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Friday Night Fever Gilded Age New York

What’s behind the Bronze Door? Gambling in the Gilded Age

A tantalizing stretch of New York nightlife history lies in the shadows, illegally operated, often fueled by police bribes — the opium dens of Chinatown and the speakeasies of the Village and midtown.

There were also hundreds of illicit gambling rackets, called ‘poolrooms’, throughout the city in the late 19th century, usually alongside the seediest of taverns, brothels and poolrooms.

Naturally, the pastime was not looked upon lightly by proper society. “The poolroom keeper, like the proverbial worm,” remarked one New York Times article from 1900.

But New York’s wealthy elite liked to gamble as well, and there was no need for them to step into such filthy, disreputable places. The rich had their own houses of vice.

And one, the House with the Bronze Door, which opened in 1891, would have rivaled the great casinos of the day in terms of its lush presentation.

House of Cards

The fine townhouse at 33 West Thirty-third Street sat right around the corner from the Waldorf-Astoria, so close to respectable Fifth Avenue that people certainly strolled by it with no clue of the entertainments within.

Its glorious, defining feature — and where it gets its name — was a $20,000 Italianate Renaissance, 15th century bronze door which gave the building the feel of a classic structure, or perhaps a bank vault.

Luxury greeted those who were fortunate to peer behind that door, imported old school finery, from vases to oil paintings on rich wallpapered walls, along hallways in red velvet carpeting, leading to game rooms with European oak tables hosting games of roulette, poker and baccarat.

In a place where wealth exchanged hands nightly, it was reflected in the imported banisters and marble bathrooms.

High Stakes

And it wasn’t just how it looked, but who designed it to look that way — none other than Stanford White of the city’s most prestigious design firm McKim, Mead and White, a gambling man himself who hired a team of Venician craftsman to give the gambling house its distinctive glamour.

The building next door also belonged to the casino, but was less impressively designed; its sole purpose was as an exit in case of police raids.

The owner Frank Farrell* was New York’s gambling kingpin, using profits from the Bronze Door to fund over 200 illegal gambling houses throughout the city and grease the palms of police officers to ensure they all stayed open.

If that name sounds familiar to sports fans, it’s because of a riskier gamble Farrell made in 1903 with his business partner William Stephen Devery. (Yes, the former police chief. See how it used to work back then?)

The two purchased the Baltimore Orioles, moved them to New York, lost a lot of money, renamed the team as the New York Yankees and promptly sold them to beer mogul Jacob Ruppert.

Below: Farrell with a Yankees team member in 1912. He would sell off the losing team a few years later. Courtesy Library of Congress

A Night at the Tables

The only people taking risks at the Bronze Door, however, were the rich and well connected clientele. On any given evening you could find the head honchos of Tammany Hall smoking cigars in the corner, or ‘Diamond’ Jim Brady and his entourage at the upstairs roulette wheel.

According to Lloyd Morris: “The casino was conducted with the quiet decorum of a gentleman’s club.” These men expected the royal treatment, and they got it. A midnight buffet of lobsters and steaks, open bar of the best liqueurs, fine cigars for a $1 apiece. More importantly, Farrell strictly applied a philosophy of ‘the customer is always right’. Unlike many of Farrell’s downtown dive, where the house often rigged games and marked cards, the gambling den behind the Bronze Door was straight.

There was little nickel and diming here. It’s purported that fifty thousand dollars would hit the tables each night.

Gamblers would win, and then lose, vast fortunes each night. As Luc Sante so elegantly states: “… the stories of rich men dropping enormous sums in a single evening kept topping each other, so that the phenomenon almost comes to seem like a version of potlatch, in which wealth is proven by the ability to shed it.”

Depiction of a 19th century casino. At the House of the Bronze Door, it was unlikely that women were allowed however.

Luck Runs Out

The casino stood in defiance of the law for almost a dozen years thanks to Farrell’s connections and the reputation of its clientele. However, given the New York’s waxing and waning reform movements, its time would eventually come, and it did so at the hands of one William Travers Jerome, New York’s district attorney with a particular bent for reform.

Jerome shut down casinos and poolrooms throughout the city and didn’t discriminate, successfully breaching that imposing door and raiding the club in 1908.

Although the games were gone, the place remained open for many years afterwards, as a restaurant owned by the Waldorfs according to official sources. What its true nature was in these later years is unknown.

The building is completely gone today, replaced with a condo and the shadow of the Empire State Building.

Below: District Attorney Jerome, 1915

*Farrell had other partners in the casino, including racetrack owner Gottfried Walbaum and Billy Burbridge, who later became a hotelier in Havana, Cuba.

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Jimian? The strange affair of Lillian and Diamond Jim


Had there been a paparazzi in the 1880s, the woman they would have hounded the most would be New York stage singer and actress Lillian Russell. Like a Scarlett, she was always hanging on the arm of a famous, powerful man. Like an Angelina, she did dramatic things in her personal life that often upstaged her work. And like a Britney, she was occasionally caught doing things most unbecoming for a lady.

Celebrity fame in those days derived primary from legend and word of mouth; most of the people who idolized Russell had never seen her, in anything. As P.T. Barnum aptly demonstrated with Jenny Lind in the early 1850s, nobody actually needed to hear you sing to become a famous singer; you just had to be desired as one.

Russell (as Helen Louise Leonard) came to New York from Iowa in 1878 to become a opera star, managing to train under no less than Leopold Damrosch, whose son Walter was intimately involved in the creation of Carnegie Hall. The next year, she changed her name to Lillian Russell.

She made her name thanks to Tony Pastor, a vaudeville showman who presented a wide range of acts at his Union Square music hall. Her sweet singing voice and good looks made her perfect for the comic opera circuit, and she quickly became the toast of New York theatre. She eventually toured Europe, hopped from opera company to opera company, and became the first voice in travel over long-distance phone wire in 1890, thanks to admirer Alexander Graham Bell. (She sang the ‘Sabre Song’ to listeners on the other line in Boston and in D.C.)

But it was her penchant for glitz, and roster of suitors that made her a legend among celebrity seekers. She would breeze through four different tempestuous marriages with an actor, a politician, a composer and a newspapermen, but she would be most famous for the one man she didn’t marry — ‘Diamond’ Jim Brady.

Brady was a legend of the Gilded Age, a wealthy businessman who embodied indulgence. Enamored of wearing jewels (thus the nickname), Brady painted the town with his money, a frequent and well-known guest at all the hottest restaurants in town, especially Delmonico’s and later Luchow’s.

He was known for his sizable appetite, a usual evening meal at Charles Rector’s restaurant involving “two whole ducks, six or seven lobsters, a sirloin steak, two servings of terrapin and a variety of vegetables.” And, in the process, growing terribly, unbelievably fat.

He began a public flirtation with Russell that lasted throughout the 1880s and 1890s(throughout her various marriages!) by wooing her with jewels and fancy meals. They made quite a pair. Two celebrities in their thirties, their rubies and diamonds twinkling under gas light in the most exclusive dining room in the world. Oscar Tschirky, later to become the leading chef at the Waldorf-Astoria, got a job at Delmonico’s in his early years just to get a closer glimpse of Russell.

He would see quite a lot of Russell’s eating habits, keeping up with Brady as the pair shucked down oysters and drank champagne, her gluttonous abandon leaving little of her glamorous image intact. Like any actress today, her weight was closely observed, as during her years with her extravagant paramour, she blossomed to 160 pounds.

It seems clear that Brady was in love with Russell, and that Russell was in love with Brady’s attentions. Their public affair crept into the new century as Russell became the defining voice of American operetta. She went on to marry newspaper publisher and later U.S. ambassador Alexander Pollock Moore, and even toured Europe in her later years on behalf of president Warren G Harding. She died in 1922.

Diamond Jim (below) had died five years previous, having never married, with Russell still presumably in his heart, and god knows how many pounds of oysters in his gut.