Tag Archives: Alice Clarke

Martin Luther King and the American Civil Rights Movement in Visual Culture Monographs

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A bibliography of titles in the Libraries on Martin Luther King, Jr. created by Amber Thiele can be accessed as an electronic resource (opens as PDF).

Dr. Martin Luther King, Jr. leaning on a lectern, from Wikipedia.

Among other works on Dr. King, Jr. the American Art/ National Portrait Gallery Library holds three important monographs that provide historical references to the American Civil Rights Movement:

In the Spirit of Martin: The Living Legacy of Dr. Martin Luther King Jr.

Martin Luther King, Jr.: A Documentary… Montgomery to Memphis

He had a Dream: Martin Luther King, Jr., and the Civil Rights Movement.

Gary Chassman created the anthology In the Spirit of Martin: The Living Legacy of Dr. Martin Luther King. Jr. with the cooperation of the Martin Luther King. Jr. Center for Nonviolent Social Change. It was published for the occasion of the traveling exhibition organized by the Smithsonian Institution Traveling Exhibition Service of the same name. The 223 page work on the visual culture of the American Civil Rights Movement features over 130 works of art by more than 100 artists ranging from self-taught through academically schooled. In addition to large scale illustrations the work also contains commentaries from such scholars as Bernice Johnson Reagon, a MacArthur Fellowship recipient and Curator Emeritus at the Smithsonian Institution.

In her contribution “Freedom Songs and Singing: The Unbreakable Bond between African American Songs and Struggle” she writes:

From 1944 to 1965 the equilibrium of American society was racked by waves of social and political protest. Black people engaging in massive civil disobedience served notice on the nation and the world that they would no longer tolerate the abuses of American racism …The response was swift and brutal: economic reprisals, jailings, beatings and killings. Nonetheless, the Movement grew, pulling recruits from all segments of the black community and forcing change in legal, political, and social processes … As a singer and activist in the Albany Movement, I sang and heard the freedom songs, and saw them pull together sections of the black community at times when other means of communication were ineffective. It was the first time that I experience the full power of song as an instrument for the articulation of our community’s concerns …

The other two monographs depict the American civil rights activities through historic photos. The editor and author of the books, photojournalist Flip Schulke, spent years covering Dr. Martin Luther King, Jr. and the Civil Rights Movement working for the magazines Ebony, Jet and Life. Schulke first met the minister when they were both in their twenties and a fast friendship formed which would last until the assassination. Published in 1976, Martin Luther King, Jr. A Documentary … Montgomery to Memphis is a valuable reference with text including:

  • introduction by Coretta Scott King
  • chronology of the life Martin Luther King, Jr.
  • interview with Rosa Parks
  • photos of sit-ins, freedom rides, demonstrations, bombings and shootings
  • assassination of Medgar Evers
  • mourners of civil rights workers Chaney, Goodman, and Schwern
  • complete texts of some of King’s famous speeches including: “Letter from Birmingham Jail,” “I Have a Dream,” “Nobel Prize Acceptance Speech,” “The Drum Major Instinct,” and “I Have Been to the Mountaintop.”

Photograph of Rosa Parks with Dr. Martin Luther King, Jr. (ca. 1955), from Wikipedia

This book quotes Martin Luther King who was pastor of the Dexter Avenue Baptist Church at the time of Rosa Parks’s courageous action:

“… Actually, no one can understand the action of Mrs. Parks unless he realizes that eventually the cup of endurance runs over, and the human personality cries out, ‘I can take it no longer.’ Mrs. Parks’ refusal to move back was her intrepid affirmation that she had had enough. It was an individual expression of a timeless longing for human dignity and freedom. She was not ‘planted’ there by the NAACP, or any other organization; she was planted there by her personal sense of dignity and self-respect. She was anchored to that seat by the accumulated indignities of days gone by and the boundless aspirations of generations yet unborn. She was a victim of both the forces of history and the forces of destiny. She had been tracked down by the Zeitgeist—the spirit of time …”

In his second photojournalist documentary published in 1995 Flip Schulke adds new photos of the pastor and the Civil Rights Movement while reproducing some of his famous ones from his earlier work. With advances in publishing during the nineteen years separating the two works, the photos in the second book appear clearer with defined details and greater gradation of tone. In the second work Flip Schulke writes an explanation of the bond he forged with Martin Luther King, Jr.:

… He said that very little of what his new group, the Southern Christian Leadership Conference (SCLC), was involved in was being photographed. I told him that a photographer had to be on the scene of an event before it happened in order to photograph it. … Dr. King and the SCLC had kept their plans for nonviolent marches and demonstrations as secret as possible, so that neither the Klan nor local law enforcement authorities would disrupt the demonstration before it began. I suggested he phone me directly if he wanted me at demonstration, and we exchanged home telephone numbers. He began this direct relationship in very small ways, until he could trust me to keep dates and times of demonstrations in confidence … Outside of my immediate family, his was the greatest friendship I have ever known or experienced. The mutual trust grew and grew. A trust that I never abrogated. A trust that he showed in many ways in the ten years that followed. Martin Luther King, Jr.—my friend.’

—Alice Clarke, American Art/ National Portrait Gallery Library

Dr. Martin Luther King Jr. was born January 17, 1929. The U.S. observes his birthday on the third Monday in January, this year coinciding with his actual birthday, as a federal holiday.

 

Chassman, Gary. In the Spirit of Martin: The Living Legacy of Dr. Martin Luther King, Jr. Atlanta, GA: Tinwood Books, 2002, ISBN 0965376656, CT275.K53 C53 2001 (Front Jacket Art: Study for Sculpture of Martin Luther King, Jr., by John Wilson, 1985)

Schulke, Flip, ed. Martin Luther King, Jr.: A Documentary… Montgomery to Memphis. Toronto, Canada: George J. McLeod Limited, 1976. ISBN 0393074870, CT275.K53 S38m 1976

Schulke, Flip. He had a Dream: Martin Luther King, Jr., and the Civil Rights Movement. New York, NY: W.W. Norton, 1995, ISBN 0393037290, CT275.K53 S38 1995

Rosa Parks, Mother of the American Civil Rights Movement

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Rosa McCauley was born on February 4, 1913 to James McCauley a carpenter and Leona Edwards, a schoolteacher in Tuskegee, Alabama where Booker T. Washington had founded the Tuskegee Normal Industrial School. Later, upon the separation of her parents, she was raised in Pine Level, Alabama. Her uncle was a preacher in the Mount Zion AME Church which was founded in 1816, by Bishop Richard Allen, a former slave, along with her maternal grandfather, a former slave had a profound influence on her life. The Libraries' Smithsonian American Art Museum/National Portrait Gallery Library houses the biography, Rosa Parks by Douglas Brinkley. In it he writes:

Faith in God was never the question for Rosa Parks; it was the answer. All her life she disagreed with novelist James Baldwin’s strident claim that “to be black in America is to live in a constant stage of rage.” The teachings of Jesus Christ had convinced her instead, as they had Martin Luther King, Jr., that a heart filled with love could conquer anything, even bigotry. "From my upbringing and the Bible I learned people should stand up for rights," she recalled, "just as the children of Israel stood up to the Pharaoh."

Rosa Parks, by Douglas Brinkley

She was educated from the age of eleven at the Montgomery Industrial School for Girls, a progressive school founded at the end of the Civil War by Alice White and Margaret Beard, whose philosophy of education was inspired by Booker T. Washington (1856-1915). Of the school’s strict administration of virtuous behavior, and industry, and thrift Parks is quoted, “We were taught to be ambitious and to believe that we could do what we wanted in life.” Rosa McCauley had ambitions to be a teacher as her mother, but the illness of her grandmother and mother necessitated her to leave school and go to work. This pattern of putting the needs of others above her own remained a constant throughout her long life.

Upon the encouragement of Raymond Parks, who she married in 1932, she earned her high school diploma in 1933. After marriage she became active in the NAACP serving as informal advisor to a youth group and later as a branch secretary. Along with many other states, Alabama had Jim Crow laws which created an official system of segregation after the Civil War. The 1896 United States Supreme Court decision Plessy v. Ferguson authorized the idea of separate but equal in schools, restaurants, hospital and other public facilities. After leaving work on December 1, 1955, she took a seat on a Montgomery, Alabama bus. The driver demanded that those in this area give their seats up to a white man, as a “colored” couldn’t sit parallel to him. Rosa Parks said “No.” Later, Brinkley quotes her:

"When I declined to give up my seat, it was not that day. Or bus, in particular. I just wanted to be free like everybody else. I did not want to be continually humiliated over something I had no control over: the color of my skin."

She was promptly arrested and the rest is history. Her case was taken up by civil rights lawyers, and Baptist ministers Ralph Abernathy (1926-1990) and Martin Luther King Jr. (1929-1968). Her quiet courage gave rise to the Montgomery bus boycott and let to the civil rights movement. Childless herself, Rosa Parks was happily involved with the welfare of youth throughout her life. She wrote the following books, My Story, Quiet Strength and Dear Mrs. Parks: A Dialogue with Today’s Youth. Proceeded in death by her mother, husband and only brother, she spent the final years of her life “at peace” continuing to read from the King James Bible while watching ships pass from her twenty-fifth floor apartment overlooking the Detroit River. She died on October 25, 2005 at the age of ninety-two.

—Alice Clarke, Smithsonian American Art Museum/National Portrait Gallery Library

Image from Rosa Parks, Douglas Brinkley, Penguin Group, New York, 2000.

Thanksgiving Day in America

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Harper's Weekly, 11/29/1862, Winslow Homer, "Thanksgiving in Camp" Harper's Weekly, 12/8/1864, Winslow Homer, "Thanksgiving-Day in the Army—After Dinner: The Wish-bone" Harper's Weekly, illustrations by Winslow Homer.

Top: Harper's Weekly, 11/29/1862, Winslow Homer, "Thanksgiving in Camp."

Bottom: Harper's Weekly, 12/8/1864, Winslow Homer, "Thanksgiving-Day in the Army—After Dinner: The Wish-bone"

On the fourth Thursday in November of each year virtually every American citizen celebrates Thanksgiving Day in some form or another, either through traditional custom or individualized celebration. The Smithsonian American Art/National Portrait Gallery Library holds two monographs related to this holiday. Celebrations The Complete Book of American Holidays by Robert Myers states that one woman virtually started a movement to create this national holiday. She was Mrs. Sara Hale who ‘… started her crusade in 1827 while editor of the Boston Ladies’ Magazine and continued it with mounting success until the victory was won in1863 with President Abraham Lincoln’s Thanksgiving Day Proclamation.’

Harvest festivals can be traced back to most cultures throughout history in such observances as the corn harvest dance of the Cherokees, and the worship of Demeter the goddess of wheat in ancient Greece. The monograph maintains:

English fisherman in Newfoundland in 1578 had a Thanksgiving Day, and along the coast of Maine, in 1607, the Popham Colony set aside a day for giving thanks, Nevertheless, our present American November Thanksgiving finds its direct origin in the Pilgrim Fathers of Plymouth, Massachusetts, who, indeed, almost did not come to America.

The Pilgrims fled to Holland from their native England in order to avoid persecution for their religious beliefs. However, they were unable to adjust to their new status in Holland due to problems with the new language and inability to find well-paying jobs. They proposed a tobacco project in North America, which was sponsored by English businessmen. Two ships, the Speedwell and the Mayflower were leased for the journey, but the Speedwell did not prove to be seaworthy. Therefore, the Mayflower sailed with the “Saints,” as the Pilgrims were called, English emigrants, and servants. Robert Myers writes:

There were eighteen servants on board, most of who belonged to the Saints. Their period of indenture was normally seven years, during which time they were fed, clothed, and housed by their masters. However, they were not paid, did the hardest work, and, like slaves, could be bought and sold.

Landing in Plymouth, in December 1621, forty-seven Pilgrims died during the winter months. Those remaining survived due to the instruction and help of an Indian named Tisquantum (commonly known as Squanto) who taught them fishing, planting and home construction techniques necessary for life in North America. Squanto most probably acted as an interpreter to Massasoit, leader of the Wampanoag, who donated game, and accompanied by many braves, feasted with the Pilgrims.

The Smithsonian American Art/National Portrait Gallery Library houses two issues, November 29, 1862 and December 3, 1864, of Harper’s Weekly containing illustrations depicting troops celebrating Thanksgiving at the front. The illustrations were done for the newspaper by Winslow Homer (1836-1910), who is regarded as one of America’s finest artists. Born in Boston and raised in Cambridge, Massachusetts, he loved the outdoors. Homer's gift as a natural draftsman without the help of specialized art education allowed him to apprentice to lithographer J.H. Bufford at the age of nineteen. After his two-year apprenticeship he worked as a Civil War illustrator for Harper’s Weekly in New York. He changed the genre of military paintings from battle scenes with straight lines of soldiers following offices on horseback, or scenes of direct combat, to a more personalized depiction of the lives of individual soldiers, or the daily activities of the military camps. The engravings in the newspaper depict soldiers celebrating the holiday with little food, but still in high spirits.

A booklet from the Metropolitan Museum of Art, Thanksgiving & Harvest Festivals, states that American’s First President, 1789-1797, George Washington (1732-1799) issued the first presidential Thanksgiving Proclamation, but it was not universally observed until Abraham Lincoln issued the first nationwide Presidential Thanksgiving Proclamation on October 3, 1863. Margaret R. Scherer writes for the Metropolitan Museum of Art that the text of the proclamation provides his trust in the faith in the destiny of the country:

The year that is drawing toward its close has been filled with the blessings of fruitful fields and healthful skies … In the midst of a civil war of unequaled magnitude and severity, which has sometimes seemed to foreign states to invite and provoke their aggressions, peace has been preserved with all nations, order has been maintained, the laws have been respected and obeyed, and harmony has prevailed everywhere, except in the theater of military conflict; while that theater has been greatly contracted by the advancing armies and navies of the Union … . It has seemed to me fit and proper that they should be solemnly, reverently, and gratefully acknowledged as with one heart and one voice by the whole American people. I do, therefore, invite my fellow-citizens in every part of the United States, and also those who are at sea and those who are sojourning in foreign lands, to set apart and observe the last Thursday of November next as a day of thanksgiving and praise to our beneficent Father who dwelleth in the heavens … Lincoln’s Thanksgiving Proclamation

Happy Thanksgiving!

—Alice Clarke, Smithsonian American Art/National Portrait Gallery Library

CELEBRATIONS THE COMPLETE BOOK OF AMERICAN HOLIDAYS, ROBERT J. MYERS WITH THE EDITORS OF HALLMARK CARDS, ILLUSTRATIONS BY BILL GREER, DOUBLEDAY & COMPANY, INC. GARDEN CITY NEW YORK, 1972, GT4803A2M99 NPG, ISBN 0-385-07677-0

THANKSGIVING & HARVEST FESTIVALS, THE METROPOLITAN MUSEUM OF ART, MARGARET R. SCHERER, NEW YORK, 1942, 394.268N43

Veterans Day and Memorial Day—Two Federal Holidays Honoring those Who Serve With Honor

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Faces of Discord The Civil War Era at the National Portrait Gallery A Woman’s War - Southern Women, Civil, War and the Confederate Legacy The United States provides two federal holidays in observance of those citizens who served honorably in the military, Memorial Day and Veterans Day.

Memorial Day honors any veteran who died either on the battlefield or as a consequence to injuries sustained during battle.

American women acted in different capacities, not only to make these holidays come about, but also, to aid in their national and international recognition. These women were: the southern women who started the practice of decorating the graves of fallen Confederate soldiers— Mary Logan, the wife of General John Alexander Logan who, upon observing this practice in Virginia, suggested it for all fallen soldiers— and Moina Belle Michael, who first started the movement of wearing poppies in remembrance of fallen soldiers of World War I.

Originally called Decoration Day, Memorial Day was first celebrated in 1868, when General John Alexander Logan National Commander of the Grand Army of the Republic, G.A.R. issued General Order No.11 designated May 30 the day

‘for the purpose of strewing flowers, or otherwise decorating the graves of Comrades who died in defense of their country in the late rebellion.’

Born the son of a Scots/Irish immigrant medical doctor who farmed in the state of Illinois, John A. Logan (1826-1886) went on to fame in careers as a lawyer, military man and member of the Senate. An image of General Logan can be found in a monograph in the Smithsonian American Art/National Portrait Gallery Library named Faces of Discord the Civil War Era at the National Portrait Gallery. The image is taken from the painting, Grant and His Generals by Ole Peter Hansen Balling (1823-1906), oil on canvas, 1865. This painting is on permanent exhibit in the National Portrait Gallery Wing of the Smithsonian Reynolds Center. In the painting, General Logan appears in the center between the two flags and the generals Sherman and Grant. The Smithsonian American Art/ National Portrait Library (AA/PG) also houses the monograph, John A. Logan Stalwart Republican from Illinois, which states:

‘John A. Logan’s most enduring act as G.A.R. commander was his designation of May 30 as Memorial Day. The practice of placing flowers on soldiers’ graves began with southern women. Northern troops observed the practice, and by 1865 the graves of Union dead were being similarly decorated … In March 1868 when Mary Logan visited several Virginia battlefields she saw flags and faded flowers on Confederate graves. She described the practice to Logan and he shortly decided to make it G.A.R policy.’

The Smithsonian American Art/National Portrait Gallery Library’s Vertical File Collection contains a small catalog, A Woman's War Southern Women, Civil War, and the Confederate Legacy, A checklist for the exhibition produced by the Museum of the Confederacy, Richmond, Virginia on the occasion of its Centennial year opening November 22,1996, with a checklist of the exhibition held at the Museum of the Confederacy, Richmond, Virginia, November 1896. It states:

‘Whether black or white, enslaved or free, rich or poor, few Southern women emerged from that time unchanged.’

Among the artifacts in the exhibition were: ‘an engraving from Frank Leslie’s Illustrated Newspaper, April 25, 1863 of “Cemetery in New Orleans-Widow and Daughters in Full Mourning”, an 1877 photograph from the Library of Congress of Harriet Tubman, a slave whip and a slave collar.’

In order to ensure a three day weekend for Federal holidays, Congress declared the National Holiday Act of 1971, and the day was officially named Memorial Day which would be celebrated on the last Monday in May.

Faces of Discord The Civil War Era at the National Portrait Gallery, ed. James G. Barber, The National Portrait Gallery, Smithsonian Institution, 2004, E467N382006, ISBN-13-978-0-06-11358402

John A. Logan Stalwart Republican from Illinois, James Pickett Jones, Board of Regents of the State of Florida, 1982, CT275L837J7, ISBN 0-8130-0729-1

Veterans Day honors any veteran deceased or living who has served honorably in the military either in wartime or in peacetime.

The nation’s second federal holiday instituted to honor those serving in the armed forces is Veterans Day, formerly known as Armistice Day. President Woodrow Wilson (1856-1924) proclaimed Armistice Day to be November 11, the date of the cessation of battles between the Allied nations and Germany in 1918. In European countries this day has been known as Remembrance Day, Armistice Day or Poppy Day. The reference Poppy Day alludes to both the poem, In Flanders Fields, as well as, the popularity of selling poppies for the welfare of war veterans and their families.

Lieutenant Colonel John McCrae, MD (1872-1918) of the Canadian Army wrote one of the most quoted war poems, In Flanders Fields as a eulogy to war dead, especially his friend Lieutenant Alexis Helmer who died in battle May 2, 1915. As a medical surgeon McCrae had witnessed first-hand the suffering and death at the Battle of Ypres, Belgium. In response he wrote:

In Flanders Fields the poppies blow

Between the crosses row on row,

That mark our place; and in the sky

The larks, still bravely singing, fly

Scarce heard amid the guns below.

 

We are the Dead. Short days ago

We lived, felt dawn, saw sunset glow,

Loved and were loved, and now we lie

In Flanders fields.

 

Take up our quarrel with the foe:

To you from failing hands we throw

The torch; be yours to hold it high.

If ye break faith with us who die

We shall not sleep, though poppies grow

In Flanders fields.

In 1918, Moina Belle Michael (1889-1944) an American teacher from the state of Georgia was so moved after reading the poem that she dedicated the rest of her life to popularizing the red field poppy (papaver rhoeas) in making it a symbol of the sacrifice of veterans of World War I. The idea caught on in Europe, and to this day, red poppy lapels are sold in European countries for the benefit of veterans and their families.

October 3, 1954, President Dwight D. Eisenhower (1890-1969) issued the Veterans Day Proclamation which called for the proper and widespread observance of this day. He designated the Administrator of Veterans’ Affairs as Chairman of a Veterans Day National Committee to coordinate the planning of observance. Later, President Gerald R. Ford (1913-2006) signed a law returning the annual observance of Veterans Day’s back to its original date of November 11, starting in 1978.

—Alice Clarke

Related images can be viewed in the Smithsonian American Art / National Portrait Gallery Library set on flickr.

National Dog Appreciation Day—August 26

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The Art of Stephen Huneck
Arty DogsFounded in 2004, by author Collen Paige, Dog Appreciation Day heralds the contributions made by dogs throughout society. Dog Home Magazine the official magazine of the Animal Miracle Foundation & Network (AMFN) has a twofold mission to honor dogs and to rescue dogs from shelters. AMFN encourages readers to donate $5.00 and hold local events in support of their local shelters while spotlighting individual dogs up for adoption.

From cave paintings to modern video artists have been inspired by dogs and illustrated their gratitude through all artistic medium. The Smithsonian American Art/National Portrait Gallery Library holds monographs on the subject of dogs in art. The following are some of the library’s holdings, with descriptions.

Arty Dogs, written by David Baird and illustrated by Maurice Broughton is essentially a series of ‘shaggy dog stories’, a tome to famous paintings with a dog as central to the narrative. From old masters to modern artists the author and illustrator make a hilarious read. John Singer Sargent’s painting of Madame X becomes the commissioned painting of the elaborately groomed black poodle owned by Madame X. The psychedelic prints of celebrities by Andy Warhol are reworked as initially inspired by the Cocker Spaniel pet of a visiting friend while ‘chilling out with the help of a pair 3-D glasses’.

Arty Dogs, text by David Baird, illustrated by Maurice Broughton, Stewart, Tabori & Chang, NY, 1999, N7668D6B351999

Published in 2004, The Art of Stephen Huneck, by Laura Beach interprets the work of recently deceased artist Stephen Huneck who shunned labels and worked mostly in wood to produce uplifting sculptures and furniture in a folk style. A severely dyslexic artist, Huneck was raised in Massachusetts and left home at age seventeen. Early in his life he worked as an antiques dealer and attended the Massachusetts Institute of Art. He eschewed the formality of traditional art and whittled large wooden pieces wryly commenting on modern culture. In 1997, he commenced work on this famous Dog Chapel modeled after nineteenth century New England churches. He completed the chapel in 2000, crowning the steeple with a winged black Labrador Retriever. The sign at the entrance to the chapel states ‘WELCOME ALL CREEDS ALL BREEDS NO DOGMAS ALLOWED’. Huneck also wrote and illustrated a series of books based on Sally his back Labrador. Early this year, he committed suicide outside his psychiatrist’s office a few days after laying off most of the staff in an economic downturn. He is survived by his wife who hopes to keep Dog Mountain and Dog Chapel open in his memory.

The Art of Stephen Huneck, Laura Beach, Harry N. Abrams, New York, 2004, N6537.H78B432004

Dog – A Dog’s Life in Art and Literature (image). Dog, by Iain Zaczek categorizes dogs throughout historical literature and illustration. Chapters trace such uses of dogs for various duties such as: sport, illustrated by works such as Pieter Bruegel’ s The Hunters in the Snow. Companionship is illustrated through the famous Victorian painting by Sir Edwin Landseer, The Old Shepherd’s Chief Mourner, c. 1837. In this often reproduced work a mournful dog stands watch by the coffin of his master. One of the illustrations for symbolism shows the Egyptian sculptured figure of a Jackal, 7th/8th Century BC. In ancient Egypt jackals represented gods who guided souls through the underworld.

Dog A Dog’s Life in Art and Literature, Iain Zaczek, Watson-Guptill Publications, NY, 2000, N7668.D6Z332000

Dog Painting 1840-1940 a Social History of the Dog in Art, by William Secord traces dog painting in pre-Victorian England through to dog painting in America. The work places emphasis on specific breeds, the history of dog shows, the establishment of kennel clubs, and specific dog artists. Most of the paintings illustrated serve as descriptors for particular breeds.

Dog Painting 1840-1940 A Social History of the Dog in Art, William Secord, Antique Collectors’ Club Ltd. Woodbridge, England, 1992, N7668D6S441992

The Dog in Art from Rococo to Post Modernism by Robert Rosenblum is a three chapter essay on dogs in Western art from the eighteenth century Rococo to the modern day. For his analysis of architecture the author illustrates, Clodion, Mausoleum for Ninette, at the Musee Historique Lorrain, Nancy, France. Claude Michel, a Rococo sculptor who signed his work Clodion, was active during the same period as Fragonard. His funerary monument elevated a dog’s remains to the equivalent of that of a human sarcophagus, replete with the deceased resting on a pillow, with two other dogs standing in support as columns on either side.

In contrast, the author notes a building of Post-Modern architect Stanley Tigerman, the Anti-Cruelty Society Building, Chicago 1981. Tigerman interprets the structure with a humorous bent as admission is gained through and entrance shaped as a dog’s head. The author states that Tigerman mixes the French eighteenth century architecture parlante, a theory espousing that function is illustrated by form, to that of American roadside traditions, such as, restaurants built in the shape of the food they serve, such as ice cream cones.

The Dog in Art from Rococo to Post Modernism, Robert Rosenblum, Harry N. Abrams, Ltd., New York, 1988, N7668D6R671988X

Doyle, New York, The 9th Annual Dogs in Art Auction Including Sporting Art (image), February 13, 2007 is one of the library’s holdings of auction catalogs. Doyle hold annual auction of paintings and sculpture by leading artists of that genre. Examples of works auctioned in this catalog were by paintings by Edmund Henry Osthaus, 1858-1928 and etchings by Marguerite Kirmse.

Doyle New York, The 9th Annual Dogs in Art Auction Including Sporting Art, Doyle New York, Auctioneers & Appraisers, February 13, 2007, N7668D6D682007

—Alice Clarke