During the Grand Central Palace poultry and cat show, which took place in December 1916, "movie cats" and "Christmas kittens" were the talk of the town.

During the 10th Annual Empire Poultry Palace Show, which took place at the Grand Central Palace on Lexington Avenue in December 1916, “movie cats” and “Christmas kittens” were the talk of the town.

Although the first National Cat Show at Madison Square Garden II in May 1895 is often cited as the first cat show in America, there were actually quite a few cat shows in New York City and other American cities before this “official cat show” took place at the Garden. During the late 1800s, New York poultry and pet-stock shows often included a cat exhibit as a secondary attraction. Groups such as the New York Poultry, Pig, and Stock Association and Empire Poultry Club managed the shows, which often attracted thousands of entries, including hundreds of cats.

Grand Central Palace in New York City. The Empire Poultry Show took place at the Grand Central Palace, which occupied the air rights over the railroad tracks leading into Grand Central Terminal (the entire block of Lexington Avenue between 46th and 47th Streets).  Read the rest of this entry »

“For almost a generation there was no more secluded or more beautiful section than the vicinity of “Fox Corners.”—New York Daily Tribune, February 28, 1909 (Fox Corners was in Foxhurst, Bronx)

American Loyalists and British soldiers took part in many fox hunts throughout the southeastern Bronx during colonial days.

American Loyalists and British soldiers took part in many fox hunts throughout the southeastern Bronx during colonial days. The hunts originated at Fox’s Corners between present-day Southern Boulevard, West Farms Road, and Westchester Avenue (the British often joked about running the foxes and chasing the Americans.) This area was later called Foxhurst for the Fox and Tiffany family estate constructed at Fox’s Corners.

In my last post, I wrote about Swain’s performing rats and cats, which once appeared at the old Loew’s Boulevard Theatre near Fox’s Corners on Southern Boulevard in the Bronx. The theater was constructed in 1912-13 on what had formerly been the country estate and cattle farm of Richard March Hoe, the inventor of the rotary press (aka lightning press). Just a few blocks northeast of Hoe’s estate, which he called Brightside, was the estate of William Woolley Fox, which he called Foxhurst (aka Fox Hurst).

It was in this section of the Bronx that Brigadier-General Oliver De Lancey (or Delancey) and his fellow Loyalists (aka Tories) from Westchester and Queens counties took part in fox hunts during the Revolutionary era in the late 1700s. These hunts always commenced at the Fox Farm House (aka Hunt Inn or Fox’s Corners Inn), a rendezvous for British and Loyalist officers and fox hunters at the junction of West Farms Road and Westchester Turnpike (today’s Westchester Avenue).

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The climax of every Swain's Rats and Cats show was a boxing match between two cats.

The climax of every Swain’s Rats and Cats show was a boxing match between two cats. (These are not Swain’s cats)

A few years ago I wrote about Tommy Casanova Lamb, the mascot cat of The Lambs club in New York City. Tommy often got into boxing matches with other male cats that tried to encroach on his territory, which is why some of the younger members of The Lambs would say (tongue in cheek) that Tommy was a descendant of one of the performing cats in Charles Swain’s Rats and Cats vaudeville act.

The act, which was billed as a comedy novelty, featured felines and rodents working in harmony to perform all sorts of aerial stunts and circus acts, like walking and jumping over blocks, jumping from high places, and tightrope walking. The most memorable part of the show was when the rats, dressed as jockeys, rode on cats wearing saddles in a steeplechase race along a miniature racetrack. Every show ended with a “comedy skit” featuring two cats boxing each other. (One newspaper called the boxing scene “one of the most laughable things ever presented upon any stage.”)

Charles Swain was born Charles Schwein in Cincinnati, Ohio, on June 4, 1867. According to newspaper ads from 1899, Swain began working with trained goats, dogs, monkeys, chickens, pigeons, geese, and ducks in an act called Farmer Swain’s Barnyard Circus or Swain’s Great Barnyard Circus. A year later, he was touring the country with the same animals as Professor Charles Swain’s Barnyard Circus. The rats and cats first appeared in 1910, in an act called Swain’s Rat and Cat Circus. (His wife, Cora, toured separately with an act called Swain’s Cockatoos.)

Here’s how Variety described the show in 1920: “One of the best animal acts in vaudeville and misses greatness by the man’s mild showmanship. The rats and cats fraternize like lodge brothers and execute a difficult routine of wire walking and jumping and balancing stunts. One of the feature tricks is a cat stepping over seven hurdles on top of each one a rat is reclining.”

Swain's rats and cats made their first appearance in Sioux Falls, South Dakota, as Swain's Rat and Cat Circus. (Even from the beginning, the rats took top billing.)

Swain’s rats and cats made their first appearance in Sioux Falls, South Dakota, as Swain’s Rat and Cat Circus. (Even from the beginning, the rats took top billing.)

Swain’s rats and cats were fondly recalled by many major twentieth-century vaudeville stars, including George Burns, Groucho Marx, Fred Allen, Joe Laurie, Jr., and Paul “Mousie” Garner (of course). George Burns joked about it in 1976, recalling his own days in vaudeville by saying, “I was so bad, once I was on the bill, and the headliner was Swain’s Cats and Rats.” Joe Laurie, a member of The Lambs, noted in his memoirs that the cats were fed right before each show while the poor rats were kept semi-starved and docile.

Several stars told the story in which Fanny Brice retired to find a rat in her dressing room. She screamed for Swain, who entered, looked at the rat, and said “That’s not one of mine!”

According to Groucho Marx, however, the “self-made rat” appeared at the Palace in New York the following week and won every race. According to Groucho, the dirty old rat had become the star of the act.

Shah the Cat Saves a Rat at Madison Square Garden

In April 1916, Swain took his rats and cats act to New York City, where they performed for large crowds at Madison Square Garden, then located on Madison Avenue at 26th Street, at the northeast corner of Madison Square Park. (Boxing has a long history at Madison Square Garden, so the venue was perfect for the pugilist cats.) Also on the bill for the matinee shows was Mary and her “intelligent dogs.”

Madison Square Garden II (1890-1926) was designed by noted architect Stanford White, who kept an apartment there. The 32-story tower was the city's second tallest building at the time it was constructed. The main hall was the largest in the world, with seating for 8,000 people and floor seating for thousands more.

Madison Square Garden II (1890-1926) was designed by noted architect Stanford White, who kept an apartment there. The 32-story tower was the city’s second tallest building at the time it was constructed. The main hall was the largest in the world, with seating for 8,000 people and floor seating for thousands more.

I’m not sure whose bright idea this was, but for some reason the rats, cats, and dogs were all grouped quite close together back stage in the “pad room” while they waited for their turns to perform for the children in the audience. The rats were in a wicker basket on the floor next to a stand upon which “the trained cats nodded as lazily as though they were before an open grate in a New England farmhouse.”

One of the rats squealed, which attracted the attention of Peggy, one of Mary’s terriers (perhaps it was a rat terrier?). The little dog tiptoed over to the rat basket, and next thing you know, he tried to snatch one of Swain’s valuable and intelligent rats in his jaws.

Swain grasped his whip to drive the dog away, but the rat “had a defender that was much more agile than the offender.” It was Shah, a large Persian cat, “who had been taught to like rats other than in the usual feline way.”

The instant Peggy was about to close in on the rat, Shah leaped on top of the dog and dug her claws into his back. Peggy let out a shriek and went running to Mary. For a moment it appeared as if all hell would break lose – none of Mary’s dogs were fond of cats – but Mary and Swain were able to come to the rescue and break up the fight before things got out of hand.

“I almost wish that the incident had taken place in the circus, so the people generally could see that by proper training even affection can be instilled into such born enemies as rats and cats,” Swain told the New York Herald. “When the Shah was a kitten I had a great difficult in keeping him from eating the mice and rats with which I was teaching him to perform. However, by the exercise of patience he overcame his appetite, and the incident in the pad room shows how fond he is of his fellow performers, the rats.”

The Loew's Boulevard Theatre in the Foxhurst section of the Bronx opened in 1913.

The Loew’s Boulevard Theatre in the Foxhurst section of the Bronx opened in 1913, three years before Swain’s rats and cats took the stage there.

The Rats and Cats Receive a Bronx Cheer

In March 1917, Swain brought his rodents and felines to Loew’s Boulevard Theatre on Southern Boulevard in the Foxhurst section of the Bronx. Although I’m sure many people in the audience enjoyed the performance, the act didn’t get a great review in the New York Clipper the next day:

“While Swain’s Rats and Cats are very clever, it is questionable whether this kind of an act is suitable for a vaudeville audience. To many the sight of rats is repellent. As a proof of this contention, when one of the rats started to run front of the stage and it appeared as if he was about to get into the audience, many of the women screamed in fright.”

The Loew’s Boulevard Theatre

Loew’s Boulevard Theatre at 1032 Southern Boulevard was constructed on the former estate of Christian V. Spencer. Nearby to the northeast was the estate of George Fox (1624-1691), the founder of the Society of Friends (commonly known as the Quakers) who preached in this section of the Bronx in the 1670s.

The theater opened as a vaudeville house on November 1, 1913, just three years before Swain’s rats and cats took the stage. Designed by Thomas W. Lamb, one of the preeminent theatre and cinema architects of the early 20th century, the Beaux Arts style theater had 2,187 seats and presented a mix of vaudeville and films.

The Boulevard was one of several Bronx theaters that Marcus Loew purchased from David Picker (Picker started with a nickelodeon in the Bronx and turned it into a chain of theaters that eventually merged with Loew’s Theaters.) In addition to the Boulevard, other Picker-built theaters in the Bronx acquired by Loew were the Spooner and Burland, as well as the Oriental in Brooklyn.

The red circle marks the location of the Boulevard Theatre on this 1887 map. The large frame house with the circular drive may have been the estate of Christian V. Spencer.

The red circle marks the location of the Boulevard Theatre on this 1887 map. The large frame house with the circular drive may have been the estate of Richard M. Hoe, which was called Britghtside (demolished in 1909). There is also a large greenhouse on this property, near the center of the map on what was called Caxton Street.

 

Loew's Boulevard Theatre was constructed in 1912 on what had been an empty lot next to the six-story Chester Hall apartments (extent), the first elevator structure put up in the vicinity of the Fox circle. This section of the Bronx was named for the Fox family and the "Foxhurst" mansion, located at the junction of the Southern Boulevard and Westchester Avenue.

Loew’s Boulevard Theatre was constructed in 1912-13 on what had been an empty lot near the six-story Chester Hall apartments (extent), the first elevator structure put up in the vicinity Fox Square (circled in red on the bottom right of this 1911 map). The Foxhurst section of the Bronx was named for the Fox family and the “Foxhurst” mansion, located between West Farms Road and Westchester Avenue (circled in red in the center).

Part of the Loew’s chain until 1964, the Boulevard Theatre was later operated by an independent operator and screened Spanish language films. The theater closed in 1980, and today houses a gym and cell phone store. Incidentally, one of the last presentations at the theater was a closed-circuit viewing of the boxing match between Sugar Ray Leonard and Robert Duran on November 25, 1980.

The Boulevard Theatre is now a gym and retail store.

The Boulevard Theatre now houses a gym and retail stores.

Stay tuned for my next post, which will go into more details about the Foxhurst section of the Bronx, the old Fox family mansion, and the fox hunts that took place in this area between the British and the Americans during colonial times.

 

 

This is not Subway Nellie

The first Subway Nellie was an Irish setter who arrived at the construction site of the new subway station at Bleecker and Elm Streets in 1903. (This is not Nellie.)

A few years ago, I wrote about a mixed-breed dog who made herself at home at the excavation site of the Interborough Rapid Transit Company (IRT) Joralemon-Street Tunnel under the East River. The men christened the dog Subway Nellie, in order to make sure no one confused her with all the other dogs named Nellie in the neighborhood.

What the workers may not have known when they gave Nellie her name in 1905 was that another dog with the very same name had joined the subway system more than a year earlier, as the pet and mascot of the men who were excavating a new subway entrance at the intersection of Bleecker and Elm (now Lafayette) Streets.

According to the New York Sun, Nellie was not a mutt, but rather “an Irish setter of patrician birth and aristocratic connections.” Here is the first Subway Nellie’s story.

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The story about the open-door policy for cats and dogs at the Presbyterian Labor Temple on Fourteenth Street and Second Avenue make the national news in 1912.

The story about the open-door policy for cats and dogs at the Presbyterian Labor Temple on Fourteenth Street and Second Avenue made the national news in 1912.

“We don’t mind a stray cat, or a dog either. If a stray dog finds a friend in the temple, we’ve brought the kingdom of God just so much nearer.” — Presbyterian Labor Temple, 1912

The above notice appeared in the weekly calendar of the Presbyterian Labor Temple, located on the corner of Second Avenue and East Fourteenth Street. People thought the notice was a joke at first, but any such idea was dispelled when a reporter talked to Rev. Charles Stelzle, superintendent of the church, at his home in Maplewood, New Jersey.

This feel-good cat-and-dog story began when a stray dog wandered into Rev. Stelzle’s church one cold winter day and snuggled up comfortably against a radiator. Rev. Steizle gave the four-legged visitor a hearty welcome and took advantage of the occasion to preach a sermon on the human treatment of animals.

Perhaps the artist of this 1950s painting was inspired by a dog like the one who sauntered down the aisle at the Presbyterian Labor Temple.

Perhaps the artist of this 1950s painting was inspired by a dog like the one who sauntered down the aisle at the Presbyterian Labor Temple.

As the Reverend Dr. Stelzle told the reporter:

“One day when I was preaching a stray dog walked right up the middle aisle. He was a medium sized, ordinary cur. Some of the congregation were distracted, so I paused long enough to welcome the dog. He walked over to the radiator in the corner and curled up, and stayed through my sermon.

“Why should I preach love and kindness and harmony, and then fail to take advantage of any opportunity to demonstrate love and kindness that presented itself? It wouldn’t be kind to chase a poor, half-frozen dog out into the street. Kindness never hurts anyone, dogs included. The more you give of it the more you have.

“Dogs and cats and snakes will all be welcome. It brings the kingdom of God nearer to earth. You can harmonize a man and a dog, a man and a cat, a man and a snake, and even a man and a woman.”

The reporter noted that he was unable to determine whether special pews would be set off for the canine and feline parishioners.

Dr. Charles Stelzle and the Presbyterian Labor Temple

Dr. Stelzle, the son of German immigrants, grew up in the slums of New York City. His father, a saloon keeper, died when Charles was only eight years old, and his mother sewed calico wrappers for a sweat shop. As one publication noted, he knew firsthand “the pangs of cold and hunger experienced behind dank city tenement walls.”

Following the death of his father, Charles went to work part-time in a tobacco sweatshop. He also hustled on the streets by selling newspapers, peddling oranges, and bussing tables at a restaurant. He quit school at the age of 11 so that he could work full time in order to help support his family.

Dr. Charles Stelzle

Dr. Charles Stelzle was kind to humans and animals of all kinds.

During his childhood, Charles got in trouble more than a few times. He joined a street gang and was arrested twice. That may have been what saved him.

During this troublesome time, Charles was befriended by the minister of Hope Chapel, who took him to ball games, tutored him a few nights a week, and introduced him to the church. By the age of 21, Charles was teaching Bible school, serving as the lay elder of the chapel’s congregation, and working as a machinist apprentice for a printing press manufacturer.

After applying to several theological schools (and getting rejected for his lack of schooling), Charles was finally accepted at Dwight L. Moody’s Bible Institute of Chicago. Following his graduation, he began serving as the pastor of several urban mission churches in New York, Minneapolis, and St. Louis.

By 1906, Charles had become the Superintendent of Church and Labor, later called the Department of Social Service. He became involved in politics in 1912, working extensively for the presidential campaign of Theodore Roosevelt, and later holding a seat on the New Jersey State Assembly.

Dr. Stelzle was a firm believer that the Church could play an important role in labor disputes by acting as an impartial mediator. He challenged churches to “stay by the people and help them solve their problems.”

Churches, he explained, must not wait for people to come to them, but rather, they must go to the working people and assist them in their daily struggles. As he wrote in his biography, A Son of the Bowery: The Life Story of an East Side American, “We must talk less about building up the Church and more about building up the people.”

Dr. Stelzle got his start at the Hope Chapel, which was located in a building at 718 Broadway, between Waverly and Washington Place (the yellow building at left in this 1899 illustration). Although most of these buildings are still standing today, 718 Broadway was demolished in the 1970s to make way for an 11-story commercial building.

Dr. Stelzle got his start at the Hope Chapel (previously the circa 1850s Hope Baptist Church), which was located in a six-story building at 718 Broadway, between Waverly and Washington Place (the yellow building at left in this 1899 illustration). Although most of the buildings in this illustration are still standing today, 718 Broadway was demolished in the 1970s to make way for an 11-story commercial building.

Dr. Stelzle founded the Labor Temple in 1910 as an alternative religious fellowship for working men, in which laborers and church men could find common ground and meet as equals. His plan was to utilize the empty Fourteenth Street Presbyterian Church at the corner of Fourteenth and Second Avenue (the Presbyterian Church had moved when it consolidated with another congregation on Thirteenth Street).

The Labor Temple was made possible by a fund provided through the will of John S. Kennedy (the sum of $10,000 a year for two years was taken from the fund as a rental fee). The first service took place on April 3, 1910, with George Dugan serving as the pastor.

Under Dr. Stelzle’s directorship, the “church” was quite successful, and was often crowded with foreigners and native New Yorkers, all seeking a place of “clean recreation” and an alternative to the competing brothels, saloons, and vaudeville theaters. On its opening day, 500 men, including members of labor unions, socialists, anarchists, sociologists, and other persons with an interest in labor matters attended the church.

No effort was made to convert anyone (although care was taken to express the Christian viewpoint), and the good Reverend never sided with those of either fundamental or progressive beliefs. As Dr. Stelzle once said, “Both Fundamentalists and Progressives are making a distinct contribution toward the progress and development of society and my sympathies are to a certain extent with both groups.”

From 1910 to 1924, the Labor Temple Union occupied the former Fourteenth Street Presbyterian Church on the southwest corner of Fourteenth Street and Second Avenue.

From 1910 to 1924, the Labor Temple Union occupied the former Fourteenth Street Presbyterian Church on the southwest corner of East Fourteenth Street and Second Avenue. It was here that a stray dog walked in and made himself at home during one of Dr. Stelzle’s sermons.

Although Dr. Stelzle preached to the working men on Sunday evenings, the mission of the church was to show congregants how to live while offering a place where “amusement of the right sort” was available to any and all. The church offered continuous services from noon until night, including music, organ recitals, moving pictures, lecture series, classes, suppers, and sermons.

As Dr. Stelzle noted in his autobiography, the Labor Temple “was a demonstration of what the Church can do in building up the whole life of the people, with special emphasis on their spiritual welfare.”

In 1924, the circa 1851 church building was demolished and replaced with a six-story building designed by Emory Roth. The new building featured a chapel, an auditorium, and a gymnasium for the temple, plus additional commercial space controlled by the developers.

The Labor Temple disbanded in 1957, after which the building was used by the Presbyterian Church of the Crossroads and, later, Congregation Tifereth Israel.

I’m not sure how long cats, dogs, and other animals were welcome at the Labor Temple, but I’m pretty sure as long as Dr. Stelzle was at the helm, the welcome mat was out for them.

I want to leave you with some closing quotes from Dr. Stelzle’s autobiography that caught my interest while researching this story. Like Dr. Stelzle, my intention is not to preach, but rather to provide some food for thought.

“We hear a good deal these days about the uprising of the radicals. But I am more concerned about the downsitting of the conservatives—those who are quite content with things as they are; who have comfortable homes, can afford to wear good clothes, are assured of enough to eat, can educate their children, and have snug little sums in the bank or in bonds which will provide for them in the future.”

“Social unrest is one the most hopeful signs of the times. Without it there can be no real progress. But this spirit of social unrest requires intelligence and unselfish direction…”

 

The Presbyterian Labor Temple was located at 242 East Fourteenth Street, shown here in the 1950s. The building is still standing.

In 1924, Presbyterian Labor Temple occupied part of a new building at 242 East Fourteenth Street, shown here in the 1950s. The building is still standing, albeit now it is home to luxury apartments and a Kentucky Fried Chicken restaurant.