house Archives - GothamJoe

August 17, 2025August 18, 2025

The Frick Collection

Edification value
Entertainment value
Should you go?
Time spent	210 minutes
Best thing I saw or learned	I want to break my rule and say that the whole building is my favorite thing about the Frick, but if I had to pick just one thing, I’m so happy to get to visit the Garden Court again. It’s lovely, green, and a respite when you need a minute away from the art.

My second-favorite museum in New York City

The Frick Collection has re-opened in its Fifth Avenue mansion after a multi-year, zillion-dollar expansion and renovation project. My pithy original review from 2017 is here, and my review of The Frick’s temporary home-away-from-home in the brutalist former Whitney, former Met Breuer building on Madison Avenue is here.

I loved the original Frick Collection for its extraordinary good taste, and for succeeding as simultaneously one of the best house museums and art museums in the City. I loved it for bucking museum trends and norms:

Minimal wall text – just look at the art!
No cafe
No photos allowed (take that, Instagram!)

I worried when the big renovation project was announced. Would The Frick sacrifice the things that made it special?

Then, once the museum moved to its temporary space, I found I loved The Frick Madison. I thought the recontextualization of the collection was brilliant and I appreciated (though I did not always love) the opportunities that having the collection there created to let Mr. Frick’s art commune and converse with contemporary art. I was sad when it shut down.

But now The Frick is back, and the question on my mind is, is it still my second favorite museum in New York City? (If you’re curious, The Cloisters is number one..)

Short answer, if you’d rather not read this whole essay, is yes. And luckily enough, during the member previews for the new-old Frick this spring the museum waived its no-photo policy, so I can pepper this review with pictures.

Nothing but the best for Mr. Frick

I try to be careful about superlatives. If I like or dislike a thing subjectively, that’s not the same as something being objectively whatever. So, when I claim that The Frick Collection boasts not one but two of the very best roomfuls of art in New York City, that’s very conscious.

The first room is Mr. Frick’s Living Hall, which is home to an astounding set of pictures. Hans Holbein’s St. Thomas More and Thomas Cromwell, forever glaring at one another from opposite sides of the mantel. El Greco’s St. Jerome in between them. The monumental St. Francis by Giovanni Bellini on the opposite wall, flanked by two literal Renaissance Men. I imagine what Mr. Frick’s ego must’ve been like, that he could sit with this group of guys around him, and not be intimidated beyond all ability to work, live, think, converse.

The second room is the West Gallery, which is, I sincerely believe, painting for painting, the best single roomful of art in New York. What a flex this particular collection of masterpieces is. The Rembrandts. The Turners. The Velazquez. The Titians. The Vermeers, plural. There’s not a miss in the room. Any of them merit looking at for hours, for days.

And the thing is, The Frick has always had many other rooms that, depending on artistic tastes and preferences, could easily rank on a “best rooms” list. And the new Frick has a lot more of those rooms to love.

The new Frick takes it to the next level

The ground floor of The Frick Collection includes the public, formal spaces the Frick family dined and entertained in back in the day, with plus dedicated gallery space, a lovely glassed-over garden court, and an entry foyer added in the 1970s.

One reason for the renovation was to address a fairly major need for more space, for many reasons. The collection continues to grow, and The Frick was stuck hosting lovely little temporary exhibits in very inadequate basement space. The gift shop was possibly literally located in Mrs. Frick’s former broom closet. The Frick held concerts in a room that decidedly did not live up to the rest of the building. All these issues are now addressed, and then some.

The biggest change from the old Frick is the second floor. Formerly offices of the museum staff, and before that the family’s private living spaces, the Frick has reclaimed a series of upstairs rooms for art. Everything about them is fantastic, although I do worry that they’re so intimate that crowd control will prove a challenge.

Frick newbies will take it in stride, but for Frick veterans there’s a fun frisson of trespassing when you go up that grand staircase the first time. While the Frick was in previews, they discovered the low risers and carpeting make the mansion’s staircase a little treacherous to descend, so they are up-only. Fortunately, there’s an awesome marble stairway in the new addition that safely returns you to earth again.

Addressing all The Frick’s former problems, the new addition also offers:

Much bigger and better space for temporary exhibits
A fancy cafe
New space to show drawings and works on paper
A beautiful subterranean theater (I can’t wait to hear a concert there)
A gift shop that definitely does not resemble a broom closet.

The Shape of Fricks to Come

We don’t live in a world where things get better. Entropy is the rule, change inspires skepticism rather than hope. But sometimes, against the odds, change improves, reinvents, opens new doors, or new floors. At least in museums. The new-old Frick Collection is better than it used to be.

Perhaps my biggest surprise — shock even — at the new Frick was a bowl of buttons at the member preview. Some bore the classy old-school “HCF” monogram logo, which, thankfully, The Frick has not thrown out in favor of some sort of superflat sans serif font. But the other buttons read, “FRICK YEAH!” If I’d been wearing pearls I would’ve immediately clutched them. Kudos to the marketing team for making a joke I never thought I’d see The Frick willingly make about its august founder’s surname.

I do have one reservation. I was excited about the restoration of the old gallery spaces, putting the collection back “exactly as it was.” Except, it isn’t. Not quite. The Frick has pulled off a super subtle intervention throughout, a temporary installation of dazzlingly realistic porcelain flowers by Vladimir Kanevsky, a Ukrainian-born contemporary artist. These play off The Frick’s art, sometimes too well. They reflect The Frick’s own amazing porcelain collection. AND they offer a nod to beleaguered Ukraine. Well played, curators.

But. But but but. That’s some new art snuck into in the old spaces. And a bit of me raises a skeptical eyebrow, reaches for my metaphorical pearls again. Just because this sneaky, subtle art intervention succeeds (really well!), that doesn’t mean the next one will. And I bet in this edgy, brave new Frick, there will be others. So, we’ll see.

Symphony in Flesh Color and Pink: Portrait of Mrs. Frances Leyland, 1871, plus flowers — James Abbott McNeill Whistler, Symphony in Flesh Color and Pink: Portrait of Mrs. Frances Leyland, 1871 Plus flowers by Vladimir Kanevsky

That off my chest, I refuse to end pessimistically. Everyone should go to The Frick Collection. It’s both wonderful and essential. And now it’s a whole new Frick, and yet it’s also the old Frick, and I can’t wait to see what it does next. “Frick yeah,” indeed.

The Frick Collection, Henry Clay Frick — Henry Clay Frick, in his collection

For Reference:

Address	1 East 70th Street (between 5th and Madison), Manhattan
Website	frick.org
Cost	General Admission: $30, advance timed tickets essential
Other Relevant Links	Cromwell and More hating each other reminds me of Wolf Hall, where Hans Holbein’s portrait of Cromwell makes a cameo appearance Vladimir Kanevsky’s delicate porcelain work

June 19, 2024June 19, 2024

Louis Armstrong House Museum

Edification value
Entertainment value
Should you go?
Time spent	82 minutes + 45 minutes at the Louis Armstrong Center (see update below)
Best thing I saw or learned	This place feels so real. It’s like Louis and Lucille Armstrong just left the room to get you an iced tea, and they’ll be back in a jiffy. Nothing is labeled, no velvet ropes. The Armstrongs’ iron (or very good facsimile) still sits in their closet. I strongly suspect their air conditioners cool some of the rooms. More than any other house museum I’ve visited so far, this place still feels like a home.

UPDATE: JUNE 2024

I first visited the Louis Armstrong House in July of 2017. As I mentioned in my 2017 review (below), the Louis Armstrong House had plans to build a new visitor center on a vacant lot across the street from Louis and Lucille’s house. That finally came to fruition in 2023 and so I recently returned to see the Louis Armstrong Center. I also re-took the tour, but rather than rewrite the whole review I’m tacking on this addendum (pre-dendum? fore-dendum?) to say a few words about the new exhibit, and how it goes with the house.

The new building is modern, fit to the low-rise residential neighborhood but with an exuberant glass facade. It houses the Louis Armstrong Archive, and has spaces for performance and instruction (I peeked in on a couple of kids practicing the trumpet), as well as a gift shop. The main thing visitors will care about, though, is an exhibit titled “Here to Stay” that summarizes Louis Armstrong’s life and times through selected artifacts and video and audio clips. This replaces the small exhibit in the former Armstrong rec room that I describe in the original review.

“Here to Stay” includes sections with titles like “Roots,” “Tools,” “Ambassador,” and “On Film.” Each display combines some artifacts and photos and wall texts telling the relevant story. Most surprising to me was a section called “Armstrong the Artist.” I mean, obviously he was one of the greatest artists of all time. But this section refers to Louis Armstrong as a visual artist. He made collages, in both scrapbooks and on the covers of the hundreds of reel-to-reel tapes he recorded. Is collage the visual arts equivalent to jazz? Maybe. Taking bits and pieces, remixing and matching them, putting them into surprising new orders, improvisationally. It makes sense, and showed me a side to Armstrong I had no idea about before.

Louis Armstrong's OTHER art, collage (on tape cases)

Interactive table at Louis Armstrong Center The exhibit also features an circular interactive table with multiple touchscreens. This gadget, designed to look like a record, that lets visitors explore in huge detail Louis Armstrong’s music, his collaborations with other artists, his travels, his life and the neighborhood, and more, all with stills, video, and audio. You could spend a long time exploring there.

The opening of the Louis Armstrong Center has provided a welcome opportunity to re-visit both the Armstrong’s house and my original review of it from seven years (!) ago.

In the years since my first visit, my love of the place has only grown. Whenever someone asks me for examples of unusual New York museums they should visit, it’s near the top of my list. And I regularly refer to it as my favorite house museum in New York. The addition of the new Louis Armstrong Center only strengthens the overall experience. I’m really glad they didn’t try to change the house itself to pack in more museum-type bits. So I’m taking advantage of this addendum to update my former rating (it was 3-4-4 before). This is absolutely one of the best museums in New York City, a wonderful tribute to a wonderful pair of people, and everyone should go.

With that, I’ll pass you off to Joe from seven years ago to give hist impressions of the house part of the Louis Armstrong House, dating from June of 2017. Having just taken the tour again, I can vouch for it being just as good this time around. You still can’t take pictures inside, though.

ORIGINAL POST: JUNE, 2017

A riddle: If Louis Armstrong were a superhero (and I’m not saying he wasn’t), what would he call his souped up vehicle for patrolling the streets of Gotham?

A: The SATCHMOBILE.

Actually the Satchmobile is the name of the official van of the Louis Armstrong House Museum.

Satchmobile, Louis Armstrong House Museum, Queens — Quick, Dizzy, to the Satchmobile!

Louis Armstrong practically invented jazz. He played all over the world, made a bajillion records, sang songs that everyone knows. And when he wasn’t doing all that, from 1943 until the day he died he and his wife Lucille lived in a modest three-story brick house in the Corona area of Queens. They entertained generations of neighborhood kids, Louis made tape recordings of himself (he was sort of a tape diarist), and generally lived far more quietly than you’d expect from a jazz superhero.

Louis Armstrong House Museum, Corona, Queens

Louis Armstrong died in 1971. Lucille lived for another 12 years, until 1983. They never had kids. And the house, pretty much exactly as it was when Lucille died, passed into the hands of the city. Queens College manages the place, and they lovingly restored and opened it in 2003 as the best house museum I’ve seen so far.

You can only enter the house on guided tours, but my gods, it feels just like you’re visiting the Armstrongs. The group (nine people joined my tour on a random Saturday afternoon) goes right up the front steps, rings the musical door chime, and proceeds on their visit, which explores every room in the house, down to the breakfast nook.

Louis Armstrong House Museum, Queens, New York

The House

The management frowns on photos. I cheated once, to take a picture of Louis Armstrong’s infinitely mirrored bathroom. I wondered if Yayoi Kusama ever visited the Armstrongs. Or took this tour…

Bathroom, Louis Armstrong House Museum, Queens

Here are some of the things I managed to resist photographing:

Louis’s wood paneled den with its fabulous bar (there is still alcohol in his bar. Drambuie.) and fabulous reel-to-reel tape recorders.
The Armstrongs’ bedroom with its wild silver wallpaper.
The amazing 50s kitchen. Bright blue, enameled, curvy cabinetry, custom sub-zero fridge, everything built in. Paper towels stored in their own wall cubby. They even had a blender built into their countertop. Lucille and her kitchen designer were geniuses!
Their white upright piano, which neither of them could play, but looked good in the living room.
Four green ashtrays shaped like the suits from a deck of cards.
Art from a lifetime of world travels.
Okay, I wanted to take pictures of everything.

But I could not resist the bathroom. I apologize, Louis Armstrong House Museum folks.

The Louis Armstrong House uses sound, but unexpectedly it doesn’t play a lot of music. Rather, during the tour, the guide periodically plays bits of recordings of Armstrong talking about the house and his life. In his den, there’s a portrait of him by Tony Bennett (!), and Louis talks about that–how he signed it “Benedetto.” Letting the man speak for himself in his own home works incredibly well.

A Few Other Things

The entry to the Louis Armstrong House and its gift shop is in their former garage.

From the garage you proceed to a small exhibit area, in what used to be his rec room. Where he played poker with Dizzy Gillespie. (His poker table is on display upstairs.) I like to think of it as the Satch-cave.

Look at these stairs! And the wallpaper!

Exhibit Room, with inevitable brief DVD introduction

Currently there’s a display commemorating the 50th anniversary of the inescapable, somewhat saccharin (to my taste) “What a Wonderful World.” Not a hit when first released, the film “Good Morning Vietnam” rediscovered the song and set it on its path toward ubiquity. But Louis said whenever he sang it, it reminded him of Corona.

You can also see Armstrong’s bathrobe and slippers, life mask, and suitcases. And one of his trumpets. And three pages he wrote about his joy living in the neighborhood. I got the sense that even if someone had offered them, say, Andrew Carnegie’s mansion, he and Lucille would’ve stayed right where they were.

Koi pond, Louis Armstrong House The most unexpected thing about the house is the Armstrongs bought the lot next door and made it into an expansive garden, with pine trees, a little lawn, a tiny koi pond, and a bar and barbecue. In this one place, I felt a legendary musician exerting some star power. They only built the garden in 1970, so just a year before Armstrong died. Better late than never.

Garden, Louis Armstrong House

I sat there for a while playing in my head what I’ll get to say when someone asks me what I was up to today. “Oh, not much. Sat in Louis Armstrong’s garden reading a magazine for a bit.”

Changes Coming

The Louis Armstrong House experience will soon change significantly. A vacant lot across the street (where they currently park the Satchmobile) is going to get a spiffy new building that will greatly increase the museum’s ability to tell Louis and Lucille’s story. I think that’s wonderful — though I wonder if the neighbors on this quiet block agree.

But even as they’re able to show off more of their collection, I sincerely hope that the house stays just exactly the way it is. It is an amazing monument to the talent, humility, and soul of one of the great figures in the history of music.

You can build museums to jazz (not saying you can succeed, but you can try). You can memorialize great concert performances in museum form. You can digitize music and tell its story through touchscreens and headphones. But nothing you can possibly do will bring you closer to Louis Armstrong than visiting his house in Corona, Queens.

Meanwhile, somebody please write a Justice League-style comic book featuring the Superheroes of Jazz battling the forces of squareness.

Trumpet, Louis Armstrong House — Steiner trumpet, gift to Armstrong from King George V, July 1934.

For Reference:

Address	34-56 107th Street, Flushing, Queens
Website	louisarmstronghouse.org
Cost	General Admission: $10, with tour

July 15, 2018

Renee and Chaim Gross Foundation

Edification value
Entertainment value
Should you go?
Time spent	126 minutes
Best thing I saw or learned	I am fascinated by Asante goldweights, a thing that I didn’t know existed. In the traditional Asante culture of Ghana, when a man came of age he received a set of these bronze weights, for weighing gold dust (used as currency). They let you verify you’re getting the right amount of gold. Asante Goldweights They are beautiful little figures, each representing a different weight, as well as an Asante proverb or aphorism. They remind me of Japanese netsuke, another small men’s accessory that could be purely functional, but how nice that they are beautiful, too. Chaim Gross was apparently as fascinated by them I am, given the multitude of them he collected and displayed in a mirrored case in his dining room.

Chaim Gross was a sculptor active in New York from the 1920s until his death in 1991. In 1963, well after he was a well-known artist, he and his wife Renee purchased a building on La Guardia Place in Greenwich Village to use as both home and studio. In 2005, after Renee passed away, the Gross Foundation considered what to do with the place, and ultimately decided to restore and open it to the public.

The Renee and Chaim Gross Foundation, New York — The Most Understated Museum in New York?

And yet, this place is supremely under the radar. I discovered its existence while compiling my master museum database. But I’ve walked by its building numerous times, and I never once thought it might be a publicly accessible museum, much less such an interesting one. It may be the most stealthy museum in New York City — or the second, after the New York Earth Room.

Without hesitation, you should definitely seek it out. It’s a remarkable tribute to an artist and his family.

The Foundation is only open for tours, taking reservations via its website. It’s the kind of small organization where my tour guide was Sasha Davis, the Executive Director of the Foundation itself. She was fantastic, a wealth of knowledge of, and warmth for, the Grosses, their art, and their world. She was also incredibly nice about delaying the start of our tour for a friend who was running late.

The Ground Floor

The parallels between the Gross Foundation and the Judd Foundation are deep — both studio/museum spaces open for visits. But where Donald Judd was a consummate minimalist, Gross was a masterful maximalist. His home is sensorily overwhelming, literally every square inch of wall and table space covered in art.

That maximalism begins with the foyer. The entryway at the Gross Foundation is filled with photographs of Chaim, his family, their circle of friends. You know, like Marilyn Monroe, Allan Ginsburg, just the usual crew. But I found this one particularly compelling.

It is, Sasha the Executive Director said, a picture of all the living American artists with work in the collection of the Met as of 1983. Taken at the Temple of Dendur. Warhol, Chaim Gross himself, Warhol, and Louise Nevelson are relatively easy to identify. But I’m apparently mortifyingly bad at artist spotting. Jasper Johns has to be in there. Ditto Ryman, Nauman, Marden. Judd, Frankenthaler, Martin. Georgia O’Keeffe would’ve been alive when this photo was taken, and surely the Met owned some of her work by the early 1980s, but she’s not there. So, mysteries abound. So far Googling has not turned up any info about the picture. I feel like there’s an essay here! The Renee and Chaim Gross Foundation, New York

Past the entryway, the ground floor consists of a galley showcasing Chaim Gross’s work, as well as his airy, light-filled studio. That space, downstairs from the galley, is replete with his tools and several pieces he was working on when he died. It also a number of uncarved blocks of the now-rare tropical hardwoods Gross favored for sculpting. Sasha related that sometimes when other sculptors come to visit they eye those blocks covetously. The overall studio and gallery create a fascinating time capsule to the man and his art.

A Touching Moment

Sasha explained that Gross felt strongly that sculpture needs to be experienced haptically— that is, by touch — to really understand it. The Foundation has struggled a bit to figure out how to honor that sentiment, and just opened a temporary exhibit on its second floor of select pieces of Gross’s work that visitors can, yes, touch.

It is incredibly weird to put your hands on a piece of art in a museum setting. Transgressive. Like you’re violating a taboo, even when it’s totally sanctioned by the rules. A friend needed to wash her hands before she could do it. I had to make two tries and each time I pulled back before finally taking the tactile plunge. And it’s so interesting. I guess I agree with Gross. You can look at works from all angles and think you know them, but the sense of touch opens your eyes — pardon the metaphor! — to a sculpture’s true nature.

The woods Gross worked with are particularly touchable. Ebony, lignum vitae, others, each have their particular warmth, density, grain, and smoothness. There’s also a piece in alabaster in the tactile exhibit, but that stuff is sensitive to skin oil, you have to wear a glove to touch it. It’s still worth it!

The Living Rooms

The Renee and Chaim Gross Foundation, New York The tour then ascends to the third and final public floor, which preserves the Grosses’ living and dining rooms, and the art therein. It’s an astonishing surfeit of things to see. Given Gross’s circle of friends and colleagues, it’s unsurprising that the collection includes pieces by Milton Avery, Willem de Kooning, Marsden Hartley, and many others. The furniture is an interesting, eclectic mix as well, some midcentury some older. And then there’s the African art, which clearly was a major passion of Gross’s.

The tour touched on a broad swath of the collection; I think Sasha could probably speak to every single piece, though there’s no way we would’ve had time for that. I was impressed by the depth we went into on the African art — and by how clearly it influenced some of Gross’s own sculpture.

The Renee and Chaim Gross Foundation, New York

You Should Visit the Gross Foundation!

I have to confess that the name Chaim Gross meant little to me when I first added this place to my museum list. One of the reasons I saved it for near the end was I didn’t know just what to expect. (Also, the studio was closed for renovation over the winter.) Upon visiting I realize I’ve certainly seen his work before, but I’ve never found it compelling enough to learn about. The Renee and Chaim Gross Foundation, New York

Much like my Noguchi Museum visit, long, long ago on this project, the Gross Foundation changed my thinking about his work, and gave me a far deeper appreciation for what he did and how he did it. He seems like a fascinating guy, with a great family. The only thing the tour doesn’t provide is a sense of Gross’s motivation for his art — what influenced him and why he created what he did remains enigmatic. Sasha Davis says he didn’t really say or write much about that aspect of himself. Even though he taught many artists, he always focused on technique, not so much on inspiration.

The Gross foundation is a tremendously good house museum, all the better for being so unjustly unknown. If you like the art and artists of mid-century New York, or any kind of sculpture, you really have to go. Visiting was a glimpse into a life and a body of work that I wish I’d known about sooner.

Gross’s maximalist art collection and great eye ensure that it is extremely unlikely to get old. This was my first visit to the Gross Foundation, but I’m sure it won’t be my last one.

For Reference:

Address	526 Laguardia Place, Manhattan (near Bleecker Street)
Website	rcgrossfoundation.org
Cost	General Admission: $15. Advance tour reservations required.
Other Relevant Links	Gross Foundation video about Asante goldweights.

May 8, 2018

Conference House

Edification value
Entertainment value
Should you go?
Time spent	65 minutes
Best thing I saw or learned	As is very often the case with historic houses, I was enamored of the Conference House kitchen, which includes the original open hearth stove. I wouldn’t want to have to cook there, especially not in the summer. But it’s neat to look at.

Far, far away, on the southern shore of Staten Island, is an old farmhouse. And I mean, pretty darn old. The Billopp House, better known as Conference House, dates to around 1675. Wyckoff House in Brooklyn and Bowne House in Queens are older. And there are four houses in Staten Island that are older, too. I suppose Staten Islanders don’t tear stuff down as aggressively as they do in other boroughs.

Conference House, Staten Island

Anyway, Billopp House survives not through an accident of fate or because the Billopps themselves did anything particularly great or notorious. Rather, it survives because of a single afternoon there in 1776. Continue reading “Conference House”

May 2, 2018

Roosevelt House

Edification value
Entertainment value
Should you go?
Time spent	88 minutes
Best thing I saw or learned	Happy Days Are Here Again Set This 1934 pitcher and mug set featuring caricatures of FDR and other Democrats, created by the Stangl Pottery Company following the repeal of prohibition. Cheers!

Roosevelt House on East 65th Street is Hunter College’s public policy institute. Lots of schools name places after people who gave them money or famous alums (or both!) so you might just think, “Oh the Roosevelts bought naming rights back in the day.” Or, I mean, it’s Roosevelt, why not name something policy-related after any or all of them? But all those hypotheses are wrong!

Roosevelt House, Hunter College For nearly a quarter of a century FDR and Eleanor lived there as their place in New York City. Actually it’s two houses designed to look like one from the outside. Franklin and Eleanor lived to the right, while FDR’s mom lived to the left. While few historic furnishings remain, the house’s internal fabric is similar enough that you can get a sense of the space the Roosevelts occupied. And it’s open for public tours on Saturdays.

For some reason, Hunter keeps this quiet. I stumbled on to the place late; it was not on my initial list of museums. I think this is the most under-the-radar historic house museum in Manhattan. And I’ve been to all of them. At least, I think I have.

Franklin and Eleanor Roosevelt in New York City

When Franklin and Eleanor married in 1905, Sara Delano Roosevelt, FDR’s mom, gave them a drawing of a townhouse as a wedding gift. It took a while to deliver on the real-world equivalent, and it’s unclear whether she specified she’d be their extremely close neighbor. But still, pretty neat wedding present.

The Roosevelts moved into the Charles Platt-designed house in 1908. They already had Anna and James, and had a further three surviving children while living there. The house feels big by New York standards, though small by modern McMansion ones. And maybe not so big for a family of 7 plus assorted staff.

Each of the paired houses featured a teensy elevator, installed mainly for staff use initially. They turned out to be extremely important once FDR contracted polio in 1921. His wheelchair, designed to be as small and discreet as possible, could fit.

Roosevelt House, Hunter College

The Roosevelts’ library is still a library today, and contains an array of interesting Rooseveltiana, including a complete set of travel guides published by a Works Progress Administration program to provide work for unemployed writers. Today, I guess, the government would just give ’em a blog.

Among other historic events, the Roosevelts were living in the house when FDR won the presidency in 1932. FDR’s first radio address to the nation (also recorded for newsreel distribution by Fox Movietone News, which I can’t help but find ironic) was broadcast from the drawing room.

The House and Hunter

Franklin and Eleanor were living in the White House when Sara Delano Roosevelt died in 1941. By that point, it seemed unlikely that their path would take them back to NYC, and so they decided to put the house/houses on the market. Hunter approached the family with an offer, and, generously, the Roosevelts both cut their asking price and donated some money to the school. In exchange, the house was named the “Sara Delano Roosevelt Memorial House for Religious and Racial Tolerance.”

Hunter used the house primarily as a student center, filling a vital need to build community in what was then an all-girl school that specialized in training teachers.

As a part of a not-very-wealthy academic institution, the house was hard used and ill repaired. Eventually in the 1990s the school had to close it; conditions inside were becoming downright dangerous.

Fortunately, Hunter admins and donors realized the importance of the house to the college, the city, and the country. The school raised nearly $20 million for a lengthy rehab. The restoration was bad in terms of the historicity of the place, permanently merging the two houses into a single space. But it was good in the sense that we might otherwise have lost the house entirely. As happened with Teddy Roosevelt’s torn down then rebuilt birthplace.

Should You Visit Roosevelt House?

Roosevelt House, Hunter College Today if anyone thinks of Franklin and Eleanor Roosevelt’s residence at all, they likely think of Hyde Park, the estate north of New York that houses FDR’s presidential library. That’s absolutely worth a visit; Roosevelt House in Manhattan pales by comparison.

But Hunter’s public policy institute was the Roosevelts’ city home as they were growing their family; as Franklin suffered and recovered from polio; and as FDR and Eleanor plotted out the beginnings of a political career that would lead to arguably America’s greatest presidency.

So what if they don’t have the sofas or the lamps or the bric-a-brac. They have the place, and places matter. The guided tour was terrific, too. Rachel, a doctoral student when not guiding people around Roosevelt House, told the story with wit, warmth, and intellect, augmented by photos and videos in the various rooms to help bring the Roosevelts back to life.

If you’re at all interested in 20th century American history, presidential lives and times, or how wealthy New Yorkers lived in the early 1900s, Roosevelt House is well worth a visit.

For Reference:

Address	47-49 East 65th Street, Manhattan
Website	roosevelthouse.hunter.cuny.edu
Cost	General Admission: $10 suggested donation

February 14, 2018

Weeksville Heritage Center

Edification value
Entertainment value
Should you go?
Time spent	89 minutes
Best thing I saw or learned	I have a fascination with kitchens. I loved the 1930s kitchen in the Williams House. Full of obsolete appliances and a pantry stocked with canned good brands that no longer exist.

In 1838, about a decade after New York State abolished slavery, James Weeks bought some land in central Brooklyn with the aim of creating a community of free, landowning, African Americans.

Weeksville Heritage Center

Weeksville thrived for about a century, before changing times and demographics conspired to end it as a distinct neighborhood. While local people never quite forgot Weeksville, the larger city did, as Crown Heights and Bedford-Stuyvesant absorbed and paved over it. Continue reading “Weeksville Heritage Center”

February 12, 2018

Queens County Farm Museum

Edification value
Entertainment value
Should you go?
Time spent	32 minutes
Best thing I saw or learned	In the dormant children’s garden, the sign for Egyptian walking onions, which I learned are a type of perennial onion. Walk Like An…Nevermind

This is a necessarily incomplete review. Visiting a “farm museum” in midwinter is not a recipe for seeing the place at its best, busiest, or most inviting. Indeed, I’m not sure why the Queens County Farm Museum doesn’t just shut down from December til March. But it was open and it’s on my list. So I gathered an intrepid friend and we trooped out to the far eastern fringes of Queens, where New York City blurs into Nassau County, to get the lay of the land.

I imagine this place exists mainly so that city kids can learn that chickens come in forms other than McNuggets and wool doesn’t start out life as a sweater. And I bet most visitors arrive on school buses.

The Farm in Winter

Queens County Farm Museum I’m sure that in more clement seasons the 40+ acres of grounds are verdant and bucolic. This time of year, not so much.

On a winter weekday, the only things to see are the livestock and some dormant farm equipment. A couple of alpacas, some goats, a few sheep, a couple of cows, and a whole flock of laying hens. Indeed on that last point, you can buy farm fresh eggs at the gift shop when it’s not winter (hens apparently don’t do much laying in cold months). You can also get farm-fresh honey and alpaca yarn at the gift shop.

As I was flying the coop a touring school group came crowding around to look at the birds. One kid asked if he could pet them, the answer to which was a resounding “no!” Chickens like to peck. And as I got further away I thought I heard a kid say “KFC! KFC!” However, I was almost out of earshot. It might have been “I can’t see! I can’t see!”

Queens County Farm Museum

A Little History

The origins of today’s farm museum extend all the way back to an actual farm founded in 1697, though there aren’t any physical traces from that era. The grounds do still have an historic house belonging to the Adriance family, dating to just before the American Revolution.

Queens County Farm Museum

The Adriances kept the place in their family for about a century, before it passed quickly through a succession of other farming families, and from there to the Creedmoor State Hospital, which owned and operated it from 1926 through the 1970s.

Creedmoor is a nearby psychiatric hospital associated with this and another New York museum, the Living Museum (review coming very soon). Creedmoor used the farm for rehabilitation and to grow food for patients, and flowers and ornamental plants to brighten its campus.

As Creedmoor’s population shrank, it had less need of its own farm, and so the place spun off into a museum in 1975.

Should You Visit the Farm?

The Queens County Farm Museum website claims that its receives 500,000 visitors annually, making it “the highest attended cultural institution in Queens County.” I feel skeptical about the superlative given that the borough is home to New York’s great contemporary bastion of tragedy (and occasional farce), Citifield. But it likely is the highest attendance of a Queens County museum.

Regardless of the myriads of others who go, should you?

Certainly you shouldn’t visit the farm in the dead of February. Most of the buildings are shut down, there’s no public greenhouses like the New York and Brooklyn Botanic Gardens or Wave Hill have, and the various zoos offer more convenient places to encounter a goat if you feel inclined to do that.

I felt disappointed in the place from a learning perspective; I wanted more in the way of explanatory texts. Even with fields fallow, the place could explain what farms do during the winter. But perhaps they have an awesome brochure, or do a great guides/docents/explainers program in warmer seasons. I will have to come back.

The largest downside to the Queens County Farm Museum is its location. For anyone coming from more central parts of the city it’s decidedly inconvenient. You have to really want to go (and ideally have a car).

Additionally, I didn’t see much attraction for grown-ups. Buying farmstand stuff grown right there would be neat, but New York these days is blessed with an abundance of farmers markets offering terrific produce. But I reckon the Queens County Farm Museum offers a fascinating and eye-opening experience for city kids. And New York has nothing else quite like it.

Queens County Farm Museum

For Reference:

Address	73-50 Little Neck Parkway, Floral Park, Queens
Website	queensfarm.org
Cost	General Admission: Free
Other Relevant Links	Egyptian Walking Onions have their own website Greenmarket Farmers Markets in NYC

January 9, 2018

Lefferts Historic House

Edification value
Entertainment value
Should you go?
Time spent	29 minutes
Best thing I saw or learned	Wormwood! Leffert’s House has a scraggly little wormwood plant growing in its garden. Artisanal Brooklyn absinthe, anyone?

Lefferts Historic House Leffert Pieterson, a Dutch farmer, obtained a tract of land in the village of Flatbush in 1687, and built himself a house there. That original Lefferts homestead was burned by the Americans just before the Battle of Brooklyn, to prevent the British from seizing and using it. However, Pieter Lefferts, in the fourth generation of a family that as some point reversed names, rebuilt a fine farmhouse for himself and his family in 1783. Continue reading “Lefferts Historic House”

December 14, 2017

Historic Richmond Town

Edification value
Entertainment value
Should you go?
Time spent	130 minutes
Best thing I saw or learned	The giant “Azel F. Merrell” oyster sloop flag hanging in the museum. The city’s oystering history is one of my favorite parts of the New York story.

Most historic buildings in New York are a scattershot, here-and-there thing, involving much travel through the contemporary city to get from one to the next. In terms of quantity in proximity it is impossible to beat Staten Island’s Historic Richmond Town, which boasts over 23 buildings from the 1600s to the 1800s, mostly within walking distance and periodically open to the public. Continue reading “Historic Richmond Town”

December 13, 2017

Wyckoff House Museum

Edification value
Entertainment value
Should you go?
Time spent	61 minutes
Best thing I saw or learned	Wyckoff family members lived in the Wyckoff House right through the start of the 1900s. 250 years of family history in a single domicile boggles my mind.

Before starting my project, I never realized how many historic houses exist in modern New York. Some surprisingly old. Manhattan’s oldest, the Morris-Jumel Mansion, dates from the 1760s. The Van Cortlandt House in the Bronx was built in 1748. Bowne House in Queens dates to the 1660s. But in any city, there can be only one oldest house. In New York that is the Wyckoff House, located in the prosaically named Flatlands, a nondescript part of Brooklyn far from any subway line.

Wyckoff House, Canarsie, Brooklyn

And so, on the first snowy day of the year, I made my trek, over the river and through the woods, half-metaphorically and half-literally, to the Wyckoffs’ ancestral home. Continue reading “Wyckoff House Museum”