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Gracie Mansion's preservation history is a storied one that begins with the Colonial Revival movement and continues through the New York City preservation movement. The Mansion was built in 1799 as a summer country home for shipping merchant Archibald Gracie, and in 1942 it became the official residence of New York City’s mayoral family. The Mansion's many preservation interventions were integral to it existing as the People's House it is today.
Gracie Mansion's preservation history is a storied one that begins with the Colonial Revival movement and continues through the New York City preservation movement. The Mansion was built in 1799 as a summer country home for shipping merchant Archibald Gracie, and in 1942 it became the official residence of New York City’s mayoral family. The Mansion's many preservation interventions were integral to it existing as the People's House it is today.
Early Preservation Efforts
Early Preservation Efforts
Eliza Greatorex (1819-1897). The Gracie Mansion, East River and 86th St., 1869. Pen and ink on paper. Museum of the City of New York. 35.408.34.
Eliza Greatorex (1819-1897). The Gracie Mansion, ca. 1875. Pen and ink on paper. Museum of the City of New York. 57.138.15.
Ferdinand Thomas Lee Boyle. Eliza Pratt Greatorex, 1869. Oil on canvas. National Academy of Design, New York.
After Archibald Gracie was forced to sell his estate in 1823 due to financial hardship, the Mansion fell into disrepair. The neglected state of the house is visible in Eliza Greatorex's drawings. Greatorex exaggerates the overgrown environment surrounding the house to emphasize the disappearance of Old New York. Indeed, the artist often depicted her New York architectural subjects “disappearing” or “metamorphosing” within the urban landscape in order to call attention to their need for preservation.[1] Greatorex was the first in a long line of women to highlight the Gracie Mansion's importance in the ever-changing urban landscape that was New York City.
After Archibald Gracie was forced to sell his estate in 1823 due to financial hardship, the Mansion fell into disrepair. The neglected state of the house is visible in Eliza Greatorex's drawings. Greatorex exaggerates the overgrown environment surrounding the house to emphasize the disappearance of Old New York. Indeed, the artist often depicted her New York architectural subjects “disappearing” or “metamorphosing” within the urban landscape in order to call attention to their need for preservation.[1] Greatorex was the first in a long line of women to highlight the Gracie Mansion's importance in the ever-changing urban landscape that was New York City.
Gracie Mansion ceased to be a private residence in 1896, when the City of New York acquired the estate after then-resident Noah Wheaton failed to pay taxes on the property. The City recognized the grounds' potential as a public attraction and created East River Park (renamed Carl Schurz Park in 1910). However, the house sat abandoned for many years. Public usage of the building existed only as restroom facilities and a concession stand. A journalist for the Evening Sun remarked, “‘Its general appearance of dilapidation in token of a ripe old age would give joy to the heart of an antiquarian, but would make the average citizen blush for the manifest official neglect in permitting a park structure to crumble for the lack of a little care.'"[2]
Gracie Mansion ceased to be a private residence in 1896, when the City of New York acquired the estate after then-resident Noah Wheaton failed to pay taxes on the property. The City recognized the grounds' potential as a public attraction and created East River Park (renamed Carl Schurz Park in 1910). However, the house sat abandoned for many years. Public usage of the building existed only as restroom facilities and a concession stand. A journalist for the Evening Sun remarked, “‘Its general appearance of dilapidation in token of a ripe old age would give joy to the heart of an antiquarian, but would make the average citizen blush for the manifest official neglect in permitting a park structure to crumble for the lack of a little care.'"[2]
A movement for the site’s preservation surfaced in the 1920s, when competing groups began to fight over control of the Mansion. The Mansion was widely recognized as a potential cultural site: in early 1923, Parks Commissioner Francis D. Gallatin passed a bill “to turn the house over, on a nominal lease, to a responsible organization for preservation and public use.”[3] The two main groups vying for this position of a “responsible organization” were the Society of Patriotic New Yorkers and the burgeoning Museum of the City of New York.
A movement for the site’s preservation surfaced in the 1920s, when competing groups began to fight over control of the Mansion. The Mansion was widely recognized as a potential cultural site: in early 1923, Parks Commissioner Francis D. Gallatin passed a bill “to turn the house over, on a nominal lease, to a responsible organization for preservation and public use.”[3] The two main groups vying for this position of a “responsible organization” were the Society of Patriotic New Yorkers and the burgeoning Museum of the City of New York.
May King Van Resselaer
At the head of the Patriotic New Yorkers was May King Van Rensselaer, a great-granddaughter of Archibald Gracie. Van Resselaer was a prominent figure in New York high society. A long-time member of the New-York Historical Society, Van Rensselaer often voiced her dissent that the organization was “‘an old man’s club.’”[4] She also disapproved of the Society’s rather random collection that was not New York-centric. After many efforts to enliven the Society, Van Rensselaer turned her attention to her great-grandfather’s house. She desired for Gracie Mansion to be “opened as a historical museum, under the patronage of twenty society women, representatives of the oldest families in New York...’” and to exhibit “‘figures of men and women...dressed in costumes of their times, and surrounded by the furniture they knew.’”[5] She proposed the collection to be comprised of objects of elite New-York provenance.
At the head of the Patriotic New Yorkers was May King Van Rensselaer, a great-granddaughter of Archibald Gracie. Van Resselaer was a prominent figure in New York high society. A long-time member of the New-York Historical Society, Van Rensselaer often voiced her dissent that the organization was “‘an old man’s club.’”[4] She also disapproved of the Society’s rather random collection that was not New York-centric. After many efforts to enliven the Society, Van Rensselaer turned her attention to her great-grandfather’s house. She desired for Gracie Mansion to be “opened as a historical museum, under the patronage of twenty society women, representatives of the oldest families in New York...’” and to exhibit “‘figures of men and women...dressed in costumes of their times, and surrounded by the furniture they knew.’”[5] She proposed the collection to be comprised of objects of elite New-York provenance.
However, Commissioner Gallatin decided that the newly-formed Museum of the City of New York would occupy the site. Van Rensselaer never ceased her petitioning to take custody of the house, even reporting “that she owned some of the Gracie furniture and would place it in the house if her proposal was successful.”[6] The Society of Patriotic New Yorkers was not successful, but Van Rensselaer’s efforts left a legacy. The MCNY followed her “antiquarian ethos” to house “the material wealth of ‘old New Yorkers’ in a historic house” in the installation of period rooms throughout the Mansion.[7] May King Van Rensselaer passed away in 1925, and in her memory the MCNY installed the second floor’s central drawing room as the Mrs. John King Van Rensselaer room.
However, Commissioner Gallatin decided that the newly-formed Museum of the City of New York would occupy the site. Van Rensselaer never ceased her petitioning to take custody of the house, even reporting “that she owned some of the Gracie furniture and would place it in the house if her proposal was successful.”[6] The Society of Patriotic New Yorkers was not successful, but Van Rensselaer’s efforts left a legacy. The MCNY followed her “antiquarian ethos” to house “the material wealth of ‘old New Yorkers’ in a historic house” in the installation of period rooms throughout the Mansion.[7] May King Van Rensselaer passed away in 1925, and in her memory the MCNY installed the second floor’s central drawing room as the Mrs. John King Van Rensselaer room.
The First Ladies
The First Ladies
In 1932, the MCNY moved out of Gracie Mansion and into its current 5th Avenue location to accommodate the growing collection. The house once again sat empty for several years until a 1934 Works Progress Administration allowance provided funding for a remodel. Under Parks Commissioner Robert Moses, the space was turned into a historic house museum. It was unsuccessful in attracting visitors.
In 1932, the MCNY moved out of Gracie Mansion and into its current 5th Avenue location to accommodate the growing collection. The house once again sat empty for several years until a 1934 Works Progress Administration allowance provided funding for a remodel. Under Parks Commissioner Robert Moses, the space was turned into a historic house museum. It was unsuccessful in attracting visitors.
Faced with task of preserving the house, Commissioner Moses persuaded Mayor Fiorello LaGuardia to designate Gracie Mansion as the official residence of the New York City mayor. The LaGuardias were the inaugural residents of the City’s own “White House,” moving there in 1942.
Faced with task of preserving the house, Commissioner Moses persuaded Mayor Fiorello LaGuardia to designate Gracie Mansion as the official residence of the New York City mayor. The LaGuardias were the inaugural residents of the City’s own “White House,” moving there in 1942.
Living in a historic structure was often demanding; living in a building open to the public was even more difficult. Each First Lady of Gracie Mansion would face the similar challenge of balancing public and private domestic life. Many acknowledged that they felt they were on constant display.
Living in a historic structure was often demanding; living in a building open to the public was even more difficult. Each First Lady of Gracie Mansion would face the similar challenge of balancing public and private domestic life. Many acknowledged that they felt they were on constant display.
Read below about some of the past First Ladies' experiences living in and preserving the historic mansion.
Read below about some of the past First Ladies' experiences living in and preserving the historic mansion.
Marie Fisher LaGuardia
Marie Fisher LaGuardia
Marie Fisher LaGuardia was responsible for moving her household to the newly-appointed mayoral residence, as her husband was out of town on moving day. The early years at the house were not without their challenges. Ellen Stern writes, “For the first first lady at Gracie Mansion, life was far more work than play. She scrubbed the floors herself, waged a losing battle with cockroaches, and remained on constant display.”[8] Marie LaGuardia set the example for successive first ladies, who all simultaneously balanced public and private domestic life while dealing with the complexities of living in a historic house.
Marie Fisher LaGuardia was responsible for moving her household to the newly-appointed mayoral residence, as her husband was out of town on moving day. The early years at the house were not without their challenges. Ellen Stern writes, “For the first first lady at Gracie Mansion, life was far more work than play. She scrubbed the floors herself, waged a losing battle with cockroaches, and remained on constant display.”[8] Marie LaGuardia set the example for successive first ladies, who all simultaneously balanced public and private domestic life while dealing with the complexities of living in a historic house.
Elizabeth "Sloan" Simpson O'Dwyer
Elizabeth "Sloan" Simpson O'Dwyer
The domestic roles of the First Lady of Gracie Mansion were publicized in a May 29, 1950 LIFE magazine article about Sloan O'Dwyer, who also graced the cover of that issue. The article paints her as a bride decorating her new home. Sloan did embark on the first major redecoration of Gracie Mansion. However, much of her redecoration was strategic as well as aesthetic. In the drawing room she organized the furniture to accommodate nine people, asserting that "'Everyone wants to sit near the mayor.'"[9] She borrowed several Irish paintings from the Metropolitan Museum of Art to pay homage to her husband's Irish heritage, an important political statement since that ethnicity had faced discriminated throughout New York City history.
The domestic roles of the First Lady of Gracie Mansion were publicized in a May 29, 1950 LIFE magazine article about Sloan O'Dwyer, who also graced the cover of that issue. The article paints her as a bride decorating her new home. Sloan did embark on the first major redecoration of Gracie Mansion. However, much of her redecoration was strategic as well as aesthetic. In the drawing room she organized the furniture to accommodate nine people, asserting that "'Everyone wants to sit near the mayor.'"[9] She borrowed several Irish paintings from the Metropolitan Museum of Art to pay homage to her husband's Irish heritage, an important political statement since that ethnicity had faced discriminated throughout New York City history.
Susan Edwards Wagner
Susan Edwards Wagner
Susan Wagner believed in the role of Gracie Mansion as "the people's house," and, as such, welcomed tours and philanthropic groups into her home. However, guests and visitors often strayed from their designated areas and invaded the family's personal space. In October 1963, Susan proposed a new reception wing be added to the Mansion for public functions in order to keep the people's house and the mayoral living quarters separate. Sadly, she passed away before she could see its completion. Succeeding Mayor Lindsay opened the Susan E. Wagner Wing in her honor in 1966, supplying future residents with more privacy while also providing more room for public events.
Susan Wagner believed in the role of Gracie Mansion as "the people's house," and, as such, welcomed tours and philanthropic groups into her home. However, guests and visitors often strayed from their designated areas and invaded the family's personal space. In October 1963, Susan proposed a new reception wing be added to the Mansion for public functions in order to keep the people's house and the mayoral living quarters separate. Sadly, she passed away before she could see its completion. Succeeding Mayor Lindsay opened the Susan E. Wagner Wing in her honor in 1966, supplying future residents with more privacy while also providing more room for public events.
Mary Anne Harrison Lindsay
Mary Anne Harrison Lindsay
When the Harrisons moved into Gracie Mansion in 1966, it had begun to show the wear and tear of the previous residents. “‘The house had had a lot of hard usage,'" Mary explained. "'Three or four groups were walking through every day. There were tables--museum pieces!--that had been ruined when people poured water into plants without using saucers. It was terrible.’"[10] She immediately set to work with design consultant Mrs. John Pemberton to restore and redecorate the Mansion. Mary also employed her mother, Garden Club of America President Mrs. Randolph Harrison, to redesign the gardens.
When the Harrisons moved into Gracie Mansion in 1966, it had begun to show the wear and tear of the previous residents. “‘The house had had a lot of hard usage,'" Mary explained. "'Three or four groups were walking through every day. There were tables--museum pieces!--that had been ruined when people poured water into plants without using saucers. It was terrible.’"[10] She immediately set to work with design consultant Mrs. John Pemberton to restore and redecorate the Mansion. Mary also employed her mother, Garden Club of America President Mrs. Randolph Harrison, to redesign the gardens.
The Conservancy
The Conservancy
The Gracie Mansion Conservancy was founded in 1981 under Mayor Edward I. Koch and charter Board Chair Joan K. Davidson to oversee the restoration and future preservation of the site. Under the Conservancy's guidance, restorations have increased the site's accessibility to the public, allowing it to persist as "The People's House."
The Gracie Mansion Conservancy was founded in 1981 under Mayor Edward I. Koch and charter Board Chair Joan K. Davidson to oversee the restoration and future preservation of the site. Under the Conservancy's guidance, restorations have increased the site's accessibility to the public, allowing it to persist as "The People's House."
"When the mayor is in residence in that historic place overlooking Hell’s Gate, we the people can more clearly see how our government works, keep an eye on the comings and goings of our chief executive, and feel pride in Gracie Mansion’s power as a symbol of our great city."
"When the mayor is in residence in that historic place overlooking Hell’s Gate, we the people can more clearly see how our government works, keep an eye on the comings and goings of our chief executive, and feel pride in Gracie Mansion’s power as a symbol of our great city."
Joan K. Davidson. "Gracie Mansion, At Last." New York Times, June 4, 2014.
BTA
References
References
Katherine E. Manthorne, “The Lady with the Pen: The Graphic Art of Eliza Greatorex,” American Arts Quarterly 29, no. 4 (Fall 2012).
Ellen Stern, Gracie Mansion: A Celebration of New York City’s Mayoral Residence (New York, NY: Rizzoli International Publications, 2008), 33.
"Gracie Mansion in Dispute," New York Times, June 12, 1923.
Mary Black, New York City’s Gracie Mansion: A History of the Mayor’s House (New York, NY: The Gracie Mansion Conservancy, 1984), 77.
Ibid, 78.
Ibid.
Max Page, The Creative Destruction of Manhattan, 1900-1940 (Chicago: University of Chicago Press, 1999), 152.
Ellen Stern, Gracie Mansion, 49.
“Mrs. O’Dwyer Makes Bow as Hostess,” LIFE, May 29, 1950, 43.
Ellen Stern, Gracie Mansion, 135.
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