It takes a lot of audacity (not to mention deep pockets) to build yourself and your family a Manhattan mansion in the style of a Medieval castle.
But real estate developer Charles Paterno doesn’t come across as someone who lacked boldness.
In the late 19th century, Paterno (below left) was an Italian immigrant whose father and brother ran a contracting business, according to Christopher Gray in a 1999 New York Times Streetscapes column. He graduated from medical school at Cornell University in 1899, intended to become a doctor. A tragedy changed his career plans.
“His father died, leaving the family in possession of a half-finished apartment house,” noted the Brooklyn Daily Eagle in Paterno’s 1946 obituary.
“To assist his brother [in completing] the structure, Mr. Paterno agreed to defer his medical practice, and his success in the building profession [made him decide] to remain in it.”
Paterno and his brother would go on to build more than 140 apartment buildings, including the Colosseum and the Paterno—two luxury residences completed in 1910 with spectacular curved facades opposite each other at 116th Street and Riverside Drive.
When it came time to build his own mansion, however, Paterno favored old-world fortresses over pre-war masonry and terra cotta. In 1905, roughly 70 blocks north of the Colosseum and the Paterno on Riverside Drive (and next door to New York Herald publisher James Gordon Bennett’s estate), he constructed a four-story, 35-room castle.
“Built of white marble, the structure was designed using an eccentric architectural vocabulary that drew influence from both Norman castles and the Rhineland,” wrote Danielle Oteri at metmuseum.org.
“Attended by elegant Italian gardens and pergolas that peered out onto the Hudson, it also featured a cellar solely devoted to growing mushrooms and a swimming pool that filtered water directly from the adjacent Hudson River,” explained Oteri.
The New York Times in 1946 pointed out the castle’s stone turrets “designed in a mixture of old English and Roman style,” the white marble interior containing an organ worth $61,000, the 17 greenhouses, and a swimming pool “surrounded by bird cages.”
Castle Village opened in the late 1930s, but its construction didn’t obliterate all traces of the castle mansion that inspired it.
“Two pillars from Paterno Castle remain near the intersection of West 181st Street and Cabrini Boulevard, as well as part of the massive retaining wall that resembles a dismembered piece of the Castel Nuovo in Naples,” wrote Oteri. This pillar (above) looks like one of the surviving two.
“Part of the wall was destroyed in 2005 when it collapsed and slid onto the Henry Hudson Parkway, but a large section of Paterno’s original wall remains intact, with the restored portion recreating the tone and texture of the façade’s original grandeur,” she added.
Then there’s this structure, which I didn’t get to view close-up. It certainly seems like a Paterno Castle relic, perhaps some kind of an outdoor storage space? This photo shows a front view.
Some sources state that the wonderful cantilevered Pumpkin House, perched high above the Hudson River, was created from remnants of the Paterno Castle. Others refute this claim; it’s just up the street from Castle Village and was more likely built on Bennett’s former property.
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 Dottie Jeffries
MAYA LEVANON-PHOTOS TIK TOK & INSTAGRAM
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated
A native of the western or central Mediterranean, the artichoke is a perennial plant in the thistle group of the sunflower. The wild variety of the species is called a cardoon. Sicilians claim that the plant originated on the island. In the town of Cerda (the “artichoke capital” in the Province of Palermo) a sculptural monument in its main square is dedicated to the plant’s presence.
Thistles, either in the form of artichoke or cardoon, have been consumed since the days of Ancient Greece and Rome. The flower bud is its edible part.
The Romans preserved artichoke hearts in honey and vinegar and seasoned them with cumin. The vegetable was neglected after the fall of Rome, but remained to be nurtured by Arabs who transported the plant to Spain.
North African Moors who had settled there began cultivating artichokes in the area of Granada; another Arab group, the Saracens, became identified with chokes in Sicily. This suggests an Arab origin. The European name is derived from “al-khurshuf,” the Arabic term for thistle. It became alcarchofa in Spanish, articiocco in Italian and ultimately artichoke.
Interest in the vegetable was revived in the mid-fifteenth century when the plant was cultivated around Naples and gradually spread to other parts of Europe and, eventually, to America. In the process, the artichoke turned out to be much more than just a delicacy. It became associated with medicine, sexual performance and organized (Sicilian) crime.
Cure & Aphrodisiac
The artichoke’s medicinal properties have long been praised. The Roman naturalist Pliny the Elder ascribed various health benefits to the plant’s consumption. All plants of the thistle family were recommended for stimulating digestion and treating rheumatism in various ways, not only in Europe but also by Native Americans and in Chinese medicine. The juice of the leaves was used in skin treatment.
Traditional uses are borne out by modern research that has shown artichoke to aid digestion, liver and gall bladder function and to reduce cholesterol levels. The plant is rich in Vitamin C (ascorbic acid) and minerals.
When, according to Greek myth, Zeus emerged from the sea one day to visit his brother Poseidon, he observed a pretty young girl by the name of Cynara. He seduced her and, turning her into a goddess, took her to Mount Olympus. She disobeyed him by making secret visits to her family. In anger, he tossed Cynara aside and turned her into an artichoke. The scientific name for the plant therefore became Cynara cardunculus and its erotic association lingered.
The pairing of artichokes with sexual potency was stressed in later medical textbooks. In 1576, Boldo Bartolmeo published his Libro della natura (Book of Nature) in Venice. The book was a revised version of a popular tract entitled Libreto di tute le cosse che se manzano (Little Treatise on the Things One Eats), first published in 1508 by Padua-born Michele Savonarola, former physician to Niccolo III d‘Este, Marquis of Ferrara, and one of the outstanding practitioners of his era.
The book illustrated the nature and properties of food with particular attention to human health and well-being (the “regimen sanitas”). In Boldo’s updated account artichokes are praised for possessing the virtue – as the author delicately puts it – of “provoking Venus for both men and women; for women making them more desirable, and helping the men who are in these matters rather tardy.” The artichoke became widely lauded as an aphrodisiac that enhanced performance and helped conception.
Catherine de Medici & Henry VIII
Originally associated with Italian cuisine, artichokes reached the rest of Europe when Catherine de Medici married Henry II of France at the tender age of fourteen. Having arrived in Paris from Florence in 1533, she brought her kitchen staff with her.
The artichoke was an instant gastronomic success at the Court. Catherine de Medici and her circle of intimate friends gave the vegetable an over-sexed reputation. Inevitably, Henry VIII was tempted to test its impact on the functioning of the genitals.
Artichokes had been introduced to England by immigrants from the Low Countries where they had been in vogue since the start of the sixteenth century.
In 1611, the incomparable Antwerp-born woman artist Clara Peeters painted a “Still Life with Fish, a Candle, Artichokes, Crab and Prawns,” the earliest recorded fish still life in art. Fish was a staple food in the Netherlands, but the presence of artichokes on the table is surprising. Peeters and a number of her contemporaries had become curious enough in the “new” vegetable (and its intriguing shape) to include them in their paintings.
By 1530 artichokes were reported to be growing in Henry VIII’s formal gardens at his Essex summer resort, the Palace of Beaulieu in Boreham. The King’s favorite vegetable soon became fashionable and associated with copious dining. Its reputation as an aphrodisiac was undisputed. A century later, botanist Nicholas Culpeper described artichokes in his Herbal as “under the dominion of Venus” – they spur lust.
Landscapers at major English estates of the sixteenth century were ordered by their employers to design and cultivate ‘artichoke gardens’. Dating from the reign of Elizabeth I, there was in London a tavern named the Queen’s Head and Artichoke in Albany Street, Regent’s Park. The second part of the name was allegedly added at the Queen’s request who, whilst dining at the inn, took a liking to the taste of artichokes.
The vegetable’s appeal did not diminish. Botanist John Evelyn was the one of the first notable British historians of gardening. In 1699, he published his Acetaria: A Discourse of Sallets (familiarly known as Evelyn’s “salad list”) in which he paid ample attention to the preparation of artichokes which were best enjoyed (with a glass of wine) by the heads “being slit in quarters, first eaten raw, with oil, a little Vinegar, salt and Pepper.”
It was around this time that the American colonies were beginning to take an interest in the plant. Artichokes were grown in the United States as early as the eighteenth century. French and Spanish immigrants had been involved in their introduction to the United States.
Monterey County
George and Martha Washington cultivated globe artichokes at Mount Vernon. Thomas Jefferson grew them at Monticello and first listed the plant in 1770 in his Garden Book. However, as a foodstuff artichokes remained a rarity and were not a popular edible until the twentieth century.
Early settlers and native-born Americans had previously consumed a limited supply of vegetables, consisting of (sweet) potatoes, cabbage, lettuce, corn, beans and tomatoes. Mass immigration changed that habit and pattern. By the 1920s, people were offered a wider and more diverse range of vegetables, including asparagus, avocados, endive, spinach and sweet peppers.
Andrew John Molera, a Californian landowner in the Salinas Valley of Monterey County, decided in 1922 to lease land that had previously been dedicated to the growing of sugar beets to immigrant Italian farmers, encouraging them to cultivate artichokes. His reasons were purely economic as demand for the vegetable was outstripping production and prices were rising fast.
He and his tenant farmers formed the Monterey Bay Artichoke Growers cooperative, creating the Sea-Lion brand. Molera shipped their produce to New York City, Detroit, Philadelphia, Chicago and New Orleans, firmly establishing the artichoke as part of the American diet.
His success set a precedent. Within a relatively short period of time California dominated this particular corner of the nation’s vegetable market with Monterey County at the heart of its cultivation. Henrietta Shore’s mural “Artichoke Pickers” (1934), originally located at Monterey’s Old Customs House, provides a lively image of a harvest in Salinas Valley.
King of Artichokes
Citrus fruits have grown in Sicily since Arabic conquerors planted trees on the island in the eleventh century. The bay around Palermo derives its name of “Conca d’Ora” (The Golden Basin) from an abundance of the species. From the mid-nineteenth century onward the Mafia became involved.
It was in the island’s citrus groves that the organization began developing their characteristic practices of intimidation and extortion. Some historians argue that the Sicilian Mafia grew out of lemons. New York City produced its own entrepreneur of food rackets.
Ciro Terranova was born in 1888 in the “Mafia” town of Corleone. In 1893, his parents moved the family to the United States, lived for a while in Louisiana and Texas, before settling permanently in New York City where Ciro and his brothers met up with their half-brother Giuseppe Morello.
They would later form the powerful Morello syndicate that was involved in the familiar rackets of alcohol, gambling, etc. Based in Manhattan’s Italian Harlem, it was one of New York’s earliest crime families and gained dominance by defeating the Neapolitan Camorra of Brooklyn.
Ciro created his own corner of criminal activity. Keenly aware of both the profitable artichoke market (especially in his own Italian community) and the limited availability of the plant because of specific growing conditions, he saw an opportunity of monopolizing the sales. Having founded a produce company, he purchased all artichokes shipped to New York from California and resold the product at a massive profit.
In the process, his gang terrorized distributors and merchants. Its members launched attacks on the artichoke fields of farmers reluctant to deal with him, hacking down the plants with machetes in the dead of night. They even attacked farms with gas bombs dropped from small planes.
Ciro’s racket earned him an estimated million dollar each year between about 1925 and 1935. He became known and feared as the “Artichoke King.”
Queen of Artichokes
New York’s first Italian-American Mayor Fiorello La Guardia was elected in 1934 on a platform to fight corruption in the city. He was determined to rid the streets of criminal activity which, during the Great Depression, included extorted “extra” payments on fruits and vegetables. Why did he pick a fight with racketeers of the artichoke industry?
The (baby) artichoke was particularly popular in New York City’s densely populated Italian neighborhoods, but its trade at local vegetable markets was not monitored by the NYPD. The Mayor identified the artichoke as both as symbol and core activity of the Morello clan. He decided to take on the Artichoke King himself. As the produce racket was an interstate affair, Herbert Hoover (head of the FBI) was alerted. The Mayor expected prompt action from the federal agencies.
At 6:50 a.m. on December 21, 1935, two police trumpeters – in true Italian style – roused workers at the Bronx Terminal Market. La Guardia climbed onto the back of a vegetable truck and proclaimed a ban on baby artichokes for posing a “serious and threatening emergency” in the city, pronouncing that a “racketeer in artichokes is no different than a racketeer in slot machines.” His operatic action was dramatically labelled the “Great Artichoke War.”
Three days later, the extortion racket was broken. Mobsters were arrested and five members of Terranova’s gang imprisoned. The illegal surcharges they imposed on Californian artichokes ended and the ban was lifted.
Having defeated the Mafia’s control, La Guardia enlisted the cooperation of local restaurants to promote and drive up demand for his beloved baby artichokes. Grocery sales rocketed and recipes proliferated, spreading awareness and popularity of the vegetable.
The success story continued after the war. The farming community of Castroville, located about fifteen miles northeast of Monterey, became a focus of agricultural and commercial activity. It was here that in 1948 a young lady named Norma Jean Mortenson was chosen as California’s first official “Artichoke Queen.”
In the years that followed Castroville developed into the “Artichoke Centre of the World,” hosting (just like Cerda in Sicily) an annual festival dedicated to the vegetable. Norma Jean, having changed her name to Marilyn Monroe, became the irrepressible sex symbol of the 1950s and early 1960s as well as an emblem of the era’s sexual revolution. The artichoke had fully regained its formal reputation.
PHOTO OF THE DAY
ONE OF A COLLECTION OF MURALS PAINTED DURING THE 1930’S WPA ERA FOR CHILDRENS’ WARD AT GOUVENEUR HOSPITAL
Text by Judith Berdy
IMAGES AND TEXT NEW YORK ALMANACK JAAP HARSKAMP
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 Dottie Jeffries
MAYA LEVANON-PHOTOS TIK TOK & INSTAGRAM
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated
October 1935. Young residents of Amite City, Louisiana. View full size. 35mm nitrate negative by Ben Shahn for the Farm Security Administration.
October 1935. Natchez, Mississippi. “Two women walking along the street.” 35mm negative by Ben Shahn for the Resettlement Administration. View full size.
Summer 1938. Hamburger stand at the Buckeye Lake amusement park near Columbus. View full size. 35mm nitrate negative by Ben Shahn, who goes on to describe the place: “Buckeye Lake is the weekend and summer months resort for all of central Ohio. Its patrons are clerks, Columbus politicians, laborers, businessmen, droves of high school and college students. The rich occupy one side of the lake, the rest rent cottages on the other side. It has an evil reputation and an evil smell. It has furnished Columbus and the neighboring small towns and cities with dancing, cottaging, swimming, etc. for several generations. This is the most unsavory place the photographer ran across in Ohio.” But how are the hot dogs?
October 1935. “Poverty on the march.” Wife and child of destitute Ozark family in Arkansas. 35mm nitrate negative by Ben Shahn. View full size.
Summer 1938. Drugstore window in Newark, Ohio. View full size. Photograph (35mm nitrate negative) by Ben Shahn, Farm Security Administration.
1937. “Mrs. Mary McLean, Skyline Farms, Alabama.” 35mm nitrate negative by Ben Shahn for the Farm Security Administration. View full size.
Interior of tenant farmer home. Little Rock, Arkansas. October 1935. The “round thing” is an old-fashioned convex mirror. View full size. Photo by Ben Shahn.
Summer 1938. “Street Scene in Circleville, Ohio. Because of its non-industrial surroundings, retains much of old-time flavor.” Reflected in the glass we can see Ben Shahn snapping this picture with his Leica pointed sideways. View full size. 35mm nitrate negative by Ben Shahn for the Farm Security Administration.
PHOTO OF THE DAY
THE ISLAND NOBODY KNOWS PUBLISHED IN 1969 SHOWING THE FUTURISTIC VIEWS OF THE ISLAND THEN CALLED WELFARE ISLAND
Text by Judith Berdy
IMAGES AND TEXT SHORPY HISTORIC AMERICAN PHOTO ARCHIVE 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 Dottie Jeffries
MAYA LEVANON-PHOTOS TIK TOK & INSTAGRAM
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated
ADNY x AP – Lighting Installation, Photo by Jason DeCrow/AP Images for Alliance for Downtown New York
This month you can craft a song with glowing dominos at Fosun Plaza! In partnership with Quartier des Spectacles International, Montreal-based design studio Ingrid Ingrid presents Domino Effect, an immersive take on the game of dominos that allows visitors to engage with life-size, musical domino pieces. The installation consists of 120 tumbling pieces, each with its own color and range of sounds, distributed across 12 stations. Each set of dominos features different instruments such as percussion, marimba, balafon, flute, and even vocals. Colorful and bright, the dominos glow like lanterns in rectangular form, bringing warmth to the cold city. They stand sturdy, built specifically to endure icy weather and winds, but with a simple push, they are awakened with light and fall, creating a classic “domino effect.” The playful exhibition encourages pedestrians to leave their cozy homes and spend some time outdoors. Domino Effect will be on view through March 6 at Fosun Plaza in front of 28 Liberty St. in Lower Manhattan.
Courtesy of Art Production Fund, Photo by Daniel Greer
New York-based artist Melissa Joseph presents her first art exhibition at Rockefeller Center through the Art in Focus program. Raised in an Indian/American household, Joseph’s art mirrors her cultural heritage. She uses textile art to weave together a heartfelt narrative about the importance of POC representation and underrepresented voices in marginalized communities. The exhibition on view at the Rink Level of 45 Rockefeller Plaza will feature a 125-foot display of curated works by Joseph. The pieces featured include needle-felted wool emblazoned with imagery of intimate aspects of the artist’s life displayed along the walls like a series of family portraits. Joseph’s presentation can be viewed at 10 Rockefeller Plaza, 30 Rockefeller Plaza, 50 Rockefeller Plaza, and Radio Park.
Joseph will also host a free Art Sundae children’s workshop at Rockefeller Center where participants can create their own art alongside the artist and have their work included in a window installation. Joseph’s Art In Focus will be on view through April 19.
Courtesy of Morahan Arts and Media, Photo by Noemie Trusty
Mesmerizing projections will cover anchorages of the Manhattan Bridge this winter as the Dumbo Improvement District launches an outdoor video art exhibition titled The Dumbo Projection Project. This series will feature works by different artists from January to April projected in three different locations: the anchorages at Adams Street and Pearl Street, and along the BQE in Susan Smith Mckinney Steward Park, Thursdays to Saturdays from dusk to 10pm. Volume One features four different projections, each with its own unique theme.
In Speculative Geologies & Speculative Geologies (Triptych) by Jason Urban and Leslie Mutcher show 400 individual 3d models of made-up rocks and minerals created from the melding of nature and technology. In Sound of Deep Waters, Josh Miller and Angela Fraleigh translate viewer text messages into floral imagery. Mz.Icar Collective pays homage to the local youth and wise elders of DUMBO in The Protectors. Finishing out Volume One is Ocean with Spirit Patterns, a trance-like video by Grant Cutler.
Photo Courtesy of David Plakke Media
The latest installation at Penn Station brings forth New York-based artist Rico Gatson’s Untitled (Collective Light Transfer). Geometric shapes in a colorful bright palette decorate Amtrak concourse, bringing a pulsing energy to the bland space. The vibrant acrylic compositions cover the high pillars and walls for travelers to view as they move through the station (the patterns represent the rhythm of people as they hustle through the city). Gatson’s artistic inspirations derive from African, Native, and Indigenous cultures as well as spirituality, translating into abstract mathematical imagery. Amtrak Vice President Jina Sanone says Untitled (Collective Light Transfer) “weaves light, color, and culture together to surprise and delight customers and station visitors.” The installation is on view through the summer in the upper-level rotunda between the 8th Avenue Amtrak departure concourse and the 7th Avenue NJ Transit.
Two new digital works by artists Eirini Linardaki and Zach Horn animate the screens at Grand Central Madison. Greek-born and New York-based, Linardaki presents a piece that serves as a culmination of experiences she has gone through on her travels in different cities. Diaphanous Pareidolia, is a five-screen digital animated artwork clad in multi-patterned landscapes, buildings, and commuters on the subway. Itdepicts the energy of the city and its panoramic views, taking the viewer on a nomadic journey through Long Island City to Upstate New York.
Horn’s serene hand-painted waves undulate methodically in Rockaway, a tribute to his family’s connection to the Queens neighborhood. Horn’s style of work is heartfelt and personal with hints of nostalgia. Glowing in blue and indigo hues, Rockaway is a visual reminder of memories made throughout the generations of Horn’s family. Both artworks are presented as part of the MTA Arts & Design Digital Arts Program and are displayed across five LED screens near the 47th Street entrance to Grand Central Madison.
Don’t be alarmed if you catch a glimpse of a sloth, alligator, pelican, or some other wild animal at JFK Airport this month. It’s likely a hologram. As part of Terminal 4 operator JFKIAT‘s T4 Arts & Culture program, T4 has partnered with the Wildlife Conservation Society and the Bronx Zoo to create a series of holographic stations where travelers can learn about wildlife and T4 sustainability efforts from Bronx Zoo Director Jim Breheny.
T4 has also introduced a hand-painted mural representing the vibrant history of Queens by local artist Zeehan Wazed, a photography exhibit powered by the Cradle of Aviation Museum, and a photography series featuring shots captured by T4 employees.
PHOTO OF THE DAY
VINTAGE PHOTO BY EUGENE DE SELIGNAC, OFFICIAL BRIDGE PHOTOGRAPHER OF NEWLY CONSTRUCTED QUEENSBORO BRIDGE. SEE POLICE OFFICER ON FAR SIDE. SEE SPIRAL STAIRCASE LEADING PEDESTRIANS FROM ONE SIDE OF THE ALL PEDESTIAN UPPER LEVEL TO THE OTHER.
CREDITS
Text by Judith Berdy
IMAGES AND TEXT UNTAPPED NEW YORK
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 Dottie Jeffries
MAYA LEVANON-PHOTOS TIK TOK & INSTAGRAM
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated
Last week I had the opportunity to visit the archives at New York Medical College. (NYMC) NYMC has had a long affilitation with the Homeopathic Hospital on Wards’s Island which later relocated to Blackwell’s Island was re-named Metropolitan Hospital. It was located to the site of the former lunatic asylum, opening in 1895. The Met was on the island until1955, when it relocated to East 97th Street, where it remains today.
The archives were mostly collected by Dr. Jay Tartell who has had an interest and extensive collection of materials from the 1700’s on. Dr. Tartell has donated much of his collection to the NYMC and recently hung art and there are display cases of his collections. His collections include medical instruments history and William Cullen Bryant,
The archives include yearbooks and annuals from Metropolitan Hospital School of Nursing, which were held at the hospital until the library closed. Luckily some of the collection was preserved but much I assume was discarded.
This is the original check to pay James Blackwell for the purchase of the Island by the City of New York for $13,900- in 1828. This was half the payment.
The hallway and halls are full of historic artifacts and memorabilia from the many collections.
Nic Webb stand in front a a wonderful display of Metropolitan Hospital images just installed in one of the study rooms, (no libraries, just cubicles for laptops is the look of modern medical schools)
Many oil painting also donated by Dr. Tartell decorate the stairways.
New York Medical College Proudly Displays Donated Portrait of William Cullen Bryant
Historical Portrait of NYMC Founder and Longtime President of the Board of Trustees Adorns Medical Education Center
New York Medical College (NYMC) co-founder and revolutionary, William Cullen Bryant, is back at the College–in oil painting form. The portrait of the long, gray-bearded founding father is hung prominently in the Blanche and Albert Willner, M.D. ’43 Atrium and Lobby in the Medical Education Center, where hundreds of students pass each day and can now be inspired by the man who laid the College’s foundation. Jay D. Tartell, M.D. ‘82, gifted the College “Portrait of William Cullen Bryant,” which was painted by Ferdinand Danton Sr., in 1877.
“William Cullen Bryant’s often forgotten contributions to the ascent of America and the vitality of New York need to be understood and remembered today,” said Dr. Tartell in a statement. “Bryant’s role in the founding of NYMC is of obvious interest to the College community. But his role as a ‘Renaissance Man,’ advancing our country on multiple fronts – including science, art, politics, literature, world awareness and moral principles – can serve as an even greater inspiration to our students.”
The archives at at the NYMC campus in Valhalla, NY., adjoining the Westchester County Medical Center. NYMC is now part of Truro College and has a long history of being part of Grasslands Hospital and Flower Fifth Hospital.
Nicolas Webb has just acquired a medical instrument collection that he is busy researching and cataloging . The work of an archivist never ends. Thanks for a great visit to see our history.
PHOTO OF THE DAY
ED LITCHER AND GLORIA GOT IT RIGHT (SEE ABOVE)
CREDIT
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 Dottie Jeffries
MAYA LEVANON-PHOTOS TIK TOK & INSTAGRAM
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated
Blackwell’s Almanac: Valentine’s Day: From Religion to Romance Old New York: Part XI— NYC Post WW II (1945–1960) I Scream, You Scream, We All Scream for… Häagen-Dazs
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
FUNDING PROVIDED BY ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE GRANTS CITY COUNCIL REPRESENTATIVE BEN KALLOS DISCRETIONARY FUNDING THRU DYCD
The Municipal Archives photograph collections are renowned and widely valued for their comprehensiveness. For example, the tax photograph series includes pictures of every house and building in all five Boroughs circa 1939 and 1985. As useful as they are, however, they depict only building exteriors. Pictures of building interiors are less well represented in the collections. There are interior views in New York Police Department crime scene and Housing Preservation and Development collections for example, but they are relatively few in number.
Savoy Ballroom, 598-614 Lenox Avenue, Manhattan, Entrance, July 2, 1952. Photographer: Rutter Studio. Condemnation photograph collection. NYC Municipal Archives.
This week, For the Record takes a look at some remarkable pictures in an unprocessed collection, the “Condemnation Photograph Files.” They consist of excellent quality exterior and interior pictures of all types of buildings—apartments, stores, factories, restaurants, theatres, garages, tenements, taverns, warehouses, filling stations—in short, the entire urban landscape of mid-century New York. They even include the legendary Savoy Ballroom in Harlem.
NBC Television (International) Theatre, Entrance, Columbus Circle, May 4, 1953. Photographer: Rutter Studio. Condemnation photograph collection. NYC Municipal Archives.
NBC Television (International) Theatre, General View of Theatre from stage, February 24, 1953. Photographer: Rutter Studio. Condemnation photograph collection. NYC Municipal Archives.
Hertzberg & Son, 2300 Fifth Avenue and West 140th Street, July 14, 1952. Photographer: Rutter Studio. Condemnation photograph collection. NYC Municipal Archives.
Further examination of the collection revealed some rather noteworthy pictures. Given that property owners would be compensated not just for the building structure, but also for the value of equipment and fixtures inside the building, it makes sense that there are many interior scenes. In some instances, the pictures include people—shoppers in a store, patrons at the bar, and factory workers at desks and operating machinery.
Another feature of the pictures is their quality. They were taken by professional photographers and consist of well-composed large-format 8×10-inch black and white prints. Each image is captioned with a location and date. The Rutter Studio took almost all of the sample pictures in this article. The Rutter Studio is familiar to City archivists because the Borough President of Brooklyn contracted with them in the 1910s and ’20s to document construction of the Coney Island Boardwalk and other public works in the Borough; many have been digitized and are available in the gallery.
Hertzberg & Son, 2300 Fifth Avenue and West 140th Street, Private Office, Main Floor, July 14, 1952. Photographer: Rutter Studio. Condemnation photograph collection. NYC Municipal Archives.
Sinclair Refining Co., NE corner Broadway and 225th Street, General View of Station, November 1, 1948. Photographer: Rutter Studio. Condemnation photograph collection. NYC Municipal Archives.
Of particular interest in the Condemnation series are pictures of the legendary Savoy Ballroom in Harlem. There are not people in the pictures (apparently the photographer worked during closing hours) but they do include the ballroom, bar area, murals, cloakrooms, etc. It is also interesting that the pictures date from 1952 and the building was not demolished until 1958/59. Whether this speaks to the time frame of the condemnation proceeding, or to protests against demolition of the Harlem landmark, will require further research. The Ballroom made way for the Delano Housing Complex, renamed the Savoy Park Apartments in 2017.
Further research will also be necessary to answer other questions about the condemnation process; e.g. what entity commissioned the pictures? The Court, the City, or the law firms representing the owners? Did the people in the pictures know the building was slated for demolition? Further research in MA collections might reveal answers. In the meantime, here is a selection from the series.
Sinclair Refining Co., NE corner Broadway & 225th Street, Office, November 1, 1948. Photographer: Rutter Studio. Condemnation photograph collection. NYC Municipal Archives.
Savoy Ballroom, 598-614 Lenox Avenue, Manhattan, Entrance Lobby, July 2, 1952. Photographer: Rutter Studio. Condemnation photograph collection. NYC Municipal Archives.
Savoy Ballroom, 598-614 Lenox Avenue, Manhattan, Easterly side of Ballroom, July 2, 1952. Photographer: Rutter Studio. Condemnation photograph collection. NYC Municipal Archives.
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 Dottie Jeffries
MAYA LEVANON-PHOTOS TIK TOK & INSTAGRAM
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated
Included in this Issue: The Schetlin Story Conclusion Part IV • A Recollection of Family Life on Balckwell’s/ Welfare Island Eleanor Schetlin 2002 PART IV • The Florence Nightingale Pledge • Eleanor Schetlin at the Central Nurses Residence 1956-1963 • Eleanor, The Last Schetlin on the Island, Leaves the Island • Eleanor and the Roosevelt Island Historical Society • Background Report
Leisure time at the lighthouse
Artists rendering of CNR facing north.
Tennis courts that later became our second community gardens.
View of CNR and central laundry building in foreground
View looking north from Storehouse Elevator building
View from terrace at CNR with Chapel of the Afflicted in the distance.
Cement Batching Plant at East River Drive at 61 to 62 Street
Eleanor and Judy at the time of her presentation at the RIHS in 2000.
Reading Eleanor’s story for the first time in years reminds me of the importance of paper archives and photographs. There is something about looking thru notebooks, binders, scrapbooks that brings the story to life. Eleanor visited our island again in 2006. We held a reunion at the newly opened Octagon apartments. Bruce Becker, the developer was a wonderful host to the women who studied and worked in the building. I have photos of that event but they are in the RIHS office in the Octagon.
I hope you have enjoyed this series. Please send me your comments.
I look up at my bookshelf and want to acknowledge some of the reference materials and books I have used to write the 30 FROM OUR ARCHIVES articles:
NEW YORK RISES – EUGENE DE SELIGNAC NYC Municipal Archives
ARTHUR TRESS FANTASTIC VOYAGES Arthur Tress
SERT- JOSE LUIS SERT J.P. Rovera
NEW YORK 1960 Robert A.M. Stern
AMERICAN NOTES Charles Dickens
I KNEW THEM IN PRISON Mary Belle Harris
MYSTERIOUS MANSIONS Mary Dickerson Donahey
STONE AND STEEL Bascove
PITIGLIANI Letitzia Pitigliani
This list is only published books. Our archives have over 200 binders of individual subjects from Almshouses to Zoolander. Feel free to contact us for any information you need. If we don’t have it, we can point you in the right direction to find it.
Judith Berdy
CREDITS
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 Dottie Jeffries
MAYA LEVANON-PHOTOS TIK TOK & INSTAGRAM
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated
A RECOLLECTION OF FAMILY LIFE ON BLACKWELL’S / WELFARE ISLAND ELEANOR SCHETLIN 2002 PART III
1912-1931
The Schetlins at the City Home The River Ice Fairyland Surrounded by the River
70 YEARS AGO. WHO IS ON THE PHOTO?
CREDITS
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 Dottie Jeffries
MAYA LEVANON-PHOTOS TIK TOK & INSTAGRAM
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated
