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Lot Essay
The end of the 19th century marked the rise of the great American industrial fortunes and essentially ushered in The Gilded Age in its full glory. Although the elite businessmen of the time were referred to as 'Robber Barons' for their sometimes unscrupulous business practices, it is largely for their philanthropy that America's early captains of industry are remembered. Few art collections rivaled those of Cornelius Vanderbilt II (d. 1899), the infamous New York socialite, philanthropist and heir to the New York Central Railroad fortune. With palatial interiors exuding luxury and opulence, the Vanderbilt residence was a hallmark of America's Gilded Age and marked the unparalleled collaborative genius of architects George Browne Post, Richard Morris Hunt and noted bronzier and interior designer, Jules Allard.
The Vanderbilt Mansion, described as an 'early French Renaissance style château', was located at the northwest corner of West 57th Street and grew out of the demolished remnants of three brownstone buildings which Cornelius acquired after his grandfather's passing in 1877. The first phase of the home was completed in 1882, though by the early 1890s Vanderbilt launched an ambitious renovation which encompassed a massive addition to increase the size of the residence to over 130 rooms. The renovations to the interior equaled that of the exterior and Vanderbilt commissioned designs from the leading American and Parisian firms of the era; including Louis Comfort Tiffany for a Moorish smoking room, Jules Allard for the Petit Salon and fellow Parisian Gilbert Cuel for the splendid Grand Salon where the present instrument was placed and admired by New York’s well-heeled social elite.
The Steinway Archives record the instrument as ‘a New York Grand Model D, Fancy, White and Gilt, decorated in France, Louis XV style, length 8'10", completion date 22 April 1893, shipped by Cuel Brothers to Paris, sale entered on 21 April 1894’. Following its completion, Vanderbilt celebrated the mansion’s renovations with a sparkling ball to introduce his daughter, Gertrude Vanderbilt Whitney, to society – an affair which was aptly described in Vanity Fair, “A Fifteen Thousand Dollar Piano”, vol. XVI, July-December, New York, 1894:
“Upon top and bottom and around the sides of this beautiful instrument are many elaborate carvings, all of glittering gilt. The whole scheme of the piano is in harmony with the Louis XV rooms in Mr. Vanderbilt’s house. All of the decorative work on Mr. Vanderbilt’s piano was done in Europe. The whole piano case, including all of the woodwork, was done in this country. Then it was taken apart and shipped to Paris to Gilbert Cuel, of 20 Rue des Capucines, under whose supervision the decoration was begun. Kammerer was secured to paint the panels, which numbered half-a-dozen. He is noted in Paris for decorative work in the Louis XV style […]. Kammerer’s panels show some exquisite color work in a light key. There are landscapes and allegorical pieces with a bewildering array of cupids and little goddesses and many pleasing fancies emblematic of music and the arts.”
Few historically important objects and furnishings from New York's greatest homes have survived, let alone significant works of art such as this magnificent instrument, which astonishingly survived the 1927 demolition of the mansion and eventual sale of the opulent contents through generations of the family.
The Vanderbilt Mansion, described as an 'early French Renaissance style château', was located at the northwest corner of West 57th Street and grew out of the demolished remnants of three brownstone buildings which Cornelius acquired after his grandfather's passing in 1877. The first phase of the home was completed in 1882, though by the early 1890s Vanderbilt launched an ambitious renovation which encompassed a massive addition to increase the size of the residence to over 130 rooms. The renovations to the interior equaled that of the exterior and Vanderbilt commissioned designs from the leading American and Parisian firms of the era; including Louis Comfort Tiffany for a Moorish smoking room, Jules Allard for the Petit Salon and fellow Parisian Gilbert Cuel for the splendid Grand Salon where the present instrument was placed and admired by New York’s well-heeled social elite.
The Steinway Archives record the instrument as ‘a New York Grand Model D, Fancy, White and Gilt, decorated in France, Louis XV style, length 8'10", completion date 22 April 1893, shipped by Cuel Brothers to Paris, sale entered on 21 April 1894’. Following its completion, Vanderbilt celebrated the mansion’s renovations with a sparkling ball to introduce his daughter, Gertrude Vanderbilt Whitney, to society – an affair which was aptly described in Vanity Fair, “A Fifteen Thousand Dollar Piano”, vol. XVI, July-December, New York, 1894:
“Upon top and bottom and around the sides of this beautiful instrument are many elaborate carvings, all of glittering gilt. The whole scheme of the piano is in harmony with the Louis XV rooms in Mr. Vanderbilt’s house. All of the decorative work on Mr. Vanderbilt’s piano was done in Europe. The whole piano case, including all of the woodwork, was done in this country. Then it was taken apart and shipped to Paris to Gilbert Cuel, of 20 Rue des Capucines, under whose supervision the decoration was begun. Kammerer was secured to paint the panels, which numbered half-a-dozen. He is noted in Paris for decorative work in the Louis XV style […]. Kammerer’s panels show some exquisite color work in a light key. There are landscapes and allegorical pieces with a bewildering array of cupids and little goddesses and many pleasing fancies emblematic of music and the arts.”
Few historically important objects and furnishings from New York's greatest homes have survived, let alone significant works of art such as this magnificent instrument, which astonishingly survived the 1927 demolition of the mansion and eventual sale of the opulent contents through generations of the family.