The Frick Collection Members’ Magazine Fall 2004 / 2003 Annual Report

Upcoming Exhibition European Bronzes from the Quentin Collection page 2

Permanent Collection A Gilded Age Studiolo: The Enamels Room in The Frick Collection page 6

Collection News Raphael’s Fornarina on Loan from the Palazzo Barberini in Rome page 10

Education Frick Awards Prize to Student Essayist for Excellence in Writing page 11

Library Artist Sketchbooks and Facsimiles Provide Glimpse into Artistic Process page 12

Community Programs and Member Events: Art Dealers Breakfast, Dialogues on Art, Spring Party page 14

Table of Contents The Frick Collection 2003 Annual Report page 16

Fall Calendar Lectures, Concerts, Museum Shop page 40

on our cover: Jean de Court (Master I. C.), detail of The Adoration of the Shepherds, c. 1555–85, enamel plaque, The Frick Collection

photograph by richard di liberto upcoming exhibition European Bronzes from the Quentin Collection

September 28 through January 2, 2005

he Frick Collection is pleased to have as its visitors can appreciate the union of T special fall exhibition European Bronzes naturalistic illusion and technical artistry from the Quentin Collection, the first public that is the hallmark of the greatest figura- presentation of a distinguished private tive statuettes. Most of the sculptures are collection devoted to the art of the six- shown freestanding and without vitrines. teenth- through eighteenth-century In the instance of Giambologna’s Striding statuette. The almost forty sculp- Mars (opposite page), this freedom of view- tures, primarily in bronze with point allows us to experience how the late some in terracotta or precious sixteenth-century master used the expres- metal, have been discriminat- sive logic of pose to identify the god of war ingly assembled over the last with martial readiness. twenty-five years. Many, like His eyes fixed on the enemy, Mars halts Giambologna’s Sleeping Nymph his stride, exploiting the force of arrested and Striding Mars, are outstanding motion to swing his body and sword arm little-known examples of famous composi- backward in preparation for attack. His free tions. Other masterpieces, like the mysterious arm sweeps forward to balance his rotating Allegorical Deity Seated on Grotesques, are new movement, his hand frozen at the instant it discoveries exhibited here for the first time. most resembles a gesture of command. By The Quentin Collection contains some of the depicting Mars ready to strike, Giambologna best examples by generations of European celebrates the power and resolve leaders master sculptors who were challenged by needed to wage war, or to prevent it. Late the creative potential of the human form. Renaissance rulers appreciated this ennobling The compositional inventiveness, tech- message, and the Striding Mars became a nical refinement, and sheer quality of featured addition to their collections. No these sculptures endow the collection less coveted by princes and kings for its with its particular character. The masterful artistry, Giambologna’s Mars exhibition’s gathering of power- displays the sculptor’s ability to depict the ful, elegantly idealized nudes subtle movements of muscles bunching provides a focused under skin, of eyes tightening in concen- introduction to the tration, of lips parting to draw breath. This pleasures offered by virtuoso combination of illusionism and the bronze statuette. technique is even more astonishing when At the Frick the one considers that the Mars is only about Quentin Collection fifteen inches tall. sculptures will be The Mars’s focused compression is typical displayed so that of statuettes, for these small works were

Hercules and Antaeus, probably northern Italy, 1500–25,bronze on late Renaissance base of painted wood. All works illustrated are from the Quentin Collection.

2 The Frick Collection upcoming exhibition

Like the Allegorical Deity, left: Giambologna (1529–1608), Sleeping Nymph, each small bronze was made bronze modeled before 1584 to evoke multiple associations that captivated the rulers and below: Giambologna, overall and detail of Striding Mars, wealthy educated classes who bronze modeled between late 1560s and early collected them. The more 1570s and cast before 1577, probably by Fra Domenico Portigiani we know about this history, the richer our understand- ments, miraculously restored, into the hands intended to delight and engage their audi- ing of this art form becomes. During the of his patrons. The sculptor also masterfully ence over countless viewings. Such is the case Renaissance collectors and sculptors often exploited his medium, using the metal’s of the Allegorical Deity Seated on Grotesques looked to classical antiquity for inspiration. inherent tensile strength to mimic Hercules’ (page 4, top), sometimes attributed to the The anonymous early sixteenth-century strength: as the hero hoists Antaeus into the Dutch sculptor Adrian de Vries. Although northern Italian master of the Hercules and air, the giant’s legs dangle without the strutted the subject of this complex group has thus Antaeus (page 2) based his composition on supports required by the original marble. far remained a mystery, it is likely that the an over-life-size classical marble fragment, The composition’s angular geometry and the deity who sits astride bat-winged monsters then known (even in its ruined state) figures’ blocky, flexed muscles cleverly represents Saturn, one of the four planetary as “the most beautiful statue in echo the group’s marble origins and gods in Renaissance depictions of the cosmos. Rome.” By imaginatively recon- remind us that bronze is a molten In this role, Saturn was associated with structing the monumental, medium that can take almost aspects from other universal quaternary fragmentary marble in any form, its protean char- groups: from the four elements, earth; from small-scale bronze, the acter limited chiefly the seasons, autumn; from the times of day, sculptor rivaled the by the artist’s ability twilight; from the ages of man, maturity; and greatest achievements to manipulate it. from the temperaments, melancholy. As of the past and literally Renaissance Saturn, the Allegorical Deity is depicted as placed those achieve- statuettes often the lord of twilight, carried through the were displayed in heavens by bat-winged creatures symbolic the more private con- of that time of day. He is seated on ripened fines of the collec- fruit and holds leaf-studded branches to tor’s house or palace, signify that he rules autumn, the harvest sea- where they were son. His robust body and bearded face are occasionally placed signs of maturity, the penultimate stage of on tables so that life, and his introverted expression conveys they could be his state of melancholy. The Allegorical Deity’s encompassing conceptual elegance attests to the inspired efforts of sculptors who, like all Renaissance artists, believed their creative powers were engendered under Saturn’s influence. upcoming exhibition

turned, touched, and held. This intimate the power to awaken this Sleeping Nymph relationship between viewer and object from dreamlike repose. inspired sculptors. Sometime before 1584 Baroque statuettes, like Giambologna crafted the smooth, lacquered Francesco Fanelli’s Mercury surfaces of the voluptuous Sleeping Nymph and Cupid (below) were (page 3, top) to beguile the viewer’s sense often larger than their of touch as well as sight. Giambologna’s Renaissance counterparts. sensual conception springs from the At almost three feet tall, the sixteenth-century interest in the Mercury and Cupid’s size and dramatic, elevated and isolated on a pedestal, the sleeping female figure. In Venice the sweeping forms were meant to Mercury and Cupid would have engaged subject was popularized by a woodcut harmonize with grand public viewers with a directness impossible for image of a sleeping nymph spaces, like the picture gal- paintings. Fanelli creates his narrative with from the book The Dream of leries typical of the seven- the dramatic compression typical of sculp- Poliphilus and was echoed in teenth century. The sculpture’s ture. The composition’s graceful torsion the paintings of Giorgione. In subject is drawn from Apuleius’ invites viewers to walk round the work and Rome a monumental classical tale of the star-crossed lovers unfold the tale. marble statue of the sleeping Cupid and Psyche and illustrates The sculptor’s concise language of Ariadne represented this para- Mercury about to proclaim that pose and gesture is movingly expressed by digm, and Giambologna’s Nymph Psyche must be returned to Massimiliano Soldani’s Pietà (page 5). Made adopts the languid pose of that the bondage of Cupid’s jeal- during the early eighteenth century when famous antiquity. In Florence, home ous mother, Venus. Fanelli Soldani was a master medalist to the of Giambologna and his Medici depicts the winged god with Florentine grand dukes, the Pietà is one of patrons, the subject was identified with his messenger’s trumpet in the latest works in the Quentin Collection Michelangelo’s celebrated monumental hand, poised at the instant of and one of the few in terracotta (fired marble sculpture of Night. Florentine flight on cloudy winds that clay). Soldani’s dead Christ with mourning writers praised Michelangelo for per- loft him skywards. The little angels is a compianto, an image intended fectly capturing Night’s sleep, Cupid clutching Mercury’s leg for use during the Catholic devotions, noting that her viewers appears heavy by contrast, as he which aroused compassionate empathy for remained silent, lest their wields his weight like a ballast stone the Savior’s passion and death. Christ’s voices wake her from stony in a desperate attempt to halt the fate- body is gently elevated toward the viewer, slumber. Giambologna’s ful departure. Cupid merely earns exposing the bloody lance wound at his Nymph wittily plays, instead, Mercury’s backward glance, and the side. The crown of thorns and nails lie on on the relationship between lovers’ cruel separation is sealed by the the stony ground below. Beside them, clos- touch and the bronze stat- messenger god’s elegant, inexorable est to the viewer’s gaze, Christ’s riven hand uette. Though sound ascent. Fanelli’s complex storytelling, opens in lifeless supplication. The sorrowful might not rouse her, which was rare in earlier statuettes, angels, who lovingly gaze at the Savior’s face touch—the sense she derives from the pictorial tradi- and kiss his wounds, were meant to serve most provocatively tion and challenges it. Displayed as exempla for the devotee as he knelt before invites—could have at the center of a picture gallery, this image in private contemplation. The

4 The Frick Collection upcoming exhibition

loose, masterful freedom with which hallmarks of the memorably beautiful Patricia Wengraf, sculpture dealer. The Soldani modeled the wet clay tempers the sculptures in the Quentin Collection.— lavishly illustrated catalogue introduces harrowing subject and endows the sculp- Denise Allen, Associate Curator many previously unknown sculptures and ture with a hushed, graceful lyricism that contains new research and technical data. It inspires meditation. In Soldani’s hands, is available in the Museum Shop. the Pietà is rendered compellingly beautiful. Presentation of European Bronzes from the Many larger and more complex versions Quentin Collection is made possible, in part, opposite page, top: Attributed to Adrian de Vries (c. 1556–1626) that include the Virgin accompanied by through the generosity of The Quentin or to an anonymous European master, numerous angels were produced by Foundation with additional support from Allegorical Deity Seated on Grotesques,c.1600,bronze

Soldani both in terracotta and bronze, and the Fellows of The Frick Collection. The opposite page, bottom: in porcelain after his death. The Quentin exhibition is accompanied by a scholarly Francesco Fanelli (1577–after 1657?), Mercury and Cupid, early seventeenth century, bronze Pietà, however, is the only surviving ver- catalogue co-authored by Manfred Leithe- sion of this composition by Soldani in any Jasper, Director Emeritus, Department of below: medium. The Pietà’s rarity, refinement, Sculpture and Decorative Arts at the Massimiliano Soldani-Benzi (1656–1740), Pietà with Two Putti, probably 1715, terracotta and distilled emotional intensity stand as Kunsthistorisches Museum Vienna, and on original ebony base

Members’ Magazine Fall 2004 5 permanent collection A Gilded Age Studiolo: The Enamels Room in The Frick Collection

n April 1916, legendary art dealer Joseph And what was the Enamels Room before the I Duveen invited Mrs. Henry Clay Frick purchase of the enamels? These questions to accompany him to The Metropolitan were raised during the 2003 refurbishment Museum of Art to see the exhibition of the of the room. The resources of The Frick late J. P. Morgan’s renowned collection. Collection archives, The Morgan Library, Following intense speculation about the and The Metropolitan Museum of Art’s fate of this collection, Morgan’s heirs had Duveen Brothers archives provide some decided to sell most of the objects to cover answers and offer a fascinating glimpse inheritance taxes. Duveen bought a number into Gilded Age collecting and display. of pieces, and he was anxious to facilitate The enamels prized by Frick were a sale to the Frick family. His note to Mrs. produced in Limoges, France, in the late Frick specifically suggested looking at fifteenth through the early seventeenth “Limoges, Bronzes, and Majolica,” and century. These so-called painted enamels indeed within two months, Henry Clay Frick were made by applying liquid glass to a purchased a magnificent group of Limoges copper plate and then firing it, often enamels and bronze sculptures. How were repeatedly, to create multiple layers. Pieces the enamel to create a shimmering irides- these objects selected, by whom, and how were frequently enriched with gilding, and cence, as in the Muses’ garments in the platter were they displayed in the Frick house? sometimes colored foils were used under at right. Masterpieces of this medium were specially commissioned by church digni- richard di liberto taries, nobles, and even French monarchs, while lesser-quality enamels were produced in multiples for sale to patrons of more modest means. The Frick’s extraordinary plaque by Léonard Limousin, left, is a unique work commissioned by the noble Guise family, in which militant Catholics are depicted crushing Protestant heretics. Though we are accustomed to seeing many types of enameled objects displayed together as objets de vertu, these pieces originally served many different functions. Triptychs with religious scenes were portable

above: Léonard Limousin, presumed portrait of Antoine de Bourbon, King of Navarre,c.1560–77, enamel plaque. All objects illustrated are in The Frick Collection.

left: Léonard Limousin, Triumph of the Eucharist and of the Catholic Faith,c.1561, enamel plaque

6 The Frick Collection permanent collection

devotional works for the homes of peri- augment their collections. The first Morgan Frick that he had been given first choice. Of patetic Renaissance nobles and clergy. objects Frick bought were Chinese porce- course, the dealer was infamous for playing Lavish tableware—including ewers, bowls, lains and furniture in March 1915. That sale his clients off one another, but it turns out and platters—was displayed, rather than was made through Joseph Duveen, whom that Frick did procure the prize enamels used, on elegant credenzas, while jewel-like Frick would later accuse of letting a few from Morgan’s collection. In Duveen’s sale enamel portraits offered a virtuoso way of choice porcelains be sold by his partner, records, Frick’s enamel purchase was the recording a subject’s likeness, such as the “Uncle Henry” Duveen. Thus in May 1916, first and by far the largest, both in number snapshot-sized portrait at left. Some enamels when Frick was finalizing the selection of of enamels and the value of the pieces. Frick were set into wall panels and doors, as in Morgan enamels and bronzes he wished bought forty enamels totaling $1,157,500— one royal suite designed for Catherine de’ to purchase, he sent Duveen a stinging an extraordinary sum, nearly as much as Medici in the Hôtel de la Reine in Paris. missive warning, “The essence of our the cost of the panels and furnishings of the Interest in these enamels revived during understanding . . . was, I was to have all of Fragonard Room, assembled that same year. the nineteenth-century Romantic movement the finest bronzes or limoges in the collec- Documents reveal that Frick was no in France, with its emphasis on medieval and tions purchased by you from the Estate simple “checkbook collector” in this Renaissance history and the arts. Several ofJ.P.Morgan....I do not want to have affair. Frick’s correspondence details the legendary collectors in Paris—including another experience like I had with the astonishing array of objects he was offered; Prince Soltykoff, Frédéric Spitzer, and the porcelains, and have Uncle Henry slip in those pieces he considered buying were Rothschilds—amassed large collections of and select a few of the finest for one of his brought to the house on approval, Renaissance decorative arts, including customers.” Duveen strenuously assured where the selection was further winnowed. enamels. Since most French Limoges enamels Duveen’s sale records provide an interest- originally were intended for domestic ing example of Frick’s selectivity; display, it seems fitting that, Frick bought a subset of the centuries later, they again rich, jewel-colored pieces were shown in the grand- from Morgan’s col- est domestic interiors; lection, leaving the so-called goût behind all of the Rothschild would two-toned gri- be influential for saille enamels. Gilded Age col- Many of these lectors in America, grisailles were such as Morgan, later acquired and later Henry by Walters and Walters, William Hearst and are Randolph Hearst, now in the Walters and Frick. Art Museum in Balti- The dispersal of the more and the Los Angeles late J. P. Morgan’s extraordi- nary holdings was an unparalleled Martial Reymond, Apollo and the Muses, opportunity for Frick and others to late sixteenth century, enamel dish

Members’ Magazine Fall 2004 7 permanent collection

alfred cook

County Museum of Art. Future research 1914, composed shortly after he moved into on these and other collectors may reveal the house; Frick complained to Charles more about the appreciation of Limoges Allom, the noted London interior designer enamels at this time. Whether Frick’s who did most of the ground-floor interiors, choices reflected his personal taste is not that many building details remained clear; Duveen’s letter to Mrs. Frick raises unfinished, including some in the room the intriguing possibility that she played a from which he was writing, “the office in role in choosing decorative arts, and it is the rear of the art gallery.” also possible that the Fricks’ daughter Helen The opportunity to design this space richard di liberto or another adviser was involved. for Mr. Frick had engendered some rivalry. From the time the enamels were brought The celebrated decorator Elsie de Wolfe, and frieze. Documents reveal that he made to the Frick house on approval in May 1916, who designed most of the family quarters simplifications to the ornament in several they have been displayed in the same small upstairs, lobbied Frick to let her handle rooms in order to focus attention on the room at the far end of the West Gallery, some of the first floor as well—including collection, perhaps at Frick’s instigation. now called the Enamels Room. Originally, his office. In a postscript to one of her The result of this collaboration between this intimate, paneled gallery served as a chatty notes, she implored, “Oh, how I architect, designer, and patron was a room private office for Henry Clay Frick. On early wish things could work round so that I much as we see it today, with a monochro- plans, it is alternatively designated “Mr. could do your room at the end of the matic decorative plaster ceiling and oak Frick’s Room” (see plan above) or his office. gallery. I’ve such a wonderful scheme for paneling. The silver chandeliers designed by Frick wrote some of his correspondence this room. Alas, alas!” There is no trace of Allom still hang there, and the green velvet there, as we know from a letter of November what her scheme might have been, and the draperies and plain green wool carpet, though responsibility was given to Allom. The modern replacements, echo the original clockwise from above: concept for the interior actually came fittings. The room originally had French Schematic based on Thomas Hastings’s 1913 blueprint for 1 East Seventieth Street. This detail of the north- from architect Thomas Hastings, who pro- doors overlooking Seventy-first Street, as well west corner of the ground floor shows “Mr. Frick’s posed to Allom that “It might be well to get as a third window in the center of the Fifth Room,” which is today the Enamels Room. old panels....We would suggest decor- Avenue wall. (These openings, now blinded, Photograph of the Enamels Room c. 1931, ating the frieze and ceiling in polychrome are still visible on the building’s exterior.) looking north, showing the 1917 display cases. similar to that in Knole Park, Kent.”Allom, Thus, with its original windows, this now

Photograph of present-day Enamels Room, who deplored “aggressive ornamentation” dark room was once flooded with daylight. looking north. in the house, vetoed the colorful ceiling The paneling on the south wall concealed

8 The Frick Collection permanent collection

richard di liberto

two tiny lavatories—one just big enough to the house on an adjacent site on Seventy- for a sink, the other for a toilet—flanking first Street. Though this plan never advanced double glass doors that led to the garden. beyond the design stage, it is possible that the Whether Frick entered his office through the conversion of Frick’s office into a gallery was garden or the West Gallery, it was a private part of a grand plan to convert the north end sanctuary, at the end of a long ambulatory. of the house into galleries that could be Although this room originally served as opened to the public through the Seventy- Frick’s office, Allom referred to it as the “Small first Street entrance, which had been used Gallery” as early as March 1913. Interestingly, to admit select visitors during Frick’s lifetime. at this time Frick didn’t own any appropri- In March 1917 the “Limoges Room” was ately scaled paintings or objects to fill the remodeled to display the enamels. The French room, but perhaps the intent was to collect doors on the north wall were removed, and them. Renaissance princes often had a tiny carved-oak, mirrored cases were built into the room in the most private part of their palaces, north and west walls to house them. The above: where they retreated for quiet study and kept French Renaissance furniture shown in the Jean de Court (Master I. C.), The Adoration of the Shepherds,c.1555–85, enamel plaque precious objects that they showed to select 1931 photo on page 8 was probably added at guests. (The intarsiated studiolo from the that time. The room was altered again in 1935 below: Workshop of Pierre or Jean Reymond, The Gathering Ducal Palace in Gubbio in The Metropolitan during the conversion of the house into a of Manna; The Destruction of Pharaoh’s Host, late Museum of Art is one such example.) Perhaps museum. The lavatories and the doors to the sixteenth century, enamel ewer Frick’s architects originally envisioned such garden portico were removed, and the central a princely retreat, updated to combine a window on the west wall was closed, probably different aspects of The Frick Collection’s private office and gallery for a wealthy to provide additional display space rich holdings of Renaissance decorative industrialist collector. for the growing collection arts; currently, a selection of Limoges The acquisition of the of Italian Renaissance paint- enamels is shown together with bronzes, Limoges enamels and bronzes ings. Architect John Russell St. Porchaire pottery, and clocks. The sparer in May 1916 evidently prompted Pope designed bronze-framed installation encourages viewers to focus on Frick to convert this room into a vitrines, which remain in individual pieces and see them on a par with full-fledged exhibition space. He place today. paintings, as Renaissance patrons would moved his office into a recep- The room’s 2003 refur- have perceived them. The juxtaposition of tion room at the other end bishment included the first different media recalls the collections in a of the West Gallery (on the major reinstallation of the princely studiolo or the Rothschild homes. site of the present-day Oval enamels in several decades. The Although some questions remain about Room); by late May 1916, interiors of Pope’s cases were Frick’s intentions for the enamels and this Frick referred to his office redesigned to provide increased room, by considering the relation between and the “Limoges Room” as flexibility when displaying small- these objects and the building that houses two separate places. Around scale objects, and fiber-optic light- them, we can better understand the unique this time, he was talking to ing was added, as were temperature synthesis that makes The Frick Collection Hastings about designs for a new and humidity barriers. A series of so special.—Yvonne Elet, Andrew W. Mellon sculpture gallery to be added future installations will focus on Curatorial Fellow

Members’ Magazine Fall 2004 9 collection news Raphael’s Fornarina on Loan from the Palazzo Barberini in Rome

umptuous and enigmatic, Raphael’s interpretations and vari- S Fornarina stands out among the ations by artists from painter’s works for its virtuoso depiction Raphael’s contemporaries of a nude sitter and the diaphanous mate- to Picasso. The ambiguity rial she holds. The Frick Collection is of expression that under- pleased to announce that the celebrated scores La Fornarina’s painting, which comes to New York from charm also has provoked the National Gallery of Art at the Palazzo comparisons to Leonardo Barberini in Rome and has never before da Vinci’s Mona Lisa. been exhibited in the United States, will be If certain sources about on display in the Oval Room from Raphael and his beauti- December 2 through January 30, 2005. ful mistress are to be Painted around 1520 by Raphael—an believed, his obsession artist renowned for his mastery of female with her may have led beauty—La Fornarina is at once an idealized both to the genesis of likeness of the unknown woman and an ode this work and to the to her goddess-like grace. The portrait’s artist’s untimely demise three-quarter-length format is typical of at the age of thirty- Renaissance portraiture, while the placement seven. (Recent conser- of the sitter’s arms recalls the Venus pudica vation studies, in fact, (modest Venus) seen in classical sculpture. reveal that the painting This pose draws attention to the parts of was left unfinished at her body she ostensibly attempts to conceal, the time of his death.) intimating both innocence and seduction. In 1550 Giorgio Vasari The ribbon tied around La Fornarina’s wrote in his famous Lives left arm prominently displays the name of the Artists that “Raphael could not give The presentation of La Fornarina at The “Raphael of Urbino,” marking both the his mind to his work because of his infatua- Frick Collection is made possible, in part, work of art and the woman as possessions of tion for his mistress,” further claiming that through the generosity of Hester Diamond, the artist. This proprietary signature the artist’s sexual exploits caused the fever with additional support from the Fellows of coupled with the painting’s extraordinary that killed him. Vasari’s account attests to The Frick Collection. The loan will be sensuousness led to the long-held belief that the power beautiful women had over Raphael, accompanied by an illustrated booklet by the model had been Raphael’s lover and a power undeniably expressed in his portrayal Dr. Claudio Strinati, Superintendent of the muse. She was traditionally identified as of La Fornarina. Though her name and National Museums of Rome. Following its Margherita Luti, the daughter of Francesco the details of her relationship with the artist presentation at the Frick, the work will Senese, a baker (fornaio) from Siena, though will never be known, Raphael’s brilliant travel to the Museum of Fine Arts, Houston, this conjecture is far from certain. But the communication of her irresistible allure and the Indianapolis Museum of Art. unknown “little baker girl” and her mythic ensures that the woman herself will never be romance with Raphael hold a special place forgotten.—Holly Flora, Andrew W. Mellon Raphael Sanzio (1483–1520), La Fornarina, c. 1520, in the history of art; she has inspired Curatorial Fellow National Gallery of Art, Palazzo Barberini, Rome

10 The Frick Collection education Frick Awards Prize to Student Essayist for Excellence in Writing

n collaboration with ten public high I schools throughout the five boroughs, the Education Department inaugurated a The Harbor of Dieppe writing program emphasizing the connection between the visual arts and literacy, which Day after day, time passes, time changes yelling. For one reason: they won’t let the culminated in an essay contest held last spring. everything in the world, and the only person who needs to leave go. The Collection awarded a five-hundred-dollar thing left is the emotion between family I will never forget this dusk; it is a prize to junior Qian Qian Zhao, an English- and friends. The sun has almost set. I’m turning point in my life, and I can’t control as-a-second-language student at Seward Park going to live far away from my hometown, my emotions to remain calm. All the High School on the Lower East Side. going to study abroad to create my own people who are leaving have different Originally from China, Zhao was inspired future. It’s the first time I will leave my situations, different backgrounds. Maybe by Turner’s Harbor of Dieppe to write about family so my mood is very excited, my some of them are moving to another city the experience of leaving her parents three heart is a contradiction. to make a better life. Others are going years ago to come to the United States. On the pier, people stand to give a off to war. Maybe they will come back The Frick Collection is grateful to the send-off to their relatives and friends. The in a short time, or maybe they won’t Michael Tuch Foundation for generously surface of the water is peaceful and quiet, come back at all. funding this program.—Meredith Watson, but the sounds of the people are heard Those who come to see their relatives Education Liaison very loudly. They are talking, crying, and off all worry about their safety, urging them again and again to take care. The time passes quickly. Everyone wants to hold on to this time, a beautiful dusk, but we feel sick at heart. I wish the earth could stop its rotation, the sun could stop richard di liberto richard setting, stay for a while, let us speak something more, even though we have nothing important to say. It’s time to leave. I say goodbye to my parents, try to make them feel at ease. I promise them I will be back as soon as possible; I promise myself I will make the glory to return home to repay my parents’ sacrifice. Let this dusk be full of delight, not regret.—Qian Qian Zhao

J. M. W. Turner, The Harbor of Dieppe, 1826, oil on canvas, The Frick Collection. The painting inspired the winning entry (above) in the Education Department’s first essay contest.

Members’ Magazine Fall 2004 11 library Artist Sketchbooks and Facsimiles Provide Glimpse into Artistic Process

lthough twenty-first-century librarians and, for scholars, they play a A routinely rely on electronic resources, crucial role in illuminating most would confess to retaining a fondness the artist’s working methods. for the book. In particular, there is little that They also can help resolve matches the thrill of holding in one’s hand an questions of attribution or artist’s sketchbook. Such volumes are usually authenticity. small (for portability) and show the artist’s Among the Library’s mind in an unvarnished (literally) state. The collection of original sketch- Frick Art Reference Library is fortunate to books are those by nineteenth- have a small collection of original notebooks and early twentieth-century and sketchbooks, a somewhat larger collec- painters John Appleton tion of facsimile sketchbooks, and a trove of Brown, William E. Clarke, publications that celebrate the genre. Leon Dabo, Joseph Knowles, Sketchbooks are where works of art are and Moses B. Russell. Joseph born. They contain preliminary studies that Knowles of Boston was infa- may or may not result in finished paintings, mous in his day for plunging naked into the Maine woods intent on surviving by his wits alone, but the two sketch- books the Library holds show him to be an acute observer and faithful recorder of American flora and fauna. Brown was on firmest ground with alpine landscapes, and Russell was a talented por- traitist. One hopes that Clarke was a better organist (his day job) than draftsman, while Dabo’s city and country landscapes are richly Gutiérrez Solana, whose Cuadernos de Paris atmospheric. In each case, one comes away of 1937–38 were faithfully recreated down from the sketchbook feeling a close connec- to the spiral wire binding and newspaper above: tion with the artist. clippings that the artist pasted in to docu- This watercolor color chart by Thomas Sully To complement the original material in its ment the events and sights of Paris. The (1783–1872) is from a journal in longhand held by the Library, along with original pen sketches by the artist collection, the Library has a variety of facsim- Frick holds facsimiles of the sketchbooks of John Quincy Adams and the Marquis de Lafayette. ile editions of sketchbooks. In most cases, of some thirty artists, including Cézanne, top right: publishers go to great lengths to match their Gauguin, and Picasso. Picasso’s Carnet

The Library’s facsimile of Pablo Picasso’s Carnet de Paris 1 1 from 1900 is filled with rapid sketches of figures he facsimile to the original, as evidenced by the de Paris is a small (2⁄2 x 4⁄2 inches) volume encountered during his first visit to the City of Light. facsimile notebooks of Spanish artist José covered in red leather that dates from

12 The Frick Collection library

the painter’s first trip to Paris, which he made of Lutheran min- in 1900 with fellow painter Carles Casagemas. ister and traveler Jan It shows him working in a Nabi-like vein using Brandes (1743–1808), pencil, pastel, and watercolor. The Library a man who wasn’t a pro- also owns a facsimile of a Picasso sketchbook fessional artist but of 1907 that contains studies for his landmark rather an astute Demoiselles d’Avignon and shows him on the observer of brink of Cubism. events and Illustrated notebooks and correspondence scenes in colonial offer a particularly rich resource for fleshing Indonesia, Sri Lanka, out the biographical portrait of the artist. and southern Africa. Among the Library’s holdings are facsimile Recently the Library pur- libraries that own this set volumes of Édouard Manet’s Lettres illustrées, chased on microform a selection of film and is the sole New York– which provide an excellent example of the of fifteenth- through twentieth-century area repository. spontaneity and generosity with which the sketchbooks from the collection of the To find these and other similar mate- artist shared his talent with family and friends British Museum, including the works of Blake, rials, researchers can consult FRESCO, the through notes personalized by portraits, flower Constable, Dürer,Van Dyck, Fragonard, Gains- Frick Art Reference Library’s online catalog, bouquets, or, on Bastille Day 1880, by water- borough, Moore, Romney, Rubens, Turner, by keyword using the terms “notebooks” or color sketches of two crossed French flags. and Whistler, as well as many lesser-known “sketchbooks.”—Mark Francis Bresnan, Aside from original sketchbooks and artists. The Frick is one of only four American Head, Bibliographic Records facsimiles, the Library contains a growing col- lection of books and exhibition catalogues that document artists’ preliminary studies. Many focus on the work of amateurs or pro- fessional artists who are less well known. A 2004 publication in the Library’s col- lection, for instance, documents the sketches

top: This collection of facsimile sketchbooks are exact copies of the originals, down to the spiral binding, inserted newspaper clippings, and, in some cases, the ink that bleeds through the paper onto an adjoining page. right: The French marine painter Marin-Marie (1901–1987) lived on the Chausey Islands off the Normandy coast and claimed two solo crossings of the Atlantic. He was interested in “à tout ce qui flotte,” and his energetic pencil drawings such as the one illustrated at right from a 2002 facsimile are annotated with ships’ names and notes regarding colors.

Members’ Magazine Fall 2004 13 community Programs and Member Events: Art Dealers Breakfast, Dialogues on Art, Spring Party

all photographs by christine a. butler

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he Frick Collection is pleased to offer co-hosted with Knoedler & Company. This Party. Peter Duchin and his orchestra enter- T its members and the art community a year’s panel, moderated by Peter Sutton, tained more than five hundred guests, as did wide range of educational and social activi- director of the Bruce Museum of Arts and a jazz trio that played on the portico of the ties throughout the year. This past spring, the Science, discussed the role that auctions have Fifth Avenue Garden. In the Director’s Dining Library hosted three events: an open house played in the history of collecting and how Room, partygoers lined up to have instant to celebrate a decade of accomplishments in auction houses have adapted to the changing “vintage” photographs taken to commemo- programming and special projects; the ninth demands of a global art economy. rate the night’s festivities. annual Art Dealers Breakfast, held during the On May 10, Fellows and their friends For information about attending the International Fine Arts Fair; and the fifth gathered to enjoy an evening of champagne, upcoming Autumn Dinner this October 18, annual Dialogues on Art, a panel discussion dessert, and dancing at the annual Spring please call Sarah Milestone at (212) 547-6873.

14 The Frick Collection community

7 9

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1. Philip Isles and Emily T. Frick; Spring Party 2. Christine Scornavacca and Martha Loring; Spring Party 3. Helen Clay Chace and Peter and Bug Sutton; Dialogues on Art Reception 4. Mary Ellen Oldenburg, John Torson, and Joan Washburn; Dialogues on Art Reception 5. Robert Lindgren, Lisa and Philip Gorrivan, Victoria Lindgren, and Louise Schliemann; Spring Party 6. Patricia Barnett, Helen Clay Chace, and Elizabeth and Patrick Gerschel; Library Open House 7. Deirdre Stam, Patricia Barnett, and David Stam; Spring Party 8. Edgar Munhall and Charles Ryskamp; Library Open House 9. Jack and Cynthia Reese; Spring Party 10. Dick McIntosh, Tamara Glenny, Susan Galassi, and Michael Thomas; Dialogues on Art Reception 11. Alan Salz, François Lorenceau, Frances Beatty, Inge Reist, and Per Jensen; Art Dealers Breakfast 12. Anne and François Poulet; Spring Party 13. Stanley and Elizabeth Scott; Spring Party 14. Mimi Stafford, Jere Patterson, June Dyson, and William Davis; Spring Party 15. Natalie Brengle, J. Fife Symington, Jr., and Helen Clay Chace; Spring Party 16. Mary Lou and Nicholas Hall; Spring Party 17. Shawn Stevens, William Barnabus McHenry, Tom Gold, Alan Wintermute, and Bannon McHenry; Spring Party

Members’ Magazine Fall 2004 15 The Frick Collection 2003 Annual Report

report of the president of the board of trustees 18

report of the chief curator 20

report of the andrew w. mellon librarian 22

the frick collection salutes former director samuel sachs ii 24

notable 2003 library acquisitions 26

gifts and grants 27

fellows and friends of the frick collection 28

annual fund donors 33

corporate members 34

autumn dinner 34

financial statements 36

staff 38

16 The Frick Collection

Report of the President of the Board of Trustees Helen Clay Chace

christine a. butler and appreciation for this institution’s accomplishments during his tenure. On page 24 of this report you can read in greater detail about all that took place under his leadership. In October 2003 we welcomed Anne Litle Poulet as our seventh Director and the first woman to hold this position; she joins a small sisterhood that heads major muse- ums across this country. Anne comes to us after a distinguished career at the Museum of Fine Arts, Boston, where, for two decades, she was curator of the department of European decorative arts and sculpture, of which she is currently curator emerita. Her breadth of experience, her renowned scholarship and connoisseurship, and her enormous reservoir of enthusiasm are coa- lescing into a clear vision, which, in concert am pleased to report to The Frick with the Trustees, will judiciously guide I Collection’s donors, members, visitors, this institution through its continuing and and all of our colleagues about the progress promising evolution. Under Anne’s inspired we made during a very active 2003.Along leadership, there is an ever-brightening with its challenges, it was a period of future for the Frick. renewed vitality for us, for the city, and for Each Director brings his or her own the country’s cultural community as a experiences and perspective to the Collec- whole. We all have come to live with a tion, and such transitional moments help higher level of anxiety in these troubled us to see the institution in a new light, times, but many also have turned to insti- enriching our understanding of its enormous tutions such as ours, where the historic and strengths as well as increasing the range of aesthetic experience provides a sense of the opportunities to build on the achievements enduring cultural values we hold so dear. of the past. We are on the threshold of such Places like The Frick Collection are more a time. With the close of 2003, we look back treasured than ever, for all the extraordi- on our accomplishments with great satis- nary reasons that are recounted for you in faction and pride and eagerly look forward the pages that follow. to what lies ahead. The past year was one of transition. In There was much to celebrate in 2003, September we said good-bye to our outgoing owing in large part to the dedication and Director, Samuel Sachs II, with gratitude talent of our staff, all of whom are commit-

18 The Frick Collection ted, as are the Board of Trustees and I, to anniversary. After nearly two years’ work, some exceeded our expectations. Though preserving the Frick’s high standards. Our the sidewalk bordering Seventieth Street virtually the only loss in our almost seventy- special exhibitions program remained as and Fifth Avenue was restored with elegant year history, we closed the books on 2003 popular as ever with both the critical press bluestone, and the steps to the main with an operating deficit of $869,000. and the public, achieving record-breaking entrance were redone. This restoration, How do we move forward? We have attendance at four major shows in 2003, along with work completed in 2002 on the streamlined our operations in every con- which you can read more about in the garden architecture and the wrought-iron ceivable way, and over the past few years report of Chief Curator Colin B. Bailey, on fence surrounding the Collection, received our staff members have been asked to do page 20. We are especially proud of Whistler, an award of distinction from the New York more with less. The Board of Trustees is Women, and Fashion, spearheaded by Landmarks Conservancy. These improve- enormously proud of and grateful to a Curator Susan Grace Galassi and shown ments were made possible with the generous truly gifted and dedicated staff for finding exclusively at the Frick. This and our other support of our contributors through their creative ways to meet this challenge and special exhibitions, which so brilliantly gifts to our Annual Fund and by their recognizes that any further expense cuts complement our permanent holdings, not patronage at our fundraising events such as will only erode the programs that are at the only further scholarship but provide visi- the Autumn Dinner, which in 2003 cele- heart of our mission. tors a compelling reason to return to the brated the Honorable Schuyler G. Chapin for To pursue the vision of the Collection Frick again and again. his many contributions to the cultural life and the Library and to fulfill the potential In 2003 we were pleased to receive a of New York City and raised nearly we recognize in each of our activities, we magnificent pair of seventeenth-century $300,000. In February, our Young Fellows must now deepen our personal commit- bronzes by Giovanni Francesco Susini, the Steering Committee again orchestrated a ments, engage an ever-widening audience generous gift of Walter A. and Vera successful Winter Ball, raising more than in our plans and in our success, and con- Eberstadt. Lion Attacking a Horse and $200,000 for our education program. We tinue to raise and meet our fundraising Leopard Attacking a Bull are extremely rare are grateful to Christian Dior, the event’s goals. The Director and the Board of and are the only pendants belonging to an sponsor, for its part in making the evening Trustees are committed to securing the American public collection that pair a lion the enormous success that it was. Our needed support, and I ask you, our devoted and a horse and a leopard and a bull. We Annual Fund, now in its third year, raised members, to join us in this endeavor. are extremely grateful to the Eberstadts for nearly $100,000—an increase of more than On behalf of the Board of Trustees, this extraordinary gift. 50 percent. Our corporate sponsors continue I would like to offer my deepest thanks for The Frick Art Reference Library contin- to be an important source of support. your generosity this past year and look ued its remarkable work in 2003, ensuring The many accomplishments of 2003 forward to working with you in the future its place as one of the most well-respected were tempered with some difficult realities. to ensure the health and vitality of The international art research centers. In the Our financial picture was the most chal- Frick Collection. report of the Andrew W. Mellon Librarian, lenging in the institution’s history, as we on page 22, Patricia Barnett details just a struggled to emerge from a sluggish economy, Thank you. few of the Library’s most outstanding an unfavorable fundraising environment, programs and services during the past year. and a bear market that had eroded our Restoration work continues on our endowment funds in the previous two beautiful building, the demands on which years. While some of these circumstances increase as the house passes its ninetieth were anticipated at the outset of the year,

2003 Annual Report 19 Report of the Chief Curator Colin B. Bailey

An institution which shall encourage and Also in March, the Collection published the even costumes. Anne Vallayer-Coster: Painter develop the study of the fine arts and . . . ninth volume of its comprehensive catalogue, to the Court of Marie-Antoinette concluded its promote the general knowledge of kindred which is devoted primarily to drawings and American tour when it opened at the Frick in subjects among the public at large. prints but includes as well paintings acquired late January, following presentations at the since the publication of the first volumes National Gallery of Art in Washington, D.C., he way in which Henry Clay Frick of the series in 1968. The Frick Collection: and the Dallas Museum of Art. This mono- T described the mission of the muse- Drawings, Prints & Later Acquisitions was a graphic exhibition devoted to the accom- um that was to bear his name—written in collaborative effort, many years in the mak- plished painter of still lifes who was one of the the will he drew up in June 1915, four years ing, with contributions by several scholars, a few female members of the Académie royale before his death—remains a remarkably foreword by Samuel Sachs II, and a preface by was accompanied by a handsome catalogue succinct and accurate definition of the Charles Ryskamp. published by Yale University Press, to which Collection’s curatorial activities today. Two paintings from the permanent collec- I contributed an essay on the patrons of The permanent collection is the primary tion were conserved in 2003. Jean-Baptiste Vallayer-Coster. responsibility of the department, and its care Greuze’s Wool Winder of 1759, which had been Marking the centennial of James McNeill and presentation remain our highest priority. on loan to the J. Paul Getty Museum for the Whistler’s death and conceived as a way of During 2003, we completely refurbished the exhibition Greuze the Painter, remained in Los contextualizing the three great full-length por- Enamels Room, including the interiors of the Angeles for several months to undergo treat- traits of women in the Collection, Whistler, cases designed in the early 1930s by John Russell ment at the Getty’s conservation studio. There, Women, and Fashion was the Frick’s major Pope. Directable, low-temperature fiber-optic Getty conservator Mark Leonard removed exhibition for 2003. Running April 22 through lighting was installed; small bronzes and other heavy layers of surface dirt that had accumu- July 13, the show was jointly organized by Frick precious objects from the Collection were inte- lated on the canvas, corrected the discolored Curator Susan Grace Galassi and Margaret F. grated with the Limoges caskets, ewers, dishes, retouches of an earlier restoration, and recon- MacDonald, Principal Research Fellow of the and devotional panels in an installation that structed the broken and abraded glazes in Centre for Whistler Studies in Glasgow. Some now evokes the mystery and wonder of a late much of the background. The result is a subtle eighty-seven works, shown exclusively at the Renaissance Kunstkammer. transformation and enhanced luminosity in Frick, included portraits in oil and pastel, prints In March we were delighted to receive one of Greuze’s most engaging images. François and drawings, as well as period dresses and Walter A. and Vera Eberstadt’s gift of a mag- Boucher’s Presumed Portrait of Madame fashion plates. A major monograph, also nificent pair of bronzes by the seventeenth- Boucher of 1743 was revarnished by Hubert von published by Yale, accompanied the exhi- century Italian sculptor Giovanni Francesco Sonnenburg, Head of Paintings Conservation bition, as did an all-day conference, Dress Susini (1585–c. 1653). Lion Attacking a Horse at The Metropolitan Museum of Art, render- and Art, which brought together specialists and Leopard Attacking a Bull, executed around ing its surface once again pellucid and from America, Europe, and Japan. 1630–40, display both the energy and techni- enabling its bright colors to be read with To help celebrate the publication of cal refinement that are characteristic of works much greater clarity. Drawings, Prints & Later Acquisitions, a made by the artists who trained under the Temporary exhibitions—scholarly and selection of twelve works on paper from Florentine sculptor Giambologna at the end focused in nature and moderate in size—have the permanent collection by artists from of the sixteenth century. Susini’s bronzes were become an increasingly important part of the Pisanello to Whistler was on view in the installed in the Living Hall on a pair of late curatorial program, and in 2003 the depart- Cabinet April 29 through June 1. seventeenth-century marquetry pedestals from ment mounted no fewer than five exhibitions In partnership with the Rijksmuseum, the workshop of André-Charles Boulle. featuring paintings, drawings, bronzes, and Amsterdam, The Frick Collection served as the

20 The Frick Collection christine a. butler

The Curatorial Department of The Frick Collection Standing: Elaine Koss, Editor; Diane Farynyk, Registrar and Exhibition Manager; and Denise Allen, Associate Curator. Seated: Amy Herman, Head of Education; Barbara Roberts, Conservator; Colin B. Bailey, Chief Curator; and Susan Grace Galassi, Curator

single American venue for the monographic exhibition devoted to the bronzes of the Delft-born sculptor Willem van Tetrode (c. 1525–1580), who is documented as Cellini’s assistant in Florence by mid-century. The exhibition, which ran from June 24 through Ourselves” as part of the Artists, Writers, and programs, the first of which serves seven September 7, featured thirty-eight bronze Poets Series, and Charles Hope, Director of middle school classes in conjunction with statuettes along with related prints by Goltzius. the Warburg Institute, inaugurated a new City College’s Poetry Outreach Center, while Referring to Tetrode’s sculptures as “compact series sponsored by the Council of The Frick the second offers a prize for excellence in masterpieces,”Simon Schama noted in The Collection with a lecture titled “Giorgione or writing to a student from one of four par- New Yorker that “At a time when cultural ele- Titian? History of a Controversy.”Thanks to ticipating high schools. phantiasis seems to be the norm, it’s good to the support of the Council, Professor Hope’s Lack of space prevents me from expand- be reminded that high aesthetic voltage can lecture was published, as will be all subse- ing on many of these initiatives, but I must be generated from miniature power packs.” quent lectures in the series. mention the arrival of two new staff mem- In conjunction with the exhibition, a study I am glad to report that our Education bers who have greatly invigorated the life of day was organized at the Collection to address Department saw the number of New York the department. Associate Curator Denise issues of attribution, chronology, and casting. City public school students who visit the Allen, formerly of the J. Paul Getty Museum, Finally, in celebration of the three hun- Collection increase by almost a third to some was appointed in January 2003; as a specialist dredth anniversary of François Boucher’s birth, 1,738 participants, representing, for the first in Renaissance painting, sculpture, and the The Frick Collection was the opening venue time, schools from all five boroughs. The decorative arts, she was invaluable in working for an exhibition devoted to his drawings, nationally acclaimed Art of Observation, a with our Mellon Fellow Yvonne Elet in the organized by the American Federation of Arts. collaboration with the Weill Cornell Medical reinstallation of the Enamels Room, as well Running October 8 through December 14, School, successfully completed its eighth as supervising the complex and magisterial The Drawings of François Boucher presented session, and in the spring we joined forces display of Tetrode’s bronzes. Thanks to the some seventy-five sheets executed in various with our colleagues at the Lower East Side Andrew W. Mellon Foundation, we welcomed media from pastel to sanguine brûlée, which Tenement Museum to launch Two Sides of Holly Flora, a doctoral candidate at the charted the long and fecund career of an artist the Gilded Age, a program for eighth-grade Institute of Fine Arts, New York University, whose cabinet pictures and decorative paint- public school students that compares and as our second Mellon Fellow. ing are so well represented in the Collection. contrasts the architectural, social, and eco- It gives me the greatest pleasure to report Eleven public lectures were given through- nomic aspects of life in a tenement with those on these activities, which have been so well out the year and special mention should be in the Frick mansion, one of the city’s most received by our members, our colleagues at made of two speakers from London. Sir opulent residences. In 2003 the Education sister institutions, the critical press, and the Howard Hodgkin spoke on “Painting and Department also inaugurated two literacy public at large. Thank you for your support.

2003 Annual Report 21 Report of the Andrew W. Mellon Librarian Patricia Barnett

ust as Helen Clay Frick sought and directors Charles Ryskamp and Samuel website to all our collections, including J enjoyed the support of scholars, collec- Sachs II. These and other donations sustained the artist files of the Photoarchive and the tors, and fellow philanthropists to define the level of coverage the Library requires, archives of both The Frick Collection and the special mission of the Frick Art Ref- even in the face of a weakening dollar and The Helen Clay Frick Foundation. This not erence Library, today’s staff looks to an increased costs of both conventional and only enables patrons to establish their exceptional group of supporters, scholars, online publications. In all, the Library’s research plan in advance of a Library visit and colleagues for intellectual and practical annual acquisition rate of approximately six but also allows researchers at other libraries direction. Without this support, the Library’s thousand books was in keeping with that of to identify Frick materials they would like leadership role in the art research commu- past years and brought to our patrons some to consult on-site or through interlibrary nity would soon dissipate, for the rapid exceptional items, including rare Eastern loan. For its part, the Photoarchive has changes taking place in this field mean that European and Russian exhibition cata- begun the long and costly process of con- our history as an important international logues, early twentieth-century catalogues verting its text and image records from research center, distinguished as it is, can- for the Vienna Secession, and nineteenth- print to digital form: over the next three not alone sustain our reputation. The staff century catalogues for auctions held in years, thanks to the support of the Carl and of the Library takes pride in carrying for- Paris, Vienna, and London. Lily Pforzheimer Foundation and the ward the founding mission of Helen Clay In many ways, the Library’s Photo- Andrew W. Mellon Foundation’s initiative Frick and continues to initiate new and val- archive and microfiche collections position ARTstor, approximately twenty-five thou- ued programs each year as the changing the institution as unique among New sand negatives from the Library’s collection needs and research methods of our patrons York–area libraries. The Library’s reputation will be digitized for access worldwide. drive both our collections and our services. for cataloging and caring for these collec- Much of this work will be done in-house in By now, the members of The Frick Col- tions has made it the repository of choice the newly expanded digital lab, constructed lection are accustomed to reading about the for the photoarchives of other institutions, in recognition of the long-term needs of many notable acquisitions the Library makes as was demonstrated by substantial gifts of digital conversion. Finding aids to materials each year to strengthen its research collec- photographs in 2003 from the Art Students held in the Archives increased in number, tions. In 2003 as in past years, our goal was League of New York and the Rijksbureau owing in large part to a two-year grant from to strike a balance between acquiring voor Kunsthistorische Documentatie in The the Gladys Krieble Delmas Foundation. important older publications that rarely Hague. These gifts were supplemented by The Conservation Department faced appear on the market and keeping up with the acquisition of thousands of photo- exceptionally challenging issues that took the ever-increasing number of current schol- graphs of unpublished drawings and recent its responsibilities well beyond the routine arly publications. Because 2003 saw signifi- acquisitions by regional museums of the book, photograph, and film conservation cant challenges in making ends meet, we were United States, as well as the microfiche collec- assignments necessary to preserving our particularly grateful for several grants, tions from both Sotheby’s and Christie’s valued holdings. A third round of stack notably from Mrs. Charles Wrightsman and pictorial archives. reconfiguration gained the Library enough from The Helen Clay Frick Foundation, which The year 2003 marked a watershed for space to accommodate four more years supplemented our acquisitions budget. I also streamlining access to the collections. Owing of growth. Nonetheless, space problems at wish to single out Trustee Melvin R. Seiden in large measure to the generosity of the our Library, as at every other comparable for his extraordinary generosity in endowing Paul Mellon Estate, our online catalog, institution in the area, have prompted reg- two new book funds in honor of former FRESCO, now gives access via the Frick ular meetings with my counterparts at The

22 The Frick Collection christine a. butler

Department Heads of the Frick Art Reference Library Standing: Lydia Dufour, Chief, Public Services; Floyd Sweeting, Head, Information Systems; and Deborah Kempe, Chief, Collection Management and Access. Seated: Sally Brazil, Chief, Archives and Records Management; Inge Reist, Chief, Collection Develop- ment and Research; Patricia Barnett, Andrew W. Mellon Librarian; and Don Swanson, Chief, Collections Preservation

Metropolitan Museum of Art, the Museum of Modern Art, and the Brooklyn Museum of Art to plan how best to meet the needs of images with the Getty Research Institute pamphlet produced by members of the staff. our patrons through shared resources and and the Biblioteca Hertziana in Rome. The annual Dialogues on Art panel dis- consolidated storage. Our research program, together with cussion, a benefit event for the Library, Professional groups as well as distin- the scholarly initiatives of the Curatorial addressed “Special Exhibitions: Politics and guished scholars from abroad visited the Department, is representative of what makes Planning.” Moderated by John Walsh, Library in record numbers in 2003. Just as The Frick Collection and Library unique. The Director Emeritus of the J. Paul Getty groups such as the Curators of Dutch Art staffs of many departments are involved in the Museum, the panel consisted of curators came to consult our vast resources (in this case exhibitions, panel discussions, professional and administrators from The Metropolitan the Montias database of primary documents gatherings, and student orientations that Museum of Art, the St. Louis Art Museum, relating to patterns of collecting in sixteenth- constitute the program, all of which give and the American Federation of Arts, as well and seventeenth-century Holland), European form to an active approach to research, as Newsweek critic Peter Plagens. Two addi- librarians and photoarchivists came to learn guaranteeing that patrons of the Library are tional benefits, sponsored by Dover Street our methods and policies, so often viewed aware of the ways our materials meet their Gallery and Didier Aaron, Inc., were well as models for other institutions. Authors of diverse needs and ensuring that the next attended by scholars and collectors alike. the Pissarro and Sargent catalogues raison- generation of scholars will be conversant in Many of our activities during 2003 were nés were regularly seen in our Reading the methodology of object-focused research spurred by initiatives explored at the first Room, as were curators from the Louvre, and the study of the history of collecting. Trustee and Council Library Committee Museo Vittoriano in Rome, Stedlijke Musea Our 2003 exhibition, The Twentieth- meeting, which took place in late 2002. of Gouda, and Rubenshuis, to name only Century Art Scene Documented at the Frick We concluded 2003 with a second meeting a few. In equal measure, the Library’s staff Art Reference Library, promoted greater filled with energy and ideas that will take reached out to other institutions by serving awareness of the breadth and depth of the us well beyond 2004. With both the on boards; by organizing and attending Library’s coverage of a period of art history intellectual and material support that is professional meetings of, for example, the not normally associated with the Frick. forthcoming from our Director, Trustees, Association of Research Institutes in Art Jackson Pollock’s exhibitions of the 1940s, Council, and you, our members, we look History, the Visual Resources Associa- the Pierre Matisse Gallery’s stable of artists, ahead to exciting days that by no means tion, and the Art Libraries Society of North and announcements for Leo Castelli’s new reflect the views of those skeptics who America; and by spearheading consortial gallery of modern art were among the items might question the role of libraries in the activities such as shared cataloging of displayed and documented in a handsome twenty-first century.

2003 Annual Report 23 The Frick Collection Salutes Former Director Samuel Sachs II fernando bengoechea

amuel Sachs II, who ended his tenure Hendrick Goltzius, on whom Tetrode had S as Director on September 30, 2003, an enormous influence. has been elected Director Emeritus of The Of equal value to our visitors were many Frick Collection. Sachs made numerous physical improvements. The reconfiguration contributions to the Collection during the six of the Entrance Hall made it more years he held the position. Under his leader- welcoming and enabled the implementation ship, the exhibition program dramatically of an Acoustiguide tour of the Collection, expanded, continuing to offer visitors the which was introduced in 1998. Its printed smaller “focus exhibitions” for which the counterpart followed soon after and, in Frick has become known, such as those recognition of the fact that a high percentage highlighting works by Velázquez, El Greco, of our visitors come from well beyond the Whistler, and Manet, as well as more metropolitan area, both are available in six comprehensive shows such as The Medieval languages. The Fifth Avenue Garden walls award from the American Association of Housebook, Watteau and His World, and and wrought-iron fences underwent complete Museums shortly after its launch in 2001, Greuze the Draftsman. In addition, Sachs restoration, and a new bluestone sidewalk was seen by Sachs as key to keeping members played a key role in bringing to the was installed. The Director’s Dining Room aware of their critical role in preserving the Frick Willem van Tetrode (c. 1525–1580): on the second floor of the Collection was health and vitality of the institution. Bronze Sculptures of the Renaissance, which redecorated, providing a congenial site for Similarly, the appointment of the first ran concurrently with The Metropolitan various special programs for Fellows. The Communications Officer, Heidi Rosenau, Museum of Art’s exhibition of works by Members’ Magazine, which won a design developed new audiences. An award-winning website, www.frick.org, was launched in 1998 and continued to expand under Sachs’s guidance, both in its content and its usefulness. The website’s virtual tour of the galleries, one of its most popular features, was championed by Sachs. He was also a proponent of creating an online shop as well as offering online memberships to virtual visitors. During Sachs’s tenure, changes at the Frick Art Reference Library reinforced its stature as a world-class research center. Some $600,000 was designated for the completion of the electronic conversion of the Library’s holdings, providing access to users beyond New York City. In 2001 the Library saw the arrival of The Helen Clay Frick Foundation Archives, whose care is now shared by the Collection and the University of Pittsburgh. This collaboration will make possible

24 The Frick Collection richard di liberto for the first time access to this enormous trove In a move to of archival material from Henry Clay Frick develop the next gen- and his descendants, including photographs, eration of museum architectural and business records, and docu- professionals, Sachs mentation of works of art they owned. saw the reinstatement The involvement and contributions of of the curatorial Frick support groups—ranging from edu- fellows program, cation volunteers to the Council and the now funded by the Young Fellows Steering Committee—grew Andrew W. Mellon markedly during Sachs’s tenure, owing in Foundation. In 2002 no small part to his belief that support is not the Frick welcomed only welcome but essential to the Frick, the first of five particularly as it makes the transition from Mellon Fellows, all a private operating foundation to a public of whom will serve charity that must raise one-third of its a two-year residency annual support from outside sources. with the Curatorial During Sachs’s tenure as Director, event- Department. based fundraising broke new ground. In In 1999, under 1998, the Collection inaugurated the Autumn Sachs’s administra- Dinner, which annually raises approximately tion, the Frick re- $300,000 for the institution. The Young ceived a generous Fellows Winter Ball, also begun under Sachs, endowed bequest has proven year after year to be one of the of watches and Frick’s most popular events as well as one of clocks from Win- its most successful fundraising endeavors. throp Kellogg Edey, Attended annually by upwards of eight hun- the first large-scale addition to the Collec- helped to define the institution’s priorities dred Young Fellows and repeatedly heralded by tion in more than thirty-five years. Paul and needs in preparation for future the New York Times as one of the season’s Mellon, perhaps the single most important transformations. These accomplishments best parties, the event in 2003 raised more than American patron of the arts in the second continue to contribute to plans for the $200,000 for the Frick’s education program. half of the past century, bequeathed $1.5 mil- evolution of the Collection. Sachs’s commitment to membership dev- lion to the endowment of the Frick Art elopment encouraged a 50 percent increase Reference Library. In 2003 Walter A. and in membership between 1998 and 2003. During Vera Eberstadt gave the Collection Lion above: Balthazar Martinot II (1636–1714; clockmaker) and that time, the Collection staff saw significant Attacking a Horse and Leopard Attacking a André Charles Boulle (1642–1732; attributed casemaker), changes. Following the retirement of Edgar Bull, a magnificent pair of bronzes by the marquetry-verneered wall clock with ivory-twist pillars, c. 1675; bequest of Winthrop Kellogg Edey Munhall, Colin B. Bailey joined the Collection seventeenth-century sculptor Giovanni as Chief Curator in October 2000. In June of that Francesco Susini. We are grateful to Sachs opposite page: Giovanni Francesco Susini (1585–c. 1653), year, Conservator Barbara Roberts came on for his role in obtaining these and other gifts. Lion Attacking a Horse, c. 1630–40,bronze; board, dramatically expanding that department. Working with the staff and Board, Sachs gift of Walter A. and Vera Eberstadt

2003 Annual Report 25 Notable 2003 Library Acquisitions

Below are a few of the most significant acquisitions.

Arte y Documento = Art and Document, 450 catalogues for auction sales of prints; Ulrike Lorenz, Otto Dix: Das Fundación Espigas 1993–2003, Buenos Aires, gift of Leslie J. Garfield Werkverzeichnis der Zeichnungen 2003; gift of Fundación Espigas through und Pastelle, 8 vols., Weimar, 2003 Mauro Herlitzka 336 photographs, primarily of works by Julio González; gift of Professor Josephine Rembrandt Peale, Graphics, The Art of Brâncusi la apogeu: noi perspective: colocviul Withers, University of Maryland Accurate Delineation: A System of School international, Bucharest, 2001; gift of the Exercise for the Education of the Eye and Istitutul de Istoria Artei “G. Oprescu” Laura Alidori, ed., Bibbie miniate della the Training of the Hand, as Auxiliary to Biblioteca medicea laurenziana di Firenze, Writing, Geography and Drawing, Roger Benjamin, Orientalist Aesthetics: Art, Florence, 2003; purchased through the Philadelphia, 1853 Colonialism, and French North Africa, Homeland Fund Berkeley, 2003; gift of the author John K. G. Shearman, Raphael in Early Catalogue of the Duke of Marlborough’s Modern Sources, 1483–1602, 2 vols., Olivier Berggruen and Max Hollein, eds., Collection of Limoges Enamels at Blenheim New Haven, 2003; purchased through Henri Matisse: Drawing with Scissors, Palace, June 14, 1883 funds donated by The Helen Clay Frick Masterpieces from the Late Years, Munich, Foundation 2002; gift of the author Auction sale catalogue of the paintings collection of Ignaz Theodor Reichsritter Thirty-five catalogues for exhibitions Heide Grape-Albers, ed., Das Nieder- von Pachner Edlen von Eggenstroff (1820; of Russian art held in Russia, 1912–31; sächsische Landesmuseum Hannover: clerk’s annotated copy) purchased through the generosity of 150 Jahre Museum in Hannover, 100 Jahre Melvin R. Seiden Gebäude am Maschpar: Festschrift zum Gustave Geffroy, Auguste Brouet: Catalogue Jahr des Doppeljubilaums, Hannover, de son oeuvre gravé, 2 vols., Paris, 1923 (in- Twenty-seven catalogues for exhibitions 2002; gift of the Niedersächsische cludes original signed prints by Brouet); held at the Kester-Gesellschaft, Hannover, Landesmuseum Hannover purchased through the Gerschel Fund in 1930–36 memory of André Meyer Hans Peter Hanson (album of photographs Nine rare Vienna Secession catalogues, of the artist’s work assembled by the artist); Alden R. Gordon, The Houses and early twentieth century; purchased through gift of the Art Students League Collections of the Marquis de Marigny, the Heinemann Fund Los Angeles, 2003; purchased through David Langeois et al., Quelques chefs- the Florence Gould Fund Thirty-one Finnish exhibition catalogues, d’oeuvre de la collection Djahanguir Riahi: 1894–1934; purchased through the Ameublement français du XVIIIe siècle, Wolfgang Henze, Die Plastik Ernst Heinemann Fund Milan, 1999; gift of Djahanguir Riahi Ludwig Kirchners: Monographie mit Werkverzeichnis,Bern,2002 Sotheby’s Pictorial Archive (microfiche) Antoine Salomon and Guy Cogeval, Vuillard: The Inexhaustible Glance: Critical Christian Lenz, Deutsche Künstler von 994 photographs of paintings in four Catalogue of Paintings and Pastels, 3 vols., Marées bis Slevogt (Neue Pinakothek, private collections in Great Britain, by Milan and Paris, 2003; gift of Wildenstein Munich), 3 vols., Munich, 2003; purchased subscription to the Courtauld Institute & Company through the generosity of the J. and H. of Art Photographic Survey Weldon Foundation

26 The Frick Collection Gifts and Grants

We deeply appreciate the generosity of the Capital projects and special programs require scaping, seminars, the Photoarchive, and the following individuals, foundations, and cor- additional resources as well. These listings annual Symposium on the History of Art. In porations who made substantial contribu- reflect gifts and grants that provide vitally addition, the demands of our beautiful but tions to the Collection and Library during needed general operating funds, as well as aging building require an increasing invest- the course of the past year. support for special exhibitions and publica- ment of capital. Roughly 40 percent of the Frick’s fund- tions, Library acquisitions and its endowment, We are most grateful to our growing ing for its operations must be found annually services to scholars, the education program, group of supporters for their generous help from sources other than the endowment. conservation equipment and materials, land- in funding our programs and services.

The Founder’s Society The Seth Sprague Educational and Adelaide Frick Trafton and Helen Clay Chace Charitable Foundation Jotham A. Trafton Mrs. William Stratton Clark World Monuments Fund Stephen Morrow $500–$2,499 Estate of Louise A. Pierot $5,000–$9,999 American Trust for the British Library Alice Jean Zuccaire Bloomberg Atwater Kent Foundation Mr. and Mrs. I. Townsend Burden III Mrs. William Stratton Clark $100,000 and above The Charles Engelhard Foundation Consulate General of the Netherlands The Helen Clay Frick Foundation Hester Diamond Robert de Rothschild The Peter Jay Sharp Foundation Didier Aaron, Inc.* Carl Ginsburg Mr. and Mrs. Howard Phipps, Jr. Dover Street Gallery* Mr. and Mrs. Robert G. Goelet F. M. Kirby Foundation, Inc. Handy & Harman Foundation $50,000–$99,999 JPMorgan Chase Foundation Mrs. Horace Havemeyer Enid A. Haupt The Ludwig W. Frohlich Charitable Trust Raymond Horowitz Melvin R. Seiden and Janine Luke Strong-Cuevas Foundation Knoedler & Company Mr. and Mrs. John L. Townsend III Mr. and Mrs. Jon Landau $25,000–$49,999 Scott Luellen The Chamber Music Society of $2,500–$4,999 Gina G. MacArthur Lincoln Center* Acorn Foundation, Inc. Metropolitan New York Library Council Dr. and Mrs. Henry C. Frick II American Federation of Arts Charlotte Moss The Lita Annenberg Hazen Foundation W. Graham Arader III Mr. and Mrs. Paul G. Pennoyer, Jr. New York Stock Exchange Foundation, Inc. W. Mark Brady Pillsbury Winthrop The Sunny and Abe Rosenberg Foundation The Burlington Magazine Foundation Inc. Elaine L. Rosenberg Cravath, Swaine & Moore LLP Jeffrey M. Siegal $10,000–$24,999 Mr. and Mrs. Robert F. Erburu June deH. Weldon Mr. and Mrs. Minturn V. Chace Mr. and Mrs. Nicholas H. J. Hall Dr. and Mrs. Malcolm H. Wiener The Curtis W. McGraw Foundation Michael Tuch Foundation, Inc. * Benefit event co-sponsored with The National Philanthropic Trust Diane Allen Nixon The Frick Collection Mr. and Mrs. Arthur Ross Oceanic Heritage Foundation Sage Foundation Charles A. Ryskamp

2003 Annual Report 27 Fellows and Supporting Fellows Michael and Jane Hoffman Irene Roosevelt Aitken Franklin Y. Hundley Friends of The Mr. and Mrs. I. Townsend Burden III Peter W. Josten Frick Collection Mrs. Christopher C. Y. Chen Mr. and Mrs. Eugene M. Lang Catherine G. Curran Mr. and Mrs. Christopher M. Lehman Arthur L. Loeb Fellows’ gifts provide unrestricted annual Nelly Arrieta de Blaquier James C. and Marie Nugent-Head Marlas support to The Frick Collection. Mr. and Mrs. Peter Duchin Mr. and Mrs. Steven Einhorn Mrs. John P. McGrath Honorary Fellows Mr. and Mrs. Robert F. Erburu Mr. and Mrs. William J. Michaelcheck Charles A. Miller, Jr., and Chas A. Miller III Mrs. Walter H. Annenberg Francis Finlay Joanne du Pont Foster Mr. and Mrs. Bernard G. Palitz Mr. and Mrs. Perry Richardson Bass The Honorable Sir David and Mr. and Mrs. Matthew Perkins Monsieur Le Comte d’Haussonville Lady Gibbons Mr. and Mrs. François Poulet Theodore Dell Randall and Anne Greene Mr. and Mrs. H. Charles Price III Dr. and Mrs. Ira H. Kaufman Mrs. Henry J. Heinz II Kristen Richardson Mr. and Mrs. John L. Marion Mr. and Mrs. Howard G. Lepow Mr. and Mrs. Alexander Roepers Mrs. Paul Mellon Diana Mercer and Heather Sue Mercer Mr. and Mrs. Felix G. Rohatyn Edgar Munhall Roland Pease Mrs. William D. Roosevelt Charles A. Ryskamp Marc Porter Alfred and Jane Ross Mrs. William Suhr Dr. and Mrs. James S. Reibel Mr. and Mrs. H. Jonathan Rotenstreich Mr. and Mrs. Eugene Victor Thaw David Rockefeller Emilia A. Saint-Amand and Frederick Frederica von Stade Dr. and Mrs. Nathan Saint-Amand Krimendahl II Mr. and Mrs. Lawrence B. Salander Henry Clay Frick Fellows Mr. and Mrs. Robert L. Shafer Mr. and Mrs. John L. Townsend III Roberta and Irwin Schneiderman Mr. and Mrs. Peter P. Blanchard III Susan Erpf Van de Bovenkamp Elizabeth and Stanley DeForest Scott Mr. and Mrs. Jeremiah M. Bogert Dr. and Mrs. Malcolm H. Wiener Mr. and Mrs. Robert K. Steel Mr. and Mrs. Patrick Durkin Mr. and Mrs. George Wachter Dr. and Mrs. Henry Clay Frick II Contributing Fellows Mr. and Mrs. Ira D. Wallach Enid A. Haupt Kim C. and Gloria S. Anderson Mr. and Mrs. Karl Wamsler Mr. and Mrs. Henry Luce III Mr. and Mrs. Christopher Ankner Brenda Weeks-Nerz Mr. and Mrs. Howard Phipps, Jr. Anne H. Bass Mr. and Mrs. Edwin L. Weisl, Jr. Mr. and Mrs. Juan A. Sabater Patti Cadby Birch Shelby White Mr. and Mrs. Oliver K. Stanton Mr. and Mrs. Thomas A. Cassilly William J. Williams, Jr., and John A. van Beuren John B. Coleman Barbara A. Reuter Mrs. Charles Wrightsman The Honorable and Mrs. Walter Dr. Jonathan Zizmor and J. P. Curley Fellows Alexandra Zizmor Domitilia M. dos Santos Warren Adelson Mr. and Mrs. Walter A. Eberstadt Julian Agnew Sustaining Fellows Elise D. Frick and John A. Garraty Mr. and Mrs. Neale M. Albert Mr. and Mrs. Minturn V. Chace Stephen A. Geiger Mr. and Mrs. Armin Allen Mr.✦ and Mrs. Stephen M. Kellen Mr. and Mrs. Peter Goltra Mrs. C. Robert Allen Diane Allen Nixon Albert Gordon Mrs. Philip Alperdt Gianluigi and Claudia Quentin Mr. and Mrs. Donald J. Gordon Bert Amador Agnes Gund and Daniel Shapiro Anthony Nippert Ames Martha M. Hare Dr. Madelyn Antoncic ✦ deceased Spencer and Marlene Hays Mark and Gail Appel

28 The Frick Collection Mr. and Mrs. R. Leigh Ardrey Margotte Marquesa de Lyon Charles Hack and Angella Hearn Andrew and Amy Arkin David H. De Weese Ben Ali Haggin Mrs. J. Sinclair Armstrong Hester Diamond Mr. and Mrs. Nicholas H. J. Hall Carol Aronson and Don Shobrys Marshall Dill Mr. and Mrs. Robert Hanke Edgar Aronson Robert N. Dooner Michele Beiny Harkins Vera Miller Ar yeh Mr. and Mrs. Glenn B. Dorr III Ruth Ann and William Harnisch Mrs. Vincent Astor Mr. and Mrs. L. F. Boker Doyle Dr. Lucinda A. Harris Mr. and Mrs. Ronald R. Atkins Pierre G. Durand Pauline L. Harrison Mr. and Mrs. Robert F. R. Ballard Douglas Durst Mr. and Mrs. Alan Hartman Elizabeth A. Baltz Mrs. Charles H. Dyson Mr. and Mrs. Carl B. Hess Dr. and Mrs. Hugh R. K. Barber Mr. and Mrs. John S. Dyson Marieluise Hessel and Edwin Artzt Shelley Barber Mr. and Mrs. John L. Eastman Mr. and Mrs. John R. Hewitt Dr. and Mrs. Robert Bard Joan K. Easton Luule N. Hewson Mr. and Mrs. Jonathan S. Bean Bruno and Silvia Eberli Mrs. M. T. Hirschler David Beattie Don F. Eddy and Leigh Behnke Mr. and Mrs. G. Raymond Hodil, Jr. Mr. and Mrs. Frederick W. Beinecke Marianne Elrick-Manley Frank L. Hohmann III Josephine L. Berger-Nadler and Mary E. Emerson Mrs. Bruce Duff Hooton Dr. M. Leon Canick Mr. and Mrs. Anthony T. Enders Mr. and Mrs. Charles Hoppin Mrs. E. Albert Berol J. O. Fairfax Dr. Bruce C. Horten Mr. and Mrs. W. Robin Blackhurst Mr. and Mrs. Walter P. Fekula Mr. and Mrs. James Houghton Mr. and Mrs. Marco P. Bloemsma Mr. and Mrs. Richard Feldstein Stephen Hundiak Gary M. Bloom Mrs. Anastassios Fondaras June Hunt-Mayer Mr. and Mrs. Stanley M. Bogen David B. Ford Mr. and Mrs. John W. Ingraham J. Elizabeth Bradham Barbara Fox-Bordiga Mr. and Mrs. Richard E. Jaffe W. Mark Brady Mr. and Mrs. Peter Frelinghuysen Lisa D. Johnson and Williams Cosby Dr. Goodwin M. Breinin Mr. and Mrs. Lawrence Friedland William Jordan, Jr. Mr. and Mrs. Garrison W. Brinton Mr. and Mrs. Leandro S. Galban, Jr. Denise and Morton Joselson Mr. and Mrs. Jonathan M. Brown Dr. and Mrs. Charles G. Garbaccio Mr. and Mrs. Warren S. Josephy Charles F. Brush Mr. and Mrs. Bruce Gelb Jill and Jeff Joyce Mrs. Jackson Burke Rick and Belinda Gilbert Mrs. Allan H. Kalmus Mrs. James E. Burke Henry P. Godfrey and Ginger Schnaper The Honorable Bruce M. Kaplan and Miriam Cahn Mr. and Mrs. Eugene Goldberg Janet Yaseen David G. Carter Mr. and Mrs. William T. Golden Mr. and Mrs. Mark N. Kaplan Guy Cary Mr. and Mrs. Alain Goldrach William W. Karatz Carroll J. Cavanagh and Candida N. Smith Mr. and Mrs. Hubert L. Goldschmidt Nadine Kasuga Edward Lee Cave Alexandra W. Golinkin Mr. and Mrs. William Kaufmann Mr. and Mrs. Christopher T. Clark Mr. and Mrs. Philip C. Gorrivan Robert G. Keller Mrs. William Stratton Clark Mr. and Mrs. Paul Gourary Gerold Klauer and Dr. Jana Klauer J. Patrick Cooney Mrs. Oliver R. Grace Frederick R. Koch T. A. Cox Mrs. David Granger Phyllis L. Kossoff Edna Craddock Mr. and Mrs. Marco Grassi Angie Z. Kozlowski Robert Dance Mrs. William S. Gray Geraldine Sapolsky Kunstadter Mr. and Mrs. Stephen Daniel Alexis Gregory George Labalme, Jr. Michel A. David-Weill Antonia and George Grumbach Mr. and Mrs. Edward J. Landrigan Kirk A. de Gooyer and Richard Collins Ambassador and Mrs. Henry A. Grunwald Dr. Edith Langner and Michael Coles Gonzalo de Las Heras Mr. and Mrs. John Gutfreund Joseph William Laraia and Mary Motyl

2003 Annual Report 29 Jane Lattes and Norbert Swislocki Dr. David B. Pearce Dr. Ralph Schlaeger Mr. and Mrs. Douglas B. Leeds Mr. and Mrs. Norman L. Peck Mary Coxe Schlosser John J. Leiser Mr. and Mrs. Paul G. Pennoyer, Jr. Michael and Dafna Schmerin Dale and Chari LeMasters Mr. and Mrs. Michael W. Percopo Mrs. John A. Scrymgeour Mr. and Mrs. William D. Lese Mr. and Mrs. Mark Perlbinder Larry Shar Mr. and Mrs. John L. Lindsey Ivan and Winifred Phillips Mr. and Mrs. Constantine Gail P. Lloyd Max Pine and Lois Mander Sidamon-Eristoff Teresa Longyear and David Bull Mr. and Mrs. Leon B. Polsky Dr. Robert B. Simon Robert Loper Dr. and Mrs. Simon B. Poyta J. L. H. Simonds Sandra Ann Mabritto Mr. and Mrs. Dale J. Precoda Mr. and Mrs. Gary Siska Gina G. MacArthur Mrs. Lewis T. Preston Donald G. Sisler Mr. and Mrs. John MacAskill Mr. and Mrs. Samuel F. Pryor IV Mr. and Mrs. James Baker Sitrick Duncan MacGuigan Sheila Pulling Mr. and Mrs. H. R. Slack Elizabeth Madden Yvonne Quinn Kathleen Sloane Dr. Edward A. Mainzer Ellen E. Rand Mr. and Mrs. Robert A. Smith Mr. and Mrs. Peter Malkin Mr. and Mrs. William P. Rayner Suzette de Marigny Smith Lori Manoocherian Edith T. Reed and Dorothy Reilly Margaret M. Sokol Charlene and Tom Marsh Mr. and Mrs. Adam Reeder James Sollins and Sherry Soforo Michael T. Martin Mr. and Mrs. Robert Reilly Beverly Sommer Joseph F. McCrindle Hans R. Reinisch Ira Spanierman Richard M. McGonigal and Scott N. Resnick George Spera and Jane Ginsburg Ellen E. Hausler Mr. and Mrs. Robert Riggs Mr. and Mrs. Jerry Spiegel Mr. and Mrs. John McNiff Mr. and Mrs. John R. Robinson Elizabeth M. Stafford Mr.✦ and Mrs. Christian A. Melhado Mr. and Mrs. John J. Roche Mr. and Mrs. Kenneth I. Starr Gregory Mesniaeff and Elizabeth Burke Mr. and Mrs. Jonathan Rosen Dr. Axel Stawski Mr. and Mrs. Jeremiah Milbank III Mr. and Mrs. Arthur Ross Ethel J. Steindl and Mark Schwarz Harvey S. Shipley Miller Cye and Rona Ross Mr. and Mrs. Garrick C. Stephenson Stanley R. and Catharine M. Miller Nanette Ross Mr. and Mrs. Robert A. Stern Barbara B. Millhouse Dr. Caroline Rubinstein and Mr. and Mrs. Gerald Stiebel Barbara S. Mosbacher Phillip M. Winegar Elizabeth F. Stribling and Guy Robinson Ruth A. Mueller Dr. A. Joseph Rudick and Elizabeth Strong-Cuevas Eldo S. Netto, Jr. Jennifer Ash Rudick Mr. and Mrs. William H. Stuebe Jill Newhouse Mr. and Mrs. Winthrop Rutherfurd, Jr. Dr. and Mrs. Paul Sullivan Rodney W. Nichols Mr. and Mrs. Derald H. Ruttenberg Governor and Mrs. J. Fife Symington III Mr. and Mrs. Peter Nitze Mr. and Mrs. Peter M. Sacerdote Anne M. and William Tatlock Erik P. Nygaard Mr. and Mrs. John H. Sack Mr. and Mrs. Gregory F. Taylor Thomas E. O’Brien Richard Salomon Mrs. Henry J. Taylor Dr. Norman Orentreich Alan E. Salz Margaretta Taylor David T. Owsley Mr. and Mrs. Alexander C. Sanger Mrs. Milton Teicher Anka K. Palitz Robert M. Saunders and Susan Gaum Mr. and Mrs. Rodman K. Tilt, Jr. Mr. and Mrs. Gregory K. Palm Princess Maria-Christina David and Julie Tobey Mrs. Frank Papp Sayn-Wittgenstein David Trachtenberg and Rick Wilson Mr. and Mrs. Douglas L. Paul Mr. and Mrs. Henry Schacht The Honorable and Mrs. John Train Mr. and Mrs. John Whitney Payson C. M. Schamroth Mr. and Mrs. Roger Tuckerman Dr. and Mrs. Stephen K. Scher Kentaro Umezaki ✦ deceased Susan Schinitsky Paul Underwood

30 The Frick Collection Marilyn Ungar Young Fellows Marie Douglas and George David Mr. and Mrs. Herbert Wachtell Gilda Acosta Christopher Dunham and Mr. and Mrs. Paul Wagner Alexandra Hayes Adame Lindsay Gruber Dunham Thomas B. Walker III Mr. and Mrs. Babak Afkhami Suzzara and John Durocher Mr. and Mrs. John L. Warden Mr. and Mrs. Jose Maria Aldenueva Jacqueline H. Eckstein Elizabeth and Robert Webster Edward A. Allen Mr. and Mrs. Jean-Louis B. Ecochard Joel Weissman Anthony Nippert Ames Steven and Jennifer Eisenstadt Mr. and Mrs. Karel Westerling R. Martin Andersons Mr. and Mrs. Louis Elson The Honorable John C. Whitehead James S. Ardrey and Stefanie Ardrey-Lally Tamara Fecci Wheelock Whitney III Celine Armstrong Joseph and Sabine Fichera Dr. and Mrs. Robert D. Wickham Darren Bagert Pamela Lynn Fielder Mr. and Mrs. Bruce G. Wilcox DeLaney Bagwell John Leopoldo Fiorilla Mr. and Mrs. Jarvis Wilcox Mr. and Mrs. Manuel Balbontin Clay Floren Duane Wilder Steven Baumruk Amy Mazzola Flynn and Tad Flynn Walter J. and Sandra Wilkie Fabiola Beracasa Robert Fogelson and Victoria Voytek Mr. and Mrs. Basil C. Williams Mr. and Mrs. William D. Bisceglia Mary B. Gallagher Francis H. Williams Christopher Bishop Mr. and Mrs. Sergio Galvis Peter A. Williams Mr. and Mrs. C. F. David Boit Paige Gamble Reid Williams Blair Brickman Mimi Gammill Mr. and Mrs. James J. Wilson Mabel Brodrick-Okereke Anusia Gayer Mrs. Robert Winthrop Jonathan Burkan Jennifer Gerstenfeld Morton and Esther Wohlgemuth Barry Paul Burton Mr. and Mrs. Justin Gibbons Diane R. Wolf Sarah Camp Alexandra G. Goelet Mr. and Mrs. Gene M. Woodfin Joseph Harding and Thomas Cannon Anthony J. Gordon William H. Wright II Margaret F. Carpenter Marne Grainger and Todd Cavaluzzi David and Constance Yates Andrew Catapano Ann Marie Grasso George M. Yeager Mary Catlett Nicholas Griffin Emily A. Youssouf Mr. and Mrs. Jack E. Cay IV Melissa Grundman George J. Zahringer Eduardo and Ana Centola Marie Antoinette Handler Dmitri Chekaldin and Dmitry Sholokhov Yvonne Handler Non-Resident Fellows Angelo Cianciulli Arnone Mr. and Mrs. Peter Harwich Dr. Andreas Von Albertini Alexander Cicogna Mozzoni Sachiko Hashimoto Katrin Bellinger and Harald Weinhold Marina Rust Connor and Ian Connor Mark Anthony Hatsis Frank A. Benevento II Alexandra R. Coolidge Claire Heleniak Robert Broberg James Corl Gregory A. Herr Dianne A. Bruce Jody W. Covert Carrie Higginbotham Mr. and Mrs. Childs Frick Burden Mr. and Mrs. Douglas Davis Mr. and Mrs. Mark Hoffman Robert M. Edsel Clay Mitchell Dean Tiziana Holmgren Stephen A. Hansel William Deitrick, Jr. Heather H. Hoyt Bayard Henry John H. de Neufville Dr. Olivia Z. Hutchinson and Mr. and Mrs. Robert E. Kulp, Jr. Charles Detrizio Daniel L. Hutchinson, Jr. John B. Pierce Frank-Willem de Wit Kathleen Intravia and Reha Kocatas David E. Rust Mr. and Mrs. Brendan Dillon Julian Iragorri II Adrian Sassoon Arpi Djenguerian Mr. and Mrs. Albert Joerger Mrs. Olcott D. Smith Alicia Doherty Laura Johansen Mr. and Mrs. John Sweetland Benjamin F. Doller Nastassia Kantorowicz

2003 Annual Report 31 Mark Kardonski Sylvester Miniter IV Jennifer Schwebel Gregory S. Kaufmann Alison Minton Erica M. Selimotic Amanda Kavanagh Dr. Alan Mirasol Joanne Sepetjian Mr. and Mrs. Sean P. Kavanagh Edward and Bettina Mirsepahi LaCary Sharpe Dr. Herbert J. Kayden and Mr. and Mrs. Alan Mitchell Mr. and Mrs. Alexander Shepard Dr. Gabrielle Reem Mr. and Mrs. Donald L. Morgan R. Andrew Shore Christiana Killian Mr. and Mrs. John Henry Moulton Mr. and Mrs. Gary Siegler Yoo-Jong Kim Mr. and Mrs. John J. Mulligan III Mr. and Mrs. Andrew Silverman Prince Rudolf Kniase Melikoff Mr. and Mrs. Richard Murawczyk Debbie Silverman Elena Morris Kornbluth Mark Murray Elizabeth Simon Mr. and Mrs. Thomas Korossy Vikram Nagrani Michael Kevin Singman-Asté Andrew Kramer Sharon Nash Clare Smith Melyora E. Kramer Jennifer J. Nilles Stephanie Solomon Joy Krause James Nuckel Mr. and Mrs. Carl Sorenson Jay Frederick Krehbiel Cristin M. O’Hara and Michael S. Sullivan Scott and Monica Steele Andrew Kronenberg and Jane Schneirov Stephen Olsen and Annie Weber David M. Steiner Charlene Kuo Alixine O’Malley Conrad C. Steinmann Brianna W. Lam Melissa O’Neill Randall Stempler Nile Lanning Kira von Ostenfeld-Sus Adrianne Stone Ann Lee Arianna Packard Christina Sullivan John Leo Mr. and Mrs. Kevin Parker Mr. and Mrs. J. Fife Symington IV Nicole Liarakos Roxana Pechero Richard E. Symington Cheryl Liebman Jacqueline Piraquive Thomas P. Symington Mr. and Mrs. Richard Lightburn Samuel Powers Kai-Teh Tao and Kai Shing Tao Mr. and Mrs. Robert Lindgren Diana Pulling Felicia Taylor Brandi Lipton Amy Margherita Puzio Mr. and Mrs. Andrew Thomas Renee Liu Norman D. Rau Kimberly S. Thomsen Mr. and Mrs. James Loeffler Katherine Reibel and Morgan Tupper Edward Toptani Mr. and Mrs. Thomas Loring Marna Ringel Douglas A. Trafelet Laura Seale Lovelace Elizabeth Robertshaw Gayle K. Turk John Lukovits Emily S. Robin Leonora Volpe and Howard Mulligan Amanda Mallan Dr. and Mrs. Rowland Perry Robinson Mr. and Mrs. Richard H. Wagle Kelly Mallon Jennifer Roesner and Nicole Fusaro David Waldes C. C. Marsh Jill Ross Dr. Elizabeth Weinman Debby Mayer Beatrice Rossi-Landi Mr. and Mrs. David Wells Carlos A. Maymi and Steven Rapkin Robert Roth Timothy J. Whealon Dr. John E. Meade Eugenie Roussel Genevieve Wheeler Brown and Mr. and Mrs. Gregory Melconian Caroline Rowley Peter Chase Hayden Brown Richard Mendlowitz Elisabeth Saint-Amand David White Rebekah Mercer N. Alexander Saint-Amand Suzanne W. Wilson Mr. and Mrs. Eugene Mercy, Jr. Brandt and Martelia Sakakeeny Laura Winters Natalie B. Milani Stuart M. Salenger Whitney Wolfe Dr. Mark D. Militana Mr. and Mrs. Michael L. Santini Jennifer Wright Mark Evan Miller Danielle Sapse David Yeager Pamela and Robert Miller Anne Schack Joseph A. Young

32 The Frick Collection Sustaining Friends Marvin and Mary Ellin Barrett Emily H. Trueblood and Mr. and Mrs. Michael Nash Ambler Jill V. and Lewis W. Bernard Ernest T. Patrikis Arlene J. Blau Sybil Bernstein Andrew S. Paul Leonard and Adele Block Mia Weiner and Martin Braid Marilyn B. Polite Nissan Boury Constance R. Caplan Peter and Suzanne Pollak Mr. and Mrs. L. Jay Cross Debrah Charatan Rory J. Radding and Nina S. Duchaine Mr. and Mrs. Richard M. Danziger Daniel R. Childs Jane L. Richards Mrs. Vincent de Roulet Mr. and Mrs. Garretson W. Chinn Jennifer Rogers and Frances Rogers Jerald Dillon Fessenden Dr. David Cooperman and Ralph Rucci Jill P. Fowler Dr. Amanda Cooperman David F. Ryan and Linda Y. Thung-Ryan P. R. Frederick Mr. and Mrs. Thomas M. Evans, Jr. Dr. and Mrs. Thomas Sculco Mr. and Mrs. Bruce Geismar Mr. and Mrs. Bruce A. Factor Peter and Courtney Simon Cosby W. George and Timothy M. George Barbara G. Fleischman Dr. and Mrs. Peter Som Abby Gilmore Richard E. Ford Peter Steinman Kate Gubelmann Mr. and Mrs. Robert L. Freedman Veronica M. Stubbs Georgia Hiden Mr. and Mrs. Cono Fusco Gary Thalheimer Mr. and Mrs. John R. Hupper Thomas R. Gallagher Dianne Wallace Georgianne M. and Richard A. Kasuli Reverend Davis Given Thomas R. Warfield Jennifer R. Kelley Marcia Goldberg Alicia R. Westmoreland Mr. and Mrs. Walter C. Klein Kathi Watts Grossman Helen M. Wright Mr. and Mrs. Thomas W. Lambert Herbert B. Halberg Mr. and Mrs. Alexander M. Laughlin Mimi Halpern and Stephen Morrow Marguerite Manley✦ John Hartje and Carol Camper Annual Fund Michael J. and Regina F. McCormick Mr. and Mrs. John Hearst Donors Mr. and Mrs. James J. Murtha Inge Heckel Roy R. Neuberger Elizabeth J. Hodge $10,000 and above Mr. and Mrs. W. Platt Gordon A. Holmes The Annenberg Foundation Dr. Wilbur Rabinowitz and Robin MacDermott and Robert W. Holmes Mr. and Mrs. Peter P. Blanchard III Audrey Rabinowitz Anne Gibboney Huske Mr.✦ and Mrs. Stephen M. Kellen Frank E. Richardson and the Mr. and Mrs. Edward Hyman, Jr. Honorable Kimba M. Wood Elsbeth Jordi $5,000-$9,999 Mr. and Mrs. Philip R. Rotner Alan Kanzer Nelly Arrieta de Blaquier Mr. and Mrs. Stuart B. Schimmel Patricia H. Keesee Arthur L. Loeb Eileen C. and Terrance L. Schwab Garrett Kirk $2,500-$4,999 Anthony J. and Lorriane Servino Mr. and Mrs. Peter Kreindler Mrs. Douglas Auchincloss Grant and Jacqui Smith Mr. and Mrs. Seymour Lichtenstein Mr. and Mrs. H. Charles Price III Howard Sosin Elizabeth Lifschultz Anne Stean Margie Loeb $500-$2,499 Andrea Woodner Pauline March Mr. and Mrs. Jeremiah M. Bogert Roger L. Yaseen Ann Bell McCoy Laurel Ann Brien Kay McCrosky Mr. and Mrs. Minturn V. Chace Supporting Friends Mr. and Mrs. Eugene Mercy, Jr. Mr. and Mrs. Garretson W. Chinn Alicia Lambert Albert Payne Whitney Middleton Hester Diamond Alexander Apsis Mr. and Mrs. Richard W. Moore Mr. and Mrs. Seymour R. Askin, Jr. David Newby ✦ deceased

2003 Annual Report 33 Mr. and Mrs. John S. Dyson $5,000–$9,999 Autumn Dinner Mr. and Mrs. Thomas M. Evans, Jr. Bloomberg October 20, 2003 The Finkelstein Foundation Goldman, Sachs & Co. Mr. and Mrs. Lucius L. Fowler The H. W. Wilson Foundation Autumn Dinner Benefactors Stephen A. Geiger Iridian Asset Management, LLC Mr. and Mrs. Howard Phipps, Jr. The Honorable Sir David and Town & Country Lady Gibbons UBS Autumn Dinner Patrons Reverend Davis Given Irene Roosevelt Aitken Robert B. Goldsmith and $2,500–$4,999 W. Mark Brady Dr. Teresa A. Carbone Altria Group, Inc. Charles C. Butt Mrs. Pauline L. Harrison American Express Company Mr. and Mrs. Minturn V. Chace Spencer and Marlene Hays Chanel, Inc. Dr. and Mrs. Henry C. Frick II Gordon A. Holmes Colgate-Palmolive Company The Helen Clay Frick Foundation Dr. and Mrs. Ira H. Kaufman John Wiley & Sons, Inc. Diane Allen Nixon Joseph Leo Koerner Liz Claiborne Foundation Patterson, Belknap, Webb & Tyler LLP Mr. and Mrs. Jon Landau Merrill Lynch & Co., Inc. Melvin R. Seiden and Janine Luke Mr. and Mrs. Richard E. Oldenburg Rolex Watch U.S.A., Inc. Isabel and Bruce Wilcox Mr. and Mrs. Norman L. Peck The Walt Disney Company Mr. and Mrs. Paul G. Pennoyer, Jr. Autumn Dinner Supporters Mr. and Mrs. Allan J. Robbins Matching Gift Companies Arnhold Foundation Simon M. Schama and Altria Employee Involvement Programs Peter and Sofia Blanchard Dr. Virginia E. Papaionannou AT&T Foundation Nelly Arrieta de Blaquier Mr. and Mrs. James Baker Sitrick AXA Foundation Mr. and Mrs. I. Townsend Burden III Elizabeth F. Stribling and Guy Robinson Bank of America Mr. and Mrs. L. F. Boker Doyle Margaretta Taylor Bayerische Hypo- und Vereinsbank Martha M. Hare Mr. and Mrs. Wynant D. Vanderpoel III Bunge Corporation Foundation Iridian Asset Management, LLC Dr. Dietrich von Bothmer The Chase Manhattan Foundation Mr.✦ and Mrs. Stephen M. Kellen Elizabeth and Robert Webster Computer Associates International, Inc. Jon and Barbara Landau Marissa C. Wesely Deutsche Bank Americas Foundation Mr. and Mrs. John R. Robinson Francis H. Williams ExxonMobil Matching Gifts Programs Mr. and Mrs. Juan A. Sabater IBM Corporation Dr. and Mrs. Karl Wamsler Corporate The J. Paul Getty Trust John Wiley & Sons, Inc. Members Autumn Dinner Friends JPMorgan Chase Foundation Julian Agnew $50,000 and above The May Department Stores Dr. and Mrs. Hugh R. K. Barber Christian Dior Company Foundation Mrs. E. Albert Berol Mayer, Brown & Platt Jill and Richard Blanchard $25,000–$49,999 Mobil Foundation, Inc. Mr. and Mrs. Jeremiah M. Bogert First Republic Bank The Moody’s Foundation Matching Guy Cary Pfizer Inc. Gift Program Mrs. Christopher C. Y. Chen Westbrook Partners, LLC Penguin Group (USA) Inc. Christie’s W. P. Stewart & Co., Ltd. Pfizer Foundation Edna C. Craddock $10,000–$24,999 Sempra Energy Trading Corp. Elizabeth de Cuevas Moët & Chandon Champagne The William and Flora Hewlett The Honorable and Mrs. Walter J. P. Curley Tiffany & Co. Foundation ✦ deceased

34 The Frick Collection Princesse Marie-Sol de La Tour d’Auvergne Jourdan Arpelle-Ziegler and The Frick Collection makes every Mrs. Charles H. Dyson Henry Steinway Ziegler effort to recognize gifts as requested. Mr. and Mrs. Walter A. Eberstadt Dr. Jonathan Zizmor and Corrections may be directed to Helen Cosantino Fioratti Alexandra Zizmor Nicole Blackwell at (212) 547-0709. Anastassios Fondaras Joanne du Pont Foster Autumn Dinner Contributors Elise D. Frick and Jack Garraty Gillian Attfield Mr. and Mrs. Alain Goldrach Mr. and Mrs. Sid R. Bass Mr. and Mrs. Hubert L. Goldschmidt Catherine and Robert Brawer Alexis Gregory Jeannie and Robert Conway Mr. and Mrs. Nicholas H. J. Hall Clara Dale Mr. and Mrs. John R. Hearst, Jr. Dodge & Cox Mr. and Mrs. Mauro A. Herlitzka Florence B. D’Urso Frederick D. Hill Shelley and Steven Einhorn Mrs. Jeffrey Hughes Mr. and Mrs. John Elliott Jill and Jeff Joyce Emily Fowler Jay Frederick Krehbiel Barrett Frelinghuysen George Labalme, Jr. Victor Grann Dr. Edie Langner and Michael Coles Agnes Gund and Daniel Shapiro June and Frank✦ Larkin Pauline L. Harrison Mr. and Mrs. Howard G. Lepow Kitty Carlisle Hart Harriette and Noel Levine Mr. and Mrs. John R. Hupper Ambassador John L. Loeb, Jr. Peter Jennings and Kayce Freed Mr. and Mrs. Thomas Loring Mr. and Mrs. Christopher M. Lehman Susan Lyall and Hans P. Utsch Arthur L. Loeb Elizabeth Madden Mr. and Mrs. Earl I. Mack Rodney W. Nichols C. C. Marsh Anka K. Palitz Mr. and Mrs. John McGarry Samuel H. Kress Foundation Mr. and Mrs. Frank N. Newman Robert S Pirie Mr. and Mrs. Bernard G. Palitz Dr. and Mrs. Simon B. Poyta Mr. and Mrs. Paul G. Pennoyer, Jr. Mrs. Lewis T. Preston Mrs. John Pierrepont✦ Gianluigi and Claudia Quentin Mr. and Mrs. Eben W. Pyne Dr. and Mrs. James S. Reibel David Rockefeller Caroline Rubinstein and Phillip M. Winegar Henry and Mary Rodgers Guettel Mr. and Mrs. Stanley DeForest Scott Seneca Capital Management Mrs. John A. Scrymgeour Mr. and Mrs. H. R. Slack Kathleen Sloane Edmund M. and Elizabeth Speer Elizabeth F. Stribling and Guy Robinson Mr. and Mrs. David Stam Isabel C. Stuebe Dr. and Mrs. Donald Straus Mr. and Mrs. David M. Tobey Sotheby’s Dr. and Mrs. Robert D. Wickham Mr. and Mrs. James J. Wilson Alan Wintermute Mr. and Mrs. Gene M. Woodfin ✦ deceased

2003 Annual Report 35 Statement of Financial Position December 31, 2003, with comparative December 31, 2002, totals (Note 1)

Assets: 2003 2002 Note 1 For purposes of brevity, the December 31, 2003 and Cash and cash equivalents $ 2,141,377 $ 2,806,868 2002 financial information presented herein is Contributions receivable 537,433 685,749 excerpted from our audited financial statements as Accrued interest and dividends 288,736 224,143 prepared by the independent accounting firm of Due from broker PriceWaterhouseCoopers, LLP, which rendered an for securities sold 358,626 641,443 unqualified opinion as to those statements’ confor- Other assets 910,588 1,123,035 mance with generally accepted accounting principles. Inventory 785,663 837,329 This excerpted information does not include the Investments, at market: Statement of Cash Flows or the footnotes that are Museum 163,880,031 144,206,076 integral to a full presentation of the Collection’s finan- Library 46,627,395 40,792,098 cial position. A complete Report of the Independent Fixed assets, net: Auditors is available by writing to the Development Museum 17,906,663 17,532,541 Office of The Frick Collection. Library 1,954,728 1,888,497 Prepaid pension cost 794,471 1,345,239 Note 2: Measure of operations The Collection includes in its definition of operations Total assets $ 236,185,711 $ 212,083,018 all revenues and expenses that are an integral part of its programs and supporting activities. The measure Liabilities and Net Assets: of operations includes investment income equal to the 4.5% spending rate (see Note 3 below) and Accounts payable and excludes investment return in excess of, or less than, accrued expenses $ 2,753,546 $ 1,590,271 the 4.5% spending rate and depreciation of fixed Due to broker for assets. The measure of operations also excludes unso- securities purchased 708,945 1,187,524 licited, unrestricted contributions of $50,000 or more, Accrued postretirement health as these contributions are board designated for long- and other benefits 4,422,935 4,089,000 term investment as funds functioning as endowment.

Total liabilities 7,885,426 6,866,795 Note 3: Spending rate The Frick Collection’s investments are pooled to facil- Net assets: itate their management. The Collection manages its Unrestricted 198,332,037 171,061,655 pooled investments on a total return basis. To preserve Temporarily restricted 4,099,246 8,369,566 the investments’ long-term purchasing power, the Permanently restricted 25,869,002 25,785,002 Collection makes available to be spent each year 4.5% of the investment portfolio’s average market value for Total net assets 228,300,285 205,216,223 the twelve quarters ending the September prior to the beginning of the year, net of related fees and taxes. Total liabilities and net assets $ 236,185,711 $ 212,083,018

36 The Frick Collection Statement of Activities For the year ended December 31, 2003, with comparative totals for 2002

Unrestricted Total

Board Temporarily Permanently General Designated Total Restricted Restricted 2003 2002

Operating support and revenues Net investment return – 4.5% spending policy $ 8,867,874 $ – $ 8,867,874 $ – $ – $ 8,867,874 $ 9,191,102 Other interest income 9,291 6,518 15,809 7,494 23,303 39,678 Contributions 1,192,373 1,192,373 652,375 1,844,748 3,848,196 Admission fees 2,275,433 2,275,433 2,275,433 1,915,386 Membership 1,112,473 1,112,473 1,112,473 1,160,470 Bookstore sales and miscellaneous 1,215,885 1,215,885 1,215,885 1,050,985 14,673,329 14,679,847 659,869 – 15,339,716 17,205,817 Net assets released from restrictions 1,577,145 1,577,145 (1,577,145) Total operating support and revenues 16,250,474 16,256,992 (917,276) – 15,339,716 17,205,817

Operating expenses Museum programs: Operations 4,138,283 4,138,283 4,138,283 4,178,556 Special exhibitions, concerts, and lectures 1,643,532 1,643,532 1,643,532 932,899 Bookstore, including cost of sales 884,660 884,660 884,660 825,656 Total museum programs 6,666,475 – 6,666,475 – – 6,666,475 5,937,111 Library programs: Operations 2,871,954 2,871,954 2,871,954 2,941,263 Special programs 321,235 321,235 321,235 240,877 Total library programs 3,193,189 – 3,193,189 – – 3,193,189 3,182,140 Total programs 9,859,664 – 9,859,664 – – 9,859,664 9,119,251 Supporting services: General and administrative 6,299,619 6,299,619 6,299,619 5,099,119 Fundraising 959,764 959,764 959,764 1,053,517 Total supporting services 7,259,383 – 7,259,383 – – 7,259,383 6,152,636 Total operating expenses 17,119,047 – 17,119,047 – – 17,119,047 15,271,887

Excess (deficiency) of operating support and revenues over operating expenses (868,573) 6,518 (862,055) (917,276) – (1,779,331) 1,933,930

Nonoperating Contributions 84,000 84,000 30,000 Depreciation (1,174,875) (1,174,875) (1,174,875) (986,221) Commitments and Contingencies (1,200,000) (1,200,000) (1,200,000) Reclassification of unrealized gains 5,007,704 5,007,704 (5,007,704) – Net investment return designated for long-term investment 25,499,608 25,499,608 1,654,660 27,154,268 (23,688,694) Total nonoperating support revenue and expenses (1,200,000) 29,332,437 28,132,437 (3,353,044) 84,000 24,863,393 (24,644,915)

Change in net assets (2,068,573) 29,338,955 27,270,382 (4,270,320) 84,000 23,084,062 (22,710,985)

Net assets, beginning of year $ 7,663,998 $ 163,397,657 $ 171,061,655 $ 8,369,566 $ 25,785,002 $ 205,216,223 $ 227,927,208 Net assets, end of year $ 5,595,425 $ 192,736,612 $ 198,332,037 $ 4,099,246 $ 25,869,002 $ 228,300,285 $ 205,216,223 See accompanying notes. 2003 Annual Report 37 Meredith Watson Stephanie Mezynski (p.t.) The Frick Collection Staff Education Liaison Conservation Clerk as of January 2004 Yvonne Elet Luke Barnett IV (p.t.) Andrew W. Mellon Fellow Stack Reconfiguration Coordinator Holly Flora Anne L. Poulet Book Department Director Andrew W. Mellon Fellow Deborah Kempe Yuri Ito Public Programming Chief, Collections Executive Assistant to the Director Joyce Bodig Management & Access Coordinator of Concerts and Special Events Mark Bresnan Administration & Finance Head, Bibliographic Records Department Rodica Tanjala Krauss Frick Art Reference Library Coordinator (Recon Project) Robert Goldsmith Deputy Director Patricia Barnett Paul Schuchman Associate Cataloger Martha Hackley Andrew W. Mellon Librarian Executive Assistant to Deputy Director Eric Wolf Assistant Cataloger Michael Paccione Library Administration Department Christina Peter (Acquisitions) Controller Mary Ann E. Kelly Jesse Sadia (Auction Sale Catalogues) Chuyon Yi Assistant to the Chief Librarian/ Amy Schwarz (Periodicals) Financial Analyst Coordinator for Library Administration Cataloging Associates Diane Oatman Jennifer L. Lackow Charles Basman Payroll/Benefit Coordinator Library Assistant for Administration Alida Lasker (Recon Project/Acquisitions) William Guy Traylor Sean M. McCarthy (p.t., Recon Project) Accounting Coordinator Public Services Department Cataloging Assistants Dana Winfield Lydia Dufour Aimee Genell (Special Projects) Head of Human Resources Chief, Public Services Anthony Jones Lisa Foerster Suzannah Massen Acquisitions Assistants Purchasing and Supply Room Assistant Assistant Reference Librarian Nigel Sifantus for Electronic Resources Photoarchive Department Mailroom Clerk Mariko Iida Inge Reist Reference Associate Chief, Collections Development & Research Curatorial Department Carol Yoshimura Kerry Sullivan Library Associate for Public Services Head, Photographic Records Colin B. Bailey Eddie Jones (p.t.) Louisa Wood Ruby Chief Curator Georgette Victor (p.t.) Associate Photoarchivist Margaret Iacono Receptionists Dorothy Devenney (p.t.) Curatorial Assistant to the Chief Curator Ian Titus Rita Havivi (p.t.) Denise Allen Manager of Pages Britta Von Campenhausen (p.t.) Associate Curator Assistant Photoarchivists Lorenzo De Los Angeles Richard di Liberto Luciano Johnson Angela Campbell Photographer Anthony Redding Valeria Kondratiev (p.t.) Diane Farynyk Senior Pages/Technicians Margaret Rose (p.t.) Photoarchive Assistants Registrar/Exhibition Manager Brian D. Goldberg (p.t.) Susan Grace Galassi Amanda T. Wheeler (p.t.) Curator Pages/Technicians Information Systems Department (Institution-wide) Amy Herman Head of Education Conservation Department Floyd Sweeting Head, Information Systems Elaine Koss Don Swanson Editor Chief, Collections Preservation Brian Nichols Christine Minas Jerilyn Davis Manager of Information Technology Curatorial/Registrarial Assistant Conservator Vivian Gill Barbara O. Roberts Kelli Piotrowski Manager of Digital Information & Electronic Publications Objects Conservator Assistant Conservator Julie Shean Joanna Sheers Michael Houk Database Coordinator Administrative Assistant (Digital & Reprographic Services) Spencer Sutton to the Curatorial Department Preservation Associate Help Desk Coordinator William Trachet Felix Esquivel John Ng Senior Conservation Technician Conservation Assistant Network & PC Support/Technical Assistant

38 The Frick Collection Reginald Oleus (p.t.) Reid Taylor Security PC Support/ Technical Assistant Mail and Stock Clerk Dominic Phillips First Lieutenant for Security Archives & Records Operations Department Daniel Charles Management Department Dennis F. Sweeney Second Lieutenant for Security (Institution-wide) Head of Operations Gloria Blanc-Jaiteh Sally Brazil (p.t.) Pierre Jean-Francois Chief, Archives & Records Management Engineering Sergeants Susan Chore Joseph Corsello Lance Hartman Julie Ludwig (HCFF Project) Chief Engineer Delroy Slater Assistant Archivists Night Shift Supervisors Colm McCormac Marcia Bassett (p.t.) Assistant Chief Engineer Ainsworth Anderson Project Archivist Relief Night Supervisor Charles W. Bulanowski John Kowalski Sabane Adinda-Ougba Roger Legendre Pierre Bernadotte Department of External Affairs Harold Millin Dwain Bredwood Thomas Puglia Elizabeth Cacovic Martin Duus Mikhail Shusterman Daniel Campbell Vice Director for External Affairs Engineers Jamal Carson Rebecca Brooke Digna Delance Wilfred Maldonado Manager of Publications Lesly Desmangles Head Electrician Borgia Espinal Amy Busam Leroy Evans Manager of Corporate and Foundation Relations Maintenance Daniel O. Faakye Mary Emerson Brian A. Anderson Mara Gjelaj Manager of Major Gifts Senior Galleries Technician Theodore Glover Alexey Gryaznov Heidi Rosenau Carol Cannon Ana Gutierrez Manager of Media Relations & Marketing Building Maintainer/Gallery Technician Pearl James Stephanie Ruggiero Devaindranauth Jamunaprasad Media Relations & Marketing Coordinator Housekeeping Herve Jean-Baptiste Mireya Romero Billy Jean-Elysee Supervisor of Housekeeping Marlene Joseph Sales and Information Department Winston McLeod Joanel Legiste Assistant Housekeeping Supervisor Joseph Levasseur Katherine Gerlough James LoBosco Head of Retail and Visitor Services John Benson Guerline Louisdor Marie Brann Christine Kim Jean Mayard Soeurette Etienne Assistant to the Head of Retail Hugh McMorris Kalu Gaviria and Visitor Services Elliot Meadows Berthie Lazare Riviere Moreau Nancy McGeorge (seasonal) Ronald Moliere Edward Peana Sales and Information Coordinator Louisa Moreau Chunilall Rangasamy Susan Tabor (seasonal) Mahadeo Nipal James Smith Sales and Information Coordinator Juan Pereya Richard Spencer Jairo Rodriguez Stephanie Abraitis Shivekarran Tillack Jose Sanchez Muriel Balash Garfield Walker Housekeepers Deborah Black Brian Williams Rujeanne Bleemer Guards Zoe Browder Kitchen John A. Baker Elizabeth Bukac Joseph Teresa Jason Fraticelli Nina Coates Executive Chef/Kitchen Manager Keisha Hernandez Janice Dugan Joanne Duda Stephanie Kirksey Barbara Feldkamp Sous Chef Emmanuel Piton Coral Groh Avelardita Taveras Marla Hansen Theana Bernadotte Coatroom Attendants Ann Jaffe Conceptia Saintil Dieynaba Johnson Kitchen Assistants Jacqueline Reeves Monica Sands Horticulture Mandakini C. Tata Jonathan Tuzo Karl Galen Lee Sales and Information Staff (p.t.) Horticulturalist and Special Events Designer Aaron Dugan Bernadette Morrell (p.t.) Stock Clerk Flower Arranger

2003 Annual Report 39 fall calendar

Concerts, lectures, and special exhibi- Autumn Dinner January tions are made possible through the Fellows Event Monday, October 18, at 7:00 generosity of the Fellows of The Frick Robert Hughes will be honored. Aston Magna, two violins, viola, cello, with Collection and other donors. Eric Hoeprich, classical clarinet: quintets Joseph Duveen: Kingpin of Art by Weber and Mozart; Onslow, Quartet Lecture Wednesday, October 20, at 6:00 in G Minor September Meryle Secrest, biographer Concert Sunday, January 9, at 5:00 Opening Reception for European Bronzes Henry Clay Frick bought a number of works in from the Quentin Collection his collection from Joseph Duveen, arguably Jean-Claude Pennetier, piano: Ravel; Fauré; Fellows Event Monday, September 27,at 5:30 the most important art dealer of the twentieth Debussy, 12 Preludes, Book 1 century. The lecturer, author of a new bio- Concert Sunday, January 23, at 5:00 Learning by Doing: Cataloging European graphy of Lord Duveen, will discuss his life, Old Master Bronzes in the Quentin Collection career, and relationship with Mr. Frick. Museum Shop Lecture Wednesday, September 29, at 6:00 Manfred Leithe-Jasper, Director Emeritus, November The Museum Shop offers a wide selection of Department of Sculpture and Decorative scholarly and popular titles, stationery, Arts, Kunsthistorisches Museum Vienna Gaede Trio in New York debut: Mozart, prints, and special gift items related to the The experiences gained from cataloging bronze Beethoven, Ysaÿe, Dohnanyi Frick’s exhibitions and collections. You can visit our shop during regular Collection hours statuettes often provide new insights into the Concert Sunday, November 14, at 5:00 or purchase items online at www.frick.org. works of even well-known sculptors such as Giambologna. In conjunction with the Frick’s La Fornarina: Raphael’s Last Members receive a 10 percent discount on special fall exhibition, Dr. Leithe-Jasper will and Most Surprising Masterpiece all shop purchases. discuss the process, progress, and surprises Lecture Tuesday, November 30,at 6:00 afforded by cataloging the Quentin bronzes, Claudio Strinati, Superintendent European Bronzes focusing on two of Giambologna’s most of the National Museums of Rome from the Quentin famous compositions, the Striding Mars and In conjunction with a special loan to The Collection Sleeping Nymph. Frick Collection from the Palazzo Barberini in 360 pages; Rome, this lecture will examine the legend cloth $125 Cocktails on the Garden Terrace surrounding Raphael’s celebrated portrait and Young Fellows Event place it in an artistic and historical context. Thursday, September 30, at 6:30 Sponsored by Ralph Lauren Home Lectures are open to the public without charge December thirty minutes before the event. Concert tickets, limited to two per applicant, are October Gauguin’s Paradise Lost issued in response to written requests received on the Lecture Wednesday, December 1, at 6:00 third Monday before the concert. Please direct requests to the Concert Department and enclose a The Mozartean Players, violin, cello, forte- George Shackelford, Museum of stamped, self-addressed envelope. Each request piano: Mozart; Haydn; Beethoven, Trio in G Fine Arts, Boston should be for only one concert. No hand-delivered Major, Opus 1, No. 2 George Shackelford, co-curator of the recent or telephone applications will be accepted. Children Concert Sunday, October 3, at 5:00 international exhibition Gauguin Tahiti, will under ten are not admitted. Ticket holders must be seated at least five minutes This concert is part of the New York Early discuss the artist’s voyage to the South Seas and before the concert, at which time unoccupied chairs Music Celebration. his creation of a dream vision of a new Paradise. are made available to persons on the waiting line. The program also will be transmitted in the Garden Fretwork, consort of five viols with soprano Eduardus Halim, piano: Liszt; Schumann; Court, where no tickets are required. Fellows of The Frick Collection may request con- Emma Kirkby: Byrd,Gibbons,Dowland, Tye Granados, Goyescas cert tickets by telephone. To become a Fellow, please Concert Sunday, October 17, at 5:00 Concert Sunday, December 5,at 5:00 contact Mary Emerson at (212) 547-6870.

40 The Frick Collection