60 Gramercy Park North
A Mediterranean skyline, and the lives beneath it
ROTH’S SKYLINE AND THE LIVES BENEATH IT
Red mission-tile roofs, Churrigueresque terra-cotta crests, and a crowning tower pierced by three tall belfry arches make 60 Gramercy Park North immediately recognizable from across the square. Completed in 1928, the through-block apartment house was designed by Emery Roth during the creative period that produced the Beresford, the San Remo, and the El Dorado on Central Park West.
Behind its sunlit Mediterranean Revival facade stand two sixteen-story residential wings—one overlooking Gramercy Park North and the other facing East 22nd Street—linked at ground level by a vaulted circular rotunda flanked by two landscaped interior courtyard gardens. Inside, Roth planned 162 apartments ranging from one-room pied-à-terre suites to expansive ten-room duplexes with private wraparound terraces.
The story of this ground begins with the nineteenth-century brownstones that stood here before the tower rose, above all the Minturn family residence at 109 East 21st Street—a household where clipper-ship commerce, Civil War abolitionism, Progressive Era labor reform, and a celebrated John Singer Sargent portrait converged. In the decades after Roth’s apartment house opened, its residents included Precisionist painter and New Orleans jazz photographer Ralston Crawford—and a doorman named Joe whose sudden inheritance of a hundred-acre Kentucky farm earned a fond farewell in The New Yorker.
A building and the lives within it
Before the tower
The brownstone row before the apartment house
Before Emery Roth’s through-block apartment house rose in 1927–1928, a row of four-story brick-and-brownstone townhouses occupied this stretch of Gramercy Park North immediately east of Calvary Church and its rectory. As the 1903 Sanborn insurance map of Manhattan (Volume 2, Plate 45) records, the properties at 103, 105, 107, and 109 East 21st Street (then also numbered 60 to 57 Gramercy Park North) sat on narrow lots backed by small yards and separate townhouses along East 22nd Street. By 1915, several of the houses had already been adapted for multi-family living, with the New-York Tribune advertising three-room apartments at 105 East 21st Street.
An earlier generation of owners had built along original deed Lots 55–59 in 1848–49. Garmey places Philip Kearny at No. 105, Olivia Templeton at No. 107, and George Washington Strong at No. 109. The houses at Nos. 107 and 109 each had a frontage of twenty-seven and a half feet.
Diarist George Templeton Strong and Ellen Ruggles Strong occupied No. 113, formerly numbered 74. Their house was thirty-five feet wide, with a twenty-foot garden on Lot 56. The builders, Harriot & Henry, charged $30,427.94; Samuel B. Ruggles gave the stone front and the west-facing boudoir bay window. Strong’s diary records the household’s arrival on October 1, 1849. The house survived until the 1927–28 redevelopment that brought Roth’s apartment building to the site.
Susanna Shaw Minturn and Edith Minturn Stokes at No. 109
For more than three decades, from 1895 until her death in 1926, the townhouse at 109 East 21st Street was the home of Susanna Shaw Minturn (1839–1926), widow of clipper-ship merchant and railroad financier Robert Bowne Minturn Jr. (1836–1889), a partner in Grinnell, Minturn & Co., owners of the famed clipper Flying Cloud.
Susanna belonged to the prominent abolitionist Shaw family of Staten Island and Boston: her brother, Colonel Robert Gould Shaw (1837–1863), fell at Fort Wagner commanding the 54th Massachusetts Infantry, one of the Union Army’s first Black regiments; her sister Josephine Shaw Lowell (1843–1905) founded the Charity Organization Society and helped establish the Consumers’ League of New York; and another sister, Anna Shaw, married Harper’s Weekly editor and civic reformer George William Curtis.
In 1895, Susanna’s daughter Edith Minturn (1867–1937)—who two years earlier had posed as the model for Daniel Chester French’s monumental gilded Statue of the Republic at the 1893 World’s Columbian Exposition in Chicago—married architect, housing reformer, and New York chronicler I. N. Phelps Stokes (1867–1944). In 1897, John Singer Sargent painted the newlyweds in his celebrated double portrait Mr. and Mrs. I. N. Phelps Stokes, now at the Metropolitan Museum of Art: when the Great Dane meant to stand beside Edith in her crisp white walking skirt and straw boater proved unavailable, her husband stepped into the background in the dog’s place.
Robert Shaw Minturn and Mildred Minturn Scott
Living with their mother at 109 East 21st Street—where the household telephone rang at Gramercy 4643—were Susanna’s son Robert Shaw Minturn (1863–1918) and youngest daughter Mildred Minturn (1875–1922). Educated at St. Paul’s School, Harvard College (Class of 1884), and Columbia Law School, Robert clerked at Drexel, Morgan & Co. before establishing his law practice at 11 Broadway, managing family trusts and serving as treasurer of the New York Association for Improving the Condition of the Poor. In a memorial tribute after Robert’s death in March 1918, his Harvard classmate and neighbor John Jay Chapman recalled how Minturn’s collection of Old Master paintings transformed his rooms into “a rich palace,” calling him “a pillar, and a very ornamental pillar, of society.”
Following her aunt Josephine Shaw Lowell into labor and social reform, Bryn Mawr graduate Mildred Minturn served from 109 East 21st Street on the governing board of the Consumers’ League of New York. In 1906, she published the first English translation of French socialist leader Jean Jaurès’s Studies in Socialism (with an introduction penned in Paris in December 1905) and married English schoolmaster Arthur Hugh Scott; their daughter, Honor Croome, became a noted British economist and writer for The Economist.
Roth’s Gramercy skyline
From the World’s Columbian Exposition to Gramercy Park
Two years after Susanna Shaw Minturn’s death in 1926, the townhouses at 103–115 East 21st Street and 104–116 East 22nd Street were replaced by a sixteen-story, through-block apartment house designed by Hungarian-born architect Emery Roth (1871–1948). Having emigrated to Chicago at age thirteen and apprenticed as a draftsman at the 1893 World’s Columbian Exposition before joining Richard Morris Hunt’s New York office, Roth was in the midst of designing the great twin-towered apartment landmarks of Central Park West—the Beresford (1929), the San Remo (1930), and the El Dorado (1931)—when he completed 60 Gramercy Park North in 1928.
Spanish Colonial Revival ornament and a water-tower belfry
Above a warm brick shaft accented by Italian Renaissance and Spanish baroque window surrounds and wrought-iron Juliet balconies, Roth massed his richest ornament at the upper stories, where terraced setbacks step back beneath red mission-tile gables, twisted colonnettes, and elaborate Churrigueresque terra-cotta cartouches.
Crowning the composition is a tall rectangular campanile tower that conceals the building’s rooftop water tank behind three elongated round-arched belfry openings, flanked by sculpted heraldic eagles and double-headed crests—turning mechanical infrastructure into a Mediterranean skyline beacon above the Park. Linking the sixteen-story Gramercy Park North building and its sixteen-story counterpart on East 22nd Street is a ground-floor circular rotunda lobby set between two landscaped garden courtyards. Originally configured with 162 apartments ranging from one-room suites to terraced duplexes (with additional servants’ rooms on the ground floor of the East 22nd Street wing), the building is captured in full profile in a Wurts Bros. photograph of October 18, 1943, taken before the maturing sycamores and elms of the Park screened its lower stories.
Life behind the façade
Apartment life in 1928
When The New Yorker visited in October 1928, Marcia Davenport, then still Marcia Clarke, praised the spacious rooms, useful closets, kitchens and sunlight. She preferred the larger dining rooms to the smaller dining alcoves. Advertised rents ranged from $1,600 for one room with a kitchen and bath to $5,600 for seven rooms and three baths.
A restaurant and optional maid and valet services were promised. The gardens received a less enthusiastic review: Davenport thought the rhododendrons needed encouragement.
A ten-room duplex
An undated rental brochure in Columbia’s Avery Library offers a detailed look inside one of the larger apartments. Marketed by Clement E. Merowit & Co., the ten-room duplex occupied parts of the ninth and tenth floors.
The floor plan places the main living rooms upstairs: a living room measuring 27 feet by 23 feet 6 inches, a dining room with a rounded end, a library and an octagonal playroom. A terrace measured 21 feet 6 inches by 44 feet. Three principal bedrooms and a maid’s room occupied the floor below.
Brochure photographs show a formal dining room, decorative ceiling treatments and a beamed living room. Separate passenger and service elevators provided access to the apartment. Merowit’s company also developed the nearby apartment building at 44 Gramercy Park North, completed in 1930.
Joe the doorman’s unexpected inheritance
In September 1934, The New Yorker returned to the building’s rental listings. It reported three-room apartments overlooking the garden court at $960 to $1,140, and five- and seven-room apartments at $2,100 to $3,000. These listings covered different apartments from those reviewed in 1928.
Two years later, the magazine reported an unexpected departure from the staff. In February 1936, Joe, the doorman at No. 60, had inherited one hundred acres in Kentucky and was leaving to farm them. The magazine noted that children there would need no key to enter, and Joe would no longer need a uniform.
The building’s rental agents, Douglas Gibbons & Co., also commissioned photographs from Wurts Bros. The Museum of the City of New York preserves their views of the lobby in May 1941, Penthouse B later that month and the exterior in 1943 and 1944. The rotunda, planted terraces and ornamented façade formed the setting for daily life in the rental building.
An artist at No. 60
Ralston Crawford’s fourteen years on Gramercy Park
From the early 1950s through the late 1960s, modernist painter, lithographer, and photographer Ralston Crawford (1906–1978) made his New York home and studio address at 60 Gramercy Park North—listing the building as his address in six Whitney Museum of American Art annual exhibition catalogues between 1953 and 1967. Celebrated as a master of American Precisionism, Crawford distilled bridges, factories, grain elevators, and highway overpasses into luminous, sharply edged geometric planes.
From Bikini Atoll to a New Orleans jazz funeral
Trained at the Otis Art Institute in Los Angeles—where he worked briefly as an illustrator at Walt Disney’s studio—and at the Pennsylvania Academy of the Fine Arts and the Barnes Foundation, Crawford sailed on Caribbean tramp steamers in his youth, served during World War II in the U.S. Army Engineers’ camouflage unit and the Army Air Forces’ Weather Division, and was commissioned by Fortune magazine as an eyewitness artist at the July 1946 atomic bomb test at Bikini Atoll. During his years living on Gramercy Park, he traveled regularly to New Orleans to photograph brass bands, second-line parades, and jazz musicians, exhibiting canvases such as New Orleans No. 2 (1953), Construction Number 4 (1958), New Orleans, Number 11 (1961), and Torn Signs (1967). Following his death in April 1978, he was laid to rest in New Orleans with a traditional brass-band jazz funeral.
Restoration & life today
Restoring Emery Roth’s 1928 circular rotunda (2007)
The circular lobby is one of the building’s most elaborate interiors. A Wurts Bros. photograph from 1941 shows chairs and a bench around its edge, patterned windows facing the garden court and a richly decorated ceiling.
By the time Françoise Bollack Architects began its restoration, freestanding mailboxes crowded the room, layers of glossy paint covered the original plaster finishes, and the leaded glass in the steel windows had become fragile.
The restoration, completed in 2007, moved the mailboxes to the perimeter and concealed air-conditioning equipment. Tests and mock-ups guided the restoration of the finishes and colors. The architects studied period fixtures before designing new brass and hammered-glass lights.
EverGreene Painting Studios carried out the decorative painting. The completed work brought the ceiling ornament, gilded shells and plaster details back into view, while opening up the center of the rotunda.
Cooperative life and the courtyards
After more than half a century as a rental property, the building became a cooperative effective June 1, 1985.
Today, the building has two landscaped central courtyards, full-time doormen and a resident manager. The gardens give the through-block plan a quieter interior setting, away from the two street fronts.
Above the Park
Terrace gardens behind the red-tiled gables
Roth’s stepped upper stories created a series of private outdoor rooms high above the square. In a May 29, 1941 photograph by Wurts Bros. of Mrs. Glover’s Penthouse B terrace at 60 Gramercy Park North, potted shrubs, a striped awning, a canvas deck chair, and a glass-topped table sit framed by the brick parapets looking south across the treetops of Gramercy Park toward the clock tower of Metropolitan Life. From the sidewalk below, the red mission tiles, arched belfry, and terra-cotta eagles define the skyline; behind them unfolds a quiet world of rooftop gardens.
Two preservation boundaries on Gramercy Park North
Flanked on the west by the nine-story Gothic Revival facade of Calvary House (61 Gramercy Park North, also completed in 1928) and on the east by John Pawson’s bronze-and-glass transformation of 50 Gramercy Park North, Emery Roth’s apartment house anchors the western half of the Park’s northern blockfront. When the New York City Landmarks Preservation Commission designated the municipal Gramercy Park Historic District on September 20, 1966 (LP-0251)—later citing No. 60 in 1992 as a notable New York example of Spanish Colonial Revival Churrigueresque design—it drew the city boundary along the southern curb of East 21st Street. Fourteen years later, on January 23, 1980, when the National Park Service listed the broader Gramercy Park Historic District on the National Register of Historic Places (NRHP No. 80002691), the federal boundary encompassed the north side of the street, recognizing 60 Gramercy Park North as a defining landmark of the square’s prewar skyline.
Residents of Note
The People of Gramercy- Ralston Crawford (1906–1978)— Precisionist painter, printmaker, and photographer. Crawford transformed bridges, factories, grain elevators, and highways into sharply defined geometric compositions. His work ranged from eyewitness art at the 1946 Bikini Atoll atomic test to photographs of New Orleans brass bands, parades, and jazz musicians. During the 1950s and 1960s, he used 60 Gramercy Park North as his New York home and studio address, listing it in six Whitney Museum exhibition catalogues between 1953 and 1967.
- Mildred Minturn Scott (1875–1922)— Social reformer and translator. A Bryn Mawr graduate, Mildred followed her aunt Josephine Shaw Lowell into labor and social reform, serving on the governing board of the Consumers’ League of New York while living at the family townhouse at 109 East 21st Street. In 1906 she published the first English translation of Jean Jaurès’s Studies in Socialism and married English schoolmaster Arthur Hugh Scott. Their daughter, Honor Croome, became an economist and a writer for The Economist.
- Robert Bowne Minturn (1805–1866)— Shipping merchant and philanthropist; Minturn family connection. A partner in Grinnell, Minturn & Co., owners of the clipper Flying Cloud, the elder Minturn combined shipping interests with philanthropy and civic reform. His own mansion stood at 60 Fifth Avenue. His connection to this site runs through his daughter-in-law, Susanna Shaw Minturn, who later made her home at 109 East 21st Street, one of the townhouses replaced by today’s 60 Gramercy Park North.
- Robert Shaw Minturn (1863–1918)— Trust lawyer, art collector, and philanthropist. Educated at St. Paul’s School, Harvard College, and Columbia Law School, Minturn clerked at Drexel, Morgan & Co. before establishing a law practice at 11 Broadway. He managed family trusts and served as treasurer of the Association for Improving the Condition of the Poor. He lived with his mother, Susanna Shaw Minturn, at 109 East 21st Street, where his collection of Old Master paintings filled his rooms, until his death in 1918.
- Susanna Shaw Minturn (1839–1926)— Member of the abolitionist Shaw family and matriarch of the Minturn household. Susanna was the sister of Colonel Robert Gould Shaw, who died leading the 54th Massachusetts Infantry at Fort Wagner in 1863, and of social reformer Josephine Shaw Lowell. Her husband, shipping merchant Robert Bowne Minturn Jr. (1836–1889), died before she established her home at 109 East 21st Street. She lived in that townhouse from 1895 until her death in 1926, sharing it with her son Robert Shaw Minturn and daughter Mildred. The house stood on part of the site redeveloped for No. 60 in 1927–1928.
- Emery Roth (1871–1948)— Architect of 60 Gramercy Park North. Hungarian-born Roth became one of the leading designers of Manhattan apartment houses, with work including the Beresford, the San Remo, and the El Dorado. He completed No. 60 in 1928, joining two sixteen-story residential wings—one facing Gramercy Park and the other East 22nd Street—around landscaped interior courts and a vaulted circular rotunda. Red mission-tile roofs, Italian Renaissance and Spanish baroque ornament, and elaborate terra-cotta crests gave the building its distinctive Mediterranean skyline.
- Edith Minturn Stokes (1867–1937) & Isaac Newton Phelps Stokes (1867–1944)— Philanthropist and architect-historian; subjects of Sargent’s double portrait. Edith, daughter of Susanna Shaw Minturn of 109 East 21st Street, modeled for Daniel Chester French’s monumental Statue of the Republic at the 1893 World’s Columbian Exposition. In 1895 she married architect and housing reformer Isaac Newton Phelps Stokes, author of the six-volume The Iconography of Manhattan Island, 1498–1909, published from 1915 to 1928. John Singer Sargent’s 1897 double portrait of the couple hangs in the Metropolitan Museum of Art. Their connection to this site is through Edith’s mother and the Minturn family household.
Building at a glance
A Mediterranean skyline, and the lives beneath it · Built 1927–1928 · Emery Roth
The building record
- Address
- 60 Gramercy Park North · 103–115 East 21st Street & 104–116 East 22nd Street (Manhattan Block 877, Lot 16)
- Built
- 1927–1928 (Reviewed upon opening in The New Yorker, October 6, 1928)
- Architect
- Emery Roth (1871–1948)
- Architectural style
- Spanish Colonial Revival (Churrigueresque) and Italian Renaissance Revival in buff brick, sculpted terra cotta, cast-iron loggias, and red mission-tile roofs with a triple-arched water-tower campanile
- Through-block plan
- Two sixteen-story residential buildings with penthouses (Gramercy Park North and East 22nd Street), linked at ground level by a circular rotunda lobby set between two landscaped courtyard gardens
- Earlier buildings on site
- Nineteenth-century townhouses at 103–115 East 21st Street (earlier Nos. 60–55 Gramercy Park North, including the Minturn residence at No. 109) and 104–116 East 22nd Street The earlier row also included George Templeton and Ellen Ruggles Strong’s house at No. 113, built by Harriot & Henry and occupied October 1, 1849.
- Apartments & ownership
- 162 apartments originally (one-room suites to ten-room terraced duplexes); converted to a residential cooperative effective June 1, 1985 (approx. 120 combined apartments today)
- Restoration
- Renaissance Revival rotunda lobby restoration completed in 2007 by Françoise Bollack Architects and EverGreene Painting Studios
- Historic districts
- Outside the 1966 NYC Landmarks Preservation Commission boundary (which runs along the curb of East 21st Street); listed within the 1980 National Register of Historic Places Gramercy Park Historic District
Over time
The Minturn household at No. 109
The 1896 Social Register, prepared late in 1895, records the address.
Sargent paints the Stokes portrait
Susanna’s daughter Edith appears with her husband.
Robert Shaw Minturn in the directory
The lawyer’s residence is listed as 109 East 21st Street.
Mildred Minturn’s translation
Jean Jaurès’s Studies in Socialism appears in English.
Apartments in the earlier streetscape
Three rooms and a bath are advertised at 105 East 21st Street.
The last years of Robert Shaw Minturn
The autumn 1917 Register lists the household; Robert dies in March 1918.
Susanna Shaw Minturn dies
Two years before Roth’s apartment house is completed.
Roth’s apartment building
The New Yorker visits the new address in its October 6 issue.
Rental listings and Joe’s inheritance
Apartment offerings in 1934; the doorman’s Kentucky farm in 1936.
Wurts Bros. records the building
Photographs of the rotunda, a penthouse terrace and the exterior.
Ralston Crawford’s address
Six Whitney annual catalogues list the artist at No. 60.
Cooperative ownership documented
The lobby restored
Françoise Bollack Architects completes the project.
No. 60 through the years
Part of Gramercy Stories, the Block Association’s series on the buildings and landmarks of our neighborhood.
Sources cited
- 1903 · Sanborn atlas, Manhattan, volume 2, plate 45The individual house lots beside Calvary Church before Roth’s building.
- 1900 · Biographical Directory of the State of New YorkRobert Shaw Minturn’s residence at 109 East 21st Street.
- 1898–1901 · Bryn Mawr Alumnae Association annual reportsMildred Minturn’s address and Consumers’ League work; printed page 31.
- 1906 · Jean Jaurès, Studies in SocialismTranslated, with an introduction, by Mildred Minturn.
- 1915 · New-York Tribune, October 3Apartment directory, section III, page 11; 105 East 21st Street.
- 1896 & 1918 · Social Register, New YorkMinturn household at 109 East 21st Street; see also the 1918 volume.
- 1909 · Harvard College Class of 1884, Secretary’s Report VIIRobert Shaw Minturn’s own account and portraits.
- 1918–1919 · John Jay Chapman’s memoir of Robert Shaw MinturnReprinted in the Harvard Class of 1884’s ninth report.
- 1905–1906 · Mildred Minturn’s introduction to Studies in SocialismSigned in Paris in December 1905; book published in 1906.
- 1897 · John Singer Sargent, Mr. and Mrs. I. N. Phelps StokesThe Metropolitan Museum’s portrait record and account of the sitting.
- 1892 · Fernand Paillet, Mrs. Robert Bowne Minturn Jr.New-York Historical Society, 1905.162.
- 1899 · Carl A. and Fredrika Weidner, The Daughters of Robert MinturnNew-York Historical Society, 1905.161; includes the Republic connection.
- 1928 · Marcia Clarke Davenport, “More Miracles on Fifth—Some Park Views—Vignettes—Red Elevator”The New Yorker, print issue October 6. An opening-year visit, rents and proposed services.
- Architecture · Carter B. Horsley, 60 Gramercy Park NorthCityRealty architectural review, quoting Steven Ruttenbaum’s Mansions in the Clouds.
- 1992 · Landmarks Preservation Commission, Lundy’s Restaurant designation reportCites Roth’s 1928 Gramercy building as an example of Spanish Colonial Revival apartment architecture. This is not a designation of No. 60.
- Undated · 60 Gramercy Park, 10th Floor: rental brochureAvery Architectural & Fine Arts Library, Columbia University, YR.1443.MH.001.
- 1934 · “Along the East Side”The New Yorker, print issue September 22. Available apartment sizes, exposures and rental ranges.
- 1936 · “The Talk of the Town”The New Yorker, print issue February 22. The doorman Joe and his Kentucky inheritance.
- 1966 · Gramercy Park Historic District designation reportThe district boundary excludes No. 60.
- 2002 · Ritz Tower designation reportLandmarks Preservation Commission biography of Emery Roth.
- Builder · Schwartz & Gross’s 1930 44 Gramercy Park NorthDaytonian in Manhattan on Clement Merowit’s neighboring development.
- 1941 · Wurts Bros., 60 Gramercy Park. Lobby.Museum of the City of New York, X2010.7.1.8000; May 21.
- 1941 · Wurts Bros., View from Penthouse B, Mrs. GloverMuseum of the City of New York, X2010.7.1.8004; May 29.
- 1944 · Wurts Bros., 60 Gramercy Park. Apartments.Museum of the City of New York, X2010.7.1.8575; August 21. The image is an exterior view.
- 1961 · Whitney Museum annual exhibition catalogueEntry 27 lists Ralston Crawford at 60 Gramercy Park North; New Orleans, Number 11.
- 1967 · Whitney Museum annual exhibition catalogueCrawford’s address remains 60 Gramercy Park; the exhibited painting is Torn Signs.
- Artist · Smithsonian American Art Museum: Ralston CrawfordMuseum biography and 1938 portrait from the Peter A. Juley & Son Collection.
- Artist · Whitney Museum: Ralston CrawfordThe museum’s account of Crawford’s Precisionist paintings of American industry.
- 1953 · Whitney Museum annual exhibition catalogueCrawford’s Gramercy address and New Orleans No. 2.
- 1958 · Whitney Museum annual exhibition catalogueCrawford’s address and Construction Number 4.
- 1963 · Whitney Museum annual exhibition catalogueCrawford’s address and a St. Gilles painting.
- 1965 · Whitney Museum annual exhibition catalogueCrawford’s address and Port Clyde I.
- Artist · Ghost Army Legacy Project: George Ralston CrawfordCrawford’s wartime service.
- Artist · John H. Lawrence, George Ralston Crawford64 Parishes on the artist’s New Orleans work and burial.
- Restoration · Françoise Bollack Architects: Renaissance Revival Lobby RestorationArchitect’s project account and photographs credited to Durston Saylor.
- 2007 · Renaissance Revival Lobby Restoration, ArchitizerProject date, original finishes, lighting design and reorganization of the rotunda.
- Ownership · 60 Gramercy Park Co. v. DHCR, 188 A.D.2d 371 (1992)Records a cooperative purchase effective June 1, 1985.
- 2007 · Renaissance Revival Lobby RestorationArchitect magazine’s project gallery records the completion year.
- Allan Nevins and Milton Halsey Thomas, editors, The Diary of George Templeton Strong, 4 vols. (1952), as quoted and discussed in Garmey; the Strong house, construction accounts, and move to Gramercy Park.
- Stephen Garmey, Gramercy Park (1984), pp. 46–53, 112, 157, especially pp. 46–53 for the Kearny, Templeton, and Strong houses, lot dimensions, contractors, and Ruggles’s contribution.
Photo credits for this page
- Exterior views of 60 Gramercy Park North, rooftop terra-cotta crest, and aerial terrace view: Gramercy Park Block Association archive.
- Earlier townhouses at 103–109 East 21st Street (Nos. 60–57 Gramercy Park North): Reproduced in Eugene E. Weise, M.D., A Tour of Historic Gramercy Park (Gramercy Park Block Association, May 7, 2006), p. 11.
- 1903 Sanborn insurance map (Manhattan, Vol. 2, Plate 45): Lionel Pincus and Princess Firyal Map Division, The New York Public Library (Digital ID 1996145).
- John Singer Sargent, Mr. and Mrs. I. N. Phelps Stokes (1897): Oil on canvas, The Metropolitan Museum of Art (Bequest of Edith Minturn Phelps Stokes, 1938, 38.104).
- Fernand Paillet, Mrs. Robert Bowne Minturn Jr. (1892), and Carl A. and Fredrika Weidner, The Daughters of Robert Minturn (1899): Portrait miniatures on ivory, The New York Historical (1905.162 and 1905.161, Gift of the Estate of Peter Marié).
- Robert Shaw Minturn portraits: Reproduced in Harvard College Class of 1884, Secretary’s Report VII (1909).
- 60 Gramercy Park North exterior (October 18, 1943 and August 21, 1944), circular rotunda lobby (May 21, 1941), and view from Mrs. Glover’s Penthouse B terrace (May 29, 1941): Photographs by Wurts Bros., Museum of the City of New York (X2010.7.1.8440, X2010.7.1.8575, X2010.7.1.8000, and X2010.7.1.8004).
- Tenth-floor duplex plan and interior views of the game room, dining room, and living room: New York Real Estate Brochure Collection, Avery Architectural & Fine Arts Library, Columbia University (YR.1443.MH.001). Gift of Yale Robbins, Henry Robbins and David Magier, 1986.
- © Ralston Crawford portrait (1938): Peter A. Juley & Son Collection, Smithsonian American Art Museum (J0008954).
- Historic view toward the Metropolitan Life tower: Library of Congress, Frances Benjamin Johnston Collection.