Designed and constructed by the eminent New York City architectural firm of Warren & Wetmore, Eagle's Nest estate is the easternmost Gold Coast mansion on Long Island's affluent North Shore. From 1910 to 1944, the palatial Spanish Revival estate was the summer home of William K. Vanderbilt II, great-grandson of Commodore Cornelius Vanderbilt. Eagle's Nest hosted the most exclusive guests and intimate gatherings of Vanderbilt family members and close friends. Included among them were the Duke and Duchess of Windsor, golfer Sam Snead, and the Tiffanys. Vanderbilt embarked on many of his legendary world voyages from this locale, along with a 50-person crew and a few fortunate invited passengers. During his travels, he collected natural history specimens and ethnographic artifacts from every corner of the earth. With the help of scientists and museum professionals, Vanderbilt created exhibits at Eagle's Nest to showcase his collections. "Willie K.," as he was known, bequeathed his estate and museum to the public, fulfilling his intended mission.

Designed and constructed by the eminent New York City architectural firm of Warren & Wetmore, Eagle's Nest estate is the easternmost Gold Coast mansion on Long Island's affluent North Shore. From 1910 to 1944, the palatial Spanish Revival estate was the summer home of William K. Vanderbilt II, great-grandson of Commodore Cornelius Vanderbilt. Eagle's Nest hosted the most exclusive guests and intimate gatherings of Vanderbilt family members and close friends. Included among them were the Duke and Duchess of Windsor, golfer Sam Snead, and the Tiffanys. Vanderbilt embarked on many of his legendary world voyages from this locale, along with a 50-person crew and a few fortunate invited passengers. During his travels, he collected natural history specimens and ethnographic artifacts from every corner of the earth. With the help of scientists and museum professionals, Vanderbilt created exhibits at Eagle's Nest to showcase his collections. "Willie K.," as he was known, bequeathed his estate and museum to the public, fulfilling his intended mission.

New York Times bestselling author and journalist Anderson Cooper teams with New York Times bestselling historian and novelist Katherine Howe to chronicle the rise and fall of a legendary American dynasty—his mother’s family, the Vanderbilts. One of the Washington Post's Notable Works of Nonfiction of 2021 When eleven-year-old Cornelius Vanderbilt began to work on his father’s small boat ferrying supplies in New York Harbor at the beginning of the nineteenth century, no one could have imagined that one day he would, through ruthlessness, cunning, and a pathological desire for money, build two empires—one in shipping and another in railroads—that would make him the richest man in America. His staggering fortune was fought over by his heirs after his death in 1877, sowing familial discord that would never fully heal. Though his son Billy doubled the money left by “the Commodore,” subsequent generations competed to find new and ever more extraordinary ways of spending it. By 2018, when the last Vanderbilt was forced out of The Breakers—the seventy-room summer estate in Newport, Rhode Island, that Cornelius’s grandson and namesake had built—the family would have been unrecognizable to the tycoon who started it all. Now, the Commodore’s great-great-great-grandson Anderson Cooper, joins with historian Katherine Howe to explore the story of his legendary family and their outsized influence. Cooper and Howe breathe life into the ancestors who built the family’s empire, basked in the Commodore’s wealth, hosted lavish galas, and became synonymous with unfettered American capitalism and high society. Moving from the hardscrabble wharves of old Manhattan to the lavish drawing rooms of Gilded Age Fifth Avenue, from the ornate summer palaces of Newport to the courts of Europe, and all the way to modern-day New York, Cooper and Howe wryly recount the triumphs and tragedies of an American dynasty unlike any other. Written with a unique insider’s viewpoint, this is a rollicking, quintessentially American history as remarkable as the family it so vividly captures.

A magical story from the Suffolk County Vanderbilt Museum. The story of a lost family heirloom and the search for it on the beautiful and historic grounds of the Vanderbilt Museum.

For four hundred years--from the first Spanish assaults against the Arawak people of Hispaniola in the 1490s to the U.S. Army's massacre of Sioux Indians at Wounded Knee in the 1890s--the indigenous inhabitants of North and South America endured an unending firestorm of violence. During that time the native population of the Western Hemisphere declined by as many as 100 million people. Indeed, as historian David E. Stannard argues in this stunning new book, the European and white American destruction of the native peoples of the Americas was the most massive act of genocide in the history of the world. Stannard begins with a portrait of the enormous richness and diversity of life in the Americas prior to Columbus's fateful voyage in 1492. He then follows the path of genocide from the Indies to Mexico and Central and South America, then north to Florida, Virginia, and New England, and finally out across the Great Plains and Southwest to California and the North Pacific Coast. Stannard reveals that wherever Europeans or white Americans went, the native people were caught between imported plagues and barbarous atrocities, typically resulting in the annihilation of 95 percent of their populations. What kind of people, he asks, do such horrendous things to others? His highly provocative answer: Christians. Digging deeply into ancient European and Christian attitudes toward sex, race, and war, he finds the cultural ground well prepared by the end of the Middle Ages for the centuries-long genocide campaign that Europeans and their descendants launched--and in places continue to wage--against the New World's original inhabitants. Advancing a thesis that is sure to create much controversy, Stannard contends that the perpetrators of the American Holocaust drew on the same ideological wellspring as did the later architects of the Nazi Holocaust. It is an ideology that remains dangerously alive today, he adds, and one that in recent years has surfaced in American justifications for large-scale military intervention in Southeast Asia and the Middle East. At once sweeping in scope and meticulously detailed, American Holocaust is a work of impassioned scholarship that is certain to ignite intense historical and moral debate.

Works in the Museum's collection that embody the Renaissance interest in classical learning, fame, and beautiful objects are illustrated and discussed in this resource and will help educators introduce the richness and diversity of Renaissance art to their students. Primary source texts explore the great cities and powerful personalities of the age. By studying gesture and narrative, students can work as Renaissance artists did when they created paintings and drawings. Learning about perspective, students explore the era's interest in science and mathematics. Through projects based on poetic forms of the time, students write about their responses to art. The activities and lesson plans are designed for a variety of classroom needs and can be adapted to a specific curriculum as well as used for independent study. The resource also includes a bibliography and glossary.

The journal seems to contain information for everyone regardless of one's interest...Each page of this almost six hundred page journal is crammed with facts and descriptions. So much of interest is contained in every entry that each re-reading will reveal many interesting incidents or observations not quite grasped on the first perusal....This book will be a valuable source to all students of California or United States history and to the casual readers as well.