History and Genealogy of Samuel Clark, Sr., and His
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® IFAR JOURNAL VOLUME 13 NO. 4 2012/2013 JOURNAL IFAR InternatIONAL FOUNDATION FOR ART RESEARCH 4 2012/2013 R MBE U 13 N ME U MART VOL T HE INTERNATIONAL FOUNDATION FOR ART RESEARCH (IFAR), I established in 1969, is a 501 (c)(3) not-for-profit educational and research organization N KEMP ON LEONAR dedicated to integrity in the visual arts. IFAR offers impartial and authoritative information on authenticity, ownership, theft, and other artistic, legal, and ethical issues concerning art objects. IFAR serves as a bridge between the public and the scholarly and commercial art communities. We publish the quarterly IFAR Journal, organize public programs and conferences, offer an D Art Authentication Research Service, provide a forum for discussion and serve as an information O I resource. We invite you to join our organization and help support our activities. MPRESS I ON I ST ST F IN TH S ISSUE RAMES DOIN SAUR FOSSILS AS CULTURAL HERITAGE D I nosa MARTIN KEMP ON LEONARDO DA VINCI U R Foss IMPRESSIONIST FRAMES — CONTINUING A DIALOGUE I LS CAMBODIA’S REPATRIATION CAMPAIGN CAMBO TWO STOLEN MATIsses RECOVERED DI A ® INCORPORATING STOLEN ART ALERT 2 N E W S & UP D ATES 2 Florida Paleontologist Makes No Bones; Pleads Guilty to Smuggling Dinosaur Fossils 6 A Tale of Two Stolen Matisses 9 Myth of Fingerprints? Some of Forensic Scientist’s Defamation Claims Against e New Yorker Survive Dismissal 13 IN BRIEF 13 Changes to New York Arts and Cultural Aairs Law 13 Marchig “Leonardo” Case Ends; Scholarly Debate Goes On 14 AAMD Toughens Antiquities Guidelines -
A Political Perch: a Historical Analysis and Online Exhibit of the U.S. Senate Clerk's Desk
Western Kentucky University TopSCHOLAR® Honors College Capstone Experience/Thesis Projects Honors College at WKU 2020 A Political Perch: A Historical Analysis and Online Exhibit of the U.S. Senate Clerk's Desk Olivia Bowers Western Kentucky University, [email protected] Follow this and additional works at: https://digitalcommons.wku.edu/stu_hon_theses Part of the History of Art, Architecture, and Archaeology Commons, Museum Studies Commons, and the Political History Commons Recommended Citation Bowers, Olivia, "A Political Perch: A Historical Analysis and Online Exhibit of the U.S. Senate Clerk's Desk" (2020). Honors College Capstone Experience/Thesis Projects. Paper 838. https://digitalcommons.wku.edu/stu_hon_theses/838 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Honors College Capstone Experience/Thesis Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. A POLITICAL PERCH: A HISTORICAL ANALYSIS AND ONLINE EXHIBIT OF THE U.S. SENATE CLERK’S DESK A Capstone Project Presented in Partial Fulfillment of the Requirements for the Degree Bachelor of Arts with Mahurin Honors College Graduate Distinction at Western Kentucky University By Olivia R. Bowers May 2020 ***** CE/T Committee: Dr. Guy Jordan, Chair Prof. Kristina Arnold Dr. Jennifer Walton-Hanley Copyright by Olivia R. Bowers 2020 I dedicate this thesis to my parents, Clinton and Dawn Bowers, for teaching me that pursuing my dreams can help others in the process. I would also like to thank Dr. Guy Jordan, a teacher, mentor, and friend, for believing in me and encouraging me to aim for the seemingly impossible. -
Real Estate Record and Builders Guide Founded March 21, 1868, by CLINTON W
Real Estate Record and Builders Guide Founded March 21, 1868, by CLINTON W. SWEET Devoted to Real Estate, Building Construction and Building Management in the Metropolitan District Published Every Saturday by THE RECORD AND GUIDE COMPANY FRANK E. PERLEY, President and Editor; W. D. HADSELL, Vice-President; J. W. FRANK, Secretary-Treasurer Entered aa second daaa matter November 8, 1879, at the Post Office at New York. N. T., under the Act of March 3. 1879. Copyright, 1920, by The Record and Guide Company 119 West 40th Street, New York (Telephone: Bryant 4800) VOL. CV 250. A ropY NO. 19 (2721) NEW YORK, MAY 8, 1920 {12.00 A TEAB AdTertisins Index AdTertlsIng Index Page Page j A B See Electric Elevator.4th Cover Newins, Harvey B ..600 i Ackerly, Orville B., & Son 600 TiABLE OF CONTENTS. New York Edison Co., The 623 ! Adler, Ernest N 600 New York Title & Mortgage Co. .602 ; Alliance Realty Co 600 .... 603 Niewenhous Bros., Inc ....627 . Altmayer, Leon S 2d Cover Noyes Co., Chas. F Front Cover i American Bureau of R. E 600 Opposei Federal Tax on Real Estate to Pay Ogden & Clarkson Corp 2d Cover \ Ames & Co 2cl Cover 605 OReilly & Dahn 2d Cover Amy & Co., A. V 2d Cover Orr & Co., John C ^6^'i < Anderson & Co., James S 600 Mayor iHylan Appoints Committee on Housing Armstrong, John 600 fiO.S Payton, Jr., Co., Philip A.... ..612 ! Aspromonte & Son, L. S 627 Pease & Elliman Front Cover • Atlantic Terra Cotta Co 616 Joseph P. Day's Twenty-fifth Anniversary Cele Pflomm, F. -
A Mechanism of American Museum-Building Philanthropy
A MECHANISM OF AMERICAN MUSEUM-BUILDING PHILANTHROPY, 1925-1970 Brittany L. Miller Submitted to the faculty of the University Graduate School in partial fulfillment of the requirements for the degree Master of Arts in the Departments of History and Philanthropic Studies, Indiana University August 2010 Accepted by the Faculty of Indiana University, in partial fulfillment of the requirements for the degree of Master of Arts. ____________________________________ Elizabeth Brand Monroe, Ph.D., J.D., Chair ____________________________________ Dwight F. Burlingame, Ph.D. Master’s Thesis Committee ____________________________________ Philip V. Scarpino, Ph.D. ii ACKNOWLEDGEMENTS In the same way that the philanthropists discussed in my paper depended upon a community of experienced agents to help them create their museums, I would not have been able to produce this work without the assistance of many individuals and institutions. First, I would like to express my thanks to my thesis committee: Dr. Elizabeth Monroe (chair), Dr. Dwight Burlingame, and Dr. Philip Scarpino. After writing and editing for months, I no longer have the necessary words to describe my appreciation for their support and flexibility, which has been vital to the success of this project. To Historic Deerfield, Inc. of Deerfield, Massachusetts, and its Summer Fellowship Program in Early American History and Material Culture, under the direction of Joshua Lane. My Summer Fellowship during 2007 encapsulated many of my early encounters with the institutional histories and sources necessary to produce this thesis. I am grateful to the staff of Historic Deerfield and the thirty other museums included during the fellowship trips for their willingness to discuss their institutional histories and philanthropic challenges. -
Architect of the Capitol: Evolution and Implementation of the Appointment Procedure
Architect of the Capitol: Evolution and Implementation of the Appointment Procedure Updated September 1, 2021 Congressional Research Service https://crsreports.congress.gov R41074 SUMMARY R41074 Architect of the Capitol: Evolution and September 1, 2021 Implementation of the Appointment Ida A. Brudnick Specialist on the Congress Procedure According to its website, the Architect of the Capitol (AOC) is responsible “for the operations and care of more than 18.4 million square feet of facilities, 570 acres of grounds and thousands of works of art.” Pursuant to the Legislative Branch Appropriations Act, 1990, the Architect is appointed by the President with the advice and consent of the Senate. Prior to the enactment of this law, the President appointed the Architect for an unlimited term with no formal role for Congress. The act also established a 10-year term for the Architect as well as a bicameral, bipartisan congressional commission to recommend candidates to the President. As subsequently amended in 1995, this law provides for a commission consisting of 14 Members of Congress, including the Speaker of the House, the President pro tempore of the Senate, the House and Senate majority and minority leaders, and the chair and ranking minority members of the Committee on House Administration, the Senate Committee on Rules and Administration, and the House and Senate Committees on Appropriations. An Architect may be reappointed. Alan M. Hantman was the first Architect appointed under the revised appointment procedure. He declined to seek reappointment and served from January 30, 1997, to February 4, 2007. Stephen T. Ayers, who served as Acting Architect of the Capitol following Mr. -
THE U.S. STATE, the PRIVATE SECTOR and MODERN ART in SOUTH AMERICA 1940-1943 By
THE U.S. STATE, THE PRIVATE SECTOR AND MODERN ART IN SOUTH AMERICA 1940-1943 by Olga Ulloa-Herrera A Dissertation Submitted to the Graduate Faculty of George Mason University in Partial Fulfillment of The Requirements for the Degree of Doctor of Philosophy Cultural Studies Committee: ___________________________________________ Director ___________________________________________ ___________________________________________ ___________________________________________ Program Director ___________________________________________ Dean, College of Humanities and Social Sciences Date: _____________________________________ Spring Semester 2014 George Mason University Fairfax, VA The U.S. State, the Private Sector and Modern Art in South America 1940-1943 A Dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy at George Mason University by Olga Ulloa-Herrera Master of Arts Louisiana State University, 1989 Director: Michele Greet, Associate Professor Cultural Studies Spring Semester 2014 George Mason University Fairfax, VA Copyright 2014 Olga Ulloa-Herrera All Rights Reserved ii DEDICATION This is dedicated to Carlos Herrera, Carlos A. Herrera, Roberto J. Herrera, and Max Herrera with love and thanks for making life such an exhilarating adventure; and to María de los Angeles Torres with gratitude and appreciation. iii ACKNOWLEDGEMENTS I would like to express the deepest appreciation to my committee chair Dr. Michele Greet and to my committee members Dr. Paul Smith and Dr. Ellen Wiley Todd whose help, support, and encouragement made this project possible. I have greatly benefited from their guidance as a student and as a researcher. I also would like to acknowledge Dr. Roger Lancaster, director of the Cultural Studies Program at George Mason University and Michelle Carr for their assistance throughout the years. -
Tholos Summer 2017
VOLUME VOLUME 5 SUMMER 2017 FEATURE: HIGH-VOLTAGE TEAM POWERS THE POWERFUL PROJECT UPDATES: SET IN STONE THEN & NOW: U.S. CAPITOL COURTYARDS PROJECT UPDATE: A newly carved bracket attached to the 2 underside of the U.S. Capitol’s cornice. Photo by James Rosenthal In This Issue 1 ARCHITECT’S NOTEBOOK AOC DOORWAYS: 2 PROJECT UPDATES A brief history of the famed Amateis Doors. Set in Stone 6 AOC DOORWAYS 6 The Doors to Nowhere 9 THEN & NOW U.S. Capitol Courtyards 9 12 FEATURE THEN & NOW: High-Voltage Team A look back at the Powers the Powerful transformation of the U.S. Capitol courtyards. 18 DOING GOOD A Series of Compassionate Events 21 COOL TOOLS Two Thumbs Up for Taking the Edge Off 12 FEATURE: Learn how the AOC’s High-Voltage team keeps the campus running. COVER: A recently installed lantern top at the U.S. Capitol, replicated to match the original lanterns designed by Frederick Law Olmsted. Photo by James Rosenthal ARCHITECT’S NOTEBOOK LEFT: Photo by Steve Payne MIDDLE, RIGHT: Photos by James Rosenthal What We Hold Precious alking through the Capitol campus, I that are not obvious at first, including around the ceiling frequently come across ornamentation in laylights of the Great Hall. our buildings made from various metals. I Aluminum wasn’t always as ubiquitous as it currently W was recently taking in the splendor of the is. Just before the Jefferson Building’s construction, gilded Torch of Knowledge above the Thomas Jefferson the largest piece of cast aluminum that had ever been Building when my mind began wandering through the created was the 8.9-inch tip placed atop the Washington many additional decorative elements found within that Monument in 1884. -
GRADUATE PROGRAM in the HISTORY of ART Williams College/Clark Art Institute
GRADUATE PROGRAM IN THE HISTORY OF ART Williams College/Clark Art Institute Summer 2003 NEWSLETTER The Class of 2003 at its Hooding Ceremony. Front row, from left to right: Pan Wendt, Elizabeth Winborne, Jane Simon, Esther Bell, Jordan Kim, Christa Carroll, Katie Hanson; back row: Mark Haxthausen, Ben Tilghman, Patricia Hickson, Don Meyer, Ellery Foutch, Kim Conary, Catherine Malone, Marc Simpson LETTER FROM THE DIRECTOR CHARLES w.: (MARK) HAxTHAUSEN Faison-Pierson-Stoddard Professor of Art History, Director of the Graduate Program With the 2002-2003 academic year the Graduate Program began its fourth decade of operation. Its success during its first thirty years outstripped the modest mission that shaped the early planning for the program: to train for regional colleges art historians who were drawn to teaching careers yet not inclined to scholarship and hence having no need to acquire the Ph.D. (It was a different world then!) Initially, those who conceived of the program - members of the Clark's board of trustees and Williams College President Jack Sawyer - seem never to have imagined that it would attain the preeminence that it quickly achieved under the stewardship of its first directors, George Heard Hamilton, Frank Robinson, and Sam Edgerton. Today the Williams/Clark program enjoys an excellent reputation for preparing students for museum careers, yet this was never its declared mission; unlike some institutions, we have never offered a degree or even a specialization in "museum studies" or "museology." Since the time of George Hamilton, the program has endeavored simply to train art historians, and in doing so it has assumed that intimacy with objects is a sine qua non for the practice of art history. -
Central Park West
CENTRAL PARK WEST- WEST 73rd - 7 *• t h STREET HISTORIC DISTRICT DESIGNATION REPORT 1977 City of New York Abraham D. Beams, Mayor Landmarks Preservation Commission Beverly Koss Spatt, Chairman Horrls Ketchum, Jr., Vlc©-Chairman Commissioners Margaret Beyer Stephen S. Lash Elisabeth Colt Hawthorne E. Lee George R. Collins Marie V. McGovern William J. Conklin Paul E. Parker, Jr. Barbara lee Dlamonsteln WEST 73*STREET fTMTHlE DAKOTA, iT-WEST TO^T^STREET HISTORIC DISTRICT CENTRAL PAES MANHATTAN DESIGNATED JULY 12, 1977 0E3I0NATC0 tAHOMARR SOUMOARIfS A*£ A* CU«8 UWI Landmarks Preservation Commission July 12, 1977, Number 8 LP-096<» CENTRAL PARK WEST - WEST 73rd - 7*«th STREET HISTORIC DISTRICT BOUNDARIES The property bounded by the western curb line of Central Park West, the northern curb line of West 73rd Street, the eastern curb line of Columbus Avenue and the southern curb line of West 7*»th Street, Manhattan. TESTIMONY AT THE PUBLIC HEARINGS On May 10, 1977, the Landmarks Preservation Commission held a public hearing on this area which is now proposed as an Historic District (Item No. 8). The hearing had been duly advertised In accordance with the provisions of law. Seven persons spoke In favor of the proposed designation. There were no speakers In opposition to designation. -1 HISTORICAL AND ARCHITECTURAL INTRODUCTION The site of the Central Park West - West 73rd-7*»th Street Historic District originally formed part of the farm of Richard Somerlndyck, whose family owned much of the land along the Upper West Side In the late 18th century. Although the farmland had b«en subdivided into lots by 1835, construction did not begin on this block until the l880s, Interest in the Upper West Side as a residential district began to grow In the late 1860s. -
Roaring Into the Future: New York 1925-35 FINAL Installation Checklist
Roaring into the Future: New York 1925-35 FINAL Installation checklist Introduction During the 10 years that took America from effervescent heights to the invented new forms to suit a modern American lifestyle. Although depths of economic devastation, New York State transformed the nation. this period is often called Art Deco today, the term was not Roaring into the Future: New York 1925-35 is a pioneering exploration adopted until 1968.New York State’s artists, architects, and that celebrates the Empire State as the driving force behind the creation designers played a pivotal role in making the State the epicenter of 20th-century modernism. From Buffalo to Brooklyn, artists, designers, of modernism. Modernism, often called Modernistic, in New York and manufacturers generated avant-garde art, fashion, technology, was not one style but rather it was an expression of a vital decorative arts, and music that resulted in the century’s most important youthful spirit that embraced the new. Modernism appeared in artistic revolution. elegant Art Moderne designs based on classical historical precedents, faceted skyscrapers and objects influenced by When France invited the United States to send their new and original Cubism, brawny Machine Age wares using the vocabulary of designs to the Exposition Internationale des Arts Décortifs et Industriels machine parts, and sleek Streamlined products reflecting Modernes, the World’s Fair held in Paris in 1925, Secretary of Commerce aerodynamic principles of speed. Across the State, New Yorkers Herbert Hoover declined because he could not find any modern designed, manufactured, and distributed new, nationally American goods. However, the Fair proved to be a tremendous catalyst influential works, often made with innovative materials, that for modern design in the United States via those Americans who visited reflected the seismic post-World War I shifts in social customs, the Exposition or saw its highlights, mainly French, in an exhibition that women’s rights, race relations, and technological discoveries. -
Yale University Art Gallery, Collection Overview
YA L E U N I V E R S I T Y A R T G A L L E R Y COLLECTIONS OVERVIEW African Art The Yale University Art Gallery’s collection of art from Africa south of the Sahara originated in 1937 with gifts of several textiles and now numbers some 1,800 objects in wood, metal, ivory, ceramic, and other materials. Major milestones in the development of the collection were reached in 1954, with the acquisition of the Linton Collection of African Art, purchased for the Gallery by Mr. and Mrs. James M. Osborn, and in 2004, with the gift of the entire Charles B. Benenson, b.a. 1933, Collection of 585 objects of African art. Concurrent with the 2004 gift, Benenson endowed the new position of the Frances and Benjamin Benenson Foundation Curator of African Art, and the Department of African Art at the Yale University Art Gallery was established. Mask with a Superstructure Represent- In 2010 the Department received a collection of approximately 200 African ing a Beautiful Mother (D’mba), Baga, Sitem subgroup; Bulungits; or Puku. antiquities from SusAnna and Joel B. Grae. Guinea, late 19th–early 20th century. Wood and brass. Yale University Art The collection is strongest in ritual figures and masks from West and Gallery, Charles B. Benenson, B.A. 1933, Collection Central Africa, and terracotta antiquities from the Sahel area. There are also a number of specialized collections, including Christian crosses from Ethiopia and miniature masks from Liberia. The ancient African civilizations represented include the Djenne, Nok, Bura, Sokoto, Koma, Sapi, and Benin. -
Chefs D'œuvre De La Peinture Française Du Clark / Once Upon a Time...Impressionism: Great French Paintings from the Clark
Alison McQueen exhibition review of Il était une fois...l'impressionisme: Chefs d'œuvre de la peinture française du Clark / Once Upon a Time...Impressionism: Great French Paintings from the Clark Nineteenth-Century Art Worldwide 12, no. 1 (Spring 2013) Citation: Alison McQueen, exhibition review of “Il était une fois...l'impressionisme: Chefs d'œuvre de la peinture française du Clark / Once Upon a Time...Impressionism: Great French Paintings from the Clark,” Nineteenth-Century Art Worldwide 12, no. 1 (Spring 2013), http:// www.19thc-artworldwide.org/spring13/mcqueen-reviews-once-upon-a-time-impressionism. Published by: Association of Historians of Nineteenth-Century Art. Notes: This PDF is provided for reference purposes only and may not contain all the functionality or features of the original, online publication. McQueen: Once Upon a Time...Impressionism: Great French Paintings from the Clark Nineteenth-Century Art Worldwide 12, no. 1 (Spring 2013) Il était une fois...l'impressionisme: Chefs d'œuvre de la peinture française du Clark / Once Upon a Time...Impressionism: Great French Paintings from the Clark Montreal Museum of Fine Arts, Montreal October 9, 2012 – January 20, 2013 Previous venues: Palazzo Reale Milan, Italy March 2 – June 19, 2011 Musée des Impressionnismes Giverny, France July 12 – October 31, 2011 CaixaForum Barcelona, Spain November 18, 2011 – February 12, 2012 Kimbell Art Museum Fort Worth, Texas March 4 – June 17, 2012 Royal Academy of Arts London, UK July 7 – September 23, 2012 It will also travel to Japan, China, and South Korea in 2013–2014. What is at stake in the Sterling and Francine Clark Art Institute’s re-branding of itself? The exhibition and catalogue of nineteenth-century French art from the Williamstown-based institute that is currently traveling to three continents presents a new history to unsuspecting visitors: Sterling Clark, founder of the eponymous institute, was an autonomous collector who selected and acquired works with complete independence.