57 Great Jones Street
57 Great Jones Street | |
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General information | |
Address | 57 Great Jones Street Manhattan, New York, U.S. |
Coordinates | 40°43′36″N 73°59′33″W / 40.72667°N 73.99250°W |
Owner | 57 Great Jones Street LLC |
57 Great Jones Street is a building in the NoHo historic district of Manhattan, New York City. It first gained attention as the clubhouse of the Five Points Gang, considered by a contemporary journalist as the "largest and best organized gang in New York" and the site of a bystander's murder during a wild gun fight in 1905.[1] Eighty-three years later, then owned by Andy Warhol, it was Jean-Michel Basquiat's studio/apartment and the site of his overdose death. In 2023 Angelina Jolie rented it as a space for artistic collaboration.
The building is a two-story brick structure on an "L"-shaped lot measuring about 25 feet wide and 75 feet deep. It possesses a facade that predominantly features arched windows in a Romanesque Revival style. Although residential tenants have sometimes lived there, most have been businesses. Often used as a saloon in early years, it has also been occupied by small manufacturers, retail outlets, auction houses, restaurants, and galleries.
Early history of the site
[edit]










57 Great Jones Street is located in an area once dominated by the Canarsee, a Munsee-speaking band of Lenape Native Americans.[2] It lies at the northern edge of an archaeological site dating from before 1651 known as Werpoes, or "watch hill".[3][4] After a short-lived conflict between the Lenape and residents of colonial New Amsterdam, Director-General Stuyvesant created a buffer zone on the city's northern border.[5] He granted small parcels of land to formerly-enslaved families on condition that they erect defensible fencing at a vulnerable point along the main road headed north out of the city.[3][6] In 1659 or 1660 a formerly-enslaved man named Salomon Pieters[7] received one of these plots, located in a place that would later become the intersection of Great Jones Street and the Bowery.[8][9]: 266 A map published in 1928 shows the location as No. 4, directly above the grant to Luycas Pieters (No. 3).[10]: Plate 84b
In the decades following the American Revolution, the growth of Manhattan's population and the island's increasing prosperity brought rapid development north of the original city boundary, particularly along the Bowery. Starting with a few taverns to serve passing travelers, that street became an increasingly frequent destination for New Yorkers who patronized its "clothing stores, hotels, theaters, pawnshops, restaurants, bars, dance halls, and brothels", according to one historian.[11]: 120
The site of 57 Great Jones Street remained agricultural until the northward expansion of the city reached it at the end of the 18th century.[11] In 1805 Samuel Jones, a prominent lawyer and politician, ceded the land on which, in 1806, Great Jones and adjacent Bond Street were constructed.[10]: 455 Extending for two blocks from Broadway in the west to the Bowery in the east, it received the name Great Jones to distinguish it from another Manhattan Jones Street that was named after Samuel Jones's brother-in-law, Gardner Jones.[12][13]: 605
In the first decades of the 19th century, real estate speculators bought up the vacant lots that had been laid out on the grid established by the state-appointed Commissioners' Plan of 1811 and there followed a building boom that was characterized by one historian as a mania of construction.[14] During this boom, fine townhouses were erected on the Broadway end of Great Jones Street, including one, at the corner, described by its owner, former mayor Philip Hone, as "a most delightful and comfortable residence".[15] In 1845, a physician named Benjamin Bailey bought up land on the southwest corner of the other end of the street and built a house on the part of it that faced the Bowery.[16][17] In advertising the land Bailey bought, a real estate agent gave the plot's dimensions: was 26 feet, four inches wide on the Bowery side, 100 feet long on the Great Jones Street side, 25 feet wide at the back, and 107 feet 10 inches long on its south side.[18] In 1847 Bailey added to this holding by buying a square piece of land measuring about 25 by 25 feet at the southwest corner of the parcel.[16] A property map published in 1852 shows the configuration of the lot on which Bailey built the house and the two pieces of land that lay behind it. Designated as Lot 132 in Block 530 and together measuring about 25 feet wide and 50 feet deep, these two pieces of land, one lying behind 346 Bowery and the other lying behind 344 Bowery, became 57 Great Jones Street.[19][20]
A real estate transaction of 1888 showed that a plot of land located at the back of 57 Great Jones Street and the back of 342 Bowery had by then been added to Lot 132.[21] Measuring about 25 by 25 feet, this addition to the lot appears in a fire insurance map of 1891. The map mislabels the address of the lot as 53 rather than 57 Great Jones Street, and it treats 57 Great Jones Street and 456 Bowery as if they were the same building. It shows Lot 132 to have three brick buildings, the one facing Great Jones Street and two behind it.[22] Fire insurance maps made in 1893 and 1897 give the same information except that in 1893 there is only one building behind the building that faced 57 Great Jones Street (a wood-frame structure) and in 1897 there is a brick building in that location and a frame building behind it.[23][24] A fire insurance map of 1911 is similar to the 1893 and 1897 maps. It treats 57 Great Jones Street and 346 Bowery as if they were the same building, but it does give the correct house number to 57 Great Jones Street.[25]
Date of construction and façade
[edit]There is very little information about the design or construction of the buildings on Lot 132 during the 19th century. The New York City Property Information Portal (consulted in 2025) gave 1900 as the year the current building was erected.[20] A photograph taken in 1905 shows the façade of this building and its neighbor, number 59, to the east.[1] It depicts 57 Great Jones Street as a two-story building having a brick façade featuring three second-story windows in a distinctive Romanesque Revival style. The central 22-light window was contained in a round arch having a stone keystone and impost blocks and a brick lintel. The two smaller symmetrically placed flanking windows had a similar design. The cornice was also in Romanesque Revival style. The first floor had a doorway on the right side having a transom surmounted by a portico. Located one step up from street level, the doorway was accompanied by rectangular sash windows centered below the upper windows and matching them in width and height.[1]
A photo taken for tax purposes in 1939 shows a fire escape on the front of 59 Great Jones Street to which there was access from the roof of 57 Great Jones Street. It shows no other changes to the second floor of 57 Great Jones Street. By that time the transom over the door had been reduced to a single pane of glass, the two central ground-floor windows had been replaced with a framed plate glass window, and the left-most sash window had been replaced with a transomed two-paned double door.[26] Another tax photo, taken in 1980, shows the central ground-floor window replaced by a pair of sash windows surmounted by a panel and the double-door replaced by a single one.[27] Photos taken in 2011 and 2016 show replacement of the central ground-floor windows with three contiguous floor-to-ceiling plate glass windows, removal of the surmounted panel, and replacement of the double door with a single full-glass door, now accessed by a ramp with railing.[28]
In 1932 Lot 132 was extended in the east, toward the back of 342 Bowery.[16] The extension changed the shape of the lot from a rectangle to one resembling the letter L. This shape is shown in a 2024 interactive map on the NYC Property Information Portal. Its dimensions on that website are shown to be about 75 feed on the longest side of the L (on the west), about 25 feet on and its shortest side (on the north) facing the street, and about 50 feet at the bottom of the L (on the south) lying behind 342 Bowery.[20]
Owners
[edit]In 1924 Benjamin Bailey's heirs sold the property to the first of a succession of real estate businesses that held the building from then to 1970. In that year Andy Warhol's Factory Films, Inc. bought the building and later transferred ownership to Andy Warhol Enterprise, Inc. That organization held it until shortly after his death in 1987. The building then passed to two real estate firms in succession.
List of owners:[16]
- 1845 Dr. Benjamin Bailey, his heirs and estate
- 1924 Modern Grade Renting Co., Inc.
- 1924 Hancook Realty & Holding Corp.
- 1951 57 Great Jones Street Realty Co., Inc.
- 1970 Factory Films Inc.[29]
- 1974 Andy Warhol Enterprise, Inc.
- 1990 57 Great Jones Street Associates (Robert Von Ancken and Leslie Garfield)[29]
- 2005 57 Great Jones Street LLC
Tenants
[edit]In 1847 a mason named James Kinsey was manufacturing chimney pots, composition arches, and other baked clay architectural features in a building at 57 Great Jones Street.[30] The 1852 property map shows the location of the building this business occupied on the southern of the two pieces of land which comprised Lot 132.[19] A business directory published a year later lists a tavern, referred to as a "Porter House", run by John Gunning, at the address along with Kinsey's masonry.[31] Kinsey's business, at back, and the porter house, facing the street, are shown on a 1857 fire insurance map, both of them depicted as two-story wood-frame structures.[32] By that time one or both of the buildings contained rental apartments. In 1851 a man looking for work as a coachman gave his address as 57 Great Jones and a year later another man also listed that location as his home address.[33][34]
Between 1852 and 1862, a man named Thomas Kavanagh operated a saloon at the address and, during 1862, he used it as a recruiting station for a regiment that was being formed for service in the Civil War.[35] In 1872 a man named James Lyon operated a stable at 57 Great Jones Street and the following year an auctioneer named J.P. Traver took over the business.[36][37] Traver soon expanded his sales rooms to include auctions of furniture and clothing out of three adjoining buildings: 57, 59, and 61 Great Jones Street.[38][39][40] In the 1880s another auctioneer, John A. Dunn took over the sales rooms at 57 and 59 Great Jones Street and continued at that location into 1898.[41][42] In 1885 an expressman gave 57 Great Jones Street as his address in advertising his business.[43]
A club named the Briar Sweet Association rented the building in 1900.[44] A year later 57 Great Jones Street and 59 Great Jones Street were together used as a dance hall called New Brighton, a saloon called Little Naples, and a gang club run by the Paul Kelly Association.[45][46] New Brighton, Little Naples, and the club closed following a gang fight and murder at the buildings in 1905.[1][47]
A printer named Albert Glickman who ran a business called Paragon Press rented the building in 1909.[48][49] By 1915, there was a Belgian passport office at the site and in 1920 it was home to the Washington Paper Company, maker of paper gums used in paper box and book binding.[50][51] In 1922 the K & W Hat and Company did business there and in 1927 an unspecified business named Kramer Brothers gave the address as its place of business.[52][53]
Between 1929 and 1945 57 Great Jones Street was home to a business called Biedmar Kitchen Equipment and Metal Work.[16] It was followed, in 1946, by a moving and storace company called Red Ball Van Lines.[54] The building was home to real estate offices between 1947 and 1951[55][56] and between 1959 and 1977 it was rented by the Grand Wire Frame & Novelty Company.[16] In 1977 the Thomas Publishing Company was located there.[57] While he was the building's owner, Andy Warhol rented the second floor as studio/apartment to Jean-Michel Basquiat from 1978 until Basquiat's death in 1988[58][59] and during that time the basement was used used by artist Shenge ka Pharaoh and by Kelle Inman, a girlfriend of Basquiat's.[16][59]
After real estate appraiser Robert Von Ancken and his partner Leslie Garfield bought the building in 1990, they rented it first to a Japanese restaurant supply company and next to an upscale butcher shop called Japan Premium Beef.[59][60] Between 2004 and about 2010 a Japanese restaurant called Hedeh operated beneath the butcher shop.[61][62] In 2006 a small business called A-Works operating mainly as a Japan-influenced publishing house was located at 57 Great Jones Street.[63]
Between 2010 and about 2021 an exclusive restaurant called Bohemian operated in the space vacated by Hedeh. The restaurant did not take reservations from the public but only from its regular diners and their friends and acquaintances.[64][65] For a few months in 2018 the second floor was used as an art gallery called the Same Old Gallery, a reference to SAMO, the graffiti tag used by Basquiat and his friend Al Diaz.[66] Between 2021 and 2023 an inventor named Adam Bly used space on the second floor of the building for a cloud computing business called System Inc.[67][68]
In 2023 actor, filmmaker, and humanitarian Angelina Jolie rented 57 Great Jones Street for a term of eight years and set up a for-profit public benefit corporation called Atelier Jolie at the site.[69][70] She employed Bonetti/Kozerski Architecture to oversee its renovation, preserving Basquiat's early comics and Al Diaz's graffiti on the second-floor walls and leaving the façade available to the city's graffiti artists and taggers who had been persistently defacing it in the years since Basquiat's death.[71] She abandoned use of the second floor as a fashion studio after she realized, as she said, that it wasn't her love and replaced it with a gallery directed by an artist in residence.[72] In 2025 the building contained a café at the back and an art gallery in the front of its main floor and another art gallery and workshop space below.[70] In 2025 French multimedia artist Prune Nourry was artist-in-residence and The Invisible Dog Art Center put on a show in the basement. Both aimed at "cultivating community" through their work. Jolie expressed this goal as artistic collaboration. She said, "That's kind of the rule—you can't just come in for yourself. You have to come in and also be there for other artists.[72][70]
Significant events
[edit]In 1905 an Italian-American gangster named Paolo Antonio Vaccarelli, who took the street name Paul Kelly, established a club called the Paul Kelly Association as a home base for the Five Points Gang which he directed. The club together with a saloon called Little Naples and a dance hall called New Brighton were located at 57 and 59 Great Jones Street.[73] Like others of the time, the gang received protection from local politicians in return for ballot stuffing during primary elections.[1] Early in November 1905 a member of the Kelly gang shot and wounded Jack Sirocco, a former of lieutenant of Kelly's who was then head of a rival gang. In retaliation, Sirocco brought his gang to the Little Naples saloon and in the shoot-out that ensued. An attempt to murder Kelly miscarried and a bystander lay dead on the floor. The killer was eventually convicted of manslaughter. Kelly subsequently gave up his lease on the building and continued his career in corrupt politics as a leader of the garbage scow workers' union.[73][74]
In 1970 Andy Warhol bought both 342 Bowery and 57 Great Jones Street.[75] He connected the two properties at their backs and planned to build a theater in that location.[16][76] In 1983 photographer Paige Powell introduced Warhol and Basquiat to each other. The two men develop a close friendship and, later in the year, Basquiat moved into the second floor of 57 Great Jones Street. Unsure about the young artist's ability to pay the $4,000 monthly rent, Warhol noted in a diary entry that Basquiat was trying to get on a daily painting schedule, adding, "if he doesn't and he can't pay his rent it'll be hard to evict him."[58] He subsequently insisted that a third party, Swiss art dealer, Bruno Bischofberger, countersign the lease as guarantor.[59][77] After Warhol's death in 1987, his estate tried to evict Basquiat, but was still living and working there when he died in 1988 at the age of 27.[78] Afterwards, graffiti artists and taggers began defacing the building and in 2016 the Greenwich Village Society for Historic Preservation installed a commemorative plaque at the site.[71] The graffiti, which reappeared after each attempt to remove or overpaint them, can be seen in photos taken in 2016 and on a more recent date.[79][20] In 2023 the building's owner told a New York Times reporter, "I've tried repainting the front, but I eventually gave up. It's clearly still very important for young artists, even today, to put their mark on that facade."[29]
In March 2025 the New York Times published a lengthy article in which it described Jolie's dream for her atelier as "a cultural locus, a clubhouse full of inspired and international creatives, and also a magnet for a curious public—to come and browse, take a class, refuel with a slice of orange almond cake at the global-cuisine café". The article said Jolie's main objective was to foster artistic collaboration. She told the reporter, "that's kind of the rule—you can't just come in for yourself. You have to come in and also be there for other artists."[72] A news blog for Manhattan's East Village quoted Jolie as saying she intended the atelier to be "a creative collective for self-expression".[80] An article in ArtNews focused on her role in the atelier as, in her words, "an artist rather than an entrepreneur".[69] While most news articles and web comments on the atelier have been uncritical in their framing, one, fittingly called Celebitchy, chided Jolie for adopting a "rich-woman-becomes-a-patron-to-the-arts" role that set her apart from the "hustle culture" of the modern world.[81]
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