Showing posts with label Dubuque. Show all posts
Showing posts with label Dubuque. Show all posts

Wednesday, 18 December 2019

Mussels and Other Molluscs

[One in a River Series which discusses rivers as they were, not as they now are.]

   One of the advantages of personal blogging is that one doesn't have to spend any time creating a captivating title to satisfy the people in the marketing department. The subject of mussels (and pearls if you are already bored) concerns us today because I just read this article: "Freshwater Mussels are Dying at an Alarming Rate, and Scientists Want to Know Why," Travis Loller, USA Today, Dec. 17, 2019. The report focuses on the Clinch River in Tennessee, but the problem is a global one. “Over the past century, mussel populations everywhere have declined steeply due to pollution, habitat loss and climate change, yet the current decline looks to be something different. Richard and a team of scientists suspect an infectious disease.”

   A few years ago I looked into this subject because of something else I read and I compiled some information about it. Of course, I never did anything with the material which gathered dust while nestled in a cloud somewhere. It was still there so I will provide some of it here because I will never get around to writing about it. The basic points I would have made are that our rivers used to be clean and full of fish and molluscs. Towns along them thrived by harvesting mussels and making buttons and there were even pearl divers.


Caption:PEARL STRIVERS
A car's old gas tank and some garden hose compose a homemade helmet for this Mississippi River pearl diver. Notes with the photo claim the apparatus enabled the man to "go down 70 feet, and remain down one and a half hours." He would have needed that much time to find anything. When this photo was taken in 1938, the Mississippi's population of pearly mussels had already been largely depleted for use by button factories. For them, the mussels' shells proved more valuable than the gem sometimes inside. One bivalve could yield 24 buttons punched from its halves—and some six billion buttons were produced in the U.S. in 1916 alone. Though most pearl-button factories did not survive the 1940s rage for plastic buttons (not to mention zippers), the end of the harvests did not bring the Mississippi's mussels numbers back. Dozens of its species are now classified as endangered or threatened. Some might say they're as rare as pearls. Margaret G. Zackowitz

   We are now far more likely to associate rivers with sewage than with sustenance. That was not the case in 1911 when this book was written: Highways and Byways of the Great Lakes, by Clifton Johnson. It was the book that led me to do a little research from which you will now benefit. The passage the follows relates to the Rock River around Dixon, Illinois. It is the river, by the way, that provided employment for Ronald Reagan as a lifeguard back when one could actually swim in them. Here is Johnson's description of clamming and 'pearlin'.

“But far more important commercially than the fish are the clams that inhabit the river. The clamming season, which lasts from April 1st to October 1st, had recently closed and every little while I observed a great heap of shells on the bank. I learned something of the industry at the hotel in the town where I stopped that night. "If a man wants to go clamming," said the landlord, "he fixes up a lot of four-pronged wire hooks, fastens 'em with short strings to sticks about a dozen feet long — perhaps as many as two hundred hooks to each stick. He goes out in a little flat-bottomed boat, drags down stream, and pulls up his stick and puts it on a rack at the side of the boat. Then he takes off the clams that have clinched onto the hooks and throws 'em into the boat. On the shore he has a tank under which he builds a fire and heats water to put the clams into and make 'em open. As he takes the clams out he feels for pearls, throws the shells in a heap, and saves the clams to give to farmers to feed their hogs. I tell the farmers who use that sort of feed to fat their hogs that I don't want to buy no pork off 'em, but probably it's all right. They feed the hogs corn before they market 'em. 

"The clam-opening job is rather odorous, and pearlin' don't attract very high grade labor. The pearl gatherers are mostly kind of shiftless — too lazy to do anything else, and they only work when they feel like it; but pearl hunting is profitable. A man can get shells enough in a day to net him four dollars, and there's the chance to make a big thing in pearls besides. One fellow in this town got a pearl that sold for eighteen hundred dollars. I've seen 'em clear as glass, and so round that when you put 'em down you could hardly keep 'em from rollin'. One was found, in another part of the state, this year, that was pink in tint and weighed fifty grains and sold for five thousand dollars. I wouldn't give five dollars for all there are in this river for my own use." When I was a boy I used to go pearlin' in a New England river near my home, and I had a whole teacup full of pearls at one time. I took 'em to a jeweler's store, and he said they wasn't any good. I couldn't get a nickel for 'em." 

(pp.288-289).

   Among the many sources (some of which will be provided below) here are some Canadian examples:
“The lumbermen, while sailing down the Canadian rivers on their rafts, collect Unios [a genus of freshwater mussels] for food, by fastening bushes to the rear of the raft, so that when they pass through the mussel shoals, where the rivers are shallow, the bushes touch, the Unios close on the leaves and thin branches, holding to them securely and at intervals the bushes are taken out and the Unios removed. Many brooks and rivers, among them the Olentangy, at Delaware, Ohio, and a number of streams near Columbus, have been completely raked and scraped, often in a reckless manner, and consequently with little result. The general method of collecting shells was for a number of boys and men to wade into the mill-race or into the river to their necks, feeling for the sharp ends of the Unio, which always project. When one was discovered in this manner, the finder would either dive after it or lift it with his feet. It was the custom at that time to open the shells in the water, and once during the process a pearl the size of a pigeon's egg is said to have been dropped into the water and never recovered.”p. 230.

   This happened along the Humber around Toronto as my annotation to this article will show:
"Attention to Toothsome Clam may Become National Sport." The Globe, Sep 20, 1923, 
This one is Canadian and relates to the Old Mill on the Humber. A caterer from Rochester introduced Canadians to the ‘clam-bake’. “It was claimed that this affair was the first “official” clam-bake ever held in Canada, and those concerned, without exception, did the repast justice worthy of the occasion.” It was obviously quite the affair, held in the late afternoon with dancing and a live orchestra.  Clams were served along with with salmon, chicken, lobster and corn on the cob. There is no mention of whether the clams came from the Humber or were brought from NY.  “It was unanimously agreed when the remains were cleared away that, if the custom has only been introduced into Canada, it deserves immediate adoption, eternal preservation, and inclusion in the category of national sports.”

Sources:

   I should be Christmas shopping so I will stop here and provide you with the sources. Towns along major rivers often offer resources- see especially Muscatine ("The Pearl of the Mississippi"), Dubuque and Prairie du Chien. Although I don't usually provide links, I will do so here since they seem to have existed for a while and I will also provide additional information to help you find them. Some article references are also included. 

 

Harvesting the River (Illinois)
Under harvesting, follow the link to the "History of the Pearl Button Business in Meredosia, IL.
Great River - (The Mississippi River)
See especially, "The Clam Lady of America's Rivers: Marian Havlik," which should be here:
http://www.greatriver.com/clam.htm
"Back in the late 1960s Mrs Havlik was attempting to help her daughter with a science project and soon discovered how little (or difficult to find) was information about fresh water mussels. She goes on to become an authority on the subject and works to conserve what remains. The “Clam Lady” can be classified as a Malacalogist. She founded Malacological Consultants, in 1977 and a company with that name is found in La Crosse, WI"- I did not check to see if she is still associated with the company.
This should work for information about Muscatine:http://www.greatriver.com/pearls.htm
"Pearl Clamming and Pearl Button Clamming on the upper Mississippi River", Kari Pearls
For Dubuque: Encyclopedia of Dubuque.
Wisconsin: A Brief History of the Clamming and Pearling Industry in Prairie Du Chien, Eric F. Temte
And even in South Dakota - a very good article: "Clams Once Thrived in the Clean, Steady Waters of the James River," John Andrews, South Dakota Magazine, May/June, 2009.

Selected Newspaper Articles About Clamming - c1900-1980.
(from oldest to latest with some annotations)

"Big Pearl in a Clam Shell," Chicago Daily Tribune. Sep 18, 1900,
This is an example of how lucrative clamming could be . This report is from Winona, Minn and it is reported that a large pearl of “exceptional lustre” was estimated to be worth between $1500 and $2000. The pearl was supposedly the largest seen “in this part of the river”

"American Pearl Fishing." Los Angeles Times, Oct 15, 1900,
A basic description of the pearl fishery on the Mississippi.

"Our Finest Pearl." Los Angeles Times, Jun 28, 1901,
Good piece about a $50,000 pearl. The subtitle is: “Jewel Discovered in a Mississippi River Clam by a Poor Clam Digger Valued at $50,000”. The clam was caught in May 21 in Prairie du Chien and sold to a dealer for $17,500. It was re-sold and is now being offered for the amount above. A description is offered in the final paragraph: “Connoisseurs who have examined the pearl since it was brought to Chicago pronounce it the  most wonderful ever found in America. They also say it is equaled by few in the world. Its weight is 103 grains,while the average pearl weighs from 2 to 5 grains. It is almost a perfect pear shape, measuring over three-quarters of an inch in length and five-eighths of an inch. It is of a pink hue and exceedingly lustrous.”
[Like the other LAT stories this is a reprint - in this case from The Chicago Tribune.]

"Gems in River Clams." The Washington Post, Sep 25, 1904,
This is a very long piece with three pictures  - from the Mississippi in Iowa - 1) Clamtown, Prairie du Chien 2) Clamming Village at York’s Landing and 3) Clamming Scene near McGregor. The article concludes with a discussion of pearl-diving in the Far East and the development of ‘artificial’ pearls by the Chinese. The opening provides a good description of the process and how pearls develop.
"Woman and Boy Drowned Hunting for Pearls in River." Chicago Daily Tribune, Aug 11, 1910,
This event occurred on the Fox River near Wedron, Ill. A woman and her 6 year old grandson stepped in an 18 foot hole.
“Wading around in the river, the woman and boy were picking up clams and putting them into a bag which Mrs. Carter carried. Twice they had filled the bag and the same number of times had gone to the bank and opened them in search of pearls. Each time they were unsuccessful and the last time they walked down stream stepping into an eighteen foot hole”

"How Clams are Planted." Los Angeles Times, Jul 18, 1913,
This is a lengthy piece which provides background for the article immediately above. Because the beds were being over-clammed the federal government undertook artificial propagation by injecting baby clams into fish. This article describes the process thoroughly and is pretty good.

"Farming Clams in Kansas." Los Angeles Times, Nov 6, 1913.
This is taken from  The New York Telegram and the subtitle is “Tons of the Bivalves Gathered in the Rivers for the Pearl in Their Shells to be used as Buttons” Pearl hunting and clam gathering has become a “regular business”. “On a single farm, that of C.M Gregory, which is traversed by the Cottonwood River, no less than 100 tons of clams, it is estimated, have been taken from the riverbed during the last few weeks.” They are shipped in freight cars and each carload will bring $300 to $500 depending upon the quality.
“This is the first time in years that the Cottonwood River had been low enough to enable shell hunters to successfully explore its largest clam beds, which at some points are said to lie so thickly as to cover the river- bed.”

"Pearls in River Clams." The Atlanta Constitution, Nov 9, 1913,
This is reprinted from Leslie’s and discusses briefly the thriving clam industry around Peoria, Ill.

"Fortunes in Clam Shells." Boston Daily Globe, Jul 26, 1914.
The rest of the title is “Mississippi Yields Them by Thousands of Tons for the Maker of Buttons and Ornaments”.
“An industry which now assumes large proportions, and around which clings a peculiar flavor of romance, has developed on the Mississippi River, where hundreds of men are employed in gathering mussel shells in commercial quantities.” That is the opening paragraph and the concluding one: “The supply for a constantly increasing market is almost inexhaustible, the work is easy.

"Rise in Clam Shells." The Washington Post, Nov 12, 1916.
"Mississippi River Clam Diggers." Los Angeles Times , Aug 13, 1922,
This is a short piece indicating that clam digging was resuming after a 5 year moratorium. It mentions that there were factories in La Grange and Canton and that excessive clamming had depleted the beds. Apparently it takes 5 years for clams to mature.

"Scarcity of River Pearls, Clam Beds Worked Out." Boston Daily Globe, May 26, 1925,
This article is about the depletion of clams along the Upper Mississippi and in the Sugar and Rock Rivers and the inland streams of Wisconsin.

"Chasing the Elusive Clam New Way to Pay Way through College." Boston Daily Globe, Aug 15, 1926.
This is an account of three young women in Mass who are clamming on the North River. It does not say exactly what the clams are for but, “The clams meet a ready market and the three girls often total seven bushells in a day’s work.”

"Makes River Clams Grow Fine Pearls." Daily Boston Globe, May 20, 1928.
"Clam Digger Swims to Evade Policemen." Daily Boston Globe, Apr 23, 1930,
Apparently digging was not allowed because of pollution in the Saugus River in
Massachusetts.

Berlin .H.W. "Specimens of Hiawassee River Warty Clams Desired." The Atlanta Constitution, Sep 14, 1930.
Mass."Parker River Clam Diggers to Receive $4 a Barrel." Daily Boston Globe, Aug 2, 1940.
"U. S. Gives Up some Sanctuary Areas, Holds Clam Flats." Daily Boston Globe, Sep 17, 1946, 1946.
Special to The Christian Science Monitor. "Pennsylvania Spurs River Conservation." The Christian Science Monitor, Nov 10, 1948,
This is about the Schuylkill  [sic] which was heavily polluted by coal mining.

“Fall River Recalls Clambake 'Boom'." The Christian Science Monitor , Aug 18, 1956,
“...not only is there  profit in gathering the shells, but occasionally pearls ranging in value from $5 to $20 are found in the mussels. In the last three seasons more than 10,000 tons of shelves have been taken”
"Man, Dig those 16 $100 Clams in that Crazy Niantic River." The Hartford Courant, Jul 29, 1956.
"Ruling Held Up on River Clamming." The Washington Post, Times Herald , Sep 19, 1964.
"Clamming Permits on Sale for River." The Hartford Courant, May 1, 1969.
“Niantic River Clamming Rules Set by Shell Fish Commission." The Hartford Courant, May 2, 1970.
"Harmful Chinese Clam Discovered in River." The Hartford Courant, Apr 4, 1973,
This is another reason why clams declined - in this case the invasive Chinese clam.

"Tiny Clam A Threat to River." New York Times, Mar 1, 1973,
David Bird, Special to The New York Times. "Return of Clams and Even Oysters is also Envisioned." New York Times, Apr 28, 1973,
This is about the Hudson and more about shad which have also largely disappeared.

"River Closed to Clammers." The Hartford Courant , Jul 18, 1976.
"Clamming Closed in Niantic River." The Hartford Courant , Apr 22, 1979.

Post Script:
Apparently one fellow is still in the business:
"How to Dive for Pearls," By Malia Wollan July 23, 2019. NYT
“Run your hands back and forth through the sediment at the bottom of the river,” says Chuck Work, who has spent much of the last 25 years underwater, crawling the muddy bed of the Tennessee River, feeling for mussels with his hands.
When he started diving in the mid-1990s, the booming cultured-pearl industry in Japan meant thousands of boats jockeyed for territory on the river (about 80 percent of the mussel shells exported from the United States come from Tennessee). Back then, you needed a companion onboard to ward off shell thieves. Today only about 20 divers remain. A few years back, he found a pearl almost the size of a quarter, but he had a hard time selling it and now wears it around his neck. “I sure wish people would start wearing more pearls again,” he says."

The clams are now gone, the pearls are cultured, the buttons plastic and the rivers polluted.



 

Thursday, 26 April 2018

JASPER CROPSEY

Pictures From an Institution
     Winter remains and I am still inside doing some reading and very little posting. I will attempt here to parlay a current event into a post.
   
     Of late, Chagall has been much in the Canadian news and that got me thinking about Cropsey. Unfortunately that is the way I think. The connection, except for the fact that the two gentlemen are artists, is not apparent, but in this quick (I hope) exercise, I will try to make one.

     I am not sure how scholars of art would characterize Chagall, but I will just call him ‘Modern”, whereas Cropsey is known as a member of the Hudson River School. Rivers and woods and romanticized landscapes are often the subjects of those in this School and, being unsophisticated about such matters, I like them much more than the abstract offerings  and the modern art found in most galleries. The works of the Chagall and Cropsey are quite different, but the admirers of each are willing to pay large sums to obtain one of their paintings. The connection I made between the two relates to the problems that can arise when one attempts to sell one of their paintings.

The Chagall Conundrum


     Since you probably know about this current episode and since this post is mainly about an older one involving Cropsey, I will provide the basics here and some sources below.
     The National Gallery came up with the idea of selling a Chagall in order to raise enough funds to purchase a David. The Chagall painting,  La Tour Eiffel, is pictured below here:



     The painting by Jacques-Louis David is owned by the Notre‑Dame‑de‑Québec Parish Corporation, a Catholic group, and they needed to sell the painting to upgrade the plumbing in some of their churches. Both paintings are worth millions. The David is here and, ironically enough, it appears to depict the dismay and alarm experienced by those involved:

Saint Jerome, also known as Saint Jerome Hears the Trumpet of the Last Judgment, by French artist Jacques‑Louis David, can currently be seen in Montreal's Museum of Fine Arts. (Elysha Enos/CBC)

      Apart from aesthetics - politics, religion, identity politics, and federal/provincial affairs are involved, hence the conundrum. (Since the Supreme Court has just ruled that beer could not be carried between provinces, one expected that the transfer of valuable art work might be problematic). The Quebec Culture Minister has declared Saint Jerome a ‘heritage’ work and it will not be leaving the province, so the problem has been solved.

The Cropsey Controversy


     I have vague (very vague) memories of this incident which occurred almost forty years ago at the University of Western Ontario. It is, by the way, a fine university, but like the other Canadian ones back in those days, it relied upon government funding of which there was never enough. Simply put, when the University had the opportunity to sell Cropsey’s Backwoods of America, it took it. Those who valued the painting as a work of art, lost to those who thought it was more valuable as a commodity. More details are provided in this account by Poole:

“While there was always a certain tension between the McIntosh Gallery administration and the department of visual arts, this developed, in the winter of 1980, into open warfare over the proposed sale of a painting, Backwoods of America by Jasper Cropsey, a nineteenth century American artist. W. H. Abbott, the art collector who had been a representative of the Western Art League to the Western Fair Association for many years early in the century, had given the Cropsey painting to the university in 1931. The fuss began when it was suggested that since the university was not building a collection of nineteenth century American paintings, perhaps the work should be sold. About this time, however, a professor in the visual arts department was writing an important paper on the Cropsey painting in question. He and his colleagues were adamant in their opposition to any thought of selling the work. Their position was that until the paper was published, it was vital that the work remain on campus. The university administration was faced with a rapidly escalating art market and was advised by the auction house of Sotheby Parke Bernet in New York that the painting was a valuable work, and that now was the time to sell it. Opposition to the sale was so strong throughout the university community, however, that the administration delayed any action. The following year, when the art market moved even higher, the Board of Governors decided that Backwoods of America must be sold. In the spring of 1981, the painting went up for auction in New York*, and, as a result, the university received $665,000 - probably the largest amount of money ever paid for a work of art from a London collection. While the faculty of visual arts still believed the sale to be ill-advised, the McIntosh Gallery now received the annual interest from the capital realized by the sale, and because those funds came ultimately from a gift to the university, the government agencies for the arts were willing to give the McIntosh matching grants each year. The sale thus guaranteed comfortable budgets for all future acquisition committees.”
The Art of London, 1830-1980, Nancy Geddes Poole, 1984. Pp.178-179.

     The professor to whom she refers is the author of a thorough analysis of the painting which is found in this article where more details about Cropsey in relation to the campus are also provided.
“Here Today and Gone Tomorrow: Jasper F. Cropsey's 'The Backwoods of America',”Bernard  Bonario, RACAR: revue d'art canadienne / Canadian Art Review, Vol. 9, No. 1/2 (1982), pp. 9-20
“The University of Western Ontario acquired The Backwoods of America in January, 1933. It was the gift of a local philanthropist, W.H. Abbott, among whose interests was the organization of art exhibits at the city’s annual Western Fair.” [p.9]
“Almost ironically, The Backwoods of America is the most significant painting to have passed through Abbott's modest art collection, remaining on public display for several decades and hanging in the University's Lawson Library until about 1970, when it was transferred to its location in the collections of the University's newly reorganized Mcintosh Art Gallery. [p.10]
4. University of Western Ontario, McIntosh Art Gallery, inv. 221
“I studied the painting in storage under unfavourable conditions. Since the completion of my manuscript in March 1979, the University has deaccessioned The Backwoods of America. Sold Sotheby Parke Bernet, Inc., New York, sale 4583M (23 April 1981), lot 18. [footnote 4, p.10]
   
     This episode proves, if nothing else, that Sayre’s Law does not alway apply since the stakes were pretty high. ("Academic politics is the most vicious and bitter form of politics, because the stakes are so low.")

Backwoods of America

Provenance:
(W. B. Huggins & Co., Glasgow, Scotland), by 1859; purchased by Private Collection, Glasgow, Scotland, March 10, 1859; (Williams & Sutch, London, England), 1932; to (Leslie W. Lewis, London, England), 1932; purchased by William H. Abbot, London, Ontario, Canada, 1932; given to University of Western Ontario, London, Ontario, Canada, January 1933; to (Sotheby's, New York, NY), April 23, 1981, lot 18; purchased by Richard and Jane Manoogian Foundation, Taylor, MI, 1981; purchased by Crystal Bridges Museum of American Art, Bentonville, AR, 2006


 Label Text:When Cropsey painted The Backwoods of America, land across the country was being developed at an unprecedented pace. This idealized pioneer landscape depicts a remote homestead nestled along the shore of a wilderness lake. As the sun breaks over the mountains, a pioneer family begins its day. A woman stands in the doorway of a log cabin, her young children playing nearby, while her husband heads into the woods, shouldering a long-handled broadax and accompanied by a dog. A garden that includes the distinctly American pumpkin grows in roughly cleared patches along the forest's edge. As if forecasting the imminent end of frontier life, the artist signed his name on a rock resembling a tipped-over gravestone that soon will be covered by the cultivated pumpkin vines.

Sources:

      For the current Chagall issue see:
“Quebec Will Grant French Painting Heritage Status, Bringing Saga to an End:
Sale of 'Saint Jerome Hears the Trumpet of the Last Judgment,' Painting From 1779, led to Tensions,” CBC News · Posted: Apr 24, 2018.
“National Gallery’s Sale of Marc Chagall Work Linked to Tug of War Over Jacques-Louis David Painting,” Robert Everett- Green, Globe and Mail, April 12, 2018.

     For the Cropsey issue at Western, there is little additional information that is easily available. I am sure the student newspaper and some UWO publications would have covered the controversy. Unfortunately the back issues are only available via film or fiche if you wish to fiddle with them.

Post Script:

The usual bonus information for premium subscribers.

Pictures From an Institution
    The irrelevant title of this post refers to a campus novel by Randall Jarrell, should you want to read more about academic life.

The Case at Fisk University
    A couple of years ago this institution had a similar issue:
“When Fisk University, the historically black school in Nashville, tried to sell two paintings several years ago from its storied Alfred Stieglitz art collection, a firestorm erupted. The proposed sale violated conditions of the gift of the collection from Stieglitz’s widow, Georgia O’Keeffe, according to her foundation….
But what was not revealed at the time, and has only recently come to light, is that before the agreement was completed — and with the debate over the future of Fisk itself swirling around her — Hazel O’Leary, then the university’s president, on behalf of the school quietly sold off two other paintings owned by Fisk….
Fisk’s under-the-radar sale of the Stettheimer highlights the minefield institutions must navigate when they use proceeds from art, whether to pay expenses or, in recent years, to try to finance costly expansions. At the same time, the sale reveals what can happen when an artist — even one as critically revered as Stettheimer — fails to secure her legacy.”
“A Prized Stettheimer Painting, Sold Under the Radar by a University,” Susan Mulcahy [no relation], New York Times, July 26, 2016.

Those of you who shop at Wal-Mart will be glad to know your money is well-spent since the painting from Fisk, and the Cropsey from Western both were bought by Alice Walton and can be found at Crystal Bridges. You may recall that I visited this wonderful museum in Arkansas and wrote about it in the post Amazing Accomplishments

Association of Academic Museums and Galleries
     This association set-up a task force to deal with the issue and you can learn more about it here where I provide the opening paragraphs:
Task Force for the Protection of University Collections
“National economic crises create tensions at all levels of society. In the United States, cultural institutions of all sizes have been particularly vulnerable in times of economic recession, particularly those institutions that are part of larger umbrella organizations such as cities, colleges, or universities.

“University collections, particularly art collections, are increasingly being viewed as disposable and coveted assets by parent organizations desperate to shore up faltering endowment funds or to fill budget gaps caused by reduced funding from states. Even those university museums that have worked hard to ensure that their parent college or university views them as an essential part of the academic enterprise may face threats when severe economic crises hit.”

No Deaccession at Dubuque
     When recently offered $6 million for a Grant Wood, the Dubuque Public Library rejected the offer. See: “Dubuque Library Refuses $6M Offer to Buy Grant Wood Painting

Colby College Doesn’t Have to Worry About This Issue
    “ Benefactors Give Colby College Art Museum a Gift Worth $100 MillionAgain
The Donation by Peter and Paula Lunder Will Launch the Lunder Institute for American Art and Elevate the College as a Global Research Center on American Art,” Amy Calder, Morning Sentinel, Feb. 2, 2017 (Portland Press Herald).
WATERVILLE — The Colby College Museum of Art has received a gift of more than $100 million from longtime supporters Peter and Paula Lunder that college officials say will help cement the region’s reputation as a world-class arts destination.
The donation, the Lunders’ second gift of more than $100 million, includes about 1,500 works of art and will launch the Lunder Institute for American Art, whose focus will be the practice, study and exhibition of American art. As part of the institute, scholars, artists and curators will work with students from all disciplines.
Colby officials say the gift, which was announced Thursday night at a meeting of Colby trustees in Boston, helps establish Colby as the only liberal arts college with a top museum and a global research center dedicated to American art.

Picture Problems at York University
     Sometimes (especially these days) a university can get in trouble for displaying rather than deaccessing a piece of art. This happened at York when Mr. Bronfman, a major benefactor, objected to the painting below.
“York University's ‘Inclusion’ Committee Stacked With Anti-Israel Faculty, Jewish group Charges: The University Promised a ‘Committee on Inclusion’ in the Wake of Prominent Donor Paul Bronfman’s Objections to a pro-Palestinian Painting on Campus,” National Post, Tristin Hopper, April 6, 2016.