Through the Graphic Art Program, MTA Arts & Design commissions five to six artists each year to create transit-related artwork for Poster and Art Card production.
The popular Graphic Art poster program was established in 1991 to celebrate the diverse communities that make up the New York region. The commissioned work by painters, printmakers, and illustrators touches upon transit-related subjects and the places that can be discovered using the mass transit system. Posters are randomly displayed in unused advertising space on subway platforms throughout the 472 subway stations and on subway cars and buses. Printed posters are available for sale to the public through the New York Transit Museum Stores. Revenue from sales from the posters help to support the educational and exhibition programs at the non-profit museum.
The program offers illustrators and other artists the opportunity to reach a broader public, and provides the public exposure to incredible artists and visionaries who create a respite of engaging visual art.
About Digital art viewed from a multitude of display screens creates an immersive experience that engages transit customers with an impactful visual moment. MTA’s digital media network offers new opportunities to present art in digital form and introduce new media artists to public space and the MTA ridership. In November 2014, Arts & Design launched the Digital Art program in the digitally integrated Fulton Center Complex, which connects to 11 subway lines and the World Trade Center PATH station. The digital display network in Fulton Center has 52 screens on various levels, illuminating and transforming the Center into a welcoming contemporary environment. These range from 55-inch LCD screens that line the passageway on the mezzanine concourse level, to the massive LED walls measuring 31.5 feet by 18.9 feet at street level. Presented by MTA Arts & Design with technical support from Westfield Properties and ANC Sports, the 52-channel digital artwork can be seen for two minutes at the top of each hour simultaneously in the Fulton Center complex. Digital artwork can also be seen throughout the MTA system.
PHOTOGRAPHY
Vantage Points
Patrick Cashin About the project Patrick Cashin’s images in the photography exhibition on view at the Bowling Green station offer a glimpse into the singular perspective of an individual who spent 20 years immersed in every aspect of the transit system, visually documenting MTA locations, projects, and milestones. The seven large-scale photographs in this exhibit trace Cashin’s photographic journey, from his ascent to the highest points of the city’s bridges to the green pastures of the Metro-North Railroad region. “Vantage Points” is a special opportunity to showcase Cashin’s distinct photographic eye and unique subject matter in a public space. Some of his most striking images come from the quiet moments with nature, like the graceful arch of the Henry Hudson Bridge framed by the fall leaves of Inwood Hill Park, or views from areas of the system that were off-limits to most people, like the top of the Brooklyn Tower of the Verrazano-Narrows Bridge, where he captured an intimate encounter with a falcon. In describing his experience climbing atop the 138th Street Bridge, something usually reserved for maintenance workers, he said, “I took my time there because I knew I probably wasn’t going to get up there again.” Cashin approached each scenario not just as a documentary opportunity but also by artfully bringing a human connection and two decades of experience to each image, capturing the details, climate, and environment of his surroundings. The exhibition was generously sponsored by Griffin Editions and Kodak Professional.
About the artist
Patrick Cashin was born in Brooklyn, New York and attended Automotive High School. His interest in photography began while in the U.S. Navy, after which he joined Newsweek magazine, where he worked for 16 years, photographing worldwide. Cashin was the esteemed staff photographer for the New York State Metropolitan Transportation Authority (MTA) from 2000-2020. His photography has appeared in countless publications such as the New York Times, The Sunday Times, New York Daily News, The Weekly Flickr, Channel 13’s Metro Focus, and MTA brochures and ads.
Current Structure: Construction began in 1873, light was lit in 1874 Former Structures: None Other Names: Hudson City Lighthouse Owning Organization: Hudson-Athens Lighthouse Preservation Society Location: Center-east side of the Hudson River, just south of the Middle Ground Flats, between Athens, NY and Hudson, NY.
SUSAN RODETIS, ALEXIS VILLAFANE, LAURA HUSSEY GOT IT RIGHT.
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MTA Arts & Design
Sandra Bloodworth Director
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http://Georgina Klitgaard, Peter A. Juley & Son Collection, Smithsonian American Art Museum J0022187
Name Georgina Klitgaard Born Spuyten Duyvil, New York born Spuyten Duyvil, NY 1893-died 1976 Active in Bearsville, New York Nationalities American Linked Open Data Linked Open Data URI After graduating from Barnard College, Georgina Klitgaard studied art at the National Academy of Design. In 1919 she married the Danish writer Kay Klitgaard, and for much of her career they lived in Bearsville, New York, only two miles from Woodstock’s lively artists’ colony. Klitgaard was known for her panoramic bird’s-eye views of the rural New York landscape. A California critic wrote that her Woodstock landscapes looked like “Currier and Ives lithographs … with little clouds and precise arrangements of facts” (Millier, “New Spirit in Western Art”, Los Angeles Times, April 14, 1929). During the Great Depression, the Works Progress Administration commissioned her to create murals for three United States post offices. This work helped her survive and allowed her to further her career. For the next forty years she exhibited her work widely.
Description: Identification on verso (handwritten): Georgina Klitgaard. Klitgaard standing in the doorway of a rustic house. Klitgaard, Georgina, 1893-1976 Creator/Photographer: Unidentified photographer Medium: Black and white photographic print Dimensions: 9 cm x 14 cm Date: c. 1920 Persistent URL: www.aaa.si.edu/collections/images/detail/georgina-klitgaa…Repository: Archives of American ArtCollection: Forbes Watson Papers, 1900-1950 Accession number: aaa_watsforb_3599
Georgina Klitgaard, View of Poughkeepsie in 1840 (mural study, Poughkeepsie, New York Post Office), ca. 1940, oil on canvas, Smithsonian American Art Museum, Transfer from the U.S. Department of the Interior, National Park Service, 1965.18.55
Georgina Klitgaard and two other artists won a government competition to design a mural for the Poughkeepsie, New York, post office. It was an important project and a lot was at stake. President Roosevelt, a native of Dutchess County, took great interest in this particular New Deal-sponsored mural project, and even helped choose the artists. He wanted the murals to convey the history and heritage of the area, and specified that Klitgaard’s view of the Hudson River’s west shore date to 1840, when the river traffic was at its height. Klitgaard took great care to comply with the president’s demands, visiting the Poughkeepsie library on several occasions to study maps and surveys from the mid-nineteenth century. This image is a final study, showing a view of the river dotted with ships carrying cargo from Albany to Manhattan past the busy waterfront town. The Vassar Brewing Company, warehouses, and hotels line the shore, highlighting the area’s community and industry. Roosevelt approved her design only after she had added College Hill in the distance, and Klitgaard received $2000 for the finished work. (Correspondence between Georgina Klitgaard and Edward Rowan, SAAM curatorial file)
Georgina Klitgaard, Winter Afternoon, 1934, oil on canvas, Smithsonian American Art Museum, Museum acquisition, 1969.194
Georgina Klitgaard (1893 – 1976) War Brides, Wash Sq NYC 30 x 40 inches Oil on canvas, c. 1942 Signed lower right Helicline Fine Art
SEE BERENICE ABBOTT PHOTO OF BROADWAY AND MERCER STREET ALLEY.
JAY JACOBSON & ED LITCHER 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)
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Blossom Restaurant; 103 Bowery. Oct. 3, 1935; by Berenice Abbott (1898-1991) from her “Changing New York” Works Progress Administration/ Federal Art Project
Photograph of Radio Row, looking east along Cortlandt Street towards Greenwhich Street,[1] by Berenice Abbott (1898-1991) from her “Changing New York” Works Progress Administration/ Federal Art Project.
Digital ID: 482552. Jefferson Market Court, southwest corner of Sixth Avenue and West 10th Street, looking north from southwest corner of Sixth Avenue and West 9th Street, Manhattan.. Abbott, Berenice — Photographer. October 21, 1935
Notes: Code: I.A.1. Jefferson Market Court, with Sixth Avenue elevated railroad in front of it, West Side Savings Bank clock, right, pedestrians, traffic.
Source: Changing New York / Berenice Abbott. (more info)
Repository: The New York Public Library. Photography Collection, Miriam and Ira D. Wallach Division of Art, Prints and Photographs.
Wood frame houses built circa 1840, Willow Street, nos. 131-137, Brooklyn NYC. In 1956 they were demolished. More info about this photo and site here on the website of the Museum of the City of New York
Manhattan Skyline: I. South Street and Jones Lane from East River Pier 11, Manhattan. 120 Wall Street far right; American International bldg right, 40 Wall St pointy top in center.
MANHATTAN BRIDGE LOOKING UP by Berenice Abbott in 1936.jpg MANHATTAN BRIDGE LOOKING UP
TRIBORO HOSPITAL, NOW BEING CONVERTED TO AFFORDABLE HOUSING JUST ACROSS THE STREET FROM PARKWAY VILLAGE.
CLARA BELLA, ANDY SPARBERG AND ED LITCHER GOT IT!!!
Text by Judith Berdy Thanks to Bobbie Slonevsky for her dedication to Blackwell’s Almanac and the RIHS Thanks to Deborah Dorff for maintaining our website Edited by Melanie Colter and Deborah Dorff
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated:
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For some years I worked in the Lincoln Building at 60 East 42nd Street. Every day Abe Lincoln sat in his grand bronze chair in the lobby looking down at all who entered.
Not only has the building lost it’s name and now Abe is relegated to the Law Library which may be appropriate for his retirement.
Only in the New York real estate market we can sell a president to the highest bidder.
Lincoln Loses a Tower, but He Still Has the Tunnel
By Sam Roberts
Think “Lincoln” and “New York,” and the juxtaposition would most likely conjure up the tunnel or the performing arts center. Until this year, it might have also evoked the majestic Lincoln Building at 60 East 42nd Street.
No longer.
With barely a nod to the former president, the owners of the 53-story tower, which opened 80 years ago, changed the name to One Grand Central Place, removed the bronze plaques on which the Gettysburg Address and his second Inaugural Address were immortalized, and evicted Daniel Chester French’s sculpture of the “seated Lincoln,” the model for the Lincoln Memorial, from the lobby.
The makeover occurred last year, the bicentennial of Lincoln’s birth, and after much talk that elevated President Obama to the former president’s soul mate. (Mr. Obama hardly discouraged the connection: he recited the presidential oath of office a year ago with his hand on the same Bible that Lincoln used at his inauguration in 1861.)
“First they replaced Lincoln’s Birthday with Presidents’ Day, and now this,” said Harold Holzer, a Lincoln scholar. “If this landlord took over the Lincoln Memorial, would he rename it the Temple on the Mall? The trend to the generic is not only an insult to our intelligence, it also threatens to erase national memory when perhaps we need it most.
“Lincoln talked at Gettysburg about ensuring that heroes did not die in vain. Apparently he spoke too soon.
” Image The Lincoln statue that once graced the lobby of the former Lincoln Building on 42nd Street. The Lincoln statue that once graced the lobby of the former Lincoln Building on 42nd Street.
Joshua Bright for The New York Times
If the name change means Lincoln has been supplanted as a marketing tool, the good news is that neighbors now want to share in Grand Central Terminal’s revival as not only a transit hub, but also a destination.
Fred C. Posniak, senior vice president of W & H Properties, announced the change, saying, “It confirms the building’s reputation as the premier prewar trophy property within the Grand Central district, as well as its unsurpassed location directly across from Grand Central Terminal.
” The Lincoln statue was apparently purchased by Lawrence A. Wein, who bought the building in the early 1950s. He was the father-in-law of Peter L. Malkin, the chairman of W & H Properties, which now owns it.
Anthony E. Malkin, president of W & H, said the statue was moved to improve traffic flow and installed in the building’s law library off the lobby “in respect of a president who was himself a lawyer, and as a more befitting spot in our building for a noted work of art.”
Mr. Malkin also pointed out that “when it was completed in 1930, the building was not actually named after Mr. Lincoln; it was named after the Lincoln Storage Company.”
Sort of.
The site was occupied by the Lincoln Storage Company and the Lincoln National Bank, which never shied away from its association with the former president. When the bank opened in 1882, a portrait of Lincoln, presented by his son Robert, hung in the bank president’s private office
In 1909, the building was festooned with bunting for the celebration of the centennial of Lincoln’s birth. As recently as 1992, his birthday was celebrated in the lobby with a cake, a concert and even a Lincoln impersonator.ock
Red brick, white stone and cast iron combine in handsome contrast — photo by Alice Lum
“The foundation will be of hard quarry stone and brick,” said the article, “and the walls three feet in thickness. The front will be of dressed brick, with Ohio sand-stone trimmings. The floors will be of yellow pine, sustained by double iron columns…The building, exclusive of the lot, will cost $275,000. The architects are Messrs. J. W. and Geo. E. Harney.”
George Harney produced a five-story store and factory building of red brick with contrasting stone trim. The architect borrowed from several styles. Groups of Romanesque arched openings were supported by brick, stone or cast iron columns. Between the second and third floors, Eastlake detailing was carved into the stone course and enormous, decorative iron tie plates accented the broad, brick pilasters between the third and fourth stories.
THE FORMER TRIBORO HOSPITAL WHICH IS NOW BEING RENOVATED INTO AFFORDABLE AND SUPPORTIVE HOUSING.
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
Sources
NEW YORK TIMES
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Parkway Village is a garden apartment complex with 675 residential units, located on 35 acres (14 ha) in the Briarwood section of Queens in New York City. It was completed in 1947 to house United Nations employees and delegates, many of whom had faced racial discrimination when they sought housing in other areas.
When the United Nations began operations in the New York City area in 1946, people from all over the world came to the area to work for the fledgling international organization, including many persons of color. Almost all real estate in the area was racially segregated, and this along with a national housing shortage made housing options for non-white people particularly limited. In an attempt to surmount this shortage, the UN had contracted for housing in Fresh Meadows and Peter Cooper Village, both new apartment complexes owned by the Metropolitan Life Insurance Company, but these contracts still allowed the company to deny housing to prospective residents on the basis of race. Although it had not articulated a discriminatory policy, in fact both complexes’ residents were exclusively white at the time (and for decades thereafter). Many UN employees protested this situation, and the UN backed out of its contracts with the complexes. Still needing housing near the UN building for its employees, the organization then signed a lease with Parkway Village, which was under construction at the time.[3][4]
As the initial lessee of most of the apartments, the UN could allocate housing to its employees without regard to race or origin. This made Parkway Village an unusually integrated community for its time. The location was convenient to the UN’s temporary headquarters, the present Queens Museum building erected for the 1939 New York World’s Fair, where many thought the organization would build its permanent headquarters, which ultimately was completed in 1952 in Manhattan. Though the UN’s involvement in the property ended the same year that the Manhattan headquarters opened, many of its employees continued to live there, and they comprised about a quarter of all residents three decades later.[5]
Ralph Bunche, an African Americandiplomat who was instrumental in the UN’s formation, and who won the Nobel Peace Prize in 1950, lived at Parkway Village from 1947 to 1952. Bunche was one of the employees who protested the UN’s initial involvement with segregated apartment complexes. After leaving Parkway Village, Bunche moved to a private house nearby that is a National Historic Site. Around this time, two prominent residents without UN connections were attracted to the community by its unique international character: civil rights leader Roy Wilkins and labor (and later feminist) activist Betty Friedan both lived at Parkway Village in the early 1950s.[3]
Description and Architects
The complex consists of 109 buildings, which together take up only 16% of the land area, surrounded by landscaped grounds. Each are each two or three stories tall and are faced with red brick. Their style is described as neo-Georgian or “modernized Colonial”. The architect was Leonard Schultze, who in prior decades was known for designing luxury hotels (notably the Waldorf-Astoria), but who in the 1940s had turned his attention to large middle-income apartment complexes for the Metropolitan Life Insurance Company, including Parkmerced in San Francisco, Park La Brea in Los Angeles, and Parkfairfax in Alexandria, Virginia.
The landscape designer was Clarence Combs (1892-1958), who had previously worked on many other projects associated with Robert Moses, including the well-known Jones Beach State Park. Moses, a politically powerful parks commissioner and the driving force behind the construction of Parkway Village, had helped to arrange the project’s financing and lease with the UN. He likely recommended Combs for the landscaping role.[3]
Owing to both its architectural significance and its historical associations, the complex was listed on the National Register of Historic Places in 2012.[3]
Ralph Bunche The Nobel Peace Prize 1950
Born: 7 August 1904, Detroit, MI, USA
Died: 9 December 1971, New York, NY, USA
Residence at the time of the award: USA
Role: Acting Mediator in Palestine, 1948, Director, division of Trusteeship, U.N., Professor, Harvard University Cambridge, MA
Prize motivation: “for his work as mediator in Palestine in 1948-1949.”
Prize share: 1/1
Peace Negotiator in the Middle East
Ralph Bunche was the first African American to be awarded the Peace Prize. He received it for having arranged a cease-fire between Israelis and Arabs during the war which followed the creation of the state of Israel in 1948.
Ralph Bunche was a social science graduate and before World War II studied colonial policy in West Africa. He joined the staff of the Swedish social scientist Gunnar Myrdal, who was studying racial segregation in the USA. In World War II, Bunche became the first Afro-American to hold a top job in the State Department.
I WILL BE AWAY FOR A FEW DAYS SO YOU HAVE MORE TIME TO CONTEMPLATE YOUR ANSWERS TO THE PHOTO OF THE DAY.
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
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Wherever rich New Yorkers built their homes in the 19th century, they also built private stables for their expensive horses and carriages—with upstairs living quarters for a coachman or groom.
So when Upper Fifth Avenue along Central Park became the city’s new Millionaire Mile during the Gilded Age, certain Upper East Side blocks to the east of Park Avenue were turned into unofficial stable rows.
East 66th Street between Park and Lexington Avenues is one of these former stable rows, with three spectacular restored carriage houses surviving today.
The extraordinary details of the carriage house.
Built in 1890, these two Romanesque Revival carriages houses were purchased eight years later by William C. Whitney, who lived a few blocks away in a mansion at East 68th Street at Fifth Avenue (above)..
Down the block at number 126 East 66th Street is what remains of another delightful carriage house, also with a Whitney connection. This one is three stories, and it too reflects the Romanesque Revival style, according to the LPC report.
Number 126 was commissioned in 1895 by sugar baron Henry O. Havemeyer, whose mansion residence stood at One East 66th Street.
After it was completed, Havemeyer sold it to businessman, yachtsman, and Standard Oil trustee Col. Oliver Hazard Payne, who happened to be Havemeyer’s neighbor as well as the brother-in-law of William C. Whitney.
A 1902 article in Outing magazine called the Havemeyer-Payne carriage house “always as clean as a new pin, with space enough for every style of pleasure vehicle that a gentleman’s fancy can picture.”
More than a century later, 110 East 66th Street is home to a plastic surgeon’s office, while 112 appears to be a single-family dwelling.
Number 126 was partly demolished at some point in the 20th century. Even without its other half, what remains is still something special.
The Upper East Side is home to more former stable rows with enchanting carriage houses, such as East 73rd Street between Lexington and Third Avenues.
Funding Provided by: Roosevelt Island Corporation Public Purpose Funds Council Member Ben Kallos City Council Discretionary Funds thru DYCD Text by Judith Berdy THRU DYCD
Edited by Deborah Dorff ALL PHOTOS COPYRIGHT RIHS. 2022 (C) PHOTOS IN THIS ISSUE (C) JUDITH BERDY RIHS
Texas Guinan was “Queen of the speakeasies” – Prohibition era joints (and high-class taverns) that ladled out illegal booze in a city awash in it. One admirer wrote: “She was a female P.T. Barnum and Mae West seductress rolled into one. A talented singer, actress and notorious bullshitter. She had a gift of gab and a talent with a well-landed insult. ‘Hello suckers,’ was how she greeted millionaires and gangsters alike.” Like Babe Ruth, Lucky Lindy and Jimmy Walker, Texas Guinan defined the 1920’s in New York City.
Born in an immigrant family in Texas in 1884, Mary Louise Cecilia Guinan (“Texas” came later) was an actress, an entertainer, active in the early film business, a pitchman and hostess at nightclubs-cum-speakeasies. She appeared in movies and movies were made about her. She palled around with affluent swells and gangster low lives and had not infrequent brushes with the law. (“I like your cute little jail,” Texas cooed after a night in the West 30th Street slammer, “and I don’t know when my jewels have seemed so safe.”) And she’s barely remembered today.
Looking at her life in a world of powerful forces of change from the Victorian era in which she was born though huge technological advances, a world at war, the social revolution of the 1920s and the emergence of a new urban culture – there were few opportunities for a bright, aggressive, “brassie broad”. Perhaps today, she would have been a lawyer, a politician, a venture capitalist. Texas didn’t take the marriage route which was the only escape path for many young women of the era. She was married briefly and was linked to many men, but she traveled solo. “It’s having the same man around the house all the time that ruins matrimony,” she cracked. For much of her life in New York, she lived with her parents.
Guinan shed an early husband and moved to New York, became a chorus girl and changed her name to Texas. She scored leads singing and acting in shows and got good press. In 1913, she licensed her name and image for a weight-loss plan which turned out to be a fraud. (As a result, she was banned from receiving mail through the postal service!) She continued on stage, but figured it was time to get out of Dodge and headed west to join up with the new California film industry.
In a film career that began in 1917, she became part of a young industry in which women were key players. As an actress, she created a new role – the female cowpoke, a six-gun western heroine who was as skilled and tough as the cowboys. Guinan was billed as “the female Bill Hart” – film’s first Western star.
Advertisement for Frohman Amusement Corp featuring Texas Guinan
Acting wasn’t enough for Texas, and she soon pushed into the production end of filmmaking, as a unit department head in one company, and then created her own Texas Guinan Productions in 1921 and issued several films. She continued to be involved in films until her death.
Guinan in The Wildcat
By now, Prohibition had come to town, driving many of New York’s fancy restaurants out of business, and illegal booze joints were in – and Texas had a new career. She was hired to sing at the Beaux Arts speak, at a whispered huge salary – probably puffed up for the papers by Texas. Her give-and-take chatter with the customers inspired one producer to put together a full floor show with Guinan presiding as emcee for a bunch of Ziegfeld Follies chorus girls. Bootleg huckster Larry Fay struck a deal with them to feature the show at his El Fey Club on West 47th Street in Manhattan. Fay had run taxicabs before and hired Westside mobsters to eliminate his competition, becoming chummy with Owney “The Killer” Madden, boss of Hell’s Kitchen Gopher Gang and reputed lover of Mae West. (You really can’t make this stuff up.) Guinan became the hostess and MC at Fay’s El Fey club, one of the city’s most infamous speakeasies. The club, on 46th Street near Broadway, opened from midnight to 5 a.m. Guinan glowed and glittered and in return for drawing in the wealthy and powerful, pocketed 50% of the profits. Pleasure-seeking patrons, respectable and not, elbowed one another for the privilege of having Texas and Fay empty their wallets. From well-heeled Wall Streeters and Ivy League collegians savoring big-city high life to famous athletes, and prominent politicians – good-time Charlies from every walk of life converged on El Fay to whoop it up with Texas and her chorus girls. We’re told that Babe Ruth, Charles Lindbergh, Charlie Chaplin, Rudolph Valentino, Clara Bow, Gloria Swanson, England’s Lord Mountbatten and Edward Prince of Wales all showed up, plus the usual crew of gangsters and other seedy types. Ruby Keeler, Barbara Stanwyck (both Ziegfeld girls) and George Raft (a tap dancer) were discovered by talent scouts while working as dancers at the club.
“Never give a sucker an even break,” she said, charging a steep cover charge and outrageous sums for liquor, $25 for a bottle of rum, $2.00 for water. Texas didn’t drink.
After cops closed El Fey, Guinan and Fay opened Texas Guinan’s Club on West 48th Street, and when police closed it, they returned to the old location. She left Fay (Owney Madden convinced Fay to let her go) and opened her own place, Texas Guinan’s 300 Club, on West 54th Street.
Guinan was arrested in 1927 at the 300 Club on suspicion of a Volstead violation. While at the police station, she sang the “Prisoner’s Song” before cops, Prohibition agents and reporters. At trial, she insisted she was only a hostess and a jury found her not guilty.
Cops and the Depression wore down the industry and Texas took her show on the road. But it would end. In 1933, Texas was touring with her Too Hot for Paris show when she contracted amoebic dysentery. She died a mere month before Prohibition was repealed.
Guinan was a fabled liar. A gullible press bought a wholly mythical account of her youth – that she had ridden broncos, single-handedly rounded up cattle on a 50,000-acre ranch, attended the elite Hollins Finishing School in Virginia, and run off to join a circus—all pure hokum. She claimed, too, that when the United States entered World War I, she hurried off to France to divert American boys before they faced the enemy. She claimed she received a medal from General Joffre, the French commander during the Battle of the Marne. Of course, she had never left America.
How famous was she? The writer Edmund Wilson described Guinan as “a formidable woman, with her pearls, her prodigious gleaming bosom, her abundant yellow coiffure, her bear trap of shining white teeth.” Journalist Lois Long wrote about her in the October 9, 1920, issue of The New Yorker: “Mind you, there is one woman who gets away with vulgarity. And that, of course, is Texas Guinan . . . . The club is terrible. It is rowdy, it is vulgar, it is maudlin, it is terrifically vital . . . . At any rate, the place, after two o’clock, is always jammed to the doors . . . . Oh, it is a tough and terrible place, but everybody should go once in a lifetime.”
Even in death, Texas was larger than life. Guinan’s death was mourned by thousands. Her funeral was attended by 7,500 people. She is buried in New York that made her wealthy. The casket was open at Guinan’s request, “so the suckers can get a good look at me without a cover charge.” We’re told that as Texas lay on her deathbed, she said, “I would rather have a square inch of New York than all the rest of the world.” It’s a good closer and, if she said it, she surely would have meant it, for New York gave Mary Louise Cecilia the kind of life she wanted. And her life in turn has become part of the city’s storied past. It was a lot of fun, while it lasted.
GLORIA HERMAN, CLARA BELLA. M. FRANK, HARA REISWER, ED LITCHER, LAURA HUSSEY, 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
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The City of Greenbelt has gone into the history books as the first community in the United States built as a federal venture in housing. From the beginning it was designed as a complete city, with businesses, schools, roads and facilities for recreation and town government. Greenbelt was a planned community, noted for its interior walkways, underpasses, its system of inner courtyards and one of the first mall-type shopping centers in the United States. Modeled after English garden cities of the 19th century, Greenbelt took its name from the belt of green forestland with which it was surrounded and from the belts of green between neighborhoods that offered easy contact with nature.
In 1997 Greenbelt celebrated its 60th anniversary. To coincide with this historic event, the United States Department of Interior saw it fit to recognize Historic Greenbelt as a National Historic Landmark. At such a time it was appropriate to ask how this early prototype of the planned community has weathered through the years. Have the design concept and the social and cultural features built into that design succeeded in fulfilling the town’s early promise? Greenbelt is one of three greenbelt towns envisioned by Rexford Guy Tugwell, friend and advisor to President Franklin D. Roosevelt, and created under the Resettlement Administration in 1935 under authority of the Emergency Relief Appropriation Act. (Greendale, Wisconsin, near Milwaukee, and Greenhills, Ohio, near Cincinnati, are the other two towns. A fourth town, to be located in New Jersey, was never built.)
9224-9238 EDMONSTON ROAD (TOWNHOUSES) FROM SOUTH. – Springhill Lake Apartments, 9230 Edmonston Road, Greenbelt, Prince George’s County, MD HABS MD-1216-4
Greenbelt was an experiment in both the physical and social planning that preceded its construction. Homes were grouped in superblocks, with a system of interior walkways permitting residents to go from home to town center without crossing a major street. Pedestrian and vehicular traffic were carefully separated. The two curving major streets were laid out upon and below a crescent-shaped natural ridge. Shops, school, ball fields, and community buildings were grouped in the center of this crescent.
The architecture was streamlined in the Art Deco style popular at that time—with curving lines, glass brick inserts in the facades of apartment buildings, and buttresses along the front wall of the elementary school. These buttresses create vertical lines framing a set of bas reliefs by WPA sculptor Lenore Thomas. (These features make the original buildings of the city some of the finest examples of Art Deco to be found in the Washington area. Indeed, the Greenbelt Community Center is considered one of the ten best structures in Art Deco style within the United States.) A sculpture by Thomas, a mother and child statue, graces the town center. Greenbelt was also a social experiment. Designed to provide low income housing, it drew 5,700 applicants for the original 885 residences. The first families were chosen not only to meet income criteria , but also to demonstrate willingness to participate in community organizations. (In 1941 another 1,000 homes were added to provide housing for families coming to Washington in connection with defense programs of World War II.)
The first families, who arrived on October 1, 1937, found no established patterns or institutions of community life. Almost all were under 30 years of age. All considered themselves pioneers in a new way of life. A mix of blue and white collar workers, they reflected the religious composition of Baltimore and Washington, D.C.—Protestant, Catholic, and Jewish; but because of the racial bias controlling public policy at that time, all were white.
Almost immediately the new residents formed a town government—the first city manager form of government in the State of Maryland. They also formed the first kindergarten in Prince George’s County. During that first year they also formed a citizens’ association, a journalism club which published the first newspaper (still published today on a weekly basis as the Greenbelt News Review), and a community band. Interdenominational church services were held in the elementary school auditorium, which also functioned as a community center. The Greenbelt Health Association opened to provide hospital services. Police, fire and rescue squads formed. Residents held a town fair that first summer. In 1939 the first public swimming pool opened in Greenbelt—first in the Washington area. Numerous clubs flourished. In fact, Greenbelters were so busy attending meetings that the town council called a moratorium on meetings between Christmas and New Year’s in 1939 to permit residents to spend time at home with their families.
Greenbelt is also unique for its cooperative institutions. Boston merchant and philanthropist Edward Filene provided funds to Greenbelt Consumer Services, Inc., which operated a food store, gas station, drug store, barber shop, movie theater, valet shop, beauty parlor, variety store, and tobacco shop. In December 1941 citizens within the community were able to raise funds to purchase GCS.
In 1952, when Congress voted to sell off the greenbelt towns, citizens in Greenbelt formed a housing cooperative (Greenbelt Veterans Housing Corporation, later Greenbelt Homes, Inc.) which purchased the homes. (The other two greenbelt towns were purchased privately.) Citizens also formed a cooperative baby sitting pool, a cooperative nursery school, a cooperative kindergarten, and a cooperative savings and loan association. In fact, when Greenbelters confronted any kind of a new problem, their typical first approach was to form a new cooperative.
Today much of the original features of this planned community still exist. In addition to it, the city itself has expanded to include additional shopping centers, high rise office buildings, garden apartments, townhouses and private development. With the construction of the BaltimoreWashington Parkway, the Capital Beltway, and Kenilworth Avenue—which meet in Greenbelt— the city has become a center of major residential and commercial development within the Prince George’s County.
Nevertheless, legacies of the past remain. The cooperative spirit and the strong sense of community are passed on to new generations of Greenbelters, and around a dozen of the original families still live in the city. Indeed, many of their children and grandchildren have also chosen to reside in Greenbelt. Perhaps their dedication to the community is the best answer to the question raised earlier: Has the town’s promise been fulfilled?
For more on Greenbelt’s unique place in the history of American culture, visit Virtual Greenbelt, a project sponsored by the University of Maryland.
Other informational sites about Greenbelt’s history, include the Greenbelt Museum , and the Tugwell Room a unique collection at the Greenbelt Branch of the Prince George’s County Memorial Library System.
ELEVATED SUBWAY AT CHATHAM SQUARE. ED LITCHER 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)
Sources GREENBELT HISTORY GOVERNMENT WIKIPEDIA COMMONS
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For over 3 years Nick has posted his daily art on Tumblr and his website, Enjoy the unique views of our city,
4.3.22 Lunchtime drawing: King’s Halal Food has been setting up on Gansevoort Street since the Whitney Museum opened in 2017 (left). The Veggie Juices cart first eta up yesterday (right). We’re all under the High Line today staying out of the rain.
This month I’m highlighting food carts periodically via my daily drawing project, a theme chosen by my Patreon members (Join me!!!) Also, check out the Street Vendor Project fighting to create just working conditions for street vendors in NYC.
4.2.22 Lunchtime drawing: Kicking off this month’s drawing theme, “Street Vendor Food carts”, with a favorite, NY Dosas in Washington Square Park! There’s even my drawing on the cart.
Food carts will be a thread through April’s drawings, and the topic was voted on by my Patreon members. Check out my story to see what the options were—and join me on Patreon so you can vote next month! Patreon.com/nickgolebiewski or link in bio.
Open to all though, what are your favorite NYC food carts and trucks?
4.1.22 Lunchtime drawing: The Cathedral of St. John the Divine in Morningside Heights (Columbia University’s neighborhood if you’re not familiar) is still unfinished! Construction started on this Episcopal Church back in 1892. I remember seeing a live pipe organ performance to a film projected by Rooftop Films here so many years back, participating in a “blessing of the bikes”, and have always loved their connection to the arts.-Apr 01, 2022 01:06 pm on Tumblr
3.31.22 Lunchtime drawing: Word Bookstore in Greenpoint, Brooklyn! Independently owned and in business since 2007 (they also have a spot in Jersey City.)This sketch closes out the month’s “Independent Bookstores of Brooklyn” theme voted on by my Patreon members. Join at any level and vote for April’s theme for this drawing-a-day project at patreon.com/nickgolebiewski-Mar 31, 2022 03:23 pm on Tumblr
3.30.22 Lunchtime drawing: Last week I drew some magnolia blossoms, and then there was a below-freezing snap in the weather, and they all froze and became these wilted things.-Mar 30, 2022 01:12 pm on Tumblr
3.29.22 Lunchtime drawing: Yi Ji Shi Mo Noodle Corp on Elizabeth Street at closing time (if only I arrived a few minutes earlier!) They’re known for their stone mill rice rolls and opened here in Chinatown in 2019.-Mar 29, 2022 05:35 pm on Tumblr
THE LATEST WAY TO FALL OVER SOME GUY’S SCOOTER BLOCKING THE DOOR ON A SUBWAY…
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
NICK’S LUNCHBOX
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I decided to walk up Broadway and write about the different buildings I spotted. The first one that attracted my attention was 670 Broadway. You will have to wait fort the rest of the sites, since this building distracted me and a story was born, courtesy of Daytonian in Manhattan.
When Henry Sands Brooks died in 1833 Henry Jr. inherited his father’s men’s clothing business. Then his sons, Elisha, Edward, Daniel and John took over the business in 1850, renaming it Brooks Brothers. Theirs would be the oldest men’s clothier in the United States, founded by their grandfather on April 7, 1818.
Seven years later they moved northward from the Catherine Street to the northeast corner of Broadway and Grand Street. The brothers intended to lure upscale customers and outfitted the store with gas-lit Tiffany chandeliers. And, indeed, they did. The suit Abraham Lincoln wore to Ford’s Theatre on the night of April 14, 1865 was purchased at this store.
Again following the northward migration of the fashionable shopping district, Brooks Brothers moved again in 1869 to Union Square. Here, already, the elegant mansions surrounding the park were being razed as high-end retail emporiums took their place.
In 1873 Adele L. S. Stevens still lived in the magnificent Stevens mansion, one of the survivors of the fashionable Bond Street Area; once the most exclusive residential neighborhood in the city. The old mansion, noted in The New York Times that year as being “well known as the repository of the famous Stevens collection of paintings,” spanned three lots – Nos. 670, 672 and 674 Broadway.
But by now the grand old homes of New York’s wealthy along Broadway were being replaced by commercial structures. The Stevens mansion was no exception. By August the house had been demolished and a new Brooks Brothers building was going up.
“The building, when completed, will, from its admirable site, and the manner in which it is to be constructed, add much to the beauty of Broadway,” predicted The New York Times on August 30, 1873
The line continues northward on a conventional elevated line; below photo shows the next station, 207th Street, (nycsubway.org) looking west. At this point, the #1 line does not follow Broadway, but runs atop Nagle Avenue and 10th Avenue, rejoining Broadway at 218th Street.
Red brick, white stone and cast iron combine in handsome contrast — photo by Alice Lum
“The foundation will be of hard quarry stone and brick,” said the article, “and the walls three feet in thickness. The front will be of dressed brick, with Ohio sand-stone trimmings. The floors will be of yellow pine, sustained by double iron columns…The building, exclusive of the lot, will cost $275,000. The architects are Messrs. J. W. and Geo. E. Harney.”
George Harney produced a five-story store and factory building of red brick with contrasting stone trim. The architect borrowed from several styles. Groups of Romanesque arched openings were supported by brick, stone or cast iron columns. Between the second and third floors, Eastlake detailing was carved into the stone course and enormous, decorative iron tie plates accented the broad, brick pilasters between the third and fourth stories.
The great decorative cast iron tie plates spell out the construction date 1-8-7-3 — photo by Alice Lum Harney created a visual extension of the cornice by aligning the brick corbels above the top floor with the row of brackets. At the first floor, the exceptional cast iron work was executed by Michael Grosz and Sons.
Brooks Brothers continued to attract the carriage trade. A few days before Christmas in 1876 The Times mentioned that “The firm do not, in fact, pretend to run their business on the cheap-goods basis. No effort is made to attract a large floating customer by offers to sell ready-made clothing at starvation prices—a line of business which involves the keeping of goods as low in quality as in price…Nothing showy, nothing cheap and bad, is offered there.”
Inside, leafy cast iron column capitals still remain — photo by Alice Lum
The handsome building at Broadway and Bond Street was the fourth store for Brooks Brothers since the brothers had taken over the business in 1850. And only ten years after settling in, they were on the move again. In 1884 Brooks Brothers moved northward to Broadway and 22nd Street.
The building continued to house clothiers – Hornthal, Weisman & Co., dealers in menswear were here for years. Then, by 1910, the showrooms that once sold men’s suits to the merchant class were home to Broadway Bargain House. The store offered wholesale ready-to-wear garments for men, women, and children. Ten years later the G. H. Hat Works was headquartered here.
Sawtooth designs and incised decorative elements reflect the Eastlake movement — photo by Alice Lum
When Nessa Sears and Jeannette Epstein purchased the building from David S. Meister in June 1943, there was still a “large clothing store” on the first floor and various manufacturers on the upper floors. Meister had bought the building only a year earlier. The new buyers would not hold on to the property any longer than he did.
A year later in May the building was sold again to an investor. Tenants were paying a total of approximately $23,000 per year on the building valued at $150,000.
In the 1950s the diversity of tenants continued with Magna Products Co., an automobile parts firm, having space here as well as Librik Brothers, which made jewelry cases. In 1956 the hat manufacturer M. Barsky & Co. was forced out of its building at 186 Wooster Street to make way for the Washington Square-New York University development project. The company purchased the old Brooks Brothers building with “plans to modernize the Broadway structure and use a major part of it,” according to a press release.
Window columns boast beautiful stylized bases and capitals. Each of the incised rosettes is unique. — photo by Alice Lum Before long the Empire State Cap and Cloth Hat Manufacturers Association, a workers union, established its offices here.
Today the store continues its original purpose – a clothing store on the first floor and manufacturing spaces above. Although there have been some changes, the façade is remarkably intact and first floor ironwork is, miraculously, preserved.
And, by the way, Brooks Brothers did not stay overly-long in their Broadway and 22nd Street store – in 1915 they moved on to Madison Avenue and 44th Street.
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MONDAY PHOTO OF THE DAY
THE RIHS VISITOR CENTER KIOSK WHEN IT ARRIVED FROM THE BROOKLYN CHILDREN’S MUSEUM IN 2006.
GLORIA HERMAN, ANDY SPARBERG, ALEXIS VILLAFANE, NANCY BROWN, HARA REISER, VICKI FEINMEL. AL GOT IT!!
FROM: SUMIT KAUR Good morning, The answer to Monday photo of the day is “Visitor Centre, Roosevelt Island” Picture shows it being set in position after being lifted from its original position. Congratulations Judith Berdy for the timely initiative – its a gem that greets the visitor to the island.
FROM ED LITCHER
One of what was originally five exquisite entrance and exit kiosks, rendered in beautiful Beaux Arts terra cotta, that used to stand at 2nd Avenue and East 60th Street where trolleys from Queens let out, or accepted passengers from an underground station. The kiosks, is dwarfed by the Queensboro/59th Street/Ed Koch Bridge, as well as one of the huge stanchions that carry the tramway wires. The bridge was one of the last bastions of trolley traffic in Manhattan, as the line that left people of mid-span, to be carried by elevator to the island, until it was shuttered in the late 1950s. Both kiosks, this one and one that has been allowed to remain on 2nd Avenue, go all the way back to the year the Queensboro opened in 1909. Trolley service to the bridge ended in 1957 when the Welfare Island, now Roosevelt Island Bridge opened to Astoria.
Thus the five Beaux Arts kioks were orphaned. Three were executed, one remained in place, and one was shuffled off in 1970 to the Brooklyn Children’s Museum in Bedford-Stuyvesant’s Brower Park, where it was used as the main entrance. However it was in danger of being discarded when the Museum planned a complete renovation by famed architect Rafael Viñoly. However, at the intercession of the Roosevelt Island Historical Society’s Judy Berdy, who worked with the BCM and several other agencies, in 2006 the kiosk was transported to the very spot where the trolley elevator landing was once located, where it now serves as the Roosevelt Island Historical Society‘s visitor center.
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
Sources DAYTONIAN IN MANHATTAN JUDITH BERDY
All image are copyrighted (c) Roosevelt Island Historical Society unless otherwise indicated
FUNDING PROVIDED BY ROOSEVELT ISLAND OPERATING CORPORATION PUBLIC PURPOSE GRANTS CITY COUNCIL REPRESENTATIVE BEN KALLOS DISCRETIONARY FUNDING THRU DYCD
