If you’re familiar with John Sloan’s Lower Manhattan paintings and illustrations from the first half of the 20th century, then you’ve probably noticed a running theme among them: tenement rooftops.
“Rain Rooftops West Fourth Street,” 1913
Like other Ashcan and social realist artists of his era, Sloan was captivated by what he saw on these roofs—the people he surreptitiously watched; their mundane activities; their delight, despair, and sensuality; and the exquisite vantage points roofs offered of a city on the rise.
“Sunday Paper on the Roof,” 1918
“These wonderful roofs of New York City bring me all humanity,” Sloan said in 1919, about 15 years after he and his wife left his native Philadelphia and relocated first to Chelsea and then to Greenwich Village, according to the Hyde Collection, where an exhibit of Sloan’s roof paintings ran in 2019. “It is all the world.”
Roof Chats,” 1944-1950
“Work, play, love, sorrow, vanity, the schoolgirl, the old mother, the thief, the truant, the harlot,” Sloan stated, per an article in The Magazine Antiques. “I see them all down there without disguise.”
Pigeons,” 1910
His rooftop paintings and illustrations often depicted the city during summer, when New Yorkers went to their roofs to escape the stifling heat in tenement houses—socializing, taking pleasure in romance and love, and on the hottest days dragging up mattresses to sleep.
“I have always liked to watch the people in the summer, especially the way they live on the roofs,” the artist said, according to Reynolda House. “Coming to New York and finding a place to live where I could observe the backyards and rooftops behind our attic studio—it was a new and exciting experience.”
Red Kimono on the Roof,” 1912
Rooftops were something of a stage for Sloan. From his seat in his Greenwich Village studio on the 11th floor of a building at Sixth Avenue and West Fourth Street, Sloan could watch the theater of the city: a woman hanging her laundry, another reading the Sunday paper, a man training pigeons on top of a tenement and a rapt boy watching, dreaming.
Sloan described his 1912 painting, “Sunday, Women Drying Their Hair,” as “another of the human comedies which were regularly staged for my enjoyment by the humble roof-top players of Cornelia Street,” states the caption to this painting at the Addison Gallery of American Art.
“Sunday, Women Drying Their Hair,” 1912
Of course, roofs also meant freedom. In the crowded, crumbling pockets of Lower Manhattan filled with the poor and working class New Yorkers who captured Sloan’s imagination, roofs conveyed a sense of “escape from the suffocating confines of New York tenement living,” wrote the Museum of Fine Arts in Boston.
Sunbathers on the Roof,” 1941
In the early 20th century, many progressive social reformers preferred to see these roof-dwelling New Yorkers in newly created parks and beaches, which were safer and less private.
But “Sloan embraced what he called ‘the roof life of the Metropolis’—as he did its street life—as a means to capture the human and aesthetic qualities of the urban everyday, a defining commitment of the Ashcan School,” wrote Nick Yablon in American Art in 2011.
THURSDAY PHOTO OF THE DAY HELLGATE BRIDGE UNDER CONSTRUCTION ANDY SPARBERG, ARON EISENPREISS, JAY JACOBSON, EL LITCHER AND 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
EPHEMERAL NEW YORK
Tags: John Sloan Chelsea, John Sloan Greenwich Village, John Sloan paintings NYC, John Sloan Pigeons, John Sloan Red Kimono on the Roof, John Sloan Roof Chats, John Sloan Sunday Women Drying Their Hair, tenement roofs Posted in art, Chelsea, Lower Manhattan, West Village |
RIHS (C) FUNDING PROVIDED BY ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE GRANTS CITY COUNCIL REPRESENTATIVE BEN KALLOS DISCRETIONARY FUNDING THRU DYCD
Abstract Landscapes and Scenic Depictions, Cubist Style.
Karl Knaths, Bach, 1953, oil on canvas, Smithsonian American Art Museum, Gift of Katie and Walter C. Louchheim, 1970.328
Karl Knaths, 1930, Peter A. Juley & Son Collection, Smithsonian American Art Museum J0020780
Joan Stahl American Artists in Photographic Portraits from the Peter A. Juley & Son Collection (Washington, D.C. and Mineola, New York: National Museum of American Art and Dover Publications, Inc., 1995)
Karl Knaths, who lived in Provincetown, Massachusetts, from 1919 until his death in 1971, was one of the first Americans whose work found its way into Albert Gallatin’s Gallery of Living Art. By virtue of his residence away from New York, Knaths was never an active member of the American Abstract Artists. Nevertheless, his affiliation brought distinction to the group. Knaths was older than many of the group’s members, and exhibited in New York to generally positive reviews from about 1930 on (although he once remarked that except for Duncan Phillips’s annual purchase, he did not sell a single painting for twenty-three years).(1) Recognized as an important modernist, he had the valuable support of Duncan Phillips. Over the years Phillips bought many of Knath’s paintings and frequently invited him to lecture at the Phillips Collection in Washington. In October 1945, Knaths exhibited in a group show at the Paul Rosenberg Gallery. The following January, he had the first of twenty-two solo exhibitions—almost one each year—until his death twenty-five years later.
Originally from Eau Claire, Wisconsin, in 1912 Knaths entered the school of the Art Institute of Chicago where he remained for five years. From there he went to New York, and later settled in Provincetown. In 1922, three years after his move to Cape Cod, he married Helen Weinrich, a pianist, whose sister Agnes was a Paris-trained abstract painter, and built the house that would be his home for the remainder of his life. During the winters, the Knaths and Weinrich usually spent a month in New York; but Europe, which attracted so many of Knaths, colleagues, failed to lure him from his beloved Provincetown.
Karl Knaths, Wisconsin, from the United States Series, ca. 1947, oil on canvas mounted on fiberboard, Smithsonian American Art Museum, Gift of Container Corporation of America, 1984.124.161
Karl Knaths, Water Valley, 1959, oil on canvas, Smithsonian American Art Museum, Gift of S.C. Johnson & Son, Inc., 1969.47.23
Yet, in his lecture notes, and in a manuscript for an unpublished book entitled Ornament and Glory, Knaths, thorough understanding of modernist tenets as well as the principles of Renaissance and subsequent European art is apparent.(2) His papers contain typescripts of Hans Hofmann’s lectures and writings by Mondrian, Malevich, Kandinsky, and other important theorists of modernism. Yet of all the artists whose work he knew well, the strongest parallels to Knaths, work come with Céanne’s late paintings. Both artists blended an intuitional understanding of structure with motifs drawn from observed nature. For his subject matter, Knaths drew repeatedly from his Provincetown surroundings: deer in landscape settings, clamdiggers returning from work, fishing shacks, boats in the harbor, still lifes of duck decoys and fishing paraphernalia. But Knaths also found inspiration in American folklore and literature, and did paintings of Johnny Appleseed, Paul Bunyan, and Herman Melville’s Ahab.
Knaths was one of the most theoretically inclined painters of his generation. He agreed with Kandinsky that “there are definite, measurable correspondences between sound in music and color and space in painting: specifically, between musical intervals and color intervals and spatial proportions.”(3) Knaths worked out intricate charts for color and musical ratios,which he used to determine directional lines and proportions in his paintings. Like Hofmann, he believed that “whatever is to be realized by the painting should arise through the use of pictorial elements in a thematic way. The surface being the prime element, it is possible to manipulate full spaciousness within its flat terms “(4)
At some point, Knaths discovered Wilhelm Ostwald’s color system. Based on color and not on light, the Ostwald system was devised as a way of ordering color, and was quite popular among American artists of the time. Knaths not only used this system, he harnessed it to a complex set of mathematical and geometrical relations—akin to musical proportions—so that the theoretical foundations of his art were both complex and highly worked out.
In his paintings, whether sketchy, experimental works like the Untitled gouache, circa 1939–40, or in more highly ordered canvases, Knaths remained true to the artistic principles he began to develop early in his life.
Karl Knaths, Geranium at Night Window, 1932, color woodcut on paper, Smithsonian American Art Museum, Museum purchase, 1981.182
Karl Knaths, The Gale at Force Hollow, 1946, oil on canvas, Smithsonian American Art Museum, Gift of Mrs. Otto L. Spaeth, 1977.83
Karl Knaths, Clam Diggers, 1959, oil on canvas, Smithsonian American Art Museum, Gift of the Sara Roby Foundation, 1986.6.49
Karl Knaths, Beach–1949, 1949, oil on canvas, Smithsonian American Art Museum, Gift of Emil J. Arnold, 1967.56.23
JOAN OF ARC STATUE IN RIVERSIDE PARK ED LITCHER, GLORIA HERMAN, LAURA HUSSEY GOT IT RIGHT!!!
PENNIES FOR PRESERVATION
BRING YOUR PENNIES, NICKELS DIMES AND QUARTERS TO THE 531 DOORSTATION TO THE ATTENTION OF JUDY BERDY.
WE HAVE ALREADY COLLECTED $800+
THE PENNIES WILL BE SUPPORTING THE R.I.H.S. AND HELP RE-CIRCULATE COINS.
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
SMITHSONIAN AMERICAN ART MUSEUM
FUNDING PROVIDED BY ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE GRANTS CITY COUNCIL REPRESENTATIVE BEN KALLOS DISCRETIONARY FUNDING THRU DYCD
Incredible, right? Called the Navarro Flats, this massive fortress of Gilded-Age extravagance was built on Central Park South at Seventh Avenue in the mid-1880s.
Twice the size of the Dakota, the Navarro Flats was also early example of apartment-style living. At the time, most New Yorkers of means still preferred living in a single brownstone or townhouse.
But “French Flats” were catching on, and the developer, Jose Francisco de Navarro, expected to make a mint selling luxury apartments to new-money New Yorkers.
He spared no expense. The seven-bedroom duplexes had as much as 7,000 square feet of floor space, including a drawing room, library, and billiards room (but only two bathrooms per apartment).
Each $20,000 duplex was part of one of eight townhouses within the complex, an arrangement thought to make the idea of apartment life more palatable, reports Nathan Silver’s Lost New York.
So why isn’t such a spectacular mishmash of Queen Anne and Gothic architecture there anymore?
Some apartments sold, but mostly, New Yorkers didn’t bite. In 1888, de Navarro was fending off lawsuits from mortgage holders, and the enormous complex met with foreclosure.
By the 1920s, it was gone–replaced by newer luxury residences the Hampshire House and Essex House.
Tags:Central Park Apartments 1880s, Central Park South, French Flats New York City, Gilded Age apartments, Incredible apartment buildings New York City, Navarro Central Park South, Navarro Flats, New York in the 1880s, New York’s luxury apartments, Old apartment buildings New York City Posted in central park, Cool building names, Midtown
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 FUNDING PROVIDED BY ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE GRANTS CITY COUNCIL REPRESENTATIVE BEN KALLOS DISCRETIONARY FUNDING THRU DYC
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated
Let’s talk about our neighbor across the river, Long Island City. But first, what is Long Island City? Today, LIC faces us, bordered by Astoria (at Steinway Street) to north and Newtown Creek to the south.
Some maps label part (or even all) of this region Hunters Point, and the huge development our fine ferry calls Long Island City is officially named Hunters Point Park.
So, clearly, we need a little historical context here. (This is a story largely about infrastructure, how infrastructure drove and hindered development.)
The Dutch government at New Amsterdam chartered townships in what became Long Island City, including Newtown, on Long Island’s western shore; Hallett’s Point, a squarish peninsula that sticks into the East River just across from Roosevelt Island’s north end (the new tall glassy apartments are “Hallett’s Point”); Hunters Point; and Dutch Kills. Hallett did well: His 2,200 acres included his original property and the lands of current Astoria and Steinway. Following the English capture of New Amsterdam, Hallett’s estate was confirmed in a patent dated April 8, 1668 and called the Hell Gate Neck tract. In November 1683, now under British rule, the Colonial Assembly organized Queens County as one of the twelve original counties of the Province of New York (named for Queen Catherine of Braganza, wife of King Charles II). Queens was later subdivided into the townships of Flushing, Hempstead, Jamaica, Oyster Bay and Newtown (which included all of what became Long Island City).
Between 1835 and 1841, streets in the townships along the coast were laid out and houses and stores erected. The first major roads were the Hallett’s Cove and Flushing Turnpike, today’s Astoria Boulevard, and the Ravenswood, Hallett’s Cove and Williamsburgh Turnpike and Bridge, today’s Vernon Avenue. Stephen Halsey, a settler in Hallett’s community involved in infrastructure construction, founded a new village in 1839 which he named Astoria in the hope of gaining the interest – and financial aid – of the wealthiest man in the country. By this time, ferries connected with Manhattan.
Soon, these coastal areas would become refuges for wealthy New Yorkers, particularly Astoria and Ravenswood. Country estates with names like Bodine Castle and Mount Bonaparte served as getaways for rich Manhattanites. The Jacob Blackwell family lived there early on, during the Revolution, in a large house at 37th Avenue overlooking the river. It is said that the family in the 1830s owned much of Hallett’s Point.
In 1852, the New York Times urged New Yorkers to take a day trip to the countryside: Queens was underrated, fancier than Broadway, a great place to explore, and worth the trip from Brooklyn. “There are charming residences and delightful lawns at Ravenswood and Astoria,” said the paper as it urged people to take long walks to Astoria. “It is lamentable that with such fine weather and pleasant country promenades at hand, our fair friends, especially of Brooklyn and Williamsburg, do not avail themselves of their privileges. They would find an agreeable change from the usual hackneyed routes…Throw off this deathly indolence that is benumbing your physical and spiritual faculties”
Century Currier and Ives print depicts mansions on the Long Island City waterfront. https://www.gothamcenter.org
Astoria developed as a port, and coal and lumber yards and shipyards grew up along the shore of Hallett’s Cove where products could move readily by barge. In 1854, rail arrived with the New York & Flushing Railroad’s new terminus in Hunters Point. Ferry service remained the only way for travelers to get to Manhattan.
LIC’s big chance came when Brooklyn banned steam locomotives in 1861 and the Long Island Railroad moved its terminus to Hunters Point, where it connected with the 34th Street ferry. LIRR purchased the New York & Flushing Railroad in 1867 and in a few years, would own or control most of the rail traffic in Long Island, centered now in LIC. Sunnyside Yards opened in 1910, the year that the Pennsylvania Railroad began running trains under the East River. Located just east of Queensboro Plaza, it would become the world’s largest rail yard (and a constant temptation to be decked over and developed).
The creation of the LIRR terminus led to an explosion of industry, commerce and entertainment sites. LIC became a hub for produce from Long Island’s farms headed to Manhattan. Factories, tanneries and gas plants sprang up along the waterfront. Hotels and taverns opened and the breweries and bars became destinations themselves, and soon the Times commented that “Hunters Point has gained an unenviable notoriety.” The Queens waterfront was no longer a quiet oasis for the rich. By the turn of the century, many of Astoria’s estates had been torn down as New York’s aristocrats moved to Long Island’s Gold Coast.
In the 1860s, development in Hunters Point and Astoria was the catalyst for the consolidation of neighboring communities into Long Island City. In 1870, Steinway, Astoria, Hunters Point, Newtown, Ravenswood, Blissville, and Dutch Kills, joined to form LIC. By this time, the area was an urban center with industry and a growing population. Even so, LIC remained short on paved roads and water. In 1871, a revised charter mandated a police force of 30 men, but the city lacked the revenue to hire them. No adequate fire department existed until 1893.
A 1929 plan for decking over Sunnyside Yards.
The one grand idea to transform Long Island City was to make Sunnyside a mega-project deck over the railyard. A modern, streamlined “Skyscraper Terminal” would consolidate access to the region’s twisted network of subway and rail lines, and serve as an anchor for growing neighborhood. The Great Depression paused these plans. And the deterioration of LIC continued.
Robert Stolarik for The New York Times
When I arrived here 40-some years ago, I might have titled this essay “The Rise and Fall of LIC”. But look across the river now. “The Rise and Fall and Rise Again”! More to come. Thanks for reading. Stephen Blank RIHS October 1, 2021
HELLGATE BRIDGE STILL UNDER CONSTRUCTION, 1916 ANDY SPARBERG, HARA REISER BOTH GOT IT RIGHT
ED LITCHER ADDED THE FOLLOWING: Hell Gate Bridge engineers, in front of the bridge they designed and built. At centre is the bridge’s designer, Austrian-US engineer Gustav Lindenthal (1850-1935, white beard). To his right is his chief assistant Othmar Hermann Ammann (1879-1965, moustache). This steel through-arch railroad bridge, built from 1912, was opened in September 1916.
It spans 310 meters, crossing Hell Gate, a tidal strait in New York’s East River. At the time, it was the world’s longest steel arch bridge. This view looks north, with the approach viaduct curving away to the right in the background. Photographed on 11 October 1916. Although this bridge is a beautiful structure and an important part of the Astoria landscape, when I think of this bridge I see it as the endpoint of an Inclined Plane that begins in the Sunny Side Yards, goes through Maspeth and ends up in Astoria. A “Simple Machine” whose only task is to slowly lift millions of tons of freight and passengers from the ground to a point more than 100 feet in the air, before the train safely accesses the bridge or crosses the river.
HELP US MOUNT THIS HISTORIC PLAQUE IN THE KIOSK
We have just acquired this wonderful plaque from the Elevator Storehouse Building. We need your help to pay for the mounting of this 130 pound bronze tablet in the kiosk
To donate online go to www.rihs.us, choose donations and select amount.
You can send us a check to: R.I.H.S., P.O. BOX 5, NY NY 10044
TUESDAY, OCTOBER 19th PROGRAM AT THE RI NYPL BRANCH
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)
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)
FUNDING PROVIDED BY ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE GRANTS CITY COUNCIL REPRESENTATIVE BEN KALLOS DISCRETIONARY FUNDING THRU DYCD
When you walk along New York City streets, you never know who is looking down at you. And on a busy corner at West 57th Street and Broadway, you’re getting the evil eye from two mysterious grotesques.
June 27, 2021
Back then, the building was the showroom for the Peerless Motor Car Company, a long-defunct carriage and car manufacturer that vacated the premises in the 1910s. This stretch of Broadway near Columbus Circle was known as Automobile Row, thanks to all the car showrooms that popped up there in the early 20th century.
After Peerless (above, in a 1909 ad) left, General Motors took it over. Eventually the building was renovated and converted to office use. The Hearst company bought it and based many of their consumer magazines here through the 2000s.
When it was important to have a presence in this car-showroom neighborhood, Peerless made sure they occupied prime real estate.
But they also designed the building to fit into the corner, which explains why it has the Gothic look of the Broadway Tabernacle Church, which held court on Broadway and 56th Street (above photo, likely from the 1940s)
But back to the grotesques. Spooky and sly, laughing or crying out, they’re either holding up the building or hiding under it with sinister intentions. Shrouded in what looks like robes and slip-on shoes, they’ve been with the building since the beginning…and are apparently here to stay.
[Third image: New-York Tribune, December 12, 1909; fourth image: NYPL Digital Collection]
COURTHOUSE SQUARE AND JACKSON AVENUE LONG ISLAND CITY None of our readers got this one. There is a great new Trader Joe’s a block away!!
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
EPHEMERAL NEW YORK
FUNDING PROVIDED BY ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE GRANTS CITY COUNCIL REPRESENTATIVE BEN KALLOS DISCRETIONARY FUNDING THRU DYCD
Village Preservation, short for Greenwich Village Society for Historic Preservation, is a non-profit membership organization that documents, honors and preserves the architectural heritage and cultural history of several neighborhoods in Lower Manhattan. Village Preservation recently received a treasure trove of donated photos of SoHo and Cast Iron New York taken by Edward LaGrassa in 1969, before cast-iron architecture was widely appreciated and rediscovered. These photos also date back to a time when neighborhoods with the greatest concentration of such architecture were either being bulldozed or slated to be by Robert Moses.
The organization painstakingly identified each site and location (where possible) of the unlabeled photos, given to them in support of their fight against a proposed SoHo/NoHo Upzoning plan. They have examined the beautiful black and white photographs taken by a student doing an architectural survey at the time and have analyzed the competing and contradictory forces at play on this part of Lower Manhattan at the time.
287 Broadway. Photo by Edward LaGrassa courtesy Village Preservation
One of the many buildings included in LaGrassa’s collection is the Little Singer Building, at 561 Broadway, designed by Ernest Flagg, the same architect as the the Singer Building in Lower Manhattan which was once the world’s tallest building. It still stands today and its ornamented facade makes it a unique presence in Soho.
The E.V. Haughwout Building is a five-story commercial loft at the corner of Broome Street and Broadway. Built in 1857 with cast-iron facades, it originally housed Eder V. Haughwout’s fashionable emporium, which sold imported cut glass, silverware, handpainted china, and chandeliers. Mary Todd Lincoln actually had new official White House china painted here. The building was also the site of the world’s first successful passenger elevator.
At 101 Spring Street is the Judd Foundation Building, a five story cast-iron building located at the corner of Spring Street and Mercer Street. Constructed in 1870, it was the first building owned by Donald Judd, an American artist associated with the minimalist movement. The building also served as Judd’s studio, where he developed the belief that the placement of a work of art was as critical to its understanding as the work itself. Judd’s installations balance his respect for the historic nature of the landmark cast-iron building and his approach to architecture and design.
Gunther Building in Soho.Photo by Edward LaGrassa courtesy Village Preservation
The Gunther Building at 473 Broome Street was designed by Griffith Thomas in 1871, distinguished from its cast-iron neighbors by its bright white facade, Corinthian columns, and its curved glass corner. Gunther was a prominent 19th century furrier, with the building originally used as a warehouse for textiles and furs. Lenny Kravitz was once a resident of the building, which now serves as an artist co-op.
Bogardus Building getting prepared for demolition. Photo by Edward LaGrassa courtesy Village Preservation
The Bogardus Building was one of the most fascinating buildings in New York’s history, since the remains of it were mysteriously stolen and sold twice. The Bogardus Building/Edward Laing Stores stood at the intersection of Washington and Murray Streets in the Washington Market area. It was one of the first cast-iron buildings in the city, with prefabricated and interchangeable parts. The speed in which the building was constructed–just two months–was related directly with the technological advancements utilized and was certainly a key moment in the evolution of the skyscraper in the late 19th century. However, the Landmarks Preservation Commission recommended that the entire building, particularly the facade, be dismantled and “re-erected as an integral part of a new building,” later determined to be the Manhattan Borough Community College. The townhouses were moved in one piece, to a new location, but the Bogardus building was in such poor shape, it had to be taken down in parts, catalogued, and stored in a vacant lot, all which took place in 1971.
Manhattan Borough Community College would not begin construction until 1974, so the Bogardus building remained in pieces during the interim. Yet the building contractor noticed that people had actually stole some of these remaining pieces. The contractor told police that the perpetrators stole 20 to 30 panels, 2/3 of the facade, over the previous several weeks–22 broken pieces were subsequently found in a Bronx junkyard for $90 a truckload. The rest of the panels were then designated to be included in a building at South Street Seaport, and the rest of the Bogardus building panels were moved to a secret location in a city-owned building on 52nd Street, off 10th Avenue. When architects went to measure the panels with the Commission in June 1977, though, the hidden storage unit was missing all of the panels.
Andrew Berman has been the Executive Director of Village Preservation since 2002. During that time, the group, the largest neighborhood preservation organization in New York City, has secured landmark designation of more than 1,250 buildings, including 11 new historic districts and historic district extensions and dozens of individual landmarks, and zoning protections for nearly 100 blocks to help preserve the scale and character of historic neighborhoods. Prior to Village Preservation Berman worked in both city and state government, and has a background in architectural history.
BLACKWELL’S ISLAND PENITENTIARY UNDER DEMOLITION IN 1936
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
IMAGES AND TEXT COURTESY
UNTAPPED NEW YORK (C)
FUNDING PROVIDED BY ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE GRANTS CITY COUNCIL REPRESENTATIVE BEN KALLOS DISCRETIONARY FUNDING THRU DYCD
The Nassau, a twin-hulled boat, was the first regularly scheduled steam-powered ferry from Brooklyn to Manhattan. Credit…Brooklyn Historical Society
Steaming on the East River
Stephen Blank
The East River has long been a key thoroughfare for profit and pleasure. A big change, of course, was the advent of steam propulsion. Bigger craft, more people, more business. We’ve seen many pictures of great steamships on the Hudson. But our river, too, had some glorious steamers. So join me for a trip down memory lane, steaming on the East River.
Talking steamboats, begin with Fulton, inventor of the first successful steamboat and the first to put a steamboat on the East River. In 1814, Robert Fulton and William Cutting, his brother-in-law, formed the New York & Brooklyn Steamboat Ferry Association and obtained a lease from the City to establish a steam-powered ferry to cross the river. Fulton’s ferry crossed at the its narrowest point, some 700 yards between what is now Fulton Street in Brooklyn and Fulton Street in Manhattan, between where the River Café is today, beneath the Brooklyn Bridge, and the South Street Seaport. The first ferry was named Nassau. The twin-hulled boat carried 549 passengers, one wagon and three horses. The trip took 5 to 12 minutes and was no longer subject to the mercy of the winds and the East River’s punishing tides. The Nassau was captained by Peter Coffee, who would remain with the company that operated the vessel for 50 years.
Yes, I know this is not really glam travel, it’s commuting.
So how about the fine line of “Sylvan” steamboats which raced up and down the East River from Peck’s Slip (just south of the Brooklyn Bridge, which didn’t exist) to 120th and 130th Streets in Harlem via a stop in Astoria and through Hell Gate?
Why Harlem? For pleasure and profit. The flat, rich, eastern portion of Harlem was fertile farmland, and some of New York’s most illustrious early families, like the Delanceys, Bleekers, Rikers, Beekmans, and Hamiltons kept large estates in the high western section. Harlem recovered slowly from the Revolutionary war struggles that took place there and remained largely rural through the early 19th century. Some of the estates were available at knockdown prices, and Harlem also attracted new immigrants to the City. Undeveloped, but not poor. It is said that Harlem was “a synonym for elegant living through a good part of the nineteenth century.”
To reach Harlem from lower Manhattan Island by stagecoach and later by horse car took a hard hour and a half to two hour ride. But by boat, there was no lovelier vista than the banks of the East River from Jones’ Wood north, where the shore was dotted by splendid country homes with large grounds of well-to-do New Yorkers – except when steaming past Blackwell’s Island.
The Harlem and New York Navigation Company was incorporated in 1856 and the “Sylvan Shore,” the first of this company’s line of “Sylvan” boats, was built that year. Four more “Sylvans” would appear over the next dozen years. The steamboats did the Harlem run on weekdays and excursions to points along the Sound on Sundays.
Steamboat “Sylvan Shore”, James Bard (1815–1897), New York Historical Society
The business went well. Not only did the Sylvan boats grow in number, but another line, the Morrisania steamboat line, joined in as a competitor. Their steamship “Shady Side” carried passengers to upper Manhattan and the Bronx. The Shady Side was the fastest Morrisania boat and frequently raced against the Harlem Line’s swiftest ship, the Sylvan Dell – much to the distress at times of the police. The Sylvan Dell carried on her bow mast an unusual but significant flag – a race horse with a jockey instead of the name of the boat.
Steamboat Shady Side, James Bard (1815–1897), New York Historical Society
By 1867 the elevated railroads were being talked of seriously, experiments projected, and in 1875 the Legislature favored granting a franchise for the elevated roads. The elevated opened for operations in 1876, but it was not until after 1880 that the elevated lines on both sides of the city were extended to Harlem. Simultaneously with that accomplishment the patronage of the Harlem and Morrisania declined.
They were attractive but fairly small sidewheel steamboats. We assume they were nicely fitted out with comfortable lounges but no overnight facilities, but we really don’t know the details. We know more about the spectacular vessels that sailed past our Island in the high age of East River steamboating. Stately sidewheelers connected Peck’s Slip with Hartford, Boston and locations between. One author rhapsodizes “These Long Island Sound steamers, unlike the tubby, wedding cake dowagers of Western waters, were long, sleek craft, with sharp prows cutting a neat wake as they cruised along. Departing each afternoon from State Street or Talcott Street wharf in Hartford, the ‘night boats’ reached New York at daybreak, inaugurating a pattern of city commuting that continues to this day.“
Other destinations were reached by a water-rail combination. The Old Colony Railroad developed a network of railroad lines extending from New York to Boston and southeastern Massachusetts. Steamers connected the railroad lines at various points. Established in 1847, the line was originally owned by the Bay State Steamboat Company.
The classic example was The Fall River Line, a combination steamboat and railroad connection between New York City and Boston that operated between 1847 and 1937. Sailing from New York, the Fall River boats paddled up the East River in the early evenings of dusk; up to Hell Gate then down the Long Island sound; calling at Newport in the middle of the night and the morning they landed at the Fall River dock. Boston was just a train ride away with connections north to Maine’s major cities and resorts.
For many years, this was the preferred route for travel between the two major cities. The Long Island Sound steamboats became firmly established with the public as the safe and comfortable way for New Yorkers to go to Boston since they avoided the long, hazardous water route around Cape Cod and the longer crowded train trip all the way from New York. The line was extremely popular, and its steamboats were among the most advanced and luxurious of their day. Everyone from presidents to swindlers sailed the Sound on “Mammoth Palace Steamers” in the heyday of the side-wheelers.
Big paddle steamers, gleaming white, ornamental and luxurious, touched all the islands and reached up the long tidal rivers, carrying “The Four Hundred” – New York’s Gilded Age High Society. Nineteenth Century steamboat men looked down on the railroads as mere “feeders,” and even later through trains ran rapidly along the shore from Boston to New York they maintained, for some time, the favorite of travelers. Old Commodore Vanderbilt and Daniel Drew struggled for power on the Sound before they began to battle for greater prizes among the railroads; its waters were controlled in turn by Jim Fisk and J. P. Morgan, who eventually brought almost all the various steamboat lines under control of his New Haven Railroad. The star of the Fall River Line was the steamship Priscilla.
Judy Berdy has written about the Priscilla in an earlier number of the Almanac but I will tell you more about the Fall River Line and its rivals in my next essay.
Fall River Line ships Priscilla and Puritan steaming under the abuilding Queensboro Bridge and past the Octagon on Blackwell’s Island
Competition on these routes grew. The Lexington was a paddlewheel steamboat that provided service between New York City and Providence, Rhode Island. It was commissioned by Cornelius Vanderbilt in 1835, and at 220 feet in length was considered one of the most luxurious steamers in operation. In 1837, the Lexington switched to the route between New York and Stonington, Connecticut, to connect with the newly built Old Colony railroad to Boston.
And dangers too. On the night of January 13, 1840, midway through the ship’s voyage through the Sound, the casing around the ship’s smokestack caught fire and ignited 150 bales of cotton that were stored on deck aft of the smokestack. The fire was out of control and the order was given to abandon ship. The ships’ overcrowded lifeboats sank almost immediately, leaving the ship’s passengers and crew to drown in the freezing water. Rough water, poor visibility, the frigid cold and the wind made rescue attempts impossible. Of the 143 people on board the Lexington that night, only 4 survived.
Thanks for reading. I’ll be back soon with more on the East River steamboat business, its pleasures and perils.
Stephen Blank RIHS July 11, 2021
THANKS TO GLORIA HERMAN AND HER GRANDKIDS FOR HELPING WEEDING AND FIXING UP THE KIOSK GARDEN TODAY.
Elijah (Eli) and Thomson (Sonny) are 11 and Eadie is 9.
ONE OF THE DECORATED WALLS AND MOTIFS OUTSIDE “THE SANCTUARY” IS THIS GREAT GREETING FROM ROOSEVELT ISLAND MURAL AND SPOT FOR A PHOTO.
WEEKEND PHOTO OF THE DAY #2
(SOMEONE FORGOT TO POST ONE OF THESE ANSWERS) FORMER TRIBORO HOSPITAL NOW UNDER RESTORATION INTO AFFORDABLE HOUSING IN JAMAICA, QUEENS. Ed Litcher, Andy Sparberg and Harriet Lieber got it right
Text by Judith Berdy Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac and the RIHS Thanks to Deborah Dorff for maintaining our website Edited by Deborah Dorff All image are copyrighted (c)
A.J.Wall, “The Sylvan Steamboats on the East River, New York to Harlem”, THE NEW-YORK HISTORICAL SOCIETY QUARTERLY BULLETIN VOL. VIII OCTOBER, 1924 No. 3
FUNDING PROVIDED BY ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE GRANTS CITY COUNCIL REPRESENTATIVE BEN KALLOS DISCRETIONARY FUNDING THRU DYCD
Guy Ludwig and Ed Lticher added great history Thanks
I believe today’s historic photograph is of the White Star Line’s pier complex on the Hudson river. This is where the Titanic would have tied up had she made it. The Titanic (and her sisters the Olympic and the Gigantic – no kidding, but she was renamed Britannic) flew the flag of White Star Lines, a company controlled by J.P. Morgan. Following the Titanic disaster, White Star became an easy target for acquisition by the most powerful transatlantic line, Cunard. Four years after Titanic sank, the Britannic went to the bottom of the Aegean Sea after hitting a mine. It took until the 1930’s but eventually Cunard did merge with White Star, and in 1949 bought out firm completely and retired its name.
Guy Ludwig Westview
Chelsea PiersDesigned by the architectural firm of Warren and Wetmore, which was also designing Grand Central Terminal at the same time, the Chelsea Piers replaced a hodgepodge of run-down waterfront structures with a magnificent row of grand buildings embellished with pink granite facades.In 1910, the opening of the Chelsea Piers was marked with a ribbon cutting and speeches, including lots of back-patting after 30 long years of talk and 8 years of construction. In 1907, even before the piers were completed, the first of the new luxury liners, the Lusitania and Mauretania, docked there. The man responsible for the completion of the piers, Mayor George B. McClellan, wasn’t even in office when the liner Oceanic broke through a colorful wide ribbon to signal the official opening of the Chelsea Piers. The next day The New York Times called them “the most remarkable urban design achievement of their day.”For the next 50 years, the Chelsea Piers served the needs of the New York port: first, as the city’s premier passenger ship terminal; then as an embarkation point for soldiers departing for the battlefields of World Wars I and II; and finally, during the late 1950s and early 1960s, as a cargo terminal.After that, the Chelsea Piers, like much of Manhattan’s waterfront, became neglected maritime relics, made obsolete by the jet plane that whisked passengers across the Atlantic and the large container ships that required dock facilities and truck linkages that Manhattan could never provide.
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 Roosevelt Island Historical Society
NYC HEALTH + HOSPITALS
FUNDING PROVIDED BY ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE GRANTS CITY COUNCIL REPRESENTATIVE BEN KALLOS DISCRETIONARY FUNDING THRU DYCD
Judith Berdy with Xiomara Wallace, Office of Community Relations, NY H+H.
I had the honor to receive a Marjorie Matthews Award today for service with the Coler Community Advisory Board and the Coler Auxiliary. The ceremony was held at the Queens Hospital Center.
There are over 500 volunteers who work on these committees to make our municipal hospitals better serve all the residents of New York City,
Of course being there, I had to find out about the wonderful WPA mural that is in the main corridor and the progress of converting Triboro Hospital into affordable housing.
