TIK TOK @ rooseveltislandhsociety CHECK OUT OUR TOUR OF BLACKWELL HOUSE ON TIC TOK
Nautical charts show the navigator where the buoys, beacons and lights — reliable old friends to people who ply the inland waters — are located. These aids to navigation in the United States are established and maintained by the U.S. Coast Guard. Around Roosevelt Island, we have a green daybeacon sitting on Belmont Rock (a/k/a U Thant Rock) just south of the FDR Memorial; lights on the underside of the Queensborough Bridge, and then, north of Roosevelt Island, lights on Mill Rock. Many aids to navigation have light or sound-producing patterns that are noted on the nautical chart. The aids enable the navigator to be sure of the boat’s position. On foggy days, we hear vessels traveling the west channel sounding a fog horn. The mournful sound warns users of the channel that a boat (or, more often, a hard-to-maneuver boat with a barge) has limited visibility and limited ability to change course in the channel and needs to have other vessels take careful action. Most often, in dense fog conditions, captains will communicate using radio frequencies reserved for nautical messages to be sure that there is no confusion about which vessel is going to do what.
Even NOAA is wrong. Their nautical chart covering the area between Port Morris in the Bronx and the Queensboro Bridge is entitled “East River”. But, of course, despite the name, the East River is not a “river”. It is a salt water tidal estuary. It connects Long Island Sound with New York Harbor and, ultimately, the Atlantic Ocean. But, it is not a river. It has no source from which fresh water flows to to the sea. About those tides. The body of water that circumscribes our island has an important feature: tides cause the body of water to rise and to fall. Twice a day, every day, a tidal flow from the Atlantic Ocean passes the Battery at the southern tip of Manhattan, and travels up the “East River”, past the tower at our northern tip, through “Hell Gate”, out under the Whitestone and Throgs Neck Bridges, and out into Long Island Sound. And twice a day, the flow reverses. Water from Long Island Sound comes under the bridges, though the “Hell Gate”, divides into the east and west channels, flows along our flanks through the BMW[1] bridge system into New York Harbor and there mingles with water from the Hudson (a real river!) and out into the Atlantic Ocean. Among its most important publications, NOAA publishes Tidal Current Charts. Tides are caused (a) by the gravitational attraction between the moon, the sun and the earth, and (b) by centrifugal force generated by the rotation of the earth and moon around their center of gravity. As the earth rotates once every 24 hours, there is a high tide at any point each time that point passes under the moon. But the opposite side of the earth also experiences a high tide as centrifugal force flings outward the water on the side of the planet away from the moon. So, there are two high tides, and two low tides at each point on the planet each day. (It’s OK to reread this paragraph; I have done it several times, and I think I’ve got it right.) Each month, when the moon is new and when it is full, we have what are called “spring” tides. These “spring” tides are higher and lower than at other times during the month. At these times, the sun and the moon line up, so the sun’s weaker gravitational effect is added to that of the moon. The Tidal Current Charts for New York Harbor (including the area around Roosevelt Island) are very interesting. The daily rise and fall of the tides are seen as water flows in both the east and west channels. The speed at which the water flows is known as the “tidal current”. The tidal current for spring tides flows around Roosevelt Island at a rate of 4.6 knots going north, and 5.2 knots going south. While nowhere near the speed of the tidal current in the Bay of Fundy in Canada, or in some of the nearby Maine bays, the Roosevelt Island tidal currents are very swift. When you see a small boat appearing to make no progress as it tries to move up or down the East River, the reason it is having so much difficulty is the tidal current pushing it in a direction at a rate that the boat is unable to overcome.
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
MAYA LEVANON-PHOTOS TIK TOK & INSTAGRAM\ JUDITH BERDY JAY JACOBSON NOAA NAVIGATION CHARTS
TIK TOK @ rooseveltislandhsociety CHECK OUT OUR TOUR OF BLACKWELL HOUSE ON TIC TOK
THE ORIGINAL HAMMETT PAVILION, BEFORE AN ADDITIONAL FLOOR WAS ADDED.
Hospitals are epicenters of care. However, do we care about hospital buildings where we’ve received care? The Hammet Pavilion was the first building constructed for Coney Island Hospital. It opened in 1910 to serve the South Brooklyn community. Now, the building is at risk of being demolished. We sat down with Brooklyn architect Jane McGroarty to talk about why she and her team are trying to preserve this historic structure.
After Superstorm Sandy damaged Coney Island Hospital in 2012, FEMA and the city invested $923 million to build the new Ruth Bader Ginsburg Hospital. The new hospital building, which broke ground in 2018 and opened in May 2023, was designed to withstand a major storm. It features a flood-resilient elevated Emergency Department on the 2nd floor. It is the first new public hospital in New York City to be built in 40 years, marking a new era in healthcare services for Brooklyn.
With newer and better facilities, the hospital announced in 2021 that the old Hammett Building would come down. Renovation is too costly and not as attractive as a flagship modern glass building. Reports say that the demolition of the Hammet Pavilion will make way for a protective flood wall and space for an open-air courtyard.
“It was a big deal when it opened…they had this grand opening and it was all kind of decorated,” McGroarty said, “so it’s a shame to just, you know, dump it down the trash heap.”
Furthermore, McGroarty praises the Hammett Building as “a physical manifestation of the social and healthcare aspirations of early 20th century Brooklyn.” Brooklyn architect Frank Helmle and his partner- the Helmle & Huberty firm- designed building. McGroarty affectionately nicknames Helmle “Brooklyn’s unsung hero.” The prolific architect is responsible not just for the design of the Hammett building, but also of Greenpoint Savings Bank, the Kings County, Brownsville, and East New York hospitals, as well as buildings in Park Slope, Prospect Heights. One of his most famous buildings is the exquisite Italian-Renaissance style Boathouse in Prospect Park. The Hammett Pavilion is part of Helmle’s legacy embedded into Brooklyn’s cultural and physical fabric.
The Hammett Pavilion was constructed in yellow pressed brick with a 600-foot frontage on Ocean Parkway. The Neoclassical façade is tidy and restrained, speaking to the intended cleanliness within. The projecting central bay wall is adorned with Doric pilasters and entablature whose frieze engraves ‘CONEY ISLAND HOSPITAL.’ In the 1930s, the building was sensitively raised from three to five stories. This addition is almost unnoticeable and blends seamlessly into the original construction.
McGroarty and her team are campaigning to have the Hammett Pavilion landmarked, and have submitted a proposal to the Landmarks Preservation Commission. In order to drum up more community support for the preservation, McGroarty created an online petition, which you can sign here. When exactly the building is set to be torn down is unclear. Untapped New York has reached out to NYC Health + Hospitals for comment but has yet to hear back.
“Once you tear down a building, it’s gone from people’s memories… we can save things.” McGroarty said.
EDITORIAL Preservation of the Hammett Pavilion is important to Brooklyn and New York medical history, Unfortunately our city has a terrible record on preserving municipal buildings and demolishing them or just letting them rot seems to occur too often. Please support the effort by signing the online petition highlighted above.
WEDNESDAY PHOTO OF THE DAY
U THANT ATOL OFF THE COAST OF THE ISLAND GLORIA HERMAN, ARON EISENPREISS, SUMIT KAUR, AND ED LITCHER GOT IT!!!
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
MAYA LEVANON-PHOTOS TIK TOK & INSTAGRAM\ JUDITH BERDY UNTAPPED NEW YORK
You can be forgiven if you don’t recognize the bridge Edward Hopper depicted in this 1935 painting. It’s the Macombs Dam Bridge, linking 155th Street in Harlem to the South Bronx. (Today, this view of the bridge would include Yankee Stadium just across the Harlem River on the Bronx side.)
Opened in 1895, this swing bridge was once traversed by horse-drawn carriages; it was also a popular spot fo catch the cool breezes coming off the Harlem River on sweltering summer days.
Hopper didn’t see the bridge as a connector of humanity though. His vision of the bridge is cool and sterile—absent of people and isolated from the neighborhoods it links.
“For some, modernity resulted in an increasing feeling of alienation, as people began moving through spaces at a faster pace,” states the Brooklyn Museum, which has the painting in its collection. “Edward Hopper captured this transitory nature of modern life in paintings infused with a sense of isolation and estrangement.”
It’s classic Hopper, exposing the contradictions of the modern machine age, with engineering and communications advances designed to bring people together yet actually leaving them more disconnected. “There are no signs of life in the city. Instead, an eerie stillness pervades the scene, resulting in a disquieting mood,” continues the museum caption.
I’m not aware of other works by Hopper that depict Upper Manhattan. But he has captured the city’s bridges before—like this view from the Williamsburg Bridge.
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
MAYA LEVANON-PHOTOS TIK TOK & INSTAGRAM\ JUDITH BERDY EPHEMERAL NEW YORK
Decorative ceiling mosaic, vestibule, 31 Chambers Street. Photo: Matthew Minor.
IT’S A FAIRLY REGULAR OCCURRENCE for me to walk out of our Municipal Archives offices on the first floor and see a group of people standing in the vestibule of the building, craning their necks as they point to the ceiling, mouths agape. I’m not surprised when this happens; after over five years of working at 31 Chambers Street, I still find myself doing exactly the same thing. These visitors are entranced by the largest—and perhaps most impressive—of the artworks in our building: the mosaic ceiling. The Hall of Records (also known as the Surrogate’s Court) features many pieces of art. The exterior is covered with sculptures, the courtrooms feature rich wood carvings. However, the mosaic ceiling in the vestibule truly stands out.
Mosaic vestibule. Photo: Matthew Minor.
The artist behind the work was William de Leftwich Dodge (1867-1935). Dodge was an American who studied art in Paris at the École des Beaux-Arts and the Académie Colarossi, and later in Germany. Returning to New York, he taught classes at the Art Students League and Cooper Union, keeping a studio at 61 West 10th St. During this time Dodge was becoming increasingly known for his public art, his expertise being in mosaics and murals. As an American-born, Paris-educated artist, Dodge was the perfect choice to create a large public artwork at a time when New York City was struggling to establish itself as a major cultural center on par with Paris and other European cities.
However, the Hall of Records was a particular challenge for artists. The building had been controversial from the moment construction began in 1899. Mayor Anderson Van Wyck, a Tammany Hall insider, was particularly opposed to the project from the outset, often citing the considerable expense as the primary reason for scaling it back or scrapping it altogether. Architects Arthur Horgan and Vincent Slattery, however, had different plans. The mayor appointed Horgan and Slattery to the project after the death of the original architect, John Rochester Thomas, in 1901. Van Wyck chose them because he believed the pair would make drastic cuts to Thomas’s grand design. Instead, Horgan and Slattery not only embraced the design, but decided to make it even more richly decorated. They began hiring notable artists and submitting proposals. In an effort to curtail this, Mayor Van Wyck used the newly formed Art Commission (now the Public Design Commission) to ensure that nearly every artwork and decorative proposal was rejected. Most proposed artworks for the building were rejected multiple times before approval.
Dodge’s work, however, was a different case. While other artists submitted sketch after sketch, model after model, Dodge submitted only one set of sketches. His simple application form, submitted in 1906, describes the work as a “marble mosaic with the introduction of a small portion of glass mosaic, where brilliancy is necessary.” The proposal was approved on its first submission.View
Sagittarius. Photo: Matthew Minor.
The mosaic Dodge produced is truly impressive. Around twenty feet above the floor, the mosaic covers the entire vaulted ceiling of the vestibule (over 2,200 square feet). It is composed of millions of colored marble and glass tiles. The style of the work is a mixture of Greek and Egyptian motifs. This was probably meant as a reference to the library of Alexander the Great—supposedly the largest repository of knowledge in the ancient world. The mosaic shows the signs of the zodiac interspersed with what appear to be Egyptian ushabti figures. At the corners are four primordial Greek gods: Erinye (Fury), Themis (Justice), Ponos (Toil), and Penthos (Lamentation). Filling out the composition are small sphinxes, sea horses, and even turtles, along with garlands of fruits and vegetables. When the afternoon sun streams into the vestibule, the brilliant color and luster of the mosaic is striking.
Yet several things about the work are strange. First of all, a few of the names are misspelled. Most obvious of these is Virgo—the Greek name should be Parthenos, but the mosaic renders it Paroenos. Second, only eight of the signs of the zodiac are shown. Cancer, Libra, Scorpio, and Pisces are missing. Finally, Fury, Justice, Toil, and Lamentation are strangely dark choices for such a bright, exuberant mosaic. I was intrigued by this and spent quite a while puzzling over the choices Dodge made. Then it occurred to me to check birth dates. There were five major artists hired to create works for the building. In addition to Dodge (Aquarius) there were Albert Weinert (Gemini), Philip Martiny (Taurus), Henry Kirke Bush-Brown (Taurus), and Bruno Louis Zimm (Capricorn). John Rochester Thomas, the original architect, was a Gemini. Perhaps Dodge meant to commemorate these artists and the fury, toil, and lamentation they went through before finding justice in the acceptance of their work. Ushabti figures—which were buried with the dead in ancient Egypt—may here represent John R. Thomas, the architect who did not live to see his building completed.
Capricorn and Sagittarius separated by a Greco-Egyptian figure, from William De Leftwich Dodge’s massive mosaic. Photograph by Matt Minor. NYC Municipal Archives.
When the building opened, it was hailed as an architectural gem. Its style was Parisian and cultured. It’s scale grand and striking. Visitors were particularly impressed by the main rotunda, with its grand staircase and porticoes carved of Siena marble, and its brass barrel vault skylight. This area is particularly beautiful around midsummer when the midday sun shines directly in and illuminates the prominent landing of the grand staircase. Technologically, 31 Chambers was innovative, boasting electricity, running water, elevators, and a small power plant in the sub-basement.
Virgo, ushabti, Capricorn. Photo: Matthew Minor.
Whether or not this is true we may never know. While some of the other artists explained their work in detail (Albert Weinert, for example, wrote thorough descriptions of his work in letters to the Art Commission), Dodge did not. The whereabouts of his sketches are unknown. Perhaps further research will cast more light on this important work of art.
KEITH HARING “HOLDING HEART” ARON EISENPREISS, GLORIA HERMAN, ALEXIS VILLAFANE, HARA REISER AND THOM HEYER 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
MAYA LEVANON-PHOTOS TIK TOK & INSTAGRAM\ JUDITH BERDY NEW YORK MUNICIPAL ARCHIVES DEPARTMENT OF RECORDS
Surrogate’s Court, 31 Chambers Street, Manhattan, February 8, 1938. Department of Bridges, Plant & Structures Photograph Collection. NYC Municipal Archives
On October 12, 2021, Municipal Archives digitization specialist Matt Minor presented an illustrated history of the Surrogate’s Court for DORIS’ “Lunch and Learn” program. As he reminded the audience, the original name of the building was the Hall of Records. It was the first purpose-built records hall for the City. The following is a condensed version of his talk.
Prior to its construction, the City stored its records in a colonial-era building near City Hall, which had served as a prison during the Revolutionary War. At the end of the 19th century, New Yorkers began to think that perhaps it wasn’t the best idea to store the City’s paper records in a wood and stucco building and light it with gas lamps. They urged the construction of a fireproof building to replace it. However, it was a back burner project, with other needs taking greater priority.
The old Hall of Records, demolished 1903. Municipal Archives Photograph Collection. NYC Municipal Archives.In particular, City Hall was crumbling. Its original marble façade did not weather well outdoors in the New York climate. By the late 1890s, the City had resolved to tear the building down and build a new one, so they opened up a competition, allowing architects to submit designs for a new City Hall.John Rochester Thomas won the competition. Born in Rochester, N.Y. in 1848, Thomas began studying architecture as a teenager, and started his professional career at the age of 20. When he submitted his designs for a new City Hall, he was already well-established. He was known for grand buildings in classical styles, while using modern engineering techniques to allow for large, open interiors.
For the new City Hall, Thomas chose a French Second Empire/Beaux Arts style of architecture. Some hallmarks of this style are a floor plan based on squares and right angles, a steeply pitched roof that is flat on top, channeled rustication, rich decoration, and lots of doors and passages connecting adjacent rooms. At the time, this style was favored for a reason. New York was not seen as the major cultural center it is today. The general attitude was that if you wanted culture, you needed to go to Paris or other European cities. Many New Yorkers wanted to change that. Grand, monumental architecture was one way to raise the cultural profile of the City, and campaigns like the City Beautiful movement pushed for the construction of impressive buildings. Before the new City Hall could be built, though, the State Legislature passed a law protecting the old City Hall as a historic building. (Ultimately, the City Hall façade would be redone in limestone in the 1950s.) But the City truly loved Thomas’s design, and since it called for a building made almost entirely out of stone, it was ideal for a new Hall of Records. Thomas adjusted the design accordingly.Construction began in 1899 and was not complete until 1911. The exterior was made of Hallowell granite from Maine. The interior used various types of marble: Siena from Italy, Bleu Belge from Belgium, Tennessee pink, red Numidian from Africa, and white marble from other sources. For the courtrooms that had been added to the building, English oak and Dominican mahogany were imported. Custom furniture, fireplaces, and bronze light fixtures were made by Remington & Sherman.
Another excellent example of Thomas’s work is the Second Reformed Church, now Ephesus Seventh Day Adventist Church in Harlem. 1940 Tax Photograph. NYC Municipal Archives.
The firehouse at 49 Beekman Street is a good example of Horgan & Slattery’s work. 1940 Tax Photograph. NYC Municipal Archives.
Originally estimated to cost about $4.5 million, the building ended up costing the city nearly $7 million, which would be around $200 million today. The expense made the project controversial. At the outset of his term, Mayor Robert Van Wyck set his sights on cutting construction budgets, and the 31 Chambers Street project was a prime target. Saying, “we don’t want an opera house made out of what is intended to be an office building,” Van Wyck brought in an outside architecture firm to review the plans and suggest cuts.
Arthur J. Horgan and Vincent J. Slattery were known for small-scale projects like firehouses and townhouses. At the mayor’s urging, they reviewed Thomas’s plans and recommended huge cuts. Large and built of expensive Siena marble, the grand staircase in the rotunda was a particular target of criticism, and Horgan & Slattery recommended replacing it with metal stairs. However, while Thomas did make some changes, he successfully defended his design, and the cornerstone was laid in 1901. Later that year, though, tragedy struck when John Thomas suddenly died at the age of 53. Seizing the opportunity, Mayor Van Wyck appointed Horgan & Slattery as architects of the building. What Van Wyck didn’t expect was that Horgan & Slattery would follow Thomas’s vision, not their own previous recommendations. Not known for large-scale projects, they were eager to put their name on 31 Chambers Street. When new mayor Seth Low came into office, Horgan & Slattery chose not only to adhere to Thomas’s plan, but in fact decided to add more elaborate artwork than he had intended. But the building would face more obstacles.
Due to their association with Tammany Hall, Horgan & Slattery were hugely unpopular in the press. They also ran afoul of the Art Commission. This newly formed City agency set about rejecting nearly every art proposal H&S presented. Sculptures by Henry Kirke Bush-Brown, Philip Martiny, and Albert Weinert were rejected and re-submitted multiple times before acceptance. Irritated, Horgan & Slattery harshly criticized the Art Commission in the press, claiming the Commission had unknowingly rejected works by the old masters submitted as a test. The next day, the architects sent an apologetic letter denying having made the comments. A smear campaign was clearly not the way to go. In 1903, they decided to bring in a ringer, someone the Art Commission wouldn’t—perhaps couldn’t—reject.
William De Leftwich Dodge was a muralist and mosaicist. Though American-born, he had studied in Paris at the École des Beaux Arts and the Académie Colarossi. His work bridged the gap between classic and modern, and his French education made him high-profile among American artists. While the other artists had submitted and resubmitted their work, writing letters explaining their intent, Dodge submitted just one set of sketches. In his application form, he described the work he intended to create as a “marble mosaic, with the introduction of a small portion of glass mosaic, where brilliancy is necessary.” The commission approved it immediately. [Mr. Minor’s blog Hall-of-records-Where-Brilliancy-is-Necessary provides more information about the mosaic
Capricorn and Sagittarius separated by a Greco-Egyptian figure, from William De Leftwich Dodge’s massive mosaic. Photograph by Matt Minor. NYC Municipal Archives.
When the building opened, it was hailed as an architectural gem. Its style was Parisian and cultured. It’s scale grand and striking. Visitors were particularly impressed by the main rotunda, with its grand staircase and porticoes carved of Siena marble, and its brass barrel vault skylight. This area is particularly beautiful around midsummer when the midday sun shines directly in and illuminates the prominent landing of the grand staircase. Technologically, 31 Chambers was innovative, boasting electricity, running water, elevators, and a small power plant in the sub-basement.
The main rotunda of 31 Chambers Street. Photograph by Matt Minor. NYC Municipal Archives.
Over time, though, appreciation waned. In 1961, the City widened Centre Street. The eastern entrance of the Hall of Records was in the way, so demolition crews tore up the sidewalk, removed the eastern staircase and Philip Martiny sculptures, and permanently closed the entrance. Five years later, the Landmarks Preservation Commission landmarked the building. Fortunately, Martiny’s works were preserved and moved behind 60 Centre Street.
Philip Martiny’s sculptures Authority and Justice now reside behind the courthouse at 60 Centre Street. Photograph by Matt Minor. NYC Municipal Archives.
Philip Martiny also sculpted the two large sculptural groups flanking the main entrance on Chambers Street, as well as several sculptures near the roof. Other sculptures near the top of the building were sculpted by Henry Kirke Bush-Brown.
The dormer over the main entrance. Top row: an owl flanked by two cherubs. Second row left to right: Philosophy, the Four Seasons, and Poetry by Henry Kirke Bush-Brown. Third row left to right: Maternity and Heritage also by Bush-Brown. Bottom row left to right: DeWitt Clinton, Abram Stevens Hewitt, Philip Hone, and Peter Stuyvesant by Philip Martiny. Photograph by Matt Minor. NYC Municipal Archives
The other areas of the building visitors are keen to see are the courtrooms. New York County is one of the only counties in the State with two Surrogates (probate court judges); 31 Chambers Street was designed to accommodate both judges. The north courtroom interior is English oak, with five carved allegorical panels, representing Civilization, Wisdom, Force, Degradation, and Truth. The south courtroom is done in Dominican mahogany with a more spartan style. Both rooms feature carved marble fireplaces and crystal chandeliers, and both include carved wooden screens behind the judge’s bench by artist Bruno Louis Zimm.
The North Courtroom. Photograph by Matt Minor. NYC Municipal Archives.
North Courtroom panel, “Wisdom”. Photograph by Matt Minor. NYC Municipal Archives
When it opened in 1911, the building at 31 Chambers Street was the City’s Hall of Records and remains so today. In fact, the building itself is a record. Its artwork records the ideals and aspirations of an essentially new city following the Consolidation of the five boroughs. Its architecture shows the innovation of the modern era. Its scars, blemishes, and repairs record over a century of continuous use as a center of local government
The main entrance on Chambers Street, with original Hall of Records inscription, November 11, 1909. Department of Buildings, Plant & Structures Photograph Collection. Photographer: Eugene de Salignac. NYC Municipal Archives.
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
MAYA LEVANON-PHOTOS TIK TOK & INSTAGRAM\ JUDITH BERDY NEW YORK MUNICIPAL ARCHIVES DEPARTMENT OF RECORDS
During the summer of 1939, many New Yorkers were heading to the World’s Fair while most were trying to stay cool in a time without air conditioning. Here are some suggestions from the “good old days.”
New York World’s Fair (1939-1940) Subject: Special Events Subject: Special Events Description: King George & Queen Elizabeth arrive in New York at Pier A. High view. Date:June 1939
Date: October 1, 1939 Format: Black and White Format: Acetate negative
Format: good Format: 5 x 7 inches Source: NYC Department of Parks & Recreation
Macombs Dam Park: Photo contest 1939, runners, copy negative Subject: Macombs Dam Park Date: October 1, 1939 Format: Black and White Format: Acetate negative Format: good Format: 5 x 7 inches Source: NYC Department of Parks & Recreation
Photo contest 1939, bathers on steps, copy negative, 4×5 image area Date: October 1, 1939 Format: Black and White Format: Acetate negative Format: good Format: 5 x 7 inches Source: NYC Department of Parks & Recreation
Photo contest 1939, Women relaxing in front of historic house, copy negative Subject: Central Park Date: October 1, 1939 Format: Black and White Format: Acetate negative Format: good Format: 5 x 7 inches Source: NYC Department of Parks & Recreation
Photo contest 1939, girl on swing, copy negative Date: October 1, 1939 Format: Black and White Format: Acetate negative Format: good Format: 5 x 7 inches Source: NYC Department of Parks & Recreation Notes:
Central Park: Boys and men playing checkers, copy negative Subject: Central Park Date: October 1, 1939 Format: Black and White Format: Acetate negative Format: good Format: 5 x 7 inches Source: NYC Department of Parks & Recreation
THURSDAY PHOTO OF THE DAY
OLD MAIN STREET SIGNS ALEXIS VILLAFANE AND GLORIA HERMAN GOT IT RIGHT
WEEKEND PHOTO
IN MEMORY OF RUTH BERDY WHO PASSED AWAY
ON JUNE 23, 2012. FOREVER IN OUR HEARTS
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
MAYA LEVANON-PHOTOS TIK TOK & INSTAGRAM\ JUDITH BERDY NEW YORK MUNICIPAL ARCHIVES DEPARTMENT OF RECORDS
THIS WEEK I HAVE BEEN WORKING AS A POLL WORKER AT THE HUNTER SCHOOL OF NURSING BUILDING AT 425 EAST 25 STREET.
THE BUILDING, A RELIC OF THE 1950’S MID-CENTURY ARCHITECTURE. THOUGH MAYBE OUT DATED IN SOME WAYS IT IS AN AMAZING EXAMPLE OF THE ARCHITECTURAL STYLE.
FOR YEARS TALK HAS BEEN CIRCULATING ABOUT THE BUILDINGS PROPOSED DEMOLITION AND REPLACEMENT BY A MULTI-FACETED MEDICAL EDUCATION CENTER.
THE AUDITORIUM WITH IS CIRCULAR CELING IS A WONDER TO THIS DAY.
THE POOL STILL EXISTS, THOUGH ITS USE IS NOT KNOWN.
A GYM, POOL TENNIS COURTS, SHUFFLE BOARD ARE AMONGST THE ACTIVITIES OFFERED
THURSDAY PHOTO OF THE DAY
THURSDAY PHOTO OF THE DAY
The “Old Tree” is a pink and red 25-foot-tall sculpture comprised of manmade materials. It’s meant to resemble the branching systems of the human organs, blood vessels and tissue in order to draw a connection between our own lives and the nature around us. Swiss artist Pamela Rosenkranz created the sculpture.
MORE ON JJJ BRICKS SOON, AS PROMISED. I AM WORKING EARLY VOTING OFF THE ISLAND AND WILL BACK TO NORMAL NEXT WEEK.
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
MAYA LEVANON-PHOTOS TIK TOK & INSTAGRAM\ JUDITH BERDY NEW YORK MUNICIPAL ARCHIVES DEPARTMENT OF RECORDS
Today, officials from Empire State Development, Brookfield Properties, and Friends of the High Line cut the ribbon on the Moynihan Connector! This striking new connection to the High Line will offer pedestrians a safe and elevated pathway from West Midtown to the West Village when it opens to the public on Thursday, June 22nd. City commuters will appreciate the new connector’s access to public transit hubs like Penn Station and the Moynihan Train Hall, and marvel at its engineering.
Photo by Andrew Frasz,Courtesy of Friends of the High Line) Built in just 18 months for $50 million, the 600-foot-long, L-shaped Moynihan Connector includes two distinct sections. Above West 30th Street from The High Line’s terminus at the Spur is a richly planted Woodland Bridge. The second section is a block-long Timber Bridge, built from sustainably sourced Alaskan Yellow Cedar beams. It runs north above Dyer Avenue toward the adjacent Magnolia Court pedestrian plaza at Manhattan West.
Photo by Andrew Frasz, Courtesy of Friends of the High Line)
The wooden bars you may have seen being lifted up to the High Line in May now make up a sleek addition to the already dynamic architecture that defines The High Line. Designed by James Corner Field Operations, who was a part of the High Line’s original design team, and Skidmore, Owings & Merrill, both bridges feature Corten steel decking and bronze handrails. The Woodland Bridge features 5-foot deep soil containers filled with trees and other greenery.
Photo by Andrew Frasz, Courtesy of Friends of the High Line)
The project was initially proposed in January 2021, and the first designs were unveiled by Governor Kathy Hochul in September of that year. The Moynihan Connector represents a city-wide vision of connecting the neighborhoods, institutions, businesses, parks, and transportation hubs that define Manhattan’s West Side. “The High Line’s connection to Moynihan Train Hall and other nearby attractions complements our investments in Midtown West, encourages better pedestrian access, and provides New Yorkers with a truly one-of-a-kind experience,” said Governor Hochul.
THIS SEEMS TO BE AN IMITATION OF THE FAMOUS (DURING MY CHILDHOOD) OF GOOD HUMOR ICE CREAM TRUCK THE ONE THE LEFT IS THE REAL ONE
MORE ON JJJ BRICKS SOON, AS PROMISED. I AM WORKING EARLY VOTING OFF THE ISLAND AND WILL BACK TO NORMAL NEXT WEEK.
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
MAYA LEVANON-PHOTOS TIK TOK & INSTAGRAM\ JUDITH BERDY UNTAPPED NEW YORK
The Gould Memorial Library is considered one of Standford White‘s masterpieces. Located on the historic Bronx Community College Campus, the library is encircled by another White-designed structure, the Hall of Fame of Great Americans. In addition to White, another famous name is associated with these buildings: Guastavino. The father-son engineering duo known for their innovative tile arch system is responsible for the grand dome that tops the library rotunda and the arched ceiling that curves along the Hall of Great Americans. This week, Untapped New York Insiders got to explore this site with White’s great-grandson, Samuel White. While walking through the lower level of the library, we uncovered another hidden example of Guastavino tile!.
The Guastavino Company was founded by Spanish immigrant and engineer Rafael Guastavino, Sr. (1842-1908) and was eventually run by his son, Rafael Jr. The Guastavinos were famous for their innovative “Tile Arch System” devised to create impressive vaulted arches. These arches were extra secure and stable thanks to layers of terra cotta tiles arranged in a zig-zag, usually herringbone, pattern and secured with special cement. The pattern of the tiles allowed for Guastavino domes to be self-supporting. This method was also fireproof, an important perk.
Image Courtesy of Bronx Community CollegeAt the Gould Memorial Library, the main Guastavino attraction is the domed ceiling of the rotunda which served as a reading room. On the Untapped New York Insiders tour, Samuel White explained that what you see is a decorative plaster dome that sits in front of the structural dome underneath. The design, White explained, was inspired by the ceiling of a chapel at the Château d’Anet in France. Behind the rosette-covered plaster ceiling, you would find the signature Guastavino tile pattern.
That’s what Insiders saw when they ventured down below the rotunda. Beneath the rotunda reading room is the library’s auditorium. This space is still used for lectures and events and was getting ready to host a graduation ceremony after our Insiders tour. In a service hallway that leads off of the auditorium, Insiders were treated to a view of exposed Guastavino tile work on the ceiling. Just like in the rotunda above, glass skylights here have been sealed and replaced by electric lights.
After a pass through the hallway, which isn’t usually on the normal tour route, Insiders headed to the Hall of Fame of Great Americans to see more of White and Guastvino’s architecture. This was the first hall of fame to be created. It features 98 busts of figures like Clara Burton, Abraham Lincoln, and the Wright Brothers. Looking up, visitors will see Guastavino’s herringbone tiling along the whole length of the 630-foot open-air monument’s curved ceiling.
The Hall of Fame of Great Americans
Even if you’ve never been to the Gould Memorial Library, you’ve likely walked under a Guastavino ceiling. Examples of Guastavino’s work can be found in over 200 historical buildings in New York City. Here at Untapped New York, it’s a thrill every time we find a new one, especially when they are hidden. His recognizable tile pattern can be seen in multiple places throughout at Grand Central Terminal, at the Municipal Building in Lower Manhattan, and at the Boathouse in Prospect Park among other notable places.
You can watch a recording of the Gould Memorial Library Untapped New York Insiders tour led by Samuel White in our on-demand video archive! The archive boasts over 200 webinar recordings and virtual tours. The archive can be accessed by all Untapped New York Insiders. Not an Insider yet? Become a member today and get your first month free with code JOINUS.
INTERIOR OF SMALLPOX HOSPITAL THOM HEYER, ARON EISENPREISS, GLORIA HERMAN, JINNY EWALD, VICKI FEINMEL FROM JAY JACOBSON:
Might this be an interior view looking skyward from the “preserved ruin” smallpox Hospital en route to the FDR Memorial? I remember looking around the smallpox ruin in the 1970s when our family first moved to RI. In clambering over the ruin, I discovered a goodly number of bricks bearing the initials JJJ. My paternal grandfather, after whom I am named, was in the business of internal construction, and, among other things, remodeled churches in Brooklyn neighborhoods into Synagogues for the immigrant Jewish communities that were moving out of the lower East Side tenements in which they were first housed. Working with no information at all, I decided to suggest to children, siblings, and cousins that the JJJ bricks were “probably” manufactured for my deceased grandfather who would have had bricks he ordered from Hudson Valley brick makers identified so that other builders, offering higher prices to the brick makers, would not be able to claim that the bricks were their bricks.
Only a conversation with JB of RIHS disabused me of the rumor I had circulated with shameless disregard of the truth.
TOMORROW: MORE ABOUT JJJ BRICKS
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
MAYA LEVANON-PHOTOS TIK TOK & INSTAGRAM\ JUDITH BERDY UNTAPPED NEW YORK
So what to make of lonely Depew Place, a spit of roadway starting at the dark and dingy back of Grand Central on East 45th Street, and then running alongside Park Avenue next to the terminal before unceremoniously ending in a loading dock a block later?
I’ve often wondered about this slender, little-known street. It seems to have been de-mapped, but the street sign looks new. Was this ever an actual city street before the current Grand Central Terminal opened in 1913—and if so, where did it lead to, and why was it almost entirely eliminated?
Depew Place did begin life as a New York City street, laid out in 1884 on the east side of the old Grand Central Depot (below), according to oldstreets.com. Grand Central Depot opened in 1871 and was demolished in 1899.
According to the above photo, from the New-York Historical Society, Depew Street extended all the way to 42nd Street and was a regular commercial strip. (The photo is undated, but it looks to be in the late 19th century.)
But when plans for the current Beaux-Arts Grand Central Terminal were made in 1905, officials decided that Depew Place would have to close, at least while construction was commencing.
After the new Grand Central Terminal was completed and began serving passengers eight years later, Depew Place’s fate was revealed. (Below, still existing alongside the new Grand Central)
“Under a 1925 perpetual easement to the city, its upper level is now occupied in part by the northbound ramp carrying Park Avenue around the terminal,” states oldstreets.com. “A part also remains as an alley to the post office loading docks on the south side of 45th Street.”
So Depew Place remains, mostly unknown and forgotten, a century later. Oh, and who was Depew?
Chauncey Depew was a U.S. Senator from New York as well as the president of Cornelius Vanderbilt’s New York Central Railroad. Vanderbilt built the original Grand Central Depot, and Depew was apparently an important enough figure to have his name grace an adjacent street.
[Second photo: New-York Historical Society; third and fourth photos: NYPL]
MONDAY PHOTO OF THE DAY
TERRA COTTA ORNAMENT IN COLUMBUS CIRCLE SUBWAY STATION ARON EISENPREISS, ANDY SPARBERG, JOYCE GOLD,& 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 Melanie Colter and Deborah Dorff
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated
MAYA LEVANON-PHOTOS TIK TOK & INSTAGRAM\ JUDITH BERDY EPHEMERAL NEW YORK
