ALLEN MEMORIAL ART MUSEUM BULLETIN OBERLIN COLLEGE SPRING 1968

IS&*

ALLEN MEMORIAL ART MUSEUM BULLETIN

VOLUME XXV, NUMBER 3 SPRING 1968

Contents

Three Young Americans: Krueger, Nauman, Saret by Ellen H. Johnson and Athena T. Spear . . 93

Catalogue ...... 102

A Red-figured Eye-cup by Epiktetos and Pamphaios by Alix Mac Sweeney ..... 105

A Madonna Panel from the Circle of the Early Duccio by Bruce Cole 115

Accessions ...... 123

Printed three times a year by the Department of Art of Oberlin College, Oberlin, Ohio. $6.00 a year, this issue $2.00; mailed free to members of the Oberlin Friends of Art. North Syrian, Woman Nursing a Child, bronze, 12th century B.C. Oberlin Mrs. F. F. Prentiss Fund (ace. no. 68.25)

PURCHASED IN HONOR OF EDWARD CAPPS, JR. This issue of the Allen Memorial Art Museum Bulletin is dedicated to Professor Edward Capps, Jr., on the occasion of his retirement from his long, devoted service to the Department of Art at Oberlin College. We rejoice in the fact that an article in this issue deals with an outstanding work of Greek vase painting, one of Ed Capps' main fields of interest. Among the ancient Greeks it was customary for the winner of a long and difficult race to dedicate his prize to the appropriate god. Ed Capps is certainly de­ serving of a like prize for the long and arduous course that he has run. We have no bronze tripod to award him, but we do wish to dedicate this sprightly figure in his name to whatever gods preside over archaeology and the history of art. J.R.S. 1 Bruce Nauman, From Hand to Mouth Collection Air. and Airs. Joseph Helman, St. Louis Three Young Americans: Krueger, Nauman, Saret

The Three Young Americans exhibition this year, as in the past, has not been assembled to illustrate a point of view about contemporary art, but rather to present to our students and other visitors new work of quality and promise. This does not mean that one cannot find simi­ larities of concern and approach in the work of these individuals from which one can deduce general ideas that may be tested in examining other examples of current art. An analysis of the work of these three young artists may reveal particular tendencies that are emerging most forcefully at the present. Jack Krueger, Bruce Nauman and Alan Saret are all in their twen­ ties. Saret, the youngest of the three, is not yet with a dealer; Jack Krueger has recently become affiliated with the Leo Castelli Gallery where he is having his first one-man show late this spring. The Cali­ fornia artist, Bruce Nauman, having been included in such group exhi­ bitions as American Sculpture of the Sixties and having had one-man shows in Los Angeles in 1966 and in New York in March 1968, is the best known of the three. He is also the one most evidently rooted in the past. Some of his recent images, such as the untitled crossed arms below a knotted rope and his From Hand to Mouth (fig. 1), cast from parts of the body, contain the disquieting juxtapositions and fragmentation of Surrealism to which he may have come via the early work of Jasper Johns and Robert Morris. Nauman's wit, most obvious in his puns and literal titles, stems directly from Marcel Duchamp (cf. Nauman's Device for a Left Armpit, fig. 2 and Duchamp's Coiw de Chastete). To Nauman as to Duchamp, the idea is at least as important as the visual aspect of the work. In Six Inches of My Knee Extended to Six Feet and My Last Name Exaggerated Fourteen Times Vertically, the titles unquestionably add to the meaning and originality of the images. Both of these recent pieces provide a link between the Duchampian aspect of Nauman and his earlier abstract sculpture — long, soft, curiously organic strips of fiberglass or rubber that stand or hang frail and lonely. The haunting extension of such abstract works might prove that Nauman reached his more overtly surrealist imagery through his own personal development. Six Inches of My Knee . . . and My Last

93 2 Bruce Nauman, Device for a Left Armpit Collection David Whitney, New York Name . . . introduce an exaggerated elongation of known fragments of reality, which are altered beyond recognition through an unnatural stretching imposed upon them. One feels as though one is looking at the world through distorting mirrors, or as though one has been trans­ ferred to a strange planet where gravity and atmosphere obey different laws. In his isolating and transforming of bits of reality into super-reality, in his body imagery, and his soft almost elastic forms, Nauman, like many other young sculptors, reveals his kinship if not direct indebted­ ness to Claes Oldenburg. But Oldenburg's transformations are pri­ marily obtained through fantastic enlargement or through unexpected softening of hard objects; and the robust, overt sexuality of his imagery (as strongly present in his soft bathroom fixtures as in his knee piece) is of an order entirely different from the narcissistic, hothouse flavor of Nauman's body fragments. Also in contrast to Nauman's, Oldenburg's forms are substantial, sensuous volumes although often built of non­ structural or ephemeral materials. The fragility which distinguishes Nauman's art is due less to the impermanence of the materials than to the evanescent character of his subjects, a quality underlined in the very fact that a large part of his work consists of photographs of the fugitive and the formless. Catching the numerous possible "arrange­ ments" of a pile of flour spilled on his studio floor, or the greasy spots of parts of the body pressed against glass (cf. Yves Klein's Anthropo­ metries and Jasper Johns' Studies for Skin) evidences a sophisticated and playful sensitivity. Further characteristic of his involvement with the insubstantial is Nauman's special interest in the negative form. In Platform Made Up of Space Between Two Rectilinear Boxes on the Floor, the negative void has been promoted into a positive and even solid shape, a contradiction which he exploits. And the Neon Tem­ plates of the Left Side of My Body at Ten Inch Intervals form a mold of the body through consecutive outlines of transverse sections in ser­ pentine strings of neon. This piece, as indeed most of Nauman's work, is sculpture conceived as line — sculpture as linear continuity, a char­ acterization that could also apply to Krueger's work.

In its grandeur of scale and concept, Krueger's sculpture might have come from Barnett Newman's painting. His rectilinear contours of thin steel tubes do not simply define the edges of transparent planes; they "declare space." Striding in gigantic steps, they brace the void and structure it in a uniquely dynamic way. While all the sections of tube are joined in straight-forward, right-angled relationships, the planes which they imply shift at subtly unpredictable angles to each other.

95 3 Jack Krueger, Down Around Courtesy Leo Castelli Gallery, New York 4 Jack Krueger, Appleton Courtesy Leo Castelli Gallerv, New York Moreover, the fourth edge of each "plane," if existent at all, contradicts the shape which the other three contours have led us to expect. A curve at the bottom of a hypothetical rectangle, for example, leaves the whole shape equivocal and half-open. This openness, which allows the struc­ tures to be interpreted both as planes and as continuous moving con­ tours, accounts for their pronounced ambiguity. And the strictly linear nature of the works, which often causes one to see their closest and most distant parts as exchanging positions in space, contributes further toward a fluctuating perception. Thus, with only a pipe drawing lines as it moves through space, Krueger transforms a gallery or a street into a startling illusion of interpenetrating, immaterial volumes. His pre­ paratory drawings aid the observer to grasp this new order of spatial ex­ istence. They are simple colored crayon diagrams which in turn take on fuller meaning after the sculptures themselves have been experi­ enced. Krueger had to adopt a personal, arbitrary kind of perspective to put down on paper his spatial visions.

If Krueger's work suggests Newman's space, Saret's recalls Pol­ lock's. The multiple layers of wire screen, like the shimmering lines of paint, weave in and out, twisting and shifting, as they refuse to con­ fine space or define bodies occupying it. Space is conceived as motion — silvery filaments of energy, indeterminate in form. The sensations and images which both artists evoke are nature's. Saret is a sculptor of the country: the swaying fronds of a willow tree; the sun shining on grasses tossed by the wind; balls of seaweed tumbling with the foam along the shore. Everything in Saret's work is growing, given to change, in process of becoming. Even those few pieces where the free exultant movement is somewhat reined in are still quivering with life. Claes Oldenburg has been here too. The young Saret has completely freed the chicken-wire which gave its vitality to Oldenburg's early plaster pieces. Flexibility is the common denominator in Saret's choice of both form and material — wire mesh, felt, metal springs, soft plastic, wood- shavings, and predominantly chicken-wire. Some of the pieces, especial­ ly the ones with the square mesh, are permanently fastened into supple, curvilinear or rippling forms. But most are composed of simple units — thin cylinders, twisted shreds or long waving sheets of chicken-wire — piled randomly together and therefore of an indefinite and changeable form. To this latter category belong also the cut-out strips of felt, plastic and paper that can be hung or piled up in different ways, and works like the wood-shavings which he shapes with a broom on his studio floor (cf. Nauman's Flour Arrangements).

98 5 Alan Saret, Chicken-wire painted and plain, ca. 2 x 7lA x V/z ft. X

-a

c The pale, hazy colors that Saret sprays on some of his pieces are as fleeting and tenuous as the forms and metal mesh on which they hover. Chicken-wire, in spite of its springiness and prickliness, is almost in- existent. It vanishes into the background like a fuzz of clouds, barely indicating its planes in space. In his masterful drawings, independent more than preparatory, Saret expresses his predilection for immateri­ ality and changing linear rhythms as forcefully as in the sculpture itself. Linearity, undoubtedly a characteristic of all the work in this ex­ hibition, reflects the artists' concern with immateriality and indetermi­ nacy: phenomena and experiences that are fugitive or barely perceptible, forms that are changeable and indefinite, materials that have little mass or weight. Underlying other more powerfully expressed currents throughout the century, this preoccupation has only now come to the surface. One might sav that many young sculptors today build their tenuous forms with as little matter as possible in opposition to the pri­ mary structures which are so indusputablv "there." Beside the large unyielding blocks which impose their material presence upon space, the younger artists place emaciate, stringy or malleable creations of perish­ able or ambiguous nature, which lie modestly low on the floor, lean against the wall, or form space bv occupying it with the least substance possible. However, to explain the recent work as a conscious reaction to the primary structures is to overlook the numerous anticipations of the new mode in the oeuvre of the older artists. Oldenburg's limply hanging plastic and cloth works, Rosenquist's mylar and barbed wire constructions, Sol LeWitt's linear cubes, Carl Andre's flat floor pieces or Don Judd's perforated metal ramps, Robert Morris' multi-unit trans­ formable works and, above all, his recent felt cut-outs, are among the main threads uniting past and present. Moreover, the two superficially opposed generations are linked by a common involvement with reduc­ tion of subject, form and means. The younger Americans carry reduc­ tion to an even further degree as they nearly eliminate the palpable and refuse utterly to be fixed.

Ellen H. Johnson Athena T. Spear

101 Catalogue

Jack Krueger, b. 1941

SCULPTURES:

Down Around 1967 Steel tubing and acrylic lacquer 8 x 13 x 2Vz ft. Junction 1967-68 Steel tubing and acrylic lacquer 8 x 21 x 8 ft. Crossout 1967-68 Steel tubing and acrylic lacquer 8 x 13 x 8 ft. Lent by the Leo Castelli Gallery, New York

DRAWINGS:

Down Around 1966-67 Colored crayons 22 x 32 in. All Around 1966-67 Colored crayons 22 x 32 in. Chuck Around 1966-67 Colored crayons 22 x 32 in. Seamline 1966-67 Colored crayons 22 x 32 in. Round Off 1966-67 Colored crayons 22 x 32 in.

Around Center 1966-67 Colored crayons 22 x 32 in.

Lent by the Leo Castelli Gallery, New York

Bruce Nauman, b. 1941

SCULPTURES:

Untitled 1965 Fiberglass 60 x 8 x 103 in. Lent by the Nicholas Wilder Gallery, Los Angeles

Untitled 1965 Fiberglass 96 x 5 x 10 in. Lent by Philip Johnson, New Canaan

Untitled 1965-66 Latex rubber with cloth backing ca. 80 x 14 x 5 in. Lent by Walter Hopps, Los Angeles

102 Storage Capsule for the Right Rear Quarter of My Body 1966 Galvanized iron 72 x 9lh x 6 in. Lent by Richard Bellamy, New York

From Hand to Alouth 1967 Green wax over cloth 30 x 10 x 4 in. Lent by Mr. and Mrs. Joseph Helman, St. Louis

Device for a Left Armpit 1967 Copper painted plaster 14 x 7 x 10 in. Lent by David Whitney, New York

PHOTOGRAPHS :

Henry Moore Trap #1 1967 Black and white photographs, 64 x 40 in. Flour Arrangements 1967 Seven color photographs, largest 19Vs x 23Vz in.

Lent by the Leo Castelli Gallery, New York

Alan Saret, b. 1944

SCULPTURES:

Chicken-wire painted and plain 1967 ca. 2 x 7Vi x 3lh ft. Painted wire mesh 1967 3 x 8 ft. x 4 in. Chicken-wire 1967 ca. 3Vi x 5 x 5 ft. Painted wire mesh 1967 3Vi x 6 x 2 ft. Painted wire 1967 ca. 4 x 5'/2 x 5V2 ft. Wire and plastic tube 1967 ca. 5 in. Lent by the artist

DRAWINGS :

Twelve pencil drawings 1967 each 107/s x 22 in.

Lent by the artist

103 C

&

^3 a B M 'Si BS A Red-figured Eye-cup hy Epiktetos and Pamphaios

The Allen Art Museum has recently acquired a charming Attic red-figured cup of the archaic period (figs. 1, 2, 3), signed by Pamphaios as potter and Epiktetos as painter.1 Much of the work dating from this time of great artistic ferment is interesting because of its context; the quality of our cup gives it an appeal of its own. Epiktetos was a leading cup-painter, working between about 520 and 490 B.C. At his best, his work has a taut sinuous economy of line, and a natural rhythm and feeling for design. "One can draw different­ ly," says Beazley, "but one cannot draw better."- Pamphaios, the ver­ satile pupil of Nikosthenes, was active between 530 and 495 B.C., and Epiktetos decorated several cups for him.3 The Oberlin cup4 (diameter 31.5 cm, height as restored 12.5 cm) was broken, and the foot, with the center of the tondo, is missing; so is most of the figure on side B, part of the palmette to the right of it, and various small fragments elsewhere. Otherwise it is in very good condition, and the quality of the glaze is excellent. The cup belongs to the rare class of palmette-eye cups,5 a later and more sophisticated version of the common "bi-lingual" eye-cups, in which the usual ar­ rangement of eyes and palmettes is reversed. The deep bowl suggests

1 On Epiktetos see J. D. Beazley, Attic Red-Figure Vase-Painters, second ed., Oxford, 1963 (henceforth ARV), I, p. 70; W. Kraiker, "Epiktetos," Jahrbuch des deutschen archaeologischen lnstituts, XLIV, 1929, p. 141 ff.; E. Paribeni in Enciclopedia dell'arte antica, III, p. 370. On Pamphaios see H. Bloesch, For- men attischer Schalen (henceforth: FAS), Bern, 1940, p. 62. 2 Attic Red-Figured Vases in American Museums, Cambridge, Mass., 1918, p. 15. 3 Four others: Ferrara, Schifanoia 270, ARV p. 75, no. 55, J. C. Hoppin, A Hand­ book of Attic Red-Figured Vases, Cambridge, Mass., 1919, I, p. 307; Louvre G5, ARV p. 71, no. 14, Corpus Vasorum Antiquorum (henceforth: CV), France 17, pi. 9, 2-8, and pi. 10,1; Berlin 2262, ARV p. 72, no. 15, CV Ger­ many 21, pi. 55 and 65; and London E37, ARV p. 72, no. 17, Hoppin I, pp. 310-11. The two with Pamphaios' signature, in Paris and Berlin, are contem­ porary with the Oberlin cup. * Ace. no. 67.61. General Acquisitions Fund. Auction 34 in Basel, Aliinzen und Aledaillen A. G., May 6, 19*67, p. 73, no. 145, and pi. 43. 5 See ARV, p. 49.

105 that the cup was of type A, with foot AY.0 We are fortunate in having a good comparison for the shape in a contemporary palmette-eye cup by Epiktetos and Pamphaios in Paris, Louvre G5 (fig. 6). The cup has a single theme, a party. I: Party games. A wreathed youth, reclining to right, playing the game of kottabos (figs. 1 and 4). His cloak is wrapped loosely round him, one end falling free on the far side of the couch. He leans on his left elbow (one of the rules of play, strictly speaking) on a striped cushion; he is twirling a lip-cup on his right index finger, and holds another in his left hand. A basket7 is hanging on the wall. The potter's signature, in red, reads: EE[OIE]SEN EAMAI028 (Pamphaios made it). The picture is framed by a simple reserved circle.9 The object of the game of kottabos, in the form usually represent­ ed on vases, was to dislodge a disc balanced on a stand, by hitting it with the wine-lees. The stakes were high. On the kalpis by Phintias, Munich 2421 (fig. 7), the woman calls as she makes her throw: "This one for you, Euthymides!" What she means is made clear by some lines of Sophocles' Salmoneus: "There are ticklings and the smack of kisses; these are the prizes I set up for the one who best shoots the kottabos."10 The pose is the conventional one, reversed. The position of the left arm then implies a foreshortened back. On another cup of the same period in Adria, belonging to the Severeano Group,11 the problem is avoided by bringing the left arm forward, so that the back can still be

6 As restored, the foot has the 'reich-profilierte' outline characteristic of Pamphaios at a later stage, and the fillet between bowl and stem is omitted. 7 A simple version of the type often shown on vases, sometimes covered with a cloth, e.g., Athens, Acr. 3, fr. plate, B. Graef and E. Langlotz, Die antiken Vasen von der Akropolis zu Athen, Berlin, 1925, pi. 2. 8 Epiktetos always spells the name thus, just as he writes Pistoschenos for Pis- tochsenos and egrasphen for egraphsen; Oltos writes Phanphaios; elsewhere it is Panphaios or Panthaios (ARV, p. 127). 9 Missing on I: rt. elbow, most of the 1. hand and the cup it held, and boy from waist to mid-calf. Technique: incised hair contour; red for wreath, basket rib­ bon and inscription. Relief contour throughout except mouth, cushion, under flat of the 1. foot, far toe, and 1. heel. The line of the rt. heel is damaged. The narrow stripes on the cushion are in thinned glaze. Traces of a preliminary sketch can be seen at the shoulder and 1. elbow. 10 Quoted bv B. A. Sparkes, "Kottabos, an Athenian after-dinner game," Arch­ aeology XIII, 1960, p.202ff. 11 Hoppin, I, p. 147.

107 4 Epiktetos and Pamphaios, Kylix, (det. of I) Oberlin

5 Epiktetos and Pamphaios, Kylix, (det. of A) Oberli: 6 Epiktetos and Pamphaios, Kylix, ca. 510 B.C. Louvre

seen in simple profile. The fact that here the problem is posed, if only to be ignored, shows that the influence of the pioneers of the new kind of drawing (Euphronios, Euthymides) was already making itself felt. A: Party tricks. Between eyes and palmettes, a naked bearded man, hair receding at the temples, squatting frontal (figs. 2and 5).12 Like the bov on the inside, he wears a wreath, but of a different type, with a few large leaves at the forehead instead of small ones all round the head. He is balancing a lip-cup on his left arm, and preparing to balance an oinochoe on the other. One leg is shown in profile, the other is seen from the front, with the line of the thigh partly obscuring the trunk — more natural, as well as more interesting, than the double profile pose of the comic and slightly grotesque squatting satyrs in vogue until now (fig. 8).13 This is the most sophisticated of all those in Epik­ tetos' work, and one of the earliest examples of the frontal leg type.

12 Missing on A: part of belly, and strip below the knee of the foreshortened leg: part of the inner and outer contour of the thigh is restored. The inner line of this leg from calf to toe is damaged, and so is the mouth. The restorers have made good the lines which are interrupted by cracks. Part of the left eye miss­ ing and restored. Technique: Hair outline incised. Relief contour, except for the rt. knee, knuckles of the rt. hand, cup from lip to handle, and all sur­ faces resting on the groundline, apart from the rt. heel. Red wreath and in­ scription. Collar-bones, knuckles of rt. hand, pubes, and musculature in thinned glaze; they show up in the photograph, except for what is left of the belly muscles, which are very faint. 13 E.g., Rome, Villa Giulia, fragment of an Epiktetos eye-cup, ARV, p. 71, no. 9; Basel, inv. 1960.28, eye-cup by the Bowdoin-eye-cup Painter, K. Schefold, Meisterwerke griechischer Kunst, Basel, 1960, p. 167, no. 156; Louvre C10468- 70, palmette-eye cup by the same painter, CV France 17, pi. 20, 3; and the late

109 7 Phintias, Kalpis, (det.), ca. 510 B.C. Alunich

The name EPIKTETOS, in neat red letters, runs down beside the figure; no doubt the verb was on side B. The balancing act was a favourite party gambit, to judge from the number of representations on vases — and, of course, it was fun to draw. The cup G 14 by the Pedieus Painter in the Louvre (fig. 9) shows a girl balancing a skyphos on her arm; on another, by Skythes,11

Epiktetos cup in a private collection in Geneva, ARV, p. 76, no. 67, auction at Basel, xxii, pi. 48, 156. See list given in H. A. Cahn, Die Miinzen der sizilischen Stadt Naxos, Basel, 1944, pp. 45-6, and pi. X, O-U. To these add: Athens, Acr. 67, fr. cup, circle of Epiktetos, Langlotz, pi. 4; Heidelberg, 106, fr. cup belonging to the Antiphon Group, W. Kraiker, Catalogue, pi. 20; Munich 2586, palmette-eye cup, near the Scheurleer Painter, Bloesch, FAS pi. 10, 4; Oxford, Beazley, fr. cup by Onesimos, AJA LXVI, 1962, pi. 60, 2.

14 Louvre F 129, CV France 17, pi. 14,6.

110 8 Epiktetos, Bilingual Eye-Cup, (det. of Side A) ca. 520 B.C. Wiirzburg a youth balances a pointed amphora on his foot; a satyr, naturally, gives us the most exuberant, outrageous example of all, on the Douris psykter in London.15 This is a fresh, lively figure; there is eager concentration in every line. The palmettes have ribbed leaves, like those of Louvre G5 and one other palmette-eye cup, by Oltos.16 They have "late-hearts," with two relief-lines above. The eyes have a red iris and reserved circle.

15 E 768, Hoppin, I, 242. 10 Fragmentary; in the Villa Giulia, Rome, and Naples, Astarita 301. ARV, p. 58, no. 48.

Ill 9 Pedieus Painter, Kylix, (det.), 510-500 B.C. Louvre

B: Between palmettos and eyes, a woman (fig.3). The evening would be incomplete without her. Unfortunately, most of the figure is lost, and the restoration of part of the wall of the vase is misleading: it looks as though her left foot had been in the ostensibly missing part, whereas it was probably close to the palmette, something like the posi­ tion of the feet on fig. 7. She is reclining, leaning on a folded, striped cushion; another is placed solicitously at her feet.17 One arm is bent behind her, as though she were resting her head on her hand. The gesture is common enough when the arm is turned the other way, but I know of only one other example where it is bent back, as here: the

17 Relief contour except elbow and wrist, and under cushions.

112 singing reveller on a cup bv the Brygos Painter in Copenhagen, inv. 3880.18 So perhaps she was singing — or playing the castanets (kro- tala), which would suit the lively pose better than a lyre.10 This is Epiktetos' only attempt at the type of the reclining hetaira, of which the inspiration was the magnificent quartet on the psykter by Euphronios in Leningrad.20 Epiktetos' drawing is delicate and vital, especially on A, and the line is fluent and assured. The style links our cup with Louvre G5 and Berlin 2262, mentioned above, and the group of Leningrad 14611,23 Agora P24131,22 and Heidelberg 16,23 which belong to Epiktetos' mid­ dle period. The type of decoration, and the clear debt to the Pioneers, date the cup firmly: about 510 B.C.

Alix Mac Sweeney Institute of Classical Studies, London

18 CV Denmark 3, pi. 141, c. 10 Cf. youth on the shoulder of a kalpis by Euthymides, Bonn 70, Hoppin, I, 431. 20 Leningrad 644, Hoppin, I, 404. 21 ARV, p. 75, no. 60, Jahrbuch des deutschen archaeologischen lnstituts, XLIV, 1929, p. 174. 22 ARV, p. 76, no. 80, Hesperia, XXIV, 1955, pi. 28, d. 23 ARV, p. 74, no. 47, Catalogue, pi. 3.

113 1 Sienese, Madonna and Child with St. Francis Oberlii A Madonna Panel from the Circle of the Early Duccio

The Sienese Madonna and Child with St. Francis (fig. I)1 in the Allen Art Museum is an extremely fine work by an unknown artist of considerable skill, and an important visual document from a key period in the history of Italian art. Several scholars have already briefly com­ mented on these aspects but the panel deserves more attention.2 There can be no doubt that the Oberlin painting is by a master from the circle of the greatest Sienese painter of the last quarter of the Duecento, Duccio di Buoninsegna (c. 1260-1319),3 but its precise date is not easy to determine. Owing to a lack of documentary evidence, Duccio's own exact chronological development is extremely hard to establish. In fact, only two of his works can be dated: the Rucellai Madonna (fig. 2) of 1285, in the Uffizi Gallery, and the Maesta (fig. 3) of 1308-1311, in the Museo dell'Opera del Duomo, Siena. These rep­ resent stylistic poles around which all undated or undocumented works attributed to Duccio and his followers must rotate. Not surprisingly, the Oberlin panel has been connected with these two landmarks in Duccio's oeuvre. Millard Meiss has attributed our panel to a Sienese master of around 1300 and suggested that it is styl­ istically dependent on the work of the early Duccio.4 This would mean that the painting was executed about eight years before the Maesta but

1 Ace. no. 45.9, poplar-like wood, 27 x 2014 in. (68.6 x 51.4 cm.). Acquired from Paul Drey, New York, in 1945, through the R. T. Aliller, Jr. Fund. 2 E. Garrison, Italian Romanesque Panel Painting, Florence, 1949, p. 60; M. Meiss, "Nuovi dipinti e vecchi problemi," Rivista d'arte, XXX, 1955, pp. 111- 13; Catalogue of European and American Paintings and Sculpture in the Allen Memorial Art Museum, Oberlin College, Oberlin, 1967, p. 83. 3 The most recent monograph on Duccio is: C. Brandi, Duccio, Florence, 1951. 4 Professor Meiss, pp. 111-13, correctly points out that the Oberlin Aladonna and a panel by a follower of Cimabue in the Louvre are of a unique compositional type. He very reasonably suggests that they may repeat a now lost prototype by Cimabue or, more likely, by Duccio. The Christ child with his right arm around the Virgin's neck appears in a painting attributed to the school of Guido da Siena, published in D. Shorr, The Christ Child in Devotional Images during

115 was heavily influenced by the first known work of Duccio, the 1285 Rucellai Madonna. Another student of Duecento art, Edward Garri­ son, dates the Oberlin panel between 1310 and 1320"' or after the com­ pletion of the Maesta. Let us investigate both of these suggestions bearing in mind, how­ ever, that the faces of the Oberlin Madonna and Child lack most of the final layer of flesh tones applied to Duecento paintings. As both faces are covered with the characteristic green underpainting which always lies just below the layer of flesh color, we can not be sure if thev are un­ finished or if the uppermost layer of paint has been lost through some type of abrasion. In any case, the major stylistic features of both faces are clearly definable and the rest of the panel is complete and relatively well preserved. A comparison of the Oberlin Madonna's head with its counterpart from the Rucellai panel (fig. 4) reveals a number of very striking simi­ larities. Note, for example, how the right side of the Rucellai Virgin's neck is formed by her headdress into a long, graceful curve extending from the collar upwards. This scheme is repeated almost without vari­ ation in the Oberlin panel. Both Madonnas also share the slow sinuous curve of the left side of the cheek and neck. The narrow, rather point­ ed face of the Rucellai Virgin with its sharp chin, full lips and bold nose finds a strong echo in our painting. The form of the fluid eyelid and the shape and curve of the Rucellai Virgin's right eye are repeated in the Oberlin Madonna. But if we carefully compare any single feature of the two faces we become aware of certain subtle differences. The eyes and irises of the Oberlin Virgin, for instance, are more attenuated, elliptical and slightly narrower than those of the Rucellai Madonna. A similar change can be observed in the nose and eyebrows. A more rhythmic line is seen when we examine the shape of the right shoulder and right arm of the Oberlin Madonna or the form of her child's back. All these areas are articulated bv a masterfully drawn, undulating outline which subtly integrates the forms it defines. This can be best observed when we

the XIV Century, New York, 1954, Type 6, 6, Siena 1. Paintings in which the child's left hand touches the chin of the Aladonna are rare. One is attributed to Barna da Siena and illustrated in Shorr, Type 6, 6, Siena, 6. The tiny St. Francis who seems to float in space behind the much larger Aladonna and Child may be ultimately derived from the small angels who hover above the thrones in several Sienese and Florentine paintings of the Virgin and Child from the 1260's. See, for example, E. Sandberg-Vavala, Sienese Studies, Florence, 1952, figs. 4 and 7. 5 Garrison, p. 60.

117 PC

3

CC

3 visually follow the lines of the Oberlin Virgin's right arm up along her headdress, down towards the head of the baby and then across his back to the point where it once again merges into the body of the Madonna. The whole forms a pyramidal compositional solid which plays tellingly against the gold void of the background. Counter rhythms, like the Madonna's horizontal hands or the diagonals of the Tobe's ornamental borders are actively at work within this carefully composed solid. Through this formal integration the painter has created a warm, intimate physical and psychological interrelationship between mother and son which is quite different from the Rucellai Madonna. The embrace of the child's right arm and the gentle touch of his hand on the Virgin's chin complement and enrich the abstract beauty of line and mass. All this clearly indicates that the artist has modified and adjusted his Duccio-inspired Madonna to harmonize with the shape of the half-length format and to emphasize the new intimacy of its two principal figures. The prototype for the Oberlin child might be the angel at the low­ er right of the Rucellai Virgin's throne (fig. 5).6 The shape of the angel's chin and neck and the position of his left hand seem very close to the Oberlin baby. Once again, however, there are significant modi­ fications. The full roundness of the child's head and the change in its features clearly demonstrate that the artist has not slavishly copied the prototype but has changed it according to his own needs and tastes. The panel is, as one now senses, a highly sophisticated composition which owes a great deal, but certainly not everything, to Duccio's Rucellai Madonna of 1285. However, is there also a debt to the Maesta of 1308-1311? This is, of course, a critical question for the dating of our painting. When we compare the two works we find that there are a number of telling and important differences. The basic shape of the Maesta Madonna's face is less elongated. The pointed chin has almost disappeared and there is a new fleshy quality in the cheeks. Both the lips and nose no longer display as much of the elliptical curvature observed in either the Ober­ lin panel or the Rucellai Madonna. The same type of change also occurs in the chubby face from the Maesta. There is, throughout this late work, an interest in monumentality lacking in both the Rucellai and Oberlin Madonnas.

1 This suggestion was made by Richard Offner in a manuscript opinion of De­ cember 12, 1943. He also points out that the scroll pattern in the angel's halo corresponds almost exacdy to that of the ornamental border of the Oberlin panel.

119 u

3 2 Late Duecento Sienese painting was extremely conservative. Long periods of unbroken stylistic evolution, rather than quick and funda­ mental change characterize the school. Therefore, the differences we have just observed, although they may seem insignificant, are — rela­ tively speaking — enormous. There are, of course, many similarities between the three paintings. This is only natural when we consider that the mind and hand of Duccio are the basic factors behind all of them. But the clear dependency of the Oberlin panel on the Rucellai Madonna strongly suggests that our picture derives from the style of the early Duccio. Thus, Garrison's date of c. 1310-1320 seems most unlikely. But what of Meiss' suggestion that the Oberlin panel is by an artist working around 1300 who was influenced by the young Duccio? In order to investigate this statement we must turn to two other paint­ ings: the Crevole Madonna (fig. 6) in the Museo dell'Opera del Duomo in Siena and the Virgin panel (fig. 7) from polyptych no. 28 in the Pinacoteca di Siena. On the basis of its affinities with the Rucellai Madonna, the former has been convincingly attributed to Duccio and dated c. 1285.' An equally persuasive argument attributes the latter to Duccio around 1300-1305.8 A number of very striking similarities are apparent between the Crevole Madonna and the Oberlin panel such as the position and shape of the Madonna's hands or the children's hair. These shared features may indicate that the artist of our painting knew this early work by Duccio. There is, on the other hand, a great stylistic distance between the Oberlin panel and the Virgin of c. 1300-1305, which already exhibits many of the characteristics found in the later Maesta. Note, for example, how different from the Oberlin painting are the clearly defined substructure of the Madonna's face and the heavy voluminous folds of her headdress. That the Oberlin panel is much closer to the early Crevole Madonna than to the Virgin in the Siena Gallery suggests that Meiss' date of c. 1300 is too late.

Other paintings reinforce an earlier dating. Numerous panels by the followers of Duccio have survived and these reveal, almost without exception, the influence of the Maesta rather than the Rucellai Madonna.9 To put it another way, very few of the known panels from

7 Sandberg-Vavala, pp. 61-65 and Branch, pp. 13-19. 8 Sandberg-Vavala, pp. 71-75 and E. Carli, Guida della Pinacoteca di Siena, Milan, 1961, pp. 19-20. The four flanking saints of no. 28, Augustine, Paul, Peter and Dominic, are of a lesser quality and may reveal the intervention of Duccio's bottega. 9 See, for example, the illustrations in R. Van Alarle, The Italian Schools of Painting, The Hague, 1924, II, pp. 68-161.

121 the orbit of Duccio are as close to the 1285 Rucellai Madonna as is our painting. As Richard Offner has stated, It [the Oberlin panel] is the only painting within the range of Duccio's circle that shares the hellenic lyricism and the style typical of his early period.10 With all this in mind, it would seem more correct to suggest that the Oberlin Madonna and Child with St. Francis was painted by one of the first of Duccio's followers and that its unique proximity to the Rucellai Madonna dates it very near 1285. Bruce Cole

10 Offner, Manuscript Opinion. Offner further states that the Oberlin painting is "closer to the Rucellai panel than any work of Duccio's following known." However, he concludes by dating it "soon after 1300."

122 Accessions

PAINTINGS Roger de La Fresnaye, French, 1885- 1925 Ad Reinhardt, American, 1913-1967 Still Life with Compote Pencil heightened with white, 6 x Abstract Painting, 1948 3 Oil on canvas, 6 ft. 4 in. x 12 ft. 7 /4 in. Ruth C. Roush Fund for Contem­ Friends of Art Fund (67.24) porary Art (67.26) Alexander Archipenko, American, 1887-1964 Piet Mondrian, Dutch, 1872-1944 The Rape, 1944 or earlier Brabant Farmyard, 1904 Charcoal, 281?i« x 23 in. Oil on pulp paper mounted on can­ Gift of Ellen H. Johnson (67.25) vas, lS1^ x 19 in. Mrs. F. F. Prentiss Fund (67.47) Jack Levine, American, 1915- Study for "Medicine Show," ca. Francesco de Alura, Italian, 1696- 1955-56 1782 Pencil, 19V10X lP'/ioin. Pool of Bethesda, ca. 1760 Gift of Mr. and Mrs. Nathan Polo- Oil on canvas, 40¥i x 50% in. wetzky (67.29) Airs. F. F. Prentiss Fund (67.62) Elihu Vedder, American, 1836-1923 Giovanni Battista Rossi, Italian, 18th Landscape with Ruins, 1890 century Black crayon, 74%6 x 12% in. St. Cecilia Gift of Richard E. Spear (67.58) Oil on panel, 18%o x 13Vic, in. Mrs. F. F. Prentiss Fund (68.13) Gustave Dore, French, 1832-1883 Beggar Girl with two Babies, 1869 Black chalk, 14"/ic x 11% in. xMrs. F. F. Prentiss Fund (68.1)

DRAWINGS Gaetano Gandolfi, Italian, 1734-1802 Study of a Nude Elliott Offner, American, 1931- Black and red chalk, heightened with Study for Janus Head, ca. 1966 white, IGWw x 11 n/w in. Pencil, 15% x 21% in. Mrs. F. F. Prentiss Fund (68.2) Anonymous Gift (67.16) Antonio Domenico Gabbiani, Italian, Lester Johnson, American, 1919- 1652-1726 Head, 1960 Nike Holding Back a Bull (after Pencil, 16% x 13%6 in. an ancient relief) Gift of Henry Z. Friedlander (67.17) Red chalk, 10 x 141!Vw in. Friends of Art Fund (68.12) Robert De Niro, American, 1922- Still Life with Wooden Chair, Francesco Costa, Italian, 1672-1740 1960 Study of an Angel Pen and India ink, 13% x 16% in. Black chalk, 13 x 8%e in. Gift of Henry Z. Friedlander (67.18) Mrs. F. F. Prentiss Fund (68.18)

123 PRINTS Engraving, B. 1, D. 39 IV, Aleder 1, 2a Adja Yunkers, American, 1900- Gift of the Max Kade Foundation Summer in Venice I, 1966 (67.33) Lithograph Gift of The Print Club of Cleveland Albrecht Diirer, German, 1471-1528 (67.11) The Small Crucifixion, ca. 1518 Engraving, B. 23, D. 88, Meder 24,1 Gift of the Max Kade Foundation Sam Francis, American, 1923- (67.34) Blue Blood Stone, 1960 Lithograph Gift of Robert Al. Light in memory of Albrecht Durer, German, 1471-1528 Crucifixion, 1508 Freeman and Ara Light (67.13) Engraving, B. 24, D. 47, Meder 23 a Gift of the Max Kade Foundation Francesco Cozza, Italian, 1605-1682 (67.35) Mary Magdalen in the Desert, 1650 Albrecht Durer, German, 1471-1528 Etching, B. 3 Madonna with the Pear, 1511 Gift of Paul F. Walter in honor of Engraving, B. 41, D. 54, Aleder 33 a Richard E. Spear (67.27) Gift of the Alax Kade Foundation (67.36) Giovanni Benedetto Castiglione, Ital­ ian, 1616-1670 Albrecht Durer, German, 1471-1528 The Virgin at the Creche Madonna with the Monkey, ca. Etching, B. 7 1498 Gift of Paul F. Walter (67.28) Engraving, B. 42, D. 22, Meder 30 a Gift of the Alax Kade Foundation Alartin Schongauer, German, ca. (67.37) 1430-1491 Christ Carrying the Cross Albrecht Durer, German, 1471-1528 Engraving, B. 16, L. 26 Holy Family ("The Virgin with Gift of the Alax Kade Foundation the Dragonfly"), ca. 1495 (67.30) Engraving, B. 44, D. 4, Meder 42 h Gift of the Alax Kade Foundation Alartin Schongauer, German, ca. (67.38) 1430-1491 Christ on the Cross Albrecht Durer, German, 1471-1528 Engraving, B. 17, L. 27 St. Jerome in Penitence, ca. 1497 Gift of the Max Kade Foundation Engraving, B. 61, D. 11, Meder 57 (67.31) f (?) Gift of the Alax Kade Foundation Martin Schongauer, German, ca. (67.39) 1430-1491 The Entombment Albrecht Diirer, German, 1471-1528 Engraving, B. 18, L. 28 Coat-of-Arms with a Lion Ram­ Gift of the Alax Kade Foundation pant in the Shield and a Crowing (67.32) Cock for Crest, ca. 1503 Engraving, B. 100, D. 37, Meder 97 b Albrecht Durer, German, 1471-1528 Gift of the Max Kade Foundation Fall of Man (Adam and Eve), 1504 (67.40)

124 Rembrandt Harmensz van Rijn, Pieter Bruegel the Elder, Flemish, Dutch, 1606-1669 1525/30-1569 Ephraim Bonus, Jewish Physician, River Landscape with the Fall of 1647 Icarus, 1553 Etching, B., R., S. 278 II; H. 226 II Etching, Hollstein 2 Gift of the Alax Kade Foundation Airs. F. F. Prentiss Fund (67.51) (67.41) Rembrandt Harmensz van Rijn, Rembrandt Harmensz van Rijn, Dutch, 1606-1669 Dutch, 1606-1669 The Goldsmith, 1655 St. Jerome beside a Pollard Wil­ Etching, B., R., S. 1231; H. 285 I low, 1648 Airs. F. F. Prentiss Fund — Purchased B., R., S. 103 II; H. 232II in honor of Wolfgang Stechow Gift of the Alax Kade Foundation (67.52) (67.42) Stanley William Hayter, English, Rembrandt Harmensz van Rijn, 1901- Dutch, 1606-1669 Meron, 1958 Beggars Receiving Alms at the Etching Door of a House, 1648 Airs. F. F. Prentiss Fund (67.53) Etching, B., R., S. 176 II; H. 223 II Gift of the Alax Kade Foundation Adolf Gottlieb, American, 1903- (67.43) White Ground, Red Disc, 1966 Rembrandt Harmensz van Rijn, Lithograph Dutch, 1606-1669 Airs. F. F. Prentiss Fund (67.54) Landscape with Three Gabled Cot­ tages beside a P\oad, 1650 Paolo Boni, Italian, 1926- Etching, B., R., S. 217 III; H. 246 III Recueillement, 1966 Gift of the Alax Kade Foundation Relief and intaglio (67.44) Gift of The Print Club of Cleveland (67.55) Rembrandt Harmensz van Rijn, American Dutch, 1606-1669 Ten from Leo Castelli, 1967 Clement de Jonghe, Printseller, Portfolio of silkscreens and mixed 1651 media Etching, B., R., S. 272 IV; H. 251 IV Mrs. F. F. Prentiss Fund (67.56) Gift of the Alax Kade Foundation (67.45) Frank Stella, American, 1936- Rembrandt Harmensz van Rijn, Star of Persia II, 1967 Dutch, 1606-1669 Lithograph The Presentation in the Temple, Airs. F. F. Prentiss Fund (67.57) ca. 1654 Etching, B., R., S. 50; H. 279 Ellsworth Kelly, American, 1923- Gift of the Alax Kade Foundation Leaves (67.46) Lithograph General Acquisitions Fund (67.59) Albrecht Durer, German, 1471-1528 Sudarium Displayed by Two Alexander Calder, American, 1898- Angels, 1513 Les Scies Engraving, B. 25, D. 71, Aleder 26 b Lithograph Mrs. F. F. Prentiss Fund (67.50) General Acquisitions Fund (67.60)

125 Giulio Carpioni, Italian, 1611-1674 Etching, D.15 The Holy Family General Acquisitions Fund (68.17) Etching, B. 5 ii Gift of Paul F. Walter (67.63) Rembrandt Harmensz van Rijn, Dutch, 1606-1669 Gino Severini, French, 1883-1966 Man Standing in Oriental Cos­ Viaggio tume and Plumed Fur Cap, 1632 Lithograph Etching, B., R., S. 152; H. 93 Gift of Paul F. Walter (67.64) Gift of Mrs. John A. Hadden (68.20)

Thomas Barker (of Bath), English, Rembrandt Harmensz van Rijn, 1767-1847 Dutch, 1606-1669 Forty Lithographic Impressions Christ Preaching ("La Petite from Drawings by Thomas Barker, Tombe"), ca. 1652 1813 Etching, B., R., S. 67; H. 256 Lithograph/book Gift of Mrs. John A. Hadden (68.21) Samuel H. Kress Fund (68.5) Rembrandt Harmensz van Rijn, Victor Vasarely, Hungarian, 1908- Dutch, 1606-1669 CT-I02, 1966 Peter and John Healing the Crip­ Silkscreen, from portfolio of eight ple at the Gate of the Temple, Friends of Art Fund (68.6) 1659 Etching, B., R., S.94; H. 301 II Wolf Traut, German, ca. 1486-1520 Gift of Mrs. John A. Hadden (68.22) War in Gelderland, ca. 1515 Woodcut, Dodgson I, 323.5 Rembrandt Harmensz van Rijn, Friends of Art Fund (68.7) Dutch, 1606-1669 Abraham andlsaac, 1645 Jan Lievens, Dutch, 1607-1674 Etching, B., R., S. 34; H.214 The Hermit Gift of Airs. John A. Hadden (68.23) Etching, B. 6, Hollstein 17 Friends of Art Fund (68.8)

Edmond-Francois Aman-Jean, French, SCULPTURE 1860-1936 Mile Moreno de la Comedie Fran- Sir Jacob Epstein, English, 1880-1959 caise, 1897 Lucian Freud, 1947 Lithograph Plaster, 25% x 32% in. Friends of Art Fund (68.9) Gift of the Epstein Estate through Lady Kathleen Epstein by courtesy Anthony van Dyck, Flemish, 1599- of Dr. and Mrs. Alan J. Mishler 1641' (67.20) Frans Franck or Francken Etching, Alauquoy-Hendrickx 6, sec­ Sir Jacob Epstein, English, 1880-1959 ond state Tabitha, 1957 Friends of Art Fund (68.11) Plaster, H. 7% in. Gift of the Epstein Estate through Jean Francois Millet, French, 1814- Lady Kathleen Epstein by courtesy 1875 of Dr. and Airs. Alan J. Alishler La Cardeuse, 1855-63 (67.21)

126 Sir Jacob Epstein, English, 1880-1959 CERAA1ICS Head of Madonna from Cavendish Square Madonna and Child, 1950 German (Silesian), 2nd quarter 18th Plaster, 26 x 30 in. century Gift of the Epstein Estate through Goblet with cover Lady Kathleen Epstein by courtesy Glass, H. 9% in., with cover of Dr. and Airs. Alan J. Alishle'r Charles F. Olney Fund (67.48) (67.22) Italian (Venetian), 18th century Jules Dalou, French, 1838-1902 Covered vase La Verite meconnue Glass, H. 14% in., with cover Bronze, H. 8% in. Charles F. Olney Fund (67.49) Friends of Art Fund (67.23) Epiktetos, Greek, ca. 520 B.C. South India, Tanjore, late Chola- Kylix, redfigured early Vijayanagar Dynasty, 13th/ Terracotta, H. 5 in., Diam. 16 in. 14th century General Acquisitions Fund (67.61) Dancing Krishna as Subhramania Japanese (Hizen Province), Edo Peri­ Bronze, H. 1614 in. od, 1615-1867 Gift of Paul F. Walter (68.4) Plate, ca. 1650 Porcelain, Diam. 5% in. India, Rajasthan, Abeneri (?), 9th/ Gift of the Dallas-Fort Worth Alum­ 10th Century ni Club (68.3) Female Attendant (fragment from a stele) Sandstone, H. 8% in. COSTUA1ES Friends of Art Fund (68.10) (Helen Ward Alemorial Collection)

German (South), early 18th century Chinese, 19th century Allegory of Justice Pouch Boxwood, H. 11 in. Embroidered silk, 5% x 3% in. Mrs. F. F. Prentiss Fund (68.14) Gift of Aliss Alarion W. Mair (67.12)

Pierre Joseph Michel, French, 1737- Gallenga, Florence, Italy (made in 1812 America) A Muse Evening Coat, ca. 1930 Alarble, H.21%in. Black silk velvet, L. 47% in. Mrs. F. F. Prentiss Fund (68.15) Gift of Laurine Alack Bongiorno (67.14) Elie Nadelman, American, 1882-1946 Gallenga, Florence, Italy (made in Head of Mercury, ca. 1908 America) Alarble, H. 19% in. (with base) Evening Bag, ca. 1930 Mrs. F. F. Prentiss Fund (68.16) Red silk velvet, 6 x 7% in. Gift of Laurine Alack Bongiorno Donald Judd, American, 1928- (67.15) Untitled, 1967 French Painted galvanized iron, 5 x 25% x 9 Evening Bag, ca. 1920 in. Black silk and steel and onyx beads, Ruth C. Roush Fund for Contem­ 8x5% in. porary Art (68.19) Gift of Airs. John A. Rodgers (67.19)

127 MEMBERSHIP INFORMATION OBERLIN FRIENDS OF ART

Privileges of membership: All members will receive

A copy of each issue of the Bulletin

A discount on the new museum catalogue and on museum Christmas cards

Invitations to private receptions and previews at the Museum and to the annual members' acquisition party

Announcements of special exhibitions, Baldwin public lectures and other major events sponsored by the Museum

Free admission to the Friends of Art Film Series and the Friends of Art Concert Series

Categories of membership:

In Memoriam Memberships may be established by a contribution of $100 or more

Life Members contribute $100-$1,000 at one time to the Friends of Art Endowment Fund

Family Members contribute $25 annually

Sustaining Members contribute $10-$100 annually

Members contribute $5 - $10 annually

Student members contribute $3 - $10 annually

The adequate maintenance of the Museum and the development of its collection are dependent upon the assistance of its friends. We invite anyone interested in the Allen Memorial Art Museum of Oberlin College to contribute to its growth by becoming a Friend of Art under one of the foregoing groups.

128 STAFF OF THE MUSEUM

John R. Spencer, Director (absent) Mrs. Margery M. Williams. Librarian Wolfgang Stechow, Acting Director Mrs. Jan K. Muhlert, Assistant Curator Clarence Ward, Director Emeritus Mrs. Doris B. Moore. Assistant to Mrs. Chloe H. Young, the Director Curator of Collection (absent) Delbert Spurlock, Mrs. Athena Tacha Spear, Technical Assistant Curator of Modem Art Arthur Fowls. Head Custodian

INTERMUSEUM LABORATORY Richard D. Buck, Conservator Delbert Spurlock, Anne F. Clapp, Associate Conservator Assistant Conservator Mrs. Ruth Spider, Secretary Kenneth DuBois, Assistant C Conservator

MUSEUM PURCHASE COA1MITTEE

John R. Spencer, Chairman (absent) Mrs. Thalia Gouma Peterson Paul B. Arnold Mrs. Athena T. Spear Frederick B. Artz Richard E. Spear Richard D. Buck Wolfgang Stechow, Edward Capps, Jr. Acting Chairman Robert K. Cair Clarence Ward Ellen H. Johnson Forbes Whiteside John W. Kneller Mrs. Chloe H. Young (absent) Donald M. Love

EDITOR OF THE RULLETIN MUSEUM HOURS Wolfgang Stechow School Year: Monday through Friday 10:00-12:00 a.m. (side gate) PHOTOGRAPHER 1:30-4:30 and 7:00-9:00 p.m. Arthur E. Princehorn Saturday 2:00-5:30 p.m. Sunday 2:00-5:30 pjn.

Summer: PUBLICATIONS Alonday through Friday The Bulletin, photographs, 10:00-12:00 a.m. postcards, slides and color 2:00-4:00 p.m. reproductions are on sale at Saturday 2:00-5:00 p.m. the Museum Sunday 2:00-6:00 p.m.