Fall 2010 Issue of Report from Newport [PDF]
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Las Vegas Optic, 01-31-1914 the Optic Publishing Co
University of New Mexico UNM Digital Repository Las Vegas Daily Optic, 1896-1907 New Mexico Historical Newspapers 1-31-1914 Las Vegas Optic, 01-31-1914 The Optic Publishing Co. Follow this and additional works at: https://digitalrepository.unm.edu/lvdo_news Recommended Citation The Optic Publishing Co.. "Las Vegas Optic, 01-31-1914." (1914). https://digitalrepository.unm.edu/lvdo_news/2215 This Newspaper is brought to you for free and open access by the New Mexico Historical Newspapers at UNM Digital Repository. It has been accepted for inclusion in Las Vegas Daily Optic, 1896-1907 by an authorized administrator of UNM Digital Repository. For more information, please contact [email protected]. I 1 , i i I s V. IT'S getting to a L '1 i : toula'ht and Sun- y ! I It! player worts near-- day; pot. 11 in U chansie l! l 1. 3 ' all year. Spring tm.c in we. ... 1 temper! lug begins next snouCj. - 'It. -- EXCLUCIVtl Ai XOGIATCD PKV- "3 LEAGGD WIRE TELEGRAPH SERVICE V01,. XXXV. NO. 67. LAS VEGAS DAILY . 'TIC, SATURDAY, JANUARY 31, 1914. CITY EDITION. bench built- along the sides of the agent acting for the Victor American h cabin. I slid and scrambled alter her. WINTER HOC: ISLAND TO TRAIN FIRED 0 Fuel company, It is said. "TALE! STOPPED .When I took hold of her she scream- IfEMI El LINES" LIR ed and to her poor arm. Judge Advocate Argues pointed right It was broken and hanging limp. Trinidad, Colo., Jan. 31. The entire VHEH If'HEARD " 0 BY CROWD OF session in disttict court NECESSITY TO 'Don't touch me,' she sirea ned' IKES CUM Ill iiIZE morning today 'For God's sake let me die'.' was devoted to a detailed reply of "I told her she would have to come Major E. -
Husband Hunters.Indd
THE HUSBAND HUNTERS social climbing in london and new york Anne de Courcy HHusbandusband HHunters.inddunters.indd v 225/04/20175/04/2017 113:453:45 introduction• For me, one of Edith Wharton’s most intriguing novels is The Buccaneers – the story of four American girls, not in the ‘right set’ in New York, who come to England and marry into the peer- age. ‘The St George girls were beautiful, and their parents rich, yet fashionable New York had rejected them,’ says Wharton in her book. ‘It was bitter to be left out of all the most exclusive entertainments, to have not a single invitation to Newport, to be unbidden to the Opera on the fashionable nights,’ thought the elder girl, Virginia St George; and still more did this ostracism rankle with her mother, desperate to see her daughters make good matches. So when the suggestion was made of a London season, with the aid of one or two good contacts, it was eagerly taken up by Mrs St George. It was not long before her daughters’ looks, beautiful clothes, confi dent American naturalness and sense of fun had landed them their titled catches. Wharton, herself born into this ‘right set’, based her novels on what she saw around her, from personalities to places, from clothes to customs, so that they are virtually a biography of the times. In the period between 1870 and 1914 – Wharton was twenty in 1880 – 454 American girls married titled Europeans. One hundred were to British aristocrats – sixty to eldest sons, forty to younger sons, six to dukes, with 1895 the peak year for such marriages. -
GOELET BUILDING (Now SWISS CENTER BUILDING), 606-608 Fifth Avenue, Borough of Manhattan
Landmarks Preservation Commission January 14, 1992; Designation List 241 LP-1810 GOELET BUILDING (now SWISS CENTER BUILDING), 606-608 Fifth Avenue, Borough of Manhattan. Built 1930-32; architect Victor L.S. Hafner; engineer Edward Hall Faile. Landmark Site: Borough of Manhattan Tax Map Block 1264, Lot 40. On September 11, 1990, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Goelet Building and the proposed designation of the related Landmark Site (Item No. 10). The hearing had been duly advertised in accordance with the provisions of law. Three witnesses spoke in favor of designation. There was no opposition to the designation. Four letters have been received supporting the designation. The owner and long-term lessee are not opposed to the designa tion.1 DESCRIPTION AND ANALYSIS Summary The ten-story Goelet Building at the corner of Fifth Avenue and 49th Street, built in 1930-32, was designed by Victor L. S. Hafner in the Art Deco style but modified to exhibit the supporting skeletal frame devised by the engineering firm of E. H. Faile. The spare horizontality of the lower stories' glazed curtain walls suggest that, stylistically, this building is a transitional monument between the Art Deco and the International Style. The client, Robert Goelet, acting for the Estate of Ogden Goelet, desired a building that would be comparable in architectural merit and prestige to the family mansion it replaced and which would also complement the use -- street level shops and office space above -- and modern appearance of the buildings of the adjacent Rockefeller Center, then under construction. -
Finding Aid Components
Guide to the collection on Goelet furnishings By Maria Bernier Overview of the Collection Repository: Salve Regina Special Collections, McKillop Library, Salve Regina University, Newport, RI Collector: Preservation Society of Newport County Title: Collection on Goelet furnishings Dates: 1882-1896 [and more recent] Quantity: 0.208 linear feet (1 half document box) Abstract: Photocopies documenting the provenance and disposition of furnishings, art, and other objects purchased by Ogden Goelet for his homes in New York City and Newport. Includes English translations of receipts and correspondence from French companies. Collection #: SP 06 Location: Unit I, shelf A4 Language: English and French Biographical Note Ogden Goelet (1846-1897) was a scion of a wealthy New York family that had made vast investments in real estate over several generations. Ogden and his brother, Robert, were very much a part of high New York society and were founders of the New York Metropolitan Opera. Ogden married Mary R. Wilson in 1878 and had two children, Mary "May" Wilson Goelet (1879?-1937) and Robert Goelet (1880-1966). After 1884, the main Goelet residence in New York City was at 608 Fifth Avenue (49th and Fifth). After several years of poor health, Ogden died in 1897 on his yacht Mayflower at Cowes, England. Ochre Court, commissioned by Ogden Goelet as his family's summer residence in Newport, was the first of four Newport mansions designed by Richard Morris Hunt. As the country's foremost architect in the late 19th century, Hunt drew inspiration for the 50-room limestone palace from late Gothic French architecture. Inside the house, Hunt utilized design elements from French renaissance chateaux and churches to create a three-story Great Hall, from which radiate impressive ground floor reception rooms such as a dining room, ballroom, and library. -
Goelet Building (Now Swiss Center Building)
Landmarks Preservation Commission January 14, 1992; Designation List 241 LP-1811 GOELET BUILDING (now SWISS CENTER BUILDING), first floor interior consisting of the entrance vestibule at Fifth Avenue, the outer lobby, and the elevator lobby; and the fixtures and interior components of these spaces, including but not limited to, wall surfaces, ceiling surfaces, floor surfaces, elevator cabs, elevator doors, vent grilles, light fixtures, doors, and ornamental metal panels; 606-608 Fifth Avenue, Borough of Manhattan. Built 1930-32; architect Victor L.S. Hafner; engineer Edward Hall Faile. Landmark Site: Borough of Manhattan Tax Map Block 1264, Lot 40. On September 11, 1990, the Landmarks Preservation Commission held a public hearing on the proposed designation as an Interior Landmark of the first floor interior of the Goelet Building consisting of the entrance vestibule at Fifth Avenue, the outer lobby, and the elevator lobby; and the fixtures and interior components of these spaces, including but not limited to, wall surfaces, ceiling surfaces, floor surfaces, elevator cabs, elevator doors, vent grilles, light fixtures, doors, and ornamental metal panels; and the proposed designation of the related Landmark Site (Item No. 11). The hearing had been duly advertised in accordance with the provisions of law. Three witnesses spoke in favor of designation. There was no opposition to the designation. Four letters were received supporting the designation. The owner and the long-term lessee are not opposed to the designation.1 DESCRIPTION AND ANALYSIS Summary The Goelet Building, built in 1930-32 on the southwest corner of Fifth Avenue and 49th Street, was designed by the architect Victor L. -
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FOUNDERS AND FUNDERS: Institutional Expansion and the Emergence of the American Cultural Capital 1840-1940 Valerie Paley Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2011 © 2011 Valerie Paley All rights reserved ABSTRACT Founders and Funders: Institutional Expansion and the Emergence of the American Cultural Capital 1840-1940 Valerie Paley The pattern of American institution building through private funding began in metropolises of all sizes soon after the nation’s founding. But by 1840, Manhattan’s geographical location and great natural harbor had made it America’s preeminent commercial and communications center and the undisputed capital of finance. Thus, as the largest and richest city in the United States, unsurprisingly, some of the most ambitious cultural institutions would rise there, and would lead the way in the creation of a distinctly American model of high culture. This dissertation describes New York City’s cultural transformation between 1840 and 1940, and focuses on three of its enduring monuments, the New York Public Library, the Metropolitan Museum of Art, and the Metropolitan Opera. It seeks to demonstrate how trustees and financial supporters drove the foundational ideas, day-to-day operations, and self- conceptions of the organizations, even as their institutional agendas enhanced and galvanized the inherently boosterish spirit of the Empire City. Many board members were animated by the dual impulses of charity and obligation, and by their own lofty edifying ambitions for their philanthropies, their metropolis, and their country. Others also combined their cultural interests with more vain desires for social status. -
Guide to the Goelet Family Papers by Maria Bernier, 2008
Guide to the Goelet Family Papers By Maria Bernier, 2008 Overview of the Collection Repository: Special Collections, McKillop Library, Salve Regina University, Newport, RI Creator: Goelet family Title: Goelet family papers Dates: 1881-1953, bulk 1893-1898 Quantity: 1.25 linear feet (3 document boxes) Abstract: Financial records and correspondence related to Ogden Goelet and his family members, including his brother and his son, both named Robert. Much of the material relates to the family’s real estate holdings in New York City and Odgen’s Newport residence, Ochre Court. Collection #: SP 02 Location: Unit I, shelf A4 Language: English and French Biographical Note Brothers Robert Goelet (1841-1899) and Ogden Goelet (1846-1897) were the scions of a wealthy New York family that had made vast investments in real estate over several generations. Upon the death of their father Robert R. Goelet (1809-1879) and their bachelor uncle Peter (c.1800-1879), they inherited holdings throughout Manhattan. The brothers maintained the empire and expanded it to Newport as well, building neighboring homes on Ochre Point. The Goelets were very much a part of high New York society and were founders of the New York Metropolitan Opera. Older brother Robert married Harriett Louise Warren and had two children, Robert “Bertie” Walton Goelet and Beatrice Goelet. He graduated from Columbia College in 1860 and later studied law and passed the bar. He was regarded by his peers as a wise businessman with good financial judgment. In later years, the family’s main residence was at 591 Fifth Avenue in New York. -
Gansevoort Market Historic District Designation Report Part 2
Block 644 BLOCK 644 817-821 WASHINGTON STREET (aka 71-73 GANSEVOORT STREET) Tax Map Block 644, Lot 30 Alteration Date: 1940 (Alt. 1960-1940) Owner: Dennis P. Kennedy Type: Market building Stories: 3 Facade Materials: brick, stone (Washington Street facade painted); cast-iron storefronts, metal canopies Original Date: 1886-87 (NB 1966-1886) Architect: James W. Cole Builder: John Jordan Original Owner: John Jacob Astor III Original Type: French flats (3) with stores Style: Queen Anne Original Stories: 5 Alterations some windows on Washington Street facade bricked-in; window restoration (2000-01); aluminum and glass storefronts installed, rooftop compressor (2003). Ownership History (formerly lots 30-32) 1819 John Jacob Astor I/ Astor Estate1 John Jacob Astor III/ William Waldorf Astor 1923 Fox-Gelberg Holding Co. 1938 Dennis P. Kennedy (foreclosure) 1944 Gansevoort Holding Co. (foreclosure) 1999 GHC NY 11 Corp. (Romanoff Equities, Inc.) Commercial Tenants (1895: No. 819-825; c.1923-39: Nos. 824, 825, 826) Henry Meinken, liquor (1 887); James McKenna, produce (1889-1900); Frederick Barth, Jr., produce (1889); Louis Kuhle, Jr., produce (1889); Michael and Catherine McEntee, liquor (1894-1901); Patrick J. Molloy, liquor (1902); William Mallard, fruit (1902-06); Jacob Lucca, grocer (1902); Thomas Gethins, produce (1902-06); James Morgan, produce (1906-12); Alfred D. Kahn, produce (1906); Thorman, Baum Co. produce (1929-36); S. Schechter, butter and eggs (1929); FrenzaBros., Inc., produce, trucking (1929-36); Clark, Hutcheon & Daizell, Inc., fruit (1933-36); Farmers Package Supply Co. (1938); Howard Produce Co. (1938); Samuel Dunkel & Co., butter (1941-42); Kohn & Joseph, meat (1942); Schuster & Schwabl Schuster Meat Corp., meat (1942-93); Carl Waldeck, Inc., meat (1942); Starling Provision Co. -
From Medici to Bourbon: the Formulation of Taste and the Evolution of a Vanderbilt Style
FROM MEDICI TO BOURBON: THE FORMULATION OF TASTE AND THE EVOLUTION OF A VANDERBILT STYLE Introduction With the 1877 demise of Commodore Cornelius Vanderbilt (1794-1877), America’s richest man and majority owner of the New York Central Railroad, unrivalled prosperity seemed assured for his posterity. Almost ninety million of his approximately one hundred million dollar fortune was bequeathed to his favourite business partner and eldest son, William Henry Vanderbilt (1821-1885). 1 The Vanderbilt family name enters the realm of art history with this wealthy second generation’s rapid compilation of what was widely hailed as ‘the most complete collection of works in the world representing the best modern artists of France’ housed in one of New York’s first palatial mansions.2 The third generation is remembered as builders of progressively more opulent family homes. ‘What with the six or seven great New York houses of the Vanderbilt family, and their still larger number of country estates, it could be plausibly argued that among them they have invested as much money in the erection of dwellings as any of the royal families of Europe, the Bourbons excepted.’ 3 That today the name of Vanderbilt survives not through association with any fine or decorative arts collection but almost solely through the architectural vestiges of these family homes, bears witness to lost 1 In modern terms estimated at in excess of $96 billion. ‘Forbes 400’ Forbes Magazine , October 12, 1998. p.368. 2 A. Croffut, The Vanderbilts and Their Fortune , New York, 1886, p. 163. 3 Herbert Croly and Harry W. -
From Venice to Newport: a Painting by Giambettino Cignaroli Lost and Found
MA.MAR.Tomezzoli.pp.proof.corr_Layout 1 18/02/2015 12:33 Page 1 View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Archivio istituzionale della ricerca - Università di Padova From Venice to Newport: a painting by Giambettino Cignaroli lost and found by ANDREA TOMEZZOLI 37. Venus asks the River Numicius to purify Aeneas, by Giambettino Cignaroli. 1735. Ceiling painting originally in the Palazzo Labia, Venice. Canvas. (Salve Regina University, Newport; photograph Michael Eudenbach). IF ONE ENTERS the first room on the right of the entrance hall of Where did the canvas at Newport come from, when was it what is now the seat of the Salve Regina University at Newport, painted and when did it arrive in the United States? The first two Rhode Island, and looks up to the ceiling one sees a painting – questions can be answered by one of the 375 well-known in oil on canvas, measuring almost three metres by five – that is drawings by Cignaroli bound into three albums in the last years evidently Venetian (Fig.37). The present writer did just this in of his life and since 1836 conserved in the Biblioteca Ambrosiana February 2013 and recognised that it was the work of Giam- of Milan, the gift of Gaetano Taverna.3 bettino Cignaroli (1706–70), one of the most competent Veronese A sheet in one of these albums (Fig.38)4 corresponds in all its artists of the eighteenth century and the founder of the Veronese elements and its composition to the scene shown on the canvas. -
Luxury Yacht Interiors, 1870-1920 As a Reflection of Gilded Age Social Status
Luxury Yacht Interiors, 1870-1920 as a Reflection of Gilded Age Social Status Dissertation Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By M. Lynn Barnes, M.A. Graduate Program in Textiles and Clothing The Ohio State University 2010 Dissertation Committee: Professor Patricia A. Cunningham, Adviser Professor David Steigerwald Professor Susie Zavotka Copyright by M. Lynn Barnes, M.A. 2010 Abstract This dissertation is based on six leading families in the United States, their mansions and their yachts. They experienced status through consumption of luxury goods, especially in decorating their homes. The thesis of this study is that it appears that yacht owners borrowed interior design ideas of their homes to decorate the interiors of their yachts. Their purpose was to enhance and maintain a presentation of status while at sea. It is assumed that yacht interiors from 1870 to 1920 were an extension of house interiors, reflecting the owner’s status, specifically in the use of textiles. The luxury yachts were extravagant symbols of the wealth, taste, and social power of their owners and were paraded as a statement of social status. The consumption of luxury products and an overt demonstration of leisure were part of the lifestyle that Gilded Age industrials and financiers strove to obtain. Luxury yachts were used as a tool, either through sport, cruising or extravagant entertaining, to promote the apparent well-being of the family. The three eras of yachting during the Gilded Age were: schooner-yachts, auxiliary-yachts and steamer yachts.