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Home Publishers Humanoids NYCC '18: Humanoids Announces A New Shared Universe Designed by Carla Speed...
NYCC '18: Humanoids Announces A New Shared Universe Designed by Carla Speed McNeil, Kwanza Osajyefo and Yanick Paquette
Beat Staff
By Adam Karenina Sherif
To celebrate twenty years of publishing in the US, French publisher Humanoids has announced a major new publishing initiative this weekend at NYCC. H1, which launches in 2019 with three ongoing and three mini-series, will be a shared science fiction and superhero universe under the supervision of Chief Creative Officer John Cassaday and freshly-minted Director of Creative Development Mark Waid.
The characters and world of H1 have been designed by a trio of architects: Carla Speed McNeil (Finder, No Mercy), Kwanza Osajyefo (Black, Black AF) and Yanick Paquette (Swamp Thing, Wonder Woman: Earth One). McNeil described the collaborative design process as like a 'jazz band' where serving the idea was their foremost priority. Humanoids have put the creators first, according to Paquette, who relished the experience as "a great exercise in open-mindedness".
The first of the H1 books will be Ignited, an ongoing teen team book written by Osajyefo and Mark Waid, with art by Phil Briones (Aquaman). Osajyefo remarked that "Ignited is a story we wanted to tell about things going on right now in the world, the issues teens are facing – and a story with consequences. Like if Manhattan gets destroyed, it's destroyed. It doesn't get reset at the end of the arc." Paquette designed the lead character and put emphasis on working to represent the seemingly unrepresentable.
Omni, written by Cheryl Lynn Eaton (Batman: Secret Files, Bitch Planet: Triple Feature) will focus on a young doctor who develops psychological, intellectual powers and set about helping her community, as well a strangers. Eaton asked, "If you have mental powers and you're four or five steps ahead of everyone else, what happens when you have anxiety, or PTSD?" No artist was named for this book at the announcement, but Paquette's striking, neon-tinged character designs were a real highlight.
The third of the ongoing series announced is Strangelands, described by McNeil as 'a relationship book' or Moonlight with superpowers. The full creative team was not revealed.
Three preliminary mini-series were also detailed for H1, beginning with The Big Country written by producer and screenwriter Quinton Peeples (Runaways, Iron Fist TV shows) and with art by Dennis Calero (James Bond: Casino Royale). With a tone reminiscent of the award-winning Southern Bastards, this book was flagged by Peeples as a "Texas neo-noir" with a story that looks at the escalation and modernisation in a small town where the Sheriffs can't keep up. The book's slated for five issues, with covers by Darick Robertson (The Boys).
Meyer, a five-issue series written by Jonathan Lang (Plunder) and drawn by Andrea Mutti (Port of Earth), presents an imaginary biography of famed Jewish mobster Meyer Lansky. Cassaday detailed that the book would be set towards the end of Lanksy's life, presenting a portrait of "a man used to power seeing everything stripped away because of his age and his health". Covers come from Shawn Martinbrough (Detective Comics, Black Panther: Man Without Fear).
The last of this first wave of titles announced was Nicnevin and the Blood Queen written by filmmaker Helen Mullane and drawn by Dom Reardon (2000AD). Jock (Detective Comics, 2000AD), who's providing covers for the series, described it as "a drama, wrapped in dark fantasy and set in an England where all of the British Isles' folklore and mystical, spiritual traditions are very much alive". Nicnevin is set for four issues.
The H1 initiative marks Humanoids' first significant foray into serialised monthly comics in the US direct market. CEO and Publisher Fabrice Giger was keen to emphasise that the books would be in-keeping with the high quality production values of their graphic novels and albums. All of the titles have logos designed by the esteemed, prolific designer Rian Hughes. Paquette positioned H1 as a bridge between what he described as the more sophisticated European tradition and the scrappier style of American comics.
Cassaday stressed that H1 will be more 'real and resonant' than other shared superhero universes, that they wouldn't be shying away from politics in comics: "Politics have always played a part. The real world is always reflected in these stories". Eaton added that "we put so much of our culture into our work. And Humanoids have brought varied voices in to load these books with a range of perspectives".
H1 launches in July 2019 with lead title Ignited.
Carla Speed McNeil
Cheryl Lynn Eaton
dennis calero
Dom Reardon
Helen Mullane
John Cassaday
Kwanza Osajyefo
nycc '18
Phil Briones
Quinton Peeples
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andrew 10/06/2018 5:11 pm At 5:11 pm
excellent creative talent. i'm particularly excited about a universe carla speed mcneil helped design.
Kaleb 10/06/2018 9:10 pm At 9:10 pm
V cool, to look at any and all of these
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Heidi MacDonald - 01/27/2023 12:15 pm


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Investment Tips - Burgundy - 16. April 2021
William Fevre: New Powerful Player In Chablis - And You Can Get Early Access
Chablis is indeed on the rise in every sense of the word, and one of the rising stars is top producer Domaine William Fevre – now, you can join the uprise...
Domaine William Fevre is the major landowner of Grand Cru vineyards in Chablis. No less than 15.2 hectares of the total 101 hectares of Grand Cru vineyards in the area belong to William Fevre, who undoubtedly must be mentioned alongside Raveneau and Dauvissat, when it comes to the absolute best producers in the area. In addition, the price of the 2018 William Fevre Les Clos is still extremely attractive compared to the wines of the other two icons, and that is particularly interesting from an investment point of view - but it will probably not stay that way for long…
White Wine - A Frequently Overlooked Investment Gem
White wine, which is becoming increasingly popular at the moment, is a category that often goes under the radar when people talk about wine investments. The best of its kind is usually found in Burgundy, and in the northern part of Burgundy, you have Chablis.
Red Burgundies often tend to attract most of the attention, although several places in the region, including Chablis, produce some of the unquestionably best white wines in the world - even in much smaller quantities. The focus is often on Montrachet and the surrounding municipalities, and as a result, it is easy to forget the hidden treasures to be found in Chablis, where William Fevre shines as one of the brightest stars.
As a wine investor, it is naturally an advantage that the production of Grand Cru white wine is significantly lower than the production of Grand Cru red wine. Well-known producers such as Domaine Leroy, Leflaive, and Coche-Dury benefit from this, and these are far from unknown to wine investors, which is also reflected in the price. Next, we must look at Corton-Charlemagne and Chablis, which are the only other two places where Grand Cru white wine is produced in Burgundy.
In addition, the attention in recent years has been directed towards Chablis. As temperatures rise in the classic part of Burgundy, the northern-located Chablis has the advantage of a cooler climate. The cooler climate helps to create a better acid structure in the wines, making them more durable in the long term and thereby highly suitable for investment.
From Good Chablis To The Best Chablis - William Fevre
When you have the largest share of Chablis' Grand Cru vineyards, a good winery, but still not able to produce the best wine in the area, should you then retire? Perhaps that was what William Fevre was thinking when he sold his domain to the renowned Henriot Champagne House in 1998. They, on the other hand, have both the financial muscles, and not least the will, to make that extra effort, which has lifted the wines from being really good to be among the absolute best in Chablis. Among other things, they have converted the production to be biodynamic and hired an excellent winemaker in the form of Didier Séguier.
Since Champagne powerhouse Henriot acquired the domaine in 1998, the style of the wines has changed significantly. There has been less use of barrels and more focus on the pure precise fruit that Chablis is known for. The change to the cleaner style has even helped to increase demand for these wines. The pure style is what the market wants. This change has helped to move Fevre into the same league as Dauvissat and Raveneau - at the top of Chablis. And this applies not just to Les Clos, which is the subject of this investment tip, but also to the other top wines from William Fevre, such as Bourgros, Valmur and Preuses, all of which have Grand Cru status and are at the top of Chablis.
Domaine William Fevre is building a reputation as one of the powerhouses in Chablis.
250 Years Of History And Know-How
William Fevre's family has origins in the Chablis area, going back more than 250 years. Since World War II, they have been considered one of the most important grape growers in Chablis. Young William Fevre followed the family tradition and founded Domaine de la Maladiere in 1959, which later became Domaine William Fevre. Throughout the 1970s, William Fevre invested in new technology, not to mention the best vineyards, to improve his position in the market. Overall, the domain today stands with 78 hectares of vineyards, a large part classified as Grand Cru.
Domaine William Fevre has one of the most impressive collections of vineyards in Chablis. Grand Cru, as we know, is the highest classification that can be achieved in the area and accounts for 1% of the region's total production of just 101 hectares in total. Of these, Fevre owns a full 15.2 hectares, and at the level just below, Domaine William Fevre even has 15.9 hectares of Premier Cru vineyards out of a total of 779 hectares. This number of good vineyards makes the productions range widely at Domaine William Fevre, but here, you are only offered the best of the best.
Today, the cellar master Didier Séguier has changed the production, so the wine critics are diligently rewarding. As a result, the quality is now at its highest level ever. All vineyards are treated according to the best sustainable principles and on top of that, all Grand Cru vineyards are cultivated according to biodynamic prescriptions, yet without certification. In the cellar, gravity is used to avoid disturbing the wine with pumps - an approach that might sound a bit avant-garde to the ordinary wine lover but is among the details that make a difference.
The 2018 Vintage In Chablis
It is also worth mentioning that 2018 was a vintage that producers welcomed with open arms. A vintage where there was no frost and hail, which characterized the two previous vintages. A warm growing season that ultimately yielded the largest harvest for a long time. The quality of the grapes was at the highest level, and it was therefore up to the winemakers to ensure the production of top wines. The producers who chose to harvest with small yields obtained fantastically balanced and intense grapes.
For the above reasons, the 2018 vintage saw the absolute best producers make the further distance in the top. Raveneau, Dauvissat and William Fevre have indeed shown the way with yields, good parcels, and hard work in the vineyard. The fact remains that William Fevre's wines from the 2018 vintage, along with the other two top producers, will define Chablis for many years to come and set new standards for the region. And that's exactly the journey you can take part in now by investing in Domaine William Fevre's Grand Cru Les Clos, which we are offering for investment.
The greatest and most famous Grand Cru vineyard in Chablis is Les Clos, one out of 7 Grand Cru vineyards in the area. They are all perfectly exposed to the sun and have a terroir full of shells from when the ice retreated through Europe. Optimal exposure and terroir, combined with a slightly cooler climate than the south of Burgundy, make this particular part of France optimal for producing Chardonnay wines of high intensity and great development potential.
Domaine Williams Fevre's five parcels at Les Clos are located in the upper part of the vineyard, where the grapes have the longest ripening period. The result is wines with extra intensity and longer aging potential. Of course, of the other top producers, Raveneau, Bichot, and Dauvissat can also be found at Les Clos.
Already in 2018, the English wine exchange Liv-ex reported that Chablis was growing out of the shadow of the other top wines in Burgundy. This was supported by trading activity and price increases for the best wines from the region. So, it remains today - and perhaps even more significant today. The best wines from Chablis can compete with the great whites in terms of quality - and the top wines from William Fevre are certainly among them.
The 2018 Les Clos is rated 94 and 95 points by Vinous and The Wine Advocate respectively, putting it on the same level as the iconic Raveneau Les Clos from the same vintage.
In addition, after the sale to Henriot in 1998, Domaine William Fevre is not only one of the best producers in Chablis, but also one of the producers with the greatest marketing capacity. This means that demand will surely increase in line with the fame over the next years - especially because of the greatest raw material; the best vineyards, strong economy, and skilled people in production. The climate of Chablis, which is cooler than the rest of Burgundy, will also continue to play an increasing role, and so there will undoubtedly be an even greater focus on the area in the years to come.
There is no doubt that Domaine William Fevre is an upcoming star, but the big upside is that the price still has not kept up with the pace of quality and fame, and therefore you can as a wine investor for a limited time still get on the bandwagon before it really picks up pace.
Invest In Domaine William Fevre:
PRICE/BTL*
2018 Les-Clos 750 OWC6 42 € 68
*All prices are in EUR ex. customs duty, tax and VAT for delivery to a bonded warehouse. Prices including customs duty, tax and VAT can be sent on request. The wines are only sold in whole cases unless otherwise specified and the price is per bottle. Minimum order size € 2,500. Assumes a total minimum investment of € 10,000. Prices may have changed since release of this article.
Domaine Raveneau: The King Of Chablis
Solid returns, very limited production and several years of reduced harvest yield in Chablis makes…

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Bedroom : Children Bed Design Yellow Wooden Bunk Beds Armoire Getting Toddler To Sleep In Own Cute Lilttle Chair Best Room Ideas Tips Create Kids For Your Boy Theme 2 Year Old Boys ~ Dowdydoodles Inc.
Published at Thursday, February 14th, 2019 - 05:47:56 AM. Bedroom. By Idalie Kraus.
This way a balance will be created. As for the floor, you could use a soft rug or carpet to cover most of it. Since black is a very strong and dramatic color as well as a cold and dark one, you should use elements that add warmth to the décor in order to balance everything evenly and to end up with a cozy and inviting bedroom.


93.3 WMMR Trivia, Name 5 Rock Bands With Colors In Their Names.
I was walking by Independence Mall Today. The 4th of July festivities have begun in Philadelphia, PA. The first capital of the USA, if you forgot.
How do I get one of those T-shirts? Black Crows, Black Keys, Blue Oyster Cult, Pink Floyd, and Simply Red.
I was the first winner of the day. Yes, 93.3 WMMR Rocks.
Do you know what the logo in the middle of the T-shirt is? I knew right away.
Then I stumble upon synchronicity of 'The Wizard of Oz' and Pink Floyd's 'Dark side of the Moon' Wow.
What a day in Philly. 4th and Market walked up to the Gallery. ( got a pour over at Starbucks, it is jet fuel for your body, try it) Then, Reading Terminal, Saw Andy @ Hershel's, Back to Gallery, sat. On to PATCO,, Back to Cherry Hill, to Voorhees, NJ.
I was beat, so tired.


Instructions: 10ml blood. Collect in 2 green top heparin tubes. Sent to state lab. Positive results called to physician.
Text: Isolate and identify mycobacteria.
Methodology: Continuously monitoring blood culture instrument.


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Technology 24 June 2002
Stephen Wolff Receives the Internet Society's Postel Service Award for 2002
Wolff noted for his extraordinary commitment to the growth and success of the Internet
Washington, D.C. – June 24, 2002 – The Internet Society today announced that Internet pioneer Stephen Wolff is this year's recipient of the prestigious Jonathan B. Postel Service Award. A founding member of the Internet Society, Wolff is considered one of the "fathers of the Internet" and was directly involved with its development and evolution. He was awarded the Postel Service Award in recognition of his significant contributions and long-standing service to the Internet community.
"We are pleased to recognize Steve with the Postel Award," said Internet Society President/CEO Lynn St.Amour. "He and Jon Postel were our first two individual members. For this and for their subsequent support, we owe them a tremendous debt. Steve helped transform the Internet from an activity that served the specific goals of the research community to a worldwide enterprise which has energized scholarship and commerce throughout the world."
Wolff was also commended in 1994 by the Internet Society board for his courage and leadership in promoting the growth of the Internet. The text of the commendation states: "The personal leadership of Dr Wolff, often under conditions of public controversy, has been an indispensable ingredient in surmounting a daunting array of technical, operational and economic challenges. His extraordinary commitment to the growth and success of the Internet reflect the highest standard of service to the networking community and command our respect and admiration."
As Director of the Division of Networking and Communications Research and Infrastructure at the US National Science Foundation, Wolff was among the founders of the inter-agency and international research networking management and advisory structure whose descendants today include the Large-Scale Networking (LSN) working group and the PITAC.
Wolff left the federal government and joined Cisco Systems, Inc. in 1995, where he works in the University Research Program. The program supports academic investigators with unrestricted grants for research on computer networks.
Wolff was educated at Swarthmore College, Princeton University, and Imperial College. He taught electrical engineering at the Johns Hopkins University for ten years and subsequently spent fifteen years leading a computing- and network-related research group at the U.S. Army Research Laboratory. In1983 he took a sabbatical half-year as a Program Director in the Mathematics Division of the U.S. Army Research Office.
The Award is named for Dr. Jonathan B. Postel to recognize and commemorate the extraordinary stewardship he exercised over the course of a thirty year career in networking. Postel passed away in 1998 at the age of 55. The Economist magazine once dubbed him "god" of the Internet. He served as the editor of the RFC series of notes from its inception in 1969 until 1998. He was involved in the beginnings of the ARPANET and the development of the Network Measurement Center and later established the Internet Assigned Numbers Authority (IANA), which acted as the Internet's central coordination, allocation, and registration body for addresses, names, and protocol parameters. He was a founding member of the Internet Architecture Board and the first individual member of the Internet Society, where he also served as a trustee.
Previous recipients of the Postel Award include Jon himself (posthumously and accepted by his mother), Scott Bradner, an Internet standards-leader, and Daniel Karrenberg, one of the Internet's leading contributors in Europe. The award consists of an engraved crystal globe and $20,000.
The Internet Society is a not-for-profit membership organization founded in 1991 to be the international focal point for global cooperation and coordination in the development of the Internet. Through its current initiatives in support of education and training, internet standards and protocol, and public policy, Internet Society has played a critical role in ensuring that the Internet has developed in a stable and open manner. For 10 years ISOC has run international network training programs for developing countries which have played a vital role in setting up the Internet connections and networks in virtually every country that has connected to the Internet.
About Internet Society
The Internet Society is a nonprofit, non-governmental, open membership organization whose worldwide individual and organization members make up a veritable "who's who" of the Internet industry. It provides leadership in technical and operational standards, policy issues, and education. Internet Society is the organizational home of the International Engineering Task Force, the Internet Architecture Board, the Internet Engineering Steering Group, and the Internet Research Task Force – the standards setting and research arms of the Internet community.
Julie Williams
tel: (703) 326-9880, x103
Email: Jwilliams@internetsociety.org
Read also: Letter of award from 2002 Postel Award Committee to Steve Wolff (archived content)
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1948 ford is 85 percent restored has no rust. New paint job, the original flathead has been completely machine shop redone, less than 100 miles. This car is a beauty.
1946 ford, restored from bumper to bumper. Driven across country from washing state to new york.
The interior is original from 1936, including the original texture printed leather seats, crisp original faux grain painted dash with plastic knobs and chrome dial escutcheons, rubber running boards and front floor mat, and rear mohair carpeting.
Same Family Owned Since 1967 New Gauges All Steel Body 302 CID Engine Manual Transmission.


so I got this tshirt for my birthday from the hubs and i love it.
perfect fit, awesome color, cute detail. after wearing it a couple of times I decided that I wanted a white one. sold out. bummer.
i made it today and took a few photos to hopefully help some of you ladies in blogland make your own!
i had a white L.A. Made tshirt that i got for free at market (magic in vegas) this summer and decided to use it...the tshirt scraps i had from my gameday dress making days. so this cute top was totally free for me! i encourage you to just find a cheap fitted tee from target and then a matching tshirt in your closet from your college days.
cut your ruffle strips from your old tshirt. i cut mine 2 inches wide and as long as the tshirt would allow. i only cut two, but ended up cutting another. overall, you should need approximately 80" of the "ruffle strip." this will decrease when you actually ruffle, but you know the drill.
gather/ruffle those strips! thankfully, knit gathers pretty easily so i just i just put my sewing machine on the longest stitch length and went for it. after that, i just pulled a stitch every 3 inches or sew to give a little bit more ruffle.
place the first ruffle piece (there are three) and pin it in place.
place zig zag number 3, pin and stitch in place. it will overlap and then go under your first "zig zag"
clip your excess strings (inside & out). there will be a lot!
that is so stinking cute! i love it. and i love your skirt.
Love the t-shirt. I'm SO impressed!
I'm literally going to try it <>! I have the perfect t-shirt for that!
Janet - you should say you're SEW impressed. I wonder where I get my quirky sense of humor???
Great job Kimmie-Lou-Who...wish your talents could have been shared w/your cousin, lol. Guess it didn't come from CharlieRay's side.
SHUTUP! you are so awesome! What a talent God has given you.
you are so talented!! your shirt looks awesome!
Haha, I just did this same shirt tutorial a couple days ago, and was lazy about posting it. 'Seems I've been beat to the punch! Good job!
Wow! You are amazing! I have got to give this a try! Thanks!
omg, what a GREAT tutorial!! i totally want to try and make this someday!! thanks for sharing it! i heart ruffles!!!!
that. is. amazing. can you come teach me how to thread my sewing machine? i know i've been taught how to do it like 4 times now, but i. just. can't. remember.
OH I Love that shirt!!! Great Job!!


BD Micro-Fine Ultra Pen Needles are compatible with all pen devices for diabetes treatment.
BD Micro-Fine Ultra Pen Needles are compatible with all pen devices for diabetes treatment. The new Pentapoint technology features a patented five-bevel needle tip that is flatter and thinner than standard three-bevel needles for a smoother, gentler injection experience. It penetrates the skin more easily and can be inserted at 90°, without the need for a skin fold in most adults.
BD Micro-Fine Ultra Pen Needles are long enough to consistently pass through the skin but short enough to avoid reaching the muscle layer in most cases, therefore helping to reduce the risk of hypoglycaemia.
BD Micro-Fine Ultra Pen Needles are for single use only. They are available in 4mm, 5mm and 8mm lengths - your doctor or nurse should remommend the most suitable length for you.
BD Micro-Fine Ultra Pen Needles 8mm are 0.25mm (31G).


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'Last Week Tonight': John Oliver Talks How Jared Kushner's Middle East Peace Plan Focuses On "Not Doing Terrorism"
Lloyd Bishop/HBO
John Oliver kicked off Sunday night's episode of Last Week Tonight taking us on the ongoing saga that is the Donald Trump presidency before digging into Jared Kushner's Middle East peace plan.
Oliver talked about Trump's "big week in diplomacy" as he visited with various authoritarians around the world. He joked about election meddling with Vladimir Putin, met up with his "friend" Prince Mohammed bin Salman and crossed the DMZ to North Korea to meet with Kim Jong Un and was delighted he was invited.
A clip was played of Trump saying he was thrilled that they asked him to step over the DMZ line. Oliver chimed in: "That's actually nice — Trump wanted to step over the line, was ready to do it, but waited until he received affirmative consent what a refreshing change of pace of him."
He added, "Maybe Trump's mantra going forward should be 'treat women with the same respect you treat murderous autocrats!'"
Oliver then shifted to Kushner's Mideast peace plan and how Trump has been hyping it since before he took office. This week, Kushner announced his "Peace to Prosperity" plan during a conference in Bahrain.
Oliver cut to a clip with Kushner (actually, that's Gilbert Gottfried). Oliver then pointed out that his plan is not really a plan but "a vision that fits somewhere between an economic wish list and a half-remembered rich boy wet dream."
Oliver continued, "Essentially he describes hypothetical investments in Palestine and its neighbors worth more than $50 billion once peace is achieved — but achieving peace is the really important part. Without that, you got nothing." He also noted that Kushner said he was announcing the "peace" part later this year. In a clip, Kushner basically said the Middle East will be better off if people "stop doing terrorism" — and Oliver had a field day with that.
It was pointed out that former U.S. ambassador to Israel Dan Kurtzer gave Kushner's "so-called plan" a C- to which Oliver said "a C- is a trust fund boy's A+".
As Oliver pointed out, no Palestinian government officials attended Kushner's "Peace to Prosperity" workshop possibly because they don't see Trump and Kushner as neutral mediators.
Oliver began to state some facts: Jared's family is so close to Prime Minister of Israel, Benjamin Netanyahu that he stayed at their home — and actually stayed in Kushner's bedroom. The Trump administration recognized Jerusalem as Israel's capital and cut hundreds of millions of aid to the Palestinians. When Netanyahu found out that Trump recognized Golan Heights as part of Israel, he named a settlement after him.


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Q: How can I migrate a relational database for nosql? I have an oracle database with a bunch of data that i need to migrate to a noSQL enviroment(i'm using MongoDB). Is there any tool to do that?

A: WiredPrairie is right. You can definitely write a tool to export your Oracle data straight to Mongo, but that is unwise.
Your Oracle data is most likely normalized and Mongo deals with denormalized data.
I know MongoVUE can import data from a relational database (http://www.mongovue.com/), but again, a straight import would be a headache.
Some steps for moving from one to the other:

*

*Design the objects/documents you want in Mongo. Objects that will map closely to your application objects. For example, an Animals object/document. What fields do you need?

*Write queries in Oracle that produce a fully realized Animal. In Oracle you might have tables called AnimalType, Animal, AnimalInfo, etc. You want to join them all to produce one big Animal object.

*Write a tool to pump data from (2) to (1). For example, if you need three stored procedures or queries to make an Animal object, your code will run those procedures, make an object in whatever language, serialize that object to JSON and then write to Mongo.

redpajama_set_name: RedPajamaStackExchange


Are there component behaviors to the target behavior?
One challenge to adoption, installation, and use of rainwater harvesting systems by City residents is that residents are discouraged by the 400 gallon minimum capacity required to receive the Stormwater Utility credit from Baltimore City. While conducting site visits, we are often asked about the opportunity to reduce one's stormwater utility fee. Residents are often put-off and discouraged after hearing about the required seven to eight rain barrels that would be necessary to receive a fee reduction. Baltimore County is not offering any incentive to adopt rainwater harvesting systems, as the county's utility does not include a credit system for single family residential properties. Many city residents have limited outdoor space and may be reluctant to use it for a rain barrel or cistern. However, we hope that households will follow through with a rainwater harvesting system following an effective social marketing campaign, despite the challenges.
Unlike simple environmentally-friendly practices like turning out a light or not idling your car, using rainwater harvesting systems is a multi-step process that requires regular use and maintenance. The resident must obtain the rainwater harvesting system, install the system (another multi-step process involving proper placement), and empty the system between rain events in order to reach its full potential for capturing runoff. Although the steps are not difficult, residents must follow through with each one in order to reap the benefits of having a rainwater harvesting system.
The competing behavior is using a garden hose to water existing landscaping or gardens. This behavior is competition because it can seem more convenient and less complicated than using a rain barrel. This competition will be addressed by using easy to read, simple outreach and informational materials to describe how rain barrels function, why they are important, and their ease of use.
Another competing behavior is doing nothing. Some residents may not use a hose or outdoor water access at all and wonder how they could benefit from a rain barrel. We will address this competing behavior by promoting the idea of slowly releasing the water by opening the spigot between rains. We will explain the slow-release concept in promotional materials and in-person during workshops. It will also be a component of the alert mechanism prompt.
The target audience for the behavior change pilot project consists of two communities identified in Baltimore City and Baltimore County within the Herring Run and Direct Harbor watersheds. The community chosen in Baltimore City is Belair-Edison. In Baltimore County, we will work with Dundalk. These communities represent diverse demographics, land use, socio-economic status, and geographic priorities and thus are ideal for reaching new audiences in the Baltimore area.
Belair-Edison is a lower-income neighborhood located in northeast Baltimore City. Current residents are predominantly African American and long-term members of the community. Some limited gentrification is occurring in the neighborhood. It has active community groups such as Belair-Edison Neighborhoods, Inc. (BENI) and Belair-Edison Community Association. The neighborhood is a good representation of lower-income neighborhoods throughout Baltimore City, so the barrier, benefit, and competition research conducted in Phase I and pilot evaluation can be applied to similar communities. We will partner with BENI to develop and implement the pilot program on one block and expanding to a larger section of the neighborhood for broad implementation.
Dundalk is a middle income, working-class community located in the southeastern part of Baltimore County. The community is located on the water and the motivators we heard during the barriers and benefits research reflected the influence of close water access. BWB has traditionally conducted less outreach in Dundalk, but believes it is important to target because of its connection to the water and demographic profile. We will partner with Dundalk Renaissance Corporation (DRC) for outreach efforts and to ensure effective communication with their constituents. DRC's experience in the community will help us when recruiting pilot program participants and implementing the program across the entire community.
Installation and use of the rainwater harvesting system are the biggest barriers to overcome. The idea of a free installation was much more popular than the idea of providing an installation kit with all necessary tools and parts. This conclusion applied to all the target audiences.
Mentioning the environment or environmentalists may cause a disconnect with the target audience. This disconnect would be more likely in Belair-Edison.
An emotional message focusing on restoring the waters so children and grandchildren can use it in the future is most effective at changing behavior among all audience groups.
Although in most cases rain barrels will not save residents money on a water bill, incorporating the message of less reliance on public water appeals to them. Our audience likes the idea of having to rely less on City and County water. This idea was particularly appealing to City residents in the focus groups, as they largely distrust the City government agencies.
Good looking rain barrels must be highlighted, including the suggestion that residents decorate the containers themselves.
"I don't plant things, so I have no use for the water," was a theme within Belair-Edison. Practical messaging must reach the audience who do not have vegetation to water. Encouraging emptying the barrel and letting the water slowly flow out of the barrel must be emphasized, especially in City neighborhoods where there may not be much green space.
Words and graphics in materials must be simple. If there are too many words or complicated graphics, the audience will be less inclined to read or look at the materials. This is a challenge because we want to convey enough information, but not so much it makes the action seem complicated.
Outreach materials used in Dundalk should address and focus on the community's proximity to the water.
Some external factors include the absence or near absence of green space at residences, particularly in Belair-Edison. Also, the $20 price, although discounted, could still be too high because Belair-Edison has a lower income when compared to the local and state median family incomes.
Some perceived benefits include less reliance on City water, better quality water for plants and vegetation, and a positive effect on the environment. See the Audience Research report for more details.
The focus groups helped us hone in on the types of promotional materials most likely to spark a change in behavior and get residents to purchase, install, and use rain barrels. In general, we found it is important to keep words and graphics simple and drive users to web-based content compatible with mobile devices. Informational pieces with practical, "how-to" information and clear graphic images scored highest in focus groups.
One valuable piece of information we learned from the barrier-benefit research is the importance of rain barrels becoming a "social norm" among residents. Residents were most likely to adopt, install, and use a rainwater harvesting system if a neighbor, friend, or family member recommended the behavior. We will use social norms to increase the adoption of rainwater harvesting systems on entire blocks within neighborhoods. If the neighbors begin to adopt, install, and use barrels or cisterns, our findings suggest others will follow.
We will conduct workshops in Belair-Edison and Dundalk during the pilot program and when the program is broadly implemented. BWB will hold a workshop at a resident's home, which will help develop a social norm in the neighborhood. If one resident gets a rain barrel, and can demonstrate their success to others, it will increase the likelihood of others adopting a rain barrel and successfully using it.
Finally, improving the response of residents to empty rain barrels will be addressed using a prompt. Previous research conducted by OpinionWorks shows that, in lower income communities, individuals primarily use cell phones to access the internet. This is an opportunity for a prompt. With support from Blue Water Baltimore's partners, we will develop an app or alert mechanism to remind rain barrel adopters to empty his or her rain barrel. The alert will interpret the user's location and send a reminder when rain is predicted with a defined percentage certainty in the weather forecast. This alert will remind people to empty the barrel and, in turn, maximize the amount of water captured during every rain event. We will sign up pilot program participants for the alert at the workshops or from the landing page on the BWB website. We will continue this strategy during the broad implementation phase in these communities.
Outreach materials will be developed February 2015 through April 2015. The print material content will be developed by BWB Program Coordinator with assistance from OpinionWorks and the Maryland Sea Grant Extension. The materials will include a letter and handouts. The handout will be designed in house by Blue Water Baltimore with assistance from RedStart Creative.
The materials will be distributed and the pilot program implemented from May 2015 through early September 2015. Each household included in the pilot blocks will receive a letter as well as a handout. BWB will work with BENI and DRC to reach residents and recruit pilot program participants. The pilot program will be implemented by Blue Water Baltimore's Program Coordinator and Rain Barrel Coordinator. The Rain Barrel Coordinator will conduct a pre-survey at the time of installation.
Pilot program evaluation will occur mid-September through October 2015. OpinionWorks will survey all residents within the pilot area to assess effectiveness of the campaign as well as attitudes towards the outreach materials. Using the results of the evaluation, messages and materials may be adjusted November 2015 through January 2016 to prepare for broad implementation. OpinionWorks will help interpret the evaluation results to best shape the broad implementation plan.
Broad implementation will begin in February 2016 and extend through August 2016. We will collaborate with the neighborhood partners to utilize their social media outlets and other common outreach strategies such as community meetings and newsletters. A final evaluation will be conducted September through October of 2016 to determine the overall change in behavior from before and after implementation.
Individuals who participate in the program are giving up $20 to get a rain barrel. We discounted the rain barrel cost from $89 (retail value) down to $20 in order to provide a financial incentive.
In most cases, individuals are trading using their hose or outside water access for using a rain barrel with less water pressure.
.The target audience for this behavior change project consists of two communities identified in Baltimore City and Baltimore County within the Herring Run and Direct Harbor watersheds. The Belair-Edison community is representative of underserved and economically depressed Baltimore neighborhoods. The median household income is less than half than the state median and the poverty rate is nearly 20%. The racial composition is 90% African American and 7% Caucasian. Dundalk is an older, working class suburban Baltimore community whose income is approximately 70% of the state median and poverty rate is 10%. Dundalk is 80% Caucasian, 11% African American, and 5% Hispanic.
Blue Water Baltimore (BWB) actively engages with these and similar communities in the Baltimore region through education & outreach and watershed restoration. Both communities have strong neighborhood groups. Belair-Edison Neighborhoods, Inc. (BENI) and Dundalk Renaissance Corporation (DRC) are strong partners and are recognized as critical to BWB's success during the pilot program, evaluation, and broad implementation.
In the past, BWB worked with BENI and DRC to provide rain barrel workshops and present information about rain barrels at community meetings. Both community organizations supported the Phase I market analysis research, which consisted of focus groups and surveys. Further, BWB partnered with BENI on an education project to reduce trash in stormwater neighborhood-wide.
With the help of BENI and DRC, the pilot program will target particular blocks within each neighborhood, and will reach 90 households in Dundalk and an additional 90 households in Belair-Edison. The project will result in the installation of 10 rain barrels in each neighborhood, which is a little over a 10% adoption rate.
The project goal is to increase the number of rainwater harvesting systems adopted, installed, and used in two target neighborhoods in Baltimore City and Baltimore County by implementing a pilot behavior change project. This project will ultimately result in broad rainwater harvesting adoption through refined social marketing techniques for Baltimore area residents.
.As rain falls on impervious surfaces, water cannot be absorbed and quickly moves to storm drains and streams, contributing to stream bank erosion and sedimentation. Further, the rain water picks up pollution and carries it to local waterways and eventually the Chesapeake Bay. Rainwater harvesting systems capture the initial runoff, slowing the stormwater to prevent stream erosion and removing excessive pollutants captured during the "first flush" of a storm. A successful campaign would decrease the volume of runoff during rain events, thereby minimizing stream bank erosion and sedimentation, while removing pollutants from the water. Additionally, improved adoption rates would decrease street flooding while preventing degradation of stormwater infrastructure.
The rain barrel pilot program began in March 2015 with the development of outreach efforts and strategies, and connection of Blue Water Baltimore (BWB) with the pilot neighborhoods. Blue Water Baltimore Program Manager met with Dundalk Renaissance Corporation (DRC) and Belair-Edison Neighborhoods, Inc. (BENI) in March 2015 to discuss the timeline, structure, and goal of the two- year outreach and behavior change effort. Both community organizations connected BWB with community and block leaders who the community organizations thought would be most interested in participating in the rain barrel pilot program. BWB met with Watersedge Recreation Council in Dundalk and the block leader of Ardley Avenue in Belair-Edison. Both DRC and BENI assisted with reaching out to potentially interested individuals through door-to-door efforts, their one-on-one interactions as they work in the community, and neighborhood meetings. The BWB Program Manager attended the Watersedge Rec Council meeting and the Ardley Avenue block meeting to garner interest in the program and register residents for the program. Interested participants signed up for the program at both meetings.
Working with the Ardley Avenue block leader, the Program Manager set up an information session at which the rain barrel would be installed by BWB and neighbors could attend and receive more information on rain barrels. Although no neighbors attended even after showing interest in the past, the block leader suggested the Program Manager attend the upcoming block meeting to talk again about the rain barrel program. The block leader suggested that the neighbors will have to hear about the program several times before committing to participating.
Several individuals signed up for the program at the Watersedge Recreation Council meeting, but none were interested in hosting an information session at their homes to demonstrate rain barrels. However, if several individuals are interested without having to attend an information session, it may show there is not a need for it. We evaluated the pilot program strategies as the program progressed and determine if those strategies are worth pursuing as part of broad implementation.
Audience assessment in the form of a survey was conducted at the time of installation to assess the individual's knowledge of rain barrels, the plan for use of the water, and opinions on the outreach and educational materials used throughout the pilot program. A few months after the rain barrel was installed, an additional survey was conducted to gauge the individual's use and opinion of rain barrels. The participants will also be signed up for the automatic alert which will send the participant an email or text message reminding to empty the rain barrel due to impending rain.
No more than a few months after the rain barrel was installed, an additional survey was conducted to gauge individuals' use and opinion of rain barrels. The results of the survey prompted BWB to change a few of the outreach strategies before broad implementation. For example, we received some feedback regarding the price of the barrel. Although not significantly less expensive, $20 for a rain barrel, installation, and site visit is perceived as much cheaper than $25. So, we offered the rain barrels at a discounted price of $20 for the broad implementation program. Additionally, we did not see the need or interest from the residents in attending a workshop to observe a rain barrel installation, so we did not pursue that strategy as part of broad implementation. We felt it was important to establish a relationship with the residents before "selling" the rain barrel program, so instead we focused our efforts on attending community meetings and community events. Because the community organizations holding the meetings are trusted by the community residents, we felt this was a good way to build report and not be seen as an outside organization just trying to sell our product or ideas. Also, attending the community meetings and talking to people face-to-face was seen as a better method of communicating than mailing materials to residents who have probably not heard of Blue Water Baltimore.
Additionally, we learned the Dundalk Eagle, a weekly newspaper, is popular among Dundalk residents, particularly in learning about programs and events offered in the community. As part of our outreach efforts for broad implementation, we placed two ads in the newspaper in the Spring of 2016. Additionally, a writer for the paper interviewed an additional rain barrel participant and wrote an article about rain barrels.
Broad implementation included reaching out to residents of all of Belair-Edison and Dundalk, not just targeted neighborhoods. Attending the community meetings resulted in a good amount of interest in the program, but, ultimately, not a large number participated in the program. There were around 30 individuals who expressed interest but did not follow through with the program. To determine the reasons they did not participate in the program, OpinionWorks surveyed 15 of the 30 individuals who expressed interest and from who we collected contact information (See attached). The results show individuals remember the presentation they saw about rain barrels, but felt they were not followed up with quickly enough. Although we aimed to contact interested parties within a week, perhaps aiming to contact them the next day would have been more effective in recruiting participants. Also, the time of year affected the likelihood of someone participating in the program. For example, if the individual heard about the program in the Fall, they were less likely to pursue the program because the weather would turn cold soon and there would be no use for the rain barrel. For many individuals, interest was then lost over the Winter. One or two individuals viewed cost as a barrier, but most said it was very reasonable. Some residents did online research on rain barrels after hearing about the program, and they were very much interested in getting the discounted barrel for $20.
The greatest success of the program is the number of rain barrel adopters who also install and use the rain barrel. Although we were only able to follow up with 17 of the 27 participants, it was clear the rain barrels are used often. By offering installation as part of the rain barrel price, we addressed the installation barrier identified in the audience research conducted in 2014. An effective program aimed at increasing the use of rain barrels would not offer rain barrels without also offering installation.
The biggest challenges of the program were having to schedule outreach opportunities to coincide with scheduled community meetings and recruiting people to follow through with a rain barrel after expressing interest. It is important to contact the community far in advance of wanting to present at a community meeting to ensure there will be time on the meeting agendas. Also, community meetings only happen at most once a month and are often put on hold during the summer, so it limits the number of times you can reach residents through that venue. It is especially important to follow up with interested individuals very quickly after collecting their contact information. If possible, we recommend following up the next day to ensure the individual remembers the information and to maintain his or her interest.
A survey was conducted of a combined 16 people within Belair-Edison and Dundalk who had expressed interest in a rain barrel at some point throughout the program, but ultimately decided not to get one. People had very good recall of the original contact with Blue Water Baltimore where they learned about rain barrels and expressed interest. All 16 survey participants could remember that original contact and their expression of interest in a rain barrel.
Participants had specific reasons why they wanted a rain barrel, with some expressing a conservation ethic, and others citing a practical reason such as saving money on their water bill, preventing water leaking into their basement, or using the water for their garden. Two people specifically mentioned seeing a presentation by Blue Water Baltimore, and two people were referred or encouraged by people they know.
Almost all (93%) had an intended use for the water that would be collected in the rain barrel. All of them mentioned watering their lawn, garden, trees, or other plants.
73% said they communicated well.
87% said they answered their questions.
87% said they felt like they could relate to them, and the staff person or volunteer understood any questions or concerns they had.
13% who said they had questions that were not answered.
67% said they remembered receiving some kind of information about rain barrels from Blue Water Baltimore.
50% said they specifically remembered one or more of the flyers that Blue Water Baltimore made available in-print or online.
In terms of additional information they wanted, people were most likely to mention a desire to have more choices in rain barrel size or style, or whether the rain barrel could be modified, and they wondered how to find that information. One person wanted to know how to store a rain barrel when not in use.
Based on this survey and the post-survey of residents who did purchase a rain barrel, the successes included offering installation as part of the "package deal," providing flyers for painting and maintenance, and partnering with other community organizations and outlets (papers, newsletters) that may be better known within the communities.
Who helped you with this program/Campaign?
Blue Water Baltimore partnered with Belair-Edison Neighborhoods, Inc. and Dundalk Renaissance Corporation. Both are well-known and trusted community organizations with whom we've worked in the past. We also reached out and attended some individual neighborhood association meetings within Dundalk, as well as Belair-Edison Community Association meetings.
Because word of mouth is one of the ways individuals hear about and are convinced to get a rain barrel, it was important to establish a good relationship with residents at the time of installation.


text:
Credit line: Leonard C. Hanna, Jr. Fund (1112)
Type of object Amulets Apparatus Arms and Armor Basketry Book Binding Bound Volume (561) Calligraphy (1) Carpet Ceramic (18) Coins Cosmetic Objects (2) Drawing (23) Embroidery (3) Enamel Forgery (1) Frame Funerary Equipment Furniture and woodwork (6) Garment (1) Glass (2) Glyptic Illumination Implements Inlays Ivory (11) Jade Jewelry (5) Knitting Lace Lacquer (3) Leather Linoleum Block Lithographic Stone Manuscript (2) Metalwork (21) Miniature Miscellaneous Mixed Media (1) Monotype Mosaic Musical Instrument Netsuke Painting (259) Papyri Photograph (18) Plaque Plate Portfolio Portrait Miniature (2) Print (17) Relief Rock crystal Rubbing Sampler Scarabs Sculpture (114) Seals Silver (3) Spindle Whorl Stencil Stone Tapestry (1) Textile (5) Time-based Media Tool Velvet Vessels (1) Wood (31) Woodblock
Location 000 Education Gallery 003 Special Exhibition Hall 004 Special Exhibition Gallery 010 Focus Gallery 100 1916 Lobby (1) 101A Prints & Drawings 101B Prints & Drawings 102A Ancient Near East (3) 102B Greek (3) 102C Greek (4) 102D Pre-Roman (3) 103 Roman (4) 104 Late Antiquity (5) 105 Byzantine (2) 106A Migration Period & Coptic 106B Romanesque & Gothic Sculpture (8) 106C Medieval Treasury (1) 107 Egyptian (9) 108A Sub-Saharan (12) 108B Southern African (9) 108C Akan & Yoruba 109 Gothic Painting and Sculpture (3) 110A Italian Gothic (5) 110B Late Gothic (1) 111 German and Austrian Gothic (2) 112 Northern Renaissance (2) 113 French Tapestries & Illuminated Manuscripts (2) 114 Late Northern Renaissance 115 Manuscripts & Textiles 116 Islamic 117A Italian Renaissance (2) 117B Italian Renaissance (4) 118 Italian Renaissance (1) 200 Rotunda (1) 201 French Neoclassical Painting & Sculpture (5) 202 French Neoclassical Decorative Arts (3) 203A British Painting and Decorative Arts (2) 203B American and British Decorative Arts 204 Colonial American (2) 205 Federal American (1) 206 American Landscape (2) 207 American Realism (1) 208 American Gilded Age and Realism (1) 209 Tiffany 210A Armor Court (1) 210B Firearms 210C Firearms 211 Fabergé 212 Baroque Painting and Sculpture (9) 213 Dutch Painting (4) 214 Central and Northern European (4) 215 French, German, and Dutch (2) 216A French and German (1) 216B French and German (4) 217 Italian Baroque (7) 219 19th Century European (3) 220 19th Century European (1) 221 19th Century Decorative Arts 222 Impressionism & Post-Impressionism 223 20th Century Avant-Garde (7) 224A Contemporary Corridor (1) 225 German Expressionism & Surrealism (2) 226A American Modern (2) 226B American Modern (2) 227 Abstract Expressionism (1) 228A Cleveland Artists 228B Cleveland Artists (1) 229A Contemporary (3) 229B Contemporary (1) 229C Contemporary (1) 230 Photography 231 Native North American 232 Andean (2) 233 Mesoamerican and Intermediate Region (4) 234 Textile Gallery 235A Japanese (1) 235B Japanese (5) 236 Korean (3) 237 Himalayan (5) 238 Chinese Ceramics 239 Chinese Ceramics and Metalwork (2) 240A Chinese Paintings and Calligraphy (1) 240B Chinese Decorative Arts 241A Arts of Ancient China (3) 241B Arts of Ancient China (2) 241C Chinese Buddhist Sculptures (3) 242A Ancient India (1) 242B Indian Painting 243 Indian and Southeast Asian (8) 244 Indian and Southeast Asian (4) 301 Baroque Sculpture Mezzanine AAE Art Allée East AAW Art Allée West ALOB Asian Lobby ATRM Atrium ArtLens Exhibition A (2) ArtLens Exhibition B ArtLens Exhibition C ET East Terrace ILMA Ingalls Library and Museum Archives NG North Sculpture Garden (1) NL North Lawn SE South Entrance Tunnel WT West Terrace Not on view
Collection AA - Andes (3) AA - Intermediate Region (1) AA - Mesoamerica (3) AA - Native North America ASIAN - Album leaf (28) ASIAN - Fan painting ASIAN - Folding screen (23) ASIAN - Handscroll (5) ASIAN - Hanging scroll (32) African Art (52) American - Cleveland School (1) American - Furniture and Decorative Arts American - Painting (7) American - Sculpture (2) Ancient Burmese Art CONTEMP - Cleveland School CONTEMP - Installation Media CONTEMP - Painting (6) CONTEMP - Sculpture (5) Cambodian Art (11) Ceylonese Art China - Five Dynasties China - Han Dynasty (1) China - Jin Dynasty China - Liao Dynasty China - Ming Dynasty China - Modern China - Neolithic China - Northern Dynasties (1) China - Qing Dynasty China - Shang Dynasty China - Song Dynasty (1) China - Southern Dynasties (2) China - Sui Dynasty China - Tang Dynasty (5) China - Three Kingdoms China - Yuan Dynasty (3) China - Zhou Dynasty (3) Chinese Art DR - American - Cleveland School DR - American 18th Century DR - American 19th Century (1) DR - American 20th Century (2) DR - American 21st Century DR - Austrian DR - Belgian DR - British (4) DR - Czech DR - Dutch (4) DR - Flemish DR - French (8) DR - German DR - Italian (4) DR - Japanese DR - Mexican DR - Misc. Countries DR - Russian DR - Spanish DR - Swedish DR - Swiss Decorative Arts (6) Drawings Ed Art - Decorative Art Ed Art - Prints Egypt - Early Dynastic Egypt - First Intermediate Egypt - Greco-Roman Egypt - Late Period Egypt - Middle Kingdom (2) Egypt - Modern Forgery Egypt - New Kingdom (5) Egypt - Old Kingdom (3) Egypt - Predynastic Egypt - Ptolemaic Dynasty (1) Egypt - Second Intermediate Egypt - Third Intermediate Egyptian Furniture (7) GR - Cypriot GR - Etruscan GR - European Bronze Age GR - Greek (8) GR - Italic GR - Roman (6) GR - Sardinian and Cretan GR - South Italy (3) Indian Art (24) Indian Art - Andhra Indian Art - Andhra, Amaravati Indian Art - Chola (1) Indian Art - Indus Valley Indian Art - Kushan (4) Indian Art - Kushan, Gandhara (1) Indian Art - Kushan, Mathura Indian Art - Maurya Indian Art - Medieval Indian Art - Mughal (64) Indian Art - Pakistan Indian Art - Sunga Indian Art - Sunga, Bharhut Islamic Art (4) Japanese Art (16) Javanese Art Korean Art (10) MED - Arms & Armor MED - Byzantine (7) MED - Early Christian MED - Gothic (14) MED - Manuscript Illuminations (562) MED - Medieval Art (13) MED - Migration Period MED - Numismatics MED - Renaissance (1) MED - Romanesque (1) Mod Euro - Furniture and Decorative Arts 1800-1960 Mod Euro - Painting 1800-1960 (23) Mod Euro - Sculpture 1800-1960 (1) Near Eastern Art (6) Nepalese Art (3) Oceanic Art P - British before 1800 (3) P - French & Austria 16th C. and earlier P - French 17th Century (3) P - French 18th Century (4) P - German before 1800 (4) P - Italian 15th Century and earlier P - Italian 16th & 17th Century (6) P - Italian 18th Century (2) P - Miscellaneous P - Netherlandish-Dutch (7) P - Netherlandish-Flemish (4) P - Spanish before 1800 (6) PH - American 1900-1950 (6) PH - American 1951-Present (3) PH - American 19th Century PH - Austrian PH - Brazilian PH - British 19th Century (1) PH - British 20th Century (1) PH - Canadian PH - Czech PH - French 19th Century (1) PH - French 20th Century PH - German 20th Century (1) PH - Italian PH - Japanese 20th Century PH - Mexican (1) PH - Misc. 19th Century PH - Misc. 20th Century PH - Misc. 21st Century PH - Photogravure PH - Russian 20th Century PH - Swiss 20th Century PR - Apparatus PR - Aquatint (1) PR - Carborundum PR - Chalk Manner PR - Chiaroscuro PR - Cliché verre PR - Collograph PR - Colotype PR - Computer PR - Drypoint (1) PR - Electrostatic copier PR - Embossing PR - Engraving (6) PR - Etching (7) PR - Gypsograph PR - Lavis manner PR - Linocut PR - Lithograph (2) PR - Mezzotint PR - Monotype PR - Photogravure PR - Relief PR - Screenprint PR - Steel engraving PR - Stencil (pouchoir) PR - Stipple PR - Wood engraving PR - Woodblock PR - Woodcut Paintings Photography (4) Prints Sculpture (9) Southeast Asian (5) T - Contemporary Fiber Art T - Coptic (1) T - Ecclesiastical T - Islamic (2) T - Lace T - Native North American T - Pre-Columbian Textiles (6) Tibetan Art (1)
Department African Art (52) American Painting and Sculpture (10) Art of the Americas (7) Chinese Art (60) Contemporary Art (11) Decorative Art and Design (13) Drawings (23) Egyptian and Ancient Near Eastern Art (17) European Painting and Sculpture (48) Greek and Roman Art (17) Indian and Southeast Asian Art (114) Islamic Art (4) Japanese Art (56) Korean Art (14) Medieval Art (598) Modern European Painting and Sculpture (24) Oceania Photography (18) Prints (17) Textiles (9)
Mme L... (Laure Borreau), 1863
Gustave Courbet (French, 1819-1877)
1962.2CCCC0
Hours of Queen Isabella the Catholic, Queen of Spain, c. 1500
Master of the First Prayerbook of Maximillian (Flemish, c. 1444-1519) and Associates
The Crucifixion of Saint Andrew, 1606–7
Caravaggio (Italian, 1571-1610)
Portrait of Tieleman Roosterman, 1634
Frans Hals (Dutch, c. 1581-1666)
Kneeling Prophet from the Reliquary Chasse of Saint-Germain-des-Prés, 1409
Jean de Clichy (French)
Head of Amenhotep III Wearing the Round Wig, c. 1391-1353 BC
Egypt, New Kingdom, Dynasty 18, reign of Amenhotep III, 1391-1353 BC
Cupid and Psyche, 1817
Jacques-Louis David (French, 1748-1825)
Blind Man's Buff, 1984
Louise Bourgeois (American, 1911-2010)
2002.29©
Wineglass and a Bowl of Fruit, 1663
Willem Kalf (Dutch, 1619-1693)
A Paramount Picture, 1934
Reginald Marsh (American, 1898-1954)
2006.137©
The Power of Music, 1847
William Sidney Mount (American, 1807-1868)
Number 5, 1950, 1950
Jackson Pollock (American, 1912-1956)
Bull Skull, Fruit, Pitcher, 1939
Pablo Picasso (Spanish, 1881-1973)
The Violin, early 1914
Georges Braque (French, 1882-1963)
La Cervara, the Roman Campagna, c. 1830-1831
Jean Baptiste Camille Corot (French, 1796-1875)
Standing Amitabha, 800s
Korea, Unified Silla period
Sleep, c. 1771
Jean Bernard Restout (French, 1732-1797)
Study for "The Bear Hunt" (for the Alcázar, Madrid), c. 1639
Peter Paul Rubens (Flemish, 1577-1640)
White and Steel Polars, 1945
Harlequin with Violin, 1918
1975.2©
Pine Tree, 1931
Arthur Dove (American, 1880-1946)
Still Life with Herrings, c. 1735
Jean-Siméon Chardin (French, 1699-1779)
Altarpiece with Relics, c. 1735-1740
Joseph Matthias Götz (German, 1696-1760) and Workshop
Head of King Userkaf, c. 2454-2447 BC
Egypt, Old Kingdom, Dynasty 5, reign of Userkaf
Branch Hill Pond, Hampstead, 1828
John Constable (British, 1776-1837)
Piazza San Marco, Venice, c. 1740
attributed to Bernardo Bellotto (Italian, 1721-1780)
Saint Ambrose, c. 1796-1799
Francisco de Goya (Spanish, 1746-1828)
Portrait of Count Jean-Antoine Chaptal, 1824
Antoine-Jean Gros (French, 1771-1835)
Portrait of Hottō Enmyō Kokushi, 1286–1333
Japan, Kamakura Period
Calvary with a Carthusian Monk, 1389-1395
Jean de Beaumetz (French, c. 1335-1396)
Le Déjeuner sur l'Herbre, 1944
Max Ernst (German, 1891-1976)
Portrait of Ōzora Buzaemon, 1827
Watanabe Kazan (Japanese, 1793-1841)
Portrait of Infante Don Luis de Borbon, c. 1776
Anton Raphael Mengs (German, 1728-1779)
Boy Drinking, 1582-1583
Annibale Carracci (Italian, c. 1560-1609)
Bottle, Glass, Fork, 1911-1912
The Nativity, c. 1485-1490
Gerard David (Netherlandish, 1450/60-1523)
Basin with Inscribed Figures and Calligraphy, 1100s-1200s
Korea, Goryeo period
Pair of Panels from a Triptych: The Archangel Michael and St. Anthony Abbot, 1458
Filippo Lippi (Italian, c. 1406-1469)
Panel from a Triptych: The Archangel Michael, 1458
1964.150.1CCCC0
Panel from a Triptych: St. Anthony Abbot, 1458
Fasting Buddha, 700s
India, Kashmir, 8th century
Goddess Uma, 1000s
Nepal, 11th Century
Gooseberries on a Table, 1701
Adriaen Coorte (Dutch, c. 1660-aft 1707)
Ignaz Günther (German, 1725-1775)
Table, c. 1907
Carlo Bugatti (Italian, 1856-1940)
The Sleeping Faun, modeled 1864, carved c. 1870
Harriet Goodhue Hosmer (American, 1830-1908)
Lucanian Calyx-Krater, c. 400 BC
attributed to Policoro Painter (Italian)
Rhyton: The Buffalo-Slayer Goddess, c. 600-700
Iran, Sasanian, 7th-8th Century
Figure of a Warrior, after 1325
Central Mexico, Tetzcoco?, Aztec, Post-Classic Period
Saint John the Baptist in a Landscape, c. 1445
attributed to Petrus Christus (Netherlandish, c. 1410-1475/76)
Plaque: The Journey to Bethlehem, c. 1100-1120
South Italy, Amalfi, Romanesque period, 12th century
Fan, Salt Box, Melon, 1909
Kneeling Male Figure, 1010-1080
Cambodia, Angkor, Baphuon, Baphuon Period, 11th Century
Seated Statue of Nykara, 2408-2377 BC
Egypt, Old Kingdom, Dynasty 5, reign of Niuserra or later, 2408-2377 BC
Priest-King or Deity, c. 1600 BC
Hittite, North Syria, early 17th Century BC
Virgin and Child with the Young Saint John the Baptist, c. 1490
Sandro Botticelli (Italian, 1444/45-1510) and Workshop
Kneeling Saint, 1750-1800
Germany, Munich, second half 18th century
Madonna and Child, c. 1330-1340
attributed to Andrea Pisano (Italian, c. 1295-1348/49)
Portrait of a Woman, c. 1550
Agnolo Bronzino (Italian, 1503-1572)
Saint Lawrence, 1502-1508
Tilman Riemenschneider (German, c. 1460-1531)
Covered Tureen on Stand (Pot-à-oille couvert), 1735–38
Juste-Aurèle Meissonnier (French, 1695-1750)
Mirror with Phoenixes, Birds, Butterflies, and Floral Sprays, 700s
China, Tang dynasty
Fragment of a Processional Cross, c. 1050
Byzantium, Constantinople, Byzantine period, 11th century
Portrait of a Man, c. 1620
Tanzio da Varallo (Italian, c1575/80-1635)
Squat Lekythos, c. 420-410 BC
attributed to Meidias Painter (Greek)
Statuette of a Beggar, 100-50 BC
Greece, Greco-Roman Period, late Ptolemaic Dynasty
Guitar and Bottle of Marc on a Table, 1930
Kitchen Utensils with Leeks, Fish, and Eggs, c. 1734
Head of an Apostle from the South Portal of the Cathedral of Thérouanne, c. 1235-1240
Northern France (Pas-de-Calais), Thérouanne, 13th century
1978.56.1CCCC0
Lovers (Mithuna), 1000s
India, Madhya Pradesh, Khajuraho, Medieval period, Candella dynasty, 11th century
Apis Bull, 400-100 BC
Egypt, Greco-Roman Period, Ptolemaic Dynasty or earlier
The Atalanta Lekythos (Funerary Oil Jug), 500-490 BC
attributed to Douris (Greek)
Tomb Relief of the Chief Physician Amenhotep and Family, c. 1279-1257 BC
Egypt, Asyut, New Kingdom, Dynasty 19, reign of Ramesses II, 1279-1213 BC
Adoration of the Magi, 1642
Guido Reni (Italian, 1575-1642)
Portrait of a Man, c. 1480-1500
Northeastern France or the Burgundian Netherlands, 15th century
Bodhisattva of Wisdom (Manjushri), 1400s
False Door of Nykara, 2408-2341 BC
Egypt, Old Kingdom, Dynasty 5, reign of Niuserra or slightly later, 2408-2377 BC
Buddhist Priest's Ceremonial Robe, 1400s
China, Ming dynasty
Virgin and Child with Saints, c. 1320
Ugolino di Nerio (Italian)
Jackie Curtis and Ritta Redd, 1970
Alice Neel (American, 1900-1984)
David: "Oh, that I had wings like a Dove! For then would I fly away,..., 1865
Frederic Leighton (British, 1830-1896)
Salver, c. 1907
Shiva as Lord of Music, c. 1000
South India, Tamil Nadu, Chola period
Time (From Chateau de Chaumont Set), 1512-1515
France, Lyon(?), early 16th century
Saint Stephen, 1502-1508
The Emperor as Philosopher, probably Marcus Aurelius (reigned AD 161-180), c. AD 180-200
Turkey, Bubon(?) (in Lycia), Roman, late 2nd Century
Figure in a Litter, 500-900
Wari (Pachacamac) style, Middle Horizon, Epoch 2
Footed Platter with Design of Mythical Beasts amid Grapevines, 700s
1962.2 Oil on fabric Framed: 112.4 x 93 x 12.1 cm (44 1/4 x 36 5/8 x 4 3/4 in.); Unframed: 81 x 61.2 cm (31 7/8 x 24 1/8 in.) Leonard C. Hanna, Jr. Fund CCCC0
1963.256 Ink, tempera, and gold on vellum Codex: 23.5 x 17.3 x 4.8 cm (9 1/4 x 6 13/16 x 1 7/8 in.) Leonard C. Hanna, Jr. Fund CCCC0
1976.2 Oil on canvas Framed: 233.5 x 184 x 12 cm (91 15/16 x 72 7/16 x 4 3/4 in.); Unframed: 202.5 x 152.7 cm (79 3/4 x 60 1/8 in.) Leonard C. Hanna, Jr. Fund CCCC0
1999.173 Oil on canvas Framed: 139 x 109 x 5.5 cm (54 3/4 x 42 15/16 x 2 3/16 in.); Unframed: 117 x 87 cm (46 1/16 x 34 1/4 in.) Leonard C. Hanna, Jr. Fund CCCC0
1964.360 Gilt bronze Overall: 13.8 x 9.3 x 8.7 cm (5 7/16 x 3 11/16 x 3 7/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1961.417 Brown quartzite Overall: 17.3 x 17 x 25.3 cm (6 13/16 x 6 11/16 x 9 15/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1962.37 Oil on canvas Framed: 221 x 282 x 10 cm (87 x 111 x 3 15/16 in.); Unframed: 184.2 x 241.6 cm (72 1/2 x 95 1/8 in.) Leonard C. Hanna, Jr. Fund CCCC0
2002.29 White marble on wooden base Overall: 92.7 x 88.9 x 63.5 cm (36 1/2 x 35 x 25 in.) Leonard C. Hanna, Jr. Fund ©
1962.292 Oil on canvas Framed: 81 x 70.5 x 7.5 cm (31 7/8 x 27 3/4 x 2 15/16 in.); Unframed: 60.3 x 50.2 cm (23 3/4 x 19 3/4 in.) Leonard C. Hanna, Jr. Fund CCCC0
2006.137 Tempera on Masonite Framed: 107.3 x 86.4 x 4.5 cm (42 1/4 x 34 x 1 3/4 in.); Unframed: 90.8 x 70.5 cm (35 3/4 x 27 3/4 in.) Leonard C. Hanna, Jr. Fund ©
1991.110 Oil on canvas Framed: 67 x 78 x 7.5 cm (26 3/8 x 30 11/16 x 2 15/16 in.); Unframed: 43.4 x 53.5 cm (17 1/16 x 21 1/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1980.180 Oil on canvas Framed: 138 x 102 x 5 cm (54 5/16 x 40 3/16 x 1 15/16 in.); Unframed: 136.5 x 99.1 cm (53 3/4 x 39 in.) Leonard C. Hanna, Jr. Fund ©
1985.57 Oil on canvas Framed: 85.7 x 117.2 x 7 cm (33 3/4 x 46 1/8 x 2 3/4 in.); Unframed: 65 x 92 cm (25 9/16 x 36 1/4 in.) Leonard C. Hanna, Jr. Fund ©
1968.196 Cut and pasted papers (newsprint, block-printed or stenciled decorative paper, and faux bois), with charcoal and graphite Unframed: 71.8 x 51.8 cm (28 1/4 x 20 3/8 in.) Leonard C. Hanna, Jr. Fund ©
1963.91 Oil on fabric Framed: 130 x 167.5 x 9.5 cm (51 3/16 x 65 15/16 x 3 3/4 in.); Unframed: 97.6 x 135.8 cm (38 7/16 x 53 7/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1988.34 Gilt bronze Overall: 25.4 cm (10 in.); with tang: 26 cm (10 1/4 in.) Leonard C. Hanna, Jr. Fund CCCC0
1963.502 Oil on canvas Framed: 127.5 x 160 x 14 cm (50 3/16 x 63 x 5 1/2 in.); Unframed: 97.6 x 130 cm (38 7/16 x 51 3/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1983.69 Oil on wood Framed: 70.5 x 40.6 x 7.6 cm (27 3/4 x 16 x 3 in.); Unframed: 26 x 53.7 cm (10 1/4 x 21 1/8 in.) Leonard C. Hanna, Jr. Fund CCCC0
2005.144 Painted wood, steel, iron, and Plexiglas Overall: 271.8 x 40.6 x 40.6 cm (107 x 16 x 16 in.) Leonard C. Hanna, Jr. Fund ©
1975.2 Oil on canvas Framed: 171 x 132 x 7.5 cm (67 5/16 x 51 15/16 x 2 15/16 in.); Unframed: 142.2 x 100.3 cm (56 x 39 1/2 in.) Leonard C. Hanna, Jr. Fund ©
1992.128 Oil on canvas Framed: 90.2 x 116.8 x 5.7 cm (35 1/2 x 46 x 2 1/4 in.); Unframed: 76.4 x 101.6 cm (30 1/16 x 40 in.) Leonard C. Hanna, Jr. Fund ©
1974.1 Oil on canvas Framed: 58.5 x 50.5 x 8.5 cm (23 1/16 x 19 7/8 x 3 3/8 in.); Unframed: 41 x 33.6 cm (16 1/8 x 13 1/4 in.) Leonard C. Hanna, Jr. Fund CCCC0
1964.357 Gilded wood, with relics in niches: gilded wood, mother-of-pearl, ebony, red silk, gold wire, seed pearls, rock crystal, pen and ink on paper Overall: 165.1 x 108 x 20 cm (65 x 42 1/2 x 7 7/8 in.) Leonard C. Hanna, Jr. Fund CCCC0
1979.2 Painted limestone Overall: 6.5 x 7.2 cm (2 9/16 x 2 13/16 in.); Face: 4.8 x 4.8 cm (1 7/8 x 1 7/8 in.) Leonard C. Hanna, Jr. Fund CCCC0
1972.48 Oil on canvas Framed: 89 x 105.5 x 11.5 cm (35 1/16 x 41 9/16 x 4 1/2 in.); Unframed: 60.6 x 78.1 cm (23 7/8 x 30 3/4 in.) Leonard C. Hanna, Jr. Fund CCCC0
1962.169 Oil on canvas Framed: 164.5 x 264 x 12 cm (64 3/4 x 103 15/16 x 4 3/4 in.); Unframed: 136.2 x 232.5 cm (53 5/8 x 91 9/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1969.23 Oil on canvas Framed: 148.7 x 225.3 x 10.3 cm (58 9/16 x 88 11/16 x 4 1/16 in.); Unframed: 190 x 113 cm (74 13/16 x 44 1/2 in.) Leonard C. Hanna, Jr. Fund CCCC0
1964.54 Oil on canvas Framed: 183.5 x 151.1 x 16.5 cm (72 1/4 x 59 1/2 x 6 1/2 in.); Unframed: 136.5 x 114.3 cm (53 3/4 x 45 in.) Leonard C. Hanna, Jr. Fund CCCC0
1970.67 Hinoki cypress wood with lacquer Overall: 91.4 cm (36 in.) Leonard C. Hanna, Jr. Fund CCCC0
1964.454 Oil on oak panel Framed: 63.5 x 52.5 x 6.7 cm (25 x 20 11/16 x 2 5/8 in.); Unframed: 56.6 x 45.7 cm (22 5/16 x 18 in.) Leonard C. Hanna, Jr. Fund CCCC0
2002.55 Oil on canvas Framed: 87.3 x 171.1 x 5.7 cm (34 3/8 x 67 3/8 x 2 1/4 in.); Unframed: 68 x 150 cm (26 3/4 x 59 1/16 in.) Leonard C. Hanna, Jr. Fund ©
1980.177 Hanging scroll, ink and color on paper Image: 221.8 x 117.8 cm (87 5/16 x 46 3/8 in.); Overall: 256.8 x 131 cm (101 1/8 x 51 9/16 in.); with knobs: 256.8 x 140.5 cm (101 1/8 x 55 5/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1966.14 Oil on canvas Framed: 180.5 x 127 x 8 cm (71 1/16 x 50 x 3 1/8 in.); Unframed: 152.7 x 100 cm (60 1/8 x 39 3/8 in.) Leonard C. Hanna, Jr. Fund CCCC0
1994.4 Oil on canvas Framed: 79 x 67 x 5.5 cm (31 1/8 x 26 3/8 x 2 3/16 in.); Unframed: 55.8 x 43.7 cm (21 15/16 x 17 3/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1972.8 Oil on canvas Framed: 92.4 x 75.9 x 8.3 cm (36 3/8 x 29 7/8 x 3 1/4 in.); Unframed: 72 x 52.7 cm (28 3/8 x 20 3/4 in.) Leonard C. Hanna, Jr. Fund ©
1958.320 Oil on wood panel Framed: 102.5 x 76 x 7.5 cm (40 3/8 x 29 15/16 x 2 15/16 in.); Unframed: 85.2 x 59.7 cm (33 9/16 x 23 1/2 in.) Leonard C. Hanna, Jr. Fund CCCC0
1985.112 Bronze Overall: 17 cm (6 11/16 in.); Diameter of mouth with rim: 21.7 cm (8 9/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1964.150 Tempera on wood panel Framed: 94 x 40 x 6.5 cm (37 x 15 3/4 x 2 9/16 in.); Unframed: 81.3 x 29.8 cm (32 x 11 3/4 in.) Leonard C. Hanna, Jr. Fund CCCC0
1964.150.1 Tempera on wood panel Framed: 94 x 40 x 6.5 cm (37 x 15 3/4 x 2 9/16 in.); Unframed: 81.3 x 29.8 cm (32 x 11 3/4 in.) Leonard C. Hanna, Jr. Fund CCCC0
1986.70 Ivory Overall: 12 x 9.5 x 1.5 cm (4 3/4 x 3 3/4 x 9/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1982.49 Gilt bronze and semiprecious stones Overall: 35.6 x 27.9 x 25.4 cm (14 x 11 x 10 in.) Leonard C. Hanna, Jr. Fund CCCC0
1987.32 Oil on paper mounted on wood Framed: 45.5 x 38.5 x 4.5 cm (17 15/16 x 15 3/16 x 1 3/4 in.); Unframed: 29.7 x 22.8 cm (11 11/16 x 9 in.) Leonard C. Hanna, Jr. Fund CCCC0
1963.294 Painted and gilded wood Overall: 78.6 x 34.5 x 19.2 cm (30 15/16 x 13 9/16 x 7 9/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1991.45 Inlaid wood (mahogany?), cast and gilded bronze mounts, inlays of ivory or bone, metal, and mother-of-pearl (marine mussels or pearl oysters) Overall: 71.5 x 67.1 x 41.3 cm (28 1/8 x 26 7/16 x 16 1/4 in.) Leonard C. Hanna, Jr. Fund ©
1997.15 Marble Overall: 127 cm (50 in.) Leonard C. Hanna, Jr. Fund CCCC0
1991.1 Red-figure earthenware with added white, red, yellow, and brown wash Diameter of mouth: 49.9 cm (19 5/8 in.); Overall: 50.5 cm (19 7/8 in.); Diameter of foot: 22 cm (8 11/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1964.96 Silver Overall: 19.1 cm (7 1/2 in.) Leonard C. Hanna, Jr. Fund CCCC0
1984.37 Gold-silver-copper alloy (cast) Overall: 11.2 x 6.1 cm (4 7/16 x 2 3/8 in.) Leonard C. Hanna, Jr. Fund CCCC0
1979.80 Oil on panel Unframed: 40.2 x 12.5 cm (15 13/16 x 4 15/16 in.); Painted surface: 39.6 x 11.5 cm (15 9/16 x 4 1/2 in.) Leonard C. Hanna, Jr. Fund CCCC0
1978.40 Ivory Overall: 16.3 x 11 x 1 cm (6 7/16 x 4 5/16 x 3/8 in.) Leonard C. Hanna, Jr. Fund CCCC0
1969.22 Oil on canvas Framed: 100.3 x 83.5 x 7.3 cm (39 1/2 x 32 7/8 x 2 7/8 in.); Unframed: 81.3 x 64.2 cm (32 x 25 1/4 in.) Leonard C. Hanna, Jr. Fund ©
1978.8 Bronze Overall: 43.2 cm (17 in.) Leonard C. Hanna, Jr. Fund CCCC0
1964.90 Red granite and pigment Overall: 53.4 x 20.5 x 28 cm (21 x 8 1/16 x 11 in.) Leonard C. Hanna, Jr. Fund CCCC0
1971.45 Basalt with bone eyes (left, ancient; right, restored) Overall: 87.6 cm (34 1/2 in.) Leonard C. Hanna, Jr. Fund CCCC0
1970.160 Tempera and oil on wood Framed: 115 x 12.5 cm (45 1/4 x 4 15/16 in.); Diameter: 68 cm (26 3/4 in.) Leonard C. Hanna, Jr. Fund CCCC0
1961.414 Painted and gilded wood Overall: 118.1 x 90 x 50 cm (46 1/2 x 35 7/16 x 19 11/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1972.51 Marble with traces of gilding Base: 5 x 15.9 x 15.1 cm (1 15/16 x 6 1/4 x 5 15/16 in.); without base: 32.7 x 15 x 9.6 cm (12 7/8 x 5 7/8 x 3 3/4 in.) Leonard C. Hanna, Jr. Fund CCCC0
1972.121 Oil on wood Framed: 81.5 x 68.5 x 5 cm (32 1/16 x 26 15/16 x 1 15/16 in.); Unframed: 60 x 48.8 cm (23 5/8 x 19 3/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1959.42 Lindenwood with polychromy and gilding Overall: 93.8 x 38.5 x 21.8 cm (36 15/16 x 15 3/16 x 8 9/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1977.182 Silver Overall: 36.9 x 38.4 x 31.8 cm (14 1/2 x 15 1/8 x 12 1/2 in.); Average: 35 x 38.4 x 31.8 cm (13 3/4 x 15 1/8 x 12 1/2 in.) Leonard C. Hanna, Jr. Fund CCCC0
1973.74 Bronze with silver and gold inlaid lacquer Diameter: 19.2 cm (7 9/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1970.36 Silver gilt, niello Overall: 32.3 x 44.8 x 5.7 cm (12 11/16 x 17 5/8 x 2 1/4 in.) Leonard C. Hanna, Jr. Fund CCCC0
1985.143 Oil on canvas Framed: 125 x 99.5 x 7 cm (49 3/16 x 39 3/16 x 2 3/4 in.); Unframed: 97.8 x 72.2 cm (38 1/2 x 28 7/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1982.142 Earthenware with slip decoration and gilded relief Diameter: 18.6 cm (7 5/16 in.); Diameter of mouth: 8.7 cm (3 7/16 in.); Overall: 30.3 cm (11 15/16 in.); Diameter of foot: 14.5 cm (5 11/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1963.507 Bronze, solid cast, with silver and copper inlays Overall: 18.4 x 5.3 x 7.2 cm (7 1/4 x 2 1/16 x 2 13/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1975.59 Oil and sand on canvas Framed: 163.8 x 106.7 x 11.4 cm (64 1/2 x 42 x 4 1/2 in.); Unframed: 130.5 x 75 cm (51 3/8 x 29 1/2 in.) Leonard C. Hanna, Jr. Fund ©
1980.37 Oil on canvas Framed: 52.5 x 60.5 x 7.5 cm (20 11/16 x 23 13/16 x 2 15/16 in.); Unframed: 32.2 x 40.7 cm (12 11/16 x 16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1978.56.1 Oolitic limestone Overall: 41.9 x 30.4 x 32.4 cm (16 1/2 x 11 15/16 x 12 3/4 in.) Leonard C. Hanna, Jr. Fund CCCC0
1978.56.2 Oolitic limestone Overall: 47.6 x 31.8 x 37.8 cm (18 3/4 x 12 1/2 x 14 7/8 in.) Leonard C. Hanna, Jr. Fund CCCC0
1982.64 Sandstone Overall: 74 cm (29 1/8 in.) Leonard C. Hanna, Jr. Fund CCCC0
1969.118 Serpentinite Overall: 52.5 cm (20 11/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1966.114 Painted white-ground terracotta Overall: 31.8 cm (12 1/2 in.) Leonard C. Hanna, Jr. Fund CCCC0
1963.100 Limestone with traces of paint Overall: 128 x 119.5 cm (50 3/8 x 47 1/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1969.132 Oil on canvas Framed: 378 x 280.5 x 10.5 cm (148 13/16 x 110 7/16 x 4 1/8 in.); Unframed: 367.3 x 268.6 cm (144 5/8 x 105 3/4 in.) Leonard C. Hanna, Jr. Fund CCCC0
1963.503 Oil on wood Framed: 52.5 x 38 x 5 cm (20 11/16 x 14 15/16 x 1 15/16 in.); Unframed: 42.5 x 27.6 cm (16 3/4 x 10 7/8 in.) Leonard C. Hanna, Jr. Fund CCCC0
1964.370 Gilt bronze Overall: 78.1 x 67.6 cm (30 3/4 x 26 5/8 in.) Leonard C. Hanna, Jr. Fund CCCC0
1964.91 Limestone Overall: 168 x 111.5 x 6 cm (66 1/8 x 43 7/8 x 2 3/8 in.) Leonard C. Hanna, Jr. Fund CCCC0
1987.57 Silk and gold thread; embroidery Overall: 119.4 x 302.1 cm (47 x 118 15/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1961.40 Tempera and gold on wood panel Framed: 122.2 x 200.3 x 8.9 cm (48 1/8 x 78 7/8 x 3 1/2 in.); Overall: 122.5 x 192.5 cm (48 1/4 x 75 13/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
2009.345 Oil on canvas Framed: 154.3 x 108.9 cm (60 3/4 x 42 7/8 in.); Unframed: 152.4 x 106.4 cm (60 x 41 7/8 in.) Leonard C. Hanna, Jr. Fund ©
1986.74 Oil on fabric Framed: 125 x 152.4 x 4.5 cm (49 3/16 x 60 x 1 3/4 in.); Unframed: 96.5 x 122.5 cm (38 x 48 1/4 in.) Leonard C. Hanna, Jr. Fund CCCC0
1991.46 Silver and ivory Overall: 14.6 x 33 cm (5 3/4 x 13 in.) Leonard C. Hanna, Jr. Fund ©
1971.117 Bronze Overall: 76.5 x 45 cm (30 1/8 x 17 11/16 in.); Base: 26 x 25 cm (10 1/4 x 9 13/16 in.) Leonard C. Hanna, Jr. Fund CCCC0
1960.176.3 Silk and wool; tapestry weave Overall: 326.6 x 434.1 cm (128 9/16 x 170 7/8 in.) Leonard C. Hanna, Jr. Fund CCCC0
1959.43 Lindenwood with polychromy and gilding Overall: 93.5 x 35 x 23.5 cm (36 13/16 x 13 3/4 x 9 1/4 in.) Leonard C. Hanna, Jr. Fund CCCC0
1986.5 Bronze, hollow cast in several pieces and joined Overall: 193 cm (76 in.) Leonard C. Hanna, Jr. Fund CCCC0
1997.1 Earthenware with colored slips Overall: 26.3 x 21.6 x 24.8 cm (10 3/8 x 8 1/2 x 9 3/4 in.) Leonard C. Hanna, Jr. Fund CCCC0
1972.39 Silver with gilt, incised, and chased decoration Diameter: 30.5 cm (12 in.) Leonard C. Hanna, Jr. Fund CCCC0


text:
Girls, India
The Indian village where child sexual exploitation is the norm
January 21, 2019 sndden
Indian advocacy group Jan Sahas believes there are an estimated 100,000 women and girls in caste and gender slavery. Photograph: Rebecca Conway
By Michael Safi
Many families in India still mourn the birth of a girl. But when Leena was born, people celebrated.
Sagar Gram, her village in central India, is unique that way. Girls outnumber boys. When a woman marries, it is the groom's family that pays the dowry. Women are Sagar Gram's breadwinners. When they are deemed old enough, perhaps at the age of 11, most are expected to start doing sex work.
India officially abolished caste discrimination almost 70 years ago. But millennia of tradition is not easily erased. For most Indians, caste still has a defining influence on who they marry and what they eat. It also traps millions in abusive work. The exploited and trafficked children of Sagar
Gram, and dozens of other villages across India's hinterland, are one of its most disturbing manifestations.
"It is caste and gender slavery," says Ashif Shaikh of Jan Sahas, an advocacy group that works with members of India's lowest castes, communities that used to be called "untouchables".
"We estimate there are 100,000 women and girls in this situation. But there are likely more we haven't identified. It's an invisible issue."
Girls in Sagar Gram grow up hearing a story. Sometime in the misty past of Hindu myth, a king fell in love with a dancer. His enraged queen issued the woman with a challenge: if she could walk a tightrope across a river, she could join the royal family, and permanently raise the status of her caste.
As the woman neared the opposite bank of the river, a step from success, the queen suddenly cut the rope. "Up until now, we lured your men through dancing," the woman told the queen. "From now on, we will take your men from you with our bodies."
Leena, 22, remembers learning about the woman. She remembers the awe she felt when the older girls from her caste, the Bacchara, suddenly had enough money for makeup and nice clothing. She remembers what the adults in her village told her when she was 15, and her family was having money problems.
"Your parents are going through such a hard time," they told her. "How can you go to school? You need to be working."
That was when she started. "The rest of the girls in my village were doing it, so I felt like I had to do it as well," she says. "It was my responsibility."
Girls in Sagar Gram, which lies next to a highway, are groomed for this life virtually from birth. Parents decide which of their daughters will fetch the best price. Older girls teach them how to attract customers from passing trucks and cars. The younger ones sometimes stow under beds, observing the others at work.
Sex was nonetheless a mystery to Leena. "When I was young, the most important thing was seeing the money the customer was offering," she says. "I didn't understand what they were doing to me. I only saw that money was coming in."
Her virginity was prized. She made 5,000 rupees (£55) on the first night. Her price declined after that. Another Bacchara woman, aged 29, says the most she can make for an encounter is 200 rupees. She might see five or six men in a day.
India's preference for male children has created a deep gender imbalance. Among the Baccharas of Sagar Gram village, however, the problem cuts the other way: there are 3,595 women in the district compared with 2,770 men, according to the most recent census.
Yet, visiting the village at dusk, few women or girls can be seen. "They've all gone to hotels or to stop cars," an older man says, gesturing at the nearby highway. Every few hundred metres along the road, girls are reclined on rope beds, waving at any vehicle that slows.
The legal age of consent in India is 18. Madhya Pradesh, the state in which Sagar Gram is situated, recently passed the death penalty for anyone who rapes a child under 12, also increasing jail terms for adults who have sex with someone under 18. Police say seven people were arrested for child
sexual exploitation offences in Sagar Gram in the past year, five of them women who sold their underage daughters. The law is clear, but does little to sway social custom and economic distress.
"It's a traditional business," says deputy superintendent Nagendra Singh Sikarwar, at the nearby Jeeran police station. "Even girls we try to rehabilitate come back to it. The main issue is we don't have alternative jobs for them. And so their families are keen that they continue the work."
Most Bacchara men do not work. Only the lowest paid or most degrading jobs are available to them anyway. So they rely on their children. They wait on their porches with the rest of the family while their daughters are inside with customers.
One villager, Balram Chauhan, should be a rich man. He has five daughters. But he is struggling: Chauhan, 52, is the only father in the village who refuses to force his children into sex work.
"To be exposed to such violence and mental and physical abuse," he mutters. "How could any parent willingly send them off?"
His mother was a prostitute. Despite his efforts, so were four of his sisters. "From the moment I understood what they were doing I tried to stop them," he says. "But my parents were against me. They said it was a culture that had been going on for years. Who was I to stop it?"
Trying to break this cycle has been a lifelong struggle. His parents sabotaged his efforts to train as a health worker, Chauhan says. When he married off his two daughters to spare them from a life of prostitution, his family cut him off.
He cannot move his family outside of a Bacchara village: nobody would rent property to someone from his caste. The "higher" caste communities nearby consider his very presence polluting. So he has opened a small shop in Sagar Gram selling biscuits and confectionery, trying to eke out enough to pay for his daughters' education.
"A lot of people here bad-mouth my daughters," he says. "If they see them speaking on a cellphone, 10 people come to my shop and tell me: 'Your daughter is chatting to so-and-so.' They try to say they have loose characters.
"If I had one daughter, I could handle it. But when there are five …" he trails off. "It's a difficult thing."
https://www.theguardian.com/global- development/2019/jan/14/indian-village-where-child-sexual- exploitation-is-the-norm-sagar-gram-jan-sahas
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