At the New-York Historical Society, we believe that knowing where we came from helps us understand who we are now.
What are the Current Exhibitions at the New-York Historical Society?
Bill Cunningham: The Façades Project
Through June 15, 2014
In 1968, photographer Bill Cunningham embarked on an eight-year project
to document the architectural riches and fashion history of New York
City. Scouring the city's thrift stores, auction houses, and street
fairs for vintage clothing, and scouting sites on his bicycle,
Cunningham generated a photographic essay entitled Façades, which paired
models in period costumes with historic settings.
Although by turns whimsical and bold, Cunningham's project also was part
of the larger cultural zeitgeist in New York City, during an era in
which issues surrounding both the preservation and the problems of the
urban landscape loomed large. The photographer donated 88 silver gelatin
prints from the series to the New-York Historical Society in 1976, and
now, thirty-two years later, Cunningham's work will be reconsidered in a
show that will highlight the historical perspective the photographs
suggest—not just of the distant past, but of the particular time in
which they were created.
United States 1933 Double Eagle
On display is one of the most famous and storied coins in the world—the
1933 Double Eagle. The Double Eagle will be on display in The Robert H.
& Clarice Smith New York Gallery of American History starting August
9. Designed by the renowned sculptor Augustus Saint-Gaudens, the coin
features the figure of Liberty striding before the Capitol Building on
its face and an eagle in flight on the reverse.
In 1933 the United States struck almost a half million twenty-dollar
gold coins, commonly known as Double Eagles. At virtually the same time,
in one of his first acts as President, Franklin D. Roosevelt signed an
Executive Order banning the payout of gold, weaning the country off the
gold standard. The 1933 Double Eagles, although legally made, became
illegal to own and were never circulated. In 1934, two were sent to the
Smithsonian Institution for posterity, and in February 1937 the rest
were melted into gold bars and sent to Fort Knox—or so it seemed.
In 1944, a 1933 Double Eagle appeared in a New York auction, and the
United States Secret Service determined that a U.S. Mint employee had
stolen a number of the coins in 1937, and identified ten 1933 Double
Eagles that had escaped destruction, of which nine were surrendered or
seized. One was beyond reach, as it had been purchased by King Farouk of
Egypt, and after 1954 it disappeared. In 1996 a British coin dealer was
arrested while trying to sell a 1933 Double Eagle, which he swore had
formerly belonged to King Farouk.
In 2002, the coin was sold at auction for $7,590,020, nearly doubling
the previous world record. That very coin—the only 1933 Double Eagle
which may be legally owned by an individual—will be on display at
New-York Historical, on temporary loan from an anonymous private
What are Ongoing Exhibitions at the New-York Historical Society?
The Robert H. and Clarice Smith New York Gallery of American History
Explore the story of New York and America in the newly designed Robert H. and Clarice Smith New York Gallery of American History. Highlights include:
Collection Highlights and New York and the American Experience
Mounted on the building's original 1904 columns are grand digital screens displaying a continuous, thematically co-ordinated slide show of treasures from the New-York Historical Society's collections. The west face of the columns features individual stations, incorporating interactive touch screens and museum artifacts, presenting six themes in American history which are found interwoven with the history of New York. Currently, the columns display a series of portraits featuring the model Editta Sherman, which were part of Bill Cunningham's Facades project. The series was shown here at the New-York Historical Society in 1976, in an exhibit entitled Fashions and Façades, under the guidance of curator Mary Black. Projected on dramatic flat screens affixed to six structural columns, the array of objects and images functions as visual signage that demonstrates to our visitors the depth of New-York Historical's collections. Visitors can access images and information about our App.
Liberty/Liberté by Fred Wilson
Upon entering the New-York Historical Society, the visitor encounters Fred Wilson's Liberty/ Liberté, an installation that offers the viewer access to the multiple layers of interpretation of the history and historical figures of the Age of Revolution.
New York Rising
The showpiece of the space occupies a forty-two-foot wall facing Central Park West, and illustrates New York's critical contribution to the founding of the United States. Covering the period from the American Revolution through to the New-York Historical Society's 1804 founding, a contemporary interpretation of a nineteenth-century salon-style display uses some of New-York Historical's most treasured objects and cutting-edge technology to convey the historical narrative.
Out of the ashes of the British occupation of New York and Evacuation Day in November 1783 at the American Revolution's end, New York emerged as the first capital of the United States. It was where George Washington was inaugurated the first president; where the Northwest Ordinance, mandating westward expansion, was debated and signed in 1787; where the essays comprising the Federalist Papers advocating the ratification of the U.S. Constitution were written (by Alexander Hamilton, James Madison, and John Jay); where the First Congress sat in 1789; and where the Bill of Rights was introduced. As the place where Hamilton conceived of an American financial system, New York also became the American business capital of the country. Against the philosophical and intellectual framework of the Enlightenment, the New Yorkers who participated in the country's founding were immersed in an often-fractious atmosphere of debate, intellectual discourse, and political experimentation. In 1804, as this historical moment was passing, the New-York Historical Society was founded, motivated by an expressed need to collect items pertaining to the history of the state and of the nation, as well as the mission to capture and interpret not only the revolutionary and Federal eras, but the years to come. In so doing, New-York Historical deliberately participated in the creation of a self-consciously American culture.
Leah and Michael Weisberg Monumental Treasures Wall
A 10-foot-high display case in the Robert H. and Clarice Smith New York Gallery of American History showcases large-scale maps, architectural drawings, documents and other works on paper that previously could not be exhibited because of their size and light sensitivity.
History Under Your Feet
Under visitors' feet, the Smith Gallery also features nine porthole-like floorcases displaying objects found by avocational archaeologists and other professionals seeking history below the ground of New York City. Objects include arrowheads, military buttons, bullets and a colossal oyster shell excavated at an extant nineteenth-century tavern.
here is new york
New-York Historical also displays a rotating selection from the approximately 6,200 photographs comprising the powerful here is new york collection of images taken in New York on and in the aftermath of September 11, 2001. The collection echoes the Founding New Yorkers theme of resilience, renewal and transformation emerging from the ashes of catastrophic events. Accompanying the photography installation will be a large fragment of a fire truck destroyed during the 9/11 attack.
Pop Shop Ceiling by Keith Haring
A ceiling mural by Keith Haring hangs above the admissions desk. The work is taken from the interior of the Pop Shop, which Haring opened in SoHo in 1986 to sell shirts, posters, and other merchandise reproducing his artwork. He painted the shop's entire interior in black-and-white. The mural was a gift from the Keith Haring Foundation upon the store's closing in 2005.
The Henry Luce III Center for the Study of American Culture
The Henry Luce III Center for the Study of American Culture on the fourth floor provides public access to nearly 40,000 objects from the New-York Historical Society's permanent collection. In the Luce Center, visitors can see art and artifacts spanning four centuries, ranging from masterworks of American painting, to the nation's premiere collection of Tiffany lamps, to historical touchstones such as the draft wheel that played a role in one of the worst urban riots in United States history.
The Luce Center houses collections formerly kept in offsite storage. It offers a behind-the-scenes look at a working museum collection. In addition to a rich array of objects, small focus exhibitions highlight specific strengths of the collection and offer a historical context for current cultural, economic, political and social issues. Free handheld guides and cell phone tours allow visitors to hear the stories behind the objects on view.
Statues of Abraham Lincoln and Frederick Douglass
The life-size bronze figures of Abraham Lincoln (1809-1865) and Frederick Douglass (1818-1895) that stand at either entrance to the New-York Historical Society bring to life the story of freedom that is deeply embedded in American history and is a primary focus of New-York Historical's programs. Throughout his candidacy and presidency, Lincoln emphasized a new birth of freedom for the United States and identified slavery as a moral and political issue that threatened the nation's survival. Although Lincoln's home state was Illinois, it was New York politicians, journalists, and imagemakers who engineered his rise to the top of the Republican ticket in the 1860 election. His assassination in 1865 united New Yorkers, who turned out en masse to file by the casket lying in state at City Hall and participate in the funeral procession.
Portraits of the City
A group of approximately twenty paintings and two small sculptures offer visitors a chronological journey through highlights of the New-York Historical Society's rich collection of New York views, including historical images of the metropolis and richly allusive images of its inhabitants and their lives. The installation includes a selection of city views, beginning and ending with two monumental cityscapes, A Southeast Prospect of the City of New York from ca. 1756-1761 and Jacquette's From World Trade Center, 1998. It features portraits of political and cultural figures such as DeWitt Clinton, who oversaw the development of the Erie Canal, and Katharine Cornell, the first lady of the American theater in the 1920s and 1930s. It also illuminates the everyday lives of city dwellers through such works as Thain's Italian Block Party, 1922, and Blauvelt's images of New Yorkers at work in the 1850s.
Treasures of Shearith Israel
Objects and documents from the incomparable collection of Congregation Shearith Israel (established 1654), including manuscripts, maps, liturgical treasures and historical artifacts, are featured in the Henry Luce III Center for American Culture.
The history of New York's Jewish presence began in 1654 with the arrival of twenty-three refugees of Sephardic ancestry from Recife, Brazil. Soon after their arrival the group established a congregation, the first in North America. This foundation was the beginning of a rich legacy that has culminated in the growth of what is now one of the largest Jewish communities in the world, and, importantly, set the stage for the religious and ethnic diversity for which our city and nation are known. Since its early inception, members of Congregation Shearith Israel have participated in the political, economic, and cultural life of New York and the United States, and have included colonial shipping merchants and master artisans, Revolutionary War patriots and loyalists, founders of the New York Stock Exchange, Mount Sinai Hospital, and Barnard College, numerous public officials, national educators, activists and poets.
The Games We Played: American Board and Table Games from the Liman Collection Gift
The Games We Played presents a rotating selection of board and table games from the Liman Collection, an extraordinary collection of more than 500 examples donated to New-York Historical by Ellen Liman in 2000. These games, which entertained families from the 1840s to the 1920s, offer a fascinating window on the values, beliefs and aspirations of middle-class Americans. During the period, families embraced leisure pursuits in the home and encouraged their children to play games that would develop skills and provide moral instruction. At the same time, advances in chromolithography allowed board game manufacturers, like New York City-based McLoughlin Brothers, to produce sumptuous, eye-catching games at affordable prices.
Holiday Express: Toys and Trains from the Jerni Collection
Magnificent model trains, train stations and sheds, bridges and tunnels, carousels and Ferris wheels—all populated with toy figurines in colorful nineteenth-century dress, will be on view this holiday season at the New-York Historical Society, in the first museum exhibition of selections from the renowned Jerni Collection.
Among the unique, hand-crafted and hand-painted toys will be the only existing first model elevated station. Designed by Märklin, ca. 1895, it is known as the Rolls-Royce of toy train manufacturers and will be displayed in the Judith and Howard Berkowitz Sculpture Court, near the 77th Street entrance. In New-York Historical's Luce Center, the installation will include Märklin's largest and most elaborate train station, ca. 1904; Marklin's only known extant post office, ca. 1895; a Märklin girder bridge designed by Gustave Eiffel, ca. 1905; Rock & Graner's extraordinary hand-painted road over double-arched brick bridge, ca. 1902; and Ernst Plank's exquisite Ferris wheel from the turn-of-the-century.
Works from the Permanent Collection
Christian Köhler's Germania ( in the Year 1848), 1849 (1882.154) is installed on the second to third floor stairwell. It was first exhibited in New York in 1850 and was immediately recognized as one of the most important paintings in the United States. An allegory of the German people's struggle for democracy, it was thought to have a safer resting place in New York than in Germany after the failed revolutions of 1848.
The work entered the New-York Historical Society's collections in 1882 and hung in the stairwell of New-York Historical's Second Avenue home. It had been on long-term loan to the Deutsches Historisches Museum since 1998, where it is the centerpiece of the 1848 section of the museum's permanent exhibition. The work finds particular resonance with Emanuel Leutze's Washington Crossing the Delaware in the Met's American Wing. The Leutze's monumental, newly reconstructed frame is based on Mathew Brady photographs in New-York Historical's collection. Leutze's iconic work, begun in 1849, was seen by contemporaries on both sides of the Atlantic as not only connecting the revolutions of 1776 and 1848, but also, like the Köhler, as a rallying cry for the cause of democracy. The third-floor landing features Tiffany Studios' five stained glass panels, Christ and the Good Shepherd of 1909 (N84.135, N84.136 and long-term loans from the Neustadt Collection of Tiffany Glass), from the chapel of the Stony Wold Sanatorium in Lake Kushaqua, New York. The Sanatorium was founded to provide treatment for tuberculosis for working women and children from New York City—it provided a "wilderness cure" in the open air.
Martorell's From Here To There
Created by Antonio Martorell and friends, this mixed media installation in the New-York Historical Society's Luce Center reflects on the theme of Puerto Rican migration to New York which reached its heights in the 1940s and 1950s. Curving walls and rows of seats evoke the interior of a mid-century airplane cabin.
From Here to There is inspired by an essay titled "La guagua aerea," or "The Air Bus," by Luis Rafael Sánchez. Like Sánchez's essay, Martorell uses air travel to describe migration, leaving ambiguous which destination is "there" and which is "here" to emphasize that the movement of people and ideas is not all one way. The installation also serves as a theater for the projection of a documentary by Ric Burns. The seats are dressed as immigrants so visitors can sit on their laps, literally placing themselves in their position. Martorell created this installation for the Nueva York (1613-1945) exhibition, a collaboration between the New-York Historical Society and El Museo del Barrio in 2010 which explored New York's long connection with the Spanish-speaking world.
"Liberty and King George" Interactive Video Wall
Bring art to life! This video animation by the Small Design Firm of Cambridge, Massachusetts reproduces a Johannes Adam Oertel work, depicting the destruction of the statue of King George III in 1776 by patriots on ten high-definition flat screens. Triggered by visitors' movements, various elements of the painting come to life using sound and animation.
Around 1852, Johannes Adam Oertel depicted an incident that had occurred over seventy-five years earlier: the destruction of the statue of King George III by patriots on July 9, 1776, at Bowling Green in New York City. The American Revolution would inspire other democratic uprisings around the world, including the unsuccessful 1848 revolution in Oertel's native Germany, which sent progressives like Oertel fleeing to the United States. This painting illustrates the Bowling Green riot precipitated by the reading of the Declaration of Independence, though the work takes historical liberties by adding American Indians, an African-American, women, and children to the scene. These figures represent groups who were not only affected by the coming revolution, but whose rights were beginning to be redefined at the time of Oertel's composition.
Our consideration of the past can directly reflect our present, as this work illustrates. This video animation invites visitors to contemplate their own places in a lively historical continuum.
What are Upcoming Exhibitions at the New-York Historical Society?
The Black Fives
March 14, 2014 - July 20, 2014
This exhibition covers the pioneering history of the African American
basketball teams that existed in New York City and elsewhere from the
early 1900s through 1950, the year the National Basketball Association
became racially integrated. Just after the game of basketball was
invented in 1891, teams were often called “fives” in reference to their
five starting players. Teams made up entirely of African American
players were referred to as “colored fives,” “Negro fives,” or black
fives—the period became known as the Black Fives Era.
Dozens of all-black teams emerged during the Black Fives Era, in New
York City, Washington, Pittsburgh, Philadelphia, Chicago, Atlantic City,
Cleveland, and other cities where a substantial African American
population lived. The Black Fives Era came to an end in the late 1940s
with the growth in stature of black college basketball programs combined
with the gradual racial integration of previously whites-only
collegiate basketball conferences and professional basketball leagues.
The overarching significance of the Black Fives Era is that it is as
much about the forward progress of black culture as a whole as it is
about the history of basketball. This history is relevant today not only
as a realization of our collective basketball roots but also as a
search for identity.
The exhibition will be a collaboration and partnership between the
New-York Historical Society and Claude Johnson, a historian and author
who is the founder and executive director of the Black Fives Foundation,
whose mission is to research, preserve, exhibit, and promote the
inspiring pre-1950 history of African American basketball teams in order
to help teach life lessons, while honoring its pioneers and their
descendants. Among its activities, the organization maintains a
collection of artifacts, ephemera, memorabilia, objects, photographs,
images, and other material relating to the period.
Audubon's Aviary: Part II of The Complete Flock
March 21, 2014 - May 26, 2014
Part II of the highly successful tripartite series Audubon's Aviary: The Complete Flock will continue showcasing masterpieces from the New-York Historical Society collection of John James Audubon's preparatory watercolors for the sumptuous double-elephant-folio print edition of The Birds of America (1827–38), engraved by Robert Havell Jr. Part II of The Complete Flock will feature the watercolor models for Havell plates 176–305 (fascicles 36–61), including many of the water birds from his southern travels and the Labrador Expedition.
Considered America's first great watercolorist, the legendary naturalist-artist rendered his birds in unparalleled life-size scale. His years drawing portraits to support his family, coupled with his passion for drawing birds, enabled him to capture the individuality of each species in inventive tableaux. Since every avian watercolor is based on a lifetime of observation and study, they characterize the essence of each bird in arresting, often cinematic, images that soar beyond illustration to magically capture the fragile, brutal, and endangered balance of nature. Featuring new findings about the artist's working methods and his ornithological and artistic influences, Audubon's Aviary will illuminate his true genius. Over three years Audubon's Aviary: The Complete Flock (Parts I–III), will feature all 474 stunning avian watercolors by Audubon in the collection, alongside engaging state-of-the-art media installations that will provide a deeper understanding of the connection between art and nature.
Homefront & Battlefield: Quilts & Context in the American Civil War
April 4, 2014 - August 31, 2014
To mark the 150th anniversary of the Civil War (1861-1865), the New-York Historical Society presents a groundbreaking traveling exhibition, Homefront & Battlefield: Quilts & Context in the American Civil War, organized by the American Textile History Museum. The exhibition uses quilts, textiles, clothing, and other artifacts to connect deeply moving and insightful personal stories about the war, its causes, and its aftermath with the broader national context and public history.
Textiles were integral to the Civil War— physically, economically, ideologically, and emotionally—and linked soldiers and civilians. The exhibition builds on recent scholarship in social and economic history to tell of the events that led to the war, the stories of men and women affected by the Civil War, and the opportunities and challenges that followed it. Through a wealth of artifacts drawn from around the nation, the exhibition will invite visitors to see and acknowledge the human experiences beneath the veneer of Blue and Gray.
Madeline in New York: The Art of Ludwig Bemelmans
July 04, 2014 - October 13, 2014
To celebrate the 75th anniversary of Madeline’s publication, the New-York Historical Society will honor the beloved schoolgirl and her creator Ludwig Bemelmans with an exhibition of more than 90 original artworks.
In addition to drawings from all six Madeline books, the exhibition will also feature Bemelmans' drawings of the old Ritz Hotel in New York, murals from a rediscovered Paris bistro, panels from the Onassis yacht, and a cache of fabrics based on an early picture book. This exhibition is organized by The Eric Carle Museum of Picture Book Art, Amherst, MA
Chinese American: Exclusion/Inclusion
October 10, 2014 - May 2015
Chinese American: Exclusion/Inclusion explores the centuries-long history of trade and immigration between China and the United States—a history that involved New York from its very beginnings—and will raise the question "What does it mean to be an American?" The exhibit narrative extends from the late eighteenth century to the present and includes all regions of the country, thus interpreting the Chinese American saga as a key part of American history.
Within the exhibition, rich in media and artifacts, will be little-known stories relating to China, such as the voyage of the Empress of China, which set sail from New York in the late eighteenth century; how young Chinese boys were sent by their government to study at elite New England schools during the nineteenth century, one of whom went on to graduate from Yale University; the unprecedented immigration legislation known as the Exclusion Act of 1882, which barred most Chinese from entering the United States; the nineteenth-century newspaper, called Chinese American, and its founder Wong Ching Foo; and the Chinese American activists who used the American justice system to try to overturn the Exclusion Act.
The Triumphal Return of Taddeo Gaddi's Maestà Conserved
March 27, 2015 - October 4, 2015
After a two-year absence for conservation at the J. Paul Getty Museum,
the New-York Historical Society's Virgin and Child Enthroned with Ten
Saints: Maesta returns. Painted ca. 1334 by Taddeo Gaddi, the major
disciple of Giotto, the jewel-like panel will take pride of place in a
small focus exhibition highlighting its conservation treatment. Thomas
Jefferson Bryan, an early connoisseur of Italian "primitives," i.e.,
painters before Raphael, bequeathed the Gaddi panel to New-York
Historical in 1867, along with his entire collection. As New York City's
first museum, New-York Historical wrote an early chapter in preserving
the culture of the City, and Bryan played a pioneering role in its
collecting history, amassing works by both European and American
artists. Fittingly, Gaddi's painting will be displayed with a several
other fourteenth- and early-fifteenth-century Italian panels from the
With its lavish gold leaf background, Gaddi's panel was an expensive
commission for a private Florentine palazzo and for its time was
cutting-edge art. Originally the central section of a folding triptych
consisting of three panels, it will be exhibited with two wings
(sportelli) from a private collection that recently have been linked to
it. Their similar dates, measurements, traces of hinges, and related
iconographies suggest that the trio may once have been part of the same
triptych. At the very least, seen together they help us to envision and
reconstruct how the Maestà appeared in its original glory. It was
recently shown at both the Getty and the Art Gallery of Ontario,
Toronto, in the major exhibition Florence at the Dawn of the
Renaissance: Painting and Illumination, 1300-1350.