{"id":217,"date":"2020-05-01T12:22:15","date_gmt":"2020-05-01T16:22:15","guid":{"rendered":"https:\/\/courses.bowdoin.edu\/art-history-3570-spring-2020\/?page_id=217"},"modified":"2020-05-06T15:40:56","modified_gmt":"2020-05-06T19:40:56","slug":"dusseldorf-gallery","status":"publish","type":"page","link":"https:\/\/courses.bowdoin.edu\/art-history-3570-spring-2020\/gallery-bios\/dusseldorf-gallery\/","title":{"rendered":"D\u00fcsseldorf Gallery"},"content":{"rendered":"

Active Dates:\u00a0<\/b>1849-1866.1<\/a><\/sup> R. L. Stehle, “D\u00fcsseldorf Gallery, New York,” New-York Historical Society Quarterly, October 1974, 305-314, accessed April 13, 2020, http:\/\/digitalcollections.nyhistory.org\/islandora\/object\/islandora%3A15831#page\/1\/mode\/2up<\/a>. <\/span><\/span><\/p>\n

Location:<\/b>2<\/a><\/sup>All dates and locations from R. L. Stehle, “D\u00fcsseldorf Gallery, New York,” New-York Historical Society Quarterly, October 1974, 305-314, accessed April 13, 2020, http:\/\/digitalcollections.nyhistory.org\/islandora\/object\/islandora%3A15831#page\/1\/mode\/2up<\/a>. <\/span><\/p>\n

1849: \u201cDusseldorf Academy of Fine Arts\u201d 548 Broadway<\/span><\/p>\n

1857: Sold by Boker to Cosmopolitan Art Association of Sandusky, Ohio, remains in the same location.<\/span><\/p>\n

1860: 625 Broadway, building by Henry W. Derby<\/span><\/p>\n

1862: collection sold via auction at the original location, 548 Broadway.<\/span><\/p>\n

1866: some unsold paintings remained on view at the 625 Broadway location, despite gallery no longer in operation<\/span><\/p>\n

Specialty:\u00a0<\/b>Old master paintings, and German works from the D\u00fcsseldorf school.\u00a0<\/span><\/p>\n

Gallery History<\/b><\/p>\n

John Godfrey Boker (1795-1860), the founder of the D\u00fcsseldorf Gallery, emigrated to the United States around 1825 and remained in New York until his death in 1860. He did not come from an artistic background and was later appointed as American consul to Remscheid and Basel. He was on the committee of the Art-Union at D\u00fcsseldorf, a school of art established by the King of Prussia and acted as its Honorary Secretary in the US. The New York branch was thus considered an extension of the Rhenish Art Union.3<\/a><\/sup> Stehle, “D\u00fcsseldorf Gallery,” 306.<\/span> <\/span><\/p>\n

The collection operated on a membership basis, in which Americans could subscribe by paying an annual fee that contributes to the purchase of paintings for the collection; according to the gallery\u2019s records, paintings would then be distributed to subscribers by lot, though the best ones were kept on public view.4<\/a><\/sup> Stehle, “D\u00fcsseldorf Gallery,” 306.<\/span> <\/span><\/p>\n

The works of art, which presumably started as Boker\u2019s personal collection, included German works from the D\u00fcsseldorf school, and the gallery held yearly exhibitions.5<\/a><\/sup> Stehle, “D\u00fcsseldorf Gallery,” 305.<\/span> <\/span>At first the exhibition took place in the Church of Divine Unity on Broadway, and later the exact location became 548 Broadway.6<\/a><\/sup> Stehle, “D\u00fcsseldorf Gallery,” 307.<\/span> <\/span><\/p>\n

Under Boker\u2019s tenure as director, paintings were frequently sold and replaced with new acquisitions, thus diffusing D\u00fcsseldorf School works into the rest of the country. Notable works include two pieces by Emanuel Leutze, mentioned in the catalogue of 1849, and Carl Friedrich Lessing\u2019s great work <\/span>The Martyrdom of Huss<\/span><\/i>, to which Boker dedicated a significant portion of his 1851 catalogue and included numerous critical spreads by the press.7<\/a><\/sup> Stehle, “D\u00fcsseldorf Gallery,” 308-309.<\/span> <\/span> In 1862, though there was no longer the same exclusivity devoted to artists from the D\u00fcsseldorf school.8<\/a><\/sup> Stehle, “D\u00fcsseldorf Gallery,” 313.<\/span> <\/span><\/p>\n

Illustrations\u00a0<\/b><\/p>\n

\"\"<\/a>
Nathaniel Orr, Interior of the D\u00fcsseldorf Gallery, 1857-58, wood engraving.<\/figcaption><\/figure>\n
\"\"<\/a>
Carl Friedrich Lessing, The Martyrdom of Huss , 1850, oil painting.<\/figcaption><\/figure>\n
\"\"
Robert Thew, The Greek Slave, 1857, engraving.<\/figcaption><\/figure>\n

Date Written:\u00a0<\/b>April 13<\/span>th<\/span>, 2020<\/span><\/p>\n

Contributors:\u00a0<\/b>SL, CP<\/span><\/p>\n

Dusseldorf Gallery Bio PDF<\/a><\/p>\n

Secondary Sources<\/b><\/p>\n

Gerdts, William H. “Good Tidings’ to the Lovers of the Beautiful’: New York’s D\u00fcsseldorf Gallery.” <\/span>American Art Journal,<\/span><\/i> 30, no. 1\/2 (1999): 50-81. https:\/\/doi.org\/10.2307\/1594632<\/a>.<\/span><\/p>\n

Stehle, R. L. “D\u00fcsseldorf Gallery, New York.” <\/span>New-York Historical Society Quarterly<\/span><\/i>, October 1974, 305-14. Accessed April 13, 2020. http:\/\/digitalcollections.nyhistory.org\/islandora\/object\/islandora%3A15831#page\/1\/mode\/2up<\/a>.<\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Active Dates:\u00a01849-1866. Location: 1849: \u201cDusseldorf Academy of Fine Arts\u201d 548 Broadway 1857: Sold by Boker to Cosmopolitan Art Association of Sandusky, Ohio, remains in the same location. 1860: 625 Broadway, building by Henry W. Derby 1862: collection sold via auction at the original location, 548 Broadway. 1866: some unsold paintings remained on view at the […]<\/p>\n","protected":false},"author":795,"featured_media":218,"parent":40,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"footnotes":""},"class_list":["post-217","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/courses.bowdoin.edu\/art-history-3570-spring-2020\/wp-json\/wp\/v2\/pages\/217","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/courses.bowdoin.edu\/art-history-3570-spring-2020\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/courses.bowdoin.edu\/art-history-3570-spring-2020\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/art-history-3570-spring-2020\/wp-json\/wp\/v2\/users\/795"}],"replies":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/art-history-3570-spring-2020\/wp-json\/wp\/v2\/comments?post=217"}],"version-history":[{"count":0,"href":"https:\/\/courses.bowdoin.edu\/art-history-3570-spring-2020\/wp-json\/wp\/v2\/pages\/217\/revisions"}],"up":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/art-history-3570-spring-2020\/wp-json\/wp\/v2\/pages\/40"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/courses.bowdoin.edu\/art-history-3570-spring-2020\/wp-json\/wp\/v2\/media\/218"}],"wp:attachment":[{"href":"https:\/\/courses.bowdoin.edu\/art-history-3570-spring-2020\/wp-json\/wp\/v2\/media?parent=217"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}