Sevilla House, Former Home of Manager of Operations for Tate & Lyle Sugar Company, Brechin Castle Sugar Estates, Trinidad, West Indies
Pablo Delano, Puerto Rican, born 1954
2012
Pigment print on paper
Overall: 22 × 17 in. (55.9 × 43.2 cm)
Hood Museum of Art, Dartmouth: Purchased through the Elizabeth and David C. Lowenstein '67 Fund
© Pablo Delano
2013.40.1
Geography
Place Made: Puerto Rico, Caribbean, Central America
Period
21st century
Object Name
Photograph
Research Area
Photograph
Not on view
Inscriptions
Printed, below image: Sevilla House, Former Home of Manager of Operations for Tate & Lyle Sugar Company, Brechin Castle Sugar Estates, Trinidad, West Indies
Course History
WRIT 5, Expository Writing, William Craig, Winter 2014
ANTH 33, AAAS 83.8, LACS 38, Global Caribbean, Chelsey Kivland, Spring 2019
ANTH 55, Anthropology of Global Health, Anne Sosin, Spring 2021
ANTH 55.01, Anthropology of Global Health, Anne Sosin, Spring 2022
ANTH 55.01, Anthropology of Global Health, Anne Sosin, Fall 2022
Latino Studies 44.01, Latino Roots and Transitions, Thamyris Almeida, Winter 2023
Art History 20.04, Faith and Empire, Beth Mattison, Spring 2023
Exhibition History
A Space for Dialogue 91: (Re)Imagining Home, Elissa Watters, Class of 2015, Main Lobby, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, October 24-December 6, 2015.
In Residence: Contemporary Art at Dartmouth, Hood Museum of Art, Harrington Gallery, Dartmouth College, Hanover, New Hampshire, January 18-July 6, 2014.
Publication History
Michael R. Taylor and Gerald Auten, In Residence: Contemporary Artists at Dartmouth, Hanover, New Hampshire: Trustees of Dartmouth College, 2013, ill. p. 99, no. 88
Elissa Watters, A Space for Dialogue 91: (Re)Imagining Home, Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, 2015, checklist no.1.
Provenance
The artist, West Hartford, Connecticut; sold to present collection, 2013.
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