TODAY, SATURDAY, MARCH 30TH IS THE LAST DAY OF EARLY VOTING JOIN US TO CAST YOUR BALLOT IN THE PRESIDENTIAL PRIMARY 9 A.M. TO 6 PM. AT GALLERY RIVAA 527 MAIN STREET
OR
ELECTION DAY IS TUESDAY, APRIL 2 AT PS/IS217 6 A.M. TO 9 P.M.
MARCH 30, 2023
THE FRICK COLLECTION
REOPENS AFTER
RESTORATION AND RENEWAL
THE YEAR
ISSUE # 1211
THE FRICK COLLECTION
Frick Collection Reveals Plans for New Second-Floor Galleries
The Frick Collection announced details about the transformation of the second floor of the original Frick home, on the Upper East Side of Manhattan in New York City. The changes will make accessible to the public for the first time when the institution reopens in its renovated and expanded home in late 2024. Designed by Selldorf Architects, with Beyer Blinder Belle serving as Executive Architect, the project marks the most comprehensive upgrade to the Frick since opening nearly ninety years ago.
The mansion’s second floor originally served as the private living quarters of the Frick family and subsequently became the institution’s administrative offices after the residence was converted to a museum in 1935. The restoration of a suite of ten rooms and their transition into galleries will, for the first time, enable the public to experience more of the Frick’s historic buildings and remarkable collection, which has expanded significantly over the decades.
A highlight of the second floor will be the rare opportunity to experience two rooms as they were installed when the Frick family lived in the mansion. This includes a new gallery in what was the Frick family’s Breakfast Room and the Boucher Room, which is being returned to its original upstairs location in the private sitting room — or boudoir — of Adelaide Childs Frick, the wife of founder Henry Clay Frick.
In a further series of second-floor galleries, visitors will experience installations inspired by the personal collecting interests of the Frick family through time, including beloved Renaissance gold-ground and Impressionist paintings. Also on view will be significant collections that have more recently entered into the museum’s holdings — some of which have yet to be regularly exhibited —ranging from ceramics to rare portrait medals and including the first permanent display of the Frick’s important clocks and watches collection.
Complementing the galleries of the Frick’s first floor, which include the Oval Room, East and West Galleries, Fragonard Room, Dining Room, and Living Hall, the second-floor galleries will provide entirely new opportunities for visitors to engage with the Frick’s holdings and historic spaces.
Restoration and preservation of architectural and decorative features — including ceiling murals, marble fireplaces, and elaborate carved woodwork — are bringing the intimate rooms of the former residence back to life, with varied arrangements of smaller-scale paintings, sculptures, and decorative objects from different schools and periods. Most art displays on this floor will preserve the traditional blend of objects for which the Frick is known, with select galleries centered on one period or medium.
Two of the new spaces are being restored to their appearance from when the Frick family resided in the house: the Breakfast Room and the Boucher Room. The Breakfast Room — ideally situated for morning light with its east-facing windows — has been reinstated as the family had decorated it, presenting the museum’s treasured holdings from the French Barbizon school of landscape painting, including works by Corot, Rousseau, and Daubigny.
Visitors will also experience the original Boucher Room, which adorned the boudoir of Adelaide Childs Frick (1859–1931). When, after several years of transformation, the residence opened as a museum in 1935, the eight panels by Boucher depicting the Arts and Sciences were moved to the ground floor to make them accessible to the public.
The second-floor room is now being returned to its appearance from when Adelaide Frick was alive. The series of paintings will be presented in a full suite of restored wall paneling, complemented by a series of other works and details from the same period: a marble chimneypiece; delicate Sèvres porcelain; important French furniture that has been treated and reupholstered; and the eighteenth-century wood flooring that originally graced this Gilded Age boudoir. All of these elements have been painstakingly disassembled, treated, and relocated upstairs to complete the gallery’s setting.
Further rooms will pay tribute to the individual collecting interests of the Frick family members. The original bedroom of Henry Clay Frick (1849–1919), which has become known at the museum as the Walnut Room for its sumptuous wood paneling, will present a selection of portraits, one of the founder’s favored genres.
Highlights include Romney’s famed 1782 portrayal of Lady Hamilton, which once again will hold pride of place over the room’s mantelpiece, as well as Ingres’s exquisite Comtesse d’Haussonville (1845), one of the most iconic paintings in the Frick’s holdings.
Another thematic gallery will feature Impressionist paintings, which were considered modern art during Frick’s lifetime and which Frick chose to display in the family’s private quarters.
Other rooms pay tribute to the significant role that the founder’s daughter Helen Clay Frick (1888–1984) played in shaping the collection during her father’s lifetime and for decades after his death. This includes an installation of early Italian Renaissance paintings, a particular passion of hers — including prized works by Cimabue, Piero della Francesca, and Paolo Veneziano —presented in Helen’s former bedroom.
Additional galleries and spaces on this floor will afford visitors the chance to look closely at exceptional holdings that have come to the Frick as major gifts. The Frick’s collections have grown in a focused and complementary manner over the decades, with more than half of the institution’s holdings coming from acquisitions after the original bequest of Henry Clay Frick.
Many of these collections have been shown only in part or temporarily because of space constraints. These new gallery installations include a presentation of French faience ceramics, the bequest of Sidney R. Knafel; remarkable works of Viennese Du Paquier porcelain given by Melinda and Paul Sullivan; and a special display of rare portrait medals from the unparalleled holdings of Stephen K. and Janie Woo Scher.
The installation of the Frick’s second floor has been designed by the curatorial team led by Deputy Director and Peter Jay Sharp Chief Curator Xavier F. Salomon with Curator Aimee Ng, Assistant Curator of Sculpture Giulio Dalvit, and Assistant Curator of Decorative Arts Marie-Laure Buku Pongo, in association with the Frick’s longtime exhibition designer, Stephen Saitas.
About Henry Clay Frick
Henry Clay Frick (1849 – 1919) founded the H. C. Frick & Company coke manufacturing company, was chairman of the Carnegie Steel Company and played a major role in the formation of U.S. Steel.
As a founding member of the South Fork Fishing and Hunting Club, he wasin large part responsible for the alterations to the South Fork Dam that caused its failure, leading to the catastrophic Johnstown Flood in 1889, which killed 2,208 people.
Frick’s vehement opposition to unions also caused violent conflict, most notably in the 1892 Homestead Strike, which all but destroyed the Amalgamated Association of Iron and Steel Workers and led to the death of about 15 people and the injury of dozens more.
Frick had extensive real estate holdings in Pittsburgh and throughout the state of Pennsylvania and later built the Neoclassical Frick Mansion in Manhattan (a National Historic Landmark) on Fifth Avenue, between 70th and 71st streets in Manhattan, and upon his death donated his extensive collection of old master paintings and fine furniture to create the Frick Collection.
The Frick Madison closed on March 3, 2024, and the Henry Clay Frick House is scheduled to reopen in late 2024. Learn more here.
NEW LONELY PLANET KIDS BOOKS $10-
AT THE RIHS VISITOR CENTER
GO NYC GO
BY ISLAND RESIDENT KEN ANDERSON 416-
Every day, NYC wakes up and is on the go.
Cars, taxis, trucks, and buses move to and fro.
If you want to join the fun, buckle your seat
as we drive on every road, bridge, and street!
CREDITS
THE FRICK COLLECTION
ROOSEVELT ISALND HISTORICAL SOCIETY
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated
TIME OUT: I WILL BE WORKING EARLY VOTING THIS WEEK AT OUR ISLAND POLL SITE IN THE GALLERY RIVAA. STOP BY TO CAST YOUR BALLOT IN THE PRESIDENTIAL PRIMARY AND SAY HELLO. BE BACK AFTER EASTER WITH MORE STORIES.
Manhattan’s MacDougal Street was named after merchant Alexander McDougall, a Scottish immigrant who hailed from the Isle of Islay. A rebellious character, he had been actively involved in the Revolutionary War.
In later years, McDougall represented New York in the Continental Congress and became the first President of the Bank of New York. Until their reckless destruction in 2008 to make space for New York University’s law school, the buildings from number 133 to 139 were landmark addresses in the history of Greenwich Village.
Manhattan’s MacDougal Street was named after merchant Alexander McDougall, a Scottish immigrant who hailed from the Isle of Islay. A rebellious character, he had been actively involved in the Revolutionary War.
In later years, McDougall represented New York in the Continental Congress and became the first President of the Bank of New York. Until their reckless destruction in 2008 to make space for New York University’s law school, the buildings from number 133 to 139 were landmark addresses in the history of Greenwich Village.
Village of Dreams
During the last decades of the nineteenth century, Europe’s major cities were in the grip of militant radicalism. Vienna experienced a number of uprisings. Rumors that the Emperor himself was a target abounded in and around the capital, especially since the assassination in 1898 of Empress Elisabeth of Austria by the Italian anarchist Luigi Lucheni.
Born in 1869 in Bohemia (then part of the Austria-Hungarian Empire), Hippolyte Havel was educated in Vienna where he associated himself with radical circles. Anarchism in the late nineteenth century was literally a “movement on the move.”
Activists lived under constant threat of arrest and moved from country to country. Many would eventually end up in the United States. American anarchism was established by political refugees from Paris, London, Madrid, Rome, Berlin, Moscow or Vienna.
Havel had started his career as a journalist, but was arrested in 1893 after delivering a blazing May Day speech. Having served eighteen months in prison, he was deported from Vienna. Soon after he was re-arrested for taking part in an anarchist demonstration in Prague. Expelled from the country he traveled to Germany, spent time in Zurich and then moved on to Paris.
After a series of bomb attacks in the 1890s, the French authorities were not inclined to tolerate subversive activities and by 1899 Havel was living “down and out” in London. There he met the political activist Emma Goldman whose orthodox Jewish family had fled anti-Semitism in Lithuania and settled in the United States in 1885. The pair became lovers.
In September 1900 Havel accompanied Goldman to Paris where an attempt was made to stage an international anarchist congress (for which Peter Kropotkin wrote a contribution on Communism and Anarchy), but the police intervened and prevented the event from taking place.
Returning with Emma to the United States, Havel settled in Chicago. He was one of six anarchists arrested and briefly detained in the city on September 7, 1901, accused of plotting with Leon Czolgosz who had murdered President William McKinley on the grounds of the Pan-American Exposition in Buffalo, New York.
All over the nation anarchists were hunted down, but repression breeds resistance. Havel had no intention of being silenced.
In 1903 Emma Goldman had settled in an East Village tenement at 208 East 13th Street. When in 1906 she founded the journal Mother Earth (“A Monthly Magazine Devoted to Social Science and Literature”), she ran her office from the neighboring tenement (No. 210). Arguably the most influential anarchist journal in America before the First World War, it was banned by the federal government in 1917. Havel became her associate and collaborator even though their love affair had ended.
Art & Anarchy
A flamboyant character, Havel spoke several languages and expressed himself in a fluent style of writing, but he was not academically minded and never produced a full-length book. A revolutionary with a fondness for drink, Havel’s heroes were activists who adhered to Johann Most’s “propaganda of the deed” and accepted violence as a legitimate means of achieving political ends.
Historically, creative milieus have clustered in urban areas where housing was relatively cheap, attracting a diverse group of migrants, artists and students. These densely populated and overcrowded sites were soon littered with small workshops, bakeries, cafés and eateries.
Their maze-like streets proved difficult to police and offered a perfect hiding place for controversial thinkers and activists. Interactions were intense, forging tight and often rebellious community bonds.
Although the image of Greenwich Village as a progressive “republic” of free spirits won popular acceptance during the mid-1910s, it reflected only a small part and brief period (between 1913 and 1918) of local life.
Most residents were not bohemians. Their lives were not shaped or determined by the influx of young artists and activists, but by continuous migration and changes in ethnic composition that affected local conditions.
The small Village community of radicals centered on Washington Square where Fifth Avenue ends at Stanford White’s triumphal arch. Inspired by his experiences in Vienna and Paris, Havel recognized the primacy of “creative spaces” such as cafes, salons and cabarets where anarchist ideas could be discussed away from the formality of political discourse.
Such gatherings cemented solidarity between anarchists and artists which he considered crucial for the movement’s expansion. They were natural allies who challenged the bounds of conventional thought in order to bring about renewal, be it artistic or social.
The association of anarchism with the arts had been stressed as early as 1857 by Pierre-Joseph Proudhon. In his essay on the painter Gustave Courbet the philosopher stressed the social mission of the artist by giving visual form to the struggle of working classes in a bourgeois society.
Havel brought his European heritage to Greenwich Village. He argued that the cultural avant-garde had a vital role to play in the revolutionary struggle.
Playwright Eugene O’Neill served a brief apprenticeship as co-editor of Havel’s journal Revolt before it was closed down for its opposition to the nation’s involvement in World War One. This involvement sparked the writer’s interest in anarchist activity (he portrayed Havel as Hugo Kalmar in his play The Iceman Cometh).
Polly’s Restaurant & The Liberal Club
Havel claimed to have come up with the idea for a Village restaurant as a platform where radicals could eat and talk revolution. In 1913, his then lover Polly Holladay opened a modest bistro in the basement of a townhouse at 137 MacDougal Street located just below Washington Square Park. Originally named The Basement, it became known as Polly’s Restaurant.
Born in Evanston, Illinois, Polly immersed herself in the bohemian atmosphere. Havel served as cook and waiter, while she handled finances and engaged with customers. The bistro’s walls in yellow chalk paint were hung with local artists’ work.
With its wooden tables crammed together, Polly’s soon became an alternative eatery of choice for a set of patrons that included novelists Theodore Dreiser and Sherwood Anderson, playwright Eugene O’Neill, political activist Emma Goldman as well as the imposing figure of Max Eastman, editor of the magazine The Masses. It was a creative space where Village residents sat down to discuss art, politics and revolution.
Havel took center stage for his verbal power and “volcanic outbursts.” He gained notoriety for addressing patrons of the restaurant as “bourgeois pigs” (throwing insults at clients was a feature of the European cabaret culture). He always reserved a table and bench for Emma Goldman and her lover, fellow Lithuanian activist and editor of her journal, Alexander Berkman.
The bistro was home to the Heterodoxy Club, a woman’s forum founded in 1912 by the extraordinary Marie Jenney Howe (biographer of the French novelist George Sand) to lunch and discuss radical feminist strategies.
A “heterodite” defined herself as a woman “not orthodox in her opinion” which allowed for members of diverse political views and sexual orientations to exchange ideas and in doing so define American feminism (a new word at the time, borrowed from the French).
The upstairs space from Polly’s basement was occupied by the Liberal Club which, founded in 1912, billed itself as a social meeting place for “those interested in new ideas.” Henrietta Rodman was the most outspoken of its female members in their demands for “free love,” birth control and equal rights.
Several of them took part on March 3, 1913, in the eventful women’s suffrage procession along Washington’s Pennsylvania Avenue (the day before President Woodrow Wilson’s inauguration).
The club also became notorious for its annual costume ball, a bacchanalian event known as the Pagan Rout, held at nearby Webster Hall at 125 East 11th Street. The location became even more popular when a passage was created into the neighboring building where the brothers Albert and Charles Boni ran their Washington Square Bookshop.
Books & Plays
Opened at 135 MacDougal Street in 1913, the Washington Square Bookshop gained a central place in the Village community. Members of the Liberal Club used the shop as a library, “borrowing” books to read in the comfort of the club and return them when finished.
The Boni brothers never made a profit out of the business. In 1915, they decided to give up bookselling and focus on publishing instead (their company would eventually become Random House). They sold the shop to Frank Shay.
Born Frank Xavier Shea in 1888 in East Orange, New Jersey, he changed the spelling of his name in order to associate himself with Shays’ Rebellion (an armed uprising led by Revolutionary War veteran Daniel Shays against tax rises in Western Massachusetts). He would run the Washington Square Bookshop for about two years and became closely involved with the arrival of theater in the Village, both as an actor and a publisher.
In 1916, the Provincetown Players opened the Playwrights’ Theatre at 139 MacDougal Street, next to Polly’s Restaurant and the Liberal Club. This collective of artists, writers and theatre lovers produced plays for two seasons in Provincetown, Massachusetts (1915/6), and six seasons in New York City (1916 to 1922).
Shay played the role of Scotty in their production of Eugene O’Neill’s Bound East for Cardiff, the play that launched the dramatist’s career. From his bookshop he published three volumes of The Provincetown Plays (1916), landmark collections of the group’s earliest productions.
Shay’s activities were interrupted when conscripted in 1917. He fought the draft on the basis of his pacifist beliefs, but did not succeed. He served in the Headquarters Company of the 78th Division in France and saw action in the battles of Saint-Mihiel and the Forest of Argonne.
Demobilized in June 1919, Shay returned to New York and opened a tiny bookshop at 4 Christopher Street, West Village, and remained engaged in publishing volumes and anthologies of plays. He kept in touch with the latest literary developments.
When novelist and poet Christopher Morley visited the shop in April 1922, he reported his first sight of the blue-covered first edition of James Joyce’s Ulysses, recently published by Sylvia Beach’s Shakespeare & Company in Paris.
Deportations Delirium
Politically the Village was no longer the same as the First Red Scare took hold of its community. From April through June 1919 several bombings were carried out nationwide aimed at judges, politicians and law enforcement officials, including the Washington home of newly appointed Attorney General Alexander Mitchell Palmer. The latter responded by creating a division of intelligence agents led by the young lawyer J. Edgar Hoover. The aim was to crush the “Reds.”
Tensions between activists and agencies increased sharply after the raid on the headquarters of the Industrial Workers of the World (IWW) in the East Village on November 11, 1919, leading to violent street clashes between opposing political camps. The 1917 Espionage Act and the 1918 Anarchist Exclusion Act were used to justify the onslaught. Temporarily, Village radicalism went underground.
On December 21, 1919, the Federal government assembled 249 “undesirable” left-leaning East European immigrants onto the US Army transport Buford (nicknamed the “Soviet Ark”) and expelled them to Russia.
It was reported in The New York Times as “A merry Christmas present to Lenin and Trotsky.” Or as the jubilant Saturday Evening Post put it: “The Mayflower brought the first builders to this country; the Buford has taken away the first destroyers.”
On January 16, 1920, the ship arrived in Finland and the deportees were transported by train to the Russian border. Amongst them were Emma Goldman and Alexander Berkman.
The impact of the intervention caused a persecution frenzy. Palmer and Hoover organized a massive roundup of radicals. By early January 1920, the Palmer Raids led to thousands of arrests and hundreds of deportations (described in 1923 by Louis F. Post as the “Deportations Delirium”).
The project turned into a festival of retribution based on dubious constitutional grounds and a disregard for civil rights. It should be a reminder to who partake in the present debate on democratic values.
An extremist is someone who engages in violence for political or religious ends. Any definition of radicalism must therefore be fit for purpose in a particular context. What matters is how people act, not what they think. Only those who resort to (or incite) extreme methods should be confronted.
Democracy encourages contrarian debate, even if an argument may offend the majority or unsettle the status quo. No nation can progress without heretics. Galileo was sentenced to life imprisonment for his perceived insult of the church while claiming the earth orbited the sun.
THURSDAY & FRIDAY PHOTO
LIST OF DAILY BAKED GOODS AT MEDITERRANEAN EATERY NINA LUBLIN., THOM HEYER, JOAN BROOKS, & GLORIA HERMAN GOT IT RIGHT
Text by Judith Berdy
Illustrations, from above: Demolition of historic McDougall Street buildings in 2009 (courtesy Village Preservation); Edwin Wright Woodman’s “Portrait of Havel,” published in September 1901 in The Minneapolis Journal (Library of Congress); cover of the inaugural issue of Emma Goldman’s anarchist magazine Mother Earth, March 1906; Polly’s Restaurant at 137 MacDougal Street, NYC circa 1915; poster of the Liberal Club’s annual ball, “Pagan Rout III,” 1917, signed by “Rienecke” (probably Rienecke Beckman); and the I.W.W.’s New York City headquarters after a Palmer Raid, 1919.
CREDITS
MAYA LEVANON-PHOTOS TIK TOK & INSTAGRAM
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated
William Kentridge’s video animation of historical figures on view at Moynihan Train Hall
ISSUE # 1209
AARON GINSBURG
6SQFT
Images courtesy of Amtrak
A cast of historical figures is watching travelers as they bustle through the waiting area of Moynihan Train Hall. Created by South African artist William Kentridge, “We Will Make Shoes from the Sky” is a multi-panel video animation featuring characters based on famous people from history, including several Black leaders like James Baldwin, Josephine Baker, and Aimé and Suzanne Césaire. The installation is currently on view on the digital screens in the main waiting area of Moynihan Train Hall.
“We Will Make Shoes from the Sky” depicts characters who are based on real figures from eras in history, including people who fled Vichy France at the end of World War II and traveled to destinations in North and South America.
Other figures were part of the Negritude movement, which was a “consciousness of pride in the cultural and physical aspects of African heritage,” according to a press release. The movement, which started in Paris, was led by the famous Martinique writer Aimé Césaire and his wife Suzanne Césaire, a teacher, scholar, anti-colonial, feminist activist, and surrealist.
The installation gives passengers traveling through the train hall a chance to stop and think about trailblazing figures who fought for freedom and individuality.
The characters featured in the animation are also the cast of “The Great Yes, The Great No,” Kentridge’s highly-anticipated theater production. Developed for the Luma Foundation, the show will debut in Arles, France in 2024 in partnership with the Festival d’Aix-en-Provence.
“We Will Make Shoes from the Sky” is part of the Art at Amtrak public art program, in its third year. Curated by Debra Simon Art Consulting, the program displays diverse art projects designed to enhance the travel experience at Amtrak stations. The program began at NYC’s Penn Station in June 2022 and expanded to Moynihan Train Hall last summer.
Art at Amtrak is currently presenting another art installation below Moynihan Train Hall in the Amtrak concourse at Penn Station. Created by NYC-based artist Rico Gatson, “Untitled (Collective Light Transfer)” covers the concourse with captivating geometric compositions that fill the otherwise bland space with a “pulsating energy.”
The installation is on view in the upper-level rotunda between the 8th Avenue Amtrak departure concourse and the 7th Avenue NJ transit concourse through the summer.
DYLAN BROWN PRESENTED A GREAT OVERVIEW OF THE DEVELOPMENT OF OUR ISLAND FROM THE 1960’S TO THE PRESENT TIME. A FULL AUDIENCE WAS TREATED TO THIS TIMELAPSE OF WHAT WAS IMAGINED AND THRE RESULTS ALMOST 50 YEARS LATER. GREAT WORK DYLAN!
THE PROGRAM WILL BE AVAILBLE SHORTLY ON THE ROOSEVELTISLANDER BLOGSPOT.
A SPECIAL THANKS TO DANIELLE SHUR OF THE NYPL BRANCH THAT GRACIOUSLY HOSTS OUR PRESENTATIONS.
WEDNESDAY
MARCH 20, 2024
GREAT PROGRAMMING IS COMING FROM THE R.I.H.S.
ISSUE # 1208
JUDITH BERDY
UPCOMING PROGRAMS
TREASURES REDISCOVERED This is an original poster that publicized the exhibit “Welfare Island: An Interim Report” which was presented at the Metropolitan Museum of Art for two weeks October 6 through October 19, 1970
Did you know that there was a scale model of the future island exhibited at the Met in 1970?
This is just one historical item that is stored in our office/archive in the Octagon
WE NEED YOUR SUPPORT TO FUND OUR ARCHIVAL WORK TO MAKE OUR COLLECTIONS MORE AVAILABLE AND EASY TO USE. PLEASE USE OUR DONATION LINK BELOW TO MAKE A DONATION FOR OUR ARCHIVES AND AN EXHIBIT OF OUR COLLECTION IN UPCOMING MONTHS.
ALL DONATIONS ARE TAX DEDUCTABLE AND WILL BE ACKNOWLEDGED.
This letter arrived in my mailbox today and tells one more story of our island’s past. Thanks
The Sid Kaplan photo of the trolley station under the Queensboro Bridge brought back vivid memories of my youth in Manhattan and Queens. My father was an oral surgeon and his rounds took him to Welfare Island once a month from the end of his stint in the Army in 1955 through the mid-1960’s. While we never rode the trolley, we accessed the Island from Queens many times via what everyone called the “Upside Down” building. In that structure, elevators (for automobiles, trucks and people) connected the middle of the bridge with the land below. Several times, after coming up in the elevator in our automobile, we waited while the westbound trolley to the “city” stopped to pick up or drop off passengers. I was captivated by this little “train” which traversed the bridge and I begged to take a ride.
My request was not granted — I was probably four — but ever-after I watched for the orange and cream cars and was always delighted to see them.
Then, one day, they stopped. “The electric company”, my Dad explained, “made a deal with the city to run cables over the bridge – and under the road – where the trolley tracks used to be”. I was heartbroken. “Why? Why??”, I asked my parents. “Why couldn’t the trolley continue running above the electric cables like all the automobiles?” “Well,Luddy”, said my Mother, “the trolley is obsolete….”
Obsolete? How could something so wonderful to my innocent eyes go away? Alas, this was the first of so many things in my life to disappear “forever”. Penn Station and the Singer Building in Manhattan met a similar fate to my beloved trolley. Luckily, Grand Central remains and a lot of other trolleys in other cities have been saved, or rebuilt or expanded. How great would it be if those Queensboro Bridge streetcars – and a modernized “Upside Down” building – still connected our Island to Manhattan and Queens?
If there is a lesson in this, it is that something which today is “obsolete” may one day be quite valuable – and useful. But I can tell you – from personal experience – that this notion is of little comfort to a small boy riding over the bridge, looking in vain for the quaint trolleys of another time, never to run again. guy ludwig
Get this image on: Flickr ] Creator: hjw3001 Copyright: Henry Wagner
TREASURES REDISCOVERED
This is an original poster that publicized the exhibit “Welfare Island: An Interim Report” which was presented at the Metropolitan Museum of Art for two weeks October 6 through October 19, 1970
Did you know that there was a scale model of the future island exhibited at the Met in 1970?
This is just one historical item that is stored in our office/archive in the Octagon
WE NEED YOUR SUPPORT TO FUND OUR ARCHIVAL WORK TO MAKE OUR COLLECTIONS MORE AVAILABLE AND EASY TO USE. PLEASE USE OUR DONATION LINK BELOW TO MAKE A DONATION FOR OUR ARCHIVES AND AN EXHIBIT OF OUR COLLECTION IN UPCOMING MONTHS.
ALL DONATIONS ARE TAX DEDUCTABLE AND WILL BE ACKNOWLEDGED.
… WITHOUT YOUR VOICE, WE WILL LOSE THE Q102 — WHICH PROVIDES DIRECT, DAILY SERVICE BETWEEN ROOSEVELT ISLAND & QUEENS PLAZA, CONNECTING TO MANY BUSES & SUBWAYS BEWTEEN MANHATTAN, BROOKLYN & QUEENS — SERVING ROOSEVELT ISLAND FOR OVER 50 YEARS …
Just like the city itself, the New York City street map is always in flux.
Alleys and lanes that were well established in Gotham’s early years have disappeared without fanfare; roads that once had a solid presence in a neighborhood get chipped away until nothing remained thanks to the shifting contours of the cityscape. (RIP Thirteenth Avenue.)
But the ever-changing street grid has left something mysterious in a Lower Manhattan park: a ghost street sign, but no trace of the street it marks.
This ghost sign is for Temple Street. It’s mounted at the edge of Zuccotti Park, a small patch of green in the commercial canyons of Lower Manhattan. But there’s no road, no driveway, no asphalt at all pointing to remnants of the street—just concrete benches and neatly spaced trees.
Zuccotti Park forms a rectangle between Broadway, Liberty Street, Trinity Place, and Cedar Street. These streets were all on the map by New York’s post-colonial era. So what happened to Temple Street, and where did it lead to in pre-20th century Manhattan?
The story begins more than 300 years ago, when New York City was a colonial outpost under British rule. Temple Street was on the map by 1695, according to the map reproduced in this 1901 book about the city’s origins. Just two blocks long, it ran parallel to Broadway and a now-vanished Lombard Street from Cedar Street.
Why is the street named for a temple? The origin isn’t clear. But Sanna Feirstein, author of Naming New York, suggests it stems from the street’s proximity to Trinity Church. (The first Trinity Church was in the works in the late 1690s, so perhaps the street name reflected the plans for a house of worship a block over on Broadway.)
The name might also be derived from Sir John Temple, the first British consulate-general to the United States, adds Feirstein.
Whatever its origin, two-block Temple Street continued to exist on street maps in the early and mid-19th century, still running alongside Broadway but now between Liberty Street and Cedar Street and ending at Thames Street. Based on advertisements for a “fire-proof ware-room” and shops, this was likely a commercial stretch of the bustling city.
Temple Street at this time would have been hemmed in behind the City Hotel on Broadway (above in 1831), one of New York’s first luxury hotels and bounded by Cedar, Temple, and Thames Streets. Later in the 19th century, the street was home to taverns, like “Old Tom’s” and “Old Reynold’s Beer House” (below), according to a 1902 New York Times article.
In the early 1900s, with lower Broadway becoming a mini-city of bank and insurance towers, Temple Street was reduced to one block, “the southernly half was wiped out by consent of the city when the United States Realty Building was erected,” wrote the New York Times in 1912.
The little one-block road held out until the early 1970s, when Liberty Plaza (later renamed Zuccotti) Park got the green light. “When developers demolished the buildings in 1972 to make way for the park, they demolished the street as well,” stated the Times in a 1995 F.Y.I. column. “The sign was remounted after the development was complete.”
Okay, but why remount a street sign for a street that no longer exists? I like to think someone at the DOT decided that a little road which served no major purpose yet hung on for 300 years should be properly memorialized with a sign.
Thanks to Justine V. for letting me know about this sign!
TUESDAY, MARCH 19TH AT THE NYPL BRANCH
… WITHOUT YOUR VOICE, WE WILL LOSE THE Q102 — WHICH PROVIDES DIRECT, DAILY SERVICE BETWEEN ROOSEVELT ISLAND & QUEENS PLAZA, CONNECTING TO MANY BUSES & SUBWAYS BEWTEEN MANHATTAN, BROOKLYN & QUEENS — SERVING ROOSEVELT ISLAND FOR OVER 50 YEARS …
You have probably walked on this mid-block street, halfway between 6th and 7th Avenues from 51st to 57th Streets
THE AVENUES OF MANHATTAN ARE some of the most famous thoroughfares in the world, counting 5th Avenue, Madison, Park, and The Avenue of the Americas among their ranks. But hidden between 6th and 7th Ave and running between West 57th St and West 51st St is a secret street rarely visited or recorded in tourists guidebooks: 6 1/2 Avenue.
Currently the only street with a fractioned number in New York City, 6 1/2 Avenue was given its official signposts in July 2012 by the Department of Transportation. The secret street was already well known to midtown workers who had long used the public spaces between 57th and 51st to cut through the city, avoiding having to walk around to 6th or 7th Avenue.
The thoroughfare is part of the over 500 areas in the city that are known as Privately Owned Public Spaces. These POPs originated in the 1960s when the city gave property developers incentives for creating public spaces as part of their new buildings. These privately owned public spaces usually took the shape of plazas, atriums, walk through arcades.
The 500 city POPs have received mixed receptions. Often the spaces are abandoned and make passersby feel as they were trespassing on private property and so the Friends of Privately Owned Public Spaces started an initiative to raise awareness, starting with 6 1/2 Avenue in Midtown. The Department of Transportation even created crosswalks and installed street signs to make it official. So next time you are strolling down one of Manhattan’s grand avenues, why not take a detour to visit one of its secret ones, just a literal half a block out of the way.
51st Street on 6 1/2 Avenue
Walking thru at night
TUESDAY, MARCH 19TH AT THE NYPL BRANCH
… WITHOUT YOUR VOICE, WE WILL LOSE THE Q102 — WHICH PROVIDES DIRECT, DAILY SERVICE BETWEEN ROOSEVELT ISLAND & QUEENS PLAZA, CONNECTING TO MANY BUSES & SUBWAYS BEWTEEN MANHATTAN, BROOKLYN & QUEENS — SERVING ROOSEVELT ISLAND FOR OVER 50 YEARS …
Over the last 40 years we have collected all sorts of island artifacts Luckily we have storage unit in the Octagon as well as our office. We have hundreds of photos and paper documents that can be used for research. Here a some of our unique collection.
Spidel from original Octagon staircase
Hardware from Central Nurses Residence
Tefillen case from Goldwater Jewish Chapel
Strap from original tram cabin and wheel from same
Signs from original tram cabins
Part of the roof beans from Blackwell House (circa 1789?)
Piece of cable, hook and pulley from storehouse elevator building. These were found when the site was being excavated for the Trolley Kiosk building.
Coin counter from Tram Token Booth, when tokens were the the fare. We also have a collection of slugs that were used at the turnstiles.
RIGI toy cable car toy set from the 1950’s
LEGO tram and Spideman set from 1990’s.
Parts of Welfare Island Bridge control panel that was replaced and this one was mounted and donated to the RIHS
TUESDAY, MARCH 19TH AT THE NYPL BRANCH
… WITHOUT YOUR VOICE, WE WILL LOSE THE Q102 — WHICH PROVIDES DIRECT, DAILY SERVICE BETWEEN ROOSEVELT ISLAND & QUEENS PLAZA, CONNECTING TO MANY BUSES & SUBWAYS BEWTEEN MANHATTAN, BROOKLYN & QUEENS — SERVING ROOSEVELT ISLAND FOR OVER 50 YEARS …
AGATHA CHRISTIE’S “WITNESS FOR THE PROSECUTION” AT THE MSTDA
ALL KINDS OF NEWS IN THE “RIOC NEWS”
“REDEVELOPING ROOSEVELT ISLAND” AT THE NYPL
THE PROPOSED CHANGE OF THE Q102 BUS ROUTE
WEEKEND MARCH 15-17 HELD OVER FOR A SECOND WEEK A WONDERFUL PRODUCTION OF THIS AGATHA CHRISTI SUSPENCE THRILLER
RIOC NEWS TAKE A LOOK AT THE LATEST EDITION. CLICK BELOW TO SEE IT: THIS MONTH IS THE CELEBRATION OF OUR ISLAND AND COMMUNITY THE MARCH EDITION OF THE RIOC RECORD IS OUT.
THIS IS THE PROPOSED Q104 ROUTE WHICH WILL NOT SERVICE THE NEEDS OF OUR RESIDENTS, COLER STAFF, COLER RESIDENTS AND NEIGHBORS WITHOUT YOUR VOICE WE WILL LOOSE THE Q102 BUS
WE CAN DO BETTER. THIS FRUIT STAND HAS BEEN HERE FOR YEARS AND IS AN EYE-SORE. IT IS TIME TO IMPROVE IT TO BETTER SERVE OUR COMMUNITY. THERE ARE MANY CREATIVE WAYS TO SELL FRUITS BY THE SUBWAY.
Text by Judith Berdy
MAIN STREET THEATER AND DANCE ALLIANCE
ROOSEVELT ISLAND OPERATING CORPORATION METROPOLITAN TRANSPORTION AUTHORITY
MAYA LEVANON-PHOTOS TIK TOK & INSTAGRAM
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated
New York State history is full of exciting characters who made a real difference in our historical development.
One of the most colorful is Fiorello La Guardia (1882-1947) who served in the Army air corps in the First World War, and later as a member of Congress (1923-1933) and Mayor of New York City (1933-1946).
LaGuardia transformed that city, sidestepping or overcoming political opposition and using city resources and federal assistance to tear down slums and replace them with good housing.
Golway’s narrative is flowing and lively, engaging readers while putting La Guardia into the historical context of his times. The book presents a good deal of history in a very interesting way but also a good deal about a key history-maker.
The book includes three little-known episodes in La Guardia’s career that capture the spirit of the man in the context of the tenor of the times.
Congressman La Guardia opposed Prohibition on the grounds that it cut into personal liberties and that the Volsted Act, passed to implement it, was practically impossible to enforce in a city like New York. He sometimes resorted to drama and grandstanding to get his point across.
In Golway’s masterful narrative, La Guardia, in 1926, invited reporters to his Capitol Hill office to witness an act of defiance. He produced bottles of malt liquor (considered medicinal and legal under the Volsted Act) and “near-beer” (a beverage with an alcohol content just below the legal level), skillfully combined the two, and produced something approaching pre-Prohibition beer.
He offered the reporters glasses; they loved it. And it was all legal, the congressman explained, just blending legal substances, and an illustration of how people were skirting the law.
A few days later, he repeated the stunt on a sidewalk in front of a drug store in New York City. A local police officer witnessed the show and just shrugged his shoulders and walked away. La Guardia continued to mock Prohibition until it was repealed in 1933.
A pilot himself, La Guardia was determined to build a major airport in his city. In 1934, returning from a conference in Chicago, the plane he was on landed at Newark Municipal Airport, which then served as a de facto commercial airport for the city. The aircraft’s pilot announced they had landed in New York.
All the passengers deplaned except the mayor. He refused to leave, saying his ticket read “Chicago to New York” and Newark was not New York.
The mayor stayed seated and demanded to be flown to Floyd Bennett Field in Brooklyn, a small airport that commercial airliners shunned. The pilot finally gave in. Tipped off, reporters were present in Brooklyn when the mayor landed.
As Golway notes, “it was an amusing stunt, all right, but there was a larger purpose at work.” It was part of La Guardia’s campaign for an airport suited to his city. He achieved that goal in 1939 when the new airport, named in his honor, opened for the first time.
Golway also includes another (slightly better known) episode, in July 1945, as La Guardia’s time as mayor was drawing to a close. Delivery workers for the city’s newspapers went on strike.
La Guardia, who regularly read the “funnies” (as the comics were called in those days) as well as the news, found a copy of the Sunday, July 1 issue of the New York Daily News.
Announcing that the city’s children needed their Sunday funnies, he went on the city’s radio station, WNYC, and read the installments of Dick Tracy and Little Orphan Annie and other comics and also vividly described the action in the strips.
He repeated the performance for two additional Sundays. He also urged that the workers should go back to work and the union should return to the bargaining table. Golway describes the mayor’s gestures and enthusiasm as he read the comics (this book is extensively researched, and here the author uses the New York Public Radio Archives, among other sources).
The strike soon ended. It was another memorable La Guardia performance.
As Golway notes at the end of the book, “this remarkable, irascible, and tireless man made it his life’s mission to replace despair with patience, hopelessness with fortitude.”
Editor’s Note: Bob Cudmore’s The Historians Podcast recently featured an interview about La Guardia. You can listen to that here.
Photo: Mayor La Guardia reads the comics to New York’s children over WNYC during the newspaper delivermen’s strike of July 1945 (New York Public Radio Archives).
