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The World of Margrieta Van Varick Alena M Document generated on 09/28/2021 5:46 a.m. Material Culture Review Dutch New York Between East & West: The World of Margrieta van Varick Alena M. Buis Volume 73, 2011 URI: https://id.erudit.org/iderudit/mcr73er01 See table of contents Publisher(s) National Museums of Canada ISSN 0316-1854 (print) 1927-9264 (digital) Explore this journal Cite this document Buis, A. M. (2011). Dutch New York Between East & West:: The World of Margrieta van Varick. Material Culture Review, 73, 68–77. All rights reserved © National Museums of Canada, 2011 This document is protected by copyright law. Use of the services of Érudit (including reproduction) is subject to its terms and conditions, which can be viewed online. https://apropos.erudit.org/en/users/policy-on-use/ This article is disseminated and preserved by Érudit. Érudit is a non-profit inter-university consortium of the Université de Montréal, Université Laval, and the Université du Québec à Montréal. Its mission is to promote and disseminate research. https://www.erudit.org/en/ Exhibition Review Compte rendu d’exposition ALENA M. BUIS Dutch New York Between East & West: The World of Margrieta van Varick Organizing Institutions: The Bard Graduate Center for Decorative Arts, Design History and Material Culture and the New-York Historical Society Venue: Bard Graduate Center for Decorative Arts, Design History and Material Culture Curators: Marybeth De Filippis, Deborah L. Krohn and Peter N. Miller If goods indeed have a “social life” that inven- role of the Netherlands in the USA’s foundation was tories fix at a particular point in time, the exhi- emphasized during the celebrations, in part due to bition on which this publication is based brings the re-visioning of Dutch colonial participation, us as close as we can come to the “biographies encouraged by a “Holland mania” that was spread- of things”—tracing the way in which objects ing throughout the country (Stott 1998). Among also live a storm-tossed existence. (Krohn, Miller and De Filippis 2009: 3) the numerous parades, pageants and historical displays, the Metropolitan Museum of Art in New The exhibition Dutch New York Between East & York City held two major exhibitions. Displayed West: The World of Margrieta van Varick was held from September 20, 1909, to November 30, 1909, from September 18, 2009, to January 24, 2010, The Hudson-Fulton Celebration Paintings by Old at the Bard Graduate Center for Decorative Arts, Dutch Masters included furniture, objets d’art and Design History and Material Culture (BGC) in 145 paintings by artists such as Rembrandt van Rijn, New York City. Co-organized by the BGC and Frans Hals, Johannes Vermeer, Jacob van Ruisdael the New-York Historical Society (N-YHS), the and Aelbert Cuyp, culled from the collections of impressive display of early modern material culture prominent New Yorkers such as Henry Frick, J. P. was organized as part of the statewide recognition Morgan, Charles Schwab and George W. Vanderbilt. of the 400th anniversary of Henry Hudson’s North The second part of the Hudson-Fulton Celebration American exploratory voyage and the legacy of the exhibition displayed American visual and mate- Dutch in New York. Indeed both the exhibition and rial culture from the early 1600s through to 1825. its catalogue proved to be major contributions not Among the important legacies of this exhibition only to the quadricentennial celebrations but also to was the relatively new curatorial organization of the recently expanding body of literature examining objects by form and period. According to Thomas J. Dutch colonial history. Schlereth, 1909 and 1910 were “watershed years for New York has had a long tradition of public material culture studies in the American decorative displays in recognition of historical milestones. In arts” in particular due to this exhibition, which is 1909, the Hudson-Fulton celebrations in honour now considered the “first nationally recognized of the shared tercentennial of Hudson’s arrival exhibition to present American furnishings to the and the centennial anniversary of Robert Fulton’s public” (1982: 14). first successful commercial application of the Museum practice and display conventions paddle steamboat also provided an opportunity have changed drastically in the hundred years to demonstrate the triumphs of New York City, separating New York’s tercentennial (1909) and highlighting the city’s aspirations as well as quadricentennial (2009) exhibitions. Until rather greater national ambitions of the time (Avena and recently, displays of domestic material culture have Marostica 2008). Despite often being excluded been typically arranged as period rooms. While from the larger narrative of American history, the some institutions like the Museum of the City of 68 Material Culture Review 73 (Spring 2011) / Revue de la culture matérielle 73 (printemps 2011) New York, with their permanent display of New York. Recently acquired by the English, the colony York Interiors: Furnishings for the Empire City still of New Netherland, had been initially established follow this model, others like the Albany Institute of by the Dutch West India Company or Geoctroyeerde History & Art and Crailo State Historical Site have Westindische Compagnie (WIC). Even by the time rearranged their early Dutch colonial collections to of the van Varick’s arrival, the colony maintained avoid giving the impression that such objects would a particularly Dutch culture, with the language, have existed together as a furnished room. Notably, customs and religion of New Netherland persisting Dutch New York Between East & West was held in despite English rule. Rudolfus ministered to a politi- the BGC Gallery, a space that despite its educational cally fraught congregation and his wife established institution affiliation maintained the domestic feel a flourishing textile business in a hybrid community, of the 19th-century brownstone housing it on diversified by indigenous and enslaved peoples as Manhattan’s Upper West Side. However, although well as religious refugees and immigrants from this space could have been used to reinforce an in around the world. situ experience, allowing viewers to imagine the The will of Margrieta’s husband, Rodulfus van objects arranged as in the possession of van Varick, Varick, was drafted in Dutch on October 22, 1686, the curators resisted the urge to create a period room by William Bogardus, a New York public notary. style presentation. According to the website, the Nearly ten years later, hers followed an English BGC Gallery has a mandate to display exhibitions format scribed by an unknown person, but signed that “consider issues and ideas that exist largely by Margrieta van Varick herself. With the originals outside the established canons of art history,” which now lost, only microfilm images of these exist. In stands in sharp contrast to the 1909 Hudson-Fulton the fall of 2004, then-graduate student Marybeth De Celebration host venue, the Metropolitan Museum Filippis found a copy of the nineteen-page probate of Art, with its canonical status and current penchant inventory of Van Varick’s household and textile for blockbuster shows. shop in the library of the New-York Historical Furthermore, unlike the Met, the BGC Gallery Society. Inspired by De Filippis’ Master of Arts is an exhibition space and does not have its own thesis completed during her studies at the BGC, collection. Perhaps while presenting some chal- the curators and collaborators used Margrieta van lenges, this lack of a permanent collection allows Varick’s will and probate inventory of 1696 as a for a certain degree of freedom and opportunities to means of examining her life and culture in colonial collaborate with other institutions, bringing together New York. The objects displayed in Dutch New new combinations of scholars and objects with York Between East & West serve as the material each organized exhibition. Arguably the BGC’s representations of the ways in which items in local 2009 exhibition benefited from its partnership with and global trade networks function as tools in ar- the N-YHS, an organization with a rich but under- ticulating and forming identities in the multifaceted explored collection and the outcome proved to be social exchanges and performance of gender, class an equally innovative milestone in the exhibition and race roles. Van Varick proves to be a thought of material culture. Although conceived under the provoking example of the increasingly global auspices of a quadricentennial celebration that con- lives of many women in the 17th century and her tinues to promote the “discovery” of North America inventory and a speculative amassing of the types by European explorers in a manner problematic of objects she may have owned can be viewed as an within contemporary post-colonial perspectives, informative indicator of cultural exchange patterns. the exhibition demonstrates an innovative approach Despite extensive research, the curators were to curating. It promotes the exhibition of material able to find very little further documentation of van culture as a self-reflexive process, highlighting the Varick’s life beyond the will and probate inventory. curatorial team’s critical engagement with often To bridge these gaps, however, the exhibition draws ignored objects and equally overlooked histories. on extant material culture to represent both the ver- Born in Amsterdam in 1649, Margrieta van nacular items and luxury goods shaping her world Varick travelled to the far reaches of the Dutch and defining her lifestyle. With an innovative ap- colonial world, first to Malacca (present day proach, curators De Filippis and Deborah L. Krohn Malaysia), before returning to the Dutch Republic gathered approximately 170 objects from public with her minister husband Rudolphus. In 1686 van and private collections in the United States and the Varick and her family embarked on another voyage, Netherlands. While most come from the collection crossing the Atlantic to settle in Flatbush, New of the New-York Historical Society, other lenders Material Culture Review 73 (Spring 2011) / Revue de la culture matérielle 73 (printemps 2011) 69 included the J.
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