Money, Art, and the Art of Money by Lebanon Valley College

Money, Art, And the Art of Money h SEPTEMBER 2 – OCTOBER 23, 2011 SUZANNE H. ARNOLD ART GALLERY LEBANON VALLEY COLLEGE

Money, Art, and the Art of Money

h SEPTEMBER 2 – OCTOBER 23, 2011 SUZANNE H. ARNOLD ART GALLERY LEBANON VALLEY COLLEGE

ACKNOWLEDGMENTS Money, Art, and the Art of Money came to fruition thanks to the collaboration and contributions of many institutions and individuals. As Director of the Suzanne H. Arnold Art Gallery, I extend my sincere thanks to those who so generously loaned works to this exhibition: William Ayres and Christa Zaros, The Long Island Museum of Art, History & Carriages; Amber Woods Germano, The Newark Museum; Shannon Schuler, Philadelphia Museum of Art; Heather Kowalski, The Andy Warhol Museum; Stephen Goddard and Janet Dreiling, Spencer Museum of Art, University of Kansas; Sandra Stelts, Special Collections Library, Collection of Rare Books and Manuscripts at the Pennsylvania State University Libraries, Penn State University; Scott Schweigert, Reading Public Museum; Christine Berry and Fionna Sherwin-Murray, Spanierman Gallery, LLC, N.Y.; Katherine W. Baumgartner, Godel and Co. Fine Art, N.Y.; Louise A. Laplante, Smith College Museum of Art; and Frank Mols, Director of the Bishop Library, Maureen Anderson and Scott Conrad, Bishop Library Archives, Lebanon Valley College, who assisted with discovering and framing the Norman Rockwell prints for this exhibition, and a private collector. A special word of appreciation is extended to Lisa Tice who helped develop the idea for this exhibition and edited the text for the catalogue. Thanks are also extended to Crista Detweiler, Suzanne H. Arnold Art Gallery, who contributed to the text and assisted with many aspects of the exhibition. Dan Massad, Lebanon Valley College, also deserves thanks for graciously editing this text. Kelly Alsedek, director of publications at Lebanon Valley College, designed this catalogue and thanks are extended for her expert assistance. Finally, Money, Art, and the Art of Money would not be possible without the sponsorship of Fulton Bank, Lebanon Division, and the Lebanon Valley College Colloquium headed by Dr. Jeff Robbins, director of the College Colloquium. For their continued support, I thank the Friends of the Gallery, and the many members who have generously supported this exhibition. Barbara R. McNulty Director, Suzanne H. Arnold Art Gallery

On the cover: Otis Kaye, Washington and the Half Dollar, after 1929, oil on panel, 6 1â &#x201E;4 x 8 1â &#x201E;4 inches, collection of the Spanierman Gallery, LLC, N.Y.

oney, Art, and the Art of Money explores the significant and somewhat complex role that money has played in art—primar-

ily American art—from the nineteenth century through today. It considers money and its moral implications in a broad spectrum of works, beginning with religious imagery that questions the ethical issues surrounding wealth as well as the political ideas connected to money as slyly critiqued by the “money painters” of the nineteenth century. The exhibition centers largely on an American obsession with money that transpired in the last quarter of the 1800s, leading to the trompe l’oeil genre of money painting spearheaded by artists such as William Harnett and John Frederick Peto. Later artists continued this interest in depictions of currency, focusing on its commercial aspects as related to a consumer society. A number of Andy Warhol’s prints, along with works by contemporary trompe l’oeil artists such as Michael Theise and Eric Conklin, will also be featured. By exploring some of the diverse ways in which money and art intersect, this exhibition also tells, in part, the history of currency in America. Beginning with Benjamin Franklin, the names of some of the most well-known personages in the country’s history are included in this story. This exhibition not only affords an opportunity to explore the history of money in America, but also addresses the artwork from a stylistic and cultural perspective from the midnineteenth century to the present. Art has been used to narrate myths and religious stories since ancient times. Images constructed to teach Christianity date to the middle of the third century and include subjects from the Old and New Testaments, 1

frequently depicting scenes from the life of Christ as reported in the Gospels. Numerous Bible passages relate to money, particularly in terms of ethical and moral values, and have been portrayed by artists to provide instruction to believers. The Renaissance and Baroque periods were rich with these depictions by artists from Giotto to Michelangelo and Bernini to Rembrandt. An etching by Rembrandt Harmenszoon van Rijn (1606–1669), Christ Driving the Money-Changers from the Temple (Fig. 1), dated 1635 is an example of this type of moral instruction. A passage in John 2:13-16 describes this story: “And making a whip of cords, he drove them all out of the temple, with the sheep and oxen. And he poured out the coins of the money-changers and overturned their tables.” This scene, frequently described as the cleansing of the temple, is aimed at the abuse surrounding money within the precincts of the Jewish Temple court. Similarly, the nineteenth-century engraving The Tribute Money – Render Therefore unto Caesar the Things Which Are Caesar’s, and unto God the Things That Are God’s featured in this exhibition depicts an encounter between Christ and a Roman tax collector who asks Christ to pay the tax he owes. Jesus commands Peter to catch a fish and from the fish’s mouth he extracts a coin (Matt. 17:27). Christ asks the Pharisees whose image is on the denarius. When they tell him, he says “Render therefore to Caesar the things that are Caesar’s, and to God the things that are God’s” (Matt. 22: 15–22). This passage from the Gospels was famously painted by Masaccio in 1427 in the Brancacci Chapel at the Church of Santa Maria del Carmine, Florence, Italy. Our engraving by Joseph Epenetus Coombs (active 1830s–1850s) was based on a 1782 painting by John Singleton Copley (1737/8–1815), an American colonial-era painter of history, genre scenes and portraits who eventually resided in England. Copley’s version 2

portrays Christ pointing with one hand to the coin and with the other to the heavens, acting out the line just quoted. On one level this story questions whether Jews should pay tax to the Roman authorities, and on another level it is a parable that reassesses the conflict between submission to an earthly authority and obedience to a higher power. America was the first country in the Western World to issue paper currency.1 The chronology of Ameri-

Fig. 1. Rembrandt Harmenszoon van Rijn, Christ Driving the Money-Changers from the Temple, 1635, etching, 5 1⁄4 x 6 1⁄2 inches, Reading Public Museum

can money falls into four periods: early American paper money (1690–1800), private bank notes (1800–1865), federally issued Civil War currency (1861–1865), and modern federal issues (1865–present).2 The first paper money in America consisted of notes issued by the Massachusetts Bay Colony and was dated December 10, 1690. No other American was involved over so long a period of time with so many different facets of colonial paper money as Benjamin Franklin, from his efficient production of colonial currency, to the introduction of innovative printing techniques and his proposals concerning a uniform paper currency for the American colonies.3 While in his twenties, Franklin wrote a pamphlet “A Modest Inquiry into the Nature and Necessity of a Paper Currency” to convince the Pennsylvania assembly to authorize a new issue of money in 1729.4 He believed that it was beneficial economically to the common man and to the development of the colony. 3

From the onset of production of paper currency, counterfeiting was a problem and many bills contained the warning “To counterfeit is death.”5 Franklin was a master at printing money and devised many ways to combat the illegal production of paper currency. In 1737 he invented the art of “nature printing,” the production of a printed image using a natural object to make a casting that could then be transferred to a metal plate, and he used it two years later on a New Jersey note.6 Since no two leaves in nature are identical, Franklin reasoned that, if a mold were made from a leaf and engraved on paper no one could copy it.7 The Colony of New Jersey’s twelve shillings bill dated March 25, 1776, which is included in this exhibition, shows the “nature printing” devised by Franklin. One side of the currency contains the royal seal of His Majesty King George of England and the other showcases the beautifully detailed line impression of a sage leaf that Franklin believed could not be duplicated due to the tapering thickness of line. Three names appear on the bill, including that of John Hart, a representative of the colony of New Jersey who also signed the Declaration of Independence. Before independence, each of the original thirteen colonies issued its own paper money, yet the money was of little value in other colonies. Although Franklin had urged that one uniform paper currency should be established for the American colonies, it was not until the American Revolution that the Continental Congress was able to carry out this idea.8 Thanks to Franklin, money sustained the revolution. Paper money also served the rebel cause in the French Revolution. In 1793, the French Revolutionary government issued a series of paper notes in an attempt to finance the ongoing revolution and restore solvency.9 The fifty sols assignats, a sheet of engraved paper notes featured in this exhibition, shows two female figures “representing Justice, with her scales, and 4

the new Constitution, with a tablet inscribed Droits de l’Homme, ‘The Rights of Man.’”10 At one time, allegorical figures that personified virtues were used on the face of Greek and Roman coins. This type of imagery is a tradition that has continued in the monetary history of the world. By using classical figures that trace their roots back to ancient Greece and Rome, western nations reinforced the solvency and authority of the issuer. Text, combined with imagery, could be employed for propagandistic reasons. Issue of these assignats was significant because 1793 was a critical point in the French Revolution, the year that Louis XVI was sent to the guillotine. After the American Revolution, the production of currency progressed and private bank notes were issued by state banks. State bank notes were the chief currency of the nation prior to the Federal currency issued during the Civil War.11 After these state-chartered banks began issuing paper money in the 1780s, counterfeiting became even more rampant than it had been during the colonial period, and thus artwork depicted on these bills played an increasingly significant role.12 Many of the bills issued in Michigan incorporated artistic designs to attract the eye of the public as well as to help combat counterfeiting.13 The scene on one of these Michigan bills, issued by the Branch County Bank, was the work of American genre painter William Sidney Mount (1807–1868), who lived most of his life in the area of Stony Brook, Long Island. The most widely distributed painting from his oeuvre was Long Island Farmer Husking Corn, 1834 (Fig. 2).14 In this painting, a handsomely dressed farmer silhouetted against the sky is shown attentively husking an ear of corn in front of what appears to be an endless field of corn extending beyond the picture plane. At his feet is a basket piled with shucked corn. The fine dress of the farmer distinguishes him as a gentleman farmer. That 5

Fig. 2. William Sidney Mount, Long Island Farmer Husking Corn, 1834, oil on canvas mounted on panel, 29 x 25 inches, collection of The Long Island Museum of Art, History & Carriages

and his abundant crop indicate his industriousness and success. By featuring this heroic Yankee farmer at work, Mount demonstrated his interest in the rural aspects of American life during a period when America was predominantly an agricultural economy. The depiction in this painting of a bountiful harvest made it an apt subject to be included on currency. Corn was also utilized as currency at the time, and Mount was likely very aware of this idea and the monetary implications of his work, making the painting’s significance for this exhibition two-fold.15 An image by the engraving firm Rawdon, Wright and Hatch, New York, Long Island Farmer Husking Corn,

Fig. 3. Rawdon, Wright & Hatch, engravers, Currency, One Dollar Remnant, The Branch County Bank, Michigan, mid-19th century, collection of the Suzanne H. Arnold Art Gallery, Lebanon Valley College

appeared on bank notes as early as 1838. Numerous artists such as Henry Inman, Thomas Sully, Asher B. Durand and others earned an income from the designs they produced for this purpose.16 At least ten states used Mount’s image on notes ranging in amounts from one dollar to a hundred dollars.17 The one dollar bill (Fig. 3) on display in the gallery was issued by The Michigan County Bank with an engraved vignette of Mount’s work placed within a medallion on the right side of the currency. In order to combat the inordinate amount of fraudulent state bank currency, security engraving companies offered “fine bills and certificates ornamented with small-scale, engraved vignettes.”18 The engravers of these images made more money than the original artist. According to Deborah Johnson, there 7

is no record that Mount had authorized or received compensation for the reproduction of his work.19 This painting was rendered as an engraving and used, not only on currency, but also in a gift book. Adam Veil has argued that through the painting’s wide distribution as an engraving it served “as an ideal of nationalistic, domestic and commercial values.”20 Nineteenth-century gift books were lavishly decorated books purchased to be given away as gifts or keepsakes. These books were a type of literary compilation of poetry, prose, and illustrations engraved from the more famous works of European and American artists, appealing to middle class aspirations to the intellectual and cultural sophistication of the upper classes.21 The gift book seen on display in the gallery, The Wintergreen, dated 1844 is opened to the page that contains Robert Hinshelwood’s (1812–1879) engraving after Mount’s Long Island Farmer Husking Corn. In gift book compilations, an image was shown to a writer who was asked to provide a text to go along with the painting. The writer, Seba Smith, was given this task, and Mount’s farmer became a character known as Uncle Joshua, described as “a very industrious and smart man.”22 In 1862, after the onset of the Civil War, the Federal government issued United States Government Notes to replace state-issued currency. These bills, issued three times between 1862 and 1863, were known by the term ‘Greenbacks’ because of the vivid green color on their reverse.23 A tax was placed on state bank notes in order to expedite the change to national currency, and by 1866 they had been virtually taxed out of existence.24 During this period many people hoarded gold and silver coins.25 The final phase in the monetary history of the United States began in 1865 with modern federal issues. 8

Scholars have noted that painted images of money became a subtheme in art, peculiarly American, during the last quarter of the nineteenth century.26 In order to place this development into historical context, it is essential to understand the economic climate of America during this period. The era known as the Gilded Age (1865–1900) was one of the greatest periods of economic growth in American history. Businessmen amassed vast financial empires in such industries as oil, coal, steel and the railroads. During this post-Civil War era of rapid industrialization, the new “American millionaire businessman” emerged.27 Enormous wealth and power were concentrated in the hands of a few, and money became a subject for national and political life. Wealth became a measure of a man’s “moral as well as social worth.”28 In the last decades of the nineteenth century, the topic of American materialism and worship of the dollar was the subject of numerous commentaries in articles, books, and political cartoons. Painters turned to money as a subject as well. Their representations of money were based on the illusionistic device known as trompe l’oeil, a French expression meaning to “trick” or “deceive the eye.” Life-sized depictions of money, a favored trope of late nineteenth-century trompe l’oeil painting, can be seen in the works of William Michael Harnett (1848–1892), John Haberle (1856–1933), John Frederick Peto (1854–1907), Victor Dubreuil (1846–1946) and, later, the works of Otis Kaye (1885–1974) on display in this exhibition. A 1988 exhibit of trompe l’oeil painting, with an accompanying catalogue by Bruce Chambers, was the first to assemble the work of these so-called “money” painters.29 Based on the ploy of deceiving viewers into believing they are looking at actual currency, rather than paintings of currency, these still lifes were designed and crafted to impress viewers with their uncanny resem9

blance to real objects. Artists were also playing with the notion of value by asking viewers to consider, for example, the worth of a real five dollar bill versus that of a rendering of a five dollar bill as a work of art. This type of art flourished in nineteenth-century America because of the connection between this art form and the growth of bourgeoisie capitalism.30 The earliest known American example of illusionistic painting of money as a solitary image is Harnett’s Still Life: Five Dollar Bill of 1877 (Fig. 4), seen in this exhibition. A worn United States five dollar bill is depicted slightly off kilter on a painted wooden background with Harnett’s signature and date in the top left-hand corner of the painting. In 1869 a new United States five dollar note was issued with a portrait of Andrew Jackson on the left and a small vignette of a pioneer family in the middle. Because Harnett’s work was painted in 1877, several years after the bill’s first issue, the currency he portrayed is wrinkled and worn with several tears around the edge. The image is reminiscent of trophy still life paintings of this period in which fruits of the hunt hang against a door. Harnett’s painting of a five dollar bill is also a trophy still life, yet it alludes to the prowess of making money rather than the traditional subject of the hunt.31 Harnett was friend and mentor to Peto, also from the Philadelphia area. Like Harnett, Peto painted still life scenes of money alongside other kinds of collected objects set on a table or desk. His painting, Still Life: Inkwell and Bills (Fig. 5) from the 1880s, reveals an inkwell containing a pen and placed on an opened letter. Behind it is a book draped with a worn five dollar bill, and a coin rests nearby on the table. Peto was known for the psychological complexity of his work, and scholars have noted that this type of painting was intended to appeal to business patrons who may have used such objects as writing materials, books and coins in their occupations.32 10

Fig. 4. William Michael Harnett, Still Life: Five-Dollar Bill, 1877, oil on canvas, 8 x 121â &#x201E;8 inches, Philadelphia Museum of Art

Fig. 5. John Frederick Peto, Still Life: Inkwell and Bills, 1880s, 41⁄4 x 61⁄2 inches, oil on cardboard, collection of the Newark Museum

Adding money to an assemblage of objects arranged on a table in a traditional still life composition or focusing on money itself attached to a vertical flat surface were just two examples of the way money was deployed in a trompe l’oeil manner. A different tactic was the “letter rack” painting, in which strips of ribbon were tacked on a board forming a grid under which were tucked paper money, tickets, notes, postcards and envelopes. Seventeenth-century Dutch painter Wallerand Vaillant was one of the first European artists to employ this illusionistic method, and nineteenth-century American artists clearly looked back to this early example.33 In formal terms, this method emphasized a solid picture plane upon which objects were assembled in a shallow space. Thematically, the collection of items often had personal connotations. While Harnett and Peto were painting in the late nineteenth century, financial power was accumulating in the hands of a few industrialists.34 Political scandals and monopolies fueled a burgeoning belief in the corrupting influence of money. A growing and increasingly abrasive division between the rich and the rest of society created a change in attitude about the pursuit of wealth. Illusionistic images of money were not only a commentary on the acquisition of wealth at this time, but also a reference to the huge amount of counterfeiting taking place. Whether a paper note was real or fake was a major concern because around 40 percent of the paper money in circulation by 1865 was counterfeit.35 A reporter coined the term “counterfeit” in order to describe Harnett’s painting, After the Hunt, and Harnett was even accused of counterfeiting by agents of the Secret Service Bureau, who asked him to stop painting images of money.36 Although less well known than Harnett and Peto, Haberle’s early work as an engraver in New Haven, Connecticut, provided him with the techni13

cal expertise he needed to portray realistic depictions of money. His work, Imitation, dated 1887, was one of the most successful examples of trompe l’oeil money pictures made in late nineteenth-century America. Other than a one dollar bill, this image contains currency that was obsolete. Although artists had been asked to refrain from painting realistic portrayals of money because of laws concerning counterfeiting, Haberle ignored the request and even poked fun at it by referring to counterfeiting in his images of money. The title of the work, Imitation, alludes to this, as does Reproduction, which includes two phony newspaper articles connecting Haberle with counterfeiting, along with a ten dollar bill.37 Although best known for the witty, mocking quality of his paintings, his One Dollar Bill (1890) in this exhibition is one of his more straightforward portrayals of currency.38 It shows a tattered one dollar bill displayed on a dark wood-grained background. The portrait of Martha Washington on the left side of this silver certificate, which was issued in 1886, is the first image of a woman to appear on currency. The wear and tear of this much circulated dollar is very evident, a detail that Haberle included intentionally in order to increase the trompe l’oeil quality of the bill. By examining Haberle’s work, it is evident he carefully enhanced the illusion by making every word on every item legible.39 Active in the 1890s, New York artist Dubreuil’s ouevre includes numerous socio-political commentaries on the obsession with money and its potential as a cause of moral decay. Recent genealogical information has shown that his father was the director of a New York-based touring opera company, which may explain Dubreuil’s uniquely theatrical trompe l’ oeil paintings.40 His dramatic Money to Burn (1893) shows endless rows of barrels overflowing with money, as if hoarded, resting on a parquet floor in a rich man’s house. In Trompe l’Oeil Still Life with Dollar Bill and Fly (Fig. 6), dated 14

Fig. 6. Victor Dubreuil, Trompe lâ&#x20AC;&#x2122;Oeil Still Life with Dollar Bill and Fly, 1891, oil on canvas, 8 x 12 inches, Godel and Co. Fine Art, N.Y.

Fig. 7. Otis Kaye, Rembrandt’s Etching of Faust in His Study, Watching a Magic Disk, with Two Pennies and a Quarter, ca. 1959, etching and oil on paper, 8 1⁄8 x 6 3⁄8 inches, Smith College Museum of Art

1891, Dubreuil alludes to the insects found in Dutch still lifes that were painted with a high degree of verisimilitude. By depicting a fly, he more pointedly seems to be commenting on the attraction of money: flies, commonly found dining on rotted food and decay, would be drawn to Mammon, a personification of greed in the middle ages. Continuing in this tradition, the amusing play of wit found in the work of the money painters is most evident in Washington and the Half Dollar, on display in this exhibition, painted by Kaye after 1929. Originally born in Michigan, Kaye became acquainted with the work of nineteenth-century trompe l’oeil painters during a brief stay in New York in 1904.41 Against a wooden backdrop, he has included a dollar bill, a silver half dollar held fast to a wood background by three tiny screws, and what looks like a fragment of a newspaper clipping stating that “Washington asked his aide, Otis Kaye, for a dollar to throw across the Potomac. Kaye gave him a half.” This silly comment may refer to Kaye being a cheapskate, but also alludes to the convincing illusionism with which the money is painted—presuming that even George Washington believed it was real. In addition to his overt wit, Kaye diverged from the original money painters by appropriating works of old masters and subtly transforming them. This is seen quite clearly in the work on display in this exhibition, Rembrandt’s Etching of Faust in His Study, Watching a Magic Disk, with Two Pennies and a Quarter (Fig. 7), in which Kaye has replaced Rembrandt’s magic disk with the obverse of the Washington quarter. Kaye adapted and modified at least twenty-two of Rembrandt’s etchings, demonstrating his admiration for the master.42 His use of appropriation precedes the later twentieth-century penchant for this technique, famously employed by Warhol. 17

Some nineteenth-century critics branded the single-minded interest in imitation as an inferior type of art exploration. John Ruskin, for instance, saw this obsession as leading away from the “inherent beauty in the subject.”43 Yet the work of these trompe l’oeil painters contains an ironic wit demonstrating that even they did not intend for this play between illusion and reality to be taken completely seriously.44 This can be detected in the framing devices they used, the titles of their works, and the bits of text that were often included in their paintings. Just as two-dimensional art has been employed to enhance paper currency, the use of three-dimensional sculptural relief is inextricably tied to the production of coinage. A study of coins from the nascent Renaissance era of American coinage (1905–1908) in this exhibition highlights the use of this medium and also its link to the popular use of medals.45 Alexander Hamilton, the first Secretary of the Treasury, first proposed the establishment of the United States mint and its coinage to Congress in 1791. As originally drafted, one of the contentious disputes in the passage of this act was the selection of designs for coinage. Although the design of an eagle for the reverse side of the coin was easily agreed upon, the idea of an impression of a president on the obverse side caused great debate. The proposed design seemed too close to the monarchical British coins, and even President George Washington opposed the use of his portrait on coins. The bill was held up in the House of Representatives because of this issue, and consequently an amendment was proposed to eliminate the reference to the president’s portrait. Instead of this design, an image that was described as “Emblematic of Liberty” was adopted. The act establishing the U.S. Mint and its coinage was made into law in 1792, having passed both Houses of

Congress and approved by Washington.46 The image of liberty had a number of variations over subsequent years. The renaissance of American coinage took root in the last quarter of the nineteenth century, known as the “Gilded Age,” and came to fruition through the efforts of Theodore Roosevelt and the beaux-arts sculptor Augustus Saint-Gaudens (1848–1907). When Roosevelt took office in 1901, after the assassination of President McKinley, he instituted a plan for redesigning the nation’s coinage. Roosevelt wanted Saint-Gaudens, wellknown for his statue of William Tecumseh Sherman dedicated in Central Park in 1903, to work on new designs for the ten- and twenty-dollar gold pieces and the one-cent coin.47 Roosevelt’s original idea for the twenty-dollar gold piece was the figure of Liberty wearing a feather headdress. SaintGaudens’ final version, on display in this exhibition, shows Liberty minus a headdress striding forward atop a mountain, hair and drapery blown by a breeze, holding a torch in one hand and a shield inscribed with the word “Liberty” in the other.48 Roosevelt believed that the introduction of these coins designed by Saint-Gaudens was one of the most important achievements of his administration. After Saint-Gaudens’ death in 1907, new designs by other artists emerged including James E. Fraser’s buffalo nickel, Victor D. Brenner’s (1871–1924) Lincoln penny and Bela Pratt’s (1867–1917) half-and quarter-dollar eagles, among others.49 A ten-dollar coin designed by Saint-Gaudens, at Roosevelt’s suggestion, had originally contained the image of Liberty with a Native American feathered headdress. In contrast, Pratt’s design for the quarter- and halfeagle gold coins featured the real-life portrait of Native American, Chief Thundercloud, wearing the feathered headdress. Using a novel approach,

conceived by William Sturgis Bigelow, Pratt crafted an incised relief design in a style of sculptural modeling known as “Egyptian relief,” which can be seen in the 1909 five-dollar gold piece in this exhibition.50 Despite the artistic success of the coin, bankers and numismatists complained because the coin lacked a border and there was no rim, a numismatic convention employed as a protection against wear.51 The 1907 cast bronze plaque of the Lincoln penny by Brenner, also included in this exhibition, is representative of the popularity of medallic sculpture in America between 1880 and World War I. Idealized portraiture was fashionable for politicians, artists and socialites of the period and the medallic format was a powerful art form for chronicling the notable people and events of the “Gilded Age.”52 While sitting for his portrait in Brenner’s studio – a portrait that would be used on the obverse of a medal in commemoration of the building of the Panama Canal—Roosevelt was captivated by Brenner’s bronze plaque of Abraham Lincoln.53 Brenner suggested featuring Lincoln’s portrait on a new coin to be issued in 1909 in honor of the centennial of the President’s birth. His design of Lincoln was chosen for the one-cent piece that Roosevelt had proposed and was the first U. S. coin to feature an historical figure.54 Another example of idealized portraiture produced during this age of medals is the profile relief George Washington by sculptor George Bissell (1839–1920) on display in this exhibition. In addition to its power to address the political and cultural implications of money, art has a significant capacity to raise money. During World War I, famous artists made posters that were used to sell liberty bonds to help fund the United States war effort. During World War II, Norman Rockwell (1894–1978) was inspired to create a series of paintings that were originally published in The Saturday Evening Post and later reproduced as posters that 20

raised enormous sums. Rockwell’s inspiration was Franklin D. Roosevelt’s famous “four freedoms” speech of January 6, 1941. According to the artist, he woke up in the middle of the night with the idea of translating Roosevelt’s speech into a narrative story.55 This story became the four paintings on display: “Freedom of Speech,” “Freedom to Worship,” “Freedom from Want,” and “Freedom from Fear.” Thomas Mabry, chief of the Graphics Division of the Office of War Information (OWI), reportedly wrote to Rockwell saying that the posters were one of the government’s most “urgent needs” to be used for the Victory Loan Drive.56 His “Freedom of Speech” was the first to be published in the Post on February 20, 1943 and has been said to have been among his most successful paintings. That same week OWI announced that millions of posters would be reproduced from these scenes.57 A tour of the original paintings, organized by the United States Treasury and co-sponsored with The Saturday Evening Post, raised $133 million in war bonds.58 Few artists were as interested in money, on or off the canvas, as Andy Warhol (1928–1987). Warhol’s fascination with money and commodity culture prompted him to remark, “I like money on the wall. Say you were going to buy a…painting. I think you should take that money, tie it up, and hang it on the wall. Then when someone visited you the first thing they would see is the money on the wall.”59 Warhol began to paint representations of dollar bills in the early 1960s, creating canvasses patterned with continuous grids of currency notes and drawing crumpled up bills stuffed into soup cans. He returned to the subject in the 1980s, isolating the dollar sign and reproducing that symbol in paintings and prints. Warhol drew numerous dollar sign symbols using a sketchy, improvisational style and placed them in various postures: straight, slanting, thick 21

and thin. Some were curving and elegant, reminiscent of italic script, while others were plump and sensuous. In $(1), the overlaid impressions of the dollar sign are intentionally misaligned, suggesting that the images are pulsating and quivering. In 1981, Warhol mounted a show of drawings, prints and paintings of dollar signs at New York’s Leo Castelli Gallery. The works in the Dollar Sign series he created have become some of Warhol’s most powerful and essential images.60 Their repetitive nature makes them appear ordinary and commonplace, but their vibrant colors and innovative designs bring them to life as seen in $(9) (Fig. 8) in the exhibition. By showing the dollar signs as solitary images, Warhol removed any particular denomination and allowed them to stand on their own as abstract concepts of value and consumer culture. While the Dollar Signs series celebrates both the dollar and capitalism of the United States, it can also be seen as a deliberate statement about the art market—about the value that can be attached to art—and the high prices that consumers were willing to pay for art in the early 1980s.61 When Warhol completed the Dollar Signs series in 1981, the worlds of art and business had just begun a historically money-crazed decade. The wealth and prosperity of many upper- and middle-class Americans throughout much of the 1980s generated remarkable growth in the art market, most notably in New York City, where collectors increasingly saw art as an investment. As a result, artists such as Warhol, Jasper Johns (b. 1930) and Roy Lichtenstein (1923–1997) became very well known, and learned to promote not only their work, but also their often colorful personalities. Warhol’s continued fascination with American commodity culture extended to the end of his career, when he became engrossed with the tales

Fig. 8. Andy Warhol, $(9), 1982, screen print on Lenox Museum Board, 40 x 32 inches, The Andy Warhol Museum, Pittsburgh, ÂŠ2011 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York

Fig. 9. Michael Theise, Taking Chances, 2006-2007, oil on board, 19 1⁄2 x 19 1⁄2 inches, collection of Spanierman Gallery, LLC, N.Y.

and legends of the American West. In 1986, he created a series of prints and paintings titled Cowboys and Indians.62 Based on publicity and archival photographs and postcards, it is one of Warhol’s last collections of works, created shortly before his death in 1987. In Cowboys and Indians, Warhol paid tribute to the popular account of the American West, depicting figures such as General Custer, Geronimo and Teddy Roosevelt, as well as idealized and stereotypical images of American Indians. Warhol depicted the legendary American bison in Cowboys and Indians: Buffalo Nickel (1986) on display in this exhibition, which was on the reverse of the original buffalo head nickel. This image was struck by the United States Mint from 1913–1938, with a visage of a Native American on the obverse. In another work, Warhol documented the stereotypical image of a Native American, and the peculiar treatment of the vanquished Indian, as memorialized on a coin. When the Cowboys and Indians series is shown as a group, the viewer is obliged to question long-held notions of the heroes of the American West and to consider their relationship with forgotten Native American heroes.63 Known for his socially radical art, J.S.G. Boggs (b. 1955) is a contemporary artist who has focused on the symbiotic roles of money and art. Boggs creates drawings that look like money and barters these bills for goods and services, a controversial practice that has garnered him attention from the United States Secret Service and government agencies in several other countries. Because his drawings are so detailed and similar to the style of actual United States paper money, they suggest that he is issuing his own currency. But from a “performance art” perspective, Boggs is challenging the role of official currency by exchanging his own meticulously handdrawn and photocopied bills for authentic money. 25

Boggs began his exploration into the value of art and money at a restaurant in Chicago in 1984, when he drew a one-dollar bill on a stained napkin while he was having a cup of coffee. The server asked to buy the drawing, and Boggs negotiated a deal of trading his coffee in exchange for the drawing. The server agreed, kept the drawing, and returned with Boggs’ change from his coffee.64 A complete Boggs work includes not only the money drawing, but also the change and receipt from the transaction. Twenty-four hours after the initial transaction, Boggs notifies a collector that he has a receipt which he is willing to sell. For an additional fee, Boggs will also sell the change from the transaction. Supplied with the receipt, the buyer will then be able to track down the specific Boggs bill and negotiate a deal. The collector will then be in possession of all of the elements of the transaction: the bill, the receipt, the change, and perhaps another item which Boggs has thrown in, such as a menu. Adornment (1990) is a full documentation of one such transaction. Boggs purchased a $400 necklace with a photocopy of one of his hand-drawn $500 bills. He received $100 change in authentic currency. Boggs’ “currency performance art” has made the artist widely known around the world, particularly to law enforcement organizations.65 He has been accused of counterfeiting by several government agencies. In 1991 and 1992, the United States Secret Service seized a number of Boggs’ works and refused to return them, arguing that they were contraband. Boggs has never been formally charged with counterfeiting, yet the Secret Service retains possession of those works. The United States government closely follows Boggs, keeping track of exhibitions of his work, blocking showings and threatening further legal action.66 26

When confronted with J.S.G. Boggs’ creations, questions arise: Which part of Boggs’ work is art? 67 Are the drawn bills themselves the “art”, or does the art instead consist of the bills together with the proposed transaction and negotiation with a merchant? For Boggs, the complexities of negotiation and transaction are central elements in his work. The proof of his success—the receipts and change—is part of the final product. Contemporary artist Michael Theise (b. 1959) brings a pop flavor to the trompe l’ oeil tradition in his depiction of Taking Chances (2006–2007) (Fig. 9). In this painting we see the fronts and backs of real money, as opposed to play money, scattered on a Monopoly board. The game Monopoly refers to the economic idea that a single entity dominates a market, in this case, the real estate market. It is interesting that the game was first developed in 1904, just at the time, as discussed earlier, that individual capitalists came to dominate the business world. There can be no mistaking the placing of what looks like real money on the board of a game whose strategy is based on the accumulation of wealth. In this painting the play of amassed wealth, capitalism and popular culture exemplifies the message of pop art as promoted by Warhol, which transformed our thinking about the commercially oriented American world. Some economists believe that America is now in a second gilded age, due to a growing gap between the very rich and poor.68 An interest in the long-standing tradition of depictions of currency and their role in visual culture persists in the post-modern period. The contemporary trompe l’oeil painter, Eric Conklin (b. 1950), continues the practice of predecessors showing us the back of a painting in his Hidden Treasure on display in the exhibition.69 The viewer’s curiosity is peaked by the thought of the painting on the other side, and there is also a sense of hidden secrets revealed. What 27

is visible is the stretcher, the back of a wood frame, maybe a label and possibly an envelope stuffed with a letter or money, with the appearance that it has been hurriedly placed there. With this genre, sometimes the letters contain the names of the person who commissioned the painting. As Franklin Kelly, chief curator at the National Gallery of Art, Washington, D.C., has commented in referring to the back of picture portrayals, “It is indeed difficult to imagine carrying the joke any further.”70 In his Ben’s String Cabinet (Fig. 10), dated 2005, Conklin has painted a string cabinet as if he has used a “paint by numbers” kit, signaled by the unfinished lower right-hand corner. The painting portrays a well-worn green door with a string running out of a string-cutting hole. As the string is drawn out of the hole it makes string art in the shape of a kite and ends in a rusted key. The kite, key, string, and pair of glasses all refer to lore about inventor and statesman Benjamin Franklin, who also appears on the one hundred-dollar bill draped over a section of the string. Franklin is intertwined with the history of American money and it is therefore appropriate that this exhibition ends with a reference to the man with whom this story began. As this exhibition demonstrates, money has played an instrumental part in the cultural history of America. From Franklin’s nature printing to Mount’s rural vernacular portrayal of American life to Saint-Gauden’s twenty-dollar gold piece, art has been employed to serve a variety of ends in the production of money. Money was used as a theme in nineteenth-century trompe l’oeil paintings to satirize economic concerns arising during the Gilded Age. The power of money has been recognized by governments at war, both as a means to finance their efforts and as a source of propaganda.

Fig. 10. Eric Conklin, Benâ&#x20AC;&#x2122;s String Cabinet, 2005, oil on linen, 30 1â &#x201E;2 x 23 inches, collection of Eric Conklin

The combination of text and art on money has also been carefully considered for its implications as art, as propaganda, and as a numismatic protective device. Contemporary artists have added to the ongoing conversation about moneyâ&#x20AC;&#x201D;Warhol as it relates to consumerism, with Theise and Conklin playfully developing the theme in a post-modern context. As is readily evident in this exhibition, the interplay between money and the art process can be quite provocative.

FOOTNOTES 1. For a compilation of information on American paper currency from 1686 to 1789 see Eric P. Newman, The Early Paper Money of America (Racine, Wis.: Whitman Pub. Co., 1967). 2. Dawn Barrett, “’Modest Enquiry” and Major Innovation: Franklin’s Early American Currency,” Vol. 29 No. 3-4 The Visible Language (1995): 316-363; 318. 3. Farley Grubb, “Benjamin Franklin and the Birthplace of a Paper Money,” (paper presented to the Federal Reserve Bank of Philadelphia, Mar. 30, 2006). For Franklin’s efforts with colonial currency, see Eric P. Newman, “Franklin Making Money More Plentiful,” Vol. 115, No. 5 Proceedings of the American Philosophical Society (Oct. 15, 1971): 341-349. 4. Newman, “Franklin Making Money More Plentiful,” 341-349. 5. Q. David Bowers, Obsolete Paper Money: Issued by Banks in the United States 1782-1866: A Study and Appreciation for the Numismatist and Historian (Atlanta, Georgia: Whitman Publishing, LLC, 2006), 3. 6. Barrett, 344. 7. Newman, “Franklin Making Money More Plentiful,” 343. 8. Newman, “Franklin Making Money More Plentiful,” 346. 9. D. M. G. Sutherland, The French Revolution and Empire, (Malden, Ma.: Blackwell Publishing, 2003), 182-183. 10. An example of the fifty sols assignats can be found on the British Museum website. See <British Museum> <Assignat Note for 50 Sols> <<http://www.britishmuseum.org/explore/highlights/highlight_objects/cm/a/assignat_note_for_50_sols.aspx>> (<June 21, 2011>) 11. John A. Muscalus, Wm. S. Mount’s Art Work on Paper Money, 1838-1865 (Bridgeport, Pa.: Historical Paper Money Research Institute, 1965). 12. Bowers, 159. 13. Bowers, 251-253. 14. Deborah J. Johnson, William Sidney Mount: Painter of American Life (New York: The American Federation of Arts, 1998), 134. 15. Charles Colbert, “’Fair Exchange No Robbery’: William Sidney Mount’s Commentary on Modern Times,” American Art Vol. 8 No. 3/4 (Summer-Autumn, 1994): 28-41. 16. Johnson, 134. 17. Muscalus. 18. Adam Veil, “William Sidney Mount’s Long Island Farmer Husking Corn: Painting, Engraving, Bank Note,” Chicago Art Journal Vol. 13 (Spring 2003): 24-32, 30. 19. Johnson, 135. 20. Veil, 25. 21. Veil, 26. 22. Veil, 29. 23. Glyn Davies, A History of Money (Cardiff: University of Wales Press, 1994), 488-489. 24. Davies, 489.

25. Bowers, 400. 26. Edward J. Nygren, “The Almighty Dollar: Money as a Theme in American Painting,” Winterthur Portfolio Vol. 23, No., 2 (Summer – Autumn,1988): 129-150, 129. 27. Nygren, 130. 28. Nygren, 130. 29. Bruce Chambers, Old Money: American Trompe l’Oeil Images of Currency (New York: Berryhill Galleries, 1998). 30. Sybille Ebert-Schifferer, Five Centuries of Trompe l’Oeil Painting: Deceptions and Illusions (Washington, D. C.: National Gallery of Art, 2002), 95-96. A similar connection can be made to this popular genre and its production in seventeenth-century Holland and the growth of bourgeoisie capitalism at that time. 31. Nygren, 131-133. 32. For an example of the psychological complexity of Peto’s work, see Ebert-Schifferer, 234. For the connection of this type of work to business patrons, see Chambers, 18. 33. Ebert-Schifferer, 190. 34. Nygren, 135. 35. Nygren, 135. 36. Nygren, 135. 37. Nygren, 135. 38. Gertrude Grace Sill, John Haberle: Master of Illusion (Springfield, Mass.: Springfield Museum of Fine Arts, 1985), 14. 39. Ebert-Schifferer, 97. 40. For information on Dubreuil, see Chambers, 67-80. 41. For an exhibition catalogue on Kaye’s work exhibited at the Gerald Peters Gallery in 2002 see Mary Anne Goley, “Otis Kaye: Trompe l’ Oeil Master of Appropriation,” Otis Kaye (New York: Gerald Peters Gallery, 2002). 42. Goley. 43. Ebert-Schifferer, 102. 44. Ebert-Schifferer, 102-103. 45. See Roger W. Burdette, Renaissance of American Coinage 1905-1908 (Great Falls, Virginia: Seneca Mill Press, Inc., 2006). This text provides a great deal of archival information on this beginning period. The author has written two subsequent volumes covering the periods from 1909-1915 and 1916-1921, respectively. 46. For this section on the U.S. Mint see David W. Lange, History of the United States Mint and its Coinage (Atlanta, Ga.: Whitman Publishing, LLC, 2006), 23-24. 47. For a thorough treatment of the work of Saint-Gaudens and its production see John H. Dryfhout, The Works of Augustus Saint-Gaudens (Lebanon, N.H.: University Press of New England, 1982), 35.

48. Dryfhout, 35. 49. Dryfhout, 36. 50. Lange, 146. 51. Lange, 146. 52. Barbara A. Baxter, The Beaux-Arts Medal in America (New York: The American Numismatic Society, 1987), 3. 53. Lange, 146. 54. Baxter, 8. 55. For a biography on Rockwell see Laura Claridge, Norman Rockwell (New York: Random House, 2001), 304. 56. Claridge, 305-306. 57. Claridge, 309. 58. Claridge, 213. 59. Andy Warhol, The Philosophy of Andy Warhol: From A to B and Back Again (New York: Harcourt Brace Jovanovich, 1975), 134. 60. For an exhibition catalogue on the Dollar Signs series, see Trevor Fairbrother, Andy Warhol Dollar Signs, (New York: Van de Weghe, 2004). 61.<Christie’s> <Sale 7602Lot22> <<http://www.christies.com/LotFinder/lot_details.aspx?intObjectID=5101418>> <June 30, 2008> (Accessed <June 29, 2011>) 62. For a recent exhibition on this theme see <The Mint Museum, Charlotte, N.C.> <Andy Warhol: Cowboys and Indians> << http://mintwiki.pbworks.com/w/page/21449234/AndyWarhol-:-Cowboys-and-Indians>> <September 12, 2008> (Accessed <June 14, 2011>) 63. David Robbins, “Cigar-Store Indian: Andy Warhol’s Cowboys and Indians,” Arts Magazine, 9 (1986): 52-3. 64. For the notation of this incident, see Charlene Roth, “J.S.G. Boggs at Frumkin/Duvall Gallery,” Artweek 30 (1999): 25-26. 65. Randall Bezanson, Art and Freedom of Speech (Urbana, Ill.: University of Illinois Press, 2009), 263. 66. Bezanson, 267. 67. Bezanson, 263. 68. Robert C. Liberman, “Why the Rich are Getting Richer: American Politics and the Second Gilded Age: Review Essay,” Foreign Affairs Vol. 90 No. 1 (January-February, 2011): 154-158. 69. For the seventeenth-century Antwerp painter Cornelis Gijsbrechts, who had created the prototype for this theme in his The Back of a Picture (1670), see Ebert-Schifferer, 313. 70. Ebert-Schifferer, 316.

Exhibition Checklist George Bissell (1839–1920) George Washington 1913 Bronze plaque 11 1⁄2 x 9 1⁄8 inches Gorham Manufacturing Company, Providence, Rhode Island Private collection James Stephen George Boggs (b. 1955) Adornment 1990 Engraving, xerox, lapis, brass, silver Spencer Museum of Art, The University of Kansas Gift of Ms. Carolyn Connerat James Stephen George Boggs (b. 1955) Life Size & In Colour! Canograph Late 1990s Spencer Museum of Art, The University of Kansas Gift of Jeff and Peggy Pearson Victor D. Brenner (1871–1924) Abraham Lincoln 1907 Bronze relief 9 1⁄2 x 7 1⁄8 inches New Jersey Art Foundry, Jersey City, New Jersey Private collection

Eric Conklin (b. 1950) Ben’s String Cabinet 2005 Oil on linen 30 1⁄2 x 23 inches Collection of Eric Conklin Eric Conklin (b. 1950) Hidden Treasure 2011 Oil on panel 12 x 16 inches Collection of Eric Conklin Eric Conklin (b. 1950) Miss Vikki’s Class - Anniversaries 2010 Oil on panel 14 x 11 inches Collection of Eric Conklin Joseph Epenetus Coombs (active 1830s–1850s) The Tribute Money - Render therefore unto Caesar the things which are Caesar’s, and unto God the things that are God’s 1830s-1850s Engraving 12 3⁄4 x 15 1⁄2 inches After John Singleton Copley (1737/8–1815) Reading Public Museum

Victor Dubreuil (1846–1946) Trompe l’Oeil Still Life with Dollar Bill and Fly 1891 Oil on canvas 8 x 12 inches Godel and Co. Fine Art, New York

William Michael Harnett (1848–1892) Still Life: Five-Dollar Bill 1877 Oil on canvas 8 x 12 1⁄8 inches The Alex Simpson, Jr., Collection, 1943 Philadelphia Museum of Art

Benjamin Franklin (1706–1790) Colony of New Jersey, twelve shillings 2 1⁄4 x 4 1⁄4 inches Currency engraving Dated March 25, 1776 Bishop Library Archives, Lebanon Valley College Gift of David Van Pelt

Robert Hinshelwood (1812–1879) Engraving Gift Book, The Wintergreen 1844 Allison-Shelley Collection, Collection of Rare Books and Manuscripts at the Pennsylvania State University Libraries, Penn State University

John Haberle (1856–1933) One Dollar Bill 1890 Oil on canvas 8 x 10 inches Godel and Co. Fine Art, New York

Otis Kaye (1885–1974) Rembrandt’s Etching of Faust in His Study, Watching a Magic Disk, with Two Pennies and a Quarter ca. 1959 Etching and oil on paper 8 1⁄8 x 6 3⁄8 inches Smith College Museum of Art Purchased with the Beatrice Oenslager Chace, class of 1928, Fund

Petra Katrina Haff Money 1990’s Print 12 x 15 x 3⁄4 inches Reading Public Museum

Otis Kaye (1885–1974) Washington and the Half Dollar after 1929 Oil on panel 6 1⁄4 x 8 1⁄4 inches Collection of the Spanierman Gallery, LLC, New York

James B. Longacre (1794–1869) Liberty Head Double Eagle Twenty-dollar Gold Piece 1904 Private collection William Sidney Mount (1807–1868) Long Island Farmer Husking Corn 1834 Oil on canvas mounted on panel 29 x 25 inches Collection of The Long Island Museum of Art, History & Carriages Gift of Mr. and Mrs. Ward Melville, 1975 John Frederick Peto (1854–1907) Still Life: Ink Well and Bills 1880s 4 1⁄4 x 6 1⁄2 inches Oil on cardboard Collection of the Newark Museum Bequest of Dr. Donald M. Dougall, 1954 Bela Lyon Pratt (1867-1917) Indian Head Quarter Eagle Five-dollar Gold Piece 1909 Private collection Rawdon, Wright & Hatch, engravers Currency, One Dollar Remnant The Branch County Bank, Michigan Collection of the Suzanne H. Arnold Art Gallery, Lebanon Valley College

Rembrandt Harmenszoon van Rijn (1606–1669) Christ Driving the Money-Changers from the Temple 1635 Etching 5 1⁄4 x 6 1⁄2 inches Reading Public Museum Gift, Mr. Edwin DeTurck Bechtel Norman Rockwell (1894–1978) Freedom from Fear 1943 Poster produced by OWI 34 x 25 1⁄2 inches Bishop Library Archives, Lebanon Valley College Norman Rockwell (1894–1978) Freedom from Want 1943 Poster produced by OWI 34 x 25 1⁄2 inches Bishop Library Archives, Lebanon Valley College Norman Rockwell (1894–1978) Freedom of Speech 1943 Poster produced by OWI 34 x 25 1⁄2 inches Bishop Library Archives, Lebanon Valley College

Norman Rockwell (1894–1978) Freedom to Worship 1943 Poster produced by OWI 34 x 25 1⁄2 inches Bishop Library Archives, Lebanon Valley College Augustus Saint-Gaudens (1848–1907) United States Twenty-dollar Gold Piece 1908 Struck gold Private collection Michael Theise (b. 1959) Taking Chances 2006-2007 Oil on board 19 1⁄2 x 19 1⁄2 inches Collection of Spanierman Gallery, LLC, New York Unknown Sheet of 20 Assignats 1793 Engraving, French paper currency 14 1⁄2 x 20 3⁄4 inches Reading Public Museum

Andy Warhol (1928–1987) $(1), Artist’s Proof, 8/10 1982 Screen print on Lenox Museum Board 20 x 16 inches The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. Andy Warhol (1928–1987) $(9), Published Edition, 3/35 1982 Screen print on Lenox Museum Board 40 x 32 inches The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc. © 2011 The Andy Warhol Foundation for the Visual Arts, Inc./Artists Rights Society (ARS), New York Andy Warhol (1928–1987) Cowboys and Indians: Buffalo Nickel, Trial Proof, 2/36 1986 Screen print on Lenox Museum Board 36 x 36 inches The Andy Warhol Museum, Pittsburgh; Founding Collection, Contribution The Andy Warhol Foundation for the Visual Arts, Inc.

Money, Art, and the Art of Money SPONSORS Support is provided by Fulton Bank, Lebanon Division, the Lebanon Valley College Colloquium and contributing members of the Friends of the Gallery. OPENING RECEPTION Friday, September 2, 5–7 p.m. LECTURE Valuing and Appraising Art for Federal Tax Purposes Karen Carolan, Executive Director of Appraisal Services, Art Dealers Association of America Refreshments provided by the MBA program at Lebanon Valley College Thursday, September 29, 5 p.m., Zimmerman Recital Hall TROMPE L’OEIL PAINTING WORKSHOP Saturday, October 15, 9 a.m.–4 p.m. with trompe l’oeil artist Eric Conklin TROMPE L’OEIL PAINTING WORKSHOP FOR CHILDREN Saturday, October 15, 9 a.m.–11:30 a.m. GALLERY HOURS Wednesday, 5–8 p.m. Thursday–Friday, 1– 4:30 p.m. Saturday–Sunday, 11 a.m.– 5 p.m. and by appointment for groups. To arrange a private gallery talk for your school or organization, please contact the Gallery at gallery@lvc.edu or 717-867-6445. JOIN THE FRIENDS OF THE GALLERY Support the Gallery and help make exhibitions like this one possible. For more information, please visit our website at www.lvc.edu/gallery.

Suzanne H. Arnold Art Gallery Lebanon Valley College 101 North College Avenue Annville, PA 17003