Walter Rosen immigrated to the United States from Germany with his parents when he was a child. He became a successful attorney and married Lucie Dodge, who was from a prominent New Jersey family. Both of the Rosens had a deep appreciation of art and music and in their travels throughout Europe, they acquired numerous works of art, many of which are now on display at Caramoor.The couple bought the estate in 1928, largely because they were enchanted by the sunken gardens. Their original plan was to demolish the entire estate, keeping only the gardens, but the Depression forced them to change their plans. Instead of tearing down the estate, they remodeled it over the next several years, finally completing the mansion and outbuildings in 1939. They commissioned architect Christian S. Rosborg to do the designs and the drawings for the estate are at the Westchester Historical Society.The following year, the Rosens began hosting musical performances at the estate for their friends. In 1946, the couple founded the Center and began hosting events which were open to the public. The first performance was held on February 16, 1946 with about 60 people in attendance.Over the years, Caramoor has undergone several additions and renovations. In 2016, 200 new velvet chairs were ordered to replace older ones, some of which dated to the original 1946 performance. After the death of Lucie Rosen, a wing was added to house rooms from the Rosens' New York City apartment. Caramoor hosts numerous performances throughout the year. Most are symphonic, opera, chamber, and jazz performances. The estate is listed on the National Register of Historic Places.

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The Caramoor Center for Music and the Arts began as the private estate of Walter and Lucie Rosen, both of whom were keenly interested in music and art. The Rosens purchased the estate in 1928 and gradually enlarged it over the following decade into a Mediterranean style mansion and outbuilding by architect Christian S. Rosborg. The couple began hosting musical events for their friends in 1940 and in 1946, they established the Center and began offering events to the public. The estate is listed on the National Register of Historic Places. 

Caramoor Center for Music and the Arts 

Over the past two centuries, Westchester County has been home to many artists and art collectors.  This arts tour includes public and private sites, including several historic house museums.  There are many artistic treasures to be discovered.

Westchester County Historic Arts Trail

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After the death of George Custer, Elizabeth Custer would dedicate the rest of her life writing about and defending the legacy of her late husband. She feared that he would become a historical scapegoat and to counteract that, she would publish three books about their life together on the Western frontier. Due to the popularity of her books, she would be away frequently and would lease the fully furnished house during her time traveling.[1]However, even when she was in Bronxville, Elizabeth would not regularly stay at her home—instead opting to stay at the Lawrence family’s Hotel Gramatan.[2]            Elizabeth Custer commissioned the construction of the 6 Chestnut Avenue estate in 1902. The building would be designed by William A. Bates and would be considered by many to be one of his finest works.[3]The building is a stone and shingle fifteen room house which features a three story tower—a trademark of Bate’s architecture—that at its base, has a wraparound balcony. Prior to the completion of Laurentia—the name that Elizabeth would give to the house in honor of William and Sarah Lawrence—Elizabeth had already had a tenant lined up to move into the new estate.[4]            Lawrence Park is considered to be an architectural, cultural, and historical significant location in Westchester County and to this day presents a distinctive turn-of-the century suburban ambiance. Lawrence Park was designed with great care as William Van Duzer Lawrence personally oversaw the development. The roads at Lawrence Park were planned by following the worn cow paths of the old Prescott Farm in order to preserve the large trees and other natural features of the property.[5]Elizabeth Custer’s draw to Lawrence Park was due to her friendship with the Lawrence Family however, Laurentia would prove to be a large part of Lawrence Park’s historic significance as it is an excellent example of suburban residential design.

Following the death of her husband, George Armstrong Custer, at the battle now known as the “Battle of the Little Bighorn”, Elizabeth Bacon Custer moved first to New York City and then relocated to Lawrence Park in Bronxville.  Elizabeth had a newfound career as a writer in order to defend the legacy of her husband. She moved to Bronxville to live near friends William and Sarah Lawrence and Agnes Wellington--the wife of Arthur M. Wellington, a chief engineer of Toledo and Canada Southern Railroad.  Elizabeth would own two houses in Lawrence Park at 20 Park Avenue and 6 Chestnut Avenue. The house at 6 Chestnut Avenue is much larger than its 20 Park Avenue counterpart. 

Elizabeth Custer House--Laurentia 

The original design plans for Lawrence Park, as conceived by namesake William Van Duzer Lawrence, focused on ways to emphasize and accentuate the natural beauty and topography of this hilly area of Bronxville, New York. Another early goal was to attract to artists and writers to establish an artist’s colony. Otto Bacher (1859-1909) was a well known painter, etcher, and illustrator, whose home and studio were located on Lookout Avenue in Lawrence Park. According to artist Will Low, it was a “chance visit” that Low paid to his friend Bacher that inspired Low to also make Lawrence Park his home and place of work. In 1896, the same year that Low had first come to Lawrence Park, he and his French wife, Berthe, purchased a large home and studio on Prescott Avenue. Berthe Low was an English-French translator, whose works include the French translation of the classic novel Treasure Island. After Berthe’s death, Low married Mary Fairchild MacMonnies Low, a successful landscape and portrait painter, who moved into the home along with her two daughters, Berthe Helene and Marjorie Eudora, from her prior marriage to sculptor Frederick MacMonnies. Will Hicok Low was born in 1853 in Albany, NY. At the age of twenty, he traveled to Paris to study at the École des Beaux Arts in the atelier of Jean Leon Gerome. Upon his return to the United States, he joined the Society of American Artists and started receiving commissions to paint murals such as those at the original Waldorf-Astoria Hotel in Manhattan, the Albany State Education Department building, and private mansions. Low's art is still available to the public today. For example, Love Disarmed (1889) is hanging at the Brooklyn Museum and his Self Portrait (1876) is a part of the collection at the Smithsonian American Art Museum.Low was also a successful illustrator of novels and works of literature. He worked in the Neoclassical Style and his pictures of New England and for the author John Keats brought him prominence. Low was an accomplished stained glass designer. In addition, he taught at Cooper Union and for the National Academy of Design in New York City, an organization to which he belonged.The Will Low House &amp; Studio is a typical example of the early homes built in Lawrence Park. Designed by William A. Bates, who was involved in the plans for over thirty five homes in the district, the two-and-one-half story Shingle Style home on Prescott Avenue exhibits undulating surfaces, medieval diamond-paned fenestration, and a gable roof. The house was lived in continuously by artists until 1965. It remains a private residence. The Will Low House &amp; Studio is included in the Lawrence Park Historic District, which was added to the National Register of Historic Places in 1980. A quote from Will Low in1912 appears in Lawrence Park Artists &amp; Writer, “Exhibition catalogues now bear Bronxville addresses so frequently that it may not be long before the cities sit up, take notice and gravely note the existence of a ‘Bronxville school’ in much the same manner as the ‘Barbizon school’ is referred to.”

The Will Low House &amp; Studio was the Lawrence Park home of artist Will Hicok Low (1853-1932.) He resided there with his first wife, Berthe (1853-1909), a translator of English literature into French and after her death, his second wife, Mary Fairchild Low (1858-1946), a landscape and portrait painter. Designed by architect William A. Bates, it was one of the first five residences built in Lawrence Park. Completed in 1891, the Shingle Style home is two-and-one-half stories and exhibits medieval diamond-paned windows, a gambrel roof on what was the attached studio, and a fieldstone chimney. An accomplished muralist and figure painter, Will Low lived and worked in his home in Lawrence Park for over thirty years, finishing his last painting only hours before he died. The house was lived in continuously by artists until 1965, and remains a private residence. The Will Low House &amp; Studio is included in the Lawrence Park Historic District, which was added to the National Register of Historic Places in 1980.

Will Low House and Studio (Lawrence Park Historic District)

Fitzgerald was born on April 25, 1917 in Newport News, Virginia. Her father, William, and her mother, Temperance, separated shortly after her birth. Temperance took her young child to live in Yonkers, New York, where she began a relationship with Joseph Da Silva. After moving in together, Temperance gave birth to Ella’s half-sister Frances. In her early teens, Ella was faced with the sudden deaths of her mother and stepfather which threw her into a spiral of negative behavior, leading to her being sent to a reform school from which she escaped at the age of 15.She fought against the obstacles of making a living during the Great Depression and managed to find her calling when she won a chance to perform at an Amateur Night in 1934. Although she recounts being heckled at first, by the end of the song the crowd urged her to do an encore. This event put her in contact with Benny Carter, who helped her establish connections to successful producers and bandleaders. Shortly after, she received her first paying gig as a singer in Chick Webb’s band. With this group, she was able to make her first recording in 1936. When Webb passed a few years later, “Ella Fitzgerald and her Famous Band” took over the jazz world.As an African-American woman, Ella had to overcome racial discrimination throughout her career, including an instance where police arrested the band members and later asked them for autographs. Despite these struggles, Ella went on to receive the National Medal of Arts in 1987 as well as several honorary doctorates from various Ivy League schools. As she entered her 70s, her physical health declined rapidly. In 1986, Fitzgerald underwent an extensive quintuple bypass surgery and was diagnosed with diabetes. Just after her last concert in 1991, she had to have both legs amputated below the knees. She spent the last few years of her life with her son and sister’s family before passing on June 15th, 1996 in Beverly Hills.In 1996, a sculpture of Ella Fitzgerald was unveiled in Yonkers to honor her legacy and connection to where she grew up. Fitzgerald's life-size sculpture was designed by Vinnie Bagwell, an African American sculptor who is also from Yonkers. She started sculpting in the early 1990s and her first commission was the tribute to Fitzgerald. At the same time, Bagwell became the first African-American woman sculptor to be commissioned by a municipality. She has continued to encourage community involvement with the arts in Yonkers with her latest project entitled “The Enslaved Africans’ Rain Garden.” She is also a published author and currently writes for The Harlem Times. The sculpture of Ella Fitzgerald is situated near the Metro-North station in Yonkers. She is posed with her hands extended, singing, forever entertaining passersby with her timeless talents. The Ella Fitzgerald Foundation, which she founded in 1993, continues her philanthropic endeavors, focusing on children's education and support, disadvantaged and at-risk individuals, music and music education, and medical research.

This sculpture commemorates “the First Lady of Jazz,” Ella Fitzgerald (1917-1996). Fitzgerald, raised in Yonkers, overcame a difficult childhood to become one of the most recognizable jazz singers. Her impressive vocal range and ability to master the "scat" technique, along with her creativity and perseverance fueled her success in the music industry. She grew up near Harlem, known as the heart of jazz, allowing her to make connections with producers who helped launch her career. She performed from the mid-1930s until the early 90s, recording 200 albums and winning thirteen Grammy awards along the way. She is known for her voice in more than one respect, as she overcame many obstacles from a turbulent childhood and persistent racial discrimination to become one of the most influential musicians of the 20th century.

Ella Fitzgerald Sculpture, "The First Lady of Jazz" 

"John Bond Trevor was a successful New York stockbroker and dealer in gold and silver bullion, who in 1876 decided to build a summer home in Yonkers." (Williams, 224) Trevor selected a tract of land with 23 acres in the Northern portion of Yonkers, which happened to be just north of his friend and business partner, John Boorman Colgate. He named his estate Glenview, the land not only provided a great amount of space for his home but, it also offered him amazing views of the Hudson River and the Palisades. The home is designed in High Victorian Gothic Style, which similar to French Second Empire, which became popular after the Civil War. Charles W. Clinton, a New York City architect designed the home. High Victorian Gothic intertwined elements that were French and German. Construction on the house was completed in 1877, "the house was built with gray local stone, trimmed with lighter Ohio limestone, and it was topped with a complex cluster of steeply pitched slated roofs. One of the most prominent features of it design was a five-story front tower. A broad veranda once extended across most of the facade; it has since been replaced with a smaller porch of the same style." (Williams, 224) Its interior was just as elaborate as its facade. The home was filled with lavish furnishings and works of arts, some of these pieces at the Philadelphia Centennial Exposition in 1876. "The front parlor, was used for formal entertaining and receiving visitors, featured an elaborately carved fireplace and matching upright piano, a 10 piece suite of upholstered Eastlake furniture, Axminster carpeting (possibly from the Alexander Smith Carpet Factory in Yonkers), floral wallpaper, a stencil-painted ceiling and a marble statue of Faust and Marguerite by Florentine sculptor Pasquale Romanelli. Among the more exotic decorative objects was a stuffed male peacock, placed in front of the fireplace." (Williams, 227) The Trevor family consisted of John Bond Trevor, his wife Emily Norwood Trevor and their two daughters Mary and Emily as well a son, Henry from his first marriage with his late wife Louisa Stewart.(Hudson River Museum) Only from April and December the family occupied the home and while they were there John would commute to his Wall Street office. While he was there, John would enjoy the pleasures of his surroundings by focusing on his hobby horticulture and driving his trotting horses. (Hudson River Museum) The estate would remain in the possession of the family until Mrs. Trevor's death in 1922. Most of the home's contents was auctioned off but the city of Yonkers bought the house and transformed it into the Yonkers Museum of Science and Arts. It was renamed the Hudson River Museum in 1948. In the late 1960s, a modern museum was built in front the home, replacing its front yard with a courtyard. Overtime most of the home's interior and exterior has been restored to reflect the era of the Trevor's residency The Hudson River Museum is the largest museum in Westchester. In addition to the Trevor Mansion, they have a Planetarium, changing art exhibits and an outdoor performance venue.

Glenview (also known as the John B. Trevor House) was built by John Bond Trevor in 1876. New York City architect, Charles W. Clinton designed the home in the style of High Victorian Gothic which is similar to the French Second Empire style. Construction on the home was completed in 1877 and the home remained in the possession of the family until Mrs. Trevor's death in 1922. The city of Yonkers purchased the home and transformed it into the Yonkers Museum of Science and Arts. In 1948, it was renamed the Hudson River Museum. By the late 1960s, a more modern museum was built in front of it, majority of the home's interior has been restored to the period of the Trevor's residency.

Glenview (John B. Trevor House)

“In the early 20th century, North Broadway was one of the most exclusive neighborhoods in Yonkers, lined with great estates. Two of these, Greystone and Alder Manor, sat side by side overlooking the Hudson.”1 The area now known as Untermyer Park was originally part of the 150 acres estate, Greystone. It was purchased by Samuel Untermyer in 1899 when the original owner of Greystone, John T. Waring, faced financial reverses. Untermyer was a “highly successful trial lawyer, famed for his skills at cross-examination. He became rich representing corporate clients and investing in their enterprises. . . . He was also an important defender against anti-Semitism and, from the early 1930s, an eloquent opponent of Hitler and Nazi Germany.”2 Untermyer was also deeply fascinated by plants and gardens, so upon purchasing the estate, he decided to build a luxurious garden. “It has been said that Mr. Untermyer knew more about plants than most of his gardeners. The gardens were in almost every respect Untermyer’s creation.”3“The grounds of the Untermyer Estate lie ‘on hilly rock-strewn land’ at what in 1928 could be described as ‘the edge of the city of Yonkers, with the Hudson below and the Palisades lifted up sharply on the New Jersey shore opposite’.”4 While some may seem hilly land as an issue, Untermyer saw the potential for beauty with his newly acquired estate. The park/garden features the rock garden, a Grecian garden, a Grecian amphitheater, a classical pavilion, a pergola, and a statuary. Located within the Grecian garden as well is a “circular pavilion, called the Temple, with its grand outlook over the Hudson River and the Palisades.”5 At the other end of the Grecian garden lies two column structures, with two sphinx’s resting on top, created by the famous Paul Manship (creator of the gilded statue of Prometheus at Rockefeller Center). While the sphinx’s were created by Manship, the gardens themselves were designed by the famous architect William Welles Bosworth, known for designing the gardens at the Rockefeller Estate, Kykuit. His most prized garden work in Untermyer Park is the large formal garden (Grecian Garden), designed in “the same neoclassical style as the gardens at Kykuit and Beechwood.”6 The gardens originally contained a large variety of plants “including $25,000 worth of English boxwood, and an extravaganza of 30,000 rhododendrons-- twenty feet or more in height. . . .In addition the estate produced a variety of vegetables, Untermyer and his staff conducted horticultural experiments often creating new varieties of plants, and several of the sixty greenhouses contained ‘the finest private collection of tropical plants in America, including some two thousand rare orchids’.”7 The theater area is still being used today. Open to the public, Untermyer Park is a fun location for all to visit and enjoy its beauty and nature. The location was added to the National Register of Historic Places in 1973.

Originally part of a 150 acre estate known as Greystone, the now 43 acre Untermyer Park has served as a residential estate and now a public a park/garden. The formal  gardens created by the famous William Welles Bosworth, and amphitheater are in the Neo-clssical style.  Located overlooking the Hudson River, it features seasonal plantings and fountains. The park is a pleasant visit for all who wish to take in scenic views and beautifully landscaped spaces.

Untermyer Park

In 1835, William Sunders, an industrialist from the Hudson Valley, commissioned the construction of the carpenter Gothic style home that would be sold to Cropsey in 1885.[1]Soon after his acquisition of the house, Cropsey built a single room studio which he designed himself. Cropsey was originally trained as an architect and would on occasion return to the craft when he was in need of money or was designing for himself.[2]The studio was finished in 1887 and where Cropsey would paint for the rest of his career. The studio boasts a high ceiling topped with a large, glass window encased rectangular cupola—a dome-like structure that is designed to admit light into a room—and a full length window that faces north.[3]This design was to allow for an abundance of natural light. The studio also contains an inglenook fireplace flanked by short benches that come out perpendicular to the wall. In addition to being used as a studio, Cropsey also utilized this space to entertain guests.             Ever Rest is situated high up on a hill which falls away to the west and north giving a picturesque lookout to the Hudson River and the Palisades.[4]The interior of the house follows an irregular floor plan which suggests a history of enlargement with either former dependencies being connected together or additional wings being built soon after the initial construction.[5]Either way, the exterior of the house is uniform in style. As the house passed though the Cropsey and Newington family, the home has gone through standard modernization which have not encroached on the innate, historic character of the home.             Jasper Cropsey was a significant painter of the Hudson River School—a mid 19th century art movement that was heavily influenced by landscapes and romanticism. Cropsey spent the last fifteen years of his life in Hastings-on-Hudson after financial strains forced him to sell his Aladdin estate in 1884. His studio at Ever Rest was influenced by the design of his former Aladdin studio. Cropsey’s house embodies his architectural career with a house overlooking a scenic Hudson River landscape and a studio of his own design. The house has stayed within the family and is substantially unaltered. The property is open to the public and operated by the Newington-Cropsey Foundation. There is a separate museum building on the property dedicated to his artistic career.

Built in 1835, Jasper Francis Cropsey purchased his carpenter Gothic cottage in 1885. The estate was named Ever Rest by Cropsey due to the serenity that the property provided he and his wife in their later years. They moved to Hastings-on Hudson due to slowing sales of his paintings and their inability to afford their  estate in Warwick, New York. Upon the purchase of Ever Rest, Cropsey added a studio wing to the house. Today, the house and studio is open to the public and managed by the Newington-Cropsey Foundation. 

Jasper Francis Cropsey Home and Studio

Port Chester was a vibrant manufacturing center when this 1,800-seat movie and vaudeville theater was built, producing such well-known items as Empire brushes and Life Savers. The Capitol was one of some 300 theatres, designed by Thomas White Lamb, one of the field's leading architects. Lamb, raised in Scotland, immigrated as a boy to New York City and received his education in architecture at Cooper Union. He soon specialized in the design of dual purpose theaters. His preferred style was neoclassical until the mid-1920s, but he then decided that something more specifically theatrical was required. The entrance to the Capitol at Westchester Avenue is a relatively simple example of Renaissance Revival architecture, but the interior is a vivid mixture of classical, Medieval and Oriental elements. Once described as “Byzantine,” its style features so many elements that throwing a label to it is nearly impossible. Through the 1920s and 1930s the theatre continued to prosper. Films remained a common, inexpensive form of entertainment during the Depression. However, after World War II, first-run homes such as the Capitol stopped live performances and became less profitable; Port Chester was losing industries and entering a time of economic decline. It turned into a pornographic film theater by the late 1960s and quit screening films altogether in 1970. It experienced a renaissance in the 1970s, as its acoustics are excellent as a venue for rock concerts.  Many stars played there, from the Grateful Dead to Janis Joplin, but these events' late hours and raucous atmosphere contributed to restrictions that put the hall out of business in 1976. During the next few years the property deteriorated badly. It was purchased in 1983 by Marvin Ravikott, a local builder and developer who painstakingly renovated it.  It reopened in 1987 as a theatre-concert hall. The 1990s, with the likes of Phish, Blues Traveler, Spin Doctors and Strangefolk, would see some live music there once again. Both David Bowie and the Rolling Stones performed at the Capitol in 1997. The market for a venue of that scale gradually slackened. The Capitol Theatre then served as a catering hall for special events, until December 2012, where music entrepreneur, Peter Shapiro, would purchase the theatre.  Since then the theater has hosted many well-known performers and top acts since his ownership began.  The Capitol Theater was put into the National Register of Historic Places in 1984.

The Capitol was one of some 300 theatres, designed by Thomas White Lamb, one of the field's leading architects. 

From the Grateful Dead and Janis Joplin in the 70s to David Bowie and the Rolling Stones in the 90s, the Port Chester-based theatre has featured many notable acts. 

The market for a venue of that scale gradually slackened. Starting in 1997, The Capitol Theatre served as a catering hall for special events, until December 2012, where music entrepreneur, Peter Shapiro, would purchase the theatre. 

The Capitol Theater was put into the National Register of Historic Places in 1984.

The Capitol Theatre

Percy Grainger Home and Studio is a historical site in White Plains, New York owned by Percy Grainger American Inc (1). It provides tours to the public by appointment. This site on Cromwell Place, White Plains, was purchased in 1921 by Percy Aldridge Grainger, (born George Percy Grainger), a pianist looking to pursue his music in a quiet suburban area where he wouldn't disturb any of his neighbors. Grainger was born in Melbourne, Victoria, Australia, where he started his studies of the piano at a young age with the encouragement and support of his mother. He became a performing pianist at age ten (2). Later Grainger attended the conservatory in Frankfurt where he studied with Louis Pabst. In 1921, Percy Grainger moved to White Plains, New York to continue his musical career. Unfortunately, a year later Percy's mother Rose, who was his mentor and closest companion, committed suicide. In 1926 he met his Swedish born wife Ella Viola Strom, who was a poet and painter. They lived together in their White Plains house until their deaths; Grainger died in 1961 followed by his wife in 1979. Percy Grainger Home and Studio is significant as the home of an innovative American composer. This is where Percy Grainger created his Free Music machines (2). He was fascinated by the technology of the time and his house is filled with his inventions and with the newest technology that was available in his life time. Grainger was a prolific performer and was widely recognized during his lifetime (3). Today, if you go to Percy Grainger Home and Studio you can still see live performances of music composed by Grainger in the space where he performed. Also, while taking tours of the house you can learn more about the life Grainger family. This includes all the music Percy collected, his mothers Rose Grainger's room, the art created by his wife Ella and so much more.

Percy Grainger was a famous composer, pianist, and inventor of Free Music, which is a prototype of a synthesizer. Percy Grainger Home and Studio is where he lived and gave performances from 1921-61.

Percy Grainger, Home and Studio

The building at 825 Hartsdale Road was built by Riccardo Bertelli in 1908 to serve as an sculptor's home and studio. Bertelli was the founder of Roman Bronze works, a sculpture foundry in Brooklyn that he established in 1897. The dwelling on Hartsdale Road was first occupied by Henry Merwin Shrady (1871-1922). Before Shrady settled in the home, he had completed a sculpture, George Washington at Valley Forge, which is part of the Continental Army Plaza in Brooklyn. Shrady and architect Edward Pearce Casey had won the competition to design his most well-known sculpture an equestrian sculpture of Ulysses S. Grant that is part of the latter's memorial on the grounds of the United States Capitol. This project was not completed until shortly after Shrady's death. Sculptor Karl Ilava (1889-1954) acquired the home at 825 Hartsdale Road from Henry Merwin Shrady's widow, Harrie Moore Shrady, in 1925. Illava, a veteran of World War I, sculpted his best-known work, the 107th Infantry Memorial, while residing in Greenburgh. Located in Central Park in Manhattan at Fifth Avenue and 66th Street, this monument was dedicated in 1927, nine years to the day when the regiment broke through the Hindenburg Line at the Battle of St. Quentin Canal. Karl Illava sold the home on Hartsdale Road in 1931. Four years later the building was acquired by a third sculptor, Leo Friedlander (1888-1966). Friedlander had already completed several works by the time he settled in Greenburgh, including the central pediment at the Museum of the City of New York and sculptural panels at the Oregon State Capitol. As his new home had been vacant for some time, Friedlander made renovations to the structure, including the reinforcement of the floor to provide additional support for the large-scale figures that he sculpted. By the time the work was completed, the floor was able to support 1,000 pounds per square foot. During Friedlander's ownership of 825 Hartsdale Road, he completed what is perhaps his best-known work, The Arts of War. Commissioned in 1929 but not erected until 1951, the sculpture is located on the Washington, D.C. side of the Arlington Memorial Bridge. Leo Friedlander died in 1966, and his home and studio remained in his family until it was sold by his son, Gordon, in 1996. The building was added to the National Register of Historic Places in 1982.

Nestled in a residential neighborhood in the Town of Greenburgh is an unusual home made of stucco-covered concrete block.  Unique among the buildings in the neighborhood, this house was actually constructed by Riccardo Bertelli in 1908 as a home and studio for sculptor Henry Merwin Shrady.  Bertelli was the founder of Roman Bronze Works, one of the most prominent sculpture foundries in the United States.  The building was later occupied by two other sculptors, Karl Illava and Leo Friedlander.  As Friedlander owned the building the longest among the three sculptors, the structure was added to the National Register of Historic Places under the name Leo Friedlander Studio.

Leo Friedlander Studio

A native of New York City, Henry Rossiter Worthington (1817-1880) established the Henry R. Worthington Pump Works (later renamed Worthington Corporation) in Brooklyn in 1845. Worthington invented and manufactured direct-acting steam pumps, and was a co-founder of the American Society of Mechanical Engineers. He and his wife, Sara Newton, resided on a large estate on the Saw Mill River Road south of Elmsford. They were parishioners of the Church of St. Barnabas in Irvington. The couple had seven children, three of whom died young. Following her husband's death in 1880, Sara Newton Worthington decided to build a memorial chapel with a burial crypt on a portion of her estate. Although there is no record of the architect who designed the chapel, family tradition says that it was a member of the Upjohn family, most likely Richard Michell Upjohn, son of Richard Upjohn. The building was designed in a style known as Norman Gothic or Neo-Gothic, and stone from the Worthington estate was used for its construction. The Worthington family's burial crypt was built beneath the raised floor of the crypt's chancel. Sara Worthington arranged for the remains of three of Fanny, Frank, and Josie, three of her children who died young, to be removed from their original resting place to the crypt. Sara Newton Worthington died in 1893 and was entombed in her family's chapel. She bequeathed the chapel to the Episcopal Diocese of New York, and authorized it to be used for Episcopal services as well as a place of interment for the bishops of the diocese. At the time, the Cathedral of St. John the Divine, which was to have burial space for the bishops, was under construction, so the diocese decided to make the chapel into a church. The Worthington Memorial Church of St. Joseph of Arimathea, named for the saint who provided his own tomb as a burial place for Jesus, was created as a mission parish in 1896. It became a parish church in 1931. Since becoming a public church in 1896, several additions have been made to the house of worship. In 1901 an addition consisting of a choir room (now the rector's study) and a second family crypt was completed. This addition is believed to have been designed by Hobart Upjohn, a son of Richard Michell Upjohn. A meeting room was added in 1953. A final addition, consisting of meeting rooms, bathrooms, offices, a kitchen, and an elevator, was completed in 1990. The church was added to the National Register of Historic Places in 2002.

The Episcopal Church of St. Joseph of Arimathea was originally built as the private chapel by Sara Newton Worthington, widow of Henry Rossiter Worthington.  Mr. Worthington was a mechanical engineer who was an inventor and successful manufacturer of steam pumps.  Mrs. Worthington decided to build this memorial chapel on their estate as a burial place for her late husband and three of their children who died at young ages.  The Worthington Memorial Chapel, which is believed to have been designed by Richard Michell Upjohn, was completed in 1883.  Mrs. Worthington bequeathed the chapel to the Episcopal Diocese of New York, which established the Church of St. Joseph of Arimathea at the chapel in 1896.

Church of St. Joseph of Arimathea

After renowned author Washington Irving died in 1859, his home remained in the Irving family as a private residence, and thus was not accessible to the public. After a making an address at Irvington Village Hall during the 1909 commemoration of the 50th anniversary of Irving's death, Jennie Prince Black (1868-1945), a prominent citizen of Irvington, was moved by an internal voice to lead a movement to create a public memorial to the author: "I was suddenly startled from my sleep by what seemed to be a voice....'Now is the time!'I replied, 'Now is the time for what?'And the voice seemed to answer back, 'For the fulfillment of your dream: the Memorial to Irving....You who have been here since childhood can arouse the interest of one and all to do this work.'" Mrs. Black resided at Dearman, a home on the west side of Broadway just south of Sunnyside Lane. She spent the next 15 years leading the effort to raise funds for the memorial. It was not until 1924 that she was able to commission Daniel Chester French, sculptor of the statue of Abraham Lincoln at the Lincoln Memorial in Washington, D.C., to design sculptures for the memorial. Mrs. Black was also able to hire architect Charles Adams Platt to design the site plan. French made three sculptures for the memorial: a bust of Irving about the age of 35, a relief of Rip Van Winkle, and a relief of Boabdil, King of Granada, who appeared in Irving's The Alhambra. The bust and the two reliefs were attached to the central panel of the memorial, which is flanked on both sides by lower, curved wing walls. The panel and the walls are made of Vermont granite. Mrs. Black and her committee hoped to place the memorial at the intersection of Broadway and Sunnyside Lane. However, the Irving family objected to this location, as they feared the memorial would lead to an increase in the number of souvenir hunters and tourists who came to their property. The committee tried without success to find another location for the memorial, and eventually the Irving family relented. The Washington Irving Memorial was unveiled on June 27, 1927. The cord that removed the veil was pulled by Washington Irving, a great-great-nephew of the author. The memorial was restored in 1998 and was added to the National Register of Historic Places in 2000.

Jennie Prince Black, a prominent citizen of Irvington, began to push for the establishment of a public memorial to Washington Irving in 1909.  At the time, Irving's home, Sunnyside, was still owned by the Irving family and was not accessible to the public.  Mrs. Black formed a committee to plan for the monument, and her persistence paid off in 1924 when enough funds had been raised to pay for it.  Designed by Charles A. Platt and featuring sculptures by Daniel Chester French, sculptor of the statue of Abraham Lincoln at the Lincoln Memorial, the monument was not completed and dedicated until 1927 due to construction problems and financial difficulties.  The monument features as bust of Irving as well as two characters from his stories, Rip Van Winkle and Boabdil.  It was added to the National Register of Historic Places in 2000.

Washington Irving Memorial

In 1835, upon his return to New York following a 17-year stay in Europe, notable statesman, historian, and author Washington Irving bought an 18th-century farmhouse on the Hudson River, and transformed it into the historical literary haunt he would call "Sunnyside." On the border of Tarrytown and Irvington, the home was sometimes referred to by Irving as "Wolfert's Roost," after the Dutch tenant farmer Wolfert Acker who built the stone farmhouse. With the help of artist George Harvey, Irving transformed his new home into a "fanciful embodiment of an old Dutch mansion," though it brought together several different influences such as the architecture of Scotland, Spain, and colonial New York. He lived the rest of his life at Sunnyside, with the exception of his four-year stint as the United States ambassador to Spain.  Despite the fact that Irving never married or created his own family there, Sunnyside was a hot spot from the beginning. Not only did he share his residence with extended family, but he entertained artists and politicians there, as well. It also played a big part in the Romantic Movement and Hudson River school of writers, artists, architects and more as they "forge[d] a national identity through art and letters and buildings, conjoined to the Hudson River and Catskill Mountains landscape."  However, it isn't likely that anyone loved the home as much as Irving himself, who once called it a "little paradise." Not only the home itself was charmed by his artistic touches, though. The grounds also reflect the author's romantic vision of nature with its garden paths, vistas, waterways made to appear natural, and an exotic wisteria vine that -- still growing today -- envelopes the house.  Sunnyside remained in the Irving family until 1945, when it was sold to John D. Rockefeller, and was opened to the public two years later. Today, the home is owned by the Historic Hudson Valley, and its current appearance is much the way it was when Irving lived and wrote in it.

In 1835, upon his return to New York following a 17-year stay in Europe, notable statesman, historian, and author Washington Irving bought an 18th-century farmhouse on the Hudson River, and transformed it into the historical literary haunt he would call "Sunnyside." On the border of Tarrytown and Irvington, the home was sometimes referred to by Irving as "Wolfert's Roost," after the Dutch tenant farmer Wolfert Acker who built the stone farmhouse. With the help of artist George Harvey, Irving transformed his new home into a "fanciful embodiment of an old Dutch mansion," though it brought together several different influences such as the architecture of Scotland, Spain, and colonial New York. He lived the rest of his life at Sunnyside, with the exception of his four-year stint as the United States ambassador to Spain. 

Sunnyside, Home of Washington Irving 

In 1838, Lyndhurst was designed by Alexander Jackson Davis for William Paulding, New York City mayor (1824-25 &amp; 1927-29). In this Romantic era exotic styles such as the Gothic evoked strong emotion, and emphasized a strong relation to nature in the design with broad verandas and soaring windows . he original name of the Lyndhurst was “Knoll" in reference to its perch on the bluffs of the Hudson River. Contemporary critics referred to it as “Paulding’s Folly” due to the asymmetrical design which was a novelty in the post-colonial era. The second owner, George Merritt, a merchant and banker purchased the estate in 1864 and hired Alexander Jackson David to doubled the size of the house.The landscape was also greatly embellished and the name of the property was changed to Lyndhurst in reference to the Linden trees that had grown up around the house. The estate changed hands in 1880 when it was purchased by a railroad tycoon and speculator, Jay Gould. Gould was keenly interested in horticulture and his main contribution to the estate was to replace the great greenhouse of the Merritts, after it burned. The iron frame greenhouse was a model for the great conservatories being built in this era. Gould lived in the home for 12 years before passing away in 1892 from tuberculosis. Upon his death, his eldest daughter Helen, who would later marry Finley J. Shepard, bought the property from her siblings. In 1938, her sister Anna, Dutchess of Talleyrand-Perigord returned from France and kept the estate in the family. It wasn't until Anna’s death in 1961 that the property was donated to the National Trust for Historic Preservation. It is widely recognized as the finest Gothic Revival residence in America..

In 1838, Lyndhurst Mansion was designed for New York City Mayor William Paulding by Alexander Jackson Davis. This Hudson River villa is considered one of America’s finest examples of Gothic Revival architecture. In 1880 railroad tycoon and speculator Jay Gould bought the estate from its second owner George Merritt, a merchant and banker who doubled the size of the house and added numerous buildings and landscape features. It is now owned by the National Trust for Historic Preservation and open to the public for tours and events.

Lyndhurst, Jay Gould Estate

As Tarrytown slowly became a more affluent community in the 1880s, local chocolate manufacturer, William, L. Wallace, decided that Main Street would be a promising location to build a brand new entertainment center. He commissioned Philip Edmunds to design a multipurpose building. Edmunds designed the building to contain stores, offices and apartments, as well as a large auditorium with a stage. It is in the Queen Anne architectural style. Edmunds was able to design a building that was perfect as an entertainment facility. The original auditorium had a flat floor and movable seating, so that could be used not only for concerts, lectures, vaudeville and eventually movies, but also for many other activities, such as roller skating, dances, flower shows and fairs. It served as a major community center for several decades. 1 (Williams, 254) Its exterior is characterized by its turrets and towers, executed with brickwork, terra cotta and slate. Terra-cotta panels are used to announce the name "Music Hall" and the era and year of its construction "AD 1885". 2 (Williams, 254) The theater was known for being an affordable alternative to more expensive Broadway shows. Local residents can dine at home or local restaurants and then have a relatively short trip to reach the theater. American actresses Mae West and Theda Bara once performed there; Theodore Roosevelt once campaigned there. It has the location for the filming of several films, documentaries and television programs. In 1915, a major change to the exterior of the building took place when the auditorium entrance was moved from Kaldenberg Place to a more visible location on Main Street and a new marquee was mounted over it. The interior has been remodeled several times in different styles. The most important modification to the theater occurred in 1922, when a sloped floor was installed along with permanent seating remaining that way until 1977. A local school of music and ballet called the Friends of the Mozartina Musical Arts Conservatory purchased the building in 1980. Since its purchase the school has operated the Music Hall, it is used for a variety of performances, particularly of music, due to its excellent acoustics.

Tarrytown Music Hall first opened in 1901 as a multi-purpose entertainment center. As the town of Tarrytown slowly became more affluent in the 1880s, local chocolate manufacturer, William L. Wallace, commissioned architect Philip Edmunds with designing a multipurpose building that would contain stores, offices and apartments, as well as a large auditorium with a stage. The architectural style of its exterior is in the Queen Anne style. It continues to serve the community as an entertainment center today.

Tarrytown Music Hall

On a hilltop overlooking the Hudson River, the Dutch settlers in Philipsburg Manor named this spot Kykuit which means "outlook." It was part of the 400-acre estate that John D. Rockefeller purchased in 1893. The Rockefellers adopted this Dutch name for their house. John Sr. continued to acquire land until it eventually totaled over 3,000 acres. Rockefeller lived in another house on the property until it burned in 1902 and serious plans began for a new house.He delegated the planning and construction supervision of the house and gardens to his son and namesake, John D. Rockefeller Jr. The architects Delano and Aldrich built the first version of the house, but John Sr. and his wife Cettie were not satisfied with the result. John Jr. had architect William Welles Bosworth, who was designing the gardens, take over the renovations. While the first house was a modest eclectic mix of styles, Bosworth created a much more imposing structure, of local stone and classical ornamentation. It is located centrally in a 250 acre inner compound within the larger Rockefeller family estate.The elaborate gardens of Kykuit with their terraces, fountains, pavilions and classical sculpture eventually cost more than the house. These gardens in the Beaux-Arts and Italianate style are considered Bosworth's best work in the United States.After the death of JDR Sr. in 1937, his son JDR Jr. and his family lived in the house until 1960. It then passed to his second son, Nelson, who made it his residence as well as a private museum for his renowned collection of 20th century art. Following his death in 1970, his third of the estate with the house, gardens, coach barn and collections were bequeathed to the National Trust for Historic Preservation. Subsequently, his two brothers Laurance and David Rockefeller have left their portions of the 250 acre compound to the National Trust. These portions include additional building such as the Playhouse, Orangerie, guest houses and more. Other portions of the larger estate were left to New York State as public park and to the Stone Barns Center for Food and Agriculture.

The home for four generations of the Rockefeller family, Kykuit was built for John D. Rockefeller, Sr., scion of Standard Oil and richest man in the world during his lifetime. The house and extensive gardens are the design of architect William Welles Bosworth, who worked collaboratively with John D. Rockefeller Jr.on the construction. Completed in 1913, the estate contains several outbuildings including a Coach Barn, Playhouse and an Orangerie. The home contains collections of Asian ceramics, fine furnishings and 20th century art. The last family occupant, Nelson Rockefeller, bequeathed his portion of the estate to the National Trust for Historic Preservation. His two brothers David and Laurance did the same at their deaths.

Kykuit, the John D. Rockefeller Estate

The Union Church is a single story, late gothic revival building with a fieldstone foundation and walls.[1] The main entrance to the building has complementary gothic styled arched wood doors and is a simple example of late 19th and early 20th century Gothic Revival architecture. The interior of the church is equally humble. Upon entering the vestibule, the center aisle is flanked by standard pews and the ceiling of the church is open to the roof with arched shaped rafters. Union Church was designed to be free of sectarian associations in order to serve as a religious building for the employees of the Rockefeller’s Kykuit estate.[2]The first embellishment in the Union Church was an abstractly designed flower glass window by the great modern artist Henri Matisse. Matisse was commissioned to design the window as a memorial for the late Abby Rockefeller. Abby Rockefeller, the wife of John D. Rockefeller Jr., had a great appreciation for modern art and served as one of the three founders of the Museum of Modern Art in New York City. Citing his deteriorating health, Matisse was reluctant at first to take the commission, however, he eventually agreed. While he was too weak to stand at an easel to draw and design the window, he used the art technique of papier découpé. Matisse was able to cut the paper and arrange it into a model design of what would eventually become the window in the Union Church. Matisse died in 1954 and would not see the window be installed into the church. It is believed that the window memorial for Abby Rockefeller was his last project because the maquette was on the wall of his bedroom at the time of his death.[3]The window designed by Matisse alone transformed the simple church into one of artistic significance however, in 1964 the Union Church would be graced with the first of a collection of nine windows by the renowned artist Marc Chagall.  John D. Rockefeller Jr. died in 1960,and members of the Rockefeller family had a window commissioned in his memory. Marc Chagall was already famous for his work in stained glass, however, he  would go on to only create three sets of windows for churches—one set in Zurich, one in Jerusalem, and the last at Pocantico Hills.[4] The largest of the Chagall windows—the one that was dedicated to John D. Rockefeller Jr.—depicts a dreamlike rendition of the parable of the Good Samaritan. It is a large arched window that overtakes the narthex end of the nave.[5] After the Rockefeller Jr. window was finished, Chagall began preparations for eight other windows that would be installed along the church’s nave. These windows were installed in 1966 and depict old testament subjects such as the six prophets and an image of the crucifixion which was in memory of Michael Clark Rockefeller—the son of former Vice President Nelson Rockefeller—who was lost during an anthropological expedition.[6]The Union Church started as a very simply designed building, however, the windows by Chagall and Matisse transformed the church into an artistic shrine of vibrant colors. Being one of three sets of Chagall windows in the world in conjunction with the final artistic work by Matisse, the church attracts a large number of tourists from all around the world. Today, the church is run by the Historic Hudson Valley which is in charge of public access to the church. The Historic Hudson Valley is also in charge of Kykuit. Despite the church attraction to tourism, it is still home to an active congregation that continues to invite people from all christian denominations and “all are welcome to worship God”.[7]

Built by John D. Rockefeller in 1921, the Union Church of Pocantico Hills currently serves as an nondenominational Christian Church in Mount Pleasant. The Union Church was part of Rockefeller development of the hamlet, Pocantico Hills, which rests below the John D. Rockefeller Estate, Kykuit. The church is home to a stained-glass window designed by Henri Émile Benoît Matisse and a collection of nine windows designed by Marc Chagall.


Union Church of Pocantico Hills

St. Mary's Episcopal Church of Scarborough, was founded in 1851. The design concept for the church came when the Reverend Dr. Edward N. Mead and his wife Jane Mead came back from England. The couple based it on the 12th-century Church of St. Mary's in Scarborough, North Yorkshire.Jane's father, the Reverend Dr. William Creighton, provided the money and the land for the church's construction. Dr. Creighton served as rector til his death in 1865. Dr. Mead was his successor until his death in 1877. Both of them are entombed under the chancel of the church.The design of the church is simple and austere with unadorned walls and tall, narrow windows, but creates a harmonious ensemble.What is most notable about the St. Mary's Episcopal Church are the stained glass windows, created by John Bolton. John Bolton and his brother William were pioneers of stain glass in America. Bolton also created stained glass windows for many other churches including the Grace Episcopal Church of Long Island.On July 5th of 2015 the St. Mary's Episcopal Church of Scarborough shut down due to fiscal issues along with a diminishing congregation. When the Church was shut down by the Episcopal church, a new ministry took residence.

St. Mary's Episcopal Church in Scarborough, NY was completed in 1851 and based on the design of the English St. Mary's  church in Scarborough, North Yorkshire which was constructed in 1180.  It has a simple and austere design but is adorned with a large stain glass windows by John Bolton. John and his older brother William were pioneers in the production of stain glass in this country. St Mary's Church, unfortunately, shut down in 2015.

St Mary's Episcopal Church of Scarborough

The Copland House, located at Washington Street, Cortland Manor, New York was home to the famous composer Aaron Copland from 1960 until 1990. In the 60s when Copland was looking for a studio in which to live and compose music he said, "One look at the grounds with the Hudson in the distance, the gardens and woods, and the house with the separate studio, and I was sold!" (1)During the thirty years in which he lived and worked in the studio, Copland became known for his ballet scores which included Billy the Kid, Rodeo and Appalachian Spring, Lincoln Portrait, and Fanfare for the Common Man. Copland was known for incorporating different types of American music such as jazz and folk into his composition. (3) Most music critics had nothing but positive reviews of Copland's work. One critic included David Derby who said, "We now have a tradition, and he, more than anyone else, created it. No American composer can launch a career without hearing Copland's music in his head and drawing on it as a resource." (1)In addition to Aaron Copland's contributions to music, he also was known for his assistance and generosity to many young composers who were looking to advance their careers. Some of these young music composers who went to the Copland House to work with him were Derek Bermel, Richard Danielpour, and Judith Lang Zaimont.(2) These musicians along with others in Coplands program went on to win awards and commissions in music. Copland also taught music as a teacher in Tanglewood and Harvard almost till the time of his death in December 1990. (3)If you visit Aaron Copland's house today, most of it looks the same as when he lived there. When touring Copland's house you can still see his furniture, art, books, and personal memorabilia.In 2003 Copland House got listed to the National Register of Historic Places. Five years later in 2008 the house was designated a National Historic Landmark. Currently the Cortland House is owned by the town of Cortland Manor. But it is rented and administrated by the Copland House Inc. (1)

The Copland House, also known as Rock Hill was the studio and home where famous composer Aaron Copland lived from 1960 till 1990. Aaron Copland is regarded as one of America's most eminent composers who adapted traditional folk music and gave it a distinctly American voice. Along with Aaron Copland's own contributions to music he also started a program in his studio to encourage young composers to continue their work in music.

Copland House

Walter Rosen immigrated to the United States from Germany with his parents when he was a child. He became a successful attorney and married Lucie Dodge, who was from a prominent New Jersey family. Both of the Rosens had a deep appreciation of art and music and in their travels throughout Europe, they acquired numerous works of art, many of which are now on display at Caramoor. The couple bought the estate in 1928, largely because they were enchanted by the sunken gardens. Their original plan was to demolish the entire estate, keeping only the gardens, but the Depression forced them to change their plans. Instead of tearing down the estate, they remodeled it over the next several years, finally completing the mansion and outbuildings in 1939. They commissioned architect Christian S. Rosborg to do the designs and the drawings for the estate are at the Westchester Historical Society. The following year, the Rosens began hosting musical performances at the estate for their friends. In 1946, the couple founded the Center and began hosting events which were open to the public. The first performance was held on February 16, 1946 with about 60 people in attendance. Over the years, Caramoor has undergone several additions and renovations. In 2016, 200 new velvet chairs were ordered to replace older ones, some of which dated to the original 1946 performance. After the death of Lucie Rosen, a wing was added to house rooms from the Rosens' New York City apartment.  Caramoor hosts numerous performances throughout the year. Most are symphonic, opera, chamber, and jazz performances. The estate is listed on the National Register of Historic Places.

Westchester County Historic Arts Trail

Caramoor Center for Music and the Arts

Introduction

Images

Backstory and Context

Sources

Additional Information