Tag Archives: Manhattan

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

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.

Hidden in Plain Sight

New York is home to many humble cemeteries right on the beaten path, their presence unannounced by towering monuments. Many of the city’s parks, such as Madison Square and Bryant Park, originated as potter’s fields. Other cemeteries have somehow weathered the test of time and withstood ever-encroaching development. If you’re not paying attention, you might walk right past them and not even notice.

George Miller, Jr. Jewish cemetery at Bowery near Chatham Square. ca. 1930. Museum of the City of New York. X2010.12.34

The first Shearith Israel cemetery at St. James Place near Chatham Square in Chinatown dates back to the 17th century.

Beecher Ogden. Jewish Burial Ground. 1950. Museum of the City of New York. X2010.11.2658

The oldest extant tombstone is from 1683, belonging to Benjamin Bueno de Mesquita.

Beecher Ogden. Graves in the Jewish cemetery. 1950. Museum of the City of New York. X2010.11.2667

It is often referred to as the first Shearith Israel cemetery, because it is the oldest surviving burial ground of the Spanish and Portuguese Synagogue. But the synagogue’s oldest cemetery can be traced back to 1656, when authorities granted to Congregation Shearith Israel “a little hook of land situate outside of this city for a burial place.” Unfortunately, its precise location is now unknown.

Robert L. Bracklow. Jewish Cemetery, Chatham Square. 1880-1910. Museum of the City of New York. 93.91.359

Shearith Israel was founded in 1654 by 23 Jewish refugees from Recife, Brazil. It was New York City’s only Jewish congregation until 1825. The cemetery is the final resting place for a number of notable people. The image below shows the tombstone of Jonas Phillips, a merchant, Freemason, and ardent supporter of the American cause during the Revolutionary War.

Beecher Ogden. Jewish Cemetery on New Bowery Street. 1950. Museum of the City of New York. X2010.11.2666

Phillips is not the only patriot buried in the cemetery. Below you can see the headstone of Gershom Mendes Seixas, Shearith Israel’s cantor, who also advocated for the United States during the revolution. Seixas was a participant in the 1789 inauguration of George Washington.

Beecher Ogden. Graves in the Jewish Cemetery. 1950. Museum of the City of New York. X2010.11.2680

At the bustling intersection of Church and Flatbush Avenues in Brooklyn stands the Flatbush Dutch Reformed Church. The landmarked structure was built from 1793-1798 and designed by Thomas Fardon.

Dutch Reformed Church, Built 1796, Flatbush Ave., Brooklyn, N.Y. ca. 1915. Museum of the City of New York Postcard Collection. F2011.33.1976

The adjoining graveyard quietly blends into the surrounding neighborhood.

Flatbush Avenue Dutch Reformed Church. ca. 1915. Museum of the City of New York Photo Archives. X2010.11.7417

The engraved text on many of the tombstones has been rendered illegible by exposure to the elements.

Cemetery of the Flatbush Avenue Dutch Reformed Church. ca. 1910. Museum of the City of New York Photo Archives. X2010.11.7510

The surnames of some of the people buried in the churchyard are reflected in the names of Brooklyn neighborhoods and streets: Peter Lefferts, Catherine Wyckoff, and Philipus Ditmas.

George P. Hall and Son. Cemetery of the Dutch Reformed Church. ca. 1900. Museum of the City of New York. 92.53.35

The New York Marble Cemetery, bounded by Bowery, 2nd Avenue, and 2nd and 3rd Streets in the East Village, is New York City’s oldest public non-sectarian cemetery.

First Marble Cemetery. ca. 1910. Museum of the City of New York Photo Archives. X2010.11.243

Also called the Second Avenue Cemetery, it was incorporated in 1831. Most of its 2,080 burials took place between 1830 and 1870.

Chicago Albumen Works. Jacob A. Riis. Old Marble Cemetery. 1895. Museum of the City of New York. 90.13.1.283

Public concern over yellow fever outbreaks caused legislators to outlaw earth burials, so 156 marble vaults were built 10 feet underground. There are no gravestones in the cemetery, although you can see names of the deceased on plaques in the surrounding walls.

Jacob A. Riis. The Old Marble Cemetery — proposed for a play ground, taken in summer 1895. Museum of the City of New York. 90.13.1.281

The marble used for the cemetery’s vaults, plaques, and lintels is soft and susceptible to the elements. The Dead House, used for the temporary storage of remains, was particularly vulnerable and had to be demolished in 1955.

Jacob A. Riis. The Dead-house in Old Marble Cemetery. 1895. Museum of the City of New York. 90.13.1.285

For more information about these sites, please visit:

http://www.1654society.org/

http://www.facebook.com/FlatbushReformedChurch

http://www.marblecemetery.org/

Summer in the City

Now that summer is in full swing, we look back at the ways New Yorkers have either escaped or embraced the heat.

The Drive in Central Park was a place to see and be seen, particularly for the wealthiest New Yorkers, who dressed in their finest attire and rode carriages through the park.

Byron Company. Central Park: The Drive, Summer. 1894. Museum of the City of New York. 93.1.1.17778

At the turn of the century, long black stockings typically accompanied women’s bathing suits (or bathing gowns, as they were called). Bathing suits became less restrictive a few years later, when women began participating in competitive swimming.

Byron Company. Sports, Bathing, Midland Beach. 1898. Museum of the City of New York. 93.1.1.17470

Before air conditioning, it was not uncommon for tenement dwellers to put their mattresses on the roof and sleep through the season’s hottest nights.

John Sloan. Roofs, Summer Night. 1906. Museum of the City of New York. 82.200.1

The Jackie Robinson Pool originally opened as the Colonial Park Pool in Harlem on August 8, 1936. It was one of 11 swimming pools opened throughout the city that year and funded by the Works Progress Administration (WPA), a New Deal agency created to combat the Great Depression.

Sid Grossman. Federal Art Project. Colonial Park Swimming Pool, Harlem. 1939. Museum of the City of New York. 43.131.9.58

Some New Yorkers preferred water hoses to swimming pools.

United States. Office of War Information. Children spraying a hose from a porch. 1944. Museum of the City of New York. 90.28.88

Every summer, Coney Island’s boardwalk bustles with city dwellers seeking a respite from the heat.

Andrew Herman. Federal Art Project. Feeding Ice-Cream to the Dog. 1939. Museum of the City of New York. 43.131.5.34

Nathan’s Famous opened in Coney Island at Surf and Stillwell Avenues in 1916, where it still stands today and attracts scores of New Yorkers and tourists alike.

Andrew Herman. Federal Art Project. Nathan’s Hot Dog Stand, Coney Island. 1939. Museum of the City of New York. 43.131.5.13

Coney Island’s Steeplechase Park began hosting an annual poolside beauty contest called Modern Venus in 1913. Beauty contests flourished as bathing suits became skimpier.

Reginald Marsh. Modern Venus Contest at Steeplechase Park. 1939. Museum of the City of New York. 90.36.2.2.2F

After World War II, folk singers began congregating in Washington Square. The singers and their audience clashed with some residents of the neighborhood, who thought they were a nuisance. In 1947, the New York City Department of Parks & Recreation started issuing permits for public performances in city parks. In 1961, Parks Commissioner Newbold Morris rejected folk singers’ applications to play in Washington Square. Protests ensued, culminating in a fight between the musicians and their supporters and the police seeking to clear the crowds. In the end, a compromise was reached, with folk singers being allowed in the park on Sunday afternoons.

Frederick Kelly. Musicians – Washington Square. 1962. Museum of the City of New York. 01.59.22

Some people, like the man below, embrace the “if you can’t beat the heat, join it” philosophy.

Benedict J. Fernandez. Male Beauty, Coney Island, 1970. Museum of the City of New York. 99.150.23

Skully, also known by variants like “skellie,” is a children’s street game played with bottle caps. Its popularity among youth began to fade in the 1980s.

Joseph Rodriguez. Game of Skellie, East Harlem, 1987. Museum of the City of New York. 2007.8.1

A telltale sign that summer has arrived is hearing the music from ice cream trucks. Ice cream vendors have used noise to attract customers since the late 1800s. But not everybody welcomes the familiar melody of ice cream trucks. In 2005, Mayor Michael Bloomberg attempted to ban the music in the city’s noise code. An outright ban was unsuccessful, but now vendors are only allowed to play music when their vehicle is in motion.

Gerard Vezzuso. Young boys at ice cream truck, Staten Island NY, 1999. Museum of the City of New York. 01.26.8

Walt Whitman’s New York

Walt Whitman, one of America’s most celebrated writers, was born into a working-class Long Island family on May 31, 1819. Four years later, the family moved to Brooklyn. Whitman cherished his memory of Revolutionary War hero General Lafayette visiting New York in August 1824. According to Whitman, Lafayette picked him out of the crowd, lifted him up, and carried him.

Anthony Imbert del. Samuel Maverick sc. Landing of Gen. Lafayette, at Castle Garden, New York, 16th August 1824. 1824. Museum of the City of New York. 29.100.1744

After Whitman’s formal education ended when he was 11, he worked at a Brooklyn law firm and later at various newspapers. These positions afforded Whitman the opportunity for self-education and encouraged his interest in politics. Whitman openly supported the Free-Soil Party, formed in 1848 to oppose the extension of slavery into the Western territories. This would eventually cost him his job at the Brooklyn Daily Eagle, as his convictions clashed with those of Issac Van Anden, the newspaper’s publisher.

N. Currier. Grand Democratic Free Soil Banner. 1848. Museum of the City of New York. 56.300.1060

In 1855, Whitman published the first edition of Leaves of Grass, paying for the publication out of his own pocket, designing the cover, and even setting some of the type himself in his friend’s print shop on Cranberry and Fulton Streets in Brooklyn. Many biographers and critics cite July 4, 1855 as the publication date, but The Walt Whitman Archive notes that advertisements for Leaves of Grass began appearing in the Brooklyn Daily Eagle in late June.

Josephine Barry. Birthplace of “Leaves of Grass” Cranberry & Fulton Sts, Bklyn. 1949. Museum of the City of New York. 75.43.94

Whitman’s 1856 poem “Crossing Brooklyn Ferry” drew heavily upon his childhood experience crossing the East River. Originally published as “Sun-Down Poem” in the second edition of Leaves of Grass, the poem explored the daily commute of a New York ferry passenger. Whitman would later remark in his autobiographical 1882 publication Specimen Days that “I have always had a passion for ferries; to me they afford inimitable, streaming, never-failing, living poems.”

Brooklyn Daily Eagle. Ferry House Foot of Fulton Street, Brooklyn, in 1850. ca. 1906. Museum of the City of New York. X2011.34.1935

Arthur Hosking. Fulton Ferry. Pier No. 17. Fulton Ferry where Walt Whitman used to come and go on the East River. Banker’s Trust tower in the distance. 1920. Museum of the City of New York. X2010.18.194

Complementing his passion for ferries, Whitman had an affection for transportation workers. He visited those who were injured on the job at New York Hospital on Broadway between Worth and Duane Streets. After the outbreak of the Civil War, Whitman also visited wounded soldiers at the hospital and wrote about them in a series of articles called “City Photographs”, published in the New York Leader in 1862.

John Robert Murray del. William Satchwell Leney sct. View of the New York Hospital. ca. 1820. Museum of the City of New York. 29.100.1902

Whitman, already in his forties at the outset of the Civil War, watched as New Yorkers marched off to the battlefields. “First O Songs for a Prelude” recounts his observation of the city during war:

(O superb! O Manhattan, my own, my peerless!                                                                   O strongest you in the hour of danger, in crisis! O truer than steel!!)                    How you sprang – how you threw off the costumes of peace with             indifferent hand,                                                                                                                            How your soft opera-music changed, and the drum and fife were                        heard in their stead,                                                                                                                     How you led to the war, (that shall serve for our prelude, songs                                  of soldiers,)                                                                                                                                      How Manhattan drum-taps led.

The Seventh Regiment assembled below Cooper Union, on their departure to the Civil War. 1861. Museum of the City of New York Photo Archive. X2010.11.13988

Whitman held an ardent admiration for Abraham Lincoln. He even said that “After my dear, dear mother, I guess Lincoln gets almost nearer me than anybody else.” When news of Lincoln’s assassination reached Whitman, he began working on an elegy, “When Lilacs Last in the Dooryard Bloom’d”, published in Sequel to Drum-Taps in the fall of 1865.

Currier & Ives. Abraham Lincoln. ca. 1865. Museum of the City of New York. 56.300.979

Beginning in 1879 and continuing until 1890, Whitman offered lectures commemorating Lincoln’s assassination. In spite of his failing health he traveled from his home in New Jersey to Massachusetts, New York, Maryland, and Pennsylvania to deliver the “Death of Lincoln” lecture. On April 14, 1887, Whitman spoke at Madison Square Theatre. Among those in attendance, noted by the New York Times  in an article published the following day, were Andrew Carnegie, Augustus St. Gaudens,  Frances Hodgson Burnett, James Russell Lowell, and John Burroughs. Afterward, Whitman held a reception for his friends at the Westminster Hotel. The evening netted $600 for Whitman, roughly the equivalent of $14,000 today.

Westminster Hotel, New York. ca. 1895. Museum of the City of New York Photo Archive. X2010.11.2240

It was also his last visit to the city. Walt Whitman died on March 26, 1892 at the age of 72 in his house on 328 Mickle Street in Camden, New Jersey.

George C. Cox. Walt Whitman. ca. 1890. Museum of the City of New York. 57.182.10

Saving the Interior of the Plaza Hotel

Landmark designations are not only for buildings. Any piece of property that the Landmarks Preservation Commission (LPC) deems to have important cultural, aesthetic, or historical characteristics may become a landmark. The LPC designates individual landmarks such as the Conference House on Staten Island,  scenic landmarks such as Prospect Park in Brooklyn, or historic districts such as the Mott Haven Historic District in the Bronx. In addition, the LPC may also consider the interior of a building for landmark status.

Manhattan’s Plaza Hotel, overlooking Central Park at Fifth Avenue and 59th Street, was designated a landmark by the Landmarks Preservation Commission (LPC) in 1969. However, only the building’s exterior, designed by Henry Janeway Hardenbergh, was protected by the designation.

Wurts Bros. 5th Avenue West 58th Street. Central Park South. Plaza Hotel. ca. 1905. Museum of the City of New York. X2010.7.1.730

The hotel’s interior has changed along with its many owners since opening in 1907. In August 2004 Elad Properties purchased the hotel for $675,000,000. Several months later, the real estate development conglomerate announced plans to convert the 805-room hotel into a multipurpose building with condos and space for high-end retail stores. The extensive renovations would require the hotel to close temporarily. Additionally, the building would house only 150 hotel rooms. Nearly 1,000 Plaza Hotel employees, including about 800 belonging to hotel unions, were given notice of impending layoffs.

In response, the New York Hotel Trades Council launched a “Save the Plaza” campaign and urged the LPC to consider landmarking the interior of the hotel. Actress Kate Capshaw, columnist Liz Smith, and NYC Public Advocate Betsy Gotbaum indicated their support by allowing the union to use their names for the campaign. Even Mayor Michael R. Bloomberg weighed in, inviting the developer and union officials to Gracie Mansion for a talk. After months of tenuous negotiations, Bloomberg announced that an agreement had been reached. The Plaza Hotel would retain 348 hotel rooms and 350 union jobs. In addition, Elad Properties promised that the Palm Court, the Grand Ballroom, and the Oak Bar would remain open for use by the public and visitors to New York, following renovations scheduled to begin on April 30,2005.

Less than two months later, the LPC held a public hearing on the proposed designation of the Plaza Hotel as an interior landmark. Representatives of both the New York Hotel Trades Council and Elad Properties spoke in favor of the designation. On July 12, 2005, the LPC published its findings and announced landmark status for interior spaces in the Plaza Hotel. Below are some of the spaces that are now landmarks.

The Palm Court was modeled after the Palm Court tea room (also known as the Winter Garden) in London’s Carleton Hotel.

Wurts Bros. 5th Avenue West 58th Street. Central Park South. Plaza Hotel, Palm Room. ca. 1905. Museum of the City of New York. X2010.7.1.729

The Edwardian Room was originally a restaurant for men only. Also called the Men’s Grill, no business talk was allowed inside the room – its purpose was to provide the atmosphere of a private men’s club.

Byron Company. Plaza Hotel. 1907. Museum of the City of New York. 93.1.1.6492

Wurts Bros. 5th Avenue West 58th Street. Central Park South. Plaza Hotel, Café interior. ca. 1905. Museum of the City of New York. X2010.7.1.726

The Fifth Avenue Lobby and vestibules opened in 1921 and were designed by the firm Warren & Wetmore.

Byron Company. Plaza Hotel. 1907. Museum of the City of New York. 93.1.1.6477

The Oak Room (not to be confused with the previously mentioned Oak Bar) is considered one of the best preserved public spaces in the Plaza Hotel, and rumored to have been the favorite of Hardenbergh, the architect. It closed in 2011 after a dispute between its owner and the Plaza’s owners, although it is still available for private event rentals.

Wurts Bros. 5th Avenue West 58th Street. Central Park South. Plaza Hotel, bar. ca. 1905. Museum of the City of New York. X2010.7.1.725

After the $400,000,000 renovation was complete, the Plaza Hotel reopened in March 2008 to mixed reviews. The Plaza’s then-owner, Mike Naftali, said that the public rooms “have been restored to their original  glory.”  But David Garrard Lowe, president of Manhattan’s Beaux Arts Alliance, had this to say: “I think it is vulgar. No one in charge had any taste. Not that they haven’t spent enough money, but this renovation doesn’t hit the right notes. The Plaza has lost its gaiety, its sense of public festivity.”

How Harlem River Speedway Became Harlem River Drive

Before it was called the Harlem River Drive, the parkway running north and south along the west bank of the Harlem River was called the Harlem River Speedway. Construction began in 1894, and the speedway opened in July of 1898.

Jay Hambridge. Summer on the Speedway. Museum of the City of New York. 34.100.33

It stretched from 155th Street in Washington Heights to Dyckman Street in Inwood. At first, use of the speedway was restricted to equestrians and carriage drivers. This pleased the wealthy, who worried that sharing the road with other vehicles would ruin their good time. In advance of the speedway’s opening, a New York Times headline from May 15, 1898 announced: “No Danger that Bicyclists Will Mar the Horsemen’s Sport on the Speedway. THEY ARE EXCLUDED BY LAW.”

Robert L. Bracklow. Harlem River Speedway. Museum of the City of New York. 93.91.249

The speedway became a tourist destination where people could watch horse and boat races, visit Highbridge and Fort George Amusement Parks, and enjoy the scenery along the Harlem River.

Robert L. Bracklow. Washington Bridge and Speedway. Museum of the City of New York. 93.91.444

Robert L. Bracklow. Boat Races on Harlem River under Washington Bridge. Museum of the City of New York. 93.91.115

Some New Yorkers were unhappy that tax dollars were used to build an exclusionary road. As Charles C. Sargent, Jr., noted in his article “A Horseman’s Paradise” in the November 1898 issue of Munsey’s Magazine, “For the men – a few hundred at most – who own fast horses and want to ‘try them out,’ the sapient rulers of New York have spent in making the Speedway money that would have built thirty school houses, and would have provided twice over for the twenty five thousand children turned away last September from the overcrowded primary schools of the metropolis.”

It was not until 1919 that the Harlem River Speedway was opened to motorists. Three years later, it was paved.

New York Edison Company. View of the Harlem River Speedway and Harlem River from beneath Highbridge. Museum of the City of New York. X2010.11.2150

In 1940 Robert Moses envisioned a highway that would connect all of Manhattan’s driveways. The Harlem River Drive would incorporate sections of the old Harlem River Speedway, linking the Henry Hudson Parkway, the George Washington Bridge, and the East River Drive.  In addition, traffic from the Triborough Bridge and bridges connected to the Major Deegan Expressway would flow into the Harlem River Drive. This ambitious project was completed in 1964 at a cost of $38 million.

George Roos. Harlem River Drive and the Macombs Dam Bridge. Museum of the City of New York. X2010.11.8558