Hiding between Shake Shack and Eataly just outside Madison Square Park is one of only two military grave sites in the city.
It contains the remains of William Jenkins Worth.
A celebrated general, Worth’s military career started with the War of 1812 and was cut short after the Mexican-American War, when he contracted cholera in San Antonio in 1849.
After his death, city leaders decided to honor him with a memorial in what was then an elite residential neighborhood.
While his body was temporarily interred in Green-Wood Cemetery, a 51-foot granite obelisk went up, listing names of crucial battle sites of his career.
A bronze relief of Worth on a horse fronts the obelisk, and military regalia decorate the cast-iron fence surrounding it.
It’s a grand monument—but it’s easy to miss as you cross that tricky intersection of 25th Street, Broadway, and Fifth Avenue (a pocket park called Worth Square).
Where’s the other military gravesite in Manhattan? Grant’s Tomb, 100 blocks northwest. General Worth is also the namesake of Worth Street, and we have him to thank for Fort Worth, Texas, and Lake Worth, Florida.
RIHS Lecture: Benedict Arnold: Hero Betrayed Date and Time Tuesday, November 15, 2022, 6:30 – 7:30 PM Location Online via Zoom Roosevelt Island Library
Before he was a turncoat, he was an American hero. James K. Martin, Professor Emeritus at the University of Houston and author of Benedict Arnold, Revolutionary Hero: An American Warrior Reconsidered, reveals the strategic genius of Arnold, his essential contributions to the Revolutionary War, and his mistreatment at the hands of his superiors.
ABOUT JAMES KIRBY MARTIN As for me: Might say that I’ve had a long academic career, teaching almost 50 years at Rutgers in NJ and the Un. of Houston. Also held distinguished visiting appointments at The Citadel in SC and the U. S. Military Academy at West Point. Have published several books, including Benedict Arnold, Revolutionary Hero, on which the film is based. Also served as an executive producer of the film, which is available on Amazon Prime and other streaming networks. My most recent book is a novel, titled Surviving Dresden: A Story of Life, Death, and Redemption in World War II. Many other writing projects are underway. And I serve on the boards of trustees of the Fort Ticonderoga Association on Lake Champlain and the Fort Plain in the Mohawk Valley, and also serve as an historian adviser to the Oneida Indian Nation of NY. That should be plenty and please feel free to reduce this information if you like.
From Jay Jacobson: While a bikeway to circumnavigate Manhattan island is a splendid idea, the incredible cost per foot of bikeway is an outrageous, insensitive, extravagance. The logic of ultimately providing paved surfaces over virtually all of the East River will be the ruin of the City of New York. I lament this wasteful extravagance, as much as I admire its imagination.
From: Judy Berdy For the last 9 days I have been at Early Voting as PS 217. 997 voters took advantage of the fast, easy and efficient way to vote. If you missed that opportunity, we are at PS 217 today until 9 p.m. for you to vote!! See you there!
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) Roosevelt Island Historical Society unless otherwise indicated
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EPHEMERAL NEW YORK
FUNDING PROVIDED BY DISCRETIONARY FUNDS OF THE NYC CITY COUNCIL MEMBER JULIE MENIN & ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE FUNDS.
Before he was a turncoat, he was an American hero. James K. Martin, Professor Emeritus at the University of Houston and author of Benedict Arnold, Revolutionary Hero: An American Warrior Reconsidered, reveals the strategic genius of Arnold, his essential contributions to the Revolutionary War, and his mistreatment at the hands of his superiors.
ABOUT JAMES KIRBY MARTIN
As for me: Might say that I’ve had a long academic career, teaching almost 50 years at Rutgers in NJ and the Un. of Houston. Also held distinguished visiting appointments at The Citadel in SC and the U. S. Military Academy at West Point. Have published several books, including Benedict Arnold, Revolutionary Hero, on which the film is based. Also served as an executive producer of the film, which is available on Amazon Prime and other streaming networks. My most recent book is a novel, titled Surviving Dresden: A Story of Life, Death, and Redemption in World War II. Many other writing projects are underway. And I serve on the boards of trustees of the Fort Ticonderoga Association on Lake Champlain and the Fort Plain in the Mohawk Valley, and also serve as an historian adviser to the Oneida Indian Nation of NY.
ED LITCHER, JAY JACOBSON, HARA REISER ALL GOT IT RIGHT.
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)
JAMES KIRBY MARTIN
Illustration: “The Hudson at Tappan Zee” by Francis Silva 1876 showing a sloop, but actually depicting Esopus Meadows.
CITY COUNCIL REPRESENTATIVE JULE MENIN DISCRETIONARY FUNDING THRU DYCD
In 1992, the shipyard at Rochefort France where the Hermione – the ship that brought Lafayette to America – had been constructed in 1780 was apparently in decline.
Several local entrepreneurs conceived of the idea that a replica of the Hermione should be built and sailed to the United States as a goodwill gesture. It was hoped that the project would perhaps improve the local economy and also remind Americans of the important historical ties between the United States and France.
A visionary project of this magnitude would seem an almost impossible undertaking. The cost would exceed $22 million. Among other technical challenges was the fact that there were no existing plans for the original Hermione. There were however, for an English ship of the same class which had been constructed at the same time.
Beginning in the early 1990s work was begun in Rochefort with the backing of the French government, local French citizens and major French corporations. The hope was undoubtedly that American cities and citizens would support this endeavor and might even help financially. After all, the French-designed Statue of Liberty, among the most successful public monuments in history and an archetypal symbol of the United States, had been jointly funded by American and French contributions.
In 2014 the ship was completed and ready to sail across the Atlantic to 11 ports on the eastern seaboard, including stops at various maritime museums. One of the most important stops would be New York Harbor on July 4th where it would sail by the Statue of Liberty.
The project received favorable response from officials in Baltimore and Philadelphia and other seaport cities. In New York however, the project’s representatives had difficulty obtaining an audience with representatives of the mayor or governor to discuss the project. As the time for the Hermione’s arrival approached it appeared that prospects for a proper reception in New York were dim.
Several weeks before July 4th however, members of the Bowling Green Association and the Lower Manhattan Historical Association began pestering relevant City officials. Finally, with the backing of Manhattan Borough President Gale Brewer, arrangements were made to dock the Hermione at South Street Seaport’s Pier 16. (The City had planned to dock Hermione at an obscure pier in Brooklyn.)
At the opening ceremony, Miles Young, the British-born head of the American Friends of the Hermione (who was then chair of the advertising firm Ogilvy & Mather), hailed the achievement of having the Hermione come to New York and America. He called the project one of the great public history projects of the 20th century and an example of the Lafayette family motto “why not.”
Although the highest city or state official at the ceremony was the mayor’s Commissioner of Foreign Affairs, speakers did include Jonathan Bouleware, the recently installed President of the South Street Seaport Museum, and Craig Stapleton, a prominent past U.S. Ambassador to France. A representative of the Lower Manhattan Historical Association gifted the captain of the Hermione a 13-star American flag. The flag was an replica of the one that had been carried by Thomas Paine and John Paul Jones and presented to the Marquis de Lafayette at the Fête de la Fédération in 1790.
The following day, another ceremony was held in front of Pier 16 in which the Lower Manhattan Historical Association held a march in honor of the Hermione from Pier 16 to Bowling Green where the flag was raised on the Evacuation Day flagpole. The march is believed to have been the first July 4th parade in Lower Manhattan since the American Bicentennial in 1976. It proved a success, and laid the groundwork for the seven subsequent, and much larger, July 4th parades.
Jonathan Bouleware, the newly installed President of the South Street Seaport Museum, gave a stirring speech about the importance of the Hermione and his plans to rebuild the Museum to its former glory with a program of visiting foreign historical ships. Gale Brewer spoke about the importance of recognizing the history of Lower Manhattan and the importance of the French efforts.
The march which went up Wall Street and turned at Broadway to Bowling Green. It was led by Miles Young, an American crew member of the Hermione, along with storyteller Jonathan Kruk and Caroline Kaplan. Marchers various patriotic groups with drummer Brian Carter providing the musical accompaniment (the budget did not allow for a marching band). As the parade went by Federal Hall the Hearts of Oak Band serenaded the marchers en route to Trinity Church (thanks to the National Parks Service).
The 2015 visit of the Hermione has not only been a catalyst for the succeeding July 4th parades, but also for the Lower Manhattan Historical Association. The Association is now an active group which organizes other historical activities in Lower Manhattan such as the annual Saratoga-Yorktown Celebration in Trinity Churchyard; the Alexander Hamilton Immigrant Achievement Awards, the annual Evacuation Day ceremonies at Bowling Green. The Association has also helped mark the first Synagogue in North America on South William Street, and recently commemorated the Buttonwood Agreement, which helped found the New York Stock Exchange.
Arguably, the visit of the Hermione in 2015 also had a profound impact on the South Street Seaport Museum. After much wrangling and controversy, the Howard Hughes Corporation (one of the principal financial supporters of the Lower Manhattan Historical Association’s July 4th parades) sought to build a major office building at 250 Water Street. The company offered to make a donation of $50 million if its zoning application was approved. The directors of the financially beleaguered South Street Seaport Museum had argued that the museum would go out of business without this subsidy.
The proposal created a major controversy in Lower Manhattan. The matter was the subject of five lengthy public hearings in which more than 600 interested people spoke with some commenters waiting more than three hours to make their two minute presentations. A number of business groups along with directors of the Lower Manhattan Historical Society (including Aleen Millman, Catherine Hughes and Scott Dwyer), along with the director of the Fraunces Tavern Museum, argued that the long-term interest of the community lay with preservation and expansion of the Museum.
Notable New York historian Kenneth Jackson, a former president of the New York Historical Society, argued that the future of Manhattan was dependent on its ability to compete with other major cities of the country and world for tourist dollars and that the South Street Seaport Museum could be critical.
Ultimately with the support of city council member Margaret Chin, then Borough President Gale Brewer (who had both been Grand Marshals of the 4th of July parades), the New York City Council supported the Howard Hughes project. The 2021 and 2022 Lower Manhattan Historical Society’s July 4th parades ended at the South Street Seaport piers and were viewed by some as a Seaport Museum victory celebration.
Hoping For Hermione’s Return in 2024
At a recent meeting of the Lower Manhattan Historical Association, the organization was asked if it would help plan a celebration to mark the 200th anniversary of Lafayette’s triumphant return to the United States in 1824. A number of groups, led by the Friends of Lafayette and other French-American organizations are planning a series of events for 2024.
It was suggested that the return of the Hermione to the United States could be a centerpiece of these efforts. A member of the Lower Manhattan Historical Association’s board was asked to look into the costs, although several board members remain skeptical. The Hermione is currently in dry dock in Rochefort where its hull is in poor shape. The estimated cost of renovating the ship for another voyage to the United States is estimated at $3-5 million.
While this amount might seem daunting, it’s not impossible, if one considers the potential benefits and the French and American resources that could be brought to bear. 140 years ago, the Statue of Liberty was considered a hopeless scheme.
A return visit of the Hermione for the 200th anniversary of Lafayette’s 1824 visit could promote historical tourism along the eastern seaboard and further the the history community’s vision of Lower Manhattan as a world class tourist center.
At a time when democracy is sometime in question, it could provide Americans with a timely reminder of the principles on which democratic government was founded.
In terms of fundraising, a joint project with French and American groups each raising $2.5 million using the same methods as those used for the Statue of Liberty – individual contributions, public municipal investment, donations from major corporations should be possible.
The only question is the will of people on both sides of the Atlantic to do so. After all, is not the motto of the Lafayette Coat of Arms—“Why not”?
RCA BUILDING ROCKEFELLER CENTER ANDY SPARBERG, GLORIA HERMAN AND ALEXIS VILLAFANE ALL GOT IT RIGHT
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) Roosevelt Island Historical Society unless otherwise indicated
NEW YORK ALMANACK JAMES. S. KAPLAN
THIS PUBLICATION FUNDED BY DISCRETIONARY FUNDS FROM CITY COUNCIL MEMBER JULIE MENIN & ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE FUNDS.
Art installations in November start to take on a holiday tint as approach the season of giving. Starting on November 25th, you can send your wishes into the sky or conduct a symphony of color-changing lanterns inside the Winter Garden at Brookfield Place with the interactive public installation Luminaries. Luminaries is a glowing canopy made up of 640 twinkling custom lanterns that change in color and intensity, based on your motions during certain “Maestro” and “Holiday Wishing” sessions noted on the schedule. For every interaction, Brookfield Place will donate $1, up to $25,000, to Outreach, a charity that provides “evidence-based behavioral health services to youth and adults in NYC and on Long Island struggling with substance and alcohol abuse.”
When the installation isn’t in interactive mode it will still be mesmerizing. Throughout the installation’s run, November 25th through January 6th, you can watch special light shows set to your favorite holiday songs, like Winter Wonderland by Michael Bublé, Silver Bells by Tony Bennett, and Carol of the Bells by The Bird and The Bee.
Sarah E. Brook’s The Need You Know It Is A Letting Light. Photo by Sebastian Bach
Located inside the Lena Horne Bandshell in Prospect Park is Sarah E. Brook’s multimedia installation The Need You Know It Is A Letting Light, an installation that began in mid-October. Presented by BRIC and the Prospect Park Alliance, The Need You Know It Is A Letting Light conveys the artist’s exploration of the communication between external and internal psychic space through three abstract wooden sculptures and an accompanying mural. Brook’s project marks the first time a sculpture will be presented alongside a mural at the bandshell. Colored red, yellow, and green in the spirit of the park’s natural landscape, the bright mural seeks to allure passersby from within the park into the bandshell.
Arts Brookfield
Canstruction® returns to Brookfield Place for the 30th year! This annual art competition, produced in partnership with City Harvest, challenges teams of architects, engineers, and contractors to build sculptures made entirely out of unopened cans of food. At the end of the installation, the sculptures are deconstructed and the cans are donated to City Harvest, resulting in the largest annual single donation of canned food to the organization.
The sculptures will be judged by an expert panel and winners will be crowned in the categories of Best Original Design, Best Use of Labels, Structural Ingenuity, Best Meal, and two honorable mentions. Visitors are encouraged to get involved by dropping off non-perishable cans of food on the 2nd floor of Brookfield Place (230 Vesey Street). You can also vote for your favorite sculpture to be awarded the People’s Choice award, here. Voting opens on November 3rd. This art installation will be on view for just a few weeks, from November 3rd through November 14th from 10:00 a.m. to 8:00 p.m daily.
Breathing Without Fear by Reuben Sinha. Photo by Cynthia Reed.
Many art installations you’ll see this November debuted in late October, including artist Reuben Sinha’s ceramic sculpture Breathing Without Fear in Marcus Garvey Park. In 2004, Sinha founded artHARLEM Inc., a community non-profit organization known for managing the Harlem Open Artist Studio Tour, to bring recognition to Harlem’s underrepresented artists. Throughout his artwork, Sinha draws from his immigrant identity and experiences living within racially marginalized New York City communities.
This emphasis on community can be seen in Breathing Without Fear which depicts two figures becoming one as they enjoy a local park in a post-pandemic world. Taking the structure of ancient rock formations, the sculpture can also be interpreted as two figures enjoying a moment of connection in the aftermath of a prolonged period of separation brought about by the pandemic. While abstract in nature, the sculpture’s figures are meant to represent everybody. Visitors to Marcus Garvey Park can find the sculpture on the oval lawn at Madison Avenue and 121st Street in East Harlem.
San Juan Heal at the Lincoln Center. Photo by Nicholas Knight. Courtesy of Lincoln Center for the Performing Arts, The Studio Museum in Harlem, and Public Art Fund.
Enlivening the nearly 200-foot-long facade of the Lincoln Center’s David Geffen Hall is San Juan Heal, a collection of designs that pay homage to the San Juan Hill neighborhood. The working-class neighborhood was home to the largest Black and Puerto Rican populations in New York City during the first half of the twentieth century. San Juan Hill’s residents were forcibly displaced to make way for redevelopment in the area which would eventually become the Lincoln Center for the Performing Arts.
The constellation of words, shapes, and symbols that make up artist Nina Chanel’s piece depicts the former thriving community. Featured in the panels are figures such as the pioneering healthcare workers Edith Carter and Elizabeth Tyler. Other prominent figures placed into the spotlight include musician James P. Johnson, famous for inspiring the Charleston dance craze, and Thelonious Monk, a pioneer of Bebop. Commissioned by the Lincoln Center in collaboration with The Studio Museum in Harlem and the Public Art Fund, San Juan Heal will be on display until March 31, 2024.
Still from An Eclectic Dance to the Music of Time. Photo by Nicholas Knight. Courtesy of Lincoln Center for the Performing Arts, The Studio Museum in Harlem, and Public Art Fund.
Upon walking inside the Karen and Richard LeFrak Lobby at David Geffen Hall, visitors to Lincoln Center are greeted by Jacolby Satterwhite’s commission An Eclectic Dance to the Music of Time. Presented on the Hausen Digital Wall, An Eclectic Dance to the Music of Time combines archival images, live-action footage, and digital animation connecting a festival of performance that traverses historical periods through virtual space.
Peppered throughout the video are the works of artists throughout the history of the Philharmonic since its founding in 1842. Also featured are young musicians and dancers from across New York City, playing instruments and dancing on stages. Grounded in a more democratic view of the city’s history, An Eclectic Dance to the Music of Time features sculptural monuments set behind landscapes inspired by Central Park, surrounded by buildings covered in screens as a reminder of Times Square. An Eclectic Dance to the Music of Time will be visible to the public until March 31, 2024.
ANDY SPARBERG, HARA REISER, ALEXIS VILLAFANE, GLORIA HERMAN ALL GOT IT RIGHT,
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) Roosevelt Island Historical Society unless otherwise indicated
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UNTAPPED NEW YORK
THIS PUBLICATION FUNDED BY DISCRETIONARY FUNDS FROM CITY COUNCIL MEMBER JULIE MENIN & ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE FUNDS.
Cartoonist and social realist painter who studied with Robert Henri and George Bellows. Often compared with Honoré Daumier, Gropper was a satirical cartoonist for the New York Tribune. He contributed to Vanity Fair, as well as to more radical publications such as the Masses and the Liberator, and to two Communist publications—Freiheit and the Daily Worker.
Joan Stahl American Artists in Photographic Portraits from the Peter A. Juley & Son Collection (Washington, D.C. and Mineola, New York: National Museum of American Art and Dover Publications, Inc., 1995)
William Gropper’s parents were Jewish immigrants who worked in the sweatshops of New York City’s garment district. Their dignity in the face of hardship influenced their oldest son, who wrote that “I’m from the old school, defending the underdog.” (Klaidman, “William Gropper, 79, Painter and Radical Cartoonist Dies,” The Washington Post, January 9, 1977). As a teenager Gropper attended an experimental socialist school and took art courses with Robert Henri and George Bellows. Their respect for working people inspired Gropper to express his radical politics in cartoons. After winning several prizes for his drawings he took a job with the New York Tribune, but his bosses discovered his contributions to left-wing magazines and fired him. In 1937, Gropper had his first show and the New Yorker magazine described him as “one of the most accomplished, as well as one of the most significant artists of our generation.” During the “Red scare” of the postwar years, conservatives grew suspicious of his images lambasting the rich and powerful. Gropper was asked to appear before the McCarthy Senate permanent investigations subcommittee, where he took the Fifth Amendment. He was branded a Communist and saw several of his gallery shows cancelled. This experience did nothing to stop the artist from making satirical images about war, prejudice, greed, and exploitation into his late seventies. (Steinberg, intro. to Sorini, William Gropper Etchings, 1998)
William Gropper, Construction of the Dam (study for mural, the Department of the Interior, Washington, D.C.), 1938, oil on canvas, Smithsonian American Art Museum, Transfer from the U.S. Department of the Interior, National Park Service, 1965.18.11A-C
William Gropper proposed this mural for the Department of the Interior building in Washington, D.C. He based the image on visits to the Grand Coulée Dam on the Columbia River and the Davis Dam on the Colorado River. Gropper organized the composition in three parts to accommodate a second-floor lobby wall divided by two marble pilasters. Each scene represents different phases of construction to show the drama, danger, and massive scale of the dam projects overseen by the government.
In the central panel a worker stands inside a section of conduit suspended above the canyon. He signals for his coworkers to direct the crane over the dam. Gropper emphasized the unity of workers who clearly rely on one another to get the job done. The men protect each other from injury as they shape the American landscape, invigorate the nation’s economy, and provide electrification across the country. The stylized clouds and jagged mountains reflect the artist’s effort to make the scene easily readable from a distance. In the finished mural, Gropper made subtle changes to his proposal, including a red handkerchief hanging from the back pocket of one of the workers. Gropper was a Communist, and this subtle statement of his sympathies was a subversive act for an artist whose government-commissioned work was supposed to reach broad audiences. The change generated no objections, and after Gropper installed the mural a Washington Post critic commended him, writing that his “design has unity and is appropriate in scale and color to the space for which it was planned.” (Graeme, “Gropper Mural Graces Interior Building,” The Washington Post, March 19, 1939)
William Gropper, Suburban Post in Winter (mural study, Freeport New York Post Office), ca. 1936-1937, oil on canvas, Smithsonian American Art Museum, Transfer from the General Services Administration, 1974.28.369
A LANDMARK, PRESERVED WITH 70 STORY BUILDING TOWERING OVER IT.
GLORIA HERMAN GOT IT RIGHT
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) Roosevelt Island Historical Society unless otherwise indicated
SMITHSONIAN AMERICAN ART MUSEUM
Michelle is the founder of Untapped New York. She is the author of Secret Brooklyn: An Unusual Guide,New York: Hidden Bars & Restaurants, and Broadway. She is a graduate of Harvard College in the History of Art and Architecture and holds a master’s degree in urban planning from Columbia University Graduate School of Architecture, Planning and Preservation, where she is an Adjunct Professor of Architecture. Official Website
THIS PUBLICATION FUNDED BY DISCRETIONARY FUNDS FROM CITY COUNCIL MEMBER JULIE MENIN & ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE FUNDS.
Repurposed buildings are the story of New York City real estate. New businesses moving into and taking over the space of a defunct company is nothing unusual.
But sometimes it can be startling—especially when the old company was housed in a fortress-like brick and limestone building resembling a Greek temple and as tall as a tenement, and the new business is a CVS.
That’s the case with a former bank branch on Amsterdam Avenue and 96th Street. Opened in 1927 as the East River Savings Bank and enlarged in 1932, the building is the kind of imposing edifice popular in the 19th and early 20th centuries with financial institutions that banks don’t construct anymore.
Neo-Classical in style with columns facing the street on two sides, the sober, solid building was meant to convey that your money and valuable were safe. In an era with fewer financial regulations and more bank failures, this must have been quite reassuring to potential customers.
The inscriptions above the bank’s entrance were meant to reassure customers as well. “Quotations from Thomas Jefferson and Abraham Lincoln celebrating the virtues of saving decorate the bank’s principal facade, while Theodore Roosevelt’s words graced the West 96th Street facade,” notes the Landmarks Preservation Commission’s report.
The exterior of the bank has had landmark status since 1998, not long after the East River Savings Bank and a subsequent bank closed their doors, leaving the building empty.
The interior, however, is a different story. Off to the sides of the store shelves are some remnants of the former bank—perhaps very decorative entrances, or maybe areas where customers queued up for bank tellers.
A row of vintage wood phone booths (minus the phones, unfortunately) with those iconic folding doors are hidden behind an umbrella rack and halloween candy.
A bank clock with Roman numerals is set inside a lovely iron railing above the ice cream section, under florescent lighting and security cameras.
The CVS moved into the former bank building at least a decade ago, so it’s odd that they never bothered in all that time to renovate the interior. I’m not complaining; it’s a treat to see these remains of early 20th century New York City.
This isn’t the only old bank building repurposed for a drugstore chain. Downtown on Spring and Lafayette Streets, Duane Reade colonized another stunning old-school bank…also once home to an East River Savings Bank branch.
CLARA BELLA AND GLORIA HERMAN KNOW A ROOSEVELT ISLAND PUP WHO WAS ON HER WAY TO VOTE
FROM A READER:
Terrific diary! I’ve sailed many summers on the Clearwater, a two-thirds size, gaff-rigged Hudson River sloop built in the 60s by the Clearwater Society, founded by Pete Seeger, to address (successfully) the pollution of the river that ended a thriving fishing industry. In these many years I have yet to encounter any inebriated ministers, Scotch Presyterian or otherwise, on-board. M. Katz
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) Roosevelt Island Historical Society unless otherwise indicated
Sources
EPHEMERAL NEW YORK
THIS PUBLICATION FUNDED BY DISCRETIONARY FUNDS FROM CITY COUNCIL MEMBER JULIE MENIN & ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE FUNDS.
