Did you ever see any of the fisherpeople on Roosevelt Island (I presume there are women as well as men fishing here) actually catch a fish? But they’re here, around the island, casting, watching, casting, watching, watching. Some have just one rod, others have two or three. Some work alone, some in groups. But every day, morning till evening, people are fishing in the East River, warm days, cold days.
I admit that when I moved here in 1977, I thought this was a pretty hopeless mission. But the reality has changed profoundly. Then, the East River was dirty – really dirty – and while we were told fish skulked at the bottom, that was hard to believe. Today, natural life has re-emerged.
The Audubon Society says that more than a dozen species of water birds have returned to the area since the 1970’s, including eight species of heron and egret alone. There’s much more life in the water. Hard to believe: Whale sightings in New York City waters (out to sea, not in the harbor!) have jumped from 5 to 272 since 2010. This is not due solely to cleaner water. Climate change is important, too, as are longer-term efforts to restore several strains of bird life. But the NYC Department of Environmental Protection reports that NY harbor is cleaner today than it’s been in nearly 110 years. If not quite drinkable, the East River is much cleaner, enough so that kayakers and jet skiers no longer draw a startled look. Our island’s setting has been transformed over the past few decades, and our river setting is more in touch with the natural world than has been the case in decades – or more.
So fishing may now be more hopeful. And, surprise to me, there’s a lot of fish life down there.
Our friends at the Gothamist have provided a useful guide to Fish of the East River.
Scup or porgies, are small, fairly flat fish. They have a continuous dorsal fin with long sharp spines and a deeply concave tail with sharp corners. Porgies are somewhat migratory, moving inshore and north in the spring and reversing that pattern in the fall. They are bottom feeders, eating a variety of invertebrates during daylight hours. Porgies seldom exceed four pounds. The average size you’ll see is less than one pound.
As the name implies, striped bass are characterized by the presence of black stripes along the length of the fish. Stripers are seasonal migrants, though some fish are found in city waters year-round. Their preferred habitat is inshore near structures such as rocks and pilings, but these fish can also be found in open water. Although striped bass can grow in excess of 40 pounds, most of the ones you’ll see range from three to 30 pounds.
Bluefish are long, moderately stout fish, with distinctly forked tails. They are known for being fierce fighters on fishing lines. Bluefish are coastal migrants that travel in schools into local waters in the spring, following mackerel and bunker. They range in length from nine to 24 inches and weigh 12 to 15 pounds.
Eels are elongate, snake-like fish with small scales deeply embedded in the skin. Eels are born in saltwater, grow and mature in freshwater, and return to the sea to spawn. “Eel have an amazing life history, they actually spend most of their lives in freshwater then swim out to the Sargasso Sea in the Northern Atlantic Ocean,” Cohen said. “When they reproduce, their young actually travel all the way back to our freshwaters, which is pretty amazing.” Eels feed on living and dead material while trying to avoid being eaten by a number of other fish, including striped bass. Adult females are generally larger than males with an average length of two to three feet. They prefer quiet waters with muddy or sandy bottoms. Sadly, the population of American Eels has decreased due to blocked waterways and overfishing.
New York’s hottest fish is the Oyster Toadfish. Ok, maybe not. While some people do consume Oyster Toadfish (again, don’t), they are usually discarded because of their appearance.
“They call them bait stealers,” Cohen said.
“I’ve actually seen their dead carcasses on the side of the East River because people consider them not worthy of keeping and eating. It’s really kind of sad because they just kill this fish because it decided to eat their clam [bait].”
Oyster toadfish can grow to about a foot long and are found in salt and brackish waters, preferring areas with sandy, muddy bottoms, oyster reefs, shoal water, eelgrass beds or in hollows and dens. They are quite capable of living in polluted waters and have been known to find shelter in submerged tires and cans.
Oyster toadfish rely on camouflage to catch their food, usually preying on crustaceans, mollusks, amphipods, squid, and other smaller fish. Males make a distinctive foghorn sound to attract females in the April to October mating season
Summer flounder, or fluke, are left-eyed flatfish. (The winter flounder is right-eyed.) You’ll know this by the direction the head points when laid flat with the eyes on top. Fluke can alter their coloring, from white sand to black mud, to match the substrate. Fluke move inshore in the spring, reversing this pattern in the fall. They are active predators, spending most of their time hiding in sand on the river bottom, waiting to attack smaller fish that swim by. While they seem to prefer sand or mud, they often gather near structures. Fluke can exceed 20 pounds, but most specimens are only one to three pounds.
Blackfish are somewhat flattened, stout-bodied fish with blunt heads. They are characterized by their dark color, thick rubbery lips and continuous dorsal fin. Their small jaws are lined with conical teeth which are used to crush hard-shelled prey like mollusks and crustaceans.
Blackfish move into local waters in spring to spawn over rocks and artificial reefs. Afterwards, they spread out over rocky areas and grass or shellfish beds to feed. While blackfish can reach nearly 25 pounds, the average specimen ranges from one to four pounds.
Before we go, consider the humble goldfish. Yes, New York waters contain goldfish, otherwise known as carp. How did they get in the East River, you might be asking? Possibly you! Or someone you know.
To be fair, many folks who release unwanted pet fish or dump aquarium plants in the river think they’re doing the right thing. It’s better than flushing them, right? Not exactly, as they can still spread diseases and parasites in the water. Feral goldfish are an invasive species, wreaking havoc when unleashed.
“The consequences can be pretty drastic if people release something that’s an invasive species with the potential to disrupt the ecosystem,” Cohen said.
“It might have diseases that can be passed to native organisms or outcompete native organisms for food sources in the water.”
Feral goldfish can grow quite large in the wild. Same goes for aquarium plants that can take over native species.
We know this sounds fanciful, but feral goldfish invasions in waterways are an absolutely for-real problem all over the world. “Monster Goldfish” have been caught weighing up to four pounds – the size of a football!
feral goldfish weighing 4 pounds (Courtesy Dr. Stephen Beatty, Centre for Sustainable Aquatic Ecosystems, Murdoch University)
So check if you can give them back to the pet store, give them to a friend, or keep them. Anything but releasing them into any kind of body of water. Watch this video for more on pets that should never be released into the wild.
What about eating fish caught in the East River? The “river” is dangerously polluted with chemicals. Despite this wonderful variety of fish in the River, the New York State Department of Health warns that many of the fish you may reel in are not safe to eat. Still, fishing can be a peaceful endeavor in an otherwise hectic city.
The New York State Department of Environmental Conservation produces fact sheets that note all of these pollutants, including floating debris, oil, and grease. Some sources of the pollution are urban and storm runoff, combined sewer overflow (CSO), industrial use of the waterway, and littering.
The New York State Department of Health issues fish advisories, many of which include fish containing PCBs, Dioxin and Cadmium. “DON’T EAT” in all caps is advised for most fish for women under 50 and children 15 and under. If you still want to eat these fish, or fish found anywhere in New York waters for that matter, consult the advisories.
Happy fishing!
Meet The Fish Of The East River by Clarisa Diaz, April 3, 2019 Clarisa Diaz is a designer and reporter for WNYC/Gothamist.
Stephen Blank
RIHS
December 6, 2020
Careless fishermen have been leaving lines and gear abandoned on the island. Our birds and geese are getting caught up in the dangerous lines. If you spot any contact PSD and WILDLIFE FREEDOM FOUNDATION at wildlifefreedomfoundation.org
LOBBY OF ISLAND HOUSE VICKIE FEINMEL AND ALEXIS VILLEFANE GOT IT FIRST
Text by Judith Berdy Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac and the RIHS Thanks to Deborah Dorff for maintaining our website Edited by Melanie Colter and Deborah Dorff All image are copyrighted (c)
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THOMAS HUNTER HALL
WEDNESDAY, DECEMBER 30, 2020
OUR 249th ISSUE OF FROM OUR ARCHIVES
A FESTIVAL OF GARGOYLES AND INTERESTING FEATURES
FROM EPHEMERAL NEW YORK (C) & NY TIMES / CHRISTOPHER GRAY (C)
Thomas Hunter (18 October 1831 – 14 October 1915) was the founder of the Female Normal and High School in New York City, United States, now known as Hunter College High School. The school is today considered one of the most valuable assets of the City University of New York, one of the world’s largest urban university systems.
Illustration of The New York City Normal College which is now known as Hunter College of the City University of new York which is a senior college of the City University of New York. The college was founded in 1870 by Irish immigrant and social reformer Thomas Hunter as a teacher-training school for young woman. The school, which was housed in an armory and saddle store at Broadway and East Fourth Street in Manhattan, was open to all qualified women, irrespective of race, religion or ethnic background, which was incongruent to the prevailing admission practices of other schools during this era. Created by the New York State Legislature, Hunter was deemed the only approved institution for those seeking to teach in New York City during this time. The school incorporated an elementary and high school for gifted children, where students practiced teaching.
He was a migrant from Ardglass in Ireland to the United States. Hunter was president of the Female Normal and High School for 37 years. He died in 1915.
During his tenure as president of the school, the school became known for its impartiality regarding race, religion, ethnicity, financial or political favoritism; its pursuit of higher education for women; its high entry requirements; and its rigorous academics. The college’s student population quickly expanded, and the college subsequently moved uptown, into a new Gothic structure on Lexington Avenue between 68th and 69th Streets. (Now named Thomas Hunter Hall at the 68th Street campus.) Today, the college is particularly noted for its professional schools in the social sciences, education, health sciences, nursing, and social work.
The campus of Hunter College doesn’t look very collegiate, with its skywalks and square modernist buildings. But there’s a wonderful exception to all those concrete boxes: Thomas Hunter Hall at 934 Lexington Avenue. (Thomas Hunter was the first president of this former all-female teachers college founded in 1869, when it was known as Normal College.) Designed in 1912 by Charles B.J. Snyder, the architect of so many of New York’s elementary and high schools at the turn of the century, this English Gothic castle of a college building features cathedral windows and rooftop turrets that give the impression of a Medieval fortress.
And if you look closely, you’ll see plenty of Gothic-style faces staring back at you. The facade and twin spires flanking the entrance are packed with grotesques—some scary, some goofy with a sense of humor (like the guy in the glasses above, who has a pencil behind his ear).
THE VESTIGE OF WHAT MIGHT HAVE BEEN
By Christopher Gray*
April 20, 2008
Almost swamped by the boxy modernism of Hunter College, the 1913 Tudor-style wing on Lexington Avenue from 68th to 69th Street known as Thomas Hunter Hall is easy to miss. When built, it was one of a dozen hospitals, homes, orphanages and other institutions devoted to the civic good at the crown of Lenox Hill, and was meant as part of a larger design that would have given the college a quite different face.
In the 1860s, the city began giving or leasing land on blocks it owned from 66th to 69th, between Park and Third Avenues, to institutions serving a public purpose. The earliest beneficiary was Mount Sinai Hospital, on the east side of Lexington between 66th and 67th Street. It was followed soon afterward by Normal College, established in 1869 to train female high school graduates for teaching positions, and so named because its goal was to establish norms for the profession.
In 1873, the college opened a great red brick churchlike building in the Gothic style, facing Park Avenue. The curriculum expanded beyond teacher training to include traditional liberal arts, and in the early 1910s an ambitious plan was floated to tear down the Gothic building and incorporate the entire block in a giant new structure for the college’s use. A magnificent towered Tudor-style building was to occupy most of the block on the Park Avenue side, with a similar but simpler structure on Lexington, all designed by Charles B. J. Snyder, the architect for city schools
As it happened, only the Lexington Avenue front went ahead, starting in 1911; the Gothic-style complex on the balance of the lot remained.
Mr. Snyder’s legacy for the school system was to replace its dark, cramped boxes with high light-filled structures, often in an H-plan and often in Northern European Renaissance styles. For the Lexington Avenue structure designed to accommodate the elementary and high schools associated with the teaching college he must have been given a larger than usual budget, as it is completely clad in limestone.
The building opened in 1913, and the next year Normal College was renamed Hunter College, after its founding president, Thomas Hunter. (Later the building became Thomas Hunter Hall.)
Mr. Snyder’s work bears some of his trademarks: the rooms are high and light with large banks of windows. Three large cathedral windows at the top levels are visible from the street. The rooms that they illuminate, originally gymnasiums and a lunch room, are now spectacular dance studios.
In 1946, Hunter began to admit some men, and in 1964 it went completely coed. In the 1980s, modern towers were built on the south corners of 68th Street and Lexington, connected by skywalks, which have provided some of the character of a college campus.
They replaced a grammar school, on the southeast corner, and what had begun as the Institution for the Improved Instruction of Deaf-Mutes on the southwest corner.
In 1927, the college considered relocating to the Bronx (where an additional campus soon went up), but it remained in place. In 1936, the Gothic-style building on the Park Avenue side was gutted by fire; four years later, that was replaced by the present modernist structure, designed by Harrison & Fouilhoux along with Shreve, Lamb & Harmon. The magazine Architectural Forum noted “the more sentimental section of the public and profession decrying the omission of the customary collegiate trimmings.”
THE OVERPASS BETWEEN HUNTER COLLEGE BUILDINGS JAY JACOBSON, HARA REISER, ALEXIS VILLEFANE, ANDY SPARBERG, THOM HEYER, NINA LUBLIN, GLORIA HERMAN ALL GOT IT RIGHT.
CHRISTOPHER GRAY*
Gray wrote about City streetscapes for the New York Times every weekend. His works were wonderful and a start to me discovering the City and it’s many unique structures. He passed away suddenly and much too soon.
Judith Berdy
Text by Judith Berdy Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac and the RIHS Thanks to Deborah Dorff for maintaining our website Edited by Deborah Dorff All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated
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There’s nothing like walking through Manhattan during Christmastime and coming upon a row of elfin former carriage houses that look like they were made out of gingerbread and belong in a holiday fairytale.
WALK FROM LEXINGTON TO PARK AVENUE ON EAST 69TH STREET, A VISION FROM THE PAST.
The north side of the street is home to several conjoined carriage houses of different architectural styles and sizes—but all with the traditional arched entryway to fit not just horses but the tall carriages they pulled.
It’s not Lenox Hill’s only row of carriage houses. As Upper Fifth Avenue became the city’s new millionaire mile during the Gilded Age, these new rich New Yorkers built not only resplendent mansions for themselves but decorative stables for their equipage and the workers who took care of them. These wealthy owners wanted their stables nearby—but not so near that they had to smell and hear their horses.
Other stable rows are on East 73rd Street and East 66th Street, and they tend to be east of Lexington Avenue (and thus closer to the tenements and elevated trains, not to mention on the other side of Park Avenue, where the New York Central Railroad had its tracks).
Number 147, the first in the row closest to Lexington, was built by a banker named Herbert Bishop in 1880, according to Christopher Gray a 2014 New York Times article, which delves into the backstories of some of the carriage houses on the block. Bishop lived on Fifth Avenue and 70th Street
A dye company owner, Adolph Kuttroff, built numbers 153-157 a few years later, according to Gray. John Sloane, of the department family Sloanes (owners of the W.J. Sloane rug and furnishings store on Broadway and 19th Street), parked his vehicle and horses at 159.
“In 1896 came the most remarkable stable on the Upper East Side, when the streetcar millionaire Charles T. Yerkes, whose large house was at 69th and Fifth, had the otherwise little-known Frank Drischler design a three-story-high stable with a broad, double-height arch, gabled front at No. 149,” wrote Gray. Number 161 has the initials “BB” in the keystone, notes the AIA Guide to New York City. Those initials are for William Bruce-Brown, brother of wealthy sportsman David Loney Bruce-Brown. His obituary says Bruce-Brown resided at 13 East 70th Street, but the Upper East Side Historical District Designation Report from 1981 says he lived in the upper floors of the stable.
George G. Heye, collector and founder of the Museum of the American Indian, owned number 167 (described as “plodding eclectic” by the AIA). Horses and carriages (and their grooms and drivers) didn’t occupy these stables for much longer. By the teens, they started getting converted into garages for automobiles, then remade into living quarters for people—including Mark Rothko, who lived and had his studio in 157 until his death by suicide in 1970.
Lately, these Victorian, Georgian, and Romanesque stables have changed hands for big money. Art dealer Larry Gagosian sold number 147 for $18 million, according to 6sqfeet.
They’re remodeled, restored, and really, really pricey. But from the street you can imagine them as part of a fairy tale village, or the kind of delightful structures you find in a snow globe—very appropriate for the holiday season.
[Fourth photo: MCNY 1976 2013.3.2.716]
Across the street from the former stables is Imperial House, a 1960’s cooperative apartment building. With its setback and gracious driveway, the street is a sanctuary around the corner from the bustle of Hunter College at Lexington Avenue.
The back of the closed Goldwater Steam Plant next to the Tram Station ALEXIS VILLEFANE GOT IT TODAY!!
EDITORIAL
For years my family lived a few blocks from East 69th Street, The stables on 69th Street are delightful, along with the ones on 66th Street and 70th Street. Wander down many of the streets on the Upper East Side and discover the grand homes the livery had.
There are many that were carriage houses and one set of buildings on East 73rd Street. On east 75th Street a row of buildings that were automobile garages are now private homes.
Time to get off the island and wander thru NYC history. Judith Berdy
Text by Judith Berdy Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac and the RIHS Thanks to Deborah Dorff for maintaining our website Edited by Melanie Colter and Deborah Dorff
EPHEMERAL NEW YORK (thanks for their wonderful postings)
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The riverfront neighborhood of Water Street and Gouveneur’s Slip was among the seediest in New York City in the 1870s and ’80s. Brothels, saloons and gambling dens lured sailors and miscreants. Stabbings, shootings, and beatings were common. So Charity Commissioner Thomas S. Brennan’s proposal of an “emergency hospital”–a branch of Bellevue Hospital–at Gouveneur’s Slip made sense.
The free-standing, three-story brick building was completed in October 1885 at a cost of $14,000. Because, as the New-York Tribune pointed out it was “simply a reception hospital” intended only for emergency treatment before patients were transferred to Bellevue, there were just 30 beds. On October 3, 1885, about two weeks before the hospital opened, The New York Times reminded readers of the character of the neighborhood.
“The site occupied was formerly a police station, then a market place, and afterward a resort for thieves and low characters. Its regeneration into a hospital grieves the river border gang, but is hailed as a great improvement by respectable neighbors.”
Before long the hospital took on the name of the nearby slip. And a decade after its opening, it was clear that Gouveneur Hospital could not adequately meet the needs of the gritty neighborhood. A full-service institution was needed.
In April 1897 The Sinking Fund Commission took bids for constructing a new hospital. The lowest bid, of $116,000 from the Mapes-Reeve Construction Company, was rejected because of “a technical error.” The next lowest bit was from Mahoney Bros. at $129,400. The total cost, including furnishings and equipment, would eventually rise to $200,000; around $5.75 million today.
Designed by John R. Thomas, the building was completed late in October 1900; but a public spat between Charities Commissioner John W. Keller and Public Buildings Commissioner Henry S. Kearny delayed opening until January 5, 1901. In reporting the opening, The New York Times took a jab at the men, saying “Mr. Keller and Public Buildings Commissioner Kearny have been at odds for some months.”
Four stories of red brick trimmed in terra cotta, the new facility could accommodate 104 patients. The Times deemed it “the most perfectly equipped in the Charities Department.” The intention was always that two wings would stretch back from the main administration building; but only the north wing was included in the first stage of construction.
The waiting room, in 1907, provided a crowded and piteous scene. photo by Byron Company, from the collection of the Museum of the City of New York
Running alongside the old hospital, the end of the wing was rounded, thereby doing away with interior corners where dirt and germs could accumulate.
The Times reported “The doctors’ and nurses’ quarters and the dining rooms are all that could be desired. The laboratory and operating room are filled with up-to-date apparatus, including an X-ray machine, the only one in the Charities Department.”
The case of one of the hospital’s first patients, 24-year old John Bellinette, reflected not only the type of injuries the facility would receive, but the character of the neighborhood. Bellinette lived at No. 44 Oliver Street; but he was found just before midnight on Saturday, January 12, 1901 in the yard of No. 22 Hamilton Street. He had been thrown from the fourth floor window.
Two neighbors informed Patrolman Edward J. O’Rourke that they had seen the crime from their rooms. “While they were still at the window they saw a man stoop over the body of the injured man and take his overcoat and hat,” reported The Times.
O’Rourke went to the apartment and arrested Salvatore Adriate, his wife, Theresa, and another woman, Philamina Perchaine. Bellinette’s overcoat and hat were on the bed. The three “denied that there was any quarrel in their rooms, and said they did not know who the injured man was.”
An investigation, however, revealed that Raphael Cresanzo and Francisco Rimardo had also been in the room at the time of the “accident.” Bellinette, it was revealed, was accused by Cresanzo of cheating him out of money. Fearing for his life, Bellinette tried to escape onto the fire escape and was pushed to the ground. Two days later he was still in critical condition in Gouverneur Hospital with a fractured skull.
By spring 1903 the City was ready to erect the southern wing. The Real Estate Record & Builders’ Guide reported on April 18 “Probabilities point to the speedy completion of Gouverneur Hospital…The new administration building with one wing was opened in 1901, and now it is desired that the other wing be built.” Architect Raymond Almirall was give the commission; but he closely followed Thomas’s design, resulting in a visually-balanced structure.
It was not until July 1909, however, that the City contracted for what would become perhaps the hospital’s iconic feature. Bids were taken for “railings, supports and all other work for inclosing the balconies and balcony stairways.” The wonderful iron, rounded balconies were outfitted with curtains for privacy and protection from direct midday heat.
The treatment for some diseases, notably tuberculosis, included fresh and and sunshine. Beds and wheelchairs could be rolled out onto the balconies to provide both.
By now the Lower East Side was filled with filthy tenements crammed with indigent immigrant families. At the turn of the century there were 330,000 residents per square mile, tasking the staff at Gouveneur Hospital with another type of patient–children. Infants and toddlers in poor families suffered from malnutrition, measles, whooping-cough, heat prostration and pneumonia. Infectious diseases spread within the hospital, since there was no “detention room.” Three times during the winter of 1913 the children’s ward had to be quarantined.
In 1917 the Department of Health recommended “that a salary sufficient to retain a nurse specifically trained in the care of children be provided.” The investigating committee deemed $600 a year appropriate.
In the meantime rampant crime and gang activity continued. A peculiar case was that of Mrs. Branaslaw Kucharsky, a 41-year old washwoman. Around 9:00 on the morning of July 14, 1919 two strangers were seen entering the tenement building where she lived at No. 113 Stanton Street. About an hour later a neighbor entered her flat and found her on the floor.
An ambulance from Gouveneur Hospital arrived, but found her already dead. The New-York Tribune reported that she “was either murdered or died of fright when attacked during the robbery of her home.”
Gangster violence repeatedly resulted in injuries, often fatal. On the night of June 13, 1920 Angelo De Rocco waited in ambush outside a Rivington Street movie theater. When Rosario Demario exited, the “bushwacker,” as described by the Tribune, opened fire. Demario was struck in the back and the panicked crowd scattered.
Two policemen nearby chased De Rocco, who fired his revolver at them as he fled. Detective Anthony J. Fater returned fire, hitting the fugitive once in the back, and then in the leg. Both men were taken to Gouveneur Hospital. But the night was not over yet.
Half an hour later Salvatore Campo was found unconscious in his room on the second floor of No. 217 Bowery with five knife wounds in his body and scalp. The Tribune reported “One of the wounds had nearly severed his right ear.” He, too, was taken to Gouveneur Hospital. Police later discovered that all three lived in the building–De Rocco on the first floor, Campo on the second, and Demario on the third. Neighbors said that there had been “a long standing quarrel among the boarders.”
On the night of March 1, 1921, Patrolman Shoemaker was passing No. 46 Pitt Street, just after 11:00, when a man holding a “smoking pistol” staggered backwards out of the doorway and collided with a lamppost. Rocco Franko was holding his bloodied right hand to his chest. Shoemaker called an ambulance for the 27-year old, then entered the building.
On the first landing he found Charles Vito, who also held a pistol. The New-York Tribune reported that he “had his right eye shot away. Again an ambulance was called from Gouverneur Hospital.” Both men were arrested in the hospital, but refused to give any information.
Street violence and gangster activity continued to result in emergency cases. In spring 1922 17-year old Samuel Licht had only recently been released from the State Reformatory. On March 26 he stopped a young woman outside a store on Madison Street. Whatever he said to the girl, she apparently took offense. She walked away and Licht loitered around in front of the store.
The Tribune reported “Children who were playing in the street nearby saw a taxicab draw up to the curb and stop. Two men got out, stood side by side while they leveled revolvers, and fired simultaneously.” One of the bullets lodged in the door of the store, but the other struck Licht in the back of the head. “The two men re-entered the taxicab and were driven off.
” A patrolman who heard the shots called an ambulance from Gouveneur Hospital, but Liche died on the way.
During the Great Depression the Works Progress Administration provided work to artists who, among other projects, decorated civic buildings with murals. In 1936 artist Abram Champanier began a ambitious series of 15 “Alice in New York Wonderland” murals for the children’s ward of Gouveneur Hospital. The oil-on-canvas works colorfully depicted a very modern Alice in settings like the Central Park Zoo, at the Coney Island Playground, at the New York Public Library and flying over the East River bridges.
Gouveneur Hospital could boast a few firsts. Dr. Emily Dunning Barringer graduated from the Cornell Medical School in 1897 and was accepted on the Gouveneur Hospital Staff. The Cornell Alumni News later pointed out she was the first female doctor in a New York City hospital, “thereby establishing the precedent of admitting women physicians to general hospital service.” Even more shocking at the time, Dr. Barringer was the first female ambulance driver in the world.
And in 1940 Dr. George A. Baehr organized a prepaid medical plan for tenants of the nearby housing projects, the Vladeck Houses. Residents paid 25 cents per person per month. The plan evolved into what we know today as HIP.
By mid-century the old facility was decidedly out-of-date. The hospital lost its accreditation in 1957, and on November 21, 1960 locals held a nighttime protest around the building. The Times reported “About fifty residents of the area used flashlights to accent their demand for ‘a ray of hope’ for getting a new hospital to serve the section. Placards complained about service and facilities in the 200-bed hospital.”
The building was abandoned in 1961 and in June 1963 Mayor Robert F. Wagner announced plans for a new $14 million Gouveneur Hospital. The new facility was opened at No. 227 Madison Street on September 21, 1972. In the meantime the old building sat empty and neglected.
Broken windows allowed weather into the wards, including those where Champanier’s wonderful 7-foot tall murals once brightened the mood of sick children. In 1980 the City offered the property for sale, and demolition was threatened. Hearing of the W.P.A. murals, Andrew Scott Dolkart and Eddie Friedman of the Landmarks Preservation Commission alerted art conservator Allan Farancz in hopes of saving the artworks. According to Dolkart later, “we were unable to interest any city, state or Federal agency in either paying for their removal and restoration or agreeing to hang the murals once they were removed. “On the night before the bulldozers were to destroy the children’s ward, with its murals, Mr. Farancz heroically went in and removed the artwork at his own expense.”
Farancz stored the murals, which one-by-one were eventually conserved. One of them, appropriately, was installed in the new Gouveneur Hospital.
In 1992 a nonprofit group, Community Access, Inc., began renovations of what was now essentially a gutted shell. Under direction of architect Peter L. Woll the venerable building was renovated for housing for the elderly, mentally ill and AIDS sufferers.
MURAL AT GOUVENEUR HOSPITAL, NOW RESTORED AT CONEY ISLAND HOSPITAL
Known today as Gouveneur Court, the building provides assisted living housing for low income and special needs residents.
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EDITORIAL
Today, Gouveneur is a hospital, nursing home, rehabilitation center and community clinic for the Lower East Side neighborhood of Chinatown and the Jewish Lower East Side amongst is varied clientele. Having visited Gouveneur once for a meeting, I ended up visiting a neighbor there who was in for fracture rehabilitation. The skilled nursing facility is very new, welcoming and a great staff. It is easily located a few blocks from the East Broadway F train station. This is a municipal facility owed and operated by the NYC Health+Hospitals.
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HOSPITAL WALK IN COVID-19 TESTING NYC HEALTH + HOSPITAL METROPOLITAN 1901 First Avenue, New York, NY 10029 at 97th Street call (844) 692-4692 9AM-3:30PM Daily Free Diagnostic Testing (Third-party Verified) Screening Required No appointment needed
Text by Judith Berdy Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac Thanks to Deborah Dorff for maintaining our website Edited by Melanie Colter and Deborah Dorff All materials in this publication are copyrighted (c)
MATERIAL COPYRIGHT WIKIPEDIA, GOOGLE RIHS ARCHIVES AND MAY NOT BE REPRODUCED WITHOUT PERMISSION (C)
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THIS WEEKEND SHOP THE RIHS KIOSK SATURDAY AND SUNDAY
11 a.m. to 4 pm.
LEAPIN’ LIZZARDS… DINOSAURS ON MAIN STREET!
Dinosaurs on Roosevelt Island! Stephen Blank Well, actually there were no dinosaurs on Roosevelt Island. But read on – explore the very early history of our Island.
First of all, I have learned, we have to think of two different time frames when we explore our deep history. First is the long term – from the beginning (say a billion years ago) to around 50,000 years ago. Then second, the more recent era of the last Ice Age.
In the first period, New York City was shaped and reshaped by enormous transformations in global geography. Turns out we were right on the edge of several of these profound changes – the creation of the supercontinent Pangaea around 300 million years ago and the dissolution of Pangaea when North America and what became Africa separated. The land on which we now live has drifted and changed, been uplifted, folded, submerged, frozen, and melted countless times. These events pushed up and dragged out the bedrock that underlies the New York region.
This bedrock – “schist” – was formed between 450 million and over a billion years ago. But being New York City, it has to be complicated. The City rests on three different strata, formed at different periods over millions of years – Manhattan Schist, Inwood Marble, and Fordham Gneiss. These three strata shape the topography of Manhattan. They aren’t arranged in simple layers like the leaves of a book but are complexly interfolded. It’s still more complicated: Continents drifted – and at some points we were much to the south – and climate changed many times.
A personal moment: Why was I interested in all of this? Answer is that I wondered why our Island existed. It appears to be a little hill (mountain?) of schist sticking up out of what became the East River, which remained as the River deepened and broadened. (This stuff sticking up out of the River was what was quarried here by Blackwell’s Island prisoners for many of the buildings on the Island.) I assumed we were related to Manhattan – same sort of bedrock. But not quite: Roosevelt Island is near the boundary of several of these bedrock regions. But we’re different. While the bedrock making up other nearby East River Islands (i.e. Randall’s or Ward’s Islands) represents their proximity to these various regions, Roosevelt Island is underlain only by Fordham Gneiss, characteristic of much of the south Bronx. This rock dates to the Lower Paleozoic and/or Precambrian Eras, formed approximately 500 to 4500 million years ago, and Roosevelt Island represents one of only a few isolated exposures of Fordham Gneiss in New York City. Who knew?
But while these vast movements over millions of years created the foundations of New York City, the landscaping we recognize was carried out by glaciers. In the second, more recent period (the Pleistocene or “Ice Age” from 1.8 million years ago to 8,000 years ago), glaciers spread southward from eastern Canada. Between 17,000 years ago to 11,000 years ago, large ice sheets bulldozed the landscape. Around 17,000 years ago, the part of Wisconsin glacier covering the New York City was about 985 feet thick (the Empire State is 1250 feet high, not counting the aerial). Rocks with the glaciers scrapped and scratched the bedrock of Central Park, producing long linear striations and grooves. Long Island is composed of rubble that glacier left behind as it melted, and the channel of East River was formed by the retreating/melting of the glacier and advancing of the Atlantic Ocean.
GLACIAL LANDSCAPE IN CENTRAL PARK
So what about dinosaurs? As I said, there weren’t any. Not here at least. But not far.
We had some big, mean critters. A little over 400 million years ago, much of North America, including New York State, was under water. The Eurypterus, a type of marine invertebrate, a giant sea scorpion, lived in this period – and in case you don’t already know, it is the official state fossil of New York. Eurypterus was one of the most feared undersea predators before the evolution of prehistoric sharks and giant marine reptiles. They colonized much of the supercontinent of the time, and are one of the first animal groups to venture from sea to land.
EURYTERUS Dinosaurs seem to have roamed around not far from New York City. In 1972, dinosaur footprints were found in what is now Rockland County, dating to the late Triassic period, about 200 million years ago. The footprints belong to a type of lizard known as a Grallator. This beast was probably coelophysis, a slender, bipedal carnivore that lived throughout the east coast of what we call North America. It’s also found in other parts of the world, because back then, there was no North America. There was no New York, no Hudson River, no Westchester or Rockland Counties. There was only Pangea.
Coelophysis And New Jersey! The first nearly complete dinosaur skeleton in the world was found in Haddonfield in 1858. Sediments from the Cretaceous period revealed a 75-million-year-old fossil of a Hadrosaurus foulkii, the first known duck-billed dinosaur, which have become the most plentiful dinosaur finds from this period on the East Coast. Specimens of giant dinosaurs like Dryptosaurus, a tyrannosaur six feet tall at the hip that may be a cousin of the fearsome T Rex was found in Ellisdale.
So we didn’t have dinosaurs. But we still had some pretty great creatures.
For 64 million years following the great extinction of the dinosaurs and much of life on earth, our region was warm, moist and conducive to the evolution of many of the plants and animals we see today (and more than a few we don’t see anymore). Periodic ice ages brought glaciers that covered the state and then retreated, each time reshaping the landscape, carving rivers and lakes and mountains and killing off many of animals.
As temperatures increased, a variety of flora and fauna spread through the region. At this time, large open forests of spruce, fir, pine, and other tree species expanded across the Northeast, interspersed with open meadows and marshland. Creatures like mammoths, mastodons, giant beavers and sloths, musk oxen, and the giant short-faced bear roamed the land. In 1866, during the construction of a mill in upstate New York, workers discovered the near-complete remains of a five-ton American Mastodon dated to about 13,000 years ago. The “Cohoes Mastodon,” as it became known, testifies to the fact that these giant prehistoric elephants roamed the expanse of New York in thunderous herds
OK, no dinosaurs. But we’ve got Mastodons, Woolly Mammoths and Giant Beavers. What about people?
The earliest “Paleo-Indians” seem to have arrived here between 13,000 and 10,000 years ago. Because of the close proximity of any of their sites to the coastline, few have been preserved in the New York City area. As the glaciers continued to melt, sea levels rose and much of what was once adjacent to the water line became submerged. Only one Paleo-Indian site has been discovered in the entire New York City area—that of Port Mobil, on Staten Island. Some paleoanthropologists believe that the large mega-mammals, like mammoths, were still here when the earliest folks arrived. Some feel that these folks – together with climate change – were responsible for killing off the local plus-sized mammals. Seems like they were tough New York City types – taking on a mastodon with bare hands.
That’s the story. From here on, just 10,000 years ago, we’re practically home.
Plaque that was at foot of the Lighthouse commemorating the Asylum inmate who had “constructed” a fort where the Lighthouse was situated. The plaque vanished in the 1970’s. JAY JACOBSON CLARA BELLA GOT IT RIGHT.
EDITORIAL It is Christmas morning and a rather bleak day outside. We (Pat and I) will gather to watch a video of the NYC Ballet Nutcracker video. Then I will make a pork roast and macaroni for dinner.
Last evening my friend Jeong and I feasted on King Crab Legs. I have never had them and they were delicious and a real treat. In Jeong’s homeland, Korea, crab are a New Year’s tradition and we celebrated early this year.
We spoke to my brother last evening and discussed our two dinners. He has more wine and champagne in contrast to my cider.
Our celebrations are not grand this year. Some friends are gone, times have changed but we will be in our pod of neighbors and friends.
HAVE A SAFE AND HEALTHY 2021
JUDITH BERDY
Text by Judith Berdy Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac and the RIHS Thanks to Deborah Dorff for maintaining our website Edited by Deborah Dorff All image are copyrighted (c)
GOOGLE IMAGES, WIKIPEDIA
ROOSEVELT ISLAND HISTORICAL SOCIETY
FUNDING PROVIDED BY ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE GRANTS CITY COUNCIL REPRESENTATIVE BEN KALLOS DISCRETIONARY FUNDING THRU DYCD
EVERY YEAR THE RECREATION THERAPISTS DO A WONDERFUL HOLIDAY DISPLAY
A HOLIDAY VILLAGE IS GLITTERING IN THE SHOWCASE
YOU ARE GREETED BY KATIE WHO WILL TAKE YOUR TEMPERATURE AND GREET YOU WITH A CHEERFULLY SMILE
THE ELF WORKSHOP IS PREPARING FOR THE GIFT DISTRIBUTION!
ASHLEY, A RECREATION STAFF MEMBER IS BUSY SORTING AND PACKING GIFTS.
MEN’S GIFTS ON ONE SIDE AND WOMEN’S ON THE OTHER SIDE OF THE AUXILIARY OFFICE. SINCE THE RESIDENTS CANNOT GO OUT TO SHOP, HEALTH AND BEAUTY AIDS ARE THE MOST NEEDED AND APPRECIATED GIFTS.
THE GOODY TABLE WHERE THE RECREATION STAFF SELECT OTHER ITEMS FOR THEIR RESIDENTS. EVERYTHING FROM PENS, PUZZLES, NOTEBOOKS, SOCKS, HAIR ORNAMENTS ARE THERE FOR THE RESIDENTS.
LAST MINUTE DETAILS AND JOVEMAY SANTOS, THE DIRECTOR OF RECREATION THERAPY IS ON THE PHONE, AGAIN.
PICKUP TIME ARRIVE AND GIFTS FOR 500 RESIDENTS ARE READY TO GO. ALSO, A SPECIAL CATERED LUNCH TODAY WITH EGG-NOG AND COOKIES FOR DESSERT.
CHRIS IS SELECTING SPECIAL ITEMS FOR THE RESIDENTS IN HIS UNIT.
A LONG DAY AND THE MISSION IS ACCOMPLISHED!!
EDITORIAL
THE GRINCH DID NOT GET TO COLER THIS YEAR!
RECENTLY THERE HAVE BEEN NEGATIVE REPORTS ABOUT COLER AND MANY OF OUR NEIGHBORS FORGET THAT COLER IS A VITAL THRIVING COMMUNITY OF 500 RESIDENTS.
THIS HAS BEEN A TERRIBLE YEAR FOR ALL OF US AND ESPECIALLY CHALLENGING FOR ALL NURSING HOME RESIDENTS.
IN WARM WEATHER THE RESIDENTS ENJOY THE GARDEN AND GETTING OUT OF THE BUILDING. EVERY DAY THAT IS POSSIBLE THE RESIDENTS CAN GO TO THE GARDEN.
THIS YEAR THE AUXILIARY HAS FUNDED SPECIAL LUNCHES AND HOLIDAY MEALS. NO GATHERINGS ARE PERMITTED SO THE CONCERTS, GOSPEL MUSIC EVENTS AND DANCES ARE CANCELED.
IF YOU WOULD LIKE TO HELP IMPROVE THE LIFE AT COLER, PLEASE DONATE TO THE AUXILIARY.
WE THANK THE MEMBERS OF GOOD SHEPHERD CHURCH WHO DONATED GIFTS FOR THIS DISTRIBUTION. THE COLER AUXILIARY NEEDS YOUR SUPPORT TO PROVIDE FOR THE RESIDENTS OF COLER.
PLEASE CONTACT US TO MAKE A TAX DEDUCTIBLE DONATION. JUDITH BERDY CHAIR JBIRD134@AOL.COM MAIL TO: COLER AUXILIARY, 900 MAIN STREET, NY, NY 10044 212-688-4836
Coler Christmas Tree in main lobby Vicki Feinmel got this right
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Text by Judith Berdy Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac and the RIHS Thanks to Deborah Dorff for maintaining our website Edited by Melanie Colter and Deborah Dorff Roosevelt Island Historical SocietyMATERIALS USED FROM: ROOSEVELT ISLAND HISTORICAL SOCIETY (C)
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CITY COUNCIL REPRESENTATIVE BEN KALLOS DISCRETIONARY FUNDING THRU DYCD
Edward Penfield, Harper’s Christmas, ca.1898, color lithograph on paper, Smithsonian American Art Museum, Museum purchase, 1974.
Carl Newman, Spirit of Christmas, ca. 1915-1920, oil and tempera on fiberboard, Smithsonian American Art Museum, Gift of Anna McCleery Newton, 1971.88
Grandma Moses, Christmas, 1958, oil and tempera on pressed wood, Smithsonian American
Grandma Moses painted many winter scenes of farm life in which adults and children happily do their chores and play in the snow. She painted only cheerful images that were based on her memories of growing up on a farm and of being a farmwife herself. In this painting the people talking and laughing together evoke a nostalgic ideal of community life, which the artist emphasized through small stylized buildings and bright colors. The buildings and looping fences create a two-dimensional pattern on the pure white snow that underscores the picturesque, storybook scene.
Harry Cimino, Christmas Card, n.d., woodcut, Smithsonian American Art Museum, Gift of Charlotte Manzari, 1969.31.32
Mildred McMillen, Christmas Greetings 1918, 1918, woodcut on paper, Smithsonian American Art Museum, Gift of Helen Baltz, 1979.28.4
Irving Guyer, Christmas Trees on Second Street, ca. 1935-1943, etching and aquatint on paper, Smithsonian American Art Museum, Gift of Jean Nichols, 1974.38.21
Winslow Homer, Christmas Belles, from Harper’s Weekly, January 2, 1869, 1869, wood engraving on paper, Smithsonian American Art Museum, The Ray Austrian Collection, gift of Beatrice L. Austrian, Caryl A. Austrian and James A. Austrian, 1996.63.70
Leonard Brooks, Christmas Posada, San Miguel de Allende, Mexico, ca. 1953, watercolor and gouache on paper, Smithsonian American Art Museum, Gift of the Ford Motor Company, 1966.36.3
J. Alden Weir, Christmas Greens, 1887-1893, etching and drypoint on paper, Smithsonian American Art Museum, Gift of Brigham Young University, 1972.84.2
Helen Hyde, In Their Holiday Clothes, 1914, color woodcut on paper, Smithsonian American Art Museum, Gift of Hyde Gillette in memory of Mabel Hyde Gillette and Edwin Fraser Gillette, 1992.13.94
Many people mistake days mentioned in the song “The Twelve Days of Christmas” for the days preceding December 25. In actuality, however, the song refers to the twelve days after Christmas. In the United States, our traditions tend to focus on family gatherings, large meals, Christmas trees, Santa Claus, and reindeer. In places across the world, particularly in Spanish speaking countries, January 6 is the main gift-giving holiday. The Day of the Kings, known as the Epiphany in the United States, shares many elements of the Christmas traditions. Children put out treats for the camels, often grass, along with some type of libation for Melchior, Gaspar, and Balthazar on the night of January 5. The kings bring presents only to good boys and girls. Apart from this, each country that celebrates the Day of the Kings has its own unique traditions, like parades, family gatherings or my favorite, eating rosca de reyes (king cake) with figurines hidden inside.
ALTER AT CHAPEL OF THE GOOD SHEPHERD BRENDA VAUGHAN, JOAN BROKKS, VICKI FEINMEL, NINA LUBLIN AND ALEXIS VILLEFANE WERE THE FIRST ONES.
A HOLIDAY MIRACLE…RIOC STYLE
After weeks of seeing this abandoned bicycle obstructing the bus stop at the Chapel, it was time for action……..emails to Shelton. After two days the annoying bike was removed within minutes of another reminder e-mail to him. Now, can we move the trash can and the STOP sign so the bus stop is not obstructed. MERRY CHRISTMAS TO ALL
Text by Judith Berdy Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac and the RIHS Thanks to Deborah Dorff for maintaining our website Edited by Melanie Colter and Deborah Dorff All image are copyrighted (c)
Smithsonian American Art Museum
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SHOP THE RIHS KIOSK WEDNESDAY / THURSDAY 12 NOON TO 5 P.M.
Hotel Pabst on Longacre Square
WEDNESDAY, DECEMBER 23, 2020
OUR 243rd ISSUE OF FROM OUR ARCHIVES
A Christmas feast at Midtown’s new Hotel Pabst
1900
FROM EPHEMERAL NEW YORK (C)
Never heard of the Hotel Pabst? You’re not alone. The nine-story tower with a steel skeleton swathed in limestone only existed from 1899 to 1902—built on the slender triangle formed by Broadway, Seventh Avenue, and 42nd Street at Longacre Square.
Run by the Pabst Brewing Company as part of a short-term effort to acquire hotels, the elegant hostelry at the upper reaches of the city’s theater district and lobster palaces was replaced by the New York Times‘ headquarters in 1904 (and Longacre Square became Times Square).
The eye-popping Christmas dinner menu has been preserved by the New York Public Library in their Buttolph Collection of Menus. Between the carte de jour oyster offerings to the 20-plus desserts (plum pudding! Cream puffs!) are a dozen or so courses that must have taken an army of chefs to prepare.
Many of the dishes are the typical heavy fare of a hotel menu in New York of the era: terrapin a la Maryland, quail, stuffed turkey, filet of sole, prime beef, and lamb chops.
There’s a fair number of items borrowed from French menus, which makes sense, as French cuisine was seen as the most elegant at the time
Some of the dishes are completely foreign to contemporary American tastes, however. Cold game pie, Philadelphia squabs, and reed ducks, anyone?
One thing stands out, though: Christmas dinner at a hotel in 1900 was certainly a feast. By the time you finished your Nesselrode pudding and revived yourself with your Turkish coffee, buttons must have been popping off your clothes!
[Top photo: MCNY 93.1.1.6427; menu: NYPL Buttolph Collection of Menus]
Tags: Buttoph Collection of Menus NYPL, Christmas Dinner Menus 1900, Hotel Pabst Longacre Square, Hotel Pabst New York City, Longacre Square 1900, Longacre Square Times Square, Old Christmas Dinner Menus NYC Posted in Bars and restaurants, Holiday traditions, Midtown, Out-of-date guidebooks, Sketchy hotels
FERRY WELFARE FROM EAST 78 STREET TO DOCK NEAR METROPOLITAN HOSPITAL NOW OCTAGON. SERVICE ENDED IN 1957. JAY JACOBSON GOT IT RIGHT
A FEAST
READING THESE MENUS OF DAYS A CENTURY AGO IS A TRIP THRU TIME WHEN THE WELL-OFF LIVED AND ATE WELL WITH MANY MULTI-COURSE MEALS. CHECK OUT THE ITEMS AND REMEMBER WHEN OUR MEALS WERE HEAVY AND FULL OF CALORIES.
Text by Judith Berdy Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac and the RIHS Thanks to Deborah Dorff for maintaining our website Edited by Deborah Dorff All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated
EPHEMERAL NEW YORK (C)
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TUESDAY, DECEMBER 22, 2020
The
242nd Edition
From Our Archives
EARLY WORKS
Fête Champêtre/ Festival in the Countryside ca. 1905 oil on canvas / óleo sobre tela 28.5 x 36.4 inches; 72.4 x 92.4 centímetros Museo Andres Blaisten
Alfredo Ramos Martínez
1871-1946
Mexican In the Ranch, Mexico Signed “Ramos Martinez” (lower right); inscribed “In the Ranch, Mexico” (en verso) Oil on board Alongside Diego Rivera and Frida Kahlo stands the great Alfredo Ramos Martínez as one of the most important Mexican artists of the modern age. Over a long career, Ramos Martínez produced works in a modern idiom that was both nostalgic and accessible, but never sentimental, and with a remarkable beauty in their simplicity of form and structure. In the Ranch, Mexico offers clear testimony to the artist’s ability to capture the spirit of Mexican life with his distinctive aesthetic sensibility – highly stylized compositions and a palette bursting with rich and earthy color.
Throughout his life, Ramos Martínez composed Gauguinesque representations of Mexico’s indigenous people that promoted a romanticized view of Mexican culture. He was among the first artists of the modern era to paint Mexican subjects while working outdoors with live Indian models, which was very much in the tradition of the French Impressionists painting en plein air. In In the Ranch, Mexico, Ramos Martínez’s figures appear at one with the landscape. He used the same limited color tones to render both the peasants and the building and hills that surround them. The work is clearly a product of its time – Ramos Martínez brings together elements of Art Deco, reducing classical motifs to their essential form through geometric stylization. It is the work’s narrative strength, ascetic palette and purity of line that makes it so compelling even today.
In the Ranch, Mexico was painted at the height of the artist’s career while he was living in California seeking medical care for his daughter. During his self-imposed exile, Ramos Martínez achieved remarkable success in Los Angeles, securing work painting murals almost immediately upon his arrival in 1929. Though his compositions capture the spirit of Mexican life, his success in California proves that his legacy transcended cultural borders, and today he is also considered a major figure of California Modernism as well as Mexican art.
Born in Monterrey in 1871, Alfredo Ramos Martínez began his artistic career at an early age. When he was just fourteen years old, his portrait of the governor of Nuevo León was awarded first prize at an art exhibition in San Antonio. The prize came with a scholarship to the Academia Nacional de Bellas Artes in Mexico City, and thus Ramos Martínez began his studies as an artist.
From the beginning, he rebelled against the strict Academic structure of his classes and his teachers’ adherence to prevailing European aesthetics. Yet, in 1899 Phoebe Apperson Hearst visited the school and was so impressed by Ramos Martínez’s talent that she agreed to finance the young painter’s studies in Paris. His time spent in Europe, where he fraternized with the likes of Claude Monet, Pablo Picasso, Henri Matisse and Joaquín Sorolla, who would significantly influence the trajectory of his career.
Using the techniques he had so faithfully studied and practiced during his European years, Ramos Martínez succeeded in creating a new kind of Mexican art, bringing together an awareness of Mexico’s pre-Columbian history and culture with modern aesthetics. His subjects particularly appealed to a Hollywood clientele who became significant patrons of Mexican art, including screenwriter Jo Swerling; the directors Dudley Murphy and Alfred Hitchcock; and actors John Huston, Corinne Griffith, Charles Laughton and Beulah Bondi. Today, his works are highly prized in private collections, achieving significant prices at auction, and they are held in museum collections around the world, including the San Francisco Museum of Modern Art, Santa Barbara Museum of Art, Museo Andres Blaisten, San Diego Museum of Art and the Phoenix Art Museum.
M.S. Rau (c)
Portrait of Nahui Olin ca. 191 5 pastel on paper on canvas / pastel sobre papel sobre tela 55 1/8 x 36 3/8 inches; 140 x 92.4 centímetros Private Collection
PAINTINGS OF THE 1930’S AND 1940’S
En el Rancho Mexicano / In the Ranch, Mexico ca. 1936 oil on board / óleo sobre cartón 23.9 x 27.4 inches; 60.6 x 69.5 centímetros
Vendora de Flores / Flower Vendor 1934 oil on canvas/óleo sobre tela 32 x 28 inches; 81.3 x 71.1 centímetros Private collection
Vendeoras de Frutas / Fruit Vendors ca. 1938 oil on canvas / óleo sobre tela 38 1/8 x 31 inches; 96.8 x 78.7 centímetros
Flores Tropicales / Tropical Flowers tempera and Conté crayon on cardboard / temple y crayon Conté sobre cartón 23 ½ x 34 inches; 59.7 x 86.4 centímetros
La Puesta del Sol / Sunrise gouache, Conté crayon, and pencil on paper; guada, crayon Conté, y lápiz sobre papel 22 1/2 x 27 1/2 inches; 57.2 x 69.5 centímetros
MURALS
Hotel Playa Ensenada, Ensenada, Baja California
1929
La Capilla del Cementerio de Santa Bárbara (The Chapel of the Santa Barbara Cemetery)
1934
El Día del Mercado (Market Day) Mural for La Avenida Cafe, Coronado (Now at the Coronado Public Library) 1937
Vendedoras de Flores (The Flower Vendors) Margaret Fowler Memorial Garden, Scripps College 1945-1946
THE ALFREDO RAMOS MARTINEZ RESEARCH PROJECT To see more of this wonderful work go to: alfredoramosmartinez.com All images coyright by the Alfredo Ramos Martinez Project
Courtyard at the Octagon Jinny Ewald ad Gloria Herman got it
CLARIFICATION WE ARE HAPPY TO GIVE WINNERS OF OUR DAILY PHOTO IDENTIFICATION A TRINKET FROM THE VISITOR CENTER. ONLY THE PERSON IDENTIFYING THE PHOTO FIRST WILL GET A PRIZE. WE HAVE A SPECIAL GROUP OF ITEMS TO CHOOSE FROM. WE CANNOT GIVE AWAY ALL OUR ITEMS,. PLEASE UNDERSTAND THAT IN THESE DIFFICULT TIMES, WE MUST LIMIT GIVE-AWAYS. THANK YOU
This morning I was looking thru the NYTimes and spotted an ad from M.S. Rau Antiques. They usually feature very expensive and unique pieces in the ads. Today it was the painting by Ramos Martinez. What a joy to look up the work by this artist. I can only feature a few on the website, so please check out alfredoramosmartinez.com. You will be muy alegre. Feliz navidad y ano nuevo.
Judith Berdy
Text by Judith Berdy Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac and the RIHS Thanks to Deborah Dorff for maintaining our website Edited by Melanie Colter and Deborah Dorff
ALFREDO RAMOS MARTINEZ RESEARCH PROECT (C) M.S. Rau Antiques
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated SMITHSONIAN AMERICAN ART MUSEUM PHOTOS BY JUDITH BERDY / RIHS (C)
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There were two Meneely bell founderies, based on either side of the Hudson River in New York state.
The first Meneely bell foundry was established in 1826 in West Troy (now Watervliet), New York,by Andrew Meneely, a former apprentice in the foundry of Benjamin Hanks. Two of Andrew’s sons continued to operate the foundry after his death, and it remained a family operation until its closure.
The second Meneely bell foundry was established in 1870 by a third son, Clinton H. Meneely, across the river in Troy, New York. Initially he was in partnership with George H. Kimberly, under the name Meneely & Kimberly; this second foundry was reorganized in 1879 as the Clinton H. Meneely Bell Company, then later as the Meneely Bell Company.
Like its related competitor, it remained a family operation until its closure. Business cards for both of the competing Meneely bell foundries appearing in the Troy Daily Times May 20, 1891 The two foundries competed vigorously (and sometimes bitterly) with each other.
Together, they produced about 65,000 bells before they both closed in 1952.
OUR BELL WAS PRODUCED BY MENEELY IN WEST TROY, THE ORIGINAL FOUNDRY.
OUR NEIGHBORHOOD BLACK SQUIRREL HER COUSIN IS AVAILABLE AT THE KIOSK NOW, NO PEANUTS REQUIRED. CLARA BELLA GOT IT FIRST!
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Text by Judith Berdy Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac Thanks to Deborah Dorff for maintaining our website Edited by Melanie Colter and Deborah Dorff All materials in this publication are copyrighted (c)
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