The Thirteenth Street Presbyterian Church in 1902, courtesy of the New-York Historical Society, Robert L. Bracklow Photograph Collection
The stately church building at 141-145 West 13th Street in the West Village is the picture of serene elegance. Built in 1846-47 in the Greek Revival style, the classical balance and symmetry of the façade mask a history full of controversy, including the birth of a notorious slur in American politics, which arguably changed the outcome of a pivotal presidential election.
Find out about the scandalous story
Fire Patrol #2 in 2009, via Greenwich Village Society for Historic Preservation Image Archive
The former firehouse located at 84 West 3rd Street in Greenwich Village is often noted for being the renovated and restored home of TV personality and journalist Anderson Cooper. But it’s just as noteworthy for an unusual history connected to Benjamin Franklin and insurance underwriters, and for not being the kind of firehouse you think it is at all.
The whole history and current use
Zoom of the 1852 Dripps map of Manhattan, showing the proximity of downtown cemeteries, via David Rumsey Map Collection
Most New Yorkers spend some time underground every day as part of their daily commute, but some spend eternity beneath our streets, and in a few cases occupy some pretty surprising real estate.
Manhattan cemeteries are tougher to get into than Minetta Tavern without a reservation on a Saturday night because as far back as 1823, New York forbade new burials south of Canal Street. In 1851 that prohibition was extended to new burials south of 86th Street, and the creation of new cemeteries anywhere on the island was banned. But thousands of people were buried in Manhattan before those restrictions went into effect. And while some gravesites remain carefully maintained and hallowed ground, such as the those at St. Mark’s in the Bowery Church on Stuyvesant Street, Trinity Church on Wall Street, and St Paul’s Church at Fulton and Broadway, others have been forgotten and overlaid with some pretty surprising new uses, including playgrounds, swimming pools, luxury condos, and even a hotel named for the current occupant of the White House.
The Ninth Avenue El near 14th Street c. 1914. Via Bain Collection, Library of Congress.
Greenwich Village is known as the birthplace of many things – the modern gay rights movement, Off-Broadway theater, the New York School of artists and poets, the “new urbanism” pioneered by Jane Jacobs, among many other trailblazing firsts. Less closely associated with the Village, however, are radical and transformative innovations in transportation technology. But while little known, the Village was in fact home to the first elevated rail line, and the first streetcar.
The whole history right this way
© Estate of Fred W. McDarrah
Perhaps no single photographer could be said to have captured the energy, the cultural ferment, the reverberating social change emanating from New York City in the second half of the 20th century as vividly as Fred W. McDarrah. McDarrah got his start covering the downtown beat of the Village Voice in the 1950s and ’60s, as that publication was defining a newly-emerged breed of independent journalism. McDarrah penetrated the lofts and coffeehouses of Lower Manhattan to shed light upon a new movement known as “The Beats” and went on to capture on film the New York artists, activists, politicians, and poets who changed the way everyone else thought and lived.
Through the generosity of the Estate of Fred W. McDarrah and the McDarrah family, the Greenwich Village Society for Historic Preservation was fortunate enough to add to its digital archive a dozen of the most epochal of Fred McDarrah’s images of downtown icons, including Andy Warhol, Bob Dylan, Jane Jacobs, and Allen Ginsberg. And just in time for the holidays, you can purchase your own copy (with all proceeds benefitting GVSHP!).
Learn the story behind all the photos
Jimi Hendrix, via Wiki Commons
Jimi Hendrix would have turned 75 this week. In his brief 27 years and even briefer musical career, Hendrix left an indelible mark upon guitar playing and rock music, permanently transforming both art forms. But perhaps in some ways his most lasting impact came from a project completed just three weeks before his death–the opening of Electric Lady Studios at 52 West 8th Street in Greenwich Village. On August 26th, 1970, the studio opened, the only recording artist-owned studio at the time. It provided Hendrix with affordable studio space that would also meet his personal technical and aesthetic specifications.
Kicked off by an opening party near summer’s end, Electric Lady Studios was the location of Hendrix’s last-ever studio recording–an instrumental known as “Slow Blues”–before his untimely passing on September 18, 1970. Fortunately, this was only the beginning of the studio’s incredible run recording some of the greatest rock, hip hop, and pop albums of the last nearly half-century and only the latest incarnation of one of the Village’s most unusual and storied structures.
The whole history here
The Stuyvesant Casino in 1945, via the Swedish Buck Johnson Society (L); The Ukrainian National Home Today, via Wally Gobetz/Flickr (R)
On 2nd Avenue, just south of 9th Street at No. 140-142, sits one of the East Village’s oddest structures. Clad in metal and adorned with Cyrillic lettering, the building sports a slightly downtrodden and forbidding look, seeming dropped into the neighborhood from some dystopian sci-fi thriller.
In reality, for the last half century the building has housed the Ukrainian National Home, best known as a great place to get some good food or drink. But scratch the surface of this architectural oddity and you’ll find a winding history replete with Jewish gangsters, German teetotalers, jazz-playing hipsters, and the American debut of one of Britain’s premier post-punk bands, all in a building which, under its metallic veneer, dates back nearly two centuries.
Learn this fascinating history
Artist’s studios on Bleecker Street, via GVSHP
With fall’s arrival and the turning back of the clocks, sunlight becomes an ever more precious commodity. Perhaps no New York living space is more centered around capturing and maximizing that prized amenity than the artist’s studio, with its large casement windows and tall ceilings. So with sunlight at a premium, let’s conduct a brief survey of some of the most iconic artist’s studio windows in the Village and East Village.
But first, a little history
1980s photo of the Alamo surrounded by mural, vendors, & musicians. © Greenwich Village Society for Historic Preservation Image Archive.
On November 1, 1967, an enigmatic 20-foot-tall cube first appeared on a lonely traffic island where Astor Place and 8th Street meet. Though several months before the release of “2001: A Space Odyssey,” the one-ton Cor-Ten steel sculpture shared many qualities with the sci-fi classic’s inscrutable “black monolith,” at once both opaque and impenetrable and yet strangely compelling, drawing passersby to touch or interact with it to unlock its mysteries.
Fifty years later, Tony Rosenthal’s “Alamo” sculpture remains a beloved fixture in downtown New York. Like 2001’s monolith, it has witnessed a great deal of change, and yet continues to draw together the myriad people and communities which intersect at this location.
Learn about the cube’s entire 50-year legacy
Crane with wrecking ball mounted on the trestle. Photo by Peter H. Fritsch (1962). Photo courtesy of the Greenwich Village Society for Historic Preservation/Fritsch Family Collection.
Few structures have had a more far-reaching impact upon the West Village and Chelsea than the High Line. Its construction in 1934, then partial demolition in the early ’60s, and final preservation and conversion into a park a decade ago have profoundly shaped the way these neighborhoods have changed over the last 85 years. And while photos of its heyday and those of it today as an internationally recognized public space are plenty, few exist of those interim years. But GVSHP recently acquired some wonderful images of the High Line being demolished in 1962 at Perry Street, donated by the Fritsch Family who lived nearby at 141 Perry Street.
The Fritschs’ photos say a lot about how the High Line, and its demolition, changed the West Village. It’s apparent from the images just how much more industrial, and gritty the Far West Village was in those days. But it also shows how the demolition of the High Line left a huge gap in this unpretentious neighborhood, which housed both disappearing industry and a diverse and vital residential community.
See the other photos and learn the whole history