HIST 5.1, AAAS 14, Pre-Colonial African History, Naaborko Sackeyfio, Winter 2013
REL 7, Dark Goddesses and Black Madonnas, Elizabeth Perez, Winter 2013
AAAS 11, Introduction to African Studies, Naaborko Sackeyfio, Spring 2013
ARTH 16.2, Picasso: The Vollard Suite, Michael R.Taylor, Fall 2013
SART 65, Architecture I, Zenovia Toloudi, Spring 2015
Black Womanhood: Images, Icons, and Ideologies of the African Body, Friends Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, April 1-August 10, 2008; Davis Museum and Cultural Center, Wellesley College, Wellesley, Massachusetts, September 10-December 10, 2008; San Diego Museum of Art, San Diego, California, January 21-April 26, 2009.
Evolving Perspectives: Highlights from the African Art Collection at the Hood Museum of Art, Alvin P. Gutman Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, Janaury 26, 2013-April 6, 2014.
Works from the Continent of Africa, Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, January 26, 2019-March 15, 2020.
Barbara Thompson, "The African Collection at the Hood Museum of Art," African Arts, Volume XXXVII, No. 2, Los Angeles: African Studies Center, University of California, 2004, ill. p. 28.
Barbara Thompson, Black Womanhood: Images, Icons, and Ideologies of the African Body, Seattle: University of Washington Press [Hanover: Trustees of Dartmouth College], 2008, p. 99, plate 4.
John R. Stomberg, The Hood Now: Art and Inquiry at Dartmouth, Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, 2019, p. 132, ill. plate no. 63.
Paris art market; Lucien Claude-Lafontaine, 1927 or earlier; by descent to Pascale Claude-Lafontaine (daughter); L & R Entwistle and Co. Ltd., London, 1983; sold to private collection, France; with L & R Entwistle and Co. Ltd., London; sold to present collection, 2004.
This record is part of an active database that includes information from historic documentation that may not have been recently reviewed. Information may be inaccurate or incomplete. We also acknowledge some language and imagery may be offensive, violent, or discriminatory. These records reflect the institution’s history or the views of artists or scholars, past and present. Our collections research is ongoing.
We welcome questions, feedback, and suggestions for improvement. Please contact us at: Hood.Collections@dartmouth.edu