The Frick Collection Report  The Frick Collection Report 

On view in the Living Hall, this magnificent Mantel Clock (Pendule de cheminée), c. ‒, has a movement and dial signed by Thuret and a case by André-Charles Boulle. The clock case is made of hardwoods veneered with intricate and symmetrical marquetry designs composed of tortoiseshell and metal, the hallmark of Boulle furniture, and decorated with gilt-bronze mounts. It was bequeathed to The Frick Collection by Winthrop Edey in . The Frick Collection Board of Trustees Council of The Frick Collection Board of Trustees  Contents Council of The Frick Collection  Report of the President  Henry Clay Frick II Nicholas H. J. Hall, Chairman Report of the Director   Joseph L. Koerner, Vice Chairman Curatorial  Julian Agnew Exhibitions & Lectures  Helen Clay Chace Mrs. Russell B. Aitken Publications   Jean A. Bonna Concerts  W. Mark Brady Frick Art Reference Library  Howard Phipps, Jr. Jonathan Brown Public Affairs, Development & Communications    Christopher Burge Gifts during   Mrs. William Stratton Clark Fellows of The Frick Collection  L. F. Boker Doyle Peter Duchin Associates of the Frick Art Reference Library   Mauro A. Herlitzka Sustaining Friends  Diane Allen Nixon Corporate Members  Paul G. Pennoyer, Jr. Richard E. Oldenburg Young Fellows Steering Committee   Paul G. Pennoyer, Jr. Fête Galante Committee  Samuel Sachs II, ex officio Financial Statements  Margot C. Bogert Melvin R. Seiden Staff  Deirdre C. Stam Credits  I. Townsend Burden III

Walter J. P. Curley

Emily T. Frick

Nicholas H. J. Hall, ex officio

Enid A. Haupt

Melvin R. Seiden The signs of a new vitality at The Frick Collection in that have received critical and popular acclaim over future. Your help is sincerely sought and deeply recent years, and particularly in , have been plenti- the last two decades. The debt that the trustees and appreciated. ful. Our heightened visibility in the community as well the institution owe to Clay is immeasurable. He has The second initiative is the launching of our first as in the press, engaging exhibitions such as The Medieval paved the way for the next generation of the family formal strategic planning process. This exciting Housebook, and fanciful evenings such as the enormously and their fellow trustees to continue the steady and endeavor has prompted a thoughtful review of our successful Fête Galante are all signs of renewal for an thoughtful development of this institution. Thus it is mission, values, and objectives and is already provid- institution that some had regarded as unchanging and with enormous gratitude and pride that I assume my ing clarity concerning the standards we seek to pre- rather staid. In truth, the Collection has been evolving responsibilities as president of The Frick Collection. I serve, even as we work to chart the course for steadily since its founding more than eighty years ago; can think of no greater honor or challenge than to tomorrow. I look forward, a year from now, to report- yet by staying true to the vision of Henry Clay Frick, dedicate myself to the preservation and animation of ing in depth on these initiatives, and I am confident Report of we have been able to guide change and maintain the this remarkable house, collection, and library. I am that the fruits of these efforts already will be evident Collection’s essence. Knowing what to preserve and confident that with the help and encouragement of in the way we conduct our programs and services. the President what to open to innovation in a museum that is my wonderful colleagues on the Board, and the superb I cannot close this report without words of grati- beloved by so many for its time-honored traditions is staff, The Frick Collection will continue to prosper. tude to some of the persons who have helped make one of the greatest challenges that we face—and we are I am happy to report that we are off to a very this a special year. My thanks again, above all, to my ever mindful of the balancing act that is crucial to our good start. From an operational perspective,  was uncle, Clay Frick, who has assumed the title of chair- Helen Clay Chace ,    success. a banner year. Our attendance hit yet another record man. Thanks also to the trustees and to our wonder- One aspect of the Collection that has been steadfast high with , visitors, and the accompanying ful staff, under the imaginative and tireless leadership since the death of Mr. Frick in  is the seriousness financials show an operating surplus of ,,.. of Sam Sachs. The Council of The Frick Collection with which his descendents have taken the obligation of While we continue to spend substantially in excess of has been a continued source of wisdom and encour- preserving his legacy. The responsibility to lead has that for capital repair and renovation, our cash flow agement, as well. I am extremely grateful to Patrick passed successively to his wife, Adelaide H. C. Frick; to has remained positive, and we are optimistic that our Gerschel, who steps down from the chairmanship of his son, Childs Frick; and, in , to his grandson, Dr. fundraising will allow this important work to con- that body after two years, for his friendship, spirit, Henry Clay Frick II. Uncle Clay, as I have called him tinue unabated in the years to come. We have nearly and generosity. Finally, my special thanks to one of all my life, has served as a trustee of this institution completed re-roofing the building, have begun the this city’s leading lights, a generous donor to The with passion and dedication for a total of forty-seven exterior stonework and shutter and window restora- Frick Collection, the honoree of the Fête Galante, and a years. tion, and have completed the renovation of the mentor of mine for many years, Brooke Astor. During his thirty-five-year tenure as president, he has Library offices. overseen accomplishments that are far too numerous to Two of the most significant initiatives for  are list, but surely the highlights would include working largely unseen by the general public, and yet they hold with four distinguished directors, the appointment of great promise for the future of this institution. The the Collection’s first curator, the acquisition of such first is our successful application to the Internal Rev- notable works of art as Jean-Antoine Watteau’s The Por- enue Service for termination as a private operating tal of Valenciennes, a  percent net increase in the value foundation and the approval of our status as a public of our endowment, the creation of the Friends and Fel- charity. This rather arcane-sounding change reflects lows membership programs, the second expansion of our commitment to be responsive to our public and the building in the s, the incorporation of the earn its support. We are determined to involve a  Helen Clay Chace and Samuel Sachs II, Director Frick Art Reference Library in the s (and our first broader community in every aspect of our programs, successful fund drive to raise  million to sustain it), development, and governance. Inherent in that resolve the publication of the first eight volumes of The Frick is the recognition that we must turn increasingly to Collection: An Illustrated Catalogue (as well as many other our members and donors, old and new, for the finan- publications), and a roster of extraordinary exhibitions cial support necessary to achieve our goals for the   As I look back at , I am struck by the progress lections. I should like to express a particular note of no less than three single-painting loan shows that, by that we have made in increasing our accessibility, out- appreciation to Director Pierre Théberge and Deputy themselves or in conjunction with works of our own, reach, and collaboration with other institutions. It is a Director and Chief Curator Colin B. Bailey for their enabled us to highlight a special aspect of the Collec- year that will be remembered for our record number assistance. tion. With François-Hubert Drouais’s portrait Madame of visitors and exhibitions, our greatly expanded Following quickly on the heels of the aforemen- de Pompadour from the National Gallery, London, we involvement with teachers and students, and our tioned exhibition was The Medieval Housebook, a rare were able to put one of the glories of eighteenth- unprecedented bookshop sales. I am happy I can no opportunity to view a remarkable manuscript while it century French painting on public view in the United longer say that The Frick Collection is one of New was temporarily unbound and in sheets to enable a States for the first time. This was followed, in the York’s best kept secrets. Around the city, around the facsimile edition. We were extremely fortunate to be summer, by Manet’s The Dead Toreador and The Bull- country, and around the world, the word is out. We able to step in to retain a New York venue for this fight: Fragments of a Lost Salon Painting Reunited, which Report of are proud to make the artistic and intellectual riches exhibition, once destined for the Metropolitan brought together from The Frick Collection and the of this extraordinary institution available to an Museum of Art, and we are doubly grateful that National Gallery of Art, Washington, the two extant the Director increasingly diverse public, and we are dedicated to Timothy Husband, Curator, Medieval Art and The pieces of Edouard Manet’s monumental painting. making the experience of visiting the Collection— Cloisters, was able to organize the show for us and This was the first time the two pieces of this work whether in the galleries, in the Library, or through our write the catalogue for the exhibition. Our thanks as had been together since Edouard Manet cut the paint- website—the finest it can be. well to Count Waldburg-Wolfegg for his willingness ing apart in his studio following its disastrous recep- Samuel Sachs II   Nearly three hundred thousand visitors shared the to have The Frick Collection as a venue, and to the tion at the Salon of . The exhibition gave rise to magic of The Frick Collection in , creating lines National Gallery of Art, Washington, for their help successful collaborations with numerous scholars and down the block on many weekend afternoons. For the in organizing the exhibition. with the conservators of the National Gallery, who first time, we were forced to confront the notion that Autumn brought the opening of an exquisite selec- helped to lead a fascinating colloquium dedicated to it is possible to have too much of a good thing. We tion of eighteenth-century French drawings from the on-going riddle concerning the original appear- must be mindful that there is a limit not only to the North American collections in Watteau and His World: ance of Manet’s canvas. Finally, from the Metropoli- number of visitors the building can physically hold French Drawings from  to , a brilliant show guest tan Museum of Art, came Constable’s Salisbury but to how many it can comfortably serve while pre- curated by Alan Wintermute for the American Feder- Cathedral: Two Versions Reunited, which helped elucidate serving the tranquil ambience that is so much a part ation of Arts. In November, we had the enormous the artist’s working style by offering two closely of the experience of visiting the Frick. good fortune to offer Ve l ázquez in New York Museums, related views of the same beloved subject. Our exhibition program brought an enormously another first, which brought together six truly remark- By the end of the year, The Frick Collection was wide spectrum of first-quality works of art to the able paintings. We are grateful to the Metropolitan featuring no fewer than four special exhibitions simul- Collection and created opportunities to collaborate Museum of Art for its willingness to loan such taneously—far more than we had ever proffered with a number of outside curators and institutions. important works, and especially to the Hispanic Soci- before. The popularity of these shows was enormous, Victorian Fairy Painting, which closed in January, was by ety of America, which, since , had not lent any of both with the public and with the press. While this far the most broadly popular exhibition we have its old master works to another institution. Special contributed to our admission and bookshop revenue, mounted. Discussed in detail last year, the success of thanks go also to Drs. Jonathan Brown and Marcus the viewing experience was less than optimal at certain that exhibition provided momentum that seemed only Burke for their insightful catalogue essays, and espe- times. It was a good lesson and one that we have to build in the months that followed. cially to Melvin R. Seiden, for his generous support taken to heart—even to the extent of recently declin- The next full-scale exhibition of the year was French in underwriting the publication. ing a first-rank Impressionist exhibition for fear that and English Drawings of the Eighteenth and Nineteenth Centuries Finally, in recognition of the one hundred and it would undermine the ambience as well as the capac- from the National Gallery of Canada, which brought fiftieth anniversary of the birth of Henry Clay Frick, ities of the institution. another relatively unknown but extraordinary collec- on December , we opened a small show featuring Our revitalized lecture and education programs and tion to New York. This was the first of two collabo- the seldom-shown drawings in the Collection that the annual symposium for graduate students in con- rations with our neighbors to the north, who have were acquired by Mr. Frick during his lifetime. junction with the Institute of Fine Arts of New York been extremely generous with their time and their col- Interspersed with all of this exhibition activity were University challenged our busy curatorial staff to set   and reach ambitious goals for the year. As discussed pay for the renovation of the staff offices, and com- year, following an impressive career as an officer in the further on in this report, our targeted outreach to plete the retrospective conversion of the card catalog U.S. Army, where he ran a variety of medical installa- schools has continued to expand, and it remains a pri- in order to provide comprehensive electronic access to tions. He has traded doctors for curators and patients mary commitment for the institution. For the third our books, journals, and catalogs. This contribution, for paintings and has easily made the transition to year, this program was underwritten by the Horace coming as it does on top of more than . million in civilian life, bringing the best practices in facility man- W. Goldsmith Foundation, which clearly shares our support from the Andrew W. Mellon Foundation, agement to the Collection. Finally, Daniel Vincent, dedication to enriching the educational experience of makes this family second only to the Fricks in the Associate Manager of Development, has come to us New York’s students. depth of its support for this institution. from the Museum of Fine Arts in Boston, and has Ensconced primarily in beautifully and ergonomi- A less well known benefactor, except among clock brought with him an expertise in developing member- cally redesigned quarters on the sixth floor of the collectors, was Winthrop K. Edey. His astute eye, ship that we expect will pay enormous dividends here. Frick Art Reference Library, the Library staff has encyclopedic knowledge of the field, and acquisitive Already his imaginative approach to building member- been extremely active developing our resources and nature were virtually unrivaled and played an impor- ship and his dedication to serving the needs of these making them increasingly accessible to the public. tant role at The Frick Collection for many years, supporters has helped us to rethink and improve our The generous support of the Eugene V. and Claire E. beginning with his curating of one of the Collection’s programs, and I am confident that they will flourish Thaw Charitable Trust, in particular, has enabled us earliest loan exhibitions, French Clocks in North American under his watchful eye. to put records of the Library’s unparalleled auction Collections, in . A year before his death, Kelly Edey This discussion of the staff would not be complete Edgar Munhall, curator of The Frick Collection from   sale catalog collection into SCIPIO, the international made an inter vivos gift to the Frick of his entire watch without the bittersweet announcement that Edgar through (with Dylan) auction sale catalog database, for the first time. Such and clock collection. He later bequeathed much of Munhall, curator of The Frick Collection for thirty- continued expansion of our electronic resources is the remainder of his estate, including his remarkable four years, retired at the end of . It is impossible making on-line research more efficient and user- town house, library, and diaries, along with funds to to overstate the contribution that Edgar has made to missed is Sveteslao “Nikki” Hlopoff. As the Collec- friendly. endow the care of his collection and to ensure the this institution. His stature as a leading authority on tion’s conservator for thirty-five years, Nikki brought At the same time, the gifts to the Library of several display and further acquisition of clocks. His generos- eighteenth-century France, his encyclopedic knowl- his sharp eye and nimble fingers to bear on many of personal collections have helped to enlarge our book ity and vision provide the first large-scale addition to edge of the collections and of the fine and decorative the Frick’s treasures. To appreciate fully the wonder of and catalog holdings beyond the scope that our the collection in more than thirty-five years, and we arts generally, and his vast stores of information on his craft, I encourage you to stand in front of the acquisition funds would normally permit. We are are deeply indebted to him. Kelly’s family, and espe- the Frick family and its history made him an unparal- Boulle clock, now on view in the Living Hall; earlier committed to maintaining the primary strengths of cially his sister and executor, Beatrice Phear, have been leled resource for this institution. The Frick Collec- this year Nikki completely disassembled and reassem- our research collections, and, when possible, even to extremely helpful to us at a very difficult time for tion has benefited immeasurably from his impeccable bled it after thorough cleaning and repair—handi- expanding them in ways that complement the them. We are deeply grateful to the entire Edey standards, which have been a benchmark for the four work indeed! resources of the Collection. In particular, it is our family. directors who have had the privilege of working with In closing, a final word of thanks to the thousands hope to develop our reference holdings in relation to The staff of The Frick Collection and Art Refer- him. His elegant writing and engaging lecturing style of supporters who participate each year in the life of the decorative arts, so that we may provide a more ence Library continues to meet the challenges of an have been a model for the curatorial staff, which he The Frick Collection and help to sustain this extraor- comprehensive resource to outside researchers as well increasingly active institution, and we have been has helped to shape. His warmth, wit, and wisdom dinary institution. The Frick has been blessed in its as to our curatorial staff. obliged in some cases to add staff to meet our new shall be a lasting legacy, and for that I must convey a history by leadership from a family whose progenitor Last year also marked the passing of two impor- programmatic needs. Several staff members deserve most sincere and heartfelt thank-you from everyone at gave New York one of its most beloved institutions. I tant benefactors of the Collection whose vision, gen- particular mention for the special contribution they the Collection. revel in the good fortune of having Helen Clay Chace erosity, and influence will be felt for generations to have made to the institution this past year. My former As a postscript, I am pleased to say that we need available to us at this seminal moment of transition come. Paul Mellon, perhaps the single most impor- assistant, Amy Herman, has moved to the Curatorial not say goodbye entirely to Edgar, as even in his following the astonishing leadership for over thirty- tant patron of the arts in the second half of this cen- Department, assuming primary responsibility for retirement, he is hard at work on an exhibition of five years of her uncle, Dr. Henry Clay Frick II. Mrs. tury, whose father Andrew had a life-long friendship managing our Education Program. Assisted by Ashley Greuze drawings, which the Collection will be pleased Chace will now take us into the new millennium with with Henry Clay Frick, will be remembered here for Thomas, she has been a tireless advocate for the role to present in  in partnership with the J. Paul all the challenges that that implies. Her training is his bequest to the Frick Art Reference Library. These of students and teachers in our programs. Dennis Getty Museum. impeccable and her devotion unquestioned; we could funds will add a million dollars to the endowment, Sweeney, Manager of Operations, came to us mid- Another member of the staff who will be sorely not be more fortunate or more grateful.   The Frick Collection houses over eleven hundred works of art from the Renaissance to the late nine- teenth century, including paintings, sculpture, works on paper, and objects of decorative art. Through acquisitions, publications, exhibitions, conservation projects, lectures and symposia for scholars and the general public, as well as educational programs for young people, the curatorial staff works to maintain and develop its collections, preserve this historic site, and fulfill the founder’s aim of “encouraging and Curatorial developing the study of the fine arts, and ...advanc- ing the general knowledge of kindred subjects.” With four loan exhibitions and four small in-house exhibitions, as well as an increase in the number of publications, programs, and loans of works of art to other institutions, the last year of the twentieth cen- tury was the most productive ever for the Curatorial Department. The year also saw the most important addition to the permanent collection in decades in the Winthrop Edey bequest of over three dozen time- pieces. In addition, a book based on the ArtPhone Acoustiguide Audio Tour, The Frick Collection/A Tour, written by Edgar Munhall and others, was published in English, French, and German, becoming an imme- diate “best-seller” in the Museum Shop. These activities marked the culmination of Edgar Munhall’s thirty-four-year career as curator of the Collection, a turning point in the history of the department. Mr. Munhall was honored throughout the fall with a series of lectures given by his friends and associates and generously underwritten by Frick Council member and longtime supporter of the Col- lection Diane Allen Nixon. The series culminated in a farewell lecture by the honoree on January , followed by a celebratory dinner.

The Winthrop Edey Horological Bequest

Celebrated clock collector and longtime friend François-Hubert Drouais (‒), Madame de Pompadour, Winthrop Edey (‒) bequeathed to The Frick ‒, oil on canvas, National Gallery, London Collection thirty-eight clocks and watches ranging in   date from the mid-sixteenth through the mid-nine- ton, Constable, Flaxman, Hogarth, Palmer, and well as examples of stained glass and illuminated teenth century. Included are works by such masters as Turner. Most of these drawings were exhibited in books, selected by Dr. Husband, were displayed to Pierre de Fobis, Hans Koch, Pierre Norry, Joseph New York for the first time. In his review in the New show the context in which the Housebook Master Knibb, George Graham, André-Charles Boulle, and York Times on March , John Russell recommended worked and his influence. A group of drypoints from Abraham-Louis Breguet. Mr. Edey also left his exten- the exhibition to “anyone who wants to experience the Rijksmusuem by the Master of the Amsterdam sive photo archive, library, and records concerning his the peculiar spell that unfamiliar drawings can have Cabinet (the Housebook Master) was shown in the collection, as well as a generous endowment for main- upon us.” Collection’s Cabinet, highlighting the artist’s mastery taining his bequest and adding to it. The most spec- In another of the Collection’s series of single- in this medium. In the accompanying catalogue, Dr. tacular of these pieces is a magnificent mantel clock painting loan exhibitions, the celebrated portrait of Husband argued that the Housebook was a workshop of about ‒ that has a movement and dial Madame de Pompadour by François-Hubert Drouais, production in which only a few select pages could be signed by Thuret and a case attributed to André- from the National Gallery in London, was displayed attributed to the Master himself, while other distinct Charles Boulle. The case, which is made of hard- in the East Gallery from January  to April . This hands could now be identified. In conjunction with woods veneered with intricate marquetry designs of life-size image of the famous mistress of Louis XV the exhibition, the staff of the Frick Art Reference tortoiseshell and metal, is decorated with gilt-bronze and patroness of the arts, completed just after her Library displayed facsimiles of manuscripts from its mounts. One of the most unusual of the timepieces, death in , had never before been exhibited in the holdings. The exhibition was designed by Stephen the Desk Watch Deux Styles, which displays the tradi- United States. The painting was displayed with art Saitas and coordinated for the Collection by Susan tional twenty-four-hour system on one side and the works and decorative objects of the period from The Grace Galassi. Appealing to drawing and print spe- decimal ten-hour system instituted by the Revolution- Frick Collection, including a remarkable Sèvres porce- cialists and to the public alike, The Medieval Housebook ary government in  on the other side, has been lain pots-pourris myrte; canvases by Chardin, Greuze, and received extensive press coverage. Holland Cotter displayed throughout the year in the Garden Court. Nattier; and Drouais’s familiar portrait The Comte and referred to the show as a “major event,” and a “must- Also included in the bequest was Mr. Edey’s multi- Chevalier de Choiseul as Savoyards. The installation was see this spring” in a note in the New York Times on volume diary chronicling life in New York during the organized by Edgar Munhall, who also wrote the May , while in her lengthy review of the exhibition  second half of the twentieth century. A memorial cel- accompanying illustrated brochure. Master of the Genre and Tournament Pages, “Castle of Desire” from in the Times on June , Grace Glueck noted, “...the ebration of the life of Winthrop Edey was held at the Through the initiative of the director, a rare manu- the Medieval Housebook (fol. r), c. ‒, pen, ink, gold, and housebook has long stirred intense interest. To see it  Collection on March . The Board of Trustees for- script known as the Medieval Housebook, owned colored washes on vellum, Collection of the Counts of Waldburg is a rare treat.” mally accepted Mr. Edey’s proposed gift on October since the seventeenth century by the counts of Wald- Wolfegg The second of its single-painting loan exhibitions, , . burg Wolfegg and temporarily unbound for the pur- Manet’s The Dead Toreador and The Bullfight: Fragments pose of making a facsimile edition, was the of a Lost Salon Painting Reunited, organized by Susan centerpiece of our major spring exhibition, The Grace Galassi, was held at the same time as the House- Exhibitions Medieval Housebook: A View of Fifteenth-Century Life. A book exhibition. London-based independent scholar compendium of secular texts presenting a fanciful and Manet expert Juliet Wilson-Bareau served as advi- The exhibition French and English Drawings of the Eighteenth view of life in a princely court, the Housebook has sor to the project. This display brought together, for and Nineteenth Centuries from the National Gallery of Canada long been the subject of scholarly debate as to how the first time since they left Manet’s studio, two frag- was organized by Charles Ryskamp, former director of many hands were involved in its production. Orga- ments of one of the painter’s early works, Incident in a The Frick Collection, in consultation with Edgar nized for The Frick Collection by Timothy B. Hus- Bullfight, shown at the Paris Salon in . The paint- Munhall, curator, and Colin B. Bailey, chief curator of band, curator at the Cloisters, the show was presented ing was cut apart by Manet himself, who later devel- the National Gallery. Displayed in the special exhibi- in the special exhibition galleries and the Cabinet oped the fragments into independent works. The Dead tion galleries and the Cabinet, the sixty-seven draw- from May  through July . Along with the pen- Toreador, the bottom section, lent by the National ings offered a sampling of the National Gallery of and-ink illustrations and a selection of text pages Gallery of Art, Washington, was shown in the East Canada’s holdings in two major areas. Sheets by Frag- from the Housebook that formed the nucleus of the Gallery alongside the Collection’s The Bullfight, a sec- onard, Watteau, Greuze, Delacroix, Courbet, Boucher, exhibition, engraved works on related themes by tion from the upper right-hand corner. Related prints and Degas were included, as well as works by Boning- Dürer, Schongauer, and other artists of the period, as by Manet, lent by the Arthur Ross Foundation in   New York, French books on Spanish art of the period selected by Lydia Dufour of the Frick Art Ref- erence Library, and technical photographs were shown in a vitrine near the paintings, set up with the help of Library conservation staff Jerilyn Davis and Don Swanson. Two of the Collection’s portraits by Goya flanked the Manet pair. The side-by-side display of the fragments of the Incident in a Bullfight generated a great deal of discussion among Manet scholars and conservators. A booklet accompanying the exhibition presented new research on the relation of the two fragments to each other. Illustrated with computer- enhanced images and diagrams, the publication included an introductory essay by Susan Grace Galassi along with contributions by paintings conservator Ann Hoenigswald of the National Gallery of Art, Washington, and Manet scholars Malcolm Park of New South Wales, Australia, and Juliet Wilson- Bareau of London. The publication was funded in part through a grant from the Samuel H. Kress Foundation. The second half of the year was particularly rich in exhibitions, with four shows running concurrently over the holidays. The season began in September with the third of our single-loan exhibitions, Consta- ble’s Salisbury Cathedral: Two Versions Reunited, which ‒ Antoine Watteau ( ), A Seated Woman Turning to brought together the Collection’s finished oil painting  the Left, c. , red, black, and white chalks on beige paper, private of  with its full-scale oil sketch of the previous collection year from the Metropolitan Museum of Art—the penultimate and final version of a series of six paint- ings. The pair hung on either side of the fireplace in the Collection’s Library, and was accompanied by an illustrated brochure written by Susan Grace Galassi. Our major fall exhibition, Watteau and His World: French Drawings from  to , coordinated for The Frick Collection by Edgar Munhall, opened on Octo- ber . Alan Wintermute, Vice-President and Senior Specialist, Old Master Paintings, Christie’s, was guest curator of the exhibition, which was organized by the American Federation of Arts and supported in part by the Florence Gould Foundation. This comprehen- Diego Rodríguez de Silva y Velázquez (‒), King Philip IV of Spain, , oil on canvas, The Frick Collection sive survey of the drawings of Jean-Antoine Watteau   and some of his leading contemporaries included November  in reference to the six paintings by sixty-five sheets lent from public and private collec- Diego Rodríguez de Silva y Velázquez that were tions in North America. The core of thirty-five draw- assembled from local museums in the Collection’s ings by Watteau himself demonstrated the range and Oval Room to mark the four hundredth anniversary evolution of his work in various graphic media. The of the master’s birth. Dr. Jonathan Brown, Carroll remaining drawings were by his forebears and contem- and Milton Petrie Professor of Fine Arts at the poraries and later followers of his work, with sheets Institute of Fine Arts and renowned Velázquez by Lancret, Boucher, Gillot, Liotard, and Portail. The scholar, organized this exhibition in collaboration accompanying catalogue by Alan Wintermute, with with the Hispanic Society of America. Marcus Burke, contributions by Pierre Rosenberg, Margaret Morgan curator of paintings at the Hispanic Society, was Grasselli, and Colin B. Bailey, was supported in part co-author with Brown of the accompanying catalogue, by the Samuel H. Kress Foundation. New York Times which was generously underwritten with a gift from critic John Russell remarked in his very laudatory Melvin R. Seiden. Three works lent from the review of October , “In its new exhibition…The Hispanic Society—Gaspar de Guzmán, Count-Duke of Frick Collection has struck gold.” Olivares; Portrait of a Little Girl; and Camillo Astalli, known “There are no small shows, only small artists,” as Cardinal Pamphili—and the portaits Juan de Pareja and noted Holland Cotter in the New York Times on María Theresa, Infanta of Spain from the Metropolitan Museum of Art were installed by Edgar Munhall with The Frick Collection’s portrait King Philip IV of Spain. The show brought together various types of works, from official court portraits to an unfinished painting Associate Curator Susan Grace Galassi (right) and Manet scholar Juliet of an unknown girl, that spanned the range of Wilson-Bareau (left) led the discussion at the colloquium on the reunited  Velázquez’s oeuvre. H.R.H. the Infanta Elena of Manet paintings The Dead Toreador, , Widener Collection,  Spain and H.E. Don Jaime de Marichalar, the National Gallery of Art, Washington, and The Bullfight, ,The Frick Collection. Inset: A computer reconstruction of the second version— Duchess and Duke of Lugo, attended the opening of the Salon version—of Edouard Manet’s Incident in a Bullfight, as the exhibition. Covered widely in the local and inter- proposed by Ann Hoenigswald, paintings conservator at the National national press, the show was a runaway popular suc- Gallery of Art, Washington. cess, drawing some , visitors; to accommodate to Dusseldorf, London, and the Metropolitan the crowds, the show was extended by two weeks. Museum of Art in New York. After a year’s absence, Henry Clay Frick as a Collector of Drawings, on view in Loans the Comtesse d’Haussonville returned to the Collection in the Cabinet from December  through the end of early January and was reinstalled in the North Hall. , January , was organized by Susan Grace Galassi Through a new policy instituted in works from During its tour as part of the acclaimed exhibition to mark the one hundred and fiftieth anniversary of the Collection acquired after the death of the mu- Portraits by Ingres: Image of an Epoch, held at the National the founder’s birth on December , . Focusing seum’s founder, Henry Clay Frick—and therefore not Gallery, London; the National Gallery of Art, Wash- attention on a lesser-known aspect of Henry Clay subject to the no-lending clause of his will—are now ington; and the Metropolitan Museum of Art, the Frick’s broad collecting interests, the ten sheets on permitted to be loaned to exhibitions. During the Comtesse was prominently featured on posters and in display in the show, by Rembrandt, Gainsborough, summer, Monet’s Vétheuil in Winter was shown at the brochures and advertisements for the exhibition. The Gardner, and Whistler, were acquired by Mr. Frick Brooklyn Museum of Art in the exhibition Effets de absence of this key painting provided the opportunity between  and  and are the only drawings that Neige: Impressionists in Winter. In the fall our two paint- to show works from the Collection not normally on ings by Chardin, Still Life with Plums and Lady with a view, such as Davin-Mirvault’s Portrait of a Violinist and Diego Rodríguez de Silva y Velázquez (‒), Portrait of a he bequeathed to the public as an integral part of his Bird-Organ, were sent to the exhibition Chardin, which Pater’s The Village Orchestra and Procession of Italian Come- Little Girl, c. ‒, oil on canvas, The Hispanic Society of collection. opened at the Grand Palais in Paris and then traveled dians, which were displayed in the North Hall. America   Scholarship Gallery Talks for Graduate Students Talks for graduate students in art history were held Manet Colloquium on two Mondays during the Velázquez exhibition. On June , Ann Hoenigswald, paintings conservator Professor Gridley McKim Smith of Bryn Mawr Col- from the National Gallery of Art, Washington, and lege, a Velázquez expert, spoke to doctoral students Susan Grace Galassi hosted a colloquium in connec- from her department, and Dr. Marcus Burke, co-orga- tion with the concurrent exhibition Manet’s The Dead nizer with Dr. Jonathan Brown of the exhibition, Toreador and The Bullfight: Fragments of a Lost Salon spoke to students from the Institute of Fine Arts. Dr. Painting Reunited. This day-long event, funded by a gen- Burke brought with him the Hispanic Society’s eigh- erous grant from the Arthur Ross Foundation, teenth-century copy of Juan de Pareja to compare with brought together twenty-six conservators and art his- the original, sparking animated discussion. torians familiar with Manet’s cut canvases. X-radi- ographs were set up on light tables in the East Gallery Symposium on the History of Art alongside the paintings, and computer-enhanced The fifty-ninth annual symposium sponsored by The images were presented on monitors. Short presenta- Frick Collection and the Institute of Fine Arts, New  . tions were given by Professor Theodore Reff of York University, was held on April and Each of Columbia University, Ann Hoenigswald, bullfight the fourteen participating northeastern academic expert Stanley Conrad, and Manet scholars Juliet institutions sent one graduate student in art history to Wilson-Bareau and Malcolm Park. Most of the day share his or her original research. was spent in open discussion among the participants, The symposium began on Friday afternoon with drawing from both scientific evidence and scholarship. six talks at the Institute. The session was followed by a dinner honoring speakers and faculty advisors at the Fifth-grade class from P.S.  in Manhattan in the West Gallery. Watteau Symposium home of Samuel and Beth Sachs, co-hosted by Dr. Watteau and His World: French Drawings from  to , James McCredie, director of the Institute of Fine co-sponsored by the American Federation of Arts and Arts. The Saturday morning and afternoon sessions The Frick Collection, was held at the Collection on were held at the Collection, with a buffet lunch in the his service by giving a public lecture, “Notes from restoration projects, refurbishing the corbels in the November . The four speakers—Alan Wintermute, Garden Court and a reception at the Frick Art Refer- a Conservator’s Diary.” We all wish him well and East Gallery, the pocket doors in the auditorium, the Vice-President and Senior Specialist, Old Master ence Library in the late afternoon. Topics ranged thank him for his extraordinary service to The Frick doors, locks, handles and window brasses on the first Paintings, Christie’s, and guest curator of the exhibi- widely from Byzantine images in a fourteenth-century Collection. floor, and the surfaces of the fireplaces. Head electri- tion; Thomas Crow, Chair, Department of the His- icon to Ghiberti’s Shrine of Saint Zenobius to Picabia Conservation work was completed at the Textile cian Wilfred Maldonado rewired the chandelier and tory of Art, Yale University; Marjorie Shelley, and the African Burial Ground in New York City. Conservation Laboratory at the Cathedral of St. John wall lights in the Boucher Room. The lighting in the Sherman Fairchild Conservator in Charge of Works the Divine in New York City on two of the Collec- Fragonard Room was improved by the use of different on Paper and Photographs, The Metropolitan Conservation tion’s eighteenth-century Brussels tapestries designed bulbs. Museum of Art; and Robert Darnton, Shelby Cullom Sveteslao (“Nikki”) Hlopoff, conservator at The by Peter van den Hecke, The Arrival of Dancers at the Davis Professor of European History, Princeton Uni- Frick Collection for thirty-five years, announced his Wedding of Camacho and Sancho Panza’s Departure for the Isle versity—addressed a variety of art historical and con- retirement at the end of the year. He served as a con- of Barataria. The tapestries, a bequest from Childs Education servation issues concerning the art of Watteau and his sultant for the Collection with enormous grace and Frick, are to be exhibited for the first time in the circle. The symposium, which was attended by sev- skill, and the condition of the decorative art collec- autumn of  and will hang in the Music Room. In the third year of a generous three-year grant from enty-five people, was made possible by the generous tions is a lasting testament to his care and affection Adrian Anderson, senior galleries technician, and the Horace W. Goldsmith Foundation, the Education support of the Iris and B. Gerald Cantor Foundation, for each and every object. His last major treatment William Irvine, from the curatorial maintenance staff, Program expanded its outreach to twenty-four New Christie’s, and the Samuel H. Kress Foundation. was on the mantel clock by André-Charles Boulle, in addition to their many daily duties, conducted a York City public schools. In the ‒ school year, part of the Winthrop Edey bequest. He completed number of much-needed gallery renovation and forty-two classes—approximately  public school   students—participated in the Collection’s Education Continuing the collaboration with the Board of Program. The goal of the program is to help middle Education, The Frick Collection offered teacher train- school and high school students to develop their per- ing courses for public school teachers in the fall, ceptual and analytical skills through close observation spring, and summer. and group discussion of masterpieces of European Education staff also led teacher training sessions painting, sculpture, and decorative art. The program for teachers from Edward B. Shallow Intermediate also introduces students to the concept of a collection School in Bensonhurst, Brooklyn, another of the insti- and links it with their own experiences of acquiring tution’s partner schools. As part of the curriculum of and preserving the objects they love. the Renaissance Project, a mini-school within Shallow, In the past year, the Education Program has grown teachers integrated objects in The Frick Collection not only in the number of participants but also in the into every academic subject taught at the school. A range of services available to teachers, teaching artists, staff development session was also conducted for and students. This year we have worked closely with a teaching artists from DreamYard, an organization that number of partner schools to tailor our program to provides outreach to inner-city schools through the the classroom teachers’ interests and curricula. visual, performing, and literary arts. New collaborations were developed under the aegis Our Education Program continued to serve teach- of Project Arts, New York City’s initiative to inte- ers and students throughout the city during the sum- grate arts education into the city’s public school sys- mer months. As part of a collaboration between New tem. In March, New York City Project Arts coordin- York City’s Bilingual Education Program and Project ators, led by Sharon Dunn, special assistant to the Arts, students from P.S.  in the South Bronx made chancellor of education, met at the Collection. four trips to study objects in the Collection as part of One such collaboration began last spring with their summer-long projects. The Collection also twenty-five fifth-grade teachers from District , offered teacher training to participants in a summer Fifth-grade student from P.S.  in Brooklyn sketching a Chinese which encompasses Sheepshead Bay, Brooklyn, and long course, “Workshop in Curriculum Materials A student’s rendition of Lady Peel by Sir Thomas Lawrence, painted porcelain vase in the Dining Room gallery. surrounding neighborhoods. As part of this year-long Development: Artists and Museum Collections in the on the art history timeline created by the sixth grade at Edward B. Shal- program, fifth-grade students designed and con- Classroom,” given by Lehman College Art Gallery of low Intermediate School, Bensonhurt, Brooklyn. structed their own exhibitions in their classrooms, the City University of New York. modeling their roles in the project on those of actual Susan Grace Galassi, associate curator, continues to museum personnel. This ongoing partnership is over- oversee the Education Program. Amy Herman has seen by Education Coordinator Amy Herman. concluded her first year as education coordinator, Last spring, the Collection also participated in an working with teachers and community school district ongoing Project Arts program entitled the Rembrandt arts coordinators, as well as writing grants for support Project. Thirty teachers of grades four through eight of the Education Program and its projects. Ashley from District  in Glendale, Queens, attended a staff Thomas, continuing in her role as educational liaison, development session focusing on the three Rembrandt conducted classroom visits before and after each paintings in The Frick Collection along with works school group’s museum visit. by other Dutch seventeenth-century masters. This innovative teaching project conducts extensive teacher training sessions in New York City art museums and provides curriculum development and classroom resources specifically focusing on the work of Rembrandt.   Exhibitions Lectures Edgar Munhall Lecture Series

Victorian Fairy Painting January  To mark his retirement at the end of the year, the following talks were given in honor of Edgar Munhall, curator of The Frick Collection from  to . October , –January ,  (catalogue) The Frick Deposition: Gerard David’s Innovations on a The series was generously underwritten by Diane Allen Nixon. Traditional Theme Drouais’ Portrait of Madame de Pompadour from the National Maryan W. Ainsworth, The Metropolitan Museum of Art October  Gallery, London The Frick and the Getty January –April ,  (brochure) February  John Walsh, Director, The J. Paul Getty Museum Madame de Pompadour, Her Tastes and Her Time French and English Drawings of the Eighteenth and Nineteenth Clare Le Corbeiller, The Metropolitan Museum of Art November  Exhibitions Centuries from the National Gallery of Canada Parisian Perspectives: Whistler, Fantin, and February –April ,  (catalogue) March  Montesquiou Madame de Pompadour—Images of a Mistress & Lectures Nigel Thorp, Director, Centre for Whistler Studies, University The Medieval Housebook: A View of Fifteenth-Century Life Humphrey Wine, The National Gallery, London of Glasgow May –July ,  (catalogue) April  December  Manet’s The Dead Toreador and The Bullfight: Fragments Italian Drawings in the National Gallery of Canada: The Wallace Collection: Past, Present, and Future of a Lost Salon Painting Reunited The Building of a Collection Rosalind Savill, Director, The Wallace Collection May –August ,  (booklet) David Franklin, National Gallery of Canada January ,  Constable’s Salisbury Cathedral: Two Versions Reunited April  Liotard’s Last Laugh: The Art of Jean-Étienne September –December ,  (brochure) Pierpont Morgan as Collector, and the Ex-Morgan Liotard (‒) Objects in The Frick Collection Edgar Munhall, Curator, The Frick Collection Watteau and His World: French Drawing from  to  Jean Strouse, author October , –January ,  (catalogue) May  Ve l ázquez in New York Museums The “Medieval Housebook” and the Art of November , –January ,  (booklet) Illustration Timothy B. Husband, The Metropolitan Museum of Art and Henry Clay Frick as a Collector of Drawings The Cloisters December , –January ,  June  Attacking the Bullfight: Manet and Spain Juliet Wilson-Bareau, independent scholar

Jean Strouse, author of Morgan: American Financier (Random House, ), shed new light on yet another facet of the relationship between Pierpont Morgan and Henry Clay Frick in a fascinating lec- ture, “Pierpont Morgan as Collector, and the Ex-Morgan Objects in The Frick Collection,” presented as part of the Frick’s Artists, Writers, and Poets Series.   The year  saw the largest number of publications French and English Drawings of the Eighteenth and Nineteenth The Frick Collection Report: , fourth in a series of ever produced by The Frick Collection. They fell into Centuries from the National Gallery of Canada, with essay annual reports by the staffs of The Frick Collection two categories: catalogues and brochures published in and checklist by Richard Hemphill, National Gallery and the Frick Art Reference Library. Published by connection with current exhibitions, and books about of Canada. A -page illustrated booklet published by The Frick Collection. Project editor Joseph Focarino, the Collection. The exhibition catalogues and The Frick Collection in connection with an exhibi- copy editor Lawrence N. VanDoren, project coordina- brochures follow. tion on view from February  through April , . tor Heidi Rosenau.

The Medieval Housebook and the Art of Illustration, by Drouais’ Portrait of Madame de Pompadour from the National A Guide to Works of Art on Exhibition, tenth, revised edi- Timothy B. Husband, Curator, Medieval Art and The Gallery, London, by Edgar Munhall, Curator, The Frick tion of the -page guide prepared by the curatorial Cloisters, The Metropolitan Museum of Art, New Collection. An illustrated brochure published by The staff of The Frick Collection. Published by The Publications York. An -page catalogue published by The Frick Frick Collection in connection with a loan on view Frick Collection. Collection in connection with an exhibition of illus- here from January  through April , . trated manuscript pages and related prints shown here In addition,  saw the continuation of work on from May  through July , . Project editor John Constable’s Salisbury Cathedral: Two Versions Reunited, Volume IX of The Frick Collection: An Illustrated Catalogue, Joseph Focarino, copy editor John Anderson. Also by Susan Grace Galassi, Associate Curator, The Frick which will include drawings, prints, and acquisitions released in connection with this exhibition was the Collection. An illustrated brochure published by The made since . Earlier volumes in the series include -page Venus and Mars: The World of the Medieval House- Frick Collection in connection with the loan of Con- Volumes I and II: Paintings; Volumes III and IV: Sculp- book by Christoph Graf zu Waldburg Wolfegg, pub- stable’s view of the cathedral from the Metropolitan ture; Volumes V and VI: Furniture and Gilt Bronzes; Vol- lished by Prestel-Verlag of Munich. Museum, on view here from September  through ume VII: Porcelains; and Volume VIII: Enamels, Rugs, and December , . Silver. The Catalogue is edited by Joseph Focarino, pub- Ve l ázquez in New York Museums, essays and catalogue lished by The Frick Collection, and distributed by entries by Jonathan Brown, The Institute of Fine Watteau and His World: French Drawing from  to , Princeton University Press. Arts, New York University, and Marcus Burke, The by Alan Wintermute et al. A -page illustrated cata- Hispanic Society of America. A -page illustrated logue published by Merrell Holbertson of London The Frick Collection also publishes three times a year catalogue published by The Frick Collection in con- and the American Federation of Arts in connection an announcement of concerts, special exhibitions, and nection with an exhibition of six portraits by with an exhibition on view at The Frick Collection lectures, available free on request. Velázquez shown here from November , , from October , , through January , . through January , . Edited by Joseph Focarino. All Frick publications, including books, color prints, The second category of publications, the books about color slides, posters, postcards, and greeting cards, are Manet’s The Dead Toreador and The Bullfight: Frag- the Collection, follows. available from the Collection’s Museum Shop. ments of a Lost Salon Painting Reunited, by Susan Grace Galassi, Associate Curator, The Frick Collection, et The Frick Collection/A Tour, by Edgar Munhall, with al. A -page illustrated catalogue published by The Susan Grace Galassi, Ashley Thomas, and the Acous- Frick Collection in connection with the loan of the tiguide Corporation staff. A -page illustrated guide celebrated Dead Toreador from the National Gallery of published by The Frick Collection in association with Art, Washington, from May  through August , Scala Publishers of London. Edited by Joseph . Edited by Joseph Focarino. Focarino, photographs of art works by Richard di Liberto. The Frick Collection/A Tour, by staff members of The Frick Collection and the Acoustiguide Corporation. The -page color guide was published in English, French, and German, to be supple- mented in  by editions in Italian, Spanish, and Japanese.   The Frick Collection has presented classical music Performers Appearing during  Excerpts from Reviews concerts to the public since .During its distin- guished sixty-two year history,the concert program Peabody Trio January  Peabody Trio has been host to major soloists and ensembles,such as “...each produced a beautifully polished,lush the famous instrumentalists Gregor Piatigorsky,Artur Die Singphoniker,vocal sextet February  sound.”—New York Times Schnabel,JosefSzigeti,and Wanda Landowska;the New York debut vocalists Kiri Te Kanawa,Peter Pears,Kathleen Battle, Frederic Chiu,piano and Elisabeth Söderström;and the Budapest, Frederic Chiu,piano February  “His technique is resourceful and often impressive. Amadeus,Tokyo,and Guarneri quartets,with many For a moment,we might have been in the candle-lit artists returning numerous times over the years. Mark Kosower,cello March  salon ofa Parisian duchess.”—New York Times Concerts In recent years two new trends have developed: European musicians are making their New York Amati Quartet March  Amati Quartet debuts here and the Collection is becoming an New York debut “They make a full,big,well-balanced sound,and their increasingly important venue for music played on coordination,ensured by the merest eye-contact,is period instruments.The circular Music Room,with Guillemette Laurens,mezzo-soprano April  impressively consistent.They also sound young,in the its glass dome,damask-covered walls,and Hollyhocks Luca Pianca,lute passion oftheir playing.”—New York Times panels by Fragonard,conveys the atmosphere ofa pri- vate salon,offering satisfying acoustics to the musi- Quatuor Mosaïques April  Quatuor Mosaïques  cians onstage and to the listeners in the hall.The New York debut “...these excellent instrumentalists are steeped in the intimacy ofthe setting and the warmth and enthusi- performance practices ofthe early-music movement. asm ofCollection audiences encourage fine perfor- Jacques Thibaud Trio June  ...[They] took full advantage ofthe reverberant mances,attracting the critical press and often acoustics ofthe music room.”—New York Times launching careers. Paul Galbraith,guitar August  , In the Frick’s music program furthered this New York debut Jacques Thibaud Trio rich tradition with thirteen concerts,ofwhich six “This could be the first string trio in some time to were debuts.Many were warmly reviewed by impor- Tapestry,vocal trio,harp,percussion October  have a major career.”—New York Times tant newspapers and magazines. All concerts are offered to the public free ofcharge Mandelring Quartet October  Paul Galbraith,guitar and are underwritten with the support ofthe Fellows “The highlight ofhis recital was a gracefully phrased, ofThe Frick Collection.The concerts are recorded The King’s Noyse,Renaissance violin bandNovember  beautifully balanced account ofHaydn’s Piano Sonata and subsequently broadcast locally by WNYC-FM No..”—New York Times . ( ) and nationally over the Public Radio Interna- Steven Osborne,piano November  tional network.The format was changed this year to Steven Osborne,piano present one-hour programs,which has increased the Arve Tellefsen,violin December  “The selected pieces Mr.Osborne played [from number ofstations carrying the concerts across the Messiaen’s Vingt Regards sur l’Enfant Jesus]took nearly  country. minutes,and every minute was riveting.Obviously enthralled by the music,he gave a commanding and vibrantly imaginative performance,never faltering in stamina,concentration and inspiration.” —New York Times Scottish pianist Steven Osborne performed a program ofRavel,Schubert, and Messiaen last fall.   The uniqueness of the Frick Art Reference Library lies in the richness of its documents—both text and image—chronicling the history of Western art, col- lecting, taste, and connoisseurship. Founded in  by Helen Clay Frick, the Library’s goals complement The Frick Collection’s mission of “encouraging and developing the study of the fine arts and of advancing the general knowledge of kindred subjects.” The high Frick Art regard in which the Library is held by sister institu- tions was underscored by visits from the heads of Reference Library several of the most important art libraries in North America. Among the institutions represented were the Getty Research Institute; the National Gallery of Art, Washington; and the Art Gallery of Ontario. The purpose of these visits was to view the Library’s highly successful renovations and to discuss the pilot projects and the electronic and digital research tools that are being developed through the Library’s collab- orations with other organizations and through the growing expertise of the staff. In recognition of the Library’s expanding role as the research center of The Frick Collection, the over- riding goal for the next five years will be to complete the enormous task of converting over a million text and image records to electronic and digital form; to maintain the highest standards in the development, management, and preservation of the research collec- tions; and to provide integrated access to these resources through reader services, the website, and an expanding research program.

Renovation of Work Areas

After nine months, the full-scale renovation of the sixth floor was completed in the spring, providing custom workstations and offices for twenty-nine staff members, interns, and volunteers. The flexibility of these workstations allows for easy conversion into scanning stations to keep pace with the changing tech- As part of the renovation of the sixth floor carried out by Buttrick, White, & Burtis, the Italian Room, designed by Carrère and Hastings and nological environment. Chief of Collections Preserva- formerly a private office of Helen Clay Frick, retains its original character while serving as a staff office. tion Don Swanson represented the Library in   coordinating the efforts of the building and construc- , works of art. In the course of the project, of auction sale catalogs justly stands as one of the Digital Program tion personnel and the architectural firm of Buttrick, which was funded with a grant from the Henry Luce foremost assemblages of primary sources for scholarly White, & Burtis. The staff members responsible for Foundation, all aspects of the Photoarchive were research on works of art and the history of collecting, With the completion of the Luce Project, the Library, bibliographic and photographic records now occupy reviewed, and a strategic plan was initiated for devel- a resurgent field of study. The Eugene V. and Clare E. assisted by the Information Systems Department, work areas that are suited to the requirements of their oping, managing, and evaluating the Photoarchive in Thaw Charitable Trust’s  award of , made began to investigate the feasibility of a surrogate digi- respective tasks and that facilitate inter-departmental the future. Comprising over one million photographs possible a two-year project to convert to electronic tal photoarchive. Throughout the year the staff gained communication as documentation processes and pro- and reproductions of paintings, drawings, sculpture, form the auction sale catalog index, representing over expertise, and a digital planning committee, chaired cedures become more integrated. and illuminated manuscripts, the Photoarchive is , sale catalogs. Researchers are now able to gain by Inge Reist, was formed to spearhead the investiga- internationally recognized as an invaluable resource broader awareness of and access to the Library’s hold- tion of the conversion to digital form of the Pho- for the study of Western art from the fourth to the ings through the Research Libraries Information Net- toarchive and its nearly one million images. Completion of the Luce Photoarchive Project twentieth century. A collections development model work (RLIN) and SCIPIO, the international auction was created to encourage acquisitions from private sale catalog database. As a result of this project, the Cornell/Frick Digital Collaboration Nineteen ninety-nine marked the final year of this and public collections; and a collections management Library identified as many as , of its catalogs as Concurrent with this project was the initiation of a successful five-year project to improve the holdings system was implemented to record material in all rare, if not unique, in the world. This work was partnership with Cornell University Libraries and its and public services of the Photoarchive’s American schools. By the end of the project, , of the works accomplished through the efforts of Chief of Collec- digital program. The latter collaboration was school, consisting of documented images of over of art represented in the Photoarchive were docu- tions Management and Access Deborah Kempe and prompted and funded by Patrick Gerschel, Frick mented in the database, and the Library had formed project coordinator Rodica Preda. Council chairman and a Cornell alumnus. The Cor- partnerships with other art research institutions to nell Interactive Media Group conducted two focus digitize images and share resources. Ultimately the Remaining Retrospective Conversion groups for the Library, the first with staff and the project paved the way for digital initiatives that now With the auction sale catalog index converted, the second with a cross-section of the Library’s users, to form part of the long-term planning for the Library’s Library faced the prospect of procuring funds for the study and evaluate audience interaction with and Photoarchive. three remaining years of the Retrospective Conversion expectations concerning digital resources. In turn, Program. Through this program nearly , members of the staff visited Cornell for two days of records for pre- publications will be converted to demonstrations of the image databases developed by New Initiatives electronic form, and over , records for the artist their digital laboratories. As a result of these consulta- files represented in the Photoarchive will be created. tions, the Library embarked on a program to scan its With encouragement from the director, and recogniz- Late in , the Library learned that a generous holdings of transparencies, beginning with a gift from ing that the Library’s ability to fulfill its goals over the , donation from the estate of Paul Mellon was the Daniel Grossman Gallery. During the latter part next five years is predicated on funding for its pro- earmarked for this program. A small grant from the of the year, the Cornell/Frick partnership undertook jects, two separate, but ultimately linked, programs Metropolitan New York Library Council allowed the planning and testing of scanned images and database were implemented in —the Retrospective Conver- Library to initiate a project to create records for a practices. Virginia Kerr, head of digital initiatives at sion Program and the Digital Program. The first group of American artists represented in the Library’s Northwestern University, was contracted to evaluate phase of the Retrospective Conversion Program was Photoarchive. With the assistance of interns from the the Library’s pilot projects and current practices and successfully completed, and the planning phase for Palmer School of Library and Information Science, to advise the Library on the future direction of digital the Digital Program received a jump-start through over , records for American artists were entered projects. partnership and sponsorship. into FRESCO (Frick Research Catalog Online) and contributed to RLIN. This project, which constitutes Global Art Systems a key step in the linking of research materials within A sponsored pilot project was undertaken with the Retrospective Conversion Program the library, was an opportunity for real teamwork vendor Global Art Systems to produce a fully search- between the Photoarchive and Book departments. able text and image database of , anonymous The architectural firm of Buttrick, White, & Burtis successfully Completion of the Auction Sale Catalog Project Italian artists represented in the Photoarchive. A sam- redesigned the staff work areas on the sixth floor of the Library. Among the Library’s special resources, its collection pling of the records was presented by the sponsor of   the project, Pernigotti, S.p.A. of the Averna Group, Negative Duplication Project Milan, Italy, at a corporate event held at The Frick In July, the Library was awarded its sixth grant of Collection, where it was well received. In December, , from the New York State Program for the the testing and evaluation phase of the project began, Conservation and Preservation of Library Research and storage possibilities were investigated for the Materials, to continue duplicating spoiling negatives many scanned images. among its collection of ,. More than  nega- tives from the Collection’s historical archives were Research Collections pulled by the archivist and chief conservator for treat- ment, including negatives from the s and s Gift and Depository Program that document paintings in The Frick Collection as As part of the estate bequeathed to The Frick Collec- they were at that time. In all, the project duplicated tion, the personal library of Winthrop Edey, clock , spoiling negatives, bringing the total number of collector and benefactor, was given to the Library. negatives duplicated or re-housed so far to ,. Acquiring this collection has strengthened the Selections from the personal library of Winthrop Edey, clock collector and A selection of books, manuscripts, and European sale catalogs from Presentations on the need for the duplication project benefactor. the late eighteenth to the early nineteenth century, after conservation Library’s ability to support the study of the decora- were given to the trustees of The Frick Collection, to treatment. tive arts in the Collection. More than 150 books were staff, and to members of the New York chapter of given to the Library by Marion Hirschler, a Fellow of Cataloging and Acquisitions the Art Libraries Society of North America. In Octo- the Frick, including a number of exhibition catalogues Nearly , bibliographic titles, , auction sale Preservation Program ber, Don Swanson visited several plantations along the new to the Library. Over thirty European auction catalogs, and , photographs were acquired for the James River in Virginia where Thurman Rotan, Frick houses responded positively to the director’s appeal research collections in  through purchases, gifts, Conservation Lab photographer from  to , photographed paint- for complimentary sale catalog subscriptions, thereby and exchanges, bringing the total holdings to , Nearly , items were prepared for shelving and ings in private collections in the s. Because of expressing their appreciation of the service the books, , auction catalogs, and , photo- more than sixty drop-spine boxes were fabricated to these photographic campaigns, the Library has accu- Library provides through its documentation of the graphic items. The Library subscribes to  journals, protect oversized and rare books. Much of the work rate records of the earlier condition of these paint- international art market. Overall, the estimated sav- with the latest editions of many available in the Read- in the conservation lab centered on repairs and treat- ings, which today show signs of extreme deterioration. ings to the Library that resulted from this initiative ing Room. Through funds from the Luce Project, ments of fragile items identified in the course of the As a result of the Negative Duplication Project, the amounted to nearly ,. Exchanges with the special purchases of over  photographs of seldom- two-year Thaw-funded auction sale catalog project. state-of-the-art preservation of the Rotan negatives Brooklyn Museum of Art, Koninklijk Museum, Boy- reproduced works of art were procured from small Major treatments were performed on several rare qualifies them as the only known historical documents mans van Beuningen Museum, Royal Academy, and American museums. Over the last five years, the rate European sale catalogs from the late eighteenth to of the paintings in their original state. Musée Dobrée made possible book purchases virtually of cataloging and production of bibliographic records early nineteenth century, with more than five hundred In the spring, Don Swanson gave a presentation to at cost. Apart from the Edey gift, the Library bene- has increased by  percent, a testament to improved hours allocated to in-depth conservation treatment. the trustees of the Helen Clay Frick Foundation and fited from generous donations of nearly , items, work spaces and online resources, and to the dedica- Special care and preservation will be allotted for the the Frick Art & Historical Center in Pittsburgh on of which more than half were added to the research tion of staff members, who increased production nearly , rare catalogs identified in this project. the conservation and preservation needs of the Frick collections. The sale of duplicate and out-of-scope despite relocation during the renovation. The quality Advanced treatments were performed by Associate Family Archives located at the Center. In addition, he material, most notably from the bequest of the of the Library’s bibliographic cataloging, overseen by Conservator Jerilyn Davis on some of the Library’s performed emergency conservation triage work such libraries of Bernice Davidson and Rudolf Heine- Head of Bibliographic Records Mark Bresnan, con- oldest books and manuscripts, including Figures de la as mold removal and re-housing fragile blueprints in mann, generated special funds that will be used to fill tinues to garner praise from the outside world, as does Bible (), Konstryk Tekenboek van Abraham Bloemaart order to treat and stabilize parts of the archives, and significant gaps in the Library’s collection. Among that of the documented photographic records, over- (), and Iconografía española (‒). Such treat- also implemented measures to improve the environ- these special purchases were Esposizioni futuriste, seen by Head of Photographic Records Kerry Sulli- ments ranged from light bleaching to rebinding and ment of the storage area. Spoiling acetate and nitrate ‒, a re-printed collection of  rare exhibition van. In addition, the cataloging format developed by gold tooling. In November, the Library replaced its negatives were housed in separate containers to mini- catalogues. Donors to the Library received acknowl- the Photoarchive has been designed to be consistent aging sonic welder, the principal tool for encapsulat- mize exposure to other materials. edgements on bookplates and in the credit lines of with the emerging standards of the visual resources ing photographs. The original machine had assisted online records in FRESCO. community. in encapsulating more than , photographs and  page leaves over fifteen years.  Above and right: The cleaned View of Venice and Regatta in Venice by Francesco Guardi were reinstalled in the Main Reading Room.

Reader Services research tool by the Commission for Art Recovery. orations, and orientations have given the Library art professionals that will begin in the spring of . These resources draw attention to the important role greater visibility and have heightened public awareness In September, to the delight of staff and readers, the that the Frick Art Reference Library played in identi- of its role as an international research center. Exhibi- Outreach and Shared Resources cleaned vedute of Venice by Francesco Guardi were fying and thus saving cultural treasures from destruc- tions of Library materials were organized with the Annual orientations were held for students of the reinstalled in the Main Reading Room, after their tion during the Second World War, and to the role it design assistance of Don Swanson to complement the Institute of Fine Arts, Bard Graduate School for the brief sojourn in the entrance hall to the Collection. continues to play by assisting researchers in tracing Collection’s Medieval Housebook and Ve l ázquez in New York Decorative Arts, and Sotheby’s and Christie’s New The paintings contribute to the tranquil environment provenance in the identification of lost works of art. Museums exhibitions. The Conservation Department York education programs. Ongoing outreach to art that researchers enjoy in these rooms. To further improve access to electronic research tools, also assisted the curatorial staff by preparing prints dealers culminated in the annual art dealers’ breakfast The number of users of electronic resources Assistant Reference Librarian James Mitchell devel- and Library books for the display case that accompa- in the Library’s Reading Room during the Interna- increased dramatically, with many taking advantage of oped a guide to electronic resources and other finding nied the exhibition of Manet’s The Dead Toreador and tional Fine Art Fair in May. Along with participation training workshops. Readers increasingly show a ten- aids for the Small Reading Room. The Library pro- The Bullfight. The Library loaned two books to the in an interlibrary lending program, the Library contin- dency to integrate their use of different research for- duced a new edition of its Guide to Use, including exhibition A Painter’s Poet: Stéphane Mallarmé and the ues to provide abstracts for catalogues raisonnés to the mats—books, catalogs, photographs, and electronic inserts on Archives & Special Collections, Auction & Impressionists, curated by Professor Jane Roos, and held Getty’s Bibliography on the History of Art (BHA) and to resources. The number of e-mail reference queries and Art Sales Resources, Periodical Resources, Electronic at the Bertha and Karl Leubsdorf Art Gallery, Hunter contribute records to the Library of Congress Artist interlibrary loan requests also grew substantially. A Resources, and Reprographic & Digital Services. College. Don Swanson designed and typeset the sixty- Name Authority Cooperative, a shared international new digital reprographic service was provided in eight page booklet Charles Ryskamp and Friends, A Bibliog- documentation program. response to requests that previously required dark- raphy, which was issued in an edition of four hundred, room facilities, and as a result print, e-mail, and disc- Research Program bound by the Conservation Department, and pub- Internship and Volunteer Program formatted images of high quality can now be made lished by the Frick Art Reference Library. In recogni- The Library hosted a total of eleven interns and vol- using a scanning workstation. The Library’s new Research Program, overseen by tion of the important role the Library has played in unteers in , including two summer interns in the Reference Librarian Irene Avens compiled a bibli- Inge Reist, evolved to better acquaint the public with advancing research on the history of art and connois- Photoarchive, one from the University of Marburg, ography pertaining to the Library’s holdings on Holo- the exceptional research opportunities available at the seurship, Nicholas Hall generously underwrote a series Germany, the other from Trinity University in San caust-era assets that has been praised as a valuable Library. To this end, exhibitions, publications, collab- of panel discussions to encourage dialogue between Antonio, Texas. A conservation internship program   helpdesk software was installed, and successful Y2K Notable Acquisitions during  preparations resulted in a seamless transition to the new century. Head of Information Systems Floyd Gift and Depository Program Sweeting secured an e-rate grant amounting to , for telecommunications and Internet access from the Hôtel Drouot, Paris, subscription to its fine arts Schools & Libraries Corporation. The Library quali- auction sale catalogs; gift of the auction house fied for this funding as a publicly available scholarly library not attached to a school. Phillips Fine Art Auctioneers, London, subscription to its auction sale catalogs; gift of the auction house Digital Information Management The Information Systems Department is responsible Frederick Mortimer Clapp, New York and Other Verses, for the research and development of technical Boston, n.d. (originally published Boston, ), with processes for the institution’s increasing involvement The creation of a fully searchable text and image database an inscription by the author to William Suhr (paint- of , anonymous Italian artists represented in the in digital initiatives. Scanning and storage procedures ings conservator for The Frick Collection, ‒); Photoarchive was undertaken with Global Art Systems. were established through the efforts of Manager of gift of Henriette Suhr Digital Information Vivian Gill. Investigation of cur- was initiated in January with the Wells College Book Plans were initiated for an institution-wide oral his- rent “best practices” for digitizing images, along with Das mittelalterliche Hausbuch (The Medieval Housebook), Arts Center. The Epilepsy Institute of New York tory program, and Archivist Sally Brazil continued to the Cornell partnership, helped to set the technical Christoph Graf zu Waldburg Wolfegg, ed., City presented Conservation Associate Rhonda lay the groundwork for organizing the architectural standards for the institution’s involvement in digital Munich/New York,  (facsimile edition); gift of Rouget with a plaque acknowledging her encourage- plans and records of the institution. As in , the projects and collaborations and for the scanning the Sammlung der Fürsten zu Waldburg Wolfegg ment and training of their volunteer, Priscilla Lassiter, archivist and the chief conservator identified deterio- workstations used for filling reprographic orders. A who has been working under Ms. Rouget’s supervision rating historical negatives at the Collection for dupli- specialist for digital scanning was contracted to train Michael Bryan, A Biographical and Critical Dictionary of for almost three years. cation. Finally, the archivist worked closely with the Photoarchive staff and others in digital skills and pro- Painters and Engravers, London, ; gift of Jeri chief librarian and chief conservator in preparing a cedures. Digital images for over four hundred works Garbaccio proposal to the Helen Clay Frick Foundation for of art in The Frick Collection, along with their docu- Archives and Records Management (Institution-wide) housing the Frick Family Archives at the Frick Art mentation, were contributed to AMICO (Art Ministerio de Educación y Cultura, Dirección General Reference Library. A decision on the location of these Museum Image Consortium), an association of over de Bellas Artes y Bienes Culturales, Madrid, Obras Research queries continued to increase, up nearly  Archives is awaited. thirty museums and universities. maestras recuperadas, Madrid, ; gift of the Fundación percent over . As in past years, questions covered Banco Central Hispano, Madrid a range of topics, notably the architecture of the Website Library and the Collection, and the individuals and Information Systems and Technology (Institution-wide) Floyd Sweeting redesigned and expanded the virtual Witt Computer Index: A Text Database for American companies involved in the construction and furnish- tour with two new IPIX bubbles, pop-up windows for and Eighteenth-century British Holdings of the Witt ing of the buildings. In addition to increased time The past year saw necessary improvements to the navigation, and sound clips from the ArtPhone Library; gift of the Witt Library in exchange for the spent making archival resources available to information technology and support infrastructure Acoustiguide Audio Tour. A staff Intranet was devel- Library’s Spanish Artists from the Fourth to the Twentieth researchers, the Archives Department, thanks to the managed by Brian Nichols. These included rewiring oped for internal information, and a web page was Century: A Critical Dictionary addition of a part-time assistant, continued to process and reconfiguration of systems on the Library’s sixth designed for the public as a gateway to electronic historical collections and to prepare finding-aids. The floor, implementation of enhanced telecommuting resources in the Reading Room. The department par-  transparencies and  photographs; gift of Hirschl gift of books and manuscripts from Bernice David- capabilities, increased network virus and firewall pro- ticipated in a research study on museum and library & Adler Galleries son, research curator for the Collection from  to tection, and additional access ports and an upgraded websites for the Council on Library and Information , was reviewed, and work began on the manuscript Windows version of FRESCO. In addition, computer Resources. The Frick website continued to receive portion. A policy was prepared on the archivist’s role systems for the Collection’s Sales and Information high ratings for its information and design. in appraising gifts to the Collection and Library. Department and Museum Shop were upgraded,    photographs of European and American paintings Karl Schuchhardt, Die Hannoverschen Bildhauer der and drawings given by individual scholars, collectors Renaissance, Hannover,  and dealers including Ellen Callmann, Everett Fahy, Marion T. Hirschler, Daniel Katz, Edgar Munhall, Werner Spies, ed., Claudia Loyall, comp., Richard Donald Neiman, Tere J. Seeley, Melvin R. Seiden, and Lindner: Catalogue Raisonné of Paintings, Watercolors, and John Torson Drawings, Munich, 

Joan Sureda, ed., Historia del arte español, Barcelona,  Purchase Program Gianni Tettamanti, Galdino da Varese e il suo tempo, Amedeo Belluzzi, Palazzo Te a Mantova (Mirabilia Varese,  Italiae, ),  vols., Modena,  P. J. J. van Thiel, Cornelis Cornelisz van Haarlem, Otto Benesch, The Drawings of Rembrandt, enl. and ed. ‒: A Monograph and Catalogue Raisonné, Diane by Eva Benesch,  vols., London,  L. Webb, trans., Doornspijk, 

Emmanuel Bénézit, Dictionnaire critique et documentaire des International Criminal Police Organization (INTER- peintres, sculpteurs, dessinateurs et graveurs de tous les temps et de POL), Stolen Works of Art, CD-ROM, Paris, ‒ tous les pays par un groupe d’écrivains spécialistes français et étrangers, rev. ed., Jacques Busse, ed.,  vols., Paris,   photographs purchased by special order from the Joslyn Art Museum, Omaha; Jane Voorhees Zimmerli British Museum, Department of Prints and Drawings, Art Museum of Rutgers University, New Brunswick; Roman Baroque Drawings: c. to c., Nicholas and Dallas Museum of Art Turner, ed.,  vols., London,   photographs of Venetian sculpture and  Nadja Leger, Suprématisme de Nadia Khodossievitch-Léger, photographs of recently restored Italian sculpture text by Christophe Czwiklitzer, Basel,  purchased from Anne Markham Schulz and Ralph Lieberman, respectively Carl Albert Loosli, Ferdinand Hodler, Leben, Werk und Nachlass,  vols., Bern, ‒

Piero Pacini, ed., Esposizioni futuriste, Florence, The Polish Rider, painted by Rembrandt Harmensz van Rijn c. , was cleaned in . [‒]. Facsimile reprint set of  catalogues and  invitations for Futurist exhibitions held between  and 

Paul Pfisterer, Signaturenlexikon (Dictionary of Signatures), Berlin/New York, 

Candido Portinari: Projeto cultural artistas do Mercosul,text by Antonio Callado, São Paulo, 

  Special Event Fundraising On October , more than two hundred supporters of The Frick Collection gathered for the Fête Galante and, on the occasion of the opening of the exhibition Wat- teau and His World, celebrated Mrs. Vincent Astor’s extraordinary contribution to the cultural life of New York City. Inspired by Watteau’s fête galante paint- ings, costumed players using period instruments pre- sented a lively eighteenth-century French tableau in ff the Music Room during cocktails. Dinner, which fol- Public A airs, Young Fellows Steering Committee members lowed in the Garden Court, was loosely modeled on a Phil Gorrivan, John Rotenstreich, Alexander court banquet of the time, with period menu, enter- Sachs, Victoria Rotenstreich, Edward Kaplan, Development & tainment, and decor. The evening’s proceeds of more and Jennifer Nilles enjoying the Fête than , will be used to help promote the study Galante, October , . of the French fine and decorative arts within the Communications museum and the Library. On January , the second annual Henry Clay Frick Fellows heralded the arrival of the exhibition The Fellows Dinner took its cue from the Victorian Fairy Medieval Housebook, a unique opportunity to view the Fellows Painting exhibition, which was about to close, and operation of a fifteenth-century German castle. In The Fellows of The Frick Collection, numbering  began the evening with a performance in the East July, the Fellows Tea series was inaugurated, with members, generously gave , during the past Gallery by the renowned mentalist Marc Salem. Fol- additional teas in September and December. These year. Fellows membership gifts continue to be an lowing Mr. Salem’s jaw-dropping illusions, a wonder- intimate events with curators and the director offer an essential source of support for many of the Collec- ful dinner prepared by Jean-Georges Vongerichten was in-depth look at an aspect of the Collection or a par- tion’s core programs. served in the Dining Room gallery. The Henry Clay ticular exhibition, followed by tea in the Director’s Frick Fellows Dinner, which opens the Frick’s annual Dining Room. The most popular of these offerings social calendar, has become a highpoint of the year. was Associate Curator Susan Grace Galassi’s presenta- A host of events for Fellows and their friends tion on Manet’s The Bullfight. November  brought a enlivened the calendar during . On February , huge crowd to the annual Holiday Shopping Evening, Director Samuel Sachs edified and entertained a full which dovetailed with an all-members’ viewing of the house in the Music Room with his slide lecture Watteau and His World exhibition. The year closed on “Fakes and Forgeries.” While this subject holds December 16 with the Sachs’s festive annual holiday perennial interest for private collectors, museums, and open house. the general public, Mr. Sachs was happy to report that The Frick Collection has been spared firsthand expe- Membership rience with the problem. On May , the Frick threw In , The Frick Collection made a major commit- wide its doors for Fellows and their guests to enjoy ment to building and refining its membership pro- the Spring Party. The crowd danced to Peter Duchin’s grams (Fellows, Friends, and Associates). Daniel orchestra, and sampled cigars and port on the portico Vincent was hired as associate manager of develop- and strolled about the Fifth Avenue Garden. On the ment for membership, having been senior membership evening of June , Beth and Sam Sachs’s penthouse officer at the Museum of Fine Arts, Boston, at a time terrace took on a southwestern ambience when they when successive waves of blockbuster exhibitions hosted an open house to celebrate the beginning of raised that institution’s membership to over ,. summer. The next evening, an opening reception for Mr. Vincent has energetically accepted the challenge Music Room tableau for the Fête Galante and the opening of Watteau and His World.   Association; BancBoston Robertson Stephens; Pernigotti S.p.A., The Averna Group; Rockefeller & Co., Inc.; and Soros Fund Management LLC. As corporations explore creative ways to involve their employees and customers in their efforts to sup- port the arts in New York City, The Frick Collection has been fortunate to participate in special partner- ships with its corporate members, including American Express’s Culture Card program and Fleet’s Customer Museum Admission Program.

Fête Galante co-chairs and honoree: Communications Elizabeth Gerschel, Pemmy Frick, Brooke Astor, In its second year of existence, the Communications and Helen Clay Chace. Office of The Frick Collection, overseen by Heidi Rosenau, experienced continued successes in the form to build a proper membership program for the Frick. and the balance will underwrite the repainting of the of ever-increasing attendance at press previews and The test membership appeal that he designed and sent Reception Hall in the summer of . Mrs. Vincent positive, thoughtful reviews of exhibitions. In addi- H.R.H. The Infanta of Spain; Emilio Cassinello, Consul General of Spain; and Philippe de Montebello, Director, The Metropolitan Museum out to , prospects brought in more than  new Astor made a , gift, also to the Fête Galante. tion to rave reviews in the New York Times, the Wall of Art, examining items from the Spanish school holdings of the Frick or renewed members—primarily Friends, although a Bankers Trust/Deutsche Bank sponsored, in part, The Street Journal, ARTnews, Time, and Newsweek, the exhibi- Art Reference Library on the occasion of the opening of the exhibition sizable number were new Fellows! As a result of this Medieval Housebook exhibition. The Curtis W. McGraw tion Ve l ázquez in New York Museums inspired coverage by Velázquez in New York Museums. mailing, as well as a stronger renewal program, overall Foundation made a generous grant of , for gen- El País, El Mundo, TVE of Spain, and EFE Spanish News membership, including Fellows, grew from , to eral operations. Bulgari, at the initiative of Nicola Agency, not to mention the notices received in Great over , in only two months. Mr. Vincent also began Bulgari, underwrote the Italian version of the popular Britain, France, Italy, Germany, Japan, Norway, and Television audiences throughout the United States to lay the groundwork for a consolidated membership Acoustiguide ArtPhone tour of the Collection, to Roumania, among other countries. This attention in enjoyed viewing the Frick in an extraordinary episode program. One early step was to fold the Associates become available in electronic and printed versions in the international press was enormously satisfying, of “America’s Castles,” the critically acclaimed docu- program into the Fellows and Friends programs, with . Trustee Melvin R. Seiden gave , to both for the Collection and for the Hispanic Society mentary series on the Arts & Entertainment network. an assurance to all members and donors with a specific underwrite the catalogue for the Ve l ázquez in New York of America, our principal collaborator on this project. The episode on New York estates that featured the interest in the Frick Art Reference Library that their Museums exhibition. Frick Council member Diane The glowing publicity relating to this and other spe- Frick incorporated breath-taking footage of the Col- enjoyment of and concern for that aspect of the Col- Nixon provided support for the Edgar Munhall lec- cial exhibitions throughout  refreshed and lection, mansion, and garden with insightful commen- lection will continue to be noted, rewarded, and ture series. renewed local, national, and international interest in tary about Henry Clay Frick, creating a memorable acknowledged. Another important step was to begin the institution and conveyed an important message educational program that won a prestigious Telly redeveloping our membership and public relations Corporate Membership about the vital spirit of collaboration and scholarship Award, the cable television equivalent of the Emmy. materials to give them a coherent look and to make We are pleased to acknowledge our thirty-four new so alive in the activities and mission of The Frick them better tools with which to promote our pro- and returning corporate members. Together these Collection. grams and serve our members. corporations, which are listed elsewhere in this report, Media attention was successfully drawn to a wide contributed , to support the various activities range of special activities at the Collection and Special Gifts of the Collection. The Frick Collection continues to Library during . Articles and colorful features Gifts to the Frick this year were as varied as the pro- be a prized venue for corporate celebrations of all highlighted the institution’s membership events and grams of the institution. Enid Haupt made a , kinds. Events held in  were hosted by Pfizer Inc.; fund-raising efforts, the introduction of the first book gift for general operating purposes. The Helen Clay Deutsche Bank (formerly Bankers Trust); Mondadori; about the Collection to be published in several lan- Frick Foundation made a , grant; part of those Skuld; The Hartford; Disbank; National Financial guages, the success and updating of the website and funds constituted a contribution to the Fête Galante, Partners; Caixa Geral de Depósitos; The Avenue Acoustiguide tour offerings, and more.   Italian Acoustiguide Frick Art Reference Library Gifts Bulgari during  Cornell/FARL Digitization Project The Medieval Housebook: A View of Fifteenth-Century Life The Patrick A. Gerschel Foundation We deeply appreciate the generosity of the following (exhibition) Mr. and Mrs. Paul G. Pennoyer individuals, foundations, and corporations who made Deutsche Bank substantial contributions to The Frick Collection and Mrs. H. P. Kraus Global Art Systems Digitization Project the Frick Art Reference Library during . Pernigotti S.p.A., the Averna Group Manet’s The Dead Toreador and The Bullfight: Fragments of a Lost Salon Painting Reunited (exhibition catalogue) Electronic Documentation of Auction Catalogs The Frick Collection Samuel H. Kress Foundation Eugene V. and Clare E. Thaw Charitable Trust

Painting of Reception Hall Ve l ázquez in New York Museums Unrestricted Grant The Helen Clay Frick Foundation through the Banco Santander (exhibition) The Rosenstiel Foundation on behalf of Elizabeth generosity of Dr. and Mrs. Henry Clay Frick II Melvin R. Seiden (catalogue) Kabler

Furnishings for Director’s Office Edgar Munhall Lecture Series Mr. and Mrs. Gilbert B. Silverman Mr. and Mrs. Minturn V. Chace Some of the many clocks in the Winthrop Edey collection. Diane Allen Nixon The Edey Collection of clocks and watches and bequest for the care, preservation, and supplement thereof Manet Colloquium Gift of Winthrop Edey General Operating Support Arthur Ross Foundation Josephine L. Berger-Nadler  Major Funding for Education Program Ms. Jamee C. Field/The Edith B. and Watteau and His World: French Drawings from  The Horace W. Goldsmith Foundation Lee V. Jacobs Fund to —A Symposium The Helen Clay Frick Foundation through the Iris and B. Gerald Cantor Foundation Additional Funding for Education Program generosity of Henry S. Burden Samuel H. Kress Foundation Bloomberg L.P. The Helen Clay Frick Foundation through the Mrs. Allan H. Kalmus generosity of Mrs. Jonathan Trafton Opening reception for French and English Drawings of the Sage Foundation Mrs. Roswell L. Gilpatric Eighteenth and Nineteenth Centuries from the National Gallery Sotheby’s Mrs. Enid A. Haupt of Canada The Curtis W. McGraw Foundation Canadian Consulate General Nautilus Foundation, Inc. The Ridgefield Foundation William G. Sabatier in memory of Carol York Diana Samuel and Elizabeth Sachs Fund

  David Rockefeller Joseph F. McCrindle/The Henfield Foundation Mr. and Mrs. Jeremiah M. Bogert Mr. and Mrs. Peter A. Georgescu Mr. and Mrs. Arthur W. Milam Fellows of The Frick Dr. and Mrs. Nathan Saint-Amand Barbara S. Mosbacher Carol A. Brakebill Abby Gilmore Mr. and Mrs. Donald K. Miller Collection  H. Frederick Krimendahl II and Ruth Mueller Dr. and Mrs. Goodwin M. Breinin Robert B. Goldsmith and Teresa A. Carbone Jeffrey and Marsha Miro Emilia A. Saint-Amand Otto Naumann Mr. and Mrs. Garrison W. Brinton Eugene R. Gonzalez Mr. and Mrs. Thomas R. Moore Roberta and Irwin Schneiderman Dominick Oddo and John Parks Harry A. Brooks* Joan and Donald J. Gordon Dr. and Mrs. Gabriel Nahas Honorary Fellows Mr. and Mrs. John A. Scrymgeour David T. Owsley Ellen* and Charles F. Brush Mr. and Mrs. Philip Gorrivan Roy R. Neuberger The Hon. and Mrs. Walter H. Annenberg Mrs. Frederick M. Stafford Roland F. Pease Mrs. Thomas S. Brush John and Jennifer Gourary Rodney and Nancy Nichols Mr. and Mrs. Perry R. Bass Brenda Weeks-Nerz Paul G. and Cecily Pennoyer Nick Bunker Mrs. Oliver R. Grace Susan and Peter Nitze Le Comte d’Haussonville Mr. and Mrs. Edwin L. Weisl, Jr. Alton E. Peters* Frances Burden Marco Grassi Thomas O’Brien Theodore Dell Mr. and Mrs. Malcolm H. Wiener Max Pine Mr. and Mrs. Childs Frick Burden Dorothy S. Gray Mr. and Mrs. William O’Leary Mr. and Mrs. John Marion Sheila Pulling Leslie and Buzz Burlock Mr. and Mrs. Holcombe T. Green, Jr. Sheldon Oliensis Mrs. Paul Mellon William Rondina Ishik Kubali Camoglu and Feriha Kubali Mr. and Mrs. Gordon K. Greenfield Maureen E. O’Toole Mrs. William Suhr Contributing Fellows Jeannette and Jonathan Rosen Eric G. Carlson Antonia and George J. Grumbach, Jr. F. C. Packer Mr. and Mrs. Eugene Victor Thaw ,‒, Randie B. Rosen Carroll J. Cavanagh and Candida N. Smith Dr. and Mrs. Robert Guida David B. Pearce, M.D. Charles Ryskamp Anonymous Elaine L. Rosenberg Mr. and Mrs. Bevin Cherot Mr. and Mrs. Kenneth E. Gustafson Mr. and Mrs. Roger S. Penske Frederica von Stade Mr. and Mrs. Ronald R. Atkins Dr. Caroline Rubinstein and Mr. and Mrs. Garretson W. Chinn Ben Ali Hagen Sarah Peter Elizabeth A. Baltz Phillip M. Winegar Mr. and Mrs. David C. Clapp Nicholas H. J. Hall Mrs. John A. Pope Anne H. Bass Mr. and Mrs. Samuel Sachs II Mr. and Mrs. Howard L. Clark, Jr. David and Marion Handleman Dr. and Mrs. Simon B. Poyta Henry Clay Frick Fellows Evi Batten Mr. and Mrs. John H. Sack Mr. and Mrs. Christopher T. Clark Ruth Ann and William F. Harnisch Mrs. Bunny Price , and above Lillian Rojtman Berkman Jeannette Watson Sanger Mr. and Mrs. Todd G. Cole Madie Ivy Head Barbara Pryor Dr. and Mrs. Henry Clay Frick II W. Mark Brady Dr. and Mrs. Stephen K. Scher Arlene C. Cooper Roberta and Paul Hershenson Samuel F. Pryor Mrs. Roswell L. Gilpatric Mr. and Mrs. James E. Burke Ralph Schlaeger, M.D. Mr. and Mrs. Keith E. Crain Mr. and Mrs. John R. Hewitt Eben W. Pyne Mrs. Enid A. Haupt Mrs. Jackson Burke Mr. and Mrs. Stanley DeForest Scott Reverend Michael Cunningham Georgia Hiden Mr. and Mrs. Cecil D. Quillen III Jean Lindsey* Guy Cary Mr. and Mrs. Robert L. Shafer Stanley R. Day Aaron Hill and Susan Fales-Hill Yvonne Quinn and Ronald Rolfe Mr. and Mrs. Henry Luce III Mr. and Mrs. Thomas A. Cassilly Mr. and Mrs. Robert H. Smith Elizabeth de Cuevas Mrs. Marion T. Hirschler Svetlana and Mario Ravagnan Mrs. William Stratton Clark Mr. and Mrs. Robert K. Steel Baron Alexis de Redé Frank L. Hohmann III Dr. and Mrs. James Reardon T. A. Cox Mrs. Donald B. Straus Michael Diana Mr. and Mrs. Jean-Conrad Hottinger Lord and Lady Ridley-Tree Sustaining Fellows Michel David-Weill Elizabeth F. Stribling and Guy Robinson Douglas Durst Mr. and Mrs. Joseph L. Hudson, Jr. Khalil Rizk , and above Mrs. Vincent de Roulet Mr. and Mrs. William Tatlock Mrs. Charles H. Dyson Mr. and Mrs. Richard E. Jaffe Jack A. and Aviva Robinson Mr. and Mrs. Sid R. Bass Einhorn Family Foundation Bruce and Robbi Toll Mr. and Mrs. John L. Eastman Denise and Morton Joselson Laurance S. Rockefeller Peter P. Blanchard III Anthony and Elizabeth Enders Sue Erpf Van de Bovenkamp Joan K. Easton William W. Karatz Susan Brown Roschen Dr. Gert-Rudolf Flick Mrs. Thomas M. Evans Honoré T. Wamsler James M. Edwards Georgianne and Richard A. Kasuli Mr. and Mrs. Daniel Rose Charles A. Miller, Jr., and Jerald Dillon Fessenden Mr. and Mrs. John L. Warden John W. Eichleay, Jr. Emily Fuller Kingston Mr. and Mrs. Arthur Ross Chas A. Miller III Mrs. Anastassios Fondaras Shelby White Joseph Elmaleh Mr. and Mrs. Walter C. Klein Mrs. Howard Ross Mr. and Mrs. Wynant D. Vanderpoel III Mrs. William Fox, Jr. William J. Williams, Jr., and Barbara A. Reuter Sarah and Louis Elson Mrs. H. P. Kraus Dr. and Mrs. George Roush Mr. and Mrs. William P. Frankenhoff Constance and David Yates Mr. and Mrs. Andre Emmerich Jane Lattes and Norbert Swislocki David E. Rust Mr. and Mrs. Robert Garrett Baroness Mariuccia Zerilli-Marimo Elizabeth P. S. and Lionel C. Epstein Mr. and Mrs. Alexander M. Laughlin Mr. and Mrs. Winthrop Rutherfurd, Jr. Supporting Fellows The Hon. Sir David and Lady Gibbons Thomas Epstein and Florence E. John J. Leiser Barbara and Bill Saltzman ,‒, William T. Golden Teicher/Epstein Philanthropies Mr. and Mrs. William D. Lese Princess Maria-Christina Sayn-Wittgenstein Mr. and Mrs. I. Townsend Burden III Mr. and Mrs. Paul Gourary Fellows Anne Faircloth and Frederick Beaujeu-Dufour Carol F. Lewine Mr. and Mrs. Herbert D. Schimmel The Hon. and Mrs. Walter J. P. Curley Mr. and Mrs. David Granger ‒, Mr. and Mrs. Walter P. Fekula Hunter Lewis and Elizabeth Caroline F. and Stuart B. Schimmel Catherine G. Curran Mr. and Mrs. G. Raymond Hodil Armin Brand Allen Mr. and Mrs. Nicholas Firth Sidamon-Eristoff Hannelore Schulhof Nelly Arrieta de Blaquier Peter Josten Michael Nash Ambler Mr. and Mrs. Brian D. Fitzgerald Mr. and Mrs. John L. Lindsey Alan and Marianne Schwartz/ Mrs. Oscar de la Renta Mary and Roy Judelson J. Philip Anderegg Mrs. William E. Flaherty Miss Gail P. Lloyd Shapero Foundation Mr. and Mrs. C. Douglas Dillon Mrs. Allan H. Kalmus Mr. and Mrs. R. L. Ardrey Mr. and Mrs. Lucius L. Fowler Anne and Michael Loftus Charlotte Schwarz Robert N. Elkins Helene and Mark Kaplan Mr. and Mrs. J. Sinclair Armstrong Mr. and Mrs. Donald T. Fox Sandra Ann Mabritto Meta C. Schwarz Mr. and Mrs. Robert F. Erburu Ian Kennedy and Rachel Mauro Mrs. Clay H. Barr Ann Freedman John and Bridget MacAskill Mr. and Mrs. Cornelius E. Sigety Mr. and Mrs. John French III Frederick R. Koch Sharon and Stephen A. Bassock Jeffrey S. Freeman Susan Malley J. L. H. Simonds Agnes Gund and Daniel Shapiro Stephanie Krieger Anson Beard, Jr. Sam R. Freeman Mrs. Otto Manley James Baker Sitrick Martha Hare Mr. and Mrs. Eugene M. Lang Candace Beinecke Elise Frick Brian A. Margolis and Lara R. Mears Mrs. Olcott D. Smith Mrs. Henry J. Heinz II Gonzalo D. Las Heras Katrin Bellinger Patrice and Louis Friedman Mr. and Mrs. DeCourcy E. McIntosh Mrs. Suzette de Marigny Smith Mr. and Mrs. Donald J. Herdrich JoCarole and Ronald S. Lauder Josephine L. Berger-Nadler and Suzanne Frye, M.D. Dr. John E. Mead Matthew P. Smyth Frederick D. Hill Sally and Howard Lepow Dr. M. Leon Canick Frederic J. Fuller, Jr. Mr. and Mrs. Richard L. Menschel Mr. and Mrs. Howard Sosin Mr. and Mrs. Stephen M. Kellen Susan Lloyd Mrs. Jeremy H. Biggs Lee White Galvis and Sergio Galvis Diana and Heather Sue Mercer George Spera and Jane Ginsburg Stephen Lash Arthur L. Loeb Jill Isles Blanchard Dr. and Mrs. Charles C. Garbaccio C. Stephen Metzler Mr. and Mrs. John S. W. Spofford Mr. and Mrs. Richard P. Mellon Charlene and Tom Marsh Gary M. Bloom Stephen A. Geiger Mr. and Mrs. Henry B. Middleton Kenneth and Marisa Starr   Mr. and Mrs. George E. Stephenson Mr. and Mrs. Mark M. Colman Anne R. Miller Robert G. Goelet Mrs. John R. Stevenson Marina Rust Connor Caroline Holt Mountcastle Associates of the Frick Art Mrs. James B. Gubelmann Sustaining Friends Mr. and Mrs. Irving L. Straus Rachel Conron Mark Murray Reference Library  Dr. Jean M. Massengale  Carol Tambor Nancy Peyton Cooper Shira Nichaman James R. McCredie Patricia and Henry Tang Ellisa Cooper Timothy J. O’Brien Robert L. McNeil, Jr. ‒ Mrs. Henry J. Taylor Mr. and Mrs. George R. Creel III Cristin M. O’Hara and Michael S. Sullivan Library Benefactors Harvey S. Shipley Miller/The Judith Anonymous Martha P. Thomas Craig Selimotic Danforth Justine O’Malley , and above Rothschild Foundation Irving and Alicia Lambert Albert Barbara and Donald Tober Victoria Jane Boker Doyle Michael J. O’Neal Sotheby’s Barbara B. Millhouse William H. Alexander The Hon. John Train John B. Duer Ulla and Kevin Parker Mr. and Mrs. Bernard G. Palitz Mrs. Peter Allport Paul Underwood Mr. and Mrs. Stephane Dujarric Mr. and Mrs. Angus Parker Mr. and Mrs. John Whitney Payson Mark and Gail Appel Mr. and Mrs. Gerald Ungar Mr. and Mrs. Richard S. duPont, Jr. Nicholas Perkin Library Patrons Hans R. Reinisch Page Ashley Mr. and Mrs. Mark L. Venrick Thomas H. B. Ewald Jennifer E. Pettit ,‒, M. R. Schweitzer Mr. and Mrs. Seymour R. Askin, Jr. Judith Mann Villard John Leopoldo Fiorilla Mr. and Mrs. Robert S. Pitts, Jr. The Fanny and Leo Koerner Charitable Trust Dr. Robert B. Simon Caroline and James E. Bacon Richard M. Waterman Elizabeth A. Fleming Diana D. Pulling Ira Spanierman, Spanierman Gallery Richard Baronio Susan and Bruce Watts Muffy Flouret Ilona Theodora Rand Mr. and Mrs. Gerald Stiebel Marvin and Mary Ellin Barrett Norman Weissman Rhonda S. Foreman Benjamin W. Rotenstreich Library Sponsors Gertrude De G. Wilmers Samuel E. and Marion Bass Anna K. Weisz Adam B. Frisch Victoria and Jonathan Rotenstreich ,‒, Lawrence B. Benenson Drs. Marc and Babette Weksler Mr. and Mrs. Thomas Frist Dr. and Mrs. A. Joseph Rudick Christie’s Sandra Dejur Berkley Merida Welles and William G. Holman Timothy Frumkes and Amber Frumkes Mr. and Mrs. Gerald Rusello Sue Erpf Van de Bovenkamp Library Contributors Sarah Billinghurst Miss Somers White Tia Fuhrmann Mr. and Mrs. Juan Sabater Mrs. Charles Wrightsman ‒ Dr. and Mrs. Joel Birnbaum Mrs. Robert D. Wickham Miss Mary B. Gallagher Alexander Sachs Mr. and Mrs. Robert F. Erburu Leonard Block Mrs. Walter W. Wilds Harley Garbaccio Mr. and Mrs. Joseph Sambuco Erica Hayes Mr. and Mrs. William C. Bousquette Walter J. Wilkie Karla L. Harwich James Montrose Sansum Library Supporters Mr. and Mrs. Edward Hyman, Jr. Leonard and Anita Boxer Francis H. Williams Peter Ashby Howard Scott A. Schefrin ,‒, Alvin S. Lane Brian and Susannah Bristol Miss Diane Wolf Lloyd H. Gerry Benjamin and Louise Schliemann William R. Acquavella Charlene and Tom Marsh Mary E. and John P. Brown Mr. and Mrs. Robert E. Wood II Mr. and Mrs. Nicholas Gill Katherine Schulze Mr. and Mrs. Sid R. Bass Alexander Mebane Constance R. Caplan William H. Wright II Kathryn Glass Miss Christine Scornavacca Dr. Donald Posner Dorothy and David Carpenter Dr. Richard P. Wunder Mr. and Mrs. Thomas Shircliff Glover John D. Serbin Guy Stair Sainty Steven E. Cerier William and Joan Wyer Jennifer Gray Miss Stephanie Anne Sirota Library Donors Mary R. Small Debrah Charatan Henry Steinway Ziegler and Marjorie Barton Gubelmann Olivia Slocum ,‒, Margaret B. Childs Jourdan Arpelle-Ziegler George Ho Mr. and Mrs. Ian Kendall Snow Mr. and Mrs. Ronald R. Atkins Mr. and Mrs. Henry Christensen III Mrs. Hans H. Zinsser* Cynthia Hollmann Andrew Solomon Catherine G. Curran Walter and Ursula Cliff Heather H. Hoyt and William K. Neburka Robin Kramer Solomon and Gregg Solomon Dickinson Roundell Inc. Mr. and Mrs. Jeffrey Clyman Julian Iragorri Mr. and Mrs. Eric C. Stephenson The Henfield Foundation Eileen S. and Stephen A. Cohen Young Fellows Mr. and Mrs. Adrian H. Jones Mr. and Mrs. J. Fife Symington IV Mr. and Mrs. H. Charles Price Julie C. Connelly  and above Wendy Kalnick Miss Liadhain Tait Elaine L. Rosenberg R. Scott and Soussan Cook Edward A. Allen Jennifer R. Kaplan Mr. and Mrs. Olaf Thommessen Charles Ryskamp Jan Cowles Mr. and Mrs. Roger Barnett Nathalie Gerschel Kaplan Lodewijk and Amelie Van Moorsel-Orssich Mr. and Mrs. Malcolm H. Wiener Dr. and Mrs. Burke A. Cunha Martin and Carol Bell Michael Kim Mr. and Mrs. Richard H. Wagle Duane Wilder Mr. and Mrs. Robert Cushman David Biscaye Samuel S. R. Kingston April Wahlestedt Mr. and Mrs. Marquette de Bary Mr. and Mrs. C. F. David Boit Elena Morris Kornbluth Timothy J. Whealon Richard A. and Barbara K. Debs Natasha F. S. Boncompagni Andrea E. Lans Genevieve Wheeler Library Associates Marshall Dill Christina A. Boothe Mr. and Mrs. Robert K. Lindgren Laura Winters ‒, Benjamin R. Doller Heather and Philip Brandes Brandi Lipton Elizabeth Zabludoff and Edwin Rodriguez Anonymous Michael P. Dougherty Dan Bray Miss Caroline Lloyd Morton Abromson and Joan Nissman Richard W. and Clementina Durkes Miss Vanessa Brown Mr. and Mrs. Nicholas Longano *Deceased Adelson Galleries Timothy P. Durkin Andrea Bundonis Mr. and Mrs. Thomas B. Loring Alexander Apsis Bruno and Silvia Eberli Helen M. Burnham John Lukovits Professor Jonathan Brown Susan L. Fleischer Barry Paul Burton Mr. and Mrs. Justin K. Macedonia Mr. and Mrs. David Giles Carter Barbara G. Fleischman Vincent Casey and Christina Baltz Mr. and Mrs. Steven G. Mandis Thomas Colville Fine Art John V. Fleming Christopher David Casey Amy Mazzola and Tad Flynn Private Art Dealers Association, Inc. Victor and Sascha Forte Dr. Michael Chang George F. McCabe Knoedler & Co., Inc. Phyllis Fox and George Sternlieb Paul R. Christenson Barbara McLaughlin Nanne Dekking Robert J. and Harriet Friedlander Katharine Christopherson E. Stanton McLean Hester Diamond Davis Given Mary Harding L. Cist Dr. Heidi Elizabeth Michelsen Marianne Elrick-Manley Antonio F. Govoni, M.D. Lane Clements Natalie B. Milani Mrs. Anthony E. Fahnestock Margaret F. Grace   Cornelia H. Greenspan Craig Powell Ida L. Wiley Peter P. Blanchard III James and Marilee Greenwald Mr. and Mrs. Richard G. Powell Walter and Sandra Wilkie Young Fellows Steering Fête Galante Committee Mr. and Mrs. Jeremiah M. Bogert Mary J. Greer Gene M. and Pamela B. Pranzo Constance Williams Committee Honorary Chairmen Mr. and Mrs. Richard S. Braddock Evelyn A. J. Hall Joanne Price Diane Woo Mr. and Mrs. Garrison W. Brinton Mrs. Roswell L. Gilpatric Mimi Halpern and Stephen Morrow Wilbur and Audrey Rabinowitz Andrea Woodner Harry A. Brooks Elizabeth Fleming Dr. and Mrs. Ira Kaufman Anne Hamilton David Rappa J. Gerald Young, M.D., and Diana K. Young Philip C. Gorrivan Mr. and Mrs. I. Townsend Burden III Dr. Lucinda A. Harris Marilyn J. Rice Lisa Rossi Gorrivan Chairmen Mary Griggs Burke Mr. and Mrs. Spencer Hays Ed Richard and Warren Kendrick Guy Cary Julian Iragorri Mrs. Minturn V. Chace Barbara W. Hearst Jane L. Richards Mrs. William Stratton Clark Nathalie Gerschel Kaplan, Chairman Mrs. Henry Clay Frick II Gregory A. Herr Sascha M. Rockefeller Corporate Members Elizabeth de Cuevas Robert Lindgren Mrs. Patrick A. Gerschel Melanie Hoffman Jennifer and Frances Rogers Marianne Elrick-Manley  Victoria Lindgren Mrs. Samuel Sachs II Mrs. Joel Hutzler, Jr. Virginia F. Salomon Martha Loring, Secretary Mr. and Mrs. Richard L. Feigen Anna S. Jeffrey Albin Salton , and above Amy Mazzola Flynn Watteau Underwriters Mr. and Mrs. William Frankenhoff Dudley D. Johnson Annabel Santana Elise Frick Deutsche Bank Barbara McLaughlin Mr. and Mrs. Russell B. Aitken Willow Johnson Lana Santorelli Mr. and Mrs. Robert Garrett Pernigotti S.p.A., The Averna Group Jennifer Nilles The Vincent Astor Foundation Walter E. and Marjorie H. Joyce R. Saunders and S. Gaum Lady Gibbons Victoria Rotenstreich Mr. and Mrs. Perry R. Bass W. Michael Keenan Andre Scheffer Mrs. Roswell L. Gilpatric ,‒, Juan Sabater Christie’s Clinton and Mary Kendrick Scott A. Schefrin Mr. and Mrs. Alain Goldrach Caixa Geral de Depósitos Christine Scornavacca Mr. and Mrs. Patrick A. Gerschel Luke Knecht Nancy Schwartz Marco and Cristina Grassi Christie’s Genevieve Wheeler Dr. and Mrs. Henry Clay Frick II Sandra Lee Krasnow Mrs. Herbert J. Seligmann Mrs. Melville W. Hall Clifford Chance Rogers & Wells Mr. and Mrs. Henry R. Kravis Jan and Marie Anne Krugier Anthony J. Servino Disbank Mrs. Bruce Duff Hooton Donna and Tom Lambert Fredda S. Sexton The Hartford Boucher Benefactors H. Frederick Krimendahl II and Jill L. Leinbach Donald L. Shapiro Emilia A. Saint-Amand Mr. Leonardo Mondadori Mr. and Mrs. Arthur G. Altschul Christine G. Leness Stephen M. Siegel Parker B. Ladd National Financial Partners Mr. and Mrs. Minturn V. Chace Janice H. Levin Mr. and Mrs. Robert A. Smith Mr. and Mrs. Frank Y. Larkin Skuld Toni K. Goodale Dr. Catherine Lipkin Marvin Smotrich and Gina Farahnick Mr. and Mrs. Noel Levine Soros Fund Management LLC The Lizabeth and Frank Newman Elinor Loveridge Herbert E. and Sally Solomon Mr. and Mrs. Robert K. Lindgren Charitable Foundation Duncan MacGuigan and Charlotte Nairn Alfred Z. Solomon Mary Louise and Hugh Barber ,‒, Mr. and Mrs. Howard Phipps, Jr. Mary Ann O’Brian Malkin William T. Speck, M.D., and The Avenue Association Mr. and Mrs. Henry Luce III Dr. Jean M. Massengale Phoebe B. Speck Bulgari Fragonard Patrons Mr. and Mrs. Frederick A. Melhado Dr. and Mrs. Maclyn McCarty Mr. and Mrs. Jerry Spiegel Mr. and Mrs. Jeremiah Milbank III FleetBoston Financial Anonymous Walter B. Melvin Joan Stanton Mr. and Mrs. Thomas R. Moore Sotheby’s April Axton* Mr. and Mrs. Eugene Mercy, Jr. Martha Roby Stephens Matt Murphy Michael R. Bloomberg Charles W. Merrels Garrick C. Stephenson Peter and Susan Nitze ,‒, W. Mark Brady Mr. and Mrs. William J. Michaelcheck Henrietta Susser Mr. and Mrs. Bernard G. Palitz The Bank of New York Mrs. Jan Cowles Mrs. Mark Millard Doris and Stanley Tananbaum Dr. and Mrs. Simon B. Poyta Mr. Lon Moellentine The Hon. and Mrs. Walter J. P. Curley Anne Miller Charles J. Tanenbaum Khalil Rizk Neuberger Berman, LLC Mr. and Mrs. Oscar de la Renta Richard Monti Judy E. Tenney Mr. and Mrs. Arthur Ross Ford Motor Company Mr. and Mrs. Douglas Dillon Ursula H. Moran Gary Thalheimer Mrs. Howard L. Ross PaineWebber Group Inc. Mr. and Mrs. L. F. Boker Doyle J. M. Morris Marcia K. Townley Arnold Scaasi Time Warner Inc. Mr. and Mrs. Randolph A. Hearst Dr. and Mrs. Campbell Moses Felicia Townsend Naomi M. Scheuer The H. W. Wilson Foundation Lawrence S. Huntington Hadassah K. Musher Edward H. Tuck Mr. and Mrs. Stephen A. Schwarzman Evelyn Gruss Lipper Gideon and Claudia Oberweger Helen S. Tucker Mrs. Suzette de Marigny Smith ,‒, Diane Allen Nixon Ann Oestreicher Jane Merrifield Ungar Daisy and Paul Soros ABC, Inc. Margot and Ross Perot Patrice S. Pancza Paul A. Volcker Elizabeth F. Stribling and Guy Robinson American Express Company David Rockefeller Marian Papp Dr. Ulrich and Helen Wagner Mrs. Frederick Supper Bloomberg News Dr. and Mrs. Nathan E. Saint-Amand James Parker Dianne Wallace Mrs. Martha P. Thomas W. P. Carey & Co., Inc. Samuel H. Kress Foundation Grace M. Parr Stanford S. and Sandra F. Warshawsky Mr. and Mrs. Wynant D. Vanderpoel III Chanel Mr. and Mrs. Eugene V. Thaw Mrs. Rushmore Patterson Anna Waugh Dr. and Mrs. Karl M. F. Wamsler Colgate-Palmolive Company A. Robert Towbin Robert Patton and William Howell Joseph and Janan Weber Mr. and Mrs. Bruce Randall Watts Merrill Lynch & Co. Foundation, Inc. Mr. and Mrs. Ira D. Wallach Mr. and Mrs. Norman L. Peck Elizabeth D. Weed Philip Morris Companies Inc. Amalia Gisela Peña Doris and Jack Weintraub Random House, Inc. Friends of the Frick *Deceased Harold S. Perlmutter Dr. and Mrs. Donald Ross Whitaker John Wiley & Sons, Inc. Gillian Attfield David W. Phelps Robert Allan White Young & Rubicam, Inc. Anne H. Bass Paul Pilorz Isabel S. Wilcox Josephine L. Berger-Nadler Susan F. Pinsky and Marc E. Rosen Duane Wilder   Statement of Statement of Activities For the year ended December , , with comparative totals for  Unrestricted Board Temporarily Permanently Total All Funds December , Financial Position General Designated Total Restricted Restricted       Operating support and revenues December , , with comparative December , Note ( ) Net investment return – % spending policy $ ,, $...... $ ,, $ ,, $...... $ ,, $ ,,   , ,  Other interest income , , , , , , totals (Note ) For purposes of brevity, the December and finan- Contributions , , ,, ,, ,, cial information presented herein is excerpted from our audited Admission fees ,, ,, ,, ,, financial statements as prepared by the independent accounting Membership , , , , Bookstore sales ,, ,, ,, ,, Assets firm of PriceWaterhouseCoopers, L.L.P., which rendered an unqualified opinion as to those statements’ conformance with ,, , ,, ,, ,, ,, Net assets released from restrictions ,, , ,, (,,)-- December ,   generally accepted accounting principles. This excerpted infor- mation does not include the Statement of Cash Flows or the Total operating support and revenues ,, , ,, , ,, ,, ,, ,, footnotes that are integral to a full presentation of the Collec- Cash and cash equivalents $ $ Operating expenses Contributions receivable , , tion’s financial position. A complete Report of the Independent Museum programs: , , Auditors is available by writing to the Development Office of Operations ,, , ,, ,, ,, Accrued interest and dividends , , , , The Frick Collection. Special exhibitions, concerts, and lectures Due from broker Bookstore, including cost of sales , , , , for securities sold , , ,, , ,,  , ,, Other current assets , , Total museum programs , Inventory , , Note (): Measure of Operations Library programs: Investments, at market:  , ,  ,  ,  , ,, ,, The Collection includes in its definition of operations all rev- Operations , , , , Museum enues and expenses that are an integral part of its programs and Special programs , , , , Library ,, ,, supporting activities. The measure of operations includes invest-  , ,  ,  ,  , Fixed assets, at cost: Total library programs , , , , ment income equal to the % spending rate (see Note () below), ,, ,, ,, , ,, ,,  , Museum and excludes, investment return in excess of the % spending Total Programs , Library ,, , rate, changes in net assets relating to collection items, and unre- Supporting services: Prepaid pension cost , ,  , , ,, ,,  , stricted contributions designated by the Board for long-term General and administrative , , ______Fundraising , , , , investment. Total assets $ ,, $ ,, Total supporting services ,, , ,, ,, ,, ______Note (): Spending rate Total operating expenses ,, , ,, ,, ,, The Frick Collection’s investments are pooled to facilitate their Excess (deficiency) of operating support and Liabilities and Net Assets management. The Collection manages its pooled investments on revenues over operating expenses ,, , ,, , ,, , a total return basis. To preserve the investments’ long-term pur- Accounts payable Nonoperating support and revenues  , ,, chasing power, the Collection makes available to be spent each ,, ,, ,, ,, , and accrued expenses $ , $  Contributions designated for future use Due to broker for year % of the investment portfolio’s average market value for Net investment return designated for long-term investment ,, ,, , ,, ,, securities purchased , the twelve quarters ending the September prior to the beginning of the year, net of investment and custodial fees (the “spending Net assets released from restrictions: Accrued post-retirement health Passage of time , , (,) and other benefits ,, ,, rate”). ______Total nonoperating support and revenue ,, ,, (,) ,, ,, ,, Total liabilities ,, ,, Change in net assets related to collection Net assets items not capitalized: Proceeds from sale of art , Unrestricted ,, ,, Temporarily restricted ,, ,, Change in net assets ,, ,, ,, , ,, ,, ,, Permanently restricted ,, ,, ______Net assets, beginning of year $ ,, $,, $,, $ ,, $ ,, $ ,, ,, Net assets, end of year $ ,, $ ,, $ ,, $ ,, $ ,, $ ,, $ ,, Total net assets ,, ,, ______Total liabilities See accompanying notes. and net assets $ ,, $ ,, ______

  Daniel Vincent Ken Buhler (p.t.) Lance Hartman Book Department James Mitchell The Frick Collection Associate Manager of Development William Irvine Carmela Infantino Assistant Reference Librarian  Bernadette Morrell (p.t.) Devaindranauth Jamunaprasad Deborah Kempe Staff during Julia Staples Antonio Petracca (p.t.) Herve Jean-Baptiste Chief, Collections Management & Access Teresa Moyer Administrative Assistant (p.t.) Maintainers Jacque Jean-Baptiste Reference Assistant Billy Jean-Elysee Mark Bresnan Samuel Sachs II Edwin Fahnbullen Pierre Jean-Francois Head, Bibliographic Records Ian Titus Director Public Program Department Cleaning Supervisor Yvon Joseph Manager of Pages Valentina Kekovic Patricia Siska Rebecca Rex Joyce Bodig Ildefonso Arriaga Joseph Levasseur Paul Schuchman Anthony Redding Assistant to Director/Coordinator of Individual Giving Coordinator of Concerts and Special Events John Benson Roko Ljucovic Associate Catalogers Lorenzo de Los Angeles Marie Brann Jame LoBosco Senior Pages/Technicians Carmen Calderon Jean Mayard Amy Gale Administration & Finance Department Sales and Information Department Daniel Campbell Hugh McMorris Assistant Cataloger Charles Basman (p.t.) Soeurette Etienne Riviere Moreau Darlene Louis (p.t.) Robert Goldsmith Katherine Gerlough Antoine Labossiere Roberto Nerius Rodica Preda Ramona Medicine-Crow (p.t.) Deputy Director for Administration Manager of Sales and Information Berthie Lazare Fernando Perez Coordinator (Retrospective Conversion Project) Mark Schmidt (p.t.) Winston McLeod Shivekarran Tillack Reginald Oleus (p.t.) Martha Hackley Meglena Zapreva-Kirkbride Louisa Moreau Guards Linda Phillips (Acquisitions) Pages/Technicians Executive Assistant Assistant Manager Fritz Pierre Jesse Sadia (Auction Sale Catalogs) Cleaners Amy Schwarz (Periodicals) Information Systems Department Diane Oatman Scott Altman Cataloging Associates Payroll/Benefit Coordinator Muriel Balash José Antonio Huebe Frick Art Reference (Institution-wide) Janice Dugan Kitchen Manager Christina Hostetter (Retrospective Conversion Project) Floyd Sweeting Michael Paccione Barbara Feldkamp Lotte Falkenberg (p.t.) Library Staff Head, Information Systems Controller Coral Groh Konstantin Pagi Cataloging Assistants Ann Jaffe Assistant Kitchen Manager  Brian Nichols William Traylor Nancy McGeorge during Christina Peter Manager, Information Technology Accounting Coordinator Laurie-Ann Porstner Theana Bernadotte Elizabeth Duffy (p.t.) Ava Robinson Immacula Cadet Acquisitions Assistants Allison Ruddock Conceptia Saintil Patricia Barnett Vivian Gill Andrew W. Mellon Librarian Manager, Digital Information Curatorial Department Monica Sands Kitchen Assistants Sheila Strasser (p.t.) Melissa Schaefer Research Assistant Edgar Munhall Susan Tabor Ada Musheyeva Library Administration Department Network & PC Support Assistant Curator Marcia Weller Horticulture Division Urania Wills (p.t.) Sales and Information Staff (p.t.) Clerk Susan Grace Galassi Karl Galen Lee Lydia Dufour Georgiy Bangiyev (p.t.) Associate Curator Horticultural Designer Head, Public Services Administration Technical Support Assistant Building & Security Department Photoarchive Department Richard di Liberto Mary Ann E. Kelly Photographer Dennis Sweeney Security Division Assistant to the Chief Librarian/Coordinator for Library Archives & Records Management Department Administration Inge Reist Manager of Buildings and Security Chief, Collections Development & Research (Institution-wide) Joseph Focarino Neil Oatman Editor Meryl Magid Head of Security Claire Halbardier Kerry Sullivan Sally Brazil (p.t.) Assistant to Manager of Buildings and Security Manager of Reception Services Head, Photographic Records Archivist Amy Herman Daniel Charles Education Coordinator Lieutenant Carol Yoshimura Library Assistant for Public Services Sandra Munoz Susan Chore (p.t.) Maintenance & Engineering Division Julie Shean Archives Assistant Sveteslao Hlopoff Willie Bryant Associate Photoarchivists Conservator for Objects Joseph Corsello Digna Delance Eddie Jones (p.t.) Chief Engineer Edward Peana Jordan Zweifler (p.t.) Receptionists Paul Crenshaw Note: (p.t.) indicates part-time William Stout Sergeants Lora Rempel (Luce Project) Registrar Colm McCormac Conservation Department Dorothy Devenny (p.t.) Assistant Chief Engineer Armando Lopez Rita Havivi (p.t.) Ashley Thomas Delroy Slater Don Swanson Ellen Prokop (p.t.) Educational-Liaison (p.t.) Vladimir Keylin Supervisors Assistant Photoarchivists John Kowalski Chief, Collections Preservation Harold Millin Adrienne Auguste Kristin Callahan Development Department Thomas Puglia Kolja Berisaj Jerilyn Davis Associate Conservator Erika Jungman (p.t. Luce Project) Mikhail Shusterman Pierre Bernadotte Valeria Kondratiev (p.t.) Martin Duus Joseph Turton Gloria Blanc-Jaiteh Photoarchive Assistants Manager of Development Engineers Thomas Butler Rhonda Rouget Dora Castro Kelly Piotrowski Lucy Roche Neil Abreu Thomas DeMaria Conservation Associates Reference Department Development Associate Wilfred Maldonado Lesly Desmangles Electricians Borgia Espinal Lisa Jensen (p.t.) Anthony Thompson (p.t.) Irene Avens Heidi Rosenau Wesne Fils-Aime Head, Reference Services Communications Officer Brian A. Anderson Gyamfi Frempong Conservation Assistants Senior Galleries Technician Mara Gjelaj Molly Grace-McCarthy (p.t.) Ana Gutierrez Clerk Martha Hall   Copyright ©  The Frick Collection  East Seventieth Street New York, NY 

Publication Coordinator: Martin Duus Project Editor: Nancy Preu Design: The Oliphant Press Printer: Thames Printing

Photography Richard di Liberto: pp. , , ,  (upper), , , , , , , , ,  Nina Roberts: pp. , , ,  © National Gallery, London: p.  Engelbert Seehuber, Munich: p.  ©  American Federation of the Arts: p.  © The Hispanic Society of America: p.  © Board of Trustees, National Gallery of Art, Washington, Widener Collection: p.  (lower) Christine Butler: pp. ,  Ashley Thomas: p.  © Sigrid Estrada: p.  Chris Lee: p.  ©  Jonathan Wallen, photographer: p.  Andrea Brizzi: p. 

Front Cover The Living Hall, one of the most popular galleries with the nearly , visitors who tour The Frick Collection annually, as captured in a recent photo- graph by staff photographer Richard di Liberto.

Back Cover The Living Hall in a transitional state in , while the Frick family home was being transformed into a museum. This photograph is one of a series of doc- umentary photographs taken between  and  by Alfred Cook, butler to Miss Helen Clay Frick, daughter of Henry Clay Frick and, herself, the founder of the Frick Art Reference Library. 