Windows on Worlds: International Collections at Indiana University 9780253054944, 9780253054937

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Windows onWorlds

Windows I N T E R N AT I O N A L C O L L E C T I O N S AT

Indiana University Press

onWorlds INDIANA UNIVERSITY

Patrick O’Meara and Leah K. Peck .

This book is a publication of Indiana University Press Office of Scholarly Publishing Herman B Wells Library 350 1320 East 10th Street Bloomington, Indiana 47405 USA iupress.indiana.edu © 2020 by The Trustees of Indiana University All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, including photocopying and recording, or by any information storage and retrieval system, without permission in writing from the publisher. The paper used in this publication meets the minimum requirements of the American National Standard for Information Sciences—Permanence of Paper for Printed Library Materials, ANSI Z39.48-1992. Manufactured in Canada Cataloging information is available from the Library of Congress. ISBN 978-0-253-05493-7 (cloth) ISBN 978-0-253-05494-4 (web PDF) 1 2 3 4 5 25 24 23 22 21 20

This book is dedicated to the directors, librarians, curators, and staff who lovingly preserve, display, and exhibit their holdings, and to the donors who have generously donated buildings, galleries, and collections. Together they have made the Bloomington campus a place of refinement and culture.



CONTENTS Acknowledgments 2

ONE

Daily Life

58

FOUR

Art

viii

Introduction 20

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TWO

Adornment

74

FIVE

Literature

44

THREE

Maps, Travel, Exploration

88 S I X

106

Design

Power

136 N I N E

150

Music

Performance

Conclusion

167

Museum Bios

SEVEN

122

Religion

TEN

168

EIGHT

Notes

172

ACKNOWLEDGMENTS This book celebrates Indiana University’s bicentennial with a journey through some of the remarkable international collections on the Bloomington campus. Many people helped to make this book possible. Gary Dunham’s knowledge, enthusiasm, and deep understanding of books and Pamela Rude’s design and aesthetic guidance were essential as we explored ideas and key concepts for Windows on Worlds. Kelly Kish has been an extraordinary leader of the Indiana University bicentennial celebration and guided us as the book project evolved. Her assistant, Sarah Jacobi, was always helpful as we dealt with many of the details of its production. We are grateful to David Brenneman, director of the Eskenazi Museum, for his support and suggestions; to Mariah Keller, director of Creative Services, for connecting us with people and resources; and to the curators Nanette Brewer, Jennifer McComas, Judith Ann Stubbs, Juliet Graver Istrabadi, and Galina Olmsted for sharing their deep knowledge as we explored pieces for inclusion. Images shot by photographers Kevin Montague and Shanti Knight enhance our section on art. Associate registrar Heather Hales assisted us with obtaining permissions. Sherry Rouse, the curator of campus art, and her team members Amy Patterson and Sonja Rogers were enthusiastic about their collection and guided us in selecting and documenting their pieces. In addition,

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Sherry worked with us in identifying and choosing artwork from the Kelley School of Business, and Allan Headley, of the Kelley School, assisted with preparing them for transport for photography at IU Studios. Indiana University Studios was responsible for the photo shoots for many of the images in this book. Chris Meyer and Alex Kumar took photographs that are elegant and do justice to the items in the collections. We are grateful to Angela Lindauer for coordinating the sessions. Alan Burdette, director of the Archives of Traditional Music, and Allison McClanahan, collections and cataloging librarian, identified rare musical recordings, detailed fieldwork notes, and photographs taken by researchers from different parts of the world and assisted us in photographing them. Cobie Ball, administrative secretary with the Archives of Traditional Music, helped us secure permissions for items. Joel Silver, the director of the Lilly Library; associate director Erika Dowell; and staff Jenny Mack and Jody Mitchell provided us with access to splendid items from the vaults and were of great assistance during the photography sessions. Jason Baird Jackson, Ellen Sieber, and Matthew Sieber of the Mathers Museum of World Cultures (recently merged with the Glen A. Black Laboratory of Archaeology to form the IU Museum of Archaeology and Anthropology)

were welcoming and informative as we reviewed and considered holdings from the museum for the book. In particular, Ellen participated in the Mathers photography session and provided us with background information on the items. Liana H. Zhou, director of the Kinsey Institute Collections and Library; Shawn C. Wilson, associate director; Rebecca Fasman, curator; and Gary Milius, archival project specialist, consulted with us in selecting from the holdings, providing details, arranging photo shoots, and obtaining permissions for publishing. Brandi Host opened Bryan House to us with her usual grace and hospitality and gave us useful background information. Jon Vickers, director of the IU Cinema, not only discussed in detail possible ideas for inclusion in the book but immediately proceeded to obtain clearance for publication of movie posters from the distinguished filmmakers that he suggested. Terri Francis, the director of the Black Film Center/ Archive, and Ronda Sewald gave us excellent suggestions for inclusion. Nazareth Pantaloni III, IU associate librarian, Copyright Program, was a source of invaluable information on the legal complexities of fair usage and copyright.

Dina Kellams, the director of University Archives, and Kristin Browning Leaman, the bicentennial archivist, are wonderful custodians of the history of Indiana University. Their counsel, advice, and helpfulness on this and other projects are much appreciated. Kelly Richardson, curator of the Elizabeth Sage Historic Costume Collection, and her assistant Emily Rosolowski devoted hours to helping us: from initial discussions to looking at the collections at the Auxiliary Library Facility and in an intricate and orchestrated photo session. Heather Akou, Sage Collection director, was gracious with her time and guided us with her expertise. Beth Feickert, capital planning project specialist, provided us with updated information on the Metz Carillon. Edda Callahan’s experience, knowledge, and nurturing and calming presence helped us to navigate the intricacies leading to the publishing of Windows on Worlds. This book is part of the Indiana University bicentennial celebration. For us, it has been an exciting and creative project. Indiana University president Michael McRobbie’s renewed support for the Lilly Library, the Eskenazi Museum, the IU Museum of Archaeology and Anthropology, and other holdings will ensure that these collections will be well exhibited and protected into the future.

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INTRODUCTION Museums, institutes, collections, and other holdings on the Bloomington campus preserve, explain, and display items of artistic, cultural, or scientific significance. Every day, they provide windows on worlds for countless students, researchers, and members of the public. Engaging with these resources offers insights into the past, the present, and even into the future; the aesthetic vision of the people who made them, used them, or enjoyed them leads to a better understanding of the human condition. The emphasis in this book is on the international origins of these items. In choosing what was to be included in this volume, our goal has been to select pieces that stand out because of their uniqueness or extraordinary significance or beauty. Each chapter includes items that correspond to a thematic idea, ones we hope are universal. We have followed this approach rather than chronological or historical arrangements. At the same time, there is an overall identity to the particular museums, archives, and collections on the Bloomington campus that is important to maintain. We have been guided by gifted directors and curators and, in some instances, by our personal connections to particular items. We have included selections from the Archives of Traditional Music, the Black Film Center/ Archive, the Indiana University Cinema, the Eskenazi Museum of Art, the Kinsey Institute, the Lilly Library, the

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Mathers Museum of World Cultures (recently renamed the IU Museum of Archaeology and Anthropology), and the Elizabeth Sage Historic Costume Collection. The campus is indeed fortunate to be able to provide easy access to these wonderful holdings. After a class, a student may, in passing, wander into a building and encounter another world; ideally, it might be someone who has never visited a collection and for whom there is the excitement of a new discovery. Experiences such as this have the capacity to transform lives. The items in this book reflect a wide range of human activities: adornment, power, religious belief, history, achievement, exploration. Personal engagements enable our students and other viewers to take journeys of aesthetic, intellectual, or personal discovery and, ultimately, journeys into themselves. The images included in this book are a map to explore what is on the campus and, perhaps, to inspire many return visits. Seeing the actual painting, book, original text, or sculpture, for example, and viewing it from different angles, reflecting on it, and maybe even touching it would be ideal. For this book, we have selected pieces that we hope will inspire, delight, or even amaze. Having done so, we hope that firsthand encounters will follow. What about those who made IU a place of such special opportunities? Who were they, and what was their

particular vision? Some were eminent faculty members who specialized in the art, culture, or history of different times and places. Others were collectors who donated their pieces to IU for preservation and further study. They were people of taste, knowledge, skill, and entrepreneurship. It is an amazing range of items that they assembled. Some represent political power and authority, others original drafts of literary works that have become iconic. Elegance, style, and attention to detail appear in the haute couture of major fashion designers and vibrant examples of African clothing and design. Different art periods and styles include a dancing Shiva, an African mask, and a Danish expressionist painting. This book will be a journey of discovery of these and other splendid and unexpected works. Together, they form a wonderful tapestry of the wider world and opportunities to encounter, firsthand, written words that changed lives and literature, the tailored clothing of couturiers and indigenous artists who introduced new looks and fashions, fiats of powerful rulers, and the works of creative filmmakers. Museums in different countries have received demands for the repatriation of important works in their collections

from the countries of their origin. For many years, Greece has sought the return of the Elgin marbles housed in the British Museum, and President Emmanuel Macron of France announced the return to Benin of African art that the French colonial authorities had removed. In many ways, such items are regarded as treasures in the museums in which they are housed. Deaccession is an enormously complicated issue without easy answers. In this context, our conceptual approach explores an additional dimension. We seek to understand the intrinsic human and creative qualities that transcend differences. These are not transient things; they are primary reflections of how people lived, thought, and relished beauty. They are precious because they connect us with the past in real and tangible ways and alert us to dynamic changes that are taking place around us. We owe a great debt of gratitude to those people of vision and taste who introduce the items in this book into the lives of students, which enable all of us, for a moment, to be transported into other times and places, to look around us differently, or to imagine what lies ahead.

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Windows onWorlds

DAILY

on

LIFE

Our daily lives involve the passing of time, marking regular tasks and occurrences as well as special events. A French Boulle clock opens this section, followed by a rural life scene in the Philippines and an Inuit fish basket, both dealing with sustenance. A pre-Columbian Moche ceramic vessel depicts human sexuality, and this is followed by images of families. Native Americans are included because of their sovereign nation status, and hence, they are regarded as international. The three Akha hats from Burma follow the transition from girlhood to womanhood, and the Hausa writing board from Nigeria opens up learning and education. The life cycle ends with funerary items and a return to the concept of time with an eighteenth-century Swedish clock.

Boulle Clock A Boulle clock is located in the parlor of the Federal Room. The unique inlaid wood piece was designed by French cabinetmaker AndréCharles Boulle. The design was made by cementing thin layers of metal and shell together, then cutting out the design through the layers with fine band saws. The clock was donated in 1964 by Mrs. C. G. Mitchell.

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overleaf, above

facing

André-Charles Boulle French, 1642–1732 Clock Metal, wood, shell Overall: 271/4 × 141/4 × 53/4 in. Gift of Mrs. C. G. Mitchell Indiana University, Campus Art Collection, CA1964 Chris Meyer / Indiana University.

Fernando Amorsolo Filipino (1892–1972) Water Buffalo, 1936 Oil on board Gift of J. B. H. Martin Indiana University, Campus Art Collection, CA1964.3 Chris Meyer / Indiana University.

Water Buffalo Fernando Amorsolo, who began drawing as a young boy, painted and sketched pieces over his lifetime. In 1909, he began studies at the Liceo de Manila and graduated from the University of the Philippines in 1914. Amorsolo is considered one of the great Filipino artists. This landscape shows a water

buffalo working the fields near the Sierra Madre Mountains. Prior to its conservation in the 1990s by the Indiana University Art Museum, the painting’s varnish had yellowed so much that the imagery had become nearly invisible.

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Fishing Basket Elinor (Lin) and Vincent Ostrom are well known for their groundbreaking work on resource management and democratic governance and for their belief in and encouragement of interdisciplinary research to solve real-life problems. Lin received the Nobel Prize in Economic Sciences in 2009. Their archival materials and collections are now in the Lilly Library, the

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Sidney and Lois Eskenazi Museum of Art, and the Campus Art Collection. The IU Museum of Archaeology and Anthropology (formerly the Mathers Museum of World Cultures) houses nearly two hundred items, primarily of both traditional and modern Native American baskets, pottery, carvings, and two-dimensional art.1

facing

Fannie Jackson Inuit people, Alaska, USA Fishing Basket Early 1900s Grass fiber L. 14.5 in. (36.76 cm) IU Museum of Archaeology and Anthropology. From the Vincent and Elinor Ostrom Collection. Collected by Elinor and Vincent Ostrom. Bequest of Elinor Ostrom, 2015–03–0019 Matt Sieber / Indiana University.

Left

Every item the Ostroms purchased, they personally catalogued with a typed description and hand drawing. The fishing basket is drawn and described on this catalog page. IU Museum of Archaeology and Anthropology. From the Vincent and Elinor Ostrom Collection. Collected by Elinor and Vincent Ostrom. Bequest of Elinor Ostrom, 2015–03–0019 Matt Sieber / Indiana University.

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Scholar’s Writing Board There are few indigenous writing systems in West Africa, so the people of the region have adopted alphabets and writing from outside sources. One of the earliest used writing methods was Arabic, learned from visitors who traveled with trade caravans across the Sahara Desert. The towns and cities at the southern end of the major trade routes were cosmopolitan centers of trade and cultural exchange, and also of scholarly endeavor. The introduction of Arabic language and writing accompanied the arrival of the religion of Islam, first brought to West Africa in the eighth century and spreading in later centuries to become a major influence. Islamic scholars and imams are respected members of society, and one of their roles is teaching both Islam and literacy to children, traditionally boys only. Writing boards such as this one represent a tangible link to the social and political history of the region; they were used in learning to read and write passages from the Qur’an and to accomplish other tasks associated with Islamic teachings.2 above and facing

Hausa people Nigeria Scholar’s Writing Board Mid-1900s Wood, ink H. 23.5 in. (59.75 cm) IU Museum of Archaeology and Anthropology. Collected by Arnold Rubin. Museum purchase, 1971–20–0240. Caroline Ferguson / Indiana University.

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Alfred Kinsey and Paul Gebhard examining Moche pottery in Peru in 1954. Kinsey Institute, VAC1641–28761. Ceramic vessel Pre-Columbian Peru, 100–800 CE, Clay Kinsey Institute, VAC1641–37741.

Moche Pottery The diverse collection of cultural artifacts held by the Kinsey Institute contains objects spanning more than two millennia of human history, from ancient Egyptian figurines, Roman oil lamps, and erotic vessels from the Moche culture in present-day Peru to modern ceramic and bronze sculptures and plastic novelty items. Inexpensive mass-produced materials may be more useful when studying the culture of a society than unique works of fine art that are known to relatively few people. This category encompasses erotic playing cards, salt and pepper shakers, greeting cards, and handmade folk art.3

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Wanamaker Collection Joseph Kossuth Dixon was employed by the Wanamaker Store in Philadelphia as an educator, providing the public with information on a variety of subjects. In particular, he received the support of Rodman Wanamaker, who shared many of his interests. Beginning in 1908, his interests increasingly turned toward Native American life. In 1913, he traveled the country with the aim of urging a better relationship between Native groups and the federal government. The photographs from 1913 were not staged, and his subjects wore what they chose for their portraits.4

Caddo Anadarko, Oklahoma Sho-We-Tit, Billy Thomas, bust profile June 23, 1913 Vintage photographic print Joseph K. Dixon, photographer H. 10 in. (25.5 cm) IU Museum of Archaeology and Anthropology, Wanamaker Collection of American Indian Photographs. Gift of Wanamaker Department Store, 1962–08–3184.

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Left

Navajo Ganado, Navajo Reservation, Arizona Annie Dodge, Navajo Child, full face, July 4, 1913 Joseph K. Dixon, photographer H. 10 in. (25.5 cm) IU Museum of Archaeology and Anthropology, Wanamaker Collection of American Indian Photographs. Gift of Wanamaker Department Store, 1962–08–3250.

facing

Blackfoot Browning, Blackfoot Reservation, Montana Judge and Mrs. Wolf Plume and Baby, ‘Little Handsome Woman’ September 13, 1913 Joseph K. Dixon, photographer H. 10 in. (25.5 cm) IU Museum of Archaeology and Anthropology, Wanamaker Collection of American Indian Photographs. Gift of Wanamaker Department Store, 1962–08–3513. Public domain (copyright Rodman Wanamaker, 1913).

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Burmese Headdresses Sidney and Sharon Mishkin loved to travel; while doing so, they collected items associated with the specific places they visited and the people they met. The three hats shown here represent the life stories of the Akha in Burma (Myanmar). One of them is a simple lightweight hat received by a young girl. The adornments on all three hats are accumulated over time and commemorate special moments in the life of the owner and the community. As time passes, and as the young girl matures, she needs a larger hat to accommodate her acquired adornments. The young woman’s hat is even larger with more surface area for the decorations. When a woman marries, her social responsibilities expand to the point where a new hat construction is required with a board attached to the back to hold the weight of the ornaments. The weight and complexity of the married woman’s hat both signify and symbolize the responsibilities of a wife and mother in Akha society.5

Akha people

Burma/Myanmar Girl’s Headdress Later 1900s Cotton cloth, silver, plastic, yarn H. 17.25 in. (44 cm) IU Museum of Archaeology and Anthropology. Collected by Sidney and Sharon Mishkin. Gift of the Mishkins, 2017–09–0007. Caroline Ferguson / Indiana University.

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Akha people Burma/Myanmar Young Woman’s Headdress Later 1900s Cotton cloth, metal alloy, beads, yarn, shell H. 21.75 in. (55 cm) IU Museum of Archaeology and Anthropology. Collected by Sidney and Sharon Mishkin. Gift of the Mishkins, 2017–09–0014. Caroline Ferguson / Indiana University.

Akha people Burma/Myanmar Married Woman’s Headdress Later 1900s Metal alloy, cotton cloth, beads, feather H. 17.25 in. (44 cm) IU Museum of Archaeology and Anthropology. Collected by Sidney and Sharon Mishkin. Gift of the Mishkins, 2017–09–0013. Caroline Ferguson / Indiana University.

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Max Beckmann German (also active in the Netherlands and United States), 1884–1950 Hope Family Portrait, 1950 Oil on canvas 801/4 × 35 in. (203.8 × 88.9 cm) Sidney and Lois Eskenazi Museum of Art, Gift of the Hope Family, 2002.73 Kevin Montague / Indiana University.

Hope Family Portrait Max Beckmann was an insightful portraitist who instilled his subjects with a depth of character. Fleeing Nazi Germany in 1937, Beckmann settled in Amsterdam and, in 1947, immigrated to the United States, where he painted portraits of his many new American friends and patrons. Henry Hope, chair of Indiana University’s fine arts department, commissioned this portrait in 1950. The painting, which depicts Hope with his wife and children, contains more figures than any of Beckmann’s other portraits.6

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Stele of the Boy Apolexis Pillars or rectangular slabs of stone were often carved with inscriptions and images in relief. These steles were used as grave markers in various areas throughout the ancient world, particularly in Athens, during the fifth and fourth centuries BCE. This example served as a memorial for a young boy, who is depicted in low relief and placed within an architectural frame. The child’s name, Apolexis, is inscribed on the lintel of the structure. The stele would have been placed in one of the many family funerary plots that were located along the roads leading to Athens. Infant mortality was high, and many such memorials were made. The image of this boy, as he plays with some of his toys, represents Greek interest in naturalism and continues to serve as a poignant evocation of childhood.7

Roman, made in Attica Stele of the Boy Apolexis ca. 450–350 bce Pentelic marble H. (as preserved) 18 in. (45.8 cm); W. 141/8 in. (35.9 cm); Th. 31/4 in. (8.3 cm) Sidney and Lois Eskenazi Museum of Art , V. G. Simkhovitch Collection, 63.105.33 Kevin Montague / Indiana University.

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Coffin in the Form of a Fish One last way for family members to honor a deceased relative is by burial in a so-called designer or fantasy coffin. Bold, colorful, and inventive, these coffins relate to the deceased’s profession, status, or accomplishments.8 This bright pink fish coffin was commissioned in March 2001. Completed in three weeks, the fish is full-size, the length of a coffin that

Workshop of Ernest Anang Kwei Tadeshi, Ghana Coffin in the Form of a Fish, 2001 Wood, paint, cloth, metal L. 1151/2 in. (293.4 cm) Sidney and Lois Eskenazi Museum of Art, Gift of William and Gayle Cook in honor of Alvin and Phyllis Rutner, 2001.17 Kevin Montague / Indiana University.

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would actually be used for burial. The interior is upholstered with gathered white satin. The blue supports anchored to the bottom of the fish are also part of a casket intended for use: before the burial, mourners parade the casket through the streets, going past places that were important to the deceased.

Swedish Clock This clock was crafted by master clockmaker Johan Nyberg, who was active in Stockholm from 1787 to 1801. The clock was purchased by Herman B Wells and now hangs in Bryan House, in the living room above the fireplace.

Johan Nyberg, Swedish Eighteenth century 40 × 21 × 51/2 in. Indiana University, Campus Art Collection, CA2000.6.30 Alex Kumar, Indiana University.

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ADORNM E

M ENT

two

Adornment brings together an elegant outfit from a French fashion house with an equally elegant dress from Ghana, Hellenistic gold earrings from 300–250 bce, a bird necklace from Suriname in the mid-1900s, and a contemporary Algerian cuff bracelet. While color and form might be expressed differently in the following pieces, there are also universal elements in the overall sense of personal beauty and presentation of self.

Kurdish people Middle East Coat with Yarn Embroidery Early to middle 1900s Cotton, wool H. 51 in. (129.5 cm) IU Museum of Archaeology and Anthropology. Collected by Dee Birnbaum. Promised gift of Dee Birnbaum, DB-0467. Alex Kumar / Indiana University.

Yoruba Dress Mary Salawuh Warren was born and grew up in Ghana, then moved to the United States after marrying M. Dennis (Mike) Warren, an American anthropologist who had completed his doctorate at Indiana University. The Warrens returned frequently to West Africa, where they had houses in both Nigeria and Ghana. All who knew Mary appreciated her sense of style, and she created many exemplary ensembles over the years. The Mary Warren Collection includes about 450 pieces, which, when assembled, make up some 150 outfits. After Mary’s passing, her daughter Medina Warren sought a repository where her mother’s wardrobe would be preserved for future study and enjoyment.1

right and facing

Mary Salawuh Warren Yoruba, Nigeria, and Benin Ames, Iowa, USA Green and Orange Print Cloth Blouse and Skirt, Later 1900s cotton cloth Blouse L. 55 in. (140 cm); skirt L. 49.75 in. (126.5 cm) IU Museum of Archaeology and Anthropology. From the wardrobe of Mary S. Warren. Gift of Medina Warren, 2018–04–0423, 2018–04–0422. Alex Kumar / Indiana University.

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Delphos Gown Spanish-born fashion and textile designer Mariano Fortuny worked out of a Venetian atelier, creating his pleated silk and printed velvet dresses that continue to be highly collectible today. His simple garments are based on rectangles and take inspiration from ancient Greek dress. This particular style, the Delphos, is constructed of several lengths of pleated and stitched silk that slip over the head. Hidden drawstrings in the neckline and shoulders allow for adjustment, and the waist is girdled with a matching stenciled silk belt or cord (the dresses could also be worn without belts). Small handblown striped Murano glass beads, affixed to the side seams, help the lightweight gowns hang true. Fortuny’s method of achieving the tiny mushroom pleats in silk remain somewhat mysterious. The pleats are maintained by gently twisting and coiling the garments into small rounds. The dresses were sold in little signature boxes, similar to hatboxes. Garment production ceased with Fortuny’s death in 1949, but his historically inspired textiles are still produced today.2

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Facing and above

Mariano Fortuny Venice, Italy Delphos Gown and Belt 1927–1935 Silk and glass Sage Fashion Collection. Gift of Kathryn Foley, 2006.1056 AB. Alex Kumar / Indiana University.

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Selections from the Birnbaum Collection Quilt Resist-Dyed Coat, Fire-Gilded Silver Pendant, Coat with Yarn Embroidery, Enamel Cuff Bracelet Since the 1970s, Dr. Dee Birnbaum has been studying and collecting examples of clothing and adornment from the Middle East. Over time, her interest expanded to include cultures living as far west as Morocco and as far east as India, with major collections from North Africa, the Middle East, and Central Asia. She wanted to preserve these items, many of which had uncertain futures due to disruptions in cultural continuity. Since 2013, the Mathers Museum has received over twenty-two hundred pieces from her. The items shown here are a small sample of the Birnbaum Collection but serve to show the geographic range, makers’ skills, aesthetic power, and cultural importance of the materials.3

right and facing

Uzbek people Bukhara, Uzbekistan Quilted Resist-Dyed Coat Early 1900s, Silk, cotton cloth H. 50 in. (127 cm) IU Museum of Archaeology and Anthropology. Collected by Dee Birnbaum. Promised gift of Dee Birnbaum, DB-0077. Alex Kumar / Indiana University.

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Kurdish people Middle East Coat with Yarn Embroidery Early to middle 1900s Cotton, wool H. 51 in. (129.5 cm) IU Museum of Archaeology and Anthropology. Collected by Dee Birnbaum. Promised gift of Dee Birnbaum, DB-0467. Alex Kumar / Indiana University.

Facing top

Iskander Turkoman people Turkmenistan Fire-Gilded Silver Pendant Early 1900s Silver, carnelian H. 9.5 in. (24.25 cm) IU Museum of Archaeology and Anthropology. Collected by Dee Birnbaum. Promised gift of Dee Birnbaum, DB-0166. Alex Kumar / Indiana University.

Facing Bottom

Grande Kabylie, Algeria Enamel Cuff Bracelet Early 1900s Silver, enamel, coral H. 9 in. (23 cm) IU Museum of Archaeology and Anthropology. Collected by Dee Birnbaum. Promised gift of Dee Birnbaum, DB-0288. Alex Kumar / Indiana University.

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Chanel Cocktail Dress In the October 1, 1926, issue Vogue magazine dubbed a simple black knee-length crepe de chine dress by Chanel a “Ford—the frock that all the world will wear.” The little black dress, wearable and versatile, became a wardrobe staple for all women. This supercharged 1992 version, designed by Karl Lagerfeld for Chanel, appears austere from the front, the impeccable custom fit characteristic of haute couture hugging the wearer’s curves and producing the illusion of a corseted torso. Wide black satin ribbons at the shoulders, neckline, and hips provide textural contrast to the plain black of the dress fabric. In back, three simple flat satin bows adorn the hip. Few legendary fashion houses have had longterm success with new designers. Karl Lagerfeld for Chanel is one of those few. Although he did design under his own name as well as for Chloe and Fendi, he achieved his greatest success as creative director of Chanel. Almost instantly upon his appointment in 1993, he became known for his reimagining and reinventing of iconic Chanel hallmarks like the camellia flower, layers of costume jewelry, a black-andwhite palette, quilting, and tweed fabrics.4

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Facing and Below

Chanel Paris, France Dress 1992 Spring/Summer Silk, rayon Sage Fashion Collection. Gift of Anne H. Bass, 1995.111. Alex Kumar / Indiana University.

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White Silk Suit with Polka Dot Lining This day suit epitomizes the best of haute couture and the elegance for which Saint Laurent was known. Cut and stitched to the client’s measurements, couture garments require multiple fittings and hand-finishing by skilled artisans. Membership in the haute couture is regulated by the Chambre Syndicale de la Haute Couture, which requires that designers employ a specific number of full-time staff and technical workers and present a combination of at least fifty day and evening pieces in two shows annually in January and July. This piece prefigures the minimalism that emerged after the sartorial exuberance of the 1980s. Aside from the pleated cummerbund and gridded buttons, the individual components of the ensemble are marked by their utter simplicity, with minimal style lines created by topstitching at the pocket welts and skirt panels. Unfastening the mother-of-pearl and gold buttons reveals a surprise matching yellow-and-black polka dot shell and jacket lining.5

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Facing and Below

Yves Saint Laurent Paris, France Suit and Blouse Circa 1990 Silk Sage Fashion Collection. Gift of Anne H. Bass, 1994.283 A-D. Alex Kumar / Indiana University.

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Greek Necklace with Eros within a Herakles-Knot Clasp Hellenistic period, ca. 300–250 BCE Gold and glass Necklace: L. 143/16 in. (36.3 cm) Sidney and Lois Eskenazi Museum of Art, Burton Y. Berry Collection, 70.105.14 G Kevin Montague / Indiana University.

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The Burton Y. Berry Collection

Necklace with Eros within a Herakles-Knot Clasp

Burton Y. Berry was born in Fowler, Indiana, and attended IU. He had a distinguished career in the US Foreign Service. His first appointment was as vice consul in Istanbul, Turkey, in 1929. Subsequently, he served in Athens, Bucharest, Budapest, and, finally, as ambassador to Iraq from 1952 to 1954. His diplomatic career enabled him to collect Middle Eastern textiles, coins, gems, jewelry, and antiques. Berry gifted his collection to the IU Art Museum, now the Eskenazi Museum of Art, in the 1960s and 1970s.

The figure eight presented here as an elaborate clasp is known as a Herakles knot. The knot takes its name from the manner in which the mythic hero tied his lion-skin cloak about his neck. The cloak brought invincibility to Herakles and, presumably, transfers some of that power to the owner of this necklace. The knot motif was also associated with fertility. This extremely fine example is richly ornamented with volutes, blossoms, and leaves and is embellished with filigree and glass enamel. Amid this luxuriant vegetation, Eros reclines, lazily strumming his lyre. His presence, as god of love, further supports the knot’s connection to marriage and fertility.6

Pair of Disc Earrings with Eros Pendants Eros figures are portrayed as musicians in this splendid pair of earrings. They each reach out to clang their cymbals, although one set is missing. They are made of solid gold, cast with a lost wax technique—sheet gold was cut to form the wings and cloaks. The discs from which the pendants hang are also made from sheet gold

and decorated with filigree designs; blue and green glass inlays once brightened the flower petals. Earrings of this type were very popular in the Hellenistic period and highlight both the goldsmith’s skill and the prevalence of lighthearted subject matter.7

Greek Pair of Disc Earrings with Eros Pendants Hellenistic period, ca. 300–250 BCE Gold, glass H. each 17/8 in. (5.0 cm) Sidney and Lois Eskenazi Museum of Art, Burton Y. Berry Collection, 70.105.14 C–D Kevin Montague / Indiana University.

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Black Two-Piece Dress Marked by seemingly gravity-defying fabric ties at the hip and shoulder and a standaway neckline that contrasts with tight-fitting sleeves, this dress, designed by Christian Dior and worn by ballerina Marina Svetlova, is especially appropriate for a client known for her grace in motion. A number of the celebrated dancer’s Dior pieces, dating from the late 1940s and 1950s, were donated to the Indiana University Theater Department, where they were immediately recognized as sartorial treasures of twentieth-century fashion design, worth saving, and transferred to the Sage Collection. An almost instant success upon his 1947 debut, Christian Dior’s celebration of the fashionable feminine figure was marked by small rounded shoulders, a defined waist, and voluminous skirts. This well-received silhouette stood in marked contrast to the previous utilitarian looks, shaped by wartime material shortages and restrictions. Although his career lasted only ten short years, due to his untimely death in 1957, the designer’s name and influence have remained.8

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Facing and above

Christian Dior Paris, France Late-Day or Cocktail Dress, 1948 Silk, cotton Sage Fashion Collection. Gift of Marina Svetlova, 2000.393 AB. Alex Kumar / Indiana University.

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Madame Grès Paris, France Evening Dress, 1965 Metallic thread and silk Sage Fashion Collection. Gift of the estate of Chessy Rayner, 2003.899. Alex Kumar / Indiana University.

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Evening Dress / Caftan Jewel-toned patchwork brocades from notable textile firm Bianchini hang freely from the shoulders and end in a pointed handkerchief hem in this unusual dress from Paris-based designer Madame Grès. Celebrated as a sculptor in cloth, Madame Grès (also known professionally as Mademoiselle Alix and Alix Barton) is best known for her gathered white silk jersey goddess dresses, beginning in 1934, that celebrated the female figure as well as her billowing taffeta forms. Later in her career, she took inspiration from locales such as India and Japan for her geometric garments, like this one. After an extraordinarily long career, her design house closed in 1988. Fashion icon Chessy Rayner served as an editor at Vogue magazine from 1956 to 1964, but it was as a partner in the interior design firm MAC II (Mica and Chessy) that her creative instincts flourished. She and her partner, Mica Ertegun, designed interiors noted for their luxurious simplicity for clients such as fashion designers Bill Blass and Arnold Scaasi, architect Stanford White, and television producer Douglas Cramer.9 The estate of Chessy Rayner gifted several of her pieces to the Sage Collection in 2003.

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Necklace Made from Whole Birds This unusual necklace was acquired for the Mathers Museum in the 1960s from an Ohio artifact dealer. It’s part of a small set of objects labeled as “Surinam Tribe Objects,” with no other associated information. While the use of colorful feathers and other natural objects is common among cultures living in the vast forest areas of South America, the use of whole birds is all but unknown. Recent correspondence with a museum ornithologist in Germany has, after fifty years, offered a possible explanation for how this

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variation of traditional animal use in adornment came about. Dr. Till Töpfer of the Alexander Koenig Research Museum at Bonn University has examined a similar item in that collection and is exploring the possibility that local men, hired by European scientists, learned current taxidermy techniques that enabled this use of whole birds in their own indigenous practices. If the hypothesis stands up to further research, this little necklace is an example of outside influences enabling unexpected changes in cultural practices.10

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Suriname Necklace Made from Whole Birds Middle 1900s Bird carcasses (tanagers), seed beads, fiber L. 26.5 in. (67.25 cm) IU Museum of Archaeology and Anthropology, museum purchase, 1965–41–0005 Matt Sieber/ Indiana University.

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Evening Dress An explosion of large garden-hued brushstrokes covers this formal gown from the strapless neckline to the hem. Yards of silk taffeta are gathered into the side seams, creating a patterned and textural effect typical of mid- to late-1980s fashion. In the back, an enormous fabric pouf references bustled looks of the last quarter of the nineteenth century. In front, the tightly fitted bodice hugs every curve, while the narrow skirt, slit up the back, falls in a simple line to the floor. This excess of material and shape well illustrates the Reagan-era spirit of “more is more.” An impossibly young but incredibly talented twenty-one-year-old Yves Saint Laurent took over the House of Dior upon the designer’s death in 1957. His success was immediate, though later collections were not unanimously loved. Saint Laurent was called away to military service in 1960 and was eventually replaced by Marc Bohan. Saint Laurent debuted the first collection under his own name in 1962 and became one of the most influential designers of the twentieth century. He is noted for his diverse collections that drew upon influences such as menswear, the Ballets Russes, Africa, modern art, China, and the 1940s. Saint Laurent announced his retirement in 2002 and passed away in 2007.11 right and Facing

Yves Saint Laurent Paris, France Evening Dress, 1986 Silk Sage Fashion Collection. Gift of Anne H. Bass, 1993.421 AB. Alex Kumar / Indiana University.

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MAPS, TRAVEL , EXPLORATION

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A painting of dromedaries in Tunisia, maps of adventure and exploration, a codex depicting the Sino Spanish world, a camel saddle, a classic photograph of a man on a personal journey in front of a railway station in Paris, and classic automobiles—all images from different times and places related to exploring the new and unknown.

Abraham Ortelius Theatrum orbis terrarum. Antwerp 1570 Lilly Library, g1006 .t37 1570. Alex Kumar / Indiana University.

With Two Dromedaries and One Donkey A turning point in Paul Klee’s art occurred in 1914, when he spent two weeks in Tunisia. The watercolors made during this trip synthesized his earlier efforts to be both naturalistic and abstract, to unite “outer” observation with the “inner” pictorial logic of cubist design. The color and geometry of these Tunisian watercolors, suggestive of indigenous textiles, would shape his work for years to come. Klee’s original title for this subject was Entry into the Orient— perhaps reflective of his own arrival in Kairouan or the domed architecture in the background. When he reworked the sketch in 1919, he gave it the present title, thereby drawing attention to the tiny animal caravan backlit by the glow of a toned paper that suggests the heat of North Africa.1

Paul Klee Swiss (active in Germany), 1879–1940 With Two Dromedaries and One Donkey 1914–1919 Watercolor and gouache on yellow paper Image/sheet: 99/16 × 87/16 in. (24.2 × 21.4 cm) Sidney and Lois Eskenazi Museum of Art, Bernard and Cola Heiden Collection, 2000.141 Kevin Montague / Indiana University.

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Boxer Codex Above and next page

Sino-Spanish Codex (Boxer Codex) Manuscript Manila ca. 1590 Boxer MSS. II Lilly Library Alex Kumar / Indiana University.

The Boxer Codex, also referred to as the Manila Manuscript, dates from the late sixteenth century. It contains 270 pages of text, probably written through a collaboration between a Spanish and a Filipino clerk, and was drawn from a variety of sources. The text of the volume consists of accounts describing Micronesia, the Philippines, Southeast Asia, and East Asia; the indigenous people who lived there; and their customs at the time of their initial contact with Spanish

conquistadors. The manuscript also includes seventy-five color illustrations of the inhabitants of China, the Philippines, Java, the Moluccas, the Ladrones, and Siam. Additionally, the codex contains eighty-eight smaller drawings of birds and fantastical animals, and a double-fold drawing depicts a Spanish ship off one of the Ladrone islands surrounded by the small canoes of the indigenous people of the islands.

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Charles Boxer acquired the manuscript in 1947 from the sale of books and manuscripts from Lord Ilchester’s library at Holland House. The codex was among what remained in his collection after his estate suffered from direct German shelling during the Blitz in September 1940.2 Charles R. Boxer was born on the Isle of Wight into a family with a history of distinguished admirals and generals. He joined the British Army in 1923 and served as a language officer in Japan. In 1936, he was assigned to

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Hong Kong. He was badly wounded in December 1941, and after recovering, he was a prisoner of war. In 1947, he became Camoens Professor of Portuguese Studies at King’s College, London, even though he did not have an academic degree. From 1967 to 1979, he taught at Indiana University. He received an IU honorary doctorate in 1980. Boxer was also known for his very public romance, documented in the press, with the New York writer and author of China to Me, Emily Hahn.

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Theatrum Orbis Terrarum The Theatrum Orbus Terrarum (“Theatre of the Orb of the World”) is considered to be the first true modern atlas. Written by Abraham Ortelius and published in Antwerp in May 1570, the atlas is often considered as the official beginning of the golden age of Netherlandish cartography (1570s–1670s). Prior to the publication dates, groupings of disparate maps were only released as custom individual orders. The Ortelious atlas was the first time that the entirety of Western European knowledge of the world was brought together in one book. It also represents the first time that maps were all produced in the same style and of the same size, printed from copper plates, and arranged

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by continent, region, and state. Ortelius also included descriptive comments and referrals on the back of each map. The moneyed middle class was the primary market for the first edition of the atlas, which was written in Latin. After 1572, subsequent editions were also printed in Dutch, German, and French. By Ortelius’s death in 1598, twenty-five editions of the atlas had been produced in seven different languages, and the atlas contained seventy maps.3 The copy of the atlas housed in the Lilly Library is a mixed variant of the Latin first edition.

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Abraham Ortelius Theatrum orbis terrarum. Antwerp 1570 Lilly Library g1006 .t37 1570. Alex Kumar / Indiana University.

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Camel Saddle This camel saddle frame was covered with cloths and cushions when in use, though the frame itself has a simple elegance. The saddle was donated to the Mathers Museum by Betty Crites Dillon, a former pilot, Peace Corps worker, and diplomat who now lives in southern Indiana, after having retired from a long and varied international career. She purchased the saddle in Egypt in 1955.4

Egypt Camel Saddle Middle 1900s Wood, brass, rawhide L. 26 in. (66 cm) IU Museum of Archaeology and Anthropology. Collected by Betty Dillon. Gift of Betty Crites Dillon, 2009–03–0014. Caroline Ferguson / Indiana University.

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Behind the Gare Saint-Lazare, Place de l’Europe, Paris Henri Cartier-Bresson was considered a master of candid photography and was an early user of 35mm film. He viewed photography as capturing a decisive moment, a split second that reveals the larger truth of a situation. Place de l’Europe, Paris is one of his most successful images. The shot captures a man hopping over a flooded area behind a Paris train station the moment before his heel hits the water. The man’s movement mimics the image of a dancer on a poster in the background.5

Henri Cartier-Bresson French, 1908–2004 Behind the Gare Saint-Lazare, Place de l’Europe, Paris, 1932 Gelatin silver print Image: 14 × 91/2 in. (35.6 × 24.1 cm) Sheet: 155/8 × 1113/16 in. (39.7 × 30 cm) Eskenazi Museum of Art, Indiana University 75.63.14 Kevin Montague / Indiana University.

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Luxury Car Literature Thomas T. Solley (1924–2006) received his BA in architecture from Yale University and pursued graduate studies there before becoming an architectural project engineer at Eli Lilly & Co. in Indianapolis from 1951 to 1961. A grandnephew of Josiah K. Lilly, Solley left private practice as an architect to pursue a graduate degree in art history at Indiana University, earning an MA in 1966. In 1968, he was appointed assistant director of the Indiana University Art Museum in Bloomington and became its director in 1971. As a youth, Solley became interested in automobile and coachbuilder catalogs and spent more than sixty years systematically amassing a collection of them, focused on the “automobile as art.” The catalogs served as the basis for his 2008 monograph Prestige, Status, and Works of Art: Selling the Luxury Car 1888–1942, in which many of them are described in full detail. He did not limit his catalog collecting solely to Great Britain; the collection is also particularly strong in automobile and coachbuilder catalogs from France (Bugatti, Delage, Hispano-Suiza); Germany (Mercedes-Benz); Italy (Alfa Romeo, Lancia); and the United States (Cadillac, Chrysler, Lincoln, Packard). Solley was also a discriminating collector of luxury automobiles, most notably Rolls-Royce and Bentley.6

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Bentley, “Bentley the Eight Litre” No. 35 1931 (Feb.) (SE: 16/890) (Box 6) Lilly Library, Tom Solley MSS. Chris Meyer / Indiana University.

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Rolls–Royce of America, Inc., “Advanced Sketches of New Coachwork” c. 1925 (Box 16). Lilly Library, Tom Solley MSS. Chris Meyer / Indiana University.

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Bottom row, from left to right

Rolls–Royce, “Rolls–Royce” 1906–1907 (SE: 4/219) (Box 8) Bentley, “Bentley, the Silent Sports Car” 1936 (SE: 7/1232) (Box 6) Bentley, “31/2 Litre Bentley Drop–Head Coupe” 1935 (Dec. 10) (Box 6)

Bentley, “Bentley the Eight Litre” No. 35 1931 (Feb.) (SE: 16/890) (Box 6) Rolls–Royce of America, Inc., “Advanced Sketches of New Coachwork” c. 1925 (Box 16) Lilly Library, Tom Solley MSS. Chris Meyer / Indiana University.

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Paa Joe Workshop Ga people Accra, Ghana Coffin in the Form of an Airplane ca. 2001 Wood, paint, Plexiglas, metal, putty L. 118 in. (300 cm) IU Museum of Archaeology and Anthropology. Commissioned by Robert E. Schloss. Gift of Robert E. Schloss, 2017–07–0001. Matt Sieber / Indiana University.

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Airplane Coffin Ghanaian “fantasy coffins” have become an international phenomenon in the past twenty to thirty years. What used to be exclusively a tradition of the Ga people of coastal Ghana—crafting coffins that depicted symbols of a person’s occupation, such as boats or fish—has attracted art collectors and museums around the world. Unlike those made and used for burial in Ghana, those commissioned by international audiences are meant for viewing only. This particular coffin was made for Robert E. Schloss of Indianapolis. Friends shared photographs taken while they visited Paa Joe, sometimes known as Joseph

Ashong, maker of fantasy coffins, at his workshop in Accra. Mr. Schloss knew immediately that he would like to own one, and he requested it to represent the airplane he then co-owned. In a decidedly twenty-first-century transaction, he emailed images of his plane to the workshop; from these photographs, Paa Joe and his talented crew set to work. The result is a very close representation of a Cirrus SR22 single-engine plane, complete with cockpit controls and the registration number for the aircraft owned by Mr. Schloss and his partners.7

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ART

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Featured here are artists from different parts of the world who created oil paintings, sculptures, lithographs, prints, woodblocks, and photographs using different techniques and styles but all demonstrating the brilliance of the creative experience.

Liu Shaohui, Chinese, b. 1940 Girl and the Sea Mixed media Framed: 261/4 × 265/8 × 1 in. Gift of the Waldman Art Fund. Indiana University, Campus Art Collection, ca1000.196.2. Chris Meyer / Indiana University.

Alebrije Pedro Linares was born into a family of paper craftsmen located in a borough of Mexico City, where he learned the family business—making piñatas, carnival masks, and other paper figures to sell at local markets. Once while ill with a fever, Pedro dreamed he was in a forestlike space in which clouds, rocks, trees, and animals were transformed into brightly colored unknown creatures. After Pedro recovered from his illness, he named the figures from his fever dreams alebrijes and used his skills as a paper sculptor to re-create them in his studio. Other members of his family took up this work. It is not known whether Pedro himself or one of his family members created this particular sculpture. Nevertheless, it caught the eye of a world traveler, Mary Joan Collett, who later gave it to the Mathers Museum as part of a large collection of folk art from around the world.1

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Pedro Linares family Alameda, Mexico Alebrije, 1974 Papier-mâché H. 24 in. (61 cm) IU Museum of Archaeology and Anthropology. Collected by Mary Joan Collett. Gift of the donor, 1986–25–0335. Caroline Ferguson / Indiana University.

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Eleanor Kanasawe Ojibwe Manitoulin Island, Ontario, Canada “Cricket” Print, 1970s Cotton, ink W. 15 in. IU Museum of Archaeology and Anthropology. Collected by Elinor and Vincent Ostrom. Bequest of Elinor Ostrom, 2015–03–0174. Matt Sieber / Indiana University.

Cricket Elinor and Vincent Ostrom collected many materials from Manitoulin Island in Lake Huron, Ontario, Canada. The Ostroms owned a small house on the island and would retreat there each summer to focus on their writing. While there, the Ostroms would visit local galleries

and shops, where they encountered the works of many local Anishinaabe-Ojibwe artists. One of their favorites was painter and printmaker Eleanor Kanasawe, whose subjects embraced traditional beliefs and symbolism, presented in vibrant colors.2

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Chagall Plate In 1948, Marc Chagall was asked to produce a set of lithographs for Pantheon Books’ publication of Four Tales from the Arabian Nights. The project was his first use of lithography and is considered the finest example of the medium printed in the United States before 1950. It received the graphic prize in the 1948 Venice Biennale. The portfolio was released in a regular edition run of ninety lithographs, or copies, containing twelve images, and a deluxe edition run of eleven copies, which included one additional image.

Marc Chagall Russia/France, 1887–1985 Disrobing Her with His Own Hand. . . , from Four Tales from the Arabian Nights, 1948 Lithograph Dimensions: 10.875 × 14.375 in. Kinsey Institute, vac1641–27932. facing

Marc Chagall Russia/France, 1887–1985 Then He Spent the Night with Her, from Four Tales from the Arabian Nights, 1948 Lithograph Dimensions: 10.875 × 14.375 in. Kinsey Institute, vac1641–28075.

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Dancing Female Figure At the age of seven, French sculptor Félix Charpentier began to make figure models of clay and found wood. He left home at age sixteen to attend art school, first in Avignon and later at the École Nationale des Beaux-Arts de Paris. From 1878 onward, he was recognized as an important artist. After World War I, he was the sculptor of various war memorials in France.

Félix Maurice Charpentier, French, 1858–1924 Dancing Female Figure 1893 bronze 181/4 × 9 × 5 in. Indiana University, Campus Art Collection, Arthur R. Metz Collection, CA1964.1.104 Alex Kumar / Indiana University.

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Islandsk Portrait Carl-Henning Pedersen and his wife, Else Alfelt, were part of CoBrA, an expressionist-oriented group of artists from Copenhagen, Brussels, and Amsterdam. Pedersen was born in Copenhagen in 1913 and first exhibited at the Artists’ Autumn Exhibition in Copenhagen in 1936. Pedersen traveled on foot to Paris in 1939 to see works by Picasso and Matisse. On his way home, he stopped in Frankfurt to visit another exhibition and was particularly inspired by the works of Chagall, who remained a strong influence on his art.

Carl-Henning Pedersen Danish, 1913–1993 Islandsk Portrait 1950 Oil on canvas 453/4 × 391/8 in. (116.2 × 99.4 cm) Sidney and Lois Eskenazi Museum of Art, Gift of Mr. and Mrs. G. David Thompson, 62.142 Kevin Montague / Indiana University.

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L’Yerres, Effet du Pluie Gustave Caillebotte painted The Yerres, Effect of Rain on his family’s property outside Paris. The composition includes a glimpse of a boat—perhaps Caillebotte’s—just visible on the far shore of the Yerres River. The artist was an avid rower, and canoes, skiffs, and rowboats appear in many of his works. The painting’s vertical format, diagonal lines, and stylized pattern of raindrops also suggest the influence of Japanese woodblock prints, which had been available in France since the early nineteenth century and were collected by many artists. Their distinctive aesthetic qualities had a strong influence on impressionism.3 right

Gustave Caillebotte French, 1848–1894 The Yerres, Effect of Rain (L’Yerres, effet du pluie) 1875 Oil on canvas 315/8 × 231/4 in. (80.3 × 59.1 cm) Sidney and Lois Eskenazi Museum of Art, Gift of Mrs. Nicholas H. Noyes, 71.40.2 Kevin Montague / Indiana University. facing

Toyokuni III Japanese, 1786–1865 The Tale of Genji, chapter 35, c. 1850 Woodblock print on paper Framed: 161/2 × 21 × 3/8 in. Gift of the Waldman Art Fund. Indiana University, Campus Art Collection, CA1000.196.28. Chris Meyer / Indiana University.

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The Tale of Genji (Genji Monogatori) The Tale of Genji was written over a thousand years ago by Lady Murosaki Shikibu, who was born around 978 CE. The novel concerns the amorous life and affairs of Prince Genji during the Heian period in Japan (794–1185 CE). The home of the emperor was then located in what is now known as Kyoto. Aristocrats such as Prince Genji had lives of leisure in which rank,

breeding, appearance, and dress were of the utmost importance, as well as skill in poetry, music, and calligraphy. Although women lived sequestered lives, the political connections they made through their marriages were very important. The Tale of Genji was often the subject of Japanese woodblock prints by major artists during the Edo period (1614–1868).4

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Woman Brushing SilkWorm Larvae This Japanese woodblock print depicts the cultivation of the silkworm, known as sericulture. Cocoons produced by the mulberry silk moth are used in the process of silk production. For thirty centuries, the Chinese had a monopoly on silk production, which they strictly guarded. Eventually, the technology of silk production was smuggled out of China and reached Japan

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around 300 CE. A strain of silkworms from the Japanese Nara period (645–794 CE) was kept by the empress in the palace. The depiction of various industries in Japan was a topic that received attention in Japanese woodblock prints but not to the same extent as pictures of actors, beautiful women, landscapes, birds, and flowers.5

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Liu Shaohui, Chinese, b. 1940 Girl and the Sea Mixed media Framed: 261/4 × 265/8 × 1 in. Gift of the Waldman Art Fund. Indiana University, Campus Art Collection, CA1000.196.2. Chris Meyer / Indiana University.

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Utagawa Kunisato, Japanese, d. 1858 Woman Brushing Silkworm Larvae Print on paper Framed: 213/4 × 165/8 × 3/4 in. Gift of Carolyn and Joe Waldman. Indiana University, Campus Art Collection, CA1000.44. Chris Meyer / Indiana University.

Girl and the Sea Liu Shaohui was born in 1940 in Hunan Province. He studied at the Central Fine Arts Academy. Later, in Kunming, he started the Yunnan School of Painting, also known as the “Heavy Color” School of Painting. Examples of Liu’s work are in China’s National Fine Arts Museum

in Beijing, and his paintings are in collections throughout the world. He believes that contemporary Chinese artists need to immerse themselves in the country’s rich artistic traditions but also in Western modern and postmodern artistic innovations.6

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Two Sisters Two Sisters was a gift from IU professor Mendel Sherman and his wife, Martha Sherman. In a letter to President Michael McRobbie, they explained how they had acquired the piece. The couple spent two years in Thailand working on an education project. While there, on a visit to

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the Bangkok Art Museum, Martha Sherman was drawn to this piece crafted by one of the country’s leading sculptors, Yimsiri. She offered to buy it but was told it was not for sale. A Thai colleague whose daughter was engaged to Yimsiri persuaded the artist to sell it to her.

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Kien Yimsiri Thai Sisters, ca. 1960 Bronze 28 × 8 × 5 in. Gift from the Dr. and Mrs. Mendel Sherman Collection. Indiana University, Campus Art Collection, CA2007.3.78. Chris Meyer / Indiana University.

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Selections from the Wanamaker Collection Joseph Kossuth Dixon was employed by the Wanamaker Store in Philadelphia as an educator, providing the public with information on a variety of subjects. In particular, he received the support of Rodman Wanamaker, who shared many of his interests.

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Beginning in 1908, his interests increasingly turned toward Native American life. In that year and in 1909, he traveled west, centering his work at Crow Agency, Montana. He staged and produced many images that projected nostalgic ideas about Native Americans, such as Song of the Arrows and On the Skyline.7

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above

Crow Crow Reservation, Montana Song of the Arrows Vintage photographic print 1909 Joseph K. Dixon, photographer H. 10 in. (25.5 cm) IU Museum of Archaeology and Anthropology. Wanamaker Collection of American Indian Photographs. Gift of Wanamaker Department Store, 1962–08–2006. Public domain (copyright Rodman Wanamaker, 1913).

Crow Agency, Crow Reservation, Montana On the Skyline September 1909 Eastman Kodak vintage photographic print Joseph K. Dixon, photographer H. 10 in. (25.5 cm) IU Museum of Archaeology and Anthropology. Wanamaker Collection of American Indian Photographs. Gift of Wanamaker Department Store, 1962–08–2667. Public domain (copyright Rodman Wanamaker, 1912).

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LITERATURE

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Cutting across the centuries, Geoffrey Chaucer in 1477, Su Wo p’ien in 1610, William Shakespeare in 1623, Robert Burns in 1777, J. M. Barrie in 1904, Emily Hahn in 1943, and Ian Fleming in 1956 were all concerned with the written word. At times the words themselves might appear different from those we use today, and each writer had a unique personal style; however, they all offer great insight into the human condition.

Geoffrey Chaucer Canterbury Tales Westminster: William Caxton Between 1476 and 1478 Lilly Library PR1865 1478 Alex Kumar / Indiana University.

Canterbury Tales Revered as one of the most important works in English literature, The Canterbury Tales was written by Geoffrey Chaucer and published in Westminster in 1477. The twenty-four tales are presented as a storytelling contest among a group of pilgrims on their way from London to Canterbury to visit the shrine of Saint Thomas Becket at Canterbury Cathedral. The tales are

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told by characters from different classes and occupations and provide insights into customs and practices of the time. The only libraries in the United States that own both first and second editions are the Pierpont Morgan Library in Manhattan, the Beinecke Library at Yale, and Lilly Library at Indiana University.

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Geoffrey Chaucer Canterbury Tales Westminster: William Caxton Between 1476 and 1478 Lilly Library PR1865 1478 Alex Kumar / Indiana University.

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Su Wo p’ien (Lady of the Moon) Su Wo p’ien (Lady of the Moon), written by an anonymous author, is a Chinese erotic novel dated around 1610. It is remarkable for the quality of its illustrations. The novel is more than ten thousand characters long, with ninety illustrations. It was inspired by a short story by Yuan Jiao, author during the Tang Dynasty (618–909 CE). Yuan recounts the relationship between Wu Sansi, the nephew of Empress Wu Zeitan,

Su Wo p’ien (Lady of the Moon) China, Ming dynasty, 1610 1610 Paper, ink Kinsey Institute, 711 A13.

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and Se E, Wu’s concubine. Su E’s refusal to meet a minister known for his integrity leads to the discovery that she is a supernatural spirit. The story, written in classical Chinese, is imbued with Taoist theories of sexuality. The engraver of the illustrations of Su Wo p’ien is Huang Yikai (1580–1622) of Hangzhou. He illustrated other works, such as The Peony Pavilion.1 The only known complete copy of this novel is kept at the Kinsey Institute.

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Shakespeare’s First Folio Mr. William Shakespeare’s Comedies, Histories & Tragedies, a collection of William Shakespeare’s plays, was published in 1623. Modern scholars commonly refer to it as the First Folio, which is considered one of the most influential books ever published in the English language. The folio contains thirty-six plays. Although eighteen of Shakespeare’s plays had been published before 1623, the First Folio is perhaps the only reliable text for about twenty of the plays and is a valuable source text for many of those previously

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published. The folio contains all the plays generally accepted to be Shakespeare’s, with the exception of Pericles, Prince of Tyre; The Two Noble Kinsmen; and the two lost plays, Cardenio and Love’s Labour’s Won. Shakespeare’s colleagues, John Hemings and Henry Condell, an actor and the financial manager for the King’s Men, the acting company to which Shakespeare belonged for most of his career, prepared the folio after his death in 1616.

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William Shakespeare Mr. William Shakespeare’s Comedies, Histories, & Tragedies. Published According to the True Original Copies London: Isaac Jaggard and Ed. Blount. 1623 Lilly Library PR2751 .A1. Chris Meyer / Indiana University.

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Auld Lang Syne Robert Burns Auld Lang Syne Autograph manuscript 1788, December 7 Lilly Library, English Literature MSS Chris Meyer / Indiana University.

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“Auld Lang Syne” is a Scottish poem written by Robert Burns in 1788 and set to the tune of a traditional folk song. The two-page manuscript of “Auld Lang Syne,” which has been described as the earliest in existence, was originally part of a long letter from Burns dated December 7, 1788. “Auld Lang Syne” translates into standard English as “long, long ago” or “days gone by,” and the song is traditionally sung at the stroke of midnight on New Year’s Eve.

Peter Pan Peter Pan, written by Scottish novelist and playwright J. M. Barrie, premiered in London in December 1904. This original manuscript includes Barrie’s illustration of part of Never Land as well as the nursery of Wendy, John, and Michael Darling. The manuscript is inscribed to Maude Adams, the actor who originated the Broadway stage role of Peter Pan in 1905.

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James M. Barrie Peter Pan Autographed play manuscript, 1904 Lilly Library, English Literature MSS Chris Meyer / Indiana University.

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Ian Fleming Collection Ian Lancaster Fleming (1908–1964), author and bibliophile, is best known for his novels about the character James Bond. Fleming worked for Britain’s Naval Intelligence Division during World War II, which inspired him to create the character 007. His Bond books sold a record number of copies worldwide, and the Lilly Library collection includes some of the original manuscripts. Fleming had all his own first editions of the James Bond novels specially bound in leather and numbered on the spines. Several of them feature handwritten notes by the author.2 In this volume, Fleming writes: This was written in Jan & Feb ’56 at Goldeneye. The Russian background comes mostly from a Soviet refugee spy called Tokaer—alias Tokati—an excellent man. I was in Istanbul for the Sunday Times. Darko is purely fictional but a favorite character. The gypsies will stage a fight between girls for a small sum. The Orient Express is a dull, dirty train. I took great trouble over this book—the jacket, painted by Richard Chopping.—Ian Fleming

Pictured here are the manuscript, first edition, and Fleming’s own personal copy of the fifth book in the Bond series, From Russia with Love.

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Ian Fleming From Russia with Love, annotated typescript, 1956 Copyright Ian Fleming Publications Lilly Library, Fleming MSS, 1952–1962 Alex Kumar / Indiana University.

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Ian Fleming Author’s personal copy inscribed with handwritten note to self From Russia with Love, 1957, from the library of Ian Fleming. Bound in full black morocco with the original paper wrappers. Copyright Ian Fleming Estate Lilly Library, Fleming MSS, 1952–1962. Alex Kumar / Indiana University.

Ian Fleming From Russia with Love, annotated typescript, 1956 Copyright Ian Fleming Publications From Russia with Love, 1957, from the library of Ian Fleming. Bound in full black morocco with the original paper wrappers. Copyright Ian Fleming Estate From Russia with Love. London: Jonathan Cape, 1957. Illustration credit: Richard Chopping Lilly Library, Fleming MSS, 1952–1962. Alex Kumar / Indiana University.

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Emily Hahn Emily Hahn was born in St. Louis and was the first woman to receive a mining engineering degree from the University of Wisconsin. In 1927, she went to Europe for the first time, and in 1932, she began further travels, finally settling in Shanghai in 1935. While there, she wrote articles on her experiences, including her affair with a famous Chinese poet and her use of opium; many of these appeared in The New Yorker. She also founded and edited a literary magazine, Candid Comment; published books on her travels; and taught English. The SinoJapanese conflict forced her to leave Shanghai

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for Hong Kong, where she remained even after the Japanese took over in 1941. She returned to the United States in 1943 and wrote the classic China to Me. In 1945, she married British major Charles Ralph Boxer, with whom she lived in Hong Kong prior to his internment as a prisoner of war. In 1933, Hahn sat for a series of nude portraits taken by renowned photographer George Platt Lynes. The Kinsey Institute at IU holds a significant number of Lynes’s works, including this photo of Hahn.

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George Platt Lynes, 1907–1955 Emily Haan [sic] 1933 8 × 10 in. Film imprint Eastman Kodak safety film George Platt Lynes Collection Kinsey Institute Collections, VAC1641–27230 Used with permission of the George Platt Lynes Estate.

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Emily Hahn, 1905–1997 Candid Comment, China, 1938–1939 Magazine Lilly Library, Hahn MSS III, 1925/1998 Chris Meyer / Indiana University.

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All these items are distinctive, but underlying each of them is a concern for a particular look. The Matisse book, cloth from the Pacific, the colors and shapes in the Persian rug, the abstract use of script and color on the Turkish plate, the dress sketch of Dior, the Meissen candelabra, and the nineteenth-century French wallpaper all share common elements of imagining space and form. The Japanese puzzles and the Berracol, Goliath, are designed to challenge the mind.

James Joyce Ulysses. With six etchings by Henri Matisse. New York: The Limited Editions Club 1935 Lilly Library PR6019 .09 U4 1935. Alex Kumar / Indiana University.

DESIGN

Livre des Artist— Ulysses /Matisse In 1935, American publisher George Macey invited Henri Matisse to create a special illustrated edition of Ulysses. Macey had previously commissioned such artists as Matisse and Pablo Picasso. While James Joyce was delighted that such a major artist would illustrate his book,

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he was also concerned that Matisse might not actually read the book. He was correct; Matisse completed wonderful drawings based on Homer’s Odyssey, in which Ulysses was the hero. This is a rare example of the livre d’artiste in the United States prior to World War II.

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James Joyce Ulysses. With six etchings by Henri Matisse. New York: The Limited Editions Club 1935 Lilly Library pr6019 .09 U4 1935. Alex Kumar / Indiana University.

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Captain Cook Cloth Samples In 1768, the British Royal Society in London and the Royal Navy organized the first of three scientific expeditions to the Pacific, commissioned by King George III. The commander for all three voyages was cartographer and explorer Captain James Cook. The research team consisted of botanists, astronomers, artists, and other scientists. In 1787, Alexander Shaw, a collector in London, published a number of catalogs using actual specimens of cloth collected by Captain Cook on his voyages. The catalogs included thirty-eight pieces of tapa or bark cloth and provided details about where they came from and how they were made. Usually, the inner bark of trees was beaten and then pasted together in layers; washes or pigments might be added as well as motifs and designs. Islands from which they originated include Hawaii, Tahiti, and Tonga. The cloth was typically used for clothing or home furnishings.

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A catalog of the different specimens of cloth collected in the three voyages of Captain Cook to the southern hemisphere, with a particular account of the manner of the manufacturing the same in the various islands of the South Seas . . . London: Now properly arranged and printed for Alexander Shaw 1787 Lilly Library G420 .C75 A5 v. 1–2 Alex Kumar / Indiana University.

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Mary Salawuh Warren Yoruba Ames, Iowa, USA Orange Print Cloth Blouse and Skirt Later 1900s, cotton cloth Blouse L. 30.75 in. (78 cm); skirt L. 35 in. (89 cm) IU Museum of Archaeology and Anthropology. From the wardrobe of Mary S. Warren. Gift of Medina Warren, 2018–04–0229, 2018–04–0230. Alex Kumar / Indiana University.

Yoruba Cloth The Mary Salawuh Warren collection, housed at the IU Museum of Archaeology and Anthropology (formerly the Mathers Museum of World Cultures), consists of more than four hundred West African textiles and garments. Mary and her husband, anthropologist M. Dennis (Mike)

Warren, traveled frequently to Ghana and Nigeria, where most of the garments were purchased. Mary and Mike’s daughter, Medina Warren, gifted Mary’s extensive collection to the Mathers Museum for study and preservation after Mary’s passing.1

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Persian Rug US presidential candidate Wendell Willkie often met with world leaders when he traveled abroad. In 1943, he had lunch with the Shah of Iran in the garden of his palace. The ground was covered with a magnificent oriental rug, which Willkie admired. It was subsequently delivered to him as a gift from the Shah. After Willkie’s death, his widow returned to live in Indiana. In 1974, she donated political memorabilia and personal papers from Willkie’s campaign for

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Isfahan Heroti Persian Rug Silk, wool Length: 176 inches, width, 127 inches Lilly Library, Accession 80.80 Alex Kumar / Indiana University.

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US presidency, as well as copies of his book, One World, which sold millions of copies, to the Lilly Library. The carpet was included in the gift. For many years, the carpet was displayed at the Lilly Library. On a visit to the Lilly in 2018, IU president Michael McRobbie decided that it would be seen and appreciated by more people in Bryan House; the rug can now be found in the living room there.

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Isicholo During the nineteenth century, the Isicholo was a distinctive hairstyle that identified a Zulu woman as married; over time, it has become a detachable headdress that varies in form from cylindrical to flaring depending on regional preferences. Frequently decorated with beadwork, today the Isicholo is worn primarily on special or ceremonial occasions.2

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Zulu peoples, South Africa Married Woman’s Headdress (Isicholo) Twentieth century Cloth, fiber, hair, red ochre, and animal fat Diam. 181/8 in. (46 cm) Sidney and Lois Eskenazi Museum of Art, Gift of Budd Stalnaker, 2006.369 Kevin Montague / Indiana University.

Blue plate Mehmet Gürsoy Turkey Porcelain platter Overall: 121/4 in. (31.1 cm) Indiana University, Campus Art Collection, CC157 Chris Meyer / Indiana University. Arabic script plate: Nurten Şahin Turkey Ceramic platter In the Name of God, the Merciful, the Compassionate Overall: 13 in. (33 cm) Indiana University, Campus Art Collection, CC163 Chris Meyer / Indiana University.

Turkish Ceramics The Indiana Art Museum’s 1993 exhibition Turkish Traditional Art Today was a unique introduction to Turkish art and culture. Based on the fieldwork and analysis of guest curator and professor of folklore Henry Glassie, the exhibition consisted of over five hundred objects. Major funding was received from the National Endowment for the Humanities. A number of ceramics were produced by Turkish artists-in-residence in Bloomington, including calligraphers Yusuf Sezer, creator of many calligraphies for mosques and public displays, and Muhittin Serin, a professor of calligraphy and religious studies at

Marmara University. The four master potters were from Turkey’s pottery-making center of Kiithaya: Thrahim Erdeyer, the young master of one of the city’s oldest ceramic workshops; Mehmet Giirsoy, a member of a newer atelier developed by Kiithaya’s younger generation; and the husband-and-wife team Ahmet Hiirriyet Şahin and Nurten Şahin, representing the youngest generation of the city’s most influential family of ceramic artists. The catalog for exhibition was published by IU Press and remains a definitive reference work.

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Japanese Puzzles The Jerry Slocum Collection of mechanical puzzles embodies a lifetime pursuit of the intriguing and perplexing. The result is the largest assemblage of its kind in the world, with over thirty-four thousand puzzles. Unlike word or jigsaw puzzles, mechanical puzzles are handheld objects that must be manipulated to achieve a specific goal. Popular examples include the Rubik’s cube and tangrams. The puzzles in the

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collection represent centuries of mathematical, social, and recreational history from across five continents.3 The Japanese puzzles pictured here are part of the Slocum Puzzle Collection. They were all designed by the same artist, Akio Kamei. Slocum collected many of Kamei’s puzzles over the years, and they became friends in the process.4

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Japan Japanese Fan, 1992 Laminated wood Trick or secret opening puzzles Lilly Library, Accession 019228 Chris Meyer / Indiana University.

The Crown, 1997 Zelkova, walnut, velvet fabric Secret compartment puzzles Lilly Library, Accession 024048 Chris Meyer / Indiana University.

The Stapler, 2008 Karin, oak Trick or secret opening puzzles Lilly Library, Accession 030385 Chris Meyer / Indiana University.

Hot Miso Soup, 2007 Cherry, walnut Trick or secret opening puzzles Lilly Library, Accession 030377 Chris Meyer / Indiana University.

Japan The Stapler, disassembled 2008 Karin, oak Trick or secret opening puzzles Lilly Library, Accession 030385 Chris Meyer / Indiana University.

Piece of Cake, 1987 Laminated wood Trick or secret opening puzzles Lilly Library, Accession 009614 Chris Meyer / Indiana University.

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Berrocal—Goliath Artist Miguel Berrocal was best known for his interactive sculptural works, which range in scale from the miniscule to the monumental and depict abstract or figurative forms that can be assembled like puzzles. He studied art in Paris but moved to Italy in 1967 to be closer to a foundry that could make the metal pieces that he used for his puzzle sculptures. He moved back to Spain in 2004 before his death in 2006.5 Goliath was produced between 1968 and 1972, when he was living in Italy.

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Miguel Berrocal, 1968–1972 Goliath (Opus 114) Brass, limited edition sculpture interlocking in eighty elements © Miguel Berrocal. ADAGP, Paris. Lilly Library, Accession 031896. Chris Meyer / Indiana University.

Marc Bohan for Christian Dior Paris, France Cocktail Dress 1987 Wool, silk, metallic thread, glass beads Sage Fashion Collection. Gift of Anne H. Bass, 1992.42 (dress), 1993186_02 (sketch).

Dior Dress and Sketch From afar, this simple black crepe sheath appears to be draped with golden ropes and tassels. A closer look reveals masterfully executed glass bead and gold braid trompe l’oeil embroidery from the legendary Maison Lesage covering the wearer’s midriff from the right bust to the left hip. This incredible example of haute couture craftsmanship and skill was designed by Marc Bohan for the House of Dior. After working for couturiers Piguet, Molyneux, and

Patou, Bohan was appointed to Dior after Yves Saint Laurent’s sudden 1961 departure. Bohan served as designer at Christian Dior for nearly forty years. His work is marked by luxurious fabrics and attention to detail as well as an acute sensitivity to the needs of his clients, such as Elizabeth Taylor and Grace Kelly. Legendary and influential, Christian Dior remains one of the most iconic and revered names in fashion today.6

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“Views of North America” Wallpaper The paper is called “Views of North America” and was first printed in 1834 by Jean Zuber et Cie in Rixheim, Alsace. Herman B Wells was responsible for its installation in the Federal Room in the Indiana Memorial Union in the late 1950s. A version of the striking panoramic wallpaper in this room was installed in the White House by Jaqueline Kennedy in 1961. The complete set of thirty-two somewhat fanciful scenes, based on engravings of the 1820s, shows American landscapes that Europeans particularly admired. In the Federal Room, starting to the left of the doorway from the corridor in the IMU, are the Natural Bridge of Virginia, Niagara Falls, New York Bay, West Point, and Boston Harbor. Wooden blocks were used to print on panels composed of small sheets of paper.

Jean Zuber et Cie, French, founded 1797 Jean-Julien Deltil, French, 1791–1863 wallpaper Views of North America, 1834 Ink on linen rag paper Indiana University, Campus Art Collection, CA1000.227 Chris Meyer / Indiana University.

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Meissen Candelabra Inside the Federal Room are two porcelain Meissen candelabra with detachable tops of four candleholders supported by the figure of a woman holding a child. The candelabra are the gift of Margaret Magee, daughter of Rufus Magee, an 1855 IU graduate and ambassador to Scandinavia during the Cleveland Administration.

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Meissen Porcelain Factory, German, founded 1709 Candelabra Late nineteenth century Porcelain, glaze Overall: 23 × 11 × 9 in. Gift of the Margaret Magee Estate. Indiana University, Campus Art Collection, CA1000.56.6. Chris Meyer / Indiana University.

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A seal of Elizabeth I, which deals with a land transaction, represents the majesty and might of the English Crown, while a Georgian silver mace expresses status. Equally significant are letters from Isabela I and Catherine II and a visit of a Persian king. A pipe from the Cameroon similarly reflects the status and power of an African chief. A samurai, a Dürer etching, and a Greek krater depict different forms of force. Sexual empowerment is represented by two items from the Kinsey Institute.

Bamilike people Cameroon Bronze Pipe Bowl Early 1900s Bronze H 9.45 in. (24 cm) IU Museum of Archaeology and Anthropology. Gift of Richard Bauman, 2017–02–0029. Caroline Ferguson / Indiana University.

POWER

Queen Seals and Letters The great seal was used by Queen Elizabeth, 1533–1603, to approve legislation of special importance. The seal, made from beeswax, has images on both sides. While it is somewhat faded, the queen is magnificently dressed; her coat of arms and Tudor roses would also be evident on the original. The seal is affixed to a handwritten document, dated April 23, 1597, which

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granted Anne Sherard wardship of her son Philip as well as property profits from her dowry.1 While Empress Catherine II, the Great, was on the Russian throne from 1762 to 1796, she expanded and attempted to modernize the empire. She was influenced by ideas of the Enlightenment and saw herself as an enlightened absolutist. The Lilly Library holds this letter,

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Grant of Wardship under the Great Seal of Elizabeth, giving Anne Sherard of Gaddesby (Leicester County) the “custodium corporis & martiagium” of her son Philip Sherard. 1597, April 13 Lilly Library, English Legal Documents MSS IV Alex Kumar / Indiana University.

written by Empress Catherine and sent to Karl Heinrich von Nassau-Siegen, a French-born adventurer who came to the Russian court. A controversial figure, he played a key role in the July 1790 second Battle of Svenskund, in which he was badly defeated by the Swedes. He was probably her least successful naval commander. Isabella of Castile’s (1451–1504) marriage to King Ferdinand II of Aragon in 1469 effectively

solidified the unification of Spain. The two monarchs shared power equally and established many reforms, including a code of laws and solidification of the power of the monarchy. Isabella is known for funding the first voyage of Christopher Columbus. This document, signed by Queen Isabella and held by the Lilly Library, involves a transaction concerning the purchase of cloth.

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Catherine II, Empress of Russia Letter to Karl Heinrich von Nassau-Siegen 1790, June 10 Lilly Library, Lafayette MSS Alex Kumar / Indiana University.

Isabel I, la Catolica, queen of Spain Document concerning the purchase of cloth. 1504, February 23 Lilly Library, Spain History MSS Alex Kumar / Indiana University.

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Bronze Pipe Bowl The thirty-five pipes in the Richard Bauman Collection are from Cameroon in West Africa. They were for daily use, but the larger and highly decorated ones were reserved for persons of considerable status, such as chiefs and kings. When such pipes were on display, they were usually carried by an attendant and would not be touched because of their inherent power. Bauman collected the pipes because, in many ways, he saw them as a miniaturization of other larger items of power or ritual. He also liked the variation in design in each of the pipes. Richard Bauman is a distinguished professor emeritus of folklore, anthropology, and communication and culture at Indiana University. He is known for his study of language and performance. His book Let Your Words Be Few is one of the earliest works on language ideology.2

Bamilike people Cameroon Bronze Pipe Bowl Early 1900s Bronze H 9.45 in. (24 cm) IU Museum of Archaeology and Anthropology. Gift of Richard Bauman, 2017–02–0029. Caroline Ferguson / Indiana University.

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Ceremonial cup, mace Silver Overall: 19 × 6 in. Gift of Herman B Wells. Indiana University, Campus Art Collection, CA1000.312. Chris Meyer / Indiana University.

Georgian Silver Mace This silver ceremonial mace is a gift to IU of Herman B Wells. Its hallmark indicates that it was made in Sheffield, England, around 1800, during the reign of George II.

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Bahram Shah Going to the Red Palace on Saturdays This detached folio from an illustrated manuscript depicts the visit of the Persian king Bahram Gur to the Slavic princess of the red pavilion, an episode in the twelfth-century love poem Haft Paykar (Seven Beauties), part of the famous five-poem Khamsa by the Persian poet Nizami Ganjavi (1140–202). The title of the chapter and some lines from the poem are incorporated into the architecture at the top and bottom of the scene. In order to correspond with the poem’s description of the palace, the artist selected red as the dominant color.3

Iran (Shiraz) Bahram Shah Going to the Red Palace on Saturdays, from Nizami’s Khamsa Quintet Safavid dynasty, early sixteenth century Tempera, ink, and gold on paper 115/8 × 71/4 in. (29.52 × 18.41 cm) Sidney and Lois Eskenazi Museum of Art. Gift of Dr. and Mrs. Henry R. Hope, 60.40. Kevin Montague / Indiana University.

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Red-Figure Mixing Bowl (Volute Krater) with Battle Scene (Possibly Achilles Killing Penthesilea) and a Departure Scene

This large krater would likely have been the centerpiece at drinking parties (symposia) in the home of a Greek aristocrat. It is a fine example of the red-figure technique, an approach that essentially reversed the earlier black-figure technique. Here, the humans and objects are outlined on the reserved clay surface and surrounded by a black background. Both sides of the vase depict scenes related to war. One side shows a ritual libation offered by family members as a soldier leaves for battle. In contrast, this battle scene is full of action and relates the mythic clash between the Greeks and Amazons during the Trojan War. The painter captured the moment when the Greek hero Achilles kills the Amazon queen Penthesilea. This moment represents a victory for the Greeks, but the story goes on to relate that Achilles mourned Penthesilea, with whom he had fallen in love.4

Attributed to the Painter of the Berlin Hydria Red-Figure Krater with Achilles Killing Penthesilea and Departure Scene ca. 450 bce Terracotta with added color H. 211/2 in. (54.6 cm) Sidney and Lois Eskenazi Museum of Art, Gift of Thomas T. Solley, 85.35 Kevin Montague / Indiana University.

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Magnus Hirschfeld Research Magnus Hirschfeld (1868–1935), German physician and sex researcher, is credited with founding the German gay rights movement. An outspoken advocate for sexual minorities, he based his practice in Berlin-Charlottenburg during the Weimar period. In addition to his progressive views and research, Hirschfeld was also gay and Jewish, making him a target of the right wing. In 1933, his research institute was closed by order of the Nazi party (which also burned Hirschfeld’s library and research). He was forced into exile and died shortly thereafter. The Magnus Hirschfeld Collection at the Kinsey Institute consists of invitations to professional events and lectures, publications and publication announcements, reports, and posters for lectures on homosexuality and other topics. The materials are in German and were digitized in 2014.5

Germany Group portrait Harry Benjamin, Magnus Hirschfeld, Max Thorek Date unknown Photograph Kinsey Institute, VAC1641–36768.

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Finial in the Form of a Bird The delicacy and fine craftsmanship of this finial indicates that it was probably owned by a person of importance and may even have served as an insignia of rank. The long, straight beak indicates that a hummingbird is being depicted; among the Moche people of northern Peru, that bird is usually associated with warriors or runners, perhaps because of its quickness. The bird’s rich green surface is a patina that has developed over the centuries; its original appearance when it was crafted in CE 400–1000 would have been quite different, though the warm color of copper would have provided the same sort of contrast between metal and shell that makes the piece so appealing today.6

Moche Chimú culture, Peru Finial in the Form of a Bird 400–1000 Copper and shell H. 41/2 in. (11.4 cm) Sidney and Lois Eskenazi Museum of Art, Raymond and Laura Wielgus Collection, 94.222 Kevin Montague / Indiana University.

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Apocalypse with Pictures Apocalypse with Pictures, by Albrecht Dürer, is a series of fifteen woodcuts of scenes from the Book of Revelation, the final book of the Christian Bible. The woodcuts were published in 1498, which brought Dürer fame across Europe. He began work on the series during his first trip to Italy in 1494, and the set was published in Latin and in German in Nuremberg, at a time when much of Europe anticipated the Last Judgment in 1500. The most famous print in the series is “The Four Horsemen of the Apocalypse.” The copy in the Lilly Library is one of only a few complete copies of the Latin edition in the United States.

Albrecht Dürer Apocalipsis cu[m] figuris. Nuremberg: Albrecht Dürer 1498 Lilly Library, BS2822 1498 Alex Kumar / Indiana University.

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Crest Mask Little is known about the traditional art of the Koro and Jaba, neighboring people living in central Nigeria. Based on 1958 fieldwork, when he acquired this crest, Africanist art historian Roy Sieber reported that it was carved by a Koro sculptor named Diga for use in a Jaba community and that its name means “guardian of Faik [a village].” The crest appeared with other abstract headdresses biannually at ritual dances associated with the agricultural cycle.7

Diga, a Koro carver Jaba Crest Mask (Nyamfaik) ca. 1943 Wood, pigment, seeds, and fiber H. 161/2 in. (41.9 cm) Sidney and Lois Eskenazi Museum of Art, Gift of Roy and Sophia Sieber, 77.81 Kevin Montague / Indiana University.

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Sande Society Mask with Bird and Snake The Sande society is a secret organization in Liberia, Sierra Leone, Guinea, and the Ivory Coast that initiates young women into adulthood; it fosters women’s social and political interests. The Sande society masquerade, where the masks are worn, is organized and controlled exclusively by women, a sign of their social status and power. Thanks in large part to a collaboration with the Indiana University Liberian Collections, the Mathers Museum (now the IU Museum of Archaeology and Anthropology) has over a thousand items from Liberia and nearby countries, including carved ritual objects such as these masks.

Gola people Liberia Sande Society Mask with Bird and Snake Early to middle 1900s Wood, pigment H. 14.75 in. (37.5 cm) IU Museum of Archaeology and Anthropology. Collected by Warren d’Azevedo. Gift to Indiana University from Warren and Kathleen d’Azevedo, 2004–01–0002. Caroline Ferguson / Indiana University.

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“Kate M.” Mature, 1999 Erwin Olaf is a Dutch photographer and mixed media artist. After studying at the Utrecht School for Journalism, Olaf emerged onto the international art scene when his series Chessmen won the Young European Photographer of the Year award in 1988. This was followed by subsequent exhibitions and shows at major museums and galleries around the world. Olaf is known for his provocative work, characterized by its scrutiny of social frictions and the individuals affected. Olaf ’s 1999 series, Mature, features ten portraits of women, ages sixty-one to eightynine. The collection rebels against rigid notions of femininity, the idea that beauty and sexuality belong to the young, and what art should (and should not) show.8

Erwin Olaf, b. 1959, The Netherlands “Kate M.” from the Mature series, 1999 Photograph Chromogenic print 11 × 8.25 in. Kinsey Institute, 2002.36.1–10.

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Samurai with Fan The samurai, or warrior class, was the apex of the four classes of Japanese society during the Edo period (1615–1868). Samurai had many privileges but were expected to be the models for the nation. Heredity determined membership in this class. Rice was the primary source of their income, and they were allotted a certain portion each year according to their station within the samurai class. They were permitted to carry two swords, and it was dangerous to offend them. With the close of the Edo period, the samurai, who had accumulated administrative experience, played a key role in the industrialization of the country.9

Utagawa Fusatane Japanese, active ca. 1850–1880 Samurai with Fan Woodblock print on paper Framed: 211/4 × 161/2 × 3/4 in. Gift of Carolyn and Joe Waldman. Indiana University, Campus Art Collection, CA 1000.260. Chris Meyer / Indiana University.

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Islam, Judaism, the beliefs of the Fon peoples in Benin, the polytheistic practices of the ancient Greeks, Christianity, the Holy City of Jerusalem, the Hindu god Shiva, and a Tibetan thangka— all reflect the fundamental human quest for meaning. They include different symbols, materials, and colors, but in each there is the underlying expression of belief. In their own individual ways, the images are transcendent.

Thangka Paint on silk Overall: 35 × 25 in. The Antoinette K. Gordon Collection of Tibetan Art Indiana University, Campus Art Collection, CA1976.3.5 Chris Meyer / Indiana University.

RELIGION

Qur’an This manuscript constitutes the ninth part (juz’) of a thirty-part Qur’an produced in the Persian Safavid dynasty. The manuscript includes a gold-embossed leather binding and opens with a sarloh painted primarily with gold and lapis. This luxury manuscript was most likely produced in the bookshop (kitabhhane) of the

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Safavid ruler Shah Tahmasp I (r. 1524–1576). Separating a Qur’an into volumes is a more costly endeavor as more bindings become necessary. Its large size also adds to its cost and splendor.1

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Qur’an, juz’ 9 of 30 ca. 1571 Lilly Library, Allen MSS 10 Alex Kumar / Indiana University.

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Peregrinatio in Jerusalem Peregrinatio in Terram Sanctam, by Bernhard von Breydenbach (1440–1497), is remarkable for a number of reasons. It includes the first detailed and accurate printed illustrations of some of the most important European and Middle Eastern cities, such as Venice and Jerusalem. It is regarded as the first illustrated travel book and as such acted as a preparatory guide for pilgrimages to the Holy Land. Breydenbach’s pilgrimage took place from April 1483 to January 1484. He and two

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companions spent three weeks in Venice, which would have given the illustrator Reuwich ample time to make sketches for his views of the city. On the way to the Holy Land, they stopped in Corfu, Modon, and Rhodes. The party visited all the main holy sites, including Jerusalem, Bethlehem, and Mount Sinai, before they proceeded to Cairo and down the Nile to Rosetta. They arrived safely back in Venice in January.2

Bernhard von Breydenbach Peregrinatio in Iherusalem 1486 Lilly Library, DS106.B7 Chris Meyer / Indiana University.

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Female Figurine The location of the Cycladic Islands in the middle of the Aegean Sea provided a convenient haven for trade ships. A distinct culture prospered on the islands, but since there is no evidence of a written record, little is known about it. However, it is clear that art was produced there from a very early period and, since marble was indigenous to the islands, it was frequently used to make sculptures. This type of standing (or possibly reclining) female figure was especially

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Cycladic (Greece) Attributed to The Goulandris Master Female Figurine 2700–2400 bce Marble H. 235/8 in. (60.0 cm) Sidney and Lois Eskenazi Museum of Art, Gift of Thomas T. Solley, 76.25 Kevin Montague / Indiana University.

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popular and presents a fascinating combination of human form and simplified geometry. Many examples were found in or near graves, so they may have been part of funerary or religious ritual. There is evidence that these white marble sculptures were painted—large eyes and jewelry, as well as other markings, were depicted in red, blue, and black. This piece is believed to have once had eyes and a bracelet.3

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The Adoration of the Magi This etching, considered one of Giovanni Tiepolo’s finest graphic achievements, is a lavish tableau full of exotic visions. By the eighteenth century, the church had lost its dogmatic grip on artists, who were no longer artisans working within set guidelines but individuals free to search their own imaginations for inspiration. While Tiepolo’s print illustrates the biblical event as an extension of his own time and space, his Adoration still contains many traditional motifs. The Madonna, ensconced in a combination of a stable and a ruin, holds the Christ child, while before them kneels a magus, who reverently kisses the baby’s foot.4

Giovanni Battista Tiepolo Venetian, 1696–1770 The Adoration of the Magi ca. 1740 Etching on paper Image: 163/8 × 111/8 in. (41.6 × 28.2 cm); plate: 171/6 × 113/8 in. (43.3 × 28.9 cm); sheet: 183/16 × 123/8 in. (46.2 × 31.4 cm) Sidney and Lois Eskenazi Museum of Art, William H. Conroy Memorial, 72.83 Kevin Montague / Indiana University.

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Danzante Don Jesús Robles, a workman employed by Mexican painter and muralist Diego Rivera, posed for this portrait. Robles’s feathered headdress and armadillo-shell lute identify him as a conchero, a member of a religious society dedicated to preserving traditional Mexican dance, music, and costume. The bold, bright colors and clearly delineated composition highlight the folkloric subject of Rivera’s portrait, but they also reflect his skill as a mural painter. While he was painting Danzante, Rivera was also occupied with one of his best-known murals, the Dream of a Sunday Afternoon in the Alameda, a commission from the Hotel del Prado in Mexico City.5

Diego Rivera Mexican, 1886–1957 Danzante 1947 Oil on canvas 591/2 × 491/2 in. (151.1 × 125.7 cm) Sidney and Lois Eskenazi Museum of Art, Gift of Samuel and Cecyle Stone, 78.30 Kevin Montague / Indiana University.

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Shiva Nataraja The Hindu god Shiva—the creator, preserver, and destroyer of the universe—holds in his upper right hand a drum representing the first sound of the universe at the moment of creation. The potential for destruction is represented by fire, held in his upper left hand.6

Indian, Chola Dynasty Shiva Nataraja (Shiva Lord of the Dance) Eleventh century Bronze 97/8 × 71/8 in. (25.1 × 18.1 cm) Sidney and Lois Eskenazi Museum of Art, Acquired from the estate of Thomas T. Solley, 2008.245 Kevin Montague / Indiana University.

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Commemorative Altar (Asen) For the Fon people of Benin, an asen is a visual symbol of the connection between the living and the dead. Each asen commemorates one deceased family member, and traditionally, all of a family’s asen would be kept in a special oneroom structure opening into the family compound’s courtyard, where offerings were regularly made to ensure the help of the ancestors in giving their descendants health and prosperity. This asen is typical in form, consisting of an iron staff that is topped by a small platform on which is arranged a figural tableau. Here, a figure sits on a stool, shaded by an umbrella held by a figure standing nearby. The seated figure holds a pair of tongs, similar to those used by blacksmiths, and a knife, one of a blacksmith’s most important products.7

Fon peoples, Widah, Republic of Benin Commemorative Altar (Asen) First half of the twentieth century (?) Iron H. 661/2 in. (168.9 cm) Sidney and Lois Eskenazi Museum of Art, Gift of Rita and John Grunwald, 74.52 Kevin Montague / Indiana University.

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Thangka A thangka is a Nepalese or Tibetan Buddhist painting on cotton and/or silk appliqué, usually depicting a Buddhist deity, scene, or mandala. Thangka are usually intended for personal meditation or instruction of monastic students. They often have elaborate compositions including many very small figures. A central deity is often surrounded by other identified figures in a symmetrical composition. Thangka serve as important teaching tools depicting the life of the Buddha, various influential lamas, and other deities and bodhisattvas. A painting like this would be used as a visual aid for meditation or tantric devotional practice focused on the practitioner’s lineage of teachers.8 left

Thangka The Antoinette K. Gordon Collection of Tibetan Art Paint on silk Overall: 35 × 25 in. Indiana University, Campus Art Collection, CA1976.3.5 Chris Meyer / Indiana University. Facing

Northern Italy or Southern Germany Wedding Ring in the Form of a Synagogue, ca. 1700 Silver Eskenazi Museum of Art/Kevin Montague, 59.54 Sidney and Lois Eskenazi Museum of Art, Gift of Frederick Stafford, 59.54 Kevin Montague / Indiana University.

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Wedding Ring in the Form of a Synagogue Rings shaped like synagogues, symbolizing the sacredness of marriage and family in Jewish religious life, were used in Jewish weddings in central Europe from the late Middle Ages through the eighteenth century. Like many Jewish ritual objects, these rings were passed down in families or even owned collectively by the community. Some time after its fabrication, the Hebrew letters ‫ כ‬and ‫ה‬, perhaps the initials of a betrothed couple, were roughly incised on the band of the ring.9

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This chapter highlights a range of musical expression. These include instruments, recordings, and documentation of performances in Asia, Africa, and the Caribbean as well as rare wax cylinder recordings of performances by indigenous peoples in eastern Siberia from the nineteenth and early twentieth centuries. Bells in the Bicentennial Grand Carillon on the Bloomington campus were cast in a foundry in the Netherlands.

British Columbia, Canada; Western United States Musical recording Native North American songs and music 160 rpm coarse groove wax cylinder and packaging Archive of Traditional Music, ATL 19516–19526 Alex Kumar / Indiana University.

MUSIC

Terence Bech Photo and Musical Instruments Terry Bech spent many years in Nepal in the 1960s and 1970s, first as a Peace Corps volunteer, then as an Indiana University anthropology student and Fulbright Scholar. The research he conducted while at IU provided two significant sets of materials on the Bloomington campus: 230 items, including 170 musical instruments, at the Mathers Museum of World Cultures, and a wealth of field notes, photographs, and recordings at the Archives of Traditional Music.

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Bech collected these items while traveling throughout Nepal in the 1970s. The effort allowed him to document regional musical traditions shortly before a period of great disruption in Nepalese political, social, and cultural life. Other accomplishments in Bech’s life include a career as a musician and membership in the first American team to summit K2 in 1978.1

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Damai musicials performing in a wedding June 1968 Northwest Nepal; south end of Jumla district Terence Bech Archives of Traditional Music, ATL 6857–7268.

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Badi [Gandharva?] Musicians (male) and dancers (women) with drum and Sarangi January 1968 Northwest Nepal, Chainpur, Bajang Terence Bech Archives of Traditional Music, ATL 6857–7268. bottom

Hindu women clapping and singing in Tij festival as Terence Bech records with microphone in foreground August 1968 Central Nepal; Pokhara Photographer unknown Archives of Traditional Music, ATL 6857–7268.

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Nepali people Nepal Painted Drum Early to middle 1900s Wood, hide, paint H. 15.25 in. (38.75 cm) IU Museum of Archaeology and Anthropology. Collected by Terence R. Bech. Museum purchase, 1973–13–0001. Caroline Ferguson / Indiana University.

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Laura Boulton Photo and Musical Instruments Laura Boulton was an ethnomusicologist known for her decades of work traveling the world to study musical traditions in a very wide range of countries and cultures. She made original recordings while conducting her research as well as collecting musical instruments and making photographic records (still and film). The Archives of Traditional Music houses several hundred sound recordings created by Boulton, while the Mathers Museum (now the IU Museum of Archaeology and Anthropology) has nearly four hundred of the instruments she collected. These instruments are from Africa, Asia, the Caribbean, Europe, the Middle East, Oceania, and North and South America.2

Top, Laura Boulton recording Yaqui peoples for Folkways set “Indian Music of Mexico,” 1940, and bottom, Laura Boulton recording music of indigenous peoples music in the Arctic, 1946. Archives of Traditional Music, ATL 19575. facing

Laura Boulton instruments: Mbundu people, Angola Carved lamellophone 1930s Wood, iron L. 5.75 in. (14 cm) IU Museum of Archaeology and Anthropology. Collected by Laura Boulton. Gift of the Laura Boulton Foundation, 1986–12–0114. Caroline Ferguson / Indiana University.

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Chinese people China Plucked lute ca. 1950 Wood L. 24 in. (61 cm) IU Museum of Archaeology and Anthropology. Collected by Laura Boulton. Gift of the Laura Boulton Foundation, 1986–12–0379. Caroline Ferguson / Indiana University.

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Wax Cylinders The Archives of Traditional Music on the Bloomington campus holds an extensive collection of wax cylinder recordings, the earliest commercial medium for recording and reproducing sound. Among the holdings are recordings of North American First Nations songs and dances made between 1907 and 1913 by American photographer and ethnologist Edward S. Curtis. Also housed at the Archives of Traditional Music are recordings made during the Jesup North Pacific Expedition, funded by the American Museum of Natural History in New York City to examine the links between the people and cultures of the Pacific Northwest coast of North America and the eastern coast of Siberia. The recordings were made by Waldemar Jochelson and Waldemar Bogoras between 1897 and 1902 and feature song, dance, and prayer of First Nations people in the Pacific Northwest as well as the first known recordings of Siberian culture.

British Columbia, Canada; Western United States Musical recording Native North American songs and music 160 rpm coarse groove wax cylinders and packaging Archive of Traditional Music, ATL 19516–19526 Alex Kumar / Indiana University.

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Haitian Drum This Haitian drum is part of a set of three from the collection of the late Alan P. Merriam and his wife, Barbara W. Merriam. Professor Merriam was an ethnomusicologist who taught as a member of the Department of Anthropology and the African Studies Program at Indiana University. Most of Dr. Merriam’s work was focused in the Congo, starting when it was still the Belgian Congo in 1951. However, he maintained an interest in many types of instruments and the cultural context of the music, including African diaspora cultures in Haiti.3

Haitian people Haiti Drum Early to middle 1900s Wood, hide, pigment H. 23.75 in. (60.25) IU Museum of Archaeology and Anthropology. Gift of Barbara W. Merriam and her daughters, 1988–01–0013. Caroline Ferguson / Indiana University.

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Arthur R. Metz Bicentennial Grand Carillon

Bells of the Arthur R. Metz Bicentennial Grand Carillon, January 2020. Chris Meyer / Indiana University.

Carillons, or bell towers, date back to medieval times, when they provided music at religious and other festivals as well as warnings in case of danger. Over several centuries, renowned composers have developed a large musical repertoire for the carillon. There are about six hundred carillons worldwide, with approximately sixty at universities and colleges in the United States. The IU Metz Carillon was constructed on the Bloomington campus in 1970 and dedicated

by then IU president John Ryan in 1971. The carillon was an impressive musical instrument, containing sixty-one bells, which allowed for a five-octave performance range, rare among carillons. The bells were crafted by Rotyal Eijbouts bell foundry in the Netherlands, the world’s premier manufacturer of carillon bells. In 2017, the IU Board of Trustees announced that a new 162-foot tower to house the Metz Carillon would be constructed in

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the Arboretum on the Bloomington campus, relocating the carillon to a central campus location. The carillon’s bells were shipped back to the Netherlands for restoration, and four new bells were added to upgrade the instrument to

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sixty-five bells, making it a grand carillon.4 The Arthur R. Metz Bicentennial Grand Carillion debuted on Indiana University’s bicentennial, January 20, 2020.

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The Arthur R. Metz Bicentennial Grand Carillon, January 2020. James Thomas Brosher / Indiana University.

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Indiana University collections recapture memorable international performers and performances—great ballet dancers, a famous opera singer, a Japanese actor, cinema posters, and a costume design for a well-known movie. Many of these extraordinary moments in time are documented by a distinguished art photographer.

Japan Three Kimonos from Madame Butterfly 1964–1965 Hand-painted silk, metallic thread, glass beads Sage Fashion Collection. Gift of Virginia Zeani, M 2001.1.

PERF O

F ORMANCE

Film Awards John Ford was an American film director who received four Academy Awards for Best Director: The Informer (1935); The Grapes of Wrath (1940); How Green Was My Valley, set in Wales (1941); and The Quiet Man, filmed in Ireland (1952). Two documentaries that he directed during World War II—The Battle of Midway and December 7th—also received Oscars. The Lilly Library is home to four of the historical awards thanks to Dan Ford of Encino, California, biographer and grandson of legendary motion picture director John Ford (1895–1973).1

John Boorman was born in England in 1933 and lived in Ireland. His movies were made on five continents and in epochs ranging from mythical early Britain to three centuries into the future. He has directed Hollywood productions and self-financed independent films. His collection of papers, artifacts, and reel-to-reel films spans the years 1940–2014 and contains materials from his life and work. Correspondence, photographs, screenplays, sketches and storyboards, publicity materials, and memorabilia from all his directed films, as well as several unmade projects, form the bulk of the archive.2

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John Ford’s Academy Award for Best Director, How Green Was My Valley, 1941 Lilly Library, J. Ford MSS II, 1938–1973 Chris Meyer / Indiana University. Academy Award surrounded by awards won by John Boorman (L to R): British Film Institute for Outstanding Achievement in Film, 2013; British Academy of Film and Television Arts (BAFTA) Fellowship, 2004; Evening Standard British Film Award, Best Film, Hope and Glory, 1987; Special Crystal Globe, 37th Karlovy Vary International Film Festival, 2002; Critics’ Circle Film Section Award, Best English Language Film, Hope and Glory, 1987;

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Southampton Assurance Trophy, Foreign Film Festival, Best Director, Hope and Glory; 7th Irish Film and Television Awards, Lifetime Achievement Award, 2010; Common Ground Award for Film, In My Country, 2005; Irish Film & Television Award, Best Feature Film, The General, 1999; Hollywood Foreign Press Association, Golden Globe, Best Motion Picture Musical/Comedy, Hope and Glory, 1987 Lilly Library, John Boorman MSS., 1940–2014 Chris Meyer / Indiana University.

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Selection of Photography by George Platt Lynes This is the Kinsey Institute’s most significant collection of work by a single artist. During his lifetime, George Platt Lynes (1907–1955) was known as a commercial portrait and fashion photographer. The institute owns one of the largest collections of his photographs, with nearly six hundred original prints and more than two thousand vintage negatives. The collection includes male and female nudes; fashion and ballet images; and portraits of literary figures, artists, and other notable men and women, dating from the early 1930s to 1955.3 Maria Tallchief (Osage family name: Ki He Kah Stah Tsa) was the United States’ first major prima ballerina with the New York City Ballet in 1946 and the first Native American to hold the rank. Her role as the Sugar Plum Fairy in Balanchine’s 1954 production of The Nutcracker helped transform the ballet from obscure to the United States’ most popular. Marie-Jeanne Pelus de Quesada and Lew Christensen were early stars in Lincoln Kirstein’s Ballet Caravan and toured with the group from 1937 to 1940. Marie-Jeanne was the most celebrated of the choreographer George Balanchine’s first ballerinas in the United States.

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George Platt Lynes, 1907–1955 Christensen & Pelus de Quesada 1941 Gelatin silver print 8 in. × 10 in. George Platt Lynes Collection Kinsey Institute Collections, KI-GPL-S9 Used with permission of the George Platt Lynes Estate. right

George Platt Lynes, 1907–1955 Maria Tallchief in Swan Lake, 1951 Gelatin silver print 8 in. × 10 in. George Platt Lynes Collection Kinsey Institute Collections, VAC1641–39212 Used with permission of the George Platt Lynes Estate.

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Nijinsky as Faun The Kinsey Institute’s fine art collection contains thousands of works by such artists as Rembrandt, Hogarth, Hokusai, Kunisada, Avinoff, Cocteau, Chagall, Fini, Matisse, and Picasso. It also has art from Asia, Europe, and North America. There is an expanding collection of work by contemporary women artists such as Judy Chicago. The collection also contains scrolls and prints from Japan and China, sculptures from Africa and Asia, and unique examples of folk art from around the world.4 This gouache painting depicts ballet dancer Vaslav Nijinsky as a satyr dancing on a cloud with roses. In his left hand he holds an enormous bee in flight. The painting probably refers to the ballet Afternoon of a Faun, a dance that Nijinksky was the first to perform and one that he himself choreographed.

Andrey Avninoff Russia, 1884–1949 Nijinsky as Faun, 1918 Gouache painting Matted size: 16 in. h. × 113/4 in. w. Kinsey Institute, 290R Av9586.186.

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International Cinema at IU With more than 130,000 items spanning nearly eighty years of film, the Black Film Center/ Archive includes the Josef Gugler Collection of materials for films produced or directed in Africa and the Middle East as well as important film records of South Africa before the end of apartheid. IU Libraries Moving Image Archive is one of the world’s largest educational film and video collections and includes many documentaries on international subject matter. As part of its programming, the IU Cinema shows numerous international documentaries and feature films throughout the year. In addition, its International Arthouse Series features new film releases from around the globe—some that have not been released in the United States. The cinema has hosted distinguished directors from all over the world and has a collection of posters signed by them during their visits. The Lilly Library’s holdings on Ousmane Sembéne, known as the Father of African Cinema, includes his scripts, correspondence, contracts, and other production material. These are being digitized for wider African and international access.

German poster for Ousmane Sembéne film Mandabi Josef Gugler, African and Middle Eastern Film Collection, 1947–2013, COL 12 Black Film Center/Archive.

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Poster publicizing film showcase and campus visit by Indian American filmmaker Mira Nair, April 2019 IU Cinema.

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Poster publicizing film showcase and campus visit by German filmmaker Werner Herzog, September 2012 IU Cinema.

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Poster publicizing film showcase and campus visit by Australian filmmaker Peter Weir, March 2015 IU Cinema.

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The Actor Osagawa Tsuneyo II as Kojima Tōshūsai Sharaku is the most mysterious of all Japanese print designers. His prints appeared suddenly in May 1794 and just as suddenly disappeared from view in January 1795. In a career that spanned less than a year, he produced about 150 prints, a few paintings, and some preparatory drawings. This rare example of Sharaku’s work—it may be one of only two worldwide— originally formed the right-hand side of a triptych. The actor in this print is Osagawa Tsuneyo II in his role as the female lead, Kojima, disguised as a gardener. The actor’s strong face—with its large nose and long, pointed chin—is presented with an air of delicacy, in contrast to the boldness of his kimono and obi.5

Tōshūsai Sharaku Japanese, active 1794–1795 The Actor Osagawa Tsuneyo II as Kojima 1794 Woodblock print; ink and color on paper 12 × 61/8 in. (30.4 × 15.5 cm) Sidney and Lois Eskenazi Museum of Art, 70.4.68.

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Madame Butterfly Costumes Along with American and Western European fashion, the Sage Collection treasures its objects associated with Indiana University history. These three kimono costumes were worn by opera diva Virginia Zeani at La Scala in Milan. The ensembles Zeani wore for her role as the

title character in Puccini’s Madame Butterfly are marked by the eponymous vibrant handpainted, embroidered, and beaded insects in glittering, spring-like colors that emphasize Cho-cho san’s, or Butterfly’s, youthful naivete.6

Japan Three Kimonos from Madame Butterfly 1964–1965 Hand-painted silk, metallic thread, glass beads Sage Fashion Collection. Gift of Virginia Zeani, M 2001.1–3. Alex Kumar / Indiana University.

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Flowered Coat from 102 Dalmatians Costume designer Anthony Powell designed more than fifteen Cruella de Vil looks for the second Dalmatians film, which he called “a design bonanza.” This flowered coatdress encased a reformed Cruella, cured of her passion for fur via aversion therapy while in prison. Designed with great delight by Powell, the coat was built at the Barbara Matera workshop in New York, where each flower was hand-colored and stitched in place. Its floral theme and watercolor palette are a far cry from the more aggressive and animal-themed costumes of the bad Cruella. A devotee of the art and craft of costume design, award-winning actor Glenn Close collected examples of costumes she’s worn in stage, film, and television productions. She maintained that she could not inhabit the character until she was dressed in her clothing. Close amassed a unique costume collection spanning more than thirty years of her career, including ensembles from 101 and 102 Dalmatians, Sunset Boulevard, Dangerous Liaisons, and The World According to Garp. In late 2017, Close donated her costumes to the Sage Collection, where they are preserved to educate and enlighten students, faculty, and the public for decades to come.7 Anthony Powell New York, New York Flowered Coat 2000 Hand-painted silk organza Sage Fashion Collection, the Glenn Close Costume Collection, GC 2017.24.1 Alex Kumar / Indiana University.

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CONCLUSION This book has been a personal statement, a journey with echoes of historic events and exploration; extraordinary examples of the written word; perceptions of how people lived, believed, and created art; and insights into different kinds of power. We are in awe of the pieces captured in the pages of this book, and we have enjoyed encountering, studying, and, at times, touching them—with gloves. We selected over one hundred examples out of the thousands of items on campus. The IU collections include in-depth materials from every continent and provide vivid insights into an extraordinary number of cultures and societies. There are excellent catalogs and books for many of them, including recent ones published by the IU Press for the Eskenazi Museum and the Lilly Library. These amazing holdings are a major resource for research and teaching, and the individual works are worthy of intrinsic study and analysis.

Our goal has been to make connections, to contrast and to compare different items, and to cross geographic boundaries. By doing so, we hope to convey the intimacy that we experienced and that we have made some of the objects more immediate. The pieces are iconic and are protected and treated with respect, but this should not make them remote or irrelevant; what they represent is often of universal and continuing value. As we look to the future, technology offers new ways to learn about and to share the IU collections; their ability to educate and to improve the quality of our lives is now vastly expanded. Perhaps it will be possible to have further efforts to juxtapose and link items from the different collections. We have made a modest effort to do so.

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MUSEUM BIOS Eskenazi Museum of Art In 1938, Henry Radford Hope began studying at Harvard, where he earned both his MA and PhD in art history. In 1941, Herman B Wells invited Hope to come to Bloomington to chair the visual arts program in the Fine Arts Department. In hiring Hope, Wells was looking for a scholar to lead a new Department of Fine Arts and to reach out to the students. After years of preparing the groundwork for a museum, Hope served as director of the IU Art Museum until he retired in 1971. Above all, because of his keen eye and deep knowledge and expertise, he was able to acquire major works of American and international artists and create a world-class museum collection. Through his personal generosity, the museum was the beneficiary of a number of outstanding paintings and sculptures, including works by Picasso and Maillol. Thomas Solley was born into a privileged life. His mother was a Lilly heiress, his family were great philanthropists and art collectors, and his great-uncle Josiah K. Lilly founded IU’s Lilly Library. Solley grew up in New York, Connecticut, and Europe. He received a BA in architecture from Yale University in 1950 and began his architectural career with Lilly and Company in Indianapolis, remaining there for ten years before opening a private architectural practice in 1961. After working as an architect, Henry Hope, who was then director of the IU Art Museum, persuaded Solley to do graduate studies in art history; he received an MA in 1966, followed by two years of postgraduate study in modern and surrealist art. In 1968, he became assistant director of the museum

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and, three years later, was named director. Under his leadership, the museum’s collection of four thousand objects grew to include more than thirty thousand works. A number of the stellar works of art in the museum were donated by Solley. He also collaborated closely with the architect I. M. Pei on the plans for the building of the new IU Art Museum. Roy Sieber was the first person in the United States to complete a doctoral degree in African art, which he received from the State University of Iowa, now the University of Iowa, in 1957. In 1961, he was appointed as a faculty member in the IU Fine Arts Department, and through his scholarship and as mentor for generations of scholars and curators, he established the study of African art in the United States. Together, Sieber, Hope, and Solley laid the foundations for the exceptional permanent collection of African art. His subsequent appointment as associate director for collections and research at the Smithsonian’s National Museum of African Art in 1983 was a recognition of his stature. He returned to IU after serving for ten years in Washington.

Kinsey Institute The Kinsey Institute was founded in 1947 by zoology professor Alfred Charles Kinsey as a not-for-profit corporation affiliated with Indiana University. Kinsey began collecting sexual histories while teaching a new marriage course on the IU campus; his goal in starting the institute was to ensure that such materials on human sexuality would be held in a secure and confidential permanent

location. Originally named the Institute for Sex Research, the name was changed in 1982 to Kinsey Institute for Research in Sex, Gender and Reproduction. The collections include books, journals, photographs, art, films, archival records, and other special and unique research materials; they range from the erotic images on a Roman oil lap to current research.

Elizabeth Sage Historic Costume Collection On the Bloomington campus, historic costumes have been collected and preserved by the Elizabeth Sage Collection since the 1800s. These museum-quality holdings include hands-on study items used in classrooms and fashion design studios. The Sage Collection was started in 1937, when Elizabeth Sage, the university’s first clothing and textiles professor, retired and donated her private holdings of costumes and textiles from all over the world and from different time periods. Currently, there are more than nineteen thousand objects of women’s, men’s, and children’s fashion, accessories, and publications, all housed in the Eskenazi School of Art, Architecture and Design, where they are protected, studied, and preserved.

Mathers Museum of World Cultures Renamed IU Museum of Archaeology and Anthropology In 1943, during the presidency of Herman B Wells, a small museum came into being that acquired and exhibited objects. In 1963, with the strong support of faculty in the Department of Anthropology, this was officially recognized as the Indiana University Museum. Its first director was Wesley Hurt, an archeologist in the Anthropology Department who also did ethnographic research, especially in South America and the Great Plains. By 1970, it was clear that a new building was needed to store and display the museum’s substantial collections. In October 1980, the groundbreaking took place for the William Hammond Mathers Museum, named after the youngest son of Frank C. Mathers, a chemistry professor at IU, who was the major donor of the building. From 1983 until 2012, Geoffrey W. Conrad was the director of the museum; Jason Baird Jackson was appointed director in 2013.

The Mathers Museum holds several important African collections. In the 1920s and 1930s, missionary John White collected items from among the Tetela of eastern Belgian Congo, later donated to the museum. Arnold Rubin, professor of African art at UCLA, who completed a doctorate in African art history at IU under Roy Sieber, contributed his extensive holdings of Nigerian Hausa and Yoruba art and artifacts. Anthropologist Svend Holsoe’s objects and textiles are the core of the holdings from Liberia. The museum’s extensive musical instrument collections are from ethnomusicologist Laura Boulton, known for her field recordings, films, and photographs of traditional music and performances from Egypt, the Sudan, Uganda, Kenya, and Tanganyika. Other African collections in the museum include materials from Angola, Cameroon, Kenya, Côte d’Ivoire, Ethiopia, Gabon, Guinea, Liberia, Mali, Sierra Leone, Uganda, and Zambia. Mary Warren’s outstanding examples of African clothing and design are now held in the museum as well. The museum also holds several significant collections on daily living, entertainment, and ritual practice from East Asia, Central Asia, Southern Asia, Southeast Asia, Pacific/Oceania, and Central and South America. It has outstanding photographic materials, including the Wanamaker Collection of Native American photographs. In 2019, Indiana University President Michael McRobbie announced that IU would establish a new Museum of Archaeology and Anthropology, to be formed from the present rich collections of the Glenn A. Black Laboratory of Archaeology and the Mathers Museum of World Cultures. This merger was intended to create a museum whose collections and research resources, dynamic exhibits, engaging and accessible programming, and other outreach efforts would make it a leading destination for scholars, students, and the public.

Lilly Library The Lilly Library was established in 1960 to house the extensive private library of the late Josiah K. Lilly Jr., who served as president and chairman of the board of Eli Lilly and Company, the pharmaceutical firm that his grandfather Colonel Eli Lilly started

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in Indianapolis in 1876. Josiah Lilly was also the founder of the Lilly Endowment Inc., one of the country’s leading philanthropic foundations. The collection he donated to IU included more than twenty thousand rare books and seventeen thousand manuscripts. IU president Herman B Wells not only recognized the importance of the collections but also realized that they should be housed in an appropriate building; in October 1960, J. K. Lilly and Herman B Wells dedicated the new building. The Lilly Library is now one of the world’s major rare book libraries, and its holding—now numbering more than 450,000 rare books, 8.5 million manuscripts, and 150,000 sheets of music—are an invaluable resource for IU faculty and students and for scholars who come to Bloomington from all over the world to use its unique collections. In addition to the selections in this book, the Lilly has George Washington’s letter accepting the presidency; Thomas Jefferson’s personal copy of the first printing of the Bill of Rights; and the papers of Kenyan writer Ngũgĩ wa Thiong’o and those of the South African novelist Nadine Gordimer, who won the Nobel Prize in Literature in 1991.

Indiana University Cinema Jon Vickers came to Indiana University in 2010 with a background in cinema. Beginning in 1996, Vickers and his wife ran a successful art cinema, the Vickers Theatre, in Three Oaks, Michigan. He had also been the manager of the DeBartolo Center at the University of Notre Dame. IU president Michael McRobbie had a special interest in films; under his leadership, the old University Theatre building, built in 1930, was not only renovated but also provided with state-of-the-art and conventional projectors and equipment. As director of the cinema, Vickers developed innovative and at times cutting-edge programs and introduced new releases and digitized restorations. He also brought to Bloomington some of the world’s most famous directors and actors. Among the more than one hundred such visitors, many funded through the generous support of the Ove W Jorgensen Foundation, were Meryl Streep, Peter Bogdanovich, Werner Herzog, Ava DuVernay, Peter Weir, and Kevin Kline. Often, the full range of their films were shown, introduced by IU experts, and followed by a question-and-answer session and discussions. The cinema has had an enormous impact

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on countless students. Faculty and researchers have come to Bloomington because of the activities and materials on film. For the general public, the IU Cinema has become a magnet for film lovers.

Black Film Center/Archive The Black Film Center/Archive was started in 1981 by pioneering scholar of black cinema Phyllis Klotman; its goal was to collect, preserve, and make accessible important examples of black cinema. It has become a major resource for scholars, researchers, students, and the general public. As its first director, Klotman began to collect and acquire films, posters, archives, and footage. She also started outreach programs, workshops, and festivals. The newsletter, which she founded, is now an internationally respected journal, Black Camera. In addition to these accomplishments, Klotman also wrote Frame by Frame, which recognized black contributions to the film industry. Succeeding directors Audrey McCluskey, Michael Martin, and Terri Francis consolidated and expanded the mission of the archive; it now includes hundreds of photographs, recorded interviews, posters, and memorabilia about jazz singer Ella Fitzgerald, donated by the Ella Fitzgerald Charitable Foundation. Other special collections include Edward Mapp’s lifelong assembly of films using only black actors and their posters; the records of the Panafrican Film and Television Festival of Ouagadougou in Burkina Faso; and the archives of Richard E. Norman, whose film production career began in 1911 and who subsequently made many films featuring black actors.

Archives of Traditional Music The Archives of Traditional Music is an audiovisual archive that documents music and culture from all over the world. With over ten thousand recordings that include more than twenty-seven hundred field collections, it is one of the largest university-based ethnographic sound archives in the United States. Its holdings cover a wide range of cultural and geographical areas, vocal and instrumental music, linguistic materials, folk tales, interviews, and oral history, as well as videotapes, photographs, and manuscripts.

Campus Art Collection Most of IU’s Campus Art Collections of hundreds of paintings, sculptures, and drawings are currently in storage; some can be found on the walls of the Indiana Memorial Union and in its Federal Room and in campus administrative and academic buildings, including the IU president’s office. Curator Sherry Rouse and her staff are in charge of maintaining and cataloging these works of art.

Joseph M. Waldman Collection The Joseph M. Waldman Collection is a part of the Campus Art Collection at Indiana University. A native of New Jersey, Waldman received a BS degree in business from the New Jersey State College at Paterson and his MBA and DBA degrees from Indiana University. He joined the faculty of its School of Business in 1963. During his tenure on the faculty, Waldman spent a number of years abroad on School of Business projects in Indonesia, East Pakistan, the Netherlands, and Singapore. Over the years, he acquired a substantial art collection, including works by artists from abroad. Many of these are on display in the Executive Education

Building of the Kelley School. Waldman served for twelve years as the school’s associate dean for administration and for sixteen years as chairman of the undergraduate program. For his work in the international area, Indiana University awarded him the John W. Ryan Award for Distinguished Contributions to International Programs and Studies.

The William Lowe and Charlotte Lowe Bryan House Bryan House was built in 1924 by William Bryan, who was president of the university at the time. It has been home to several Indiana University presidents, and more recently, the ground floor has become a venue for important university events. The living room, dining room, sun room, study, and the recently added Tobias Pavilion include art works from various university collections, such as bronzes from the Arthur R. Metz Collection, a rare Persian rug from the Lilly Library, and an antique Swedish clock once owned by Herman B Wells.

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NOTES 1. Daily Life 1. Label text provided by Ellen Sieber, chief curator, Mathers Museum of World Cultures (now the IU Museum of Archaeology and Anthropology), Indiana University, Bloomington campus. 2. Label text provided by Ellen Sieber, chief curator, Mathers Museum of World Cultures (now the IU Museum of Archaeology and Anthropology), Indiana University, Bloomington campus. 3. A Guide to the Kinsey Institute Collections (2017). The Trustees of Indiana University on behalf of the Kinsey Institute, p. 23. 4. Label text provided by Ellen Sieber, chief curator, Mathers Museum of World Cultures (now the IU Museum of Archaeology and Anthropology), Indiana University, Bloomington campus. 5. Label text provided by Ellen Sieber, chief curator, Mathers Museum of World Cultures (now the IU Museum of Archaeology and Anthropology), Indiana University, Bloomington campus. 6. Label text provided by Jennifer McComas, curator of European and American art, Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus. 7. Label text provided by Juliet Graver Istrabadi, curator of art of the ancient world, Sidney

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and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus. 8. Label text provided by Diane Pelrine, curator emerita, Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus.

2. Adornment 1. Label text provided by Ellen Sieber, chief curator, Mathers Museum of World Cultures (now the IU Museum of Archaeology and Anthropology), Indiana University, Bloomington campus. 2. Label text provided by Kelly Richardson, curator, Elizabeth Sage Historic Costume Collection, Indiana University, Bloomington campus. 3. Catalog description provided by Ellen Sieber, chief curator, Mathers Museum of World Cultures (now the IU Museum of Archaeology and Anthropology), Indiana University, Bloomington campus. 4. Label text provided by Kelly Richardson, curator, Elizabeth Sage Historic Costume Collection, Indiana University, Bloomington campus. 5. Label text provided by Kelly Richardson, curator, Elizabeth Sage Historic Costume Collection, Indiana University, Bloomington campus.

6. Label text provided by Juliet Graver Istrabadi, curator of art of the ancient world, Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus. 7. Label text provided by Juliet Graver Istrabadi, curator of art of the ancient world, Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus. 8. Label text provided by Kelly Richardson, curator, Elizabeth Sage Historic Costume Collection, Indiana University, Bloomington campus. 9. Catalog description provided by Kelly Richardson, curator, Elizabeth Sage Historic Costume Collection, Indiana University, Bloomington campus. 10. Label text provided by Ellen Sieber, chief curator, Mathers Museum of World Cultures (now the IU Museum of Archaeology and Anthropology), Indiana University, Bloomington campus. 11. Label text provided by Kelly Richardson, curator, Elizabeth Sage Historic Costume Collection, Indiana University, Bloomington campus.

3. Maps, Travel, Exploration 1. Label text provided by Nanette Esseck Brewer, Lucienne M. Glaubinger Curator of Works on Paper, Sidney and Lois Eskenazi

Museum of Art, Indiana University, Bloomington campus. 2. Lilly Library, “Boxer Codex,” http:// www.indiana.edu/~liblilly/digital/collections /items/show/93. 3. The Lessing H. Rosenwald Collection, Library of Congress, https://web.archive.org /web/20160310032427/http://mail.nysoclib .org/Mercator_Atlas/MCRATS.PDF. 4. Label text provided by Ellen Sieber, chief curator, Mathers Museum of World Cultures (now the IU Museum of Archaeology and Anthropology), Indiana University, Bloomington campus. 5. Artworks by Henri Cartier-Bresson, https://www.theartstory.org/artist/cartier -bresson-henri/artworks/. 6. Lilly Library Manuscript Collections, Solley MSS., http://www.indiana.edu/~liblilly /lilly/mss/index.php?p=solley. 7. Label text provided by Ellen Sieber, chief curator, Mathers Museum of World Cultures (now the IU Museum of Archaeology and Anthropology), Indiana University, Bloomington campus.

4. Art 1. Label text provided by Ellen Sieber, chief curator, Mathers Museum of World Cultures (now the IU Museum of Archaeology and Anthropology), Indiana University, Bloomington campus. 2. Label text provided by Ellen Sieber, chief curator, Mathers Museum of World Cultures (now the IU Museum of Archaeology and Anthropology), Indiana University, Bloomington campus. 3. Label text provided by Jennifer McComas, curator of art of European and American art, Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus.

4. Label text provided by Judith Ann Stubbs, Pamela Buell Curator of Asian Art, Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus. 5. Label text provided by Judith Ann Stubbs, Pamela Buell Curator of Asian Art, Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus. 6. Label text provided by Judith Ann Stubbs, Pamela Buell Curator of Asian Art, Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus. 7. Label text provided by Ellen Sieber, chief curator, Mathers Museum of World Cultures (now the IU Museum of Archaeology and Anthropology), Indiana University, Bloomington campus.

5. Literature 1. Liana Zhou, “Su e pian: A Unique Treasure at the Kinsey Institute Library,” Journal of Library and Information Science 21, no. 2 (1995): 1–9. 2. Lilly Library, “Ian Fleming and the World of James Bond,” accessed February 10, 2020, http://www.indiana.edu/~liblilly/fleming /novels.html.

6. Design 1. Label text provided by Ellen Sieber, chief curator, Mathers Museum of World Cultures (now the IU Museum of Archaeology and Anthropology), Indiana University, Bloomington campus. 2. Label text provided by Diane Pelrine, curator emerita, Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus. 3. Lilly Library, “The Jerry Slocum Mechanical Puzzle Collection,” http://webapp1.dlib

.indiana.edu/images/splash.htm?scope=lilly /slocum. 4. Additional detail provided by Andrew Rhoda, curator of puzzles, Lilly Library, Indiana University, Bloomington campus. 5. Label text provided by Andrew Rhoda, curator of puzzles, Lilly Library, Indiana University, Bloomington campus. 6. Label text provided by Kelly Richardson, curator, Elizabeth Sage Historic Costume Collection, Indiana University, Bloomington campus.

7. Power 1. Darlene J. Sadlier, The Lilly Library from A to Z: Intriguing Objects in a World Class Collection (Bloomington: Indiana University Press, 2019), 151. 2. Label text provided by Ellen Sieber, chief curator, Mathers Museum of World Cultures (now the IU Museum of Archaeology and Anthropology), Indiana University, Bloomington campus. 3. Label text provided by Judith Ann Stubbs, Pamela Buell Curator of Asian Art, Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus. 4. Label text provided by Juliet Graver Istrabadi, curator of art of the ancient world, Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus. 5. A Guide to the Kinsey Institute Collections (Bloomington: The Trustees of Indiana University on behalf of the Kinsey Institute, 2017), 12. 6. Label text provided by Juliet Graver Istrabadi, curator of art of the ancient world, Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus. 7. Label text provided by Diane Pelrine, curator emerita, Sidney and Lois Eskenazi

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Museum of Art, Indiana University, Bloomington campus. 8. Margarett Loke, “Erwin Olaf, ‘Mature,’” New York Times, Art in Review, February 2, 2001, https://www.nytimes.com/2001/02/02 /arts/art-in-review-erwin-olaf-mature.html. 9. Label text provided by Judith Ann Stubbs, Pamela Buell Curator of Asian Art, Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus.

8. Religion 1. Eskenazi Museum of Art, “From Pen to Printing Press: Ten Centuries of Islamic Book Arts in Indiana University Collections,” http:// www.iub.edu/~iuam/online_modules/islamic _book_arts/exhibit/manuscripts/qur’an.html. 2. National Library of Scotland, “‘Peregrinatio in Terram Sanctam’ by Bernhard von Breydenbach,” https://www.nls.uk/collections/rare -books/collections/breydenbach. 3. Label text provided by Juliet Graver Istrabadi, curator of art of the ancient world, Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus. 4. Label text provided by Nanette Esseck Brewer, Lucienne M. Glaubinger Curator of Works on Paper, Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus. 5. Label text provided by Jennifer McComas, curator of European and American art, Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus. 6. Label text provided by Judith Ann Stubbs, Pamela Buell Curator of Asian Art,

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Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus. 7. Label text provided by Diane Pelrine, curator emerita, Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus. 8. Additional details provided by Stacey Van Vleet, assistant professor, Department of Central Eurasian Studies, Indiana University, Bloomington 9. Label text provided by Jennifer McComas, curator of European and American art, Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus.

9. Music 1. Label text provided by Ellen Sieber, chief curator, Mathers Museum of World Cultures (now the IU Museum of Archaeology and Anthropology), Indiana University, Bloomington campus. 2. Label text provided by Ellen Sieber, chief curator, Mathers Museum of World Cultures (now the IU Museum of Archaeology and Anthropology), Indiana University, Bloomington campus. 3. Label text provided by Ellen Sieber, chief curator, Mathers Museum of World Cultures (now the IU Museum of Archaeology and Anthropology), Indiana University, Bloomington campus. 4. “IU to Upgrade and Move Metz Carillon, Reviving Musical Tradition on Bloomington Campus,” News at IU Bloomington, April 14, 2017, https://news.iu.edu/stories/2017/04/iu /releases/14-metz-carillon.html; Beth Feickert,

“Trustees Approve Three Architectural Designs on Two Campuses,” News at IU, October 6, 2017, https://news.iu.edu/stories/2017/10/iu /inside/06-trustees-construction-update.html.

10. Performance 1. Lilly Library, “Information about the John Ford Papers,” http://www.indiana.edu /~liblilly/guides/ford/ford.shtml. 2. Lilly Library, “Directed by John Boorman: An Introduction to His Collection at the Lilly Library,” https://libraries.indiana.edu /directed-john-boorman-introduction-his -collection-lilly-library. 3. A Guide to the Kinsey Institute Collections (Bloomington: The Trustees of Indiana University on behalf of the Kinsey Institute, 2017), 28. 4. A Guide to the Kinsey Institute Collections (Bloomington: The Trustees of Indiana University on behalf of the Kinsey Institute, 2017), 21. 5. Label text provided by Judith Ann Stubbs, Pamela Buell Curator of Asian Art, Sidney and Lois Eskenazi Museum of Art, Indiana University, Bloomington campus. 6. Label text provided by Kelly Richardson, curator, Elizabeth Sage Historic Costume Collection, Indiana University, Bloomington campus. 7. Label text provided by Kelly Richardson, curator, Elizabeth Sage Historic Costume Collection, Indiana University, Bloomington campus.

Sino-Spanish Codex (Boxer Codex) Manuscript Manila ca. 1590 Boxer MSS. II Lilly Library Alex Kumar / Indiana University.

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Abraham Ortelius Theatrum orbis terrarum. Antwerp 1570 Lilly Library, g1006 .t37 1570. Alex Kumar / Indiana University.

Patrick O’Meara is Special Advisor to the Indiana University President, Vice President Emeritus, and Professor of Public and Environmental Affairs and Political Science. O’Meara greatly expanded the range and depth of international involvement at IU over the years and has published extensively in global and international affairs.

Leah K. Peck worked with Patrick O’Meara for several years while she earned her PhD at Indiana University. Before coming to IU, she had extensive experience in university administration in Minnesota. Her research focuses on international development in higher education and various aspects of university internationalization efforts.

director: Gary Dunham Project Manager: Michelle Mastro Book and Jacket Designer: Pamela Rude Compositors: Pamela Rude and Tony Brewer Printer: Friesens