Over the last year and a half, Paul and Mimi Ingersoll of Bryn Mawr have enriched the College's Collections with a number of art works which were collected under their discriminating eye, first for their own enjoyment and now for Bryn Mawr's. Among the extensive print, drawing, and photograph selections given in honor of retired director James Tanis, are major photolithographic prints by Eugene Feldman, printed by the experimental Falcon Press, c.1960-70. Notable are the expressive folio-size images of Girl from Brooklyn - Barbra Streisand and St. Mark's Square. In contrast, there is an extensive group of late nineteenth- and early twentieth-century transportation photographs showing many types of vehicles from trolleys and touring cars to hearses and paddlewheelers. Many of the images are unique and represent a significant record of the history of transportation.
The Ingersoll gift also includes nineteenth-century color lithographic prints of buildings, including a fine early image of the President's House, Washington, and another of Swedes' Church in Wilmington, Delaware; and several important vintage poster prints, including Carnavals Parisiens of 1890. There is a rich selection of black and white twentieth-century photography by Mark Feldstein, Kipton Kumler, Peter Sekaer, George Tice, Edward Weston, and others; a number of fine contemporary Japanese artists' woodblock prints; and several twentieth-century oil paintings. The latter include works by Phillis Ideal (from her Retablo series), Julian Stanczak's Vertical Shadows, and Jack Fishbein's Sicily - Olive Trees, which presently hangs in the Kaiser Reading Room of the new Rhys Carpenter Library.
Perhaps the most unusual are ethnographic objects from the Eastern Solomons, a men's dance baton and four floats for catching flying fish that were originally collected c.1960 by Dr. William Davenport at the University Museum, University of Pennsylvania. These will go into the Anthropology study collection.
And most fun of all are the colorful "Pop Art" ceramic sculptures by California artist and teacher David Gilhooly, of a playful frog pond in Cream Pie, c.1976, and companion piece Hoagie (pictured above), which has found its present setting, not in the Philadelphia Museum of Art, the Whitney Museum nor the San Francisco Museum of Modern Art as others by this same artist, but in the stylish office of the new Director of Libraries, Elliott Shore.
Return to Contents