Animal horn engraved with the Royal Coat of Arms of the United Kingdom, in which a crowned lion and a chained unicorn supporting a shield stand above a banner with the motto “dieu et mon droit” (which directly translated from French means “God and my right” referring to the monarch’s divine right to govern which has been used as the motto of the British monarch since it was adopted by Henry V (1413-1422)). The shield consists of four quadrants: the first quadrant contains four lions, the second contains three fleurs de lis, the third contains a mermaid and a harp, the fourth contains three lions and a stag or dog-like animal. Surrounding the shield is a belt or garter upon which is emblazoned “Honi soit qui mal y pense” which means “evil unto they who think evil,” the motto of the Order of the Knights of the Garter, an ancient exclusive British order consisting of 25 members who were selected by the king of England. Near the base, the horn is engraved with a cityscape of Philadelphia from the harbor with numerous buildings, towers, boats and ships, and a man with a rifle shooting at a stag or lion in the distance.
The provincial carved powder horn is an indigenous North American art form. Made from the cow, ox or buffalo horn, powder horns were commonly used with 18th century muskets to safely store gunpowder, and their polished surfaces often provided a canvas for a professional carver. This work is engraved with the Royal Coat of Arms of the United Kingdom and a cityscape of Philadelphia, symbolizing the position of Philadelphia in the early history of the founding of America.
Painting depicting a featureless female figure, in tones of aqua and light blue extending across the center of the canvas in a light gray hammock. There is a bright white shape, perhaps a book, in the middle of the figure. Behind the figure, the rest of the composition is organized in horizontal sections. At top, a yellow sky; below that are two gently-curved mountains in dark brown, followed by two horizontal planes of color in tan and light brown.
The year this painting was painted, Avery spent the summer in Woodstock, NY with his wife, Sally, and their daughter, March, who is probably the reader in the hammock. This work marks Avery’s later period in which he drops any hint of outline, facial and ornamental detail and concentrates on shape, color and composition. He uses undercoats of color, building, layering and scratching to create depth. He uses muted color values and flat tones—he is concerned with surface qualities rather than density and volume. He emphasized the two-dimensionality of the picture plane and was interested in the inter-relation of color and shapes on a single plane.
Bronze sculpture of a standing male figure his right hand holding a shield which rests upon a stack of book while his left arm is outstretched hovering over the crouching figure of an African American male figure.
At the end of the Civil War (1861–65) there was an effort to promote an American Renaissance and to beautify cities with civic monuments and public sculpture. Sculptors, including Randolph Rogers, were commissioned to produce memorials that addressed themes of war and slavery and to commemorate military heroes, from the common soldier to President Abraham Lincoln himself. This work is a maquette for the Emancipation Memorial in Washington D.C.’s Lincoln Park, which depicts Abraham Lincoln as the “Great Emancipator” freeing a slave, establishing a narrative of theoretical peace and unity.
Although Ball joined the circle of the American Neo-classical sculptor Hiram Powers, his work remained rooted in an objective naturalism and a devotion to American subjects. The monuments, small bronzes and portraits he produced in the following years are characterized by their smooth surfaces and minimal detail.
This is a line drawing done in colors of red, orange, blue, yellow, brown and green, on white paper. In the top center portion of the sheet are the words, "A LIE". Below this are forms that resemble an egg, a slice of bacon, a piece of bread with a pat of yellow butter. Below these forms are some round shapes, labeled "flakes", a bowl and a carton of milk.