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In 1916, Henry Clay Frick converted his private office at his home on Fifth Avenue into a gallery for the collection of Limoges enamels that he had purchased from the estate of J. Pierpont Morgan for the then-staggering sum of $1,157,500. What was so compelling about these delicate, jewel-like objects that Frick paid such a high price and was willing to sacrifice his sanctuary for their display?

Monumental Works Offer a Preview of Next Year’s Exhibition

This article is reprinted from the Fall 2015 issue of the Members’ Magazine.

 

This post is adapted from an article in the Spring/Summer 2015 issue of the Members’ Magazine.

This letter is reprinted from the Spring/Summer 2015 issue of the Members’ Magazine.

 

 

This letter is reprinted from the Winter 2015 issue of the Members’ Magazine.

 

Reprinted from the Winter 2015 issue of the Members’ Magazine, this article details a significant gift to the Frick’s permanent collection, Bartolomé Esteban Murillo’s Self-Portrait (ca. 1650–55).

Photoarchive intern Alexandra Provo and her collaborator Diana Sapanaro discuss their projects to use visualization technologies and Python scripts to make one of the Library's research tools, Spanish Artists from the Fourth to the Twentieth Century: A Critical Dictionary, accessible to the public in new ways.