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tall maternity clothes Midtown Manhattan, New York City, New York, United States of America Lord & Taylor is one of New York City’s oldest retail stores and a recognized innovator in the history of department stores. The store traces its origins to the dry goods store established on Catherine Street in 1826 by Samuel Lord and his partner George Washington Taylor. As residential New York continued its northward momentum, Lord & Taylor, like other retailers, followed, relocating several times before moving to Fifth Avenue and 38th Street. Starrett & Van Vleck’s 1913-14 building for Lord & Taylor marks a turning point in retail design. The dignified, Italian Renaissance Revival store with its prominent chamfered corner, deep copper cornice, austere limestone base, gray face-brick center section and two-story colonnade was the first “frankly commercial” building along the fashionable Fifth Avenue shopping district then developing above 34th Street. On Fifth Avenue the formal two-story arched entrance, is flanked by two tiers of display windows; those on the lower tier annually showcase the store’s animated holiday displays. In 1945, Lord & Taylor elected Dorothy Shaver as president of the store, the first woman to hold that position in a prominent retail store. A major force in retailing, Ms. Shaver, during her long tenure with Lord & Taylor (1924-1959), promoted new trends in home décor with the 1928 Exposition of Modern French Decorative Art, designed by Ely Jacques Kahn; fostered American fashion designers like Bonnie Cashin, Claire McCardell and Vera Maxwell; and created entirely new departments offering junior, misses, petite, bridal and maternity fashions. Under her aegis, noted designer Raymond Loewy updated selling floors and was instrumental in the design of the earliest suburban branch stores. Under succeeding administrations Lord & Taylor continued to expand its network of stores nationwide. Lord & Taylor was incorporated by its president Edward Hatch in 1904. In 1910 it became part of United Dry Goods Company, which later became the Associated Dry Goods Company. Lord & Taylor was sold to the private equity firm NRDC Equity Partners in 2006. DESCRIPTION AND ANALYSIS History of Lord & Taylor Lord & Taylor traces its founding to 1826 when Samuel Lord, a 23-year-old émigré from Yorkshire, England, opened his first small dry goods store at 47 Catherine Street with $1,000 borrowed from his wife Mary’s uncle, John Taylor, and took into partnership her cousin George Washington Taylor. Catherine Street was then one of New York’s major shopping streets, and the store, which sold fabric, notions, and ready made items such as hosiery and shawls, was enlarged by the end of the year. Through the complementary skills of the two partners, business continued to grow resulting in the annexation of 49 Catherine Street in 1832 and the move into a four-story building at 61-63 Catherine Street in 1838. Ever the entrepreneur, Lord also opened a dry goods store in New Orleans in the 1840s which was operated by his chief clerk Thomas Medley. With business growing, a new three-story building was erected at 255-261 Grand Street (on the southeast corner of Chrystie Street) in 1853. This building had a domed rotunda and large windows which allowed natural light to flood the interior. By the late 1850s, a large lot at the northwest corner of Grand Street and Broadway had been acquired and on August 29, 1859, 461-467 Broadway, a five-story marble emporium with an arched, two-story main entrance, became the flagship store of Lord & Taylor, the first of the major retailers to move to Broadway after the opening of A. T. Stewart’s department store at Broadway and Chambers Street. Simultaneously, the firm expanded into the wholesale trade, the funding of which required Samuel Lord to withdraw his investment from the store in New Orleans. George W. Taylor had retired to England in 1852 leaving the firm in the hands of Mr. Lord until the latter took as his partners his eldest son John T. Lord and long-time store employee John S. Lyle. By the mid-1850s New York City handled more than a third of American exports and around two-thirds of the imports and was the financial center of the country. Raw bulk cotton from the south was transshipped through New York to the mills of Europe while New York merchants and banking houses offered southern planters goods and credit. Lord’s investment in a New Orleans dry goods store suggests that he was willing to invest in the South during the antebellum period; however, the extent to which Lord & Taylor’s fabrics were made from slave-produced cotton cannot be definitely established. Throughout the Civil War, Lord & Taylor continued to advertise in New York newspapers the availability of a wide variety of fabrics from silk to poplin, home furnishings (carpets, linens and curtains) and ready-made clothing for women and children on display in their respective departments at the firm’s three New York locations. A particularly poignant announcement was the opening of a new department in 1863 exclusively for “Mourning Millinery.” At the end of the war the Lords, father and son, retired, leaving the firm to their successors George Washington Taylor Lord and Samuel Lord, Jr. Following the Civil War, residential New York continued its steady move farther uptown and although the existing stores were doing well and the building at Chrystie Street had been enlarged, the firm once again prepared to follow its customer base. In 1869 the directors entered into an agreement with Robert and Peter Goelet, members of one of the city’s most important landowning families, for a lot above Union Square at 895-899 Broadway, and with the Badeau family, which owned the corner lot (901 Broadway) at 20th Street. The Goelets and Lord & Taylor together hired James H. Giles, a Brooklyn architect to design the five-story, cast-iron structure at the southwest corner of Broadway and 20th Street which, when it opened in 1870, included one of the earliest steam passenger elevators. Like its competitors, Lord & Taylor found itself in financial difficulty as a result of the Panic of 1873. Through a large loan subscribed by the retired partners in 1879 the firm survived. The firm’s fortunes improved along with the economy and in 1894 Lord & Taylor began twelve years of growth that would see the store expand to Fifth Avenue in 1903 and again in1906. Lord & Taylor was the first of the major retailers to have an address on the avenue. During this period Edward P. Hatch, who was brought in as a partner in 1879, purchased the interests of the remaining partners and in 1904 converted Lord & Taylor into a stock company. Department Stores, Fifth Avenue and Construction of the Lord & Taylor Building Department stores had developed in the mid-nineteenth century as an outgrowth of the dry goods store, which sold fabric, sheetings, notions and some ready made items for women and children. The first of the new type, essentially a departmentalized dry goods store, was opened at the northeast corner of Broadway and Chambers Street by A. T. Stewart (Joseph Trench & Co., 1845-46 with later additions, a designated New York City Landmark) leading the way for the commercial development of Broadway north of City Hall. Designed in the Italian Renaissance palazzo style, it had large display windows set between cast-iron columns. These department stores, along with specialty retail stores increased in number and soon created whole shopping districts, following the progress of residential Manhattan as it moved uptown. In the 1850s and 1860s shops and department stores such as Arnold Constable & Co. and Lord & Taylor, catering to the “carriage trade,” were located on Broadway between Canal and 14th Streets. Within the next twenty years the shopping district moved to the area between 14th and 23rd Streets concentrated on Broadway, known as “Ladies’ Mile,” and home to Lord & Taylor, Gorham Manufacturing Co., and Arnold Constable. On Sixth Avenue, known as “Fashion Row,” B. Altman & Co., Hugh O’Neill, and Siegel Cooper, established large department stores partially as a result of the opening of the Sixth Avenue “el” in 1878. The department store buildings of this era were described as “commercial palaces,” incorporating central light courts and large display windows, and modern conveniences like elevators. By the turn of the twentieth century, commerce was invading residential Fifth Avenue above 34th Street. Small shops took over the lower floors of brownstones only to be replaced by a growing number of purpose-built commercial buildings. The first wave of major retailers included specialty stores such as Black, Starr & Frost, jewelers, at West 39th Street; Knox, the hat company, at 40th Street (John H. Duncan, 1901-02, a designated New York City Landmark); Tiffany & Co. at 37th Street and Gorham Manufacturing Co. at 36th Street, jewelry, china, silver, and glass (McKim, Mead & White, 1903-06 and 1904-06, respectively, both designated New York City Landmarks); and Franklin Simon, ladies wear, between 37th and 38th Streets. B. Altman & Co., the first of the large department stores to move there, opened on Fifth Avenue at 34th Street in 1906 (Trowbridge & Livingston, 1905-1913, a designated New York City Landmark). Recognizing the inevitable need for Lord & Taylor to move yet again, Edward Hatch, who died in 1909, and his grandson Wilson Hatch Tucker carefully studied the needs of both employees and customers when planning the new building and selecting its location. In late 1912 the store announced that it had negotiated the lease of a large lot on the west side of Fifth Avenue between 38th and 39th Streets from brothers Frank V. and John Howes Burton measuring 260 feet along 38th Street, 148 feet 1 inch along Fifth Avenue and 159 feet along 39th Street which wrapped around a hold-out corner lot and building at Fifth Avenue and West 39th Street. Plans for the building were filed by Starrett & Van Vleck in February 1913 and the store opened February 24, 1914. McKim, Mead and White’s Gorham and Tiffany buildings and Trowbridge & Livingston’s B. Altman & Co. store on Fifth Avenue continued the tradition of the commercial palace, through their use of neo-Classical and Beaux Arts vocabulary. Starrett & Van Vleck’s ten-story Lord & Taylor building, with its distinctive chamfered corner, was heralded by the contemporary architectural press as “a triumph in design, plan, construction and decoration.” Its dignified, “vaguely Italian Renaissance” style marked, as Robert A. M. Stern later noted, the “emergence of a more utilitarian and less artistically ambitious” type of department store. The Italian Renaissance Revival Lord & Taylor store is a solid presence on the corner of West 38th Street and Fifth Avenue. The dignity of its design and sense of scale is derived from the subtle treatment of the tripartite façade. Starrett & Van Vleck kept overt decorative elements to a minimum: the two-story arched Fifth Avenue entrance with its coffered vault and sphinx-headed keystone, a continuous balustrade and balconies (now truncated), a two-story colonnade across the ninth and tenth floors and a deep copper cornice. Above the two-story granite and limestone base, with its display windows, rises the store’s six-story central section. Here Starrett & Van Vleck created interest through the subtle use of patterned brick and terra cotta and the device of having the central bays recede slightly from the established plane of the wall. The more heavily decorated third and eighth floors here act as transitions between the three segments. At the top a two-story Corinthian colonnade with terminal clusters of pilasters and columns supports the deep bracketed cornice. Further adding to the sense of scale is the use of multi-light windows on all floors above the second, a significant departure from previous dependence on large plate glass windows in the design of retail establishments. This became a feature that the critic writing for Architecture noted “added much to the appearance of the openings” further noting that “thus we have escaped from the slavery of the plate glass store front.” A particularly distinctive design element, and one later repeated by the architects in the Saks Fifth Avenue building (1922-24, Starrett & Van Vleck, a designated New York City Landmark) is the chamfered corner. Used to create a link between the West 38th Street and Fifth Avenue facades, Starrett & Van Vleck highlighted the chamfer by bracketing it with slender columns of molded brick that appear capped by terra cotta at the eighth floor only to reemerge as part of the clusters of pilasters and columns at the ninth and tenth floors. Shoppers and strollers on Fifth Avenue, viewing the building from the southeast, experience the iconic view of the building’s imposing architecture. To provide an elegant edge to the building where it abuts its shorter neighbor, Starrett & Van Vleck repeated the elongated column at the north end of the Fifth Avenue façade. Architecture magazine in 1914 called the building “the best of its class” and “a gift and a benefit” to the public. This opinion was upheld twenty-five years later when the authors of the Federal Writers’ Project of the Works Progress Administration’s New York City Guide wrote: The construction of Lord and Taylor in 1914 at Thirty-eighth Street marked a break with tradition (Starrett and Van Vleck were the architects); the avenue now had a building that was frankly commercial as well as dignified. Many of the smaller stores, eclipsed as show places by the graceful candor of the Lord and Taylor edifice, hastily incorporated large display windows and arched entrances. Besides its fine design, the building included many innovations. An inclined drive between West 38th and 39th Streets connected to the receiving and delivery departments eliminated on-street loading. The displays in the show windows could easily be replaced by being lowered to the basement on tracks and a new display moved into position and raised to the window. Originally, the Fifth Avenue entrance itself was treated likewise with a display window that would be raised into position when the store was closed. Dumbwaiters and conveyors moved packages to the wrapping desk in the basement and either returned them to the customers or forwarded them to the shipping department for delivery. In addition to merchandise, the Lord & Taylor store offered customers a wide variety of services, including four restaurants on the tenth floor and counters offering everything from candy and magazines to theater tickets and travel assistance, telephone booths and a Rest Room on the fifth floor. On the seventh floor, where musical instruments were sold, the store had a concert hall with built-in pipe organ. Recognizing that the health, welfare and happiness of employees were important for the success of the operation, their needs were also taken into account. Selling floors behind the counters were covered with cork to reduce physical strain and amenities like employee dining rooms, a men’s smoking room, gymnasium, solarium, and medical and dental services were provided. Starrett & Van Vleck Founded in 1907 by Goldwin Starrett (1874-1918) and Ernest Alan Van Vleck (1875-1956), the firm was known for their work designing a wide range of building types including dwellings, office and institutional buildings, and department stores. Ernest Alan Van Vleck received a degree in architecture from Cornell University in 1897 and subsequently spent a year studying in Europe. Goldwin Starrett had studied engineering at the University of Michigan, graduating with his Bachelor of Science degree in 1894. After graduation, he entered the office of D. H. Burnham & Co. in Chicago where he went on to become one of Burnham’s principal assistants. In 1898 he moved to New York where he joined his brother Theodore at the George A. Fuller Construction Company. In 1901, he, Theodore and their brothers Ralph and William A., formed the Thompson-Starrett Construction Company where he served as the architect on the Algonquin Hotel (1902, a designated New York City Landmark) and the Hahne Department Store in Newark, New Jersey. After several years he moved to Vermont where he joined the E. B. Ellis Granite Company which supplied stone for several major buildings, including the Woolworth Building (1910-13, a designated New York City Landmark) and Washington, D.C.’s Union Station. It was on his return to New York that he joined forces with Ernest Van Vleck. Originally called Goldwin Starrett & Van Vleck, the firm changed its name to Starrett & Van Vleck after adding two partners including William A. Starrett and continued under that name with Mr. Van Vleck as principal after the death of Goldwin Starrett in 1918 at the age of 44. The Lord & Taylor Department Store was the firm’s first major department store, which led to other significant commissions such as the former Abercrombie & Fitch Building (1917, exterior demolished), the La Salle & Koch Department Store (1918, Toledo, Ohio), Saks Fifth Avenue (1922-24, a designated New York City Landmark), and the expansion of Bloomingdale’s Department Store and the Abraham & Strauss (now Macy’s) store in Brooklyn (both 1930) as well as the Lord & Taylor suburban stores in Manhasset (1941) and Westchester County (1948) in partnership with the designer Raymond Loewy. Other commissions included the Everett Building (1908, a designated New York City Landmark), The Equitable Life Assurance Society Building at 393 Seventh Avenue, the façade of the Curb (now American Stock) Exchange Building (1930), and the Downtown Athletic Club (1929-30, a designated New York City Landmark). In their early work, as exemplified by their two Fifth Avenue department stores and the Equitable Building, Starrett & Van Vleck employed the conservative Italian Renaissance Revival style. Later designs would reflect modernist influences like Art Deco and the International Style. Later History Soon after the company opened its new building, the managers of Lord & Taylor were faced with the realization that not only had the expense of building and equipping the new store exceeded the estimate but that the finances of United Dry Goods Company of which the company had been part since 1910 were impaired. In 1915 a re-organization took place and United Dry Goods Company was merged with Associated Merchants Company, forming the Associated Dry Goods Company, and Lord & Taylor withdrew from the wholesale business. The next year Samuel Reyburn, who had been serving as Treasurer, was elected President of the store. It was during his tenure that the annual Christmas window display was inaugurated, a legacy enjoyed for more than eighty years by New Yorkers and visitors alike. In the years that followed, Lord & Taylor flourished particularly as a result of the work of Dorothy Shaver. Miss Shaver, a native of Arkansas, was the first woman to serve as the president of a major retail store when she was elected to that position in 1945 and her legacy lives on in the store’s distinctive hand written logo and American Beauty Rose emblem. First associated with the store in 1921 when she promoted the “Five Little Shavers,” her sister Elsie’s line of rag dolls, Miss Shaver joined Lord & Taylor full-time in 1924 as head of the Comparative Shopping Bureau. She changed the department’s focus to customer service and developed the Red Rose Personal Shopping Service. This and other innovations led to increased sales and in 1927 she joined the Board of Directors one of the first women to be so honored in the retail field. Within the next decade she became an officer of Lord & Taylor becoming Vice President in charge of style publicity and advertising in 1931 and First Vice President in 1937. During her long tenure with the company, Miss Shaver contributed much to the development of the modern department store. Significantly, she promoted new trends in home décor in the Exposition of Modern French Decorative Art with interiors designed by Ely Jacques Kahn, and fostered American fashion designers like Bonnie Cashin, Claire McCardell and Vera Maxwell at a time when they and other American designers were being overlooked by other stores. Lord & Taylor became the first store to feature departments with clothing especially designed for juniors, misses and petites, as well as specialty departments such as bridal, maternity and budget. Miss Shaver sought to update the selling floors and in 1938 Raymond Loewy redesigned both the third and fourth floors. It was also under her leadership that Lord & Taylor began its expansion into the suburbs with six branches, including the stores in Manhasset (1941) and Westchester County (1948) (both by Starrett & Van Vleck, architects, in partnership with Raymond Loewy, designer), followed by Millburn, New Jersey (1949), and the first of the stores outside the metropolitan area in West Hartford, Connecticut (1953) and Philadelphia, Pennsylvania (1955). A seventh store in Washington, D.C. opened in 1959 after her death. At the time of her death in 1959 she was both president of Lord & Taylor and a vice president and member of the board of directors of Associated Dry Goods. In addition to her work at Lord & Taylor, Miss Shaver was active at other venues including the Metropolitan Museum of Art where she not only served on the Board of Trustees but helped establish the Costume Institute and The Girls Clubs of America where she served as Chairman of the Board in 1957. During the Second World War she served as general merchandising consultant to the Office of the Quartermaster General. Among her many awards were an award from the American Woman’s Association for “eminent achievement,” the Cross of Chevalier in the French Legion of Honor and the Star of Solidarity from the Italian government. The store continued to expand, building new branches and updating the selling floors of the Fifth Avenue flagship store. One of the largest changes to the Fifth Avenue building was the complete remodeling of its main floor and four of the upper floors under the aegis of Chairman and Chief Executive Officer Joseph E. Brooks in 1976. The designs by R. J. Pavlik, of Fort Lauderdale, Florida, did not affect the basic architecture of the main selling floor but covered the columns and walls with mirrored glass and replaced the wooden sales counters with travertine. The work of removing the exterior third-floor balustrade appears to have taken place around 1967. In 1986, Associated Dry Goods Company, Lord & Taylor’s parent firm, signed a lease for the use of the entire building on the corner of West 39th Street known for many years as the Dreicer Building and soon expanded the store into the space. In an upgrade of the building in 2003, the new multi-light windows were installed over the existing sashes. As a result of further retail consolidations in the late twentieth century, Lord & Taylor and Associated Dry Goods were purchased by the May Department Stores Company in 1986. In 2005 May was itself purchased by Federated Department Stores, owner of both Bloomingdale’s and Macy’s, and within a year the Lord & Taylor stores, including the Fifth Avenue flag-ship store, were spun off and sold to the private equity firm NRDC Equity Partners. Description Lord & Taylor is a ten-story plus penthouse building, with its main façade on Fifth Avenue and two developed facades fronting on West 38th and West 39th Streets. The three facades are faced in gray brick with terra-cotta details above a two-story base of granite and limestone. When viewed from the southeast, its distinctive chamfered corner creates an imposing, architectural expression by linking the Fifth Avenue and West 38th Street facades with their Corinthian colonnades across the ninth and tenth floors, deep, uninterrupted, copper cornice and balconies. At West 39th Street, however, it wraps around a smaller builder. Fifth Avenue Façade: The first and second floors are buff painted limestone above a narrow base of pinkish Stoney Creek granite. Display windows flank the two-story high, slightly recessed, arched central entrance. The arch, which springs from smooth pilasters with simple impost blocks, is topped by a scrolled, scaled keystone with sphinx-head. Its paneled soffit has a rosette at the apex. Over the vestibule is a coffered vault decorated with rosettes and a classically-inspired metal grille. Leading into the vestibule are three pairs of glass and metal doors with corresponding transoms set into an elaborately figured metal enframement with an earlier metal lintel topped by delicate cresting and dentils. A repeated motif in the cresting is a heraldic shield with the monogram “L & T” bracketed by foliated scrolls. On either side of the archway at the second story level are low relief cartouches of large shields with entwined “L & T” over crossed scepter and mace, with a drapery surmounted by a crown. The store’s distinctive logo of a handwritten signature created by Dorothy Shaver appears on either side of the archway and at the ends of the facade. The third through eighth floors are brick set in stretcher bond with header courses at a ratio of 5:1 or 7:1. Soldier courses of brick run above the windows on the fourth through seventh floors. Terra-cotta spandrel panels are located between the fourth and fifth floors. The sixth floor balcony remains, although stripped of its balustrade and decorative brackets. The third floor rests on the vestige of the original balustrade, which now resembles a cornice with a soffit of alternating coffers and blocks above a molded architrave with guttae. Above the third floor windows is a molded, terra-cotta stringcourse which blends into the eared terra-cotta architraves of the windows. Gracing the piers between the windows are alternating decorative brick panels (a raised panel of three columns of headers with a narrow terra-cotta border) and flat terra-cotta panels, each framed by a surround of brick stretchers with corner blocks formed by four square headers. The eighth floor has a limestone sill course. Separating it from the ninth floor is a cornice, supported on a row of tightly spaced brackets above a frieze of alternating small and large diamond-shaped lozenges also executed in terra cotta. The window surrounds of the eighth floor are raised brick with corner blocks of terra cotta. Recessed brick panels (columns of headers with surrounds of stretchers and corner blocks of four headers) decorate the piers between the windows. The single line of windows on the north side of the façade and the turn of the chamfered corner are flush with the building line and meet the base of the pilasters at the ninth floor. A unique design element is the use of slender, engaged columns of molded brick with simple terra-cotta capitals that define the northern edge of the Fifth Avenue façade and the chamfered corner at West 38th Street. At the eighth floor they become squatter and wider. The ninth and tenth floors are faced with terra cotta. A two-story colonnade of engaged, Corinthian columns supporting a limestone and terra-cotta entablature terminates both at the northern end and the West 38th Street corner in a surround of closely spaced pilasters and columns with stylized Corinthian capitals. The terra-cotta capitals atop the limestone columns combine distinctly American symbolism with the elements of the Corinthian order. In lieu of the traditional acanthus leaves, there are elongated leaves or feathers. Between the volutes on the three exposed sides are bald eagles standing on classical urns. Above the tenth floor windows are terra-cotta spandrel panels with roundels. The store’s name is spelled out in large metal letters on the pilasters of the chamfered corner. Above the entablature a series of modillions support the deep, bracketed copper cornice with antefixes that begins with a return at the northern corner and runs continuously across the entire Fifth Avenue and West 38th Street facades. On the West 39th Street façade, the cornice begins at the eastern edge of the building and continues westward to the building line. The north wall of the store above the neighboring building at 436-438 Fifth Avenue continues the delineation of the façade in light colored brick. A large version of the store’s signature logo is attached to the wall directly under the cornice return. There are noticeable patches on the third floor at the corner and northern end of the façade where the brick has either been cleaned or replaced with a different color brick. Fifth Avenue windows: First and second floor: On either side of the entrance are smaller display windows. Each has a metal surround, with paneled architrave, banded frieze, and denticulated cornice topped by cresting identical to that over the door with a single central shield with monogram. The displays in the two windows next to the main entrance are recessed behind two curved panes that are joined in the middle by a metal muntin. The sides of the recess are mirrored. In the vestibule plate glass windows with metal surrounds provide additional vantage points. A variant of this style is repeated at the northern end of the façade. Above the windows are brown painted lights with the same pattern as the classically-inspired grille in the arch. To the sides of this central massing are two pairs of double-tiered display windows set in recessed surrounds. A wide spandrel with narrow band at the top, featuring a repetitive floral motif, separates the lower and upper tiers. The upper tier windows have been covered with solid panels painted to match the façade, except that at the northern end. The main display windows on the lower tier have the same classically-inspired metal grille found over the entrance, set 2/2 with classically inspired decoration between each set of four, above a metal surround that has a denticulated molding on the lintel. Each window has a small light affixed to the center of the lintel. Taking advantage of the chamfered corner at West 38th Street, the lower window is a three-sided bay on a granite base, its metal surround topped by a cresting (here missing the central shield device). Above the bay is a recessed panel with a swag over which is a single plate-glass window. Third through eighth floor: Windows are double hung sash with multiple lights. The paired windows are 8/12 on the third through sixth floors and 8/8 on the seventh and eighth. The single windows of the corner and northern end as well as those in the center section are 6/9 and 6/6. At the balcony ledge the windows are taller (8/16 and 6/12). Windows on the fourth through seventh floor have simple sills. Ninth and tenth floor: The tenth floor windows have wrought iron grillwork with a central ovoid motif. The windows corresponding to the ninth floor are multi-light with an exterior single plate of glass (except for the northern most which is 1/1) those on the tenth are 8/8 multi-light. West 38th and 39th Street Façades: The cornices, string courses and brick work described for the Fifth Avenue façade continue around the corner and run the full length of the West 38th Street façade and are replicated on the West 39th Street façade (excluding the walls above the neighboring building’s roof line). Each façade also has a center balcony ledge at the sixth floor. The windows on the third through eighth floor of both facades, unlike on Fifth Avenue, are uniformly paired. The openings of the first and second floor are not uniform. West 38th Street Windows/Entrances: The first floor display window in the bay nearest the corner is identical to those on Fifth Avenue. The second bay has the same grille work above the lintel but houses three pairs of metal doors with opaque transoms in lieu of a window. The third through seventh bays have a smaller first floor display window which has been partially or entirely blocked; only the metal surround with cornice is exposed. At the mezzanine level is a row of ten small paired windows; the interior three pairs are blind, part of the reconfiguration of the original carriage entrance that was removed prior to 1924. The next bay is the West 38th Street entrance with full width segmental, fabric marquee that extends to the curb, triple metal and glass paired entry doors with six light transom above and signature logo on each side. Above the metal lintel is the same grille work. The next two bays have partially enclosed display windows with grilles above the metal lintels, followed by a large entrance with metal lintel and grille over the windows, the enclosure includes a large louvered section over three solid metal doors on the left and a solid panel above a raised dock with two multi-paneled doors, its actual use is unclear. The final two bays are a small door beneath a spandrel panel with roundel, followed on the western end by a large service entrance with roll-down security gate; both have a single small mezzanine window above with simple sill. A series of seven lights like those on Fifth Avenue are spaced down the block at mezzanine level. The second floor windows of the two eastern bays are three vertical sections of glass with corresponding transoms. The second floor windows for the rest of the block include eighteen paired windows and two single windows, 1/1 sash except for the tenth one from the east which has a louvered panel over a solid one. The paired windows have shared sills; the single ones have simple sills. On the third through eighth floors the sashes of eighteen windows have been replaced with panels that are louvered or half-louvered/half-solid. Five of the tenth floor windows have been replaced with one or the other type of panel. West 39th Street Windows/Entrances: The entrance in the easternmost bay on West 39th Street has a cantilevered awning over a three panel glass and metal door. The window at the mezzanine has a single pane. The second through seventh bays are identical in size and shape to the display windows on the Fifth Avenue façade with paneled lintels. The second and third bays have blocked display windows, and the grille work has been removed and replaced with glass. The fourth bay is the West 39th Street entrance with full width segmental, fabric marquee that extends to the curb, triple metal and glass paired entry doors with six-light transom above and signature logo on each side. The grille has been replaced with two louvered panels and one glass. The fifth and sixth bays have partially blocked display windows with two square openings in each. The grilles have been replaced with glass. The seventh bay has an assortment of doors, louvers and solid panels. Again the grilles have been replaced with glass. The western bays are identical to the corresponding ones on West 38th Street, an entrance with three-panel metal door and glass transom above which is a spandrel panel with roundel and a truck entrance with roll down gate. The voussoirs of the truck entrance are still visible under the paint. The mezzanine windows which are larger than those on West 38th Street are glazed with single panes of glass. The second floor windows have single windows at the eastern and western ends with twelve paired windows in the center identical to those on West 38th Street and glazed with 1/1 sash except one which has a louvered panel. On the third through the eighth floor the multi-light sashes of twelve windows have been replaced with panels that are louvered or 2:1 solid to louver. Three of the tenth floor windows have been replaced with one or the other type of panel. (All multi-light sashes of the side facades follow the pattern of those on Fifth Avenue. The ninth floor windows along the side streets are not clearly visible from the street and cannot be described.) It is unclear whether the panels enclosing the display windows on the first floor on West 38th and 39th Streets are temporary or whether the plate glass has been removed. Those covering the second floor windows on the Fifth Avenue façade protrude slightly and may be temporary.

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wireless baby camera 2011, Aug. 5 Killeen, Texas Exploring again, Rebecca discovered that Mommy left the toilet cover open. (Flash at 1/4 power, bounced off ceiling.)

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Widow, Clara Blackstone, is a faithful woman who has mourned her philandering husband for the last six months. Sheltered from pity and whispering tongues at a friend\'s country estate, Clara awaits the birth of her first child with mounting confusion. Despite the tiny life growing inside her, she dreams of passion in Reggie\'s arms. And the erotic fantasies grow more compelling every day.When Reginald Moore\'s wife died in the arms of her lover, Clara\'s husband, he whisked pregnant Clara away from false friends to his country estate to avoid the strain of the scandal. After six months of pretence, Reggie is done mourning his faithless wife and, despite his originally noble intentions, he longs to have Clara in his bed - unborn child and all. But are his skills of persuasion enough to convince Clara to set aside her grief for a faithless man and choose a new life with the one who stood by her, no matter the obstacle?Author\'s note: this story contains a red hot romance between two wicked mourners around one rather large baby bump.A regency short romp.Widow, Clara Blackstone, is a faithful woman who has mourned her philandering husband for the last six months. Sheltered from pity and whispering tongues at a friend\'s country estate, Clara awaits the birth of her first child with mounting confusion. Despite the tiny life growing inside her, she dreams of passion in Reggie\'s arms. And the erotic fantasies grow more compelling every day.When Reginald Moore\'s wife died in the arms of her lover, Clara\'s husband, he whisked pregnant Clara away from false friends to his country estate to avoid the strain of the scandal. After six months of pretence, Reggie is done mourning his faithless wife and, despite his originally noble intentions, he longs to have Clara in his bed - unborn child and all. But are his skills of persuasion enough to convince Clara to set aside her grief for a faithless man and choose a new life with the one who stood by her, no matter the obstacle?Author\'s note: this story contains a red hot romance between two wicked mourners around one rather large baby bump.A regency short romp.

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. fastskin swimsuit Fun in water micro bikini swimsuit

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. formal maternity Mel_3 buy bikinis

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Bringing white clothes back to life. For 100% Pure white clothes use MYBRITE Features and Benefit: Mybrite is a wonderful and powerful fabric whitener. Mybrite fabric whitener brightens the white clothes by removing its yellowish and make clothes immolate like moon. Regular use prevent your white clothes from yellowing. Fabric whitener of our company is the formula to bring back the dazzling shininess of the white. Mybrite eliminates the hassle of getting your clothes back to their original vibrant shade of white. New easy to use mybrite Usage instructions. 1. Mix 1 spoon of mybrite in 1/2 bucket of water. 2. Soak washed clothes for only 5 minutes. 3. Squeeze washed clothes. 4. Dry and iron the clothes. .mybrite.in\" .mybrite.in

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sports bras Seamless Power Bra - BEBE SPORT - CRIMSON RED (M/L)


Keep cool in this seamless bebe sports bra. Features triangle mesh on the front and circle cutout on the racer-style back.

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swimsuites Set of 10 Body Form/Forms, Ladies Torso/Store Display Plastic Hangers/Clear Color

swimsuites Set of 10 Body Form/Forms, Ladies Torso/Store Display Plastic Hangers/Clear Color


Our Body Forms create instant display so put on your newest lingerie, swimwear, panties, bras or t-shirts... For a minimal investment you can add a great display for your products or a great upgrade to any store hanging system. Available is sets of 10/set in clear color at wholesale prices. (See our other listings for NEW BLACK COLOR NOW AVAILABLE) Product is pictured in black and white since clear looks great in reality but does not photograph well. Exceptional quality at an exceptional price.

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clothes maternity Belly Bands Combo - The Ultimate Maternity Wear Solution

clothes maternity Belly Bands Combo - The Ultimate Maternity Wear Solution


Turn your own clothes into maternity wear! Buy in conjunction with any of our Belly Band products and you will have a complete maternity solution Each kit contains two different size button up belts, two different size slide belts and three fabric panels (white, denim, black) that cover the gap. It\'s truly the maternity wear solution!

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Hot Celebrity Adriana Lima Cuff Bracelet

Lima slithers in her sexy snake bracelet. Snake jewelry has been hot in Hollywood recently, and the trend shows no sign of slowing down.

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Celebrity Nickelodeons 24th Annual Kids Choice Awards - Show Pictures Miley Cyrus Photostream

Nickelodeons 24th Annual Kids Choice Awards - Show Pictures Miley Cyrus Photostream
Nickelodeons 24th Annual Kids Choice Awards - Show In This Photo: Miley Cyrus Actress/singer/musician Miley Cyrus reacts onstage during Nickelodeons 24th Annual Kids Choice Awards at Galen Center on April 2, 2011 in Los Angeles, California.

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