The Lost Prisco State Bank - 73 Mulberry Street

 

photograph by Wurts Bros. from the collection of the Museum of the City of New York

Born in Italy in 1876, Raffaele Prisco arrived in New York City in 1901, "a penniless immigrant," as recalled by The New York Times decades later.  He and his wife had three sons, Henry, George W., and Joseph.

Prisco found success in his new homeland and on July 13, 1914 he founded the Prisco Bank, a private institution.  His work within the Italian immigrant community had led the Government of Italy to make him a Chevalier of the Crown of Italy and he proudly signed the state's paperwork, "C. R. Prisco," or Chevalier Raffaele Prisco.  George W. and Joseph W. Prisco became vice-presidents of the Prisco Bank, while Henry pursued a law career.

Prisco gained additional popularity within the community by conspicuous acts.  That was the case on November 4, 1926 when he "created a small riot in Mulberry Street by throwing handfuls of new dimes to hundreds of children who had gathered in the street outside his bank," reported The New York Times.  The article said it was Prisco's way of celebrating Alfred E. Smith's re-election as Governor.

In the meantime, in their private lives Prisco and his sons exhibited much less attractive attributes.  Raffaele was closely allied to Tammany Hall and became a close ally of Benito Mussolini.  It was George, however, who first showed a dark side.  In 1918 he was tried twice for assaulting a 16-year-old girl and acquitted both times.  Her mother, Elizabeth Schroeder, won a $5,132.10 decision in a civil suit two years later.  (It was a major win for the girl, equal to more than $82,000 today.)

George married his wife, Grace, on June 2, 1920.  The bride quickly discovered that she was in an abusive relationship.  Charging "cruel and inhuman treatment," she filed for separation  seven months later, on January 25, 1921.  She told the judge in part:

I was compelled to wear two old skirts previously worn by my mother-in-law.  I had to wear my husband's socks.  I had no coat, so I wore one given to me by my mother-in-law.  It was thirteen years old.

My husband left me alone at night to take other girls on motor trips.  He refused to take me with him to Cuba when he went on November 20, 1920.  He ordered me not to laugh.  He refused to speak English in my presence.  

George, additionally, told Grace that he had a girlfriend and once woke her up simply to tell her that he was in love with that woman.

Joseph Prisco was in the news three months later.  He and his chauffeur, James Whitcroft, offered a ride to two school teachers, Marjorie Foster and Leonore Nornelle.  The women testified that Whitcroft drove them "to a lonely neighborhood in Flatlands" and the two men made physical advances.  "The young women jumped out of the auto," reported The Evening World on April 27, 1921.  Prisco and Whitcroft were arrested.  "Prisco put up bail for himself and the chauffeur," said the article.

In 1923, Raffaele Prisco commissioned the architectural firm of Koch & Wagner to design an impressive bank building at 73 Mulberry Street.  Costing $40,000 to erect (about $753,000 in 2026 terms), the marble-faced, neo-Classical-style edifice  was completed in 1924.  It featured a bronze entranceway within a column-flanked arch that echoed Classical Roman triumphal arches.  (The building was strikingly similar to C. P. H. Gilbert's Italian Savings Bank on East 116th Street, erected the previous year.)

Koch & Wagner's design was remarkably similar to C.P.H. Gilbert's Italian Savings Bank (above), erected a year earlier.  photograph by Wurts Bros. from the collection of the Museum of the City of New York

On February 20, 1924, The New York Times reported on the bank's formal opening.  "Raffaele Prisco escorted [Police] Commissioner Richard E. Enright and the other newly elected directors through the premises," said the article.

Suspiciously, the day after the Prisco Bank building opened, "a rumor whispered over the telephone," as reported by The New York Times, caused a run on the Italian Savings Bank on East 116th Street.  "Throughout the afternoon the bank officials were kept busy explaining that the bank was solvent and that there was no reason for the report of failure," said the article.  The panicked depositors withdrew their savings and rushed downtown to 73 Mulberry Street.

The New York Times reported on February 22, "police of the Oak Street Station were called to restrain would-be depositors who wanted to put their money in the Prisco Bank...About 2,000 depositors were added to the bank's clients yesterday.  Many were peddlers.  The deposits ranged from $50 to $1,000."  

The article noted, "The bank is soon to be organized as a State bank."  That took place in August 1924 and bronze letters announcing "Prisco State Bank" were installed under the "Prisco Bank" name carved into the marble parapet.

On June 14, 1925, Raffaele Prisco sailed to Italy, "to establish a branch bank  in Naples," said The New York Times.  His wife and son George accompanied him on the voyage.  Standing on the pier to send them off was a group of officials that included Richard Enright, Congressman Fiorello La Guardia, and at least two judges, Rueben Haskell and John P. Cohalan.

The article mentioned, "Mr. Prisco expects to meet Premier Mussolini, whom he has known for many years," adding, "He plans to erect a monument at Giuseppe, his native village, near Naples, to the soldiers who died in the war."

Workers clean Mulberry Street in front of the bank in 1927.  from the collection of the New York Public Library

George Prisco's disturbing treatment of his first wife paled in comparison to the abuse his second wife, Marie, suffered.  George married the 20-year-old in October 1925.  Three months later, at 2:00 on the morning of November 10, Prisco telephoned the night clerk of the Hotel St. George in Brooklyn, "asking him to send a physician to Room 593, where his wife had been injured in an accident."  The house physician rushed up to find Marie bleeding from a gunshot in the abdomen.

A terrified Marie told police that George had been in the bathroom and his pistol was on the dresser.  She said, "in moving it to one side it had slipped to the floor and gone off."  It was not long before officials debunked the couple's story.  Three weeks later, District Attorney Charles J. Dodd asserted that medical examinations proved that the injury "could not have been self-inflicted and that Mrs. Prisco's dress was scorched, indicating that the pistol must have been fired at close range."

George Prisco had disappeared and the family "professed ignorance" as to his whereabouts, reported The New York Times on November 17.  Marie Prisco told reporters, "I'm so sorry I made the mistake of marrying him.  He's not worth talking about."

On August 28, 1931, Superintendent of Banks Joseph A. Broderick closed the Prisco State Bank upon the discovery of "embezzlements totaling about $130,000," reported The New York Times.  The defalcation would turn out to be slightly more.

Joseph W. Prisco fled Manhattan.  He was arrested in Ocean Grove, New Jersey on August 7.  The New York Times reported that he faced "three indictments [that] accuse him of taking $133,000."  Raffaele Prisco had already been arrested for the embezzlement and "in connection with the disappearance of $17,000 in Italian Government bonds placed in the bank for safe-keeping."  Little by little, additional fraudulent dealings and missing funds were discovered by investigators.

Push cart vendors lined the curb in front of the bank.  from the collection of the New York Public Library

On August 3, 1931, a reader of the Daily Worker vented his wrath in a letter to the editor.  It started saying, "Just a few lines to expose the capitalist crooks."  He noted, "The majority of the poorest Italian people had money in this bank" and went on to say, in part:

Three months ago a friend of mine sent $29 to his sick father in Tauroso, Italy, through this bank, but no money has been received as yet.  A month after the depositing of this money in the Prisco Bank, my friend went to the bank to protest against the money not being forwarded.  The officials of the bank told my friend that a mistake had been made, but that the money would be sent at once by telegram.  Three months have passed now and no money has been received by the sick father.  How many people have lost their money in the same way would be hard to say, but we can safely say that there have been many.

On February 17, 1932, Raffaele Prisco was sentenced to no less than three years in the penitentiary and Joseph W. Prisco to up to five years.  Henry Prisco was in the courtroom during the sentencing.  He stood up, pointed toward a group of lawyers standing near the judge and blurted, "I'll get you fellows!"  As Henry was being hustled out of the courtroom, he turned to his brother's and father's attorney, Caesar B. F. Barra, and shouted, "I'll get you, too, Barra!"

The marble bank building sat vacant for another eight years.  It was demolished in 1940--just 16 years after opening--to be replaced by a two-story brick store-and-apartment building.

photograph via traveladvisor.com

The 1894 Elmendorf Reformed Chruch - 171 East 121st Street

 

photo by Anthony Bellov

The Harlem Reformed Low Dutch Church was founded in 1660.  Its third house of worship was erected on the northwest corner of Boston Road (today's Third Avenue) and 121st Street in 1825.  Designed by Martin E. Thompson, it was described by the Reformed Church in America a century later as "a frame colonial church."   Its clapboard, neo-Georgian design was fronted by a dignified columned porch.

Martin E. Thompson's wooden church sat within a rural landscape.  from the collection of the New York Public Library

In 1884 the once bucolic Harlem neighborhood was seeing rapid development.  In an astonishing and highly difficult move, the trustees of the Harlem Reformed Low Dutch Church turned its structure on its axis.  Its Greek-inspired portico now faced East 121st Street.  (The new configuration left the valuable corner property vacant and ripe for lucrative developing.)

Reverend Joachim Elmendorf took the pulpit in 1886, at a time when the district's burgeoning population necessitated an additional Dutch Reformed congregation.  A year earlier, construction had commenced of what would be called the Second Collegiate Church on West 123rd Street and Lenox Avenue.  The Harlem Reformed Low Dutch Church was renamed the First Collegiate Church.

The influential Rev. Joachim Elmendorf was born in 1827.  (original source unknown)

In 1893, the congregation commissioned architect John Ireland to design a multi-purpose parish house next door at 169-171 East 121st Street.  Completed the following year, the L-shaped structure was design in the neo-Classical style.  The western section hugged the property line, its second story taking the form of an imposing Greek temple.  Here shallow Doric pilasters separated the tall, fully-arched openings below a modillioned triangular pediment.  The building was accessed by an arched entrance flanked by paired Doric pilasters.  The second floor of this section was dominated by arched windows embraced by a large arch.

image via the New York Public Library

The stone facade disguised the fact that the parish house and Sunday School building was built mostly of wood.  The flammable material nearly caused its destruction at 6:05 on the evening of January 3, 1907.  The Annual Report of the Committee on Fire Underwriters described the blaze that broke out in the "two story frame building" as a "prominent fire."

The parish house snuggled up to the western edge of the 1825 church building, which now faced 121st Street.  New Harlem Past and Present, 1903 (copyright expired)

Reverend Joachim Elmendorf died on June 19, 1908 at the age of 81.  It is unclear if he lived to see the renovations that would transform the parish house and Sunday School building into the congregation's worship space.  The 1939 Reformed Church in America would recall that the "parish house...was rebuilt [in] 1907 and dedicated [in] 1908."  With the renovations completed, Martin E. Thompson's magnificent 1825 church next door was razed.

In 1940, a vacant lot marked the site of the original church.  The property remains a vacant lot today.  via the NYC Dept of Records & Information Services.

Henry P. Hammoxan attended services here on Sunday night, May 30, 1909.  But his presence was not prompted by religious piety, but by a drunken mistake.  The New-York Tribune explained that he "thought when he went into the church and began to climb the stairs to the gallery that he was in the Sylvan lodging house, which is next door, and where he intended to sleep off the result of a day's hard work picking the lemon peel out of high balls."

Suddenly the service was interrupted by a horrific crash that caused some worshippers to think, according to the New-York Tribune, "the gallery was falling down."  Just as Henry Hammoxan made his way to the top step, the organ bellowed the first notes of a hymn.  So startled was the inebriated Henry "that he just fell back and went downstairs end over end."  He suffered a broken ankle and was taken to Harlem Hospital.

On November 2, 1911, The New York Times reported that the Harlem Collegiate Reformed Church was "to change its corporate name to the Reformed Church of Harlem."  The Second Collegiate Church now took that name and the First Collegiate Church was renamed the Elmendorf Chapel.  The New-York Tribune explained, "it has been made a mission to the Lenox Avenue Collegiate Reformed Church, at 123d street."

The changing face of the Harlem neighborhood was reflected in a comment in the 1915 New York Charities Directory.  The listing said that Elmendorf Chapel "maintains a gymnasium and industrial classes."  Industrial classes provided instruction in skills that would provide young boys an income later in life--like woodworking and metal working, for instance.

Reverend Floyd Decker, who was installed in January 1912, was "active among the poor and sick of the upper East Side," according to the New-York Tribune.  Born in Sussex County, New Jersey in 1878, he graduated from the New Brunswick Theological Seminary in 1901.  Under his pastorship, the Elmendorf Chapel congregation provided aid to sick and indigent Harlemites.  On the day before Thanksgiving in 1920, for instance, "food was distributed by children of the Sunday school," reported The New York Times.

On March 5, 1934, the congregation celebrated its 40th anniversary in the renovated building.  In reporting on its rededication, The New York Times reminded readers that Elmendorf Chapel was "one of New York's oldest churches, tracing its origin back to 1665 [sic]."

At the time of the article, two congregants in particular had been long-time members.  John G. Williams took the job of the church's organist and choir master in 1888.  Never married, he was born around 1855 in New York City and "was a pupil of its leading piano and organ teachers of the time," according to The New York Times.  The newspaper said, "Several generations of choir boys, in whom he took not only a professional but a personal interest, came under his guidance during his long service."  In September 1941, Williams became ill and he died two weeks later after serving Elmendorf Chapel for 53 years.

Isaac D. Hammond became a sexton in 1890.  Like Williams had done, he remained in his position until his death in February 1947 after 57 years of service.

In the second half of the century, the Elmendorf congregation became an independent church.  Its name was again changed, now known as the Elmendorf Reformed Church.

Around 1668, the Low Dutch Reformed Church of Harlem established what a 1910 sketch described as "a negro burying ground" at around today's First Avenue between 126th and 127th Streets.  As Harlem developed, the location was forgotten and in the 20th century a New York City Transit bus depot was erected on top of it.  Then, early in the 21st century, interest was renewed.  On January 19, 2009, The New York Times reported that the African burial ground was "awaiting discovery," saying, "There will be no way to know for certain until the soil is dug up, but the prospect of such a discovery is being greeted both anxiously and eagerly by a couple of stewards of Harlem history."

Among those speaking out was Reverend Patricia A. Singletary, pastor of the Elmendorf Reformed Church, who insisted that the site should be protected and commemorated should the cemetery be confirmed.  She told The New York Times, "Remember, this site represents the beginning of Harlem's existence."

An archeological survey, indeed, confirmed that the former bus terminal sat upon the Low Dutch Reformed Church of Harlem's "negro burying ground."  The Elmendorf Reformed Church joined with other groups to form the Harlem African Burial Ground Task Force to protect the site.

photograph by Beyond My Ken

The Elmendorf Reformed Church continues its work in the former 1894 parish house.  Displayed in the sanctuary is a bell, cast in the Netherlands in the 17th century.  

many thanks to Anthony Bellov for suggesting this post

The Lost Thomas P. Rossiter Mansion - 11 West 38th Street

 

To the left, a sliver of 13 West 38th Street, remodeled simultaneously by Hunt for Eleazar Parmly, can be glimpsed.  from the collection of the Library of Congress.

Born in New Haven, Connecticut in 1818, Thomas Prichard Rossiter was well established as a painter of portrait and historical scenes by 1851.  In 1838, at the age of 20, he exhibited two paintings at the National Academy of Design and the following year moved to New York City.  He was elected to the National Academy in 1849.

In 1851 he married Anna Ehrick Parmly, the daughter of wealthy dentist and poet, Eleazer Parmly.  The newlyweds sailed to Europe, settling in Paris in 1853.  Rossiter won a gold medal at the Universal Exposition in 1855 for his Venice in the Fifteenth Century.  

In the meantime, in September 1854 a son, Ehrick Kensett, was born.  The following year a daughter, Charlotte C., arrived, and Anna Rosalie was born in March 1856.  Shortly after Anna's birth, Anna Parmly Rossiter died at the age of 26.

Thomas brought his children back to New York City.  At the time, 30-year-old architect Richard Morris Hunt had relocated to New York from Washington where he had worked on the renovation and expansion of the U.S. Capitol building.  He began work on the design of the Tenth Street Studios Building, the first structure in America designed specifically for living-and-studio spaces for artists.  It was this work, almost assuredly, that brought Rossiter and Hunt together.

Peter Paul Duggan created this black crayon drawing of Thomas P. Rossiter.  from the collection of The Frick

Rossiter and his father-in-law gave Hunt his first domestic commission in New York--two mansions at 11 and 13 West 38th Street.  The neighborhood, just feet from Fifth Avenue, was filling with sumptuous mansions as Manhattan's millionaires inched up the avenue.

Completed in 1857, the Rossiter house at 11 West 38th Street was faced in red brick and trimmed in stone.  The artist's deep interest in history may have influenced Hunt's neo-classical design.  He striated the first floor, above a short stoop, by alternating red brick with stone bands.  The arched entrance sat within a portico supported by banded and fluted columns, and neo-Classical swags decorated the entablature.  The composition was copied at the easternmost window to preserve balance.  

Three grouped floor-to-ceiling windows at the top floor were fronted by a stone balcony and flanked by niches, intended for statues.  Thrown open, the windows flooded Rossiter's studio with natural light.

Richard Morris Hunt's watercolor rendering.  from the collection of the Library of Congress.

Interestingly, Dr. Eleazer Parmly, unlike Rossiter, refused to pay Hunt for the supervisory portion of the project.  Hunt finally sued the dentist and won.  Later, in 1896, Engineering Magazine would credit Hunt's lawsuit for establishing "a uniform system of charges by percentage."

In his new mansion and studio, Rossiter began work on large canvases, including George Washington and Family, Washington and Lafayette at Mount Vernon, and Washington and His First Cabinet.  As part of his research for those works, in June 1858 he traveled to Mount Vernon.

Rossiter completed Washington and Lafayette at Mount Vernon 1784 in his 38th Street studio in 1859.  from the collection of the Metropolitan Museum of Art

The West 38th Street mansion was filled with antiques.  The Springfield Weekly Republican would later recount,

There were large objects of furniture, such as an oak altar-piece, an oaken buffet of the 14th century, and a sarcophagus of the same age, all quaintly carved with elfish heads, figures of animals, flowers and clusters of fruit.  Also a 13th century armoire, or sideboard, ornamented with Byzantine carving.

In 1860, Thomas Rossiter married Mary Sterling, known as Mollie.  The family moved to Cold Spring, New York and Rossiter's brother-in-law, Ehrick Parmly, moved his family into 11 West 38th Street. 

Born in 1830, Ehrick Parmly, like his father and brother, was a dentist.  All three shared an office at 3 Bond Street.  (David R. Parmly lived in New Jersey.)  Ehrick's wife was Lucie Dubois and the couple had a son, George Dubois, when they moved into 11 West 38th Street.  Another son, John Ehrick, was born in 1861 and a third, Dalton, in 1872.

By the time of Dalton's birth, the Parmly family had been gone from the house for about eight years.  It was now home to Israel David Salomon (who went by his middle name) and his wife, the former Henrietta Luna Hendricks.  Salomon was born in 1820 and Henrietta in 1827.  The couple was married in 1864 and moved into 11 West 38th Street.  Two sons would be born in the house, Salomon in 1865 and Sidney Hendricks two years later.

Also living with the family was David's brother, Benjamin Franklin Salomon, who was 35 years old in 1864.  A bachelor, he died on April 12, 1865.  His funeral was held in the drawing room on the 14th.

In 1870, Douw Ditmars Williamson, Jr. and his wife, the former Mary Frances Dodd, moved into the house.  Born in New York City on November 15, 1830, Williamson graduated from Peekskill Academy in 1844.  Although educated in engineering, he entered business as a clerk.  But his mundane business life turned to the stuff of pulp novels starting in 1849 when he traveled to South America.  The 1896 Genealogical Records of the Williamson Family in America recorded:

In 1851 [he] went to Panama and Ecuador; was ten days crossing the Isthmus on a mule; was with Garibaldi in Havana when Crittenden and his filibusters were shot, and was followed by soldiers, day and night, on his return home.

Back in New York, Williamson married Mary Dodd on November 1, 1853.  The couple would adopt George Norman Williamson, the infant son of Douw's brother, Nicholas.  Then, in 1863, they adopted Cornelia Bodwell, the infant daughter of Mary's sister, Abby Lyman Dodd Bodwell.

In the meantime, Williamson and his brother, Nicholas, founded the Novelty Rubber Co.  Douw Williamson was, as well, an inventor and in 1870 designed an improved traction engine and a steam plow.

Douw Ditmars Williamson, Jr., from the collection of the Century Association.

Despite his swashbuckling past, the Century Association described Douw D. Williamson as "of a retiring, quiet disposition."  Ever expanding his resume, in 1875, he established a chemical works in Long Island City.

The new St. Patrick's Cathedral opened on May 25, 1879.  Its architect, James Renwick, Jr., immediately began designing the archbishop's residence and rectory at the southwest corner of Madison Avenue and 51st Street.  In the meantime, the archdiocese leased the former Williamson mansion.  Four years later, on April 25, 1882, the New York Herald reported, "The new residence of Cardinal McCloskey, which stands back to back with the Cathedral...is very nearly ready to be occupied."  

Cardinal John McCloskey.  from the collection of the New York Public Library

Born in March 1810, Cardinal John McCloskey was appointed the second archbishop of New York by Pope Pius IX on May 6, 1864.  At the time of the New York Herald's article, McCloskey was in ill health.  It explained, "it is said that the Cardinal will not move until his health is better.  His home is at present at 11 West Thirty-eighth street, from which the furniture is now being removed."

Next to occupy the mansion was lace importer Richard Muser and his wife, Cecelia.  On January 4, 1885, The New York Times reported that a defective flue in the basement had started a fire in the house.  It resulted in $500 worth of damages, or about $16,800 in 2026.  On August 13, 1893, The New York Times reported that three days earlier Richard Muser's body had been discovered "at the lodge gate of his Summer home at Suffern, N.Y., with two bullet holes in his head."  The newspaper said there were "divided opinions as to the cause of his death."

The Musers had left West 38th Street several years earlier.  By 1889, No. 11 was home to John O. Donner, his wife, the former Mary Elizabeth Van Arsdale, and their teenaged daughter.  The New York Times described Donner as a "prominent and wealthy man, connected with Havemeyer & Elder in the sugar business."  The family's country estate was in Ramsey, New Jersey.

Mary Donner was experiencing health issues at the time, and on July 17, 1889 she sailed to Europe for treatment.  Accompanying her was her daughter; Mary's physician, Dr. Ruppaner; a nurse; a governess; and the daughter of Marshall T. Davison (apparently as a companion of the Donners' daughter).  The doctor left the party in Vienna and they traveled on to San Remo, Italy.

In February 1890, John O. Donner received a cable informing him that Mary was "in a critical condition," as reported by The New York Times.  He sailed on the steamer Zoller on February 26.  On March 1, The New York Times reported that a cablegram from San Remo announced the death of Mary Elizabeth Van Arsdale Donner.  The article said, "He will not hear of her death, therefore, until he arrives in Europe."

The West 38th Street residence next became home to Elbert Ellery Anderson and his family.  Born in 1833, he was the son of Henry James Anderson, a renowned professor of mathematics and astronomy, the grandson of librettist Lorenzo Da Ponte (who brought Italian opera to America), and a descendant of Founding Father William Ellery, from whom Elbert got his middle name.  As a teen, Elbert accompanied his father on a Dead Sea expedition.  He famously carved his name "E. E. Anderson" onto the wall of the Temple of Abu Simbel, which is visible today.

Elbert Ellery Anderson (original source unknown)

Anderson served in the Civil War, after which he began his law practice.  In 1887, President Grover Cleveland tasked him to investigate the Union Pacific and Central Pacific Railways.  He and his wife, the former Augusta Chauncey, had two children, Henry James and Peter Chauncey.

Peter Chauncey married May Ogden and brought his bride to live in the West 38th Street mansion.  Their daughter, May Ellery, was born in 1891.  The little girl died at the age of 10 on November 9, 1901 and her funeral was held in the house two days later.

On February 24, 1903, The Chicago Tribune reported that Elbert E. Anderson "went to a matinée with his eldest son on Monday afternoon and spent the evening with his family.  About 5:30 this morning Mrs. Anderson heard him call for assistance.  He was almost unconscious when she reached his bedside, and he died in a few minutes."

Anderson's funeral was too large to hold in the house.  It was held in the Church of the Transfiguration on February 27.  Within the church were judges, politicians, and military figures.  The New-York Tribune reported that his estate "would probably be found to be nearly $1,000,000."  (That figure would translate to about $36.8 million today.) 

Peter Chauncey Anderson and his family remained in the house until 1912, when it and the neighborhood mansions were demolished to make way for the Lord & Taylor department store building, completed in 1914.

photograph by Jim Henderson

The Lost Union M. E. Church - 227-233 West 48th Street

 

When this photograph was taken in 1907, the church was surrounded by high-stooped brownstones.  photograph by Byron Company, from the collection of the Museum of the City of New York.

The congregations of St. John's Methodist Episcopal Church and the Bloomingdale Methodist Episcopal Church merged in 1893.  In April 1894, the trustees purchased "two three-story brick dwellings," as described by the Record & Guide, at 227 and 233 West 48th Street for $38,000.  The following month, architects Weary & Kramer filed plans for a "three-story brick church" to cost $60,000 on the site.  The total outlay for the congregation would translate to about $3.5 million in 2025.  George W. Kramer would take the reins for the project.

The cornerstone was laid on October 31.  It held numerous items, including that day's issues of several newspapers, a Bible and Methodist hymnal, and photographs of the trustees.  Seven months later, on June 2, 1895, the dedication services were held.

The New York Times remarked, "The edifice was crowded, and expressions of admiration of its interior architectural splendor were heard on all sides."  Kramer had produced a neo-Classical structure with 17th century precedents.  Its central, temple form featured double-height Ionic pilasters, arched stained glass windows and oculi.  Above the third floor, dominated by grouped openings, was a triangular pediment with neo-Classical carving.  Flanking pavilions, which held the two entrances, were decorated with carvings that echoed those within the pediment.

from The What, How and Why of Church Building, 1897 (copyright expired)

The affluence of the congregation was reflected in its professional choir.  On April 15, 1898, The Jewelers' Circular reported on the appointment of the "tenor soloist," Charles C. Rice.  He had been spirited away from the Church of the Epiphany.  The article said he, "is known in the ecclesiastical musical world as a 'pure English tenor' voice" and had trained "as a chorister in an English cathedral" and in the London Academy of Music.

The Union Methodist Episcopal Church was highly involved in missionary work.  On April 28, 1900, the New-York Tribune reported, "Industrial training was discussed at the Union Methodist Church, in West Forty-eighth-st., yesterday."  Missionaries who had traveled here from as far as Japan and India stressed the need to have organized industrial schools in underdeveloped areas.

A policeman surveys the street from atop of the church stairs.  photograph by Byron Company, from the collection of the Museum of the City of New York.

The following week, the newspaper reported, "The dawnings of Christianity in Darkest Africa were portrayed with striking effect at the Union Methodist Church," and on November 22, the New-York Tribune announced, "Work among the Chinese women and girls in San Francisco was described yesterday by Miss Margarette Lake at the annual meeting of the Woman's Home Missionary Society, New-York district, in the Union Methodist Episcopal Church."

Just 13 years after the structure was completed, on July 4, 1908 The New York Times reported that plans had been filed for remodeling the church.  They called for a new "ornamental facade of limestone, in Gothic design, with trimmings of terra cotta and bluestone."  For some reason, the major renovation (which would have cost half a million in today's dollars) did not go forward.

In 1912, the neighborhood was experiencing major change.  On June 29, The New York Times remarked, "The side streets in the Times Square vicinity have lost their old residential population and the district has become the theatre and hotel center."  In its June 1913 issue, The Edison Monthly underscored the changes, saying, "The Union Methodist Episcopal Church in West Forty-eighth Street is located in the centre of a block in the heart of the amusement district."

In its article, The New York Times mentioned, "Several offers have already been made for this church property."  But the congregation chose, instead, to remain.  And in an "if you can't beat them, join them" move, the Union Methodist Episcopal Church installed its own massive, Times Square-worthy lighted sign in 1920.  On August 27, The New York Times said, "The biggest electric church sign in the United States is being made for the Union Methodist Episcopal Church...It will aim to outshine all the advertisements of plays, movies, cabarets, gums, prohibition and other joys."

Two months later, on October 4, the newspaper reported, "Bishop Luther B. Wilson of the Methodist church last evening pressed a button and illuminated for the first time a great sign, twenty feet high, in front of the Union Methodist Church."  The article said, "The sign cost cost $3,000, and it is all paid for.  It will cost $1.50 an hour to keep it lighted."

from the collection of the New York Public Library

Continuing the church's adaptation to the neighborhood, Rev. Dr. John G. Benson opened its doors to theatrical figures.  In its August 1921 issue, Equity headlined an article, "Union Methodist Church Welcomes Actors."  Indeed, by now, said Rev. Benson, the "congregation [is] made up mostly of theatrical people and has received into its membership people of the profession."  He added, "Our Social center is always open for the theatrical people."

The social center that Benson mentioned was described by the Directory of Social Agencies that year as "A community center providing reading room, dormitories, noon luncheon for women, clubs, social clinic, movies, etc."  The dormitory, said Benson, "has been filled every night since it was open last October, and most of the time with theatrical girls."

Rev. Benson proactively battled against the prevailing Methodist opposition to the theater.  On March 5, 1921, he invited 50 students from Drew Theological Seminary to the Longacre Theatre to see The Champion.  "Most of them said it was the first time they had seen a stage play," reported the New York Herald.

At some point during the Great Depression, the electric sign was replaced with a much understated version.  via the NYC Dept. of Records & Information Services.

Theaters were devastated by the Great Depression as families spent their money on essentials rather than recreation.  On November 20, 1931, The New York Times reported, "An 'actor' mess kitchen where unemployed theatrical performers may dine without cost will be opened...in the basement of the Union Methodist church."  The Actors Kitchen and Lounge remained for years, although in March 1935 a charge of 30 cents for meals was enacted.  The New York Times remarked that between 300 and 400 guests were accommodated between 5 and 7:30 each evening.

With the Depression over and America fighting in World War II, the former Actors Kitchen and Lounge was revamped as the Servicemen's Lounge.  On May 3, 1943, The New York Times explained that the three-room lounge had been "entirely redone by a woman interior decorator."  The reading room had been renovated, as well.  "More than 100 men attend Wednesday evening, Thursday, and Saturday night dances," said the article."

Newbold Morris (left) and Postmaster Albert Goldman flank actress Audrey Christie as she cut a the Lounge's birthday cake in the Servicemen's Lounge in March 1944.  Army Life, March 1944.

The close relationship between the church and the theatrical community was evidenced on October 5, 1947.  The Actors Studio, which had been organized the prior evening, opened for business here.  It was the first home of the famous organization, which would move several times before settling permanently at 432 West 44th Street.

Two years later, the Union Methodist Episcopal Church was demolished, replaced by a parking lot.  

The 1931 Union League Club - 38 East 37th Street

photograph by ajay_suresh

A membership to an exclusive social club was obligatory for high society gentlemen in the 19th century.  In 1863, 70 well-to-do New Yorkers added another, forming the Union League Club.  The New York Times, reported, "The only requisite for membership, besides unblemished reputation, should be an uncompromising and unconditional loyalty to Nation and a complete subordination thereto of all other political ideas."

The new venture was successful, with the Union League Club equaling or surpassing the Union Club as New York City's most distinguished gentlemen's social club.  In March 1881, it opened the doors to its sumptuous new clubhouse on Fifth Avenue at 39th Street.

The neighborhood around the clubhouse gradually changed over the decades.  On February 10, 1929, The New York Times remarked, 'The removal of the Union League Club has been rumored for several years, because of the northward trend of trade and towering business establishments."  President of the club, Alfred E. Maring added that, "some of the members have expressed a desire for newer quarters, maintaining that the present clubhouse lacks some modern conveniences."

At a meeting on February 25, 1929, the members voted to sell the leasehold of the current clubhouse.  A $3 million budget was authorized to purchase property and erect a new structure.  The proposed site, at the southwest corner of Park Avenue and 37th Street, was currently occupied with the former mansions of Robert Winthrop, John Crosby Gage, and the current home of Annie Burr Jennings.

On September 12, 1929, architect Benjamin W. Morris "submitted plans to the membership for the first time," reported The New York Times.  The article noted the building would cost "about $1,000,000."  

Benjamin Wistar Morris's rendering was published in The New York Times on December 29, 1929.

Ground was broken in December 1929.  The New York Times said that edifice would be "constructed of red brick with generous use of limestone trim.  The general character of the architecture is that of the eighteenth century, English and Colonial."  Morris's interiors, said the article, "have been developed to preserve the atmosphere which time has lent to the old clubhouse" and would "reproduce as far as possible the arrangements with which the members are familiar."

The cornerstone was laid on June 4, 1930 and construction was completed in November 1931.  The eight-story building's neo-Classical design was greatly influenced by Georgian prototypes.  In the end, the project went far above budget.  On February 24, 1931, The New York Times had reported, "Its cost was put at well above $4,000,000 yesterday."  

The two-story entrance on 37th Street sat within a bowed pavilion dignified by Corinthian pilasters.  Above it was a stately Palladian window crowned with a beefy limestone voussoir.  

photograph by M. M. Dwyer

Along with offices and a visitors' room on the ground floor was an art gallery.  The first floor consisted of a "club lounge," billiard room and cafe.  On the second floor were the "club hall" and library.  The main dining room and private dining rooms occupied the third floor.

Wives and other female guests entered on Park Avenue.  They would take a "special elevator," as described by The Times, to the fourth floor, the front of which, said the article, "is given up to the ladies' dining room and the ladies' lounge."  The remainder of the floor held squash courts and the gymnasium.

The women's entrance can be seen on Park Avenue in this 1931 photo by Wurts Bros.  from the collection of the Museum of the City of New York.

The upper floors held 63 bedrooms, each with a private bath, described by the newspaper as "better than the ordinary hotel rooms."  The article commented, "A feature of the new building will be a golf practice room.  Adjacent to this is a room devoted to all sorts of Turkish baths, &c., for the use of the members."

A surprising detail that Benjamin W. Morris included in the plans was a bar.  On February 24, 1931, The New York Times explained, "In the expectation that prohibition will end soon, provision has been made at the new clubhouse of the Union League Club...for the operation of a large, sumptuous bar, when and if the land goes wet, to attend to the tastes of the members who have shown themselves in recent tests to be preponderantly wet."

The Union League Club held a farewell dinner in the old clubhouse on January 19, 1931.  The new building was formally opened with a private dinner on February 12.  In reporting the event, The New York Times remarked, "President Hoover, who like all Republican Presidents since Lincoln, is an honorary member, was unable to be present."

Eight years later, the Federal Writers' Project's New York City Guide commented, "Of the many professional, political, and social clubs in this section, the most famous is the Union League Club, which occupies spacious quarters in a modern building at 38 East Thirty-seventh Street."  Calling the club a "stronghold of Republican conservatism," it recalled, "During Theodore Roosevelt's Bull Moose insurgency the club signified its displeasure by banishing his portrait from the library, but after his defeat restored it to its original place."

The first exhibition in the art gallery in new building opened on November 12, 1931.  Consisting of only American artists, the exhibition included works by Karl Anderson, Hobart Nichols, F. Louis Mora, Chauncey F. Ryder and others.  

Art exhibitions became regular events.  On November 14, 1935, for instance, The New York Times reported, "The Metropolitan Museum of Art has lent twenty-seven paintings by American artists for a special exhibition at the Union League Club, to be opened today to card holders."

The affluent members of the Union League Club were not greatly affected by the Great Depression.  Nevertheless, they were not oblivious of the struggles of others.  On December 25, 1935, The New York Times reported, "The assembly room of the Union League Club on Park Avenue rang with the joyfulness of several hundred underprivileged children from the congested areas of lower Manhattan who were guests of the club yesterday at its annual Christmas party."

The following year, newspapers announced the upcoming preparations for the Christmas party.  Star baseball player Lou Gehrig would be here to hand out the Christmas presents, and the WPA Federal Theatre Circus was scheduled to provide a two-hour show for 200 "crippled and needy children."  After that, the young guests would enjoy a turkey dinner.  

The planned festivities piqued the attention of "a score of boys from the East River waterfront," reported by The New York Times.  They lurked around the neighborhood of the Union League Club on Christmas Eve.  When the busloads of children arrived, the boys moved in.  "Old hands at the art of 'gate-crashing' and the 'Tiny Tim racket,' they tagged onto the end of the first busload of afflicted youngsters and limped past the doorman," reported The Times.  Once inside, they dispersed among the crowd, donned paper hats and mixed within the joyful throng.

Lloyd Taylor, who was in charge of the affair, quickly noticed the uninvited guests.  He later told a reporter, "Well, it's Christmas."  

A major change to the venerable club came in 1937 when, on January 15, The New York Times reported, "The Union League Club, whose membership has been closed to all but Republicans since it was organized in 1863, voted last night to lift this restriction."

It would take decades for another restriction to be removed.  On February 20, 1953, a meeting of bankers "interested in auditing" was held at the Union League Club.  Bertie G. Hale, a vice-president of the Bank of Georgia, traveled from Atlanta to participate.  Unfortunately, as reported by The New York Times, "when Mrs. Hale presented herself she was turned away, informed that women were not permitted in the quarters where the meeting had been scheduled."

Three decades later, in July 1987, the New York City Human Rights Commission formally accused the Union League Club of discriminating against women.  A month before the trial was scheduled in November 1988, the club passed a resolution to admit women.  Perhaps sarcastically, Mayor Ed Koch commented, "They now accept [the law] fully, with a certain amount of joy."

While social changes affected the racial and gender mix within the Union League Club, one steadfast rule remained--the dress code.  While the outside world turned to sneakers, jeans and open collars, the necktie and jacket ruled within the clubhouse.  It was a rule that became stingingly evident to internationally known sculptor Mark di Suyero in 1989.

Di Suyero was scheduled to receive an award here from the Sculpture Center, an art school and gallery, on the evening of December 7 that year.  Newsday reported, "some 240 people were waiting to honor him," but the the guest of honor never made it to the venue.  He arrived wearing, according to his nephew, Enrico Martignoni, "a pair of white, high-top basketball shoes, a pair of pants and a couple of shirts and a sweater."  The doorman loaned him a jacket and tie, but the sculptor, in protest, put the jacket on backwards.  Neither the doorman nor the artist was willing to back down.  Di Suvero was not admitted and he left.  Newsday said, "Neither the Sculpture Center nor the Union League Club would comment."

photograph by Jim Henderson

Today, amid the trappings of paneled walls, chandeliers, and leather club chairs; and surrounded by oil portraits of distinguished former members, a visitor to the Union League Club experiences the civilized, hushed environment Benjamin Wistar Morris created nearly a century ago.

many thanks to Paul McNamara for hosting me and touring the club.