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Hood Museum of Art
Dartmouth College
Hanover, NH 03755

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Recent Acquisitions 2

maskNorman G. Jackson, American / Tongass / Tlingit, born 1957
Sharkman Mask, about 2004
Alder wood, paint
12 x 9 5/8 x 5 in.
Purchased through the William B. Jaffe and Evelyn A. Jaffe Hall Fund; 2006.49

This beautifully carved and painted wooden mask by the Tongass Tlingit artist Norman G. Jackson brings to light a contemporary reinterpretation of traditional Northwest Coast themes and mythical stories. In much Northwest Coast art, painted, carved, or woven imagery is used during special occasions to proclaim and validate the status of ancestral clan crests representing mythical beings. In this new acquisition, Jackson depicts the important mythic being Sharkman, who is viewed as a key link in regional clan affiliations, especially among the Tlingit, Haida, and Tsimshian peoples. According to Northwest Coast legends, Sharkman—also known as Dogfish, a small shark that inhabits the waters of the Pacific North Coast—once abducted a young woman who teased him. The young woman was then transformed from a human into a hybrid human-shark creature called Dogfish Woman, to whom ancestry in the Shark clan is linked. In Northwest Coast art, supernatural beings and ancestors with such transformational powers are often depicted with the attributes of two or more beings, as they can transcend ordinary limitations. Jackson represents Sharkman in quasi-human form as a male face with two smaller subsidiary faces. Two of the faces are marked with crescent gill-slit symbols on the cheeks. The black painting around the mouth of the larger male face indicates facial hair to characterize his manifestation as a human. On the forehead, the face’s downturned, crescent-shaped, sharp-toothed mouth emulates Sharkman’s fiercest form. In his mouth, Sharkman protectively shields one of his offspring. Jackson’s Sharkman mask joins the Hood’s mask of Dogfish Woman, the most prominent Shark crest belonging to the Haida clans, especially Haida royalty.

George Lundeen, American, born 1948
David T. McLaughlin (1993-2004), Class of 1954, 14th President of Dartmouth College (1981-1987), 2006
23 x 16 x 9 in.
Gift of the Class of 1954, in memory of their classmate, David T. McLaughlin; 2006.50

wolfHowling Wolf (Ho-na-nist-to), American / Southern Cheyenne, 1849-1927
Untitled (Self-Portrait), about 1874-75
Pen, graphite, and colored pencil on paper
Sheet: 5 5/8 x 7 1/8 in.; frame: 12 3/4 x 13 1/2 in.
Purchased through the Julia L. Whittier Fund; 2006.51

Before his capture, Howling Wolf was a member of the Bowstring Society, a fraternal warrior society that had become a strong proponent of war by the 1870s. He counted his first coup in 1867 as a teenager and soon gained recognition as a young brave, becoming a leader in the Bowstring Society. Following the Red River War, Howling Wolf was arrested in 1875 and sent to Fort Marion, while the Southern Cheyenne tribes were sent to reservations in Indian Territory. Howling Wolf was one of the most talented and innovative artists at Fort Marion. Abandoning most of the old warrior-art styles of picture writing, he composed drawings with a strong sense of design, decorativeness, balance, symmetry, and rhythm that was seldom seen in traditional Plains pictographic arts, carefully outlining his figures in ink, then coloring them in with flat, opaque tones. In this drawing he fills the ledger page with his own imposing figure, standing next to his steed. Both wear detailed and individualized Cheyenne attire. He identifies himself further through his signature, which replaces his traditional name glyph of a howling wolf. The flowing ease with which he signed this work suggests that it was created later rather than earlier in his imprisonment at the fort.



Andrea Andreani, Italian, 1558/9-1629; after Parmigianino, Italian, 1503-1540
The Presentation in the Temple, 1608
Chiaroscuro woodcut on laid paper
16 5/8 x 12 3/16 in.
Purchased through the Jane and Adolph Weil Jr. 1935 Fund; 2006.52



Thomas Frye, Irish, 1710-1762
Ipse (Self-Portrait), 1760
Mezzotint on laid paper
Plate: 19 7/8 x 13 7/8 in.; sheet: 21 1/8 x 15 1/8 in.
Purchased through a gift from the Cremer Foundation in memory of J. Theodore Cremer; 2006.53


George Tooker, American, born 1920
Study for Women and Men Fighting, 1958
Graphite on paper
Sight: 17 3/4 x 17 3/4 in.
Purchased through the Contemporary Art Fund; 2006.54.1

George Tooker, American, born 1920
Voice, 1977
Image: 11 x 9 3/4 in.
Purchased through the Contemporary Art Fund; 2006.54.2

George Tooker, American, born 1920
Lovers, 1982
Image: 12 1/16 x 16 in.
Purchased through the Contemporary Art Fund; 2006.54.3

Unknown, Italian; after Pirro Ligorio, Italian, about 1513-1583
Harbor of Claudius and Trajan at Ostia, early 1560s
Plate: 15 1/16 x 26 15/16 in; sheet: 17 3/4 x 30 7/8 in. (irr.)
Purchased through the Charles F. Venrick 1936 Fund; 2006.55

56Pierre-Nolasque Bergeret, French, 1782-1863
The Dawdlers of the Rue du Coq (Les Musards de Rue du Coq), 1804
9 1/2 x 15 3/16 in.
Purchased through the Mrs. Harvey P. Hood W’18 Fund; 2006.56

Hartman Schedel, German, 1440-1514; Michael Wolgemut, German, 1434-1519; Wilhelm Pleydenwurff, German, about 1458-1494
God the Father Enthroned; frontispiece from the Nuremberg Chronicle (Liber Chronicarum), 1493
Handcolored woodcut with letterpress (obverse); gold embossed initialed letter and printed text (reverse)
Sheet: 16 x 10 5/8 in.
Purchased through a gift from the Cremer Foundation in memory of J. Theodore Cremer; 2006.57

Nicolaes de Bruyn, Flemish, 1571-1656
Still Life, 1594
Impression: 3 3/4 x 5 1/2 in.; sheet: 5 9/16 x 7 3/16 in. (irr.)
Purchased through the Class of 1935 Memorial Fund; 2006.58.1



Richard Earlom, British, 1743-1822
A Fruit Piece, 1781
Image: 19 3/4 x 15 1/2 in.; impression: 21 7/8 x 16 9/16 in.; sheet: 23 3/4 x 18 1/4 in.
Purchased through the Class of 1935 Memorial Fund; 2006.58.2



Jacob Hoefnagel, Flemish, 1575-about 1630
Youth Flowers Eternally, from the Archetypa Studiaque, 1592
Impression: 6 1/8 x 8 5/16 in.; sheet: 7 1/4 x 10 3/4 in.
Purchased through the Class of 1935 Memorial Fund; 2006.58.3


Jacob Hoefnagel, Flemish, 1575-about 1630
Such Is the Fame of Virtue, from the Archetypa Studiaque, 1592
Impression: 6 1/8 x 8 1/4 in.; sheet: 7 5/16 x 10 3/4 in.
Purchased through the Class of 1935 Memorial Fund; 2006.58.4

Theodor de Bry, Flemish, 1528-1598
Four Designs for the Interiors of Tazza, about 1588
Sheet: 16 1/2 x 16 5/8 in.
Purchased through the Mrs. Harvey P. Hood W’18 Fund; 2006.59

60Gillinder & Sons, American (Philadelphia), active 1867-early 1900s
Water Pitcher, about 1882
Colorless non-lead pressed glass
10 x 9 x 4 7/8 in.
Purchased through the Hood Museum of Art Acquisitions Fund; 2006.60

Refined glass-pressing and mold-making techniques during the latter half of the nineteenth century allowed for more elaborate decoration and made matched services of glassware more affordable for an expanding middle class. This water pitcher was produced in what is now known as the “Classic” pattern, one of the most sophisticated and skillfully rendered glass patterns pressed during the late nineteenth century. Its ornamentation reflects the eclectic design sources in Victorian decoration, as it combines Gothic arches that emerge from neoclassical columns; rusticated, branchlike handles and log feet; and two classically derived female nudes. On the side visible here appears an acid-etched relief decoration after The Tinted Venus, 1851-56, which British neoclassical sculptor John Gibson first exhibited in 1862. On the other side is a standing female figure derived from a Venus Pudica (Venus of Modesty), such as the Capitoline Venus at the Capitoline Museum, Rome.

Last Updated: 10/25/07