183rd Annual Report for the Pennsylvania Academy of the Fine Arts
Item
Title
183rd Annual Report for the Pennsylvania Academy of the Fine Arts
Identifier
1988-AR.pdf
Date
1988
Creator
Pennsylvania Academy of the Fine Arts
Subject
annual report
finance report
school report
exhibition
history
Publisher
The Pennsylvania Academy of the Fine Arts' Dorothy and Kenneth Woodcock Archives
Medium
paper
Format
PDF
Source
The Pennsylvania Academy of the Fine Arts' Dorothy and Kenneth Woodcock Archives
Language
eng
Rights
Digitized archival materials are accessible for purposes of education and research. We have indicated what we know about copyright and rights of privacy, publicity, or trademark. Due to the nature of archival collections, we are not always able to identify this information. We are eager to hear from any rights owners, so that we may obtain accurate information. Upon request, we will remove material from public view while we address a rights issue.
extracted text
PENNSYLVANIA
ACADEMYT~~
FINE ARTS
1988&1989
PENNSYLVANIA
AO\DEMYT~~
FINEAATS
1988&1989
ANNUAL REPORTS
CONTENTS
BOARD OF TRUSTEES
2
CHAIRMAN'S REPORT
3
PRESIDENT'S REPORT
5
THE SCHOOL
11
THE MUSEUM
19
FINANCIAL STATEMENTS
CONTRIBUTORS
COMMITTEES
STAFF
47
40
43
34
Board of Trustees
as of December 31, 1989
Harold A. Sorgenti
Chairman
Charles J. Kenkelen
First Vice Chairman
and Treasurer
J. Roffe Wike
Second Vice Chairman
Bobette Leidner
Secretary
John B. Bartlett
George A. Beach
Eric Eichler
Caleb L. Fowler
Helen Gemmill
Milton Ginsburg
Barbara L. Greenfield
Samuel M. V. Hamilton
Frederick S. Hammer
Stephen B. Klein
Barbara C. Kligerman
Leonard 1. Korman
Daniel R. Kursman
Terrence A. Larsen
B. Herbert Lee
Charles E. Mather III
Harvey S. Shipley Miller
Allen J. Model
Dr. Charles W. Nichols
Vivian O. Potamkin
Lyn M. Ross
Margaret duP. Smith
Edna S. Tuttleman
Archbold D. van Beuren
Richard B.Worley
Trustees
Herbert S. Riband, Jr.
Anthony J. Rosati
Hon. Joan Specter
Ex officio
2
CHAIRMAN'S REPORT
The Pennsylvania Academy of the
Fine Arts has decided to publish its
annual reports on a biennial basis.
Thus, this publication contains the
reports for both 1988 and 1989.
When I last reported to you, in
1987, several of the plans formulated during the mid-1980s by the
Pennsylvania Academy's Strategic
Planning Committee were in their
preliminary stages. I am proud to
report that considerable progress
has been made toward achieving
these goals.
First, we have completed the $8.5
million purchase and renovation of
1301 Cherry Street into a state-ofthe-art school. Located just one
block east of our National Historic
Landmark building at Broad and
Cherry streets, the new facility was
dedicated on October 28, 1988.
During the past two academic
years, it has fulfilled its promise in
serving the School's needs. Second, we have implemented plans
to renovate behind-the-scenes
spaces in the Museum at the same
time that we introduce new services to our visitors. These projects
were buoyed by a $600,000 challenge grant from the National
Endowment for the Arts,
announced in 1989. Finally, we
have moved to secure a piece of
land on Cherry Street on which to
build a future museum wing. It is a
major goal of the Pennsylvania
Academy to have sufficient gallery
space to exhibit its permanent collection of American art and to continue its important program of
traveling exhibitions.
Harold A. Sorgenti
In order to accomplish these objectives, the officers and the Board of
Trustees, after careful evaluation,
approved the establishment of the
Third Century Fund to raise $15.2
million. As we work on this capital
fund drive, we are also seeking to
strengthen our annual-giving program to overcome shortfalls in
operating funds. Securing the
financial future of the Pennsylvania Academy is the top priority
for me, the Board of Trustees, and
the administration.
One of the Pennsylvania Academy's consummate strengths is the
dedication of its extraordinary volunteers - trustees, Women's
Committee, and other committee
members, as well as docents - who
make the Academy a far stronger
institution. As your chairman, I
am enormously grateful for this
support.
3
It gives me pleasure to record the
reelection to the Board of Trustees
in 1988 of Margaret B. English,
Milton Ginsburg, Barbara C.
Kligerman, Leonard I. Korman,
and B. Herbert Lee, and the election of Gary D. Alexander, Eric
Eichler, Caleb L. Fowler, and
Daniel R. Kursman. I acknowledge
with thanks those trustees whose
terms expired at the end of 1988:
George R. Burrell, Jr., Herbert S.
Riband, Jr., Margaret B. Schiffer,
and Robert G. Wilder. It also gives
me pleasure to record the reelection in 1989 of Daniel R. Kursman,
Vivian O. Potamkin, and Margaret
duP. Smith, and the election of
Terrence A. Larsen and Richard B.
Worley. I acknowledge with thanks
the support of those trustees whose
terms expired at the end of 1989:
Barbara L. Greenfield, Charles E.
Mather III, Dr. Charles W.
Nichols, and Lyn M. Ross. It is
with great sadness that I record the
death in 1989 of Margaret B.
English. I gratefully acknowledge·
the past work of the following
trustees who have tendered their
resignations: Gary D. Alexander,
Carpenter Dewey, William B.
Grala, and Frank R. Veale.
The Pennsylvania Academy is
blessed with a hardworking and
creative team of staff and faculty,
who daily make it a responsible and
responsive institution. I am pleased
to pay tribute to them as we work
in partnership to strengthen one of
the nation's greatest cultural
treasures.
Harold A. Sorgenti
Chairman
G reat Hall of Museum , upper level
4
PRESIDENT'S REPORT
This is our final report for the
1980s, a decade of high visibility
and rapid growth in all forms of art
in America. For those of us
involved in managing cultural
institutions, these were exciting
times.
The growth in the arts was paralleled by the growth in our own
institution. The staff increased.
Public programs expanded - and
with them, the audiences. Our
operating budgets doubled, and our
fund-raising efforts intensified.
All the while, expectations rose
in regard to the role of an educational institution in a city like
Philadelphia.
The decade of the 1980s also
resulted in difficult challenges. The
1986 tax reform act has adversely
affected the number of gifts of
appreciated property to nonprofit
organizations, notably works of art
to museums with permanent collections. This loss of tax advantages, coupled with the huge leap
in the prices commanded by American art, has reduced to a trickle
the number of gifts to museums.
Furthermore, the United States
Congress is currently considering
other types of tax legislation that
would be deleterious to not-forprofits, including an unrelatedbusiness income tax, as well as a
tax on endowment income. Unfortunately, the growth in corporate
support for the arts that took place
in the early 1980s has leveled off,
as the business sector addresses the
enormous needs of the disadvantaged, particularly in large metropolitan areas like Philadelphia.
The City of Philadelphia itself can
no longer make steady commit-
Frank H. Goodyear, Jr.
ments to fund cultural/educational
institutions such as ours, nor can
one expect growth in the immediate future in federal or state support
for the arts. In fact, with the
heated debate over the impending
reauthorization of the National
Endowment for the Arts, federal
funding is in limbo.
All of this points to serious challenges facing institutions like the
Pennsylvania Academy. It is imperative that we stand up and be
counted on the potential threat of
the acceptance by the National
Endowment for the Arts of even
the suggestion of censorship. Freedom of expression, but not public
obscenity, is the right of all Americans. As an institution and as individuals, we must become more
active politically; we can no longer
take for granted a widespread belief
that the arts bring richness and
fu llness to people's lives. We need
to convince our elected leaders of
that truth.
5
The mission of the Pennsylvania
Academy is broad: from conserving
our artistic heritage to serving the
largest public (both traditional and
nontraditional audiences) to providing state-of-the-art facilities for
the studio-arts program. In areas
usually associated with institutions
like the Pennsylvania Academyscholarly publications, display and
interpretation of works of art, educating art students - the Academy
performs at the highest level. I
believe, however, that we must do
more to position ourselves within
the mainstream of public, parochial, and private education systems in the Delaware Valley.
American art history and studio
arts are subjects that students must
be exposed to early in their education; institutions like the Pennsylvania Academy can, and should,
take steps to shape this experience.
It is one of the major challenges
that we face in the decade of the
1990s.
I have often reflected on the enormous "people power" at the Pennsylvania Academy of the Fine Arts:
staff, faculty, and volunteers. The
staff and faculty have my perpetual
gratitude for giv ing their strength
and expertise to securing the success of the Pennsylvania Academy's programs. I am equally
indebted to the hundreds of volunteers who donate their time and
effort to make the Pennsylvania
Academy work. The Board of
Trustees, led by an inspired chairman, Harold A. Sorgenti, has
brought about an enormous difference in the general welfare of our
lives. Similarly, I salute the Pennsylvania Academy's Women's
Committee, chaired by Barbara C.
Kligerman, for its considerable
support.
We have not come through the last
two years without the loss of some
very close associates of the Pennsylvania Academy, including
Margaret B. English, Joseph T.
Fraser, Jr., Lucy Glick, Louise
Nevelson, Michael Pearson,
Francis W. Speight, Lucy Stimson,
and Catherine Morris Wright.
Their belief in the importance of
the Pennsylvania Academy reenforces our living commitment to
make the Pennsylvania Academy
the best institution that it can be.
Frank H. Goodyear, Jr.
President
Fresh flowers grace the lobby of the
Museum and are renewed each week
through the generosity of an anonymous
donor who also gave this handsome
Chinese vase and oak pedestal
Entrance ro the Pennsylvania Academy's
exhibition Portraits Plain and Fancy at 1989
Philadelphia Antiques Show
6
Vice President for
Development's
Report
In 1988 and 1989, the development office at the Pennsylvania
Academy of the Fine Arts
embarked on an ambitious program to expand the institution's
philanthropic relationships. The
resulting revenues are summarized
as follows:
1988
1989
Board of Trustees/
trustees emeriti $
Members
Individuals
Corporations
Foundations
Government
182,375' $ 317,072"
329,263
458,182
441,986
225,528
327,220
354,650
658,692
371,999
398,402
430,882
$2,250,399 $2,245,852" ,
'Trustees also gave $39,073 for membership
, ' Does not include trustees' corporate gifts
" ' In addition to the above contributions,
$297,838 in pledges for prior years was
received, a total income of $2,543,690.
Contributions to the Third Century Fund
totaled $1,281,666.
There are several outstanding successes to report for 1989, the first
full year of the new development
program. The most dramatic lies in
the area of gifts from members of
the Board of Trustees. In 1988,
contributions by trustees for
restricted and unrestricted purposes and for the support of the
Pennsylvania Academy's annual
membership campaign stood at
$221,448. Just one year later,
under the leadership of Harold A.
Sorgenti and a major-gifts team of
board members led by Allen].
Model and]. Roffe Wike, giving by
trustees more than tripled to
$769,422. The statistical breakdown for this support is even more
Morris Gallery exhibitors with Museum staff at the gallery's tenth anniversary
celebration in 1988
revealing. It points to the trustees'
broad support of the Academy and
firmly establishes our board as one
of the strongest leadership groups
in the Philadelphia area. In 1989,
nine trustees contributed gifts of
$25,000 or more. Five of these gifts
exceeded $50,000. There were seventeen other gifts of $10,000 to
$24,999, and an additional eleven
gifts from $1,000 to $10,000.
7
Individual members of the board
also played an enormously
important role in stimulating corporate and foundation gifts at a
level that more truly reflected the
Pennsylvania Academy's unique
position as the oldest existing art
museum and school of fine arts in
the nation. Proceeding from the
1989 Major Exhibition Corporate
Sponsorship Program, six gifts of
Raphaelle Peale Still Lifes exhibition , 1989:
Top, Exhibition dinner
Center, Charles E. Mather III, Barbara Jordan , Lois McNeil, Dr. Henry A. Jordan ,
and Mary MacG regor Mather, arr iv ing on
opening night
Bottom, Edna S. Tuttleman, chairman of
the Committee for the Museum, with the
director, Linda Bantel , at reception
8
$50,000 or more were received for
current operating purposes. A special word of appreciation is due to
the trustees Samuel M. V. Hamilton and Archbold D. van Beuren
and trustee emeritus Herbert M.
Baum for their support of the Pennsylvania Academy's first Annual
School Dinner. This dinner, which
was supported by the Campbell
Soup Fund, proved to be the
strongest fund-raising gala of the
year, generating more than
$100,000 for the School's programs
and scholarships. Other gifts of
$50,000 or more were received
from the ARCO Chemical Company, CIGNA Foundation, Franklin Mint Foundation for the Arts,
Pew Charitable Trusts, and Philadelphia National Bank. The Pennsylvania Academy is grateful to the
trustees Harold A. Sorgenti, Caleb
L. Fowler, and Terrence A. Larsen
for their many efforts in making
these gifts possible. Also, many
thanks to Lynda and Stewart
Resnick of the Franklin Mint for
their support.
In 1988 and 1989, as part of the
Pennsylvania Academy's commitment to expand its base of individual supporters, several special
events were introduced. Individuals and corporations with a special
interest in the Museum were
invited to two gala dinners in connection with major exhibitions in
1989 - one in February for the
Raphaelle Peale Still Lifes preview
and the other in October for the
exhibition Making Their Mark:
Women Artists Move into the Mainstream, 1970-85. Both dinners
were great successes, enhancing
the Pennsylvania Academy's visi-
bility in the community while
deepening the involvement of
individuals in the life of the
Museum. As a special treat for
Museum members, the development office also introduced the
Director's Annual Holiday Season
Luncheon, at which members and
guests enjoyed holiday festivities
while receiving a preview of the
coming year's Museum programs
and exhibitions.
A special word of recognition and
appreciation is due the Women's
Committee and its president, Barbara C. Kligerman, for their outstanding special-events program in
1989. The Cassatt Ball, to celebrate the opening of the Rittenhouse, was clearly the highlight of
the Pennsylvania Academy's social
calendar. Several hundred guests
and friends participated in a full
schedule of activities, including
luncheon and a gala evening of
dinner and dancing. As in earlier
years, the Women's Committee
made an important contribution to
the success of the Pennsylvania
Academy's fund-raising.
In 1989, our first phone campaign
was organized to expand the base
of the Pennsylvania Academy's
supporters. Sixty volunteers,
including students, faculty, staff,
administrators, docents, alumni,
and friends of the Pennsylvania
Academy, called more than 2,000
prospects during ten nights. A total
of $19,564 was raised for the 1989
annual-giving and membership
programs.
For the future, our success in
achieving the goals set forth in the
9
Chairman's Report, as well as
ongoing efforts to increase support
for current operations, will depend
on the involvement and support of
everyone associated with the
Museum and the School of the
Pennsylvania Academy. The past
two years were important in sharply
defining specific roles that volunteers can play in moving these
activities forward.
Victor Chira
Vice President for Development
Students installing their art in annua l exhibition
10
1:HESCHOOL
For the School of the Pennsylvania
Academy, 1988 and 1989 were so
filled with growth and change that
they will probably be remembered
as years of exceptional progress and
vitality. After an extensive renovation of the building, the School
moved into 1301 Cherry Street.
The library expanded. Admissions
rose dramatically. Visiting artists
from Japan, Czechoslovakia, and
Wales were in residence. Saturday
classes open to the public were
added, as were summer evening
classes. Advanced seminars for
third and fourth year matriculated
students were offered for the first
time. A two-ton plaster cast of
Michelangelo's David was acquired
for the cast collection. The first
Annual School Dinner raised
$100,000. And plans for a graduate
program began to take shape.
1301 Cherry Street
The major challenge for the School
in 1988 was also its greatest opportunity: the design of state-of-theart studio facilities and the subsequent conversion of commercial
loft space into a contemporary art
school. The three department
chairmen, Daniel D. Miller, Peter
Paone, and Anthony Visco,
worked with another faculty member, Bruce Samuelson, and me to
plan the renovation in concert
with Hava J. Gelblum of the architectural firm PHH Environments.
Francis H. Foord of the engineering firm Barclay White Incorporated and Thomas J. Sullivan III
of the Sullivan Construction Company supervised the project.
The new building signifies a new
beginning for the School. It has
heralded the arrival of larger
classes composed of highly qualified students. And although it
fueled spirited controversy, even
that brought renewed vitality and
energy to the School community.
Frederick S. Osborne
The new school includes greatly
increased sculpture, printmaking,
and library space, a faculty/student
gallery, a working critique room,
cafeteria, conference room, school
offices, storage rooms, canvas-preparation room, faculty studios, more
individual student studios than
ever before, skylit group painting
studios, and centralized administrative offices. Now, for the first
time, the offices of the president,
development, finance, the Women's Committee, the dean, and the
school staff are assembled in one
complex.
The grand opening and ribbon-cutting ceremonies took place on
October 28, 1988. Faculty, students, staff, alumni, and trustees
joined the fun, along with local
dignitaries, including Congressman Thomas M. Foglietta, Mayor
W. Wilson Goode, Congressman
William H. Gray III, and Councilman James J. Tayoun. It was a
weekend of pomp and circumstance, parties, and an exhibition
of work by the Pennsylvania Academy's faculty.
11
By the fall of 1989, everyone
seemed acclimated. The cafeteria
became an inviting place for students, faculty, and staff to enjoy
good food and good company in a
cafe like setting with student artwork gracing the walls. An organized escort service greatly
improved security at night; and
thanks to the ARCO Chemical
Company, a van transports students and faculty to select locations
in the city every night on an hourly
schedule.
Some of the original plans have
already been modified to suit our
changing needs. A foundry has
been built in the sculpture department, and a studio exclusively for
works on paper has been added.
To benefit from the north light,
advanced figure modeling has been
moved to one of the studios
designed by Frank Furness and
George Hewitt in the Academy's
building at Broad and Cherry
streets.
With so much space available in
the new building, it seemed sensible to take advantage of it year
round. Thus, a program was established allowing students and
alumni to rent studio space at a
nominal fee during the summer
months. This effort has proved successful. It utilizes the space; offsets
the overhead; and provides inexpensive, short-term studios for
those who need them.
6. To assess library development,
the Committee for the School
has reestablished the Library
Committee. This committee,
which is to report to the dean,
will begin meeting in 1990 and
will be composed of the librarian, two trustees, two faculty
members, two Museum staff
members, one School staff
member, and one outside
librarian.
A generous grant from the Samuel
P. Mandell Foundation, received in
1988, provided the leadership for
funding library enhancements.
Admissions
Women's Committee members (from left) Ana Maria Keene, Jane F. Medveckis, and Ibitz
Dolan with Frederick S. Osborne at preview party for annual student exhibition
We are still working on improving
the ventilation and outfitting our
hallways so we can use them to
exhibit student work; but, for the
most part, the School facility
serves us well and reflects the positive spirit of the entire Academy
community.
areas that are outside the mainstream of American and European fine arts.
3. The librarian, Marietta Boyer,
has hired a full-time assistant,
whose duties include developing and cataloging the slide
collection.
Library
During 1988 and 1989, the School
reevaluated its library and made a
commitment to expand and
improve it. So far, the following
goals have been achieved:
1. Library space has been
increased by sixty-five percent.
2. Approximately 1,500 slides
have been added to the collection, bringing the total to
13,500. Our goal is 20,000
slides by September 1991. Of
paramount importance is to
broaden the subject matter,
paying particular attention to
4. A recently retired librarian from
Haverford College has been
engaged to plan the expansion
of the non-art collection and
upgrade the systems currently in
place.
5. The library has improved its reference collection, focusing on
the addition of such generalknowledge materials as the Dic-
tionary of American Biography,
the World Almanac, the Dictionary of Ideas, the Columbia Encyclopedia, and Collier's
Encyclopedia.
12
In 1988 the admissions office was
restructured to meet the challenge
of increasing enrollment while
maintaining the highest of standards. A new position was created,
dean of admissions; and Rosanne
Barrett was hired to fill it. As a
result, enrollment of new students
for the 1988-89 and 1989-90 academic years shows an increase of
forty-five percent over 1987-88,.
with more than twenty-nine states
and ten countries represented in
the student body.
Determined to attract the most
qualified students, the new dean of
admissions took a decidedly personal approach toward recruiting,
and she has cultivated strong relationships with prospective students. The admissions effort also
focused on recruiting students from
new locales and increasing communication with other art schools,
community colleges, and
uni versities.
Through ongoing contact and a
well-developed guidance system,
the admissions office can now thoroughly inform applicants about the
Pennsylvania Academy and prepare them for their experience
here. The dean of admissions meets
personally with every applicant
who is able to come to Philadelphia. Candidates who travel from
a distance stay overnight with
Academy friends or staff. This visit
is strongly encouraged because it
provides the best opportunity to
assess whether the individual will
contribute to and be well served by
the School.
Extension Programs
In tandem with the momentum
established by the admissions
office, enrollment in the evening
and summer schools increased by
twenty percent from 1987 to 1988
and by thirty percent from 1988 to
1989 - with commensurate
increases in income. The School
now serves more than 1,000 people
through these programs.
Now, in addition to independent
study with critics, third-year students must schedule at least one
seminar in draw ing and one in their
major, and fourth-year students
have the option to do the same.
the director of faculty and student
affairs, Julia Valenti, guidance is
now available to students by
appointment throughout the registration periods.
Seminars such as Conceptual
Drawing, Group Figure Draw ing,
and Site-Specific Sculpture have
been well received and have
provided students with the challenges of a more advanced level of
instruction. As an extension of the
upper-leve l seminars, a program
of criticism by a rotating panel
of instructors was established to
provide students with as many
points of view as possible. Every
appo inted faculty member can now
serve as a critic, so that students
have a larger pool from which to
choose.
The Visiting Artists Program ,
coordinated by Jan Baltzell, a faculty member, brought a wide range
of people and talents to the School
during 1988 and 1989. Among
those who lectured and critiqued
were the painters Janet Fish, Jane
Freilicher, Grace Hartigan, Robert
Kulicke, Gabriel Laderman, and
Nora Speyer; the sculptor Robert
Cronbach; the printmaker
Antonio Frasconi; and the critics
Dore Ashton and Theodore Wolff.
Visiting Artists
Also new is a more formalized system of academic advising. Under
the auspices of the chairmen and
During 1989, the brochure, advertising strategy, and curriculum were
upgraded. The following full-credit
courses were added to the evening
schedule: Metal Sculpture, Monotype, Media on Paper, Landscape
at the Horticultural Center, and
Cast Drawing and Modeling.
Shorter, noncredit classes were
offered on Saturdays. And a new
art history lecture series, presented
in conjunction with the Museum,
rounded out the roster for spring,
summer, and fall.
Academic Affairs
To enhance the advanced student's
third and fourth years, upper-level
drawing and painting seminars
have been added to the curriculum.
Learning to draw and paint the figure
13
Rounding out the Visiting Artists
Program were the graduation
speakers Jacob Lawrence (1988)
and Wolf Kahn (1989), who
offered rich personal insights to
the Academy community.
Faculty
The years 1988 and 1989 saw the
arrival of several new faculty members: Edna Andrade, Marjorie Portnow, and Claire Romano as critics,
and Linda Brenner, Stuart Feldman, Steven Nocella, and Steve
Weiss as sculpture instructors.
In the spring of 1989, after years of
extraordinary service to his students, Henry Pearson retired from
his position as instructor and critic.
To aid the faculty in their own
development, each year one or two
sabbaticals are granted. During
1988 and 1989, Daniel D. Miller,
Elizabeth Osborne, Bruce Samuelson, and Louis B. Sloan took
sabbatical leaves of one semester
each.
To augment the sense of community among faculty and students,
faculty members who have studios
in the new building participated in
an open house in 1989. It was so
successful that it will become an
annual event. Refreshments were
served as students, staff, and faculty went from studio to studio,
enjoying the works in progress, the
camaraderie, and the ambience of
the new facilities.
Student Activities
The students have been particularly active since the move to the
new building and have taken a
keen interest in the surrounding
community. Shortly after their
arrival in September of 1988, a
group of students contacted
Brother Malachy at Saint John's
Hospice on Race Street to find out
how they might help. What
evolved from that meeting is a
striking landscape mural that
graces the dining hall of the hos-
Wolf Kahn with 1989 graduates (from left) Liz Sloate, Anna Hyun Sook Paik, and Christine
Henderson
pice. Later, in 1989, the students
organized a silent auction to benefit
Saint John's. The evening was a
terrific success. The cafeteria was
filled with buyers, and $2,060 was
raised.
As Brother Malachy put it, "The
money and art works contributed
were most welcome but equally
important is the encouragement
we, Little Brothers of the Good
Shepherd, receive when we are
witness to the actions of kind,
caring people .... Anyone who
appreciates art knows what a lasting effect such beauty has on the
human spirit."
The general public must also
appreciate the beauty of our students' works of art, because attendance and sales at the Annual
Student Exhibition continue to
rise. N ineteen-eighty-nine was
marked by record-breaking attendance and nearly $100,000 in sales.
14
The number of prizes available to
students each spring is also growing. Six new prizes were added during 1988 and 1989, including the
Monotype Purchase Prize, the Gilbert M. Cantor Memorial Scholarship, the Melvin Paul and Pearl
Miller Carpel Award, the Jeanne
Culver Prize, the Deena Gu Prize,
and the Lance Roy Lauffer Memorial Prize.
Chief among the special opportunities for students were the Cape
May County Art League Internship
and the Hand Rehabilitation Center Holiday Card Competition.
The former provides a $1,500 stipend and a four-week teaching slot
at the Cape May County Art
League. The latter includes a purchase prize and the use of the
winning piece on the Hand
Rehabilitation Center's holiday
greeting card, which is mailed to
medical affiliates around the world.
Also presented were works by the
recent alumni James Conboy,
Annette De Ferrari, and Joanne
Grodin, and a solo exhibition of
pastels by the faculty member Edith
Neff. A show of paintings, prints,
sculpture, mixed media, and
whimsy collected by faculty completed the exhibition roster.
John B. Bartlett, chairman of the Committee for the School (left ), with committee member
Dr. Malcolm Campbell at opening of new building
Students with studios participated
in an open house like the one
hosted for faculty. The students'
event was also a great success and
a wonderful learning experience, as
well.
The School Gallery
The School's art gallery is an integral tool in the educational process
at the Pennsylvania Academy. It
serves primarily as a showcase for
student work and is thus critical to
the students' preparation as artists.
Each year the gallery also shows the
work of Academy faculty and, on
occasion, alumni and others whose
work complements the curriculum.
During the past two years, the most
significant outside exhibition
hosted by the School Gallery was
From Ashes to the Rainbow, an exhibition of works by Alice Lok
Cahana. A prisoner at Auschwitz
during World War II, Cahana uses
her art to communicate to the pub-
lic her memories of the Holocaust
and its aftermath. These works,
which traveled through the United
States under the auspices of the
ARCO Foundation, were dedicated to the Swedish diplomat
Raoul Wallenberg, a Christian who
saved thousands of Jews, including
Cahana's father, from Nazi death
camps. This display of intense
paintings and mixed-media pieces
opened at the Pennsylvania Academy on November 29, 1988. Alice
Cahana was present at the opening
and gave a gallery talk for students
the next day.
Other shows of note during 1988
and 1989 included a retrospective
of oil paintings by Quita Brodhead,
who attended the Pennsylvania
Academy during the twenties and
received much of her inspiration
from the teachers Arthur B.
Carles, Jr., and Henry McCarter.
15
Exhibition opportunities for students also exist outside of the
Pennsylvania Academy, and the
School continually strives to
develop them. Two major examples
are ongoing shows at the corporate
headquarters of Lanard and Axilbund, Inc., and participation in the
Rittenhouse Designers' Showcase,
sponsored by the Women's Committee of the Pennsylvania Academy in the fall of 1988.
First Annual School Dinner
The tremendous support that the
School enjoys from its public was
apparent once again at the close of
1989, when the first Annual
School Dinner raised more than
$100,000. Sponsored by the
Campbell Soup Fund, · this festive
affair included a mime, a calliope,
jugglers, strolling musicians, works
of art by the faculty, and lavish
table settings.
In a highlight of the evening, the
first Dean's Award for Distinguished Service to the School of
the Pennsylvania Academy of the
Fine Arts was presented to Daniel
D. Miller. He was honored for .
unfailing dedication to his students
and peers during twenty-five years
as a faculty member.. A prolific
painter, printmaker, and constructionist, Dan Miller has served as
acting dean of the School, chairman of the painting department
(his present position), dean of faculty, and chairman of innumerable
New school gallery, 1988 facu lty exhibition
16
committees. The School looks forward to continuing this inspired
and fruitful association.
Also honored was the preliminaryyear student Geoffrey Johnson. He
received the Campbell Soup Fund
Scholarship, which will cover full
tuition for his intermediate year.
Graduate Program
In the long run, the initiative
begun during these two years to
establish the Pennsylvania Academy as a degree-granting institution may be the most significant.
Since its founding, the School has
been proudly nondegree-granting.
In the twentieth century, however,
credentials have become increasingly important. In accord with the
Academy's mission to occupy a
contemporary position in the art
world and the School's mandate to
focus solely on the fine arts, it
seems appropriate to offer a graduate degree as a service to those individuals who wish to earn one.
A Word of Thanks
When one reflects on two years'
achievements, the realization of
how many people are responsible
for the School's success is staggering. There is no way to thank
adequately everyone who has contributed to our growth and welfare.
Nevertheless, the staff, faculty, and
students join me in expressing deep
appreciation to the Board of Trustees, particularly Harold A. Sorgenti, chairman; to the Committee
for the School and John B. Bartlett, its chairman; and to the Women's Committee and Barbara C.
Kligerman, its president. Without
them, many of the accomplishments listed in this report would
not have occurred.
Frederick S. Osborne
Dean and Director of the School
This program will begin in the fall
of 1991. Applications are being
accepted now, and a search for faculty has begun. The graduate program will reflect the same standards
and principles currently espoused
by the certificate program and will
similarly focus on the studio activities of drawing, painting, sculpture, and printmaking through a
system of independent study, seminars, and criticism.
17
Tom's River Yacht Club by John Frederick Peto, 1904
18
THE MUSEUM
This annual report, because it
marks the end of one decade and
the beginning of another, provides
an opportunity to reflect upon past
accomplishments and look to
future goals. Throughout the
1980s, our focus was on the permanent collection. We researched and
reevaluated over 1,700 paintings,
300 sculptures, and 12,000 works
on paper to prepare for the computerization of our records and for
forthcoming publications. In that
process, we also assessed the condition of each object to establish
priorities for the conservation of
the collection as a whole.
Collections
By 1985 the conservation of the
sculpture collection had been completed under the direction of
Virginia Norton Naude. Then we
turned our attention to the paintings. We upgraded the paintings
conservation laboratory with stateof-the-art equipment, thanks to
the Pew Charitable Trusts. The
new apparatus includes an optical
microscope, an infrared Vidicon
camera, renovation of the spray
booth and ductwork, and a humidification/suction table. As a result,
during the last two years, the
laboratory, supervised by Mark
Bockrath, has become a respected
training center. Interns come from
the University of Delaware/Winterthur Museum and Buffalo College art conservation programs,
two of the preeminent such programs in this country. Over 900
works have been examined. We
also equipped a special area of the
laboratory to repair frames and provided training for the staff so that,
when a painting is conserved, its
frame can be treated at the same
time. Serious conditions and aesthetic problems of scale or incongruity of style are prioritized and
eventually referred to appropriate
The curators continued to research
and write on every aspect of the
collection: Susan Danly on painting, Susan James-Gadzinski on
sculpture, and Jeanette Toohey on
graphics. In 1989 an illustrated
checklist of the paintings collection, compiled by Nancy FresellaLee, was edited and produced by
Jacolyn Mott. It was the first such
catalogue ever published by the
Pennsylvania Academy. We are
enormously grateful to the Pennsylvania Historical and Museum
Commission, the Henry Luce
Foundation, and the Andrew W.
Mellon Foundation for their support of this important project.
Linda Bantel
outside consultants. Art on paper
was similarly examined, catalogued, and assessed for conservation. As in the past, objects with
severe problems were sent to Philadelphia's Conservation Center for
Art and Historic Artifacts. Many
works, however, required only
minor treatment that could be
done in-house. For this purpose, we
created a new program in which
the Conservation Center trains a
Pennsylvania Academy technician
and oversees the remedial treatments made at the Academy. The
training program was funded initially by the National Endowment
for the Arts, and the new space was
equipped through funds provided
by the William Penn Foundation.
As a result of this training, the
Pennsylvania Academy has a
paper specialist on staff, Helen
Mangelsdorf, who can monitor the
collection more efficiently, check
objects being lent to temporary
exhibitions, and analyze the condition of proposed acquisitions prior
to purchase.
19
The Pennsylvania Academy's
renowned archives formed another
hub of activity. The archivist,
Cheryl Leibold, worked with
Sound View Press of Madison,
Connecticut, which published a
three-volume index to the annual
exhibitions held at the Academy
from 1807 through 1968. Another
publication, A Guide to the Manuscripts in Charles Bregler's Thomas
Eakins Collection, was written by
the Eakins expert and former
Academy curator Kathleen Foster
and Ms. Leibold. It was published
by the University of Pennsylvania
Press and supported by a grant from
the Henry Luce Foundation. To
accompany this major contribution
to Eakins scholarship, a microfiche
edition of the manuscripts in the
collection was also produced. In
addition, Ms. Leibold oversaw the
accessioning, cataloging, and conservation of over 1,400 photographs from the Bregler collection.
This last project was partially
funded by the John J. Medveckis
Foundation.
Dr. Howard Steel by Will Barnet, 1987
Acquisitions
The collecting philosophy articulated by the Pennsylvania Academy in 1985 - to acquire
American art exclusively - provided the framework for all acquisitions. In 1988 and 1989, we
acquired fifty-three objects. Many
were by Philadelphia artists, whose
works form one of the great
strengths of the Academy's collection. Thirty-one of these acquisitions were gifts. A portrait of Dr.
Howard Steel painted by Will Barnet was an important gift and
added breadth to our representation of the work of this artist, who
taught at the Pennsylvania Academy from 1967 to 1988. We
received a wonderful group of
prints from the Brandywine Workshop of Philadelphia. From the
annual Academy Fellowship exhibition, we purchased an encaustic
painting by Mark McCullen and
from Morris Gallery exhibitions,
works by Maurie Kerrigan, Martha
Zeit, and Barbara Schwartz. We
also added works by Betye Saar and
Lowry Burgess, both of whom had
created site-specific installations in
the galleries. Two major twentiethcentury paintings were bought dur-
Let Us Celebrate While Youth Lingers and Ideas Flow by Ree Morton, 1975
ing this period. Let Us Celebrate
While Youth Lingers and Ideas Flow
is one of Ree Morton's most
important works. Shortly after our
purchase, it was included in the
exhibition Making Their Mark:
Women Artists Move into the Mainstream, 1970-85. Morton, who
received her master of fine arts
degree from the Tyler School of Art
in 1970, forged a new synthesis
between painting and sculpture
and made an early and significant
contribution to the pattern-anddecoration movement of the midseventies. Thanks to a grant from
the National Endowment for the
20
Arts and matching funds from Mr.
and Mrs. Charles E. Mather III, we
were able to acquire a work on four
canvases entitled Second Small
Quartet by Mel Bochner. This is an
excellent example of his robust
style of the late 1980s, which creates tension between geometric
shapes and abstract fields of expressive brushwork. In our continuing
effort to expand the number of
works in the collection by
important American artists in midcareer, we were also fortunate to
acquire a major print by Jennifer
Bartlett, another participant in our
Making Their Mark exhibition.
Shadow by Jennifer Bartlett, 1984
Entitled Shadow, the 1984 work on
four sheets of paper is one of several
versions done over many years of
the view from a window overlooking the pool behind a villa in
France. The print was bought
partly through a contribution by
the Collectors' Circle, a group of
Academy members whose dues provide the funds to purchase a work
of art every two years for the Museurn's collection. This singular category of membership was founded
by Vivian Potamkin. As the chairman, she continues to provide
vibrant leadership.
Two purchases were directed
toward filling gaps in our late nineteenth and early twentieth century
still-life collection. The major purchase was John Frederick Peto's
1904 oil entitled Tom's River Yacht
Club. Peto was one of the foremost
figures working in the trompe l'oeil
tradition during this period. He
spent his early years in Philadelphia, where he studied briefly at
the Pennsylvania Academy. This
painting, commissioned by the
Philadelphian J. H. Stoutenburgh
to commemorate his twenty years
as commodore of the Tom's River
Yacht Club, contains many references to Stoutenburgh, including
his initials, his photograph, his
Second Small Quartet by Mel Bochner, 1988
21
Beaux entitled Les Derniers lours
d'Enfance, 1883-85, was donated
anonymously. This portrait of
Mrs. Henry S. Drinker and her son
Henry S. Drinker, Jr., won the
Mary Smith Prize for the best
painting by a woman artist at the
Pennsylvania Academy's annual
exhibition in 1885. It was also
shown at the Paris Salon of 1887,
a rare honor for an American
woman. The gifts of this painting
and the artist's palette, together
with the fortunate purchase of a
rare and important pastel,
strengthen the Academy's position
as a major repository of the work
of Cecilia Beaux.
Exhibitions
We continued to strike a balance
between historical and twentiethcentury artists and between oneperson and thematic shows. The
exhibition American Frontier Life:
Les Derniers lours d'Enfance by Cecilia Beaux, 1883- 85
club membership card, and an
envelope addressed to him. The
frame is said to have been made by
the acclaimed arts and crafts furniture designer Gustav Stickley.
While we have two earlier paintings by Peto in the collection, this
is the first that represents the artist
in this flat abstracted style. Purchased at the same time was A New
Variety, Try One, a whimsical
depiction of almonds by DeScott
Evans.
A New Variety, Try One by DeScott Evans,
1887-90
Because of the change, beginning
in 1986, in the tax laws regarding
gifts of appreciated property, donations of art to museums across the
country have declined dramatically. Our museum is no exception.
Thus, when we do receive a gift of
major significance, it is especially
gratifying. Such a gift occurred in
1989. An early painting by Cecilia
22
Early Western Paintings and Prints
focused on a unique moment in
pre-Civil War America and offered
wonderful programs for families,
thanks to the generosity of the
Stockton Rush Bartol Foundation
and the Pennsylvania Humanities
Council. The highlight of the summer of 1988 was the unique collaborative installation Matter of Time.
Twelve Philadelphia artists filled
the main galleries with a multimedia extravaganza to celebrate
the tenth anniversary of the Pennsylvania Academy's Morris Gallery. This exhibition was the first
of three at local museums in a program called Philadelphia Art Now,
underwritten by the William Penn
Foundation to provide greater visibility for Philadelphia artists. The
Morris Gallery's anniversary was
also celebrated by the publication
of a book entitled Searching Out the
Best that featured, in full color,
recent works by eighty-six of the
local artists who had been invited
to show in the gallery during the
past ten years. The book presented
comments by each of the artists
and essays about the Morris Gallery
and the history of collecting at the
Pennsylvania Academy. The publication was made possible by the
Marian Locks Foundation, the
William Penn Foundation, and
Catherine Morris Wright. The
Morris Gallery, under the direction
of Judith Stein, continued its
dynamic schedule of six annual
shows fe aturing artists from our
region. Furthermore, in the Pennsylvania Academy's main galleries,
two contemporary artists who work
in New York were each given a
show: a fifteen-year retrospective of
the relief abstractions of Judith
Rothschild in 1988 and a ten-year
retrospective of the sculpture,
prints, and drawings of Mary Frank
in 1989. These two exhibitions and
the Morris Gallery program reflect
the Pennsylvania Academy's historical commitment to living
American artists.
There were important institutional
collaborations as well - with the
Newport Harbor Art Museum in
California in 1988 for the exhibition Figurative Fifties: New York Figurative Expressionism and with the
National Gallery of Art in Washington, D.C., in 1989 for the exhibition Raphaelle Peale Still Lifes.
Both projects extended the Pennsylvania Academy's reputation
outside our immediate area by virtue of shared publicity and nationally distributed catalogues. Such
collaborations are rewarding in
many ways. They forge new relationships; and, by sharing curatorial expertise and institutional
resources, they enhance the contributions that each participant can
make .
Judith Rothschild (left) at opening of her 1988 retrospective exh ibition with trustee Harvey
S. Shipley Miller and doce nt Susan Behrend
Artists George McN eil and Jay Milder with Academy curator Judith E. Stein at opening of
The Figurative Fifties exh ibition, 1988
Vivian and Meyer P. Potamkin at the openin g of the 1989 exh ibition of their collection
of American art, with Linda Bantel
23
In the summer of 1989, the Pennsylvania Academy was particularly
fortunate to have the opportunity
to exhibit one of the premier private collections of American art in
the United States. This Philadelphia collection, assembled by
Vivian and Meyer P. Potamkin,
attracted more than 20,000 visitors, the highest summer attendance in four years. It was followed
in the fall by Making Their Mark:
Women Artists Move into the Mainstream, 1970-85. The show, organized by guest curators Randy
Rosen and Catherine C. Brawer,
was a tribute to the unusually high
number of women artists who came
to professional maturity and prominence during the seventies and
early eighties. A traveling exhibition, it was seen on the East Coast
only at the Pennsylvania Academy.
Children discovering new ways to look at
art during a special gallery program
As Making Their Mark was opening
in Philadelphia, Paris 1889: American Artists at the Universal Exposition, another exhibition organized
by the Pennsylvania Academy,
opened at the Chrysler Museum in
Norfolk, Virginia. It was the Academy's contribution to the bicentennial of the French Revolution.
The guest curator, Annette
Blaugrund , located many of the
American works that had been displayed in Paris at the 1889 World's
Fair, which celebrated the centennial of the Revolution. The largest
showing of contemporary art held
in Europe up to that time, the exhibition proved significant for the
Americans, who developed an
appreciative international audience. In 1990, the show will travel
to the Pennsylvania Academy, the
Memphis Brooks Museum of Art,
and the New-York Historical Society. Harry N. Abrams published
the catalogue for the Academy.
A second outside exhibition was
mounted by the Pennsylvania
Academy in 1989. Susan Danly
organized a small show entitled Portraits Plain and Fancy: American
Portraiture, 1760-1840 for the
Philadelphia Antiques Show. It
focused on paintings that are rarely
on view in the Academy's galleries
because of lack of space. The exhibition presented us with a welcome
opportunity to collaborate with
another venerable Philadelphia
institution, the Hospital of the
University of Pennsylvania, which
sponsors this annual antiques show.
It also afforded the occasion to
research some of the fine examples
of American folk portraits in our
collection and, through the exhibition and the published catalogue,
share the findings with a wide
public.
24
Education
In the past two years, attendance
increased from 42,989 to 62,794
visitors. As the audience grows, we
are intensifying our efforts to
develop exciting projects and to
make the educational content of
the Museum more accessible. In
August 1988, we hired Inez
Wolins as curator of education.
She has ten years of experience in
teaching about art in museum and
classroom settings. Under her
direction, several new events for
adults were introduced: a monthly
lunchtime lecture series for the
downtown business community;
feature and documentary films
related to the exhibition program;
and an active roster of credit and
noncredit continuing education
classes in the history of art, taught
by outside consultants and the
curatorial staff. Family activities
included performances, workshops
The dynamic storyteller Linda Goss
captivating children and adults alike at a
program for the 1989 exhibition of Mary
Frank's sc ulpture , prints, and drawings
fostering parent-child communication, and an expanded vacation art
camp. Over twenty-five percent of
our visitors in 1989 participated in
one of these special programs.
Area teachers brought 124 groups
to the Museum. Thanks to the support of the Dolfinger-McMahon
Foundation, we created slide packets and lesson ideas to help teachers
prepare their students for the visit.
More than 3,000 students were
able to come to the Pennsylvania
Academy from public schools in
Philadelphia and southern New
Jersey because of transportation
grants from the Philadelphia Foundation and the Campbell Soup
Fund.
Our volunteer docents conducted
629 tours for 11,238 visitors. Their
educational skills were enhanced
by weekly lectures, discussions, and
tour-strategy workshops. Committees of docents completed a new
handbook of Museum policies and
practices, offered expanded training sessions, and organized study
trips to keep abreast of art exhibitions in the area. Volunteers and
interns continued to augment the
work of the professional staff and
provided invaluable assistance to
the education department.
To try to make more people aware
of all the Pennsylvania Academy
has to offer, we increased from
7,000 to 35,500 the number of
nonmembers to whom we send brochures announcing programs.
During the coming year, we will
automate these lists to strengthen
communication with our public.
Funding
As can be seen throughout this
report, the financial support of private foundations, corporations,
and individuals was instrumental in
enabling us to present expanded,
quality programs. Support of the
exhibition schedule was augmented
by the Pew Charitable Trusts. Federal and state granting agencies also
supported exhibitions, conservation, and educational projects.
General operations were supported
by the City of Philadelphia, the
Pennsylvania Council on the Arts,
and, in 1989, the Institute of
Museum Services, a federal agency.
In an era of escalating costs, all
these sources were critical not only
in maintaining the quality of our
programs but also in expanding our
service to the community.
Also in 1989, the Museum was
honored to be awarded a Challenge II grant of $600,000 by the
National Endowment for the Arts.
It is the largest such grant that the
Museum has ever received. Only
two other visual arts institutions in
the country were given higher
awards. This grant and the funds
that must be raised to match it will
increase the Pennsylvania Academy's endowment and help in a renovation designed by Tony Atkin
and Associates that will create
larger and more efficient spaces for
Museum staff, art storage, and the
conservation of works on paper.
The plans also include redesigning
the front interior of our National
Historic Landmark building to provide enhanced public areas, a
much-needed eating facility, a
more commodious museum shop;
and a lobby area with more seating,
clearer signs, and easy access to
information about the building,
25
upcoming exhibitions, and public
and educational programs.
Looking Ahead
As a result of the comprehensive
curatorial and conservation work
done on the collections during the
1980s, the Museum - with its
highly trained professional staff is well prepared to interpret American art for a diverse and expanding
audience. As we go forward into
the 1990s, our most exciting challenge will be the planning of a new
wing that will enable us at last to
display on a permanent basis the
riches of the Pennsylvania Academy's renowned collection, representing 250 years of American art.
Neither the accomplishments nor
the goals set forth in this report
would be possible without dedicated staff and volunteers; a
dynamic Board of Trustees, particularly the chairman, Harold A.
Sorgenti, and the Committee for.
the Museum and its chairman,
Edna S. Tuttleman, and vice chairman, Charles E. Mather III; and
generous supporters in government, charitable organizations,
and the community. I am deeply
grateful to them all.
Linda Bantel
Director of the Museum
Acquisitions
1988
GIFTS
Will Barnet
Dr. Howard Steel, 1987
Oil on canvas
Gift of Howard H. Steel,
M.D., and Elizabeth Clack
Steel, 1988.22
Cecilia Beaux
Artist's Palette
Wood
Gift of Cecilia D. Saltonstall,
1988.17.1
William Birch
After a Battle, 1817
Enamel on copper
Arch Street Ferry, 1801
Watercolor on paper
Springland: The Artist's Residence, after 1798
Enamel on copper
Bequest of Constance A.
Jones, 1988.16.1-3
Max Gimblett
Three untitled paintings
Acrylic, polymer, and metallic pigments over pencil on
paper, 1987
Inks on handmade paper,
1985 (two works)
Gift of Janet Anderson and
Roger Abrahams, 1988.2.1-3
James McBey
Charles Copeland, 1930
Etching on paper
Gift of Mrs. Lammot duPont
Copeland, 1988.11
Robert Morris
Untitled, 1987
Photo-silkscreen on paper
Gift of Dr. Claire Fagin,
1988.20
Harry Nadler
Untitled, 1987
Watercolor on paper
Gift of the artist, 1988.23
Barbara Schwartz
Photograph of William H. Macdowell by Thomas Eakins, ca. 1884
Ariel, 1984
Bronze with patina and oil
paint
Gift of Aladar Marberger and
Lawrence diCarlo, 1988.24
Arthur B. Caries, Jr.
Reclining Female Nude, after
1915
Etching on paper
Gift of Stephen J.
Casamassima, 1988.26
Andy Warhol
Merce Cunningham I, 1974
Screenprint on Japanese giftwrapping paper
Gift of N. Richard Miller,
1988.4
H. Francis Criss
Colonel Samuel R. Rosenbaum,
1933
Neil Welliver
Alexander H. Wyant
Little Marsh, 1986
Landscape Sketch with River
and Cows
Oil on paper mounted on
cardboard
Gift of Theodore T. Newbold
and Helen Cunningham,
1988.15
Sixteen-color woodcut on
Japanese tissue paper
Gift of the artist, 1988.12
Kate Wilson
Carnegie Art Institute Medal of
Honor of the Third Class, 1896,
awarded to Cecilia Beaux
Bronze
Gift of Cecilia D. Saltonstall,
1988.17.2
Oil on canvas
Gift of D. Hugh Rosenbaum,
1988.18
Catherine Morris Wright
Daniel Garber
String Quartet, 1936
Walter H. Gardner, 1922-23
Watercolor with chinese
white over pencil on paper
Gift of Ellen Saltonstall and
Robert Kushner, 1988.25
Charcoal on paper
Gift of Walter H. Gardner,
1988.1
26
Martha Zeit
Three prints, Dream # 1,
Dream #2, Dream #3, 1987
Monoprint, fabric, stitching,
Prisma color, and glitter on
paper
Gift of Mr. and Mrs. Meyer
P. Potamkin, 1988.3.1-3
PURCHASES
Edwin Austin Abbey
The Eve of Saint Agnes: "They
Glide like Phantoms, into the
Wide Hall," 1879
Ink wash and chinese white
on paper
JohnS. Phillips Fund, 1988.9
Claes Oldenburg
Oberlin Project: An Alternate
Proposal for an Addition to the
Allen Memorial Art Museum,
1979
Etching on paper
John S. Phillips Fund,
1988.14
Betye Saar
Oscar Bluemner
Ascension, 192 7
Watercolor and chinese white
on paper
John S. Phillips Fund, 1988.5
Lowry Burgess
Slipping from Paradise, 1986
Mixed media on handmade
paper with custom frame
Funds provided by Marion
Stroud Swingle and the
National Endowment for the
Arts, 1988.21
Montreal Cup, 1986
Mixed media on linen
Joseph E. Temple Fund,
For the Archives
1988.6
GIFTS
Thomas Eakins and others
of his circle
Photographs, Prints, Casts,
Drawings, and Manuscripts
Funds provided by Pennsylvania Academy Women's
Committee, 1988.10.1 +
Paul Landacre
August Seventh, 1936
Wood engraving on Japanese
paper
John S. Phillips Fund, 1988.8
Bertha Boynton Lum
Rain, 1908
Letters from Susan
Macdowell Eakins and
Elizabeth Macdowell Kenton
to Julius Rauzin, 1925-45
Gift of Julius Rauzin
School publications and
photographs of students,
ca. 1930
Gift of Betty Geasland
Interview with Harry Rosin
and Isabel Bishop, ca. 1952
Sixteen-millimeter film
Gift of the School of the
Pennsylvania Academy of the
Fine Arts
Color woodcut on Japanese
paper
John S. Phillips Fund, 1988.7
PURCHASES
Ree Morton
Sixty-two photographs and a
small group of manuscripts
relating to Thomas Eakins,
Let Us Celebrate While Youth
Lingers and Ideas Flow, 1975
Celastic and oil on canvas
and wood
Academy Purchase Fund,
1988. 13a-g
Slipping from Paradise by Betye Saar, 1986
1880-1900
Funds provided by the
Women's Committee of the
Pennsylvania Academy of the
Fine Arts
Oberlin Project: An Alternate Proposal for an Addition to the Allen
Memorial Art Museum by Claes Oldenburg, 1979
Lease agreement on part of
the Academy's Chestnut
Street lot, 1809
Academy purchase
27
Acquisitions
James Dupree
Triangular Weez II, 1988-89
1989
Offset lithograph and
serigraph on paper
Gift of the Brandywine
Workshop, 1989. 14.3
GIFTS
Allan Edmunds
Benny Andrews
Amen Corner, 1985
Offset lithograph on paper
Gift of the Brandywine
Workshop, 1989. 14.4
Dr. ]., 1987
Offset lithograph and
serigraph on paper
Gift of the Brandywine
Workshop, 1989. 14.5
Lucy Glick
Cecilia Beaux
Reflections of Venice, 1988
Les Derniers lours d'Enfance,
Watercolor, graphite, pastel,
oil pastel, and collage on
paper
Gift of the Fellowship of the
Pennsylvania Academy of the
Fine Arts, 1989 .3
1883-85
Oil on canvas
Anonymous partial gift,
1989.21
Gershon Benjamin
Milton Avery, undated
Oil on canvas
Gift of Gershon Benjamin
Foundation, 1989.20
Willie Birch
Promise Land, 1985
Offset lithograph on paper
Gift of the Brandywine
Workshop, 1989.14.1
Adolphe Borie
Thirty-six Drawings
Various media on paper
Gift of Peter Borie,
1989. 12.1-36
Elizabeth Catlett
Malcolm X Speaks for Us,
1969
Color linocut on paper
Gift of the artist, 1989.11
Keith Morrison
Dance in America: Folk Ritual,
1985
Offset lithograph on paper
Gift of the Brandywine
Workshop, 1989.1 4. 2
Helen Biddle Griscom by Cecilia Beaux, 1893
Philip Pearlstein
Nude on a Hassock, undated
Color lithograph on paper
Gift of Jay Massey, 1989. 13
Catherine Morris Wright
Three paintings, Frank Adler
[and Catherine Drinker
Bowen ?]' Ernest Brown,
Violinist, 1935
Gouache over graphite on
gray paper
Gift of Anna TempletonCofill, W. Redwood Wright,
Ellicott Wright, and Harrison
M. Wright, 1989 .19. 3 ,2,1
Earl Tomlinson Donelson
My Mother (Mrs. Lav inia
Blackfan Donelson), ca. 1933
Oil on canvas
Bequest of the artist, 1989.22
28
PURCHASES
Jennifer Bartlett
Shadow, 1984
Etching and engraving (seven
plates ) on paper
John S. Phillips Fund and
funds provided by the Collectors' C ircle, 1989.15
Mel Bochner
Second Small Quartet, 1988
Oil on four canvases
Funds provided by the
National Endowment for the
Arts and Mr. and Mrs.
Charles E. Mather III,
1989.7a-d
Jim Dine
Cecilia Beaux
Helen Biddle Griscom, 1893
Pastel on gray paper
John S. Phillips Fund,
1989. 16
Pink Chinese Scissors,
1974-76
Hand-colored etching on
paper
John S. Phillips Fund, 1989. 5
Arthur Wesley Dow
!talo Scanga
August Moon, after 1898
Untitled (Pax with Dog),
1986
Oil on wood
John Lambert Fund and by
exchange with the artist,
1989.9
Five-color woodcut on heavy
Japanese paper
John S. Phillips Fund, 1989.6
DeScott Evans
A New Variety, Try One,
1887- 90
Oil on canvas
Funds provided by the daughters of Mary W. F. Howe,
1989.2
Lucy Glick
. '.
.
'.' -.
:1 "
;
..
L'~
William T. Wiley
For M. Wand the Pure Desire,
1985
Watercolor, pen and ink, and
colored pencil on paper
John S. Phillips Fund,
1989.17
Skulls , Tears, and Chattering
Tongues, 1987
Watercolor, pastel, and collage on paper
John S. Phillips Fund, 1989.4
For the Archives
GIFTS
Perry Gunther
Tziquin, 1989
Acrylic and marble dust on
wood
Henry D. Gilpin Fund,
1989.18
Maurie Kerrigan
Slow Passage Suite, 1988
Oil on silk, and wood
John Lambert Fund and funds
provided by Mr. and Mrs.
Meyer P. Potamkin,
1989.10a-h
Album containing seventytwo carte de visite photographs
of friends and family of
Thomas Eakins, 1860-90
Gift of Guido Castelli
Pink Chinese Scissors by Jim Dine, 1974-76
Four photographs of student
groups, ca. 1918
Gift of Davis Meltzer
Commercial postcard
showing Pennsylvania
Academy of the Fine Arts,
early 1900s
Gift of Mrs. Alma Cohen
Mark McCullen
Fountain, 1988
Encaustic on canvas
Pennsylvania Academy Purchase Prize from the 1988
Annual Fellowship Exhibition, 1989.8
John Frederick Peto
Tom's River Yacht Club, 1904
Oil on canvas
Purchased with funds from
the bequest of Henry C.
Gibson, 1989.1
Invitation to artists' costume
ball, 1916
Gift of the University of New
Mexico Library
Ten American Painters
exhibition catalogue and
eight newspaper clippings
about the exhibition, 1908
Gift of Ira Spanierman
Gallery
Malcolm X Speaks for Us by Elizabeth Catlett, 1969
29
Exhibitions
theme, the passage of time, which they explored through
video art, constructions, paintings, sculpture, photography,
and dance. The artists were Steven Beyer, Constance
Coleman, Alan Powell, Cheryl Gelover, Thomas Murray,
Mitchell Smith, Ralfka Gonzalez, Steve Krieckhaus, Eileen
Neff, Peter Rose, and Donald and Edward Waisnis. The
exhibition was supported by a grant from the William Penn
Foundation, as part of its Philadelphia Art Now project.
The Museum is supported by grants from the Pennsylvania
Council on the Arts and the City of Philadelphia.
1988
Figurative Fifties: New York Figurative Expressionism
October 14 through December 31
American Frontier Life: Early Western Paintings
and Prints
January 29 through April 22
This was the first comprehensive exhibition to explore figurative painting as an alternative to abstract expressionism.
It comprised seventy-five works by thirteen artists, including Alex Katz, Willem de Kooning, Robert Goodnough,
Jackson Pollock, Fairfield Porter, and Larry Rivers. The
exhibition was organized by the Newport Harbor Art Museum in California in cooperation with the Pennsylvania
Academy. It was funded by the Irvine Company of Newport
Beach and the National Endowment for the Arts, a federal
agency. In Philadelphia, the exhibition was supported by a
generous grant from the CIGNA Foundation and the Pew
Charitable Trusts. A full-color catalogue accompanied the
show.
For firsthand accounts of frontier life before the Civil War,
we are indebted to artists like George Caleb Bingham,
George Catlin, and Seth Eastman, who lived among the
Indians, trappers, and settlers. Approximately sixty paintings and prints, portraying both the history and romance
of the West, were featured in this exhibition. It was organized by the Buffalo Bill Historical Center in Cody, Wyoming, and the Amon Carter Museum in Fort Worth, Texas,
with generous support from the Henry Luce Foundation,
an anonymous donor, the Boulevard Mortgage Company,
Mr. and Mrs. Meyer P. Potamkin, Mr. and Mrs. Stephen
B. Klein, and the John Sloan Memorial Foundation. A
204-page catalogue was supported by a grant from the Luce
Fund for Scholarship in American Art, a program of the
Henry Luce Foundation.
1989
Eighty-seventh Annual Student Exhibition
May 14 through June 12
Natural Histories: Mary Frank's Sculpture, Prints,
and Drawings
January27 through April 16
More than 400 works in all media were exhibited by the
eighty upperclassmen of the Pennsylvania Academy. Seventy prizes were awarded, including many prestigious scholarships and travel prizes. The Women's Committee held its
annual student exhibition preview party, which offers patrons an early opportunity to view and purchase works.
Contributions benefited the Student Scholarship Fund.
Best known for clay sculpture, Mary Frank has been increasingly recognized for innovative monoprints, drawings,
bronze and plaster sculpture , paintings on metal plates, and
collages. The human, animal, and plant forms in this exhibition were endowed with mythical and metaphorical qualities. The show was organized by the DeCordova and Dana
Museum and Park in Lincoln, Massachusetts, With funding
from the Massachusetts Council on the Arts and
Humanities.
Judith Rothschild: Relief Paintings, 1972-1987
June 17 through September 18
Elegant and graceful abstractions filled the gallery with
color. The paintings comprised Rothschi ld's experiments
with textured collage built up on canvas. The catalogue
that accompanied the exhibition was made possible by
grants from the Arcadia Foundation and the MillerPlummer Foundation.
Raphaelle Peale Still Lifes
February 17 through April 16
America's first great still-life painter, Raphaelle Peale, was
represented by thirty-two works in an exhibition organized
by the National Gallery of Art and the Pennsy lvania Academy of the Fine Arts. The show was accompanied by a
lav ishly illustrated, colorful catalogue. It was supported by
a major grant from the Pew Charitable Trusts and, in Philadelphia, partially supported by a grant from Price
Waterhouse.
Matter of Time
June 30 through September 25
To celebrate the tenth anniversary of the Morris Gallery,
twelve local artists created installations based on a unifying
30
Eighty-eighth Annual Student Exhibition
May 11 through June 4
Barbara Schwartz: Dispersions
March 10 through April 24
Approximately 400 works, selected and hung by the students themselves, filled the main galleries. The students,
who had completed the rigorous fine-arts program, competed for more than $50,000 in prizes.
Departing from her usual medium, bronze, Schwartz designed an installation of paper stretched over shaped wire
mesh and colored with dry pigments and watercolors.
Robinson Fredenthal: Big Plus
May 5 through June 15
American Art from the Collection of Vivian and
Meyer P. Potamkin
June 10 through October 1
Big Plus was a twelve-foot-tall cardboard sculpture designed
specifically for the Morris Gallery. A smaller steel sculpture
entitled Step and twelve small bronze models accompanied
it. All were explorations of interlocking tetrahedrons and
octahedrons in different media and scale.
This exhibition from one of the finest collections of American art in the country included nineteenth-century paintings by William Michael Harnett and John LaFarge; urban
scenes by John Sloan, George Luks, Robert Henri, and
Maurice Prendergast; impressionist landscapes by Chi Ide
Hassam and John Twachtman; and early modernist work by
Marsden Hartley, Alfred Maurer, and Arthur Dove. The
exhibition was made possible by a generous grant from the
VIPA Foundation and the Boulevard Mortgage Company.
Eugene Baguskas: Idyllic Places
June 30 through August 28
Gentle irony and a wry sense of humor characterized these
woodland fantasies in which realistically painted waterfalls,
cows, moose, and birds were set in unlikely combinations.
Making Their Mark: Women Artists Move into the
Mainstream, 1970-85
October 20 through December 31
Robert Bingham: Goodbuy Lord, By and By
September 8 through October 16
Commenting on materialism and modern values, the artist
created a game-show setting in which large slides of food
and luxury items could be lit up by pedaling a stationary
bicycle. He designed brick-patterned fabric for the installation and had it printed at the Fabric Workshop.
The first overview of the period, this exhibition explored
the breadth and diversity of the contributions women have
made. There were 150 paintings, sculptures, and photographs, as well as thirty-two works by video and performance artists. The exhibition and its national tour were
made possible by Maidenform, Inc., with additional local
funding by the Philadelphia National Bank and the Pew
Charitable Trusts.
Joe Stefanelli, Paintings: The Fifties to the Present
October 27,1988, through January 1,1989
This exhibition began with works that showed the influence
of the abstract expressionists whom the artist, a native
Philadelphian, met while living in New York during the
late 1940s and 1950s. It then followed the evolution of his
style through nearly four decades.
Morris Gallery
The Morris Gallery is supported in part by a grant from the
National Endowment for the Arts, a federal agency.
1989
1988
Ken Hassell/Stuart Rome: Recent Photographs
January 12 through February 26
Hubert Taylor: New Work
January 14 through February 28
Ken Hassell presented vivid images in black and white that
emphasized the dignity of the craftsman in rapidly fading
industries. Stuart Rome's color photographs examined the
potential of spiritualism and magic to expand everyday life
in places as diverse as Haiti, the Deep South, and West
Philadelphia.
His expressionistic canvases, framed in elaborate wood constructions, ranged from pure abstractions to figurative
works. The artist is a practicing architect, who served as
senior designer of the Criminal Justice Center in
Philadelphia.
31
Michael Harnett: New Paintings
March 10 through April 23
Vertical paintings on wood gave floor-to-ce iling views of
highly detailed interiors and exteriors. These ke yhole
glimpses combined vivid, realistic elemen ts with the mystery of mythical landscapes.
Maurie Kerrigan: when Dervish eyes are miling ...
WALKIN' Part II - Rhythms of Life
May 5 through June 18
Part of a trilogy, Rh ythms of Life, this installation included
walking sticks, suites of pastel drawings, frescoes, and a
"sound mural" audiotape. The show resonated with the
fundamental human rhythm of walking.
Frank Hyder: Pleurants
June 30 through August 27
His heads of pensive monks - monumental in size, with
aggressive ro ugh and painted surfaces - had a powerful
physical presence. Yet their intensity also conveyed the
solemn, spiritual mood of their namesakes, carved mourners in medieval tomb sculptures.
Elizabeth T. Scott/Joyce }. Scott: Family Traditions
September 8 through November 5
The first Morris Gallery exhibition of works by non-Philadelphia artists, this show featured quilts by the Baltimore
artist Elizabeth Scott and textiles, beaded jewelry, and
sculpture by her daughter, Joyce. Trained in quilting by her
sharecropper father, Elizabeth now incorporates beads,
rocks, buttons, and sequins into co lorful quilts and pillows.
Joyce, a graduate of the Maryland Institute College of Art,
has built on the lessons learned from her mother and creates
wearable sculptures dealing with political and social
themes.
32
Institutions and Organizations
Receiving Loans of Artwork
Akron Art Museum
Allentown Art Museum, Pa.
American Embassies in Bern, Bonn, and London
Amon Carter Museum, Fort Worth
Art Institute of Chicago
Babcock Galleries, New York
Baltimore Museum of Art
Baruch College Gallery, New York
Bennington College, Vt.
Bergen Museum of Art and Sciences, Paramus, N.J.
Berry-Hill Galleries, New York
Birmingham Museum of Art
Brandywine River Museum, Chadds Ford
Brooklyn Museum
Butler Institute of American Art, Youngstown
Cape Ann Historical Association, Gloucester
Carnegie Institute, Museum of Art, Pittsburgh
Cheekwood Fine Arts Center, Nashville
Chester County Historical Society, West Chester, Pa.
Chrysler Museum, Norfolk, Va.
Cincinnati Art Museum
Colonial Dames of America, Lemon Hill Mansion,
Philadelphia
Columbus Museum of Art, Ohio
Corcoran Gallery of Art, Washington
Cornell University, Herbert F. Johnson Museum of Art,
Ithaca, N.Y.
DeCordova and Dana Museum and Park, Lincoln, Mass.
Delaware Art Museum, Wilmington
Denver Art Museum
Detroit Institute of Arts
Ebenezer Maxwell Mansion, Philadelphia
Everson Museum of Art of Syracuse and Onondaga County,
Syracuse, N.Y.
Fort Worth Art Museum
Glencairn Museum, Academy of the New Church, Bryn
Athyn, Pa.
Governor's Residence, Harrisburg
Hampton University Museum, Va.
Heritage Center of Lancaster County, Lancaster, Pa.
Heritage Plantation of Sandwich, Mass.
High Museum of Art, Atlanta
Hirshhorn Museum and Sculpture Garden, Washington
Historical Society of Pennsylvania, Philadelphia
Historical Society of Princeton
Historical Society of York County, York, Pa.
Hudson River Museum of Westchester, Yonkers, N.y.
IBM Gallery of Science and Art, New York
Independence National Historic Park, Bishop William
White House, Philadelphia
Jewish Museum, New York
Katonah Gallery, N.Y.
Keny and Johnson Galkry, Columbus, Ohio
Los Angeles County Museum of Art, Los Angeles
Meadows Museum, Dallas
Museum of Fine Arts, Houston
Musee national de la Cooperation franco-americaine,
Blerancourt, France
Musee de Nouveau-Monde, La Rochelle, France
National Gallery of Art, Washington
National Museum of American History, Washington
National Museum of American Jewish History,
Philadelphia
National Museum of Women in the Arts, Washington
National Portrait Gallery, Washington
Nelson-Atkins Museum of Art, Kansas City
New Jersey State Museum, Trenton
New Orleans Museum of Art
Octagon, American Institute of Architects Foundation,
Washington
Philadelphia Antiques Show
Philadelphia Museum of Art
Philadelphia Society for the Preservation of Landmarks,
Powel House
Queens Museum, Flushing, N.Y.
Racquet Club, Philadelphia
Rittenhouse Club, Philadelphia
Roberson Center for the Arts and Sciences, Binghamton,
N.Y.
Rodin Museum, Philadelphia
San Diego Museum of Art
San Francisco Museum of Modern Art
Spanierman Gallery, New York
State in Schuylkill, Corn wells Heights, Pa.
Tampa Museum of Art, Fla.
Terry Dintenfass, Inc., New York
United States Department of State, diplomatic reception
rooms, Washington
University of Rochester, Memorial Art Gallery, N.Y.
Wadsworth Atheneum, Hartford
Walker Art Center, Minneapolis
Westmoreland Museum of Art, Greensburg, Pa.
Wharton Esherick Museum, Paoli, Pa.
White House, Washington
Whitney Museum of American Art, New York
William A. Farnsworth Library and Art Museum,
Rockland, Maine
William Penn Memorial Museum, Harrisburg
Woodmere Art Museum, Philadelphia
33
FINANCIAL STATEMENTS
Report of Independent Accountants
Coopers & Lybrand
To the Board of Trustees of the Pennsylvania Academy of the Fine Arts:
We have audited the accompanying balance sheet of the Pennsylvania Academy of the Fine Arts as of
December 31, 1989, and the related statement of activity and changes in fund balances (deficit) for the year then
ended. We previously audited and reported upon the financial statements of the Pennsylvania Academy for the
years ended December 31, 1988 and December 31, 1987, which condensed statements are presented for comparative
purpose only. These financial statements are the responsibility of the Academy's management. Our responsibility
is to express an opinion on these financial statements based on our audit.
We conducted our audit in accordance with generally accepted auditing standards. Those standards require
that we plan and perform the audit to obtain reasonable assurance about whether the financial statements are free
of material misstatement. An audit includes examining, on a test basis, evidence supporting the amounts and
disclosures in the financial statements. An audit also includes assessing the accounting principles used and significant
estimates made by management, as well as evaluating the overall financial statement presentation. We believe that
our audit provides a reasonable basis for our opinion.
In our opinion, the financial statements referred to above present fairly, in all material respects, the financial
position of the Pennsylvania Academy of the Fine Arts as of December 31, 1989, and the results of its operations
and changes in its fund balances (deficit) for the year then ended in conformity with generally accepted accounting
principles.
Coopers & Lybrand
2400 Eleven Penn Center
Philadelphia, Pennsylvania
July 20, 1990
34
PENNSYLVAN IA ACADEMY OF THE FINE ARTS
BALANCE S HEET , as of December 31, 1989
ASSETS
Third
CentUry
Fund
Current Funds
Unrestricted Restricted
Current assets:
Cash ..... . . .... ... . ... . .... .
Cash - Women's Committee ...
Grants rece ivable .. . . ..........
Accounts receivab le ... ..
Pledges rece ivab le . .... .... . . . .
Notes rece ivable .. .. . ..........
Accrued interest receivable . . . . ..
Inventor ies . . . . .. .. . ..
Prepaid insurance and other . . .. .
Property held for sale .... ...
Interfund balances . . . . . . . . . . . . .
$ 250,515
80,679
95,382
76,553
$
$ 129,000
Endowment
Fund
Combined
Totals
1989
Plant
Fund
3,499
254,0 14 $
80 ,679
$
1,281,666 $
95,382
1,537,2 19
50,000
78 ,105
477,844
59,847
718,563
165,524
84, 800
129,942
638,326
250,000
109,350
43 4, 332
71,592
88,742
3,337 ,922
34,000
10,000
3,470,664
3,545,027
1,319,165
60,000
6,053 ,754
13, 193,224
7,564,620
13,656,364
3,734,342
9,698,044
7, 403,017
7,403,0 17
20,150
1,199,005
6,689,765
20,1 50
8,601
6,74 1,787
20,150
30,686
52,427
10,000
2,249,334
192,000
320,575
6,914,047
6,9 14,047
6, 475,047
4,927,203
3,200
3,200
20, 150
Pledges receivab le . . . . . .. . ...
402, 400
796,605
81,000
2,158,334
Interfund balances . . . . .. . .. .. . . . .
Other .... ... . . . . . . . . . . . . . . . . . .
$1,1 49,712
Total assets .. . . ... . . . . . . ..
9,324 $
80,679
46,465
157,741
410,338
1,129,562
$13 ,1 93,224
Investments:
Endowment fund . .... .. . ..... .
Women's Committee ... . . . .....
Restricted ..... . .. ... . . .. ...
Unrestricted ..... . . .. . . . .. . . ..
Combined
Totals
1987
116,372
434,683
93,897
4,265,5 17
1,949,604
78, 105
477,844
59,847
Total current assets
Property - net .. . . ..... . ... . .. .
Combined
Totals
1988
$4,028,427
$4,274,104
$14,387,064 $13,193,224
1, 131,913
$37 ,032,53 1 $34,609,747 $25 ,528 ,414
LIABILITIES AND FUND BALANCES
(DEFICIT)
Thi rd
Century
Fund
Current Funds
Unrestricted
Restricted
Current liab ili ties:
Notes payable - current .
Accounts payable .. . . . . .
Accrued interest payable . . . . . . . .
Cash overdraft . . ......
Accrued expenses . . . . . . . .
Funds for financial aid . . . . .. . . . .
Deferred reven ue:
Contribution ........ . ........
Tu ition . . . . ..... . . . .. . . . . . .. .
Memberships ..
Interfund balances ........... ..
Total current liabilities .... .
Estimated liabili ty for
retirement plan ... . ... . . .. .. . .
$ 268,994
133 ,286
179,190
Endowment
Fund
$
$
28,070 $
110,443
59,649
91,000
831,666
$
50,000
3,046,751
44,000
188,742
191,171
3,655,236
273,513
1,088,807
24 1,17 1
Tota l liabilities
and fund balances ..
9 72,666
27,01 5
91,000
2, 158 ,334
10,000
213,011
563,930
(3,425,5 46)
3,663,91 4
$1,1 49,712
$4,028, 427
Combined
Totals
1987
454,215
407 ,785
38 ,347
70,864
3,470,664
75,000
24,678
25,548
1,949,604
75,000
30,403
49,784
1, 131,913
5,471,738
9,412,160
2,258,311
356,092
2,3 40,000
Combined
Totals
1988
448,994 $ 6,280,075
170, 106
787,227 $
78,566
9 1,8 10
382,293
73,603
26,049
$
33,0 11
Note payable . .... . . . .. .. . . . . . . .
Fund balances (deficit)
180,000
8,750
27,0 15
Deferred contribution .. .
Interfund balances . . ... . . .. ... . ..
Combined
Totals
1989
Plant
Fund
356,092
374,385
375,664
2,259,334
150,000
225,000
2,340,000
2,409,218
6,350, 11 7
6,9 14,047
6,475,047
4,927,203
14,135,893
4,290,096
19,69 1,320
15,788,937
17,742,236
$4,274, 104 $14,387,064
$13, 193,224
$37,032,531
1,026,963
T he accompanying notes are an integral part of these financ ial statements.
35
$34,609,747 $25,528,4 14
STATEMENT OF ACTIVITY AND CHANGES IN FUND BALANCES (DEFICIT)
for the year ended December 31, 1989
ASSETS
Combined
Totals
1989
Combined
Totals
1988
$ 1,368,305
111,033
$ 1,368,305
111,033
112, 806
127,870
37,500
112,806
127,870
377,829
$ 1,105 ,586
94,841
19,008
43,244
104,763
316,096
Current Funds
Unrestricted
Restricted
Support and revenue :
. .. . .. . . . . .
Tuition .. .. ..
School store sales .. .. . . . .... .
School cafeteria sales . ..... . ...
Museum admissions ..... . . .
Museum shop sales . . ......
Government appropriations.
City of Philadelphia
appropriations. . ..........
Gifts and grants .......
Proceeds from de accessions
Memberships . .
Investment income ....
Special events, fees and other ...
Net realized investment gains . . .
Gain on sale of Peale House ....
53,053
739,201
329,263
162,058
544,762
Total support and revenue . .
3,585,851
3,486,176
3,539,360
Total program expenses . .. .
7,025,536
Total expenses . . ..... ....
Plant
Fund
$ 340,329
448,136
2,037,710
$1,284,000
1,029,564
7,605
3,855,739
1,291,605
1,153,601
157,065
Combined
Totals
1987
$
970,877
92,506
46,065
167,755
292,349
90,000
1,991,338
33,613
467,207
1,031,622
76,384
278,213
100,000
1,349,796
838,184
529 ,461
865,611
96,433
1,102,546
$1,900,122
53,053
2,471,337
2,037,710
329,263
1, 199,227
544,762
1,153,601
1,900,122
1,900,122
11,786,918
5,632,907
6,470,591
232,592
161,695
157,065
3,718,768
3,701,055
3,360,442
3,837,148
2,902,015
3,575,846
394,287
7,576,888
7,197,590
6,477,861
316,061
72,555
302,804
6,780,665
157,065
278,798
278,798
28,849
28,849
(2,651,231 )
2,65 1,231
4,374,305
2,651,231
157,065
28,849
673,085
7,884,535
7,586,206
1,134,540
1,124,752
1,227,037
3,902,383
(1,953,299)
(3 10,074)
3,902,383
15,788,93 7
(1,953,299)
17,742,236
(310,074)
18,052,310
Excess (deficiency) of support
and revenue over expenses
before interfund transfers.
Interfund transfers:
Capital additions .... . . . ......
Other ........ . .. . , . ......
(788,454)
1,204,508
(156,053)
6,167,728
191 ,171
Excess (deficiency) of support and
revenue over expenses .... . ....
Fund balances (deficit), January 1 . .
5,223 ,22 1
(8,648,767)
1,395,679
2,268,235
$(3,425,546) $3,663,914
Fund balances (deficit), December 31
Endowment
Fund
$ 1,153,601
Program Expenses:
Capital campaign .... .. . .. . . . .
School .
Museum ..............
Peale Club - net of revenues . ....
Retirements . . . . . . . . . ......
Other expenses ........
Reimbursement to unrestricted fund
for expenditures for restricted
.... . . . . .. .....
purposes
Third
Century
Fund
(107,577)
(191,171)
263,630
(6,167,728)
1,026,963
933,581
13,202,3 12
(4,677,061)
8,967,157
$1,026,963
$14,135,893
$4,290,096
$ 19,691,320
The accompanying notes are an integral part of the financi al statements.
36
$15,788,937
$17,742,236
NOTES TO FINANCIAL STATEMENTS
1.
Significant Accounting Policies:
Basis of Presentation:
The accompanying financial statements have been prepared on the accrual basis of accounting. To ensure observance of
limitations and restrictions placed on the use of the resources ava ilable to the Pennsylvania Academy, the accounts of the
Academy are maintained in accordance with the principles of fund accounting. This is the procedure by which resources
for various purposes are class ified fo r accounting and reporting purposes into funds according to the activ ities or objectives
specified.
The assets, liabilities, and fund balances of the Academy are reported in self-balancing fund groups as follows:
• C urrent Funds - unrestricted and restricted resources, represent that portion of the Academy's expendable funds
available for support of the Academy's operations.
• Third Century Fund - represents funds subject to the restrictions of the Third Century Fund capital campaign.
The goals of this campaign include renovating the Academy's museum, acquiring land adj acent to the museum,
and repaying the funds borrowed to fund the purchase of the building located at 1301 Cherry Street.
• Endowment Fund - represents funds subject to restrictions of gift instruments requiring that the principal be
invested and, generally, only income be used for specified amounts of time or in perpetuity.
• Plant Fund -
represents resources expended or restricted for purchases of property.
Certain reclassifications have been made to amounts previously reported to enhance comparability of the financial
statements.
Combined Totals: The "Combined Totals" column is the total of similar accounts of the various funds. Since the assets of
certain funds are restricted or endowed, the totals for all funds are for supplemental analysis purposes only and do not
indicate that the combined fund balances are available in any manner other than provided for in the separate funds.
Works of Art: In accordance with the general practice of art museums, the cost of works of art are charged directly to the
funds available for such purposes and are not capitalized .
Investments: The Pennsylvania Academy reports investments in marketable equity securities at the lower of aggregate cost
or market. Investments in bonds and other debt instruments are carried at cost. Realized gains and losses on portfolio
transactions are accounted for on the first-in, first-out cost method. Investment income is recorded on the accrual
basis.
Inventories: Inventories, principally retail merchandise, are valued at the lower of cost or market by use of the retail method
on the first-in, first-out basis.
Property, Plant, and Equipment: Land , buildings and improvements, furniture, fi xtures and equipment are stated at cost.
Betterments which materially add to the value of the related assets or materially extend the useful life of the assets
are capitalized. Property donated is recorded at fair value at date of the gift. Depreciation is provided on a straightline bas is over the estimated lives of the respective fixed assets.
Imerfund Balances: Interfund balances represent advances which will be eliminated through collection of gift pledges ,
external borrowings, or through future fund-raising campaigns. Interest is charged internally on the endowment fund
advances .
Memberships: Memberships are recognized as re venue when payment is received, except that memberships paid for the
subsequent year are classified as deferred revenue.
Restricted Contributions : Contributions restricted by the donor are recognized as re venue in the C urrent Fund or as an increase in the Endowment Fund balance in accordance with the donor's wishes.
37
Restricted
Unrestricted Pledges Receivable: Pledges from donors for unrestricted contributions that are to be remitted over more than
one period are recorded as receivables and deferred contributions. Deferred contributions are recognized as revenue
in the period in which the funds are received.
Functional Expense Allocations: Expenses of various programs and other activities have been summarized on a functional
basis in the statement of activity. Accordingly, certain expenses have been allocated among the programs and
supporting services.
2.
Investments:
The following are the carrying and quoted market values of investments at December 31, 1989:
Carrying
Value
Quoted
Market
Value
Endowment fund:
Bonds and short-term investments .. .. . . ... . .. . . . .
Common stocks ....... ... .................... .
Total ... . ......... .
$3 ,212 ,042
4,190,975
$7,403,017
$3,229,487
4,532,608
$7,762,095
Restricted fund:
Short-term investments . . .... .. . ... . ... . . . . . ... .
$ 402,400
$ 402,400
Third Century Fund:
Short-term investments .. .. .. . .. ....... . .... . .. .
U.S. Treasury Note .. . ........................ .
Total ... . .... . . . .. .
$ 500,605
296,000
$ 796,605
$ 500,605
296,000
$ 796,605
Unrestricted fund:
Held by Women's Committee:
U.S. Treasury Note .... ...... .... ........ . .
$
20,150
$
20,150
Investment income of $507,417 earned for the year ended December 31, 1989 from pooled investments was distributed
to the participating funds based upon the percentage of the beginning fund balance to the total participating fund balances.
3.
Art Collection:
The following is a summary of the proceeds from deaccessions less the cost of art objects purchased (exclusive of donated
art objects) for the year ended December 31, 1989. Proceeds from deaccessions reported in the restricted fund result from
sales of art objects gifted or granted to the Pennsylvania Academy.
Restricted proceeds of de accessions .. . ....... . . .... . . .
Accession of art for collection . .. .. .... . . . ........ .. .
Total ......................... .. ... . ... .
38
$2,037,710
(651,708)
$1,386,002
4.
Property:
A summary of property, less accumulated depreciation, at December 31, 1989 is as follows:
Plant
Fund
Land, buildings, and improvements .................. . .
Furniture, fixtures, and equipment .. . .... ... .. . . .. .. . . .
Less accumulated depreciation .... .. . . .. . . . ......... . .
School library (books, periodicals, films, etc.) ...... . . . .. .
Net property, plant, and equipment .. . . ........... .
$15,117,845
417,976
$15,535,821
(2,590 ,900)
12,944,921
248,303
$13,193,224
5. Notes Payable:
At December 31, 1989, the Pennsylvania Academy had a mortgage outstanding of $2,520,000 and borrowings outstanding
under a $500,000 line of credit of $268,994. The mortgage note, which is collateralized by the school building, is payable
in quarterly installments ranging from $40,000 to $90,000 plus interest at the bank's prime rate. Payment of the final
balance is due April 1, 1994. The line of cred it is unsecured and interest thereon is payable on a monthly basis at the
bank's prime rate.
Maturity of the December 31, 1989 balances is as follows:
1990 . .... . . .. .. . .. . . $ 448,994
1991 ...... .. .... . .. .
230,000
1992 ......... . ... . ..
290,000
1993 ............. .. .
340,000
1994 ... . ... . .. .. . .. . 1,480,000
. $2,788,944
6.
Retirement Plans:
The Pennsylvania Academy has a defined contribution retirement plan covering all full-time employees. Under this plan,
employees may contribute up to sixteen percent of their salaries. The Academy will match each contribution up to four
percent of the individual salaries. During 1989, the Academy contributed $29, 160 to the plan. These contributions were
used to purchase annuities for each participant.
The Pennsylvania Academy also maintains an unfunded deferred compensation plan covering certain current and former
employees. The cost of this plan for 1989 was $22,463.
7.
Commitments:
The Pennsylvania Academy has outstanding a standby letter of credit issued by a bank in the amount of $175,000,
collateralized by investments held by the bank.
8.
Sale of Peale House:
Pursuant to a resolution of the Board of Trustees, the unrestricted net proceeds from the sale of the property in 1989,
amounting to $6,16 7,728, were transferred to the Unrestricted Fund to enable the Unrestricted Fund to reduce its
borrowings from the Endowment Fund. Concurrently, the Board authorized the borrowing of such funds by the Plant
Fund.
39
CONTR1BUTORS
Annual Giving
President's Council
($10,000 or more)
Mr. and Mrs. C. Graham
Berwind, Jr.
Nancy Rothkopf Cantor
Robert T Caruso
James Eagen
Mrs. Robert English
Mr. and Mrs. Kenneth W.
Gemmill
Mr. and Mrs. Albert M.
Greenfield, J r.
Mr. and Mrs. Samuel M. V.
Hamilton
Mr. and Mrs. Henry F. Harris
Hannah G. hickman
Mr. and Mrs. Stephen B.
Klein
Mr. and Mrs. Leonard I.
Korman
Mr. and Mrs. Daniel R.
Kursman
Mr. and Mrs. B. Herbert Lee
Mr. and Mrs. Robert P. Levy
Mr. and Mrs. Stanley Merves
Mr. and Mrs. Warrin C.
Meyers
Harvey S. Shipley Miller
Mr. and Mrs. Allen J. Model
Mrs. J. Maxwell Moran
Mr. and Mrs. W. H. Sterg
O'Dell
Mr. and Mrs. Bertram L.
O'Neill
Mr. and Mrs. Meyer P.
Potamkin
Mr. and Mrs. George M. Ross
Mr. and Mrs. E. Newbold
Smith
Mr. and Mrs. Harold A.
Sorgenti
Mr. and Mrs. Stanley C.
Tuttleman
Archbold D. van Beuren
Mr. and Mrs. J. Roffe Wike II
Mr. and Mrs. Robert G.
Wilder
Mr. and Mrs. Richard B.
Worley
Thomas Eakins
Society
($5,000 -
$9,999)
Harry N. Abrams
Mr. and Mrs. John B. Bartlett
Mrs. Joseph L. Eastwick
Mr. and Mrs. Eric Eichler
Mr. and Mrs. Milton
Ginsburg
Mr. and Mrs. Donald W.
McPhail
Mr. and Mrs. Charles E.
Mather III
Mr. and Mrs. Herbert S.
Riband, Jr.
Benjamin Strauss
Foundations
The Annenberg Foundation
The Leighton P. Appleman
Estate
The Arcadia Foundation
Tabor Ashton Trust
The Barra Foundation, Inc.
Alpin J. and Alpin W.
Cameron Memorial Fund
Dean's Circle
Charina Foundation, Inc.
($2,500 - $4,999)
Claneil Foundation, Inc.
Edward Bernstein
Columbia Funds
Ernest Carey, J r.
Dolfinger-McMahon
Carpenter Dewey
Foundation
Samuel S. Fels Fund
Jay Dugan
Mr. and Mrs. Caleb L. Fowler Colin Gardner Foundation
Mr. and Mrs. Charles J.
The Elsie Lee Garthwaite
Kenkelen
Memorial Foundation
William Krumboldt
The Albert M. Greenfield
Robert Motherwell
Foundation
Frederick W. G. Peck
The Haney Foundation
Judith Rothschild
The JDB Fund
Mr. and Mrs. Herbert F.
Atwater Kent Foundation,
Schiffer
Inc.
Mr. and Mrs. Joseph D. Shein Kent-Lucas Foundation, Inc.
Mary L. Smith
Kirkeby Foundation
Marilyn L. Steinbright
The Greta Brown Layton
Charitable Trust
Mary Cassatt
The Christian R. and Mary F.
Associates
Lindback Foundation
($1,000 - $2,499)
Marian
Locks Foundation
Dr. Luther W. Brady
Samuel P. Mandell
Mr. and Mrs. Richard B.
Foundation
Coons
Irving May and Edith H. May
Mrs. R. Meyer deSchauensee
Foundation
Allan R. Dragone
John
J. Medveckis
Mr. and Mrs. Franklin M.
Foundation
Fisher
The Miller-Plummer
Frances L. Ford
Foundation
Mr. and Mrs. Frederick S.
The Leo Model Foundation
Hammer
Nautilus Foundation
Mrs. J. H. Ward Hinkson
The
1957 Charity Trust
Dr. and Mrs. Morton M.
William Penn Foundation
Kligerman
The Pew Charitable Trusts
Mr. and Mrs. Nelson J.
The Philadelphia Foundation
Leidner
The Lionel I. Pincus
Joseph J. Maleno
Foundation, Inc.
William B. Packer, Jr.
Gilroy and Lillian P. Roberts
Mr. and Mrs. Daniel H.
Charitable Foundation
Polett
Sara Roby Foundation
Marion Boulton Stroud
Alexis Rosenberg Foundation
Evel yn Tyson
The
John Sloan Memorial
Mr. and Mrs. Jerome B.
Foundation, Inc.
Weinstein
Ethel Sergeant Clark Smith
Memorial Fund
The John Frederick Steinman
Foundation
40
Barbara and Robert
Thanhauser Philanthropic
Fund
Geraldine S. Tyson Trust
The Warwick Foundation
Goldman, Sachs and
Company
The Harleysville Insurance
Companies
Louis Harris and Associates,
Inc.
Helmsley-Greenfield, Inc.
Henkel Corporation
Business Partnership
Henkels and McCoy, Inc.
Advest, Inc.
Heyser Landscaping, Inc.
Airgas, Inc.
HGO, Inc.
Air Products and Chemicals,
Historic Yellow Springs, Inc.
Inc.
The Houghton-Carpenter
ALCO Standard Corporation
Foundation
Allied-Signal, Inc.
E. F. Houghton & Company
American Airlines
Hunt Manufacturing
ARA Services
Company
ARCO Chemical Company
IBM Corporation
Atkin, Voith and Associates,
IU International Corporation
Inc.
Jackson-Cross Company
A.T&T
Janney Montgomery Scott,
Atlantic Financial Federal
Inc.
Atochem North America,
Jefferson Bank
Inc.
Jetronic Industries, Inc.
Balis and Co., Inc.
Kidder, Peabody and
Barclay White, Inc.
Company, Inc.
Bell of Pennsylvania
The Kling-Lindquist
Berwind Corporation
Partnership, Inc.
Betz Laboratories, Inc.
Koenig's Philadelphia Art
Blank, Rome, Comisky and
Supplies
McCauley
Kraft Dairy Group
M. A. Bruder and Sons, Inc.
Lanard and Axilbund, Inc.
Campbell Soup Company
Lewis, Gilman and Kynett,
Carey- Pacifico Limousine
Inc.
CertainTeed Corporation
Marian Locks Gallery
Chevron U.S.A., Inc.
Logan Square Cleaners
Chubb Group
McNeil Consumer Products
CIGNA Corporation
Company
Clement and Muller, Inc.
Maguire Thomas Partners
Colonial Penn Group, Inc.
Marcolina Brothers, Inc.
Comcast Corporation
Maritrans GP, Inc.
John Condax Photography
Mellon Bank (East)
Continental Bank
Merck Sharp and Dohme
Coopers and Lybrand
Meridian Bank
Day and Zimmermann, Inc.
Merit Gasoline Foundation
Jimmy Duffy and Sons, Inc.
Mobil Foundation
DuPont
Moran Towing of
Nan Duskin
Pennsylvania
Ewing Cole Cherry Parsky
National Envelope
Fidelity Bank
Advertising Company,
The First Boston Corporation
Inc.
First Pennsylvania Bank
John Nuveen Associates
Fischer and Porter Company
P & A Associates
FMC Corporation
Paper House Productions
The Franklin Mint
Parkway Corporation
General Reinsurance
J. c. Penney Company, Inc.
Corporation
The Penn Mutual Charitable
Germantown Savings Bank
Trust
GMAC Mortgage
Corporation
Corporations
Pennoni Associates
The Pep Boys
Katharina Rich Perlow, Inc.
The Phi ladelph ia
Contributionsh ip
Phi ladelphia Electric
Company
Philadelphia National Bank
Philade lphia Suburban
Corporation
Philadelphia Therma l Energy
Corporation
Philadelphia Water Color
C lub
Pilgrim Construction
Corporation
Pincus Brothers-Maxwell
Price Waterhouse
Provident Mutual Life
Insurance Company
Provident National Bank
PSFS
The Prudential Insurance
Company of America
Quaker Chem ica l
Corporation
Quaker Storage, Inc.
RCA Areospace and Defense
Reliance Insurance Company
Rohm and Haas Company
Rorer Group, Inc.
Rosenbluth Travel Agency,
Inc.
Rouse and Associates
Richard J. Rubin and
Company, Inc.
Saul , Ew ing, Remick and
Sau l
Frank S. Schwartz and Son
SCOtt Paper Company
Sears, Roebuck and
Company
Shared Med ical Systems
Corporation
Simpson Sign Company
SmithK line Beecham
Corporation
SMS Corporation
Sotheby's
Spectacor
SPS Technologies
Steelcase Furniture
Stockard Shipping &
Terminal Corporation
Strawbridge and C lothier
Subaru of America
Foundation
Sun Company, Inc.
Tasty Baking Company
Teleflex, Inc.
Touche Ross & Co.
Un isys Corporation
United Engineers and
Constructors, Inc.
T he Vanguard Group
John Wanamaker
Warner Company
Wawa, Inc.
Martin F. Weber Company
Western Carolina Optical,
Inc.
Winsor and Newton
Wyeth-Ayerst Laboratories
Xerox Corporation
Matching Gifts
ARA Services
ARCO Chem ical Company
ARMCO Foundation
A. T. & T. Foundation
Atochem North Amer ica,
Inc.
Burlington Industries
Foundation
CIGNA Foundation
Equitable Life Assurance
Society of the Un ited
States
Exxon Corporation
FMC Corporation
IBM Corporation
IU International Corporation
Johnson & Higgins
Johnson & Johnson
Knight-Ridder, Inc.
The Merit Gasoline
Foundation
The Merck Company
Foundation
National Li berty Corporat ion
The O lin Corporation
Charitable Trust
W illiam Penn Foundation
Quaker C hemical
Corporation
Reliance Insurance Company
SmithKline Beecham
Foundation
Sun Refining & Marketing
Company
Wyeth-Ayerst Laboratories
Government
Charles Willson Peale
Society
Federal
($1,000 -
$2,499)
Mr. and Mrs. Jack Aezen
Mr. and Mrs. Benjamin
A lexander
Mr. and Mrs. Dennis A lter
Hon. and Mrs. Walter H .
Annenberg
State
R. Adm . and Mrs. Theodore
Pennsylvania Council on the
C. Aylward
Arts
Mrs. Malcolm J. Baber
Pennsylvania Energy Office
Mr. and Mrs. Herbert Barness
Pennsylvania Historical and
Mr. and Mrs. John B. Bartlett
Museum Commiss ion
Mr. and Mrs. John G. Banol
Pennsylvania Humanities
Mr. and Mrs. Peter A.
Council
Benoliel
Mr. and Mrs. Philip J.
City
Berman
City of Philadelphia
Mr. and Mrs. Frank G.
Binswanger, Sr.
Mr. and Mrs. Frank G.
President's Council
Binswanger, Jr.
($10,000 or more)
Mrs. Henry W. Breyer, Jr.
Mrs. Clarence C. Brinton
Robert T. Caruso
Mr. and Mrs. Kenneth W.
Mr. and Mrs. Robert T.
Gemmill
Brooks
Mrs. J. Maxwell Moran
Mrs. J. Mahlon Buck
Mr. and Mrs. William C.
Patron's Circle
Buck
($5,000 - $9,999)
Mr. and Mrs. Nathaniel Burt
Mr. and Mrs. C. Wanton
Mr. and Mrs. Joseph Carr
Balis, Jr.
Mrs. Avery B. C lark
Francis W. DeSerio
Mrs . James S. Collins
Mr. and Mrs . Eric Eichler
Mr. and Mrs. Seymour
Mr. and Mrs. Samuel M. V.
Delfiner
Hamilton
Mr. and Mrs. B. Robert
Museum Director's
De Mento, Jr.
Circle
Mrs. R. Meyer deSchaunsee
($2,500 - $4,999)
Mrs. Elliott R. Detchon, Jr.
Milton Cades
Mr. and Mrs. Wil lem K.
Mr. and Mrs. Matthew I.
Dikland
Garfield
Mr. and Mrs. F. Eugene
Mr. and Mrs. Robert A.
Dixon , Jr.
Hauslohner
Mr. and Mrs. Thomas Dolan
H annah G. Jzickman
IV
Mr. and Mrs. Charles J.
Mr. and Mrs. John T.
Kenkelen
Dorrance, J r.
Mr. and Mrs. Lawrence E.
Mrs. A lfred Douty
MacElree
Mr. and Mrs. Joseph N.
Mr. and Mrs. Walter L.
DuBarry IV
Morgan
Mrs. Robert English
Mr. and Mrs. Adolph G.
Mr. and Mrs. F. W. Elliott
Rosengarten, J r.
Farr
Mr. and Mrs. Jerome B.
Hon. Herbert A. Fogel
Weinstein
Daniel W. Foster
Mr. and Mrs. J. Roffe Wike II Mr. and Mrs. Richard J. Fox
Mr. and Mrs. Jack M.
Fried land
Institute of Museum Serv ices
National Endowment for the
Arts
National Endowment for t he
Human ities
Membership
41
Mr. and Mrs. Lance T.
Funston
Mr. and Mrs. Milton
Ginsburg
Barbara van Beuren G lascock
Dr. and Mrs. Ne il R.
Gottehrer
Mr. and Mrs. W illiam L.
Grala
Mrs. Roben McCay G reen
Mr. and Mrs. Albert M.
Greenfield, Jr.
Bernard M. Guth
Dr. and Mrs. F. Otto Haas
Mr. and Mrs. Nathaniel P.
Hamilton
Mr. and Mrs. Frederick S.
Hammer
Mr. and Mrs. John G.
Harkins, Jr.
Mrs. Avery D. Harrington
Mr. and Mrs. Henry F. Harris
Robens Harrison
Mrs. June De Frees Heelan
Mr. and Mrs . J. Welles
Henderson
Mr. and Mrs. Leslie C. High
Mrs. Henry Lea Hudson
Mrs. Joseph N. Janney
Dr. and Mrs. Henry A.
Jordan
Mr. and Mrs. Philip Kind
Mr. and Mrs. Raymond Klein
Mr. and Mrs. Stephen B.
Klein
Mr. and Mrs. Leonard J.
Korman
Mrs. Harriett B. Kravitz
Mr. and Mrs. Daniel R.
Kursman
Mr. and Mrs. B. Gordon
Landis
Mr. and Mrs. B. Herbert Lee
Mr. and Mrs. Robert Lee
Mr. and Mrs. Nelson J.
Leidner
Mr. and Mrs. George B.
Lemmon
Mrs. Margaret Wasserman
Levy
Mr. and Mrs. Howard H.
Lewis
Mr. and Mrs. Leroy M. Lewis
William S. Lewis
Mr. and Mrs. Wi lliam G.
Littleton II
Mrs. Edward S . Lower
Mrs. A. Basil Lyons
Mr. and Mrs. Peter
McCausland
Rosa Hayward McDonald
Mr. and Mrs. Joseph McEwen
Mr. and Mrs. R. Gordon
McGovern
Mr. and Mrs. Sam S. McKeel
Mrs. Henry S. McNeil
Mrs. Edward S. Madara
Mrs. Crawford C. Madeira
Dr. and Mrs. Morton S.
Mandell
Mr. and Mrs. John L. Marion
Dr. and Mrs. Henry Meigs
Mr. and Mrs. Stanley Merves
Mr. and Mrs. Warrin C.
Meyers
Mr. and Mrs. C. Earle Miller
Harvey S. Shipley Miller
Mr. and Mrs. Allen J. Model
Mrs. Knowlton Dodd
Montgomery
Mr. and Mrs. Peter C. Morse
Kathleen Mulhern
Mr. and Mrs. Shaun F.
O'Malley
W. Gresham O'Malley 3rd
Mr. and Mrs. Bertram L.
O'Neill
Frederick W. G. Peck
Mrs. Irwin Nat Pincus
Mr. and Mrs. Meyer P.
Potamkin
Mr. and Mrs. Stewart Resnick
Mr. and Mrs. Herbert S.
Riband, Jr.
Mrs. Gerald F. Rorer
Arthur O. Rosenlund
Mr. and Mrs. George M. Ross
Mr. and Mrs. Jack A.
Rounick
Dr. and Mrs. Karl F. Rugart
Jesse D. Saunders
Mr. and Mrs. Herbert F.
Schiffer
Mr. and Mrs . Robert D.
Schwartz
Mr. and Mrs. George W.
Scudder
Mr. and Mrs. Joseph D. Shein
Mr. and Mrs. E. Newbold
Smith
Mr. and Mrs. Langhorne B.
Smith
Mr. and Mrs. Andrew J.
Sordoni III
Mr. and Mrs. Hatold A.
Sorgenti
Dr. and Mrs. Paschal M.
Spange
Mr. and Mrs. James M.
Stewart
Mr. and Mrs . Thomas J.
Sullivan III
Mr. and Mrs. Harold E.
Sussman
Mrs. Harrison Therman
Mrs. M. W. Tilghman
Mr. and Mrs. Stanley C.
Tuttleman
Mr. and Mrs. J. Randolph
Updyke
Archbold D. van Beuren
George Vaux
Mr. and Mrs. John T. Ware
III
Mr. and Mrs. Charles J. Webb
III
Mr. and Mrs. Robert G.
Williams
Mr. and Mrs. Albert E. Wolf
Mr. and Mrs. Harrison M.
Wright
Mr. and Mrs. Arthur M.
Young
Ascension by Oscar Bluemner, 1927
42
COMMITTEES
as of lJecembeF 31, 1989
Committees of the
Board of Trustees
Committee for the
School
Executive
John B. Bartlett
Harold A. Sorgenti
Chairman
J. Roffe Wike
Vice Chairman
John B. Bartlett
Herbert M. Baum
Samuel M. V. Hamilton
Charles J. Kenkelen
Stephen B. Klein
Barbara C. Kligerman
Leonard 1. Korman
Bobette Leidner
Charles E. Mather III
Allen J. Model
Herbert S. Riband, Jr.
Edna S. Tuttleman
Robert G. Wilder
Committee for the
Museum
Edna S. Tuttleman
Chairman
Charles E. Mather III
Vice Chairman
Sigi Berwind
Ruth Bowman
Patricia Detchon
Helen Gemmill
J. Welles Henderson
Stephen B. Klein
Leonard 1. Korman
B. Herbert Lee
Roberta Levy
Harvey S. Shipley Miller
Allen J. Model
Dr. Charles W. Nichols
Vivian O. Potamkin
Lyn M. Ross
Chairman
Archbold D. van Beuren
Vice Chairman
George R. Burrell, Jr.
Dr. Malcolm Campbell
Julia Ericksen
Geraldine Dietz Fox
Helen Gemmill
Bobette Leidner
George McMonigle
Jane F. Medveckis
Susan Nelson
Jane Piper
Anthony J. Rosati
Judith Rothschild
Development and
Membership
J. Roffe Wike
Chairman
Robert G. Wilder
Vice Chairman
Frederick S. Hammer
Charles J. Kenkelen
B. Herbert Lee
Terrence A. Larsen
Charles E. Mather III
Edna S. Tuttleman
J. Roffe Wike
Robert G. Wilder
Richard B. Worley
Marketing
Herbert M. Baum
Chairman
Vice Chairman
Barbara L. Greenfield
Allen J. Model
Paul N. Mulcahy
Eileen R. Reynolds
Bernice Smith
Archbold D. van Beuren
Chairman
Frank H. Goodyear, Jr.
Vice Chairman
John B. Bartlett
Thomas F. Flynn
Caleb L. Fowler
Charles J. Kenkelen
B. Herbert Lee
Mary MacGregor Mather
Allen J. Model
Women's Committee
Barbara C. Kligerman
President
Elizabeth Dolan
First Vice President
Carol Lippincott
Second Vice President
Rhea Brooks
Nominating
Corresponding Secretary
Alexandra Estey
J. Roffe Wike
Treasurer
Chairman
Robert G. Wilder
Vice Chairman
Real Estate
Finance
Stephen B. Klein
Allen J. Model
Leonard 1. Korman
Jane F. Medveckis
Edna Wenk
Members at Large
Samuel M. V. Hamilton
B. Herbert Lee
Charles E. Mather III
Bertram L. O'Neill
Lyn M. Ross
Harold A. Sorgenti
Chairman
Vice Chairman
Chairman
Herbert S. Riband, Jr.
John B. Bartlett
Eric Eichler
Milton Ginsburg
Samuel M. V. Hamilton
Harold A. Sorgenti
George A. Beach
Bruce G. Birkholz
Robert W. Deaton, Jr.
Susan H. Eaton
Barbara L. Greenfield
Barbara C. Kligerman
Daniel R. Kursman
Terrence A. Larsen
Margery Lee
Charles E. Mather III
Renee Weinstein
Vice Chairman
Strategic Planning
Barbara L. Greenfield
Hyman A. Myers
Herbert S. Riband, Jr.
43
Susan Armstrong
Martha Bright
Nancy Driscoll
Geraldine Dietz Fox
Barbara L. Greenfield
Lorna Hauslohner
Mary Hopkins
Polly Hudson
Penny Hunt
Julie Jensen
Ana Maria Keene
Henrietta Landis
Bobette Leidner
Ann Madara
Virginia Mallery
Mary MacGregor Mather
Susan Nelson
Nancy Palmer
Interns
MUSEUM EDUCATION
Sandra Bogle
Mette Bye
Liz Gross
Amy Martin
Juno Spiro
PA INTINGS CONSERVATION
James S. Martin
Thomas Wollbrinck
PUBLIC RELATIONS
Diana Henze
Volunteers
MUSEUM EDUCATION
Jane Friedman
Renee Goldstein
Elizabeth Meyer
Ann Odell
Linda Russo
Sylvia Schnaars
Muriel Schwartzman
Phyllis Shafer
Ronald Spahr
Donna Spencer
Linda Yates
M USEUM REGISTRAR'S
OFFICE
Stockton Hall
Jane Schmidt
1989 T ELETHON
Roseanne Barrett
Fahnya Bean
Robin Beckett
Shelly Berg
Josephine Borie
Quita Brodhead
Anne Broussard
Kathleen Buffu m
Sing Y. Chu
Edward B. Clay, Jr.
Lenore Cohen
Shirley Coyne
Susan Dinneen
Mary Epstein
Sharon Erwin
Barbara Evans
Joseph Fee
Sue Fischman
David Fowler
Richard Frey
Marcie Friedman
Aquila Galgon
Robert Harman
Leile Hartman
Julia Hogan
Carolyne Hollenweger
Betty Huston
Homer Johnson
Jenny Kahn
Tamara Kallman
Elyssa B. Kane
Sylvia Korngold
Lillian Landau
John Lawler
Germaine Ledford
Mildred Lefkoe
Sylvia Lieberman
Ann Loess ig
Jim Lueders
Elizabeth Meyer
Jackie Morfesis
Michell Muldoon
Etta Nussbaum
Elizabeth Osborne
Frederick S. Osborne
Eslye Rappeport
Gale Rawson
Ildiko Redder
Richard Rice
Jill Rupinski
Irene Schrank
Deidre Selig
Brian Senft
Samuel Sigg
Sharon Skeel
William Thompson
Pat Traub
Suzanne T schanz
Julie Valenti
Dorothy Wartman
Triangular Weez II by James Dupree , 1988-89
45
Sandra Pew
Ruth Preucel
Lois Rosenau
Margaret B. Schiffer
Hannah Shipley
Clare Stuempfig
Patricia Walsh
Janice Wetherill
Ruth Wolf
Gabrielle Zomber
Members
Caroline Bartol
Elizabeth Bendiner
Deborah Bishop
Diana Clagett
Patricia Clark
Phebe Cooke
Elizabeth Davis
Eleanor Grossman
Eileen Hinkson
Dorothy Kaufmann
Maxine Lewis
Gerd Lorentzen
Jane MacElree
Betsy Mcllvain
Peter Miller
Marion Mitchell
Janneke Neilson
Mary Newbold
Frances Randolph
Isabel Reath
Margaret Smith
Meredith Smith
Zofietka Thomas
Helen West
Susan West
Eve Wildrick
Ruth Young
Associate Members
Morris Gallery
Committee
Moe Brooker
Artist, Pennsylvania
Academy faculty
Diane Burko
Artist, Community College
of Philadelphia faculty
Diane Karp
Art Historian, Executive Director, New Observations
Brian Meunier
Artist, Swarthmore
College Faculty
Perry Ottenberg
Collector
Richard Siegesmund
Director, Fabric Workshop
Ann Temkin
Curator of Twentieth Century Art, Philadelphia
Museum of Art
ACADEMY STAFF
Linda Bantel
Director of the Museum
Susan Danly
Curator
Judith E. Stein
Curator and Morris
Gallery Coordinator
Frank H. Goodyear, Jr.
Ex officio
Docents
SPECIAL EVENTS
COMMITTEE
Mildred Lefkoe
President
Lillian Landau
Vice President
Francesca Cona
Secretary
Deborah Mangel
Treasurer
Bernice Abrams
Immediate Past President
Susan Behrend
Chairperson
Beatrice Rosenfield
Vice Chairperson
EDUCATION COMMITTEE
Harriet Goodwin
Chairperson
Judith Waldman
Vice Chairperson
HANDBOOK COMMITTEE
Lois Domm
Chairperson
HISTORY COMMITTEE
Dorothy Wartman
Chairperson
HOSPITALITY COMMITTEE
Grace Halter
Chairperson
Irene Schrank
Vice Chairperson
NEWSLETTER COMMITTEE
Fahnya Bean
Chairperson
Sondra Margolies
Vice Chairperson
Jacqueline Cotter
Administrativd Assistant
TRAVEL COMMITTEE
Miriam Sealfon
Chairperson
Dorothy Magen
Vice Chairperson
Lois Rosenau
Women's Committee Liaison
Gertrude Bloom
Shirlene Coyne
Joann Coltman
Jane Cratsley
Mary Epstein
Barbara Evans
Fran Fineman
Janet Fink
Sue Fischman
Davida Glick
Marcia Groverman
Elaine Jaffe
Rose Kaplan
Grace Keffer
Dot Kennedy
Sylvia Korngold
Barbara Kravitz
Henrietta Landis
Sylvia Lieberman
Ruthe McCann
Sandra McMullin
Etta Nussbaum
Eslye Rappeport
Reva Rose
Myrtle Rosen
Ruth Rothman
Jo Ann Simon
Margaret Anne Spinelli
Ruth Stern
Fleurette Wallach
Docents
Irma Jelinek
Florence Marder
Ruth Preucel
Hortense Steinberg
Carmine Winters
Norma Zion
Docents Emeriti
44
Ariel by Barbara Schwartz, 1984
46
STAFF
as of
Office of the
President
Frank H. Goodyear, Jr.
President
Joyce Adelman
.
Administrative Ass!stant
Jodie Borie
.
Coordinator of Specwl Events
Anne Broussard
Public Information Officer
Sharon Skeel
Public Relations Assistant
The School
Frederick S. Osborne
Dean and Director of the
School
Betty Huston
Assistant to the Director of
the School
Rosanne Barrett
Dean of Admissions
Marietta Boyer
Librarian
Susan Dineen
Office Assistant
Richard Distefano
Models and Props Coordinator
Aquila Galgon
Financial Aid Director
Jill Rupinski
Registrar
Bill Scott
Gallery Coordinator
Michael Smith
Admissions Assistant
Julia Valenti
Director of Faculty and
Student Affairs
Jan C. Baltzell
Will Barnet
Mark F. Bockrath
Linda Brenner
Moe Brooker
Eugene Daub
Debbie Deichler
Murray Dessner
Stuart Feldman
David Fertig
Margaretta Gilboy
Sidney Goodman
Barbara Goodstein
Oliver Grimley
AI Gury
Alex Hromych
Homer Johnson
Jimmy C. Lueders
Stanley Merz
Daniel D. Miller
Edith Neff
Steven Nocella
Shoji Okutani
Eo Omwake
Elizabeth Osborne
Peter Paone
Jody Pinto
Marjorie Portnow
Seymour Remenick
Robert Roesch
Tony Rosati
Scott Rothstein
Glenn Rudderow
Jill Rupinski
Howard Sabin
Bruce Samuelson
Edwin Segal
David Slivka
Louis B. Sloan
Lee Tomaccio
Patricia Traub
James Victor
Anthony Visco
Roswell Weidner
Gary Weisman
Steve Weiss
Ronald E. Wyffels
Faculty
~e~emb€F
3 il , 1~~<';l
The Museum
Linda Bantel
Director of the Museum
Carolyne Hollenweger
Administrative Assistant
Les Bacsujlaky
Associate Preparator
Robin Beckett
Paintings Technician and
Registrar's Assistant for
Works on Paper
Mark F. Bockrath
Paintings Conservator
Mary Mullen Cunningham
Research Consultant
Susan Danly
Curator
Rick Echelmeyer
Photographer
Kathleen A. Foster
Adjunct Curator
Barbara Fox
Education Assistant
Timothy Gilfillan
Chief Preparator
Robert A. Harman
Associate Museum Registrar
Paul Herman
Associate Preparator
Susan James-Gadzinski
Assistant Curator
Elyssa B. Kane
Assistant to the Museum
Registrar and Rights and
Reproductions Manager
Cheryl A. Leibold
Archivist
Helen Mangelsdorf
Collections Care Specialist
Anne Monahan
Curatorial Assistant
Jacolyn A. Mott
Editor in Chief and
General Manager of
Publications
47
Virginia Norton Naude
Consulting Sculpture
Conservator
Serena Orteca
Word Processor and Label
Preparator
Rebecca Parmlee
Receptionist and Secretary
Gale Rawson
Museum Registrar
Judith Ringold
Education Program
Coordinator
Judith E. Stein
Curator and Morris
Gallery Coordinator
Jeanette M. Toohey
Assistant Curator
Suzanne Wheeling
Mat Cutter
Inez S. Wolins
Curator of Education
Administration
Development
Victor Chira
Vice President for
Development
Marguerite Leary
Administrative Assistant
Anne W. Adriance
Director of Annual Giving
and Membership
William M. Dingfelder
Director of Foundation and
Government Relations
Charlotte M. Higgins
Annual Giving and
Membership Assistant
Finance and Administration
Security
Donald W. McPhail
Vice President of Finance
Kenneth L. Cosby
Charles E. Crawley
and Administration
Marian E. Kirwin
Assistant to the Vice
President of Finance
and Administration
Timothy Dougherty
Office Services Manager
Adrienne D. Eichelburg
School Store Assistant
Joseph B. Fee
Senior Accountant
Frederick Kelley
Sales Manager
Theresa M. Kelley
School Store Assistant
Lora Kronik
Business Office Manager
Stephania L. Lestier
Museum Shop Assistant
Jackie Morfesis
Administrative Services
Assistant
Scott Thomas
]unior Accountant
Buildings Management
John D. Maguire
Maintenance Manager
Security Captains
Abdul Abernathy
Walter Brunson
John R. T. Calhoun
Marvin Davis
Frank J. Fritz
Albert Graham
Melvin Halsey
Eric Harper
Mildred M. Harris
Joseph T. Harrity
Edward R. Henderson
Oliver Hodges
George E. Kee
Thomas M. Kohlmann
Roosevelt Lewis
Matthew McClendon
John J. Michalonis
Carl A. Moore
Clyde Moore
Joseph Pacifico
Melvin B. Perkins
Dallas Philson
Edward W. Poole
William M. Souder
Harry L. Swinton
Anthony J. Travaglio
William Zaharchuk
Security Guards
© 1990 by the Pennsylvania
Academy of the Fine Arts, Broad
and Cherry streets, Philadelphia,
Pa. 19102.
Christine A. Bobb
Housekeeping Supervisor
Patricia Covert
Carol J. Della Penna-Tirante
Elliott Ebbett
Annual report prepared by
Frank H. Goodyear, Jr.
President
Jacolyn A. Mott
Editor in Chief
Housekeepers
William P. Hill
Chief Maintenance Mechanic
Lavoisier Lambright
Photographs by
Tony Atkin and Assoc.
I. George Bilyk
Will Brown
Rick Echelmeyer
Adam Gordon
Elliott Kaufman
Kelly & Massa
Joseph Nettis
Rosemary Ranck
Inez Wolins
Anthony Wood
Housekeeping Supervisor
Thomas Lulias
William J. McBurnie
Maintenance Mechanics
Steven Weigel
Housekeeper
Albert Young
Shipping and Receiving
Manager
Printed in the U.S.A.
48
ACADEMYT~~
FINE ARTS
1988&1989
PENNSYLVANIA
AO\DEMYT~~
FINEAATS
1988&1989
ANNUAL REPORTS
CONTENTS
BOARD OF TRUSTEES
2
CHAIRMAN'S REPORT
3
PRESIDENT'S REPORT
5
THE SCHOOL
11
THE MUSEUM
19
FINANCIAL STATEMENTS
CONTRIBUTORS
COMMITTEES
STAFF
47
40
43
34
Board of Trustees
as of December 31, 1989
Harold A. Sorgenti
Chairman
Charles J. Kenkelen
First Vice Chairman
and Treasurer
J. Roffe Wike
Second Vice Chairman
Bobette Leidner
Secretary
John B. Bartlett
George A. Beach
Eric Eichler
Caleb L. Fowler
Helen Gemmill
Milton Ginsburg
Barbara L. Greenfield
Samuel M. V. Hamilton
Frederick S. Hammer
Stephen B. Klein
Barbara C. Kligerman
Leonard 1. Korman
Daniel R. Kursman
Terrence A. Larsen
B. Herbert Lee
Charles E. Mather III
Harvey S. Shipley Miller
Allen J. Model
Dr. Charles W. Nichols
Vivian O. Potamkin
Lyn M. Ross
Margaret duP. Smith
Edna S. Tuttleman
Archbold D. van Beuren
Richard B.Worley
Trustees
Herbert S. Riband, Jr.
Anthony J. Rosati
Hon. Joan Specter
Ex officio
2
CHAIRMAN'S REPORT
The Pennsylvania Academy of the
Fine Arts has decided to publish its
annual reports on a biennial basis.
Thus, this publication contains the
reports for both 1988 and 1989.
When I last reported to you, in
1987, several of the plans formulated during the mid-1980s by the
Pennsylvania Academy's Strategic
Planning Committee were in their
preliminary stages. I am proud to
report that considerable progress
has been made toward achieving
these goals.
First, we have completed the $8.5
million purchase and renovation of
1301 Cherry Street into a state-ofthe-art school. Located just one
block east of our National Historic
Landmark building at Broad and
Cherry streets, the new facility was
dedicated on October 28, 1988.
During the past two academic
years, it has fulfilled its promise in
serving the School's needs. Second, we have implemented plans
to renovate behind-the-scenes
spaces in the Museum at the same
time that we introduce new services to our visitors. These projects
were buoyed by a $600,000 challenge grant from the National
Endowment for the Arts,
announced in 1989. Finally, we
have moved to secure a piece of
land on Cherry Street on which to
build a future museum wing. It is a
major goal of the Pennsylvania
Academy to have sufficient gallery
space to exhibit its permanent collection of American art and to continue its important program of
traveling exhibitions.
Harold A. Sorgenti
In order to accomplish these objectives, the officers and the Board of
Trustees, after careful evaluation,
approved the establishment of the
Third Century Fund to raise $15.2
million. As we work on this capital
fund drive, we are also seeking to
strengthen our annual-giving program to overcome shortfalls in
operating funds. Securing the
financial future of the Pennsylvania Academy is the top priority
for me, the Board of Trustees, and
the administration.
One of the Pennsylvania Academy's consummate strengths is the
dedication of its extraordinary volunteers - trustees, Women's
Committee, and other committee
members, as well as docents - who
make the Academy a far stronger
institution. As your chairman, I
am enormously grateful for this
support.
3
It gives me pleasure to record the
reelection to the Board of Trustees
in 1988 of Margaret B. English,
Milton Ginsburg, Barbara C.
Kligerman, Leonard I. Korman,
and B. Herbert Lee, and the election of Gary D. Alexander, Eric
Eichler, Caleb L. Fowler, and
Daniel R. Kursman. I acknowledge
with thanks those trustees whose
terms expired at the end of 1988:
George R. Burrell, Jr., Herbert S.
Riband, Jr., Margaret B. Schiffer,
and Robert G. Wilder. It also gives
me pleasure to record the reelection in 1989 of Daniel R. Kursman,
Vivian O. Potamkin, and Margaret
duP. Smith, and the election of
Terrence A. Larsen and Richard B.
Worley. I acknowledge with thanks
the support of those trustees whose
terms expired at the end of 1989:
Barbara L. Greenfield, Charles E.
Mather III, Dr. Charles W.
Nichols, and Lyn M. Ross. It is
with great sadness that I record the
death in 1989 of Margaret B.
English. I gratefully acknowledge·
the past work of the following
trustees who have tendered their
resignations: Gary D. Alexander,
Carpenter Dewey, William B.
Grala, and Frank R. Veale.
The Pennsylvania Academy is
blessed with a hardworking and
creative team of staff and faculty,
who daily make it a responsible and
responsive institution. I am pleased
to pay tribute to them as we work
in partnership to strengthen one of
the nation's greatest cultural
treasures.
Harold A. Sorgenti
Chairman
G reat Hall of Museum , upper level
4
PRESIDENT'S REPORT
This is our final report for the
1980s, a decade of high visibility
and rapid growth in all forms of art
in America. For those of us
involved in managing cultural
institutions, these were exciting
times.
The growth in the arts was paralleled by the growth in our own
institution. The staff increased.
Public programs expanded - and
with them, the audiences. Our
operating budgets doubled, and our
fund-raising efforts intensified.
All the while, expectations rose
in regard to the role of an educational institution in a city like
Philadelphia.
The decade of the 1980s also
resulted in difficult challenges. The
1986 tax reform act has adversely
affected the number of gifts of
appreciated property to nonprofit
organizations, notably works of art
to museums with permanent collections. This loss of tax advantages, coupled with the huge leap
in the prices commanded by American art, has reduced to a trickle
the number of gifts to museums.
Furthermore, the United States
Congress is currently considering
other types of tax legislation that
would be deleterious to not-forprofits, including an unrelatedbusiness income tax, as well as a
tax on endowment income. Unfortunately, the growth in corporate
support for the arts that took place
in the early 1980s has leveled off,
as the business sector addresses the
enormous needs of the disadvantaged, particularly in large metropolitan areas like Philadelphia.
The City of Philadelphia itself can
no longer make steady commit-
Frank H. Goodyear, Jr.
ments to fund cultural/educational
institutions such as ours, nor can
one expect growth in the immediate future in federal or state support
for the arts. In fact, with the
heated debate over the impending
reauthorization of the National
Endowment for the Arts, federal
funding is in limbo.
All of this points to serious challenges facing institutions like the
Pennsylvania Academy. It is imperative that we stand up and be
counted on the potential threat of
the acceptance by the National
Endowment for the Arts of even
the suggestion of censorship. Freedom of expression, but not public
obscenity, is the right of all Americans. As an institution and as individuals, we must become more
active politically; we can no longer
take for granted a widespread belief
that the arts bring richness and
fu llness to people's lives. We need
to convince our elected leaders of
that truth.
5
The mission of the Pennsylvania
Academy is broad: from conserving
our artistic heritage to serving the
largest public (both traditional and
nontraditional audiences) to providing state-of-the-art facilities for
the studio-arts program. In areas
usually associated with institutions
like the Pennsylvania Academyscholarly publications, display and
interpretation of works of art, educating art students - the Academy
performs at the highest level. I
believe, however, that we must do
more to position ourselves within
the mainstream of public, parochial, and private education systems in the Delaware Valley.
American art history and studio
arts are subjects that students must
be exposed to early in their education; institutions like the Pennsylvania Academy can, and should,
take steps to shape this experience.
It is one of the major challenges
that we face in the decade of the
1990s.
I have often reflected on the enormous "people power" at the Pennsylvania Academy of the Fine Arts:
staff, faculty, and volunteers. The
staff and faculty have my perpetual
gratitude for giv ing their strength
and expertise to securing the success of the Pennsylvania Academy's programs. I am equally
indebted to the hundreds of volunteers who donate their time and
effort to make the Pennsylvania
Academy work. The Board of
Trustees, led by an inspired chairman, Harold A. Sorgenti, has
brought about an enormous difference in the general welfare of our
lives. Similarly, I salute the Pennsylvania Academy's Women's
Committee, chaired by Barbara C.
Kligerman, for its considerable
support.
We have not come through the last
two years without the loss of some
very close associates of the Pennsylvania Academy, including
Margaret B. English, Joseph T.
Fraser, Jr., Lucy Glick, Louise
Nevelson, Michael Pearson,
Francis W. Speight, Lucy Stimson,
and Catherine Morris Wright.
Their belief in the importance of
the Pennsylvania Academy reenforces our living commitment to
make the Pennsylvania Academy
the best institution that it can be.
Frank H. Goodyear, Jr.
President
Fresh flowers grace the lobby of the
Museum and are renewed each week
through the generosity of an anonymous
donor who also gave this handsome
Chinese vase and oak pedestal
Entrance ro the Pennsylvania Academy's
exhibition Portraits Plain and Fancy at 1989
Philadelphia Antiques Show
6
Vice President for
Development's
Report
In 1988 and 1989, the development office at the Pennsylvania
Academy of the Fine Arts
embarked on an ambitious program to expand the institution's
philanthropic relationships. The
resulting revenues are summarized
as follows:
1988
1989
Board of Trustees/
trustees emeriti $
Members
Individuals
Corporations
Foundations
Government
182,375' $ 317,072"
329,263
458,182
441,986
225,528
327,220
354,650
658,692
371,999
398,402
430,882
$2,250,399 $2,245,852" ,
'Trustees also gave $39,073 for membership
, ' Does not include trustees' corporate gifts
" ' In addition to the above contributions,
$297,838 in pledges for prior years was
received, a total income of $2,543,690.
Contributions to the Third Century Fund
totaled $1,281,666.
There are several outstanding successes to report for 1989, the first
full year of the new development
program. The most dramatic lies in
the area of gifts from members of
the Board of Trustees. In 1988,
contributions by trustees for
restricted and unrestricted purposes and for the support of the
Pennsylvania Academy's annual
membership campaign stood at
$221,448. Just one year later,
under the leadership of Harold A.
Sorgenti and a major-gifts team of
board members led by Allen].
Model and]. Roffe Wike, giving by
trustees more than tripled to
$769,422. The statistical breakdown for this support is even more
Morris Gallery exhibitors with Museum staff at the gallery's tenth anniversary
celebration in 1988
revealing. It points to the trustees'
broad support of the Academy and
firmly establishes our board as one
of the strongest leadership groups
in the Philadelphia area. In 1989,
nine trustees contributed gifts of
$25,000 or more. Five of these gifts
exceeded $50,000. There were seventeen other gifts of $10,000 to
$24,999, and an additional eleven
gifts from $1,000 to $10,000.
7
Individual members of the board
also played an enormously
important role in stimulating corporate and foundation gifts at a
level that more truly reflected the
Pennsylvania Academy's unique
position as the oldest existing art
museum and school of fine arts in
the nation. Proceeding from the
1989 Major Exhibition Corporate
Sponsorship Program, six gifts of
Raphaelle Peale Still Lifes exhibition , 1989:
Top, Exhibition dinner
Center, Charles E. Mather III, Barbara Jordan , Lois McNeil, Dr. Henry A. Jordan ,
and Mary MacG regor Mather, arr iv ing on
opening night
Bottom, Edna S. Tuttleman, chairman of
the Committee for the Museum, with the
director, Linda Bantel , at reception
8
$50,000 or more were received for
current operating purposes. A special word of appreciation is due to
the trustees Samuel M. V. Hamilton and Archbold D. van Beuren
and trustee emeritus Herbert M.
Baum for their support of the Pennsylvania Academy's first Annual
School Dinner. This dinner, which
was supported by the Campbell
Soup Fund, proved to be the
strongest fund-raising gala of the
year, generating more than
$100,000 for the School's programs
and scholarships. Other gifts of
$50,000 or more were received
from the ARCO Chemical Company, CIGNA Foundation, Franklin Mint Foundation for the Arts,
Pew Charitable Trusts, and Philadelphia National Bank. The Pennsylvania Academy is grateful to the
trustees Harold A. Sorgenti, Caleb
L. Fowler, and Terrence A. Larsen
for their many efforts in making
these gifts possible. Also, many
thanks to Lynda and Stewart
Resnick of the Franklin Mint for
their support.
In 1988 and 1989, as part of the
Pennsylvania Academy's commitment to expand its base of individual supporters, several special
events were introduced. Individuals and corporations with a special
interest in the Museum were
invited to two gala dinners in connection with major exhibitions in
1989 - one in February for the
Raphaelle Peale Still Lifes preview
and the other in October for the
exhibition Making Their Mark:
Women Artists Move into the Mainstream, 1970-85. Both dinners
were great successes, enhancing
the Pennsylvania Academy's visi-
bility in the community while
deepening the involvement of
individuals in the life of the
Museum. As a special treat for
Museum members, the development office also introduced the
Director's Annual Holiday Season
Luncheon, at which members and
guests enjoyed holiday festivities
while receiving a preview of the
coming year's Museum programs
and exhibitions.
A special word of recognition and
appreciation is due the Women's
Committee and its president, Barbara C. Kligerman, for their outstanding special-events program in
1989. The Cassatt Ball, to celebrate the opening of the Rittenhouse, was clearly the highlight of
the Pennsylvania Academy's social
calendar. Several hundred guests
and friends participated in a full
schedule of activities, including
luncheon and a gala evening of
dinner and dancing. As in earlier
years, the Women's Committee
made an important contribution to
the success of the Pennsylvania
Academy's fund-raising.
In 1989, our first phone campaign
was organized to expand the base
of the Pennsylvania Academy's
supporters. Sixty volunteers,
including students, faculty, staff,
administrators, docents, alumni,
and friends of the Pennsylvania
Academy, called more than 2,000
prospects during ten nights. A total
of $19,564 was raised for the 1989
annual-giving and membership
programs.
For the future, our success in
achieving the goals set forth in the
9
Chairman's Report, as well as
ongoing efforts to increase support
for current operations, will depend
on the involvement and support of
everyone associated with the
Museum and the School of the
Pennsylvania Academy. The past
two years were important in sharply
defining specific roles that volunteers can play in moving these
activities forward.
Victor Chira
Vice President for Development
Students installing their art in annua l exhibition
10
1:HESCHOOL
For the School of the Pennsylvania
Academy, 1988 and 1989 were so
filled with growth and change that
they will probably be remembered
as years of exceptional progress and
vitality. After an extensive renovation of the building, the School
moved into 1301 Cherry Street.
The library expanded. Admissions
rose dramatically. Visiting artists
from Japan, Czechoslovakia, and
Wales were in residence. Saturday
classes open to the public were
added, as were summer evening
classes. Advanced seminars for
third and fourth year matriculated
students were offered for the first
time. A two-ton plaster cast of
Michelangelo's David was acquired
for the cast collection. The first
Annual School Dinner raised
$100,000. And plans for a graduate
program began to take shape.
1301 Cherry Street
The major challenge for the School
in 1988 was also its greatest opportunity: the design of state-of-theart studio facilities and the subsequent conversion of commercial
loft space into a contemporary art
school. The three department
chairmen, Daniel D. Miller, Peter
Paone, and Anthony Visco,
worked with another faculty member, Bruce Samuelson, and me to
plan the renovation in concert
with Hava J. Gelblum of the architectural firm PHH Environments.
Francis H. Foord of the engineering firm Barclay White Incorporated and Thomas J. Sullivan III
of the Sullivan Construction Company supervised the project.
The new building signifies a new
beginning for the School. It has
heralded the arrival of larger
classes composed of highly qualified students. And although it
fueled spirited controversy, even
that brought renewed vitality and
energy to the School community.
Frederick S. Osborne
The new school includes greatly
increased sculpture, printmaking,
and library space, a faculty/student
gallery, a working critique room,
cafeteria, conference room, school
offices, storage rooms, canvas-preparation room, faculty studios, more
individual student studios than
ever before, skylit group painting
studios, and centralized administrative offices. Now, for the first
time, the offices of the president,
development, finance, the Women's Committee, the dean, and the
school staff are assembled in one
complex.
The grand opening and ribbon-cutting ceremonies took place on
October 28, 1988. Faculty, students, staff, alumni, and trustees
joined the fun, along with local
dignitaries, including Congressman Thomas M. Foglietta, Mayor
W. Wilson Goode, Congressman
William H. Gray III, and Councilman James J. Tayoun. It was a
weekend of pomp and circumstance, parties, and an exhibition
of work by the Pennsylvania Academy's faculty.
11
By the fall of 1989, everyone
seemed acclimated. The cafeteria
became an inviting place for students, faculty, and staff to enjoy
good food and good company in a
cafe like setting with student artwork gracing the walls. An organized escort service greatly
improved security at night; and
thanks to the ARCO Chemical
Company, a van transports students and faculty to select locations
in the city every night on an hourly
schedule.
Some of the original plans have
already been modified to suit our
changing needs. A foundry has
been built in the sculpture department, and a studio exclusively for
works on paper has been added.
To benefit from the north light,
advanced figure modeling has been
moved to one of the studios
designed by Frank Furness and
George Hewitt in the Academy's
building at Broad and Cherry
streets.
With so much space available in
the new building, it seemed sensible to take advantage of it year
round. Thus, a program was established allowing students and
alumni to rent studio space at a
nominal fee during the summer
months. This effort has proved successful. It utilizes the space; offsets
the overhead; and provides inexpensive, short-term studios for
those who need them.
6. To assess library development,
the Committee for the School
has reestablished the Library
Committee. This committee,
which is to report to the dean,
will begin meeting in 1990 and
will be composed of the librarian, two trustees, two faculty
members, two Museum staff
members, one School staff
member, and one outside
librarian.
A generous grant from the Samuel
P. Mandell Foundation, received in
1988, provided the leadership for
funding library enhancements.
Admissions
Women's Committee members (from left) Ana Maria Keene, Jane F. Medveckis, and Ibitz
Dolan with Frederick S. Osborne at preview party for annual student exhibition
We are still working on improving
the ventilation and outfitting our
hallways so we can use them to
exhibit student work; but, for the
most part, the School facility
serves us well and reflects the positive spirit of the entire Academy
community.
areas that are outside the mainstream of American and European fine arts.
3. The librarian, Marietta Boyer,
has hired a full-time assistant,
whose duties include developing and cataloging the slide
collection.
Library
During 1988 and 1989, the School
reevaluated its library and made a
commitment to expand and
improve it. So far, the following
goals have been achieved:
1. Library space has been
increased by sixty-five percent.
2. Approximately 1,500 slides
have been added to the collection, bringing the total to
13,500. Our goal is 20,000
slides by September 1991. Of
paramount importance is to
broaden the subject matter,
paying particular attention to
4. A recently retired librarian from
Haverford College has been
engaged to plan the expansion
of the non-art collection and
upgrade the systems currently in
place.
5. The library has improved its reference collection, focusing on
the addition of such generalknowledge materials as the Dic-
tionary of American Biography,
the World Almanac, the Dictionary of Ideas, the Columbia Encyclopedia, and Collier's
Encyclopedia.
12
In 1988 the admissions office was
restructured to meet the challenge
of increasing enrollment while
maintaining the highest of standards. A new position was created,
dean of admissions; and Rosanne
Barrett was hired to fill it. As a
result, enrollment of new students
for the 1988-89 and 1989-90 academic years shows an increase of
forty-five percent over 1987-88,.
with more than twenty-nine states
and ten countries represented in
the student body.
Determined to attract the most
qualified students, the new dean of
admissions took a decidedly personal approach toward recruiting,
and she has cultivated strong relationships with prospective students. The admissions effort also
focused on recruiting students from
new locales and increasing communication with other art schools,
community colleges, and
uni versities.
Through ongoing contact and a
well-developed guidance system,
the admissions office can now thoroughly inform applicants about the
Pennsylvania Academy and prepare them for their experience
here. The dean of admissions meets
personally with every applicant
who is able to come to Philadelphia. Candidates who travel from
a distance stay overnight with
Academy friends or staff. This visit
is strongly encouraged because it
provides the best opportunity to
assess whether the individual will
contribute to and be well served by
the School.
Extension Programs
In tandem with the momentum
established by the admissions
office, enrollment in the evening
and summer schools increased by
twenty percent from 1987 to 1988
and by thirty percent from 1988 to
1989 - with commensurate
increases in income. The School
now serves more than 1,000 people
through these programs.
Now, in addition to independent
study with critics, third-year students must schedule at least one
seminar in draw ing and one in their
major, and fourth-year students
have the option to do the same.
the director of faculty and student
affairs, Julia Valenti, guidance is
now available to students by
appointment throughout the registration periods.
Seminars such as Conceptual
Drawing, Group Figure Draw ing,
and Site-Specific Sculpture have
been well received and have
provided students with the challenges of a more advanced level of
instruction. As an extension of the
upper-leve l seminars, a program
of criticism by a rotating panel
of instructors was established to
provide students with as many
points of view as possible. Every
appo inted faculty member can now
serve as a critic, so that students
have a larger pool from which to
choose.
The Visiting Artists Program ,
coordinated by Jan Baltzell, a faculty member, brought a wide range
of people and talents to the School
during 1988 and 1989. Among
those who lectured and critiqued
were the painters Janet Fish, Jane
Freilicher, Grace Hartigan, Robert
Kulicke, Gabriel Laderman, and
Nora Speyer; the sculptor Robert
Cronbach; the printmaker
Antonio Frasconi; and the critics
Dore Ashton and Theodore Wolff.
Visiting Artists
Also new is a more formalized system of academic advising. Under
the auspices of the chairmen and
During 1989, the brochure, advertising strategy, and curriculum were
upgraded. The following full-credit
courses were added to the evening
schedule: Metal Sculpture, Monotype, Media on Paper, Landscape
at the Horticultural Center, and
Cast Drawing and Modeling.
Shorter, noncredit classes were
offered on Saturdays. And a new
art history lecture series, presented
in conjunction with the Museum,
rounded out the roster for spring,
summer, and fall.
Academic Affairs
To enhance the advanced student's
third and fourth years, upper-level
drawing and painting seminars
have been added to the curriculum.
Learning to draw and paint the figure
13
Rounding out the Visiting Artists
Program were the graduation
speakers Jacob Lawrence (1988)
and Wolf Kahn (1989), who
offered rich personal insights to
the Academy community.
Faculty
The years 1988 and 1989 saw the
arrival of several new faculty members: Edna Andrade, Marjorie Portnow, and Claire Romano as critics,
and Linda Brenner, Stuart Feldman, Steven Nocella, and Steve
Weiss as sculpture instructors.
In the spring of 1989, after years of
extraordinary service to his students, Henry Pearson retired from
his position as instructor and critic.
To aid the faculty in their own
development, each year one or two
sabbaticals are granted. During
1988 and 1989, Daniel D. Miller,
Elizabeth Osborne, Bruce Samuelson, and Louis B. Sloan took
sabbatical leaves of one semester
each.
To augment the sense of community among faculty and students,
faculty members who have studios
in the new building participated in
an open house in 1989. It was so
successful that it will become an
annual event. Refreshments were
served as students, staff, and faculty went from studio to studio,
enjoying the works in progress, the
camaraderie, and the ambience of
the new facilities.
Student Activities
The students have been particularly active since the move to the
new building and have taken a
keen interest in the surrounding
community. Shortly after their
arrival in September of 1988, a
group of students contacted
Brother Malachy at Saint John's
Hospice on Race Street to find out
how they might help. What
evolved from that meeting is a
striking landscape mural that
graces the dining hall of the hos-
Wolf Kahn with 1989 graduates (from left) Liz Sloate, Anna Hyun Sook Paik, and Christine
Henderson
pice. Later, in 1989, the students
organized a silent auction to benefit
Saint John's. The evening was a
terrific success. The cafeteria was
filled with buyers, and $2,060 was
raised.
As Brother Malachy put it, "The
money and art works contributed
were most welcome but equally
important is the encouragement
we, Little Brothers of the Good
Shepherd, receive when we are
witness to the actions of kind,
caring people .... Anyone who
appreciates art knows what a lasting effect such beauty has on the
human spirit."
The general public must also
appreciate the beauty of our students' works of art, because attendance and sales at the Annual
Student Exhibition continue to
rise. N ineteen-eighty-nine was
marked by record-breaking attendance and nearly $100,000 in sales.
14
The number of prizes available to
students each spring is also growing. Six new prizes were added during 1988 and 1989, including the
Monotype Purchase Prize, the Gilbert M. Cantor Memorial Scholarship, the Melvin Paul and Pearl
Miller Carpel Award, the Jeanne
Culver Prize, the Deena Gu Prize,
and the Lance Roy Lauffer Memorial Prize.
Chief among the special opportunities for students were the Cape
May County Art League Internship
and the Hand Rehabilitation Center Holiday Card Competition.
The former provides a $1,500 stipend and a four-week teaching slot
at the Cape May County Art
League. The latter includes a purchase prize and the use of the
winning piece on the Hand
Rehabilitation Center's holiday
greeting card, which is mailed to
medical affiliates around the world.
Also presented were works by the
recent alumni James Conboy,
Annette De Ferrari, and Joanne
Grodin, and a solo exhibition of
pastels by the faculty member Edith
Neff. A show of paintings, prints,
sculpture, mixed media, and
whimsy collected by faculty completed the exhibition roster.
John B. Bartlett, chairman of the Committee for the School (left ), with committee member
Dr. Malcolm Campbell at opening of new building
Students with studios participated
in an open house like the one
hosted for faculty. The students'
event was also a great success and
a wonderful learning experience, as
well.
The School Gallery
The School's art gallery is an integral tool in the educational process
at the Pennsylvania Academy. It
serves primarily as a showcase for
student work and is thus critical to
the students' preparation as artists.
Each year the gallery also shows the
work of Academy faculty and, on
occasion, alumni and others whose
work complements the curriculum.
During the past two years, the most
significant outside exhibition
hosted by the School Gallery was
From Ashes to the Rainbow, an exhibition of works by Alice Lok
Cahana. A prisoner at Auschwitz
during World War II, Cahana uses
her art to communicate to the pub-
lic her memories of the Holocaust
and its aftermath. These works,
which traveled through the United
States under the auspices of the
ARCO Foundation, were dedicated to the Swedish diplomat
Raoul Wallenberg, a Christian who
saved thousands of Jews, including
Cahana's father, from Nazi death
camps. This display of intense
paintings and mixed-media pieces
opened at the Pennsylvania Academy on November 29, 1988. Alice
Cahana was present at the opening
and gave a gallery talk for students
the next day.
Other shows of note during 1988
and 1989 included a retrospective
of oil paintings by Quita Brodhead,
who attended the Pennsylvania
Academy during the twenties and
received much of her inspiration
from the teachers Arthur B.
Carles, Jr., and Henry McCarter.
15
Exhibition opportunities for students also exist outside of the
Pennsylvania Academy, and the
School continually strives to
develop them. Two major examples
are ongoing shows at the corporate
headquarters of Lanard and Axilbund, Inc., and participation in the
Rittenhouse Designers' Showcase,
sponsored by the Women's Committee of the Pennsylvania Academy in the fall of 1988.
First Annual School Dinner
The tremendous support that the
School enjoys from its public was
apparent once again at the close of
1989, when the first Annual
School Dinner raised more than
$100,000. Sponsored by the
Campbell Soup Fund, · this festive
affair included a mime, a calliope,
jugglers, strolling musicians, works
of art by the faculty, and lavish
table settings.
In a highlight of the evening, the
first Dean's Award for Distinguished Service to the School of
the Pennsylvania Academy of the
Fine Arts was presented to Daniel
D. Miller. He was honored for .
unfailing dedication to his students
and peers during twenty-five years
as a faculty member.. A prolific
painter, printmaker, and constructionist, Dan Miller has served as
acting dean of the School, chairman of the painting department
(his present position), dean of faculty, and chairman of innumerable
New school gallery, 1988 facu lty exhibition
16
committees. The School looks forward to continuing this inspired
and fruitful association.
Also honored was the preliminaryyear student Geoffrey Johnson. He
received the Campbell Soup Fund
Scholarship, which will cover full
tuition for his intermediate year.
Graduate Program
In the long run, the initiative
begun during these two years to
establish the Pennsylvania Academy as a degree-granting institution may be the most significant.
Since its founding, the School has
been proudly nondegree-granting.
In the twentieth century, however,
credentials have become increasingly important. In accord with the
Academy's mission to occupy a
contemporary position in the art
world and the School's mandate to
focus solely on the fine arts, it
seems appropriate to offer a graduate degree as a service to those individuals who wish to earn one.
A Word of Thanks
When one reflects on two years'
achievements, the realization of
how many people are responsible
for the School's success is staggering. There is no way to thank
adequately everyone who has contributed to our growth and welfare.
Nevertheless, the staff, faculty, and
students join me in expressing deep
appreciation to the Board of Trustees, particularly Harold A. Sorgenti, chairman; to the Committee
for the School and John B. Bartlett, its chairman; and to the Women's Committee and Barbara C.
Kligerman, its president. Without
them, many of the accomplishments listed in this report would
not have occurred.
Frederick S. Osborne
Dean and Director of the School
This program will begin in the fall
of 1991. Applications are being
accepted now, and a search for faculty has begun. The graduate program will reflect the same standards
and principles currently espoused
by the certificate program and will
similarly focus on the studio activities of drawing, painting, sculpture, and printmaking through a
system of independent study, seminars, and criticism.
17
Tom's River Yacht Club by John Frederick Peto, 1904
18
THE MUSEUM
This annual report, because it
marks the end of one decade and
the beginning of another, provides
an opportunity to reflect upon past
accomplishments and look to
future goals. Throughout the
1980s, our focus was on the permanent collection. We researched and
reevaluated over 1,700 paintings,
300 sculptures, and 12,000 works
on paper to prepare for the computerization of our records and for
forthcoming publications. In that
process, we also assessed the condition of each object to establish
priorities for the conservation of
the collection as a whole.
Collections
By 1985 the conservation of the
sculpture collection had been completed under the direction of
Virginia Norton Naude. Then we
turned our attention to the paintings. We upgraded the paintings
conservation laboratory with stateof-the-art equipment, thanks to
the Pew Charitable Trusts. The
new apparatus includes an optical
microscope, an infrared Vidicon
camera, renovation of the spray
booth and ductwork, and a humidification/suction table. As a result,
during the last two years, the
laboratory, supervised by Mark
Bockrath, has become a respected
training center. Interns come from
the University of Delaware/Winterthur Museum and Buffalo College art conservation programs,
two of the preeminent such programs in this country. Over 900
works have been examined. We
also equipped a special area of the
laboratory to repair frames and provided training for the staff so that,
when a painting is conserved, its
frame can be treated at the same
time. Serious conditions and aesthetic problems of scale or incongruity of style are prioritized and
eventually referred to appropriate
The curators continued to research
and write on every aspect of the
collection: Susan Danly on painting, Susan James-Gadzinski on
sculpture, and Jeanette Toohey on
graphics. In 1989 an illustrated
checklist of the paintings collection, compiled by Nancy FresellaLee, was edited and produced by
Jacolyn Mott. It was the first such
catalogue ever published by the
Pennsylvania Academy. We are
enormously grateful to the Pennsylvania Historical and Museum
Commission, the Henry Luce
Foundation, and the Andrew W.
Mellon Foundation for their support of this important project.
Linda Bantel
outside consultants. Art on paper
was similarly examined, catalogued, and assessed for conservation. As in the past, objects with
severe problems were sent to Philadelphia's Conservation Center for
Art and Historic Artifacts. Many
works, however, required only
minor treatment that could be
done in-house. For this purpose, we
created a new program in which
the Conservation Center trains a
Pennsylvania Academy technician
and oversees the remedial treatments made at the Academy. The
training program was funded initially by the National Endowment
for the Arts, and the new space was
equipped through funds provided
by the William Penn Foundation.
As a result of this training, the
Pennsylvania Academy has a
paper specialist on staff, Helen
Mangelsdorf, who can monitor the
collection more efficiently, check
objects being lent to temporary
exhibitions, and analyze the condition of proposed acquisitions prior
to purchase.
19
The Pennsylvania Academy's
renowned archives formed another
hub of activity. The archivist,
Cheryl Leibold, worked with
Sound View Press of Madison,
Connecticut, which published a
three-volume index to the annual
exhibitions held at the Academy
from 1807 through 1968. Another
publication, A Guide to the Manuscripts in Charles Bregler's Thomas
Eakins Collection, was written by
the Eakins expert and former
Academy curator Kathleen Foster
and Ms. Leibold. It was published
by the University of Pennsylvania
Press and supported by a grant from
the Henry Luce Foundation. To
accompany this major contribution
to Eakins scholarship, a microfiche
edition of the manuscripts in the
collection was also produced. In
addition, Ms. Leibold oversaw the
accessioning, cataloging, and conservation of over 1,400 photographs from the Bregler collection.
This last project was partially
funded by the John J. Medveckis
Foundation.
Dr. Howard Steel by Will Barnet, 1987
Acquisitions
The collecting philosophy articulated by the Pennsylvania Academy in 1985 - to acquire
American art exclusively - provided the framework for all acquisitions. In 1988 and 1989, we
acquired fifty-three objects. Many
were by Philadelphia artists, whose
works form one of the great
strengths of the Academy's collection. Thirty-one of these acquisitions were gifts. A portrait of Dr.
Howard Steel painted by Will Barnet was an important gift and
added breadth to our representation of the work of this artist, who
taught at the Pennsylvania Academy from 1967 to 1988. We
received a wonderful group of
prints from the Brandywine Workshop of Philadelphia. From the
annual Academy Fellowship exhibition, we purchased an encaustic
painting by Mark McCullen and
from Morris Gallery exhibitions,
works by Maurie Kerrigan, Martha
Zeit, and Barbara Schwartz. We
also added works by Betye Saar and
Lowry Burgess, both of whom had
created site-specific installations in
the galleries. Two major twentiethcentury paintings were bought dur-
Let Us Celebrate While Youth Lingers and Ideas Flow by Ree Morton, 1975
ing this period. Let Us Celebrate
While Youth Lingers and Ideas Flow
is one of Ree Morton's most
important works. Shortly after our
purchase, it was included in the
exhibition Making Their Mark:
Women Artists Move into the Mainstream, 1970-85. Morton, who
received her master of fine arts
degree from the Tyler School of Art
in 1970, forged a new synthesis
between painting and sculpture
and made an early and significant
contribution to the pattern-anddecoration movement of the midseventies. Thanks to a grant from
the National Endowment for the
20
Arts and matching funds from Mr.
and Mrs. Charles E. Mather III, we
were able to acquire a work on four
canvases entitled Second Small
Quartet by Mel Bochner. This is an
excellent example of his robust
style of the late 1980s, which creates tension between geometric
shapes and abstract fields of expressive brushwork. In our continuing
effort to expand the number of
works in the collection by
important American artists in midcareer, we were also fortunate to
acquire a major print by Jennifer
Bartlett, another participant in our
Making Their Mark exhibition.
Shadow by Jennifer Bartlett, 1984
Entitled Shadow, the 1984 work on
four sheets of paper is one of several
versions done over many years of
the view from a window overlooking the pool behind a villa in
France. The print was bought
partly through a contribution by
the Collectors' Circle, a group of
Academy members whose dues provide the funds to purchase a work
of art every two years for the Museurn's collection. This singular category of membership was founded
by Vivian Potamkin. As the chairman, she continues to provide
vibrant leadership.
Two purchases were directed
toward filling gaps in our late nineteenth and early twentieth century
still-life collection. The major purchase was John Frederick Peto's
1904 oil entitled Tom's River Yacht
Club. Peto was one of the foremost
figures working in the trompe l'oeil
tradition during this period. He
spent his early years in Philadelphia, where he studied briefly at
the Pennsylvania Academy. This
painting, commissioned by the
Philadelphian J. H. Stoutenburgh
to commemorate his twenty years
as commodore of the Tom's River
Yacht Club, contains many references to Stoutenburgh, including
his initials, his photograph, his
Second Small Quartet by Mel Bochner, 1988
21
Beaux entitled Les Derniers lours
d'Enfance, 1883-85, was donated
anonymously. This portrait of
Mrs. Henry S. Drinker and her son
Henry S. Drinker, Jr., won the
Mary Smith Prize for the best
painting by a woman artist at the
Pennsylvania Academy's annual
exhibition in 1885. It was also
shown at the Paris Salon of 1887,
a rare honor for an American
woman. The gifts of this painting
and the artist's palette, together
with the fortunate purchase of a
rare and important pastel,
strengthen the Academy's position
as a major repository of the work
of Cecilia Beaux.
Exhibitions
We continued to strike a balance
between historical and twentiethcentury artists and between oneperson and thematic shows. The
exhibition American Frontier Life:
Les Derniers lours d'Enfance by Cecilia Beaux, 1883- 85
club membership card, and an
envelope addressed to him. The
frame is said to have been made by
the acclaimed arts and crafts furniture designer Gustav Stickley.
While we have two earlier paintings by Peto in the collection, this
is the first that represents the artist
in this flat abstracted style. Purchased at the same time was A New
Variety, Try One, a whimsical
depiction of almonds by DeScott
Evans.
A New Variety, Try One by DeScott Evans,
1887-90
Because of the change, beginning
in 1986, in the tax laws regarding
gifts of appreciated property, donations of art to museums across the
country have declined dramatically. Our museum is no exception.
Thus, when we do receive a gift of
major significance, it is especially
gratifying. Such a gift occurred in
1989. An early painting by Cecilia
22
Early Western Paintings and Prints
focused on a unique moment in
pre-Civil War America and offered
wonderful programs for families,
thanks to the generosity of the
Stockton Rush Bartol Foundation
and the Pennsylvania Humanities
Council. The highlight of the summer of 1988 was the unique collaborative installation Matter of Time.
Twelve Philadelphia artists filled
the main galleries with a multimedia extravaganza to celebrate
the tenth anniversary of the Pennsylvania Academy's Morris Gallery. This exhibition was the first
of three at local museums in a program called Philadelphia Art Now,
underwritten by the William Penn
Foundation to provide greater visibility for Philadelphia artists. The
Morris Gallery's anniversary was
also celebrated by the publication
of a book entitled Searching Out the
Best that featured, in full color,
recent works by eighty-six of the
local artists who had been invited
to show in the gallery during the
past ten years. The book presented
comments by each of the artists
and essays about the Morris Gallery
and the history of collecting at the
Pennsylvania Academy. The publication was made possible by the
Marian Locks Foundation, the
William Penn Foundation, and
Catherine Morris Wright. The
Morris Gallery, under the direction
of Judith Stein, continued its
dynamic schedule of six annual
shows fe aturing artists from our
region. Furthermore, in the Pennsylvania Academy's main galleries,
two contemporary artists who work
in New York were each given a
show: a fifteen-year retrospective of
the relief abstractions of Judith
Rothschild in 1988 and a ten-year
retrospective of the sculpture,
prints, and drawings of Mary Frank
in 1989. These two exhibitions and
the Morris Gallery program reflect
the Pennsylvania Academy's historical commitment to living
American artists.
There were important institutional
collaborations as well - with the
Newport Harbor Art Museum in
California in 1988 for the exhibition Figurative Fifties: New York Figurative Expressionism and with the
National Gallery of Art in Washington, D.C., in 1989 for the exhibition Raphaelle Peale Still Lifes.
Both projects extended the Pennsylvania Academy's reputation
outside our immediate area by virtue of shared publicity and nationally distributed catalogues. Such
collaborations are rewarding in
many ways. They forge new relationships; and, by sharing curatorial expertise and institutional
resources, they enhance the contributions that each participant can
make .
Judith Rothschild (left) at opening of her 1988 retrospective exh ibition with trustee Harvey
S. Shipley Miller and doce nt Susan Behrend
Artists George McN eil and Jay Milder with Academy curator Judith E. Stein at opening of
The Figurative Fifties exh ibition, 1988
Vivian and Meyer P. Potamkin at the openin g of the 1989 exh ibition of their collection
of American art, with Linda Bantel
23
In the summer of 1989, the Pennsylvania Academy was particularly
fortunate to have the opportunity
to exhibit one of the premier private collections of American art in
the United States. This Philadelphia collection, assembled by
Vivian and Meyer P. Potamkin,
attracted more than 20,000 visitors, the highest summer attendance in four years. It was followed
in the fall by Making Their Mark:
Women Artists Move into the Mainstream, 1970-85. The show, organized by guest curators Randy
Rosen and Catherine C. Brawer,
was a tribute to the unusually high
number of women artists who came
to professional maturity and prominence during the seventies and
early eighties. A traveling exhibition, it was seen on the East Coast
only at the Pennsylvania Academy.
Children discovering new ways to look at
art during a special gallery program
As Making Their Mark was opening
in Philadelphia, Paris 1889: American Artists at the Universal Exposition, another exhibition organized
by the Pennsylvania Academy,
opened at the Chrysler Museum in
Norfolk, Virginia. It was the Academy's contribution to the bicentennial of the French Revolution.
The guest curator, Annette
Blaugrund , located many of the
American works that had been displayed in Paris at the 1889 World's
Fair, which celebrated the centennial of the Revolution. The largest
showing of contemporary art held
in Europe up to that time, the exhibition proved significant for the
Americans, who developed an
appreciative international audience. In 1990, the show will travel
to the Pennsylvania Academy, the
Memphis Brooks Museum of Art,
and the New-York Historical Society. Harry N. Abrams published
the catalogue for the Academy.
A second outside exhibition was
mounted by the Pennsylvania
Academy in 1989. Susan Danly
organized a small show entitled Portraits Plain and Fancy: American
Portraiture, 1760-1840 for the
Philadelphia Antiques Show. It
focused on paintings that are rarely
on view in the Academy's galleries
because of lack of space. The exhibition presented us with a welcome
opportunity to collaborate with
another venerable Philadelphia
institution, the Hospital of the
University of Pennsylvania, which
sponsors this annual antiques show.
It also afforded the occasion to
research some of the fine examples
of American folk portraits in our
collection and, through the exhibition and the published catalogue,
share the findings with a wide
public.
24
Education
In the past two years, attendance
increased from 42,989 to 62,794
visitors. As the audience grows, we
are intensifying our efforts to
develop exciting projects and to
make the educational content of
the Museum more accessible. In
August 1988, we hired Inez
Wolins as curator of education.
She has ten years of experience in
teaching about art in museum and
classroom settings. Under her
direction, several new events for
adults were introduced: a monthly
lunchtime lecture series for the
downtown business community;
feature and documentary films
related to the exhibition program;
and an active roster of credit and
noncredit continuing education
classes in the history of art, taught
by outside consultants and the
curatorial staff. Family activities
included performances, workshops
The dynamic storyteller Linda Goss
captivating children and adults alike at a
program for the 1989 exhibition of Mary
Frank's sc ulpture , prints, and drawings
fostering parent-child communication, and an expanded vacation art
camp. Over twenty-five percent of
our visitors in 1989 participated in
one of these special programs.
Area teachers brought 124 groups
to the Museum. Thanks to the support of the Dolfinger-McMahon
Foundation, we created slide packets and lesson ideas to help teachers
prepare their students for the visit.
More than 3,000 students were
able to come to the Pennsylvania
Academy from public schools in
Philadelphia and southern New
Jersey because of transportation
grants from the Philadelphia Foundation and the Campbell Soup
Fund.
Our volunteer docents conducted
629 tours for 11,238 visitors. Their
educational skills were enhanced
by weekly lectures, discussions, and
tour-strategy workshops. Committees of docents completed a new
handbook of Museum policies and
practices, offered expanded training sessions, and organized study
trips to keep abreast of art exhibitions in the area. Volunteers and
interns continued to augment the
work of the professional staff and
provided invaluable assistance to
the education department.
To try to make more people aware
of all the Pennsylvania Academy
has to offer, we increased from
7,000 to 35,500 the number of
nonmembers to whom we send brochures announcing programs.
During the coming year, we will
automate these lists to strengthen
communication with our public.
Funding
As can be seen throughout this
report, the financial support of private foundations, corporations,
and individuals was instrumental in
enabling us to present expanded,
quality programs. Support of the
exhibition schedule was augmented
by the Pew Charitable Trusts. Federal and state granting agencies also
supported exhibitions, conservation, and educational projects.
General operations were supported
by the City of Philadelphia, the
Pennsylvania Council on the Arts,
and, in 1989, the Institute of
Museum Services, a federal agency.
In an era of escalating costs, all
these sources were critical not only
in maintaining the quality of our
programs but also in expanding our
service to the community.
Also in 1989, the Museum was
honored to be awarded a Challenge II grant of $600,000 by the
National Endowment for the Arts.
It is the largest such grant that the
Museum has ever received. Only
two other visual arts institutions in
the country were given higher
awards. This grant and the funds
that must be raised to match it will
increase the Pennsylvania Academy's endowment and help in a renovation designed by Tony Atkin
and Associates that will create
larger and more efficient spaces for
Museum staff, art storage, and the
conservation of works on paper.
The plans also include redesigning
the front interior of our National
Historic Landmark building to provide enhanced public areas, a
much-needed eating facility, a
more commodious museum shop;
and a lobby area with more seating,
clearer signs, and easy access to
information about the building,
25
upcoming exhibitions, and public
and educational programs.
Looking Ahead
As a result of the comprehensive
curatorial and conservation work
done on the collections during the
1980s, the Museum - with its
highly trained professional staff is well prepared to interpret American art for a diverse and expanding
audience. As we go forward into
the 1990s, our most exciting challenge will be the planning of a new
wing that will enable us at last to
display on a permanent basis the
riches of the Pennsylvania Academy's renowned collection, representing 250 years of American art.
Neither the accomplishments nor
the goals set forth in this report
would be possible without dedicated staff and volunteers; a
dynamic Board of Trustees, particularly the chairman, Harold A.
Sorgenti, and the Committee for.
the Museum and its chairman,
Edna S. Tuttleman, and vice chairman, Charles E. Mather III; and
generous supporters in government, charitable organizations,
and the community. I am deeply
grateful to them all.
Linda Bantel
Director of the Museum
Acquisitions
1988
GIFTS
Will Barnet
Dr. Howard Steel, 1987
Oil on canvas
Gift of Howard H. Steel,
M.D., and Elizabeth Clack
Steel, 1988.22
Cecilia Beaux
Artist's Palette
Wood
Gift of Cecilia D. Saltonstall,
1988.17.1
William Birch
After a Battle, 1817
Enamel on copper
Arch Street Ferry, 1801
Watercolor on paper
Springland: The Artist's Residence, after 1798
Enamel on copper
Bequest of Constance A.
Jones, 1988.16.1-3
Max Gimblett
Three untitled paintings
Acrylic, polymer, and metallic pigments over pencil on
paper, 1987
Inks on handmade paper,
1985 (two works)
Gift of Janet Anderson and
Roger Abrahams, 1988.2.1-3
James McBey
Charles Copeland, 1930
Etching on paper
Gift of Mrs. Lammot duPont
Copeland, 1988.11
Robert Morris
Untitled, 1987
Photo-silkscreen on paper
Gift of Dr. Claire Fagin,
1988.20
Harry Nadler
Untitled, 1987
Watercolor on paper
Gift of the artist, 1988.23
Barbara Schwartz
Photograph of William H. Macdowell by Thomas Eakins, ca. 1884
Ariel, 1984
Bronze with patina and oil
paint
Gift of Aladar Marberger and
Lawrence diCarlo, 1988.24
Arthur B. Caries, Jr.
Reclining Female Nude, after
1915
Etching on paper
Gift of Stephen J.
Casamassima, 1988.26
Andy Warhol
Merce Cunningham I, 1974
Screenprint on Japanese giftwrapping paper
Gift of N. Richard Miller,
1988.4
H. Francis Criss
Colonel Samuel R. Rosenbaum,
1933
Neil Welliver
Alexander H. Wyant
Little Marsh, 1986
Landscape Sketch with River
and Cows
Oil on paper mounted on
cardboard
Gift of Theodore T. Newbold
and Helen Cunningham,
1988.15
Sixteen-color woodcut on
Japanese tissue paper
Gift of the artist, 1988.12
Kate Wilson
Carnegie Art Institute Medal of
Honor of the Third Class, 1896,
awarded to Cecilia Beaux
Bronze
Gift of Cecilia D. Saltonstall,
1988.17.2
Oil on canvas
Gift of D. Hugh Rosenbaum,
1988.18
Catherine Morris Wright
Daniel Garber
String Quartet, 1936
Walter H. Gardner, 1922-23
Watercolor with chinese
white over pencil on paper
Gift of Ellen Saltonstall and
Robert Kushner, 1988.25
Charcoal on paper
Gift of Walter H. Gardner,
1988.1
26
Martha Zeit
Three prints, Dream # 1,
Dream #2, Dream #3, 1987
Monoprint, fabric, stitching,
Prisma color, and glitter on
paper
Gift of Mr. and Mrs. Meyer
P. Potamkin, 1988.3.1-3
PURCHASES
Edwin Austin Abbey
The Eve of Saint Agnes: "They
Glide like Phantoms, into the
Wide Hall," 1879
Ink wash and chinese white
on paper
JohnS. Phillips Fund, 1988.9
Claes Oldenburg
Oberlin Project: An Alternate
Proposal for an Addition to the
Allen Memorial Art Museum,
1979
Etching on paper
John S. Phillips Fund,
1988.14
Betye Saar
Oscar Bluemner
Ascension, 192 7
Watercolor and chinese white
on paper
John S. Phillips Fund, 1988.5
Lowry Burgess
Slipping from Paradise, 1986
Mixed media on handmade
paper with custom frame
Funds provided by Marion
Stroud Swingle and the
National Endowment for the
Arts, 1988.21
Montreal Cup, 1986
Mixed media on linen
Joseph E. Temple Fund,
For the Archives
1988.6
GIFTS
Thomas Eakins and others
of his circle
Photographs, Prints, Casts,
Drawings, and Manuscripts
Funds provided by Pennsylvania Academy Women's
Committee, 1988.10.1 +
Paul Landacre
August Seventh, 1936
Wood engraving on Japanese
paper
John S. Phillips Fund, 1988.8
Bertha Boynton Lum
Rain, 1908
Letters from Susan
Macdowell Eakins and
Elizabeth Macdowell Kenton
to Julius Rauzin, 1925-45
Gift of Julius Rauzin
School publications and
photographs of students,
ca. 1930
Gift of Betty Geasland
Interview with Harry Rosin
and Isabel Bishop, ca. 1952
Sixteen-millimeter film
Gift of the School of the
Pennsylvania Academy of the
Fine Arts
Color woodcut on Japanese
paper
John S. Phillips Fund, 1988.7
PURCHASES
Ree Morton
Sixty-two photographs and a
small group of manuscripts
relating to Thomas Eakins,
Let Us Celebrate While Youth
Lingers and Ideas Flow, 1975
Celastic and oil on canvas
and wood
Academy Purchase Fund,
1988. 13a-g
Slipping from Paradise by Betye Saar, 1986
1880-1900
Funds provided by the
Women's Committee of the
Pennsylvania Academy of the
Fine Arts
Oberlin Project: An Alternate Proposal for an Addition to the Allen
Memorial Art Museum by Claes Oldenburg, 1979
Lease agreement on part of
the Academy's Chestnut
Street lot, 1809
Academy purchase
27
Acquisitions
James Dupree
Triangular Weez II, 1988-89
1989
Offset lithograph and
serigraph on paper
Gift of the Brandywine
Workshop, 1989. 14.3
GIFTS
Allan Edmunds
Benny Andrews
Amen Corner, 1985
Offset lithograph on paper
Gift of the Brandywine
Workshop, 1989. 14.4
Dr. ]., 1987
Offset lithograph and
serigraph on paper
Gift of the Brandywine
Workshop, 1989. 14.5
Lucy Glick
Cecilia Beaux
Reflections of Venice, 1988
Les Derniers lours d'Enfance,
Watercolor, graphite, pastel,
oil pastel, and collage on
paper
Gift of the Fellowship of the
Pennsylvania Academy of the
Fine Arts, 1989 .3
1883-85
Oil on canvas
Anonymous partial gift,
1989.21
Gershon Benjamin
Milton Avery, undated
Oil on canvas
Gift of Gershon Benjamin
Foundation, 1989.20
Willie Birch
Promise Land, 1985
Offset lithograph on paper
Gift of the Brandywine
Workshop, 1989.14.1
Adolphe Borie
Thirty-six Drawings
Various media on paper
Gift of Peter Borie,
1989. 12.1-36
Elizabeth Catlett
Malcolm X Speaks for Us,
1969
Color linocut on paper
Gift of the artist, 1989.11
Keith Morrison
Dance in America: Folk Ritual,
1985
Offset lithograph on paper
Gift of the Brandywine
Workshop, 1989.1 4. 2
Helen Biddle Griscom by Cecilia Beaux, 1893
Philip Pearlstein
Nude on a Hassock, undated
Color lithograph on paper
Gift of Jay Massey, 1989. 13
Catherine Morris Wright
Three paintings, Frank Adler
[and Catherine Drinker
Bowen ?]' Ernest Brown,
Violinist, 1935
Gouache over graphite on
gray paper
Gift of Anna TempletonCofill, W. Redwood Wright,
Ellicott Wright, and Harrison
M. Wright, 1989 .19. 3 ,2,1
Earl Tomlinson Donelson
My Mother (Mrs. Lav inia
Blackfan Donelson), ca. 1933
Oil on canvas
Bequest of the artist, 1989.22
28
PURCHASES
Jennifer Bartlett
Shadow, 1984
Etching and engraving (seven
plates ) on paper
John S. Phillips Fund and
funds provided by the Collectors' C ircle, 1989.15
Mel Bochner
Second Small Quartet, 1988
Oil on four canvases
Funds provided by the
National Endowment for the
Arts and Mr. and Mrs.
Charles E. Mather III,
1989.7a-d
Jim Dine
Cecilia Beaux
Helen Biddle Griscom, 1893
Pastel on gray paper
John S. Phillips Fund,
1989. 16
Pink Chinese Scissors,
1974-76
Hand-colored etching on
paper
John S. Phillips Fund, 1989. 5
Arthur Wesley Dow
!talo Scanga
August Moon, after 1898
Untitled (Pax with Dog),
1986
Oil on wood
John Lambert Fund and by
exchange with the artist,
1989.9
Five-color woodcut on heavy
Japanese paper
John S. Phillips Fund, 1989.6
DeScott Evans
A New Variety, Try One,
1887- 90
Oil on canvas
Funds provided by the daughters of Mary W. F. Howe,
1989.2
Lucy Glick
. '.
.
'.' -.
:1 "
;
..
L'~
William T. Wiley
For M. Wand the Pure Desire,
1985
Watercolor, pen and ink, and
colored pencil on paper
John S. Phillips Fund,
1989.17
Skulls , Tears, and Chattering
Tongues, 1987
Watercolor, pastel, and collage on paper
John S. Phillips Fund, 1989.4
For the Archives
GIFTS
Perry Gunther
Tziquin, 1989
Acrylic and marble dust on
wood
Henry D. Gilpin Fund,
1989.18
Maurie Kerrigan
Slow Passage Suite, 1988
Oil on silk, and wood
John Lambert Fund and funds
provided by Mr. and Mrs.
Meyer P. Potamkin,
1989.10a-h
Album containing seventytwo carte de visite photographs
of friends and family of
Thomas Eakins, 1860-90
Gift of Guido Castelli
Pink Chinese Scissors by Jim Dine, 1974-76
Four photographs of student
groups, ca. 1918
Gift of Davis Meltzer
Commercial postcard
showing Pennsylvania
Academy of the Fine Arts,
early 1900s
Gift of Mrs. Alma Cohen
Mark McCullen
Fountain, 1988
Encaustic on canvas
Pennsylvania Academy Purchase Prize from the 1988
Annual Fellowship Exhibition, 1989.8
John Frederick Peto
Tom's River Yacht Club, 1904
Oil on canvas
Purchased with funds from
the bequest of Henry C.
Gibson, 1989.1
Invitation to artists' costume
ball, 1916
Gift of the University of New
Mexico Library
Ten American Painters
exhibition catalogue and
eight newspaper clippings
about the exhibition, 1908
Gift of Ira Spanierman
Gallery
Malcolm X Speaks for Us by Elizabeth Catlett, 1969
29
Exhibitions
theme, the passage of time, which they explored through
video art, constructions, paintings, sculpture, photography,
and dance. The artists were Steven Beyer, Constance
Coleman, Alan Powell, Cheryl Gelover, Thomas Murray,
Mitchell Smith, Ralfka Gonzalez, Steve Krieckhaus, Eileen
Neff, Peter Rose, and Donald and Edward Waisnis. The
exhibition was supported by a grant from the William Penn
Foundation, as part of its Philadelphia Art Now project.
The Museum is supported by grants from the Pennsylvania
Council on the Arts and the City of Philadelphia.
1988
Figurative Fifties: New York Figurative Expressionism
October 14 through December 31
American Frontier Life: Early Western Paintings
and Prints
January 29 through April 22
This was the first comprehensive exhibition to explore figurative painting as an alternative to abstract expressionism.
It comprised seventy-five works by thirteen artists, including Alex Katz, Willem de Kooning, Robert Goodnough,
Jackson Pollock, Fairfield Porter, and Larry Rivers. The
exhibition was organized by the Newport Harbor Art Museum in California in cooperation with the Pennsylvania
Academy. It was funded by the Irvine Company of Newport
Beach and the National Endowment for the Arts, a federal
agency. In Philadelphia, the exhibition was supported by a
generous grant from the CIGNA Foundation and the Pew
Charitable Trusts. A full-color catalogue accompanied the
show.
For firsthand accounts of frontier life before the Civil War,
we are indebted to artists like George Caleb Bingham,
George Catlin, and Seth Eastman, who lived among the
Indians, trappers, and settlers. Approximately sixty paintings and prints, portraying both the history and romance
of the West, were featured in this exhibition. It was organized by the Buffalo Bill Historical Center in Cody, Wyoming, and the Amon Carter Museum in Fort Worth, Texas,
with generous support from the Henry Luce Foundation,
an anonymous donor, the Boulevard Mortgage Company,
Mr. and Mrs. Meyer P. Potamkin, Mr. and Mrs. Stephen
B. Klein, and the John Sloan Memorial Foundation. A
204-page catalogue was supported by a grant from the Luce
Fund for Scholarship in American Art, a program of the
Henry Luce Foundation.
1989
Eighty-seventh Annual Student Exhibition
May 14 through June 12
Natural Histories: Mary Frank's Sculpture, Prints,
and Drawings
January27 through April 16
More than 400 works in all media were exhibited by the
eighty upperclassmen of the Pennsylvania Academy. Seventy prizes were awarded, including many prestigious scholarships and travel prizes. The Women's Committee held its
annual student exhibition preview party, which offers patrons an early opportunity to view and purchase works.
Contributions benefited the Student Scholarship Fund.
Best known for clay sculpture, Mary Frank has been increasingly recognized for innovative monoprints, drawings,
bronze and plaster sculpture , paintings on metal plates, and
collages. The human, animal, and plant forms in this exhibition were endowed with mythical and metaphorical qualities. The show was organized by the DeCordova and Dana
Museum and Park in Lincoln, Massachusetts, With funding
from the Massachusetts Council on the Arts and
Humanities.
Judith Rothschild: Relief Paintings, 1972-1987
June 17 through September 18
Elegant and graceful abstractions filled the gallery with
color. The paintings comprised Rothschi ld's experiments
with textured collage built up on canvas. The catalogue
that accompanied the exhibition was made possible by
grants from the Arcadia Foundation and the MillerPlummer Foundation.
Raphaelle Peale Still Lifes
February 17 through April 16
America's first great still-life painter, Raphaelle Peale, was
represented by thirty-two works in an exhibition organized
by the National Gallery of Art and the Pennsy lvania Academy of the Fine Arts. The show was accompanied by a
lav ishly illustrated, colorful catalogue. It was supported by
a major grant from the Pew Charitable Trusts and, in Philadelphia, partially supported by a grant from Price
Waterhouse.
Matter of Time
June 30 through September 25
To celebrate the tenth anniversary of the Morris Gallery,
twelve local artists created installations based on a unifying
30
Eighty-eighth Annual Student Exhibition
May 11 through June 4
Barbara Schwartz: Dispersions
March 10 through April 24
Approximately 400 works, selected and hung by the students themselves, filled the main galleries. The students,
who had completed the rigorous fine-arts program, competed for more than $50,000 in prizes.
Departing from her usual medium, bronze, Schwartz designed an installation of paper stretched over shaped wire
mesh and colored with dry pigments and watercolors.
Robinson Fredenthal: Big Plus
May 5 through June 15
American Art from the Collection of Vivian and
Meyer P. Potamkin
June 10 through October 1
Big Plus was a twelve-foot-tall cardboard sculpture designed
specifically for the Morris Gallery. A smaller steel sculpture
entitled Step and twelve small bronze models accompanied
it. All were explorations of interlocking tetrahedrons and
octahedrons in different media and scale.
This exhibition from one of the finest collections of American art in the country included nineteenth-century paintings by William Michael Harnett and John LaFarge; urban
scenes by John Sloan, George Luks, Robert Henri, and
Maurice Prendergast; impressionist landscapes by Chi Ide
Hassam and John Twachtman; and early modernist work by
Marsden Hartley, Alfred Maurer, and Arthur Dove. The
exhibition was made possible by a generous grant from the
VIPA Foundation and the Boulevard Mortgage Company.
Eugene Baguskas: Idyllic Places
June 30 through August 28
Gentle irony and a wry sense of humor characterized these
woodland fantasies in which realistically painted waterfalls,
cows, moose, and birds were set in unlikely combinations.
Making Their Mark: Women Artists Move into the
Mainstream, 1970-85
October 20 through December 31
Robert Bingham: Goodbuy Lord, By and By
September 8 through October 16
Commenting on materialism and modern values, the artist
created a game-show setting in which large slides of food
and luxury items could be lit up by pedaling a stationary
bicycle. He designed brick-patterned fabric for the installation and had it printed at the Fabric Workshop.
The first overview of the period, this exhibition explored
the breadth and diversity of the contributions women have
made. There were 150 paintings, sculptures, and photographs, as well as thirty-two works by video and performance artists. The exhibition and its national tour were
made possible by Maidenform, Inc., with additional local
funding by the Philadelphia National Bank and the Pew
Charitable Trusts.
Joe Stefanelli, Paintings: The Fifties to the Present
October 27,1988, through January 1,1989
This exhibition began with works that showed the influence
of the abstract expressionists whom the artist, a native
Philadelphian, met while living in New York during the
late 1940s and 1950s. It then followed the evolution of his
style through nearly four decades.
Morris Gallery
The Morris Gallery is supported in part by a grant from the
National Endowment for the Arts, a federal agency.
1989
1988
Ken Hassell/Stuart Rome: Recent Photographs
January 12 through February 26
Hubert Taylor: New Work
January 14 through February 28
Ken Hassell presented vivid images in black and white that
emphasized the dignity of the craftsman in rapidly fading
industries. Stuart Rome's color photographs examined the
potential of spiritualism and magic to expand everyday life
in places as diverse as Haiti, the Deep South, and West
Philadelphia.
His expressionistic canvases, framed in elaborate wood constructions, ranged from pure abstractions to figurative
works. The artist is a practicing architect, who served as
senior designer of the Criminal Justice Center in
Philadelphia.
31
Michael Harnett: New Paintings
March 10 through April 23
Vertical paintings on wood gave floor-to-ce iling views of
highly detailed interiors and exteriors. These ke yhole
glimpses combined vivid, realistic elemen ts with the mystery of mythical landscapes.
Maurie Kerrigan: when Dervish eyes are miling ...
WALKIN' Part II - Rhythms of Life
May 5 through June 18
Part of a trilogy, Rh ythms of Life, this installation included
walking sticks, suites of pastel drawings, frescoes, and a
"sound mural" audiotape. The show resonated with the
fundamental human rhythm of walking.
Frank Hyder: Pleurants
June 30 through August 27
His heads of pensive monks - monumental in size, with
aggressive ro ugh and painted surfaces - had a powerful
physical presence. Yet their intensity also conveyed the
solemn, spiritual mood of their namesakes, carved mourners in medieval tomb sculptures.
Elizabeth T. Scott/Joyce }. Scott: Family Traditions
September 8 through November 5
The first Morris Gallery exhibition of works by non-Philadelphia artists, this show featured quilts by the Baltimore
artist Elizabeth Scott and textiles, beaded jewelry, and
sculpture by her daughter, Joyce. Trained in quilting by her
sharecropper father, Elizabeth now incorporates beads,
rocks, buttons, and sequins into co lorful quilts and pillows.
Joyce, a graduate of the Maryland Institute College of Art,
has built on the lessons learned from her mother and creates
wearable sculptures dealing with political and social
themes.
32
Institutions and Organizations
Receiving Loans of Artwork
Akron Art Museum
Allentown Art Museum, Pa.
American Embassies in Bern, Bonn, and London
Amon Carter Museum, Fort Worth
Art Institute of Chicago
Babcock Galleries, New York
Baltimore Museum of Art
Baruch College Gallery, New York
Bennington College, Vt.
Bergen Museum of Art and Sciences, Paramus, N.J.
Berry-Hill Galleries, New York
Birmingham Museum of Art
Brandywine River Museum, Chadds Ford
Brooklyn Museum
Butler Institute of American Art, Youngstown
Cape Ann Historical Association, Gloucester
Carnegie Institute, Museum of Art, Pittsburgh
Cheekwood Fine Arts Center, Nashville
Chester County Historical Society, West Chester, Pa.
Chrysler Museum, Norfolk, Va.
Cincinnati Art Museum
Colonial Dames of America, Lemon Hill Mansion,
Philadelphia
Columbus Museum of Art, Ohio
Corcoran Gallery of Art, Washington
Cornell University, Herbert F. Johnson Museum of Art,
Ithaca, N.Y.
DeCordova and Dana Museum and Park, Lincoln, Mass.
Delaware Art Museum, Wilmington
Denver Art Museum
Detroit Institute of Arts
Ebenezer Maxwell Mansion, Philadelphia
Everson Museum of Art of Syracuse and Onondaga County,
Syracuse, N.Y.
Fort Worth Art Museum
Glencairn Museum, Academy of the New Church, Bryn
Athyn, Pa.
Governor's Residence, Harrisburg
Hampton University Museum, Va.
Heritage Center of Lancaster County, Lancaster, Pa.
Heritage Plantation of Sandwich, Mass.
High Museum of Art, Atlanta
Hirshhorn Museum and Sculpture Garden, Washington
Historical Society of Pennsylvania, Philadelphia
Historical Society of Princeton
Historical Society of York County, York, Pa.
Hudson River Museum of Westchester, Yonkers, N.y.
IBM Gallery of Science and Art, New York
Independence National Historic Park, Bishop William
White House, Philadelphia
Jewish Museum, New York
Katonah Gallery, N.Y.
Keny and Johnson Galkry, Columbus, Ohio
Los Angeles County Museum of Art, Los Angeles
Meadows Museum, Dallas
Museum of Fine Arts, Houston
Musee national de la Cooperation franco-americaine,
Blerancourt, France
Musee de Nouveau-Monde, La Rochelle, France
National Gallery of Art, Washington
National Museum of American History, Washington
National Museum of American Jewish History,
Philadelphia
National Museum of Women in the Arts, Washington
National Portrait Gallery, Washington
Nelson-Atkins Museum of Art, Kansas City
New Jersey State Museum, Trenton
New Orleans Museum of Art
Octagon, American Institute of Architects Foundation,
Washington
Philadelphia Antiques Show
Philadelphia Museum of Art
Philadelphia Society for the Preservation of Landmarks,
Powel House
Queens Museum, Flushing, N.Y.
Racquet Club, Philadelphia
Rittenhouse Club, Philadelphia
Roberson Center for the Arts and Sciences, Binghamton,
N.Y.
Rodin Museum, Philadelphia
San Diego Museum of Art
San Francisco Museum of Modern Art
Spanierman Gallery, New York
State in Schuylkill, Corn wells Heights, Pa.
Tampa Museum of Art, Fla.
Terry Dintenfass, Inc., New York
United States Department of State, diplomatic reception
rooms, Washington
University of Rochester, Memorial Art Gallery, N.Y.
Wadsworth Atheneum, Hartford
Walker Art Center, Minneapolis
Westmoreland Museum of Art, Greensburg, Pa.
Wharton Esherick Museum, Paoli, Pa.
White House, Washington
Whitney Museum of American Art, New York
William A. Farnsworth Library and Art Museum,
Rockland, Maine
William Penn Memorial Museum, Harrisburg
Woodmere Art Museum, Philadelphia
33
FINANCIAL STATEMENTS
Report of Independent Accountants
Coopers & Lybrand
To the Board of Trustees of the Pennsylvania Academy of the Fine Arts:
We have audited the accompanying balance sheet of the Pennsylvania Academy of the Fine Arts as of
December 31, 1989, and the related statement of activity and changes in fund balances (deficit) for the year then
ended. We previously audited and reported upon the financial statements of the Pennsylvania Academy for the
years ended December 31, 1988 and December 31, 1987, which condensed statements are presented for comparative
purpose only. These financial statements are the responsibility of the Academy's management. Our responsibility
is to express an opinion on these financial statements based on our audit.
We conducted our audit in accordance with generally accepted auditing standards. Those standards require
that we plan and perform the audit to obtain reasonable assurance about whether the financial statements are free
of material misstatement. An audit includes examining, on a test basis, evidence supporting the amounts and
disclosures in the financial statements. An audit also includes assessing the accounting principles used and significant
estimates made by management, as well as evaluating the overall financial statement presentation. We believe that
our audit provides a reasonable basis for our opinion.
In our opinion, the financial statements referred to above present fairly, in all material respects, the financial
position of the Pennsylvania Academy of the Fine Arts as of December 31, 1989, and the results of its operations
and changes in its fund balances (deficit) for the year then ended in conformity with generally accepted accounting
principles.
Coopers & Lybrand
2400 Eleven Penn Center
Philadelphia, Pennsylvania
July 20, 1990
34
PENNSYLVAN IA ACADEMY OF THE FINE ARTS
BALANCE S HEET , as of December 31, 1989
ASSETS
Third
CentUry
Fund
Current Funds
Unrestricted Restricted
Current assets:
Cash ..... . . .... ... . ... . .... .
Cash - Women's Committee ...
Grants rece ivable .. . . ..........
Accounts receivab le ... ..
Pledges rece ivab le . .... .... . . . .
Notes rece ivable .. .. . ..........
Accrued interest receivable . . . . ..
Inventor ies . . . . .. .. . ..
Prepaid insurance and other . . .. .
Property held for sale .... ...
Interfund balances . . . . . . . . . . . . .
$ 250,515
80,679
95,382
76,553
$
$ 129,000
Endowment
Fund
Combined
Totals
1989
Plant
Fund
3,499
254,0 14 $
80 ,679
$
1,281,666 $
95,382
1,537,2 19
50,000
78 ,105
477,844
59,847
718,563
165,524
84, 800
129,942
638,326
250,000
109,350
43 4, 332
71,592
88,742
3,337 ,922
34,000
10,000
3,470,664
3,545,027
1,319,165
60,000
6,053 ,754
13, 193,224
7,564,620
13,656,364
3,734,342
9,698,044
7, 403,017
7,403,0 17
20,150
1,199,005
6,689,765
20,1 50
8,601
6,74 1,787
20,150
30,686
52,427
10,000
2,249,334
192,000
320,575
6,914,047
6,9 14,047
6, 475,047
4,927,203
3,200
3,200
20, 150
Pledges receivab le . . . . . .. . ...
402, 400
796,605
81,000
2,158,334
Interfund balances . . . . .. . .. .. . . . .
Other .... ... . . . . . . . . . . . . . . . . . .
$1,1 49,712
Total assets .. . . ... . . . . . . ..
9,324 $
80,679
46,465
157,741
410,338
1,129,562
$13 ,1 93,224
Investments:
Endowment fund . .... .. . ..... .
Women's Committee ... . . . .....
Restricted ..... . .. ... . . .. ...
Unrestricted ..... . . .. . . . .. . . ..
Combined
Totals
1987
116,372
434,683
93,897
4,265,5 17
1,949,604
78, 105
477,844
59,847
Total current assets
Property - net .. . . ..... . ... . .. .
Combined
Totals
1988
$4,028,427
$4,274,104
$14,387,064 $13,193,224
1, 131,913
$37 ,032,53 1 $34,609,747 $25 ,528 ,414
LIABILITIES AND FUND BALANCES
(DEFICIT)
Thi rd
Century
Fund
Current Funds
Unrestricted
Restricted
Current liab ili ties:
Notes payable - current .
Accounts payable .. . . . . .
Accrued interest payable . . . . . . . .
Cash overdraft . . ......
Accrued expenses . . . . . . . .
Funds for financial aid . . . . .. . . . .
Deferred reven ue:
Contribution ........ . ........
Tu ition . . . . ..... . . . .. . . . . . .. .
Memberships ..
Interfund balances ........... ..
Total current liabilities .... .
Estimated liabili ty for
retirement plan ... . ... . . .. .. . .
$ 268,994
133 ,286
179,190
Endowment
Fund
$
$
28,070 $
110,443
59,649
91,000
831,666
$
50,000
3,046,751
44,000
188,742
191,171
3,655,236
273,513
1,088,807
24 1,17 1
Tota l liabilities
and fund balances ..
9 72,666
27,01 5
91,000
2, 158 ,334
10,000
213,011
563,930
(3,425,5 46)
3,663,91 4
$1,1 49,712
$4,028, 427
Combined
Totals
1987
454,215
407 ,785
38 ,347
70,864
3,470,664
75,000
24,678
25,548
1,949,604
75,000
30,403
49,784
1, 131,913
5,471,738
9,412,160
2,258,311
356,092
2,3 40,000
Combined
Totals
1988
448,994 $ 6,280,075
170, 106
787,227 $
78,566
9 1,8 10
382,293
73,603
26,049
$
33,0 11
Note payable . .... . . . .. .. . . . . . . .
Fund balances (deficit)
180,000
8,750
27,0 15
Deferred contribution .. .
Interfund balances . . ... . . .. ... . ..
Combined
Totals
1989
Plant
Fund
356,092
374,385
375,664
2,259,334
150,000
225,000
2,340,000
2,409,218
6,350, 11 7
6,9 14,047
6,475,047
4,927,203
14,135,893
4,290,096
19,69 1,320
15,788,937
17,742,236
$4,274, 104 $14,387,064
$13, 193,224
$37,032,531
1,026,963
T he accompanying notes are an integral part of these financ ial statements.
35
$34,609,747 $25,528,4 14
STATEMENT OF ACTIVITY AND CHANGES IN FUND BALANCES (DEFICIT)
for the year ended December 31, 1989
ASSETS
Combined
Totals
1989
Combined
Totals
1988
$ 1,368,305
111,033
$ 1,368,305
111,033
112, 806
127,870
37,500
112,806
127,870
377,829
$ 1,105 ,586
94,841
19,008
43,244
104,763
316,096
Current Funds
Unrestricted
Restricted
Support and revenue :
. .. . .. . . . . .
Tuition .. .. ..
School store sales .. .. . . . .... .
School cafeteria sales . ..... . ...
Museum admissions ..... . . .
Museum shop sales . . ......
Government appropriations.
City of Philadelphia
appropriations. . ..........
Gifts and grants .......
Proceeds from de accessions
Memberships . .
Investment income ....
Special events, fees and other ...
Net realized investment gains . . .
Gain on sale of Peale House ....
53,053
739,201
329,263
162,058
544,762
Total support and revenue . .
3,585,851
3,486,176
3,539,360
Total program expenses . .. .
7,025,536
Total expenses . . ..... ....
Plant
Fund
$ 340,329
448,136
2,037,710
$1,284,000
1,029,564
7,605
3,855,739
1,291,605
1,153,601
157,065
Combined
Totals
1987
$
970,877
92,506
46,065
167,755
292,349
90,000
1,991,338
33,613
467,207
1,031,622
76,384
278,213
100,000
1,349,796
838,184
529 ,461
865,611
96,433
1,102,546
$1,900,122
53,053
2,471,337
2,037,710
329,263
1, 199,227
544,762
1,153,601
1,900,122
1,900,122
11,786,918
5,632,907
6,470,591
232,592
161,695
157,065
3,718,768
3,701,055
3,360,442
3,837,148
2,902,015
3,575,846
394,287
7,576,888
7,197,590
6,477,861
316,061
72,555
302,804
6,780,665
157,065
278,798
278,798
28,849
28,849
(2,651,231 )
2,65 1,231
4,374,305
2,651,231
157,065
28,849
673,085
7,884,535
7,586,206
1,134,540
1,124,752
1,227,037
3,902,383
(1,953,299)
(3 10,074)
3,902,383
15,788,93 7
(1,953,299)
17,742,236
(310,074)
18,052,310
Excess (deficiency) of support
and revenue over expenses
before interfund transfers.
Interfund transfers:
Capital additions .... . . . ......
Other ........ . .. . , . ......
(788,454)
1,204,508
(156,053)
6,167,728
191 ,171
Excess (deficiency) of support and
revenue over expenses .... . ....
Fund balances (deficit), January 1 . .
5,223 ,22 1
(8,648,767)
1,395,679
2,268,235
$(3,425,546) $3,663,914
Fund balances (deficit), December 31
Endowment
Fund
$ 1,153,601
Program Expenses:
Capital campaign .... .. . .. . . . .
School .
Museum ..............
Peale Club - net of revenues . ....
Retirements . . . . . . . . . ......
Other expenses ........
Reimbursement to unrestricted fund
for expenditures for restricted
.... . . . . .. .....
purposes
Third
Century
Fund
(107,577)
(191,171)
263,630
(6,167,728)
1,026,963
933,581
13,202,3 12
(4,677,061)
8,967,157
$1,026,963
$14,135,893
$4,290,096
$ 19,691,320
The accompanying notes are an integral part of the financi al statements.
36
$15,788,937
$17,742,236
NOTES TO FINANCIAL STATEMENTS
1.
Significant Accounting Policies:
Basis of Presentation:
The accompanying financial statements have been prepared on the accrual basis of accounting. To ensure observance of
limitations and restrictions placed on the use of the resources ava ilable to the Pennsylvania Academy, the accounts of the
Academy are maintained in accordance with the principles of fund accounting. This is the procedure by which resources
for various purposes are class ified fo r accounting and reporting purposes into funds according to the activ ities or objectives
specified.
The assets, liabilities, and fund balances of the Academy are reported in self-balancing fund groups as follows:
• C urrent Funds - unrestricted and restricted resources, represent that portion of the Academy's expendable funds
available for support of the Academy's operations.
• Third Century Fund - represents funds subject to the restrictions of the Third Century Fund capital campaign.
The goals of this campaign include renovating the Academy's museum, acquiring land adj acent to the museum,
and repaying the funds borrowed to fund the purchase of the building located at 1301 Cherry Street.
• Endowment Fund - represents funds subject to restrictions of gift instruments requiring that the principal be
invested and, generally, only income be used for specified amounts of time or in perpetuity.
• Plant Fund -
represents resources expended or restricted for purchases of property.
Certain reclassifications have been made to amounts previously reported to enhance comparability of the financial
statements.
Combined Totals: The "Combined Totals" column is the total of similar accounts of the various funds. Since the assets of
certain funds are restricted or endowed, the totals for all funds are for supplemental analysis purposes only and do not
indicate that the combined fund balances are available in any manner other than provided for in the separate funds.
Works of Art: In accordance with the general practice of art museums, the cost of works of art are charged directly to the
funds available for such purposes and are not capitalized .
Investments: The Pennsylvania Academy reports investments in marketable equity securities at the lower of aggregate cost
or market. Investments in bonds and other debt instruments are carried at cost. Realized gains and losses on portfolio
transactions are accounted for on the first-in, first-out cost method. Investment income is recorded on the accrual
basis.
Inventories: Inventories, principally retail merchandise, are valued at the lower of cost or market by use of the retail method
on the first-in, first-out basis.
Property, Plant, and Equipment: Land , buildings and improvements, furniture, fi xtures and equipment are stated at cost.
Betterments which materially add to the value of the related assets or materially extend the useful life of the assets
are capitalized. Property donated is recorded at fair value at date of the gift. Depreciation is provided on a straightline bas is over the estimated lives of the respective fixed assets.
Imerfund Balances: Interfund balances represent advances which will be eliminated through collection of gift pledges ,
external borrowings, or through future fund-raising campaigns. Interest is charged internally on the endowment fund
advances .
Memberships: Memberships are recognized as re venue when payment is received, except that memberships paid for the
subsequent year are classified as deferred revenue.
Restricted Contributions : Contributions restricted by the donor are recognized as re venue in the C urrent Fund or as an increase in the Endowment Fund balance in accordance with the donor's wishes.
37
Restricted
Unrestricted Pledges Receivable: Pledges from donors for unrestricted contributions that are to be remitted over more than
one period are recorded as receivables and deferred contributions. Deferred contributions are recognized as revenue
in the period in which the funds are received.
Functional Expense Allocations: Expenses of various programs and other activities have been summarized on a functional
basis in the statement of activity. Accordingly, certain expenses have been allocated among the programs and
supporting services.
2.
Investments:
The following are the carrying and quoted market values of investments at December 31, 1989:
Carrying
Value
Quoted
Market
Value
Endowment fund:
Bonds and short-term investments .. .. . . ... . .. . . . .
Common stocks ....... ... .................... .
Total ... . ......... .
$3 ,212 ,042
4,190,975
$7,403,017
$3,229,487
4,532,608
$7,762,095
Restricted fund:
Short-term investments . . .... .. . ... . ... . . . . . ... .
$ 402,400
$ 402,400
Third Century Fund:
Short-term investments .. .. .. . .. ....... . .... . .. .
U.S. Treasury Note .. . ........................ .
Total ... . .... . . . .. .
$ 500,605
296,000
$ 796,605
$ 500,605
296,000
$ 796,605
Unrestricted fund:
Held by Women's Committee:
U.S. Treasury Note .... ...... .... ........ . .
$
20,150
$
20,150
Investment income of $507,417 earned for the year ended December 31, 1989 from pooled investments was distributed
to the participating funds based upon the percentage of the beginning fund balance to the total participating fund balances.
3.
Art Collection:
The following is a summary of the proceeds from deaccessions less the cost of art objects purchased (exclusive of donated
art objects) for the year ended December 31, 1989. Proceeds from deaccessions reported in the restricted fund result from
sales of art objects gifted or granted to the Pennsylvania Academy.
Restricted proceeds of de accessions .. . ....... . . .... . . .
Accession of art for collection . .. .. .... . . . ........ .. .
Total ......................... .. ... . ... .
38
$2,037,710
(651,708)
$1,386,002
4.
Property:
A summary of property, less accumulated depreciation, at December 31, 1989 is as follows:
Plant
Fund
Land, buildings, and improvements .................. . .
Furniture, fixtures, and equipment .. . .... ... .. . . .. .. . . .
Less accumulated depreciation .... .. . . .. . . . ......... . .
School library (books, periodicals, films, etc.) ...... . . . .. .
Net property, plant, and equipment .. . . ........... .
$15,117,845
417,976
$15,535,821
(2,590 ,900)
12,944,921
248,303
$13,193,224
5. Notes Payable:
At December 31, 1989, the Pennsylvania Academy had a mortgage outstanding of $2,520,000 and borrowings outstanding
under a $500,000 line of credit of $268,994. The mortgage note, which is collateralized by the school building, is payable
in quarterly installments ranging from $40,000 to $90,000 plus interest at the bank's prime rate. Payment of the final
balance is due April 1, 1994. The line of cred it is unsecured and interest thereon is payable on a monthly basis at the
bank's prime rate.
Maturity of the December 31, 1989 balances is as follows:
1990 . .... . . .. .. . .. . . $ 448,994
1991 ...... .. .... . .. .
230,000
1992 ......... . ... . ..
290,000
1993 ............. .. .
340,000
1994 ... . ... . .. .. . .. . 1,480,000
. $2,788,944
6.
Retirement Plans:
The Pennsylvania Academy has a defined contribution retirement plan covering all full-time employees. Under this plan,
employees may contribute up to sixteen percent of their salaries. The Academy will match each contribution up to four
percent of the individual salaries. During 1989, the Academy contributed $29, 160 to the plan. These contributions were
used to purchase annuities for each participant.
The Pennsylvania Academy also maintains an unfunded deferred compensation plan covering certain current and former
employees. The cost of this plan for 1989 was $22,463.
7.
Commitments:
The Pennsylvania Academy has outstanding a standby letter of credit issued by a bank in the amount of $175,000,
collateralized by investments held by the bank.
8.
Sale of Peale House:
Pursuant to a resolution of the Board of Trustees, the unrestricted net proceeds from the sale of the property in 1989,
amounting to $6,16 7,728, were transferred to the Unrestricted Fund to enable the Unrestricted Fund to reduce its
borrowings from the Endowment Fund. Concurrently, the Board authorized the borrowing of such funds by the Plant
Fund.
39
CONTR1BUTORS
Annual Giving
President's Council
($10,000 or more)
Mr. and Mrs. C. Graham
Berwind, Jr.
Nancy Rothkopf Cantor
Robert T Caruso
James Eagen
Mrs. Robert English
Mr. and Mrs. Kenneth W.
Gemmill
Mr. and Mrs. Albert M.
Greenfield, J r.
Mr. and Mrs. Samuel M. V.
Hamilton
Mr. and Mrs. Henry F. Harris
Hannah G. hickman
Mr. and Mrs. Stephen B.
Klein
Mr. and Mrs. Leonard I.
Korman
Mr. and Mrs. Daniel R.
Kursman
Mr. and Mrs. B. Herbert Lee
Mr. and Mrs. Robert P. Levy
Mr. and Mrs. Stanley Merves
Mr. and Mrs. Warrin C.
Meyers
Harvey S. Shipley Miller
Mr. and Mrs. Allen J. Model
Mrs. J. Maxwell Moran
Mr. and Mrs. W. H. Sterg
O'Dell
Mr. and Mrs. Bertram L.
O'Neill
Mr. and Mrs. Meyer P.
Potamkin
Mr. and Mrs. George M. Ross
Mr. and Mrs. E. Newbold
Smith
Mr. and Mrs. Harold A.
Sorgenti
Mr. and Mrs. Stanley C.
Tuttleman
Archbold D. van Beuren
Mr. and Mrs. J. Roffe Wike II
Mr. and Mrs. Robert G.
Wilder
Mr. and Mrs. Richard B.
Worley
Thomas Eakins
Society
($5,000 -
$9,999)
Harry N. Abrams
Mr. and Mrs. John B. Bartlett
Mrs. Joseph L. Eastwick
Mr. and Mrs. Eric Eichler
Mr. and Mrs. Milton
Ginsburg
Mr. and Mrs. Donald W.
McPhail
Mr. and Mrs. Charles E.
Mather III
Mr. and Mrs. Herbert S.
Riband, Jr.
Benjamin Strauss
Foundations
The Annenberg Foundation
The Leighton P. Appleman
Estate
The Arcadia Foundation
Tabor Ashton Trust
The Barra Foundation, Inc.
Alpin J. and Alpin W.
Cameron Memorial Fund
Dean's Circle
Charina Foundation, Inc.
($2,500 - $4,999)
Claneil Foundation, Inc.
Edward Bernstein
Columbia Funds
Ernest Carey, J r.
Dolfinger-McMahon
Carpenter Dewey
Foundation
Samuel S. Fels Fund
Jay Dugan
Mr. and Mrs. Caleb L. Fowler Colin Gardner Foundation
Mr. and Mrs. Charles J.
The Elsie Lee Garthwaite
Kenkelen
Memorial Foundation
William Krumboldt
The Albert M. Greenfield
Robert Motherwell
Foundation
Frederick W. G. Peck
The Haney Foundation
Judith Rothschild
The JDB Fund
Mr. and Mrs. Herbert F.
Atwater Kent Foundation,
Schiffer
Inc.
Mr. and Mrs. Joseph D. Shein Kent-Lucas Foundation, Inc.
Mary L. Smith
Kirkeby Foundation
Marilyn L. Steinbright
The Greta Brown Layton
Charitable Trust
Mary Cassatt
The Christian R. and Mary F.
Associates
Lindback Foundation
($1,000 - $2,499)
Marian
Locks Foundation
Dr. Luther W. Brady
Samuel P. Mandell
Mr. and Mrs. Richard B.
Foundation
Coons
Irving May and Edith H. May
Mrs. R. Meyer deSchauensee
Foundation
Allan R. Dragone
John
J. Medveckis
Mr. and Mrs. Franklin M.
Foundation
Fisher
The Miller-Plummer
Frances L. Ford
Foundation
Mr. and Mrs. Frederick S.
The Leo Model Foundation
Hammer
Nautilus Foundation
Mrs. J. H. Ward Hinkson
The
1957 Charity Trust
Dr. and Mrs. Morton M.
William Penn Foundation
Kligerman
The Pew Charitable Trusts
Mr. and Mrs. Nelson J.
The Philadelphia Foundation
Leidner
The Lionel I. Pincus
Joseph J. Maleno
Foundation, Inc.
William B. Packer, Jr.
Gilroy and Lillian P. Roberts
Mr. and Mrs. Daniel H.
Charitable Foundation
Polett
Sara Roby Foundation
Marion Boulton Stroud
Alexis Rosenberg Foundation
Evel yn Tyson
The
John Sloan Memorial
Mr. and Mrs. Jerome B.
Foundation, Inc.
Weinstein
Ethel Sergeant Clark Smith
Memorial Fund
The John Frederick Steinman
Foundation
40
Barbara and Robert
Thanhauser Philanthropic
Fund
Geraldine S. Tyson Trust
The Warwick Foundation
Goldman, Sachs and
Company
The Harleysville Insurance
Companies
Louis Harris and Associates,
Inc.
Helmsley-Greenfield, Inc.
Henkel Corporation
Business Partnership
Henkels and McCoy, Inc.
Advest, Inc.
Heyser Landscaping, Inc.
Airgas, Inc.
HGO, Inc.
Air Products and Chemicals,
Historic Yellow Springs, Inc.
Inc.
The Houghton-Carpenter
ALCO Standard Corporation
Foundation
Allied-Signal, Inc.
E. F. Houghton & Company
American Airlines
Hunt Manufacturing
ARA Services
Company
ARCO Chemical Company
IBM Corporation
Atkin, Voith and Associates,
IU International Corporation
Inc.
Jackson-Cross Company
A.T&T
Janney Montgomery Scott,
Atlantic Financial Federal
Inc.
Atochem North America,
Jefferson Bank
Inc.
Jetronic Industries, Inc.
Balis and Co., Inc.
Kidder, Peabody and
Barclay White, Inc.
Company, Inc.
Bell of Pennsylvania
The Kling-Lindquist
Berwind Corporation
Partnership, Inc.
Betz Laboratories, Inc.
Koenig's Philadelphia Art
Blank, Rome, Comisky and
Supplies
McCauley
Kraft Dairy Group
M. A. Bruder and Sons, Inc.
Lanard and Axilbund, Inc.
Campbell Soup Company
Lewis, Gilman and Kynett,
Carey- Pacifico Limousine
Inc.
CertainTeed Corporation
Marian Locks Gallery
Chevron U.S.A., Inc.
Logan Square Cleaners
Chubb Group
McNeil Consumer Products
CIGNA Corporation
Company
Clement and Muller, Inc.
Maguire Thomas Partners
Colonial Penn Group, Inc.
Marcolina Brothers, Inc.
Comcast Corporation
Maritrans GP, Inc.
John Condax Photography
Mellon Bank (East)
Continental Bank
Merck Sharp and Dohme
Coopers and Lybrand
Meridian Bank
Day and Zimmermann, Inc.
Merit Gasoline Foundation
Jimmy Duffy and Sons, Inc.
Mobil Foundation
DuPont
Moran Towing of
Nan Duskin
Pennsylvania
Ewing Cole Cherry Parsky
National Envelope
Fidelity Bank
Advertising Company,
The First Boston Corporation
Inc.
First Pennsylvania Bank
John Nuveen Associates
Fischer and Porter Company
P & A Associates
FMC Corporation
Paper House Productions
The Franklin Mint
Parkway Corporation
General Reinsurance
J. c. Penney Company, Inc.
Corporation
The Penn Mutual Charitable
Germantown Savings Bank
Trust
GMAC Mortgage
Corporation
Corporations
Pennoni Associates
The Pep Boys
Katharina Rich Perlow, Inc.
The Phi ladelph ia
Contributionsh ip
Phi ladelphia Electric
Company
Philadelphia National Bank
Philade lphia Suburban
Corporation
Philadelphia Therma l Energy
Corporation
Philadelphia Water Color
C lub
Pilgrim Construction
Corporation
Pincus Brothers-Maxwell
Price Waterhouse
Provident Mutual Life
Insurance Company
Provident National Bank
PSFS
The Prudential Insurance
Company of America
Quaker Chem ica l
Corporation
Quaker Storage, Inc.
RCA Areospace and Defense
Reliance Insurance Company
Rohm and Haas Company
Rorer Group, Inc.
Rosenbluth Travel Agency,
Inc.
Rouse and Associates
Richard J. Rubin and
Company, Inc.
Saul , Ew ing, Remick and
Sau l
Frank S. Schwartz and Son
SCOtt Paper Company
Sears, Roebuck and
Company
Shared Med ical Systems
Corporation
Simpson Sign Company
SmithK line Beecham
Corporation
SMS Corporation
Sotheby's
Spectacor
SPS Technologies
Steelcase Furniture
Stockard Shipping &
Terminal Corporation
Strawbridge and C lothier
Subaru of America
Foundation
Sun Company, Inc.
Tasty Baking Company
Teleflex, Inc.
Touche Ross & Co.
Un isys Corporation
United Engineers and
Constructors, Inc.
T he Vanguard Group
John Wanamaker
Warner Company
Wawa, Inc.
Martin F. Weber Company
Western Carolina Optical,
Inc.
Winsor and Newton
Wyeth-Ayerst Laboratories
Xerox Corporation
Matching Gifts
ARA Services
ARCO Chem ical Company
ARMCO Foundation
A. T. & T. Foundation
Atochem North Amer ica,
Inc.
Burlington Industries
Foundation
CIGNA Foundation
Equitable Life Assurance
Society of the Un ited
States
Exxon Corporation
FMC Corporation
IBM Corporation
IU International Corporation
Johnson & Higgins
Johnson & Johnson
Knight-Ridder, Inc.
The Merit Gasoline
Foundation
The Merck Company
Foundation
National Li berty Corporat ion
The O lin Corporation
Charitable Trust
W illiam Penn Foundation
Quaker C hemical
Corporation
Reliance Insurance Company
SmithKline Beecham
Foundation
Sun Refining & Marketing
Company
Wyeth-Ayerst Laboratories
Government
Charles Willson Peale
Society
Federal
($1,000 -
$2,499)
Mr. and Mrs. Jack Aezen
Mr. and Mrs. Benjamin
A lexander
Mr. and Mrs. Dennis A lter
Hon. and Mrs. Walter H .
Annenberg
State
R. Adm . and Mrs. Theodore
Pennsylvania Council on the
C. Aylward
Arts
Mrs. Malcolm J. Baber
Pennsylvania Energy Office
Mr. and Mrs. Herbert Barness
Pennsylvania Historical and
Mr. and Mrs. John B. Bartlett
Museum Commiss ion
Mr. and Mrs. John G. Banol
Pennsylvania Humanities
Mr. and Mrs. Peter A.
Council
Benoliel
Mr. and Mrs. Philip J.
City
Berman
City of Philadelphia
Mr. and Mrs. Frank G.
Binswanger, Sr.
Mr. and Mrs. Frank G.
President's Council
Binswanger, Jr.
($10,000 or more)
Mrs. Henry W. Breyer, Jr.
Mrs. Clarence C. Brinton
Robert T. Caruso
Mr. and Mrs. Kenneth W.
Mr. and Mrs. Robert T.
Gemmill
Brooks
Mrs. J. Maxwell Moran
Mrs. J. Mahlon Buck
Mr. and Mrs. William C.
Patron's Circle
Buck
($5,000 - $9,999)
Mr. and Mrs. Nathaniel Burt
Mr. and Mrs. C. Wanton
Mr. and Mrs. Joseph Carr
Balis, Jr.
Mrs. Avery B. C lark
Francis W. DeSerio
Mrs . James S. Collins
Mr. and Mrs . Eric Eichler
Mr. and Mrs. Seymour
Mr. and Mrs. Samuel M. V.
Delfiner
Hamilton
Mr. and Mrs. B. Robert
Museum Director's
De Mento, Jr.
Circle
Mrs. R. Meyer deSchaunsee
($2,500 - $4,999)
Mrs. Elliott R. Detchon, Jr.
Milton Cades
Mr. and Mrs. Wil lem K.
Mr. and Mrs. Matthew I.
Dikland
Garfield
Mr. and Mrs. F. Eugene
Mr. and Mrs. Robert A.
Dixon , Jr.
Hauslohner
Mr. and Mrs. Thomas Dolan
H annah G. Jzickman
IV
Mr. and Mrs. Charles J.
Mr. and Mrs. John T.
Kenkelen
Dorrance, J r.
Mr. and Mrs. Lawrence E.
Mrs. A lfred Douty
MacElree
Mr. and Mrs. Joseph N.
Mr. and Mrs. Walter L.
DuBarry IV
Morgan
Mrs. Robert English
Mr. and Mrs. Adolph G.
Mr. and Mrs. F. W. Elliott
Rosengarten, J r.
Farr
Mr. and Mrs. Jerome B.
Hon. Herbert A. Fogel
Weinstein
Daniel W. Foster
Mr. and Mrs. J. Roffe Wike II Mr. and Mrs. Richard J. Fox
Mr. and Mrs. Jack M.
Fried land
Institute of Museum Serv ices
National Endowment for the
Arts
National Endowment for t he
Human ities
Membership
41
Mr. and Mrs. Lance T.
Funston
Mr. and Mrs. Milton
Ginsburg
Barbara van Beuren G lascock
Dr. and Mrs. Ne il R.
Gottehrer
Mr. and Mrs. W illiam L.
Grala
Mrs. Roben McCay G reen
Mr. and Mrs. Albert M.
Greenfield, Jr.
Bernard M. Guth
Dr. and Mrs. F. Otto Haas
Mr. and Mrs. Nathaniel P.
Hamilton
Mr. and Mrs. Frederick S.
Hammer
Mr. and Mrs. John G.
Harkins, Jr.
Mrs. Avery D. Harrington
Mr. and Mrs. Henry F. Harris
Robens Harrison
Mrs. June De Frees Heelan
Mr. and Mrs . J. Welles
Henderson
Mr. and Mrs. Leslie C. High
Mrs. Henry Lea Hudson
Mrs. Joseph N. Janney
Dr. and Mrs. Henry A.
Jordan
Mr. and Mrs. Philip Kind
Mr. and Mrs. Raymond Klein
Mr. and Mrs. Stephen B.
Klein
Mr. and Mrs. Leonard J.
Korman
Mrs. Harriett B. Kravitz
Mr. and Mrs. Daniel R.
Kursman
Mr. and Mrs. B. Gordon
Landis
Mr. and Mrs. B. Herbert Lee
Mr. and Mrs. Robert Lee
Mr. and Mrs. Nelson J.
Leidner
Mr. and Mrs. George B.
Lemmon
Mrs. Margaret Wasserman
Levy
Mr. and Mrs. Howard H.
Lewis
Mr. and Mrs. Leroy M. Lewis
William S. Lewis
Mr. and Mrs. Wi lliam G.
Littleton II
Mrs. Edward S . Lower
Mrs. A. Basil Lyons
Mr. and Mrs. Peter
McCausland
Rosa Hayward McDonald
Mr. and Mrs. Joseph McEwen
Mr. and Mrs. R. Gordon
McGovern
Mr. and Mrs. Sam S. McKeel
Mrs. Henry S. McNeil
Mrs. Edward S. Madara
Mrs. Crawford C. Madeira
Dr. and Mrs. Morton S.
Mandell
Mr. and Mrs. John L. Marion
Dr. and Mrs. Henry Meigs
Mr. and Mrs. Stanley Merves
Mr. and Mrs. Warrin C.
Meyers
Mr. and Mrs. C. Earle Miller
Harvey S. Shipley Miller
Mr. and Mrs. Allen J. Model
Mrs. Knowlton Dodd
Montgomery
Mr. and Mrs. Peter C. Morse
Kathleen Mulhern
Mr. and Mrs. Shaun F.
O'Malley
W. Gresham O'Malley 3rd
Mr. and Mrs. Bertram L.
O'Neill
Frederick W. G. Peck
Mrs. Irwin Nat Pincus
Mr. and Mrs. Meyer P.
Potamkin
Mr. and Mrs. Stewart Resnick
Mr. and Mrs. Herbert S.
Riband, Jr.
Mrs. Gerald F. Rorer
Arthur O. Rosenlund
Mr. and Mrs. George M. Ross
Mr. and Mrs. Jack A.
Rounick
Dr. and Mrs. Karl F. Rugart
Jesse D. Saunders
Mr. and Mrs. Herbert F.
Schiffer
Mr. and Mrs . Robert D.
Schwartz
Mr. and Mrs. George W.
Scudder
Mr. and Mrs. Joseph D. Shein
Mr. and Mrs. E. Newbold
Smith
Mr. and Mrs. Langhorne B.
Smith
Mr. and Mrs. Andrew J.
Sordoni III
Mr. and Mrs. Hatold A.
Sorgenti
Dr. and Mrs. Paschal M.
Spange
Mr. and Mrs. James M.
Stewart
Mr. and Mrs . Thomas J.
Sullivan III
Mr. and Mrs. Harold E.
Sussman
Mrs. Harrison Therman
Mrs. M. W. Tilghman
Mr. and Mrs. Stanley C.
Tuttleman
Mr. and Mrs. J. Randolph
Updyke
Archbold D. van Beuren
George Vaux
Mr. and Mrs. John T. Ware
III
Mr. and Mrs. Charles J. Webb
III
Mr. and Mrs. Robert G.
Williams
Mr. and Mrs. Albert E. Wolf
Mr. and Mrs. Harrison M.
Wright
Mr. and Mrs. Arthur M.
Young
Ascension by Oscar Bluemner, 1927
42
COMMITTEES
as of lJecembeF 31, 1989
Committees of the
Board of Trustees
Committee for the
School
Executive
John B. Bartlett
Harold A. Sorgenti
Chairman
J. Roffe Wike
Vice Chairman
John B. Bartlett
Herbert M. Baum
Samuel M. V. Hamilton
Charles J. Kenkelen
Stephen B. Klein
Barbara C. Kligerman
Leonard 1. Korman
Bobette Leidner
Charles E. Mather III
Allen J. Model
Herbert S. Riband, Jr.
Edna S. Tuttleman
Robert G. Wilder
Committee for the
Museum
Edna S. Tuttleman
Chairman
Charles E. Mather III
Vice Chairman
Sigi Berwind
Ruth Bowman
Patricia Detchon
Helen Gemmill
J. Welles Henderson
Stephen B. Klein
Leonard 1. Korman
B. Herbert Lee
Roberta Levy
Harvey S. Shipley Miller
Allen J. Model
Dr. Charles W. Nichols
Vivian O. Potamkin
Lyn M. Ross
Chairman
Archbold D. van Beuren
Vice Chairman
George R. Burrell, Jr.
Dr. Malcolm Campbell
Julia Ericksen
Geraldine Dietz Fox
Helen Gemmill
Bobette Leidner
George McMonigle
Jane F. Medveckis
Susan Nelson
Jane Piper
Anthony J. Rosati
Judith Rothschild
Development and
Membership
J. Roffe Wike
Chairman
Robert G. Wilder
Vice Chairman
Frederick S. Hammer
Charles J. Kenkelen
B. Herbert Lee
Terrence A. Larsen
Charles E. Mather III
Edna S. Tuttleman
J. Roffe Wike
Robert G. Wilder
Richard B. Worley
Marketing
Herbert M. Baum
Chairman
Vice Chairman
Barbara L. Greenfield
Allen J. Model
Paul N. Mulcahy
Eileen R. Reynolds
Bernice Smith
Archbold D. van Beuren
Chairman
Frank H. Goodyear, Jr.
Vice Chairman
John B. Bartlett
Thomas F. Flynn
Caleb L. Fowler
Charles J. Kenkelen
B. Herbert Lee
Mary MacGregor Mather
Allen J. Model
Women's Committee
Barbara C. Kligerman
President
Elizabeth Dolan
First Vice President
Carol Lippincott
Second Vice President
Rhea Brooks
Nominating
Corresponding Secretary
Alexandra Estey
J. Roffe Wike
Treasurer
Chairman
Robert G. Wilder
Vice Chairman
Real Estate
Finance
Stephen B. Klein
Allen J. Model
Leonard 1. Korman
Jane F. Medveckis
Edna Wenk
Members at Large
Samuel M. V. Hamilton
B. Herbert Lee
Charles E. Mather III
Bertram L. O'Neill
Lyn M. Ross
Harold A. Sorgenti
Chairman
Vice Chairman
Chairman
Herbert S. Riband, Jr.
John B. Bartlett
Eric Eichler
Milton Ginsburg
Samuel M. V. Hamilton
Harold A. Sorgenti
George A. Beach
Bruce G. Birkholz
Robert W. Deaton, Jr.
Susan H. Eaton
Barbara L. Greenfield
Barbara C. Kligerman
Daniel R. Kursman
Terrence A. Larsen
Margery Lee
Charles E. Mather III
Renee Weinstein
Vice Chairman
Strategic Planning
Barbara L. Greenfield
Hyman A. Myers
Herbert S. Riband, Jr.
43
Susan Armstrong
Martha Bright
Nancy Driscoll
Geraldine Dietz Fox
Barbara L. Greenfield
Lorna Hauslohner
Mary Hopkins
Polly Hudson
Penny Hunt
Julie Jensen
Ana Maria Keene
Henrietta Landis
Bobette Leidner
Ann Madara
Virginia Mallery
Mary MacGregor Mather
Susan Nelson
Nancy Palmer
Interns
MUSEUM EDUCATION
Sandra Bogle
Mette Bye
Liz Gross
Amy Martin
Juno Spiro
PA INTINGS CONSERVATION
James S. Martin
Thomas Wollbrinck
PUBLIC RELATIONS
Diana Henze
Volunteers
MUSEUM EDUCATION
Jane Friedman
Renee Goldstein
Elizabeth Meyer
Ann Odell
Linda Russo
Sylvia Schnaars
Muriel Schwartzman
Phyllis Shafer
Ronald Spahr
Donna Spencer
Linda Yates
M USEUM REGISTRAR'S
OFFICE
Stockton Hall
Jane Schmidt
1989 T ELETHON
Roseanne Barrett
Fahnya Bean
Robin Beckett
Shelly Berg
Josephine Borie
Quita Brodhead
Anne Broussard
Kathleen Buffu m
Sing Y. Chu
Edward B. Clay, Jr.
Lenore Cohen
Shirley Coyne
Susan Dinneen
Mary Epstein
Sharon Erwin
Barbara Evans
Joseph Fee
Sue Fischman
David Fowler
Richard Frey
Marcie Friedman
Aquila Galgon
Robert Harman
Leile Hartman
Julia Hogan
Carolyne Hollenweger
Betty Huston
Homer Johnson
Jenny Kahn
Tamara Kallman
Elyssa B. Kane
Sylvia Korngold
Lillian Landau
John Lawler
Germaine Ledford
Mildred Lefkoe
Sylvia Lieberman
Ann Loess ig
Jim Lueders
Elizabeth Meyer
Jackie Morfesis
Michell Muldoon
Etta Nussbaum
Elizabeth Osborne
Frederick S. Osborne
Eslye Rappeport
Gale Rawson
Ildiko Redder
Richard Rice
Jill Rupinski
Irene Schrank
Deidre Selig
Brian Senft
Samuel Sigg
Sharon Skeel
William Thompson
Pat Traub
Suzanne T schanz
Julie Valenti
Dorothy Wartman
Triangular Weez II by James Dupree , 1988-89
45
Sandra Pew
Ruth Preucel
Lois Rosenau
Margaret B. Schiffer
Hannah Shipley
Clare Stuempfig
Patricia Walsh
Janice Wetherill
Ruth Wolf
Gabrielle Zomber
Members
Caroline Bartol
Elizabeth Bendiner
Deborah Bishop
Diana Clagett
Patricia Clark
Phebe Cooke
Elizabeth Davis
Eleanor Grossman
Eileen Hinkson
Dorothy Kaufmann
Maxine Lewis
Gerd Lorentzen
Jane MacElree
Betsy Mcllvain
Peter Miller
Marion Mitchell
Janneke Neilson
Mary Newbold
Frances Randolph
Isabel Reath
Margaret Smith
Meredith Smith
Zofietka Thomas
Helen West
Susan West
Eve Wildrick
Ruth Young
Associate Members
Morris Gallery
Committee
Moe Brooker
Artist, Pennsylvania
Academy faculty
Diane Burko
Artist, Community College
of Philadelphia faculty
Diane Karp
Art Historian, Executive Director, New Observations
Brian Meunier
Artist, Swarthmore
College Faculty
Perry Ottenberg
Collector
Richard Siegesmund
Director, Fabric Workshop
Ann Temkin
Curator of Twentieth Century Art, Philadelphia
Museum of Art
ACADEMY STAFF
Linda Bantel
Director of the Museum
Susan Danly
Curator
Judith E. Stein
Curator and Morris
Gallery Coordinator
Frank H. Goodyear, Jr.
Ex officio
Docents
SPECIAL EVENTS
COMMITTEE
Mildred Lefkoe
President
Lillian Landau
Vice President
Francesca Cona
Secretary
Deborah Mangel
Treasurer
Bernice Abrams
Immediate Past President
Susan Behrend
Chairperson
Beatrice Rosenfield
Vice Chairperson
EDUCATION COMMITTEE
Harriet Goodwin
Chairperson
Judith Waldman
Vice Chairperson
HANDBOOK COMMITTEE
Lois Domm
Chairperson
HISTORY COMMITTEE
Dorothy Wartman
Chairperson
HOSPITALITY COMMITTEE
Grace Halter
Chairperson
Irene Schrank
Vice Chairperson
NEWSLETTER COMMITTEE
Fahnya Bean
Chairperson
Sondra Margolies
Vice Chairperson
Jacqueline Cotter
Administrativd Assistant
TRAVEL COMMITTEE
Miriam Sealfon
Chairperson
Dorothy Magen
Vice Chairperson
Lois Rosenau
Women's Committee Liaison
Gertrude Bloom
Shirlene Coyne
Joann Coltman
Jane Cratsley
Mary Epstein
Barbara Evans
Fran Fineman
Janet Fink
Sue Fischman
Davida Glick
Marcia Groverman
Elaine Jaffe
Rose Kaplan
Grace Keffer
Dot Kennedy
Sylvia Korngold
Barbara Kravitz
Henrietta Landis
Sylvia Lieberman
Ruthe McCann
Sandra McMullin
Etta Nussbaum
Eslye Rappeport
Reva Rose
Myrtle Rosen
Ruth Rothman
Jo Ann Simon
Margaret Anne Spinelli
Ruth Stern
Fleurette Wallach
Docents
Irma Jelinek
Florence Marder
Ruth Preucel
Hortense Steinberg
Carmine Winters
Norma Zion
Docents Emeriti
44
Ariel by Barbara Schwartz, 1984
46
STAFF
as of
Office of the
President
Frank H. Goodyear, Jr.
President
Joyce Adelman
.
Administrative Ass!stant
Jodie Borie
.
Coordinator of Specwl Events
Anne Broussard
Public Information Officer
Sharon Skeel
Public Relations Assistant
The School
Frederick S. Osborne
Dean and Director of the
School
Betty Huston
Assistant to the Director of
the School
Rosanne Barrett
Dean of Admissions
Marietta Boyer
Librarian
Susan Dineen
Office Assistant
Richard Distefano
Models and Props Coordinator
Aquila Galgon
Financial Aid Director
Jill Rupinski
Registrar
Bill Scott
Gallery Coordinator
Michael Smith
Admissions Assistant
Julia Valenti
Director of Faculty and
Student Affairs
Jan C. Baltzell
Will Barnet
Mark F. Bockrath
Linda Brenner
Moe Brooker
Eugene Daub
Debbie Deichler
Murray Dessner
Stuart Feldman
David Fertig
Margaretta Gilboy
Sidney Goodman
Barbara Goodstein
Oliver Grimley
AI Gury
Alex Hromych
Homer Johnson
Jimmy C. Lueders
Stanley Merz
Daniel D. Miller
Edith Neff
Steven Nocella
Shoji Okutani
Eo Omwake
Elizabeth Osborne
Peter Paone
Jody Pinto
Marjorie Portnow
Seymour Remenick
Robert Roesch
Tony Rosati
Scott Rothstein
Glenn Rudderow
Jill Rupinski
Howard Sabin
Bruce Samuelson
Edwin Segal
David Slivka
Louis B. Sloan
Lee Tomaccio
Patricia Traub
James Victor
Anthony Visco
Roswell Weidner
Gary Weisman
Steve Weiss
Ronald E. Wyffels
Faculty
~e~emb€F
3 il , 1~~<';l
The Museum
Linda Bantel
Director of the Museum
Carolyne Hollenweger
Administrative Assistant
Les Bacsujlaky
Associate Preparator
Robin Beckett
Paintings Technician and
Registrar's Assistant for
Works on Paper
Mark F. Bockrath
Paintings Conservator
Mary Mullen Cunningham
Research Consultant
Susan Danly
Curator
Rick Echelmeyer
Photographer
Kathleen A. Foster
Adjunct Curator
Barbara Fox
Education Assistant
Timothy Gilfillan
Chief Preparator
Robert A. Harman
Associate Museum Registrar
Paul Herman
Associate Preparator
Susan James-Gadzinski
Assistant Curator
Elyssa B. Kane
Assistant to the Museum
Registrar and Rights and
Reproductions Manager
Cheryl A. Leibold
Archivist
Helen Mangelsdorf
Collections Care Specialist
Anne Monahan
Curatorial Assistant
Jacolyn A. Mott
Editor in Chief and
General Manager of
Publications
47
Virginia Norton Naude
Consulting Sculpture
Conservator
Serena Orteca
Word Processor and Label
Preparator
Rebecca Parmlee
Receptionist and Secretary
Gale Rawson
Museum Registrar
Judith Ringold
Education Program
Coordinator
Judith E. Stein
Curator and Morris
Gallery Coordinator
Jeanette M. Toohey
Assistant Curator
Suzanne Wheeling
Mat Cutter
Inez S. Wolins
Curator of Education
Administration
Development
Victor Chira
Vice President for
Development
Marguerite Leary
Administrative Assistant
Anne W. Adriance
Director of Annual Giving
and Membership
William M. Dingfelder
Director of Foundation and
Government Relations
Charlotte M. Higgins
Annual Giving and
Membership Assistant
Finance and Administration
Security
Donald W. McPhail
Vice President of Finance
Kenneth L. Cosby
Charles E. Crawley
and Administration
Marian E. Kirwin
Assistant to the Vice
President of Finance
and Administration
Timothy Dougherty
Office Services Manager
Adrienne D. Eichelburg
School Store Assistant
Joseph B. Fee
Senior Accountant
Frederick Kelley
Sales Manager
Theresa M. Kelley
School Store Assistant
Lora Kronik
Business Office Manager
Stephania L. Lestier
Museum Shop Assistant
Jackie Morfesis
Administrative Services
Assistant
Scott Thomas
]unior Accountant
Buildings Management
John D. Maguire
Maintenance Manager
Security Captains
Abdul Abernathy
Walter Brunson
John R. T. Calhoun
Marvin Davis
Frank J. Fritz
Albert Graham
Melvin Halsey
Eric Harper
Mildred M. Harris
Joseph T. Harrity
Edward R. Henderson
Oliver Hodges
George E. Kee
Thomas M. Kohlmann
Roosevelt Lewis
Matthew McClendon
John J. Michalonis
Carl A. Moore
Clyde Moore
Joseph Pacifico
Melvin B. Perkins
Dallas Philson
Edward W. Poole
William M. Souder
Harry L. Swinton
Anthony J. Travaglio
William Zaharchuk
Security Guards
© 1990 by the Pennsylvania
Academy of the Fine Arts, Broad
and Cherry streets, Philadelphia,
Pa. 19102.
Christine A. Bobb
Housekeeping Supervisor
Patricia Covert
Carol J. Della Penna-Tirante
Elliott Ebbett
Annual report prepared by
Frank H. Goodyear, Jr.
President
Jacolyn A. Mott
Editor in Chief
Housekeepers
William P. Hill
Chief Maintenance Mechanic
Lavoisier Lambright
Photographs by
Tony Atkin and Assoc.
I. George Bilyk
Will Brown
Rick Echelmeyer
Adam Gordon
Elliott Kaufman
Kelly & Massa
Joseph Nettis
Rosemary Ranck
Inez Wolins
Anthony Wood
Housekeeping Supervisor
Thomas Lulias
William J. McBurnie
Maintenance Mechanics
Steven Weigel
Housekeeper
Albert Young
Shipping and Receiving
Manager
Printed in the U.S.A.
48