Museum of Fine Arts Sells Dutch and Flemish Masterpieces to Fund​ Future Acquisitions

In a departure from its usual practice of selling artworks‌ to acquire specific pieces, the Museum of Fine Arts (MFA) recently made headlines by deaccessioning a ⁤collection of 17th-century Dutch and Flemish paintings. Unlike previous sales,which frequently enough targeted rare works like a Surrealist masterpiece by⁤ Remedios Varo or an Impressionist nude by Gustave ⁣caillebotte,this recent move‍ was not aimed at acquiring a particular artwork. Instead, the museum plans to use the proceeds from the sale to establish a fund for future acquisitions.

The ‌decision to sell these paintings, which include works from the Dutch Golden Age, marks a strategic shift for the museum. Three of the paintings have already​ been sold privately, ‍while the remaining 17 will be auctioned at Christie’s in New ⁣York ​on February⁤ 5. The ‌museum has not disclosed the purchase prices of the privately sold works.

“we’re committed to using the proceeds in accordance with best practices for the acquisition of another work of art,” said Pierre Terjanian, the museum’s chief of curatorial affairs and conservation. “We’re not at this point anticipating specific revenue from [the sale], so this is more ​that we woudl reserve the funds for the acquisition of a netherlandish work.”

Christie’s ‍estimates that the remaining paintings could fetch between $2.5‌ million and ⁢$3.8 million at auction. Among the notable works up for sale is Jan Both’s “Bandits Leading Prisoners” (circa⁢ 1646), a large landscape ⁣painting expected to sell for up to $1.5 ‌million. Other highlights include Emanuel de Witte’s‌ “Interior ⁤of the Nieuwe Kerk, ⁣Amsterdam” (1677), Pieter Claesz’s “Still Life with Wine Goblet and Oysters” (1639), and jan Josephsz van Goyen’s “River Landscape with a Ferry and a ‍Church” (circa 1656).

John⁤ Hawley, a specialist at Christie’s, described the collection as “a pretty amazing ⁤group of pictures” that spans “every genre that was being produced in the 17th century in the Netherlands.” He noted that museum-owned works often attract⁣ significant⁣ interest from private collectors.

“You see this time and again: Clients ​who you haven’t spoken to in years come out of the woodwork when institutions are deaccessioning pictures. There’s a certain magic‌ and allure to that,” Hawley said.

The MFA’s decision to sell ⁣these masterpieces‍ reflects a broader trend among museums seeking to balance their​ collections and fund new acquisitions. By establishing a ⁣dedicated fund, the museum aims to ensure that future ​purchases align with its curatorial ⁢vision and enhance its collection for generations to come.

Auction Details

The auction ⁣of the remaining 17 paintings will​ take place at Christie’s New York on February 5. Interested collectors and art enthusiasts can view the works in​ advance at Christie’s galleries. For⁢ more ⁣information,visit Christie’s website.

This​ sale⁣ not only offers a rare opportunity to acquire works from the Dutch Golden Age but also underscores the evolving strategies of museums in managing their collections for the future.

Museum​ Deaccessioning: A Controversial but Necessary Practice

The practice of selling ‌artworks from museum⁢ collections, known as deaccessioning, has long been a topic of debate. While critics argue that such sales can undermine the integrity of a museum’s ⁢holdings, professionals in the field maintain that it can be a strategic tool for enhancing overall collections. ⁢When executed thoughtfully,deaccessioning can breathe ‌new life into a museum’s offerings,much like pruning a plant to encourage healthier growth.

“We have the opportunity to think about what we can​ do to focus on our audiences ⁣and focus on the collection,” said Terjanian,who added that none of ‌the works in question have donor restrictions. “In some countries,the objects just pile up,and many of​ them live in storage forever.”

The Museum of Fine Arts (MFA) in‌ Boston‌ has‍ a history of deaccessioning that dates back decades. Between 1986 and 1993,⁢ the museum removed 249 European ⁢paintings ⁣from its collection, with the ⁢majority sold at auction. Similarly, in 2010, following the opening of the Art of the Americas ⁤Wing, another 145 objects were ⁣deaccessioned. These actions were part of‍ a broader strategy to refine and focus the museum’s collection on ⁢its core​ strengths.

in recent years, ‌the MFA has continued this practice with careful consideration. In 2022, the museum sold three paintings, including two by renowned American artist Georgia‌ O’Keeffe, to acquire Remedios varo’s surrealist masterpiece “Tailleur pour ⁢dames” (1957). A decade earlier, in 2011, the MFA sold eight Impressionist works, featuring pieces by Claude Monet and Paul Gauguin, to fund the purchase of Gustave​ Caillebotte’s “Man at His Bath” (1884). These transactions highlight ⁢the museum’s commitment to acquiring works that align with its curatorial vision and enhance its collection.

Frederick Ilchman, chair of the museum’s Art of Europe department, explained ⁢that the recent review of the Netherlandish holdings was a direct response to a significant gift in 2017. Rose-Marie and Eijk van⁤ Otterloo, along with Susan and Matthew Weatherbie, donated 113‌ Dutch and Flemish paintings, dramatically‍ expanding⁤ the museum’s collection in this area. This influx of⁢ new works prompted a reevaluation of existing pieces, ⁤leading to the ⁢decision⁢ to deaccession certain items.

While deaccessioning remains a contentious issue, proponents argue that it⁤ allows museums to remain dynamic and responsive to changing curatorial priorities. By carefully ‌selecting which ⁤works to sell and reinvesting the proceeds into ‍acquisitions that align with their mission, museums can ensure their collections remain vibrant and⁢ relevant to contemporary audiences.

As the ⁤MFA’s‍ approach demonstrates, deaccessioning can be ‍a powerful tool when guided​ by a clear vision and a⁤ commitment to the institution’s long-term goals. It is⁢ indeed not merely a matter ‌of shedding excess but of nurturing ‍a collection that continues to grow and evolve.

Conclusion

Deaccessioning, when done thoughtfully and ⁣transparently, can serve as a catalyst for growth in museum collections. The MFA’s strategic⁣ approach offers a compelling case study for how ⁢institutions can balance tradition with innovation, ensuring ‍their collections ⁤remain both ⁢historically significant and culturally relevant.

Boston Museum of Fine Arts deaccessions ⁢Paintings to Refine​ Dutch​ and Flemish Collection

The Boston Museum of Fine ​Arts​ (MFA) has recently made the decision to deaccession several paintings ⁢from its renowned Dutch and⁣ Flemish collection.⁤ this strategic move aims to ‌streamline the museum’s holdings and focus on more significant works by the same artists.The decision, led by Frederick Ilchman, Chair of the Art‌ of Europe department,⁢ reflects a careful review of the museum’s ⁤extensive collection.

“We carefully reviewed the entire collection,” Ilchman stated, ⁢emphasizing the meticulous process‍ behind the decision. He added that the 2017 gift of Dutch and Flemish ‌paintings “nearly doubled” the museum’s holdings, necessitating a thorough‌ evaluation to ​ensure the collection’s quality and​ relevance.

Ilchman explained that the curators‍ focused solely on works acquired in the last 40 years, excluding⁣ any pieces from the museum’s early years.“It’s vital⁣ to underscore that‍ we’re not​ eliminating any painters from the MFA’s ⁤collection,” he clarified. “We really wanted to have ⁣lived with a certain ‌work of art for many, many decades.”

The museum’s decision to deaccession certain ​paintings is part of a​ broader effort to⁣ refine its collection. According⁣ to the MFA, eight of the deaccessioned paintings ‍have ‍been on display as 2019, highlighting their historical presence within the museum’s galleries.

This ⁣strategic deaccessioning not only enhances the ⁤quality of the museum’s collection but also ensures that the MFA continues to showcase the most significant works by Dutch​ and Flemish artists. the move underscores the museum’s‌ commitment to maintaining a world-class collection that resonates‍ with both contemporary and⁣ historical‌ art enthusiasts.

A Focus on Quality and Relevance

The deaccessioning process was driven ​by the need to prioritize quality over ⁤quantity. “We realized that some paintings were ‍duplicative, and we had ⁤a better painting or a more useful painting by the same artist,” Ilchman explained. This approach ensures that the MFA’s collection remains dynamic and reflective of ⁣the highest artistic achievements of the Dutch and Flemish Golden Age.

The decision to ⁣exclude works acquired in the museum’s early years and those​ from the last four decades highlights​ a thoughtful approach to⁤ curation. By focusing on the⁢ longevity and impact of certain‍ pieces, the MFA aims to​ create a collection that stands the test of⁣ time.

As the Boston Museum of Fine Arts continues to evolve, its ​commitment to excellence in art curation remains unwavering. The deaccessioning of select paintings is a testament to the museum’s dedication to ‍preserving and presenting the most significant⁣ works of art for future generations.

MFA Boston to Sell Dutch and​ Flemish ⁢Paintings, Eyes New acquisitions

The Museum of Fine Arts, Boston (MFA), is taking a‌ bold step ‍by selling some ⁣of its Dutch and Flemish paintings to fund new acquisitions. The decision, driven⁣ by the museum’s curatorial team, aims to refresh its collection while maintaining its commitment to showcasing exceptional art.

Antien Knaap, the assistant curator of⁤ European paintings, explained ‍that the ​prominence ‌of each⁤ work played a crucial role in the selection​ process. “How often has it been on view?” she asked. ‍”How often does it appear in the literature, and how likely was it for us ‌to use it, either for exhibition or for loan or in our own galleries?”

The⁣ curators emphasized ​that the​ proceeds from the sale will be reinvested into acquiring ‍more Dutch or⁤ Flemish artworks. Though, no specific ‌works have been​ identified yet. Fredrik J. Ilchman, chair ‍of the Art of Europe department, ⁤noted, “We are involved with a number of possibilities.” He added that the museum’s ​extensive collection of Netherlandish art ⁢means ‍they won’t‌ simply acquire‌ another work by the same artist.⁣ “We wouldn’t ‍do something just to ‌get another work by the⁣ same artist,” Ilchman said.

This strategic move reflects the MFA’s ongoing efforts to balance its collection, ensuring​ that its exhibitions remain ​dynamic and engaging for visitors. The decision also underscores the museum’s commitment to maintaining a⁢ high standard of art while adapting to the evolving needs of its audience.

For more updates on this story, contact⁤ Malcolm Gay at [email protected] or follow him on Twitter @malcolmgay.

The MFA’s decision to sell select works and reinvest in its collection is part of a broader trend among museums looking to refine their holdings. by focusing on the prominence and utility of each piece, the museum ensures that its collection⁤ remains relevant and accessible to the public.

Stay tuned for further developments as the MFA explores new possibilities for enriching its Dutch and Flemish‍ art collection.

To​ deaccession certain paintings from the Boston⁢ Museum ⁤of Fine Arts (MFA) highlights a strategic⁢ approach to managing and refining museum ​collections. By carefully ⁤evaluating ‍their holdings and focusing on works that align with ⁣their curatorial‌ vision,the MFA demonstrates how deaccessioning can be ⁤a powerful tool for maintaining a ⁤vibrant and relevant collection.



The ‌MFA’s history of ‍deaccessioning dates back decades,​ with notable⁢ instances such as the removal of 249 European‌ paintings between 1986 ⁣and 1993, ‍and the deaccessioning of 145⁤ objects in 2010 following the opening of the art of the Americas‌ Wing. More recently, in 2022,‍ the museum sold three paintings, including works by Georgia⁣ O’Keeffe, to ‍acquire Remedios Varo’s “Tailleur pour dames,” and in 2011, sold eight​ Impressionist ‍works to fund the ⁣purchase of Gustave Caillebotte’s “Man at His Bath.” These transactions underscore the museum’s commitment to acquiring works that enhance its collection and align with its mission.



The recent decision to deaccession several paintings⁤ from the Dutch and Flemish collection​ was prompted by​ a notable ⁣gift‌ in 2017, which⁣ nearly doubled the museum’s holdings in ⁢this ⁤area.⁣ Frederick Ilchman, Chair⁤ of the ‍Art of Europe department, explained that the review focused on​ works acquired in the ⁣last‍ 40 ‍years, ensuring that the⁢ collection ​remains dynamic and reflective of the highest artistic⁢ achievements of‍ the Dutch and Flemish Golden Age.



The deaccessioning process​ was driven by the⁣ need to prioritize quality over⁤ quantity, with⁤ the aim of showcasing ⁤the most ⁣significant works by⁣ Dutch ‍and Flemish artists. This strategic move ​not only enhances the quality of the museum’s collection but⁢ also‍ ensures that the MFA ‌continues to ⁣maintain⁣ a world-class collection that resonates with both contemporary and historical art enthusiasts.



the ⁣MFA’s approach to deaccessioning offers a compelling case ‌study for how institutions can balance⁤ tradition with innovation. By thoughtfully selecting which works to sell and reinvesting the proceeds into acquisitions that align with their mission, museums⁢ can ensure their collections remain vibrant, relevant,⁤ and reflective of the ⁢highest⁢ artistic ‍achievements.