1 15 183 https://omeka.wilkes.edu/omeka/files/original/3f72f35de5f410f025f3d7b121c6ead1.pdf 913bbe8f11dd497b4f2aaf3590789ccb PDF Text Text ������ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1973 November 25 George Catlin: Painter of the Indians of the Americas Creator An entity primarily responsible for making the resource George Catlin Date A point or period of time associated with an event in the lifecycle of the resource 1973 November 25 - 1974 January 5 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This show is a survey of painter George Catlin's work on the Native Americans of the region. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Native American Art George Catlin Source A related resource from which the described resource is derived The National Collection of Fine Arts Smithsonian Institution and The National Gallery of Art Rights Information about rights held in and over the resource The Smithsonian Institution likely retains the rights to this work. https://omeka.wilkes.edu/omeka/files/original/d5833961e9798459a9fecda2f5da448a.pdf 3aa365d3207f495075e7f4dc4e6d101e PDF Text Text ������������������������������� https://omeka.wilkes.edu/omeka/files/original/d0f34edb51a7224320313fcd100fa2f8.pdf d9446ebeeceb5b4821160d136cf1323c PDF Text Text he- i 1< K ND237 C35G89 �GEORGE CATLIN PAINTER OF THE INDIANS OF THE AMERICAS Introduction and Catalogue by Vivian Varney Guyler OPENING EXHIBITION SORDONI ART GALLERY WILKES COLLEGE WILKES-BARRE, PENNSYLVANIA E.s. FARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA _ Paintings on loan from THE NATIONAL COLLECTION OF FINE ARTS SMITHSONIAN INSTITUTION and THE NATIONAL GALLERY OF ART �archives Th* •hi! v we**•’ ** ** ° ,n a* ’ that P^;.' O'1 Acknowledgements Special appreciation is extended to staff of the National Collection of Fine Arts, Smithsonian Institution and the National Callery of Art for making this Catlin Exhibition and the publication of this catalogue possible. in S’ n3ti'e tor Mr. Joshua C. Taylor, Director, National Collection of Fine Arts Mr. William H. Truettner, Associate Curator of Eighteenth and Nineteenth Century- Painting and Sculpture, National Collection of Fine Arts nd all -;ave " Hethen Pot-’ ht C’ self-tadght. c; Mr. Lowell A. Kenyon, Photographer, National Collection of Fine Arts Mr. J. Carter Brown, Director, National Gallery of Art Mr. Jack C. Spinx, Chief of Exhibitions and Loans, The National Callery of Art Mr. William P. Campbell, Assistant Curator, The National Gallery of Art Ms. Kathleen Kissane, Coordinator of Photography, The National Callery of Art t turning pO‘nt The important.then the Pi*'n* from the "Far ' As Catlin himsek put <tmv m/ndwa>connnua//vr< to demote a whole lde-we of and digniiied-lookmg Indian city, arrayed and equipped tn , tunic and manteau. — ■ nted a< and stoic dignity. the>e lords o in their pictured robes, with th the gaze and admiration or all a people, preserved by pictor man. and nothing short ot the try. and of becoming their hisb ••■•ith the determination or rest ot North America, and of bring on hmenLa"d women {^m e; P/eteToZ/ecToTo/X^'5'0^ Vo™3°i«e" „ ar,iv«r in St. lo c°nvincec| q, to the for the "as iinj Cathn aCcc;T barter. ln to fo ac ar,ersandn °UbtM ar°und hj^ .Mlssir - £311^, duB,-,r" lh" �t.—LM v- • GEORGE CATLIN 1796-1872 bn of Fine Arts, Smithsonian khibition and the publication Arts Pd Nineteenth Century Fine Arts nal Gallery of Art allery of Art tional Gallery of Art The opening of the Sordoni Art Gallery comes at a time when interest in the history of the American Indian as well as in the history' of American painting is very high. It is appropriate therefore, that paintings by George Catlin, born in Wilkes-Barre, July 26, 1796 should comprise the opening exhibition. Catlin’s earliest years were spent in the Wyoming Valley where his in­ troduction to Indians came as a boy listening to his mother tell of her capture in the Wyoming Massacre of 1778. Many years later, in his writings, he commented on the sad tale of the Indian in his "native valley." Catlin practiced law for three years in Luzerne, Pennsylvania, but then sold his law library and "all save my rifle and fishing tackle" and converted the proceeds into "brushes and paint pots. He then went to Philadelphia determined to make painting his life's profession. Entirely self-taught, Catlin developed skill both as a miniature painter in watercolors and as a portrait painter in oils. In 1824 he was elected an academician of the Pennsylvania Academy of Fine Arts, a select group of artists of the day. The important turning point in Catlin's painting career came when a group of Indians from the Far West" ithen the Plains) passed through Philadelphia on their way to Washington. .As Catlin himself put it: ... my mind was continually reaching for some branch or enterprise of the art, on which to devote awhole life-time of enthusiasm; then a delegation of some ten or fifteen noble and digniiled-looking Indians, from the wilds of the "Far West," suddenly arrived in the city. arrayed and equipped in all their classic beauty, — with shield and helmet, — with tunic and manteau, — tinted and tasselled off, exactly for the painter's palette! In silent and stoic dignity, these lords of the forest strutted about the city for a few days, wrapped in their pictured robes, with their brows plumed with quills of the war-eagle, attracting the gaze and admiration of all who beheld them . . . And the history and customs of such a people, preserved by pictorial illustrations, are themes worthy of the lifetime of one man, and nothing short of the loss of my life, shall prevent me from visiting their coun­ try. and of becoming their historian . . . I set out on my arduous and perilous undertaking with the determination of reaching, ultimately, every tribe of Indians of the Continent of F.'orth America, and of bringing home faithful portraits of their principal personages, both men and women from each tribe; views of their villages, games, etc., and full notes on their character and history. I designed, also, to procure their costumes, and a com­ plete collection of their manufacturers and weapons, and to perpetuate them in a "Callery unique," for the use and instruction of future ages. In 1830 Catiin arrived in St. Louis with a portfolio of his paintings of the Iroquois Indians of New York State. He convinced General William Clark, who with Meriwether Lewis had made the famous expedition to the Pacific Ocean from 1804 to 1806 and who was then Superinten­ dent of Indian Affairs for the Western tribes, that he was worthy of the permission necessary to pursue his goal. Clark was undoubtedly impressed by Catlin as he was allowed to set up his easel in Clark's headquarters and paint the Indians who visited on tribal business. He also allowed Catiin to accompany him during treaty-making sessions at Prairie du Chien and Fort Crawford on the upper Mississippi River. The artist used every opportunity available to paint the Indians around him His "Gallery" had begun. < . t �sla' ! Catlin spent the years 1830-1836 among the Indians of the Plains, the Woodlands and the Great Lakes. By IB 17 his "Callery" c onsisted of 494 paintings - ■ portraits, landscapes, hunts, tri­ bal dances, religious ceremonies and episodes depicting animal life. There were also a number of artifacts spears, drums, pipes, bows, robes and even a Crow tepee twenty-five feet high and large enough to hold forty men. These he set up as "Catlin's Indian Callery' which he opened in New York's Clinton Hall on September 23, 1837. He charged fifty cents admission and was often present to lecture, describing and explaining the paintings and artifacts. In 1838 Catlin took his "Gallery" to Washington, then to Baltimore, Philadelphia and Boston. Catlin's dream was to have the United States Government buy his "Gallery" both for the financial remuneration and for the picture it would preserve for posterity of the fast vanishing American Indian. When there was no action by the U. S. Congress on his resolution for the pur­ chase of his paintings, Catlin, in desperation, announced that he would take his "Gallery" to Europe; perhaps there he would find a buyer. Catlin's "Gallery of North American Indians" opened on February 1, 1840 in Egyptian Hall, London. The crowds were at first enthusiastic, and at times Catlin had real Indians to show them, a group of Ojibwas and then lowas having been brought to London to perform dances and other entertainment. The English who attended witnessed one of the earliest live "Wild West" shows. Even Queen Victoria and Prince Albert invited Catlin, his wife and the Ojibwas to Buckingham Palace. When interest waned in England, Catlin took his "Gallery to Paris and on June 3rd, 1845 he opened his exhibition to the public with the same early success he had re­ ceived in London. Fora time it was shown in the Louvre for the royal family at the request of the King, Louis Philippe. Catlin's personal and financial situations began to take a turn for the worse in Paris. His wife and young three-year old son both died of pneumonia and the loans made in anticipation that the U. S. Congress would pass a bill to purchase his paintings had to be repaid when the bill was defeated. His creditors moved in to take possession of his "Gallery." Fortunately a wealthy American, Joseph Harrison, owner of the Harrison Boiler Works in Philadelphia the largest locomotive building concern in the world at the time, came to his aid and paid off his creditors. Harrison hurriedly crated Catlin's paintings and artifacts and shipped them off to Philadelphia to save them from any new claims. After Catlin's and Harrison's deaths, the collec­ tion which included four hundred and forty-five paintings and many artifacts was given by Har­ rison's widow to the Smithsonian Institution. For many years they had been stored improperly in the boiler works factory and had suffered from water, fire and moths. Many of the objects had to be discarded, but the paintings were restored. Twenty paintings from Catlin's original "Gallery" are part of the Sordoni Art Gallery's opening exhibition. These are on loan from the National Collection of Fine Arts, the Smithsonian Institution. In his late fifties, Catlin spent part of his time in the reading room of the Bibliotheque Imperial in Paris. There he met another frequenter of the library who had delved into old Span­ ish volumes describing lost gold mines in the Crystal Mountains of Brazil. Catlin decided to go in search of lost gold. When the search proved futile and his miner's tools were lost and broken he began to travel and paint Indians. He proposed to do with the South Xmerican Indians w hat he had done with the North American Indians. He traveled up the Amazon crossing the entire jungle interior of Brazil visiting thirty of the tribes which inhabit the rivei's shores He then - rossed the high Andes to the Pacific coast of Peru, traveled across the pampas of Argentina and thim to the southern end of South America, Tierra del Fuego. and completely a.ound the coast o •uufh America. atlm probably visited more of South America's pr.mitiye tribes than any " ht,s ,,v“r Witl> his companion, a Negro named Caesar Holla who had J;°South A"lehv fX>i’ th$ ytex^ his t<? $ee number ,^'^rth ^hundred ■' ’* -Gallen ne on ■ with of LJ Sa anne earlier to of Paint'n®he 1670'' <rlon d rep< Fran7,! bought bvWe ln 1830 when Catlin began h jacob Astor's powerful A-ric-Fu Fortified trading posts had be and plans were being formulated fo ited many of these forts and was oftc his painting and collecting enterprise the effects of their presence on the li Not only did Catlin forsee the man himself, he also predicted that to New York and other Eastern marl the great herds, the principal means the white man brought cheap trinke at the inflated price of twenty and th ^ater" often led to overindulgence ; ■ ie man brought his diseases c°nbnua//v arn ? u™uspGctj r hc muzzle e 2m-r'be aUe‘ haVen°'vav tX /ethI'?nfo reel ln awfu 'vho-'esa/eUavS their vengear o!1;:'’p'oud«<i,S,bv‘vl’is^ <■ " ■"""’ins ■ �1e Plains th , ‘Z< h, e dlso ; IWe'->tv-five,afnur^ber ie ch lnd'an r _Gal|Qry" ' , feet high a nlh<lrged fifty cents adm <ission h,ladelPhia and artifacts 1,1 1838 Boston. ■nt buy his or , ;r?lings and ess on his beSon would a^ich g; take his "r . epur'S Gailery"t0 >n February i -io1ri ■ ‘s Catlin had realfndi'" EgYptian to London to S:XtOHSh^ Catlin °h lhefearlieSt 'ive ''™ld . t'u? ?V'te and the Oiibwas 1 took his 'Gallery" to Paris and the same early success he had reie royal family at the request of a turn for the worse in Paris. His d the loans made in anticipation ings had to be repaid when the of his "Callery." Fortunately a riler Works in Philadelphia, the came to his aid and paid off his tifacts and shipped them off to ind Harrison's deaths, the collecmany artifacts was given by Harthey had been stored improperlv and moths. Many of the objects - paintings from Cftl,n'S °r'8The ion. These are on loan trom >adi h8 h°a°dmdelvedeinBtoboldlpan- ■■ —5 vvhst habit ross thepamPf the entire He then i ano d the coast c than anv and compete > -.erica's Pr'^esar Bolla Sv ho had >gro named Cae escaped from slavery in Havana, he then traveled up the Pacific Coast along the entire West Coast of North America, to the Aleutian Islands and across the Bering Sea to Siberia. Returning to South America, they crossed the Rocky Mountains from Southern California to the Gulf of Mexico, then by boat to the Yucatan of Mexico where they parted, Catlin returning to Europe to see his old friend, Baron von Humboldt in Germany. Before finally returning to the United States in 1870, then almost deaf, Catlin spent a number of years in Brussels somewhat of a recluse. He repainted a number of his original "Gallery" of North American subjects and wrote more books. When he did return he brought with him more than one hundred and fifty paintings: a group made in South America, a series of paintings of La Salle's voyage on the Mississippi which the French explorer had claimed for France in the 1670's (done earlier for King Louis Phillipe but never paid for), and most of the original "Gallery" which he had repainted. He called these "Catlin's Indian Cartoons." This col­ lection was bought by the American Museum of Natural History from Catlin's surviving daughter Elizabeth. It was later bought by Mr. Paul Mellon and three hundred and fifty-one of them given to the National Gallery of Art. Sixteen of these are on loan and others are part of the Sordoni Art Gallery's opening exhibition. George Catlin died on December 23, 1872 without realizing that his works would someday belong to the public for which he had painted them. In 1830 when Catlin began his mission, the influence of the white fur traders and John Jacob Astor's powerful American Fur Company on the lives of the Indians had already been felt. Fortified trading posts had been erected along the entire Mississippi, Missouri and Platte Rivers and plans were being formulated for spreading the trade over the whole Northwest. Catlin vis­ ited many of these forts and was often helped considerably by the white agents and traders in his painting and collecting enterprise. He was at the same time very outspoken in his criticism of the effects of their presence on the lives of the Indians. Not only did Catlin forsee the greed of these traders bringing a gradual end to the red man himself, he also predicted that the incredible number of buffalo robes being carried away to New York and other Eastern markets to be sold at great prices would soon mark the end of the great herds, the principal means of subsistence for the Indians of the Plains. With the trade the white man brought cheap trinkets and whiskey, the latter sold to the Indians, often diluted, at the inflated price of twenty and thirty dollars per gallon. The Indian's exposure to this "fire­ water" often led to overindulgence and a state where the Indian became a "beggar for whiskey ... lying drunk as long as he can raise the means to pay for it." With the trinkets and whiskey the white man brought his diseases — small-pox, "the dread destroyer of the Indian race" and his firearms. On this state of affairs Catlin wrote: These traders, in addition to the terror, and sometimes death, that they carry into these remote realms, at the muzzles of their guns, as well as by whiskey and the small-pox, are continually arming tribe after tribe with firearms; who are able thereby, to bring their unsuspecting enemies into unequal combats, where they are slain by thousands, and who have no way to heal the awful wound but by arming themselves in turn; and in a similar manner reeking their vengeance upon "their" defenseless enemies on the West. In this wholesale way, and by whiskey and disease, tribe after tribe sink their heads and lose their better, proudest half, before the next and succeeding waves of civilization flow on, to see or learn anything definite of them. Catlin conceived for himself, in addition to an educational mission, a social and even po­ litical one. He would be a spokesman for the red man in the white man's world. During his exhi­ bitions, his lectures were sprinkled with comments, often biting, on the role the white man and his government were playing in the destruction of this red man he held in such high regard. He �lh^had^'^ Minid"eS ^h/intendto mrticularlv critical of the role the United States government was playing in the removal of Indi ns from their home territories to lands farther west where their whole mode of living had to be changed to adapt to the new geography and the new climate. Cathn pleaded: SSSd It is for these inoffensive and unoffending people, yet unvisited by the vices of civilized society, that I would proclaim to the world, that it is time, for the honour of our country — for the honour of every citizen of the republic —and for the sake of humanity, that our government should raise her strong arm to save the remainder of them from the pesti­ lence which is rapidly advancing upon them. We have gotten from them territory enough, and the country which they now inhabit is most of it too barren of timber for the use of civilized man; it affords them, however, the means and luxuries of savage life; and it is to be hoped that our government will not acquiesce in the continued willful destruction tume. with head-dre>s d and whom / /y allbut the head-dress;j able togetquidsanderi him, however, for the ,1 head-dress, untilhe at / it; the bargain was InstJ five dollars each and th of these happy people. It is important to note that Catlin, who was so critical of fur traders and white civilization and its effects on the Indians, was often looked upon as an intruder by the Indians whose faces, landscapes, ceremonies, living habits and artifacts he wished to preserve. His painting was to many Indians a ’'medicine," a mystery, unaccepted by them. His "medicine" even led to death and intertribal rivalry. He was not opposed to using his own type of trickery or inducements to encourage an unwilling chief to pose for him. He appealed to the Indian's vanity and in South America, finding the Indians less friendly to him than in North America, he used an opera glass, ’the best of all traveling companions" and often stayed out of sight painting under the little can­ opy which shaded the boat's deck while his companion Caesar fired his revolver or played on his fiddle to distract the Indians' attention. One South American Indian medicine man in condemn­ ing Catlin's work said: These things are great mystery; but there you are, my friends, with your eyes open all night — they are never shut; this is all wrong, and you are foolish to allow it. You never will be happy afterwards if you allow these things to be always awake in the night. My friends, this is only a cunning way this man has to get your skins; and be placed amongst the skins of the wild beasts and birds and snakes! Don't hurt this man — that is my advice; but he is a "bug-catcher and a monkey-skinner!" _ Ca(|jn t Ramb(es The medicine man was referring by "bug-catcher" and "monkey-skinner" to the group of Eu­ ropean and American zoologists, ornithologists, entomologists and other scientists from the great universities who were in the nineteenth century combing South America for specimens, some to be killed and stuffed and placed in museums. Among (he Mandans living then along the Missouri River, Catlin at one time caused deep resentment. A number of squaws having seen paintings of two of their chiefs painted by Catlin raised strong opposition to him. They commenced a "mournful and doleful chant" against him, crying and weeping bitterly through the village," proclaiming him "a most dangerous man. one wio cou ma e iying persons by looking at them, and at the same time, could, as a mat­ er o course, estroy i e in the same way." In this case, Catlin tried to convince the men of his nvT tuUrn/ni^\ a? trUe *ntentl0ns ar,d then appealed to the Indian male's avowed superiority ot.Lu ktatlnS-tla* in the country where I lived, brave men never allowed their squaws to frighten them with their foolish whims and stories." In addition to Catlin's employing many means to both paint and preserve his art, he was not opposed to the many kinds of persuasion r,e< necessary to secure the costumes and artifacts he envisioned as part of his "Gallery." He often had —d to pay dead) for a certain object. Catlin wrote while living with the Mandans: tch. Jni .h Catlin Itis clear that althougl verity," there'' customs to post while in f Plete. Catlin i. Peale ha Willson Charles I.. war heroes, display olutionary I torial background su^’ skeletons. The idea ot Cat Catlin's task of paintin one in the nineteenth century was however in a sense a man dition to being a man who co words. Catlin wrote several vc attitudes supplement his pain paintings, being replete with describing the clay bluffsalon The whole country hel as if some giant masoi noble at,'c and !t « fort P°sterity’- js -and shall ec* c°r>tir �h'ay;^ ,tr. . , 1 '8 had ' have had abundant opportunities of learning the great value which these people some­ times attach to such articles of dress and ornament, as I have been purchasing a great many, which I intend to exhibit in my Callery of Indian Painting, that the world may ex­ amine them for themselves, and thereby be enabled to judge of the fidelity of my works, and the ingenuity of Indian manufactures. ’c sake r,;, der ?' h }7 them ■fOfn then?, )rr?n of r te Ur,es Df f°- the and l t js '5,r^tion ■' Wckwv o?X'i'0? ’L ' lnd,an's vanitv and ; *rica, he used an opera\y painting under the lytle c/-'. Ihts revolver or played on h\ n medicine man in condemn ids, with your eyes open a oolish to allow it. You new vays awake in the r. kins; and he placed amors; this man — that my ad. dinner to the group v -nd other scientists trem )Uth America for spec It is clear that although Catlin said "I travel, not to trade but to herald the Indian and his dying customs to posterity/' there was a good deal of trading he had to do to make his "Gallery" com­ plete. Catlin while in Philadelphia had visited the museum which the painter and naturalist Charles Willson Peale had set up in Independence Hall. It consisted of Peale's paintings of Rev­ olutionary war heroes, displays of stuffed animals and birds each in a compartment with a pic­ torial background suggestive of its natural habitat, waxwork dummies of mankind and several skeletons. The idea of Catlin's own "Gallery" may have originated at that time. Catlin's task of painting and documenting the Indians of the Americas was not an easy one in the nineteenth century; there was much personal sacrifice and personal risk involved. He was however in a sense a man possessed, a man of strong will and determination. Happily in ad­ dition to being a man who could wield a brush to create visual images, he also was a man of words. Catlin wrote several volumes and letters where his own descriptions, experiences and attitudes supplement his paintings, drawings and prints. Catlin's writing is often as visual as his paintings, being replete with descriptions and images as vivid as the colors of his palette. In describing the clay bluffs along the Missouri while riding along in his canoe: trous The whole country behind us seemed to have been dug and thrown up into huge piles, as if some giant mason had been there mixing his mortar and paints, and throwing to­ gether his rude models for some sublime structure of a colossal city; — with its walls — its domes — its ramparts — its huge porticos and galleries — its castles — its fosses and ditches; — and in the midst of his progress, he had abandoned his works to the destroy­ ing hand of time, which had already done much to tumble them down, and deface their noble structure; by jostling them together, with all their vivid colours, into an unsystem­ atic and unintelligible mass of sublime ruins. Id.*’ the men It is fortunate for all that Catlin did succeed in having at least part of his "Gallery" saved and that "posterity" is and shall continue to be the beneficiary of all his efforts. —-sed ta­ atlin at one time inted by Cr " heir chiefs pan— jnstbtfr . . same time, In these purchases I have often been surprised at the prices demanded by them; and per­ haps I could not recite a belter instance of the kind, than one which occurred here a few days since: — One of the chiefs, whom I had painted at full length, in a beautiful cos­ tume, with head-dress of war-eagles' quills and ermine, extending quite down to his feet; and whom I was soliciting for the purchase of his dress complete, was willing to sell to me all but the head-dress: saying, that "he could not part with that, as he would never be able to get quills and ermine of so good a quality to make another like it." I agreed with him, however, for the rest of the dress, and importuned him, from day to day, for the head-dress, until he at length replied, that, if I must have it, he must have two horses for it; the bargain was instantly struck — the horses were procured of the Traders, at twentyfive dollars each, and the head-dress secured for my Collection. Vivian Varney Cuyler Assistant Professor of Fine Arts Director, Sordoni Art Callery it and Pr£> ■tu^’the co^,rt3in a cei Catlin ■ ■; :.rtrj ' j’'.-’J ui. . ' it vr/.'.-f- inch'.acd is Men from Catlin'*. /.<*ne« and Notcy on the Manners, Customs, td ( c.’-djSi,,n r.i tf-r- ;!-,rth Ame rican Indian',, 2 70I5 ., tondon 1811 �«r 1 List of Paintings in Exhibition -K> , 0$ 1. He Who Takes Away, War,, and Mink-chesk, three distinguished young men (Osage), 1834 10. Dance of the chiefs, mouth of Teton RFiver, 1832 (?!^’ 1/ Oil on canvas, 22% " x 27 %" Oil on canvas, 29" x 24" National Collection of Fine Arts, Smithsonian Institution buffalo bull 2. White wolves attacking a Oil on canvas, 19?/a" x 27%" National Collection of Fine Arts, Smithsonian Institution 3. An Osage Indian pursuing a Comanche, 1836 Oil on cardboard, I8V2" x 24W The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon 4. Dance to the Berdashe (Sauk and Fox), 1834 Oil on canvas, 19’/2" x 2 7 Ya" National Collection of Fine Arts, Smithsonian Institution 5. She-de-a, Wild Sage, a Wichita woman,1834 Oil on canvas, 29" x 24" National Collection of Fine Arts, Smithsonian Institution National Collection of Fine Arts. Smith- -nun Institution Oil on canvas, 29" x 24" Oil on canvas, 29" x 24" dr^^.rT pent -and' National Collection of Fine Art* Smithsonian lr.;1ru> -,n 12. Wife of Bear-catcher (Kansas), 1831 2h Oil on canvas, 29" x 24" National Collection of Fine Arts Smithsonian Institution 13. Mah-to-he-hah, The Old Bear, a medicine man (Mandan), 1832 Oil on canvas, 29" x 24" wih-chee' 1 oPl 183-1 (0*8el' nq-x s- 0,1 one.”-1-; II I 22. A small Ore/on village (Upper Amaze Oil on cardboanI, 78’ 2 ” x2412 " The Vjtional Gallen rior->-r Mr < National Collection of Fine Arts, Smithsonian Institution 23. Pont de Palmier; and tiger shooting 'Trombutas River, Northern Brazil) 14. Back view of Mandan village, showing cemetery, 1832 Oil on canvas, 11 %" x 14%" National Collection of Fine Arts, Smithsonian Inst tut.on 6. Duhk-pits-a-ho-shee, the red bear (Crow warrior), 1832 ka-ding f 11. Seet-se-be-a, The Mid-day Sun, a pretty girl (Hidatsa), 1832 15. Rainmaking among the Mandan. 1832 Oil on canvas, 19’5" x 27%" National Collection of Fine Arts, Smithsonian Institution I Oil on cardboard, 18’;" \ 24'2 " Tw'.lt.owtrultrnofArt Collru.onotMr >. m,. | 24. An alligator s nest (lagoon of the Am Oil on cardboard. LT •" x24'.-* National Collection of Fine Arts, Smithsonian Institution p .r.raM.G 7. Weapons and appearance of the grizzly bear 16. Wee-ta-ra-sha-ro, head chief of the tribe (Wichita), 1834 Oil on canvas, 26’/z" x 32% " Oil on canvas, 29" x 24" National Collection of Tine Arts, Smithsonian Institution National Collection of Fine Arts Smith-nn-an Institu' cn 25. Turtle hunt by torchlight ilrombutas Oil on cardboard. 18’ z" x 24' i OtI Art C '.'Ml cftOt 'Ar 8. Prairie meadows burning, 1832 Oil on canvas, 11 Vij" x 143/ii" National Collection of Fine Arts, Smithsonian Institution 17. Lay-law-she-kaw, He Who Goes Up The River, an aged chief (Shawnee', 1831 Oil on canvas, 29" x 24" 26. Medicine man, performing his mysU over a dying man 'Blackfoot i, 1832 Oil on cardboard 18%’ x tv " National Collection ot Fine Art<. Smith- n an In-Mu! on 9. Foot war party on the march, Upper Missouri Oil on canvas, 11%" x 14%" National Collection of Fine Arts, Smithsonian Institution 18. Flathead Indians Oil on cardboard, 18’ a" \ 24' The N itional tia'l.ux •' A . Mfi Fl '• 1H- - a �List of Paintings in Exhibition 19. Woman and child, showing how heads of children are flattened Chinook, band of the Flathead family) ,n'apre‘tygi.i 28. Clatsop Indians (band of the Flatheads) Oil on cardboard, W’m" x 241'2" The National Gallery ot Art, Collection of Mr. & Mrs. Paul Mellon Oil on canvas. 29’ x 24’ Nui.e-M Collection ct f.neArts. Smithsonian Inst.tut.on 20. Tcha-aes-ka-ding, grandson of Buffalo Bull's Back Fat ’.Blackfoot), 1832 29. The great ant-eater, visiting Catlin's camp (Yucayali River, Peru) Oil on cardboard, 18'/a" x 24'Zt" The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon Oil on canvas. 29" x 24" 1831 Netic'r.’l Co-wCion of Fine Aris. Smithsonian instilui on 30. The handsome Dane-Goo-a Give, 1852 21. Wah-chee-te, wife of Clermont, and child Osage-’. 1834 a medici Oil on cardboard, 18’/’" x 24’/2" The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon OH on canvas, 29’x 24’ Nzzz.nil' Co: edict: of Fine Arts. Sm.’.lhssrrzn Institution 31. An Indian village —shoreofthe Amazon Oil on cardboard, I8V2" x 2414 " 22. A small Orejon village .Upper Amazon) The National Gallery of Art. Collection of Mr. & Mrs. Paul Mellon Oii on cardboard, IS -2x 24 li" show inc The Ns: or.3* Gel’s.-. Art Cr. ecu ~r M-. A. Mrs. Paul Mellon 23. Pont de Palmiersand tiger shooting Trombutas River, Northern Brazil' 32. Spearing by moonlight— Chaco Indians (Paraguay River, Argentina) Oil on cardboard, 18‘Za" x 241/z" The National Gallery oi Art, Collection of Mr. & Mrs. Paul Mellon Oil on cardboard, 18yi" x24'z'7 Tre N<r.:sna‘Gal en-bAr. Co ’ : — z-. cr -Mr. i Mrs. Paul Mellon an,1832 24. An alligator's nest Jagpon of the Amazon) O.'- cn cardboard, 18’2"x 24-if-’ The -r.il Galfe-v Art. Cc:l£Z’.-“r L Mrs. Piul .Mellon 33. Maue Encampment, looking ashore from the steamer (below the River Negro, lower Amazon) Oil on cardboard, 18'/’" x 24'Zr" The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon of the tribe 25. Iurtle hunt by torchlight ■ J rombutas River) GJ cn cardboard, 13:2" x 24’2 ” TheCz c'AT.Cz 1 :..:j Piuj MeTon 34. Grand Lavoir, Pampa del Sacramento (Peru) Oil on cardboard, IS’/z" x 24’/2" The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon >es Up The 0,1831 26. Medicine man. performing his mysteries over a dying man (Blackfoot , 1832 Oil on ca'cboard, Id' i* x 24'.a’ 35. Mouth of the Rio Purus (Upper Amazon) Oil on cardboard, I8V2" x 241Zz" The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon 36. Spearing by torchlight on the Amazon Oil on cardboard, I8V2" x 24 V2" The National Gallery of Art, Collection of Mr. & Mrs. Paul Mellon �3. An Osage Indian pursuing a Comanche National Collection of Fine Arts, Smithsonian Institution 2. White Wolves attacking a buffalo bull "During my travels in these regions, I have several times come across a gang of these animals surrounding an old or a wounded bull, where it would seem, from appearances, that they had been for several days in attendance, and at in­ tervals desperately engaged in the effort to take his life. But a short time since, as one of my hunting companions and myself were returning to our encampment with our horses loaded with meat, we discovered at a distance, a huge bull, encircled with a gang of white wolves; we rode up as near as we could without driving them away, and being within pistol shot, we had a remarkably good view, where I sat for a few moments and made a sketch in my note-book; alter which we rode up and gave the signal for them to disperse, which they instantly did, withdrawing themselves to the distance of fifty or sixty rods, when we found, to our great surprise, that the animal had made desperate resistance, until his eyes were entirely eaten out of his head — the grizzle of his nose was mostly gone — his tongue was half eaten off, and the skin and flesh of his legs torn almost literally into strings ... I rode nearer to the pitiable object as he stood bleeding and trembling before me, and said to him, "Now is your time, old fellow, and you had better be off. Though blind and nearly destroyed, there seemed evidently to be a recognition of a friend in me, as he straightened up, and trembling with excitement, dashed off at full speed upon the prairie, in a straight line. We turned our horses and resumed our march, and when we had advanced a mile or more, we looked back, and on our left, where we saw aga n the ill-fated animal surrounded by his tormentors, to whose insatiable voracity he unquestionabh soon fell a victim." •he ■ s g<\c_ 4- Da eB ar ' hr- » , ,hr-$ :rn a- -nr'^IK ■l a ' £an. d 'h-s d, -Ko, n f, rU *»» h �- ■■ Mb The National Callery of Art, Mr. and Mrs. Paul Mellon Collection An Osage Indian pursuing a Comanche, 1836 mHhsoman Institution landing an old or ndance, and at mg companions and ,tance. a huge bull, and being within y note-book - after themselves to the .perate resistance, gue was half eaten .able object as he had better be oft ,e straightened up. e-d our horses and here we saw aga oon fellavtcttm National Collection of Fine Arts, Smithsonian Institution 4. Dance to the Berdashe (Sauk and Fox), 1834 “Dance to the Berdashe" is a funny and amusing scene, which happens once a year or oftener, as they choose, when a feast is given to the “Berdashe," as he is called in French, (or l-coo-coo-a, in their own language), who is a man dressed in woman's clothes, as he is known to be all his life, and for extraordinary' privileges which he is known to possess, he is driven to the most servile and degrading duties, which he is not allowed to escape; and he being the only one of the tribe submitting to this disgraceful degradation, is looked upon as “medicine" and sacred, and a feast is given to him annually .. �5. She-de-a, Wild Sage, Wichita woman, 1834 “Amongst the women of this tribe, there were mam. ?r at expression, though their skins are very dark. �i - National Collection of Fine Arts, Smithsonian Institution 6. Duhk-pits-a-ho-shee, the red bear (Crow warrior), 1832 �I I 1 I I i Foot war pa 7. Weapons and appearance of the grizzly bear Nation.).’ CoHect on of f.-M .Arb, yn 8. Prairie meadows burning, 1832 ��Nat onal Colson of F-«e w 11. Seet-se-be-a, f The Mid-day Sun, a pretty girl (Hidatsa), 1832 "dressed ■-'l in a beautiful costume of the mountain-sheep skin, handsomelv garnished ,v. h P This girl was almost compelled to stand for her picture by her relatives who urged her o wdined, offering as her excuse that she was not pretty enough, and that her picture woul mode**** 12. Hif( �I I I I national r oller lion r,l Fine Aris. Smithsonian Institution 12. Wife of Bear-catcher (Kansas), 1831 u,ib ■^O'b e '• �>' " ...ped4*’’* . »»d *S» cn the >hn. /«,<• tike ”g Irhtixxh. jtvi •i h.de* from tK •1 xjter fr!l tfj ! n-th thonK bjnd^ed .itnm Uy the’body <>1 tor tg tbjnhuJ \naia'e-’"ek,'"\ ^.-^^,,,-h.gherfhbixins K inc" pUj reach k „>amr; -n th. CU'Mtf' KrttK .. undJ ”b thffg folds prostrated upon the ground *<- ''i/tK hroken fries and IjmenMton* lot the m.st Im-.o and doing other penance to appease I When the scjftnld' on which the bodies rest.I nt the honrs, lake the skulls, whn h are j more on the prairie - pl,u cd al equal drstanl rage, which has hem pullt-d and pUced tindJ h’j-hand or her child, whs h lies in this groj ^^icookedloodthathf^,^, af.,J K * J National Collection of Fine Arts. Smithsonian ln..t,tut on •7 13. Mah-to-he-hah, The Old Bear, a medicine man (Mandan), 1832 “■ . . 'the chiefs . . . they have all been many days in this medicine-house, and they all know me well, and the . have not asked me to come in and be made alive with paints' ... I prepared my canvas and palette and wh st ■ ■■• the time until twelve o'clock, before Ire made his appearance: having used the whole of the lore-part oi the das at h > toilette, arranging his dress and ornamenting his body for his picture. At that hour then, bedaubed and streaked with paints of various colours, with bear's grease and cha'roal w.th medi­ cine-pipes in his hands and foxes tails attached to his heels, entered Mah-to-he-hah (the old b. ?’• '••- n ■* ‘,J n h" own profession, who seated themselves around him; and also a number of boy- whom it was re ]u< -•-.’J shoukf re­ the nwstenes main with him, and whom I supposed it possible might have been pupils, whom he was instre.t.ng or materia medica and hoca poca. He took his position in the middle of the loom, waving was me he cal .met, •" -■»<*’ his eagle calumet, I" ' a,nd sms'ng hiS medicine-son8 Which he sings over his dving patient looking mm the last untU I CO* pie ed h,s picture, which I painted at full length. His vanity has been completch gratified m th. operation he °8e er, ay alter day, in my room, in front of his picture gazing intensely upon it. .. Mim �Whenever a person dies in the Mandan village, and the customary honours and condolence are paid to his re­ mains, and the body dressed in its best attire, painted, oiled, feasted, and supplied with bow and quiver, shield, pipe and tobacco - knife, flint and steel, and provisions enough to last him a few days on the journey which he is to perform: a fresh buffalo's skin just taken from the ani­ mal’s back, is wtapped around the body and tightlv bound and wound with thongs of raw hide from head to foot. Then other robes are soaked in water, till thev are quite soft and elastic. which are also bandaged around the body n the same manner, and tied fast with thongs, which are wound with great care and exactness, so as to exclude the action of the air from al! parts of the body . There is then a separate scaffold erected for it. constructed of four upright posts, a little higher than human hands can National Collection of Fine Arts, Smithsonian Institution reach . . . Some hundreds of these bodies may be seen 14. Back view of Mandan village, ■epcsing in this manner in this curious place, which the showing cemetery, 1832 Indians call "the village of the dead "... Fathers, mothers, wives, and children max be seen lying under these scaf­ folds, prostrated upon the ground, with their faces in the dirt, howling forth incessantly the most piteous and heartsrcxen cnesand .amentat.cns tor the mtstcrtunes or their kindred; tearing their hair - cutting their flesh with their knnes. and doing other penance to appease the spirits of the dead. . . v.-hen the scaffolds on which the bodies rest, decay and fall to the ground, the nearest relations having buried the rest the bones, take me skuus, wnlch are perfectly bleached and purified, and place them in circles of a hundred or :ore on the prairie - p.aced at equa: distances apart. . . Each one of these skulls is placed upon a bunch of wild sage, wnich nas been pu .ed and placed under it. The wife knows (by some mark or resemblance) the skull of her naseand or her chile wf- ch lies n tin s group- and there seldom passes a day that she does not visit it, with a dish of me best cooked food that her w.g.vam affords, which she sets before the skull at night . . ." j thev have istled away ? dav at his with meditrain ol his siaoukf > mystef** e-s >n each nt.l I ton1; he ’uf Coller./ion ;t /t." AHi. ‘.mitfi'.uman Institution �<* o' *--• • -» ■/ 16. Wee-ta-ra-sha-ro, head chief of the tribe (Wichita), 1834 �National Collection ol Uno Arts. Smithsonian institution 17. Lay-law-she-kaw, He Who Goes Up The River, an aged chief (Shawnee) 1831 I �The National Callery of Art. Mr and Mrs Paul Mellon Oh": 18. Flathead Indians Hoogst-ah-a, chief of a band, wrapped in his blanket; Lee-le, bis wife, with her infant in its crib (or cradle under;.?.'.• the process of flattening the head; a Flathead boy (left background), taking salmon with his harpoon arrows. "The Flathead tribe, so called from their singular practice of flattening the head, is one of the mo>l numerous ht not the most numerous) west of the Rocky Mountains, occupying the whole country about the lower Columbia • ing the island of Vancouver. . . The strange and unaccountable custom of flattening the head in this tribe is confined mostly to the women and amongst them it is by no means general, and ornamentation, singular as it may seem, appears to be the -o<c ubicU of it . . . The infant, at its birth, is placed in its cradle, dug out of a solid log of wood, and fastened down v, . a ban­ dages, so that it cannot move, and the frontal process is pressed down by an elastic lever, which is t.ghtened di • by strings fastened to the side of the cradle. The bones of that part of the head, at that period, being can a; are easily pressed into that unnatural form, and after two or three months of this pressure the required shape * ob­ tained, which lasts through life. By pressing the frontal region back, the head is pressed out on the >-.de$ to an u natural extent. If this were a natural deformity, stultilily would undoubtedly be the result: but as it is an artificial deformation, such result is produced, or need it be looked for, as it is only a change in the form and portion or the me • gans, without interfering with their natural functions. The evidence of this is that tho^c v. th then head' Matter are found to be quite as intelligent as the others in the tribe: and it would be a nion^trou- *uppox •K n 10 that the fathers of families and chiefs would subject their infants to a process that was to stultih them �e ^ie obiec’ e* i5 jn * n*nU . <Utl«'rK National Collection of Fine Arts, Smith-ri'nzn Institui-'an 19. Woman and child, showing how heads of children are flattened (Chinook, band of the Flathead family) �■ / 4 I ! O' 20. Tcha-aes-ka-ding, grandson of Buffalo Bull's Back Fat (Blackfoot), 1832 "a boy of six years of age, and to<» young as yet to have acquired a name. ha- stood forth hire a toed m have painted him at full length. The history Of this child is sorrw ..hat cui • i ' i interesting; I in case of the death of the chief. . . he becomes hereditary chn-t of the tribe This be • h ■. ’• the Crows by ingenious stratagems, and twice r.-captured by th? Bla' -t' e‘ «on present he is lodged with Mr. McKenzie, for safe keeping and protec:.on unt:' : " - • arr take the office to which he is to succeed, and able to protect himself. �I I 1 National Collodion of Fine Arts, Smithsonian Institution oot)J832, ind 1 and a dead. A bv ’ * ' or fd'e' and •>' age 'O 21. Wah-chee-te, wife of Clermont, and child (Osage), 1834 I "She was richly dressed in costly cloths of civilized manufacture, which is almost a solitary instance amongst the Osages, who so studiously reject every luxury and every custom of civilized people: and amongst those, the use of whiskey, which is on all sides tendered to them — but almost uniformly rejected! ‘ ________ �34. An alligator's nei i he National Callery at ,\r(, Mr an J Mrs fj-.' 33. Pont de Palmiers and tiger shooting (Trombutas River, Northern Brazil) * h. * tor. �4 The National Callery of Art. Mr. and Mrs. Paul Mellon Collection 34. An alligator's nest (lagoon of the Amazon) I |;>rt brn 35. Turtle hunt by torchlight (Trombutas River) The Indians having turned the turtles on their backs, the women approach with torches to do the butchering. �The National Ca’!er\ o/ A'f Mr t V' = r>>. 36. Medicine main, performing his mysteries over a dying man (Blackfoot), 1832 �I 4 ■ �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1973 November 25 George Catlin: Painter of the Indians of the Americas Creator An entity primarily responsible for making the resource George Catlin Date A point or period of time associated with an event in the lifecycle of the resource 1973 November 25 - 1974 January 5 Format The file format, physical medium, or dimensions of the resource PDF Description An account of the resource This show is a survey of painter George Catlin's work on the Native Americans of the region. Type The nature or genre of the resource Exhibition program Subject The topic of the resource Native American Art George Catlin Source A related resource from which the described resource is derived The National Collection of Fine Arts Smithsonian Institution and The National Gallery of Art Rights Information about rights held in and over the resource The Smithsonian Institution likely retains the rights to this work. https://omeka.wilkes.edu/omeka/files/original/1b5c35894a69a21075afe15e97634386.pdf 558d2589ecbc1be75be0f36862eafa0d PDF Text Text ���������������������������� https://omeka.wilkes.edu/omeka/files/original/922313b45cd6fd0c762fa4497dbf3cf5.pdf 080f4f78f6b57950c14db4f8d03566b8 PDF Text Text �83^ 3*1^3 : - ■'-' '• __________ - ...... 2 I nineteenth century european academic painting and sculpture sordoni art gallery 1975 X �Directors of the A. J. Sordoni Foundation Inc. 33: S7 / 7 A. J. Sordoni, III President The Reverend Jule Ayers M. M. Glahn Thomas Kiley Roy Morgan Helen Mary Sekera �i The world of art in the nineteenth century underwent many changes as it was reshaped and reinforced by new concepts of the individuals against the static conventions of the past. After the French Revolution the personal right to free expression was undisputed. Artists were now able to turn their attention to the real life around them, sometimes full of poetic emotion, sometimes romantic in nature, but always concerned with the recording in paint the events of their times and the reactions to their environment. Paris in the nineteenth century was the center of culture, the art capital of the world. Its influences radiated out to many countries. Germany, England, Spain and the Americas all felt the strong impact and currents of the new-found directions of expression. It was in the early nineteenth century milieu that the artists struggled to make themselves seen and heard; thus we can trace the development and progress of modem art. The Sordoni Art Collection will serve as an invaluable source and aid to the understanding and appreciation of the artist's unending battle for personalized expression. i M ■ 1 11. R. GOUBIE — An Alsatian Farmer with Wife, Daughter and Two Horses �The Sordoni Foundation Collection at Wilkes College JOHANN BEORG METER VON BREMEN Country Girl Under a Tree Oil on canvas Signed and dated 18/3 5% x 4 inches HORACE VERNET The Battle of Wagram Oil on C2TA-2S Signed 9 xl2 inches 3. OTTO KIRSCHNER Man Reading a Letter Oil on canvas Signed 7x5% inches 4. OTTO KIRSCHNER Man Smoking a Pipe Oil cn canvas Signed 7 x 5% inches 5. OTTO KIRSCHNER Man with Beer Stein and Pipe Oil on canvas Signed 9x7 inches 6. LOUIS GEORGE BRILLOUIN Huntsman in Louis IV Costume with Spear Oil cn canvas Signed and dated 1566 8% x 5% inches 7. OTTO KIRSCHNER Man in Red Jacket with Pipe Oil on canvas Signed 7 x 5% inches 8. W. ROESSLER Bavarian in Red Waistcoat with Feathered Hat Oil on panel Signed 7x5% inches 9. GUSTAVE J. JACQUET Portrait of a Young Lady* Oil on panel Signed 12% x 9 inches 14. CARL KRONBERGER Man in Red Waistcoat Oil on canvas Signed 6 x 4% inches 21. HENRY 15. CARL KRONBERGER Old Lady with Spanish Comb Oil on canvas Signed 6% x 57z inches 22. ENRICO DONIZELLI Interior with Geese and Children Oil on canvas Signed 1174 x 1574 inches 16. 10. H. BUERKEL Swiss Haymakers Loading a Hay Cart Oil on metal Signed and dated 1829 19 x 183/4 inches 17. 11. R. GOUBIE An Alsatian Farmer with Wife, Daughter and Two Horses* Oil on canvas Signed and dated 1878 18. 15% x 12% inches 12. H. BUERKEL Landscape with Hay Wagons and Storm Clouds* Oil on canvas Signed 191/2 x 13% inches 13. ALBERTO PASINI Mounted Arabs at Mountain Pass, with Persons in Palanquins Oil on canvas Signed and dated 1887 13% x 10% inches DE CARAVALLI Arab Woman Beggar Oil on canvas Signed 12% x 9% inches 23. W. KLEIN Man in Green Coat with Pipe Oil on canvas Signed 10 x 47z inches JEAN GEORGES VIBERT His Eminence, the Poet Oil on panel Signed 237z x 177z inches 24. JULIEN DUPRE Farmgirl, Rake and Water Jar* Oil on panel Signed 137z x 10% inches JEAN GEORGES VIBERT A Missed Vocation Oil on panel Signed 28 x 22% inches 25. ALBERTO PASINI Courtyard of Three Dismounted Cossacks Oil on canvas Signed and dated 18 x 1474 inches 19. LOUIS JIMENEZ Queen of the Floral Games* Oil on panel Signed and dated Paris, 1884 34 x 49 inches 20. PEMBER SMITH Villa on a Venetian Canal Oil on canvas Signed 23% x 19 7z inches CHARLES H. DAVIS, N.A. Clouds and Hills Oil on canvas Signed 41 % x 337z inches 28. C. RICCARD Two Men Fighting Over a Game of Cards Oil on panel Signed 15% x 117z inches 29. W. ROESSLER Tyrolean in Feathered Hat Oil on canvas Signed 7 x 5% inches 30. JOSE GALLEGOS The First Communion* Oil on panel Signed and dated Rome, 1896 4772 x 277z inches 31. L. BACCI Old Man in Stocking Hat Teasing an Old Woman* Oil on canvas Signed and dated Firenze, 1885 27 V2 x 21 Vz inches 32. EUGENIO ZAMPIGHI Tyrolean Peasant Family Scene Oil on canvas Signed 41 x 28 inches 26. JEAN GEORGES VIBERT Eunuch in Courtyard, Watching Doves 33. ADOLPH SCHREYER Oil on panel Mounted and Dismounted Arabs Signed by a Mosque* 25 x 16 inches Oil on canvas . Signed 27. FRANZ MOORMANS 39 x 27 inches Young Man Playing a Violin* Oil on panel 34. EDWIN LORD WEEKS Signed The Water Jar Merchant, Rabat 1572 x 11% inches Oil on panel Signed and inscribed, Rabat 24 Vz x 1974 inches 35. G. CO5ENZA Fishing Boats on Blue Water* Oil on panel Signed 11 x 7 inches 36. G. COSENZA Fishing Boats on Blue Water Oil on panel Signed 11 x 7 inches 37. NAPOLEON IN EGYPT By lean Leon Gerome Height — 16% inches 38. ARMORED BRONZE KNIGHT ON HORSE Both in full armor, on red velvet stand. Knight holding jousting spear. From 'Wolfe Collection. Height — 34 inches 39. INCENSE BURNER Oriental, with cock and chrysanthemum motif, gold embossed on metal. Height — 22 inches 40. WHITE MARBLE NUDE "PSYCHE” GALLERIA FRAT Height — 48 inches 41. WHITE MARBLE NUDE "PSYCHE" WITH CHERUB AT FEET Lapini Firense, 1802 Height — 50 inches 42 WHITE MARBLE BUST OF WOMAN,* classic hairdress Wm. Couper, Florence, Italy Height — 21% inches • ILLUSTRATION �I 1 iI I ( I 1: �I ! j. JACQUET-P^-f‘^J �[c F- I ' ' I ! : 12 H BUERKEt Landxipr with Hjy and �Wagons and Storm O-- , �■ ffl 19. LOUIS JIMENEZ Queer, of fr e FiomI G ir �NEZ — Queen of the Floral Game- �< f JULIEN DUPRE E«m«irL JUi* irt *Wr *, �i — Farm®' �I ( I ■ Bai 27. FRANZ MOORMANS — Young Man Playing a W' I ____ ��t B f BF■ JOSE GALLEGOS The Er • Cw-'.- • �LEGOS — The First Commun;c:\ �I I i ■ 31. L. BACCI Old Man in Stocking Hat Teasing an CM W«« �Old \vona-- �i I j i 33. ADOLPH SCHREYER — Mounted and Dismounted Arab . t>. » , �I jismounted Arat? �f 42. WHITE MARBLE BUST OF WOMAN, Classic hairdo- �WOMAN, Cla^- �The Sordoni Art Gallery was given to Wilkes college by the Andrew J. Sordoni Foundation, Inc. to encourage the appreciation of art. It is dedicated to displaying and preserving the works of art to enrich and expand the cultural development in the community. Currently, the Gallery is the home of part of the family's collection of nineteenth century academic European paintings and sculpture. Our exhibitions are for the benefit of the students and the community. The donors hope the Gallery is a source of pleasure and inspiration for everyone. We are deeply appreciative of the foresightedness of these generous individuals for this substantial gift; we want now to share it with you. �STARK LEARNING CENTER • 150 SOUTH RIVER STREET ( WILKES COLLEGE • WILKES-BARRE, PENNSYLVANIA 18703) jp �llllllfl 1000178455 MILKES COLLEGE LIBRARL ■ �I Ef s 1 £ � Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1975 Nineteenth Century European Academic Painting and Sculpture Creator An entity primarily responsible for making the resource Johann Beorg Meyer Von Bremen Horace Vernet Otto Kirschner Louis George Brillouin W. Rossler Gustave J. Jacquet H. Buerkel R.Goubie Alberto Pasini Carl Kronberger De Caravalli Jean Georges Vibert Louis Jimenez Charles H. Davis N.A. Henery Pember Smith Enrico Donzelli W. Klein Julien Dupre Alberto Pasini Fraze Moormans C. Riccard Jose Gallegos L. Bacci Eugenio Zampichi Adolph Schreyer Edwin LordWeeks C. Cosenza Date A point or period of time associated with an event in the lifecycle of the resource 1975 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program Subject The topic of the resource European Art European Painting European Sculpture Nineteenth Century https://omeka.wilkes.edu/omeka/files/original/fbee48626e258a01119b9862f3ce9ad9.pdf 68080821763790ac3191578e6a0ad338 PDF Text Text ���� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1976 Bicentennial Exhibition of the Photographic History of Hard Coal Mining in Northeastern Pennsylvania Creator An entity primarily responsible for making the resource Ralph E. DeWitt Source A related resource from which the described resource is derived Wyoming Historical and Geological Society Collection Date A point or period of time associated with an event in the lifecycle of the resource 1976 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition Flyer https://omeka.wilkes.edu/omeka/files/original/a9a3952c1217281c82dbeb6ae03d1c40.pdf 351c42d3e0e05623cc1de107e9b87bac PDF Text Text ���������������������������� https://omeka.wilkes.edu/omeka/files/original/c365ccc9e958b912db898733c438555b.pdf e7d9d7a6b7e232ee6afff41571b0250b PDF Text Text SORD GA TR653 P6 1976 ilCENTENNIAL EXHIBITION SORDONI ART GALLERY 1976 �PHOTOGRAPHIC HISTORY OF HARD COAL MINING IN NORTHEASTERN PENNSYLVANIA WYOMING HISTORICAL AND GEOLOGICAL SOCIETY COLLECTION RALPH E. DeWITT E.S. PARLEY LIBRARY WILKES UNIVERSITY WILKES-BARRE, PA WYOMING HISTORICAL AND GEOLOGICAL SOCIETY COLLECTION �ARCHIVES &A ' 7"£ ■ i Anthracite coal, the land, and its people have been a prime source of energy in these United States and an influencing factor in its economic development as an industrial nation. Today, with the kaleidoscopic changes in energy sources, the land and I - t■ r E i. r-flKx its people are our heritage. People came from all parts of Europe in search of economic advancement, bringing with them backgrounds of varied cultures rl that have produced and strengthened the character of our local area: the long, hard struggle of the miner to maintain his dignity, to improve his lot in life, to insure his rights and better working conditions led to the formation of the first labor union in the United States. r . -gssrr y .--------- -t-_: This Bicentennial Exhibition is a photographic record of these changes. Photographs of the early years are on loan from the Wyoming Valley Historical and Geological Society collection, showing the mines and collieries in their growth and expansion years. The collection of photographs by Mr. Ralph E. DeWitt depict:is the era of coal from the early 1900s to the late 1930s with emphasis on mine machinery and the homes in which the miners lived. i .- ■ ' r . ' ■ ' ■ - ■~'*«5SSS! �' - I- 7-7■ia-I": c*r*=xw ��co • =' \c ���' |l ����A Il I i I; Is I I ll RALPH E. DeWITT ����II I hi ��IN I ����' ' S” - .* ••** .. fOM/NG HIS WY .OG1CAL s< GEOL' - BREAKER Cover :Eocaf/e>:: Kingston , J hate: 1920 I JMINE crew / 'location: Unknown I hate: 2917 I MINE CREW I llocation.' Unknown I lOatc: 1^20 I BATHROOM / Locate. Unknown I I 1 g IDate.-1026 iman standing iluoifion: Unknown Date: 1916 MULE-DRAWN FI1 Locntion: Unknown Date: 1917 LEAR OF HOME Location: Edwards vj]l Date; 1916 REAR OF HOME I Eocafion: Edwardsvill . CARDEN I isx*** 1 pLAYQ iROL'MD 'ocation Date.- I919 ardi �WYOMING HISTORICAL AND GEOLOGICAL SOCIETY COLLECTION Cover — BREAKER BOYS' FOOTBALL TEAM Location: Kingston Date: 1920 HAZLETON SHAFT COLLIERY Location: Hazleton Date: 1932 MINE CREW Location: Unknown Date: 1917 MAXWELL COLLIERY Location: Ashley Date: 1940 RALPH E. DeWITT MINE CREW Location: Unknown , Date: 1920 COMPANY HOUSES Location: Wilkes-Barre Date: 1935 1 BATHROOM Location: Unknown Date: 1916 FAN HOUSE, HENRY COLLIERY Location: Plains Date: 1937 MAN STANDING BY COAL WAGON Location: Unknown Date: 1916 HUBER COLLIERY Location: Ashley Date: 1940 MULE-DRAWN FIRST AID WAGON Location: Unknown , Date: 1917 ROTARY DUMP, HUBER COLLIERY Location: Ashley Date: 1945 REAR OF HOME i Location: Edwardsville Date: 1916 MINE PROPS Location: Wilkes-Barre Date: 1912 REAR OF HOME Location: Edwardsville Date: 1916 i GARDEN | Location: Pringle Date: 1917 PLAYGROUND Location: Edwardsville Date: 1919 INTERIOR VIEW OF McCLINTOCK HOME Location: Wilkes-Barre Date: 1951 MALTBY COLLIERY Location: Swoyersville Date: 1929 INTERIOR VIEW OF MINERS NATIONAL BANK Location: Wilkes-Barre Date: 1969 ��� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1976 Photographic History of Hard Coal Mining Creator An entity primarily responsible for making the resource Ralph E. DeWitt Date A point or period of time associated with an event in the lifecycle of the resource 1976 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program Source A related resource from which the described resource is derived Wyoming Historical and Geological Society Collection https://omeka.wilkes.edu/omeka/files/original/cca625eed9095d1b9fb6efb63acb5497.pdf c84ee86a399096d251137131086ada43 PDF Text Text �� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1976 May 24 Kan Wing-Lin Creator An entity primarily responsible for making the resource Kan Wing-Lin Date A point or period of time associated with an event in the lifecycle of the resource 1976 May 24 - May 27 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/09e9ac1f5d508a6044f07d09aec1c33c.pdf 7b6b2a6d06e4240e1ea6d83fbb326a3d PDF Text Text �������������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1976 May 24 Kan Wing-Lin Creator An entity primarily responsible for making the resource Kan Wing-Lin Date A point or period of time associated with an event in the lifecycle of the resource 1976 May 24 - May 27 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/0de52d47931654b9b1a583dc744833c8.pdf 2982d0b04aa784446820ef24bb28dbfb PDF Text Text ������ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1976 September 13 Franco Ciarlo: Frescos Creator An entity primarily responsible for making the resource Franco Ciarlo Alexander Carlson Date A point or period of time associated with an event in the lifecycle of the resource 1976 September 13 -October 3 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/295ee6089e940d4415ef518edac1b2d9.pdf 33f5096a5034a091e0ee2bb8033a72d9 PDF Text Text ����� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1976 December 4 Comic Strip Art Creator An entity primarily responsible for making the resource Carl Anderson Martin Branner AlCapp Milton Coniff Billy DeBeck Frank Frazetta Jim Gary Chester Gould Will Gould Fred Harmon Halto Jimmy Geaorge Harriman Burne Hogarth Fred Johnson Walt Kelly Stan Lynde George McManus Jimmy Murphy Rose O'Neill Alex Raymond Jose Lewis Salinas Elzie Segar Charles Shultz Cliff Sterrett Date A point or period of time associated with an event in the lifecycle of the resource 1976 December 4 - December 26 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/637e1d5eee6837e826c3780bf5879d15.pdf 76c597a6984ece5eeed2a43b3138564e PDF Text Text ���� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1977 February 23 Art Scholastic Awards Date A point or period of time associated with an event in the lifecycle of the resource 1977 February 23 - March 29 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/45e7e7e1bcb6b3a85273a77046a48ac1.pdf 29a9dde0aaad289d4aa31b2467fdd504 PDF Text Text ������������ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1977 April 23 Niccolo Cortiglia Creator An entity primarily responsible for making the resource Niccolo Cortiglia Date A point or period of time associated with an event in the lifecycle of the resource 1977 April 23 - May 13 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/8d502b891135f356d385202217250574.pdf 890abbb7b17c649993bf8f70d427c88b PDF Text Text ��� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Creator An entity primarily responsible for making the resource Ralph L. Wilson Date A point or period of time associated with an event in the lifecycle of the resource 1977 July 16 - August 7 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program Source A related resource from which the described resource is derived Lehigh University Department of Exhibitions and Collections Title A name given to the resource 1977 July 16 Ralph L. Wilson Collection https://omeka.wilkes.edu/omeka/files/original/bf7b4c86bd5c758300719d444a77b6c7.pdf ec688c6f2aeb42457ed30a795b0f377a PDF Text Text ���������������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1977 September 10 Mark Cohen Creator An entity primarily responsible for making the resource Mark Cohen Date A point or period of time associated with an event in the lifecycle of the resource 1977 September 10 - October 2 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/eb60bf90fc2900748c8fb2f8cfe1ea20.pdf 80a84f4b8b5653486db9c175eb993b0e PDF Text Text ������������ Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1977 October 21 Sordoni Fine Art Exhibition Date A point or period of time associated with an event in the lifecycle of the resource 1977 October 21 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program https://omeka.wilkes.edu/omeka/files/original/7ab08f5c77c98e8431c9397d45f84cc5.pdf cfffa7f8eb73ba7e1459a1110dd22c60 PDF Text Text �������� Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource The Sordoni Art Gallery Exhibition Programs, 1973-present Description An account of the resource Exhibition programs created by the Sordoni Art Gallery from 1973 to the present. Digitized by Wilkes University Archives interns, Zachary Mendoza and Sophia Kruspha. Creator An entity primarily responsible for making the resource The Sordoni Art Gallery Source A related resource from which the described resource is derived Wilkes University Publisher An entity responsible for making the resource available The Sordoni Art Gallery Date A point or period of time associated with an event in the lifecycle of the resource 1973-present Rights Information about rights held in and over the resource Wilkes University retains copyright of these exhibition programs. Language A language of the resource English Type The nature or genre of the resource Exhibition programs, flyers, and calendars. Format The file format, physical medium, or dimensions of the resource PDF Text A resource consisting primarily of words for reading. Examples include books, letters, dissertations, poems, newspapers, articles, archives of mailing lists. Note that facsimiles or images of texts are still of the genre Text. Dublin Core The Dublin Core metadata element set is common to all Omeka records, including items, files, and collections. For more information see, http://dublincore.org/documents/dces/. Title A name given to the resource 1977 October 11 3 Becker, Lanser, Loving Creator An entity primarily responsible for making the resource Gisela Beker Fay Lansner Wyn Loving Date A point or period of time associated with an event in the lifecycle of the resource 1977 October 11- October 31 Format The file format, physical medium, or dimensions of the resource PDF Type The nature or genre of the resource Exhibition program