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De Vinne Press Building

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The De Vinne Press Building is a commercial building and former printing plant at 393–399 Lafayette Street, at the corner of Fourth Street, in the NoHo neighborhood of Manhattan in New York City, United States. The building was designed by the firm of Babb, Cook & Willard in the Romanesque Revival style. It is a New York City designated landmark and is on the National Register of Historic Places.

De Vinne Press Building
The building viewed from Lafayette and 4th streets
Map
Location393–399 Lafayette Street, Manhattan, New York, U.S.
Coordinates40°43′40″N 73°59′33″W / 40.72778°N 73.99250°W / 40.72778; -73.99250
Built1885–1886
ArchitectBabb, Cook & Willard
Architectural styleRomanesque Revival
NRHP reference No.77000955[1]
NYSRHP No.06101.000060
NYCL No.0201
Significant dates
Added to NRHPSeptember 14, 1977[1]
Designated NYSRHPJune 23, 1980[2]
Designated NYCLOctober 19, 1966[3]

The De Vinne Press Building is seven stories high, excluding the raised basement. The facade is made of brick and terracotta, with decorations concentrated on the southern and western elevations, which face Fourth and Lafayette streets, respectively. Each facade includes segmental arches and round-arched windows, as well as horizontal belt courses. Inside, the building has a mostly rectangular floor plan. The interiors were designed in a utilitarian style and were intended to accommodate the weight of printing presses. The load-bearing walls are made of brick, and the structure also contains cast-iron columns encased in brick piers.

The building was built in 1885–1886 by Theodore Low De Vinne, a typographer and printer who led the De Vinne Press. He originally owned a 25 percent stake in the property, while the remainder was owned by Roswell Smith, the founder of the Century Company. The structure was expanded to the east between 1891 and 1892. The press closed in 1922, and De Vinne's heirs sold their interest to Smith's estate in 1929. The building was sold in 1938 to the Walter Peek Paper Corporation, which sold it in the early 1980s to Edwin Fisher. The ground floor has been occupied by Astor Wines and Spirits since 2006, while the upper floors were gradually renovated and converted to offices.

Site

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The De Vinne Press Building is at 393–399 Lafayette Street,[4][5] on the northeast corner with Fourth Street, in the NoHo neighborhood of Manhattan in New York City.[6] The land lot is rectangular and measures 14,627 square feet (1,359 m2), with a frontage of 124.67 feet (38 m) on Lafayette Street and 117.67 feet (36 m) on Fourth Street.[6] On the same block to the east are the Merchant's House Museum,[4] as well as a public park named Manuel Plaza[7] and the Samuel Tredwell Skidmore House at 37 East Fourth Street.[8] The Astor Library Building (now the Public Theater) and Astor Place Tower are also on the same block to the north. Other nearby buildings include the Firehouse of Engine Company No. 33 one block south; 357 Bowery one block east; and the Schermerhorn Building one block south.[6]

The site of the house was historically part of the estate of German-American businessman John Jacob Astor, who in 1803 acquired land between what is now Astor Place and Great Jones Street.[9] Astor subsequently built his mansion and horse stable nearby.[10] In the 1830s, the wealthiest New Yorkers were starting to relocate northward from what is now the Financial District of Manhattan,[10] settling along Lafayette Place (now Lafayette Street).[11][12] At the time, the area surrounding Lafayette Place was still mostly undeveloped.[10][13] Residential development in the area peaked at that time before moving northward in the 1840s and 1850s.[14] The surrounding area became a printing hub after the American Civil War,[12] and there were over 20 publishers nearby by the 1880s.[15] In part due to the presence of the Astor Library,[16] bookbinding and publishing firms such as The De Vinne Press and J.J. Little & Co. settled around Lafayette Place.[11][15]

Architecture

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The De Vinne Press Building was designed by the firm of Babb, Cook & Willard in the Romanesque Revival style;[5][17][18] the primary designer was likely Walter Cook, a partner in the firm.[19] An addition was made to the building in 1892.[18] The structure consists of seven stories, excluding the raised basement;[20][21] if the basement is counted, the building is eight stories tall.[22][a] The architectural writer Henry-Russell Hitchcock likened the structure's design to that of the Marshall Field's Wholesale Store in Chicago.[19] The De Vinne Press Building's design inspired that of another structure in Manhattan: the Tarrant Building, constructed in 1892 at 278–282 Greenwich Street.[23]

Facade

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The De Vinne Press Building is one of several journalism-related buildings in New York City that were designed in a Rundbogenstil–inspired style, with arches and brick walls.[19] The facade is made of brick and terracotta.[21][24] Originally, the terracotta was colored red, yellow, and white.[25] Decorations are concentrated on the southern and western elevations, which face the street.[21] Both elevations include a mixture of segmental arches and round-arched windows,[3][26] which are interspersed through the facade.[16] Due to the arrangement of the arches, the facade's appearance resembles the design of an old Roman aqueduct.[16][27][28] The steel-and-glass windows are recessed deeply into the facade, and elaborate terracotta decorations are used sparingly.[21][26] Belt courses run horizontally across the facade.[21] The building's gable roof has a shallow slope[21][29] and is supported by iron trusses, similar to other warehouse buildings of the time.[30]

Lafayette Street

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Detail of the front entrance, c. 1886-1895

The Lafayette Street elevation, to the west, is seven bays wide.[29] Both ends of the facade are ornamented with quoins.[16][21] On the first through third stories,[a] the center three bays each contain a triple-height archway.[21] The central archway has an arched doorway to its second story, as well as spandrel panels with interlacing patterns.[24][19] There are roundels above the central archway at the third story, which bear the initials of the building's developer, Theodore Low De Vinne, and the year of its completion, 1885.[19] The decorations of the main entrance archway were intended to give the building a "domestic scale"; at the time of the building's completion, most of the surrounding structures were low-rise houses.[24] The outermost two bays on either side contain two single-height arched windows on each of the first through third stories. The outermost windows on the first and second floors are segmental arches, while those on the third floor are round arches. [21]

On the fourth floor are 13 segmentally arched windows, with one windows in each of the outer four bays and three each in the inner three bays.[21] The center three bays contain triple-height round-arched window openings on the fifth through seventh floors,[a] which are flanked by two single-height arched windows on each story.[21][24] The triple-height windows are recessed deeply into the facade. The outermost windows on the fifth floor are segmental arches, while the outer windows on the sixth and seventh floors are round-arched. A belt course separates the eighth story from the floors below, and there are 13 round-arched windows on the eighth floor. A bronze cornice and a gable runs atop the eighth floor.[21] As built, the cornice was composed of bent iron beams, which created a gutter.[25]

Fourth Street

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The Fourth Street elevation, to the south, is eleven bays wide.[29] Because of the presence of the eastward annex, the Fourth Street elevation is no longer symmetrical.[21] The original facade, which comprises the westernmost six bays, is similar in design to the Lafayette Street elevation,[29] though the window arrangement is different.[19]

In the center four bays of the original facade (now the second through fifth bays from the west), there are double-height segmental arches on the first and second floors, which are flanked by smaller arched openings in the first and sixth bays. On the third story, there are large segmental arches in the original facade's four central bays, while the outer bays have smaller windows.[21] The fourth story of the original facade is divided into ten segmentally-arched windows, with two windows in each of the center bays and one window in each outer bay.[31] On the fifth and sixth stories, the original center bays contain double-height round-arched window openings. The original outer bays each have one segmental-arched window on the fifth story and one round-arched window on the sixth story. On the seventh and eighth floors, the four center bays comprise a row of eight round arches, which are flanked by a single round arch in either of the outer bays.[32]

The seventh bay from the west is flanked by quoins, visually separating the original building to the west and the annex to the east. Within this bay, the first story contains an entrance; the second and third stories have a double-height round arch; and the fourth story has a segmental arch. The upper stories of the seventh bay are recessed and consist of two double-height, round-arched window openings.[32] The four-bay-wide annex to the east is decorated with a wrought-iron fire escape.[29] In contrast to the rest of the building, the annex is topped by a terracotta cornice.[32]

Interior

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The building has a mostly rectangular floor plan.[21] The original building covers a ground area of 100 feet (30 m) along Lafayette Street and 73 feet (22 m) along Fourth Street. The annex to the east measures 44 feet (13 m) wide on Fourth Street, narrowing to 25 feet (7.6 m) at the rear; the annex measures 100 feet (30 m) deep from front to rear.[33] Because the De Vinne printing plant used paper and flammable materials extensively, the building was constructed with very few flammable materials, aside from wooden window frames.[34] The load-bearing walls are made of brick, except for the interior light court, which has a curtain wall made of rolled-iron girders.[35] The interiors are also supported by wrought-iron interior beams,[21][34] which was typical for the period.[30] The cast-iron columns inside the building are encased in brick[22][25] and are topped by angled brick capitals.[34][25]

The interiors were built in a utilitarian manner, as the building had been envisaged solely as a printing factory.[34][25] The floor slabs were intended to accommodate the weight of printing presses, and they were originally covered in asphalt to absorb vibrations from the presses.[22][34][25] The heaviest presses were placed in the cellar.[22][36] This story was known as the vault and contained storage space for paper and stereotypes, as well as the heating plant and a web press.[34][25] The cellar vault was illuminated by patent lights on the sidewalk.[24][25] The cellar space was 20 feet (6.1 m) tall, with a floor dimensions of 30 by 110 feet (9.1 by 33.5 m).[25] By the 2000s, the cellar space had been converted into a wine cellar.[37]

The first floor had presses for fine printing.[25] The main entrance led to a vestibule on the second floor, which had a spiral staircase made of iron, in addition to offices and presses.[22] Of the three floors above, two were used for storage and one was used for typesetting.[22] There was an office on the third floor, as well as composing rooms and press rooms.[25] The sixth floor had a electrotype foundry; the piers on the sixth floor were 5 feet (1.5 m) thick, supporting the heavy equipment above.[22][36] The top two floors had a bindery. The seventh floor also included dry presses, and the eighth floor had a storage room and mailroom.[22] There were two staircases, one for women and one for men, at opposite corners of the building.[25]

History

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Theodore Low De Vinne—a typographer, printer, and cofounder of the printing-history organization Grolier Club[37]—had the building constructed for his printing company, Theodore L. De Vinne & Co.[12] The firm printed several American magazines, including the St. Nicholas Magazine, Scribner's Monthly, and The Century.[12][38][16] De Vinne also wrote books such as The Invention of Printing, Correct Composition, and Title Pages.[12] The printer Roswell Smith, founder of the Century Company, published several of De Vinne's publications, including Scribner's Monthly and The Century.[39]

De Vinne Press printing plant

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The building seen shortly after its construction

In May 1884, Smith and De Vinne acquired several parcels of land. These included the Maury family's three-story house at 17 East Fourth Street;[40] the Sabine family's three-story house at the northeast corner of Lafayette and Fourth streets;[41] and the Hyatt family's three-story house and store at 19 East Fourth Street.[42] Smith announced that October that he and De Vinne would erect "a large printing and binding establishment" on the site.[43] At the time, the Real Estate Record and Guide predicted that the De Vinne & Co. Building "marks a new era in property hereabouts".[44] Babb, Cook & Willard were hired to design the building,[17][18] which was planned to cost $300,000.[45] Originally, De Vinne's financial stake in the property was limited to 25 percent, with the remainder held by Roswell Smith.[12] The structure was completed c. 1886;[29][46] and Smith and De Vinne hosted a lunch at the building that May for the construction contractors and architects.[47]

When the building was completed, it had the address of 12 Lafayette Place[46] and was used as a printing plant.[12][34] The De Vinne Building originally had a loading platform on Lafayette Street that took up about 13.5 feet (4.1 m) of the sidewalk's width.[48] Its machinery included a press that could print 2,500 copies of 64-page magazine every hour, in addition to a turntable where magazine sheets could be placed.[49] Among the works printed at the De Vinne & Co. Building was William Dwight Whitney's Century Dictionary,[50] in addition to The Century and St. Nicholas magazines.[51] By 1888, Smith and De Vinne had acquired two additional sites to the east of the existing building, with plans to erect an annex there.[52] Accordingly, the building was expanded between 1890 and 1891.[29] Babb, Cook & Willard designed a seven-story brick-and-terracotta annex at 21–23 East Fourth Street, which was budgeted at $50,000.[53]

By 1897, there were plans to construct the first line of the New York City Subway under Lafayette Place,[54] prompting opposition from several landowners along that street, including De Vinne & Co.[55][56] De Vinne's lawyers claimed that the line would require an 8-foot-wide (2.4 m) section of the building's basement vaults to be destroyed, incurring damages of up to $100,000.[56] The subway was ultimately built anyway, opening in 1904.[57] A water tank was built on the building's roof in 1909.[58] Two years later, Walter S. Timmis designed a further renovation of the De Vinne Press Building, which was carried out by F. D. Green & Co.[59] At that time, the building's main entrance and underground vault were renovated to accommodate the New York City Subway's Lexington Avenue Line and a widening of Lafayette Street.[58] After De Vinne died in February 1914,[51][60] James Bothwell became the president of the De Vinne Press,[61] while De Vinne's stake in the building itself was taken over by De Vinne's estate.[12] The same year, new elevators were installed, and a rooftop bulkhead was also built.[58] Streep & Hill leased one of the building's lofts in 1917.[62]

Later years

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De Vinne Press bankruptcy and Peek ownership

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View from Lafayette Street

The De Vinne Press remained in the building until it went out of business in 1922.[63][61] Valve and hand truck manufacturer Fairbanks Company leased the storefront and two of the upper stories in 1925.[64] Two years later, Charles Schaefer Jr. designed a ramp to the basement, as well as modified the window openings on the first and second stories of the Fourth Street facade.[58] De Vinne and Smith's respective estates continued to jointly own the building until 1929, when the Smith estate bought the De Vinne estate's stake in the building.[12] By the 1930s, the tenants included the Reliable Silk Dyeing Company[65] and the American Metal Spinning and Stamping Company.[66] The building also functioned as a metalwork factory in the mid-20th century.[12]

In 1938, the Walter Peek Paper Corporation bought the building from the Manufacturers Trust Company.[67][68] The Peek Paper Corporation paid $77,500 in cash and took over the building's mortgage;[69] at the time, the property was assessed at $225,000.[68] The new owner planned to renovate the structure.[67] In 1940, the building was internally connected with the neighboring structure at 401 Lafayette Street, and John M. Baker designed a one-story rear annex made of brick.[58] Walter Peek obtained a $17,400 loan for the building from the Harlem Savings Bank in 1947.[70] The De Vinne Press Building continued to be used as a printing plant through the late 1960s.[58] The De Vinne Press Building was designated a New York City landmark on November 8, 1966,[71][72] although the building's owner opposed the designation.[3] The building was added to the National Register of Historic Places in 1977[73][74] and to the New York State Register of Historic Places in 1980.[73]

Fisher ownership

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Walter Peek Paper Company sold the building to Edwin Fisher in either 1982[12] or 1984.[75] This was only the second time that the building had ever been sold.[37] Fisher had originally wanted to buy a nearby building on Astor Place, where his family's business, Astor Wines and Spirits, was located.[12] However, the owner of that building, Jeffrey Gural, had refused to sell the Astor Place building.[37] Fisher's son Andrew had told him not to buy the De Vinne Press Building, since the storefront was in the basement.[37] After Gural rejected Fisher's offer, Fisher agreed to buy the structure from Walter Peek employee Samuel Galewitz, concluding the agreement to buy while riding an elevator.[37] Fisher subsequently renovated the building, and by the late 1980s a lighting store had decided to relocate into the building. The ground floor remained vacant in case Astor Wines and Spirits needed to relocate there.[75] Over the years, Fisher gradually made small repairs to the building.[12] The Serafina restaurant opened in the building in late 1999.[76]

By the early 2000s, the architect David Paul Helpern occupied 11,000 square feet (1,000 m2) of the building, while the ground floor was occupied by the Serafina restaurant. In addition, Fisher had hired Vincent Stramandinoli & Associates to restore the cornice at a cost of $65,000.[12] Astor Wines and Spirits moved into the De Vinne Press Building in 2006,[77][78] occupying 11,000 square feet (1,000 m2) there.[79] Andrew Fisher converted the basement's press area into a storefront and used the building's cellar floor as a wine cellar.[37] The store was divided into several sections, each with wine from a different geographical region. The Fishers also planned to build a tasting area and classroom on the second floor; the store and education area were collectively known as the Astor Center.[79] The second-story area became a wine-education center,[79][80] which opened in 2008.[77] The Astor Center included a cool room, tasting bar, and wine library.[80] To accommodate the Astor Center, the store installed two microturbines in the basement, which were capable of generating 120 kilowatts (160 hp).[81]

The building's tenants in the 2010s included Astor Wines and Spirits, André Balazs Properties, the Orchard (a digital distribution company), the Shootdigital photo studio and production company, and Helpern Architects.[37] In addition, the Taco Bell fast-food chain opened a temporary pop-up restaurant in the building in 2017.[82] During the COVID-19 pandemic in New York City, in 2020, the education center was closed temporarily.[77]

Reception

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Entrance view

When the structure was completed, the Real Estate Record and Guide described the De Vinne Press Building as "affectedly bald and quaint".[24][83] The American Architect and Building News wrote in 1899 that the building was designed in an "aqueduct style" in that it included both single-story and multi-story arches.[27] In 1904, the architect and art critic Russell Sturgis said in The Architectural Record that "More than once visitors on their way to see it have been pulled up suddenly by a sudden sense of its large presence."[12] Sturgis specifically praised the ornamentation around the entrance, which he said showed "how ornament may be concentrated at one point, while still serving well the general purpose of the building as a whole".[24] Homer Saint-Gaudens wrote in 1913 that the structure was "so clean-cut and essentially American as to win [the building's architect] instant respect".[24][84] Albert Kahn wrote in the Architectural Review in 1917 that the De Vinne Press Building was a "very remarkable" structure that preceded a series of "very creditable industrial buildings".[85]

The De Vinne Press Building continued to receive praise in the second half of the 20th century. Lewis Mumford wrote in 1953 that the building was a "fine survivor of another day",[86] and Henry Hope Reed Jr. characterized the building in 1962 as an imposing "Roman utilitarian" edifice.[38] According to Reed, the use of alternating round and segmental arches of different sizes contributed to the building's monumental appearance, despite the lack of ornamentation otherwise.[16] The writers Sarah Landau and Carl W. Condit wrote that, despite the simple appearance of the facade, the openings were arranged in a "highly sophisticated" manner that reflected the building's use as a printing building.[19] Robert A. M. Stern and the coauthors of his 1999 book New York 1880 wrote that the De Vinne Press Building had a monumental scale despite the relatively simple design.[24]

In 2003, architectural historian Christopher Gray of The New York Times described the building as "among the most sophisticated works of masonry in New York, a tour de force of honestly simple bricklaying built for one of the premier printing companies of a century ago."[12] Another architectural critic, Paul Goldberger, likened the De Vinne Press Building to a New England brick mill and praised it as Babb, Cook & Willard's best design.[87] In a 2005 biography of De Vinne, Irene Tichenor wrote that the De Vinne Press Building had been "one of the finest examples of commercial architecture" at a time when structural-steel frames were still uncommon.[87] The historian Barbaralee Diamonstein-Spielvogel, in a guidebook about New York City designated landmarks, characterized the attic windows as giving the building "a distinctive note".[5]

See also

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References

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Notes

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  1. ^ a b c National Park Service 1977, pp. 2–3, refers to the building as having eight stories and labels the basement as the first floor. For consistency, in this article, the story directly above the basement is labeled as the second story, and the top story is labeled as the eighth floor.

Citations

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  1. ^ a b "National Register Information System". National Register of Historic Places. National Park Service. March 13, 2009.
  2. ^ "Cultural Resource Information System (CRIS)". New York State Office of Parks, Recreation and Historic Preservation. November 7, 2014. Archived from the original on April 4, 2019. Retrieved July 20, 2023.
  3. ^ a b c De Vinne Press Building (PDF) (Report). New York City Landmarks Preservation Commission. October 19, 1966. p. 1. Archived (PDF) from the original on June 29, 2024. Retrieved October 20, 2024.
  4. ^ a b White, Willensky & Leadon 2010, p. 154.
  5. ^ a b c Diamonstein-Spielvogel, Barbaralee (2011). The Landmarks of New York (5th ed.). Albany, New York: State University of New York Press. p. 284. ISBN 978-1-4384-3769-9.
  6. ^ a b c "393 Lafayette Street, 10003". New York City Department of City Planning. Retrieved March 20, 2020.
  7. ^ Rahmanan, Anna (July 20, 2022). "Lower Manhattan has two new public plazas you can chill in". Time Out New York. Archived from the original on October 26, 2023. Retrieved October 22, 2023.
  8. ^ Dunlap, David W. (December 28, 2004). "Court Steps in to Try to Save a City Landmark on the Brink". The New York Times. ISSN 0362-4331. Archived from the original on October 26, 2023. Retrieved October 22, 2023.
  9. ^ Landmarks Preservation Commission 2008, p. 8.
  10. ^ a b c Fuller, Robert N. (May 3, 1936). "A Landmark and Museum: 'Old Merchant's House,' Built in 1836 by Seabury Tredwell, to Be Reopened". The New York Times. p. X7. ISSN 0362-4331. ProQuest 101870774.
  11. ^ a b Tichenor 2005, pp. 72–74.
  12. ^ a b c d e f g h i j k l m n o p Gray, Christopher (April 13, 2003). "Streetscapes/De Vinne Press Building, Fourth and Lafayette Streets; An Understated Masterpiece That Earns Its Keep". The New York Times. Archived from the original on December 1, 2017. Retrieved November 24, 2017.
  13. ^ Hamilton, Denise (November 20, 1988). "Old N.Y. Merchant's House". Los Angeles Times. p. 24. ISSN 0458-3035. ProQuest 280559605.
  14. ^ Landmarks Preservation Commission 2008, pp. 8–9.
  15. ^ a b Landmarks Preservation Commission 1999, p. 14.
  16. ^ a b c d e f Gillon, Edmund Vincent; Reed, Henry Hope Jr. (1988). Beaux-arts Architecture in New York: A Photographic Guide. Dover books on architecture. Dover Publications. p. 21. ISBN 978-0-486-25698-6.
  17. ^ a b New York City Landmarks Preservation Commission; Dolkart, Andrew S.; Postal, Matthew A. (2009). Postal, Matthew A. (ed.). Guide to New York City Landmarks (4th ed.). New York: John Wiley & Sons. ISBN 978-0-470-28963-1., p.64
  18. ^ a b c White, Willensky & Leadon 2010, p. 156.
  19. ^ a b c d e f g Landau & Condit 1996, p. 143.
  20. ^ "An Unpremeditated Real Estate Movement". The Real Estate Record: Real estate record and builders' guide. Vol. 42, no. 1070. September 15, 1888. p. 1108. Archived from the original on October 7, 2024. Retrieved October 20, 2024 – via columbia.edu.
  21. ^ a b c d e f g h i j k l m n o p National Park Service 1977, p. 2.
  22. ^ a b c d e f g h Landau & Condit 1996, p. 145.
  23. ^ Stern, Mellins & Fishman 1999, p. 485.
  24. ^ a b c d e f g h i Stern, Mellins & Fishman 1999, p. 484.
  25. ^ a b c d e f g h i j k l "Our Special Illustration". Engineering Record, Building Record and Sanitary Engineer. Vol. 13. McGraw Publishing Company. 1886. p. 561. Archived from the original on August 11, 2023. Retrieved October 20, 2024.
  26. ^ a b Landau & Condit 1996, pp. 143–144.
  27. ^ a b "The Legitimate Design of the Architectural Casing for Steel Skeleton Structures". The American Architect and Building News. Vol. 66, no. 1249. December 2, 1899. p. 78. ProQuest 124638061.
  28. ^ Wolfe, Gerard R. (1994). New York, a Guide to the Metropolis: Walking Tours of Architecture and History. McGraw-Hill. p. 113. ISBN 978-0-07-071397-0.
  29. ^ a b c d e f g Landmarks Preservation Commission 1999, p. 156.
  30. ^ a b Landau & Condit 1996, p. 144.
  31. ^ National Park Service 1977, pp. 2–3.
  32. ^ a b c National Park Service 1977, p. 3.
  33. ^ Landau & Condit 1996, p. 415.
  34. ^ a b c d e f g Tichenor 2005, p. 77.
  35. ^ Landau & Condit 1996, pp. 144–145.
  36. ^ a b De Vinne, Theodore L. (November 1890). "The Printing of 'The Century'". The Century illustrated monthly magazine. Vol. 41. p. 92. Retrieved October 7, 2024 – via HathiTrust.
  37. ^ a b c d e f g h Dunlap, David W. (February 19, 2014). "Celebrating a Building That Has Stood for Decades as a Symbol of the Press". The New York Times. Archived from the original on June 30, 2020. Retrieved January 17, 2020.
  38. ^ a b Reed, Henry Hope Jr. (May 13, 1962). "The Astors' World: a Walk Through a Gracious Quarter Near the Bowery Where the Fashionable and Literary Once Flourished". New York Herald Tribune. p. F2. ISSN 1941-0646. ProQuest 1326029374.
  39. ^ Landmarks Preservation Commission 1999, pp. 156–157.
  40. ^ "Conveyances". The Real Estate Record: Real estate record and builders' guide. Vol. 33, no. 842. May 3, 1884. p. 473. Archived from the original on October 7, 2024. Retrieved October 20, 2024 – via columbia.edu.
  41. ^ "Conveyances". The Real Estate Record: Real estate record and builders' guide. Vol. 33, no. 843. May 10, 1884. p. 504. Archived from the original on October 7, 2024. Retrieved October 20, 2024 – via columbia.edu.
  42. ^ "Conveyances". The Real Estate Record: Real estate record and builders' guide. Vol. 33, no. 844. May 17, 1884. p. 540. Archived from the original on October 7, 2024. Retrieved October 20, 2024 – via columbia.edu.
  43. ^ Croffut, W. A. (October 5, 1884). "Literary and Personal". Detroit Free Press. p. 18. ProQuest 561527517.
  44. ^ "Real Estate Department". The Real Estate Record: Real estate record and builders' guide. Vol. 38, no. 959. July 31, 1886. p. 973. Archived from the original on October 7, 2024. Retrieved October 20, 2024 – via columbia.edu.
  45. ^ "Many Buildings Planned". The New York Times. December 31, 1885. p. 3. Archived from the original on October 7, 2024. Retrieved October 7, 2024.
  46. ^ a b "Magazine Notes". The Critic: a Weekly Review of Literature and the Arts. Vol. 6, no. 131. July 3, 1886. p. 6. ProQuest 124914519.
  47. ^ "Notes and News". The American Bookseller. Vol. 20, no. 1. July 1, 1886. p. 16. ProQuest 128137614.
  48. ^ "The Crusade Against Encroachments". The Real Estate Record: Real estate record and builders' guide. Vol. 87, no. 2255. June 3, 1911. p. 1043 – via columbia.edu.
  49. ^ "Receiving the Typothetae". The New York Times. February 13, 1887. Archived from the original on October 7, 2024. Retrieved October 7, 2024.
  50. ^ "Literary Notices". The Sanitarian. No. 201. August 1, 1886. p. 188. ProQuest 747974012.
  51. ^ a b "Theo. De Vinne Dies in 86th Year; Famous Printer Passes Away After a Few Hours' Illness-Stricken After Luncheon". The New York Times. February 17, 1914. Archived from the original on October 7, 2024. Retrieved October 7, 2024.
  52. ^ "Gossip of the Week". The Real Estate Record: Real estate record and builders' guide. Vol. 41, no. 1057. June 16, 1888. p. 772. Archived from the original on October 7, 2024. Retrieved October 20, 2024 – via columbia.edu.
  53. ^ "Buildings Projected". The Real Estate Record: Real estate record and builders' guide. Vol. 45, no. 1149. March 22, 1890. p. 426. Archived from the original on October 7, 2024. Retrieved October 20, 2024 – via columbia.edu.
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