The School of Visual Arts, a fine arts institute, has buildings scattered throughout Manhattan. At this particular location, however, they regularly display artwork from current and recently graduated MFA students. The MFA program has a rather "democratic" focus. We found all of the art to be accessible, both through its presentation and its inspiration, and we felt as though popular and familiar visual mediums were emphasized. Comics and infographics shared the same walls with more classical line drawings. Signage and 3D were brought to the level of high art and another room hummed with the electricity of four television monitors playing loops. Although the gallery space is small, the pieces, themselves, were charged with ready and apparent meaning due to their use of popular visual media.
Since 1901, when Ginsberg and Levy, Inc. began, the Levy family has garnered a distinct reputation specializing in American antiques primarily from the eighteenth and early nineteenth centuries. Though the art world lost a great man in early 2016 when Bernard Levy passed away at the age of ninety-eight, his son and grandson, Dean and Frank, are successfully carrying on the family business that changed its name to Bernard and S. Dean Levy in 1973. Frank, who appeared quite enthusiastic to be continuing the gallery as its fourth generation owner, explained that while the gallery contains a few pieces of English furniture that once lived in American homes, everything else was made right here. This is rare in the antique business, where European works usually have the strongest showing. I was interested to learn that some of Frank's favorite pieces are the framed needlework that decorate the corners of the first floor. He told me that the surviving needlework was mainly done by girls between the ages of eight and fifteen. The nice thing about needlework, Frank pointed out, is that collectors often know who made it, since their names are worked into it, and after a while it is easy to start to recognize different schools and teachers of needlepoint. Frank spoke to me about growing up in the family business. "As a kid, you learn that these things are heavy, " he said with a smile as we walked by a seventeenth century wardrobe. From a young age, Frank found the history of each antique fascinating. "I've always liked American history, " he admitted. He then went on to reflect that as a boy, he and his brother would play football with an antique highboy in his parents' room, which provided "a perfect goal post. " When he was in his twenties, however, he began working for the family business and started to become more interested in the clues that told him when and where something came from. Most of the pieces are from the eastern seaboard - Frank told me that the taller ones usually come from the South, where inhabitants wanted heat to be able to rise, and the shorter furniture comes from the North, where lower ceilings helped keep the heat inside. As for where the impressive collection is found, "Things show up everywhere. " Frank found one piece at an estate three blocks away, whereas a chair from Rhode Island was discovered at an auction in California. In addition to my conversation with Frank, I also had the pleasure of speaking with Melanie, a gallery employee, who shared with me that despite being on a side street, the gallery gets a fair amount of walk-ins. Recently, a man stopped in who commented that he was "taken with the portrait of the sheriff" in the window. Most of the gallery's customers, however, are collectors and frequent visitors. Bernard and S. Dean Levy has helped to build not only private collections, but countless public ones, including those at the Metropolitan Museum of Art and the Museum of Fine Art in Boston. The company is also proud to have helped to furnish a few historical house museums or help them to recover original furniture that was lost over the years. Touring the gallery with Frank, which is vaguely arranged chronologically, we began on the top floor. It is here that I discovered that many of the newest pieces from the nineteenth century are from New York, and made by three primary cabinetmakers - Duncan Phyfe, Michael Allison, and Charles-Honore Lannuier. Frank showed me how he "looks for little clues to find out where something is from and when, " showing me a drum on the leg of a table made by Duncan Phyfe that indicated that it came from a specific phase of his career. He then pointed out an elaborately decorated knife box. When Tom, the Manhattan Sideways photographer, commented that it looked like it could have come from the Art Deco period, Frank agreed, saying, "styles come back. "The fourth floor has furniture from the same period and a bit earlier, but with an emphasis on the country. Much of the furniture came from Connecticut and New Hampshire and was made from birch and maple trees. Frank indicated a dower chest that had a hidden signature from its maker, John Saltzer, etched into a painted urn on the side. We also saw an old lead-lined wine cooler with a stopper at the bottom which let out water. On the third floor, there were even earlier pieces, including one with a completely fictitious historic plaque claiming that it had once belonged to Martha Washington. Laughing, Frank said that if everything attributed to Martha Washington actually belonged to her, she would have needed far more houses to store her collection. The second floor had an impressive array of grandfather clocks as well as a desk with an extraordinary removable hidden compartment that allowed the owner to keep important documents in a safe space that could be removed from the desk in case of fire. When we returned to the first floor, we had traipsed through one hundred years of history, told in the language of furniture. It reminded me that Bernard and S. Dean Levy can boast a more-than-hundred year history of its own. "I'm proud we've been around this long, " Frank concluded.
From Toulouse-Lautrec to Milton Glaser, and from political propaganda to PBS advertisements, Rennert’s Gallery has more vintage and contemporary posters than I ever thought possible. The small auction house is also home to a vast reference library of photo archives and poster-related books, which is free and open to the public. When I stopped by the gallery on a warm summer day, Terry Shargel, who has been with Rennert’s for thirty years, offered to take me on a tour. I could not take my eyes off the Lautrec posters, many of which sell for more than $50, 000. “MoMA put on a Lautrec exhibit a few years ago, ” Terry told me, “and even they admitted that our selection was better. ” As we walked around, Terry gave me a helpful history lesson, pointing out vintage pieces by Cheret, Cappiello, and Mucha, a few of the pioneers of poster art. Works by these designers often cost thousands of dollars, whereas the contemporary pieces, including work by Milton Glaser, usually only sell for a couple hundred. Nina, a Manhattan Sideways writer who was with me, was especially excited to see a poster that had appeared in Roger Sterling’s office in Mad Men, as well as one that was featured in Orange is the New Black. According to Terry, the gallery never sells reproductions: all of their posters are original, from the first printing. Most of them, she added, were never even hung up; many were sold from a printer’s overstock once people started collecting. Rennert’s mainly sells works from the 19th and 20th centuries, Terry told me, and though they have posters from all over Europe and the Americas, the majority of their items are French. In fact, she informed me the president and founder of the gallery, Jack Rennert, travels to Paris nine times in a year. When I asked Terry what has changed in the poster market since Rennert’s opened thirty-five years ago, she sighed. “Our audience is getting old, ” she told me. “Young people seem to prefer photos, even though posters are a great and inexpensive way of decorating. ” But in spite of its aging customer base, the gallery is still going strong. Rennert’s holds three or four auctions each year, and for a full two weeks before each auction, customers can stop by to see all 500 posters for sale. After the tour, I spent another half hour wandering the gallery, admiring posters for some of my favorite bands from the sixties alongside Art Nouveau masterpieces. I could not wait to come back to Rennert’s with my husband, to page through design books written by Jack Rennert himself and browse through the gallery’s unrivaled collection of posters from around the world.
The Anthroposophical Society is an organization whose main concerns are extending the scientific method into the realm of spirituality, fostering "imagination, inspiration and intuition, " and the teachings of Austrian philosopher, Rudolph Steiner. The inventory at the adjoining bookstore covers a wide array of subjects as diverse as parenting, children's literature, biodynamic farming, meditations and spiritual pursuits. It also serves as a repository for the collected works of Rudolph Steiner. The society accepts people of all creeds, denominations, and philosophies in their varied programs, study groups, and events, most of which are held in the bookstore. In addition, this location houses the Center Point Gallery. The gallery provides a staging ground for unconventional art installations and other workshops.
While the digital age has allowed us to streamline many services, there are some art forms that must remain analog. One trip to Best Shoe and Bag Original Repair on W21st Street in Chelsea and you’ll be convinced that the time honored art of cobbling is one that can’t be replaced. It’s an art that has been passed down to owner Marcia Sailema from her father, who ran the shop for decades until he retired in 2015. Marcia said that in addition to helping her dad run the family business, she took classes at FIT to sharpen her skills in repairing luxury shoes and bags, which are the businesses specialty. “I learned so much industry vocabulary that I never knew before – like the way that the first part of a shoe design is called the last — and ‘the last comes first! ’” she laughed. She quickly acclimated to the delicate art of making much-loved, long-worn bags and shoes look like new by making delicate leather, paint and stitching matches to designers from Dior to Chanel and in fragile vintage pieces. The intricate work — which Marcia proudly showed us can make a nearly unusable bag or shoe look fresh off the shelf – has led to a loyal customer base. For Marcia, it’s a labor of love. “I really like working on the bags, ” she said, admiring a classic Louis Vuitton monogram bag that she’d recently completed repairs on. “Look at these zippers! ”
Merakia occupies the space that housed Kat & Theo from 2015-2017 - and while the restaurant maintains the same ownership as before, it also has a different mission. The modern Greek steakhouse prides itself on its meats and classic seafood items, while maintaining a classy, hip atmosphere in its cavernous space on 21st Street. “We built a new team… and a new vision, ” managing partner James Paloumbis shared with the Manhattan Sideways team when he spoke of the switch from Kat & Theo. He then went on to highlight Merakia’s differences from other Greek restaurants. “It’s not white and blue like every other place in New York City. Our menu is not the copy paste of any other place. ” The menu is heavy on steaks and seafood, boasting their signature lamb on the spit ("the only restaurant in the city to do so") while, surprisingly, offering some robust meat-free options as well. “Everything is farm to table, we use fresh ingredients, [and] we make everything from scratch on a daily basis. ” James told us that part of his mission is to bring back the adventure of going out to eat, a phenomenon he has noticed declining over the years. “People don’t like to go out anymore just to eat. You can eat at home, you can eat down the street, you can order your meal online. But to get an experience of nice service, some nice flavors, nice music, nice drinks - it’s worth your while to go out again. ” Husband and wife team behind Kat & Theo - Renee and Andreas Typaldos - seem to have orchestrated a smooth transition from their previous restaurant. As their past executive chef, Paras Shah, believed, "there should be a movie written about the couple's romantic backstory and that he “couldn’t have worked for better folks. ” Andy is originally from Greece, and the restaurant was named after his parents, Katerina and Theodosios. Andy came to New York on a scholarship from Columbia and met Renee, who is from the Bronx. He took her out on a first date “with holes in his shoes and with no winter jacket, ” according to Renee. She added, “The romantic, poetic way people get together. ” Today, they are paying homage to Andy's Greek heritage and according to James, “People have to trust their stomachs and their palates with a restaurant, so that’s what we’re trying to do here. Trust us - our food is fresh, our food is made with care, and we love what we do. ”
Calvary-St George’s church moved to Gramercy Park in 1832. It has a strong history of influential members and it was here that Edith Wharton’s The Age of Innocence was set. In addition to movie nights and summer programs for children, we witnessed a small, delightful concert performance along the sidewalk while walking one day.
Perhaps the attitude of “If it ain’t broke, don’t fix it, ” works well at Society Billiards. They seem to know that sometimes a classic pool hall is just what people need. Extremely spacious and stocked with countless pool tables, anyone looking to get lost in the game will be sure to love this dimly lit, relaxed, yet classy spot.
As we peered behind the counter at Joe, we saw what looked like a machinist’s shop or a technological artist’s studio, and yet the rich aroma of coffee was unmistakable. Joe is a place for serious coffee, and they hope to make serious coffee-drinkers out of their customers. The front of the shop holds a regular coffee bar, with three stools, and a display with some useful coffee tools for at home brewing. The majority of the space, however, is filled by the coffee studio in back where customers can watch the machines whir and the experts work their magic. For those of us not as knowledgeable in the coffee arena, Joe offers regular classes on topics ranging from brewing technique to what they call “coffee theory. ” While they have several locations throughout Manhattan, Joe's on 21st street serves as the “pro shop” and headquarters.