Among the lesser-known jewels of the Glencairn Museum collection are three tapestries illustratin... more Among the lesser-known jewels of the Glencairn Museum collection are three tapestries illustrating episodes from the Acts of the Apostles designed by the artist Raffaello Sanzio (1483–1520), or as he is better known, Raphael. These tapestries were purchased by Raymond Pitcairn in 1931 and loaned to the Philadelphia Museum of Art in 1934 while Glencairn was under construction. At some point after Glencairn was completed, they were hung on the upper walls of the Great Hall. In this essay for Glencairn Museum News, Jack Hinton, Henry P. McIlhenny Curator of European Decorative Arts and Sculpture at the Philadelphia Museum of Art, relates the remarkable story of these Raphael tapestries, their creation, and significance.
Over the years Glencairn Museum has loaned works of medieval art to some of the world’s finest mu... more Over the years Glencairn Museum has loaned works of medieval art to some of the world’s finest museums, including the Louvre in Paris, France, and the Metropolitan Museum of Art in New York City. This tradition of sharing our collections with a wider public has its origin in the philanthropy of Raymond Pitcairn himself, who loaned more than 70 medieval sculptures and other works of art to the Philadelphia Museum of Art (PMA) in the 1930s. Pitcairn also gifted objects to the PMA, the Metropolitan Museum, and other museums.
In this essay for Glencairn Museum News, Jack Hinton, Associate Curator of European Decorative Arts and Sculpture at the Philadelphia Museum of Art, traces the early history and importance of Pitcairn’s loans of medieval objects to the PMA, which “have allowed the visiting public to gain a more complete understanding of the spiritual and devotional purpose surrounding their creation.”
A cabinet in the Philadelphia Museum of Art (accession number 1930-1-183), forms the subject of t... more A cabinet in the Philadelphia Museum of Art (accession number 1930-1-183), forms the subject of this study. It is an example of a distinctive style of furniture, surviving in large numbers in museum collections. Whilst recent research has demonstrated that the type flourished between about 1580-1620, many earlier historians of furniture identified the cabinets with the artistic achievements of the reign of Henri II. This is explained by the perceived relationship between these objects and the works of Jean Goujon—indeed, the latter’s name is often associated with the type.
This article approaches issues relevant to the type as a whole by tracing its historiography, and by closely examining the Philadelphia cabinet and its relationship to two others in the Musée du Louvre and St. Louis Art Museum. The identification of print sources for the relief carvings suggests some potential interpretations of the ‘meaning’ behind the decoration and possible links with other forms of decorative arts produced in France in the early seventeenth-century. The research offers new ideas and future directions of research for a familiar, yet only partially understood furniture type.
This article examines the discovery, promotion, and display of the Lit de Justice d’Argentelles, ... more This article examines the discovery, promotion, and display of the Lit de Justice d’Argentelles, a striking ensemble of medieval woodcarvings said to constitute a dais and throne canopy for the judicial bench of a nobleman, now at the Philadelphia Museum of Art.
This article discusses Augustus Welby Northmore Pugin's holdings of prints by Albrecht Dürer and ... more This article discusses Augustus Welby Northmore Pugin's holdings of prints by Albrecht Dürer and their interest for Pugin as designer and collector.
Among the lesser-known jewels of the Glencairn Museum collection are three tapestries illustratin... more Among the lesser-known jewels of the Glencairn Museum collection are three tapestries illustrating episodes from the Acts of the Apostles designed by the artist Raffaello Sanzio (1483–1520), or as he is better known, Raphael. These tapestries were purchased by Raymond Pitcairn in 1931 and loaned to the Philadelphia Museum of Art in 1934 while Glencairn was under construction. At some point after Glencairn was completed, they were hung on the upper walls of the Great Hall. In this essay for Glencairn Museum News, Jack Hinton, Henry P. McIlhenny Curator of European Decorative Arts and Sculpture at the Philadelphia Museum of Art, relates the remarkable story of these Raphael tapestries, their creation, and significance.
Over the years Glencairn Museum has loaned works of medieval art to some of the world’s finest mu... more Over the years Glencairn Museum has loaned works of medieval art to some of the world’s finest museums, including the Louvre in Paris, France, and the Metropolitan Museum of Art in New York City. This tradition of sharing our collections with a wider public has its origin in the philanthropy of Raymond Pitcairn himself, who loaned more than 70 medieval sculptures and other works of art to the Philadelphia Museum of Art (PMA) in the 1930s. Pitcairn also gifted objects to the PMA, the Metropolitan Museum, and other museums.
In this essay for Glencairn Museum News, Jack Hinton, Associate Curator of European Decorative Arts and Sculpture at the Philadelphia Museum of Art, traces the early history and importance of Pitcairn’s loans of medieval objects to the PMA, which “have allowed the visiting public to gain a more complete understanding of the spiritual and devotional purpose surrounding their creation.”
A cabinet in the Philadelphia Museum of Art (accession number 1930-1-183), forms the subject of t... more A cabinet in the Philadelphia Museum of Art (accession number 1930-1-183), forms the subject of this study. It is an example of a distinctive style of furniture, surviving in large numbers in museum collections. Whilst recent research has demonstrated that the type flourished between about 1580-1620, many earlier historians of furniture identified the cabinets with the artistic achievements of the reign of Henri II. This is explained by the perceived relationship between these objects and the works of Jean Goujon—indeed, the latter’s name is often associated with the type.
This article approaches issues relevant to the type as a whole by tracing its historiography, and by closely examining the Philadelphia cabinet and its relationship to two others in the Musée du Louvre and St. Louis Art Museum. The identification of print sources for the relief carvings suggests some potential interpretations of the ‘meaning’ behind the decoration and possible links with other forms of decorative arts produced in France in the early seventeenth-century. The research offers new ideas and future directions of research for a familiar, yet only partially understood furniture type.
This article examines the discovery, promotion, and display of the Lit de Justice d’Argentelles, ... more This article examines the discovery, promotion, and display of the Lit de Justice d’Argentelles, a striking ensemble of medieval woodcarvings said to constitute a dais and throne canopy for the judicial bench of a nobleman, now at the Philadelphia Museum of Art.
This article discusses Augustus Welby Northmore Pugin's holdings of prints by Albrecht Dürer and ... more This article discusses Augustus Welby Northmore Pugin's holdings of prints by Albrecht Dürer and their interest for Pugin as designer and collector.
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Papers by Jack Hinton
In this essay for Glencairn Museum News, Jack Hinton, Associate Curator of European Decorative Arts and Sculpture at the Philadelphia Museum of Art, traces the early history and importance of Pitcairn’s loans of medieval objects to the PMA, which “have allowed the visiting public to gain a more complete understanding of the spiritual and devotional purpose surrounding their creation.”
This article approaches issues relevant to the type as a whole by tracing its historiography, and by closely examining the Philadelphia cabinet and its relationship to two others in the Musée du Louvre and St. Louis Art Museum. The identification of print sources for the relief carvings suggests some potential interpretations of the ‘meaning’ behind the decoration and possible links with other forms of decorative arts produced in France in the early seventeenth-century. The research offers new ideas and future directions of research for a familiar, yet only partially understood furniture type.
In this essay for Glencairn Museum News, Jack Hinton, Associate Curator of European Decorative Arts and Sculpture at the Philadelphia Museum of Art, traces the early history and importance of Pitcairn’s loans of medieval objects to the PMA, which “have allowed the visiting public to gain a more complete understanding of the spiritual and devotional purpose surrounding their creation.”
This article approaches issues relevant to the type as a whole by tracing its historiography, and by closely examining the Philadelphia cabinet and its relationship to two others in the Musée du Louvre and St. Louis Art Museum. The identification of print sources for the relief carvings suggests some potential interpretations of the ‘meaning’ behind the decoration and possible links with other forms of decorative arts produced in France in the early seventeenth-century. The research offers new ideas and future directions of research for a familiar, yet only partially understood furniture type.