2 0 0 5 – 2 0 0 6d i c k i n s o n c o l l e g ec a r l i s l e , p e n n s y l v a n i a

FRIENDS of TheTrout Gallery

Letter from the Director

Bulletin

The Friends of THE TROUT GALLERYVol. 2, 2005-2006

The Bulletin is published annually by the Friends of The Trout Gallery

Editor, Stephanie Keifer

THE TROUT GALLERYCarlisle, Pennsylvania 17013717-245-1344 fax 717-254-8929www.dickinson.edu/trouttrout@dickinson.edu

DIRECTORPhillip Earenfight

REGISTRAR ANDEXHIBITIONS PREPARATORJames Bowman

OUTREACH PROGRAMCURATOR OF EDUCATIONWendy Pires

OUTREACH PROGRAMPUBLICITY COORDINATORDottie Reed

ADMINISTRATIVE ASSISTANTStephanie Keifer

GALLERY ATTENDANTSSue CurziRosalie Lehman

BULLETIN DESIGNKimberley NicholsPatricia Pohlman

PHOTOGRAPHERA. Pierce Bounds

PRINTINGTriangle PrintingYork, Pennsylvania

© The Trout Gallery, 2005

The Trout Gallery receives support from Dickinson College, the Ruth TroutEndowment, and the Helen E.Trout Memorial Fund.Additional funding for special projects comes from the Henry D.Clarke, Jr. Foundation for the Arts.

Cover: Francisco Goya, El sueño de la razon produce monstruos (The sleep of reasonproduces monsters), etching and aquatint, 1799

Since my arrival at the museum three years ago, much effort has beendirected towards building the museum staff, reorganizing the galleriesto use the limited exhibition space in the most effective and efficientmanner, upgrading the exhibition lighting systems, focusing attention onthe permanent collection, enhancing the storage facilities, and creating anOutreach Program classroom. All of these projects have been completed or are scheduled for completion over the next year.

Encouraged with the success of this first, decidedly public phase of work, I am now directing attention at a second, less visible phase: museum administration. My primary initiative is to realign the museum’sadministrative and advisory committees, sharpen their focus, broaden theirmembership base, develop their respective mission and policy statements,and, most importantly, lead them towards drafting a long-range strategicplan. Although the results of this second phase will not be as immediatelyapparent to the public as, say, reorganizing the galleries, the impact of successful administrative planning is subtle, and has long and profoundeffects on the museum’s future growth and direction. Indeed, in light of themuseum’s remarkable gift by its late co-founder, Ms. Ruth A. Trout (see nextpage), we are at a point where a bold and forthright plan for the museum’sfuture is necessary and rightfully expected by our audience and generoussupporters. The forthcoming initiatives are designed to use the museum’senhanced resources most effectively and to enable it to realize more completely its potential, all of which translate into a higher quality museumexperience for the museum’s visitors.

We have completed the first step in this second phase by conducting anexternal assessment of The Trout Gallery, which was administered and paidfor in part by the Institute of Museum and Library Services in conjunctionwith the American Association of Museums. On the basis of this and otherstudies, our staff will chart the third phase of the museum’s development. Iplan to have the outlines of this phase in place by the museum’s 25thAnniversary, in 2008. I look forward to working with members of theDickinson and Carlisle communities to develop these initiatives and lay afoundation for the museum’s next twenty-five years.

On behalf of the museum and Dickinson College, I thank you for your interest in The Trout Gallery, its exhibitions and events. I am gratefulto members of the Friends of The Trout Gallery for your valuable supportand invite those who are not yet a member, to discover the pleasure of participating in the success and further development of this vital culturalresource.

Sincerely,

Phillip Earenfight

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On February 3, 2005, members of the Dickinson College community gathered in Memorial Hall, Old West, to celebrate the life of Ms. Ruth A. Trout,who passed away on November 19, 2004 at the age of 90. As President WilliamDurden, Sharon Hirsh, Eric Denker, and others recalled memories of Ruth, attention focused on the view through the arched windows of Memorial Hall andacross the quad to the Weiss Center for the Arts, home of The Trout Gallery.

Born on May 25, 1914, in Harrisburg, Pennsylvania, Ruth attended school inHarrisburg and enrolled in Dickinson College where she studied history and was amember of the Pi Beta Phi sorority. She earned a bachelor’s degree in 1936 andwent on to become a school teacher and librarian for the Harrisburg SchoolDistrict. In 1983, Ruth and her sister, Ms. Helen E. Trout, established The TroutGallery in honor of their parents Mr. Brook and Mrs. Mary (Cook) Trout. Overthe years that followed, Ruth and Helen fostered the growth and development ofThe Trout Gallery, helping it to become the region’s leading art museum. Helenpassed away in 1990, whereupon Ruth continued her support of the museum untilher death, when she left the majority of her estate to The Trout Gallery. Ruth’sunprecedented gift of 6.8 million dollars dramatically increases the museum’sendowment and will fundamentally broaden the scope and range of its activities.

Ruth’s charming smile and honest manner will be missed by her friends atDickinson College, but the depth of her commitment to education and to heralma mater will endure through her generosity and support of the museum thatbears her family’s name.

Ms. Ruth A. Trout (1914-2004)

Ruth Trout at the opening of Jim Dine: EnduringObjects, March 8, 2002

Ruth’s 50-Year Reunion, 1986. Ruthappears on the extreme lower left.

Ruth and Helen, c. 1950

Ruth with her pet chicken, 1925

Helen and Ruth, c. 1925

�

Francisco Goya Los Caprichos September 2, 2005 – October 15, 2005Opening Reception: Friday, September 2, 5–7 p.m.

The eighty prints that form Francisco Goya’s Los Caprichos represent a biting criticism of the irrationalities of the mind and the folly of the human condition. Published in 1799, the collection of “capricious” subjects reveals the blunders of humanity, which range from thesuperstitions of the common people to the duplicity of the clergy, the quackery of doctors, the foolishness of the nobility, and other acts of self-deception. Such vices, Goya believed, sprang from ignorance, where reason sleeps and education fails to enlighten. This exhibition of the complete Los Caprichos is on loan from Contemporary & Modern Print Exhibitions.

Designing for Victory 1914-1945 Posters from the United States Army Heritage and Education CenterOctober 28, 2005 – January 14, 2006Opening Reception: Friday, October 28, 5–7 p.m.

Designing for Victory 1914-1945 exam-ines the central role of posters asvital tools of communication on the“home-front” during World War I and WorldWar II. This exhibition considers how postersjustified the call to arms, urged citizens to enlistfor combat, conserve key resources, buy warbonds, identify with the national cause, andsupport political allies. The selection of vintageposters includes examples from both wars andfeatures designs from various countries includ-ing the United States, Germany, Great Britain,France, Canada, and Russia. Works for thistouring exhibition are on loan from the UnitedStates Army Heritage and Education Center,Carlisle Barracks, Carlisle, Pennsylvania andorganized in conjunction with The TroutGallery, Dickinson College.

Please note that The Trout Gallery will be closedNov. 23–Nov. 27 and Dec. 23–Jan. 2.

Exhibitions 2005-2006

Francisco Goya, Linda Maestra (Fine Teacher),etching and aquatint, 1799

The Trout Gallery Lectures in the History of Art

Gary Vikan Director,The Walters Museum of Art“The Face of the Christ”Friday, September 16, 2005, 7 p.m.Rubendall Recital Hall Weiss Center for the Arts

Gary Vikan is an internationally respectedscholar of medieval art. He has publishedwidely on sacred imagery, particularly iconsand icon worship. Before coming to theWalters,Vikan was senior associate forByzantine studies at Dumbarton Oaks. Hereceived his B.A. from Carleton College andhis Ph.D. from Princeton University.

This lecture is supported in part by EricDenker ’75 and co-sponsored by the Medievaland Early Modern Studies program atDickinson College.

George M. Richards, Oh, Boy! That’s theGirl!…, color lithograph, 1918. Courtesyof the United States Army Heritage andEducation Center, Carlisle Barracks

Ethiopia, Kwer’ atä Reeu, eighteenthcentury, The Walters Museum of Art

Exh

ibit

sExhibitions 2005-2006

Barbara Diduk The Still-Life as SculptureMarch 24, 2006 – April 15, 2006Opening Reception: Friday, March 24, 5–7 p.m.

Barbara Diduk’s recent work focuses on the still-life. Unlike previoussculptures of vessels and objects arranged in running sequences, thesecompositions are composed of multiple mechanical elements set onvarious platforms. The assortment of tool-like objects adds incongruous per-spectives to the familiar subject of the still-life.

Senior Studio Art MajorsExhibitionApril 28, 2006 – July 1, 2006Opening Reception: Friday,April 28, 5–7 p.m.

The annual Senior Studio Art Majors Exhibition marks theculmination of a student’s artistic career at DickinsonCollege. The exhibition features works by Christina GeislerMesevag, Tanya Jones, Charissa Luman, Jeremy Lyon, HeidiMalsberger, Matthew-John Shoaff, and Margo Sussman, under thedirection of Ward Davenny with assistance from Todd Arsenault,Barbara Diduk, Dee Jenkins, and Caroline Savage.

Edmund Quincy (1903–1997)Art Historical Methods ExhibitionJanuary 27, 2006 – March 11, 2006Opening Reception: Friday, January 27, 5–7 p.m.

This exhibition examines the works of the twentieth-century American painterEdmund Quincy through a selection of works on loan from Hirschl & AdlerGalleries, Inc., New York. It is curated by Dickinson College senior art historymajors: Anna Donnelly, Laura Hahn, Susannah Haworth, Dorothy Litz, Cassie Lynott,Rebecca Magrane, Courtney Scally, Kristin Schmehl, and Hilary Smith, under the direction of Melinda Schlitt. Edmund Quincy, Street Scene, oil on canvas

Barbara Diduk, untitled, 2005, unglazed fired clay

Opening Reception, Senior Studio Art Majors Exhibition, 2005

MUSEUM HOURS:

Tuesday – Saturday: 10-4

Closed: Nov. 23–27 Dec. 23–Jan. 2

Summer Hours:Wednesday – Saturday: 10-4

Out

Programs for 2005-2006As ever, this year’s exciting schedule of exhibitions offers

the Outreach Program the opportunity to provide classes that complement and support school curricula by stimulating curiosityand motivating learning in a museum environment. The first program is based on Goya’s Los Caprichos and explores the geography and culture of Spain during the Age of theEnlightenment. Select programs will include content that will be particularly suitable for Spanish language classes. Designing for Victory invites a study of geography, history, and design duringWorld War I and World War II. Among the programs offered in thespring, students will examine color and geometry in the EdmundQuincy exhibition and consider the science of ceramics throughBarbara Diduk: The Still-Life as Sculpture.

Thanks Tammy for a Great Year of Programming!

Special kudos to Tammy Kiehl, whose creative energy andenthusiasm provided a year of continued teaching excellence for theOutreach Programs. Over the course of the 2004-2005 season, she presented interactive opportunities in geography, math, science, creative writing, history, and art. Program highlights includedTammy’s now famous “human loom” in which students participating in Kente: Weaving Art and Culture learned the vocabulary and process of hand-weaving. Likewise, students in theWild, Wild Weather program learned how tornados are formed, constructed their own anemometers to measure wind-speed, andcomposed a cinquain—a five-line poem—about their response tosevere weather. Tammy did more than “hold down the fort” whileWendy Pires was away for her family’s sabbatical; she expanded ourprogram offerings and helped reach new audiences. On behalf of the hundreds of students and teachers who participated in your programs, thank you Tammy for an inspiring and successful year.

Outreach Program

Students operating the “human loom” as part of Kente: Weaving Art and Culture

Kylie Kiehl, with a serigraph print that she made in a program in conjunction with Woodcuts to Wrapping Paper

New Classroom in the Planning Stages

After twenty-two years of conducting outreach classes in the lobby of theWeiss Center, plans are underway for an Outreach Program classroom. Beginningin September of 2006, hands-on activities will take place in the lower level of thebuilding in a specially designed space adjacent to the temporary exhibitiongallery. While the laughter and chatter of school groups have contributed to thelively atmosphere of the Weiss Center, we look forward to the opportunities thata specially designed permanent classroom will provide. Support for this new classroom recognizes the important and vital work of the Outreach Program andwill make a difference in the lives of teachers and students throughout the central-Pennsylvania region. This project is funded by a gift in memory of EvalynMumper Stewart, Harvey M. Stewart ’34, and George B. Mumper, class of 1884.

— Wendy Pires, Curator of EducationDottie Reed, Publicity Coordinator

r each

Outreach Program

Plans are underway to convert part of the existing ceramicsstudio into an Outreach Program classroom.

Gallery Attendants

Among the most visiblemembers of The TroutGallery staff are the museum attendants,Rosalie Lehman, Sue Curzi,and, until her recent retirement, SylviaKauffman.All visitors, bethey Dickinson students,members of the Carlislearea community, childrenparticipating in anOutreach Program, or visitors passing throughtown, are sure to bewarmly greeted by theattendants upon theirarrival at the museum’sdoors.The attendantsserve The Trout Gallery,Dickinson College, and thecommunity in a number ofessential ways. From theirdesk they greet visitors andask them to sign the guestbook, provide information about current and futureexhibitions, monitor the museum’s security systems,assist with the educational programs, update the museum’s collection records, manage attendance information, and provide the always important recommendation for area restaurants. More than anyother member of the museum staff, the attendants provide the essential link between the visitor and thecollections.The Trout Gallery is fortunate to work withsuch dedicated and helpful individuals.

Farewell and Good Luck Sylvia!

After five years of wonderful service to The TroutGallery and its visitors, Sylvia Kauffman stepped downfrom her position as gallery attendant. Over these years, Sylvia greeted thousands of visitors, pointed outhighlights to the collection, helped children find the bathrooms, and made the gallery a cheerful, invitingplace to visit. During the course of this past summer,Sylvia spent a much-deserved vacation exploring thecafes and museums that line the Danube. On behalf of everyone at The Trout Gallery and the DickinsonCollege community, thank you for your enduringthoughtfulness and service.

Sylvia Kauffman

Sue Curzi

Rosalie Lehman

Publ icat ions

Publications

New PublicationWithin the Landscape: Essays on American Nineteenth-Century Art and CultureEdited by Phillip Earenfight and Nancy SiegelPublished by The Trout Gallery and distributed by the Pennsylvania State University Press

This volume brings together a series of papers that were presented at the symposium Within theLandscape: Perspectives on American Nineteenth-Century American Scenery, which was organizedand hosted by The Trout Gallery on March 27, 2004.

Introduction: Mapping the Image of the American Landscape, Phillip Earenfight

The Mid-Hudson Valley as Iconic Landscape: Tourism, Economic Development, and the Beginnings of a Preservationist Impulse, David Schuyler

Decorative Nature: The Emblematic Imagery of Thomas Cole, Nancy Siegel

Getting a Grip on God: The Deity in Nineteenth-Century American Landscape Painting, Matthew Baigell

Some Further Thoughts on the Panoramic Mode in Hudson RiverSchool Landscape Painting, Alan Wallach

Gifford and the Catskills: Resort and Refuge, Kevin Avery

October 2005ISBN: 0-9768488-0-5Softcover $29.95

Previous Titles

Grace Hartigan: Painting Art HistorySharon L. Hirsh Published by The Trout Gallery and distributedby the University of Washington Press2003 / ISBN 0-295-98375-4$19.95

Writing on Hands: Memory and Knowledgein Early Modern EuropeClaire Richter ShermanEdited by Claire Richter Sherman and Peter LukehartPublished by The Trout Gallery and distributedby the University of Washington Press2000 / ISBN 0-295-98072-9On Sale: $20.00

Visions of Home: American ImpressionistImages of Suburban Leisure and CountryComfortLisa N. PetersEdited by Lisa N. Peters and Peter LukehartPublished by The Trout Gallery and distributedby University Press of New England1997 / ISBN 0-87451-970-5On Sale: $15.00

Art Historical Methods Exhibition Catalogues

Each year, The Trout Gallery hosts an exhibition curated by DickinsonCollege seniors enrolled in the Art Historical Methods Seminar. Below is alist of the most recent catalogues from this series. Consult the museum’sweb site for a complete publications back list.

Woodcuts to Wrapping Paper: Concepts of Originalityin Contemporary Prints2005 / ISBN: 0-9768488-1-3$5.00

Visualizing a Mission: Artifacts and Imagery of theCarlisle Indian School, 1879-19182004 / ISBN: 0-9768488-2-1 Out of Print

Images of Transience: Nature and Culture in Art2003 / ISBN: 0-9768488-3-X$5.00

Prices include domestic shipping and handling. To orderplease contact The Trout Gallery at 717-245-1344.

Col lect ionsManagement

Focus on ConservationMetals Conservation

The Trout Gallery collection contains objects of various media,all of which require varying storage environments. Since most of theworks in the collection are made of organic materials (cloth, wood,paper), the principal storage and exhibition areas are kept at the recommended level of 50 percent relative humidity. While this condition suits much of the collection, metals can react adversely tothis moisture level, especially if they are cast or constructed withimpure materials. These impurities, when exposed to more than 40percent relative humidity, can activate a corrosive process that resultsin the discoloration of the metal and, if untreated, permanent damage.

During a routine inspection of the collection, it was noticedthat the bronze Cameroonian throne and a number of Asantiweights were beginning to exhibit such discoloration. Under closeexamination, Brian Howard, the museum’s conservator, foundhydrochloride corrosion on all of the objects noted. He concludedthat residual vitrified casting materials (sand) introduced chloridecontaminates that combined with moisture and oxygen to formhydrochloric acid, which subsequently corroded the metal.Treatment of the throne and the weights included a bath in deionized water, the removal of residual casting materials withwooden implements and dissecting needles, and a cleaning with natural fiber brushes and mineral spirits. Once free of active corrosion and residual contaminates, the objects were sealed withIncralac® resin and a coating of wax. The throne was then placed ina low humidity sealed crate where it will remain until a permanenthumidity-controlled display case is acquired. The weights wereplaced in moisture-proof sealed pouches and packed with silica gel.

The condition of these artifacts highlights the need to create alow humidity micro-climate storage area for the museum’s metal collections.

Paintings Conservation

In 2004, Emily ZugHuebner ’64 and her husbandStephen, on behalf of her family, approached The TroutGallery about providing fundsto restore a portrait of hergrandfather and CollegeTrustee, Charles Keller Zug,class of 1880, which hungamong other portraits in OldWest. As so often happens tooil paintings, the original surface varnish had darkenedconsiderably and lifted off thepaint layer, causing the imageto be almost indiscernible under natural light. The conservator surface cleaned thepainting using cotton swabsmoistened with a 1% solution of Triton 100XL, a non-ionic detergent. The cleaned surfaces were then rinsed using cotton swabsmoistened with deionized water. The deteriorated varnish layer wasreduced using an acetone-ethanol-mineral spirit solvent mixture.The surface of the painting was rinsed using mineral spirits on cotton swabs. Acryloid® B-72, an ethyl methacrylate copolymer,10% in toluene, was used to locally consolidate areas of tentingpaint. The consolidated areas were set down using a heated tackingiron through silicone release Mylar. The painting was then given anisolation varnish using Acryloid® B-72, 10% in toluene, to protectand saturate the original surfaces.

In short, the painting has been restored to its former beauty,thanks to the generosity of Stephen and Emily Zug Huebner andtheir family. In response to this successful project, Stephen andEmily are underwriting the conservation of another portrait in thecollection, that of Lemuel T. Appold, class of 1882, College Trusteeand lifelong friend of Charles K. Zug.

Through such on-going conservation efforts, the museum continues to maintain the cultural heritage that it is honored to preserve and share with present and future audiences.

— James Bowman Registrar and Exhibitions Preparator

Collections Management

William Wertz, Charles Keller Zug, oil oncanvas, 1930 (detail showing painting in

the process of conservation), 1930.2.1

Cameroon, Throne, bronze (1977.1), detail, before and after treatment

Recent Acquisitions

Unknown, British (?)Untitled (view of a church cemetery),nineteenth centuryBlack chalk with white highlights, mountedon vellumGift of Dr. John O’Brien2004.3

Modern cast after Roland Hinton Perry(1870-1941),AmericanDr. Benjamin Rush [c. 1904], 2004BronzeGift of Allen and Walter Beach, Class of1955 and 1956, and Sherwood Goldberg,Class of 19632004.4

William Hole (1846-1917), ScottishPortrait of the Artist (after James AbbottMcNeil Whistler), n.d.EtchingGift of Eric Denker, Class of 1975, inMemory of Donald Vogler2004.5.1

Sir William Nicholson (1872-1949), British Portrait of Whistler, 1898LithographGift of Eric Denker, Class of 1975, inMemory of Donald Vogler2004.5.2

Ernest Haskell (1876-1925), American Portrait of Whistler, n.d.Lithograph on chine-colléGift of Eric Denker, Class of 1975, inMemory of Donald Vogler2004.5.3

Winslow Homer (1836-1910), American Our Watering Places—The Empty Sleeve atNewport, 1865Wood engravingGift of Eric Denker, Class of 1975, inMemory of Neil Hirsh2004.5.4

Winslow Homer (1836-1910),AmericanArt Students and Copyists in the LouvreGallery, Paris, 1868Wood engravingGift of Eric Denker, Class of 1975, inMemory of Neil Hirsh2004.5.5

Julius John Lankes (1884-1960),AmericanNear Wescoesville, c. 1923Wood engravingGift of Eric Denker, Class of 1975, inMemory of Neil Hirsh2004.5.6

Julius John Lankes (1884-1960),AmericanNear Adamstown, Pa., c. 1923Wood engravingGift of Eric Denker, Class of 1975, inMemory of Neil Hirsh2004.5.7

Julius John Lankes (1884-1960),AmericanNear Lititz, Pa., 1923,additional cutting 1931Wood engravingGift of Eric Denker, Class of 1975, inMemory of Neil Hirsh2004.5.8

Joseph Pennell (1857-1926),AmericanPonte Vecchio, Florence,1882EtchingGift of Eric Denker, Class of 19752004.5.9

Joseph Pennell (1857-1926),AmericanUnder Chestnut Street Bridge, 1884Etching on silkGift of Eric Denker, Class of 19752004.5.10

Gabrielle DeVaux Clements (1858-1948),AmericanSailing Ships in Gloucester Harbor, c. 1890Etching with plate toneGift of Eric Denker, Class of 1975, inMemory of Ruth Trout2004.6.1

Gabrielle DeVaux Clements (1858-1948),AmericanMount Saint Michel, 1885EtchingGift of Eric Denker, Class of 1975,in Memory of Ruth Trout2004.6.2

Ellen Day Hale (1855-1940),AmericanGloucester Harbour,ThreateningWeather, c. 1890EtchingGift of Eric Denker, Class of 1975,in Memory of Ruth Trout2004.6.3

Ellen Day Hale (1855-1940),AmericanPort Guillaume, Chartres, 1885EtchingGift of Eric Denker, Class of 1975,in Memory of Ruth Trout2004.6.4

Ellen Day Hale (1855-1940),AmericanMarblehead, c. 1890EtchingGift of Eric Denker, Class of 1975, inMemory of Ruth Trout2004.6.5

Ellen Day Hale (1855-1940), AmericanLaundry, 1923EtchingGift of Eric Denker, Class of 1975, inMemory of Ruth Trout2004.6.6

Ellen Day Hale (1855-1940), AmericanFirst Night in Venice, c. 1922Preparatory drawing with softgroundtraces on versoGift of Eric Denker, Class of 1975, inMemory of Ruth Trout2004.6.7

Ellen Day Hale (1855-1940), AmericanFirst Night in Venice, c. 1922Softground etching, black proofGift of Eric Denker, Class of 1975, inMemory of Ruth Trout2004.6.8

Ellen Day Hale (1855-1940), AmericanFirst Night in Venice, c. 1922Softground etching,à la poupée color proofGift of Eric Denker, Class of 1975, inMemory of Ruth Trout2004.6.9

Ellen Day Hale (1855-1940), AmericanMarket in Normandy, c. 1885Oil on panelGift of Eric Denker, Class of 1975, inMemory of Ruth Trout2004.6.10

The following woodcuts are Julius John Lankes (1884-1960), American Gift of the Children of J. J. Lankes

Flying Gosling, 19172004.7.1

Man with the Hoe (after Millet), 19172004.7.2

Sundown, No. 1 (Man with Hoe, Dusk), 19172004.7.3

Three Ships—cherry, 19172004.7.4

Deserted House (Moonlighted House), 19172004.7.5

Digger, No. 1 (small), 19172004.7.6

Portico, 19182004.7.7

Angel, 19182004.7.8

Shepherd, 19182004.7.9

Philosopher, 19182004.7.10

The Peanut Man, No. 2, 19182004.7.11

Digger, No. 3, 19192004.7.12

Two Poplars, 19202004.7.13

Carl L. Bredmeier B/P, 19222004.7.14

David Edward Hand B/P, 19222004.7.15

Place Henri-Quatre, Rouen, 19222004.7.16

Place Henri-Quatre, Rouen, 19222004.7.17

Evening, No. , 19222004.7.18

Ellen Day Hale (1855-1940), American First Night in Venice, c. 1922softground etching, à la poupée color proofGift of Eric Denker ’75, in Memory of Ruth Trout2004.6.9

Julius John Lankes (1884-1960), AmericanSundown, No. 1 (Man with Hoe, Dusk), 1920woodcut, Gift of the Children of J. J. Lankes

2004.7.82

Acquis i t ionsRecent AcquisitionsAutumn (Nude Plucking Grass), 19222004.7.19Cider Mill, No. 2, 19222004.7.20

Nativity, No. 2 (3rd Nativity), 19222004.7.21

Abe Lincoln, No. 2, 19222004.7.22

Bitter Sweet, 19222004.7.23

Cottage at Dam, 19222004.7.24

“N” Street House, Georgetown, 19232004.7.25

Barn in Wescoesville, Pa., 19232004.7.26

Gemini (Zodiac Sign), 19242004.7.27

Leo (Zodian Sign), 19242004.7.28

Ruth and Naomi, 19242004.7.29

Ruth—Title Page, 19242004.7.30

House Beside the River, 19242004.7.31

Man and Barrow, 19242004.7.32

Winter Night II, 19332004.7.33

Book of Ruth—Cover Label, 19242004.7.34

Book of Ruth—Cover Label, 19242004.7.35

Man Resting on Hoe, 19242004.7.36

The Dead Oak, 19242004.7.37

Apple Tree Nds Barn, 19252004.7.38

Village Church (Greeting), 19272004.7.39

House on Hill—Frances Road,Williamsburg,19272004.7.40

Negro Cottage—Winter (Two Boys withSleigh),Williamsburg, 19272004.7.41

Whitaker’s Road (Mt. Olive, New Jersey),19272004.7.42

Road to Bennington, 19282004.7.43

Jacob Schmidt B/P, 19282004.7.44

Elegy No. 13 (Man on Porch), 19282004.7.45

Elegy No. 27 (Wood), 19282004.7.46

Elegy No. 28 (Hill), 19282004.7.47

Elegy No. 25 (Dawn), 19282004.7.48

Elegy No. 22, 2nd (Man on Boat), 19282004.7.49

Elegy No. 5 (Barnyard),19282004.7.50

Frost’s House, II (Vermont Farmhouse), 19282004.7.51

Big Sycamore (West Running Brook), 19282004.7.52

A Worn Road, 19292004.7.53

Image from the Book of Ruth, 19242004.7.54

Perhaps Women, 19312004.7.55

Jamestown Tower (Church), 19312004.7.56

Greeting (Personal), 19312004.7.57

Printemps, 19322004.7.58

Winter Night II, 19332004.7.59

Morning in Maine, 19332004.7.60

Winter in Aurora (Avery House), 19332004.7.61

Main Building— #3 (Middle Size), 19352004.7.62

Spring Twilight, 19362004.7.63

Spring—1937, 19372004.7.64

Independence Hall, 19432004.7.65

Neglected Graveyard, 19562004.7.66

St. Nicholas Magazine, 18902004.7.67

Woodblock of Portrait of a Woman, n.d.Wood2004.7.68

Woodblock of Edgar Kowlaski Ex Libris,1917Wood2004.7.69

Robert Frost South Shaftsbury VermontHouse, n.d.2004.7.70

“The Gully Hayfield” Robert Frost’s Farm,19292004.7.71

Path, II (“Va.Woodcuts”), 19302004.7.72

Happy New Year, 19662004.7.73

Holiday Greeting, 20002004.7.74

Christmas Dawn (Robert Frost Farm), n.d.2004.7.75

Christmas Dawn (Robert Frost Farm), n.d.2004.7.76

St. Johnsville Church, 20012004.7.77

Portrait of a Woman, n.d.Wood engraving2004.7.78

The Doctor Calls (Wallboard), 19272004.7.79

Woodblock for Haymaker,Yanwath Hall,n.d.Wood2004.7.80

Nativity, No. 2 (3rd Nativity), 19222004.7.81

Sundown, No. 1 (Man with Hoe, Dusk), 19202004.7.82

Deserted House (Moonlighted House), 19172004.7.83

Village Church (Greeting), 19272004.7.84

CameroonWoman’s beaded skirt, n.d.Cloth, beads, and shellsGift of Katharine and John Doidge2005.1.1

YorubaIbiji Figures (female), n.d.WoodGift of Katharine and John Doidge2005.1.2.a-b

YorubaLadle with Human Head Carving, n.d.WoodGift of Katharine and John Doidge2005.1.3

Dahomey / YorubaGame board flanked by two Gbkere monkeys and male and female figures, n.d.WoodGift of Katharine and John Doidge2005.1.4

Vai, Sande SocietyBundu Mask, n.d.WoodGift of Katharine and John Doidge2005.1.5

BamilekeBush Cow Mask, n.d.WoodGift of Katharine and John Doidge2005.1.6

Dahomey / YorubaGame board flanked by two Gbkere

monkeys and male and female figures, n.d.wood

Gift of Katharine and John Doidge2005.1.4

4.5K 07/05 Tr

BOARD MEMBERSPresident: vacantVice President: Maureen ReedTreasurer: Karen Faryniak

Walter E. BeachDonna ClarkeCarolyn W. ClevelandEric DenkerMelissa A. GallagherSusan H. GoldbergPaul M. KanevMelinda SchlittWilford W. ScottTamar Weiss

BENEFACTORSAllen BeachWalter BeachMark W. ConnellyEric DenkerKatharine and John DoidgeSherwood GoldbergMacy Lasky and Marshall

PotamkinMary S. Smith†Ruth A. Trout

PATRONSJoseph & Doris GerofskyAnn HofferJ. Stephen & Emily Zug

HuebnerChildren of J.J. LankesSylvia SmithDavid & Suzanne Zug

ThompsonGraham F. ZugThomas V. Zug, Jr.Thomas V. Zug, Sr.

CONTRIBUTORSDonna L. & Henry D.

Clarke, Jr.

Carolyn ClevelandJohn & Ann CurleyJohn O’BrienWilliam E. OwensWilford W. ScottNancy Siegel and Phillip

EarenfightJohn & Janice Turner

SUPPORTERSKathryn Cundiff AndersonMrs. Anneliza Dela

Cruz-HumlenKaren BerryJohn P. DerricksonChristine & Eric DrakeKaren & John FaryniakMaureen & †Richard ReedEmil & Tamar Weiss

FRIENDSPatricia Ritterhoff BarberGeorge & Betsy AllanCornelius & Cynthia AllenCharles & Susie AndrewsYale & Audrey AsbellRobert & Veronica BailinDaniel & Joan BechtelDavid & Renie BeidlemanSarah J. BonniceJames & Megan BowmanJanet BlybergRebecca BreyJames R. & Sally Greene

BunceJosie CampbellMelissa CapuanoBetty R. & Daniel D.

ChurchillCarlisle Area Newcomers

ClubDavid & Rosemarie CohnCarl & Mary ColtonKathleen Copenhaver

Daniela D’AmatoKay DambrosiaMeta DuevellMary A. DyessEthel P. Feinour Robert Zieff & Ella ForsythFrances E. FrancisMatthew FreedmanSmith A. FreemanCharlotte GallagherMelissa & William GallagherJames Gerencser James & Martha GirardHarry C. GoldbyLori GoldmanGary GoodlinBurtram P. GoodmanDanielle M. GowerDonald & Daryl Ann GowerAntonie A. GreenfeldElisabeth GrossmanDiana & Nina GreggMelissa GroffWilliam L. GumbyChristopher & Chandra

HackenbergMeghan HadalskiMarla HandRegina & Edward HaughneyPaula & Michael HeimanSharon & †Neil HirshKarl E. Holzer, IIIEsther HumphreyLinda A. HutchinsonAlissa ImperatoreDavid JamesMr. & Mrs. Eugene JeffreysLeigha JenningsAnne D. JillsonElise JohnsonPaulette & Richard

KatzenbachAnn Thompson KernDeborah Kohler

David & Suzanne KranzEdward KreuserPamela & Gregory KureyRichard & Ruth LawsonStephanie LatiniMelissa LevinMorton LevittDavid LipchakPhilip & Elizabeth LockhartSarah E. MaggsAlfred & Hilda MarcelloAnn & Peter MartinRobert & Jean Masland, Jr.Robert & Cary MassaRenee MaurerHolly MaxsonMyles & Janney McComasDonald K. & Jessica

McIntyreColin Clarke & Anne

McLeanClarence & Zita MillichapStacy C. MiloEdward & Marie MoreyRyan MoreyRobert & Carole NathanKellie NewtonTogo & Eleanor NishiuraRandolph Hudson &

Cynthia Nixon-Hudson Devon Nykaza†Carolyn Craig OsbornDavid A. PlymyerHelen Delano & Noel

Potter, Jr.Sarah PresiteDouglas A. Smith &

Carol B. ReedVictoria & Woodrow

ReynoldsBarbara RitterJohn Kallmann & Gisela

RoethkeDieter & Jackie Rollfinke

John F. SaraccoCarol J. SaundersMarcus SchlegelMartha E. SchloetzerScott & Amy Hubler-

SchweigertVirginia SchweiterJack & Amy ShepleyAmelia & Robert

Shillingsburg R. Russell & Judith ShunkRichard M. & Ellen SiegelDavid & Elaine SkeelElizabeth & Dwight

StephensGenevieve SwensonDaniel Taylor, Jr.Natalie R. TaylorWilliam D. ThompsonLaura G. TurnerMilica WainwrightWilliam WallaceMary A. WarnerStephen & Bette WeinbergerMichael WeissJoan WolfCharles Wood

†The Trout Gallery expressesits deepest sympathies atthe passing of long-timesupporters and Friends Neil Hirsh, Carolyn CraigOsborn, Richard Reed, andRuth Trout.

Friends of The Trout Gallery

� Benefactor - $5,000

� Patron - $1,000

� Contributor - $500

� Supporter - $250

� Friends

� Family - $60

� Dual - $45

� Individual - $30

� Student - $15

M E M B E R S H I P F O R M July 1, 2005 – June 30, 2006

Name

Address

City State Zip

� New Member � Renewal

Make checks payable to:Friends of The Trout Gallery

Dickinson CollegeP.O. Box 1773

Carlisle, PA 17013–2896

The Trout Gallery would like to extend its heartfelt thanks to Christine Drake, Rosalyn J. Evans, Sharon Hirsh, and Elliot Vesell, who, after years of dedicated service, have stepped down from their positions on the Friends Board. We deeply appreciate their support and guidance.

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