This request arrived in the mail the other day. Do you have a suggestion for a new home?
Hi, I inherited 2 beautiful pastel portraits of my ancestors recently. They belong in a museum. Abijah Pell built the house at 311 East 58th Street. Would someone in your historical society have interest in finding a proper place for the portraits?
The frame of Eliza is in poor condition resulting in the tearing of the very fragile old paper but both could be restored.
If you’d like to call my tel# is xxxxxxxx. Please leave a message if I don’t pick up an unknown call. Thank you and I look forward to a response. Best regards,
THE HOUSE AT 311 EAST 58 STREET STILL EXISTS
The Abijah Pell House – 311 East 58th Street
Abijah Pell, Jr. was born in New York City on November 8, 1811. His was an important family, tracing its roots in America to the 17th century. John Pell inherited the Pelham estate from his uncle, Thomas Pell, in 1670, and became the first lord of Pelham Manor.
Abijah’s parents, Abijah and Mary Baldwin Pell, owned considerable land in Greenwich Village and when the elder Abijah died in 1826 his seven children–five sons and a daughter–shared equally in the sizable estate.
In the decade before the outbreak of Civil War spotty development was taking place along East 58th Street near the East River; until only recently green farmland. Tax records indicate a house appeared by 1857 at what could be numbered 311 East 58th Street, when title to the property was in name of Charles Shute Pell.
It does not appear that Charles ever lived in the quaint brick-faced house. He and his wife, both educators, were appointed superintendents of the New-York Orphan Asylum by 1857 and as such would have living quarters there.
Instead his brother, Abijah, listed his address as “East 58th near 2nd” in the early 1860s. As a matter of fact, it may have been Abijah who constructed the house. He was described as “a leading builder of his day” by The Memorial Cyclopedia decades later. Pell was married to Eliza Brown Ward. She was the first cousin of New Jersey Governor Marcus Ward. The couple had three sons, Abijah, William and Charles. Despite their lofty pedigree, the extended Pell family was apparently well in tune with the condition of the less fortunate. Both Charles and Abijah were long-term members of The New York Association for the Improvement of the Condition of the Poor, for instance. Nevertheless, they moved socially among their peers. All the Pell brothers were members of the venerable St. Nicholas Society which included only men descended from New York’s earliest families.
When Abijah’s 48-year old brother, Aaron, died on November 8, 1861 of consumption, his funeral was held in the 58th Street house two days later.
Abijah had joined the Union Army only a month earlier. When a comrade, John R. Hobby, died “of disease contracted in the army,” on October 20, 1865, once again a funeral was held in the Pells’ parlor. The notice instructed mourners it was “second house east of 2d-av.”
In the spring of 1870 the Park Commissioners directed the North and East River Company and the Central Park Railroad Company to lay “double tracks in Fifty-eighth-street.” The intention was to provide a crosstown connection between the First Avenue and Eleventh Avenue streetcars. Local protest was quick and forceful, with Abijah Pell leading the charge.
On May 7 “a large number of property-owners” met at the Terrace Garden, on 58th Street near Third Avenue. The New York Times reported they gathered “for the purpose of protesting against the laying of a track for a horse-car railroad in that street.”
Abijah Pell presided that evening. Among the results of the meeting was the formation of a committee to raise funds for an expected legal battle.
Three years later Abijah Pell died in a bizarre and tragic accident in Newark, New Jersey. On Saturday morning, April 19, 1873, was run over by the “pusher,” or engine used to move train cars. He died the following day.
The 58th Street house was sold to John B. Huse and his wife, Emma. Huse was a printer with a shop on Hudson Street. He also apparently dabbled in real estate. In September 1873 he advertised “A store to let on Seventh Avenue–inquire at 311 East Fifty-eighth street, or in confectionery, No. 9 Seventh avenue.” Huse was adamant that his property would not be used as a saloon. His ad stressed “will not be rented for liquor store.”
On September 1, 1877 Huse sold the “two-story brick dwelling” to Henry S. Cohn for $8,000–just under $190,000 today. Cohn flipped the house for a tidy profit, selling it four weeks later, on October 5, to Mathias Down for $10,000.
Although the Prussian-born Down was listed as a merchant, his main income most likely came from the several tenements he owned throughout the city. In February 1890 he commissioned architect Charles Stagmeyer to add a two-story extension to the rear at a cost of $1,500. The enlargement may have had to do with Down’s grandson, Mathias Herman J. Weiden’s moving in. Both Down and Weiden were listed in the house in the 1890s.
Weiden (who went by the name Herman) and his wife, Margaret, had one child, Josephine, who was born in 1906. He was active in New York’s German community and served on the Executive Committee of the National Federation of German-American Catholics during the World War I years. Despite anti-German sentiments during the war, it often went by the name of the Catholic Central Verein of America. Weiden would remain an active member through the 1950s.
It appears that Margaret had died by 1920 when only Weiden and Josephine were listed as living in the 58th Street house. His marriage on Wednesday, February 15, 1928 was marred by tragedy when Catherine McMurray, his new mother-in-law, died two days later in her Brooklyn home.
In 1928, the year Weiden remarried, the house looked little different than it does today. photograph from the collection of the New York Public Library On December 30, 1950 The New York Times reported “After seventy-three years in the family of Mathias Weiden, the two story brick dwelling…at 311 East Fifty-eighth Street has been purchased by Charles Jones, music composer, for occupancy.”
The musician moved in with his wife, Sally. Born in Canada in 1910, he had come to the United States at the age of 18 to study violin at the Juilliard School (his father, incidentally, was an American citizen). He became a pupil of, and then assistant to Darius Milhaud at Mills College in Oakland, California. The two worked together at the Aspen Music School where Jones became Director in 1970.
Throughout his career he also taught at the Music Academy of the West in Santa Barbara, the Juilliard School and the Mannes College of Music. His compositions included an oratorio on Piers Plowman, four symphonies, and nine string quartets.
Jones was still teaching composition at Mannes and Juilliard when he died from complications of heart surgery in June 1997. The remarkably-surviving little house was sold the following year to The Philip Colleck Gallery for $1.1 million. The gallery, established in the 1930s, deals in 18th century English antiques.
According to the firm’s president, Mark Jacoby, several months after the purchase “Part of the charm of the building is that it has its original doors, mahogany banisters and wide pine floors, all of which we’re keeping. We’re keeping the room configurations as well. There are seven different fireplaces on the three floors, and a large rear garden that we’re going to beautify.”
The new owners hired architect Peter M. Bernholz to design the gallery. At the same time the coat of what Jacoby described as “old blueberry-yogurt paint” was removed from the brickwork.
As if the history of the house were not amazing enough, local lore insists that Tennessee Williams rented a room here in the 1930s. In fact, he lived across the street at No. 316. And that is perfectly fine. The remarkable survivor does not need a celebrity to stand out; its excruciating charm is enough.
NEW SIGN URGES CAUTION
THE HIGH HOLIDAYS ARE SOON.
CREDITS
DAYTONIAN IN NEW YORK JUDITH BERDY ESTHER COHEN
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated THIS PUBLICATION FUNDED BY DISCRETIONARY FUNDS FROM CITY COUNCIL MEMBER JULIE MENIN & ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE FUNDS.
1. The Hell Gate Bridge is Comprised of Three Bridges
New York City’s Hell Gate Bridge sits on the north end of the East River, between Astoria, Queens, and Randall’s Island. The bridge is named for the once-dangerous channel it crosses, derived from the Dutch word hellegat, which means “hell channel.” Infrastructure aficionados marked the span’s centennial year with cake and events in 2017.
Hell Gate also happens to be a favorite of Dave Frieder, “the Bridge Man” and author of The Magnificent Bridges of New York City. Frieder has been documenting sights from atop the city’s bridges for over two decades. With his help and that of our Chief Experience Officer, Justin Rivers, we bring you ten fun facts and secrets about the Hell Gate Bridge. Want more? Join us for our upcoming Powering NYC: East River Ferry Tour, where you’ll learn more about Hell Gate’s “explosive” past and sail past multiple bridges, abandoned islands, waterfront power plants, and more!
The Hell Gate Bridge is actually a complex of three bridges: the well-known Steel Arch, an inverted bowstring arch that spans a former water-filled channel (Little Hell Gate) between Wards and Randall’s Islands, and a small truss bridge, which would have been a double bascule-type bridge that goes over a small “Kill” between the Bronx and Randall’s Island.
In 2015, a pedestrian and bike route was opened beneath arches of the truss bridge, providing a pleasant and easy way to connect between the Port Morris in the Bronx and Randall’s Island. The bridge was the result of years of activism by groups like South Bronx Unite and others who have been advocating for healthier urban design for a community adversely affected by continued industrial waterfront conversion.
2. Hell Gate Bridge Was Once the Longest Steel Arch Bridge in the World
The Bayonne Bridge was inspired by the design of Hell Gate
The Hell Gate Bridge was the longest steel arch bridge in the world when it was dedicated in March 1917. While it’s not the most recognized span in New York City, it did serve as the design inspiration for the Sydney Harbour Bridge in Australia, the Tyne Bridge in England, and the Bayonne Bridge, which connects Staten Island and New Jersey.
According to Dave Frieder, the Bayonne Bridge uses suspender ropes to support the roadway, while the Sydney Harbour and the Hell Gate use I-beams due to the extreme “live loads” (traffic) they carry. The Bayonne Bridge has also had a significant design change when the roadway was raised from 151 feet to 215 feet to accommodate larger freight ships coming into the ports of New York and New Jersey.
3. Part of the Hell Gate Bridge Sits on Shallow Bedrock
The Queens-side tower of the Hell Gate Bridge sits on solid bedrock, reaching only 15 to 38 feet below ground level. The Wards Island side was a completely different story because it lay near upturned rock strata that made the Hell Gate so treacherous to navigate by water. Also, a gas line that had run under the river prior to the bridge’s construction revealed a fissure in the bedrock which made creating a uniform bridge foundation nearly impossible.
Bridge engineer Gustav Lindenthal’s solution for the Wards Island tower was to utilize fifteen 18-foot diameter caissons to provide solid footing. It took sandhogs (excavation workers) several weeks to dig deep enough to find the reported fissure. It was much deeper than they had originally thought based on initial borings. The solution was one Lindenthal had already used closer to the surface. He used concrete to secure one of the caissons where the fissure passed through its center and, where the fissure lay at a connection point of two other caissons, he bridged the gap with a concrete cantilever. It was the first time this practice was employed in bridge building. In comparison to the Queens tower, the Wards Island tower caissons reach down anywhere from 94 to 123 feet.
4. The Hell Gate Bridge Can Carry Sixty 200-Ton locomotives
The Hell Gate’s “live load” capacity is 24,000-pounds per foot (that is 12 tons per foot), one of the most extreme load capacities for a bridge. In fact, Lindenthal designed the bridge so that sixty 200-ton locomotives could be placed end to end and the structure would easily take the weight.
Yet throughout the bridge’s history, it has never come close to testing that capacity. According to Sharon Reier’s book The Bridges of New York City, on the very day the Hell Gate Bridge opened in April 1917 the future of private rail in the United States was being called into question. A mere two days later the United States declared war on Germany and a year later all rail was nationalized for the war effort. The Pennsylvania Railroad would have a hard time bouncing back from this over the next fifty years. At its height, the PRR ran about 65 trains daily over the bridge. That number plummeted to four after the failure of Penn Central in 1970. Currently, Amtrak runs approximately 40 trains over the bridge.
5. The Hell Gate Bridge Could Last Over 1000 Years
The “grip” of a bridge rivet (or mechanical fastener) is the thickness of the steel it holds together. The rivets of the Hell Gate Bridge happen to have the longest grip of any bridge in New York City: over nine inches. Due to the high carbon steel it is constructed out of, the span could last well over a thousand years.
Unfortunately that 1000 year guarantee does not include the paint job. By the early 1990’s the steel’s coating was in rough shape. With the urging of Senator Daniel Patrick Moynihan, the US Congress allocated $55 million to re-paint the bridge for the first time since it was built. The color chosen was a deep red called “Hell Gate Red.” But there was a problem, the clear urethane top coating wasn’t formulated to withstand UV bombardment from the sun. This, in turn, faded the red undercoating which was already fading before the paint job was finished. Amtrak chose to use the same paint in the late 1990’s to patch up the damage but it too began to fade. The bridge has undergone multiple paint jobs since.
In 2000, one of bridge’s four tracks was removed because it was not being used. Amtrak thought about installing a roadway for service vehicles, but that idea never came to fruition. When the bridge was originally constructed, Lindenthal wanted to put in two pedestrian walkways on each side of the span for maintenance, but the idea was scrapped due to budget issues.
Today, two tracks are reserved for Amtrak trains, while the other one is for CSX Freight trains. When you take Amtrak to and from Boston, you will see the Hell Gate Bridge up close when it crosses over the span.
7. The Hell Gate Could Have Been A Different Kind of Bridge Altogether
A close up of the Hell Gate Bridge’s top chord. Photo by Dave Frieder
The Hell Gate was almost built as a crescent-arched bridge, but Gustav Lindenthal felt a spandrel arch would make the structure appear stronger. In this design, the upper chord or arch reverses its curve as it comes close to the towers.
Dave Frieder tells us that the stone towers of the bridge, which sit above the road deck, serve no real structural function. They’re purely decorative. Early tower renderings by Henry Hornbostel (who worked with Lindenthal on the Queensboro Bridge) showed lavish Beaux-arts towers with separated arch abutments above the roadway. Those were scaled down to the connected arched towers we have today. In a New York Times article, Allan Renz, the grandson of Gustav Lindenthal, reveals that his grandfather “wanted the bridge to look a particular way” and that “the [stone towers] made it look right.” Yet even the chain of masonry arches that lead to the span and are structurally functional were celebrated for their beauty. According toThe Bridges of New York City, one journalist wrote that the piers were almost unmistakably Egyptian and they felt as if “you are standing in the portico of a mammoth unfinished temple.”
When it was completed in 1917, the Hell Gate Bridge was part of the New York Connecting Railroad and Pennsylvania Railroad. The PRR, which entirely funded the project, originally owned the bridge. Now, it’s owned and maintained by Amtrak.
Photographer Dave Frieder is an old friend of the RIHS and a wonderful bridge photographer. Enjoy his work!!!
FROM THE ART ON THE RIVERCROSS LAWN
THE HIGH HOLIDAYS ARE SOON.
CREDITS
UNTAPPED NEW YORK JUDITH BERDY ESTHER COHEN DAVE FRIEDER
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated THIS PUBLICATION FUNDED BY DISCRETIONARY FUNDS FROM CITY COUNCIL MEMBER JULIE MENIN & ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE FUNDS.
New York City’s Hell Gate Bridge sits on the north end of the East River, between Astoria, Queens, and Randall’s Island. The bridge is named for the once-dangerous channel it crosses, derived from the Dutch word hellegat, which means “hell channel.” Infrastructure aficionados marked the span’s centennial year with cake and events in 2017.
Hell Gate also happens to be a favorite of Dave Frieder, “the Bridge Man” and author of The Magnificent Bridges of New York City. Frieder has been documenting sights from atop the city’s bridges for over two decades. With his help and that of our Chief Experience Officer, Justin Rivers, we bring you ten fun facts and secrets about the Hell Gate Bridge. Want more? Join us for our upcoming Powering NYC: East River Ferry Tour, where you’ll learn more about Hell Gate’s “explosive” past and sail past multiple bridges, abandoned islands, waterfront power plants, and more!
The Hell Gate Bridge is actually a complex of three bridges: the well-known Steel Arch, an inverted bowstring arch that spans a former water-filled channel (Little Hell Gate) between Wards and Randall’s Islands, and a small truss bridge, which would have been a double bascule-type bridge that goes over a small “Kill” between the Bronx and Randall’s Island.
In 2015, a pedestrian and bike route was opened beneath arches of the truss bridge, providing a pleasant and easy way to connect between the Port Morris in the Bronx and Randall’s Island. The bridge was the result of years of activism by groups like South Bronx Unite and others who have been advocating for healthier urban design for a community adversely affected by continued industrial waterfront conversion.
The Bayonne Bridge was inspired by the design of Hell Gate
The Queens-side tower of the Hell Gate Bridge sits on solid bedrock, reaching only 15 to 38 feet below ground level. The Wards Island side was a completely different story because it lay near upturned rock strata that made the Hell Gate so treacherous to navigate by water. Also, a gas line that had run under the river prior to the bridge’s construction revealed a fissure in the bedrock which made creating a uniform bridge foundation nearly impossible.
Bridge engineer Gustav Lindenthal’s solution for the Wards Island tower was to utilize fifteen 18-foot diameter caissons to provide solid footing. It took sandhogs (excavation workers) several weeks to dig deep enough to find the reported fissure. It was much deeper than they had originally thought based on initial borings. The solution was one Lindenthal had already used closer to the surface. He used concrete to secure one of the caissons where the fissure passed through its center and, where the fissure lay at a connection point of two other caissons, he bridged the gap with a concrete cantilever. It was the first time this practice was employed in bridge building. In comparison to the Queens tower, the Wards Island tower caissons reach down anywhere from 94 to 123 feet.
The Hell Gate’s “live load” capacity is 24,000-pounds per foot (that is 12 tons per foot), one of the most extreme load capacities for a bridge. In fact, Lindenthal designed the bridge so that sixty 200-ton locomotives could be placed end to end and the structure would easily take the weight.
Yet throughout the bridge’s history, it has never come close to testing that capacity. According to Sharon Reier’s book The Bridges of New York City, on the very day the Hell Gate Bridge opened in April 1917 the future of private rail in the United States was being called into question. A mere two days later the United States declared war on Germany and a year later all rail was nationalized for the war effort. The Pennsylvania Railroad would have a hard time bouncing back from this over the next fifty years. At its height, the PRR ran about 65 trains daily over the bridge. That number plummeted to four after the failure of Penn Central in 1970. Currently, Amtrak runs approximately 40 trains over the bridge.
The “grip” of a bridge rivet (or mechanical fastener) is the thickness of the steel it holds together. The rivets of the Hell Gate Bridge happen to have the longest grip of any bridge in New York City: over nine inches. Due to the high carbon steel it is constructed out of, the span could last well over a thousand years.
Unfortunately that 1000 year guarantee does not include the paint job. By the early 1990’s the steel’s coating was in rough shape. With the urging of Senator Daniel Patrick Moynihan, the US Congress allocated $55 million to re-paint the bridge for the first time since it was built. The color chosen was a deep red called “Hell Gate Red.” But there was a problem, the clear urethane top coating wasn’t formulated to withstand UV bombardment from the sun. This, in turn, faded the red undercoating which was already fading before the paint job was finished. Amtrak chose to use the same paint in the late 1990’s to patch up the damage but it too began to fade. The bridge has undergone multiple paint jobs since.
Part 2 Tomorrow
Blooms came and went, not a well planned event. It is sad that the great CJ Hendry flower event was poorly planned and went viral.
Only once before did this happen, the great Cherry Blossom crowds. Time for FDR State Park, FDR Four Freedoms Foundation, State Parks, RIOC, PSD and NYPD should better plan for any event in the park. Social media should be considered if the event could attract thousands.
Meanwhile, our neighbors were enjoying great Jazz at the Library garden and our neighbors were showing their artistic talents painting the panels in Blackwell Park.
THE HIGH HOLIDAYS ARE SOON.
CREDITS
JUDITH BERDY ESTHER COHEN THE SHOP
Untapped New York
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated THIS PUBLICATION FUNDED BY DISCRETIONARY FUNDS FROM CITY COUNCIL MEMBER JULIE MENIN & ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE FUNDS.
Vintage Bus #6, which is at least 15 years old is back in service. The bus may not look spiffy, but it runs and has the advantage of parallel seating and lots of aisle space.
SOMETHING NEW
C J HENDRY FLOWER MARKET
THE LAWN AT FOUR FREEDOMS FDR STATE PARK FREE TO THE PUBLIC FRIDAY- SUNDAY 10 A.M. TO 4 P.M. EVERY GUEST GETS ONE FREE FLOWER ADDITIONAL FLOWERS AND MERCHANDISE ON SALE
SOMETHING BRONZE
Maybe it is brown, but let’s call it bronze. The roof of our subway station has lost its ugly raw steel look with a fresh coat of paint. Why this color, only the MTA knows.
SOMETHING BLUE
A NEW MAILBOX IS FINALLY BACK OUTSIDE OUR POST OFFICE.
PREVIOUS PHOTO OF THE DAY
ABOVE PHOTO IS OF THE ORIGINAL GRAND CENTRAL TERMINAL WHICH WAS DEMOLISHED TO MAKE WAY FOR THE CURRENT STRUCTURE IN 1913
CREDITS
JUDITH BERDY NYS URBAN DEVELOPMENT CORPORATION JUDITH BERDY
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated THIS PUBLICATION FUNDED BY DISCRETIONARY FUNDS FROM CITY COUNCIL MEMBER JULIE MENIN & ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE FUNDS.
BUILDING A NEW COMMUNITY THURSDAY, SEPTEMBER 12, 2024
ISSUE # 1305
JUDITH BERDY
(OF COURSE IN HELVETICA RED)
THE PRESERVATION LEAGUE OF NE W YORK
Excellence Award Spotlight: Roosevelt Island Lighthouse
The Roosevelt Island Lighthouse restoration was completed in 2022 after a years-long project initiated by the Roosevelt Island Operating Corporation. The project included restoring brick, stone, windows, and doors. Site improvements at the Lighthouse include installation of a new metal spiral staircase, new electrical and LED accent lighting, resetting and installation of new and salvaged stone pavers and curb stones, and the installation of new recessed ground lighting and controls. The project was completed by the construction team of The LIRO Group and ICC Commonwealth. The League is thrilled to recognize this work with a 2024 Excellence in Historic Preservation Award.
Designed by James Renwick Jr., the Roosevelt Island lighthouse was constructed in 1872 on the northern tip of the island to aid ships navigating the then-treacherous waters of the East River. It was decommissioned in 1940. In 1976, it was designated a New York City landmark and incorporated into the 3-acre Lighthouse Park. Over the years, it had fallen into disrepair and was subject to inappropriate repairs and alterations.
In 2019, Thomas A. Fenniman Architect was hired to create construction documents to help increase the useful life of the structure, eliminate potentially unsafe conditions, and reduce operating and maintenance expenses.
The original Renwick-designed lantern top was removed sometime during the 1920s and replaced with a “standard issue” cast iron lantern. During this project’s planning stages, the team explored the options of either restoring the extant lantern or creating a new lantern, inspired by the original Renwick design. In the end, it was decided to create a new lantern that would bring the Lighthouse design back to its original intent. This new structural glass and blackened stainless steel lantern provides a more sustainable structure to withstand the elements with less maintenance and operating costs.
The restoration and new lantern design were approved by the New York State Office of Parks, Recreation and Historic Preservation and the New York City Landmarks Preservation Commission under a public review.
The team behind the restoration of the Roosevelt Island Lighthouse thoughtfully considered the history, significance, and current use of the site, breathing new life into a beloved local landmark.
Project team Owner: Roosevelt Island Operating Corporation (RIOC); Architect: Thomas A Fenniman, Principal and Samuel Harris, Project Architect, Thomas A. Fenniman Architect; Owners Representative: The LiRo Group; Structural & Electrical Engineer: Norfast Engineering, PLLC; Laser Scanning & Drone Images: Berkshire Dimensions; General Contractor: ICC Commonwealth; Electrical Contractor: AMJ Electric Corp.; Stone Fabricator: Traditional Cut Stone; Metal Fabricator: Tymetal Corp.; Structural Glass Lantern Fabricator: SADEV USA; Light Fixture Manufacturer: Lumenpulse.
This Award from the Preservation League follows a 2023 Lucy Moses Award from the New York Landmarks Conservancy and a 2023 Rehabilitation Award from Friends of the Upper East Side Historic Districts.
Work in progress: The new lantern being installed.
FROM THE ARCHIVES:THIS COULD HAVE BEEN SOUTHPOINT PARK
LATE 1970’S WESTVIEW IN THE BACKGROUND WITH THE ORGINAL COMMUNITY GARDENS IN THE FOREGROUND. GARDENS WERE PLACED ON THE SITE OF THE FORMER FDNY TRAINING CENTER.
JOIN US NEXT TUESDAY FOR A CONTINUING JOURNEY THRU ISLAND HISTORY
“Many of us have lived here for decades and have accumulated vast amounts of information (and some mis-information…)
Join Judith Berdy, long time resident. She takes us on a history trip. She explains how the community developed. She discusses how it became the Roosevelt Island we live in today.
“This is a great introduction for our new residents who have many questions about our community,” Judy says. “Join us for a fun evening of facts, fiction and fantasy.”
When: September 17th, @ 6:30 p.m.
Where: New York Public Library Branch, 504 Main Street *This is a free public program of the Roosevelt Island Historical Society (RIHS).
YOU CAN’T BE LATE IF YOU ARE IN THIS ATRIUM THE HUGH, THE FORMER CITICORP CENTER ON 53RD BETWEEN THIRD AND LEX
CREDITS
PRESERVATION LEAGUE OF NEW YROK NYS URBAN DEVELOPMENT CORPORATION JUDITH BERDY
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated THIS PUBLICATION FUNDED BY DISCRETIONARY FUNDS FROM CITY COUNCIL MEMBER JULIE MENIN & ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE FUNDS.
BUILDING A NEW COMMUNITY WEDNESDAY, SEPTEMBER 11, 2024
ISSUE # 1304
JUDITH BERDY
(OF COURSE IN HELVETICA RED)
LATE 1970’S WESTVIEW IN THE BACKGROUND WITH THE ORGINAL COMMUNITY GARDENS IN THE FOREGROUND. GARDENS WERE PLACED ON THE SITE OF THE FORMER FDNY TRAINING CENTER.
1977 WHEN RIVERCROSS WAS REALLY AFFORDABLE.
JOIN US NEXT TUESDAY FOR A CONTINUING JOURNEY THRU ISLAND HISTORY
“Many of us have lived here for decades and have accumulated vast amounts of information (and some mis-information…)
Join Judith Berdy, long time resident. She takes us on a history trip. She explains how the community developed. She discusses how it became the Roosevelt Island we live in today.
“This is a great introduction for our new residents who have many questions about our community,” Judy says. “Join us for a fun evening of facts, fiction and fantasy.”
When: September 17th, @ 6:30 p.m.
Where: New York Public Library Branch, 504 Main Street *This is a free public program of the Roosevelt Island Historical Society (RIHS).
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated THIS PUBLICATION FUNDED BY DISCRETIONARY FUNDS FROM CITY COUNCIL MEMBER JULIE MENIN & ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE FUNDS.
BUILDING A NEW COMMUNITY TUESDAY, SEPTEMBER 10, 2024
ISSUE # 1303
JUDITH BERDY
AUGUST, 1972 NYS URBAN DEVELOPMENT CORPORATION
CHAPEL OF THE GOOD SHEPHERD BEING PRESERVED AS THE HOLY SPIRIT LUTHERAN CHURCH NEXT DOOR IS BEING DEMOLISHED.
EASTWOOD IS JUST BEGINNING TO BE CONSTRUCTED.
“Many of us have lived here for decades and have accumulated vast amounts of information (and some mis-information…)
Join Judith Berdy, long time resident. She takes us on a history trip. She explains how the community developed. She discusses how it became the Roosevelt Island we live in today.
“This is a great introduction for our new residents who have many questions about our community,” Judy says. “Join us for a fun evening of facts, fiction and fantasy.”
When: September 17th, @ 6:30 p.m.
Where: New York Public Library Branch, 504 Main Street *This is a free public program of the Roosevelt Island Historical Society (RIHS).
CREDITS
UNTAPPED NEW YORK
EYESORE OF THE DAY
Time to take back our Tram and Subway Plazas from vendors. This morning the one by the subway’s entrance was venting foul fuel smells. Let’s take a new look at some of the sights RIOC has permitted to be damaged..
CREDITS NYS URBAN DEVELOPMENT CORPORATION JUDITH BERDY
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated THIS PUBLICATION FUNDED BY DISCRETIONARY FUNDS FROM CITY COUNCIL MEMBER JULIE MENIN & ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE FUNDS.
The Great Elephant Migration is a global fundraising adventure to amplify indigenous knowledge and inspire the human race, to share space.
A collaboration between indigenous artisans, contemporary artists and cultural institutions, it will raise millions of dollars to power human-wildlife coexistence projects and protect migratory animals making spectacular journeys across land, rivers, skies and oceans.
ELEPHANTS ARE BEAUTIFUL PEOPLE
The creators of the herd live in the Nilgiri Hills, Southern India, where humans and elephants coexist in the densest overlap on the planet. The indigenous communities here see everything in nature as being alive and having a soul. The wind has a spirit, whispering secrets to the trees as she moves through. The stars, rocks, rivers, trees, plants and animals are all part of a big family.
This way of looking at the world is rooted in mutual respect and reciprocity. There’s a reverence for nature and all its inhabitants and a belief that the earth will look after us if we are respectful towards the earth and all of its inhabitants. Humans are a part of a larger web of life, where everything is interconnected. When we harm the earth or other beings we harm ourselves. If we behave respectfully towards the elephants, they are expected to behave well in return. This way of looking at the world is key to everyone’s survival and successful coexistence between all living beings.
Kris Tompkins
“I’m very proud to be a Matriarch of The Great Elephant Migration. Audacious and exceptional voices who incite fierce protection of wildness not only around single species but for all life are lacking around the world.
Every category we humans use to communicate with one another is essential and art and scale are both powerful and impossible to ignore. These giant, beautiful beings touring the world speak louder and more profoundly than any or
Freeing The Forests
Each elephant is made from Lantana camara, the second most widespread invasive species in the world. This fast growing, toxic shrub has taken over 40% of forests in India, obliterating native plants and diminishing food sources for animals, pushing them out of forests and into urban areas.
The migration supports a large scale lantana removal project, converting it into biochar which improves soil fertility and water retention. Biochar is the only feasible direct capture solution for sequestering carbon into the ground to mitigate climate change – the biggest problem humanity faces today. The project will restore vast areas of forests over the next five years. By the close of 2025, this effort will have sequestered 2,625 tons of carbon.
Along 9th Avenue to the south of 15th Street and west on 14th Street and at Ganesvort Square the elephants are on display until October 20th.
From our perch at a outdoor dining spot, we were in the audience for the great human migration.
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UNTAPPED NEW YORK
THE GREAT ELEPHANT MIGRATION JUDITH BERDY
PHOTO OF THE DAY
The store was founded in 1865 in Brooklyn, New York, as Wechsler & Abraham by Joseph Wechsler and Abraham Abraham. In 1893, the Straus family (including Isidor Straus and Nathan Straus), who acquired a general partnership with Macy’s department stores in 1888, bought out Joseph Wechsler’s interest in Wechsler & Abraham and changed the store’s name to Abraham & Straus. While Abraham & Straus did not at that time become a part of Macy’s, the two stores shared an overseas office and maintained close ties. Ed Litcher and Arlene Bessenoff got it right.
PHOTOGRAPHER OF THE DAY
Dan Freedland and I love exploring neighborhoods of New York.. Look for his photos in an upcoming edition.
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated THIS PUBLICATION FUNDED BY DISCRETIONARY FUNDS FROM CITY COUNCIL MEMBER JULIE MENIN & ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE FUNDS.
Ever since I visited Kansa City in 2017, when I saw this fountain, I have been curious about it traveled from Pennsylvania Station to Kansas City. Here is the answer.
Before this sculpture became part of an Eagle Scout memorial in Missouri, it hung above the Seventh Avenue entrance to the original Pennsylvania Station in Manhattan. The colossal train station designed by the illustrious architecture firm of McKim, Mead, and White opened in 1910, welcoming the first LIRR train on September 2nd. When the station was infamously demolished in the 1960s, some ornamental pieces of the structure were salvaged. Stone eagles that sat atop the station’s cornice were spread throughout the northeast, St. John the Divine acquired lampposts that still sit in the cathedral’s basement, and this sculpture traveled halfway across the country.
German-American sculptor Adolph Alexander Weinman created the pink Milford granite sculpture at the center of the Kansas City Eagle Scout fountain. It features two female figures leaning on opposite sides of a central wreath that once encircled a 7-foot wide clock. The allegorical women are meant to represent Day and Night. While the figure on the left (Day) is adorned with sunflowers, the figure on the right (Night) is shrouded under a cloak. Both figures have an eagle at their feet.
Weinman created four pairs of Day and Night sculptures for Penn Station. When the station was demolished, the sculptures and clocks met various fates. The clocks were disposed of in the Meadowlands of New Jersey along with other debris from the demolition. Some fragments of the female figures and a couple of eagles turned up at a New Jersey Transit facility in Newark a few years ago and one Night figure is stored safely in the collection of the Brooklyn Museum.
So how did this sculpture end up in Kansas City? When news of Penn Station’s impending demolition was announced, John W. Starr, chairman of the Eagle Scout tribute committee, thought the entablature would make for the perfect Eagle Scout memorial in his hometown. According to a Kansas City Times article from 1968, the Kansas City area council awarded more Eagle Scout badges than anywhere else in the United States. Becoming an Eagle Scout is a rare feat that only a small percentage of Boy Scouts obtain. In 1966, the Pennsylvania Railroad gifted the statue to the Boy Scout organization.
The next hurdle was transporting the 62,000-pound piece over a thousand miles west. The Pennsylvania Railroad carried the sculpture to Saint Louis, its western terminus. It was then picked up by a flatcar on the Missouri Pacific Railroad for the rest of the journey to Kansas City. Finally, it was driven to a warehouse.
A few modifications were made to the original sculpture before it was unveiled in Missouri. In place of a central clock, an aluminum replica of an Eagle Scout badge was added to the middle of the wreath frame. The entire sculptural work was set atop a fountain designed by Maurice McMullen on land donated by The Kansas City Park and Recreation Department and the City of Kansas City. Starr raised the funds to pay for the design, construction, and landscaping. The fountain was dedicated on October 6, 1968.
You can now see the sculpture at the intersection of 39th Street and Gillham Road in Kansas City, but you don’t have to go all the way to Missouri to see remnants of Day and Night. An art installation by Andrew Leicester, titled Ghost Series, brought remnants of the original station into the modern transportation hub as bas-relief terra cotta murals. There are five murals in total scattered throughout the station. The Day and Night one can be found on the east end of the main LIRR concourse, near the 1,2,3 subway entrance. See this mural and more pieces of the original station on our upcoming Secrets of Penn Station and Moynihan Train Hall Tour!
100,000 plush flowers crafted by artist CJ Hendry will take over Four Freedoms Park from September 13-15! This immersive floral exhibition, Flower Market, is housed within a greenhouse built on the park’s lawn. Colorful florals inside were inspired by the Roosevelt family: the yellow Eleanor Roosevelt Rose, Tulips for the Roosevelt family’s Dutch heritage, red roses symbolizing the Roosevelt name, and Peonies, a signature flower of the family’s farm. Twelve original drawings by Hendry accompany the blossoming meadow. Visitors are encouraged to pluck their own flowers from the garden to take home. This exhibition is free and open to the public from 10am to 4pm on September 13 to 15.
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated THIS PUBLICATION FUNDED BY DISCRETIONARY FUNDS FROM CITY COUNCIL MEMBER JULIE MENIN & ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE FUNDS.
Photo by Corey Favino, Courtesy Elephant Family USA and Newport Restoration Foundation
A herd of 100 Indian elephant sculptures will descend upon the Meatpacking District on September 6th! The arrival of The Great Elephant Migration marks the largest installation to come to New York City since Christo and Jeanne-Claude’s The Gates in 2005. The herd started its journey in Newport, Rhode Island and after New York, it will travel to Miami, Blackfeet Nation, Buffalo Pastures in Browning, Montana, and Los Angeles. As the installation moves across the country in electric trucks adorned with Indian lorry art, it will bring awareness to the relationship between humans and animals and raise funds for organizations supporting that coexistence such as local groups like New York City’s Wild Bird Fund, INDIGENOUS LED, and Lion Guardians.
All of the elephants were crafted by Coexistence Collective, a community of 200 Indigenous artisans living within India’s Nilgiri Biosphere Reserve. The sculptural herd is based on the elephants that India’s Soligas, Bettakurumbas, Kattunayakan, and Paniyas tribes live amongst. Every elephant is unique.
Glenn Ligon, Untitled (America/Me), 2022/2024 (rendering). A High Line Billboard. On view September–November 2024. Rendering courtesy of the artist and the High Line
A new billboard will appear on the High Line at 18th Street on September 3rd. The giant sign created by artist Glenn Ligon is an altered image of a neon piece he created back in 2008. In revisiting a piece originally created during an election year (the year Obama won), Ligon examines the shift in America’s political climate and culture as we face another presidential election. In this new iteration, Ligon has taken a photo of the neon work and added thick black X’s over some of the letters in “America.” The only unaltered letters that show through spell “Me.” By manipulating the image this way, Ligon calls attention to the self-focused tendencies of today’s society and inspires viewers to contemplate the complex relationship between our nation and ourselves.
Iván Tovar, La chaise adulte, 1969
A new monumental installation by the late Dominican artist Iván Tovar is coming to Times Square on September 15th. Standing 13 feet tall,TOVAR The Chair is a large-scale version of Tovar’s earlier work, La Chaise Adulte (The Adult Chair). The installation of this surrealist, stainless steel sculpture coincides with the start of National Hispanic Heritage Month and calls attention to the 800,000 Dominicans living in the New York region. A 50-foot screen-printed timeline chronicling Tovar’s inspiring career will accompany the sculpture. TOVAR The Chair will sit in Broadway Plaza between 45th and 46th Streets and 7th Avenue until November 15, 2024.
Edra Soto, Graft, 2024 Photo: Nicholas Knight, courtesy of Public Art Fund, NY
Edra Soto debuts her first large-scale public art commission in New York City on September 5th at Doris C. Freedman Plaza. Titled Graft, the sculptural installation is part of an ongoing series based on rejas, wrought iron screens frequently seen outside lower and middle-class homes in Puerto Rico. Soto was born in Puerto Rico and currently lives in Chicago. For her New York installation, Soto has created an inviting domestic scene out of red terrazzo concrete and corten steel. Three tables with seats beckon passersby to take a rest.
Patterns on the rejas cast playful shadows of Caribbean palm leaves and other imagery sourced from Yoruba symbols of West Africa, a prominent influence on Puerto Rican design. By combining these symbols of her birthplace with the bustling scenes of New York, Soto “reflects on themes of migration, displacement, and the search for belonging.”
Photo by Jen Phanomrat and Leonardo Samanamud, Courtesy of Morningside Lights
You can help create a dazzling light display this month as the annual Morningside Lights parade returns to celebrate “100 Years of New York Art.” Ahead of the grand illuminated parade on Saturday, September 21st at 8 PM, New Yorkers can help create the glowing handmade lanterns in a lantern-building workshop. The workshops will run from September 14th through 20th at the Miller Theatre at Columbia University (116th St. and Broadway). Interested participants can register here!
This year’s theme, In Retrospect, “celebrates how a century of New York art has shaped our image of where and how we live.” On September 21st, the luminescent parade will travel from the heart of Morningside Park, up Morningside Drive, to the Columbia campus. Participants and spectators are welcome to join anywhere along the roughly one-mile route.
Hedgework by Marek Walczak
Buildings 77 and 92 in the Brooklyn Navy Yard are currently home to two unique installations. At Building 77, visitors will find Hedgework by Marek Walczak (Civic Space LLC), Mark Shepard (Center for Architecture and Situated Technologies), and Antonina Simeti (Timbre Consultants). This outdoor piece is a sentient hedgerow made up of native plants, environmental sensors, and materials such as sand, stone, and solar panels sourced straight from companies in the Yard. Visitors can interact with the piece by sitting among the plants and by scanning a QR code which will provide information about the habitat and the Brooklyn Navy Yard with AI technology. On September 19th, co-creator Mark Shepard will host an Eco Data Workshop where you’ll learn about the data collected by the hedge, how to document and interpret the data, and how to use data for various purposes from policymaking to art. Book your ticket here!
Steven and William Ladd’s Transforming America through Art: A Vision for Brooklyn’s Community at Building 92 was created with input from Brooklynites. Locals responded to the prompt, “What one word describes your hopes for the future?” The installation displays answers to this question along with photographic reproductions of collaborative textile artwork created by the Ladds over the past ten years. On September 17th, you can join the Ladd brothers for a free artmaking workshop and tour at the Navy Yard. Your contribution will become part of a community art project on view in the exhibition! These sessions are designed for industry professionals working at and around the Brooklyn Navy Yard and are open to anyone who is 18 years or older. This Brooklyn installation is part of a larger project called Scrollathon which will be on view at the Kennedy Center in Washington D.C. as part of a 250th anniversary celebration of the United States’ founding.
Art Professor Maria Magdalena Campos-Pons in her studio office and outside Ingram Fine Arts Center. (John Russell/Vanderbilt University)
Show your solidarity with fellow New Yorkers by participating in a walk from Harlem Art Park down to Madison Square Park on the mornings of September 7th and 20th. Conceived by artist María Magdalena Campos-Pons, Procession of Angels for Radical Love and Unity will highlight seven stops throughout Manhattan that were historically filled with agency, optimism, or trauma. Some of those stops include the Dos Alas (Two Wings) mural dedicated to revolutionaries Ernesto Che Guevara and Pedro Albizu Campos, the former site of the Colored Orphan Asylum, and a monument to independence leader José Julián Martí. Stops will include poetry readings and the procession on September 7th will end with an artmaking workshop, while the procession on September 20 will end with musical performances. Anyone who wants to participate is encouraged to register here. “
UNTAPPED NEW YORK
CREDITS
PHOTO OF THE DAY
49TH AND FIFTH
THE FDR FOUR FREEDOMS PARK FOUNDATION HOSTED THEIR ANNUAL FUNDRAISER ON THE 7TH FLOOR ROOFTOP GARDEN AT 520 FIFTH AVENUE. A WONDERFUL AFTERNOON FOR A GREAT EVENT!
EXCITING COMING ATTRACTION
100,000 plush flowers crafted by artist CJ Hendry will take over Four Freedoms Park from September 13-15! This immersive floral exhibition, Flower Market, is housed within a greenhouse built on the park’s lawn. Colorful florals inside were inspired by the Roosevelt family: the yellow Eleanor Roosevelt Rose, Tulips for the Roosevelt family’s Dutch heritage, red roses symbolizing the Roosevelt name, and Peonies, a signature flower of the family’s farm. Twelve original drawings by Hendry accompany the blossoming meadow. Visitors are encouraged to pluck their own flowers from the garden to take home. This exhibition is free and open to the public from 10am to 4pm on September 13 to 15.
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated THIS PUBLICATION FUNDED BY DISCRETIONARY FUNDS FROM CITY COUNCIL MEMBER JULIE MENIN & ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE FUNDS.
