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Guidelines for Preparation of Master's Thesis in Art History

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Guidelines for Preparation of Master's Thesis in Art History Cultivating Taste: Henry G. Marquand’s Public and Private Contributions to Advancing Art in Gilded Age New York by Adrianna M. Del Collo Submitted in partial fulfillment of the requirements for the degree of Master of Arts (Art History), Hunter College, The City University of New York 2011 Thesis Sponsor: ___________________ ________________________________ Date Lynda Klich ___________________ ________________________________ Date Kevin Avery © Adrianna M. Del Collo, 2011 All rights reserved For Kwabena Slaughter with Eternal Love ACKNOWLEDGEMENTS I must begin by acknowledging the subject of my thesis, Henry G. Marquand, whose character I have come to deeply admire through my research. One evening, after a day spent pouring over his letters in archives of The Metropolitan Museum of Art, I saw a vision of the museum’s austere former president gliding through the halls. The reality of Marquand as a living, breathing figure suddenly occurred to me with palpable clarity. He had occupied this same building more than one hundred years ago, worrying over the future of the fledgling museum. I hope my account of his work has done him justice. I am incredibly grateful for the guidance and encouragement of my thesis advisor, Lynda Klich, and second reader, Kevin Avery. Rebecca Grunberger, my colleague at the Metropolitan, fellow Hunter student, and now close friend, has been a generous and insightful editor of my work throughout this degree. I extend my sincere thanks to Marcie Karp and the Metropolitan’s Grants Committee for the substantial tuition assistance they have provided. I owe a debt of appreciation to my colleagues at the Metropolitan in the Museum Archives, General Counsel’s Office, and Watson Library, and the staff of Princeton University’s Rare Books and Special Collections Library. Without their flexibility and support the completion of this thesis would not have been possible. Karol Pick expertly transcribed correspondence in the Metropolitan’s Marquand Papers. Her work has benefited me significantly, and will be of great value to future scholars. Finally, to my loving parents, who have always put the education of their children first, my gratitude is endless. i CONTENTS List of Illustrations iii Introduction 1 Chapter 1. 14 Patronage and Connoisseurship in the Gilded Age: The Private Collection of Henry G. Marquand Chapter 2. 52 Encyclopedic Giving: Henry G. Marquand’s Contributions to The Metropolitan Museum of Art Chapter 3. 102 Patron, Administrator, and Donor: The Legacy of Henry G. Marquand Conclusion 143 Bibliography 150 Illustrations 156 ii ILLUSTRATIONS Figure 1 John Singer Sargent, Portrait of Henry G. Marquand, 1897 Metropolitan Museum of Art, Gift of the Trustees, 1897 (97.43). Figure 2 Henry G. Marquand’s Madison Avenue and Sixty-eighth Street mansion. Richard Morris Hunt, Architect. Completed 1884. Photograph, 1905. Figure 3 Floorplan of the first and second floors of Henry G. Marquand’s Madison Avenue and Sixty-eighth Street mansion. Richard Morris Hunt, Architect, ca. 1881. Figure 4 Detail of the main hall in Henry G. Marquand’s Madison Avenue and Sixty-eighth Street mansion, 1902. Figure 5 Japanese livingroom in Henry G. Marquand’s Madison Avenue and Sixty- eighth Street mansion, [1902?]. Figure 6 English Renaissance dining room in Henry G. Marquand’s Madison Avenue and Sixty-eighth Street mansion, [1902?]. Figures 7-9 Ancient Greek drawing room in Henry G. Marquand’s Madison Avenue and Sixty-eighth Street mansion, [1902?]. Figure 10 Moorish smoking room in Henry G. Marquand’s Madison Avenue and Sixty-eighth Street mansion. Etching by B. Krieger, 1893. Figure 11 View of “Millionaires Row,” Fifth Avenue and Sixty-fifth Street, looking north along Fifth Avenue, 1895. Figure 12 William K. Vanderbilt’s Fifth Avenue and Fifty-second Street mansion. Richard Morris Hunt, Architect. Completed 1882. Photograph undated. Figure 13 Henry G. Marquand’s summer residence, Linden Gate, in Newport, Rhode Island. Richard Morris Hunt, Architect. Completed 1873. Photograph undated. Figure 14 View of The Metropolitan Museum of Art’s Fifth Avenue façade. Richard Morris Hunt, Architect. Completed 1902. Photograph, 1906. Figure 15 William H. Vanderbilt’s Fifth Avenue mansion, between Fifty-first and Fifty-second Streets. John Snook, Charles Atwood, and Herter Brothers, Architects. Completed 1881. Photograph undated. iii Figure 16 Japanese room in William H. Vanderbilt’s Fifth Avenue mansion, between Fifty-first and Fifty-second Streets. Figure 17 Lawrence Alma-Tadema, A Reading from Homer, 1885, Philadelphia Museum of Art, The George W. Elkins Collection, 1924 (E1924-4-1). Figure 18 Settee, table, and side chair; part of a set designed by Lawrence Alma- Tadema and fabricated by Johnstone, Norman and Company, 1884-1885. Figure 19 Frederick Leighton, central panel of ceiling decoration depicting ancient Greek muses, 1885-1886. Figure 20 The Studio Building, 15 West Tenth Street. Richard Morris Hunt, Architect. Completed 1857 or 1858. Photograph undated. Figure 21 Studio of Richard Morris Hunt in The Studio Building, 15 West Tenth Street. Photograph undated. Figure 22 Picture gallery in William H. Vanderbilt’s Fifth Avenue mansion, between Fifty-first and Fifty-second Streets. Colored lithograph ca. 1883. Figure 23 Picture gallery in William H. Vanderbilt’s Fifth Avenue mansion, between Fifty-first and Fifty-second Streets. Photograph ca. 1883. Figure 24 Picture gallery in Alexander T. Stewart’s Fifth Avenue and Thirty-fourth Street mansion. Photograph ca. 1883. Figure 25 Mound-Builders pottery (79.8.22). Figure 26 Mound-Builders pottery (79.8.21). Figure 27 Mound-Builders pottery (79.8.24). Figure 28 Mound-Builders pottery (79.8.8). Figure 29 Peruvian ceramic vessel from Gibbs Collection (82.1.30) Figure 30 Installation view. Charvet Collection of Glass (series 83.7), undated. Figure 31 Installation view of Charvet collections and other objects (series 81.10 and series 83.7), 1907. Figure 32 Installation view of metalwork reproductions (series 83.18), 1907. iv Figure 33 Installation view of metalwork reproductions perhaps displayed with original works (series 87.11), 1907. Figure 34 Hall of casts, looking east, 1909. Figure 35 Illustration of the Art Schools of the Metropolitan Museum of Art, 1880. Figure 36 John Trumbull, Alexander Hamilton, 1804-1806 (81.11). Figure 37 Anthony van Dyck, James Stuart, Duke of Richmond and Lennox, 1634- 1635 (89.15.16). Figure 38 Frans Hals, Portrait of a Woman, ca. 1650 (91.26.10). Figure 39 Johannes Vermeer, Young Woman with a Water Pitcher, ca. 1662 (89.15.21). Figure 40 Workshop of Diego Rodríguez de Silva y Velázquez, Prince Baltasar Carlos, undated (89.15.31 [deaccessioned]). Figure 41 Plan of the second floor galleries, Metropolitan Museum of Art, 1898, with the location of the original Marquand Gallery, gallery 6, indicated with an arrow. Figure 42 Spanish tin-enameled earthenware plate, sixteenth century (94.4.283). Figure 43 Austrian (Vienna) hard-paste porcelain saucer and goblet, Imperial Porcelain Manufactory, 1804 (94.4.290, 291). Figure 44 Italian (Urbino) Majolica plate depicting The Continence of Scipio, Francesco Durantino, 1540-1550 (94.4.332). Figure 45 Spanish (Seville) glazed earthenware tile, sixteenth or seventeenth century (94.4.428a-z). Figure 46 English (Staffordshire) soft-paste porcelain tea service, J. Spode, 1800- 1830 (94.4.74). Figure 47 Roman bronze statue of a Camillus, ca. 14-54 C.E. (97.22.25). Figure 48 Roman bronze statuette of Cybele on a cart drawn by lions, second half of second century C.E. (97.22.24) Figure 49 Etruscan bronze mirror with ivory handle, late fourth century B.C.E. (97.22.17). v Figure 50 Roman bronze bust of Minerva, first or second century C.E. (97.22.10). Figure 51 Leon Bonnat, Portrait of John Taylor Johnston, 1880, Metropolitan Museum of Art, Gift of the Trustees, 1880 (80.8). Figure 52 John Singer Sargent, Portrait of Elizabeth Love Marquand, 1887, Princeton University Art Museum, Gift of Mrs. Eleanor Marquand Delanoy, granddaughter of the sitter (y1977-77). Figure 53 John Singer Sargent, Portrait of Mrs. Playfair, 1887 In the collection of the Huntington Library. Figure 54 John Singer Sargent, Portrait of Mabel Ward, ca. 1891-1894, Metropolitan Museum of Art, Gift of Henry Galbraith Ward, 1930 (30.26). Figure 55 Thomas Cole, Roman Aqueduct, 1832, Metropolitan Museum of Art, Rogers Fund, 1903 (03.27). Figure 56 The Marquand Gallery, Metropolitan Museum of Art, 1907. Figure 57 Illustration of the opening reception at the Marquand Gallery, 1889. Figure 58 Plan of the second floor galleries, Metropolitan Museum of Art, 1905, with the locations of the original (gallery 14, formerly gallery 6) and later (gallery 11) Marquand Gallery and earlier (1888-1902) and later (1902- present) main entrance indicated with arrows. Figure 59 The Marquand Gallery, Metropolitan Museum of Art, 1911. vi INTRODUCTION Henry G. Marquand (1819-1902) was a prominent New York businessman, art collector, and one of the earliest trustees and the second president of The Metropolitan Museum of Art. He began collecting art for his private residence in the 1840s or 1850s and continued buying art for his private collection and for the Metropolitan through 1900. He is remembered chiefly for his series of gifts to the museum from 1889 through 1891 of fifty old master and English school paintings, including valuable works by Rembrandt, van Dyck, and Velázquez, and the first painting by Vermeer ever to enter a United States collection. The Marquand Collection of paintings, as it was known, was a pivotal gift for the museum, transforming the Metropolitan’s then modest holdings of paintings into a collection that drew international renown. The enduring significance of the Marquand Collection of paintings, however, has led to a myopic view of the donor’s characteristics and motivations as a supporter of the arts. Less recognized but no less significant than the collection of paintings are Marquand’s donations of nearly twenty-four hundred other objects, primarily decorative arts, and over one hundred thousand dollars in funds to support the museum’s operations and programming from 1879 through 1900.
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