The Frick Collection Members’ Magazine Fall 2003 / 2002 Annual Report
upcoming exhibition The Drawings of François Boucher page 2
collection news Important Gift of Italian Sculpture Placed on View in the Living Hall page 6
collection news Greuze’s Wool Winder Undergoes Conservation at the J. Paul Getty Museum page 7
education Two Sides of the Gilded Age: Frick Collaborates with the Lower East Side Tenement Museum page 8
library The Frick Photoarchive: A Treasury of Unpublished Images of Works of Art page 9
special events Whistler Opening, Panel Discussion, Art through a Child’s Eyes page 12
table of contents The Frick Collection 2002 Annual Report page 14
public services and programs Museum Shop, Lectures, Concerts page 36
on our cover: François Boucher (1703–1770), detail of Young Woman with Two Cupids and a Vase on the Extrados of an Arch, c. 1768, reddish brown chalk heightened with white on tan paper. Museum of Fine Arts, Boston; bequest of Forsyth Wickes, The Forsyth Wickes Collection upcoming exhibition
The Drawings of François Boucher
October 8 through December 14, 2003
y his own account, François Boucher he pioneered the concept of the autonomous readiness to recycle and repeat successful B made as many as ten thousand draw- drawing, creating a work especially for the poses and groupings. ings over the course of a career that spanned collector, which might take a figure (or fig- The son of a master painter in the Paris nearly five decades—his first biographers ures) from one of his paintings as a point of Guild (the Académie de Saint-Luc), Boucher claimed that he worked twelve hours a departure. Following innovations in print- spent a brief apprenticeship in the studio of day!—and his repertory as a draftsman was making during the 1740s, Boucher also the brilliant, but unstable, history painter encyclopedic. Not only did he make prepara- made drawings to be engraved in facsimile. François Lemoyne. In August 1723 he won tory compositional and figure studies for his To celebrate the three hundredth the Prix de Rome and was now firmly set on paintings, he also used drawings in the anniversary of Boucher’s birth, The Frick the course of study offered by the Academy process of designing cartoons for Beauvais Collection will present an exhibition of to its most promising student history and Gobelins tapestries and as models for approximately seventy-five drawings devoted painters. Unfortunately, the twenty-year-old Sèvres porcelain. From early on in his career to his graphic work. Borrowed from private was obliged to delay his visit to Rome he provided drawings to be engraved as the- and public collections worldwide, the because of administrative mismanagement, sis plates, book illustrations, frontispieces, drawings will exemplify his virtuosity as a and for the next five years, he continued his and allegorical vignettes. As a mature artist draftsman and illustrate the range of media artistic education in Paris on the margins of he employed. the academic system. He was employed to If drawing served a variety of functions make designs for thesis plates to be in Boucher’s career, the artist explored the engraved, and, most important, he con- graphic medium in all its variety. He drew in tributed more than one hundred etchings sanguine (red chalk); sanguine brûlée (red- after Watteau’s drawings and paintings for dish-brown chalk); pen and ink (both black Jean de Jullienne’s Figures de différents carac- and brown); brush and wash; pastel; in the tères and the Recueil Jullienne, a compendium trois crayons technique perfected by of Watteau’s oeuvre. Not only did exposure to Watteau; and in black chalk heightened with Watteau’s figures and drawings make a last- white on blue, gray, or fawn paper. From the ing impression on Boucher, but the generous middle of the century his drawings were fee he received allowed him to save enough avidly collected by connoisseurs who would money to visit Rome at his own expense. hang choice sheets—mounted, matted, and Boucher left for the Eternal City in April placed under glass—in their picture cabi- 1728. From the drawings he made after works nets. Consequently, Boucher’s drawings of art during his sojourn there, it seems that came to serve a dual purpose. While they rather than immersing himself in the mon- might prepare an idea to be used in a paint- uments of Greek and Roman antiquity and ing (or tapestry or engraving) and inscribe a the Renaissance, he was most impressed by motif studied from the life or created in the the vigor and grandiloquence of the Italian artist’s imagination, they also assumed a Baroque (his copies after Baciccio’s fres- somewhat different role as a luxurious com- coes in the church of San Agnese in Agone modity. This would help account for are a prime example). It was also in Rome François Boucher (1703–1770), Study of La Flèche Boucher’s unerring placement of his figures that he encountered the work of the Northern (Having His Pockets Searched by Harpagon), c. 1732–34, on the sheet, his meticulous handling of Mannerist Abraham Bloemaert (1566–1651), two colors of red chalk with brown ink on paper. Rijksmuseum, Amsterdam washes, highlights, and stumping, and his whose rustic protagonists would have a con-
2 The Frick Collection siderable influence on the young artist’s own tume and tricorn of the protesting La Flèche Boucher, Recumbent Female Nude, c. 1742–43,red, white, and black chalks on cream antique laid paper. peasant scenes and early pastorals. are masterfully delineated, as are his ges- Collection Jeffrey E. Horvitz, Boston Back in Paris by the summer of 1731, tures and expression. Even more immediate Boucher rapidly ascended the Academy’s is the suspicious Harpagon, shown in the hierarchy as a history painter, rising to the process of picking the pockets of his com- Collection), from which a single set of post of full professor in July 1737. On the panion. His balletic pose and pent-up energy Gobelins tapestries was woven, were con- lookout for prestigious commissions to dec- are rendered in the briefest strokes of red ceived as a pair of mythological decorations orate royal and princely residences, in the chalk, and we can almost feel him retreat as for Pompadour’s Château de Bellevue. A 1730s Boucher was more than ready to work La Flèche turns to see what is happening drawing of a male nude, based on the figure on several registers at once. Among the most behind him. of Apollo in The Rising of the Sun, is includ- successful of his extracurricular activities Despite the caliber of such drawings, it ed in the exhibition. Similarly, the hoary were the illustrations he provided for a new was primarily as a painter of mythological Head of a River God in Profile (page 4) is not edition of Molière’s works, published in subjects that Boucher made his reputation a preparatory study, but one made after a 1734–35. Setting the narratives in up-to-date in the 1730s, one that became unassailable figure in a lost tapestry cartoon, Rinaldo Parisian interiors, Boucher approached with Madame de Pompadour’s installation Asleep. Boucher “completed” the profile of each episode as a miniature history painting as maîtresse en titre in 1745, after which time the river god by placing his right hand on and prepared his compositions accordingly Boucher quickly gained ascendancy as the the edge of an architectural element; in the with figure studies of unprecedented verve foremost painter in her circle. His master- tapestry, his right arm is extended, the and spontaneity. In the study from the pieces, The Rising of the Sun and The Setting upper part concealed by a naiad’s head. Rijksmuseum illustrated on page 2, the cos- of the Sun, 1752–53 (London, The Wallace This recycling of motifs to create satisfying
Members’ Magazine Fall 2003 3 upcoming exhibition
Boucher, Landscape with the Aqueduct at Arcueil, c. 1745–55, black and white chalks heightened with white on blue paper. Graphische Sammlung Albertina, Vienna
painter, Boucher’s “universality”—a term applied to him by contemporary art critics— embraced all genres within the Academy’s hierarchy, with the exception of still life. Boucher’s graphic universe was no less com- pelling and all-encompassing, treating as it did religious, mythological, and historical narratives; scenes from everyday life and fic- tive domesticity; studies from the life of adults and children; depictions, real and idealized, of the male and female nude. The exhibition includes outstanding examples of all of the above and even presents one of Boucher’s rare portraits in pastel, the genre least congenial to him. nude or académie) was a constant in Boucher’s Boucher not only operated within the graphic output, from the cat-eyed, silken, parameters established by the Academy, he and insinuating figure studies in black or red recast and reinvented certain of its cate- chalk that date from the mid 1730s to the gories. Just as his creation of the painted 1740s, to the more weighty, at times almost pastoral civilized the prevailing Dutch- pneumatic nudes—worthy of Rubens!—that inspired rustic subject, so did his treatment characterize his later production. Close of landscape, with its seamless integration examination of the provocative nude illus- of direct observation and picturesque fancy, trated on page 3 suggests that the function of renew a moribund genre. The most topo- these erotic studies is more complex than is graphically faithful of these drawings is immediately apparent. Boucher brilliantly Landscape with the Aqueduct at Arcueil evokes the weight of the prone model as she (above), a rendition of the seventeenth- rests on drapery that suggests bed linen, but century aqueduct constructed for Marie de
Boucher, Head of a River God in Profile, c. 1750, might equally conceal a cloud or hillock Medicis. Framed by overgrown trees, the red, black, and white chalks on buff paper. Private underneath. Part courtesan, part Venus’s scene evokes the abandoned grounds of the collection, courtesy of W. M. Brady & Co. handmaiden, the figure adopts a pose that château of the ducs de Guise, just south of Boucher had studied many times before in Paris, a favorite haunt of artists of Boucher’s individual sheets for the private market is an the previous decade. While it anticipates the generation, who flocked there to make important aspect of Boucher’s production, more blatant carnality associated with his paintings and drawings en plein air. one that only recently has been given the blonde and dark-haired Odalisques, the Although in the 1760s Boucher came attention it deserves. drawing retains an ethereal grace and delica- under fire from progressive critics for his As indicated by his sobriquet “the painter cy more appropriate to Mount Olympus than attachment to a purely fictive universe— of the Graces,”the subject of the female nude to either the seraglio or the Parc-aux-cerfs. Diderot complained that “The man has (and to a somewhat lesser extent, the male While he was preeminent as a history everything but Truth”—he continued to
4 The Frick Collection Boucher, Study of a Despondent Woman in Drapery, Supporting Herself on a Plinth, 1761, black chalk heightened with white on buff paper. Private collection produce monumental mythological and pastoral decorations that display an inven- tiveness and acuity that would be matched only by those of his pupil Jean-Honoré Fragonard in the decade to come. Boucher seems also to have been receptive to the Scipio (above), one of nine preparatory Boucher, The Continence of Scipio, c. 1766–67, brush and brown wash with black and reddish-brown chalks height- drawings for an aborted commission from emerging classicism that infiltrated all ened with white on paper. The Phillips Family Collection aspects of French art and architecture at this King Stanislas Poniatowski of Poland. The time. The dignified and magisterial Study of work elegantly proclaims the benevolence of This exhibition was organized by the American a Despondent Woman in Drapery (above) Boucher’s patron, since the subject—the vic- Federation of Arts and made possible, in part, cannot be connected to any surviving com- torious Roman general Scipio Africanus the by grants from the Fino Family Foundation, position, but may have been intended to Elder—is shown returning the beautiful the Samuel H. Kress Foundation, and the assist his son-in-law, the history painter maiden he had received in tribute to her Pfizer Foundation. Additional support was Jean-Baptiste Deshays, with the figure of fiancé (the androgynous figure bending to provided by the Benefactors Circle of the AFA. Briseis in a tapestry cartoon, The Anger of take her hand). Boucher ultimately aban- Presentation of the exhibition in New York, Achilles (in this episode, the golden-haired doned the commission, but not before mak- which has been coordinated by Chief Curator captive is led away, disconsolate, from her ing several fully worked-up compositional Colin B. Bailey, is made possible through a lover’s tent). That Boucher remained a mas- studies such as this, which makes one regret major grant from The Peter Jay Sharp ter of the heroic narrative is exemplified in the absence of a final painting all the Foundation with additional support from Jean the stirring wash drawing The Continence of more.—Colin B. Bailey, Chief Curator A. Bonna and the Fellows of The Frick Collection.
Members’ Magazine Fall 2003 5 collection news
Important Gift of Italian Sculpture Placed on View in the Living Hall
he Frick Collection is pleased to an- ing animal groups invented about 1580 by by Renaissance collectors of bronze stat- T nounce Walter A. and Vera Eberstadt’s Giambologna and the principal bronze caster uettes, presenting viewers with alternative gift of a magnificent pair of bronzes by the in his shop, Antonio Susini, Giovanni’s uncle. responses to death’s inescapable challenge. seventeenth-century Italian sculptor Giovanni After inheriting Giambologna’s models, The struggling horse, its strong neck arched Francesco Susini. Lion Attacking a Horse and Antonio cast many examples of these popu- backward and sharp hooves grappling the Leopard Attacking a Bull exhibit the dyna- lar bronzes, a practice his nephew contin- air, is emblematic of heroic, unrelenting com- mism and technical refinement characteristic ued. Giovanni’s Lion Attacking a Horse bat against fate. The bull, in contrast, has of the works made by the artists who trained derives directly from a composition by crashed down on its knees as its weighty head under the Florentine sculptor Giambologna at Antonio while Leopard Attacking a Bull is his sinks to the ground. Its struggle over, the bull the end of the sixteenth century. This latest own creation. symbolizes acceptance of death’s inevitability. acquisition complements the work of another The gracefully curved silhouette of the The Susinis are displayed in the Living Giambologna follower, Pietro Tacca, whose lion and horse reflects the elegant abstraction Hall on a pair of marquetry pedestals from dramatic bronze showing the centaur Nessus typical of the late Renaissance creations of the workshop of André-Charles Boulle abducting Dejanira (c. 1630–40) was acquired Giovanni’s predecessors. In contrast, the com- (1690s). Above them hang masterpieces of by Henry Clay Frick in 1915. position of the leopard and bull is aggressively Italian Renaissance and Baroque bronze The Susini bronzes are extremely rare. angular. At the expense of formal harmony, relief, Vecchietta’s Resurrection (1472) and Only two pendants pairing a lion and horse Giovanni has emphasized the disjunctive Alessandro Algardi’s Pietà (1630s). This new with a leopard and bull are known, and the violence of the leopard and bull’s struggle. installation highlights the importance of the Frick Susinis are the only ones belonging to His composition reveals the close study of Eberstadts’ gift and underscores the harmo- an American public collection. nature characteristic of his generation. nious relationship among paintings, sculp- Lion Attacking a Horse and Leopard Giovanni’s animal groups invited the ture, and decorative arts at The Frick Attacking a Bull depict predatory cats lock- contemplation of meaning so highly esteemed Collection.—Denise Allen, Associate Curator ing jaws on their prey and bringing them down. Probably executed in Florence between richard di liberto 1630 and 1640, the bronzes represent Giovanni’s creative rethinking of the combat-
Giovanni Francesco Susini (1585–c. 1653), Leopard Attacking a Bull (right) and Lion Attacking a Horse, c. 1630–40, bronze; gift of Walter A. and Vera Eberstadt
6 The Frick Collection collection news
Greuze’s Wool Winder Undergoes Conservation at the J. Paul Getty Museum
anthony peres pecial exhibitions often create juxtapo- S sitions that can shed new light on the physical condition of paintings, demonstrat- ing how their varying histories have affected their appearance. Such was the case last fall when The Frick Collection lent Jean-Baptiste Greuze’s Wool Winder to the J. Paul Getty Museum for Greuze the Painter, a small exhi- bition of the artist’s masterworks that ran concurrently with Greuze the Draftsman, a drawings exhibition organized by the Frick’s Curator Emeritus, Edgar Munhall. It was both interesting and illuminating to compare the dozen paintings that had been assembled for the Getty show. The Wool Winder, despite its impressive size, composi- tional complexity, and sheer beauty, looked somewhat flat when seen alongside the other pictures in the exhibition. Its varnish had turned gray, most of the retouches had dis- for comparison. In addition, a third paint- glazes throughout the background, chair, colored, and, as a whole, it lacked the rich ing, The Drunken Cobbler (from the Portland shadows of the fabrics, and the hair — all of atmosphere, creamy brushwork textures, and Art Museum, Oregon), was scheduled to which helped to restore a feeling of continu- solid forms found in the other paintings. undergo some minor conservation, thus pre- ity to the composition. To compensate for Particularly notable was the difference in senting a unique opportunity to have three the harshness of past cleanings, several areas, appearance between it and The Huntington very fine examples of Greuze’s work together particularly the flesh tones, were retouched Library’s Young Knitter Asleep, an exception- during the course of treatment. with a translucent layer of paint to make ally well-preserved painting that had been Getty conservators believed that a sub- them appear darker and warmer. exhibited with The Wool Winder at the Paris stantial improvement in the appearance of The Wool Winder was reinstalled at the Salon of 1759. The Wool Winder could be achieved with a Frick in February. Owing to the intention- Discussions between Frick and Getty minimum of intervention. A heavy layer of ally light-handed nature of the conservation conservators and curators led to a decision surface dirt that had accumulated over time work, visitors should not be distracted by to have The Wool Winder undergo treatment was removed, leaving intact the varnish layer any immediate awareness of the recent at the Getty following the close of the exhi- and retouches from the previous conserva- treatment but will simply have a clearer bition. (Since 1990, the Getty’s conservators tion, which had been carried out many impression of Greuze’s masterful handling have restored more than ninety major works decades earlier. The existing discolored of this engaging image.—Mark Leonard, of art from other collections.) It was a retouches were corrected, thereby visually Conservator of Paintings, Department Head, particularly appropriate time to carry out calming the surface and restoring a sense of the J. Paul Getty Museum conservation work since Young Knitter depth and atmosphere to the subtly modeled Asleep — which had been restored at the background. Retouching also included care- Getty Conservator Mark Leonard at work on The Wool Winder. The painting underwent Getty in 1999— could remain at the museum ful reconstruction of broken and abraded conservation at the Getty last fall.
Members’ Magazine Fall 2003 7 education
Two Sides of the Gilded Age: Frick Collaborates with Lower East Side Tenement Museum
Mrs. Frick’s bedroom, on the second floor of the Frick residence. The room was converted to office space in 1931–35 and is now part of the Director’s Drawing Room.
home. With the help of an authentic menu and invitation from a formal dinner, educa- tion volunteers encouraged students to visualize a lavish evening enjoyed by Mr. and Mrs. Frick and their guests. Back in the classroom, students continued their discussion of the similarities and differ- ences between the two residences and the quality of life in each. Education staff from the Frick provided teachers with documents such as newspaper clippings, a list of house- hold servants, shopping lists, and recipes that were used for further related activities. Through visits to these diverse cultural New York City landmarks, students gained n recent years, a number of New York played the role of Victoria Confino, a fifteen- unique insights into life at vastly different I City social studies teachers have used year-old girl who resided at 97 Orchard socioeconomic levels at the turn of the last The Frick Collection as a resource for teach- Street in 1916. Students squeezed into century. Next year, the program will expand ing their students about the Gilded Age. To Victoria’s recreated home—a cramped, to serve additional schools in the area.— explore this important chapter of American three-room apartment, which she shared Meredith Watson, Education Liaison history more fully, the Frick’s Education with nine other people—and listened as she Department has collaborated with the relayed the story of her Sephardic Jewish Lower East Side Tenement Museum to create family’s experience as immigrants settling This collaboration was made possible with “Two Sides of the Gilded Age,” a program on Manhattan’s Lower East Side after leaving the generous support of the Seth Sprague that compares and contrasts the architectur- a comfortable life in Kastoria (now a part of Educational and Charitable Foundation. al, social, and economic aspects of life in a Greece) when a fire destroyed their home. tenement with those in one of the city’s Students learned about Henry Clay Frick christine a.butler most opulent residences, the former home and his art collection when an educator of industrialist Henry Clay Frick. Seven from the Frick presented a slide show in eighth-grade classes from Robert F. Wagner their classroom, which was followed by a Middle School on the Upper East Side and trip to the museum. There they were asked Sun Yat Sen Intermediate School in to imagine themselves as guests in the Frick Chinatown participated in the pilot pro- gram last spring. This room, in a recreated apartment at the Lower East At the Tenement Museum, students were Side Tenement Museum, once slept six members of the introduced to a costumed interpreter who Confino family, immigrants from Kastoria.
8 The Frick Collection library
The Frick Photoarchive: A Treasury of Unpublished Images of Works of Art
graduate student interested in fifteenth- The majority of images in the Photo- and Christie’s over seven decades by the A century frescoes by Baronzio da archive were acquired both by gift and by London firm of A. C. Cooper. These photo- Rimini would find it difficult, if not impos- purchase from museums, art dealers, and graphs essentially serve as “illustrations” sible, to travel to the out-of-the-way Italian auction houses. Among the most valued acqui- for many of the unillustrated catalogues in villages where examples of the artist’s work sitions are photographs taken at Sotheby’s the Library’s collection. The Library also still exist. While a few frescoes might be illustrated in books, most are unpublished. For more than eighty years, scholars in sim- ilar situations have turned for help to the Photoarchive of the Frick Art Reference Library, one of the world’s richest reposito- ries of reproductions of works of art. There, a researcher can access thousands of photo- graphs of paintings and drawings found in remote, often private locations, discover unpublished preparatory sketches for famous portraits, or identify key works that support attributions to particular masters. Founded in 1920 by Helen Clay Frick, the Frick Art Reference Library’s Photoarchive today contains at least one million images by more than thirty-five thousand artists work- ing from the fourth to the mid-twentieth century. The Photoarchive was established at about the same time as Sir Robert Witt and Hofstede de Groote and Frits Lugt founded their photoarchives, respectively, in London and The Hague. At the time, rela- tively few art books were well illustrated, thus scholars depended on reproductions of questionable fidelity or, in rare instances, firsthand knowledge of an artist’s work. Miss Frick and her counterparts abroad changed this situation by making accessible vast numbers of images by both well-known and little-recognized artists.
This 1951 photograph of The Shepherdess, an 1880 Winslow Homer watercolor from a private collection, is just one of the thousands of unpublished images of works of art contained in the Photoarchive.
Members’ Magazine Fall 2003 9 library
Materials in the Photoarchive enable scholars to study the condition of paintings over time, such as this early nineteenth-century portrait of Dr. Alexander Lindsay by Sir Henry Raeburn. The Photoarchive contains visual records of the portrait both in its original full-length state (below) and after it was cut down, probably around 1940 (right).
maintains an ongoing subscription to the ered from the owners about provenance, tory drawings and copies, and information Courtauld Photographic Survey of works subject matter, or other documentation documenting the condition of paintings at in private hands in England and is one known only to them. different moments in time. A case in point of only four American research institutes Over the decades, scholars and curators is the color reproduction of Sir Henry to subscribe to the Gernsheim Corpus using the Photoarchive have contributed Raeburn’s three-quarter-length portrait of Photographicum, which is dedicated to doc- their knowledge and opinions about specific Dr. Alexander Lindsay as it appeared when it umenting photographs of drawings in all works of art, rendering the documentation was sold at auction in 1990. This image major European and American collections. that accompanies the images as valuable as might well be taken as an accurate record of In the early days of the Library, Miss the images themselves. Photoarchive materials the painting’s original appearance, were it Frick sponsored photography campaigns pertaining to any given artist vary widely, not for the existence of a second photograph throughout the United States and Europe from more than twenty-five hundred images of the portrait, purchased by the Library that documented little known and generally of works by John Singer Sargent to only from Knoedler & Co., which shows the unpublished works of art in private collec- one image by Sigmund Lachenwitz, a mid- original full-length portrait with a spaniel tions. These expeditions produced more nineteenth-century German animal painter. resting comfortably at the doctor’s feet. than sixty thousand negatives, many of The Photoarchive also includes images of Accompanying the two images is documen- which were enriched by information gath- now lost or destroyed works of art, prepara- tation that suggests that the original full-
10 The Frick Collection library
length portrait was cut down sometime Library one of the world’s most important before 1940. (Interestingly, the dog has yet to resources for the study of art in the Western be found as an independent picture and tradition.—Inge Reist, Chief, Collection may, in fact, no longer exist or be attributed Development and Research to Raeburn.) The Frick Photoarchive serves more than six thousand researchers annually. This year, thanks to generous funding from Together with documentation from more The Carl and Lily Pforzheimer Foundation, conventional published sources, it offers its the first phase of a major project to digitize the users some of the most complete informa- images captured during the Library’s early tion on individual works of art, making the photography campaigns is underway.
above: Information from the Photoarchive indicates that Jean François Millet’s The Baker (1848) was offered at a 1912 auction at the Plaza Hotel in New York City and again at a Sotheby’s sale in 1987, before being acquired in 1992 by the Murauchi Art Museum in Hachioji City, Japan. The whereabouts of tens of thousands of works of art can be similarly traced.
left: The Photoarchive preserves hundreds of images of works of art that have been lost or destroyed, such as this 1948 photograph of a portrait of Mrs. James Erwin Yeatman, painted shortly after her 1838 marriage. The portrait, by the Hungarian immigrant artist Mygand, was destroyed in a house fire in Glencoe, Missouri, in 1955.
Members’ Magazine Fall 2003 11 special events
Spring Events: Whistler Opening, Panel Discussion, Art through a Child’s Eyes
Joan L. Nissman, Morton C. Abromson, and Patricia Barnett at the Dealers’ Breakfast
Katharine G. Stillman and Eugenia W. Stillman at Art through a Child’s Eyes Nathalie Kaplan, Victoria Rotenstreich, Christine Scornavacca, and Marianna Sabater at the Spring Party
n recent years The Frick Collection and J. Paul Getty Museum, provided a behind- dens, both of which were opened for the I Frick Art Reference Library have offered the-scenes look at the politics and planning occasion. Fellows’ children, grandchildren, an increasing variety of educational and of special exhibitions. Panelists included and other young guests who turned ten in social activities to its members and the cul- Brent Benjamin of the St. Louis Art 2003 (thus being able to visit the Frick for tural community. Museum, Julia Brown of the American the first time) were treated to a collection This spring the Library hosted two Federation of Arts, art critic Peter Plagens, tour and “birthday” reception hosted by events: the eighth annual Dealers’ Breakfast, and Emily Rafferty and Gary Tinterow of Director Samuel Sachs II and his wife, Beth. held during the International Fine Arts Fair, The Metropolitan Museum of Art. This year’s Autumn Dinner, on October and the fourth annual Dialogues on Art, a Those who attended the Spring Party in 20, will honor Schuyler G. Chapin for his panel discussion co-hosted with Knoedler & May enjoyed a special preview of Whistler, lifelong dedication to the arts. For informa- Company. This year’s discussion, moderated Women, and Fashion as well as cocktails in tion about attending, please call Hilary by John Walsh, Director Emeritus of the the Fifth Avenue and Seventieth Street gar- Ewing at (212) 547-6873.
12 The Frick Collection special events
all photographs by christine a. butler
Minturn V. Chace and Inge Reist at the Spring Party Robert Lindgren, Philip Gorrivan, Benjamin Schliemann, Lisa Gorrivan, Louise Schliemann, and Victoria Lindgren at the Spring Party
Howard Hook and Katherine Brush at the Spring Party Colin Bailey, Marianna Sabater, and Martha Loring at the Spring Party
Susan Grace Galassi and Jonathan Galassi Julian Agnew and Rupert Maas at the Dealers’ Breakfast John Walsh and Helen Clay Chace at the at the Spring Party “Dialogues on Art” reception
Members’ Magazine Fall 2003 13 The Frick Collection 2002 Annual Report
report of the president of the board of trustees 16
report of the chief curator 18
report of the andrew w. mellon librarian 20
frick art reference library notable acquisitions 22
gifts and grants 23
fellows and friends of the frick collection 24
annual fund donors 30
corporate members 32
autumn dinner 32
financial statements 34
14 The Frick Collection
Report of the President of the Board of Trustees Helen Clay Chace
nina roberts eliminating several staff positions. Despite these challenges, the Frick had much to cel- ebrate, particularly in our special exhibitions. These exhibitions complement our perma- nent collection and give our members and the public fresh reasons to visit and revisit the galleries. In addition, they provide us with increased earned income and the recog- nition and approval of the critics and our peers. Special thanks for support of exhibi- tions presented in 2002 are due the estate of Winthrop K. Edey, The Andrew W. Mellon Foundation, The Henry Luce Foundation, the Robert Lehman Foundation, The Howard Phipps Foundation, Michel David- Weill, The Florence Gould Foundation, The Isaacson Draper Foundation, and Frick Trustee Melvin R. Seiden. Chief Curator Colin B. Bailey and his staff do a remarkable job across the full spectrum of curatorial activity, which, along with exhibitions, includes education, con- servation, and publications. As a result of eporting to the supporters of The the tragic events of 2001, security concerns R Frick Collection on the accomplish- stopped class trips for most schools in New ments of the past year offers me an oppor- York City and surrounding areas. The tunity for reflection and gratitude. As this Education Department used this period to institution served its nearly 250,000 annual develop new collaborations that shifted the visitors and 3,500 members by providing an focus of its programs from the museum unparalleled museum experience, we did so to the classroom; specifically, we offered in spite of diminished tourism and a soft training to teachers on methods to incorpo- economy. Happily, with your generous and rate objects from The Frick Collection into timely support, we ended 2002 with a bal- the classroom curriculum until museum anced budget. visits could resume. We are grateful to the In an effort to balance the budget for Horace W. Goldsmith Foundation for its 2003, in 2002 we increased fundraising goals early and generous underwriting of the and cut expenses, including, regrettably, Education Program.
16 The Frick Collection Under Patricia Barnett, Andrew W. delightful and fun initiation to the Frick has his focus on the arts and raised more than Mellon Librarian, the Frick Art Reference now become an annual event. $500,000 for general operating support. Library continued to strengthen its collec- Fundraising and increasing our mem- Our capital improvement program con- tions, while providing excellent public serv- bership remained challenging for the tinues. The most obvious project, the reinstal- ice to more than seven thousand readers on Collection as it did for other cultural insti- lation of the bluestone sidewalk surrounding site and remote readers through electronic tutions in New York City. Through the the Collection and Library, won the Lucy G. reference services. We are grateful to Trustee efforts of our Development Department, in Moses Preservation Award from the New Melvin R. Seiden, who endowed two new partnership with the Board of Trustees and York Landmarks Conservancy. The next big book funds. One of the most noteworthy the Council, we found support for the project will be the restoration of the windows. developments has been the improvement of special exhibition program, for advances in On behalf of the Board of Trustees, I access to The Helen Clay Frick Foundation digitization at the Library, and for the would like to express our appreciation to Archives. We thank The Helen Clay Frick reestablishment of the Frick’s Curatorial Samuel Sachs, Patricia Barnett, Colin Bailey, Foundation for underwriting all costs asso- Fellow program. We also launched an annual and Robert Goldsmith for their work and ciated with stabilizing and making accessi- lecture series sponsored by the Council of dedication to The Frick Collection. In addi- ble these rich resources. This is the most The Frick Collection. tion, without the help of those listed in the recent activity of the Foundation, which has We are grateful for the support of our following pages, we would have difficulty generously supported our museum and corporate patrons. Responding to the cooler maintaining these wonderful buildings and Library programs for many years. economic climate, we encouraged corpora- their treasures. Your support guarantees the In 2002 we have improved access to the tions to hold events at the Collection. And resources necessary to conserve the collec- Collection as well. Thanks to the generosity we have expanded that invitation to private tions and offer programs to our many thou- of The Andrew W. Mellon Foundation, we individuals. Recent studies have shown this sands of annual visitors. instituted evening hours on Fridays, which new trend to be a successful way for muse- enable busy New Yorkers to visit the gal- ums across the country to diversify their Thank you. leries after work, something countless visi- revenue streams. tors have told us they appreciate. For The Frick’s two principal fundraising Fellows, weekly Tuesday Tea was offered in events have become integral to our develop- the Drawing Room on the second floor, an ment efforts. In February our Young Fellows area not open to the general public. Lunches Winter Ball, under the sponsorship of the and breakfasts hosted by Trustees, Council couture house Badgley Mischka and the members, and staff deepened attendees’ leadership of Nathalie G. Kaplan and the understanding of the behind-the-scenes Young Fellows Steering Committee, raised workings of the Collection and its programs. nearly $250,000 for the Frick’s Education We were pleased to welcome the ten-year-old Program. In October, with strong support children, grandchildren, and other young from Nicholas H. J. Hall and the Council of guests of our Fellows at a “birthday” recep- The Frick Collection and the dedicated ener- tion in honor of their being able to visit gies of William and Katharine Rayner, the The Frick Collection for the first time. This Autumn Dinner honored Charlie Rose for
2002 Annual Report 17 Report of the Chief Curator Colin B. Bailey
christine a. butler vation, registration, education, publica- tions, and photography—were directed toward both the maintenance and interpre- tation of the permanent collection, as well as to loan exhibitions and displays. With regard to the permanent collection, our superb group of Limoges enamels was thor- oughly surveyed by an outside conservator in preparation for a new installation to be undertaken in 2003; storage in the New Vault was reorganized, with many objects inventoried and rehoused; and the Ming and Qing blue-and-white porcelains were digitally photographed and their records updated as part of our ongoing Collections Management System. The first exhibition of the year, The Art of the Timekeeper, curated by William J. H. Andrewes, was devoted to thirteen clocks and eight watches from the Winthrop Edey bequest, a group of thirty-nine timepieces given to the Collection in 1999. Between May and August, a mechanical writing and reading table with Sèvres porcelain plaques s much as The Frick Collection has attributed to Martin Carlin—one of the A changed over the last two decades, its masterpieces of eighteenth-century furni- core activities—above all, the care of the ture in the Collection—was the subject of a permanent collection and the residence that focused exhibition in the Cabinet, where it houses it—continue to reflect the founder’s was displayed with its various parts opened purpose of “encouraging and developing for the first time. the study of the fine arts and of advancing The Collection organized three major the general knowledge of kindred sub- loan exhibitions in 2002, all of which gar- jects.” Henry Clay Frick defined the fledg- nered tremendously positive press. Between ling museum’s mission in these terms as May and August we showed Greuze the early as June 1915; the numerous programs Draftsman, the result of many years’ work and initiatives undertaken by the Collection on the part of my predecessor, Edgar in recent years keep faith with this generous Munhall, who also wrote the accompanying and forward-looking injunction. catalogue. Seventy drawings of extraordi- Accordingly, the energies of the Cura- nary quality were on view at the Frick torial Department—which includes conser- before the exhibition traveled to the J. Paul
18 The Frick Collection Getty Museum in Los Angeles. Writing in of Joseph Focarino, who had held this posi- This brief account of the activities of the New York Times, John Russell noted that tion for thirty-five years. We also appointed the Curatorial Department during 2002 “both the catalogue and the show are Yvonne Elet for two years as the first must omit, for lack of space, many tasks majestic achievements.”From September to Andrew W. Mellon Curatorial Fellow, an that have been completed in conserving December the Collection hosted Poussin, initiative supported by The Andrew W. and refurbishing the Collection, a listing of Claude, and Their World: Seventeenth- Mellon Foundation. The program was the scholarly publications and lectures of Century French Drawings from the École des established to introduce promising gradu- our professional staff, and initiatives under- Beaux-Arts, Paris, organized by Emmanuelle ate students to curatorial work, as well as taken jointly with our colleagues at the de Brugerolles, curator at the École des providing them with the supervision and Frick Art Reference Library. Even in synop- Beaux-Arts and a noted specialist of seven- resources to complete the writing of their tic form, however, I feel confident that teenth-century French art. Having been doctoral dissertations. readers will appreciate the devotion with seen in a larger format in Paris and Geneva, During the year our Education Depart- which we work to maintain the integrity the exhibition was trimmed to sixty-seven ment oversaw a stimulating and diverse and vitality of the Collection. For Henry drawings, concentrating on Poussin, program, welcoming to the Collection eleven Clay Frick, writing his will in June 1915 Claude, Vouet, Lebrun, and Le Sueur. At the lecturers who spoke on topics as varied as (four and a half years before he died), it was end of October, we opened Masterpieces of Cellini’s saltcellar and Vigée-Lebrun’s Russian the Collection and the role that it was des- European Painting from the Toledo Museum portrait sitters. As part of the series “Artists, tined to play in the cultural life of New York of Art, a loan exhibition celebrating the cen- Writers, and Poets,” Bill Viola spoke on City that constituted “a purpose which I tenary of the founding of that Ohio institu- his interest as a video artist in early have long cherished and which is very dear tion. Shown only in New York, the twelve Renaissance painting, and the Duchess of to me.” works spanned five centuries and included Devonshire discussed the history of masterpieces by Piero di Cosimo, Jacopo Chatsworth since 1950. In April, the Frick Bassano, François Boucher, and Paul hosted the opening lecture and reception Cézanne. In the New York Observer, Hilton for the NYU Frame Conference and held Kramer noted that “Painting at this level of the sixty-third annual Symposium on the achievement cannot be fully comprehended History of Art, organized jointly with the in a single encounter.” Institute of Fine Arts. Despite the drop in Such a varied and ambitious program school visits to the Collection following the depends on the expertise and commitment tragic events of September 11, the Education of an outstanding professional staff, and in Department attracted new partners; all 2002 we welcomed several new members to together, it served some 1,270 students as our department. Diane Farynyk, formerly well as teachers and artists from twenty- Head of Registration at New York’s seven middle and high schools. The Frick’s Museum of Modern Art, joined the Frick as collaboration with Weill Cornell Medical Registrar/Head of Exhibitions in February; School, which trains future physicians in the Elaine Koss, formerly Deputy Director for “art of observation,” successfully completed the College Art Association (and previously its second year, while a new undertaking Vice Director for Publications at the saw the department join forces with the Brooklyn Museum of Art), assumed the Lower East Side Tenement Museum in a pro- position of Editor following the retirement gram titled “Two Sides of the Gilded Age.”
2002 Annual Report 19 Report of the Andrew W. Mellon Librarian Patricia Barnett
christine a. butler made purchases more difficult than in pre- vious years and added to a growing desider- ata list. Happily, many of the Library’s needs for 2002 were met with great resourceful- ness on the part of both generous donors and staff. Most significantly, Trustee Melvin R. Seiden endowed two new book funds, each through a gift of $30,000. One honors Paul G. Pennoyer, Jr., his predecessor as Chair of the Board of Trustees’ Library Committee, while the other honors the Young Fellows Steering Committee. When establishing these funds, Mr. Seiden expressed his fer- vent hope that others would follow his example either by adding to existing funds or by instituting new ones. Either way, such funds play an important role in safeguard- ing the continued excellence of the research collections. Augmenting these new funds were year-end gifts from The Helen Clay Frick Foundation and Mrs. Charles he year 2002 presented the Library Wrightsman. Hall & Knight’s donation of T and its staff with many challenges the proceeds from its sales of Hugh and opportunities: challenges in upholding Brigstocke’s catalogue, Procaccini in America, the essential mission of the institution to also contributed significantly to stretching build, maintain, and make accessible its col- the Library’s acquisition dollars. For its part, lections in the face of continuing technolog- the staff of the Library continued to advance ical advances and fiscal austerity, and the Depository Program, ensuring that an opportunities for strengthening its pro- ever-increasing number of gifts come to the grams and collaborations with other Frick each year. Through these efforts, more research institutions. than 70 percent of the annual auction house Because a library is only as good as its subscriptions and art gallery catalogues, as collections, reductions in either the quality well as a growing number of museum publi- or the quantity of acquisitions must be cations, are donated to the Library. regarded as the last option, even during lean Complementing the research collections years. The decreasing strength of the dollar are the materials cared for by the Archives and ever-increasing costs of publications Department. A generous grant from the
20 The Frick Collection Gladys Krieble Delmas Foundation has the addition of more than thirty-one thousand hundreds of online catalogues, presenting made accessible through FRESCO the insti- records to FRESCO for those artists repre- the Frick with an award for the best web- tutional archives of The Frick Collection sented in the Photoarchive. In the fall, the version and its seamless integration into The during its nascent years, including papers Library was awarded a grant of $100,000 by Frick Collection website. documenting the transformation of the res- The Carl and Lily Pforzheimer Foundation In May, the third annual Frick/Knoedler idence into a museum, audio tapes of the to digitize five thousand of the most imper- “Dialogues on Art” took place, in which concert and lecture programs, and films of iled negatives from its early photograph panelists Ruth Carter Stephenson, Emily Henry Clay Frick and Helen Clay Frick on campaigns. When completed, the project Rauh Pulitzer, Eugene V. Thaw, Gifford vacation and at their homes. The Helen Clay will broaden access to both the images and Phillips, Thomas M. Messer, and moderator Frick Foundation Archives, moved from their unique documentation. Philippe de Montebello discussed the future Pittsburgh to New York in late 2001,were The Conservation Department devoted of cultural institutions. Also in May, the inventoried to allow for transfer of business its energies to preserving fragile materials Library hosted its seventh annual Dealers’ and industrial papers (approximately 25 per- in both the research and archives collec- Breakfast to acknowledge its largest com- cent of the Archives) to their new home at tions. In addition to repairing thirty-one mercial user group. the University of Pittsburgh, as stipulated volumes from Henry Clay Frick’s library, the I look back on 2002 with feelings of by the Foundation. These efforts enable department played a key role in designing admiration for my colleagues and pride in researchers to work in tandem with The Frick Library publications and exhibition instal- our accomplishments. As a result of the tal- Collection and the Foundation archives to lations. The spring exhibition, Caution: ent, energy, and cooperative spirit that drive gain the most complete historic picture of the Curator at Work, chronicled the preparation the staff of the seven departments I oversee, lives and activities of Frick family members of the Collection’s Greuze exhibition I am confident that the Library’s position as and the institutions they founded. through the whimsically illustrated journals a world-class research center for the study of If a library is only as good as its collec- of Curator Emeritus Edgar Munhall. The art in the Western tradition will remain tions, the caliber of those collections must fall exhibition presented historic documents unshaken as we move forward in the years be matched by ease of access and careful and images from The Helen Clay Frick to come. attention to their preservation. Proudly, Foundation Archives. then, the Book Department reported a ban- With every aspect of the institution ner year, producing the highest statistics increasingly dependent on computer tech- ever for cataloguing. The project to convert nologies, the Information Systems Depart- the card catalogues to electronic form, ment was at its busiest, meeting growing funded principally by a bequest of Paul security needs and provisions for emergency Mellon, concluded its fifth of six years with backup. In September, the Frick website all but exhibition catalogues now searchable launched an e-commerce module for online through FRESCO. Throughout the conver- credit card purchases of both Museum Shop sion, special attention was given to unique merchandise and membership. The efforts of notations and indexing in the Library’s cat- the Information Systems and Book depart- alogues to ensure that no information was ments were recognized when Innovative lost during the process. The year also saw Interfaces singled out FRESCO from among
2002 Annual Report 21 Notable Library Acquisitions
Regrettably, only a few of even the most significant 2002 acquisitions can be noted here.
Emmanuel Breguet, Breguet: Watchmakers Arsène Alexandre, et al., Félicien Rops George Dunlop Leslie, The Inner Life of since 1775, The Life and Legacy of Abraham- et son oeuvre, Brussels, 1897; purchased the Royal Academy: With an Account of Its Louis Breguet (1747–1823), Paris, 1997; through the Gerschel Fund, in memory Schools and Exhibitions…in the Reign of gift of Montres Breguet of André Meyer Queen Victoria, London, 1914
Ignacio L. Henares Cuéllar, et al., Esposizioni di belle arti in Brera, 1831, Andrei B. Nakov, Kazimir Malewicz: Alonso Cano: La modernidad del siglo Accademia di Belle Arti di Brera, Catalogue raisonné, Paris, 2002 de oro español, exhibition catalogue, Milan, 1831 Madrid, 2002; gift of Fundación Santander Hans F. Schweers, Gemälde in Deutschen Central Hispano Gustave Geffroy, Auguste Brouet: Catalogue Museen: Katalog der ausgestellten und de son oeuvre gravé, Paris 1923; purchased depotgelagerten Werke, 10 vols., Santiago Londoño Vélez, Colombian Art: through the Gerschel Fund, in memory of Munich, 2002 3,500 Years of History, Bogota, 2001; gift of André Meyer the Banco de la República, Colombia Gerd Woll, Edvard Munch: The Complete Elsässische und Lothringische Graphic Works, London, 2001 Jean-Claude Martinet, Marquet, l’Afrique Kunstdenkmäler, 2 vols., Strasbourg, 1896– du nord: Catalogue de l’oeuvre peint, Paris, [1897?]; purchased through the Gerschel Eleven rare late nineteenth- and early 2001; gift of the Wildenstein Institute Fund, in memory of André Meyer twentieth-century auction sale catalogues, including The Crystal Palace Auction, François Monod and Louis Hautecoeur, Les Maurice Fenaille, L’oeuvre gravé de London, 1911 dessins de Greuze conservés à l’Académie des P.-L. Debucourt (1755–1832), Paris, 1899; Beaux-Arts de Saint Pétersbourg, Paris 1922; purchased through the Gerschel Fund, Two hundred photographs of works by gift of Edgar Munhall in memory of André Meyer John Raphael Smith; gift of Ellen D’Oench, Curator Emerita, Davison Art Center, Teoxché, Madera de Dios: Imaginería Nicolas Auguste Hazard, Catalogue raisonné Wesleyan University colonial guatemalteca, Mexico City, 1997; de l’oeuvre lithographié de Honoré Daumier, gift of Angelo Cianciulli Arnone first published 1904, Mansfield Centre, The final installment of ten thousand Conn. 2001; purchased through the photographs by Marc Jeanneteau of works Elizabeth Hutton Turner, Pierre Bonnard: Florence Gould Fund of art in French private collections and Early and Late, Phillips Collection, small museums Washington, D. C., 2002; gift of the author Michael Jaffe, The Devonshire Collection of Northern European Drawings, 5 vols., Desideratum: The Library continues to seek The very rare first volume of the Turin, 2002 funding for the third installment of the Art six-volume Max Ernst, Oeuvre-Katalog Sales microfiche ($22,000) (Houston, 1975–79), to complete the Menil Pierluigi Leone De Castris, Polidoro da Foundation’s previous gifts of the other Caravaggio: L’opera completa, Naples, volumes; purchased through the 2001; purchased through the Lehman Heinemann Fund Fund, in memory of Robert Lehman
22 The Frick Collection Gifts and Grants
We deeply appreciate the generosity of the projects and special programs require addi- scaping, seminars, the Photoarchive, and the following individuals, foundations, and cor- tional resources as well. These listings reflect annual Symposium on the History of Art. In porations who made substantial contribu- gifts and grants that provide vitally needed addition, the demands of our beautiful but tions to the Collection and Library during general operating funds, as well as support aging building require an increasing invest- the course of the past year. for special exhibitions and publications, ment of capital. Roughly 40 percent of the Frick’s operat- Library acquisitions and its endowment, serv- We are most grateful to our expanding ing expenses must be found annually from ices to scholars, the education program, membership for its thoughtful and steadfast sources other than the endowment. Capital conservation equipment and materials, land- support of our programs and services.
The Founder’s Society $5,000–$9,999 Mr. and Mrs. Juan A. Sabater Helen Clay Chace The Cowles Charitable Trust Mr. and Mrs. Robert H. Smith Vivien R. Clark The Charles Engelhard Foundation Mrs. Charles Wrightsman Estate of Louise A. Pierot F. M. Kirby Foundation, Inc. Alice Jean Zuccaire Strong-Cuevas Foundation $10,000–$24,999 Anonymous Foundations $2,500–$4,999 Jean A. Bonna W. Mark Brady $100,000 and above Acorn Foundation, Inc. Mr. and Mrs. Minturn V. Chace The Helen Clay Frick Foundation Mr. and Mrs. Lewis Cullman The Henry Luce Foundation, Inc. $500–$2,499 Mr. and Mrs. Nicholas H. J. Hall The Andrew W. Mellon Foundation The Bodman Foundation Daniel Katz The Carl and Lily Pforzheimer Foundation Cleveland H. Dodge Foundation Mr. and Mrs. Jon Landau The Peter Jay Sharp Foundation The Kandell Fund Diane Allen Nixon The Nautilus Foundation Mr. and Mrs. Arthur Ross $50,000–$99,999 Nathan and Cynthia Saint-Amand Horace W. Goldsmith Foundation Individuals Mr. and Mrs. Lawrence B. Salander The Isaacson-Draper Foundation $100,000 and above Nina and Michael Zilkha Samuel H. Kress Foundation Estate of Virginia Adams Robert Lehman Foundation, Inc. Mr. and Mrs. Walter A. Eberstadt $5,000–$9,999 The Howard Phipps Foundation Dr. and Mrs. Henry Clay Frick II Julian Agnew Enid A. Haupt Mrs. Russell B. Aitken $25,000–$49,999 Melvin R. Seiden and Janine Luke Mr. and Mrs. Henry Burden The Curtis W. McGraw Foundation Mr. and Mrs. Oscar de la Renta $50,000–$99,999 Mr. and Mrs. Robert Garrett $10,000–$24,999 Mr. and Mrs. Henry R. Kravis Mr. and Mrs. Mauro A. Herlitzka The Ahmanson Foundation Cyril Humphris The Gladys Krieble Delmas Foundation $25,000–$49,999 Joseph L. Koerner The New York Times Company Foundation Mr. and Mrs. Jeremiah M. Bogert Otto Naumann Sage Foundation Charles Hack and Angella Hearn Adelaide Frick Trafton and The Seth Sprague Educational and J. Tomilson Hill Jotham A. Trafton Charitable Foundation Mr. and Mrs. Henry Luce III Patricia Wengraf
2002 Annual Report 23 $2,500–$4,999 Fellows and Sustaining Fellows The Honorable and Mrs. Walter J. P. Curley Catherine G. Curran Mr. and Mrs. Stephen Daniel Friends of The Betty Wold Johnson and Mr. and Mrs. Eugene M. Lang Frick Collection Douglas F. Bushnell Mr. and Mrs. Thomas B. Loring Mr. and Mrs. Stephen M. Kellen Mr. and Mrs. Samuel Sachs II Fellows’ gifts provide unrestricted annual Gianluigi and Claudia Quentin support to The Frick Collection. $500–$2,499 Supporting Fellows Professor and Mrs. Jonathan M. Brown Honorary Fellows Mr. and Mrs. I. Townsend Burden III Mrs. William Stratton Clark Mrs. Christopher C. Y. Chen Mrs. Walter H. Annenberg Jamee Field Mr. and Mrs. Christopher Davis Mr. and Mrs. Perry R. Bass Gordon and Llura Gund Nelly Arrieta de Blaquier Theodore Dell Mrs. Horace Havemeyer Mr. and Mrs. C. Douglas Dillon Monsieur le Comte d’Haussonville Mr. and Mrs. Joseph L. Hudson, Jr. Mr. and Mrs. Steven Einhorn Dr. and Mrs. Ira H. Kaufman Mr. and Mrs. Douglas B. Leeds Mr. and Mrs. Robert F. Erburu Mr. and Mrs. John L. Marion James R. McCredie Joanne du Pont Foster Mrs. Paul Mellon Joseph F. McCrindle Mrs. Henry J. Heinz II Edgar Munhall Richard E. Oldenburg Mr. and Mrs. Howard G. Lepow Charles A. Ryskamp Mr. and Mrs. Paul G. Pennoyer, Jr. Lindsay McCrum Mrs. William Suhr Robert S Pirie Diana Mercer and Heather Sue Mercer Mr. and Mrs. Eugene Victor Thaw Elaine L. Rosenberg Roland F. Pease Frederica von Stade Mr. and Mrs. H. Jonathan Rotenstreich Marc Porter Charles Ryskamp Mr. and Mrs. William P. Rayner Henry Clay Frick Fellows Mr. and Mrs. Peter G. Sachs David Rockefeller Mr. and Mrs. Peter P. Blanchard III Paul and Daisy Soros Emilia A. Saint-Amand and Mr. and Mrs. Jeremiah M. Bogert Deirdre C. Stam Frederick Krimendahl II Mr. and Mrs. Minturn V. Chace Mr. and Mrs. Wynant D. Vanderpoel III Nathan and Cynthia Saint-Amand The Honorable Anne Cox Chambers June deH. and Henry H. Weldon Mr. and Mrs. Robert L. Shafer Dr. and Mrs. Henry Clay Frick II Georgia Shreve Mr. and Mrs. Nicholas H. J. Hall Corporate Grants Sue Erpf Van de Bovenkamp Charles Hack and Angella Hearn $10,000 and above Dr. and Mrs. Malcolm H. Wiener Enid A. Haupt Christie’s Nina and Michael Zilkha J. Tomilson Hill Metropolitan New York Library Council Mr. and Mrs. Henry R. Kravis World Monuments Fund Contributing Fellows Mr. and Mrs. Henry Luce III Kim C. and Gloria S. Anderson Richard L. and Ronay Menschel $5,000–$9,999 Mr. and Mrs. Henry H. Arnhold Diane Allen Nixon Dover Street Gallery Anne H. Bass Mr. and Mrs. Carl H. Pforzheimer III JPMorgan Chase Jill Isles Blanchard and Richard Blanchard Mr. and Mrs. Howard Phipps, Jr. The McGraw-Hill Companies Mr. and Mrs. Thomas A. Cassilly Mr. and Mrs. Juan A. Sabater The Honorable and Mrs. Walter J. P. Curley Mr. and Mrs. Lawrence B. Salander Mr. and Mrs. Walter A. Eberstadt Melvin R. Seiden and Janine Luke Mr. and Mrs. Robert Garrett Mr. and Mrs. Robert H. Smith The Honorable Sir David and Mr. and Mrs. Wynant D. Vanderpoel III Lady Gibbons Mrs. Charles Wrightsman Martha M. Hare Spencer and Marlene Hays
24 The Frick Collection Frederick D. Hill Sharon and Stephen A. Bassock John and Kathe Dyson Peter W. Josten Mr. and Mrs. Jonathan S. Bean Mr. and Mrs. John L. Eastman Mr. and Mrs. Phillippe Khuong-Huu David Beattie Joan K. Easton Mr. and Mrs. Christopher M. Lehman Donald J. and Jan Beddie Bruno and Silvia Eberli Arthur L. Loeb David Beer John W. Eichleay, Jr. James C. and Marie Nugent-Head Marlas Mr. and Mrs. Frederick W. Beinecke Joseph Elmaleh Mrs. John P. McGrath Nancy Bialler Marianne Elrick-Manley William J. and Pamela Michaelcheck Mr. and Mrs. Marco P. Bloemsma Diana M. Elton Charles A. Miller, Jr. and Chas A. Miller III Gary M. Bloom Mary E. Emerson Mr. and Mrs. Peter Nitze Stanley M. and Roberta Bogen Mr. and Mrs. Anthony T. Enders Mr. and Mrs. Bernard G. Palitz Adam Booksin Thomas Epstein and Florence E. Teicher Mr. and Mrs. H. Charles Price III Nissan Boury J. O. Fairfax Mr. and Mrs. Felix G. Rohatyn J. Elizabeth Bradham Mr. and Mrs. Walter P. Fekula Mr. and Mrs. W. D. Roosevelt W. Mark Brady Mrs. Anastassios Fondaras Alfred and Jane Ross Dr. and Mrs. Goodwin M. Breinin Mr. and Mrs. Donald T. Fox Dr. Ralph Schlaeger Mr. and Mrs. Garrison W. Brinton Mrs. William Fox, Jr. Roberta and Irwin Schneiderman Professor and Mrs. Jonathan M. Brown Mr. and Mrs. Bert Freidus Mr. and Mrs. John S. W. Spofford Dr. Charles F. Brush Mr. and Mrs. Peter Frelinghuysen Mr. and Mrs. Robert K. Steel Katherine F. Brush Elise D. Frick and John A. Garraty Mr. and Mrs. John L. Townsend III Mrs. Jackson Burke Mr. and Mrs. Lawrence Friedland Mr. and Mrs. George Wachter Mrs. James E. Burke Dr. Suzanne Frye Mr. and Mrs. Ira D. Wallach Miriam Cahn Mr. and Mrs. Leandro S. Galban, Jr. Dr. and Mrs. Karl M. F. Wamsler Eric G. Carlson Dr. and Mrs. Charles G. Garbaccio Brenda Weeks-Nerz David G. Carter Stephen A. Geiger Mr. and Mrs. Edwin L. Weisl, Jr. Guy Cary Mr. and Mrs. Bruce Gelb William J. Williams, Jr. and Vincent Casey and Christina Baltz Joachim Gfoeller, Jr. Barbara A. Reuter Carroll J. Cavanagh and Candida N. Smith Abby Gilmore Mrs. Thomas H. Choate Mr. and Mrs. Eugene Goldberg Fellows Mr. and Mrs. Christopher T. Clark William T. Golden Warren Adelson Mr. and Mrs. Howard L. Clark, Jr. Mr. and Mrs. Alain Goldrach Neale M. and Margaret Albert Mrs. William Stratton Clark Mr. and Mrs. Hubert L. Goldschmidt Armin and Lynne Allen J. Patrick Cooney Robert B. Goldsmith and Mrs. C. Robert Allen T. A. Cox Teresa A. Carbone Mrs. Philip Alperdt Edna Craddock Joan and Donald J. Gordon Bert Amador Anthony Crichton-Stuart Richard A. Gorr Mr. and Mrs. Christopher Ankner Mr. and Mrs. Edgar M. Cullman Mr. and Mrs. Philip C. Gorrivan Dr. Madelyn Antoncic Robert Dance John and Jennifer Gourary Mr. and Mrs. R. L. Ardrey Mr. and Mrs. Michel David-Weill Mr. and Mrs. Paul Gourary Mrs. J. Sinclair Armstrong Margotte Marquesa de Lyon Mrs. Oliver R. Grace Carol Aronson and Don Shobrys David H. De Weese Mr. and Mrs. David Granger Edgar Aronson Hester Diamond Mr. and Mrs. Marco Grassi Mrs. Vincent Astor Marshall Dill Mr. and Mrs. Gordon K. Greenfield Mr. and Mrs. Ronald R. Atkins Mr. and Mrs. Glenn B. Dorr III Alexis Gregory Mr. and Mrs. Robert F. R. Ballard Mr. and Mrs. L. F. Boker Doyle Antonia and George Grumbach Elizabeth A. Baltz Douglas Durst Ambassador and Mrs. Henry A. Grunwald Mr. and Mrs. John Barbis Mrs. Charles H. Dyson Mr. and Mrs. Kenneth E. Gustafson
2002 Annual Report 25 Ben Ali Haggin Mr. and Mrs. Douglas B. Leeds Mr. and Mrs. Gregory K. Palm Ruth Ann and William Harnisch Mr. and Mrs. Samuel Lehrman Ulla and Kevin Parker Dr. Lucinda A. Harris John J. Leiser Mr. and Mrs. Gordon Pattee Mr. and Mrs. Richard C. Hedreen Dale and Chari LeMasters Mr. and Mrs. John Whitney Payson Kirk Henckels Mr. and Mrs. William D. Lese Dr. David B. Pearce Mr. and Mrs. Carl B. Hess Lawrence E. Lewis III Mr. and Mrs. Norman L. Peck Marieluise Hessel and Edwin Artzt Mr. and Mrs. John L. Lindsey Mr. and Mrs. Paul G. Pennoyer, Jr. Mr. and Mrs. John R. Hewitt Gail P. Lloyd Mr. and Mrs. Michael W. Percopo Trinidad Hidalgo Anne and Michael Loftus Sarah Peter Georgia Hiden Sandra Ann Mabritto Ivan and Winifred Phillips Mrs. M. T. Hirschler Mr. and Mrs. John MacAskill John B. Pierce Mr. and Mrs. G. Raymond Hodil, Jr. Duncan MacGuigan and Charlotte Nairn Mr. and Mrs. Donaldson C. Pillsbury Frank L. Hohmann III Nicholas Maclean Max Pine Mrs. Bruce Duff Hooton Elizabeth Madden Mr. and Mrs. Leon B. Polsky Dr. Bruce C. Horten Mr. and Mrs. Peter Malkin Dr. and Mrs. Simon B. Poyta Val Hoyt Charlene and Tom Marsh Mr. and Mrs. Dale J. Precoda June Hunt-Mayer Michael T. Martin Mrs. Lewis T. Preston Mr. and Mrs. John W. Ingraham Rachel Mauro and Henry Allsop Paul Provost Lisa D. Johnson and Williams Cosby James R. McCredie Mr. and Mrs. Samuel F. Pryor IV Mr. and Mrs. William Jordan, Jr. Joseph F. McCrindle Sheila Pulling Denise and Morton Joselson Richard M. McGonigal and Mr. and Mrs. Eben W. Pyne Jeff and Jill Joyce Ellen E. Hausler Yvonne Quinn Mrs. Allan H. Kalmus John and Veronica McNiff Mr. and Mrs. Robert Reilly The Honorable Bruce M. Kaplan and Mr. and Mrs. Christian A. Melhado Scott N. Resnick Janet Yaseen John K. and Chryssanthy L. Menoudakos Jane L. Richards Helene L. and Mark N. Kaplan Gregory Mesniaeff and Elizabeth Burke Frank E. Richardson and Kimba Wood William W. Karatz Albert S. Messina Kristen Richardson Shahab Samuel Karmely Mr. and Mrs. Jeremiah Milbank III Mrs. Robert Riggs Nadine Kasuga Harvey S. Shipley Miller Mr. and Mrs. John J. Roche Mr. and Mrs. Bill Kaufmann Barbara S. Mosbacher Jeannette and Jonathan Rosen Robert G. Keller Ruth A. Mueller Nina Rosenwald Clinton and Mary Kendrick Dr. Gabriel Nahas and Marilyn C. Nahas Mr. and Mrs. Arthur Ross Mr. and Mrs. Walter C. Klein David Nash Cye and Rona Ross Frederick R. Koch Otto Naumann Nanette Ross Angie Z. Kozlowski Eldo S. Netto, Jr. Dr. Caroline Rubinstein and Mr. and Mrs. Abraham Krasnoff Jill Newhouse Phillip M. Winegar Mrs. H. P. Kraus Rodney W. Nichols Robert Rufino Geraldine S. Kunstadter Mr. and Mrs. William A. Nitze Jon Rupp Audrey Kurtzman and George Sula Thomas E. O’Brien Mr. and Mrs. Winthrop Rutherfurd, Jr. George Labalme, Jr. Richard E. Oldenburg Mr. and Mrs. Peter M. Sacerdote Mr. and Mrs. Thomas W. Lambert Mrs. Sheldon Oliensis Mr. and Mrs. John H. Sack Mr. and Mrs. Edward J. Landrigan Dr. Norman Orentreich Mr. and Mrs. Charles Salloum Joseph William Laraia and Mary Motyl Maureen O’Toole Alan E. Salz Gonzalo D. Las Heras David T. Owsley Mrs. Alexander C. Sanger Jane Lattes and Norbert Swislocki Alex and Luisa Pagel Princess Maria-Christina Sayn-Wittgenstein Mr. and Mrs. Ronald S. Lauder Anka K. Palitz Mr. and Mrs. Henry Schacht
26 The Frick Collection C. M. Schamroth Judith Mann Villard Mr. and Mrs. Peter Kreindler Dr. and Mrs. Stephen K. Scher Dr. and Mrs. Anthony Robert Volpe C. Stephen Metzler Caroline F. and Stuart B. Schimmel Mr. and Mrs. Paul Wagner Dr. Fernando J. Peña Mr. and Mrs. Herbert D. Schimmel Mr. and Mrs. Charles Walgreen David E. Rust Raffaela Schirmer Mr. and Mrs. John L. Warden Adrian Sassoon Mary Coxe Schlosser Elizabeth and Robert Webster Mrs. Olcott D. Smith Michael and Dafna Schmerin Lee Weissman Mrs. John R. Stevenson Mr. and Mrs. Stanley DeForest Scott Mr. and Mrs. Karel Westerling Elizabeth P. Streicher and Lionel C. Epstein Mr. and Mrs. John A. Scrymgeour The Honorable John C. Whitehead Mr. and Mrs. John Sweetland Larry Shar Allison Whiting Mr. and Mrs. Constantine Sidamon-Eristoff Wheelock Whitney III Young Fellows Dr. Robert B. Simon Dr. and Mrs. Robert D. Wickham Gilda Acosta J. L. H. Simonds Isabel S. Wilcox Nicholas Acquavella Gary and Patricia Siska Mr. and Mrs. Jarvis Wilcox Mr. and Mrs. Lee Ainslie III Donald G. Sisler Duane Wilder R. Martin Andersons James Baker Sitrick Mrs. Walter W. Wilds Kimberly B. Antler Mr. and Mrs. H. R. Slack Walter J. and Sandra Wilkie Christopher T. Aquilino Mr. and Mrs. Robert A. Smith Francis H. Williams Robert G. Ardrey Suzette de Marigny Smith Peter A. Williams Angelo Cianciulli Arnone Beverly Sommer Reid Williams DeLaney Bagwell Paul and Daisy Soros Mr. and Mrs. James Wilson Mr. and Mrs. Manuel Balbontin Mr. and Mrs. Ira Spanierman Floreine J. Winthrop Shelley Barber George Spera and Jane Ginsburg Serita Winthrop Mr. and Mrs. Keith Barksdale Elizabeth M. Stafford Morton and Esther Wohlgemuth Sarah E. Barnes Mr. and Mrs. Kenneth I. Starr Diane R. Wolf Lawrence B. Benenson Dr. Axel Stawski Mr. and Mrs. Gene M. Woodfin Melissa Berkelhammer Mr. and Mrs. Garrick C. Stephenson William H. Wright II Claire Bernard Mr. and Mrs. George E. Stephenson William James Wyer Kyle Blackmon Cynthia Stewart David and Constance Yates Blair Brickman Mr. and Mrs. Gerald Stiebel Emily A. Youssouf Mabel Brodrick-Okereke Elizabeth A. Straus and Donald Straus Baroness Maria Zerilli-Marimò Edward N. Brown Mr. and Mrs. Irving Lehman Straus Sara E. Burch Elizabeth F. Stribling and Guy Robinson Non-Resident Fellows Frances F. Burden Elizabeth Strong-Cuevas Katrin Bellinger and Harald Weinhold Jonathan Burkan Patricia P. and Henry Tang Dianne A. Bruce Helen Metcalf Burnham Anne M. and William Tatlock Mr. and Mrs. Childs Frick Burden Mr. and Mrs. David E. Burns Gregory F. Taylor Mr. and Mrs. Ross Cann Emily and Anthony Calenda Mrs. Henry J. Taylor Mr. and Mrs. Todd G. Cole Shawn Canter Mr. and Mrs. Rodman K. Tilt, Jr. Robert Edsel Mr. and Mrs. Christopher D. Casey David and Julie Tobey Anne B. Faircloth and Andrew Catapano Robbi and Bruce Toll Frederick Beaujeu-Dufour Dorothy M. Cavanagh The Honorable John Train Mr. and Mrs. Lucius L. Fowler Dr. Michael Chang Paul Underwood George B. Handran Eric W. Cohler Marilyn Ungar Stephen A. Hansel Marina Rust Connor and Ian Connor Isabel B. Van Dine Mr. and Mrs. Anthony Hecht Richard Cooper Mr. and Mrs. Mark L. Venrick James A. Kelly James Corl
2002 Annual Report 27 Catherine Ann Corman Marne Grainger and Todd Cavaluzzi Laura Cowles Le Gré Paolo Costagli Ann Marie Grasso John Leo Jody W. Covert Mr. and Mrs. David Grubb Dr. J. Marc Michel Leonard Margaret M. de Cagny Jennifer Grunebaum Marc Lewinstein Dr. Teresa Maria Deluca and Scott Hague Robert and Donna Liebowitz William D. Bisceglia Jennifer Hampton Mr. and Mrs. Richard Lightburn Mr. and Mrs. Laurent de Marval Yvonne Handler and Mr. and Mrs. Robert K. Lindgren John H. de Neufville Marie Antoinette Handler Brandi Lipton Mr. and Mrs. Frank-Willem de Wit Joseph Harding and Thomas Cannon Michele Llewelyn Mr. and Mrs. Brendan Dillon Elizabeth Harris Mr. and Mrs. Nicholas Longano Alicia Doherty Lois Harrison and Paul Minigiello Robert Loper Benjamin F. Doller Mr. and Mrs. Peter Harwich Mr. and Mrs. Thomas B. Loring Shayne Doty Sachiko Hashimoto Laura Seale Lovelace Mr. and Mrs. Stephane C. Dujarric Michael Hatchett and Cynthia McCaffrey Mr. and Mrs. Dan Lufkin Chris Dunham and Mark Anthony Hatsis John Lukovits Lindsay Gruber Dunham Gregory A. Herr Kelly Mallon Mr. and Mrs. Eleuthere Paul du Pont III Kim Hicks Adele and David Malpass Lauren and Richard du Pont George Ho Paul J. Mateyunas Mr. and Mrs. John F. Durocher Mr. and Mrs. Mark Hoffman Paul McCann John A. D’Urso, Jr. Mr. and Mrs. Jonathan B. Hough Mr. and Mrs. John L. McWilliams IV Jonathan Easton Heather H. Hoyt Dr. John E. Mead Steven Eisenstadt and Jennifer Rogg Olivia Hutchinson Gregory Melconian Mr. and Mrs. Louis Elson Julian Iragorri Prince Rudolf Kniase Melikoff Julie Johnson Faber Carol A. Irish Richard Mendlowitz Alisa Feinstein and Joshua Swidler Iffat Islam Rebekah Mercer Joseph and Sabine Fichera Mr. and Mrs. Albert Joerger Natalie B. Milani Jamee Field Laura G. Johansen Mark Evan Miller Tonya Finley and Jeff Kempler Nina and Adrian Jones Pamela and Robert Miller John Leopoldo Fiorilla Nathalie and Edward Kaplan Mr. and Mrs. Sylvester Miniter IV Judith Fleischner and Mr. and Mrs. Sean Patrick Kavanagh Alison Minton Jean-Louis B. Ecochard Mr. and Mrs. Sanford B. Kaynor, Jr. Jacqueline and Alan Mitchell Elizabeth A. Fleming Abigail Keeler Mr. and Mrs. John Henry Moulton Amy Mazzola Flynn and Tad Flynn James J. Killerlane III Mr. and Mrs. John J. Mulligan III Robert Fogelson and Victoria Voytek Michael Kim Philip R. Munger Rhonda S. Foreman Alexander Klabin Mr. and Mrs. Richard Murawczyk Christine H. Frankenhoff Joseph Knight Daphne Nash and Marion Simons Jeffrey S. Freeman Elena Morris Kornbluth Chandi Neubauer Amber Frumkes and Timothy Frumkes Mr. and Mrs. Thomas Korossy Jennifer J. Nilles Melanie Galloway Jennifer C. Krieger Leigh Nisonson and Emily Snider Lee White Galvis and Sergio Galvis Peter Kuntz and Connie Rodriguez Christopher North Mr. and Mrs. Charles Garnett Charlene Kuo Cristin M. O’Hara and Michael S. Sullivan Martin Gibson Katherine Lack Arianna Packard Ann Powell Dewart Gleason Brianna W. Lam Mr. and Mrs. Luke Palmerlee Alexandra G. Goelet Ann Leef Lansing Gregory Pamel Eric Michael Gordon Sheri Lawson James Panero and Megan L. Cummins John Stuart Gordon Harrison LeFrak Nami Park
28 The Frick Collection Roxana Pechero Whitney Sudler Smith Mr. and Mrs. L. Jay Cross G. E. Peraertz Renee Soto Anthony P. Cutugno Jacquelyn Piraquive Mr. and Mrs. Peter Sotos Mrs. Vincent de Roulet Mr. and Mrs. Robert S. Pitts, Jr. David M. Steiner Jerald Dillon Fessenden John Paul Primiano Adam and Tracy Stern Milton and Eunice B. Forman Diana D. Pulling Mr. and Mrs. J. Fife Symington IV Jill P. Fowler Mr. and Mrs. Jean Putzer Mr. and Mrs. Andrew Thomas P. R. Fre der ick Steven Rapkin Jennifer Thompson Mr. and Mrs. Bruce Geismar Norman D. Rau Kimberly S. Thomsen Dr. Mary J. Greer Mr. and Mrs. Walter C. Reisinger, Jr. Leo M. Tilman Marjorie Grinnell Mitchell Rieder Alexander V. Titomirov Kate Gubelmann Elizabeth Robertshaw Edward Toptani David Handleman Stuart Rose Martin J. Tornberg Marli L. Hinckley Jill Ross Elise Trafton Mr. and Mrs. John R. Hupper Beatrice Rossi-Landi Isabel Trafton Jacob and Arlyn Imberman Mr. and Mrs. H. Jonathan Rotenstreich Mr. and Mrs. Will Trafton Walter E. and Marjorie H. Joyce Yvonne Roth T. Shipley Troth Georgianne M. and Richard A. Kasuli Alexander Roy and Max Roy Thomas M. Valenzuela Mr. and Mrs. John J. Kenney Richard Royce Leonora Volpe and Howard Mulligan Mr. and Mrs. Alexander M. Laughlin Dr. A. Joseph Rudick and Eleonora Von Bressensdorf Dr. Olga Silvay Mandeau Jennifer Ash Rudick Duncan Wade and Tessa Woodfield Marguerite Manley Fiona Howe Rudin Mr. and Mrs. Richard H. Wagle Pauline Metcalf Lizzie Rudnick David Waldes Mr. and Mrs. Henry B. Middleton Mr. and Mrs. Mortimer D. A. Sackler Judith Wall Roy R. Neuberger Louisa Sadler Mr. and Mrs. Benjamin A. Waring Dr. David Orentreich Elisabeth A. Saint-Amand Dr. Elizabeth Weinman Mr. and Mrs. Richard G. Powell N. Alexander Saint-Amand Julia Power Weld and Dr. Wilbur Rabinowitz and Mr. and Mrs. Joseph Sambuco Edward Kingman Weld Audrey Rabinowitz Danielle Sapse Melissa Wells Susan Mainwaring Roberts Mr. and Mrs. Scott Schefrin Timothy J. Whealon Mr. and Mrs. Philip R. Rotner Claudia Scheuring-Broda Genevieve Wheeler Robert M. Saunders and Susan Gaum Charlie Schlangen Mr. and Mrs. David White Simon M. Schama and Louise and Benjamin Schliemann Donna M. Whittaker Dr. Virginia E. Papaionannou Mr. and Mrs. Paul C. Schorr IV Laura Winters William R. Schermerhorn Mr. and Mrs. Matthew G. Schwartz Whitney Wolfe Katherine A. Schick Christine Scornavacca Esther Wong Mr. and Mrs. Howard Sosin Dr. Geoffrey Scott Carroll Dandridge D. Woodworth Anne Stean Alexander W. Seligson Jennifer Wright Judy E. Tenney Erica M. Selimotic Mr. and Mrs. Andrew W. Young E. Deane Turner Joanne Septjian Selina Van der Geest Cathleen Sheehan Sustaining Friends Thomas R. Warfield Mr. and Mrs. Alexander Shepard Mr. and Mrs. Michael Nash Ambler Anna K. Weisz R. Andrew Shore Alexander Apsis Julia Winpenny Mr. and Mrs. Edward L. Shugrue III Martha and Thomas Armstrong Dian Woodner Sarah L. Simmons Leonard and Adele Block Dr. Richard P. Wunder Dagmar Smek and Arman Oruc Jan Cowles Mrs. Thomas M. Wyman
2002 Annual Report 29 George M. Yeager Dorothy S. Gray Sascha M. Rockefeller Alice Jean Zuccaire Herbert B. Halberg Jennifer Rogers and Frances Rogers Mimi Halpern and Stephen Morrow David F. Ryan and Linda Y. Thung-Ryan Supporting Friends John Hartje and Carol Camper Barbara and Bill Saltzman Irving and Alicia Albert Inge Heckel Mr. and Mrs. Herbert Schinderman Mark and Gail Appel Thomas C. Hills Stephen M. Siegel Mr. and Mrs. Robert M. Arias Alexander C. Hitz Grant and Jacqui Smith Andrew and Amy Arkin Mr. and Mrs. Joseph L. Hudson, Jr. Stanton K. and Mary Beth Smith Page Ashley Mr. and Mrs. Edward Hyman, Jr. Marvin Smotrich and Gina Farahnick Mr. and Mrs. Seymour R. Askin, Jr. Dudley D. Johnson Herbert E. and Sally Solomon Antoinette Ayres Alan Jones Brenda N. Straus Caroline and James E. Bacon Mr. and Mrs. Beat Jordi Peace Sullivan Saretta Barnet Mr. and Mrs. Richard Joselit Marzena Szczeniowski Marvin and Mary Ellin Barrett Alan Kanzer Gary Thalheimer Jill V. and Lewis W. Bernard Patricia H. Keesee Mrs. Edward Townsend Sarah Billinghurst Phyllis L. Kossoff Paul A. Volcker Arlene J. Blau Mr. and Mrs. Gilbert H. Lamphere Dianne Wallace Mia Weiner and Martin Braid Dr. and Mrs. Jules V. Lane Alicia R. Westmoreland Laurel Ann Brien Jill L. Leinbach Jack Witt Brian and Susannah Bristol Michael and Ann Lesk Martha Wolfgang and Peter Hutchings Merle J. Bushkin Dr.D.R.Lund Andrea Woodner Constance R. Caplan Robin MacDermott and Robert W. Holmes Mr. and Mrs. John E. Young Giosetta Capriati Judith MacDonald and James MacDonald Debrah Charatan Dr. Edward A. Mainzer Daniel R. Childs Sarah S. Manley Annual Fund G. M. Clerihen Pauline March Donors Leonard G. Cohn and Jules Arnold Mr. and Mrs. Edwin Marks Robert R. Cozzoli Nancy McAllister and Richard M. Card $25,000 and above Mr. and Mrs. Keith E. Crain Dr. and Mrs. Maclyn McCarty Mr. and Mrs. Peter P. Blanchard III Mr. and Mrs. Stephen Daniel Michael J. and Regina F. McCormick Richard M. and Peggy Danziger Ann Bell McCoy $10,000–$24,999 Michael Davis and Dana C. Gallo Kay McCrosky Mr. and Mrs. Eugene Victor Thaw Gary Delemeester Mr. and Mrs. Eugene Mercy, Jr. John Dilworth Elizabeth M. Mirante $5,000–$9,999 Mr. and Mrs. Anthony B. Evnin Richard and Barbara Moore Arthur L. Loeb Mr. and Mrs. Bruce A. Factor J. Malcolm Morris Barbara G. Fleischman Mr. and Mrs. James J. Murtha $2,500–$4,999 Richard E. Ford John and Barbara Nelson Melvin R. Seiden and Janine Luke Ann Freedman Gideon and Claudia Oberweger Mr. and Mrs. Cono Fusco Grace M. Parr $500–$2,499 Monica Gaffney Andrew S. Paul Mr. and Mrs. Robert F. R. Ballard Thomas R. Gallagher Diana M. Phillips Sybil Bernstein Rev. Davis Given Susan F. Pinsky and Marc E. Rosen The Bodman Foundation Mr. and Mrs. Robert G. Goelet Marilyn B. Polite Mr. and Mrs. Jeremiah M. Bogert Marcia Goldberg Rory J. Radding and Nina S. Duchaine Mr. and Mrs. I. Townsend Burden III Joel M. Goldfrank James J. Rochlis Mr. and Mrs. Minturn V. Chace
30 The Frick Collection Mr. and Mrs. Garretson W. Chinn Katryna B. Carothers Joyce Hausdorff The Honorable and Mrs. Walter J. P. Curley Mr. and Mrs. David A. Chernow Mr. and Mrs. Edward Heilman Catherine G. Curran Daniel R. Childs Jason Herrick Cleveland H. Dodge Foundation, Inc. Dr. W. N. Christenson Margaret P. High Mr. and Mrs. L. F. Boker Doyle Owen Clarkin Mr. and Mrs. Harry H. Hinkle Mr. and Mrs. Steven Einhorn Carolyn Cohn Mr. and Mrs. Joseph L. Hudson, Jr. Robert and Ann Freedman Theodore Cohn IBM Corporation Dr. and Mrs. Henry Clay Frick II Fleurette E. Colucci Mr. and Mrs. Marshall Jeanes Mr. and Mrs. Leandro S. Galban, Jr. Julie C. Connelly Anna S. Jeffrey Mr. and Mrs. Robert Garrett Mr. and Mrs. C. Converse, Jr. William R. and Sona K. Johnston Reverend Davis Given Dr. William R. Cook Mrs. Allan H. Kalmus Joan and Donald J. Gordon August Cosentino and Jerry Caporicci Mr. and Mrs. Edward W. Keane Pauline L. Harrison Nigel W. and Gael E. Crouch Hans W. Kertess The Kandell Fund Mr. and Mrs. Maxwell Dane Tilghman B. Koons and Edgar P. Glazbrook Mr. and Mrs. Jon Landau Becca Davies and Jeremy Kramer Judith E. Kostin Alexander Mebane Gary Delemeester Barry F. Kramer Richard L. and Ronay Menschel Gladys Demick Mr. and Mrs. Seymour Krasner Rodney W. Nichols Mr. and Mrs. Kevin A. Denton Dolores Kreisman Richard E. Oldenburg Mr. and Mrs. Michael Ditzian Mildred C. Kuner Mr. and Mrs. Paul G. Pennoyer, Jr. Mr. and Mrs. Peter Duchin Mr. and Mrs. Nahum Lainer Guy Stair Sainty Mr. and Mrs. John F. Durocher Mark C. Lee Mr. and Mrs. Gilbert B. Silverman Hector A. Escamilla Dale and Chari LeMasters Maria Voridis Elizabeth C. Evans-Iliesiu Barbara Londin Marissa Wesely Mrs. Maxwell Evarts Dr. Olga Silvay Mandeau Morton and Esther Wohlgemuth George M. Ewing Alexander P. Marchessini ExxonMobil Foundation Guglielmo Marconi International Up to $500 Richard Herbert Finnegan Fellowship Foundation J. Philip Anderegg Mr. and Mrs. Lucius L. Fowler Helen Mavrophilippas Mrs. James Ardrey Florence B. Fowlkes Ann Bell McCoy Edgar Aronson Mr. and Mrs. Peter Frelinghuysen John McDonald and Louanna Carlin Frances Atkeson Alan K. Gage Mr. and Mrs. DeCourcy Eyre McIntosh James H. Bagley Elizabeth H. Gaillard J. Donald McNamara Phillip Ball Serena Gibson Mr. and Mrs. Melvin Mencher Mr. and Mrs. John Barbis Joy L. Glass and Richard Milazzo Charles W. Merrels Phyllis Bartlett Valerie J. Glazer Florence Mink Theodore A. Beadle William Goldman Sherwood and Phyllis Moe Josephine L. Berger-Nadler and David Goldstein Anna Mont M. Leon Canick Debby Goodman Michael Moore Inez Bergquist Rebecca G. Goodman Whitney S. Morgan Mr. and Mrs. Morris E. Biederman Carmen Greenebaum Mr. and Mrs. Stephen J. Morse Bernice Block Alexis Gregory Mr. and Mrs. Winthrop R. Munyan Pierce A. Brennan Jeffrey M. Gudman Charles R. Nelson Thomas A. Buckley Mr. and Mrs. Randolph Guggenheimer, Jr. Mrs. Cornelius Palen Mr. and Mrs. Richard Burnham Ann Haggerty Eugenie Pavars Elaine B. Bye Dr. Lucinda A. Harris Mitchell Penberg Fritz Cadet Kitty Carlisle Hart Veronica Pezzuto
2002 Annual Report 31 Dr. Jane M. Rabb NYSE Foundation, Inc. JPMorgan Chase Foundation Louise Ransom Novartis The May Department Stores Company James M. Rhodes and Jane J. Rhodes Reed Smith LLP Foundation Mr. and Mrs. Donald Rice Soros Fund Management LLC Mayer, Brown & Platt Mr. and Mrs. Anthony Roberts The McGraw-Hill Companies Joan D. Rosenthal $10,000–$24,999 Moody’s Corporation Daniel Rossiter Christie’s The New York Times Company Thomas and Lynn Russo Metropolitan New York Library Council Foundation Rand Salwasser Moët & Chandon Champagne Penske Corporation Elaine C. Schapker Town & Country Pfizer Foundation Walter J. Schloss World Monuments Fund Schroder Investment Management Dr. and Mrs. Thomas Sculco John Wiley & Sons, Inc. Steven L. Selss $5,000–$9,999 Frances Sidlo The Bank of New York Leona Sobel Dover Street Gallery Autumn Dinner Jonathan Strasser JPMorgan Chase October 21, 2002 Karen Talus The McGraw-Hill Companies Dorothy E. Teffeau Pfizer Inc. Gala Co-Chairmen Carolyn Texera Sotheby’s Mr. and Mrs. William Rayner Michael F. Tims UBS David C. Titus The H. W. Wilson Foundation Chairman, Council of The Frick Collection Marcia K. Townley Nicholas H. J. Hall Marcos Tychbrojcher $2,500–$4,999 Jean Vitau and Irene Vitau Altria Group, Inc. Autumn Dinner Benefactors Nina Weiner American Express Company The Honorable Anne Cox Chambers Anna K. Weisz AOL Time Warner, Inc. Mr. and Mrs. Howard Phipps, Jr. Edwin J. Wheeler Chanel, Inc. Edmund V. Wick Colgate-Palmolive Company Autumn Dinner Patrons Leonard Wilf HSBC Bank USA Mr. and Mrs. Peter P. Blanchard III Nancy Bradford Wilken Merrill Lynch & Co., Inc. Mr. and Mrs. Minturn V. Chace Monica E. Williams and John Wiley & Sons, Inc. Michel David-Weill Monica B. Williams The Helen Clay Frick Foundation George W. Young $500–$2,499 Mrs. Henry Clay Frick II Brown-Forman Corporation Samuel H. Kress Foundation Corporate Otto Naumann Matching Gift Companies Mr. and Mrs. William Rayner Members The AES Corporation Mr. and Mrs. Juan A. Sabater AOL Time Warner, Inc. Mr. and Mrs. Lawrence B. Salander $50,000 and above AT&T Foundation Mr. and Mrs. Wynant D. Vanderpoel III Tiffany & Co. Bank of America Bunge Corporation Foundation Autumn Dinner Supporters $25,000–$49,999 The Chase Manhattan Foundation Mr. and Mrs. Anthony Ames Badgley Mischka Computer Associates International, Inc. Anne H. Bass Bloomberg Cleveland H. Dodge Foundation Mr. and Mrs. I. Townsend Burden III First Republic Bank ExxonMobil Foundation W. P. Carey Morgan Stanley & Co., Inc. IBM Corporation Christie’s
32 The Frick Collection Jan Cowles Martha Hare Mr. and Mrs. George Wachter The Honorable and Mrs. Walter J. P. Curley Dr. Lucinda A. Harris James Wilson, Joan Madden Wilson, Hester Diamond Frances Hayward and Elizabeth Madden Mr. and Mrs. C. Douglas Dillon Frederick Hill Floreine J. Winthrop L. F. Boker Doyle Lawrence and Caroline Huntington Steve and Elaine Wynn Elise Frick Mr. and Mrs. Albert Joerger Henry Steinway Ziegler and Mr. and Mrs. Nicholas H. J. Hall Jill and Jeff Joyce Jourdan Arpelle-Ziegler Mr. and Mrs. John R. Hearst, Jr. Mr. and Mrs. Thomas Korossy Mr. and Mrs. Mauro Herlitzka Mr. and Mrs. Eugene Kummel Autumn Dinner Contributors Mrs. Butler Kent Mr. and Mrs. Douglas B. Leeds Patty Auchincloss Jon and Barbara Landau Robert L. Lenzner David Beattie Cynthia and Dan Lufkin Mr. and Mrs. Robert K. Lindgren Mr. and Mrs. Richard Chilton Mr. and Mrs. Arthur Ross Arthur L. Loeb Mrs. Thomas H. Choate Mr. and Mrs. Samuel Sachs II Martha and Thomas B. Loring Mrs. Oscar de la Renta Sotheby’s Mr. and Mrs. Earle I. Mack Genevieve Faure Mr. and Mrs. Eugene V. Thaw Jane and Robin Maynard Antonia Grumbach Dr. and Mrs. Karl M. F. Wamsler The Lizabeth and Frank Newman Jean Hannon Shelby White and Leon Levy Charitable Foundation Mr. and Mrs. Adrian Jones I. Peter Wolf Richard E. Oldenburg Fred Krimendahl and Emilia A.Saint-Amand Mr. and Mrs. Gene M. Woodfin Mr. and Mrs. Bernard G. Palitz Mr. and Mrs. John McGarry Young Fellows Steering Committee Mr. and Mrs. Gordon B. Pattee Ann Kendall Nitze Paul and Cecily Pennoyer Mrs. Lewis T. Preston Autumn Dinner Friends Mr. and Mrs. Ross Perot Mr. and Mrs. John R. Robinson Julian Agnew Dr. and Mrs. Simon B. Poyta Mr. and Mrs. Stanley DeForest Scott Mrs. Russell B. Aitken Samuel Pryor Reed Melvin R. Seiden and Janine Luke Dr. and Mrs. Hugh R. K. Barber Jane Richards Suzette de Marigny Smith The Beinecke Foundation David Rockefeller Louise Stephaich Patti Cadby Birch Mr. and Mrs. Felix G. Rohatyn Dr. and Mrs. Robert D. Wickham Mr. and Mrs. Jeremiah M. Bogert Elaine L. Rosenberg W. Mark Brady Mrs. Howard Ross Guy Cary Jerome S. Rubin and Ida E. Rubin Mrs. William Stratton Clark Mr. and Mrs. Peter Sacerdote The Frick Collection makes every Gina and James de Givenchy Frances Scaife effort to recognize gifts as requested. Mrs. Charles H. Dyson Arnold Scaasi and Parker Ladd Corrections may be directed to Mr. and Mrs. Frederick Eberstadt Mr. and Mrs. Herbert Schinderman Amy Busam at (212) 547-6877. Mr. and Mrs. Walter A. Eberstadt Frances Schultz Mrs. Anastassios Fondaras Mr. and Mrs. Stephen A. Schwarzman Mrs. Raymond C. Foster Mr. and Mrs. James B. Sitrick Anne and Robert Freedman Maurice Sonnenberg Mr. and Mrs. Lee M. Gammill, Jr. Elizabeth M. Stafford Mr. and Mrs. Robert Garrett Mr. and Mrs. George E. Stephenson Mireille and Hubert Goldschmidt Mr. and Mrs. Robert L. Sterling, Jr. Mr. and Mrs. Philip C. Gorrivan Gerald G. Stiebel and Alexis Gregory Penelope Hunter-Stiebel Agnes Gund and Daniel Schapiro Elizabeth Stribling and Guy Robinson Diane and George Hambleton Margaretta Taylor
2002 Annual Report 33 Statement of Financial Position December 31, 2002, with comparative December 31, 2001, totals (Note 1)
Assets: 2002 2001 Note 1 For purposes of brevity, the December 31, 2002 and Cash and cash equivalents $ 2,806,868 $ 2,908,063 2001 financial information presented herein is Contributions receivable 685,749 45,019 excerpted from our audited financial statements as Accrued interest and dividends 224,143 549,000 prepared by the independent accounting firm of Due from broker PriceWaterhouseCoopers, L.L.P., which rendered an for securities sold 641,443 447,912 unqualified opinion as to those statements’ confor- Other assets 1,123,035 586,251 mance with generally accepted accounting principles. Inventory 837,329 826,836 This excerpted information does not include the Investments, at market: Statement of Cash Flows or the footnotes that are Museum 144,206,076 163,142,245 integral to a full presentation of the Collection’s finan- Library 40,792,098 45,693,194 cial position. A complete Report of the Independent Fixed assets, net: Auditors is available by writing to the Development Museum 17,532,541 16,307,811 Office of The Frick Collection. Library 1,888,497 1,982,083 Prepaid pension cost 1,345,239 1,604,239 Note 2: Measure of operations The Collection includes in its definition of operations Total assets $ 212,083,018 $ 234,092,653 all revenues and expenses that are an integral part of its programs and supporting activities. The measure Liabilities and Net Assets: of operations includes investment income equal to the 4.5% spending rate (see Note 3 below), and Accounts payable excludes investment return in excess of, or less than, and accrued expenses $ 1,590,271 $ 1,617,249 the 4.5% spending rate and depreciation of fixed Due to broker for assets. The measure of operations also excludes unso- securities purchased 1,187,524 639,196 licited, unrestricted contributions of $50,000 or more; Accrued postretirement health such contributions are board designated for long-term and other benefits 4,089,000 3,909,000 investment as funds functioning as endowment.
Total liabilities 6,866,795 6,165,445 Note 3: Spending rate The Frick Collection’s investments are pooled and Net assets: managed on a total return basis. To preserve the Unrestricted 171,061,655 194,428,021 investments’ long-term purchasing power, a spend- Temporarily restricted 8,369,566 7,744,185 ing rate has been established. The Collection makes Permanently restricted 25,785,002 25,755,002 available to be spent each year 4.5% of the investment portfolio’s average market value for the twelve quar- Total net assets 205,216,223 227,927,208 ters ending the September prior to the beginning of the year, net of related fees and taxes. Total liabilities and net assets $ 212,083,018 $ 234,092,653
34 The Frick Collection Statement of Activities For the year ended December 31, 2002, with comparative totals for 2001
Temporarily Permanently Unrestricted Restricted Restricted Total
Board General designated Total 2002 2001
Operating support and revenues Net investment return – 4.5% spending policy $ 8,856,830 $ $ 8,856,830 $ 334,272 $ – $ 9,191,102 $ 8,940,942 Other interest income 22,862 11,128 33,990 5,688 39,678 162,040 Contributions 1,146,689 577,163 1,723,852 2,124,344 3,848,196 2,221,669 Admission fees 1,915,386 1,915,386 1,915,386 1,779,109 Membership 1,160,470 1,160,470 1,160,470 1,090,451 Bookstore sales & miscellaneous 1,050,985 1,050,985 1,050,985 1,041,957 14,153,222 588,291 14,741,513 2,464,304 – 17,205,817 15,236,168 Net assets released from restrictions 1,465,546 (178,020) 1,287,526 (1,287,526) Total operating support and revenues 15,618,768 410,271 16,029,039 1,176,778 – 17,205,817 15,236,168
Operating expenses Museum programs: Operations 4,178,556 399,149 4,577,705 4,577,705 4,449,740 Special exhibitions, concerts, and lectures 932,899 932,899 932,899 553,328 Bookstore, including cost of sales 825,656 825,656 825,656 757,066 Total museum programs 5,937,111 399,149 6,336,260 ––6,336,260 5,760,134 Library programs: Operations 2,941,263 118,834 3,060,097 3,060,097 2,970,786 Special programs 240,877 240,877 240,877 274,763 Total library programs 3,182,140 118,834 3,300,974 – – 3,300,974 3,245,549 Total programs 9,119,251 517,983 9,637,234 – – 9,637,234 9,005,683 Supporting services: General and administrative 5,099,119 468,238 5,567,357 5,567,357 5,514,102 Fundraising 1,053,517 1,053,517 1,053,517 1,089,573 Total supporting services 6,152,636 468,238 6,620,874 – – 6,620,874 6,603,675 Total operating expenses 15,271,887 986,221 16,258,108 – – 16,258,108 15,609,358
Excess (deficiency) of operating support and revenues over operating expenses 346,881 (575,950) (229,069) 1,176,778 – 947,709 (373,190)
Nonoperating Contributions 30,000 30,000 – Deficiency of investment earnings over spending policy amount (23,137,297) (23,137,297) (551,397) (23,688,694) (12,117,974) Total nonoperating – (23,137,297) (23,137,297) (551,397) 30,000 (23,658,694) (12,117,974)
Change in net assets 346,881 (23,713,247) (23,366,366) 625,381 30,000 (22,710,985) (12,491,164)
Net assets, beginning of year 7,317,117 187,110,904 194,428,021 7,744,185 25,755,002 227,927,208 240,418,372 Net assets, end of year $ 7,663,998 $ 163,397,657 $ 171,061,655 $ 8,369,566 $ 25,785,002 $ 205,216,223 $ 227,927,208
See accompanying notes. 2002 Annual Report 35 public services and programs
Museum Shop against him, and the difficulties of October 12 at 5:00 p.m. encompassing the enormous variety of Andrew Manze, baroque violin: J. S. Bach, The Museum Shop offers a wide selection his drawings in one exhibition. Telemann, Tartini of scholarly and popular titles, stationery, prints, and special gift items related to the November 12 at 6:00 p.m. October 26 at 5:00 p.m. Frick’s exhibitions and collections. You can Painting and Ourselves La Venexiana, five singers and harpsichord: visit our Shop during regular Collection hours Sir Howard Hodgkin, artist Monteverdi and his contemporaries or purchase items online at www.frick.org. This lecturer will bring an artist’s perspec- Members receive a 10% discount on all Shop purchases. November 9 at 5:00 p.m. tive to the relationship between painting New Zealand String Quartet in New York and its audience. The Drawings of debut: Psathas, Bartók, Body, Beethoven François Boucher 264 pages; November 19 at 6:00 p.m. November 30 at 5:00 p.m. cloth $55, Painting Out of Conflict: Velázquez, the Havard Gimse, Norwegian pianist, in New paper $37.50 Dutch, and Painting at Time of War York recital debut: Chopin, Prokofiev, Svetlana Alpers, Visiting Research Grieg, Sibelius Professor, New York University
How have artists dealt with war? Has art December 14 at 5:00 p.m. 2004 Wall Calendar served to encourage conflict? Should artists Aulos Ensemble with Sanford Sylvan, $13.99 be blamed if they don’t deal with war? The baritone: A Baroque Christmas: 17th- lecturer will discuss striking instances and 18th-century carols and Bach arias when attention to the medium of art offered an alternative to strife. January 11 at 5:00 p.m. Bella Davidovich, piano, and Alexander December 10 at 6:00 p.m. Sitkovetsky, violin, in New York debut: Homo Orientalis: Mozart, Prokofiev, Ravel, Franck Lectures François Boucher and China Katie Scott, The Courtauld Institute of Art January 25 at 5:00 p.m. Lectures are open to the public without Jonathan Gilad, French-Israeli pianist, charge one half-hour before the event. Prompted perhaps by the task of etching in New York recital debut: Mozart; Watteau’s designs for a Chinese cabinet for Beethoven; Chopin; Schubert, Wanderer September 24 at 6:00 p.m. the royal château of La Muette, Boucher Fantaisie in C Major Reconstructing Raphael’s went on to create prints and tapestries that Villa Madama in Rome reflected his own distinct vision of China. Concerts, lectures, and special exhibitions are made Yvonne Elet, The Frick Collection possible through the generosity of the Fellows of This lecture will explore the nature of that The Frick Collection and other donors. Villa Madama is one of the most important vision along with its relationship to the cel- yet least understood monuments of the ebration of luxury and trade. The Education Department is pleased Roman Renaissance. This lecture will to offer “Drawing in The Frick examine the villa’s lavish decorative ensem- Collection,” taught by Sue Ferguson ble, which integrated paintings, stuccoes, Concerts Gussow, Professor Emerita, The sculpture, antiquities, architecture, and Tickets, limited to two per applicant, are issued in Cooper Union. Classes will be held in landscape design. response to written requests received on the third Monday before the concert. (Please direct requests the galleries Oct. 30,Nov.6, Nov. 13, to the Concert Department and enclose a stamped, Nov. 20,Dec.4, and Dec. 11 from 6:30 October 8 at 6:00 p.m. self-addressed envelope.) Children under ten are to 8:30 p.m. The course fee is $500 and To the Manner Born? not admitted. enrollment is limited to 15 adult Boucher as a Draftsman Ticket holders must be seated at least five minutes members. No prior drawing experi- Alastair Laing, The National Trust, London before the concert, at which time unoccupied ence is necessary. For information or chairs are made available to persons on the waiting This talk will explore what made François line. The program also will be transmitted in the to register, please call (212) 547–6856. Boucher a great draftsman, the prejudices Garden Court, where no tickets are required.
36 The Frick Collection