Big and Little

big and

LITTLE JANUARY 16−MARCH 13, 2016

WoodmereArtMuseum TELLING THE STORY OF PHILADELPHIA’S ART AND ARTISTS

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LITTLE CONTENTS

Foreword by William R. Valerio 2 Antonelli I Gallery 4 Works in the Exhibition 40

January 16–March 13, 2016

WoodmereArtMuseum

FOREWORD Big and Little is a sophisticated exhibition that focuses on an understanding of relationships. What might seem big in one context will be small in another, and this fundamental truth and sense of relativism in all manner of relationships evolves in the course of life’s experiences. Children are especially aware that adults are big, and they gradually learn that life is a continuous journey through which we arrive at places that had seemed, just a short time previous, to be the domain of older, bigger people.

Woodmere’s exhibition, Big and Little, is inspired by countless examples in popular culture, from Big Bird on Sesame Street to E.B. White’s Stuart Little, that engage warmheartedly and with humor to give children confidence in the face of relationships that are constantly shifting. The art on view demonstrates that artists are aware of this aspect of life, and through the play of scale they explore context and the relativistic nature of the individual’s relationship to the world.

Woodmere’s staff works as a team. As on all good teams, different individuals assert leading voice in the contexts in which their particular strengths will result in success.

Hildy Tow, The Robert McNeil, Jr. Curator of Education, and Sarah Mitchell, Associate Curator of Education, were the lead thinkers who shaped the content of the exhibition.

They worked hand-in-glove with Rachel McCay, Assistant Curator who organized the exhibition’s checklist and proposed a great

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array of choices of art from the collection that could be utilized to make the points that the educators wanted to make. Rick Ortwein, Deputy Director for Exhibitions, engaged in the thought process throughout, and then, with his usual flair for installation, designed an experience that brings the ideas to life.

Big and Little shows off Woodmere’s collection, and we are grateful to Linda Lee Alter, Jill and Sheldon Bonovitz, Lynne Campbell, Janet Fleisher, Bruce Kingsley, Flora and Reed Landis, Ann and Don McPhail, Peter Paone, Kathy Rose, Peter Rose, Joan L. Tobias and Pamela and Joe Yohlin who are associated with the paths through which the art in the show came to be under our roof.

We are also grateful to our colleagues and partners at the Philadlephia History Museum at the Atwater Kent, Charles Croce, Executive Director and CEO, and Kristen Froehlich, Director of the Collection and Exhibitions, for the loan of their exquisite portrait miniatures and the marvelous, Neoclassical goddess, the Bust of Melpomene, who reigns over our exhibition.

WILLIAM R. VALERIO, PHD The Patricia Van Burgh Allison Director and CEO

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ANTONELLI I GALLERY From oversized depictions of animals, people, or objects to tiny drawings that astound us in their attention to detail, this exhibition explores the play of scale in art. Scale is an element of design that refers to the size of an object in relation to another object. Understanding scale as it relates to perspective and proportion determines our perception of the world around us.

Woodmere offers this exploration of the ever-shifting relationship between the meaning of “big” in relation to something else that seems “little.” The works on view, from Woodmere’s permanent collection and from the Philadelphia History Museum at the Atwater Kent, depict related subjects that demonstrate the different ways in which artists employ scale to express moods, thoughts, and emotions.

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Linda Lee Alter American, b. 1939 Both Came First: The Chicken Is in the Egg and the Egg Is in the Chicken 2012 Acrylic on birch plywood Woodmere Art Museum: Gift of the artist. 2014

In Alter’s playful work six chickens appear to parade around a gigantic egg. They will need to lay a few of these eggs if they are to be scrambled by Louis De Mayo’s huge egg beater (ill.p. 14-15)!

For Alter, art is a communicative medium through which she can engage the viewer and share a message. This painting refers to the Buddhist belief in interbeing. For Buddhists, the belief in interbeing means a realization that there is no independent self and that we are made up of “I” and “non I.” Throughout her life, Alter has found delight in the natural world; she frequently incorporates patterns and textures with images of plants and animals in her paintings.

Alter received her MS in art psychotherapy from Hahnemann Medical College and Hospital (now Hahnemann University Hospital). She is the founder of the Leeway Foundation, an organization that supports women and trans artists creating social change in the Delaware Valley. In December 2010, Alter’s collection of nearly five hundred works of art was given as a gift to the Pennsylvania Academy of the Fine Arts and now comprises the Linda Lee Alter Collection of Art by Women.

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Ronald Bateman American, born Wales, 1947 Maxwell Over 1992–93 Oil on canvas Woodmere Art Museum: Gift of Anne E. and Donald W. McPhail, 2013

Maxwell Over is an example of Bateman’s often peculiarly imaginative scenes. In this dreamlike landscape, Bateman’s human figures are shrunken, reduced to the scale of the plums and apples around them. Through strange and meticulously painted details, he creates a surreal narrative. A mood of suspense is cast by the apple, hoisted upon a system of twigs, about to tumble down to the ground. Strewn across the forest floor are chestnuts, cherries, and broken apples that have perhaps already taken their turn down the slide.

Bateman lived, studied, and taught art in Philadelphia and currently resides in England.

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Lynne Campbell American, b. 1967 Black Cat (In the Field of Venus and Karma) 2010 Acrylic on board Woodmere Art Museum: Museum purchase, 2015

Spring 2013 Acrylic on wood Woodmere Art Museum: Gift of the artist, 2015

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Campbell’s “black cat” paintings derive from her imagined wanderings of the feral cats that live in her neighborhood. In Black Cat (In the Field of Venus and Karma), a tiny cat explores a large snowy field bordered by a fence. This is actually a depiction of a vacant lot where a home once stood across from the artist’s studio on Wingohocking Street in Philadelphia’s Germantown section.

Campbell is interested in the history of her neighborhood and the many streets named in Native American languages. Wingohocking is a Lenape word that means “favorite land for planting.” The lot itself has come to be named after the owners of the adjacent home, Venus and Karma, hence the title of the painting.

Campbell is a graduate of the Pennsylvania Academy of the Fine Arts, where she won the William Emlen Cresson Memorial Travel Scholarship. Her work was recently included in a three-person exhibition at Morpeth Contemporary, Hopewell, New Jersey. She has had solo and group shows at the More Gallery, Philadelphia, and has received three painting fellowships from the Pennsylvania Council on the Arts. Her work has been published in the national periodical New American Paintings and is in many public and private collections.

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Thomas Chimes American, 1921–2009 Van Gogh Referenced 1 1958 Oil on wood Collection of Joseph and Pamela Yohlin

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In the late 1950s, Chimes began a series of boldly painted, semiabstract landscapes inspired by Vincent van Gogh’s anguished subject matter and vivid yellow hues. In this tiny painting, a group of people walk down a path into a hilly landscape. Ironically, the small scale contributes to a sense of monumentality.

Chimes enrolled at the Pennsylvania Academy of the Fine Arts, where he studied with Daniel Garber and Francis Speight, but his studies were quickly interrupted by the outbreak of World War II. Chimes served in the United States Army Air Force during the war, before returning to his studies in New York in 1946. Using the G.I. Bill, the artist studied philosophy at Columbia University, and painting and sculpture at the Art Students League, both in New York. Chimes’s work is included in the collections of museums such as the Corcoran Museum of Art, Washington, D.C., the Museum of Contemporary Art, Los Angeles, the Museum of Modern Art, New York, the National Gallery of Art, Washington, D.C., the Pennsylvania Academy of the Fine Arts, the Philadelphia Museum of Art, and the Smithsonian American Art Museum, Washington, D.C., among others.

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Louis De Mayo American, b. 1926 Egg Beater Before 1973 Oil on canvas Woodmere Art Museum: Gift of Jill and Sheldon Bonovitz, 2014

This giant egg beater will need a dozen eggs from every chicken in Linda Lee Alter’s painting (ill. p.

6-7)! De Mayo’s deceptively simple composition is an exploration of shapes and space. He uses black to define the negative space between the blades of the beater and silhouettes the simple machine against a stark white background. The large scale allows us to consider the harmonious relationship of the utensil’s parts and, like the Pop movement of the mid-1950s and 60s, demands that we look at an ordinary object in a new light.

Born in Philadelphia, De Mayo served in the Marines during World War II. He then studied at the Pennsylvania Academy of Fine Arts under the G.I. Bill. He worked as a commercial artist in Philadelphia before becoming the art director for a publication located in Arizona, where he has lived since 1973. De Mayo’s work is in the collections of museums across the United States and in Europe.

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Tom Judd American, b. 1952 Man’s Head 1985 Acrylic on wood Woodmere Art Museum: Given in memory of Janet Fleisher, 2014

This giant head contains just enough facial features to suggest a familiar person or celebrity, but not quite enough to identify them. The artist explained that many people thought the figure was Ronald Reagan or John F. Kennedy, but the features were taken from a combination of popular figures. Judd began creating screens like this one in the early 1980s. The artist explains, “Man’s Head did not start out as a screen. It was part of a series of painted plywood cut-outs I was working on at the time. This particular piece was to feel like a remnant from a larger image, possibly a billboard or some kind of outdoor advertising. I put the hinges on as an easy way to join the two main sections of wood. As I did this I noticed that, if I put the two sections at an angle, the piece would stand freely on the floor, as opposed to being mounted on the wall as it was originally conceived. Suddenly it was a screen.”

Judd received his bachelor of fine arts in painting from the Philadelphia College of Art (now the University of the Arts). His installation The Hermit Project (2005) was purchased by the West Collection at SEI Investments. In 2014 the artist had two solo exhibitions, Homeland at William Holman Gallery in New York and Manifest Destiny at Robischon Gallery in Denver.

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John Laub American, 1947–2005 Lavender Lake 1995 Oil on linen Woodmere Art Museum: Gift of Bruce Kingsley and the Estate of John Laub, 2014

Laub plays with scale to convey the beauty and expansiveness of nature at his family’s lake house in the Adirondacks. The family dog, a beagle named Buster, relaxes on the lawn beneath a canopy of towering trees. A sailboat in the distance seems tiny, but the American flag, visible through the trees, seems large.

Lavender Lake is a lush landscape in vivid color. Laub would often begin to sketch or paint outdoors, but then complete his paintings in the studio. He would sometimes refer to drawings and photographs.

Laub was born in Philadelphia in 1947. He studied at Temple University’s Tyler School of Art and the School of Visual Arts in New York. He received his MFA in graphic design from the Philadelphia College of Art (now University of the Arts). He moved to New York City in 1984. His estate is represented by Fischbach Gallery, also in New York City.

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Sarah McEneaney American, born Germany, 1955 Cole 2005 Woodcut and inkjet Woodmere Art Museum: Museum purchase, 2015

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McEneaney’s autobiographical work often includes depictions of her pets, friends, family, studio, and home. Here, she depicts her cat Cole. Speaking of her painting the artist explains, “Whenever I paint things that are real, there’s always a lot of editing or supplementing to make the painting. It’s not a strict, journalistic account.” Some supplementing has also occurred in this print: Cole is four feet long.

McEneaney attended the University of the Arts and the Pennsylvania Academy of the Fine Arts (PAFA), both in Philadelphia. In addition to her studio practice, McEneaney is also the co-founder of Friends of the Rail Park (formerly the Reading Viaduct Project), a nonprofit organization dedicated to creating a park and recreation path along the historic elevated Reading Viaduct and City Branch rail line in Philadelphia. Her work is in many public and private collections, including the Philadelphia Museum of Art, PAFA, Woodmere Art Museum, the Neuberger Museum of Art at SUNY-Purchase, and the Rhode Island School of Design. McEneaney has received numerous awards, including

an Anonymous Was a Woman grant, a Joan Mitchell Foundation grant, a Pew Fellowship in the Arts, and residencies at the Joan Mitchell Center, the Chinati Foundation, the Fundaci贸n Valpara铆so, the MacDowell Colony, and Yaddo. She is represented by the Tibor de Nagy Gallery in New York and Locks Gallery in Philadelphia,

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Christine McGinnis American, b. 1937 Dormouse 1968 Etching Woodmere Art Museum: Gift of Ann E. and Donald W. McPhail, 2013

Edward O’Brien American, b. 1950 The Milliner’s Evil Secret 1972 Etching Woodmere Art Museum: Gift of Ann E. and Donald W. McPhail, 2013

Here a tiny dormouse appears larger than a full grown moose! Both artists use a roughly two-inch area to achieve different effects. McGinnis depicts an actual-size mouse. O’Brien, however, creates a densely packed scene with an impossibly small moose that appears to be threatened by rapidly growing vines.

McGinnis attended the Pennsylvania Academy of the Fine Arts (PAFA), where she received the William Emlen Cresson Memorial Travel Scholarship. She and her husband Rodger LaPelle have operated the Rodger LaPelle Gallery in Philadelphia since 1980. Filmmaker and artist David Lynch (born 1946) printed this etching in 1968 for McGinnis, as well as many other of her engravings of animal subjects. McGinnis and LaPelle first met Lynch in 1965, when he moved to Philadelphia to attend PAFA. O’Brien obtained his BFA from the Philadelphia College of Art (PCA, now the University of the Arts) and his MFA from Temple University’s Tyler School of Art. He made this etching while a student at PCA for a class taught by Jerome Kaplan, a professor of printmaking. With Kaplan’s encouragement, O’Brien made frequent trips to Wyncote, Pennsylvania, to visit the renowned collection of prints amassed by Lessing Rosenwald. O’Brien was particularly attracted to the iconic natural subjects, intimate scale, and fine detail found in work by early northern European engravers. He is an associate professor of fine arts at Kutztown University.

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Peter Paone American, b. 1936 Bird Buying a House 1973 Acrylic on canvas Woodmere Art Museum: Gift of Flora and Reed Landis, 2011

Paone painted Bird Buying a House when he moved from New York City to his home in West Mt. Airy. Every morning he could hear the birds chirping in the trees. Relocating to this verdant property, Paone said he felt like a bird buying a house. When his neighbors moved from their home next door, Paone gave them this painting as a gift to acknowledge their friendship, and, after their deaths, it was donated to Woodmere.

In this fantastical scene a large yellow bird buys a house from a very small man dressed in a coat and boots. Because the neighboring houses are too small for all the figures in the painting, it is unclear whether the bird is as big as the man or the man is as small as the bird.

The large cat lurking behind the house further confounds our ability to make sense of the scale in this peaceable kingdom.

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Angelo Pinto American, born Italy, 1908–1994 Goldfish 1934 Wood engraving Woodmere Art Museum: Museum purchase, 2012

Highly stylized and playful, this wood engraving

by Pinto uses a variety of techniques to portray the reflective properties and visual distortions of a glass fishbowl. The bowl’s exterior is delineated with crisp edges, while the fish are softly rendered. The architectural forms of the room are reflected in the upper left of the bowl, and a fish, at right, is foreshortened in appearance by the curvature of the glass.

Pinto came to the United States from Italy when he was an infant. He grew up in South Philadelphia, receiving a scholarship to attend the Pennsylvania Museum and School of Industrial Art (now University of the Arts). He worked as a commercial photographer for the Saturday Evening Post, Town and Country, Life and other publications. He also attended classes at the Barnes Foundation where he was awarded numerous scholarships that enabled him to study in Europe and Africa. Pinto taught art appreciation at the Barnes Foundation for 57 years, from 1935 until 1992.

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Ben Rose American, 1916–1980 Brooklyn Bridge, New York City 1950s Gelatin silver print Woodmere Art Museum: Museum purchase, 2013

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Rose captures a sprawling Brooklyn cityscape from various vantage points, combining multiple perspectives into a large panorama using a modification he designed for the Cirkut camera, a rotating panoramic camera. The expansive space in the foreground is made even larger by the long, distorted stretch of the Brooklyn Bridge. The unpopulated cobblestone street recedes far into the distance.

Rose and Randall Sellers (ill. p. 30-31) create different moods by using big and little spaces. In Rose’s photograph we can feel the enormity of the space as our eye slowly moves across the photograph to absorb all of the elements. For Sellers’ cityscape, which is nearly 25 times smaller than Roses’, our eye remains fixed and focused as we search out tiny details.

Rose enjoyed an international career as an artist and commercial photographer.

He introduced numerous mechanical and technological innovations in the fields of photography and graphic design. His work is in museum collections world-wide, including the Philadelphia Museum of Art, the Metropolitan Museum of Art, and the Museum of Modern Art.

Rose attended the Pennsylvania Museum School for Industrial Arts (now University of the Arts) in the late 1930s, where he was a student of Alexey Brodovitch, the renowned photographer, designer, and instructor.

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Randall Sellers American, b. 1969 Untitled 2004 (#001) 2004 Graphite on paper Collection of Joseph and Pamela Yohlin

Almost the exact opposite of Ben Rose’s expansive panoramic depiction of Brooklyn, (ill. p. 28-29) Sellers’ miniature landscape is a densely packed city of tunnels, futuristic towers, and crumbling brick ruins.

Before relocating to Jim Thorpe, PA, Sellers drew at a coffee shop on South Street in Philadelphia. He has been imagining fictive environments since growing up in a suburb outside of Philadelphia where he could see parts of the city from his window. He received his bachelor of fine arts from Temple University’s Tyler School of Art. His drawings of tiny imaginary landscapes have been exhibited across the US and abroad, and are included in the permanent collections of the Museum of Modern Art, the Philadelphia Museum of Art, and the Pennsylvania Academy of the Fine Arts.

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Artist Unknown Bust of Melpomene c. 1878 Plaster Philadelphia History Museum at the Atwater Kent: Gift of the Wurts House Foundation. 1990

Melpomene is one of the nine Greek Muses.

She is the patron of tragedy and of the lyre, a stringed instrument like a small U-shaped harp with strings fixed to a crossbar. Her name was derived from the Greek word meaning “to celebrate with dance and song.”

This gigantic plaster bust was proposed for the Ridgeway Library on South Broad Street.

In 1997 the Philadelphia High School for the Creative and Performing Arts (CAPA) opened at the site and the school has been housed there since that time.

The original building was constructed to house the collection of the Library Company, a subscription library started by Benjamin Franklin. In 1944, the building was sold to the city of Philadelphia and became the Ridgeway branch of the Free Library of Philadelphia while still storing a large part of the Library Company’s collection and offices.

We do not know who made the plaster sculpture but its monumentality reflects that of the neoclassical building designed by architect Addison Hutton. We can imagine that it would have been at home in this grand building.

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(From top left to right)

Artist Unknown Mrs. James Glentworth (Elizabeth Grais Bury, 1756–1834) Date unknown Watercolor on ivory Philadelphia History Museum at the Atwater Kent: Historical Society of Pennsylvania Collecion, Gift of Albert C. Reger, 1930

Peter Paone American, born 1936 The Joker 1967 Watercolor on ivory

Peter Paone American, born 1936 Ms. Dutchmaster 1970s Watercolor on ivory watch Woodmere Art Museum: Gift of Joan L. Tobias, 2009

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MINIATURE PAINTINGS

Miniature painting—tiny portraits made of watercolor on ivory— thrived in America during the early nineteenth century. The traditional format was an oval shape; however, they were also made in a rectangular format. Most portrait painters also made miniatures for clients who wished to wear and display these intimate and cherished pieces. The variety of sizes and subject matter included in the collection of the Philadelphia History Museum at the Atwater Kent is indicative of the changing styles of miniatures. Until the invention of the daguerreotype in 1839, which gradually replaced the miniature portrait, miniatures developed into full length figure portraits and depicted groups of figures and even interior settings in elaborate detail.

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(From top left to right)

Artist Unknown Henry Clay Date unknown Enamel on metal Philadelphia History Museum at the Atwater Kent: Historical Society of Pennsylvania Collection, Gift of Irene Harrison Benyaurd, 1938

Peter Paone American, born 1936 London 1967 Watercolor on ivory in pearl frame Woodmere Art Museum: Gift of Joan L. Tobias, 2009

Artist Unknown Victory Date unknown Watercolor on ivory Philadelphia History Museum at the Atwater Kent: Historical Society of Pennsylvania Collection, Gift of Joseph Satalogg, 1988

Artist Unknown R. Heber Newton Date unknown Watercolor on ivory Philadelphia History Museum at the Atwater Kent: Historical Society of Pennsylvania Collection, Gift of E. Maurice Newton, 1945

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(From top left to right)

Ah-Foo Maker dates unknown Ezekiel McShane (1777–1827) 1802 Watercolor on ivory Philadelphia History Museum at the Atwater Kent: Historical Society of Pennsylvania Collection, Bequest of

Peter Paone American, born 1936 Ms. Dutchmaster 1974 Watercolor on ivory

Peter Paone American, born 1936 Angel 1971 Watercolor on ivory on gold pocket watch Woodmere Art Museum: Gift of Joan L. Tobias, 2009

WORKS IN THE EXHIBITION AH-FOO Maker dates unknown EZEKIEL MCSHANE (1777–1827), 1802 Watercolor on ivory Philadelphia History Museum at the Atwater Kent: Historical Society of Pennsylvania Collection, Bequest of N.C. Lawrence, 1920 LINDA LEE ALTER American, born 1939 BOTH CAME FIRST: THE CHICKEN IS THE EGG IS IN THE CHICKEN, before 1973 Acrylic on birch plywood, 24 x 24 in.

Woodmere Art Museum: Gift of the artist, 2014 RONALD BATEMAN American, born Wales, 1947 MAXWELL OVER, 1992–93 Oil on canvas Woodmere Art Museum: Gift of Ann E. and Donald W. McPhail, 2013 LYNNE CAMPBELL American, born 1967 BLACK CAT (IN THE FIELD OF VENUS AND KARMA), 2010 Acrylic on board, 12 x 12 in.

Woodmere Art Museum: Museum purchase, 2015

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SPRING, 2013 Acrylic on wood, 7 x 7 in.

Woodmere Art Museum: Museum purchase, 2015 THOMAS CHIMES American, 1921–2009 VAN GOGH REFERENCED 1, 1958 Oil on wood, 3 5/8 x 2 1/4 in.

Collection of Joseph and Pamela Yohlin LOUIS DE MAYO American, born 1926 EGG BEATER, before 1973 Oil on canvas, 60 x 48 in.

Woodmere Art Museum: Gift of Jill and Sheldon Bonovitz, 2014 TOM JUDD American, born 1952 MANS HEAD, 1985 Acrylic on wood, 86 x 48 x 1 3/8 in.

Woodmere Art Museum: Given in memory of Jane Fleisher, 2014 JOHN LAUB American, 1947–2005 LAVENDER LAKE, 1995 Oil on linen, 42 x 54 in.

Woodmere Art Museum: Gift of Bruce Kingsley and the Estate of John Laub, 2014

SARAH MCENEANEY American, born Germany, 1939 COLE, 2005 Woodcut and inkjet, 24 x 48 in.

Woodmere Art Museum: Museum purchase, 2014 CHRISTINE MCGINNIS American, born 1937 DORMOUSE, 1968 Etching, 2 3/8 x 2 3/4 in.

Woodmere Art Museum: Gift of Ann E. and Donald W. McPhail, 2013 EDWARD O’BRIEN American, born 1950 THE MILLINER’S EVIL SECRET, 1972 Etching, 2 3/8 x 2 3/4 in.

Woodmere Art Museum: Gift of Ann E. Donald W. McPhail, 2013 PETER PAONE American, born 1936 THE JOKER, 1967 Watercolor on ivory Woodmere Art Museum: Gift of Joan L. Tobias, 2009 LONDON, 1967 Watercolor on ivory, pearl frame Woodmere Art Museum: Gift of Joan L. Tobias, 2009

MS. DUTCHMASTER, 1970s Watercolor on ivory watch Woodmere Art Museum: Gift of Joan L. Tobias, 2008 ANGEL, 1971 Watercolor on ivory on gold pocket watch Woodmere Art Museum: Gift of Joan L. Tobias, 2009 BIRD BUYING A HOUSE, 1973 Acrylic on canvas, 37 x 50 in.

Woodmere Art Museum: Gift of Flora and Reed Landis, 2011 ANGELO PINTO American, Born Italy, 1908–1994 GOLDFISH, 1934 Wood engraving, 6 3/4 x 8 1/2 in.

Woodmere Art Museum: Museum purchase, 2012 BEN ROSE American, 1916–1980 BROOKLYN BRIDGE, NEW YORK CITY, 1950s Gelatin silver print, 9 x 46 in.

Woodmere Art Museum: Museum purchase, 2013

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RANDALL SELLERS American, born 1969 UNTITLED 2004 (#001), 2004 Graphite on paper, 2 x 2 in.

Collection of Joseph and Pamela Yohlin ARTIST UNKNOWN BUST OF MELPOMENE, c. 1878 Plaster Philadelphia History Museum at the Atwater Kent: Gift of the Wurts House Foundation, 1990 ARTIST UNKNOWN HENRY CLAY, date unknown Enamel on metal Philadelphia History Museum at the Atwater Kent: Historical Society of Pennsylvania Collection, Gift of Irene Harrison Benyaurd, 1938 ARTIST UNKNOWN R. HERBER NEWTON, date unknown Watercolor on ivory Philadelphia History Museum at the Atwater Kent: Historical Society of Pennsylvania Collection, Gift of E. Maurice Newton, 1945 ARTIST UNKNOWN VICTORY, date unknown Watercolor on ivory Philadelphia History Museum at the Atwater Kent: Historical Society of Pennsylvania Collection, Gift of Joseph Satalogg, 1988

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ARTIST UNKNOWN MRS. JAMES GLENTWORTH (ELIZABETH GRAISBURY, 1756–1834), date unknown Watercolor on ivory Philadelphia History Museum at the Atwater Kent: Historical Society of Pennsylvania Collection, Gift of Albert C. Reger, 1930

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Woodmere Art Museum receives state arts funding support through a grant from the Pennsylvania Council on the Arts, a state agency funded by the Commonwealth of Pennsylvania and the National Endowment for the Arts, a federal agency.

Support provided in part by The Philadelphia Cultural Fund.

Š 2016 Woodmere Art Museum. All rights reserved.

No part of this publication may be reproduced or transmitted in any form or by any means without written permission of the publisher.

Photography by Rick Echelmeyer unless otherwise noted.

Front cover: Cole, 2005, by Sarah McEneaney (Woodmere Art Museum: Museum purchase, 2015) Photograph by Rick Echelmeyer

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