Inside Whitehall Winter 2025 by Flagler Museum

Inside WhitehallTM

Inside Whitehall

winter 2025 • volume 32, number 1

mission

The mission of the Henry Morrison Flagler Museum is to preserve and interpret Whitehall, Henry Flagler’s legacy, and America’s Gilded Age, in ways that inspire every generation to perpetuate and emulate the traditions and values that have made America the most prosperous and generous nation in history.

board of directors

Kelly M. Hopkins, President

G. F. Robert Hanke, Vice President

William M. Matthews, Treasurer

Thomas S. Kenan, III, Secretary

Ted A. Gardner, Trustee

Barry G. Hoyt, Trustee

George G. Matthews, Trustee

leadership staff

John Blades, Executive Director

Christina Bernstein, Director of Finance

David Carson, Public Affairs Director

Bill Fallacaro, Facilities Manager

Ben Hillman, Director of External Affairs

Janice Lamb, Store & Tea Room Manager Campbell Mobley, Curator

opposite: Restoration crew stands in front of newly restored Satinwood in Whitehall’s Dining Room. Conservators meticulously removed layers of dark varnish to reveal the golden Satinwood beneath.

cover: Sugar Hill, Late Afternoon, Maxfield Parrish, 1930, National Museum of American Illustration. Th is work will be on display at the Museum’s Winter Exhibition, The Ethereal Worlds of Maxfield Parrish.

2 The Ethereal Worlds of Maxfield Parrish

4 A Gilded Age Masterpiece Restored

8 Carrère and Hastings’ Vernon Court

10 Engineering America’s Best-Known Symbol

12 Dame Nellie Melba: The Voice of an Era

14 Museum Programs

20 Members, Contributors, Sponsors, Grantors

henry morrison flagler museum

One Whitehall Way Palm Beach, FL 33480

561-655-2833

Tuesday - Saturday, 10 am to 5 pm Sunday, 12 to 5 pm Closed Mondays, Thanksgiving, Christmas and New Year’s Day

Henry Morrison Flagler Museum, Inc. is a 501(c)(3) nonprofit corporation National Historic Landmark Accredited since 1973 by the American Alliance of Museums

The Ethereal Worlds of Maxfield Parrish

ON VIEW JANUARY 21 - APRIL 20, 2025

Maxfield Parrish was born Frederick Parrish on July 25, 1870, in Philadelphia, Pennsylvania. His father, Stephen Parrish, an acclaimed etcher/painter within the “American Etching Revival,” grew up in a Quaker family who condemned art as a sinful practice, forcing him to practice sketching in secret. In contrast to his own restrictive upbringing, Stephen actively encouraged his son Maxfield to pursue his artistic talents. In later years, the father-son duo would go on to share a seaside art studio together. Maxfield studied architecture at Haverford College, but later shifted to studio art at the Pennsylvania Academy of Fine Arts and the Drexel Institute of Art. At the Drexel Institute, Parrish fell in love with painting instructor and author, Lydia Austin, marrying her in 1895 following a relatively brief courtship.

Parrish’s work appears throughout a broad range of media readily available to the general public. By 1925, one out of

every four households in America possessed reproductions of his art in some form. During his long career, he produced about 900 works for prominent book/magazine covers, illustrations for children’s books, stage sets, stationery, and murals. His art combined a whimsical elegance and a vibrant color palette to create compositions of otherworldly landscapes, idealized figures, and fairytales. His most notable pieces were influenced by his travels. Suffering from typhoid fever as a young adult, doctors recommended that he travel as a method of recovery. Parrish spent much of his time in upstate New York, Arizona, and Italy, producing illustrations and garnering inspiration from his everchanging environments. After enjoying a very successful and long career, Parrish passed away in 1966 amidst a revitalization of interest in his work.

This Winter’s exhibition The Ethereal Worlds of Maxfield Parrish will feature the work of Maxfield Parrish with 25 original works of art, illustrating his genius for evoking a dreamlike world between reality and reverie.

BEHIND THE SCENES

A Gilded Age Masterpiece Restored

A look into the life of Whitehall’s Dining Room and the triumph of its restoration

In 1902, Pottier & Stymus, one of the renowned design firms of the Gilded Age, created what has been hailed as the most important dining room of the era. This grand space, designed for Henry Flagler's Palm Beach winter retreat, Whitehall, was a masterpiece of opulence, sophistication, and innovation. Over 122 years later, following six decades of meticulous research, Whitehall’s Dining Room has been restored to its original splendor, save for two missing china cabinets—a mystery the Museum continues to try to solve.

A Room Fit for Royalty

From the moment it was unveiled, the Dining Room captivated visitors with its unparalleled grandeur. A contemporary account from The St. Augustine Tatler proclaimed: “The buffets and china cabinets are similarly carved and regarded as the most artistic ever done in this country. Table and chairs are of satin wood, the latter upholstered with Aubusson tapestries, designed and woven especially for them; the table covered with green velour with a richly wrought border.”

The Journey of the Dining Room Suite

Following Henry Flagler’s death in 1913, Whitehall was eventually converted into a hotel in 1925. During this period, the Dining Room furniture suite was modified to reflect the then-popular Mediterranean Revival style by applying a dark stain to the wood paneling and furniture. During the Hotel period, many of Whitehall’s furnishings were put up for auction. Whitehall’s Dining Room furniture was purchased by Walter Marshall, architect of the Baha’i Temple in Illinois, and moved to his home near the temple site. Ownership then

transitioned through the Goldblatt family, prominent Chicago merchants, and eventually to Frank Howard, who constructed a special room in his McHenry, Illinois, estate to house the set. Then the suite was purchased by Mr. Charles S. Wilkes, Vice President at Old Republic International Corporation. It was installed in his apartment, located at 2704 Lake View Avenue, Chicago. The table, chairs, and sideboards eventually made their way to the Old Republic International Corporation, where it adorned the boardroom for decades.

Photographs of Whitehall’s Dining Room taken by B. Frank Puffer, c. 1902.

Decades of Persistence

As early as 1960, the Flagler Museum began corresponding with Old Republic hoping to recover the suite of furniture, but the company’s sentimental attachment to the furniture kept it there. It wasn’t until 2018—after nearly 60 years of patient negotiation—that the Museum finalized an agreement to bring Whitehall’s Dining Room furniture back to the home for which it was designed, which at the time was believed to be made of mahogany. The restoration of the Dining Room furniture revealed it was made not of mahogany but very rare Jamaican Satinwood, a luminous material prized for its golden hues and satin-like grain pattern. This led the Museum to wonder if the Dining Room furniture, originally thought to be mahogany, was actually Jamaican Satinwood, and whether the same might be true of the Dining Room paneling and the massive fireplace mantel – which testing revealed was, in fact, the case.

The Rarity of Satinwood

Satinwood was used only very rarely in the design of rooms during the Gilded Age due to its scarcity and cost, and apparently only by the design firm of Pottier & Stymus. Only three other Satinwood rooms exist, Arabella Worsham Huntington’s Dressing Room, now at the Metropolitan Museum of Art, Arabella Huntington’s Bedroom, now in the Virginia Museum of Fine Arts and The Drawing Room of the Nickerson Mansion, now the Driehaus Museum in Chicago. All these projects were designed by George Schastey, who worked for Pottier & Stymus. Unlike the three rooms, which were smaller and more private and intimate, Flagler’s Dining Room was a grand public showcase, designed to host lavish gatherings on a monumental scale.

Above: The Dining Room restored to its former glory Across from top: Carey Howlett, lead conservator of the 2024 Dining Room restoration; removing stain from cherub; Nicolas Nadja works on the fireplace mantel

Restoring a Masterpiece

The restoration of Whitehall’s Dining Room this past summer was a triumph of scholarship, craftsmanship, and perseverance. Period photographs and correspondence guided the work of restoring features like faux-painted Satinwood beams and gilt friezes that harmonized with the room’s luminous paneling. The intricate process also involved reconstructing small missing elements, repairing damaged furniture, and carefully removing layers of dark varnish to reveal the golden Satinwood beneath. Finally, on September 15, 2024, the Dining Room was refitted with its original furniture, returning the entire room to its former glory, complete with its gilded ceiling coffers and painted plaster accents, none of which anyone had seen for more than a century.

A Living Legacy

While the Museum continues its search for the two missing china cabinets, the restored Dining Room stands as a testament to the combination of craftsmanship and artistry of the Gilded Age, and the rarity of the material, that made the design and construction of perhaps the most important room of the Gilded Age possible only during a very brief period in time. The story of Whitehall’s Dining Room is more than a tale of restoration; it is a celebration of history, artistry, and the relentless pursuit of excellence.

Carrère & Hastings’ Vernon Court

Vernon Court is a Gilded Age mansion designed by the architectural firm of Carrère and Hastings in the style of an 18th-century French mansion, Château d'Haroué. Built in 1900 as a summer cottage for Anna Van Nest Gambrill, the widow of prominent New York lawyer Richard Augustine Gambrill, the estate reflects the opulence of the Gilded Age. Gambrill's sister and brother-inlaw had commissioned Carrère and Hastings a year earlier to design her estate near Lenox, Massachusetts, Bellefontaine. Vernon Court occupies an entire block of historic Bellevue Avenue in Newport, Rhode Island. Interestingly, Carrère and Hastings later drew inspiration from Vernon Court for their design of Henry Clay Frick’s home in New York City, known today as the Frick Collection.

The celebrated Parisian interior design firm Jules Allard and Sons was responsible for the lavish interiors of Vernon Court. The Ballroom, Marble Hall, and Petit Salon were modeled after Marie Antoinette’s rooms at the Palace of Versailles. Tiffany Studios muralist James Wall Finn adorned the loggias with murals inspired by the Villa Giulia in Rome. The sunken gardens were designed by New York landscape architects Wadley & Smythe, drawing inspiration from the Pond Garden at Hampton Court Palace.

Vernon Court is located just two blocks from Cornelius Vanderbilt II's The Breakers and adjacent to the Honorable George Wetmore's Chateau-Sur-Mer. The mansions and meticulously designed landscapes along Bellevue Avenue earned it the reputation as the “grand promenade” of the Gilded Age, a title that endures today.

The Gambrill family retained ownership of the property until 1956, when it was sold at auction. In 1998, Vernon Court was acquired by Laurence and Judy Cutler, founders of the National Museum of American Illustration. Today, the mansion houses the Museum’s collections, focusing on the “Golden Age of American Illustration,” contemporaneous with the home’s Gilded Age origins.

This winter, the exhibition at the Flagler Museum, The Ethereal Worlds of Maxfield Parrish, will feature works from the collection of the National Museum of American Illustration, fittingly on exhibit in another Carrère and Hastings’ architectural masterpiece.

Across: Vernon Court, exterior, c. 1900

Right: Portrait of Anna Van Nest Gambrill, n.d.

Below: Vernon Court, grand salon, c. 1900

Engineering America’s Best-Known Symbol of Liberty

President Grover Cleveland dedicated the Statue of Liberty on October 28, 1886. The statue was a gift from France to the American people celebrating the centennial of the American Revolution and the historic friendship between the two nations. As the New York Tribune remarked, “If one may believe the poets and orators, or judge by the enthusiasm of the crowd…when the stately figure of the huge, clear lined, pure faced goddess was unveiled, it was a great day for Liberty, for America, and for France.” On that historic day, Liberty greeted the American people as the triumphant Roman goddess, Libertas, emerging from the water. Despite her Neoclassical facade, Liberty’s construction embodied Gilded-Age technological innovation, requiring a coordinated international effort and streamlined supply lines to procure and transport her building materials.

As much as Liberty is a symbol of the American dream, she was the very real challenge for the French sculptor Frédéric Auguste Bartholdi. Inspired by his travels to Egypt where he witnessed the monuments of the ancients, Bartholdi longed to build a colossal statue of his own and America was the perfect location for the artist to realize his vision. Conversations with Édouard de Laboulaye, a French politician and philosopher, gave Bartholdi focus as he set out on a mission to build a Franco-American commemorative monument.

The Statue of Liberty’s face is rumored to have been modeled after French-American beauty Isabella Eugenie Boyer, who, at 22, married sewing machine magnate Isaac Merritt Singer. Among their six children was Paris Eugene Singer, an early Palm Beach resident who introduced architect Addison Mizner to the island, commissioning Mizner’s first Florida project for his home. Though widely disputed, this fascinating rumor links the origins of America’s most iconic statue with the storied history of Palm Beach.

Bartholdi shaped hammered copper sheets to fit an inner structure Gustave Eiffel, the engineering mastermind behind the Eiffel Tower in Paris, helped design as the statue’s structural support. This method of construction allowed for the deconstruction and transportation of Liberty across the Atlantic in 214 crates. As Bartholdi recounted in his memoirs, “Up to the present time no statue had ever been executed of the extraordinary proportions of the Statue of Liberty. In order to form an idea of this work…it was necessary to give the greatest attention to the means of execution; it was necessary to foresee the elements of solidity and the exigencies of transportation to America…”

Long before her official construction began on Bedloe’s Island, Bartholdi displayed portions of the statue at various expositions in Europe and the United States to drum up excitement and funding. The famous Gilded-Age architect, Richard Morris Hunt, who also designed the Biltmore in North Carolina, The Breakers in Rhode Island, and the Metropolitan Museum of Art, among other notable buildings, designed the pedestal for the Statue of Liberty.

The Statue embodied America’s highest ideals of liberty and opportunity and, as Bartholdi envisioned, became the first “face” greeting waves of immigrants as they entered New York Harbor in the search of a better life, who would go on to contribute to the building of America, from constructing railroads to building skyscrapers, paving the way for future generations to achieve the American Dream.

Opposite page, clockwise starting from top left: “Liberty Enlighting the World” by Bartholdi, Buek & Linder, lithograph; the head of the Statue of Liberty on display in a park in Paris, 1883; Workmen constructing the Statue of Liberty at the Gaget, Gauthier & co. workshop in Paris, 1881-1883; the statue towers above the rooftops of Paris, c.1884; a stereograph image of the hand and torch of the Statue of Liberty on display in Philadelphia, 1876.

Dame Nellie Melba: The Voice of an Era

Born Helen Porter Mitchell on May 19, 1861, near Melbourne, Australia, Dame Nellie Melba emerged as one of the most celebrated opera singers of the late 19th and early 20th centuries. Taking her stage name from her hometown, Melbourne, she transformed “Melba” into a symbol of operatic excellence, securing her place in history and leaving an indelible mark on music and culture.

Melba made her operatic debut in Brussels and quickly rose to international prominence. Hailed as the successor to the legendary Adelina Patti, she captivated audiences with her interpretations of roles in Lucia di Lammermoor and La Traviata. By the early 1900s, her fame commanded extraordinary fees—$5,000 for a single performance.

Her connections to society’s elite further solidified her iconic status. Frequently a guest at Whitehall, Melba enchanted Flagler and his guests.

In March 1905, she performed in Jacksonville, Florida, and shortly after, attended a luncheon and supper in her honor at Whitehall. The Palm Beach Daily News celebrated her presence, which added a touch of grandeur to gatherings that had previously welcomed luminaries such as the famed tenor Enrico Caruso.

Melba’s influence extended beyond music into the realms of cuisine and culture. The legendary French chef Auguste Escoffier created Peach Melba in

her honor after her performance in Lohengrin at Covent Garden. Featuring poached peaches, raspberry sauce, and vanilla ice cream, the dessert became a timeless culinary classic. Similarly, Melba toast, another Escoffier creation, paid homage to her while she stayed at the Ritz in Paris.

Though her later years were marked by declining health, Melba’s legacy had already been secured. Her voice, artistry, and trailblazing career inspired future generations of opera singers, ensuring her enduring fame.

Left to right: Programme for Nellie Melba’s Australian concert tour, Town Hall, Melbourne, 1902; Melba in opera poster, 1896; Tin for Melba Wafers, c. 1920; Programme for Grand Opera Season, 1928

The New York Newspaper Publishers of the Gilded Age

FEBRUARY 2

WILLIAM RANDOLPH HEARST AND THE NEW YORK JOURNAL BY

JOHN M. BLADES

Flagler Museum Executive Director John M. Blades will discuss how William Randolph Hearst built his media empire with the New York Journal, sparking a fierce rivalry with Joseph Pulitzer’s New York World and giving rise to sensationalist “yellow journalism” during the 1896 election and the Spanish-American War.

FEBRUARY 9

JOSEPH PULITZER AND THE NEW YORK WORLD BY

JAMES McGRATH MORRIS

Award-winning biographer James McGrath Morris will explore how Joseph Pulitzer revolutionized American journalism by making newspapers central to urban life. A Jewish Hungarian immigrant and Civil War veteran, Pulitzer’s impact on U.S. politics is detailed in Morris’ book, Pulitzer: A Life in Politics, Print, and Power

FEBRUARY 16

ADOLPH OCHS AND THE NEW YORK TIMES BY ALEX S. JONES

Journalist Alex S. Jones will delve into the private yet powerful Ochs-Sulzberger family, who’ve chaired The New York Times for over a century. His gripping story uncovers their role in shaping the iconic newspaper and their dedication to building a great American institution.

FEBRUARY 23

HORACE GREELEY AND THE NEW-YORK TRIBUNE BY DR. JAMES M. LUNDBERG

Author Dr. James M. Lundberg will explore Horace Greeley’s founding of the New-York Tribune, its impact on New York’s media, and Greeley’s vision of a morally consistent American nation. Dr. Lundberg will examine Greeley’s rise, fall, and failed presidential candidacy.

MARCH 2

JAMES GORDON BENNETT, JR. AND THE NEW YORK HERALD BY

THOMAS A. KLIGERMAN

Architect Thomas A. Kligerman will explore the legacy of James Gordon Bennett Jr., son of the New York Herald’s founder, who took over the paper at the age of 25 in 1867. A skilled editor, he elevated the Herald’s global profile by sending Henry Morton Stanley to find David Livingstone, securing exclusive coverage.

World-Class Chamber Music in Whitehall’s Historic Setting

FEBRUARY 4

BORROMEO STRING QUARTET

Each visionary performance of the award-winning Borromeo String Quartet strengthens and deepens its reputation as one of the most important ensembles of our time. Admired and sought after for both its fresh interpretations of the classical music canon and its championing of works by 20th and 21st-century composers, the ensemble has been hailed for its “edge-of-the-seat performances,” by the Boston Globe, which called it “simply the best.”

FEBRUARY 11

JUPITER STRING QUARTET

The Jupiter String Quartet is a particularly intimate group, consisting of violinists Nelson Lee and Meg Freivogel, violist Liz Freivogel (Meg’s older sister), and cellist Daniel McDonough (Meg’s husband, Liz’s brother-inlaw). Founded in 2001, this tight-knit ensemble is firmly established as an important voice in the world of chamber music, and exudes an energy that is at once friendly, knowledgeable, and adventurous. The New Yorker states, “The Jupiter String Quartet, an ensemble of eloquent intensity, has matured into one of the mainstays of the American chamber-music scene.”

FEBRUARY 18

VALENCIA BARYTON PROJECT

The Valencia Baryton Project was founded by Valencia-based barytonist Matthew Baker with the vision of performing the nearly 170 works written by Franz Joseph Haydn as well as compositions by other composers. The Valencia Baryton Project has dedicated itself to the performance of music written for an ancient and little-known instrument, the baryton. A cross between the viol da gamba and lirone, the baryton gives the traditional string trio an entirely new dimension.

TRIO KARÉNINE

Founded in Paris in 2009, Trio Karénine bears the name of Tolstoy’s beautiful and emotionally honest heroine, Karénine. The trio of Julien Dieudegard (violin), Louis Rodde (cello) and Paloma Kouider (piano) has been acclaimed by critics and audiences for its musical integrity and passionate interpretation, and was the top prizewinner at the ARD International Competition in 2013. The group has performed in the world’s most prestigious venues.

MARCH 4

ELISSA LEE KOLJONEN ACCOMPANIED BY

SHENG-YUAN KUAN

One of the most celebrated violinists of her generation, Elissa Lee Koljonen has thrilled audiences and critics in more than one hundred cities throughout the world. Ms. Koljonen received international acclaim when she became the first recipient of the prestigious Henryk Szeryng Foundation Award and the silver medalist of the Carl Flesch International Violin Competition. Her playing has been hailed as “sparkling, sensual and personal,” by the Helsingin Sanomat, Helsinki. Elissa Lee Koljonen appears by arrangement with the Curtis Institute of Music.

EXPERIENCE THE FLAGLER MUSEUM MUSIC SERIES

Regularly featured on “Performance Today!” and National Public Radio, the Flagler Museum Music Series brings acclaimed musicians to the finest chamber music venue in South Florida. Audience members experience chamber music as it was intended, in a gracious and intimate setting. The Flagler name has long been associated with great music. Henry and Mary Lily Flagler frequently hosted musical performances in Whitehall’s Music Room equipped with a 1,249 pipe J.H. & C.S. Odell & Co. organ.

Music Series audience members not only enjoy beautiful chamber music but also enjoy the rare opportunity to meet the musicians during a champagne and dessert reception following each concert.

To learn more about the Flagler Museum Music Series, visit: FlaglerMuseum.us

A Taste of History: Gilded Age Tea Experience in the Railcar No. 91® Tea Room

OPEN THROUGH MAY 11, 2025

RAILCAR No. 91® TEA ROOM

Each day the Flagler Museum is open, it offers a Gilded Age-style lunch which features an array of delicacies and refreshments reminiscent of the elegance of entertaining during the Gilded Age. Visitors will enjoy a selection of gourmet tea sandwiches, traditional scones, and sweets complemented by the Flagler Museum’s own Whitehall Special Blend® tea, and served on exquisite Whitehall Collection® china.

FEBRUARY 14-16, 2025

VALENTINE’S DAY TEA

Commemorate this American tradition with your sweetheart on Valentine’s Day weekend in the Railcar No. 91® Tea Room. Couples are invited to enjoy the elegance of this National Historic Landmark and a Gilded Age style tea, with breathtaking views of the West Palm Beach skyline across Lake Worth, while enjoying a Gilded Age-style lunch of gourmet tea sandwiches, scones, desserts, and Whitehall Special Blend® tea all served on exquisite Whitehall Collection® china.

MAY 10-11, 2025

MOTHER’S DAY TEA

The celebration of Mother’s Day in the United States began during the Gilded Age, when in May 1914, Congress established it as a National Holiday. In the spirit of this tradition, mothers and their families are invited each year to the Railcar No. 91® Tea Room to enjoy a Gilded Age-style Tea Service in the Flagler Kenan Pavilion. Guests may also enjoy touring Whitehall and Railcar No. 91® before or after their tea service, and capture photographic memories.

Springtime Festivities at Whitehall

APRIL 19, 2025

EASTER EGG HUNT

Families and children of all ages are invited to the traditional Easter Egg Hunt on Museum grounds the Saturday before Easter. Treat-filled eggs will be “hidden” on the Museum’s lawn as well as in the Cocoanut Grove, and areas will be sectionedoff by age group so that all children, including toddlers, have the opportunity to participate safely. The Easter Bunny will visit from 9:00 to 11:00 am, and Easter-themed games and face painting will be available during the first hour of the event, prior to the Easter egg hunts. Festivities will end at 11:00 am.

Whitehall Collection® China

Now Available at H. M. Flagler

& Co.®

Celebrate the charm and sophistication of the Gilded Age with Whitehall Collection® China. Perfect for elevating your dining table, these pieces are adorned with distinguished Whitehall iconography. Shop the collection in Store or online, exclusively at the Flagler Museum Store, H. M. Flagler & Co.®

SCAN HERE TO SHOP ONLINE

APRIL 26, 2025

BLUEGRASS IN THE PAVILION

The Kody Norris Show is a youthful voice in Bluegrass music, and insiders have awarded them multiple IBMA & SPBGMA Nominations and wins in 2022 for Entertainer of the Year and Fiddler of the Year for Mary Rachel Nalley-Norris. Authentic Unlimited is a bluegrass/gospel group, all being former members of Doyle Lawson & Quicksilver’s last touring band before he retired. They are joined by mandolin extraordinaire, Jesse Brock and vocal powerhouse, John Meador to form a tight machine that is taking the music industry by storm.

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To join or renew your Membership, call (561) 655-2833 or visit FlaglerMuseum.us