The Frick Collection presented an exhibition of bronze statuettes by or related to Severo Calzetta, called Severo da Ravenna, an important but little-known Italian sculptor of the early sixteenth century. Complementing the five bronzes in The Frick Collection attributed to Severo or his workshop were loans from the Metropolitan Museum of Art, the National Gallery of Art, Washington, and two New York private collections. The only known bronze bearing the sculptor's signature and a number of related but quite distinct versions of his original models were included.
Following the previous summer's exhibition devoted to bronzes by Severo Calzetta, this was the second exhibition to focus on lesser-known aspects of The Frick Collection — in this case eleven eighteenth and early nineteenth-century objects in silver or silver-gilt by Paul De Lamerie, William Pitts, Paul Storr, Benjamin and James Smith, and the London monogrammist I S. Complementing these pieces were twenty-eight borrowed works by the same artisans and their contemporary silversmiths Daniel Garnier, Pierre Platel, William Lukin and Nicholas Sprimont.
An exhibition of fourteen paintings and four sculptures from the collection of Baroness Carmen Thyssen-Bornemisza. French, Italian, British, German, Spanish, and American artists were represented in works that ranged from scenes by the Italian vedutisti of the eighteenth-century to masterpieces by French Impressionist and Post-Impressionist painters.
The first major survey in America on the art of the Renaissance portrait medal, on display in the Garden Court. The exhibition was co-organized by the National Gallery of Art, Washington, D.C., and The Frick Collection and included more than 170 of the most important and beautiful medals from the major European centers of production: Italy, France, Germany, the Netherlands, and England.
John Russell Pope’s Garden Court was a key element in his scheme for the conversion of the residential mansion into a public museum. An inspired design, which enclosed the mansion’s former exterior courtyard under glass, the Frick’s Garden Court prefigured Pope’s designs for similar courts in the National Gallery of Art, Washington, D.C.