520 Fifth Avenue

The Century Association is a private social, arts, and dining club in New York City, founded in 1847. Its clubhouse is located at 7 West 43rd Street near Fifth Avenue in Midtown Manhattan. It is primarily a club for men and women with distinction in literature or the arts. The Century Association was founded by members of New York's Sketch Club; preceding clubs also included the National Academy of Design, the Bread and Cheese Club, and the Column. Traditionally a men's club, women first became active in club life in the early 1900s; the organization began admitting women as members in 1988. Named after the first 100 people proposed as members, the first meeting on January 13, 1847, created the club known as the Century; it was incorporated in 1857. It was first housed at 495 Broadway in Lower Manhattan; the club gradually moved uptown, leading to the club's construction of its current location in 1899. During the Civil War, it became headquarters to the U.S. Sanitary Commission. 134 Centurions served in World War I; 110 served in World War II. The clubhouse, a five-story Palazzo style building, was designed by McKim, Mead & White and built from 1889 to 1891. It became a New York City Landmark in 1967 and was added to the National Register of Historic Places in 1982. It was extensively renovated in the early 1990s, with a fifth floor and terrace constructed in 2009. Members of the club have included artists and writers William Cullen Bryant, Frederic Church, Asher B. Durand, John La Farge, Winslow Homer, Paul Manship, Augustus Saint-Gaudens, Louis Comfort Tiffany, John Quincy Adams Ward, and J. Alden Weir. Architect members have included Calvert Vaux, Carrère and Hastings, Frederick Law Olmsted, James Renwick Jr., McKim, Mead & White, and York and Sawyer. Members are known for other endeavors, including eight Presidents of the United States, ten US Supreme Court justices, 43 Members of the Cabinet, 29 Nobel Prize laureates, members of the Rockefeller, Vanderbilt, Roosevelt, Jay, Schieffelin and Astor families, and noted individuals like Dan Beard, J. P. Morgan, Samuel Morse, and Anson Phelps Stokes.

510 Fifth Avenue, originally the Manufacturers Trust Company Building, is a commercial building at the southwest corner of West 43rd Street and Fifth Avenue in Midtown Manhattan, New York City. Opened in 1954, it is the first bank building in the United States to be built in the International Style. Charles Evans Hughes III and Gordon Bunshaft of Skidmore, Owings & Merrill (SOM) designed the building, along with Roy O. Allen and project manager Patricia W. Swan. The interior was designed by Eleanor H. Le Maire, while Harry Bertoia was hired as an artist for some of the building's artwork. 510 Fifth Avenue was built as a bank for the Manufacturers Trust Company, whose president Horace C. Flanigan wanted the design to be inviting to customers. 510 Fifth Avenue contains four full stories, a penthouse, and a basement. Its facade is made largely of glass walls between mullions made of aluminum. Inside is a circular stainless steel door protecting the original bank vault, which was designed by Henry Dreyfuss. The second story is recessed from the facade, and the floor slabs of the upper stories are carried on four columns, giving the impression that they are floating. The building's height and design was influenced by a lease restriction that prohibited the construction of a taller building on a portion of the site. A smaller penthouse rises above the fourth story. 510 Fifth Avenue was commissioned by Manufacturers Trust in 1944; the original plan was designed by Walker & Gillette and canceled in 1948. Walker & Poor was hired in 1950 to modify the original proposal but were replaced with consulting architect SOM after Bunshaft convinced bank executives that a complete redesign would be cheaper. The building was instantly popular upon its opening, becoming Manufacturers Trust's busiest branch and a tourist attraction in itself. Manufacturers Trust's successor, Chase Bank, sold the building to Tahl-Propp Equities in 2000, and it was purchased by Vornado Realty Trust in 2010. After the Chase branch closed in late 2010, SOM renovated 510 Fifth Avenue and converted it into a commercial structure in 2012. 510 Fifth Avenue's design received critical acclaim upon its completion. Praise was focused particularly on its lightweight facade, ceiling lighting, and visible vault. The design inspired that of other bank buildings erected in the 1950s and 1960s. The building's facade was designated as an official landmark by the New York City Landmarks Preservation Commission (LPC) in 1997, and its interior was similarly designated in 2011, following controversy over the removal of one of Bertoia's artworks.

The Economic Cycle Research Institute (ECRI) based in New York City, is an independent institute formed in 1996 by Geoffrey H. Moore, Anirvan Banerji, and Lakshman Achuthan. It provides economic modeling, financial databases, economic forecasting, and market cycles services to investment managers, business executives, and government policymakers.

Temple Emanu-El was a large synagogue on Fifth Avenue and 43rd Street in Midtown Manhattan, New York City. Built in 1868, it is now demolished.

Temple Emanu-El of New York is a synagogue in New York City, built for Congregation Emanu-El of New York in 1928–1930. It is one of the largest synagogues in the world.

Phoenix Art Institute, originally located at 350 Madison Avenue in New York, New York, was an educational institution co-founded in 1925 by Franklin Booth with Lauros M. Phoenix. In 1944, it merged with the New York School of Applied Design for Women, becoming the New York Phoenix School of Design. In 1974, the New York Phoenix School of Design merged with the Pratt Institute to form the Pratt-Phoenix School of Design

The Princeton Club of New York was a private club located in Midtown Manhattan, New York City, New York founded in 1866 as the Princeton Alumni Association of New York. It reorganized to its current namesake in 1886. Its membership is composed of alumni and faculty of Princeton University, as well as 15 other affiliated schools. In 2021, the club defaulted on its mortgage debt, and its clubhouse is in the process of being sold to the highest bidder.

The Mansfield Hotel is a residential hotel at 12 West 44th Street in the Midtown Manhattan neighborhood of New York City. Designed in the Beaux-Arts style by the architectural firm of Renwick, Aspinwall & Owen, the 12-story building was completed in 1902 as an apartment hotel. The Mansfield was developed by onetime Vermont governor John G. McCullough and lawyer Frederick B. Jennings. The building is a New York City designated landmark. The brick-and-stone facade is arranged in an "H" shape and is divided vertically into three bays. The first two stories of the Mansfield's facade are clad with rusticated limestone blocks, while the upper stories are clad with red brick; the top two floors are placed within a mansard roof. The hotel contains a large lobby with coffered ceiling, as well as a room with a skylight that formerly served as a library. The Mansfield contained 129 or 131 rooms on its upper stories by the late 1990s; these rooms were converted to co-living spaces in 2021. McCullough and Jennings filed plans with the New York City Department of Buildings in June 1901, and the hotel opened the next year; the men continued to own the hotel until 1940. The Mansfield became popular among theatrical and artistic personalities, as well as businesspeople, during the early 20th century. The hotel was renovated in 1935, when a nightclub was added next to the lobby, and again in the 1960s. Bernard Goldberg, who acquired the hotel in 1995, renovated it extensively. The Mansfield was then resold to Credit Suisse First Boston in 1998, then to Brad Reiss and John Yoon in 2004. Canadian firm Harrington Housing acquired the Mansfield Hotel in 2021 and renovated the rooms into co-living spaces.

Meinhard v. Salmon, 164 N.E. 545 (N.Y. 1928), is a widely cited case in which the New York Court of Appeals held that partners in a business owe fiduciary duties to one another where a business opportunity arises during the course of the partnership. The court holds that the fiduciary duty of communication was breached where a partner in a joint venture failed to inform his co-partner of a profitable opportunity that was offered by a third-party who was ignorant of the partnership. Furthermore, the duty of loyalty was breached where the partner appropriated to himself a benefit arising from his status as a partner without allowing his co-partner an opportunity to compete. This holding relates to the doctrine of corporate opportunity.

500 Fifth Avenue is a 60-story, 697-foot-tall (212 m) office building on the northwest corner of Fifth Avenue and 42nd Street in Midtown Manhattan, New York City. The building was designed by Shreve, Lamb & Harmon in the Art Deco style and constructed from 1929 to 1931. 500 Fifth Avenue was designed with a facade of bronze, limestone, and terracotta at the base; it is clad with of brick above the fourth floor. While the lowest four floors contain a decorative exterior, little ornamentation is used above the base. The primary entrance is on Fifth Avenue, and storefronts are located at ground level. Upon its opening, the building contained design features including fast elevators, well-lit office units, and a floor plan that maximized the well-lit office space. The 1916 Zoning Resolution resulted in a structure that incorporated setbacks, resulting in the lower floors being larger than the upper floors. 500 Fifth Avenue was built for businessman Walter J. Salmon Sr. In the 1920s, prior to the building's development, the underlying land had become extremely valuable. Similarly to the much larger Empire State Building nine blocks south, which was constructed simultaneously, 500 Fifth Avenue's construction was highly coordinated. 500 Fifth Avenue opened in March 1931, but the structure garnered relatively little attention after the Empire State Building opened shortly afterward. The building was designated an official city landmark by the New York City Landmarks Preservation Commission in 2010.

The General Society of Mechanics and Tradesmen of the City of New York, was founded on November 17, 1785, by 22 men who gathered in Walter Heyer's public-house at No. 75 King Street (now Pine Street), one block from Wall Street, in Lower Manhattan. The aims of the General Society were to provide cultural, educational and social services to families of skilled craftsmen. The General Society during this early period celebrated the mutuality and centrality of the craft community. Besides its charitable activities, the society played a prominent part in the festivities that marked patriotic holidays, carrying banners emblazoned with its slogan 'By hammer and hand all arts do stand', echoing the motto of the Worshipful Company of Blacksmiths. The city of New York and the Society both benefited from the decision to make New York the seat of the Federal Government. In 1789, legislators and their assistants and families began to pour into the city. Business prospects brightened considerably. In 1792, the Society attained a membership of 413, and received a charter of incorporation. Old documents reveal that the Society was quite active in the last years of the 18th century, corresponding with other business related associations, and petitioning the state legislature in the interests of industrial progress.

The John M. Mossman Lock Collection is housed at the General Society of Mechanics and Tradesmen of the City of New York building, located at 20 West 44th Street in midtown Manhattan, which is listed on the National Register of Historic Places. The museum houses one of the largest collections of bank and vault locks in the world, with more than 370 locks, keys and tools dating from 4000 BC to the modern 20th-century. Egyptian wooden-pin locks, Chinese padlocks, American time locks, etc., are all displayed in lighted glass cases on the second floor of the General Society. Alongside the cases are studded trunks, with cleverly concealed keyholes, once used by bankers. Many of the examples are unique, made-to-order locks that were not produced in commercial quantities and nearly every lock has protected millions in money and securities. To augment the lock collection. Mr. Mossman donated his notes and scrapbooks, known as the "Mossman Papers", which have proven to be a valuable resource for the study of locks. The Lure of the Lock was published in 1928 and describes each lock in the collection. This publication, as well as a photo CD of the collection, are available from the Society. Collections of various antebellum curios, rare books, prints, flags, clocks and medals have also been donated by friends and members. Admission is $10 for viewing this museum collection, which is open to the public.