The Museum of Fine Arts, Boston has recently shifted its acquisition strategy for artwork. While previously the museum sold pieces to acquire specific works, such as Remedios Varo’s surrealist canvas or Gustave Caillebotte’s Impressionist nude, a recent deaccessioning of 17 Dutch adn Flemish paintings from the 17th century broke this trend. This decision, taken without a specific purchase in mind, reflects a growing commitment to using proceeds from sales strategically for future acquisitions.
Three of these paintings were sold privately, and the remaining 17 are scheduled for auction through Christie’s in New York on February 5th. The museum anticipates these works, largely from the Dutch golden Age, could bring in between $2.5 million and $3.8 million.Emanuel de Witte’s “Interior of the Nieuwe Kerk, Amsterdam” (1677), a prominent landscape painting by Jan Both, is estimated to fetch the highest price at around $1.5 million. Other notable works include 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” (about 1656).
Christie’s specialist John Hawley describes the collection as a “pretty amazing group of pictures” that represents the diverse genres popular during the Dutch Golden Age. He notes that museum works hold a particular allure for private collectors, further bolstering the auction’s potential.
Deaccessioning art, while sometimes controversial, can be a strategic tool for strengthening a collection. Museum professionals argue that carefully curated sales allow for adaptability and focus, enabling institutions to refine their collections by removing works that are duplicates or less significant in the context of the museum’s holdings. The MFA has a history of deaccessioning, selling hundreds of works over the years and reinvesting the proceeds in enhancing its collection.
The recent review of the MFA’s Netherlandish holdings stemmed from a significant gift of 113 Dutch and Flemish paintings made in 2017 by Rose-Marie and Eijk van Otterloo and Susan and Matthew Weatherbie. This generous donation nearly doubled the MFA’s existing collection, necessitating a careful assessment of redundancies.According to curator Antien Knaap, decisions regarding deaccessioning were based on factors such as prominence (“How frequently enough has this work been on view?”) and scholarly significance (“How often does it appear in the literature?”).
While the proceeds from the upcoming auction will be dedicated to acquiring further dutch and Flemish art, the MFA has yet to identify specific works for acquisition.
“We are involved with a number of possibilities,” shared curator Frederick Ilchman, adding, “we wouldn’t do something just to get another work by the same artist.”
What are the benefits of deaccessioning artworks for museums like the Museum of Fine Arts, Boston?
Interview: A New Chapter for Acquisitions at the Museum of Fine Arts, Boston
In an exclusive interview, Time.news editor speaks with Frederick Ilchman, curator at the Museum of Fine Arts, Boston (MFA), about the museum’s recent shift in acquisition strategy and the implications of its deaccessioning of 17 Dutch and Flemish paintings.
time.news Editor (TNE): Frederick, the Museum of fine Arts has embarked on a noteworthy change in its acquisition strategy by deaccessioning 17 paintings. Can you explain the rationale behind this decision and how it reflects broader trends in museum practices?
frederick Ilchman (FI): Absolutely. The decision to deaccession these 17 Dutch and Flemish paintings was made after careful consideration. Our previous strategy involved selling pieces to acquire specific works. However,this time we’re adopting a more strategic approach—using the proceeds to enhance our collection in the long term rather than targeting individual acquisitions. This reflects a growing commitment within the museum community to make informed decisions about collections management.
TNE: Deaccessioning can often be a contentious topic. What factors did the MFA consider when selecting pieces for deaccessioning?
FI: We looked at various criteria, including the prominence of the works—how frequently they’ve been on display—and their scholarly significance—such as their presence in academic literature. We inherited a considerable gift of 113 Dutch and Flemish paintings in 2017, which necessitated a careful assessment of redundancies in our collection. This made it possible to streamline our holdings and focus on more significant pieces.
TNE: The upcoming auction at Christie’s promises a significant financial return. Can you elaborate on the estimated value of the paintings and what this means for future acquisitions?
FI: The auction is projected to generate between $2.5 million and $3.8 million,with Emanuel de Witte’s “Interior of the Nieuwe Kerk,Amsterdam” expected to fetch around $1.5 million. This financial boost provides us with a unique opportunity to acquire further Dutch and Flemish art. While we have several exciting possibilities in mind, we have not settled on specific works yet. The goal is to enhance our collection thoughtfully, not just to replace what we’ve sold.
TNE: What insights can you share regarding the value of museum works in the private collection market, notably in the context of this auction?
FI: Museum works are frequently enough perceived as particularly valuable due to their ancient significance and the prestige of their former ownership. Christie’s specialist John Hawley aptly described our collection as a “pretty amazing group of pictures,” reflective of the diverse genres popular during the Dutch Golden Age. This allure can drive competitive bidding among private collectors, which is promising for the overall outcome of the auction.
TNE: How does this change align with the MFA’s mission of making art accessible and relevant to a broader audience?
FI: Every decision we make around deaccessioning and acquisitions is rooted in our commitment to enhancing the visitor experience. By refining our collection, we aim to provide visitors with a more engaging and relevant experience, showcasing not only well-known artists but also lesser-known works that can inspire and educate.Our approach is not just about collection size; it’s about the quality and impact of what we display.
TNE: do you have any advice for other institutions considering a similar deaccessioning strategy?
FI: My advice would be to approach deaccessioning transparently and thoughtfully. It’s crucial to engage with staff, stakeholders, and the public as you navigate these decisions. Ensure that your motivations are clear—whether it’s about refining your focus, addressing redundancies, or enhancing your overall mission.If handled responsibly, deaccessioning can be a powerful tool for museums to adapt and thrive in a dynamic cultural landscape.
TNE: Thank you, Frederick, for sharing these insights into the Museum of Fine Arts’ evolving strategy and the future of its acquisitions.
FI: Thank you for having me. It’s an exciting time for the MFA,and I look forward to what lies ahead.