Surveying the World: Keuffel & Esser + Hoboken, 1875–1968

January - December 2010.

Hoboken’s Keuffel & Esser Made Instruments that Drove an Age of Progress

K&E, the initials carved into the roofline of the building at the corner of Third & Adams, are the only visible trace of a company that played a significant role in America’s phenomenal age of discovery and growth. Keuffel & Esser, a precision engineering instrument manufacturer that was based in Hoboken from 1875 to 1968, provided the tools that explorers and builders relied on for expeditions to the North Pole and across the American continents and for such engineering marvels as the Brooklyn Bridge and Panama Canal. It also created jobs for thousands of Hoboken residents, including many of the German immigrants who shared the heritage of the company’s founders, William J.D. Keuffel and Hermann Esser.

And anyone who remembers using a slide rule for complex calculations can thank K&E for popularizing the tool, its best-selling item among the thousands in its catalog. In over 90 years of operations in Hoboken, K&E’s rapid growth matched the expansion of the nation’s industrial base. It became the leading purveyor of tools and instruments used by engineers, surveyors, and the military, selling more than 10,000 items from nearly 300,000 square feet of office and factory space in Hoboken. Examples of many of these instruments will be on display in the Museum’s Main Gallery starting Sunday, Jan. 31 for Surveying the World: Keuffel & Esser + Hoboken, 1875 – 1968.

Visitors will be able to interact with some of the items on display, including slide rules, surveying instruments, lettering systems, and drafting tools. Descriptive plaques will describe how these tools were used in building railroads, farming, and exploration. One of the displays will explain a fascinating aspect of K&E’s Hoboken operations: A spider ranch! Read about how spider web filaments were used as crosshairs for telescopic sights, and the “Spider Lady,” Mary Pfeiffer, who ran K&E’s spider ranch from 1889 to World War II. The exhibit is made possible in part through a Special Project grant from the New Jersey Historical Commission, and the generosity of corporate sponsors: The Applied Companies, John Wiley & Sons, and Bijou Properties.

Keuffel and Esser opened their first office at 96 Nassau Street in New York City in 1867 to sell drawing materials and drafting tools, mostly imported from Europe. The company grew quickly and moved to larger quarters in Manhattan before leasing a small loft building at the southwest corner of Third and Adams in Hoboken in 1875. As their business expanded, they built a large, three-story structure at the northeast corner of Third and Adams in 1880, which was soon replaced with a massive building, covering most of Third St. between Grand and Adams Streets, in 1887.

By 1889, the partnership evolved into the Keuffel & Esser Company, which was privately held. After a fire in 1905 destroyed part of the Hoboken factory, the company constructed a fireproof concrete building on the west side of Adams, covering the full length of Third St. to Jefferson St. Opened in 1907, this nearly half-block-long building became the main offices for the company, until it closed in 1968 and moved to Morristown, N.J.

In 1975-76, the concrete “West” building became one of the first examples of adaptive re-use of an industrial building, known as The Clock Tower Apartments for its iconic four-sided clock, and joined the National Register of Historic Places in 1985. The “East” building was converted in 1984 to residential use.

Up and Down the River: A History of the Hudson, 1609–2009

March – December 2009.

A hundred years ago, New York City threw a two-weeklong public celebration of a double anniversary: the tricentennial of Henry Hudson’s voyage up the river and the centennial (plus two) of Robert Fulton’s first successful steamboat crossing in 1807. One of the largest public anniversaries in the country’s history, offices and factories closed and the number of commuter trains doubled to handle the crowds for the banquets, parades, historical floats, theatrical performances, lectures, fireworks and an airplane flight by Wilbur Wright around the Statue of Liberty. Authentic recreations of Hudson’s ship the Half Moon and Fulton’s steamboat the Clermont participated in a U.S. Naval parade up the Hudson.

Up and Down the River: A History of the Hudson 1609 – 2009 joins many celebrations along both sides of the river during this historic quadricentennial year. The Museum’s exhibit, made possible through a special project grant from the New Jersey Historical Commission, extends through the end of the year to accommodate a full agenda of talks, events, educational programs and art celebrating our city’s relationship with the river that shaped its fortunes.

The exhibition and lecture series will trace the important roles the river has played in the life of the Mile Square City: Providing food and commerce to the area’s first inhabitants, the Lenape Indians; Connecting 19th century New Yorkers and sailing enthusiasts to the Hoboken shoreline during its incarnation as a resort called “Elysian Fields” and home of the cup-winning yacht America; bringing to its piers the grand passenger ships from Europe and later a bustling cargo trade, as depicted in the film On the Waterfront; inspiring generations of students and professors at the Stevens Institute of Technology to contribute to the legacy of groundbreaking maritime research; and providing recreational activities along miles of New Jersey waterfront walkway, thanks to the advocacy of citizen activists.

Though Robert Fulton gets credit for inventing the first steam-driven ferry, Hoboken founder Colonel John Stevens and his son Robert, both prolific inventors, were tinkering at the same time with a steam engine and a screw propeller on a ferryboat. In 1811 Stevens launched the first steam-powered commercial ferry service to cross the Hudson. Fulton’s designs and a biography of the inventor and others who were instrumental in helping him develop and refine his steam engine will covered.

For the exhibition, the Museum commissioned an original mural of the outline of Hoboken’s waterfront along the entire length of the main wall, painted by local artist Ray Guzman. Scale models of vessels from the Hudson River are on display, including New York Central Tug #18 by John Marinovich, and excerpts from Hudson’s first mate’s journal describe the first encounters between the Europeans and native inhabitants. A portion of the exhibit features memorabilia from the 1909 Hudson-Fulton celebration. Items on display come from the Museum’s own collections, as well as from the private collections of a Hudson County-based model shipmaker, the South Street Seaport Museum, Stevens Institute of Technology and the Bayonne Historical Society.

Heaven, Hell or Hoboken: A City Transformed by World War I

September 2008 – January 2009.

The designation as a port of embarkation meant national fame for Hoboken – General John J. Pershing’s promise to the troops that they’d be in “Heaven, Hell or Hoboken” by Christmas of 1917 became a national rallying cry for a swift end to the war, which actually dragged on for another year. But it also meant economic hardship for the small city after the federal government seized Hoboken’s piers and the German shipping lines that were major employers, closed most of its bars and beer gardens, and displaced or interned hundreds of German nationals who were not yet naturalized U.S. citizens as “enemy aliens.”

Between June 1917 and November 1918, some 1.5 – 2 million soldiers passed through Hoboken, but most were fed and housed by the U.S. military, while local businesses saw the local population decline and the city saw its revenues drop sharply. At the time, German citizens and Americans of German descent made up about 25 percent of Hoboken’s population, far outnumbering the next largest immigrant groups, Irish and Italians.

The exhibit tells the story through research and talks by Christina Ziegler-McPherson and other historians, as well as through personal letters and artifacts of soldiers and residents of Hoboken. Director Bob Foster and collections manager David Webster assembled displays from the Museum’s collections and other sources, comprising uniforms, helmets, gas masks, rifles and other gear, as well as letters and photographs from Hoboken’s soldiers, 70 of whom lost their lives on the European battlefields. The exhibition includes Hoboken’s draft registration book, on loan from the City Clerk’s office. Also on view – government-sponsored posters and advertisements by prominent artists and illustrators exhorting Americans to contribute to the war effort, through volunteering, war bonds, and general morale-boosting.

Ziegler-McPherson explores the federal government’s struggle to build the infrastructure necessary to conduct the war, using a combination of persuasion, exhortation and coercion to drum up volunteers both to fight and to muster supplies and logistics for the effort. Most of the local draft boards, for example, were staffed by volunteers, as were the medical experts who examined the new recruits, she says. The government hired so-called dollar-a-year men, professionals who donated their time and expertise to the war effort. The Red Cross mobilized volunteers to help gather medical supplies. Sometimes, volunteerism went too far, however, according to Ziegler-McPherson, as large networks of self-appointed vigilantes developed, such as the “American Protective League,” which numbered some 10,000 members nationally, who opened mail and spied on neighbors in the name of helping the government identify possible German operatives.

Greetings from Hoboken: A Postcard History

January - August 2008.

Corresponding with the greatest growth spurt in Hoboken’s history, 1898 – 1930, a simple change in postage from 2 cents to 1 transformed the medium of souvenir postcards into a national craze. Known among collectors as the “Golden Age of Postcards,” the first half of that era, up to roughly the beginning of World War I, gave rise to a flourishing of creativity and communications in an age when mail was delivered twice a day in many urban areas. By 1913, according to Postal Service estimates, some 900 million postcards had been mailed.

Hoboken’s population grew by more than two-thirds over the same period, from 43,000 in 1890 to more than 70,000 by 1910, and many of the city’s public buildings – City Hall, schools, social clubs – and much of the housing stock dates to that era. Fortunately for history buffs, the mania for picture postcards and the spirit of boosterism that pervaded this boomtown resulted in a rich visual documentary record of pre-World War I Hoboken.

Much like today, however, social observers grew alarmed at the rapid rise in popularity of tersely worded correspondence via postcards, voicing concern that it would mean the demise of letter-writing and literacy. John Walker Harrington wrote an essay for the March 1906 edition of American Magazine entitled, “Postal Carditis and some Allied Manias,” in which he bemoaned the fact that the “pasteboard souvenir industry has fattened upon epistolary sloth and collecting manias.”

Hoboken’s history as an immigration gateway contributed to the detailed record we have of the period in the many picture postcards that newcomers would send to their families back home, or on to family and friends in their adopted land. Hoboken was a hub for the postcard trade, with German ships bringing the finest-quality postcards from German printers. One store, Brook’s, at 1118 Washington St., advertised itself as a “headquarters for souvenir postcards.”

Nearly 400 of these brightly colored images are on display in Greetings from Hoboken: A Postcard History, an exhibition of postcards from the Museum’s own collections that presents a lively portrait of a booming young city, proud of its fine homes, new businesses and thriving shipping industry. The Museum’s extensive collection derives primarily from donations and acquisitions from the collections of Director Robert Foster, Trustee Paul Neshamkin, and historian and Museum founder Jim Hans. Accompanying many of the displays are relevant artifacts from Hoboken businesses and landmarks.

The displays are divided into several themes, among them the use of postcards to share news events, with postcards of the famous 1900 pier fire and the engineering marvel of “the Tubes” when the Path system opened in 1908. Others include “view cards,” depicting the city’s amenities and new buildings, and there’s even a selection of homemade postcards used to announce family milestones. Nationwide, the start of WWI put a damper on the postcard craze and left the German printing industry in a shambles. However, as an embarkation point for U.S. troops, Hoboken’s postcard trade continued to flourish, with images of servicemen enjoying the “Hut” – a YMCA-sponsored hangout after federal law closed all taverns within a half-mile of the waterfront.

The exhibit was made possible through a special project grant from the New Jersey Historical Commission, a division of the Department of State, as well as the generous support of our corporate donors, including Applied Companies, John Wiley & Sons, Lobato Floors, Otis Elevator, QualityPro Painters, Union Stone Cleaning & Restoration and Hufnagel Landscaping & Design.

Hoboken Tunes: Our Musical Heritage

July - December 2007.

Frank Sinatra may have put Hoboken on the world map, but his is not the only musical career this town has fostered. Stephen Foster lived here when he wrote I Dream of Jeanie with the Light Brown Hair. A few years after Sinatra, and just a few doors down from his childhood home, another crooner, Jimmy Roselli rose to fame singing standards and traditional Neapolitan songs. The musical Hair was written here, and the number of bands who made the leap to national fame after playing at Maxwell’s in the 1980s and ’90s is too large to count.

From its founding in the mid-1800s through today, Hoboken has been a haven for musicians, and music has played an important role in the cultural life of the city, according to Joel Lewis, a music writer and historian who lives here and who researched and wrote the narrative for A Musical History of Hoboken. “Music is the most portable cultural artifact – unlike works of art and even literature, music is easily passed on from generation to generation, and it serves to bind people together in a community,” Lewis says. Lewis notes that it’s not surprising that Hoboken plays a larger role in the national music scene than others of its size. Hoboken’s advantages include its history as a seaport, its heritage as an immigration center, its proximity to New York City, last but not least, its affordability.

Hoboken has played host to many diverse musical communities in its 150-plus years, including German social clubs, Irish music bands, Italian vaudeville, salsa clubs and Club Zanzibar, which was a frequent after-hours stop for jazz and R&B performers after their gigs at the Apollo Theater in Harlem. Music thrived and evolved here among the many immigrant communities.

The exhibit traces the role of music in the cultural life of Hoboken, as well as the contributions Hoboken’s musicians have made to the national music scene. Naturally, center stage is given to favorite son Frank Sinatra, whose career might not have taken off as quickly if he hadn’t grown up so close to “New York, New York.” His big break was performing on Major Bowen’s Amateur Hour radio show in New York in 1935 with his fellow singers in the Hoboken Four.

But like many musicians and singers before and after him, Sinatra’s success was partly rooted in Hoboken’s proximity to New York City, where the popular music industry was centered before much of it shifted to Hollywood in the 1930s and ’40s. Before high-fidelity recording technology, most music played on radio or in theaters was performed live, Lewis says, and most popular music in the first half of this century was published, performed and broadcast from New York City.

Until very recently, Hoboken was an affordable place for struggling music-makers. In the 1960s, a pair of struggling actors, James Rado and Gerome Ragni, holed up in a Hoboken apartment to write the book and lyrics for the musical Hair, which revolutionized the Broadway musical with rock-and-roll spirit. Also in the ’60s, a band called the Insect Trust put out a record titled, Hoboken Saturday Night, and influenced the growing “underground” music scene.

In 1978, a popular restaurant for workers at the Maxwell House plant was transformed in the evenings into a neighborhood spot for bands to try out their new sounds in front of a hip, young audience. Hoboken’s infrastructure as a factory town also supported the musical industry. Guild guitars, cherished by top rock and folk guitarists, were made here in the 1950s. The International Music Corporation distributed hybrid instruments such as the ukelin (a cross between a ukulele and violin) in the 1920s and ’30s, from offices at 14th and Bloomfield St.

The exhibit offers listening stations for visitors to sample music of all kinds that have roots in Hoboken. Fans of Frank Sinatra a chance to see some rare memorabilia, including a microphone he once used, and fans of the 1980s music scene can relive the glory days of independent music through posters, album covers and a few reunion concerts. The exhibit pays homage to artists who have performed at the city’s Arts & Music Festivals over the years.

Lewis has written about music for The Wire, Time Out, The Forward and Moment and is currently a staff writer at NJPAC, interviewing musicians ranging from Ornette Coleman to Moondog. He says he’s “old enough to remember doo-wop quartets harmonizing under the awning of Seid’s Pharmacy in West New York.” A poet Lewis is widely published and anthologized, with a new book Learning From New Jersey, due out in the fall.

From Another Time: Hoboken in the 1970s

January – July 2007.

A Trip Back to the Seventies: Imagine a Hoboken before the high-rise residential towers and ubiquitous nail salons, cell phone stores, realtors and shoe boutiques. This exhibit celebrates the Museum’s latest book, From Another Time: Hoboken in the 1970s, where visitors will be transported back to Hoboken in the 1970s through a series of powerful black and white photographs taken by three highly regarded photographers. Bringing the exhibit to life will be a series of lectures by individuals who were instrumental in shaping Hoboken’s development during this pivotal decade.

The book and exhibit depict a Hoboken in limbo between its industrial heyday and its reemergence as a hotbed of residential development, documenting the people, street scenes, block parties, parades, and festivals that are an integral part of Hoboken’s essential character. Although many storefronts were vacant, many apartment buildings were dilapidated, and the padlocked waterfront was patrolled by packs of feral dogs, the people who lived here were determined to make a better life for themselves.

Before the urban-professional migration of the 1980s, Hoboken was populated by a colorful mix of born and raised Hobokenites, who proudly carried on centuries-old traditions such as saints’ festivals with feast bombs and long lines for fresh zeppole; more recent arrivals, including Puerto Ricans, who arrived just as factory jobs were leaving; and a new wave of bohemian “immigrants,” artists and musicians lured by affordable rents and spacious lofts in abandoned factories.

The book unites three distinct views of the city: Caroline Carlson’s photographs of the children of the city and their families; John Conn’s stark views of storefronts and buildings, some of which are long gone; and Benedict Fernandez’ street scenes and images of the working waterfront. The photos are accompanied by two poignant essays: one by a born-and-raised Hobokenite, Anthony DePalma, now a New York Times reporter, who witnessed the changes to his hometown, and the other by Sada Fretz, who moved her family here in the 1970s and saw the city with fresh eyes.

The 190-page book was designed by local artist and graphic designer McKevin Shaughnessy, and was partially funded by contributions from members and friends of the Museum. The exhibit, lecture series, and book were made possible through a special project grant from the New Jersey Historical Commission, a division of the Department of State.