Lantern Revealed

I’ve posted before about the stone lanterns that are scattered around the village of Briarcliff Manor. I believe there are about six of them in the village (For more information see: The Story of the Stone Lanterns on the Briarcliff Manor-Scarborough Historical Society website).

This lantern (#5 on the website) was placed by Walter Law (the founder of Briarcliff Manor) at his daughter Edith Law Bröckelmann’s property named “Little Mount Vernon,” across from the entrance to the Law Manor on Scarborough Road, where it remains, in its original location. The “Little Mount Vernon” mansion was built by W. W. Law for his daughter, Edith who returned to Briarcliff Manor from China in 1902 as the widow of Fritz Bröckelmann, who we believe was responsible for sending the lanterns from China.

I’ve lived in Briarcliff Manor for about 26 years, and my house is only a short walk from this lantern. I’ve passed it many times and didn’t see it until about a year ago. It was behind some bushes, and you couldn’t see it from the road. You had to virtually crawl under the bushes to get a view of it. That’s now changed. The present owners have been doing some landscaping and I’m pleased to say, as you can see from the picture, the lantern is now clearly visible from the road where passers-by can see it. I don’t know who owns the property nowadays, but I’d like to thank them for making this piece of Briarcliff History visible to all.

Taken with a Sony RX10 IV.

In New York City with Jasmine – 9/11 Museum

In an earlier post I mentioned that I’d visisted the 9/11 memorial back in October 2013. At that time the museum wasn’t yet open and so this was the first time I would see it.

According to Sowing Seeds of Faith:

Also on the site is the newly opened, National September 11 Memorial Museum which has become the central location for preserving the history of the tragedy. Located in the space between the North and South Towers, the museum is designed to help you relive what happened that day but also chronicles the stories of the survivors as they and the city rebuild.

As you walk through the halls, you hear stories about the victims, recordings from 911 calls, interviews with survivors. You view dozens of media images and even touch objects found near the site. There is the Ladder Company 3 Fire Truck smashed by chunks of debris. There is the Giant Cross made of two steel beams tha stood at “Ground Zero.” There are sections of the original walls and even a damaged elevator motor.

One hall is called “102 Minutes: Events of the Day” that helps you relive moment by moment what happened during the 102 minutes between the impact of the first plane into the North Tower to the crash of the fourth plane in Pennsylvania. There is the “Tribute Walk” that presents many of the artistic tributes created in response to 9/11.

One my favorite exhibits displayed a beautiful motorcycle named the “Dream Bike.” According to the description… “Firefighter Gerard Baptiste purchased a battered Honda motorcycle. Baptiste believed that he could restore it to good working order. His fellow firefighters joked that it would take time and money just to start the engine. Following Baptiste’s death on 9/11, the broken-down motorcycle remained at the firehouse until a memorial tribute inspired Baptiste’s colleagues to restore the bike in his memory. Surviving members of the firehouse and motorcycle enthusiasts nationwide, transformed the motorcycle into a “bike of healing’ known as the Dream Bike. Ten roses painted on the cover of its gas tank symbolize the members of Ladder Company 9 and Engine Company 33 killed that day.”

Near the end of your museum tour, you are invited to watch a multi-screen 360 surround film experience appropriately named “Rebirth at Ground Zero” which uses time lapse footage and interviews to show the rebuilding and renewal of the World Trade Center site. Upon leaving the museum you can’t help but notice the newly built World Trade Center towering above the memorial and the museum grounds.

I came to “Ground Zero” to pay my respects but I left the 9/11 Memorial and Museum with a sense of awe and pride at the resilience and fortitude of the survivors, New York City and America. 9/11 will always be a tragic day burned into our memory forever but September 11 may ultimately be one of America’s greatest examples of triumph in the face of tragedy; accomplishment in the midst of destruction.

Two pictures above: The World Trade Center Tridents. According to the World Trade Center Website:

These seven-story steel structures were part of the original façade of the Twin Towers at the World Trade Center, once forming the distinctive Gothic arch motif at the base of the skyscrapers. The forked columns are so large that the Museum Pavilion’s structure will be built around them. The steel icons were recovered from the World Trade Center site during the recovery effort in 2001 and 2002. The Port Authority has worked to conserve the steel columns and other historic World Trade Center artifacts at JFK International Airport’s Hangar 17.

‚The ‘tridents’ are visual references to the towers that once stood at the World Trade Center,? Chairman Mayor Michael R. Bloomberg said. ‚Installed within the Museum, they will symbolize our resolve to overcome the devastation of 9/11 and signal a hopeful future as they greet visitors to the site.?


Above a scale model of The Sphere which once stood in the World Trade Center complex. As the only piece of iconic artwork to survive the 9/11 attacks, it became a symbol of strength, survival and resilience and reflected “the tenacious spirit of all those affected,”. Like the United States after the fateful event, the Sphere emerged “very bruised, much broken, but not defeated.” On March 11, 2002, the Sphere was erected in Battery Park as the first official memorial to the victims of 9/11 in New York City. The Port Authority voted in 2016 to return it to World Trade Center site.

The next two pictures show the World Trade Center’s foundations.



The two pictures below show The Last Column. It stands in the center of the 9/11 Memorial Museum’s Foundation Hall, is covered in thousands of markings and tributes placed on the beam by workers and family members. The story of how and why the markings began to appear links back to one fireman’s personal and practical act. For more information see Story Behind the Last Column’s First Markings




To the right of the stairs in the picture below you can just make out the Survivor’s Staircase. According to Wikipedia:

View of the Memorial Hall. The Survivors’ Staircase is a granite and concrete staircase that was the last visible remaining original structure above ground level at the World Trade Center site. It was originally an outdoor flight of stairs and two escalators, which connected Vesey Street to the World Trade Center’s Austin J. Tobin Plaza. During the September 11 attacks, the stairs were an escape route for hundreds of evacuees from 5 World Trade Center, a 9-floor building adjacent to the Twin Towers. The staircase was moved from its original location in 2008, and in 2010 it became part of the National September 11 Memorial & Museum.


Below another view of the Memorial Hall featuring a quote from Virgil:

In the vast space known as Memorial Hall, first glimpsed from the overlook, you will again encounter the quote from the poet Virgil, presented in letters about fifteen inches tall, forged by blacksmith Tom Joyce in steel recovered from the World Trade Centre Site. Virgil’s words read “No day shall erase you from the memory of time. ” A sea of blue surrounds the quote: 2983 individual paper watercolours in different shades of blue pay tribute to the people killed on 9/11 and in the 1993 bombing. Artist Spencer Finch created this exhibition titled “Trying to remember the color of the sky on that September morning” especially for this space in the museum.


Below A 10,000-pound elevator motor that shuttled hundreds of people a day at the original World Trade Center. The exhibit also tells the story of John Menville, who arrived at the World Trade Center in 1969 to install the elevators and stayed for 32 years to maintain them. For more on this story see: Elevator Motor that Helped Save Thousands for 9/11 Museum.


Below: New York City, Ladder 3. For more information see: The tragic & symbolic wreck of Ladder 3 – victim of 9/11

Below motorcycles associated with the World Trade Center including (final picture) “The Dream Bike”



Below The Dream Bike. For more see: Black History: “The Dream Bike”

All things considered it was a very interesting, if sobering experience. Part of me wanted to browse around some more. Another part just wanted to get out of there as soon as possible.

Taken with a Sony RX100M3

A Walk through Peekskill – Diver Statue

Another of the interesting sculptures along the Peekskill Waterfront. I’ve taken pictures of it before (See: Peekskill Riverwalk Park – The Golden Mean) but I thought I’d revisit it because a twin of it was apparently on display at the recent Paris Olympics.


According to a recent Peekskill Herald article entitled: “Peekskill’s ‘Diver’ at the Olympics“:

Visitors to Paris for the Olympics might catch a glimpse of the same iconic Peekskill diver that graces our riverfront. The 16-foot tall sculpture that sits at the Peekskill riverfront has a twin that is in front of the Eiffel Tower for the Summer Olympics. Artist Carol Feuerman’s sculpture was chosen by Anne Hidalgo, the mayor of Paris for exhibition during the Olympics and Paralympics. In this TikTok short video, Feuerman narrates while the diver is installed at its City of Lights base.

Feuerman’s sculpture, whose official name is The Golden Mean was part of the art festival known as Peekskill Project V in 2013. Originally on temporary loan to Peekskill during the public art project, through the efforts of Hudson Valley Museum of Contemporary Art (HVMOCA) and the generosity of the artist, the work was made affordable for purchase by the City of Peekskill.

In a map created by HVMOCA of public art in Peekskill, Feuerman’s piece was described as “a sculpture crafted in bronze of a male diver, his cap featuring gold leaf detail. The choice of a black and naturally bronzing patina as opposed to a realistic finish that is the usual hallmark of the artist, was made purposefully so that the sculpture creates a silhouette at varied times of the day, a majestic tribute to the beauty of the athlete, a bow to the Greek classical works of the past. Perfectly balanced and stalwart, it stands on the Peekskill Riverfront Green, as a beacon to human ambition and artistic accomplishment, visible to travelers on Metro North. It quickly became an icon on the waterfront, with hikers and visitors at all times of the year shooting and posting selfies.

Weighing 1500 pounds, the diver had a specially crafted steel base for support. Under supervision of members of the Department of Parks and the Department of Public Works, a backhoe was brought in to dig a deep pit into the ground to house the base. Though created based on measurements given to the fabricator, the base had to nevertheless be refined and retooled on site to hold the diver securely in place.”

Because casting in bronze is extremely expensive, artists create limited editions of pieces. It took Feuerman some five years to create The Golden Mean. Her process is documented in this video.

Taken with a Sony RX10 IV

A Walk through Peekskill – Huygen’s Helmet

The Peekskill Waterfront abounds with lots of artworks. I’ve taken pictures of most of them during earlier visits, so I didn’t bother this time. I’d taken a picture of this one before too, but that time I’d taken a picture of the full artwork with the Hudson in the background (see picture below). This time, however, I decided to put my head inside and see what kind of picture I could get…maybe something a bit more abstract?

A nearby sign reads:

Serge Onnen
Dutch, born 1965
lives and works in Amsterdam and New York

Huygen’s Helmet, 2009
Materials: Welded metal, pvc pipe, structolite.

HVCCA exhibition ‘Double Dutch’
Support generously given by FONDS BRVB
and the Mondriaan Foundation.

Double Dutch was an exhibition celebrating the Quadricentennial of the Dutch discovery and settlement of the Hudson River, which took place between September 12, 2009 and July 26, 2010 at the Hudson Valley Center for Contemporary Art (HVCCA). The exhibition curated by Marc and Livia Straus showcased contemporary Dutch installation art.

“Double Dutch” artists included: Marc Bijl, Martha Colburn, Fendry Ekel, Dylan Graham, Folkert De Jong, Job Koelewijn, Maartje Korstanje, Alon Levin, Erik Van Lieshout, Serge Onnen, Daan Padmos, Karen Sargsyan, Lara Schnitger.

First picture taken with a Sony RX10 IV, second with a Sony RX100M3

An Exhibition

Above: the cover page to the exhibition brochure. I guess that they do this exhibition annually, because although the brochure reads “2023” it seemed to work with no problems for this exhibition taking place in “2024”. In any case the brochure provides very little text, and only five examples of the over 60 exhibited works. Or possibly I picked up the wrong brochure?

I’ve been to the Newington-Cropsey Foundation a couple of times before. The first time (See: Newington Cropsey Foundation, Hastings on Hudson) I got as far as the garden, but the house was not open for visitors. This post also contains basic information on the Foundation, which is just as well because as of today (6/1/2024) their website merely provides a splash screen informing you that a new website is coming soon and providing some basic contact information. The second time I didn’t even get as far as the garden, and merely took a few pictures through the fence.

Still, I was determined to come back and see the interior of the house. So, when I saw that this exhibition was taking place I decided to go again.

First stop was the gardens again – with a few shots of the exterior of the house.

Above: Saint Michael the Dragonslayer. An inscription on the base reads: “A victorious St. Michael lays down his sword having won the final battle for our God”.

In spring, 2000, on the Newington-Cropsey Foundation property in Hastings-on-Hudson, a bronzed statue of St. Michael was installed. Saint Michael is watching over the Gallery of Art Building with a pensive countenance. He’s kneeling, resting on his sword having just expelled the Dragon from Heaven. The statue is very significant to the Foundation, particularly as we entered the new millennium in a dark period in American art and culture. One of the goals of the Foundation is to bring to light the virtues of classic art training and strong cultural values. The recently discovered Dead Sea Scroll, War of the Sons of Light Against the Sons of Darkness, calls St. Michael the Prince of Light. Traditionally, chapels, (Michael’s Mounts) and statues devoted to Michael are erected in trying times when the Earth Dragon is thought to be strong.

The Foundation seeks to shed light on present times and reveal the goodness that exists in our world be sharing our permanent collection, programs, and events with the public.

The artist that created Saint Michael is Barbara Newington, founder of the Newington-Cropsey Foundation. Mrs. Newington is a great-granddaughter of Jasper F. Cropsey, Hudson River School artist. The Foundation was originally conceived as a venue to display and preserve the works of Cropsey and his home Ever Rest, a National Register Historic Site. (Text from an attractive brochure available in the lobby of the house).







Above a view through the gate to the Foundation towards the Hudson River. In the background you can see the iconic Irvington Water Tower. (See: A Walk Around Hastings-on-Hudson. The Iconic Water Tower).

Then finally on to the house. I’d already passed a security guard on entering the property. When I got to the lobby, I encountered two more who directed me to the elevator to the second floor where the exhibition was. When the elevator doors opened, I was greeted by two more people. This time they seemed to be docents rather than security. They gave me the above brochure and I walked around by myself looking at the paintings. Everyone (guards, docents) was very friendly. The docents didn’t offer to answer questions, but I’m sure that if I’d asked one (which I didn’t) they would have.

I wasn’t allowed to photograph, so to give a feel for the exhibit, I’ve provided a couple of links of two of the pieces on display


Harro Maas. Freedom is Calling, 2023. Mallard. Acrylic on hardboard.


Rick Pas, United States. The Comic Wood Duck, 2022. Acrylic on PVC panel.

How did I feel about the exhibit. To be honest it didn’t really do much for me. Just not to my taste I suppose.

Now Cropsey‘s works are another matter. I’m very fond of the Hudson River School artists, and from the brochures and what little I saw of the house there seems to be a good selection of Cropsey’s work there. Unfortunately, I wasn’t allowed to see the rest of the house – just the room where the exhibition was taking place.

I asked the docents what I needed to do to see the rest of the collection. They informed me that I have to make a reservation for a tour and told me how to do that. So, it looks like I’ll be going back to the Newington Cropsey Foundation. It’s a really pleasant spot right next to the Hudson River and the Hastings-on-Hudson train station. The garden is small, but very attractive. A tranquil spot, it’s perfect for just sitting, reading, and reflecting. The house exterior is beautiful and from what I saw of it the interior seemed spectacular. If I lived in Hastings-on-Hudson I’d probably be there all the time – at least in the garden.

Taken with a Panasonic Lumix GX85 and Lumix G Vario 14-140 f3.5-5.6