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  1. #1

    Default Upper East Side

    Living in Yorkville

    Where Change Is Underfoot, and Overhead

    Andrea Mohin/The New York Times
    Construction of the Second Avenue subway line has turned many of the blocks from East 90th to East 95th Streets into a jumble of jackhammers, cranes, dump trucks and chain-link fences. More Photos >

    By C. J. HUGHES
    Published: June 1, 2008

    TOO-TALL buildings. Middle-class displacement. A vanishing way of life.


    Slide Show Living in Yorkville

    What's on the market.


    Map.


    Over the last decade, as these phrases became battle cries at planning meetings from the Lower East Side to Harlem, they had long since reverberated across Yorkville, a rectangular slice of the Upper East Side of Manhattan.

    Galvanizing protest in particular were “sliver” buildings, those skinny structures that went up in the ’80s on small lots and rose to become decidedly out of scale with the neighborhood’s low-slung side streets.
    Ultimately, the city rezoned key blocks, limiting the construction of sliver buildings, but in the ensuing years Yorkville has witnessed a steady stream of lofty high-rises going up, especially along York, First and Second Avenues. And now, it is enduring construction of the new Second Avenue subway, which is disruptive but will eventually make the neighborhood more convenient.

    The changes in Yorkville have been witnessed at close range by Tabish Rizvi, the owner of a one-bedroom apartment on the ninth floor of a 45-story condominium.

    He once enjoyed his glimpse of the East River: “It reminded me that we’re surrounded by water, that this place is different from the rest of America.”

    But that was in 2000. Since then, new towers have totally cut off his view, but he doesn’t seem to mind. He has been busy over the years with three renovations of the 600-square-foot space. With the latest, “ ’80s scissor closet doors” were replaced with sliding glass ones.

    Eight years ago, the apartment cost $292,000, and the three redos totaled $48,000, but though he has no plans to sell, he thinks he could get $600,000 for the place today.

    While Yorkville’s skyline has changed, many residents take solace in its vibrant street life. On a recent afternoon, children wearing backpacks ducked into the AMC Loews Orpheum on Third Avenue to see the new Indiana Jones movie. A couple strolled through the leafy courtyard of the Church of the Holy Trinity. And a woman ordered coils of knackwurst ($6.49 a pound) at Schaller & Weber, a butcher shop.

    That shop is a vestige of a longtime German population, one whose traces linger in sometimes unexpected places. St. Joseph’s Church, on East 87th Street, for example, holds a German-language Mass at 9:45 a.m. on the first Sunday of every month. Pope Benedict XVI paid a visit in April.

    WHAT YOU’LL FIND
    For decades, the clattering Third Avenue elevated train cut off Yorkville from ritzier sections of the Upper East Side, like Carnegie Hill. Though the subway tracks were dismantled in 1955, a slight psychological barrier still exists, brokers and residents say.

    The architecture, too, seems set apart. Five-story brick walk-up apartment buildings, many with heavy Romanesque arched windows, mark Yorkville’s stock. What is missing here are those well-kept one-family town houses found closer to Central Park. Similarly, although the prewar apartment towers along East End Avenue are technically part of Yorkville, they too can feel like a place apart. The neighborhood’s boundaries are 79th Street north to 96th Street, and Third Avenue to the East River.

    The walk-ups contain mostly rentals, which make up 60 percent of the housing here, brokers say.

    But there are also modern apartment buildings like the 1,437-unit Normandie Court, built in 1986, whose red-brick towers loom over East 95th Street, between Second and Third Avenues.

    For buyers, co-ops make up about 85 percent of the apartments now for sale in the neighborhood.

    Examples include the white-brick postwar Saxon Tower, on East 83rd Street, which has 114 apartments on 17 floors. Another is the Mayflower, on East 87th Street, a set piece for the movie version of Neil Simon’s “The Prisoner of Second Avenue,” which has 119 apartments behind its rough-hewn facade.

    Condos include the 47-story Waterford, with 230 units, completed in 1987; one-bedrooms there measure about 800 square feet.

    Among the newer arrivals is the Century Tower, with chain stores at its ground level; a one-bedroom with about 650 square feet of space is listed at $610,000.

    There are more expensive condos under construction, like the Brompton, a red-brick colossus designed by Robert A. M. Stern, which will have 165 apartments ranging from studios to five-bedrooms at 205 East 85th Street.

    And the Azure, rising at 333 East 91st Street, with 128 units across 34 stories, is 15 percent sold since January, says Luis Vazquez, its sales director.

    There’s also the Cielo, on East 83rd Street. Just three sponsor units remain, out of 128 condos, said Chris Poore, a broker with the Corcoran Group.

    There are the hulking Ruppert and Yorkville Towers, a four-building complex between East 90th and East 92nd Streets on the site of a former brewery. For decades they were part of the Mitchell-Lama program, but they left the affordable-housing program in 2003.

    Two-thirds of its 1,257 units are condos and the rest rentals, with one-bedrooms starting at $2,700 a month and two-bedrooms at $3,600, though no units are now available, said Denise Kosta, the rental and sales manager.

    WHAT YOU’LL PAY
    At the end of May, the average price for a one-bedroom co-op in a postwar doorman building was $625,806, said Rena Goldstein, associate broker with Halstead Properties. In contrast, the average price for the same unit in an area a few blocks west, between Third and Fifth Avenues, listed at $836,000, about a 30 percent premium. Average prices along East End Avenue were only slightly higher, at $678,083.

    The area’s prices have risen with the city’s; what’s changed is that sellers have to bend, Ms. Goldstein said. “Buyers will come in and make an offer under the asking price,” she said, “and that’s a big change.”

    Average rents, meanwhile, depend on the age of the building. In new doorman buildings, one-bedrooms rent for $3,250; a one-bedroom in an older buildings would rent for $2,350, brokers said.

    WHAT TO DO
    Stores, restaurants and bars are plentiful in Yorkville. Mustang Grill, with roomy outdoor seating, is a well-liked option, and $4 cups of homemade ice cream can be found at a sidewalk stand at Eli’s Manhattan, a two-level grocery.

    Some merchants have taken a hit — their business is off by 30 percent, by some estimates — with the construction of the new Second Avenue subway, which has turned the blocks from East 95th to East 90th Streets into a mishmash of cranes, jackhammers, dump trucks and chain-link fencing.

    THE SCHOOLS
    Yorkville’s public schools are among New York City’s strongest.
    One elementary school is Bayard Taylor, on York Avenue, which enrolled about 700 students this year in kindergarten through fifth grade. On state exams in 2007, 82 percent of fourth graders met standards in reading and 92 percent in math.

    Another option is Manhattan New School, on East 82nd Street, which also has about 700 students. Last year, 91 percent of fourth graders met standards in reading, as 98 percent did in math.

    For Grades 6 through 8, there is Robert F. Wagner Middle School, which, with nearly 1,300 students, is among the city’s largest. In 2007, 71 percent of eighth graders met standards in reading, 69 percent in math.

    Getting into the area’s high school, Eleanor Roosevelt, on East 76th Street, is daunting. Almost 3,300 students applied for 125 ninth-grade seats last year. To be accepted, students generally must have an 85 average in their core classes and have met standards on seventh-grade state exams.

    On the SATs in 2007, its averages were 565 in math, 546 in reading and 549 in writing, versus 515 in math, 502 in reading and 494 in writing statewide.

    There are many prestigious private institutions near Yorkville, like the Dalton School, whose middle and high schools are at East 89th Street, between Lexington and Park Avenues.

    THE COMMUTE
    Until the new train is running, in 2015, it’s a long walk to the subway. Commuters can head to Lexington Avenue to catch the No. 6 train at East 96th Street; they can also go to East 86th Street where the Nos. 4 and 5 trains also stop.

    Nine bus lines serve the neighborhood, and an express bus, the X90, heads down York Avenue to the World Financial Center. But for now, construction has temporarily disrupted the schedule of the M15, which runs down Second.

    THE HISTORY
    One of New York’s smallest landmarks sits at 1501 Third Avenue, near East 84th Street. It is a 17-foot-tall sidewalk clock whose top is shaped like a pocket watch. It was built in 1898 by the E. Howard Clock Company to advertise a long-gone jewelry store.

    http://www.nytimes.com/2008/06/01/re...ref=realestate

    Copyright 2008 The New York Times Company
    Last edited by brianac; May 31st, 2008 at 08:57 AM.

  2. #2

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    Carnegie Hill

    Trying to Save a Link to a Legend and an Era

    Hiroko Masuike for The New York Times
    The Marx Brothers, left, around 1911, as the Four Nightingales, and their house today.

    By JAKE MOONEY
    Published: June 22, 2008

    JOHN BENZ FENTNER, a lawyer from Unionville, Conn., is a serious Marx Brothers fan, if the word “serious” can properly be applied to devotees of that madcap comedy family. Mr. Fentner can name all six brothers — a true litmus test of Marx fandom, he said — and collects even underwhelming Marx Brothers movies like the 1968 Otto Preminger flop “Skidoo,” which featured Groucho as a crime boss named God.

    So it was understandable that a few years ago, on a trip to New York with fellow Marx Brothers fans, Mr. Fentner found his way to 179 East 93rd Street, between Lexington and Third Avenues, to the stoop of the house where the brothers spent much of their youth around the turn of the previous century.

    “It’s like going to Gettysburg just to stand on the battlefield,” Mr. Fentner said the other day. “There’s a slight difference in quality there, but it’s the same kind of pilgrimage. If you’re really interested in something, you want to go and stand on the ground.”

    The house is one of the few remaining links to the brothers in the area, since the old theaters and vaudeville houses where they got their start are almost entirely gone.

    Now, residents of East 93rd Street, unhappy about new development that they say is changing the character of the area, are seeking to have the block where the Marx Brothers house is located added to a nearby historic district to keep it, too, from changing.

    Susan Kathryn Hefti, a chairwoman of the 93rd Street Beautification Association, hopes her group can persuade the Landmarks Preservation Commission to extend the Carnegie Hill Historic District, which currently ends just to the west of the block. And in a more symbolic move, the neighbors of the house hope to have the block ceremonially named Marx Brothers Place.

    According to Ms. Hefti, the association formed in response to the demolition of two town houses from the 1880s that were across from the Marx Brothers house. A third house on the block was later torn down.
    “We were all out on the sidewalk,” Ms. Hefti said. “Most of us didn’t know about it until it happened, and most of us were just in a state of shock.”

    Without landmark protection, she added, “the Marx Brothers house could, theoretically, go down tomorrow if it were sold.”

    That possibility was enough to alarm the filmmaker Woody Allen, who is a former resident of the area and a Marx Brothers devotee. In a letter to Ms. Hefti, Mr. Allen wrote that “in countries that place a high value on cultural contributions as opposed to simply bulldozing things in the name of progress, the Marx Brothers home would remain standing and affixed with a plaque.”

    But Barry Rice, the architect whose firm designed the seven-story condominium that is replacing the three demolished town houses, said that extending the historic district might not provide the control over development that residents expect. New development in such a district is still possible, he said, if care is taken with design and scale.

    “My conscience is clear,” Mr. Rice said. “I didn’t knock down the Marx Brothers house, and I think I’m doing something that’s in context with the street.”

    http://www.nytimes.com/2008/06/22/ny...ml?ref=thecity

    Copyright 2008 The New York Times Company

  3. #3

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    Streetscapes | East 71st Street

    A Full Block of Elegant Houses

    By CHRISTOPHER GRAY
    Published: July 27, 2008

    THE collapse of Lawrence Salander’s Salander-O’Reilly Galleries last year amid accusations of fraud has caused the magnificent town house that it rented at 22 East 71st Street, between Fifth and Madison Avenues, to be put on the market.

    New York Mail/Office for Metropolitan History
    A PRIME ADDRESS 22 East 71st Street in 1923 and, now on the market, today.

    Architecture/Office for Metropolitan History
    The southwest corner of 71st and Madison in 1912.

    New York Mail/Office for Metropolitan History
    A chart from The New York Mail in 1913 showing sales on the block. Henry C. Frick was the first to buy, taking the entire Fifth Avenue frontage. He took possession in 1911 and completed his mansion, now home to the Frick Collection, in 1914.

    The architecture of that whole block — indeed the entire city block back to 70th Street — is unusual: All but two structures were built as private houses. That peculiar situation goes back a century, when what was soon called the Frick block was sold off for development all at once.

    James Lenox, born in 1800, was a successful merchant, prominent book collector and real estate investor. He owned the 12-square-block area from 68th to 74th Street between Fifth and Park Avenues. In 1877, he built a library for his collection on the Fifth Avenue blockfront from 70th to 71st Street — where the Frick Collection now stands.

    But the rest of the block lay fallow. A photograph from the 1880s — when this section of the East Side was filling up with mansions and row houses — shows two dozen horses grazing on the plot behind the library. Mr. Lenox died in 1880, and by 1895 the Lenox Library trustees had decided to merge with other institutions to create the New York Public Library, at Fifth Avenue and 42nd Street.

    In 1906, they put the old library block — 200 feet by 420 feet — on the market, stipulating that through 1929, the land be used for construction of private houses. Henry C. Frick, a steel-industry pioneer, was the first to buy, taking the entire Fifth Avenue frontage, but he could not get possession until 1911, and completed his limestone mansion there, now the Frick Collection, in 1914.

    In 1909, just before construction on the rest of the block began, the library trustees (or perhaps the Lenox heirs) allowed Hope Farm, a children’s charity in Dutchess County, to take over the empty field in the back for a benefit.

    The event included an open-air theater, clowns, colored electric lights, a temporary restaurant set up by Delmonico’s and a Hungarian band. The decorator Elsie de Wolfe sold flowers, and women from the Oelrichs, Iselin, Burden and other society families presented a ballet.

    Private-house construction swept the lots behind the Frick mansion site from 1909 through 1913. John C. Moore, president of Tiffany & Company, had Charles I. Berg design the sober Renaissance-style house at 15 East 70th. Dave Hennen Morris retained Thornton Chard to design his house at 19 East 70th, with its unusual recessed loggia; it is now the entrance to the Knoedler & Company art gallery.

    Although stately, the row is not coordinated, and Mr. Morris’s daughter, Alice Sturges, who has since died, said in 1982, “My father tried to get everyone to hire the same architect, or adopt the same design, but no one would go in.” The four Morrises lived at No. 19 with 12 servants.
    On the 71st Street side, William W. Cook had the bank specialists York & Sawyer design a little jewel box for his use at 14 East 71st Street. Mr. Cook was a prominent lawyer whose book “Cook on Corporations” was a standard reference work. The architects gave him a striking limestone house with a two-story-high central bay and inset balcony at the top floor, with impressive bronze entry gates.

    At the 71st Street corner, Robert Chesebrough had Alfred Joseph Bodker design his elegant Italian-Renaissance-style house. Mr. Chesebrough made millions by developing Vaseline, and according to accounts published after his death in 1933, he swallowed three teaspoonfuls every night, presumably in that very building.

    After the Frick house, the largest house on the block is at 22 East 71st Street, built in 1923 by a wool merchant, Julius Forstmann. He had the veteran mansion architect Charles P. H. Gilbert design a 45-foot-wide limestone structure of impeccable bearing.

    But the lot at the northwest corner of Madison and 70th was still open, and in 1924 a developer began work on a two-story commercial structure there. Mr. Forstmann, his house still new, sued to have the residential restrictions enforced, even though they would last for only another few years. But a court noted that Mr. Forstmann himself had rented offices to doctors in the old Chesebrough residence, which he had acquired, and it allowed the construction to proceed.

    The only other new structure on the block was the magnificent Frick Art Reference Library, on the 71st Street side, completed in 1935.

    Since that time, the Frick block has lost almost all its single-family occupants, although the comedian Bill Cosby occupies a house on the 71st Street side.

    The Forstmann house went into institutional use in the 1940s; until recently Mr. Salander rented it for his art gallery for $1.8 million a year. The gallery is now in bankruptcy court, amid charges of fraud, and the building’s owner, Aby Rosen, has put it on the market. The Sotheby’s Web site, sothebyshomes.com, under the number 0015884, has photos of the interior.

    Mr. Rosen is asking $75 million for the Forstmann house. This forms an interesting comparison with calculations that The New York Sun made in 1913. It tallied the land and probable construction costs of the resulting houses on the entire block, and calculated a total investment figure of $16 million.

    That compared favorably, it said, with the cost of the 1803 Louisiana Purchase, covering about half the United States west of the Mississippi: $15 million.

    E-mail: streetscapes@nytimes.com

    http://www.nytimes.com/2008/07/27/re...ref=realestate

    Copyright 2008 The New York Times Company

  4. #4

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    Quote Originally Posted by brianac View Post
    Carnegie Hill

    Trying to Save a Link to a Legend and an Era


    Copyright 2008 The New York Times Company

    http://www.barryricearchitects.com/

  5. #5

    Default John Sloan Buildings at Park Avenue and 79th Street

    Streetscapes | Park Avenue and 79th Street

    The Lack of Resemblance Is Completely Intentional

    By CHRISTOPHER GRAY
    Published: March 12, 2009

    INTERACTIVE PHOTOGRAPH HERE

    ACROSS the street from each other at Park Avenue and 79th Street are two radically different apartment buildings — one rooted in Romanesque Italy, the other in sleek New York Art Deco.


    Konrad Fiedler for The New York Times
    895 Park today.

    Konrad Fiedler for The New York Times
    895 Park in 1930.

    But they were designed within a few years of each other by the same architect, John Sloan.

    Upper Park was perhaps two-thirds built up when a group including the developer Henry Mandel acquired a site at the southwest corner of Park and 79th Street.

    For this spot, Mr. Sloan, who had designed the Pershing Square Building for Mr. Mandel at 100 East 42nd Street, opposite Grand Central Terminal, conceived 898 Park Avenue, a 14-story co-op building, mostly duplexes of 13 rooms each. The building was completed in 1924.

    Mr. Sloan used the tawny palette of the Pershing Square Building, a fluttery mix of brick colors ranging from cream to orange and back again, each with mottled coloring and irregular marks and fissures to suggest a centuries-old church. The roof was finished with red tile and, at the back, a mock bell tower, all in the style of Romanesque Italy.

    In 1925 The American Architect-The Architectural Review praised the work, saying that Mr. Sloan had used materials “in the same way the artist painter mixes his colors.”

    The bricks vary in hue, suggesting coffee with half and half, lightly browned vanilla cookies and butter from pale winter cream. Most are riddled with hairline cracks, imperfections and irregular black spots; a tour guide in Florence might tell you Leonardo played handball against that very wall.

    Early tenants included Haley Fiske, the president of Metropolitan Life, and Sherman Fairchild, the aviation entrepreneur and inventor. At the front door the owners passed under a glazed terra-cotta frieze of peculiar design, with figures eating, reading and sleeping — apparently after a couple of jugs of wine.

    A syndicate headed by Mr. Sloan bought the corner opposite 898 Park for another apartment house, 895 Park, in mid-1929. On Oct. 24, just as construction began, the stock market crashed. But work continued and the 35 apartments came on the market in the fall of 1930, most with 12 to 15 rooms at prices of $39,000 to $169,000.

    Duplex and triplex arrangements were among Mr. Sloan’s lures, which also included a squash court, a gym and a chauffeurs’ room. There were no dropped beams in the entertaining rooms — the lateral steelwork had been pushed back to the edges so that they were within the walls. The high-floor apartments, nestled among a cascade of setbacks, had some of the largest rooms in New York, up to 19 feet by 38 feet, not including an attached conservatory.

    Promotional materials puffed the attention given to rooms for staff members — turnover was a constant headache — but plans show typical Park Avenue servants’ rooms, with no closet, room only for a bed and a dresser, and a shared bath down the hall, and that with a half-tub.

    In 1930, The Architectural Forum praised No. 895’s “delightful simplicity,” a conservative mix of traditional forms and modernism often now called classicizing Art Deco. The cornice above the 12th floor has wide rectangles of stone underneath, but far larger than the forms called modillions of traditional cornices.

    The vertical elements — broad, fluted pilasters — are well in from the corners, rather than at the edges of the building, as was standard.
    Only a few apartments were sold, and Mr. Sloan was living in his creation when it went into foreclosure in the spring of 1931 and was then converted to a rental. An advertisement for No. 895 in The New Yorker in early 1932 showed a picture of a suave man in white tie and the legend “the rich are economizing wisely.”

    In 1952, tenants bought the building for $2 million and reconverted it to a co-op.

    Although the squash court has been eliminated, No. 895 has changed little since construction, and even has most of its original windows.

    But at No. 898 the brick around the corner columns and the spandrel beams — the large horizontal girders — had to be cut out so they could be reinforced.

    Matching old brick is a notoriously tricky task, often ending in disappointment, and in this case the 1924 brick was itself manufactured to look antique. Susanne Mackiw, a project manager for the engineers Gilsanz Murray Steficek, said, “I spent many sleepless nights over it.” The existing brick was too fragile to be reinstalled, and salvaged material from the Midwest was used.

    Up close, the modern brick lacks some of the depth and character of the original, in part because time and the city have not yet had much of a go at it. But from a distance, it sometimes seems as if only the pointing is different, which can also affect the appearance of surrounding masonry.

    The replacement windows, a dead brown instead of the original tan or buff, fight the sophisticated coloring of the masonry, but even so, the recent restoration is an admirable work.

    E-mail: streetscapes@nytimes.com

    http://www.nytimes.com/2009/03/15/re...apes.html?_r=1

    Copyright 2009 The New York Times Company

  6. #6

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    Nice little set of random photos mostly around Yorkville.
    By chschulz


    chschulz
    The Empire, built a few years ago.


    chschulz



    chschulz
    76th Street



    chschulz



    chschulz
    Cherokee Apartments



    chschulz



    chschulz
    Sotheby's Headquarters built a few years back by KPF.


    chschulz
    These east side streetscapes are all to common.


    chschulz



    chschulz
    Go to link for larger.

  7. #7
    Moderator NYatKNIGHT's Avatar
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    The quality content of the previous posts deserve a new thread pertaining to Upper East Side buildings and architecture. They were split from a thread in Question and Answers.

  8. #8

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    For a residential condo I've always liked The Empire. It has a classic gotham look to it.

  9. #9

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    Except for the two story suburban waste of space base next to it....

  10. #10

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    My wife and I lived on the UES for years, and I hated it. East of Third, it's grimy and is filled with annoying NIMBY's.

    This white piece of garbage in the middle of the photo is emblamatic of it.



    The only saving grace was having a cross-town bus to take me to the UWS.

    Granted, I now live in suburbia which has its downsides, but as far as NY goes, I'd take the UWS, Village, SoHo, Tribeca or Wall Street (despite the lack of things to do) over the UES (excluding 5th to Lex) anyday.
    Last edited by londonlawyer; March 28th, 2009 at 01:03 AM.

  11. #11
    Crabby airline hostess - stache's Avatar
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    The logic of living in a series of buildings you don't like eludes me.

  12. #12

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    The nicest buildings on the UES a lot of the time are the damn tenements, and even those you can count on one hand as they're coming down at a ridiculous pace.

  13. #13

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    Quote Originally Posted by stache View Post
    The logic of living in a series of buildings you don't like eludes me.
    Don't be confused. We lived there because it was convenient for my wife's job.

  14. #14
    NYC Aficionado from Oz Merry's Avatar
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    April 5, 2009

    Streetscapes

    Queen Anne Meets Plain Jane, a Grand Meat Retailer and a Fifth Avenue ‘Ghost’

    By CHRISTOPHER GRAY


    NOT A MATCH The elegant Queen Anne house, right, that the manufacturer August Zinsser built for himself in 1896 on West 68th Street had a view of Central Park at one time. It acquired a workaday brick extension in the 1920s. Today, it is home to apartments.

    Q. No. 14 West 68th Street is a very curious building with a broad side garden. There must be an interesting history. Can you uncover it? ... Andrew Alpern, Manhattan

    A. This L-shaped house, with a Queen Anne front and a factory-style behind, was built in 1896 by August Zinsser. Born in Germany, Mr. Zinsser had a successful chemical company on 59th Street and 10th Avenue and had long lived one block south, at 58th. In 1894, he bought a double inside lot on 68th, just in from Central Park West. It had a sweeping panorama of the park over an empty corner parcel, which he also owned.

    Mr. Zinsser’s architect, Louis Thouvard, set the high red-brick walls and brownstone base against the west lot line, leaving the north and east exposures open onto a garden and the views of Central Park.

    Instead of the usual front stoop, Mr. Thouvard put the entrance along the side. Mr. Zinsser sold the corner plot in 1898 to the Second Church of Christ, Scientist, which soon built its chaste white marble cube, blocking the views from the house.

    In 1899, Mr. Zinsser sold his unusual residence to William Baldwin, the president of Otis Elevator. Mr. Baldwin lived in the house with his family of eight, plus six servants. Five of them are marked in the census data of 1900 as black — more than one or two African-Americans serving as staff in gentry households in Manhattan was extremely uncommon at this time.

    By 1920, the house had been divided into apartments, the property of Jared Flagg, a brother of the architect Ernest Flagg. It was Jared who added the bare brick extension at the rear. Although Ernest worked for the highest levels of society in New York, Jared Flagg had been associated with shady stock deals, postal fraud and prostitution as early as the 1890s.

    In 1926, he died while being questioned by a deputy New York state attorney general, Keyes Winter, who found that Mr. Flagg had sold shares of 14 West 68th Street without revealing they were subordinate to a first mortgage. Mr. Flagg had admitted the action, but blamed his bank for it.

    The building, now known as 12-14 West 68th, has 19 apartments and was recently listed for sale at $22 million. Department of Finance records indicate it sold in March for $10.6 million.

    http://www.nytimes.com/2009/04/05/re...ref=realestate

  15. #15

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    Last edited by Derek2k3; May 1st, 2009 at 11:02 PM.

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