IYRS Presents: Mastering the Craft NYC
Thursday, October 27, 2016 | New York Yacht Club | New York City, NY
Mastering the Craft is an annual speaker series event featuring artists, makers, and visionaries. The special can’t-miss NYC event will be hosted in the Model Room of the New York Yacht Club in New York City on Thursday, October 27th. Moderated by Alice Cooney Frelinghuysen, curator of American Decorative Arts at the Metropolitan Museum of Art.
Featuring (left to right): Alice Cooney Frelinghuysen, William Gudenrath, Marijn Manuels & Ubaldo Vitali
Alice Cooney Frelinghuysen
As the Anthony W. and Lulu C. Wang Curator of American Decorative Arts at the Metropolitan Museum of Art, Frelinghuysen has published widely and curated exhibitions on American ceramics and glass, as well as late nineteenth-century decorative arts. In 2009, she oversaw the curatorial team that reinstalled The American Wing’s Charles Engelhard Court.
A graduate of Princeton University, she earned her M.A. at Winterthur Program in Early American Culture. Frelinghuysen is the great granddaughter of Brooklyn lumber magnet Louis Bossert, who owned the schooner Coronet from 1901-1905. She has beena supporter of IYRS, including hosting receptions, for almost a decade.
William Gudenrath
The resident advisor of The Studio of The Corning Museum of Glass, William Gudenrath is a glassblower, scholar, author, lecturer, and teacher. He is recognized internationally as one of the foremost authorities on glassmaking techniques of the ancient world through the 18th century. In
1989, he developed a widely accepted theory regarding the original form and the probable method of manufacture of the world’s most celebrated ancient glass object, the Portland Vase. Despite a detour in 1974 to earn a Bachelors Degree from the University of North Texas and in 1978 to earn his Master of Music degree from the Julliard School, most of Mr. Gudenrath’s life has been dedicated to the material he fell in love with at the age of 11 with a chemistry set that served as his first introduction to glass and glassworking.
In addition to his numerous contributions in print and video on many aspects of glass history, Mr. Gudenrath is co-chairman, with Lino Tagliapietra, of the technical committee of Venetian Glass Study Days at the Istituo Veneto di Scienze, Lettere ed Arit, in Venice, and a fellow of The Corning Museum of Glass.
Mr. Gudenrath’s most recent project is the Museum’s first electronic publication, The Techniques of Renaissance Venetian Glassworking. Mr. Gudenrath’s original glasswork is sold in exclusive stores and galleries nationwide.
Marijn Manuels
Marijn Manuels is a conservator in the department of Objects Conservation at The Metropolitan Museum of Art, responsible for the technical investigation and treatment of their American period rooms and furniture collection. Having trained in his native Netherlands, Marijn has been at the Met for 20 years, during which he worked on many landmark exhibitions such as those covering the work of Honoré Lannuier (1996), John Townsend (2005) and Duncan Phyfe (2012).
In addition, as an integral part of the ten-year renovation and reinterpretation of the entire American Wing, Marijn oversaw the furniture and architectural conservation of many of the Museum’s iconic period rooms. More recently, he guided the conservation and installation of the Met’s new Worsham-Rockefeller Dressing Room, as well as the accompanying exhibition introducing its maker, George A. Schastey, both of which opened in December 2015.
Ubaldo Vitali
Born in Rome 1944 into a fourth generation family of silversmiths, Mr. Vitali studied at Liceo Artistico, Rome; L’Accademia di Belle Arti, Faculty of Sculpture, Rome; L’Universitá di Roma, Faculty of Architecture, Rome.
Mr. Vitali has conserved and restored works of art for the Soprintendenza alle Belle Arti (the institution overseeing Italian museums), as well as independent restorations for various European museums and galleries, including such important objects as a late fourteenth-century reliquary of the head of St John the Baptist in San Silvestro, Rome, and a fifteenth century processional cross by Nicola di Guardiagrele in Teramo, Italy. The spectrum of restoration/conservation executed for the Soprintendenza ranged from Merovingian objects through nineteenth century. Additionally, he has designed and executed silver objects for the Italian government as gifts to foreign dignitaries, as well as for three popes, the Queen of England, the Shaw of Iran, the President of United States, etc.
In 1967, Mr. Vitali transferred to the United States. Since his transferal he has continued conservation/restoration for American as well as international museums, such as, The Metropolitan Museum of Art, The Detroit Institute of Art, The Toledo Museum of Art, The Boston Museum of Fine Arts, Yale Art Gallery, The Newark Museum, The Dallas Museum, The Philadelphia Museum and many others. He is a scholar, lecturer and consultant on both the art of silversmithing and the history of art, for museums, galleries and universities, with special emphasis on the relationship between techniques and style. Besides lectures, several master classes and workshops were conducted at institutions such as the V&A in London, Yale University, Winterthur Museum, Sotheby’s and Christie’s.
Mr. Vitali has been commissioned on several occasions by the US State Department to design and execute silver objects to be given to foreign dignitaries by the president of the United States as presidential gifts. He also designs and execution of presentation pieces for major sporting events. To date, much of his work is represented in leading retail shops and companies.
Mr. Vitali’s objects are in the permanent collections of; The Newark Museum, the Houston Museum, and the Yale Art Gallery, the Smithsonian American Art Museum Renwick Gallery. His works have been exhibited in the Metropolitan Museum of Art in New York, the Minneapolis Institute of Art, The Philadelphia Museum of Art, as well as a solo exhibition in the Newark Museum, Oct -Dec 1990. His work is represented in major private international collections.
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