The 1929 240 East 79th Street

Frederick Godwin's upper floor design was created, mostly, by strategically placed small, medium and large-sized windows.

The Great Depression was one year away in 1928.  Raymond B. Fenner was the president of the newly formed 240 East 79th Street Corporation and that year the syndicate hired Godwin, Thompson & Patterson to design a 16-story-and-penthouse apartment building on the south side of East 79th Street between Second and Third Avenues.  Reportedly, Frederick Godwin was the lead architect on the project.  The plans, filed on December 10, 1928, projected the costs at $300,000, or about $5.6 million in 2026 terms.

For the most part, Godwin's Art Deco design was unexciting.  Faced in rough-faced variegated brown brick, its scheme relied greatly on the placement of fenestration and thin vertical lines of darker brick.  But the single-story base was another story altogether.

Godwin faced it with orange-hued tiles set off with vibrant mossy-green terra cotta.  At the corners were fluted pilasters topped with curved volutes that suggest that another half is hidden in the adjoining wall.  Similar pilasters flank two narrow windows, their caps fully formed and embracing an octagonal plaque of veined gray stone.  The tour-de-force is the entranceway.  Reeded gray stone pilasters on either side are topped with Empire State Building-like silhouettes.  Above the entrance, the address is announced in Art Deco lettering.  A sinuous hood, like a cresting wave or calla lily petal, sits above a large octagonal gray stone plaque.

On August 25, 1929 The New York Times reported that artist Ruth Carroll had been hired "to paint murals for the entrance hall of the new sixteen-story apartment house."  The article said, "Her paintings will depict the skyline, bridges and vistas of modern New York."  Two weeks earlier, the newspaper had reported that 240 East 79th Street "is rapidly nearing completion and is nearly 50 per cent leased."

An advertisement in Town & Country on September 15, 1929 offered three- or four-room apartments with one or two baths and "large living rooms, outside dining rooms."  Rents started at $1,350 a year, or about $2,100 a month in today's terms.  There were two "sky maisonettes" on the penthouse level.  An advertisement in The New Yorker noted that they included, "real kitchens."

Among those who signed leases during construction were Percy O'Gorman, advertising manager of Durham Duplex Razor Company; Dr. Claude E. Heaton; Dr. Anthony Fugassi; and Charles E. Gautier, secretary of J. H. Gautier Company, a crucibles firm.  

Taking one of the penthouses was the 24-year-old Charles Cavendish.  Upon his moving in, The New York Sun remarked on June 17, 1930, "Lord Charles, who is the second son of the Duke of Devonshire, is engaged in the banking business in New York."  Cavendish worked for J. P. Morgan & Co. and was romantically involved with Adele Astaire, the sister of Fred Astaire and his dancing partner.  The two had met in London in 1927.  Cavendish's residency here would be relatively short.  On October 23, 1931, Reuters reported that Adele "confirmed her engagement to Lord Charles Cavendish."  The couple was married in Chatsworth House, Cavendish's ancestral home near Chesterfield, England, in 1932 and they remained there.

Newlyweds Gardner Hale and Dorothy A. Donovan were also initial residents.  Hale was born in Chicago in 1894 and educated at Yale.  He studied art in Rome and Paris and at the Art Students League in New York.  Hale was well-known as a muralist and, according to The New York Sun, was "generally credited with the revival in this country of fresco painting."  Gardner and Dorothy were married in 1929.  She was his second wife.  His first wife was author Marie Louise Gibson, who used the pseudonym Maryse Rutledge.  They were divorced in 1926.

In November 1931, Gardner and Dorothy Hale went to Long Beach, California for a six-month stay.  On December 28, Hale headed for San Francisco alone.  The next day, The New York Sun reported, "The body of Gardner Hale, young painter of murals and frescoes, was found yesterday at the bottom of a 500-foot precipice, forty miles from Santa Maris, where his automobile had plunged from a highway."  Hale was 37 years old.

Azel Farnsworth Hatch and Dorothy Doane were married in August 1932 and moved into one of the penthouses.  Hatch, who had served in World War I and decorated with the Croix de Guerre, was president of A. F. Hatch & Co., bankers.  

Four months later, on December 10, the Times Union reported that Dorothy "was found in their penthouse apartment...early today with a bullet wound over her heart.  The shot was fired from a Luger pistol, war souvenir of her husband."

Police found Dorothy in a negligee on the living room floor.  According to the Times Union, Dorothy muttered, "I did it myself," then lapsed into a coma.  Hatch told the police that Dorothy had discovered the firearm while "cleaning out a closet."  She "asked her husband what she was to do with it," recounted The New York Times.  "It was discharged and a bullet entered her chest."  The incident was deemed an accident; however, Hatch was charged with a violation of the Sullivan Law, an early gun control statute.

The boyish-looking Azel F. Hatch earned $100,000 a year, according to his wife (a comfortable $2.3 million today).  The Daily News, December 19, 1936.

The Hatches' marriage did not last and when Dorothy filed for separation on December 18, 1936, she told the court the truth of the incident four years earlier.  The Daily News reported, "It was attempted murder, and not an accident, she told the Manhattan Supreme Court."  The New York Post said in part:

Telling the Supreme Court about it, she said she was sitting on her husband's lap, weeping and pleading with him about something or other on the night of December 9, 1932.  Without warning, she said, her husband picked up a German Luger pistol, a little trinket he had taken from some German prisoner, and shot her.

Azel Hatch, not surprisingly, gave a different version of the incident (although this one, too, differed from the couple's original story).  He said that Dorothy had "snatched up the gun and fired it herself."  He added that he "didn't stop her when she grabbed the gun because he was amused.  Besides, he was sure the gun wasn't loaded."  Dorothy obtained her divorce and Azel was never charged with attempted murder.

Another titled resident, Josef Franz, Archduke of Austria and Prince of Hungary, and his wife, Princess Anna of Saxony, moved into 240 East 79th Street in 1937.  The couple was married in October 1924 and had five children.  (Three more would come later.)  Archduke Josef Franz was born in 1895 to the last Palatine of Hungary.

Archduke Joseph Franz and Princess Anna Monika Pia.  (original source unknown)

The Nazi annexation of Austria had made staying in Europe dangerous for the family.  The members of the imperial family discovered that they would quickly need to adapt to American rules and customs.  The same applied to the family's staff.  On January 7, 1938, The New York Times reported, "Archduke Franz Josef of Austria was fined a dollar for overtime parking."  The Archduke's chauffeur explained in traffic court, "the Archduke is unfamiliar with traffic regulations here," said the article.

America's entry to World War II resulted in several residents of 240 West 79th Street going off to the front.  Dr. Emil E. Napp, who lived here with his wife, the former Ruth Marschalk, was on the staff of the Flower-Fifth Avenue Hospital.  He became a commander with the Navy Medical Corps in the South Pacific.  Napp received the Navy and Marine Corps medal for his work on Guadalcanal in 1942, and was awarded the Silver Star on May 19, 1944.

Another resident doctor was Gurney Taylor.  He rose to the rank of lieutenant colonel with the American Seventh Army in France.  He was attached to the Ninth Evacuation Hospital in the Vosges Forest, which was, somewhat astonishingly, "manned by the veteran Roosevelt Hospital Unit from New York," as reported by The New York Times on October 29, 1944.

240 East 79th Street soared above the neighboring buildings in 1940.  via the NYC Dept of Records & Information Services.

Two other residents returned from the war in 1945.  One was Captain Carel Van Heukelom, and the other Barbara Murphy, one of 280 volunteer workers of the American Red Cross who served in the European theatre of operations.  Barbara told a reporter that "she had driven a clubmobile during her eighteen months overseas," adding, "Oh, I made the Grand Tour."

A fascinating resident was Marjorie T. Bellows, here at midcentury.  Born in 1906, she earned her masters degree in statics at the Columbia School of Public Heath.  From 1928 to 1929 she was senior statistician at the New York State Health Department.  She joined the American Heart Association in 1946 and became its senior staff member.  While there she directed investigations into the statistical aspects of cardiovascular issues, like rheumatic fever.  Bellows, who never married, developed the technique of "case registers," that analyzed the nature and uses of recording systems in public health administration.

Among Marjorie Bellows's neighbors in the building at the time was actress Lili Darvas.  Born in Hungary in 1902, she made a name on the Budapest stage as a young woman, debuting in 1921 as the female lead in Romeo and Juliet.  She married playwright Ferenc Molnar in 1926.  Lili was appearing in Vienna in 1938 when the Nazi troops invaded.  She said later that "she simply packed her things, walked onto a train to Switzerland and departed" with her Hungarian passport.  

The couple arrived in New York and Lili Darvas first appeared on stage here in 1941 in The Criminals.  Molnar died in 1952, and Lili continued acting, appearing in roles that most often portrayed characters fitting her European background.  Such was the case when she played the domineering mother of Sigmund Freud in the Henry Denker drama A Far Country.

Lili Darvas and Billy Mumy in a 1961 Twilight Zone episode, "Long Distance Call."  CBS Television publicity shot.

The indefatigable actress did not restrict herself to the stage, film or television.  On June 13, 1963, The New York Times interviewed her regarding her upcoming catering stint.  She had been asked by another actress to prepare an after-theater dinner party for 50 guests.

Lili Darvas died in her apartment here on August 22, 1974 at the age of 72.  

In September 1984, The New York Times reported that 240 East 79th Street was undergoing a cooperative conversion.   Among the new apartment owners in 1989 was bond trader Jeffrey M. Stambovsky, who placed a down payment on a country house that August.  He got buyer's remorse when he picked up a 1977 Readers' Digest article titled, "Our Haunted House on the Hudson."  In it, Helen V. Ackley, from whom he was buying the 18-room Victorian residence in Nyack, wrote about its ghosts.  The New York Times reported on March 16, 1990, "She described one as a 'cheerful apple-cheeked man' who looked more like Santa Claus than Rex Harrison in 'The Ghost and Mrs. Muir.'"

Stambovsky sued to get his money back.  He claimed in court that publicity of the ghost stories "threatened the house's property value" and that Mrs. Ackley "never told him about the ghosts."  Unfortunately for Stambovsky, while the judge agreed that the stories might affect the property values, he said that Ackerly "was not required to tell Mr. Stambovsky of any ghosts."

Thankfully, little has changed outwardly to 290 East 79th Street in its nearly 100 years of existence.  And, although Ruth Carroll's Art Deco lobby murals have been painted over, outside Godwin, Thompson and Patterson's bold and striking ground floor elements are showstoppers to this day.

photographs by the author

The Quondam Building - 450-460 Park Avenue South

 

On July 2, 1910, the Real Estate Record & Guide reported that the De Forest Estate Corporation had leased the southwest corner of Fourth Avenue and 31st Street to the Quondam Realty Co.  The article said, "Work is to be started on or about Aug. 1 for the new-story office structure."  The Bridgemen's Magazine noted that the architectural firm of Herts & Tallant had designed the plans.  "The building will be known as the Quondam Building, and will be in the gothic style of architecture, and is estimated to cost $200,000."

Real Estate Record & Builders' Guide, July 2, 1910 (copyright expired)

Those plans were soon expanded.  Construction was delayed as negotiations with Robert Goelet, who owned the abutting property, played out.  Goelet leased his plot at 450-454 Fourth Avenue to the Quondam Leasing Company, now giving the developers a parcel twice the width of the original.

Herts & Tallant filed the revised plans on March 28, 1911.  The Engineering Record noted that the "12-story brick and terra cotta commercial building" would now cost $450,000 to erect (about $15.3 million in 2026).  

Completed in 1912, Herts & Tallant had designed two buildings that successfully pretended to be one.  Faced in white terra cotta, the architects' design was a 1911 take on late Gothic and Tudor.  The two-story base included elaborate arched entrances below niches with intricate Gothic hoods.  Quatrafoil panels created spandrels within the eight-story midsection.  Above a molded bandcourse, the two-story top section drew inspiration from Tudor-style residences, like the Dalmeny House near Edinburg, Scotland, with its crenellated parapet and Tudor pinnacles.

Although they were two buildings, some floors were cut through to create full-width spaces for tenants like silk manufacturers Collins, Doorly & Franc.  When the firm moved into the building in 1912, they had already named two silk colors in honor of Presidential daughters--Alice Blue, for Alice Roosevelt, and Helen Pink, for Helen Herron Taft.  Now, on November 8, 1912, The New York Times reported, "Collins, Doorly & Franc, 450 Fourth Avenue, have obtained permission from Miss Eleanor Randolph Wilson, daughter of the President-elect, to name a new color 'Nell Rose,' in her honor."

Silk magazine, November 1912 (copyright expired)

Tenants in the buildings were highly varied.  Among them were Valentine Brothers, makers of oils and varnishes; Atlas Advertising Agency; the International Souvenir Spoon Company; and Wireless Age magazine.

Among the sales staff of Valentine Brothers in 1913 was George Pettit.  The 34-year-old was dealing with serious personal problems.  He was separated from his wife and living in a Brooklyn boarding house.  Additionally, despite his relative youth, he was suffering from rheumatism.  He remarked to his landlady, Annie Magno, "that he intended to jump from the Brooklyn Bridge," according to The New York Times.  Annie brushed it off.  But a few nights later, on September 10, 1913, she was standing outside Pettit's door and heard him exclaim, "I did it!  I did it all right!"

Pettit had swallowed poison.  Annie Magno first called a policeman and then telephoned the Swedish Hospital, but it was too late.  The newspaper said Pettit's name "was added last night to the long list of those who have committed suicide by taking Bichloride of mercury tablets."

Another fabric dealer to occupy a full floor was A. Wimpfheimer & Brother, dealers in "velvets, plushes and other pile fabrics," as explained by Dry Goods Economist in December 1916.  Other tenants in the building at the time were Cerag Company, makers of a "delicious food rich" laxative; Motorcycle & Bicycle Illustrated magazine; and the National Amateur Wireless Association.  (On January 14, 1916, The New York Times reported, "The President of the association is Guglielmo Marconi.")

The American Clock & Suit Review, June 1915 (copyright expired)

In 1917, The Merchants' Association embarked on an "Anti-Litter" campaign within the commercial district of 14th Street to 42nd Street.  As a part of the program, "block captains" were selected from one business per block.  On December 10, Greater New York reported, "The American Velvet Company, 450-460 Fourth Avenue, has appointed Mr. Michael Robertori, Block Captain."  In one of his reports, Robertori disclosed:

I have made a thorough examination of this street and found conditions very good with the exception of a coal and wood establishment that has a habit of leaving cakes of ice on the sidewalk.  I have notified him this day to refrain from doing this as the sidewalk must be absolutely free from all obstructions.  He promises to remedy this and I shall watch him closely.

Among the broad spectrum of tenants in the building at the time were the Corrective Eating Society and the American Trapshooting Association.  

The Hammondsport Products Company was occuping space when Prohibition was enacted.  The firm held a permit "for manufacturing and selling wine for sacramental purposes," according to Federal agents.  But it seems that the firm's clients were not merely synagogues and churches.

In October 1922, agents Izzy Einstein and Moe Smith, disguised as cigar clerks in a small store in Grand Street, made inquiries about how they could obtain alcohol.  They were told that "wine could be bought from the Hammondsport Products Company, Inc. 450 Fourth Avenue, by using a password."  

According to the New-York Tribune on October 13, "They said that they telephoned to N. Rosenblum, secretary of the Rabbinical Bureau...who is also said to be a salesman for the Hammondsport company, and arranged for the purchase of the ten cases of assorted wine."  When the cases were delivered to the Grand Street address, the agents paid the trucker with marked bills.  They then seized, "the wine, the bills and the truck."  There were another 20 cases of wine in the vehicle.

Advertising agency Winemiller and Miller, Inc. had occupied space as early as 1919.  They employed what were called "illustrative photographers," and a representative told Studio Light, "We prepared to meet every demand, from a convincing and dramatic scene of fireman rescuing patients from a burning hospital...to the most advantageous display of a box of hairpins."  

In the spring of 1925, Winemiller and Miller, Inc. initiated an ad campaign for the Glen Falls Insurance Company.  For publicity, the firm launched a nationwide contest for the best fire prevention slogans.  It received more than 150,000 entries and the 100 best were awarded prizes--from $5 to $500--in the firm's offices on March 28.  (The winning slogan was, "Answer the Burning Question with Fire Prevention.")

The offices of the Westminster Kennel Club were in the building as early as 1929.  The distinguished dog show was scheduled to take place in Madison Square Garden beginning February 11 that year, and on January 27 The New York Times reported that entries "are still pouring into the offices of the club."  The article said, "Up to last night more than 2,000 dogs had been listed, with a large pile of entry blanks still to be tabulated."

Mid-century saw a new type of tenant, beginning with Leo H. Spivack, Inc. which opened its furniture showroom in May 1959.  An advertisement in Interiors that month described the showrooms as, "Newly hatched...and fairly bursting with the freshest, finest, most comprehensive collection of Scandinavian imports you ever saw!"

The original first- and second-floor detailing survived in 1940.  via the NYC Dept of Records & Information Services.

Furniture dealer William L. Marshall, Ltd. followed in 1961.  On August 8, The New York Times said that Marshall "has been channeling his cargoes of Asian, African and South American timber into banks, a law school, restaurants, hotel lobbies, club, libraries, executive offices of major corporations."

In 1959, Fourth Avenue was renamed Park Avenue South.  The following year, according to The New York Times, "Iranians began to move into the rug-importing trade in the city in large numbers."  Now, in 1976, 450-460 Park Avenue South had become a center for rug importers, part of what was deemed the "Oriental rug district."

The district lasted through 1983, when, according to Jon S. Ansari, president of the Amiran Corporation here, rug dealers were exasperated by the rising rents.  Other tenants quickly moved in.  Ogilvy & Mather leased "several floors," as described by Newsday on May 23, 1984 for its corporate headquarters.  Subsequent tenants included Facts on File publishing, the Montserrat Tourist Board, and Franklin Spier, Inc., which leased 21,300 square feet in 1997.

On the ground floor, the cabaret Arci's Place opened in 1999.  In 2005, PS450 opened, a restaurant with "a menu of comfort food," according to The New York Times food critic Florence Fabricant on March 23.  And in September 2018, a Felix Roasting Co. coffee bar and cafe moved in.

Renovations to the first and second floors were initiated in 2017.  Sadly, the stripped-down modernization erased what was left of Herts & Tallant's wonderful terra cotta decorations.

The entrance of No. 460 in 2011 (from Google Streetviews)

...and in 2026

photographs by the author

The 1908 Barbey Building - 15-17 West 38th Street

 

On April 12, 1861, the very day that the first shot was fired on Fort Sumter, an announcement appeared in the New York Herald that Mrs. Ogden Hoffman's French and English Boarding and Day School had "removed to 17 West 38th Street."  The double-wide mansion, which sat just west of Fifth Avenue, had previously been home to artist Thomas Pritchard Rossiter.

By the end of the century fashion had moved further north.  Elegant mansions and private girls' schools were quickly being replaced by commercial buildings.  On June 20, 1908 the Real Estate Record & Guide reported that Mary L. Barbey had purchased the property for $170,000--a staggering $4.87 million today.

Mary Barbey, well recognized in real estate circles, wasted little time in demolishing the old residence and by the first week of August the architectural firm of Delano & Aldrich had completed plans for a replacement structure. 

The architects released this rendering in August 1908.  Real Estate Record & Guide, August 8, 1908 (copyright expired)

On August 8 the Real Estate Record & Guide wrote, "When completed the structure will be 12 stories in height...It has been designed for both offices and lofts."  The article pointed out the architects' somewhat surprising color scheme, saying it "will be in marked contrast with the conventional light brick, limestone and terra cotta of the majority of new structures in the uptown section."

The base would be faced in "dark red marble, with bronze trimmings."  The upper floors were clad in dark red brick and red terra cotta to create an overall monochromatic structure.

The architects' take on the "Modern French" style was noteworthy.  The second through twelfth floors were framed within a single elliptical arch.  The full-height piers between the grouped openings took the form of engaged fasces that sprouted from elaborate terra cotta urns.  Above the top floor a panel--surrounded by sumptuous decorations--announced the construction date.  Massive terra cotta urns stood guard along the parapet.

photo by Sean Khorsandi

The cost of construction added another $150,000 (or around $4.3 million today) to Mary Barbey's outlay.  The costs were actually higher, since she had purchased the property at 13 West 38th Street as well, which allowed the architects to add fenestration to the eastern wall--an enormous marketing point when it would come to renting the spaces.

The completed Barbey Building filled with unexpected bedfellows--mostly publishing firms, millinery houses and architectural offices.  Among the latter was the Société des Architects Diplome par le Gouvernement Francais.  A chapter of the American Federation of Arts, it had been organized in November 1904.  The following year space was leased to Columbia University "to be used in connection with the Architectural School," according to the Record & Guide on May 18, 1912.  By 1919 there were no fewer than eight architectural offices in the Barbey Building, including John Allyne Gade, Scopes & Feustmann, and John C. Greenleaf.

The offices of the Print Publishers' Association of America were here by 1911.  Also in the building were the Detroit Publishing Company, the Home Review Publishing Co., and the Macauley Company.  

In its column "Books" on January 7, 1917, The St. Louis Star and Times reviewed two new releases by Macauley Company, Just a Woman, by Eugene Walter; and The Mark of the Beast, by Reginald Wright Kauffman.  It was most likely the latter that landed the firm's president behind bars later that year.  The review said:

Since 'Uncle Tom's Cabin' nobody has dared to write the truth about the South, until now.  Reginald Wright Kauffman has done it in this fearless novel.  His 'House of Bondage' was rightly called 'The Uncle Tom's Cabin of White Slavery,' and 'The Mark of the Beast' is an 'Uncle Tom's Cabin' of a new and amazing kind.

On December 12 that year The Sun reported, "Leo S. Furman, president and treasurer of the Macauley Company was arraigned before Magistrate Nolan in the Jefferson Market court yesterday."  He had been charged by Special Agent Bamberger of the Society for the Suppression of Vice "with selling an indecent book."  In evidence were 2,043 copies of the offending book.  Furman furnished $300 bail until his formal hearing.

Another publisher, Wadsworth Music & Publishing Co., released this sheet music in 1918.  from the collection of The Lester S. Levy Sheet Music Collection, Johns Hopkins University

Among the millinery-related firms in the building were the Walter Mfg. Co., makers of braids and trimmings which moved in in 1915; the firm of Aaron Michel which manufactured "novelties in flowers, feathers and ornaments," according to The Illustrated Milliner in 1916; Irvin A. Weil, wholesale flowers and feathers dealer; and trimmed hat maker J. I. Guedalia.

photo by Irving Underhill, from the collection of the Museum of the City of New York

There were, of course, tenants unrelated to the architectural, publishing or millinery fields.  Two artists had their studios in the building.  It was here that sculptor William Ordway Partridge worked on his statue of Thomas Jefferson.  Commissioned by Joseph Pulitzer to stand on the grounds of Columbia University in front of the Pulitzer School of Journalism, it was unveiled on June 2, 1914.  Also in the building was the studio of artist and poet Robert Burns Wilson.  Following his death in April 1916 The Sun reported, "Between thirty and forty of his paintings are now on exhibition at 15 West Thirty-eighth street."

An ample bust was a feature more associated with women of loser morals than to refined ladies.  And so, the Ovida Corset Company devised a solution for well-endowed society women--the Reducing Brassiere.  The Corset and Underwear Review said it "is practically the only garment of its kind on the market."

The New York Times, April 19, 1914 (copyright expired)

The success of the undergarment forced the firm to move in the spring of 1915.  In its March edition The Corset and Underwear Review reported that the firm's move to West 37th Street "has been made necessary owing to the constantly increasing popularity of the 'Ovida Reducing Brassieres."

The ground floor store was leased to the Allegretti Chocolate Cream Company in 1918, while architects, milliners and publishers continued to fill the offices.  In 1920 the publisher of The American Milliner moved in.  Architects Grenville Temple Snelling, Samuel A. Hertz, and John C. Greenleaf all had offices here at the time.  (The rent for a full-floor in 1920 was the equivalent of $115,000 per year in today's money.)

The Broman Hat Co. opened its "new, handsome showrooms," as described by The Millinery Trade Review, in July 1921.  The article said, "The fall presentation includes many smart conceptions derived from late Paris creations, developed in hatters' plush, Lyons velvets, felts.  The new showrooms speak well for the judgement of the firm, being handsomely decorated and admirably situated."  Other millinery firms in the building at the time were the Seaman Hat Co., Inc., and H. Rubenstein, agent for Joseph Dryer's Le Roy hats.

The Millinery Trade Review, August 1921 (copyright expired)

Expectedly, the tenant list of the Barbey Building changed in the second half of the 20th century.  The stationery firm, Coronet Industries, Inc., moved in in 1964 and by 1972 Uniclub, a mail order business, was here.

Uniclub received unwanted press in April 1972 when Bess Myerson, the Consumer Affairs Commissioner, warned the public "not to buy" from the firm.  In what The New York Times called "an unusual move," she said in a statement it and five other mail-order houses "consistently disappoint consumers by non-delivery, late delivery and delivery of damaged or defective merchandise."

Not long afterward, a possibly shadier business, Finderhood, Inc., operated from the building.  Run by George Feldman, it was described by New York State's Attorney General Louis J. Lefkowitz in December 1977 as a "worthless money exchange."  The State Supreme Court prohibited the firm "from advertising and representing that their money-exchange service of members a realistic means of borrowing or obtaining money," as reported by The New York Times on December 4.

Feldman was in hot water again only four months later.  The Attorney General discovered that Finderhood, Inc. promised "Library of Finder's Fee Opportunities Regularly $235...take it FREE!"   The library was a listing of fees paid by individuals seeking investors.  But when readers sent in their $1, they received an application requiring payment of $129.95 for a one-year membership to the "free" library.

In 1985 Lord & Taylor, whose department store was around the block on Fifth Avenue, leased the Barbey Building for its corporate offices, while subleasing unneeded space.  On November 2, 1986 Lisa Foderaro, writing in The New York Times, explained that employees going from the store to the headquarters, "must walk outside, taking the bad weather with the good."

To remedy that, Lord & Taylor made a deal with the owner of 13 West 38th Street.  Foderaro wrote, "soon a crane will hoist a bridge weighting seven and a half tons over it.  The two elements of Lord & Taylor will be united and employees will be able to save time and avoid cold gusts by taking the 21-foot enclosed passageway."

Lord & Taylor closed its Fifth Avenue department store and the 38th Street headquarters in January 2019.  Recently a renovation to the Barbey Building was completed.  All traces of Delano & Aldrich's red marble base have been obliterated, but the upper floors are stunningly intact.

photographs by the author

many thanks to Sean Khorsandi for prompting this post

LaptrinhX.com has no authorization to reuse the content of this blog

An Elegant Shell - Keith's 81st Street Theatre, Broadway at 81st Street

Born in Dundee, Scotland, Thomas W. Lamb arrived in New York in 1883 at the age of 12 and went on to study architecture at the Cooper Union.  Eventually, after working as a buildings inspector for the City, he established his architectural office, Thomas W. Lamb, Inc.  His first commission for a theater came in 1909 from William Fox, who was involved for the fledgling moving picture industry.  Within eight years he had designed three more motion picture theaters on Times Square.  

On March 26, 1913 The American Architect reported that Lamb had filed plans for a "3-sty theatre and stores to be erected on the corner of Broadway and 81st St. for the Fulton Building Co."  Construction costs were projected at $130,000, or about $3.4 million in today's terms.

Unlike Lamb's projects for William Fox, the 81st Street Theatre was intended mainly as a vaudeville venue, with "photo-plays" as an added attraction.  It was completed by the end of April the following year.  The Broadway section which held the lobby, ticket booths and lounges was three stories tall.  Its dignified neo-Classical style facade was executed in white terra cotta and featured soaring double-height arches flanked by columns and separated by tall Corinthian pilasters.  The auditorium directly behind was clad in dull red brick which purposely did not compete with the Broadway showpiece.

The theater opened on May 25, 1914, this ad calling "one of the finest vaudeville and photo-play theatres in New York City.  The Evening World, May 25, 1914 (copyright expired)

In its July 1914 issue Architecture and Building beamed "The new Eighty-First Street Theatre...which has just been opened, is decidedly a step forward in the erection and equipment of a modern vaudeville and photoplay house.  The amount of study which has been given and the taste displayed throughout this entire structure is evident, even to the exterior of the building which is of matt [sic] glaze white terra cotta."

The lobby was lit by solid brass sconces and hanging fixtures "of white glass in Adam's design."  Architecture and Building, July 1914 (copyright expired)

The lobby was paneled in Caen stone--a marble-like material--and its ceiling was decorated in "delicate clouded effects."  The critic said "On entering the theatre one is impressed with the harmony and refined richness of the entire color scheme."  The carpeting and the curtains were deep red.  The seats were upholstered in Spanish leather dyed to match.  Above the audience was a large mural depicting music and dance.  Architecture and Building commented that it "introduces just a sufficient amount of color to give a rich note to the entire color scheme."  

The main ceiling panel depicted Music and Dancing.  Architecture and Building, July 1914 (copyright expired)

Acts in vaudeville theaters changed often and patrons visited more than once a week.  The proprietors of the new theater quickly established a clever gimmick to keep its customers coming back.  On July 2, 1914 The Evening World reported "At the Eight-first Street Vaudeville and Motion Picture Theatre, the management lends umbrellas to patrons in rainy weather."

A highly unusual event took place on September 25, 1918.  Members of the Screen Club staged a benefit for its house fund.  Moving Pictures magazine reported "Many picture people were present.  The proceeds for the club came from the sale of souvenir programs and autographed photographs, also the difference in the advance of seat prices."

None of that would have prompted press coverage.  But then at 11:00 four audience members were selected and brought on stage.  While the audience watched, a motion picture was made.  Moving Pictures explained "The film was to be 500 feet in all, and will be shown at the theatre October 15-17."

The management was rethinking its programming by the spring of 1919.  In March Variety wrote "This theatre divides its program with a feature picture, playing three [vaudeville] acts at either side of the film.  Through that the theatre confesses that first it is a picture house rather than vaudeville, and secondly it prefers pictures."

On September 1 that year the management of the theater was turned over to B. F. Keith, who immediately changed the name to B. F. Keith's 81st Street Theatre.  That was the only initial change.  Vaudeville reported "The house will open with six acts and a picture, without a headline attraction billed."  There were two performances each day, "placing it in the big time class," said the trade journal.

Columbia Daily Spectator, December 3, 1919 (copyright expired)

Audiences showed their disapproval of vaudeville performers by tossing pennies.  On November 1, 1920 a group of well-dressed young men in the orchestra section were caught by booking agent Charles Stockhouse "casting pennies on the stage during the turn of Clayton and Lennie," as reported in Vaudeville.  Stockhouse went to the street and found a policeman, who arrested the youths.

As it turned out, they were not neighborhood rowdies, but college boys "home from school on an election day week-end vacation."  The night court judge "reprimanded the penny throwers, stating to them they stood in no different position before him, though they were sons of wealthy fathers, than any other culprit," reported Vaudeville.  "He warned them if a further complaint was lodged against either they would receive a jail sentence."

The neo-Classical design of the exterior was carried on within the auditorium.   Architecture and Building, July 1914 (copyright expired)

Patrons enjoyed the works of the best directors and most celebrated screen stars here.  On January 11, 1920, for instance, The New York Herald announced "At B. F. Keith's Eight-first Street Theatre the feature will be Cecil B. De Mille's 'Male and Female,' with Miss Gloria Swanson in the lead.  There will be six vaudeville features in addition to the feature."

Among the live acts in February 1928 was Rudy Vallée and his musical group, the Connecticut Yankees.   The crooner was the equivalent of a pop star of today and drew masses of screaming female fans.  The crush of devotees on opening night caused traffic to come to a halt on Broadway.  He mentioned the incident in his 1930 memoir, Vagabond Dreams Come True, calling it "the tremendous outburst we received."

Stores lined the street level in this 1915 photograph.  photo by Byron Company from the collection of the Museum of the City of New York

At mid-century the venue had become a full-time motion picture theater, operated by Howard Hughes's R. K. O. Pictures.  The New York Times theater critic was less than thrilled with The Lisbon Story on September 6, 1951.  Saying that the film "arrived from over the water yesterday afternoon at the R.K.O. Eighty-first Street Theatre, British National Film, the company responsible did neither continent any great favor."  He concluded his critique saying "Anyone who pays good money to see this one deserves the boredom he'll get in return."

Then, in December 1953, CBS-TV announced it had leased the property.  The venue was converted to its first color television studio.  Among its most memorable productions here was the 1957 Rodgers & Hammerstein Cinderella starring Julie Andrews.  It was the only musical written by the partners expressly for television.

The elegant terra cotta building, now named the Reeves television studio, seemed doomed in November 1984 when it was sold to a developer for $11 million.  The Landmarks Conservancy pronounced the structure "an excellent example of early classical and elegant movie palace building form."  The following spring, however, The New York Times reported "But the landmarking effort was never pursued."

It was only the developers, Louis V. Greco, Jr. and Peter Gray, who had formed the Landmark Restorations Company three years earlier, who saved the front of the building.  When they purchased the building the television soap opera "Search for Tomorrow" was still being taped there.  The firm announced plans for a 22-story apartment tower, Renaissance West, designed by Beyer Blinder Belle behind the gutted Broadway section.  The New York Times remarked "Landmark Restorations has made a specialty of projects with a preservationist character, or at least a sensitivity to history."

At a time when developers are demolishing vintage structures at an alarming rate, it is refreshing that at least the shell of Thomas W. Lamb's handsome 1914 theater was preserved by one of them.

photographs by the author