11
Portfolios%3D%22707%22%20and%20Disp_Obj_Type%3D%22Sculpture%22
Sculpture
Abraham Lincoln
George Grey Barnard, 1863 - 1938
Barnard, George Grey
United States
1863 - 1938
Male
21 x 11 7/8 x 14 7/16 in. (53.3 x 30.2 x 36.7 cm)
.
.
.
overall
Marble
Marble
ca. 1918
1913
1923
1900-2000, 20th century, Abraham Lincoln, heads, men
Sculpture
1986.5
item
Memorial Art Gallery
9/8/1999
86.5TR1
Transparency
Memorial Art Gallery
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.5SL1
slide
full frontal
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.5DI1
digital image
Memorial Art Gallery
Imaging complete
7/14/2000
http://127.0.0.1:5000/Media/images/86.5_A1.jpg
86.5SL2
slide
full-back
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.5SL3
slide
full profile-right
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
86.5SL4
slide
full profile-left
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
46barnard1.tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/46barnard1.tif
46barnard1(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/SeeingAmerica/46barnard1(10).tif
digital image
00/00/00
http://127.0.0.1:5000/Media/images/86.5_A2.jpg
86.5DI2
digital image
Three-quarter
00/00/00
http://127.0.0.1:5000/Media/images/86.5_A3.JPG
Sculpture
Crest Mask: Female Antelope (Chi Wara)
Bamana artist, (active )
Bamana artist
Mali
Primary
30 1/2 x 7 5/8 x 8 in. (77.5 x 19.4 x 20.3 cm)
.
.
.
Wood
Wood
Bamana; made in Mali
0
0
African art, antelopes, Bamana, chi wara, sculpture
Sculpture
In many cultures, gods and spirits take the form of animals. Selected for their physical or behavioral traits, features of different animals are combined to create mythical creatures whose symbolic powers are greater than those of ordinary beasts. This antelope crest mask combines the curved horns of an antelope, the curious snout and scales of a pangolin (a kind of anteater) and the squat body of an aardvark—all animals that dig up the earth. This makes them fitting representations of Chi Wara, the supernatural being the Bamana believe taught humans to farm. The masks were worn in male/female pairs during dance performances in the fields that taught and encouraged good farming. Today, because of conversion to Islam and a variety of social changes due to westernization, the Chi Wara masquerade is now performed for entertainment and cultural pride.
[Gallery label text, 2009]
1993.14
item
Memorial Art Gallery
9/8/1999
93.14SL1
slide
3/4 view
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 3
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
93.14DI1
digital image
3/4 view
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/93.14_A1.jpg
93.14DI#2
digital image
Three-quarter
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A2.jpg
93.14DI#3
digital image
side
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A3.jpg
93.14DI#4
digital image
Front
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A4.jpg
93.14DI#5
digital image
1/13/2009
http://127.0.0.1:5000/Media/images/93.14_A5.jpg
93.14TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Sculpture
Crest Mask: Male Antelope (Chi Wara)
Bamana artist, (active )
Bamana artist
Mali
Primary
40 9/16 x 2 15/16 x 13 9/16 in. (103 x 7.5 x 34.5 cm)
.
.
.
overall
overall
Wood
Wood
Bamana; made in Mali
0
0
African art, antelopes, Bamana, chi wara, sculpture
Sculpture
In many cultures, gods and spirits take the form of animals. Selected for their physical or behavioral traits, features of different animals are combined to create mythical creatures whose symbolic powers are greater than those of ordinary beasts. This antelope crest mask combines the curved horns of an antelope, the curious snout and scales of a pangolin (a kind of anteater) and the squat body of an aardvark—all animals that dig up the earth. This makes the mask a fitting representations of Chi Wara, the supernatural being the Bamana believe taught humans to farm. Chi wara masks were worn in male/female pairs during dance performances in the fields that taught and encouraged good farming. Today, because of conversion to Islam and a variety of social changes due to westernization, the Chi Wara masquerade is now performed for entertainment and cultural pride.
The small pieces of red cloth attached to the snout of this male Chi Wara may have originated in the woolen bandages imported by the French during the First World War. In Bamana culture, red is the color of danger and is often restricted to men of certain status.
[Gallery label text, 2009]
1969.107
item
Memorial Art Gallery
11/28/2000
69.107SL2
slide
worn w fiber costume
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.107SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
69.107DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/69.107_A2.jpg
69.107DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/69.107_A1.jpg
69.107DI#3
digital image
Three-quarter
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A3.jpg
69.107DI#4
digital image
Side
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A4.jpg
69.107DI#5
digital image
Front
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A5.jpg
69.107DI#6
digital image
1/13/2009
http://127.0.0.1:5000/Media/images/69.107_A6.jpg
69.107TR1
transparency
Front
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
Sculpture
Head of the Bodhisattva Avalokitesvara
Cambodian artist, (active )
Cambodian artist
Cambodia
Primary
16 x 8 1/4 x 5 1/2 in. (40.6 x 21 x 14 cm)
.
.
.
Stone
Stone
11th century-12th century
1000
1199
1000-1400, Avalokitesvara, Cambodian
Sculpture
1936.4
item
Memorial Art Gallery
1/30/2001
36.4SL1
slide
full front
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full front
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
3/4 front
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
full front
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
profile
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36.4SL2
slide
full-profile fr left
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
full back
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
full front
5x7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full front
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
full front
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
full front
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
neg
3/4 front
3x2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
36.4DI1
digital image
full front
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/36.4_A1.jpg
Sculpture
Bodhisattva Guanyin on Mount Potala
Chinese artist
Chinese artist
China
Primary
45 1/2 x 26 3/8 x 20 1/2 in. (115.6 x 67 x 52.1 cm)
.
.
.
Wood
Wood
early 13th Century
1200
1232
1000-1400, Chinese, Guanyin: Chinese, statues
Sculpture
This aspect of Guanyin, enthroned on his legendary mountain abode, Potala, was especially favored in China during the 12th and 13th centuries. The figure is seated in a position of Royal Relaxation. Its rustic base, visible at the left, symbolizes a rocky ledge of the mountain paradise, from which Guanyin beholds with sublime compassion the sufferings of earthly beings.
Public temple images such as this, gilt and richly polychromed, were often installed in an elaborate naturalistic setting. They combined the two concepts of the immutability of the Divine and the transitory nature of the world.
[Gallery label text, undated]
1942.21
item
Memorial Art Gallery
1/30/2001
separations
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21CNEG1
negative
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21CNEG2
negative
5 x 7
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
1 detail
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
detail
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21SL2
slide
detail- torso
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21SL3
slide
detail- head fr right
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21SL4
slide
detail- head fr left
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21SL5
slide
full-profile fr left
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21SL6
slide
full-profile fr right
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21SL7
slide
full-3/4 from right
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21SL8
slide
full-3/4 from left
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full frontal
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
42.21DI2
digital image
00/00/00
http://127.0.0.1:5000/Media/images/42.21_A2.jpg
42.21DI4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/42.21_A4.jpg
42.21DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/42.21_A3.jpg
42.21DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/42.21_A1.jpg
42.21DI#5
digital image
4/18/2011
http://127.0.0.1:5000/Media/images/42.21_A5.jpg
42.21DI#6
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/42.21_A6.jpg
42.21DI#7
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/42.21_A7.jpg
42.21DI#8
digital image
Detail
4/18/2011
http://127.0.0.1:5000/Media/images/42.21_A8.jpg
Sculpture
Bodhisattva Kannon
Japanese artist, (active )
Japanese artist
Japan
Primary
56 1/8 x 14 15/16 x 14 15/16 in. (142.5 x 38 x 38 cm)
.
.
.
without base
overall
.
.
.
with base
overall
Wood
Wood
1100-1199
1100
1199
1000-1400, Japanese, Kannon: Japanese, statues
Sculpture
1974.83
item
Memorial Art Gallery
1/30/2001
74.83SL1
slide
full-frontal
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
8x10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
4x5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.83SL2
slide
full-left side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.83SL3
slide
full- 3/4 view
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.83SL4
slide
full-right side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.83SL5
slide
detail-head frontal
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.83SL6
slide
detail-left side
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.83SL7
slide
detail-head 3/4
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
74.83DI1
digital image
00/00/00
http://127.0.0.1:5000/Media/images/74.83_A1.jpg
Sculpture
Shaman Medicine Charm
Tlingit artist, (active )
Tlingit artist
United States
6 1/4 x 2 1/4 in. (15.9 x 5.7 cm)
.
.
.
Walrus ivory
Walrus ivory
Tlingit; made in Alaska
0
0
1800-1900, Native American, Native American art, religious & ritual objects
Sculpture
For years, Indigenous activists have led efforts to reclaim the remains of their ancestors and sacred cultural objects currently housed in museums, universities, and other cultural institutions.
In 1990, U.S. federal law established the Native American Graves Protection and Repatriation Act (NAGPRA) to facilitate this process. In December 2023, NAGPRA ruled that museums must obtain consent from lineal descendants, Tribes, and Native Hawaiian organizations before allowing any exhibition of, access to, or research on these objects.
MAG has removed works from display that are classified under the statute in compliance and in support of the repatriation of these items to their original caretakers, including this work.
The belief that humans can draw power from the non-human world is a framework that underlies many belief systems, and is especially strong in most Native North American culture groups. Shamans played an especially important role in this respect. Responsible for curing the sick, controlling the weather, guaranteeing successful fish runs, combating witches, and providing assistance during battle, shamans moved freely between the human and spirit world. Tlingit shamans often carried charms like this one. Each charm is unique and often includes a multiplicity of figures. This charm is in the form of a whale, with the rear assuming the form of a land otter, a highly powerful spirit helper to the shaman.
[Gallery label text, 2009]
1922.5
item
Memorial Art Gallery
9/8/1999
22.5SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
22.5DI1
digital image
full
2 x 2
00/00/00
http://127.0.0.1:5000/Media/images/22.5_A1.jpg
22.5DI#2
digital image
2/19/2008
http://127.0.0.1:5000/Media/images/22.5_A2.jpg
Sculpture
Twin Figure (Ere Ibeji)
Yoruba artist, (active )
Yoruba artist
Nigeria
9 3/8 x 2 5/8 x 2 3/4 in. (23.8 x 6.7 x 7 cm)
.
.
.
Wood
Wood
Yoruba; made in Nigeria
0
0
1900-2000, African art, religious & ritual objects, sculpture, Yoruba
Sculpture
The Yoruba have one of the highest rates of twinning in the world. Twins are endowed with powerful attributes, both auspicious and dangerous. Due to the high mortality rate of twins, when one or both dies, Yoruba mothers procure small wooden statues (ere ibeji) to house the spirits of the deceased. If there is a single ibeji, it is likely that one twin died and one survived. If there are two ibeji figures, then it is likely that both twins died. Wealthy women clothe their ere ibeji in beaded or shelled vests.
Surface accumulation and signs of wear are common as ibeji figures are cared for in the same manner as a living child and are handled, clothed, washed, fed and honored with dances and songs. Lyrics from a Yoruba song explain how the care of ere ibeji can control the potentially negative influence of twins’ spirits, “Abuse me and I shall follow you home. Praise me and I shall leave you alone.” Subsequent generations inherit the care of ere ibeji from their ancestors.
[Gallery label text, 2009]
1965.9.1
item
Memorial Art Gallery
3/10/2001
65.9.1_.2DI1
digital image
2 detail
2 x 2
12/1/2001
http://127.0.0.1:5000/Media/images/65.9.1-.2_A1.jpg
65.9.1-.2SL1
slide
full with 65.9.2
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.9.1DI2
digital image
2 detail
2 x 2
12/1/2001
http://127.0.0.1:5000/Media/images/65.9.1_A1.jpg
65.9.1DI#3
digital image
Front
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.1_A5.jpg
negative
frontal with 65.9.2
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
frontal with 65.9.2
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
frontal with 65.9.2 side
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
frontal with 65.9.2 side
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.9.1DI#4
digital image
back
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.1_A6.jpg
65.9.1_.2DI#5
.1&.2
digital image
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.1-.2_A4.jpg
Sculpture
Helmet Mask (Waniougo)
Senufo artist, (active )
Senufo artist
Côte d'Ivoire
Primary
14 3/8 x 25 3/4 x 13 in. (36.5 x 65.4 x 33 cm)
.
.
.
Wood
Wood
Senufo; made in Côte d'Ivoire
0
0
masks
Sculpture
The sharp edges and angular forms of this double-faced mask (waniougo) result in a fierce and expressive presence. A fearsome appearance is desirable as waniougo’s role is to frighten away evil spirits wishing to harm a Senufo village at times of particular vulnerability, for example at funerals. Their appearance in nighttime masquerades enhances the otherworldly presence of these “firespitter” masks; embers or burning grass are held in front of the mouths through which the wearer blows to creating a dramatic shower of sparks into the night sky.
Waniougo combines the features of crocodiles (teeth), hippos (tusks), warthogs (upper tusks) and chameleons (two are visible on the top). In order to empower the mask before the ceremony, the cup held by the chameleons is filled with magical materials and the mask freshly painted with spots.
[Gallery label text, 2009]
1970.22
item
Memorial Art Gallery
3/10/2001
70.22TR1
transparency
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.22SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
full
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
full
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
70.22DI1
digital image
4 x 5
00/00/00
http://127.0.0.1:5000/Media/images/70.22_A1.jpg
Sculpture
Spoon
Yaoure or Baule artist, (active )
Yaoure or Baule artist
Côte d'Ivoire
7 1/16 x 1 3/4 x 3 3/8 in. (18 x 4.5 x 8.5 cm)
.
.
.
overall
overall
Wood
Wood
Yaoure or Baule; made in Côte d'Ivoire
0
0
eating & serving utensils
Sculpture
1964.102
item
Memorial Art Gallery
11/28/2000
64.102SL1
slide
full
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.102SL2
slide
detail- handle
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
64.102DI1
digital image
front
00/00/00
http://127.0.0.1:5000/Media/images/Inventory pictures/64.102_I1.jpg
64.102DI#2
digital image
front
1/22/2008
http://127.0.0.1:5000/Media/images/64.102_A1.jpg
64.102DI#3
digital image
Three-quarter
1/22/2008
http://127.0.0.1:5000/Media/images/64.102_A2.jpg
64.102DI3
digital image
00/00/00
http://127.0.0.1:5000/Media/images/64.102_A3.jpg
64.102DI4
digital image
00/00/00
http://127.0.0.1:5000/Media/images/64.102_A4.jpg
Sculpture
Twin Figure (Ere Ibeji)
Yoruba artist, (active )
Yoruba artist
Nigeria
Primary
9 1/4 x 2 5/8 x 2 5/8 in. (23.5 x 6.7 x 6.7 cm)
.
.
.
Wood
Wood
Yoruba; made in Nigeria
0
0
1900-2000, African art, religious & ritual objects, sculpture, Yoruba
Sculpture
The Yoruba have one of the highest rates of twinning in the world. Twins are endowed with powerful attributes, both auspicious and dangerous. Due to the high mortality rate of twins, when one or both dies, Yoruba mothers procure small wooden statues (ere ibeji) to house the spirits of the deceased. If there is a single ibeji, it is likely that one twin died and one survived. If there are two ibeji figures, then it is likely that both twins died. Wealthy women clothe their ere ibeji in beaded or shelled vests.
Surface accumulation and signs of wear are common as ibeji figures are cared for in the same manner as a living child and are handled, clothed, washed, fed and honored with dances and songs. Lyrics from a Yoruba song explain how the care of ere ibeji can control the potentially negative influence of twins’ spirits, “Abuse me and I shall follow you home. Praise me and I shall leave you alone.” Subsequent generations inherit the care of ere ibeji from their ancestors.
[Gallery label text, 2009]
1965.9.2
item
Memorial Art Gallery
3/10/2001
65.9.1-.2DI1
slide
2 detail
2 x 2
12/1/2001
http://127.0.0.1:5000/Graphics/blank.gif
65.9.2SL1
slide
full w 65.9.1
2 x 2
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.9.1-.2DI1
digital image
2 detail
2 x 2
12/1/2001
http://127.0.0.1:5000/Media/images/65.9.1-.2_A1.jpg
65.9.2DI2
digital image
2 detail
2 x 2
12/1/2001
http://127.0.0.1:5000/Media/images/65.9.2_A1.jpg
negative
frontal with 65.9.1
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
frontal with 65.9.1
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
negative
side with 65.9.1 frontal
4 x 5
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
glossy
side with 65.9.1 frontal
8 x 10
00/00/00
http://127.0.0.1:5000/Graphics/blank.gif
65.9.2DI#3
digital image
Front
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.2_A7.jpg
65.9.2DI#4
digital image
back
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.2_A8.jpg
65.9.1&.2DI#5
.1&.2
digital image
1/22/2008
http://127.0.0.1:5000/Media/images/65.9.1-.2_A4.jpg