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Hood Museum of Art
Dartmouth College
Hanover, NH 03755

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Recent Acquisitions 13

Unknown, Late Celtic
Ewer, 300 BCE
12in.; 4 5/8 in.; 6 3/4 in.
Gift of Mark Lansburgh, Class of 1949; 2007.70.1

Bavarian Master, German, 16th century
Saint Joseph with the Christ Child, about 1510
Height: 28 1/2 in.
Gift of Mark Lansburgh, Class of 1949; 2007.70.2

Unknown, European
"Masterpiece" Lock, late 16th-early 17th century
Iron, brass
Part 1: 10 x 6 3/8 x 3 in.; Part 2: 9 x 6 3/8 x 2 in.
Gift of Mark Lansburgh, Class of 1949; 2007.70.3

Hannah Lane, American, born 1813; Pittsfield, New Hampshire
Sampler, 1826
Linen embroidered with silk thread
Frame: 23 3/4 x 20 3/4
Gift to Joanne H. Foulk; 2007.71

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. Samplers also served an important social function as measures of female accomplishment and suitability for marriage.

The design of this sampler, made by Hannah Lane in Pittsfield, New Hampshire, at the age of 11 (her 12th year), bears many similarities to samplers made in the neighboring town of Canterbury, New Hampshire. It includes the typical Canterbury motif of a shallow basket surmounted by a pair of winged leaves that form a mustache-like silhouette. Here, however, the maker placed two such design elements in the lower corners rather than a single basket in the lower center. This configuration accommodates a moralizing verse in the center, which reads, "O, Source of Wisdom, I implore / Thy aid to guide me safely o'er / The slipp'ry paths of youth. / O deign to send a steady ray, / To point the sure, the certain way / To virtue and to truth." Such verses, which rarely appeared in Canterbury samplers, reinforced the important moral education, as well as practical and artistic training, thought proper for young women.

William Merritt Chase, American, 1849-1916
Olive Tree, Florence, about 1911
Oil on wood panel
9 1/8 x 12 in.
Gift of John S. Tamagni, Class of 1956; 2007.72

One of the most talented and influential American painters and teachers active at the turn of the twentieth century, William Merritt Chase (1849-1916) excelled at portraits, still lifes, and landscapes. This work is characteristic of Chase's fluid, sketch-like response to the sun-dappled landscape near his villa in Fiesole, outside Florence, Italy, where he spent part of each summer from 1907 until at least 1911. In contrast to the artist's taut earlier landscapes, such as his 1890s view of New York's Shinnecock canal in the Hood's collections, this Italian subject conveys the sense of a much more intimate, spontaneous response to his environs and was almost surely painted outdoors. In this and other paintings from late in his career, Chase applied paint in an all-over, agitated manner that reveals his debt to French impressionism and accentuates Tuscany's brilliant, fleeting effects of sunlight and shadow.

Clemens Kalischer, American, born 1921
Untitled, Pilobolus performance (Female dancer spinning with skirt billowing out in a circle), about 1977-1983
Gelatin silver print
11 x 14 in.
Gift of the artist; 2007.73

Andrew Moore, American, born 1957
Akademy Model, St. Petersburg, 2002
Chromogenic print
56 1/8 x 45 in.
Gift of Varujan Boghosian; 2007.74.1

Marcus Ratliff, American, 20th century
Untitled (Ear), 1963
Graphite on paper
23 x 15 in.
Gift of Varujan Boghosian; 2007.74.2

Unknown, Italian, Italian
Mostra De Picasso, 1953
79 1/4 x 46 7/8 in.
Gift of Varujan Boghosian; 2007.74.3

Arnold Genthe, American, 1869-1942
Percy MacKaye (1875-1956), about 1910
Gelatin silver print
9 3/8 x 6 7/8 in.
Gift of Marion MacKaye Ober; 2007.75.1

Doris Ulmann, American, 1882-1934
Arvia MacKaye (1902-1989) Looking Right, about 1935
Gelatin silver print
Image: 8 1/8 x 6 1/8 in.; original mat: 14 1/2 x 11 2/4 in.
Gift of Marion MacKaye Ober; 2007.75.2

Doris Ulmann, American, 1882-1934
Arvia MacKaye (1902-1989) Looking Left, about 1925
Gelatin silver print
Image: 8 x 6 1/8 in.; original mat: 14 1/4 x 11 1/4 in.
Gift of Marion MacKaye Ober; 2007.75.3

Varujan Boghosian, American, born 1926
Homage to Orpheus, 1964
Wood, sculpt metal, steel
57 3/8 x 24 3/8 x 7 in.
Gift of Steven Trefonides; 2007.76

Ben Shahn, American, 1898-1969
Farewell to New York-All That is Beautiful, 1965
Serigraph in colors with hand coloring on wove [Rives] paper
26 x 38 3/4 in.
Gift of Margaret F. Edwards, in memory of her father, Atlanta architect H. Griffith Edwards, F.A.I.A. F.C.S.I. (1907-1972); 2007.77

American painter, photographer, and printmaker Ben Shahn (1898-1969) is known for his poignant, often strident images that point to social and political injustices. According to the artist, his inspiration for this print of New York skyscrapers under construction was the personal pain he experienced upon "seeing the city I grew up in being covered by the new wave of concrete and glass." Shahn's affection for New York reveals itself in his more detailed renderings of the old buildings in the foreground, which he enhanced with applied colors. Vertical lines of text quote the Alexandrian mythographer Maximus of Tyre (second century CE). By including the ancient writer's reference to the revered Greek sculptor Phidias, whose greatest works did not survive, Shahn links the ill-fated old New York with art well worthy to last the ages. Living outside New York City by this time in rural Roosevelt on Long Island, Ben Shahn created a work that reflects fond memories of his youth and evocatively portrays one of the persistent quandaries of contemporary American life.

Arnold Genthe, American, 1869-1942
Arvia MacKaye (1902-1989) as a Child, about 1913
Autochrome in original viewing case
Image: 6 1/2 x 4 1/2 in.; case: 9 1/4 x 7 1/8 in.
Purchased through a gift from the Estate of David Hull and through the Claire and Richard P. Morse 1953 Fund; 2007.78.1

Arnold Genthe, American, 1869-1942
Spirit of Marion (Marion Morse MacKaye, died 1939), 1910
Gelatin silver print
9 3/8 x 7 in.
Purchased through a gift from the Estate of David Hull and through the Claire and Richard P. Morse 1953 Fund; 2007.78.2

Doris Ulmann, American, 1882-1934
Percy MacKaye (1875-1956), about 1925
Gelatin silver print
Image: 8 x 6 in.; original mat: 14 3/8 x 11 3/8 in.
Purchased through a gift from the Estate of David Hull and through the Claire and Richard P. Morse 1953 Fund; 2007.78.3

Doris Ulmann, American, 1882-1934
Robert Frost (1874-1963), Class of 1896, about 1925
Gelatin silver print
Image: 7 15/16 x 6 1/8 in. (20.2 x 15.4 cm); original mat: 13 1/8 x 11 1/8 in.
Purchased through a gift from the Estate of David Hull and through the Claire and Richard P. Morse 1953 Fund; 2007.78.4

Alice Boughton, American, 1865-1943
The Fuller Sisters, about 1915
Gelatin silver print
Image: 8 1/4 x 6 1/4 in.; original mat: 10 1/8 x 7 1/8 in.
Purchased through a gift from the Estate of David Hull and through the Claire and Richard P. Morse 1953 Fund; 2007.78.5

The Hood Museum of Art recently acquired by purchase and gift from Marion MacKaye Ober a group of photographs that descended in the family of dramatist and poet Percy MacKaye (1875-1956). MacKaye was an active member of the Cornish, New Hampshire, art colony and is best known locally and nationally for having played an important role in reviving interest in poetic drama in the early twentieth century. A large collection of his papers is in Dartmouth's Rauner Special Collections Library. Among the photographs acquired by the Hood are portraits of MacKaye family members by Doris Ulmann and Arnold Genthe, including a rare Genthe autochrome (the earliest viable color photography process) of MacKaye's daughter, Arvia, in its original viewing case. The photograph by Alice Boughton (1865-1943) illustrated here depicts the Fuller sisters, singers from Dorset, England, who were pioneers in the collection and performance of folk songs from England, Scotland, Ireland, and Wales. On their frequent American tours they visited Cornish several times, initially at the invitation of Percy and Marion MacKaye. Boughton, a pictorialist photographer of celebrities, captures in this image the picturesque mid-nineteenth-century costumes and dramatic poses of the sisters, who made movement an important aspect of their performances.

Hilaire Germain Edgar Degas, French, 1834-1917
On Stage III (Sur la Scene), 1876
Softground etching and drypoint on wove paper
3 7/8 x 5 in.; 6 1/4 x 9 3/4 in.
Purchased through gifts from the Lathrop Fellows; 2007.79

The acquisition of the first Degas print to enter the collection was generously funded by the Lathrop Fellows. Degas's On Stage III was one of only four prints published during the artist's lifetime. It was created for an exhibition sponsored by Les Amis des Arts de Pau, a town in southern France, where he had several friends. The etching reveals Degas's exploration of one of his favorite early vantage points at the OpĂ©ra, the center seats behind the orchestra pit, and his perceptions of the richly layered scene of musicians, dancers, and stage.

The present impression of the fifth state of On Stage III was printed outside the edition published for the Pau exhibition catalogue. Although this is not one of the rarest prints made by the artist, the present impression was selected for the exhibition and illustrated in the accompanying, landmark catalogue of 1984, described as one of seven "representative examples of this state" in the world.

Last Updated: 10/15/08