THE AMERICAN SKYSCRAPERS OF THE EARLY TWENTIETH CENTURY are the closet modern equivalent to the pyramids of ancient Egypt, in intention if not in design. Both types of structures are bids for immortality by powerful individuals looking to make a permanent record of their temporary successes, to proclaim I was here in bold characters and broad gestures.
Frank W. Woolworth, whose “five-and-dime” stores defined discount retail for generations, decided, in 1910, to essentially generate his own ludicrously overwrought headstone, which sprung, two years later, to the then-insane height of 792 feet, at 195 Broadway in lower Manhattan, catty-corner from the New York City Hall. Architect Cass Gilbert, whose beaux-arts styling suggested a transplantation of the values of old-world Rome and Greece to the USA, was contracted by Woolworth for the creation of his redolent redoubt, a project that effectively kick-started the first golden age of the American skyscraper and reigned as tallest building in the world for nearly seventeen years. Gilbert’s ongoing homage to classical architecture, seen in such landmarks as the U.S. Supreme Court building, resulted in a structure that resembled a gothic cathedral, minus the pesky God parts.
Indeed, the only “deity” enshrined in the Woolworth was Frank W., himself, his surname initial crowning dozens of doors and panels and his visage captured in the image you see here, a sculpted caricature of the magnate counting…what else?….coins (Illustrator Thomas Johnson also inspired similar carved likenesses of architect Gilbert and other key players in the tower project).
Open once more to guided tours in recent years (following a post 9/11 security lockdown), the Woolworth’s riot of rich woods, veined marble, stained glass and whimsical ornamentation are a treasure trove for photographers. To encourage your own visit, I’ve created a small gallery from my own, viewable by clicking the page tab marked The Wonderful Woolworth, seen at the top of this page.
In terms of technical specs, all images were shot handheld in existing light (flash would be worthless there, even were it permitted) with a manual 24mm Nikkor wide-angle shooting at apertures of either f/4 or f/2.8, shutter speeds from 1/13 to 1/60 of a second, and ISOs ranging from 1250 to 1600. But in terms of just being able to walk inside Cass Gilbert’s politely profane Edwardian birthday cake, you won’t need a camera to come away with some astounding memories.