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Henry Clay Frick House

May 08, 2024

The Henry Clay Frick House (also known as the Frick Collection building or 1 East 70th Street) is a mansion and museum building on Fifth Avenue, between 70th and 71st streets, on the Upper East Side of Manhattan in New York City. Designed by Thomas Hastings as the residence of the industrialist Henry Clay Frick, the house contains the Frick Collection museum and the Frick Art Reference Library. The house and library building are designated as a New York City landmark and National Historic Landmark.

Henry Clay Frick House
The main facade on Fifth Avenue
Alternative namesFrick House, Frick Collection
General information
TypeMansion
Architectural styleBeaux-Arts
Address1 East 70th Street
Town or cityNew York, NY 10021
CountryUnited States
Coordinates40°46′17″N 73°58′02″W / 40.7713°N 73.9673°W / 40.7713; -73.9673
Current tenantsFrick Collection
Construction started1912
Completed1914
Technical details
Floor count3
Design and construction
Architect(s)Thomas Hastings
Henry Clay Frick House
Location in New York City
Henry Clay Frick House (New York)
Henry Clay Frick House (the United States)
Coordinates40°46′17″N 73°58′02″W / 40.7713°N 73.9673°W / 40.7713; -73.9673
Area1.26 acres (0.51 ha)
Part ofUpper East Side Historic District (ID84002803)
NRHP reference No.08001091
NYSRHP No.06101.000813
NYCL No.0667
Significant dates
Added to NRHPOctober 6, 2008[2]
Designated NHLOctober 6, 2008[3]
Designated CPSeptember 7, 1984
Designated NYCLMarch 20, 1973[1]

The three-story house is separated from Fifth Avenue by an elevated garden. It is composed of three wings to the north, center, and south, which are arranged in an L shape. The limestone facade contains several carved pediments and tympana. Most of the house remained essentially unchanged from the time of its construction until 1931. The first floor contained the family's communal rooms; the second floor contained their bedrooms and private rooms; and the third floor contained the servants' quarters. There was also a basement with service areas. The first and second-floor rooms have been adapted into museum spaces over the years.

Frick bought the site of the Lenox Library in 1906 and 1907 but could not redevelop it for several years. Initially, Frick sought designs from Daniel Burnham, but ultimately he commissioned Hastings, who designed a three-story mansion in the Beaux-Arts style. Construction took place between 1912 and 1914. Frick lived in the building only until his death in 1919, but his wife Adelaide and daughter Helen continued to live there until Adelaide died in 1931. Following a renovation, and in accordance with Frick's will, the house opened to the public as the Frick Collection in 1935. The building was enlarged slightly in 1977 and 2011, which has altered the original appearance of the house. From 2020 to 2024, the house was closed for an extensive renovation that expanded the museum. Over the years, the mansion has received generally positive architectural commentary.

Site edit

 
The plot was originally the location of the Lenox Library from 1877 to 1912.

The Henry Clay Frick House is at 1 East 70th Street in the Lenox Hill section of the Upper East Side of Manhattan in New York City.[4] It is bounded by Fifth Avenue and Central Park to the west, 70th Street to the south, and 71st Street to the north.[4][5] The rectangular land lot occupies about half of its city block and covers 45,175 square feet (4,197 m2), with a frontage of around 200 feet (61 m) on Fifth Avenue and 275 feet (84 m) on the side streets.[5] The mansion originally occupied a smaller, 200-by-175-foot (61 by 53 m) site,[6][7] which covered about a third of the block.[8] The rest of the city block is composed of townhouses,[9] including 11, 15, 17, 19, and 21 East 70th Street to the east.[5][10] 880 Fifth Avenue is on the block to the south,[5] while the Gertrude Rhinelander Waldo House is one block to the northwest.[5][11] The mansion is part of Fifth Avenue's Museum Mile[12] and houses the Frick Collection, the southernmost museum on that strip.[13]

The site had been part of the Lenox family's farm until the late 19th century.[14] The site of the Frick House then became the Lenox Library, designed in a neo-Grec style by Richard Morris Hunt. The library had contained paintings and books owned by the philanthropist James Lenox.[15][16] Frick's house occupies a 200-by-175-foot (61 by 53 m) site that includes both the library and an adjacent strip.[6][7] The eastern half of the block was sold to other developers,[17] who had erected residences there by 1910.[18] The entire block was restricted to residential use until 1929,[18] although the Frick House was excluded from this restriction in 1926.[19] After the mansion became a museum, its site was expanded to include the land occupied by the Widener House at 5 East 70th Street (built in 1909 by Warren and Wetmore); 7 East 70th Street (built in 1911 by C. P. H. Gilbert);[20] and a third house at 9 East 70th Street (built in 1915).[21]

When Frick built the house in the early 1910s, he planted 13 chestnut trees on the sidewalk of Fifth Avenue between 70th and 71st streets, each of which were at least 30 years old. To accommodate the trees, he excavated the sidewalk to a depth of 6 feet (1.8 m), then obtained soil from Long Island, in which the trees were planted.[22] The trees were planted on the property for only a year and a half before all dying, because the soil was contaminated with poisonous illuminating gas. Afterward, they were replaced with sycamores.[23] A single poplar tree, which had existed on the block before even the Lenox Library was built, remained on Frick's estate until 1918.[24]

Gardens edit

Most of the house, except for the gallery wing at the north end, is recessed 75 feet (23 m) behind a garden on Fifth Avenue.[25][26][27] This contrasted with similarly large mansions built in Manhattan during the early 20th century, which were generally built as close as possible to the boundaries of their lots.[26] Original plans called for a sunken garden facing Fifth Avenue, flanked by the house on two sides, with a pool in the center.[28][29] The William H. Jackson Company designed a wrought iron fence around the Fifth Avenue garden, while John Williams Inc. designed entrance gates in the same style.[30] When the house was completed, there was a stone wall with a balustrade along Fifth Avenue,[27] and the garden itself had evergreen trees.[31] There was a small formal garden at the south end of the Fifth Avenue garden, at the same level as the house's first floor.[32] Three magnolia trees were planted during a 1939 renovation;[33] by the late 20th century, the Fifth Avenue garden was cited as containing roses, violets, lantana, blue Egyptian lily, and white petunias.[34] The garden was rarely open to the public until the late 2000s.[35]

There is another garden on 70th Street, which was completed when the Frick Collection renovated the house in 1977.[36][37][38] The garden, the only one designed by Russell Page in New York City,[39] spans about 60 by 80 feet (18 by 24 m).[40] A temporary garden had been proposed on that site in 1973 in advance of the development of a six-story annex,[41] but the garden became permanent after the annex was canceled.[42][43] Although there are gravel paths,[39][44] the garden was intended to be viewed rather than strolled through.[44][45][46] The garden contains plantings such as boxwood,[39] water lilies, quince, wisteria, and pear trees,[47] as well as a central pool.[34][40] The pool and trees were arranged to make the garden look larger than it actually was.[46] There is an iron fence on the south edge of the garden, as well as a one-story parapet wall on the north and west edges.[47][48] The eastern wall has three nautically themed lunettes, which face three large windows on the eastern wall of the house's annex.[36]

There was also originally a private courtyard at the rear or east side of the building, accessed from the living room.[49][50] The rear court had a 60-by-15-foot (18.3 by 4.6 m) pool with a central fountain.[32][a] The rear court was demolished when the current garden court was built in the 1930s.[32]

Architecture edit

Thomas Hastings of the architectural partnership of Carrère and Hastings designed the mansion for the family of industrialist Henry Clay Frick in the Beaux-Arts[52] or Italian Renaissance Revival style.[30][27] Following multiple expansions over the years, the present structure is about double the size of the original mansion.[21] John Russell Pope designed the entrance on 70th Street and the Frick Art Reference Library, completed in 1935.[53][54] A one-story annex on 70th Street, finished in 1977, was designed by Harry van Dyke, G. Frederick Poehler, and John Barrington Bayley.[36][37] Another expansion in the 2020s was designed by Annabelle Selldorf.[55][56]

Indiana limestone was used for the exterior and parts of the interior of the mansion.[57] Frick hired limestone contractor William Bradley & Son, steel contractor Post & McCord, and masonry contractor Cauldwell-Wingate Company to build the house.[58] The Piccirilli Brothers designed several pediments for the facade (which were contracted out to other sculptors),[59][60] while Samuel Yellin and John Williams were responsible for grilles and ornamental steelwork.[60]

Form and facade edit

Original residence edit

The original residence has a facade made of limestone. The massing is composed of three parts: a three-story central section and two wings of shorter height.[61][62][30] Elaborate pediments decorate the outer wings and the house's former porte-cochère.[49][48] When the mansion was being constructed, Frick had mandated that a large picture gallery be constructed in the same style as his main house. The gallery wing was placed along 71st Street because it was a narrow side street, while the main mansion was recessed from Fifth Avenue to visually distinguish it from neighboring residences.[63]

The central section is eleven bays wide and faces the garden on Fifth Avenue.[61] Its design was likely influenced by that of the Hôtel du Châtelet in Paris.[64] On the western elevation of the central section's facade, the central three bays of comprise a portico flanked by four double-height pilasters in the Ionic order.[61][1] A staircase, flanked by urns, rises from the garden into arched doorways at the first story of the portico.[62][1] The rest of the first floor is clad with rusticated blocks and contains French doors, with carved plaques above each set of doors.[62] A belt course runs horizontally above the first-story windows and extends across to both wings;[62][63] the belt course doubles as a sill for the second-story windows.[1] The windows on the portico's second story have balustrades.[20][62] There is also a balustrade above the second story, interspersed with the vertical piers between each bay.[62] The third story is designed to appear like an attic[20] and is set back from the facade.[1]

 
Gallery wing as seen from Fifth Avenue

The north wing is known as the gallery wing[62][64] and measures 100 by 35 feet (30 by 11 m) across.[27][50] It extends west to Fifth Avenue and rises one and a half stories.[27][62][50] The southern elevation of the north wing is designed like a loggia, with fluted Ionic columns between each bay. The westernmost bay of the loggia has a rusticated facade and an arched window topped by a carved, curved tympanum. The western elevation of the north wing borders Fifth Avenue and is divided into four bays. The southernmost bay on Fifth Avenue contains an arch, while the other three bays on that elevation contain rectangular windows topped by bas-reliefs.[62] The northern elevation of the gallery wing, facing 71st Street, is one story high and is divided into bays by Doric pilasters. Most of the bays on the 71st Street elevation lack windows and are topped by stone plaques. The outermost bays contain archways that are flanked by Ionic pilasters and topped by carved tympana.[65] Attilio Piccirilli designed the two tympana, which were called Orpheus and Sculpture.[60]

The south wing is two stories high and contained the house's porte-cochère. The western elevation of the south wing is two bays wide and protrudes slightly from the central wing.[62][64] At the first story, the south wing is rusticated, and there are triangular pediments above the western elevation's windows.[62][1] On the 70th Street (southern) elevation of the south wing, there are rectangular windows topped by bas-reliefs, similar to the facade of the central section.[62] At the far eastern end of the south wing's 70th Street elevation is the museum's main entrance, originally the porte-cochère's entrance, which is topped by an ornate tympanum.[62] The tympanum, sculpted by Sherry Edmundson Fry to designs by the Piccirilli Brothers, depicts a female figure modeled on Audrey Munson.[60] When the house was built, the porte-cochère was set back significantly from the street and was enclosed by a pair of metal gates; a barrel vault led north to another entrance at 71st Street.[64] The rear facade of the house faced the porte-cochère.[30] After the house was converted to a museum in the 1930s, the tympanum above the porte-cochère entrance was moved forward, closer to 70th Street.[62][66]

Additions edit

On the northeastern corner of the site is the Frick Art Reference Library building, designed in the Renaissance Revival style. Its facade faces 71st Street and is adjacent to the northern elevation of the original house's gallery wing.[65] The facade is made of limestone and is designed to appear as though it was six stories high.[67] The lowest two stories are clad with rusticated blocks of limestone. At the center of the ground story is a double-height entrance archway; there are niches on either side of the archway, which themselves are flanked by pilasters.[66][65] Above the pilasters a cornice connects with the first story of the main residence. The upper stories of the library have plain walls with large windows facing west and north;[65] only the third and sixth floors and the penthouse have windows.[68] The top floors are set back from the street, above an entablature with dentils.[65] A terrace ran along the north and west sides of the penthouse.[68][69]

On the southeastern corner is the one-story annex that was added in 1977.[36][37] The annex measures 34 by 91 feet (10 by 28 m) across, with a design based on the Grand Trianon at the Palace of Versailles.[37] The rusticated facade[48] uses Indiana limestone from the quarry that supplied the stone for the original house.[37] The annex's eastern elevation is three bays wide; each bay contains a French door that overlooks Page's garden.[48]

Interior edit

The British decorator Charles Allom of White, Allom & Co. was selected to furnish the rooms on the ground floor,[70][71] and he influenced the materials used on that story.[71] Allom also decorated the breakfast room and Frick's personal sitting room on the second floor.[72] The remaining rooms on the second and third floors were decorated by Elsie de Wolfe, who was also commissioned to furnish two reception rooms on the first floor.[72][73] Charles Carstairs and Joseph Duveen provided paintings, sculptures, and other decorative objects for the rooms.[74][75] Frick's wife Adelaide and daughter Helen directed the placement of decorations in the house.[76] A. H. Davenport and Company provided furniture and interior woodwork, fabrics, wall coverings, and decorative paintings.[77] In addition, the Interior Metal Manufacturing Company was hired to construct over 200 hollow-steel doors for the interior.[30]

The mansion contains about 40 rooms, including spaces that were added when the building became a museum.[78][79] Throughout the house are surfaces made of stone, wood, or marble.[80][81] Various types of marble were used, and many of the walls were made of marble, including those on the upper stories.[81] Marble was used in the foyer, vestibules, and halls, while Austrian oak was used in the gallery and Frick's sitting room.[82] Ornamental features such as dados, paneling, pilasters, and cornices are spread throughout the house.[80] When the house became a museum, artworks were placed on display based on how they blended in with the house's ambiance.[80][83] There are bookcases placed throughout the Frick House's rooms,[84] as well as tapestries, wooden furniture, and bronze decorations.[85][86] The Fragonard and Boucher rooms are named based on the artworks that they displayed.[86] In addition, there are glass skylights and laylights above some of the galleries, which disperse light across the rooms.[56]

First floor edit

There are 16 rooms on the first floor.[79] Originally, the main entrance was from the portico leading to the garden on Fifth Avenue.[27][50] The hallways are arranged in an axial plan, with north and south halls linking with west-east corridors on either end.[49][65] The resulting floor plan resembles a letter Z.[32] Mark Allen Hewitt et al., the authors of the book Carrere and Hastings, Architects, wrote that the axial plan may have been necessitated by the fact that Frick wanted a large picture gallery extending westward from the north end of the building.[87]

 
Garden court

At the center of the house is the 30-by-41-foot (9.1 by 12.5 m) living hall flanked by a 43 ft × 26 ft (13.1 m × 7.9 m) library room to the north and a 32 ft × 26 ft (9.8 m × 7.9 m) drawing room to the south.[88] The living hall has oak paneling and classical design details and originally functioned as a gathering space.[89] The drawing room is known as the Fragonard room, named for Jean-Honoré Fragonard's large wall paintings,[90] and is furnished with 18th-century French furniture and Sèvres porcelain.[70][91] The library room is designed in the William and Mary style with wooden paneling[92][93] and originally had low bookcases.[94] To the east of the library and drawing rooms are the north and south halls respectively.[49][65] The north hall, central living hall, and south hall form a transverse corridor that is divided into three parts by aedicular doorways.[95]

Near the southern end of the house was another entrance from the porte-cochère, which opened onto the eastern wall of the south hall;[96] the porte-cochère entrance was replaced with the entrance hall when the house was converted into a museum.[97][98][99] The entrance hall has marble walls and a ceiling carved by the Piccirilli Brothers.[70][91] There is also a staircase hall just north of the former porte-cochère entrance.[96] Within the staircase hall is a marble stair[80][100] with a ornate wrought iron balustrade, patterned after a similar railing at St Paul's Cathedral in London.[101] On the landing of the staircase hall is a large Aeolian pipe organ,[65][90][100] which is played on occasion;[102] the organ is housed in a case with spiraling colonnettes carved out of Verona marble.[90] A hallway extends west from the porte-cochère entrance, separating the dining room to the south from the other rooms to the north.[65][96] The dining room occupies the southwest corner of the south wing[28][49] and is designed in the Georgian style, with wooden panels.[92][89] After the museum opened, a former pantry next to the dining room was converted to the Boucher room.[98]

The gallery wing is 100 by 35 feet (30 by 11 m).[88][103] It was designed so that, if a fire arose in the rest of the home, it would not spread to the artwork in that wing.[88] The west gallery has a skylight running its entire length,[79][103] in addition to small skylights above each panting.[103] The west gallery took up almost the entire gallery wing, except for a small enamel room[94] that was removed in the 1930s.[103] A colonnaded loggia faces the Fifth Avenue garden to the south[104] and contains a bluestone floor and paired columns.[105][106] The loggia was converted into the portico gallery in 2011, after a glass wall was installed.[105][107] Adjacent to the west gallery was Frick's office,[70][91] also removed in the 1930s.[103][108]

At the north end of the house, a garden court, oval room, music room, and east gallery were built in 1935.[52][98] The covered garden court has a marble floor and a colonnade supporting a glass roof; there is a sunken garden with marble fountain in the center.[97] The oval room is just north of the garden court, between the west and east galleries.[108] The east gallery has a skylight, as well as arched doorways with carved keystones;[109] Both the east gallery and the oval room are decorated with five types of wood.[110] In addition, there is a music room east of the garden court and south of the east gallery;[111] the music room is a circular space with a domed skylight[111] and could fit 147 people.[112] At the south end was a waiting room added in 1977, which measured 54 by 16 feet (16.5 by 4.9 m)[36] and had various chandeliers and moldings.[37] As part of a 2018 plan, the waiting room was replaced by an enlarged reception hall.[113]

Other stories edit

The second floor contained the family's private living spaces such as the bedrooms, the women's boudoir, sitting rooms, the breakfast room, and guest rooms.[65][114] There are 14 rooms on the second story.[89] Its layout is similar to the first story, but the second floor extends only across the central and south wings. Henry had a bedroom and sitting room facing Fifth Avenue. Adelaide had a bedroom and boudoir facing the avenue, and Helen also had her bedroom overlooking the avenue.[65] Adelaide's boudoir was designed with Louis XIV style and Louis XV style furnishings, while Henry's bedroom had dark woodwork. Other rooms were designed with a lighter color palette.[89] The ceilings of the second-floor hallways include Chinoiserie murals.[46] The third floor had servants' quarters, which were occupied by around 27 servants.[114]

When the house became a museum, the second and third floors were originally deemed "unsuited to the use or access of the general public" and were instead used as staff offices.[52] Some of the second-floor rooms were converted to galleries as part of an early-2020s renovation;[115][116] the new galleries retain the second-floor rooms' dimensions, which are smaller than those of the first-floor rooms.[117]

The large basement was where the kitchen and service areas were located. A wing contained the billiard room and bowling alley,[118][119] which were decorated in the Jacobean style with ornate strapwork ceilings.[120][121] The bowling alley was built by the Brunswick-Balke-Collender Company in 1914.[120] During the 1920s and early 1930s, the Frick Art Reference Library was housed in the bowling alley until they moved to a new structure next door at 10 East 71st Street;[121] the bowling alley was seldom used afterward.[120] Also in the basement is a 30-by-80-foot (9.1 by 24.4 m), reinforced-concrete storage vault that was constructed in the 1940s.[122] The vault contains 98,550 cubic feet (2,791 m3) of storage space above three levels,[123] as well as walls measuring 1 foot (0.30 m) thick and a roof measuring 3 feet (0.91 m) thick.[122] A 220-seat auditorium was proposed in the basement in 2018[112] and added in the 2020s;[117] it replaced three levels of storage vaults under the garden.[113]

Library annex edit

The library annex has six[52][68][124] or seven full stories;[69] including mezzanine levels, it has a total of 13 stories.[125][126] Two of these levels are below ground.[54] Most of the levels were devoted almost exclusively to library stacks and were only 7.17 feet (2.19 m) high to reduce the number of steps that visitors needed to climb.[68][69] Each level was supported by the shelves below it, which doubled as pillars.[124] When the current library opened in 1935, it had an internal telephone system, a telautograph system from which the librarian could request books from staff, and a book conveyor.[69][124] There was a climate-control system that kept the objects at a consistent temperature.[68][69]

In addition to stacks, the library includes offices, reading rooms, and librarian's office.[52][69] The current library originally had a marble vestibule at the ground level.[69] The third story had a main reading room, which could fit 40 people[68] and was originally described as measuring 37 by 50 feet (11 by 15 m), with marble finishes and walnut paneling.[68][69] This reading room had a frieze depicting the heads of two dogs that belonged to Helen Frick.[127] The third floor also had a paneled librarian's office, as well as a smaller reading room with storage cupboards and Jacobean chandeliers. The other staff offices were on the sixth story, and there was a lounge and cafeteria at the penthouse level. There were two penthouse lounges, both decorated with art.[69]

History edit

Henry Clay Frick was born in 1849 and gained his wealth through the coke and steel industries.[128][129] Frick cofounded the Carnegie Steel Company with Andrew Carnegie[128][130] and also became an avid art collector.[131][132] After moving to Pittsburgh and marrying Adelaide Howard Childs in 1881,[133] Frick began thinking of developing a "millionaire's castle".[129] By the end of the 19th century, Frick and Carnegie's partnership had become strained,[59][134] and Frick sold off his stake in the Carnegie Steel Company.[135][136] When the Frick family moved from Pittsburgh to New York City in 1905, they obtained a 10-year lease on the William H. Vanderbilt House at 640 Fifth Avenue,[137][138] with which Frick had long been fascinated.[139][140] At that time, Fifth Avenue north of 59th Street was generally occupied by private residences, although hotels and clubhouses were scattered throughout.[141][142] Frick also bought land at Prides Crossing, Massachusetts, in 1902[143] and completed their Eagle Rock estate there three years later.[136][143] The family lived at the Vanderbilt House for a decade,[144][145] using Eagle Rock as a summer house.[146]

Development edit

Land acquisition edit

 
The house as seen from 70th Street

After Frick unsuccessfully tried to acquire the Vanderbilt House,[147] he began looking for another residence, since the Vanderbilt Mansion did not meet his personal criteria for a house that was "always the best".[148] Frick expressed interest in a site on the east side of Fifth Avenue between 70th and 71st streets, which housed the Lenox Library.[15][149] The library building occupied a 200-by-125-foot (61 by 38 m) site.[6][150] The site was about a mile south of the Andrew Carnegie Mansion, built for Frick's partner-turned-rival in 1902.[151][152] Although an urban legend posits that Frick had promised to "make Carnegie's place look like a miner's shack", there is no evidence that Frick ever said these words.[152] Rather, Frick may have become interested in the library site because it was higher than the neighboring blocks were.[153]

The library was suffering financially and was looking for someone to buy its land.[141] Lewis Cass Ledyard, a trustee of the Lenox estate, reportedly chose to sell to Frick because the latter was willing to buy a large site.[154] In December 1906, news media reported that Frick had acquired ten lots on the Lenox Library site for almost $2.5 million.[155][b] At the time, the Lenox site could not be used as anything other than a library, due to restrictions implemented by James Lenox before he died in 1880.[149] There was also uncertainty over who controlled a 50-foot-wide (15 m) strip just east of the library building, which the New York City government had acquired when the Lenox Library merged with the New York Public Library (NYPL) system. James Lenox's will stipulated that the strip would revert to the Lenox estate if that land ceased to be used as a library.[155][154]

The New York State Legislature passed a law in February 1907, which allowed the Lenox estate to make arrangements for selling off the site of the library.[154] Frick agreed to buy the 50-foot strip east of the library that April;[18][150] the purchase cost him $600,000.[150] He took title to the strip in January 1908.[17] This gave Frick control of a 200-by-175-foot (61 by 53 m) site.[6][7] However, he could not take title to the Lenox Library plot until the NYPL's Main Branch—where the Lenox Library's holdings were to be relocated—was completed.[136] Frick thus waited until the NYPL's trustees could relocate their books from the Lenox Library.[156] By the early 1910s, Frick seldom lived at his Vanderbilt Mansion residence when he was in New York City.[157]

Selection of architect edit

The New-York Tribune reported in May 1907 that Frick was rumored to have hired C. P. H. Gilbert to draw up initial plans for the house.[7] By 1908, Frick was negotiating with Daniel Burnham,[158][159] who had previously designed the Frick Building in downtown Pittsburgh.[158][160] Originally, Frick was going to hire Burnham to design either an annex to the Eagle Rock estate or a new building on the Lenox Library site.[156] Frick wrote to Burnham in June 1908, asking whether Burnham would be willing to "talk about the Lenox Library site".[158] After studying houses in Europe, Burnham wrote back to Frick in February 1909, saying that he planned to use two London mansions, Bridgewater House and Stafford House, as models for the new house.[161] Burnham submitted a design for an 18th-century Italian palazzo.[141] No further progress was made until the NYPL's Main Branch was completed in 1911.[161] Concurrently, Frick was developing a picture gallery to his home at Eagle Rock.[161][162] Frick asked two of his art-collector friends, Benjamin Altman and Peter Arrell Browne Widener, to advise on the dimensions of the Eagle Rock gallery.[161]

Frick ultimately decided not to hire Burnham for his New York City house, but sources disagree on why this was the case.[161][163] According to Frick Collection director Colin B. Bailey, the impetus was a letter from Widener advising him not to hire Burnham;[159][161] according to Mark Alan Hewitt et al., it was another friend, the art dealer Joseph Duveen, who advised Frick to hire someone else.[164] At the time, Thomas Hastings (who had designed the NYPL Main Branch) had also completed a building for Knoedler & Company, the dealership where Frick bought most of his art, in January 1912.[159][161] Charles Carstairs of Knoedler & Co., one of Frick's close associates, wrote to Frick that February, saying that he and Hastings had devised a dozen plans for Frick's new house.[161] Frick hired Hastings at an upfront cost of $101,000, and he paid Hastings $42,000 for additional work over the next three years.[61] Carstairs helped Frick curate the art and decorative objects in the new house.[165]

Design process edit

Much of Frick's correspondence with Hastings was handled by Frick's secretary, James Howard Bridge.[164] Frick wanted Hastings to develop a house that would eventually become a public museum for his art collection,[1][74][166] similarly to the Wallace Collection in London and the Isabella Stewart Gardner Museum in Boston.[163] This was poorly communicated to Hastings, who was initially unaware of the museum plan.[74][166] Hastings initially devised a plan for a square residence surrounding a central courtyard, as well as a picture gallery facing east, but Frick disapproved of these plans.[167] Hastings had revised his plans by April 1912, to which Frick gave his approval.[168] The residence was proposed as an L-shaped building,[164][169] with design elements that were "kept simple and conservative in every way".[168] The plans included a guest house to the southeast and a servants' wing to the northeast of the main house, in addition to an art gallery.[170]

Frick formally took title to the Lenox Library plot on May 21, 1912,[171] and the Lenox Library's demolition was announced five days later.[169] Frick offered to move the Lenox Library building to the site of the Arsenal in Central Park shortly thereafter.[172] The Municipal Art Commission approved the Lenox Library's relocation that June,[173] drawing protests from numerous civic and social groups,[174] and Frick withdrew his offer the same month due to the opposition.[175] A model of the proposed house had been finished by mid-1912.[164][168] Hastings went to England that August to show Carstairs the model and to look at the interiors of other mansions for inspiration.[176]

Construction edit

Workers began razing the Lenox Library in July 1912,[177] and the site had been cleared by October.[176] Hastings had completed his designs by January 1913[25][28] and submitted his plans to the New York City Department of Buildings that month.[178] Construction contracts for the house were also awarded that month.[58] Frick set a construction budget of $3 million (equivalent to $95 million in 2023) for his house.[28][61][c] Including the land, the house was expected to cost $5.5 million, more than Carnegie's, Schwab's, J.P. Morgan's, or William A. Clark's houses.[29] Hastings had to revise the plans multiple times to keep the project within its budget.[61] The construction contract stipulated that the house had to be completed within 18 months of the groundbreaking,[50] as Frick's lease of the Vanderbilt Mansion was supposed to expire in September 1914.[179] Work on the house's foundation was completed in early 1913,[50] and the steel frame, facade, and roof were all constructed between April and June of that year.[61]

In March 1913, Hastings published details of the decorations that he planned to install in the main living areas. Frick disapproved of some of the decorations, including a painted frieze in his room and painted ceilings in other rooms.[176] Frick hired the British decorator Charles Allom, who instead proposed more simple ornamentation so future visitors would not get distracted while looking at art.[180] Generally, Hastings did not object to Allom's suggestions to simplify the ornamentation, although Frick also had Carstairs moderate any disagreements that did arise.[71] Frick did allow Hastings to decorate the interiors in marble and oak.[82] The balustrade on the staircase was among the only design details to which Allom did not suggest modifications.[181] Construction proceeded ahead of schedule throughout that year, and the interiors were being plastered by that September. According to Bailey, construction supervisor D. B. Kinch claimed that his men "had not worked one hour of overtime".[182] Frick wrote in October 1913 that the windows were being installed, and the Piccirilli Brothers designed statuary for the house the next month.[183]

 
The house shortly before completion in 1913

Initially, Frick had not wanted to integrate antique furniture and fine art into his house.[184] He may have changed his mind after visiting the Metropolitan Museum of Art in early 1914 to see an exhibition of decorations owned by J. P. Morgan.[185] Furthermore, Cornelius Vanderbilt III had inherited Frick's old residence, the Vanderbilt Mansion,[72][186] and had requested that Frick vacate that property.[147] To speed up the construction process, Frick hired the decorator Elsie de Wolfe to furnish some of the interiors in March 1914,[72][73] after she wrote him a letter offering to help furnish the house.[184] By that May, The New York Times reported that the Frick House was "rapidly nearing completion".[187] That month alone, Frick spent $400,000 on European fine art for his residence and hired Jacques Seligmann to transport $2 million of furniture from John Murray Scott's house in Paris.[188] Though there were reports that Frick spent $100,000 to import a pipe organ for the house,[189] he paid $40,000 for an Aeolian organ.[90] Frick hired the British organist Easthope Martin to play the organ at his new house following a trip to London.[190] For his fountain, Frick examined eighteen 10-ton blocks of marble before finding one that he deemed satisfactory.[100]

De Wolfe wrote in June 1914 that she anticipated the house to be completed on September 1, but this timeline was pushed back.[191] This was in part because Frick became seriously ill, forcing him to remain at his home in Massachusetts during August 1914.[191][192] In addition, the onset of World War I in Europe—despite Frick's initial belief that it would not "seriously injure investments" in the U.S.—resulted in material and labor shortages at the plants where Frick was getting his material.[193] As a result of the material shortages, some doors did not have locks as late as November[194] (when the family moved in).[195][196] Frick wrote angry letters to Allom, accusing him of being "unbusinesslike" and blaming Allom for delays in delivery.[197] For example, when notified about war-related delays in late 1914, Frick wrote: "War excuse absurd."[194][198] In another case, when Allom requested that workers in France be paid in advance due to the war, Frick refused the request "with a bluntness that bordered on insensitivity".[194] In total, the house was estimated to have cost $5 million.[27]

Frick residence edit

Early years edit

The Frick family moved into the house starting on November 16, 1914,[195][196] and the first photographs of the house were published in Architecture magazine that month.[199] As late as November 18, Frick complained that he had doors without locks, a breakfast room without a table, and a sitting room without any furniture of any kind, although a stock ticker was installed within three days.[199] Frick, his wife Adelaide Howard Childs, and their daughter Helen Clay Frick lived in the house;[195] their son Childs, who was already married, never resided in the house.[91] At the time of the Frick family's relocation into the house, the property was worth $3.1 million including land, making it one of the most valuable structures in the neighborhood.[200] The mansion occupied one of the largest privately owned pieces of land in Manhattan.[201] Frick and his suppliers were involved in disagreements; for example, he refused to pay transport charges for furniture he bought from Seligmann, and Frick told Allom that he would have rather had de Wolfe furnish the whole house.[202] Despite his previous disputes with Hastings, Frick wrote a letter to the architect, saying: "I think [the house] is a great monument to you, but it is only because I restrained you from excess ornamentation."[103]

Frick hosted his first dinners at the house in early 1915, inviting U.S. Steel executives, art collectors, art industry figures, and industrialists.[203] Frick also bought additional art for the mansion.[204] He bought 14 Fragonard panels from the Met's Morgan exhibition[202][205] and moved them to the drawing room,[206][207] which was enlarged to accommodate the Fragonard panels.[208] Joseph Duveen arranged for a Parisian decorator to create a moquette for the Fragonard room, where Frick intended to showcase Duveen's furnishings and Morgan's artwork.[209] Frick acquired pieces such as Hans Holbein's portrait of Thomas Cromwell,[210] and he also owned paintings by such artists as El Greco, Francisco Goya, Frans Hals, Rembrandt, George Romney, Titian, Anthony van Dyck, and Diego Velázquez.[207][208] Frick decorated the mansion with other objects as well, including furniture, carpets, tapestries, sculptures, and bronzes.[207][211] His decorators continued to work on the house through the middle of 1915, and he finalized his will at the same time, bequeathing the house to public use after his death.[212][213] Census records from 1915 showed that the family lived with 27 servants, including several butlers, footmen, chambermaids, cooks, and laundresses.[214]

Frick had wanted his Fragonard Room to be completed at the beginning of November 1915, but it was not completed until the following May.[209] By June 1916, Frick had paid Duveen $4.696 million just to acquire art from Morgan's estate.[203] Frick separately acquired more art, such as Gainsborough's painting Mall,[215] four Boucher panels,[216][217] Van Dyck's Countess of Clanbrazil,[218] and a Gilbert Stuart portrait of George Washington.[219] He modified his house to display these pieces;[220] for example, he raised the ceiling of Adelaide's boudoir to fit the Boucher panels in late 1916.[217] Forty paintings were displayed at the house by 1917,[94] and Frick also acquired porcelains, sculptures, and furniture near the end of his life.[220] After Duveen decorated the rooms, he convinced Frick to buy even more objects.[217] According to Frick's granddaughter Martha Frick Symington Sanger, he "would often step silently in [the west gallery], observe the observers, and [...] steal out again, unnoticed."[221]

In the late 1910s, the mansion was used for events such as annual meetings, and it temporary housed visiting envoys.[222] During World War I, Frick offered his New York City house as a field hospital in case the city was targeted by an air raid.[223] In the last two years of his life (1918 and 1919), Frick stayed at the house for either 413 or 416 days.[224] He retained his summer estate in Eagle Rock, Massachusetts, where he spent much of the rest of his time,[224] and another residence in Pittsburgh, where he was registered to vote.[225] Toward the end of his life, Frick continued to acquire art. Duveen loaned paintings and marble busts, which were installed on the first floor while Frick decided whether to acquire these works.[226] One visitor, the art dealer René Gimpel, said the house's servants were "dressed from head to foot in black" while the carpet in the gallery wing was "as soft as moss".[198]

Unbuilt expansion and Frick's death edit

 
Exterior portico on Fifth Avenue

In November 1915, Frick bought two sites at 6 and 8 East 71st Street adjoining his residence, measuring a combined 50 by 100 feet (15 by 30 m), from the banker Harold B. Thorne.[227] Hastings devised plans to extend the gallery and erect another entrance there.[213][228][229] The plans were drawn up with the utmost secrecy, and even Duveen did not learn about the expansion plans until American Art News magazine reported on it in March 1916.[228] Hastings's proposal called for a six-bay-wide, one-story annex with a secondary entrance hall, oval room, sculpture hall, and gallery,[230] which would have been designed in a similar style to the main house.[229] Frick abandoned these plans in 1917 due to rising costs caused by World War I-era shortages, and a fence was installed around the empty sites. Hastings charged Frick $45,000 for the plans; Frick originally refused to pay but eventually agreed to pay about half that amount.[231]

After Frick contracted a foodborne illness in November 1919, one of his last acts was to return objects that Duveen had loaned to the house.[226] Following a heart attack caused by his illness, Frick died at the house on December 2, 1919,[76][128][232] having lived in the house for five years.[221] His funeral was hosted at the house the next day.[233] As stated in his will, Frick's art collection was to be turned over to the public "in due time";[232] the collection had cost Frick at least $10 million to acquire during his lifetime.[234][235] His widow Adelaide continued living in the mansion with their daughter Helen.[236] In accordance with Frick's will, if Adelaide died or moved away, the house would be converted to a public museum.[237][238] Frick also provided a $15 million endowment for the art collection.[237][239] Nine people were named as trustees of Frick's estate; these included Adelaide, Helen, and Childs Frick,[240] in addition to two art collectors and two sons of art collectors.[213]

When Frick died, he was estimated to have spent $17 million on the building alone.[241][242] When Frick's estate was appraised in 1920, the mansion and its objects inside were valued at $13 million.[243] Following a dispute between the New York and Pennsylvania governments over his estate, a court determined that Frick's legal residence had been his Pittsburgh house, not his New York City mansion.[225] A reappraisal of Frick's estate in 1923 found that the mansion was worth $3.25 million without its contents.[244]

Adelaide and Helen Frick use edit

Shortly after Frick died, the board of trustees of his estate moved to incorporate the Frick Collection Inc.[239][245] Hastings agreed to sell the plans for the unbuilt annex to Frick's estate in January 1920 for $25,360,[246] and the board organized the Frick Art Reference Library at the house that year.[239][247] Originally, Helen Frick used the house's bowling alley as storage space,[126][127][248] and the library's staff worked in the main house's basement.[249] After the Frick trustees voted in December 1922 to approve a separate library building,[250] Hastings filed plans for a dedicated library building adjacent to the original mansion in 1923, with a projected cost of $139,000.[251] This library was one story high, with two subbasements, and occupied the site of Frick's unbuilt annex.[251] Its facade was similar to the sculpture wing of the unbuilt annex.[213][246]

The Frick Art Reference Library next to the main mansion opened in June 1924.[246][252] As built, the stoop outside the library's front entrance had no landing, which put anyone standing on the stoop at risk of being hit by the door when it opened. As such, the front door had to be installed in reverse. The design of the front door, and other design flaws, led Helen and Adelaide Frick to write angry letters to Hastings, including one letter in 1926 in which Helen vowed never to hire Hastings for another project.[253] Some of the earliest photographic documentation of the interior was taken in 1927 by Frick Art Reference Library photographer Ira W. Martin.[254] Even when Adelaide Frick was alive, there were plans to expand the library. In April 1929, Helen hired Walter Dabney Blair to design a two-story addition to the library, which the board of trustees voted down. Helen, in turn, rejected her brother Childs's suggestion that windows be installed in the walls of the north and south halls and the Fragonard room.[255]

Conversion to museum edit

 
Entrance on 70th Street, modified as part of the 1930s renovation

Adelaide Frick's death in October 1931 triggered a clause in her husband's will, which gave the trustees permission to open the house and the art collection to the public.[131][256] When she died, her possessions at the 70th Street mansion were valued at nearly $129,000.[257] By the end of October 1931, the art historian Frederick Mortimer Clapp (who would become the Frick Collection museum's first director) had presented five proposals for a museum on the house's first and second floors.[255] Although Helen Frick moved her possessions out of the house the next month, the trustees did not immediately move to convert the house into a museum.[258] Despite initial reports that the house could be opened to the public in several months,[221][258] this estimate was highly optimistic.[259] The trustees invited two architectural firms, Delano and Aldrich and John Russell Pope, to devise designs for an enlarged house. Childs Frick wanted to hire Delano and Aldrich.[255] Pope was the first choice of three of the other trustees, two of whom were already familiar with Pope's work.[255][259][d]

The house was completely closed for the next two years while the family mourned.[261] The Frick trustees hired Pope to renovate the mansion in March 1932. Pope's original plan called for constructing a glass roof above the rear courtyard, removing the porte-cochère, and erecting a new entrance on 70th Street. The initial proposal did not include modifications to the original library; consequently, any expansion of the mansion at its northeast corner was constrained, and Pope's first plan called for only one additional gallery.[262] By January 1933, the trustees anticipated that the collection would likely open to the public as a museum within a year.[263][264] Shortly afterward, the trustees acquired two additional lots at 10 and 12 East 71st Street.[265] Pope filed plans for a storage vault in February 1933.[266] The trustees approved a revised plan for the mansion and adjacent library in May, at an estimated cost of $1.941 million,[54] and Pope filed plans that June for a rebuilt seven-story art reference library at 6–12 East 71st Street.[267][268]

Work on the mansion began in December 1933,[269] but the opening of the museum was delayed because of "unexpected difficulties".[270] In particular, workers had to reconstruct the foundation and convert the private spaces for public use.[271] Almost all of the rooms were renovated, except for one room that was preserved in its original condition;[272] most of the modifications concerned circulation improvements.[273] The rear courtyard was converted into the enclosed garden court,[274] a pantry became the Boucher room,[98] and the porte-cochère was replaced with the entrance hall.[97][98] The project also added the oval room, music room, and east gallery,[52][98] which were designed in a similar style to the original house.[275] Workers built a storage vault in the basement to host the collection's most valuable objects,[272][276] and the collection was stored in the vault while work on the house proceeded.[236] The original library wing closed in November 1934,[273] and the new library was built above the existing library wing, which was then demolished.[67] The new library included a reading room, librarian's apartment, and additional stacks.[277]

Museum use edit

This article is about modifications that the Frick Collection museum made to the house. For the history of the museum itself, see Frick Collection § History.

1930s to 1970s edit

The rebuilt six-story library opened in January 1935.[69][278] The Frick Collection itself (known as the Frick[279]) had a soft opening on December 11, 1935;[280] it officially opened to the public five days later on December 16.[281] When the museum opened, its entrance was through the new entrance hall on 70th Street.[275] Originally, visitors were required to follow a specific path,[236] but this rule was dropped by 1937.[282][283] Despite the Frick family's description of the house as a "former residence" housing the Frick Collection, many visitors called the building a "'mansion' being used as a 'museum'".[129] Museum officials filed plans for a concrete vault under the Frick House in March 1941.[284][123] The vault doubled as an art storage facility and a bomb shelter,[123][122] as there were concerns that the house could be targeted by air raids during World War II.[285] The Frick Collection also bought two adjacent buildings during the 1940s.[41][286] Museum officials bought the six-story townhouse at 9 East 70th Street in 1940,[287] and it acquired the seven-story townhouse at 7 East 70th Street in 1947.[288] Number 7 was replaced with a service wing, while number 9 was used as storage space.[41]

Beginning in 1957, the Frick House's facade and garden were illuminated nightly.[289] The Frick Collection's occupancy of the Frick House preserved it through the mid-20th century, especially when other mansions on Fifth Avenue's Millionaires' Row were being demolished.[242] As part of a master plan in 1967,[46] the Frick Collection's trustees drew up plans for an annex at 7 and 9 East 70th Street, designed in the same style as the Frick House. At the time, the house at 5 East 70th Street was still standing, so the annex would have been physically separated from the Frick House itself.[39] The Frick Collection acquired the neighboring Widener House at 5 East 70th Street in 1972,[290] thus completing its acquisition of land on 70th Street.[286] The museum planned to construct an annex at 5–9 East 70th Street,[41] which would have included offices, lab space, lecture halls, and an auditorium.[290] At the time, the house could accommodate only 250 people at once.[36]

The museum announced plans to demolish the Widener House in March 1973.[291] The Widener House's demolition was delayed after the New York City Landmarks Preservation Commission (LPC) both requested the museum obtain a certificate of appropriateness for the demolition[292] and designated the Frick House itself as a landmark.[293] The museum announced plans that June for a "temporary garden" and terrace on the 70th Street lots,[41] which the LPC approved the next month.[294] The annex was canceled that November.[290] After the Widener House had been razed, Frick Collection officials announced plans in May 1974 for a one-story wing, replacing the terrace.[295] The wing cost $2.11 million,[36] and the museum also spent $2.85 million on mechanical upgrades.[36][37] The expansion was completed in 1977, with lecture rooms, storage space, waiting room, card shop, cloakroom, auditorium, and library.[36][37] A garden on 70th Street, designed by British landscape architect Russell Page,[296] opened in May 1977.[45]

1980s to early 2010s edit

The Frick Collection renovated the house's Boucher room in the early 1980s,[297] and ceiling lights were installed in the Fragonard and Boucher rooms during that decade.[298] The LPC gave the museum permission to demolish the house's original sidewalk in 1983, and the bluestone pavement was replaced with blocks of Canadian granite.[299] As part of a renovation headed by Frick Collection director Charles Ryskamp in the 1970s, the oval room and east gallery were repainted and cleaned.[110] When Samuel Sachs II became the Frick Collection's director in 1996, he contemplated expanding the exhibition space, adding a cafe, and relocating the entrance to the house's garden.[300] Buttrick White & Burtis were also hired in 1996 to renovate the Frick Library's offices and main reading room.[124] The facades of the Frick House and the library were cleaned in 1999 and 2000, respectively,[127] and the entrance to the museum was re-lit.[301]

Annexes to the museum were proposed in 2001, 2005, and 2008, but neither proposal was executed.[302] The plans were canceled because it would have required an extended closure and still would not have provided sufficient space.[40] Restorations of the house's galleries took place through the late 2000s and early 2010s to attract visitors.[303] These included refurbishments of the Frick House's Fragonard room around 2006,[105][304] the living hall in 2008,[305][298] and the east gallery in 2009.[298][306] The house's entrance hall and garden court were also cleaned in 2009,[298] and the Boucher room was then restored, reopening in 2010.[307] The dining room was modified around 2010 as well.[303] The Frick Collection announced plans in June 2010 to convert the loggia into an enclosed gallery for ornaments and sculptures,[308] and the LPC approved the gallery that month.[309] The gallery was funded by the businessman Henry H. Arnhold[310] and designed by Davis Brody Bond; it opened in December 2011 as the first new gallery at the museum in three decades.[105][107]

2010s and 2020s renovation edit

 
70th Street garden

In 2014, the museum announced plans for a six-story annex on 70th Street designed by Davis Brody Bond,[302][311] which would contain offices and other administrative spaces.[302][312] The Frick House's offices would be moved to the annex, allowing the museum to add exhibition space on the house's second floor.[302][311] The 1970s addition and the 70th Street garden would have been demolished,[39] and various rooms would have been relocated or repurposed.[46] These plans had to be approved by the city government, since the house was a city landmark.[313] Residents and preservationists opposed the proposed demolition of the 70th Street garden,[43][314] and over two thousand opponents formed a group called United to Save the Frick.[311] The Historic Districts Council cast an advisory vote against the annex,[315] while artists, gallery operators, and architects wrote an open letter speaking out against the plans.[316]

The Frick Collection announced in June 2015 that it would develop a new design for the renovation.[317] Unite to Save the Frick put forth a competing proposal to add stories above the library and Frick house.[318] The Frick Collection announced in early 2016 that it would hire a new architect to renovate the museum while preserving the garden,[319] and they hired Annabelle Selldorf as the architect later the same year.[320] Selldorf devised a proposal to add stories above the museum's existing buildings.[321] The Frick Collection announced revised plans by Selldorf in April 2018,[115][322] which called for expanding gallery space to 25,700 square feet (2,388 m2), rebuilding Page's garden, adding a basement auditorium, and erecting back of house space above the existing structure.[115][323] The plan included opening the second floor[115] and turning the Frick House's music room into a gallery.[112] While preservationists preferred keeping the music room as is,[324] Selldorf's plans were generally positively received.[113] The LPC, which had to review any proposed modifications to the Frick House, approved the changes that June.[55]

The house and museum closed in mid-March 2020 due to the COVID-19 pandemic,[325][326] and the museum moved to the nearby 945 Madison Avenue in early 2021 to allow work on the house to begin.[327][328] As part of the renovation, the Frick Collection renovated the house's electrical, heating, and air conditioning systems; restored the Art Reference Library's space; and added an auditorium and education center. In addition, a special-exhibition space was built in the house; the previous special exhibition space had ceilings that were too low for paintings to be mounted permanently. The opening of the second floor expanded the museum's exhibition space by 25 percent.[117] During the house's closure, the Frick Collection posted a 3D rendering of the mansion's interiors on its website.[329] As of April 2023, the Henry Clay Frick House is scheduled to reopen in late 2024.[330]

Impact edit

Reception edit

 
The Frick House as seen from Fifth Avenue and 70th Street during a Columbus Day parade

When the house was constructed, a Real Estate Record writer said: "In employing Mr. Hastings as his architect, he has made an admirable selection, one which assures the erection of a beautiful and appropriate building."[331] A reporter for The New York Times said the development of the Frick House had helped make its city block "perhaps the most interesting block devoted to private houses in the city".[104] Another critic said that "all of the carvings on the Frick house are striking additions to the art features of the city".[332] After the house was finished, a writer for The Spur described the mansion as "in sheer magnificence [...] surpassed by none",[31] while another writer for the same magazine predicted that the house "will undergo no material change of character" if it was to become a museum.[94] A writer for Art World magazine described the house as having "continued the tradition of a spot devoted to rare objects of the fine arts, if not of rare specimens of books".[333]

The New York Times wrote in 1917 that the Frick House was only rivaled by a few other mansions on Fifth Avenue in "attracting attention", and that "inside the house [was] vista after vista of costliness and splendor".[208] Upon Frick's death, the New-York Tribune described Adelaide's boudoir in the house as "one of the most beautiful rooms of any private dwelling".[76] By the late 1920s, a New York Times writer described the Carnegie and Frick mansions as the "largest and most picturesque of the remaining homes" on Fifth Avenue, as many mansions on the avenue were being razed and replaced with apartments.[334] In a retrospective of Carrère and Hastings's work, Mark Alan Hewitt, Kate Lemos, William Morrison, and Charles D. Warren wrote that "both patron and designer deserve credit for [the house's] ultimate success".[151] When the Frick Collection opened in 1935, a Times writer praised the quality of the house's expansion.[98] The Spur said the house was widely thought "to be the finest house in New York City",[14] and the Washington Post similarly described it as "one of New York's most palatial homes".[272]

In the 1950s, The Christian Science Monitor called the mansion a "quiet and peaceful retreat",[85] and Town & Country magazine dubbed it one of "the finest examples of [Fifth] Avenue's architecture that fortunately have been preserved".[335] A writer for Cosmopolitan magazine wrote that even the 75-room Schwab House was "conservative" in comparison to the Frick House.[241] In 1962, a Washington Post writer said that, aside from museum security guards, "there was nothing to make the ordinary visitor feel less welcome than" its former millionaire guests.[80] The author Merritt Folsom wrote the next year that the Frick House "is one of the few in the metropolis that will remain indefinitely as evidence of an era when millionaires did not have to share much of their wealth with the government..."[336] Conversely, in 1999, a New York Daily News reporter described the mansion as "never a home so much as it was a great vaulted hall" for Frick's art.[337] Christopher Gray of The New York Times said the mansion was "straightforward in most respects, but made peculiar by the long blank limestone finger stretching out on 71st Street".[198] Another Times critic said the library annex's reading room was "an oasis within an oasis".[338]

There has also been commentary about subsequent annexes. Gray described the Art Reference Library building as "an elegant limestone box" in 2014.[21] After the 70th Street annex was added in the 1970s, Paul Goldberger said the annex "is a pleasant place to be in", blending elements of both historical and modern architecture,[37] Newsday reporter Amei Wallach said the annex's waiting room was "more grand and more opulent than the original mansion itself".[36] Hewitt et al. also praised the 70th Street annex as harmonizing with Hastings's original annex and Pope's expansion.[339] When the portico gallery opened in 2011, James Gardner of The Real Deal described it as "fully in keeping with the luxurious style of the rest of the building".[106]

Landmark designations edit

The Frick House was designated as a New York City landmark in 1973,[293] after the New York City Landmarks Preservation Commission (LPC) expressed concerns over the demolition of the adjacent Widener House.[291] The LPC expanded its designation of the Frick House site in 1974 to include several adjacent lots.[340] The designation applies only to the facade, as the interior rooms were never designated as landmarks.[117] The Frick House was designated as a National Historic Landmark in 2008, under the name "Frick Collection and Frick Art Reference Library Building".[341] The Frick House is also part of the Upper East Side Historic District,[20] the creation of which was endorsed by the local Manhattan Community Board 8 in 1979;[342] the district was designated by the LPC in September 1981.[343]

Media and influence edit

The design of the Frick House influenced the architecture of Alder Manor in Yonkers, New York, which Hastings also designed.[344] The Frick House was detailed in the book The Henry Clay Frick Houses: Architecture, Interiors, Landscapes in a Golden Era, by Frick's granddaughter Martha Frick Symington Sanger,[345][346] as well as Colin B. Bailey's book Building the Frick Collection: An Introduction to the House and Its Collections.[70]

According to Stan Lee, who co-created the Avengers superhero team, the Frick House was the model for the Avengers Mansion;[347][348] that mansion is set at the same site as the Frick House but uses the addresses 890 Fifth Avenue.[348] The Frick Collection did not allow any major films to be shot inside until 2012, when A Late Quartet was the first production to be granted permission to shoot inside the house. The mansion has also been depicted in the TV series America's Castles and The Undoing, as well as an episode of the documentary series Treasures of New York.[349]

See also edit

References edit

Notes edit

  1. ^ The New York Times described the pool as having been planned for the Fifth Avenue garden.[51]
  2. ^ Colin B. Bailey and Kate Lemos et al. write that the initial acquisition of lots cost $2.25 million and measured 200 by 125 ft (61 by 38 m).[151][150] The New York Times reported that Frick had acquired the entire city block for $2.4 million.[154]
  3. ^ The New York Times cited the cost as being between $2 million and $3 million.[176][25]
  4. ^ Specifically, Andrew W. Mellon, John D. Rockefeller Jr., and Joseph Duveen preferred to hire Pope.[259][260] Rockefeller had invited Pope to submit a design for the Cloisters museum in Upper Manhattan in 1929, and Duveen had encouraged Pope to design two galleries at the British Museum.[260]

Citations edit

  1. ^ a b c d e f g Landmarks Preservation Commission 1973, p. 1.
  2. ^ "National Register Information System". National Register of Historic Places. National Park Service. July 9, 2010.
  3. ^ "The Frick Collection and Frick Art Reference Library Building". National Historic Landmark summary listing. National Park Service. Archived from the original on July 29, 2013. Retrieved November 8, 2013.
  4. ^ a b White, Willensky & Leadon 2010, p. 436.
  5. ^ a b c d e "895 5 Avenue, 10021". New York City Department of City Planning. Retrieved March 20, 2020.
  6. ^ a b c d "In the Real Estate Field; Future of Lenox Library Block – Investor Buys South Street Warehouse – Another Successful Sale of Bronx Lots". The New York Times. May 16, 1907. ISSN 0362-4331. from the original on February 13, 2024. Retrieved February 13, 2024.
  7. ^ a b c d "Frick House to Face Fifth Avenue". New-York Tribune. May 16, 1907. p. 9. from the original on February 13, 2024. Retrieved February 13, 2024.
  8. ^ Gray, Christopher (July 8, 2010). "The Late Great Charles Schwab Mansion". The New York Times. ISSN 0362-4331. from the original on December 29, 2023. Retrieved January 27, 2024.
  9. ^ Haberman, Clyde (October 28, 1981). "Tower for E. 71st St. Tentatively Rejected; Action on El Put Off". The New York Times. ISSN 0362-4331. from the original on February 23, 2024. Retrieved February 23, 2024.
  10. ^ White, Willensky & Leadon 2010, p. 437.
  11. ^ White, Willensky & Leadon 2010, p. 441.
  12. ^ Department of the Interior and Related Agencies Appropriations for 2003: Hearings Before a Subcommittee of the Committee on Appropriations, House of Representatives, One Hundred Seventh Congress, Second Session. U.S. Government Printing Office. 2002. p. 482. ISBN 978-0-16-066938-5. from the original on January 28, 2024. Retrieved January 27, 2024.
  13. ^ Vigoda, Ralph (July 27, 1997). "Museums Are First on Fifth: a Wealth of Museums, Many in Former Mansions of the Wealthy, Stretch Along New York's Fifth Avenue. It's Called the Museum Mile, but It's More". Philadelphia Inquirer. p. T.8. ProQuest 1842120329.
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  203. ^ "Homes: of Men of Wealth Are to Be Decorated With Morgan's Gems of Art. Rockefeller, Jr., and Henry C. Frick Are Real Purchasers of the Collection of Rare Porcelains Bought by Dealers. Holland Comments on the Many Millions Invested in Artistic Treasures". Cincinnati Enquirer. February 19, 1915. p. 6. ProQuest 869318809; "Frick to Acquire More Morgan Art; Purchaser of Fragonard Room Now Reported to Have Got the Porcelains Also". The New York Times. February 26, 1915. ISSN 0362-4331. from the original on February 18, 2024. Retrieved February 18, 2024.
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  221. ^ See, for example: "Offer Mansions to Envoys; Schwab, Frick, and Mackay Tender Use of Their Houses for Visitors". The New York Times. April 29, 1917. ISSN 0362-4331. from the original on February 19, 2024. Retrieved February 19, 2024; "American Museum's Work; Natural History Institution's Trustees Vote Budget of $608,590". The New York Times. February 6, 1917. ISSN 0362-4331. from the original on February 19, 2024. Retrieved February 19, 2024.
  222. ^ "Wealthy Offer Homes as First Aid Hospitals; H.C. Frick, G.J. Gould, and S. Lewisohn Open Houses to Police in Case of Emergency". The New York Times. June 25, 1918. ISSN 0362-4331. from the original on February 19, 2024. Retrieved February 19, 2024.
  223. ^ a b "State Opens Fight for Big Frick Tax; Controller Challenges Contention That Steel Man Made Home in Pittsburgh". The New York Times. May 27, 1921. ISSN 0362-4331. Retrieved February 19, 2024; "State Demands Frick Tax as Resident Here: Steel Millionaire Lived 416 Days in N. Y. in Two Last Years of Life, Testimony for Comptroller Reveals Termed Self Pittsburgher Employed 10 Persons There to Look After Securities, Financial Secretary Says". New-York Tribune. May 27, 1921. p. 1. ISSN 1941-0646. ProQuest 576379040.
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May 08, 2024
henry, clay, frick, house, also, known, frick, collection, building, east, 70th, street, mansion, museum, building, fifth, avenue, between, 70th, 71st, streets, upper, east, side, manhattan, york, city, designed, thomas, hastings, residence, industrialist, hen. The Henry Clay Frick House also known as the Frick Collection building or 1 East 70th Street is a mansion and museum building on Fifth Avenue between 70th and 71st streets on the Upper East Side of Manhattan in New York City Designed by Thomas Hastings as the residence of the industrialist Henry Clay Frick the house contains the Frick Collection museum and the Frick Art Reference Library The house and library building are designated as a New York City landmark and National Historic Landmark Henry Clay Frick HouseThe main facade on Fifth AvenueAlternative namesFrick House Frick CollectionGeneral informationTypeMansionArchitectural styleBeaux ArtsAddress1 East 70th StreetTown or cityNew York NY 10021CountryUnited StatesCoordinates40 46 17 N 73 58 02 W 40 7713 N 73 9673 W 40 7713 73 9673Current tenantsFrick CollectionConstruction started1912Completed1914Technical detailsFloor count3Design and constructionArchitect s Thomas HastingsHenry Clay Frick HouseU S National Register of Historic PlacesU S National Historic LandmarkU S Historic districtContributing propertyNew York State Register of Historic PlacesNew York City Landmark No 0667Location in New York CityShow map of New York CityHenry Clay Frick House New York Show map of New YorkHenry Clay Frick House the United States Show map of the United StatesCoordinates40 46 17 N 73 58 02 W 40 7713 N 73 9673 W 40 7713 73 9673Area1 26 acres 0 51 ha Part ofUpper East Side Historic District ID84002803 NRHP reference No 08001091NYSRHP No 06101 000813NYCL No 0667Significant datesAdded to NRHPOctober 6 2008 2 Designated NHLOctober 6 2008 3 Designated CPSeptember 7 1984Designated NYCLMarch 20 1973 1 The three story house is separated from Fifth Avenue by an elevated garden It is composed of three wings to the north center and south which are arranged in an L shape The limestone facade contains several carved pediments and tympana Most of the house remained essentially unchanged from the time of its construction until 1931 The first floor contained the family s communal rooms the second floor contained their bedrooms and private rooms and the third floor contained the servants quarters There was also a basement with service areas The first and second floor rooms have been adapted into museum spaces over the years Frick bought the site of the Lenox Library in 1906 and 1907 but could not redevelop it for several years Initially Frick sought designs from Daniel Burnham but ultimately he commissioned Hastings who designed a three story mansion in the Beaux Arts style Construction took place between 1912 and 1914 Frick lived in the building only until his death in 1919 but his wife Adelaide and daughter Helen continued to live there until Adelaide died in 1931 Following a renovation and in accordance with Frick s will the house opened to the public as the Frick Collection in 1935 The building was enlarged slightly in 1977 and 2011 which has altered the original appearance of the house From 2020 to 2024 the house was closed for an extensive renovation that expanded the museum Over the years the mansion has received generally positive architectural commentary Contents 1 Site 1 1 Gardens 2 Architecture 2 1 Form and facade 2 1 1 Original residence 2 1 2 Additions 2 2 Interior 2 2 1 First floor 2 2 2 Other stories 2 2 3 Library annex 3 History 3 1 Development 3 1 1 Land acquisition 3 1 2 Selection of architect 3 1 3 Design process 3 1 4 Construction 3 2 Frick residence 3 2 1 Early years 3 2 2 Unbuilt expansion and Frick s death 3 2 3 Adelaide and Helen Frick use 3 3 Conversion to museum 3 4 Museum use 3 4 1 1930s to 1970s 3 4 2 1980s to early 2010s 3 4 3 2010s and 2020s renovation 4 Impact 4 1 Reception 4 2 Landmark designations 4 3 Media and influence 5 See also 6 References 6 1 Notes 6 2 Citations 6 3 Sources 7 External linksSite edit nbsp The plot was originally the location of the Lenox Library from 1877 to 1912 The Henry Clay Frick House is at 1 East 70th Street in the Lenox Hill section of the Upper East Side of Manhattan in New York City 4 It is bounded by Fifth Avenue and Central Park to the west 70th Street to the south and 71st Street to the north 4 5 The rectangular land lot occupies about half of its city block and covers 45 175 square feet 4 197 m2 with a frontage of around 200 feet 61 m on Fifth Avenue and 275 feet 84 m on the side streets 5 The mansion originally occupied a smaller 200 by 175 foot 61 by 53 m site 6 7 which covered about a third of the block 8 The rest of the city block is composed of townhouses 9 including 11 15 17 19 and 21 East 70th Street to the east 5 10 880 Fifth Avenue is on the block to the south 5 while the Gertrude Rhinelander Waldo House is one block to the northwest 5 11 The mansion is part of Fifth Avenue s Museum Mile 12 and houses the Frick Collection the southernmost museum on that strip 13 The site had been part of the Lenox family s farm until the late 19th century 14 The site of the Frick House then became the Lenox Library designed in a neo Grec style by Richard Morris Hunt The library had contained paintings and books owned by the philanthropist James Lenox 15 16 Frick s house occupies a 200 by 175 foot 61 by 53 m site that includes both the library and an adjacent strip 6 7 The eastern half of the block was sold to other developers 17 who had erected residences there by 1910 18 The entire block was restricted to residential use until 1929 18 although the Frick House was excluded from this restriction in 1926 19 After the mansion became a museum its site was expanded to include the land occupied by the Widener House at 5 East 70th Street built in 1909 by Warren and Wetmore 7 East 70th Street built in 1911 by C P H Gilbert 20 and a third house at 9 East 70th Street built in 1915 21 When Frick built the house in the early 1910s he planted 13 chestnut trees on the sidewalk of Fifth Avenue between 70th and 71st streets each of which were at least 30 years old To accommodate the trees he excavated the sidewalk to a depth of 6 feet 1 8 m then obtained soil from Long Island in which the trees were planted 22 The trees were planted on the property for only a year and a half before all dying because the soil was contaminated with poisonous illuminating gas Afterward they were replaced with sycamores 23 A single poplar tree which had existed on the block before even the Lenox Library was built remained on Frick s estate until 1918 24 Gardens edit Most of the house except for the gallery wing at the north end is recessed 75 feet 23 m behind a garden on Fifth Avenue 25 26 27 This contrasted with similarly large mansions built in Manhattan during the early 20th century which were generally built as close as possible to the boundaries of their lots 26 Original plans called for a sunken garden facing Fifth Avenue flanked by the house on two sides with a pool in the center 28 29 The William H Jackson Company designed a wrought iron fence around the Fifth Avenue garden while John Williams Inc designed entrance gates in the same style 30 When the house was completed there was a stone wall with a balustrade along Fifth Avenue 27 and the garden itself had evergreen trees 31 There was a small formal garden at the south end of the Fifth Avenue garden at the same level as the house s first floor 32 Three magnolia trees were planted during a 1939 renovation 33 by the late 20th century the Fifth Avenue garden was cited as containing roses violets lantana blue Egyptian lily and white petunias 34 The garden was rarely open to the public until the late 2000s 35 There is another garden on 70th Street which was completed when the Frick Collection renovated the house in 1977 36 37 38 The garden the only one designed by Russell Page in New York City 39 spans about 60 by 80 feet 18 by 24 m 40 A temporary garden had been proposed on that site in 1973 in advance of the development of a six story annex 41 but the garden became permanent after the annex was canceled 42 43 Although there are gravel paths 39 44 the garden was intended to be viewed rather than strolled through 44 45 46 The garden contains plantings such as boxwood 39 water lilies quince wisteria and pear trees 47 as well as a central pool 34 40 The pool and trees were arranged to make the garden look larger than it actually was 46 There is an iron fence on the south edge of the garden as well as a one story parapet wall on the north and west edges 47 48 The eastern wall has three nautically themed lunettes which face three large windows on the eastern wall of the house s annex 36 There was also originally a private courtyard at the rear or east side of the building accessed from the living room 49 50 The rear court had a 60 by 15 foot 18 3 by 4 6 m pool with a central fountain 32 a The rear court was demolished when the current garden court was built in the 1930s 32 Architecture editThomas Hastings of the architectural partnership of Carrere and Hastings designed the mansion for the family of industrialist Henry Clay Frick in the Beaux Arts 52 or Italian Renaissance Revival style 30 27 Following multiple expansions over the years the present structure is about double the size of the original mansion 21 John Russell Pope designed the entrance on 70th Street and the Frick Art Reference Library completed in 1935 53 54 A one story annex on 70th Street finished in 1977 was designed by Harry van Dyke G Frederick Poehler and John Barrington Bayley 36 37 Another expansion in the 2020s was designed by Annabelle Selldorf 55 56 Indiana limestone was used for the exterior and parts of the interior of the mansion 57 Frick hired limestone contractor William Bradley amp Son steel contractor Post amp McCord and masonry contractor Cauldwell Wingate Company to build the house 58 The Piccirilli Brothers designed several pediments for the facade which were contracted out to other sculptors 59 60 while Samuel Yellin and John Williams were responsible for grilles and ornamental steelwork 60 Form and facade edit Original residence edit The original residence has a facade made of limestone The massing is composed of three parts a three story central section and two wings of shorter height 61 62 30 Elaborate pediments decorate the outer wings and the house s former porte cochere 49 48 When the mansion was being constructed Frick had mandated that a large picture gallery be constructed in the same style as his main house The gallery wing was placed along 71st Street because it was a narrow side street while the main mansion was recessed from Fifth Avenue to visually distinguish it from neighboring residences 63 The central section is eleven bays wide and faces the garden on Fifth Avenue 61 Its design was likely influenced by that of the Hotel du Chatelet in Paris 64 On the western elevation of the central section s facade the central three bays of comprise a portico flanked by four double height pilasters in the Ionic order 61 1 A staircase flanked by urns rises from the garden into arched doorways at the first story of the portico 62 1 The rest of the first floor is clad with rusticated blocks and contains French doors with carved plaques above each set of doors 62 A belt course runs horizontally above the first story windows and extends across to both wings 62 63 the belt course doubles as a sill for the second story windows 1 The windows on the portico s second story have balustrades 20 62 There is also a balustrade above the second story interspersed with the vertical piers between each bay 62 The third story is designed to appear like an attic 20 and is set back from the facade 1 nbsp Gallery wing as seen from Fifth Avenue The north wing is known as the gallery wing 62 64 and measures 100 by 35 feet 30 by 11 m across 27 50 It extends west to Fifth Avenue and rises one and a half stories 27 62 50 The southern elevation of the north wing is designed like a loggia with fluted Ionic columns between each bay The westernmost bay of the loggia has a rusticated facade and an arched window topped by a carved curved tympanum The western elevation of the north wing borders Fifth Avenue and is divided into four bays The southernmost bay on Fifth Avenue contains an arch while the other three bays on that elevation contain rectangular windows topped by bas reliefs 62 The northern elevation of the gallery wing facing 71st Street is one story high and is divided into bays by Doric pilasters Most of the bays on the 71st Street elevation lack windows and are topped by stone plaques The outermost bays contain archways that are flanked by Ionic pilasters and topped by carved tympana 65 Attilio Piccirilli designed the two tympana which were called Orpheus and Sculpture 60 The south wing is two stories high and contained the house s porte cochere The western elevation of the south wing is two bays wide and protrudes slightly from the central wing 62 64 At the first story the south wing is rusticated and there are triangular pediments above the western elevation s windows 62 1 On the 70th Street southern elevation of the south wing there are rectangular windows topped by bas reliefs similar to the facade of the central section 62 At the far eastern end of the south wing s 70th Street elevation is the museum s main entrance originally the porte cochere s entrance which is topped by an ornate tympanum 62 The tympanum sculpted by Sherry Edmundson Fry to designs by the Piccirilli Brothers depicts a female figure modeled on Audrey Munson 60 When the house was built the porte cochere was set back significantly from the street and was enclosed by a pair of metal gates a barrel vault led north to another entrance at 71st Street 64 The rear facade of the house faced the porte cochere 30 After the house was converted to a museum in the 1930s the tympanum above the porte cochere entrance was moved forward closer to 70th Street 62 66 Additions edit On the northeastern corner of the site is the Frick Art Reference Library building designed in the Renaissance Revival style Its facade faces 71st Street and is adjacent to the northern elevation of the original house s gallery wing 65 The facade is made of limestone and is designed to appear as though it was six stories high 67 The lowest two stories are clad with rusticated blocks of limestone At the center of the ground story is a double height entrance archway there are niches on either side of the archway which themselves are flanked by pilasters 66 65 Above the pilasters a cornice connects with the first story of the main residence The upper stories of the library have plain walls with large windows facing west and north 65 only the third and sixth floors and the penthouse have windows 68 The top floors are set back from the street above an entablature with dentils 65 A terrace ran along the north and west sides of the penthouse 68 69 On the southeastern corner is the one story annex that was added in 1977 36 37 The annex measures 34 by 91 feet 10 by 28 m across with a design based on the Grand Trianon at the Palace of Versailles 37 The rusticated facade 48 uses Indiana limestone from the quarry that supplied the stone for the original house 37 The annex s eastern elevation is three bays wide each bay contains a French door that overlooks Page s garden 48 Interior edit The British decorator Charles Allom of White Allom amp Co was selected to furnish the rooms on the ground floor 70 71 and he influenced the materials used on that story 71 Allom also decorated the breakfast room and Frick s personal sitting room on the second floor 72 The remaining rooms on the second and third floors were decorated by Elsie de Wolfe who was also commissioned to furnish two reception rooms on the first floor 72 73 Charles Carstairs and Joseph Duveen provided paintings sculptures and other decorative objects for the rooms 74 75 Frick s wife Adelaide and daughter Helen directed the placement of decorations in the house 76 A H Davenport and Company provided furniture and interior woodwork fabrics wall coverings and decorative paintings 77 In addition the Interior Metal Manufacturing Company was hired to construct over 200 hollow steel doors for the interior 30 The mansion contains about 40 rooms including spaces that were added when the building became a museum 78 79 Throughout the house are surfaces made of stone wood or marble 80 81 Various types of marble were used and many of the walls were made of marble including those on the upper stories 81 Marble was used in the foyer vestibules and halls while Austrian oak was used in the gallery and Frick s sitting room 82 Ornamental features such as dados paneling pilasters and cornices are spread throughout the house 80 When the house became a museum artworks were placed on display based on how they blended in with the house s ambiance 80 83 There are bookcases placed throughout the Frick House s rooms 84 as well as tapestries wooden furniture and bronze decorations 85 86 The Fragonard and Boucher rooms are named based on the artworks that they displayed 86 In addition there are glass skylights and laylights above some of the galleries which disperse light across the rooms 56 First floor edit There are 16 rooms on the first floor 79 Originally the main entrance was from the portico leading to the garden on Fifth Avenue 27 50 The hallways are arranged in an axial plan with north and south halls linking with west east corridors on either end 49 65 The resulting floor plan resembles a letter Z 32 Mark Allen Hewitt et al the authors of the book Carrere and Hastings Architects wrote that the axial plan may have been necessitated by the fact that Frick wanted a large picture gallery extending westward from the north end of the building 87 nbsp Garden court At the center of the house is the 30 by 41 foot 9 1 by 12 5 m living hall flanked by a 43 ft 26 ft 13 1 m 7 9 m library room to the north and a 32 ft 26 ft 9 8 m 7 9 m drawing room to the south 88 The living hall has oak paneling and classical design details and originally functioned as a gathering space 89 The drawing room is known as the Fragonard room named for Jean Honore Fragonard s large wall paintings 90 and is furnished with 18th century French furniture and Sevres porcelain 70 91 The library room is designed in the William and Mary style with wooden paneling 92 93 and originally had low bookcases 94 To the east of the library and drawing rooms are the north and south halls respectively 49 65 The north hall central living hall and south hall form a transverse corridor that is divided into three parts by aedicular doorways 95 Near the southern end of the house was another entrance from the porte cochere which opened onto the eastern wall of the south hall 96 the porte cochere entrance was replaced with the entrance hall when the house was converted into a museum 97 98 99 The entrance hall has marble walls and a ceiling carved by the Piccirilli Brothers 70 91 There is also a staircase hall just north of the former porte cochere entrance 96 Within the staircase hall is a marble stair 80 100 with a ornate wrought iron balustrade patterned after a similar railing at St Paul s Cathedral in London 101 On the landing of the staircase hall is a large Aeolian pipe organ 65 90 100 which is played on occasion 102 the organ is housed in a case with spiraling colonnettes carved out of Verona marble 90 A hallway extends west from the porte cochere entrance separating the dining room to the south from the other rooms to the north 65 96 The dining room occupies the southwest corner of the south wing 28 49 and is designed in the Georgian style with wooden panels 92 89 After the museum opened a former pantry next to the dining room was converted to the Boucher room 98 The gallery wing is 100 by 35 feet 30 by 11 m 88 103 It was designed so that if a fire arose in the rest of the home it would not spread to the artwork in that wing 88 The west gallery has a skylight running its entire length 79 103 in addition to small skylights above each panting 103 The west gallery took up almost the entire gallery wing except for a small enamel room 94 that was removed in the 1930s 103 A colonnaded loggia faces the Fifth Avenue garden to the south 104 and contains a bluestone floor and paired columns 105 106 The loggia was converted into the portico gallery in 2011 after a glass wall was installed 105 107 Adjacent to the west gallery was Frick s office 70 91 also removed in the 1930s 103 108 At the north end of the house a garden court oval room music room and east gallery were built in 1935 52 98 The covered garden court has a marble floor and a colonnade supporting a glass roof there is a sunken garden with marble fountain in the center 97 The oval room is just north of the garden court between the west and east galleries 108 The east gallery has a skylight as well as arched doorways with carved keystones 109 Both the east gallery and the oval room are decorated with five types of wood 110 In addition there is a music room east of the garden court and south of the east gallery 111 the music room is a circular space with a domed skylight 111 and could fit 147 people 112 At the south end was a waiting room added in 1977 which measured 54 by 16 feet 16 5 by 4 9 m 36 and had various chandeliers and moldings 37 As part of a 2018 plan the waiting room was replaced by an enlarged reception hall 113 Other stories edit The second floor contained the family s private living spaces such as the bedrooms the women s boudoir sitting rooms the breakfast room and guest rooms 65 114 There are 14 rooms on the second story 89 Its layout is similar to the first story but the second floor extends only across the central and south wings Henry had a bedroom and sitting room facing Fifth Avenue Adelaide had a bedroom and boudoir facing the avenue and Helen also had her bedroom overlooking the avenue 65 Adelaide s boudoir was designed with Louis XIV style and Louis XV style furnishings while Henry s bedroom had dark woodwork Other rooms were designed with a lighter color palette 89 The ceilings of the second floor hallways include Chinoiserie murals 46 The third floor had servants quarters which were occupied by around 27 servants 114 When the house became a museum the second and third floors were originally deemed unsuited to the use or access of the general public and were instead used as staff offices 52 Some of the second floor rooms were converted to galleries as part of an early 2020s renovation 115 116 the new galleries retain the second floor rooms dimensions which are smaller than those of the first floor rooms 117 The large basement was where the kitchen and service areas were located A wing contained the billiard room and bowling alley 118 119 which were decorated in the Jacobean style with ornate strapwork ceilings 120 121 The bowling alley was built by the Brunswick Balke Collender Company in 1914 120 During the 1920s and early 1930s the Frick Art Reference Library was housed in the bowling alley until they moved to a new structure next door at 10 East 71st Street 121 the bowling alley was seldom used afterward 120 Also in the basement is a 30 by 80 foot 9 1 by 24 4 m reinforced concrete storage vault that was constructed in the 1940s 122 The vault contains 98 550 cubic feet 2 791 m3 of storage space above three levels 123 as well as walls measuring 1 foot 0 30 m thick and a roof measuring 3 feet 0 91 m thick 122 A 220 seat auditorium was proposed in the basement in 2018 112 and added in the 2020s 117 it replaced three levels of storage vaults under the garden 113 Library annex edit The library annex has six 52 68 124 or seven full stories 69 including mezzanine levels it has a total of 13 stories 125 126 Two of these levels are below ground 54 Most of the levels were devoted almost exclusively to library stacks and were only 7 17 feet 2 19 m high to reduce the number of steps that visitors needed to climb 68 69 Each level was supported by the shelves below it which doubled as pillars 124 When the current library opened in 1935 it had an internal telephone system a telautograph system from which the librarian could request books from staff and a book conveyor 69 124 There was a climate control system that kept the objects at a consistent temperature 68 69 In addition to stacks the library includes offices reading rooms and librarian s office 52 69 The current library originally had a marble vestibule at the ground level 69 The third story had a main reading room which could fit 40 people 68 and was originally described as measuring 37 by 50 feet 11 by 15 m with marble finishes and walnut paneling 68 69 This reading room had a frieze depicting the heads of two dogs that belonged to Helen Frick 127 The third floor also had a paneled librarian s office as well as a smaller reading room with storage cupboards and Jacobean chandeliers The other staff offices were on the sixth story and there was a lounge and cafeteria at the penthouse level There were two penthouse lounges both decorated with art 69 History editHenry Clay Frick was born in 1849 and gained his wealth through the coke and steel industries 128 129 Frick cofounded the Carnegie Steel Company with Andrew Carnegie 128 130 and also became an avid art collector 131 132 After moving to Pittsburgh and marrying Adelaide Howard Childs in 1881 133 Frick began thinking of developing a millionaire s castle 129 By the end of the 19th century Frick and Carnegie s partnership had become strained 59 134 and Frick sold off his stake in the Carnegie Steel Company 135 136 When the Frick family moved from Pittsburgh to New York City in 1905 they obtained a 10 year lease on the William H Vanderbilt House at 640 Fifth Avenue 137 138 with which Frick had long been fascinated 139 140 At that time Fifth Avenue north of 59th Street was generally occupied by private residences although hotels and clubhouses were scattered throughout 141 142 Frick also bought land at Prides Crossing Massachusetts in 1902 143 and completed their Eagle Rock estate there three years later 136 143 The family lived at the Vanderbilt House for a decade 144 145 using Eagle Rock as a summer house 146 Development edit Land acquisition edit nbsp The house as seen from 70th Street After Frick unsuccessfully tried to acquire the Vanderbilt House 147 he began looking for another residence since the Vanderbilt Mansion did not meet his personal criteria for a house that was always the best 148 Frick expressed interest in a site on the east side of Fifth Avenue between 70th and 71st streets which housed the Lenox Library 15 149 The library building occupied a 200 by 125 foot 61 by 38 m site 6 150 The site was about a mile south of the Andrew Carnegie Mansion built for Frick s partner turned rival in 1902 151 152 Although an urban legend posits that Frick had promised to make Carnegie s place look like a miner s shack there is no evidence that Frick ever said these words 152 Rather Frick may have become interested in the library site because it was higher than the neighboring blocks were 153 The library was suffering financially and was looking for someone to buy its land 141 Lewis Cass Ledyard a trustee of the Lenox estate reportedly chose to sell to Frick because the latter was willing to buy a large site 154 In December 1906 news media reported that Frick had acquired ten lots on the Lenox Library site for almost 2 5 million 155 b At the time the Lenox site could not be used as anything other than a library due to restrictions implemented by James Lenox before he died in 1880 149 There was also uncertainty over who controlled a 50 foot wide 15 m strip just east of the library building which the New York City government had acquired when the Lenox Library merged with the New York Public Library NYPL system James Lenox s will stipulated that the strip would revert to the Lenox estate if that land ceased to be used as a library 155 154 The New York State Legislature passed a law in February 1907 which allowed the Lenox estate to make arrangements for selling off the site of the library 154 Frick agreed to buy the 50 foot strip east of the library that April 18 150 the purchase cost him 600 000 150 He took title to the strip in January 1908 17 This gave Frick control of a 200 by 175 foot 61 by 53 m site 6 7 However he could not take title to the Lenox Library plot until the NYPL s Main Branch where the Lenox Library s holdings were to be relocated was completed 136 Frick thus waited until the NYPL s trustees could relocate their books from the Lenox Library 156 By the early 1910s Frick seldom lived at his Vanderbilt Mansion residence when he was in New York City 157 Selection of architect edit The New York Tribune reported in May 1907 that Frick was rumored to have hired C P H Gilbert to draw up initial plans for the house 7 By 1908 Frick was negotiating with Daniel Burnham 158 159 who had previously designed the Frick Building in downtown Pittsburgh 158 160 Originally Frick was going to hire Burnham to design either an annex to the Eagle Rock estate or a new building on the Lenox Library site 156 Frick wrote to Burnham in June 1908 asking whether Burnham would be willing to talk about the Lenox Library site 158 After studying houses in Europe Burnham wrote back to Frick in February 1909 saying that he planned to use two London mansions Bridgewater House and Stafford House as models for the new house 161 Burnham submitted a design for an 18th century Italian palazzo 141 No further progress was made until the NYPL s Main Branch was completed in 1911 161 Concurrently Frick was developing a picture gallery to his home at Eagle Rock 161 162 Frick asked two of his art collector friends Benjamin Altman and Peter Arrell Browne Widener to advise on the dimensions of the Eagle Rock gallery 161 Frick ultimately decided not to hire Burnham for his New York City house but sources disagree on why this was the case 161 163 According to Frick Collection director Colin B Bailey the impetus was a letter from Widener advising him not to hire Burnham 159 161 according to Mark Alan Hewitt et al it was another friend the art dealer Joseph Duveen who advised Frick to hire someone else 164 At the time Thomas Hastings who had designed the NYPL Main Branch had also completed a building for Knoedler amp Company the dealership where Frick bought most of his art in January 1912 159 161 Charles Carstairs of Knoedler amp Co one of Frick s close associates wrote to Frick that February saying that he and Hastings had devised a dozen plans for Frick s new house 161 Frick hired Hastings at an upfront cost of 101 000 and he paid Hastings 42 000 for additional work over the next three years 61 Carstairs helped Frick curate the art and decorative objects in the new house 165 Design process edit Much of Frick s correspondence with Hastings was handled by Frick s secretary James Howard Bridge 164 Frick wanted Hastings to develop a house that would eventually become a public museum for his art collection 1 74 166 similarly to the Wallace Collection in London and the Isabella Stewart Gardner Museum in Boston 163 This was poorly communicated to Hastings who was initially unaware of the museum plan 74 166 Hastings initially devised a plan for a square residence surrounding a central courtyard as well as a picture gallery facing east but Frick disapproved of these plans 167 Hastings had revised his plans by April 1912 to which Frick gave his approval 168 The residence was proposed as an L shaped building 164 169 with design elements that were kept simple and conservative in every way 168 The plans included a guest house to the southeast and a servants wing to the northeast of the main house in addition to an art gallery 170 Frick formally took title to the Lenox Library plot on May 21 1912 171 and the Lenox Library s demolition was announced five days later 169 Frick offered to move the Lenox Library building to the site of the Arsenal in Central Park shortly thereafter 172 The Municipal Art Commission approved the Lenox Library s relocation that June 173 drawing protests from numerous civic and social groups 174 and Frick withdrew his offer the same month due to the opposition 175 A model of the proposed house had been finished by mid 1912 164 168 Hastings went to England that August to show Carstairs the model and to look at the interiors of other mansions for inspiration 176 Construction edit Workers began razing the Lenox Library in July 1912 177 and the site had been cleared by October 176 Hastings had completed his designs by January 1913 25 28 and submitted his plans to the New York City Department of Buildings that month 178 Construction contracts for the house were also awarded that month 58 Frick set a construction budget of 3 million equivalent to 95 million in 2023 for his house 28 61 c Including the land the house was expected to cost 5 5 million more than Carnegie s Schwab s J P Morgan s or William A Clark s houses 29 Hastings had to revise the plans multiple times to keep the project within its budget 61 The construction contract stipulated that the house had to be completed within 18 months of the groundbreaking 50 as Frick s lease of the Vanderbilt Mansion was supposed to expire in September 1914 179 Work on the house s foundation was completed in early 1913 50 and the steel frame facade and roof were all constructed between April and June of that year 61 In March 1913 Hastings published details of the decorations that he planned to install in the main living areas Frick disapproved of some of the decorations including a painted frieze in his room and painted ceilings in other rooms 176 Frick hired the British decorator Charles Allom who instead proposed more simple ornamentation so future visitors would not get distracted while looking at art 180 Generally Hastings did not object to Allom s suggestions to simplify the ornamentation although Frick also had Carstairs moderate any disagreements that did arise 71 Frick did allow Hastings to decorate the interiors in marble and oak 82 The balustrade on the staircase was among the only design details to which Allom did not suggest modifications 181 Construction proceeded ahead of schedule throughout that year and the interiors were being plastered by that September According to Bailey construction supervisor D B Kinch claimed that his men had not worked one hour of overtime 182 Frick wrote in October 1913 that the windows were being installed and the Piccirilli Brothers designed statuary for the house the next month 183 nbsp The house shortly before completion in 1913Initially Frick had not wanted to integrate antique furniture and fine art into his house 184 He may have changed his mind after visiting the Metropolitan Museum of Art in early 1914 to see an exhibition of decorations owned by J P Morgan 185 Furthermore Cornelius Vanderbilt III had inherited Frick s old residence the Vanderbilt Mansion 72 186 and had requested that Frick vacate that property 147 To speed up the construction process Frick hired the decorator Elsie de Wolfe to furnish some of the interiors in March 1914 72 73 after she wrote him a letter offering to help furnish the house 184 By that May The New York Times reported that the Frick House was rapidly nearing completion 187 That month alone Frick spent 400 000 on European fine art for his residence and hired Jacques Seligmann to transport 2 million of furniture from John Murray Scott s house in Paris 188 Though there were reports that Frick spent 100 000 to import a pipe organ for the house 189 he paid 40 000 for an Aeolian organ 90 Frick hired the British organist Easthope Martin to play the organ at his new house following a trip to London 190 For his fountain Frick examined eighteen 10 ton blocks of marble before finding one that he deemed satisfactory 100 De Wolfe wrote in June 1914 that she anticipated the house to be completed on September 1 but this timeline was pushed back 191 This was in part because Frick became seriously ill forcing him to remain at his home in Massachusetts during August 1914 191 192 In addition the onset of World War I in Europe despite Frick s initial belief that it would not seriously injure investments in the U S resulted in material and labor shortages at the plants where Frick was getting his material 193 As a result of the material shortages some doors did not have locks as late as November 194 when the family moved in 195 196 Frick wrote angry letters to Allom accusing him of being unbusinesslike and blaming Allom for delays in delivery 197 For example when notified about war related delays in late 1914 Frick wrote War excuse absurd 194 198 In another case when Allom requested that workers in France be paid in advance due to the war Frick refused the request with a bluntness that bordered on insensitivity 194 In total the house was estimated to have cost 5 million 27 Frick residence edit Early years edit The Frick family moved into the house starting on November 16 1914 195 196 and the first photographs of the house were published in Architecture magazine that month 199 As late as November 18 Frick complained that he had doors without locks a breakfast room without a table and a sitting room without any furniture of any kind although a stock ticker was installed within three days 199 Frick his wife Adelaide Howard Childs and their daughter Helen Clay Frick lived in the house 195 their son Childs who was already married never resided in the house 91 At the time of the Frick family s relocation into the house the property was worth 3 1 million including land making it one of the most valuable structures in the neighborhood 200 The mansion occupied one of the largest privately owned pieces of land in Manhattan 201 Frick and his suppliers were involved in disagreements for example he refused to pay transport charges for furniture he bought from Seligmann and Frick told Allom that he would have rather had de Wolfe furnish the whole house 202 Despite his previous disputes with Hastings Frick wrote a letter to the architect saying I think the house is a great monument to you but it is only because I restrained you from excess ornamentation 103 Frick hosted his first dinners at the house in early 1915 inviting U S Steel executives art collectors art industry figures and industrialists 203 Frick also bought additional art for the mansion 204 He bought 14 Fragonard panels from the Met s Morgan exhibition 202 205 and moved them to the drawing room 206 207 which was enlarged to accommodate the Fragonard panels 208 Joseph Duveen arranged for a Parisian decorator to create a moquette for the Fragonard room where Frick intended to showcase Duveen s furnishings and Morgan s artwork 209 Frick acquired pieces such as Hans Holbein s portrait of Thomas Cromwell 210 and he also owned paintings by such artists as El Greco Francisco Goya Frans Hals Rembrandt George Romney Titian Anthony van Dyck and Diego Velazquez 207 208 Frick decorated the mansion with other objects as well including furniture carpets tapestries sculptures and bronzes 207 211 His decorators continued to work on the house through the middle of 1915 and he finalized his will at the same time bequeathing the house to public use after his death 212 213 Census records from 1915 showed that the family lived with 27 servants including several butlers footmen chambermaids cooks and laundresses 214 Frick had wanted his Fragonard Room to be completed at the beginning of November 1915 but it was not completed until the following May 209 By June 1916 Frick had paid Duveen 4 696 million just to acquire art from Morgan s estate 203 Frick separately acquired more art such as Gainsborough s painting Mall 215 four Boucher panels 216 217 Van Dyck s Countess of Clanbrazil 218 and a Gilbert Stuart portrait of George Washington 219 He modified his house to display these pieces 220 for example he raised the ceiling of Adelaide s boudoir to fit the Boucher panels in late 1916 217 Forty paintings were displayed at the house by 1917 94 and Frick also acquired porcelains sculptures and furniture near the end of his life 220 After Duveen decorated the rooms he convinced Frick to buy even more objects 217 According to Frick s granddaughter Martha Frick Symington Sanger he would often step silently in the west gallery observe the observers and steal out again unnoticed 221 In the late 1910s the mansion was used for events such as annual meetings and it temporary housed visiting envoys 222 During World War I Frick offered his New York City house as a field hospital in case the city was targeted by an air raid 223 In the last two years of his life 1918 and 1919 Frick stayed at the house for either 413 or 416 days 224 He retained his summer estate in Eagle Rock Massachusetts where he spent much of the rest of his time 224 and another residence in Pittsburgh where he was registered to vote 225 Toward the end of his life Frick continued to acquire art Duveen loaned paintings and marble busts which were installed on the first floor while Frick decided whether to acquire these works 226 One visitor the art dealer Rene Gimpel said the house s servants were dressed from head to foot in black while the carpet in the gallery wing was as soft as moss 198 Unbuilt expansion and Frick s death edit nbsp Exterior portico on Fifth Avenue In November 1915 Frick bought two sites at 6 and 8 East 71st Street adjoining his residence measuring a combined 50 by 100 feet 15 by 30 m from the banker Harold B Thorne 227 Hastings devised plans to extend the gallery and erect another entrance there 213 228 229 The plans were drawn up with the utmost secrecy and even Duveen did not learn about the expansion plans until American Art News magazine reported on it in March 1916 228 Hastings s proposal called for a six bay wide one story annex with a secondary entrance hall oval room sculpture hall and gallery 230 which would have been designed in a similar style to the main house 229 Frick abandoned these plans in 1917 due to rising costs caused by World War I era shortages and a fence was installed around the empty sites Hastings charged Frick 45 000 for the plans Frick originally refused to pay but eventually agreed to pay about half that amount 231 After Frick contracted a foodborne illness in November 1919 one of his last acts was to return objects that Duveen had loaned to the house 226 Following a heart attack caused by his illness Frick died at the house on December 2 1919 76 128 232 having lived in the house for five years 221 His funeral was hosted at the house the next day 233 As stated in his will Frick s art collection was to be turned over to the public in due time 232 the collection had cost Frick at least 10 million to acquire during his lifetime 234 235 His widow Adelaide continued living in the mansion with their daughter Helen 236 In accordance with Frick s will if Adelaide died or moved away the house would be converted to a public museum 237 238 Frick also provided a 15 million endowment for the art collection 237 239 Nine people were named as trustees of Frick s estate these included Adelaide Helen and Childs Frick 240 in addition to two art collectors and two sons of art collectors 213 When Frick died he was estimated to have spent 17 million on the building alone 241 242 When Frick s estate was appraised in 1920 the mansion and its objects inside were valued at 13 million 243 Following a dispute between the New York and Pennsylvania governments over his estate a court determined that Frick s legal residence had been his Pittsburgh house not his New York City mansion 225 A reappraisal of Frick s estate in 1923 found that the mansion was worth 3 25 million without its contents 244 Adelaide and Helen Frick use edit Shortly after Frick died the board of trustees of his estate moved to incorporate the Frick Collection Inc 239 245 Hastings agreed to sell the plans for the unbuilt annex to Frick s estate in January 1920 for 25 360 246 and the board organized the Frick Art Reference Library at the house that year 239 247 Originally Helen Frick used the house s bowling alley as storage space 126 127 248 and the library s staff worked in the main house s basement 249 After the Frick trustees voted in December 1922 to approve a separate library building 250 Hastings filed plans for a dedicated library building adjacent to the original mansion in 1923 with a projected cost of 139 000 251 This library was one story high with two subbasements and occupied the site of Frick s unbuilt annex 251 Its facade was similar to the sculpture wing of the unbuilt annex 213 246 The Frick Art Reference Library next to the main mansion opened in June 1924 246 252 As built the stoop outside the library s front entrance had no landing which put anyone standing on the stoop at risk of being hit by the door when it opened As such the front door had to be installed in reverse The design of the front door and other design flaws led Helen and Adelaide Frick to write angry letters to Hastings including one letter in 1926 in which Helen vowed never to hire Hastings for another project 253 Some of the earliest photographic documentation of the interior was taken in 1927 by Frick Art Reference Library photographer Ira W Martin 254 Even when Adelaide Frick was alive there were plans to expand the library In April 1929 Helen hired Walter Dabney Blair to design a two story addition to the library which the board of trustees voted down Helen in turn rejected her brother Childs s suggestion that windows be installed in the walls of the north and south halls and the Fragonard room 255 Conversion to museum edit nbsp Entrance on 70th Street modified as part of the 1930s renovation Adelaide Frick s death in October 1931 triggered a clause in her husband s will which gave the trustees permission to open the house and the art collection to the public 131 256 When she died her possessions at the 70th Street mansion were valued at nearly 129 000 257 By the end of October 1931 the art historian Frederick Mortimer Clapp who would become the Frick Collection museum s first director had presented five proposals for a museum on the house s first and second floors 255 Although Helen Frick moved her possessions out of the house the next month the trustees did not immediately move to convert the house into a museum 258 Despite initial reports that the house could be opened to the public in several months 221 258 this estimate was highly optimistic 259 The trustees invited two architectural firms Delano and Aldrich and John Russell Pope to devise designs for an enlarged house Childs Frick wanted to hire Delano and Aldrich 255 Pope was the first choice of three of the other trustees two of whom were already familiar with Pope s work 255 259 d The house was completely closed for the next two years while the family mourned 261 The Frick trustees hired Pope to renovate the mansion in March 1932 Pope s original plan called for constructing a glass roof above the rear courtyard removing the porte cochere and erecting a new entrance on 70th Street The initial proposal did not include modifications to the original library consequently any expansion of the mansion at its northeast corner was constrained and Pope s first plan called for only one additional gallery 262 By January 1933 the trustees anticipated that the collection would likely open to the public as a museum within a year 263 264 Shortly afterward the trustees acquired two additional lots at 10 and 12 East 71st Street 265 Pope filed plans for a storage vault in February 1933 266 The trustees approved a revised plan for the mansion and adjacent library in May at an estimated cost of 1 941 million 54 and Pope filed plans that June for a rebuilt seven story art reference library at 6 12 East 71st Street 267 268 Work on the mansion began in December 1933 269 but the opening of the museum was delayed because of unexpected difficulties 270 In particular workers had to reconstruct the foundation and convert the private spaces for public use 271 Almost all of the rooms were renovated except for one room that was preserved in its original condition 272 most of the modifications concerned circulation improvements 273 The rear courtyard was converted into the enclosed garden court 274 a pantry became the Boucher room 98 and the porte cochere was replaced with the entrance hall 97 98 The project also added the oval room music room and east gallery 52 98 which were designed in a similar style to the original house 275 Workers built a storage vault in the basement to host the collection s most valuable objects 272 276 and the collection was stored in the vault while work on the house proceeded 236 The original library wing closed in November 1934 273 and the new library was built above the existing library wing which was then demolished 67 The new library included a reading room librarian s apartment and additional stacks 277 Museum use edit This article is about modifications that the Frick Collection museum made to the house For the history of the museum itself see Frick Collection History 1930s to 1970s edit The rebuilt six story library opened in January 1935 69 278 The Frick Collection itself known as the Frick 279 had a soft opening on December 11 1935 280 it officially opened to the public five days later on December 16 281 When the museum opened its entrance was through the new entrance hall on 70th Street 275 Originally visitors were required to follow a specific path 236 but this rule was dropped by 1937 282 283 Despite the Frick family s description of the house as a former residence housing the Frick Collection many visitors called the building a mansion being used as a museum 129 Museum officials filed plans for a concrete vault under the Frick House in March 1941 284 123 The vault doubled as an art storage facility and a bomb shelter 123 122 as there were concerns that the house could be targeted by air raids during World War II 285 The Frick Collection also bought two adjacent buildings during the 1940s 41 286 Museum officials bought the six story townhouse at 9 East 70th Street in 1940 287 and it acquired the seven story townhouse at 7 East 70th Street in 1947 288 Number 7 was replaced with a service wing while number 9 was used as storage space 41 Beginning in 1957 the Frick House s facade and garden were illuminated nightly 289 The Frick Collection s occupancy of the Frick House preserved it through the mid 20th century especially when other mansions on Fifth Avenue s Millionaires Row were being demolished 242 As part of a master plan in 1967 46 the Frick Collection s trustees drew up plans for an annex at 7 and 9 East 70th Street designed in the same style as the Frick House At the time the house at 5 East 70th Street was still standing so the annex would have been physically separated from the Frick House itself 39 The Frick Collection acquired the neighboring Widener House at 5 East 70th Street in 1972 290 thus completing its acquisition of land on 70th Street 286 The museum planned to construct an annex at 5 9 East 70th Street 41 which would have included offices lab space lecture halls and an auditorium 290 At the time the house could accommodate only 250 people at once 36 The museum announced plans to demolish the Widener House in March 1973 291 The Widener House s demolition was delayed after the New York City Landmarks Preservation Commission LPC both requested the museum obtain a certificate of appropriateness for the demolition 292 and designated the Frick House itself as a landmark 293 The museum announced plans that June for a temporary garden and terrace on the 70th Street lots 41 which the LPC approved the next month 294 The annex was canceled that November 290 After the Widener House had been razed Frick Collection officials announced plans in May 1974 for a one story wing replacing the terrace 295 The wing cost 2 11 million 36 and the museum also spent 2 85 million on mechanical upgrades 36 37 The expansion was completed in 1977 with lecture rooms storage space waiting room card shop cloakroom auditorium and library 36 37 A garden on 70th Street designed by British landscape architect Russell Page 296 opened in May 1977 45 1980s to early 2010s edit The Frick Collection renovated the house s Boucher room in the early 1980s 297 and ceiling lights were installed in the Fragonard and Boucher rooms during that decade 298 The LPC gave the museum permission to demolish the house s original sidewalk in 1983 and the bluestone pavement was replaced with blocks of Canadian granite 299 As part of a renovation headed by Frick Collection director Charles Ryskamp in the 1970s the oval room and east gallery were repainted and cleaned 110 When Samuel Sachs II became the Frick Collection s director in 1996 he contemplated expanding the exhibition space adding a cafe and relocating the entrance to the house s garden 300 Buttrick White amp Burtis were also hired in 1996 to renovate the Frick Library s offices and main reading room 124 The facades of the Frick House and the library were cleaned in 1999 and 2000 respectively 127 and the entrance to the museum was re lit 301 Annexes to the museum were proposed in 2001 2005 and 2008 but neither proposal was executed 302 The plans were canceled because it would have required an extended closure and still would not have provided sufficient space 40 Restorations of the house s galleries took place through the late 2000s and early 2010s to attract visitors 303 These included refurbishments of the Frick House s Fragonard room around 2006 105 304 the living hall in 2008 305 298 and the east gallery in 2009 298 306 The house s entrance hall and garden court were also cleaned in 2009 298 and the Boucher room was then restored reopening in 2010 307 The dining room was modified around 2010 as well 303 The Frick Collection announced plans in June 2010 to convert the loggia into an enclosed gallery for ornaments and sculptures 308 and the LPC approved the gallery that month 309 The gallery was funded by the businessman Henry H Arnhold 310 and designed by Davis Brody Bond it opened in December 2011 as the first new gallery at the museum in three decades 105 107 2010s and 2020s renovation edit nbsp 70th Street garden In 2014 the museum announced plans for a six story annex on 70th Street designed by Davis Brody Bond 302 311 which would contain offices and other administrative spaces 302 312 The Frick House s offices would be moved to the annex allowing the museum to add exhibition space on the house s second floor 302 311 The 1970s addition and the 70th Street garden would have been demolished 39 and various rooms would have been relocated or repurposed 46 These plans had to be approved by the city government since the house was a city landmark 313 Residents and preservationists opposed the proposed demolition of the 70th Street garden 43 314 and over two thousand opponents formed a group called United to Save the Frick 311 The Historic Districts Council cast an advisory vote against the annex 315 while artists gallery operators and architects wrote an open letter speaking out against the plans 316 The Frick Collection announced in June 2015 that it would develop a new design for the renovation 317 Unite to Save the Frick put forth a competing proposal to add stories above the library and Frick house 318 The Frick Collection announced in early 2016 that it would hire a new architect to renovate the museum while preserving the garden 319 and they hired Annabelle Selldorf as the architect later the same year 320 Selldorf devised a proposal to add stories above the museum s existing buildings 321 The Frick Collection announced revised plans by Selldorf in April 2018 115 322 which called for expanding gallery space to 25 700 square feet 2 388 m2 rebuilding Page s garden adding a basement auditorium and erecting back of house space above the existing structure 115 323 The plan included opening the second floor 115 and turning the Frick House s music room into a gallery 112 While preservationists preferred keeping the music room as is 324 Selldorf s plans were generally positively received 113 The LPC which had to review any proposed modifications to the Frick House approved the changes that June 55 The house and museum closed in mid March 2020 due to the COVID 19 pandemic 325 326 and the museum moved to the nearby 945 Madison Avenue in early 2021 to allow work on the house to begin 327 328 As part of the renovation the Frick Collection renovated the house s electrical heating and air conditioning systems restored the Art Reference Library s space and added an auditorium and education center In addition a special exhibition space was built in the house the previous special exhibition space had ceilings that were too low for paintings to be mounted permanently The opening of the second floor expanded the museum s exhibition space by 25 percent 117 During the house s closure the Frick Collection posted a 3D rendering of the mansion s interiors on its website 329 As of April 2023 update the Henry Clay Frick House is scheduled to reopen in late 2024 330 Impact editReception edit nbsp The Frick House as seen from Fifth Avenue and 70th Street during a Columbus Day parade When the house was constructed a Real Estate Record writer said In employing Mr Hastings as his architect he has made an admirable selection one which assures the erection of a beautiful and appropriate building 331 A reporter for The New York Times said the development of the Frick House had helped make its city block perhaps the most interesting block devoted to private houses in the city 104 Another critic said that all of the carvings on the Frick house are striking additions to the art features of the city 332 After the house was finished a writer for The Spur described the mansion as in sheer magnificence surpassed by none 31 while another writer for the same magazine predicted that the house will undergo no material change of character if it was to become a museum 94 A writer for Art World magazine described the house as having continued the tradition of a spot devoted to rare objects of the fine arts if not of rare specimens of books 333 The New York Times wrote in 1917 that the Frick House was only rivaled by a few other mansions on Fifth Avenue in attracting attention and that inside the house was vista after vista of costliness and splendor 208 Upon Frick s death the New York Tribune described Adelaide s boudoir in the house as one of the most beautiful rooms of any private dwelling 76 By the late 1920s a New York Times writer described the Carnegie and Frick mansions as the largest and most picturesque of the remaining homes on Fifth Avenue as many mansions on the avenue were being razed and replaced with apartments 334 In a retrospective of Carrere and Hastings s work Mark Alan Hewitt Kate Lemos William Morrison and Charles D Warren wrote that both patron and designer deserve credit for the house s ultimate success 151 When the Frick Collection opened in 1935 a Times writer praised the quality of the house s expansion 98 The Spur said the house was widely thought to be the finest house in New York City 14 and the Washington Post similarly described it as one of New York s most palatial homes 272 In the 1950s The Christian Science Monitor called the mansion a quiet and peaceful retreat 85 and Town amp Country magazine dubbed it one of the finest examples of Fifth Avenue s architecture that fortunately have been preserved 335 A writer for Cosmopolitan magazine wrote that even the 75 room Schwab House was conservative in comparison to the Frick House 241 In 1962 a Washington Post writer said that aside from museum security guards there was nothing to make the ordinary visitor feel less welcome than its former millionaire guests 80 The author Merritt Folsom wrote the next year that the Frick House is one of the few in the metropolis that will remain indefinitely as evidence of an era when millionaires did not have to share much of their wealth with the government 336 Conversely in 1999 a New York Daily News reporter described the mansion as never a home so much as it was a great vaulted hall for Frick s art 337 Christopher Gray of The New York Times said the mansion was straightforward in most respects but made peculiar by the long blank limestone finger stretching out on 71st Street 198 Another Times critic said the library annex s reading room was an oasis within an oasis 338 There has also been commentary about subsequent annexes Gray described the Art Reference Library building as an elegant limestone box in 2014 21 After the 70th Street annex was added in the 1970s Paul Goldberger said the annex is a pleasant place to be in blending elements of both historical and modern architecture 37 Newsday reporter Amei Wallach said the annex s waiting room was more grand and more opulent than the original mansion itself 36 Hewitt et al also praised the 70th Street annex as harmonizing with Hastings s original annex and Pope s expansion 339 When the portico gallery opened in 2011 James Gardner of The Real Deal described it as fully in keeping with the luxurious style of the rest of the building 106 Landmark designations edit The Frick House was designated as a New York City landmark in 1973 293 after the New York City Landmarks Preservation Commission LPC expressed concerns over the demolition of the adjacent Widener House 291 The LPC expanded its designation of the Frick House site in 1974 to include several adjacent lots 340 The designation applies only to the facade as the interior rooms were never designated as landmarks 117 The Frick House was designated as a National Historic Landmark in 2008 under the name Frick Collection and Frick Art Reference Library Building 341 The Frick House is also part of the Upper East Side Historic District 20 the creation of which was endorsed by the local Manhattan Community Board 8 in 1979 342 the district was designated by the LPC in September 1981 343 Media and influence edit The design of the Frick House influenced the architecture of Alder Manor in Yonkers New York which Hastings also designed 344 The Frick House was detailed in the book The Henry Clay Frick Houses Architecture Interiors Landscapes in a Golden Era by Frick s granddaughter Martha Frick Symington Sanger 345 346 as well as Colin B Bailey s book Building the Frick Collection An Introduction to the House and Its Collections 70 According to Stan Lee who co created the Avengers superhero team the Frick House was the model for the Avengers Mansion 347 348 that mansion is set at the same site as the Frick House but uses the addresses 890 Fifth Avenue 348 The Frick Collection did not allow any major films to be shot inside until 2012 when A Late Quartet was the first production to be granted permission to shoot inside the house The mansion has also been depicted in the TV series America s Castles and The Undoing as well as an episode of the documentary series Treasures of New York 349 See also editList of National Historic Landmarks in New York City List of New York City Designated Landmarks in Manhattan from 59th to 110th Streets National Register of Historic Places listings in Manhattan from 59th to 110th StreetsReferences editNotes edit The New York Times described the pool as having been planned for the Fifth Avenue garden 51 Colin B Bailey and Kate Lemos et al write that the initial acquisition of lots cost 2 25 million and measured 200 by 125 ft 61 by 38 m 151 150 The New York Times reported that Frick had acquired the entire city block for 2 4 million 154 The New York Times cited the cost as being between 2 million and 3 million 176 25 Specifically Andrew W Mellon John D Rockefeller Jr and Joseph Duveen preferred to hire Pope 259 260 Rockefeller had invited Pope to submit a design for the Cloisters museum in Upper Manhattan in 1929 and Duveen had encouraged Pope to design two galleries at the British Museum 260 Citations edit a b c d e f g Landmarks Preservation Commission 1973 p 1 National Register Information System National Register of Historic Places National Park Service July 9 2010 The Frick Collection and Frick Art Reference Library Building National Historic Landmark summary listing National Park Service Archived from the original on July 29 2013 Retrieved November 8 2013 a b White Willensky amp Leadon 2010 p 436 a b c d e 895 5 Avenue 10021 New York City Department of City Planning Retrieved March 20 2020 a b c d In the Real Estate Field Future of Lenox Library Block Investor Buys South Street Warehouse Another Successful Sale of Bronx Lots The New York Times May 16 1907 ISSN 0362 4331 Archived from the original on February 13 2024 Retrieved February 13 2024 a b c d Frick House to Face 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December 29 2011 Frick Collection s portico is luxurious like rest of building The Real Deal Archived from the original on February 23 2024 Retrieved February 23 2024 a b Kahn Eve M December 8 2011 Patent Models Roger Broders Posters Meissen Porcelain The New York Times ISSN 0362 4331 Archived from the original on February 13 2024 Retrieved February 14 2024 Owens Mitchell January 1 2012 New Sculpture Gallery at the Frick Collection Architectural Digest Archived from the original on January 29 2024 Retrieved February 14 2024 a b Oval Room The Frick Collection August 5 2020 Archived from the original on February 17 2024 Retrieved February 17 2024 East Gallery The Frick Collection August 5 2020 Archived from the original on February 17 2024 Retrieved February 17 2024 a b Deitz Paula April 10 1988 ART Charles Ryskamp Brings a New Look To the Frick The New York Times ISSN 0362 4331 Archived from the original on February 4 2024 Retrieved February 18 2024 a b Music Room The Frick Collection August 5 2020 Archived from the original on February 17 2024 Retrieved February 17 2024 a b c Tommasini Anthony June 29 2018 As the Frick Expands New York City Music Suffers The New York Times ISSN 0362 4331 Archived from the original on February 2 2024 Retrieved February 14 2024 a b c Wachs Audrey May 25 2018 AN takes a deep dive into Frick Collection expansion plans The Architect s Newspaper Archived from the original on January 9 2024 Retrieved February 24 2024 a b Building the House The Frick Collection November 8 2013 Archived from the original on June 21 2017 Retrieved November 8 2013 a b c d Stamp Elizabeth April 6 2018 The Frick Museum Selects Selldorf Architects for Multimillion Dollar Renovation Architectural Digest Archived from the original on February 5 2024 Retrieved February 14 2024 Pogrebin Robin April 4 2018 Frick Collection With Fourth Expansion Plan Crosses Its Fingers Again The New York Times ISSN 0362 4331 Archived from the original on January 29 2024 Retrieved February 14 2024 Tremayne Pengelly Alexandra November 6 2023 The Frick Collection Is Nearing Its 290M Fundraising Goal for Renovations Observer Archived from the original on January 29 2024 Retrieved February 18 2024 a b c d Coates Charlotte June 22 2022 Frick Madison Old Masters and a new dynamic Blooloop Archived from the original on December 15 2023 Retrieved February 23 2024 The Frick New York Social Diary November 30 2011 Archived from the original on July 10 2014 Retrieved November 11 2013 Bindelglass Evan February 14 2013 The Frick Collection Bowling Alley Inaccessible New York New York Event occurs at 8 30 CBS CBS New York Archived from the original on January 23 2022 Retrieved November 11 2013 a b c Feuer Alan June 10 2009 In Frick s Basement a Secret Masterpiece The New York Times ISSN 0362 4331 Archived from the original on August 23 2019 Retrieved February 23 2024 a b Kathrens Michael C 2005 Great Houses of New York 1880 1930 New York Acanthus Press p 275 ISBN 978 0 926494 34 3 a b c Museums Plan Shelters for Art In Case of War Metropolitan Buliding Deep Vault Brooklyn Items Might Be Sent to Country New York Herald Tribune July 26 1941 p 5A ISSN 1941 0646 ProQuest 1327912587 a b c Bomb Shelter City s First to Shield Art New York Daily News March 8 1941 p 6 ISSN 2692 1251 Archived from the original on February 1 2024 Retrieved February 14 2024 a b c d Frick Art Reference Library The Frick Collection August 5 2020 Archived from the original on February 22 2024 Retrieved February 22 2024 Pitz Marylynne November 23 2014 New York s Frick Collection to expand Pittsburgh Post Gazette Archived from the original on October 2 2022 Retrieved February 11 2024 a b Morais Richard C January 20 2014 The Precious Frick Library Barron s Vol 94 no 3 p 35 ProQuest 1490935602 a b c Gray Christopher October 15 2000 Streetscapes The Frick Art Reference Library A Memorial Built by a Daughter for Her Father The New York Times ISSN 0362 4331 Archived from the original on February 3 2024 Retrieved February 3 2024 a b c Henry C Frick Dies Leaves Art to City Pioneer in Steel and Coke Industry Stricken Suddenlyby Heart Attack The New York Times December 3 1919 ISSN 0362 4331 Archived from the original on January 29 2024 Retrieved January 29 2024 a b c Folsom 1963 p 108 Bailey 2006 p 10 a b Frick Collection Belongs to Public The Christian Science Monitor October 5 1931 p 6 ISSN 0882 7729 ProQuest 513076875 Bailey 2006 p 13 Bailey 2006 p 11 Standiford Les July 6 2005 Excerpt Meet You In Hell NPR Archived from the original on February 13 2024 Retrieved February 13 2024 Bailey 2006 pp 14 15 a b c National Park Service 2008 p 16 Gets Vanderbilt Twin House The Sun March 22 1905 p 1 Archived from the original on September 26 2021 Retrieved September 21 2021 Maeder Jay February 25 1999 American Sepulchral Henry Clay Frick New York Daily News p 506 ISSN 2692 1251 Archived from the original on February 5 2024 Retrieved February 5 2024 Gutkowski 2012 p 29 Harvey 1928 pp 269 270 a b c Kathrens Michael C 2005 Great Houses of New York 1880 1930 New York Acanthus Press p 273 ISBN 978 0 926494 34 3 Hoyt Austin August 15 2004 Andrew Carnegie Program transcript American Experience Archived from the original on January 15 2017 Retrieved November 10 2013 a b Bailey 2006 p 17 Bailey 2006 p 21 Harvey 1928 p 270 Bailey 2006 p 19 a b Gutkowski 2012 p 30 Harvey 1928 p 269 a b Bailey 2006 pp 23 24 a b c d Bailey 2006 p 22 a b c Hewitt et al 2006 p 378 a b Gray Christopher April 2 2000 Streetscapes The Frick Mansion Carnegie vs Frick Dueling Egos on Fifth Avenue The New York Times ISSN 0362 4331 Archived from the original on January 18 2024 Retrieved January 18 2024 Hewitt et al 2006 pp 378 379 a b c d May Sell Lenox Property Senate Passes Bill to Enable H C Frick to Acquire Library Site The New York Times February 13 1907 ISSN 0362 4331 Archived from the original on February 13 2024 Retrieved February 13 2024 Sale of Lenox Library Site The Sun February 6 1907 p 6 Archived from the original on February 13 2024 Retrieved February 13 2024 a b Frick to Build Mansion Multi millionaire Has Purchased Lenox Library Property Pays 2 500 000 for Fifth Avenue Site He Will Outrival Carnegie and Schwab The Washington Post December 16 1906 p 6 ISSN 0190 8286 ProQuest 144688147 Lenox Library Site Sold The Sun December 16 1906 p 1 Archived from the original on February 13 2024 Retrieved February 13 2024 a b Hewitt et al 2006 p 379 Deserted City Lies in Center of Manhattan The Buffalo News May 27 1912 p 14 Archived from the original on February 16 2024 Retrieved February 16 2024 a b c Bailey 2006 pp 24 25 a b c National Park Service 2008 p 17 Skrabec Q R 2014 Henry Clay Frick The Life of the Perfect Capitalist EBL Schweitzer McFarland Incorporated Publishers p 210 ISBN 978 0 7864 5608 6 Archived from the original on February 3 2024 Retrieved February 3 2024 a b c d e f g h Bailey 2006 p 25 Plans 1 000 000 Gallery H C Frick Says His New One Will Be the World s Finest The New York Times December 5 1911 ISSN 0362 4331 Archived from the original on February 14 2024 Retrieved February 14 2024 a b Hewitt et al 2006 pp 379 380 a b c d Hewitt et al 2006 p 380 C S Carstairs Art Dealer Dead Chairman of Knoedler Firm of This City London and Paris Dies in England The New York Times July 11 1928 ISSN 0362 4331 Archived from the original on February 20 2024 Retrieved February 20 2024 a b Bailey 2006 pp 25 27 Bailey 2006 p 27 a b c Bailey 2006 p 30 a b A 5 000 000 Home for Henry C Frick Palatial Home Soon to Rise Where the Old Lenox Library Stands The New York Times May 26 1912 ISSN 0362 4331 Archived from the original on February 16 2024 Retrieved February 16 2024 Plans for Henry C Frick s Mansion The Real Estate Record Real estate record and builders guide Vol 90 no 2318 August 17 1912 p 314 Archived from the original on February 16 2024 Retrieved February 23 2024 via columbia edu The Real Estate Field Property Adjoining Marquand House on Madison Avenue Acquired by Apartment Syndicate Residence Deals in Fifth Avenue Section 100 000 West Bronx Sale Suburban Market The New York Times May 22 1912 ISSN 0362 4331 Archived from the original on February 16 2024 Retrieved February 16 2024 Frick Offers City the Lenox Library Pittsburgher Who Bought Its Site Would Re erect Noted Building in Central Park The New York Times May 29 1912 ISSN 0362 4331 Archived from the original on October 27 2023 Retrieved October 27 2023 Offers Lenox Library Building Free to City H C Frick Would Tear It Down and Re erect It on Site of Arsenal in Park New York Tribune May 29 1912 p 3 ISSN 1941 0646 ProQuest 574922514 To Preserve Building Municipal Art Commission Approves Offer of Lenox Library New York Tribune June 12 1912 p 7 ISSN 1941 0646 ProQuest 574938962 Art Commission Lets in the Library Gives Consent to Stover s Plan to Put Frick s Gift in Central Park The New York Times June 12 1912 ISSN 0362 4331 Archived from the original on October 27 2023 Retrieved October 27 2023 Unite to Protect Every Inch of Park Playgrounds Association Will Carry the Frick Offer to the Mayor The New York Times June 9 1912 ISSN 0362 4331 Archived from the original on October 27 2023 Retrieved October 27 2023 Frick Plan Off tis Said Disposition of Lenox Library Will Be Known to day New York Tribune June 20 1912 p 8 ISSN 1941 0646 ProQuest 574935479 Central Park Safe Architects Hear Frick Offer of Lenox Library Building to be Withdrawn Is Report The New York Times June 19 1912 ISSN 0362 4331 Archived from the original on October 27 2023 Retrieved October 27 2023 a b c d Bailey 2006 p 44 Costly Wrecking Work Lenox Library Building Will Soon Be Thing of Past All Stone and Iron Would Have Cost Frick Half a Million to Re erect It in Central Park New York Tribune October 14 1912 p 12 ISSN 1941 0646 ProQuest 575011266 Contracts Awarded The Real Estate Record Real estate record and builders guide Vol 91 no 2341 January 25 1913 p 205 Archived from the original on February 16 2024 Retrieved February 23 2024 via columbia edu Plans for Frick Home New York Tribune January 21 1913 p 2 ISSN 1941 0646 ProQuest 575022326 C Vanderbilt in Vanderbilt Palace Will Occupy Fifth Ave and 51st St Home Which Came to Him at G W Vanderbilt s Death The New York Times April 25 1914 ISSN 0362 4331 Archived from the original on September 26 2021 Retrieved February 17 2024 Bailey 2006 pp 44 45 Bailey 2006 p 51 Bailey 2006 p 52 Bailey 2006 pp 52 53 a b Bailey 2006 p 59 Bailey 2006 pp 60 61 C Vanderbilt Gets Mansion and Art Property Worth 6 000 000 Reverts to Him by Grandfather s Will on Death of George W PDF The New York Times March 10 1914 p 5 ISSN 0362 4331 Archived PDF from the original on September 26 2021 Retrieved September 22 2021 Fine Additions to Residence Area in Upper Fifth Avenue Locality Expensive Home for Mrs Amory S Carhart Nearing Completion in Ninety fifth Street Activity in Long Deserted Section Novel Addition to Archer M Huntington s Fifth Avenue Dwelling The New York Times May 31 1914 ISSN 0362 4331 Archived from the original on January 30 2024 Retrieved February 17 2024 Bailey 2006 pp 63 64 100 000 Rare Organ Bought by American Frick Supposed to be Purchaser of One 300 Years Old Remarkably Carved The New York Times September 13 1913 ISSN 0362 4331 Archived from the original on February 17 2024 Retrieved February 17 2024 London Organist for Frick Capitalist Hires Easthope Martin to Take Up Position in Home of New York Millionaire Los Angeles Times June 7 1914 p I10 ISSN 0458 3035 ProQuest 160081131 a b Bailey 2006 p 64 7 Doctors Keep H C Frick Alive Daughter in Wild Automobile Ride to Reach His Side New York Tribune August 28 1914 p 7 ISSN 1941 0646 ProQuest 575293814 Frick Ill but Improving Denied That Condition Is Serious Is at His Summer Home The New York Times August 28 1914 ISSN 0362 4331 Archived from the original on February 18 2024 Retrieved February 18 2024 Bailey 2006 pp 64 67 a b c Bailey 2006 p 67 a b c Frick Family in New Home The Sun November 17 1914 p 9 Archived from the original on February 18 2024 Retrieved February 17 2024 a b Frick Mansion Finished New York Man Moving Into 82 000 000 Home St Louis Post Dispatch November 16 1914 p 1 ProQuest 579352322 Frick in New Home The Brooklyn Citizen November 16 1914 p 12 Archived from the original on February 18 2024 Retrieved February 17 2024 Bailey 2006 pp 67 69 a b c Gray Christopher April 29 2010 The Frick and Other Grand Private Galleries The New York Times ISSN 0362 4331 Archived from the original on January 26 2021 Retrieved February 23 2024 a b Bailey 2006 p 69 One Mile of Residential New York The Real Estate Record Real estate record and builders guide Vol 94 no 2439 December 12 1914 p 953 Archived from the original on February 17 2024 Retrieved February 23 2024 via columbia edu Changing Types in City Dwellings Statuary Marble Mantels Indicated the Fashionable Home of Former Age The New York Times November 22 1914 ISSN 0362 4331 Archived from the original on February 18 2024 Retrieved February 17 2024 a b Bailey 2006 p 70 a b Bailey 2006 p 76 Homes of Men of Wealth Are to Be Decorated With Morgan s Gems of Art Rockefeller Jr and Henry C Frick Are Real Purchasers of the Collection of Rare Porcelains Bought by Dealers Holland Comments on the Many Millions Invested in Artistic Treasures Cincinnati Enquirer February 19 1915 p 6 ProQuest 869318809 Frick to Acquire More Morgan Art Purchaser of Fragonard Room Now Reported to Have Got the Porcelains Also The New York Times February 26 1915 ISSN 0362 4331 Archived from the original on February 18 2024 Retrieved February 18 2024 H C Frick Bought Fragonard Room Panels from Morgan Collection in Metropolitan Museum for His Fifth Avenue Home The New York Times February 25 1915 ISSN 0362 4331 Archived from the original on February 17 2024 Retrieved February 17 2024 H C Frick Buys Fragonard Panels Gets Morgan Paintings at Price Said to Be Close to 1 500 000 New York Tribune February 25 1915 p 9 ISSN 1941 0646 ProQuest 575357790 Fragonards Moved to New Frick Home Paintings to be Set in Drawing Room Designed for Them by Sir Charles Allom The New York Times March 16 1915 ISSN 0362 4331 Archived from the original on February 18 2024 Retrieved February 18 2024 Fragonard Panels Now in Frick Home Paintings Sold by J P Morgan Removed From Museum of Art New York Tribune March 16 1915 p 7 ISSN 1941 0646 ProQuest 575394249 a b c Philpott A J May 30 1915 New York s Real Art Treasures Boston Pilgrims See Many of Them Wonderful Paintings in Mr Frick s New House Society of Printers Shown Many Courtesies Boston Daily Globe p 25 ProQuest 502938057 a b c Fifth Avenue Homes Which Were Opened to Balfour and Joffre To Entertain the Visitors New York Provided Best It Had to Offer the Astor and Frick Houses The New York Times May 13 1917 ISSN 0362 4331 Archived from the original on February 19 2024 Retrieved February 19 2024 a b Bailey 2006 p 73 235 000 Holbein Bought by Frick Box Which Aroused Comment on the Philadelphia Contained Famous Painting The New York Times May 4 1915 p 7 ISSN 0362 4331 ProQuest 97726552 Archived from the original on February 18 2024 Retrieved February 18 2024 235 000 Painting Frick s is Belief Mysterious Canvas Brought From Liverpool Said to Be Holbein s Cromwell New York Tribune May 4 1915 p 9 ISSN 1941 0646 ProQuest 575425037 The Frick Collection of Art Becomes the Public s Property Current Opinion Vol LXVIII no 1 January 1920 p 100 ProQuest 124776538 Bailey 2006 p 80 a b c d National Park Service 2008 p 20 Gray Christopher April 2 2000 Streetscapes The Frick Mansion Carnegie vs Frick Dueling Egos on Fifth Avenue The New York Times ISSN 0362 4331 Archived from the original on January 18 2024 Retrieved January 18 2024 Frick Buys Mall by Gainsborough Famous Painting Soon to be Hung Among Other Art Treasures in Collector s Home The New York Times March 15 1916 ISSN 0362 4331 Archived from the original on February 18 2024 Retrieved February 18 2024 Frick Buys 200 000 Panels New York Herald January 27 1917 p 1 Archived from the original on February 19 2024 Retrieved February 18 2024 Frick Buys Four Bouchers Reported to Have Paid 200 000 for Paintings Representing Seasons The New York Times January 27 1917 ISSN 0362 4331 Archived from the original on February 18 2024 Retrieved February 18 2024 a b c Bailey 2006 p 83 250 000 Van Dyck Portrait Added to Frick Collection Countess of Clanbrazil Now Hangs in the Capitalist s Residence New York Tribune February 20 1917 p 11 ISSN 1941 0646 ProQuest 575677103 Frick Buys Famous Van Dyck The Sun February 20 1917 p 7 Archived from the original on February 19 2024 Retrieved February 18 2024 Frick Pays 75 000 for a Washington Manufacturer Buys Bust Portrait by Gilbert Stuart for Fifth Avenue Home The New York Times March 22 1919 ISSN 0362 4331 Archived from the original on February 19 2024 Retrieved February 19 2024 a b Bailey 2006 pp 81 82 a b c Nevius James July 29 2014 The Controversial Origins of New York City s Frick Collection Curbed NY Archived from the original on December 4 2023 Retrieved February 24 2024 See for example Offer Mansions to Envoys Schwab Frick and Mackay Tender Use of Their Houses for Visitors The New York Times April 29 1917 ISSN 0362 4331 Archived from the original on February 19 2024 Retrieved February 19 2024 American Museum s Work Natural History Institution s Trustees Vote Budget of 608 590 The New York Times February 6 1917 ISSN 0362 4331 Archived from the original on February 19 2024 Retrieved February 19 2024 Wealthy Offer Homes as First Aid Hospitals H C Frick G J Gould and S Lewisohn Open Houses to Police in Case of Emergency The New York Times June 25 1918 ISSN 0362 4331 Archived from the original on February 19 2024 Retrieved February 19 2024 a b State Opens Fight for Big Frick Tax Controller Challenges Contention That Steel Man Made Home in Pittsburgh The New York Times May 27 1921 ISSN 0362 4331 Retrieved February 19 2024 State Demands Frick Tax as Resident Here Steel Millionaire Lived 416 Days in N Y in Two Last Years of Life Testimony for Comptroller Reveals Termed Self Pittsburgher Employed 10 Persons There to Look After Securities Financial Secretary Says New York Tribune May 27 1921 p 1 ISSN 1941 0646 ProQuest 576379040 a b N Y Loses Tax Of Millions on Frick s Estate Surrogate Decides Steel Magnate Was Resident of Pennsylvania New York Tribune September 22 1921 p 13 ISSN 1941 0646 ProQuest 576511864 Tax Lost to State on Frick Millions Surrogate Holds We Was Resident of Pennsylvania Which Will Get More Than 7 000 000 The New York Times September 22 1921 ISSN 0362 4331 Archived from the original on February 19 2024 Retrieved February 19 2024 a b Bailey 2006 p 91 The Real Estate Field Henry C Frick Protects His Fifth Avenue Property by Purchase on Seventy first Street Austin Corbin Estate Sold to a Chicago Manufacturer Buyers for West Side Apartment Houses The New York Times November 13 1915 ISSN 0362 4331 Archived from the original on February 18 2024 Retrieved February 18 2024 Frick Buys a 71st St Parcel Property Fronts 50 Feet and Adjoins His Fifth Av Mansion New York Tribune November 13 1915 p 13 ISSN 1941 0646 ProQuest 575469095 a b Bailey 2006 p 85 a b Addition to Frick Residence The Real Estate Record Real estate record and builders guide Vol 97 no 2502 February 26 1916 p 338 Archived from the original on February 19 2024 Retrieved February 23 2024 via columbia edu Bailey 2006 pp 85 86 Bailey 2006 p 88 a b Henry Clay Frick Pioneer Iron Master and Famous Art Collector Passes Away Buffalo Courier December 3 1919 p 1 Archived from the original on January 29 2024 Retrieved January 29 2024 Frick Riches Yield Low Tax to State Bulk of Wealth Outside New York Control Residence Claimed in Pennsylvania The New York Times December 4 1919 ISSN 0362 4331 Archived from the original on February 19 2024 Retrieved February 19 2024 Masterpieces Left by Frick to Be Given to the Public Boston Daily Globe December 7 1919 p E5 ProQuest 503844676 Henry Clay Frick a Leader in Industry and Finance a Philanthropist He Leaves 117 300 000 for Public Benefits Hardware Dealers Magazine Vol 52 December 1 1919 p 1277 ProQuest 612760334 a b c Art Elaborately Guarded Frick Collection Open After 16 Years Newsweek Vol 6 no 24 December 14 1935 p 19 ProQuest 1796842053 a b 136 000 000 Left by Frick Times Union December 7 1919 p 1 Archived from the original on January 29 2024 Retrieved January 29 2024 65 000 000 for New York Art Gallery New York Tribune December 7 1919 pp 1 13 Archived from the original on January 29 2024 Retrieved January 29 2024 Andre Mila December 17 1999 Museo Drive New York Daily News p 97 ISSN 2692 1251 ProQuest 313742866 a b c Bailey 2006 p 93 Art Fortune Goes to Public By Death of Mrs H C Frick Fifth Avenue Mansion and Collection of Old Masters Valued Up to 30 000 000 May Become Museum Under Steel Man s Will New York Herald Tribune October 5 1931 p 1 ISSN 1941 0646 ProQuest 1114223395 a b Fleming Eugene D July 1958 If You Had a Million Cosmopolitan Vol 145 no 1 p 64 ProQuest 1999145576 a b Ennis Thomas W June 12 1960 Remnants of Millionaire s Row Today House Libraries and Schools PDF The New York Times p 31 ISSN 0362 4331 Retrieved July 30 2021 214 605 Is Total Of Frick Holdings In U S Steel Co Wealth Was Centered in Railroads Appraisal Shows 7 800 000 in Art Is Left to New York New York Tribune June 19 1920 p 7 ISSN 1941 0646 ProQuest 576247243 Frick Steel King Held Little Steel Inventory Made Public Shows 2 101 Shares in Corporation Appraised at 214 605 The New York Times June 19 1920 ISSN 0362 4331 Archived from the original on February 19 2024 Retrieved February 19 2024 92 953 552 Total H C Frick Estate Only 20 932 905 of Realty and Personal Property Is Tax able in New York The New York Times March 2 1923 ISSN 0362 4331 Archived from the original on January 29 2024 Retrieved January 29 2024 Frick Estate in N Y Is Valued At 20 932 905 Stale Tax Commissioners Reappraise Properly Here and Exempt 28 132 391 Art Charity Bequest Total Fortune 93 Million Residence of Late Steel Magnate at 1 East 70th Street Worth 3 250 000 New York Tribune March 2 1923 p 11 ISSN 1941 0646 ProQuest 1221612151 Frick Art Collection Is Incorporated Press and Sun Bulletin April 15 1920 p 3 Archived from the original on January 29 2024 Retrieved January 29 2024 a b c Bailey 2006 p 95 Howell Hannah Johnson 1951 The Frick Art Reference Library College Art Journal 11 2 College Art Association Taylor amp Francis Ltd 123 126 doi 10 2307 772702 ISSN 1543 6322 JSTOR 772702 S2CID 192972368 Archived from the original on January 29 2024 Retrieved January 29 2024 Shaw Kurt October 28 2007 Frick legacy Book examines life of industrialist s daughter Pittsburgh Tribune Review ProQuest 382473031 Henry Clay Frick Reference Library Nearing Completion Collection Ultimately Will Contain Photographic Reproduction of Ancient and Modern Art Works St Louis Post Dispatch February 23 1922 p 18 ProQuest 578830122 Bailey 2006 pp 93 95 a b The Bronx Market The New York Times April 12 1923 p 31 ISSN 0362 4331 ProQuest 100239214 Library for Frick Home To Cost 139 000 New York Herald Tribune April 11 1923 p 16 ISSN 1941 0646 ProQuest 1237300227 New Frick Library Ready for Opening 37 000 Photographs of Paintings and Drawings to Be Shown Today at Private Gathering The New York Times May 23 1924 ISSN 0362 4331 Archived from the original on February 19 2024 Retrieved February 19 2024 Bailey 2006 pp 95 97 Henry Clay Frick The New York Residence The Frick Collection November 8 2013 Archived from the original on June 5 2021 Retrieved November 8 2013 a b c d Bailey 2006 p 99 Mrs Frick Estate Goes to Children Son and Daughter Divide Bulk of 6 000 000 in Will Filed at Pittsburgh The New York Times October 9 1931 ISSN 0362 4331 Archived from the original on January 29 2024 Retrieved January 29 2024 Death of Mrs Frick Gives Art Gallery to New York Collection and House Containing it Valued at 50 000 000 The Washington Post October 5 1931 p 1 ISSN 0190 8286 ProQuest 150128901 Mrs H C Frick Left 4 048 643 Estate But the State Will Derive Tax Only From Personalty Here Listed at 132 238 The New York Times March 16 1934 ISSN 0362 4331 Archived from the original on February 22 2024 Retrieved February 22 2024 Adelaide Frick Estate Total Set At 4 048 643 Henry Clay Frick Trust Fund Started in 19 Rises From 5 000 000 in 14 Years 2 Children Will Benefit 4 100 000 Deeds Set Aside for Four Grandchildren New York Herald Tribune March 16 1934 p 19 ISSN 1941 0646 ProQuest 1240148417 a b Frick Art Museum to Open in Spring Several Months Are Necessary to Complete Rearrangement of Fifth Avenue House The New York Times November 5 1931 ISSN 0362 4331 Archived from the original on January 29 2024 Retrieved January 29 2024 a b c National Park Service 2008 p 21 a b Bailey 2006 pp 99 101 Frick Art Gallery to Open This Year Collector s Daughter on Stand in Libel Suit Tells of Plans of Trustees The New York Times February 6 1935 ISSN 0362 4331 Archived from the original on January 29 2024 Retrieved January 29 2024 Bailey 2006 p 101 Frick Art Collection Will Be Put On Public Display Within Year 2 000 000 5th Ave Chateau Housing Treasures To Be Made a Museum New York Herald Tribune January 19 1933 p 1 ISSN 1941 0646 ProQuest 1221650499 Public to Receive Frick Art in Fall Trustees of His 50 000 000 Collection Will Open Centre in Fifth Avenue Home The New York Times January 19 1933 ISSN 0362 4331 Archived from the original on January 29 2024 Retrieved January 29 2024 Real Estate Transactions in City and Suburbs Frick Trustees Buy 2 Houses In 71st Street Dwellings Near Fifth Ave to Provide New Room for Art Reference Library New York Herald Tribune January 20 1933 p 30 ISSN 1941 0646 ProQuest 1221782052 Storage Vault Planned For Frick Art Museum The New York Times February 8 1933 ISSN 0362 4331 Archived from the original on February 20 2024 Retrieved February 20 2024 Mrs O Day Appointed To Miss Marbury s Post Gels Miss Marbury s Post New York Herald Tribune June 24 1933 p 7 ISSN 1941 0646 ProQuest 1221808395 New Frick Library to Cost 1 000 000 Plans Filed for Buildings and Alterations for Housing of Art Collection The New York Times June 24 1933 ISSN 0362 4331 Archived from the original on February 20 2024 Retrieved February 20 2024 Frick Mansion To Be Altered Into Museum Workmen Already Busy Remodeling House at 5th Av and 71st St for Art New York Herald Tribune December 3 1933 p 24 ISSN 1941 0646 ProQuest 1114674666 Frick Art Showing Delayed Till Fall Unexpected Difficulties Are Met in Turning Residence Into Public Gallery The New York Times February 22 1934 ISSN 0362 4331 Archived from the original on January 29 2024 Retrieved January 29 2024 Frick Museum Likely to Open Next Month Preview of 50 000 000 Art Collection May Be Held Within 2 Weeks New York Herald Tribune November 30 1935 p 3 ISSN 1941 0646 ProQuest 1329406003 a b c Rhodenbaugh Harold December 15 1935 50 000 000 Frick Art Collection Opens to Public View Tomorrow in New York His Mansion Is Converted Into Museum Cultural World Eager to See Fabulous Works of Masters Death of Industrial Titan s Widow Permits Release of Legacy The Washington Post p SS5 ISSN 0190 8286 ProQuest 150577112 a b New Frick Art Library To Be Opened by Jan 1 250 000 Photographs 45 000 Books Already in Place New York Herald Tribune November 17 1934 p 13 ISSN 1941 0646 ProQuest 1243780832 Garden Court The Frick Collection November 10 2013 Archived from the original on February 7 2021 Retrieved February 14 2024 a b Bailey 2006 pp 104 105 Theftproof Vault Built for Frick Art Collection The Brooklyn Daily Eagle December 16 1935 p 11 Archived from the original on January 29 2024 Retrieved January 29 2024 Bedford Steven 1998 John Russell Pope Architect of Empire Rizzoli p 185 ISBN 978 0 8478 2086 3 Archived from the original on February 22 2024 Retrieved February 23 2024 New Frick Library Opened to Students Art Reference Centre Resumes Service After Moving Into 850 000 Building The New York Times January 15 1935 ISSN 0362 4331 Archived from the original on January 29 2024 Retrieved February 14 2024 Whelan Frank October 1 2004 A look behind the scenes at Henry Clay Frick houses Morning Call p E3 ProQuest 393188431 700 See Treasures of Frick Gallery Steelmaker s Mansion Begins Career as Museum With Preview to Guests The New York Times December 12 1935 ISSN 0362 4331 Archived from the original on January 29 2024 Retrieved February 14 2024 Frick Gallery Of Art Opens With 700 at Its Preview Vast Treasure Centered on 136 Master Paintings Becomes Accessible to Public Monday Donor s Children Receive the Guests Collection s Purchase of Morgan Painting Made Known Value of Works Is Called 50 000 000 New York Herald Tribune December 12 1935 p 1 ISSN 1941 0646 ProQuest 1221727004 Frick Art Museum Opened to Public 750 View Superb Collection in Former Home of Donor Same Number to See It Daily The New York Times December 17 1935 ISSN 0362 4331 Archived from the original on January 29 2024 Retrieved February 14 2024 Frick Museum Opens to Public As 700 See Art Director Calls First Day a Success Lecture Tour Is Planned for Visitors New York Herald Tribune December 17 1935 p 21 ISSN 1941 0646 ProQuest 1242909040 span, wikipedia, wiki, book, books, library,

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