The Arnhold Collection of Meissen Porcelain, 1710–50
March 25, 2008, through June 29, 2008
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Vase and Cover, Meissen porcelain, c. 1725,
2001.462; H., 9 1/4” (23.5 cm). Photo: Maggie Nimkin |
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The Frick Collection is exhibiting a selection of Meissen porcelain from the collection of Henry Arnhold. One of the greatest private holdings of early Meissen assembled in the twentieth century, the collection was formed in two phases, the first in Dresden between 1926 and 1935 by Henry’s parents, Lisa (née Mattersdorff; 1890–1972) and Heinrich (1885–1935) Arnhold ; the second, by Henry in New York between 1972 and 2006. Heinrich Arnhold, trained as a lawyer and a member of a powerful banking family in Dresden, and his wife, who had studied medicine, were married in 1914 and became deeply involved in the cultural and intellectual life of the city. Their interest in collecting porcelain may have stemmed, in part, from the fact that Heinrich served on the boards of thirteen porcelain and ceramic firms in Saxony with which his bank was affiliated. He and Lisa began by making a few tentative purchases of porcelain, which were later sold, before deciding to focus on the acquisition of pieces from the early period at Meissen, choosing, almost exclusively, wares and vases rather than figures. The collection grew to include large vases, pieces from table services, as well as tea, coffee, and chocolate services. Although well known to specialists, this remarkable collection has never before been the subject of a major public exhibition.
The formula and method for manufacturing true porcelain were developed in China by the sixth century but remained a consuming mystery in the West until their discovery in 1709 by the alchemist Johann Friedrich Böttger (1682–1719), under the patronage of August II, elector of Saxony and king of Poland. The following year, the king established a royal manufactory outside of Dresden in the town of Meissen, and the porcelain created there has been known by that name ever since.
The early years at Meissen were exciting times of experiment, not only with the formula for porcelain but also with shapes and decoration. Initially, many of the works produced were direct imitations of Japanese and Chinese objects in Augustus II’s famous collection. Others had European forms incorporating Asian decorative motifs. Because the manufactory initially had difficulty with firing enamel colors, most of the wares were white or were painted or gilded after firing.
In many ways, Henry Arnhold, in adding to the collection of his parents, continued to follow their taste and preferences. He took a new direction, however, in acquiring significant blue-and-white objects commissioned by Augustus II that bore the mark of his famed Japanese Palace, just as he did in acquiring fifteen cabinet and dessert figures in 2006. The result is a rich and profoundly personal collection of exquisite objects from the early, innovative period at Meissen.
The Arnhold Collection of Meissen Porcelain, 1710–50, was organized for The Frick Collection by Director Anne L. Poulet and Maureen Cassidy-Geiger, guest curator of the exhibition. It is accompanied by a fully illustrated catalogue, published by The Frick Collection in association with D Giles Unlimited, London, available in mid-April in the Museum Shop and online at shopfrick.org.
The exhibition is made possible, in part, by the generous support of the Arnhold Foundation.
Frick’s Vermeers
Reunited
June 3 through November 2, 2008
Particularly beloved among the paintings at The Frick Collection are its three works by Johannes Vermeer (1632– 1675), Officer and Laughing Girl (left), Mistress and Maid (center), and Girl Interrupted at Her Music (right). These rare canvases
were purchased by Henry Clay Frick before his death in 1919 and have
hung in the Fifth Avenue mansion ever since. This summer, the
institution offers visitors their first opportunity in nearly ten years to
examine the paintings together on one wall.
Their presentation in the
South Hall is accompanied by a panel that traces Frick’s interest in
the artist and places him in the context of other early American
collectors of Vermeer’s work. An education program involving Colin B.
Bailey, Associate Director and Peter Jay Sharp Chief Curator, is planned
for September; the summer Members’ Magazine features an illuminating
essay on the market for Vermeer’s paintings, written by Esmée Quodbach, Assistant to the Director of the Center for the History of
Collecting in America, an initiative based at the Frick Art Reference Library. This special summer installation, Frick’s Vermeers
Reunited, runs through November 2, 2008.
Permanent Collection
The Frick Collection includes some of the best-known paintings by the greatest European artists, major works of sculpture (among them one of the finest groups of small bronzes in the world), superb eighteenth-century French furniture and porcelains, Limoges enamels, Oriental rugs, and other works of remarkable quality.
There is no special exhibition at this time, however, several are scheduled annually. Use the following links, or use the links at left, to see our featured or current exhibitions and installations, or future exhibitions. You may also visit previous exhibitions and installations or purchase catalogues of past shows from our Museum Shop.
We are pleased to announce a searchable database of works of art in the permanent collection, available at collections.frick.org. You may bookmark the following link "Search Our Collections," which is also available on each page on this Web site.
You are also invited to investigate our permanent collections area by visiting the virtual tour section, available from Tour The Frick Collection Online, on each page of this Web site. This section contains information about the history of The Frick Collection, the galleries used for displaying our permanent collection, and includes a virtual tour and audio files. For questions about visiting The Frick Collection, see Visitor Information. |
