Highlights from the Photograph Collections

: [Alexander Calder, circa 1960s].; The Bernard Gotfryd Photograph Collection spans the period from 1960-2008 and primarily contains portraits of prominent people and photographs of New York City, as well as material related to Gotfryd’s career as a photographer and author. Portraits include a large number of artists and literary figures as well as actors, businessmen, musicians, and politicians. Subjects include buildings, street scenes, and transportation, as well as celebrations, demonstrations and protests, funerals and other newsworthy events., Bernard Gotfryd was born in 1924 in Radom, Poland and became interested in photography at an early age. When World War II broke out, Gotfryd found work as an apprentice in a photography studio in the Radom ghetto. While working in the studio, he began aiding the Polish underground by passing on photographs taken by Nazi officers of war atrocities. After an unsuccessful escape attempt in October 1943, Gotfryd was apprehended and shipped to Maidanek. By the wars end, Gotfryd had survived six concentration camps. In 1947, Gotfryd emigrated to the United States where he worked as a photographer and studied photojournalism. In 1957, he joined the staff of Newsweek where he worked for more than thirty years. After covering the Holocaust Survivors Gathering in Washington, D.C., in April 1983, Gotfryd was moved to write about his own experiences, which were published as a collection, titled Anton the Dove Fancier and Other Tales of the Holocaust., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Bill Murray with a humorous face painted on his stomach, circa 1977-1980].; This collection includes 96 black and white photographic prints and one color print. The photographs are undated but were taken circa 1970's. Almost all of the images depict the area in or around Times Square; a few were taken in Central Park or elsewhere in New York City. The photographs are arranged by subject matter. "Street scenes" depict crowds and businesses in and around Times Square, and capture the seedy melange of pornographic movie house marquees, sex shops and eccentric characters that characterized the area in the 1970's. "Street vendors and businesses" depict food carts, street photographers, ticket salesmen and the display window of a sex shop. "Portraits" depict primarily young men posed on the streets of Times Square. Also included are a few portraits of women, couples, teens and children, and eccentric characters. "Police officers" includes portraits and candid shots of police officers on the streets, primarily in Times Square (includes one color print). "Drug culture" includes pot smokers and an LSD festival. "Protesters" includes groups and individuals protesting a variety of political and social issues including labor, education, war and sexual equality. "Celebrities and officials" include portraits of Mayor Ed Koch, Mario Cuomo, Jackie Kennedy Onassis, Diana Vreeland, Morley Safer, Mohammed Ali and Saturday Night Live cast members John Belushi, Jane Curtin, Dan Akyrod, Gilda Radner, Garrett Morris, and Laraine Newman. "Phone booths and subway entrances" show people posed in front of these elements., Kenneth Siegel (1949-1994) was introduced to photography as a young boy by his uncle, Cornell Capa, a photographer and the founder of the International Center of Photography in New York City. After completing a Bachelor's degree at the Rochester Institute of Technology, Siegel worked for many years as a film editor at New York's Channel 9 before becoming a full-time freelance photographer. During his career as a photographer, Siegel worked for a number of important clients including the Democratic National Committee, the New York Times, St. Luke's Roosevelt Hospital, Prep for Prep, and the Visiting Nurse Service of New York. Rarely without a camera around his neck, Siegel delighted most in photographing people -- particularly the people of his beloved New York City. His largest body of work documented the places and faces of New York's Times Square and Central Park in the mid-1960's through the early 1980's, a period when New York was both politically charged and culturally diverse.Many of Siegel's photographs from this period feature gatherings of young activists on the streets of New York and in Central Park, protesting the war in Vietnam, advocating for women and worker's rights, and freedom of lifestyle. The images taken in or around Times Square vividly depict the pre-gentrified area as a seedy melange of pornographic movie house marquees, small stores, restaurants, and sex shops populated by colorful habitues sporting tattoos, offbeat clothing, and street-wise expressions. Siegel's knack for capturing the spirit of the times and the personalities of the individuals he photographed is evident in his portraits of young men, city cops, couples, far-out characters and everyday people hanging out on "The Deuce," as Times Square was known. Many of Siegel's photographs from this era were taken at night, thus adding to the gritty quality of the work. Siegel, however, approached his subjects with a certain camaraderie and a sense of identification that lets the viewer know he was not a voyeur, but rather among people he thought of as friends. "Most of the portraits are of people I know, usually by street name," Siegel explained. "They all knew me or knew of me often asked me to take their portrait. I could not have made these images without their cooperation. They express their need for recognition and I graciously oblige them." Siegel's work is rounded out and contrasted by the "other" New York of politicians, celebrities, and high society events., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Boys jumping into the Harlem River with the Third Avenue Elevated Railroad Bridge in the background, 1950].; Collection consists of 25 gelatin silver photographic prints, 11 x 14 inches, by photographer Harold Roth and capturing New York street life between 1937 and 1950.Photographs in this collection show Roth's attention to light and composition, and range from a group of children playing in the spray of an open fire hydrant in the waning sunlight to a view of foot traffic in Madison Square Park against the hazy backdrop of the Flatiron Building. Other views include the interior of Grand Central Terminal, a hot dog vendor at work, the Parachute Jump at Coney Island, and an aerial view of a stickball game. The photographs in this collection were printed by Harold Roth from his vintage negatives between 1991 and 1995. Prints are numbered, captioned, and inmost cases signed on the verso by Roth., Born in 1918, New York photographer Harold Roth received his first camera in 1930, as a gift from Kodak to half a million children who turned twelve in the year of the fiftieth anniversary of George Eastman's first patent. By the late 1930s, Roth had graduated to a Graflex camera and begun to extensively document the city around him. He is best known for his photographs of 1940s and 1950s New York City street life., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Child sitting outside a building entrance, El Barrio, Harlem, New York City, 1960s].; The Erika Stone Photograph Collection spans the period from the 1940s to the 1990s and primarily contains images of street life in New York City. The collection includes images of Central Park, Ellis Island, parades, demonstrations and people at work., Born in Germany, Erika Stone came to New York City in 1936. She worked as a photojournalist until 1960, when she concentrated on photographing children and her family., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Clinton Court, Greenwich Village, New York City, 1915].; The collection includes skyscrapers looming at the end of narrow streets, snow-covered parks and rooflines, bridges, boat basins, and construction sites. Greenwich Village appears in almost 20 soft-focus scenes featuring such details as laundry lines and an unattended baby carriage on Milligan Place. Two self-portraits with photographic equipment, dated 1913 and 1953, indicate an enduring interest in photography. Each image has a short title and is signed and dated., Arthur D. Chapman was born in Bakersfield, Calif., on 12 August 1882. As an amateur photographer, he worked nights as a newspaper printer and in the afternoons turned his view camera on New York City's outdoor shapes. He took special pride in discovering compositions of pictorial interest in his everyday surroundings, and his best-known images portray non-Bohemian Greenwich Village in the 1910s. Chapman died in Hackensack, New Jersey, on 5 June 1956., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Construction worker during the construction of the Salmon Building, 11 West 42nd Street, New York City, circa 1928].; The collection consists of 1,885 gelatin silver photographic prints, as well as documents from a disbound scrapbook containing ephemera relating to Irving Browning's career as a photographer and cinematographer. Photographs depict interiors and exteriors of art deco buildings, some under construction: they include theaters, hotels, skyscrapers, suburban residences, shops and institutions. Also captured are close-ups of Manhattan shoppers and window displays, Lower East Side peddlers, advertising sandwich boards, roof tops, Great Depression shanty towns and street life, dramatic skylines, night views, weather, sports, and many types of transportation. Portraits of Margaret Mead are included. Samples of the photomontage technique Irving Browning developed for his advertising clients complete the collection. Heavily represented locations include the Chrysler, Daily News, and Empire State Buldings, and the Earl Carroll and RKO Roxy theatres. Documents include photographic identification cards, press identification cards, professional membership cards, clippings, advertisements, and some correspondence., Irving Browning (1895-1961), a self-taught photographer and cinematographer, opened a commercial photograph studio in New York City in the early 1920s. Skilled in appealing portrayal of new buildings, Irving and his younger brother Sam photographed exteriors and interiors of art deco theaters, hotels, apartment buildings, and suburban residences., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Construction workers excavating and digging underground, New York City, circa 1920s-1930s].; The collection consists of 1,885 gelatin silver photographic prints, as well as documents from a disbound scrapbook containing ephemera relating to Irving Browning's career as a photographer and cinematographer. Photographs depict interiors and exteriors of art deco buildings, some under construction: they include theaters, hotels, skyscrapers, suburban residences, shops and institutions. Also captured are close-ups of Manhattan shoppers and window displays, Lower East Side peddlers, advertising sandwich boards, roof tops, Great Depression shanty towns and street life, dramatic skylines, night views, weather, sports, and many types of transportation. Portraits of Margaret Mead are included. Samples of the photomontage technique Irving Browning developed for his advertising clients complete the collection. Heavily represented locations include the Chrysler, Daily News, and Empire State Buldings, and the Earl Carroll and RKO Roxy theatres. Documents include photographic identification cards, press identification cards, professional membership cards, clippings, advertisements, and some correspondence., Irving Browning (1895-1961), a self-taught photographer and cinematographer, opened a commercial photograph studio in New York City in the early 1920s. Skilled in appealing portrayal of new buildings, Irving and his younger brother Sam photographed exteriors and interiors of art deco theaters, hotels, apartment buildings, and suburban residences., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Derrick excavating on Madison Avenue, New York City, 1916].; The collection includes skyscrapers looming at the end of narrow streets, snow-covered parks and rooflines, bridges, boat basins, and construction sites. Greenwich Village appears in almost 20 soft-focus scenes featuring such details as laundry lines and an unattended baby carriage on Milligan Place. Two self-portraits with photographic equipment, dated 1913 and 1953, indicate an enduring interest in photography. Each image has a short title and is signed and dated., Arthur D. Chapman was born in Bakersfield, Calif., on 12 August 1882. As an amateur photographer, he worked nights as a newspaper printer and in the afternoons turned his view camera on New York City's outdoor shapes. He took special pride in discovering compositions of pictorial interest in his everyday surroundings, and his best-known images portray non-Bohemian Greenwich Village in the 1910s. Chapman died in Hackensack, New Jersey, on 5 June 1956., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Dimout of the Statue of Liberty during World War II, New York City, 1943].; The collection consists of ca. 775 gelatin silver photographs, depicting New York City ca. 1939-1954, and in the 1970s and 1980s. The photographs range in size from 5 x 7 inches to 13 1/4 x 22 inches. A series of photographs focusing on 1940s New York contains photographs from Feininger's book New York in the Forties (1978) depicting Times Square, Fifth Avenue, elevated railroads, the Brooklyn Bridge, the waterfront and river traffic, shops and shop owners in a variety of neighborhoods, including Chinatown and the Jewish Lower East Side, and a variety of street, park and skyline views. Also included are snow views and photographs of the city during the World War II dimout. A series of photographs for Feininger's book The face of New York: the city as is was and as it is (1954) contains Feininger's copy photographs of historical prints, maps, and photography by earlier New York photographers. A third series of photographs of New York during the 1970s and 1980s contains views of New York graffiti, signs, murals, posters, billboards, reflections, water tanks, fire escapes, and especially the Times Square area with its characteristic erotic film venues and advertisements for shops and strip bars., Andreas Feininger (1906-1999) was born in Paris, son of Lyonel Feininger; lived in Germany and Sweden, moved to the United States in 1939, where he worked as a staff photographer for Life magazine between 1943 and 1962., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Elizabeth Koenig and Romayne Benjamin in front of the Treasure Box store, 7 Sheridan Square, Greenwich Village, New York, circa 1918]; The collection contains about 420 black and white photographs, ca. 1900-1940, primarily of New York City and its inhabitants. It also includes postcards, as well as larger prints, of bohemian Greenwich Village between 1905 and 1920. New York City photographs show the Hudson-Fulton Celebration in 1909, the Woolworth Building, the Municipal Building and City Hall, and the New York Public Library on Fifth Avenue and 42nd Street. A sizable portion of the collection shows the city of Boston betwen 1902 and 1910, including views of Boston Common, the Massachusetts State House, the Robert Gould Shaw Memorial, and the Old South Church. Pictures taken at the Louisiana Purchase Exposition in St. Louis of 1904, where she was the first woman awarded a license to photograph it, focus on the international air show in the fall of 1904. Other photographs include views of San Antonio, Nantucket, and other places in Texas, Massachusetts, and Arkansas. Almost half the collection consists of portraits, mainly of artists, writers, and Greenwich Village residents. Artists include Rose O'Neill Wilson, James Carroll Beckwith, Gutzon and Solon Borglum, Karl Bitter, Bessie Potter Vonnoh, Julian Weir, Irving Wiles, Harrison Fisher, Daniel Chester French, Norman Bel Geddes, and Tony Sarg. Writers include Mark Twain, Mabel Herbert Urner, William Dean Howells, Fannie Hurst, Kate Douglas Wiggin, Frances Parkinson Keyes, Floyd Dell, Emily Post, Ida Tarbell, Booth Tarkington, Sadakichi Hartmann, Carl Sandburg, Joseph Auslander, Ella Wheeler Wilcox, and Sara Teasdale. There are portraits of actors and actresses of both stage and screen, such as Viola Allen, Frances Maule, and Judith Anderson, as well as of the dancer Michel Fokine and his wife. Marian McDowell, founder of the McDowell Colony, is also shown. Some portraits are of people not involved in the arts, including Presidents William Taft, Calvin Coolidge, and Herbert Hoover. Fashion photography in the collection dates from ca. 1907-1915. Garden photographs are mainly of Greenwich village properties after 1927., Jessie Tarbox Beals (1870-1942), a school teacher who taught herself photography, joined the Buffalo Courier staff in 1902 and became known as the first woman press photographer. She moved to New York City in 1905 and remained there for most of her career, leaving only to settle in southern California and Chicago for a few years during the late 1920s and early 1930s. She practiced many types of commercial photography with the vigor and speed associated with news work. Her body of work includes portraits, garden photography, city street scenes, fashion photography, and documentary photography., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Exterior of 491 1/2 Pearl Street, New York City, March 25, 1908].; The collection consists of ca. 50,000 photographic prints accompanied by route maps. The New York City board of Rapid Transit, the Public Service Commission, and their successors photographed construction of the subway, and its surface extensions in Manhattan, the Bronx, Brooklyn, and Queens. By systematically documenting the condition of buildings before construction began, they created an extensive survey of commercial and residential structures along subway routes and also provided glimpses of everyday street life. The Society's collection is strongest in views from 1900, when subway construction began, to 1920. The most heavily represented streets are Broadway and Lexington Avenue. Other photographs record underground tunneling, sewer reconstruction, pristine new stations, workmen, and such unexpected images as pool hall interiors. Most prints are identified by date, contract number, and location along a subway route. Despite the archive's size, the lack of some prints within assigned number ranges indicates that it is incomplete. A recent acquisition filled a gap of 80 views along Sixth Avenue in the 1930s., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Exterior of 605 Marcy Avenue, Brooklyn, New York City, April 24, 1931].; The collection consists of ca. 50,000 photographic prints accompanied by route maps. The New York City board of Rapid Transit, the Public Service Commission, and their successors photographed construction of the subway, and its surface extensions in Manhattan, the Bronx, Brooklyn, and Queens. By systematically documenting the condition of buildings before construction began, they created an extensive survey of commercial and residential structures along subway routes and also provided glimpses of everyday street life. The Society's collection is strongest in views from 1900, when subway construction began, to 1920. The most heavily represented streets are Broadway and Lexington Avenue. Other photographs record underground tunneling, sewer reconstruction, pristine new stations, workmen, and such unexpected images as pool hall interiors. Most prints are identified by date, contract number, and location along a subway route. Despite the archive's size, the lack of some prints within assigned number ranges indicates that it is incomplete. A recent acquisition filled a gap of 80 views along Sixth Avenue in the 1930s., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Five older women crossing the street with marquees for pornographic theatres in the background, New York City, 1970s].; This collection includes 96 black and white photographic prints and one color print. The photographs are undated but were taken circa 1970's. Almost all of the images depict the area in or around Times Square; a few were taken in Central Park or elsewhere in New York City. The photographs are arranged by subject matter. "Street scenes" depict crowds and businesses in and around Times Square, and capture the seedy melange of pornographic movie house marquees, sex shops and eccentric characters that characterized the area in the 1970's. "Street vendors and businesses" depict food carts, street photographers, ticket salesmen and the display window of a sex shop. "Portraits" depict primarily young men posed on the streets of Times Square. Also included are a few portraits of women, couples, teens and children, and eccentric characters. "Police officers" includes portraits and candid shots of police officers on the streets, primarily in Times Square (includes one color print). "Drug culture" includes pot smokers and an LSD festival. "Protesters" includes groups and individuals protesting a variety of political and social issues including labor, education, war and sexual equality. "Celebrities and officials" include portraits of Mayor Ed Koch, Mario Cuomo, Jackie Kennedy Onassis, Diana Vreeland, Morley Safer, Mohammed Ali and Saturday Night Live cast members John Belushi, Jane Curtin, Dan Akyrod, Gilda Radner, Garrett Morris, and Laraine Newman. "Phone booths and subway entrances" show people posed in front of these elements., Kenneth Siegel (1949-1994) was introduced to photography as a young boy by his uncle, Cornell Capa, a photographer and the founder of the International Center of Photography in New York City. After completing a Bachelor's degree at the Rochester Institute of Technology, Siegel worked for many years as a film editor at New York's Channel 9 before becoming a full-time freelance photographer. During his career as a photographer, Siegel worked for a number of important clients including the Democratic National Committee, the New York Times, St. Luke's Roosevelt Hospital, Prep for Prep, and the Visiting Nurse Service of New York. Rarely without a camera around his neck, Siegel delighted most in photographing people -- particularly the people of his beloved New York City. His largest body of work documented the places and faces of New York's Times Square and Central Park in the mid-1960's through the early 1980's, a period when New York was both politically charged and culturally diverse.Many of Siegel's photographs from this period feature gatherings of young activists on the streets of New York and in Central Park, protesting the war in Vietnam, advocating for women and worker's rights, and freedom of lifestyle. The images taken in or around Times Square vividly depict the pre-gentrified area as a seedy melange of pornographic movie house marquees, small stores, restaurants, and sex shops populated by colorful habitues sporting tattoos, offbeat clothing, and street-wise expressions. Siegel's knack for capturing the spirit of the times and the personalities of the individuals he photographed is evident in his portraits of young men, city cops, couples, far-out characters and everyday people hanging out on "The Deuce," as Times Square was known. Many of Siegel's photographs from this era were taken at night, thus adding to the gritty quality of the work. Siegel, however, approached his subjects with a certain camaraderie and a sense of identification that lets the viewer know he was not a voyeur, but rather among people he thought of as friends. "Most of the portraits are of people I know, usually by street name," Siegel explained. "They all knew me or knew of me often asked me to take their portrait. I could not have made these images without their cooperation. They express their need for recognition and I graciously oblige them." Siegel's work is rounded out and contrasted by the "other" New York of politicians, celebrities, and high society events., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Fruit peddler on Orchard Street, Lower East Side, New York City, 1950s].; The Erika Stone Photograph Collection spans the period from the 1940s to the 1990s and primarily contains images of street life in New York City. The collection includes images of Central Park, Ellis Island, parades, demonstrations and people at work., Born in Germany, Erika Stone came to New York City in 1936. She worked as a photojournalist until 1960, when she concentrated on photographing children and her family., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Godfrey Cambridge and a carriage horse, 1968].; The Bernard Gotfryd Photograph Collection spans the period from 1960-2008 and primarily contains portraits of prominent people and photographs of New York City, as well as material related to Gotfryd’s career as a photographer and author. Portraits include a large number of artists and literary figures as well as actors, businessmen, musicians, and politicians. Subjects include buildings, street scenes, and transportation, as well as celebrations, demonstrations and protests, funerals and other newsworthy events., Bernard Gotfryd was born in 1924 in Radom, Poland and became interested in photography at an early age. When World War II broke out, Gotfryd found work as an apprentice in a photography studio in the Radom ghetto. While working in the studio, he began aiding the Polish underground by passing on photographs taken by Nazi officers of war atrocities. After an unsuccessful escape attempt in October 1943, Gotfryd was apprehended and shipped to Maidanek. By the wars end, Gotfryd had survived six concentration camps. In 1947, Gotfryd emigrated to the United States where he worked as a photographer and studied photojournalism. In 1957, he joined the staff of Newsweek where he worked for more than thirty years. After covering the Holocaust Survivors Gathering in Washington, D.C., in April 1983, Gotfryd was moved to write about his own experiences, which were published as a collection, titled Anton the Dove Fancier and Other Tales of the Holocaust., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [High-angle interior view of Pennsylvania Station, New York City, 1942].; The Photographer File dates primarily from 1930 through the present, but includes a few photographs by prominent photographers from as early as ca. 1882. The finding aid is arranged alphabetically by photographer's name; photographs are housed by size. Because of the varied nature of this collection, the photographs have been described more fully under each photographer's name in the folder listing. Researchers should be aware that in most cases the permission of the photographer is required for reproduction of images. Included within this collection are photographs by New York Photo League photographer Arnold Eagle; New York Times fashion photographer Bill Cunningham; Magnum photographer Danny Lyon; and early female photographers Alice Austen, Alice Boughton, Margaret Bourke-White, Charlotte Fairchild, Frances Benjamin Johnson, Marie Russell, and Paula Wright. Prominent people portrayed in this collection include David Dinkins, Nelson Mandela, Albert Einstein, Doc Cheatham, Henry James, and Charles Dana Gibson., The Photographer File is an artificial collection of photographs that have been acquired through donation or purchase from prominent photographers. Photographs in this collection were often acquired in small numbers or for exhibitions at The New-York Historical Society. Some of the photographs in this collection were included in The New-York Historical Society exhibit "Manhattan Now: 14 Photographers Look at the Form of the City" in 1974, or the 1981 exhibit "Manhattan Observed: Fourteen Photographers Look at New York, 1972-1981." The Photographer File has developed over the years as a collection to house photographs of New York, often by well-known New York photographers. While the file consists mostly of work from the 1930s through the present, photographs by some early portrait photographers, such as Alice Boughton, Frances Benjamin Johnson, Charlotte Fairchild, Underwood & Underwood, and William A. Cooper are also included., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Looking southwest from the steps of Federal Hall on Wall Street towards the New York Stock Exchange and Broad Street, New York City, circa 1903].; The Charles Gilbert Hine Photograph Collection is composed of platinum prints, cyanotypes, and silver prints housed individually and in three photograph albums. Photographs date from 1883 to 1908 and focus on Manhattan.Included are views of strets, busineses, monuments, theaters, billboards, posters, and scenes of everyday life. Night and rooftop views are included. The albums are a three volume series that Hine entitled "Broadway, New York: From the Sky Scraper to the Wild Flower." They are geographically arranged, following Broadway from south to north. Approximately 274 mounted photographs taken along Broadway are complemented by Hine's essay on the history of the thoroughfare and its development; clippings mounted in the album provide additional commentary on specific buildings and neighborhoods. Views of streets, theaters, businesses, prominent buildings and parks are joined by pastoral portraits of rural life at the end of the island, A few of the albumen prints attributed to both Charles Gilbert and Thomas A. Hine., Charles Gilbert Hine of Woodside, New Jersey, and later Staten Island, New York, succeeded his father, Charles Cole Hine, as head of Hine Insurance Publishing Company in New York City. As an avid amateur historian and photographer he wrote and privately published over twenty five books on the local history of areas of New York, New Jersey and Massachusetts, illustrating them with his own platinum prints. He was a founding member of the Newark Camera Club in 1888., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Madison Square, looking west from under the colonnade of Madison Square Garden, 1913].; The collection includes skyscrapers looming at the end of narrow streets, snow-covered parks and rooflines, bridges, boat basins, and construction sites. Greenwich Village appears in almost 20 soft-focus scenes featuring such details as laundry lines and an unattended baby carriage on Milligan Place. Two self-portraits with photographic equipment, dated 1913 and 1953, indicate an enduring interest in photography. Each image has a short title and is signed and dated., Arthur D. Chapman was born in Bakersfield, Calif., on 12 August 1882. As an amateur photographer, he worked nights as a newspaper printer and in the afternoons turned his view camera on New York City's outdoor shapes. He took special pride in discovering compositions of pictorial interest in his everyday surroundings, and his best-known images portray non-Bohemian Greenwich Village in the 1910s. Chapman died in Hackensack, New Jersey, on 5 June 1956., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Man pushing a cart in front of a wall of posters, New York City, circa 1900].; The Charles Gilbert Hine Photograph Collection is composed of platinum prints, cyanotypes, and silver prints housed individually and in three photograph albums. Photographs date from 1883 to 1908 and focus on Manhattan.Included are views of strets, busineses, monuments, theaters, billboards, posters, and scenes of everyday life. Night and rooftop views are included. The albums are a three volume series that Hine entitled "Broadway, New York: From the Sky Scraper to the Wild Flower." They are geographically arranged, following Broadway from south to north. Approximately 274 mounted photographs taken along Broadway are complemented by Hine's essay on the history of the thoroughfare and its development; clippings mounted in the album provide additional commentary on specific buildings and neighborhoods. Views of streets, theaters, businesses, prominent buildings and parks are joined by pastoral portraits of rural life at the end of the island, A few of the albumen prints attributed to both Charles Gilbert and Thomas A. Hine., Charles Gilbert Hine of Woodside, New Jersey, and later Staten Island, New York, succeeded his father, Charles Cole Hine, as head of Hine Insurance Publishing Company in New York City. As an avid amateur historian and photographer he wrote and privately published over twenty five books on the local history of areas of New York, New Jersey and Massachusetts, illustrating them with his own platinum prints. He was a founding member of the Newark Camera Club in 1888., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Man selling apples on the street, New York City, 1929].; The collection consists of 1,885 gelatin silver photographic prints, as well as documents from a disbound scrapbook containing ephemera relating to Irving Browning's career as a photographer and cinematographer. Photographs depict interiors and exteriors of art deco buildings, some under construction: they include theaters, hotels, skyscrapers, suburban residences, shops and institutions. Also captured are close-ups of Manhattan shoppers and window displays, Lower East Side peddlers, advertising sandwich boards, roof tops, Great Depression shanty towns and street life, dramatic skylines, night views, weather, sports, and many types of transportation. Portraits of Margaret Mead are included. Samples of the photomontage technique Irving Browning developed for his advertising clients complete the collection. Heavily represented locations include the Chrysler, Daily News, and Empire State Buldings, and the Earl Carroll and RKO Roxy theatres. Documents include photographic identification cards, press identification cards, professional membership cards, clippings, advertisements, and some correspondence., Irving Browning (1895-1961), a self-taught photographer and cinematographer, opened a commercial photograph studio in New York City in the early 1920s. Skilled in appealing portrayal of new buildings, Irving and his younger brother Sam photographed exteriors and interiors of art deco theaters, hotels, apartment buildings, and suburban residences., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Man sitting in a Greek café, Lower East Side, New York City, 1940s].; The 74 photographs in this collection capture the bustling street life of Manhattan's Lower East Side during the late 1930's and 1940's. Many are portraits depicting street vendors, shopkeepers, mothers, and especially, kids. There is also one photograph of a ticket line in Broadway taken in the 1970's. The majority of the photographs are vintage gelatin silver prints; there are also a few digital reproduction prints., Rebecca Lepkoff (nee Brody) was born to Russian Jewish immigrants on the Lower east Side in 1916. Her parents emigrated from Minsk in 1910 and settled in a tenement apartment on Hester Street. As the family grew (Rebecca would eventually have five siblings), they moved from tenement to tenement but always within a few block radius. Lepkoff's father worked as a tailor; when Lepkoff was about 11 years old, her mother suffered a nervous breakdown which left her unable to properly care for the children. As a teenager, Lepkoff became interested in dance, and was hired as one of the dancers for a performance about the history of railroads at the 1939 World's Fair. With her earnings, Lepkoff bought a camera and took advantage of free photography classes offered by the New Deal's National Youth Administration.In 1941, Rebecca married a man named Gene Lepkoff, who was soon after drafted for military service during WWII. After he returned from service in France and Germany, the Lepkoffs moved into their own Lower East side flat on Cherry Street. Although still dancing, Lepkoff became more and more interested in photographing the neighborhood. In 1945, she joined the Photo League, an organization created in 1936 by New York photographers Sid Grossman and Sol Libsohn. A volunteer organization open to amateurs as well as professionals, the Photo League members were committed to documentary photography that captured the urban experience. Inspired by her classes with Sid Grossman, Lepkoff tirelessly shot photographs of her neighborhood, returning to the same scenes over and over until she captured the image she wanted. In 1948, the Photo League was black-listed as a communist organization by the U.S. Attorney General, and by 1952 it was forced to close. Lepkoff continued to photograph but her attention was also consumed with raising her children (born in 1950, 1953 and 1962). After her third child was born, the Lepkoffs moved to Teaneck, New Jersey, but they returned to New York City in 1979, after their children were grown. Lepkoff continued to photograph the Lower East Side throughout the 1970's and '80's., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Man sitting in front of a tattoo parlor on The Bowery, New York City, 1940].; The collection consists of ca. 775 gelatin silver photographs, depicting New York City ca. 1939-1954, and in the 1970s and 1980s. The photographs range in size from 5 x 7 inches to 13 1/4 x 22 inches. A series of photographs focusing on 1940s New York contains photographs from Feininger's book New York in the Forties (1978) depicting Times Square, Fifth Avenue, elevated railroads, the Brooklyn Bridge, the waterfront and river traffic, shops and shop owners in a variety of neighborhoods, including Chinatown and the Jewish Lower East Side, and a variety of street, park and skyline views. Also included are snow views and photographs of the city during the World War II dimout. A series of photographs for Feininger's book The face of New York: the city as is was and as it is (1954) contains Feininger's copy photographs of historical prints, maps, and photography by earlier New York photographers. A third series of photographs of New York during the 1970s and 1980s contains views of New York graffiti, signs, murals, posters, billboards, reflections, water tanks, fire escapes, and especially the Times Square area with its characteristic erotic film venues and advertisements for shops and strip bars., Andreas Feininger (1906-1999) was born in Paris, son of Lyonel Feininger; lived in Germany and Sweden, moved to the United States in 1939, where he worked as a staff photographer for Life magazine between 1943 and 1962., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Man walking with an umbrella in the rain on East 166th Street towards Forest Avenue, The Bronx, 1937].; Collection consists of 25 gelatin silver photographic prints, 11 x 14 inches, by photographer Harold Roth and capturing New York street life between 1937 and 1950.Photographs in this collection show Roth's attention to light and composition, and range from a group of children playing in the spray of an open fire hydrant in the waning sunlight to a view of foot traffic in Madison Square Park against the hazy backdrop of the Flatiron Building. Other views include the interior of Grand Central Terminal, a hot dog vendor at work, the Parachute Jump at Coney Island, and an aerial view of a stickball game. The photographs in this collection were printed by Harold Roth from his vintage negatives between 1991 and 1995. Prints are numbered, captioned, and inmost cases signed on the verso by Roth., Born in 1918, New York photographer Harold Roth received his first camera in 1930, as a gift from Kodak to half a million children who turned twelve in the year of the fiftieth anniversary of George Eastman's first patent. By the late 1930s, Roth had graduated to a Graflex camera and begun to extensively document the city around him. He is best known for his photographs of 1940s and 1950s New York City street life., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Mannequins, St. Nicolas Avenue and 180th Street, New York City, 2005].; The Raymond Germann Photograph Collection consists of 338 archival inkjet photographs of New York City, taken between 1978 and 2015. The images are street scenes, many featuring billboards, advertising, store fronts, murals, street fairs and street vendors. The photos are mainly of Manhattan, including Greenwich Village, Harlem, Washington Heights, the High Line, lower Manhattan and midtown. There are also a few images of Brooklyn, the Bronx and Queens, including 2 color prints of graffiti at the 5 Pointz Building in Long Island City. The images were numbered by the photographer; titles are based on photographer's identification., Raymond Germann is a photographer who has been photographing since the late 1970s, documenting New York City scenes, the Finger Lakes landscape and towns, the American West, and Long Island., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Men and women walking and standing on the sidewalk in front of a Walgreen Co. drug store and Chemical Bank and Trust office, New York City, circa 1920s-1930s].; The collection consists of 1,885 gelatin silver photographic prints, as well as documents from a disbound scrapbook containing ephemera relating to Irving Browning's career as a photographer and cinematographer. Photographs depict interiors and exteriors of art deco buildings, some under construction: they include theaters, hotels, skyscrapers, suburban residences, shops and institutions. Also captured are close-ups of Manhattan shoppers and window displays, Lower East Side peddlers, advertising sandwich boards, roof tops, Great Depression shanty towns and street life, dramatic skylines, night views, weather, sports, and many types of transportation. Portraits of Margaret Mead are included. Samples of the photomontage technique Irving Browning developed for his advertising clients complete the collection. Heavily represented locations include the Chrysler, Daily News, and Empire State Buldings, and the Earl Carroll and RKO Roxy theatres. Documents include photographic identification cards, press identification cards, professional membership cards, clippings, advertisements, and some correspondence., Irving Browning (1895-1961), a self-taught photographer and cinematographer, opened a commercial photograph studio in New York City in the early 1920s. Skilled in appealing portrayal of new buildings, Irving and his younger brother Sam photographed exteriors and interiors of art deco theaters, hotels, apartment buildings, and suburban residences., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Muhammad Ali walking on the sidewalk surrounded by fans, New York City, 1970s].; This collection includes 96 black and white photographic prints and one color print. The photographs are undated but were taken circa 1970's. Almost all of the images depict the area in or around Times Square; a few were taken in Central Park or elsewhere in New York City. The photographs are arranged by subject matter. "Street scenes" depict crowds and businesses in and around Times Square, and capture the seedy melange of pornographic movie house marquees, sex shops and eccentric characters that characterized the area in the 1970's. "Street vendors and businesses" depict food carts, street photographers, ticket salesmen and the display window of a sex shop. "Portraits" depict primarily young men posed on the streets of Times Square. Also included are a few portraits of women, couples, teens and children, and eccentric characters. "Police officers" includes portraits and candid shots of police officers on the streets, primarily in Times Square (includes one color print). "Drug culture" includes pot smokers and an LSD festival. "Protesters" includes groups and individuals protesting a variety of political and social issues including labor, education, war and sexual equality. "Celebrities and officials" include portraits of Mayor Ed Koch, Mario Cuomo, Jackie Kennedy Onassis, Diana Vreeland, Morley Safer, Mohammed Ali and Saturday Night Live cast members John Belushi, Jane Curtin, Dan Akyrod, Gilda Radner, Garrett Morris, and Laraine Newman. "Phone booths and subway entrances" show people posed in front of these elements., Kenneth Siegel (1949-1994) was introduced to photography as a young boy by his uncle, Cornell Capa, a photographer and the founder of the International Center of Photography in New York City. After completing a Bachelor's degree at the Rochester Institute of Technology, Siegel worked for many years as a film editor at New York's Channel 9 before becoming a full-time freelance photographer. During his career as a photographer, Siegel worked for a number of important clients including the Democratic National Committee, the New York Times, St. Luke's Roosevelt Hospital, Prep for Prep, and the Visiting Nurse Service of New York. Rarely without a camera around his neck, Siegel delighted most in photographing people -- particularly the people of his beloved New York City. His largest body of work documented the places and faces of New York's Times Square and Central Park in the mid-1960's through the early 1980's, a period when New York was both politically charged and culturally diverse.Many of Siegel's photographs from this period feature gatherings of young activists on the streets of New York and in Central Park, protesting the war in Vietnam, advocating for women and worker's rights, and freedom of lifestyle. The images taken in or around Times Square vividly depict the pre-gentrified area as a seedy melange of pornographic movie house marquees, small stores, restaurants, and sex shops populated by colorful habitues sporting tattoos, offbeat clothing, and street-wise expressions. Siegel's knack for capturing the spirit of the times and the personalities of the individuals he photographed is evident in his portraits of young men, city cops, couples, far-out characters and everyday people hanging out on "The Deuce," as Times Square was known. Many of Siegel's photographs from this era were taken at night, thus adding to the gritty quality of the work. Siegel, however, approached his subjects with a certain camaraderie and a sense of identification that lets the viewer know he was not a voyeur, but rather among people he thought of as friends. "Most of the portraits are of people I know, usually by street name," Siegel explained. "They all knew me or knew of me often asked me to take their portrait. I could not have made these images without their cooperation. They express their need for recognition and I graciously oblige them." Siegel's work is rounded out and contrasted by the "other" New York of politicians, celebrities, and high society events., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Night view of the Madison Square Theatre, with 'Blanche E. Walsh the Woman in the Case' on the marquee, near the intersection of Broadway and 23rd Street, New York City, circa 1905].; The Charles Gilbert Hine Photograph Collection is composed of platinum prints, cyanotypes, and silver prints housed individually and in three photograph albums. Photographs date from 1883 to 1908 and focus on Manhattan.Included are views of strets, busineses, monuments, theaters, billboards, posters, and scenes of everyday life. Night and rooftop views are included. The albums are a three volume series that Hine entitled "Broadway, New York: From the Sky Scraper to the Wild Flower." They are geographically arranged, following Broadway from south to north. Approximately 274 mounted photographs taken along Broadway are complemented by Hine's essay on the history of the thoroughfare and its development; clippings mounted in the album provide additional commentary on specific buildings and neighborhoods. Views of streets, theaters, businesses, prominent buildings and parks are joined by pastoral portraits of rural life at the end of the island, A few of the albumen prints attributed to both Charles Gilbert and Thomas A. Hine., Charles Gilbert Hine of Woodside, New Jersey, and later Staten Island, New York, succeeded his father, Charles Cole Hine, as head of Hine Insurance Publishing Company in New York City. As an avid amateur historian and photographer he wrote and privately published over twenty five books on the local history of areas of New York, New Jersey and Massachusetts, illustrating them with his own platinum prints. He was a founding member of the Newark Camera Club in 1888., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Older woman sitting on a stoop, Lower East Side, New York City, 1940s].; The 74 photographs in this collection capture the bustling street life of Manhattan's Lower East Side during the late 1930's and 1940's. Many are portraits depicting street vendors, shopkeepers, mothers, and especially, kids. There is also one photograph of a ticket line in Broadway taken in the 1970's. The majority of the photographs are vintage gelatin silver prints; there are also a few digital reproduction prints., Rebecca Lepkoff (nee Brody) was born to Russian Jewish immigrants on the Lower east Side in 1916. Her parents emigrated from Minsk in 1910 and settled in a tenement apartment on Hester Street. As the family grew (Rebecca would eventually have five siblings), they moved from tenement to tenement but always within a few block radius. Lepkoff's father worked as a tailor; when Lepkoff was about 11 years old, her mother suffered a nervous breakdown which left her unable to properly care for the children. As a teenager, Lepkoff became interested in dance, and was hired as one of the dancers for a performance about the history of railroads at the 1939 World's Fair. With her earnings, Lepkoff bought a camera and took advantage of free photography classes offered by the New Deal's National Youth Administration.In 1941, Rebecca married a man named Gene Lepkoff, who was soon after drafted for military service during WWII. After he returned from service in France and Germany, the Lepkoffs moved into their own Lower East side flat on Cherry Street. Although still dancing, Lepkoff became more and more interested in photographing the neighborhood. In 1945, she joined the Photo League, an organization created in 1936 by New York photographers Sid Grossman and Sol Libsohn. A volunteer organization open to amateurs as well as professionals, the Photo League members were committed to documentary photography that captured the urban experience. Inspired by her classes with Sid Grossman, Lepkoff tirelessly shot photographs of her neighborhood, returning to the same scenes over and over until she captured the image she wanted. In 1948, the Photo League was black-listed as a communist organization by the U.S. Attorney General, and by 1952 it was forced to close. Lepkoff continued to photograph but her attention was also consumed with raising her children (born in 1950, 1953 and 1962). After her third child was born, the Lepkoffs moved to Teaneck, New Jersey, but they returned to New York City in 1979, after their children were grown. Lepkoff continued to photograph the Lower East Side throughout the 1970's and '80's., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Painter Charlotte Powell, painting the window box of 'The Village Store', Greenwich Village, New York, circa 1900s-1910s].; The collection contains about 420 black and white photographs, ca. 1900-1940, primarily of New York City and its inhabitants. It also includes postcards, as well as larger prints, of bohemian Greenwich Village between 1905 and 1920. New York City photographs show the Hudson-Fulton Celebration in 1909, the Woolworth Building, the Municipal Building and City Hall, and the New York Public Library on Fifth Avenue and 42nd Street. A sizable portion of the collection shows the city of Boston betwen 1902 and 1910, including views of Boston Common, the Massachusetts State House, the Robert Gould Shaw Memorial, and the Old South Church. Pictures taken at the Louisiana Purchase Exposition in St. Louis of 1904, where she was the first woman awarded a license to photograph it, focus on the international air show in the fall of 1904. Other photographs include views of San Antonio, Nantucket, and other places in Texas, Massachusetts, and Arkansas. Almost half the collection consists of portraits, mainly of artists, writers, and Greenwich Village residents. Artists include Rose O'Neill Wilson, James Carroll Beckwith, Gutzon and Solon Borglum, Karl Bitter, Bessie Potter Vonnoh, Julian Weir, Irving Wiles, Harrison Fisher, Daniel Chester French, Norman Bel Geddes, and Tony Sarg. Writers include Mark Twain, Mabel Herbert Urner, William Dean Howells, Fannie Hurst, Kate Douglas Wiggin, Frances Parkinson Keyes, Floyd Dell, Emily Post, Ida Tarbell, Booth Tarkington, Sadakichi Hartmann, Carl Sandburg, Joseph Auslander, Ella Wheeler Wilcox, and Sara Teasdale. There are portraits of actors and actresses of both stage and screen, such as Viola Allen, Frances Maule, and Judith Anderson, as well as of the dancer Michel Fokine and his wife. Marian McDowell, founder of the McDowell Colony, is also shown. Some portraits are of people not involved in the arts, including Presidents William Taft, Calvin Coolidge, and Herbert Hoover. Fashion photography in the collection dates from ca. 1907-1915. Garden photographs are mainly of Greenwich village properties after 1927., Jessie Tarbox Beals (1870-1942), a school teacher who taught herself photography, joined the Buffalo Courier staff in 1902 and became known as the first woman press photographer. She moved to New York City in 1905 and remained there for most of her career, leaving only to settle in southern California and Chicago for a few years during the late 1920s and early 1930s. She practiced many types of commercial photography with the vigor and speed associated with news work. Her body of work includes portraits, garden photography, city street scenes, fashion photography, and documentary photography., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Porter watching luggage at Pennsylvania Station, circa 1920s-1930s].; The collection consists of 1,885 gelatin silver photographic prints, as well as documents from a disbound scrapbook containing ephemera relating to Irving Browning's career as a photographer and cinematographer. Photographs depict interiors and exteriors of art deco buildings, some under construction: they include theaters, hotels, skyscrapers, suburban residences, shops and institutions. Also captured are close-ups of Manhattan shoppers and window displays, Lower East Side peddlers, advertising sandwich boards, roof tops, Great Depression shanty towns and street life, dramatic skylines, night views, weather, sports, and many types of transportation. Portraits of Margaret Mead are included. Samples of the photomontage technique Irving Browning developed for his advertising clients complete the collection. Heavily represented locations include the Chrysler, Daily News, and Empire State Buldings, and the Earl Carroll and RKO Roxy theatres. Documents include photographic identification cards, press identification cards, professional membership cards, clippings, advertisements, and some correspondence., Irving Browning (1895-1961), a self-taught photographer and cinematographer, opened a commercial photograph studio in New York City in the early 1920s. Skilled in appealing portrayal of new buildings, Irving and his younger brother Sam photographed exteriors and interiors of art deco theaters, hotels, apartment buildings, and suburban residences., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Porto Rico Importing Co. coffee store, Bleecker Street, Greenwich Village, New York City, 2009].; The Raymond Germann Photograph Collection consists of 338 archival inkjet photographs of New York City, taken between 1978 and 2015. The images are street scenes, many featuring billboards, advertising, store fronts, murals, street fairs and street vendors. The photos are mainly of Manhattan, including Greenwich Village, Harlem, Washington Heights, the High Line, lower Manhattan and midtown. There are also a few images of Brooklyn, the Bronx and Queens, including 2 color prints of graffiti at the 5 Pointz Building in Long Island City. The images were numbered by the photographer; titles are based on photographer's identification., Raymond Germann is a photographer who has been photographing since the late 1970s, documenting New York City scenes, the Finger Lakes landscape and towns, the American West, and Long Island., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Rainy street scene near the intersection of Rivington Street and Orchard Street, Lower East Side, New York City, 1970s-1980s].; The Photographer File dates primarily from 1930 through the present, but includes a few photographs by prominent photographers from as early as ca. 1882. The finding aid is arranged alphabetically by photographer's name; photographs are housed by size. Because of the varied nature of this collection, the photographs have been described more fully under each photographer's name in the folder listing. Researchers should be aware that in most cases the permission of the photographer is required for reproduction of images. Included within this collection are photographs by New York Photo League photographer Arnold Eagle; New York Times fashion photographer Bill Cunningham; Magnum photographer Danny Lyon; and early female photographers Alice Austen, Alice Boughton, Margaret Bourke-White, Charlotte Fairchild, Frances Benjamin Johnson, Marie Russell, and Paula Wright. Prominent people portrayed in this collection include David Dinkins, Nelson Mandela, Albert Einstein, Doc Cheatham, Henry James, and Charles Dana Gibson., The Photographer File is an artificial collection of photographs that have been acquired through donation or purchase from prominent photographers. Photographs in this collection were often acquired in small numbers or for exhibitions at The New-York Historical Society. Some of the photographs in this collection were included in The New-York Historical Society exhibit "Manhattan Now: 14 Photographers Look at the Form of the City" in 1974, or the 1981 exhibit "Manhattan Observed: Fourteen Photographers Look at New York, 1972-1981." The Photographer File has developed over the years as a collection to house photographs of New York, often by well-known New York photographers. While the file consists mostly of work from the 1930s through the present, photographs by some early portrait photographers, such as Alice Boughton, Frances Benjamin Johnson, Charlotte Fairchild, Underwood & Underwood, and William A. Cooper are also included., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [S.S. Normandie docked at Pier 88 on the Hudson River, with the Waldorf Astoria, General Electric Building, and skyscrapers of Rockefeller Center in the background, New York City, 1940].; The collection consists of ca. 775 gelatin silver photographs, depicting New York City ca. 1939-1954, and in the 1970s and 1980s. The photographs range in size from 5 x 7 inches to 13 1/4 x 22 inches. A series of photographs focusing on 1940s New York contains photographs from Feininger's book New York in the Forties (1978) depicting Times Square, Fifth Avenue, elevated railroads, the Brooklyn Bridge, the waterfront and river traffic, shops and shop owners in a variety of neighborhoods, including Chinatown and the Jewish Lower East Side, and a variety of street, park and skyline views. Also included are snow views and photographs of the city during the World War II dimout. A series of photographs for Feininger's book The face of New York: the city as is was and as it is (1954) contains Feininger's copy photographs of historical prints, maps, and photography by earlier New York photographers. A third series of photographs of New York during the 1970s and 1980s contains views of New York graffiti, signs, murals, posters, billboards, reflections, water tanks, fire escapes, and especially the Times Square area with its characteristic erotic film venues and advertisements for shops and strip bars., Andreas Feininger (1906-1999) was born in Paris, son of Lyonel Feininger; lived in Germany and Sweden, moved to the United States in 1939, where he worked as a staff photographer for Life magazine between 1943 and 1962., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Saturday Night Live cast eating at a pizza shop, New York City, circa 1977-1980].; This collection includes 96 black and white photographic prints and one color print. The photographs are undated but were taken circa 1970's. Almost all of the images depict the area in or around Times Square; a few were taken in Central Park or elsewhere in New York City. The photographs are arranged by subject matter. "Street scenes" depict crowds and businesses in and around Times Square, and capture the seedy melange of pornographic movie house marquees, sex shops and eccentric characters that characterized the area in the 1970's. "Street vendors and businesses" depict food carts, street photographers, ticket salesmen and the display window of a sex shop. "Portraits" depict primarily young men posed on the streets of Times Square. Also included are a few portraits of women, couples, teens and children, and eccentric characters. "Police officers" includes portraits and candid shots of police officers on the streets, primarily in Times Square (includes one color print). "Drug culture" includes pot smokers and an LSD festival. "Protesters" includes groups and individuals protesting a variety of political and social issues including labor, education, war and sexual equality. "Celebrities and officials" include portraits of Mayor Ed Koch, Mario Cuomo, Jackie Kennedy Onassis, Diana Vreeland, Morley Safer, Mohammed Ali and Saturday Night Live cast members John Belushi, Jane Curtin, Dan Akyrod, Gilda Radner, Garrett Morris, and Laraine Newman. "Phone booths and subway entrances" show people posed in front of these elements., Kenneth Siegel (1949-1994) was introduced to photography as a young boy by his uncle, Cornell Capa, a photographer and the founder of the International Center of Photography in New York City. After completing a Bachelor's degree at the Rochester Institute of Technology, Siegel worked for many years as a film editor at New York's Channel 9 before becoming a full-time freelance photographer. During his career as a photographer, Siegel worked for a number of important clients including the Democratic National Committee, the New York Times, St. Luke's Roosevelt Hospital, Prep for Prep, and the Visiting Nurse Service of New York. Rarely without a camera around his neck, Siegel delighted most in photographing people -- particularly the people of his beloved New York City. His largest body of work documented the places and faces of New York's Times Square and Central Park in the mid-1960's through the early 1980's, a period when New York was both politically charged and culturally diverse.Many of Siegel's photographs from this period feature gatherings of young activists on the streets of New York and in Central Park, protesting the war in Vietnam, advocating for women and worker's rights, and freedom of lifestyle. The images taken in or around Times Square vividly depict the pre-gentrified area as a seedy melange of pornographic movie house marquees, small stores, restaurants, and sex shops populated by colorful habitues sporting tattoos, offbeat clothing, and street-wise expressions. Siegel's knack for capturing the spirit of the times and the personalities of the individuals he photographed is evident in his portraits of young men, city cops, couples, far-out characters and everyday people hanging out on "The Deuce," as Times Square was known. Many of Siegel's photographs from this era were taken at night, thus adding to the gritty quality of the work. Siegel, however, approached his subjects with a certain camaraderie and a sense of identification that lets the viewer know he was not a voyeur, but rather among people he thought of as friends. "Most of the portraits are of people I know, usually by street name," Siegel explained. "They all knew me or knew of me often asked me to take their portrait. I could not have made these images without their cooperation. They express their need for recognition and I graciously oblige them." Siegel's work is rounded out and contrasted by the "other" New York of politicians, celebrities, and high society events., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Scaffolding related to subway construction in front of 198 Broadway, New York City, September 20, 1903].; The collection consists of ca. 50,000 photographic prints accompanied by route maps. The New York City board of Rapid Transit, the Public Service Commission, and their successors photographed construction of the subway, and its surface extensions in Manhattan, the Bronx, Brooklyn, and Queens. By systematically documenting the condition of buildings before construction began, they created an extensive survey of commercial and residential structures along subway routes and also provided glimpses of everyday street life. The Society's collection is strongest in views from 1900, when subway construction began, to 1920. The most heavily represented streets are Broadway and Lexington Avenue. Other photographs record underground tunneling, sewer reconstruction, pristine new stations, workmen, and such unexpected images as pool hall interiors. Most prints are identified by date, contract number, and location along a subway route. Despite the archive's size, the lack of some prints within assigned number ranges indicates that it is incomplete. A recent acquisition filled a gap of 80 views along Sixth Avenue in the 1930s., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Secondhand bookstore on 4th Avenue south of 14th Street, New York City, 1940].; The collection consists of ca. 775 gelatin silver photographs, depicting New York City ca. 1939-1954, and in the 1970s and 1980s. The photographs range in size from 5 x 7 inches to 13 1/4 x 22 inches. A series of photographs focusing on 1940s New York contains photographs from Feininger's book New York in the Forties (1978) depicting Times Square, Fifth Avenue, elevated railroads, the Brooklyn Bridge, the waterfront and river traffic, shops and shop owners in a variety of neighborhoods, including Chinatown and the Jewish Lower East Side, and a variety of street, park and skyline views. Also included are snow views and photographs of the city during the World War II dimout. A series of photographs for Feininger's book The face of New York: the city as is was and as it is (1954) contains Feininger's copy photographs of historical prints, maps, and photography by earlier New York photographers. A third series of photographs of New York during the 1970s and 1980s contains views of New York graffiti, signs, murals, posters, billboards, reflections, water tanks, fire escapes, and especially the Times Square area with its characteristic erotic film venues and advertisements for shops and strip bars., Andreas Feininger (1906-1999) was born in Paris, son of Lyonel Feininger; lived in Germany and Sweden, moved to the United States in 1939, where he worked as a staff photographer for Life magazine between 1943 and 1962., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Sign for Carmel Men's and Boys' Clothing at 146 Orchard Street, New York City, 1977].; The Photographer File dates primarily from 1930 through the present, but includes a few photographs by prominent photographers from as early as ca. 1882. The finding aid is arranged alphabetically by photographer's name; photographs are housed by size. Because of the varied nature of this collection, the photographs have been described more fully under each photographer's name in the folder listing. Researchers should be aware that in most cases the permission of the photographer is required for reproduction of images. Included within this collection are photographs by New York Photo League photographer Arnold Eagle; New York Times fashion photographer Bill Cunningham; Magnum photographer Danny Lyon; and early female photographers Alice Austen, Alice Boughton, Margaret Bourke-White, Charlotte Fairchild, Frances Benjamin Johnson, Marie Russell, and Paula Wright. Prominent people portrayed in this collection include David Dinkins, Nelson Mandela, Albert Einstein, Doc Cheatham, Henry James, and Charles Dana Gibson., The Photographer File is an artificial collection of photographs that have been acquired through donation or purchase from prominent photographers. Photographs in this collection were often acquired in small numbers or for exhibitions at The New-York Historical Society. Some of the photographs in this collection were included in The New-York Historical Society exhibit "Manhattan Now: 14 Photographers Look at the Form of the City" in 1974, or the 1981 exhibit "Manhattan Observed: Fourteen Photographers Look at New York, 1972-1981." The Photographer File has developed over the years as a collection to house photographs of New York, often by well-known New York photographers. While the file consists mostly of work from the 1930s through the present, photographs by some early portrait photographers, such as Alice Boughton, Frances Benjamin Johnson, Charlotte Fairchild, Underwood & Underwood, and William A. Cooper are also included., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Stevedores unloading a ship on the Brooklyn waterfront, New York City, 1946].; The collection consists of ca. 775 gelatin silver photographs, depicting New York City ca. 1939-1954, and in the 1970s and 1980s. The photographs range in size from 5 x 7 inches to 13 1/4 x 22 inches. A series of photographs focusing on 1940s New York contains photographs from Feininger's book New York in the Forties (1978) depicting Times Square, Fifth Avenue, elevated railroads, the Brooklyn Bridge, the waterfront and river traffic, shops and shop owners in a variety of neighborhoods, including Chinatown and the Jewish Lower East Side, and a variety of street, park and skyline views. Also included are snow views and photographs of the city during the World War II dimout. A series of photographs for Feininger's book The face of New York: the city as is was and as it is (1954) contains Feininger's copy photographs of historical prints, maps, and photography by earlier New York photographers. A third series of photographs of New York during the 1970s and 1980s contains views of New York graffiti, signs, murals, posters, billboards, reflections, water tanks, fire escapes, and especially the Times Square area with its characteristic erotic film venues and advertisements for shops and strip bars., Andreas Feininger (1906-1999) was born in Paris, son of Lyonel Feininger; lived in Germany and Sweden, moved to the United States in 1939, where he worked as a staff photographer for Life magazine between 1943 and 1962., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Street vendor selling vegetables from a wagon in Harlem, New York City, 1940].; The collection consists of ca. 775 gelatin silver photographs, depicting New York City ca. 1939-1954, and in the 1970s and 1980s. The photographs range in size from 5 x 7 inches to 13 1/4 x 22 inches. A series of photographs focusing on 1940s New York contains photographs from Feininger's book New York in the Forties (1978) depicting Times Square, Fifth Avenue, elevated railroads, the Brooklyn Bridge, the waterfront and river traffic, shops and shop owners in a variety of neighborhoods, including Chinatown and the Jewish Lower East Side, and a variety of street, park and skyline views. Also included are snow views and photographs of the city during the World War II dimout. A series of photographs for Feininger's book The face of New York: the city as is was and as it is (1954) contains Feininger's copy photographs of historical prints, maps, and photography by earlier New York photographers. A third series of photographs of New York during the 1970s and 1980s contains views of New York graffiti, signs, murals, posters, billboards, reflections, water tanks, fire escapes, and especially the Times Square area with its characteristic erotic film venues and advertisements for shops and strip bars., Andreas Feininger (1906-1999) was born in Paris, son of Lyonel Feininger; lived in Germany and Sweden, moved to the United States in 1939, where he worked as a staff photographer for Life magazine between 1943 and 1962., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Sunbathers and roller skaters, Sheep Meadow, Central Park, New York City, May, 1981].; Photographs in this collection are part of a series taken from the window of Orkin's fifteenth floor apartment at 65 Central Park West, between 66th and 67th Streets in Manhattan; most were published at her books "A world through my window," and "More pictures from my window." They take as their focus Central Park, particularly the Sheep Meadow, and the bordering skylines of Central Park South and Fifth Avenue. The color photographs show the park and its surroundings in various dramatic light, weather, and seasonal conditions, from the Tavern on the Green decorated with Christmas lights in a night view, to a distant shot of sunbathers and roller skaters gathered in the meadow in the heat of a summer day. The photographs, which were printed by G.W. Color Lab, New York, are signed, captioned, and in most cases dated by Orkin on both the front and the verso., Photojournalist and filmmaker, New York City., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Tenement buildings in East Harlem, New York City, circa 1966-1968].; Collection consists of 14 modern fine art photographic prints produced from the vintage 1966-1968 negatives and signed on the verso by the photographer. The images are selected from Davidson's extensive documentary project representing an East Harlem neighborhood between 1966-1968, which was published in its entirety as: East 100th Street. Cambridge, Mass., Harvard University Press, 1970., Bruce Davidson was born in 1933 and raised in Oak Park, Illinois. He is considered one of photography's most influential documentarians with projects that include a series on gangs, Central Park, and East 100th Street. Davidson studied photography at the Rochester Institute of Technology and at Yale University. In 1958, he began freelancing for Life magazine, and then joined the Magnum Photo Agency. Davidson received the first NEA grant awarded to a photographer in 1966, which funded his 100th Street series., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Three men standing in front of a squatter's shack in a shanty town, 12th Avenue and 40th Street, New York City, 1930].; The collection consists of 1,885 gelatin silver photographic prints, as well as documents from a disbound scrapbook containing ephemera relating to Irving Browning's career as a photographer and cinematographer. Photographs depict interiors and exteriors of art deco buildings, some under construction: they include theaters, hotels, skyscrapers, suburban residences, shops and institutions. Also captured are close-ups of Manhattan shoppers and window displays, Lower East Side peddlers, advertising sandwich boards, roof tops, Great Depression shanty towns and street life, dramatic skylines, night views, weather, sports, and many types of transportation. Portraits of Margaret Mead are included. Samples of the photomontage technique Irving Browning developed for his advertising clients complete the collection. Heavily represented locations include the Chrysler, Daily News, and Empire State Buldings, and the Earl Carroll and RKO Roxy theatres. Documents include photographic identification cards, press identification cards, professional membership cards, clippings, advertisements, and some correspondence., Irving Browning (1895-1961), a self-taught photographer and cinematographer, opened a commercial photograph studio in New York City in the early 1920s. Skilled in appealing portrayal of new buildings, Irving and his younger brother Sam photographed exteriors and interiors of art deco theaters, hotels, apartment buildings, and suburban residences., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Two boys looking at a beluga whale in a tank at the New York Aquarium, Coney Island, Brooklyn, New York City, circa 1960s].; The Frederick Kelly Photograph Collection contains black and white photographs, primarily taken in New York City. Images are mainly candid views of city inhabitants and city life, including newsstands and street peddlers, street preachers, people riding the subway, and relaxing in parks. The majority of the images were taken in Washington Square Park and Central Park, where Kelly documented colorful gatherings of young people. Other parts of the city shown include Chinatown, Fifth Avenue, and Times Square. Exteriors and interiors of office buildings and train stations, as well as restaurants and cafes, are included. Several birds-eye views of Manhattan were taken from the top of the Empire State Building and Rockefeller Center. A few photographs of other cities include views of Philadelphia, PA, Norfolk, VA, and Washington, D.C., Frederick Kelly (1905-1999) lived in Baltimore, MD. He worked as a librarian, a teacher, and a principal., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Two men playing checkers on a bench in Bryant Park, New York City, August 25, 1963].; The Frederick Kelly Photograph Collection contains black and white photographs, primarily taken in New York City. Images are mainly candid views of city inhabitants and city life, including newsstands and street peddlers, street preachers, people riding the subway, and relaxing in parks. The majority of the images were taken in Washington Square Park and Central Park, where Kelly documented colorful gatherings of young people. Other parts of the city shown include Chinatown, Fifth Avenue, and Times Square. Exteriors and interiors of office buildings and train stations, as well as restaurants and cafes, are included. Several birds-eye views of Manhattan were taken from the top of the Empire State Building and Rockefeller Center. A few photographs of other cities include views of Philadelphia, PA, Norfolk, VA, and Washington, D.C., Frederick Kelly (1905-1999) lived in Baltimore, MD. He worked as a librarian, a teacher, and a principal., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Two young boys on the curb, Lower East Side, New York City, 1938].; The 74 photographs in this collection capture the bustling street life of Manhattan's Lower East Side during the late 1930's and 1940's. Many are portraits depicting street vendors, shopkeepers, mothers, and especially, kids. There is also one photograph of a ticket line in Broadway taken in the 1970's. The majority of the photographs are vintage gelatin silver prints; there are also a few digital reproduction prints., Rebecca Lepkoff (nee Brody) was born to Russian Jewish immigrants on the Lower east Side in 1916. Her parents emigrated from Minsk in 1910 and settled in a tenement apartment on Hester Street. As the family grew (Rebecca would eventually have five siblings), they moved from tenement to tenement but always within a few block radius. Lepkoff's father worked as a tailor; when Lepkoff was about 11 years old, her mother suffered a nervous breakdown which left her unable to properly care for the children. As a teenager, Lepkoff became interested in dance, and was hired as one of the dancers for a performance about the history of railroads at the 1939 World's Fair. With her earnings, Lepkoff bought a camera and took advantage of free photography classes offered by the New Deal's National Youth Administration.In 1941, Rebecca married a man named Gene Lepkoff, who was soon after drafted for military service during WWII. After he returned from service in France and Germany, the Lepkoffs moved into their own Lower East side flat on Cherry Street. Although still dancing, Lepkoff became more and more interested in photographing the neighborhood. In 1945, she joined the Photo League, an organization created in 1936 by New York photographers Sid Grossman and Sol Libsohn. A volunteer organization open to amateurs as well as professionals, the Photo League members were committed to documentary photography that captured the urban experience. Inspired by her classes with Sid Grossman, Lepkoff tirelessly shot photographs of her neighborhood, returning to the same scenes over and over until she captured the image she wanted. In 1948, the Photo League was black-listed as a communist organization by the U.S. Attorney General, and by 1952 it was forced to close. Lepkoff continued to photograph but her attention was also consumed with raising her children (born in 1950, 1953 and 1962). After her third child was born, the Lepkoffs moved to Teaneck, New Jersey, but they returned to New York City in 1979, after their children were grown. Lepkoff continued to photograph the Lower East Side throughout the 1970's and '80's., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Underground construction in the vicinity of the Bowling Green subway station, New York City, January 6, 1909].; The collection consists of ca. 50,000 photographic prints accompanied by route maps. The New York City board of Rapid Transit, the Public Service Commission, and their successors photographed construction of the subway, and its surface extensions in Manhattan, the Bronx, Brooklyn, and Queens. By systematically documenting the condition of buildings before construction began, they created an extensive survey of commercial and residential structures along subway routes and also provided glimpses of everyday street life. The Society's collection is strongest in views from 1900, when subway construction began, to 1920. The most heavily represented streets are Broadway and Lexington Avenue. Other photographs record underground tunneling, sewer reconstruction, pristine new stations, workmen, and such unexpected images as pool hall interiors. Most prints are identified by date, contract number, and location along a subway route. Despite the archive's size, the lack of some prints within assigned number ranges indicates that it is incomplete. A recent acquisition filled a gap of 80 views along Sixth Avenue in the 1930s., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Window display of women's clothing for a 'going out of business' sale, circa 1920s-1930s].; The collection consists of 1,885 gelatin silver photographic prints, as well as documents from a disbound scrapbook containing ephemera relating to Irving Browning's career as a photographer and cinematographer. Photographs depict interiors and exteriors of art deco buildings, some under construction: they include theaters, hotels, skyscrapers, suburban residences, shops and institutions. Also captured are close-ups of Manhattan shoppers and window displays, Lower East Side peddlers, advertising sandwich boards, roof tops, Great Depression shanty towns and street life, dramatic skylines, night views, weather, sports, and many types of transportation. Portraits of Margaret Mead are included. Samples of the photomontage technique Irving Browning developed for his advertising clients complete the collection. Heavily represented locations include the Chrysler, Daily News, and Empire State Buldings, and the Earl Carroll and RKO Roxy theatres. Documents include photographic identification cards, press identification cards, professional membership cards, clippings, advertisements, and some correspondence., Irving Browning (1895-1961), a self-taught photographer and cinematographer, opened a commercial photograph studio in New York City in the early 1920s. Skilled in appealing portrayal of new buildings, Irving and his younger brother Sam photographed exteriors and interiors of art deco theaters, hotels, apartment buildings, and suburban residences., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Woman in a fur cap sitting on a rock with a baby stroller in front of her, holding a baby bottle in one hand and a cigarette in the other, Central Park, New York City, March 26, 1967].; The Frederick Kelly Photograph Collection contains black and white photographs, primarily taken in New York City. Images are mainly candid views of city inhabitants and city life, including newsstands and street peddlers, street preachers, people riding the subway, and relaxing in parks. The majority of the images were taken in Washington Square Park and Central Park, where Kelly documented colorful gatherings of young people. Other parts of the city shown include Chinatown, Fifth Avenue, and Times Square. Exteriors and interiors of office buildings and train stations, as well as restaurants and cafes, are included. Several birds-eye views of Manhattan were taken from the top of the Empire State Building and Rockefeller Center. A few photographs of other cities include views of Philadelphia, PA, Norfolk, VA, and Washington, D.C., Frederick Kelly (1905-1999) lived in Baltimore, MD. He worked as a librarian, a teacher, and a principal., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Woman tending the stove at the Third Avenue Elevated Station, Chatham Square, New York City, 1936].; The Photographer File dates primarily from 1930 through the present, but includes a few photographs by prominent photographers from as early as ca. 1882. The finding aid is arranged alphabetically by photographer's name; photographs are housed by size. Because of the varied nature of this collection, the photographs have been described more fully under each photographer's name in the folder listing. Researchers should be aware that in most cases the permission of the photographer is required for reproduction of images. Included within this collection are photographs by New York Photo League photographer Arnold Eagle; New York Times fashion photographer Bill Cunningham; Magnum photographer Danny Lyon; and early female photographers Alice Austen, Alice Boughton, Margaret Bourke-White, Charlotte Fairchild, Frances Benjamin Johnson, Marie Russell, and Paula Wright. Prominent people portrayed in this collection include David Dinkins, Nelson Mandela, Albert Einstein, Doc Cheatham, Henry James, and Charles Dana Gibson., The Photographer File is an artificial collection of photographs that have been acquired through donation or purchase from prominent photographers. Photographs in this collection were often acquired in small numbers or for exhibitions at The New-York Historical Society. Some of the photographs in this collection were included in The New-York Historical Society exhibit "Manhattan Now: 14 Photographers Look at the Form of the City" in 1974, or the 1981 exhibit "Manhattan Observed: Fourteen Photographers Look at New York, 1972-1981." The Photographer File has developed over the years as a collection to house photographs of New York, often by well-known New York photographers. While the file consists mostly of work from the 1930s through the present, photographs by some early portrait photographers, such as Alice Boughton, Frances Benjamin Johnson, Charlotte Fairchild, Underwood & Underwood, and William A. Cooper are also included., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.

: [Young man standing in the street with his arms crossed, New York City, 1970s].; This collection includes 96 black and white photographic prints and one color print. The photographs are undated but were taken circa 1970's. Almost all of the images depict the area in or around Times Square; a few were taken in Central Park or elsewhere in New York City. The photographs are arranged by subject matter. "Street scenes" depict crowds and businesses in and around Times Square, and capture the seedy melange of pornographic movie house marquees, sex shops and eccentric characters that characterized the area in the 1970's. "Street vendors and businesses" depict food carts, street photographers, ticket salesmen and the display window of a sex shop. "Portraits" depict primarily young men posed on the streets of Times Square. Also included are a few portraits of women, couples, teens and children, and eccentric characters. "Police officers" includes portraits and candid shots of police officers on the streets, primarily in Times Square (includes one color print). "Drug culture" includes pot smokers and an LSD festival. "Protesters" includes groups and individuals protesting a variety of political and social issues including labor, education, war and sexual equality. "Celebrities and officials" include portraits of Mayor Ed Koch, Mario Cuomo, Jackie Kennedy Onassis, Diana Vreeland, Morley Safer, Mohammed Ali and Saturday Night Live cast members John Belushi, Jane Curtin, Dan Akyrod, Gilda Radner, Garrett Morris, and Laraine Newman. "Phone booths and subway entrances" show people posed in front of these elements., Kenneth Siegel (1949-1994) was introduced to photography as a young boy by his uncle, Cornell Capa, a photographer and the founder of the International Center of Photography in New York City. After completing a Bachelor's degree at the Rochester Institute of Technology, Siegel worked for many years as a film editor at New York's Channel 9 before becoming a full-time freelance photographer. During his career as a photographer, Siegel worked for a number of important clients including the Democratic National Committee, the New York Times, St. Luke's Roosevelt Hospital, Prep for Prep, and the Visiting Nurse Service of New York. Rarely without a camera around his neck, Siegel delighted most in photographing people -- particularly the people of his beloved New York City. His largest body of work documented the places and faces of New York's Times Square and Central Park in the mid-1960's through the early 1980's, a period when New York was both politically charged and culturally diverse.Many of Siegel's photographs from this period feature gatherings of young activists on the streets of New York and in Central Park, protesting the war in Vietnam, advocating for women and worker's rights, and freedom of lifestyle. The images taken in or around Times Square vividly depict the pre-gentrified area as a seedy melange of pornographic movie house marquees, small stores, restaurants, and sex shops populated by colorful habitues sporting tattoos, offbeat clothing, and street-wise expressions. Siegel's knack for capturing the spirit of the times and the personalities of the individuals he photographed is evident in his portraits of young men, city cops, couples, far-out characters and everyday people hanging out on "The Deuce," as Times Square was known. Many of Siegel's photographs from this era were taken at night, thus adding to the gritty quality of the work. Siegel, however, approached his subjects with a certain camaraderie and a sense of identification that lets the viewer know he was not a voyeur, but rather among people he thought of as friends. "Most of the portraits are of people I know, usually by street name," Siegel explained. "They all knew me or knew of me often asked me to take their portrait. I could not have made these images without their cooperation. They express their need for recognition and I graciously oblige them." Siegel's work is rounded out and contrasted by the "other" New York of politicians, celebrities, and high society events., New-York Historical Society, 170 Central Park West, New York, NY 10024, 212-873-3400.