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Hood Museum of Art
Dartmouth College
Hanover, NH 03755
603.646.2808
hood.museum@dartmouth.edu

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Recent Acquisitions 4

Unknown artist, Mali
Marionette, mid-20th century
Wood, paint, fabric, thread, cord
24 x 14 x 3 1/2 in.
Gift of Gregory Slayton, Class of 1981; 2006.66.1

Unknown artist, Mali
Marionette, mid-20th century
Wood, paint, fabric, thread, cord
24 x 14 x 3 1/2 in.
Gift of Gregory Slayton, Class of 1981; 2006.66.2

Fred Wilson, American, born 1954
1863, 2006
Archival inkjet print with glassine overlay
19 x 27 1/8 in.
Courtesy of Pace Editions, Inc., and the artist; 2006.67

Andre Derain, French, 1880-1954
Still Life, about 1920
Oil on canvas
8 1/8 x 9 1/2 in.
Gift of Nancy Parker; 2006.68

Gwen John, British, 1876-1939
Seated Nun and Standing Woman in Church, about 1924
Graphite and gouache on paper
6 3/8 x 4 13/16 in.
Gift of Hugh J. Freund, Class of 1967; 2006.69.1

Wilson A. Bentley, American, 1865-1931
Snowflake, late 19th-early 20th centuries
Vintage photomicrograph on printing-out paper with gold chloride toning from glass plate negative
2 7/8 x 3 1/2 in.
Gift of Hugh J. Freund, Class of 1967; 2006.69.2

Timothy Greenfield-Sanders, American, born 1952
William Wegman, 1988
Color photograph
31 x 23 in.
Gift of Hugh J. Freund, Class of 1967; 2006.69.3

70


Carlo Lasinio, Italian, 1759-1838
Domenico Bartolini (1813-1887), late 18th century
Etching, roulette, and color mezzotint
15 3/4 x 10 3/4 in.
Gift of Lesley Hill and Alan Stone, in memory of Jeffrey D. L. Wortman, Class of 1967; 2006.70



Unknown artist, possibly Korhogo, Senufo peoples, Ivory Coast
Mud cloth, 1970s
Cotton, mud, dye
54 1/2 x 94 1/4 in.
Gift of Joseph Broude; 2006.71

72.1


Unknown artist, Australia, Mornington Island, Lardil people
Ceremonial headdress, about 1981
Human hair, bark, emu feathers, pigment
Diameter: 19 x 8 in.
Gift of Ann Thomas; 2006.72.1


 

72.2

Unknown artist, Australia, Arnhem Land, Aboriginal people
Mimi spirit figure, about 1981
Wood and pigment
33 x 2 1/4 x 2 in.
Gift of Ann Thomas; 2006.72.2

 

 

Greece; Thessaly; Trikka
Obol, 480-400 BCE
Silver
Diameter: 7/16 in.
Gift of Virginia Williamson, Class of 1962A; 2006.73.1

Great Britain; Celtic
Coin, 2nd-1st century BCE
Bronze
Diameter: 7/8 x 9/16 in. (irr.)
Gift of Virginia Williamson, Class of 1962A; 2006.73.2

GaminAugusta Savage, American, 1892-1962
Gamin, modeled 1929, plaster by 1940
Painted plaster
9 1/4 x 5 3/4 in.
Purchased through the Florence and Lansing Moore 1937 Fund, the Stephen and Constance Spahn '63 Acquisitions Fund, and the Hood Museum of Art
Acquisitions Fund; 2006.75

Gamin is the best-known work by Augusta Savage, the most admired and influential woman artist associated with the Harlem Renaissance. The life-size bronze version of this work (Schomburg Center, New York Public Library) won Savage the opportunity to study in Paris from 1929 to 1931. Although Gamin has invoked for viewers the ubiquitous street boys of Harlem, Savage actually modeled the sculpture after her nephew and fellow Harlem resident Ellis Ford, who had earned the nickname “gamin” for his spirited, defiant nature. She sensitively modeled her subject in contemporary dress, with a jaunty but somewhat vulnerable expression that lends the work its poignancy. Upon Savage’s return to Harlem, she began her role as an influential teacher and informal salon host by establishing the Savage Studio of Arts and Crafts, which served as an important gathering place for black artists, performers, and intellectuals through the 1930s and early 1940s.

76.1-376.1-376.1-3

 

Lalla Essaydi, Moroccan, born 1965
The Women of Morocco #23 (Femmes du Maroc #23), 2006
C41 print mounted on aluminum
60 x 48 in. each
Purchased through the Robert J. Strasenburgh II 1942 Fund; 2006.76.1-3

 


77Apphia Amanda Young, American, (Canterbury, New Hampshire), 1822-1910
Sampler, 1838
Silk on linen
17 3/8 x 17 3/8 in.
Purchased through the Julia L. Whittier Fund, the Guernsey Center Moore 1904 Memorial Fund, and the Phyllis and Bertram Geller 1937 Memorial Fund; 2006.77

In the eighteenth and nineteenth centuries, the making of samplers gave girls and young women the opportunity to practice a variety of embroidery stitches and to reinforce rudimentary lessons in spelling and penmanship. This colorful, finely worked example by sixteen-year-old Apphia Amanda Young is typical of the samplers made in the vicinity of Canterbury, New Hampshire, from 1786 until at least 1838, the date of this work, which is the latest dated Canterbury example known. It exhibits many of the hallmarks of this regional style, most notably the central urn or basket of flowers in the lower border, flanked by blossom-sprouting hillocks, songbirds, and evergreens at each corner. Remarkably, an 1833 sampler by the same maker has also survived and is a promised gift to the museum from local collector Joanne Foulk. Having the two samplers together will demonstrate how much a young woman’s needlework skills progressed over the course of five years.

George Tooker, American, born 1920
Night (The Dreamer), 1975
Intaglio
Framed: 15 3/4 x 18 1/4 in.
Gift of Berta Walker; 2006.78

Paul Starrett Sample, American, 1896-1974
Untitled (Sketch for Class of 1956 Graduation Book), about 1956
Ink and wash on board
12 11/16 x 10 1/8 in.
Gift of Charles P. Driscoll, Class of 1956; 2006.79

Utagawa Kuniyoshi, Japanese, 1798-1861
Benkei Stealing the Bell of Mii Temple, 1845
Triptych color woodblock print
Right: 14 7/16 x 10 in.; center: 14 7/16 x 9 7/8 in.; left: 14 7/16 x 10 in.
Purchased through gifts by exchange; 2006.81

Last Updated: 11/3/07