William Belanske sketches while waiting with his luggage to embark on a journey with William K. Vanderbilt II. Photo from Vanderbilt Museum archives
William E. Belanske already had an enviable job as an artist and taxidermist for the American Museum of Natural History (AMNH) when he got a call from William K. Vanderbilt II.
The year was 1926 and Vanderbilt was preparing for an expedition on his yacht Ara to collect animal and marine life. The voyage would take him to one of the most scientifically diverse and remote places on earth — the Galápagos Islands, on the Equator off the coast of Ecuador. He needed an artist to record the live specimens he would bring back to his private museum in Centerport. To Belanske, it was the opportunity of a lifetime.
The Suffolk County Vanderbilt Museum, which marked the 65th anniversary of its official opening on July 6, has created a new exhibit honoring Belanske’s work.
On display in the Memorial Wing of the museum, the installation features a recreation of Belanske’s studio on the Vanderbilt Estate and includes some of the detailed paintings of the numerous marine specimens Vanderbilt collected from the oceans of the world. Large illustrated panels detail Belanske’s work, on the expeditions and at the museum.
Kirsten Amundsen and Brandon Williams of the curatorial staff came up with the exhibit concept and design.
“The ship’s artist, Mr. William E. Belanske, has been with me since 1926,” Vanderbilt wrote in 1932. “He makes accurate paintings of rare fish. With every scale carefully drawn, every shade, every nuance of color exactly portrayed, his reproductions are true, lifelike, and of value to science.”
In 1927, following the Ara expedition, Vanderbilt requested Belanske’s services full time at his museum, and Belanske chose to resign from the AMNH. He served as Vanderbilt’s curator and lived in a cottage on the estate from 1928 to 1945. His work included taking part in around-the-world cruises on the Ara in 1928-1929 and on the Alva in 1931-1932.
Notably, Belanske collaborated with the renowned painter Henry Hobart Nichols (also of the AMNH) to create the Vanderbilt Habitat in 1930, nine stunning dioramas that depict animal life from several continents. The centerpiece of the room is a 32-foot whale shark, the world’s largest taxidermied fish, caught off Fire Island in 1935.
Stephanie Gress, director of curatorial affairs for the Vanderbilt Museum, said, “On the Ara, they placed fish in holding tanks with saltwater to keep them alive. Belanske would paint the catches immediately in order to record the colors accurately.”
Before color photography, Gress said, the beauty and vibrant hues of the collected marine specimens could only be captured with an artist’s hand. Belanske’s perfect color images of the specimens were displayed in the Marine Museum next to the faded, fluid-preserved specimens.
When he returned to his studio, the artist began the time-consuming task of creating his final images. He used his notes, measurements and rough sketches to create fully accurate, detailed fish prints worthy of scientific publication, she said.
The Suffolk County Vanderbilt Museum is located at 180 Little Neck Road, Centerport. Through Sept. 6, the museum will be open Tuesday through Saturday from 11 a.m. to 5 p.m. and Sundays from noon to 5 p.m. For more information, call 631-854-5579 or visit www.vanderbiltmuseum.org.
Rosamund and Willie Vanderbilt aboard their 264-foot yacht Alva during a 1931 cruise around the world. Photo from Vanderbilt Museum archives
The Suffolk County Vanderbilt Museum will celebrate the 65th anniversary of its official opening on July 6.
William K. Vanderbilt II — great-grandson of Cornelius Vanderbilt, the railroad and shipping magnate — died in 1944. His wife Rosamund continued to live in the Vanderbilt Mansion in Centerport until her death in 1947.
He realized the potential for his sprawling estate to become a museum for what he called “the use, education and enjoyment of the general public.” That wish prompted him to leave his estate, and a trust fund to finance its operation, to Suffolk County. The county opened the museum to the public on July 6, 1950.
The anniversary coincides with Arcadia Publishing’s release of “Eagle’s Nest: The William K. Vanderbilt II Estate” by Stephanie Gress, director of curatorial services for the museum. The book is available on the Arcadia Publishing, Amazon and Barnes & Noble websites, in the Vanderbilt Museum Gift Shop and at local bookstores.
Today, the Vanderbilt estate and museum are an important part of Long Island history. It is a destination for regional visitors interested in natural history, the life of the oceans, armchair journeys through space, and the history of the privileged life on the Gold Coast from the Jazz Age through World War II.
The Vanderbilt’s Charles and Helen Reichert Planetarium is another magnet for visitors. The museum decided to add a planetarium in the late 1960s. Trustees knew a planetarium would enhance the museum’s ability to carry out the science education aspect of its mission and to honor Vanderbilt’s love of science and astronomy and his interest in celestial navigation.
A planetarium also would augment the original Vanderbilt trust fund and help to ensure financial sustainability. The planetarium was opened to the public on June 28, 1971.
Vanderbilt — known to family and friends as Willie K. — loved the sea and the natural world. In his global oceanic travels, he collected fish and other marine life, birds, invertebrates and cultural artifacts for the personal museum he planned to build on his Long Island estate.
Willie Vanderbilt exhibited thousands of the marine specimens he had gathered — one of the world’s most extensive, privately assembled collections from the preatomic era — in his own marine museum, the Hall of Fishes, which he opened to the public in 1922. Wings of the mansion contain galleries of his natural-history and cultural-artifact collections, including the Habitat with its nine wild-animal and marine-life dioramas and eight more in the adjacent Stoll Wing, all created by artisans from the American Museum of Natural History.
The 43-acre waterfront museum complex counts among its extensive collections (which total more than 30,000 objects) the mansion, curator’s cottage, a seaplane hangar and boathouse, centuries-old household furnishings, rare decorative and fine art, the archives and photographic record of Vanderbilt’s circumnavigations of the globe and published books of his travels. The estate, mansion and museum are listed on the National Register of Historic Places.
The Suffolk County Vanderbilt Museum is located at 180 Little Neck Road in Centerport. For more information, call 631-854-5579 or visit www.vanderbiltmuseum.org.
Festivalgoers enjoy listening to music on the Great Lawn at the Vanderbilt Museum. Photo by Stacy Santini
By Stacy Santini
It is hard to imagine that William K. Vanderbilt II envisioned people dancing ensconced in tie dye, Frisbees being tossed into the wind, and Grateful Dead melodies connecting with the air when he donated his 43-acre Eagle’s Nest estate in Centerport to the county in 1944, but if he were at what is now known as the Vanderbilt Museum on June 7, it is pretty certain that he would marvel at the sight. Exceptional weather with crystalline blue overhead, grassy knolls kissing azure water and ornate gothic buildings served as a brilliant host to a Woodstock Revival.
The amazing world of event promoter, Rich Rivkin is a wonderland of Birkenstocks, hula hoops, live music, visual artists, bubbles, and face painters. Rivkin, who started Rich Rivkin Presents more than a decade ago, is a live art and music promotional entity. He has become a sort of pied piper for a community of people who love music, the energy and movement of festivals and fellowship. Rivkin tells us, “Look at the people around you at these events. You know that years ago they were there at those shows that the Grateful Dead and similar artists became known for — themed festivals where the audience feels a tangible sense of community as they sing the same songs in unison. I wanted to recreate that.”
Artist Stelios Stylianou paints overlooking Northport Harbor at the Vanderbilt Museum. Photo by Stacy Santini
Rivkin is a humble and kind soul who has made a profession out of all things altruistic. He is an environmental consultant specializing in the removal of contaminated soil and has become a national expert advisor in the field. With clients such as UPS, Rivkin’s company has more than 4,000 projects to its credit, recycling soil and bettering communities around the United States.
He is also a talented hand percussionist. Fifteen years ago he began to form drum circles so that passionate musicians like himself could collaborate with one another and share their work. Within a short period of time, popular local bands like Reckoning were eager to participate and one of Long Island’s first music festivals, called Elwoodstock, was born, overseen by Rivkin. Held at a public park in Elwood in 2001, musicians joined Rivkin for a day of music and togetherness. There were no permits in place, no insurance obtained and next to zero marketing performed, but people turned out and have been turning out ever since.
Rivkin recalls the moment he knew that these events were indeed something he not only wanted to pursue, but felt compelled to do. “It was as if we created a living room under the stars, Persian rugs and all. In the afterglow of everyone’s departure, I could still feel the vibe, the energy of the music, the sense of community. It was so personal, it actually made me cry. I had no idea in that moment how it would expand, but the seed was planted and there was no turning back.”
Known for its pristine shorelines and beaches, Long Island certainly has much to offer, but there is a movement occurring that is rapidly injecting culture into our neck of the woods and Rivkin can certainly be attributed for facilitating this local renaissance. Fusing world class musicians with local visual artists, his events have become an enclave for creators and observers alike and Rich Rivkin Presents is synonymous with both art forms. He has joined these communities together and created a fellowship much like the days of the 1960s when the Grateful Dead lyric, “Strangers stopping strangers just to shake their hands,” was the mantra. It is really quite beautiful and very much needed in such a secular society.
Ann McInerney (aka Annie Mac) and Mike Katzman of Jellyband perform at the Vanderbilt Museum. Photo by Stacy Santini
On Sunday, June 7, more than 50 years after the Woodstock Music Festival in upstate New York stunned a nation, the grounds of the Vanderbilt Museum were literally transformed to sustain a revival of that historical moment. Droves of hippy-clad professionals, music aficionados and art lovers alike freckled the lawns and set up camp amongst the historical landmark structures to enjoy a day of peace, love and joy. Dancing amid colorful tents, coolers and strewn blankets, attendees were treated to some of the best local music around and were able to witness the alluring process of artisans painting their canvases.
Out of the gate, the first of four bands, Jellyband, gave crowd–pleasing renditions of Grateful Dead, Creedence Clearwater Revival and Joe Cocker favorites. Lead singer Annie Mac delivered a goose bump-inducing version of Janis Joplin’s “Piece of My Heart,” elevating the energy of the crowd to eagle-soaring heights.
Germinating the vibe, Milagro took the stage next, singing and emulating Santana as only Milagro can do, bringing us favorites such as “Black Magic Woman.” A welcome addition to the familiar setlists came from the third band, Wonderous Stories, as they impeccably treated the crowd to the entire “Who’s Next” album by the incomparable beloved rock ensemble, The Who. Essentially, one voice emanated from the crowd as “Behind Blue Eyes” settled upon the audience.
Half Step, a group that has a strong following with the Long Island Deadhead community, was astounding and closed the day with an execution of “Morning Dew” that even Jerry Garcia would have loved. The vocals of Tom San Filippo and Cindy Lopez recreate the magic of the Grateful Dead in a manner very few can do. As well-known music photographers, such as Joel Werner and Artie Ralisch, and fan photographer Jason Cousins captured the crowd’s moments of rapture, it was apparent that there was no place on earth any of these people would have rather been. Festivalgoer Tom Schilling sums it up, “Breathtaking views, soul nurturing tunes, with my great friends, it is my favorite start to the season. Rivkin’s Deadfest here in September will just cap it all off.”
Rich Rivkin Presents will be indulging his friends numerous times throughout the summer with events such as Box of Rain, Long Island Sound & Art Festival and Grateful Fest. During the winter, Rivkin keeps the momentum going with indoor experiences as well. Next year, he hopes to mirror larger national festivals with a two-day camping event on a private 40-acre property on eastern Long Island. Rich Rivkin’s recipe for entertaining folks and bringing people together is marvelous, and one can only hope that he keeps playing his magical flute for years to come. For more information, please visit www.limusicfestivals.com.
Book launch to be held at annual members reception
The front cover of Stephanie Gress’s new book. Image from Vanderbilt Museum
Stephanie Gress knows more about the history of William K. Vanderbilt II than most people. As director of curatorial affairs for the Suffolk County Vanderbilt Museum for eight years¸ she is the steward of Mr. Vanderbilt’s legacy, his estate, mansion and museum collections.
Using that extensive knowledge and a trove of rare photographs from the Vanderbilt archives, Gress created a richly illustrated book, Eagle’s Nest: The William K. Vanderbilt II Estate. Its cover photo, from the Vanderbilt Museum archives, is by the noted New York City photographer Drix Duryea. The picture shows the bell tower and one wing of the mansion in the late 1920s, before the Memorial Wing enclosed the courtyard.
The book was published June 1, by Arcadia Publishing in South Carolina, the leading local-history publisher in the United States. The Vanderbilt will celebrate the book’s official launch at its annual Members Reception on Sunday, June 28.
Gress noted that the release of the book is well-timed, as the development of the Eagle’s Nest estate is in its centennial decade: “This book tells readers about the Vanderbilt family, why Mr. Vanderbilt came here and built the estate, how the place changed over the years based on changes in his life, and how we use it today.”
Vanderbilt, known as Willie K., purchased the first parcel of what would become 43 acres for his Northport Bay waterfront estate in 1910, and hired the eminent New York City architectural firm of Warren & Wetmore to design and build it. The firm had designed Grand Central Terminal in Manhattan for Cornelius Vanderbilt’s New York Central Railroad. Cornelius was William’s great-grandfather.
Eagle’s Nest is the easternmost Gold Coast mansion on Long Island’s affluent North Shore. From 1910 to 1944, the palatial, 24-room, Spanish-Revival mansion was Willie K.’s summer hideaway. There he hosted intimate gatherings of Vanderbilt family members and close friends — including the Duke and Duchess of Windsor, legendary golfer Sam Snead, and the Tiffanys.
“Mr. Vanderbilt embarked on many of his legendary world voyages from Eagle’s Nest,” Gress said, “along with a 50-person crew and a few, fortunate invited passengers.” During his travels, she said, he collected natural-history and marine specimens and ethnographic artifacts from around the globe.
With the help of scientists and experts from the America Museum of Natural History, he created exhibits in the galleries at the estate to showcase his collections. Mr. Vanderbilt died in 1944. His wife Rosamund continued to live in the mansion until her death in 1947. Vanderbilt’s will bequeathed his estate and museum to Suffolk County. In 1950, it was opened to the public as the Suffolk County Vanderbilt Museum. The estate is listed on the National Register of Historic Places.
“Much to the credit of Willie K., Eagle’s Nest continues to fulfill his intended mission,” Gress wrote in the conclusion of the book. “Visitors from all over the world come to see one of the few remaining Long Island Gold Coast estates with its original furnishings. His collections remain on display and they continue to fascinate and entertain.”
Eagle’s Nest is available for purchase on the Arcadia Publishing, Amazon and Barnes & Noble websites, in the Vanderbilt Museum Gift Shop and in local bookstores.
The Suffolk County Vanderbilt Museum has received a grant of $135,000 from The Robert D. L. Gardiner Foundation to support the restoration of the museum’s extensive marine collection, the largest privately assembled collection of sea specimens from the pre-atomic era.
William Vanderbilt (1878-1944) created his Marine Museum, which he called The Hall of Fishes, in 1922. He stocked it with marine specimens collected during voyages to the Galapagos Islands and opened it to the public for a few hours a week. He added to the collection after his circumnavigations of the globe in 1928-29 and 1930-31.
Jennifer Attonito, executive director of the foundation, said, “The Vanderbilt Museum is a Long Island gem and a major anchor of local history. We are proud to help preserve this valuable collection to benefit museum visitors and to help raise awareness of Long Island’s heritage.”
The Gardiner Foundation, established in 1987 in Hampton Bays, supports the study of Long Island history, with an emphasis on Suffolk County. The foundation was inspired by Robert David Lion Gardiner’s personal passion for New York history.
Stephanie Gress, the Vanderbilt’s director of curatorial affairs, said, “The Gardiner Foundation grant will help us to restore and preserve many rare specimens in our Marine Museum that have long needed critical attention. Our marine collection is the foundation for several key Vanderbilt education programs that serve Long Island schools.”
The Vanderbilt marine collection of 13,190 specimens is housed in the Marine Museum, Habitat and Memorial Wing. Of these, she said, 919 are invertebrates in fluid (displayed in “lots” — from two to many in a single display container); 719 dry fish specimens; 1,746 wet fish specimens in lots and 9,806 dry marine invertebrates (shells and corals). Dry specimens are exhibited on the first floor of the Marine Museum, wet specimens on the second floor.
The two largest marine specimens are a 32-foot whale shark — caught in 1935 and restored in 2008 with a federal Save America’s Treasures grant — and an imposing manta ray, caught in 1916 and restored many years ago, with a 16.5-foot wingspan. William K. Vanderbilt II called it the “Sea Devil.”
Gress said cartilaginous fish, such as sharks and rays, which have spines of cartilage instead of bone, are the most difficult to preserve. Another problem is the age of the collection — many of Vanderbilt’s earliest specimens are nearly 100 years old. When preservation fluid (ethanol and distilled water) in specimen containers degrades the wax seals, comes in contact with air and evaporates, specimens can decompose, she said.
The Suffolk County Vanderbilt Museum is located at 180 Little Neck Rd., Centerport. For more information, call 631-854-5579 or visit www.vanderbiltmuseum.org.
