Museum

The Dogwood Hollow Amphitheater was once located behind Stony Brook Village Center. It was the place to see musical stars such as Duke Ellington, Louis Armstrong, Liberace, Tony Bennett and more until 1970.

Now it’s the spot to celebrate music once again. The Long Island Music & Entertainment Hall of Fame officially opened Friday, Nov. 25. On the night of Nov. 23, a ribbon cutting was held followed by a red carpet event,  preview of exhibits and performances by LIMEHOF inductees.

The 8,800 square-foot building is the first physical facility of the nonprofit organization and was previously used as the Ward Melville Heritage Organization’s Educational and Cultural Center.

“We are thrilled our organization has found a permanent home in such a wonderful location,” said Ernie Canadeo, LIMEHOF chairman in a statement. “We’re excited to be able to share our world-class displays and unique memorabilia collection that showcases Long Island’s rich and diverse musical and entertainment history in new and exciting ways. We feature different and exciting exhibits, displays, videos and education
offerings that make the center a dynamic place for people to visit on a regular basis.”

The event was well-attended by entertainers, including members of Twisted Sister, Blue Oyster Cult, Zebra, Jen Chapin and Carole Demas and Paula Janis of “The Magic Garden.”  Town of Brookhaven Supervisor Ed Romaine (R), state Sen. Mario Mattera (R-St. James), state Assemblyman Steve Englebright (D-Setauket), county Legislator Kara Hahn (D-Setauket), Brookhaven Councilmember Jonathan Kornreich (D-Stony Brook) and WMHO President Gloria Rocchio were on hand to welcome the inductees and LIMEHOF organizers.

Attendees were able to preview the nonprofit’s first exhibit, “Long Island’s Legendary Club Scene — 1960s-1980s.” Designer Kevin O’Callaghan created the exhibit, featuring many of the LIMEHOF inductees, to be like a club crawl through the 60s, 70s and 80s club scenes.

Demas and Janis said they were honored to represent family entertainment in the hall of fame. While the show “The Magic Garden” went off the air in 1984, the duo have performed on stage occasionally through the decades. Janis said the two have known each other since they were teenagers in Brooklyn. The hall of fame includes artists who have lived in Suffolk Nassau, Queens and Brooklyn.

“We never imagined ‘The Magic Garden’ would walk us into something like this,” Demas said.

Mark Mendoza, who played bass in Twisted Sister, was also impressed by the facility. He said while it has taken several years for the LIMEHOF to find a permanent home, the wait was worth it because it enabled more time to collect impressive memorabilia from various artists.

He said Long Island is finally being recognized as music hotspot and the hall of fame will help to recognize even further the talented musicians from the Island.

“It’s definitely going to be a place for tourists to come — a lot of people to come here because of the music,” he said. “It’s great because it’s so diverse. The music is so incredibly diverse, and it’s great seeing all the other artists here tonight. This is definitely going to be a destination for people to show up at.”

The Nov. 23 event ended with performances by Demas and Janis,  Harry Chapin’s daughter Jen,  Elliott Murphy and Zebra.

The Long Island Music & Entertainment Hall of Fame is located at 97 Main Street, Stony Brook. It is open Wednesday through Sunday from noon to 5 p.m. For more information, visit limusichalloffame.org.

Back by popular demand, second year promises to be bigger and brighter with new features

Shimmering Solstice at Old Westbury Gardens, 71 Old Westbury Road, Old Westbury, presented by Catholic Health, returns for its second year on  Friday, November 25. Back by popular demand, this holiday themed light show offers visitors the opportunity to behold a series of magical light displays as they walk along the beautiful meandering paths through Old Westbury Gardens’ Walled Garden, Rose Garden, South Lawn, and Allée.

“This walkthrough light show is uniquely designed specifically for Old Westbury Gardens, a beautiful long
island landmark” said Nancy Costopulos, President and CEO of Old Westbury Gardens. “It offers a one-
of-a-kind experience which is now becoming a new holiday tradition.”

This year, even more beautiful visuals have been added including a re-designed interactive area
featuring three new exhibits that will engage adults and children alike; seasonal music throughout the
expanded illuminated event path, a new illuminated water feature on the West Pond, and the Garden of Appreciation will be turned into a lively warming area with a concession stand for seasonal snacks and
drinks.

Shimmering Solstice is a completely custom-built show by Lightswitch, a collective of internationally
recognized lighting, media, and visual designers that has been uniquely designed to highlight the
features of Old Westbury Gardens. The goal was to turn the gardens into a visitor location that can be
enjoyed during the fall and winter holiday season and that would remain consistent with the mission of
Old Westbury Gardens.

“Shimmering Solstice was designed to be a celebration of our space,” said Maura Brush, Director of
Horticulture at Old Westbury Gardens. “The features that define Old Westbury Gardens such as the
formal allées, ponds, and statuary are all illuminated so visitors can view them in a completely different
light.”

This walk-through show is a family friendly experience people of all ages can enjoy and is designed for
visitors to explore at their own pace. For the exciting finale, visitors will once again be dazzled to see the
south facade of Westbury House come alive with magical lights and seasonal sounds—this year with an
exciting twist!

Tickets are on sale now. The show runs on select dates from November 25, 2022 and runs through
January 1, 2023. The admission time starts at 5:30 p.m. Check website for available dates and times.
For more information and to see a video preview of the event, visit https://shimmeringsolstice.com/.

About Old Westbury Gardens:
Built in 1906 and listed on the National Register of Historic Places, Old Westbury Gardens is the former
home of John S. Phipps, his wife, Margarita Grace Phipps, and their children. Today, as a not-for-profit
organization, Old Westbury Gardens welcomes visitors of all ages for a wide range of historical, cultural,
artistic, educational, horticultural events. Old Westbury Gardens seeks to inspire appreciation of the
early 20 th  century American country estate through faithful preservation and interpretation of its
landscape, gardens, architecture and collections. For more information,
visit  https://www.oldwestburygardens.org/

This 19th century whaleboat is the star of the The Whaling Museum's permanent collection.
An insight into Long Island’s nautical past

By Tara Mae

It’s a whale of a tale! Beginning in November, The Whaling Museum and Education Center of Cold Spring Harbor will host new monthly Whale Boat Chats chronicling the history of whaling on Long Island.

Generally 20 to 30 minutes long, the interactive discussions are metaphorically and physically centered around a historic 19th century whale boat. Led by Admissions Associate Gerard Crosson, the talks are guided by question and answer segments and incorporate whaling artifacts for the public to see and touch such as a 19th century iron harpoon, scrimshaw, and blubber encased in a jar. 

“We are excited to offer this new opportunity to engage with the museum’s exhibits! Visitors will learn the significance of this whaleboat and how it is tied to our local maritime history. We invite the community to come, stand around the boat and imagine what it was like to be out at sea chasing a creature larger than the boat you’re chasing it in,” said Assistant Director of The Whaling Museum Gina Van Bell.

The program was formed around the whaleboat, the foundational item of the museum’s permanent collection. It belonged to the 19th century New Bedford whaling ship Daisy, which during its long career sailed from many ports and harbors, including that of Setauket in 1872. 

Like many whaling ships, Daisy’s use was multi-faceted: after many Yankee whaling trips and at least one international journey, it was repurposed as a cargo ship during World War I and sank circa 1914. 

American use of whaling ships during warfare dates back to at least the Revolutionary War, when they surreptitiously sailed between Patriot controlled Connecticut and British-occupied Long Island, delivering messages, etc. 

“They were used in guerrilla warfare. Fierce hand to hand combat happened in whaling ships. They were very useful, very seaworthy,” said Nomi Dayan. Executive Director of The Whaling Museum.

For decades, the Daisy whaleboat proved to be profitably versatile. During her most famous excursion, Long Island ornithologist Dr. Robert Cushman Murphy used the whaleboat on an exploratory voyage to Antarctica in 1912, commissioned by the American Museum of Natural History to study birds and bring back specimens. 

A dedicated diarist, Murphy, who was fascinated by all he witnessed on the voyage and intrigued by Yankee whaling, kept a detailed record of the journey. He later published Logbook for Grace: Whaling brig Daisy, 1912-1913 about the sojourn. Murphy’s photos from the trip are part of the Whaling Museum’s collection. 

“He was one of the best scientists to come out of Long Island…Murphy ended up documenting whales and whaling in a way that no one had before,” Dayan said. 

So enamored was he with the experience, that Murphy purchased the whaleboat for the Brooklyn Museum in the 1910s. After the museum rejected his gift, he offered it to the American Museum of Natural History, which also declined to accept it. The whaleboat then hibernated under a tarp on a friend’s front lawn until Murphy and his friends generated enough support and funds to build it a home of its own: The Whaling Museum of Cold Spring Harbor. 

“The community came together to build the museum around the whaleboat. It is a key part of maritime heritage,” Dayan added. 

Established in 1936, the museum opened its doors in 1942. The museum currently has 6000 object and archival items in its holdings including whaling tools, products, and even art. 

“We have one of the best scrimshaw collections in the northeast. People can see beautiful examples of what men carved at sea during the hours, weeks, months, years, of boredom,” Dayan said. 

As one of the three original whaling ports on Long Island, Cold Spring Harbor maintains a buoyant connection to its maritime heritage. Whaling was one of the area’s most important sources of commerce, facilitating economic and social growth while making Cold Spring Harbor somewhat of an industrial hub.

Whaling was fairly steady, if inherently risky, work. Voyages were long and frequently fraught. Whalers could lose their boats or even their lives when whales fought back. 

“It was a dangerous job,” said Van Bell. 

Yet the sea provided potential opportunities to those who might not find it on land, motley crews of experienced sailors, farm boys, and escaped enslaved men. 

“Whaling ships were like a kind of United Nations,” Dayan said. 

Rather than being paid a wage, crew members were generally paid with a cut of the profits. Whale products included everything from food to oil for lamps, and overhunting eventually led some whales to near extinction. 

Whaling as a much sought source of communal sustenance, however, predates European settlers. Indigenous groups like the Shinnecock had a strong tradition of whaling on Long Island, anchored to their connections to the sea. This heritage is explored in another exhibit at the museum, Shinnecock Artists and Long Island’s First Whalers, which debuted January 2021. 

Both exhibits are part of the museum’s ongoing efforts to expose the public, both adults and children, to the diverse background of Long Island whaling. A different feature, the hands-on exhibit If I Was a Whaler, permits kids to pretend to be whalers from the 1800s. 

“We want to get the community excited and engaged in the story of whaling, following through with our mission of sharing the diversity of our whaling heritage and how it enhances and impacts our lives,” Van Bell said. 

Whale Boat Chats will be offered on Nov. 5,  Dec. 3 and 29 and Jan. 27 with more dates to be announced in 2023. The programs will be held at noon and 1 p.m. and are free with paid admission to the museum of $6 for adults and $5 for kids and seniors. Members are free. 

Located at 301 Main Street, Cold Spring Harbor, the Whaling Museum is open to visitors from Thursday to Sunday, 11 a.m. to 4 p.m. For more information, call 631-367-3418 or visit www.cshwhalingmuseum.org. 

Townes Van Zandt and Nanci Griffith

WUSB’s Sunday Street series returns to the Long Island Museum’s Gillespie Room in the Carriage Museum, 1200 Route 25A, Stony Brook on Sunday, Oct. 23 with a concert titled Nanci & Townes: Remembering Two Texas Troubadours at 5 p.m.

WUSB’S Sunday Series returns to live performances  by continuing its tradition of honoring seminal singer-songwriters with an evening devoted to the songs of Nanci Griffith and Townes Van Zandt, two Texas-based artists.

Participating are Gene Casey, Delaney Hafener (of the Belle Curves), Caroline Doctorow, Bryan Gallo, Ray Lambiase, Mary Lamont w/ Jim Marchese, Pete Mancini, Gerry McKeveny, and Quarter Horse.

Pete Mancini will emcee the evening which will benefit the Sunday Street Series and WUSB.

The event is co-produced by Pete and Charlie Backfish and a collaboration of WUSB’s Sunday Street Series, The Long Island Museum, and The Greater Port Jefferson Art’s Council.

Nanci Griffith’s passing on August 13, 2021 was universally mourned in the music world. This Austin native received critical acclaim for a career that included sixteen original studio albums as well as two ‘covers’ collections, paying homage to songwriters who influenced her own writing. On the first of those two collections, ‘Other Voices, Other Rooms, she included her version of Townes Van Zandt’s ‘Tecumseh Valley.’ Her song, ‘Up Against the Rain’ is about Van Zandt.

Townes Van Zandt, from Fort Worth, has been considered influential not only by Nanci Griffith but by countless artists cutting across several musical genres. Many of his songs are regarded as masterpieces of songwriting with Steve Earle recently recording an entire album of them. Van Zandt passed away on New Year’s Day, 1997, at age 52. In the 2000’s, extensive interest in him resulted in two books and a documentary film.

                                            Tickets are $ 20.00 at www.sundaystreet.org

Artoberfest

Save the date! Join Preservation Long Island and the Long Island Museum for an Artoberfest, an afternoon of food, beer, music by Buddy Merriam & Backroads, arts and crafts, and games at the Sherwood-Jayne Farm, 55 Old Post Road, East Setauket on Saturday, Oct. 22 from noon to 5 p.m. The event is a celebration of the art of Edward Lange (1846-1912), whose works are currently on view at the Long Island Museum through Dec. 18.  Rain date is Oct. 23. Tickets are $20/over 21, $10/under 21, free for ages 5 and under. To order tickets, visit www.preservationlongisland.org. For more information, call 631-692-4664.

Photo from Vanderbilt Museum

The rained-out October 2 show by the Porsche Club of America (Metropolitan New York) at the Suffolk County Vanderbilt Museum, 180 Little Neck Road, Centerport has been rescheduled for Sunday, October 16. Tickets for the original date are valid.

The show is open from 11:00 am to 5:00 pm. Cars will be displayed on the estate grounds with a spectacular view of Northport Bay.

Visitors pay only general Museum admission.There is no extra charge to attend the car shows. Adults $10; seniors (62 plus) and students with ID $9; children 12 and under $7.

Photo from Vanderbilt Museum

Suffolk County Vanderbilt Museum, 180 Little Neck Road, Centerport will present its annual A Morning for Families event exclusively for people with special needs and their families on Saturday, Oct. 15 from 9 a.m. to noon. Spend the morning exploring the collections, grounds, gardens, architecture, and the Reichert Planetarium’s “Open Sky.” Activities include a preserved specimen touch table and crafts. Admission is free, but advance registration is required at www.vanderbiltmuseum.org. Call 631-854-5552 for further information.

Idle Hour, the mansion and estate of William Kissam Vanderbilt (1849-1920), which became Dowling College in 1968 Vanderbilt Museum Archives photo
Gift is Significant Part of Dowling College’s Special Collection

The Suffolk County Vanderbilt Museum has received the largest donation of archival materials since its inception in 1950. The gift, donated by the Friends of Connetquot River State Park Preserve, includes materials from the former Dowling College and Vanderbilt Historical Society collections, comprising photographs, maps, and written correspondence. The donation marks a significant moment in the broader historical community’s efforts to preserve and promote the heritage of the region.

This donation will aid researchers and historians in forming an understanding of late-nineteenth and early-twentieth century Long Island, and it will greatly augment the kinds of programming that can be offered by the Vanderbilt, Suffolk County’s first museum and public park.

Paul Rubery, Director of Curatorial Affairs at the Vanderbilt Museum, and Janet Soley, President of the Friends of Connetquot, worked alongside New York State and Suffolk County officials to determine the best way to preserve the content of these archives for future generations. They established that, because the VanderbiltMuseum aims to interpret the totality of the Vanderbilt family’s contributions to the development of Long Island, Centerport would be the ideal resting place for the wide-ranging collections.

All items donated by the Friends of Connetquot are now being processed and digitized by staff at the Vanderbilt Museum. These measures put to rest what some once regarded as the uncertain fate and future of a vast collection of historical materials assembled in Oakdale by local historians and academic archivists.

Dowling College Materials

Dowling College was established in 1968 at Idle Hour, the former mansionand 900-acre estate built in 1900 for William Kissam Vanderbilt (1849-1920). Vanderbilt was the father of William K. Vanderbilt II (1878-1944), who created the Eagle’s Nest estate, home of the Suffolk County VanderbiltMuseum.

Dowling College’s paper records were in jeopardy when the school ceased operations in 2016. Nearly a year later, its administrative and collegiate archives were transferred to Adelphi College, the college’s former parent institution. This arrangement spoke to Adelphi’s mission and directly benefited the wide network of Dowling alumni in the region. However, certain items were not covered in the original agreement between Adelphi and RSR Consulting, LLC—the company charged with liquidating assets in the bankruptcy proceedings—and those materials were folded into the listing placed up for bankruptcy auction.

The bankruptcy sale of Dowling’s assets was complicated by false starts and unrealized transactions. After the initial deal with Princeton Educational Center failed to transpire, Mercury International, LLC, acquired the property in 2017 for $26.1 million. During Mercury’s ownership, a representative from that company offered boxed materials in good condition to the Friends of Connetquot. For Mercury, the campus property and outbuildings were the primary concern, not the papers still left in many areas of the campus. Mercury ceased ownership of the property in December 2021, when the Chinese state-owned enterprise China Orient Asset Management purchased a majority stake in their parent company for $42 million.

The items given to the Friends of Connetquot—and now, through their donation, to the Suffolk County Vanderbilt Museum—include the Muriel Vanderbilt, National Dairy, and Peace Haven collections.

Additional Material

Additional sections of the archives donated by Friends of Connetquot were acquired by that organization at auction. The Friends of Connetquot is dedicated to the preservation, conservation, and history of the 3,473-acre State Park Preserve, with the legacy of the South Side Sportsmen’s Club as their primary focus. The Sportsmen’s Club was among the elite social clubs of the late-nineteenth and early-twentieth century, claiming presidents and titans of business among its membership.

Below are brief descriptions of the collections donated to the Suffolk County Vanderbilt Museum by the Friends of Connetquot River State Park Preserve. To increase access to public history and stimulate interest in Long Island’s heritage, the Vanderbilt Museum will make them available online in the coming months.

Muriel Vanderbilt Collection: Muriel Vanderbilt was the daughter of William Kissam Vanderbilt II and Virginia Graham Fair. She was an American socialite and an accomplished breeder of thoroughbred racehorses.

The Muriel Vanderbilt collection contains personal photographs and other materials that she donated to Dowling College in 1970. Some collection highlights include wedding and engagement photographs, in which Muriel wears the bridal veil of Marie Antoinette; extensive documentation of horse stables and rodeos; images of family members; and architectural photography of breathtaking estates.

Above, the stage at Peace Haven, one of the uses of the Idle Hour estate before it became Dowling College. Vanderbilt Museum Archives photo

Peace Haven Cult: The collection associated with the Peace Haven Cult is among the most unique archives on Long Island. In 1937, a group called the Royal Fraternity of Master Metaphysicians purchased William Kissam Vanderbilt’s Idle Hour and renamed it “Peace Haven.” Founded by James Bernard Schafer, a doctor from North Dakota, the Master Metaphysicians integrated behaviorist psychology, Christian spiritualism, and mediative techniques to achieve certain personal goals. The cult caught the attention of the international press during the custody proceedings over “Baby Jean.”

“Baby Jean” was central to the cult’s ambitions. The Master Metaphysicians informally adopted “Baby Jean” from her mother, a local waitress, and placed her at the center of a grand metaphysical experiment. Schafer maintained that he could give the child eternal life with an exclusively plant-based diet and protection from negative stimuli. The Master Metaphysicians returned “Baby Jean” to her birth parents after less than a year, and her mother eventually filed a legal suit against the cult.

National Dairy Collection: After serving as the headquarters for the Royal Fraternity of Master Metaphysicians, the Idle Hour estate was acquired by National Dairy Research Labs. National Dairy, which would eventually become Kraft Foods, purchased the estate’s mansion, carriage house, and twenty-three acres of land in 1947. The collection features photographs of the interior and exterior of the buildings at the time of sale, extensive documentation of the newly created research laboratories, and some press materials.

Bronco Charlie’s Collection: Bronco Charlie’s was a family restaurant located in Oakdale. Its owner, “Bronco” Charlie Miller, was a revered storyteller who claimed that he was the youngest ever rider on the Pony Express. Although many of his stories were undoubtedly fanciful, his tremendous life was chronicled in a range of print media. Highlights from the Bronco Charlie Collection include plates, menus, photographs, and correspondence.

Artists’ Colony Collection: Founded in 1926 on the grounds of the William Kissam Vanderbilt I’s summer estate, the Idle Hour Artists’ Colony was inspired by other prominent cultural communities like Yaddo, McDowell, and the Barbizon. Lucy Thompson, a socialite and the wife of a wealthy oil merchant from Texas, purchased the property and renovated its stables and outbuildings to accommodate a theater, restaurant, and artist studios. Highlights from the Artists’ Colony Collection include a map of the colony, real estate listings from the 1920s, and a watercolor from one of the original artists.

 

Above, the Vanderbilt Marine Museum. Vanderbilt Museum Archives photo

Why should we care about historic houses that have been turned into museums? How can these inert structures speak to us and how, a century or two later, might their histories and the lives of their famous inhabitants be relevant to contemporary life, and to museum visitors?

These are a few of the questions raised by Preserving Eagle’s Nest: Labor and the Aesthetics of Stasis, the newest exhibition at the Suffolk County Vanderbilt Museum, which opens to the public on Sunday, September 18, in the Lancaster Gallery. The presentation explores the preservation of Eagle’s Nest, the summer estate of William K. Vanderbilt II (1878-1944) one of the heirs to a powerful railroad and shipping empire.

Paul Rubery, the Vanderbilt Museum’s Director of Curatorial Affairs, created the exhibition after considering the purpose and future of historic house museums and examining hundreds of artifacts and documents, as well as the century-old buildings under his care.

Vanderbilt curator Santo Vitale, circa 1980. Vanderbilt Museum Archives photo

Preserving Eagle’s Nest explores the architectural significance of the estate and considers the skill, labor, expertise, and care invested in maintaining the appearance of the property and emphasizes the processes and outcomes of preservation initiatives.

“If historic house museums hope to communicate their value to contemporary society,” Rubery said, “they must develop a new language to describe their activities. 

“Specifically, these institutions must articulate how, in remaining static, the buildings under their stewardship convey something essential about the historical process. To do so, they must direct their attention to the basic unit of historical experience and understanding: time.”

Questions about temporality present conceptual issues for the interpretation of house museums. In the mid-twentieth century, many private estates were converted into museums when social historians popularized a historiographic method centered on the role places played in forming the biographies of “great individuals,” Rubery said.

These scholars believed that, if the public was presented with the life of a person at a specific moment in time, they would form an intimate connection with the past in a way that supports the development of character and virtue. Today, our fondness for explaining historic events through biography has largely waned — and with that, the school of social history — leaving behind countless mummified homes, farmsteads, and other structures that no longer serve their intended purpose.

Preserving Eagle’s Nest explores this theme through artifacts and documents. It examines the historic house museum’s language of time by concentrating on the broken, damaged, and decayed aspects of the Vanderbilt Museum’s collections and grounds. The exhibit also examines the time and labor invested in preserving the historic appearance of the Museum and finds value in the multigenerational care and expertise given to the project.

By focusing on the tension that develops between degradation and preservation, Preserving Eagle’s Nest directs our collective interest toward questions of temporality, effort, and historical stasis, Rubery said.

This exhibition is made possible by the generosity of Eric and Laura Gerde, Milcon Construction Corporation, Farrell Fritz, P.C.; People’s United Bank; PFM Asset Management; and H2M Architects + Engineers.

The Suffolk Cound Vanderbilt Museum, 180 Little Neck Road, Centerport presents Preserving Eagle’s Nest  through Dec. 4. 

Viewing hours for the fall are Thursday, Friday, Saturday, and Sunday from 11 a.m. to 5 p.m. For more information, call 631-854-5579 or visit www.vanderbiltmuseum.org.