collection.

The Political Campaign

Certificate of Registration, 1897, in the Politics and Government Collection.  Museum of the City of New York. 38.176.

Certificate of Registration, 1897, in the Politics and Government Collection. Museum of the City of New York. 38.176.

In honor of the 57th inauguration of the President of the United States, I decided to take a look at how campaigning for political office and the democratic process is represented in the collections of the Museum of the City of New York.

Geraldine Ferraro, America's First Woman Vice President, 1984, in the Political and Civic Button Collection. Museum of the City of New York. 96.24.

Geraldine Ferraro, America’s First Woman Vice President, 1984, in the Political and Civic Button Collection. Museum of the City of New York. 96.24.

Those of you who frequent our online Collections Portal may have noticed the recent addition of hundreds of political and civic buttons and badges to our online content.  This collection is representative of the wide array of politicians, offices, and agendas encountered in New York City politics.

The collection includes political campaign buttons for female candidates running for local positions, such as Bella Abzug, as well as material associated with New Yorkers such as Geraldine Ferraro and Hilary Clinton who held local political positions, and went on to run (though unsuccessfully, in these instances) for political office at the national level.

Candidates have approached the electorate with any number of slogans and agendas, ranging from improved waterways to a clean government.

For Congress, Edw. R. Gilman, ca.1905, in the Political and Civic Button Collection. Museum of the City of New York. 96.184.204.

For Congress, Edw. R. Gilman, ca.1905, in the Political and Civic Button Collection. Museum of the City of New York. 96.184.204.

Vote for Brush and a Clean City Government, ca.1895, in the Political and Civic Buttons Collection. Museum of the City of New York. 96.184.193.

The Emigrant's Lament, ca. 1860's, in the Political Ephemera Collection. Museum of the City of New York. 41.361

The Emigrant’s Lament, ca. 1860′s, in the Politics and Government Collection. Museum of the City of New York. 41.361

The collection holds buttons related to mayoral campaigns, including those of Seth Low, John Purroy Mitchel, and David Dinkins; and gubernatorial campaigns, including candidates Nelson A. Rockefeller and Theodore Roosevelt.

New York’s diverse population is also represented in the political process, dating back to complaints related to inconsistent granting of the right to vote to immigrants, as depicted by the broadside to the left from our two-dimensional paper ephemera Politics and Government Collection; to a Spanish language campaign button for Rudy Giuliani.

Grand Sachem - John R. Voorhis - Society of Tammany or Columbian Order, 1917, in the Political and Civic Buttons and Badges Collection. Museum of the City of New York. 52.314.23.

Grand Sachem – John R. Voorhis – Society of Tammany or Columbian Order, 1917, in the Political and Civic Buttons and Badges Collection. Museum of the City of New York. 52.314.23.

One political organization well known for its alignment with the immigrant vote and its influence over New York City politics through much of the 19th century is the Tammany Society or Colombian Order, commonly referred to as “Tammany Hall.”  The Museum holds a wide array of objects in the collection associated with the Tammany Hall political machine, including ribbon badges such as the one pictured to the right, over 250 original sketches for political cartoons by Rollin Kirby, excerpts from Harper’s Weekly, and two dimensional ephemera such as programs and invitations for events.

No matter your political affiliation, the Museum of the City of New York’s collection holds a wide array of objects documenting the vibrancy of this city’s political history.

The World of Yiddish Theater, As Seen By Alter Kacyzne

While cataloging the Museum’s Yiddish theater collection, I stumbled across some photographs that stood out among the thousands I had seen. They are beautiful, expertly lit yet not artificial, as some theater stills can seem. They were clearly the work of a master photographer, as I soon found out when I saw what was embossed on the mounts of the photographs: A. Kacyzne, Warszawa, Długa N 26.

Alter-Sholem Kacyzne was born to a poor family on May 31, 1885 in Wilno, then part of the Russian Empire (now Vilnius, Lithuania). As a child he attended kheyder, where he learned the Hebrew Bible, and then elementary school. He was an apprentice to a photographer at the age of fourteen. Although his formal education had ended, he continued to read and educate himself during the eleven years he worked at the photographer’s shop, eventually becoming fluent in six languages.

In 1910, Kacyzne moved to Warsaw to be closer to his literary idol, Isaac Leib Peretz. Peretz wrote plays and stories inspired by Jewish folklore and Hasidic culture. His writing often displayed sympathies to the labor movement that had been gaining momentum across the Russian Empire. Peretz is now regarded as one of the great classical Yiddish writers. Below he is seen with Yankev Dinezon, another revered Yiddish writer and activist.

Alter Kacyzne. I. L. Peretz and Yankev Dinezon. ca. 1910. Museum of the City of New York. X2012.7.365

Alter Kacyzne. I. L. Peretz and Yankev Dinezon. ca. 1910. Museum of the City of New York. X2012.7.365

The Vilna Troupe (or Vilner trupe, as it is known in Yiddish) was an esteemed Yiddish theater company with humble origins in Vilna, Lithuania. It began as an amateur group around 1916 but quickly gained an impressive reputation. In 1917, the troupe dazzled Warsaw audiences with its production of Leon Kobrin’s Yankel Boyle. The group reached its peak of fame in 1920 with a production of S. Ansky’s Der Dibek, or The Dybbuk in English. The Dybbuk’s overwhelming popularity among European theatergoers came at the expense of other Vilna Troupe performances, which played to empty seats. By 1924, infighting over the troupe’s direction had splintered the group into several divisions, each claiming to be the original Vilna Troupe.

Alter Kacyzne. Vilna Troupe. ca. 1920. Museum of the City of New York. F2012.63.403

Alter Kacyzne. Vilna Troupe. ca. 1920. Museum of the City of New York. F2012.63.403

Bella Bellarina, a Yiddish actress from Warsaw, joined the troupe in 1918 and starred in the group’s productions of The Dybbuk, Mirele Efros, Di puste kretshme (Idle Inn), and Grine felder (Green Fields). She traveled with the group in Europe and even to New York in 1924. She can be seen in the far left in the photograph below.

F2012_63_342_A

Alter Kacyzne. “Green Fields” theater still. ca. 1921. Museum of the City of New York. F2012.63.342

While in New York, she and her husband, fellow actor and Vilna Troupe member Chaim Schneyer Hamerow, decided to stay in the United States. Bellarina found steady work in Yiddish theater up until World War II, and then began appearing only at social and cultural events until her death in 1969.

Alter Kacyzne. "Green Fields" theater still. ca. 1921. Museum of the City of New York. F2012.63.343

Alter Kacyzne. “Green Fields” theater still. ca. 1921. Museum of the City of New York. F2012.63.343

Alter Kacyzne continued to work as a photographer and writer in Warsaw. He fled with his family in September 1939, when Germany invaded Poland. He survived in Soviet-occupied eastern Poland until the Nazi advance in June 1941. Kacyzne fled even further east in Poland to Tarnopol but was killed in the Ukrainian pogrom on July 7.

What must have amounted to Kacyzne’s immense archive – photographs, manuscripts, letters – did not survive the Nazi occupation. Of this great body of work, only around 700 photographs are known to exist. Kacyzne sent the photographs to New York in the 1920s during the course of two separate commissions by the Hebrew Immigrant Aid Society and the Yiddish newspaper Forverts, to document Jewish life in Poland. These photographs are now held in the YIVO archives. The Museum of the City of New York has four known photographs by Kacyzne in its collection.

Biographical information about Kacyzne was obtained from Marek Web’s introduction to the book Poyln: Jewish Life in the Old Country by Alter Kacyzne. Information about the Vilna Troupe was obtained from Vagabond Stars: A World History of Yiddish Theater by Nahma Sandrow.

Digitization of the Collection on Yiddish Theatre Collection was made possible by the generous funding and support of the David Berg Foundation and the Lemberg Foundation.

Brooklyn’s Boweries

A few months ago I attended the Wyckoff House’s country fair, held on the grounds of New York City’s oldest surviving building. The house is an anachronism among the car lots and fast food restaurants dotting the intersection of East 58th Street and Clarendon Road in the East Flatbush-Flatlands neighborhood of Brooklyn.

Simon Benepe. New York (N.Y.). Dept. of Parks and Recreation. Wyckoff House. 1988. Museum of the City of New York. X2010.11.7902

Built around 1652, the Wyckoff House was originally a Dutch West India Company bowerie, or farm. Pieter Claesen Wyckoff, a Dutch immigrant and indentured servant, acquired the farm in 1652 after his term of servitude expired. Succeeding descendants of Pieter Wyckoff continued to live in the house and farm the land until 1901. Miraculously, the structure survived the rapid development of Brooklyn in the 20th century, and was the first landmark in the five boroughs designated by the Landmarks Preservation Commission upon its establishment in 1965.

Josephine Barry. Wyckoff House, oldest bldg. in the 5 boroughs. 1948. Museum of the City of New York. 75.43.13

Of course, Brooklyn was once home to many Dutch farms, whose landowners took advantage of the fertile land and surrounding marshes and basins. Vestiges of this heritage remain, in one form or another.

The Van Pelt Manor house was built around 1686, at what is now the intersection of 18th Avenue and 82nd Street in Bensonhurst’s Milestone Park.

Van Pelt manor house. 1911. Museum of the City of New York Photo Archives. X2010.11.7899

Well at the Van Pelt house. 1903. Museum of the City of New York Photo Archives. X2010.11.7900

The Van Pelt family lived in the house until 1910, when Townsend Cortelyou Van Pelt deeded the estate to the city’s Parks & Recreation department on the “express condition that the said premises be used and maintained as a site for exhibiting and preserving thereon a certain old Dutch milestone.” The milestone in question is the oldest extant in the city, in the possession of the Brooklyn Historical Society. A replica can be found inside the park. The house, unfortunately, burned down in 1952.

Josephine Barry. Van Pelt Manor House, Bensonhurst, Brooklyn. ca. 1950. Museum of the City of New York. 75.43.15

The Vechte-Cortelyou house stood on what is now 4th Avenue between 3rd and 4th Streets in Park Slope. Built by Nicholas Vechte in 1699, the farmhouse was well situated near the Gowanus Creek, facilitating the harvest of oysters and the transport of goods down the waterway to Lower Manhattan.

Brooklyn Daily Eagle. The Vechte-Cortelyou House at Gowanus in 1699. ca. 1915. Museum of the City of New York. X2011.34.1889

The house also played an important role during the American Revolution. During the Battle of Brooklyn in 1776, British troops took over the house and used it as an artillery position against patriots running for their lives across the Gowanus Creek. After the war, the house was sold to the Cortelyou family. The original structure is no longer standing, but in the 1930s  a replica was built in an adjacent space, using some original stones. It is now called the Old Stone House.

Elijah C. Middleton. Cortelyou House, a Relic of 1776. ca. 1800. Museum of the City of New York. 29.100.3546

The Lefferts house was built around 1783 by Pieter Lefferts, a fourth-generation Dutch American and lieutenant in the Continental Army during the Revolutionary War. Here it is below, in its original location at 563 Flatbush Avenue in the Prospect Lefferts Gardens section of Flatbush, Brooklyn.

Lefferts homestead. ca. 1900. Museum of the City of New York Photo Archives. X2010.11.7679

In 1917, the estate of John Lefferts, Pieter’s son, offered the house to the City of New York, on the condition that the house be moved to Prospect Park. The move took place in 1918, and the house remains in the park today.

Lefferts homestead. ca. 1935. Museum of the City of New York Photo Archives. X2010.11.7841

Click on this link to view more images of Brooklyn’s boweries. These images are all available in various sizes as museum quality archival prints. If you see something you want to hang on your wall, email us at reproductions@mcny.org

Photographing Our Painting Collection

Here in the Museum of the City of New York’s Collections Department we have embarked on an exciting new project to digitize selected objects from our paintings holdings. This is the first time we have shot paintings and, while every object in our collection requires special attention while being photographed, when we start a new medium there are always new things to consider. In this case we had to think about how to deal with shiny surfaces that reflect light and create highlights that are hard to remove by merely adjusting the angle of our lights. We purchased custom filters for our Broncolor Lightbars fit with a polarized film and then attached a polarizing filter to the lens of our Hasselblad H4D. If you have ever worn polarized sunglasses then you know that looking through a polarizing filter greatly reduces glare and reflections from shiny surfaces. With the added polarizing film on our lights and the polarizing filter on our camera lens we are able to completely zero out all reflections coming off the painting and spilling into our camera. If you would like a complete breakdown of how polarization works read this.

Here is an example of New York politician and judge Gabriel George Ludlow, shot with and without the polarizing filter so you can see how really effective this method is. The artist of this beautiful portrait, John Singleton Copley (1738-1815), was an influential painter in colonial America and is well-known for his portraits of prominent figures.

John Singleton Copley (1738-1815). Gabriel George Ludlow. ca. 1770. Museum of the City of New York. 72.31.

John Singleton Copley (1738-1815). Gabriel George Ludlow. ca. 1770. Museum of the City of New York. 72.31.

We are very excited to make these paintings accessible to researchers and curators to view and study without having to make a trip to our storage facility. The portrait collection consists of prominent New Yorkers by many well-known artists from the early 1700′s through the 1980′s. Some of the real gems of our collection include portraits of DeLancey Iselin Kane and Eleanora Iselin Kane by the artist Thomas Wilmer Dewing (1851-1938). The portrait of DeLancey Iselin Kane is considered his most famous portrait and has been published extensively. The painting is in its original frame, designed specifically for the portrait by Stanford White.

Thomas Wilmer Dewing (1851-1938). DeLancey Iselin Kane. 1887. Museum of the City of New York. 40.417

Other paintings of note are the James Abercrombie Burden Family by Eastman Johnson; Cornelius and Sarah Bogart Ray by John Wollaston; and A Spanish Boy by Alice Neel.  Many of these paintings underwent restoration and cleaning prior to their digitization. Our painting collection ranges from the typical turn-of-the-century portraits as seen above to this dark and moody portrait of John Barrymore in the character of Hamlet painted by James Montgomery Flagg (1877-1960) ca. 1923.

James Montgomery Flagg (1877-1960). John Barrymore as Hamlet. ca. 1923. Museum of the City of New York. 46.414.1.

We set up a temporary studio for three days in a temporarily empty gallery on our newly renovated third floor.  Here is a shot of our setup in action. Please check in with our collections portal in the near future to view this amazing collection in your own home.