In 1911 The Proposed McCarren Bridge Was To Replace The “Old” Brooklyn Bridge So It Could Be Reconstructed
Existing & proposed bridges New York City 1911 – note the four lower Manhattan bridges instead of three (click to enlarge)
From the New York Tribune of January 1, 1911 comes this illustration showing New York City with its existing bridges and some proposed new ones.
Sandwiched very tightly between the Brooklyn Bridge and the Manhattan Bridge connecting lower Manhattan with Brooklyn, is a proposed new bridge which was to be called the McCarren Bridge named after “Long Pat” McCarren (1847-1909) a state senator who was Brooklyn’s Democratic political boss during the late 1800’s.
Once the proposed McCarren Bridge became a reality, city engineers planned to close and rebuild the Brooklyn Bridge. The engineers feared that the increase in heavy traffic on the Brooklyn Bridge would necessitate additional strength being added, otherwise a support or cable might give way causing a horrible catastrophe. Borings were even made at the site, but the McCarren Bridge was never built.
Other proposed bridges in the illustration show the Hell Gate Bridge which was begun in 1912 and completed in 1916.
Further north on the Harlem River connecting upper Manhattan with the Bronx is another proposed bridge that was never built nestled between the University Heights/West 207th Street Bridge and Washington Bridge. This bridge would have been located at 177th Street in the Bronx and was to be called The Morris Heights Bridge. Continue reading →
In 2000 and 2001 Swann Galleries (a New York auction house) held New York City auctions. All the items: books, posters, maps, ephemera, photographs, prints and art were related to the city. It was a great concept that they discontinued after 2001. It was at these auctions where I first encountered the art work of Luigi Kasimir.
Kasimir was born in 1881 in the Austrian-Hungarian Empire and later came to New York where he repeatedly captured the architectural sights of the city. Today, Kasimir is best known for his detailed etchings, many of which were done in color, which apparently was not the norm for early 20th century etchings. The New York Times distinguished Kasimir from other etchers of the time at a contemporary exhibition in 1926 by referring to him as a “colorist.” Continue reading →