Vested rights : an argument made by Mr. George Ticknor Curtis in behalf of the New York City Central Underground Railway Co., before Governor Hoffman in opposition to the Beach Pneumatic bill.

Cover title.

Annual report of the president of the New York, Ontario, and Western Railway Co. to the stockholders for the fiscal year ending ...

Title varies slightly.

Annual report of the president and officers of the New York, Ontario, and Western Railway Company, with statements of accounts for the fiscal year ending ...

Title varies slightly.

Map showing the Metropolitan Street Railway system and lines operated in connection therewith : 232.07 miles : [borough of Manhattan, New York City].

Covers Manhattan Island south of 166th Street.

The street surface railway franchises of New York city /

Mode of access: Internet.

The Trow City Directory Co.'s, formerly Wilson's, copartnership and corporation directory of New York City.

Description based on: Vol. 33 (1885).

Test of heating and ventilating plant installed by Evans Almirall and Co. of New York City of Public School No. 22 /

Joint thesis (M. E.)--Cornell University, June, 1900.

Rand McNally & Co.'s handy guide to New York City, Brooklyn, Staten Island and other suburbs included in the greater New York.

Compiler: Ernest Ingersoll.

In the matter of the arbitration between Transport Workers Union of America, Local 100 and New York City Omnibus Corporation; Fifth Avenue Coach Company; Jamaica Buses, Inc.; Triboro Coach Company; Queens-Nassau Transit Lines, Inc.; Steinway-Omnibus Corporation; Queensboro Bridge Railway Company, Inc.; Avenue B and East Broadway Transit Company, Inc. : opinion and award /

Cover title.

Report of the New York Meteorological Observatory of the Department of Parks, Central park, New York City

1942-Oct. 1945 lack title

Auction sale to close estate of Mary P. Chrystie, dec'd, 23 building plots, also Harlem River water front, near Morris Heights stations, N.Y. Central and N.Y. & Northern railroads : Wednesday, November 22d, 1893, at 12 o'clock noon at no. 111 Broadway, New York Real Estate salesroom : by order of Morris & Steele, attorneys ... New York City /

Street map showing properties to be sold, existing buildings (some with owners' names), and railroad stations.

Group portrait at the farewell banquet for Dr. William Antopol from the laboratory staff of Mount Sinai Hospital; Ken's Chop House, New York city Portraits Groups

Digital Image

Group portrait at the farewell banquet for Dr. William Antopol from the laboratory staff of Mount Sinai Hospital; Ken's Chop House, New York city Portraits Groups

Digital Image

New York City: 12 December, 1980

This article compares two documentary treatments of the Central Park vigil for John Lennon in 1980: Happy Birthday to John (Jonas Mekas, 1995, 16mm, 18 min.), and Dix minutes de silence pour John Lennon/Ten Minutes Silence for John Lennon (Raymond Depardon, 1980, 16mm, 10 min.). Mekas and Depardon might seem an improbable combination but as the article demonstrates there are affinities, if not direct points of convergence, in outlook and documentary method: both sensibilities have been shaped by migrant experiences, and much of their work, for all its formal and structural differences, is preoccupied with experiences of exile and displacement, rootedness and the meaning of home, the country and the city (and in Mekas’s case, the country in the city). Mekas and Depardon are also Europeans who have developed an intimate social and artistic relationship with New York City; both are concerned with the place of autobiography in their work, using captions, inter-titles, diary entries, photographs, and 1st person commentary to complicate relations between the imaginary and the documentary. In addition to discussing the significance of these preoccupations, and differences in the manner in which both filmmakers witness the apotheosis of Lennon as cultural martyr (and natural New Yorker), the article also examines the phenomenon of public mourning, and how it often displaces its ostensible subject: associatively, in the case of Mekas; incidentally, in the case of Depardon; and intentionally, in the case of the mass media, and popular culture.

New York City: "gilt cage" or "promised land" ? : representations of urban space in Edith Wharton and Anzia Yezierska

This thesis explores the importance of literary New York City in the urban narratives of Edith Wharton and Anzia Yezierska. It specifically looks at the Empire City of the Progressive Period when the concept of the city was not only a new theme but also very much a typical American one which was as central to the American experience as had been the Western frontier. It could be argued, in fact, that the American city had become the new frontier where modern experiences like urbanization, industrialization, immigration, and also women's emancipation and suffrage, caused all kinds of sensations on the human scale from smoothly lived assimilation and acculturation to deeply felt alienation because of the constantly shifting urban landscape. The developing urban space made possible the emergence of new female literary protagonists like the working girl, the reformer, the prostitute, and the upper class lady dedicating her life to 'conspicuous consumption'. Industrialization opened up city space to female exploration: on the one hand, upper and middle class ladies ventured out of the home because of the many novel urban possibilities, and on the other, lower class and immigrant girls also left their domestic sphere to look for paid jobs outside the home. New York City at the time was not only considered the epicenter of the world at large, it was also a city of great extremes. Everything was constantly in flux: small brownstones made way for ever taller skyscrapers and huge waves of immigrants from Europe pushed native New Yorkers further uptown on the island, adding to the crowdedness and intensity of the urban experience. The city became a polarized urban space with Fifth Avenue representing one end of the spectrum and the Lower East Side the other. Questions of space and the urban home greatly mattered. It has been pointed out that the city setting functions as an ideal means for the display of human nature as well as social processes. Narrative representations of urban space, therefore, provide a similar canvas for a protagonist's journey and development. From widely diverging vantage points both Edith Wharton and Anzia Yezierska thus create a polarized city where domesticity is a primal concern. Looking at all of their New York narratives by close readings of exterior and interior city representations, this thesis shows how urban space greatly affects questions of identity, assimilation, and alienation in literary protagonists who cannot escape the influence of their respective urban settings. Edith Wharton's upper class "millionaire" heroines are framed and contained by the city interiors of "old" New York, making it impossible for them to truly participate in the urban landscape in order to develop outside of their 'Gilt Cages'. On the other side are Anzia Yezierska's struggling "immigrant" protagonists who, against all odds, never give up in their urban context of streets, rooftops, and stoops. Their New York City, while always challenging and perpetually changing, at least allows them perspectives of hope for a 'Promised Land' in the making. Central for both urban narrative approaches is the quest for a home as an architectural structure, a spiritual resting place, and a locus for identity forming. But just as the actual city embraces change, urban protagonists must embrace change also if they desire to find fulfillment and success. That this turns out to be much easier for Anzia Yezierska's driven immigrants rather than for Edith Wharton's well established native New Yorkers is a surprising conclusion to this urban theme.