We are delighted to welcome back to the Dutch and Flemish galleries masterpieces from the collection of Rose-Marie and Eijk van Otterloo, including Rembrandt’s sublime Portrait of Aeltje van Uylenburgh (1632) and Dou’s sympathetic little Sleeping Dog (1650). These favorites and dozens of other paintings from the Van Otterloo collection, like Bakhuizen’s Ships in a Gale (above), return to the MFA after a sojourn in Holland and yearlong tour of the United States. The collectors’ discerning selection of beautiful works, all in superb condition, by a great variety of artists is a wonderful addition to our galleries. Prime examples of 17th-century Dutch and Flemish painting include architectural views; landscapes and seascapes; still lifes; portraits and tronies (head studies); and figure paintings. Seen together with the MFA’s collection, this installation provides a veritable banquet of Dutch and Flemish art for all to enjoy.
The van Otterloos have supposedly set several conditions for whichever museum gets the collection: the collection is to be housed in its entirety, and its 70 paintings, and counting; the museum is also to house their collection of 7,000+ volumes on Dutch art.Paul -- there's a nice big room downstairs in the Evans Wing (used to house American paintings) where the van Otterloo Collection -- including "Rembrandt’s sublime Portrait of Aeltje van Uylenburgh (1632) and Dou’s sympathetic little Sleeping Dog (1650)" -- would fit permanently -- and very very nicely -- just a few steps down from the MFA's own Rembrandts and the masterwork by Jacob Isaacksz van Ruisdael (View of Alkmaar about 1670–75)
Collectors usually don’t like to talk publicly about where their art may end up, but the “Golden’’ show has the van Otterloos contemplating that very subject. Standing in her study, Rose-Marie raised a series of possibilities.
“Should it stay in Massachusetts? Should Europe have the collection? Belgium?’’
Eijk was more specific.
He said if they were to give it away now, it would probably go to the MFA. But he’s interested in hearing from MFA director Malcolm Rogers about how he might be able to accommodate a library of more than 10,000 Dutch art-history books the couple recently purchased.
Stellafun do you know that means it's own galley. If not it shouldn't be a problem displaying all of them, they are all 'museum quality'. I find the title of the exhibit interesting 'Complementary Collections'.
Today I was walking behind Malcolm Rogers in the gallery where the pictures will hang but I didn't hear anything other than asking someone to submit a bid on things such as more elegant labels.
Looks like some movement on the development front. PEM buys ajacent buildings, on Essex Street, to house staff offices.
http://www.salemnews.com/local/x1346834442/PEM-buys-3-buildings
I think the article misidentifies this building as one of the properties bought, supposedly a carriage house, purchased for $720,000.
I think the Peabody Essex already owns this building. ^^^^. I think the carriage house building is actually the former Salem fire alarm building, which was a wing of the old police station. It borders the Peabody Essex Museum site, and has a parking lot in back for 20 cars. The parking lot backs into the two buildings below. I imagine the PEM needs part of the parking lot for construction access.
^^^ This building is the one next to the Japanese tea garden.
^^^The building next to the building that is next to the Japanese tea garden.
Beeline, that's the 'carriage house'. I am not certain that the museum bought the carriage house itself; rather, it may have bought the parking lot behind the carriage house and that drive on the east side of the carriage house (right of the carriage house in your photo). The drive is the access to the parking lot.Dropped by the PEM today and took a few shots of the actual carriage house they had purchased recently.
http://www.flickr.com/photos/beelinebos/6820188717/in/photostream/
http://www.bostonglobe.com/lifestyl...QTVz9xRYktaE9r55I/story.html?p1=Well_BG_LinksA 90-year-old fashion icon [Iris Apfel] who says she will bequeath a significant slice of her couture collection to the Peabody Essex Museum.
Apfel and her husband, Carl, will also bequeath an undisclosed sum that will pay for a fashion gallery in a new wing of the Peabody Essex slated to open in 2017.
All 600 pieces were featured in the show “Rare Bird of Fashion: The Irreverent Iris Apfel’’ which originated at New York’s Metropolitan Museum of Art in 2005, and traveled to the Peabody Essex in 2009.
With this latest gift, Apfel will have earmarked nearly 900 pieces of her collection for Peabody Essex.
At one time, the Costume Institute at the Metropolitan Museum expressed interest in acquiring the collection. But after working with Peabody Essex, Apfel decided to donate to the growing Salem museum,
“I think Peabody Essex is a fabulous place,’’ Apfel said. “Having dealt with a lot of art museums, I can tell you that I was very pleased with the way that it’s run. I think they’re quite cutting edge. This museum is much more cross-cultural than others I’ve worked with and mixes it up a bit.’’
While the Apfel collection is sizable, it is not the largest fashion donation to a local museum. That distinction goes to the Museum of Fine Arts, which received a donation of 5,000 historical fashions and textiles in the 1940s. More recently, the MFA made news in 2009 when designer Arnold Scaasi donated more than 120 pieces to the museum, which in turn purchased Scaasi’s sketches and archives for an undisclosed sum.
The Apfel collection is “a huge gift, and I think it’s a huge commitment from the Peabody Essex both toward displaying contemporary fashion and storing and housing it,’’ said Pam Parmal, curator of textile and fashion arts at the MFA.
http://www.salemnews.com/local/x1301511456/Salem-museum-eyes-reconstruction-of-two-buildingsSALEM — The public got a first glance at Peabody Essex Museum’s plans for expansion at last night’s meeting of the Salem Redevelopment Authority.
PEM representatives presented plans for changes at two museum properties: on Essex Street, next to East India Marine Hall and on Charter Street, adjacent to the city’s oldest cemetery.
On Charter Street, the museum proposes to demolish its “Sailors Curiosity Shop,” a structure built in the early 1970s, to make way for a new building to house the museum’s security operations.
On Essex Street, reconstruction is proposed for a museum-owned building that houses mechanical equipment.
Redevelopment Authority members voted to move PEM’s plans on to Salem’s Design Review Board, which meets July 25.
In November, PEM announced plans for a $200 million multiphase reconstruction and addition, larger than its 2003 expansion designed by architect Moshe Safdie.
PEM representatives stressed that plans presented last night are preliminary and will be developed further as the project progresses through city boards.
The proposed security building will be rotated 90 degrees from the existing building, opening the view from Charter Street to the Witch Trials Memorial. The property sits between the burying ground on Charter Street and two buildings also owned by PEM: the 1665 Samuel Pickman House and 1876 Summer School building.
The security building would be roughly the same width as the Sailors Curiosity Shop. The building, used for a short time by the museum as a retail shop, was most recently used as a space for upholstery conservation.
On Essex Street, reconstruction proposed for a penthouse building next to East India Marine Hall is meant to be complementary to the hall’s 1824 design. The reconstructed building will be roughly as tall as East India Marine Hall but set farther back from Essex Street.