17th Century Carved Dutch Armorial Panel, Estate of Late Dr Yvonne Hackenbroch

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17th Century Carved Dutch Armorial Panel, Estate of Late Dr Yvonne Hackenbroch

About the Item

A fine Dutch carved and stained walnut armorial panel in the Baroque style from the second half of the 17th century. The heavily carved and pierced panel with cresting featuring a central shield below a crowned, tunicked figure with helm flanked by putto bearers and further putti below each side. The whole panel being densely wrapped in finely carved scrolling foliage. The central reserve later mounted with an early 16th century carved and polychrome painted figure of Saint George. Provenance: From the estate of the late Dr. Yvonne Hackenroch (Former curator of the Metropolitan Museum of Art) Yvonne Hackenbroch was a highly regarded curator amongst the scholars and experts of the Art & Antique world. She wrote numerous articles and books notably on Renaissance jewellery. Her expertise also prompted her to write on Reinhold Vasters, the 19th-century Aachen goldsmith and restorer who was found to have faked large quantities of jewellery from the Renaissance. Her essay on Vasters, published in the Metropolitan Museum Journal in 1984, deployed scholarship and detection to such effect that many pieces in major collections around the world — most famously the Rospigliosi Cup in the Met (donated by Benjamin Altman in 1913 and previously catalogued as a 16th-century work of Benevenuto Cellini) had to be relabelled as 19th century . Yvonne Hackenbroch was born on April 27 1912 in Frankfurt on Main. For much of her early childhood her father, Zacharias, a prominent art dealer, was away fighting in the Great War, during which he won the iron cross. Yvonne was always very small (she reached a full height of 4ft 8in) and slight, but she was a happy and forceful child, once managing to throw her nanny into the bath. The family spoke French or English at mealtimes, and by the time she left school she was fluent in French, English and Italian, as well as German. She had also visited almost all the major museums in western Europe. She was interested in the arts from an early age, and while still at school wrote a booklet about the Guelph Treasures, an important royal collection of religious artefacts from the Middle Ages that had been bought by her father and two other dealers. She later studied History of Art in Italy and at the University of Munich — the city where the Nazi movement had first taken root in the early 1920s. It was often an unnerving place to be, and when she gained her doctorate there, in December 1936, she was almost certainly the last Jew to do so under the Nazi regime. With the outlook deteriorating, she moved to London with her mother and younger sister in 1937, after the death of her father. Her elder sister had already settled in Britain. Yvonne Hackenbroch soon found work at the British Museum, helping to pack up and store large parts of the collection as war loomed. She continued at the Museum after the outbreak of war, and was part of the team that excavated and catalogued the Sutton Hoo treasure. She also acted as jewellery adviser to the Laurence Olivier film of Henry V (1944). In 1946 the British government sent her to Toronto as the expert responsible for the Lee Collection — a collection of Renaissance art given to Canada by Viscount Lee of Fareham (who also gave Chequers to the nation and founded the Courtauld Institute of Art) as a gesture of thanks for its help in the Second World War. After she had spent about three years in Canada, the director of the Metropolitan Museum of New York recommended her as a curator to work with Irwin Untermyer, the famously formidable Supreme Court Judge who had given his immense art collection to the Met and was now serving as one of its trustees. Cataloguing this collection resulted in Yvonne Hackenbroch writing seven major works, which were published in Britain by Thames and Hudson and ranged across such subjects as antique silver, bronze, porcelain, needlework and furniture. She later joined the Met as a full-time curator, specialising in Renaissance Art. Having had her German citizenship revoked by the Nazis when she left the country, to begin with she had to travel with an affidavit in lieu of a passport until she finally became an American citizen. Many more articles followed, and another book, Renaissance Jewellery (1979), established her reputation as the world’s foremost expert in the field. After retiring from the Met, in 1987 she moved back to London . She continued to travel to meet other curators, many of whom also came to stay at her flat, and held dinner parties into her mid-nineties. Much of her time was spent in the libraries of the Warburg Institute, the Courtauld Collection and the British Museum. In 1996 she published Enseignes: Renaissance Hat Jewels, the definitive study of the CAP badges that aristocrats wore to indicate their identity and rank. Yvonne Hackenbroch was a woman of great strength and private emotions. She gave quietly and generously to a wide range of charities, in particular doing what she could to help hard-up students and elderly people in need. Her hearing and eyesight deteriorated in her final years, but she was still able to walk in Hyde Park until shortly before her death.

Dimensions:
Height: 24 in (60.96 cm)Width: 20 in (50.8 cm)Depth: 2 in (5.08 cm)
Style:
Baroque (Of the Period)
Materials and Techniques:
Walnut,Carved
Place of Origin:
Netherlands
Period:
17th Century
Date of Manufacture:
circa 1680
Condition:
Wear consistent with age and use. Minor losses.
Seller Location:
Heathfield, GB
Reference Number:
1stDibs: LU286138549333