Mr. Vanderbilt’s House and Collection (1884), a beautifully bound two-volume set that brings to life William H. Vanderbilt’s monumental “Brownstone Twins” and their contents on New York’s Fifth Avenue, is now on view in the Sculpture Gallery at the Driehaus Museum.
The Museum’s new acquisition forges a special and important link between two prosperous late 19th-century businessmen and their devotion to collecting art. Samuel M. Nickerson may have lived in Chicago, while the name of William Henry Vanderbilt was synonymous with New York. But they were both enthusiastic parts of the same wave of artistic interest across America at the turn of the century, which resulted in real cultural phenomena: rooms like our Sculpture Gallery, private collections open to the public as a precursor to museums, and publications like Mr. Vanderbilt’s House and Collection.
William H. Vanderbilt was the eldest son of railroad mogul Commodore Cornelius Vanderbilt, and inherited the largest slice of his father’s massive fortune. He did a fine job in railroads himself, and nearly doubled his inheritance by the time of his death. In 1879 he embarked on a $3 million building project that would permanently etch the Vanderbilt name in New York brownstone and American architectural history. “Nothing so magnificent had before been attempted in New York in the way of a private residence,” The New York Times remarked afterwards.
The Vanderbilt residence at Fifth Avenue and Fifty-first Street was technically two mansions connected by an atrium; his daughters lived in the second with their husbands. It was a feast for the eyes. The architect-decorators were Christian and Gustave Herter, German-born cabinetmakers favored by New York’s elite, and they worked with experienced architects Charles Atwood and John Snook to anchor their profuse decorative elements to a standing structure. No two rooms were alike, and all were exactly to the taste of the moment. Just like the original interior designers of the Nickerson Mansion, the Herter Brothers favored a creative pastiche of historical and cultural styles all arranged together in interesting ways. You had vast groupings of artistic objects heaped on fireplace mantels, walls divided into three or more sections before reaching the ceiling, elaborate carvings in exotic wood, and jewel-tone colors. One’s eye never quite knew where to land.
Mr. Vanderbilt’s House and Collection is really a book of description. And just as we trawl through Curbed or Pinterest to see how tastemakers arrange their interiors or tune in on television for sneak peeks of celebrity’s homes, this description was hungered for by America’s new middle class and nouveaux-riche.
Published in limited number—1,000 editions, of which the Driehaus Museum’s acquisition is #712—of beautiful materials, included richly grained and gilt-edged brown leather and deep blue silk inner linings, Mr. Vanderbilt’s House and Collectionoffered entrance to the private world of the wealthiest man in America. The reader is treated to a vivid tour of the home, from the Boudoir’s ivory-inlaid ebony walls to the grand three-story Picture Gallery, as well as Vanderbilt’s private art collection, which included around 200 paintings.
The author, Edward Strahan (Earl Shinn), was an influential self-made American art critic who studied at the École des Beaux-Arts in Paris and returned with a mission—not to make art, but to write about it. He wanted to dazzle American eyes and minds with the wonders of great art, examples of which so few of them had seen. Even the publisher, George Barrie, seemed to emphasize the artistic quality with his beautifully bound books filled with lavish artwork. A year before coming out with Mr. Vanderbilt’s House and Collection, Barrie put the visions of the 1893 Chicago’s worlds fair into people’s homes with an illustrated two-volume set, World Columbian Exposition MDCCCXCIII, Art and Architecture. He also collaborated with Shinn on a series called Art Treasures of America.
They were proponents of a vast sort of gentrification campaign for young America taking place at the end of the 19th century, which needed men like William Henry Vanderbilt. You might call this a kind of Mediciean mindset. Many Gilded Age barons like Vanderbilt saw themselves as bringers of an American Renaissance in which the powerful and wealthy contribute to the public good and encourage the flourishing of the arts. So when Vanderbilt spent over $1 million to amass works by Alma-Tadema, Bougeureau, Corot, Daubigny, Delacroix, Dupré, Fortuny, Millet, Millais, Rousseau, Troyon, and Turner, he had more than his personal financial portfolio in mind. Upon the grand opening of his mansion in 1882, Vanderbilt hosted two receptions, “to one of which he invited other multi-millionaires of the town to inspect his treasures, and to the other poor artists who had never been able to see the great galleries of Europe.” Afterwards, visitors were admitted by card on Thursdays. This was, according to one publication, “an important element in cultivating the artistic taste of the metropolis.”
Like Vanderbilt, Samuel M. Nickerson opened the Sculpture Gallery to art students and other interested Chicagoans, not only his personal guests. Art collections were viewed as public treasures, obtained by privilege but not to be hoarded. Rather, they were to be shared for the enjoyment and betterment of society at large. There was a deep belief during the aesthetic movement that exposure to exceptional beauty somehow elevated us, changed us, improved us as humans. Writing about that subject today, Alain de Botton puts it like this:
Alain de Botton, The Architecture of Happiness
Bibliopolis, “Publisher: George Barrie”
Dictionary of Art Historians, “Shinn, Earl / Edward Strahan, pseudonym”
The Metropolitan Museum of Art, In Pursuit of Beauty: Americans and the Aesthetic Movement
The Metropolitan Museum of Art, Library Table, Herter Brothers (1864-1906)
The New York Times, “Frick Remodeling Vanderbilt Mansion, Will Make Over One of Famous Brownstone Twins. Alterations to Be Costly: William H. Vanderbilt Built the Two Houses in 1880 at the Cost of $3,000,000—George Vanderbilt’s Tenure.” April 16, 1905.
The New York Times, “C. Vanderbilt Gets Mansion and Art, Property Worth $6,000,000 Reverts to Him by Grandfather’s Will on Death of George W. House Let to H. C. Frick. Stands at Fifth Avenue and Fifty-first Street and Cost $1,600,000—Art Valued Above $1,000,000.” March 10, 1914.
Nathan Silver, Lost New York, p. 121-122