During your visit to 667 Mad, take a moment to discover the museum-quality art collected by The Hartz Group, Inc. Each piece offers a unique glimpse into history and holds significant value by the building’s owner, Chairman & CEO, Leonard Stern.
A ten-foot-tall bronze Statue of Liberty, by Frédéric Auguste Bartholdi, stands at the building’s entrance to greet visitors. Lady Liberty was the first to greet Leonard Stern’s father, Max Stern, when he immigrated at Ellis Island in 1926. When Max caught glimpse of America’s greeter, he recalled a powerful thought:
“Now I am going to be free to achieve as much as I am able.”
- Max Stern
He went on to realize the American dream.
In 1871, Frédéric Auguste Bartholdi began work on a plaster sculpture that would later become the iconic Statue of Liberty now gracing New York Harbor. The Statue of Liberty was dedicated on October 28th, 1886.
The statue at 667 Mad was cast from that original plaster maquette and then enlarged exactly 16 times to create the statue that stands in New York’s Harbor that has held such deep meaning to generations of Americans.
667 Mad’s casting of Bartholdi’s original plaster sculpture was unveiled on October 12, 2011, a date whose significance cannot be overlooked. As ten years prior, the Statue of Liberty became an even more enduring symbol of our freedom as she bore witness to the horrific events of September 11, 2001.
A gift from the people of France, funded by public contributions, she celebrates France’s crucial contributions to the American Revolutionary War effort as well as our shared values of democratic government.
On October 19, 1781, George Washington, with the support of the French infantry and large naval forces, defeated British General Charles Cornwallis at the Battle of Yorktown, thus bringing our long and difficult Revolutionary War to a victorious conclusion.
Inscription: This statue, cast in bronze from the original plaster sculpture, was enlarged 16 times by the artist to create The Statue of Liberty in New York Harbor, perhaps the most recognized symbol of freedom in the world.
It was presented as a gift to the American people and paid for by the citizens of France. The statue celebrates the core values of both countries: freedom, democratic government and the equality of man.
It also celebrates the bonds of friendship between our two countries and the vital financial and military assistance that France gave our Revolutionary Army commanded by George Washington during our young nation's hour of greatest need.
“The west wall of our lobby was originally designed to display a fantastic piece of art. Yet I could never find the perfect piece, given the size and volume of the space and my commitment to do something really different.”
- Leonard Stern
The Dukes of Brunswick-Wolfenbüttel, senior members of the ancient family of Welf, enjoyed a high level of prosperity in the later Middle Ages, thanks in no small measure to the international commerce of the great Hanseatic cities lying within their domain. With its close proximity to the iron ores of the Harz, the area had already established itself as an important center for metalworking by 1293 when the Duke Heinrich formally ratified the privileges of its metalsmiths.
Armourers were recorded among their number as early as 1303 and had by the 16th Century grown to such a number that the guild felt it was necessary to specify in its ordinances of 1555 and 1598 the various types of armour that might be accepted by it as masterpieces. The Brunswick armourers were, by that time, held in sufficient esteem for their products to find a ready market abroad. These are excellent examples of their craft and skill.
The exhibit includes:
A large North German field suit of armour made for the Court of Julius, Duke of Brunswick-Wolfenbuttel (circa 1562-1563) (center)
A two-handed bearing sword of the Brunswick State Guard (dated 1574)
Flanked on each side by two Milanese suits of armour, circa 1590
Artist: Gilbert Charles Stuart (1755-1828)
Of the seven full-length, life-size portraits that Stuart painted of our first President, this is the only one that remains in private hands. Washington sat for Stuart on two separate occasions, once in 1794 and again in 1796. Another similar painting hangs in our nation’s Capital.
This portrait is considered the best of Stuart’s full-length Washington portraits. It was first exhibited at the American Academy of the Fine Arts, New York, in 1817, by which time it had already passed from an unidentified London banker to Peter Jay Munro, Esq. of New York. It then descended to James Lenox, who founded the Lenox Library, which merged into the New York Public Library in 1895. It remained in the Library’s collection until 2005, when it was sold to a private collector.
This painting was included in the exhibition of the work of Gilbert Stuart at The Metropolitan Museum of Art, New York; the National Gallery of Art, Washington, D.C.; the Grand Palais, Paris; and the Royal Academy of Art, London, in 2004–07.
It is a national treasure.