{ "objects" : [ { "embark_ID" : 202, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/202", "Disp_Access_No" : "1978.15", "_AccNumSort1" : "", "Disp_Create_DT" : "1865", "_Disp_Start_Dat" : "1865", "_Disp_End_Date" : "1865", "Disp_Title" : "The Night Before the Battle", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "James Henry Beard", "Sort_Artist" : "Beard, James Henry", "Disp_Dimen" : "30 1/2 x 44 1/2 in. (77.5 x 113 cm)", "Disp_Height" : "30 1/2 in.", "Disp_Width" : "44 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "James Beard had first-hand experience as a captain in the Union army during the Civil War. This painting, completed in the year the war ended, is a dramatic statement about the ever-present possibility of death on the battlefield. [Gallery label text, 2007] Were it not for details like the skeleton keeping vigil behind the cannon, the cruciform composition of the flag draped over the sleeping soldier, and the scattered playing cards suggestive of luck and chance, this painting would be a simple narrative about the Civil War. However, such potent symbolism imbues the work with layers of spiritual significance. Perhaps the reminders of death and sacrifice that the artist included in his masterful painting emerged from his firsthand experience in the Union Army during the Civil War. The meticulously selected and carefully arranged details attest to the poignancy of the soldiers' situation and contrast with the implied violence that will occur on the morrow. [Gallery label text]", "Dedication" : "Gift of Dr. Ronald M. 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(114.3 x 147.3 cm)", "Disp_Height" : "45 in.", "Disp_Width" : "58 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Duvivier received his initial training in Bruges and then moved to Paris, where he assimilated the severe Neoclassical style perfected by Jacques-Louis David. In this early work, Duvivier combined the poses of several antique statues to illustrate an episode recounted in Plutarch's "Life of Mark Anthony." Following Anthony's suicide, a Roman soldier attempts to forestall the Egyptian queen's own death by promising that Octavian Caesar will show her clemency. The subtle, glowing colors, precise attention to detail, and impeccable draughtsmanship presage the artist's occasional work as a miniaturist. [Gallery label text, 2008]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "French", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/84.40_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/84.40_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/84.40_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/84.40_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12493", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1878, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1878", "Disp_Access_No" : "1986.30", "_AccNumSort1" : "", "Disp_Create_DT" : "1863", "_Disp_Start_Dat" : "1863", "_Disp_End_Date" : "1863", "Disp_Title" : "A Shell in the Rebel Trenches", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Winslow Homer", "Sort_Artist" : "Homer, Winslow", "Disp_Dimen" : "9 1/8 x 13 7/8 in. 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The amount of cartridges turned out daily at this factory alone is enormous; and it is evident that, in the course of a few weeks, there will be no lack of this material of war, at all events." 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(35.2 x 52.1 cm)", "Disp_Height" : "13 7/8 in.", "Disp_Width" : "20 1/2 in.", "Dimen_Extent" : "image", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Wood engraving", "Info_Page_Comm" : "Published in "Harper's Weekly," February 28, 1863", "Dedication" : "Gift of Howard and Florence Merritt", "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/86.31_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.31_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.31_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.31_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13560", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1812, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1812", "Disp_Access_No" : "1986.21.2", "_AccNumSort1" : "", "Disp_Create_DT" : "1861", "_Disp_Start_Dat" : "1861", "_Disp_End_Date" : "1861", "Disp_Title" : "Presidents Buchanan and Lincoln Entering the Senate Chamber Before the Inaugural", "Alt_Title" : "", "Obj_Title" : "Presidents Buchanan and Lincoln Entering the Senate Chamber Before the Inauguration", "Series_Title" : "", "Disp_Maker_1" : "Winslow Homer", "Sort_Artist" : "Homer, Winslow", "Disp_Dimen" : "5 13/16 x 9 in. (14.8 x 22.9 cm)", "Disp_Height" : "5 13/16 in.", "Disp_Width" : "9 in.", "Dimen_Extent" : "image", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Wood engraving", "Info_Page_Comm" : "Spread from Harper's of March 16, 1861", "Dedication" : "Gift of Howard and Florence Merritt", "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/86.21.2_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.21.2_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.21.2_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.21.2_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "18479", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1819, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1819", "Disp_Access_No" : "1986.26", "_AccNumSort1" : "", "Disp_Create_DT" : "1862", "_Disp_Start_Dat" : "1862", "_Disp_End_Date" : "1862", "Disp_Title" : "Rebels Outside Their Works at Yorktown Reconnoitring [sic] with Dark Lanterns", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Winslow Homer", "Sort_Artist" : "Homer, Winslow", "Disp_Dimen" : "10 7/8 x 9 3/16 in. (27.6 x 23.3 cm)", "Disp_Height" : "10 7/8 in.", "Disp_Width" : "9 3/16 in.", "Dimen_Extent" : "image", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Wood engraving", "Info_Page_Comm" : "Many of Homer’s illustrations for Harper’s Weekly magazine, like this one from May 17, 1862, were based on sketches inspired by his personal experiences. His mother wrote, “Winslow went to the war front of Yorktown and camped out about two months. He suffered much, was without food 3 days at a time, & all in camp either died or were carried away with typhoid fever–plug tobacco and coffee was the Staples….He came home so changed that his best friends did not know him…”. Journalist Steve Mumford wrote one hundred and fifty years later: “What I found moving about Homer’s work was that it wasn’t directly about the morality of the Civil War, so much as it sought to recreate the experience of the soldiers. His art rarely read as propaganda. It showed the powerful bonding among men on the front lines, as well as the terror. Homer had experienced it and drawn it.” [Gallery label, February 21, 2012] ", "Dedication" : "Gift of Howard and Florence Merritt", "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/86.26_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.26_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.26_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.26_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "18484", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1822, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1822", "Disp_Access_No" : "1986.23", "_AccNumSort1" : "", "Disp_Create_DT" : "1861", "_Disp_Start_Dat" : "1861", "_Disp_End_Date" : "1861", "Disp_Title" : "The Advance Guard of the Grand Army of the U. S. Crossing the Long Bridge", "Alt_Title" : "", "Obj_Title" : "The Advance Guard of the Grand Army of the United States Crossing the Long Bridge", "Series_Title" : "", "Disp_Maker_1" : "Winslow Homer", "Sort_Artist" : "Homer, Winslow", "Disp_Dimen" : "9 1/8 x 13 7/8 in. (23.2 x 35.2 cm)", "Disp_Height" : "9 1/8 in.", "Disp_Width" : "13 7/8 in.", "Dimen_Extent" : "image", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Wood engraving", "Info_Page_Comm" : "Winslow Homer brought the Civil War to the home front with his illustrations in Harper’s Weekly magazine, including this one from June 8, 1861, shortly after the fighting had begun. The following commentary about the crossing from Washington, D.C. to Alexandria, Virginia appeared in the June 8, 1861 issue: The scene at the bridges was grand and impressive beyond description…The night was cool and clear, thousands of men were drawn up in a line and defiling past, but hardly a whisper was heard from among them. They all preserved a solemn silence, as though sensible of the momentousness of the occasion; but the rumbling of artillery, the clatter of cavalry, the muskets and ordnance glittering in the moonlight, the suppressed commands of the officers, imparted, nevertheless, a liveliness to the imposing spectacle. Among the groups of soldiers making the crossing were regiments from New York State. [Gallery label, February 21, 2012] ", "Dedication" : "Gift of Howard and Florence Merritt", "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/86.23_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.23_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.23_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.23_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13235", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1816, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1816", "Disp_Access_No" : "1986.29", "_AccNumSort1" : "", "Disp_Create_DT" : "1862", "_Disp_Start_Dat" : "1862", "_Disp_End_Date" : "1862", "Disp_Title" : "The Army of the Potomac - A Sharp Shooter on Picket Duty", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Winslow Homer", "Sort_Artist" : "Homer, Winslow", "Disp_Dimen" : "9 1/8 x 13 3/4 in. 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(44.1 x 49.8 cm)", "Disp_Height" : "17 3/8 in.", "Disp_Width" : "19 5/8 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "", "Dedication" : "Thelma M. Knapp 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/89.19_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/89.19_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/89.19_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/89.19_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "14602", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1047, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1047", "Disp_Access_No" : "1951.310", "_AccNumSort1" : "", "Disp_Create_DT" : "1865", "_Disp_Start_Dat" : "1865", "_Disp_End_Date" : "1865", "Disp_Title" : "Taking the Oath and Drawing Rations", "Alt_Title" : "", "Obj_Title" : "Taking the Oath and Drawing Rations", "Series_Title" : "", "Disp_Maker_1" : "John Rogers", "Sort_Artist" : "Rogers, John", "Disp_Dimen" : "23 in. (58.4 cm)", "Disp_Height" : "23 in.", "Disp_Width" : "", "Dimen_Extent" : "", "Medium" : "Plaster", "Support" : "", "Disp_Medium" : "Plaster and paint", "Info_Page_Comm" : "For a fervent abolitionist like artist John Rogers, sympathy for the Southern cause did not come easily. However, an incident in Charleston, South Carolina, inspired him to create the story in plaster. During the Civil War, as the Union army moved in to Confederate territory, citizens were required to take a loyalty oath in order to obtain food rations. Rogers has captured one mother’s conflict as she swears loyalty to the hated Union while keeping a protective hand on her child’s head. The Union soldier who is administering the oath tips his cap, simultaneously the chivalrous gentleman and the enemy. The freed slave looks on with concern and confusion. Because of the emotional complexity and the poignant feelings evoked by this group, it was considered one of Rogers’ most successful works. Over 80,000 narrative sculptures were sold by the self-taught Rogers from his workshop in New York City to middle-class Americans looking to decorate their parlors with an engaging work of art. [Gallery label text, 2002]", "Dedication" : "Gift of M. Gertrude Deavenport", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Sculpture", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Patented January 30, 1866 Cost $15.00 - 1866 $20.00 - 1871-1876 $15.00 - 1877-1895", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/51.310_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.310_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.310_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.310_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13859", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5055, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5055", "Disp_Access_No" : "1944.24", "_AccNumSort1" : "", "Disp_Create_DT" : "1628", "_Disp_Start_Dat" : "1628", "_Disp_End_Date" : "1628", "Disp_Title" : "The Reconciliation of King Henry III and Henry of Navarre", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Peter Paul Rubens", "Sort_Artist" : "Rubens, Peter Paul", "Disp_Dimen" : "9 3/8 x 7 5/8 in. (23.8 x 19.4 cm)", "Disp_Height" : "9 3/8 in.", "Disp_Width" : "7 5/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "panel", "Disp_Medium" : "Oil on oak panel", "Info_Page_Comm" : "In 1622 Marie de' Medici commissioned from the internationally famous painter Rubens two series of enormous paintings to decorate the Luxembourg Palace in Paris, where she then lived. The first series, now in the Louvre, told her own life story. The second was to tell the life of her husband Henry IV, but was never completed, and most of the scenes are known only from painted sketches like this one. The event here is a 1589 meeting between King Henry III of France (Catherine de' Medici's youngest son) and King Henry of Navarre, the future King Henry IV of France. Henry III had no heirs, and a rival faction of French nobles who wanted to usurp his throne had taken over Paris. His cousin Henry of Navarre, although Protestant and excommunicated by the Pope, was the rightful heir. At the meeting portrayed here, Henry III promised to declare Henry of Navarre his heir, if the famous warrior king would help him to recapture Paris. To symbolize the agreement, Rubens shows the two kings clasping hands around the royal French scepter and a figure behind them holding an insignia of two clasped hands. A few months later, Henry III was stabbed by an assassin. On his deathbed, he made Henry IV promise to convert to Catholicism. Henry IV's famous comment was "Paris is well worth a mass" ("Paris vaut vien une messe"). [Gallery label text, 1996]", "Dedication" : "Marion Stratton Gould Fund", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "Flemish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/44.24_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/44.24_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/44.24_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/44.24_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "26142", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "On disk dated 3-25-08", "View" : "" } , ] },{ "embark_ID" : 4564, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4564", "Disp_Access_No" : "1987.3", "_AccNumSort1" : "", "Disp_Create_DT" : "1795", "_Disp_Start_Dat" : "1795", "_Disp_End_Date" : "1795", "Disp_Title" : "The Death of Richard II (after Francis Wheatley)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Anker Smith", "Sort_Artist" : "Smith, Anker", "Disp_Dimen" : "12 11/16 x 8 13/16 in. (32.2 x 22.4 cm)", "Disp_Height" : "12 11/16 in.", "Disp_Width" : "8 13/16 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "", "Dedication" : "Marion Stratton Gould Fund", "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/87.3_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/87.3_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/87.3_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/87.3_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "16167", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 5105, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/5105", "Disp_Access_No" : "1930.1", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1495", "_Disp_Start_Dat" : "1490", "_Disp_End_Date" : "1500", "Disp_Title" : "Tapestry: Judgment of Emperor Otto III of Saxony", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, Flemish", "Sort_Artist" : "Unknown, Flemish", "Disp_Dimen" : "168 1/2 x 134 in. (428 x 340.4 cm)", "Disp_Height" : "168 1/2 in.", "Disp_Width" : "134 in.", "Dimen_Extent" : "", "Medium" : "Wool", "Support" : "", "Disp_Medium" : "Wool, silk", "Info_Page_Comm" : "", "Dedication" : "Gift of James Sibley Watson", "Copyright_Type" : "Artist Unknown", "Disp_Obj_Type" : "Textiles", "Creation_Place2" : "Flemish", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/30.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/30.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/30.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/30.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "15943", "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. 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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. 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Hopkins", "Sort_Artist" : "Hopkins, Milton W.", "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" : "In this painting, Ann Lacey (the mother of Pierrepont and Eliza (78.188 and 78.189)) holds a book in her hand. Her traditional pose suggests that she was a cultured and literate individual. The portraits of the Lacey family were passed down through the generations in the family home in Scottsville, New York, until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors. [Excerpted from gallery label text, 2006] M. W. Hopkins American, 1789 - 1844 Ann Gennett Pixley Lacey (1809 - 1841) ca. 1835 - 1836 Oil on canvas Gift of Mr. and Mrs. Robert H. Dunn in memory of Ruth Hanford Munn and James Buell Munn, 78.187 Ann Gennett was born in Kirkland, New York, and her family later moved to nearby Chili. Around 1830, she married Allen Tobias Lacey, son of a neighboring farmer and political associate of her father. She was the mother of Pierrepont and Eliza, whose portraits hang nearby. In the painting, she is shown holding a small book, a popular motif that suggests literacy and a certain level of affluence. Ann Lacey died of cancer at the age of 32 and she is buried in the Fellows Cemetery in Chili. Shortly thereafter, Allen Lacey remarried, and in 1847, the family moved west to farm in Marshall, Michigan. {Excerpted from gallery label text, Oct. 2011, Colleen Piccone, Curatorial} The Lacey family, whose portraits are on view nearby, lived in this home at 9 Scottsville-Chili Road in Scottsville, New York in the 1830s, where it is believed their portraits were painted and first hung. Two children in this 1890s photograph were relatives of the Lacey family. The girl on the far left was Ruth Hanford (Munn), in whose memory the portraits were given to the Memorial Art Gallery. The paintings were passed down through the generations in this family home until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors. {Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial}", "Dedication" : "Gift of Mr. and Mrs. Robert H. Dunn in memory of Ruth Hanford Munn and James Buell Munn", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "613", "Rel_Obj_Title" : "Eliza Pixley Lacey (1834 - 1839)" },{ "Rel_Obj_ID" : "614", "Rel_Obj_Title" : "Pierrepont Edward Lacey (1832 - after 1860) and His Dog, Gun" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.187_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.187_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.187_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.187_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12637", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.187-191_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.187-191_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.187-191_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.187-191_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "18240", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Also on CD, the 2 images from which the restored image was created: Lacey House Scottsville A.tif (78.187-191_R2.tif on print master folder), and Lacey House Scottsville B.tif (78.187-191_R3.tif).", "View" : "" } , ] },{ "embark_ID" : 639, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/639", "Disp_Access_No" : "1981.22", "_AccNumSort1" : "", "Disp_Create_DT" : "1776", "_Disp_Start_Dat" : "1776", "_Disp_End_Date" : "1776", "Disp_Title" : "Captain John Barry", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Matthew Pratt", "Sort_Artist" : "Pratt, Matthew", "Disp_Dimen" : "29 3/4 x 25 in. (75.6 x 63.5 cm)", "Disp_Height" : "29 3/4 in.", "Disp_Width" : "25 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "", "Dedication" : "Gift of the Estate of Peter Barry", "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/81.22_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/81.22_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/81.22_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/81.22_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12484", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 192, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/192", "Disp_Access_No" : "1934.1", "_AccNumSort1" : "", "Disp_Create_DT" : "before 1831", "_Disp_Start_Dat" : "1821", "_Disp_End_Date" : "1830", "Disp_Title" : "Colonel Nathaniel Rochester", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Unknown, American", "Sort_Artist" : "Unknown, American", "Disp_Dimen" : "30 x 25 in. (76.2 x 63.5 cm)", "Disp_Height" : "30 in.", "Disp_Width" : "25 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "This formal gentleman was the founder of the city of Rochester, New York. His portrait was originally thought to have been painted by John James Audubon, but current scholarship has weighed in against that opinion. Nathaniel Rochester was an enterprising individual, which was a characteristic of many early settlers. He founded businesses and churches, and held governmental positions. He was the first president of the Rochester Athenaeum, the precursor to the Rochester Institute of Technology, and he was instrumental in the organization of Monroe County and the building of the Erie Canal. His practical and inventive bent may have led him to wear four-lens spectacles, which allowed him to read small print and see at a distance using the same pair of glasses. [Gallery label text, 2007]", "Dedication" : "Gift of Thomas J. Watson", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "Conversation between Marjorie Searl and Holly Cumberland (Rochester family descendant) regarding acquisition and attribution of painting (December 7, 2009); Holly wanted to alert us to the book "Nathaniel" written by her grandfather, Rochester Rogers, whose son Nathaniel died of throat cancer in 1945. In the book, Rogers alludes to the painting of Nathaniel Rochester, and that it was acquired for MAG by Thomas Watson. Holly''s contention is that Thomas Watson bought the painting believing that it was by Audubon, and that as Rochester Rogers and Thomas Watson were friends, there would have been ample opportunity for Watson to have ascertained from his friend Rogers that it was in fact by Audubon. However, as I explained to Holly, it was Rochester Rogers'' sister Helen who strongly supported the Audubon attribution, so this comment does not change the fact that there is virtually no objective and external evidence pointing to this portrait''s being by Audubon, other than an anonymous inscription on the back of the painting.", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/34.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/34.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/34.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/34.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12350", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2865, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2865", "Disp_Access_No" : "1978.191", "_AccNumSort1" : "", "Disp_Create_DT" : "1819", "_Disp_Start_Dat" : "1819", "_Disp_End_Date" : "1819", "Disp_Title" : "Sampler", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Ann Gennett Pixley Lacey", "Sort_Artist" : "Lacey, Ann Gennett Pixley", "Disp_Dimen" : "10 1/4 x 10 3/4 in. (26 x 27.3 cm)", "Disp_Height" : "10 1/4 in.", "Disp_Width" : "10 3/4 in.", "Dimen_Extent" : "", "Medium" : "Silk", "Support" : "linen", "Disp_Medium" : "Silk thread cross-stitch on linen", "Info_Page_Comm" : "The Memorial Art Gallery is fortunate to have in its collection both a portrait of Ann Gennett Lacey and an example of her needlework made when she was only ten years old (see row seven of her sampler). She was probably enrolled at a female academy in Riga, west of Rochester, where she was taught these skills. Following the American Revolution, schools for young women began to flourish, and fine needlework was one of the subjects (as well as music, reading, writing, and arithmetic) included in the curriculum. The stitching of samplers was believed to be a sign of virtue, achievement and industry, stitched more to demonstrate education than to preserve a skill. {Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial} ", "Dedication" : "Gift of Mr. and Mrs. Robert Dunn", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Textiles", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Children" : [ { "Rel_Obj_ID" : "12757", "Rel_Obj_Title" : "Better Things - On Reading (with text) " } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.191_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.191_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.191_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.191_A1.jpg", "IsPrimary" : "0", "_SurrogateID" : "13887", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.187-191_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.187-191_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.187-191_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.187-191_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "18243", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Also on CD, the 2 images from which the restored image was created: Lacey House Scottsville A.tif (78.187-191_R2.tif on print master folder), and Lacey House Scottsville B.tif (78.187-191_R3.tif).", "View" : "" } , ] },{ "embark_ID" : 613, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/613", "Disp_Access_No" : "1978.188", "_AccNumSort1" : "", "Disp_Create_DT" : "1835-1836", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1836", "Disp_Title" : "Eliza Pixley Lacey (1834 - 1839)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Milton W. Hopkins", "Sort_Artist" : "Hopkins, Milton W.", "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" : "M. W. Hopkins American, 1789 - 1844 Eliza Pixley Lacey (1834 - 1839) ca. 1835 - 36 Oil on canvas Gift of Mr. and Mrs. Robert H. Dunn in memory of Ruth Hanford Munn and James Buell Munn, 78.188 M.W. Hopkins painted several portraits of young girls holding flower baskets. Eliza was painted when she was about two, and may have been Hopkins’ youngest and most endearing sitter. Portrait painting was not Hopkins’ sole occupation; he was also a farmer and ornamental painter who decorated carriages and signs. Eliza was only five when she died. She is buried in Fellows Cemetery in Chili along with her mother, Ann, whose portrait hangs nearby. {Excerpted from gallery label text, Oct. 2011, Colleen Piccone, Curatorial} The Lacey family, whose portraits are on view nearby, lived in this home at 9 Scottsville-Chili Road in Scottsville, New York in the 1830s, where it is believed their portraits were painted and first hung. Two children in this 1890s photograph were relatives of the Lacey family. The girl on the far left was Ruth Hanford (Munn), in whose memory the portraits were given to the Memorial Art Gallery. The paintings were passed down through the generations in this family home until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors. {Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial} ", "Dedication" : "Gift of Mr. and Mrs. Robert H. Dunn in memory of Ruth Hanford Munn and James Buell Munn", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "612", "Rel_Obj_Title" : "Ann Gennett Pixley Lacey (1809 - 1841)" },{ "Rel_Obj_ID" : "614", "Rel_Obj_Title" : "Pierrepont Edward Lacey (1832 - after 1860) and His Dog, Gun" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.188_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.188_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.188_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.188_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12636", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.187-191_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.187-191_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.187-191_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.187-191_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "18241", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Also on CD, the 2 images from which the restored image was created: Lacey House Scottsville A.tif (78.187-191_R2.tif on print master folder), and Lacey House Scottsville B.tif (78.187-191_R3.tif).", "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" : 10398, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/10398", "Disp_Access_No" : "2001.16", "_AccNumSort1" : "", "Disp_Create_DT" : "1942", "_Disp_Start_Dat" : "1942", "_Disp_End_Date" : "1942", "Disp_Title" : "Frederick Douglass", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Elizabeth M. Olds", "Sort_Artist" : "Olds, Elizabeth M.", "Disp_Dimen" : "17 7/8 x 14 in. (45.4 x 35.6 cm)", "Disp_Height" : "17 7/8 in.", "Disp_Width" : "14 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "wove paper", "Disp_Medium" : "Color serigraph", "Info_Page_Comm" : "", "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/2001.16_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2001.16_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2001.16_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2001.16_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "16364", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/2001.16_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2001.16_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2001.16_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2001.16_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "32732", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 521, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/521", "Disp_Access_No" : "1974.1", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1954", "_Disp_Start_Dat" : "1949", "_Disp_End_Date" : "1959", "Disp_Title" : "Gamblers", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jacob Lawrence", "Sort_Artist" : "Lawrence, Jacob", "Disp_Dimen" : "9 x 12 in. (22.9 x 30.5 cm)", "Disp_Height" : "9 in.", "Disp_Width" : "12 in.", "Dimen_Extent" : "", "Medium" : "Tempera", "Support" : "panel", "Disp_Medium" : "Tempera on gesso panel", "Info_Page_Comm" : "Compare the ominous and somber mood of Jacob Lawrence’s Gamblers with the upbeat and optimistic flavor of his painting Summer Street Scene in Harlem (MAG collection). The still and formal arrangement of figures and cards in Gamblers, the delicate floral vine that arches across the canvas, and the casket or tombstone forms behind the standing men create a scene that is very nearly funereal, perhaps suggesting the idea that life (and death) is a game of chance. [Gallery label text, 2009]", "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/74.1_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/74.1_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/74.1_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/74.1_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12457", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1465, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1465", "Disp_Access_No" : "1985.66", "_AccNumSort1" : "", "Disp_Create_DT" : "1868", "_Disp_Start_Dat" : "1868", "_Disp_End_Date" : "1868", "Disp_Title" : "General Grant and His Family (after William Cogswell)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Sartain", "Sort_Artist" : "Sartain, John", "Disp_Dimen" : "28 1/4 x 21 7/8 in. (71.8 x 55.6 cm)", "Disp_Height" : "28 1/4 in.", "Disp_Width" : "21 7/8 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Engraving", "Info_Page_Comm" : "", "Dedication" : "Gift of Irene Adams Sillay", "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/85.66_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/85.66_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/85.66_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/85.66_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "19159", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1442, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1442", "Disp_Access_No" : "1995.47", "_AccNumSort1" : "", "Disp_Create_DT" : "1975", "_Disp_Start_Dat" : "1975", "_Disp_End_Date" : "1975", "Disp_Title" : "Harriet", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Elizabeth Catlett", "Sort_Artist" : "Catlett, Elizabeth", "Disp_Dimen" : "18 3/8 x 15 1/4 in. (46.6 x 38.7 cm)", "Disp_Height" : "18 3/8 in.", "Disp_Width" : "15 1/4 in.", "Dimen_Extent" : "sheet (irregular)", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Linocut", "Info_Page_Comm" : "", "Dedication" : "Deaccession 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/95.47_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/95.47_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/95.47_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/95.47_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "41190", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4018, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4018", "Disp_Access_No" : "1997.24", "_AccNumSort1" : "", "Disp_Create_DT" : "ca. 1950", "_Disp_Start_Dat" : "1945", "_Disp_End_Date" : "1955", "Disp_Title" : "Harriet Tubman", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Margaret Taylor-Burroughs", "Sort_Artist" : "Taylor-Burroughs, Margaret", "Disp_Dimen" : "17 1/2 x 11 1/2 in. (44.5 x 29.2 cm)", "Disp_Height" : "17 1/2 in.", "Disp_Width" : "11 1/2 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "wove paper", "Disp_Medium" : "Linocut", "Info_Page_Comm" : "", "Dedication" : "Tribute 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/97.24_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/97.24_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/97.24_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/97.24_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "31669", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1876, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1876", "Disp_Access_No" : "1986.32", "_AccNumSort1" : "", "Disp_Create_DT" : "1863", "_Disp_Start_Dat" : "1863", "_Disp_End_Date" : "1863", "Disp_Title" : "Home from the War", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Winslow Homer", "Sort_Artist" : "Homer, Winslow", "Disp_Dimen" : "9 1/4 x 13 7/8 in. (23.5 x 35.2 cm)", "Disp_Height" : "9 1/4 in.", "Disp_Width" : "13 7/8 in.", "Dimen_Extent" : "image", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Wood engraving", "Info_Page_Comm" : "Published in "Harper's Weekly," June 13, 1863", "Dedication" : "Gift of Howard and Florence Merritt", "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/86.32_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.32_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.32_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.32_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13243", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86.32_A3.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.32_A3.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.32_A3.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.32_A3.jpg", "IsPrimary" : "1", "_SurrogateID" : "46166", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 2384, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/2384", "Disp_Access_No" : "1994.46", "_AccNumSort1" : "", "Disp_Create_DT" : "1994", "_Disp_Start_Dat" : "1994", "_Disp_End_Date" : "1994", "Disp_Title" : "Horse Sense", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jaune Quick-to-See Smith", "Sort_Artist" : "Smith, Jaune Quick-to-See", "Disp_Dimen" : "30 1/8 x 22 7/16 in. (76.5 x 57 cm)", "Disp_Height" : "30 1/8 in.", "Disp_Width" : "22 7/16 in.", "Dimen_Extent" : "", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Lithograph", "Info_Page_Comm" : "Horse Sense is dominated by an empty article of Native American clothing, standing at once for the artist’s tradition and for the systematic vitiation of that tradition over the past three centuries. Smith’s images and text represent the authentic Native American culture as well as stereotypes from the mainstream culture. Standing proudly atop the shirt is a potent symbol, a horse with a heartline that represents the powerful life force of the animal and perhaps suggests the persistence of native wisdom in spite of efforts to destroy it. [Gallery label text, 2008]", "Dedication" : "Thomas H. and Marion J. Hawks Fund", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "Native American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/94.46_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/94.46_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/94.46_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/94.46_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13519", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1441, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1441", "Disp_Access_No" : "1995.11", "_AccNumSort1" : "", "Disp_Create_DT" : "1947", "_Disp_Start_Dat" : "1947", "_Disp_End_Date" : "1947", "Disp_Title" : "In Phillis Wheatley I Proved Intellectual Equality in the Midst of Slavery", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Elizabeth Catlett", "Sort_Artist" : "Catlett, Elizabeth", "Disp_Dimen" : "15 x 11 in. (38.1 x 28 cm)", "Disp_Height" : "15 in.", "Disp_Width" : "11 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Linocut", "Info_Page_Comm" : "", "Dedication" : "Director's Discretionary 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/95.11_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/95.11_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/95.11_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/95.11_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "46439", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 967, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/967", "Disp_Access_No" : "1988.15", "_AccNumSort1" : "", "Disp_Create_DT" : "1915", "_Disp_Start_Dat" : "1915", "_Disp_End_Date" : "1915", "Disp_Title" : "Joan of Arc", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Anna Hyatt Huntington", "Sort_Artist" : "Huntington, Anna Hyatt", "Disp_Dimen" : "18 x 12 x 5 in. (45.7 x 30.5 x 12.7 cm)", "Disp_Height" : "18 in.", "Disp_Width" : "12 in.", "Dimen_Extent" : "overall", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "Sculptor Anna Hyatt Huntington, whose career overlapped chronologically with [Gaston] Lachaise’s, is well known for her historical and fictional subjects. In addition to creating Joan of Arc, located in New York City (the heroic version of MAG’s smaller sculpture), she also sculpted El Cid and Don Quixote for the Hispanic Society. [Gallery label text, 2005] ", "Dedication" : "Gift of the friends and family of Margaret M. McDonald", "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/88.15_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/88.15_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/88.15_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/88.15_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12509", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1001, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1001", "Disp_Access_No" : "1986.4", "_AccNumSort1" : "", "Disp_Create_DT" : "1890", "_Disp_Start_Dat" : "1890", "_Disp_End_Date" : "1890", "Disp_Title" : "Nathan Hale (1755 - 1776)", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Frederick W. MacMonnies", "Sort_Artist" : "MacMonnies, Frederick W.", "Disp_Dimen" : "28 3/8 x 9 1/2 x 5 13/16 in. (72.1 x 24.1 x 14.8 cm)", "Disp_Height" : "28 3/8 in.", "Disp_Width" : "9 1/2 in.", "Dimen_Extent" : "overall", "Medium" : "Bronze", "Support" : "", "Disp_Medium" : "Bronze", "Info_Page_Comm" : "In the final decades of the nineteenth century, representations of the American Revolution and its heroes were romanticized. Here, Frederick MacMonnies depicts doomed patriot Nathan Hale (1755 – 1776) moments before his execution by the British as punishment for spying. Hale’s ruffled shirt hangs dramatically open, framing and exposing his bare chest and neck, soon to hold the hangman’s noose. With his arms tied back at the elbow, Hale’s hands are left free to gesture as he uttered his famous last words, “I regret that I have but one life to give for my country.” [Gallery label text, 2010]", "Dedication" : "Marion Stratton Gould 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/86.4_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.4_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.4_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.4_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12503", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4211, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4211", "Disp_Access_No" : "2005.31", "_AccNumSort1" : "", "Disp_Create_DT" : "1927", "_Disp_Start_Dat" : "1927", "_Disp_End_Date" : "1927", "Disp_Title" : "Negro Head", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "John Steuart Curry", "Sort_Artist" : "Curry, John Steuart", "Disp_Dimen" : "24 x 18 1/2 in. (61 x 47 cm)", "Disp_Height" : "24 in.", "Disp_Width" : "18 1/2 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "According to the [previous owner], Curry met the subject of this painting, a sugar cane worker, on a trip to Cuba. [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/2005.31_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/2005.31_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/2005.31_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/2005.31_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "33982", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "See other views on disk: MAG 100622", "View" : "" } , ] },{ "embark_ID" : 543, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/543", "Disp_Access_No" : "1914.4", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "New Orleans Man", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Robert Lee MacCameron", "Sort_Artist" : "MacCameron, Robert Lee", "Disp_Dimen" : "22 x 18 in. (55.9 x 45.7 cm)", "Disp_Height" : "22 in.", "Disp_Width" : "18 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "Robert Lee MacCameron was celebrated in Europe and the United States for his insightful portraits. He moved to London in 1888, where he worked as an illustrator, before going to Paris to study at the École des Beaux-Arts. There, he studied with the major artists of the day, including Jean-Léon Gérôme and James McNeil Whistler. His portrait commissions ranged from European nobility to prominent American politicians, including Presidents McKinley and Taft. In addition, MacCameron painted scenes and portraits of the diverse ethnic mix that populated American cities at the turn of the century. [Forman Gallery, Summer 2015]", "Dedication" : "Gift of the Rochester Art Club", "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/14.4_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/14.4_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/14.4_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/14.4_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12641", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 431, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/431", "Disp_Access_No" : "1951.7", "_AccNumSort1" : "", "Disp_Create_DT" : "1943", "_Disp_Start_Dat" : "1943", "_Disp_End_Date" : "1943", "Disp_Title" : "Non-Fiction", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Robert Gwathmey", "Sort_Artist" : "Gwathmey, Robert", "Disp_Dimen" : "29 x 24 in. (73.7 x 61 cm)", "Disp_Height" : "29 in.", "Disp_Width" : "24 in.", "Dimen_Extent" : "without frame", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "In the 1940s, Robert Gwathmey focused his artist’s eye upon the lives of African-American sharecroppers in the South. Non-Fiction shows a common sight on southern farms; older children tended to the young when both parents worked all day in the fields. The barbed wire and minstrel figure symbolize the dual oppressions of segregation and racism. [Gallery label text, 2007]", "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/51.7_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/51.7_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/51.7_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/51.7_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12389", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1867, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1867", "Disp_Access_No" : "1986.41", "_AccNumSort1" : "", "Disp_Create_DT" : "1868", "_Disp_Start_Dat" : "1868", "_Disp_End_Date" : "1868", "Disp_Title" : "Our Next President", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Winslow Homer", "Sort_Artist" : "Homer, Winslow", "Disp_Dimen" : "10 7/8 x 9 1/8 in. (27.6 x 23.2 cm)", "Disp_Height" : "10 7/8 in.", "Disp_Width" : "9 1/8 in.", "Dimen_Extent" : "image", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Wood engraving", "Info_Page_Comm" : "Published in "Harper's Weekly," October 31, 1868", "Dedication" : "Gift of Howard and Florence Merritt", "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/86.41_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.41_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.41_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.41_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "45718", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1874, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1874", "Disp_Access_No" : "1986.34", "_AccNumSort1" : "", "Disp_Create_DT" : "1865", "_Disp_Start_Dat" : "1865", "_Disp_End_Date" : "1865", "Disp_Title" : "Our Watering Places - The Empty Sleeve at Newport", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Winslow Homer", "Sort_Artist" : "Homer, Winslow", "Disp_Dimen" : "9 3/16 x 13 3/4 in. (23.3 x 34.9 cm)", "Disp_Height" : "9 3/16 in.", "Disp_Width" : "13 3/4 in.", "Dimen_Extent" : "image", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Wood engraving", "Info_Page_Comm" : "Published in "Harper's Weekly," August 26, 1865", "Dedication" : "Gift of Howard and Florence Merritt", "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/86.34_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.34_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.34_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.34_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13245", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/86.34_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/86.34_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/86.34_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/86.34_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "46168", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 614, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/614", "Disp_Access_No" : "1978.189", "_AccNumSort1" : "", "Disp_Create_DT" : "1835-1836", "_Disp_Start_Dat" : "1835", "_Disp_End_Date" : "1836", "Disp_Title" : "Pierrepont Edward Lacey (1832 - after 1860) and His Dog, Gun", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Milton W. Hopkins", "Sort_Artist" : "Hopkins, Milton W.", "Disp_Dimen" : "42 x 30 1/8 in. (106.7 x 76.5 cm)", "Disp_Height" : "42 in.", "Disp_Width" : "30 1/8 in.", "Dimen_Extent" : "", "Medium" : "Oil", "Support" : "canvas", "Disp_Medium" : "Oil on canvas", "Info_Page_Comm" : "The Lacey family lived and farmed in Scottsville, New York, a small village south of Rochester on the Oatka Creek. Like many families of means, they used the services of a local artist to have their likenesses painted, since photography as we know it did not exist. For many years, this artist was thought to be Noah North, but recent scholarship points to Milton Hopkins, with whom North probably apprenticed. Painting was not Hopkins' sole occupation. As well, he farmed and was a carriage and sign painter, and was involved in anti-Masonic, abolitionist, and temperance politics. Pierrepont Lacey was born in 1832, and like many little boys, he probably was not comfortable posing for a painting in his best clothes. The family dog, Gun, most likely didn't stand still for long, either, so it may have been quite a challenge for the artist to capture the likenesses of boy and dog. When Pierrepont was fifteen, his family moved to Marshall, Michigan. He grew up, married, and was the father of one son. Milton Hopkins moved to Ohio shortly after this portrait was painted, where he continued to paint portraits and work for the Underground Railroad. [Gallery label text, 2000] Like many young boys, Pierrepont Lacey was probably not comfortable posing for a painting dressed in his best suit and red shoes. Gun, the family dog, was most likely a restless subject for the artist to capture, as well. There are six known portraits by Hopkins showing children dressed in their finest clothes, often accompanied by their dogs. All of the children’s parents were connected to the artist through their activities in anti-Masonic, abolitionist, and temperance politics. MAG’s nearly full-size portrait is one of the most engaging likenesses done by Hopkins and has become an American folk art icon. [Excerpted from gallery label text, Oct. 2011, Colleen Piccone, Curatorial] The Lacey family, whose portraits are on view nearby, lived in this home at 9 Scottsville-Chili Road in Scottsville, New York in the 1830s, where it is believed their portraits were painted and first hung. Two children in this 1890s photograph were relatives of the Lacey family. The girl on the far left was Ruth Hanford (Munn), in whose memory the portraits were given to the Memorial Art Gallery. The paintings were passed down through the generations in this family home until 1932, when they were presented on the occasion of a marriage and moved to a new home in Cambridge, Massachusetts. In 1978, the generous owners donated the group of family heirlooms to the Memorial Art Gallery, to be enjoyed by its many visitors. [Excerpted from gallery text panel, Oct. 2011, Colleen Piccone, Curatorial}] ", "Dedication" : "Gift of Mr. and Mrs. Robert H. Dunn in memory of Ruth Hanford Munn and James Buell Munn", "Copyright_Type" : "Public Domain", "Disp_Obj_Type" : "Painting", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Related_Sibling" : [ { "Rel_Obj_ID" : "612", "Rel_Obj_Title" : "Ann Gennett Pixley Lacey (1809 - 1841)" },{ "Rel_Obj_ID" : "613", "Rel_Obj_Title" : "Eliza Pixley Lacey (1834 - 1839)" } ], "Curator" : "", "Images": [ { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.189_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.189_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.189_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.189_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12478", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , { "ImagePath" : "https://webkiosk.gallerysystems.com/Media/images/78.187-191_R1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/78.187-191_R1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/78.187-191_R1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/78.187-191_R1.jpg", "IsPrimary" : "0", "_SurrogateID" : "18242", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Also on CD, the 2 images from which the restored image was created: Lacey House Scottsville A.tif (78.187-191_R2.tif on print master folder), and Lacey House Scottsville B.tif (78.187-191_R3.tif).", "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" : 3771, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/3771", "Disp_Access_No" : "1998.17", "_AccNumSort1" : "", "Disp_Create_DT" : "1998", "_Disp_Start_Dat" : "1998", "_Disp_End_Date" : "1998", "Disp_Title" : "Savoy Dancers", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Richard Yarde", "Sort_Artist" : "Yarde, Richard", "Disp_Dimen" : "41 9/16 x 29 1/2 in. (105.6 x 74.9 cm)", "Disp_Height" : "41 9/16 in.", "Disp_Width" : "29 1/2 in.", "Dimen_Extent" : "without frame", "Medium" : "Watercolor", "Support" : "wove paper", "Disp_Medium" : "Watercolor on wove paper", "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/98.17_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.17_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.17_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.17_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13425", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 1443, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1443", "Disp_Access_No" : "1996.33", "_AccNumSort1" : "", "Disp_Create_DT" : "1968-1993", "_Disp_Start_Dat" : "1968", "_Disp_End_Date" : "1993", "Disp_Title" : "Sharecropper", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Elizabeth Catlett", "Sort_Artist" : "Catlett, Elizabeth", "Disp_Dimen" : "24 1/8 x 22 1/4 in. (61.3 x 56.5 cm)", "Disp_Height" : "24 1/8 in.", "Disp_Width" : "22 1/4 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "wove paper", "Disp_Medium" : "Linocut", "Info_Page_Comm" : "Gallery label text 2013: Elizabeth Catlett honors the rural working poor in this commanding image of a strong, dignified African American woman fieldworker who, though worn from her labors, maintains her internal fortitude. Catlett devoted her career as a sculptor and printmaker to addressing issues of social justice, especially the struggles of African American women. “I make work for my people,” Catlett has said, “not for an elite, and I’ve paid a price for my commitment.” Based on her own experiences, Catlett pursued subjects that were personally significant, such as her grandmother’s stories of slavery and her own experience of being denied admission to the Carnegie Institute of Technology solely on the basis of race. ", "Dedication" : "Gift of Neil and Avram Dorman through the Martin S. Ackerman Foundation, by exchange", "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/96.33_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/96.33_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/96.33_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/96.33_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "13525", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4044, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4044", "Disp_Access_No" : "1998.60", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Sketch for George Eastman Sculpture", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Marisol", "Sort_Artist" : "Marisol", "Disp_Dimen" : "16 3/4 x 14 1/16 in. (42.5 x 35.7 cm)", "Disp_Height" : "16 3/4 in.", "Disp_Width" : "14 1/16 in.", "Dimen_Extent" : "without frame", "Medium" : "Graphite", "Support" : "wove paper", "Disp_Medium" : "Graphite on wove paper", "Info_Page_Comm" : "", "Dedication" : "Gift of Grant Holcomb in honor of Thomas H. and Marion J. Hawks", "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/98.60_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.60_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.60_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.60_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "28729", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4043, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4043", "Disp_Access_No" : "1998.59", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Sketch for George Eastman Sculpture", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Marisol", "Sort_Artist" : "Marisol", "Disp_Dimen" : "16 3/4 x 14 1/16 in. (42.5 x 35.7 cm)", "Disp_Height" : "16 3/4 in.", "Disp_Width" : "14 1/16 in.", "Dimen_Extent" : "without frame", "Medium" : "Graphite", "Support" : "wove paper", "Disp_Medium" : "Graphite on wove paper", "Info_Page_Comm" : "", "Dedication" : "Gift of Grant Holcomb in honor of Thomas H. and Marion J. Hawks", "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/98.59_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.59_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.59_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.59_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "28728", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 4045, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/4045", "Disp_Access_No" : "1998.61", "_AccNumSort1" : "", "Disp_Create_DT" : "", "_Disp_Start_Dat" : "0", "_Disp_End_Date" : "0", "Disp_Title" : "Sketch for George Eastman Sculpture", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Marisol", "Sort_Artist" : "Marisol", "Disp_Dimen" : "16 3/4 x 14 1/16 in. (42.5 x 35.7 cm)", "Disp_Height" : "16 3/4 in.", "Disp_Width" : "14 1/16 in.", "Dimen_Extent" : "without frame", "Medium" : "Graphite", "Support" : "wove paper", "Disp_Medium" : "Graphite on wove paper", "Info_Page_Comm" : "", "Dedication" : "Gift of Grant Holcomb in honor of Thomas H. and Marion J. Hawks", "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/98.61_A2.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/98.61_A2.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/98.61_A2.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/98.61_A2.jpg", "IsPrimary" : "1", "_SurrogateID" : "28730", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "", "View" : "" } , ] },{ "embark_ID" : 522, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/522", "Disp_Access_No" : "1991.5", "_AccNumSort1" : "", "Disp_Create_DT" : "1948", "_Disp_Start_Dat" : "1948", "_Disp_End_Date" : "1948", "Disp_Title" : "Summer Street Scene in Harlem", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jacob Lawrence", "Sort_Artist" : "Lawrence, Jacob", "Disp_Dimen" : "20 1/16 x 24 1/8 in. (51 x 61.2 cm)", "Disp_Height" : "20 1/16 in.", "Disp_Width" : "24 1/8 in.", "Dimen_Extent" : "without frame", "Medium" : "Tempera", "Support" : "panel", "Disp_Medium" : "Tempera on gesso panel", "Info_Page_Comm" : "Jacob Lawrence chronicled the migration of African Americans from the South to the North in the first half of the 20th century. In Summer Street Scene in Harlem, Lawrence’s style incorporates the flattened surfaces, distorted shapes, and bold colors of modernism to capture the energy and vitality of life in Harlem, New York. [Gallery label text, 2007]", "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/91.5_A1.jpg", "ThumbnailPath" : "https://webkiosk.gallerysystems.com/Media/Thumbnails/91.5_A1.jpg", "PreviewPath" : "https://webkiosk.gallerysystems.com/Media/Previews/91.5_A1.jpg", "IIIF_URL": "http://iiif.gallerysystems.com/91.5_A1.jpg", "IsPrimary" : "1", "_SurrogateID" : "12514", "Image_Type" : "digital image", "Photo_Credit" : "", "Remarks" : "Print Master derived from Digital Master for Seeing America Pachyderm project August 2008. Needs curatorial approval for other uses.", "View" : "" } , ] },{ "embark_ID" : 1983, "URL" : "https://webkiosk.gallerysystems.com/Objects-1/info/1983", "Disp_Access_No" : "1975.120.8", "_AccNumSort1" : "", "Disp_Create_DT" : "1974", "_Disp_Start_Dat" : "1974", "_Disp_End_Date" : "1974", "Disp_Title" : "The 1920's... The Migrants Arrive and Cast Their Ballots", "Alt_Title" : "", "Obj_Title" : "", "Series_Title" : "", "Disp_Maker_1" : "Jacob Lawrence", "Sort_Artist" : "Lawrence, Jacob", "Disp_Dimen" : "34 3/8 x 26 in. (87.3 x 66 cm)", "Disp_Height" : "34 3/8 in.", "Disp_Width" : "26 in.", "Dimen_Extent" : "sheet", "Medium" : "Printer''s ink", "Support" : "paper", "Disp_Medium" : "Color serigraph", "Info_Page_Comm" : "In 1975, Jacob Lawrence and twelve other artists were asked to respond to the question, "What does independence mean to me?" The prints made by the artists comprise the Kent Bicentennial Portfolio: Spirit of Independence, commissioned in honor of the American Bicentennial. Jacob Lawrence's parents migrated from the south to New York City, so the theme of migration was one that had great meaning to his personal history. He said, "During the post World War I period millions of black people left southern communities in the United States and migrated to northern cities. This migration reached its peak during the 1920's. Among the many advantages the migrants found in the north was the freedom to vote. In my print, migrants are represented expressing that freedom." [Gallery label text]", "Dedication" : "Gift of Lorillard, New York", "Copyright_Type" : "Under Copyright", "Disp_Obj_Type" : "Print", "Creation_Place2" : "American", "Department" : "", "Obj_Name" : "", "Period" : "", "Style" : "", "Edition" : "", "Curator" : "This print was also published as a poster. 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