{ "objects" : [ { "embark_ID" : 892, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/892", "Disp_Access_No" : "1979.23", "_AccNumSort1" : "", "Disp_Create_DT" : "1970", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "1970", "Disp_Title" : "Eva May", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Darryl Abraham", "Sort_Artist" : "Abraham, Darryl", "Disp_Dimen" : "12 1/2 x 20 1/2 x 12 1/2 in. (31.8 x 52.1 x 31.8 cm)", "Disp_Height" : "12 1/2 in.", "Disp_Width" : "20 1/2 in.", "Dimen_Extent" : "", "Medium" : "Mixed media", "Support" : "", "Disp_Medium" : "Mixed media", "Info_Page_Comm" : "", "Dedication" : "Gift of Benjamin P. Nicolette", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Not photographed during inventory 6/13/11 due to plexi case", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/79.23_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/79.23_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/79.23_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/79.23_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39552", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 12886, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/12886", "Disp_Access_No" : "2005.11", "_AccNumSort1" : "", "Disp_Create_DT" : "2003", "_Disp_Start_Dat" : "2003", "_Disp_End_Date" : "2003", "Disp_Title" : "North River, Marshfield, MA", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Carol Acquilano", "Sort_Artist" : "Acquilano, Carol", "Disp_Dimen" : "22 1/4 x 30 in. (56.5 x 76.2 cm)", "Disp_Height" : "22 1/4 in.", "Disp_Width" : "30 in.", "Dimen_Extent" : "sheet", "Medium" : "Paint and ink", "Support" : "paper", "Disp_Medium" : "Sumi ink and acrylic wash on paper", "Info_Page_Comm" : "", "Dedication" : "Purchased with funds contributed in memory of Gallery friend Frank Zahniser", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.11_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.11_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.11_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.11_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "21509", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 187, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/187", "Disp_Access_No" : "1975.12", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "Sunny Ducks", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Daniel Arthur Allen", "Sort_Artist" : "Allen, Daniel Arthur", "Disp_Dimen" : "5 3/16 x 3 7/16 in. (13.1 x 8.8 cm)", "Disp_Height" : "5 3/16 in.", "Disp_Width" : "3 7/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Acrylic", "Support" : "board", "Disp_Medium" : "Acrylic on board", "Info_Page_Comm" : "Nearly 40 years after it entered MAG’s collection, Daniel Allen’s tiny painting was re-discovered by an intern updating records for the museum website. Its quirky sense of humor and mysterious narrative caught her eye. Intern Sarah Gerin says: “Sunny Ducks’ intrigue lies in its ambiguity. It is kind and comforting, yet still forlorn and remote. In the painting, there is no context for what interaction is taking place, where it is taking place, or even its significance. With its enigmatic imagery and striking sense of both kindness and solitude, this scene reveals a clever and playful approach to the universal themes of isolation, alienation, and human relationships.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of William Whiting and the Arthur Allen family in memory of Daniel Allen", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.12_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.12_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.12_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.12_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "16336", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6344, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6344", "Disp_Access_No" : "1997.181", "_AccNumSort1" : "", "Disp_Create_DT" : "1970", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "1970", "Disp_Title" : "Yellow Face", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Karel Appel", "Sort_Artist" : "Appel, Karel", "Disp_Dimen" : "31 1/2 x 23 1/4 in. (80 x 59.1 cm)", "Disp_Height" : "31 1/2 in.", "Disp_Width" : "23 1/4 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "", "Disp_Medium" : "Color serigraph", "Info_Page_Comm" : "", "Dedication" : "Gift of Ron Kransler in memory of Karl W. Taylor", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "Dutch", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.181_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.181_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.181_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.181_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39130", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4232, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4232", "Disp_Access_No" : "1956.17", "_AccNumSort1" : "", "Disp_Create_DT" : "1732", "_Disp_Start_Dat" : "1732", "_Disp_End_Date" : "1732", "Disp_Title" : "Coffee Pot", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Peter Archambo", "Sort_Artist" : "Archambo, Peter", "Disp_Dimen" : "8 1/2 x 7 3/8 x 4 1/2 in. (21.6 x 18.7 x 11.4 cm)", "Disp_Height" : "8 1/2 in.", "Disp_Width" : "7 3/8 in.", "Dimen_Extent" : "overall", "Medium" : "Silver", "Support" : "", "Disp_Medium" : "Silver and ivory", "Info_Page_Comm" : "In 18th-century Britain, sterling silver was the “coinage of the realm,” and literally worth its weight. The ownership of silver goods, however, was more than a display of wealth; it was also an expression of a patron’s taste, education, and power. The government recognized the importance of the silversmiths’ trade to the economy, and closely monitored the quality and hierarchy of British artisans through requirements for silver weights and hallmarks. Their wide variety of goods found markets at the royal court, among a growing professional and merchant class, and through expanding international trade. Quality British silver of this period has long been a favorite of private collectors. The majority of MAG’s collection of continental and English silver comes from the Woodward family, who donated over 70 pieces in the 1950s. [Label text from It Came From the Vault exhibition, 2013] ", "Dedication" : "Bequest of Mrs. Edith H. Woodward", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Metalwork", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/56.17_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/56.17_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/56.17_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/56.17_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "32076", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14090, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14090", "Disp_Access_No" : "2006.33", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Untitled (6 figures)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Eddie Arning", "Sort_Artist" : "Arning, Eddie", "Disp_Dimen" : "21 15/16 x 16 1/16 in. (55.8 x 40.8 cm)", "Disp_Height" : "21 15/16 in.", "Disp_Width" : "16 1/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Pastel", "Support" : "paper", "Disp_Medium" : "Pastel on paper", "Info_Page_Comm" : "Born into a Texas farming family, Eddie Arning spent most of his adult life in hospitals and institutions with a diagnosis of schizophrenia. In 1964, at the age of 66, he was given crayons and paper as part of an early art therapy project. Over the next nine years, he produced more than 2,000 drawings, many based on magazine advertisements he ripped out and saved. His hostile attitude caused him to be removed from the mental hospital in 1973; he lived the remainder of his life in a nursing home without ever again creating a piece of art. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Bequest of Sylvia Davis", "Copyright_Type" : "No existing copyright holder", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2006.33_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2006.33_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2006.33_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2006.33_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "23946", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 193, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/193", "Disp_Access_No" : "1945.59", "_AccNumSort1" : "", "Disp_Create_DT" : "1941", "_Disp_Start_Dat" : "1941", "_Disp_End_Date" : "1941", "Disp_Title" : "The Garden", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Darrel Austin", "Sort_Artist" : "Austin, Darrel", "Disp_Dimen" : "20 x 24 in. (50.8 x 61 cm)", "Disp_Height" : "20 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This bizarre, spectral landscape was purchased from the Gallery’s 1945 exhibition The A B C’s of Modern Art, organized to foster a more liberal point of view amongst the Gallery’s audience. Painted in thick layers with a palette knife, Darrel Austin’s primordial visions were often peopled by predatory cats and shimmering female figures, as in The Garden. A frank reviewer in the Art Digest wrote in 1942, “It’s hard to explain Darrel Austin’s art, because he can’t explain it himself . So the most sensible approach for the viewer is just to enjoy them without thinking too logically.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Copyright Holder Not Found", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/45.59_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/45.59_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/45.59_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/45.59_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39384", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 2945, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2945", "Disp_Access_No" : "1977.152.230", "_AccNumSort1" : "", "Disp_Create_DT" : "1949", "_Disp_Start_Dat" : "1949", "_Disp_End_Date" : "1949", "Disp_Title" : "Back Female Nude", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ralph Avery", "Sort_Artist" : "Avery, Ralph", "Disp_Dimen" : "16 1/8 x 11 7/8 in. (41 x 30.1 cm)", "Disp_Height" : "16 1/8 in.", "Disp_Width" : "11 7/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor with graphite on paper", "Info_Page_Comm" : "Ralph Avery graduated from Mechanics Institute (now RIT) in 1928 and taught there for over 25 years. He achieved local acclaim for his watercolor depictions of our city, particularly its Third Ward, as it was being forever changed by urban renewal in the 1960s. But his national commissions were equally impressive, helping to blur the distinction between illustration and fine art; his landscapes and city views were featured on the cover of Reader’s Digest 14 times. Avery bequeathed the contents of his studio to MAG. Among the works that entered the collection was this uncharacteristic but very beautiful sketch of a female nude. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of the Estate of Ralph Avery", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.152.230_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.152.230_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.152.230_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.152.230_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "28511", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3529, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3529", "Disp_Access_No" : "1977.152.51", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Jonathan Child House, South Washington Street, Rochester", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ralph Avery", "Sort_Artist" : "Avery, Ralph", "Disp_Dimen" : "10 1/4 x 13 3/16 in. (26 x 33.5 cm)", "Disp_Height" : "10 1/4 in.", "Disp_Width" : "13 3/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor and gouache with graphite on paper", "Info_Page_Comm" : "This 1837 “Greek Revival” mansion is actually designed in the style of a Roman temple, with large Corinthian columns defining the front façade. Like innumerable structures found across the U.S., it represents the American fondness for adopting classical architecture styles for important buildings of political power and prestige. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of the Estate of Ralph Avery", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.152.51_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.152.51_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.152.51_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.152.51_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "28488", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 195, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/195", "Disp_Access_No" : "1946.45", "_AccNumSort1" : "", "Disp_Create_DT" : "1936", "_Disp_Start_Dat" : "1936", "_Disp_End_Date" : "1936", "Disp_Title" : "New Hope Skyline", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ralph Avery", "Sort_Artist" : "Avery, Ralph", "Disp_Dimen" : "20 x 24 in. (50.8 x 61 cm)", "Disp_Height" : "20 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Ralph Avery is well-known locally for his views of downtown Rochester. In this early painting, however, he depicts the Stockton Avenue Bridge crossing over Ingham Creek in the vibrant artists’ colony at New Hope, PA. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/46.45_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/46.45_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/46.45_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/46.45_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39385", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 197, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/197", "Disp_Access_No" : "1922.37", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Blue Hydrangeas", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Alice Worthington Ball", "Sort_Artist" : "Ball, Alice Worthington", "Disp_Dimen" : "34 x 40 in. (86.4 x 101.6 cm)", "Disp_Height" : "34 in.", "Disp_Width" : "40 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Alice Worthington Ball studied in Paris and lived variously in Boston, Baltimore, and Gloucester. In 1910, the Christian Science Monitor offered her this early if somewhat backhanded praise: “Miss Ball has mastered the craft and paints like a man.” Four years later, the Boston Evening Transcript was more specific: “Miss Ball is not a timid painter. She wields an emphatic brush.” At the conclusion of her one-person exhibition at MAG in April 1922, she presented this large, harmonious canvas as a gift. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of the artist", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/22.37_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/22.37_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/22.37_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/22.37_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15719", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8550, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8550", "Disp_Access_No" : "1970.26", "_AccNumSort1" : "", "Disp_Create_DT" : "1922", "_Disp_Start_Dat" : "1922", "_Disp_End_Date" : "1922", "Disp_Title" : "Dance of Death II (Totentanz II)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ernst Barlach", "Sort_Artist" : "Barlach, Ernst", "Disp_Dimen" : "12 7/8 x 18 in. (32.7 x 45.7 cm)", "Disp_Height" : "12 7/8 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "Ernst Barlach was an Expressionist sculptor, printmaker, and playwright who worked in a wide range of media. Like many other German artists of the period, he initially believed that war could serve as a catalyst that would disrupt the artifice and spiritual complacency of contemporary German society. His time in the military exposed him to the horrors of war, an experience that frequently emerges in the dark intensity of his later work. In the early 1920s, Barlach began to experiment with the medium of woodcut, looking back to the late medieval period for both style and subject matter. [Label text from It Came From the Vault exhibition, 2013] Plate 4 of 7 from the portfolio The Transformations of God: Seven Woodcuts (Die Wandlungen Gottes: Sieben Holzschnitte)", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "German", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/70.26_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/70.26_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/70.26_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/70.26_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "24155", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6704, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6704", "Disp_Access_No" : "1991.86", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1650", "_Disp_Start_Dat" : "1645", "_Disp_End_Date" : "1655", "Disp_Title" : "The Sun King", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Stefano della Bella", "Sort_Artist" : "Bella, Stefano della", "Disp_Dimen" : "10 11/16 x 5 15/16 in. (27.2 x 15.1 cm)", "Disp_Height" : "10 11/16 in.", "Disp_Width" : "5 15/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Pen and ink", "Support" : "paper", "Disp_Medium" : "Ink and chalk on paper", "Info_Page_Comm" : "This delicate drawing shows Louis XIV, King of France, participating in a court ballet. Although highly decorative, it is an elegant and detailed portrait of a young man who, despite his age, has a commanding presence. It is also a romantic portrait of The Sun King, as he was called, who would ultimately become the most famous of French monarchs. Born into a family of painters, sculptors, and goldsmiths, Stefano della Bella was quite possibly the most important Florentine artist of the 1600s. In 1633, he was sent to Rome to work for the wealthy and powerful Medici family, great patrons of the arts. Six years later, he traveled to Paris with the Medici ambassador to the court of King Louis XIII; his patrons included members of the French royal family, nobility, and publishers. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91.86_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.86_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.86_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.86_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37965", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3554, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3554", "Disp_Access_No" : "1958.65", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1950", "_Disp_Start_Dat" : "1945", "_Disp_End_Date" : "1955", "Disp_Title" : "Cemetery, Père Lachaise", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ludwig Bemelmans", "Sort_Artist" : "Bemelmans, Ludwig", "Disp_Dimen" : "17 3/4 x 25 7/8 in. (45.1 x 65.7 cm)", "Disp_Height" : "17 3/4 in.", "Disp_Width" : "25 7/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor on paper", "Info_Page_Comm" : "Perhaps best known as the illustrator of the popular Madeline books, Ludwig Bemelmans breathes unexpected life into Père Lachaise cemetery in Paris. Established by Napoleon in 1803, the 125-acre cemetery is the final resting place of such famous figures as Héloise and Abelard, Honoré de Balzac, Frederic Chopin, Oscar Wilde, and Jim Morrison. At least six gendarmes are depicted in this watercolor, most giving directions to bewildered tourists and one giving chase to a dog on the loose. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Anonymous gift", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/58.65_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/58.65_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/58.65_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/58.65_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39549", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 206, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/206", "Disp_Access_No" : "1966.24", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Portrait of a Man", "Alt_Title" : "Unknown Gentleman", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Henry Benbridge", "Sort_Artist" : "Benbridge, Henry", "Disp_Dimen" : "29 1/4 x 19 1/4 in. (74.3 x 48.9 cm)", "Disp_Height" : "29 1/4 in.", "Disp_Width" : "19 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This portrait was attributed to the German artist Johann Zoffany when it was acquired by Memorial Art Gallery in 1966. Prompted by MAG director Harris Prior, Smithsonian curator Robert Stewart investigated further and came to the conclusion that the American-born portraitist Henry Benbridge was the true artist. Shortly thereafter, this portrait was loaned to an exhibit of Benbridge’s work in the National Portrait Gallery in Washington, DC. Stewart described it as “one of the nicest of what I call his ‘portraits in the small.’” The elongated forehead, proportionately small body, and decorative plant matter in the foreground are hallmarks of Benbridge’s style. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "listed in bill of sale as painting by Zoffany", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/66.24_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/66.24_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/66.24_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/66.24_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12433", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5519, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5519", "Disp_Access_No" : "1929.44", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1725", "_Disp_Start_Dat" : "1720", "_Disp_End_Date" : "1730", "Disp_Title" : "Plate", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Cornelius De Berg", "Sort_Artist" : "Berg, Cornelius De", "Disp_Dimen" : "1 x 8 3/4 x 8 3/4 in. (2.5 x 22.2 x 22.2 cm)", "Disp_Height" : "1 in.", "Disp_Width" : "8 3/4 in.", "Dimen_Extent" : "overall", "Medium" : "Faience", "Support" : "", "Disp_Medium" : "Faience", "Info_Page_Comm" : "Mrs. John Oothout’s fine collection of Delftware was well-known in part because it contained several examples purchased from the French writer Emile Zola, also a connoisseur of the pottery. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Mrs. John Oothout", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Ceramics", "Creation_Place2" : "Dutch", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/29.44_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/29.44_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/29.44_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/29.44_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "39348", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3007, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3007", "Disp_Access_No" : "1974.32", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "Potato Salad Man", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Peter Berg", "Sort_Artist" : "Berg, Peter", "Disp_Dimen" : "30 x 36 1/2 in. (76.2 x 92.7 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "36 1/2 in.", "Dimen_Extent" : "sheet", "Medium" : "Pen and ink", "Support" : "illustration board", "Disp_Medium" : "Pen and ink on illustration board", "Info_Page_Comm" : "Peter Berg, one of Rochester’s most beloved artists, graduated from Rochester Institute of Technology the same year he drew "Potato Salad Man." At the time of his death at age 43, he was an instructor of painting and drawing at MAG’s Creative Workshop. Visitors who remember his subject, the poet and former MAG educator Jim Lavilla-Havelin, will attest to Berg’s ability to render both the physical appearance and the emotional presence of his sitters. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.32_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.32_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.32_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.32_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39093", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 212, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/212", "Disp_Access_No" : "1952.50", "_AccNumSort1" : "", "Disp_Create_DT" : "1950-1952", "_Disp_Start_Dat" : "1950", "_Disp_End_Date" : "1952", "Disp_Title" : "Fishwife", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Paul S. Berry", "Sort_Artist" : "Berry, Paul S.", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "For many years, works from the annual Rochester-Finger Lakes Exhibition were purchased by MAG for the permanent collection. Fishwife, by Syracuse artist Paul S. Berry, is an example of such an acquisition made from the 1952 show. Its survival may rest on the fact that it entered the museum’s collection so soon after it was painted, as every August the artist would evaluate the contents of his studio and destroy anything that wasn’t up to his exacting standards. According to Berry’s widow, Fishwife is painted in a style quite different from most of his work. A turbaned Haitian woman lifts an enormous, wide-eyed fish from a wicker basket; the diagonal line of her muscular arm echoes the ramshackle roofline of the building behind her. The influence of photography is seen in the arm of a third person poking in from the left side of the composition. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Art Patrons' Purchase Award, 1952 Rochester - Finger Lakes Exhibition", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/52.50_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/52.50_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/52.50_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/52.50_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39601", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 7058, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7058", "Disp_Access_No" : "1991.79", "_AccNumSort1" : "", "Disp_Create_DT" : "1864", "_Disp_Start_Dat" : "1864", "_Disp_End_Date" : "1864", "Disp_Title" : "People on the Beach at Trouville (Personnages sur la plage à Trouville)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Eugène-Louis Boudin", "Sort_Artist" : "Boudin, Eugène-Louis", "Disp_Dimen" : "6 9/16 x 12 9/16 in. (16.6 x 31.9 cm)", "Disp_Height" : "6 9/16 in.", "Disp_Width" : "12 9/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Watercolor", "Support" : "laid paper", "Disp_Medium" : "Watercolor over pencil on laid paper, laid down on brown wove paper", "Info_Page_Comm" : ""I have never forgotten that you were the first who taught me to see and to comprehend." --Claude Monet to Eugène Boudin, 1892 Eugène Boudin’s method of painting beach scenes en plein air and his attention to rendering the changes in natural light caused by weather and the time of day had a particular influence on the early work of Claude Monet. Best known for his paintings of vacationers on the beaches of the village of Trouville, Boudin was himself somewhat ambivalent about the idle nature of his subjects. The true focus of his paintings was natural light. As he wrote in a letter to a friend, "Should I confess it? This beach at Trouville which used to be my delight, now, since my return, seems like a frightful masquerade….When you’ve just spent a month among people devoted to the rough work of the fields, to black bread and water, and then you see again this bunch of gilded parasites who have so triumphant an air, it strikes you as pitiable and you feel a certain shame in painting such idleness. Fortunately…the Creator has spread out everywhere his splendid and warming light, and it is less this society that we produce than the element which envelops it." [Label copy from Monet: Vision and Process exhibition, 2018] Boudin’s method of painting beach scenes en plein air (“in the open air”) is linked to the work of the Impressionists. His attention to rendering the changes in natural light caused by weather and the time of day had a particular influence on the early work of Claude Monet. Although best known for his paintings of vacationers on the beaches of the village of Trouville, he was somewhat ambivalent about his subjects. The true focus of his paintings was natural light. As he wrote in a letter to a friend upon his return from Brittany, where he had painted peasants laboring in the fields: “Should I confess it? This beach at Trouville which used to be my delight, now, since my return, seems like a frightful masquerade…When you’ve just spent a month among people devoted to the rough work of the fields, to black bread and water, and then you see again this bunch of gilded parasites who have so triumphant an air, it strikes you as pitiable and you feel a certain shame in painting such idleness. Fortunately…the Creator has spread out everywhere his splendid and warming light, and it is less this society that we produce than the element which envelops it.” [Label text from It Came From the Vault exhibition, 2013] ", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91.79_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.79_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.79_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.79_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37964", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6782, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6782", "Disp_Access_No" : "1913.10", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1900", "_Disp_Start_Dat" : "1895", "_Disp_End_Date" : "1905", "Disp_Title" : "Morning Star", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Eugen Bracht", "Sort_Artist" : "Bracht, Eugen", "Disp_Dimen" : "29 3/4 x 34 1/2 in. (75.6 x 87.6 cm)", "Disp_Height" : "29 3/4 in.", "Disp_Width" : "34 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "board", "Disp_Medium" : "Oil on board", "Info_Page_Comm" : "", "Dedication" : "Gift of Emily Sibley Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "German", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13.10_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13.10_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13.10_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13.10_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "20064", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 236, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/236", "Disp_Access_No" : "1964.11", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "The Bath -- Watermill (Berta's) (2)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Warren Brandt", "Sort_Artist" : "Brandt, Warren", "Disp_Dimen" : "72 x 80 in. (182.9 x 203.2 cm)", "Disp_Height" : "72 in.", "Disp_Width" : "80 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Warren Brandt’s obituary in the New York Times described him as “a painter whose dalliance with Abstract Expressionism gave way to a style of realism and domestic warmth.” [Label text from It Came From the Vault exhibition, 2013] Berta Borgenicht was the artist's stepdaughter and daughter of Grace Borgenicht, Warren Brandt's second wife. Grace Borgenicht was a gallery owner in New York City. Water Mill is a town on the eastern end of Long Island, New York. ", "Dedication" : "Gift of Mrs. Albert List", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/64.11_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.11_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.11_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.11_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39416", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 3570, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3570", "Disp_Access_No" : "1959.60", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Mourning Painting", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Celia or Clarissa Burt", "Sort_Artist" : "Burt, Celia or Clarissa", "Disp_Dimen" : "20 3/4 x 18 1/4 in. (52.7 x 46.4 cm)", "Disp_Height" : "20 3/4 in.", "Disp_Width" : "18 1/4 in.", "Dimen_Extent" : "image", "Medium" : "Watercolor", "Support" : "silk", "Disp_Medium" : "Watercolor and gouache on silk with embroidery and chenille", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/59.60_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/59.60_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/59.60_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/59.60_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39550", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1408, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1408", "Disp_Access_No" : "1951.77", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "House in the Trees", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rosalie Macgill Carey", "Sort_Artist" : "Carey, Rosalie Macgill", "Disp_Dimen" : "6 7/16 x 5 1/16 in. (16.4 x 12.9 cm)", "Disp_Height" : "6 7/16 in.", "Disp_Width" : "5 1/16 in.", "Dimen_Extent" : "sheet (irregular)", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Gift of the Estate of Emily and James Sibley Watson", "Copyright_Type" : "Copyright Holder Not Found", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.77_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.77_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.77_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.77_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39426", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3572, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3572", "Disp_Access_No" : "1978.75", "_AccNumSort1" : "", "Disp_Create_DT" : "1977", "_Disp_Start_Dat" : "1977", "_Disp_End_Date" : "1977", "Disp_Title" : "Melon Glow", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jon Carsman", "Sort_Artist" : "Carsman, Jon", "Disp_Dimen" : "22 5/8 x 30 5/16 in. (57.5 x 77 cm)", "Disp_Height" : "22 5/8 in.", "Disp_Width" : "30 5/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor on paper", "Info_Page_Comm" : "", "Dedication" : "Gift of Dr. and Mrs. Harrison H. Shoulders", "Copyright_Type" : "Copyright Holder Not Found", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.75_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.75_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.75_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.75_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39095", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1419, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1419", "Disp_Access_No" : "1957.56", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Rock Cross", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edmond Casarella", "Sort_Artist" : "Casarella, Edmond", "Disp_Dimen" : "32 3/4 x 25 13/16 in. (83.2 x 65.6 cm)", "Disp_Height" : "32 3/4 in.", "Disp_Width" : "25 13/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "wove paper", "Disp_Medium" : "Color woodcut", "Info_Page_Comm" : "Edmond Casarella used cardboard carved in relief to create this print. It follows from preliminary sketches he made of rocks along the Maine coast. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/57.56_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/57.56_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/57.56_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/57.56_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39428", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7518, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7518", "Disp_Access_No" : "1980.41", "_AccNumSort1" : "", "Disp_Create_DT" : "1960", "_Disp_Start_Dat" : "1960", "_Disp_End_Date" : "1960", "Disp_Title" : "Black Beast", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Lynn Chadwick", "Sort_Artist" : "Chadwick, Lynn", "Disp_Dimen" : "40 x 79 1/4 x 28 in. (101.6 x 201.3 x 71.1 cm)", "Disp_Height" : "40 in.", "Disp_Width" : "79 1/4 in.", "Dimen_Extent" : "overall", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "The British sculptor Lynn Chadwick trained and worked as a draftsman until after World War II, when he began to experiment with openwork metal in the form of mobiles. After taking a welding course in 1950, he moved to the production of solid sculptures in bronze. His primary subject matter during this time was the human figure; he also made a number of large-scale bronze sculptures of abstract aggressive, angular creatures such as MAG’s Black Beast. Although easily recognizable as an animal form, the roughened bronze lacks specific naturalistic features such as ears, eyes, and hooves. Chadwick focuses instead on expressing the beast’s massive, dynamic brute force through the sculpture’s surface texture and form. The areas of discoloration on Black Beast’s surface are not the original intent of the artist, but a result of the many years the sculpture stood in MAG’s old sculpture garden on the north side of the building. When conservation funds permit, the stained areas will be treated and the sculpture applied with a protective coating suitable for outdoor display. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Charles Rand Penney", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/80.41_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/80.41_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/80.41_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/80.41_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "39369", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 14088, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/14088", "Disp_Access_No" : "2006.24", "_AccNumSort1" : "", "Disp_Create_DT" : "1956", "_Disp_Start_Dat" : "1956", "_Disp_End_Date" : "1956", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hilda Altschule Coates", "Sort_Artist" : "Coates, Hilda Altschule", "Disp_Dimen" : "21 1/2 x 30 1/16 in. (54.6 x 76.4 cm)", "Disp_Height" : "21 1/2 in.", "Disp_Width" : "30 1/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Ink", "Support" : "paper", "Disp_Medium" : "Ink, gouache and pastel", "Info_Page_Comm" : "", "Dedication" : "Bequest of Sylvia Davis", "Copyright_Type" : "Copyright Holder Not Found", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2006.24_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2006.24_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2006.24_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2006.24_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "23967", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 188, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/188", "Disp_Access_No" : "1983.12", "_AccNumSort1" : "", "Disp_Create_DT" : "1939", "_Disp_Start_Dat" : "1939", "_Disp_End_Date" : "1939", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hilda Altschule Coates", "Sort_Artist" : "Coates, Hilda Altschule", "Disp_Dimen" : "42 x 35 in. (106.7 x 88.9 cm)", "Disp_Height" : "42 in.", "Disp_Width" : "35 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "From her limited formal art training, Hilda Altschule Coates evolved a personal and expressive style. What could Coates have embedded in this seemingly symbol-laden still life arranged in a corner of her apartment on Alexander Street? The initial sensation the viewer experiences is vertigo due to the dizzying perspective of the table and the white lily leaning towards the open third-floor window. Curiosity comes next. Who are the seven glasses for? Shouldn’t the lemon be in the empty fruit bowl rather than on the precipitously-tilted table? And why a white lily, traditionally a symbol of purity located near the Virgin Mary in paintings of the Annunciation? Unfortunately, a personal interpretation is lost to us as this painting was given to the Gallery after the artist’s death in 1983. [Label text from It Came From the Vault exhibition, 2013] “My art education is, and has been, without benefit of art school. I say this neither boastfully nor apologetically, simply with a wish to report the facts.” So wrote Hilda Altschule Coates, whose formal art training consisted of an undergraduate painting class while she worked on a degree in natural sciences at Hunter College, and another while pursuing her master’s degree in philosophy at Cornell University. Studying and working on her own, she evolved a style which she felt depended upon emotive rather than cerebral elements for its impact. Many of Altschule’s paintings of the 30s and 40s are studies of interiors that draw the eye around a room and out the window to the world outside. This particular canvas shows the view from her apartment on Alexander Street in Rochester. The eccentric perspective and a fascination with surfaces – the cloudy glass of the goblets, the reflective tray upon which they rest, the warm patina of an antique table, and the glossy leaves of the lily plant – are characteristic of Altschule’s early work. The lily is a symbol of purity; legend has it that the first lily sprang up from the tears Eve shed when she was expelled from the Garden of Eden. [Gallery label text, 1994]", "Dedication" : "Anonymous gift in memory of Willson H. and Hilda Altschule Coates", "Copyright_Type" : "Copyright Holder Not Found", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/83.12_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.12_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.12_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.12_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39388", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 280, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/280", "Disp_Access_No" : "1957.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1955", "_Disp_Start_Dat" : "1955", "_Disp_End_Date" : "1955", "Disp_Title" : "Eiffel Tower #1", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William Congdon", "Sort_Artist" : "Congdon, William", "Disp_Dimen" : "43 1/2 x 35 1/2 in. (110.5 x 90.2 cm)", "Disp_Height" : "43 1/2 in.", "Disp_Width" : "35 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "composition board", "Disp_Medium" : "Oil and mixed media on composition board", "Info_Page_Comm" : "Once a prominent member of the New York School, William Congdon’s name has drifted into obscurity. His youthful wanderlust led him to Italy, France, Mexico, Turkey, Cambodia, and Africa on painting expeditions. Eiffel Tower #1 shows his characteristic use of a jack knife or the edge of a spatula to incise energetic lines into his paint, here suggesting the lacy ironwork of the French icon. In 1959, after years of emotional and creative turmoil, he retreated from public view and spent the last decades of his life as artist-in-residence at a Benedictine monastery near Milan. Shortly after his death, the New York Times wrote that “Most museums store their Congdons with countless other works deemed too marginal to show and too meaningful to sell.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Copyright Holder Not Found", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/57.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/57.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/57.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/57.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39419", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop. Rephotograph with less glare", "View" : "" } , ] },{ "embark_ID" : 283, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/283", "Disp_Access_No" : "1914.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1900", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1900", "Disp_Title" : "Stairway of Francis I at Blois", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Colin Campbell Cooper", "Sort_Artist" : "Cooper, Colin Campbell", "Disp_Dimen" : "32 1/4 x 24 in. (81.9 x 61 cm)", "Disp_Height" : "32 1/4 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "American-born painter Colin Campbell Cooper infused life into his paintings with an impressionist’s sense of air and light. After training in Philadelphia and Paris, he married fellow-artist and Rochester native Emma Lampert and the couple travelled around Europe and much of the world. Cooper painted subjects ranging from the Taj Mahal in India to the Main Street Bridge in Rochester, and was represented in MAG’s inaugural exhibition in 1913. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Hiram W. Sibley", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/14.5_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14.5_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14.5_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14.5_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39382", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 3708, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3708", "Disp_Access_No" : "1920.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1891", "_Disp_Start_Dat" : "1891", "_Disp_End_Date" : "1891", "Disp_Title" : "The Breadwinner", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Emma Lampert Cooper", "Sort_Artist" : "Cooper, Emma Lampert", "Disp_Dimen" : "20 x 24 in. (50.8 x 61 cm)", "Disp_Height" : "20 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor on paper", "Info_Page_Comm" : "Emma Lampert of Nunda, NY, studied at the Art Students League and taught at Mechanics Institute (now RIT) before marrying the well-known painter, Colin Campbell Cooper. This view of a Dutch interior was exhibited widely both here and abroad; it garnered several awards, including a medal at the 1893 World’s Columbian Exposition. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Colin Campbell Cooper", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/20.3_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/20.3_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/20.3_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/20.3_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "28019", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "This photo was taken after conservation treatment undertaken by Patricia Hamm in 2008.", "View" : "" } , ] },{ "embark_ID" : 3584, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3584", "Disp_Access_No" : "1985.26", "_AccNumSort1" : "", "Disp_Create_DT" : "1984", "_Disp_Start_Dat" : "1984", "_Disp_End_Date" : "1984", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "David Cummings", "Sort_Artist" : "Cummings, David", "Disp_Dimen" : "13 5/8 x 9 3/4 in. (34.6 x 24.8 cm)", "Disp_Height" : "13 5/8 in.", "Disp_Width" : "9 3/4 in.", "Dimen_Extent" : "", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor on paper", "Info_Page_Comm" : "", "Dedication" : "Gift of Richard Roepke", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/85.26_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/85.26_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/85.26_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/85.26_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "32328", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image not for print or web", "View" : "" } , ] },{ "embark_ID" : 3080, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3080", "Disp_Access_No" : "1997.14", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1924", "_Disp_Start_Dat" : "1919", "_Disp_End_Date" : "1929", "Disp_Title" : "Charlie Chaplin", "Alt_Title" : " Chaplin with Rose, Charles Spencer Chaplin", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "E. E. Cummings", "Sort_Artist" : "Cummings, E. E.", "Disp_Dimen" : "25 1/2 x 19 3/8 in. (64.8 x 49.2 cm)", "Disp_Height" : "25 1/2 in.", "Disp_Width" : "19 3/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Pen and ink", "Support" : "wove paper", "Disp_Medium" : "Ink on paper", "Info_Page_Comm" : "E.E. Cummings was an accomplished visual artist as well as one of America's greatest poets. Some of his early work was reproduced in The Dial, a magazine that was published from 1920 - 1929. The Dial's offerings included prose, poetry, critical reviews, as well as visual arts. Because of Cummings' friendship with the publisher, James Sibley Watson, Jr., he had an early relationship with the publication, which published his poems, his essays, and his drawings. James Sibley Watson, Jr., also provided Cummings with an apartment at 4 Patchin Place in Greenwich Village. Watson, who along with his wife Hildegarde Lasell Watson, were supporters of a number of other artists, including sculptor Gaston Lachaise. He was the son of Emily Sibley Watson, who founded the Memorial Art Gallery of the Unversity of Rochester in 1913. [Gallery label text]", "Dedication" : "Gift of Dr. Michael L. Watson", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Per MBS: This object was dated circa 1945. However, the drawing was published in The Dial magazine in March, 1924. Therefore, the date in Embark has been changed to circa 1924.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.14_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.14_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.14_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.14_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39101", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3590, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3590", "Disp_Access_No" : "1986.129", "_AccNumSort1" : "", "Disp_Create_DT" : "1845", "_Disp_Start_Dat" : "1845", "_Disp_End_Date" : "1845", "Disp_Title" : "Mrs. Rachel Tooker", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Justus DaLee", "Sort_Artist" : "DaLee, Justus", "Disp_Dimen" : "3 1/2 x 3 in. (8.9 x 7.6 cm)", "Disp_Height" : "3 1/2 in.", "Disp_Width" : "3 in.", "Dimen_Extent" : "without frame", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor, ink and graphite on paper", "Info_Page_Comm" : "Justus DaLee, a former professor of penmanship in nearby Palmyra, was an itinerant painter of small portraits, always in profile. By 1840, he was working in Rochester, taking advantage of the population and economic boom that had come with the opening of the Erie Canal 15 years earlier. Nothing is known of the sitter, Mrs. Rachel Tooker, aged 69, of Pittsford. Within a couple of years of painting her likeness, DaLee had moved to Buffalo, where his occupation was listed as “grocer.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Robert and Diane Tichell", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86.129_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.129_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.129_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.129_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "30780", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary- not for print or web", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86.129_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.129_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.129_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.129_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "30781", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary- not for print or web", "View" : "" } , ] },{ "embark_ID" : 936, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/936", "Disp_Access_No" : "1964.4", "_AccNumSort1" : "", "Disp_Create_DT" : "1962", "_Disp_Start_Dat" : "1962", "_Disp_End_Date" : "1962", "Disp_Title" : "Ceremonial Desert Form", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Norman Daly", "Sort_Artist" : "Daly, Norman", "Disp_Dimen" : "18 x 8 x 2 in. (45.7 x 20.3 x 5.1 cm)", "Disp_Height" : "18 in.", "Disp_Width" : "8 in.", "Dimen_Extent" : "overall", "Medium" : "Marble", "Support" : "", "Disp_Medium" : "Marble", "Info_Page_Comm" : "Decades ago, one of the prizes awarded at the Rochester-Finger Lakes Exhibition was a one-person show the following year. Norman Daly, a professor of art at Cornell University, received that honor in 1963 and this double-faced marble tablet was purchased for the permanent collection. It prefigures Daly’s greatest achievement: his invention, in 1972, of an entire civilization and an exhibition based on artifacts supposedly excavated from its ruins. Always interested in the art produced by ancient cultures, Daly created fragments of wall paintings, votives, tools, weapons, jewelry, and other objects from the mythical civilization of Llhuros, many of which resembled our double-sided Ceremonial Desert Form. The upward-reaching figure is a recurrent motif in his work. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/64.4_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.4_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.4_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.4_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39458", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Unclear which side is "front" vs. "back"", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/64.4_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.4_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.4_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.4_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "39459", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Unclear which side is "front" vs. "back"", "View" : "" } , ] },{ "embark_ID" : 326, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/326", "Disp_Access_No" : "1967.7", "_AccNumSort1" : "", "Disp_Create_DT" : "1926", "_Disp_Start_Dat" : "1926", "_Disp_End_Date" : "1926", "Disp_Title" : "Child's Portrait", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Arthur B. Davies", "Sort_Artist" : "Davies, Arthur B.", "Disp_Dimen" : "58 x 38 in. (147.3 x 96.5 cm)", "Disp_Height" : "58 in.", "Disp_Width" : "38 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Arthur Davies, born in Utica and educated at the School of the Art Institute of Chicago, was considered one of the greatest American artists during his lifetime. He was a primary force behind the organization of the pioneering 1913 Armory Show, which introduced the American public to avant-garde European art and helped change the course of painting and sculpture in the United States. Although Davies experimented with different styles, mediums, and techniques, he always returned to the figure as the central element of his paintings. In much of his work he created a fantasy world into which the viewer could escape from the stress of an increasingly mechanized age. The women and children he painted are often placed either into idyllic landscapes that emphasize the innocent world he sought to recreate, or into a simple color background, as in Child’s Portrait, which permits the viewer to forget all but the purity of his subject. [Forman Gallery, Summer 2015]", "Dedication" : "Gift of the Estate of A. David Davies", "Copyright_Type" : "See Notes & Histories-Copyright Notes", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/67.7_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/67.7_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/67.7_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/67.7_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "43989", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 3082, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3082", "Disp_Access_No" : "1932.3", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1927", "_Disp_Start_Dat" : "1922", "_Disp_End_Date" : "1932", "Disp_Title" : "Oxen Under Trees", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Arthur B. Davies", "Sort_Artist" : "Davies, Arthur B.", "Disp_Dimen" : "12 5/8 x 9 3/8 in. (32 x 23.8 cm)", "Disp_Height" : "12 5/8 in.", "Disp_Width" : "9 3/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Graphite", "Support" : "paper", "Disp_Medium" : "Graphite and watercolor on paper", "Info_Page_Comm" : "", "Dedication" : "Gift of Emily Sibley Watson", "Copyright_Type" : "See Notes & Histories-Copyright Notes", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/32.3_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/32.3_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/32.3_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/32.3_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "39088", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2862, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2862", "Disp_Access_No" : "1962.23", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1925", "_Disp_Start_Dat" : "1920", "_Disp_End_Date" : "1930", "Disp_Title" : "At the Gates of Morning", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Arthur B. Davies", "Sort_Artist" : "Davies, Arthur B.", "Disp_Dimen" : "69 x 38 1/4 in. (175.3 x 97.2 cm)", "Disp_Height" : "69 in.", "Disp_Width" : "38 1/4 in.", "Dimen_Extent" : "", "Medium" : "Wool", "Support" : "", "Disp_Medium" : "Wool", "Info_Page_Comm" : "Arthur B. Davies was the driving force behind the 1913 Armory Show which introduced Americans to radical European abstract art, but his own style remained representational throughout his career. This tapestry of the artist’s signature lyrical nudes dancing in the landscape was one of 36 tapestries he designed and had woven by the famous Gobelins factories in France. Only six were sold during his lifetime; the rest were later destroyed in a fire. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Mr. and Mrs. Niles Meriweather Davies", "Copyright_Type" : "See Notes & Histories-Copyright Notes", "Disp_Obj_Type" : "Textiles", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/62.23_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/62.23_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/62.23_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/62.23_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "29644", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image, do not use for print or web", "View" : "" } , ] },{ "embark_ID" : 6655, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6655", "Disp_Access_No" : "1987.65", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1878-1881", "_Disp_Start_Dat" : "1878", "_Disp_End_Date" : "1881", "Disp_Title" : "Dancer, Seen from Behind (Danseuse vue de dos)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edgar Degas", "Sort_Artist" : "Degas, Edgar", "Disp_Dimen" : "19 3/16 x 11 11/16 in. (48.7 x 29.7 cm)", "Disp_Height" : "19 3/16 in.", "Disp_Width" : "11 11/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Chalk", "Support" : "paper", "Disp_Medium" : "Black chalk and pastel on faded blue laid paper, laid down to two more sheets", "Info_Page_Comm" : "Often called “the painter of modern life,” Edgar Degas filled his canvases with images from the vibrant world of performance and spectacle in the clubs and theaters of Paris during the latter part of the 1800s. Ballet dancers appealed to Degas as a pictorial subject for two key reasons: they represented modern subjects, and they offered female bodies that could be naturally observed in a host of complicated poses. Drawing from innumerable studies, he created light-filled images that represent the essence of natural movement. Dancer, Seen from Behind is a study for a figure in the far right of Dancers in the Rehearsal Room, with a Double Bass, which is now in the Metropolitan Museum of Art. [Label copy from Monet: Vision and Process exhibition, 2018]", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/87.65_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/87.65_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/87.65_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/87.65_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "26219", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4959, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4959", "Disp_Access_No" : "1931.21", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1900", "_Disp_Start_Dat" : "1895", "_Disp_End_Date" : "1905", "Disp_Title" : "Dancers", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edgar Degas", "Sort_Artist" : "Degas, Edgar", "Disp_Dimen" : "37 5/8 x 26 3/4 in. (95.6 x 67.9 cm)", "Disp_Height" : "37 5/8 in.", "Disp_Width" : "26 3/4 in.", "Dimen_Extent" : "", "Medium" : "Pastel", "Support" : "paper", "Disp_Medium" : "Pastel and charcoal on tracing paper, mounted on wove paper, mounted on board", "Info_Page_Comm" : "When asked by Mrs. Horace Havemeyer, an American collector, why he so often portrayed dancers, Degas replied “Because I find there, Madame, the combined movements of the Greeks.” This pastel was produced late in the artist’s life when his eyesight had begun to fail. It is possible that his diminished vision resulted in the heavy contours that surround the dancers and give only the barest suggestion of their facial features. Rather than attempting great detail, he concentrated on mapping out the unpredictable effects of theatrical lighting on the forms of the figures. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Mrs. Charles H. Babcock", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Lemoisne catalogue raisonne describes this work as a study for or replica of cats. no. 1428 (now Fondation Beyeler, Riehen/Basel) and 1429, "Three Dancers." No information could be found in curatorial or archival records indicating where or from whom MAG bought this work; Mrs. Babcock gave the funds. Seven flattened spots of red wax on verso of panel appear to have been used like glue to adhere a sheet of paper (now missing) to the entire surface. Per Pat Hamm, this appears not to have been fixed with fixative. Work made up of two sheets, attached vertically.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/31.21_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/31.21_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/31.21_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/31.21_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "38865", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in situ as installed; frame cropped out in Photoshop.", "View" : "" } , ] },{ "embark_ID" : 593, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/593", "Disp_Access_No" : "1948.52", "_AccNumSort1" : "", "Disp_Create_DT" : "after 1846", "_Disp_Start_Dat" : "1847", "_Disp_End_Date" : "1856", "Disp_Title" : "Portrait of Daniel Webster (after F. DeBourg Richards)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George T. Deming", "Sort_Artist" : "Deming, George T.", "Disp_Dimen" : "8 9/16 x 6 1/4 in. (21.7 x 15.8 cm)", "Disp_Height" : "8 9/16 in.", "Disp_Width" : "6 1/4 in.", "Dimen_Extent" : "sheet (irregular)", "Medium" : "Oil", "Support" : "cardboard", "Disp_Medium" : "Oil on cardboard", "Info_Page_Comm" : "Orator, lawyer, statesman, and senator Daniel Webster (1782–1852) was the subject of many portraits, but none more charming than this one, informally titled Dan. Information on the back says the painting was copied from an engraving, which was no doubt itself a copy of an 1840s daguerreotype by F. DeBourg Richards. Chief curator Marjorie Searl has determined that the original attribution to G. K. Merrick is incorrect. Markings on the back of the portrait were misleading; the signature for Merrick, an attorney in Wellsboro, PA, probably indicated ownership. Another inscription, “painted from an engraving by George Deming, Wellsboro, Pennsylvania,” most likely led to the interpretation that Deming was the engraver and Merrick was the painter. Thanks to the internet and Ancestry.com, we can now safely say that Deming was the painter, and we can speculate that Merrick purchased it from him. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Suggested by Mr. Beaumont Newhall, Curator of Eastman House , Inc. to be from a popular daguerreotype of Webster from which other portraits were painted. Research revealed to be after a daguerreotype by Frederick DeBourg Richards.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/48.52_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/48.52_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/48.52_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/48.52_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37950", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8105, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8105", "Disp_Access_No" : "2000.28", "_AccNumSort1" : "", "Disp_Create_DT" : "1906", "_Disp_Start_Dat" : "1906", "_Disp_End_Date" : "1906", "Disp_Title" : "Art Class Penn Academy", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Demuth", "Sort_Artist" : "Demuth, Charles", "Disp_Dimen" : "13 1/16 x 19 7/8 in. (33.1 x 50.5 cm)", "Disp_Height" : "13 1/16 in.", "Disp_Width" : "19 7/8 in.", "Dimen_Extent" : "sheet (irregular)", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor and graphite", "Info_Page_Comm" : "Charles Demuth’s most famous paintings are in a hard-lined and tightly-controlled industrial style called Precisionism, which he helped develop, but his watercolors of people, fruit, and flowers are loose, sensuous, and evocative. This casual study of a woman in a studio at the Pennsylvania Academy of Fine Art was made when Demuth was a student there. Based upon a somewhat illegible inscription on the back, this figure may be Helen Torr, a modernist artist who ran in the same circles as Demuth and eventually married the artist Arthur Dove. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Nancy Turner Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.28_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.28_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.28_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2000.28_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39103", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3096, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3096", "Disp_Access_No" : "1955.79", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1895", "_Disp_Start_Dat" : "1890", "_Disp_End_Date" : "1900", "Disp_Title" : "Head of a Young Woman", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas W. Dewing", "Sort_Artist" : "Dewing, Thomas W.", "Disp_Dimen" : "10 1/4 x 8 1/4 in. (26 x 21 cm)", "Disp_Height" : "10 1/4 in.", "Disp_Width" : "8 1/4 in.", "Dimen_Extent" : "", "Medium" : "Silver point", "Support" : "board", "Disp_Medium" : "Silver point on gesso-coated wood-pulp paper board", "Info_Page_Comm" : "Head of a Young Woman is the only silver point drawing in MAG’s collection. It is also the only American artwork that was given to the Gallery by Bertha Buswell, whose taste ran nearly exclusively to European fine and decorative arts. Unfortunately, we do not know anything about how or why she acquired such an anomaly, albeit a beautiful one, for her collection. Silver point was a technique used extensively in the Renaissance and revived in the United States in the late 19th century. Every line was created by dragging a silver stylus across the surface of a specially-prepared paper. The stylus left a trail of silver on the paper, requiring perfect control by the artist, as this was not a forgiving medium where mistakes could be corrected with an eraser. With exposure to the air, the silver tarnished and created a warm brown tone. Because of the fragility of the silver and the paper, this lovely work is rarely exhibited. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Bertha Buswell Bequest", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.79_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.79_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.79_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.79_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12399", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5516, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5516", "Disp_Access_No" : "1929.41", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1759-1765", "_Disp_Start_Dat" : "1759", "_Disp_End_Date" : "1765", "Disp_Title" : "Plate", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jan Theunis Dextra", "Sort_Artist" : "Dextra, Jan Theunis", "Disp_Dimen" : "1 3/4 x 12 1/8 x 12 1/8 in. (4.4 x 30.8 x 30.8 cm)", "Disp_Height" : "1 3/4 in.", "Disp_Width" : "12 1/8 in.", "Dimen_Extent" : "overall", "Medium" : "Faience", "Support" : "", "Disp_Medium" : "Faience", "Info_Page_Comm" : "Delftware is a generic term that describes a type of tin-glazed earthenware made in The Netherlands. The industry was based in the small town of Delft near the city of Rotterdam, a major seaport accessed by canals from all directions. This degree of access was critical to the industry’s success, as plates, vases, and all forms of pottery were exported widely throughout Europe and as far afield as the Middle East. The industry reached its height in the 1680s, when about 2,000 potters were employed by over 30 manufactories—all in a town with a population of only 24,000. The mass production of Delftware emerged in the early 1600s because of the strong trade between The Netherlands and China. The Dutch East Indian Company imported millions of pieces of Chinese porcelain; they were, however, affordable to only the wealthiest Europeans. Delftware, much of which mimics the patterns and blue and white color schemes of eastern porcelain, was a less expensive and more easily obtainable substitute. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Mrs. John Oothout", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Ceramics", "Creation_Place2" : "Dutch", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/29.41_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/29.41_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/29.41_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/29.41_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39347", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1568, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1568", "Disp_Access_No" : "1984.16", "_AccNumSort1" : "", "Disp_Create_DT" : "1983", "_Disp_Start_Dat" : "1983", "_Disp_End_Date" : "1983", "Disp_Title" : "Ochre", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Richard Diebenkorn", "Sort_Artist" : "Diebenkorn, Richard", "Disp_Dimen" : "27 3/8 x 38 3/16 in. (69.5 x 97 cm)", "Disp_Height" : "27 3/8 in.", "Disp_Width" : "38 3/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color woodcut", "Info_Page_Comm" : "", "Dedication" : "General Acquisitions Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/84.16_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/84.16_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/84.16_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/84.16_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39560", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "File provided by Diebenkorn Foundation for use in Vault exhibition online catalogue spring 2013. This is not MAG''s print but another example of the print; MAG''s print should be reshot when possible. Diebenkorn Foundation photo exists as JPG only. ", "View" : "" } , ] },{ "embark_ID" : 343, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/343", "Disp_Access_No" : "1944.18", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1937", "_Disp_Start_Dat" : "1932", "_Disp_End_Date" : "1942", "Disp_Title" : "Happy", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Walt Disney", "Sort_Artist" : "Disney, Walt", "Disp_Dimen" : "5 1/8 x 4 7/16 in. (13 x 11.3 cm)", "Disp_Height" : "5 1/8 in.", "Disp_Width" : "4 7/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Paint", "Support" : "celluloid", "Disp_Medium" : "Paint on celluloid", "Info_Page_Comm" : "Anne Cassebeer may have been MAG’s youngest donor of art. Nineteen years old when she donated Happy, she was a student at Pembroke College and the daughter of artist and architect Walter Cassebeer, a member of MAG’s board. We wish we could tell you the story of how Anne came to own a production cel depicting Happy, one of the Seven Dwarfs but, as often happens, the circumstances were not recorded at the time she made the gift. A good deal more is known about the Walt Disney film, Snow White and the Seven Dwarfs, released in 1937. It was the first full-length animated feature film with an official soundtrack. MAG’s Happy was one of 1,500,000 drawings and watercolors that were photographed to create Snow White. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Miss Anne Cassebeer", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : ""An original painting on celluloid from the Walt Disney Studios, actually used in the filming of "Snow White and the Seven Dwarfs." Only a very limited number have been selected to be placed on the market."", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/44.18_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/44.18_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/44.18_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/44.18_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39090", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 346, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/346", "Disp_Access_No" : "1985.23", "_AccNumSort1" : "", "Disp_Create_DT" : "1983", "_Disp_Start_Dat" : "1983", "_Disp_End_Date" : "1983", "Disp_Title" : "Silver Surge", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Mary Lou Dooley", "Sort_Artist" : "Dooley, Mary Lou", "Disp_Dimen" : "49 1/2 x 46 in. (125.7 x 116.8 cm)", "Disp_Height" : "49 1/2 in.", "Disp_Width" : "46 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Painter Mary Lou Dooley is the wife of MAG’s fifth director, Bret Waller, so it seems especially appropriate that one of her canvases was purchased to honor his service to the museum. In describing Silver Surge, she says: “It is a gestural painting related to my interest in calligraphy and movement. It also relates to the influence of two former professors who studied with Hans Hofmann. My intent is to achieve what appears to be a spontaneous result even though the painting has been reworked a number of times.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Purchased in tribute to Bret Waller, Gallery Director 1980-1985, through the Padelford Fund", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/85.23_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/85.23_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/85.23_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/85.23_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39615", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 347, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/347", "Disp_Access_No" : "1915.1", "_AccNumSort1" : "", "Disp_Create_DT" : "circa 1915", "_Disp_Start_Dat" : "1910", "_Disp_End_Date" : "1920", "Disp_Title" : "Coast of Cornwall, near St. Ives", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Paul Dougherty", "Sort_Artist" : "Dougherty, Paul", "Disp_Dimen" : "36 x 48 in. (91.4 x 121.9 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "48 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In 1915, Memorial Art Gallery mounted an exhibition of seascapes by a leading American marine painter of the time, Paul Dougherty. After the show was already open to the public, the artist sent an additional canvas, Coast of Cornwall, Near St. Ives, which he considered his best work to date. George Eastman had expressed interest in purchasing a Dougherty for the MAG collection. This painting was a top contender but several members of the Art Committee requested director George Herdle to ask the artist to rework the foreground. Reluctantly, Herdle complied and the mystified Dougherty politely asked him exactly what he would like done. In the meantime, Herdle sought the opinion of painter Elmer Schofield, who “thought the criticism not well made.” The director quickly assured Dougherty that all was well, overrode the Committee’s objections, and acquired this painting with funds donated by Eastman. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of George Eastman", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Purchased from January 1915 Exhibition", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/15.1_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/15.1_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/15.1_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/15.1_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "25636", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "This photo was taken after conservation treatment was performed on this object by Susan Blakney of West Lake Conservators in January 2008 (cleaning).", "View" : "" } , ] },{ "embark_ID" : 350, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/350", "Disp_Access_No" : "1937.15", "_AccNumSort1" : "", "Disp_Create_DT" : "1920-1934", "_Disp_Start_Dat" : "1920", "_Disp_End_Date" : "1934", "Disp_Title" : "Portrait of the Duchess", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rufus J. Dryer", "Sort_Artist" : "Dryer, Rufus J.", "Disp_Dimen" : "39 1/4 x 32 in. (99.7 x 81.3 cm)", "Disp_Height" : "39 1/4 in.", "Disp_Width" : "32 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Rufus K. Dryer was born into a well-to-do Rochester family of politicians and businessmen. Like many aspiring artists of the day, he studied with Robert Henri in New York City. And like many free spirits of means, he soon after moved to France to pursue his career, returning home only three years before his death. Nothing is known of the pensive woman wearing a fashionable cloche and fur whom Dryer painted in tones of blue and peach against a wildly-patterned wallpaper backdrop. This canvas appeared in the artist’s memorial exhibition here at MAG in 1937, shortly after which it was presented to us as a gift from Dryer’s sister, Leora, also an artist. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Miss Leora Dryer", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/37.15_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/37.15_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/37.15_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/37.15_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39414", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 3900, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3900", "Disp_Access_No" : "1998.31", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Affairements", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jean Dubuffet", "Sort_Artist" : "Dubuffet, Jean", "Disp_Dimen" : "25 13/16 x 19 3/4 in. (65.5 x 50.1 cm)", "Disp_Height" : "25 13/16 in.", "Disp_Width" : "19 3/4 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color lithograph", "Info_Page_Comm" : "", "Dedication" : "Gift of Mary Orwen", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/98.31_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.31_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.31_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.31_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39131", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8614, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8614", "Disp_Access_No" : "1975.35", "_AccNumSort1" : "", "Disp_Create_DT" : "1505", "_Disp_Start_Dat" : "1505", "_Disp_End_Date" : "1505", "Disp_Title" : "The Great Horse", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Albrecht Dürer", "Sort_Artist" : "Dürer, Albrecht", "Disp_Dimen" : "6 9/16 x 4 3/4 in. (16.7 x 12.1 cm)", "Disp_Height" : "6 9/16 in.", "Disp_Width" : "4 3/4 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "laid paper", "Disp_Medium" : "Engraving on laid paper", "Info_Page_Comm" : "With his extensive knowledge of science, anatomy, and the natural world, Albrecht Dürer epitomized the ideals of the Renaissance. He was the greatest artistic genius of his time and essentially changed the conception of printmaking in Germany. Dürer learned the techniques for engraving from his family of goldsmiths, but was later apprenticed to Michael Wolgemut, a well-known Nuremberg painter and maker of woodcuts. He was uniquely placed to learn and work in engraving, woodcut, and painting, although without his brilliance, these opportunities would have been unfulfilled. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "German", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.35_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.35_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.35_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.35_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "38873", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 946, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/946", "Disp_Access_No" : "1949.56", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "The Provider", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William Ehrich", "Sort_Artist" : "Ehrich, William", "Disp_Dimen" : "4 1/2 x 6 x 12 in. (11.4 x 15.2 x 30.5 cm)", "Disp_Height" : "4 1/2 in.", "Disp_Width" : "6 in.", "Dimen_Extent" : "overall", "Medium" : "Limestone", "Support" : "", "Disp_Medium" : "Limestone", "Info_Page_Comm" : "William Ehrich became a major contributor to the art community in western New York after arriving in Buffalo from Europe in 1929. He established a successful sculpting career despite the onset of the Great Depression, and taught both ceramics and sculpture at Memorial Art Gallery and the University of Rochester. MAG owns 13 Ehrich sculptures; The Provider showcases the closed-form, simplified, and idealized style of early modernism. The lamb may have held special significance to Ehrich, who was a practicing Methodist. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of a Friend of the Gallery", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/49.56_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/49.56_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/49.56_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/49.56_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "28654", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4310, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4310", "Disp_Access_No" : "1997.100", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Beauties Enjoying the Breeze with Child Treasures", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Kikukawa Eizan", "Sort_Artist" : "Kikukawa Eizan", "Disp_Dimen" : "15 3/16 x 10 7/16 in. (38.6 x 26.5 cm)", "Disp_Height" : "15 3/16 in.", "Disp_Width" : "10 7/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "Japanese paper", "Disp_Medium" : "Color woodcut", "Info_Page_Comm" : "Kikukawa Eizan was the most well-known artist of bijin-ga or “prints of beautiful women” in early 19th-century Japan. He also celebrated the beauty of women in their role as mothers. The artist has chosen to depict an unexpected moment as this fashionable mother supports her young son so he may relieve himself. These small, rather unglamorous moments are the fabric of motherhood. [Label text from It Came From the Vault exhibition, 2013] This woman's rich blue <em>obi</em> sash with its pattern of gold carp—a symbol of a male child—contrasts oddly with the simple <em>yukata</em> summer robe slipping from her shoulders. She is sitting on the sort of bench provided by outdoor summer tea-stalls set up along the Sumida River, a popular place for Edo city dwellers to enjoy the cool breezes while watching summer displays of fireworks. She holds her small son in a posture suggesting that she is encouraging him to relieve himself, while two adorable puppies romp below; the child is her "treasure," the puppies are his. The fan at the woman's side sports a corner of the ubiquitous <em>mimasu</em>, or "three nested boxes," crest of the enormously popular kabuki actor Ichikawa Danjûrô. Promotional items such as this fan were linked to celebrity performers and were often sold in shops owned by the actors themselves. [Gallery label text] ", "Dedication" : "Transfer from the Art Department of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "Japanese", "Department" : "", "Obj_Name" : "", "Period" : "Edo Period (1600-1868)", "Style" : "", "Edition" : "", "Curator" : ""(not sure if this is the pri" - this was noted after the title but it was too long and was truncated, check file.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.100_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.100_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.100_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.100_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39129", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 9950, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/9950", "Disp_Access_No" : "1936.26", "_AccNumSort1" : "", "Disp_Create_DT" : "1860-1920", "_Disp_Start_Dat" : "1860", "_Disp_End_Date" : "1920", "Disp_Title" : "Ceremonial Horse Cover", "Alt_Title" : "", "Obj_Title" : "Ceremonial Horse Cover Presented to the Russian Imperial Court by the Emir of Bukhara", "Series_Title" : "", "Disp_Maker_1" : "Embroidery Workshops of Bukhara", "Sort_Artist" : "Embroidery Workshops of Bukhara", "Disp_Dimen" : "52 1/2 x 77 in. (133.4 x 195.6 cm)", "Disp_Height" : "52 1/2 in.", "Disp_Width" : "77 in.", "Dimen_Extent" : "overall", "Medium" : "Embroidery", "Support" : "velvet", "Disp_Medium" : "Fabric, gold and silk embroidery", "Info_Page_Comm" : "When the Russian Imperial Army conquered the Emirate of Bukhara, one of three Uzbek dynasties, in 1868, only Bukhara retained a degree of independence as a Russian protectorate. Lavish ambassadorial gifts from the emirs to the tsars were obligatory, a diplomatic tradition that had developed over centuries. Examples included textiles, furniture, and weapons; among the most luxurious offerings were ceremonial horse covers and blankets embroidered in gold by the elite craftsmen of the Bukhara court. This elaborate horse cover, which is lined with a traditional ikat-patterned fabric from Uzbekistan (see inset), was probably presented by the emir of Bukhara to the Russian imperial court during the late 1800s. The images of the sphinx and cannons embedded within the golden embroidery and floral patterns quite likely reference famous imperial landmarks in the Russian cities of Moscow and St. Petersburg. [Label text from It Came From the Vault exhibition, 2013] Bukhara is in present-day Uzbekistan. ", "Dedication" : "Gift of Mr. Benjamin Forman", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Textiles", "Creation_Place2" : "Russian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/36.26_A6.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/36.26_A6.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/36.26_A6.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/36.26_A6.jpg", "IsPrimary" : "1", "_SurrogateID" : "39536", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 375, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/375", "Disp_Access_No" : "1964.66", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1962-1964", "_Disp_Start_Dat" : "1962", "_Disp_End_Date" : "1964", "Disp_Title" : "Honeoye #11", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Kurt K. Feuerherm", "Sort_Artist" : "Feuerherm, Kurt K.", "Disp_Dimen" : "36 x 24 in. (91.4 x 61 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "As a 25-year-old student at the Cranbrook Academy of Art, Kurt Feuerherm was represented in the Metropolitan Museum of Art’s first U.S. painting competition by a powerful depiction of a Mexican meat market that showed a crucifix hanging with butchered animal carcasses. Life magazine illustrated the work in a January 1951 article about the new generation of contemporary artists. In 1953, after graduating from Yale School of Art, Feuerherm moved to Rochester and taught, over the years, at Rochester Institute of Technology, MAG’s Creative Workshop, Monroe Community College, and Empire State College. Recently, he and three of his past students were featured in RoCo’s annual Makers and Mentors exhibition. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Anonymous gift through the American Federation of Arts", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Museum Donor Program", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/64.66_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.66_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.66_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.66_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39407", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 2728, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2728", "Disp_Access_No" : "1932.21", "_AccNumSort1" : "", "Disp_Create_DT" : "1932", "_Disp_Start_Dat" : "1932", "_Disp_End_Date" : "1932", "Disp_Title" : "Aphrodite and Swift Runners Medal", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John F. Flanagan", "Sort_Artist" : "Flanagan, John F.", "Disp_Dimen" : "2 7/8 x 2 7/8 in. (7.3 x 7.3 cm)", "Disp_Height" : "2 7/8 in.", "Disp_Width" : "2 7/8 in.", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "6th medal issued by the Society of Medalists This bronze medal is the sixth issue by the Society of Medalists, which from 1930 to 1995 released 129 limited-edition medals to subscribing members. In the words of artist John F. Flanagan: “This medal gets its inspiration from classical antiquity . . . the Swift Runners grasping the torch from the failing hands of the runner exhausted in the race is derived from the Lampadedromia, the Greek and Roman torch foot-race, in which the light is passed from one runner to the next waiting relay, competing with other lines of racing torch bearers.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Edward G. Miner", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Medal", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/32.21_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/32.21_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/32.21_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/32.21_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "37752", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/32.21_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/32.21_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/32.21_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/32.21_A4.jpg", "IsPrimary" : "0", "_SurrogateID" : "37753", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3644, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3644", "Disp_Access_No" : "1979.62", "_AccNumSort1" : "", "Disp_Create_DT" : "1979", "_Disp_Start_Dat" : "1979", "_Disp_End_Date" : "1979", "Disp_Title" : "Grove of Alder Trees", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Patricia Tobacco Forrester", "Sort_Artist" : "Forrester, Patricia Tobacco", "Disp_Dimen" : "81 x 51 1/2 in. (205.7 x 130.8 cm)", "Disp_Height" : "81 in.", "Disp_Width" : "51 1/2 in.", "Dimen_Extent" : "", "Medium" : "Watercolor", "Support" : "panel", "Disp_Medium" : "Watercolor on panel", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/79.62_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/79.62_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/79.62_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/79.62_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39588", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13290, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13290", "Disp_Access_No" : "2005.26", "_AccNumSort1" : "", "Disp_Create_DT" : "1914", "_Disp_Start_Dat" : "1914", "_Disp_End_Date" : "1914", "Disp_Title" : "Moonrise in August", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Alexis Jean Fournier", "Sort_Artist" : "Fournier, Alexis Jean", "Disp_Dimen" : "10 1/2 x 13 1/2 in. (26.7 x 34.3 cm)", "Disp_Height" : "10 1/2 in.", "Disp_Width" : "13 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on panel", "Info_Page_Comm" : "Alexis Fournier was known as the “Court Painter” during his many years at Elbert Hubbard’s Roycroft community of artists and craftsmen in East Aurora, New York. The murals he painted of the great cities of the world still grace the walls of the main salon at the Roycroft Inn. He was also active in Minneapolis and the artists’ colony at Brown County, IN. Sometimes referred to as “the last American Barbizon,” his landscapes were reminiscent of the mid-19th-century French painters who championed a new realism in art. This lovely canvas was donated by the grandson of MAG’s founder. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Dr. and Mrs. Michael L. Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.26_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.26_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.26_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.26_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39392", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 1644, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1644", "Disp_Access_No" : "1975.329.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1965", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1965", "Disp_Title" : "Air Frame", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Helen Frankenthaler", "Sort_Artist" : "Frankenthaler, Helen", "Disp_Dimen" : "22 x 16 15/16 in. (55.9 x 43 cm)", "Disp_Height" : "22 in.", "Disp_Width" : "16 15/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Serigraph", "Info_Page_Comm" : "From the portfolio "New York Ten"", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.329.3_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.329.3_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.329.3_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.329.3_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39431", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1649, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1649", "Disp_Access_No" : "1919.28", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Venetian Doorway", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Margaret Lial Freeman", "Sort_Artist" : "Freeman, Margaret Lial", "Disp_Dimen" : "12 3/16 x 8 3/8 in. (31 x 21.2 cm)", "Disp_Height" : "12 3/16 in.", "Disp_Width" : "8 3/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "Japanese paper", "Disp_Medium" : "Monotype", "Info_Page_Comm" : "", "Dedication" : "Gallery Purchase", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/19.28_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/19.28_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/19.28_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/19.28_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39422", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4805, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4805", "Disp_Access_No" : "1978.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1766", "_Disp_Start_Dat" : "1766", "_Disp_End_Date" : "1766", "Disp_Title" : "Mrs. William Provis of Bath", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas R. A. Gainsborough", "Sort_Artist" : "Gainsborough, Thomas R. A.", "Disp_Dimen" : "29 1/2 x 24 in. (74.9 x 61 cm)", "Disp_Height" : "29 1/2 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "A founding member of the Royal Academy, Thomas R. A. Gainsborough was a premier 18th-century English portraitist whose upward trajectory to fame began with a strategic move to Bath, a town with many portrait-commissioning British gentry. This particular portrait captures Bath resident Ann Pigott in her lonely and isolated youth. At 17, she married a much older William Provis and was left alone and childless while he lived at his country estate. As British gentry were selling family art collections in face of financial strain from estate taxes implemented in 1894, newly-wealthy Americans were building art collections. George Eastman acquired this portrait in 1912 in that manner and later bequeathed it to the University of Rochester.[ Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "George Eastman Collection of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.1_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.1_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.1_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.1_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "39387", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.1_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.1_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.1_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.1_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "47802", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5137, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5137", "Disp_Access_No" : "1950.8", "_AccNumSort1" : "", "Disp_Create_DT" : "1216", "_Disp_Start_Dat" : "1216", "_Disp_End_Date" : "1216", "Disp_Title" : "The Gospels", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Grigor of Tarsos", "Sort_Artist" : "Grigor of Tarsos", "Disp_Dimen" : "9 5/8 x 7 1/2 x 4 1/8 in. (24.5 x 19 x 10.5 cm)", "Disp_Height" : "9 5/8 in.", "Disp_Width" : "7 1/2 in.", "Dimen_Extent" : "overall", "Medium" : "Ink", "Support" : "parchment", "Disp_Medium" : "Ink, tempera, and gold on parchment; tooled brown leather and green silk binding", "Info_Page_Comm" : "Illuminated manuscripts introduced the Byzantine style to most of Europe. This beautifully illustrated version of the Gospels comes from Armenia in modern-day Turkey. It was commissioned by a priest and written by the scribe Grigor of Tarsos; an unknown artist created the four illuminations of the Evangelists at a later date. The fragile manuscript traded hands during the Armenian Genocide in 1915, and came into Memorial Art Gallery’s collections in 1950, where conservators have treated it in hopes of preserving it for generations to come. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Manuscript", "Creation_Place2" : "Armenian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Note that page shown in photo, with illustration of St. Luke, was exhibited in the 2013 Vault exhibition.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/50.8_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/50.8_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/50.8_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/50.8_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "39358", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/50.8_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/50.8_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/50.8_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/50.8_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "39359", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/50.8_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/50.8_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/50.8_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/50.8_A4.jpg", "IsPrimary" : "1", "_SurrogateID" : "39360", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Have professionally rephotographed.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/50.8_A5.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/50.8_A5.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/50.8_A5.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/50.8_A5.jpg", "IsPrimary" : "0", "_SurrogateID" : "39362", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Rephotograph with less glare", "View" : "" } , ] },{ "embark_ID" : 427, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/427", "Disp_Access_No" : "1991.32", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Dutch Landscape", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Charles Paul Gruppe", "Sort_Artist" : "Gruppe, Charles Paul", "Disp_Dimen" : "12 3/8 x 16 1/4 in. (31.4 x 41.3 cm)", "Disp_Height" : "12 3/8 in.", "Disp_Width" : "16 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Sara Quinlan Bequest", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91.32_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.32_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.32_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.32_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39391", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 11995, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11995", "Disp_Access_No" : "2003.37", "_AccNumSort1" : "", "Disp_Create_DT" : "1938", "_Disp_Start_Dat" : "1938", "_Disp_End_Date" : "1938", "Disp_Title" : "House and Trees", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hananiah Harari", "Sort_Artist" : "Harari, Hananiah", "Disp_Dimen" : "11 1/8 x 8 in. (28.3 x 20.3 cm)", "Disp_Height" : "11 1/8 in.", "Disp_Width" : "8 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Soft-ground etching", "Info_Page_Comm" : "Born Richard Falk Goldman here in Rochester, Hananiah Harari studied at MAG’s Creative Worskhop, which he described as “a haven, and my first venture into the world of art.” He assumed his new name in 1935, about the time he became active in leftist politics. The cartoons he contributed to the publication The Masses caused him to be blacklisted in the 1950s during the McCarthy era. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2003.37_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.37_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.37_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2003.37_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39104", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11396, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11396", "Disp_Access_No" : "1996.5.18", "_AccNumSort1" : "", "Disp_Create_DT" : "1988", "_Disp_Start_Dat" : "1988", "_Disp_End_Date" : "1988", "Disp_Title" : "Apocalypse", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Keith Haring", "Sort_Artist" : "Haring, Keith", "Disp_Dimen" : "38 x 38 in. (96.5 x 96.5 cm)", "Disp_Height" : "38 in.", "Disp_Width" : "38 in.", "Dimen_Extent" : "sheet/image", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Serigraph", "Info_Page_Comm" : "Artist and activist Keith Haring gained fame during the early 1980s with his then-anonymous graffiti drawings in the New York subway system. Shortly after he was diagnosed with AIDS, he collaborated with the Beat writer William Burroughs to create the Apocalypse portfolio from which this print comes. Likening the epidemic to the end of the world, Haring’s disturbing imagery combines with Burroughs’ stream-of-consciousness poetry to produce a sense of the catastrophe wrought by the tiny virus. The artist died two years later, at the age of 31. [Label text from It Came From the Vault exhibition, 2013] From a portfolio of ten serigraphs.", "Dedication" : "Gift of Sharon and Neil Norry, and Lewis Norry and Jill Katz Norry", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/96.5.18_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/96.5.18_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/96.5.18_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/96.5.18_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "45334", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4581, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4581", "Disp_Access_No" : "1926.3", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1925", "_Disp_Start_Dat" : "1920", "_Disp_End_Date" : "1930", "Disp_Title" : "Stone Pines in Moonlight", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Alfred Hartley", "Sort_Artist" : "Hartley, Alfred", "Disp_Dimen" : "9 1/8 x 10 15/16 in. (23.2 x 27.8 cm)", "Disp_Height" : "9 1/8 in.", "Disp_Width" : "10 15/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Aquatint", "Info_Page_Comm" : "Published in Fine Prints of the Year, vol. 3, 1926, London and New York.", "Dedication" : "Gallery purchase", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/26.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/26.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/26.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/26.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "25568", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13277, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13277", "Disp_Access_No" : "2005.13", "_AccNumSort1" : "", "Disp_Create_DT" : "1899", "_Disp_Start_Dat" : "1899", "_Disp_End_Date" : "1899", "Disp_Title" : "Portrait of James Sibley Watson, Jr.", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George M. Haushalter", "Sort_Artist" : "Haushalter, George M.", "Disp_Dimen" : "", "Disp_Height" : "", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Dr. and Mrs. Michael L. Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.13_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.13_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.13_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.13_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39555", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13283, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13283", "Disp_Access_No" : "2005.19", "_AccNumSort1" : "", "Disp_Create_DT" : "1899", "_Disp_Start_Dat" : "1899", "_Disp_End_Date" : "1899", "Disp_Title" : "Portrait of James Sibley Watson, Sr.", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George M. Haushalter", "Sort_Artist" : "Haushalter, George M.", "Disp_Dimen" : "13 7/8 x 9 1/4 in. (35.2 x 23.5 cm)", "Disp_Height" : "13 7/8 in.", "Disp_Width" : "9 1/4 in.", "Dimen_Extent" : "sheet", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor and chalk on paper laid down on artist's board", "Info_Page_Comm" : "", "Dedication" : "Gift of Dr. and Mrs. Michael L. Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.19_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.19_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.19_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.19_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "21355", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk MAG v. 53", "View" : "" } , ] },{ "embark_ID" : 3415, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3415", "Disp_Access_No" : "1978.133", "_AccNumSort1" : "", "Disp_Create_DT" : "1952-1962", "_Disp_Start_Dat" : "1952", "_Disp_End_Date" : "1962", "Disp_Title" : "From "A Dialogue with Solitude"", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "David Heath", "Sort_Artist" : "Heath, David", "Disp_Dimen" : "20 1/16 x 15 15/16 in. (50.9 x 40.5 cm)", "Disp_Height" : "20 1/16 in.", "Disp_Width" : "15 15/16 in.", "Dimen_Extent" : "with mount", "Medium" : "Silver print", "Support" : "paper", "Disp_Medium" : "Silver print", "Info_Page_Comm" : "The world feels safer in Mother’s lap. David Heath’s tightly cropped photo highlights the intense need of this child for the nurturing only her mother can provide. His book of photography, A Dialogue with Solitude, captures the intimacy and alienation of modern life. Heath’s preface states, “Out of acceptance of this truth: that the pleasures and joys of life are fleeting and rare, that life contains a larger measure of hurt and misery, suffering and despair—must come not the bitter frustration and anger of self-pity, but love and concern for the human condition.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of the Genesee Valley School Development Association", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Photograph", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.133_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.133_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.133_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.133_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39096", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8087, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8087", "Disp_Access_No" : "1959.133", "_AccNumSort1" : "", "Disp_Create_DT" : "1918", "_Disp_Start_Dat" : "1918", "_Disp_End_Date" : "1918", "Disp_Title" : "Leisure", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Arthur William Heintzelman", "Sort_Artist" : "Heintzelman, Arthur William", "Disp_Dimen" : "11 1/8 x 8 5/8 in. (28.3 x 21.9 cm)", "Disp_Height" : "11 1/8 in.", "Disp_Width" : "8 5/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "laid paper", "Disp_Medium" : "Etching", "Info_Page_Comm" : "", "Dedication" : "Gift of Louis W. Black in memory of his parents, Abram and Anna Black", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "One State : Edition 50 - 30 on Van Gelder, 10 on Arches, 10 on Shogun", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/59.133_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/59.133_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/59.133_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/59.133_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39404", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11220, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11220", "Disp_Access_No" : "1999.10b", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1905", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1910", "Disp_Title" : "Nude", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Eugene Higgins", "Sort_Artist" : "Higgins, Eugene", "Disp_Dimen" : "12 5/16 x 15 3/8 in. (31.2 x 39 cm)", "Disp_Height" : "12 5/16 in.", "Disp_Width" : "15 3/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Charcoal", "Support" : "paper", "Disp_Medium" : "Charcoal on paper", "Info_Page_Comm" : "", "Dedication" : "Gift of Grant Holcomb", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "4016", "Rel_Obj_Title" : "The Cripple" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/99.10b_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/99.10b_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/99.10b_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/99.10b_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "35455", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 964, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/964", "Disp_Access_No" : "1996.32", "_AccNumSort1" : "", "Disp_Create_DT" : "1995", "_Disp_Start_Dat" : "1995", "_Disp_End_Date" : "1995", "Disp_Title" : "Altar Bowl with Weapon Artifact #2", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Richard Hirsch", "Sort_Artist" : "Hirsch, Richard", "Disp_Dimen" : "35 x 35 x 23 in. (88.9 x 88.9 x 58.4 cm)", "Disp_Height" : "35 in.", "Disp_Width" : "35 in.", "Dimen_Extent" : "", "Medium" : "Earthenware", "Support" : "", "Disp_Medium" : "Raku-fired earthenware with low-fired glazes and lacquers", "Info_Page_Comm" : "For three decades a professor at RIT’s School for American Crafts, Richard Hirsch is one of the acknowledged masters of contemporary ceramic art. His own collection of Asian ritual containers and stone tools inspired the series from which this piece comes. The forms hint at ritual sacrifice or other kinds of human ceremonies, while the surfaces allude to ancient weathered stone and bronze. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Purchased by the friends and family of Robert W. and Judith-Ellen Brown", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/96.32_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/96.32_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/96.32_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/96.32_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17122", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3673, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3673", "Disp_Access_No" : "1977.17", "_AccNumSort1" : "", "Disp_Create_DT" : "1946", "_Disp_Start_Dat" : "1946", "_Disp_End_Date" : "1946", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hans Hofmann", "Sort_Artist" : "Hofmann, Hans", "Disp_Dimen" : "17 1/2 x 22 5/8 in. (44.5 x 57.4 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "22 5/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Gouache", "Support" : "board", "Disp_Medium" : "Gouache on 2-ply board", "Info_Page_Comm" : "", "Dedication" : "Gift of Mrs. Joseph C. Wilson", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.17_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.17_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.17_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.17_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15899", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3676, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3676", "Disp_Access_No" : "1984.51", "_AccNumSort1" : "", "Disp_Create_DT" : "1892", "_Disp_Start_Dat" : "1892", "_Disp_End_Date" : "1892", "Disp_Title" : "Paddling at Dusk", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Winslow Homer", "Sort_Artist" : "Homer, Winslow", "Disp_Dimen" : "15 1/8 x 21 7/16 in. (38.4 x 54.5 cm)", "Disp_Height" : "15 1/8 in.", "Disp_Width" : "21 7/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Watercolor", "Support" : "wove paper", "Disp_Medium" : "Watercolor with graphite on wove paper", "Info_Page_Comm" : "The remote North Woods Club in the Adirondacks was a favorite retreat for Winslow Homer. There, he painted over a hundred oils and watercolors and found congenial friends, including 22-year-old Ernest Yalden, son of members of the club and the subject of this painting. Yalden recalled Homer’s interest in capturing the play of light flashing off the blades as he paddled his own self-built, light-weight canoe. The year after Homer painted him in his canoe, Yalden graduated with a civil engineering degree and started a trade school in New York City for uneducated Jewish immigrants. He founded the Mineralogy Club of New York and trained men to be navigators during World War I. An authority on sun-dialing, he became an accomplished amateur astronomer who built an observatory in his back yard. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/84.51_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/84.51_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/84.51_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/84.51_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12495", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1880, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1880", "Disp_Access_No" : "1931.26", "_AccNumSort1" : "", "Disp_Create_DT" : "1921", "_Disp_Start_Dat" : "1921", "_Disp_End_Date" : "1921", "Disp_Title" : "Night in the Park", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edward Hopper", "Sort_Artist" : "Hopper, Edward", "Disp_Dimen" : "12 3/8 x 16 1/4 in. (31.5 x 41.3 cm)", "Disp_Height" : "12 3/8 in.", "Disp_Width" : "16 1/4 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Etching", "Info_Page_Comm" : "In 1921, when this print was created, Edward Hopper was a relatively unknown artist who had sold a few paintings but had not begun to receive the acclaim that would be his within a few years. By 1931, when it was exhibited at MAG and acquired with funds donated by a relative of the Watson family, Hopper had become HOPPER; the Museum of Modern Art had purchased one of his paintings the year before. While MAG does not own any of his canvases, we are fortunate to own this print and one other from Hopper’s decade of printmaking, 1915–1924. The cinematic quality of Hopper’s paintings is evident even in his etchings. A shadowy figure placed at the far end of a line of benches could easily be a character from a Hollywood “film noir.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Granger A. Hollister Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/31.26_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/31.26_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/31.26_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/31.26_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39066", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1884, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1884", "Disp_Access_No" : "1993.33", "_AccNumSort1" : "", "Disp_Create_DT" : "1957", "_Disp_Start_Dat" : "1957", "_Disp_End_Date" : "1957", "Disp_Title" : "Winter Gorge -- Ithaca", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Dorothy Hoyt", "Sort_Artist" : "Hoyt, Dorothy", "Disp_Dimen" : "24 1/2 x 18 1/2 in. (62.2 x 47 cm)", "Disp_Height" : "24 1/2 in.", "Disp_Width" : "18 1/2 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color aquatint", "Info_Page_Comm" : "", "Dedication" : "Anonymous gift", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Found in collection. Not found listed in incomings.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/93.33_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/93.33_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/93.33_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/93.33_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "31918", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 459, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/459", "Disp_Access_No" : "1942.20", "_AccNumSort1" : "", "Disp_Create_DT" : "1940", "_Disp_Start_Dat" : "1940", "_Disp_End_Date" : "1940", "Disp_Title" : "Abandoned Railroad", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Whitney F. Hoyt", "Sort_Artist" : "Hoyt, Whitney F.", "Disp_Dimen" : "27 1/2 x 39 1/2 in. (69.9 x 100.3 cm)", "Disp_Height" : "27 1/2 in.", "Disp_Width" : "39 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Rochester artist Whitney Hoyt skillfully used light, line, and composition to create this moody rumination on the relationship between technology and nature. Decades after he painted Abandoned Railroad, Hoyt continued to find his muse in the landscape. He wrote in November 1966, “I enjoy walking in the woods and fields. The mood, the atmosphere of things growing, of things decaying delight me . . . At heart I am a pantheist. Despite the computer, humanism is not dead.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Purchased through Anonymous Gift and Gallery Funds from the Marion Stratton Gould Fund", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/42.20_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/42.20_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/42.20_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/42.20_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39420", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 3992, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3992", "Disp_Access_No" : "1999.55", "_AccNumSort1" : "", "Disp_Create_DT" : "1999", "_Disp_Start_Dat" : "1999", "_Disp_End_Date" : "1999", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jasper Johns", "Sort_Artist" : "Johns, Jasper", "Disp_Dimen" : "29 1/2 x 17 3/4 in. (74.9 x 45.1 cm)", "Disp_Height" : "29 1/2 in.", "Disp_Width" : "17 3/4 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color etching with spit bite aquatint, sugar lift, soft ground, and drypoint", "Info_Page_Comm" : "Dorothee Schwartz, in whose memory this print was given, was one of MAG’s most dedicated patrons. A 1930 graduate of the University of Rochester, she no doubt began her relationship with MAG as an undergraduate on the Prince Street campus. Her connoisseur’s spirit was evident in the home she designed with architect James Johnson and which she furnished with work by School for American Crafts artists. When she died in 2000, her family and friends wished to commemorate her long relationship with MAG with an acquisition that Dorothee would have found visually engaging and challenging. This complex print by Jasper Johns is part of his Catenary series, a group of works that are unified by the catenary, a curved form created when a string or chain is suspended at both ends. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Given in memory of Dorothee Schwartz by her family and friends, and Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "The print is signed ''99, but the exhibition catalog "Jasper Johns: New Painting and Works on Paper," claims the print was actually made in 1998.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/99.55_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/99.55_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/99.55_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/99.55_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12556", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 491, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/491", "Disp_Access_No" : "1958.6", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Ready for the Fête", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Francis Coates Jones", "Sort_Artist" : "Jones, Francis Coates", "Disp_Dimen" : "20 x 14 in. (50.8 x 35.6 cm)", "Disp_Height" : "20 in.", "Disp_Width" : "14 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Francis Coates Jones was born in Baltimore and studied at the Académie Julian and the Ecole des Beaux Arts in Paris. He spent much of his life in New York City, where he was the treasurer of the National Academy of Design and a trustee of the Metropolitan Museum of Art. His Neoclassical style references the traditions of ancient Greece and Rome as well as the Italian High Renaissance. This painting demonstrates his mastery of texture and surface design in the rich drapes and folds of the woman’s robe. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of the Estate of Albert Eastwood", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Approved for deaccession 1-31-78 - re-accessioned 1-12-83", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/58.6_I1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/58.6_I1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/58.6_I1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/58.6_I1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13815", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "This image is only to be used for reference. Not for public use.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/58.6_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/58.6_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/58.6_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/58.6_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39399", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 3491, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3491", "Disp_Access_No" : "1989.18.1-.2", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1962", "_Disp_Start_Dat" : "1957", "_Disp_End_Date" : "1967", "Disp_Title" : "Pair of Liturgical Candlesticks", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William Alphonse Keyser", "Sort_Artist" : "Keyser, William Alphonse", "Disp_Dimen" : "34 11/16 x 10 5/8 x 10 5/8 in. (88.1 x 27 x 27 cm)", "Disp_Height" : "34 11/16 in.", "Disp_Width" : "10 5/8 in.", "Dimen_Extent" : "overall", "Medium" : "Rosewood and bronze", "Support" : "", "Disp_Medium" : "Rosewood and bronze", "Info_Page_Comm" : "Around 1962, the Rev. Robert McNamara commissioned six candlesticks for the high altar at St. Bernard’s Seminary in memory of his mother. Liturgical changes initiated by the Second Vatican Council excluded traditional candlesticks set upon altars, so two were moved to a shrine of remembrance in the seminary chapel. When St. Bernard’s closed in 1981, all six were returned to Rev. McNamara, who donated a pair to MAG. The artist, along with Wendell Castle, was one of the founders of the woodworking department at RIT’s School for American Craftsmen. “I’ve always believed in the presence of a . . . supreme craftsman,” he said in a 2003 interview for the Archives of American Art. “And I’ve come to believe that whatever I’ve been able to achieve has been His work more than mine, that I’m just a vehicle.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Rev. Robert F. McNamara", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Furniture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/89.18.1-2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/89.18.1-2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/89.18.1-2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/89.18.1-2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39457", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4130, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4130", "Disp_Access_No" : "1957.37", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1920", "_Disp_Start_Dat" : "1915", "_Disp_End_Date" : "1925", "Disp_Title" : "Fairy Tales (Märchen)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Paul Klee", "Sort_Artist" : "Klee, Paul", "Disp_Dimen" : "8 1/2 x 10 1/4 in. (21.6 x 26 cm)", "Disp_Height" : "8 1/2 in.", "Disp_Width" : "10 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor and gouache on paper", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "See Notes & Histories-Copyright Notes", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "Swiss", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/57.37_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/57.37_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/57.37_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/57.37_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12402", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 505, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/505", "Disp_Access_No" : "1956.60", "_AccNumSort1" : "", "Disp_Create_DT" : "1955", "_Disp_Start_Dat" : "1955", "_Disp_End_Date" : "1955", "Disp_Title" : "Lilacs and Books", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Karl Knaths", "Sort_Artist" : "Knaths, Karl", "Disp_Dimen" : "30 x 40 in. (76.2 x 101.6 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "40 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Karl Knaths seldom left his home in Provincetown, where he primarily painted familiar Cape Cod scenes: the rambling lilac bushes that overtake the island in the summer months and the local fishermen and their gear. The 1956 exhibition from which the Gallery purchased Lilacs and Books received a glowing review in the New York Times that predicted, “Knaths’ work may well be part of the work of our time that is likely to endure.” Despite his popularity in the 1950s, his lyrical style was eclipsed in the annals of history by the muscular, dripping abstractions of Jackson Pollock and other Abstract Expressionists. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Copyright Holder Not Found", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/56.60_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/56.60_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/56.60_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/56.60_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13417", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3707, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3707", "Disp_Access_No" : "1913.2", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "A Gray Day on the Riviera, Cap Ferrat", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Louis Aston Knight", "Sort_Artist" : "Knight, Louis Aston", "Disp_Dimen" : "25 5/8 x 32 in. (65.1 x 81.3 cm)", "Disp_Height" : "25 5/8 in.", "Disp_Width" : "32 in.", "Dimen_Extent" : "", "Medium" : "Opaque watercolor", "Support" : "paper", "Disp_Medium" : "Opaque watercolor on paper laid down on canvas", "Info_Page_Comm" : "Louis Aston Knight was born of American parents in Paris, but didn’t visit the United States until 1905, by which time he was already an established painter. Two years later, he married a distant cousin, Caroline Ridgway Brewster of Rochester. Best known for bucolic Normandy landscapes in a style that Thomas Kinkade would appropriate many decades later, this particular view of the rocky French coastline east of Nice is unusual within the artist’s oeuvre in its muted palette and absence of picturesque old dwellings. Knight and his wife took refuge in New York City for the duration of WWI, and he lectured here at MAG in 1918. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of E. Franklin Brewster", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/13.2_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/13.2_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/13.2_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/13.2_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39448", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8706, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8706", "Disp_Access_No" : "1937.11", "_AccNumSort1" : "", "Disp_Create_DT" : "1928", "_Disp_Start_Dat" : "1928", "_Disp_End_Date" : "1928", "Disp_Title" : "Maria und Elisabeth", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Käthe Kollwitz", "Sort_Artist" : "Kollwitz, Käthe", "Disp_Dimen" : "15 3/4 x 16 1/4 in. (40 x 41.3 cm)", "Disp_Height" : "15 3/4 in.", "Disp_Width" : "16 1/4 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "wove paper", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "", "Dedication" : "Gift of Mrs. Charles Hoeing in Memory of Dr. Ewald Eisenhardt", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "German", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/37.11_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/37.11_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/37.11_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/37.11_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39089", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3440, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3440", "Disp_Access_No" : "1975.404", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1970-1971", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "1971", "Disp_Title" : "Winners of Little People of America King and Queen Contest", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Leslie Krims", "Sort_Artist" : "Krims, Leslie", "Disp_Dimen" : "12 x 16 15/16 in. (30.5 x 43 cm)", "Disp_Height" : "12 in.", "Disp_Width" : "16 15/16 in.", "Dimen_Extent" : "with mount", "Medium" : "Sepia-toned silver print", "Support" : "paper", "Disp_Medium" : "Sepia-toned silver print", "Info_Page_Comm" : "The iconoclast photographer Les Krims, who has taught at SUNY Buffalo since 1969, has been the subject of both admiration and indignation. His staged tableaux, which he calls his “fictions,” have been influenced by Lenny Bruce, Rube Goldberg, Willem deKooning, and Peter Saul, among others. Much of his work has been an overt criticism of social documentary form and content. The portfolio from which this photograph comes was made over the course of two national conventions of the Little People of America. “These people annihilated the stereotype of ‘dwarf’ delivered by art history and socially concerned photography,” Krims says. “I thought my pictures rightly showed them as normal people who possessed oversized amounts of strong, straight, American character, and much courage.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Photograph", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.404_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.404_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.404_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.404_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39094", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8994, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8994", "Disp_Access_No" : "1934.8", "_AccNumSort1" : "", "Disp_Create_DT" : "by 1933", "_Disp_Start_Dat" : "1933", "_Disp_End_Date" : "1933", "Disp_Title" : "House in the Mountains", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Tadeusz Kulisiewicz", "Sort_Artist" : "Kulisiewicz, Tadeusz", "Disp_Dimen" : "11 9/16 x 11 13/16 in. (29.3 x 30 cm)", "Disp_Height" : "11 9/16 in.", "Disp_Width" : "11 13/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "wove paper", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "Three Sundays in October 1934 were dedicated to Polish music and dance in celebration of the exhibition Peasant, Decorative and Graphic Arts of Poland at MAG. Organized by the International School of Art in New York City, which was founded to preserve and promote the fast-disappearing folk arts of European countries, the exhibition was said to be the first exhibition of Polish art in America. Tadeusz Kulisiewicz was affiliated with the Warsaw Academy of Art. After spending time in the small village of Szlembark, he created a series of prints based on the mountain culture there. Mrs. James Sibley Watson, MAG’s founder and a print collector in her own right, followed her usual practice of acquiring work from exhibitions to add to the permanent collection. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Mrs. James Sibley Watson", "Copyright_Type" : "Copyright Holder Not Found", "Disp_Obj_Type" : "Print", "Creation_Place2" : "Polish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/34.8_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/34.8_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/34.8_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/34.8_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "27214", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1979, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1979", "Disp_Access_No" : "1927.38", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Children of the Park", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Alice D. Laughlin", "Sort_Artist" : "Laughlin, Alice D.", "Disp_Dimen" : "9 x 8 7/8 in. (22.8 x 22.6 cm)", "Disp_Height" : "9 in.", "Disp_Width" : "8 7/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "wove paper", "Disp_Medium" : "Wood engraving", "Info_Page_Comm" : "", "Dedication" : "Gallery Purchase", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/27.38_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/27.38_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/27.38_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/27.38_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39087", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 524, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/524", "Disp_Access_No" : "1975.2", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Table with Roman Colors", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "James Lechay", "Sort_Artist" : "Lechay, James", "Disp_Dimen" : "40 x 50 in. (101.6 x 127 cm)", "Disp_Height" : "40 in.", "Disp_Width" : "50 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "James Lechay played a notable role in the tradition of avant-garde painting in New York City, where his circle of friends included Milton Avery, Mark Rothko, and Arshile Gorky, and later in the Midwest, where he taught at the University of Iowa for nearly three decades. “A serious painter is what I like,” he said in an interview in 1995 at the age of 89. “Whether I like his work or not has nothing to do with it, but I like the fact that he’s serious and struggling and trying to find something. A carefully done, precise, boring rendition copy, that shows no search, I’m not interested in that, and I don’t think that goes anywhere. But the person who has all the wonderful mistakes of a human being, his work is wonderful because it has wonderful errors in it, it’s full of life. I mean that a cadaver is perfect, it doesn’t make any mistakes, but it’s also dead.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of the American Academy of Arts and Letters, Childe Hassam Fund", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Curator from American Academy of Arts and Letters called to say by terms of the gift to MAG, they should have been notified before works given by them to MAG were deaccessioned (we sent informational letter right after 52.38 Bosa was deaccessioned in April 2017). She asked about other two works given by AAAL, which were still at MAG (75.2 Lechay and 79.40 Sharrer). If those are deaccessioned, AAAL should be consulted first. --KSchauber, Curatorial Research Ass''t, 5-25-2017", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17992", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7946, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7946", "Disp_Access_No" : "2000.34", "_AccNumSort1" : "", "Disp_Create_DT" : "1948", "_Disp_Start_Dat" : "1948", "_Disp_End_Date" : "1948", "Disp_Title" : "After the Flood (Après le déluge)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Fernand Léger", "Sort_Artist" : "Léger, Fernand", "Disp_Dimen" : "25 3/8 x 19 15/16 in. (64.5 x 50.6 cm)", "Disp_Height" : "25 3/8 in.", "Disp_Width" : "19 15/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Gouache", "Support" : "wove paper", "Disp_Medium" : "Gouache and ink", "Info_Page_Comm" : "This drawing is a design for publisher Louis Grosclaude’s 1949 luxury edition of the 19th-century poet Arthur Rimbaud’s famous volume of prose poetry, "Les Illuminations." Grosclaude commissioned the well-known artist Fernand Léger to create 15 lithographs for the book. "After the Flood," the opening poem, begins: As soon as the idea of the Flood was finished, A hare halted in the clover and the trembling flower bells, and said its prayer to the rainbow through the spider’s web. Leger’s illustration reflects the notion of the day after the flood with a rapidly-drawn landscape: a shining sun, a rainbow, and trees and flowers rooted in a green ground. A man gazes on the scene with a detached, somewhat impenetrable expression. Many scholars consider Rimbaud’s dreamlike and visionary prose poems the foundation of modern European poetry. Léger’s symbolic and referential illustrations seem particularly fitting as complements. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Anonymous gift", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2000.34_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2000.34_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2000.34_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2000.34_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13482", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13533, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13533", "Disp_Access_No" : "2005.178", "_AccNumSort1" : "", "Disp_Create_DT" : "before 1938", "_Disp_Start_Dat" : "1928", "_Disp_End_Date" : "1937", "Disp_Title" : "Vase", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Liberty & Co.", "Sort_Artist" : "Liberty & Co.", "Disp_Dimen" : "7 1/8 x 4 x 2 7/8 in. (18.1 x 10.2 x 7.3 cm)", "Disp_Height" : "7 1/8 in.", "Disp_Width" : "4 in.", "Dimen_Extent" : "overall", "Medium" : "Pewter", "Support" : "", "Disp_Medium" : "Pewter", "Info_Page_Comm" : "Liberty & Co., founded in London by Arthur Lasenby Liberty in 1875, was a purveyor of Japanese objects, exotic fabrics, and Art Nouveau silver and pewter. This vase is #030 in Liberty’s “Tudric” line of pewterware, introduced in 1901 and manufactured for them by W. H. Haseler, a Birmingham jeweler and silversmith. The stamp on the bottom tells us that it was made prior to 1914. The unplanished hammer marks are typical of the aesthetic of the time, which celebrated the mark of the craftsman’s hand. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Bequest of Isabel C. Herdle", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Metalwork", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.178_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.178_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.178_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.178_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "24884", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2008, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2008", "Disp_Access_No" : "1975.243", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Temple", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Roy Lichtenstein", "Sort_Artist" : "Lichtenstein, Roy", "Disp_Dimen" : "23 3/4 x 17 3/4 in. (60.3 x 45.1 cm)", "Disp_Height" : "23 3/4 in.", "Disp_Width" : "17 3/4 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "wove paper", "Disp_Medium" : "Offset lithograph", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Runs: Blue, black", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.243_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.243_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.243_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.243_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39124", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3711, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3711", "Disp_Access_No" : "1973.73", "_AccNumSort1" : "", "Disp_Create_DT" : "1961", "_Disp_Start_Dat" : "1961", "_Disp_End_Date" : "1961", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Joan Lyons", "Sort_Artist" : "Lyons, Joan", "Disp_Dimen" : "11 3/8 x 9 11/16 in. (28.9 x 24.6 cm)", "Disp_Height" : "11 3/8 in.", "Disp_Width" : "9 11/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Oil", "Support" : "paper", "Disp_Medium" : "Oil and pastel on paper", "Info_Page_Comm" : "Joan Lyons founded the Visual Studies Workshop Press in Rochester in 1971 and she remains one of the nation’s most dedicated advocates of small edition artists’ books. A visual artist herself, she graduated from Alfred University. This colorful early drawing might be read as an aerial view of the landscape. It was donated by John Funt, an artist and the son of Candid Camera host Alan Funt. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of John Funt", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.73_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.73_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.73_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.73_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37956", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 403, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/403", "Disp_Access_No" : "1929.62", "_AccNumSort1" : "", "Disp_Create_DT" : "1912", "_Disp_Start_Dat" : "1912", "_Disp_End_Date" : "1912", "Disp_Title" : "The Absinthe Drinker", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Robert Lee MacCameron", "Sort_Artist" : "MacCameron, Robert Lee", "Disp_Dimen" : "43 x 33 in. (109.2 x 83.8 cm)", "Disp_Height" : "43 in.", "Disp_Width" : "33 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Robert Lee MacCameron was well-known for two very different kinds of paintings: society portraits of people like President Taft, Auguste Rodin, and Lady Astor, and depictions of the sordid demi-monde of his adopted city of Paris. The Absinthe Drinker, completed in the year of the artist’s death, is an excellent example of the latter. Despite the painting’s poor condition, the sitter’s ghastly complexion and stooped posture evoke the fate of those who lost themselves to “the green fairy,” as the potent and inexpensive spirit was sometimes called. MacCameron married Louise Van Voorhis, a member of one of Rochester’s most prominent families. Her mother donated this painting to MAG many years after the painter’s death at age 46. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Mrs. John Van Voorhis", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/29.62_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/29.62_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/29.62_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/29.62_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17253", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3205, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3205", "Disp_Access_No" : "1955.248", "_AccNumSort1" : "", "Disp_Create_DT" : "1948", "_Disp_Start_Dat" : "1948", "_Disp_End_Date" : "1948", "Disp_Title" : "Skull", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Don Manfredi", "Sort_Artist" : "Manfredi, Don", "Disp_Dimen" : "21 5/16 x 15 13/16 in. (54.2 x 40.2 cm)", "Disp_Height" : "21 5/16 in.", "Disp_Width" : "15 13/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Crayon", "Support" : "paper", "Disp_Medium" : "Crayon on paper", "Info_Page_Comm" : "The year before Don Manfredi drew Skull, the New York Times singled him out in its review of an exhibition at the Weyhe Gallery: “The star here is young Don Manfredi, aged 16 . . . highly imaginative and very expert in his novel geometricizing, so to speak, of landscape.” Although he continued to paint and draw for the rest of his life, by the mid-1950s he was designing sets for Broadway productions as well. Those who met him after he arrived in Rochester in 1968 remember him as a conservator of paintings; MAG was among his clients. A few years before his death, Manfredi moved to the Italian Riviera, where he felt he would once again have time to pursue his own art. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of a Friend of the Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.248_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.248_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.248_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.248_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "27811", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5215, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5215", "Disp_Access_No" : "1957.32", "_AccNumSort1" : "", "Disp_Create_DT" : "1956", "_Disp_Start_Dat" : "1956", "_Disp_End_Date" : "1956", "Disp_Title" : "Maternity", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Giacomo Manzù", "Sort_Artist" : "Manzù, Giacomo", "Disp_Dimen" : "14 x 7 x 9 in. (35.6 x 17.8 x 22.9 cm)", "Disp_Height" : "14 in.", "Disp_Width" : "7 in.", "Dimen_Extent" : "overall", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze ", "Info_Page_Comm" : "The remarkable bond between a mother and her child begins with gestation and continues after birth through touch. Our first lessons on how to interact with our world and the people around us begin in our mother’s arms. Giacomo Manzù captured this intensely physical relationship in a series of sculptures of women with their children in various states of embrace and caress. This sculpture was never put into production, and the chalky remains of the casting process remain on its surface. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Copyright Holder Not Found", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/57.32_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/57.32_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/57.32_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/57.32_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "31818", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/57.32_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/57.32_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/57.32_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/57.32_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "31819", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1004, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1004", "Disp_Access_No" : "1980.45", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1980", "_Disp_Start_Dat" : "1975", "_Disp_End_Date" : "1985", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Graham Marks", "Sort_Artist" : "Marks, Graham", "Disp_Dimen" : "24 x 29 1/2 x 28 1/2 in. (61 x 74.9 x 72.4 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "29 1/2 in.", "Dimen_Extent" : "overall", "Medium" : "Clay", "Support" : "", "Disp_Medium" : "Clay", "Info_Page_Comm" : "Graham Marks’s ambiguous ceramic work triggers associations with familiar forms: squishy cerebral folds or the hard, ragged interior of a nut. In 1980, Marks came to Rochester to teach a semester at Rochester Institute of Technology and this piece was awarded the purchase prize at the Gallery’s Rochester-Finger Lakes Exhibition. The same year he was featured in the national Ceramics Monthly and was quoted as saying, “Clay is a material that is engaging to me because of its resistance to the imposition of monologue and its insistence on dialogue. I inform it as much as it informs me.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund; Memorial Art Gallery Purchase Award, 1980 Rochester - Finger Lakes Exhibition", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/80.45_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/80.45_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/80.45_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/80.45_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39370", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 597, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/597", "Disp_Access_No" : "1965.22", "_AccNumSort1" : "", "Disp_Create_DT" : "1961", "_Disp_Start_Dat" : "1961", "_Disp_End_Date" : "1961", "Disp_Title" : "Woman in a Cloak", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Robert E. Marx", "Sort_Artist" : "Marx, Robert E.", "Disp_Dimen" : "48 x 42 in. (121.9 x 106.7 cm)", "Disp_Height" : "48 in.", "Disp_Width" : "42 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Painter-printmaker Robert Marx taught at the State University at Brockport from 1970 to 1990. His figures personify the frustrating, hurtful, and dysfunctional aspects of the human condition in relation to authority, personal relationships, and oneself. He invites the viewer to meet the gaze of his subject, stating, “If I am successful, my people will make eye contact with you and a dialogue will begin.” [Label text from It Came From the Vault exhibition, 2013] Painter-printmaker Robert Marx taught at the State University at Brockport from 1970 to 1990. His figures personify the frustrating, hurtful, and dysfunctional aspects of the human condition. He invites the viewer to meet the gaze of his subject, stating, “If I am successful, my people will make eye contact with you and dialogue will begin.” He currently lives and works in Rochester, New York. [Gallery Label Text, Summer 2015]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/65.22_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/65.22_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/65.22_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/65.22_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12426", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 565, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/565", "Disp_Access_No" : "1982.54", "_AccNumSort1" : "", "Disp_Create_DT" : "1928", "_Disp_Start_Dat" : "1928", "_Disp_End_Date" : "1928", "Disp_Title" : "The Picador", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Eugene McCown", "Sort_Artist" : "McCown, Eugene", "Disp_Dimen" : "32 x 25 3/4 in. (81.3 x 65.4 cm)", "Disp_Height" : "32 in.", "Disp_Width" : "25 3/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "When he turned 19, aspiring artist Eugene McCown said goodbye to Missouri and made his way to Paris, where he fell into a social circle that included Virgil Thompson, Gertrude Stein, Peggy Guggenheim, Marcel Duchamp and other luminaries of the bohemian scene. In the City of Light, he was able to live openly as a gay man and acquired a reputation as a bon vivant. It’s unclear how much time he actually spent painting, as only a handful of his works are known today. From existing photographs of those, "The Picador" seems typical in terms of the elongated figures and slightly surreal setting, if not in homoerotic content. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Helen Ellwanger", "Copyright_Type" : "Copyright Holder Not Found", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/82.54_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/82.54_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/82.54_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/82.54_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39418", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 2110, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2110", "Disp_Access_No" : "1986.106", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1937", "_Disp_Start_Dat" : "1932", "_Disp_End_Date" : "1942", "Disp_Title" : "Boston Harbor", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John C. Menihan", "Sort_Artist" : "Menihan, John C.", "Disp_Dimen" : "12 5/8 x 18 7/8 in. (32 x 47.9 cm)", "Disp_Height" : "12 5/8 in.", "Disp_Width" : "18 7/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "Tribute Fund", "Copyright_Type" : "Copyright Assigned to MAG", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86.106_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.106_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.106_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.106_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12936", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Image shows shadow of mat...not easily cropped out. Should be reshot for publication.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86.106_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.106_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.106_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.106_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39098", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5220, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5220", "Disp_Access_No" : "1925.35", "_AccNumSort1" : "", "Disp_Create_DT" : "1917 (cast 1925)", "_Disp_Start_Dat" : "1917", "_Disp_End_Date" : "1917", "Disp_Title" : "Madonna and Child", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ivan Mestrovic", "Sort_Artist" : "Mestrovic, Ivan", "Disp_Dimen" : "20 1/2 x 15 x 11 in. (52.1 x 38.1 x 27.9 cm)", "Disp_Height" : "20 1/2 in.", "Disp_Width" : "15 in.", "Dimen_Extent" : "", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "Examples of prehistoric cave painting and rock art indicate humans have always recognized the divine bond between a mother and her child. With his austere modernist figures, Ivan Mestrovic sought to capture a universal spiritual feeling. His unique style clearly affected the many Rochesterians who donated money to purchase this piece from a popular exhibition of the artist’s sculpture held at the Gallery in 1925. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Subscription fund contributed by a group of donors", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Croatian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/25.35_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/25.35_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/25.35_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/25.35_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39346", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8116, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8116", "Disp_Access_No" : "1936.74", "_AccNumSort1" : "", "Disp_Create_DT" : "1865-1870", "_Disp_Start_Dat" : "1865", "_Disp_End_Date" : "1870", "Disp_Title" : "The End of the Workday (La fin de la journée)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jean François Millet", "Sort_Artist" : "Millet, Jean François", "Disp_Dimen" : "29 1/4 x 37 x 3/4 in. (74.3 x 94 x 1.9 cm)", "Disp_Height" : "29 1/4 in.", "Disp_Width" : "37 in.", "Dimen_Extent" : "overall", "Medium" : "Pastel", "Support" : "paper", "Disp_Medium" : "Pastel and crayon on paper", "Info_Page_Comm" : "On one of their many long, evening walks, Millet said to his brother Pierre: “It is astonishing toward the approach of night, how grand everything on the plain appears, especially when we see figures thrown out against the sky. Then they look like giants.” The End of the Workday showcases Millet’s fascination with the hour of twilight, which moved him by its power to transform human and other natural forms into strange shapes, evocative of dreams. The pastel, which shows a peasant silhouetted against the fading sky, putting on his jacket after a day of labor, is classic Millet. Best known as a painter of peasants, a politically and socially complex subject matter in France of the 1800s, his scenes of rural life focused on the human figure as much if not more than the landscape. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "George Eastman Collection of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/36.74_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/36.74_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/36.74_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/36.74_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39423", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6554, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6554", "Disp_Access_No" : "1973.105", "_AccNumSort1" : "", "Disp_Create_DT" : "1970-1971", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "1971", "Disp_Title" : "Seated Figure", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Henry Spencer Moore", "Sort_Artist" : "Moore, Henry Spencer", "Disp_Dimen" : "9 15/16 x 6 7/8 in. (25.2 x 17.4 cm)", "Disp_Height" : "9 15/16 in.", "Disp_Width" : "6 7/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Gouache", "Support" : "paper", "Disp_Medium" : "Gouache, pen, crayon and wash on paper", "Info_Page_Comm" : "", "Dedication" : "Joseph C. Wilson Memorial Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.105_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.105_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.105_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.105_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39122", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2134, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2134", "Disp_Access_No" : "1988.35", "_AccNumSort1" : "", "Disp_Create_DT" : "1888", "_Disp_Start_Dat" : "1888", "_Disp_End_Date" : "1888", "Disp_Title" : "Bridge in the Pass at Glencoe-- Scotland", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thomas Moran", "Sort_Artist" : "Moran, Thomas", "Disp_Dimen" : "13 3/8 x 17 5/16 in. (33.9 x 44 cm)", "Disp_Height" : "13 3/8 in.", "Disp_Width" : "17 5/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Etching with roulette", "Info_Page_Comm" : "This landscape is one of several works that were the result of a trip Thomas and Mary Moran made to Scotland in 1882. It shows the Bridge of Three Waters, near the site where members of the MacDonald clan were massacred by solders from a Campbell regiment in 1692. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/88.35_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/88.35_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/88.35_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/88.35_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "38274", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8034, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8034", "Disp_Access_No" : "2001.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1989", "_Disp_Start_Dat" : "1989", "_Disp_End_Date" : "1989", "Disp_Title" : "Night Music Opus #21", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Robert Motherwell", "Sort_Artist" : "Motherwell, Robert", "Disp_Dimen" : "32 1/2 x 25 1/2 in. (82.6 x 64.8 cm)", "Disp_Height" : "32 1/2 in.", "Disp_Width" : "25 1/2 in.", "Dimen_Extent" : "overall", "Medium" : "Acrylic", "Support" : "canvas", "Disp_Medium" : "Acrylic and rice paper on canvas", "Info_Page_Comm" : "Collages hang on refrigerator doors and the walls of museums. Tearing and cutting paper, positioning and repositioning the pieces, and layering them on top of each other until they create a satisfying composition—these are practices that preschoolers and the most sophisticated artists share. Artist Robert Motherwell worked in collage in preparation for some of his larger paintings, and he also created collages that were finished works of art themselves, such as his Night Music series. About the colors, one writer described “the ochre and the black of ancient cave paintings, charred by fire, darkened by age; and there are earth colors, of clay and soil. And there are the lighter, fragile eggshell colors of day. These are all offered up, in the bands and layers of their forms, whether perfect in their angles, or incomplete, ragged.” [Label text from It Came From the Vault exhibition, 2013] Much of the art of the twentieth century challenges the viewer to leave the comfort of recognizable subject matter and confront more directly color, form and expressive technique. As an example, this collage by Robert Motherwell is representative of his nearly lifelong effort to expand the conventional boundaries of painting. Motherwell, who gave voice to the aesthetics and philosophies of the New York City -based Abstract Expressionists, created works imbued with tension and paradox. For him and his fellow painters (among them Jackson Pollock and Mark Rothko), the canvas presented a surface on which to record gesture and emotion, liberated from the need to record an objective reality. [Gallery label text]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2001.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2001.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2001.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2001.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17672", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2139, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2139", "Disp_Access_No" : "1975.335.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Robert Motherwell", "Sort_Artist" : "Motherwell, Robert", "Disp_Dimen" : "24 x 20 in. (61 x 50.8 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Serigraph", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.335.5_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.335.5_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.335.5_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.335.5_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39432", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3888, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3888", "Disp_Access_No" : "1998.78", "_AccNumSort1" : "", "Disp_Create_DT" : "1961", "_Disp_Start_Dat" : "1961", "_Disp_End_Date" : "1961", "Disp_Title" : "Resting Rock", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Walter Tandy Murch", "Sort_Artist" : "Murch, Walter Tandy", "Disp_Dimen" : "35 x 30 in. (88.9 x 76.2 cm)", "Disp_Height" : "35 in.", "Disp_Width" : "30 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Walter Murch’s poetic depictions of objects—clocks, gears, light bulbs, tools, stones—defy easy categorization. A unique figure among his contemporaries of the 1950s and 1960s, Murch was good friends with another outlier artist, Joseph Cornell, whose work The Admiral’s Game is on display nearby. The two shared an interest in the poetic significance of mundane objects. Through their eyes, a common object like a rock or a scrap of weathered wood is transformed into something mysterious and extraordinary. [Summer 2015]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/98.78_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.78_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.78_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.78_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12551", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 21066, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21066", "Disp_Access_No" : "2007.51", "_AccNumSort1" : "", "Disp_Create_DT" : "1966", "_Disp_Start_Dat" : "1966", "_Disp_End_Date" : "1966", "Disp_Title" : "Interior Scene", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Lowell Blair Nesbitt", "Sort_Artist" : "Nesbitt, Lowell Blair", "Disp_Dimen" : "35 3/16 x 44 3/16 in. (89.4 x 112.3 cm)", "Disp_Height" : "35 3/16 in.", "Disp_Width" : "44 3/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Graphite", "Support" : "paper", "Disp_Medium" : "Graphite on paper laid down on linen", "Info_Page_Comm" : "", "Dedication" : "Gift of Ron Kransler in tribute to the most important woman in my life, Marilyn Feagles Kransler, my mother", "Copyright_Type" : "Copyright Holder Not Found", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2007.51_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2007.51_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2007.51_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2007.51_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39421", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Rephotograph with less glare from graphite", "View" : "" } , ] },{ "embark_ID" : 1023, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1023", "Disp_Access_No" : "1961.4", "_AccNumSort1" : "", "Disp_Create_DT" : "1958", "_Disp_Start_Dat" : "1958", "_Disp_End_Date" : "1958", "Disp_Title" : "Totem", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Louise Nevelson", "Sort_Artist" : "Nevelson, Louise", "Disp_Dimen" : "71 1/2 x 7 3/8 in. (181.6 x 18.7 cm)", "Disp_Height" : "71 1/2 in.", "Disp_Width" : "7 3/8 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood and paint", "Info_Page_Comm" : "", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/61.4_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/61.4_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/61.4_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/61.4_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13010", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 609, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/609", "Disp_Access_No" : "1948.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1947", "_Disp_Start_Dat" : "1947", "_Disp_End_Date" : "1947", "Disp_Title" : "Starlings Flocking", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Bror Julius Olsson Nordfeldt", "Sort_Artist" : "Nordfeldt, Bror Julius Olsson", "Disp_Dimen" : "40 x 48 in. (101.6 x 121.9 cm)", "Disp_Height" : "40 in.", "Disp_Width" : "48 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "A Rochester artist, Whitney Hoyt (also represented in this exhibition), purchased Starlings Flocking from a show in New York and immediately presented it to MAG. The Swedish-born B. J. O. Nordfeldt was recognized as a master of Expressionism and in her letter of thanks to the donor, Gallery director Gertrude Herdle Moore waxed rhapsodic in describing her reaction to his painting: “I cannot tell you whether I am hearing or seeing it more—or whether I have ever before been caught up into such a dynamic sensation of movement sweeping through space. The Van Gogh Starry Night did the same thing to me . . . [Those starlings] fill the air about you with their darting wings and cut it as if it were a visible substance . . . I have begun to hear a pulsating beat in the spiraling motion of the design and to feel surrounded by its luminous planes.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Whitney Hoyt in memory of his parents, Mr. and Mrs. Martin B. Hoyt", "Copyright_Type" : "Copyright Holder Not Found", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/48.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/48.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/48.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/48.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "38891", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame edited out of photo in processing.", "View" : "" } , ] },{ "embark_ID" : 2177, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2177", "Disp_Access_No" : "1975.264", "_AccNumSort1" : "", "Disp_Create_DT" : "by 1965", "_Disp_Start_Dat" : "1965", "_Disp_End_Date" : "1965", "Disp_Title" : "Mystic", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Thom O'Connor", "Sort_Artist" : "O'Connor, Thom", "Disp_Dimen" : "16 7/8 x 12 5/8 in. (42.8 x 32 cm)", "Disp_Height" : "16 7/8 in.", "Disp_Width" : "12 5/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Information about this print edition can be found in Art for Every Home: An Illustrated Index of Associated American Artists Prints, Ceramics, and Textile Designs, at http://hdl.handle.net/2097/19686, p.181 , no.1632", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.264_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.264_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.264_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.264_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "27234", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13914, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13914", "Disp_Access_No" : "2006.77", "_AccNumSort1" : "", "Disp_Create_DT" : "1918", "_Disp_Start_Dat" : "1918", "_Disp_End_Date" : "1918", "Disp_Title" : "Over Blue", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Georgia O'Keeffe", "Sort_Artist" : "O'Keeffe, Georgia", "Disp_Dimen" : "28 x 22 in. (71.1 x 55.9 cm)", "Disp_Height" : "28 in.", "Disp_Width" : "22 in.", "Dimen_Extent" : "sheet", "Medium" : "Pastel", "Support" : "paper", "Disp_Medium" : "Pastel on paper over cardboard", "Info_Page_Comm" : "This beautiful image was created by Georgia O’Keeffe soon after her return to New York City from Texas at the invitation of art dealer and photographer Alfred Stieglitz, whom she would marry several years later. It is from the very earliest part of her career, the first decade in which she seriously identified as an artist. Its remarkably light-filled palette contrasts with the Gallery’s 1931 painting by O’Keeffe, Jawbone and Fungus. The Memorial Art Gallery is deeply grateful to Anne Whitman, whose commitment to the Rochester community motivated her to leave this treasure from her collection to an institution that would share it with visitors for many generations to come. [Gallery label text, 2007]", "Dedication" : "Bequest of Anne G. Whitman", "Copyright_Type" : "See Notes & Histories-Copyright Notes", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2006.77_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2006.77_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2006.77_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2006.77_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "23397", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 619, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/619", "Disp_Access_No" : "1988.24", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1920", "_Disp_Start_Dat" : "1915", "_Disp_End_Date" : "1925", "Disp_Title" : "A New Arrangement", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ivan G. Olinsky", "Sort_Artist" : "Olinsky, Ivan G.", "Disp_Dimen" : "30 x 25 in. (76.2 x 63.5 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "25 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Ivan Olinksy, a Russian who arrived in New York City at age 13, was for many years the studio assistant of John LaFarge, the celebrated muralist and stained glass designer. After LaFarge’s death, Olinsky became a well-known painter in his own right, and George Herdle included his work in MAG’s inaugural exhibition of 1913. In attempting to trace that painting for the Gallery’s 75th anniversary show, MAG made contact with Olinsky’s daughter and grandsons. Serendipitously, Olinksky’s great-grandson had just graduated from the University of Rochester, and the family generously donated A New Arrangement to the permanent collection. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Richard H. Miller, John L. Miller, and Leonore O. Miller", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/88.24_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/88.24_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/88.24_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/88.24_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12510", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7729, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7729", "Disp_Access_No" : "1968.4", "_AccNumSort1" : "", "Disp_Create_DT" : "late 15th Century - early 16th Century", "_Disp_Start_Dat" : "1467", "_Disp_End_Date" : "1532", "Disp_Title" : "Portrait Bust of a Man", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Vincenzo Onofri", "Sort_Artist" : "Onofri, Vincenzo", "Disp_Dimen" : "16 1/4 x 18 1/2 x 9 1/4 in. (41.3 x 47 x 23.5 cm)", "Disp_Height" : "16 1/4 in.", "Disp_Width" : "18 1/2 in.", "Dimen_Extent" : "overall", "Medium" : "Terracotta", "Support" : "", "Disp_Medium" : "Terracotta, traces of polychromy", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Ceramics", "Creation_Place2" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/68.4_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/68.4_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/68.4_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/68.4_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39453", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/68.4_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/68.4_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/68.4_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/68.4_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "39454", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 624, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/624", "Disp_Access_No" : "1958.17", "_AccNumSort1" : "", "Disp_Create_DT" : "1957", "_Disp_Start_Dat" : "1957", "_Disp_End_Date" : "1957", "Disp_Title" : "Spring through the Willows", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William C. Palmer", "Sort_Artist" : "Palmer, William C.", "Disp_Dimen" : "31 1/2 x 40 3/4 in. (80 x 103.5 cm)", "Disp_Height" : "31 1/2 in.", "Disp_Width" : "40 3/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Early in his career, William Palmer was a muralist for the WPA, earning $24 a week for his hospital and post office commissions. He went on to found the School of Art at the Munson-Williams-Proctor Arts Institute in Utica, and became a highly regarded painter of colorful, abstract New York landscapes. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Copyright Holder Not Found", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/58.17_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/58.17_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/58.17_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/58.17_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39539", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2193, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2193", "Disp_Access_No" : "1973.133", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "Nude on Silver Bench", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Philip Pearlstein", "Sort_Artist" : "Pearlstein, Philip", "Disp_Dimen" : "29 1/2 x 37 1/2 in. (74.9 x 95.3 cm)", "Disp_Height" : "29 1/2 in.", "Disp_Width" : "37 1/2 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Etching and aquatint", "Info_Page_Comm" : "Philip Pearlstein began his career as a landscape painter but by the 1960s had become recognized as one of the foremost painters of the contemporary nude. Art critic and historian Sidney Tillim wrote that Pearlstein “paints the nude not as a symbol of beauty and pure form but as a human fact—implicitly imperfect.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.133_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.133_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.133_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.133_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39430", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8174, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8174", "Disp_Access_No" : "1983.120", "_AccNumSort1" : "", "Disp_Create_DT" : "1904", "_Disp_Start_Dat" : "1904", "_Disp_End_Date" : "1904", "Disp_Title" : "The Frugal Repast (Le Repas Frugal)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Pablo Picasso", "Sort_Artist" : "Picasso, Pablo", "Disp_Dimen" : "23 1/2 x 20 in. (59.7 x 50.8 cm)", "Disp_Height" : "23 1/2 in.", "Disp_Width" : "20 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "wove paper", "Disp_Medium" : "Etching and drypoint on wove paper", "Info_Page_Comm" : "With its iconic image of a man and woman sitting at a table in a wine shop, a sharp realism evoking the couple’s poverty and despair, "The Frugal Repast" is Picasso’s most famous print. It is especially remarkable because, at the time he created it, the artist had no formal training in printmaking. Beyond its emotional appeal, the fineness of technique is a testament to Picasso’s genius and ability to master a new medium so quickly. Picasso produced only a few copies of this etching and drypoint when he created it in 1904. Almost ten years later, his dealer Ambrose Vollard, well known for his marketing and financial skills, bought the copper plate, strengthened it with steel facing, and, along with 14 smaller etchings, produced an unsigned edition of 250. This series, known as the The Saltimbanque Suite, assured Picasso’s reputation not only as painter, but master printmaker. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "Spanish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/83.120_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/83.120_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/83.120_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/83.120_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "35481", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1040, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1040", "Disp_Access_No" : "1930.73", "_AccNumSort1" : "", "Disp_Create_DT" : "1837", "_Disp_Start_Dat" : "1837", "_Disp_End_Date" : "1837", "Disp_Title" : "Francis Granger (1792 - 1868)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hiram Powers", "Sort_Artist" : "Powers, Hiram", "Disp_Dimen" : "23 x 17 x 11 in. (58.4 x 43.2 x 27.9 cm)", "Disp_Height" : "23 in.", "Disp_Width" : "17 in.", "Dimen_Extent" : "overall", "Medium" : "Marble", "Support" : "", "Disp_Medium" : "Marble", "Info_Page_Comm" : "“Now then for a small piece of vanity—Powers, the sculptor, is taking me in clay, to be wrought in marble in Italy next summer. If he does not get a perfect head, it will be his first failure.” New York Congressman and Canandaigua resident Francis Granger was one of many prominent American politicians to sit for a classical-style portrait bust by Hiram Powers. Many Grand Tourists made Powers’ sculpture studio in Florence, Italy, a stop on their travels, to witness the artist at work, view his latest creations, or commission a personal artwork. [Label text from It Came From the Vault exhibition, 2013] Why do portrait busts often have blank eyeballs? Here’s one theory: originally, many ancient Greek and Roman sculptures were painted, including the eyes, but over the years the paint has faded so that by the 19th century, the eyes appeared to be blank. While 19th century artists often modeled their portrait busts of important political figures on these Classical forms, they did not know that the eyes had been painted originally, so they left them blank. Only with current technology has it been possible to understand how the older sculptures actually appeared. The subject of this sculpture, Francis Granger (1792 – 1868), was born a decade after the American Revolution and died right after the Civil War. A congressman from nearby Canandaigua when he posed for this sculpture in 1837, he said: “Now then for a small piece of vanity – Powers, the sculptor, is taking me in clay, to be wrought in marble in Italy next summer. If he does not get a perfect head, it will be his first failure.” [Gallery label text, 2009]", "Dedication" : "Bequest of Antoinette Pierson Granger", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Standing on its own cylindrical marble pedestal approximately 43" h - overall: 66" h (information taken from log book and catalog card)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/30.73_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/30.73_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/30.73_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/30.73_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17113", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7542, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7542", "Disp_Access_No" : "1954.13", "_AccNumSort1" : "", "Disp_Create_DT" : "1710", "_Disp_Start_Dat" : "1710", "_Disp_End_Date" : "1710", "Disp_Title" : "Cup: "Saltby Plate"", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Benjamin Pyne", "Sort_Artist" : "Pyne, Benjamin", "Disp_Dimen" : "4 1/4 x 6 3/4 x 4 in. (10.8 x 17.1 x 10.2 cm)", "Disp_Height" : "4 1/4 in.", "Disp_Width" : "6 3/4 in.", "Dimen_Extent" : "", "Medium" : "Silver", "Support" : "", "Disp_Medium" : "Silver", "Info_Page_Comm" : "", "Dedication" : "Gift of Mrs. Ernest L. Woodward", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Metalwork", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/54.13_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/54.13_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/54.13_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/54.13_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "32063", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3241, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3241", "Disp_Access_No" : "1989.31", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1880", "_Disp_Start_Dat" : "1875", "_Disp_End_Date" : "1885", "Disp_Title" : "Romantic Scene with Ruined Castle", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Walter Rauschenbusch", "Sort_Artist" : "Rauschenbusch, Walter", "Disp_Dimen" : "9 x 11 3/8 in. (22.9 x 28.9 cm)", "Disp_Height" : "9 in.", "Disp_Width" : "11 3/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Charcoal", "Support" : "paper", "Disp_Medium" : "Charcoal and chalk on sandpaper", "Info_Page_Comm" : "Sometimes, complete mysteries present themselves at MAG. How did a drawing by Walter Rauschenbusch, a giant among theologians in the late 19th and early 20th centuries, come to MAG? No paperwork exists to tell us the story. Drawings like these, incorrectly called “sandpaper drawings,” were done as art exercises in the 19th century. Usually, the student was given the task of copying a popular print onto specially prepared board. Perhaps Rauschenbusch, who grew up in Rochester, went to a school that taught this technique. Perhaps he kept the drawing with him throughout his life; his signature is on the back, along with the word “Lent.” Perhaps, when he died, the drawing was put out with unwanted papers, or it may have been passed along to a family member, a neighbor, or a friend. At some point, the drawing was brought to MAG, but the trail, such as it is, ends there. And perhaps a visitor to our exhibition will be able to shed some light on this mystery! [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Anonymous gift", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Found in collection", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/89.31_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/89.31_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/89.31_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/89.31_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "27842", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3459, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3459", "Disp_Access_No" : "1982.46", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1925", "_Disp_Start_Dat" : "1920", "_Disp_End_Date" : "1930", "Disp_Title" : "Hildegarde Watson", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Man Ray", "Sort_Artist" : "Ray, Man", "Disp_Dimen" : "9 15/16 x 8 in. (25.2 x 20.3 cm)", "Disp_Height" : "9 15/16 in.", "Disp_Width" : "8 in.", "Dimen_Extent" : "sheet", "Medium" : "Gelatin silver print", "Support" : "wove paper", "Disp_Medium" : "Gelatin silver print (?)", "Info_Page_Comm" : "Man Ray was the only American who was intimately tied to the Surrealist group in Paris. During the 1920s, his photographic portraits were highly sought after, by the bohemian crowd as well as the social elite. Thwarting expectations causes a sense of tension that was one of the aims of the Surrealists; here, the inclusion of the mannequin arm is intended to disturb and disorient the viewer. Man Ray used the false arm in another portrait in 1932, that of fashion designer Elsa Schiaparelli. The subject here is Hildegarde Watson, daughter-in-law of the museum’s founder. She was a philanthropist, singer, painter, writer, photographer, and active preservationist. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of the Estate of Helen C. Ellwanger", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Photograph", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/82.46_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/82.46_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/82.46_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/82.46_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39097", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6684, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6684", "Disp_Access_No" : "1989.50", "_AccNumSort1" : "", "Disp_Create_DT" : "1902", "_Disp_Start_Dat" : "1902", "_Disp_End_Date" : "1902", "Disp_Title" : "Geraniums", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Odilon Redon", "Sort_Artist" : "Redon, Odilon", "Disp_Dimen" : "19 13/16 x 15 7/8 in. (50.3 x 40.3 cm)", "Disp_Height" : "19 13/16 in.", "Disp_Width" : "15 7/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Pastel", "Support" : "board", "Disp_Medium" : "Pastel on thin pasteboard with a fibrous blue-beige surface", "Info_Page_Comm" : "", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/89.50_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/89.50_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/89.50_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/89.50_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "18214", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master is Museum Print Editions Scan purchased by Store for production purposes. Access image derived from Print Master.", "View" : "" } , ] },{ "embark_ID" : 4816, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4816", "Disp_Access_No" : "1939.11", "_AccNumSort1" : "", "Disp_Create_DT" : "1758-1759", "_Disp_Start_Dat" : "1758", "_Disp_End_Date" : "1759", "Disp_Title" : "Mrs. Thomas Orby Hunter", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sir Joshua Reynolds", "Sort_Artist" : "Reynolds, Joshua", "Disp_Dimen" : "25 x 30 in. (63.5 x 76.2 cm)", "Disp_Height" : "25 in.", "Disp_Width" : "30 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Sir Joshua Reynolds, the foremost portraitist in 18th-century England, painted members of the aristocracy as well as the newly-rich mercantile class. The first president of the Royal Academy in London, he did more than anyone to raise the status of art and artists in Britain. Reynolds. The information attached to this painting when it entered MAG’s collection in 1930 identified the sitter only as Mrs. Thomas Orby Hunter, wife of an important Member of Parliament and a Lord of the Admiralty. Orby Hunter lost his first two wives to early deaths, probably in childbirth. Based on stylistic grounds that suggest a date of the late 1750s, we speculate that the sitter is Thomas Orby Hunter’s third wife, Marion Cunningham, whom he married after his second wife’s death in June of 1756. [Label text from It Came From the Vault exhibition, 2013] ", "Dedication" : "Gift of Mrs. John Gade, Mrs. O'Donnell Iselin and Mr. F. Harper Sibley in memory of their father, Hiram W. Sibley", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Deaccessioned 1977-78, but recommended for reaccessioning in October 1981.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/39.11_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/39.11_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/39.11_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/39.11_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39600", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 4150, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4150", "Disp_Access_No" : "1999.32", "_AccNumSort1" : "", "Disp_Create_DT" : "1963", "_Disp_Start_Dat" : "1963", "_Disp_End_Date" : "1963", "Disp_Title" : "Two Lines [Small Series]", "Alt_Title" : "Two Blades", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "George Rickey", "Sort_Artist" : "Rickey, George", "Disp_Dimen" : "31 1/8 in. (79.1 cm)", "Disp_Height" : "31 1/8 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Stainless steel", "Support" : "", "Disp_Medium" : "Stainless steel", "Info_Page_Comm" : "Careful observers may recognize that a similar but much larger sculpture marks MAG’s front entrance, where its blades move gracefully in the breeze. MAG director Grant Holcomb met Mildred Baker, the donor of this work, a number of years ago and the two became friends. When she died, MAG received 14 works of art from her collection, including "Two Lines," which she had acquired directly from George Rickey. Lifelong experience as a sailor observing the forces of the wind, combined with training as an engineer, gave Rickey the skills and insight to assemble perfectly balanced elements that float through the air to achieve his goal of isolating “motion as a visual component and design with that.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Bequest of Mildred Baker", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Parent" : [ { "Rel_Obj_ID" : "1049", "Rel_Obj_Title" : "Two Lines Up Excentric - Twelve Feet" } ], "Curator" : "Note from George Rickey Estate: 2 of 10 shown in David Stewart Gallery in 1964", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/99.32_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/99.32_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/99.32_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/99.32_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39606", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5697, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5697", "Disp_Access_No" : "1956.56", "_AccNumSort1" : "", "Disp_Create_DT" : "1953", "_Disp_Start_Dat" : "1953", "_Disp_End_Date" : "1953", "Disp_Title" : "Nude", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jorge Rigol", "Sort_Artist" : "Rigol, Jorge", "Disp_Dimen" : "14 3/8 x 11 in. (36.5 x 27.9 cm)", "Disp_Height" : "14 3/8 in.", "Disp_Width" : "11 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "Cuban", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/56.56_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/56.56_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/56.56_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/56.56_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39427", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 9324, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/9324", "Disp_Access_No" : "1987.63", "_AccNumSort1" : "", "Disp_Create_DT" : "1651", "_Disp_Start_Dat" : "1651", "_Disp_End_Date" : "1651", "Disp_Title" : "The Goldweigher's Field", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rembrandt Harmensz. van Rijn", "Sort_Artist" : "Rijn, Rembrandt Harmensz. van", "Disp_Dimen" : "4 13/16 x 12 5/8 in. (12.2 x 32.1 cm)", "Disp_Height" : "4 13/16 in.", "Disp_Width" : "12 5/8 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "wove paper", "Disp_Medium" : "Etching and drypoint on wove paper", "Info_Page_Comm" : "This landscape is of a real place: the city of Haarlem with the spire of the Grootekerk can be seen at the left and the church tower of Bloemendaal is in the right middle ground. Rembrandt has subtly manipulated the scene into a carefully composed and extended horizontal panorama. He uses diagonal lines to indicate divisions in the fields. Horizontal lines showing property divisions and the woods also serve to slow the viewer’s gaze. The addition of drypoint, or lines scratched in the plate without the use of acid, heightens the contrast between light and shadow. The title for this print comes from the author of a 1751 catalogue of Rembrandt’s prints. He mistook this landscape for the property of the goldweigher, the Receiver General Jan Uytenbogaert, who was the subject of one of Rembrandt’s portraits. The Goldweigher’s Field actually shows the estate of the merchant Christoffel Thijs, who sold Rembrandt his house in 1639 and to whom Rembrandt was in debt. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "Dutch", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/87.63_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/87.63_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/87.63_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/87.63_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39587", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2297, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2297", "Disp_Access_No" : "1995.9", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Homage to Poussin (Et In Arcadia Ego)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "James Rosen", "Sort_Artist" : "Rosen, James", "Disp_Dimen" : "23 5/8 x 32 in. (60 x 81.3 cm)", "Disp_Height" : "23 5/8 in.", "Disp_Width" : "32 in.", "Dimen_Extent" : "without frame", "Medium" : "Crayon", "Support" : "paper", "Disp_Medium" : "Crayon on paper", "Info_Page_Comm" : "James Rosen’s poetic works often reference Renaissance masterpieces that deal with religious themes. Here he reinterprets the figures from a painting titled Les Bergers d'Arcadie (Et in Arcadia ego) by the 15th-century master Nicolas Poussin (see inset), in which the shepherd’s tracing of his shadow on the stone tomb face is traditionally interpreted as man’s creation of his first image. The drawing in our exhibition is a study for one of Rosen’s layered wax paintings owned by The Rooms, the largest public cultural space in Newfoundland and Labrador, where the artist now resides. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Tribute Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/95.9_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/95.9_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/95.9_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/95.9_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "31288", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image, not for web or print", "View" : "" } , ] },{ "embark_ID" : 2298, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2298", "Disp_Access_No" : "1973.113", "_AccNumSort1" : "", "Disp_Create_DT" : "1973", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1973", "Disp_Title" : "A Pale Angel's Halo", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "James Rosenquist", "Sort_Artist" : "Rosenquist, James", "Disp_Dimen" : "30 1/4 x 22 1/2 in. (76.8 x 57.2 cm)", "Disp_Height" : "30 1/4 in.", "Disp_Width" : "22 1/2 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph and serigraph", "Info_Page_Comm" : "Poet and art critic Nicolas Calas wrote of this image when it was published as part of a portfolio titled Reality and Paradoxes in 1973: “An inward image, transmitted verbally, has the power to transform a common image into an exceptional one. Blue, yellow and red express a divine utterance in primary colors: ‘pale angel.’ Suddenly the yellow is apprehended as gold, the ground as heavenly blue, the handle as the outline of a halo, and also of the back of an angel’s head and ears. The cut away space of the pail’s body recalls the ethereal quality of angels.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Per Marjorie Searl, February 8, 2012: Changed title to A Pale Angel''s Halo...from Pale Angel, per title on the print. ", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/73.113_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/73.113_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/73.113_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/73.113_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39429", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3273, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3273", "Disp_Access_No" : "1975.289", "_AccNumSort1" : "", "Disp_Create_DT" : "1970", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "1970", "Disp_Title" : "Ultra", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edward Ruscha", "Sort_Artist" : "Ruscha, Edward", "Disp_Dimen" : "11 7/16 x 29 1/16 in. (29.1 x 73.8 cm)", "Disp_Height" : "11 7/16 in.", "Disp_Width" : "29 1/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Gunpowder", "Support" : "paper", "Disp_Medium" : "Gunpowder and pastel on paper", "Info_Page_Comm" : "For a year, this drawing resided in the home of Vice President and Mrs. Walter Mondale, part of a group of 75 works of art from museums in the Northeast borrowed for the official residence on the grounds of the Naval Observatory in Washington. In a letter dated April 26, 1979, Joan Mondale wrote to Director John Mahey, “Having spent many of my working years in museums, I know that lending works of art brings mixed feelings—the pleasure of sharing, pride that the work has been sought, and the apprehension for one’s treasures. Be assured, your generosity in loaning works to the Vice President’s House is gratefully appreciated.” (Did Mrs. Mondale know that Pop artist Ed Ruscha’s lover was named Ultra Violet?) [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "The Charles Rand Penney Collection of the Memorial Art Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Lent to Vice President Walter Mondale''s home in Washington DC, March 20, 1979 - March 30, 1980", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.289_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.289_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.289_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.289_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "45036", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "These photos and variants can be found on the disk entitled "MAG 160210"", "View" : "" } , ] },{ "embark_ID" : 2312, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2312", "Disp_Access_No" : "1917.11", "_AccNumSort1" : "", "Disp_Create_DT" : "1917", "_Disp_Start_Dat" : "1917", "_Disp_End_Date" : "1917", "Disp_Title" : "Palisades", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rudolph Ruzicka", "Sort_Artist" : "Ruzicka, Rudolph", "Disp_Dimen" : "11 1/4 x 8 3/16 in. (28.6 x 20.8 cm)", "Disp_Height" : "11 1/4 in.", "Disp_Width" : "8 3/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "wove paper", "Disp_Medium" : "Wood engraving", "Info_Page_Comm" : "In October of 1917, George Herdle brought to MAG an exhibition of prints made by members of the newly-formed Painter-Gravers of America. Among the over 90 prints was Rudolph Ruzicka’s Palisades, which was purchased for the collection for $10.80. With a minimum of colors and lines, the artist created an arresting image of a Hudson River scene, familiar and yet in his hands almost exotic. Interest in his work remained keen in Rochester, and he was given a solo exhibition at MAG the following year. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gallery Purchase Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/17.11_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/17.11_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/17.11_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/17.11_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39086", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 675, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/675", "Disp_Access_No" : "1962.33", "_AccNumSort1" : "", "Disp_Create_DT" : "1917", "_Disp_Start_Dat" : "1917", "_Disp_End_Date" : "1917", "Disp_Title" : "In the Nevada Desert", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Sven Birger Sandzén", "Sort_Artist" : "Sandzén, Sven Birger", "Disp_Dimen" : "32 x 48 in. (81.3 x 121.9 cm)", "Disp_Height" : "32 in.", "Disp_Width" : "48 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of G. S. Soderlund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/62.33_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/62.33_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/62.33_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/62.33_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39405", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 7243, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7243", "Disp_Access_No" : "1960.42", "_AccNumSort1" : "", "Disp_Create_DT" : "1950-1959", "_Disp_Start_Dat" : "1950", "_Disp_End_Date" : "1959", "Disp_Title" : "Waterfall", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Tetsuro Sawada", "Sort_Artist" : "Sawada, Tetsuro", "Disp_Dimen" : "14 1/4 x 18 11/16 in. (36.2 x 47.5 cm)", "Disp_Height" : "14 1/4 in.", "Disp_Width" : "18 11/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Gouache", "Support" : "", "Disp_Medium" : "Gouache and sumi", "Info_Page_Comm" : "Tetsuro Sawada was born and studied in Japan. Drafted into the Japanese army in 1945 and detained in Siberia after the war, he returned to his art after his release from prison in 1947. He attained international prominence in January 1960, when he had a solo exhibition at the Meltzer Gallery in New York. His one-man show was reviewed by the well-known New York Times art critic John Canaday, who wrote glowingly that the artist was well on his way to “converting the abstract idiom of our decades into a generally comprehensible expression of nature.” MAG purchased three of his works, including Waterfall, directly from the 1960 Meltzer exhibition. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Copyright Holder Not Found", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Japanese", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/60.42_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/60.42_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/60.42_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/60.42_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39118", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1052, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1052", "Disp_Access_No" : "1957.28", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1870", "_Disp_Start_Dat" : "1865", "_Disp_End_Date" : "1875", "Disp_Title" : "Eagle", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Wilhelm Schimmel", "Sort_Artist" : "Schimmel, Wilhelm", "Disp_Dimen" : "6 1/2 x 10 1/4 in. (16.5 x 26 cm)", "Disp_Height" : "6 1/2 in.", "Disp_Width" : "10 1/4 in.", "Dimen_Extent" : "", "Medium" : "Pine", "Support" : "", "Disp_Medium" : "Pine and paint", "Info_Page_Comm" : "", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/57.28_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/57.28_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/57.28_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/57.28_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "39366", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/57.28_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/57.28_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/57.28_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/57.28_A4.jpg", "IsPrimary" : "1", "_SurrogateID" : "39367", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 686, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/686", "Disp_Access_No" : "1977.204", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Polgrennow Farm", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "W. Elmer Schofield", "Sort_Artist" : "Schofield, W. Elmer", "Disp_Dimen" : "30 x 36 1/8 in. (76.2 x 91.8 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "36 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Buswell-Hochstetter Bequest", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Displayed with other Schofield paintings at ACM 5-10-1977 for deacession consideration This Schofield painting had a credit line of “anonymous gift” and the ledger said the source is unknown—found in storage, in the collection by 1977. But in the file there is an e-mail to Lu Harper from a scholar who gives a reference to the painting being reproduced in 1923 in Buffalo’s “Academy Notes” where it says it was then owned by Mrs. Henry Buswell (=Bertha). In the Buswell donor file, on an inventory of her estate is indeed listed a landscape by Schofield, and no other Schofield at MAG came from her. Ledger does not show a Schofield painting accessioned in 1955. Credit line changed to the standard Buswell credit line 12/2015. KSchauber, Curatorial Research Ass''t.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/77.204_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/77.204_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/77.204_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/77.204_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "25637", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "This photo was taken after conservation treatment was performed on this object by Susan Blakney of West Lake Conservators in January 2008 (small tear/puncture in lower center of canvas repaired).", "View" : "" } , ] },{ "embark_ID" : 13429, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13429", "Disp_Access_No" : "2005.135", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1978", "_Disp_Start_Dat" : "1973", "_Disp_End_Date" : "1983", "Disp_Title" : "Turkish Harbor", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edythe Shedden", "Sort_Artist" : "Shedden, Edythe", "Disp_Dimen" : "24 x 36 in. (61 x 91.4 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "36 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color woodcut", "Info_Page_Comm" : "Edythe Shedden, at the age of 91, remains one of Rochester’s most respected artists. A lifelong traveler, she journeyed to Turkey four times. This print was inspired by the harbor at Marmaris, a popular port that hugs the coastline of the Turkish Riviera. Shedden never made this image available for sale, so MAG’s example, a bequest from her friend Isabel Herdle, is a rare treasure indeed. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Bequest of Isabel C. Herdle", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.135_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.135_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.135_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.135_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "23958", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print master retains some evidence of mat-shadow in the upper left corner.", "View" : "" } , ] },{ "embark_ID" : 3283, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3283", "Disp_Access_No" : "1971.11", "_AccNumSort1" : "", "Disp_Create_DT" : "1970", "_Disp_Start_Dat" : "1970", "_Disp_End_Date" : "1970", "Disp_Title" : "Marcus Garvey", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Luvon Sheppard", "Sort_Artist" : "Sheppard, Luvon", "Disp_Dimen" : "24 1/16 x 18 1/16 in. (61.1 x 45.9 cm)", "Disp_Height" : "24 1/16 in.", "Disp_Width" : "18 1/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Wash", "Support" : "paper", "Disp_Medium" : "Ink wash on paper", "Info_Page_Comm" : "Now a professor of art at RIT, Luvon Sheppard was MAG’s coordinator of neighborhood services when he drew this portrait of the controversial Jamaican orator and activist. Marcus Garvey was perhaps best known for founding the Back-to-Africa movement, which called for a return of the African diaspora to its ancestral homelands. He famously feuded with W. E. B. DuBois, another activist and the first African American to graduate from Harvard, who described him unsympathetically as “a little, fat black man; ugly, but with intelligent eyes and a big head.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/71.11_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/71.11_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/71.11_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/71.11_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "35437", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13232, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13232", "Disp_Access_No" : "2005.39", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Third Ward Patterns", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edna Weeks Smith", "Sort_Artist" : "Smith, Edna Weeks", "Disp_Dimen" : "17 1/8 x 12 3/16 in. (43.5 x 31 cm)", "Disp_Height" : "17 1/8 in.", "Disp_Width" : "12 3/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color serigraph", "Info_Page_Comm" : "Edna Weeks Smith taught for many years at MAG’s Creative Workshop. It was largely through her efforts that the Gallery’s annual Clothesline Festival came into being back in 1957. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Bequest of Isabel C. Herdle", "Copyright_Type" : "Copyright Holder Not Found", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.39_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.39_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.39_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.39_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "34809", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 718, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/718", "Disp_Access_No" : "1982.51", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1907", "_Disp_Start_Dat" : "1902", "_Disp_End_Date" : "1912", "Disp_Title" : "Clarence J. McCarthy (1887 - 1953)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Eugene Speicher", "Sort_Artist" : "Speicher, Eugene", "Disp_Dimen" : "36 x 30 in. (91.4 x 76.2 cm)", "Disp_Height" : "36 in.", "Disp_Width" : "30 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Throughout history, artists have painted portraits of their friends, including friends who are often artists themselves. The young man in this portrait, Clarence J. McCarthy, met the artist Eugene Speicher while both were studying at the Albright Art School in their native Buffalo. The two also studied together at New York City’s Art Students League with the influential teacher Robert Henri. Speicher became an important portrait painter, and McCarthy, a significant illustrator. [Forman Gallery, Summer 2015]", "Dedication" : "Gift of Mr. and Mrs. Dennis J. Byrne in memory of Walter B. Byrne", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Clarence J. McCarthy (subject) was born in Rochester, died in Woodstock, NY. Worked as a magazine illustrator and painter. Studied at Albright Art School in Buffalo, where he met Speicher. Also studied at Art Student''s League. Member of the Salmagundi Club and Society of Illustrators. Great-uncle of the donor.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/82.51_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/82.51_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/82.51_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/82.51_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12488", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8845, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8845", "Disp_Access_No" : "1975.45", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "The Women's Bath", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Hans Springinklee", "Sort_Artist" : "Springinklee, Hans", "Disp_Dimen" : "8 3/4 x 9 3/16 in. (22.2 x 23.3 cm)", "Disp_Height" : "8 3/4 in.", "Disp_Width" : "9 3/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "laid paper", "Disp_Medium" : "Woodcut", "Info_Page_Comm" : "Reverse copy after a drawing by Albrecht Dürer. Public baths for both men and women enjoyed great popularity in Renaissance Germany; women’s baths in particular were frequent subjects of artists like Albrecht Dürer and his followers. Images of female nudity often carried erotic overtones, as seen here in the woman at center, who gazes directly at the viewer while turning her body in a frontal pose. These depictions of the female nude sometimes carried moral and menacing messages, as they were also used to portray women as prostitutes and witches. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "German", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.45_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.45_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.45_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.45_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39123", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3753, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3753", "Disp_Access_No" : "1964.112", "_AccNumSort1" : "", "Disp_Create_DT" : "1946", "_Disp_Start_Dat" : "1946", "_Disp_End_Date" : "1946", "Disp_Title" : "Jungle Harbour", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Edward John Stevens Jr.", "Sort_Artist" : "Stevens, Edward John", "Disp_Dimen" : "19 7/16 x 23 7/16 in. (49.4 x 59.6 cm)", "Disp_Height" : "19 7/16 in.", "Disp_Width" : "23 7/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Gouache", "Support" : "paper", "Disp_Medium" : "Gouache on paper", "Info_Page_Comm" : "Described as a “most unusual personality,” Edward John Stevens, Jr. was only 23 and primarily self-taught when he attained acclaim in the competitive New York City art world. After participating in his first group exhibition at the Weyhe Gallery in 1943, he was awarded with annual one-man shows over the next four years, from which every painting was sold. His imaginary scenes of fantastical animals and environments showed the influence of African and Pre-Columbian art, and modernist styles such as Cubism and Surrealism. He painted Jungle Harbour after his first trip to Cuba. The meticulously-detailed surface demonstrates horror vacui (from the Latin “fear of empty space”), a characteristic common in art made by untrained artists. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Mrs. Anna W. M. Wolf", "Copyright_Type" : "Copyright Holder Not Found", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/64.112_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.112_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.112_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.112_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "36560", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 848, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/848", "Disp_Access_No" : "1992.84", "_AccNumSort1" : "", "Disp_Create_DT" : "1991", "_Disp_Start_Dat" : "1991", "_Disp_End_Date" : "1991", "Disp_Title" : "Fork", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William Stewart", "Sort_Artist" : "Stewart, William", "Disp_Dimen" : "83 x 19 x 10 in. (210.8 x 48.3 x 25.4 cm)", "Disp_Height" : "83 in.", "Disp_Width" : "19 in.", "Dimen_Extent" : "overall", "Medium" : "Ceramic", "Support" : "", "Disp_Medium" : "Ceramic", "Info_Page_Comm" : "", "Dedication" : "Gift of the Dawson Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Ceramics", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Lifting glaze is the intent of artist (he told me so when installed)", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/92.84_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92.84_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92.84_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92.84_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "17118", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 849, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/849", "Disp_Access_No" : "1992.85", "_AccNumSort1" : "", "Disp_Create_DT" : "1991", "_Disp_Start_Dat" : "1991", "_Disp_End_Date" : "1991", "Disp_Title" : "Rake", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William Stewart", "Sort_Artist" : "Stewart, William", "Disp_Dimen" : "74 x 21 1/2 x 10 in. (188 x 54.6 x 25.4 cm)", "Disp_Height" : "74 in.", "Disp_Width" : "21 1/2 in.", "Dimen_Extent" : "overall", "Medium" : "Ceramic", "Support" : "", "Disp_Medium" : "Ceramic", "Info_Page_Comm" : "", "Dedication" : "Gift of the Dawson Gallery", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Ceramics", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/92.85_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92.85_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92.85_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92.85_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "17119", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8979, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8979", "Disp_Access_No" : "1986.8", "_AccNumSort1" : "", "Disp_Create_DT" : "1979", "_Disp_Start_Dat" : "1979", "_Disp_End_Date" : "1979", "Disp_Title" : "Quetzalcoatl", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Rufino Tamayo", "Sort_Artist" : "Tamayo, Rufino", "Disp_Dimen" : "27 x 51 1/2 in. (68.6 x 130.8 cm)", "Disp_Height" : "27 in.", "Disp_Width" : "51 1/2 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Mixograph on handmade paper", "Info_Page_Comm" : "Rufino Tamayo is considered by many to be the father figure of contemporary Mexican art. Although he lived in New York City and Paris for many years, Tamayo’s work was always informed by his deep affinity for his own Zapotec Indian culture. The subject of this print is Quetzalcoatl, the plumed serpent who in Zapotec mythology was the god of the winds. Tamayo, a master printmaker, found mixographs particularly suited to his personal style. Using a wax slab rather than a conventional metal plate or stone, the mixograph technique allows the artist to create a painterly, textured surface. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Hilda Coates Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "Mexican", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86.8_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.8_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.8_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.8_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "30663", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image- not for print or web", "View" : "" } , ] },{ "embark_ID" : 6711, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6711", "Disp_Access_No" : "1991.88", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Caricature", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Giovanni Battista Tiepolo", "Sort_Artist" : "Tiepolo, Giovanni Battista", "Disp_Dimen" : "8 15/16 x 5 13/16 in. (22.7 x 14.7 cm)", "Disp_Height" : "8 15/16 in.", "Disp_Width" : "5 13/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Pen and ink", "Support" : "laid paper", "Disp_Medium" : "Brown (iron gall) ink and brown wash on whitened, thin laid paper", "Info_Page_Comm" : "By comically exaggerating or distorting physical features, artists create caricatures for the express purpose of satirizing or ridiculing their subjects. Caricatures can be insulting or complimentary; during the 1700s, the caricature became connected with journalism and was used extensively in the political arena. Although known primarily for his superb paintings, Tiepolo was also a prolific draftsman who created enough caricatures to fill three albums. In this drawing, the artist represents his subject, surely a well-known Venetian nobleman, with humor although not with kindness. The combination of smooth pen lines with subtle wash shading emphasizes the figure’s pronounced hunchback, long spindly legs, large nose, and excessively high forehead. A very short shadow that defines the ground on which he stands rescues him from floating aimlessly in the blank space of the paper. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91.88_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.88_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.88_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.88_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39128", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 736, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/736", "Disp_Access_No" : "1969.43", "_AccNumSort1" : "", "Disp_Create_DT" : "1964", "_Disp_Start_Dat" : "1964", "_Disp_End_Date" : "1964", "Disp_Title" : "Prairie Red", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Mark Tobey", "Sort_Artist" : "Tobey, Mark", "Disp_Dimen" : "55 5/8 x 27 3/4 in. (141.3 x 70.5 cm)", "Disp_Height" : "55 5/8 in.", "Disp_Width" : "27 3/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Tempera", "Support" : "paper", "Disp_Medium" : "Tempera on paper", "Info_Page_Comm" : "Mark Tobey’s observations about his own work are especially eloquent and revealing: Over the past 15 years, my approach to painting has varied, sometimes being dependent on brushwork, sometimes on lines, dynamic white strokes in geometric space. For me, the road has been a zig-zag into and out of old civilizations, seeking new horizons through meditation and contemplation. My sources of inspiration have gone from those of my native Middle West to those of microscopic worlds. I have discovered many a universe on paving stones and tree barks. Some critics have criticized me for being what they call an Orientalist and using Oriental models for my work. But they were wrong….What did develop there was what I call the calligraphic impulse that has opened out new horizons for my work. Now I could paint the turmoil and tumult of the great cities, the intertwining of the lights and the streams of people caught up in the mesh of their net. [Summer 2015]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/69.43_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/69.43_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/69.43_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/69.43_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17116", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 23385, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/23385", "Disp_Access_No" : "2011.56", "_AccNumSort1" : "", "Disp_Create_DT" : "1987", "_Disp_Start_Dat" : "1987", "_Disp_End_Date" : "1987", "Disp_Title" : "Untitled", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Josephine Tota", "Sort_Artist" : "Tota, Josephine", "Disp_Dimen" : "14 1/16 x 16 1/8 in. (35.7 x 41 cm)", "Disp_Height" : "14 1/16 in.", "Disp_Width" : "16 1/8 in.", "Dimen_Extent" : "overall", "Medium" : "Egg tempera", "Support" : "panel", "Disp_Medium" : "Egg tempera on panel", "Info_Page_Comm" : "The remarkable paintings of Rochester artist Josephine Tota were private reflections, often resulting from dreams or memories. Her unique style was influenced by medieval paintings. As in traditional Catholic altarpieces, the small figure (the artist) prays on her knees, beseeching help from the larger figures. This image may reference her 1984 cataract surgery and the resulting complications that had her dependent upon and possibly resentful of her doctors. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Rosamond Tota", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2011.56_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2011.56_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2011.56_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2011.56_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "44790", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "This photo and alternates on disk entitled 160106", "View" : "" } , ] },{ "embark_ID" : 4359, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4359", "Disp_Access_No" : "1997.43", "_AccNumSort1" : "", "Disp_Create_DT" : "1811", "_Disp_Start_Dat" : "1811", "_Disp_End_Date" : "1811", "Disp_Title" : "A Scene of Cherry Blossoms in the New Yoshiwara", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Utagawa Toyokuni I", "Sort_Artist" : "Utagawa Toyokuni I", "Disp_Dimen" : "15 9/16 x 51 3/8 in. (39.6 x 130.5 cm)", "Disp_Height" : "15 9/16 in.", "Disp_Width" : "51 3/8 in.", "Dimen_Extent" : "Image/sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color woodcut", "Info_Page_Comm" : "The Edo period of Japanese history (1615–1868) ushered in an era of relative peace and stability after centuries of war. Urban merchants used their new-found wealth and leisure time to patronize the courtesans, teahouses, and theaters of the city’s pleasure quarters. The New Yoshiwara entertainment quarter was one of two famous “evil places” in Edo (present-day Tokyo). The five prints that make up A Scene of Cherry Blossoms in the New Yoshiwara show a view along Nakanoch? (Main Street) beginning from the ?-mon (Great Gate) on the far right, during the popular spectacle of the cherry blossom season. The Great Gate, the quarter’s only entrance and exit, was closely guarded; the main street, with its central aisle of cherry trees and lanterns, was thronged on both sides with chaya, or “tea-houses.” Courtesans, identified by their high special wooden clogs, elaborate dress, and retinues of women attendants, servants and small girls-in-training, are easily distinguishable from the geisha, or entertainer, with her two black instrument cases. [Label text from It Came From the Vault exhibition, 2013] Along with the theater district in nearby Saruwaka-chô, the New Yoshiwara entertainment quarter was one of Edo's two famous "evil places." This spectacular series of five connected prints shows a view along Nakanochô, or Main Street, beginning from the <em>Ô-mon</em>, or Great Gate, on the far right. Visitors to the exclusive environment of the New Yoshiwara required money, taste and introductions; the Great Gate, the quarter's only entrance and exit, was closely guarded. The main street, with its central aisle of cherry trees and lanterns, was thronged on both sides with <em>chaya</em>, or "tea-houses." There, customers would arrange to meet one of the courtesans who lived and worked in <em>ageya</em>, or houses of assignation, located on the three cross-streets of the quarter. Accompanied by their entourages, well-heeled male customers turned out in great numbers for the popular spectacle of the cherry blossom season. Courtesans, identified by their high special wooden clogs, far more elaborate dress and retinues that included younger women attendants, servants and small girls-in-training, are easily distinguishable from the <em>geisha</em>, or entertainer, seen here with her two black instrument cases. [Gallery label text, 2010]", "Dedication" : "Transfer from the Art Department of the University of Rochester", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "Japanese", "Department" : "", "Obj_Name" : "", "Period" : "Edo Period (1600-1868)", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.43_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.43_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.43_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.43_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17629", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3299, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3299", "Disp_Access_No" : "1986.131", "_AccNumSort1" : "", "Disp_Create_DT" : "1982", "_Disp_Start_Dat" : "1982", "_Disp_End_Date" : "1982", "Disp_Title" : "The Plumed Helmet: Study for "The Parting"", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Joyce Treiman", "Sort_Artist" : "Treiman, Joyce", "Disp_Dimen" : "30 3/8 x 22 in. (77.2 x 55.9 cm)", "Disp_Height" : "30 3/8 in.", "Disp_Width" : "22 in.", "Dimen_Extent" : "sheet", "Medium" : "Graphite", "Support" : "paper", "Disp_Medium" : "Graphite and pastel on paper", "Info_Page_Comm" : "", "Dedication" : "Gift of Grant Holcomb in honor of his children", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Drawing", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Parent" : [ { "Rel_Obj_ID" : "743", "Rel_Obj_Title" : "The Parting" } ], "Related_Sibling" : [ { "Rel_Obj_ID" : "7944", "Rel_Obj_Title" : "Studies for "Parting" and "Hercules Cycle"" },{ "Rel_Obj_ID" : "11667", "Rel_Obj_Title" : "Studies for "Parting" and "Hercules Cycle"" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86.131_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.131_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.131_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.131_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12498", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1068, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1068", "Disp_Access_No" : "1978.73a", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Double Level Diffraction", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Wen Ying Tsai", "Sort_Artist" : "Tsai, Wen Ying", "Disp_Dimen" : "47 x 24 x 17 in. (119.4 x 61 x 43.2 cm)", "Disp_Height" : "47 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "", "Medium" : "Stainless steel", "Support" : "", "Disp_Medium" : "Stainless steel", "Info_Page_Comm" : "Wen Ying Tsai was trained as both an engineer and an artist and his cybernetic sculptures are a fusion of technology and aesthetics. The stainless steel rods, topped with round optical devices, are wired to vibrate at a constant rate. They are subjected to a flashing strobe light that is triggered by ambient sound, such as a voice or a hand clap. When the frequency of the flash matches that of the rods’ vibration, the sculpture appears stationary. As the rate of flash is changed, the effect alters from a slow and undulating motion to an agitated one. Unfortunately, "Double Level Diffraction" malfunctioned shortly after it was presented to MAG. The highly delicate nature of the mechanism has defied even the artist’s attempts to repair it. [Label text from It Came From the Vault exhibition, 2013] This sculpture was commissioned especially for the Gallery.", "Dedication" : "Gift of Mr. and Mrs. David W. Bermant", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "with stroboslave and audio control device. Examined 3/18: When plugged in, metal stalks vibrate; accessories include a microphone and sound-activated strobe light. Unclear how plastic cylinder and dome fit with rest of piece-- presumably light goes inside cylinder with dome on top?", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.73a-b_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.73a-b_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.73a-b_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.73a-b_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "32160", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Temporary image, not for print or web", "View" : "" } , ] },{ "embark_ID" : 7529, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7529", "Disp_Access_No" : "1948.57", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Horned Animal", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown", "Sort_Artist" : "Unknown", "Disp_Dimen" : "4 5/16 x 4 x 1 15/16 in. (11 x 10.2 x 5 cm)", "Disp_Height" : "4 5/16 in.", "Disp_Width" : "4 in.", "Dimen_Extent" : "overall", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "In her letter to the donor of this sculpture, then Gallery Director Gertrude Herdle Moore thanked him for the “prehistoric bronze handle in the form of a horned animal.” There is no record as to what the figurine might have been a handle for. It was initially thought to be from the Isles of Scilly, an archipelago southwest of Great Britain, but inquiries to scholars in that region revealed otherwise. The culture and date of origin for the little bronze animal remain unknown. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Dr. Alvah Miller", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Metalwork", "Creation_Place2" : "", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/48.57_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/48.57_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/48.57_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/48.57_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "25139", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2701, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2701", "Disp_Access_No" : "1968.58.2", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : ""Mary Gregory" Vase (one of a pair)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "4 1/2 in. (11.4 cm)", "Disp_Height" : "4 1/2 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Glass", "Support" : "", "Disp_Medium" : "Glass", "Info_Page_Comm" : "“Mary Gregory” glassware became popular in the 1920s and continues to be sold today. Supposedly the work of a single woman employed at the Boston and Sandwich Glass Company in Cape Cod, it featured white enamel scenes and figures painted on colored glass vases, plates, pitchers, and goblets. This attribution turned out to be a marketing scheme designed to sell work produced by many companies based on 19th-century English cameo glass. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Bequest of Leora M. Dryer", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Glass", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "2700", "Rel_Obj_Title" : ""Mary Gregory" Vase (one of a pair)" } ], "Curator" : "The term "Mary Gregory" glass refers to colored glass decorated with white or colored enamel paintings of children playing. Mary Gregory was thought to have been a decorator at the Cape Cod works in Sandwich, MA.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/68.58.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/68.58.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/68.58.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/68.58.2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "37098", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/68.58.1-.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/68.58.1-.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/68.58.1-.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/68.58.1-.2_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "37099", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/68.58.1-.2_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/68.58.1-.2_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/68.58.1-.2_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/68.58.1-.2_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "37100", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2700, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2700", "Disp_Access_No" : "1968.58.1", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : ""Mary Gregory" Vase (one of a pair)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "4 1/2 in. (11.4 cm)", "Disp_Height" : "4 1/2 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Glass", "Support" : "", "Disp_Medium" : "Glass", "Info_Page_Comm" : "“Mary Gregory” glassware became popular in the 1920s and continues to be sold today. Supposedly the work of a single woman employed at the Boston and Sandwich Glass Company in Cape Cod, it featured white enamel scenes and figures painted on colored glass vases, plates, pitchers, and goblets. This attribution turned out to be a marketing scheme designed to sell work produced by many companies based on 19th-century English cameo glass. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Bequest of Leora M. Dryer", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Glass", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "2701", "Rel_Obj_Title" : ""Mary Gregory" Vase (one of a pair)" } ], "Curator" : "The term "Mary Gregory" glass refers to colored glass decorated with white or colored enamel paintings of children playing. Mary Gregory was thought to have been a decorator at the Cape Cod works in Sandwich, MA.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/68.58.1-.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/68.58.1-.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/68.58.1-.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/68.58.1-.2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "37095", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/68.58.1-.2_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/68.58.1-.2_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/68.58.1-.2_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/68.58.1-.2_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37096", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/68.58.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/68.58.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/68.58.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/68.58.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "37097", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13303, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13303", "Disp_Access_No" : "2005.144", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Bird", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, possibly Inuit", "Sort_Artist" : "Unknown, possibly Inuit", "Disp_Dimen" : "3 7/8 x 5 3/8 x 7 1/2 in. (9.8 x 13.7 x 19.1 cm)", "Disp_Height" : "3 7/8 in.", "Disp_Width" : "5 3/8 in.", "Dimen_Extent" : "", "Medium" : "Bone", "Support" : "", "Disp_Medium" : "Bone", "Info_Page_Comm" : "This unsigned and undated bird came from the estate of Isabel C. Herdle (1904–2004), Curator Emeritus of the Memorial Art Gallery. Judging from the size, it may have been carved out of whalebone, a material widely used by Native American and First Nations people of the Pacific Northwest. MAG received several Inuit artworks from Miss Herdle’s estate. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Bequest of Isabel C. Herdle", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.144_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.144_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.144_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.144_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39373", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.144_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.144_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.144_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.144_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "39374", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2880, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2880", "Disp_Access_No" : "1952.5", "_AccNumSort1" : "", "Disp_Create_DT" : "late 19th century", "_Disp_Start_Dat" : "1867", "_Disp_End_Date" : "1899", "Disp_Title" : "Medallion Rug", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "27 1/4 x 66 1/2 x 3/8 in. (69.2 x 168.9 x 1 cm)", "Disp_Height" : "27 1/4 in.", "Disp_Width" : "66 1/2 in.", "Dimen_Extent" : "overall", "Medium" : "Wool", "Support" : "", "Disp_Medium" : "Wool, cotton and burlap", "Info_Page_Comm" : "Hooked rugs are among the most enduring forms of American folk art. Although commercial pattterns became available in the late 1860s, earlier designs were the product of the maker’s own imagination and circumstances. The rugs were typically crafted by women, often using worn scraps of material and homemade dyes, who sometimes copied examples made by friends and neighbors. We can imagine that the person who designed this particular rug was a farmer’s wife, proud of her livestock and the variety of flowers she grew in her garden. The fact that some of the medallions have lost their edges suggest that it has been cut down from its original size due to wear. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Mrs. Ernest L. Woodward", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Textiles", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/52.5_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/52.5_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/52.5_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/52.5_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "26422", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 816, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/816", "Disp_Access_No" : "1982.25", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Portrait of Children with Dog", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "48 x 36 in. (121.9 x 91.4 cm)", "Disp_Height" : "48 in.", "Disp_Width" : "36 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This painting was in the collection of Peter Barry, mayor of Rochester from 1955 to 1961. He was the grandson of Patrick Barry, co-founder of the Ellwanger and Barry Nurseries in the Mt. Hope section of the city. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of the Estate of Peter Barry", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/82.25_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/82.25_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/82.25_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/82.25_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39415", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 2893, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2893", "Disp_Access_No" : "1975.137", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Roman Scene", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "25 x 32 1/2 in. (63.5 x 82.6 cm)", "Disp_Height" : "25 in.", "Disp_Width" : "32 1/2 in.", "Dimen_Extent" : "", "Medium" : "Thread", "Support" : "silk", "Disp_Medium" : "Embroidery on silk with watercolor", "Info_Page_Comm" : "This detailed but unidentified scene incorporates distinctive characteristics from ancient Roman culture, including an army legionary standard topped with an eagle at top right, men dressed in bronze armor and helmets, and women in classical drapery. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Mr. and Mrs. John M. Topham", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Textiles", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/75.137_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/75.137_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/75.137_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/75.137_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39605", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2665, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2665", "Disp_Access_No" : "1978.85", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Table", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "33 1/2 x 72 x 26 in. (85.1 x 182.9 x 66 cm)", "Disp_Height" : "33 1/2 in.", "Disp_Width" : "72 in.", "Dimen_Extent" : "", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood", "Info_Page_Comm" : "This table belonged to Rochester patron of the arts Charlotte Whitney Allen, for whom MAG’s library is named. It is a lovely example of the Art Deco style that flourished in Europe and America between the World Wars. Symmetrical and rectilear, this aesthetic represented the ultimate in modernity and luxury at the time. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "General Acquisitions Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Furniture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "From Art Committee minutes of November 9, 1978: "Art deco table, formerly owned by Charlotte Whitney Allen. Purchased from Marion C. Cooper, Webster NY. Mr. Mahey said that the table had been in Mrs. Allen''s house for many years and that, unfortunately, there is no record of where the table was made. He said that it had been appraised at the Strong Museum at a minimum of $1000 and was a beautiful table which could be used very well in the 20th century collection."", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.85_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.85_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.85_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.85_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39612", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2652, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2652", "Disp_Access_No" : "1965.13", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Tilt-top Table", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "28 x 20 3/4 in. (71.1 x 52.7 cm)", "Disp_Height" : "28 in.", "Disp_Width" : "20 3/4 in.", "Dimen_Extent" : "", "Medium" : "Papier-maché", "Support" : "", "Disp_Medium" : "Papier-maché with mother-of pearl inlay and gold leaf", "Info_Page_Comm" : "Between 1750 and 1850, furniture and decorative objects made from papier-maché enjoyed great popularity, especially in France and England. Multiple layers of macerated paper pulp mixed with a binder such as glue or flour were pressed into a mold to dry. After it was baked at a temperature of 1000 degrees Fahrenheit, the substance was strong enough to saw and shape like wood. Extremely thin slices of mother-of-pearl were applied to the surface of the finished piece and the entire surface was “japanned” (coated with asphaltum, amber, linseed oil and rosin in turpentine) until it was smooth again. Finally, the varnish covering the glistening bits of shell was sanded away, creating the effect of expensive inlay. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Mrs. Charles H. Hoeing", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Furniture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/65.13_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/65.13_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/65.13_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/65.13_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39449", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/65.13_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/65.13_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/65.13_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/65.13_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "39450", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 794, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/794", "Disp_Access_No" : "1954.54", "_AccNumSort1" : "", "Disp_Create_DT" : "1808", "_Disp_Start_Dat" : "1808", "_Disp_End_Date" : "1808", "Disp_Title" : "Vorschrift: George Washington", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "12 3/16 x 7 1/8 in. (31 x 18 cm)", "Disp_Height" : "12 3/16 in.", "Disp_Width" : "7 1/8 in.", "Dimen_Extent" : "", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor and ink on paper", "Info_Page_Comm" : "A vorshrift was a writing exercise, common within Pennsylvania-German communities, that typically included an ornate introductory letter, a selection of Bible text and/or poetry, and examples of the alphabet. They were often presented as gifts; this one is dedicated to “Joseph Hofman” and is notable for the portrait of George Washington rendered at the bottom. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "R. T. Miller Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Rare "Vorschrift" or Exercise piece - often used as diplomas or award certificates or examples to show the teacher''s skill in writing. Has many of the typical fractur elements - alphabet, elaborate initial letter, and floral designs. Unusual is the portrait medallion of "General George Washington"", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/54.54_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/54.54_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/54.54_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/54.54_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39589", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 22368, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/22368", "Disp_Access_No" : "1955.170.6", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Glass Medallion of Otto IV", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Austrian", "Sort_Artist" : "Unknown, Austrian", "Disp_Dimen" : "5 3/8 x 5 3/8 in. (13.7 x 13.7 cm)", "Disp_Height" : "", "Disp_Width" : "5 3/8 in.", "Dimen_Extent" : "", "Medium" : "Glass", "Support" : "", "Disp_Medium" : "Glass, paint and enamel", "Info_Page_Comm" : "This small glass roundel, probably created for an armorial window, depicts Otto IV of Brunswick (1175–1218), who served as the King of Germany, the King of Italy, and emperor of the Holy Roman Empire. Although Otto lived during the middle Medieval period in Europe, the artist has shown him in the guise of an emperor of ancient Rome. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Buswell-Hochstetter Bequest", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Glass", "Creation_Place2" : "Austrian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "55.170 was accessioned as "10 small medallions." Note on object card dated 6/30/83: "only 6 medallions found." During 2009 inventory of small object storage, only 6 medallions were found. At this time the embark object record was broken out to individual records for 55.170.1-.6. No records were created for the missing four medallions. Jessica Marten, Asst. Curator 12/15/09", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.170.6_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.170.6_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.170.6_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.170.6_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "31727", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 22360, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/22360", "Disp_Access_No" : "1942.33.3", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Panel with Classical Male Figure", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Austrian", "Sort_Artist" : "Unknown, Austrian", "Disp_Dimen" : "6 7/8 x 4 7/8 in. (17.5 x 12.4 cm)", "Disp_Height" : "6 7/8 in.", "Disp_Width" : "4 7/8 in.", "Dimen_Extent" : "", "Medium" : "Paint", "Support" : "glass", "Disp_Medium" : "Glass, vitreous paint", "Info_Page_Comm" : "The history of European stained glass in American museums is by its nature a history of fragments, as these works are completely removed from their architectural context. Determining their date and nationality is further complicated by the popularity that stained glass enjoyed in the post-Renaissance period as well as the disastrous impact of revolution and on the windows of European homes and churches. The painted panels with classical figures [42.33.1-3] were never intended to represent medieval or Renaissance glass, as were those on the previous page; the figural style suggests an origin in the 1800s. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Bertha Buswell Bequest", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Austrian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/42.33.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/42.33.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/42.33.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/42.33.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "31715", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 22359, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/22359", "Disp_Access_No" : "1942.33.2", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Panel with Classical Male Figure", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Austrian", "Sort_Artist" : "Unknown, Austrian", "Disp_Dimen" : "6 7/8 x 4 7/8 in. (17.5 x 12.4 cm)", "Disp_Height" : "6 7/8 in.", "Disp_Width" : "4 7/8 in.", "Dimen_Extent" : "", "Medium" : "Paint", "Support" : "glass", "Disp_Medium" : "Glass, vitreous paint", "Info_Page_Comm" : "The history of European stained glass in American museums is by its nature a history of fragments, as these works are completely removed from their architectural context. Determining their date and nationality is further complicated by the popularity that stained glass enjoyed in the post-Renaissance period as well as the disastrous impact of revolution and on the windows of European homes and churches. The painted panels with classical figures [42.33.1-3] were never intended to represent medieval or Renaissance glass, as were those on the previous page; the figural style suggests an origin in the 1800s. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Bertha Buswell Bequest", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Austrian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/42.33.2_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/42.33.2_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/42.33.2_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/42.33.2_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "31714", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6758, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6758", "Disp_Access_No" : "1942.33.1", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Panel with Classical Male Figure", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Austrian", "Sort_Artist" : "Unknown, Austrian", "Disp_Dimen" : "6 7/8 x 4 7/8 in. (17.5 x 12.4 cm)", "Disp_Height" : "6 7/8 in.", "Disp_Width" : "4 7/8 in.", "Dimen_Extent" : "", "Medium" : "Paint", "Support" : "glass", "Disp_Medium" : "Glass, vitreous paint", "Info_Page_Comm" : "The history of European stained glass in American museums is by its nature a history of fragments, as these works are completely removed from their architectural context. Determining their date and nationality is further complicated by the popularity that stained glass enjoyed in the post-Renaissance period as well as the disastrous impact of revolution and on the windows of European homes and churches. The painted panels with classical figures [42.33.1-3] were never intended to represent medieval or Renaissance glass, as were those on the previous page; the figural style suggests an origin in the 1800s. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Bertha Buswell Bequest", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Austrian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/42.33.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/42.33.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/42.33.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/42.33.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "31713", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 8532, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/8532", "Disp_Access_No" : "1984.62", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Stumpwork Panel with Figures and Animals", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, British", "Sort_Artist" : "Unknown, British", "Disp_Dimen" : "12 x 15 3/4 in. (30.5 x 40 cm)", "Disp_Height" : "12 in.", "Disp_Width" : "15 3/4 in.", "Dimen_Extent" : "", "Medium" : "Embroidery", "Support" : "fabric", "Disp_Medium" : "Embroidery on satin with seed pearls, beads and wire", "Info_Page_Comm" : "", "Dedication" : "Gift of Mr. and Mrs. Milford Cliff", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Textiles", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/84.62_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/84.62_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/84.62_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/84.62_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "26439", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 3930, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3930", "Disp_Access_No" : "1996.65", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Woman and Child on a Verandah", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Chinese", "Sort_Artist" : "Unknown, Chinese", "Disp_Dimen" : "20 1/4 x 14 1/4 in. (51.4 x 36.2 cm)", "Disp_Height" : "20 1/4 in.", "Disp_Width" : "14 1/4 in.", "Dimen_Extent" : "without frame", "Medium" : "Ink", "Support" : "glass", "Disp_Medium" : "Ink and color on glass", "Info_Page_Comm" : "Reverse glass painting is a technique by which the artist applies paint, usually oil, on the back of a clear glass panel. The pigment adheres to the smooth surface of the glass, retaining a fresh color similar to that of enamels. The glass becomes part of the picture by providing the ground for the paint as well as the cover for the artwork. Although examples of this technique exist from the Roman period of European history, reverse glass painting was first introduced into Asia in the early 1700s. By the early 1800s, there was a large market for these paintings among European and American traders and travelers to China; most were made by Chinese artists specifically for export to the West. The most popular subjects were portraits, images of children playing at the Imperial palace, and landscape and harbor scenes. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Estates of Maurice R. and Maxine B. Forman", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Chinese", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/96.65_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/96.65_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/96.65_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/96.65_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39558", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Cropped from inventory shot 96.65_I1; not for publication use, as no color bars included in inventory shot. Exists only as JPG. Per Carol Acquilano, this is a good representation of the painting, better than the 96.65_A1 image, which was scanned from a dark slide.", "View" : "" } , ] },{ "embark_ID" : 5655, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5655", "Disp_Access_No" : "1928.104", "_AccNumSort1" : "", "Disp_Create_DT" : "Before 3400 BCE", "_Disp_Start_Dat" : "3410 BCE", "_Disp_End_Date" : "3401 BCE", "Disp_Title" : "Black-topped Jar with Flat Bottom", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Egyptian", "Sort_Artist" : "Unknown, Egyptian", "Disp_Dimen" : "4 3/4 in. (12.1 cm)", "Disp_Height" : "4 3/4 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Ceramic", "Support" : "", "Disp_Medium" : "Ceramic", "Info_Page_Comm" : "This ceramic vessel and ornate pair of earrings [28.244] are only two of the over 500 artifacts given to MAG by Rochester businessman C. Herbert Ocumpaugh in 1928, when he donated his entire collection of Greek, Roman, Egyptian, and Middle Eastern antiquities to the University of Rochester. Although he was not an archeologist—he had never traveled to these areas of the world—he developed a lifelong fascination with ancient cultures fueled by many visits to the Metropolitan Museum of Art. Aided by archeologists and museum directors, he spent 25 years amassing objects as diverse as iridescent glass, bronze figures of gods and goddesses, and richly-painted Greek ceramics. Ocumpaugh’s donation formed the core of MAG’s ancient collection; today, over 50 objects from this group are included in the exhibits of the Helen H. Berkeley Gallery of Ancient Art on the second floor. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "The C. Herbert Ocumpaugh Collection", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Ceramics", "Creation_Place2" : "Egyptian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/28.104_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/28.104_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/28.104_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/28.104_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "24708", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6159, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6159", "Disp_Access_No" : "1928.356", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Mummy Portrait", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Egyptian", "Sort_Artist" : "Unknown, Egyptian", "Disp_Dimen" : "54 x 15 1/2 in. (137.2 x 39.4 cm)", "Disp_Height" : "54 in.", "Disp_Width" : "15 1/2 in.", "Dimen_Extent" : "", "Medium" : "Plaster", "Support" : "", "Disp_Medium" : "Plaster ground on linen", "Info_Page_Comm" : "", "Dedication" : "The C. Herbert Ocumpaugh Collection", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Egyptian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/28.356_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/28.356_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/28.356_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/28.356_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39598", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Cropped from existing inventory photo for use in Vault exhibition 2013.", "View" : "" } , ] },{ "embark_ID" : 6080, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6080", "Disp_Access_No" : "1928.244", "_AccNumSort1" : "", "Disp_Create_DT" : "3rd Century BCE", "_Disp_Start_Dat" : "300 BCE", "_Disp_End_Date" : "201 BCE", "Disp_Title" : "Pair of Earrings", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Egyptian", "Sort_Artist" : "Unknown, Egyptian", "Disp_Dimen" : "3 1/4 x 9/16 x 1/4 in. (8.3 x 1.5 x 0.6 cm)", "Disp_Height" : "3 1/4 in.", "Disp_Width" : "9/16 in.", "Dimen_Extent" : "overall", "Medium" : "Brass", "Support" : "faience", "Disp_Medium" : "Brass, glass, faience", "Info_Page_Comm" : "This ceramic vessel [28.104] and ornate pair of earrings are only two of the over 500 artifacts given to MAG by Rochester businessman C. Herbert Ocumpaugh in 1928, when he donated his entire collection of Greek, Roman, Egyptian, and Middle Eastern antiquities to the University of Rochester. Although he was not an archeologist—he had never traveled to these areas of the world—he developed a lifelong fascination with ancient cultures fueled by many visits to the Metropolitan Museum of Art. Aided by archeologists and museum directors, he spent 25 years amassing objects as diverse as iridescent glass, bronze figures of gods and goddesses, and richly-painted Greek ceramics. Ocumpaugh’s donation formed the core of MAG’s ancient collection; today, over 50 objects from this group are included in the exhibits of the Helen H. Berkeley Gallery of Ancient Art on the second floor. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "The C. Herbert Ocumpaugh Collection", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Jewelry", "Creation_Place2" : "Egyptian", "Department" : "", "Obj_Name" : "", "Period" : "Ptolemaic Period (332 -30 BCE)", "Style" : "", "Edition" : "", "Curator" : "Per registrar''s ledger: from the Fayum, Egypt", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/28.244_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/28.244_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/28.244_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/28.244_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "25330", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5244, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5244", "Disp_Access_No" : "1922.12", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Basket", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, First Nations (Canada)", "Sort_Artist" : "Unknown, First Nations (Canada)", "Disp_Dimen" : "9 x 9 x 12 3/4 in. (22.9 x 22.9 x 32.4 cm)", "Disp_Height" : "9 in.", "Disp_Width" : "9 in.", "Dimen_Extent" : "", "Medium" : "Cherry", "Support" : "", "Disp_Medium" : "Cherry bark", "Info_Page_Comm" : "In 1897, after her first husband deserted her and her child, a young nurse named Hattie Lockwood pooled her resources with another friend in Tacoma and determined to build a hospital for injured miners in Skagway, Alaska. On the voyage north, their ship was wrecked in a blizzard; all their building and medical supplies were lost, and the women barely escaped with their lives. After three grueling years in the Alaskan wilderness, Lockwood returned to the United States and eventually married Henry Strong, the first president of Eastman Kodak Co. This and several other baskets the new Mrs. Strong had acquired during her youthful sojourn were later donated to MAG. The “chainsaw” pattern was designed after First Nations people in British Columbia became aware of logging operations near the Fraser River. The red portions are natural-color cherry bark; the black is cherry bark darkened from being buried in “muck and charcoal.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Mrs. Henry A. Strong", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Basketry", "Creation_Place2" : "First Nations (Canada)", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/22.12_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/22.12_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/22.12_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/22.12_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "25862", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6769, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6769", "Disp_Access_No" : "1955.98", "_AccNumSort1" : "", "Disp_Create_DT" : "1875-1925", "_Disp_Start_Dat" : "1875", "_Disp_End_Date" : "1925", "Disp_Title" : "Armorial Panel", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Flemish", "Sort_Artist" : "Unknown, Flemish", "Disp_Dimen" : "10 x 8 3/8 in. (25.4 x 21.3 cm)", "Disp_Height" : "10 in.", "Disp_Width" : "8 3/8 in.", "Dimen_Extent" : "", "Medium" : "Glass", "Support" : "", "Disp_Medium" : "Glass, enamel, paint, and lead", "Info_Page_Comm" : "Small glass panels showcasing the coats of arms—specially-designed, unique combinations of lines, colors, and symbols that represent an individual or family—were especially popular among American collectors. While many were original, others were legitimate copies used to replace broken originals or decorate new and renovated buildings in the medieval or Renaissance style. There was also a large market for modern forgeries made specifically to serve an ever-growing market of collectors. Of these three armorial panels [42.31, 42.34.3, 55.98], the only early example is the piece with the motto Bibe Si Sapis, which means “If thou art wise, drink.” The other two, both of which have women holding coats of arms, are modern, probably made in the late 19th or early 20th centuries. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Buswell-Hochstetter Bequest", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Glass", "Creation_Place2" : "Flemish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.98_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.98_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.98_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.98_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "31721", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 6767, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/6767", "Disp_Access_No" : "1942.31", "_AccNumSort1" : "", "Disp_Create_DT" : "1875-1925", "_Disp_Start_Dat" : "1875", "_Disp_End_Date" : "1925", "Disp_Title" : "Armorial Panel", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Flemish", "Sort_Artist" : "Unknown, Flemish", "Disp_Dimen" : "11 1/2 x 8 3/8 in. (29.2 x 21.3 cm)", "Disp_Height" : "11 1/2 in.", "Disp_Width" : "8 3/8 in.", "Dimen_Extent" : "", "Medium" : "Glass", "Support" : "", "Disp_Medium" : "Glass, enamel, paint, and lead", "Info_Page_Comm" : "Small glass panels showcasing the coats of arms—specially-designed, unique combinations of lines, colors, and symbols that represent an individual or family—were especially popular among American collectors. While many were original, others were legitimate copies used to replace broken originals or decorate new and renovated buildings in the medieval or Renaissance style. There was also a large market for modern forgeries made specifically to serve an ever-growing market of collectors. Of these three armorial panels [42.31, 42.34.3, 55.98], the only early example is the piece with the motto Bibe Si Sapis, which means “If thou art wise, drink.” The other two, both of which have women holding coats of arms, are modern, probably made in the late 19th or early 20th centuries. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Bertha Buswell Bequest", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Glass", "Creation_Place2" : "Flemish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/42.31_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/42.31_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/42.31_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/42.31_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "31710", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 831, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/831", "Disp_Access_No" : "1937.55", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1425", "_Disp_Start_Dat" : "1420", "_Disp_End_Date" : "1430", "Disp_Title" : "Leaf from a Book of Hours", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, French", "Sort_Artist" : "Unknown, French", "Disp_Dimen" : "7 1/4 x 5 1/2 in. (18.4 x 13.9 cm)", "Disp_Height" : "7 1/4 in.", "Disp_Width" : "5 1/2 in.", "Dimen_Extent" : "sheet", "Medium" : "Ink", "Support" : "vellum", "Disp_Medium" : "Ink, gouache, gold on vellum", "Info_Page_Comm" : "Psalm 51:15 [or Vulgate 50:17]: Domine labia mea aperies et os meum adnuntiabit laudem tuam (O Lord, open thou my lips; and my mouth shall show forth thy praise). Books of Hours are Christian prayer books that, beginning in the 1200s, were used in the private devotional practices of the laity. They had several components, including a calendar, the four Gospel Lessons, the Hours of the Virgin, the Hours of the Cross and Holy Spirit, special prayers to the Virgin and saints, and the Office of the Dead. Some Books of Hours were special commissions, created by artists attached to royal courts; others were standardized “stock” that were ordered and then personalized for individual patrons. This leaf is the first page of the Hours of the Cross, which traditionally opens with an illuminated initial letter, an illustration of the Crucifixion, and the accompanying prayer: “Lord, open Thou my lips and my mouth shall show forth Thy Praise.” [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Emily Sibley Watson", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Manuscript", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/37.55_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/37.55_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/37.55_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/37.55_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39424", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/37.55_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/37.55_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/37.55_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/37.55_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "39425", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7313, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7313", "Disp_Access_No" : "1998.23", "_AccNumSort1" : "", "Disp_Create_DT" : "1400-1499", "_Disp_Start_Dat" : "1400", "_Disp_End_Date" : "1499", "Disp_Title" : "Leaf from an Antiphonary: Music for the Office of Matins", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, French", "Sort_Artist" : "Unknown, French", "Disp_Dimen" : "34 7/16 x 25 5/16 in. (87.4 x 64.3 cm)", "Disp_Height" : "34 7/16 in.", "Disp_Width" : "25 5/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Ink", "Support" : "vellum", "Disp_Medium" : "Black and colored ink, vellum", "Info_Page_Comm" : "The early Christian church continued the ancient Jewish practice of reciting prayers at predetermined hours of the day and night. Called the “Divine Office” or the “Liturgy of the Hours,” it consists of psalms supplemented by hymns and readings. Together with the Office of the Mass, this repetitive daily cycle constitutes the official public prayer life of the Roman Catholic faith. This decorated page is a leaf from an antiphonary, which is the volume containing the antiphons, or responses, and verses sung at the services of the Divine Office. The page is large and the text clearly written so that the choir could read from a single page. The smaller red text on this leaf, an abbreviation of the Latin words ad matutinum invitatorum, indicates that what follows is the music to begin the Office of Matins, celebrated at either midnight or 2:30 am. [Gallery label text, June 2013] ", "Dedication" : "Transfer from the Study Collection", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Manuscript", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Right edge of sheet added or pieced back together Not found in listings of Study Collection. Description is near ED202, "Framed original from a French book of prayer", but that is recorded in AP records as "Gift from Mrs. Watson''s estate - 1951" and Study Collection did not exist yet then. Note that inscribed at the bottom of the sheet is "From the Library of Stanley Slotkin / Founder of Abbey Rents – Circa 1150"-- 64.22 is described in the ledger as being a gift of Stanley Slotkin, the founder of Abbey Rents, but the size given in the ledger is much smaller than the size of this sheet. Slotkin is not mentioned in the incomings and only mentioned in the Art Committee minutes in conjunction with 64.22 (which is missing as of Dec 2018).", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/98.23_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.23_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.23_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.23_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39434", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/98.23_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.23_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.23_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.23_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "39435", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 22362, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/22362", "Disp_Access_No" : "1942.34.3", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Armorial Plaque", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, German", "Sort_Artist" : "Unknown, German", "Disp_Dimen" : "11 x 8 1/8 in. (27.9 x 20.6 cm)", "Disp_Height" : "11 in.", "Disp_Width" : "8 1/8 in.", "Dimen_Extent" : "", "Medium" : "Glass", "Support" : "", "Disp_Medium" : "Glass, stain, enamel, and lead", "Info_Page_Comm" : "Small glass panels showcasing the coats of arms—specially-designed, unique combinations of lines, colors, and symbols that represent an individual or family—were especially popular among American collectors. While many were original, others were legitimate copies used to replace broken originals or decorate new and renovated buildings in the medieval or Renaissance style. There was also a large market for modern forgeries made specifically to serve an ever-growing market of collectors. Of these three armorial panels [42.31, 42.34.3, 55.98], the only early example is the piece with the motto Bibe Si Sapis, which means “If thou art wise, drink.” The other two, both of which have women holding coats of arms, are modern, probably made in the late 19th or early 20th centuries. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Bertha Buswell Bequest", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Glass", "Creation_Place2" : "German", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Corpus Vitrearum describes arms as Quarterly, 1 and 4, or, a rose argent; 2 and 3, azure, three hearts sable [unidentified]; crest: on a barred helm to dexter a coronet issuant a wing; mantling of the colors. --KSchauber, Curatorial Research Ass''t", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/42.34.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/42.34.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/42.34.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/42.34.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "31718", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5006, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5006", "Disp_Access_No" : "1955.46", "_AccNumSort1" : "", "Disp_Create_DT" : "1470-1489", "_Disp_Start_Dat" : "1470", "_Disp_End_Date" : "1489", "Disp_Title" : "St. Barbara", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, German", "Sort_Artist" : "Unknown, German", "Disp_Dimen" : "29 7/16 x 9 3/16 x 5 1/8 in. (74.8 x 23.4 x 13 cm)", "Disp_Height" : "29 7/16 in.", "Disp_Width" : "9 3/16 in.", "Dimen_Extent" : "without base", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, polychromy, gilding", "Info_Page_Comm" : "According to Christian legend, Saint Barbara was the beautiful daughter of a wealthy pagan named Dioscorus, who lived in Nicodemia (present-day Turkey) during the 3rd century. Fearful of losing Barbara to the outside world, her father kept her locked in a tower. She secretly converted to Christianity; when she told Dioscorus of her new-found faith, he reported her to the authorities. She was sentenced to torture and beheading—a decree carried out by her father himself. In Christian art, Barbara is usually shown holding the tower in which she was imprisoned and a book, which represents the teachings that led to her conversion. Here, she also wears fine clothing that represents her wealth. A purse hangs from her belt, and she wears a golden crown. This sculpture originally formed part of a larger late medieval altarpiece that included other solitary or grouped figures. Although beautifully carved, the last 500 years have taken their toll on both her appearance and structure. Old repairs have broken off or splintered, and both original and later paint and gilding are flaking, making her too unstable for continuous display. MAG staff is working to identify funds for her treatment so that she can be returned to permanent exhibition in the medieval galleries. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Bertha Buswell Bequest", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "German", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "5/07: Examined by Joan Holladay and Susan Ward, of Census of Gothic Sculpture project, with Nancy Norwood: to be included in forthcoming volume of Census. From the same altarpiece as 55.45.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.46_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.46_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.46_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.46_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "33420", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Original photos with variants on CD: 100309 #2", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.46_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.46_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.46_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.46_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "33421", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Original photos with variants on CD: 100309 #2", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.46_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.46_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.46_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.46_A4.jpg", "IsPrimary" : "0", "_SurrogateID" : "33422", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Original photos with variants on CD: 100309 #2", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.46_A5.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.46_A5.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.46_A5.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.46_A5.jpg", "IsPrimary" : "0", "_SurrogateID" : "33423", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Original photos with variants on CD: 100309 #2", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.46_A6.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.46_A6.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.46_A6.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.46_A6.jpg", "IsPrimary" : "0", "_SurrogateID" : "33424", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Original photos with variants on CD: 100309 #2", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.46_A7.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.46_A7.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.46_A7.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.46_A7.jpg", "IsPrimary" : "0", "_SurrogateID" : "33425", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Original photos with variants on CD: 100309 #2", "View" : "" } , ] },{ "embark_ID" : 7324, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7324", "Disp_Access_No" : "1972.31b", "_AccNumSort1" : "", "Disp_Create_DT" : "1794", "_Disp_Start_Dat" : "1794", "_Disp_End_Date" : "1794", "Disp_Title" : "Vishnu Seated in a Garden before a Fountain", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Indian", "Sort_Artist" : "Unknown, Indian", "Disp_Dimen" : "9 3/16 x 6 in. (23.3 x 15.2 cm)", "Disp_Height" : "9 3/16 in.", "Disp_Width" : "6 in.", "Dimen_Extent" : "sheet", "Medium" : "Opaque watercolor", "Support" : "paper", "Disp_Medium" : "Opaque watercolor, ink, and gold paint on paper", "Info_Page_Comm" : "According to Indian Hinduism, three gods comprise the Trimurti, or sacred trinity: Brahma, the Creator; Shiva, the Destroyer; and Vishnu, the Preserver. In this illustration from an illuminated Hindu manuscript, the god Vishnu is shown in a contemplative pose, seated on a throne within a walled garden. In religious art, most figures can be identified by their attributes, or distinctive physical characteristics or objects. The preserver god Vishnu, who has skin “the color of dark clouds,” is traditionally shown with four arms holding sacred and symbolic objects. His front arms signify his activity in the physical world; those in back, his role in the spiritual realm. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Miss Margaret M. Whalen", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Indian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/72.31b_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/72.31b_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/72.31b_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/72.31b_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "37199", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13887, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13887", "Disp_Access_No" : "1955.269", "_AccNumSort1" : "", "Disp_Create_DT" : "1565-1635", "_Disp_Start_Dat" : "1565", "_Disp_End_Date" : "1635", "Disp_Title" : "Lace Collar ", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Italian", "Sort_Artist" : "Unknown, Italian", "Disp_Dimen" : "4 1/8 x 84 in. (10.5 x 213.4 cm)", "Disp_Height" : "4 1/8 in.", "Disp_Width" : "84 in.", "Dimen_Extent" : "overall", "Medium" : "Lace", "Support" : "linen", "Disp_Medium" : "Needle lace with linen thread", "Info_Page_Comm" : "", "Dedication" : "Bertha Buswell Bequest", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Textiles", "Creation_Place2" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.269_A5.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.269_A5.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.269_A5.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.269_A5.jpg", "IsPrimary" : "1", "_SurrogateID" : "22033", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "The image was taken during the 2005-2006 textile storage inventory.", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.269_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.269_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.269_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.269_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "24990", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.269_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.269_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.269_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.269_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "24991", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.269_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.269_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.269_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.269_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "24992", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.269_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.269_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.269_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.269_A4.jpg", "IsPrimary" : "0", "_SurrogateID" : "24993", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7776, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7776", "Disp_Access_No" : "1955.106", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Madonna and Child", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Italian", "Sort_Artist" : "Unknown, Italian", "Disp_Dimen" : "17 1/2 x 6 1/4 x 3 5/8 in. (44.5 x 15.9 x 9.2 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "6 1/4 in.", "Dimen_Extent" : "overall", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood, polychrome, gilding", "Info_Page_Comm" : "At the First Council of Ephesus in 431 CE, Mary’s divine status was confirmed by church leaders. After this, images of her as the mother of Christ became icons of Catholic art and faith. Some depictions include elaborate groupings of angels and saints while others, such as this sculpture, focus our attention on their corporeal bond as mother and child. Images of Jesus in Mary’s arms, both as an infant and as an adult man, permeate the history of western art. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Bertha Buswell Bequest", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.106_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.106_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.106_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.106_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39364", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.106_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.106_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.106_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.106_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "39365", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 24227, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/24227", "Disp_Access_No" : "1929.79c", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1840", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1845", "Disp_Title" : "Micromosaic for Necklace", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Italian", "Sort_Artist" : "Unknown, Italian", "Disp_Dimen" : "1 x 1 3/8 x 1/4 in. (2.6 x 3.5 x 0.6 cm)", "Disp_Height" : "1 in.", "Disp_Width" : "1 3/8 in.", "Dimen_Extent" : "overall", "Medium" : "Glass", "Support" : "", "Disp_Medium" : "Glass, gold and onyx", "Info_Page_Comm" : "This intricate souvenir jewelry set features 15 different Roman architectural wonders commonly visited by Grand Tourists, including the Pantheon, the Colosseum, St. Peter’s, the Forum Romanum, and the Column of Trajan. The small scenes are produced in micromosaic, using tiny oblong tesserae of glass and stone in numbers up to 1,400 per square inch. Micromosaic jewelry remained fashionable in Europe through the mid-1870s. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Miss Mary Wright", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Jewelry", "Creation_Place2" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/29.79b-c_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/29.79b-c_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/29.79b-c_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/29.79b-c_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39356", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "B and C photographed together", "View" : "" } , ] },{ "embark_ID" : 24226, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/24226", "Disp_Access_No" : "1929.79b", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1840", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1845", "Disp_Title" : "Micromosaic for Necklace", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Italian", "Sort_Artist" : "Unknown, Italian", "Disp_Dimen" : "1 1/16 x 1 3/8 x 1/4 in. (2.7 x 3.5 x 0.6 cm)", "Disp_Height" : "1 1/16 in.", "Disp_Width" : "1 3/8 in.", "Dimen_Extent" : "overall", "Medium" : "Glass", "Support" : "", "Disp_Medium" : "Glass, gold and onyx", "Info_Page_Comm" : "This intricate souvenir jewelry set features 15 different Roman architectural wonders commonly visited by Grand Tourists, including the Pantheon, the Colosseum, St. Peter’s, the Forum Romanum, and the Column of Trajan. The small scenes are produced in micromosaic, using tiny oblong tesserae of glass and stone in numbers up to 1,400 per square inch. Micromosaic jewelry remained fashionable in Europe through the mid-1870s. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Miss Mary Wright", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Jewelry", "Creation_Place2" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/29.79b-c_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/29.79b-c_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/29.79b-c_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/29.79b-c_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39355", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "B and C photographed together", "View" : "" } , ] },{ "embark_ID" : 7357, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7357", "Disp_Access_No" : "1929.79a", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1840", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1845", "Disp_Title" : "Micromosaic Necklace", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Italian", "Sort_Artist" : "Unknown, Italian", "Disp_Dimen" : "1 x 16 15/16 x 3/8 in. (2.5 x 43 x 1 cm)", "Disp_Height" : "1 in.", "Disp_Width" : "16 15/16 in.", "Dimen_Extent" : "overall", "Medium" : "Glass", "Support" : "", "Disp_Medium" : "Glass, gold and onyx", "Info_Page_Comm" : "This intricate souvenir jewelry set features 15 different Roman architectural wonders commonly visited by Grand Tourists, including the Pantheon, the Colosseum, St. Peter’s, the Forum Romanum, and the Column of Trajan. The small scenes are produced in micromosaic, using tiny oblong tesserae of glass and stone in numbers up to 1,400 per square inch. Micromosaic jewelry remained fashionable in Europe through the mid-1870s. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Miss Mary Wright", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Jewelry", "Creation_Place2" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "One mosaic piece from necklace has a horizontal crack at left edge.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/29.79a_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/29.79a_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/29.79a_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/29.79a_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39354", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7767, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7767", "Disp_Access_No" : "1955.48", "_AccNumSort1" : "", "Disp_Create_DT" : "possibly 1600s", "_Disp_Start_Dat" : "1600", "_Disp_End_Date" : "1600", "Disp_Title" : "Seated Figure of Christ", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Italian", "Sort_Artist" : "Unknown, Italian", "Disp_Dimen" : "8 x 3 11/16 x 5 1/8 in. (20.3 x 9.3 x 13 cm)", "Disp_Height" : "8 in.", "Disp_Width" : "3 11/16 in.", "Dimen_Extent" : "with base", "Medium" : "Terracotta", "Support" : "", "Disp_Medium" : "Glazed terracotta, polychromy, gilding", "Info_Page_Comm" : "The Christian image called the “Man of Sorrows” originated in German art during the 1400s in response to late medieval devotional practices. The image came not from stories of the life of Christ, but from passages in the Old Testament, in particular Isaiah 53, which theologians saw as foreshadowing the coming of the Messiah: “He is despised and rejected of men, a Man of sorrows, and acquainted with grief.” This statuette is difficult to localize or date. Depictions of the Man of Sorrows took many forms and were created in many cultures and media. These images were transmitted across Europe through highly portable prints as well as by itinerant artists. Although not definitive, the medium here of glazed terracotta suggests a southern rather than northern European artist. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Bertha Buswell Bequest", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.48_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.48_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.48_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.48_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39361", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.48_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.48_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.48_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.48_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "39363", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7230, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7230", "Disp_Access_No" : "1955.97", "_AccNumSort1" : "", "Disp_Create_DT" : "early 1900s", "_Disp_Start_Dat" : "1900", "_Disp_End_Date" : "1900", "Disp_Title" : "Copy of the Barovier Wedding Goblet", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Italian (Murano) manufactory", "Sort_Artist" : "Unknown, Italian (Murano) manufactory", "Disp_Dimen" : "7 x 8 1/2 x 8 1/2 in. (17.8 x 21.6 x 21.6 cm)", "Disp_Height" : "7 in.", "Disp_Width" : "8 1/2 in.", "Dimen_Extent" : "", "Medium" : "Glass", "Support" : "", "Disp_Medium" : "Glass, enamel, gilding", "Info_Page_Comm" : "The Barovier “Coppa Nuziale,” or wedding goblet, was made by the Venetian master glassmaker Angelo Barovier during the late 1400s. Originally designed for the marriage of the Duke of Ferrara, the piece is one of the most famous and frequently reproduced works of Renaissance glass in existence. The images on the bowl include wedding portraits of the bride and groom. A group of women on horseback ride toward a fountain in which, on the other side of the goblet, they are shown bathing nude. Reproductions of this iconic Renaissance work represent the revitalization during the late 19th century of Murano’s centuries-long fame as a glassmaking center. One of the earliest figures in this effort was Antonio Salviati, whose adaptation of traditional skills to modern manufacturing processes promoted ornate and highly decorative glass as an accessible art form rather than one limited to the very wealthy. Many of the existing copies are attributed to his manufactory. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Buswell-Hochstetter Bequest", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Glass", "Creation_Place2" : "Italian", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.97_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.97_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.97_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.97_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "23864", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.97_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.97_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.97_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.97_A2.jpg", "IsPrimary" : "0", "_SurrogateID" : "24675", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.97_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.97_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.97_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.97_A3.jpg", "IsPrimary" : "0", "_SurrogateID" : "24676", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.97_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.97_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.97_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.97_A4.jpg", "IsPrimary" : "0", "_SurrogateID" : "24677", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 21447, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21447", "Disp_Access_No" : "1974.50.29", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Design for Tea Labels: Cat Preparing Tofu", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Japanese", "Sort_Artist" : "Unknown, Japanese", "Disp_Dimen" : "8 1/8 x 7 3/8 in. (20.7 x 18.8 cm)", "Disp_Height" : "8 1/8 in.", "Disp_Width" : "7 3/8 in.", "Dimen_Extent" : "sheet (irregular)", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor and pen and black ink on thin Japan tissue", "Info_Page_Comm" : "Two panels painted on one sheet of paper, mounted on another page; pages bound into a small folio to make an album", "Dedication" : "General Acquisitions Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Japanese", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.50.29_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.50.29_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.50.29_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.50.29_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "27483", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 21423, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21423", "Disp_Access_No" : "1974.50.42", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Design for Tea Labels: Crane with a Banner", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Japanese", "Sort_Artist" : "Unknown, Japanese", "Disp_Dimen" : "7 7/8 x 7 1/2 in. (20 x 19.1 cm)", "Disp_Height" : "7 7/8 in.", "Disp_Width" : "7 1/2 in.", "Dimen_Extent" : "sheet (irregular)", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor and pen and black ink on thin Japan tissue", "Info_Page_Comm" : "Two panels painted on one sheet of paper, mounted on another page; pages bound into a small folio to make an album. Shown here are two examples from a portfolio of 44 tea label designs. Each includes spaces to accommodate the name of the distributor and its brand of imported Japanese tea. The Western-style shoe on the samurai’s left foot suggests that these images may have been drawn by a non-Japanese artist (the footwear on his right foot has some resemblance to the traditional woven sandal). In fact these images may be works by an early graphic designer in Rochester. Then-director Harris K. Prior wrote in his correspondence to the previous owner of the portfolio, “I think that, in view of the fact that they relate to a Rochester artist we should take advantage of your generosity and acquire them for the collection.” The letter does not mention the name of the artist. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "General Acquisitions Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Japanese", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.50.42_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.50.42_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.50.42_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.50.42_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "27498", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 21433, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21433", "Disp_Access_No" : "1974.50.13", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Design for Tea Labels: Man Sifting Tea", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Japanese", "Sort_Artist" : "Unknown, Japanese", "Disp_Dimen" : "7 7/8 x 6 15/16 in. (20 x 17.7 cm)", "Disp_Height" : "7 7/8 in.", "Disp_Width" : "6 15/16 in.", "Dimen_Extent" : "sheet (irregular)", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor and pen and black ink on thin Japan tissue", "Info_Page_Comm" : "Two panels painted on one sheet of paper, mounted on another page; pages bound into a small folio to make an album.", "Dedication" : "General Acquisitions Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Japanese", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.50.13_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.50.13_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.50.13_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.50.13_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "27466", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 21451, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/21451", "Disp_Access_No" : "1974.50.33", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Design for Tea Labels: Samurai with a Sword", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Japanese", "Sort_Artist" : "Unknown, Japanese", "Disp_Dimen" : "7 11/16 x 7 1/16 in. (19.5 x 18 cm)", "Disp_Height" : "7 11/16 in.", "Disp_Width" : "7 1/16 in.", "Dimen_Extent" : "sheet (irregular)", "Medium" : "Watercolor", "Support" : "paper", "Disp_Medium" : "Watercolor and pen and black ink on thin Japan tissue", "Info_Page_Comm" : "Two panels painted on one sheet of paper, mounted on another page; pages bound into a small folio to make an album Shown here are two examples from a portfolio of 44 tea label designs. Each includes spaces to accommodate the name of the distributor and its brand of imported Japanese tea. The Western-style shoe on the samurai’s left foot suggests that these images may have been drawn by a non-Japanese artist (the footwear on his right foot has some resemblance to the traditional woven sandal). In fact these images may be works by an early graphic designer in Rochester. Then-director Harris K. Prior wrote in his correspondence to the previous owner of the portfolio, “I think that, in view of the fact that they relate to a Rochester artist we should take advantage of your generosity and acquire them for the collection.” The letter does not mention the name of the artist. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "General Acquisitions Fund", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Japanese", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/74.50.33_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.50.33_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.50.33_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.50.33_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "27488", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 20825, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/20825", "Disp_Access_No" : "2008.8", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Chest", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Mexican", "Sort_Artist" : "Unknown, Mexican", "Disp_Dimen" : "25 x 37 3/4 x 23 in. (63.5 x 95.9 x 58.4 cm)", "Disp_Height" : "25 in.", "Disp_Width" : "37 3/4 in.", "Dimen_Extent" : "overall", "Medium" : "Wood", "Support" : "", "Disp_Medium" : "Wood", "Info_Page_Comm" : "According to family lore, this chest was removed from the cathedral in Puebla, Mexico, in 1910 by Lord Cowdray, a British petroleum magnate, and later sold to the donor’s aunt, who was a nurse in Mexico. Whether or not this provenance is accurate, it is a beautiful and puzzling piece. MAG consulted an expert on Hispanic furniture, who called it “a quality antique piece of authentic craftsmanship” but was unable to confirm its origin. She cited similar styles prevalent throughout Latin America and noted that sometimes artisans used old wood and primitive tools, even distressing and rusting the materials to appear older. Her best guess was that the chest was made in the 19th century, possibly in Peru, considering the fine and profuse carving. However, she noted that the eyelet hinges did indeed look Mexican. Such are the mysteries that museum curators sometimes research for many years without reaching a definitive conclusion. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Bequest of Mabel Coleman", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Furniture", "Creation_Place2" : "Mexican", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.8_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.8_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.8_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2008.8_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "39617", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2008.8_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2008.8_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2008.8_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2008.8_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39618", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 7863, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7863", "Disp_Access_No" : "1992.27", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1950", "_Disp_Start_Dat" : "1945", "_Disp_End_Date" : "1955", "Disp_Title" : "Mask", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Mindimbit", "Sort_Artist" : "Unknown, Mindimbit", "Disp_Dimen" : "45 9/16 x 10 5/8 x 9 7/16 in. (115.7 x 27 x 24 cm)", "Disp_Height" : "45 9/16 in.", "Disp_Width" : "10 5/8 in.", "Dimen_Extent" : "", "Medium" : "Raffia", "Support" : "", "Disp_Medium" : "Raffia, bamboo, grass, shell, ivory and feathers", "Info_Page_Comm" : "Today, the country of Papua New Guinea is largely Christian. Masks remain a part of its culture as vestiges of earlier animist and ancestor worship religions. Although the modern versions are made to be sold to western tourists, the artists use the same centuries-old materials and techniques of the traditional forms. This mask contains an interior armature to rest on the wearer’s shoulders. Thatches of red grass on either side obscure hand holes to allow the wearer to manipulate the mask without detection. Its pristine condition exposes the mask’s function as an aesthetic object made for sale, rather than a ritual one made for use. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Mr. and Mrs. William Cowgill and Dr. Ruth and Dr. Seymour Schwartz", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "New Guinean", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/92.27_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92.27_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92.27_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92.27_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39616", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 9974, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/9974", "Disp_Access_No" : "1939.2", "_AccNumSort1" : "", "Disp_Create_DT" : "probably 1520s", "_Disp_Start_Dat" : "1520", "_Disp_End_Date" : "1520", "Disp_Title" : "Chasuble", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Spanish", "Sort_Artist" : "Unknown, Spanish", "Disp_Dimen" : "52 1/2 x 29 in. (133.4 x 73.7 cm)", "Disp_Height" : "52 1/2 in.", "Disp_Width" : "29 in.", "Dimen_Extent" : "", "Medium" : "Embroidery", "Support" : "velvet", "Disp_Medium" : "Fabric, gold and silk embroidery", "Info_Page_Comm" : "A chasuble is the outer garment worn by a priest or bishop when celebrating the Mass, the core sacred ritual of the Roman Catholic faith. The embroidered bands down the front and back, called orphreys, depict events from the life of the Virgin Mary. Clues to the origin and date of the chasuble emerge from both the medium and the design of the orphreys. While the gold thread and velvet suggest a Spanish origin, the designs themselves have been attributed to the famous Flemish artist Jan Gossaert. The designs may have been commissioned by a Spanish patron. Such an alliance is well imaginable, as during the 1520s both Spain and the Netherlands were ruled by the Hapsburg family; trade, both artistic or mercantile, flourished between the two territories. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Mr. and Mrs. Frank W. Lovejoy", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Textiles", "Creation_Place2" : "Spanish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/39.2_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/39.2_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/39.2_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/39.2_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "39541", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/39.2_A4.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/39.2_A4.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/39.2_A4.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/39.2_A4.jpg", "IsPrimary" : "0", "_SurrogateID" : "39542", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/39.2_A5.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/39.2_A5.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/39.2_A5.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/39.2_A5.jpg", "IsPrimary" : "0", "_SurrogateID" : "39543", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/39.2_A6.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/39.2_A6.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/39.2_A6.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/39.2_A6.jpg", "IsPrimary" : "0", "_SurrogateID" : "39544", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/39.2_A7.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/39.2_A7.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/39.2_A7.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/39.2_A7.jpg", "IsPrimary" : "0", "_SurrogateID" : "39545", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/39.2_A8.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/39.2_A8.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/39.2_A8.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/39.2_A8.jpg", "IsPrimary" : "0", "_SurrogateID" : "39546", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/39.2_A9.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/39.2_A9.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/39.2_A9.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/39.2_A9.jpg", "IsPrimary" : "0", "_SurrogateID" : "39547", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/39.2_A10.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/39.2_A10.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/39.2_A10.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/39.2_A10.jpg", "IsPrimary" : "0", "_SurrogateID" : "39548", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 9984, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/9984", "Disp_Access_No" : "1991.103.4", "_AccNumSort1" : "", "Disp_Create_DT" : "1890-1920", "_Disp_Start_Dat" : "1890", "_Disp_End_Date" : "1920", "Disp_Title" : "Lace-Trimmed Handkerchief", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Spanish", "Sort_Artist" : "Unknown, Spanish", "Disp_Dimen" : "10 x 10 1/4 in. (25.4 x 26 cm)", "Disp_Height" : "10 in.", "Disp_Width" : "10 1/4 in.", "Dimen_Extent" : "overall", "Medium" : "Linen", "Support" : "", "Disp_Medium" : "Linen and lace", "Info_Page_Comm" : "What are called “the needle arts,” in particular embroidery and lace-making, were the domain of women throughout centuries of European and American history. As early as the 1500s, a young girl was trained in these arts by nuns, tutors, and her female relatives; her prowess was often a measure of both her breeding and suitability for marriage. The making of lace, which developed from the art of embroidery, was intimately tied to fashion and social status. The addition of lace to collars, handkerchiefs, and other costumes established the wearer as a person of wealth. The industrial revolution transformed the lace-making industry; although elaborate handmade lace was still a mark of status, mass production also made it available to those of lesser means. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Dwight Van de Vate, John L. Van de Vate, and David S. Van de Vate in memory of Helen Hagood Van de Vate", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Textiles", "Creation_Place2" : "Spanish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/91.103.4_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.103.4_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.103.4_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.103.4_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "26515", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5230, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5230", "Disp_Access_No" : "1964.51", "_AccNumSort1" : "", "Disp_Create_DT" : "probably mid-1600s", "_Disp_Start_Dat" : "", "_Disp_End_Date" : "", "Disp_Title" : "Portrait of a Child with a Dog", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Spanish", "Sort_Artist" : "Unknown, Spanish", "Disp_Dimen" : "29 1/2 x 25 in. (74.9 x 63.5 cm)", "Disp_Height" : "29 1/2 in.", "Disp_Width" : "25 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Portraits often include visual elements similar to those used by other painters of the period. The landscape and the rich drapery behind the child suggest a Spanish origin. Based on these elements as well as the treatment of the child’s face, one scholar has suggested that MAG’s Child with a Dog could be the work of Juan Battista Martinez del Mazo, the son-in-law of the most famous Spanish painter of the mid-1600s, Diego Velázquez. After his father-in-law’s death, Mazo succeeded Velázquez as the official painter to the royal family; many of his portraits were of children, and many made use of similar background landscapes and drapery. We believe now that this work is by a painter active among the Spanish nobility during the mid-17th century, a period marked by prosperity and a flourishing of the arts known as Spain’s Golden Age. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Miss Helen C. Ellwanger", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Spanish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/64.51_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/64.51_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/64.51_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/64.51_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39551", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Rephotograph to minimize glare", "View" : "" } , ] },{ "embark_ID" : 13717, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13717", "Disp_Access_No" : "2005.248", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Portrait of Aaron Burr (1756 – 1836)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Vanderlyn", "Sort_Artist" : "Vanderlyn, John", "Disp_Dimen" : "9 1/2 x 7 1/2 in. (24.1 x 19.1 cm)", "Disp_Height" : "9 1/2 in.", "Disp_Width" : "7 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Thomas Jefferson’s vice president, Aaron Burr (1756–1836), is notorious for having killed his political rival Alexander Hamilton in an illegal duel. Despite his reputation for a hot temper and a host of sensual vices, Burr was an early advocate for women’s right to vote and the abolition of slavery. This painting is a copy after a well-known portrait of Burr by John Vanderlyn in the collection of the New York Historical Society, but a definitive attribution has proved elusive. The beautifully-painted face is surrounded by crudely-painted areas of the background and clothing which may be by a later, less-skilled restorer. This portrait was deaccessioned from the Washington University Art Museum in 1962 and sold to the Kennedy Galleries in New York City. It came into the collection of Elizabeth G. Holahan, long-time president of the Landmark Society of Western New York and the Rochester Historical Society, who bequeathed it to the Gallery in 2005. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Rochester Area Community Foundation from the Collection of Elizabeth Gibson Holahan (1903-2002)", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.248_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.248_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.248_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.248_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39394", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 7904, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/7904", "Disp_Access_No" : "1992.63", "_AccNumSort1" : "", "Disp_Create_DT" : "1630-1633", "_Disp_Start_Dat" : "1630", "_Disp_End_Date" : "1633", "Disp_Title" : "Bust of a Man ("Bust of Doctor Faustus") (after Rembrandt)", "Alt_Title" : "Bust of Doctor Faustus", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jan Georg van Vliet", "Sort_Artist" : "Vliet, Jan Georg van", "Disp_Dimen" : "5 13/16 x 5 1/8 in. (14.8 x 13 cm)", "Disp_Height" : "5 13/16 in.", "Disp_Width" : "5 1/8 in.", "Dimen_Extent" : "sheet", "Medium" : "", "Support" : "laid paper", "Disp_Medium" : "Etching printed with plate tone on laid paper", "Info_Page_Comm" : "Johannes van Vliet worked for Rembrandt in the late 1620s and 1630s. For the most part, he prepared Rembrandt’s painted compositions for production as prints; he also made direct copies of the master’s prints. Van Vliet created etchings after his own designs as well, although many derive thematically from work by Rembrandt. Scenes of everyday life, peasants, card players, and beggars were his subject matter of choice. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Dr. and Mrs. James H. Lockhart, Jr.", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Print", "Creation_Place2" : "Dutch", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/92.63_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/92.63_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/92.63_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/92.63_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "25943", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 758, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/758", "Disp_Access_No" : "1957.1", "_AccNumSort1" : "", "Disp_Create_DT" : "1955", "_Disp_Start_Dat" : "1955", "_Disp_End_Date" : "1955", "Disp_Title" : "The Alhambra", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Vaclav Vytlacil", "Sort_Artist" : "Vytlacil, Vaclav", "Disp_Dimen" : "31 1/2 x 24 in. (80 x 61 cm)", "Disp_Height" : "31 1/2 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "paper", "Disp_Medium" : "Oil on paper laid down on board", "Info_Page_Comm" : "Vaclav Vytlacil was at the epicenter of the American modernist movement. A student of Hans Hofmann, his own star pupils included Cy Twombly, James Rosenquist, Robert Rauschenberg, and Louise Bourgeois. In 1936, he co-founded the American Abstract Artists Group with his friends Arshille Gorky, Byron Browne, and Willem de Kooning. The New Yorker reviewed his 1956 exhibition of “engaging, atmospheric abstractions” of the Alhambra, from which MAG purchased this painting. It was not MAG’s first choice, but unfortunately the artist had just presented that one to his wife for Christmas and was reluctant to ask her to give it up. The energy and spontaneity of our painting, however, is an excellent example of his work from this period. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/57.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/57.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/57.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/57.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39604", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] },{ "embark_ID" : 2609, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2609", "Disp_Access_No" : "1984.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1975", "_Disp_Start_Dat" : "1975", "_Disp_End_Date" : "1975", "Disp_Title" : "Table", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Michael Lasell Watson, Jr.", "Sort_Artist" : "Watson, Michael Lasell", "Disp_Dimen" : "28 3/4 x 60 1/4 x 25 7/8 in. (73 x 153 x 65.7 cm)", "Disp_Height" : "28 3/4 in.", "Disp_Width" : "60 1/4 in.", "Dimen_Extent" : "", "Medium" : "Yellow birch", "Support" : "", "Disp_Medium" : "Yellow birch", "Info_Page_Comm" : "", "Dedication" : "Gift of the artist in memory of Hildegarde Watson", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Furniture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/84.3_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/84.3_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/84.3_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/84.3_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39613", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/84.3_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/84.3_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/84.3_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/84.3_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "39614", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 762, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/762", "Disp_Access_No" : "1951.13", "_AccNumSort1" : "", "Disp_Create_DT" : "1940", "_Disp_Start_Dat" : "1940", "_Disp_End_Date" : "1940", "Disp_Title" : "Discourse", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Max Weber", "Sort_Artist" : "Weber, Max", "Disp_Dimen" : "27 x 22 in. (68.6 x 55.9 cm)", "Disp_Height" : "27 in.", "Disp_Width" : "22 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "See Notes & Histories-Copyright Notes", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.13_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.13_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.13_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.13_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12381", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 11927, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/11927", "Disp_Access_No" : "2003.97", "_AccNumSort1" : "", "Disp_Create_DT" : "c.1919", "_Disp_Start_Dat" : "1914", "_Disp_End_Date" : "1924", "Disp_Title" : "Clock", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John C. Wenrich", "Sort_Artist" : "Wenrich, John C.", "Disp_Dimen" : "20 1/2 x 14 in. (52 x 35.5 cm)", "Disp_Height" : "20 1/2 in.", "Disp_Width" : "14 in.", "Dimen_Extent" : "sheet", "Medium" : "Opaque watercolor and charcoal", "Support" : "paper", "Disp_Medium" : "Opaque watercolor and charcoal on paper", "Info_Page_Comm" : "In 2003, the Gallery received 50 drawings and watercolors that Rochester artist John C. Wenrich painted in France after he served in the First World War. This group includes both sketches and more fully developed images, like this one of Le Gros Horloge, or The Great Clock, in Rouen, France. Wenrich’s paintings show his fascination with the culture, history, and architecture of France. The pedestrian street below this clock links the site where Joan of Arc was burned at the stake in 1431 with the cathedral Claude Monet painted repeatedly, in different seasons and weather, during the 1890s. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of John A. and Jeanne P. Wenrich", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Watercolor", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2003.97_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2003.97_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2003.97_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2003.97_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39105", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4827, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4827", "Disp_Access_No" : "1987.1", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1792-1793", "_Disp_Start_Dat" : "1792", "_Disp_End_Date" : "1793", "Disp_Title" : "The Death of Richard II", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Francis Wheatley", "Sort_Artist" : "Wheatley, Francis", "Disp_Dimen" : "78 x 60 in. (198.1 x 152.4 cm)", "Disp_Height" : "78 in.", "Disp_Width" : "60 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Francis Wheatley was best known for his historical paintings, scenes of daily life, and portraits. He trained at the Royal Academy in London and became the director of the Society of Artists in 1774. Debts and an unfortunate affair with the wife of a colleague led to his abrupt departure from England to Ireland. He returned in 1783, when he began painting illustrations for works by contemporary authors. The success of these “painted illustrations” led to major commissions, including the one for this monumental painting from the print publisher Robert Bowyer. One of Bowyer’s most ambitious projects was an illustrated edition of David Hume’s "The History of England." It comprised not only a lavish publication, but the creation of a “History Gallery” for the public display of the original paintings. According to Bowyer’s prospectus, the paintings were intended “to rouse the passions, to fire the mind with emulation of heroic deeds, or to inspire it with detestation of criminal actions.” Wheatley responded to this challenge by depicting the more dramatic version of Richard’s death, in which he was beheaded rather than starved in prison. The theatrical gestures and expressions, lurid coloring, and bold brushwork serve to heighten the violent drama of the events. In the end, the project was a financial disaster; the paintings from the gallery, including Wheatley’s "The Death of Richard II," were sold in a lottery in 1807. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "British", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/87.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/87.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/87.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/87.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "17184", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1075, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1075", "Disp_Access_No" : "1955.178", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "St. George and the Dragon #1", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "William White", "Sort_Artist" : "White, William", "Disp_Dimen" : "17 1/2 x 8 1/2 x 8 1/2 in. (44.5 x 21.6 x 21.6 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "8 1/2 in.", "Dimen_Extent" : "overall", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "Although both casting and forging are ancient metalworking techniques, there was a period during the 1950s and ‘60s when it became quite fashionable to combine them in a single piece. This was the first example of a cast and forged sculpture to enter MAG’s collection. It was given in memory of Giovanni Polizzi, a young sculptor and member of the Arena Group who was killed in an auto accident at the age of 34. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Presented in memory of Giovanni Polizzi by a group of his friends", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/55.178_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/55.178_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/55.178_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/55.178_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39602", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2576, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2576", "Disp_Access_No" : "1997.16", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Near the Pond", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frans Wildenhain", "Sort_Artist" : "Wildenhain, Frans", "Disp_Dimen" : "42 3/4 x 19 7/8 x 2 in. (108.6 x 50.5 x 5.1 cm)", "Disp_Height" : "42 3/4 in.", "Disp_Width" : "19 7/8 in.", "Dimen_Extent" : "with frame", "Medium" : "Ceramic", "Support" : "", "Disp_Medium" : "Ceramic and wood", "Info_Page_Comm" : "Possibly a reference to the pond near his home and studio in Pittsford, this work is one of Wildenhain’s earliest two-dimensional mural forms. Wildenhain, who founded and then taught at RIT’s School for American Crafts from 1950 to 1970, was godfather to the donors’ daughter Anastasia. She remembers visiting his studio as a child and playing with clay on his potter’s wheel. Anastasia also recalls Wildenhain complaining, while pounding his heart, that Watson, a scientist, thought with his brain while he, an artist, thought from his heart. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Dr. and Mrs. Michael L. Watson in memory of Gertrude Herdle Moore", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/97.16_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.16_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.16_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.16_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39554", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 13282, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/13282", "Disp_Access_No" : "2005.18", "_AccNumSort1" : "", "Disp_Create_DT" : "1921", "_Disp_Start_Dat" : "1921", "_Disp_End_Date" : "1921", "Disp_Title" : "Portrait of Michael Lasell Watson", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Irving Ramsey Wiles", "Sort_Artist" : "Wiles, Irving Ramsey", "Disp_Dimen" : "24 x 21 in. (61 x 53.3 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "21 in.", "Dimen_Extent" : "with frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In April of 1921, Emily Sibley Watson commissioned this portrait of her young grandson from the prominent New York City painter Irving Ramsey Wiles for $1,500. She lent it to Wiles’ one-man exhibition here at MAG the following month. [Label text from It Came From the Vault exhibition, 2013]", "Dedication" : "Gift of Dr. and Mrs. Michael L. Watson", "Copyright_Type" : "Needs MAG investigation", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2005.18_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.18_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.18_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.18_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "39477", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop.", "View" : "" } , ] },{ "embark_ID" : 777, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/777", "Disp_Access_No" : "1986.135", "_AccNumSort1" : "", "Disp_Create_DT" : "1977", "_Disp_Start_Dat" : "1977", "_Disp_End_Date" : "1977", "Disp_Title" : "St. Fichera", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jerome Witkin", "Sort_Artist" : "Witkin, Jerome", "Disp_Dimen" : "50 1/4 x 48 1/4 in. (127.6 x 122.6 cm)", "Disp_Height" : "50 1/4 in.", "Disp_Width" : "48 1/4 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of Eric Greenleaf", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86.135_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.135_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.135_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.135_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "39390", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Photographed in frame; frame cropped out in Photoshop", "View" : "" } , ] }, ] }