Archive for the ‘Beekman/Turtle Bay’ Category

5 wildly different sign styles outside New York’s subway entrances

June 20, 2022

The New York City subway system has 472 stations, according to the MTA. Some of these stations made up the original IRT line that debuted in October 1904; others opened in the 1910s, 1920s, 1930s, and beyond (looking at you, Second Avenue Q train).

190th Street/Fort Tryon Park

The nice thing about a subway system constructed in different decades is that there’s no one uniform subway sign above ground outside station entrances. The wide range of sign styles reflects the era the station opened and/or the feel of the surrounding neighborhood. Each has a different magic.

Fifth Avenue/59th Street

At the 190th Street IND station at Fort Tryon Park is this subway sign (top photo), with what looks like hand-cut lettering. The station opened in 1911, and I don’t know when the sign appeared. But it’s certainly a vintage beauty in an exceedingly beautiful section of Upper Manhattan.

Lexington Avenue/51st Street

These twin lantern-like subway signs outside Central Park give off a more old-timey vibe. You can find them at the Fifth Avenue and 59th Street N/R station. When illuminated at night, they’re enchanting.

Downtown Brooklyn

The Jazz Age comes alive thanks to this subway signage at the 6 train station on Lexington Avenue and 51st Street (third image). The chrome and lettering seem very Art Deco—as does the building beside it, the former RCA Building/General Electric Building, built between 1929-1931.

The subway signs lit up in green in Downtown Brooklyn look like they’re giving off radiation! It’s all part of the sleek, unusual design that feels very 1930s or 1940s to me.

The last photo features a more elegant, business-like sign design, perhaps from Lower Manhattan or Downtown Brooklyn again. It’s the only one that doesn’t appear to be a lamp, though it’s possible it might light up when the skies darken. Sharp-eyed ENY readers identified the location at One Hanson Place, the address of the circa-1929 former Williamsburg Savings Bank Tower.

The stone and iron turtles decorating New York City

June 10, 2022

Colonial New Yorkers hunted them in estuaries and salt marshes, putting turtle soup on every restaurant menu. Contemporary city residents know them as the scaly native reptiles who occasionally pop their heads up while feasting in city waterways.

Considering the role they’ve played in Gotham’s history and their presence in the modern city, it’s no wonder that images of turtles can be found on building facades, fence posts, and the sculptures in Manhattan parks.

You would expect a neighborhood called Turtle Bay to have its fair share of ornamental turtles. The turtle above is one of several on the iron fences surrounding Turtle Bay Gardens, a posh collection of restored brownstones flanking a private garden between Second and Third Avenues and 48th to 49th Streets.

The Turtle Bay Gardens iron fence turtles are a lot more stylized than this stegosaurus-like critter, one of three lifelike bronze turtles in Dag Hammarskjold Plaza, on East 49th Street off Second Avenue.

Outside of Turtle Bay, turtle sculptures abound. One of my favorites is the circa-1916 turtle at the base (one of four) of the Pulitzer Fountain beside the Plaza Hotel on 59th Street and Fifth Avenue. Its mouth serves as one of the fountain’s spouts—a nice bit of whimsy.

Farther uptown at 973 Fifth Avenue is a sculpture with a base resting on the backs of two rather round turtles. The sculpture is in the rotunda of a former Gilded Age mansion now occupied by a French-English bookstore called Albertine (operated by the French Consulate, which has long owned the mansion).

Full-size view of The Young Archer, resting on turtles

The turtles supporting the sculpture are impressive. But the sculpture itself might have more of a pedigree. Acquired by Stanford White and called The Young Archer, it’s been in the rotunda for decades and has recently been identified as a possible early work of Michelangelo, according to the Albertine website.

The seafaring symbols on a Turtle Bay church’s stained glass window

May 30, 2022

Walk down East 52nd Street between Second and Third Avenues on a bright day, and you’ll probably miss it.

But some nights when the interior lights are on, the spectacular stained glass window in the middle of this five-story church on East 52nd Street illuminates the street below with startling color and beauty.

The window is the visual centerpiece of the Norwegian Seamen’s Church—two former brownstones joined together on a mostly residential block offering Norwegian sailors, students, ex-pats, and visitors from all backgrounds a place of worship as well as a cultural center and coffee spot.

The church has been at the site since 1992, hidden amid a row of low-rise walkups. But its roots go back to the 1870s, when the first Norwegian Seamen’s Church opened on Pioneer Street in Red Hook. Fifty years later, the church moved to Clinton Street and First Place in Carroll Gardens, closer to the Norwegian community in Bay Ridge.

As the community dispersed later in the 20th century, the church made another move, this time to Manhattan.

The details painted on the compass-like window are a visual delight, and I’ll try my hand at interpreting these symbols. In the center is a seagull, flying high over the earth’s horizon approaching the heavens, which are marked by a cross.

In 2018, a church pastor told the Turtle Bay Association website that the seagull, “follows ships at sea, so this is appropriate because Norwegians love to travel and wander around cities like New York.”

On the left is a lamb with a staff and halo—the lamb of God. A Viking ship is painted on the bottom, and on the right, it looks like another bird, perhaps signifying the Holy Spirit. The image at the top is hard to make out, but it looks like it symbolizes the power of God.

The Manhattan country estate houses of old New York’s forgotten families

May 19, 2022

The significance of their names has been (mostly) forgotten, their spacious wood frame houses in the sparsely populated countryside of Gotham long dismantled, carted away, and paved over.

The Riker estate, in 1866

But the wealthy New Yorkers who purchased vast parcels of land and built these lovely country homes (surrounded by charming picket fences, according to the illustrations left behind) in the late 18th or early 19th centuries deserve some recognition.

These “show places,” as one source called them, dotted much of Manhattan in the era when the city barely extended past 14th Street. The families who owned them likely lived much of the year downtown. But when summer brought stifling heat and filthy streets (and disease outbreaks), they escaped to their estates by boat or via one of the few roads in the upper reaches of the island.

Arch Brook on the Riker estate grounds, 1869

The estate house in the top image belongs to a familiar name: It’s the country home of one member of the Riker family, circa 1866. Before their name became synonymous with a jail and an island in the East River, the Rikers were a well-known old money clan. Abraham Ryeken, who sailed to New Amsterdam from the Netherlands and owned a home on Broad Street, was the patriarch.

The descendent who lived in this house on today’s 75th Street and the East River was Richard Riker, born in 1773. He held a number of positions in New York including district attorney. Known for his “polished manner and social prominence,” he counted Alexander Hamilton as a friend. Riker died in 1842, and his funeral commenced in the estate house, according to the New-York Tribune. Could that be his widow in the illustration?

Cargle house, 1868

On the other side of Manhattan stood this pretty yellow house (above) with the gable roof, long side porch, and four chimneys. It was the estate home on the Cargle family at 60th Street and Tenth Avenue. It’s modest by 19th century standards, but far larger than any town house or early brownstone. The land might have even extended all the way to the Hudson River.

Who were the Cargles? This name is a mystery. Newspaper archives mention a Dr. Cargle, but so far the trail is cold. The image dates to 1868, and the paved road has a sidewalk and gas lamp. Imagine the cool river breezes on a warm summer night!

Provoost house, 1858

The Cargles lived across Manhattan from David Provoost and his family. The Provoost country residence (above) was on 57th Street and the East River, just blocks north of another fabled estate house of a notable family—that of the Beekmans.

David Provoost, or Provost, was the son of a New Amsterdam burgher who became a merchant and then mayor of New York from 1699 to 1700. Provost Street in Brooklyn and Provost Avenue in the Bronx are named for him or perhaps a family descendent. Who built the house, so grand that it qualifies as a true mansion?

Henry Delafield mansion, built in the 1830s and pictured in 1862

The Delafield house (above) is another mansion that must have been lovely and cool thanks to the East River nearby. Located on today’s East 77th Street and York Avenue, it was the home of Henry Delafield, son of John Delafield, who arrived in New York from England in 1783. John Delafield became one of the “merchant princes” of New York, according to 1912 New York Times article.

Henry Delafield also became a merchant and founded a shipping firm with his brother. His house was described by the Times as “one of the show palaces among the splendid country residences on the East Side north of 59th Street.” He died in 1875. “The latter years of his life were spent pleasantly on his fine country estate overlooking the East River,” the Times wrote. Fine, indeed!

[Images: NYPL Digital Collection]

Three mythological Art Deco figures on a 57th Street apartment building

April 25, 2022

Walk along 57th Street, and you’ll see many examples of Art Deco architecture and ornamentation: geometrical shapes, zigzags, and even sculptures of mighty male figures toiling in the modern city. That last one is part of the facade of the 40-story Fuller Building.

Farther east, where office towers recede and elegant apartment buildings line quieter stretches of East Midtown, there’s a different example of Art Deco artistry on one specific residence.

The building is 320 East 57th Street. Take a look at the images above the entrance: three nude women hold hands in a kind of dance, surrounded by floral motifs. Helpful Ephemeral New York readers pointed out that these are the Three Graces, the goddess daughters of Zeus in Greek mythology. Each daughter bestows a particular gift on humanity: mirth, elegance, and youth and beauty.

The bas relief appears to be modeled after this sculpture by Antonio Canova from 1814-1817, which is currently housed in London’s Victoria and Albert Museum.

I imagine the Three Graces has been here since the building was completed in 1926, according to Streeteasy—which attributes the ironwork in the lobby to French ironworker Edgar Brandt, a giant of Art Deco design.

Could Brandt be the sculptor behind the figures? I saw no attribution in the building, which only has a plaque outside noting that Paulette Goddard and Erich Maria Remarque resided there.

This 1930 neon hotel sign still illuminates East 42nd Street

January 3, 2022

Rising 20-plus stories above 42nd Street, the old-school sign for what was once called the Hotel Tudor is a beacon for Tudor City, the apartment complex mini-city of 12 Tudor Revival-style buildings built in the late 1920s.

Like so many vintage neon signs in New York, its future was threatened. “The sign dates from 1930 when the hotel opened, and has a fleeting brush with demolition in 1999,” according to Tudor City Confidential, a blog that covers the complex. Community opposition helped keep it in place.

Today the hotel is officially known as the Westgate New York Grand Central—and the red glow of the sign lights the way along the eastern end of 42nd Street.

Shy lonely brownstones hiding in the cityscape

December 6, 2021

New York is a city where buildings proudly announce themselves—with bright, windowed lobbies, or large logos, or architectural bells and whistles that convey something grand or self-important about the space.

16 East 58th Street

Then there are the lone, faded brownstones and row houses that tend to go unnoticed.

Once flanked by identical houses on pretty, exclusive streets in the late 19th and early 20th centuries, these solo dowagers are usually stepped back from the sidewalk and wedged between commercial buildings, their facades altered in the contemporary city.

58 East 56th Street

Houses like these, sometimes found in a pair (above), can be seen in pockets all over Gotham.

Number 58, still part of a pretty row in 1939-1941

But quite a few seem to be in Midtown closer to the East Side, the remnants of a rush of Gilded Age residential development centered near Central Park when every Shoddyite (aka, nouveau riche New Yorker) wanted their own brownstone.

127 and 129 East 60th Street

But New York has what Walt Whitman called the city’s “tear-it-down-and-build-it-up-again spirit.” Commercial development crept northward. Within a generation or two—or at least by midcentury—many of these residential blocks met the wrecking ball, replaced by loft buildings or office towers dedicated to business.

Same buildings, altered in 1939-1941

And the remaining brownstones? Abandoned as single-family homes and carved up into apartments with ground-floor store space, they faded quietly into the background, often hidden behind a store sign or years of construction scaffolding.

Lexington Ave and 58th Street

They’re holdout buildings of sorts, but perhaps more by accident than the result of a stubborn owner. Once you notice one, it’s hard not to wonder about its former life as an elegant or expensive residence: who lived there, what was the neighborhood like before it became a commercial corridor?

I’ve found a few earlier photos to give an idea of what they looked like around 1940, when they were still part of a residential block but with commercialism creeping up. Consider these remaining brownstones the phantoms of an earlier layer of city history.

[Third photo: NYC Department of Records and Information Services; Fifth photo: NYC Department of Records and Information Services]

The soaring, stunning vaulted ceilings of an East Side Trader Joe’s

December 6, 2021

Most shoppers flock to Trader Joe’s because of the low prices and extensive food options—and a checkout line that seems a little speedier than at other city supermarkets.

But the new Trader Joe’s that recently opened in the cavernous space under the Queensboro Bridge at 59th Street and First Avenue offers a reason to look not at the shelves but high up at the 40-foot ceiling.

The cathedral-like ceiling features a seemingly endless cascade of domed vaults and columns covered in off-white tiles arranged like a basket weave.

The tiling was the work of Rafael Guastavino, a Spanish immigrant who patented a tiling system “based on the building methods behind Catalan vaulting” in the early 20th century, according to Architect Magazine. Grand Central Station’s Whispering Gallery, the Manhattan Municipal Building, and other architectural landmarks of New York’s progressive era also feature Guastavino tiles.

The original vendors’ market, 1915

Bridgemarket, as the space under the bridge is known, might seem like a strange place to open a retail food outlet. But its roots as a marketplace run deep.

Inside the marketplace, 1915

Five years after the Queensboro Bridge was completed in 1909, this space was used as an open-air market (above, in 1915), where vendors came in wagons to sell produce and set up booths.

That original market closed in the 1930s. But it wasn’t until 1999 when Food Emporium renovated the space to fit a modern supermarket; the store featured a mezzanine level that made the view of the ceiling tiles almost magical (below).

Flashback 2014, when Food Emporium operated the space

Food Emporium left Bridgemarket in 2015—and now Trader Joe’s is giving a try to this soaring, stunning monument to New York’s food market history.

[Photo 3: MCNY x2010.11.5557; Photo 4: MCNY x2010.11.10030]

The story of the hidden garden inside a Turtle Bay tenement block

November 1, 2021

East 49th Street between Second and Third Avenues in Turtle Bay is a block with a backstory.

During the 17th century, this was farmland owned by Dutch settlers; in the 18th century, a stagecoach stop on Boston Post Road was established here. By the Civil War, the farms vanished, subsumed into the urban city and turned into brownstones and tenements.

But the story in this post concerns something that came to Turtle Bay in 1946: a hidden romantic garden of shady trees, decorative flower pots, stone block walls and paved walkways unseen from the street and accessed through a thin-slatted iron gate.

That courtyard, Amster Yard, was the brainchild of interior decorator James Amster (below). Two years earlier, Amster had heard that a cluster of buildings on East 49th Street were for sale. Constructed around 1870, the buildings were now dilapidated and the neighborhood not quite as desirable as it once had been, especially with the elevated train still roaring along Third Avenue.

Amster purchased these buildings, which included “a boarding house, a carpenter’s workshop and the home of an elderly woman with 35 cats,” according to a New York Times article from 2002.

He then enlisted the help of friends to “create a garden complex surrounded by offices and apartments renovated from the shells of the original buildings,” wrote Pamela Hanlon in Manhattan’s Turtle Bay: Story of a Midtown Neighborhood.

The result: “a picturesque cluster of one- to four-story brick houses around an L-shaped garden courtyard filled with trees and shrubbery,” stated the New York Times in 1986.

“You go through a thin-barred iron gate down a long flagged corridor till you’re midway between the north side of 49th Street, but perhaps 40 feet short of 50th Street, and you’re in a cool, ailanthus-shaded garden restored to look much as it was, say, 150 years ago,” wrote a New York Times reporter in 1953.

Amster Yard was also something of an artists’ enclave, home to interior designer Billy Baldwin and sculptor Isamu Noguchi.

In the 1960s, Amster Yard became a New York City landmark, a “pleasant oasis in the heart of Manhattan” that altered the original buildings but recreated the feel of an Old New York garden. Amster himself was a presence there until he died at age 77 in 1986.

Amster Yard still exists, and it’s semi-open to the public. But while today’s Amster Yard looks like the courtyard James Amster designed, it’s actually a recreation.

In the early 2000s, Amster Yard’s new owner, the nonprofit cultural group Cervantes Institute, found that the buildings surrounding the garden were structurally dangerous. The group decided to demolish them, then built reproductions.

Wander into Amster Yard now, and you’ll experience an illusion of Amster’s buildings, which were recreations of the original dilapidated circa-1870 houses. It’s a little convoluted, but the courtyard itself is romantic and delightful, a peaceful respite that blocks the sounds of the modern city.

It’s not the only lovely garden hidden from the street in the neighborhood. Turtle Bay Gardens, a collection of 19th century rowhouses restored for the elite in the 1920s, also has a secret garden…but that one is residents-only.

[Third photo: Wikipedia]

The man behind a faded store sign at 52nd Street

April 12, 2021

In 1960, East Side resident Louis Mattia opened his antique light fixtures business in a small tenement space at 980 Second Avenue. Back then, Manhattan’s design district—in the East 50s along First and Second Avenues—was at its peak.

Showrooms and decorative arts concerns still operate here. But the neighborhood doesn’t resemble the one Mattia likely knew, when the Stuyvesant-educated machinist who worked nights restoring and rewiring lamps decided to open his own store and make his love of lamps his livelihood, according to 1972 Daily News article.

“Whenever Louis Mattia sees an old sconce or candlestick, a discarded table leg, a broken chandelier, or a 50-year-old bubble gum machine, he immediately envisions the lovely light it will shed as a lamp and proceeds to make it,” wrote the News.

“Louis, who is not only a clever artisan but an imaginative artist, looks upon a lamp with the same affection with which a father looks at his child.”

For 35 years, Mattia (above, in a photo from the News story) ran his store, giving it up in 1995. He passed away in 2004 at age 87, according to a death notice in the New York Times.

Mattia may be gone and East Midtown transformed. But for several years now, the beautiful, hand-painted sign for the former lamp store remains on the facade.

“Louis Mattia” the sign reads in large faded gold letters, along with the PL (for Plaza) phone number. It’s a gentle reminder of the man who the Daily News called “buoyant with enormous joy in his art and craft,” the kind of artist and craftsman Manhattan doesn’t seem to have much room for anymore.

[Second image: New York Daily News]