Born in England, architect Thomas Thomas had established a successful practice by 1837 when he met with 10 other architects to form the National Institute of Architecture, later reorganized as the American Institute of Architects.  His two sons, Thomas, Jr. and Griffith, later joined him, forming Thomas & Sons.  (Griffith Thomas would be remembered by the American Institute of Architects in 1908 as "the most fashionable architect of his generation.")

In 1861 the firm was commissioned by dry goods importer Solomon Kohnstamm to design a five-story loft building to replace an old two-story structure at No. 79 White Street.   Its cast iron storefront included engaged Corinthian columns that upheld an entablature and cornice (the storefront appeared in Dandiel D. Badger's 1865 Architectural Iron Works foundry catalog).  The stone-faced upper floors married the equally-popular Second Empire and Italianate styles.  Paneled pilasters separated the openings.  A centered classical pediment distinguished the third floor.  Arched sashes within the rectangular openings provided the fashionable arched windows necessary to the Second Empire style.

The storefront originally featured the columns and entabulature pictured in the 1856 Architectural Iron Works catalog.  (copyright expired)

Although the 25-foot wide building would not be officially completed until 1862, the Government could not wait that long.  On April 12, 1861 the first shot was fired that sparked Civil War.

By the end of summer No. 79 White Street was filled with uniformed officers organizing the newly-recruited Union soldiers.  On August 23 The New York Times announced "Commandants of all regiments accepted by the War Department are requested to call upon Lieut.-Col. D. B. Sacket, at the mustering office, 79 White-st., where he will explain to them all the provisions made by the Department, for facilitating the collection, subsistence and transportation of recruits."

The building was also used as an interim barracks for northern units traveling to the front.  In January 1862, for instance the 1,046 men of the New-Hampshire Seventh Regiment were quartered here awaiting further orders. 

The War Department continued to use the otherwise vacant building for military purposes.  On May 6, 1862 Adjutant General Lorenzo Thomas of the War Department wrote to Brigadier General Harvey Brown informing him in part, "Lieut.-Col. Nichols, U.SA., has a building, No. 79 White-street, which can be used as an office of record and reference, and a temporary asylum for men arriving in the City."

The Union Army additionally used the building for quartermaster purposes.  The Mustering Officer, Captain F. S. Larned, announced that on July 7, 1862 he would be receiving sealed proposals "for supplying Cooked Rations to volunteer organizations."  The successful bidder would have to supply more than merely food, however.  "Four pounds of Soap and one pound of Sperm Candles to every one hundred rations is to be furnished by the contractor."

When enlistments slowed, the Mustering Office provided an incentive, or "bounty."  On July 27, 1862 The New York Herald reported "By the middle of next week preparations will be made at the Mustering office, No. 79 White street, to pay each recruit on the spot, immediately after being mustered in, the sum of $28, being part of the United States bounty.  This is as it should be, and will greatly facilitate recruiting."

Gallant soldiers who were captured and imprisoned by the Confederate Army suffered horribly.  The New York troops who were rescued and returned home were paid at No. 79 White Street.  In June 1862 Brigadier General Harvey Brown was ordered "to muster for payment about fourteen hundred returned prisoners now arriving...from the Department of North Carolina."  The New York Herald announced "Payment will be made to these men as soon as the muster rolls can be completed."  Unfortunately for the war-weary men, they were not home for good.  The article noted that they were "granted leave of absence for twenty days."

A year before the war ended the Government left No. 79 and the building was leased, as originally intended, to apparel and dry goods firms.  E. S. Jaffray & Co. moved into the third floor around February 1864.  In March the firm placed an advertisement seeking "100 first class cloak and mantilla makers; none but those accustomed to the best work need apply.  Also two or three assistant forewomen and operators on Wheeler & Wilson's and Grover & Baker's sewing machines."  Decades later, in 1893, King's Handbook of New York City recalled that E. S. Jaffray "had surprised many persons by sacrificing to his patriotic principles the great business interests which he had in the South."

E. S. Jaffray shared the building with apparel manufacturer C. W. Griffiths & Co., which moved in around the same time.  On March 4, 1864 the firm placed an advertisement in The New York Herald seeking "Chenille head net and experienced headdress makers," and six months later it was looking for  "A young man or a good sized boy.  Work light."

The substantial operation of E. S. Jaffray & Co. was clearly evidenced a year later when it advertised for "200 experienced cloak and mantilla makers," on March 13, 1865.  The firm was hiring again in August 1866, looking not only for cloak makers but "25 hands to work on lace goods" for mantillas.  That incredible success necessitated the firm to erect its own building at the corner of Broadway and Leonard Street around 1868.

The upper floors continued to house apparel firms, like B. M. Samter's "balmoral skirt" factory.  In 1871 the firm was the victim of a bold robbery.  At about 7:30 on the morning of March 7 a delivery wagon pulled up in front of the building, laden with cloth.  As the driver went in, an opportunistic thief took the reins and drove away.

By 1877 the Continental Corset Works operated here and would remain at least through 1884.  In 1886 its owners were granted a patent for the "Scented Corset."  The firm had gotten a new landlord in April 1881 when the estate of Solomon Kohnstamm sold the building to brothers Marx and Moss Ottinger for $32,300--about $800,000 today.

The Ottingers brought in a variety of tenants.  By 1887 the ground floor had been converted to the saloon of Ferrigan & Smith (who ran another saloon known as Cobweb Hall at No. 80 Duane Street).  At the same time the second and fourth floors were home to book manufacturer Edward Barr, the third held Hartwig Kantorowicz's cordials firm, and the top floor was home to Kronk & Co., cloak manufacturers.

The saloon was taken over by Friedhoff & Meyer when they signed a 10-year lease on April 1, 1891.  Like their predecessors, John P. Friedhoff and Henry C. Meyer operated two saloons, the other at No. 84 First Avenue.

The popular watering hole served Tribeca workers for decades; operated by a succession of proprietors.  In July 1897 the Lembeck & Betz Eagle Brewing Company took over the lease.  It was common practice for breweries to operate their own saloons in the 19th and early 20th centuries, giving them the opportunity to monopolize the beers and ales offered.  Another prominent brewer, Peter Doelger, took over the saloon in 1899.

Upstairs at the time were L. Rosenbaum & Son, suspender manufacturers, on the second floor; W. J. & L. Schneidermann, "skirts and dresses;" C. Yuster, makers of cloaks and suits; and trimmings manufacturer Rosenthal Bros.

Forty-five years after its completion, the building's age was taking its toll.  The antiquated plumbing caused major problems for sanitation inspectors in 1906.  The Sanitary Superintendent certified that No. 79 "has become dangerous to life and is unfit for human habitation because of the existence of a nuisance on the premises which is likely to cause sickness among its occupants."  The building was ordered vacated "on or before September 16" and a placard announcing the danger was affixed on the front.

Following the necessary upgrades, tenants moved back in, including the long-time L. Rosenbaum & Son (which by now were operated under the name of Great Eastern Suspender Company).  They would be joined by the Banner Mfg. Co., children's wear makers; and McCherry Co. by 1917, makers of handles for rakes, brooms and other tools.

The opening of the Broadway Subway line on New Year's Day 1918 was immediately reflected in the rent of the store at No. 79 White Street.  A month later, on February 16, The Sun reported that it had been leased to the F. M. Lupton Company "at an increased rental of 70 percent, over what was formerly obtained for it."

The publisher operated its bookstore in the space--a drastic change from the former saloon.  The Bookseller described its books as being "from the pens of well-known writers and in superior dress and bindings."  The firm also produced magazines like the People's Home Journal, McClure's Magazine, and the Periodical Press.

Down the block at the corner of White and Franklin Streets was the Hungerford Building, home to the U. T. Hungerford Brass and Copper Co.  In January 1919 the firm purchased the building at No. 81 White Street and leased space in No. 79 for warehousing.   Its architect, William E. Austin, broke through the walls to join the upper floors internally.  In the meantime, William Mulholland, clothiers, had occupied the second and third floors for at least three years.

In January 1921 U. T. Hungerford Brass and Copper purchased No. 79.  Immediately it brought back William Mulholland whose plans called for altering the building "into offices" for the new owners.

Case Brass and Copper Company acquired the firm in 1927, and it would remain in the combined buildings for decades.  Space was subleased following World War II to the Strahs Aluminum Company.

Nos. 79 and 81 have been internally united since 1919.

Then in 1960 the combined properties were purchased by William Abramowitz, head of the Concord Radio Corporation.  The New York Times reported he intended to use the building "for his other electronic enterprises."  Real change came, however, in 2006 when a conversion of Nos. 79-81 resulted in two apartments per floor above street level.

Times change.  Victorian women once labored over sewing machines here.  photo via Douglas-Elliman Real Estate

Sadly almost nothing remains of the historic 1862 Architectural Iron Works storefront.  The upper floors, however, survive admirably.

photographs by the author

Born in England, architect Robert W. Gibson began his American career in upstate New York.  His receiving a major New York City commission--the designing of the United States Trust Company building--may have been what prompted him to move his operation to Manhattan.  On March 10, 1888 The Record & Guide announced "Architect R W. Gibson of Albany, has opened offices in the Potter building.  It will be remembered that Mr. Gibson received the commission for the new building on Wall street for the United States Trust Company."

While much less grand, Gibson's No. 88 White Street would inherit several elements of his United States Trust Company Building (above)  American Architect & Building News, January 13, 1890 (copyright expired)

Gibson would soon receive another commission; albeit one not quite so impressive.  Banker and politician B. F. Wheelright had purchased the old 23-foot wide building at No. 88 White Street in 1880.  Now, early in 1889 his estate hired Gibson to design a modern factory and store building on the site.    The architect filed plans on June 14 for a "five-story brick store."  The projected cost was $30,000, or about $824,000 today.

As he had done with the United States Trust Company project, he turned to the Romanesque Revival style--this time a much scaled back version.  He faced No. 88 with Roman brick and softened the edges with bull-nosed, or curved bricks.  The squat pilasters of the third floor wore complex, carved capitals and upheld a chunky undressed lintel.  They gave way to more formal, two-story piers at the fourth and fifth which terminated in decorous capitals executed in brick.

Brick piers wear brownstone capitals, carved with intricate Romanesque designs.  The three massive undressed stones that make up the joint lintel of the third floor openings add to the medieval flavor.

The building's first tenant seems to have been Potter & Pearson, manufacturers of oil cloth.   The waterproof fabric was widely popular and used in items as far ranging as floor mats (decorated to imitate carpeting and placed under dining and kitchen tables), the linings of trunks, and carriage upholstery.

Edward Silas Pearson was born in 1856 and had begun his career in 1878 with Barlow Stevens, an oil cloth jobber.   His future with the firm was assured when he married Stevens's daughter.  Following Stevens's death, Pearson took over the firm, bringing in two partners, including a long-time employee Louis J. Potter.  The partnership took on the name of Potter, Lindsay & Pearson.  By the time it moved into No. 88 White Street, Lindsay was out and the firm was Potter & Pearson.

Around the turn of the century the company added a new floor covering material to its line--linoleum.   It remained in the building until around 1910 when it relocated to East 16th Street.

That year in December the newly incorporated E. R. Northrop leased the fifth floor.  The hardware and sportswear dealer added "packing, gum and fibrous" to its offerings in 1913.  It would remain in the building at least through 1916.

By then the automobile had become a noticeable presence on America's roadways.  Automobilists, as owners were called, customized their motorcars with any number of accessories; and all of them could be found at B. E. Mfg. Co., which called No. 88 home by 1914.

The seeming inexhaustible list of items it manufactured included collapsible buckets (for those unfortunate motor fires); spark plug cases; covers for the entire automobile or parts like the lamps, radiator, hood, and spare tire; and "starting crank holders."  The description of that accessory read "leather strap and holder to prevent starting crank swinging or dropping down."  Also available were "motorists' leggings," door protectors ("leather or fabric pads to protect the finish of the door"), cushion back rests, wash aprons, bags or rolls for tools, reflector sockets and a number of other items.

In the meantime, Jenkins Bros., manufacturers of pressure valves, had occupied the large building steps away at No. 80 White Street for years.  By 1915 it increased its square footage by leasing space in No. 88 as an annex.

For decades the Jenkins Bros. headquarters were at No. 80 White Street, down the block.  Jenkins Bros. Catalogue and Price List, 1920 (copyright expired)

The firm was organized by Nathaniel Jenkins as Jenkins Bros. in 1864.  Since the earliest days the firm had held patents--the original being the renewable Jenkins Disc--which made its valves unique.  The firm's immense operation (it had a massive plant in Bridgeport, Connecticut and branch offices in Chicago, Philadelphia and Boston) was outstandingly successful.  In February 1924 it reported its net profits for the preceding year at $732,635--around $10.5 million today.

Another hardware dealer, Burger & Baumgard, was in the building by 1916.  Within the next five years they had added a new commodity to its line, the electric freezer.

No. 88 continued to house a variety of factories and shops through the rest of the century, like the Dublin-based Murphy & Stevenson, linen merchants, here after the World War I years.  An interior renovation was done in 1962; but the spaces were still for "warehouse and workshop" uses.

As was often the case in Tribeca at the end of the 20th century, the old lofts were appropriated by artists as studio-residential spaces whether or not they were legal.  The owners of No. 88 corrected the situation in 2003 when it listed its intended renovations as "legalization of interim multiple dwelling."



Five years later there was one apartment on each of the top three.  An exterior renovation, completed in 2014, removed and replaced the old parapet and restored the brownstone elements.  Although the building is not protected by landmark status, the changes were sympathetically executed.  Considering that it was neither an important commission nor a significant structure, Gibson's conscientious use of materials and his skillful handling of the style leaves us with a striking commercial structure.

photographs by the author