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d Davi 20 Gary Kirchen Previous page and Conceived as a resource for the entire right: Installers and art handlers use a community and committed to maintaining combination of brute free admission to its permanent collections, strength, mechanical assiatance, and the Cleveland Museum of Art is a place where utmost care in placing works in the visitors can explore both the art of their time and galleries of ancient the cultural achievements of distant times and art. places. Looking back on fiscal year 2009–2010, we celebrate the third chapter in the sequence of openings that have marked the return of the museum’s permanent collection to refurbished galleries, in this case on the first level of the 1916 building. As familiar works of art returned to public view in new spaces, the addition of new objects to the collection testified to the museum’s ongoing efforts to strengthen its holdings across four millennia of art history. The expansion of the collection through significant purchases and gifts remains a fundamental expression of the museum’s mission and reaffirms the primacy of collecting in the life of the institution. Selective acquisition of works of art attests to the values of

excellence, rarity, and quality that are an essential Brichfor d d Davi

21 Streams and part of the museum’s legacy and reputation. The Although founded as a general art museum, Mountains without End, 1100–1150. museum’s permanent collection is its core asset, with collections stretching from Asia to America China, late Northern the source of its personality, the engine of its and spanning ancient to contemporary, the Song or Jin dynasty. Handscroll, ink and visitor experience, and the source of many of its Cleveland Museum of Art cannot properly be slight color on silk; 35.1 x 1103.78 cm. Gift programs, exhibitions, and publications. called an encyclopedic collection, but rather a of the Hanna Fund In reviewing notable acquisitions of 2009– selective survey of the history of art, with an 1953.126 2010, we examine the challenges of building emphasis on works of the highest aesthetic quality a collection that remains both internationally and historical significance. Over the course of significant and locally relevant. the past several decades, especially as the art

22 market has exploded, the museum has sought to build on its traditional strengths rather than begin to collect in entirely new or significantly underrepresented areas. The fields in which the museum presently collects are already supported by its library, conservation, and curatorial resources, and the days when the museum could expect to launch new collections that match the quality of its current holdings are likely past. By matching collection strengths with core research and preservation competencies, the museum can expect to capitalize on the specialized knowledge, professional networks, and market experience that

Curator of Greek and Roman art Michael Bennett tests the ey placement of Roman l bronzes as part of the reinstallation ory M. Don of the galleries of g

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Conservation are critical to securing noteworthy acquisitions. In projects included deciding to focus acquisition resources on building x-raying every square inch of Monet’s upon the present strengths of the collection, the Water Lilies in preparation for a museum also acknowledges an ongoing obligation “reunion” exhibition to use special exhibitions as a means of covering bringing together the set of three large those historic periods, geographic areas, or media paintings the artist that are absent from or not adequately represented created as a suite. in the collection. The spring 2010 exhibition of ey l Native American works from the Thaw collection is a perfect example. ory M. Don g Gre

23 should also feed the museum’s exhibition, research, and publication efforts, which collectively help to advance the museum’s reputation as one of the great collecting institutions in the country. Although we continue a long-standing practice of collecting broadly across a range of world cultures and art historical periods, we also aspire to make a significant and sustained commitment to expanding our holdings of contemporary art, defined as work produced after 1960. Even as we accept that there are major gaps in this part of the collection, the growth of the contemporary holdings should ideally mirror the geographic scope of the collection as a whole. Consequently, the acquisition of contemporary art should not be limited—as it has been in the past—largely to works of European and American origin, but rather be much broader in scope, encompassing East Asia, the Indian subcontinent, and the Islamic Nepcetat (One- Considerations of aesthetic quality, historical world. Our efforts in these areas increasingly That-Sticks- to-the- Face) Mask, about significance, and typological importance demand an engaged, creative dialogue between 1840–60. Central are paramount. In addition, the museum our contemporary and “historic” collections. Yu’pik artist, probably lower Yukon River, remains committed to developing a broad and While the criteria of aesthetic quality, historic Alaska. Thaw Collection, Fenimore representative survey of the history of art. This significance, and typological importance should Art Museum, has historically included a commitment to the be applied with equal rigor to decisions about the Cooperstown, New York T0231. art of the region as well as art from distant times acquisition of contemporary art, we recognize that Photograph by John and places. The character of the collection, which the considerations used for judging such art may Bigelow Taylor remains selective and small relative to our peers, sometimes differ considerably from those outlined continues to serve as the guiding principle of our for other parts of the collection. Indeed, the acquisition program. Additions to the collection strategies employed by artists working today often

24 and not limit ourselves to established “blue chip” artists. This approach entails greater risk, but also ensures we actively collect in areas of the market where prices could expand beyond our reach as emerging and mid-career artists gain status. For this reason, the museum’s collectin g activities in contemporary art are generally governed by the assumption that the museum should review the collection on a regular basis and be prepared to deaccession those works that fail to meet the test of time. Given our continued emphasis on artistic excellence, and the increased competition for significant acquisitions, purchase funds could well be concentrated on a relatively small number of objects, especially in those areas where prices are set by the rarity of works available on the market.

defy categorization according to traditional terms. High Rolling, 1998. The museum should also be willing to collect The choices we make regarding contemporary Monique Prieto against the grain of market trends and to seek acquisitions are guided by an understanding of (American, born acquisitions at auction, especially if significant 1962). Acrylic on contemporary art’s relationship to the art of the canvas; 182.8 x 208.2 economies can be achieved. This requires us to act past, its relationship to the salient issues of our cm. Gift of Scott decisively when such opportunities arise, which is time, and our assessment of the achievement and Cutler 2009.436 why strategic alignment between staff and trustees vision of individual artists. The criteria used in the on major acquisition priorities is so essential. selection of contemporary art for the collection are While many museums have dedicated funds also guided by a sense of the “future’s past,” which for collecting in specific areas, Cleveland has means that it is essential to anticipate the historical always used a general acquisitions fund as the significance of the art of our time. Broadly primary resource for the purchase of works of speaking, this means that we should be willing to art. This philosophy is based on the assumption acquire works by emerging and mid-career artists that competition among acquisitions proposed by

25 Albert Wolff in His curators and the ability to allocate a significant Mapa estelar en less active. The cultivation and stewardship of Study, 1881. Jules árbol, 2009. Gabriel Bastien-Lepage portion of the museum’s acquisition endowment collectors capable of making significant gifts Orozco (Mexican, (French 1848–1884). to the purchase of a relatively small number of born 1962). Calcium to the museum is especially important now, as Oil on panel; 32 x 27 cm. Bequest of objects has had a positive impact on the quality of sulfate (plaster), the museum enters the final stage of its capital Muriel Butkin 2010.22 the collection and will continue to do so in the animal glue, campaign and approaches its centennial celebration graphite, and mango future. With purchasing power limited by market tree trunk; 72.6 x 69.7 in 2016. prices, relationships with private collectors are x 40 cm. Severance This fiscal year, Paola Morsiani, curator increasingly important. Indeed, the knowledge and Greta Millikin of contemporary art, pursued acquisitions by Purchase Fund that significant gifts will eventually come to the 2009.343 established artists not represented among the museum allows the curatorial staff to concentrate museum’s holdings. Selected acquisitions were attention on areas where collectors have been made directly from artists in the wake of studio

26 visits. A more recent addition to the collection is part of a new body of work produced by the Mexican artist Gabriel Orozco, whose sculptures and installations have marked a change from the pop-influenced, high-end production artworks of the 1980s in both Europe and the United States. Orozco’s Mapa estelar en árbol (2009) was created from a fallen mango tree found in the state of Morelos, in the south of Mexico, where remnants of century-old mango trees are used by indigenous inhabitants for cooking and heating. Early last year, the museum was fortunate to be offered a painting by Jack Whitten, who began exploring painting as a visual field in the 1960s. Interested in articulating space and rendering painting as an actual, tangible presence, Whitten devised a very personal way to apply paint with a solution that, in his words, would “expand the gesture while taking my hand out of it” and make it impersonal, as opposed to the dramatic abstract expressionist brushwork. Rho I is part of Whitten’s Greek Alphabet Series consisting primarily of black-and-white paintings, and its purchase strengthened the museum’s ability to Rho I, 1977. Jack Whitten (American, offer visitors a more in-depth consideration of the born 1939). Acrylic on role of abstraction in contemporary painting. In canvas; 182.8 x 213.2 Rho I, the canvas was first painted in white and cm. Purchase from the J. H. Wade Fund stapled to a platform on the floor. Thin objects, 2010.1 such as cotton strings, were thrown onto and adhered to the canvas. A layer of acrylic gray paint,

27 obtained by mixing black with graphite and silica, Jackie Curtis and Ritta Redd, 1970. Alice Neel was then poured over the entire canvas. Finally, (American, 1900– Whitten ran a long metal rod regularly notched 1984). Oil on canvas; at eighth-inch intervals across the length of the 154.3 x 108.9 cm. Leonard C. Hanna Jr. canvas, exposing the underlying white paint. This Fund 2009.345 intricate process confers an unusual vibrancy of the painting’s overall surface, where the pure order of the dense linear pattern plays with the pure chance of the traces embedded under the gray layer. Rho I embodies a unique blend of sensual physicality and cool formal composition. Alice Neel’s Jackie Curtis and Ritta Redd (1970), acquired at auction in New York, is an especially welcome addition to the collection. On loan to the museum from a private collection in northeast Ohio, this painting offered visitors to the inaugural installation of the contemporary galleries a glimpse of the complex interconnections among styles and ideas during the fertile decades of the 1950s and 1960s in the United States. When the owners decided to sell the work at auction, the museum organized an aggressive bid in order to ensure that it would remain in Cleveland for future generations of visitors. Now part of the museum’s collection, Neel’s painting offers a significant parallel to Andy Warhol’s Marilyn x 100 (1962), resonates strongly with earlier figurative works and portraiture represented in the collection, and further strengthens the representation of work by women artists at a seminal moment in American art.

28 The suite of new photography galleries in the east wing, which opened in late June 2009, underscores the museum’s commitment to photography as a form of visual expression and fueled the further growth of the collection through purchase and gift. Under the direction of Tom E. Hinson, curator of photography, additions to the collection covered the full scope of the medium— from its origins in the mid 19th century to the present day. Especially notable among early works are images by Étienne-Jules Marey, Carlo Naya, and Louis-Pierre-Théophile Dubois de Nehaut. Acquired works by major photographers of the 20th century include images by Shelby Lee Adams, Henri Cartier-Bresson, Sharon Core, and Larry Clark. The collection also gained a number of important images by Cleveland photographers, including Christopher Pekoc and Douglas Lucak, as well as striking imagery of northeast Ohio by Brian Ulrich.

Firewood, Christmas Eve, Scanno, Italy, 1852. Henri Cartier- Bresson (French, 1908–2004). Gelatin silver print; 35 x 24 cm. Norman O. Stone and Ella A. Stone Memorial Fund 2009.278

29 as the Star of David. Such surviving brooches number fewer than 30, and of these the CMA’s acquisition is among the finest in quality, materials, Brooch in the Form and execution. In the realm of illuminated of a Six-Pointed Star, late 700s–early manuscripts, the museum also added a remarkable 800s. Frankish, Early Carolingian. Gold book of hours that serves as an important with repoussé and benchmark in the shift from the handmade books filigree decoration; copper backplate; of the Middle Ages to the printed texts of the h. 7.7 cm overall. early modern period. Produced around 1520 Severance and Greta Millikin Purchase by Guillaume Le Rouge after the advent of the Fund 2009.344. printing press, the book features printed text pages interspersed with hand-colored illuminations. A hybrid work that stands between two epochs of the art of the book, this work will be displayed in rotating installations of the museum’s collection of illuminated manuscripts. Stephen Fliegel also capitalized on the In anticipation of the debut of the new opportunity to add an important devotional icon galleries of medieval art, Stephen Fliegel, curator to the museum’s collection of Byzantine art. of medieval art, acquired an exceptional example The monumental icon, from a private European of Frankish metalwork, a brooch featuring a collection, is attributed to the Cretan icon painter fantastical animal turning back to grasp its own tail Angelos Akotantos (died c. 1450). Akotantos has in its mouth. Produced in the late eighth or early been the subject of intense research by numerous ninth century and designed to be worn on the specialist scholars over the past 15 to 20 years. body, this brooch adds a distinctive and rare object He signed as many as 30 of his icons and an to the museum’s small collection of European additional 20 are reliably attributed to his hand. migration jewelry. The brooch belongs to a small Akotantos had a workshop in Candia, the capital subset of Frankish jewels conforming to a form of Crete, from which he supplied icons to Greek that takes its inspiration from a hexagram motif churches and monasteries on Crete, Patmos, and known as the Seal of Solomon, and later known Rhodes at a time when the Byzantine Empire

30 was increasingly pressed by the Ottomans, who captured Constantinople in 1453. Despite the fact that icons were (and remain) an essential element of the devotional culture of Orthodox Christianity, the museum’s Byzantine

Icon of the Mother collection has always lacked a major painted icon. of God and Infant Although several icons have been considered Christ (Virgin Eleousa), about for purchase over the years, the museum elected 1425–50. Attributed to Angelos Akotantos to eliminate them from consideration because (Greek). Tempera and they failed to meet the standards of excellence gold on wood panel; 96 x 70 cm. Leonard established by its Byzantine collection. The C. Hanna Jr. Fund newly acquired painting, executed in tempera on 2010.154 panel, meets or exceeds the quality of other icons by Akotantos. The treatment of the faces and draperies is handled with great fluency and skill, revealing Akotantos to be a painter of great talent. This acquisition not only places the museum firmly on the map in an international arena—few museums have recently succeeded in acquiring icons of similar importance and significance—but also establishes a strong connection to northeast Ohio’s Orthodox Christians, who are familiar with the powerful visual language represented by this tradition. In achieving these two objectives, the icon strikes the perfect balance between international significance and local relevance.

31 Brocaded Velvet Louise Mackie, curator of textiles and Islamic Cushion Cover, 1500s. Turkey, Bursa, art, also made several notable acquisitions, Ottoman Period. deepening the museum’s already distinguished Brocaded velvet; 4/1 satin with every third holdings of textiles produced in the Islamic world, warp binding wefts a collection that is internationally recognized in 1/4 twill order (S direction); Silk, for its breadth, quality, and variety. Perhaps gilt-metal thread, silver-metal thread, most impressive among the acquired textiles is cotton; 127 x 66 cm. a 16th-century Ottoman Velvet Cushion Cover, a (mounted). Purchase from the J. H. Wade sumptuous work of velvet brocaded with gilt metal Fund 2009.282 thread.

32 Poppies, 1978. Helena In 2010, the museum’s collection of textiles testifies to the impressive revival of a historic art Hernmarck (Swedish, born 1941). Tapestry benefited from an unexpected gift brokered by form by a contemporary artist. The two spectacular weave with weft- Louise Mackie. Two monumental tapestries by the tapestries feature Texas wildflowers rendered on a bundle floats; wool, linen, silk(?), gold renowned fiber artist Helena Hernmarck, Poppies grand scale in a semi-photorealistic style in 1978 metal thread; 389.9 x 594.4 cm. Gift of and Bluebonnets, were offered to the museum in the and 1979. They were designed as complementary the Trammel Crow wake of a smaller gift, a study for Poppies, accepted images rather than as a pair and display a radiance Family 2010.186 last year. The addition of these works dramatically rarely seen since 16th-century European tapestries.

33 Hernmarck is one of the most prominent and successful artists working in the field of fiber in the past 50 years, during which time textiles developed into a new art form. She is known for corporate commissions of public textiles designed and woven on a grand scale. A photograph of poppies in and out of focus that Hernmarck had received as a Christmas card became the model for one tapestry. She asked the same photographer, John Simle, to photograph bluebonnets with her; she ultimately cut up and rearranged the images so that they were somewhat similar to the poppy image. These two tapestries are outstanding additions to the collections that enrich the museum’s small but distinguished European tapestry collection, but can equally hold their own in the contemporary galleries. Stephen Harrison, curator of decorative arts and design, was fortunate to acquire an extremely rare pair of neoclassical candelabra Pair of Candelabra, late 18th century. Catherine the Great, during produced in Tula, a center for arms manufacture about 1790–95. whose reign these candelabra were produced, Russia, Tula. Cut and in Russia established by Peter the Great in 1705. polished steel with was so enamored of the virtuoso displays of cut Their acquisition offers a shining example of the gold and silvered steel, gilt bronze, silver, and gold showcased by serendipitous alignment of curatorial expertise and decoration; 40.7 x Tula craftsmen that she bestowed these wares 24.8 cm. Leonard a dealer’s eagerness to place a significant treasure C. Hanna Jr. Fund as diplomatic gifts, thereby conveying her pride in an important public collection. The Tula 2010.2.1–2 (detail in their distinctively Russian contribution to candelabra significantly enhance the museum’s p. 35). metalworking. renowned collection of neoclassical decorative arts The most recognizable characteristic of Tula by adding masterworks from Russia, a seminal was the use of multifaceted cabochons and beads of center of production and commission in the steel that replicated faceted diamonds and crystals.

34 No other region surpassed the brilliance of this that approaches diamond and crystal, achieving technique in cut steel. Works produced in Tula a stunning combination of artistic ingenuity and primarily remain in the former imperial collections technical virtuosity. Their dark, shimmery tones in Russia or in select museums in northern Europe invite close inspection. The fact that the top of the as the result of diplomatic provenance, and rarely table acquired by the Metropolitan Museum of Art appear on the art market. In the United States, has been replaced makes these objects that much only the Metropolitan Museum in New York more remarkable as exceptionally intact examples and the Legion of Honor in San Francisco own of the highest achievements of Tula craftsmen. single examples from this seminal period in Tula The most remarkable addition to the Asian production. Comparison of these works with collection came in the final meeting of 2009, when those acquired by the CMA highlights the ways in the museum acquired a Yuan dynasty triptych which the museum insists that acquisitions should through private sale. Depicting the historic distinguish its collections from those of its peers. Buddha Shakyamuni flanked by two attending Most works in Tula steel that left Russia during bodhisattvas, Manjushri (the Bodhisattva of the period and later in the 19th century were small Wisdom) and Samantabhadra (the Bodhisattva precious objects such as inkstands, bobbin holders, of Universal Virtue), the set of three hanging buttons, footstools, or single candlesticks. The scrolls is a rare survivor of Buddhist painting of acquisition of the small table at the Metropolitan the 13th and 14th centuries and reaffirms the Museum of Art was especially noteworthy in museum’s status as holder of one of the preeminent 2001 because it was the most significant piece of collections of early Buddhist paintings in the Tula known to exist in private hands outside of country. Russia. Compared with the table in New York, In American art, there were a number of Cleveland’s candelabra are packed with finely significant additions to the collection of works by wrought details and, with the exception of a artists with ties to Cleveland. The establishment few minor missing elements, have survived in in the east wing of a dedicated gallery for art remarkably pristine condition. With their chased, produced in Cleveland marked the museum’s inlaid, and applied decoration of classical trophees, commitment to a regular rhythm of exhibitions incorporation of iconic swags and geometric forms, and installations featuring the work of local artists, and patinated surfaces of mixed metal, especially both now and in the past. Especially notable was steel, these candelabra shimmer with a luster the purchase of a remarkable narrative sculpture

35 36 Tashiko Takezu were especially welcome additions to the collection. Mark Cole, associate curator of American art, also addressed the collection’s long-standing priority to expand the representation of American artists active outside the country’s major artistic centers. Raymond Jonson’s Rock at Sea (1920–22), a highly stylized representation of the coast of Ogunquit, Maine, presented a rare opportunity to acquire a seminal work by an artist who developed his modernist aesthetic in the American Southwest and on the West Coast. Practicing his craft first in Chicago and then in Albuquerque, Jonson is best known for co-founding the Transcendental Painting Group, a consortium based in New Mexico and California that constituted a West Coast correlative to the Abstract American Artists organization in New York. The painting

by Viktor Schreckengost entitled Jonah (1937). Shakyamuni Triad: is a visually striking, impressively scaled, and Jonah, 1937. Viktor Buddha Attended Schreckengost Schreckengost’s narrative subjects are his most stylistically rich example of early modernism by by Manjushri and (American, one of America’s leading avant-garde painters. complex and highly regarded sculptures; this Samantabhadra, 1906–2008). Glazed acquisition represents the first narrative sculpture 1200s–1300s. China, While many additions to the collection were earthenware; 29.10 Yuan dynasty (1279– x 18.80 cm. Purchase by the artist to enter the collection. featured in exhibitions and permanent collection 1368). Triptych of from the J. H. Wade galleries during 2010, other notable acquisitions Several gifts by Cleveland artists were three hanging scrolls, Fund 2010.3 precipitated by the museum’s decision to stage an ink and color on will take their place in installations slated to debut installation in celebration of the 50th anniversary silk; 106.9 x 46.4 cm upon completion of the museum’s north galleries. each. Purchase from Over the course of 2010, Sue Bergh, Curator of of the Cleveland Arts Prize, featuring works by the J. H. Wade Fund winners of the prize drawn from the museum’s 2009.342.1–3 (p. 36). Pre-Columbian and Native North American Art, permanent collections. Gifts of important works continued her efforts to expand the museum’s by Brent Kee Young, Laurence Channing, and holdings of works of art from the Central Andes.

37 The year 2010 also brought the addition of a number of important works on paper, recommended for purchase by the museum’s associate curator of drawings, Heather Lemonedes. Remarkable among these is a stunning exhibition watercolor by William Turner of Oxford (1789– 1862), A View from Moel Cynwich: Looking Over the Vale of Afon Mawddach and Toward Cader Idris. William Turner was born in rural Oxfordshire. His artistic ability manifested itself early, and in 1804 he was sent to London to take lessons with the watercolorist John Varley. In 1808, at age 18, Turner was elected an associate of the Society of Painters in Watercolor, making him the group’s youngest member. Turner’s early promise was noted in that year by a critic who observed that two of his watercolors displayed “the wide range of a veteran landscape painter.” Like many of his contemporaries, his large, highly finished exhibition watercolors were typically derived from studies made during summer sketching tours. He traveled to Wales in 1817, and in later years to Scotland, the Wye Valley, the Lake District, and Derbyshire. Turner’s range extended beyond Rock at Sea, 1920– The museum’s Pre-Columbian collection is one 1922. Raymond of the most refined and comprehensive of its size the conventionally picturesque to include many Jonson (American, outside of Latin America, but its Central Andean detailed panoramic views, remarkable for their 1891–1982). Oil on breadth and delicacy. By his 1838 visit to Scotland, canvas; 88.90 x holdings, where many of the hemisphere’s most 104.20 cm; Severance complex cultures took root, is small in relation to the mystery and power of the uncultivated and Greta Millikin regional importance and artistic production. landscape had become a theme in his work. His Purchase Fund 2009.269

38 39 time in Scotland may have prompted Turner to return to Wales as a subject late in his career. A View from Moel Cynwich describes the dramatic mountain scenery of north Wales. The view in this drawing is seen from the steep slopes of Moel Cynwich, along what is now known as the Precipice Walk, overlooking the River Mawddach. The Cader Idris, a famous mountain in Snowdonia, and Barmouth Bay can be seen in the far distance. The close-up view of the hillside and sheep in the left foreground with its details of ferns and foliage juxtaposed with the sweeping vista of the background invites a comparison of the minute with the infinite. The inclusion of the shepherd by the dead fir trees calls up feelings of awe and infinity: the result is a meditative sense of man’s

A View from Moel insignificance in the face of the vast world. Indeed, Cynwich: Looking this drawing will hold its own among Cleveland’s Over the Vale of most prized British watercolors by artists such Afon Mawddach and Toward Cader as John Robert Cozens, John Martin, J. M. W. Idris (detail), about Turner, and Samuel Palmer. 1850. William Taking advantage of a new space in the Turner of Oxford (British, 1789–1862). contemporary galleries devoted to the display of Watercolor with prints and drawings, Lemonedes also collaborated scratching out, with Contemporary curator Paola Morsiani to heightened with white; 48.9 x 70.3 acquire several contemporary drawings. These cm. Purchase from acquisitions were guided by the understanding the J. H. Wade Fund that the museum would seek out works by 2010.147 (entire image, p. 39). contemporary artists whose principal means of expression consists of works on paper. Perhaps the

40 most significant among these is Nancy Spero’s Codex Artaud XXI (1972), a drawing from the artist’s most important body of work, the so-called Codex Artaud, made between 1971 and 1972 in New York. The series of drawings unite texts of Codex Artaud XXI, 1972. Nancy Antonin Artaud, the French actor, playwright, Spero (American, and poet of highly allusive writings, with Spero’s 1926–2009). Cut and pasted papers, decidedly personal imagery. Other acquired printed text, watercolor, metallic contemporary drawings include works by the paints, pen and Cuban artists known as Los Carpinteros. stamped ink; 173.4 x 52.6 cm; Severance Under the leadership of Jon Seydl, curator and Greta Millikin of European painting and sculpture, in the area Purchase Fund 2009.270 of Italian Renaissance art, the museum acquired Mino da Fiesole’s Julius Caesar (about 1455–60)

41 providing the museum with a major work of 15th-century Florentine sculpture exemplifying many of the innovations that characterize a seminal moment in art history. Mino is one of a handful of great Italian sculptors of monumental objects working in the 1400s between Donatello and Michelangelo. He trained under Desiderio da Settignano and carved the first portrait bust since antiquity (Piero de’ Medici, 1453). Working for many of the era’s key patrons in Rome and Florence, Mino made monumental tomb sculptures, portrait busts, and refined reliefs. The addition of his Julius Caesar to the collection makes key connections to extant strengths, including the museum’s Italian Renaissance medals and plaquettes, as well as one of the museum’s great

Julius Caesar, about sculptures, Madonna and Child (also by Mino)—a 1455–60. Mino da marvelous religious counterpoint to Julius Caesar. Fiesole (Italian, about In 2010, the bequest of Muriel Butkin 1430–1484). Marble with traces of gilding continued to ensure that important gifts added and limestone depth to the museum’s renowned holdings of with traces of European easel paintings. Eugène Boudin’s View polychromy; 83 x 84 x 25 cm. John of the Port of Saint-Valéry-sur-Somme, which was L. Severance Fund recommended as a gift by William Robinson, 2009.271 curator of modern European painting and sculpture, depicts Saint-Valéry-sur-Somme, located in Picardy at the mouth of the Somme where the river empties into the English Channel. Boudin was an important landscape painter and a major influence on Claude Monet and the

42 43 Impressionists. During his early years, Monet painted with Boudin along the Normandy coast and credited Boudin with teaching him to observe nature closely. The view looks north toward the sea, which can be seen along the distant horizon. Sailboats, one of Boudin’s favorite subjects, are docked along the east bank of the river with their sails rolled up. The opposite side of the river is deserted except for rocks, grass, and trees. The sky is heavy with gray clouds, and a strip of sunlight d er in the distance illuminates a slice of the east riverbank, suggesting late afternoon. The museum d ean yo View of the Port of currently has an interesting collection of five oil Jim George and Steve In 2009–2010, the Conservation Department Saint-Valèry-sur- Fix unwrap a newly Somme, 1891. Eugène paintings by Boudin, including two early scenes of acquired icon from continued to play an essential role in acquisitions, Boudin (French, Crete in the paintings exhibitions, and loans, and in treating and 1824–1898). Oil on figures on the beach dating from the 1860s, a large lab. Protective canvas, 45.20 x view of Bordeaux harbor from 1874, and a late facing tissues were preparing works of art for re-installation in the 64 cm. Bequest of applied by Painting Muriel Butkin 2010.23 view of Deauville harbor from 1891. As a group, Conservator Dean new galleries. This year the lower level of the 1916 (p.43) these paintings provide an important context Yoder in Rome prior building galleries and the permanent galleries to transporting the for understanding the development of plein-air icon, which will for rotating works of art on paper were opened. receive treatment The ongoing work of the department included painting in 19th-century France. before entering the The growth of the collections across the Byzantine galleries. examination and survey of more than 4,000 full scope of the museum’s holdings serves as a works of art; more than 1,000 received major vital reminder that the current capital project is and minor treatment, and more than 1,000 were about much more than creating a state-of-the-art prepared for storage, display, or loan. In addition, building. It is fundamentally driven by the broader the department accomplished research and other ambition of creating a museum that aspires to the special projects. marriage of international significance and local Paper Conservator Moyna Stanton published relevance, and thus serves as a source of inspiration her research on Mabel Hewit’s printing techniques for the city and the region. in the exhibition catalogue Midwest Modern: The Color Woodcuts of Mabel Hewit. In addition to caring

44 cleaning the CMA panel painting from the 1500s titled Christ with Joseph of Arimathea by Giovanni Savoldo. In May, Dean attended an international conference in Valencia titled “New Insights into the Cleaning of Paintings.” In the paintings lab, 14 paintings received major treatment. Highlights include four tondi titled Scenes with Witches by Salvator Rosa (1615–1673) and A Windmill Near Fields by Jacob van Ruisdael (1628/29–1682). Associate Conservator of Asian Paintings Jennifer Perry worked with the facilities department to outfit the lab for Asian painting conservation with cabinetry and equipment while she continued to treat and properly house the collection of hanging scrolls. In addition, Jennifer was invited to lecture d er in Tokyo for an international symposium on the

d ean yo conservation of Asian paintings and gave a talk entitled “The Conservation of East Asian Paintings Jennifer Dennis, a for the prints and drawings collections, Moyna third-year graduate worked closely with contract conservators for at the Cleveland Museum of Art: Preserving the intern from the Legacy.” Buffalo State the collections of furniture, portrait miniatures, College conservation Conservator of Objects Shelley Paine, program, put some manuscripts, and photographs for re-installation final inpainting as well as special projects. Over the past year assistant conservators Samantha Springer and touches on an Rachael Penniman, and intern Jennifer Dennis Egyptian stele in a numerous major treatments were carried out in gallery light setting the paper lab. Of special note was the treatment of were focused on treating and preparing three- recreated in the dimensional artwork for the reinstallation of the objects lab. The an important large-scale watercolor titled Bolton treatment required east side of the lower level of the 1916 building. continued discussion Abbey by British artist David Cox (1783–1859) with the curator accomplished by Amy Crist, Andrew W. Mellon Shelley’s work included close collaboration with to accomplish the Curator of Ancient Art Michael Bennett on desired balance for Fellow in Paper Conservation. the areas of fill and Painting Conservator Dean Yoder worked at the re-stringing of a bronze Greek necklace. A inpainting. the J. Paul Getty Museum for short periods of time necklace of this type has no known reference for

45 its appearance and research was vital to its present display. Shelley also worked closely with Arthur Heuer, Case Western Reserve University professor, and Jaques Castaing, scientist from the Louvre Museum, on the analysis of glazes on the CMA Palissyware collections. Samantha and Jennifer worked on an ancient Assyrian relief sculpture, Saluting Protective Spirit (883–859 bc), and an Egyptian stele. These lengthy treatments focused on reintegrating the appearance of these previously damaged and repaired objects. d er Associate Conservator of Textiles Robin Hanson

examined textiles being considered for acquisition; d ean yo

examined, treated, and mounted textiles for display Shelley Paine cleans Chief Conservator Marcia Steele co-authored at CMA in the galleries of French decorative art, a marble head of “The Series Paintings of F. H. Lane: From Field a prophet for the early Christian and Byzantine art, African art, and newly designed Sketch to Studio Painting” in Emil Bosshard, western medieval art as well as the special exhibitions medieval gallery. She Paintings Conservator (1945–2006) Essays by Friends delicately removes Art of the American Indians: The Thaw Collection and surface dirt to safely and Colleagues. Additional technical examination achieve the final Midwest Modern: The Color Woodcuts of Mabel Hewit. aesthetic desired by of Lane was published on the Terra Foundation Utilizing the talents of interns and volunteers, the the curator. website: www.terraamericanart.org. textile lab completed numerous storage projects Conservation technicians Jim George, Joan including re-housing a portion of the museum’s Neubecker, Steve Fixx, and Elizabeth Wolfe, sampler collection and extensive lace collection. as well as Administrative Assistant Joan Bewley Two graduate interns from the conservation training continued to provide essential support for the program at Buffalo State College completed their work carried out in the department, including third-year training in the objects and paintings lab. tracking the ongoing activities of the department, Eileen Sullivan was awarded a Kress Fellowship to preparation of artwork for exhibition, loan, continue for an additional year in the paintings lab and storage, as well as photo documentation for and Jennifer Dennis will be working part time on examination and loan. special projects in the objects lab.

46 Acquisitions

American Art Art of the Ancient Americas Ancient Art Beaver-Shaped Bowl, about Rock at Sea, 1920–22. Raymond Beaver-Shaped Bowl, about 1890– Ribbed Bowl, 100 bc–ad 100. Roman. 1890–1920. Jonson (American, 1891–1982). Oil on 1920. North America, Northwest Glass; h. 6.5 cm. Gift from Norman W. North America, canvas; 88.90 x 104.20 cm; Severance Coast, Tlingit? people. Wood; 11.3 x Zaworski 2009.474. Northwest Coast, and Greta Millikin Purchase Fund 27 x 18.7 cm. Gift of Barry Bradley Tlingit? people. Wood; 11.3 x 27 2009.269. 2009.434. Chinese Art x 18.7 cm. Gift Jonah, 1937. Viktor Schreckengost Bowl with Trophy Heads, about ad Shakyamuni Triad: Buddha Attended of Barry Bradley (American, 1906–2008). Glazed 100–650. Central Andes, South Coast, by Manjushri and Samantabhadra, 2009.434 earthenware; 29.10 x 18.80 cm. Nasca people, Early Intermediate 1200s–1300s. China, Yuan dynasty Purchase from the J. H. Wade Fund period. Ceramic, slip; 10.2 x 10.2 cm. (1279–1368). Triptych of three hanging 2010.3. Gift of Barry Bradley 2009.435. scrolls, ink and color on silk; 106.9 x Feline Vessel, about ad 1–800. Central 46.4 cm each. Purchase from the J. H. Andes, North Coast, Moche people, Wade Fund 2009.342.1–3. Early Intermediate period. Ceramic; 17 x 14 x 19.8 cm. John L. Severance Fund 2010.4.

47 Contemporary Art Flow, 1971. Julian Stanczak (American, born 1928). Acrylic on canvas; 121.9 x 91.4 cm. Bequest of Shuree Abrams 2009.295. High Rolling, 1998. Monique Prieto (American, born 1962). Acrylic on canvas; 182.8 x 208.2 cm. Gift of Scott Cutler 2009.436. Humming Gold, 1971. Helen Frankenthaler (American, born 1928). Acrylic on canvas; 205.7 x 274.2 cm. Bequest of Dennis Sherwin 2009.294. Jackie Curtis and Ritta Redd, 1970. Alice Neel (American, 1900–1984). Oil on canvas; 152.4 x 106.4 cm. Leonard C. Hanna Jr. Fund 2009.345. Mapa estelar en árbol, 2009. Gabriel Orozco (Mexican, born 1962). Calcium sulfate (plaster), animal glue, graphite, and mango tree trunk; 72.6 x 69.7 x 40 cm. Severance and Greta Millikin Purchase Fund 2009.343. Mirrors & Eyes, 1994. John L. Moore (American, born 1939). Oil on canvas; 203.2 x 172.7 cm. Gift of Jane Farver 2009.437. Rho I, 1977. Jack Whitten (American, born 1939). Acrylic on canvas; 182.8 x 213.2 cm. Purchase from the J. H. Wade Fund 2010.1.

Mirrors & Eyes, 1994. John L. Moore (American, born 1939). Oil on canvas; 203.2 x 172.7 cm. Gift of Jane Farver 2009.437

48 Decorative Art and Design by Consolidated Lamp and Glass Cup and Saucer, about 1880–1900. Bar Spoon, after 1928. Kalo Shop Company (United States, Coraopolis, France. Enamel, silver; 6.5 x 8.5 x (United States, Chicago, established Pennsylvania, established 1894). Glass; 6.5 cm. Bequest of Muriel Butkin 1900). Silver; 36 x 3.8 cm. Gift of Barry 19 x 24.1 cm. Gift of Barry Bradley 2009.366.a–b. Bradley 2009.455. 2009.451. Deserted Throne, 1990. Stanislav Bottle, about 1979. Claude Conover Cigarette Box, about 1895–1910. House Libensky (Czech, 1921–2002) and (American, Cleveland, 1907–1994). of Fabergé (Russia, St. Petersburg, Jaroslavá Brychtova (Czech, born Stoneware; 52 x 26 cm. Gift in 1842–1918), workmaster Mikhail 1924). Cast glass; 86.4 x 71.1 x 35.6 cm. memory of Allan Joseph MacDonald Perkhin (Russian, 1860–1903). Rock Gift of Helen Kangesser 2010.17. 2009.379. crystal, enamel, gold, sapphire, Dress Clip, about 1920–30. Maison diamond; 1.8 x 8 x 5.7 cm. Bequest of Cartier (France, Paris, established Bowl, designed 1931. René Lalique Muriel Butkin 2009.365. (French, Paris, 1860–1945). Glass; 10.5 x 1847). Enamel, turquoise, lapis, 25 cm. Anonymous Gift 2009.457. Cigarette Urn, about 1963. Kenneth diamonds, gold, platinum; 2.3 x 3.1 Bates (American, Cleveland, 1904– x 1.1 cm. Bequest of Muriel Butkin Bowl, about 1950–60. Reed & 1994). Enamel, gold; 7.9 x 9.8 cm. Gift 2009.364. Barton (United States, Taunton, of Barry Bradley 2009.454. Massachusetts, established 1840). Figure of Earth and Figure of Water, Silver plate; 7.6 x 34.3 cm. Gift of Barry Cigarette Urn, about 1950–60. 1755. Bow Porcelain Factory (England, Bradley 2009.446. Unknown maker. Copper, walnut established 1747). Porcelain; 28.5 x 12.5 knob; 14.6 x 7.6 cm. Gift of Barry x 10 cm; 27.5 x 11.7 x 11.5 cm. Gift of Deserted Throne, Bread Plate, about 1850. Augustus Bradley 2009.453.a–b. Henry Hawley 2009.375, 2009.376. Welby Northmore Pugin (English, 1990. Stanislav 1812–1852). Stoneware; diam. 33 cm. Closed Form, about 1958–64. Toshiko Fruit Bowl, 1911. Designed by Libensky (Czech, Gift in memory of Mr. and Mrs. Orrel Takaezu (American, born 1922). Wilhelm Süs (German, 1861–1933), 1921–2002) and A. Parker 2009.377. Stoneware; 27 x 21 cm. Gift of Barry manufactured by Grossherzogliche Jaroslavá Brychtova Bradley 2009.456. Majolika-Manifaktur (Germany, (Czech, born 1924). Brooch, about 1890–1910. United Covered Urn, 1962. Designed by established 1901). Earthenware; 15 x Cast glass; 86.4 x States, New Jersey. Diamonds, pearls, 29 x 24.5 cm. Gift of Henry Hawley 71.1 x 35.6 cm. Gift enamel, gold, platinum; 5.3 x 3.7 x George Thompson (American, active 1936–74), manufactured by Steuben 2009.371. of Helen Kangesser 1.8 cm. Bequest of Muriel Butkin 2010.17. 2009.361. Glass, Inc. (United States, Corning , Handbag, about 1900. Attributed to New York, established 1903). Glass; Marcus & Co. (United States, active Pair of Candelabra, about 1790–95. 18 x 17.5 x 14 cm. Gift of Barry Bradley New York, 1892–1941). Gold mesh Russia, Tula. Cut and polished steel 2009.444.a–b. bag and frame, faceted stones of with gold and silvered decoration; Covered Vase, 1901. Taxile Doat amethyst, diamonds, and demantoid 40.7 x 24.8 cm. Leonard C. Hanna Jr. garnets; 13.4 x 11.5 x 1.8 cm. Gift of Fund 2010.2.1&.2. (French, 1851–1939). Sèvres National Manufactory (France, established Andi and Larry Carlini in memory of Ceiling Globe (Ruba Rombic 1738). Porcelain; 17.5 x 8 x 8 cm. Gift of Lois F. Cohen 2009.458. Pattern), designed 1928, produced Henry Hawley 2009.374. Handbag, about 1920–30. Van Cleef & 1928–32. Designed by Reuben Haley Arpels Firm (France, Paris, established (American, 1872–1933), manufactured 1906). Gold, enamel, diamonds,

49 sapphires, silk, cotton; 21.1 x 16 x 2.5 Mantle Clock, 1901. Lenzkirch Clock mixed metals; 7.5 x 3 x 3 cm. Bequest cm. Gift of Mr. and Mrs. Lee Lyon Factory (Germany, Lenzkirch, of Muriel Butkin 2009.368.1–2. 2009.378. 1849–1920), retailed by Tiffany & Co. Salver, about 1910. Goldsmiths’ & Inkwell, about 1940–50. Designed by (United States, New York, established Silversmiths’ Company (England, Angus McDougall (American, born 1837). Mahogany, brass; 40 x 22.9 x 8.9 London, 1898–1952). Silver; 4.5 x 35 cm. England, 1906–1978), manufactured cm. Gift of Barry Bradley 2009.443. Bequest of Muriel Butkin 2009.369. by Steuben Glass, Inc. (United States, Matrix Series: Catenary Ellipsoid…Bi, Dorothy C. Thorpe (American, Corning, New York, established 1903). 2010. Brent Kee Young (American, 1904−1989). Candy Jar, about 1950– Glass; 12.5 x 15.3 cm. Gift of Barry Cleveland, born 1946). Lampwork 65, glass; 16.5 x 15.5 cm (2009.449.a– Bradley 2009.445.a–b. glass; 88.9 x 55.9 x 28 cm. Gift of Linda b). Tazza, about 1950–60, glass; 21 KPM (Königliche Porzellan- Burwasser Schneider 2010.156. x 20.5 cm (2009.450). Gift of Barry Manufaktur, Berlin Germany), shape Necklace, about 1900–1920. United Bradley. designed by Trude Petri (German, States. Topaz, diamonds, pearl, gold, Vase, about 1920–24. Josef Hoffmann 1906–1998), medallion designed by platinum; 24 x 3 x .5 cm. Bequest of (Austrian, 1870–1956). Glass; 15.9 x 21 Siegmund Schütz (German, 1906– Muriel Butkin 2009.362. cm. Gift of Barry Bradley 2009.452. 1998), all about 1938: Ashtray (Arkadia Pendant Brooch, about 1890–1910. Vase, about 1900. Bernard Moore Pattern, Comedy & Tragedy), porcelain; United States. Pink tourmaline, 2.2 x 14.6 cm (2009.442). Boullion (English, 1850–1935). Porcelain; 13 x diamonds, gold, platinum; 6 x 3 x 1 cm. 7.8 x 7.8 cm. Gift of Henry Hawley Cup and Stand (Arkadia Pattern, Bequest of Muriel Butkin 2009.359. Bacchante), porcelain; cup: 5.4 x 14.4 2009.370. cm; stand: diam. 7.5 cm (2009.439.a– Pendant Watch, about 1890–1910. Vase, 1926. Moorecroft Pottery b). Coffee Pot (Arkadia Pattern, Maison Cartier (France, Paris, (England, established 1897). Matrix Series: Catenary Galatea), porcelain; 17.1 x 21.6 cm established 1847). Diamonds, rubies, Earthenware; 31 x 15 x 15 cm. Gift of Ellipsoid…Bi, 2010. (2009.440.a–b). Salad Bowl (Arkadia pearl, gold, platinum; 6 x 2.5 x 2 cm. Henry Hawley 2009.373. Brent Kee Young Bequest of Muriel Butkin 2009.360. Pattern, Diana Hunting), porcelain; Vase, 1927. Sèvres Porcelain Factory (American, born 1946). 8.7 x 23 x 21.2 cm (2009.438). Tea Pot Ring, about 1910. Potter & Mellen (France). Porcelain; 22.2 x 12.2 x 12.2 Lampwork glass; 88.9 (Arkadia Pattern, Judgement of Paris), (United States, Cleveland, established cm. Gift of Henry Hawley 2009.372. x 55.9 x 28 cm. Gift porcelain; 15.2 x 22.9 cm (2009.441.a– 1900). Enamel, gold, yellow stone; 2.1 x of Linda Burwasser b). Gift of Barry Bradley. 2.1 x 2.7 cm. Bequest of Muriel Butkin Vase, about 1925–30. France. Glass; h. Schneider 2010.156 2009.363. 33.2 cm. Gift of the Geismer Family Libbey Glass Company (United in memory of Eugene and Mollie States, Toledo, established 1892), Salt Cellar, about 1890–1900. Marius Geismer 2010.157. designed by A. Douglas Nash Hammer (Norwegian, 1847–1927). (American, 1885–1940). Candy Jar Enamel, gilt silver; 6 x 10.3 x 3.5 cm. (Knickerbocker Pattern), 1933, glass; Bequest of Muriel Butkin 2009.367. 15.5 x 17 cm (2009.448.a–b). Compote Salt and Pepper Shakers, about 1875– (Knickerbocker Pattern), 1933, glass; 85. Gorham Mfg. Co. (United States, 5.5 x 11 cm (2009.447). Gift of Barry Providence, established 1852). Silver, Bradley.

50 Table Knives (Cuchillo Drawings 50.3 x 41.6 cm. Bequest of Muriel Bayeux Cathedral, 1923 (2009.462). de Mesa), 2007. Butkin 2009.313. Five pen and black ink drawings: A Seated Shepherdess, 1800s. Jules Los Carpinteros: Renaissance, Blois, France, 1923; 43.5 Dupré (French, 1811–1889). Black chalk John Taylor Arms (American, Dagoberto x 21.1 cm (2009.471). Untitled, 1919 with white heightening and white 1887–1953). Eight graphite drawings: Rodríguez Sánchez (2009.469). Cutting In, 1925; pen pastel on brown paper laid down on Chapelle St. Ave-en-Bas, 1928; 26.6 (Cuban, born 1969) and black ink and colored pencil board; 61.1 x 47.6 cm. Bequest of Muriel x 27.9 cm (2009.465). English Series and Marco Antonio (2009.466). Spanish Church Series Butkin 2009.314. No. 7: Miniature Series No. 24: Wilby Castillo Valdés No. 9: Puerta del Obispo, Zamora, Church, Northamptonshire, England, (Cuban, born 1971). A View from Moel Cynwich: Looking 1933; pencil and black pen and black 1940; graphite (2009.463). Goshawk Watercolor with Over the Vale of Afon Mawddach and ink wash (2009.470). Spanish Church on Cupsuptic Stream, 1919; 29 x 24.1 cm graphite on two Toward Cader Idris, about 1850. William Series No. 10: Stone Tapestry San (2009.467). Mexican Church, 1940; 23.3 sheets of paper; 70.9 Turner of Oxford (British, 1789–1862). Isidoro, Leon, 1933 (2009.460). Gift of x 17.2 cm (2009.468). Miniature Series x 199.9 cm. Dudley P. Watercolor with scratching out, Carole W. and Charles B. Rosenblatt. heightened with white; 48.9 x 70.3 cm. No. 27, Yucatan Series No. 1: Plumed Allen Fund 2009.275 Purchase from the J. H. Wade Fund Serpent, Chichén Itzá, 1940 (2009.464). Antoine-Louis Barye (French, 1796- 2010.147. Ship Series No. 1: The Golden Galleon, 1875). Landscape (recto), watercolor 1921 (2009.461). Spanish Church Series with gouache, and graphite; 15.5 x Armenian Gypsy, 1800s–1900s. Edgar No. 3: Segovia, 1924 (2009.472). Tower, 23.1 cm. Studies of Animals (verso), Chahine (French, 1874–1947). Graphite;

51 graphite; 15.5 x 23.1 cm. Bequest of Muriel Butkin 2010.168.a–b. François Bonvin (French, 1817–1887). Portrait of a Woman, 1800s; pastel on tan paper; 29.2 x 17.4 cm (2010.170). Study for The Blacksmith’s Shop: Remembrance of Le Tréfort (Les Forgerons), 1854; watercolor with gouache and iron gall ink; 26.4 x 22.2 cm (2010.160). The Stretcher Bearer (Study for “Le Couvreur tombé”), 1876; black and red chalk with colored chalks, stump work, and graphite accents, squared for transfer in red chalk; 33.9 x 20.2 cm (2010.158). Woman at the Spinet, 1860; fabricated black chalk with touches of brown and red chalk and stumping; 42 x 30.5 cm (2010.166). Bequest of Muriel Butkin. Cleveland Urban Series: Promise/ Protected?, 2009. Thomas R. Roese Exit to Ashland, 1994. (American, born 1948). Graphite and Laurence Channing acrylic; 55.9 x 73.7 cm. Carole W. and (American, born 1942). Charles B. Rosenblatt Endowment Charcoal; 101.6 x 127 Fund 2010.155. cm. Gift of Wilbur Costume Study for Opera Singer, 1781. Markstrom in honor of Jean Michel Moreau le Jeune (French, the artist 2010.176 1741–1814). Watercolor on white laid paper; 26.1 x 17.8 cm. Bequest of Muriel Butkin 2009.309. Achille Devéria (French, 1800–1857). Two drawings: Study for Four Stained Glass Windows “Généalogie d’Abraham,” 1844; black and brown ink, watercolor with graphite; 32.5 x 23.8 cm (2010.169). Young Woman Combing Her Hair, 1800s, before

52 25.5 x 19.4 cm (2010.165). Bequest of heightening on tan wove paper Muriel Butkin. pasted down on cream wove Head of a Young Girl, about 1857. paper—a page from an album; 20.8 Alexandre Hesse (French, 1806–1879). x 24.6 cm (2009.305). Portrait of his Black chalk, sanguine, brown wash Mother, 1851; graphite with slight red with white chalk heightening on chalk on cream wove paper pasted coarse gray paper; 34.9 x 26.4 cm. down on heavy-weight cream wove Bequest of Muriel Butkin 2009.306. paper; page from album; 25.3 x 32.3 cm (2009.307). Bequest of Muriel Butkin. Hunstman with Trophies, 1800s. Two Women Sketching Hippolyte Lequeutre (French, 1793– Seymour Lipton (American, 1903- a Sculpture, 1878. 1877). Watercolor and gouache over 1986); Ten black crayon on white Gabriel von Hackl graphite, partly varnished, on woven paper drawings; 21.6 x 28 cm: Study for (German, 1843–1926). paper, pasted down; 28.9 x 21.5 cm. Achilles, 1975 (2009.387); Study for an Pen and black ink; 40.3 Bequest of Muriel Butkin 2009.341. unrealized sculpture, 1973 (2009.386); Study for Archangel, 1970 (2009.385); x 32.2 cm. Norman Charles-Émile Jacque (French, 1813– O. Stone and Ella A. Study for Bond, 1986 (2009.390); Study 1894). Three drawings: Bringing in the for Eternal Light, 1978 (2009.389); Stone Memorial Fund Sheep, 1800s; black chalk heightened 2010.148 Study for Jungle Bloom, 1952 with white chalk; 40.9 x 31.6 cm (2009.382); Study for Prophet, 1959 (2010.167). Étretat, 1854; brown ink, (2009.383); Study for Rebirth, 1976 brown wash, graphite, touches of (2009.388); Study for Voyager, 1964 blue, red, and gray watercolor and (2009.384); Study for Winter Solstice, gouache; 16 x 26.5 cm (2010.174). The 1951 (2009.381). Gift of Alan Lipton. Truffle Gatherers, about 1849; brown ink heightened with black and white Morning Mist, Heath Township (value chalk; 15.1 x 27.3 cm (2010.159). Bequest drawing), 2008. Micah Schwaberow of Muriel Butkin. (American, born 1948). Value drawing; 1857; graphite and brown wash on x 36.83 cm (2009.300). Bequest of 28 x 21.3 cm. Gift of The Print Club of Alphonse Legros (French, 1837–1911). off-white wove paper; 22.6 x 17.5 cm Muriel Butkin. Cleveland 2009.327.4. Two drawings: Les Glaneuses, 1800s; (2009.303). Bequest of Muriel Butkin. Exit to Ashland, 1994. Laurence sepia ink and wash on off-white My Houses (Dining Room with Horse Eugène François Marie Joseph Devéria Channing (American, born 1942). paper, pastel down; 19 x 16.8 cm Painting), 2006. Julia Jacquette (French, 1805–1865). Two drawings: A Charcoal; 101.6 x 127 cm. Gift of Wilbur (2009.308). Portrait of Sir Frederick (American, born 1964). Watercolor; Concert: Laura Devéria Singing, 1831; Markstrom in honor of the artist W. Burton, Director of the National 40.6 x 50.8 cm. Gift of The Print Club watercolor with black and brown 2010.176. Gallery, London, 1881; graphite on of Cleveland 2010.175. ink, some pastel and lead white on Jean-Léon Gérôme (French, 1824– laid paper; 28.8 x 19.3 cm (2010.161). Aesculapius. Pierre-Paul Prud’hon off-white heavy-weight wove paper 1904). Two drawings: Portrait Head of Bequest of Muriel Butkin. (French, 1758–1823). Brown ink wash, mounted to heavy white cream wove a Woman, 1800s; graphite; 24 x 21.1 Henri Lehmann (French, 1814- white paint, black chalk, and possibly paper; 23.2 x 18.5 cm (2009.301). Head cm (2010.163). Study for “The Reception 1882). Two drawings: Portrait of a charcoal and white chalk; 56.7 x of a Man, charcoal heightened with of the Siamese Ambassadors at Child, 1800s; graphite with white 41.8 cm; Bequest of Muriel Butkin sanguine on white cardboard; 48.26 Fontainebleau,” 1861–64; black chalk; 2009.298.

53 Nymphe et Faune, 1800s. Octave Tassaert (French, 1800–1874). Red chalk heightened with white chalk on off- white wove paper, pasted down; 33.8 x 25.1 cm. Bequest of Muriel Butkin 2009.302. Dominque Louis Papety (French, 1815– 1849). Three drawings: La Saltarelle, 1800s; watercolor and gouache with selective gum glazing over a faint graphite underdrawing; 25.4 x 35.7 cm (2010.171). Seated Italian Woman, 1800s; watercolor with gold paint with traces of graphite underdrawing; 29.7 x 21 cm (2010.164). Sleeping Field Worker, 1842; graphite; 25.7 x 39.7 cm (2010.173). Bequest of Muriel Butkin. Pink Ball, 2009. Mark Fox (American, born 1963). Ink, watercolor, acrylic, marker, gouache, graphite pencil, colored pencil, and crayon; 58.2 x 43.8 cm. Severance and Greta Millikin Purchase Fund 2009.274. Portrait of an Infant, 1800s–1900s. Henri Cros (French, 1840–1907). Sanguine on off-white laid paper; 27.7 x 28.6 cm. Bequest of Muriel Butkin 2009.304. Portrait of a Young Man, 1837. Louis Léopold Boilly (French, 1761–1845). Black La Saltarelle, 1800s. chalk heightened with white chalk; Scène de Carnaval. Philibert Louis 1851–1934). Charcoal; 29.2 x 22.7 cm. Debucourt (French, 1755–1832). Pen Gift from Samuel and Paul Josefowitz Dominque Louis 41.9 x 28 cm. Bequest of Muriel Butkin Papety (French, 2009.296. and black ink and watercolor; 30.6 in tribute to Jane Glaubinger and x 44.5 cm. Bequest of Muriel Butkin Heather Lemonedes 2009.380. 1815–1849). Watercolor Reclining Nude, 1900s. André Lhote 2009.299. and gouache with (French, 1885–1962). Graphite on off- Sheer Frost Orchestra, 2009. Marina selective gum glazing white woven paper; 27.8 x 36 cm. Seaweed Gatherers, Yport Rosenfeld (American, born 1968). over a faint graphite Bequest of Muriel Butkin 2009.297. (Ramasseuses de Varech, Yport), Xerox on mylar with additions in nail underdrawing; 25.4 1889. Emile Schuffenecker (French, polish; 27.9 x 43.2 cm. Gift of the Artist x 35.7 cm. Bequest of 2009.473. Muriel Butkin 2010.171.

54 Nancy Spero (American, 1926–2009). Marco Antonio Castillo Valdés (Cuban, Two drawings: Chinese Bomb and born 1971). Watercolor with graphite Victims, from The War Series, 1967; on two sheets of paper; 70.9 x 199.9 gouache and ink on paper; 86.4 x 69.2 cm. Dudley P. Allen Fund 2009.275. cm; Purchase from the J. H. Wade Tree Study, 1800s. Jules Coignet Fund 2009.273. Codex Artaud XXI, (French, 1798–1860). Graphite with 1972; cut and pasted papers, printed white heightening; 26.7 x 21.8 cm. Gift text, watercolor, metallic paints, pen of John Bonebrake 2009.459. and stamped ink; 173.4 x 52.6 cm; Severance and Greta Millikin Purchase Two Women Sketching a Sculpture, Fund 2009.270. 1878. Gabriel von Hackl (German, 1843–1926). Pen and black ink; 40.3 x Théophile Alexandre Steinlen (Swiss, 32.2 cm. Norman O. Stone and Ella A. 1859–1923). Two drawings: Three Stone Memorial Fund 2010.148. Figures, 1900s; black and colored crayons; 19.6 x 26.8 cm (2010.162). European Painting and Sculpture Two Men Working, Rear View, 1905; charcoal on heavy grey woven paper; Beggars by a Door, 1870. Mariano 48.3 x 33 cm (2009.310). Bequest of Fortuny y Carbó (Spanish, 1838–1874). Muriel Butkin. Oil on panel, 22.90 x 18.30 cm. Bequest of Muriel Butkin 2010.21. Still Life Watercolor, 1900s. André Dunoyer de Segonzac (French, Jules Bastien-Lepage (French, 1848– 1884–1974). Pencil, pen, black ink, and 1884). Two paintings: Albert Wolff watercolor on white woven paper; in His Study, 1881. Oil on panel; 32 x 33.4 x 47 cm. Bequest of Muriel Butkin 27 cm. Marie Samary of the Odéon 2009.312. Theater, about 1881. Oil on canvas; 52 x 44.80 cm. Bequest of Muriel Butkin Study for the Magician in “Conte de 2010.22 & 2010.25. Fée” (Story of a Fairy), 1800s. Jehan- Georges Vibert (French, 1840–1902). Julius Caesar, about 1455–60. Mino Black ink (pen and wash); 20.4 x 12.1 da Fiesole (Italian, about 1430–1484). cm. Bequest of Muriel Butkin 2010.172. Marble with traces of gilding and limestone with traces of polychromy; Study of a Plaster Cast (a la bosse), 83 x 84 x 25 cm. John L. Severance 1806. Frederic Millet (French, 1786– Fund 2009.271. 1859). Black chalk with graphite; 46.3 x 38.2 cm. Bequest of Muriel Butkin Landscape with Rider on White Horse, 2009.311. 1846. Jean Achille Benouville (French, Portrait of a Man heightened with 1815–1891). Oil on canvas; 35.50 x 53.30 Holding a Glass, late gum arabic; 12.7 x Table Knives (Cuchillo de Mesa), 2007. cm. Bequest of Muriel Butkin 2010.19. 1700s. Joseph Daniel 10.1 cm. Leonard C. Los Carpinteros: Dagoberto Rodríguez (British, 1760–1803). Hanna Jr. Fund 2010.5 Sánchez (Cuban, born 1969) and Watercolor on ivory,

55 Mounted Dragoon Officer, 1876. cm (sheet). Bequest of Muriel Butkin Edouard Detaille (French, 1848–1912). 2009.317. Oil on canvas; 23.50 x 13.20 cm. Portrait of a Prince with a Hawk, Bequest of Muriel Butkin 2010.24. 1700s. India, Mughal school. Opaque Portrait of a Man Holding a Glass, late watercolors on paper; 17.7 x 11.8 cm 1700s. Joseph Daniel (British, 1760– (image only), 44 x 28.7 cm (sheet). 1803). Watercolor on ivory, heightened Bequest of Muriel Butkin 2009.316. with gum arabic; 12.7 x 10.1 cm. Victorious Army Entering City After Leonard C. Hanna Jr. Fund 2010.5. Siege, 1700s–1800s?. India, Mughal Ruined Church, about 1840. Adrien school. Opaque watercolors on paper; Dauzats (French, 1804–1868). Oil on 41.5 x 27.4 cm (image only), 48.1 x 32.8 panel; 46.60 x 33.20 cm. Bequest of cm (sheet). Bequest of Muriel Butkin Muriel Butkin 2010.18. 2009.319. View of the Port of Saint-Valèry-sur- Somme, 1891. Eugène Boudin (French, 1824–1898). Oil on canvas; 45.20 x 64 cm. Bequest of Muriel Butkin 2010.23. The Veteran, 1870. Marie-François Firmin Girard (French, 1838–1921). Oil on canvas, 43.00 x 30.30 cm. Bequest of Muriel Butkin 2010.20.

Indian and Southeast Asian Art Royal Couple Distributing Meals, 1700s. India, Pahari, Guler school. Opaque watercolors on paper; 30.4 x 21.9 cm (image). Bequest of Muriel Royal Couple Butkin 2009.315. Distributing Meals, Princess Smoking a Hookah (as 1700s. India, Pahari, Salabhanjika), 1700s. India, Mughal Guler school. Opaque school, Kulu influence. Opaque watercolors on paper; watercolors on paper; 13.4 x 10.2 cm 30.4 x 21.9 cm (image). (image only); 30.5 x 21 cm (sheet). Bequest of Muriel Bequest of Muriel Butkin 2009.318. Butkin 2009.315 Lady after a Bath, 1700s. India, Mughal school. Opaque watercolors on paper; 12.6 x 7.1 cm (image only), 21.1 x 20.4

56 Medieval Art 37.6 x 47.4 cm (2009.322). The Rice A. Brooch in the Form of a Six-Pointed Hershey Jr. Trust. Star, late 700s–early 800s. Frankish, August Giraudon’s Artist (French, Early Carolingian. Gold with repoussé 1800s). Five albumen prints from wet and filigree decoration; copper collodion negatives, late 1870s: Dog backplate; h. 7.7 cm overall. Severance and Puppy in Barrel, 10.5 x 16.2 cm and Greta Millikin Purchase Fund (2010.9). French Country Study: Two 2009.344. Boys Climbing a Tree, 17.0 x 11.6 cm Icon of the Mother of God and (2010.6). Man with Walking Stick, 17.1 x Infant Christ (Virgin Eleousa), about 11.2 cm (2010.7). Two Female Peasants 1425–50. Attributed to Angelos Standing, Doing Laundry, 12.4 x 17.1 cm Akotantos (Greek); Crete, Cretan (2010.10). Two Shepherdesses Resting School, Byzantine period. Tempera with Two Sheep, 11.2 x 17 cm (2010.8). and gold on wood panel; 96 x 70 cm Purchase from the J. H. Wade Fund. (unframed). Leonard C. Hanna Jr. Fund Carl Chiarenza (American, born 2010.154. 1935). Fourteen gelatin silver prints: Printed Book of Hours (Use of Rome), Acropolis 58, 1989, 48 x 37.6 cm 1510. Printed by Guillaume Le Rouge, (2009.391). Albers Unhinged 164, 1998, France, Paris. 112 printed folios on 47.9 x 38.2 cm (2009.392). Arlington 2, parchment, bound; 15 x 9.6 cm. 1979, 33.3 x 47.4 cm (2009.393). Boxer- Purchase from the J. H. Wade Fund Window Poster, West End, Boston, 2009.276. 1958–59, 46 x 33 cm (2009.404). Grotte 132, 1999, 33.4 x 26.3 cm Photography (2009.394). Menotomy 349, 1983, 34 x 44 cm (2009.395). Peace Warrior Shelby Lee Adams (American, born (Samurai) 446, 2003, 37.8 x 49.2 1950). Two gelatin silver prints: Napier cm (2009.396). Samurai 328, 1999, Printed Book of Hours Family with Dogs, 1988, 37.3 x 48 cm 48.2 x 37.6 cm (2009.397). Untitled (Use of Rome), 1510. (2009.320). Self-Rising, 1993, 37.6 x 127, 1990, 48.2 x 37.7 cm (2009.403). Printed by Guillaume 48.2 cm (2009.321). Gift of Wilbur Le Rouge, France, Untitled 253, 1994, 37.8 x 47.8 cm Paris. 112 printed Markstrom in memory of Rice A. (2009.400). Untitled 295, 1994, 91.9 x folios on parchment, Hershey Jr. 123.5 cm (2009.401). Untitled Diptych bound; 15 x 9.6 cm. Shelby Lee Adams (American, born 129/136, 1994, 48 x 75.8 cm (2009.398). Purchase from the J. H. Wade Fund 1950). Four gelatin silver prints: Untitled Triptych 88/86/82, 1993, 32.7 2009.276 Banks Family Porch, 1987, 37.5 x 48 x 75.3 cm (2009.399). Untitled Triptych cm (2009.323). Driving Straight to 300/296/292, 1997, 47.4 x 110.3 cm Hell, 1998, 36.1 x 47.9 cm (2009.325), (2009.402). Gifts of Dr. and Mrs. Napier’s with Puppies, 1993, 35.9 x William Tsiaras. 48.5 cm (2009.324). The Yard, 1993,

57 Chronophotograph of a Flying Heron, about 1905. Étienne-Jules Marey (French, 1830–1904). Gelatin silver print, printed about 1905–15; 8.3 x 9.4 cm. Dudley P. Allen Fund 2009.349. The Cleveland Portfolio, all Untitled, about 1980. Various artists: Herbert Untitled (Ceremony of Thanksgiving), Ascherman Jr. (American, born 1856. Louis Pierre 1947), gelatin silver print; 27.2 x 26.8 Théophile Dubois cm (2009.414.1). Gail Schaffer Berg de Nehaut (Belgian, (American, born 1939), gelatin silver 1799–1872). Salted print; 19.8 x 30.1 cm (2009.414.7). Carol paper print from wet collodion Calabrese (American, 1900s), inkjet negative; 22.7 x 31.8 print; 18.8 x 23.8 cm (2009.414.6). cm. Purchase from Barbara Canfield (American, born the J. H. Wade Fund 1948), gelatin silver print, hand- 2009.347 colored; 9 x 27.2 cm (2009.414.8). Patrick Corrigan (American, born 1951), gelatin silver print; 25.3 x 20.1 cm (2009.414.21). Robert E. Dorksen (American, born 1944), gelatin silver print; 26.9 x 21.4 cm (2009.414.5). C. J. Elfont (American, 1900s), gelatin silver print; 34.1 x 26.7 cm (2009.414.22). Father James Flood (American, 1900s), chromogenic process color print; 15.3 x 42.2 cm (2009.414.2). Joel Hauserman Kaufman (American, born 1937), gelatin silver print; 20.5 x 31 cm Chromogenic process color print; (American, born 1950), gelatin silver gelatin silver print; 20.3 x 30.9 cm (2009.414.9). Emily Rosen (American, 709.6 x 200.2 cm. Gift of Diane and print; 22.8 x 29.6 cm (2009.414.20). (2009.414.11). Glenn Kotnik (American, 1958–2007), gelatin silver print; 21.9 x Arthur Stupay 2010.177. Evelyn Hayes (American, 1900s), born 1952), gelatin silver print; 21.8 x 32.5 cm (2009.414.10). Richard Smith Days Hotel (Near Randall Park Mall gelatin silver print; 23.6 x 18.3 29.9 cm (2009.414.15). David Krauss (American, 1900s), chromogenic and Thistledown), 2009. Brian Ulrich cm (2009.414.17). Rebecca Huryn (American, 1900s), gelatin silver print; process color print; 17.3 x 14.6 cm (American, born 1971). Inkjet print; (American, born 1954), gelatin silver 23.2 x 32.5 cm (2009.414.12). Sal Lopes (2009.414.4). Robert Trostle (American, 101.5 x 126.8 cm. Gift of Friends of print with applied color; 23.9 x 32.5 cm (American, born 1943), platinum 1900s), silver dye bleach process print; Photography 2009.293. (2009.414.16). Bill Jerden (American, print; 26.4 x 25.5 cm (2009.414.19). 26.7 x 34.1 cm (2009.414.3). Gift of Early American, Melon and Pitcher, 1900s), gelatin silver print; 17.2 x Joseph George Lucas (American, Herbert Ascherman Jr. 2009.414.1–22. 2009. Sharon Core (American, born 23.2 cm (2009.414.14). Daryl Jones born 1952), silver dye bleach process Corporate Music, about 1986. 1965). Chromogenic process color (American, 1900s), platinum print; 15.5 print; 20 x 25.2 cm (2009.414.13). Michael Clegg (Irish, born 1957) and print; 45.6 x 59.4 cm. Jo Hershey x 23.3 cm (2009.414.18). Delores Glover Renee Psiakis (American, born 1951), Martin Gutmann (Israeli, born 1957). Selden Fund 2010.12

58 NY, 1950, 28 x 35.6 cm (2009.486). Baptism, 2004 (printed 2007); Barnum & Bailey Dressing Rooms, 38.1 x 47.5 cm (2009.422). Red Hat, New York City, 1950, 28 x 35.6 cm 2006 (printed 2007); 41.9 x 54.9 cm (2009.485). City of Sin, 1950, 28 x 35.6 (2009.423). Gift of William V. Levy. cm (2009.481). New York, NY (Four Sal Lopes (American, born 1943). Three Men at Door Cab), about 1950, 28 x platinum prints: Brothers, late 1970s, 35.6 cm (2009.478). New York, NY 26.3 x 24.8 cm (2009.419). Lucky, (Smoothing Toupee), about 1948–49; late 1970s, 26.1 x 25.3 cm (2009.417); 28 x 35.6 cm (2009.482). New York, NY Mother and Daughter, late 1970s, 25.7 (Three Godfathers), about 1948–49, x 24.7 cm (2009.418). Gift of Herbert 28 x 35.6 cm (2009.482). Philadelphia, Ascherman Jr. PA, 1937, 28 x 35.6 cm (2009.488). Ritz Bar, New York, NY, 1947–48, 28 x 35.6 Douglas Lucak (American, born cm (2009.487). San Genaro Festival, 1959). Ten gelatin silver prints, toned, New York, NY, 1950, 28 x 35.6 cm 1999; 8.7 x 8.6 cm (each): Clark- (2009.480). Social Patron, 1947–51, 28 Fulton (2009.424), Detroit-Shoreway x 35.6 cm (2009.484). Times Square, (2009.426), Detroit-Shoreway and NY (Home of the Brave), 1950, 28 x Clark-Fulton (2009.425), Downtown, 35.6 cm (2009.489). Gift of Howard (2009.427), Goodrich-Kirtland Park Greenberg. (2009.429), Hough (2009.432), Industrial Valley (2009.428), North Firewood, Christmas Eve, Scanno, Italy, Collinwood (2009.430), Ohio City 1852. Henri Cartier-Bresson (French, (2009.431), Ohio City (2009.433). The 1908–2004). Gelatin silver print; 35 x George Gund Foundation Collection Mum in her Bathtub, East Fork, de Chelly River, Arizona, 24 cm. Norman O. Stone and Ella A. in honor of David Bergholz, The Washington, D.C., 1879–81. John K. Hillers (American, Stone Memorial Fund 2009.278. Cleveland Museum of Art. 2002 (printed 1843–1925). Albumen print from wet From 509 Madison Ave., After Paul Maurer (French, born 1951); 2009). Sage Sohier collodion negative; 32.4 x 24.4 cm. Stieglitz’s, 1946. Dorothy Norman Nine gelatin silver prints: Palace and (American, born Purchase from the J. H. Wade Fund (American, 1905–1997). Gelatin silver Grounds of Versailles, 1986; 28.2 x 28.5 1954). Chromogenic 2010.213. print; 9.6 x 5.8 cm. Gift of David process color cm (2009.409). Palace and Grounds Ezekiel, 1995. Keith Carter (American, Raymond 2009.476. print; 44.3 x 55.7 of Versailles, 1981; 19.4 x 24.5 cm born 1948). Gelatin silver print, toned; cm Gift of Friends Jade Beason, age 15, Madisonville, Ohio, (2009.410). Palace and Grounds of 37 x 36.9 cm. The Rice A. Hershey Jr. of Photography June 25, 2004, from “It’s Complicated: Versailles, 1983; 8.3 x 8.5 cm (2009.411). Trust 2009.326. 2009.287 The American Teenager,” 2004. Robin Palace and Grounds of Versailles, Louis Faurer (American, 1916–2001). Bowman (American, born 1960). 1983; 27.5 x 27.9 cm (2009.412). Paris Twelve gelatin silver prints: 42nd Gelatin silver print (printed 2009); by Night, 37.9 x 38.8 cm (2009.413). Street Collage, New York, NY (Rat Race), 43.2 x 32.9 cm. Gift of Friends of The River Seine, Paris, 1992; 20.9 x 1946–49, 50.8 x 40.6 cm (2009.479). Photography 2009.283. 21.8 cm (2009.408). View of Egypt, Barnum & Bailey Circus Performers, Michael Levy (American, born 1960). 1986; 28.3 x 28.9 cm (2009.405). Old Madison Square Garden, New York, Two inkjet prints: Easter Morning

59 View of Egypt, 1986; 27.1 x 28.0 cm Sam Walsh, age 13, Shaker Heights, (2009.406). View of Egypt, 1986; 27.2 Ohio, September 28, 2002, from x 28.1 cm (2009.407). Gift of Herbert “It’s Complicated: The American Ascherman Jr. Teenager,” 2002. Robin Bowman Maud Bows to the Virginia Creeper, (American, born 1960). Gelatin silver Green Cove, Virginia, 1957. O. Winston print (printed 2009); 41.8 x 32.8 cm. Link (American, 1914–2001). Gelatin Gift of the Artist and Catherine silver print (printed later); 26.7 x 34.2 Edelman Gallery, Chicago 2009.284. cm. Gift of Marilyn and Michael Sage Sohier (American, born 1954). Lapides in honor of Virginia Mae Three chromogenic process color O’Keeffe Lapides 2009.490. prints; Bleaching Ritual, Washington, Muybridge in Motion, 1979. Mark D.C., 2003 (printed 2004); 44.7 x 55.6 Schwartz (American, born 1956). cm (2009.285). Mum in her Bathtub, Gelatin silver print, gold-toned; 24.2 x Washington, D.C., 2002 (printed 38.8 cm. Gift of Herbert Ascherman Jr. 2009); 44.3 x 55.7 cm (2009.287). 2009.420. Self-Portrait with Mum, Washington, D.C., 2000 (printed 2003); 44.5 x Louis Pierre Théophile Dubois de 55.7cm (2009.286). Gift of Friends of Nehaut (Belgian, 1799–1872). Three Photography. salted paper prints on wet collodion negatives; Untitled (Ceremony of The Sphinx, about 1853. John Beasley Thanksgiving), 1856; 22.7 x 31.8 cm Greene (American, 1832–1856). Salted (2009.347). Untitled (Construction of paper print from waxed paper Temple of Abu Simbel, 1856. Robert Corporate Music, Commemorative Fountain), 1856; 26.3 negative; 23.2 x 29.6 cm. Norman Murray (British, 1822–1893). Salted about 1986. x 28.2 cm (2009.348). Untitled (Man O. Stone and Ella A. Stone Memorial paper print from paper negative; 18.2 Michael Clegg (Irish, and Woman Relaxing), about 1854; 21.1 Fund 2009.277. x 23.2 cm. Norman O. Stone and Ella A. born 1957) and x 25.3 cm (2009.346). Purchase from Street Cleaners, 1947. Ilse Bing Stone Memorial Fund 2009.351. Martin Gutmann (Israeli, born 1957). the J. H. Wade Fund. (American, 1899–1998). Gelatin silver Temple of Jupiter Olympius, about Chromogenic process print; 35.6 x 28 cm. Gift of David 1853. James Robertson (British, about Quentin with Thorns, 1992. color print; 709.6 Raymond 2009.477. 1813–after 1865). Albumen print; 31.9 Christopher Pekoc (American, born x 200.2 cm. Gift of x 25 cm. Gift of Paula and Robert 1941). Photo-based mixed media; 123.4 Maggie Taylor (American, born Diane and Arthur Hershkowitz in honor of Tom Hinson x 90.4 cm. Gift of Wilbur Markstrom 1961). Four pigmented inkjet prints; Stupay 2010.177 in memory of Rice A. Hershey Jr. 20.4 x 20.4 cm: Fading Away, 2004 2009.421. 2010.178. (printed 2005) (2009.291). Gardener, Untitled #32, 1993. Viktor Groschedl Reclining Nude with Slave, about 1905– 2006 (printed 2008) (2009.289). (Austrian, 1954–2006). Gelatin silver 10. Marcel Meys (French, died 1900s). Great Puzzle, 2006 (2009.288). print; 45.1 x 45.4 cm. Gift of Herbert Full-plate autochrome; 9.9 x 14.6 cm. Philosopher’s Daughter, 2000 (printed Ascherman Jr. 2009.415. 2009) (2009.290). Gift of Friends of Gift of Charles Isaacs and Carol Nigro Untitled (Beach Scene), early 1970s. Photography. 2009.475. William E. Williams (American, born

60 Untitled, from “Tulsa,” 1971. Larry cm; Curtis & Prouté 25, state II/II Clark (American, born 1943). Gelatin (2009.501). Environs of Carqueronne silver print; 20.4 x 14.6 cm. Severance (Environs de Carqueronne), 1882; and Greta Millikin Purchase Fund 19.9 x 28.2 cm; Curtis & Prouté 60 2009.279. (2009.502). Fishing Boat/Coastal Untitled, 1989. Robert Bergman Shipping Boat (Italian Coast) (Barque (American, born 1944). Chromogenic de Pecheurs/Barque de Cabotage process color print; 94 x 62.2 cm. (Côtes d’Italie), 1874; 15.6 x 22.8 cm; Purchase from the J. H. Wade Fund Prouté 40, state IV/IV (2009.509). Gift 2010.11. of John Bonebrake Venice: St. Mark’s Looking Toward John Taylor Arms (American, 1887– Santa Maria della Salute in Moonlight, 1953). Eighteen etchings: Croquis, 1926; about 1870. Carlo Naya (Italian, 1816– 8 x 5.7 cm; Fletcher 183 (2009.676). A 1882). Albumen print; 42.3 x 53.7 cm. Fifteenth Century House, Rouen, 1919; Dudley P. Allen Fund 2009.350. 16.4 x 9.1 cm; Fletcher 35, state II/II? (2009.702). Gothic Magic, A.D. 1941, Prints 1941; 39.3 x 45 cm; Fletcher 364, state II/II (2009.684). Lace, Place Victor The Alchemical Properties of Metal: Hugo, Lisieux, 1919; 17.8 x 24.3 cm; Mercury; Vulcan and the Alchemist in Fletcher 20, state III/III (2009.693). the Cave, 1530s. Domenico Beccafumi The Market Place, Honfleur, 1919; (Italian, 1486–1551). Woodcut; 17.6 x 20.8 x 11.5 cm; Fletcher 33, state II/II 11.6 cm; Passavant 19; Purchase from (2009.633). Mexican Series No. 2: Light the J. H. Wade Fund 2010.153. and Shade, Taxco, 1946; Fletcher 394, Edmond François Aman-Jean (French, trial proof i/iv of state I (2009.697). 1858–1936). Three prints: Girl with Millstone Cottage, Greenfield Hill, Long Hair (Jeune fille à la Chevelure Fairfield, Conn., Christmas Card, 1921, Longue), about 1898; color lithograph; 1921; 7.5 x 11.9 cm; Fletcher 109, state 38.2 x 46.7 cm (2009.529). Under II/II (2009.703). Normandy Noon, 1936; Ezekiel, 1995. Keith 1950). Gelatin silver print; 39 x 39.9 the Flowers (Sous les fleurs), 1897; 6.5 x 18.2 cm; Fletcher 304, state III/III Carter (American, cm. Gift of Herbert Ascherman Jr. color lithograph; 35.1 x 27 cm; Fonds (2009.707). The Old Exe Bridge (Vieux born 1948). Gelatin 2009.416. Français 120 (2009.564). Venice Pont à Exeter), 1920; 11.7 x 16.2 cm; silver print, toned; 37 (Venise), 1892; lithograph on chine Fletcher 61; (2009.635). Old Samur, x 36.9 cm. The Rice Untitled (Billboard), Elizabeth, collé; 13 x 18.2 cm; Fonds Français Houses in Rue Dacier, 1916; 25.4 x A. Hershey Jr. Trust New Jersey, 2008. Nathan Harger p. 120 (2009.584). Gift of John 15.5 cm; Fletcher 8 (2009.710). The 2009.326 (American, born 1976). Digital Bonebrake. Oldest Settler, Bayeux, France, 1917; chromogenic process color print; Adolphe Appian (French, 1818–1898). 38.8 x 24.1 cm; Fletcher 13, state II/ 27.9 x 38.6 cm. Gift of Friends of II (2009.637). Piazza Del Commune, Photography 2009.292. Three etchings: At Valromey (Ain) (Au Valromey [Ain]), 1868; 13.7 x 23.8 Carbognano, 1919; Fletcher 18, trial proof i/ii of state V (2009.659). The

61 Pig Pen (La Parcherie), 1920; 11.9 x Two, 1919; color etching and aquatint; Boston, Mass., 1925; 27.9 x 29.2 cm; I/III (2009.738). No. 105: The Grolier 30.2 cm; Fletcher 83 (2009.638). 13.3 x 15.1 cm; Fletcher 22, state III/ Fletcher 170, trial proof i/ii of state II Club Library (Sketch), 1941; 10 x 15.1 Rural Scene, 1914; 11.5 x 15.3 cm; not III (2009.713). Scandinavian Series (2009.622). The Herbert Lowell Dillon cm; Fletcher 353 (2009.631). No. 143; in Fletcher (2009.730). The Sign, Au No. 1: Stockholm, 1940; etching and Gymnasium, Princeton, N.J., 1947; 20.1 English Series No. 13: Warwick (Sketch), Bon Café, 1919; 17 x 7.5 cm; Fletcher aquatint; 19.3 x 34.6 cm; Fletcher 346, x 23.3 cm; Fletcher 406 (2009.632). 1948; 10 x 15.1 cm; Fletcher 410, state 17, state VI/VI (2009.639). Sixteenth state III/III (2009.611). Still Waters, 1919; Lescure, A Tour of the Ramparts II/II (2009.654). No. 150: Church of Century Tower, Lisieux, 1919; 16.4 x 9.5 color etching and aquatint; 15.4 x 10.2 (Lescure, Une Tour Des Remparts), 1928; Saint Aignan, Chartres (Sketch), 1950; cm; Fletcher 34, state II/II (2009.660). cm; Fletcher 28, state IV/V (2009.610). 16.3 x 10 cm; Fletcher 217 (2009.696). 15.2 x 10.1 cm; Fletcher 421, state II/ Somewhere in France, 1919; 30.9 x 15.3 Gift of Carole W. and Charles B. Man-O-War, 1921; etching, aquatint, II (2009.671). No. 153: Cordes Sketch, cm; Fletcher 32, state II/IV (2009.739). Rosenblatt. and mezzotint; 43.2 x 47 cm; Fletcher 1951; 15.1 x 10 cm; Fletcher 425, state The Valley of the Savery, Wyoming, John Taylor Arms (American, 1887– 98, state IV/IV (2009.700). Old Corner, II/II (2009.673). Gift of Carole W. and 1934; 35.8 x 19.7 cm; Fletcher 276, state 1953). Nine etchings: Christmas Card Rouen, 1925; 15.5 x 10.3 cm; Fletcher 163 Charles B. Rosenblatt. III/III (2009.642). Gift of Carole W. and Series: No. 4: Merry Christmas from (2009.708). Old Rouen, 1927; 17.5 x 9.7 John Taylor Arms (American, 1887– Charles B. Rosenblatt. Dorothy and John Arms, 1919, 1919; 10.2 cm; Fletcher 203 (2009.709). Gift of 1953). Eleven etchings: English Series: John Taylor Arms (American, 1887– x 13.9 cm; Fletcher 36A (2009.701). No. Carole W. and Charles B. Rosenblatt. No. 1: Miniature Series No. 20; Anglia 1953). Twelve prints: Ausable Lakes, 7: Our Studio Door, 1922; 13.1 x 9.5 cm; John Taylor Arms (American, Antiqua, West Walton, 1937; 13.8 x 7.5 1921; etching and aquatint; 5.3 x Fletcher 125 (2009.715). No. 10: Dorothy 1887–1953). Fourteen etchings: cm; Fletcher 310, state II/II (2009.634). 10.1 cm; Fletcher 112 (2009.655). The and John Taylor Arms M.D. MCMXXV, Demonstration Series: No. 8: St. Albans No. 2: Reflections at Finchingfield, Butterfly,1920; color etching and 1925; 15 x 8.6 cm; Fletcher 171, state I/ (Sketch), 1922; 14.9 x 9.9 cm; Fletcher England, 1938; 18.1 x 43.9 cm; Fletcher aquatint; 25.6 x 18.5 cm; Fletcher 48, II (2009.681). No. 11: Miniature Series 129, artist’s proof (2009.608). No. 311, state II/II (2009.726). No. 3: state II/II (2009.621). Castles in the No. 14: Chapiteau Gothique, Dorothy 13 or No. 115: Holy Cross, Sarratt (and Afterglow, 1938; 8.3 x 14 cm; Fletcher Air, 1921; lithograph; 39.3 x 26.2 cm; et John Taylor Arms, A.D. MCMXXVI, Albury), Hertfordshire “To F.L.M.G.,” 315, state II/II (2009.615). No. 4: Fletcher 436 (2009.667). Crystal and 1926; 16.1 x 9.2 cm; Fletcher 185A, state 1940; 15 x 9.9 cm; Fletcher 345, state Lavenham, England, 1939; 19 x 9.9 cm; Jade, 1940; etching and aquatint; I/II (2009.670). No. 12; Miniature Series II/II (2009.686). No. 15: Rouen (Sketch), Fletcher 322, state III/III (2009.694). 18.9 x 16.9 cm; Fletcher 301, state VI/ No. 15: A Saint, Chartres, 1927; 13.1 x 2.7 1926; 17.7 x 12.7 cm; Fletcher 173 No. 6: Stanwick Churchyard, 1939; 6 x VII (2009.677). The Full Moon, 1920; cm; Fletcher 199 (2009.606). No. 13: (2009.728). No. 17: Venice (Sketch), 1927; 8.3 cm; Fletcher 324 (2009.609). No. 7: etching and aquatint; 20.1 x 15.1 cm; From the Tower, Bayeux, 1928; 13.8 x 17.7 x 12.6 cm; Fletcher 188 (2009.649). Miniature Series No. 24: Wilby Church, Fletcher 44, trial proof state II/II 7.6 cm; Fletcher 216 (2009.682). No. 16; No. 20: Rouen (Sketch), 1928; 15.1 x 10 Northamptonshire, England, 1940; (2009.626). A Hong Kong Canal Boat Italian Series No. 25; Miniature Series cm; Fletcher 213 (2009.729). Nos. 33 10.9 x 6.1 cm; Fletcher 335, state III/III (2 prints), 1919; Fletcher 23, state IV/ No. 17: The Tower, Cáorle, 1932; etching and 35: Amalfi (Sketch), 1933; 17.6 x 12.5 (2009.657). No. 8: Miniature Series No. IV. Etching and aquatint; 20.7 x 14.3 on chine collé; 9.1 x 5 cm; Fletcher 251 cm; Fletcher 256; (2009.624). No. 51: 25: Stranger in England; St. Lawrence; cm (2009.722). Color etching and (2009.640). No. 22; Miniature Series Rocamadour (Sketch), 1934; 17.4 x 12.5 West Wycombe; Buckinghamshire, aquatint; 20.5 x 14.3 cm (2009.731). No. 33: Vermont, 1944; 3.4 x 6.1 cm; cm; Fletcher 277 (2009.727). No. 64: 1940; 14.2 x 7.1 cm; Fletcher 336, state New York Skyline, Sketch, 1921; Fletcher 384, state III/III (2009.650). Isola Superiore (Sketch), 1936; 12.5 x 17.4 III/III (2009.616). No. 10: Cavendish lithograph; 17.3 x 12.7 cm; Fletcher 435 Gift of Carole W. and Charles B. cm; Fletcher 296 (2009.688). No. 66: Commons, 1942; 16.5 x 37.3 cm; (2009.706). On Lake Como, Number Rosenblatt. San Gimignano (Sketch), 1936; 17.4 x Fletcher 370, state II/II (2009.669). One, 1919; etching and aquatint; John Taylor Arms (American, 1887– 12.6 cm; Fletcher 298 (2009.732). No. No. 11: Cavendish Church, 1942; 24 x 14 25.2 x 11.3 cm; Fletcher 21, state IV/IV 1953). Six etchings: Commission: 93: Shadows in Mexico (Sketch), 1940; cm; Fletcher 381, state II/II (2009.668). (2009.714). On Lake Como, Number The Christian Science Temple, 12.6 x 17.5 cm; Fletcher 340A, state No. 14: Commission: “The Old Order,”

62 1948; 13.5 x 20.1 cm; Fletcher 412, state II/II (2009.636). No. 15: “This England” (Fairford, Gloucestershire), 1952; 16.4 x 29 cm; Fletcher 426, state II/II; 2009.643. Gift of Carole W. and Charles B. Rosenblatt. John Taylor Arms (American, 1887– 1953). Nine etchings: Gable Series; No. 1: Sunlight and Shadow, 1915; 15.2 x 10 cm; Fletcher 1; printer’s proof (2009.619). No. 2: Lisieux: Gable in the Grande Rue (2 prints), 1916; Fletcher 3. etching; 13.8 x 7.7 cm (2009.698). Color etching; 13.7 x 7.6 cm (2009.699). No. 3: Veterans (2 prints), 1916; Fletcher 6. Color etching; 15.2 x 9.8 cm (2009.652). Etching on green paper; 15.1 x 9.9 cm (2009.651). No. 4: Old Sign Compiègne, 1916; 14.9 x 10 cm; Fletcher 7; (2009.712). No. 6: A Corner in Old Lisieux, 1916; 27.3 x 16.3 cm; Fletcher 9 (2009.683). No. 7: A Gable in Thiers, 1921; 19.5 x 11.7 cm; Fletcher 113 (2009.711). No. 8: The Twins, 1922; 26.9 x 14.9 cm; Fletcher 119 (2009.641). Gift of Carole W. and Charles B. Rosenblatt John Taylor Arms (American, 1887– 1953). Seventeen etchings: Miniature Series: No. 3; Demonstration Series No. 2: At Chinon, 1919; etching; 7.6 x 5 Game of Bowls (Jeu cm; Fletcher 39 (2009.644). No. 9: A de Boules), 1934. Doorway in Thiers, 1921; 10.5 x 5.8 cm; Lill Tschudi (Swiss, 1911–2004). Color Fletcher 117 (2009.692). No. 11: Place linocut; 25.6 x 36.9 Plumereau, Tours, 1925; 4.7 x 7.9 cm; cm. Dudley P. Allen Fletcher 160, trial proof (2009.720). Fund 2010.13 No. 16: A Breton Calvary (3 prints), 1932. Fletcher 247A, state II/III; 14.2 x 2.9 cm (2009.665). Fletcher 247B, B.A.T., trial proof iv/viii of state II; 14.1

63 x 7.9 cm; (2009.658). Fletcher 247B, 11.2 cm; Fletcher 155 (2009.672). No. John Taylor Arms (American, 1887– John Taylor Arms (American, 1887– state III/III; 13.2 x 7.9 cm (2009.674). 4: Holder, Princeton; 17.3 x 11.4 cm; 1953). Eighteen etchings: Spanish 1953). Four prints: U.S. Navy Series: No. 19: Nativity, 1936; 15.1 x 10.9 cm; Fletcher 156 (2009.685). No. 5: ’79, Church Series; No. 1: Lèon, 1923; Fletcher No. 1: Battle Wagon–U.S.S. Alabama Fletcher 302, state II/II (2009.705). No. Princeton; 17.2 x 11.2 cm; Fletcher 157 140 (2009.695). No. 3: Segovia (4 Outfitting at Norfolk Navy Yard, Crane 21: Jewelry: Choir Stalls of the Cathedral (2009.605). No. 6: The Dean’s Office, etchings), 1924; Fletcher 143. 34.5 x 43.7 Ship Kearsage Alongside–1943, 1943; of St. Cecelia, Albi, 1938; 5.4 x 3.1 cm; Princeton; 11.4 x 17.3 cm; Fletcher 158 cm; trial proof i of state I; 2009.734. etching and aquatint; 30.4 x 45.6 cm; Fletcher 316B, state II/III (2009.689). (2009.679). Gift of Carole W. and 34.2 x 43.9 cm; trial proof state I Fletcher 376, state VI/VI (2009.662). No. 27; Yucatán Series No. 1: Plumed Charles B. Rosenblatt. (2009.735). 34.4 x 43.7 cm; edition No. 2: Destroyers in Wet Basin at Serpent, Chichén Itzá, 1940; 5 x 6.3 cm; John Taylor Arms (American, (2009.737). 34.4 x 43.5 cm; trial proof i/ Federal Shipbuilding and Drydock Fletcher 344, state II/II (2009.719). 1887–1953). Twelve prints: Ship Series: viii of state I; printed 1938 (2009.736). Company, South Kearney, N.J. U.S.S. No. 28: Triangular Bridge, Crowland, No. 1: The Golden Galleon (4 prints), No. 4: La Giralda, Seville, 1924; 31.3 x Radford, Quick, Mervine–1942, 1943; England (2 prints); Fletcher 362, state 1921; Fletcher 114. 2 color etchings 19.5 cm; Fletcher 145 (2009.691). No. etching; 25.7 x 44.3 cm; Fletcher 377, II/II. 10.5 x 13.1 cm; (2009.645). 11.3 x and aquatint; state IV/IV; 32.7 x 25.6 7: Virgen Del Pilar, Zaragoza, 1928; 27.1 state III/III (2009.680). No. 3: U.S.S. 19 cm (2009.646). No 29; Christmas cm (2009.629-630). Two etchings; x 39.2 cm; Fletcher 209 (2009.653). Columbia Under Construction at the Card Series No. 21; Mexican Series No. trial proof 1 of state I; 32.7 x 25.3 cm No. 8: Study in Stone, Cathedral of New York Shipbuilding Corporation, 2: Pátzcuaro, Michoacan, Mexico, 1941; (2009.627) and trial proof ii of state Orense (2 prints), 1933; Fletcher 257. Camden, N.J.–1942, 1945; etching and 14.2 x 18.9 cm; Fletcher 363, state II/ II; 33 x 25.6 cm (2009.628). No. 2: The 19.1 x 14.4 cm; trial proof ii/viii of drypoint; 31.7 x 44.3 cm; Fletcher 390, II (2009.718). No. 30; English Series No. Dragon Ship (2 prints), 1922; Fletcher state II (2009.617). 18.7 x 14.2 cm; state II/II (2009.647). No. 4: U.S.S. 9: Stokesay Castle, 1942; 5.8 x 7.6 cm; 121. Color etching and aquatint; 33.4 x state II/II (2009.618). No. 9: Puerta del Haddo, Portrait of a Submarine–1942, Fletcher 369, state II/II (2009.612). 25.9 cm; state III/III (2009.623). Etching Obispo, Zamora, 1937–38; 32 x 18.4 cm; 1947; etching and aquatint; 24.8 x 46.1 No. 31: Hotel De Ville, Abbeville, 1943; and aquatint; trial proof i/ii of state III; Fletcher 266, state II/II; (2009.724). No. cm; Fletcher 405, trial proof vi/viii of 9 x 4.6 cm; Fletcher 378, state III/III; (2009.625). No. 3: The American Clipper 10: Stone Tapestry, San Isidoro, Léon (2 state III (2009.648). Gift of Carole W. (2009.687). No. 32; English Series No. Ship, 1922; color etching and aquatint; prints), 1933; Fletcher 267. 29.5 x 17.8 and Charles B. Rosenblatt. 12: Corbel on Gate House, Stokesay 31.4 x 33.8 cm; Fletcher 124, state II/II cm; trial proof xvi/xviii (2009.613). 29.5 George Auriol (French, 1863–1938). Castle, 1944; 8.1 x 4.1 cm; Fletcher 382, (2009.620). No. 4: Where the Junk Sails x 17.8 cm (2009.614). No. 11: Puerta Two prints: Larousse Universal: Cover state II/II (2009.675). No. 36: Portrait Lift, 1922; color etching and aquatint; Principal de la Iglesia de San Pablo, (Le Larousse Universel), 1922; color of a Romanesque Capital, 1946; 6.7 31.4 x 33.8 cm; Fletcher 130, state II/ Valladolid, 1934; 12.4 x 8.4 cm; Fletcher woodcut; 28.7 x 19.5 cm; Leroy- x 6.9 cm; Fletcher 397, state IV/IV II (2009.656). No. 5: Brig “Oleander” (2 278 (2009.725). No. 12: La Colegiata, Crevecoeur 268 (2009.514). “Myrane” (2009.721). No. 37: Precious Stones, prints), 1923; Fletcher 131. Etching and Toro, 1935; 24.7 x 32.3 cm; Fletcher 284, et “Les Chapons” (Program for Théâtre 1946; 8.3 x 4.8 cm; Fletcher 398, state aquatint; printed 1937–38?; 22.2 x 25.6 state II/II (2009.690). No. 13: Santa Libre), 1889; color lithograph; 21.6 II/II (2009.723). Gift of Carole W. and cm; trial proof iii of state II (2009.666). Maria Major, Ronda, 1935; 20.3 x 13.6 x 30.9 cm; Leroy-Crevecoeur 33 Charles B. Rosenblatt. Color etching and aquatint; 22 x 25.7 cm; Fletcher 288, state II/II (2009.733). (2009.515). Gift of John Bonebrake. No. 14: Oviedo, The Holy (2 prints), John Taylor Arms (American, 1887– cm; state II/II (2009.664). No. 6: Bark The Basin of the Tuileries (Le Bassin des 1953). Six etchings: Princeton Series, “Metis” Making Harbor, 1923; color 1937; Fletcher 306. 31.2 x 11.4 cm; trial proof v/v of state I (2009.306). 31.1 x Tuileries), 1906. Eugène Bejot (French, 1925; No. 1: Nassau Hall; 17.6 x 11.5 cm; etching and aquatint; 31.5 x 46.5 cm; 1867–1931). Etching; 13.5 x 17.7 cm; Fletcher 153 (2009.704). No. 2: Blair Fletcher 133; (2009.661). No. 7: Cutting 11.2 cm; state III/III (2009.717). No. 15: “Spanish Profile,” Palencia, 1948–50; Fonds Français 251, state II/II; Gift of Arch, Princeton; 11.3 x 17.3 cm; Fletcher In, 1925; color etching and aquatint; John Bonebrake 2009.512. 154 (2009.663). No. 3: Cleveland Tower, 33 x 41.5 cm; Fletcher 172, state II/ 34.8 x 17.3 cm; Fletcher 418, state III/ Graduate College, Princeton; 17.3 x II (2009.678). Gift of Carole W. and III (2009.607). Gift of Carole W. and Émile Bernard (French, 1868–1941). Charles B. Rosenblatt. Charles B. Rosenblatt. Two prints: Lord (Seigneur), 1955;

64 photomechanical reproduction lithograph; 25.7 x 20.1 cm; Fonds Français 30:802-805. Gift of John (Sergent D’Infanterie); 30.6 x 21 cm; de of Go Kill My Husband (Perfidious Français 5 (2009.556). Gift of John Bonebrake 2009.586. La Combe 111 (2009.576). Gift of John Woman)(Va tuer mon mari [La femme Bonebrake. Eugène Carrière (French, 1849–1906). Bonebrake. perfide]),1892; lithograph; 33.2 x 19.8 Auguste Brouet (French, 1872–1941). Three prints: Edmond de Goncourt, Nicolas Toussaint Charlet (French, cm; Morane 34 (2009.520). Small Three prints: [Landscape with Bridge 1896; lithograph on chine collé; 1792–1845). Four lithographs: The Flowers of Saint Francis (Les petites and Child], etching; 21.3 x 15.7 cm 53.5 x 41.1 cm; Delteil 25 (2009.500). French Soldier (Le Soldat français), fleurs de Saint-François), 1928; color (2009.550). [Merchant in his stall with Newborn in a Bonnet (Le nouveau-né 1818; 46.8 x 34 cm; de La Combe 74 woodcut; 31.1 x 23.9 cm; Morane 100 children playing], etching; 14.9 x 19.2 au bonnet), 1890; lithograph; 25.5 x (2009.519). Lithographic Sketches (2009.524). Gift of John Bonebrake. cm (2009.516). The Night’s Round (La 19.2 cm; Delteil 9 (2009.495). Puvis by Charlet: No. 5, Form before Color Eugène Bléry (French, 1805–1886). Ronde de Nuit), roulette; 14.7 x 13.1 cm; de Chavannes, 1897; lithograph on (Croquis lithographique par Charlet: Four prints: The Laundresses (Les Geffroy 139 (2009.510). Gift of John chine collé; 54.8 x 39.5 cm; Delteil 32 No. 5, La forme avant la couleur), Laveuses), 1838; etching on chine Bonebrake. (2009.492). Gift of John Bonebrake. 1823; 16.7 x 18.7 cm; de La Combe 520 collé; 25.9 x 18.5 cm; Le Blanc 152, Félix Buhot (French, 1847–1898). Three Edgar Chahine (French, 1874–1947). (2009.573). Moral and Philosophical state II/III (2009.567). The Mill and prints: Geese (Les Oies), 1887; etching; Two prints: Portal of St. Germain Alphabet for the Use of Little and Waterfall of Grésy near Aix-les-Bains 15.2 x 25.3 cm; Goodfriend 166, state L’Auxerrois (Portail de Saint-Germain- Big Children: Miseries of War (1812) (Le moulin et la cascade de Grésy- V/V (2009.523). Letters from My L’Auxerrois), 1902; etching and (Alphabet moral et philosophique à sur-Aix (Savoie), 1856; etching on Windmill: The Diligence of Beaucaire aquatint; 29.5 x 18.8 cm; Tabanelli l’usage des petits et des grand enfants chine collé; 45.6 x 36.5 cm; Fonds (Lettres de Mon Moulin: La Diligence 103, state VII/VII (2009.540). Study (Misères de la guerre [1812]), published Français 139 (2009.491). Plant Study de Beaucaire), 1880; drypoint; roulette, of Trees (First Plate) (Étude d’abres 1835; 46.8 x 34 cm; de La Combe 855:13 from Group of Various Plants Drawn and aquatint; 17.2 x 10.3 cm; Boucard [Ière Planche]), 1914; etching; 21.9 x (2009.545). Sketch Book for the Use of and Lithographed after Nature 110; state II–III/V (2009.527). Reading 32.1 cm; Tabanelli 327, trial proof I/VII Small Children: The Young Amateurs (Groupes de Plantes varies dessinées Room in Japan (Cabinet de Lecture au (2009.513). Gift of John Bonebrake. (Recueil de Croquis à l’usage des sur Nature et lithographiées), 1848; Japon), 1872; etching; 6.9 x 13.7 cm; petits enfants: Les jeunes amateurs), lithograph on chine collé; 31.6 x 46.7 Nicolas Toussaint Charlet (French, 1822; 46.8 x 34 cm; de La Combe 505 Boucard 58, state II/II (2009.525). Gift 1792–1845). Six lithographs: Allocution cm; Fonds Français 202 (2009.493). of John Bonebrake. (2009.532). Gift of John Bonebrake. Studies Drawn and Engraved after (July 28; 1830) L’Allocution (28 Juillet Paul Cadmus (American, 1904–1999). 1830), 1830; lithograph; 25 x 33 cm; Jules Cheret (French, 1836–1932). Two Nature: The Beach, Fontainbleau color lithographs: The Aura of Noon (Études dessinées et Gravées D’après Five etchings: Arabesque, 1947; 17.2 de La Combe 333 (2009.518). Military x 16.8 cm; Davenport 47 (2009.597). Costumes (Costumes Militaires) (5 (L’Auréole du Midi), 1893; 30.3 x 19.8 nature: Le hêtre; Fontainebleau), 1840; cm; Broido 975 (2009.544). Masters lithograph on chine collé; 25.9 x 18.9 Nude #1; 2; 3 (Nudo #1; 2; 3), 1984; prints), 1817–18: Carabiners Sargent, Davenport 57, state I/II. Nude #1; 23.1 General Guide (Sergent de Carbiniers; of the Poster: Plate 13, Saxoléine (Les cm; Fonds Français 22 (2009.494). Maitres de L’Affiche: Pl. 13, Saxoléine), Gift of John Bonebrake. x 20.3 cm (2009.593). Nude #2; 22.9 Guide Général); 30.1 x 20.5 cm; de La x 20.3 cm (2009.594). Nude #3; 23 x Combe 114 (2009.579). Cavalry Man 1895; 28.1 x 20.6 cm; Broido 953, Pl. 47 Pierre Bonnard (French, 1867–1947). 20.3 cm (2009.595). Youth with Kite, (Cuirassier); 28.9 x 21.4 cm; de La (2009.555). Gift of John Bonebrake. Two prints: Donkey Ride (Promenade 1941; 26.2 x 13.7 cm; Davenport 46 Combe 121 (2009.578). Grenadier of the Cleveland Flower, 2009. Steven Ford à âne), 1893; lithograph; 9 x 23.8 (2009.596). Gift of Barry Bradley. Royal Guard (Grenadier de la, Garde (American, born 1964). Color linocut cm; Bouvet p. 26; no. 16 (2009.583). Cap St. Mathieu, 1846. Eugène Cicéri Royale); 31.1 x 21.1 cm; de La Combe 117 hand-colored with watercolor; 20.1 x Masters of the Poster: Pl. 38, La Revue (2009.577). Infantry Sapper (Sapeur 25.2 cm. Gift of the University Print Blanche (Maitres de l’Affiche: Pl. (French, 1813–1890). Lithograph on chine collé; 23.7 x 40 cm; Fonds d’Infanterie); 29.6 x 18.9 cm; de La Club 2009.602 38, La Revue Blanche), 1894; color Combe 115 (2009.575). Infantry Sargent

65 Charles François Daubigny (French, 1817–1878). Two prints: Apple Trees at Auvers (Pommiers à Auvers), 1877; etching; 19 x 27.3 cm; Delteil 126, state IV/IV (2009.551). The Shepherd and Shepherdess (Le Berger et la Bergère), 1874; etching on chine collé; 28.8 x 22.7 cm; Delteil 122, state II or III/VIII (2009.566). Gift of John Bonebrake. Honoré Daumier (French, 1808–1879). Two prints: Ancient History (Histoire Ancienne), 1842; Pl. 22, The Baptism of Achilles (Pl. 22, Le Baptême d’Achille); lithograph sur blanc; 25.2 x 19.7 cm; Daumier Register 946, state III/IV (2009.587). Pl. 27, Telemachus Ravaged by Love (Pl. 27, Télémaque ravagé par l’amour); lithograph; 25.1 x 19.8 cm; Daumier Register 951, state II/III (2009.507). Gift of John Bonebrake. Honoré Daumier (French, 1808– 1879). Three prints: Caricaturana: Pl. 14; Robert Macaire Bookseller (Caricaturana: Pl. 14; Robert Macaire Libraire), 1836; lithograph sur blanc; 25.8 x 21.9 cm; Daumier Register 367, state II/II (2009.508). Exposition of Animals: Pl. 5, The Cow-Elephant, New Hell: The Street (Die Variety (L’Exposition des Animaux: Pl. Hölle: Die Strasse), 5, Le boeuf-éléphant, nouvelle variété), 1919. Max Beckmann 1856; lithograph sur blanc; 21.7 x 26 (German, 1884–1950). cm; Daumier Register 2832, state II/ Lithograph; 67.6 x II (2009.505). Parisians Sketches: Pl. 34; 53.4 cm; Hofmaier It’s Nothing Eleanor (Croquis Parisiens: 141; Norman O. Stone Pl. 34; Ça n’est rien Éléanor), 1857; and Ella A. Stone lithograph; 20.4 x 26 cm; Daumier Memorial Fund Register 2946, state II/II (2009.504). 2009.355 Gift of John Bonebrake.

66 Honoré Daumier (French, 1808–1879). Festival Menton: Trial Proof for Festival Satan (Les Artistes Anciens et Moderne: Studies of Horses (Études de Chevaux Two prints: La Caricature: Pl. 314, Comte of Music Poster (Festival Menton: Essai Satan), about 1854; lithograph on Lithographies), 1822: Pl. 3, Chevaux de Keratry, 1833; lithograph; 28.1 x pour L’Affiche du Festival de Musique), chine collé; 21.1 x 17.8 cm; Armelhault d’Auvergne (Pl. 3, Chevaux d’Auvergne); 20.7 cm; Daumier Register 70, state 1956. Jean Cocteau (French, 1889– and Bocher 1671 (2009.530). 19 x 23.2 cm; Delteil 48, state I / II/III (2009.506). Pl. 454, Athenians 1963). Color lithograph; 49 x 32.3 cm. Baliverneries Parisiennes: Pl. 15, Ah! IV (2009.535). Pl. 7, Horse from the Beware of Phillip! (Demosthenes to the Gift of John Bonebrake 2009.554. Mosieu Radiguet, 1847; lithograph; Caen Plain (Pl. 7, Cheval de la Plaine Athenians (Pl. 454, Atheniens prenex Five Series of Repetition: Moving Cloud 19.2 x 16.3 cm; Armelhault and Bocher de Caen); 19.1 x 22.7 cm; Delteil 52, garda a Phillippe! [Demosthenes aux (Yi-yun), 1985. Xu Bing (Chinese, born 1018, state II/II (2009.528). Émile state II /V (2009.585). Pl. 12, Egyptian Atheniens]), 1835; lithograph sur blanc; 1955). Woodcut; 51.9 x 71.6 cm. Dudley Forgues (Old Nick), about 1835–40; Mare (Jument Égyptienne); 18.1 x 23.5 20.3 x 25.5 cm; Daumier Register 102, P. Allen Fund 2010.152. lithograph on chine collé; 19.8 x 17 cm; cm; Delteil 57, state I or II or IV/IV state II/II (2009.503). Gift of John Armelhault and Bocher 33 (2009.582). (2009.537). Gift of John Bonebrake. Fleeting Time, Thou Hast Left Me Bonebrake. Masques et Visages: Par-ci; Par-la, Henri Charles Guérard (French, Old, 1845. Ivan Albright (American, 1850s; lithograph on chine collé; 19.1 Eugène Delâtre (French, 1864–1938). 1897–1983). Lithograph; 34.9 x 24.6 1846–1897). Two prints: Duquesne Two prints: Moulin de la Galette, x 16 cm; Armelhault and Bocher 1826 Basin (Dieppe), Effect of the Moon cm; Grayson 11; Gift of Barry Bradley (2009.531). Parisian Physiognomy: etching in brown; 8.2 x 11.6 cm 2009.592. (Bassin Duquesne [Dieppe], effet de (2009.511). On Sentry Duty (En Street Sweeper (Physionomes lune), before 1889; color aquatint and Sentinelle), about 1905; color aquatint; Jean Louis Forain (French, 1852–1931). Parisiennes: Le Cantonnier), 1857–58; etching; 29.6 x 47.5 cm; Bertin 224 25.5 x 7.6 cm (2009.569). Gift of John Four prints: At the Stock Exchange, lithograph; 29.1 x 19.1 cm; Armelhault (2009.553). Head of an Old Man (Tête Bonebrake. about 1900; lithograph; 30.3 x 43.4 and Bocher 1870, state II/II (2009.534). de Vieillard), 1872; etching; 12.2 x 9.9 cm (2009.568). The Café of the Gift of John Bonebrake. cm; Bertin 31 (2009.574). Gift of John Agnes Denes (American, born Hungary, New Athens (Le Café de la Nouvelle 1938). Suite of five lithographs printed Lucien Gautier (French, 1850–1925). Bonebrake. Athènes), about 1876; etching; 15.9 2 etchings: Le Quai Jemmapes, 1881; in blue, 1994. Fish Pyramid—A Floating x 11.9 cm; Guérin 8 (2009.548). The Hector Berlioz, His Life and His City; 29.9 x 85.3 cm (2009.280.1). Flying 24.7 x 39.7 cm; Béraldi 9 (2009.541). Works: Fantastic Symphony—A Ball Folies-Bergère (First Plate) (Les Folies- La rue du Haut Pavé, 1881; 38.7 x 24.4 Bird Pyramid for the 22nd Century; 54.6 Bergère [1ère planche)], about 1880- (Hector Berlioz, sa vie et ses oeuvres: x 74.7 cm (2009.280.4). Flying Half Bird: cm; Béraldi 10 (2009.543). Gift of John Symphonie Fantastique—Un bal), 86; etching; 9.8 x 15 cm; Guérin 17 Bonebrake. An Organic Space Station; 53.3 x 85 cm (2009.546). The Walker (L’Ambulante), 1888. Henri Fantin-Latour (French, (2009.280.3). The Pyramids as They 1880–86; etching; 15 x 9.8 cm; Guérin Théodore Géricault (French, 1791– 1836–1904). Lithograph on chine collé; Were; 52.5 x 72.5cm (2009.280.2). When 18 (2009.547). Gift of John Bonebrake. 1824). Two lithographs on chine 23.7 x 15.5 cm; Hédiard 78; Gift of John the Pyramid Awakens; 59.3 x 68.3 cm collé, 1823: Horse Devoured by a Lion Bonebrake 2009.539. (2009.280.5). Purchase from the Karl B. Frederick Douglass, 1965. Thomas (Cheval Dévoré par un lion); 19.3 x Cornell (American, born 1937). Etching; Hell: The Street (Die Hölle: Die Strasse), Goldfield Trust. 23.8 cm; Delteil 67 (2009.533). Suite 1919. Max Beckmann (German, 1884– 49.3 x 37.7 cm. Gift of Barry Bradley of Eight Small Works: Postman or Achille Devéria (French, 1800–1857). 2009.598. 1950). Lithograph; 67.6 x 53.4 cm; Two prints: Henri Herz, Pianist (Henri Two Harnessed Horses (Suite de Huit Hofmaier 141; Norman O. Stone and Herz, pianiste), 1832; lithograph on Game of Bowls (Jeu de Boules), 1934. Petites Pièces: Un Postillon ou Les Deux Ella A. Stone Memorial Fund 2009.355 Lill Tschudi (Swiss, 1911–2004). Color Chevaux Harnachés); 12.8 x 17 cm; chine collé; 38.3 x 29 cm; Béraldi 23 Hercules and the Nemean Lion, about (2009.522). Madam Pauline Garcia- linocut; 25.6 x 35.7 cm. Dudley P. Allen Delteil 61, state II /III (2009.536). Gift Fund 2010.13 of John Bonebrake. 1898. Henri-Arthur Lefort des Ylouses Viardot, 1840; lithograph; 29.3 x 24.3 (French, 1846–1912). Gypsograph; 59.6 cm; Béraldi 220 (2009.521). Gift of John Paul Gavarni (French, 1804–1866). Five Théodore Géricault (French, 1791– x 25.7 cm; Fonds Français 27 or 28; Gift Bonebrake. prints: Ancient and Modern Artists: 1824). Three lithographs: Lithographed of John Bonebrake 2009.526.

67 Mabel A. Hewit (American, 1903– 1984). 109 lithographs: Abandoned Lighthouse, 1939; 27.8 x 20.3 cm (2010.41). Across the Lagoon, 1945; 17.8 x 24.2 cm (2010.52). Across the Valley, 1940; 22.3 x 30.9 cm (2010.63). Along the Bay; Acapulco, 1953; 25.9 x 20.4 cm (2010.37). Along the Beach; Acapulco, 1953; 25.8 x 20.4 cm (2010.74). Along the L agoon, 1938; 33.1 x 22.7 cm (2010.85). As I Remember, 1946; 16.2 x 19.8 cm (2010.96). At the Greenhouse, 1940; 22.1 x 31.7 cm (2010.107). At the Mooring, 1950; 19 x 22.4 cm (2010.118). At the River’s Mouth, 1944; 22.3 x 30.5 cm (2010.129). Barns on the Hillside, 1941; 16.7 x 23 cm (2010.42). Barnyard, 1941; 16.4 x 22.8 cm (2010.43). Bell Tower, 1950; 18.6 x 21.2 cm (2010.44). Boat House, 1942; 22.3 x 30.3 cm (2010.31). By the River, 1944; 22.8 x 30.2 cm (2010.46). Cabins, 1941; 16.9 x 23.4 cm (2010.47). Carnival, 1949; 18.2 x 25.7 cm (2010.48). Cemetery, Saugatuck, 1952; 19 x 23.7 cm (2010.49). Chicken Yard, 1942; 22.4 x 30.3 cm (2010.50). Christine, 1946; cm (2010.58). Farm, 1939; 14.7 x 17.9 cm From the River Road, 1946; 28.7 x 21.6 Wiston River, 1911. 28.4 x 22.7 cm (2010.134). Church on (2010.59). Farm and Fields, 1939; 18.7 (2010.71). The Gallery, 1939; 17.6 x 12.9 Frank Morley the Hill, 1900s; 32.7 x 22.8 cm (2010.27). x 26.6 cm (2010.60). Farm Buildings, cm (2010.116). The Gallery; Oxbow, Fletcher (British, City Hall; Parma, 1900s; 23.6 x 18.2 1941; 19.7 x 23.6 cm (2010.61). Farm 1938; 33 x 23 cm (2010.117). Garden in 1866–1949). Color cm (2010.26). Cleo, 1947; 30.6 x 19.3 House, 1939; 14.3 x 16.4 cm (2010.62). the Valley, 1940; 20 x 27.3 cm (2010.72). woodcut; 21.3 x 36.9 cm (2010.51). Cleveland Skyline, 1947; Farm Near Bedford, 1940; 21.9 x 29.5 Grounds at Oxbow, 1949; 18.5 x 26.1 cm. Bequest of Dr. 19.6 x 25.1 cm (2010.53). Cornfield, cm (2010.64). Ferry Store, 1938; 22.7 x cm (2010.73). The Haystack, 1941; 19.7 Willard Steck by 1941; 14.8 x 19.3 cm (2010.54). Cottage 32.2 cm (2010.65). Fishing Nets Drying, x 24.1 cm (2010.119). Hillside Farm, Exchange 2009.358 in the Woods, 1944; 22.3 x 30.7 cm 1943; 22.5 x 30.4 cm (2010.66). Fishing 1941; 20 x 25.3 cm (2010.75). Hinkley (2010.55). The Crap Game, 1937; 20.4 Shack, 1938; 12.7 x 20.3 cm (2010.67). Lake, 1947; 19.5 x 24.2 cm (2010.76). x 29.6 cm (2010.115). Cross Lots to From the Highway, Bedford, 1940; Homeward Bound, 1946; 19.9 x 17.6 cm Euclid, 1945; 18.2 x 23.3 cm (2010.56). 29.4 x 29.3 cm (2010.69). From the Hill, (2010.77). House in the Hollow, 1945; Deserted Mansion, 1944; 22.3 x 30.4 1937; 14.6 x 20.2 cm (2010.68). From 22.8 x 29.9 cm (2010.78). House on the cm (2010.57). Factories, 1938; 22.8 x 32.7 the Hill, 1939; 25.2 x 19.7 cm (2010.70). Hilltop, 1940; 15.6 x 18.5 cm (2010.79).

68 House’s Farm, 1952; 18.7x 24.3 cm the Kalamazoo, 1947; 30.1 x 20.3 cm Gabriel Huquier (French, 1695–1772). (2009.589); 16.2 x 22.2 cm (2009.590). (2010.81). Houses, Douglas, 1938; 22.7 (2010.102). The Skipper, 1942; 21.7 x Two prints after Boucher: The Senses: Gift of Thomas R. Roese. x 33 cm (2010.80). In Bedford, 1940; 16.7 cm (2010.33). Street, Olmsted Touch (Les sens: Le Toucher), 1700s; Léon Cogniet, 1881. Léon Bonnat 19.5 x 28.9 cm (2010.82). Lagoon from Falls, 1949; 18.9 x 26.2 cm (2010.103). etching; 38 x 27.7 cm; Fonds Français (French, 1833–1923). Etching; 17.3 x 12.3 the New Patio, 1950; 20.9 x 18.5 cm Studio, Oxbow, 1938; 22.9 x 30.6 cm 624 (2010.15). Etching and engraving; cm; Fonds Français 3; Gift of John (2010.83). Late Summer Garden, 1940; (2010.104). Summer Afternoon, 1943; 37.9 x 27.4 cm (2010.16). Gift of Friends Bonebrake 2009.563. 21.4 x 28.2 cm (2010.84). Lazy Days, 22.5 x 30.4 cm (2010.105). Summer of the Department of Prints and 1943; 22.2 x 30.6 cm (2010.35). Main at the Lighthouse, 1945; 22.8 x 30.2 Drawings. Marie Laveau, 2009. Renée Stout Street, Saugatuck, 1937; 14.7 x 19.6 cm (2010.106). Summer Cottage, (American, born 1958). Color In the Brambles (Dans les ronces), 1898. lithograph; 53.6 x 53.6 cm. Purchase cm (2010.86). Mid Summer, 1942; 1900s; 22.5 x 30.5 cm (2010.108). Henri Detouche (French, 1854–1913). 22.5 x 30.3 cm (2010.87). Morning Summer Day, 1942; 22.4 x 30.2 cm from the Karl B. Goldfield Trust Color lithograph; 34.9 x 24.5 cm. Gift 2009.353. Beach, Acapulco, 1950; 20.4 x 29.7 cm (2010.109). Summer Gossip, 1945; 22.7 of John Bonebrake 2009.559. (2010.36). Mud Pies, 1952; 23.5 x 18.3 x 30.5 cm (2010.110). Summer on the Landings, 2003. Michael Loderstedt cm (2010.39). Near the Tracks, Olmsted River; 1946; 20.9 x 16.3 cm (2010.111). In the Square (Au Square), 1897. Henri (American, born 1958). Book with Falls, 1949; 18.8 x 26.1 cm (2010.88). Summer Shadows; 1943; 22.3 x 30.5 Evenpoel (Belgian, 1872–1899). Color 16 photo-aquatints; 9 relief prints; New Homes, Parma, 1951; 19.5 x 24.7 cm; 2010.112. Sunny Afternoon, 1943; lithograph; 33 x 23.1 cm. Gift of John 8 screenprints; and screenprinted cm (2010.89). Old Blacksmith Shop, 22.4 x 30.3 cm (2010.113). Swimming Bonebrake 2009.558. text; 28.5 x 37.9 cm. The Sarah Stern Douglas, Michigan, 22.9 x 33 cm Hole at the Lighthouse, 1945; 24 x 18 Julia Jacquette (American, born Michael Fund 2010.151 (2010.45). Old Covered Bridge, 1941; 19.7 cm (2010.114). To Market, To Market, 1964); Two prints: My Houses: Dining J. B. Lankes (American, 1915–2010) and x 24.1 cm (2010.29). Old Farm, 1940; 1951; 19.2 x 24.3 cm (2010.32). To Room with Horse Painting, 2008; The Julius J. Lankes (American, 1884–1960). 18.6 x 26 cm (2010.90). Old Gravel Pit, Market, To Market, 1951; 19.2 x 24.5 Print Club of Cleveland Publication Two prints: Nightfall (after Charles 1900s; 23.3 x 29 cm (2010.91). Old Man, cm (2010.123). Trash Cans, 1950; 23.5 Number 88, 2010. Aquatint; 40 x 50 E. Burchfield), 1925. Wood engraving 1937; 19 x 14.3 cm (2010.34). Old Maple x 19.6 cm (2010.124). Trees, 1941; cm (2010.181). BAT; 40.4 x 50.4 cm printed in red and orange; 13.2 x Tree, 1940; 14 x 18.5 cm (2010.92). The 20 x 15.2 cm (2010.125). Trees and (2010.182). Gift of the Print Club of 20.3 cm (2010.179). Wood engraving Old Picnic Grounds, 1943; 20.5 x 30.4 Roofs, 1950; 20.5 x 18.3 cm (2010.126). Cleveland. printed in red and black; 13.2 x 20.4 cm (2010.120). The Old Post Office, Twilight at Oxbow, 1944; 30.1 x 25.6 Eugen Kirchner (German, 1865–1938). cm (2010.180). Gift of the Print Club of 1942; 22.6 x 30.5 cm (2010.30). Oxbow cm (2010.127). Untitled 3, 1942; 29.5 x Three prints: Interior with Young Cleveland. Lagoon, 1951; 23.4 x 18.8 cm (2010.93). 20.2 cm (2010.40). Unwanted, 1944; Woman in Walking Costume (Interieur Les Maitres de L’Affiche: Pl. 103, Café Pent House, Mexico City, 1953; 19.7 x 22.4 x 30.3 cm (2010.128). Up from mit junger frau i. ausgehkostuem), 25.5 cm (2010.94). Picket Fence, 1950; the Beach, Acapulco, 1953; 24.8 x 19.2 Riche.“Where do they take her? To the 1895; etching and aquatint; 13 x Violin” (Où la menent-ils? Au Violin”), 20.3 x 23.9 cm (2010.95). Rancho Lelsa; cm (2010.130). Up the Kalamazoo 9.4 cm; Dennerlein 645 (2009.571). Taxco, 1954; 19.9 x 26.1 cm (2010.38). River, 1939; 27.8 x 22.8 cm (2010.131). 1897. Jules-Alexandre Grün (French, November, 1896; etching and aquatint 1868–1934). Color lithograph; 27.9 x Riding Academy Entrance, 1940; 22.5 The Water Tower, 1941; 16.5 x 22.4 printed in brown; 32.3 x 19.9 cm; x 31.8 cm (2010.97). River Landscape, cm (2010.121). White House on the 20.4 cm; Marx p. 23; Pl. 102. Gift of Dennerlein 1110 (2009.570). The Tennis John Bonebrake 2009.557. 1942; 22.4 x 30.3 cm (2010.98). River Hill, 1941; 19.9 x 24.5 cm (2010.133). Player (Der Tennisspieler), 1896; etching Shacks, 1939; 14.6 x 17.1 cm (2010.99). White Buildings, 1942; 22.3 x 30.4 cm and aquatint; 19.6 x 24 cm (2009.572). London Flats No 2, about 1930. Cyril River Vista, 1942; 22.1 x 30.3 cm (2010.132). The Willows, 1957; 18.2 x Gift of John Bonebrake. Edward Power (British, 1872–1951). (2010.100). Rocky River, 1937; 20.5 x 23.3 cm (2010.122). Gift of Mr. and Mrs. Color monotype; 27.7 x 20.1 cm. 25.3 cm (2010.101). Roof Tops, 1900s; William Jurey in memory of Mabel A. Legacy Village, 2009. Glenn Purchase from the Karl B. Goldfield 19.3 x 28.8 cm (2010.28). Shacks along Hewit. Ratusnik (American, born 1975). Two Trust 2009.354. etchings and aquatint; 16.2 x 22.1 cm

69 Year of the Dog #10, 2008. Judy Pfaff (American, born 1946). Color woodcut, digital, and collage, with hand painting; 97.7 x 219.7 cm. Purchase from the Karl B. Goldfield Trust 2009.281

Lutèce, 1898. Adolphe Giraldon Merry-Go-Round (Les Manèges), 1908. lithograph; 24.5 x 32.9 cm; Fonds Dan Rizzie (American, born 1951). (French, 1855–1933). Color lithograph; Edgar Chahine (French, 1874–1947). Français 1; Gift of John Bonebrake 3 color woodcuts with chine collé, 35.8 x 19.2 cm. Gift of John Bonebrake Etching and drypoint printed in 2009.562. 2009: Blackberry Thieves I (Green); 2009.560. brown ink; 42.7 x 56.2 cm; Tabanelli Paris Scenes and Murderers. Adolphe 103.5 x 85.8 cm (2010.183.1). Blackberry James McBey (British, 1883–1959). Two 280; Gift of Elizabeth Carroll Shearer Willette (French, 1857–1926). Lithograph Thieves II (Yellow); 103.8 x 85.8 cm; etchings: The Doorway, 1930; 21 x 16.4 in memory of Robert Lundie Shearer printed in black and red; 23.9 x 27.4 cm. (2010.183.2). Blackberry Thieves III cm; Hardie 244 (2009.603). The White 2009.591. Gift of John Bonebrake 2009.552. (Blue); 103.8 x 85.6 cm (2010.183.3). Gift Palace, 1930; 36.8 x 21.6 cm; Hardie Northern City (Ville septentrionale), of Flatbed Press, Dan Rizzie, Katherine Phantom, 2007. Richard Dupont Brimberry, Mark L. Smith, and Pat 246 (2009.604). Gift of Dr. and Mrs. 1984. Erik Desmazières (French, born (American, born 1968). Etching and William L. Huffman. 1948). Etching; 41.3 x 59.5 cm; Fitch 77; Masterson in honor of Norma Lerner aquatint; 90.4 x 151.1 cm. Purchase from and in memory of Alfred Lerner. Masters of the Poster: Poster for Gift of John Bonebrake 2009.580. the Karl B. Goldfield Trust 2009.357. Sailing Provincetown, 1916. William Exhibition of Artistic Posters of Paragrand, 2008. Peter Doig (Scottish, The Return (La Retour), 1897. Georges Wilhelm Söborg (Les Maîtres de born 1959). Etching and aquatint; 50.3 Zorach (American, born Lithuania, de Feure (French, 1868–1943). Color 1887–1966). Linocut; 27.2 x 21.9 cm; l’Affiche: Reklame Plakater), about x 40.2 cm. Purchase from the J. H. lithograph; 32.6 x 25.4 cm; Millman 1895. Paul Gustav Fischer (Danish, Wade Fund 2010.150. Burk App. II, p. 372; Purchase from the pp. 124-25; Gift of John Bonebrake Karl B. Goldfield Trust 2009.356. 1860–1934). Color lithograph; 27.6 x The Park (Le Parc), 1897. Gaston de 2009.561. 20 cm; Marx p. 22, Pl. 84. Gift of John Latenay (French, 1859–1943). Color Bonebrake 2009.581.

70 Micah Schwaberow (American, born Untitled (opposite Dog Talk); 11.3 x 7.5 Micah Schwaberow (American, shaded connected hooks, 2007. James 1948). Five prints: Keiko Mizushima cm (2009.338.10). Untitled (opposite born 1948). Shell Fragments, Book I, Siena (American, born 1958). Etching Keyes, 1989; woodcut printed in black Fault Lines); 11.3 x 7.5 cm (2009.338.11). 1989; 5 color woodcuts: Shell 1; 5.8 with chine collé; 35.5 x 27.9 cm. The and gray; 15.8 x 9.7 cm (2009.333). Untitled (opposite The Great Parent x 5.8 cm (2009.332.1). Shell 2; 5.8 x Sarah Stern Michael Fund 2010.149. March Buds, 1985; woodcut printed Gods); 11.3 x 7.5 cm (2009.338.12). 5.8 cm (2009.332.2). Shell 3; 5.6 x 5.7 Sheet of Six Antique Coins (Feuille de in brown; 14.9 x 23.7 cm (2009.329). Untitled (opposite Vacancy); 11.3 x 7.5 cm (2009.332.3). Shell 4; 5.8 x 5.9 cm Six Médailles Antiques), 1825 (published Sweet Light, Nicasio, 1993; color cm (2009.338.13). Untitled (opposite (2009.332.4). Shell 5; 5.8 x 5.8 cm 1865). Eugène Delacroix (French, woodcut; 15.3 x 25.3 cm; (2009.335). Denver); 11.3 x 7.5 cm (2009.338.14). (2009.332.5). Gift of Roger Keyes in 1798–1863). Lithograph with tint stone; Untitled, 1987; color woodcut; 7.7 x Untitled (opposite Child); 11.2 x 7.5 memory of Keiko Keyes. 19.2 x 25.3 cm; Delteil & Strauber 44, 7.6 cm (2009.330). Winter Self, 1984; cm (2009.338.15). Untitled (opposite Micah Schwaberow (American, born state III/IV; Gift of John Bonebrake woodcut; 27.5 x 18.8 cm (2009.328). Body Man; 11.3 x 7.4 cm (2009.338.16). 1948). The Sue Poems, 1989; book 2009.538. Gift of Roger Keyes in memory of Untitled (opposite Friends); 11.3 with 8 color woodcuts: Frontispiece Six Episodes/Monarch, printed 1979, Keiko Keyes. x 7.4 cm; 2009.338.17. Untitled (flower);4.2 x 5.5 cm (2009.337.1). (opposite Come Softly); 11.2 x 7.5 cm hand-coloring added 2002. Ellen Micah Schwaberow (American, born Untitled Page 7; 4.9 x 4.5 cm Lanyon (American, born 1926). Hand- 1948). Hat Creek & The McCloud, 1988; (2009.338.18). Gift of Roger Keyes in (2009.337.2). Untitled Page 15; 4.8 x 2.9 memory of Keiko Keyes. colored lithograph on black paper; 56.2 book with six color woodcuts; 5.1 x 5.1 cm (2009.337.3). Untitled Page 29; 3.6 x 64.7 cm. Gift of the artist 2010.184. cm each: Untiled Page 13 (2009.336.2). Micah Schwaberow (American, x 4.1 cm (2009.337.4). Untitled Page Untitled Page 18 (2009.336.3). Untitled born 1948). Three prints: Morning 41; 4.6 x 5.4 cm (2009.337.5). Untitled Théophile Alexandre Steinlen (Swiss, Page 22 (2009.336.4). Untitled Mist, Heath Township, 2008; 15.3 x Page 57; 5.2 x 5.5 cm (2009.337.6). 1859–1923). Five prints: The Dream Page 27 (2009.336.5). Untitled Page 15.2 cm; The Print Club of Cleveland Untitled Page 69; 4.6 x 2.5 cm (Le Rêve), 1890; color lithograph; 33 (2009.336.6). Untitled Page 42 Publication Number 87, 2009. Color (2009.337.7). Untitled Page 79; 4.5 x 3.5 76.8 x 59.7 cm; Crauzat 529; Bargiel (2009.336.7). Gift of Roger Keyes in woodcut; (2009.327.1). BAT; 15.2 x 15.2 cm (2009.337.8). Gift of Roger Keyes in and Zagrodski 10 (2009.517). Gil memory of Keiko Keyes. cm (2009.327.2). Proof; 15.3 x 15.2 cm memory of Keiko Keyes. Blas Illustré: At the Water’s Edge (A l’Eau), 1896; color lithograph; 33.3 Micah Schwaberow (American, (2009.327.3). Gift of the Print Club of Micah Schwaberow (American, born Cleveland. x 17.4 cm; Crauzat 43 (2009.497). born 1948). Image on Image, 1990; 1948). Five color woodcuts: Tuolumne Hellé, 1896; color lithograph; 26.9 book with eighteen color woodcuts: Micah Schwaberow (American, born Yosemite, Book I, 1988: Afternoon, x 20.3 cm; Crauzat 497 (2009.499). Frontispiece; 11.4 x 7.4 cm (2009.338.1). 1948). Point Reyes, Book I, 1990: Five Tuolumne Meadow; 7.1 x 7.1 cm Wandering Dogs (Chiens errants), 1915; Untitled (opposite Glen Ellen); 11.3 x 7.5 color woodcuts: Afternoon, Limantour (2009.331.3). Dawn, Lyell Fork; 7.7 x 7.7 lithograph; 45.4 x 29.1 cm; Christophe cm (2009.338.2). Untitled (opposite Spit; 9 x 16.6 cm (2009.334.3). Day’s cm (2009.331.1). Day’s End, Lembert 44 (2009.496). Workers Leaving the Winter); 11.3 x 7.4 cm (2009.338.3). End, Limantour Bluff; 8.9 x 16.6 Dome; 7.7 x 7.7 cm (2009.331.4). Factory (Ouvriers Sortant de L’Usine), Untitled (opposite Man/Child); 11.3 x cm (2009.334.5). Dusk, Esterode Morning, Tuolumne River; 7.8 x 7.7 cm 1903; lithograph; 21.4 x 30.1 cm; 7.4 cm; 2009.338.4. Untitled (opposite Limantour; 9 x 16.6 cm (2009.334.6). (2009.331.2). Twilight, Unicorn Park; Crauzat 254 (2009.498). Gift of John Reflections); 11.3 x 7.6 cm (2009.338.5). Midday, Abbotts Lagoon; 8.9 x 16.6 7.1 x 7.2 cm (2009.331.5). Gift of Roger Bonebrake. Untitled (opposite First Love); 11.2 x 7.5 cm (2009.334.4). Morning, Limantour Keyes in memory of Keiko Keyes. James Surls (American, born 1943). cm (2009.338.6). Untitled (opposite Marsh; 8.9 x 16.5 cm (2009.334.2). Gift Seated Woman. Charles Marie Dulac Mothers); 11.2 x 7.5 cm (2009.338.7). of Roger Keyes in memory of Keiko Heartland Suite, Five prints on chine (French, 1865–1898). Lithograph on collé: Body Knowing, 2008; gravure; Untitled (opposite Be Careful); 11.3 x 7.5 Keyes. chine collé printed in sanguine ink; cm; (2009.338.8). Untitled (opposite 27.6 x 36.4 cm (2010.14.4). Head of 28.9 x 18.6 cm. Gift of John Bonebrake Knot Snake, 2008; photogravure; 27.5 Music Man); 11.3 x 7.6 cm (2009.338.9). 2009.542.

71 x 34.9 cm (2010.14.1). Seeing Far and XXe Siècle: Cup 2 Picasso, 1973. Near, 2006; photogravure; 27.6 x 36.2 Jasper Johns (American, born 1930). cm (2010.14.2). Skin Casting, 2007; Lithograph; 29.5 x 24.1 cm; ULAE no. gravure; 27.7 x 34.6 cm (2010.14.5). 123; Field 168; Sparks p. 383; no. 113; Start to Finish, 2008; gravure; 27.4 Gift of John Bonebrake 2009.565. x 35.6 cm (2010.14.3). Bequest of Year of the Dog #10, 2008. Judy Pfaff Marjorie Alge by exchange. (American, born 1946). Color woodcut, The Temptation of Saint Anthony: digital, and collage, with hand Flowers Fall and the Head of a Python painting; 97.7 x 219.7 cm. Purchase Appears (Tentation de Saint-Antoine: from the Karl B. Goldfield Trust Des fleurs tombent, et la tête d’un 2009.281. python parait), 1896. Odilon Redon (French, 1840–1916). Lithograph; 26 Textiles x 19.8 cm; Mellerio 138; Gift of Barry Backyard Garden, about 1940. Mabel Bradley 2009.599. A. Hewit (American, 1903–1984). Plain Types Mauresques, 1875. Norbert weave, woodblock printed rayon(?), Goeneutte (French, 1854–1894). black ink; 134.93 x 85.41 cm. Gift of Mr. Etching; 15.8 x 11.7 cm. Gift of John and Mrs. William Jurey in memory of Bonebrake 2009.549. Mabel A. Hewit 2010.187. Untitled, 1966. Judy Blum (American, Bluebonnets, 1979. Helena Hernmarck born 1943). Color etching and (American, born Sweden, 1941). Wool, aquatint; 24.3 x 39.4 cm. Gift of linen, cotton, and novelty yarns, Thomas R. Roese 2009.588. tapestry weave with weft-bundle Woman Sitting Reading (Femme floats; 335.3 x 586.7 cm. Gift of the assise lisant), 1905. Georges Lemmen Trammell Crow Family 2010.185. (Belgian, 1865–1916). Etching; 12.1 x 16 cm; Cardon 41; Purchase from the Karl B. Goldfield Trust 2009.352. Wild Pilgrimage, 1932. Lynd Ward (American, 1905–1985). Two wood Chaparral, 1980. engravings: 16.5 x 11.4 cm (2009.600); Richard Landis 16.4 x 11.3 cm (2009.601). Gifts of Barry (American, born Bradley. 1931). Double weave, mercerized Wiston River, 1911. Frank Morley cotton thread; Fletcher (British, 1866–1949). Color 46.4 x 32.4 cm. Gift woodcut; 21.3 x 36.9 cm. Bequest of the Textile Art of Dr. Willard Steck by Exchange Alliance 2009.339 2009.358.

72 Brocaded velvet cushion cover, mid 1500s. Turkey, Bursa, Ottoman period. Brocaded velvet, 4/1 satin with wefts bound in 1/4 twill order; silk, gilt-metal thread, silver-metal thread, cotton; 127 x 66 cm. Purchase from the J. H. Wade Fund 2009.282. Chaparral, 1980. Richard Landis (American, born 1931). Double weave, mercerized cotton thread; 46.4 x 32.4 cm. Gift of the Textile Art Alliance 2009.339. Door Rug (Ensi), about 1900. Central Asia, Turkmen people, Yomud tribe. Wool, knotted pile, 117 asymmetrical knots psi; 183 x 142 cm. Gift of E. B. and Joan C. Long 2010.191. Fragment of a Shawl, 1790–1810. India, Kashmir. Wool, 2/2 twill tapestry (S), double interlocked; 66.6 x 90.1 cm. Gift of Arlene C. Cooper 2010.143. Geometric Forms, about 1950. Mabel A. Hewit (American, 1903–1984). Plain knots psi; 291 x 158 cm. Gift of E. B. interlocked, pieced; 195.6 x 185.4 cm. Main Carpet, mid weave, woodblock printed (2 blocks), and Joan C. Long 2010.190. Gift of Arlene C. Cooper 2010.136. 1800s. Central Asia, rayon(?), green and mustard-color ink; Turkmen people, Poppies, 1978. Helena Hernmarck Shawl, 1848–51. Austria, England, Yomud tribe. Wool, 304.6 x 90.48 cm. Gift of Mr. and Mrs. (American, born Sweden, 1941). Wool, France, or Scotland. Silk, knotted pile, 128-136 William Jurey in memory of Mabel A. silk, and metal thread, tapestry weave supplementary weft pattern bound in symmetrical knots Hewit 2010.189. psi; 291 x 158 cm. Gift with weft-bundle floats; 389.9 x 594.4 twill; 200.7 x 171.5 cm. Gift of Arlene C. of E. B. and Joan C. Luna Lumiere, 1969. Gwen-lin Goo cm. Gift of the Trammell Crow Family Cooper 2010.137. Long 2010.190 (American, born 1940). Two screen- 2010.186. Shawl, 1855–62. France, Paris. Silk?, printed layers of silk organza above Presence/Absence: Gather, 1998. Lia supplementary weft pattern; 355.7 screen-printed opaque cotton; 104.14 Cook (American, born 1942). Cotton, x 165.1 cm. Gift of Arlene C. Cooper x 153.67 cm. Gift of Gwen-lin Goo rayon, handwoven on computerized 2010.138. 2010.194. loom; 121.9 x 121.9 cm. Gift of the Shawl, 1880s. India, Kashmir. Wool, 2/2 Main Carpet, mid 1800s. Central Asia, Textile Art Alliance 2009.340. twill tapestry (S), double interlocked, Turkmen people, Yomud tribe. Wool, Shawl, 1867–75. India, Kashmir. pieced; 194.9 x 193 cm. Gift of Arlene knotted pile, 128-136 symmetrical Wool, 2/2 twill tapestry (S), double C. Cooper 2010.139.

73 Shawl, 1848–52. Austria, England, France, or Scotland. Wool?, supplementary weft pattern; 342.3 x 165.1 cm. Gift of Arlene C. Cooper 2010.140. Shawl, 1840s. India, Kashmir. Wool, 2/2 twill tapestry (S), double interlocked, pieced; 332.8 x 139.6 cm. Gift of Arlene C. Cooper 2010.141. Shawl, 1840s. Austria, England, France, or Scotland. Silk & wool?, supplementary weft pattern; 185.4 x 181.6 cm. Gift of Arlene C. Cooper 2010.142. Shawl, 1840s. France, Nimes; Scotland, Paisley, or England, Norwich. Silk and cotton?, supplementary weft pattern; 193.0 x 177.4 cm. Gift of Arlene C. Cooper 2010.144. Shawl, 1855. France, Paris. Designed by Emile Frederic Herbert (French). Silk?, supplemental weft pattern; 360.7 x 15.4 cm. Gift of Arlene C. Cooper 2010.145. Shawl, 1830-35. France, Paris. Wool?, supplementary weft pattern; 316.2 x 142.7 cm. Gift of Arlene C. Cooper 2010.146. Luna Lumiere, 1969. Stole, 1850–55. Austria, England, William Jurey in memory of Mabel A. Gwen-lin Goo France, or Scotland. Wool, Hewit 2010.188. (American, born 1940). supplementary weft pattern; 308.6 Woman’s Coat with False Sleeves, Two screen-printed x 57.1 cm. Gift of Arlene C. Cooper (Chrypy), early 1900s. Central Asia, layers of silk organza 2010.135. Turkmen people, Tekke tribe. Exterior: above screen-printed plain weave, silk, embroidery; silk, Untitled, about 1940. Mabel A. Hewit opaque cotton; chain stitch. Trim: tablet-woven with (American, 1903–1984). Plain weave, 104.14 x 153.67 cm. fringe, silk. Lining: plain weave, cotton, woodblock printed rayon(?), black ink; Gift of Gwen-lin Goo block printed; 119.4 x 75 cm. Gift of E. 120.65 x 86.36 cm. Gift of Mr. and Mrs. 2010.194 B. and Joan C. Long 2010.192.

74 Akron Art Museum, OH FLAG Art Foundation, New York Loyola University Museum of Art, LOANS TO Familiar Faces: Chuck Close in Ohio Floating a Boulder: Works by Felix Chicago OTHER Collections Gonzalez-Torres and Jim Hodges Moholy: An Education of the Senses American Museum of Natural History, Hammer Museum, Los Angeles Massillon Museum, OH; Riffe Gallery, New York (organizer). Whitney Museum of Columbus, OH; Southern Ohio INSTITUTIONS Traveling the Silk Road: Ancient American Art, New York Museum, Portsmouth, OH Pathways to the Modern World Heat Waves in a Swamp: The Paintings Against the Grain: Modernism in the of Charles Burchfield Midwest Art Gallery of New South Wales, Sydney, Australia Herbert F. Johnson Museum of Art, Metropolitan Museum of Art, New Alfred Stieglitz: The Lake George Years Cornell University, Ithaca, NY; Palmer York; Los Angeles County Museum of Museum of Art, University Park, PA Art Art Gallery of New South Wales, A Room of Their Own: The Artists of American Stories: Paintings of Everyday Sydney, Australia Bloomsbury Life 1765–1915 Path of Abstraction—1867–1917 Hillwood Estate, Museum and Metropolitan Museum of Art, New Cheekwood Botanical Garden and Gardens, Washington, D.C. York Museum of Art, Nashville, TN; Tampa Sèvres Then and Now: Tradition and The Art of Illumination: The Belles Museum of Art, FL; Taft Museum of Innovation in Porcelain, 1750–2000 Heures of Jean de France, Duc du Berry Art, Cincinnati, OH The American Impressionists in the The Hyde Collection, Glens Falls, NY Metropolitan Museum of Art, New Garden Degas and Music York; St. Louis Art Museum; The Dallas Museum of Art; The Minneapolis Cincinnati Art Museum J. Paul Getty Museum, Los Angeles Institute of Art; The Los Angeles Roaring Tigers, Leaping Carp: Decoding Conservation treatment and long- County Museum of Art; Fine Arts the Symbolic Language of Chinese term loan Museum of San Francisco; Virginia Animal Painting J. Paul Getty Museum, Los Angeles Museum of Fine Arts, Richmond, VA Complesso Museale Santa Maria della Paul Outerbridge: Command The Mourners: Medieval Tomb Scala, Siena, Italy Performance Sculptures from the Court of Burgundy Da Jacopo Della Quercia a Donatello. Miami Art Museum, FL; Albright- Le Arti a Siena nel Primo Rinascimento J. Paul Getty Museum, Los Angeles; Musée d’Orsay, Paris (organizer) Knox Art Gallery, Buffalo, NY; Walker Corcoran Gallery of Art, Washington, Jean-Léon Gérôme Art Center, Minneapolis; Hirshhorn D.C.; San Francisco Museum of Museum and Sculpture Garden, Modern Art J. Paul Getty Villa, Malibu Washington, D.C. Helios: Eadweard Muybridge in a Time The Art of Ancient Greek Theater Everything: Guillermo Kuitca, Paintings of Change and Works on Paper, 1980–2008

75 Middlebury College Museum of Art, Réunion des musées nationaux Whitney Museum of American Art, Middlebury, VT; Mount Holyoke (organizer). Galeries du Grand New York College Art Museum, South Hadley, Palais, Paris, France; Musée des Arts Georgia O’Keeffe: Abstraction MA asiatiques, Guimet, Paris The Art of Devotion: Panel Painting in La voie du Tao, un autre chemin de Williams College Museum of Art, Early Renaissance Italy L’Etre Williamstown, MA; Museum of Fine Arts, Houston Mint Museum of Art, Charlotte, NC Réunion des musées nationaux Prendergast in Italy Identity Theft: How a Gifford became (organizer). Galeries du Grand Palais, a Cropsey and a Cropsey became a Paris, France; Los Angeles County Yale Center for British Art, New Gifford Museum of Art; Philadelphia Museum Haven, CT; Victoria and Albert of Art Museum, London Museum Mayer van den Bergh, Renoir in the 20th Century Horace Walpole’s Strawberry Hill Antwerp, Belguim The Juan de Flandes Miraflores Royal Academy of Arts, London Yomiuri Shimbun Osaka (organizer). Altarpiece The Real Van Gogh: The Artist and His National Art Center, Tokyo; National Letters Museum of Art, Osaka Museum of Contemporary Art, Renoir—Tradition and Innovation Cleveland, OH Southern Ohio Museum, Portsmouth, From Then to Now: Masterworks of OH; Riffe Gallery, Columbus, OH; Contemporary African American Art Massillon Museum, OH Sawdust and Spectacle: Under the Big Museum of Fine Arts, Houston; Top in Small Town America Whitechapel Art Gallery, London; Moderna Museet, Malmö, Sweden Syracuse University Art Galleries, Alice Neel: Painted Truths Syracuse, NY Winslow Homer’s Empire State: National Portrait Gallery, London Houghton Farm and Beyond The Indian Portrait: 1560–1860 Telfair Museum of Art, Savannah, GA New Orleans Museum of Art Dutch Utopia: American Artists in The Art of Caring: A Look at Life Holland, 1880–1914 and Through Photography Twilight Visions: Surrealism, Peabody Essex Museum, Salem, MA; Photography and Paris Kimbell Art Museum, Fort Worth, TX; Ulmer Museum, Ulm, Germany Saint Louis Art Museum Daniel Mauch Fiery Pool: The Maya and the Mythic Sea Western Reserve Historical Society, Cleveland, OH Hanna House, long-term loan

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