Enfilade

From The Wallace (14 January 2016) . . .

Director, Dr Christoph Vogtherr, to leave the Wallace Collection

We at the Wallace are sad to hear about his departure, he has been an inspiration to his staff and we wish him well in his new role at Hamburger Kunsthalle.

Dr Vogtherr joined the Wallace Collection as the Curator of Old Master Paintings and was appointed as Director in October 2011. During his tenure Dr Vogtherr has been responsible for the acclaimed refurbishment of the museum’s Great Gallery, seen visitor numbers increased by 20% and has established the museum as an international research centre for French seventeenth and eighteenth century art and European arms and armour.

Dr Vogtherr said: “It has been a great privilege to be part of the Wallace Collection team over the past nine years and its Director for the past five. I am proud to have been associated with such an outstanding collection and to have made a contribution to ensuring its enduring appeal for future generations. The refurbishment of the Great Gallery has been a once-in-a-lifetime project. The Hamburg Kunsthalle has played a crucial role in the history of the art museum and current museum practice, which explains the timing of this decision but I know I leave the Collection in good hands under the Chairmanship of António Horta-Osório, who I know will lead the Collection from strength to strength”.

António Horta Osório, the Chairman of the Wallace Collection, said: “We are very sorry to learn of Dr Vogtherr’s decision. We are immensely grateful to him for the very substantial contribution he has made to the Wallace Collection. He will leave the museum in a position of great strength artistically and intellectually.”

Dr Vogtherr will take up his post in Hamburg in October and the Wallace Collection will begin the search for a new Director in due course.

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From the Hamburg Kunsthalle (13 January 2016). . .

Dr. Christoph Martin Vogtherr wird Direktor der Hamburger Kunsthalle

Der Stiftungsrat der Hamburger Kunsthalle hat heute beschlossen, Dr. Christoph Martin Vogtherr die künstlerische und wissenschaftliche Leitung der Hamburger Kunsthalle zu übertragen. Vogtherr ist seit 2011 Direktor der Wallace Collection in London, einem der weltweit renommierten Museen für ältere, insbesondere französische Kunst. Er tritt zum 1. Oktober 2016 in der Hamburger Kunsthalle die Nachfolge von Prof. Dr. Hubertus Gaßner an, der in den Ruhestand geht.

Kultursenatorin Prof. Barabara Kisseler: „Mit Christoph Martin Vogtherr geben wir die Leitung der Hamburger Kunsthalle in die Hände eines ebenso erfahrenen wie innovativen Museumsdirektors. Vogtherr ist ein international anerkannter Kunsthistoriker. Als Direktor der Wallace Collection in London ist es ihm gelungen, mit neuen Sammlungspräsentationen und aktuellen Perspektiven ein neues Publikum für das Museum zu begeistern. Wir haben mit ihm eine Persönlichkeit gefunden, die dem Rang der Hamburger Kunsthalle gerecht wird und neue internationale Impulse setzen wird.“

Christoph Martin Vogtherr: „Die Hamburger Kunsthalle ist eines der herausragenden Kunstmuseen in Deutschland. Mit ihrer beeindruckenden und inspirierenden Tradition in der kunsthistorischen Arbeit und der Kunstvermittlung hat sie immer wieder die internationale Museumswelt geprägt und herausgefordert. Ich freue mich sehr über das große Vertrauen der Freien und Hansestadt Hamburg und möchte gemeinsam mit allen Mitarbeiterinnen und Mitarbeitern des Museums die künstlerische und gesellschaftliche Bedeutung der Kunsthalle weiter entwickeln.“

Christoph Martin Vogtherr ist seit 2011 Direktor der Wallace Collection in London. Seit 2007 war er dort zunächst als Kurator, später als Sammlungsleiter tätig. Von 2003 bis 2007 leitete er ein interdisziplinäres Forschungsprojekt der Getty Stiftung.

Seine derzeitige Wirkungsstätte, die Wallace Collection, ist eines von mehreren britischen Nationalmuseen und verfügt über eine hochkarätige Sammlung. Für Christoph Martin Vogtherr haben Museen eine wichtige Funktion als Teil der Zivilgesellschaft. Dabei ist es ihm ein besonderes Anliegen, ein junges und internationales Publikum durch innovative Vermittlungsangebote zu gewinnen.

Christoph Martin Vogtherr wurde 1965 in Uelzen geboren und studierte Kunstgeschichte, mittelalterliche Geschichte und klassische Archäologie in Berlin, Heidelberg und Cambridge. 1996 promovierte er an der Freien Universität Berlin mit einer Dissertation über die Gründung der Berliner Museen 1797-1835. Er verfügt über hervorragende internationale Beziehungen im anglo-amerikanischen Raum sowie in Frankreich. Seit 2014 ist er Mitglied im Wissenschaftsrat des Institut national d’histoire de l’art in Paris.

As noted recently at Art Daily:

In an effort that began ten years ago, Winterthur Museum, Garden & Library has accomplished a significant milestone: 60,000 objects in the Winterthur collection have been catalogued or re-catalogued and made available to the public through Winterthur’s Online Collections.

In late summer of 2005, Winterthur welcomed new collections management software, and more than 70 staff and volunteer cataloguers began the process of cataloguing or re-cataloguing the entire collection of nearly 90,000 objects. With the help of many grants, approximately 16,000 ceramics, 14,500 metals, 11,000 textiles and needlework 3,500 prints and maps, 3,200 glass objects, 3,000 pieces of furniture, as well as architectural elements, paintings, tools, toys and games, works on paper, and more have been catalogued. In addition, nearly 152,000 digital images have been added to Winterthur’s collection database.

“We are incredibly grateful to all of our cataloguers over the years, as well as to those agencies, organizations, and individuals who have contributed to this project. Creating our Online Collections has given the public and scholars important access to the Winterthur collection and the wealth of information it has to offer, and in doing so, the Museum has been able to engage new audiences with its collection,” said Linda Eaton, John L. & Marjorie P. McGraw Director of Collections & Senior Curator of Textiles.

The original grant that started this process was given by the Jane du Pont Lunger Residual Trust Fund, which also funded the purchase of digital photographic equipment. Several other grants from federal agencies, foundations, and generous private supporters have helped Winterthur reach this achievement. Four grants from the Institute of Museum and Library Services made possible cataloguing discrete parts of Winterthur’s diverse collections of decorative and fine arts. The textile collection, an important resource for historians internationally, was partially catalogued through two grants for furnishing textiles and printed textiles. Winterthur’s collection of tools used by artisans in trades ranging from carpentry to silversmithing to needlework is the focus of the most recent grant that will be completed June 2016. An additional grant from the National Endowment for the Arts scanned and photographed half of the maps and prints in the collection, which are now available online. A grant from The Coby Foundation catalogued quilts and other bed covers, while a grant from the Museum Loan Network was used to catalogue and photograph 100 pre-1800 English ceramics that were then made available for loan on the MLN website. The generosity of Leslie B. Durst has made it possible to catalogue and photograph the needlework collection.

Press release (12 January 2016) from The Getty:

Wall Clock, with clock movement probably by Nicolas Thomas, ca. 1785; gilt bronze, enameled metal, glass, 49.5 x 55.9 cm (Los Angeles: The J. Paul Getty Museum)

The J. Paul Getty Museum today announced the acquisition of an important collection of eighteenth-century French decorative arts assembled by Dr. Horace Wood (Woody) Brock, one of the world’s foremost economists. The acquisition is a combined gift and purchase. The thirty-one works of art include seven clocks; six gilt-bronze mounted porcelain, feldspar and porphyry objects; five works in gilt bronze including a pair of candelabra, two sets of firedogs, and two sets of decorative vases; a carved gilt-wood console table; a porcelain inkstand; and a leather portrait medallion of Louis XIV. The collection substantially enhances the Getty Museum’s extraordinary holdings of French decorative arts, renowned as one of the most important outside France.

“These exquisite objects constitute the most significant acquisition of French decorative arts made by the Museum in many years,” said Timothy Potts, director of the J. Paul Getty Museum. “Produced in the sophisticated artistic culture of eighteenth-century Paris, these extraordinary works epitomize the skill and artistry that made the French court and aristocratic life the epitome of elegant extravagance, and the envy of collectors throughout Europe. We are deeply grateful to Dr. Brock for his generosity in enriching our collection with this important gift and purchase.”

Mantel Clock, ca. 1789. Clock case attributed to Pierre-Philippe Thomire; clock movement by Charles-Guillaume Manière; patinated bronze, gilt bronze, enameled metal, glass, white marble, griotte marble, 55.2 × 64.5 × 19.1 cm (Los Angeles: The J. Paul Getty Museum, Los Angeles)

Dr. Brock has been collecting French and English decorative arts and Old Master drawings for the last thirty years. He began lending decorative arts objects to the Getty Museum in 1997 and made several long-term loans through 2008. Since being lent to the Getty, these objects have been on continuous display in the European decorative arts galleries in the South Pavilion Plaza Level at the Getty Center.

“The objects collected by Dr. Brock are sumptuous and refined pieces of the highest quality that have significantly enriched the French Decorative Arts galleries since the opening of the Getty Center in 1997,” said Anne-Lise Desmas, curator and department head of Sculpture and of Decorative Arts. “They have become key components in the Museum’s recreation of French eighteenth-century interiors and have played an essential role in our visitors’ experience and understanding of this critical period of European art.”

The newly-acquired works were created as luxury objects that would have decorated the lavishly furnished residences of the French aristocracy and bourgeoisie. Many, such as the clocks, candelabra, and the inkstand, were made for practical use, but their sophisticated design and rare materials were also meant to demonstrate the wealth, prestige, and refined taste of their owners. The objects represent the full range of decorative styles practiced during the eighteenth century, from the grandeur and opulence of late Baroque and Régence, through the intimate brilliance of the Rococo, to the severe restraint of the Neoclassical.

Highlights of the collection include a pair of gilt-bronze candelabra (2015.60.1) attributed to the prominent Baroque cabinetmaker André-Charles Boulle, called during his lifetime “the most skillful artisan in Paris.” Two early Rococo lidded jars (2015.70) include exotic motifs from the Far East; porcelain and hardstones were avidly collected and prominently displayed, mounted with gilt bronze to highlight the beauty and rarity of porphyry and feldspar.

A passionate collector of decorative arts, Dr. Brock knows the Getty Museum’s outstanding collection intimately. Consequently, he has given works that fit exceptionally well in the context of the Museum. For example, the extraordinary gilt-bronze wall clock in the form of a winged clock face (2015.67) adds an important model not currently represented in the collection and the imposing Neoclassical mantel clock with Vestal Virgins (2015.64) attributed to Pierre-Philippe Thomire joins a significant group of objects from early in that artist’s career already belonging to the Museum.

Most of the donations have been made in honor of Theodore Dell, an important scholar who catalogued the French furniture and gilt bronzes at The Frick Collection in New York. Dell was a consultant to Gillian Wilson, former Getty Museum curator of decorative arts, and helped Dr. Brock in the formation of his collection. Dell assembled an important library of sales catalogues, journals, magazines, books, and museum catalogues, all focused on French decorative arts, which he donated to the Bard Graduate Center Library in 2012. Other objects have been donated to the Getty in honor of Gillian Wilson as well as knowledgeable dealers in decorative arts such as Leon Dalva, Will Iselin, Pascal Izarn, Laurent and Olivier Kraemer, and Martin Zimet; and, in memory of Frank Berendt, Philippe Kraemer, and François Léage.

“The J. Paul Getty Museum contains a superb collection of the decorative arts of eighteenth-century France, a period in which the quality of design and craftsman ship arguably reached its historical zenith. My hope is that the objects I have collected will permanently enhance this already remarkable collection,” says Dr. Horace Wood Brock.

Dr. Horace Brock earned his B.A., M.B.A., and M.S. in Mathematics from Harvard University, and his M.A. and Ph.D. from Princeton University (Mathematical Economics and Political Philosophy). He is the former president and founder of Strategic Economic Decisions (SED), Inc., and specializes in applications of the modern economics of uncertainty to forecasting and risk assessment in the international economy and its asset markets. He has developed a new theory of rational beliefs that disputes the classical theory of efficient markets and is the author of American Gridlock: Why the Right and the Left Are Both Wrong — Commonsense 101 Solution to the Economic Crises (Wiley: 2012).