John Jacob Astor IV’s Titanic Mansion

Welcome to John Jacob Astor IV's Titanic Mansion at 5th Avenue and 65th Street, New York City, New York. The upper stretches of 5th Avenue became known during the Gilded Age as Two Miles of Millionaires, lined with the magnificent mansions of both old and new money families. The established elite lived in dignified brownstone residences, while newly wealthy industrialists proclaimed their fortunes with grand marble palaces. As competition for social prestige intensified, even the old guard commissioned ever more elaborate homes, including the magnificent Astor Mansion seen here, built for New York Society's Queen, Mrs. Astor. Hello, everyone. I'm Gary Lawrence. Many of you may already know me from my Facebook and Instagram communities, Mansions of the Gilded Age and the Gilded Age Society. If you're new here, welcome to my YouTube channel, Mansions of the Gilded Age. Today, we'll explore the remarkable transformation of the Astor Mansion following the death of Caroline Shermerhorn Astor, better known as Mrs. Astor, in 1908. After inheriting his mother's residence, her son, John Jacob Astor IV, undertook an ambitious renovation, seamlessly combining her wing with his own to create one of New York's largest and most magnificent private residences, a true urban palace of the Gilded Age. So, let's begin the story. Here, we have a portrait of the Astor family, painted by fashionable artist Lucius Rossi in 1878, giving the family an aristocratic appearance. It was painted in the drawing room of the previous Astor Mansion, at West 34th Street and 5th Avenue. We next see side-by-side portraits of John Jacob Astor IV and his mother, Caroline Shermerhorn Astor, better known to history as Mrs. William Blackhouse Astor, or simply, Mrs. Astor. Ironically, her husband, William's middle name, was originally Backhouse. However, Mrs. Astor insisted he change the spelling to Blackhouse, believing that Backhouse carried rustic, inelegant associations that were beneath the dignity of the Astor name. My previous video, Mrs. Astor Moves Uptown, tells more about the origin of the family, the Astor fortune, and the creation of the mansion. We next see the 5th Avenue elevation drawing of the Astor Mansion, designed by the master Gilded Age architect, Richard Morris Hunt, and completed in 1896. Hunt was the preeminent architect of America's Gilded Age, designing many of its most celebrated residences, including the Breakers in Newport, Rhode Island, and Biltmore in Asheville, North Carolina, the largest privately owned home in America. Although the Astor Mansion appeared from 5th Avenue to be a single monumental residence, it was, in fact, divided down the center into two magnificent homes. One half was occupied by Mrs. Caroline Schermerhorn Astor, while the other served as the residence of her son, John Jacob Astor IV. The next two photographs show the 5th Avenue entrance to the Astor Mansion. One of the mansion's most distinctive architectural features was its recessed facade, which created a graceful semicircular carriage court. This allowed carriages to pull directly up to the entrance, where family members and guests could alight beneath the shelter of the mansion before continuing inside. Passing through the immense bronze entrance doors, likely opened by liveried footmen, visitors entered one of New York's grandest private residences, a fitting introduction to the opulence that awaited beyond. We now see the first floor plan, where it is easy to understand how the mansion was originally divided into two equal residences. As mentioned previously, visitors arrived from the semicircular carriage court, passed through the great bronze entrance doors, and ascended a broad ceremonial staircase to the main floor. From this central entrance hall, guests visiting Mrs. Astor would proceed through the doorway on the left into her private wing, while those calling on John Jacob Astor IV and his family would enter through the doorway on the right. One of the enduring mysteries of the Astor Mansion, which I'll discuss later, concerns the divided grand staircase shown on this plan. Why was such an impressive staircase split in two, and what purpose did it serve? The answer is more intriguing than you might expect. Here on the left, we see the Grand Marble Staircase of Mrs. Astor, which was one of the Gilded Age's iconic staircases, and often published. On the right side is a question mark that should show the staircase in the John Jacob Astor IV wing. I have searched for years, and with a lot of research and a bit of luck, I have been able to find it. Some of the questions I always wondered about whether both staircases were identical or slightly different, with just a dividing wall to separate the wings for privacy. Our next views show to the left Ava Lowell Willing Astor, who came from a very social Philadelphia family, and was considered one of the most beautiful women of the Gilded Age. John Jacob Astor IV's portrait is on the right. Mr. Astor was often referred to by his nickname Jack. Here are portraits of their children, Vincent Astor and Ava Alice Astor. A section of the first floor plan, focusing on the John Jacob Astor IV wing. From the front door and through a small hall guests would be led to a reception room. The opulent reception room was decorated in the French style, probably in mostly light colors. The wall panels had fabric scenes, the seating with delicately carved gilded frames, a wide marble mantelpiece, gilded wall sconces, and mementos scattered about. In the background we catch a teasing glimpse of the staircase, and it seems to be similar to the one in Mrs. Astor's wing. The next room was the corner grand salon. The walls of this large room feature boiserie, with inset artwork or fabric, and the floor is made of patterned wood parquet. The center of the room is anchored by a carved fireplace mantel. Above it rests a large mirror flanked by ornate wall sconces. The mantel itself is decorated with a classical clock and tall vases or candelabras, while a decorative fire screen is positioned directly in front of the hearth. The seating consists of traditional French armchairs with curved, exposed wooden frames and patterned, possibly floral, upholstery, and a delicate side table to the right. A large, patterned rug defines the seating area with a tall, decorative folding screen that stands out, featuring elaborate, illustrative designs that resemble chinoiserie patterns. Towards the far right, the first hall that passes the reception door, framed by large chairs, can be seen. The next photo shows almost the same view, but taken from the southeast corner. In the far rear, the closed doors lead to the dining room. At the right, a large palm tree, fawned, probably one of many in the mansion. Certain varieties of palms, especially Kentia, were popular for their filtered or dim light, and were often found in most Gilded Age homes. Here we see the dining room. This opulent room is a wonderful example of a Gilded Age dining room by its extraordinary architectural ornamentation. A richly coffered ceiling crowns the space, while the walls are enveloped in finely carved gilded panels featuring floral garlands. On the left wall, beneath the monumental artwork, stands a slender, carved side table. The center of the room has a circular table surrounded by elegant, upholstered chairs. The table would have been set with ornate sterling silver tableware, crystal and centerpieces filled with flowers and fruits. The rear wall shows extra chairs against, for when the table would be expanded for dinner parties. A magnificent fireplace mantle and carved mirror above, paired with gilded sconces, are the focal point of the rear wall. Lastly, a richly patterned folding screen conceals the On the left is an illustration of Mrs. Astor greeting her guests before a ball. Most likely, the ladies are wearing Charlesworth of Paris gowns. What would they be discussing? Upcoming social events, marriages, charity affairs, and scandalous affairs of the heart between other members of society behind their fans. Once the dinners were done, Mrs. Astor would bring her guests into the picture gallery cleared for a ball. Here I have recreated what a ball might have looked like. A side view of the picture gallery and ballroom. With the many paintings and abundance of scattered furnishings, one can get a sense of scale to large room that legend has could fit 400 members of New York's elite. A favorite piece of furniture for ballrooms and grand salons in the gilded age would be a velvet and fringe covered ottoman or bourne. The ballroom looking west where the opening led to Mrs. Astor's wing. The sculpture and much of the furniture displayed here was transferred from Mrs. Astor's old residence. A notable architectural feature is the raised orchestra gallery or musician's mezzanine. From this gallery, a live orchestra would perform the fashionable repertoire of the period Strauss, waltzes, polkas, quadrilles, and other ballroom compositions popular in the late 19th and early 20th centuries. Consisting primarily of strings, woodwinds, and occasionally brass, these ensembles produced a rich yet restrained sound. In an age when electronic amplification didn't exist, even the finest orchestra relied solely on the natural resonance of the room and the thoughtful architectural design of the gallery to carry its music. The music was intended to complement the evening's festivities, providing a sophisticated accompaniment to dancing and conversation rather than dominating either. In this way, the ballroom functioned as both a masterpiece of Beaux-Arts planning and an instrument of social ritual, where architecture, music, and etiquette combined to create the refined atmosphere that defined Gilded Age Entertaining. Now we get to the solving of the grand staircase, the mystery. On the left is a colorized view of Mrs. Astor's staircase that when she regally walked down to greet her guests ablaze with glistening jewels, one witty guest allegedly commented that she shined brighter than the dazzling chandelier above. Now, what is behind the question mark? From some recent articles I have read, it appears that it was the intention all along that the two houses would eventually be combined into one after the passing of Mrs. Astor, New York's social queen and leader of the elite, the 400. After many years of searching and late hours looking through period society and house magazines, I finally discovered the staircase that was on the other side of the wall in the John Jacob Astor, the fourth wing. We can see now that both staircases were very much identical. The only thing different are decorating touches. The chandelier on the right image is less elaborate, and at the bottom of the staircase, the lantern seen in Mrs. Astor's side doesn't exist and the upper walls do not have paintings. Both these views are historically black and white, but I added some color to bring out what they must have looked like in their day. In the article that had this and other rare views of the Astor mansion, it said that the dividing wall was intentionally designed to have the option of being removed, possibly assuming Mrs. Astor would one day pass and her son would want to join the two houses together. Personally, I always dreamed that could have happened, but as we will see shortly, that was not to be. While photos of the second and third floors haven't surfaced yet, the floor plans here are helpful to understand the upper floors. The second floor would have been the private suites of the owners and some guest rooms. The third floor had many guest rooms and the fourth floor, which I have not found, likely would have been for household staff and storage. When the Astor mansion was built, Mrs. Astor was 66 years old, was approaching her later years. The grand marble staircase, the scene of her triumphs, sadly led to her demise upon a fall on the staircase. The portrait at the left, which is owned by the Preservation Society of Newport County, entitled Portrait of a Lady, identified as Caroline Webster Schermerhorn Astor, is thought to be her later in life. I want to thank the Preservation Society of Newport County for giving me permission to use it on my YouTube. With Mrs. Astor's death in October 1908, the mansion and the Astor family itself entered a new chapter. Soon afterward, her son John Jacob Astor IV and his wife Ava ended their marriage. Ava had long been one of New York Society's most prominent and extravagant hostesses, while John Jacob Astor IV was far less interested in the demands of social life. Many historians have suggested that their marriage endured as long as it did largely out of respect for Mrs. Astor. Following the divorce, their son Vincent Astor remained with his father, while their daughter, Ava Alice Astor, lived with her mother. In 1919, the former Mrs. Astor married Thomas Lister, fourth Baron Ribblesdale, becoming Lady Ribblesdale and joining the ranks of the English aristocracy. John Jacob Astor IV continued to reside in the Fifth Avenue mansion and began adapting it to suit his own tastes. Most of the alterations involved repurposing rooms and updating their decoration. His most significant architectural change, however, was the complete transformation of the Great Staircase Hall, a remarkable renovation that we will examine soon. Once again, looking at the Grand Salon in the southern wing. In this colorized view, I was able to give the salon a more atmospheric look, with sun streaking in from the south. After 1908, still serving the same purpose, but with more furniture added. In the dining room, Mr. Astor will convert it into a library. His portrait now appears over the altered mantle. If compared to the earlier view, the paneling remains the same, plus the addition of bookcases, a library table, and more comfortable seating. The original salon of Mrs. Astor, with the portrait that she used to stand in front of when receiving guests. The same room, but simplified by Mr. Astor, while keeping most as it was, with just a change in the furnishings. The dining room in Mrs. Astor's time. A bit on the heavy side, which was the look circa 1896. Mr. Astor redecorates the room, making it much lighter and elegant. The mantle has been replaced, a portrait of John Jacob Astor, the founder of the fortune added above, and the windows have been expanded with sidelights. Mrs. Astor's grand chandelier had already served two homes before arriving here. It originally hung in the ballroom of her old mansion, was moved to the grand staircase of the new Fifth Avenue mansion, and, after John Jacob Astor IV remodeled the entrance hall, was relocated once again to the dining room. Although it appears to have been slightly shortened, the chandelier was elegantly repurposed rather than replaced. Close up of the John Jacob Astor portrait, a new mantle, the dining room looking towards the salon. Mrs. Astor's original ballroom. The almost identical view of the ballroom without the haphazard clutter, as Mr. Astor has it updated and simplified with tufted leather chairs. Another view that shows the door to the original wing of Mr. Astor, showing the musician's mezzanine and numerous gilded ballroom chairs lined along the wall. The first floor plan, showing the entrance halls and staircases of both original houses before being joined. This is primarily the one space in the mansion Mr. Astor completely changes. Mr. Astor hired the prominent firm of Carrere & Hastings to make the modifications of this space. Carrere & Hastings were very well noted for their great mansions and public buildings, such as the Henry Clay Frick Mansion and the New York Public Library. Here is the new reception hall, once the location of the two grand staircases, now removed. The lower arcades remain, as does the original entrance. But where the second floor would have gone higher, a very large bronze and glass skylight dome now illuminates the space. Looking from the entrance door side, a marble fireplace has been added, and if one looks very carefully through the small corner arch, a hint of a staircase can be seen, and likely could have a matching one on the other side. Whether parts of the original staircases were reconstructed now in small niches, it won't be known till floor plans of the reconstruction can be found. One would think that they would not be that hard to find, since it was done circa 1910 and the prominence of the architectural firm. A close-up of the new hall fireplace. A close-up of the After completing the renovations, John Jacob Astor, the fourth married 18-year-old Madeline Tallmadgeforce, a young woman from a respectable but less prominent family. Their 29-year age difference scandalized New York society, and the couple was largely snubbed. Unconcerned by the criticism, they departed for an extended European honeymoon, during which Madeline became pregnant. Hoping to return to New York before the birth of their child, they booked passage aboard the world's newest and most luxurious liner, the RMS Titanic. On the night of the 14th of April 1912, the ship struck an iceberg. Astor ensured that Madeline boarded a lifeboat, reassuring her that he would be safe. She survived, but he perished in the disaster. A few months later, Madeline gave birth to their son, John Jacob Astor VI. John Jacob Astor IV intended to revise his will to provide for his expected child, but he died before he could do so. As a result, his posthumously born son, John Jacob Astor VI, often called the Titanic Baby, inherited about five million, while his half-brother, Vincent Astor, received the vast majority of the estate, valued at approximately ninety-five million. Madeline Astor was granted an allowance, support for her son, and the use of the Astor estates as long as she remained unmarried. When she remarried a few years later, those benefits ended. She died of heart disease in 1940 at just forty-six. John Jacob Astor VI spent much of his life believing he had never received the fortune his birthright deserved. He died in 1992 at the age of seventy-nine. Following his father's death, Vincent Astor inherited the family's immense fortune and continued living at the Astor Mansion on Fifth Avenue, Beachwood in Newport, and Ferncliff, overlooking the Hudson River in Rhinebeck, New York. Married several times during his life, he died in 1959 at the age of sixty-seven. Around 1926, Vincent decided to sell the Fifth Avenue mansion not because of financial necessity, but in favor of a more modern lifestyle. Before its demolition, the house was emptied in a spectacular auction where buyers purchased everything from furnishings and architectural details to entire rooms. Like many of Fifth Avenue's Gilded Age mansions in the 1920s, the Astor House disappeared, but many of its treasures survived. Among the most notable buyers was circus magnate John Ringling, who acquired the Grand Salon and Library for his new Sarasota, Florida estate, Ca de Zan. Those remarkable interiors can still be seen today in the Art Museum on the Ringling estate. After Mrs. Astor's mansion was demolished, the site was first slated for a luxury apartment building, the new mansions of Fifth Avenue. Instead, it was acquired by Temple Emmanuel, which erected its magnificent Art Deco Synagogue, still standing today at Fifth Avenue and 65th Street. While admired as an architectural landmark, few who pass by realize it occupies the site of Mrs. Astor's legendary mansion, once the setting for the grand balls, elegant dinners, and glittering social events that define New York's Gilded Age. For some recommended books on the Astor family, please visit mansionsofthegildedage.com to explore more on the Astor's, Vanderbilt's, Fifth Avenue mansions, Newport's splendid summer cottages, and the Gilded Age. To learn more about the Astor family's Fifth Avenue mansions, watch my companion YouTube video, Mrs. Astor Moves Uptown. I hope you enjoyed this look at the Astors and their remarkable legacy.