The Frick Collection ?· The Frick Collection members’ magazine winter 2007 annual report july 2005…

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<ul><li><p>The Frick Collectionmembers magazine winter 2007</p><p>annual report july 2005 june 2006</p><p>George Stubbs (17241806): A CelebrationFebruary 14 through May 27, 2007</p></li><li><p>page content</p><p>18 The Frick Collection </p></li><li><p>page content</p><p> Annual Report July 2005 June 2006 19</p><p> leadership</p><p>20 BoardofTrustees,CouncilofTheFrickCollection, YoungFellowsSteeringCommittee</p><p> reports</p><p>21 MargotBogert,President22 AnneL.Poulet,Director24 ColinB.Bailey,ChiefCurator27 PatriciaBarnett,AndrewW.MellonLibrarian</p><p>30 NotableLibraryAcquisitions31 PublicProgramming:Lectures,Concerts,andPublications</p><p> gifts and grants</p><p>32 MajorContributions35 DirectorsCircle35 FoundersSociety35 FellowsandFriendsofTheFrickCollection41 CorporateMembersandSponsors41 MatchingGiftCompanies</p><p>42 financial statements</p><p> staff</p><p>44 TheFrickCollection46 FrickArtReferenceLibrary</p><p>The Frick Collection annual report july 2005 june 2006</p><p>mich</p><p>ael bo</p><p>dyco</p><p>mb</p></li><li><p>page content</p><p>20 The Frick Collection </p><p>TheFrickCollectionBoardofTrusteesAs of June 30,2006</p><p>MargotBogert,President</p><p>HowardPhippsJr.,Vice President</p><p>L.F.BokerDoyle,Treasurer</p><p>JohnP.Birkelund,Secretary</p><p>PeterP.BlanchardIII</p><p>W.MarkBrady</p><p>I.TownsendBurdenIII</p><p>WalterA.Eberstadt</p><p>EmilyT.Frick</p><p>AgnesGund</p><p>MarthaLoring</p><p>JuanSabater</p><p>StephenA.Schwarzman</p><p>MelvinR.Seiden</p><p>HenryClayFrickII</p><p>Chairman Emeritus</p><p>HelenClayChace</p><p>President Emerita</p><p>WalterJosephPatrickCurley</p><p>PaulG.PennoyerJr.</p><p>Trustees Emeriti</p><p>EverettFahy</p><p>CharlesRyskamp</p><p>SamuelSachsII</p><p>Directors Emeriti</p><p>CouncilofTheFrickCollectionAs of June 30,2006</p><p>W.MarkBrady,Chairman</p><p>JonathanBrown,Vice Chairman</p><p>JulianAgnew</p><p>IreneRooseveltAitken</p><p>JeanA.Bonna</p><p>VivienR.Clark</p><p>PeterDuchin</p><p>AnneGoldrach</p><p>NicholasH.J.Hall</p><p>JonLandau</p><p>ThierryMillerand</p><p>DianeAllenNixon</p><p>RichardE.Oldenburg</p><p>CharlesRyskamp</p><p>AlanSalz</p><p>StephenK.Scher</p><p>BeatriceStern</p><p>GeorgeWachter</p><p>IsabelS.Wilcox</p><p>NinaZilkha</p><p>YoungFellowsSteeringCommitteeAs of June 30,2006</p><p>NathalieKaplan,Chairman</p><p>MarthaLoring,Secretary</p><p>CharlesdeVielCastel</p><p>AmyMazzolaFlynn</p><p>LisaRossiGorrivan</p><p>PhilipC.Gorrivan</p><p>JulianIragorri</p><p>Ana-MariaIragorri-Farcic</p><p>RobertLindgren</p><p>VictoriaLindgren</p><p>VictoriaRotenstreich</p><p>MariannaSabater</p><p>LouiseSchliemann</p><p>CatherineShepard</p><p>AndrewThomas</p><p>GenevieveWheelerBrown</p></li><li><p>page content</p><p> Annual Report July 2005 June 2006 21</p><p>Report of the PresidentMargotBogert</p><p>I twasmygreathonorthisyeartosucceedmyfriendHelenClayChaceaspresidentof The Frick Collection. In my tribute to</p><p>her in last winters Members Magazine, I</p><p>detailedsomeofthemanyaccomplishments</p><p>ofhertenurefromApril2000 toDecember</p><p>2005.Inshort,shehashandedmethereins</p><p>of an institution that is financially healthy,</p><p>whosecollectionsarelovinglydisplayedand</p><p>caredfor,whoseexhibitionsarevibrant,and</p><p>whoseLibraryplaysan importantpart ina</p><p>large and diverse international community.</p><p>Above all, she set an example of grace and</p><p>refinementthatisareflectionoftheinstitu-</p><p>tionitself.WearefortunatethatHelenClay</p><p>willcontinuetobeinvolvedwiththeFrickas</p><p>PresidentEmerita.</p><p>During the past twelve months, I was</p><p>pleased to welcome two new members to</p><p>the board: Martha LoringHelen Clays</p><p>daughter, who will help carry on the fam-</p><p>ily tradition of support for the Collection</p><p>andLibraryandAgnesGund,whobrings</p><p>a lifetimes passion for the visual arts to</p><p>the Frick.While both have a deep personal</p><p>understandingofthequalitiesthatmakethe</p><p>Frickspecial,eachbringsafreshperspective</p><p>totheinstitutionthatwillhelpcarryusfor-</p><p>wardaswelooktothefuture.</p><p>Having just two years ago made the</p><p>transition from private foundation to pub-</p><p>lic charity, a status that requires us to raise</p><p>a substantial portion of our annual bud-</p><p>get from donations, membership fees, and</p><p>other income beyond our endowment, the</p><p>Fricknowconfrontssteeplyincreasedneeds</p><p>for fundraising, an art in which our sister</p><p>institutions in New York have had decades</p><p>of experience. The overwhelming response</p><p>to our efforts to secure public support has</p><p>beenaneloquentexpressionoftheextentto</p><p>whichourfriendsholdtheFrickdear.</p><p>So it is that this past year has been</p><p>financiallyoneofthestrongestintheFricks</p><p>history, with overall growth in contribu-</p><p>tionsamountingto26percent.TheAutumn</p><p>DinnerinOctober2005providedanauspi-</p><p>cious start to the season: proceeds for the</p><p>eventpronouncedthemostelegantparty</p><p>oftheyearbyThe New York Timestotaled</p><p>more than $750,000, almost double that of</p><p>thepreviousyear.Indeed,netproceedsfrom</p><p>allofourevents(includingfundsgenerated</p><p>bytheYoungFellowsBallinMarchandthe</p><p>InternationalFineArtFairinMay)increased</p><p>by52.9percent.</p><p>While social events bring visibility to</p><p>the institution, I confess that it is the</p><p>more quiet philanthropy that I find the</p><p>mostheartening.Unrestrictedcontributions</p><p>fromindividualsgrewfromabout$770,000</p><p>to $1,025,000, an increase of 33 percent,</p><p>owing in large part to the success of the</p><p>DirectorsCircle,agroupofourmostsup-</p><p>portive friends, informed and discerning</p><p>advocatesofTheFrickCollectionwhoare</p><p>dedicated to maintaining the high stan-</p><p>dards of the institution. Funding for exhi-</p><p>bitions,thejewelintheFrickscrown,grew</p><p>morethanfivefold, from$218,000 tosome</p><p>$1,219,000, providing support for the bril-</p><p>liantly received Memling, Goya, Liotard,</p><p>andVeroneseshows.</p><p>Asmyinauguralyearaspresidentcomes</p><p>to a close, I would like to offer my sincere</p><p>thanks to my colleagues on the Board of</p><p>Trustees,whohavewelcomedmewarmly;to</p><p>AnnePouletandthededicatedprofessionals</p><p>who work at the Frick and give it their all;</p><p>to the members of the Frick Council and</p><p>theYoungFellowsSteeringCommittee,who</p><p>provide expertise and lend their time; and,</p><p>especially, to those of you listed in the fol-</p><p>lowingpages,whohavesupportedtheFrick</p><p>during the past twelve months. You are all</p><p>partof theextendedFrick family,andyour</p><p>generositymakes itpossible for the institu-</p><p>tiontocontinuetoembodythequalitiesthat</p><p>make it a treasure for NewYorkers and for</p><p>visitorsfromallovertheworld.</p></li><li><p>page content</p><p>22 The Frick Collection </p><p>Report of the DirectorAnneL.Poulet</p><p>T hosewhohavehadthepleasureofvis-itingTheFrickCollectioninthepasttwelve monthsor who have read about it</p><p>in the newspapers and journals that report</p><p>onartknowthatithasbeenaveryspecial</p><p>yearinthelifeoftheinstitution.Inthepages</p><p>that follow, you will read about the many</p><p>exhibitions,educationalprograms,scholarly</p><p>activities, and events that took place at the</p><p>Frickduringthisperiod.</p><p>Our fall 2005 exhibition of twenty of</p><p>the surviving portrait paintings by the</p><p>Netherlandish Renaissance painter Hans</p><p>Memlinga large number of which had</p><p>never before been seen on this side of the</p><p>Atlanticopenedtobothpopularandcriti-</p><p>calacclaim.Followingtheshowwasamid-</p><p>winter exhibition of works by Francisco de</p><p>Goya, an unflinching look at his brilliant</p><p>and innovative oeuvre as he grappled with</p><p>old age, poor health, exile, and family con-</p><p>flict; it was the first in the United States to</p><p>concentrate exclusively on the final phase</p><p>of the artists career. In late June, the Frick</p><p>openedanexhibition featuring theworkof</p><p>Jean-tienneLiotard,aneighteenth-century</p><p>Swisspainterrenownedforhisportraitsand</p><p>pastels, until then little known and rarely</p><p>seeninAmerica.</p><p>These and other special exhibitions, all</p><p>inspiredbyworksinourpermanentcollec-</p><p>tion,demonstratethattheFrickisnotsimply</p><p>arepositoryofobjectsbutalivingmuseum</p><p>that continues to stimulate scholarship, to</p><p>illuminateourknowledgeofarthistory,and</p><p>to enliven our experiences. For those who</p><p>wonder about the future of an institution</p><p>thatfocusesontheartofthepast,weanswer:</p><p>artshowsuswherewehavecomefrom,who</p><p>weare,andhowwefeelaboutourselvesand</p><p>theworldaroundus.</p><p>This year, three important acquisitions</p><p>were made by gift and by purchase. The</p><p>Quentin Foundation gave the Frick Piet </p><p>with Two Mourning Putti, asuperbterracotta</p><p>by the Florentine sculptor Massimiliano</p><p>Soldani-Benzi, and Eugene V. Thaw made</p><p>a promised gift of a magnificent marble</p><p>portrait bust, Madame His, by the great</p><p>eighteenth-century French sculptor Jean-</p><p>AntoineHoudon,anartistwhoseworkwas</p><p>admired by both Henry Clay Frick and his</p><p>daughter Helen Clay Frick. In March, with</p><p>fundsfromtheWinthropEdeyBequest,the</p><p>Frick purchased The Dance of Time: Three </p><p>Nymphs Supporting a Clock by Lepaute. This</p><p>masterpiece of terracotta was created in</p><p>1788 by the celebrated sculptor Clodion,</p><p>with the attached mounted clock designed</p><p>by Jean-Andr Lepaute. The Dance of Time</p><p>was cleaned in preparation for its debut in</p><p>thegalleries,andtheLepauteclockisnowin</p><p>runningorderfollowingconservation.These</p><p>extraordinary objects enrich the visitors</p><p>experience while blending seamlessly with</p><p>ourexistingcollection.</p><p>Along with a full calendar of exhibi-</p><p>tions, lectures, concerts, and other events,</p><p>theFrickbeganaEuropean travelprogram</p><p>toprovidegreatercontexttothepermanent</p><p>collectionandexhibitions.InearlyOctober,</p><p>guestsjoinedusonatrip,co-organizedwith</p><p>the French Heritage Society, to the Loire</p><p>Valley, where we visited the private and</p><p>public Renaissance residences and gardens</p><p>of Charles VIII, Louis XII, Franois I, and</p></li><li><p>page content</p><p> Annual Report July 2005 June 2006 23</p><p>their contemporaries. A month later, Frick</p><p>curator Susan Grace Galassi and I accom-</p><p>panied a group of patrons to Madrid and</p><p>Bordeaux to visit sites where Goya lived</p><p>andworkedattheendofhiscareer.Bothof</p><p>theseexcursionsprovidedtravelerswiththe</p><p>opportunity to visit notable private collec-</p><p>tionsandhomesandtomeetwithimportant</p><p>curators,collectors,andhistorians.</p><p>Iamespeciallyproudof thecreationof</p><p>the Center for the History of Collecting in</p><p>America, launched with a planning grant</p><p>fromtheGladysKriebleDelmasFoundation.</p><p>Building on the strengths of the Frick Art</p><p>Reference Library and working coopera-</p><p>tivelywith institutions suchas the Institute</p><p>of Fine Arts of New York University, the</p><p>GettyResearchInstituteinLosAngeles,and</p><p>theClarkArtInstituteinWilliamstown,the</p><p>CenterwillhouseinformationonAmerican</p><p>collectorsandcollectingand, throughsym-</p><p>posia and workshops, will foster public</p><p>awareness of the importance of art collec-</p><p>tionsassignposts inAmericanculturaland</p><p>social history. This is an area of study that</p><p>has been neglected in the United States,</p><p>andtheCenterwillprovideamuch-needed</p><p>forumforsuchdiscourse.</p><p>AstestimonytotheFricksincreasingvis-</p><p>ibilityandtheextraordinarycriticalresponse</p><p>to its exhibitionsandprograms,attendance</p><p>increased to 307,081 from 240,986 for the</p><p>previoustwelve-monthperiod.Membership</p><p>grewfromabout3,200in2005tomorethan</p><p>4,300 by the end of the first half of 2006.</p><p>These are signs of an appreciative publics</p><p>enthusiasmforourofferingsandadesireto</p><p>beinvolvedwiththeinstitution,atrendthat</p><p>wefullyexpecttocontinue.</p><p>In one of the many glowing articles to</p><p>appearinthepressthisyear,onewriterasked,</p><p>WhatcantheFrickdoforanencore?Ican</p><p>promiseyou thatwewill continue to strive</p><p>to enhance the institution and the visitors</p><p>experience,whileat the same timepreserv-</p><p>ingthemuseumsessentialnature.Through</p><p>exhibitions and programs, we endeavor to</p><p>representthehigheststandardsofexcellence</p><p>in connoisseurship, scholarship, and intel-</p><p>lectualdiscourse.</p><p>Itisnotanoverstatementtosaythatthe</p><p>accomplishments outlined in this annual</p><p>report are a celebration of many: Margot</p><p>Bogert and the dedicated members of our</p><p>Board of Trustees, our extraordinary staff,</p><p>ourloyalvolunteers,andourmanygenerous</p><p>supporters. I am very grateful indeed to all</p><p>of youwhohavemade theseactivitiespos-</p><p>sible,andIlookforwardtoyourcontinuing</p><p>involvementinthedaysahead.</p><p>left to right:Massimiliano Soldani-Benzi(16561740),Piet with Two Mourning Putti, probably1715,terracottaonoriginalebonybase,TheFrickCollection,giftofTheQuentinFoundation;photographsonthesetwopagesbyMichaelBodycomb</p><p>Jean-Antoine Houdon(17411828),detailofMadame His, 1775,marble,TheFrickCollection,promisedgiftofMr.andMrs.EugeneVictorThaw</p><p>Claude Michel (17381814),knownasClodion,detailofThe Dance of Time: Three Nymphs Supporting a Clock by Lepaute,1788,terracotta,brass,giltbrass,silveredbrass,steel,andglass,TheFrickCollection,purchasedwithfundsfromtheWinthropEdeyBequest</p></li><li><p>page content</p><p>24 The Frick Collection </p><p>Report of the Chief CuratorColinB.Bailey</p><p>T he past year has been an excitingandchallengingoneforthecuratorialdepartment, distinguished by exceptional</p><p>acquisitions and a broad array of exhibi-</p><p>tions,ofteninspiredbyseminalworksinthe</p><p>permanentcollection.</p><p>In addition to the three acquisitions</p><p>previously mentioned in the Report of the</p><p>Director, the Frick was fortunate to receive</p><p>aplasterstatuetteofJean-AntoineHoudons</p><p>Diana, generously donated by Frederick</p><p>Koch.Thiswork isoneofonly twoknown</p><p>surviving reductions produced by Houdon</p><p>duringhislifetime;followingitsdonation,a</p><p>complexconservationtreatmentwasunder-</p><p>takentoremovemultiplelayersofover-paint</p><p>fromtheobject.Twoenamels,Christ in the </p><p>Garden of Gethsemane and The Mocking </p><p>of Christ, both created in the mid- to late</p><p>sixteenthcenturybytheworkshopofPierre</p><p>Reymond,weregivenbyDr.andMrs.Henry</p><p>ClayFrickIIandaresignificantadditionsto</p><p>ourcollection.</p><p>Wealsocontinuetobenefitfromtheloan</p><p>ofoutstandingobjectsthatenhancetheper-</p><p>manentcollection.Onview in theEnamels</p><p>RoomsinceJuly2004 is thepanel fromthe</p><p>Phillips Family Collection, Christ on the </p><p>Cross between the Virgin and Saint John,</p><p>painted circa 1340 by Simone Martini and</p><p>his assistants. Houdons superb high-relief</p><p>marbleLa Grive Morte of 1782hasbeenon</p><p>extended loan from the Horvitz Collection</p><p>sinceAugustof2004.</p><p>From October 12 through December 31,</p><p>2005,visitorstotheFrickcouldviewMemlings </p><p>Portraits, which was co-organized with the</p><p>MuseoThyssen-Bornemisza,Madrid,andthe</p><p>Groeningemuseum,Bruges.The selectionof</p><p>morethantwentyportraitsbythecelebrated</p><p>NetherlandishartistHansMemling(c.1435</p><p>1494)exploredthefunctionofportraiturein</p><p>theNetherlandsduringthefifteenthcentury.</p><p>It was accompanied by a catalogue pub-</p><p>lished inseveral languagesbyLudion.Inhis</p><p>review in The New York Times (October 14,</p><p>2005),HollandCotterdeclaredthatMemlings </p><p>Portraitswillfigureonshortlistsoftheyears</p><p>outstanding small exhibitions, and not only</p><p>for the rarity of its contents. The show is</p><p>some kind of ideal experience. In order to</p><p>accommodate the publics great interest in</p><p>this exhibition, gallery hours were extended</p><p>to8:00onFridayevenings.</p><p>We followed the success of Memlings </p><p>Portraits with Goyas Last Works, on view</p><p>from February 22 through May 14, 2006.</p><p>Goyas portrait of Mara Martnez de Puga,</p><p>acquiredbyHenryClayFrickin1914,wasthe</p><p>inspirationforthisexhibition,whichconcen-</p><p>tratedexclusivelyonthefinalphaseofGoyas</p><p>long careerthe years of the artists volun-</p><p>taryexileinBordeauxfrom1824to1828.Co-</p><p>organizedbytheFricksCuratorSusanGrace</p><p>Galassi and Jonathan Brown of New York</p><p>UniversitysInstituteofFineArts, theexhibi-</p><p>tion featured fifty-one examples of Goyas</p><p>finalproduction.Borrowedfrompublicand</p><p>private European and North American col-</p><p>lections, the works on view included draw-</p><p>ings, paintings, miniatures on ivory, and</p><p>lithographs. Goyas Last Works was enthusi-</p><p>asticallyreviewedbyMichaelKimmelmanof</p><p>The New York Times, whonoted,Thecom-</p><p>pact Frick show is sublime.... I cant recall</p><p>too many exhibitions on this scale more</p><p>revelatory. A study day was held in early</p><p>May, during which a group of forty cura-</p><p>tors, conservators, and academics discussed</p><p>current research on the artist and explored</p><p>issues raised by the exhibition. A catalogue</p><p>publishedinassociationwithYale...</p></li></ul>