A Country Place in the Gilded
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
RETROSPECTIVE BOOK REVIEWS by Esley Hamilton, NAOP Board Trustee
Field Notes - Spring 2016 Issue RETROSPECTIVE BOOK REVIEWS By Esley Hamilton, NAOP Board Trustee We have been reviewing new books about the Olmsteds and the art of landscape architecture for so long that the book section of our website is beginning to resemble a bibliography. To make this resource more useful for researchers and interested readers, we’re beginning a series of articles about older publications that remain useful and enjoyable. We hope to focus on the landmarks of the Olmsted literature that appeared before the creation of our website as well as shorter writings that were not intended to be scholarly works or best sellers but that add to our understanding of Olmsted projects and themes. THE OLMSTEDS AND THE VANDERBILTS The Vanderbilts and the Gilded Age: Architectural Aspirations 1879-1901. by John Foreman and Robbe Pierce Stimson, Introduction by Louis Auchincloss. New York: St. Martin’s Press, 1991, 341 pages. At his death, William Henry Vanderbilt (1821-1885) was the richest man in America. In the last eight years of his life, he had more than doubled the fortune he had inherited from his father, Commodore Cornelius Vanderbilt (1794-1877), who had created an empire from shipping and then done the same thing with the New York Central Railroad. William Henry left the bulk of his estate to his two eldest sons, but each of his two other sons and four daughters received five million dollars in cash and another five million in trust. This money supported a Vanderbilt building boom that remains unrivaled, including palaces along Fifth Avenue in New York, aristocratic complexes in the surrounding countryside, and palatial “cottages” at the fashionable country resorts. -
The Breakers/Cornelius Vanderbilt II House National Historic Landmark
__________ ______________ __-_____________-________________ -. ‘"I. *II.fl.* *%tØ*** *.‘" **.‘.i --II * y*’ * - *t_ I 9 - * ‘I teul eeA ‘4 I A I I I UNITED STATES IEPASTMENI OF THE INTERIOP ;‘u is NATIONAL PARK SERVICE Rhode Island .5 1 - COUNTY NATIONAL REGISTER OF HISTORIC PLACES Newport INVENTORY - NOMINATION FORM FOR NPS USE ONLY ENTRY NUMBER I DATE Type ii!! entries - Complete applicable SeCtions NAME -- OMMON - ... The Breakers AN 0/On HISTORIC: * Vanderbilt Corneiius..II Hcnise ftcOCAT!ON .1 ., * ./1..... H :H5.j_ .. H .O H.H/.H::: :- 51 RECT AND NUMBER: Ochre Point Avenue CITY OR TOWN: flewpcrt STATE COUNTY: - *[7m . CODE Rhode I3land, O2flhO Newport 005 -- CATEGORY ACCESSIBLE tn OWNERSHIP STATUS C/reck One TO THE PUBLIC El District iEj Building LI PubIC Public Acc1ui Si’on: LI Occupied Yes: 0 Restricted El Si to LI Structure Private LI 0 P roess Unoccupied LI Unre.trtcsed Er Oblect LI Both [3 Being Considered j Preservation work I. in progress LI No U PRESENT USE Check One or More as Appropriate LI Agriu Iturol LI 0 overn-ten? LI Pork [3 Transportation [3 Comments DC El C OrIImerC i ol [3 Hdju al [3 Pri vote Residence [3 Other SpocI’ I LI Educational [3 Miii tory [3 Religious - Entertainment Museum Scientific ‘I, LI --__ flAkE; S UWNIrRs Alice FHdik, Gladys raljlqt Peterson, Sylvia S. 5zapary, Nanine -I tltz, Gladys P.. thoras, Cornelia Uarter Roberts; Euaene B. R&erts, Jr. -1 S w STREET ANd NLIMBER: Lu The Breakers, Ochre Point Avenue CITY ** STATE: tjfl OR TOWN: - --.*** CODE Newport Rhode Island, 028b0 lili iLocATIoNcrLEGALDEsRIpTwN 7COURTHOUSr, REGISTRY OF DEEDS. -
Medicean Aspirations in America: the Impact of William H
Medicean Aspirations in America: The Impact of William H. Vanderbilt’s New York Drawing- room on American Palace Décor Edward James Heimiller Submitted in partial fulfillment of the requirements for the degree Master of Arts in the History of Decorative Arts Masters Program in the History of Decorative Arts The Smithsonian Associates and Corcoran College of Art + Design 2011 ©2011 Edward James Heimiller All Rights Reserved Contents Plate List i Introduction 1 1. William H. Vanderbilt’s Drawing-room at 640 Fifth Avenue 10 2. The Venetian Princess Across the Street 31 3. A Return to the Past & Further Publication: The Morgan Drawing-room 47 4. The Conspicuous Southern Rebels: The Garrett’s Social Rise 58 5. William H. Vanderbilt’s Maven ‘Medicean’ Part as American Royalty 75 Notes 83 Bibliography 106 Plates 112 Plate List 1 An interior view of the 1851 Crystal Palace Exhibition, London 2 View of Chatsworth in Derbyshire from the South Lawn in winter 3 Chatsworth‟s sculpture gallery 4 Alnwick Castle 5 Alnwick Castle, Saloon 6 Chateau-sur-Mer 7 Chateau-sur-Mer, Ballroom 8 Chateau-sur-Mer, Dining room 9 Chateau-sur-Mer, Library 10 Chateau-sur-Mer, Dining room (Artistic Houses) 11 Chateau-sur-Mer, Library (Artistic Houses) 12 William H. Vanderbilt Drawing-room at 640 Fifth Avenue (Artistic Houses) 13 William H. Vanderbilt 14 Cornelius Vanderbilt (The Commodore) 15 Marble Row 16 Rebecca Colford Jones townhouses 17 Cosimo de‟Medici (1389 -1464) 18 Palazzo de Medici, Florence 19 Alexander T. Stewart House 20 Maria Louisa Kissman (1821-1896) 21 William B. -
Verley Archer Papers
Verley Archer Collection 1960’s - 1980’s Collection Number: MSS 254 Size: 8.76 linear feet Special Collections and University Archives Jean and Alexander Heard Library Vanderbilt University Nashville, Tennessee © Vanderbilt University Special Collections and University Archives Verley Archer Collection Scope and Content Note The Verley Archer Collection consists of materials relating to the Vanderbilt Family Reunion held in conjunction with the Centennial Celebration of Vanderbilt University, March 16-17, 1973. Ms. Archer conducted extensive research into the genealogy of the Vanderbilt family and located descendants of Commodore Cornelius Vanderbilt living in 1973. Included in the Verley Archer Collection are research notes and materials, completed questionnaires from family members, correspondence, publicity materials, and published books, all relating to the Family Reunion and Centennial Celebration. The 21 boxes in this collection cover approximately 8.76 linear feet. The collection is arranged in 3 series: Subject Files (Series 1); Vanderbilt Centennial (series 2); and Verley Archer’s Research Materials (Series 3). The Subject Files, Series 1, are the most extensive part of this collection. They consist of letters, completed questionnaires, and biographical information on most of the over 500 members of the Vanderbilt family living in 1973, as well as some earlier family members. These are arranged alphabetically by last name. Married women descendants are cross-referenced by their maiden names. Series 2 consists of the form letter mailings sent to his Vanderbilt relatives by William H. Vanderbilt, III and their responses. Also included are publicity articles about the Vanderbilt Family Reunion and Vanderbilt University Centennial. There are lists of descendants attending the Reunion and of gifts to Vanderbilt University from the descendants. -
VANDERBILT MAUSOLEUM, Staten Island
Landmarks Preservation Commission April 12, 2016, Designation List 487 LP-1208 VANDERBILT MAUSOLEUM, Staten Island Built: c. 1884-87; Richard Morris Hunt, architect; F. L. & J. C. Olmsted, landscape architects; John J. R. Croes, landscape engineer Landmark Site: Borough of Staten Island, Tax Map Block 934, Lot 250 in part, consisting of the entire mausoleum, its steps, and retaining walls; the hillock enclosing the mausoleum; the terrace in front of the mausoleum’s main facade and the base and walls of the terrace; the pathway leading from the terrace northeasterly, southeasterly, southwesterly, and southeasterly, beneath the arch near the southernmost entrance to the lot, to the lot boundary; the entrance arch and gates, and the adjoining stone retaining walls extending from the south face and sides of the arch northeasterly and southwesterly to the north and south lot lines; the stone retaining walls extending from the north face of the arch along both sides of a portion of the pathway; the land beneath the opening in the entrance arch; and the land upon which these improvements are sited. On September 9, 1980, the Landmarks Preservation Commission held a public hearing on the proposed designation as a Landmark of the Vanderbilt Mausoleum and Cemetery and the proposed designation of the related Landmark Site (Item No. 5). The hearing had been duly advertised in accordance with the provisions of law. A representative of the trustees overseeing the property testified in opposition to the proposed designation. A representative of New Dorp Moravian Church also testified in opposition to the proposed designation. Two people spoke in favor of the proposed designation, including a representative of the Preservation League of Staten Island. -
Edith Vanderbilt and Her Moonlight School Wilkie L
Kennesaw State University DigitalCommons@Kennesaw State University Dissertations, Theses and Capstone Projects Summer 2011 Aristocracy and Appalachia: Edith Vanderbilt and Her Moonlight School Wilkie L. Whitney Kennesaw State University Follow this and additional works at: http://digitalcommons.kennesaw.edu/etd Part of the United States History Commons, and the Women's History Commons Recommended Citation Whitney, Wilkie L., "Aristocracy and Appalachia: Edith Vanderbilt and Her Moonlight School" (2011). Dissertations, Theses and Capstone Projects. Paper 459. This Thesis is brought to you for free and open access by DigitalCommons@Kennesaw State University. It has been accepted for inclusion in Dissertations, Theses and Capstone Projects by an authorized administrator of DigitalCommons@Kennesaw State University. For more information, please contact [email protected]. Aristocracy and Appalachia: Edith Vanderbilt and Her Moonlight School By Wilkie Leatherwood Whitney A capstone project submitted in partial fulfillment of the Requirements for the degree of Master of Arts in Professional Writing in the Department of English In the College of Humanities and Social Sciences of Kennesaw State University Kennesaw, Georgia 2011 Kennesaw State University MAPW Capstone Project Aristocracy and Appalachia: Edith Vanderbilt and Her Moonlight School Whitney Leatherwood Wilkie 2 Table of Contents Chapter 1: Introduction………………………………………………………………..8 Chapter 2: Biltmore Bound…………………………………………………………....22 Chapter 3: Edith and Her Moonlight Schools………………………………………….43 -
RARITIES SALE 10 800 717-9529 Collectible Stocks and Bonds the World’S Largest Inventory of Collectible Paper Money & Americana Stocks and Bonds
Cornelius Vanderbilt William K. Vanderbilt Frederick W. Vanderbilt AA8 RARITIES SALE 10 800 717-9529 Collectible Stocks and Bonds The World’s Largest Inventory of Collectible Paper Money & Americana Stocks and Bonds. Over 5.7 Million Pieces. We Present Our 10th Rarities Sale. Buy or Make a Lower Offer..... This catalog has some of the finest stocks and bonds that we’ve seen in several years. The Disney signed stock is so very exciting, the 18th Century Spanish stock illustrated on the back cover is truly a Classic, especially in such choice condition. Our selection of early oil stocks is exceptional as quite a number are colorful. As usual, we offer a great variety of Colonials and Obsolete U.S. Paper Money. Foreign Paper Money is always a popular topic for our clients. We are constantly finding great pieces like these which we can offer to our clients through our catalogs or directly by phone or on approval. We are now excited about our new web site that has a totally new design. Colorful and user friendly! Several special offers will be posted all over the site on a week- ly basis. Please phone me as I’m always happy to hear from our customers. 800 717-9529 George LaBarre How to Buy in our Rarities Sales BUY - You can buy the items outright at the prices listed, or MAKE A LOWER OFFER - If you would prefer to make an offer, you can pay with a credit card or you will be billed if you are successful. Do not send payment in advance. -
Cornelius Vanderbilt II - Wikipedia [ Cornelius Vanderbilt II
7/9/2021 Cornelius Vanderbilt II - Wikipedia [ Cornelius Vanderbilt II. (Accessed Jul. 09, 2021). Biography. Wikipedia. ] Cornelius Vanderbilt II Cornelius Vanderbilt II (November 11, 1843 – September 12, 1899) was an American socialite, businessman, and a member of the Cornelius Vanderbilt II prominent United States Vanderbilt family.[1] He was the favorite grandson of Commodore Cornelius Vanderbilt, who bequeathed him $5 million, and the eldest son of William Henry "Billy" Vanderbilt (who bequeathed him about $70 million) and Maria Louisa Kissam. In his turn he succeeded them as the chairman and the president of the New York Central and related railroad lines in 1885.[2] Contents Early life Career Personal life Descendants Legacy Portrait of Vanderbilt by John Singer Sargent See also Born November 11, 1843 References Staten Island, New Further reading York, U.S. Died September 12, 1899 Early life (aged 55) New York City, New Cornelius Vanderbilt II was born on November 27, 1843 on Staten York Island, New York to William Henry Vanderbilt (1821–1885) and Nationality American [1][3] Maria Louisa Kissam. Employer New York Central Railroad Career Political Republican party Vanderbilt established a reputation for a strong work ethic while Spouse(s) Alice Claypoole clerking at the Shoe and Leather Bank in New York City. This Vanderbilt endeared him to his grandfather, the 'Commodore', who was a (m. 1867) strong believer in personal industry.[4] Children Alice Gwynne Vanderbilt was active in numerous organizations including the Saint Vanderbilt Nicholas Society of the City of New York, YMCA, Red Cross, William Henry Salvation Army, Trinity Church, St. -
Teaching with Historic Places, National Park Service
DOCUMENT RESUME ED 463 989 SO 032 359 AUTHOR Laffin, Margaret TITLE Vanderbilt Mansion National Historic Site: Monument to the Gilded Age. Teaching with Historic Places. INSTITUTION National Park Service (Dept. of Interior), Washington, DC. National Register of Historic Places. PUB DATE 2000-00-00 NOTE 22p. AVAILABLE FROM Teaching with Historic Places, National Register of Historic Places, National Park Service, 1849 C Street, NW, Suite NC400, Washington, DC 20240. For full text: http://www.cr.nps.govfnr/twhp/wwwlps/lessons/78vanderbilt/78 vanderbilt.htm. PUB TYPE Guides Classroom Teacher (052) EDRS PRICE MF01/PC01 Plus Postage. DESCRIPTORS *Built Environment; Heritage Education; *Historic Sites; Primary Sources; Secondary Education; Social Studies; Student Educational Objectives; *United States History IDENTIFIERS Gilded Age; *Hudson Valley; National Register of Historic Places; Wealth ABSTRACT By the turn of the 20th century, many wealthy families, including the Vanderbilts, had palatial houses along the Hudson River, between New York City and Albany (New York). In 1895, Frederick Vanderbilt, grandson of Commodore Cornelius Vanderbilt, built his country estate overlooking the Hudson River in Hyde Park (New York). With more than 600 acres of landscaped property and a palatial Beaux Arts mansion, the estate came to symbolize the enormous wealth accumulated by a privileged few during the Gilded Age. This lesson plan is based on the National Register of Historic Places registration file for the Vanderbilt Mansion National Historic Site and other source materials. The lesson can be used in U.S. history, social studies, and geography courses in units on the Gilded Age or the nation's industrial and economic growth. -
The Vanderbilts Lie at Last in Quaint New Dorp
Though They Roam 'Midst Pleasures and Palaces The Vanderbilts Lie at Last in Quaint New Dorp A Quiet Hillside on Statten Island Is the Burial Plot of the Family By Arnold Prince similar residence on Fifth Avenue ANOTHER of the Vander- and Fifty-second Street. bilts has been placed beside Cornelius was an aristocratic look¬ his fathers in the family ing man, with fair features and a mausoleum in the placid, narrow, finely modeled head. But inconspicuous little hamlet of New for the fact that he wore no side Dorp, Staten Island. whiskers he would have looked much like the old and this When alive he in a sense, a Commodore, was, may be said also of William. Wil¬ citizen of the world, although, of liam never severed his alle¬ was, perhaps, better looking course, he than either of giance to the United States, the the others, and, in land of his birth. His great wealth fact, had little of the appearance of the business man and enabled him to move about at wilL. financier. He looked more like a man For this good fortune he was in¬ destined the thrift and of for society than the money marts, debted to energy and this his sturdy grandfather of Dutch an¬ impression was heightened tecedents, who piled up an amazing by the slight wave of his abundant lot of in a few years. He hair, the part in the middle of it, money and the smooth was able to go where he liked, and fresh, complexion. home of the Van- he liked the interesting places. -
640 5Th Avenue, Circa 1892. Museum of the City of New York, Byron Co
640 5th Avenue, circa 1892. Museum of the City of New York, Byron Co. Collection. Aspiration and Obsession HeNrY CLAY FriCk ANd THe W. H. V ANderBiLT HoUse ANd CoLLeCTioN MeLANie LiNN GUToWski The house at 640 Fifth Avenue, New York City, was the Vanderbilt’s art needed a home. His wife, Maria Louisa site of the intersection of the lives of two “eminent kissam Vanderbilt, is said to have begged him “to add a Victorians.” one was a scion of wealth; the other, a wing to the old house to provide the space he needed for farmer’s son who spent his evenings doing bookkeeping his growing collection of paintings,” but Vanderbilt stood standing up. The men were from two different firm. 2 He commissioned the decorating firm of Herter generations of Gilded Age prosperity. These were William Brothers, who collaborated with architects John B. snook Henry Vanderbilt (1821–1885) and Henry Clay Frick and Charles Atwood to design and furnish a new (1849–1919). While it is not common for two men of such residence. The resulting mansion located at 640 Fifth different backgrounds to move in the same circles, these Avenue, at the corner of Fifth Avenue and east 51st street, two crossed paths due to Frick’s admiration for became known as “the Triple Palace.” Although listed in Vanderbilt’s house, collection and position. the popular press as a double house, 640 was actually William Henry Vanderbilt, the second son of Cornelius three homes in one; Vanderbilt occupied one section, “Commodore” Vanderbilt, while the other section was was known as “the richest divided into two dwellings man in America…probably for his daughters, emily the richest man in the (Mrs. -
Women, Cultural Capital, and High Society in New York City, 1870-1900
Making the American Aristocracy: Women, Cultural Capital, and High Society in New York City, 1870-1900 Emily Katherine Bibby Thesis submitted to the faculty of the Virginia Polytechnic Institute and State University in partial fulfillment of the requirements for the degree of Master of Arts In History Dr. Kathleen W. Jones Dr. E. Thomas Ewing Dr. Sharon P. Johnson June 10, 2009 Blacksburg, Virginia Keywords: High Society, New York City, Women, Cultural Capital, Space, Speech, Posture, Dress, Culture of Aspiration, Culture of Consumption, Gilded Age Copyright 2009, Emily Katherine Bibby Making the American Aristocracy: Women, Cultural Capital, and High Society in New York City, 1870-1900 Emily Katherine Bibby ABSTRACT For over three decades, during the height of Gilded Age economic extravagance, the women of New York High Society maintained an elite social identity by possessing, displaying, and cultivating cultural capital. Particularly, High Society women sought to exclude the Nouveaux Riches who, after amassing vast fortunes in industry or trade, came to New York City in search of social position. High Society women distinguished themselves from these social climbers by obeying restrictive codes of speech, body language, and dress that were the manifestations of their cultural capital. However, in a country founded upon an ethos of egalitarianism, exclusivity could not be maintained for long. Mass-circulated media, visual artwork, and etiquette manuals celebrated the Society woman’s cultural capital, but simultaneously popularized it, making it accessible to the upwardly mobile. By imitating the representations of High Society life that they saw in newspapers, magazines, and the sketches of Charles Dana Gibson, Nouveau Riche social climbers and even aspirant middle and working class women bridged many of the barriers that Society women sought to impose.