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MM 1996 ANNUAL REPORT
NATIONAL GALLERY OF ART
1996 Annual Report Copyright © 1997, Board of Trustees, Cover: Hans Hofmann, Autumn Gold (detail), 1957, Details illustrated at section openings: National Gallery of Art, Washington. Robert and Jane Meyerhoff Collection, 1996.81.4 p. 5: James Peale, Fruit Still Life with Chinese Export All rights reserved. Basket, 1824, oil on wood, Gift of Mr. and Mrs. Frontispiece: Jan van Huysum, Still Life with Flowers Thomas M. Evans, in Honor of the 50th Anniver- This publication was produced by the and Fruit (detail), c. 1715, Patrons' Permanent Fund sary of the National Gallery of Art, 1990.7.1 and Gift of Philip and Lizanne Cunningham, Editors Office, National Gallery of Art, p. 7: Odilon Redon, Large Vase with Flowers, 1996.80.1 c. 1912, oil on canvas, Gift (Partial and Promised) Editor-in-chief, Frances P. Smyth of John C. Whitehead, in Honor of the 50th Editor, Tarn Curry Bryfogle Photographic Credits: Anniversary of the National Gallery of Art, Editorial Assistant, Mariah Seagle Works of art in the National Gallery of Art's collec- 1990.64.1 tions have been photographed by the department Production Manager, Chris Vogel p. 9: William Michael Harnett, My Gems, 1888, oil of imaging and visual services. Other photographs on wood, Gift of the Avalon Foundation, 1957.5.1 are by: Anthony Grohowski (p. 32), James Locke Designed by Susan Lehmann, (pp. 31-33), Robert Shelley (pp.36, 38), and Rex p. 13: Georges Braque, Still Life: Le Jour, 1929, oil Washington, DC Stucky (p. 60), on canvas, Chester Dale Collection, 1963.10.91 p. 53: Maurits Cornells Escher, Still Life with Mirror, Printed by Schneidereith & Sons, p. 22: photograph copyright Mark Klett 1934, lithograph, Cornelius Van S. Roosevelt Col- Baltimore, Maryland lection, 1973.65.38 The type is Meridien, set by Cadmus p. 57: Gerrit Willemsz Heda, Still Life with Ham, Financial Communications, Baltimore, 1650, oil on panel, Gift of John S. Thacher, Maryland 1985.16.1 p. 65: Maurits Cornells Escher, Still Life and Street, ISBN 0-89468-269-5 1937, woodcut, Cornelius Van S. Roosevelt Collec- tion, 1974.28.5 p. 69: Chipman, Melons and Grapes, mid-19th cen- tury, oil on canvas, Gift of Edgar William and Ber- nice Chrysler Garbisch, 1957.11.5 p. 79: Pablo Picasso, Sculptures et Vase de Fleurs, 5 May 1933, etching and aquatint, Rosenwald Collection, 1950.16.142 p. 107: Adja Yunkers, Red Still Life, 1944, color woodcut, Rosenwald Collection, 1946.21.388 p. 109: Roy Lichtenstein, Cubist Still Life, 1974, oil and magna on canvas, Gift of Lila Acheson Wallace, 1983.50.1 p. 117: Roger de La Fresnaye, Still Life, probably 1920, graphite and pen and white ink on brown paper, Rosenwald Collection, 1953.6.77 CONTENTS
President's Foreword 7 Administration 53 Director's Statement 9 External Affairs Art Programs Development 57 Renaissance Paintings 13 Corporate Relations 59 Baroque Paintings 13 Public Information 61 American and British Paintings 15 Special Projects 61 French Paintings 15 Visitors Services 62 20th-century Art 16 Music at the Gallery 62 Sculpture and Decorative Arts 16 Center for Advanced Study in the Old Master Drawings 17 Visual Arts 65 Old Master Prints 18 Modern Prints and Drawings 20 Report of the Treasurer 69 Photographs 22 Curatorial Records 23 Registration 23 Acquisitions 79 Loans and the Loans 96 National Lending Service 24 Lenders 101 Conservation 24 Changes of Attribution 104 Exhibitions 30 Staff Publications 105 Design and Installation 36 Trustees and Staff 107 Education 37 Library 45 Gifts 117 Editors Olfice 47 Gallery Archives 49
PRESIDENT'S FOREWORD
In this year of tremendous activity and scholarship and research, and our gen- excitement, the National Gallery of Art eral endowment. Thus the trustees have was enriched by a number of generous undertaken to raise $105 million for the gifts of art to its permanent collection. New Century Fund. I am deeply grati- Of particular note are the 10 major con- fied to report that, thanks to the par- temporary works given by Robert and ticipation of many of the Gallery's Jane Meyerhoff during the exhibition of staunchest friends and supporters, our their renowned collection. Also, in goal is now in sight. honor of its 10th anniversary, The Circle Many privately funded programs at of the National Gallery of Art presented the Gallery continue to benefit particu- the Gallery with an important 19th- larly from the support of two strong and century American still life by Martin broad-based national groups. The Col- Johnson Heade. To them, and to all lectors Committee celebrated its 20th who have added to the Gallery's perma- year of enriching the nation's 20th-cen- nent collection, we are most grateful. tury art collection. We offer hearty Financial support of the National thanks and congratulations to long-time Gallery has been historically shared by co-chairs Ruth Carter Stevenson and the public and private sectors, and we Edwin L. Cox, who passed the mantle are enormously grateful to the federal of leadership to Doris Fisher of San government for its ongoing commit- Francisco and Barney Ebsworth of St. ment to maintaining the Gallery as the Louis at the anniversary meeting in nation's art museum. Because the October 1995. And The Circle of the United States Congress provides for the National Gallery of Art celebrated its Gallery's daily operating expenses, we 10th anniversary in 1996 with justifi- are able to serve citizens nationwide able fanfare. As a founding co-chair of through a great variety of outreach pro- The Circle, I take special pleasure in grams as well as to welcome millions of witnessing how this national member- visitors each year. ship group has helped the Gallery with To complement this generous public a wide variety of programs and acquisi- Hendrik Goltzius, A Foxglove in Bloom, 1592, pen and brown ink, 17.5 x 9.8 cm, Gift of Rosi Schilling funding, we look to private sources to tions in the past decade. We extend sin- in memory of Edmund Schilling, 1996.44.1 support art and library acquisitions, cere thanks to all members of The Former director John Walker in 1956, seated before Bellini's Feast of the Gods
Circle, with a special nod to the two W. Duemling of Washington, D.C., and Kirstein from 1989 to 1995. Their members of the Trustees' Council who Lucio A. Noto of McLean, Virginia. friendship, counsel, and generosity to are now serving as co-chairs, Juliet C. The Trustees' Council is indebted to this institution are deeply appreciated. Folger and David O. Maxwell. the dedicated members whose terms With no alteration in its ranks, the I also would like to recognize the ended in 1996. They are Louisa C. Board of Trustees continued to oversee many corporations and foundations that Duemling of Washington, D.C., Jo Ann the governance of the National Gallery have helped meet the Gallery's private Ganz of Los Angeles, Ruth C. Kainen of of Art. I am proud to continue to serve funding needs in the past year, espe- Chevy Chase, Maryland, and Benjamin as president, with Ruth Carter Steven- cially in the critical areas of exhibition F. Stapleton III of New York City. Their son as chairman, and Alexander M. and publication support. Particular years of service to the National Gallery Laughlin, Robert F. Erburu, and Louise thanks are due the Richard King Mellon have been a tremendous asset. W. Mellon as fellow general trustees, Foundation, for unsolicited but crucial It is with deep regret that we must and with the support of the Chief Jus- funds that enabled the Gallery to keep record the passing of a number of close tice of the Supreme Court, the Secre- the tremendously popular Johannes members of the National Gallery family tary of State, the Secretary of the Trea- Vermeer exhibition open to the public this year, including John Walker, direc- sury, and the Secretary of the during the federal government shut- tor emeritus, in October 1995, and Smithsonian as ex-officio trustees. down in January. This is a gleaming Gaillard F. Ravenel, chairman of design, On behalf of the entire board, I thank present-day example of the public- in September 1996, as well as two for- all who have contributed to the extra- spirited generosity that built this great mer Trustees' Council members, ordinary success the Gallery has en- national institution. Edward W. Carter and Richard A. joyed this year. Confident in its worthy The invaluable volunteer leadership Kirstein, both in April 1996. John administration, its unique partnership of the National Gallery continues to Walker served as chief curator from with Congress, and its strong support serve in many important capacities, and 1939 to 1956, then as director from from the private sector, the National we deeply appreciate its commitment. 1956 to 1969. Gill Ravenel had been a Gallery of Art looks forward to another Edwin L. Cox and Lois de Menil have formative creative force on the Gallery year of challenge and accomplishment. provided energetic leadership as chair staff since 1970. Each, in his own way, Robert H. Smith and vice-chair of the Trustees' Council. left this institution a legacy that will President The Council welcomed four new mem- endure far into the future. Ed Carter bers this year, Iris Cantor and Donald B. had been a member of the Trustees' Marron, both of New York City, Robert Council from 1982 to 1991, and Dick DIRECTOR'S STATEMENT
The commitment of the National took great pleasure in honoring this Gallery of Art to its permanent collec- group, which has given the Gallery tions and to its service to the nation many of its most important works of remains fundamental to its mission. We modern and contemporary art. The continued this year to augment the col- committee's gift to the Gallery this year lections, expand educational programs, was Untitled (Bolsena) by the American and offer a dynamic and exciting sched- postwar artist Cy Twombly, a work that ule of special exhibitions. Our focus on wonderfully complements our rich the collection also extended to main- holdings in abstract expressionism and taining the architectural integrity of the minimalism. West and East Buildings, themselves Also in the field of 20th-century art, works of art. two paintings by Jean Dubuffet, They Among our most notable acquisitions, Hold Council and Combat Beard, comprise several gifts stand out. The generous gift a welcome addition to Stephen Hahn's from distinguished 20th-century art col- gift of works by this artist. The Gallery's lectors and supporters of the Gallery collection was also greatly enhanced by Robert and Jane Meyerhoff included the gift from Crown Point Press and its pivotal works by Hans Hofmann, Roy director, Kathan Brown, of a strong rep- Lichtenstein, Jasper Johns, Frank Stella, resentation of prints by five major con- and Grace Hartigan. Their extraordinary temporary artists. gift as well as the Gallery exhibition of Three major 17th- and 18th-century their impressive collection underscored Dutch paintings were added to the col- the Meyerhoffs' commitment to art and lection this year. The Fall of Man by continuing generosity to the American Hendrik Goltzius was acquired through people. At the same time, a tremendous the Patrons' Permanent Fund; Bouquet of gift of more than 150 prints by Roy Flowers in a Glass Vase by Ambrosius Lichtenstein was given to the Gallery by Bosschaert the Elder was purchased the legendary pop artist and his wife through the Patrons' Permanent Fund, Dorothy. and the New Century Fund; and Still The Collectors Committee celebrated Life with Flowers and Fruit by Jan van its 20th anniversary in 1996, and we Huysum was acquired through the
9 Patrons' Permanent Fund and a gift art information room in the West Build- subject of an unprecedented exhibition from Philip and Lizanne Cunningham. ing just off the Rotunda—enables visi- that assembled two-thirds of the mas- The two exquisite still lifes exemplify tors of all ages to discover new ways to ter's surviving oeuvre. the beginnings of the tradition in the view and explore the permanent collec- Extended viewing hours for the exhi- early 17th century and its lush apex a tion. We would like to acknowledge bition were established in late Novem- century later. American Express Foundation for its ber when the Gallery reopened follow- In the area of American art, we were generosity in making the Micro Gallery ing the first shutdown of the federal very pleased with The Circle's gift of possible. government. When the Gallery closed Martin Johnson Heade's Giant Magnolias Special exhibitions again brought again in mid-December with the second on a Blue Velvet Cloth, a superb addition great works of art from all over the federal government shutdown, private to the collection. world to the nation's capital. The tower- monies from the Fund for the Interna- As the fiscal year began, we opened ing artistic achievements of 19th-cen- tional Exchange of Art enabled the the Micro Gallery, the most definitive tury master Winslow Homer, one of Gallery to open Vermeer for five days interactive multimedia computer system America's most distinguished painters, between Christmas and New Year's day. in an American art museum. Enhancing were presented in the first comprehen- We are grateful to the Richard King and expanding our visitors' appreciation sive retrospective of his work in more Mellon Foundation of Pittsburgh for of art is a key goal of our educational than 20 years. Sublime paintings by guaranteeing the funds to keep this programs, and the Micro Gallery—with Johannes Vermeer, the supremely gifted once-in-a-lifetime exhibition open for 13 computer stations in the redesigned 17th-century Dutch artist, were the the thousands of people eager to see the tors welcomed back our four paint- deputy, Mark Leithauser, ably assumed ings—The Girl with the Red Hat, A Lady the responsibilities as chief of the Writing, Woman Holding a Balance, and department. Other staff appointments I Young Girl with a Flute. was pleased to make included Maria With the spring came another round Prather as head of 20th-century art, of exciting exhibitions. The Robert and Ruth Anderson Coggeshall as chief Jane Meyerhoff Collection filled the East development officer, and Deborah Ziska Building with works from one of this as information officer. country's finest and most extensive pri- The Gallery welcomed nearly 5 mil- vate collections of postwar art. The Light lion visitors this fiscal year, from every of Italy: Corot and Early Open-Air Painting state in the union and many other explored the work of European artists nations. The dynamic combination of who traveled to Italy between about public and private sector support has 1780 and 1840 to paint landscapes contributed greatly to the accomplish- directly from nature. Opening in the ments of the National Gallery through- summer, Olmec Art of Ancient Mexico out its history. Established by the focused on the artistic achievements of Gallery's founder, Andrew W. Mellon, Mexico's earliest and least-known civi- and the 75th Congress in its Joint lization, featuring the spectacular 10- Resolution of 1937, this partnership is ton Colossal Head from San Lorenzo, successful to this day. We are grateful to which left Mexico for the first time for the Congress for its ongoing appropria- this exhibition. The fiscal year closed tion of federal funds to ensure the oper- with Encounters with Modern Art: Works ation and maintenance of the Gallery from the Rothschild Family Collections, and the protection and care of the offering visitors the chance to view nation's art collections; this enables us many schools of modern European art to remain open 363 days a year with no
Winslow Homer, Fox Hunt, 1893, oil on canvas, from the holdings of Herbert and Nan- entrance fee. Many individuals over the 96.5 x 174 cm, Museum of American Art of the nette Rothschild. years have been inspired by the patrio- Pennsylvania Academy of the Fine Arts, Philadel- phia, Joseph E. Temple Fund, was lent for the Thoughtful stewardship of the tism and beneficence of Andrew Mel- Homer exhibition Gallery's two monumental buildings lon, his son Paul and daughter Ailsa, to was among our highest priorities this make financial donations and gifts of year, as we began the major renovation works of art to America's national of the West Building skylights and the gallery. Their generosity has created one upgrade of energy management and fire of the world's great art museums. protection systems in the East and West Buildings. We were extremely pleased show. But no sooner had the federal and grateful to receive the support of Earl A. Powell III shutdown ended than the blizzard of the Congress for these important pro- Director '96 arrived, paralyzing Washington and grams. The skylight project will take closing the Gallery for another four days place in five phases through 1999 and in early January. will involve replacement of the West The Homer exhibition traveled from Building's 55-year-old skylight system, Washington to Boston at the end of including three acres of glass, glazing, January, while public enthusiasm for framing, and surrounding areas of roof- the Vermeer exhibition continued ing, as well as additional repairs. New unabated through its last eleven days in multilayer glass will filter out harmful February, when viewing hours were ultraviolet light rays and ensure the extended until 9:00 p.m. every night. proper natural lighting of works to be During the last couple of weeks the line reinstalled in the main floor galleries. of viewers began to form in the wee The Gallery staff was saddened by the hours of the morning despite freezing untimely death of its chairman of weather. We were inspired by the dedi- design, Gaillard F. Ravenel, whose keen cation and fortitude of people waiting to eye and scholarship very much defined view this exhibition. Following Vermeer's the way works of art are presented at presentation at The Hague, Gallery visi- the Gallery. His long-time and talented
11 ,iwj 0 niiiTn ^ f~*"43,p'"i
-/jj>n,i Renaissance Paintings Work continued on the systematic catalogue of 15th- and 16th-century Nearly three-quarters of the Italian French paintings as well as on the Renaissance paintings were reinstalled reframing of several German and in the ground floor central galleries of Netherlandish paintings in the collec- the West Building in March and April tion. And Julien Chapuis joined the 1996 to keep as many works on view as department of northern Renaissance possible during the replacement of the paintings as Samuel H. Kress Postdoc- skylights over the main floor galleries. toral Curatorial Fellow. The installation is enhanced by the ongoing loans of several paintings: Gio- Baroque Paintings vanni Cariani's Concert, Francesco Bot- ticini's Head of a Man, Botticelli's Portrait In November 1995 the National Gallery of a Young Man Holding a Medallion, and of Art opened the critically acclaimed Palma il Giovane's Venus and Cupid at the Johannes Vermeer exhibition, organized Forge of Vulcan. with Frederik J. Duparc, director of the The exhibition Masterpieces from the Mauritshuis, The Hague. The presenta- Palazzo Doria Pamphilj, Rome, brought a tion brought together 21 paintings by selection of works from this celebrated this extraordinary 17th-century Dutch private collection to the U.S. for the first artist, more paintings by Vermeer than time. Velazquez' portrait of Pope Inno- have been assembled since 1696, when cent X appeared alongside busts of the a private collection was sold in Amster- pontiff by Bernini and Algardi and dam. In spite of two government shut- paintings by Titian, Raphael, and Cara- downs and a blizzard, the show was vaggio. Planning proceeded in earnest seen by more than 330,000 visitors, for the Lorenzo Lotto exhibition, which many of whom waited in long lines to opens in November 1997. Preparation procure a timed entrance pass. More of the volume on Italian 15th-century than 300,000 copies of the catalogue, James Gillray, Very Slippy Weather, published 1808, paintings progressed, and research was which won the Minda de Gunzburg etching and engraving hand-colored with water- begun on the 13th- and 14th-century color, 26.1 x 20.5 cm, Gift of the Arcana Founda- Prize for the best exhibition catalogue of tion, 1996.51.1 Italian paintings. 1995, were sold worldwide. The depart- 13 ment helped organize auxiliary pro- only are humorous but also generally Weldon, Mrs. Robert M. Weidenham- grams such as a scholarly seminar, a include a gentle lesson about moral mer, and other private collectors. The symposium cosponsored by the Center behavior. The department also helped galleries were rehung in June with the for Advanced Studies in the Visual Arts organize a scholarly seminar and an return of the Vermeer paintings after and the University of Maryland, and a exhibition of about 40 prints and the close of the Vermeer exhibition in public symposium. It advised on the emblem books from the Gallery collec- The Hague. Two paintings lent by Mr. production of an hour-long film and a tions that included scenes comparable and Mrs. Michal Hornstein of Mon- CD-ROM on Vermeer. to those seen in Steen's paintings. treal—Paulus Bor's Still Life with Travel In April 1996 the Gallery mounted a The Dutch Cabinet Galleries, which Pouch and Caesar van Everdingen's Rape second monographic exhibition of a opened in fall 1995, were the center of of Europa—were exhibited in one of the Dutch artist, Jan Steen: Painter and Story- much activity. In February these three adjacent Dutch galleries. teller. This presentation of 47 of Steen's galleries were reinstalled with a won- A number of major acquisitions finest works provided a very different derful group of small paintings from the greatly enhanced the collection of view of Dutch life from that seen in collection and generous loans from Mr. northern baroque paintings. Two of Vermeer's serene images. Steen's bois- and Mrs. George Abrams, Mr. and Mrs. these, the charming Dutch Head of a terous and fun-loving paintings not Steven M. Umin, Mr. and Mrs. Henry Small Boy by Jan de Bray and the fasci- 14 of Dutch flower painting in the world. definitive retrospective of one of Amer- Hendrik Goltzius' sensuous Fall of Man, ica's greatest artists, brought together in pristine condition, was acquired at 229 objects and was accompanied by a auction with monies from the Patrons' comprehensive catalogue. This land- Permanent Fund. The Gallery's first mark exhibition, organized by National Dutch Italianate painting, Nicolaes Gallery curators, drew unprecedented Pietersz Berchem's luminous View of an crowds when it traveled to Boston and Italian Port, entered the collection New York. The department mounted through the generosity of Robert H. and Thomas Eakins: The Rowing Pictures, and Clarice Smith, who had made a partial planning continued for the ambitious gift of this work in 1991 in honor of the Victorian Paintings and Thomas Moran Gallery's 50th anniversary. Emile W. exhibitions, opening in 1997. Wolf gave part interest in The Levite at The year's single acquisition was the Gibeah by Gerbrandt van den Eeckhout, stunning Giant Magnolias on a Blue Velvet the first work by one of Rembrandt's Cloth by Martin Johnson Heade, a gift most accomplished pupils to join the from The Circle of the National Gallery Gallery's collection. of Art. Heade's magnolia paintings, of Other undertakings have been the which about a dozen are known, are continued reframing of the Dutch and considered the strongest of his late Flemish paintings in period frames and works, and this is a powerful addition to the publication of the systematic cata- the Gallery's American still-life holdings. logue Dutch Paintings, covering the his- Substantial progress was made on the tory, style, and iconography of the systematic catalogue, with American works and exploring at length the attri- Paintings of the Nineteenth Century, Part 1, bution issues surrounding paintings by now published and part 2 nearing Rembrandt and his workshop. publication. New breadth was given the Italian baroque paintings collection by the French Paintings major acquisition of Bernardo Bellotto's Fortress of Konigstein: Courtyard with the Fiscal year 1996 was a busy one for Hendrik Goltzius, The Fall of Man, 1616, oil on can- Magdalenenhurg, a partial and promised exhibitions. The Art of Louis-Leopold vas, 104.5 x 138.4 cm, Patrons' Permanent Fund, 1996.34.1 gift of Lili-Charlotte Sarnoff in memory Boilly: Modern Life in Napoleonic France, of her grandfather Louis Koch. This is a presented 45 works by this little-known reduced replica of one of the five large master of genre, portrait, and trompe- views of this fortress that Bellotto had I'oeil painting. Boilly's innovative scenes painted for Augustus III, king of Poland of contemporary urban life in Paris and elector of Saxony, and it comple- anticipated the concerns of Manet by 50 ments the great Bellotto painting of the years. Guest curator Susan Siegfried same castle acquired by the Gallery in wrote the accompanying book. In the nating Flemish Vanitas Still Life by Jan 1993. Light of Italy: Corot and Early Open-Air van Kessel 1, were given by Mr. and The systematic catalogue of Italian Painting, had 20 small Italian landscape Mrs. George Abrams. The intimate scale Paintings: Seventeenth and Eighteenth Cen- views by Corot as its centerpiece but of these works is perfectly suited to the turies was published this year. included more than 100 works by other cabinet galleries. Ambrosius Bosschaert European artists who made pilgrimages the Elder's immaculately preserved Bou- American and British to Italy about 1780-1830 to paint open- quet of Flowers in a Glass Vase, purchased Paintings air views in and around Rome and through the Patrons' Permanent Fund Naples. Continuing in the realist mode, and the New Century Fund, and Jan Thousands of Gallery visitors were able Adolph Menzel: Between Romanticism and van Huysum's luxurious Still Life with to view two important exhibitions of Impressionism was the first exhibition in Flowers and Fruit, partly purchased with British and American paintings, despite the U.S. of paintings, drawings, and pas- funds from the Patrons' Permanent government shutdowns and a record tels by Berlin's leading painter of the Fund and partly given by Philip and snowfall in Washington. John Singleton second half of the 19th century. Works Lizanne Cunningham, join Jan Davidsz Copley in Britain featured grand portraits that Menzel had done for himself, de Heem's Vase of Flowers to give the and history paintings from Copley's focusing on everyday life and the land- Gallery one of the finest representations mature career. And Winslow Homer, the scape of contemporary Berlin, reveal a 15 freedom of touch unmatched in its day artist's "Hero" paintings, this is named and remarkably in advance of modern for a painter from the German romantic taste. school. The Morris and Gwendolyn College Art Association Professional Cafritz Foundation donated funds for a Development Fellow Eik Kahng, monumental sculpture, Aurora by Mark assigned to the department for one year, di Suvero. Over 16 feet high and weigh- assisted curators with research on vol- ing 8 tons, this is the Gallery's first pur- umes of the systematic catalogue. chase for the future National Sculpture Preparations continued for the exhibi- Garden on the Mall. Careless Love, a tions Georges de La Tour and His World, large, boisterously shaped canvas by opening in October 1996, and Degas at Elizabeth Murray, was a gift of The the Races and Manet and the Impressionists Aaron I. Fleischman Fund. Murray was at the Gare Saint-Lazare, both opening in the speaker for the fourth annual Elson 1998. lecture. Among exhibitions, The Robert and 20th-century Art Jane Meyerhoff Collection: 1945 to 1995 highlighted one of the preeminent col- A number of significant acquisitions lections of modern art in the world. enhanced the collection of 20th-century Shown only in Washington, the Meyer- art. Robert and Jane Meyerhoff gener- hoff exhibition presented 194 paintings, ously gave 10 works of art by American drawings, and sculpture by 40 artists, and European postwar artists to the including unparalleled holdings of Gallery this year. Joining the 22 works works by Johns, Lichtenstein, Stella, already donated to the nation by the Ellsworth Kelly, and Robert Rauschen- Meyerhoffs, the new gifts include Jasper berg. The Gallery opened Encounters with Johns' Perilous Night, the Gallery's only Modern Art, which featured a selection painting by this artist; Hans Hofmann's of early modern art from the collection Autumn Gold, the first painting acquired of Herbert and Nannette Rothschild and by the Meyerhoffs; and works by included works by Picabia, Brancusi, William Baziotes, Mel Bochner, Dubuf- and Giacomo Balla, as well as the fet, Grace Hartigan, Roy Lichtenstein, Gallery's Tableau No. IV by Mondrian, a Frank Stella, and Bradley Walker gift from the Rothschilds in 1971. Tomlin. Planning neared its final stages for the The Collectors Committee voted to 1997 opening of Picasso: The Early Years, acquire a key painting by Cy Twombly, 1892-1906, bringing together some 150 Untitled (Bolsena). This large abstraction, works by this prolific and innovative painted while the artist was working in artist. Preparations are well advanced a desolate stone palace overlooking the for full-scale retrospectives of the work lake of Bolsena north of Rome, is the of Alexander Calder and Mark Rothko Gallery's first canvas by Twombly. The in 1998. The Gallery's catalogue painting La Liberazione by Gastone Nov- raisonne of Rothko's paintings is also ell!, whose abstract work relates closely nearing completion. to Twombly's, was donated by Ivan Mark Rosenthal left the Gallery to Novelli, the artist's widow. The Stephen become curator for the Solomon R. installation that integrates the distin- Hahn family, which gave the Gallery a Guggenheim Museum, New York. guished Widener gift of 1942 with large group of paintings, drawings, and related ceramics donated later. The dis- sculpture by Dubuffet in 1995, aug- Sculpture and Decorative play includes such treasures as a 15th- mented its generous gift with two more Arts century Ming dynasty blue-and-white canvases, lis tiennent conseil (They Hold stem bowl from the Steele collection. Council) and Barbe des combats (Combat In preparation for skylight repairs on At a colloquy sponsored by CASVA, Beard). Another notable acquisition was the main floor of the West Building, international scholars joined Gallery Mann in Mond—Franz Pforr (Man in the about two-thirds of the Italian Renais- curators and conservators to consider Moon—Franz Pforr) by Georg Baselitz, a sance sculpture were reinstalled in the the Gallery's terra-cotta portrait busts of partial and promised gift of Charles and ground floor galleries. The Chinese Lorenzo and Giuliano de' Medici attrib- Helen Schwab; an early example of the porcelains gallery reopened with a new uted to Andrea del Verrocchio. 16 Guercino, Madonna and Child with an Escaped Goldfinch, early 1630s, red chalk, 26.3 x 20.3 cm, Andrew W. Mellon Fund, 1996.21.1 The collection of Renaissance pla- gave a French 16th-century plaquette of Old Master Drawings quettes was enriched by the purchase of Susanna and the Elders, and David and important examples by Moderno, Peter Constance Yates gave a fine medal of The year began with the opening of two Flotner, and Gian Jacopo Caraglio. An 1893 by Jules Clement Chaplain por- powerful exhibitions: The Touch of the intriguing small bronze from 17th- traying the Comte de Franqueville. Doug- Artist: Master Drawings from the Woodner century Rome, a bust of Saint Charles las Lewis donated five plaquettes by Collections and A Great Heritage: Renais- Borromeo, was donated by Lisa and Moderno, Valerio Belli, and Giovanni sance and Baroque Drawings from Chats- Leonard Baskin, who also gave a Barye Bernard!. The sculpture curators contin- worth. The Woodner exhibition cele- relief of a Python Swallowing a Doe and ued to write entries for the systematic brated the collecting achievements of three rare plaquettes by the great catalogue, including more than 100 for the late Ian Woodner and the decision Paduan Renaissance master Andrea the volume on Renaissance plaquettes. of his two daughters, Dian and Andrea, Briosco, called Riccio. Andrew Brown to preserve the core of the collection at 17 the National Gallery of Art. More than example of the draftsmanship of Gior- half of the 114 drawings exhibited were gione, and others as an equally rare made before 1600, an unusual show of page by Giulio Campagnola. strength for a collection assembled in Other 16th-century drawings added the second half of the 20th century. The to the collection include an ornamental Chatsworth exhibition presented a collec- design by Raphael's contemporary and tion that was largely complete by the collaborator, Giovanni da Udine; an early 18th century and devoted mainly incised model drawing for the title page to Italian drawings. Several of the same of a series of allegorical prints by artists were represented in both exhibi- Marten de Vos; a grandly mannerist tions—Leonardo, Raphael, Correggio, Coronation of the Virgin with Angel Musi- Diirer, Van Dyck, and Rembrandt, cians and All Saints by a northern artist among others—making the simultane- who signed the work J.N.; and an elabo- ous showing a valuable opportunity to rate allegorical design honoring King study master works by great draftsmen. Henri IV, the "Gallic Hercules," by Anto- An installation of Italian Drawings from nio Tempesta. Drawings by Jan Both, the Armand Hammer Collection also Carlo Maratta, and Jean Berain added included works by Leonardo, Raphael, variety and breadth to the 17th-century and Correggio, while the second rota- holdings, while a delightful fountain tion, Gauguin Drawings from the Armand design by Edme Bouchardon and a Hammer Collection, focused on individu- serene church fagade by Louis Gustave ally mounted pages from one of Gau- Taraval enhanced the holdings of guin's few surviving sketchbooks. French 18th-century drawings. A hand- Foremost among the gifts was A Fox- some Venetian drawing by Domenico glove in Bloom, a rare nature study by Fossati, made on the occasion of the the great mannerist Hendrik Goltzius, visit of Pope Pius VI to Venice in 1782, given by the late Rosi Schilling in mem- was purchased through a fund estab- ory of her husband, Edmund Schilling. lished with the honoraria earned by J. Ruth Carter Stevenson gave a lovely Carter Brown during his years as the late 16th-century Venetian study for an Gallery's director. In a different vein altarpiece attributed to Jacopo Palma 11 was a crisp, classically inspired pen Niccolo Boldrini, Hunter on Horseback, 1566, Giovane. Long-time friends and donors composition by Julius Schnorr von Car- chiaroscuro woodcut, 14.1 x 18.5 cm, Pepita Mil- Neil and Ivan Phillips gave funds for the olsfeld that relates to his Bible drawings more Fund, 1996.22.1 purchase of a delightful double-sided of the 1820s. drawing by Jean-Baptiste Pater, the Gallery's first by this follower of Wat- Old Master Prints teau. Another first for the Gallery was a delicate sketch made in the park at To complement the Jan Steen exhibition, Ermenonville by Franqois-Edouard this department drew on the Gallery's Berlin, a first gift from Donald Stone. rich holdings in Netherlandish and Ger- Two excellent partial and promised man prints and illustrated books to that form the amusing series La Journee gifts came to the Gallery this year: Ger- organize Scenes of Daily Life: Genre Prints du Celibataire (The Bachelor's Day). ard Sanders' Floral Still Life with Chest- from the Housebook Master to Remrandt van These works were given in memory of nuts, from Diane Morris Heldfond; and a Rijn. The 38 prints and 6 books exhib- long-time donor Dr. Ruth Benedict by spirited drawing by Giovanni Domenico ited, from the late 1600s to the late the Washington Print Club and friends, Tiepolo of God the Father in Clouds Sur- 1800s, depict subjects similar to those in including Donald Vogler, Sarah G. rounded by Angels and Putti, from Helena Steen's paintings: lovers courting, peas- Epstein, Andrew Robison, and others Gunnarsson. ants going to market, illustrations of listed in last year's annual report. British The most noteworthy purchase was Netherlandish proverbs. Artists included humor informs a series of seven prints the beautiful Madonna and Child with an Israhel van Meckenem, Lucas van Ley- by James Gillray after Reverend John Escaped Goldfinch by Guercino. Another den, Diirer, Adriaen van Ostade, and Sneyd depicting "The Weather," a gift of acquisition of special interest was a fas- Rembrandt. the Arcana Foundation; hand-colored cinating but somewhat damaged Venet- Gifts and purchases brought 143 old etchings and engravings caricature ian drawing from about 1500, which master prints to the collection, including British men coping with wind, heat, some regard as a tantalizingly rare 12 sparkling lithographs by Daumier cold, and wet. One happy fellow cele- 18 brates "delicious weather" by sitting on unsigned proof impression of great rar- inventiveness. The William B. O'Neal a park bench surrounded by luxuriant ity, with the artist's hand-made ink cor- Fund made possible this acquisition. foliage and eating from a honey pot. rections (the only other known cor- Finally, a 16th-century chiaroscuro Adding to the collection of 18th-cen- rected proof impression from the series woodcut by Niccolo Boldrini of a Hunter tury prints, Mr. and Mrs. Paul Gourary is in the Hermitage, St. Petersburg). The on Horseback was purchased through the donated seven Italian, Spanish, and Ailsa Mellon Bruce Fund made possible Pepita Milmore Memorial Fund. It is an French etchings, Andrew Athy Jr. gave the acquisition of 10 landscape etchings excellent impression in fine condition a landscape etching by Bellotto, and by Salomon Gessner, dedicated to Gess- and hence rare among extant Frank R. and Jeannette H. Eyerly gave ner's friend Watelet. chiaroscuros of the period. an etching by Giovanni Battista Tiepolo A notable purchase of 17th-century The print study room was visited by from his series "Capricci." An important prints was a bound volume of 77 title 950 persons this year, including schol- purchase made through the Pepita Mil- pages engraved after designs by Rubens. ars, students, collectors, and members more Memorial Fund was Tiepolo's Many were executed by Cornelis Galle I of the public. Seated Youth Leaning Against an Urn, also and Cornelis Galle II, and all demon- from his "Capricci" series; it is an strate Rubens' great erudition and 19 Modern Prints and Drawings catalogues raisonnes. One, documenting related works. Progress also continued Georgia O'Keeffe's art in all media, is a on database entries for the Index of Preparing for exhibitions this year, joint project of the National Gallery of American Design, the Gallery's collec- department curators assisted with prints Art and the Georgia O'Keeffe Founda- tion of more than 18,000 watercolor and drawings prominently featured in tion, with important funding for the renderings of American decorative arts The Robert and Jane Meyerhoff Collection. project received this year from The Bur- objects. The staff worked closely with the nett Foundation of Fort Worth, adding Among gifts of drawings to the National Lending Service to reconfigure to earlier support from The Henry Luce Gallery, Paula Modersohn-Becker's the 1994 exhibition Gemini G.E.L.: Recent Foundation. The other, planned for the powerful Half-Nude Woman Holding Her Prints and Sculpture for circulation. CD-ROM format, will record the Hair Apart was donated by Robert Paul Substantial progress was made on two Gallery's Gemini G.E.L. Archive and Mann and Dorothy Neeld Mann along 20 The Gallery acquired its first water- sented six additions to their previous color and first pastel by O'Keeffe: Nude gifts of prints by Marc Chagall. Frank R. Series III was the joint gift of Mr. and and Jeannette H. Eyerly donated six Mrs. Lucio A. Noto and the Georgia prints, including Cezanne's masterful O'Keeffe Foundation; and the beautiful The Bathers, Matisse's elegant Seated Desert Flower, an anonymous gift, is a Odalisque with Tulle Skirt, and the fascinating unfinished study. Gallery's first works by El Lissitzky and Another major addition to the collec- Kazimir Malevich. Ruth and Jacob tion was George Bellows' marvelous Kainen added to their ongoing gifts, Street Fight, with the contemporary with prints dating from 1893 to 1968 by Dance Scene on the verso, acquired seven European and American artists, through the Eugene L. and Marie- including Vlaminck, Matisse, and Pierre Louise Garbaty Fund. Two important Soulages. Adeline and Sidney R. Yates drawings by Mel Bochner were the first donated one of Kurt Schwitter's unique to enter the Gallery's collection, part of 1923 Untitled lithographs and an etching a generous gift from Robert and Jane by Miro printed at the prestigious Ate- Meyerhoff. lier 17 in New York. Artists' sketchbooks are a special col- The contemporary prints collection lecting interest to the Gallery, and 17 was greatly expanded through the books by Louis Lozowick were given by extraordinary generosity of Roy and his widow, Adele Lozowick, while the Dorothy Lichtenstein, who donated 154 artist's son, Lee Lozowick, donated 10 of prints and 2 illustrated book prints, Lozowick's lithographs. including almost all of Lichtenstein's Among major gifts of prints, a works not previously in the Gallery's tremendous collection of 113 programs collection. Artist Jim Dine donated his for late 19th-century French avant- recent series of 12 powerful, large-scale garde theater came from the Atlas woodcuts, Winter Dream (For V). The col- Foundation, including many rare proofs lection of Richard Diebenkorn's prints by the most important contributors to was dramatically enlarged by the acqui- the genre—Toulouse-Lautrec, Edouard sition of 98 "OK-to-print" proofs of Vuillard, and Pierre Bonnard—as well as etchings published by Crown Point by lesser-known artists. This gift Press between 1977 and 1993 as well as included a lovely watercolor by Bon- 2 related drawings. This acquisition was nard for an unrealized program and made possible through the Eugene L. contemporary scrapbooks of materials and Marie-Louise Garbaty Fund and the George Bellows, Street Fight (recto), 1907, conte related to the theater. Two additional Patrons' Permanent Fund. Crown Point crayon, pastel, graphite, and brush and black ink, 54.6 x 61.9 cm, Eugene L. and Marie-Louise Gar- programs and two books with illustra- Press director Kathan Brown donated baty Fund, 1996.39.1.a tions by Toulouse-Lautrec were donated 20 prints by A1 Held, 32 by Wayne by Liane and Martin Atlas. An exhibi- Thiebaud, 44 by John Cage, and a port- tion of these theater programs is being folio of 24 photogravures by Christian planned. Boltanski; Crown Point Press itself Other important gifts of prints donated an additional 9 prints by Cage included a complete set of artist's proofs and 20 working proofs for 5 works by from Max Klinger's celebrated etching Diebenkorn, a total of 249 Crown Point with an etching by the artist. Mr. and cycle A Glove, given by an anonymous Press etchings and woodcuts. Mrs. James T. Dyke gave funds for the donor. Mr. and Mrs. Lionel Epstein gave A major addition to the collection of acquisition of Charles Jacque's exquisite the Gallery an impression of Jasper illustrated books was Giinter Decker's The Sheperdess and Leon Augustin Lher- Johns' lithograph Voice. The Eugene L. Vom Licht, acquired with funds provided mitte's poignant An Elderly Peasant and Marie-Louise Garbaty Fund made by Werner H. and Sarah-Ann Kra- Woman as well as Joseph Stella's splen- possible the acquisition of three rare marsky, who also donated five contem- did Eggplant. Wyndham Lewis' mod- impressions of Picasso's Blind Minotaur porary prints, including the Gallery's ernist Seated Nude was purchased Led by a Girl in the Night, which were first works by Nancy Holt and Brice through the Ailsa Mellon Bruce Fund, once owned by Picasso's printer, Roger Marden. Artist Frank Auerbach and and Emil Nolde's colorful Anemones was Lacouriere. printer Mark Balakjian donated two given by Mrs. John Alexander Pope. Mr. and Mrs. Gerhard E. Pinkus pre- intaglio plates for Auerbach's Ruth, the 21 Mark Klett, Longest Day: Last Light of the Solstice, Carefree, Arizona, June 21, 1984, silver gelatin devel- oped-out print, 50.4 x 40.5 cm, Gift of the Collec- tors Committee, 1996.101.1 work acquired last year with Collectors assisted 461 visitors, including artists, made possible the purchase of a fasci- Committee discretionary funds. Collec- scholars, students, and members of the nating vintage print by Kertesz, Clock of tors Committee discretionary purchases public from as far away as Italy, the the Academie Frangaise, Paris. this year included R. B. ICitaj's portfolio Netherlands, Israel, and Japan. Other notable gifts included 12 of 50 screenprints, In Our Time, printed images by California photographer Max by Chris Prater at the distinguished Photographs Yavno, among them his well-known British screenprint shop, Kelpra Studios; Leg, all generously given by Mr. and and James Turrell's Deep Sky, a portfolio The Gallery this year acquired many Mrs. Leonard Vernon. Mr. and Mrs. of seven dramatic aquatints document- works by photographers not previously Raymond W. Merritt donated three ing the artist's Roden Crater project in represented in its collections and wel- works by Ralph Gibson, promised four the Arizona desert. comed several new donors. The Andre more, and donated funds for another, The West Building study room for and Elizabeth Kertesz Foundation, along each one exploring the mysterious qual- prints, drawings, and photographs with The Howard Gilman Foundation, ities of everyday experiences. The Mer- 22 National Gallery of Art, Edward E. Mac- systematic catalogue, but recent efforts Crone Fund, Amy Rose Silverman, and focused on objects yet to be published. an anonymous donor made it possible Now provenance, exhibition history, to purchase 18 photographs by Robert and bibliographic information is com- Frank, thus to acquire all of the pho- plete for almost half of the paintings, tographs represented in Frank's 1989 and partial information in these cate- publication The Lines of My Hand. These gories is available for all objects. works richly complement the Gallery's Exhibition histories were a primary unparalleled collection of work by this focus, and documentation is now influential photographer. An anony- recorded for all paintings included in mous donor made a partial and the original impressionist exhibitions promised gift of Eugene Atget's Le Pont (1874-1886); for works Chester Dale Marie, a stunning albumen print made lent to more than 100 small exhibitions early in the artist's career. in the 1920s and 1930s (published in 11 The Gallery also increased its holdings volumes of exhibition catalogues Dale of photographs by Harry Callahan. Con- gave to the Gallery); and for American tinuing their previous generosity, Susan portraits once owned by Thomas B. and Peter MacGill donated three pho- Clarke, who lent these works toll tographs, including one of Callahan's exhibitions at the Union League Club earliest experiments using camera and the Century Association in New movement on a flashlight. Joyce and York in the 1920s. Robert Menschel enabled the Gallery to The curatorial files acquired materials acquire an exquisite portrait of the accumulated during research for the artist's wife, Eleanor. And the Collectors systematic catalogues of 17th-century Committee made possible the purchase Dutch paintings and 18th-century of Callahan's Morocco. American paintings. Research on the The exhibition Harry Callahan, the 19th-century Parisian art trade added first retrospective since 1976, opened in biographical information about dealers Washington with 116 photographs from and auction houses associated with Callahan's earliest years in Detroit in Gallery objects. The curatorial files are the 1940s to his most recent work of used regularly by department staff to the 1990s. The Gallery's highly praised answer written and telephone inquiries Robert Frank: Moving Out was seen in the about the collection, and 86 researchers Netherlands, New York, and Los Ange- from outside the Gallery consulted the les. Work continued on exhibitions files in person this year. focusing on August Sander and on Alfred Stieglitz. Registration The department participated in the inauguration of the Swiss-American Colossal art movement was the theme Cultural Exchange, hosting Christophe this year, from preparations for the sky- Brandt, director of the Swiss Founda- light replacement project to the naviga- tion for the Restoration and Conserva- tion of a 10 1/2-ton stone head into the ritts also gave three photographs by tion of Photographs, and arranging for Olmec Art of Ancient Mexico exhibition. Dorothy Norman, including a study him to meet other conservators and Throughout the federal furloughs and made at Alfred Stieglitz's gallery, An curators of photographs in Washington, record snow storms, the registrar's staff American Place, and have promised Delaware, and New York. continued to work on exhibitions and seven more. The Collectors Committee outgoing loans to fulfill Gallery enabled the Gallery to purchase two Curatorial Records commitments. views of New York by Berenice Abbott More than 400 works of art in the as well as the darkly evocative Street Preparing to make information on West Building main floor galleries had Scene, London, by Bill Brandt. Gallery collections available via the to be reinstalled in the ground floor gal- The holdings of works by artists Internet, the department devoted signif- leries or moved into storage before pre- already in the collection expanded sig- icant attention to augmenting the data- liminary work could begin on the sky- nificantly. Funds from The Robert and base. Comprehensive records exist for light project. Simultaneously, the entire Anne Bass Fund, The Circle of the those objects already published irTthe 20th-century collection in the East 23 Building galleries was moved to storage Mary Suzor left the Gallery after 12 to make room for the Meyerhoff and years to become registrar at the Cleve- Olmec exhibitions. To accommodate stor- land Museum of Art. age needs, some gallery spaces had to be converted to temporary storerooms. Loans and the National Arranging the movement of loans to Lending Service the Vermeer show was unusually com- plex because of concerns about the This department administered the loans security of the works in transit. The of 1,256 works of art this year, includ- Gallery is most grateful to the Dulles ing 1,043 works to 121 exhibitions at Airport Police, U.S. Park Police, Stewart 155 institutions as well as the extended Security, NGA security force, North- loans of 202 objects to 54 sites and of west/KLM Airlines, and agents Master- 11 works to other domestic collections. piece International and Gerlach for their National Lending Service (NLS) works support and cooperation in bringing constituted 595 loans to 36 exhibitions together this superb exhibition. at 43 venues as well as 196 extended The movement of two monumental loans. stone heads from Xalapa, Mexico, to Among the most significant loans Washington demanded considerable were 3 paintings lent to the Cezanne planning and negotiation. Bringing the exhibition at the Grand Palais, Paris; huge sculptures into the East Building Tate Gallery, London; and Philadelphia through the garage and up a ramp from Museum of Art. For the Vermeer exhibi- the basement to the concourse galleries tion, here and at the Mauritshuis in The required massive reinforcement of the Hague, the Gallery lent 3 autograph floors, temporary closing of the parking paintings and one work attributed to garage, and after-hours coordination the master. The Homer retrospective with the rigging company. Interest from included 5 canvases and 25 watercolors the press and from Mexican officials from the Gallery collections, which intensified pressures on this job. traveled to the Museum of Fine Arts, In addition to in-house activity, the Boston, and the Metropolitan Museum office oversaw numerous exhibition of Art, New York. tours: Robert Frank traveled to Amster- The NLS program this year had 5 dam, New York, and Los Angeles; Harry exhibitions traveling to 14 museums Callahan to Philadelphia; Claes Oldenburg throughout the U.S. Two new offerings, to Bonn and London; and Winslow Master Prints from Graphicstudio and Gem- Homer to Boston and New York. The ini G.E.L.: Recent Prints and Sculpture, will O 'Neal and Milton Avery exhibitions begin tours later this year. joined the National Lending Service Loans from the National Gallery roster. launched the Museum Loan Network, a The office handled 3,981 incoming national program funded by the Knight and 2,523 outgoing works of art, dis- Foundation and the Pew Charitable played 49 new works with the collec- Trusts. Inaugural loans included a paint- tion, particularly in the new Dutch Cab- ing by Mark Rothko lent to the inet Galleries. A total of 1,362 new Museum of Art and Archeology, Uni- objects were accessioned, including 23 versity of Missouri, Columbia, and 5 paintings, 17 sculptures, 67 drawings, contemporary NLS paintings lent to the 52 photographs, 1,140 prints, and 62 Baum Gallery of Fine Art, University of portfolios, volumes, and technical mate- Central Arkansas, Conway. rial. For a complete listing of outgoing loans see pages 96-101 of this report, Conservation for acquisitions see pages 79-96, and for loans to the collection see page 103. The The conservation division established Gallery issued 62 copyist permits and the Artists' Materials Collection and moved the copyist locker room to a new Study Center in 1994 following a major location. gift from Edward and Zora Pinney in 24 1993. Among generous gifts this year, out an infrared examination of a loaned International Paper donated more than Vermeer at the owners' request. 1,000 sample books and documents that Conservators completed 20 major represent Strathmore paper from 1893 treatments this year on paintings that to the present; color chemist Max Saltz- ranged from Titian's Venus and Adonis to man donated his personal library of Picasso's Family of Saltimbanques. Hans more than 1,200 books on color theory, Holbein's exquisite Portrait of a Young chemistry, and manufacturer's samples Man was thoroughly studied during as well as unique materials on dyes and treatment. Lorenzo Lotto's Allegory was colorants; Murray Lebwohl, a local con- cleaned and inpainted for the Lotto servator, gave numerous artists' tech- exhibition. The cleaning and inpainting nique books, including several that con- of Juan van der Hamen y Leon's stark tain material samples; and the Holbein Still Life revealed subtle colors long hid- Company, a manufacturer of artists' den by discolored later materials. Gilbert paints, gave the Gallery a 20th-century Stuart's great Skater gained contrast replica of a Camera Lucida, an early between the silvery winter setting and optical system that allowed artists to the ruddy complexion of the skater. copy an image using a prism and a Corot's View ofVolterra, Degas' Madame series of lenses for enlarging or reducing Camus, and Monet's Rouen Cathedral, the picture. These tools and materials West Fagade, were cleaned to reveal provide insight into the creative process luminous colors and complex paint and the preservation of works of art. handling. Jackson Pollock's Number 7, Members of the division served on 1951, required close collaboration with steering committees for important textile and paper conservators to national organizations: the National Fire remove disfiguring stains in the upper Protection Association, focusing on left quadrant and restore the beautiful museums, libraries, and historic build- surface quality. Other paintings receiv- ings; the American Society for Testing ing treatment included Saint John the and Materials, focusing on artists' paints Baptist by Jacopo del Sellaio, the newly and on paper aging to ensure high- acquired Fall of Man by Hendrik Goltz- quality art materials; the National Insti- ius, Roses and Tulips by Jan Philips van tute for the Conservation of Cultural Thielen, Interior of a Church by Pieter Property; and the American Institute for Neeffs the Elder, A Young Lady in Domino the Conservation of Artistic and Historic and Tricorne by Giovanni Battista Works. The division's participation in Tiepolo, Achilles by Barnett Newman, lis the annual meeting of the National Art tiennent conseil by Jean Dubuffet, and Material Manufacturer's Association led Rush Hour by Max Weber. Josef Albers' to important research prospects. Homage to a Square and Thomas Moran's Division staff presented the conclu- Solitude were treated in preparation for sions of a study of the Gallery's Holy exhibitions. Family on the Steps by Poussin at a sym- Conservators shared results of posium held at the Royal Academy in research into Winslow Homer's oil London. Computer imaging has been painting techniques at a colloquium very useful in clarifying Thomas held in conjunction with the Homer ret- Moran's working methods. rospective. Examinations, consultations, and preparation for the Meyerhoff exhi- Paintings Conservation bition required significant attention, as In activities surrounding Vermeer, did the traveling Mondrian show, the streams of visitors toured the conserva- reinstallation of the Matisse murals at tion studio as well as the exhibition; the the Barnes Foundation, and planning department chairman, who had treated for the Rothschild exhibition. Conserva- the Gallery's Vermeer paintings, gave tors also examined all paintings for lectures to The Circle, a symposium, incoming or outgoing loan and served and a scholarly seminar; and staff used as couriers for Galfery loans to other a Kodak thermal imager camera to carry institutions. 25 Daily care of the collection continues new acquisition, an oil painting on to be the department's primary respon- paper by Franz Kline. The work was sibility. Conservators carried out 32 torn and had suffered losses to the sheet minor treatments, countless minor and design at the edges and corners, examinations, and ongoing inspections which were filled and inpainted using of paintings both in the galleries and on techniques taken from paintings conser- long-term loan. They completed 41 vation. Cooperation among departments examinations for the systematic cata- was also critical in safely moving logue and prepared technical entries for Matisse's large and fragile cut-out La volumes in progress: Italian 15th cen- Negress, which had to be rolled to fit tury, French 1800-1860, and American into a storage space to make room in 19th and 20th centuries. Conservators the concourse galleries for the Olmec Art continued to give lectures—in gallery exhibition. talks, a radio interview, and for the Contract conservators continued to Gallery's Teacher Institute—with a spe- treat rare books and photographs both cial concentration this year on tech- in the collection and in exhibitions such niques of the impressionists. They con- as this year's Harry Callahan. The Gallery ducted behind-the-scenes tours for actively acquires research materials on Gallery patrons and colleagues, and paper—books, historic photographs, they provided regular technical assis- archival documents—which are increas- tance for colleagues from other institu- ingly cared for by paper conservators. tions, notably in infrared examination The department also continuously and computer imaging. upgrades mats and this year rematted Ulrich Birkmaier completed his 768 prints and drawings for exhibition. Culpeper Fellowship. Heather Galloway, A Samuel H. Kress Foundation grant the new William Leisher Fellow, will enabled the department head to study manage the Artists' Materials Collection and document prints by Andrea Man- and assist the conservator of 20th-cen- tegna in European collections, using tury paintings. close-up photographic equipment devel- oped specifically for the project. The Paper Conservation George Cruikshank, "Crinolina "—and the Conse- technical section of the Winslow Homer quences (recto), 1865, pen and black ink with As part of the Artists' Materials Collec- exhibition, including 12 watercolors by watercolor over traces of graphite, 24.3 x 32.2 cm, tion, paper conservators are building an Homer and reenactments by the senior Ailsa Mellon Bruce Fund, 1996.5.1.a archive of art paper samples. The major paper conservator, traveled to the Bow- gift of Strathmore sample books men- doin College Museum of Art in tioned above is especially significant Brunswick, Maine; the conservator gave because Strathmore, now part of Inter- two well-attended public lectures there national Paper, has been the sole com- on Homer's watercolor technique and mercial manufacturer of professional also received a Robert H. Smith Fellow- artist papers in the U.S. in the 20th cen- ship to study the watercolor techniques tury. The samples will be catalogued of Thomas Moran and J.M.W. Turner in bronze Personnage Gothique by Joan Miro through the National Gallery library, to connection with the upcoming Moran was coated using a new airless spray be available through the library's on- exhibition. technique that was especially time effi- line system. Other gifts to the archive cient. Other objects that received treat- Objects Conservation have come from the Georgia O'Keeffe ment included works by Calder, Fal- Foundation, the Romare Bearden Foun- The department this year emphasized conet, and Rodin. dation, the Richard Diebenkorn estate, the treatment and study of works in the Four 14th-century French stained- the Victoria Paper Company, and pri- collection. Several important sculptures glass panels are receiving extensive vate individuals. received major treatment, including treatment before display in the medie- Paper conservators this year com- Niccold Tribolo's Nude Man in a Fearful val galleries. These panels, never before pleted 31 major and 255 minor treat- Pose, James Rosati's Untitled, and David exhibited, are long-term loans from the ments of works of art in the collection Smith's Sentinel. Collaborative treatment National Museum of American Art. and 1,435 condition reports for incom- of the lead relief Light Bulb by Jasper The department conducted detailed ing and outgoing loans. One of the most Johns involved curators, conservators, examinations of Rodin sculptures for interesting major treatments involved a collectors, and the artist. The outdoor the systematic catalogue, assembling the 26 entire collection to facilitate side-by-side bulk material identification and x-radi- century French marble sculpture will be technical comparisons of bronzes, mar- ography, as well as stylistic and techni- published in the systematic catalogue. bles, terra cottas, and plasters. Major cal comparison to contemporary works. Research on Dubuffet's sculpture, treatment of the 17th-century Chinese Conservation treatment has been devel- specifically the polyester resin and the Coromandel Screen, studied closely for the oped to clean the works, remove incor- slag and concrete types, gave insight systematic catalogue, provided a first- rect overpaint, retone, and reconstruct into their manufacture, which is vital hand look at the technology of lacquer headpiece components. for forming a conservation strategy. screen production. The Kress Foundation continued to Publication of Saint-Porchaire Ceramics Terra-cotta busts of Lorenzo and Giu- support stable isotope analyses of was the culmination of years of ground- liano de' Medici attributed to Verrocchio the marble sculpture collection, focusing breaking research and the first book were the subject of CASVA's seventh on works from early Renaissance Italy since 1861 devoted to these 16th-cen- Curatorial/Conservation Colloquy, and 18th-century France. Preliminary tury ceramics. which the department head co-chaired. results were presented at the The department continued its The sculpture underwent exhaustive ASMOSIA IV biennial meeting in involvement with the American sculp- examination, including pigment and Bordeaux, France. Final results on 19th- ture installations in the First Ladies Gar- 27 den of the White House, which show- Verrocchio's bust of Giuliano de' cases contemporary works from around Medici was examined in preparation for the country; conservators were asked by a colloquy on the artist. Two paintings the Secret Service to facilitate a more by Jackson Pollock were analyzed, one thorough examination and x-radiogra- from the Gallery and one from the phy of Donald Lipski's The West at a Chrysler Museum, to help conservators Defense department ordnance technol- with the removal of varnish and stains. ogy center. Objects conservators played Paint media of Barnett Newman's a major part in preparing for the Olmec Achilles were identified as an acrylic Art exhibition, traveling to Mexico to resin and an acrylic resin/drying oil write condition reports and treating a mixture, which explained the suscepti- number of works. Planning for future bility of the paint to solvents. exhibitions required travel to Italy, Together with the Hirshhorn Museum Cambodia, and New Hampshire to and Sculpture Garden, Gallery scientists examine objects, propose treatments, initiated research into paint media and discuss exhibition requirements. In employed by Willem de Kooning; the anticipation of the National Sculpture artist's presumed practice of mixing saf- Garden, the department assumed a flower oil and spackle with commer- greater role in the maintenance of out- cially prepared paints is being tested by door sculpture. The department head chemical analysis and by preparing works closely with contemporary artists mock-ups that imitate the unusual sur- to ensure that their intentions are face texture of his paintings. Working respected in proposals for treatment. with the department's Visiting Research Fellow, Professor Judith Bischoff of the Scientific Research State University of New York at Buffalo, The staff of this department investigated paintings by Rembrandt Peale were the techniques and materials of several investigated to correlate the artist's artists using microscopic analysis and techniques with a treatise Peale wrote other scientific methods. Results of the on painting. Jan Steen technical study, presented at Technical investigation of John Con- a scholarly seminar in conjunction with stable's White Horse continued in collab- the Steen exhibition, will be published in oration with the conservator treating Conservation Research 1996/1997. Results the painting; scientists used microscopic of research on Georges de La Tour, con- analysis to help establish the division ducted for the La Tour exhibition in col- between original paint and later over- laboration with conservators at the paint. In a similar application, the iden- Kimbell Art Museum, were presented at tification of later overpaint in Carpac- a scholarly seminar and published in cio's Madonna and Child has allowed the the exhibition catalogue. Results of a conservator to proceed in confidence technical study of the Gallery's Vermeer with its removal. paintings were presented at a public Members of the department com- symposium at the Gallery and a sympo- pleted a review of the literature on azo sium at the Mauritshuis in connection pigments and prepared an essay for with the Vermeer exhibition. publication in Conservation Research In an ongoing study of Rodin's casting 1996/1997. Two staff members were practices, x-ray diffraction analysis and awarded Robert H. Smith Fellowships: polarized light microscopy were used to to investigate the use of infrared imag- identify the patinas on the Gallery's ing for study of cross sections from bronzes by Rodin. Air-path energy dis- paintings; and to conduct technical persive x-ray fluorescence spectrometry studies of Netherlandish landscapes at (XRF) provided a nondestructive means the Gallery by Roelandt Savery and of pigment analysis of Gallery paintings Joos de Momper in comparison with and quantitative elemental analysis of other paintings in the U.S. and U.K. by the 19th-century French sculpture, both these artists and by David Teniers. for the systematic catalogue. Technical study of medieval stained- 28 glass panels on loan from the National roof of the Gallery and are undergoing Museum of American Art was under- accelerated weathering in the labora- taken to characterize the chemical com- tory. Included in the coatings being ponents of the glass and paint and to tested are several developed in collabo- identify the glass corrosion products. ration with Cape Cod Research, Inc. (a The majority of the panels was deter- company that specializes in high-perfor- mined to be composed of a high-potas- mance coatings), various commercial sium, high-calcium, low-lead glass—typ- coatings felt to be viable candidates for ical of medieval stained glass, which is use in the field, and coatings now in known to be unstable and highly sus- common use in the field. Analysis of the ceptible to degradation under fluctuat- "before weathering" samples, including ing temperature and humidity. Careful coating thickness, scratch adhesion test- monitoring of these conditions was rec- ing, pinhole detection, and infrared ommended for the exhibition areas. spectroscopic analysis is under way. Research continued into the use of Scientists continued to test the stabil- high-performance liquid chromatogra- ity of synthetic resins for use in picture phy to identify natural organic dyestuffs. varnishes, retouching paints, and other Scientists also explored new analytical conservation applications. In collabora- methods for characterizing organic tion with conservators at the Getty artists' and conservation materials. In Museum and the Art Institute of collaboration with Dr. Erik van der Chicago, experimental retouching paints Hage, a visiting scientist from the FOM using an aldehyde resin have been Institute for Atomic and Molecular tested. Gamblin Artists Colors was asked Physics and the MOLART (Molecular to make a limited amount of retouching Aspects of Aging in Art) project in Ams- paints using 20 pigments, which have terdam, a liquid chromatograph was been distributed to several museums for interfaced with the department's new evaluation. Jill Whitten was hired as the triple quadrupole mass spectrometer coordinator for this project. using atmospheric pressure chemical The department head was appointed ionization. The methodology was then professor at the University of Amster- developed by the Mellon Research Fel- dam, where he will teach a course in low, Dr. Nobuko Shibayama, for conservation science and coordinate research into solvent leaching of oil research between the Gallery and the paint films, which is being carried out university as well as other institutions in by the Culpeper Fellow, Kenneth the Netherlands, such as the Rijks- Sutherland. This research seeks to deter- museum. Collaborative research is also mine whether significant quantities of expected between Gallery scientists and soluble material are removed from paint those working for the MOLART project films during varnishing and cleaning in Amsterdam. Staff members served in and to identify chemical compounds editorial capacities for Studies in Conserva- that remain soluble in a paint film dur- tion, the Journal of the American Institute of ing aging. Conservation, and the Triennial Meeting of With financial support from the the Conservation Committee of the Interna- National Center for Preservation Tech- tional Council of Museums and served on nology and Training and matching funds the Collection Committee of the Har- from The Circle of the National Gallery vard University Art Museums, the Col- of Art, scientists began research into lege Art Association, the Forbes Fellow- coatings for the protection of outdoor ship Selection Committee of the Freer bronze sculpture. Lynn Brostoff was Gallery of Art, a Ph.D. thesis committee hired as principal investigator, funded at the University of Delaware, and the through the National Center for Preser- Academic Affairs Committee of the vation Technology and Training. Winterthur Museum. Selected coatings, applied on cast bronze coupons and naturally aged copper roof coupons, are now being aged on the 29 Loans and Exhibitions Conservation Exhibitions The most challenging project of the year The exhibitions office oversaw the was Olmec Art of Ancient Mexico, with two opening of 23 exhibitions at the colossal heads and other large sculpture. National Gallery in the past fiscal year, Plans for the packing, transport, and for which 284 lenders from 19 countries installation of these works, done in col- and 27 states loaned 1,808 works of art. laboration with colleagues in Mexico, The department also worked on another required months of preparation. 31 projects scheduled to open in the The matting and framing studio con- next five years and administered the tinued to explore new materials and tours of 10 exhibitions. United States techniques for the storage and display government indemnity was secured for of works on paper, including innovative 9 exhibitions, enabling a savings of over supports for three-dimensional works. $3,385,000 in insurance premiums. Environmentally sealed packages were devised for extremely large works in the Temporary Exhibitions at the National Lending Service's Gemini G.E.L. National Gallery of Art exhibition. These designs were pre- sented at a workshop sponsored by the French Drawings from the Armand Hammer Collection American Institute for Conservation of continued from the previous fiscal year to Historic and Artistic Works. 12 November 1995 Frame conservators concentrated on coordinated by Margaret Morgan Grasselli the Gallery's ongoing project to improve Prints by James McNeill Whistler and the quality of frames in the collection. His Contemporaries They constructed several frames, includ- continued from the previous fiscal year to ing a large one based on a 17th-century 31 December 1995 Dutch design for the recently acquired coordinated by Eric Denker Fall of Man by Hendrik Goltzius. They Marc Chagall's Early Prints and Draw- made reproduction frames for paintings ings: From Gerhard and Marianne in the Winslow Homer exhibition. They Pinkus and Other National Gallery also built a device to produce frame Collections continued from the previous fiscal year to molding, based on one designed by 31 December 1995 John Moxon in 1683, which enabled coordinated by Judith Brodie them to make refined ebony and black- Recent Acquisitions of Works of ened cherry frames for paintings in the Art on Paper Dutch Cabinet Galleries. Frame storage continued from the previous fiscal year to was moved to a storeroom adjacent to 31 December 1995 the newly renovated frame conserva- coordinated by Andrew C. Robison tion studio. The First Century of Photography: Ongoing research projects include New Acquisitions design improvement and electronic continued from the previous fiscal year to monitoring of microclimate display 31 December 1995 coordinated by Sarah Greenough cases for paintings on long exhibition tours; investigation of packing tech- Adriaen Brouwer: "Youth Making a niques for three-dimensional objects in Face" continued from the previous fiscal year to collaboration with the Canadian Con- 31 March 1996 servation Institute and the Tate Gallery, coordinated by Arthur K. Wheelock Jr. London; and design and testing of supported by Juliet and Lee Folger / The waterproof packages for works on paper Folger Fund, The Wunsch Foundation, and Pages 32-33 friends of Arthur K. Wheelock Jr. The Vermeer exhibition brought art lovers to the and paintings loaned to institutions Gallery to see such masterworks as (clockwise from with sprinkler systems for fire Jean Dubuffet from the Stephen Hahn top left) Woman with a Pearl Earring and View of suppression. Family Collection Delft (details) both from the Royal Cabinet of Paint- ings Mauritshuis, The Hague; Woman in Blue Read- continued from the previous fiscal year to ing a Letter (detail), Rijksmuseum, Amsterdam; and 31 December 1995 the National Gallery of Art's own Woman Holding a coordinated by Jeffrey Weiss Balance (detail) 30 VERMEER The Touch of the Artist: Master Draw- coordinated by Arthur K. Wheelock Jr. ings from the Woodner Collections organized with the Rijksmuseum, I October 1995 to 28 January 1996 Amsterdam coordinated by Margaret Morgan Grasselli supported by Shell Oil Company; also sup- ported by an indemnity from the Federal A Great Heritage: Renaissance and Council on the Arts and the Humanities Baroque Drawings from Chatsworth 8 October 1995 to 31 December 1995 Scenes of Daily Life: Genre Prints coordinated by Andrew C. Robison from the Housebook Master to supported by Ford Motor Company; also Rembrandt van Rijn supported by an indemnity from the Federal 28 April 1996 to 18 August 1996 Council on the Arts and the Humanities; coordinated by Arthur K. Wheelock Jr. additional support from The Marpat Founda- Gauguin Drawings from the Armand tion, the Dimick Foundation, Evelyn Stefans- Hammer Collection: Selections from son Nef, the Dorothy Jordan Chadwick "Breton Sketchbook No. 16" Fund, and Miss Alice Tully 12 May 1996 to 10 November 1996 John Singleton Copley in England coordinated by Margaret Morgan Grasselli II October 1995 to 7 January 1996 In the Light of Italy: Corot and Early coordinated by Franklin Kelly organized with the Museum of Fine Arts, Open-Air Painting Houston 26 May 1996 to 2 September 1996 supported by Republic National Bank of New coordinated by Philip Conisbee York, Safra Republic Holdings, SA„ and organized with The Brooklyn Museum and Banco Safra, S.A., Brazil; also supported by the Saint Louis Art Museum an indemnity from the Federal Council on supported by The Florence Gould Founda- the Arts and the Humanities tion; also supported by an indemnity from the Federal Council on the Arts and the Winslow Homer Humanities 15 October 1995 to 28 January 1996 coordinated by Nicolai Cikovsky Jr. and Masterpieces from the Palazzo Doria Pamphilj, Rome Franklin Kelly Jean-Baptiste-Camille Corot, View of St. Peter's and supported by GTE Corporation; additional 16 June 1996 to 2 September 1996 the Castel Sant'Angelo, 1826-1828, oil on paper, support from The Henry Luce Foundation coordinated by David Brown and Gretchen mounted on canvas, 21.9 x 38.1 cm, The Fine Arts Hirschauer Museums of San Francisco, Museum Purchase, Johannes Vermeer organized by the National Gallery, London Archer M. Huntington Fund, was lent for the Corot exhibition 12 November 1995 toll February 1996 supported by an indemnity from the Federal coordinated by Arthur K. Wheelock Jr. Council on the Arts and the Humanities organized with the Royal Cabinet of Paint- ings Mauritshuis, The Hague Thomas Eakins: The Rowing Pictures supported by United Technologies Corpora- 23 June 1996 to 29 September 1996 tion; also supported by an indemnity from coordinated by Nicolai Cikovsky Jr. the Federal Council on the Arts and the organized by the Yale University Art Gallery Humanities supported by the Henry Luce Foundation, Inc.; additional support from the National Italian Drawings from the Armand Endowment for the Arts supported by Mannesmann Capital Corpora- Hammer Collection tion; additional support from the Ministry for 19 November 1995 to 5 May 1996 Olmec Art of Ancient Mexico Foreign Affairs of the Federal Republic of coordinated by Margaret Morgan Grasselli 30 June 1996 to 20 October 1996 Germany; also supported by an indemnity coordinated by D. Dodge Thompson from the Federal Council on the Arts and the The Art of Louis-Leopold Boilly: Modern organized with the Consejo Nacional para la Humanities Life in Napoleonic France Cultura y las Artes, through its Institute 4 February 1996 to 28 April 1996 Nacional de Antropologfa e Historia Encounters with Modern Art: Works coordinated by Philip Conisbee supported by The Fund for the International from the Rothschild Family Collections organized with the Kimbell Art Museum, Exchange of Art, Goldman, Sachs & Co., 22 September 1996 to 26 January 1997 Fort Worth Grupo Financiero Banamex-Accival, and Pul- coordinated by Jeffrey Weiss supported by an indemnity from the Federal sar International, as well as other corpora- organized with the Philadelphia Museum of Council on the Arts and the Humanities tions; also supported by an indemnity from Art and The Judith Rothschild Foundation the Federal Council on the Arts and the Harry Callahan Humanities Exhibition Programs 3 March 1996 to 22 May 1996 coordinated by Sarah Greenough Adolph Menzel (1815-1905): Between This department coordinates program- The Robert and Jane Meyerhoff Romanticism and Impressionism ming for special exhibitions and pro- 15 September 1996 to 5 January 1997 Collection: 1945 to 1995 duces interpretive materials such as coordinated by Philip Conisbee 31 March 1996 to 21 July 1996 brochures, video programs, audio tours, organized with the Staatliche Museen zu coordinated by Mark Rosenthal Berlin/Preussischer Kulturbesitz and the and wall texts to enhance visitors' Jan Steen: Painter and Storyteller Reunion des musees nationaux/Musee understanding and appreciation of the 28 April 1996 to 18 August 1996 d'Orsay, Paris works of art on view. In fiscal year 1996 34 interpretive materials were prepared for Museums; the Telly Award, from a ings, The Veteran in a New Field and 16 exhibitions. national competition of broadcast and Breezing Up, and reveals layers of mean- Illustrated brochures were provided non-broadcast video media; and the ing in these apparently straightforward for the Woodner, Chatsworth, Homer, Ver- CINE Golden Eagle. As winner of the works. meer, Steen, Corot, Olmec Art, and Menzel Golden Eagle, Whistler will represent The department provided video clips exhibitions, explaining the main themes the U.S. at international film festivals on Homer and Olmec Art to the infor- and announcing lectures, films, and throughout the coming year. The mation office for publicity purposes; other public programs. Large-print ver- department produced two new video assisted the conservation division with sions of these brochures were printed programs this year. The 20-minute documentary footage; and produced a in-house for visitors with visual impair- Olmec Art of Ancient Mexico relates the video advertising the video programs ments. Explanatory wall texts accompa- story of the 20th-century discovery of for sale in the Gallery shops. Video pro- nied the above exhibitions as well as this powerful and dynamic artistic style. grams that the department produces are Copley in England, Boilly, Callahan, Meyer- Archival and new footage, shot on loca- distributed nationally to schools, librar- hoff, Genre Prints, Doria Pamphilj, Eakins, tion, shows past and present archeologi- ies, cultural institutions, and public tele- and Rothschild. cal finds at major Olmec sites in Mex- vision networks on a free-loan basis James McNeill Whistler: The Lyrics of Art, ico, including the excavation of works through the Gallery's department of a documentary video the department of art in the exhibition. A 6-minute education resources. produced last year, received three pres- program for the Homer exhibition Audio tours were produced for three tigious awards in 1996: the Silver Muse explores the artist's painting process by exhibitions this year: Homer, narrated by from the American Association of showing changes he made in two paint- director Earl A. Powell III and Gallery 35 Gaillard F. Ravenel, who founded the Gallery's depart ment of design and installa- tion 26 years ago, examines an antique frame curators of American art Nicolai Cikov- members of the public across the vided within the show with a camera sky and Franklin Kelly; Steen, narrated nation. obscura, perspectives, and x-ray studies. by deputy director Alan Shestack; and The magnificent Homer exhibition Olmec Art, narrated by the director. Design and Installation in the East Building brought together The Gallery's interpretive materials more than 225 works, including oils, are made available to museums across This year the department designed and watercolors, drawings, and prints. The the U.S. that host traveling exhibitions installed 16 exhibitions, made contin- last three galleries also incorporated or upon special request. The Homer ued progress in reframing the collec- technical materials, such as brushes, brochure, for instance, was shared with tion, and oversaw initial construction, paintboxes, and watercolor manuals the Museum of Fine Arts, Boston, and after much planning, on the West from Homer's day. To explain the the Metropolitan Museum of Art, New Building skylight replacement project. artist's watercolor technique, demon- York. Requests continued for interpre- Special exhibitions presented unique stration pieces were shown alongside tive materials for 1995 exhibitions: the installation challenges and opportuni- originals. wall texts and brochure for Robert ties. The Vermeer exhibition in the West Also housed in the East Building, Frank: Moving Out were sent to the Building off the East Garden Court in- Olmec Art brought to the Gallery more Whitney Museum of Art, New York, cluded only 21 paintings, yet to accom- than 120 pieces, ranging from colossal and the Lannan Foundation, Los Ange- modate anticipated crowds of visitors, heads to delicate jades. To install two les; and texts for Piet Mondrian were the department hung these paintings— oversized heads, one weighing more sent to the Museum of Modern Art, generously spaced—in six galleries. than 10 tons, the department consulted New York. The department responds Walls were articulated with crown with the original building engineers to regularly to requests for interpretive molding and paneling to provide proper design structural support for the con- materials from museums, schools, and scale, and a technical room was pro- course where the works would be dis- 36 in the style of the period. Other paint- Computer Aided Design (CAD) System ings that received frames on a priority has facilitated many of these projects. basis were those in exhibitions, such as Designs for the National Sculpture Copley's Copley Family, Steen's Dancing Garden were completed in 1996 and Couple, Homer's Breezing Up, Eakins' presentations were made to the agen- Biglin Brothers Racing, and Gallery loans cies having jurisdiction: The Commis- for exhibitions at other institutions. sion of Fine Arts, National Capital Plan- Frames are being sought for more than ning Commission, and District of 275 works in the collection. Columbia Historic Preservation Office. The West Building skylight replace- Construction is expected to begin in ment project began in earnest this year, 1997. requiring that works of art be moved temporarily from main floor galleries Education around the West Garden Court to the ground floor central and outer tier gal- The education division served an esti- leries. Preliminary architectural work mated audience of nearly 30 million involved repair and repointing of brick people this year. It opened a new inter- and stone masonry at the roof level and active computer program—the Micro division of the attic into smaller com- Gallery—in the West Building and a partments for fire safety. A tunnel was renovated art information room, both constructed in the West Sculpture Hall supported generously by American for public use during the project. Express and The Circle of the National Other architectural projects included Gallery of Art. Public response indicates the installation of handrails in and out- overwhelming satisfaction with the pro- side the West Building; resurfacing of gram. Despite blizzards and government the exterior ramp to the East Building furloughs, the education staff and vol- for improved traction; provision of stor- unteers made special efforts to accom- age for hearing devices in the main modate tours. The staff also assisted auditorium; modification of restrooms with visitor services during the enor- and public telephones; creation of a mously popular Vermeer and Homer children's sales shop on the concourse; exhibitions. refurbishing of the lounge near the Ter- race Cafe; and replacement of a fixed Adult Programs played. The largest of the Olmec heads glass panel with an oversized hinged Tours and Lectures: This section prepared is the heaviest object ever installed in glass panel at the study center entrance and delivered free public tours and lec- the East Building. to facilitate the movement of large art tures, including tours of the collection For the Eakins exhibition, the first objects into and out of the East and all exhibitions, short gallery talks occasion on which all of the artist's Building. on selected works of art, and introduc- known rowing pictures were on view Behind-the-scenes improvements tory art appreciation programs such as together, the department dramatically included provision of additional fire "Techniques of Sculpture," "Reading suspended an actual racing scull in the doors in the concourse area connecting Dutch Genre," and "Reading Modern atrium of the East Building outside the the buildings; construction of a new Life in Impressionist Painting." Special- entrance to the show. frame conservation studio with better ists gave talks on the conservation of The Ailsa Mellon Bruce Fund, New ventilation; the addition of shelving in impressionist paintings and gallery Century Fund, and The Circle of the the East Building print study room and lighting of works of art. A course of 26 National Gallery of Art made possible of moveable shelving in the library; slide lectures on Western art extended the purchase of 15 antique frames this completion of locker rooms for the from classical to modern times. Seven year. Drawing on current holdings, the guards and laborers; creation of offices summer lectures on the techniques and frame project was able to reframe 22 out of open space in the personnel materials of art were offered, as were paintings in the collection—19 with department and enhancements in the regular slide presentations on Vermeer, period frames, 3 with reproductions. reception area; remodeling of dark- Homer, and Olmec Art. Two new acquisitions received frames: rooms to accommodate a new color The "Inform" digital audio tours in Heade's Giant Magnolias on a Blue Velvet processor; refurbishing of the slide the West Building galleries have been Cloth', and Goltzius' Fall of Man, for library; and replacement of raised floor- well received; they enable visitors to which a reproduction frame was made ing in the main computer room. The select tour routes and receive informa- 37 The Olmec Art exhibition brought together a tremendous variety of objects, from monumental sculpture (see also p. 40) to the delicate ceramics and jade and blackstone carvings seen here tion in greater depth than available on pated in a weekly orientation program audio tape tours. that introduced them to a range of Volunteer docents led daily tours of departments and functions. The 45 stu- the collection in both East and West dents who joined the Gallery as volun- Buildings—in English, French, Spanish, teer summer interns, the largest num- German, and Italian. This year regularly ber ever, came from 20 states, Germany, scheduled tours of the Italian, Ameri- and Costa Rica. can, and French collections were Film Programs: This section arranged offered. Supported by The Circle, thematic film series in association with docents visited retirement homes with distinguished film scholars, the cultural art reproductions to stimulate discus- affairs ministries of foreign govern- sion, and senior citizens were invited to ments, and major museums and the Gallery for a light breakfast and tour archives such as the Museum of Mod- of the collection. ern Art and the British Film Institute. Staff lecturers and volunteers offered Topics varied widely but often related to group tours to adult visitors by appoint- the work of particular directors, art his- ment. This section also coordinated the torical themes, or Gallery exhibitions. preparation of 34 radio talks and inter- Each series consisted of 10 to 30 films views to accompany Sunday broadcasts culled from sources all over the world. of National Gallery concerts. The past year's series included "Vene- Academic Programs: This office oversaw zuela: Forty Years of Cinema," "Before public and scholarly programs such as Caligari: German Silent Film of the the year-long Sunday lectures and the Golden Age," "The Films of Chantal Andrew W. Mellon Lectures in the Fine Akerman," "The World of the Shtetl, " Arts. Pierre M. Rosenberg, director of "Max Reinhardt," "The Brothers Quay," the Louvre, gave the year's Mellon "The Films of Werner Herzog," "Pathe: Lectures, "From Drawing to Painting: Cinema's First Empire," "Art Director as Poussin, Watteau, Fragonard, David, Auteur: William Cameron Menzies and Ingres." Exhibition-related programs Richard Day," "Spring in Budapest: included public symposia for Homer and Hungarian Film in Retrospect," "Vittorio Vermeer; a moderated discussion with De Sica and Neorealism," "Hollywood's eminent photographers for Callahan', a Rome," "Grand Music Cinema IV: Sunday afternoon program on Corot; 1922-1928," and "Asta—The Tenth two lecture series—one on old master Muse." In addition to these series, an drawings for Woodner and Chatsworth, ongoing program of documentary films and one on Dutch art for Vermeer and on the arts included many recent pro- Steen; and presentations by prominent ductions and a tribute to the Interna- archeologists on early Mexican culture tional Festival of Films on Art, cospon- for Olmec Art. Seminars for Homer, Ver- sored with the Canadian Embassy. meer, and Steen gave scholars and gradu- Many of these presentations were intro- ate students the opportunity to discuss duced by the filmmakers themselves works in the galleries before the public and by guest scholars, and program openings of the exhibitions. notes provided filmographic and histori- The 2 fellows in the graduate lectur- cal information. ing fellowship program delivered 48 gallery talks this year. The Gallery wel- Education Publications comed an unprecedented number of Charged with shaping content and interns and fellows, including 3 recipi- design for all educational materials, the ents of Internships for Diversity in the department this year oversaw produc- Museum Profession, supported in part tion of 75 books, brochures, announce- by the Nathan Cummings Foundation, ments, gallery guides, teaching packets, San Lorenzo Monument 61—Colossal Head 8, Early and one College Art Association Devel- and electronic publications. At the same Formative Period, andesite, 220 x 165 x 160 cm, opment Fellow. Another 34 volunteer time, it assumed responsibility for the Museo de Antropologi'a, Xalapa, seen in the Olmec Micro Gallery. Visitors may use any of Art exhibition, was the heaviest object ever academic-year interns were active installed in the National Gallery throughout the Gallery and also partici- 13 stations in the West Building's art 41 information room to explore the to the Gallery during all public hours. National Gallery collections and to plan On average this group contributed over and print their own tour. The Micro 1,400 hours a month and responded to Gallery incorporates thousands of path- over 5,000 visitor questions and around ways based on subject, artist, geography, 700 telephone inquiries a week. The chronology, and terminology, offering numbers soared with the opening of the approaches to 1,700 works of art and Homer and Vermeer exhibitions and the more than 650 artists. It contains Micro Gallery so that the total number extended studies of six important of hours served reached a record high of works—Van Eyck's Annunciation, 17,410. Staff presented 52 special tours Bellini's Feast of the Gods, Vermeer's and lectures this year as part of the vol- Woman Holding a Balance, Copley's Wat- unteers' continuing education. son and the Shark, Manet's Gare Saint- Art information staff regularly gather Lazare, and Pollock's Number 1, 1950 information about Gallery visitors, and (Lavender Mist)—three of which the surveys show that people come to the department completed this year. A Gallery from every state in the nation. brochure produced to introduce the This year more than 68 other countries Micro Gallery is currently distributed at were represented; the greatest numbers a monthly average of 19,000 copies. of foreign visitors came from Japan, The staff reviewed and revised texts France, Germany, the United Kingdom, for the software portion of the Gallery's Canada, and Australia. American Art videodisc. About 2,000 Extension Programs: This section pro- texts plus a dictionary of terms are duces and distributes color slide pro- being published electronically early in grams, teaching packets, videodiscs, fiscal year 1997. films, and videocassettes based on The department is preparing educa- Gallery collections and exhibitions. tion materials about the Gallery and its Extension programs are used in schools, collections for dissemination via the libraries, colleges and universities, World Wide Web. In addition to reshap- museums, civic organizations, and by ing existing materials, the staff is creat- public and educational television sta- ing experimental electronic components tions across the nation. All extension to broaden the variety of presentations. programs are loaned free of charge, The department head attended the with return postage representing the Jan Steen, As the Old Sing, So Pipe the Young, c. International Conference on Hyper- only cost to the borrower. 1663-1665, oil on canvas, 134 x 163 cm, Royal Cabinet of Paintings Mauritshuis, The Hague, was media and Interactivity in Museums in In fiscal year 1996 the total of all lent for the Steen exhibition San Diego and led a museum education extension program presentations was roundtable on developing an institu- 143,122, an increase of 55 percent over tional policy for interpretation. last year. The viewing audience is re- The writing of five new gallery guides ported at 27,104,591—lower than in brought this project to its final phase, past years, owing primarily to declining with additional funding from Louise television use of programs. Yet the size Whitney Mellon and Melvin Hender- of audiences using short-term or ex- vakia; Quito, Ecuador; San Jose, Costa son-Rubio. The laminated guides make tended loans of instructional materials Rica; Seoul; and Vienna. Extension pro- printed discussions of individual works increased by more than 10 percent. grams are provided to U.S. facilities in the collection available for visitors in Organizations in the affiliate (long- abroad through the United States Infor- the galleries. term loan) system maintained their mation Agency (USIA). U.S. embassies active use of extension programs. This or consulates in Barcelona; Beijing; and Education Resources year the number of affiliates grew to Tegucigalpa, Honduras, were among This department consists of two sec- almost 600, with new affiliates in those using programs this year. USIA's tions: extension programs and art infor- Arkansas, California, Florida, Illinois, WORLD NET television satellite trans- mation. Indiana, Maryland, Minnesota, Mis- mitted extension programs to television Art Information: Staff members souri, Oklahoma, Vermont, Virginia, stations and U.S. embassies in Latin recruited, instructed, and supervised and Wisconsin; and new international America, the Middle East, and South- 160 volunteers who served at the art affiliates in Budapest; Florence; Mexico east Asia. information desks at the main entrances City and Oaxaca, Mexico; Preslov, Slo- Department staff continued to 42 develop a comprehensive interactive part of an educational site licensing pro- Kandinsky, Romare Bearden, and program to accompany the American Art ject sponsored by the Getty Art History Edvard Munch. videodisc and to develop an extensive Information Program. The department digital image base of the Gallery's Euro- produced a printed viewer's guide to Teacher and School Programs pean art collections that will be the accompany its film and videocassette, Serving teachers, school-age children, source for another videodisc. The Winslow Homer: The Nature of the Artist. and their families, this department department provided digital images Scholastic Arts magazine, for students offered a variety of tours, programs, and from the American Art videodisc and and teachers in secondary schools, is publications this year. The staff trained those being produced for the European published by Scholastic, Inc., in cooper- 128 volunteer school program docents, art videodisc as archival supplements to ation with the Gallery. More than including 18 new candidates; the the Gallery's computerized collections 100,000 subscribers received the six docents gave 2,500 tours to about management system. More than 500 issues of the publication. Subjects fea- 40,000 school children from local dis- digital images are also being transmitted tured were Native American art as well tricts and across the country. All 10,639 electronically to selected universities as as such artists as Georges Seurat, Vassily sixth-grade students from Fairfax 43 County schools came to the Gallery for STATISTICAL SUMMARIES OF tours of the East and West Buildings. EDUCATION PROGRAMS Because of federal closings, bad Programs! Estimated weather, and rescheduling conflicts, Showings Audience 14,700 other students were not able to Adult Programs Tours, lectures, symposia, 3,539 509,984 participate this year. films, radio programs, The high school seminar brought 22 audio tours of the collection students from 18 area schools to the Education Publications Micro Gallery brochures, 777,416 Gallery for ten Saturday morning lec- gallery guides, walking tures, discussions, and journal activities guides focusing on American art. Working with Education Resources Extension programs 143,122 27,104,591 a sponsoring teacher, each student com- Color slide programs, pleted a final project and presented it at teaching packets, films, videos, long-term loans, a concluding program for teachers and affiliate system loans parents. In conjunction with Homer, one Art Information 1,207,535 high school day drew 150 high school Visitor queries, telephone queries, Brief Guides, students from this area and Pennsylva- Calendars of Events nia for a tour and slide overview of the Teacher and School exhibition as well as a hands-on water- Programs Tours, family fr school 2,607 84,471 color activity and creative writing work- programs, workshops, shop. teacher institute, in-services Active involvement in the D.C. com- the National Gallery of Art, and the munity continued. "Art Around the Weingart Foundation provided 25 fel- Corner" brought 288 fifth- and sixth- lowships for educators across the coun- grade students from three D.C. elemen- try, who reach more than 37,464 stu- tary schools (Thomson, Seaton, and dents a year. Seven workshops and nine Savoy) to the Gallery for nine visits that in-services offered instruction and integrated looking, critical thinking, and resources to 654 area teachers. Staff also writing skills; this program received helped Suitland High School with a support from the Fannie Mae Founda- grant application to the Getty Founda- tion and the Park Foundation. The tion to develop an integrated curricu- Gallery again worked closely with pub- lum and participated in the Smithson- lic school administrators to integrate the ian's Teachers' Night, reaching more vast resources of the national museums than 1,500 educators. The staff con- into their curricula. Collaborating with tributed to a teaching packet on Classical the Children's Studio School and the Mythology and on two children's books. Washington Performing Arts Society, Family programs in conjunction with the Gallery invited 75 second-graders exhibitions were offered on an average from Bancroft, Truesdale, and Simon of two Sundays a month. More than elementary schools to participate in 1,400 family members attended 29 "Exploring Families: Families as the weekend and summer sessions. The Embodiment of Culture." For the public programs are always fully subscribed. schools' Head Start project "Museum as Staff members were involved in out- a Resource," staff visited schools to reach programs with both local and introduce looking skills to teachers and national audiences, such as the Fairfax family workers and 38 children and County public school board and the families visited the Gallery. National Goals 2000 Arts Education and elementary and secondary school The National Teacher Institute Partnership. Conference presentations teachers. Staff members also partici- brought 168 elementary and secondary were given at the National Art Educa- pated in educational programs with the school teachers and administrators to tion Association and the Association of Institute of Museum Services' confer- the Gallery for three six-day sessions on School Administrators. Special programs ence on museum and school partner- impressionism and post-impressionism. comprised the majority of outreach ships and the George Washington Uni- Funding from the Geraldine R. Dodge efforts and were conducted for schools versity museum studies program. Foundation, the GE Fund, The Circle of such as the Maryland Institute of Art 44 TDVrcTROMI5,CVMj i >BICETVM ATnvp Page from Vicenzio Carducci's Dialogos de la pintvra . . . (Madrid, 1633) Library countries consulting the collection. (1992); Architektur-fuhrer Munchen Notable additions to the reference (1994); Guida all'architettura del Nove- The library collections grew consider- collection included the Australian Artists' cento (1995). ably this fiscal year, thanks to the gen- Index (1986); Biographical Dictionary of Significant acquisitions included titles erosity of many loyal donors. Its Artists (1995); Dictionary of Belgian and purchased through the Walker Fund: involvement with exhibitions increased Dutch Flower Painters (1995); and Bronzes Vita del capitano Francesco Laparelli da Cor- substantially over previous years. And of the 19th Century: Dictionary of Sculptors tona [di] Filippo de'Venuti (1761); Delia its usage continued to expand, with (1994); as well as travel guides such as consecrazione del Panteon fatta da Bonifazio scholars and professionals from 17 Florenz: Architekturfuhrer (1995); Genova IV. Discorso di Pietro Lazeri. . . (1749); the 45 J. Paul Getty Fund in honor of Franklin early 17th-century books for Vermeer, Murphy: Die durch theorie erfundene prac- five volumes for Jan Steen, and five tic . . . (1721-1725); Tagebuch von more for Genre Prints from the Housebook Johannes Itten (1930); Emblemata saecu- Master to Rembrandt van Rijn. laria: mira et iucunda varietate saeculi. . . New compact shelving installed on (1596); Dialogos de la pintvra: sv defensa, the library's lower level B enabled the origen, essecia, definicion . . . (1633); Galle- circulation staff to move auction cata- ria givstiniana del marchese Mincenzo Givs- logues (primarily from Christie's and tiniani (1636-1637); Posthii Germershemii Sotheby's), providing much-needed Tetrasticha in Ovidii Metam . . . (1563); expansion space for the increasing Ordinum equestri-um, ac militarium brevis numbers of periodicals and artist mono- narratio . . . (1706-1707?); and the graphs. Interlibrary loans continued at Bruce Fund: Regula em-blematica sancti the same pace as last year, and vertical Benedicti (1780); Douze fables de fleuves ou files acquired 2,000 more items than fontaines . . (1585); The Copper Plate Mag- last year. Individual titles in the Fowler azine . . . (1774—1778); Abhandlung iiber Collection of Architectural Books are die Formerie und Gies-serei auf Eisenhiitten being indexed and logged into the .. . (1803); Het Leven van de H. Maeghet library's in-house automated system. Rosalia patronerse teghen de peste .. . (1658); Johann Sigismundi Elsholtii. . . LIBRARY STATISTICS (fiscal year 1996) Anthropometria . .. (1663). Total volumes 194,859 Foremost among gifts to the collec- (monographs, bound serials tion were Pat England's donations of an including auction catalogues, artist's book by Paul Johnson, Towards pamphlets, microforms) Titles/volumes acquired with Another Land, and the spectacular federal funds 2,991/3,140 Colophon Series by Carol Schwartzott. Titles/volumes acquired with Other artist's books were received from trust funds 712/790 ICe Francis, who gave his Booge Bottom: Titles/volumes acquired by gift 1,359/1,308 The Wing and the Wheel', Ramon Osuna, Titles/volumes acquired by exchange 737/1,067 who presented Kali Poem #3 by Kathleen Added microform titles 5 Mazzacco; and Christine ICermaire who Added vertical files 7,721 gave three books by contemporary Bel- Reference inquiries 17,035 gian artists. Computer-based bibliographic Once again Mark Samuels Lasner was searches (RUN, OCLC, ARTQUEST, DIALOG, WILSONLINE) 2,392 most generous with gifts of books on Outside visitors 2,470 19th-century British art, and he also Titles/volumes catalogued 3,962/4,631 gave a 17th-century emblem book by Circulation 23,307 Jan Luiken and a long run of the peri- Photographic Archives odical The Book Collector. Milton Rose gave a very rare work on the painter The photograph collection of the late Benjamin West, and Mrs. John A. Pope Anthony Clark came to the Gallery this continues to donate interesting books year through the generosity of Edgar on oriental ceramics. Other generous Peters Bowron, formerly senior curator donors who should be particularly of paintings. This gift, with more than acknowledged are Sydney Freedberg, 10,000 photographs, color transparen- Elva Fromuth-Lee, Joshua Heller, Jacob cies, and other reproductions of mainly and Ruth Kainen, Murray Lebwohl, Italian baroque paintings, is a remark- Roy Lichtenstein, Clarice Smith, Ruth able scholarly resource. Other important Carter Stevenson, and Bob Targett. gifts included 834 photographs of Italian In exhibition-related activities, the baroque art from Professor Robert library lent one rare book to the North Enggass and 3,283 vintage postcards of Carolina Museum of Art in Raleigh for European cities from Mrs. James the Story of a Painting show, as well as Fasinelli. The Kress Foundation, contributing the extremely rare "Large through its photograph subvention pro- Figurative Map of Delft" and seven ject, made possible the acquisition of 46 329 photographs of the mosaics in the 30,000 slides. The collection numbered dome of the Baptistery in Florence. The more than 161,000 slides at the end of Foundation for the Documents of Archi- the fiscal year, an increase of 2.8 per- tecture added 2,346 photographs of cent over last year. Continued upgrad- architectural drawings to the collection. ing has led to the deaccessioning of The archives acquired two extensive duplicate or inferior slides, which collections on microfiche: 73,892 images explains the small increase in the size of published in Country Life, 1897- 1950; the collection. The withdrawn dupli- and 235,788 images from the research cates were donated to area colleges and files of Sotheby's, London. Other to the Biblioteca Academiei Romane, notable acquisitions included rare 19th- Timi§oara, Romania. century books and albums illustrated with original photographs—Expositions of Editors Office the Cartoons of Raphael (1868), featuring the paintings in the Victoria and Albert The fiscal year opened with the publica- Museum, London; and Nathaniel tion of four prize-winning exhibition Hawthorne's Marble Faun (or Transforma- catalogues: The Touch of the Artist: Master tions of the Romance of Monte Bene) (1868), Drawings from the Woodner Collections won with 40 photographs of Rome in the first prize in catalogue design from the 1860s—as well as The Goteborg Jubilee American Association of Museums Exhibition (1923), which joins the grow- (AAM) and was among 50 works cho- ing collection of books and albums illus- sen for the biennial show sponsored by trating expositions and fairs from Crys- the Washington chapter of the Ameri- tal Palace of 1851 to the New York can Institute of Graphic Arts; A Great World's Fair of 1939. An album from Heritage: Renaissance and Baroque Draw- the Salon of 1869 also entered the col- ings from Chatsworth was selected for the lection. British Book Design and Production Counting this year's gifts and pur- Exhibition in London and at the Frank- chases, the collection now holds furt Bookfair; Johannes Vermeer garnered 1,374,358 photographs and 6,154,895 the prestigious Gunzberg Prize, was microform images. selected for the 19th annual show of the American Design Center, and won Slide Library honorable mention from AAM; Winslow Professor Alan Gowans donated another Homer also received an honorable men- ' large segment of his collection of slides tion from AAM. Vermeer and Homer, of North American architecture to the both Book-of-the-Month Club selec- Gallery this year. Other notable gifts of tions, were reprinted several times and slides came from the Centre National de brought in record-setting revenues. The Documentation Pedagogique, Paris, the Harry Callahan catalogue then won a Museum of Fine Arts, Boston, the 1996 Ernst Haas Award as the Photo- Philadelphia Museum of Art, and the graphic Book of the Year. In addition, Museum of Fine Arts, Houston. The Artist's Table: A Cookbook by Master The slide library continues to make Chefs Inspired by Paintings in the National considerable progress in its efforts to Gallery of Art, was featured in the Wash- offer representative images from Ameri- ington Post Book World and Washingtonian can and European museums, acquiring magazine. slides from the Kreeger Museum, the Keeping pace with the Gallery's busy National Museum of American Art, the exhibition schedule, the office produced Minneapolis Institute of Arts, the Tate six other catalogues: The Robert and Jane Gallery, and the Rijksmuseum Kroller- Meyerhoff Collection: 1945 to 1955: In the Miiller. Light of Italy: Corot and Early Open-Air The slide library now has almost Painting; Jan Steen: Painter and Storyteller; 10,600 records in the database of its art Olmec Art of Ancient Mexico; Georges de La and architecture holdings, representing Tour and His World; and Michelangelo and 22.2 percent of the collection and His Influence: Drawings from Windsor 47 Acrobat Effigy Vessel, Early Formative Period, white- ware ceramic, 25 x 16 cm, Museo Nacional de Antropologia, was on display in the Olmec Art exhibition Castle. The Vermeer catalogue was also Work continued on other volumes in and symposia. The Studies in the His- published in Dutch, French, German, the series, including French Sculpture of tory of Art series increased by three vol- and Italian editions; and Steen appeared the Nineteenth Century; Decorative Arts, umes this year: Saint-Porchaire Ceramics in Dutch and German. Other materials Part II; American Paintings of the Nine- (vol. 52), The Formation of National Collec- produced for exhibitions included teenth Century, Part 2; and Medals. The tions of Art and Archaeology (vol. 47), and brochures, wall texts, press kits, invita- second volume of the Mark J. Millard Imagining Modern German Culture: tions, fliers, and a stream of signage, Architectural Collection, British Books, is 1889-1910 (vol. 53). especially for Vermeer. also in production. The Nine-Ton Cat: Behind the Scenes at Three volumes of the systematic cata- A variety of publications was pro- an Art Museum was created in collabora- logue were published this year: Dutch duced for the Center for Advanced tion with the education department; the Paintings; Italian Paintings: Seventeenth Study in the Visual Arts, including a book is scheduled for release in early and Eighteenth Centuries; and American redesigned annual report, Center 16, as 1997. The office also redesigned and Paintings of the Nineteenth Century, Part 1. well as announcements for conferences published two issues of the Circle Bul- 48 Forthcoming publications for Picasso: paper, sculpture and other three-dimen- The Early Years, 1892-1906; The Victorians: sional objects, or non-art materials and British Painting 1837-1901: and Millen- books. All film is processed in the labo- nium of Glory: Sculpture of Angkor and ratory, with an automatic color proces- Ancient Cambodia generated enthusiasm sor for transparency film. A computer at the Frankfurt Bookfair this year, and improves quality control for color film. copublishing partners were found for all A separate laboratory area is designated three books. Strong interest was also for producing duplicate color trans- expressed in other upcoming Gallery parencies from 35mm to 8 x 10 inches. projects, such as the catalogue raisonne Several thousand slides are produced by for Mark Rothko. Copublishing partners the department each month, about half for books published this year included being duplicates. Harry N. Abrams Inc.; Bulfinch/Little, Two darkrooms, supplying black-and- Brown; HarperCollins Publishers; white prints for many Gallery programs, Houghton Mifflin Company; Lund are equipped with printers and enlarg- Humphries Publishers; Oxford Univer- ers that use variable-contrast photo- sity Press; University Press of New Eng- graphic papers and automatic processors land; Waanders; and Yale University that provide high efficiency and consis- Press, as well as several museum pub- tent output. The department operates a lishers (Rijksmuseum, Amsterdam; and separate darkroom to make prints on Mauritshuis, The Hague). archival fiber-based papers for the pho- tographic archives. Imaging and Visual Services This year the department began to The office of visual services provides offer digital-imaging services, such as color transparencies, slides, and black- scanning transparencies or black-and- and-white photographs to Gallery staff white or color photographs, then pro- and outside professionals; authorizes viding digital files or dye-sublimation reproductions of works in the Gallery color prints from the scans. New acqui- collections; and coordinates work orders sitions and images of works in upcom- for the photographic laboratory. The ing exhibitions are being digitized for a department also obtains photographs multitude of uses by other Gallery and transparencies of works in tempo- departments. rary exhibitions, manages the photo- graphic needs of other departments and Gallery Archives museums participating in exhibition tours, and does some picture research The National Gallery this year received for exhibition catalogues. In fiscal year by bequest former director John 1996 the department issued 1,725 con- Walker's files relating to his museum tracts to reproduce works in the collec- career. Filling 108 archives boxes, the tions, sold 947 black-and-white pho- files include extensive correspondence tographs and 474 duplicate slides, lent with Bernard Berenson, Chester Dale, 1,243 transparencies for reproduction, Calouste Gulbenkian, and others and letin, reprinted the I Am Still Learning and provided 2,011 color transparencies are a rich source of information on the and library brochures, produced eight and 4,894 black-and-white photographs growth of the Gallery and the develop- gallery guides and a catalogue of Gallery to Gallery colleagues for official use. ment of its collections. publications and CD-ROMs, and pub- The photographic laboratory pro- Other important acquisitions included lished the teaching packet Classical duced 1,628 color transparencies, Paul Mellon's donation of four 19th- Mythology in European Art, the Gallery 38,433 slides, 5,264 black-and-white century letters from Franklin W. Smith newsletter, the annual report, and the negatives, and 33,773 black-and-white to the U.S. Commissioner of Education Trustees' Council directory. prints. The department also processed concerning his proposed "National On the electronic front, work began 677 rolls of black-and-white and color Gallery of Art." Conductor emeritus on the Gallery's Web site, which is film for staff members and took new Richard Bales gave additional memora- being launched in the 1997 fiscal year. photographs of 2,753 works of art. bilia relating to his life and career. Pho- A CD-ROM version of the Micro Gallery Each of four studio areas is dedicated tographer Anthony Grohowski donated is in the planning stages. to photographing paintings, works on color slides of visitors waiting in line 49 mm 'SHn Thomas Eakins, John Biglin in a Single Scull, 1873, watercolor, 42.9 x 60.8 cm, Paul Mellon Collection, Upperville, Virginia, was lent for the Eakins exhibition overnight to view the Vermeer exhibi- notes, letters, a mock news release, and Several departments transferred tion. James Locke gave views of Gallery even a poem for the project. important official files to the archives, buildings during the winter blizzard. Oral history interviews were con- including almost 1,800 color slides from To enhance the historical record, ducted with Annemarie Pope, formerly the registrar's office of the moving, Gallery staff and volunteers were director of International Exhibitions packing, and transportation of art works encouraged to contribute personal rec- Foundation; with Ed MacEwen, GTE for special exhibitions. ollections of the memorable winter vice president corporate communica- Significant historical materials were events, including the Vermeer and Homer tions; and with National Gallery music prepared for research use. Files and exhibitions, enormous crowds, and director George Manos. Interviews with recordings of the A. W. Mellon Lectures unexpected closings. Directed discus- conservator Joyce Hill Stoner, donors in the Fine Arts were organized and sions were held with individuals and Gerhard and Marianne Pinkus, copyist described. Photographs of the Widener departments most involved in the Thelma DeAtley and her daughter Vir- home, Lynnewood Hall, in Elkins Park, events. In all, 18 conversations with 38 ginia Brown, and former Kress Professor Pennsylvania, were preserved and their staff members were recorded and tran- Per Bjurstrom were opened for original order reconstructed. Sixty-four scribed, and 25 individuals contributed research. archives boxes of planning office files 50 Eugene Atget, Le Pont Marie. 1903 or 1904, albu- men print, 17.7 x 21.7 cm, Partial and Promised Anonymous Gift, 1996.98.1 relating to design and construction of works for the East Building was also temporary warehouse storage for non- the East Building were organized. compiled. Archival files were used to permanent records and the Gallery's Archival staff and interns sorted more investigate the acquisition and display vital records. than 5,000 East Building architectural of a number of works of art, and archi- Vivienne Johnson was a volunteer, drawings, disposed of extra copies, and tectural information was used exten- and Ellen Clark and Ron Kurpiers per- added previously unknown drawings to sively for the upkeep and renovation of formed graduate practicums in the archival holdings. The archives database Gallery buildings. Scholarly researchers department. now holds descriptions of more than used files, photographs, and other 8,500 architectural drawings of Gallery materials to investigate a wide range of buildings. subjects, including Gallery exhibitions, A finding aid to documentary materi- donors to the collection, the design and als relating to World War II in the planning of the Gallery's buildings, and Gallery Archives and other Gallery other matters relating to museum his- departments was prepared. A chronol- tory. ogy of events relating to commissioned Archival staff worked with other works of art and specially selected departments to refine procedures for 51 U jOURNU QU 9 HEURES OU SOIR. ,))V tt f (fi. f / Protection Services tion of a Gallery-wide fire protection system by 2002. The primary goal of the office of protec- James Banks, deputy chief for opera- tion services for 1996 was the develop- tions, resigned due to illness, and long- ment of a more effective Gallery-wide time protection staffers Ronald Lowe, security organization through enhance- George Boomer, and James Tasker ment of training methods, improved retired. William Streater was selected as information management, and in- Protection Officer of the Year. creased operational efficiencies. In the second year of an agreement with Facilities Management the Department of Veterans Affairs, the office sent supervisors to receive four Construction began on the energy man- weeks of instruction at the Law En- agement and building automation sys- forcement Training Center in Little tem, projected for completion in 1998. Rock, Arkansas. More than 150 security This major renovation will improve the officers received on-site training in basic condition of both East and West Build- security, gallery protection, and first-aid ings while greatly enhancing the sys- techniques. Safety training in protective tems for controlling lighting, tempera- equipment and shop protocol was also ture, and humidity levels for optimum broadened, resulting in a 17 percent protection of works of art. Facilities decrease in workers' compensation costs management engineering staff received to the Gallery. Reorganization of the additional training to operate the envi- exhibition protection program produced ronmental, fire, safety, and other utili- improved security coverage in the gal- ties equipment being installed. The divi- leries. Development of a standardized sion planned and coordinated the first security operations training manual and phase of a multi-year renovation project upgrades of computer software helped to insulate certain West Building gallery improve documentation and reporting walls. It also initiated a master facilities Honore Daumier, 9 heures du soir, 1839, crayon of incidents. The second phase of a new study to upgrade and replace building lithograph, 32.7 x 24.6, Gift in memory of Dr. fire detection system was installed, and Ruth B. Benedict by the Washington Print Club equipment, parts, and facilities, some of and Her Friends, 1995.68.12 work is under way toward the installa- which are more than 50 years old. 53 Audiovisual Services also began production of digital audio facilities supply and inventory opera- segments for use on the Gallery's Web tions, which included establishing bud- The department completed a reference site, to feature President Roosevelt's and get, cost tracking, and reorder systems booklet, Guide to Audiovisual Services, and President Carter's dedication speeches at and reorganizing the housekeeping sup- distributed it to Gallery colleagues. Staff the openings of the West and East plies store. It also arranged for the members also established an inspection Buildings, respectively. In coordination Gallery to convert from its own federal and maintenance schedule for audio- with the Gallery architect's office and motor vehicle fleet to a lease mainte- visual facilities throughout the Gallery, Gallery shops, the department installed nance arrangement with the General which should reduce downtime and a video system to highlight children's Services Administration beginning in extend the useful life of equipment. programs in the Gallery's new children's 1997; conducted a complete inventory They provided technical support for sales shop. of all Gallery-owned supplies and educational programs such as a high equipment used in on-site food service school seminar, high school days, the Administrative Services operations and affixed computer bar- National Teacher Institute, family activi- code labels that will greatly simplify ties, and "Art Around the Corner" for The administrative services department future inventories; purchased comput- D.C. elementary school children. They this year assumed responsibility for erized mailroom postage equipment and 54 Telecommunications East Building study center to provide Gallery staff and the public with world- Additional programs and activities of wide federal employment information. the Gallery were given new fiber-optic The database is updated daily, and the network capability in 1996. Most of the computer is connected to a laser printer. West and East Buildings have now been All federal agencies are currently brought online, making possible more required to upload the complete text of effective internal and external Gallery their vacancy announcements to this exchanges of information. The Gallery's innovative system. telephone service was upgraded with an automated attendant feature, which continues to provide operator assistance for daytime and special events. The sys- tem also allows 24-hour access to flex- ible menus that accommodate a sub- stantially larger volume of calls and permit direct caller access to all offices and departments of the Gallery. Resource Acquisition In addition to processing a high volume of purchase orders this year, the Gallery awarded its largest contract ever—for the West Building skylight replacement project; as well as its most complex con- tract—for the building automation sys- tems project. The office also imple- Pablo Picasso, Blind Minotaur Led by a Girl in the Night, 1934, dark-manner aquatint with burnishing mented interagency agreements with (proof of final state before steelfacing), 24.7 x 34.8 the Army Corps of Engineers, the Gen- cm, Eugene L. and Marie-Louise Garbaty Fund, eral Services Administration, and the 1996.104.3 Defense Contract Management Com- mand that provided additional expertise to address unusually complicated com- ponents of several contracts processed this year. The department provided pro- fessional development training for pro- curement personnel. negotiated a General Services Adminis- tration photocopier equipment lease Personnel that substantially reduces the annual In cooperation with the American Asso- cost of this function; and arranged for ciation of Museums, the personnel used packing crates to be transferred to office cosponsored "The Human Dimen- a non-profit organization in Ohio that sion in Times of Change" seminar. This will use the lumber in constructing three-day conference, covering a range housing for the homeless. of human resource topics, centered on The department received an award the widely recognized need for revital- from Industrial Concepts of Northern ization and reorganization within muse- Virginia for participating in an unpaid ums to meet tight budgets and increased internship program and an award from demands on their resources. Participants the Fairfax Area Disabilities Services came from cultural institutions across Board for contributing to the quality of the country. life for people with disabilities. A Federal Job Opportunities touch- screen computer was installed in the 55 EXTERNAL AFFAIRS Development artists and art history; discover and dis- seminate scholarly information around The development office gratefully the world; conduct groundbreaking acknowledges friends of the National conservation studies and develop innov- Gallery, who had given over $70 million ative conservation techniques; imple- by the close of the fiscal year in major ment innovative educational programs gifts for the New Century Fund cam- for children and adults; and much paign. Generous donors nationwide more. In general, the focus on the New brought the Gallery two-thirds of the Century Fund campaign is on endow- way toward its goal of $105 million. ment gifts, which provide perpetual Among those who contributed to the funding. campaign this past year were many This year a number of foundations prominent leaders in the Washington, made significant gifts to undergird many D C., area. These donors made commit- important facets of the Gallery. The ments of $100,000 or more as part of a Arnold D. Frese Foundation and the local campaign initiative—the New Cen- Sara Lee Foundation contributed to the tury Gift Committee. Fund for the International Exchange of The New Century Fund campaign Art, which encourages cross-cultural was launched in May 1994 to give indi- exhibitions. The Frese Foundation also vidual, foundation, and corporate renewed a commitment to support fel- donors a special opportunity to make lowships for German scholars at the contributions that would ensure the Center for Advanced Study in the Visual future vitality of the Gallery. With this Arts. The Horace W. Goldsmith Founda- campaign, the Gallery seeks to obtain tion made a major commitment that significant funding for its priority areas will assist the department of photo- of activity. Donors who make major graphs in continuing to build its collec- gifts for one of these purposes help the tion, and the Andre and Elizabeth Martin Johnson Heade, Giant Magnolias on a Blue Gallery: respond quickly when a major Kertesz Foundation also contributed Velvet Cloth, c. 1890, oil on canvas, 38.4 x 61.5 cm, work of art is available on the market; toward photography acquisitions and Gift of The Circle of the National Gallery of Art in Commemoration of its 10th Anniversary, provide historic frames for the perma- exhibitions. The Aaron I. Fleischman 1996.14.1 nent collection; purchase rare books on Foundation made a multi-year commit- 57 ment for art acquisition, and the ship as co-chairs of The Circle. Samuel H. Kress Foundation provided Circle members give crucial unre- funds for four volumes to catalogue the stricted funds, which offer the Gallery Gallery's Italian paintings collection. The the flexibility to pursue a wide variety William and Flora Hewlett Foundation of activities. This year members' contri- gave a substantial unrestricted gift, butions acquired Martin Johnson while the William Randolph Hearst Heade's Giant Magnolias on a Blue Velvet Foundation created an endowment for Cloth, a major gift to the Gallery in com- the National Teacher Institute. The memoration of The Circle's 10th Ahmanson Foundation supported ongo- anniversary; and helped the Gallery ing efforts to select period frames for fund five fellowships for participants in the permanent collection. the National Teacher Institute; obtain Individual donors who included the computer equipment for the creation of Gallery in their estate planning, using the Gallery's World Wide Web site; such means as bequests or trusts to develop a CD-ROM on Johannes Ver- make charitable gifts, also played a part meer; obtain an illustrated book by in the New Century Fund campaign. Alexander Calder, Fables of Aesop Accord- The late Naomi A. Garber stipulated in ing to Sir Roger L'Estrange; produce an her will that the Gallery receive a signif- international scholarly symposium; con- icant portion of her estate. Her generous duct a conservation study to help iden- gift was received this year. The Gallery tify safe varnish methods and reversible was also informed that it will be a bene- inpainting techniques; and purchase ficiary of a multimillion dollar bequest three Robert Frank photographs. Since of a friend of the Gallery's from Florida. The Circle was established in 1986, These and other planned gifts are im- members have contributed almost $6 portant ways to ensure the long-term million, and these contributions have welfare of the Gallery. been used to fund more than 150 pro- In addition to those who made cam- jects. paign gifts, some long-time patrons and To expand the Gallery's 20th-century first-time contributors made gifts to art collection, the Collectors Committee John Singleton Copley, The Death of Major Peirson, was founded in 1975. Over the last 20 6 January 1781, 1783, oil on canvas, 246.4 x 365.8 address more immediate and short-term cm, Tate Gallery, London, Purchased 1864, was needs. The Richard King Mellon Foun- years committee members have enabled lent for the Copley exhibition dation gave emergency funds to keep the Gallery to purchase 90 major works open the popular Vermeer exhibition of art including 15 paintings, 17 works during the federal government shut- of sculpture, 2 tapestries, 4 drawings, 30 down. The Henry Luce Foundation pro- prints, and 22 photographs. Almost half vided partial funding for the upcoming of these works were by living artists. Millennium of Glory: Sculpture of Angkor Perhaps the most renowned work of art and Ancient Cambodia exhibition. The selected and purchased by the Collec- Fannie Mae Foundation and the Park tors Committee was Alexander Calder's Through the generosity of the 83 mem- Foundation continued to provide sup- giant mobile, Untitled (1976), which bers who contributed about $830,000 port for "Art Around the Corner," a hangs in the heart of the East Building. last year, the Gallery acquired Cy multiple-visit program for three District Committee members' donations are the Twombly's painting Untitled (Bolsena) elementary schools. principal source of funds for acquisition (1969) together with a number of The Circle of the National Gallery of of late modern and contemporary art. works on paper. Art, an annual membership program, With their annual gifts of $10,000 or The many donors and volunteers who capped its first decade with a banner more, members are able to support the gave so freely of their time and financial year. Overall contributions reached an permanent collection by selecting works resources this year have had a lasting unprecedented amount, nearing $ 1 mil- of art by prestigious contemporary impact on the National Gallery. Thus we lion. With 100 new members and 27 artists. This past year Doris Fisher of close out the year with enormous grati- members who rejoined, The Circle drew San Francisco and Barney Ebsworth of tude for the strong philanthropic spirit almost 500 members from all over the St. Louis began terms as co-chairs of the and commitment of our donors. United States. Juliet Folger and David Collectors Committee, succeeding Ruth Maxwell, both of Washington, D.C., Carter Stevenson, the founding chair- continued to provide valuable leader- man, and Edwin L. Cox, co-chair. 58 Corporate Relations $3,050,000 for exhibitions and related included some of the finest surviving programs planned for fiscal years 1997 drawings by Leonardo, Raphael, This office secures corporate support for and 1998. Rubens, Rembrandt, and other masters. National Gallery exhibitions and related American Express Foundation com- Ford also provided partial funding for projects, acting as a liaison between the pleted its generous three-year commit- the accompanying catalogue. Additional Gallery and corporate representatives, ment to making possible the develop- support for the exhibition was provided and working to ensure that relation- ment of the Micro Gallery. Installed in by The Marpat Foundation, the Dimick ships are mutually beneficial, tn fiscal the West Building in October 1995, the Foundation, Evelyn Stefansson Nef, the year 1996 the Gallery received funds Micro Gallery enables visitors to view Dorothy Jordan Chadwick Fund, and totaling $3,900,000 to support exhibi- nearly every work of art in the collec- Miss Alice Tully. tions, publications, and educational pro- tion at the touch of a computer screen For its seventh exhibition sponsorship gramming. Additional commitments and to design their own tours of the at the Gallery, Republic National Bank were made to support exhibition- galleries. of New York, along with Safra Republic related special events, press materials, Ford Motor Company supported A Holdings, S.A., and Banco Safra, S.A., and advertising. Other corporations Great Heritage: Renaissance and Baroque Brazil, funded John Singleton Copley in pledged support totaling some Drawings from Chatsworth, which England, coinciding with the biannual 59 National Gallery of Art chairman Ruth Carter Stevenson greets Her Majesty the Queen of the Netherlands at the opening of the Vermeer exhibition joint meetings in Washington of the for Vermeer was provided by I 60 tions, supporting films, videos and of the exhibition everyone had to see. interactive videodiscs, brochures, cata- The press office coordinated the pub- logues, special events, advertising, and licity for some 18 exhibitions in addi- press materials, as well as the exhibi- tion to promotion for the Micro Gallery, tions themselves. In addition, corpora- the Dutch Cabinet Galleries, various tions continue to support educational acquisitions and staff appointments, and programs, which emphasize the collec- the Gallery cookbook, The Artist's Table. tions, and the Fund for the Interna- The Winslow Homer exhibition received tional Exchange of Art, which promotes enthusiastic reviews from critics and cooperative cultural exchange efforts was featured on NBC-TV "Today," CBS- throughout the world. TV "Sunday Morning," and NPR's "All Things Considered," as well as from the Public Information New York Times when it traveled to the Metropolitan Museum of Art. Coverage The Vermeer "phenomenon" was one of of Thomas Eakins: The Rowing Pictures the big news stories of 1996. Before the included a rare photo feature in Sports first federal shutdown in November, Illustrated. A special tour of Jan Steen fol- Vermeer's Girl with a Pearl Earring was lowed by a dinner was organized for becoming the cover girl of choice for members of the press from the many magazines. Leading critics Netherlands. extolled the exhibition as "breathtak- Three weeks before the opening of ing," "perfect," "the most intimate Olmec Art of Ancient Mexico, the unveiling blockbuster ever." By the time the of a 10-ton colossal head from Mexico— Gallery closed for a second time in the heaviest object ever installed in the December, the exhibition had become Gallery—was covered "behind-the- the media poster child of the federal scenes" by local, national and interna- shutdown. More than 30 camera crews tional press, including live morning cov- from network, syndicated, and local erage on WUSA-TV and reports on areas at the National Airport terminal, television outlets along with photo- CBS-TV, NBC-TV, Univision TV, Telemu- which the Gallery has used to promote graphers and writers from major news ndo TV, Worldwide TV, and Reuters its collection and exhibitions. services and newspapers covered the International TV. A multimedia presen- Planning for future projects, an Gallery's reopening of the exhibition tation at the preview of the exhibition important focus during the year, with private funds on 27 December. for the international press corps resulted in substantial funding commit- That evening satellite trucks were included exclusive video of the arrival ments for 1997 and 1998 exhibitions. parked next to the West Building as and installation of the colossal head. After the tremendous success of Vermeer, NBC-TV broadcast a live shot of Ver- Special advertising for the exhibition United Technologies immediately com- meer's View of Delft on its nightly news. included airport and subway dioramas mitted to sponsoring The Victorians: The next morning the story was on the and bus posters. British Painting in the Reign of Queen Victo- front pages of newspapers across the ria, 1837-1901. Bell Atlantic, which has country, including the New York Times, Special Projects sponsored three previous exhibitions at the Washington Post, and the Los Angeles the Gallery, will support Picasso: The Times. For a period of three weeks This office develops programs for local, Early Years, 1892-1906, and will fund a record numbers of press inquiries were national, and international constituen- national advertising campaign. The fielded by the information office, and cies of the National Gallery, generating Boeing Company will sponsor Thomas the staff spent an entire night in the and overseeing projects and initiatives Moran, its first exclusive sponsorship at exhibition with the host and crew of that promote the Gallery's role as a the Gallery after being involved in sev- The Charlie Rose Show taping a full-hour national resource. eral consortia in the past. Mobil Corpo- PBS-TV program that was promoted as The office keeps members of Congress ration pledged support for the full-scale a tour of the exhibition for those unable and their personal and committee staffs retrospective Mark Rothko, continuing 20 to see it. On the exhibition's closing day informed about programs at the Gallery. years of support for Gallery programs. satellite trucks from network and local The popularity of the Vermeer exhibition And GTE, the Gallery's most loyal spon- television outlets were lined up along highlighted for many the wealth of sor, will fund Alexander Calder. Constitution Avenue to interview offerings at the Gallery, and the office Corporations continue to ensure the Gallery officials and visitors who had responded to over 400 requests from vitality of the National Gallery's exhibi- spent the night in line to get a glimpse members of Congress as well as from 61 the Administration and state governors Museum of San Francisco. The director for arrangements to view the extraordi- spoke about David Finley, the first nary paintings. Special Saturday after- director of the National Gallery, on the noon previews for congressional staff 30th anniversary of the Finley family's and their families were held for the gift of its Leesburg, Virginia, estate, Oat Winslow Homer and Olmec Art of Ancient lands, to the National Trust for Histori- Mexico exhibitions. cal Preservation. The office also keeps members of Congress apprised of the Gallery's activi- Visitor Services ties in their states and districts. Each member was informed of constituents' This office made every effort to ensure participation in such Gallery offerings as that the public enjoyed pleasant visits to extension programs, National Lending the Gallery. To meet the unusual Service, Sunday evening concerts, demands of the extraordinarily popular fellowships at the Center for Advanced Homer and Vermeer exhibitions and of Study in the Visual Arts, teacher work- two government shutdowns, the shops, and internships. In addition, 67 department hired 35 temporary senators and representatives learned of employees to run the free-pass system their constituents' involvement in the for both shows, accommodating half a 1996 summer intern program, and 140 million visitors. When the Gallery's members were told of educators in their doors were closed shortly after opening states and districts who attended the on the first day of each furlough, visi- 1996 National Teacher Institute. tors remained in the exhibitions for Response from these initiatives has been about an hour. Private funds enabled positive, demonstrating the value of the the Gallery to reopen Vermeer in the Gallery's service to communities middle of the second furlough, and throughout the nation. although a blizzard closed the Gallery As part of the continuing develop- again for a week in early January, the Louis-Leopold Boilly, A Game of Billiards, 1807, oil ment of a local and national con- visitor services staff opened the Vermeer on canvas, 56 x 81 cm, The State Hermitage stituency for the Gallery, the office exhibition on 10 January even as the Museum, St. Petersburg, was in the Boilly organized and coordinated a successful rest of the museum remained closed. exhibition series of behind-the-scenes presenta- To make up for lost time, the Gallery tions hosted by the director and his extended viewing hours for the Vermeer wife, Nancy Powell. This year's tours exhibition, first until 7:00 p.m. on Fri- included the First Century of Photography: days, Saturdays, and Sundays, finally New Acquisitions exhibition and the pho- until 9:00 p.m. seven days a week. tography conservation studio, Italian Advance passes dated for furlough or Renaissance paintings, the newly snow days were honored as close to the opened Micro Gallery, and educational time on the pass as possible any day the met by staff who could answer ques- offerings for children. The series culmi- visitor came. Service charges for tions, maintain order, and reassure peo- nated by spotlighting collections on advance passes obtained from Ticket- ple that they would indeed see the view in the West Building, tours of Master Phonecharge were refunded, exhibition. frame conservation, exhibition design and TicketMaster outlet tickets were and installation, paintings and objects either honored at the exhibition or Music at the Gallery conservation, digital-imaging facilities, returned to place of issue and the ser- and a discussion of connoisseurship. vice charge refunded. Approximately The National Gallery presented 33 Sun- The series, now in its third year, is 50,000 people holding advance passes day evening concerts in the West Gar- enabling the Gallery to develop new from the closed periods were accommo- den Court in fiscal year 1996, which arenas of community and national dated, increasing the already tremen- coincided with the 54th season of free interest and support. dous crowds in the galleries. Visitor ser- concerts at the Gallery (4 concerts were This office also coordinated the direc- vices staff set aside tickets for visitors canceled and one was moved to the tor's professional speaking engagements with disabilities and responded to thou- Canadian Embassy, owing to govern- around the country, including those for sands of letters and telephone calls from ment furloughs and snow storms). the Harvard Club of Washington, D.C., people wanting to see Vermeer. After Concerts were supported by funds and for the Friends of the Fine Arts waiting in line for hours, visitors were bequeathed to the Gallery by William 62 Nelson Cromwell and F. Lammot Belin, were introduced to the public this year: rebroadcast nationally on NPR's "Perfor- with additional subvention from the the National Gallery Chamber Players mance Today." Weekly local broadcast Ann and Gordon Getty Foundation. —Wind Quintet; and the National of the concerts continued throughout The National Gallery Orchestra per- Gallery Chamber Players—String Quar- the summer, as WGTS arranged to formed seven concerts under the direc- tet, both made up of members of the rebroadcast selected performances. A tion of George Manos, including one in National Gallery Orchestra. color brochure was published to pre- honor of the Boilly exhibition and The 53rd American Music Festival view the concerts. The Gallery concerts another in honor of Vermeer. The latter featured a jazz concert by Maynard Fer- were the subject of 15 reviews and 12 exhibition was highlighted again in a guson and Ensemble. Baritone Gordon photo previews in area newspapers. concert of chamber music by members Hawkins presented American repertoire A complete listing of the 1995-1996 of the Fodor Wind Quintet of for solo voice, while American chamber concert season follows on page 64: Amsterdam. music was offered by the Ensemble da The National Gallery Vocal Arts Camera of Washington and the Edin- Ensemble, likewise under Manos' artis- burgh (Scotland) String Quartet. tic direction, performed at the Gallery to Local broadcast of the concerts con- honor the Woodner and Chatsworth exhi- tinued on radio station WGTS, and bitions. Two new resident ensembles selections from several concerts were 63 Max Klinger, Abduction (Entfiihrung), 1878/1880, etching and aquatint in black on chine colle, 11.9 x 26.9 cm, Anonymous Gift, 1995.82.9 OCTOBER 24 Anthony and Joseph Paratore, duo-pianists TON DE LEEUW 8 National Gallery Vocal Arts Ensemble 31 The Starr-Kim-Boeckheler Piano Trio Mouvements retrogrades, 12 November 1995 15 David Hardy, cellist, and Lisa Emenheiser JULES AUGUST DEMERSSEMAN APRIL Logan, pianist Duo brillante, 19 November 1995 7 National Gallery Chamber Players—Wind 22 Sergiu Luca, violinist, and Brian Connelly, CAL STEWART KELLOGG Quintet pianist Major Sullivan Ballou's Letter to His Wife, 14 National Gallery Chamber Players—String 29 Ruth Laredo, pianist 5 May 1996 Quartet and Clarinet BOHUSLAV MARTINU NOVEMBER Madrigal Sonata, 19 November 1995 5 Tobias Ringborg, violinist, and Constance 53rd American Music Festival 21 Ensemble da Camera of Washington LALO SCHIFRIN Moore, pianist La Nouvelle Orleans, 7 April 1996 12 National Gallery Orchestra 28 Maynard Ferguson and His Big Bop Nouveau Band MICHAEL TORKE 19 Members of the Fodor Wind Quintet of CWt, 12 May 1996 Amsterdam MAY JOHAN WAGENAAR 26 National Gallery Orchestra 5 Gordon Hawkins, baritone, and Gillian Overture to Cyrano de Bergerac, DECEMBER Cookson, pianist 12 November 1995 3 Diane Walsh, pianist 12 The Edinburgh Quartet 10 Charles Wadsworth, pianist, with Beverly 19 National Gallery Orchestra Hoch, soprano, and Todd Palmer, clarinetist 26 Andre-Michel Schub, pianist JANUARY JUNE 21 The Yanagita-Bogin Duo 2 The Brentano String Quartet 28 Philip Thomson, pianist 9 National Gallery Orchestra FEBRUARY 16 Stephen Prutsman, pianist 4 National Gallery Orchestra 23 Fritz Gerhart, violinist, and Paul Tardif, 11 Anner Bylsma, cellist pianist 18 Kathryn Hearden, soprano, and George 30 Enrique Graf, pianist Manos, pianist World Premiere Performance 25 Pavlina Dokovska, pianist MICHAEL NATHANIEL HERSCH MARCH Trio for Violin, Clarinet, and Piano, 3 National Gallery Orchestra 21 April 1996 10 Arthur Greene, pianist First Washington Performances 17 Susan von Reichenbach, soprano, and STUART BALCOMB Douglas Martin, pianist Ellis Island, 7 April 1996 64 ENTER FOR ADVANCED STUDY IN THE VISUAL ARTS Report for the Academic Year 1995-1996 At the founding of the Center in 1979, three-year terms. In August 1996 Ros- a four-part program of fellowships, alind Krauss, Columbia University, and meetings, publications, and research Andrew Stewart, University of Califor- was instituted. The resident community nia, Berkeley, completed their terms. In of scholars at the Center in 1995-1996 September 1996 Yve-Alain Bois, Har- included the Samuel H. Kress Professor, vard University, and Malcolm Bell III, the Andrew W. Mellon Professor, the University of Virginia, began their Andrew W. Mellon Lecturer, 6 senior terms. Five others continued to serve: fellows, 11 visiting senior fellows, and 6 Keith Christiansen, Metropolitan predoctoral fellows. Nonresident schol- Museum of Art; William Homer, Uni- ars included 10 predoctoral fellows. versity of Delaware; James Marrow, Research by the scholars encompassed a Princeton University; Marianna Shreve range of media, including architecture, Simpson, Walters Art Gallery; and sculpture, painting, textiles, manu- Charles W. Talbot, Trinity University, scripts, and gems, and concerned a San Antonio. broad range of geographic areas and A variety of private sources supports time periods, from the ancient Andean the programs of the Center. Senior, pre- city of Tiwanaku to America after World doctoral, and curatorial fellowships are War II. Scholars focused on such issues supported by endowments from the as reconstructions of ancient cities, Chi- Andrew W. Mellon Foundation and the nese medieval visual culture, 15th-cen- Chester Dale bequest. Robert H. and tury northern European sculpted Clarice Smith provided support for the entombment groups, and Russian con- Smith predoctoral fellowship in north- structivists in relation to theories of ern Renaissance paintings. The Samuel vision. H. Kress Foundation provided funds for The board of advisors, composed of the Kress professorship, Kress senior fel- art historians from academic institutions lowships, and the Kress and Mary Davis and museums, meets annually to con- predoctoral fellowships. The Wyeth sider policies and programs of the Cen- Endowment for American Art and the ter. Members of the board serve over- Ittleson Foundation also supported pre- lapping appointments, usually for doctoral fellowships. The Open Society 65 Fund made possible the Soros visiting SENIOR FELLOWS senior research travel fellowship for Albert Ammerman, Colgate University; scholars from central Europe and the Universita degli Studi di Trento Samuel H. Kress Senior Fellow, 1995-1996 former Soviet Union. The Arnold D. Beatrix Colomina, Princeton University Frese Foundation, Inc., provided funds Samuel H. Kress Senior Fellow, 1995-1996 for a fellowship for scholars from Ger- William J Conklin, Textile Museum, Washing- many. The Inter-American Develop- ton; Institute de Investigaciones Arqueoldgi- cas y Museo, San Pedro de Atacama, Chile ment Bank and the Andrew W. Mellon Ailsa Mellon Bruce Senior Fellow, Foundation funded visiting senior 1995-1996 research fellowships for scholars from Dario Gamboni, Universite de Lyon II, Institut Latin America. Grants from the J. Paul Universitaire de France Ailsa Mellon Bruce Senior Fellow, spring Getty Program, the Lampadia Founda- 1996 tion, and the Andrew W. Mellon Foun- Frederick Lamp, Baltimore Museum of Art dation provided funds for the Associa- Ailsa Mellon Bruce Senior Fellow, tion for Research Institutes in Art 1995-1996 Ira Mark, New York City History fellowship for advanced scholars Paul Mellon Senior Fellow, 1995-1996 and museum professionals from Latin America. The Center received support VISITING SENIOR FELLOWS for a symposium from The Circle of the Juan B. Albarracin-Jordan, Empresa Consul- National Gallery of Art and The Arthur tora en Arqueologia, La Paz Vining Davis Foundations. The Graham Inter-American Development Bank and Ailsa Mellon Bruce Visiting Senior Research Foundation supported the acquisition of Fellow, winter 1996 photographs of architectural drawings Oskar Bdtschmann, Universitat Bern from the Vatican collections for the Paul Mellon Visiting Senior Fellow, fall 1995 Gallery's photographic archives. Alberto Cipiniuk, Pontiffcia Universidade Catdlica do Rio de Janeiro The Center continued meetings with Inter-American Development Bank and Paul ARIAH, a union of 18 North American Mellon Latin American Visiting Senior and Mexican institutions that support Research Fellow, fall 1995 advanced research through fellowships Beth Cohen, New York City Julien Chapuis [Indiana University]* Paul Mellon Visiting Senior Fellow, spring Samuel H. Kress Fellow, 1994—1996 and related programs. Incorporated in 1996 Leah Dickerman [Columbia University]* 1988, ARIAH enables member institu- Thierry De Duve, Paris David E. Finley Fellow, 1993-1996 tions, as a group, to develop and seek Paul Mellon Visiting Senior Fellow, summer Erica Ehrenberg [New York University, 1995, Ailsa Mellon Bruce Visiting Senior Fel- funding for jointly sponsored programs Institute of Fine Arts] low, spring 1996 Samuel H. Kress Fellow, 1995-1997 and projects and to share visiting schol- Maurizio Gargano, Universita degli Studi di Marian Feldman [Harvard University] ars. The Center also took part in meet- Roma Tre David E. Finley Fellow, 1995-1998 ings of the Washington Collegium for Paul Mellon Visiting Senior Fellow, summer Pamela Fletcher [Columbia University] 1996 the Humanities, made up of 9 research Chester Dale Fellow, 1995-1996 Christian Heck, Universite de Strasbourg institutions. The theme of the Samuel lsenstadt [Massachusetts Institute of Paul Mellon Visiting Senior Fellow, spring Technology] 1995-1996 lecture series sponsored by 1996 Mary Davis Fellow, 1995-1997 the Collegium was "Belonging and Julia 0. Kagan, State Hermitage Museum, Pamela Lee [Harvard University] Acceptance in History, Culture, and the St. Petersburg Wyeth Fellow, 1995-1997 Ailsa Mellon Bruce Visiting Senior Fellow, Rejean Legault [Massachusetts Institute of Arts." fall 1995 Technology] SAMUEL H. KRESS PROFESSOR, Wouter Kloek, Rijksmuseum, Amsterdam Chester Dale Fellow, 1995-1996 Ailsa Mellon Bruce Visiting Senior Fellow, 1995-1996 Abby McGehee [University of California, spring 1996 David R. Coffin, Princeton University Berkeley]* Genevra Kornbluth, Youngstown State Paul Mellon Fellow, 1993-1996 (emeritus) University Trian Nguyen [University of California, Ailsa Mellon Bruce Visiting Senior Fellow, ANDREW W. MELLON Berkeley] winter 1996 PROFESSOR, 1994-1996 Ittleson Fellow, 1995-1997 Marie Tanner, New York City Nancy Norwood [University of California, Elizabeth Cropper, The Johns Hopkins Paul Mellon Visiting Senior Fellow, spring Berkeley]* University 1996 Mary Davis Fellow, 1994—1996 ANDREW W. MELLON LECTURER Irina Oryshkevich [Columbia University] IN THE FINE ARTS, 1996 PREDOCTORAL FELLOWS Paul Mellon Fellow, 1994-1997 Pierre M. Rosenberg, Musee du Louvre, Paris Jenny Anger [Brown University] David E. Finley Fellow, 1994-1997 * in residence 19 September 1994-31 August 1995 f) 6 Antonio Tempesta, An Architectural Tapestry in Honor of Henry IV, the Gallic Hercules, c. 1600, pen and brown ink with brown wash over graphite, 33.2 x 46.6 cm, Ailsa Mellon Bruce Fund, 1996.73.1 David J. Roxburgh [University of Dario Gamboni, "Potential Images: On the Use Salomon, City University of New York, Col- Pennsylvania]* of Visual Ambiguity in the Graphic Arts and lege of Staten Island; Leonard J. Slatkes, City Andrew W. Mellon Fellow, 1994-1996 Painting Around 1900," 2 May 1996 University of New York, Queens College; Lisa Vergara, City University of New York, Hunter Eugene Yuejin Wang [Harvard University]** Shoptalks Ittleson Fellow, 1994-1995 College; Gregor J.M. Weber, Gemaldegalerie Abby McGehee, "The Late Gothic Parish Alte Meister, Dresden; Arthur K. Wheelock Jr., Gennifer Weisenfeld [Princeton University] Churches of Paris and the Construction of National Gallery of Art Andrew W. Mellon Fellow, 1995-1997 Communal Identity," 30 November 1995 MIDDLE ATLANTIC SYMPOSIUM IN THE HISTORY OF Eugene Yuejin Wang, "For Your Eyes Only: ART: 26TH ANNUAL SESSIONS Meetings Chinese Relic Pagoda and Its Implied Mode 13 April 1996 of Viewing," 14 December 1995 Colloquia Cosponsored with the Department of Art David J. Roxburgh, '"What lies between the History and Archaeology, University of Mary- David R. Coffin, "The 'Self-Image' of the two boards?': An Album Made for Bahram land, College Park Roman Villa during the Renaissance," Mirza in 951/1544-1545," 25 January 1996 26 October 1995 Participants: Susan Nalezyty [American Uni- Leah Dickerman, "Lenin in the Age of versity], introduced by Mary D. Garrard; Elizabeth Cropper, "Pontormo's Halberdier: Mechanical Reproduction," 7 March 1996 Douglas N. Dow [Pennsylvania State Univer- A Question of Identity," 9 November 1995 Nancy Norwood, "Visualization, Replication, sity], introduced by Anthony Cutler; Aneta Ira Mark, "On the Place of Philosophy in Facsimile: The Monumental Entombment Georgievska-Shine [University of Maryland, Ancient Craft: The Case of Vitruvius," Group in Fifteenth-Century Nuremberg," College Park], introduced by Anthony Colan- 7 December 1995 28 March 1996 tuono; Lance Humphries [University of Vir- Frederick Lamp, "The Great Baga Nimba and ginia], introduced by Roger Stein; Ullrich Julien Chapuis, "Recovering the Painter's Aes- Jentz [George Washington University], intro- the Aesthetic of the Unattainable," thetic Stance: A Discussion of Stefan Loch- 13 February 1996 duced by Melvin P. Laden Julie Rosenbaum ner's Presentation in the Temple," 9 May 1996 [University of Pennsylvania], introduced by William J Conklin, "Tiwanakography: Extract- Symposia Elizabeth Johns; Elizabeth G. Buck [University ing Cultural Information from the Icons of of North Carolina, Chapel Hill], introduced the Tiwanaku Textiles," 29 February 1996 NEW VBRMEER STUDIES by Mary D. Sheriff; Leslie Topp [Bryn Mawr Beatriz Colomina, "Built in the USA: The Post- 30 November 1995 College], introduced by David Cast; Edward war Exhibition House," 11 April 1996 Participants: Daniel Arasse, Universite de A. Shanken [Duke University], introduced by Albert Ammerman, "Reconstructing the Paris, Sorbonne; Anthony Colantuono, Univer- Annabel Wharton; Elizabeth Teller [University Ancient City," 23 April 1996 sity of Maryland, College Park; Ivan Gaskell, of Pittsburgh], introduced by Barbara Harvard University Art Museums; Eddy de McCloskey; Charles Palermo [Johns Hopkins Jongh, Rijksuniversiteit Utrecht; John Michael University], introduced by Michael Fried; * in residence 18 September 1995-31 August 1996 Montias, Yale University; J.M. Nash, University Tracy J. Myers [University of Delaware], intro- ** in residence fall 1995 of Essex; Irene Netta, Munich; Nanette duced by Damie Stillman 67 THE ART OF THE ANCIENT SPECTACLE Publications 10-11 May 1996 The Center compiles an annual record Participants: Bettina Bergmann, Mount Holyoke College; John Bodel, Rutgers Univer- of the scholarly events and research of sity; Richard Brilliant, Columbia University; the preceding year. Center 16 contains John H. D'Arms, University of Michigan, Ann general information about fellowships, Arbor; Diane Favro, University of California, Los Angeles; J. Richard Green, University of meetings, publications, and research, Sydney; Christopher Jones, Harvard University; lists of the board of advisors, members Barbara Kellum, Smith College; Christine Kon- of the Center, and activities for 1995- doleon, Worcester Art Museum; Ann Kuttner, University of Pennsylvania; Richard Lim, 1996, as well as summary reports on Smith College; Nicholas Purcell, Saint John's research conducted by resident mem- College, University of Oxford; Mario Torelli, Universita degli Studi di Perugia; Henner von bers of the Center in 1995-1996 and by Hesberg, Archaologisches Institut der Univer- several fellows from the previous aca- sitat Koln; Katherine E. Welch, Harvard demic year. University; Thomas Wiedemann, University of Papers presented at symposia spon- Nottingham; T. R Wiseman, University of Exeter sored by the Center are often gathered Seminars and published in the National Gallery's ENVIRONMENTAL PLANNING series of Studies in the History of Art. 27 October 1995 To date 29 symposium volumes have THE DESIGN AND MANAGEMENT OF THE appeared, with 2 published in fiscal year ENVIRONMENT UNDER AUTHORITARIAN REGIMES: 1996: The Formation of National Collections 1920-1950 15 December 1995 of Art and Archaeology (vol. 47); and TEXTS WITHOUT IMAGES: WORKING WITH Imagining Modern German Culture: DOCUMENTARY SOURCES ON ANDEAN ART AND 1889-1910 (vol. 53). A complete list of ARCHAEOLOGY titles in the series appears in each vol- 9 February 1996 ume. Papers from other symposia are in Lecture various stages of preparation. Thomas B. F. Cummins, University of Chicago, "Guaman Poma: The Formation of a Pictorial Peruvian Colonial Manuscript," 8 February 1996 15th Anniversary Lecture Series Francis Haskell, University of Oxford, "Art and History: The Legacy of Johan Huizinga," 19 October 1995 Artur Rosenauer, Institut fur Kunstgeschichte, Universitat Wien, "The Violante of the Kunsthistorisches Museum: Reflections on Early Titian," 15 November 1995 Elisabeth Kieven, Kunsthistorisches Institut, Eberhard-Karls-Universitat Tubingen, "'On Fantasy'—Changing Aspects of Perception in Eighteenth-Century Art," 6 December 1995 Incontri David Thomson, University of East Anglia, "Du Cerceau: The Industry of Renaissance Archi- tectural Drawings," 25 July 1995 Serena Padovani, Galleria Palatina, Palazzo Pitti, Florence, "Fra' Bartolomeo Revisited," 24 October 1995 Steven A. Mansbach, American Academy in Berlin, "A Methodological Introduction to the Classic Avant-Garde of Eastern Europe," 7 November 1995 Mark Laird, Toronto, Ontario, "'A Perfect Slope of Beautiful Flowers': The Shrubbery and Flower Bed in the English Landscape Garden," 26 March 1996 John B. Onians, University of East Anglia, "Toward a Natural History of Art," 27 March 1996 68 REPORT OF THE TREASURER Fiscal year 1996 was a turbulent one for Personnel costs represent the largest the Gallery, which sustained two fur- single expense category for museums— loughs and a blizzard. A federal budget specifically salaries for curatorial, was not passed by Congress and signed guardianship, and maintenance staffs so by the President until well into the fis- integral to the care of the collections cal year. As a result, more than six and their presentation to the public. months were spent "making do" with Seventy-four percent of the federal funding schemes that temporarily cur- funds appropriated to the Gallery go to tailed most activities. The Gallery salaries and related benefit costs. bravely proceeded with its special exhi- The use of federal funds to operate bition schedule, the most ambitious of the Gallery stems from a 1937 Joint recent years, having made commit- Resolution of Congress, which accepted ments that could not be altered. All this Andrew W. Mellon's gift to the people was highlighted by the press, captivated of the United States. The resolution stip- by the public's willingness to stand for ulates that the Gallery be open to the hours awaiting entry to the once-in-a- public free-of-charge. lifetime Vermeer exhibition. Andrew Mellon's gift consisted of his art collection, funds to construct a Federal Funds for Operations building (now the West Building), and Appropriated funds in the amount of an endowment fund. The Congress in $52,202,623 supported major opera- turn pledged the faith of the U.S. to tions of the Gallery, including the cura- provide funds for the upkeep, adminis- torial and education departments, exhi- tration, and operations of the Gallery, bitions, security, maintenance, and including the protection and care of day-to-day functions. An additional works of art subsequently acquired by $9,748,000 was made available for the Board of Trustees through donation needed equipment, repairs, and renova- or purchase from private funds. The East tions to the Gallery's landmark build- Building, opened in 1978, is also a gift ings. The Gallery is well into its five- to the nation from the Mellon family. year project to replace West Building The federal government is a major skylights installed in 1937-1941. factor in the international component of 69 Equipment/ Depreciation Renovation Development Curatorial Administration Total Conservation Operating Expenses Fiscal Year 1996 $73.8 Million (including $3.8 million of depreciation not included Exhibitions z in prior years) Security Editorial / Photography Research Music Operations / Maintenance Education Fellowships the Gallery's exhibitions through its the Gallery to operate without drawing Sunday evening concerts. The federal indemnity program, managed by the on its contingency fund. investment in art education was Federal Council on the Arts and the Twenty-three exhibitions, large and enhanced by grants for work on the Humanities. Under this program, the small, were mounted in 1996 at a cost European videodisc, sponsor teachers Gallery and other museums throughout of $7.1 million, shared equally between attending the National Teacher Institute, the country have been relieved of much federal and private funding. Given the and to fund minority interns interested of the burden of insuring art treasures uncertainties of federal funding in fiscal in museum careers. coming to the U.S. from abroad. The 1996, corporate, foundation, and indi- The accompanying charts, in addition Vermeer exhibition, for example, would vidual generosity was essential to secur- to the financial statements, provide fur- not have been possible without this ing the ongoing program until federal ther insight into the funding of Gallery indemnity. funds were made available. operations. The Center for Advanced Study in the Private Funds for Operations Visual Arts supported 37 fellowships in Investments Non-federal funds utilized in fiscal year its community of scholars on private The Gallery's portfolio benefited from 1996 were drawn from unrestricted funds in addition to its ongoing program the buoyant stock market. The invest- income from the Mellon endowment, of meetings, publications, and research. ment portfolio of the Gallery had a grants from corporations and founda- Private monies also financed 7 fellow- market value of $329,776,948 on tions to complement federal support of ships, staff research, and several semi- 30 September 1996. This value was sig- exhibitions, and designated monies nars in conservation. nificantly higher than that of the pre- for other Gallery programs, including Supplementing federal funds, the ceding year, based primarily on superior the Center for Advanced Study in the Gallery used monies designated for investment performance. Visual Arts. these purposes to purchase books and The portfolio consists of the original The income from unrestricted funds is photographs for the library and photo- Mellon endowment and others subse- used for the compensation of executive graphic archives. Designated income quently given to the Gallery by various personnel, payment of professional fees, from two endowments given donors; gifts and grants designated for insurance, fundraising, and other oper- by William Nelson Cromwell and by specific purposes by individuals, founda- ating costs not covered by federal funds. F. Lammot Belin matched federal tions, and corporate sponsors; the Superior investment returns enabled monies available for the regular, free Patrons' Permanent Fund dedicated to 70 lion. Cash received in fiscal year 1996 has not changed the way it administers was deposited, following donors' its funds. wishes, in the appropriate endowment The new financial statements are very or specified purpose fund. Following different than those of the past. It has new accounting rules, explained below, been necessary to reclassify federal and all pledges have been recorded on the trust revenue and expenditures under Gallery's financial statements. new headings and in new ways, making prior year comparisons impossible. Art Acquisitions The deficit on the operating state- The Gallery made purchases of ment results from the FASB mandated works of art totaling in the aggregate depreciation charge for the East Build- $12,390,407. Significant purchases ing, the landmark gift of Paul Mellon included Jan van Huysum's Still Life and his sister Ailsa Mellon Bruce. with Flowers and Fruit, Hendrik Goltzius' Depreciation is included as an expense Fall of Man, and Ambrosius Bosschaert within "Operations/Maintenance" on the Elder's Bouquet of Flowers in a the statement of activities. Glass Vase. In addition, there is a significant charge for accrued vacation leave due Treasurer's Office privately funded staff members. In fact, all Gallery employees earn annual leave The treasurer's office is responsible for in accordance with federal laws and general financial management and pol- regulations; the cost of leave is recorded icy, overseeing investment manage- as salary expense only as leave is taken. ment, budgeting, accounting, payroll, Readers will find that the footnotes and insurance. The office manages the to the statements are much easier to systems and the controls for security understand than in the past. They clar- and disposition of the funds described ify many of the concepts introduced by the purchase of works of art; and initial in the financial statements. It also has SFAS Nos. 116 and 117. payments to the New Century Fund. oversight of the Gallery's computer Coopers & Lybrand has once again Sixty percent of the portfolio was operations, both fiscal and curatorial, given the Gallery's financial statements invested in common and preferred and of the Gallery's merchandising an unqualified opinion. The statements stocks, compared with 56 percent at the efforts. The net proceeds of the Gallery's have been prepared by the Gallery's end of fiscal year 1995. Bonds made up shops are used to finance, through a comptroller, Dale C. Rinker, the assis- 11 percent and government obligations revolving fund, the production of cata- tant treasurer, Michael W. Levine, and plus cash equivalents 29 percent. The logues, research publications, and other Kelly Liller, who served as coordinator. Gallery's investments are supervised by scholarly efforts related to the Gallery's Delorace Bowman provided invaluable the finance committee of the Board of collections. For 1996, $1,277,415 was data processing assistance. Trustees and were managed by the added to the fund from sales of investment advisory teams of Scudder, $11,389,827. Conclusion Stevens & Clark, New York; Sound The Gallery has adopted Statement of Fiscal year 1996 tested the mettle of the Shore Management, Inc. of Greenwich, Financial Accounting Standards (SPAS) Gallery. Federally mandated cuts in per- Connecticut; and Trust Company of the No. 116, "Accounting for Contributions sonnel were taken by attrition; there West, Los Angeles. The Gallery has a Received and Contributions Made," and were no layoffs or reductions in force. small position in T. Rowe Price's Strate- SFAS No. 117, "Financial Statements of Economies in operations provided funds gic Partners II, which invests in emerg- Not-for-Profit Organizations." SFAS No. for strategically important program- ing growth companies. The Gallery's 116 requires recognition of uncondi- matic activities. The Gallery is forever custodian was the Riggs National Bank tional promises to give (pledges). SFAS. grateful to its corporate, foundation, of Washington, D.C. The Gallery hired No. 117 establishes new standards for and individual donors who have sus- Cambridge Associates as its investment external financial reporting. tained it with their continuous support consultant in January 1996. The Financial Accounting Standards of specific activities. Board (FASB) is requiring all non- New Century Fund profits to adopt these standards for Ann R. Leven As detailed elsewhere in this annual years ending in 1996. While these stan- Treasurer report, the Gallery embarked on a capi- dards affect the look of externally tal campaign in 1993 to raise $105 mil- reported financial results, the Gallery 71 Coopers Coopers & Lybrand L L P. &Lybrand a professional services firm Report of independent Accountants To the Board of Trustees of The National Gallery of Art We have audited the accompanying statement of financial position of the National Gallery of Art (the Gallery) as of September 30. 1996, and the related statements of activities and cash flows for the year then ended. These financial statements are the responsibility of the Gallery's management. Our responsibility is to express an opinion on these financial statements based on our audit. We conducted our audit in accordance with generally accepted auditing standards and Government Auditing Standards issued by the Comptroller General of the United States. Those standards require that we plan and perform the audit to obtain reasonable assurance about whether the financial statements are free of material misstatement. An audit includes examining, on a test basis, evidence supporting the amounts and disclosures in the financial statements. An audit also includes assessing the accounting principles used and significant estimates made by management, as well as evaluating the overall financial statement presentation. We believe that our audit provides a reasonable basis for our opinion. In our opinion, the financial statements referred to above present fairly, in all material respects, the financial position of the National Gallery of Art as of September 30. 1996. and the changes in its net assets and its cash flows for the year then ended in conformity with generally accepted accounting principles. In accordance with Government Auditing Standards, we have also issued a report dated December 20, 1996 on our consideration of the Gallery's internal control structure and a report dated December 20, 1996 on its compliance with laws and regulations. As discussed in Note 1 to the financial statements, in 1996 the Gallery adopted the provisions of Statement of Financial Accounting Standards ("SFAS") No. 116, "Accounting for Contributions Received and Contributions Made", and SFAS No. 117, "Financial Statements of Not-for-Profit Organizations". CoO^Mfi f (^jlvsOMjcfL LAJP Washington. D C. December 20, 1996 STATEMENT OF FINANCIAL POSITION 30 SEPTEMBER 1996 ASSETS Cash and cash equivalents, including interest-bearing demand deposits and amounts on deposit with U.S. Treasury $ 21,497,415 Accounts receivable 5.408.894 Merchandise inventory 2,509,777 Pledges receivable, net 16,347,795 Investments 329,776,948 Beneficial interest in trusts 3,418,151 Deferred charges 1,281,645 Fixed assets, net 97,738,068 Art collections — TOTAL ASSETS $477,978,693 LIABILITIES AND NET ASSETS Liabilities: Accounts payable, accrued expenses, and undelivered orders $ 23,388,554 Total liabilities 23,388.554 Net assets: Unrestricted Designated for art purchases 82.928.126 Designated for the Center for Advanced Study in the Visual Arts 22.894.993 Designated for special exhibitions 411,770 Designated for sculpture garden and other capital projects 14,210,483 Designated for research 7,670,075 Designated for conservation 6,015,363 Designated for operations 31,491,663 1 Designated for publications, including systematic catalogues 18,427,607 Fixed assets 12,182,214 Total unrestricted 196,232,294 Temporarily restricted 112,807,273 Permanently restricted 145,550,572 Total net assets 454,590,139 TOTAL LIABILITIES AND NET ASSETS $477,978,693 The accompanying notes are an integral part of these financial statements. 73 STATEMENT OF ACTIVITIES FOR THE YEAR ENDED 30 SEPTEMBER 1996 Temporarily Permanently Unrestricted Restricted Restricted Total OPERATING Support and revenue: U.S. Government appropriation 49,025,626 2,723,000 $ 51,748,626 Gifts and grants 2,085,170 7,069,037 9,154,207 Investment income for operations 8,647,831 984,665 9,632,496 Royalties and other income 949,981 949,981 60,708,608 10,776,702 71,485,310 Net assets released from restrictions to fund operating expenses 9.195J 36 (9,195,136) TOTAL SUPPORT AND REVENUE 69,903,744 1,581,566 71,485,310 Expenses: Art care 25,616,443 25,616,443 Special exhibitions 7,139,340 7,139,340 Operations and maintenance 15,232,923 15,232,923 General and administrative 10,018,809 10,018,809 Security 10,701,232 10,701,232 Development 1,340,353 1,340,353 Renovation 3,800,897 3,800,897 TOTAL EXPENSES 73.849,997 73,849,997 Increase (decrease) in net assets from operating activities (3,946,253) 1,581,566 (2,364,687) NON-OPERATING U.S. Government appropriation—no-year renovation funds 6,442,000 6,442,000 Gifts and grants for art acquisitions 3,755,957 3,755,957 Endowment gifts and grants 1,625,461 1,625,461 Investment income on art endowment and capital funds 680,904 1,672,157 2,353,061 Investment appreciation 25,599,649 4,862,705 30,462,354 Net merchandising income 1,277,415 1,277,415 Acquisition of works of art J_1 2,390,407) (12,390,407) Increase in net assets from nonoperating activities 15,167,561 11,870,114 6,488,166 33,525,841 Net assets released from restrictions to fund non-operating expenses 13,147,084 JB, 147,084) Increase (decrease) in net assets from non-operating activities 28,314,645 (1,276,970) 6,488,166 33,525,841 Increase in net assets 24,368,392 304,596 6,488,166 31,161,154 NET ASSETS AT BEGINNING OF YEAR 171,863,902 112,502,677 139,062,406 423,428,985 NET ASSETS AT END OF YEAR @196,232,294 $112,807,273 $145,550,572 $454,590,139 The accompanying notes are an integral part of these financial statements. 74 STATEMENT OF CASH FLOWS FOR THE YEAR ENDED 30 SEPTEMBER 1996 CASH FLOWS FROM OPERATING ACTIVITIES: Increase in net assets $ 31,161,154 Adjustments to reconcile increase in net assets to net cash provided by operating activities: Depreciation 4,061,282 Contributions for permanently restricted investments (1,625,461) Capital gains on sale of investments (19,292,096) Unrealized gains on investments (11,170,258) Decrease in accounts receivable 1,846,954 Increase in merchandise inventory (113,627) Decrease in pledges receivable, net 312,298 Increase in beneficial interest in trusts (465,289) Decrease in deferred charges 396,383 Increase in accounts payable, accrued expenses, and undelivered orders 5,763,152 Net cash provided by operating activities 10,874,492 CASH FLOWS FROM INVESTING ACTIVITIES: Purchase of investments (302,363,099) Proceeds from sale of investments 299,850,438 Purchase of fixed assets (6,311,090) Net cash used by investing activities (8,823,751) CASH FLOWS FROM FINANCING ACTIVITIES: Contributions for permanently restricted investment 1,625,461 Net cash from financing activities 1,625,461 Net increase in cash and cash equivalents 3,676,202 Cash and cash equivalents, at beginning of year 17,821,213 Cash and cash equivalents, at end of year $ 21,497,415 The accompanying notes are an integral part of these financial statements. 75 Notes to Financial Statements 1. Summary of significant accounting Temporary restrictions may expire as a Only current year purchases made from policies result of fulfillment of the donor's wishes or specifically designated funds are reflected in the passage of time. Transfers from temporar- the statement of activities. MEASURE OF OPERATIONS—The National ily restricted to unrestricted net assets occur Gallery of Art (the Gallery) receives an UNDELIVERED ORDERS—In accordance with annual appropriation as part of the budget when contributions are expended and are accounting principles prescribed by the approved annually by the Congress and reported as net assets released from restric- Comptroller General of the United States as signed by the President to cover its core pro- tions in the statement of activities. set forth in the Policy and Procedures Manual grams. This is supplemented with income • Unrestricted net assets include all resources for Guidance of Federal Agencies, the obligation from endowments designated for current that are not subject to donor-imposed restric- basis of accounting used for federal funds dif- operating expenditures as well as gifts and tions other than those that only obligate the fers in some respects from generally accepted grants designated by the donors for specific Gallery to utilize funds in furtherance of its accounting principles. Obligations, such as programmatic activity. (All monies, related mission, including "one-year" federal appro- purchase orders and contracts, are recognized activities and balances from federal sources priations. One-year appropriations that are as expenses and are carried as liabilities even are referred to herein as "Federal," while all not obligated or expended are retained by though the related goods or services may not other non-federal monies, related activities the Gallery in accordance with federal guid- have been received. Such amounts are and balances are referred to herein as ance for a period of five years prior to being included in undelivered orders and are avail- "Trust"). returned to the United States Treasury and able until expended. Non-federal funds do The Gallery includes in its measure of are recorded as liabilities. not account for undelivered orders. operations all Federal and Trust revenue and At the discretion of the Gallery's Board of INVESTMENTS—Investments are carried at fair expenses integral to its core programs: art Trustees, Trust funds not expended from value based upon the last reported sales price care, special exhibitions, operations and operating activities may be set aside in desig- at the end of the fiscal year or, in the maintenance, general and administrative, nated reserves and earmarked to cover absence of a reported sale, upon the average security, development, and renovation. future program costs or other contingencies. of the bid and ask prices. Purchases and sales The Gallery has restated its net assets bal- CHANGES IN ACCOUNTING POLICIES—In fiscal of securities are reflected on a trade-date year 1996, the Gallery adopted Statement of ances on the statement of financial position basis. Gain or loss on sales of securities is Financial Accounting Standards (SFAS) No. as of 30 September 1995 to conform to the based on average historical value (cost of 116, "Accounting for Contributions Received policies and presentation requirements of securities if purchased or the fair value at the and Contributions Made," and SFAS No. 117, SFAS Nos. 116 and 117. The effect of adopt- date of receipt if by donation). Dividends and "Financial Statements of Not-for-Profit Orga- ing SFAS Nos. 116 and 117 was to increase interest are recorded on the accrual basis. In nizations." SFAS No. 116 requires recogni- net assets by $19,142,110 as of 30 September accordance with the policy of stating invest- tion of unconditional promises to give 1995 (see Note 10). ments at fair value, the net change in unreal- (pledges) as receivables and revenue within ESTIMATES—Preparation of financial state- ized appreciation or depreciation for the year the appropriate net asset category in the ments in conformity with generally accepted is reflected in the statement of activities (see period received. accounting principles requires management Note 6). SFAS No. 117 establishes new standards to make estimates and assumptions that PUBLICATIONS INVENTORY—Publications for external financial reporting by not-for- affect the reported amount of assets and lia- inventory is carried at the lower of cost or profit organizations and requires that bilities, the disclosure of contingent assets market. Cost is determined using the retail resources be classified for accounting and and liabilities at the date of the financial cost method. reporting purposes into three net asset cate- statement, and the reported amounts of rev- FIXED ASSETS—The land occupied by the gories in accordance with donor-imposed enues and expenses during the reporting Gallery's buildings was appropriated and restrictions: permanently restricted, tem- period. Actual results could differ from these reserved by the Congress of the United States porarily restricted, and unrestricted. estimates. for this purpose. No value has been assigned • Permanently restricted net assets have donor- FUNCTIONAL ALLOCATION OF EXPENSES—The in the accompanying financial statements. imposed restrictions stipulating that the cor- cost of providing various programs and other Buildings are recorded at cost and depreci- pus of the gifts be retained permanently. In activities has been summarized on a func- ated on a straight-line basis over the esti- some cases, the donor has also permanently tional basis in the statement of activities. mated useful life of 50 years. Equipment, restricted the use of income and any realized Accordingly, certain costs have been allo- furniture and computer software are also or unrealized gains attributable to the corpus. cated among the programs and supporting recorded at cost and depreciated on a Where no explicit restrictions exist, the cir- services. straight-line basis over estimated useful lives cumstances of certain gifts indicate that COLLECTIONS—The Gallery's collections focus ranging from 5 to 25 years. Upon retirement restrictions were intended on income and upon European and American paintings and of fixed assets, the related cost and accumu- gains. works on paper. In conformity with account- lated depreciation are removed from the • Temporarily restricted net assets carry specific ing procedures generally followed by art accounts (see Note 7). donor-imposed restrictions on the expendi- museums, the value of art has been excluded CONTRIBUTED SERVICES—The Gallery has ture or other use of contributed funds. In from the statement of financial position. The volunteers who provide assistance in various addition, the Gallery's "no-year" federal Gallery's collections are maintained for public areas of the Gallery. Such contributed ser- appropriations for special exhibitions and for exhibition, education, and research in fur- vices do not meet the criteria for recognition the repair, renovation, and restoration of its therance of public service, rather than for of contributed services contained in SFAS buildings are classified as temporarily financial gain. No. 116 and accordingly are not reflected in restricted net assets, as are gifts of long-lived The Gallery has acquired its art collections the accompanying financial statements. capital assets. through purchase or by donation-in-kind. 76 2. Cash and cash equivalents 6. Investments The Gallery considers all highly liquid invest- As of 30 September 1996 the Gallery's investment portfolio held the following: ments with an original maturity of three Cost Fair value months or less to be cash equivalents, except where such cash equivalents are held as part Loan to the U.S. Treasury $ 5,000,000 ; 5,000,000 of a long-term investment strategy Government obligations and cash equivalents 92,976,703 92,467,209 (see Note 6). Bonds and notes 36,237,924 35,755,712 As of 30 September 1996 federal cash of Common and preferred stocks 150,829,210 196,554,027 $18,322,042 was on deposit with the U.S. TOTAL $285,043,837 $329,776,948 Treasury and represents appropriated amounts yet to be disbursed. In 1942, the Gallery, under authority of an Act of Congress, made a $5,000,000 permanent loan to the U.S. Treasury. This loan bears interest at 1/4% below the average monthly rate for long-term funds paid by the U.S. Treasury (ranging from 5.626% to 6.75% during fiscal year 3. Accounts receivable 1996). Interest income on this loan was $316,736 for the year ended 30 September 1996. As of 30 September 1996 accounts receivable Investment appreciation for the year ended 30 September 1996 consisted of the following: consisted of the following: Unrealized appreciation Due from brokers on sales $11,170,258 Realized gains on sale of investments of securities and accrued 19,292,096 investment income $2,860,147 total $30,462,354 Special exhibition and other program receivables 1,273,844 7. Fixed assets Other 1,274,903 Buildings and equipment consisted of the following as of 30 September 1996: TOTAL $5,408,894 Buildings $138,349,939 Equipment 36,230,085 4. Merchandise inventory Construction-in-progress 5,261,889 As of 30 September 1996 the Gallery's inven- 179,841,913 tory consisted of the following: Less accumulated depreciation (82,103,845) Gallery shops inventory $1,372,373 Work-in-process 665,174 TOTAL $ 97,738,068 Other 472,230 TOTAL $2,509,777 Depreciation expense was $4,061,282 for fiscal year 1996. Net assets in the amount of $2,693,880 were released from restrictions related to depreciation on temporarily restricted buildings and capital improvements. 5. Pledges receivable Unconditional promises to contribute to the 8. Net assets released from restrictions Gallery in the future are recorded at the pre- Net assets were released from donor restrictions when expenses were incurred to satisfy the sent value of future cash flows, after provid- restricted purposes specified by donors for the year ended 30 September 1996 as follows: ing an allowance for uncollectibility, and are expected to be collected as follows: Operating Non-operating In one year or less $ 7,753,250 Acquisition of art Between one year and five years 10,984,971 £ — $ 5,775,407 Center for Advanced Study in the Visual Arts 815,490 TOTAL 18,738,22lf Special exhibitions 7,185,307 Less discounts for present value and Depreciation of building and capital improvements 2,693,880 allowances of $1,440,820 and Capital projects 4,309,407 $949,606, respectively (2,390,426) Research 55,604 TOTAL $16347/795 Conservation 359,191 Operations 779,544 Publications, including systematic catalogues 368,390 $9,195,136 $13,147,084 77 9. Analysis of restricted net assets 11. Merchandising income Restricted net assets consisted of the following as of 30 September 1996: Net merchandising income was derived as Temporarily Permanently follows for the year ended 30 September restricted restricted 1996: Acquisition of art $ 10,942,210 1 56,170,104 Sales $11,389,827 Center for Advanced Study in the Visual Arts 918,220 11,579,168 Less cost of goods sold (6,487,363) Special exhibitions 7,077,392 744,000 Gross profit 4,902,464 Investment in fixed assets 85,555,854 Less merchandising expenses (3,625,049) Sculpture garden and other capital projects 6,586,896 Research 42,886 1,505,000 Net merchandising income $ 1,277,415 Conservation 32,798 5,650,000 Operations 780,577 69,902,300 12. Retirement benefits Publications, including systematic catalogues 870,440 All permanent employees of the Gallery, $112,807,273 £145,550,572 both federal and non-federal, hired prior to 1 January 1984, participate in the Civil Ser- 10. Reconciliation of fund balances to beginning net assets and cumulative vice Retirement System (CSRS). Employees adjustments hired subsequent to 1 January 1984 partici- The adoption of SPAS Nos. 116 and 117 resulted in an increase of $19,142,110 to net pate in both the Social Security Retirement assets at 30 September 1995. The increase includes the recognition of contributions in the System and the Federal Employees' Retire- amount of $15,685,141 that were previously reported as deferred income, the recognition of ment System (FERS), which went into effect unconditional promises to give of $2,002,648, and beneficial interest in trusts of $2,952,862 1 January 1987. Under FERS, employees as of 30 September 1995. In addition, as of 30 September 1995 the Gallery reclassified have the option to make tax-deferred con- Federal one-year funds in the amount of $1,498,541 as a liability. tributions to a Thrift Savings Plan and in The schedule below reconciles fund balances as of 30 September 1995 as previously some instances receive reported and the cumulative adjustments, described above, to the net asset classifications a matching portion from the Gallery. required by SFAS No. 117. The Gallery funds all retirement contribu- Temporarily Permanently tions on a current basis and accordingly Unrestricted restricted restricted Total there are no unfunded retirement costs. Non-federal: Total pension expense of the Gallery was Funds for operations $ 235,909 $ — $ — $ 235,909 approximately $3,891,000 for the year Funds for special purposes 35,101,993 13,018,738 — 48,120,731 ended 30 September 1996. Endowment funds 122,826,351 335,480 128,351,306 251,513,137 Capital invested in fixed assets 8,135,189 61,489,927 — 69,625,116 13. Income taxes The Gallery is a nonprofit organization Federal: exempt from federal income taxes under the One-year funds 1,498,541 — — 1,498,541 provisions of 501 (c)(3) of the Internal Rev- No-year renovation funds — 5,303,928 — 5,303,928 No-year special exhibition enue Code. funds — 2,126,369 — 2,126.369 14. Rental commitments Capital invested in fixed assets 4,810,160 21,052,984 — 25,863,144 Total net assets at The Gallery has entered into operating 30 September 1995, leases for warehouse space expiring in Octo- as previously reported 172,608,143 103,327,426 128,351,306 404,286,875 ber 1998. Future minimum rental commit- SFAS Nos. 116 and 117 ments under these leases as of 30 September adjustments: 1996 were approximately as follows: Recognition of deferred income 303,500 4,286,641 11,095,000 15,685,141 For the years ending 30 September, Recognition of pledges 510,000 2,247,348 1,000,000 3,757,348 Discounting pledges 1997 $529,657 to present value (59,200) (311,600) (1,383,900) (1,754,700) 1998 545,546 Beneficial interest in trusts — 2,952,862 — 2,952,862 Reclassification of federal 1999 45,573 one-year funds funds (1,498,541) — — (1,498,541) Total $1,120,776 (744,241) 9,175,251 10,711,100 19,142,110 Total net assets at The terms of these leases include additional 30 September rent for operating expenses, real estate 1995, as restated $1171,863,90 2 $112,502,677 51139,062,40 6 $423,428,985 taxes, utilities, and maintenance. Rental expense on the above leases was approxi- mately $677,000 for the year ended 30 Sep- tember 1996. 78 APPENDICES Acquisitions Eeckhout, Gerbrandt van den, Dutch, 1621-1674 The Levite at Gibeah, probably late 1650s, oil on Paintings canvas, 1996.99.1, Gift (Partial and Promised) of Emile W. Wolf Baselitz, Georg, German, bom 1938 Goltzius, Hendrik, Dutch, 1558-1617 Mann in Mond—Franz Pforr (Man in the Moon— The Fall of Man, 1616, oil on canvas, 1996.34.1, Franz Pforr), 1965, oil on canvas, 1995.96.1, Gift Patrons' Permanent Fund (Partial and Promised) of Charles and Helen Schwab Hartigan, Grace, American, born 1922 Baziotes, William, American, 1912-1963 Essex and Hester (Red), 1958, oil on canvas, Desert Landscape, 1951, oil and charcoal on can- 1996.81.3, Robert and Jane Meyerhoff Collection vas, 1996.81.1, Robert and Jane Meyerhoff Collection Heade, Martin Johnson, American, Bellotto, Bernardo, Italian, 1721-1780 1819-1904 The Fortress of Konigstein: Courtyard with the Mag- Giant Magnolias on a Blue Velvet Cloth, c. 1890, dalenenburg, 1756-1758, oil on canvas, 1996.64.1, oil on canvas, 1996.14.1, Gift of The Circle of the Gift (Partial and Promised) of Lili-Charlotte Sarnoff in National Gallery of Art in Commemoration of Its 10th memory of her grandfather, Louis Koch Anniversary Bosschaert, Ambrosius, the Elder, Dutch, Hofmann, Hans, American, 1880-1966 1573-1621 Autumn Gold, 1957, oil on canvas, 1996.81.4, Bouquet of Flowers in a Glass Vase, 1621, oil on Robert and Jane Meyerhoff Collection copper, 1996.35.1, Patrons' Permanent Fund and New Century Fund Huysum, Jan van, Dutch, 1682-1749 Still Life with Flowers and Fruit, c. 1715, oil on Bray, Jan de, Dutch, c. 1627-1688 panel, 1996.80.1, Patrons' Permanent Fund and Gift of Head of a Small Boy, c. 1650, oil on copper, Philip and Lizanne Cunningham 1995.74.1, Gift of Maida and George Abrams Johns, Jasper, American, born 1930 Dubuffet, Jean, French, 1901-1985 Perilous Night, 1982, encaustic on canvas with lis tiennent conseil (They Hold Council), 1947, oil on objects, 1995.79.1, Robert and Jane Meyerhoff Collec- canvas tion Barbe des combats (Combat Beard), 1959, oil on canvas Kessel I, Jan van, Flemish, 1626-1679 1995.95.1,2, The Stephen Hahn Family Collection (Par- Vanitas Still Life, c. 1665, oil on copper, 1995.74.2, tial and Promised Gift) Gift of Maida and George Abrams La ronde des images, 1977, acrylic on paper Lichtenstein, Roy, American, born 1923 mounted on canvas, 1996.81.5, Robert and Jane Painting with Statue of Liberty, 1983, oil and Meyerhoff Collection Magna on canvas, 1996.81.6, Robert and Jane Mey- erhoff Collection 79 Jan van Kessel I, Vanitas Still Life, c. 1665, oil on copper, 20.1 x 14.9 cm, Gift of Maida and George Abrams, 1995.74.2 Murray, Elizabeth, American, born 1940 Tomlin, Bradley Walker, American, Sculpture Careless Love, 1995-1996, oil on shaped canvas, 1899-1953 1996.28.1, The Aaron I. Fleischman Fund Maneuver for Position, 1947, oil on canvas, Barye, Antoine-Louis, French, 1796-1875 1996.81.2, Robert and Jane MeyerhoII Collection Novell!, Gastone, Italian, 1925-1968 Python Swallowing a Doe, model 1840, cast c. 1860/1883, bronze, 1995.75.5, Gift of Lisa La Liberazione, 1959, mixed media on canvas, Twombly, Cy, American, bom 1928 and Leonard Baskin 1996.106.1, Gift of Ivan Novelli Untitled (Bolsena), 1969, oil-based house paint, wax crayon, and graphite on canvas, 1995.73.1, Belli, Valeric, Italian, 1468-1546 Shanks, Nelson, American, born 1937 Gilt ol the Collectors Committee and Adriana and Address to a Married Couple, before 1540 J. Carter Brown, 1993, oil on canvas, 1995.98.1, Robert Mnuchin Orestes Released from the Furies, probably 1520s, Gift of the Dicke Family before 1540 Stella, Frank, American, born 1936 bronzes, 1996.82.3,4, Gift of Douglas Lewis La scienza della fiacca, 4x, 1984, oil, urethane Bernard!, Giovanni, Italian, 1496-1553 enamel, fluorescent alkyd paint, acrylic, and Pan and Syrinx, mid-16th century, bronze, printing ink on canvas, etched magnesium, alu- 1996.82.5, Gift of Douglas Lewis minum, and fiberglass, 1995.79.2, Robert and Jane Meyerhoff Collection 80 Ellis, Richard Howard, American, born 1938 Cruikshank, George, British, 1792-1878 Franklin D. Murphy, 1995, bronze, 1996.105.1, "Crinolina"—and the Consequences (recto), "Tak- Gift of The Ahmanson Foundation ing the Air" in Hyde Park (verso), 1865, pen and Flotner, Peter, German, c. 1485-1546 black ink with watercolor over traces of graphite; pen and brown ink with brown wash Allegory of Wrath, c. 1535, bronze, 1996.41.3, over graphite, 1996.5.l.a,b, Ailsa Mellon Bruce Fund Eugene L. and Marie-Louise Garbaty Fund French 16th Century Diebenkorn, Richard, American, 1922-1993 Drawing for Touched Red, 1991, graphite and blue Susanna and the Elders, c. 1570s, gilded bronze, felt-tip pen on tracing paper 1996.83.1, Gift of Andrew M. Brown Drawing for High Green I & II, 1992, blue foun- Moderno, Italian, 1467-1528 tain pen and graphite on blue-lined paper Christ in the Tomb, Supported by the Virgin, Saint 1996.77.99,100, Eugene L. and Marie-Louise Garbaty John, and an Angel, 1508/1513, bronze, 1996.41.1, Fund and Patrons' Permanent Fund Eugene L. and Marie-Louise Garbaty Fund Drtikol, Frantisek, Czechoslovakian, David and Goliath, mid- or late 1490s 1883-1961 Running Hercules, mid- or late 1490s Procession, 1919, charcoal on brown paper, gilded bronzes, 1996.82.1,2, Gift of Douglas Lewis 1996.89.21, Gift of The Anne and Jacques Baruch Col- Roman 17th Century lection Saint Charles Borromeo, c. 1610, bronze, 1995.75.1, Fossati, Domenico, Italian, 1743-1784 Gift of Lisa and Leonard Baskin Campo San Zanipolo Decorated for the Visit of Pius VI, 1782, pen and black and brown inks Drawings with gray wash over graphite, 1996.37.1, J. Carter Brown Fund Bellows, George, American, 1882-1925 French 19th Century Street Fight (recto), 1907, Dance Scene (verso), Stage Design for the Theatre Libre, 1888/1900, pen c. 1907, conte crayon, pastel, graphite, and and gray ink with gray wash over traces of brush and black ink; charcoal and pastel, graphite on blue paper 1996.39.l.a,b, Eugene L. and Marie-Louise Garbaty Infantry Costume Design for the Theatre Libre, Fund 1888/1900, watercolor, graphite, and pen and Berain, Jean, French, 1640-1711 brown ink An Elaborate Ceiling with Trellises and Seated Fig- 1995.76.126,127, Gift of The Atlas Foundation ures, c. 1700, pen and brown ink over black Giovanni da Udine, Italian, c. 1487-1535 chalk, squared in red chalk, 1996.73.4, Ailsa Mel- Grotesque Decorations for Wall Panels, c. 1530, pen lon Bruce Fund and brown ink, 1996.73.3, Ailsa Mellon Bruce Fund Berlin, Fran^ois-Edouard, French, 1797-1871 Goltzius, Hendrik, Dutch, 1558-1617 Flouse with a Portico at Ermenonville, graphite, A Foxglove in Bloom, 1592, pen and brown ink, 1995.81.1, Gift of Donald Stone 1996.44.1, Gift of Rosi Schilling in memory of Edmund Bochner, Mel, American, born 1940 Schilling First Fulcrum, 1975, pastel and conte crayon Guercino, Italian, 1591-1666 Vector, 1977, pastel Madonna and Child with an Escaped Goldfinch, 1996.81.7,8, Robert and Jane Meyerhoff Collection early 1630s, red chalk, 1996.21.1, Andrew W. Mel- Bonnard, Pierre, French, 1867-1947 lon Fund Program Design for the Theatre Libre, c. 1892, pen Jacque, Charles Emile, French, 1813-1894 and black ink with watercolor over graphite, The Shepherdess, c. 1869, pastel on brown paper, 1995.76.1, Gift of The Atlas Foundation 1996.45.1, Gift of Mr. and Mrs. James T. Dyke Both, Jan, Dutch, probably 1618-1652 Leporsky, Marianna, American, born 1953 A Cavalier Lying on the Ground, c. 1640, black Peterhof the Great Cascade after Restoration, 1995, chalk heightened with white on blue-washed pen and brown ink with watercolor over paper, 1996.68.1, Ailsa Mellon Bruce Fund graphite, 1995.89.1, Gift of the Artist Bouchardon, Edme, French, 1698-1762 Lewis, Wyndham, British, 1882-1957 Rocaille Fountain with Venus, Amorini, and Swans, Seated Nude, 1919, watercolor and graphite, probably 1730s, red chalk on 2 joined sheets of 1996.70.1, Ailsa Mellon Bruce Fund paper, 1996.13.1, Ailsa Mellon Bruce Fund Briosco, Andrea, Italian, 1470-1532 Lhermitte, Leon Augustin, French, Brown, James, American, born 1951 Triumph of Silenus, c. 1530 1844-1925 Untitled in The Passion, 1991, gouache drawing Bacchanalian Scene, c. 1530 An Elderly Peasant Woman, c. 1878, charcoal, in illustrated volume, 1995.90.1.a, Gift of Robert Allegory of Fate, c. 1530 1996.30.1, Gift of Mr. and Mrs. James T. Dyke and Brenda Edelson bronzes, 1995.75.2^1, Gift of Lisa and Leonard Baskin Lozowick, Louis, American, 1892-1973 Calder, Alexander, American, 1898-1976 Caraglio, Gian Jacopo, Italian, c. 1500-1565 Lozowick Sketchbook, 1929/1959, sketchbook with A Fox and a Carv'd Head in Fables of Aesop accord- Adoration of the Shepherds, c. 1526, bronze, 9 drawings in various media ing to Sir Roger L'Estrange, 1931, pen and black 1996.41.2, Eugene L. and Marie-Louise Garbaty Fund Lozowick Sketchbook, 1930/1945, sketchbook with ink drawing in illustrated volume, 1996.31.l.a, 64 drawings in various media Chaplain, Jules Clement, French, 1839-1909 Gift of The Circle of the National Gallery of Art Amable Charles Franquet, le Comte de Franqueville, Lozowick Sketchbook, 1935/1945, sketchbook with Campagnola, Giulio, Italian, 1482-after 1514, 1893, bronze, 1996.42.1, Gift of David and Constance 40 drawings in various media or possibly Giorgione, Italian, 1477/1478-1510 Yates Lozowick Sketchbook, 1939/1945, sketchbook with Jupiter and Ganymede above an Extensive Land- 163 drawings in various media Di Suvero, Mark, American, born 1933 scape, c. 1500, pen and brown ink on paper Lozowick Sketchbook, 1940/1950, sketchbook with Aurora, 1992-1993, steel, 1996.72.1, Gift of The incised for transfer, 1996.11.1, Ailsa Mellon Bruce 36 drawings in various media Morris and Gwendolyn Cafritz Foundation Fund Lozowick Sketchbook, c. 1950, sketchbook with 81 10 drawings in various media Saint Ludmila, 1898, charcoal and graphite with 1996.46.1, Gift of Joan and Lucio Noto and The Geor- Lozowick Sketchbook, 1960s, sketchbook with blue colored pencil on light brown paper, gia O'Keeffe Foundation 3 drawings in graphite 1996.89.26, Gift of The Anne and Jacques Baruch Col- Desert Flower, c. 1929, pastel on paperboard, Lozowick Sketchbook, 1960/1973, sketchbook with lection 1996.84.1, Anonymous Gift 28 drawings in various media Master J.N., German or Netherlandish, active Lozowick Sketchbook, c. 1964, sketchbook with Palma il Giovane, Jacopo, Attributed to, late 16th century 20 drawings in various media Italian, c. 1548-1628 The Coronation of the Virgin with Angel Musicians Lozowick Sketchbook, 1964/1968, sketchbook with Saint Mark with Two Bishops and Putti, c. 1580, and All Saints, c. 1590, pen and black ink with 14 drawings in various media pen and brown ink with brown wash, height- gray wash, 1995.71.1, Ailsa Mellon Bruce Fund Lozowick Sketchbook, 1964/1968, sketchbook with ened with white, over black chalk, 1996.43.1, Gift 22 drawings in graphite Modersohn-Becker, Paula, German, of Ruth Carter Stevenson Lozowick Sketchbook, 1964/1973, sketchbook with 1876-1907 Pater, Jean-Baptiste Joseph, French, 6 drawings in various media Half-Nude Woman Holding Her Hair Apart, 1695-1736 Lozowick Sketchbook, c. 1970, sketchbook with c. 1898, charcoal with black and brown chalks, A Comic Actor Dressed as a Gentleman (recto). 39 drawings in various media 1995.83.1, Gift of Robert Paul Mann and Dorothy Rococo Wall Design with a Fountain and Swans Lozowick Sketchbook, c. 1970, sketchbook with Neeld Mann (verso), c. 1729, red chalk; red chalk counter- 49 drawings in various media Morgner, Michael, German, born 1942 proof on 2 joined sheets of paper, 1996.25.l.a.b, Lozowick Sketchbook, sketchbook with 3 drawings Angst (Fear), 1995, ink washes and asphalt with Gift of Neil and Ivan Phillips in graphite stamping Poynter, Sir Edward John, British, Lozowick Sketchbook, sketchbook with 10 draw- Schreitende (Striding), 1989, ink washes and 1836-1919 ings in graphite asphalt with stamping A View of the Arno, Florence, 1874, graphite, Lozowick Sketchbook, sketchbook with 5 drawings Brennende Mann (Burning Man), 1989, ink 1996.3.1, William B. O'Neal Fund in graphite washes and asphalt with stamping 1995.85.1-34, Gift of Adele Lozowick 1996.58.1-3, Gift of Batuz Foundation Sanders, Gerard, Dutch, 1702-1767 Maratta, Carlo, Italian, 1625-1713 Floral Still Life with Chestnuts, 1763, watercolor Nolde, Emil, German, 1867-1956 over graphite, 1996.65.1, Gift (Partial and Promised) Two Men in Elaborate Costumes, c. 1680, black Anemones, c. 1937, watercolor with touches of of Diane Morris Heldfond chalk heightened with white, 1996.75.1, Ailsa graphite on japan paper, 1995.97.1, Gift of Mrs. Mellon Bruce Fund John Alexander Pope Schnorr von Carolsfeld, Julius, German, Masek, Karel Vitezslav, Czechoslovakian, 1794-1872 O'Keeffe, Georgia, American, 1887-1986 The Triumph of David, 1826, pen and brown ink 1865-1927 Nude Series III, 1917, watercolor on paperboard, over graphite, 1996.26.1, Ailsa Mellon Bruce Fund 82 Charles Emile Jacque, The Shepherdess, c. 1869, pas- tel on brown paper, 52.6 x 94.9 cm, Gift of Mr. and Mrs. James T. Dyke, 1996.45.1 Emil Nolde, Anemones, c. 1937, watercolor with touches of graphite on japan paper, 23.5 x 46.9 cm, Gift of Mrs. John Alexander Pope, 1995.97.1 Stella, Joseph, American, 1877-1946 chalk over graphite Amman, Hans, German, active last half of the Eggplant, colored crayons and colored pencils, 1995.88.1-6, Gift of Giancarlo Tognoni in honor of 16th century 1996.47.1, Gift of Mr. and Mrs. James T. Dyke Sydney Freedberg Scenes from the Life of Christ, c. 1553, album with 57 woodcuts, 1996.85.1-57, Gift of Taraval, Louis Gustave, French, 1739-1794 Tuttle, Richard, American, born 1941 A. Thompson Ellwanger III Fagade for a Church with a Sculpture Representing Untitled in Sphericity, 1993, watercolor in illus- Faith, c. 1768, pen and gray ink with gray and trated volume, 1995.90.7.a, Gift of Robert and Anderle, Jiri, Czechoslovakian, born 1936 brown washes over black chalk, 1996.73.5, Ailsa Brenda Edelson Elite, 1981, drypoint, engraving, power tool drypoint, and scraping with collaged Mellon Bruce Fund Vos, Marten de, Flemish, 1532-1603 photograph Tempesta, Antonio, Italian, 1555-1630 Apollo, Diana, and Time with the Cyclic Vicissitudes Soldier, 1980, drypoint, engraving, roulette, An Architectural Tapestry in Honor of Henry IV, the of Human Life, c. 1561, pen and brown ink with power tool drypoint, and scraping with collaged Gallic Hercules, c. 1600, pen and brown ink with gray wash over traces of graphite, incised for photograph brown wash over graphite, 1996.73.1, Ailsa Mellon transfer, 1996.73.2, Ailsa Mellon Bruce Fund Soldier and Bride, 1980, drypoint, engraving, Bruce Fund Wilson, Robert, American, born 1941 power tool drypoint, and scraping with collaged Tiepolo, Giovanni Domenico, Italian, Swan Song #6, 1989, pastel and graphite, photograph 1727-1804 1995.69.1, Gift of the Collectors Committee Soldier and Three Ladies, 1980, drypoint, engrav- God the Father in Clouds Surrounded by Angels and ing, power tool drypoint, and scraping with col- Putti, pen and gray ink with brown wash over Prints laged photograph charcoal, 1996.67.1, Gift (Partial and Promised) of Soldier, Girl, and Parents, 1980, drypoint, engrav- Helena Gunnarsson Abel-Truchet, French, 1857-1919 ing, power tool drypoint, and scraping with col- Tognoni, Giancarlo, Italian, born 1932 La Muse malade. 1890s, lithograph in brown laged photograph La Fumee, puis la flamme, 1895, 4-color litho- Soldier, Mother, and Child, 1982, drypoint, engrav- Giardino No. 13 (Garden No. 13), 1986, brown, graph ing, power tool drypoint, and scraping with col- black, and orange chalks 1995.76.89,90, Gift of The Atlas Foundation laged photograph Autunno (Autumn). 1992, watercolor over Soldier, Son, and Wife, 1980, drypoint, engraving, graphite Achepohl, Keith Anden, American, born power tool drypoint, and scraping with collaged Nubi e Collina (Clouds and a Hill), 1993, black 1934 photograph chalk Capriccio V, 1995 Variation on Durer's Saint Hieronymous (Perspective Fiori (Flowers), 1994, watercolor over graphite Capriccio VII, 1995 No. 3), 1970-1971, mezzotint, engraving, Natura No. 13 (Nature No. 13), 1995, black chalk 2 digital pompage iris prints, 1996.59.1-2, Gift of roulette, etching, and scraping in black and red- Giardino (Garden), 1995, watercolor with black the Artist brown 83 0 ES f VEK£RABll/s /yR AErSTW> |^F PATRIS ' EVANTONLL - f D.LVDOV/C/ fpE WWGHE I •F BLOSII j ABB ATIS ft 'J MONASTER^ h ST /«£ r J^£TIEMSfs 0fONACttOHVM l/m f ORDWrs j. EJVSI>j,zm J£( S.BENEDIcrj. /'utOVAST^j mHANKOi,-jA Jp AVC^H £SM ABBATIS F ORNATA DMJJLM LLV opera j& ^Ay. pM ANTVERPIvE.EX OFFICINA PLANTINIANA BALTHASARIS MORETI M. DC XXXII. CVM PRIVILEGIIS OESAREO ET DVORVM REGVM . Cornells Galle I after Sir Peter Paul Rubens, Title Page for Ludovicus Blosius, Opera, 1632, engraving, William B. O'Neal Fund, 1996.78.22 Woman in Fur, 1978, drypoint, engraving, Andre, Albert, French, 1869-1954 lithograph [proof] roulette, and scraping in brown and black L'Anneau de gakuntala, 1895, lithograph in Le Talion; La Cage; Ceux qui restent; Fortune, 1898, 1996.89.1,3-10, Gift of The Anne and Jacques Baruch green, 1995.76.6, Gift of The Atlas Foundation lithograph Collection Anquetin, Louis, French, 1861-1932 1995.76.3-5,144, Gift of The Atlas Foundation Portrait of Anne B., 1980, drypoint, engraving, Dancing Nude, 1897, transfer lithograph in Antoine, Andre, French, 1858-1943, and and scraping in black and brown with emboss- brown [proof] Rodolphe Darzens, French, active 1890s ing, 1996.89.2, Gift of The Anne and Jacques Baruch La Fille d'Artaban; La Nebuleuse; Dialogue inconnu, (authors) Collection in memory of Rebecca Stem 1896, lithograph Le Theatre Libre 1887-1894, 1894, 5 booklets in Le Talion; La Cage; Ceux qui restent; Fortune, 1898, bound volume plus 2 additional loose booklets 84 Memorabilia of Theatre Libre and Theatre Antoine, Blery, Eugene, French, 1805-1887 Twelve Haiku, 1978, color hardground etching, Volumes I-III, 1890s, 3 albums containing manu- Large Burdock by the Trunk of a Beech Tree, 1842, softground etching, photoetching, drypoint, sug- scripts, samples of tickets, and examples of pro- etching and roulette on chine colle, 1996.52.1, arlift aquatint, and engraving grams Anonymous Gift Seventeen Drawings by Thoreau, 1978, color 1995.76.117, 118-145, Gift of The Atlas Foundation Boissieu, Jean-Jacques de, French, photoetching Changes and Disappearances 32, 1982, color dry- Auerbach, Frank, British, born 1931 1736-1810 point, engraving, and photoetching on gray Ruth, 1994, 2 etched copper plates The Old Peasant Girard, 1772, etching and paper Ruth, 1994, cancelled print aquatint, 1996.9.1, Ailsa Mellon Bruce Fund Dereau, 1982, color photoetching, engraving, 1995.92.1-3, Gift of Frank Auerbach and Mark Bal- Boldrini, Niccolo, Italian, 1510-1566 or after drypoint, and aquatint on japan paper akjian of "Studio Prints" Hunter on Horseback, 1566, chiaroscuro woodcut R3 (where R=Ryoanji), 1983, drypoint Auriol, George, French, 1863-1938 printed from 2 blocks: black line block and (R3) (where R=Ryoanji), 1983, drypoint Menaces d'artistes; Le Maitre, 1890 ocher tone block, 1996.22.1, Pepita Milmore Memo- 2R+13-14 (where R=Ryoanji), 1983, drypoint Jacques Bouchard; La Tante Leontine; Une nouvelle rial Fund R2/3 (where R=Ryoanji), 1983, drypoint ecole, 1890 Boltanski, Christian, French, born 1944 R2/2 (where R=Ryoanji), 1983, drypoint Myrane; Les Chapons, 1890 Gymnasium Chases, published 1991, portfolio of R2/1 (where R=Ryoanji), 1983, drypoint 5-color lithographs, 1995.76.7,132,133, Gift of The 24 photogravures Weather-ed, 1983, color photoetching Atlas Foundation 1996.93.1-24, Gift of Kathan Brown Ryoku Series, 1985, series of 13 color etchings Bagelaar, Ernst Willem Jan, Flemish, II Stones 2, 1989, color spitbite aquatint and Bonnard, Pierre, French, 1867-1947 1775-1837 sugarlift on smoked paper Derniere croisade; L'Errante; La Fleur enlevee, 1896, Landscape with a Peasant Carrying Firewood, II Stones, 1989, color spitbite aquatint and lithograph in green [proof] c. 1800, 2 etched impressions; an early proof sugarlift on smoked paper Aert, 1897, lithograph and a later proof on blue paper, 1996.50.1-2, 10 Stones 2, 1989, color spitbite aquatint and 1995.76.10,92, Gift of The Atlas Foundation Miriam Jacobson Memorial Fund sugarlift on smoked paper Bonnet, Louis Marin, French, 1736-1793 10 Stones, 1989, color spitbite aquatint and Balcar, Jirf, Czechoslovakian, 1929-1968 Anna Vanloo (after Carle Vanloo), c. 1764, sugarlift on smoked paper Afternoon Repast, 1968, color lithograph crayon-manner engraving in black and white on 9 Stones 2, 1989, color spitbite aquatint and Lady, 1965, etching and drypoint brown paper, 1996.15.1, Ailsa Mellon Bruce Fund sugarlift on smoked paper Message III, 1961, drypoint 9 Stones, 1989, color spitbite aquatint and sugar- Panorama, 1958, lithograph Borcht, Peter van der, Flemish, 1545-1608 lift on smoked paper The Cobbler's Unruly Family, 1559, etching and Party II, 1968, drypoint and softground etching Global Village 37-48, 1989, aquatint on 2 sheets engraving, 1996.71.1, Ailsa Mellon Bruce Fund Plan, 1960, etching and aquatint of smoked light brown paper Prelude I, 1959, aquatint Boudnfk, Vladimir, Czechoslovakian, Global Village 1-36, 1989, aquatint on 2 sheets of Self-Portrait II, 1955, drypoint on oatmeal paper 1924-1968 smoked brown paper 1996.89.11-18, Gift of The Anne and Jacques Baruch Active Graphic Sheet, 1960, aquatint with Dramatic Fire, f 989, color aquatint on smoked Collection embossing paper Baratta, Antonio, Italian, 1724-1787 Tortoise, 1966, aquatint in black and orange 75 Stones, 1989, color spitbite aquatint and Gravure en Taille-Douce; Gravure en Bois; 1996.89.19,20, Gift of The Anne and Jacques Baruch sugarlift on smoked paper Imprimerie en Taille-Douce, 1771/1779, 14 Collection The Missing Stone, 1989, color spitbite aquatint and sugarlift on smoked paper engraved plates from Diderot and d'Alembert's Bracquemond, Felix, French, 1833-1914 Encyclopedic Smoke Weather Stone Weather, 1991, color soft- Edmond de Goncourt, 1882, etching and engrav- Dessein (after Charles Nicolas Cochin II), pub- ground, spitbite, and sugarlift aquatint on ing on japan paper, 1996.15.2, Ailsa Mellon Bruce lished 1771/1779, bound volume with 38 smoked paper Fund engraved plates from Diderot and d'Alembert's 1996.93.25-68, Gift of Kathan Brown Bradt, Johannes Gottfried, Danish, Encyclopedic On the Surface, 1980, embossed print 1741-1770 1996.20.1-14, 1996.24.1, Ailsa Mellon Bruce Fund HV, 1983, color monotype Monvmenta Fredensbvrgica ivssv Friderici V. erecta Mesostics: Earth, Air, Fire, Water, 1985, color Bartolozzi, Francesco, Italian, 1727-1815, (after Johannes Wiedewelt) (Copenhagen, monotype and collage Peltro William Tomkins, British, 1760-1840, 1769), bound volume with 37 engravings, Eninka, 1986, color monotype and James Thomson (author), British, 1996.2.1, William B. O'Neal Fund 1700-1748 Variations, 1987, smoked monotype and The Seasons (London, 1797), bound volume with Brown, James, American, born 1951 branding 21 color stipple engravings after paintings by The Passion, 1991, bound volume with 40 offset Deka, 1987, monotype William Hamilton, 1996.38.1, William B. O'Neal lithographs and 1 original drawing, 1995.90.1, Where There is Where There—Urban Landscape, Fund Gift of Robert and Brenda Edelson 1987-1989, monotype Variations III, 1992, monotype on smoked paper Bataille, Henri, French, 1872-1922 Burne-Jones, Sir Edward Coley, after HV2, 1992, aquatint with foul biting Annabella, 1894, lithograph, 1995.76.9, Gift of The La Belle au bois dormant, 1894, collotype, 1996.94.21-29, Gift of Crown Point Press Atlas Foundation 1995.76.11, Gift of The Atlas Foundation Calder, Alexander, American, 1898-1976 Beckmann, Max, German, 1884-1950 Bussy, Simon Albert, French, 1870-1954 Fables of Aesop according to Sir Roger L'Estrange Ice Skating, 1922, lithograph on light pink japan Aert, 1898, lithograph in green, 1995.76.12, Gift of (Paris, 1931), bound volume with 50 line-block paper, 1995.77.3, Gift of Frank R. and Jeannette H. The Atlas Foundation illustrations and 1 original drawing, 1996.31.1, Eyerly Cage, John, American, 1912-1992 Gift of The Circle of the National Gallery of Art Global Village 1-36, 1989, aquatint, roulette, and Bellmer, Hans, German, 1902-1975 Cappiello, Leonetto, and Charles Huard, drypoint on 2 sheets of smoked brown paper, Bookplate of Camille Aboussouan, c. 1955, engrav- after ing placed in Longus volume, Les amours pas- 1996.57.1.a,b. Gift of Werner H. and Sarah-Ann ICra- Le Sourire: Andre Antoine (recto), Quatorze de rois, torales de Daphnis et de Chloe, 1996.62.l.a. Gift of marsky Monsieur Cornouillet, L'Exposition commence bien! Mrs. Tom F. Marsh in honor of Ruth Carter Stevenson Signals, 1978, color engraving and photo- (verso), 1900, color photomechanical process, Bellotto, Bernardo, Italian, 1721-1780 etching 1995.76.119.a,b, Gift of The Atlas Foundation Seven Day Diary (Not Knowing), 1978, portfolio of Landscape with a Dead Tree, 1741/1742, etching, Castiglione, Giovanni Benedetto, italian, 1996.49.1, Gift of Andrew Athy Jr. 7 etchings 1609 or before-1664 Score without Parts (40 Drawings by Thoreau): Young Man Wearing a Fur Headdress with a Head- 85 band, Facing Right, 1645/1650, etching, 1996.32.1, Decaux, Charles, French, active 1890s, and Card Game, 1981, softground etching Gift (Partial and Promised) of Vivian S. and Marc H. French 19th Century Black Club, 1981, hardground etching, drypoint, Brodsky Les Hommes d'aujourd'hui: Andre Antoine (after and aquatint Black Club, 1981, hardground etching, drypoint, Cezanne, Paul, French, 1839-1906 Desire Luc), c. 1888, hand-colored photo- mechanical print and aquatint The Bathers (Small Plate), 1897, color lithograph, Simone; Les Maris de leurs piles (after Adolphe Tri-Color, 1981, color hardground etching, dry- 1995.77.2, Gift of Frank R. and Jeannette H. Eyerly Leon Willette, Oswald Heidbrinck, and Jules point, and aquatint Chagall, Marc, Russian, 1887-1985 Cheret), c. 1891, 8-page program with photo- Tri-Color II, 1981, color aquatint with spitbite Man with a Sack, 1922/1923, woodcut mechanical illustrations and softground etching Three Acrobats, 1923, etching and aquatint 1995.76.118,142, Gift of The Atlas Foundation Blue Club, 1981, color aquatint with spitbite and The Trough, 1924, lithograph softground etching Decaux, Charles, French, active 1890s, and Bella, 1924, etching and drypoint Maximilien Luce, French, 1858-1941 Combination, 1982, color aquatint and spitbite The Rider, 1926/1927, etching etching La Meule; Jeune premier! (after John Lewis Man with an Umbrella, 1926/1927, etching and Spreading Spade, 1981, color aquatint with spit- Brown and Auguste Renoir), theater program aquatint bite etching and drypoint with photomechanical and lithographic illustra- 1995.84.1-6, Gift of Mr. and Mrs. Gerhard E. Pinkus White Club, 1981, ink-transfer aquatint tions, 1995.76.51.a,b, Gift of The Atlas Foundation Charpentier, Alexandre, French, 1856-1909 Softground Splay, 1982, drypoint and softground Denis, Maurice, French, 1870-1943 etching L'ecole des veufs; Au temps de la ballade, 1889, ink- Au-dela des forces humaines; La Motte de terre, 1897, Softground Cross, 1982, softground etching with less embossing lithograph in green drypoint La Dupe; Son petit coeur, 1891, inkless embossing La Scene; La Verite dans le vin; Les Pieds nickeles; Softground Y, 1982, softground etching with on brown paper Interieur, 1895, lithograph drypoint Nell Horn, 1891, 4-color lithograph with emboss- 1995.76.21,22, Gift of The Atlas Foundation Two Way, 1982, softground etching with ing drypoint Nell Horn, 1891, 4-color lithograph with emboss- Dethomas, Maxime, French, 1867-1929 Spade Drypoint, 1982, drypoint ing Brand, 1895, lithograph in green-brown and red Eiffelspade, 1982, aquatint Dans le Guignol; Le Pere Lebonnard, 1889, inkless La Victoire, 1898, lithograph in brown Sugarlift Spade, 1982, sugarlift etching embossing Une Mere; Broceliande; Les Flaireurs; Des Mots! Des Tri-Color Spade, 1982, color drypoint with Nell Horn, 1891, 4-color lithograph with emboss- Mots!, 1896, lithograph in orange aquatint and spitbite etching ing 1995.76.20,23,24, Gift of The Atlas Foundation Green Tree Spade, 1982, color aquatint 1995.76.13-16,129,138, Gift of The Atlas Foundation Diebenkorn, Richard, American, 1922-1993 Two Way II, 1982, color spitbite aquatint, dry- Chedel, Quentin-Pierre, French, 1705-1763 #1 from 41 Etchings Drypoints, 1965, drypoint point, and ink-transfer etching Abreuvoir d'oiseaux (The Birds' Watering Place) #41 from 41 Etchings Drypoints, 1965, etching and Mask, 1982, aquatint with drypoint (after Francois Boucher), 1754, etching, drypoint Clubs—Blue Ground, 1982, color aquatint with 1995.80.1, Gift of Carole Slatkin Untitled (Spade and Club), 1977, drypoint and hardground etching and drypoint Cheret, Jules, French, 1836-1932 aquatint Blue Surround, 1982, color spitbite etching, dry- Nine Drypoints and Etchings, 1977, portfolio of La Pille tlisa; Conte de Noel, 1890, lithograph in point, and aquatint drypoints and etchings light brown and red-brown, 1995.76.17, Gift of Ochre, 1983, 12-color woodcut Nine Drypoints and Etchings, 1977, portfolio of The Atlas Foundation Blue, 1984, 11-color woodcut drypoints and etchings Indigo Horizontal, 1985, color soapground etch- Claude Lorrain, French, 1600-1682 Six Softgrounds, 1978, portfolio of softground ing, aquatint, drypoint, and spitbite etching Landscape with Brigands, 1633, etching and dry- etchings with scraping and burnishing Center Square, 1985, aquatint, soapground etch- point, 1995.78.1, Anonymous Gift Five Aquatints with Drypoint, 1978, portfolio of ing, and drypoint a la poupee Coignet, Jules, French, 1798-1860 aquatints and drypoints with burnishing Blue Softground, 1985, color softground etching Aquatint with Drypoint Halo, 1978, sugarlift Fabriques a Tivoli (Buildings at Tivoli), 1828, and aquatint a la poupee aquatint with drypoint and burnishing crayon lithograph, 1996.10.7, Ailsa Mellon Bruce Y, 1986, drypoint Walking Figure with Spade, 1980, sugarlift etching Fund X, 1986, drypoint, hardground etching, and Walking Figure with Drypoint, 1980, sugarlift etch- aquatint Cooper II, Richard, British, 1740-after 1814 ing and aquatint Red-Yellow-Blue, 1986, softground etching, An Ancient Bridge called Ponte Salaro, 1778, etch- Two Walking Figures, 1980, sugarlift etching and aquatint, and drypoint ing and aquatint in brown-black, 1996.66.1, Gift drypoint Green, 1986, color drypoint, aquatint, soap- (Partial and Promised) of Virginia L. Dean Small Thin, 1980, spitbite and softground etching ground and spitbite etching Coornhert, Dirck Volckertz, Netherlandish, Large Light Blue, 1980, color spitbite and soft- Folsom Street Variations I (Black), 1986, color soap- 1522-1590 ground etching ground etching and aquatint The Return of the Prodigal Son (after Maerten van Large Bright Blue, 1980, color spitbite and soft- Folsom Street Variations II (Gray), 1986, soap- Heemskerck), c. 1548, woodcut, 1996.69.1, Ailsa ground etching ground etching with open bite and drypoint Mellon Bruce Fund Construct (Drypoint), 1980, color drypoint, etch- aquatint, drypoint, and open bite ing, and aquatint Folsom Street Variations 111 (Primaries), 1986, color Darzens, Rodolphe (author), French, active Contruct (Grid), 1980, color hardground etching, soapground etching, aquatint, drypoint, and 1890s drypoint, and aquatint open bite Le Theatre Libre Illustre, Saison 1889-1890, 1890, Construct (Red), 1980, color spitbite and soft- Double X, 1987, woodcut bound volume with illustrations after Lucien ground etching Blue with Red, 1987, 12-color woodcut Metivet Blue Loop, 1980, color spitbite and softground Tulips, 1989, softground etching Le Theatre Libre Illustre, Saison 1890-1891, 1891, etching Window, 1990, softground etching, aquatint, and bound volume with illustrations after Lucien Irregular Grid from Four Small Prints, 1980, dry- sugarlift etching Metivet point and hardground etching Reading, 1990, softground etching Andre Antoine; La Vie mondaine, c. 1891, 8-page Two Right Triangles, One in Other from Four Small Passage I, 1990, drypoint, aquatint, and hard- pamphlet with illustrations by various artists Prints, 1980, hardground etching, drypoint, and ground etching with scraping and burnishing 1995.76.115,116,121, Gift of The Atlas Foundation roulette Passage II, 1990, ink-transfer aquatint Daumier, Honore, French, 1808-1879 Isosceles Triangle and Right Triangle from Four Small Oui, 1990, aquatint and drypoint La Journee du Celibataire, 1839, series of 12 Prints, 1980, aquatint, hardground etching, dry- Ne Comprends Pas, 1990, ink-transfer aquatint crayon lithographs, 1995.68.1-12, Gift in memory of point, and roulette and sugarlift etching Dr. Ruth B. Benedict by the Washington Print Club and Oakland Image, 1981, hardground etching with Domino I, 1990, drypoint, softground, and hard- Her Friends drypoint 86 Richard Diebenkorn, Touched Red, 1991, color soft- ground etching, aquatint, and spitbite etching with drypoint, 90.8 x 68.0 cm, Eugene L. and Marie- Louise Garbaty Fund and Patrons' Permanent Fund, 1996.77.93 ground etching with scraping and burnishing drypoint with scraping and burnishing Indigo Horizontal (working proof 7), 1985, drypoint Domino II, 1990, drypoint with softground and High Green, Version I, t992, color aquatint with Blue with Red (working proof3), 1987, 12-color hardground etching spitbite, softground, hardground, and soap- woodcut C.J.D., 1990, drypoint ground etching and sugarlift aquatint with Blue with Red (working proof4), 1987, 12-color Touched Red, 1991, color softground etching, scraping and burnishing woodcut aquatint, and spitbite etching with drypoint High Green, Version II, 1992, color aquatint with Oui (working proof4), 1990, aquatint and Flotsam, 1991, aquatint with drypoint spitbite, softground, hardground, and soap- drypoint The Barbarian's Garden—Threatened, 1992, ink- ground etching and sugarlift aquatint with Oui (working proof 7), 1990, aquatint and transfer aquatint and drypoint with scraping scraping and burnishing drypoint and burnishing 1996.77.1-98, Eugene L. and Marie-Louise Garbaty Oui (working proof8), 1990, aquatint and The Barbarian, 1992, ink-transfer aquatint and Fund and Patrons' Permanent Fund drypoint 87 Oui (working proof9), 1990, aquatint and French 18th Century 2 + 4, 1987, hardground etching drypoint Album of Etchings, album with 187 etching and Straits of Malacca, 1987, hardground etching Touched Red (working proof 1), 1991, softground engravings by various artists after Francois Out and In, 1987, color aquatint with hard- etching, aquatint, and spitbite etching with Boucher, Charles-Antoine Coypel, Jean-Honore ground etching and spitbite aquatint drypoint Fragonard, et al„ 1996.86.1-187, Anonymous Gift Straits of Malacca 11, 1989, hardground etching Touched Red (working proof 2), 1991, softground French 19th Century Russell's Way, 1989, color aquatint with spitbite etching, aquatint, and spitbite etching with etching Les Honnetes femmes; Conference, Poesies inedites drypoint Putu, 1989, color aquatint with spitbite etching d'Henry Becque; La Parisienne, 1904, photo- Touched Red (working proof 3), 1991, color soft- Pachinko, 1989, color woodcut mechanical process ground etching, aquatint, and spitbite etching Almost There, 1989, color aquatint, hardground Coeurs simples; Le Pendu; Dans le reve (after Jean- with drypoint and collage etching, engraving, and drypoint with roulette Louis Forain, Adolphe Leon Willette, Oswald Touched Red (working proof 4), 1991, color soft- Magenta, 1990, color aquatint with spitbite Heidbrinck, and Jules Cheret), 1891, 16-page ground etching, aquatint, and spitbite etching etching program with photomechanical illustrations with drypoint Indigo, 1990, color aquatint with spitbite etching L'ttoile rouge; Seul (after Jean-Louis Forain, Touched Red (working proof 6), 1991, color soft- The Space between the Two, 1992, color spitbite Adolphe Leon Willette, Oswald Heidbrinck, and ground etching, aquatint, and spitbite etching aquatint Louis-Auguste-Mathieu Legrand), c. 1892, with drypoint and collage Liv, 1992, color hardground etching with 8-page program with photomechanical Touched Red (working proof 8), 1991, color soft- aquatint illustrations ground etching, aquatint, and spitbite etching Fly Away, 1992, color spitbite aquatint Coeurs simples; Le Pendu; Dans le reve (after Jean- with drypoint and collage For A., 1994, hardground etching with foul Louis Forain, Adolphe Leon Willette, Oswald Touched Red (working proof 9), 1991, color soft- biting Heidbrinck, and Jules Cheret), 1891, 16-page ground etching, aquatint, and spitbite etching Embarcadero, f 993, color aquatint with spitbite program with photomechanical illustrations with drypoint etching La Rangon; L'Abbe Pierre; Un Beau soir (after Touched Red (working proof 10), 1991, color soft- 1996.93.69-88, Gift of Kathan Brown Jean-Louis Forain, Adolphe Leon Willette, ground etching, aquatint, and spitbite etching Oswald Heidbrinck, and Jules Cheret), 1891, Hermann-Paul, French, 1864-1940 with drypoint and collage 8-page program with photomechanical La Brebis; Le Tandem, 1896, lithograph High Green, Version I (working proof8), 1992, illustrations L'lnspecteur General "Revizor;" 1898, photorelief aquatint with spitbite, softground, hardground, Peche d'amour; Les Fenetres; Melie (after Jean- 1995.76.26,27, Gift of The Atlas Foundation and soapground etching and sugarlift aquatint Louis Forain, Henri-Gabriel Ibels, Adolphe Leon with scraping and burnishing Hista, Robert, French, active 1890s Willette, and Oswald Heidbrinck), c. 1892, High Green, Version I (working proof9), 1992, color Mesure pour mesure, 1898, photorelief on green 8-page program with photomechanical aquatint with spitbite, softground, hardground, paper, 1995.76.28, Gift of The Atlas Foundation illustrations and soapground etching and sugarlift aquatint Le Cid; Horace; Une Lecture de Corneille; L'Air du Holt, Nancy, American, born 1938 with scraping, burnishing, and collage I'infante du Cid; Danses Louis XIII; Causerie de M. Dreamscape; Crossings, 1982, color lithograph on High Green, Version I (working proof 10), 1992, Camille le Senne; Le Coup d'aile, 1906, lithograph black paper, 1996.92.1, Gift of Werner H. and Sarah- color aquatint with spitbite, softground, hard- in orange on brown paper Ann Kramarsky ground, and soapground etching and sugarlift 1995.76.8,122,139-143,145, Gift of The Atlas Founda- aquatint with scraping and burnishing Horn, Roni, American, born i955 tion High Green, Version I (working proof 11), 1992, Lava Fields of Iceland, f 992, letterpress, 1996.57.2, color aquatint with spitbite, softground, hard- Gavarni, Paul, French, 1804-1866 Gift of Werner H. and Sarah-Ann Kramarsky ground, and soapground etching and sugarlift Self-Portrait with a Cigarette, 1842, lithograph on Huber, Jean, Swiss, 1721-1786 aquatint with scraping, burnishing, and collage chine colle [proof], 1996.74.1, Ailsa Mellon Bruce Voltaire at Table, etching on green paper, High Green, Version I (working proof 12), 1992, Fund 1995.67.1, Katherine Shepard Fund color aquatint with spitbite, softground, hard- German 15th Century ground, and soapground etching and sugarlift Ibels, Henri-Gabriel, French, 1867-1936 Kaiser Sigmund, 1483 or before, hand-colored A Bas le progresl, 1894, 3-color lithograph aquatint with scraping and burnishing woodcut, 1996.9.2, Ailsa Mellon Bruce Fund 1996.94.1-20, Gift of Crown Point Press A Bas le progresl; Mademoiselle Julie; Le Menage Gessner, Salomon, Swiss, 1730-1788 Bresile, 1893, 4-color lithograph Jim Dine, American, born 1935 X paysages dedies a Mr. Watelet auteur du poeme sur A Bas le progresl; Mademoiselle Julie; Le Menage Winter Dream (For V), 1995, portfolio of 12 I'art de peindre, 1764, series of 10 etchings (3 on Bresile, 1893, 4-color lithograph [proof] woodcuts on gray paper, 1996.96.1-12, Gift of white paper, 7 on paper tinted pale blue), Boubouroche; Valet de coeur, f 893, 4-color Jim Dine 1996.12.1-10, Ailsa Mellon Bruce Fund lithograph Boubouroche; Valet de coeur, 1892/1893, 4-color Dubuffet, Jean, French, 1901-1985 Gillray, James, British, 1757-1815 lithograph [proof] Incongruities (Disparates), 1959, lithograph on The Weather (after Rev. John Sneyd), published Grand-Papa; Si c'etait, 1895, lithograph japan paper, 1996.88.1, Ruth and Jacob Kainen Col- 1808, album with 7 hand-colored etchings, La Belle au bois revant; Mariage d'argent; Ahasvere, lection 1996.51.1-7, Gift of the Arcana Foundation 1893, 5-color lithograph Felixmuller, Conrad, German, 1897-1977 Gole, Jacob, Dutch, 1660-1737 Le Devoir, 1893, 4-color lithograph Johanna, 1920, drypoint Cereris Bacchique Amicus (after Cornells Dusart), Le Devoir, 1893, 4-color lithograph [proof] The Composer Bernd Bosseljon, 1923, crayon mezzotint, 1996.69.2, Ailsa Mellon Bruce Fund Le Grappin; L'Affranchie, 1892, 6-color lithograph lithograph Goya, Francisco de, Spanish, 1746-1828 Le Grappin; L'Affranchie, 1892, 6-color lithograph 1996.40.1-2, Epstein Family Fund [proof] Maja, 1824/1828, etching and aquatint with Les Fossiles, f 892, 6-color lithograph Forain, Jean-Louis, French, 1852-1931 burnishing, 1996.29.1, Ailsa Mellon Bruce Fund Une Journee parlementaire, 1894, photolitho- Les Tisserands, 1893, 5-color lithograph graph, 1995.76.25, Gift of The Atlas Foundation Groux, Henry de, Belgian, 1867-1930 Menu du reveillon offert aux amis du Theatre Morituri, 1898, lithograph in red-brown, Antoine, late 1890s, lithograph in brown Franceschini, Domenico, Italian, active 1995.76.18, Gift of The Atlas Foundation Menu du reveillon offert aux amis du Theatre 1705-1735 Antoine, late 1890s, lithograph in brown Jupiter and Minerva and the Forge of Vulcan, the Held, Al, American, born 1928 Mirages, 1893, 5-color lithograph Seconda Macchina, 1733, etching and engraving, Iiyoto-wa, 1985, color woodcut and lithograph Mirages, 1893, 5-color lithograph [proof] 1996.48.2, Gift of Mr. and Mrs. Paul Gourary Straits of Magellan, 1986, hardground etching SF, 1986, drypoint 1995.76.29-45, Gift of The Atlas Foundation Frankenthaler, Helen, American, born 1928 Pablo Seven, 1986, color softground etching Jarry, Alfred, French, 1873-1907 Monotype X, 1981, color monotype on handmade Oakland, 1986, drypoint Ubu Roi, 1896, photolithograph on pink paper paper, 1995.87.1, Gift of Dorothy R. Kidder 88 Giovanni Battista Tiepolo, Standing Philosopher and Two Other Figures, c. 1741, etching, 13.3 x 17.2 cm, Gift of Frank R. and Jeannette H. Eyerly, 1995.77.1 Ubu Roi, 1894, photolithograph on pink paper Klinger, Max, German, 1857-1920 Levi, Josef, American, born i938 [proof] A Glove (Ein Handschuh), 1880, series of 10 etch- Still Life with Utamaro and Vermeer, 1987, color Ubu Roi, 1922, photolithograph ings on chine colle [proofs with annotations], lithograph, 1996.92.2, Gift of Werner H. and Sarah- Ubu Roi, 1898, photolithograph in green 1995.82.1-10, Anonymous Gift Ann Kramarsky 1995.76.46-49, Gift of The Atlas Foundation Koninck, Salomon, Dutch, 1609-1656 Lichtenstein, Roy, American, born t923 Johns, Jasper, American, born 1930 Bust of a Man with a Turban Facing Left, 1638, Mother and Child, 1948, lithograph Voice, 1966-1967, lithograph, 1995.82.11, Gift of etching and engraving, 1996.29.2, Ailsa Mellon Panther in Tree, 1948/1949, woodcut Lionel C. and Elizabeth Epstein Bruce Fund Insect with Umbrella, 1950, lithograph Jourdain, Francis, French, born 1876 Kucerova, Alena, Czechoslovakian, born 1935 Knighton Horseback (I), 1950, aquatint, etching, and engraving La Noblesse de la terre, 1899, lithograph in green, Diving into Water, 1977, open-bite etching and St. George and the Dragon (I), 1950, woodcut in 1995.76.91, Gift of The Atlas Foundation embossing black over screenprint in green Forget-Me-Not, 1965, open-bite etching and Kafka, Cestmir, Czechoslovakian, 1922-1988 St. George and the Dragon (I), 1950, woodcut in embossing Earth, 1965, monotype brown over screenprint in green 1996.89.24,25, Gift of The Anne and Jacques Baruch Green, 1974/1975, monotype in green St. George and the Dragon (I), 1950, woodcut in Collection 1996.89.22,23, Gift of The Anne and Jacques Baruch brown Collection Lambert, Maurice de, French, born 1873 Storming the Castle, 1950, etching, aquatint, and Elen, 1894, photorelief, 1995.76.19, Gift of The Ketelhodt, Inez V., German, 20th century engraving Atlas Foundation Leporello 1, published 1989, bound volume in To Battle, 1950, woodcut on brown Kraft paper accordion format with 18 offset lithographs; Le Lorrain, Louis-Joseph, French, Woman on Horseback, 1950, drypoint text from Joachim Schumacher's Leicht 'gen 1715-1759 The King, c. 1950, lithograph, aquatint, salt- Morgen unterwegs The Glorification of Virgil, the Prima Macchina, ground(?), and engraving on parchment paper Leporello 2, published 1989, bound volume in 1744, etching and engraving Approaching the Castle, 1951, woodcut on green accordion format with 18 offset lithographs; The Temple of Minerva, the Prima Macchina, 1746, paper text from Nattirliches Zauber-Buch oder Neu- etching Hunter with Dog, 1951, color woodcut eroffneter Spiel-Platz rarer Kiinste 1996.48.3,4, Gift of Mr. and Mrs. Paul Gourary Knight with Lady, 1951, color woodcut 1995.90.2-3, Gift of Robert and Brenda Edelson St. George and the Dragon (II), c. 1951, woodcut Lebasque, Henri, French, 1865-1937 in brown on japan paper Kitaj, R. B. American, born 1932 Le Fils de Vabbesse; Le Fardeau de la liberte, 1897, A Cherokee Brave, 1952, color woodcut In Our Time: Covers for a Small Library After the lithograph, 1995.76.50, Gift of The Atlas Foundation Indians Pursued by American Dragoons, 1952, Life for the Most Part, 1969, portfolio of 50 color Lehmden, Anton, Austrian, born 1929 etching and aquatint screenprints, 1996.23.1-50, Gift of the Collectors Roma, published 1961, portfolio of 19 etchings, Two Dancing Indians, 1952, woodcut Committee 1996.90.1-19, Gift of Ruth Carter Stevenson Two Indians, 1953, woodcut on japan paper 89 Two Sioux Indians, 1952, woodcut on gray paper Bull VII, 1973, lithograph in yellow and blue, The Heavier-than-Air Machine, 1953, color wood- screenprint in red, and linocut in black cut on japan paper Still Life with Picasso, 1973, color screenprint The Heavier-than-Air Machine, 1953, color wood- Still Life with Figurine, 1974, color lithograph and cut on japan paper screenprint Indian with Pony, 1953, woodcut Still Life with Lobster, 1974, color lithograph and Isaac Hull Esq., 1953, woodcut on japan paper screenprint The United States and the Macedonian, 1953, wood- Still Life with Pitcher and Flowers, 1974, color cut on japan paper lithograph and screenprint The Chief, 1956, lithograph Still Life with Portrait, 1974, color lithograph and Ten Dollar Bill, 1956, lithograph screenprint with debossing Warrior on Horseback, 1956, lithograph Still Life with Windmill, 1974, color lithograph Reverie, 1965, color screenprint and screenprint with debossing Sweet Dreams Baby!, 1965, color screenprint Yellow Still Life, 1974, color lithograph and Paris Review Poster, 1966, color screenprint screenprint Brushstrokes, 1967, color screenprint Untitled (Still Life with Lemon and Glass), 1974, Explosion, 1967, color lithograph lithograph in yellow and screenprint in black Fish and Sky, 1967, color screenprint on silver with debossing gelatin photographic print mounted on Bicentennial Print, 1975, color lithograph and 3-dimensionai lenticular offset lithograph on screenprint composition board Homage to Max Ernst, 1975, color screenprint Landscape I, 1967, color screenprint on board Entablature I, 1976, color screenprint and collage Landscape 2, 1967, screenprint on board with with embossing translucent moire Rowlux overlay screenprinted Entablature II, 1976, color screenprint, litho- on top graph, and collage with embossing Landscape 3, 1967, color screenprint on Entablature III, 1976, color screenprint and col- chromogenic photographic print and translucent lage with embossing moire Rowlux collage mounted on board Entablature IV, 1976, color screenprint and col- Landscape 4, 1967, screenprint on opaque white lage with embossing Rowlux mounted on board Entablature V, 1976, color screenprint, litho- Landscape 5, 1967, screenprint in white and graph, and collage with embossing black on pink moire Rowlux with blue moire Entablature VI, 1976, color screenprint and col- Cornells Visscher, The Large Cat, c. 1657, engraving, Rowlux collage mounted on board lage with embossing 14.4 x 18.6 cm, Ailsa Mellon Bruce Fund, Landscape 6, 1967, screenprint on blue-green Entablature VII, 1976, color screenprint and col- 1995.72.1 moire Rowlux with chromogenic photographic lage with embossing print collage mounted on board Entablature VIII, 1976, color screenprint and col- Landscape 7, 1967, screenprint in white and lage with embossing black on blue-green moire Rowlux with Entablature IX, 1976, color screenprint, litho- chromogenic photographic print collage graph, and collage with embossing mounted on board Entablature X, 1976, color screenprint, litho- Landscape 8, 1967, incandescent silver Mylar col- graph, and collage with embossing lage on opaque black Rowlux and gray moire Entablature XA, 1976, color screenprint, litho- Rowlux mounted on board graph, and collage with embossing Landscape 9, 1967, screenprint with chromogenic ...Huh?, 1976, color screenprint photographic print collage mounted on board Still Life with Crystal Bowl 1976, color screenprint Landscape 10, 1967, screenprint on chromogenic and lithograph Nude in the Woods (Black State), 1980, woodcut photographic print and translucent moire Untitled Shirt, 1979, color screenprint on silk The Couple (Black State), 1980, woodcut Rowlux collage mounted on board American Indian Theme I, 1980, color woodcut The Student (Black State), 1980, woodcut in silver Merton of the Movies, 1968, color screenprint on American Indian Theme II, 1980, color woodcut and black silver foil American Indian Theme III, 1980, color woodcut Head (Black State), 1980, woodcut Pyramid, 1968, color screenprint on board folded American Indian Theme IV, 1980, color woodcut Morton A. Mort (Black State), 1981, woodcut into 3-dimensional pyramid and lithograph Study of Hands, 1981, color lithograph and Salute to Aviation, 1968, color screenprint American Indian Theme V 1980, color woodcut screenprint Cathedral #6, State I, 1969, screenprint in yellow American Indian Theme VI, 1980, color woodcut I Love Liberty, 1982, color screenprint and black Head with Feathers and Braid, 1980, softground Apple and Lemon, 1983, color woodcut Haystack, 1969, screenprint in yellow and black etching in red and black, aquatint in yellow, and Apple with Gray Background, 1983, color woodcut Industry and the Arts (I), 1969, color screenprint engraving in black Red and Yellow Apple, 1983, color woodcut on aluminum Figure with Teepee, 1980, color softground etch- Red Apple, 1983, color woodcut Pyramids, 1969, lithograph in yellow and black ing and engraving Red Apple and Yellow Apple, 1983, color woodcut Industry and the Arts (II), 1969, color screenprint Head with Braids, 1980, color softground etching, Two Apples, 1983, color woodcut Real Estate, 1969, lithograph in blue aquatint, and engraving Vertical Apple, 1983, color woodcut Red Barn, 1969, color screenprint Two Figures with Teepee, 1980, color softground Forms in Space, 1985, color screenprint Repeated Design, 1969, lithograph in yellow and etching, aquatint, and engraving Brushstroke on Canvas, 1989, color lithograph black Night Scene, 1980, color softground etching, Brushstroke Contest, 1989, color lithograph Peace Through Chemistry II, 1970, color lithograph aquatint, and engraving Tel Aviv Museum Print, 1989, color lithograph and screenprint Dancing Figures, 1980, color softground etching, Mirror, 1990, screenprint in black and yellow Twin Mirrors, 1970, screenprint in blue and black aquatint, and engraving Reflections on Soda Fountain, 1991, color screen- Mao, 1971, lithograph in red and black Goldfish Bowl, 1981, color woodcut print Save Our Planet Save Our Water, 1971, screenprint Lamp, 1981, color woodcut Best Buddies, 1991, color screenprint on photo-offset lithograph (from 4-color Picture and Pitcher, 1981, color woodcut Liberte, 1991, color screenprint process) Reclining Nude (Black State), 1980, woodcut in The Oval Office, 1992, color screenprint Mirror #9, 1972, color lithograph and screenprint silver and black Red Lamp, 1991, color lithograph Mirror, 1972, color screenprint Dr. Waldmann (Black State), 1980, woodcut Rain Forest, 1992, color screenprint 90 Les Nympheas, 1993, color linocut, woodcut, This Must Be the Place, 1965, color offset Antoine Coypel and borders after Charles-Nico- lithograph, and screenprint lithograph las Cochin II and Charles Eisen Castelli Handshake Poster, 1962, olfset lithograph Lincoln Center Poster, 1966, color offset lithograph Les amours pastorales de Daphnis et de Chloe (Paris, in red and black Joanna, 1968, offset lithograph in yellow and 1757), bound volume with 29 etched plates by Sock Announcement, 1963, offset lithograph in blue Benoit Audran and 16 head- and tail-pieces by blue and black The Solomon R. Guggenheim Museum Poster, 1969, Simon Fokke, 1996.36.1, Katherine Shepard Fund Foot Medication Poster, 1963, offset lithograph color screenprint Longus (author), Greek, active 3rd century, (halftone) Bicentennial Poster (America: The Third Century), with plates after Pierre Paul Prud'hon and Turkey Shopping Bag, 1964, screenprint in red 1976, color screenprint baron Francois Gerard and yellow on paper bag with handles Rain Dance Poster, 1985, color offset lithograph Les amours pastorales de Daphnis et de Chloe (Paris, Knock, Knock Poster, 1975, linocut Wrapping Paper, c. 1968, color screenprint 1800), bound volume with 9 engravings by Cow Triptych (Cow Going Abstract) Poster, 1982, Paper Plate. 1969, color screenprint on paper Jean Godefroy, Barthelemy Joseph Fulcran color screenprint on 3 sheets of paper plate Roger, Henri Marais, and Jean-Baptiste- Crying Girl, 1963, color offset lithograph Minneapolis Shopping Bag, 1988, color offset lith- Raphael-Urbain Massard, 1996.62.1, Gift of Mrs. CRAK!, 1963/1964, color offset lithograph ograph (from 4-color process) on paper bag Tom F. Marsh in honor of Ruth Carter Stevenson Temple, 1964, offset lithograph in black and blue 1996.56.1-154, Gift of Roy and Dorothy Lichtenstein Brushstroke, 1965, color screenprint Lorch, Melchior, Danish, 1526/1527— 1985 Champagne Taittinger Brut Bottle, 1985, color Shipboard Girl, 1965, color offset lithograph 1583 or after screenprint on blue polyester form encasing Sunrise, 1965, color offset lithograph A Large Square, 1570, woodcut, 1996.33.1, Gift glass champagne bottle, Untitled (Illustration for "Polemic" Magazine), 1957, (Partial and Promised) of David M. Frost 1996.95.1, Gift of Ruth E. Fine woodcut Lozowick, Louis, American, f 892-f 973 Lissitzky, El, Russian, 1890-1941 Cover for "Polemic" Magazine, 1959, woodcut in Willow Tree, f 930, lithograph red and black Wendingen, published 1923, color lithographic Devil's Bridge, Tajikistan, 1931, lithograph cover for issue 12 of "Wendingen," 1995.77.4, Cover Illustration for "The Adventures of Mao on the The Quick and the Dead, 1946, lithograph Long March," 1971, offset lithograph in red and Gift of Frank R. and Jeannette H. Eyerly Halibut Point, Rockport, 1952, lithograph black Longus (author), Greek, active 3rd century, Yucatan, 1960, lithograph The Art Colony Galleries Announcement, 1952, with plates after Philippe II, due d'Orleans, and Duet-Peru, 1969, lithograph woodcut on olive green paper 91 Gate to the Knesset, 1971, lithograph with pochoir Morgner, Michael, German, born 1942 Salzburg), 1830, series of 6 etchings in original in blue Ecce Homo, 1995 wrapper, 1996.10.1-6, Ailsa Mellon Bruce Fund Gate to the Knesset, 1971, lithograph with color Ecce Homo, 1995 Ritchie, Charles, American, born 1954 pochoir Ecce Homo, 1995 Five Days/Five Nights, bound volume with 10 Where Gladiators Fought, 1972, lithograph etchings in brown and black, 1996.58.4-6, Gift of spitbite aquatints, 1996.97.1.a-], Gift of James Red Teapot, 1973, lithograph Batuz Foundation Stroud 1995.86.1-10, Gift of Lee Lozowick in memory of his Muller, Alfredo, Italian, 1869-1940 father Riviere, Henri, French, 1864-1951 L'Echelle; Le Balcon, 1898, lithograph in black Les Revenants; La Peche, 1890 Malevich, Kazimir Severinovich, Russian, and green, 1995.76.54, Gift of The Atlas Foundation Leurs Filles; Les Fourches caudines; Lidoire, 1891 1878-1935 Muller, Johann Sebastian, German. Le Pain d'autrui; En Detresse, 1890 Krestjanka idet po vodu (Peasant Woman Goes for 1715-1785 or after Les Freres Zemganno; Deux Tourtereaux, 1890 Water), 1913, lithograph, 1995.77.6, Gift of Frank R. Vauxhall Gardens Shewing the Grand Walk at the 5-color lithographs, 1995.76.62,63,130,131, Gift of and Jeannette H. Eyerly Entrance of the Garden and the Orchestra with The Atlas Foundation Mansen, Matthias, German, born 1958 Musick Playing (after Samuel Wale), 1751, Rodin, Auguste, after Sitzen Stehen Liegen: ModelI fur ein Buch, published 2 etched and engraved impressions; 1 before Le Repas du lion, 1897 1995, unbound volume with 25 woodcuts with letters, the other with letters and the plate Le Repas du lion, 1897 excerpts from Jonathan Swift's Gulliver's Travels, trimmed, 1996.69.3^1, Ailsa Mellon Bruce Fund collotypes in red, 1995.76.64,65, Gifts of The Atlas 1995.91.1, Gift of Wolfgang Wittrock Munch, Edvard, Norwegian, 1863-1944 Foundation Marden, Brice, American, born 1938 Jean Gabriel Borkman, 1897 Rops, Felicien, after Untitled from the portfolio Adriatics, 1973, etch- Peer Gynt, 1896 L'Ecole de I'ideal; Le Petit Eyolf, 1895 ing and aquatint, 1996.92.3, Gift of Werner H. and lithographs, 1995.76.55,56, Gift of The Atlas Founda- L'Ecole de I'ideal; Le Petit Eyolf, 1895 Sarah-Ann Kramarsky tion photomechanical process, 1995.76.66,67, Gift of Marin, John, American, 1870-1953 Osbert, Alphonse, French, 1857-1939 The Atlas Foundation Downtown Synthesis (Preliminary), etching Inceste d'ames; Mineur et soldat, 1896, 4-color Rougeron-Vignerot, French, active 1890s [restrike impression] lithograph Le Canard sauvage (after Ferdinand Bac), 1891 Sea with Figures, No. 2, etching [restrike Inceste d'ames; Mineur et soldat, 1896, 5-color Le Canard sauvage (after Ferdinand Bac), 1891 impression] lithograph photomechanical process, 1995.76.114,137, Gift of 1996.54.1,2, Gift of Norma B. Marin 1995.76.57,58, Gift of The Atlas Foundation The Atlas Foundation Ostade, Adriaen van, Dutch, 1610-1685 Matisse, Henri, French, 1869-1954 Roussel, Ker Xavier, French, 1867-1944 Seated Odalisque with Tulle Skirt (Odalisque assis a The Two Gossips, probably 1642, etched copper Le Volant, 1895, lithograph, 1995.76.68, Gift of The la jupe de tulle), 1924, lithograph, 1995.77.5, Gift of plate, 1996.27.1, Eugene L. and Marie-Louise Garbaty Atlas Foundation Frank R. and Jeannette H. Eyerly Fund Rubens, Sir Peter Paul, after Dance Movement (Mouvement de danse), 1929, etch- Perrault, Charles (author), French, Album of Engravings, 1613/1646, album with 77 ing on chine colle, 1996.88.2, Ruth and Jacob 1628-1703, Francois Chauveau, French, engravings by Hans Collaert, Cornells Galle I, Kainen Collection 1613-1676, Israel Silvestre, French, Christoffel Jegher, Michel Lasne, Lucas Emil 1621-1691, and Gilles Rousselet, French, Maurer, K„ French, active 1890s Vorsterman, et al„ after Rubens; 24 of them 1610-1691 Gringoire (after G. Clausse), 1889, lithograph, special or unique proofs before letters, some Courses de Testes et de Bague faittes par Le Roy, et par 1995.76.52, Gift of The Atlas Foundation with manuscript titles and inscriptions, bound Les Princes et Seigneurs de sa Cour, en I'Annee 1662 in the 18th century, 1996.78.1-77, William B. Menzel, Adolph, German, 1815-1905 (Paris, 1670), bound volume with engraved O'Neal Fund Woman before a Fire, 1851, mezzotint, 1996.9.3, illustrations, 1996.1.1, William B. O'Neal Fund Ailsa Mellon Bruce Fund Rysselberghe, Theodore van, Belgian, Peske, Jean, French, 1870-1949 1862-1926 Metivet, Lucien, French, 1863-after 1930 Entretien d'un philosophe avec la marechale de XXX; Le Cloitre, 1900, lithograph in yellow-brown, Andre Antoine, 1888/1900, etching in brown, La Triomphe de la raison, 1899, lithograph in 1995.76.94, Gift of The Atlas Foundation 1995.76.120, Gift of The Atlas Foundation brown, 1995.76.59, Gift of The Atlas Foundation Sattler, Joseph, German, 1867-1931 Metivet, Lucien, after Picasso, Pablo, Spanish, 1881-1973 Historique du Theatre de "L'Oeuvre" Saison 1895-96, Andre Antoine, 1890s, photomechanical process Blind Minotaur Led by a Girl in the Night, 1934, 1895, lithograph in green, 1995.76.113, Gift of The Les Belles Dames: Cleopatra, 1897, color photome- dark-manner aquatint with burnishing [proof of Atlas Foundation chanical illustration from the newspaper Le Rire the first drawn state] 1995.76.53,123, Gift of The Atlas Foundation Blind Minotaur Led by a Girl in the Night, 1934, Schirmer, Johann Wilhelm, German, 1807-1863 Michelet, French, active 1890s dark-manner aquatint with burnishing [proof of Die betende nonne (The Praying Nun), etching, Isabelle grosse par vertu; Le Divorce; Arlequin poli the second drawn state] 1996.9.4, Ailsa Mellon Bruce Fund par I'amour; Le Marchand de merde (after Blind Minotaur Led by a Girl in the Night, 1934, dark-manner aquatint with burnishing [proof of Barthelemy), 1889, photomechanical process, Schon, Erhard, German, c. 1491-1542 1995.76.125, Gift of The Atlas Foundation the final state before steel facing] Albrecht Diirer at Age Fifty-Six, c. 1528, woodcut, 1996.104.1-3, Eugene L. and Marie-Louise Garbaty 1996.4.1, Ailsa Mellon Bruce Fund Miro, Joan, Spanish, 1893-1983 Fund Girl Skipping Rope, Women, and Birds (Petite fille Schwabe, Carlos, French, 1866-1926, and sautant a la corde, femmes, oiseaux), 1947, etching Raffaelli, Jean Francois, French, 1850-1924 Frederic Florian, Swiss, 1858-1926 and aquatint [proof], 1996.53.1, Gift of Adeline and La Patrie en danger, 1889, photolithograph L'Honneur (after Jean-Louis Forain), 1890 La Patrie en danger, 1889, photolithograph Sidney R. Yates L'Honneur (after Jean-Louis Forain), 1890 [proof] photolithographs with watercolor stenciling, Work of the Wind I (Ouvrage du Vent I), 1962, 1995.76.60,128, Gift of The Atlas Foundation 1995.76.134,135, Gifts of The Atlas Foundation aquatint in black and green, 1996.88.3, Ruth and Jacob Kainen Collection Ranson, Paul, French, 1864-1909 Schwitters, Kurt, German, 1887-1948 La Cloche Engloutie, 1897, lithograph, 1995.76.61, Modersohn-Becker, Paula, German, Untitled, 1923, lithograph with collage, 1996.53.2, Gift of The Atlas Foundation Gift of Adeline and Sidney R. Yates 1876-1907 Chalet, 1899, etching and aquatint in green- Richter, Ludwig, German, 1803-1884 Serusier, Paul, French, 1863-1927 black, 1995.83.2, Gift of Robert Paul Mann and Malerische Ansichten aus den Umgebungen von Heraklea, 1896, zincograph in red-brown Dorothy Neeld Mann Salzburg (Picturesque Views of the Environs of L'Assomption de Hannele Mattern; En Vattendant, 92 1894, 5-color lithograph Dark Cherries, 1984, drypoint and aquatint L'Argent, 1895, 5-color lithograph L'Assomption de Hannele Mattern; En Vattendant, Cherries, 1984, drypoint and aquatint Le Missionaire, 1894, 4-color lithograph 1894, 5-color lithograph Wide Downstreet, 1985, drypoint Raphael; Salome, 1896, lithograph 1995.76.69-71, Gift of The Atlas Foundation Apartment Hill, 1985, drypoint on chine colle Une Faillite; Le Poete et le financier, 1893, 3-color Signac, Paul, French, 1863-1935 Hill Street, 1987, 28-color woodcut lithograph Candy Apples, 1987, 16-color woodcut La Chance de Fran;oise; La Mort du due d'Enghien; Benefit for Firmin Gemier, 1897, lithograph [proof] Le Cor fleuri, 1888 Lipsticks—Black, 1988, drypoint Le Bien d'autrui; Hors les Lois, 1897, lithograph in La Reine Fiammette, 1889 Eight Lipsticks, 1988, color drypoint green Les Resignes; L'icheance, 1889 Dark Country City, 1988, color aquatint, soft- Rosmersholm; Le Gage, 1897, lithograph ground etching, and drypoint color lithographs, 1995.76.72-74, Gift of The Atlas Rosmersholm; Le Gage, 1898, lithograph [proof] Foundation Country City, 1988, color softground etching with 1995.76.78-80,82,83,85-88, Gift of The Atlas Founda- drypoint and aquatint tion Simotova, Adriena, Czechoslovakia!!, City Edge, 1988, color spitbite etching with soft- Le Chariot de terre cuite, 1895, lithograph in blue born 1926 ground etching and pink Little Monument, 1976, relief etching in blue Van, 1989, drypoint with spitbite etching La Lepreuse, 1896, lithograph in red-brown and red Steep Street—Black and Gray, 1989, drypoint with Le Fardeau de la liberte, 1897, bound volume Skimming on an Event I, 1984, color relief etching spitbite etching in black and gray with 1 lithograph in black, gray and yellow 1996.89.27,28, Gift of The Anne and Jacques Baruch Steep Street, 1989, color drypoint with spitbite Les Pieds nickeles, 1895, bound volume with 1 Collection etching lithograph in brown Eight Dogs, 1990, hardground etching Sintes, Giovanni Battista, Italian, c. 1680- 1996.87.1-4, Gift of Martin and Liane W. Atlas c. 1760 Three Cows, 1991, color drypoint The Council of the Gods, the Prima Macchina, 1732, Valley Farm, 1993, color softground etching, spit- Toulouse-Lautrec, Henri de, French, etching and engraving, 1996.48.1, Gift of Mr. and bite etching, and aquatint with drypoint 1864-1901, and Louis Anquetin, French, Mrs. Paul Gourary Chocolates, 1993, color hardground etching with 1861-1932 drypoint Mariage d'argent; Le Fardeau de la liberte; Un Client Skippe, John, British, 1742-1812 Night Farm, 1993, aquatint with softground serieux, 1897, 2 transfer lithographs; 1 in black, A Sibyl Reading (after Michelangelo Buonarroti), etching, drypoint, and spitbite etching the other in brown c. 1780s, chiaroscuro woodcut printed from 2 Two Pair, 1994, color soapground and spitbite Mariage d'argent; Le Fardeau de la liberte; Un Client blocks: gray-brown tone block and brown line etching with aquatint serieux, 1897, 2 transfer lithographs; 1 in black, block Eyeglasses, 1994, color hardground etching with the other in brown A Group of Monks and a Woman (possibly after drypoint 1995.76.2.a,b,84.a,b, Gift of The Atlas Foundation Sir Peter Paul Rubens), c. 1780s, chiaroscuro Dark Glasses, 1994, spitbite etching Toulouse-Lautrec, Henri de, French, woodcut printed from 4 blocks in green, olive, Beach Glasses, 1994, color soapground and 1864-1901, Felix Vallotton, Swiss, 1865-1925, gray-brown, and brown spitbite etching with aquatint and drypoint 1996.9.5,6, Ailsa Mellon Bruce Fund Antonio de la Gandara, French, 1862-1917, Sketches, 1995, color hardground etching Charles Doudelet, Belgian, 1861-1938, Mau- Sorello, Miguel de, Spanish, c. 1700-c. 1765 Meringue, 1995, color aquatint with drypoint rice Denis, French, 1870-1943, and Edouard Breakfast, 1995, color drypoint Aeneas and the Cumean Sybil, the Seconda Macchina Vuillard, French, 1868-1940 Black and White Park Place, 1995, hardground (after Francisco Preciado de la Vega), 1744 Prospectus Programme de I'Oeuvre, 1895, 6 prints etching with drypoint, spitbite etching, and The Kingdom of Naples, the Seconda Macchina, 1746 in various media on 1 sheet folded in thirds, aquatint etchings and engravings, 1996.48.5,6, Gift of Mr. 1995.76.81.a,b, Gift of The Atlas Foundation and Mrs. Paul Gourary Park Place Variation, 1995, color hardground etching with drypoint, spitbite etching, and Turrell, James, American, born 1943 Soulages, Pierre, French, born 1919 aquatint Deep Sky, 1984, portfolio of 7 aquatints, Etching No. 17, 1961, etching in black and red- Park Place, 1995, color hardground etching with 1996.76.1-7, Gift of the Collectors Committee brown, 1996.88.4, Ruth and Jacob ICainen Collection drypoint, spitbite etching, and aquatint Tuttle, Richard, American, born 1941 Steinlen, Theophile Alexandre, French, 1996.93.89-120, Gift of Kathan Brown Eight Words from a Reading at Brooklyn College, 1859-1923 Tiepolo, Giovanni Battista, Italian, 1990, bound volume with 9 offset lithographs L'Ennemi du peuple, 1899, lithograph, 1995.76.75, 1696-1770 (8 with silver letterpress) Gift of The Atlas Foundation Standing Philosopher and Two Other Figures, Portland Works 1976, 1988, bound volume with Sternberg, Harry, American, born 1904 c. 1741, etching, 1995.77.1, Gift of Frank R. and offset lithographs Thomas Hart Benton, color screenprint, 1996.55.1, Jeannette H. Eyerly 1995.90.5,6, Gift of Robert and Brenda Edelson Gift of the Artist Seated Youth Leaning Against an Urn, 1740/1744, Tuttle, Richard, American, born 1941, and Strang, William, Scottish, 1859-1921 etching [unique proof], 1996.79.1, Pepita Milmore Mei-mei Berssenbrugge, American, born A Series of Thirty Etchings by William Strang, Illus- Memorial Fund 1947 Sphericity, 1993, bound volume with offset litho- trating Subjects from the Writings ofRudyard Kipling Tognoni, Giancarlo, Italian, born 1932 (London, 1901), bound volume with 30 etch- graphs and 1 original drawing, 1995.90.7, Gift of Piccoli Girasoli (Small Sunflowers), 1989, etching ings, 1996.63.1.a-dd, Gift of John R. Stevenson Robert and Brenda Edelson Farfalla (Butterfly), 1990, etching Uecker, Gunther, German, born 1930 Colline (Hills), 1990, etching Synave, Tancrede, French, born 1860 Vom Licht (From Light), published 1973, unbound Natura morta (Still Life), 1995, etching and L'Ame invisible; Mademoiselle Fifi, 1896, 5-color volume with 12 embossed prints with excerpts aquatint lithograph, 1995.76.76, Gift of The Atlas Foundation from the Bible and the writings of John Milton, Volo (Flight), 1993, etching Terauchi, Yoko, Japanese, born 1951 G.F.W. Hegel, Isaac Newton, Albert Einstein, Natura morta (Still Life), 1992, etching Ebb and Flow, published 1988, bound volume in and Heinz Marck, 1996.91.1, Gift of Werner H. and 1995.88.7-12, Gift of Giancarlo Tognoni in honor of accordion format with hand-painted torn paper Sarah-Ann Kramarsky Sydney Freedberg in blue and red with plywood covers, 1995.90.4, Upton, Richard, American, born 1931 Gift of Robert and Brenda Edelson Toorop, Jan, Dutch, 1858-1928 Eros / Thanatos, published 1968, portfolio of 8 Venise sauvee, 1895, lithograph, 1995.76.77, Gift of Thiebaud, Wayne, American, born 1920 woodcuts with 4 poems, 1996.88.5, Ruth and Jacob The Atlas Foundation Sardines, 1982, color hardground etching, Kainen Collection aquatint, spitbite etching, and drypoint Toulouse-Lautrec, Henri de, French, Valadon, Suzanne, French, 1865-1938 Dark Cake, 1983, 18-color woodcut 1864-1901 La Toilette, 1895, softground etching and etching Neighborhood Ridge, 1984, hardground etching, Le Chariot de terre cuite, 1895, lithograph in green with monotype wiping in brown and black, spitbite etching, and drypoint on pink paper 1995.70.1, Ailsa Mellon Bruce Fund 93 Harry Callahan, Eleanor, Chicago, 1948, silver gelatin developed-out print, 11.4 x 8.5 cm, Gift of Joyce and Robert Menschel, 1996.16.1 Vallotton, Felix, Swiss, 1865-1925 Twilight (Crepuscule), c. 1925/1926, lithograph Un Ennemi de peuple, 1893, lithograph on brown Pere, 1894, lithograph, 1995.76.93, Gift of The Atlas 1996.88.6,7, Ruth and Jacob Kainen Collection paper Une Nuit d'avril a Ceos; L'Jmage, 1894, lithograph Foundation Vuillard, Edouard, French, 1868-1940 Une repetition a L'Oeuvre, 1903, lithograph Vasi, Giuseppe, Italian, 1710-1782 Ames solitaires, 1893, lithograph L'Amant de sa femme; Monsieur Bute; La Belle The Preparation of Theriac in Venice, the Seconda Au dela des forces, 1897, lithograph operation, 1890, lithograph with watercolor Macchina (after Giuseppe Palazzi), 1773, etching, Au dessus des Forces humaines; L'Araignee de cristal, stenciling 1996.48.7, Gift of Mr. and Mrs. Paul Gourary 1894, lithograph 1995.76.89-111,136, Gift of The Atlas Foundation Freres; La Gardienne; Creanciers, 1894, lithograph Vibert, Pierre Eugene, Swiss, 1875-1937 Monsieur Bute; L'Amant de sa femme; La Belle Welti, Albert, Swiss, 1862-1912 Le Joug, 1899, lithograph in green operation, 1890, photorelief with watercolor Franz Rose in His Study, 1893, etching, 1996.88.8, Le Cuivre, 1895, lithograph on pink paper stenciling Ruth and Jacob Kainen Collection Le Cuivre, 1895, lithograph on pink paper L'Oasis, 1903, lithograph 1995.76.95-97, Gift of The Atlas Foundation Willette, Adolphe Leon, French, 1857-1926 La Vie muette, 1894, lithograph in green-black Chevalerie rustique; L'Amant du Christ; Marie; Les Visscher, Cornells, Dutch, 1629-1662 Les Soutiens de la societe, 1896, lithograph Bouchers, 1888, color photorelief The Large Cat, c. 1657, engraving, 1995.72.1, Ailsa Les Soutiens de la societe, 1896, lithograph [proof] Rolande, 1888, lithograph with watercolor Mellon Bruce Fund Rosmersholm, 1893, lithograph stenciling Solness le constructeur, 1894, lithograph on brown Vlaminck, Maurice de, French, 1876-1958 1995.76.112,124, Gift of The Atlas Foundation paper The Old Port of Marseille (Le vieux port de Marseille), 1914, woodcut 94 OAnt'i Bill Brandt, Street Scene, London, 1936, silver gelatin developed-out print, 22.8 x 19.5 cm, Gift of the Collectors Committee, 1996.8.1 Photographs Brandt, Bill, British, born Germany, Frank, Robert, American, born Switzerland, 1904-1983 1924 Abbott, Berenice, American, 1898-1991 Street Scene, London, 1936, silver gelatin devel- San Francisco, 1956, silver gelatin developed-out Automat, 977 Eighth Avenue, Manhattan, 1936 oped-out print, 1996.8.1, Gift of the Collectors Com- print New York 7, Holland Transportation Co., c. 1930s Gallup, New Mexico, 1955, silver gelatin devel- silver gelatin developed-out prints, 1996.6.1, Callahan, Harry, American, born 1912 oped-out print 1996.7.1, Gift of the Collectors Committee Mother Nature, Mabou, 1984, silver gelatin devel- Eleanor, Highland Park, 1942 oped-out print with red acrylic paint Adams, Robert, American, born 1937 Camera Movement on Flashlight, 1946-1947 Mabou, 1979, silver gelatin developed-out print Apple Road, West of Lyons, Colorado, 1980 Ansley Park, Atlanta, 1992 New York, 1977, silver gelatin developed-out On Signal Hill, Overlooking Long Beach, California, silver gelatin developed-out prints, 1995.93.1-3, print 1983 [1990] Gift of Mr. and Mrs. Peter MacGill Pablo, March, 1979, silver gelatin developed-out silver gelatin developed-out prints, 1996.109.1,2, Eleanor, Chicago, 1948, silver gelatin developed- print Gift of the Collectors Committee out print, 1996.16.1, Gift of Joyce and Robert Men- 500 East Rialto Avenue, Venice, California, 1978, Atget, Eugene, French, 1857-1927 schel silver gelatin developed-out print Le Pont Marie, 1903 or 1904, albumen print, Morocco, 1981, dye transfer print, 1996.103.1, Gift 1995.65.1-7, Robert Frank Collection, Anonymous Gift 1996.98.1, Partial and Promised Anonymous Gift of the Collectors Committee New Year's Day 1981/Be Happy, 1981, silver gelatin developed-out print, 1995.66.1, Robert Frank Collection, Gift of Amy Rose Silverman and an Anonymous Donor 95 Friends Now Gone Forever..., 1950-1971 Loans Paris, Musee du Louvre Highway 40, Delaware, 1958 Severo da Ravenna, The Christ Child t Me and My Brother, 1965-1968 GERMANY silver gelatin developed-out prints, 1996.17.1-3, Extended Loans from National Robert Frank Collection, Edward B. MacCrone Fund Bonn, United States Ambassador Gallery Collections George Catlin, Nishnabotana Bluffs, Upper Missouri South Carolina, Oral Roberts on TV, 1955 All works are part of the National Lending Service (returned); Three Cheyenne Warriors (returned) Rue de la Sabliere, 1949 unless indicated by + Washington, DC, 1960 HUNGARY Washington, DC, 1960 AUSTRIA Budapest, United States Ambassador Rolling Stones American Tour, 1972 John Frederick Kensett, Landing at Sabbath Day silver gelatin developed-out prints, 1996.18.1-5, Vienna, United States Ambassador Point, Lake George; Mark Rothko, Untitled (figures Robert Frank Collection, The Robert and Anne Bass American 19th Century, Memorial to Nicholas M. S. around a piano) Fund Catlin; Jonathan Budington, Father and Son; Gari Melchers, The Sisters; Thomas Sully, The Vanderkemp Longchamp, 1949 Children; after Susan C. Waters, Henry L. Wells IRELAND Champs Elysee, November 11th, 1949 Vienna, United States Representative, Organiza- Dublin, United States Ambassador Spring, 1971 tion for Security and Cooperation in Europe Gilbert Stuart, Counsellor John Dunn; John Bill Ricketts silver gelatin developed-out prints, 1996.19.1-3, John Woodhouse Audubon, Long-Tailed Red Re- Robert Frank Collection, Gilt ol The Circle ol the attributed to John Woodhouse Audubon, A Young ITA LY National Gallery ol Art Bull; Mark Rothko, Untitled; Allen Tucker, Bizarre Florence, Ente Casa Buonarroti Gibson, Ralph, American, born 1939 after Michelangelo Buonarroti, Damned Soul f San Francisco, 1960, silver gelatin developed-out BELGIUM print Brussels, United States Ambassador RUSSIA Untitled, 1968, silver gelatin developed-out print Mark Rothko, Number 7; 2 Untitled paintings; Unti- Moscow, United States Ambassador Untitled, 1985, silver gelatin developed-out print tled (seated girl with braids); Untitled (woman and girl Ralston Crawford, Lights in an Aircraft Plant; Lyonel Untitled, 1991, dye transfer print in interior) Feininger, Zirchow VII; Mark Rothko, Untitled; Unti- 1996.61.4-7, Gift of Mr. and Mrs. Raymond W. Merritt Brussels, United States Ambassador, North tled (Still life in front of window) Kertesz, Andre, American, born Hungary, Atlantic Treaty Organization 1894-1985 Gilbert Stuart, George Pollock; Catherine Yates Pollock SWITZERLAND (Mrs. George Pollock); Thomas Sully, Ann Biddle Hop- Clock of the Academic Frangaise, Paris, 1929-1932, Geneva, United States Ambassador to the Arms kinson; Francis Hopkinson; The Leland Sisters silver gelatin developed-out print, 1996.60.1, Gift Control and Disarmament Agency of The Howard Gilman Foundation and The Andre and American 19th Century, Brother and Sister; Steamship CANADA Elizabeth Kertesz Foundation "Erie"; George Catlin, American Pasturage—Prairies of Ottawa, United States Ambassador the Platte (returned); Buffalo Chase (returned); attrib- Klett, Mark, American, born 1952 American 19th Century, Leaving the Manor House uted to Reuben Rowley, Dr. John Safford and Family Longest Day: Last Light of the Solstice, Carefree, Ari- (returned); Charles S. Humphreys, The Trotter zona, June 21, 1984 (returned); Frederick Kemmelmeyer, First Landing UNITED STATES Under the Dark Cloth, Monument Valley, May 27, of Christopher Columbus (returned) Alabama 1984 Birmingham Museum of Art silver gelatin developed-out prints, 1996.101.1, CZECH REPUBLIC Mark Rothko, Untitled (black and gray); Anders Zorn, 1996.102.1, Gift ol the Collectors Committee Prague, United States Ambassador Hugo Reisinger Norman, Dorothy, American, born 1905 American 18th Century, Boy with a Basket of Fruit; Arkansas American 19th Century, Horizon of the New World; New York Skyline, 1942 Conway, Baum Gallery of Fine Art, University of Jacob Eichholtz, Julianna Hazlehurst; Allen Tucker, Georgia O'Keeffe Painting with Light Bulb, c. 1936 Central Arkansas Madison Square, Snow Water Lily Pond, Ashumet Farm, Hatchville, 1932 Andre Derain, Marie Harriman; Rico Lebrun, The silver gelatin developed-out prints, 1996.61.1-3, Ragged One; Georges Rouault, The Breton Wedding; ENGLAND Gifts of Mr. and Mrs. Raymond W. Merritt Chaim Soutine, Pastry Chef; Graham Sutherland, London, United States Ambassador Palm Palisades Sugimoto, Hiroshi, American, born Japan, Sir William Beechey, Lieutenant-General Sir Thomas 1948 California Picton; Francis Cotes, Mrs. Thomas Home; Thomas Oakland Museum Caribbean Sea, Jamaica, 1980 Gainsborough, William Yelverton Davenport; Michiel Mark Rothko, 2 Untitled paintings North Pacific Ocean, Stinson Beach, 1994 van Miereveld, Portrait of a Lady with a Ruff; John silver gelatin developed-out prints, 1996.100.1,2, Singer Sargent, Miss Grace Woodhouse; Gilbert Stuart, Connecticut Gift of the Collectors Committee Luke White Hartford, Wadsworth Atheneum Mark Rothko, Untitled Yavno, Max, American, 1911-1985 London, Wallace Collection Winter, 16th Street, c. 1940 Sir Thomas Lawrence, Francis Charles Seymour-Con- District of Columbia Kuniyoshi at Easel, Old New York, 1941 way, 3rd Marquess of Hertford Architect of the Capitol Powell Street, San Francisco, 1947 Franklin C. Courier, Lincoln and His Son, Tad The Ferry Building, San Francisco, 1947 FRANCE (returned) Two Chinese, San Francisco, 1947 Paris, United States Ambassador Blair House Garage Doors, San Francisco, 1947 Paul Cezanne, At the Water's Edge; Man with Pipe; John Singleton Copley, Harrison Gray; Georgia The Leg, Los Angeles, 1949 Mont Sainte-Victoire; Andre Derain, Still Life; Walt Timken Fry, Flock of Sheep; style of Benjamin Mar- Watts, California, 1977 Kuhn, Green Apples and Scoop; The White Clown; shall, Race Horse and Trainer; Fritz Miiller, Capture of Ice Machine, Los Angeles, 1978 Berthe Morisot, Young Woman with a Straw Hat; the "Savannah" by the U.S.S. "Perry"; Gilbert Stuart, Sphynx, Cairo, 1979 Henri Rousseau, Rendezvous in the Forest; John Dr. William Hartigan (?) Photographer, Cairo, 1947 Singer Sargent, Mrs. Joseph Chamberlain Library of Congress Repairing Sacks, Cairo, 1979 Paris, United States Ambassador, Organization for Carl Milles, Head of Orpheus silver gelatin developed-out prints, 1995.94.1-12, Economic Cooperation and Development National Museum of American History Gift of Marjorie and Leonard Vernon American 18th Century, Hunting Scene with a Pond; Charles Peale Polk, General Washington at Princeton Mark Rothko, Personage Two; Untitled; Untitled (two women at the window) National Portrait Gallery Gardner Cox, Earl Warren; Chester Harding, Self-Por- trait; Daniel Huntington, Dr. James Hall; Henry 96 Theodore Tuckerman; John Wesley Jarvis, Thomas Brittany; after Marco Ricci, View of the Mall in Saint National Gallery Loans to Tempo- Paine; Edward Savage, George Washington; Irving R. James's Park Wiles, Miss Julia Marlowe rary Exhibitions Mme Justice Sandra Day O'Connor National Trust for Historic Preservation 5 George Catlin paintings Works in National Lending Service marked* Bernard Hailstone, David E. Finley Mr. Justice Antonin Scalia AUSTRALIA Secretary of Commerce James Bard, Steamer "St. Lawrence"; Gilbert Stuart, American 20th Century, View of Aberdeen, Washing- George Washington; Thomas Sully, Henry Pratt Canberra, National Gallery of Australia ton; Thomas Chambers, New York Harbor with Pilot (returned); Augustus Vincent Tack, Charles Evans J. M. W. TURNER, 17 March-10 June 1996 Boat "George Washington "; Raoul Dufy, Music and the Hughes; Alexander Helwig Wyant, Peaceful Valley Joseph Mallord William Turner, Keelmen Heaving in Pink Violin; Philip van Kouwenbergh, Flowers in a Coals by Moonlight; circulated to National Gallery of Mr. Justice David Souter Vase; Auguste Rodin, The Sirens (returned) Victoria, Melbourne, 23 June-9 September 1996 Rembrandt Peale, George Washington (returned); Secretary of Education Gilbert Stuart, Captain Joseph Anthony; after Gilbert Sydney, Art Gallery of New South Wales American 19th Century, The Sargent Family; Ameri- Stuart, William Constable; James Lloyd; Augustus Vin- THE FAUVES, 8 December 1995-18 February 1996 can 20th Century, After the Wedding in Warren, Penn- cent Tack, Harlan F. Stone Andre Derain, Charing Cross Bridge, London *; Henri sylvania; Thomas Chambers, The Hudson Valley, Sun- Matisse, Still Life; circulated to National Gallery of Mr. Justice John Paul Stevens set; French 19th Century, Race Course at Longchamps; Victoria, Melbourne, 29 February-13 May 1996 American 19th Century, Portland Harbor, Maine; after Jean-Baptiste Greuze, Benjamin Franklin; Karl George Catlin, Scene from the Lower Mississippi; Knaths, Marble Mantel (returned) AUSTRIA Eduard Gaertner, City Hall at Torun; Alphonse Secretary of Housing and Urban Development Legros, Hampstead Heath; Franz Xaver Winterhalter, Vienna, Graphische Sammlung Albertina for Walt Kuhn, Zinnias; Douglas Volk, Abraham Lincoln Queen Victoria exhibition at Akademiehof FRANTISEK KUPKA—THE MEDA MLADEK Secretary of Labor Residence of the Vice President of the United COLLECTION, 25 September-17 November 1996 American 19th Century, "We Go for the Union"; States Frantisek Kupka, Organization of Graphic Motifs II Winslow Homer, Sunset; George Benjamin Luks, The Frederick Carl Frieseke, Memories Bersaglieri (returned) Vienna, Kunstforum Wien White House THE EARLY VAN GOGH AND THE HAGUE SCHOOL, Director, Office of Management and Budget 9 George Catlin paintings; Thomas Sully, Andrew 28 February-27 May 1996 Raoul Dufy, Regatta at Henley Jackson Vincent van Gogh, Old Man Carrying a Bucket United States Trade Representative White House Preservation Office Vienna, Kunsthalle Wien Thomas Chambers, Boston Harbor (returned); Jean- American 18th Century, Attack on Bunker's Hill, WUNSCHMACHINE—WELTERFINDUNG, 5 June- Baptiste-Camille Corot, The Eel Gatherers (returned); with the Burning of Charles Town; A. Hashagen, Ship 5 August 1996 Andre Derain, Abandoned House in Provence; Jurgan "Arkansas" Leaving Havana; John Wesley Jarvis, Robert Rauschenberg, Sky Garden Frederick Huge, Composite Harbor Scene with Castle; Commodore John Rodgers; John Neagle, Colonel Augus- George Inness, Lake Albano, Sunset (returned); tus James Pleasonton; John Vanderlyn, Vienna, Osterreichische Galerie Leonid, Derrynane Harbor, Ireland John Sudam CLAUDE MONET, 14 March-16 June 1996 Claude Monet, Bazille and Camille (Study for Dejeuner Secretary of Transportation Indiana sur I'Herbe); Waterloo Bridge, London, at Dusk; Waterloo Circle of Jacob Adriaensz Bellevois, Dutch Ships in a Indianapolis Museum of Art Bridge, London, at Sunset Lively Breeze; follower of Claude Lorrain, Harbor at Max Beckmann, Christ in Limbo; Larry Bell, Chrome Sunset; L. M. Cooke, Salute to General Washington in and Glass Construction; Mark Rothko, Sketch for CANADA New York Harbor; Hugues Merle, Children Playing in a Mural H Park; Rene Pierre Charles Princeteau, Horses Montreal Museum of Fine Arts Kansas LOST PARADISE: SYMBOLIST EUROPE, 8 June- Secretary of the Treasury Lawrence, Spencer Museum of Art 15 October 1995 George Catlin, Assinneboine Warrior and His Family Mark Rothko, Untitled (returned) Paul Gauguin, Parau na te Varua ino (Words of the (returned); Catlin and Two Companions Shooting Buf- Missouri Devil) * falo (returned); An Indian Ladder—Nay as Indians Columbia, Museum of Art and Archeology, Uni- (returned); Nine Ojibbeway Indians in London RENE MAGRITTE, 27 June-27 October 1996 versity of Missouri (returned); Ojibbeway Indians in Paris (returned); Rene Magritte, The Blank Signature* Mark Rothko, Untitled Prairie Dog Village (returned); Three Mandan Warriors Ottawa, National Gallery of Canada Armed for War (returned); Mark Rothko, Untitled New York M. C. ESCHER: LANDSCAPE TO MINDSCAPE, (figures and mannequins) (returned); Untitled (two Mountainville, Storm King Art Center 1 December 1995-17 March 1996 seated women) (returned) Mark Di Suvero, Aurora t M. C. Escher, Atrani, Coast of Amalfi; Balcony; Cycle; United States Department of State, United States Pennsylvania Day and Night; Drawing Hands; Drop; Eye; Gallery; Hen Ambassador to the United Nations Doylestown, James A. Michener Art Museum with Egg; Inside Saint Peter's, Rome; Metamorphosis Ill- Ivan Le Lorraine Albright, There Were No Flowers American 19th Century, Profile Portrait of a Man t; Reptiles; Senglea, Malta; Smaller and Smaller; Three Ele- Tonight; Mary Callery, Amity; Raoul Dufy, July 14 in Profile Portrait of a Lady t; William Bonnell, Clement ments; Three Intersecting Planes; Three Spheres II; Three Le Havre; A. A. Lamb, Emancipation Proclamation; Bonnell t; Joseph Goodhue Chandler, Girl with Kit- Worlds; Tower of Babel; Masatoshi after M.C. Escher, Mark Rothko, Untitled; Untitled (women in a hat shop); ten; Edward Hicks, The Landing of Columbus Heaven and Hell Maurice Utrillo, The Pont Saint-Michel, Paris Texas Toronto, Art Gallery of Ontario Supreme Court of the United States Austin, Archer M. Huntington Art Gallery, Uni- GAINSBOROUGH'S "THE HARVEST WAGON," versity of Texas at Austin 29 July-9 October 1995 Mr. Chief Justice Rehnquist Mark Rothko, Untitled Gainsborough Dupont, George IV as Prince of Wales George Catlin, Nayas Village at Sunset; Salmon River Corpus Christi, Art Museum of South Texas Mountains; Chinese Qing Dynasty, Archery Contest; CZECH REPUBLIC George Cuitt, the Younger, Easby Abbey, near Rich- Marco Tintoretto, Lamentation (returned) Prague, Czech Museum of Fine Arts mond; Andre Derain, Road in Provence; Jean-Louis Virginia FRANTISEK KUPKA AND OTTO GUTFREUND FROM Forain, Behind the Scenes; Captain Edward H. Fairfax, George Mason University THE COLLECTION OF DR MEDA MLADEK, Molyneux, Chapel in Provence; Thomas Sully, Thomas Alfredo Halegua, America; Lila Pell Katzen, 15 May-30 July 1996 Alston; Frits Thaulow, River Scene; Eugene Lawrence Antecedent Vail, The Flags, Saint Mark's, Venice—Fete Day Frantisek Kupka, Organization of Graphic Motifs II Mme Justice Ruth Bader Ginsburg DENMARK Mark Rothko, The Omen; Untitled Copenhagen, Ordrupgaardsamlingen Mr. Justice Anthony Kennedy IMPRESSIONISM, THE CITY AND MODERN LIFE, Jean Beraud, Paris, rue du Havre; Dutch 17th Cen- 6 September-1 December 1996 tury, Flowers in a Classical Vase; Franz Marc, Siberian Camille Pissarro, Place du Carrousel, Paris; Auguste Dogs in the Snow; Henri Moret, The Island of Raguenez, Renoir, Regatta at Argenteuil 97 ENGLAND Bielefeld, Kunsthalle Bielefeld Rimini, Museo della Citta STILL LIFE WITH FLOWERS, 10 December 1995- IL TRECENTO RIMINESE: MAESTRI E BOTTEGHE TRA London, British Museum 25 February 1996 ROMAGNA E MARCHE, 20 August 1995-7 January VASES AND VOLCANOES: SIR WILLIAM HAMILTON Ansel Adams, Rose and Driftwood, San Francisco, Cali- 1996 AND HIS COLLECTION, 12 March-14 July 1996 fornia Master of the Life of Saint John the Baptist, The Pietro Antonio Novelli, The Attitudes of Lady Hamil- Baptism of Christ; Madonna and Child with Angels; ton; George Romney, Sir William Hamilton * Braunschweig, Burg Dankewarderode Scenes from the Life of Saint John the Baptist HENRY THE LION AND HIS TIME, 6 August- London, National Gallery 12 November 1995 Rome, Galleria Nazionale d'Arte Moderna DEGAS: THE LATE WORK, 22 May-18 August 1996 German 12th Century, Initials V and D; Saints MAX BECKMANN, 14 February-14 April 1996 Edgar Degas, Before the Ballet; circulated to Art Insti- Cyprian, Vitus, Stephan, and Cornelius; German 13th Max Beckmann, Falling Man* tute of Chicago, 28 September 1996-4 January Century, The Judge Judah (?) 1997 Rome, Musei Capitolini Munich, Haus der Kunst LA NATURA MORTA AL TEMPO DI CARAVAGGIO, London, Royal Academy of Arts COROT, COURBET, UND DIE MALER VON BARBI- 15 December 1995-14 April 1996 GUSTAVE CAILLEBOTTE: THE UNKNOWN ZON: LES AMIS DE LA NATURE, 4 February- Pensionante del Saraceni, Still Life with Fruit and IMPRESSIONIST, 28 March-23 June 1996 21 April 1996 Carafe; circulated to Fondazione Culturale Lom- Gustave Caillebotte, Skiffs* Jean-Baptiste-Camille Corot, Madame Stumpf and barda Arte e Civilta, Milan, 24 April-30 June 1996 London, Tate Gallery Her Daughter; River Scene with Bridge; Saint Sebastian Udine, Civici Musei e Gallerie di Storia ed Arte DYNASTIES: PAINTING IN TUDOR AND JACOBEAN Succored by the Holy Women*; Ville d'Avray DOMENICO TIEPOLO: MASTER DRAFTSMAN, ENGLAND 1530-1630, 12 October 1995-7 January Miinster, Westfalisches Landesmuseum fur Kunst 14 September-31 December 1996 1996 und Kulturgeschichte Giovanni Battista Piranesi, The Carrying of the Cross; Hans Holbein the Younger, Edward VI as a Child TOM RING, 1 September-10 November 1996 Giovanni Domenico Tiepolo, The Apostles' Creed; God Hermann torn Ring, Altar of the Christian Faith the Father Accompanied by Angels; The Parting of Saints FRANCE Peter and Paul; The Prison Visit; Punchinello's Farewell Stuttgart, Staatsgalerie Stuttgart Ecouen, Musee national de la Renaissance to Venice GEORGE GROSZ. BERLIN-NEW YORK, LE DRESSOIR DU PRINCE. SERVICES D'APPARAT A 7 September-3 December 1995 Venice, Museo del Settecento Veneziano—Ca'Rez- LA RENAISSANCE, 18 October 1995-18 March 1996 Walker Evans, 3 subway portraits; George Grosz, zonico Workshop of Guido Durantino of Urbino, Broad- Sportsman; Alfred Stieglitz, From My Window at An GIAMBATTISTA TIEPOLO 1996, 5 September- rimmed bowl...; Francesco Xanto Avelli, Broad-rimmed American Place, North; From An American Place, South- 8 December 1996 bowl with Neptune raping Theophane... west Giovanni Battista Tiepolo, Scene from Ancient History; Nice, Musee Matisse Young Lady in a Tricorn Hat Kunsthalle Tubingen MATISSE-BONNARD, UNE AMITIE, RENOIR. GEMALDE 1860-1917, 20 January- 28 June-27 October 1996 JAPAN 27 May 1996 Henri Matisse, Palm Leaf Tangier Auguste Renoir, Madame Monet and Her Son; Picking Chiba-ken, International Sculpture Center and Paris, Galeries nationales d'Exposition Flowers The Tokyo Shimbun for exhibition at Kawamura du Grand Palais Memorial Museum of Art CEZANNE, 26 September 1995-1 January 1996 HUNGARY MARK ROTHKO, 23 September-5 November 1995 Paul Cezanne, Le Chateau Noir; Harlequin (Paris and Mark Rothko, Number 5*; Number 15*; 10 Untitled Budapest, Szepmiiveszeti Muzeum Philadelphia only); Houses in Provence; circulated to works (2 *); Untitled (black and gray)*; Untitled (Har- TREASURES OF VENICE, 30 May-1 September 1996 Tate Gallery, London, 7 February-28 April 1996; vard Mural) *; Untitled (Seagram Mural) *; Untitled (two Titian, Cardinal Pietro Bembo and Philadelphia Museum of Art, 26 May- women before a cityscape)*; circulated to Marugame 18 August 1996 Genichiro Inokuma Museum of Contemporary Art, IRELAND JEAN-BAPTISTE CAMILLE COROT (1796-1875), 11 November-24 December 1995, Nagoya City Art Dublin, National Gallery of Ireland 27 February-27 May 1996 Museum, 4 January- REMBRANDT: HIS PUPILS AND FOLLOWERS, Jean-Baptiste-Camille Corot, The Eel Gatherers*; 12 February 1996, and Museum of Contemporary 18 April-12 August 1996 circulated to National Gallery of Canada, Ottawa, Art, Tokyo, 17 February-24 March 1996 Rembrandt van Rijn, Self-Portrait 20 June-22 September 1996, with The Artist's Studio Tokyo, Sezon Museum of Art RICHARD TUTTLE, 7 September-10 October 1995 Paris, Mus£e d'Art Moderne de la Ville de Paris ISRAEL SOULAGES—NOIR LUMIERE, 11 April-23 June 1996 Richard Tuttle, Finland Group #/, 1982, through Fin- Tel Aviv Museum of Art Pierre Soulages, Painting* land Group #14, 1982; Monkey's Recovery for a Darkened VAN DYCK AND HIS AGE, 29 October 1995- Room (Bluebird); Red Spiral Drawing; Rendering of 12th Paris, Musee du Louvre 28 January 1996 Spiral Drawing; Stacked Color with Wavy and Straight ENAMELS OF LIMOGES, 1100-1350, 23 October Sir Anthony van Dyck, The Virgin as Intercessor Side 1995-27 January 1996 FAUVE PAINTING, 6 June-31 August 1996 French 12th Century, Reliquary Chasse; circulated to Henri Matisse, Still Life NETHERLANDS Metropolitan Museum of Art, New York, 5 March-16 June 1996 Amsterdam, Rijksmuseum ITALY JAN STEEN, 21 September 1996-12 January 1997 PISANELLO, 6 May-5 August 1996 Florence, Galleria degli Uffizi Jan Steen, The Dancing Couple Italian 15th or 16th Century, Romulus and Remus PONTORMO ROSSO: LA "MANIERA MODERNA" IN Amsterdam, Stedelijk Museum Paris, Musee national d art moderne, Centre TOSCANA, 28 September 1996-7 January 1997 ROBERT FRANK: MOVING OUT, 9 September- Georges Pompidou Master of the Kress Landscapes, Scenes from a Leg- 29 October 1995 FEMININ-MASCULIN: LE SEXE DE L'ART?, end; Rosso Fiorentino, Portrait of a Man 75 Robert Frank photographs; circulated to Whit- 24 October 1995-12 February 1996 Milan, Civico Museo d'Arte Contemporanea, ney Museum of American Art, New York, Alfred Stieglitz, Georgia O'Keeffe: A Portrait—Head; Palazzo Reale 15 November 1995-11 February 1996, and Lannan Georgia 0 'Keeffe: A Portrait—Hands; Georgia 0 'Keeffe: ALESSANDRO MAGNASCO 1667-1749, 20 March- Foundation, Los Angeles, 2 March-19 May 1996 A Portrait 7 July 1996 The Hague, Royal Cabinet of Paintings Maurit- Alessandro Magnasco, The Baptism of Christ; Christ at GERMANY shuis the Sea of Galilee JOHANNES VERMEER, 1 March-9 June 1996 Berlin, Altes Museum Naples, Museo e Gallerie Nazionali di Capodi- Johannes Vermeer, Girl with the Red Hat; A Lady ITALIAN RENAISSANCE ARCHITECTURE, monte Writing; Woman Holding a Balance; attributed to 7 October 1995-7 January 1996 I FARNESE: ARTE E COLLEZIONISMO, 30 September Johannes Vermeer, Girl with a Flute Leone Battista Alberti, Self-Portrait; Matteo de' Pasti, 1995-7 January 1996 Leone Battista Alberti... (obverse); Sperandio, Francesco I Sforza... (obverse) Titian, Ranuccio Farnese 98 RUSSIA District of Columbia Argenteuil; The Cradle—Camille with the Artist's Son Moscow, Pushkin Museum of Fine Arts National Museum of American Art Jean; Woman with a Parasol—Madame Monet and METROPOLITAN LIVES: THE ASHCAN ARTISTS AND MOSCOW-BERLIN/BERLIN-MOSCOW: 1900-1950, Her Son THEIR NEW YORK, 1897-1917, 17 November 4 March-30 June 1996 David and Alfred Smart Museum of Art, Univer- 1995-17 March 1996 Max Beckmann, The Argonauts sity of Chicago George Bellows, Preliminaries to the Big Bout; New MARK ROTHKO: THE SPIRIT OF MYTH, EARLY York; John Sloan, Night Windows; Man Monkey; circu- SPAIN PAINTINGS FROM THE 1930S AND 1940S, lated to New York Historical Society, 1 May- 18 January-17 March 1996 Madrid, Fundacion la Caixa 4 August 1996 WILLIAM BLAKE: VISIONES DE MUNDOS ETERNOS 26 Mark Rothko paintings* National Portrait Gallery, Washington (1757-1827), 1 February-7 April 1996 Indiana 1846: PORTRAIT OF THE NATION, 12 April- William Blake, Christian with the Shield of Faith, Tak- Children's Museum of Indianapolis 18 August 1996 ing Leave of His Companions; Job and His Daughters; ALEXANDER CALDER, 18 May 1996- Edward Hicks, The Cornell Farm* Moses Staying the Plague (?); circulated to Fundacio 5 January 1997 "la Caixa," Barcelona, 16 April-2 June 1996 Phillips Collection Alexander Calder, Black Camel with Blue Head and Madrid, Museo del Prado IMPRESSIONISTS ON THE SEINE: A CELEBRATION Red Tongue; Blue and Red Bull with Yellow Head; GOYA 1746-1828, 29 March-2 June 1996 OF RENOIR'S LUNCHEON OF THE BOATING PARTY, Crinkly Taureau; Crinkly Worm; Deux Angles Droits; Les Francisco de Goya, Senora Sabasa Garcia; The Mar- 21 September 1996-23 February 1997 Fleches; Horse; Obus; Red Cow with Black Head; Red and quesa de Pontejos; Bartolome Sureda y Miserol; Therese Claude Monet, The Bridge at Argenteuil; Auguste Yellow Bull with Blue Head; La Vache Renoir, Oarsmen at Chatou Louise de Sureda Snite Museum of Art, University of Notre Dame Valencia, IVAM Centre Julio Gonzalez Florida MILTON AVERY: WORKS ON PAPER, DAVID SMITH, 1906-1965, 31 January- Pensacola Museum of Art 12 February-26 March 1996 7 April 1996 WOOD AND WOOD CARVING FROM THE INDEX OF 57 Milton Avery prints*, 2 plates*, and 1 wood- David Smith, Sentinel 1; circulated to Museo AMERICAN DESIGN, 1 October-17 November 1995 block* 50 watercolors from the Index of American Design* Nacional Centro de Arte Reina Sofia, Madrid, Kansas 23 April-1 July 1996, along with Voltri VII West Palm Beach, Norton Gallery and Wichita Art Museum School of Art THE FIGURE IN AMERICAN SCULPTURE: A QUES- SWITZERLAND MARK ROTHKO: THE SPIRIT OF MYTH, EARLY TION OF MODERNITY, 22 October 1995- Kunstmuseum Bern PAINTINGS FROM THE 1930S AND 1940S, 7 January 1996 THE INNOCENT EYE: CHILDREN'S ART AND THE 18 November-17 December 1995 Paul Manship, Dancer and Gazelles; circulated to MODERN ARTIST, 7 September-26 November 1995 26 Mark Rothko paintings* National Academy of Design, New York, 15 February-5 May 1996 Joan Miro, The Flight of the Dragonfly before the Sun Georgia Geneva, Musee Rath Albany Museum of Art Maine 1945 OR THE FIGURES OF FREEDOM—NEW FRENCH AND AMERICAN IMPRESSIONISTS, Brunswick, Bowdoin College Museum of Art ARTISTIC EXPRESSIONS OF THE IMMEDIATE PERIOD 12 September-3 November 1996 AN AMAZING BIT OF SLEIGHT OF HAND: WINSLOW AFTER WORLD WAR II, 27 October Frederic Bazille, The Ramparts at Aigues-Mortes* HOMER'S WATERCOLOR TECHNIQUES, 22 July- 7 September 1996 1995-7 January 1996 Athens, Georgia Museum of Art Mark Rothko, Aquatic Drama*; Personage Two* DRAWINGS FROM THE O'NEAL COLLECTION, Winslow Homer, 11 watercolors Martigny, Fondation Pierre Gianadda 4 May-16 June 1996 Maryland MANET, 5 June-11 November 1996 57 old master drawings* Baltimore, Walters Art Gallery Edouard Manet, The Plum Atlanta, High Museum of Art BERNARDO STROZZI: MASTER PAINTER OF THE ITALIAN BAROQUE, 10 September- FINE ART AT THE COTTON STATES AND INTERNA- UNITED STATES TIONAL EXPOSITION, 19 August-31 December 1995 26 November 1995 Bernardo Strozzi, Bishop Alvise Grimani Alabama Theodore Robinson, Drawbridge—Long Branch Rail Montgomery Museum of Fine Arts Road, Near Mianus Massachusetts Andover, Addison Gallery of American Art, AMERICA AS ART, 11 August 1995- PICTURING THE SOUTH, 1860-1996, 15 June- Phillips Academy 30 September 1996 14 September 1996 Mark Rothko, Untitled* Walker Evans, Photographer's Display Window, Birm- CHARLES SHEELER IN ANDOVER: THE BALLARD- VALE SERIES, 3 September-1 December 1996 ingham, Alabama; Telfair Academy of the Arts and Sci- California Charles Sheeler, Counterpoint Berkeley, University Art Museum ences, Savannah, Georgia; Tupelo, Mississippi Museum of Fine Arts, Boston THE NEW CHILD: BRITISH ART AND THE ORIGINS RINGS: FIVE PASSIONS IN WORLD ART; A PERSONAL DIALOGUE: JOHN WILSON/JOSEPH NORMAN, OF MODERN CHILDHOOD, 1730-1830, VIEW, 4 July-29 September 1996 21 July-3 December 1995 23 August-19 November 1995 Claude Monet, Woman with a Parasol—Madame Joseph Norman, Notorious; Slum Gardens No. 3 Sir Henry Raeburn, John Tait and His Grandson; cir- Monet and Her Son; Titian, Venus and Adonis culated to Dixon Gallery and Gardens, Memphis, Lagrange, Lamar Dodd Art Center LANDSCAPES OF FRANCE: IMPRESSIONISM AND ITS 10 December 1995-4 February 1996, and Joslyn RIVALS, 4 October 1995-15 January 1996 A SHARED VISION: THE LIFE AND ART OF LAMAR Art Museum, Omaha, 9 March-5 May 1996 DODD, 18 July-28 September 1996 Camille Pissarro, The Fence*; Berthe Morisot, Hang- Laguna Beach, Laguna Art Museum Lamar Dodd, Winter Valley* ing the Laundry out to Dry*; The Harbor at Lorient AMERICAN NAIVE PAINTINGS FROM THE NATIONAL WINSLOW HOMER, 21 February-26 May 1996 Marietta/Cobb Museum of Art GALLERY OF ART, 11 May-14 July 1996 5 paintings and 10 watercolors by and after AMERICAN NAIVE PAINTINGS FROM THE NATIONAL 35 early American paintings (34*) Winslow Homer; circulated to Metropolitan GALLERY OF ART, 15 September- Museum of Art, New York, 20 June-22 September Colorado 22 November 1995 1996 (an additional 10 watercolors lent to New Colorado Springs Fine Arts Center 35 early American paintings (34*) BOARDMAN ROBINSON, 20 September 1996- York only, and an additional 5 watercolors lent to Illinois 12 January 1997 Boston only) Champaign, Krannert Art Museum Boardman Robinson, Charles W. Elliot; Enter Miss Chestnut Hill, Boston College Museum of Art BILLY MORROW JACKSON RETROSPECTIVE, Hazzard 13 September-3 November 1996 J.M.W. TURNER AND THE ROMANTIC VISION OF THE HOLY LAND AND THE BIBLE, 15 September- Delaware Billy Morrow Jackson, Eve Wilmington, Delaware Art Museum 15 December 1996 Art Institute of Chicago EDWARD LOPER SR. RETROSPECTIVE, 2 February- Joseph Mallord William Turner, The Evening of the CLAUDE MONET: 1840-1926, 22 July- 7 April 1996 Deluge 26 November 1995 Edward L. Loper, Combination Lantern/Stove; Gordon Heritage Plantation of Sandwich Claude Monet, The Artist's Garden in Argenteuil Saltar, Cigar Store Squaw; Gordon Saltar, Edward L. IS SHE OR ISN'T HE? IDENTIFYING GENDER IN FOLK (A Corner of the Garden with Dahlias); The Bridge at Loper, Weathervane PORTRAITS OF CHILDREN, 14 May- 99 29 October 1995 Achilles; The Name II; Jackson Pollock, Number I, and Butler Institute of American Art, Youngstown, American 19th Century, Girl with Toy Rooster*; 1950 (Lavender Mist) 30 June-18 August 1996 William Matthew Prior, Child with Straw Hat*; New York, Metropolitan Museum of Art Columbus, Wexner Center for the Arts, Ohio State Joseph Whiting Stock, Mary and Francis Wilcox* JOHN SINGLETON COPLEY'S AMERICA, University South Hadley, Mount Holyoke College Art 19 September 1995-7 January 1996 ROY LICHTENSTEIN, 24 September 1995- Museum John Singleton Copley, Epes Sargent; Eleazer Tyng; 7 January 1996 PEASANTS AND PRIMITIVISM: FRENCH PRINTS circulated to Museum of Fine Arts, Houston, Roy Lichtenstein, Look Mickey 4 February-28 April 1996, and Milwaukee Art FROM MILLET TO GAUGUIN, 21 October- Pennsylvania Museum, 22 May-25 August 1996 15 December 1995 Allentown Art Museum Alphonse Legros, Death of the Vagabond; Camille Pis- New York, Museum of Modern Art MILTON AVERY: WORKS ON PAPER, 30 June- sarro, Gathering Potatoes; circulated to Museum of ALFRED STIEGLITZ AT LAKE GEORGE, 25 August 1996 Art, Rhode Island School of Design, Providence, 14 September 1995-2 January 1996 54 Milton Avery prints,* 2 plates,* and 1 wood- 30 January-15 March 1996, and David and Alfred 49 Alfred Stieglitz photographs; 43 photographs block* Smart Museum of Art, University of Chicago, circulated to Kunst- und Ausstellungshalle der Doylestown, James A. Michener Art Museum 18 April-9 June 1996 Bundesrepublik Deutschland, Bonn, 9 February- AMERICAN NAIVE PAINTINGS FROM THE NATIONAL 14 April 1996, and San Francisco Museum of Mod- Williamstown, Sterling and Francine Clark Art GALLERY OF ART, 1 March-7 April 1996 ern Art, 1 July-10 September 1996 Institute 35 early American paintings (34*) FRENCH EIGHTEENTH-CENTURY BOOKS AND THEIR PIET MONDRIAN: 1872-1944, 1 October 1995- ILLUSTRATORS, 26 September-31 December 1995 Lancaster, Leonard and Mildred Rothman Gallery 30 January 1996 CHRISTIAN STRENGE'S FRAKTUR, 6 September- Hubert Francois Gravelot, First Day, Frontispiece Piet Mondrian, Tableau No. TV: Lozenge Composition 15 December 1995 with Red, Gray, Blue, Yellow, and Black Michigan Christian Strenge, Fraktur Vorschrift Ann Arbor, University of Michigan Museum of Art PICASSO AND PORTRAITURE: REPRESENTATION BOLD STROKES: THE INVENTIVENESS OF REM- Philadelphia, Museum of American Art of the AND TRANSFORMATION, 24 April-10 September BRANDT'S LATE PRINTS, 24 February-28 April 1996 Pennsylvania Academy of the Fine Arts 1996 Rembrandt van Rijn, Christ Crucified between the Two TO BE MODERN: AMERICAN ENCOUNTERS WITH Pablo Picasso, Self-Portrait Thieves (The Three Crosses) CEZANNE AND COMPANY, 14 June-29 September New York, Pace Wildenstein 1996 Missouri JEAN DUBUFFET: THE RADIANT EARTH, Max Weber, Rush Hour, New York* Kansas City, Nelson-Atkins Museum of Art 22 February-23 March 1996 Philadelphia Museum of Art ANDREW WYETH, 24 September- Jean Dubuffet, Chevalier d'ombre (Shadow Knight) 26 November 1995 CONSTANTIN BRANCUSI 1876-1957, 8 October- Andrew Wyeth, Snow Flurries New York, Solomon R. Guggenheim Museum 31 December 1995 CLAES OLDENBURG: AN ANTHOLOGY, 7 October Constantin Brancusi, Bird in Space; Bird in Space; Nebraska 1995-14 January 1996 Agnes E. Meyer Omaha, Joslyn Art Museum Claes Oldenburg, Clarinet Bridge; Glass Case with Pies GRANT WOOD: AN AMERICAN MASTER REVEALED, HARRY CALLAHAN, 14 September- (Assorted Pies in a Case); Soft Drainpipe-Red (Hot) Ver- 24 November 1996 10 December 1995-25 February 1996 sion; first 2 sculptures circulated to Kunst- und Grant Wood, Haying; New Road; circulated to Daven- 17 Harry Callahan photographs Ausstellungshalle der Bundesrepublik Deutschland, port Museum of Art, 17 March-8 September 1996 Bonn, 23 February-12 May 1996, and the Hayward University Art Gallery, University of Pittsburgh New York Gallery, London, 6 June-18 August 1996 WORKS ON PAPER BY PHILIP PEARLSTEIN, 2 November-15 December 1995 Brooklyn Museum New York, Whitney Museum of American Art LEON POLK SMITH: AMERICAN PAINTER, Philip Pearlstein, Jerusalem, Kidron Valley EDWARD HOPPER AND THE AMERICAN 29 September 1995-7 January 1996 IMAGINATION, 22 June-15 October 1995 Selinsgrove, Lore Degenstein Gallery, Susque- Leon Polk Smith, Stretch of Black 111* Edward Hopper, Cape Cod Evening* hanna University MARK ROTHKO: THE SPIRIT OF MYTH, EARLY PASSION FOR BEAUTY: THE ART OF THOMAS CITY OF AMBITION: ARTISTS AND NEW YORK, WILMER DEWING (1851-1938), 21 March- PAINTINGS FROM THE 1930S AND 1940S, 1900-1960, 3 July-27 October 1996 7 September-13 October 1996 9 June 1996 Walker Evans, 4 subway portraits; Alfred Stieglitz, 26 Mark Rothko paintings* Thomas Wilmer Dewing, Lady with a Lute; circulated The City of Ambition; From An American Place Looking to National Museum of American Art, Washington, Southwest; From My Window at the Shelton—Southeast; Texas 19 July-14 October 1996 From Room '3003'—The Shelton, New York, Looking Museum of Fine Arts, Houston Buffalo, Albright-Knox Art Gallery N.E.; From the Shelton; In the New York Central Yards JOHN SINGLETON COPLEY IN ENGLAND, 4 February-28 April 1996 ARSHILE GORKY: THE BREAKTHROUGH YEARS, Roslyn Harbor, Nassau County Museum of Art 13 October-31 December 1995 John Singleton Copley, The Copley Family; Baron TOWN AND COUNTRY, 12 May-11 August 1996 Graham; The Red Cross Knight; Watson and the Shark Arshile Gorky, One Year the Milkweed; Virginia Land- Reginald Marsh, Merry-Go-Round scape (Buffalo only); The Plow and the Song (Fort Sarah Campbell Blaffer Gallery, University of Worth only); circulated to Modern Art Museum of Southampton, Parrish Art Museum Houston Fort Worth, 13 January-17 March 1996 THE PRINTS OF ROY LICHTENSTEIN, THE PAINTINGS OF SYLVIA PLIMACK MANGOLD, 10 September-26 November 1995 9 September-22 October 1995 Glens Falls, Hyde Collection 34 Roy Lichtenstein prints MILTON AVERY: WORKS ON PAPER, Sylvia Plimack Mangold, Untitled; circulated to 8 September-12 November 1995 North Carolina Museum of Fine Arts, Boston, 11 November 57 Milton Avery prints,* 2 plates,* and 1 wood- Wilmington, St. John's Museum of Art 1995-25 February 1996 block* AMERICAN NAIVE PAINTINGS FROM THE NATIONAL Virginia GALLERY OF ART, 7 December 1995- New York, Frick Collection Lynchburg, Maier Museum of Art, Randolph- 4 February 1996 Macon Women's College THE BUTTERFLY AND THE BAT: WHISTLER AND 35 early American paintings (34*) ROBERT DE MONTESQUIOU, 14 November 1995- AMERICAN NAIVE PAINTINGS FROM THE NATIONAL 28 January 1996 MARK ROTHKO: THE SPIRIT OF MYTH, EARLY GALLERY OF ART, 23 August- James McNeill Whistler, F. R. Leyland PAINTINGS FROM THE 1930S AND 1940S, 30 October 1996 20 June-18 August 1996 35 early American paintings (34*) New York, Solomon R. Guggenheim Museum 26 Mark Rothko paintings* ABSTRACTION IN THE TWENTIETH CENTURY: TOTAL RISK, FREEDOM, DISCIPLINE, 9 February- Ohio 12 May 1996 Columbus Museum of Art Carl Andre, The Way North, East, South, West (Uncar- VISIONS OF AMERICA: URBAN REALISM ved Blocks); Marsden Hartley, The Aero; Piet Mon- 1900-1945, 5 January-3 March 1996 ti rian, Tableau No. IV: Lozenge Composition with Red, George Bellows, Club Night*; circulated to Museo de Gray, Blue, Yellow, and Black; Barnett Newman, Arte Moderno, Mexico City, 5 April-2 June 1996, 100 Temporary Loans to Museum Ms. Norma B. Marin Staatliche Kunstsammlungen Dresden Mrs. Ivor Massey Kunstmuseum Dusseldorf Collections Paul Mellon Collection Erfurt: Angermuseum Robert and Jane Meyerhoff Collection Essen: Museum Folkwang UNITED STATES Mr. Harvey S. Shipley Miller Stadelsches Kunstinstitut Frankfurt am Main Minorco Services (UK) Limited, London Hamburger Kunsthalle California Collection of Carleton Mitchell, on extended loan Heidelberg: Kurpfalzisches Museum Los Angeles County Museum of Art to the Baltimore Museum of Art Staatliche Kunsthalle Karlsruhe 11 October 1995-9 April 1996 Collection Dr. Peter and Barbara Nathan Kassel: Staatliche Museen, Staatliche Museen, Charles Willson Peale, Benjamin and Eleanor Ridgely Mrs. Evelyn Nef Neue Galerie Laming Collection of PaceWildensteinMacGill, New York Munich: Bayerische Staatsgemaldesammlungen 15 October 1995-22 February 1996 PaceWildensteinMacGill and Ehlers/Caudill Gallery Staatliches Museum Schwerin Asher Brown Durand, Forest in the Morning Light* Phillips Family Collection Wuppertal: Von der Heydt-Museum San Marino, Huntington Library, Art Collections, Collection of Mr. and Mrs. Gerhard E. Pinkus Ireland and Botanical Gardens Mr. John Spoor Broome Dublin: National Gallery of Ireland 28 August 1995-18 May 1996 Ratjen Foundation, Vaduz Winthrop Chandler, Captain Samuel Chandler*; Regis Collection Italy Mrs. Samuel Chandler* Collection of Robert and Maurine Rothschild Rome: Banca Nazionale del Lavoro; Societa Arti Doria Pamphilj Michigan The Duke of Rutland, Belvoir Castle, Grantham National Gallery of Art, Washington, D.C., Detroit Institute of Arts Mexico 3 November 1995-14 April 1996 Promised Gift of Mr. and Mrs. David C. Rutten- Merida: Museo Regional de Antropologia Thomas Cole, The Voyage of Life: Childhood; The Voy- berg Mexico City: Museo del Templo Mayor; Museo age of Life: Youth; The Voyage of Life: Manhood; Mr. William B. Stewart, Potomac Boat Club, Wash- Nacional de Antropologia The Voyage of Life: Old Age ington, D.C. Puebla: Museo Amparo; Museo Regional de Puebla Sudeley Castle Trustees, Gloucestershire, Walter Tuxtla Gutierrez: Museo Regional de Chiapas New York Morrison Collection Villahermosa: Museo Regional de Antropologia Metropolitan Museum of Art Mr. and Mrs. A. Alfred Taubman Carlos Pellicer Camara; Parque Museo de La 12 October 1994-12 October 1999 Mr. and Mrs. Samuel H. Vickers, Florida Collection Venta Francesco di Giorgio Martini, God the Father Sur- Collection Leof Vinot Xalapa: Museo de Antropologia de Xalapa, Univer- rounded by Angels and Cherubim Donald Vogler sidad Veracruzana North Carolina Mr. and Mrs. W. Bryant Williams Netherlands Raleigh, North Carolina Museum of Art Mr. and Mrs. Erving Wolf Amsterdam: Rijksmuseum 15 August 1995-22 September 1996 Dian and Andrea Woodner Leiden: Rijksmuseum voor de Geschiedenis van de John Quidor, The Return of Rip Van Winkle Mrs. James Wyeth Natuurwetenschappen en van de Genneskunde Pennsylvania Museum Boymans-van Beuningen Rotterdam Philadelphia, Museum of American Art of the Public Collections The Hague: Museum Bredius; Royal Cabinet of Pennsylvania Academy of the Fine Arts Paintings Mauritshuis Austria 28 October 1995-7 February 1996 Centraal Museum Utrecht James McNeill Whistler, The White Girl (Symphony in Vienna: Kunsthistorisches Museum; Museum fur Norway White, No. 1) Volkerkunde Bergen: Rasmus Meyers Samlinger Canada Oslo: Nasjonalgalleriet Montreal Museum of Fine Arts Lenders to Exhibitions Ottawa: National Gallery of Canada Russia St. Petersburg: State Hermitage Museum Costa Rica San Jose: Museo del Jade Fidel Tristan Spain Madrid: Fundacion Coleccion Thyssen-Bornemisza Private Collections Czech Republic Maida and George Abrams Liberec: Oblastnf Galerie Sweden Balsta: Skoklosters Slott Howard F. Ahmanson Jr. Denmark Goteborgs Konstmuseum Mr. Arthur G. Altschul Aarhus Kunstmuseum Stockholm: Nationalmuseum Jeanette Bello Copenhagen: Statens Museum for Kunst Mr. J. Carter Brown Ribe Kunstmuseum Switzerland Harry Callahan Musee d'Art et d'Histoire, Ville de Geneve France David and Rhoda Chase Lugano: Fundacion Coleccion Thyssen-Bornemisza Aix-en-Provence: Musee Granet Collection of Alan Cravitz, Courtesy of Ehlers Kunsthaus Zurich Caudill Gallery Angers: Musee des Beaux-Arts United Kingdom—England Her Majesty Queen Elizabeth II Cherbourg: Musee Thomas Henry Bakewell: Chatsworth James Fairfax Lille: Musee des Beaux-Arts Birmingham: Barber Institute of Fine Arts; Birm- Rita and Daniel Fraad Nantes: Musee des Beaux-Arts ingham Museums and Art Gallery Fraenkel Gallery Orleans: Musee des Beaux-Arts Cambridge: Fitzwilliam Museum Carol and Arthur Goldberg Collection Paris: Comedie Fran^aise; Musee d'Orsay; Musee Greenwich: National Maritime Museum Mr. Jasper Johns du Louvre; Musee du Petit Palais; Musee Car- London: Courtauld Institute Galleries; Royal Acad- Mr. R. Philip Hanes Jr. navalet; Musee Marmottan emy of Arts; Tate Gallery; British Museum; Mr. Stephen Hahn Saint Omer: Musee-Sandelin Strasbourg: Musee d'Art Moderne et Contemporain National Gallery, London; Royal Collection Trust; Mr. and Mrs. Hugh Halff Jr. Victoria and Albert Museum Hart Collection Germany Norwich: University of East Anglia Mrs. Teresa Heinz (and the late Berlin: Staatliche Museen Oxford: Ashmolean Museum; Dulverton Trust Senator John Heinz) Gemaldegalerie; Staatliche Museen Kupferstichk- The Hevrdejs Collection of American Art abinett; Staatliche Museen Nationalgalerie; United Kingdom—Scotland Mr. and Mrs. Michal Hornstein Staatliche Museen Edinburgh: National Galleries of Scotland Hyde Collection Trust Stiftung Preussischer Kulturbesitz United Kingdom—Wales Collection of E. Brink, Courtesy of Jackson Fine Braunschweig: Herzog Anton Ulrich-Museum Kun- Cardiff: National Museum and Gallery Art sthalle Bremen Swansea: Glynn Vivian Art Gallery Mr. and Mrs. George M. Kaufman Cologne: Rautenstrauch-Joest-Museum, der Stadt Lady Mirabel Kelly Koln; Wallraf-Richartz-Museum Mr. John Lishawa Darmstadt: Stadtische Kunstsammlungen 101 United States Connecticut Illinois Hartford: Wadsworth Atheneum Chicago: Terra Museum of American Art; Art Insti- Arizona New Britain Museum of American Art tute of Chicago Tucson Museum of Art New Haven: Yale Center for British Art; Yale Uni- Indiana California versity Art Gallery Indianapolis Museum of Art Claremont: Ruth Chandler Williamson Gallery Pro- Delaware Notre Dame: Snite Museum of Art gram at Scripps College Wilmington: Delaware Art Museum Los Angeles County Museum of Art Kansas Malibu: J. Paul Getty Museum District of Columbia Lawrence: Spencer Museum of Art Pasadena: Norton Simon Art Foundation Dumbarton Oaks; Hirshhorn Museum and Sculp- Louisiana Fine Arts Museums of San Francisco ture Garden; National Museum of American Art; New Orleans: Middle American Research Institute San Marino: Huntington Library, Art Collections, National Portrait Gallery; Library of Congress; and Botanical Gardens Phillips Collection Maine Stanford University Museum of Art Brunswick: Bowdoin College Museum of Art Florida Portland Museum of Art Colorado Jacksonville: Cummer Gallery of Art Denver Art Museum 102 Missouri Lenders of Works of Art Kansas City: Hallmark Photographic Collection; Nelson-Atkins Museum of Art Displayed with the Gallery's Saint Louis Art Museum Collections Nebraska Lincoln: Sheldon Memorial Art Gallery, University Abrams Collection, Boston of Nebraska Pieter Duyfhuysen, A Boy Eating Porridge; Jan Olis, New Hampshire Interior with Young Men Playing Tric-Trac Manchester: Currier Gallery of Art Maida and George Abrams, Boston New Jersey Adriaen van Ostade, Head of a Peasant Art Museum, Princeton University; Barbara Roger Arvid Anderson Collection Piasecka Johnson Collection Foundation Circle of Michelangelo Buonarroti, Head of Christ New York Irving Blum, New York, NY Brooklyn Museum Andy Warhol, 32 Soup Cans Buffalo: Albright-Knox Art Gallery Cooper-Hewitt National Museum of Design, Canajoharie Library and Art Gallery Smithsonian Institution, Bequest of Erskine Long Island City: Shipley Corporation Hewitt New York: American Museum of Natural History; Giovanni Domenico Tiepolo, The Immaculate Concep- Cooper-Hewitt National Design Museum; Hirschl & Adler Galleries, Inc.; National Museum of the tion American Indian; Judith Rothschild Foundation; Helen Frankenthaler Metropolitan Museum of Art; Museum of Mod- Helen Frankenthaler, Mountains and Sea ern Art Hispanic Society of America, New York Rochester: Memorial Art Gallery of the University John Singer Sargent, The Spanish Dance of Rochester; Margaret Woodbury Strong Museum Mr. and Mrs. Michal Hornstein, Montreal Utica: Munson-Williams-Proctor Institute Paulus Bor, Still Life with Travel Pouch; Caesar van Everdingen, Rape of Europa; Jacques Linard, Still Life North Carolina of Shells Raleigh: North Carolina Museum of Art Collection of Mr. and Mrs. Raymond J. Horowitz Ohio Robert Henri, Cafe Terrace Cincinnati Art Museum Cleveland Museum of Art Peter A. Jay Toledo Museum of Art Gilbert Stuart, John Jay Youngstown: Butler Institute of American Art Collection of Jasper Johns Oregon Jasper Johns, Between the Clock and the Bed; Field Portland Art Museum Painting; No; Target; White Flag Pennsylvania Collection of Boris Leavitt Greensburg: Westmoreland Museum of Art William Baziotes, Tropical; Philip Guston, Beggar's Philadelphia: Museum of American Art of the Joy; Willem de Kooning, Woman Pennsylvania Academy of the Fine Arts; Philadel- Manoogian Collection phia Museum of Art George Caleb Bingham, The Jolly Flatboatmen Pittsburgh: Carnegie Museum of Art The Manoogian Foundation Rhode Island Richard Caton Woodville, War News from Mexico Providence: Museum of Art, Rhode Island School of Georges de la Tour, The Fortune Teller, c. 1630, oil on Design Collection of Mr. and Mrs. Paul Mellon canvas, 102 x 123 cm, The Metropolitan Museum Richard Diebenkorn, Ocean Park No. 87; Ocean Park of Art, Rogers Fund, 1960, was lent for the La Tour Texas No. 61 exhibition Dallas Museum of Art Fort Worth: Amon Carter Museum; Kimbell Art National Museum of Health and Medicine of Museum the Armed Forces Institute of Pathology, San Antonio Museum of Art Washington, D C. Thomas Eakins, Dr. John H. Brinton Washington Seattle: Henry Art Gallery Morton G. Neumann Family Collection Jean Arp, Calligraphy of Navels; Constellation of White Forms on Gray; Alberto Burri, Red Accent; Robert Delaunay, The Windows; Theo van Doesburg, Contra- Composition; Max Ernst, My Anxious Friend; Lucio Fontana, Concetto Spaziale Attese; Alberto Giacometti, Maryland Observing Head; Juan Gris, Banjo with Glasses; Yves Baltimore Museum of Art Klein, The Blue Night; Roy Lichtenstein, Live Ammo; Rene Magritte, Underground Fire; Joan Mird, Spanish Massachusetts Dancer; Francis Picabia, Amorous Parade; Pablo Amherst College Picasso, Compote Dish, Glass, Bottle and Pipe; Young Andover: Addison Gallery of American Art Girl with Left Arm Raised; Nude; Man Ray, Indestruc- Museum of Fine Arts, Boston tible Object; Gift; Robert Ryman, Register; Gino Sev- Cambridge: Harvard University Art Museums; ering The Argentine Tango; Yves Tanguy, Peabody Museum of Archaeology and Ethnology On the Other Side of the Bridge Northampton: Smith College Museum of Art Springfield: Museum of Fine Arts Collection of Robert Rauschenberg Williamstown: Sterling and Francine Clark Art Robert Rauschenberg, Barge; Black Painting; White Institute Painting Worcester Art Museum Musee du Louvre, Reunion des musees Michigan nationaux, Paris Detroit Institute of Arts Venetian 16th Century, Boy on a Dolphin 103 Schroder Collection, London Changes of Attribution lowing changes of attribution were Hans Mielich, Portrait of a Woman made and approved by the Gallery's Collection of Candida and Rebecca Smith The following changes of attribution are Board of Trustees during the 1996 fiscal David Smith, Aggressive Character; Lunar Arcs on One Leg; Ninety Father; Ninety Son; Untitled (December 12); the result of scholarly research using year. Each list is arranged in alphabeti- Voltri XVI; Black-White Forward; Tank Totem IX; Con- the latest art historical investigations cal order according to former attribu- struction with Forged Neck; Portrait of a Painter; Sentinel and scientific examinations. It is the tion. Changes of title and date are V; Woman Bandit; Zig V policy of the National Gallery of Art to included if they were a part of the attri- Collection of Mr. and Mrs. Steven M. Umin publish these changes regularly. The fol- bution change. David Teniers II, Man with Bagpipes Washington National Cathedral Paintings Florentine 15th Century, Dalmatic with Woven Panels Number, title, date Attribution Changes to and Braid The Weldon Collection, New York 1947.17.82 American 19th Century Attributed to John Adriaen van Ostade, Dutch Man Reading Notices Miss Ryan(?) Neagle Posted on a Wall; Adam Pynacker, The Annunciation to c. 1830 Portrait of a Lady the Shepherds; Adriaen Pietersz van de Venne, A c. 1825/1830 Dutch Proverb (The Lame Leading the Blind); A Dutch Proverb (Must These Poor Legs Also Carry Poverty?) 1947.17.53 American 19th Century American or Possibly Mother and Child British 19th Century White House Collection Paul Cezanne, The Forest; House on the Marne; House 1947.17.52 American 19th Century American or Possibly on a Hill; Still Life with Skull Portrait of a Man British 19th Century Erving and Joyce Wolf Francis Augustus Silva, Indian Rock, Narragansett Bay 1963.10.64 American 20th Century American or British Madame G 19th or 20th Century Mr. and Mrs. Sidney R. Yates c. 1910 c. 1900 Joan Mitchell, Piano mecanique Anonymous 1943.1.6 Samuel Finley Breese Morse American 19th Century Hendrick Avercamp, Winter Landscape with Golfers; Portrait of a Lady Hans Bol, View of a Village; Botticelli, Portrait of a Young Man Holding a Medallion; Francesco Botticini, 1947.17.9 William Sidney Mount American 19th Century Head of a Man; Bartholomeus Breenbergh, Landscape Charles Loring Elliott with Christ and the Woman of Samaria; Adriaen Brouwer, Tavern Yard with a Game of Bowls; Jan 1961.8.1 Bass Otis American 19th Century Brueghel the Elder, Flowers in a Glass Vase; A Road John Smith Warner John Smith Warner(?) with a Ford in a Wood; Cariani, A Concert; Dirck van 1827 c. 1827 Delen, Architectural Fantasy; Claude Lorrain, Rest on the Flight; Edgar Degas, Alexander and Bucephalus; 1963.10.71 James McNeill Whistler Possibly American or Arshile Gorky, Self-Portrait; Composition; Still Life on Little Girl in White British 19th Century, the Table; The Limit; Portrait of Master Bill; Barthol- c. 1890/1900 c. 1895 omeus van der Heist, Portrait of Two Men; Jan van der Heyden, View of the Herengracht; Jan van Huy- sum, Still Life with Flowers and Fruit; Ellsworth Kelly, Three Gray Panels (triptych); Willem de Kooning, Sculpture Untitled 111; Roy Lichtenstein, Cosmology; Edouard 1937.1.115 Style of Desiderio da Imitator of Desiderio Manet, Jeanne—Le Printemps; Jacopo Palma il Gio- Christ with Saint John the Settignano Settignano vane, Venus and Cupid at the Forge of Vulcan; Robert Baptist as Children probably 1855/1860 Rauschenberg, Blue Eagle; Sebastiano Ricci, Pyg- second half 15th century malion and Galatea; Salomon van Ruysdael, River Landscape; Adriaen Pietersz van de Venne, Autumn (Prince Maurits Going Hawking); Emanuel de Witte, Interior of the Oude Kerk, Amsterdam, from the North Drawings Aisle to the East; Philips Wouwerman, Stag Hunt; 1988.20.7 Henry Bright Harry Bright Landscape Coral Buntings and Their 1878 Nest in a Holly Tree 1988.20.8 Henry Bright Harry Bright Gold Finches and Their Nest 1878 in an Apple Tree 1848 104 Andre Kertesz, Clock of the Academie Franqais, Paris, 1929-1932, silver gelatin developed-out print, 17.2 x 23.5 cm, Gift of The Howard Oilman Foundation and The Andre and Elizabeth Kertesz Foundation, 1996.60.1 Staff Publications , coauthor. "Some Observations on Georges Cline, Judith. "What a Registrar Archives." Art de La Tour's Painting Practice." In Georges de La Tour Documentation 15, no. 1 (1996): 5-7. and His World. Exh. cat., National Gallery of Art. Conisbee, Philip, coordinating author. Georges de Anderson, Nancy, contributor. American Paintings Washington, 1996. of the Nineteenth Century, Part I. Collections of the La Tour and His World. Exh. cat., National Gallery of National Gallery of Art, Systematic Catalogue. Chotner, Deborah, contributor. American Paintings Art. Washington, 1996. of the Nineteenth Century, Part I. Collections of the Washington, 1996. , contributor. Adolph Menzel 1815-1905: National Gallery of Art, Systematic Catalogue. Between Romanticism and Impressionism. Exh. cat., Berrie, Barbara H. "A Note on the Imprimatura in Washington, 1996. Two of Dosso Dossi's Paintings." Journal of the Ameri- Musee d'Orsay, Paris. London, 1996. can Institute for Conservation 33 (1994): 307-313. Cikovsky, Nicolai, Jr., coauthor. Winslow Homer. , contributor. In the Light of Italy: Corot and Exh. cat., National Gallery of Art. Washington, Early Open-Air Painting. Exh. cat., National Gallery , coauthor. "Gerard David's St. Anne Altar- 1995. piece: Evidence for Workshop Participation." Historic of Art. Washington, 1996. , contributor. American Paintings of the Nine- Painting Techniques, Materials, and Studio Practice. Donovan, Molly, contributor. The Robert and Jane Preprints of symposium, University of Leiden, The teenth Century, Part I. Collections of the National Meyerhoff Collection: 1945-1995. Exh. cat., National Netherlands. Edited by A. Wallert, E. Hermens, M. Gallery of Art, Systematic Catalogue. Washington, Gallery of Art. Washington, 1996. Peek. Los Angeles, 1995. 1996. 105 Downs, Linda. "The Need for Learning Research Lewis, Douglas. "Two Books on Thomas Jefferson . Exhibition review of Picasso and the Weeping in Museums." In Public Institutions for Personal Learn- and the University of Virginia." Annali di architettura Women: The Years of Marie-Therese Walter and Dora ing: Establishing a Research Agenda. Edited by John 7 (1995): 200-202. Maar [Metropolitan Museum of Art, New York]. In Falk and Lynn Dierking. Washington, 1995. Lomax, Suzanne Quillen. "How to Calculate the Woman's Art Journal 17, no. 2 (fall 1996/winter Fine, Ruth E. "Introduction." Neil Welliver: Prints, Concentrations of Solutions." AIC News (January 1997): 47-49. 1973-1995. Camden, Me., 1996. 1995): 25-26. Thurber, T. Barton. Review of Pellegrino Tibaldi , contributor. The Robert and Jane Meyerhoff McCabe, Constance, coauthor. "Understanding e il S. Fedele di Milano: invenzione e costruzione di una Collection: 1945-1995. Exh. cat., National Gallery of Alfred Stieglitz' Platinum and Palladium Prints: chiesa esemplare by Stefano Delia Torre and Richard Art. Washington, 1996. Examination by X-ray Fluorescence Spectrometry." Schofield. Annali di architettura 7 (1995). Gifford, E. Melanie. "Jan van Eyck's Washington In Conservation Research. Studies in the History of Walsh, Judith. "A Report on Artists' Papers." Annunciation: Development and Alterations." Col- Art, ser. 2, vol. 51. Washington, 1995. Interview by Carmi Weingrod. American Artist loque X pour Vetude du dessin sous-jacent dans la pein- Metzger, Catherine M., coauthor. "Gerard David's (October 1996). ture. Edited by R. van Schoute and H. Verougstaete. St. Anne Altarpiece: Evidence for Workshop Participa- Weiss, Jeffrey, contributor. Encounters with Modern Louvain-la-Neuve, 1995. tion." Historic Painting Techniques, Materials, and Stu- Art: Reminiscences of Nannette Rothschild. Exh. cat., . "A Pre-Eyckian Altarpiece in the Context of dio Practice. Preprints of symposium, University of National Gallery of Art, Washington. Philadelphia, European Painting Materials and Techniques Leiden, The Netherlands. Edited by A. Wallert, E. 1996. around 1400." Flanders in a European Perspective: Hermens, M. Peek. Los Angeles, 1995. , contributor. The Robert and Jane Meyerhoff Manuscript Illumination around 1400 in Flanders and Millon, Henry A. "Introduction," and "Les Collection: 1945-1995. Exh. cat., National Gallery of Abroad. Proceedings of International Colloquium maquettes dans l'architecture de la Renaissance." In Art. Washington, 1996. [1993]. Edited by M. Smeyers and B. Cardon. Leu- Architecture de la Renaissance Italienne de Brunelleschi a Wheelock, Arthur K„ Jr. "Ary Bob de Vries." In ven, 1995. Michel-Ange. Edited by Henry A. A Generous Vision: Samuel H. Kress Professors, . "Style and Technique in Dutch Landscape Millon and Vittorio Magnago Lampugnani. Exh. 1965-1995. Edited by Elizabeth Pendleton Streicher. Painting in the 1620s." Historical Painting Techniques, cat., Musee National des Monuments Franqais. Washington, 1995. Materials, and Studio Practice. Preprints of sympo- Paris, 1995. . Dutch Paintings of the Seventeenth Century. sium, University of Leiden, The Netherlands. . "Italienische Architekturmodelle im 16. Collections of the National Gallery of Art, System- Edited by A. Wallert, E. Hermens, M. Peek. Los Jahrhundert." In Architekturmodelle der Renaissance: atic Catalogue. Washington, 1995. Angeles, 1995. Die Harmonie des Bauens von Alberti bis Michelangelo. . "L'exposition Vermeer." Septentrion 1 . Review of Making and Meaning: The Wilton Edited by Bernard Evers. Exh. cat., Kunstbibliothek (March 1996): 4-10. Diptych by Dillian Gordon [1993]. AIC News im Alten Museum. Berlin, 1995. (November 1994): 24-25, 27. O'Malley, Therese, coauthor. "Father Rapp's Gar- . "Die stille Welt der Dinge: Neue Einsichten in die Maltechnik des Jan Vermeer van Delft." , coauthor. "Some Observations on Georges den at Economy: Harmony Society Culture in Belvedere 2 (1995): 6-23. de La Tour's Painting Practice." In Georges de La Tour Microcosm." In Landscape Archaeology: Reading and and His World. Exh. cat., National Gallery of Art. Interpreting the American Historical Landscape. . "The Story of Two Vermeer Forgeries." In Washington, 1996. Knoxville, 1996. Shop Talk: Studies in Honor of Seymour Slive. Edited by Alice I. Davies, William W. Robinson, and Cynthia Glinsman, Lisha, coauthor. "Statistical Evaluation , coeditor. Regional Garden Design in the United P. Schneider. Cambridge, 1995. of Renaissance Art Objects." STATS (spring 1995). States. Dumbarton Oaks Colloquium on the History of Landscape Architecture. Washington, 1995. , coauthor. "Understanding Alfred Stieglitz' . Vermeer and the Art of Painting. New Haven, Platinum and Palladium Prints: Examination by Palmer, Michael, coauthor. "Some Observations 1995. X-ray Fluorescence Spectrometry." In Conservation on Georges de La Tour's Painting Practice." In , coauthor. Jan Steen: Painter and Storyteller. Research. Studies in the History of Art, ser. 2, vol. Georges de La Tour and His World. Exh. cat., National Exh. cat., National Gallery of Art and Rijksmuseum. 51. Washington, 1995. Gallery of Art. Washington, 1996. Washington and Amsterdam, 1996. Greenough, Sarah. Harry Callahan. Exh. cat.. Pillsbury, Joanne. "Los Relieves de Chan Chan: , coauthor. Johannes Vermeer. Exh. cat., National Gallery of Art. Washington, 1996. Nuevos Datos para el Estudio de la Secuencia y National Gallery of Art and Royal Cabinet of Paint- Halpine, Susana M. "Investigation of Artists' Ocupaci'on de la Ciudad." In Revista del Museo de ings Mauritshuis. Washington and The Hague, Materials Using Amino Acid Analysis: Introduction Arqueologia, Antropologia, e Historia 5 (1995): 47-79. 1995. of the One Hour Extraction Procedure." In Conserva- Prather, Maria, "Claes Oldenburg: A Biographical , coauthor. "La condition humaine selon Jan tion Research. Studies in the History of Art, ser. 2, Overview." In Claes Oldenburg: An Anthology. Exh. Steen: Genie de l'age d or hollandais." L'Objet d'Art, vol. 51. Washington, 1995. cat., Solomon R. Guggenheim Museum. New York, no. 305 (September 1996): 82-95. Hand, John Oliver. Review of The Arnolfini 1995. , coauthor. "Pour mieux comprendre Ver- Betrothal, Medieval Marriage, and the Enigma of van , contributor. The Robert and Jane Meyerhoff meer." Dossier de I'art 27 (1995): 4-21. Collection: 1945-1995. Exh. cat., National Gallery of Eyck's Double Portrait by Edwin Hall [1994]. Apollo , contributor. The Touch of the Artist: Master Art. Washington, 1996. 143 (February 1996): 76-77. Drawings from the Woodner Collections, Exh. cat.. Jones, Kimberly. "L'iconographie henriceenne Pye, Mary, coauthor. "Radiocarbon Chronology for National Gallery of Art. Washington, 1995. dans l'estampe de l'Ancien Regime, 1774 a 1793." the Late Archaic and Formative Periods on the With, Christopher. '"Work and Make It Better': In La legende d'Henri IV. Edited by Paul Mironneau. Pacific Coast of Southeastern Mesoamerica." In Lovis Corinth, German Art, and the Peril from Ancient Mesoamerica 6 (2): 161-184. 1996. Biarritz, 1996. Abroad." In Imagining Modern German Culture, . "Jean-Paul Laurens, the Gobelins Manu- Rie, Rene de La, coauthor. "Research into Protec- 1889-1910. Studies in the History of Art, vol. 53. factory, and the Tapestry Revival of the Third tive Coating Systems for Outdoor Bronze Sculpture Washington, 1996. Republic." Studies in the Decorative Arts 4, no. 1 and Ornamentation." Conservation of Metals, Pro- (fall-winter 1996-1997): 2-40. ceedings of International Conference on Metals . "Resurrecting History: Jean-Paul Laurens Conservation [1995]. Semur en Auxois, France, and the Politics of History Painting during the 1996. French Third Republic, 1871-1914." Ph.D. diss., Ritchie, Charles, contributor. The Robert and Jane University of Maryland, 1996. Meyerhoff Collection: 1945-1995. Exh. cat., National Kelly, Franklin. "Winslow Homer and the Deflec- Gallery of Art. Washington, 1996. tion of Narrative." Antiques (November 1995). Russell, Lynn, coauthor. "La condition humaine , coauthor. Winslow Homer. Exh. cat., selon Jan Steen. Genie de l'age d or hollandais." National Gallery of Art. Washington, 1995. L'Object d'Art, no. 305 (September 1996): 82-95. , coordinating author. American Paintings of Springer, Julie. "Deconstructing the Art Museum: the Nineteenth Century, Part I. Collections of the Gender, Power, and Educational Reform." In Gender National Gallery of Art, Systematic Catalogue. Issues in Art Education: Content, Contexts, and Strategies, Washington, 1996. 41-50. Reston, Va., 1996. 106 TRUSTEES, COMMITTEES, AND OFFICERS Board of Trustees Audit Committee (as of 30 September 1996) (as of 30 September 1996) Ruth Carter Stevenson, Chairman Ruth Carter Stevenson, Chairman Robert H. Smith, President Robert E. Rubin, William H. Rehnquist, The Secretary of the Treasury The Chief Justice of the United States Robert H. Smith Warren Christopher, Alexander M. Laughlin The Secretary of State Robert F. Erburu Robert E. Rubin, Louise W. Mellon The Secretary of Treasury I. Michael Heyman, The Secretary of Smithsonian Institution Finance Committee Alexander M. Laughlin (as of 30 September 1996) Robert F. Erburu Robert H. Smith, Chairman Louise W. Mellon Robert E. Rubin, Paul Mellon, Honorary Trustee The Secretary of the Treasury John R, Stevenson, Trustee Emeritus I. Michael Heyman, The Secretary of the Smithsonian Institution Alexander M. Laughlin Ruth Carter Stevenson Robert F. Erburu Louise W. Mellon Art and Education Committee (as 30 September 1996) Robert H. Smith, Chairman Alexander M. Laughlin Ruth Carter Stevenson Robert F. Erburu Louise W. Mellon Earl A. Powell III 107 Ruth Carter Stevenson Robert H. Smith William H. Rehnquist Warren Christopher Chairman President The Chief Justice of the The Secretary of State United States Robert E. Rubin I. Michael Heyman Alexander M. Laughlin Robert F. Erburu The Secretary of Treasury The Secretary of the Smithsonian Institution Louise W. Mellon Paul Mellon John R. Stevenson Honorary Trustee Trustee Emeritus Trustees' Council (as of 30 September 1996) Edwin L. Cox, Chairman John C. Fontaine Donald B. Marron Executive Officers Directors Emeritus Lois de Menil, Vice-Chairman Marina K. French David O. Maxwell Robert H. Smith, President J. Carter Brown Leonore Annenberg Camilla Chandler Frost Joyce Menschel Earl A. Powell III, Director John Walker* Nancy Lee Bass Morton Funger Harvey S. Shipley Miller Alan Shestack, Daniel N. Belin Evelyn D. Haas Lucio A. Noto Deputy Director W.L. Lyons Brown Jr. Frederic C. Hamilton Frank H. Pearl Henry A. Millon, John H. Bryan Jr. Lore Heinemann* Diana C. Prince Dean, Center for Advanced Study in the Visual Arts Calvin Cafritz Teresa F. Heinz Sharon Percy Rockefeller Darrell Willson, George F. Jewett Jr. B. Francis Saul II Iris Cantor Administrator Richard M. Scaife Robert W. Duemling Linda H. Kaufman Ann R. Leven, Treasurer James S. Smith James T. Dyke Stephen M. Kellen Philip C. Jessup Jr., Doris Fisher Leonard A. Lauder John C. Whitehead Secretary and General Aaron I. Fleischman Judith W. Laughlin Andrea Woodner Counsel Juliet C. Folger Yvonne Lenart Dian Woodner Joseph J. Krakora, External Affairs Officer 108 FF (as of January 1997) OFFICE OF THE Renaissance Sculpture and Decorative DIRECTOR Gretchen Hirschauer Arts Director Staff Assistant Curator, Early European Earl A. Powell III William Breazeale Sculpture Alison Luchs Deputy to the Director Northern Baroque Paintings Curator, Sculpture and Deco- Carol W. Kelley Curator rative Arts Executive Assistant to the Arthur K. Wheelock Jr. Douglas Lewis Director Staff Assistant Staff Assistant Angela M. LoRe Kathryn Haw Staff Assistants Missy Beck Debra S. Tatman American and British Curatorial Records and Files Ann M. Wieman Paintings Head of Department Internal Auditor Curator and Head of Depart- Nancy H. Yeide Larry L. Lewis ment Assistant Auditor Nicolai Cikovsky Jr. Anne L. Halpern Orin Wolf Curator Franklin Kelly PRINTS, DRAWINGS, Associate Curator AND PHOTOGRAPHS Nancy Anderson OFFICE OF THE Andrew W. Mellon Senior Assistant Curator DEPUTY DIRECTOR Deborah Chotner Curator Deputy Director and Chief Staff Assistant/Office Man- Andrew Robison Curator ager Office Manager Alan Shestack Stephenie Schwartz Susanne L. Cook Administrator for Policy and Staff Assistant Programs French Paintings Ana Maria Zavala Elizabeth Driscoll Pochter Curator Old Master Prints Senior Staff Assistant Philip Conisbee Curator Jean Stensland Assistant Curators H. Diane Russell Staff Assistant Florence E. Coman Associate Curator Harmony Raskins Kimberly A. Jones Virginia Clayton 20th-century Art Assistant Curator PAINTINGS, Curator Gregory Jecmen SCULPTURE, AND 20TH- Maria Prather Old Master Drawings CENTURY ART Associate Curator Jeffrey Weiss Curator Renaissance Paintings Margaret Morgan Grasselli Research Assistant, Rothko Curator, Italian Renaissance Associate Curator David Alan Brown catalogue raisonne Laili Nasr Judith A. Brodie Curator, Northern Renais- Assistant Curator Exhibition Associate sance Ann MacNary John Oliver Hand Molly Donovan Assistant Curator, Italian Staff Assistant Lisa Coldiron Modern Prints and David Bull Exhibition Officers Richard L. Paschal Slide Library Drawings Conservator and Head of Naomi R. Remes CAD System Architect Chief Slide Librarian Curator Department Ann Bigley Robertson Louise A. Sabol Gregory P.J. Most Ruth E. Fine Sarah Fisher Exhibition Office Manager Project Architects Associate Slide Librarian Assistant Curators Conservators Kathleen McCleery Bruce D. Condit Nicolas A. Martin Carlotta J. Owens Carol Christensen Assistants for Exhibition William H. Cross Jr. Assistant Slide Librarians Charles M. Ritchie Ann Hoenigswald Administration Denise M. Lind Trish Ballard Research Assistant Jay Krueger Jennifer Fletcher Cipriano Secretary Daniel Molting Victoria Foster Catherine Metzger Jonathan F. Walz Jane E. Davies Thomas O'Callaghan Jr Michael Swicklik Photographs Exhibition Programs Associate Conservator for the LIBRARY EDITORS OFFICE Curator Head of Department Systematic Catalogue Executive Librarian Editor-in-Chief Sarah Greenough Susan M. Arensberg Elizabeth Walmsley Neal T. Turtell Frances P. Smyth Assistant Curator Assistant Curator Administrative Librarian Production Manager Julia Thompson Paper Conservation Isabelle Dervaux Roger C. Lawson Chris Vogel Exhibitions Assistant Conservator and Head of Assistant Curator for Video Staff Assistant Senior Editor, and Manager Charles Brock Department Programs Kate M. Allen of the Systematic Catalogue Shelley Fletcher Elyse Kunz Staff Assistant Mary Yakush Laura Prochnow Conservator Project Manager Technical Services Editors Judith Walsh Roily T. Strauss Head of Technical Services Tam Curry Bryfogle Assistant Conservator Anna M. Rachwald REGISTRATION AND Susan Higman Yoonjoo Strumfels LOANS DESIGN AND Order Processing Assistant Editor, CASVA Publications Conservation Technician Mary Masters INSTALLATION Carol Eron Office of the Registrar Carol Eggert Chief of Design Acquisitions Technicians Designers Chief Registrar Permanent Collection Mat- Susan Clay Mark Leithauser Margaret Bauer Sally Freitag ting/Framing Robert A. Delehanty Head of Lighting Design and Phyllis Hecht Associate Registrar for Loans Elaine Vamos Beatrice D. Poindexter Production Assistant Editor, Systematic Judith Cline Gordon Anson Cataloguers Object Conservation Catalogue Registrar for Exhibitions Production Coordinators Jane D. Collins Conservator and Head of Katherine M. Whann Michelle Fondas William Bowser Trudi W. Olivetti Department Production Assistant Associate Registrar Anne Kelley Cathy F. Quinn Shelley Sturman Jennifer Wahlberg Lauren Mellon Cluverius John Olson Marsha D. Spieth Conservator Production Editor Assistant Registrar for Collec- Architects Paula Zech Judy L. Ozone Ulrike Mills tions Linda Heinrich Bindery Assistant Associate Conservator Assistant Editor Martha Blakeslee Donna Kwederis Jane E. Higgins Daphne Barbour Julie Warnement Staff Assistant/Acting Assis- Cataloguing Assistant Maquette Production Budget and Project Coordina- tant Registrar J. Bryan Lane Textile Conservation Jane Rodgers tor Melissa Stegeman Conservator Office Manager Reader Services Maria E.A. Tousimis Staff Assistant Julia Burke Gina O'Connell Head of Reader Services Project Assistant Michele Winkler Budget Analyst Scientific Research Lamia Doumato Mariah R. Seagle Supervisory Museum Spe- Diane Richard Reference Librarian cialist Department Head of Silkscreen Imaging and Visual Services Frances P. Lederer Daniel Shay Head of Department Barbara Keyes Head of Department Reference Assistant Art Services Specialists E. Rene de la Rie Silkscreen Production Ira Bartfield George (Ted) T. Dalziel Jr. Robert Cwiok Senior Conservation Scientist Lisa Farrell Photographers Interlibrary Loan Assistant Ellen Evangeliste Barbara H. Berrie Glenn Perry Dean Beasom Thomas F.J. McGill Jr. Andrew Krieger Research Conservator for Jeffrey Wilson Philip Charles Jr. Vertical Files Librarians Johnnie Mizell Painting Technology Stefan Wood Lorene Emerson Roberta Geier Gary Webber E. Melanie Gifford Head of Exhibits Shop Robert Grove Stephen Mize Art Services Technicians Organic Chemist Floyd Everly Archives Photographer Serials Assistants James Clark Suzanne Quillen Lomax Carpenters David Applegate Bruce B. Hebblethwaite Lowell Gilbertson Conservation Scientists Richard Bruce Museum Specialist Inge F. Newstead Goven Martinez Lisha D. Glinsman Lester Dumont Barbara Bernard Circulation Assistants Pierre Richard Michael R. Palmer Paul Heath Laboratory Technicians Jeannette Canty Laboratory Assistant Miller Mack Anthony Grohowski David Diaz Joseph Swider James Locke Loans and the National Randy Payne Museum Specialists Lending Service Loans and Exhibitions Thomas Piddington Photographic Archives Barbara Chabrowe Head of Department Conservation Head of Lighting Shop Curator Sara Sanders-Buell Stephanie T. Belt Head of Department/Deputy Jeffrey Bramhall Ruth R. Philbrick Sarah Sibbald Loan Officer Chief of Conservation Electrician Cataloguer of English and Secretary Lisa E. Mariam Mervin Richard Robert Benoit French Art Amy Densford Staff Assistant Coordinator of Head of Paint Shop Richard W. Hutton Frank Figgins Julie Lattin Matting/Framing Services Cataloguer of Architecture EDUCATION DIVISION Painters/Finishers Hugh Phibbs Andrea R. Gibbs Head of Education Robert Barnett Cataloguer of Italian Art CONSERVATION Associate Conservator Linda Downs Dennis Bult Karen H. Weinberger Chief of Conservation Michael Pierce Division Administrator Joseph Richardson Cataloguer of 20th-century Ross Merrill Matter/Framer Margot E. Grier Photographer Art Conservation Administrator Jenny Ritchie Staff Assistant Robert Shelley Meg Melvin Michael Skalka Frame Conservator Pamela Chewning Cataloging Assistant Editorial Assistant Stephan Wilcox Architectural Services Division Staff Assistant JoAnne Purnell Janice Gruver Assistant Frame Conservator Senior Architect Marta Horgan Circulation Desk Technician Staff Assistants Richard Ford James M. Grupe Wendy A. Cole Adult Programs Deborah A. Barclift Technician Assistant Senior Architect Secretary Head of Department Francesca Dougherty Elizabeth Murphy Carl M. Campioli Debra K. Massey Lynn Russell Interior Design Specialist Painting Conservation Clerk Typist Coordinator of Tours and EXHIBITIONS Susan A. Ritterpusch Chairman, Painting Depart- Geneva Rosenboro Lectures Chief of Exhibitions Skylight Project Manager ment D. Dodge Thompson Eric Denker 110 Staff Lecturers Coordinator of Multiple Visit Building Maintenance Gerald Carthorne Jesus Pena Frances Feldman Program Department James Clark Shawn Sizemore Philip Leonard Sally Shelburne Manager Lewis Dobbs Larry Smith J. Russell Sale Program Assistant, Teacher Craig A. MacFarlane Bernessa Drain James Stevens Coordinator of Adult Pro- Programs Secretary Geraldine Drayton Mark Teed gram Docents Heidi Applegate Judith Williams Raymond Frazier Alexander Tonic Wilford W. Scott Program Assistant, School Planner Estimator Isaac Graham Wayne Valentine Acting Curator of Academic Programs Allan Riggles Josephine Hallaman Anthony Walker Programs Jennifer Cross Carolyn Harvey James Wilson Carpentry Shop Faya Causey Staff Assistant Brock Hawkins Instrument Mechanics Supervisor Curator of Film Programs Heidi Hinish Michon Hollomon-Jenkins Eugene Givens Alvin Adams Margaret Parsons Carroll Jamison Edward Heffner Wood Crafter Leaders Program Assistant, Film Pro- Dorothy Johnson William Sutton Dorson Abney grams Paul Kelley Building Automation Special- CENTER FOR George McDonald Victoria Toye Angela Lee ist ADVANCED STUDY Wood Crafters Program Assistant, Academic Leonard Lyles Ed Hanna Reginald Kellibrew Programs IN THE VISUAL Theodora McCard Willard Menson Electric Shop Rachel Orgeron ARTS Leora Richardson John Rogers Leader Staff Assistant Dean Aleta Richmond Carpenters Maury Pully Henry A. Millon Betty Rufus Daniel Smith Francis Dyson Jr. Electricians Docent Liaison/Staff Assistant Associate Dean Evelyn Scott Anthony Givens Cassandra Raspberry Therese O'Malley Lorraine Staggs George Britt Peter Urban Fred Dodge Assistant Dean Anne Steadham Education Publications Melvin Klugh Joanne Pillsbury Paint Shop Rayfield Stevenson Head of Department Carlton Williams Research Assistants Supervisor Angeline Sutton Barbara Moore Electrician Worker Nina James-Fowler Rhonda McCord Elsie Thompson Production Manager David Cole Pauline Maguire Painter Leader John Walker Donna Mann Electrician Helper Mary Pye Thomas Hartswick Diana Wells Writer/Editors Leslie Raspberry T. Barton Thurber Painters James Wells Carla Brenner Elevator Mechanic Staff Assistant Barbara White William J. Williams Joseph Copeland Helen Tangires Zilphia Wright Willie Parker Program Assistant Lester Smith Assistant to the Program of Plasterer Plumbing Shop Anne Zapletal Building Operations Special Meetings Larry Welch Leader Department Education Resources Kathleen Lane Paul Dale Mason Shop Manager Head of Department Assistant to the Program of Pipefitters Supervisor Robert Jannone Ruth R. Perlin Fellowships Gregory Evans Roland Martin Planner Estimator Supervisory Program Special- Deborah Gomez LeVern Jacobs Fred Crickenberger ist Assistant to the Program of Mason Leader Joseph Sandleitner Leo J. Kasun Regular Meetings Energy Conservation OFFICE OF THE CHIEF Elizabeth Kielpinski Masons Coordinating Curator of Art Energy Conservation Super- OF PROTECTION Information Assistant to the Program of Michael Proctor visor SERVICES Christopher With Research Joseph Thomas Dennis Donaldson Chief Supervisory Art Information Stephanie Kristich Masonry Helper Planner Estimator James J. Davis Specialist Secretary to the Kress and Christopher Baumann Charles Gillespie Investigator Carol Boyes Mellon Professors Building Services Enis Pinar Senior Art Information Spe- Kimberly Rodeffer Utility Systems Repairer- Department Secretary cialist Operators Manager Catherine Aldrich John Cogswell BAS Manager Dan Hamm Larry Varner Art Information Specialists OFFICE OF THE Secretary Administration/Special Margaret Baucom BAS Foremen Operations ADMINISTRATOR Barbara Stevens Mary Anne Probus John Bixler Deputy Chief Administrator Program Assistant Customer Service Center Floyd Hall George S. Martin Darrell R. Willson Carol F. Lippitt Project Specialist Foremen Training Officer Deputy Administrator Supervisor, Booking and Michael Brown Joseph Barnes Joseph Maddox Charles H. Schneider Shipping Steven Bradish Personnel Security Specialist Assistant to the Administra- Inventory Control Roland Young Juan Delano Pamela Davis tor Inventory Specialist Affiliate Loan Coordinator Zery Mingo Office Automation Assistants Andrew McCoy David Duggin Kendrick Ashton Donald Young Annette Brown Staff Assistants Lead Booking Technician Housekeeping Leaders Margaret Myers Anne Campion Martha H. Aspron General Foreman Oscar Riley Saundra Williams Stephanie Topolgus Booking & Shipping Techni- Charles Boone Anthony Thomas Office Clerk EEO Officer cian Supervisors Utility Systems Repairer- Joseph Lawrence Cathy Yates Linda Coles Mary Battle Operators Fire and Safety Program Shipping Techni- Willie Cook Noel Ashton FACILITIES Deputy Chief cians Frank Ford Lester Barry Harold Michael Michael G. 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Lowe Coordinator of School ager) Harvey Moore Catherine Brown James Thompson Docents Linda Hilliard Clifton Mutts Lamont Brown Executive Officer Elisa Patterson John Ott 111 Larry Kaylor Joseph Hudson Joseph Callaham Ronald Wilkins Supply Technician Office Automation Clerk Calvin Johnson Shawn Calloway James Williams Nathan Howell Jesus Jimenez Edward Johnson Michelle Cameron Lynn Williams Supply Clerks Security Driver Frank Johnson James Canada Rita Williams Dora Baksdale Joshua Mewborn Yamashita Johnson Joe Cardwell Andre Wilson Dave Duggin Security Lieutenants Ronald Jones Albert Carr Jr. Derek Wilson Paul Fortune Richard Allen Veronica Jones Jesus Castro Carolyn Windear Anthony Sean Hilliard Quentin Arnold Quellan Josey Willard Catlett Ann Wyder Ulrick Vilmenay Milton Cox Willie Joyner Edward Chapman Technical Services Warehouse & Distribution Jerome Edwards Stinson Kelly Walter Colbert Deputy Chief Supervisory Distribution Daniel Miller Franklin Lewis Leslie Copeland David Schott Facilities Specialist Marlene Tucker Joe Lewis John Costello Technical Services Foreman Paul Rodriguez Supervisory Sergeants Robert Lewis James Dabney-Palmer Angelo Catucci Warehouse Leader Hajji Al-Hadith Gary Lindsey Wade Davis Electronic Mechanics Sam Baugh Dianne Allison Amos Lynch James Deas Donnie Mercer Materials Handlers Willie Barnes George Mackie Dennis Diggs Patrick Parrett Deena Acker Bernard demons Eunice McQueen Jerry Doss Nathaniel Stroman Darnell Brandon Armando Hartley Frank Meyers Adrian Dove Locksmiths Alfred Cohen Maurice Johnson Joseph Midgette Roby Ellis Robert Brown William Johnson Charles S. Moody Neil Floyd Ty Cullins AUDIOVISUAL Alonzo Kennedy Jasper Morris David Fobbs William Shaw SERVICES Roger Kraft Dexter Moten Paul Ford Console Operator Supervisors Chief of Audiovisual Services Donna Linder Hubert Nicholls Edward Foster Frank Ebb Thomas Valentine Ricky Manuel Justina Page Carlton Gaines Walter Queen Assistant Lawrence Marshall Vincent Parker Johnnie Gallop Console Operators Dorian Breau Jimmy Myers Joyce Palmer Paul Gresham Robert Brooks Projectionists John Palmer Joe Peterson Betty Harper Cleven Brown Jeannie Bernhards Karen Perry Sandra Powell Alice Holloman Derrick Hairston Paavo Hantsoo Jeroboam Powell Ronald Randall Fred Holmes Stanley Harley Maintenance Technician Anthony Thompson Jerry Reaves Herman Howard Ernest Reynolds Lester Barry Edward Watson Darrell Rhoades Tyrone Howard Console Operator Trainees Radio Production Specialist Raymond Watson Edward Roberts John Jackson Cheryl Miles John Conway George Woodall Andrew Robinson Alan Jenkins Vincent Parker Sheila Wright Patrick Rogers Andre Johnson Gallery Protection Officers Thomas Savoy Ivy Johnson PERSONNEL ADMINISTRATIVE Personnel Officer James Allison Jr. Calvin Simmons Wayman Johnson SERVICES Daniel Bailey Franklin Smalls Felisha Jones Michael Bloom Chief of Administrative Ser- Deputy Personnel Officer Leonard Bashful William Smallwood Kenneth Jones vices Gwendolyn Bell Leroy Smith Dennis Jordan Meredith Weiser Cathy Yates Systems Specialists Ludwig Bednar Jr. Timothy Smith Crystal Kelly Administrative Officer Vander Blount Vernon Smith Charles Leggett Michele Caputo Sharlene Mobley Darryl Cherry Richard Bock Gregory Stevenson Tyrone Lewis Staff Assistant Michelle Brown Reathel Stewart Fransonia Littles Personnel Specialists Dee Dee Buck Ronald Brown Michael Strong Marvin Mallard Lucia Pollock Clerk Typist Terrence Snyder Samuel Brown William Thome Rodney Mathew Christy Allen Staffing Specialists Tyrone Brown James Townsend Victor McCrea Clerk Rick Decuir Otis Butler Larry Turner Leroy Miller Scott Stephens Catherine Oh George Caldwell Eugenio Velazquez Leroy Moreno Linda Pettiford Bruce Carter Alvester Warren Timothy Nicholson Support Services Employee Relations Advisors Ellis Caudle Linda West Willie Norman Deputy Chief of Administra- Mark Adelman Luther Clark Laverne Whitted John Norris tive Services Luis Baquedano Robert Conyers Alfred Williams Leslie Parks Edward Harrison Staff Assistants Michael Cooper Barry Williams James Phillips Program Assistant Tammy Bennett Michael Copeland Richard Wood Chris Privott Barbara Caldwell Gwendolyn Hines Venus Cristwell Roddie Worthington Willie Pugh EEO Specialist John Davis Ralph Wright Gary Reed Mail & File Rita Cacas Yvette Dixon Willie Wright Robert Rice Mailroom Supervisor Ronald Estes James Yancey William Richardson Clifton Fleet Robert Evans Gallery Security Officers Dana Roberson Mail Clerks RESOURCE Virtus Evans Rukan Ahmed Kenneth Rowe James Arnold ACQUISITION Gregory Ford Douglas Aid rich Ronald Sewell Felton Byrd Chief of Resource Acquisition Timothy Fortt Phillip Arnett John Sherrill Jose Vallecillo Jane V. 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Johnson Inventory Management Offi- David Hodges Alvin Burts Michael Webster Nathaniel Tucker cer Priscilla Hopkins Richard Byrd Verda Whitlow Procurement Technician/Staff Ted Harper Edgar Hopson David Caldwell Celia Whitney Assistant 112 Julie Fetter Marquita E. Dewald Assistant Store Managers OFFICE OF CORPORATE Computer Systems Analyst Karen J. Martin Craig Himmons SECRETARY- RELATIONS Jen Dewberry John H. McNeil Stephen McKevitt GENERAL COUNSEL Chief Corporate Relations Procurement Systems Ana- Book Information Specialists Secretary and General Coun- Officer lyst Stephen Bjorneboe Sandra Masur TELECOMMUNICA- sel Terry Ellis Mary J. Powell TIONS Philip C. Jessup Jr. Deputy Corporate Relations Lead Cashier Telephone Systems Adminis- Deputy Secretary and Deputy Officer C. Kelly Mayle Christine M. Myers trator General Counsel Cashiers Senior Corporate Relations OFFICE OF THE Ira Bozeman Elizabeth A. Croog Connie Cahanap Associate Head Telephone Operator Associate General Counsels TREASURER Sean Griffith Minnie Barbour Nancy Robinson Breuer Diane D. Colaizzi Treasurer Mary Heiss Operators Marilyn Tebor Shaw Executive Assistant Ann R. Leven Vicki James Barbara Coleman Legal Assistant Catherine C. Labib Executive Assistant Theresa Keys Program Specialist Zewdie Simms Sarah E. Fontana Alfreda M. Spraggins Nancy Kotz Assistant Secretary Jeanette Crangle Beers Assistant Treasurer/Invest- GALLERY SHOPS Cassandra Martin Kathryn K. Bartfield Staff Assistant ment Management Assistant Administrator for Margaret Monahan Stephanie R. Miller Staff Assistant Michael W. Levine Business Activities Gregory Pavlovcak Supervisory Operating R. Keith Webb Carol A. Christ Kim Peacock PRESS AND PUBLIC Accountant Assistant Chief/Merchandise Secretary Kyser Pogue INFORMATION Kelly Liller Manager Licensing and Montrue V. 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Beers Nira Hodos Akiko Oshima Cynthia Lawless Vanessa Lecomte Elvera Berson Jennifer Hollings Gail Ostergaard Gardener Leaders Joohee Lee Maureen Fallon Bridgeland Sharon Holtzman Louise Owen Ulysses Greatheart Karyl Lin Gail Briggs Sandy Horowitz Patty Owens James Stewart Kristina Lockaby Florence Brodkey Marilyn Horwood Anne Padelford Gardeners Eleanora Luciano Rhona Brose Carol Pope Howerton Martha Parker Ronald McGill Anne Margeson Ana Maria Brown Merry T. Hunt Hedwig Pasolini Ronald Terrell Jill Martinez Susan Bruce Anne Irving Connie Patrick Lynn Matheny Donna Burnett Lisa Jaeger Joy Peabody-Ogden MUSIC Wally Mertes Carol Burton Francesca Janni Annabel Perlik Assistant to the Director for Stephanie Miller Brigit Bush Marilyn Jenkinson Maxie Phillips Music Toby Millman James Byron Marilyn Johnson Lily Pineiro George Manos Katrin Muir Mary Ann Cameron Leigh Jones Judith Pomeranz Music Program Assistant Divya Muralidhara Nancy Cammack Joan Jordano Anne Prange Juliana Munsing Rachel North Karen Campbell Cheryl Jukes Anastasia Pratt Music Program Specialist Nicholas Paul Sheila Campbell Sunhee Kang Honora Lundell Precourt Stephen Ackert Heather Pfitzinger Silvia Canessa Rebecca Wall Karo Rolf Preisendorfer Music Librarian Clarissa Post Marie Capalaces Evelyn Katz Christine Prichard George Gillespie Peggy Proctor Lynette Chambers Katherine Kavanaugh Alia Pruitt Esmee Quodbach Sara Cherner Carolyn Kelloff Donald Pruitt INTERNS Kara Reinsel Mary Anne Clancy Marney Kennedy Ludmila Pruner Jame Anderson Kathleen Rhoades William Cline Claudia Kiguel Maria Amelia Ramaciotti Heidi Applegate Charles Rockefeller Mary Ann Coffland Ilze King Pickett Davis Randolph Sarah Ashcroft Amy Rockwood Martha Coghlan Carol Hallene King Karen Redfern Susie Avenido Alex Ruger Leslie Cohen Gwen Kinney Lucia Jean Reynolds Laura Baptiste Pamela Sachant Eilizabeth Corbin Phyllis Knight-Cochran Peggy Rice Lucretia Baskin Sara Saldoff Jeannette Cox Gunter Koenig Nancy Richardson Teresa Beall Nadine Shamounki Robert D'Annucci Ingeborg Kolodney Rutgera de Rivera Lauren Berkeley Savannah Schroll Kitty Davis Patricia Kraemer Isabel Rodriguez Jay Brown Anna Schwebel Dominique de Keghel Carol Kuehl Estelle Rogers Mark Burnett Kristin Shepherd Vivien DeLima Barbara Kurtz Jo Roland Stephanie Burnett Kelly Slinkman John De Pasquale Marie Kux Eileen Dugan Romano Helen Burnham Cameron Smith Joan Dickey Katherine LaBuda Samantha Rosser Jennifer Carter Helen Spande Margaret Doole Astrid Lamparter-Nowak Deborah Rucci Anne Clark Ken Sutherland Graciella Dourojeanni Jean Langley Sheila Ruffine Esther Chao Allie Terry Christine Deutsch Anne Lanman Deborah Ryan Bridget Cooks Susannah Thacker Nathalie d'Ursel Daniele Lantran Mary Schaad Karen Coyne Lee Topar Hope Emerling Jo Ann Larsen Suzanne Schiffman Ginger Crockett Takahide Tsuchiya Erika Engelmann Gigi Lazarus Tazuko Schmitz Isabel Crombrugghe Geraldine Van Heemstra Karen Epelbaum Anne-Marie Lee Mary Leigh Shepard Margaret Doyle Andrea Van Houtven Mary Ellen Fahy Anne LeLeux Milton Silveira Amelia Dudman Jennifer Ward Elizabeth Farrell Rosalie Lesser Joan Silverman Louise Elling Bernida Webb Sharon Feldman Peter Levitt Iris Silverman Claude Elliot Karen Wert Paula Ferdinand Doris Loftness Beatriz Slotkoff Collyn Evans Emily Wilkoff Sima Ficks Kay Looney Anne Louise Smith Sarah Evans Tamara Wootton Deborah File Jean Loper Patricia Sondergaard Catherine Evrard C. Falan Young Harriet Finkelstein Anne Lowenstein Celia Steingold Nancy Ficovic Ana Maria Zavala Virginia Flavin Camilla Lundell Gladys Stifel Jack Flotte Thomascine Ford Ana Marie Macchetto Mary Sullivan Elizabeth Freeman LIBRARY VOLUNTEERS Joyce Frazier Barbra Mann Patricia Sulzman Julia Friedman Labib Adel Phyllis Freirich Patricia Martin Mary Ann Sures Sarah Gilboa-Karni Betty Allner Joyce Gamse Terry Matan Kimiko Takeda Wendy Ginsburg Pat Clopper Mary Gibb Andrew McCready Lillian Taylor Barbara Goldstein James Early Thomas Gilday Rebekah McKenna Karen A. Telis Maria Goldwasser Olaf Grobel Betty Ann Gilmore Ursula McKinney Gale Templeton Alexis Goodin Edith B. Hebblethwaite Pauline Gilstrap Virginia McQuoid Ruth Thomas Erin Griffey Diane Horowitz Irya Gittelson Felicia Messina-D'Haiti Susan Toerge Patricia Hanley Ellen McVicker Layman Dawn Glass Betty W. Mezines Ginger Vanderver Katherine Harmon Mary V. Martin Kay Glenday Caroline Miller Susan Van Nice James Harper Joan Mavity Lucy Goss Elaine Miller Greg Van Tatenhove David Hart Doris Rauch Jonathan Gray Lorraine Mills Suzanne Vegh Nicole Hartje Lilly Rosen Kathy Green Michelle Minyard Rosario Velasquez Katherine Hays Marie Smith Beth Griffith Eleanor Monahan Joy Vige Kim Heitzman Lona Towsley Deborah Griffith Robbie Anne Morris Joanne Vinyard Caitlin Herlihy Rose Tippi Nancy Hafer Joan Morton Josephine Wang James Herring Florence Hall Joan Banks Mulcahy Julie Warnement Heather Hueglin VOLUNTEER DOCENTS Ludwine Hall Masako Nakajima Jane Weems Marc Infeld Karin Akerson Pamilla Gulley Hardin Judith Newton Maria Elena Weissman Aaron Jue Ann Allen Melissa Harris Elizabeth Niederman Anne West Eik Kahng Diane Arkin Nadine Harth Akemi Nishida Michael Weyl Elizabeth Kahora Hannah Aurbach Adriana Hopper Laureen Higgins Nicholson William F. Whalen Sarah Kelly Barbara Baker Marta Madrid de Horgan Charles Nold Sue White Alison Kent Rosalie Baker Sandy Horowitz Saka Noma Mary Wilkinson Holly Kileff Jane Barton Marilyn Horwood Nur Nossuli Kathleen Williams Lindsay Koval Kathleen Battle Florence Heller Mary Catharine O'Connell Frances Winston Karen Kretzer Heinz Bauer Shannon Hobbs Mary Lee O'Neill Dorothy Wright Paul Kuglitsch Lisa Ann Bell Jane Hochberg Victor Oppenheimer Fred Yamada 114 Dora Jean Young Jo Ann Hearld Esther Slaff Lois Young Drucilia Hopper Linda Stamp Joan Zeizel Claire Horowitz Joan Steigelman Kathryn Zoeller Eileen Hurley Debra Strickland Gianna Zucchi Florence Imburg Bonnie Sweet Carmen Iribarren Wei Tang ART INFORMATION Jane Irvin Gale Templeton VOLUNTEERS David Iverson Kay Thomas Claire Ackerman Bernice Jacobsen Alicia Tisnado Elsie Aranda Barbara Jensen Grace Tull Mary Ann Arbo Lyn Jonnes Ward Van Wormer Eleanor Augustine Jill ICasle Barbara Vondy Rosalie Baker Nancy Kotz Fran Walls Edith Ball Elaine Krassner Moon-Shia Wang Valerie Ballard Sally Ann Kreisberg Mary Ann Way Eleanor Bateman Susan Krutt Cecile West Georgienne Bednar Adel Labib Alicia White Barbara Behr Stephen Lake Eleanor Williams Mary Bell Ava Lambert Eileen Winkelman Diane Soucy Bergan Shirley Lavine Fran Winston Catherine Beyer May Lawler Maria Wood Marian Binder Marion Lebanik Merriam Woodhouse Janet Boccia Ilse Lewy Walter Woodhouse Thomas Bossung Susan Lightsey Gerry Wyche Bettyjane Boudreau Lyle Lipschultz Tony Yared Joyce Bourke Marty Longan Rubye Youngblood Cynthia Brown Joyce MacCorquodale Dena Zenti Amy Bruins Rosetta Penna Maguigad Laina Bush Eileen Mandle Mario Cader-Frech Don Markle A.J. Campbell Geri Markle Marian Carroll Sarah Marsten Patricia Casson Harriett Mathews Nancy Center Virginia McCormick Chuck Chandler Rebekah McKenna Joan Chapin Virginia McQuoid Louise Chubb Emilou Melvin Kimball Clark Barbara Mered Simone Clarke Lynne Middleton Lynn Cleary Christine Monsen Pat Clopper Dale Moran Jean Cohen Barbara Morris Marlene Conner Yolanda Morris Maureen Cook Nika Moscalionov Janet Cooper Susan Murphree Marcia Corey Alexandra Neustadt Sherry Cross Terry Neves Abby Daniels Marian Jean Nida Elizabeth des Cognets Ronald Niemann Teri Des Rosiers Darvine Noel Verda Deutscher Suzanne Odom Jan Donaldson Anne Padelford Kimberly Doyle Ursula Pariser Britta Duvigneau Roberta Peel Donna Edmondson Fran Pelton Estelle Eisendrath June Ramey JoAnne Fanelli Karin Regan Judith Feldman Deirdre Reid Jack Ferry Annette Rich Barbara Fisher Judith Rich Marjorie Fisher Bette Richardson Sue Fretts Arlene Ring Marianne Freudenthal Sara Roberts Marguerite Fry Eugene Rosenfeld Pamela Fry Shirley Rosenfeld Agnes Gavin Christina Rowsome Nancy Gelman Margit Ruben Jean Gerhardt Suzannah Rubens Carla Gois Cherry Sand Annette Goldschmidt Howard Sanders Charlotte Greathouse Jill Schatken Helena Gunnarsson Audri Schiller Marylee Hair Roberta Schneidman Mary Hanrahan Marilyn Schwaner Tawney Harding Carl Shugaar Betty Hatch Margaret Sickels Alice Haywood Heidi Sieck IFTS 1 October 1995-30 September 1996 The National Gallery of Art is Gifts of Art Frank R. and Jeannette H. Eyerly pleased to recognize the fol- Ruth E. Fine lowing donors, whose gifts The Gallery gratefully thanks David M. Frost Mr. and Mrs. Paul Gourary during the fiscal year greatly the following donors for their gifts of works of art made from Helena Gunnarsson helped to further the Gallery's Stephen Halm 1 October 1995 through mission to provide art for the Diane Morris Heldfond 30 September 1996. Their gifts nation. The Gallery is deeply Mr. and Mrs. Raymond J. indebted to these generous are a part of the tremendous Horowitz legacy of generosity that has individuals, corporations, and Ruth and Jacob Kainen Dorothy R. Kidder* foundations, as their support is made the Gallery's permanent collection one of the finest in Werner H. and Sarah-Ann an essential part of the pub- the world, delighting millions Kramarsky lic/private formula that has Marianna Leporsky of visitors each year. allowed the Gallery to become Douglas Lewis one of the world's great art Roy Lichtenstein Anonymous Adele Lozowick museums in less than a Maida and George Abrams Lee Lozowick century. Keith Achepohl Susan P. MacGill The Ahmanson Foundation Robert Paul Mann The Atlas Foundation Norma B. Marin Martin and Liane W. Atlas Raymond F. Merritt Frank Auerbach Robert and Jane Meyerhoff Mark Balakjian Harvey S. Shipley Miller Anne Baruch Adriana and Robert Mnuchin Lisa and Leonard Baskin Ivan Novell! Batuz Foundation The Georgia O'Keeffe Vivian S. and Marc H. Brodsky Foundation Andrew M. Brown Mr. and Mrs. Gerhard E. Pinkus Kathan Brown J. Randall Plummer Anne and Russell Byers Mrs. John Alexander Pope Crown Point Press Lili-Charlotte Sarnoff Philip and Lizanne Cunningham Rosi Schilling* Virginia L. Dean Charles and Helen Schwab Ambrosius Bosschaert the Elder, Jim Dine Carole Slatkin Bouquet of Flowers in a Glass Vase, Robert and Brenda Edelson Robert H. and Clarice Smith 1621, oil on copper, 31.6 x 21.6 A. Thompson Ellwanger III (12 7/i6 x 8 'h), Patrons' Permanent Lionel C. and Elizabeth P.S. Fund and New Century Fund, 1996.35.1 Epstein 117 Natalie Davis Spingarn New Century Fund Morton and Norma Lee Funger The Andrew W. Mellon Founda- Harry Sternberg Maryland tion John R. Stevenson The Gallery proudly recognizes GTE Foundation New York Ruth Carter Stevenson the generosity of those donors Connecticut Mrs. Louise W. Mellon Virginia Donald Stone listed below who have made Mr. and Mrs. Julian Ganz Jr. California Mr. and Mrs. Paul Mellon James Stroud major gifts and pledges to the Giancarlo Tognoni Michael and Susan Gelman Virginia New Century Fund campaign Marjorie and Leonard Vernon Maryland Miller & Long Company, Inc. Betsey Gushing Whitney and its adjunct New Century The J. Paul Getty Trust Maryland Wolfgang Wittrock Gift Committee, a special Wash- California Evelyn Stefansson Nef Emile E. Wolfe ington, D.C., area initiative of Bernard and Sarah Gewirz District of Columbia David and Constance Yates the campaign, since its public District of Columbia Samuel I. Newhouse Foundation Inc. Adeline and Sidney R. Yates announcement in May 1994 The Horace W. Goldsmith Foun- dation New York through September 1996. Their New York Mr. and Mrs. Frank H. Pearl participation in this important The Gordon Fund District of Columbia effort signals a dedication to New York Louise and Alan Potter helping the Gallery maintain a Mary and Kingdon Gould Jr. Florida Mr. and Mrs. Frederick H. Prince high standard of excellence into Maryland Mrs. Katharine Graham District of Columbia the next century, for which we District of Columbia The Honorable John D. Rocke- are most grateful. Philip L. Graham Fund feller IV and Mrs. Rockefeller District of Columbia District of Columbia The Ahmanson Foundation Mr. and Mrs. Frederic C. Rosenthal Automotive Organiza- California Hamilton tion Sondra D. and Howard M. Colorado Virginia Bender The Very Reverend and Mrs. Mr. and Mrs. John Safer Maryland Charles U. Harris Virginia Diane and Norman Bernstein Virginia Sara Lee Corporation Foundation William Randolph Hearst Foun- Illinois District of Columbia dation Mr. and Mrs. B. Francis Saul II Mr. and Mrs. W.L. Lyons New York Maryland Brown Jr. John W. and June Hechinger Robert H. and Clarice Smith Kentucky District of Columbia Virginia The Morris and Gwendolyn The William and Flora Hewlett Mr. and Mrs. Benjamin F. Cafritz Foundation Foundation Stapleton III District of Columbia California New York Mr. and Mrs. Oliver T. Carr Jr. The Irwin Family Walker & Dunlop/Green Park Maryland New York Financial Amon G. Carter Foundation James A. Johnson and Maxine Maryland Texas Isaacs Rachel Mellon Walton Fund of Melvin S. and Ryna G. Cohen District of Columbia The Pittsburgh Foundation Maryland Mr. and Mrs. Jacob Kainen Pennsylvania Ed Cox Foundation Maryland John and Nancy Whitehead New York Texas Edward H. and Irene R. Kaplan Mrs. Charles Wrightsman Mr. and Mrs. Leo A. Daly III District of Columbia New York District of Columbia Dr. Cyrus Katzen Foundation The Arthur Vining Davis Founda- Virginia tions Mr. and Mrs. George M. Florida Kaufman Dr. Lois de Menil and Dr. Georges Virginia de Menil Ina and Jack Kay New York Maryland Robert W. and Louisa C. Robert P. and Arlene R. Kogod Duemling District of Columbia District of Columbia Samuel H. Kress Foundation James T. and Helen P. Dyke New York Arkansas Mr. and Mrs. Leonard A. Lauder Lois and Richard England New York District of Columbia Mr. and Mrs. Alexander M. Mr. and Mrs. Robert F. Erburu Laughlin California New York The William Stamps Parish Fund Mrs. Harry Lenart Texas California Mr. Aaron I. Fleischman and Virginia C. Mars Mr. Lin Lougheed Virginia District of Columbia Mr. and Mrs. David O. Maxwell The Folger Fund District of Columbia District of Columbia Mr. and Mrs. Peter McBean Arnold D. Frese Foundation, Inc. California New York 118 Collectors Committee Mrs. Katharine Graham Mr. and Mrs. Frederick H. Prince The Circle of the District of Columbia District of Columbia National Gallery of Art The Gallery gratefully acknowl- Mr. and Mrs. Gerald Greenwald General Dillman A. Rash (membership as of edges the members of the Col- New York Kentucky 30 September 1996) lectors Committee for their Mr. and Mrs. Peter E. Haas Sr. Mr. and Mrs. Stewart A. Resnick California California annual gifts of $10,000 or The Gallery thanks the Mrs. Melville W. Hall Mr. and Mrs. George R. Roberts $20,000 given from 1 October New York California $4,000 Sustaining members, 1995 through 30 September Mr. and Mrs. Frederic C. Mr. and Mrs. George Ross $2,000 Supporting members, 1996. Their role is vital in help- Hamilton Pennsylvania and $1,000 Contributing ing the Gallery to acquire 20th- Colorado Mrs. Madeleine H. Russell members of The Circle for Mr. and Mrs. Richard C. Hedreen California century art. their generous annual sup- Washington Mrs. Louisa Stude Sarofim Co-chairs Mr. and Mrs. Samuel J. Heyman Texas port. Their gifts provide an Doris Fisher Connecticut Mr. and Mrs. Andrew M. Saul invaluable source of un- Barney A. Ebsworth Ms. Susan Morse Hilles New York restricted funds and benefit a Massachusetts Mr. and Mrs. Rudolph B. Schul- variety of projects throughout Mr. Robert E. Abrams Mr. and Mrs. R. L. Ireland III hof the Gallery. New York Georgia New York Mr. and Mrs. Dennis Alter The Honorable John N. Irwin II Mr. and Mrs. Charles R. Schwab Co-chairs Pennsylvania and Mrs. Irwin California Juliet C. Folger New York Mr. and Mrs. Steven Ames Mrs. Richard L. Selle David O. Maxwell New York Mr. and Mrs. George F. Jewett Jr. New York Mr. and Mrs. Harrison Augur California Mr. and Mrs. Robert F. Shapiro Sustaining Members Colorado Ms. Alexandra Kahn and Mr. New York Carolyn Alper Mrs. Anne H. Bass John D. Graubert Mr. and Mrs. Stephen A. Simon District of Columbia New York District of Columbia District ol Columbia Anonymous Mr. and Mrs. Robert M. Bass Mr. and Mrs. George M. Mr. William Kelly Simpson In memory of Robert Amory Jr. Texas Kaufman New York Mr. and Mrs. Robert J. Arnold Virginia Mr. and Mrs. Jack S. Blanton Mr. H. Peter Stern and New York Texas Mr. and Mrs. Stephen M. Kellen Dr. Margaret Johns Mr. and Mrs. Thomas M. Barry New York Mr. and Mrs. Eli Broad New York District of Columbia California Mr. and Mrs. Peter Kimmelman Mrs. Ruth Carter Stevenson Patricia Bauman and The Honor- New York The Honorable Ann Brown and Texas able John L. Bryant Jr. Mr. Donald A. Brown Robert P. and Arlene R. Kogod Mr. and Mrs. James M. District of Columbia District of Columbia District of Columbia Vaughn Jr. The Honorable Max N. Berry and Mr. Edwin L. Cox Mr. and Mrs. Werner H. Texas Mrs. Berry Texas ICramarsky Mr. and Mrs. Walter L. Weisman District of Columbia New York Mr. David L. Davies and California Mrs. Everett B. Birch Mr. John Weeden Mr. and Mrs. Ronald A. Krueck Mr. and Mrs. Keith S. Wellin New York California Illinois Texas The Honorable Daniel J. Boorstin The Honorable Robert W. Mr. and Mrs. Don Lebell Mrs. John Hay Whitney and Mrs. Boorstin Duemling and Mrs. Duemling District of Columbia New York District of Columbia District of Columbia Mr. and Mrs. Judd Leighton Mr. and Mrs. Dave H. Williams Mr. and Mrs. W.L. Lyons Mr. and Mrs. Barney A. Ebsworth Indiana New York Brown Jr. Missouri The Honorable Marc Leland and Mr. and Mrs. William Wilson III Kentucky Mr. and Mrs. James A. Elkins Jr. Mrs. Leland California Mrs. Poe Burling District of Columbia Texas Mr. and Mrs. William Wood District of Columbia Mrs. Charles W. Engelhard Mr. and Mrs. Irvin L. Levy Prince Mr. Louis W. Cabot New Jersey Texas Illinois District of Columbia Mr. John D. Firestone Mr. and Mrs. Frederick R. Mayer Mr. and Mrs. Robert Woods Jr. Mr. and Mrs. Calvin Cafritz District of Columbia Colorado California District of Columbia Mr. and Mrs. Donald G. Fisher Mr. Henry S. McNeil Jr. Mr. and Mrs. William N. Cafritz California Pennsylvania Maryland Mr. Aaron I. Fleischman and Mr. and Mrs. Paul Mellon Major General (Ret.) Daniel S. Mr. Lin Lougheed Virginia Campbell and Mrs. Campbell District of Columbia Mr. and Mrs. Edwin Van R. Texas Mr. and Mrs. Milo S. Gates Milbury Mr. and Mrs. David C. Cole California Pennsylvania Virginia Mr. David Geffen Mr. Raymond D. Nasher Mr. and Mrs. Clement E. Conger California Texas Virginia Dr. and Mrs. Phillip T. George Paul and Camille Oliver- Mr. Marshall B. Coyne Florida Hoffmann District of Columbia Illinois Mr. and Mrs. Gordon P. Getty Mrs. Catherine G. Curran California Mrs. Sally Pingree New York District of Columbia Mr. and Mrs. Carl S. Gewirz Ruth and Bruce Dayton Maryland The Honorable Leon B. Polsky Minnesota and Mrs. Polsky Ms. Maureen Gorman Mr. and Mrs. Leslie Douglas New York Connecticut District of Columbia 1 19 Mr. and Mrs. James T. Dyke Ms. J. Lisa Jorgenson and Mr. Mr. and Mrs. Lucio A. Noto The Honorable James D. Wolfen- Arkansas David Doniger Virginia sohn and Mrs. Wolfensohn Mr. and Mrs. Paul H. Elicker District of Columbia Commander Lester Edwin Ogilvy District of Columbia Maryland Mr. and Mrs. J. Howard Joynt III and Mrs. Ogilvy Mrs. Frank L. Wright Mr. and Mrs. Robert F. Erburu District of Columbia District of Columbia Virginia California Mr. and Mrs. Jacob ICainen Mr. and Mrs. John N. Palmer Mr. and Mrs. Sidney S. Zlotnick Mrs. William T. Finley Jr. Maryland Mississippi District of Columbia District of Columbia Mr. and Mrs. Richard Kaufman Mr. and Mrs. C. Wesley Peebles Supporting Members District of Columbia Virginia Mr. Walter Fitch III Mr. and Mrs. William S. Abell California Mr. and Mrs. James M. Kline Mrs. John A. Pope Maryland District of Columbia District of Columbia The Honorable William H. G. Ms. Rebecca Abrams and Mr. FitzGerald and Mrs. FitzGerald Mr. and Mrs. Chiswell D. Lang- Lieutenant Colonel Norman S. Nathan H. Benn District of Columbia horne Jr. Portenoy and Mrs. Portenoy District of Columbia District of Columbia District of Columbia Mr. Ronald L. Fleming Mr. and Mrs. Dana Tarbell Massachusetts Mr. and Mrs. Sperry Lea Dr. and Mrs. Meyer P. Potamkin Ackerly II Mr. and Mrs. Lee M. Folger District of Columbia Pennsylvania District of Columbia District of Columbia Dr. and Mrs. LaSalle D. Leffall Jr. Mrs. Lewis T. Preston Mr. and Mrs. James B. Adler Mrs. Betsy IC. Frampton District of Columbia District of Columbia Maryland District of Columbia Dr. Steven Lunzer The Reverend and Mrs. Charles P. Mr. M. Bernard Aidinoff Mr. and Mrs. John French III District of Columbia Price New York Virginia New York The Honorable John D. Miss Gillian Attfield Mr. Emanuel Friedman and Ms. Macomber and Mrs. Macomber Mr. and Mrs. Milton Ritzenberg New York District of Columbia District of Columbia Kindy French Ms. Gwendolyn Baptist District of Columbia Mrs. Lynn C. Magruder The Honorable John D. Rocke- Maryland District of Columbia feller IV and Mrs. Rockefeller Mrs. Camilla Chandler Frost The Honorable Robert O. Blake Virginia California Mr. and Mrs. David J. Markey Sr. and Mrs. Blake Mr. and Mrs. John T. Gibson District of Columbia Mr. Mark Samuels Lasner District of Columbia District of Columbia District of Columbia The Honorable Leonard H. Marks Mr. Lawrence J. Bloch Mrs. Michael L. Glassman and Mrs. Marks Mr. and Mrs. Roger W. Sant Maryland District of Columbia District of Columbia Maryland Mr. and Mrs. Huntington T. Block Mr. Albert H. Gordon Mr. and Mrs. Forrest E. Mars Jr. Mrs. Stanley J. Sarnoff District of Columbia Virginia Maryland New York Mr. and Mrs. Allen J. Bloom Mr. and Mrs. Calvin C. Gould Mr. Frederick P. Mascioli Mr. and Mrs. B. Francis Saul II Maryland District of Columbia Maryland Massachusetts Mr. and Mrs. John G. Boyd Mr. C. Boyden Gray Mr. and Mrs. Edward J. Mathias Rear Admiral Tazewell Shepard District of Columbia Maryland Jr. and Mrs. Shepard District of Columbia Mr. and Mrs. George M. District of Columbia Mr. and Mrs. Hermen Greenberg Mr. and Mrs. David O. Maxwell Brady Jr. District of Columbia District of Columbia Mrs. Muller Sheppard Maryland Virginia The Honorable Gilbert Hahn Jr. Mr. and Mrs. Frederick R. Mayer Mr. and Mrs. Thomas H. and Mrs. Hahn Colorado Mr. and Mrs. Raja W. Sidawi Broadus Jr. District of Columbia Mrs. James R. McAlee New York Maryland The Honorable Najeeb E. Halaby Maryland The Honorable Leonard L. Silver- Mr. and Mrs. Marc H. Brodsky Virginia The Honorable Robert M. McKin- stein and Mrs. Silverstein District of Columbia Maryland Mr. and Mrs. Hugh Halff Jr. ney and Mrs. McICinney Mr. and Mrs. Harry A. Brooks Texas Virginia Mr. and Mrs. Albert H. Small New York Maryland Mrs. B. Lauriston Hardin Jr. Mr. and Mrs. Gilbert D. Mead Mr. and Mrs. Raymond C. District of Columbia District of Columbia Mr. and Mrs. Richard S. Smith Brophy Pennsylvania Mrs. James Hayes Mr. and Mrs. Paul Mellon District of Columbia Virginia Virginia Mr. and Mrs. Andrew Stephen Mrs. Wiley T. Buchanan Jr. District of Columbia Mrs. Gale Hayman-Haseltine and Mr. and Mrs. Robert B. Menschel District of Columbia Dr. William Haseltine New York Mr. and Mrs. Eugene V. Thaw Mr. and Mrs. Richard I. Burnham District of Columbia Mr. and Mrs. Robert E. Meyerhoff New Mexico District of Columbia Mr. and Mrs. Randolph A. Hearst Maryland Mr. and Mrs. W. Reid Thompson Mr. and Mrs. Guy K. Bush New York Ms. Julienne M. Michel Maryland District of Columbia The Honorable John W. District of Columbia Mr. and Mrs. Maurice B. Tobin Mr. and Mrs. Louis M. Byron Hechinger Sr. and Mrs. The Honorable G. William Miller District of Columbia District of Columbia Hechinger and Mrs. Miller Jay and Toshiko Tompkins The Honorable John E. Chapoton District of Columbia District of Columbia Virginia and Mrs. Chapoton Mr. and Mrs. Charles T. Hellmuth Mr. and Mrs. Nicholas Millhouse Mr. and Mrs. Julius Wadsworth District of Columbia Sr. New York District of Columbia The Honorable Robert H. Charles Maryland Dr. and Mrs. A. Fenner Milton Mr. and Mrs. Mallory Walker and Mrs. Charles Mr. and Mrs. Joseph H. Hennage District of Columbia District of Columbia District of Columbia Virginia Mrs. John U. Nef Mrs. Henry B. Weaver Mr. and Mrs. Donald M. Cox Mr. and Mrs. Raymond J. District of Columbia Virginia New York Horowitz The Honorable William A. Nitze II Mrs. Robert M. Weidenhammer Mr. and Mrs. J. Wendell Grain New York and Mrs. Nitze Maryland District of Columbia Mr. and Mrs. Arthur Johnson District of Columbia Mrs. Thomas Lyle Williams Jr. Mrs. Richard Malcolm Cutts Maryland Miss Diane A. Nixon Georgia Virginia New York Dr. and Mrs. Edward T. Wilson Mr. and Mrs. Donald de Laski Maryland Virginia 120 The Honorable C. Douglas Dillon Mrs. Alvin A. Kraft The Honorable George P. Shultz Mr. and Mrs. David Benjack and Mrs. Dillon District of Columbia California Virginia New York Mr. and Mrs. Anthony A. Mrs. John Farr Simmons Mr. Munir P. Benjenk Mrs. Gaylord Donnelley Lapham District of Columbia District of Columbia Illinois District of Columbia Mr. David T. Smith and Ms. Mrs. William Tapley Bennett Jr. Mr. and Mrs. R. Augustus Mr. and Mrs. Frank Y. Larkin Debra Lehman-Smith District of Columbia Edwards Connecticut District of Columbia Mr. and Mrs. Irving D. Berger Virginia Mr. Albert Lauber Jr. and Mr. Mr. and Mrs. Terence P. Stewart District of Columbia Mr. and Mrs. Jonathan S. Craig Hoffman District of Columbia Mrs. Edwin A. Bergman England District of Columbia Dr. and Mrs. Barry S. Strauch Illinois District of Columbia Ms. Alice K. Lawrence Virginia Mrs. Ellen Berlow Mr. and Mrs. Richard England Connecticut Hollis Taggart and Elizabeth District of Columbia District of Columbia Mr. and Mrs. Don Lebell Gorup Mr. Robert Hunt Berry Lionel C. and Elizabeth RS. District of Columbia New York Michigan Epstein Mr. and Mrs. Joseph B. Ledbetter Mr. John Edward Toole Mr. and Mrs. Albert J. District of Columbia Tennessee District of Columbia Beveridge III Mrs. Norman Farquhar Mr. William J. Levy The Honorable Russell E. Train District of Columbia District of Columbia District of Columbia and Mrs. Train Mr. and Mrs. James I. Black III Mr. and Mrs. Bernard Fein Mr. and Mrs. Finlay Lewis District of Columbia New York New York District of Columbia The Honorable Alexander B. Mrs. James H. Blackwell Mr. and Mrs. Wolfgang K. Flottl Mr. and Mrs. Sydney Lewis Trowbridge and New York New York Virginia Mrs. Trowbridge The Honorable William McC. Mrs. Nancy M. Folger Mrs. Jean C. Lindsey District of Columbia Blair Jr. and Mrs. Blair District of Columbia Mississippi Mr. James A. van Sweden District of Columbia District of Columbia Mr. and Mrs. Peter C. Forster Mr. and Mrs. R. Robert Linowes Mr. David A. Blanton III District of Columbia Maryland Ms. Nancy Voorhees California Maryland Mr. David M. Frost Mr. John L. Loeb Mr. and Mrs. Roger W. Block Virginia New York Dr. Jeremy P. Waletzky District of Columbia District of Columbia Mr. and Mrs. Michael C. Gelman Sir Edwin A. G. Manton and Mr. G. D. Bogart Maryland Lady Manton Mr. and Mrs. P. Devers Weaver II District of Columbia Sheila and Patrick Gross New York Virginia Count and Countess Peder Bonde Maryland Mrs. Virginia C. Mars Mr. and Mrs. Alan F. Wohlstetter District of Columbia Mrs. Helena Gunnarsson Virginia Maryland Mr. and Mrs. Bennett Boskey District of Columbia Mrs. Jack C. Massey Mr. and Mrs. Kenneth R. Maryland Woodcock Mr. and Mrs. Corbin Gwaltney Tennessee Mr. and Mrs. William P. District of Columbia Maryland Mr. and Mrs. Patrick Munroe Bowden Jr. Mr. and Mrs. Peter E. Haas Sr. Maryland Ms. Jeanne R. Zeydel New York District of Columbia California Philippe and Judith Newton Mrs. Isabella G. Breckinridge Mr. and Mrs. Newman T. Maryland Contributing Members District of Columbia Halvorson Jr. Paul Nitze and Leezee Porter Mr. and Mrs. Charles F. Adams The Honorable Kenneth D. Brody District of Columbia District of Columbia Massachusetts and Mrs. Brody Mrs. Elisha Hanson Mrs. Roy Nutt Mr. John B. Adams Jr. District of Columbia District of Columbia Washington Virginia Bonnie and Jere Broh-Kahn Mrs. Iola S. Havers tick Mr. and Mrs. Donald R. Osborn Mr. and Mrs. Samuel Alward Maryland New York New York District of Columbia The Honorable Philip W. Buchen Mrs. J. Dean Herman Sandra Payson Mrs. Louise Steinman Ansberry and Mrs. Buchen Virginia District of Columbia Pennsylvania District of Columbia Mrs. Rhoda R. Herrick Mr. and Mrs. Nathan W. Pearson Mr. James C. Armstrong Mr. and Mrs. B. Bernei New York Pennsylvania Texas Burgunder Jr. Maryland Mrs. Thomas Hitchcock Jr. Mr. and Mrs. Benjamin T. Pierce Ms. Alexandra Armstrong and New York District of Columbia Mr. Jerry J. McCoy Mr. and Mrs. Robert E. Burke Mr. and Mrs. S. Roger Horchow Mr. and Mrs. Whayne S. Quin District of Columbia District of Columbia Texas District of Columbia Mrs. John W. Auchincloss* Mrs. Arthur F. Burns District of Columbia Mr. Clark F. Hoyt and Ms. Linda Miss Berenice Anne Reed District of Columbia Kauss Maryland Mr. and Mrs. William M. Backer Miss Elizabeth A. Burton Florida District of Columbia Mr. David E. Rust Virginia Mr. R. Bruce Hunter District of Columbia Mr. and Mrs. Albert H. Mrs. Frank P. Butler Virginia Mr. and Mrs. Derald H. Barclay Jr. District of Columbia The Honorable R. Tenney Ruttenberg Maryland The Honorable John Thiers Johnson and Mrs. Johnson New York Mr. Dwight H. Barnes Calkins Maryland District of Columbia The Honorable James H. Scheuer California Mr. Peter W. Josten and Mrs. Scheuer Dr. and Mrs. Jordan Baruch Mr. and Mrs. Richard M. Cashin New York District of Columbia District of Columbia New York Mr. and Mrs. Jack Kay Mr. and Mrs. Paul M. Shatz Mr. and Mrs. Edwin S. Bell Mr. Carroll J. Cavanagh and Maryland District of Columbia Texas Ms. Candida Smith New York Mr. and Mrs. Norman V. Kinsey Mr. and Mrs. Stephen F. Sherwin Mr. L. Graeme Bell III and Louisiana District of Columbia Ms. Claudia Cooley Ms. Joy S. Chambers Virginia Lieutenant Colonel William K. Mr. and Mrs. Clyde E. Shorey Jr. District of Columbia Konze and Mrs. Konze District of Columbia Mrs. Kevin P. Charles Maryland Maryland * deceased 2 Mrs. Harold W. Cheel Ms. Cathy Ehrman The Honorable William R. Haley Ms. Wendy V. Lehman New Jersey District of Columbia and Mrs. Haley New York Mrs. Blair Child: Mr. and Mrs. Julian Eisenstein District of Columbia Mr. James H. Lemon Jr. District of Columbia District of Columbia Mr. John R. Hauge District of Columbia Mr. and Mrs. Thomas C. Clarke Mr. and Mrs. Arthur D. Emit District of Columbia Mr. and Mrs. Herbert J. Lerner Maryland New York Mr. and Mrs. Louis J. Hector District of Columbia Mr. Edwin C. Cohen Dr. and Mrs. Stephen E. Epstein Florida Dr. and Mrs. Jerome H. Levy New York Virginia The Honorable Richard M. Helms New York Mr. and Mrs. Oliver C. Colburn Mr. and Mrs. Rowland Evans Jr. and Mrs. Helms Donald V. Lincoln Massachusetts District of Columbia District of Columbia District of Columbia Ms. Lovida H. Coleman Jr. Mr. and Mrs. Winthrop W. Mr. and Mrs. J. Welles Henderson Mrs. Charles T. G. Looney Virginia Faulkner Pennsylvania Maryland The Honorable William T. District of Columbia Mr. and Mrs. Joseph W. Hender- Mr. and Mrs. Christopher J. Coleman Jr. and Mrs. Coleman Dr. and Mrs. James J. son III Makins Virginia Ferguson Jr. District of Columbia District of Columbia Brigadier General James L. Maryland Mrs. Anita G. Herrick Mr. and Mrs. J. Eugene Marans Collins and Mrs. Collins Mr. and Mrs. Thomas D. District of Columbia District of Columbia District of Columbia Fingleton Mr. and Mrs. George G. Herrick Mr. and Mrs. Tom F. Marsh Mr. and Mrs. Terence W. Collins Virginia District of Columbia Texas District of Columbia Mr. and Mrs. Max M. Fisher Mr. John Herring and Mr. Paul Mrs. Thomas E. Marston Mrs. H. Dunscombe Colt Michigan Herring Virginia New York District of Columbia Mr. and Mrs. William J. Thomas A. Mathews, M.D. Mr. and Mrs. Peter T. Cook Flather III Mr. Henry C. Hofheimer II District of Columbia District of Columbia Virginia District of Columbia The Honorable William M. Martin Mrs. Shirley lone Cowell Mr. and Mrs. Robert T. Foley Mr. and Mrs. Vernon W. Jr. and Mrs. Martin Florida District of Columbia Holleman Jr. District of Columbia Maryland Major General Willis D. Mr. and Mrs. J. Edward Fowler Mrs. Violet B. McCandlish Crittenberger Jr. and District of Columbia Dr. Sari Hornstein and Dr. David District of Columbia Lightfoot Mrs. Crittenberger Mr. and Mrs. Eric P. Fraunfelter Mr. and Mrs. William Maryland Virginia District of Columbia McCollam Jr. Mr. and Mrs. Edward M. Mr. and Mrs. Alvin Friedman Mr. and Mrs. R. Bruce Hughes District of Columbia District of Columbia Cummings District of Columbia Mr. and Mrs. James A. McICenna District of Columbia Mr. and Mrs. Lance Friedsam The Honorable Hadlai A. Hull and Maryland Mrs. Hull Mr. and Mrs. Stuart C. Davidson South Carolina Mr. and Mrs. Arnold B. McKin- District of Columbia District of Columbia Dr. and Mrs. Gerald E. Gaull non Mrs. Charles Davis District of Columbia Mr. and Mrs. Allan R. Hurwitz Virginia Maryland Florida Mr. and Mrs. Robert J. Geniesse Mr. Christopher K. Mellon Mrs. Evelyn Y. Davis District of Columbia Mrs. Walter Deane fnnis Maryland District of Columbia District of Columbia Mr. and Mrs. Edward H. Gerry Mrs. Robert B. Menapace Mr. and Mrs. Richard Devane New York Mr. John Peters Irelan District of Columbia District of Columbia District of Columbia Mr. and Mrs. William T. Gibb Dr. and Mrs. Robert Mendelsohn Mr. and Mrs. Charles J. DiBona Maryland Mr. and Mrs. Freeborn G. Maryland Jewett Jr. Virginia Mr. and Mrs. Prosser Gilford Hanne and Richard Merriman Virginia Mr. and Mrs. Michael D. District of Columbia District of Columbia Mr. James A. Johnson Jr. Dingman Mr. and Mrs. G.S. Beckwith Mrs. Charles Meyer Virginia New Hampshire Gilbert Illinois Mr. and Mrs. Evan Jones Mr. and Mrs. F. Eugene Dixon Jr. Connecticut Ms. Hope Ridings Miller Maryland Pennsylvania Ms. Nina Zolt and Mr. Miles R. District of Columbia Mr. and Mrs. Peter H. Jost Mr. and Mrs. Donald J. Douglass Gilburne Mr. and Mrs. Robert K. Molloy District of Columbia Texas Maryland Virginia Mr. and Mrs. B. Franklin ICahn Mr. and Mrs. John L. Dreyfuss Mr. and Mrs. Louis Glickfield Mrs. Edward P. Moore Maryland District of Columbia Maryland District of Columbia Mr. and Mrs. Edward G. Kaufman Nancy and Douglas Drysdale Mrs. Charles C. Glover III Dr. and Mrs. W. Tabb Moore Virginia District of Columbia District of Columbia District of Columbia Mr. and Mrs. John P. Kehoe Mr. and Mrs. Raymond Harold J. Goald, M.D. Mrs. William S. Moorhead New York DuBois Jr. District of Columbia District of Columbia District of Columbia Mr. Lawrence Kirstein Mr. and Mrs. Joseph I. Goldstein Mr. and Mrs. Robert W. Morey District of Columbia Mr. Merritt P. Dyke District of Columbia California Georgia Mrs. Elizabeth L. Klee Mr. and Mrs. Robert E. Goldsten Barbara and David Morowitz District of Columbia Mr. Gordon Eastburn District of Columbia District of Columbia Virginia Ms. Margaret Kennedy Klein Ms. Mary Anne Goley Mr. and Mrs. Richard P. Moser New York Mr. and Mrs. Robert E. Eberly Virginia Virginia Pennsylvania Mr. Stephen P. ICoster Ms. Elizabeth Marsteller Gordon Mr. and Mrs. Daniel J. Mulcahy Massachusetts Mr. Nik B. Edes California Virginia District of Columbia Mr. and Mrs. W. Loeber Landau Mrs. Burton Gray Mrs. Franklin D. Murphy New York Mr. and Mrs. Dean S. District of Columbia California Edmonds III Mr. and Mrs. William Lane Mr. and Mrs. Grant Green Mrs. John G. Neukom Virginia District of Columbia Virginia California Jean F. Efron Mr. and Mrs. Arthur Lazarus Jr. Mrs. Nina B. Griswold Mr. and Mrs. William V.P. Newlin District of Columbia District of Columbia Florida District of Columbia 122 Mrs. Dane A. Nichols Mr. and Mrs. Theodore Sedgwick The Honorable Caspar W. Wein- Special Gifts District of Columbia District of Columbia berger and Mrs. Weinberger The Honorable Arthur L. Nims Mr. and Mrs. W. H. Shapley District of Columbia The donors listed below gave and Mrs. Nims District of Columbia Mrs. Rebecca Weistock gifts in unrestricted and/or District of Columbia Ms. Elizabeth Sidamon-Eristoff Maryland specifically designated support Mr. Gerson Nordlinger Jr. and Mr. Hunter Lewis Mrs. John K. White for the Gallery. Their gifts pro- District of Columbia Virginia Virginia Mr. and Mrs. John L. Oberdorfer Dr. and Mrs. Richard A. Simms Jaan W. Whitehead vide critical funding for projects District of Columbia California District of Columbia and programs that are central to Mr. and Mrs. Christopher Ogden Mrs. Miriam H. Smith The Honorable Charles S. White- the Gallery's mission, such as District of Columbia District of Columbia house and Mrs. Whitehouse special exhibitions, art acquisi- Virginia Mrs. Ricard R. Ohrstrom Mr. and Mrs. Robert B. Smith Jr. tion, conservation, education Virginia District of Columbia Mrs. William B. Willard and outreach, scholarly and Dr. and Mrs. David B. Pall Mr. and Mrs. Leonard A. District of Columbia New York Solomon Professor John Wilmerding scientific research, and Mrs. Jefferson Patterson Florida New Jersey publications. District of Columbia The Honorable Samuel Spencer Mr. Robert W. Wilson $500,000 or more The Honorable Charles H. Percy and Mrs. Spencer New York and Mrs. Percy Maryland Mr. and Mrs. Hugh E. Witt American Express Foundation District of Columbia Mr. and Mrs. Jerome Spingarn Virginia Bell Atlantic Corporation Mr. and Mrs. Richard Pieper District of Columbia Mr. Samuel B. Witt III Consortium, Olmec Art of Ancient Wisconsin Mrs. Frederick M. Stafford District of Columbia Mexico Mr. and Mrs. Charles L. Poor New York Mr. and Mrs. Robert E. Wood II GTE Corporation District of Columbia Mr. and Mrs. Craig R. Stapleton Illinois United Technologies Corporation Mr. and Mrs. Alan L. Potter Connecticut Mr. and Mrs. John H. Zentay $100,000-$499,999 Florida Mrs. Katharine H. Stapleton District of Columbia The Boeing Company The Honorable Trevor Potter and Colorado Mr. and Mrs. Stephen Zolotow Mr. Dana Westring Dr. and Mrs. Irwin M. Stelzer Nevada Ed Cox Foundation Virginia Colorado Ford Motor Company James D. and Warrie L. Price Drs. Edward and Joan Stemmler Arnold D. Frese Foundation, Inc. New York District of Columbia The Florence Gould Foundation Mr. and Mrs. Eben W. Pyne Mr. and Mrs. Philip A. Straus Goldman Sachs & Co. District of Columbia New York Guest Services Dr. and Mrs. Coleman Raphael Dr. and Mrs. Lubert Stryer Heineken, U.S.A. Maryland California Samuel H. Kress Foundation Mr. and Mrs. Earl C. Ravenal Jane Eustis Suydam The Henry Luce Foundation District of Columbia District of Columbia Mannesmann Capital Corporation Mr. Robert C. Rea Mr. and Mrs. Edward F. Pepita Milmore Memorial Fund District of Columbia Swenson Jr. Trust Mrs. Anne S. Reich Florida Mobil Corporation District of Columbia Mrs. Topsy Taylor NYNEX Foundation Dr. and Mrs. Warren Richards New York Republic National Bank of New California Mrs. Waverly Taylor York, Safra Republic Holdings, Mr. and Mrs. Donald H. District of Columbia S.A., and Banco Safra, S.A., Richardson Mrs. Benjamin W. Thoron Brazil District of Columbia District of Columbia Shell Oil Company Foundation Mr. and Mrs. John D. Richardson Mr. and Mrs. Robert Truland $50,000-$99,999 District of Columbia Virginia Mr. and Mrs. William Ridge Mrs. Herbert A. Vance Estate of Naomi A. Garber Virginia Illinois The Andre and Elizabeth ICertesz Mr. and Mrs. Felix G. Rohatyn Mr. Herbert A. Vance Jr. Foundation New York Connecticut Richard King Mellon Foundation Mr. and Mrs. Elihu Rose Mr. and Mrs. William C. Vance Lucio A. and Joan A. Noto New York Illinois The Porpoise Fund of the Fidelity Ms. Helen G. Ross Dr. and Mrs. Peter D. Vash Investments Charitable Gift Virginia California Fund Dr. and Mrs. Paul S. Russell Mr. and Mrs. C. Woods Vest Jr. $ 10,000-$49,999 Massachusetts District of Columbia Albert Abramson David C. and Sarajean Ruttenberg William and Irene Wallert Arthur Andersen LLP Illinois Maryland T. A. Beach Corporation Mrs. Victor Sadd Mr. and Mrs. Robert D. Wallick Diane and Norman Bernstein Virginia District of Columbia Foundation Mr. and Mrs. Arnold A. Saltzman Ms. Virginia S. Warner Cotsen Family Foundation New York Virginia Leo A. Daly Dr. and Mrs. Richard Schubert Mr. Melvin R. Weaver Geraldine R. Dodge Foundation Maryland California Fannie Mae Foundation Mr. R. Mark Scowcroft Peggy and Ted Weidlein The Fifth Floor Foundation District of Columbia District of Columbia Norma Lee and Morton Funger GE Fund 123 Ministry of Foreign Affairs of the CSC Index, Inc. Benefactors of the Robert H. and Clarice Smith Federal Republic of Germany Fannie Mae Foundation National Gallery of Art Oscar L. Milmore, in memory of Oilman Paper Company The J. Paul Getty Trust Pepita Milmore Graham Foundation for The Gillette Company FOUNDING BENEFACTORS Angelika Wertheim Frink Advanced Studies in the Fine The John A. Hartford Foundation Andrew William Mellon Burton G. and Emily Hall Arts IBM International Foundation Samuel Henry Kress Tremaine Evelyn and Walter Haas Jr. Fund SBC Foundation Joseph E. Widener in memory of Herbert N. and Nannette F. Melvin Henderson-Rubio United Technologies Corporation Peter A.B. Widener Rothschild Janet A. Hooker The Vanguard Group Foundation Chester Dale David K.E. Bruce Inter-American Development Wiley, Rein & Fielding Lessing J. Rosenwald Cornelius Van Schaak Roosevelt Bank Paul Mellon Enid Annenberg Haupt In-Kind Gifts George F. Jewett 1965 Trust Ailsa Mellon Bruce David Edward and Margaret The Lauder Foundation, Leonard Delta Airlines Rush Harrison Kress Eustis Finley and Evelyn Lauder Fund KLM and Northwest Airlines FOUNDING BENEFACTORS- Morris and Gwendolyn Cafritz Alexander M. Laughlin/John A. PRINTS AND DRAWINGS Katharine Graham Hartford Foundation, Inc. Lessing J. Rosenwald The Andrew W. Mellon Founda- Every effort has been made to Matching Grants Program W.G. Russell Allen tion create a complete and accurate Robert and Jane Meyerhoff Joseph E. Widener The Woodward Foundation list of contributors. Unfortu- The Mark J. Millard Foundation Mrs. Walter B. James Robert H. and Virginia Pratt nately, owing to limited space, Inc. R. Horace Gallatin Thayer gifts under $1,000 are not listed. Philip Morris Companies, Inc. Samuel H. Kress Foundation Georgia O'Keeffe Please call the Development Estate of William B. O'Neal Ruth K. Henschel John and Louise Booth Office at (202) 842-6372 should Park Foundation, Inc. The Woodward Foundation Gemini G.E.L. you have further questions. Signet Banking Corporation Robert H. and Clarice Smith Grace Vogel Aldworth Robert H. Smith Georgia O'Keeffe John Hay Whitney Walker and Dunlop The Mark Rothko Foundation The ICresge Foundation Weingart Foundation Dorothy J. and Benjamin B. The A. W. Mellon Educational Wyeth Endowment for American Smith and Charitable Trust Art Julia B. Engel Dorothea Tanning Ernst Doris Dick Havemeyer $1,000-59,999 Paul and Bunny Mellon John C. Marin Jr. Walter H. and Leonore Arcana Foundation, Inc. The Armand Hammer Founda- Annenberg The Art Seminar Group, Inc. tion David Rockefeller Andrew Athy Jr. Edith G. Rosenwald Samuel H. Kress Foundation The Barra Foundation, Inc. Ruth and Jacob Kainen John Davis and Olivia Stokes Lois E. and David N. Brown Mr. and Mrs. Roy Lichtenstein Hatch Mr. and Mrs. William N. Cafritz The Mark Rothko Foundation BENEFACTORS (1941-1996) Mr. Carroll J. Cavanagh and Ms. Stavros S. Niarchos Frieda Schiff Warburg Candida Smith Dorothy J. and Benjamin B. Adaline Havemeyer Dorothy Jordan Chadwick Fund Smith Frelinghuysen The Gladys Krieble Delmas Foun- Mrs. Max Beckmann Duncan Phillips dation Julia B. Engel Kate Seney Simpson Patricia G. and Jonathan S. Arnold D. Frese Foundation Harris Whittmore England Mrs. Charles W. Engelhard Barbara Hutton Paul B. Fay Jr. Richard King Mellon Foundation Ralph and Mary Booth Mars Foundation Family of Constance B. Mellon William Nelson Cromwell Tom and Charlene Marsh In memory of Mrs. George R. Benjamin E. and Regine S. Levy Mrs. Eugene McDermott Brown Adolph Caspar Miller Louise W. Mellon Lila Acheson Wallace Sam A. and Margaret Lewisohn Mrs. Jefferson Patterson The Ahmanson Foundation Therese K. and Herbert N. Straus Ivan Phillips Amon G. Carter Foundation William Robertson Coe Ivan Phillips, Agent for Neil John C. and Jaan Whitehead Horace Havemeyer Phillips Joe L. and Barbara B. Allbritton Bernice Chrysler Garbisch Murray & Isabella Rayburn Foun- Robert M. and Anne T. Bass Edgar William Garbisch dation, Inc. Hallmark Educational Founda- Syma Aaron Busiel Alice M. Rivlin tions Eugene and Agnes Meyer Joel Rosenbloom The Barra Foundation Edith Stuyvesant Gerry Eleanor B. and John M. Smith Ruth K. Henschel Lillian S. Timken Judith and Richard Smooke Mark J. Millard Ferdinand Lammot Belin Mrs. Herbert A. Vance University of South Florida Foun- Adele R. Levy Wenner-Gren Foundation for dation Alvan T. Fuller Anthropological Research Inc. Jill and Arthur M. Sackler Horace Havemeyer Jr. John Marin Jr. Matching Gifts Harry Waldron Havemeyer Robert and Jane Meyerhoff Josephine Bay and C. Michael ARCO Foundation Inc. The Armand Hammer Founda- Paul Brown Group, Inc. Charitable tion Arthur Sachs Trust Edith G. Rosenwald W. Averell Harriman, in memory The Morris and Gwendolyn Family Petschek (Aussig) of Marie N. Harriman Cafritz Foundation T. Jefferson Coolidge Jr. 124 Mary Hemingway Joe L. and Barbara B. Allbritton Edwin Van R. and Cassandra Charles E. Culpeper Foundation, Eugene and Agnes E. Meyer Mellon Milbury Inc. Foundation Henry J. Heinz II Knight Foundation Gordon and Copey Hanes Robert W. and Louisa C. William Stamps Parish Fund John C. and Jaan Whitehead Duemling Sydney and Frances Lewis IBM Corporation Perry R. and Nancy Lee Bass The J. Paul Getty Trust The Leonard and Evelyn Lauder Sydney and Frances Lewis Southwestern Bell Corporation Fund Edwin L. Cox Guest Services, Inc. Walter and Elise Haas Fund George M. and Linda H. Kaufman Reader's Digest Association Anne Burnett and Charles Tandy Edward G. Kaufman and Ann Annalee Newman Foundation Claire Kaufman Mrs. John D. Rockefeller 3rd David Rockefeller Gerald J. and Judith Miller Rita Schreiber Thomas M. and Betty B. Evans Frederick R. and Jan Mayer Robert Frank Stephen M. and Anna-Maria Mobil Foundation, Inc. Betsey Gushing Whitney Kellen Ronald S. and Jo Carole Lauder Leo Castelli Lucille and George F. Jewett Jr. In memory of Mrs. George R. Pamela C. Harriman Hallmark Educational Founda- Brown Arnold and Mildred Glimcher tions Brady Foundation Richard A. and Lee G. Kirstein Robert Wood Johnson Jr. Chari- Sarah Scaife Foundation The Woodner Family table Trust Knight Foundation Dorothy and Herbert Vogel The Florence and John Schu- Mars Foundation The Avery Family mann Foundation E. I. du Pont de Nemours and Victoria Nebeker Coberly Jo Ann and Julian Ganz Jr. Company Jo Ann and Julian Ganz Jr. Melvin S. and Ryna G. Cohen The Barra Foundation Catherine Gamble Curran Richard A. and Lee Kirstein William Randolph Hearst Foun- Mr. and Mrs. Richard Mellon Arthur A. and Alison B. Birney dation Scaife Norma Lee and Morton Funger George H. and Tessie A. Hurwitz Sarah Scaife Foundation William and Eleanor Wood Prince Gordon and Ann Getty Perry R. and Nancy Lee Bass B. Francis Saul Katharine Graham Eugene L. and Marie-Louise The Artery Organization, Inc. Robert M. and Anne T. Bass Garbaty Milton J. and Carroll Petrie Richard A. and Jane Manoogian Estate of William B. O'Neal William Stamps Parish Fund Stephen Hahn Family of Oliver T. Carr Jr. Mr. and Mrs. Frank H. Pearl The Riggs Bank of Washington, Mr. and Mrs. Roy Lichtenstein D.C. Potomac Electric Power Company PATRONS' PERMANENT FUND (1981-1985) The George Hyman Construction Company FOUNDING PATRONS Seymour H. Knox John Hay Whitney The Ahmanson Foundation Walter H. and Leonore Diane and Norman Bernstein Annenberg ICathrine D. Folger Paul Mellon Janet A. Hooker Robert H. and Clarice Smith Alcoa Foundation Ian Woodner Annelise and William H.G. Lila Acheson Wallace FitzGerald Lois and Georges de Menil The Charles A. Dana Foundation Stavros S. Niarchos George W. Wyckoff Mrs. Charles W. Engelhard Averell and Pamela Harriman In honor of Beuford and Teden In memory of Ella Milbank Cole Foshay The Andrew W. Mellon Founda- The Times Mirror Foundation tion Family of Constance B. Mellon Arnold D. Frese Foundation Alletta and Peter McBean Eugene L. and Marie-Louise Gar- Alexander M. and Judith W. baty Laughlin Richard King Mellon Foundation Charles U. and Janet C. Harris Guest Services, Inc. Reader's Digest Association Jill and Arthur M. Sackler Laurance S. and Mary Rockefeller PATRONS GTE Corporation John R. Stevenson Dorothy Rodgers in memory of Samuel H. Kress Foundation Richard Rodgers Philip L. Graham Fund Andrew P. and Geraldine Ruth Carter Stevenson Spreckels Fuller Robert P. and Arlene R. Kogod John and Susan Gutfreund Family of William Larimer Exxon Corporation Mellon Charles E. Culpeper Foundation, Amon G. Carter Foundation Inc. Mrs. George Angus Garrett Alice and John B. Rogers GIFTS AND BEQUESTS The National Gallery of Art was estab- importance should be discussed in lished by a remarkable act of private advance with the Executive Librarian philanthropy, met in a unique and his- (telephone 202 842-6505). toric partnership by the federal govern- Planned giving, by which a donor ment. Beyond its operational and main- makes a commitment to benefit the tenance budget, the Gallery relies on Gallery at a later date, can enable many the support of private citizens, founda- donors to make substantially larger gifts tions, and corporations to fund art than by outright gift, and can maximize acquisition as well as many other the tax benefits and cost effectiveness of important projects and programs. making a gift. Donors of deferred gifts The support of private individuals, may indicate that the National Gallery through annual giving to The Circle and of Art is to receive a certain sum of the Collectors Committee, planned giv- money, property, works of art, or a per- ing, and major and specially designated centage of an estate. We encourage gifts, is critically important to the imme- donors considering such a gift to discuss diate everyday activity of the Gallery as confidentially how it is to be used when well as to its ability to sustain its stan- arranging the gift. dards of excellence in the long term. The Development Office will gladly pro- vide help and information to anyone interested in giving to the Gallery. All gifts and bequests are deductible, within Donations of works of art to the the limits prescribed by law, for applicable federal tax purposes. For more information Gallery's collection are subject to regarding gifts of funds and property, both approval by the Board of Trustees. real and personal, please call Ruth Anderson Offers of such gifts should be discussed Coggeshall, Chief Development Officer, at in advance with the Secretary and Gen- (202) 842-6372, or write her at the National eral Counsel (telephone 202 842-6363). Gallery of Art, 4th Street and Constitution Avenue, N.W., Washington, D.C. 20565. Offers of gifts of books of art historical 126