North Shore Long Island: Country Houses 1890-1950-

N ORTH S HORE LONG I SLAND COUNTRY HOUSES 1890–1950 PAUL J. M ATEYUNAS ACAN TH US P RESS

North Shore and proposed Jericho Club

SUBURBAN DOMESTIC ARCHITECTURE S E R I E S

N ORTH S HORE L ONG I SLAND C OUNTRY H OUSES 1890 –1950

PAUL J. M ATEYUNAS

ACA N T H U S P R E S S N E W YO R K : 2 0 0 7

Published by Acanthus Press 54 West 21st Street New York, New York 10010 800.827.7614 www.acanthuspress.com

Copyright © 2007, Paul J. Mateyunas Every reasonable attempt has been made to identify the owners of copyright.

Errors of omission will be corrected in subsequent printings of this work.

All rights reserved. This book may not be reproduced in whole or in any part (except by reviewers for the public press) without written permission from the publisher.

Library of Congress Cataloging-in-Publication Data Mateyunas, Paul J. North Shore Long Island : country houses, 1890–1950 / Paul J. Mateyunas. p. cm. — (Suburban domestic architecture series) Includes bibliographical references and index.

ISBN 0-926494-37-6 ISBN 978-0-926494-37-4 1. Architecture, Domestic—New York (State)—Long Island. 2. Architecture—New York (State)—Long Island—19th century. 3. Architecture—New York (State)—Long Island—20th century. I. Title.

NA7235.N72L666 2007 728'.370974721—dc22 2006037019

Book design by Maggie Hinders Printed in China

SUBURBAN DOMESTIC ARCHITECTURE S E R I E S

F

Americans have sought to fulfill the promise of a better life that a rich wilderness held out to the first settlers as they stepped onto the shores of the North Atlantic. The American engagement with a vast continent has been defined by the necessary development and expansion of cities and the simultaneous preservation and enjoyment of a bucolic countryside.

The Acanthus Press series, Suburban Domestic Architecture, presents landmark domestic buildings of the last two centuries that display the innovative housing solutions of Americans and their architects as they addressed their desires for the ideal domestic life.

O R T H R E E H U N D R E D Y E A R S,

CONTENTS

Acknowledgments •

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Introduction • [ 1 1 ]

1890 – 1909 W H E AT L E Y, Old Westbury • [26] B U R RWO O D, Cold Spring Harbor • [32] S P R I N G H I L L , Roslyn • [ 4 0 ] RO S E M A RY, Old Westbury • [46] CA S S L E I G H , Roslyn • [50] L AU R E LTO N H A L L , Laurel Hollow • [55] K N O L E , Old Westbury • [61] W E S T B U RY H O U S E , Old Westbury • [70] K N O L LWO O D, Muttontown • [75] RO S E M A RY F A R M , Huntington • [82] C H AT E AU I V E R , Greenlawn • [92] T H E M O N A S T E RY, Huntington • [98]

1910 – 1919 P E M B RO K E , Glen Cove • [110] E AG L E ’ S N E S T, Centerport • [120] F A R N S WO RT H , Matinecock • [134] F A I R L E I G H , Muttontown • [142]

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L A S E LVA , Oyster Bay • [150] H AU T B O I S, Brookville • [156] W H I T E E AG L E , Wheatley Hills • [164] I N I S F A DA , Manhasset • [172] V I L L A CA RO L A , Sands Point • [180] O H E K A , Cold Spring Harbor • [192] RO U N D B U S H , Locust Valley • [202] B E AC O N TOW E R S, Sands Point • [206] M A L L OW, Oyster Bay • [214]

1920 – 1929 H I L LWO O D, Brookville • [224] CAU M S E T T, Lloyd Neck • [232] C H E L S E A , Muttontown • [242] W E S T G AT E L O D G E , Locust Valley • [250] RY N WO O D, Old Brookville • [258] H E D G E ROW, Locust Valley • [266] L I T T L E I P S W I C H , Woodbury • [271] C H AT E AU D E S T H O N S, Upper Brookville • [278] H E N RY P. U P H A M R E S I D E N C E , Brookville • [284] G L OA N H O U S E , Roslyn • [292]

1930 – 1950 T H E E V E LY N M A R S H A L L F I E L D S UA R E Z R E S I D E N C E S,

Muttontown and Brookville • [300] H O U S E S O F T H E RO B E RT W I N T H RO P S, Old Westbury • [312] E R C H L E S S, Old Westbury • [320] P E L I CA N F A R M , Old Westbury • [326] S U N R I D G E H A L L , Old Westbury • [332]

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APPENDICES Portfolio • [ 3 3 8 ] Architects’ Biographies • [ 3 4 6 ] Bibliography • [ 3 5 7 ] Index • [ 3 6 0 ] Photography Credits • [ 3 6 8 ]

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A C K N OW L E D G M E N T S

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of their contribution, I must give a special thanks to all of those who helped

to make this book possible, for their generosity, patience, and sharing of the histories, photographs, and

stories about the North Shore. I also would like to thank those parties who wish to remain anonymous: Photographer, John Dessarzin, for access and reproduction of his amazing estate photography • Vanderbilt Museum’s Florence Ogg, for the years of friendship, access to the collection, and responding to my requests on a moment’s notice • Dian Dunn, for helping me get organized enough to get this book off the ground • Susan Hume Frazer for her knowledge of William L. Bottomley • Huntington Historical Society and Karen Martin for her patience and many file boxes she carried up from storage • Stephen Salny for his research on Easton and guidance as an experienced author • Brian Pederson, for his knowledge of Easton • Ursula C. & William Niarakis of Hoffman Center • Larissa Szczupak for countless hours in helping to index the entire run of Country Life Magazine • Robert Berens • Jolanta Zamecka • Bronwyn Hannon of Long Island Studies • Maria Petkanas • Rosalie Walton • Arlene Travis and Carole Aronson for their loaning of historic material on past Mansions & Millionaires show houses • Mrs. Macy, for sharing her knowledge of Burrwood • Jon P. & Loretta Mateyunas for support through this process • Marie Mateyunas for long nights researching architects’ obituaries • Kenneth J. Harris for his leads with Châteauiver • Michael Butkewicz, for generous access to his collection • Jennifer Santos of the Locust Valley Library • Peter Pennoyer and Anne Walker for the loan of Round Bush images • Kenneth G. Mensing of Long Island University for his timely and vast knowledge of Hillwood • SPLIA and its Robert B. Mackay, Linda Dunne, and Charla Bolton for image use • Father Halligan, a fountain of information on Inisfada • Annasacia Wollmering of Sotheby’s for her help with auction catalog information • Daniel Gale of Sotheby’s International Realty and their Locust Valley manager Bonnie Devendorf • Brother Roman for his knowledge and years of access to La Selva • the late Lillian Hicks, for sharing her experiences growing up at Mallow • Carol Large of Old Westbury Gardens • Rick Marchand for the Villa Carola floor plan • Robert King, for his limitless knowledge of Ferguson’s Castle and Oheka • Glen Cove Library’s Antonia Petrash and Carol Stern for access to the Coles historical archive • Amy Ballmer of The Art Institute of Chicago and her record-breaking speed at filling photo orders • Florence Furst, for her knowledge and support regarding Knole • Bernadette Grodman, for access and knowledge of the Seminary property • Christina Mariani-May and Bob Whiting of Villa Banfi for their hospitality at Rynwood • Elizabeth Saluk, Cleveland Museum of Art, for information on The Monastery • Myrna Sloam of the Bryant Library •

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Richard Gachot for his knowledge of the history and estates of Old Westbury • Tom Lasante and Stephen Sacs of the New York Public Library for their speed of photo reproduction • Bill Morrison, for the countless proofing and sharing of his vast knowledge of the era.

Finally, a most warranted thank you to Michael Kathrens, for a chance meeting at the Union Club and his suggestion of writing and making this book a reality.

Homeowners past and present and their families who were so generous in providing information and photographs: Jackson & Judy Bailey • Lillian Pyne Corbin • Joseph Richardson Dilworth Jr. • Lesie R. & Judith Genatt • Cornelia Guest • Stephanie Field Harris • Henry U. Harris II • Henry U. Harris III • Mrs. Harold W. Hawkey • Albert Kalimian • The late Esmond Bradley Martin • Jorge and Serina Martin Sanchez • Walter Maynard Jr. • Gary Melius • Robert Merrill • Jack Milburn • Nancy Milburn • Patricia Montgomerie • Marie & Paul Napoli • Christine Pell • Cecily and Paul G. Pennoyer Jr. • Peter Pennoyer • Cynthia Phipps • Howard and Mary Phipps • Linda Moore Post • J. Cornelius Rathborne Jr. • Julie Rinaldini • Patrice Munsel Schuler • Sonia Seherr-Thoss • Scott and Kathy Wells • Henry A. Wilmerding • Lloyd P. Zuckerberg

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I N T RO D U C T I O N

“One of the most delightful and unusual suburbs in any part of the United States.”

E . D. M O R G A N

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ELIGHTFUL

it was, and unusual.

Unusual in that, like a small number of other wealthy communities, the North Shore developed as

a result of the Industrial Revolution. As the American economy rose to new highs throughout the 19th century, many of the great entrepreneurs and wizards of Wall Street amassed unprecedented fortunes and tried to find ways to spend them. No fashionable family in society would be without a place in town and at least one in the country. More important than the right city house, a country residence was one’s calling card. A place in the country gave one the ability to really build, with few restrictions but one’s

Children’s race at Harbor Hill

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Meadow Brook Hunt

imagination. This new wealth began to build large country estates in areas like Newport, Palm Beach, and Long Island.

With its pristine beauty and proximity to Manhattan, Long Island became a logical choice for many of the nation’s rich and very rich who desired country living. Starting about 1890, the North Shore was transformed from rural farmland to polo fields, manicured lawns, and country estates. At Glen Cove the oil-rich Pratt family created a vast family compound of a dozen adjacent estates and country residences, all served by a common support facility known as Pratt Oval. At Sands Point the copper-mining Guggenheims constituted a similar compound, as did the banking Morgans at Glen Cove, the steel-related Phippses at Old Westbury, the politically minded Roosevelts at Oyster Bay, traction magnate Whitneys at Manhasset, and various Burdens, Goulds, Woolworths, and Vanderbilts throughout the North Shore.

But the attraction of “delightful and unusual” Long Island was not limited to New Yorkers. From Detroit came automobile maker Walter Chrysler; from Chicago, department store heir Marshall Field III and utilities czar C.K.G. Billings; from Delaware, chemicals giant Alfred I. du Pont; from Albania, the deposed King Zog. Texas oilmen, Southern cotton traders and tobacco barons, Midwestern grain merchants and manufacturers, all flocked to join the transplanted Gothamites in what fast became the nation’s premiere playground for the wealthy and powerful. Soon dubbed the Gold Coast for its unmatched concentration of wealthy families, grand homes, and clubs, the North Shore became legendary.

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Settling in places like Manhasset, Sands Point, Locust Valley, and Oyster Bay, the North Shore was eventually dotted with a continuous swath of more than 1,200 estates stretching from Great Neck to Eatons Neck and as far south as Old Westbury. A magnificent and self-contained community, boasting every imaginable social and sporting activity short of Alpine skiing, which by the late Thirties had evolved into a more permanent suburb with a host of prominent business executives journeying daily by limousine, motor yacht, and even seaplane (modes of transport in themselves far from usual) to and from the great metropolis to its west. Delightful in the range of its virtual museum of eclectic architectural styles, often taken to exotic extremes: gargantuan Tudor manors, imperious Loire chateaux, princely Lombard palazzi, interspersed with medieval monasteries, Colonial Virginia plantation homes, rough-hewn stone castles, and sometimes a most curious adaptation of several styles. And finally, astonishing in that it came into being with the spontaneity of a prairie wildfire, burned brightly and hotly for a brief time, and then was extinguished so completely that the record of its existence is confined to a few surviving long-empty mansions, some yellowing photographs, and the pages of books and old newspapers.

“. . . the strangest communities in North America . . . that slender riotous island which extends itself due east of New York. . .”

F. S C O T T F I T Z G E R A L D

The island of Long Island is itself strange. Measuring 118 miles West to East from Brooklyn to Montauk Point, and varying in width from 12 to 20 miles, much of it resembles a Brobdingnagian version of the sandy barrier island common along North America’s East Coast below New England, with a terrain of brackish salt marshes, flat stretches of sword grass, sparse clusters of stunted pines, and, along the ocean, windswept sand dunes. Yet, along its North Shore, in an almost schizophrenic transformation, the landscape alters completely to one of dramatically lush green rolling hills and bluffs, deeply penetrated by a succession of long protected coves and harbors emptying into the great expanse of Long Island Sound.

The terminal point of two separate continental glaciers, 40,000 years apart, the rugged geography of the North Shore is derived from the piled debris scraped up by the advancing ice shelves, deposited here when they reached the sea and commenced their long retreat northward. The plentiful rocks and boulders of the North Shore coastline, all brought here from prehistoric New England and Canada tens of thousands of years ago, constitute the first of the countless waves of immigrants that would shape and change this land.

Glaciers were likewise largely responsible for the many fresh water ponds and inlets whose wildlife provided a comfortable and placid existence for the dozen or so Native American tribes encountered by European settlers first arriving here in the early 17th century. Colonized by the Dutch at its western end and the English along its eastern fork, the various natives and colonists pursued a serene but isolated existence, far removed from the turmoil of New York’s change from Dutch to English administration.

Domestic matters were a good deal more unsettled during the American Revolution. General Howe’s British army regularly trounced Washington and his Continentals, routing the rebels from Long Island and

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Finish line at the Vanderbilt Motor Cup Races

ultimately out of New York altogether. Their lands confiscated by the crown and their homes taken to billet the redcoats, patriots who supported the American cause fled to Connecticut for the duration of the British occupation. At war’s end, the tables were turned; patriots returned to their homes while the Loyalists fled to Canada.

Following the War for Independence, Long Island returned to its placid isolation. Most of the islanders living in the small villages along the North Shore coves and harbors were involved in the fishing and whaling that constituted the Island’s principal commerce while Quaker farmers populated the inland villages.

Waterways being the primary means of transportation in both the 18th and early 19th centuries, what contact Long Islanders had with the outside world was more likely to be with their fellow seamen from southern New England, rather than the rapidly growing city to the west. For its own part, 19th century New York was supremely disinterested in Long Island. Its own commerce and development centered upon the great natural harbor and combination river and canal routes to the nation’s interior. Those New Yorkers who desired a country dwelling in the decades before and after the Civil War followed the pattern of their Dutch and English forebears, lining the east and west banks of the Hudson with Italianate villas, Gothic manses, and mansard-roofed Victorians as far north as Albany and beyond.

Significantly, 1909 saw the completion of the Queensborough Bridge and of connecting roadways to Long Island’s principal east-west thoroughfares, Jericho Turnpike and Northern Boulevard (Routes 25 and 25A), the main arteries of the North Shore since colonial times. To a degree not true of other prosperous Eastern residential communities, the North Shore’s Gold Coast was a product of the automobile. William K. Vanderbilt Jr. took driving on the Island to a new level when in 1908 he began construction of his own private motor parkway running 45 miles from Flushing, Queens, to Lake Ronkonkoma, so he and later

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others could enjoy a ticket-free road to test the limits of the newly discovered automobile. The Long Island or Vanderbilt Motor Parkway was complete with tollbooths and a restaurant/hotel, the Petit Trianon, designed by John Russell Pope. It was unquestionably the finest American motor highway in the United States. The privacy, comfort, and growing ease of travel by motorcar also served to establish the North Shore as a convenient adjunct to city life.

Both on Long Island and elsewhere, the era of great house building can be divided into pre- and postWorld War I. Before the war, houses tended towards the monumental, averaging 40 rooms or more and requiring a small army for their operation and upkeep. Often they were based on Gothic castles or other grand European palaces. Entertainment was formal, as was the dress, with several changes of attire required according to the time of day and nature of the occasion.

Along the North Shore, a group of talented architects—Stanford White, Carrère & Hastings, Delano & Aldrich, and others—tested the limits of their imagination and, sometimes, their clients’ budgets. They offered not only the design for a house, but a lifestyle, handling every last detail of design, controlling everything from the house itself, to the lighting, furniture, and décor, as well as landscape. Stanford White was said to have once designed clothes for the lady of the house to wear.

Many of the newly rich sought to establish their ancestry by importing wholesale from Europe furniture, art, rooms, buildings, and other structures. Such measures, they hoped, would lend authenticity to their homes and their pedigrees.

After the war and with the introduction of the income tax, manners and manors inevitably grew smaller and more casual. The European-inspired palaces of the 1890s and early 1900s, requiring a staff of 20 to 200 to maintain, came to be seen as both impractical and foolish. Buccaneer capitalism waned, replaced by corporate managers and stock market speculation. Handsome residences continued to be built along the North Shore but on a lesser scale than before the war. A growing number of the country house builders of the late teens and twenties were also second- or third-generation wealth. They did not want the grand-European inspired palaces of their parents and had less interest in flaunting their wealth. They felt chained down by these massive estates and the large staff needed to maintain them. The strain of managing a household of 20 or more staff defeated the purpose of a country retreat.

As the days of huge estates came to an end, some sought other solutions. Architect Pleasants Pennington and decorator Mrs. George (Dorothy) Draper (president of the Architectural Clearing House) propounded a grouping of chic weekend country houses on modest parcels of land bordering the east end of the Piping Rock Club. The community had plots ranging from one and a half to five acres, all named after types of trees. The lots were not laid out in a traditional subdivision plan but in a way to maximize privacy and pleasure on a minimal amount of land. Not coincidentally, its proximity to the Piping and the Riding Association trails, of which all the proposed residents were members, would give them access to all the amenities of a large estate compound. The community was never fully developed, but the idea of smaller, more efficient country houses spread throughout the late twenties and thirties. Of the 1,200 estates constructed on the North Shore, about half were of 6,000 to 12,000 square feet—substantially smaller than their predecessors.

As the century wore on, everything from trends in clothing to art was stripped of its elaborate shell.

Looking to their colonial roots, homeowners and architects desired a style that would wear well, buildings

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Rosemary Farm amphitheater

that would improve with age. For many the architectural answer was the Georgian. Solid, simple, and elegant, it was refined and created an atmosphere of domesticity without sacrificing the largeness of scale or the charm of dignity.

Accustomed to spending as much on the surroundings of their residences as on the houses themselves, North Shore estate owners commissioned landscape firms like Olmsted Brothers, Beatrix Farrand, and Innocenti & Webel to bedeck their lands with both wild and formal gardens, manmade ponds and waterfalls, replete with fish and decorative swans, and even full-scale woodlands. The Island’s Hicks and Lewis & Valentine nurseries made a specialty of transplanting full-grown trees on new estate grounds, creating instant groves and arbors. A good number of the larger estates had working farms, orchards, and greenhouses, to supply the house with dairy products, fruit and produce, and decorative flowers. Many residents had prize-winning collections of rhododendrons, chrysanthemums, orchids, and camellias. The lush green foliage particular to Long Island made it the perfect place to create acres of gardens that rivaled any other in the botanical gardens or palaces of Europe.

The estates also frequently contained lavish outbuildings of every style and variety. Often whimsical in their design, they became favorite spots to relax and play. There were boathouses, bathhouses, teahouses, and—most elaborate—the creatively themed indoor recreation/tennis houses. Over 25 of these unusual buildings were erected on the North Shore and housed indoor tennis courts, pools, and other

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Musical entertainment at Harbor Hill

recreation/entertaining rooms. The Harrison Williams of Oak Point in Bayville had a recreation house designed by Delano & Aldrich in 1927–28 and was the epitome of deco style, decorated like a glamorous Jazz Age supper club. Connected to the main house via an underground tunnel, the Guernsey Curran indoor tennis house at Upper Brookville had a music room with murals of forest animals by Charles Baskerville and an indoor swimming pool with the walls of the room painted with crowds of comic elephants, monkeys, giraffes, and kangaroos dancing and acting in cartoon-like poses.

Some of the larger estates had boathouses, including Boscobel in Oyster Bay, George McKesson Brown’s West Neck Farm, the Gerald M. Livingston house at Lloyd Harbor, William K. Vanderbilt at Eagles Nest, and the most elaborate, J. Stewart Blackton’s Palladian boathouse in Cove Neck, designed by Hoppin & Koen in 1912. Perched over the water’s edge, Blackton’s gleaming white stucco boathouse contained a monumental arched entrance that allowed him to pull his boat into the structure like a car into a garage. Above, guests could relax in a series of rooms, including a fanciful tented ballroom with Palladian French doors, a pair of elaborate marble fireplaces, and a ceiling with a decorative striped circus tent theme. In Centerport, William K. Vanderbilt became the envy of other aviation sportsmen when he constructed a tremendous white stucco seaplane hangar at the southeast corner of the property.

Thirties-modern in style, the seaplane hangar had fine clean lines and was able to accommodate several small seaplanes.

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“I am very impressed by the grand scale of hospitality on Long Island.”

E DWA R D , P R I N C E

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WA L E S

Long Island parties in the Jazz Age were often as grand as the area’s residents and their showplaces. So entertaining were the festivities, one social columnist of the day called a weekend on the North Shore the “Saturday through Monday night variety show.” Well lubricated by lavish spending, Long Island entertaining was immortalized in 1925 by F. Scott Fitzgerald’s novel The Great Gatsby, although not all parties on the North Shore ended up with guests jumping into a fountain. Many were debutante balls, weddings, and lawn parties.

Some of the most elaborate fetes took place in August 1924 with a visit from Edward, the Prince of Wales, heir to the British throne and society’s most eligible bachelor. He attended the polo matches at Meadow Brook, races at Belmont, and was guest of honor at a round of endless parties, the most celebrated of which took place at Clarence Mackay’s Roslyn estate, Harbor Hill. With a guest list of over 1,200 dining in specially built pavilions on a solid silver service created by Tiffany & Company out of ore from the Mackays’ own Nevada mines, that night no luxury was spared. Even after his abdication and marriage to divorcee Wallis Warfield Simpson, the man who would not be king did not forget his fondness for the North Shore; returning to Long Island in the late 1940s, he and the Duchess of Windsor took up residence at a number of estates including Evelyn Marshall Field’s Easton and T. Suffern Tailer’s château-style Beaupré bordering the exclusive Creek Club in Lattingtown.

T H E S P O RT I N G L I F E The diverse topography of the North Shore also offered a paradise for the sportsman. Whether one’s passions leant toward sailing, hunting, golf, racquet sports, or equine activities, Long Island offered an unrivaled array of exclusive clubs and private venues for the pursuit of such recreational pleasures.

Residents built and created clubs of all sorts, hiring the same talented architects who built their homes.

Popular country clubs like Piping Rock, The Creek, and Meadow Brook filled the landscape, offering golf, tennis, and other leisure activities. Club activities were so popular they were often covered in the social pages of Vogue, Town & Country, and Country Life. The Seawanhaka-Corinthian, New York, Manhasset Bay, and scores of smaller yacht and boating clubs dotted the inlets, coves, and harbors of the Sound. Sail and motor yachts like William K. Vanderbilt Jr.’s 265-foot Alva and J.P. Morgan Jr.’s 344-foot Corsair could be seen anchored off shore, many nearly as grand and large as their owners’ residences.

From the short lived Oyster Bay Polo-Tennis Club, and the rolling hills of Old Westbury with its nearby Meadow Brook Club rose some of the best polo players in history. The long list of legendary players included Hitchcocks, Milburns, Whitneys, Phippses, and Bostwicks. The women of the North Shore also left an important mark in polo history. Mrs. Stewart Iglehart, the former Marjorie LeBoutillier, played the sport of kings, while Mrs. Louise E. Hitchcock, wife of champ Tommy Hitchcock Sr. and mother of legend Tommy Hitchcock Jr., coached the children’s team known as the Meadow Larks. Through her work, Louise became a polo legend herself and an inductee to the Polo Hall of Fame in Lake Worth,

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Polo match, Meadow Brook Club, 1931

Florida. At the Westward field of the Meadow Brook, the first-ever horse show in the United States dedicated solely to polo ponies was held on June 25, 1919, and Harry Payne Whitney’s imported bay mare Royal Diamond was awarded best in show.

Fox hunting with the Meadow Brook Hunt (MBH) and riding on the trails of the Country Lanes Committee were also popular activities in Old Westbury. One could ride for hours across the endless wooded trails and fields of Muttontown, Westbury, and the Brookvilles. Trails stretched across the North Shore for 50 miles, and one could ride from the Pennoyer’s Round Bush in Locust Valley through the Brookvilles and as far south as the Phippses in Westbury. North of Westbury, jumpers and other show thoroughbreds competed at the Piping Rock, Cedar Valley, and Sands Point horse shows through the late thirties. With competitions for all, even the youngest equestrian, Frank Bailey’s eight-year-old daughter Alice Jackson Bailey, won many a ribbon and silver trophy cup on her saddle pony “Little Aristocrat.”

Following a path along the southern edge of the North Shore a number of country clubs developed along the motor parkways, among them Deepdale Golf & Country, Meadow Brook, and the lesserknown Aviation Country Club. The latter opened in the late summer of 1929 and offered everything for the aeronautics enthusiasts: a 25-plane state-of-the-art hanger, on-site white-glove mechanic service, lessons, and the pilot’s equivalent of a pro shop. The novel club was located in Hicksville just east

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Piping Rock Club

of Route 106, bordering the Long Island Motor Parkway. It was the perfect departure or destination site for a business or pleasure commute by air. The newfound enthusiasm for flying was partially the result of Charles Lindbergh’s transatlantic flight. The noted flyer was even inducted as a charter member of the ACC and was often a guest of Harry F. Guggenheim at his Sands Point estate, Falaise. Women also played an important role at the club, beginning with Ruth Nichols who was a major catalyst in making the idea of the Aviation Country Club a reality. Later in 1942, the club would hire Barbara Kibbee Jayne, the first qualified female instructor to graduate in the new Civilian Pilot Training Program, as the club’s principal instructor.

The theory behind this club was flight for leisure and convenience. The club offered a fine clubhouse for meals or tea, and it was not unusual on any given day to see Jock Whitney getting ready to take off for a quick trip to the races in Saratoga or Alice duPont Mills stepping off her plane, returning from a morning’s hunt in Wilmington, Delaware. After a long day from an out-of-town business meeting, made short through the use of a private plane, one could use the time saved to take a dip in the club’s pool, play a set of tennis, or meet with friends for dinner, all within a minute or two of landing. If necessary one could even spend the night in one of the club’s four guestrooms. At its peak the club’s roster boasted over 175 members, 76 of whom had private planes. The club operated for less than 20 years, selling its land to William Levitt in 1948. Today it is part of Levittown, a street dubbed Pilots Lane its only reminder.

By the thirties, as occupants began to use their country places for more than summers and a long weekend, a growing number of residents with waterfront estates began to commute to New York via the waterways. Offering a peaceful commute, the “commuter yachts,” as they became known, averaged

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The Aviation Country Club

Seaplanes at the Seawanhaka-Corinthian Yacht Club

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The Alva

from 40 to 80 feet and could be used five to seven months of the year. The commuter yacht provided recreation, beautiful scenery, and the space and conveniences of a home and office combined. Paul G. Pennoyer Jr. remembers fondly the “shuttle,” a 50-foot commuter owned by a syndicate of five Morgan family members and close neighbors. It left from the New York Yacht Club, at Glen Cove bound for downtown Manhattan. After they boarded, a hearty breakfast was waiting for J. S. Morgan, Paul G. Pennoyer Sr., and others, and no finer, more relaxing commute could be had. After breakfast and a glance at the morning paper the men could get a head start on work before pulling into the New York Yacht Club’s East River landing station at 26th Street, where they would dock among Pennoyer’s Long Island neighbors.

Such interludes were important to businessmen, who were drawn to the North Shore because of the limitless connections that could be formed there. Families of the area were bound to every major industry and company: railroads, mining, banking, manufacturing, and shipping. Their social interactions were essential to keep the wheels of commerce greased and running.

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“We shape our buildings, and afterwards, our buildings shape us.”

W I N S TO N C H U R C H I L L

The parties did not last forever. In the United States, the lifestyle of grand houses started to vanish almost as soon as it began. The North Shore way of life did not survive the triple tsunami of the stock market crash, The Great Depression, and World War II. The war would mark the end of the country estate era, as the workers and supplies to maintain these immense homes and grounds were desperately needed for the war effort. After World War II, Long Island was a very different place. By the late 1950s, many of the large properties along the North Shore began to slowly disappear, their grounds subdivided and the houses razed to make way for modern developments. The expansion of major roads and highways further cut up the North Shore and it was nearly divided in half with the first proposed path of Northern State Parkway and later more successfully with the construction of the Long Island Expressway (L.I.E.). Local residents did not succumb easily; they first fought to have the Northern State Parkway diverted further south. As drivers approach Old Westbury from the west they round a sharp turn south, known as “objector’s bend,” which temporarily saved the quaint village. Realizing the inevitable development of another Robert Moses highway several well-connected residents of Old Westbury eventually compromised with Moses and successfully negotiated no exits on the expressway within the four-mile stretch of Old Westbury. However, the expressway divided the village of Old Westbury and destroyed a number of the estate properties within its path.

By the turn of the new century, two-thirds of the great estates that gave Long Island its unique cachet were gone. Survivors like Old Westbury Gardens, Falaise, Eagle’s Nest, and Planting Fields give visitors today a glimpse of what life was like on Long Island a century ago. Once dismissed as derivative, the architects of the North Shore are increasingly recognized as talented and sensitive artists whose contribution to the American landscape is sorely missed. Even with this growing appreciation, the number of estates continues to shrink each year as land becomes scarce, preservation laws remain unwritten, and the uninformed buyer remains uneducated. As to the inhabitants of this once-fanciful place, we catch a glimpse of their dim shadows dancing on a moonlit summer terrace to the latest Gershwin or Cole Porter tune, or savoring a hearty breakfast on the stern of a motor yacht bound for Wall Street, or besting the champion Big Four on the green polo fields of Old Westbury.

And we stop and wonder.

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K N O L LWO O D CHARLES I. HUDSON HOUSE

Muttontown (1906–11)

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the 1911 house of New York stockbroker Charles I. Hudson, was designed by New

York architects Hiss & Weekes. Constructed of Indiana limestone, the house was a free adaptation

of an Italian Renaissance villa, combined with decorative elements from 18th-century French sources. A massive two-story porte cochere, supported by fluted Ionic columns, provided a sheltered passage for automobiles to deliver guests.

Aerial view

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Main gates

Entrance front

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Rear facade

Side garden

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Main stairs

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Living room

Inside, a 150-foot long vaulted hall dressed in Caen stone ran the length of the house. Ahead, a generously proportioned living room displayed Hudson’s collection of rare tapestries beneath a coffered plaster ceiling. The Georgian library was appointed with damask-covered walls and a period oak crown molding brought from England.

Overlooking the formal gardens to the southeast, Knollwood’s oak-paneled dining room was also in the Georgian mode, with crystal chandeliers hung in each of room’s four corners. Nearly equal in size was the billiard room, which occupied the west corner of the main floor. Trimmed with decorative lattice on both walls and ceiling, the conservatory was illuminated by a large glass skylight over a rectangular marble fountain displaying a statue of a cherub. A curved staircase with a wrought-iron railing led upstairs to almost a dozen bedrooms, four fireplaces, and seven baths for the Hudson family and their guests. Hidden by the stone balustrade above Knollwood’s second story, a “roof house” provided sleeping quarters for the large household staff.

In 1911, Knollwood’s 60-room main house was surrounded by a series of lush gardens by the Florentine-born landscape architect Ferruccio Vitale. The estate’s 300 acres were transformed. Entire

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forests of trees were planted to form the park-like surroundings. The almost mile-long drive was lined in sections: first native grasses and woodland, then a rustic allée of Japanese umbrella pine, and a final halfmile line of rhododendrons. The most formal terraced gardens, which expanded from the south facade, were long rectangular beds of green grass bordered by layers of evergreens and terminated by a long stone pavilion.

Bordering the large stucco garage and stable and at some distance north from the residence, Hudson established an income-producing commercial farm with herds of prize Jersey cattle, a two-acre vegetable garden, a tree nursery, and extensive fruit orchards. The farm complex included a number of houses for workers, a piggery, stables, greenhouses, and two barns. A poultry complex had room for 3,000 chickens and 700 laying hens.

One of the estate’s last owners, the exiled King Zog of Albania, was said to have purchased the house in 1951 with a bucket of rubies and other rare gems. Yet Zog never occupied Knollwood, instead absconding to France, where he resided until his death in 1961. Fortune hunters and the curious trespassed on the grounds and into the abandoned mansion, ravaging them in search of the treasures it was believed Zog had hidden there. To end the trespassing and preserve the land, Knollwood was purchased by its neighbor, the southern mining industrialist Lansdell K. Christie, owner of Les Pommiers (formerly Muttontown Meadows). Finding the house too severely damaged to be restored, Christie had it razed, moving some of the statuary, including a large carved marble basin, to his own garden, where it remains.

Before Christie’s death, Nassau County acquired the former Hudson estate to form part of the Muttontown Preserve. Ruins of the estate remain scattered deep in the woods, including terrace balustrades, two columned pavilions, and the wall that once surrounded a two-acre vegetable garden. The classical gates and limestone pillars at Knollwood’s entrance, which once served as the meeting point for the Meadow Brook Hunt, are now overtaken by nature.

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T H E M O N A S T E RY DR. FARQUHAR FERGUSON

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Huntington (1908–11)

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built on the North Shore were as unusual as The Monastery, the Mediterranean fantasy

residence of New York pathologist Dr. Farquhar Ferguson and Juliana Armour Ferguson, daughter and

heir of Armour meat-packing mogul H. Ogden Armour. The 40-room house, with fortress-like walls more than four feet thick, clung to the side of a steep bluff above Huntington Harbor.

Aerial view

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View from road

The house’s design, inspired by the monastic shelters of northern Italy and southern Spain, is credited to Boston architect Allen W. Jackson, but it appears to have been largely the creation of the eccentric Mrs. Ferguson. The sudden death of her husband in 1908, shortly after ground was broken for their new house, did not deter her from making their exotic dream a reality. She and a team of antiquarians scavenged Europe for hundreds of architectural and religious artifacts to incorporate into the building. Old roof tiles, ancient columns, fireplace mantels, sculptures, and even 300-year-old tombstones were used in the Fergusons’ castle. Cost was not a consideration; more than $2 million was expended during the three years the house was under construction.

Reached through a heavy wooden door, secured by an ornate cast-bronze lever depicting a crow perched on a branch, the entrance hall was flanked by a small reception area/coatroom. An arched doorway, guarded by two 13th-century seated lions attributed to the Italian sculptor Guglialino, opened into the most memorable room of the house, the spectacular two-story grand hall. Measuring 67 by 47 feet and crowned with a peaked glass ceiling supported by large hand-hewn beams, this truly grand Italian Renaissance space seemed like an elaborate set for Romeo and Juliet—in fact, it served that purpose for a 1916 silent film version of the Shakespeare play. Heavy stucco arches on all four sides of the ground floor supported a second-floor balcony that had more delicately columned arches in marble, alabaster, and

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Tower detail

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Harbor front and pool facade

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Cloister looking to grand hall

onyx, as well as finely crafted Italian iron railings. Rare works of sculpture, art, and painted tiles dating as far back as ancient Egypt were set into the walls.

The floor of the grand hall was finished in simple four-by-four-inch terra-cotta tiles, covered by several Persian rugs. Plush fabric and leather sofas added modern comfort to the room. Opposite the entrance, a fountain, covered in hand-painted tiles surrounding a carved stone lion’s head, trickled water into the basin below. Behind the fountain, stairs led to the second-level balcony hall and the master and family bedrooms. Directly at the top of the stairs, glazed Palladian doors opened onto an outdoor cloister garden court of approximately 3,800 square feet, complete with clock tower, bells, and a round, bubbling fountain holding 21 goldfish; that being Mrs. Ferguson’s lucky number.

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Cloister

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Grand hall

Dining room

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Dining room doorway with Spanish panel

The majority of the house’s rooms surrounded the cloister. Behind the west wall of the cloister were the refectory and drawing room, the former a fantastic vaulted chamber decorated with Byzantineinspired frescos painted by Oyster Bay artist Robert Sewell, whose house Fleetwood still stands.

South-facing Gothic stained-glass windows sent a dazzling array of colored light into the room as the sun set over Huntington Harbor. A Carrara marble relief of a reclining angel, attributed to Michelangelo, was mounted into the hood of the large stone mantelpiece, set on a pair of twisted marble columns supported on the backs of two 13th-century grotesque lions. With few windows looking out to the cloister, its east and south walls masked the servants’ quarters and kitchen wing.

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Gatehouse

Above the arcade of the cloister’s north wall, the guestrooms, accessed via the main stairs, rose a dramatic four stories in the structure’s large square tower, which was dominant from all angles of the building’s exterior. The bedrooms resembled monks’ cells; each bed was covered in simple linen marked with a huge brown cross. Writing desks included neatly stacked stationery that displayed the house’s name and little figures of monks. Incorporated into some of the guest bedrooms were centuries-old children’s tombstones Mrs. Ferguson had acquired during her European buying sprees. Guests of The Monastery reported that Mrs. Ferguson informed them they would be staying with Abie or John, and they would soon discover that those were the names on the tombstones in their bedrooms.

The eccentric Mrs. Ferguson was also very kind. She was uninterested in Society with a capital S or in grand parties; her world revolved around her seven children. The house was always filled with dozens of their friends and their numerous pets. Mrs. Ferguson shared her wealth with neighborhood kids. The gate-house garage was like a toy store. Its doors were always open, and the bikes, motorcycles, cars, and other playthings that filled it were available to all who wished to use them.

Juliana Ferguson died of cancer in December 1921; her estate included a 110-foot motor yacht dubbed The Mermaid and a Manhattan residence, as well as The Monastery. Not wanting to undertake the house’s upkeep—heating it required 9.5 tons of coal a day—the Ferguson children offered their mother’s

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View to harbor from tower

dream house for sale. The house passed through several owners but kept reverting back to the Ferguson children. In 1935, The Monastery and its contents were put up for auction, many of its treasures selling for pennies on the dollar. The house itself found no buyers; two offers of less than $17,000 were rejected, and the house remained in the Fergusons’ hands. Shortly after, a Brooklyn attorney named Charles D. Cords purchased the house for an undisclosed sum and resided at what became known as Ferguson’s Castle for the next 30 years.

In 1964 the 14-acre estate was seized by Suffolk County for back taxes totaling more than $100,000.

Vandals had their way with the abandoned empty house, smashing its windows and stealing its priceless artifacts and sculptures. In 1970 a developer tore it down, almost bankrupting himself in the process. He abandoned the site, leaving the massive foundation and retaining walls.

After a decade, a couple bought the site, used part of the original driveway, and erected a new stucco house on the old foundation, incorporating part of the original gardens and the pool. Some of the valuable artwork survives, scattered throughout the United States in private collections and in museums. The 13th-century seated lions from the grand hall and three 12th-century marble capitals are in the collection of the Cleveland Museum of Art.

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E AG L E ’ S N E S T W I L L I A M K . VA N D E R B I LT J R . H O U S E

Centerport (1910–36)

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of William K. Vanderbilt Jr.’s estate was influenced by his love of yachts and

the exotic places they could take him. Northport Harbor, protected on three sides, was the perfect

place for the avid yachtsman to build Eagle’s Nest. In 1910, Vanderbilt, a shipping and railroad heir, purchased 43 acres of land on the harbor and quickly began construction of an eight-room bungalow and an

Aerial view

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Approach to main house

Guest wing and entrance to lower museum

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Guest wing and lower museum entrance

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Clock tower from court

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eclectically styled boathouse. The design of these structures is credited to his cousin Whitney Warren, of Warren & Wetmore, who was responsible for all the future additions to the property.

The estate occupies both sides of Little Neck Road, with its main portion lying to the east, and is entered through a pair of massive iron gates in an imposing white stucco wall. The gates were moved there from Idle Hour, the Oakdale estate of Vanderbilt’s father, and within them are two great iron statues of eagles, taken from the original Grand Central Terminal—built by Vanderbilt’s great-grandfather—prior to its demolition. Most people think the statues inspired the name of Eagle’s Nest, but according to early records of the Suffolk County Parks Commission, when Vanderbilt was touring the grounds before the house was built, an eagle flew out of its nest in the craggy underbrush.

Down the Belgian cobblestone drive, a semicircular row of ancient columns, said to be from the ruins of ancient Carthage, overlooks the steeply sloping lawn and harbor. The columns also mark a fork in the road; to the right was the tennis court, bordered by a formal rose garden, a peacock pond, a private power plant, and a waterfront hangar, with a pilot’s apartment, for Vanderbilt’s seaplanes. To the left are the main house, boathouse, chauffeur’s garage, and the Hall of Fishes, Vanderbilt’s private marine museum. A wonderful array of trees and lawn surround the drive, which is shaded by some of the 180 linden trees imported from Germany.

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In 1924, to meet his personal needs and accommodate his growing collection of marine specimens gathered during his expeditions around the globe, Vanderbilt decided to expand the bungalow. In response to Vanderbilt’s desire for the new house to be reminiscent of old Spain, Warren & Wetmore associate Ronald Pierce was sent on an exploratory trip of the Iberian peninsula to gain inspiration and purchase architectural elements for the project. The results blended the authentic architecture of northern and southern Spain with the fantasy of a Hollywood film set.

For the next 10 years, the house underwent constant expansion to become a four-winged structure of various heights and levels surrounding a large, open cobblestone courtyard. Constructed of concrete and tile, the house was finished in gleaming white stucco, with baroque details of cast and carved stone in shades ranging from pinkish-cream to deep rose. The roofs are covered in barrel terra-cotta tiles in hues of orange, pink, red, and buff. Reminiscent of a small Spanish village, the rambling structure is entered over a stone bridge and through an imposing arched breezeway housed within a large decorative clock tower. The breezeway, which contains a spiked portcullis and enormous wooden gates, is surmounted by

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Library

the Vanderbilt family coat of arms. Above is an old French bell, cast in 1715, which rang on the hour thanks to the handiwork of clockmaker Seth Thomas. Atop the bell tower, a fanciful weathervane by preeminent ironsmith Samuel Yellin is styled in the likeness of a Dutch sailing ship. Yellin reportedly found the unique architecture of Eagle’s Nest a refreshing change from the many Georgians being built at the time and counted it among his favorite projects.

Once one enters the courtyard, the front door is accessed through a glassed-in arcade. At the opposite end of the arcade, the guest wing contains an English pine-paneled library, a Moroccan-style enclosed court, and several bedrooms decorated in various styles from Asian to 18th-century French. This wing was later inhabited by the mother of Vanderbilt’s second wife, Rosamond Warburton.

The main portion of the house occupies the site of the original bungalow; its two-story entrance hall is covered in Travertine marble and large portraits of Vanderbilt family members. A carved 18th-century Flemish staircase is tucked into the far left corner of the room. Furnished with treasures collected around the world as well as inherited family pieces, the interiors of Eagle’s Nest are a wonderful eclectic mix

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Rosamond Vanderbilt's bedroom

reflecting Vanderbilt’s travels, his era, and his class. Many of the pieces look as if they’ve been in place for centuries. Up several small steps from the entrance is the dining room; its ceiling of carved Florida cypress and walls of rough plaster display Moorish weapons inlaid with silver, gold, and jewels. A corner fireplace painted with the Vanderbilt family crest and antique Florentine furniture further portray the family’s wealth and aristocratic history. Also on this floor is a bright enclosed porch that overlooks the bay and provided a seasonal view of Vanderbilt’s several yachts. Next to the dining room is a sitting room containing a 1494 Portuguese stone mantel and furnishings from the legendary Vanderbilt yacht, the Alva.

Two charming Louis XV–style bedrooms, one in peach and the other in green, complete this floor; these quarters housed such noted guests as the Duke and Duchess of Windsor, golfer Sam Snead, and skating and film star Sonja Henie.

Up a flight of stairs is the oak-paneled organ room containing a 1926 Aeolian organ that cost an estimated $90,000. Its pipes are hidden behind a massive early 18th-century Aubusson tapestry in a space rising three floors from the basement. The rest of the second floor is dedicated to the master suite

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Entrance detail

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Salt-water swimming pool

containing the French-inspired bedroom and Carrara marble bath for Vanderbilt’s first wife, Virginia Graham Fair, although she rarely stayed there. Modeled in the Empire style, Vanderbilt’s own room contains a campaign bed copied from one belonging to Napoleon. The floor of his nautical-themed bathroom is inset with a colorful marble mosaic sailing ship and murals of saltwater aquariums painted in panels above the doors.

Part of the final 1936 addition to the house was the bedroom suite of Rosamond Warburton, the second Mrs. Vanderbilt, connected to Vanderbilt’s room by a long breakfast room hall in pickled pine. The bedroom is finished in pale yellow Louis XVI paneling, and her adjoining octagonal Roman-style dressing room and bath were the ultimate in 1930s luxury. The Italian pink marble tub, carved from a single block of stone, required a servant to fill it with hot water three times before it was warm enough for bathing.

On the second floor of the clock tower is William K. Vanderbilt III’s bedroom suite, decorated in the Italian style with a carved wooden ceiling, glazed terra-cotta floor, and Dutch-style corner fireplace.

William K. Vanderbilt III died in a 1933 automobile accident at the age of 26. The 1936 addition, which

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East entrance gates from Idle Hour

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View of harbor from enclosed porch

contains collections from the safari trip he made shortly before his death, fully encloses the inner courtyard. It became known as the Memorial Wing of Eagle’s Nest and today functions as a museum.

Two other museum areas were added to the estate, the principal one being the 1922 Hall of Fishes, the roof of which served as the first tee of Vanderbilt’s private six-hole golf course. The “lower museum,” added to the main house in the late 1920s, contains a 16,000-pound whale and shark habitat dioramas, similar to those at the Museum of Natural History. These exhibits were open to the public during Vanderbilt’s lifetime. After his death in 1944, the house, its furnishings, its collections, and an endowment were willed to Suffolk County, which has operated Eagle’s Nest as a museum since Rosamond Vanderbilt’s death in 1947.

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V I L L A C A RO L A I S A AC G U G G E N H E I M H O U S E

S a n d s Po i n t ( 1 9 0 7 , 1 9 1 6 – 1 9 1 7 )

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G U G G E N H E I M S were one of the North Shore’s leading country-house-building families during

the early 20th century. Made wealthy through smelting and mining operations extending from

Canada to Chile, three of the seven Guggenheim brothers settled in Port Washington, in an area that has since become Sands Point. William, the youngest, moved there in 1900, Daniel purchased the former Howard Gould estate in 1917, and Isaac, the eldest brother, undertook the construction of Villa Carola, named for his wife Carrie (Carol).

Entrance facade

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Service tower

In 1907, Isaac Guggenheim began building what would ultimately be Villa Carola on 210 waterfront acres. He commissioned architects Warren & Wetmore to design the first in a series of Norman French–inspired outbuildings that came to include a gatehouse, a combination chauffeur’s garage and estate office, a dairy barn, a large domed greenhouse conservatory, and a stable complex. The buildings were constructed of stucco and red brick and featured steeply pitched roofs. A few years later, the same firm designed a clubhouse for Guggenheim’s private nine-hole golf course, rumored to have been created in response to his rejection for membership at the local golf club.

Work on the main house began in 1916. This time the architect was Harold Van Buren Magonigle, who sited the stately Northern Italian Renaissance–style villa on the property’s highest elevation overlooking Long Island Sound.

Villa Carola was made of rough wire-cut brick generally thought to be unusable because of mistakes in firing that resulted in uneven coloring. Magonigle divided the bricks, which offered a range of brown, red, and golden yellow hues, into 13 color groups. During construction, the bricks were carefully arranged so that from a distance they appear to have a single warm tone but on close inspection form a pattern with more depth and texture. Polychrome glazed terra-cotta ornaments of grapevines and interlocking geometrics extend around the iron French casement windows, and a large porte-cochere adds vitality to what might have been an austere facade. The roof is covered with pan-and-roll terra-cotta tiles, specially coated with a green glaze before firing to give them a centuries-old, mossy appearance.

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Gallery hall c. 1927

Music room c. 1927

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Summer dining room c. 1920

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Fountain and aquarium c. 1920

The four wings of the house surround a spacious, open court with walls of pinkish stucco, tremendous arched doors framed with a white and blue glazed terra-cotta faience, and an upper-level arcade with Vermont marble columns. The court, which increases air circulation throughout the house, was originally grass-covered and held an Italian-style central fountain by sculptor Robert Aiken.

Facing southwest like the house was a long-abandoned drive, lined with locust and maple trees planted by a previous owner, and grassed over from disuse. Magonigle used this 1,400-foot avenue to create a tree-lined grass allée and focal point for Villa Carola’s formal gardens. The layout of these and the rest of the grounds around the house were entrusted to landscape architect Ferruccio Vitale, of Vitale, Brinckerhoff & Geiffert. Divided into two levels and four sections, the gardens are situated in a rectangular court surrounded by a high wall of manicured hemlocks between the house and formal allée.

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Inner court c. 1920

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Gate house

From the house’s wide brick-and-stone terrace, several steps lead to the main level of the garden, arranged in many square beds of perennials and rectangular beds of grass. The eye is continually drawn farther into the garden by the distant allÊe, its entrance marked by two antique stone pylons capped with sculptures of griffins, perhaps inspired by the ones in the Boboli Gardens, near Vitale’s childhood home in Florence, Italy. The pylons are flanked by stone niche fountains, designed by Magonigle and containing bronze figures by artist F. Landi. In front of the niches is a large reflecting pool with two figures designed

by Landi shortly before his death and executed by sculptor Chester Beach. To the outer edge of the pool is a rose garden. The remainder of the grounds required only a simple treatment, as they were largely given over to the golf course. The curved entrance drive winds through this verdant landscape to an oval court commanding a view of the water.

Upon entering the house, one passes through a pair of large arched wrought-iron and glass doors into an octagonal vestibule with domed ceiling; the walls are finished in travertine and the floor in a multicolored marble mosaic. One immediately notices a set of elaborate iron gates by Philadelphia ironsmith Samuel Yellin, featuring exotic birds in cages and elaborate vines. The gates open into the stately gallery hall, where the ceiling rises some 14 feet and the room extends 70 feet to a large travertine mantelpiece.

The same stone cloaks the walls. Crowning the room was a barrel-vaulted coffered ceiling, Sienese in style, created by artist Herman T. Schladermundt. He achieved its finish by burning the cypress beams with a

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Allée from house

plumber’s torch and brushing out the soft grain to give the wood a dark, aged glow. He also painted the ceiling with various heraldic shields in black, white, and red.

At both ends of the gallery hall, two vaulted arcades lead to the rest of the formal rooms of the first floor. The walls of the arcades are dressed in travertine, and their vaulted ceilings are painted midnight blue highlighted by gold-leaf stars. Inset murals by Magonigle’s wife, painter Edith Marion Day, surround the doorways.

A large marble staircase in the gallery hall leads to a pair of enclosed cloisters overlooking the inner court. A series of guestrooms radiates from the cloisters, as does the master suite, which occupies the entire west wing. The suite comprises his-and-hers bedrooms, baths, and dressing rooms, and Mrs. Guggenheim’s boudoir. Instead of facing the Sound, these spaces overlook Vitale’s formal gardens. A wonderful feature of this wing is a second-floor breakfast room off Mrs. Guggenheim’s bedroom, decorated like a Chinese tent, with walls and ceiling covered in canary yellow silk. On warm summer mornings, a large stone terrace opens off the room for breakfast outdoors.

Although planned to look as if it had stood for centuries, Villa Carola contained all the latest technological amenities, including a central vacuum, two elevators, an automatic icemaker, an ice cream freezer, and even an early form of air conditioning that by today’s standards still seems luxurious. Each room had its own temperature control run from a series of three boilers that produced indirect steam.

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For efficiency, the walls of the kitchen and service halls were lined with tiles, at heights of five feet in the halls and eight feet in the kitchen, then painted with a two-inch black stripe above so that marks would not show after cleaning. In these utilitarian spaces, all the corners of the walls, floors, and windows were rounded to keep dust from collecting and make cleaning easier. The doors were laminated and had no trim or panels, and the floors were covered with linoleum tiles, more features that assisted with sanitation and accommodated heavy use.

After Villa Carola’s completion in 1917 at a cost of $2 million, Isaac Guggenheim lived there only five years. Upon his death in 1922, the estate was acquired by his brother Solomon, founder of the famous Guggenheim Museum in Manhattan, who took up residence two years later. Four months of interior renovations ensued under the direction of architect–decorator Rowland Burden-Muller. The floor plan remained relatively unchanged, but the colors, finishes, and treatments were simplified, with a sympathetic feeling for the original architecture. In the open court, the grass was paved over in pink granite and white marble, and the fountain was replaced by a pedestal and statue titled “Summer,” by sculptor John Gregory.

The gothic billiard room became a library, its quartered-oak paneling stripped of its dark stain and lightened with a whitewash. Three French doors to the arcaded hall and one leading to the sunroom were filled in to accommodate bookshelves and provide more privacy than the original, somewhat open floor plan allowed for. The matching sunroom and summer dining room flanking the ends of the west garden facade were repainted by Claggett Wilson with brightly colored murals of various forms of nature, including iridescent moths, plants, and butterflies. The music/living room, the largest space on the first floor, remained relatively unchanged.

Solomon renamed the house Trillora Court for his three daughters and lived there until his death in 1949. His wife Irene died not long after. The contents of the house went up for auction with Parke-Bernet in February 1951. The estate was then purchased by a developer who built three homes on the southern edge of the property before reselling the remaining 207 acres to the IBM Corporation for use as an executive training center and country club in 1953. It remained in their hands until 1994, when it was sold to the incorporated Village of Sands Point and converted to a country club for local residents.

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LITTLE IPSWICH RU B Y RO S S WO O D

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W O O D B U RY ( 1927–28)

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I P S W I C H was the creation of architect William Adams Delano and its owner, interior designer

Ruby Ross Wood, two pioneers of early 20th-century design. Mrs. Wood and her second husband,

Wall Street broker Chalmers Wood, commissioned the house in 1927. She spent several months planning before handing her ideas over to her good friend Delano. Named after Mr. Wood’s childhood home in Ipswich, Massachusetts, the house drew inspiration for its design from a gate lodge at England’s Kimbolton Castle. In addition, Little Ipswich combined French, Palladian, and English elements.

Entrance court approach

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Rear facade

On January 28, 1929, Mr. and Mrs. Chalmers Wood first spent the night in their new country house.

Delano was so pleased with the residence that he requested it be used as the backdrop for his portrait by Bernard Boutet de Monvel, and during his first visit to the completed home he inscribed the guest book with these words: Together we have planned this house With love have sought, in brick and stone To model here a perfect home So fashioned that the shadows fall In pleasant patterns on the wall, And so disposed that rooms have sun, With space and air in every one.

It’s finished . . . Only time can tell Whether we’ve done it ill or well.

For me, who love both you and it The time has come to write “exit.”

Before I leave one thing I do: Pray God that peace may be with you.

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View from rear court across pond

Little Ipswich was also fondly mentioned many times in legendary interior designer Billy Baldwin’s autobiography. Baldwin, a protégé of Ruby Ross Wood, became a regular houseguest of the Woods.

Set on approximately 43 acres, the compact estate had all the amenities of a larger compound, including a well-appointed stable, a greenhouse, and several other accessory structures. The Woods predominantly used the house in the summer and early autumn months; after the first of November, they could often be found in New York at their 277 Park Avenue apartment.

The main approach to Little Ipswich from the Syosset-Woodbury Road was a long, curving drive up a gentle incline through a wooded landscape lined with flowering dogwoods and rhododendrons. Near the top of the hill, one encountered a round pea gravel court from which a straight allée of boxed trees framed the simple lines and classical details of the distant house. The entrance to the square courtyard at the end of the allée was guarded by two Italian stone sphinxes. The single-story U-shaped whitewashed brick house was dominated by a three-bay Doric portico beneath a large verdigris copper dome with a gilded swan weathervane. Only the dome and a pair of block chimneys broke the flat roofline. The restrained neoclassical facade offered modernist interpretations of classical ornamentation, including fluted Doric columns, as well as Greek key and dentil moldings executed in iron and wood.

Entered though a paneled door topped by a fan window, the round entrance hall contained three other arched doorways leading to the rear terrace, dining room, and library. Its floor was black-and-cream polished terrazzo in the form of a compass star. The domed ceiling was painted with an elegant mural of

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swans and hearts, inspired by a ceiling at the Palazzo del Te, in Mantua, Italy. Swans were a consistent motif throughout the house. To the right was the library, paneled in warm pine, its four walls of bookshelves rising to a dentil cornice. French doors at the east and west ends of the room supplied ample natural light. Inset above the doors were pleasant old canvas murals of white Roman figures on a black background. Purchased from a long-forgotten London house, the marble mantel, with a limewood overmantel in the Adam style, inspired the color of stain for the pine walls.

At the far right corner of the library, a door accessed a long hall, off which were the master bedrooms, a small writing room, and a large living room overlooking the pond. Mrs. Wood’s bedroom displayed both French and English influence, its elaborate floor removed from a French maison. Made up of light and dark woods, the floor was broken into two-by-two-foot squares containing a compass-star-patterned inset.

The mantel and overmantel, also French, were of dark brown marble and carved wood. Mr. Wood’s bedroom also had walls of traditional French box paneling, and it held Chippendale furniture, a Persian rug,

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and a painted wood bed. The stone fireplace was surrounded by blue Delft tiles of foxes and horses, and was topped with an early American hunting frieze. Through a series of French doors, both bedrooms had access to the terrace, pool, and formal gardens.

The living room, which completed the south wing of the house, featured three large 18th-century leather panels of sporting scenes taken from Longnor Hall in Shropshire, England, as well as a fireplace of carved marble. A large bay window, painted olive green and hung with darker olive silk damask curtains, overflowed with freshly cut flowers and was centered on the east wall overlooking the pond.

To the left of the entrance hall was the dining room, equal in size and scale to the library. The room’s plaster walls were painted light gray, and its windows were draped in dark blue satin patterned with white swans, wreaths, and a decorative border. In the center of a curved wall apse, a gray and white marble chimney piece displayed ivory figures of the four seasons. Clean lines, simple crown and chair-rail moldings, and furniture and paintings in tones of black and white gave the dining room a crisp look.

From the dining room, two doors led to the north wing, the first to the kitchen, the pantry, and several staff bedrooms, the second to a guest bedroom painted pale pink with silver-leaf swan finials crowning a four-poster bed. At the end of this wing were two more guest bedrooms and a shared bath. A service court, a four-car garage, and the greenhouse were also accessible from the north wing. From the service court, a small road led to the riding stable and a separate entrance to the estate for deliveries.

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Mrs. Wood's bedroom

Originally laid out by Delano, with later alterations by Innocenti & Webel, Little Ipswich’s grounds contained both formal and informal gardens. The main feature of the grounds was a large pond, surrounded by walking trails bordered with lily of the valley, natural stone benches, assorted wildflowers, and irises—Mrs. Wood’s favorite—in an array of shades from palest blue to deepest purple. The rear facade of the house centered on a 52-by-52-foot stone-paved court that offered views of the lawn and across the pond, to an arched treillage centered between two great oak trees. The trees, 52 feet apart, were Delano’s inspiration for the size and placement of the house and court. During the summer, the courtyard was the center of all activity, doubling the size of the house’s living space and connecting to the public rooms for entertaining.

Northeast of the main house was a series of open fields and the long rectangular stable; to the south were the bedroom terrace and a series of Italian and French formal gardens. At the southwest corner of the terrace, several steps led to a tranquil rectangular swimming pool nestled high in the woods atop a small hill.

Following Mrs. Wood’s death in 1950, Little Ipswich became the home of Italian count Giorgio Uzielli. After his death, the estate was purchased by a developer, and the house sat empty and vandalized for several years during the real estate recession of the late 1980s. In 1995 the house was razed in two days, and its 28 remaining acres were developed. The stable, the last vestige of Little Ipswich, was bulldozed in 2004.

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T H E E V E LY N M A R S H A L L F I E L D S UA R E Z H O U S E S

Muttontown and Brookville (1931, 1952)

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the North Shore in her lifetime, the first as wife of department store and publishing mogul Marshall

Field III. She was born in New York, daughter of shipping magnate Charles Marshall. After living in Chicago for several years, she and her husband elected to move east in 1921 and erected one of Manhattan’s largest private town houses on East 70th Street four years later. By 1930, a few years after completing the magnificent Caumsett at Lloyd Neck, the Fields divorced.

By 1931, Evelyn Marshall Field acquired 85 acres of land in Muttontown just west of Knollwood, the former Charles I. Hudson estate. She commissioned Chicago architect David Adler, who had designed her

Easton, main house with winter cottage (left)

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Easton rear portico

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New York townhouse, to create a Georgian country residence similar to Stratford Hall, the birthplace of Robert E. Lee. For its interiors, she hired Adler’s sister, designer Frances Elkins. The resulting Easton, estimated to cost $2.5 million to construct and furnish in 1931, is the only known Long Island project by this brother–sister team. Prior to Ms. Field’s second marriage, to landscape architect Diego Suarez in March 1937, work on the grounds was completed by the local firm Innocenti & Webel.

Strategically placed within the rise of a sloping hill, Easton and its matched one-and-a-half-story dependencies lay at the end of a long entrance court lined with an avenue of American elms forming a vista to the north. The mature trees were said to be moved from Amityville in the middle of a single

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Easton, Mrs. Field's bedroom

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Easton pool house

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night, as all the telephone and electrical wires along the way had to be disconnected, and the trees were in place by morning. The house’s central block rose two and a half stories, with the upper floor contained within a mansard roof. It is raised from the earth in a similar fashion to the 18th-century southern colonial plantation Whitehall in Annapolis, Maryland. Below the central block is a basement exposed on the front facade only, and the rear facade is therefore half a story shorter than the front. The two self-contained wings extending to the east and west were connected to the house through curved arcades, creating a U-shaped plan. The cottage-like wings served, respectively, as a winter or guest cottage, and as a service building with a laundry and staff quarters for seven. The rear facade, with its great recessed portico, bears a strong resemblance to the eastern front of Jefferson’s Monticello, a definite influence in Adler’s design.

Up a pair of curved steps, inspired by those of late-18th-century Charleston, the house is entered through an arched doorway to a vaulted hall supported by a pair of Doric columns. Fine old English furniture contrasted sharply with the modern wood floor, finished in ebonized oak inset with bands of steel in a geometric pattern. Decorator Elkins employed her signature style of mixing modern and classical elements. Lavish materials were used throughout; the staircase railing of the main house was covered in ostrich skin and set in place with sterling silver nails, and doorknobs in the winter cottage were fashioned from Swedish paperweights.

The whimsical dining room, executed in shades of white and gray, was surrounded by 16 cast-plaster palm trees rising from a lattice-incised dado. The unique mantelpiece was made of Steuben glass that glimmered when fires were lit. The windows were draped in Chinese yellow bourrette with heavy fringe, and a modern Waterford chandelier hung over a late-18th-century George III dining table and period

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chairs. Easton’s library was considered one of the most beautiful on the North Shore, and its finely proportioned carved pine paneling was imported from an old house in England.

During the late 1940s, Mrs. Suarez rented Easton to the Duke and Duchess of Windsor with the assumption they would later purchase the estate. When the extended stay produced no offer, the house was placed on the market for $200,000 and sold in 1951 to Bruce Wood Hall.

Unfortunately, at the time Hall was interested only in the land and the winter cottage, and he razed the central portion of the house in 1953 and left the two dependencies as separate buildings. The building materials were salvaged; nearly all the interior and exterior details of the house were carefully removed over the period of a year. The library survives, having since been reinstalled in a house in nearby Lattingtown. The rest of the estate buildings remained, including the six-car garage with chauffeur’s apartment, a brick gardener’s cottage, greenhouses, and the Greek Revival pool and tennis house.

Hall loved the cottages. Not wanting to see them razed or the property subdivided after his death, in 1989 he built a simpler version of the original house on the old foundation of the central wing, reconnecting it to the winter cottage and former laundry house in hopes it would encourage his family to keep the property intact. Never completed, the central wing remains an empty shell connecting the two side wings.

T H E S UA R E Z R E S I D E N C E Minutes away in nearby Brookville, Evelyn and Diego Suarez constructed their last Long Island home on 17 acres in 1952 with the help of architect Frederick Rhinelander King of Wyeth & King. Set at the top

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Suarez rear facade

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of a long wooded drive opening into a white gravel court lined with a wall of lush green, perfectly manicured yews, cut into the shrub wall opposite the house a niche shelters a life-size statue of Hercules. The white-washed brick residence shows the influence of both French and Palladian styles. Standing regally on its roof are two statues taken from Mrs. Suarez’s garden at Easton. The estate reflects her husband’s experience as a landscape architect and is reminiscent of an 18th-century French garden pavilion built around a series of gardens evocative of Versailles.

The Suarez residence’s interiors, neither overwhelming nor cramped, represent a true understanding of scale. A bright round entrance hall, is paved with a decorative circular patera executed in black and white marble. The pattern is repeated in a glass skylight of the same form. The Louis XVI–style library, which doubles as the dining room, is paneled in walnut, its shelves filled with leather-bound volumes and surrounding an imported gray marble mantel. An enclosed porch, added later, was used for morning and afternoon meals. There are four bedrooms on the first floor, two for guests and two for the Suarezes. The small second floor houses four servants’ rooms.

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The living room, which occupies the house’s center, is divided into several spaces for entertaining and holds an assortment of fine furniture and art. Its mantel is of old rouge marble. Three French doors overlook the rear terrace with views of a large reflecting pool and formal gardens. Eighty perfectly manicured lindens lined the formal walks of the parterre garden. Filled with a gallery of lead and stone statuary, the gardens surround three sides of the house. Statues of the four seasons, also from Easton, stand on the roof overlooking the garden. The pool house, a miniature version of the main house’s front facade, sits at the south end of the swimming pool to the left of the enclosed porch.

The house, although modest in size, is dramatic in effect, reflecting Evelyn and Diego Suarez’s fine taste and accommodating all the interests and needs of the mature, well-traveled couple. Perfect for a weekend getaway, this Long Island evocation of the French countryside is one of the last great houses to be constructed on the North Shore. It remains in private hands.

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O RT F O L I O

1916. OAK HILL. Brookville residence of dry goods wholesaler Cornelius N. Bliss William Welles Bosworth, architect Razed

1916. Old Westbury residence of New York attorney Devereux Milburn Sr. Peabody, Wilson & Brown, architects Private residence, partially razed

1916–18. BONNIE BLINK. Great Neck residence of steel magnate Henry Phipps Horace Trumbauer, architect Administration offices of Great Neck school system.

1917–1918. APPLE TREES. Locust Valley house of banker Junius Spencer Morgan Roger H. Bullard, architect Private residence

1918. NONESUCH HOUSE. Manhasset residence of New York stockbroker and member of A. S. Barnes & Co. Publishing family, Courtland D. Barnes Peabody, Wilson & Brown, architects Razed

1920. THATCH COTTAGE. Centre Island residence of graphite industrialist Charles E. Pettinos Mrs. John E. McLeran, architect Private residence

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A RCHITECT ’ S B IOGRAPHIES

FREDERICK LEE ACKERMAN

ADAMS & PRENTICE

In partnership from 1906 to 1921, the Cornell University

Both graduates of Yale University, Lewis Greenleaf Adams

and Ecole des Beaux-Arts-trained Alexander B. Trowbridge

(1897–1977) worked in the offices of noted architects

(1868–1950) and Frederick Lee Ackerman (1878–1950)

Delano & Aldrich before and after attending Paris’s Ecole

were the architects of one of Long Island’s most notable

des Beaux-Arts from 1923–1926, while Thurlow Merrill

residences, the 1913 George D. Pratt estate Killenworth at

Prentice (1898–1985) studied architecture at Columbia

Dosoris Park, the Pratt family compound at Glen Cove.

and the Ecole prior to forming a design partnership with

Graduating from Cornell in 1890, 11 years prior to

his fellow Yale alumnus in 1929. In spite of the economic

Ackerman, Trowbridge had completed his work at the

downturn of the 1930s, the firm of Adams & Prentice

Ecole and was serving as Dean of Cornell’s College of Fine

managed to create a strong portfolio of residential, com-

Arts while Ackerman was an undergraduate there. As part-

mercial, and institutional works before the dissolution of

ners, Ackerman oversaw most of the firm’s public projects

their partnership in 1941, including the William R. Cotter

while Trowbridge handled the majority of their residential

Federal Building (1930), Hartford, Connecticut; the Yale

work, mostly done for the Pratt family who were related

Daily News/Briton Hadden Memorial Building (1932) at

to him by marriage. Killenworth was named “best house of

New Haven; alterations and additions to the Gnome

the year” by Country Life magazine in 1914 and its archi-

Bakery (1933), New York City; Howard Phipps’ 1935 res-

tects awarded a prize for country house design by the

idence at Old Westbury; and House Number 21 “The

American Institute of Architects that same year. Their last

Motor Home” for the New York World's Fair 1939.

Long Island house as partners was a Mediterranean villa (1917) at East Islip for former Secretary of the Treasury Jay F. Carlisle. After the break up of their partnership, Trowbridge completed design work on a second Dosoris

Following World War II, Adams continued to practice as a partner in the New York firm of Adams & Woodbridge while Prentice returned to his native Hartford as a principal in the firm of Ebbets, Frid & Prentice.

Park house for Theodore Pratt and an island summer

WILLIAM WELLES BOSWORTH

house for banker Miner D. Crary overlooking Northport Bay. The designer of Queens’ Sunnyside Gardens and architectural consultant to the planned community of Radburn, New Jersey, Ackerman devoted much of his later career to writing and lecturing at Cornell and Columbia universities.

Born and raised in Marietta, Ohio, William Welles Bosworth (1869–1966) received his architectural training at the Massachusetts Institute of Technology and Ecole des Beaux-Arts where he would later serve as a foreign associate. As an architect, his work included the first AT&T and Western Union Buildings in New York, L’Enfant Memorial at Arlington Cemetery, Virginia, the academic buildings

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B IBLIOGRAPHY

Baldwin, Billy. Billy Baldwin Remembers. New York: Harcourt Brace Jovanovich, 1974.

Bessell, Matthew. Caumsett: The Home of Marshall Field III in Lloyd Harbor, New York. Privately published by Office of the Huntington Town Historian, 1991.

Boegner, Peggie Phipps, and Richard Gachot.

Halcyon Days: An American Family through Three Generations. New York: Harry M. Abrams, 1986.

Cantley, Rev. Michael J. A City with Foundations: A History of the Seminary of the Immaculate Conception, 1930–1980. Privately published, 1980.

Collins, Theresa M. Otto Kahn: Art, Money, and Modern Time. Chapel Hill: The University of North Carolina Press, 2002.

Cortissoz, Royal. The Architecture of John Russell Pope (3 vols.). New York: William Helburn, 1925–30.

Davis, John H. The Guggenheims: An American Epic.

New York: S.P.I. Books, 1994.

Delano, William A., and Chester Aldrich. Portraits of Ten Country Houses. New York: Doubleday & Co., 1924.

Edgell, G. H. The American Architecture of To-Day. New York: Charles Scribner’s Sons, 1928.

Ferree, Barr. American Estates and Gardens. New York: Munn & Co., 1904.

Foreman, John, and Robbe Pierce Stimson. The Vanderbilts and the Gilded Age: Architectural Aspirations, 1879–1901. New York: St. Martin’s Press, 1991.

Fox, Pamela W. North Shore Boston: Houses of Essex

County, 1865–1930. New York: Acanthus Press, 2005.

Garrison, James B. Mastering Tradition: The Residential Architecture of John Russell Pope. New York: Acanthus Press, 2004.

Howell, E. W. Noted Long Island Homes. Babylon, Long Island: Privately published by E. W. Howell Co. Builders, 1933.

Hopkins, Alfred P. Modern Farm Buildings. New York: Robert M. McBride & Co., 1916.

House Beautiful Building Annual 1925, The. Boston: The Atlantic Monthly Company, 1924.

Jackson, Allen W. The Half-Timber House: Its Origin, Design, Modern Plan, and Construction. New York: McBride, Nast, 1912; repr. Amsterdam, The Netherlands: Fredonia Books, 2002.

Kathrens, Michael. American Splendor: The Residential Architecture of Horace Trumbauer.

New York: Acanthus Press, 2002.

King, Robert B. Ferguson’s Castle: A Dream Remembered. Hicksville, New York: Exposition Press, 1978.

———. Raising a Fallen Treasure: The Otto Kahn Home, Huntington, Long Island. Mattituck, New York: The Mad Printers of Mattituck, 1985.

Lindeberg, Harrie T. Domestic Architecture of H. T. Lindeberg. New York: Acanthus Press, 2003.

Mackay, Robert B, Anthony K. Baker, and Carol A. Traynor, eds. Long Island Country Houses and Their Architects, 1860–1940. New York: Norton, 1997.

Mackay, Robert B., Stanley Lindvall, and Carol Traynor, eds. AIA Architectural Guide to Nassau

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I NDEX

1063 Fifth Avenue, 70, 73, 170, 356 1130 Fifth Avenue, 349 400 East 57th Street, 348, 350–351 60 East 68th Street, 349 A A New Leaf, 171 Ackerman, Frederick Lee, 345, 347 Adam Brothers, 168 Adams & Prentice, 321, 347 Adams & Woodbridge, 347 Adams, Lewis Greenleaf, 321, 322 Aderente, Vincent, 211 Adirondack State Forestry Preserve, 231 Adler, David, 232, 300, 306 Aeolian Building, 96 The Age of Innocence, 74, 163 Aiken, Robert, 186 Alavoine et cie of Paris, 63 Albini, F., 2151 Albro & Lindeberg, 353 Albro, Lewis C., 353 Aldred, John E., 354 Aldrich, Chester Holmes, 349 Alva, 18, 22, 128 American Academy, Rome, 348, 355 American Can Company, 155 American Committee to Negotiate Peace, 350 American Expeditionary Forces, 350 American Gardens, 352 American Institute of Architects (AIA), 347, 348, 351, 355, 356 American Red Cross National Headquarters, Washington, D.C., 356 American Revolution, 13 American School of Classical Studies, Athens, 356 American Viscose Corporation, 262 American Yacht Club, 92 Amherst College, 353

Andre, Edouard-Francois, 352 Apple Trees, 203, 205, 342 Applegreen, 341 Architectural Clearing House, 15, 266, 351 Architectural Forum, 262 Architectural League of New York, 351 Architectural League of New York’s Medal of Honor, 349 The Architecture of Wilson Eyre, Jr., 86 Arlington Cemetery, 347 Armour, H. Ogden, 98 Around the World in 80 Days, 297 Art Nouveau, 56 Arthur, 171 Astaire, Fred, 239 Astor, Vincent, 239 AT&T Building, 347 Atterbury, Grosvenor, 71, 348 Auxiliar Obras Publicas, Havana, Cuba, 348 Aviation Country Club, 19–20 B B. Altman Department Store, 356 Back, Oscar, 256 Bacon, Robert L., 355 Bagatelle, 349 Bailey, Alice Jackson, 19 Bailey, Frank, 19 Bailey, Howard Elbert, 344 Bailey, Leon, 356 Baker, Frederick, 351 Baldwin, Billy, 220, 273 Banker’s Trust Building, 356 Barnes, Courtland D., 342 Barney, Ashbel H., 278, 355 Barney, Charles D., 278 Barney, Charles T., 278 Barney, J. Stewart, 343 Basari, 42

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Baskerville, Charles, 17 Batterman, Henry Lewis, 341, 344, 355 Baum, Dwight James, 346 Bayberry Hill, 344 Beach, Chester, 188 Beacon Rock, 26 Beacon Towers, 206–213, 352 Beaufort Castle, Scotland, 70, 321 Beaumont, Claudio Francesco, 42 Beaupreé, 18 Beaverbrook Farm, 341 Bell Telephone Company of Pennsylvania, 357 Bell, Dennistoun M., 356 Belmont Racetrack, 357 Belmont, 18 Belmont, Alva Vanderbilt, 206, 208, 210, 213, 352 Belmont, Oliver Hazard Perry, 208, 352 Belnord Apartments, 351 Bernhardt, Sarah, 86 Berquist, John G., 341 Better Homes in America, 348 Betts, W. Rossiter, 345, 355 Billings, Cornelius K., 12, 134, 136, 139, 353 Biltmore, 352 Bird, Marjorie Winifred (Winnie), 140, 141 Bird, Wallace C., 140 Blackton, J. Stewart, 17 Blagden, Linzee, 357 Bliss, Cornelius N., 341, 347 Blum, Robert C., 346 Boboli Gardens, 188 Boegner, Peggie Phipps, 74 Bonaparte, Napoleon, 89 Bonnie Blink, 342, 357 Boscobel, 17 Boston Museum of Fine Arts, 352

I

Bosworth, William Welles, 214, 341, 343, 347–348 Bottomley, Wagner & White, 346, 348 Bottomley, Wagner & White, 348 Bottomley, William Lawrence, 326, 344, 346, 348 Bowood, Wiltshire, England, 168 Brady, Anthony, 179 Brady, Genevieve Garvan, 172, 173 Brady, Nicholas F., 172, 179, 357 Brady, Nicholas F., 357 Brazil Builds, 351 Breese, James L., 354 Brewster, Benjamin, 142 Brewster, Eleanor, 143, 148 Brewster, Frances, 145 Brewster, George S., 142, 143, 145, 148, 352, 356 Brewster, William, 148 Bridgeport Trust Company, Bridgeport, Connecticut, 350 “Bringing Florida to Glen Cove,” 118 British Sports of the East, 330 Broad Hollow Farm, 338 Broad Hollow, 313 Broadview, 356 Brokaw, Clifford, 352 Brokaw, Howard C., 357 Bronx Veterans Hospital, 351 Brookholt, 352 Brookville, 19, 156, 224, 284 Brookwood, 345 Brown University, 352 Brymptonwood, 341 Bullard, Roger H., 203, 205, 262, 284, 291, 342, 345, 348, 350 Burden, James A., 349 Burden-Muller, Rowland, 191 Burke, Billie, 230 Burnham, Alan, 86 Burr, Aaron, 39 Burrill, Middleton S., 94, 355 Burrwood, 32–39, 319 Busby, Leonard, 339 Butler, Prescott Hall, 354 Butting, William Bayard, 354 Byers Hall, Yale University, 351 C C. W. Post College, 351 Caledonia Farm, 96 Camel Back Bridge, 244 Candler Building, 351 Canfield, Augustus Cass, 50, 51, 53, 345 Canfield, Mrs. Jane, 52 Canoe Place Inn, 348 Capote, Truman, 170

N D E X

Carlisle, Jay F., 347 Carnegie Hill, 356 Carnegie Steel Company, 43, 70, 320 Carrère & Hastings, 15, 32, 39, 61, 67, 69, 168, 340, 348, 349 Carrère, John Mervin, 348 Carse, A. Duncan, 72 Carter, Ledyard & Milburn, 333 Carthage, 125 Carver, Amos D., 340 Cass, General Lewis, 51 Cassleigh, 50–54, 134 Catholic Church, 89, 141, 155, 179, 338 Caumsett State Park Historic Park, 241 Caumsett, 232–241, 300, 352, 354, 355 Caumsett, 352, 354, 355 Cedar Valley, 19 Centerport, 17, 120 Central Cuba Sugar Company, 89 Central Park, 353, 354 Chanticleer, 270 Charles II, 71 Charles of London, 168 Charlotte, Grand Duchess of Luxemburg, 231 Charter Oaks Golf and Country Club, 148 Château de Courcelles, 296 Château des Thons, 278–283, 357 Château des Thons, 357 Château Fontainebleau, 195, 348 Châteauiver, 92–97 Chelsea, 242–249 Chicago Exposition of 1893, 60 Chimneys, The, 345 Christie, Lansdell K., 81 Christopher Morley Park, 54 Chrysler Museum of Art, 114 Chrysler, Walter, 12 Chubb, Elizabeth Coles-Percy, 352 Church of Bethesda-by-the-Sea, Palm Beach, Florida, 351 Churchill, Winston, 23, 170 Citizen Kane, 196 Civilian Pilot Training Program, 20 Clark, F. Ambrose, 313 Cleveland Museum of Art, 107 Clews, James B., 357 Coates, Audrey James, 239 Codman, Ogden, 156, 163 Coe, William R., 353, 354 Coffin, Marian Cruger, 231, 239 Cold Spring Harbor, 32, 55, 192, 194, 349, 356

[ 361 ]

Coleman, Samuel, 356 Columbia University, 347, 348, 349, 350, 355, 356, 357 Conklin, Roland Ray, 82, 86, 88, 89, 354 Conklin, Rosemary, 86, 88, 89 Conklin, Theodore E., 350 Consolidated Edison Company, 179 Constable, John, 72 Cooper, Hugh, 355 Cords, Charles D., 107 Corisande, 238 Cornell College of Fine Arts, 347 Cornell University, 351 Corsair, 18 Country Lanes Committee, 19 Country Life, 18, 56, 347 Country Life, 347 Coutts & Co., 324 Coutts, Angelica, 324 Cove Neck, 17 Crary, Miner D., 345, 347 Cravath, Paul D., 353 Crawley, George A., 70, 71, 72, 73 Creek Club, 18 Cross & Cross, 333, 341 Crossroads, 47 Cuba, 89 Cunard Lines, 205 Curran, Gurnsey, 353 D Dalí, Salvador, 170 Davies, Marion, 211 Davis, Arthur Vining, 353 Davison, Mrs. Harry, 205 Day, Edith Marion, 189, 353 de la Grange, Baron, 296 de Monvel, Bernard Boutet, 272 de Seversky Conference Center, 171 de Sibour, Jules Henri, 293, The Decoration of Houses, 156 Deepdale Golf & Country Club, 19, 357 Del Rey, Florida, 351 DeLamar, Alice, 111, 114, 118 DeLamar, Captain Joseph R., 110–111, 118, 350, 356 DeLamar, Nellie Sands, 111, 114 Delano & Aldrich, 15, 17, 194, 196, 242, 341, 345, 346, 347, 349, 354 Delano, William Adams, 242, 271, 272, 277, 337, 349 Delehanty, Bradley, 313, 344, 346 Delphic Club (Gashouse), Harvard, 202 Depression, 23, 256

I

Derrymore, 53 d’Hauteville & Cooper, 340 Dilworth, Dewees W., 292, 297, 349 Diocese of Brooklyn, 89 Diocese of Rockville Center, 141 Domenichino, 42–43 Dorwood, 343 Doubleday, Frank N., 339 Dowling College, 352 Dows, David, 357 Draper, Dorothy, 15, 266, 268, 270, 355 Dresselhuys, Lorraine Manville, 297 Drew, S. Rankin, 86 du Châtelet, Marquise (Émilie), 278 du Pont, Alfred I., 12, 164, 293, 349 du Pont, Alicia, 164, 168 Duke, James B., 357 DuPont Company, 164 Duryea, Herman B., 61, 349 E Eagle’s Nest, 17, 23, 120–133, 357 East Islip, 347 East Woods School, 220 East Woods, 340 Eastern Military Academy, 201 Easton, 18, 232, 300–307, 310 Easton, Evelyn (Bunnie) Marshall Field, 300 Ebbets, Frid & Prentice, 347 Eckington, 344 Ecole des Beaux-Arts, Paris, 347, 348, 349, 350, 352, 353, 355, 356, 357 Edward, Prince of Wales, 17 Elizabeth Arden Building, Chicago, 351 Elizabeth Arden Red Door Spa, 96 Elkins, Frances, 302, 306 Ellett, Thomas H., 345 Emanuel, Victor, 343 Emerson, Margaret, 265 Emery, John, 249 English Arts and Crafts, 86 Erchless, 320–325 Everdell, William Jr., 345 “The Evocation of the Mediterranean,” 245 Eyre, Wilson, 86, 88, 91, 350 F Facsimiles of Bookbinders, 72 Fair, Virginia Graham, 131 Fairleigh, 142–149, 352, 356 Falaise, 20, 23 Farnsworth, 134–141 Farrand, Beatrix, 16, 194

N D E X

Farwell, Mildred Williams, 214, 215, 220 Farwell, Walter, 214, 220, 347 Faversham, William, 86 Federal Building, New York, 355 Felix, Prince of Luxemburg, 231 Ferguson, Dr. Farquhar, 98, 352 Ferguson, Juliana Armour, 98, 99, 102, 106, 352 Ferree, Barr, 52 Field, Audrey James Coates, 239 Field, Marshall III, 12, 232, 233, 238, 239, 241, 300, 352, 354, 355 Fitzgerald, F. Scott, 18, 210 Fleetwood, 105 Formica, 255 Fort Tryon Park, 139 Foster, Gade & Graham, 356 Foxland, 47 Franklin Institute, 357 Franzheim, Kenneth, 350 Freeman, George A., 46, 350 French & Company, 282 French Provincial Architecture, 351 Frick, Henry Clay, 348 G Gainsborough, Thomas, 72 Gales, George, 344 Garcia, Audrey S., 293 Garden City Hotel, 354 Garvan, Francis P., 173 Gary, Elbert H., 350 Gates, Mrs. John, 318 General Howe, 13–14 Georgian, 16 Gerry, Elbridge T., 326 Gershwin, George, 23, 239 Gibbons, Grinling, 35, 63, 323 Gilbert, Charles P.H., 111, 113, 339, 350 Girard College, 357 Girard Estate, 357 Glen Cove, 12, 22, 110, 111, 348, 350 Glen Oaks Country Club, 319 Gloan House, 292–297, 349 Gnome Bakery, 347 Godley, Frederick A., 355 Gold Coast, 12, 14 Goodhue, Bertram, 354 Goodwin, Bullard & Woolsey, 203, 348, 350 Goodwin, Philip L., 321, 325, 348, 350–351 Goose Point, 341 Gorham & Company, 178 Gotham Hotel, 351

[ 362 ]

Gould, Cecilia, 96 Gould, Charles A., 92, 96 Gould, George, 357 Gould, Howard, 180, 352 Grace Steamship Lines, 70 Grace, Louise, 53–54 Grace, Margarita C., 70 Grace, W. R., 47 Gracewood, 338 Gracie, James K., 338 Grand Canyon, 56 Grand Central Station, 357 Grand Central Terminal, 125 The Great Gatsby, 18, 210 Great Neck School Administration, 342 Gréber, Jacques, 71, 163 Greenlawn, 92 Greenleaf, James L., 142, 148 Gregory, John, 191 Greystone, 347 Groton Farm, 312, 318 Groton Place, 313, 318–319, 356 Groton School, 350 Guarnerius, 72 Guernsey Curran, 17 Guest, Amy Phipps, 168, 320 Guest, C. Z., 170 Guest, Frederick, 168, 170 Guest, Winston, 170 Guggenheim Museum, 191 Guggenheim, Carrie, (Carol), 180, 189 Guggenheim, Daniel, 180 Guggenheim, Harry F., 20 Guggenheim, Irene, 191 Guggenheim, Isaac, 180, 182, 190, 353 Guggenheim, Solomon, 191 Guggenheim, William, 180 Guglialino, 99 Guthrie, William D., 113, 139, 163, 350 H The Half-Timber House: Its Origin, Design, Modern Plan, and Construction, 352 Hall of Fishes, 125, 133 Hall of Pharmacy, New York, 355 Hall, Bruce Wood, 307 Hall, Marian, 145 Hamilton Castle, Lanarkshire, Scotland, 213 Hamlet, 47 Hammond, Paul, 337 Harbor Hill, 18, 353, 354

I

Harper & Brothers Publishing, 345 Harris, Henry P. Upham (Residence), 284–291 Harris, Henry P. Upham, 203, 284 Harris, Mary Webster, 284 Harris, Winthrop & Co., 284 Hart & Shape, 224, 345, 351 Hart, Benvenga & Associates, 351 Hart, Charles M., 224 Harvard University, 202, 352, 354, 355, 357 Hasselman, Francis G., 46, 350 Hastings, Thomas, 61, 62, 168, 170, 348, 356 Haut Bois, 156–163 Hayden Planetarium, 356 Hearst, Millicent, 210, 239 Hearst, William Randolph, 179, 210–211, 213 Hedgerow, 266–270 Hedges, Benjamin, 220 Hempstead Harbor, 206 Henderson, Frank C., 343 Henie, Sonja, 128 Henri, Grand Duke of Luxemburg, 231 Hercules, 310 Herrinn–Hall–Marvin Safe Company, 263 Hewitt, Edward S., 348 Hewitt, G. W. and W. D., 356 Hickory Hill, 344 Hicks Nurseries, 16, 28, 239 Hicksville, 20 High Point, 345 High School, 348 Hill House, 339 Hillwood Museum & Gardens, 231 Hillwood, 224–231, 333, 351 Hirsh, Frederick R., 339 Hiss & Weekes, 75, 351 Hiss, Alger, 270 Hitchcock, Louise E., 18–19, 326 Hitchcock, Thomas Sr., 18, 338, 352 Hitchcock, Tommy Jr., 18 Hodenpyl, Anton G., 339 Hoffman Center, 149 Holloway, Mrs., 47 Holloway, William Grace, 47 Holmes, Christian, 331 Hopkins, Alfred, 60, 142, 351–352 Hoppin & Koen, 17 House & Garden Magazine, 350 House Office Building, Washington, D.C., 348 Howett, Samuel, 330 Hoyt, Alfred M., 351 Huard, F., 279

N D E X

Hudson, Charles I., 75, 80, 81, 300, 351 Huisseau-sur-Cosson, 94 Hunt & Hunt, 150, 208, 352, 354 Hunt, Joseph and Richard, 352 Hunt, Richard Morris, 208, 338, 352 Huntington Harbor, 98, 105 Huntington, 82, 98 Hutfield, 228 Hutton, E. F. (brokerage), 292 Hutton, Edward F., 224, 228, 230, 351 Hutton, Marjorie, 228, 230 Hutton, Nedenia, 231 I IBM Corporation, 191 Idle Hour, 125, 352, 357 Iglehart, Marjorie, 18 Iglehart, Stewart, 326 Imperial Summer Palace, Peking, 244 Independence Hall, Philadelphia, 143 Industrial Home for the Blind, 39 Industrial Revolution, 11 Inisfada, 172–179, 357 Inness, George, 356 Innocenti & Webel, 16, 244, 277, 282, 302, 313 Innocenti, Umberto, 244, 282 “Irish Paddock Room,” 330 Iselin, Charles Oliver, 355 Ivy Hall, 339 J J. P. Morgan Company Building, 356 Jackson, Allen Winchester, 99, 352 James, Angeline Krech, 256 Jarvis-Conklin Mortgage Trust, 89 Jayne, Barbara Kibbee, 20 Jekyll Island Club, 148 Jennings, Mrs. Walter, 239 Jennings, Walter B., 32, 35, 349 Jericho Farm, 94, 356 Jericho Turnpike, 14 Jewish Museum, 350 Johns-Manville, Inc., 297 K Kahn, Addie Wolff, 192, 196 Kahn, Otto H., 192, 194, 196, 350, 354 Kaufmann, Angelica, 178 Keene, Foxhall P., 46, 47, 350 Kennedy, William, 344 Kern & Lippert, 344 Killenworth, 347

[ 363 ]

Kimbolton Castle, England, 271 King, Frederick Rhinelander, 281, 307, 357 Kirby Hill, 339 Kirby, Petit & Green, 339 Knickerbocker Hotel, 356 Knickerbocker Trust, 278, 355 Knole Castle, Kent, 152 Knole, 61–69 Knollwood, 75–81, 351 Krech, Angeline, 256 Kykuit, 347 L La Lanterne, 343 La Selva, 150–155, 352, 354 Lake Ronkonkoma, 94 Lake Worth, Florida, 19 Landi, F., 188 Lanier, James F. D., 332 Lathrop, Gertrude K., 256 Lattingtown, 18, 113, 139, 350 Laurel Hollow, 55 Laurelton Hall, 39, 55–60, 351, 356 Law, Robert B., 346 Leadville, Colorado, 111 Leavitt, Charles W., 47 LeBoutillier, Marjorie, 18 Lee, Robert E., 302 L’Enfant Memorial, 347 Les Deux Tours, 297 Les Pommiers, 81 Levitt, William, 20 Levittown, 20 Lewis & Valentine, 16 Lewisburg, Pennsylvania, 352 Liberty Memorial, Kansas City, 353 Liggett Drug Co., 344 Lindbergh, Charles, 20 Lindeberg, Angeline Krech, 256 Lindeberg, Harrie T., 250, 251–252, 254–257, 333, 336, 341, 343, 344, 353 Little Aristocrat, 19 Little Ipswich, 268, 271–277, 318 Little Rosemary, 86 Livingston, Gerald M., 17 Livingston, Goodhue, 356 Lloyd Neck, 232, 233 Locust Valley, 19, 202, 250, 266 Loew, Arthur and Marcus, 118 Loire Valley, 94 Long Island Expressway, 23, 331, 333 Long Island Motor Parkway, 20, 94, 355 Long Island Parkway, 15

I

Long Island State Parks Commission, 241 Long Island University, 231 Long Island, 12, 13, 14, 18, 19 Longfields, 340 Longnor Hall, Shropshire, England, 276 Lord, James Brown, 332 Louis Comfort Tiffany Foundation, 60 Louis IX of France, 349 Louisiana Cypress Lumber Company, 326 Louisiana Purchase, 356 Love Story, 74 Lowell, Guy, 134, 352 Lutyens, Edwin L., 251 Lynrose, 346 Lytton, Lord, 215 M Mackay, Clarence H., 18, 354, 353, 357 Madison, Dolly, 220 Magonigle, Edith Marion Day, 189 Magonigle, Harold Van Buren, 182, 186, 188, 353 Maharajah of Jaipur, 170 Maid of Orléans, 211 Maidstone Club, 348 Maine Monument, Central Park, 353 Mallow, 214–221, 347 Malmaison, 163 Mang, G. A., 291 Manhasset, 12, 172 Manhattan Bridge, 348 Manville, Thomas, 297 Mar-a-Lago, Palm Beach, 230, 231 Marlborough, Duke of, 170, 208 Marshall, Charles, 300 Marshall, Evelyn, 232 Martin, Alastair, 64 Martin, Bradley Jr., 61, 62, 63 Martin, Esmond Bradley, 64, 69 Martin, Helen Phipps, 62, 320 Massachusetts Bay Colony, 312 Massachusetts Institute of Technology, 347, 350, 352 Mateyunas, Paul J., 149 Matinecock, 134, 202, 203, 348 Matthau, Walter, 171 Mausoleum, 356 May, Elaine, 171 May, Herbert, 231 Maynard, Walter Effingham, 156 McClelland, Nancy, 245 McIlvaine, J. Gilbert, 350 McKay, Robert G., 249

N D E X

McKim, Charles Follen, 26–27, 353 McKim, Mead & White, 26, 50, 134, 312, 338, 348, 351, 353–354, 357 McKinley Memorial, Canton, Ohio, 353 McLeran, Mrs. John E., 342 McMillen Studios, 330 Mead, William R., 352 Meadow Brook Club, 18, 19, 318, 326, 332 Meadow Brook Hunt, 19, 81, 344 Meadow Larks, 19 Melius, Gary, 201 Mellon Bank Building, Philadelphia, 356 The Mermaid, 106 Merrill, Dina, 231 Metropolitan Museum of Art, 39, 60, 204, 352 Metropolitan Opera House, 348 Meudon, 113, 139, 163, 350 Michelangelo, 105 Milburn, Devereux Jr., 332, 333 Milburn, Devereux Sr., 342 Milburn, Nancy Steel, 332, 333 Mill Neck, 339, 341, 345, 349, 351, 355 Milliken. H. O., 351 Mills, Alice du Pont, 20 Mills, Ogden L., 355 Milne, Cecilia Gould, 96 Minnelli, Liza, 171 Minton, Henry M., 345 Mitsui Bank and & Trust Company, Tokyo, Japan Mizner, Addison, 224 Modern Farm Buildings, 351 Moffitt, Frank, 178 Monastery, The, 98–107, 352 Montauk Association, 354 Monticello, 306 Montmorency, Duke de, 244 Moore, Alexander, 248 Moore, Alexandra Emery, 242, 244, 245, 248, 249 Moore, Alfred, 248 Moore, Benjamin, 242, 248, 249 Moore, Clement, 248 Moore, Dudley, 171 Morgan, E. D., 354 Morgan, Frances Tracy, 202, 203, 204, 205 Morgan, J. P. Jr., 18, 202, 348 Morgan, J. P., 26, 111, 152, 205 Morgan, Junius Spencer, 22, 202, 203, 205, 342, 348 Morgan, Mrs. J. S., 239

[ 364 ]

Morland, George, 72 Morris, Mrs. Coster, 281, 282, 357 Mortimer, Stanley Grafton, 173, 332 Moses, Robert, 23 “Motor Home, The,” 347 Mount, The, 344 Municipal Court Building, Philadelphia, 357 Munsel, Patricia, 163 Murray Hill, 111 Murray, John F., 346 Museum of Modern Art, 351 Museum of Natural History, 133 Muttontown Corners, 349 Muttontown Lodge, 337 Muttontown Meadows, 81 Muttontown Preserve, 81, 249 Muttontown, 19, 75, 142, 232, 242, 248, 300, 337, 349 N Nassau County, 54, 81, 249 Nast, Condé, 239 National Academy for Design, 353 National Bank of Cuba, 89 Nemours, Wilmington, Delaware, 168 New House, 339 New York City Department of Sanitation, 196 New York County Courthouse, 353 New York Institute of Technology, 49, 171 New York Public Library, 348, 349 New York State Schools, 347 New York State, 331 New York Stock Exchange, 351 New York Subway System, 284 The New York Times, 208, 239, 355 New York World’s Fair 1939, 347, 355 New York Yacht Club, 18, 22, 357 Newport, 208, 254 Niarakis, William and Ursula C., 149 Nichols, Ruth, 20 Nonesuch House, 342 North American Trust, 89 North by Northwest, 74 North Country Day School, 339 North Shore Wildlife Sanctuary, 205 Northern Boulevard, 14 Northern State Parkway, 23 Northport Harbor, 120 Northwood, 350 O Oak Hill, 341, 347 Oak Knoll, 349

I

Oakdale, 208 Oakland Golf Club, 348 Oheka, 192–201, 349, 354 Old Brookville Gold Coast Reserve, 265 Old Brookville, 258, 348 Old Trees, 343, 348 Old Westbury Gardens, 74 Old Westbury, 12, 18, 19, 23, 26, 46, 61, 70, 312, 320, 326, 332, 349, 350 Olmsted & Vaux, 353 Olmsted Brothers, 16, 39, 53, 82, 151, 194, 239, 354 Olmsted, Frederick Law Jr., 354 Olmsted, Frederick Law Sr., 354 Olmsted, John Charles, 354 Ormston, 354 Ottley, Gilbert, 355 Oyster Bay Post Office, 348 Oyster Bay, 12, 17, 18, 150, 214, 347, 350 P Palace Hotel, San Francisco, 356 Palace of Versailles, 348 Palazzo del Te, Mantua, Italy, 274 Parke-Bernet, 39, 45, 191, 297 Parma, Duchess of, 42 Patterson, Chester A., 344, 345, 354 Payson, Louise, 286, 291 Peabody, Julian, 333 Peabody, Wilson & Brown, 333, 341, 342 Pebbles, The, 345, 355 Peekskill, New York, 355 Pelican Farm, 326–331 Pembroke, 110–119, 350, 356 Peninsula Hotel, 351 Pennington, Hall Pleasants, 15, 266, 268, 270, 279, 355 Pennington, Lewis & Mills, 355 Pennoyer, A. Sheldon, 204 Pennoyer, Mrs. Paul G., 348 Pennoyer, Paul G. Jr., 22 Pennoyer, Paul G. Sr., 22, 202, 204, 205 Pennoyer, Richard, 205 Peoples Gas Light and Coke Company of Chicago, 139 Petit Trianon Hotel, 94 Petit Trianon, 15 Pettinos, Charles E., 342 Philadelphia Electric Company, 357 Phillips Academy, 352 Phipps, Amy, 168 Phipps, Harriet Dyer, 321, 323, 325 Phipps, Helen, 62, 320

N D E X

Phipps, Henry C., 43, 45, 62, 168, 320 Phipps, Henry, 62, 70, 170, 320, 342, 356, 357 Phipps, Howard, 45, 62, 320, 321, 325, 351 Phipps, John (Jay) S., 45, 62, 70, 72, 74, 320, 321, 357 Phipps, Margarita C. Grace, 70, 71, 72, 73, 74 Phipps, Michael, 326 Phipps, Mrs. H. C., 45 Phipps, Ann Childs Shaffer, 170 Phipps, Mrs. Ogden, 239 Phipps, Ogden, 45, 239 Phipps, Ruth Pruyn, 241 Pierce, Ronald, 126 Pilots Lane, 20 Piping Rock Club, 15, 18, 19, 248, 268, 353, 355 Planting Fields, 23, 353, 354 Platt, Charles A., 341 Polo Hall of Fame, 19 Polo-Tennis Club, 18 Poole, Abram, 238 Pope Pious XI, 179 Pope, John Russell, 15, 40, 41, 94, 233, 238, 355, 356 Port Washington, 180 Porter, Cole, 23 Post Brick Works, 228 Post Cereals, 224 Post, C. W., 231 Post, George B., 351, 356 Post, Marjorie Merriweather, 224, 228, 231, 333, 351 Pratt Institute, 351 Pratt Oval, 12 Pratt, Bela Lyon, 136 Pratt, George D., 347 Pratt, Harold I., 349 Pratt, Theodore, 347 Prentice, Thurlow Merrill, 347 Preston, Ralph J., 339 Price, Bruce, 349, 355 Price, Harriet Dyer, 321 Prime, William A., 224, 231 Princeton University, 355 Pryor, Robert L., 55 Public Works Administration, 351 Purves, Austin Jr., 195 Q Quakers, 14 Queens College, 241 Queensborough Bridge, 14 Quogue, 350

[ 365 ]

R Radburn, New Jersey, 347 Raeburn, Henry, 73 “Rape of the Sabines,” 42 Rathborne, J. Cornelius, 326, 330, 331 Resettlement Administration on Housing, 351 Reynolds, James, 330 Reynolds, Sir Joshua, 72, 73, 213 Rheims Cathedral, 348 Richardson, H. H., 353 Richmond, L. Martin, 262 Riding Association, 15, 268 Rikers Island Penitentiary, 356 River House, 348 Rockefeller, John D., 347 Rolling Stone, 352 Romeo and Juliet, 99 Rooftrees, 351 Roosevelt Memorial Park, 348 Roosevelt, Theodore, 339 Rosemary Farm, 82–91, 354 Rosemary, 46–49, 350 Roslyn Hall, 173, 332 Roslyn Manor, 170 Roslyn, 40, 50, 292, 343, 357 Rotch & Tilden, 353 Rotch Traveling Scholarship, 353 Round Bush, 19, 202–205 Royal Diamond, 19 Royal Institute of British Architects, 348 Rumpus House, 342 Rumson Country Club, New Jersey, 350 Rutgers Houses, 351 Ryan, John Carlos, 53 Ryan, John D., 53 Ryefield Manor, 340 Rynwood, 203, 258–265, 284, 348 S Sabrina, 118 Sagamore Hill, 348 Saint Francis Retreat House, 155 Saint Ignatius Retreat House, 179 Saint John’s Church of Lattingtown, 205 Salutations, 205, 348 Salvage, Lady Mary Katherine (Ryn), 258, 262, 265 Salvage, Sir Samuel A., 203, 258, 262, 265, 284, 348 Samuels, Mitchell, 282 San Simeon, California, 179 Sanderson, Henry, 150, 352, 354 Sands Point, 12, 19, 20, 180, 206

I

Sands, Nellie, 111 Sanita, 196 Sarasota Federal Building, Florida, 350 Saratoga, 20 Sargent, Andrew Robeson, 134 Sargent, John Singer, 72 Savoy, Gérard, 140 Saylor, Henry H., 56 Scalamandré, 73 Schiff, Mortimer, 350, 352 Schladermundt, Herman T., 188 Schmidlapp, Carl J., 342 Schoonmacher, S. L., 352 Scorsese, Martin, 163 Seawanhaka-Corinthian Yacht Club, 18 Sedgwick, Henry R., 355 Seminary of the Immaculate Conception, 89, 91 Senate Office Building, Washington, D.C., 348 Sert, José-Marie, 245 Sewell, Robert, 105 Sexauer & Lemke, 208 Shakespeare, William, 47, 99 Shape & Bready, 351 Shaw, Samuel T., 339 Sherry’s, 111, 139 Shinnecock Hills Golf Clubhouse, 354 Shipman, Ellen Biddle, 264 Shipman, Mrs. Herbert, 346 The Silver Shell, 86 Simmons College, 352 Simpson, Wallis Warfield, 18 Sims, James Peacock, 350 Sindona, D.C., 330 Slade, Mrs. Prescott, 355 Smith Barney & Co., 278 Smith, Alva Erskine, 208 Smith, D.W., 340 Smyth, Miriam, 281 Smyth, Urquhart & Marckwald, 281 Snead, Sam, 128 Society of Beaux Arts Architects, 356 Society of Jesus, 179 Sparks, Sir Ashley, 205 Speyer, James, 357 Spring Hill, 40–45, 293, 320 The Spur, 118 SS McKeesport, 279 St. Donats, England, 205 St. George’s School, 357 St. Mark’s Church, 352 St. Paul’s School, Concord, New Hampshire, 349 St. Regis Hotel, 356

N D E X

Standard Oil Building, 348 Standard Oil, 32, 140, 142 Stanford University, 347 Steele, Charles, 168, 332, 351–352 Steele, Kathryn, 333 Steele, Mrs. Charles, 333 Steele, Nancy, 332, 333 Sterns, Chandler, 53 Stevens, Joseph Sampson, 339 Stewart, Anita, 86 Stone, Charles A., 343, 347 Stone, Edward Durrell, 351 Stow, William L., 40, 94, 293, 355 Stradivarius, 72 Straight, Willard D., 341, 349 Stratford Hall, Virginia, 302, 321 Stryker, Lloyd Paul, 270 Sturdza, Nicholas, 140 Sturgis, Russell, 353 Suarez Residence, 307–311 Suarez, Diego, 282, 302, 307, 311, 357 Suarez, Evelyn Marshall Field, 18, 232, 233, 238, 300, 307, 311, 357 Suffolk County, 107, 125, 133 Suffolk Office Building, 351 “Summer,” 191 Summer Cottage, 241 Sunnyside, The, 339 Sunnyside Gardens, 347 Sunridge Hall, 332–336 Suttermans, 42 T Taft & Pennoyer, 202 Tailer, T. Suffern, 18 Tate, Diane, 145 Taylor, Bertrand L., 252, 343 Taylor, Myron C., 205 Templeton, 170, 171, 320 Terre Haute, Indiana, 352 Thatch Cottage, 342 Thomas, Seth, 127 Thompson, William P., 340 Thousand Islands, 140 Tiepolo, school of, 42 Tiffany & Company, 18, 55, 356 Tiffany Studios, 55, 356 Tiffany, Louis Comfort, 55, 57, 60, 351, 356 Timber Point Club, 351 Tooker & Marsh, 340 Topridge, Adirondack Mountains, 231 Town & Country, 18, 28, 39, 113, 118 Treanor & Fatio, 238 Trillora Court, 191 Trinity College, 356 Troubetzkoi, Prince Pierre, 88

[ 366 ]

Trowbridge & Livingston, 142, 356 Trowbridge, Alexander B., 347 Trumbauer, Horace, 73, 342, 356 Trump, Donald, 231 Tryon Hall, 139 Twin Lindens, 355 U U.S. Steel, 205 Uhlan, 136 Union Carbide, 134 United States Embassy and Chancery, Japan, 353 United States, 231 University of Pennsylvania, 350, 357 Untermyer, Samuel, 347 Upper Brookville, 17, 278 Uzielli, Giorgio, 277 V VanBeuren, M. M., 254 Vanderbilt Cup, 47 Vanderbilt Motor Parkway, 15 Vanderbilt Museum at Centerport, 357 Vanderbilt, George W., 352 Vanderbilt, Gertrude, 349 Vanderbilt, Margaret Emerson, 265 Vanderbilt, Mrs. William K. Jr., 355 Vanderbilt, Mrs. William K. (Anne), 239, 356 Vanderbilt, Rosamond Warburton, 127, 131, 133 Vanderbilt, Virginia Graham Fair, 131 Vanderbilt, William K. III, 131 Vanderbilt, William K. Jr., 14, 120, 127, 128, 131, 351 Vanderbilt, William K., 17, 18, 208, 352, 357 Vanutelli, Count, 89 Vaux & Radford, 353 Versailles, 310 Viette, Martin, 148 Villa Carola, 180–191, 353 Villa Madama, Rome, 168 Villa Marina, 343 Village of North Hills, 348 Village of Old Westbury, 332 Village of Sands Point, 191 Vintners, Banfi, 265 Vitale, Brinckerhoff & Geiffert, 186 Vitale, Ferruccio, 80, 186, 188, 189, 244 Vogue, 18 Voltaire, 278 von Stade, F. Skiddy, 341 von Stade, Kathryn, 333

I

W Wadsworth Athenaeum, Hartford, Connecticut, 351 Wadsworth, Eugene D., 282, 346, 357 Wall Hall, Hertfordshire, England, 203 Walters Art Gallery, Baltimore, Maryland, 349 Wantagh Parkway, 331 Warburg, Felix, 350 Warburton Hall, 224, 228 Warburton, Rosamond, 127, 131, 133 Warren & Clark, 343 Warren & Wetmore, 125, 126, 182, 238, 339, 357 Warren, Whitney, 125, 357 Washington, George, 13–14, 220, 230 Waterkill, New York, 352 Webster, Mary, 284 Welaunee, Talahassee, Florida, 249 Wellington, Duke of, 35, 245 West Gate Lodge, 250–257 West Neck Farm, 17 Westbury House, 70–74, 320 Westbury, 19 Western Union Building, 347 Westover Plantation, Virginia, 143 Wetmore, Charles D., 357 Wharton, Edith, 156, 163 “Wheatley” azalea, 45 Wheatley Hills, 164, 347 Wheatley, 26–31 Wheeler, Frederick S., 155 White & Case, 202 White Eagle, 164–171, 293, 349 White House, 231

N D E X

White, Stanford, 15, 353–354, 356 Whitehall, Annapolis, Maryland, 306 Whitney, Gertrude Vanderbilt, 349 Whitney, Harry Payne, 19, 61, 168, 278 Whitney, Jock, 20 Whitney, Mrs. Cornelius V. (Gwladys), 239 Whitney, Mrs. John H. (Mary), 239 Whitney, William C., 61, 350 Whitney, William Payne, 353 Willauer, Shape & Bready, 351 Willets, Samuel, 344 William R. Cotter Federal Building, 347 Williams, Captain Thomas, 330 Williams, Harrison, 17 Williams, Mildred, 220 Williams, Thorndike, 336 Williamsburg Savings Bank, 351 Wilson, Claggett, 191 Wilson, Mrs. C. Porter, 345, 351 Windrim, James H., 357 Windrim, John Torrey, 179, 357 Windsor, Duchess of, 18, 128, 170, 230, 307 Windsor, Duke of, 128, 170, 230, 307 Winfield, 350 Winter Cottage, 239 Winthrop, Beekman, 312 Winthrop, Egerton L., 349, 352 Winthrop, Grenville L., 312 Winthrop, Henry Rogers, 340 Winthrop, John, 312 Winthrop, Robert D., 312 Winthrop, Robert M., 312–313, 318–319

[ 367 ]

Wood, Chalmers, 271, 272, 274 Wood, Francis Derwent, 71 Wood, Ruby Ross, 216–217, 271, 272, 273, 274, 277, 318 Woodbury, 271, 350 Woodside, 349 Woolsey, Heathcote M., 350 Woolworth, F.W., 350 Work, Bertram G., 349 Works Progress Administration, 351 World War I, 15, 82, 86, 194 World War II, 23, 196, 231, 241 Wyckoff, Walter, 355 Wyeth & King, 281, 307, 346, 357 Wyeth, Marion Sims, 357 X Xanadu, 196 Y Yale Daily News/Briton Hadden Memorial Building, 347 Yale University, 349, 350, 351, 354 Yellin Ironworks, 264, 286 Yellin, Samuel, 127, 188, 256, 262 Yellowstone Park, 56 York & Sawyer, 340 “The Youth of Bacchus,” 42–43 Z Zimmerman, Marie, 256 Zog, King of Albania, 12, 81