Jonathan Cohen's photos with the keyword: Greenwich Village

The Bitter End is a 230-person capacity nightclub, coffeehouse and folk music venue in New York City’s Greenwich Village. It opened its doors in 1961 at 147 Bleecker Street under the auspices of owner Fred Weintraub. The club changed its name to The Other End during the 1970s. However, after a few years the owners changed the club’s name back to the more recognizable Bitter End. During the folk music revival of the early 1960s the club hosted "hootenannies" every Tuesday night, featuring many performers who have since become legendary. In the mid 1970s, the club became known as the birthplace of Bob Dylan, Rolling Thunder Revue, which featured such names as Joni Mitchell, Roger McGuinn, Ramblin’ Jack Elliot, Joan Baez, T-Bone Burnett, Ronee Blakely, Mick Ronson, and many other guest stars.

Morton Williams, founded in 1954, is a family-owned and operated food retailer with eleven stores in the New York City Metropolitan area. The store advertises that each location " is designed to reflect the needs of the individual neighborhood." Presumably, the people who live in Greenwich Village need puns. For those whose mother language is not English, the cartoon on the right hand side of the photo puns on the word "horseradish." And for those unfamiliar with American popular culture, the cartoon on the left hand side refers to CHiPs, a television program depicting the lives of two motorcycle police officers of the California Highway Patrol. The series ran for 139 episodes over six seasons from 1977 to 1983.

New York University is a large presence in the area adjacent to Greenwich Village. The brutalist "Silver Towers" off Bleecker Street were designed as student housing in the 1960’s by the architectural firm of I.M. Pei. (Pei’s firm was most famous for designing the pyramid glass structure at the Louvre in Paris). Pei who chose to adorn the courtyard of the Silver Towers by enlarging one of five busts sculpted in 1934 by Pablo Picasso. The series of busts was inspired by a woman named Sylvette David. In 1967 Pei hired Norwegian sculptors Carl Nesjar and Sigurd Frager to recreate the bust (although Picasso oversaw the project through drawings and photos). First cast in black basalt, it was then coated in cement and sandblasted by Nesjar to create the dark permanent lines. The rough cement of the sculpture was meant to compliment the harsh surface of the three identical apartment towers which surrounded it. Resting on a hidden cement base, this keeps it from sinking into the underground parking garage directly beneath it. The enlarged reproduction is some 36 feet in height and weighs 60 tons. The rough cement of the giant bust compliments the harsh surface of the three identical apartment towers which surround it. It was declared a landmark in 2008.

The MSI Building, located at the north east corner of Bleecker and Broadway is one of New York City’s greatest buildings. Designed by architect Stephen Decatur Hatch, who was responsible for several Manhattan buildings, most recently the monumental New York Life Insurance Company Building at 346 Broadway, it was built in 1889-90. An earlier MSI building was the site of the 19th Century’s biggest bank robbery. At around 6:10 on the evening of October 27, 1878 thieves, commanded by George Leonidas Leslie, the so-called "King of the Bank Robbers," broke into the building. The gang included such notables as Jimmy Hope, Shang Draper, Red Leary, Johnny Dobbs, Worcester Sam Perris, Banjo Pete Emerson and Eddie Goodie Gearing. They made off with over $2.7 million – approximately $50 million by today’s standards. Unfortunately for the robbers, all but $12,000 of the loot was in non-negotiable bonds. A decade later the heist was nearly forgotten and the Manhattan Savings Institute was preparing for a new, larger building. The bank moved into temporary offices while the old structure at 644 Broadway was razed and construction started on the new one. For the new headquarters, Hatch used a harmonious mix of Queen Anne and Romanesque Revival styles and a medley of materials: carved and rusticated sandstone, terra cotta, brick, copper and cast iron. Hatch took advantage of the corner site, crowning the building with a copper-clad tower visible for blocks from either Broadway or Bleecker. It remains one of the most ornate surviving 19th century buildings in Manhattan. The façade is a visual feast of bays, pseudo-balconies, pilasters, arches and small-bracketed courses. In the pediment of the Broadway side the Institute’s monogram, MSI, stands in bold copper relief. In a drastic diversion from traditional European decorative motifs – gods and goddesses, or allegories of continents or the arts, for instance – Hatch turned to the uniquely American. Beavers, ears of corn, and Native American faces adorn the keystones and cornices. Construction was completed in 1891 and that year the History and Commerce of New York wrote that "The banking rooms are handsomely furnished in all respects, and amply provided with improved fire and burglar-proof safes and vaults, which gives the greatest possible security…A valuable and increasing list of patrons is drawn to its counters…" The Manhattan Savings Institute eventually went out of business and the Bleecker Street neighborhood became industrial. By the 1970s, after decades of neglect, the building was in severe disrepair. Pieces of stonework was disengaging from the façade and falling to the sidewalk below. In the 1980s the old Manhattan Savings Institute building was converted to luxury loft apartments and renamed the "Bleecker Tower." The owners had "patch repairs" made to the facade in 1987 and again in 1992; however seven years later it was obvious that a more substantial restoration was necessary for the aging structure. Walter B. Melvin Architects, LLC, was contracted to stabilize and restore the façade. Specially formulated coatings were applied to unify the façade and prevent water intrusion. The cast iron balconies were removed, stripped and rebuilt with stainless steel joints.

The MSI Building, located at the north east corner of Bleecker and Broadway is one of New York City’s greatest buildings. Designed by architect Stephen Decatur Hatch, who was responsible for several Manhattan buildings, most recently the monumental New York Life Insurance Company Building at 346 Broadway, it was built in 1889-90. An earlier MSI building was the site of the 19th Century’s biggest bank robbery. At around 6:10 on the evening of October 27, 1878 thieves, commanded by George Leonidas Leslie, the so-called "King of the Bank Robbers," broke into the building. The gang included such notables as Jimmy Hope, Shang Draper, Red Leary, Johnny Dobbs, Worcester Sam Perris, Banjo Pete Emerson and Eddie Goodie Gearing. They made off with over $2.7 million – approximately $50 million by today’s standards. Unfortunately for the robbers, all but $12,000 of the loot was in non-negotiable bonds. A decade later the heist was nearly forgotten and the Manhattan Savings Institute was preparing for a new, larger building. The bank moved into temporary offices while the old structure at 644 Broadway was razed and construction started on the new one. For the new headquarters, Hatch used a harmonious mix of Queen Anne and Romanesque Revival styles and a medley of materials: carved and rusticated sandstone, terra cotta, brick, copper and cast iron. Hatch took advantage of the corner site, crowning the building with a copper-clad tower visible for blocks from either Broadway or Bleecker. It remains one of the most ornate surviving 19th century buildings in Manhattan. The façade is a visual feast of bays, pseudo-balconies, pilasters, arches and small-bracketed courses. In the pediment of the Broadway side the Institute’s monogram, MSI, stands in bold copper relief. In a drastic diversion from traditional European decorative motifs – gods and goddesses, or allegories of continents or the arts, for instance – Hatch turned to the uniquely American. Beavers, ears of corn, and Native American faces adorn the keystones and cornices. Construction was completed in 1891 and that year the History and Commerce of New York wrote that "The banking rooms are handsomely furnished in all respects, and amply provided with improved fire and burglar-proof safes and vaults, which gives the greatest possible security…A valuable and increasing list of patrons is drawn to its counters…" The Manhattan Savings Institute eventually went out of business and the Bleecker Street neighborhood became industrial. By the 1970s, after decades of neglect, the building was in severe disrepair. Pieces of stonework was disengaging from the façade and falling to the sidewalk below. In the 1980s the old Manhattan Savings Institute building was converted to luxury loft apartments and renamed the "Bleecker Tower." The owners had "patch repairs" made to the facade in 1987 and again in 1992; however seven years later it was obvious that a more substantial restoration was necessary for the aging structure. Walter B. Melvin Architects, LLC, was contracted to stabilize and restore the façade. Specially formulated coatings were applied to unify the façade and prevent water intrusion. The cast iron balconies were removed, stripped and rebuilt with stainless steel joints.

The MSI Building, located at the north east corner of Bleecker and Broadway is one of New York City’s greatest buildings. Designed by architect Stephen Decatur Hatch, who was responsible for several Manhattan buildings, most recently the monumental New York Life Insurance Company Building at 346 Broadway, it was built in 1889-90. An earlier MSI building was the site of the 19th Century’s biggest bank robbery. At around 6:10 on the evening of October 27, 1878 thieves, commanded by George Leonidas Leslie, the so-called "King of the Bank Robbers," broke into the building. The gang included such notables as Jimmy Hope, Shang Draper, Red Leary, Johnny Dobbs, Worcester Sam Perris, Banjo Pete Emerson and Eddie Goodie Gearing. They made off with over $2.7 million – approximately $50 million by today’s standards. Unfortunately for the robbers, all but $12,000 of the loot was in non-negotiable bonds. A decade later the heist was nearly forgotten and the Manhattan Savings Institute was preparing for a new, larger building. The bank moved into temporary offices while the old structure at 644 Broadway was razed and construction started on the new one. For the new headquarters, Hatch used a harmonious mix of Queen Anne and Romanesque Revival styles and a medley of materials: carved and rusticated sandstone, terra cotta, brick, copper and cast iron. Hatch took advantage of the corner site, crowning the building with a copper-clad tower visible for blocks from either Broadway or Bleecker. It remains one of the most ornate surviving 19th century buildings in Manhattan. The façade is a visual feast of bays, pseudo-balconies, pilasters, arches and small-bracketed courses. In the pediment of the Broadway side the Institute’s monogram, MSI, stands in bold copper relief. In a drastic diversion from traditional European decorative motifs – gods and goddesses, or allegories of continents or the arts, for instance – Hatch turned to the uniquely American. Beavers, ears of corn, and Native American faces adorn the keystones and cornices. Construction was completed in 1891 and that year the History and Commerce of New York wrote that "The banking rooms are handsomely furnished in all respects, and amply provided with improved fire and burglar-proof safes and vaults, which gives the greatest possible security…A valuable and increasing list of patrons is drawn to its counters…" The Manhattan Savings Institute eventually went out of business and the Bleecker Street neighborhood became industrial. By the 1970s, after decades of neglect, the building was in severe disrepair. Pieces of stonework was disengaging from the façade and falling to the sidewalk below. In the 1980s the old Manhattan Savings Institute building was converted to luxury loft apartments and renamed the "Bleecker Tower." The owners had "patch repairs" made to the facade in 1987 and again in 1992; however seven years later it was obvious that a more substantial restoration was necessary for the aging structure. Walter B. Melvin Architects, LLC, was contracted to stabilize and restore the façade. Specially formulated coatings were applied to unify the façade and prevent water intrusion. The cast iron balconies were removed, stripped and rebuilt with stainless steel joints.

The MSI Building, located at the north east corner of Bleecker and Broadway is one of New York City’s greatest buildings. Designed by architect Stephen Decatur Hatch, who was responsible for several Manhattan buildings, most recently the monumental New York Life Insurance Company Building at 346 Broadway, it was built in 1889-90. An earlier MSI building was the site of the 19th Century’s biggest bank robbery. At around 6:10 on the evening of October 27, 1878 thieves, commanded by George Leonidas Leslie, the so-called "King of the Bank Robbers," broke into the building. The gang included such notables as Jimmy Hope, Shang Draper, Red Leary, Johnny Dobbs, Worcester Sam Perris, Banjo Pete Emerson and Eddie Goodie Gearing. They made off with over $2.7 million – approximately $50 million by today’s standards. Unfortunately for the robbers, all but $12,000 of the loot was in non-negotiable bonds. A decade later the heist was nearly forgotten and the Manhattan Savings Institute was preparing for a new, larger building. The bank moved into temporary offices while the old structure at 644 Broadway was razed and construction started on the new one. For the new headquarters, Hatch used a harmonious mix of Queen Anne and Romanesque Revival styles and a medley of materials: carved and rusticated sandstone, terra cotta, brick, copper and cast iron. Hatch took advantage of the corner site, crowning the building with a copper-clad tower visible for blocks from either Broadway or Bleecker. It remains one of the most ornate surviving 19th century buildings in Manhattan. The façade is a visual feast of bays, pseudo-balconies, pilasters, arches and small-bracketed courses. In the pediment of the Broadway side the Institute’s monogram, MSI, stands in bold copper relief. In a drastic diversion from traditional European decorative motifs – gods and goddesses, or allegories of continents or the arts, for instance – Hatch turned to the uniquely American. Beavers, ears of corn, and Native American faces adorn the keystones and cornices. Construction was completed in 1891 and that year the History and Commerce of New York wrote that "The banking rooms are handsomely furnished in all respects, and amply provided with improved fire and burglar-proof safes and vaults, which gives the greatest possible security…A valuable and increasing list of patrons is drawn to its counters…" The Manhattan Savings Institute eventually went out of business and the Bleecker Street neighborhood became industrial. By the 1970s, after decades of neglect, the building was in severe disrepair. Pieces of stonework was disengaging from the façade and falling to the sidewalk below. In the 1980s the old Manhattan Savings Institute building was converted to luxury loft apartments and renamed the "Bleecker Tower." The owners had "patch repairs" made to the facade in 1987 and again in 1992; however seven years later it was obvious that a more substantial restoration was necessary for the aging structure. Walter B. Melvin Architects, LLC, was contracted to stabilize and restore the façade. Specially formulated coatings were applied to unify the façade and prevent water intrusion. The cast iron balconies were removed, stripped and rebuilt with stainless steel joints.

The Bayard–Condict Building at 65 Bleecker Street between Broadway and Lafayette Street, at the head of Crosby Street in the NoHo neighbourhood of Manhattan, New York City is the only work of architect Louis Sullivan in New York City. It was built between 1897 and 1899 in the Chicago School style. This commercial office building is clad in white terra cotta over a masonry wall. The Bayard Building was one of the first steel skeleton frame skyscrapers in New York City and the Department of Buildings raised numerous objections to the design before the plans were finally accepted. The division of the building into three sections – an ornamented base, a shaft of identical stacked floors, and a decorated crown – illustrates Sullivan's views on skyscraper design. At 13 stories and 162 feet (49 meters) high, the building does not attempt to disguise its height, but rather accentuates it by leaving relatively undecorated mullions and pilasters. Sullivan's signature ornate floral designs decorate the base and top of the facade, and across the spandrels below the window openings. Figural sculptures of angels were added at the request of the client, Silas Alden Condict, over Sullivan's objections. As rococo as the Bayard-Condict Building at Bleecker and Crosby Streets is, it’s regarded as a precursor to the skyscraper boom that commenced with the Flatiron and then Woolworth Buildings in the early 20th Century. And, the relatively large windows look ahead to the glassy International Style that commenced mid-century. This is the only building in NYC designed by Chicago architect Louis Sullivan, whose pupil, Frank Lloyd Wright, would design buildings that broke away from the ornate Beaux Arts style completely. The building was designated a New York City landmark in 1975, and has been a National Historic Landmark since 1976.