Open: To Groups on Fridays and Saturdays and to individuals on Saturdays 10:00am/12:00pm/2:00pm
Fee: Free to Individuals/Donations welcome-Groups tours are $100.00 for up to five people with an additional $15.00 fee per person. There is also an administration fee of $25.00 for groups over 20 people.
The Sara Delano Roosevelt Home at 47-49 East 65th Street
It is amazing what you discover when you are walking around the Upper East Side of Manhattan. I was exploring the Streets of the Upper East Side for my blog, ‘MywalkinManhattan’ and when walking around the Hunter College Campus came across the Sara Delano Roosevelt Memorial House at 47-49 East 65th Street.
This beautiful brownstone was built as a wedding present to Franklin Delano Roosevelt and his wife, Eleanor and their future family by his mother Sara Delano Roosevelt. It was their New York City residence until they moved to the White House. His mother continued to use the house until her death in 1941 when the home was sold to Hunter College.
Tours are available when the building is open (Hunter College is currently closed) and you can tour the whole house. The home was listed on the National Register of Historic Places in 1980.
History of the Sara Delano Roosevelt Memorial House:
The Neo-Georgian townhouse was designed by architect Charles A. Platt for Sara Ann Delano Roosevelt in 1907. It originally held “two mirror-image residences with a single facade and entrance. Each floor had its own front reception room with a welcoming fireplace. Rear parlous could be combined through sliding doors
The mansion at 47-49 East 65th Street on the Upper East Side
The house was given to the Roosevelt’s by Franklin’s mother as a wedding gift for them. The house originally two homes and Franklin’s mother had doors put in place so she could enter their part of the home whenever she wanted. The house was used by Sara Ann Delano Roosevelt from its completion in 1908 to her death in 1941 and intermittently by the Roosevelts until the sale to Hunter College in 1943.
The house historical marker
After his mother’s death in 1941, President Roosevelt and his wife placed the house up for sale and a non-profit consortium was organized to purchase the house on behalf of Hunter College.
The Extended Roosevelt family
The house was closed in 1992 and reopened in 2010 after an $18 million renovation. Leslie E Robertson Associates was the structural engineers on this renovation. The building is currently used by Hunter College as the Roosevelt House Public Policy Institute at Hunter College or just known as the Roosevelt House.
The inside of the house’s museum
(Disclaimer: This information was from Wiki and I give them full credit for the History of the Roosevelt House).
The front of the American Museum of Arts & Letters at 633 West 155th Street
I was finally able to visit the American Academy of Arts and Letters on the last day it was open for the year to the public. It was for the ‘Ceremonial Exhibition: Work by New Members and Recipients of Awards’, an exhibition on members art that was chosen specifically for the show. Most of the work was very contemporary and some a little political. It was interesting work by new artists that filled the small gallery rooms.
The front of the American Museum of Arts & Letters
One of the buildings was used for the contemporary art while the one across the courtyard was used for the more architectural pieces. The galleries are small but the art was impressive. What I liked when I talked with one of the women who worked there said to me that after the show, the pieces would be donated to galleries and museums all over the country. The galleries are only open four months out of the year and this was the last day of the exhibition so the work being shown will be gone.
I visited the museum in January 2025 and it had just reopened after a three year renovation after it had been closed since Pre-COVID and it is now fully open with a new exhibitions. All the galleries are brightly lit and displaying new exhibitions.
The entrance to the museum from the courtyard
Some of the pieces that really stood out when I visited in 2019 were by Judith Bernstein, a contemporary painter who seems to not like the current administration too much. The themes were on power and money and corruption in the administration. Her work really shows what she personally thinks of our President. Her ‘Trump Genie” was very clever and I can see this in a major museum in the future.
Judith Bernstein’s work
Other work in the main gallery in 2019 were by artists Stephen Westfall with ‘Solid Gone’, Hermine Ford with ‘Paris, France’ and Paul Mogensen with several ‘Untitled’ pieces. The contemporary works I was not sure what the meaning of them were but they were colorful.
The works of the artists of the front gallery
One of the pieces in the front gallery that really stood out was by artist Francesca Dimattio, ‘She-wolf’ which was a classic Greek character made of porcelain, enamel, paint and steel.
‘She-wolf’ by Francesca Dimattio
There were light installations in 2019 that were very interesting by artist James O. Clark. He had one piece, ‘Wunnerful, Wunnerful’, which is a work that just keeps being creating itself by bubbles and ink markers moving along a turntable that stops and starts.
There was a permanent exhibition of Charles Ives home in Connecticut that was transported and recreated here. His studio and works are featured here as well as his family life. There are copies of his works in the display cases and his career.
The museum in 2025 was fully open with the exhibition by artist Christine Kozlov, a contemporary Video artist whose works were being featured in the main gallery.
The main gallery of the Kristine Kozlov exhibition
In more than fifty artworks arrayed across four galleries at Arts and Letters, Christine Kozlov shows the breadth of Conceptual artist Christine Kozlov’s practice with a focus on works from the mid-1960s through the late 1970s. Nearly all of the works Kozlov contributed to public exhibitions during this period will be on view, many of which were created for landmark exhibitions of Conceptual art such as: One Month (1969), organized by Seth Siegelaub; Information (1970), curated by Kynaston McShine at the Museum of Modern Art, New York; Arte de Sistemas organized by Jorge Glusberg / CAYC—Centro de Arte y Comunicación at the Museo De Arte Moderno (1971); and the Number Shows, a series of exhibitions curated by Lucy Lippard between 1969 and 1974 (American Museum of Arts & Letters website).
Part of the Kristine Kostov exhibition
Works by artist Christine Kozlov
The next exhibition that I viewed was by artist Wadada Leo Smith, which consisted of an exhibition based on colors and sounds. You could take the headsets around the gallery and tour and admire the work with the sounds of the musical groups.
The gallery with works by artist Wadada Leo Smith
Wadada Leo Smith (b. 1941, Leland, MS) is a composer-performer and Arts and Letters member. Formerly an educator at CalArts, he has influenced decades of musicians and artists, including Raven Chacon. In Kosmic Music, Smith’s first solo exhibition in New York, he shares over fifty years of Ankhrasmation (Museum website).
The “Sphere” works by artist Wadada Leo Smith
Ankhrasmation is a musical language Smith began exploring in 1965. Smith does not consider Ankhrasmation to be his creation but rather something he discovered. The name derives from Ankh,anancient Egyptian symbol of life; Ras,an Ethiopian word for leader or father; and Ma, for mother. The distinctive language uses line, color, and shape to designate musical components such as tonal range and intensity of activity. For Smith, performing Ankhrasmation requires focused practice and “having that space in your heart and mind so that you can play from inspiration.” (Museum website).
The last exhibition I saw was in the gallery across the courtyard from the main museum was by artist Raven Chacon. You would walk in the main gallery to the sounds of birds both living and extinct. Just five minutes in the main gallery by myself and I felt like Tippi Hedren in the movie “The Birds”. There were all sorts of bird sounds with no birds around.
The instruments that the artist uses to achieve the sounds of the birds
When Raven Chacon (b. 1977, Fort Defiance, Navajo Nation) visited Arts and Letters for the first time, he paused in our North Gallery to clap his hands, then counted how long it took for the room to go silent. It took around six seconds—a long rate of decay. Standing in that echoing chamber, Chacon noted the building’s Beaux Arts design by Cass Gilbert, with its imported Spanish tile and cage-like glass ceiling that filters the sky. He became curious to learn the history of the land it sits on, once owned by John James Audubon, who purchased it in 1841 with funds from the sale of his illustrated Birds of America (Museum website).
Chacon is a composer and artist who frequently works with the materials and histories of a given site and who considers, as he puts it, “what has been silenced and what happens when it is not.” For the past year, he has worked on Aviary, his site-specific commission for the North Gallery, creating a soundscape that makes space and time for careful listening (Museum website).
Museum Mission:
(from the museum website)
The American Academy of Arts & Letters was founded in 1898 as an honor society of the country’s leading architects, artists, composers and writers. Charter members include William Merritt Chase, Kenyon Cox, Daniel Chester French, Childe Hassam, Henry James, Theodore Roosevelt, Elihu Vedder and Woodrow Wilson. The Academy’;’s 250 members are elected for life and pay no dues.
The main gallery of the museum
In addition to electing new members as vacancies occur, the Academy seeks to foster and sustain an interest in Literature, Music and the Fine Arts by administering over 70 awards and prizes, exhibiting art and manuscripts, funding performances of new works of musical theater and purchasing artwork for donation to museums across the country.
Collections:
(from the museum website)
The Academy’s collection, which are open to scholars by appointment, contain portraits and photographs of members, as well as paintings, sculptures, drawings, prints and decorative art objects. The library has more than 25,000 books by or about members. The archives house correspondence with past members, press clippings, institutional records and original manuscripts of musical and literary works.
History:
(from the museum website)
The National Institute of Arts & Letters, the parent body of the Academy, was founded in 1898 for “the advancement of art and literature”. The Institute met for the first time in New York City in February 1899 and began electing members that fall. Architects, artists, writers and composers of notable achievement were eligible and membership was soon capped at 250. In 1913, President Taft signed an act of Congress incorporating the organization in the District of Columbia.
American Academy of Arts & Letters at twilight
In 1904, The Institution created the American Academy of Arts & Letters, a prestigious inner body of its own members that modeled itself on the Academie francaise. The first seven members of the Academy were William Dean Howells, Augustus Saint-Gaudens, Edmund Clarence Stedman, John La Farge, Mark Twain, John Hay and Edward MacDowell. Those seven then chose eight more and so on, until the full complement of 30 and later 50 was reached. Only after being elected to the Institute, was a member eligible for elevation to the Academy. This bicameral system of membership continued until 1993, when the Institute dissolved itself and all 250 members were enrolled in the American Academy of Arts and Letters.
The Academy inaugurated its annual awards program in 1909 with the Gold Medal for Sculpture. Since then, over 70 awards and prizes have been endowed through gifts and bequests or established by the Academy’s board of directors in the fields of architecture, art, literature and music. There are conferred each year at the Ceremonial in May when new members are inducted and a distinguished speaker is invited to deliver the Blashfield Address.
In 2005, the Academy purchased the former headquarters of the American Numismatic Society, the neighboring building on Audubon Terrace. A Glass Link now connects the Academy’s existing galleries to newly renovated ones in the former Numismatic building. These new galleries house the permanently installed Charles Ives Studio.
Note: There are renovations going on at the site so please call ahead to check on hours and fees.
The Thomas Edison National Historical Park, Laboratory Complex and Glenmont home are a step back in time when machines were run by belts and pulleys and music was played on phonographs. Where to the passerby, the buildings betray little evidence of the industries they once started. Discover where America’s greatest inventor changed our world forever.
The Laboratory site Complex contains:
Visitor Center (Restrooms & Gift shop)
Chemistry Laboratory
Chemical Storage and Pattern Shop
Metallurgical Laboratory
Main Laboratory
Powerhouse
Blacksmith Shop
Building 11
Vault 12
Black Maria
Water Tower
Vault 32
Vault 33
Building 35 (Maintenance Facility)
Park Information:
The Laboratory Complex is open Wednesday through Sunday. The Glenmont Estate is open Friday, Saturday and Sunday. Glenmont tickers are limited and are distributed on a first-come, first-serve basis from the Laboratory Visitor Center. Please call for specific hours.
Fees:
Entrance Fee-$10 (Under 16 years old free)
Optional Laboratory Audio Tour-$5
Park Annual Pass-$40
Inter-agency Passes Accepted
Group Reservations: Call 973-736-0550 ext. 33
Filming and Photography: Call 973-736-0550 ext. 50
I had visited the Laboratories of Thomas Edison and it is very interesting to tour the floors of inventions. There are very innovative items that I never knew he invented, things like talking dolls and many household items for the kitchen and home.
Another room they showed was his private office where he did most of his personal work and spent his sleeping hours when working at the laboratory. Each of the rooms show how and at what stages of the invention process that each object.
Glenmont, the family home, can be a musty place in the colder months. The house smells like it is old. It needed a good airing out. The period furniture are very interesting. The house is full of Victorian elegance but it needs a good renovation. The walls and ceilings need some plastering and the home needs a good deep cleaning. Still it is interesting that for all their prestige, they still lived more like an upper middle class family.
The history Edison National Historical Park:
Thomas Edison National Historical Park preserves Thomas Edison’s laboratory and residence, Glenmont, in Llewellyn Park in West Orange in Essex County, NJ. These were designed, in 1887, by Henry Hudson Holly. For more than 40 years, the laboratory had a major impact on the lives of people worldwide. Out of the West Orange laboratories came the motion picture camera, improved phonographs, sound recordings, silent and sound movies and the nickel-iron alkaline electric storage battery (Wiki).
Edison’s home was designated as the Edison Home National Historic Site on December 6, 1955. The laboratory was designated as Edison Laboratory National Monument on July 14, 1956. On September 5, 1962, the 21 acre site containing the home and the laboratory were designated the Edison National Historic Site and overseen by the National Park Service. On March 30, 2009, it was renamed Thomas Edison National Historical Park, adding “Thomas” to the title in hopes to relieve confusion between the Edison sites in West Orange and Edison, NJ. Following extensive renovations of the laboratory complex, there was a grand reopening on October 10, 2009 (Wiki).
Historic Glenmont Mansion:
Thomas Edison resided at Glenmont, his 29 room Victorian mansion, for over half his lifetime. Its architect, Henry Hudson Holly, is considered to be the father of the Queen-Anne style architectural movement in the United States. Holly’s crowning achievement, Glenmont, was part of a working estate which presently contains six outbuildings including a barn and a greenhouse. Examples of Thomas Edison’s poured concrete structures, the auto garage and the potting shed are also still in existence. (Wiki).
Thomas Edison’s Home “Glenmont”
The interior of the fully furnished Victorian home is a rare example of Pottier & Stymus interiors, a New York decorating firm that lost the majority of its records in a catastrophic warehouse fire in the year 1888. Glenmont’s interiors display rare examples of the firm’s modern Gothic style furniture suites and also include decorative arts objects chosen by the company to outfit this home in Victorian style. The Edison family appreciated the original interiors, consequently making only minimal changes to the home’s decoration during their residency (Wiki).
Glenmont’s period rooms reflect examples of the era’s Eastlake style and Aesthetic Movement style interiors. The first floor library boasts hand stenciled walls in flat, stylized floral patterns with a ceiling of distemperment. Tall case cabinets store leather bound volumes. The decorative arts collection at Glenmont ranges from major works of art and sculpture to everyday objects. The collection, consisting of 40,000 items, includes remarkable examples of Hudson River School artists and antiques (Wiki).
Examples of more utilitarian items include the Edison china collection, still housed in the historic Butler’s Pantry, the household linen collection, family toiletry items, books and household receipts that detail purchases made by the Edison family. These vouchers reveal to us the Edison’s choice of household products and their spending habits (Wiki).
Disclaimer: The above information on the history of the house and labs came from Wiki and I give the format full credit for the information. The above information also comes from the National Parks Services pamphlet and I give them full credit for the Visitor’s information.
I came across the Americas Society Museum when walking on Park Avenue on the Upper East Side for my walking project, “MywalkinManhattan.com”. I noticed the sign for the exhibition, “The Metropolis in Latin America 1830-1930”. The exhibition was on the transformation of cities in Latin America from their traditional path starting with Spanish colonization to a more European layout that was developed between the Revolutionary and Civil Wars with the ‘Gilded Age’ thrown in as the third generation of settlers became long time citizens and became more wealthy.
They wanted to live like they were still in Europe. It showed how the cities developed over time with planning and then with extended, unintended growth that lead to the outlaying slums. Very interesting exhibition (now closed).
A exhibition at the Americas Society Museum
In the summer of 2024, the museum had an interesting exhibition on artist Alejandra Seeber. Her colorful interactive works had some of the patrons playing golf inside of the galleries. I thought her work was vibrant and exciting. She draws you in with the bright invigorating colors and on the floor pieces of carpet whose colors lead your golf balls from hole to hole as you travel the exhibition.
The museum press release on the Alejandra Seeber exhibition:
The description of the show:
(from the museum’s website):
Americas Society presents the first solo exhibition and career survey of the Argentine artist Alejandra Seeber in New York, starting June 5. Seeber (b. 1969, Buenos Aires, Argentina) is a painter who centers representations of various spaces to explore the tension between representation and abstraction in painting. Seeber utilizes bold color and gesture to examine liminal spaces within built and domestic environments. Later work veers further into abstraction, implementing visual devices like Rorschach drawings or knit grids to structure the composition.
My favorite painting in the show by Alejandra Seeber “La Bourgeoisie”
The sign of the painting
The exhibition pairs these paintings with Seeber’s contemporary explorations of the built landscape with an installation. This survey of her work is organized around a playable golf course installed inside the gallery space in which visitors will be invited to play golf as they walk through the show. The golf obstacles become active sculptures in the exhibition, creating porous boundaries between artwork and audience. This playful environment manifests the explorations of edges, doorways, windows, and borders in the artist’s painting. As they play, visitors will be able to trace Seeber’s artistic trajectory and see how her interventions in the form and practice of painting continue to this day.
The vibrance of the art with its colorful details
The interactive art in the gallery
The art golf course
History:
The Americas Society is an organization dedicated to education, debate and dialogue on the Americas and is located at 680 Park Avenue on the Upper East Side of Manhattan. The Americas Society was established by David Rockefeller in 1965. The Americas Society promotes the understanding of the economic, political and social issues confronting Latin America, the Caribbean and Canada; its mission is “to increase public awareness and appreciation of the diverse cultural heritage of the Americas and the importance of the inter-American relationship.
The buildings historical past as the Percy Rivington Pyne House
The Americas Society Building is listed in the National Register of Historic Places. The building was previously the Percy Rivington Pyne House before serving as the Soviet Mission to the United Nations until its current usage. along with the neighboring buildings of the Queen Sofia Spanish Institute and the Italian Consulate General, the house constitutes one of the few remaining unified architectural ensembles on Park Avenue. The Center for Inter-American Relations was later to be absorbed into Americas Society 1985.
Activities:
The Americas Society organizes interviews, speeches, podcasts, exhibitions, readings and musical performances at its headquarters and reports on Congressional updates and local events. Many events are held at the Salon Simon Bolivar, an expansive room in the building’s Neo-Federal style with wide windows, a 15 foot ceiling and wood-paneled and silk fabric walls.
An Exhibition at the museum:
The Americas Society produces the MetLife Music of the Americas (concert series) to showcase the diversity of styles and genres of music in the Americas. The concert series is held at the Society’s headquarters.
The Americas Society, together with Council of the Americas, produces the publication ‘Americas Quarterly’, a policy journal for the Western Hemisphere. The Americas Society also publishes ‘Review Magazine’, which was first founded in 1968. ‘Review Magazine’ is an English language journal for literature from Latin America, the Caribbean and Canada. ‘Review Magazine’ also helped support the first English translation of “One Hundred Years of Solitude” by Gabriel Garcia Marquez as well as other translations.
The Americas Society has also organized working groups on the topics of women’s empowerment and leadership. Cuba, energy policy, immigration, trade facilitation and Venezuela.
Council of the Americas (COA)
Is the premier international business organization whose members share a common commitment to economic and social development, open markets, the rule of law and democracy throughout the Western Hemisphere. The Council’s membership consists of leading international companies representing a broad spectrum of sectors, including banking and finance, consulting services, consumer products, energy and mining, manufacturing, media, technology and transportation.
(This information was taken directly from Wiki and Americas Society publications)
Visiting a Museum: The Unique, Unusual, Obscure and Historical 