Gilcrease Magazine – Summer 2015

A University of Tulsa/City of Tulsa Partnership SUMMER / 2015

G i l c r e a s e M u s e u m M a g a z i n e • SUmm e r 2 0 1 5

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V ol ume 2 3 , N u m b e r 3

In this Issue FEATURES 6 On 52nd Street

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SUmmer 2015

Photographic exhibition of jazz greats opens this summer.

10 Jon Stuart: A Love of Art Jon Stuart, Gilcrease National Board member and donor, reflects on sharing his art.

12 Unlocking the History of the Americas The inaugural symposium at the Helmerich Center for American Research sheds light on treasures from the Gilcrease archives.

13 Declaration on Display Arthur G. Rider The Spanish Boat oil on canvas, c. 1915 35" x 41"

Make plans to see the museum’s handwritten copy on display Fourth of July weekend!

O n the C o v er

SECTIONS

This photograph of Billie Holiday is one of the featured images in the exhibition On 52nd Street: The Jazz Photography of William P. Gottlieb which opens July 26.

14 Collection Feature 16 Museum News

Billie Holiday, 1915-1959, Born Philadelphia, Pennsylvania, gelatin silver print, 1946

17 Education Highlights 18 Calendar of Events

Beaded Bag Cheyenne, 1890 Leather, Glass Beads, Metal, Horse Hair, Cotton Cloth

Like us on Facebook; follow us on Twitter, Instagram and Pinterest.

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Gilcrease Magazine

SPRING / 2015

3

V ol ume 2 3 , N u m b e r 3

In this Issue FEATURES 6 On 52nd Street

6

12

10

13

SUmmer 2015

Photographic exhibition of jazz greats opens this summer.

10 Jon Stuart: A Love of Art Jon Stuart, Gilcrease National Board member and donor, reflects on sharing his art.

12 Unlocking the History of the Americas The inaugural symposium at the Helmerich Center for American Research sheds light on treasures from the Gilcrease archives.

13 Declaration on Display Arthur G. Rider The Spanish Boat oil on canvas, c. 1915 35" x 41"

Make plans to see the museum’s handwritten copy on display Fourth of July weekend!

O n the C o v er

SECTIONS

This photograph of Billie Holiday is one of the featured images in the exhibition On 52nd Street: The Jazz Photography of William P. Gottlieb which opens July 26.

14 Collection Feature 16 Museum News

Billie Holiday, 1915-1959, Born Philadelphia, Pennsylvania, gelatin silver print, 1946

17 Education Highlights 18 Calendar of Events

Beaded Bag Cheyenne, 1890 Leather, Glass Beads, Metal, Horse Hair, Cotton Cloth

Like us on Facebook; follow us on Twitter, Instagram and Pinterest.

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Gilcrease Magazine

SPRING / 2015

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director’s report

A Native Son Returns Home

James Pepper Henry

Dear Members & Friends, It is my honor to be your new executive director of the Thomas Gilcrease Institute of American History and Art, commonly known as Gilcrease Museum. It is a great feeling to return to my cultural homeland of Oklahoma where I have many family members and friends. Tulsa, in particular, is an exciting place to be at this time with a burgeoning arts community and many great civic projects recently completed or currently in development including the Brady Arts District and The Gathering Place.

Gilcrease Museum is arguably Tulsa’s single most valuable municipal asset. It has one of the finest art, archeological and archival collections in the country, if not the world.

Thomas Gilcrease left an invaluable and irreplaceable gift to the people of Tulsa and Oklahoma, with the vision that it

would inspire and educate current and future generations in perpetuity. Though I have only been on the job a short time, I am anxious to lead the effort to further Thomas Gilcrease’s vision for Gilcrease Museum — as a premier art and history museum. With the newly established Helmerich Center for American Research, Gilcrease will secure its place as a nationally and internationally recognized research facility.

Through the stewardship of the City of Tulsa in partnership with The University of Tulsa, it is the right moment in time to refresh and market the museum to secure its standing as the best of the best. Over the summer, we will develop a strategic plan that will focus on three critical aspects of the museum: 1) audience development and relevancy; 2) facilities and grounds enhancement; and 3) longterm sustainability. We will engage our members, employees, volunteers and key constituencies in the strategic planning process. By the beginning of autumn, our goal is to have a completed strategic plan that will provide the road map for the institution for the next several years.

Thank you for being a member of Gilcrease Museum, and thank you for the warm welcome to Tulsa. We value your thoughts and observations and appreciate your input and feedback, especially as we consider the path for the future of the institution. Over the summer, please do not hesitate to send us in writing your ideas and recommendations to enhance your museum, Gilcrease Museum.

Kindest regards,

James Pepper Henry Executive Director

Gilcrease National Board Cynthia Stephenson Field, Chair • Jon R. Stuart, Vice Chair • Cheryl Groenendyke, Secretary Joan B. Atkinson, Chair, Exhibitions & Programs Committee • Hans C. Helmerich, Chair, Planning & Development Committee Thomas A. Petrie, Chair, Collections Committee • Randy A. Foutch, Chair, Nominating Committee Steadman Upham, President, The University of Tulsa Carol M. Adelson • Teresa B. Adwan • James F. Arens II • Robert L. Bayless, Jr. • Max N. Berry • James E. Bertelsmeyer • Robert S. Boswell Douglas A. Campbell • Sharon Coffman • George S. Dotson • Donna M. Dutton • Frederick F. Drummond • Charles R. Ford • E. Ann Graves Gregory Allen Gray • Elizabeth Griot Hagans • Kent J. Harrell • William P. Healey • Susan B. Jackson • Kristen Kenneally David M. Leuschen • Marcia V. Mayo • Marcia M. MacLeod • Charles O. Meyers, Jr. • Thomas Minckler • Mia Mascarin Oven James P. Ronda • Miles William Scoggins • J. Terrell Siegfried • Deacon Turner • Randi Stuart Wightman • Maxine Zarrow 4

Gilcrease Magazine

This year’s Rendezvous Art Sale was one of the most successful in its history. Artists Walter Matia and Andy Thomas were inducted into the Rendezvous Hall of Fame by new Gilcrease Museum Executive Director James Pepper Henry. A crowd of more than 200 gathered to pay homage to these two exceptional contemporary artists. Fans and collectors of Matia and Thomas came from across the country to view the life

works of both artists. The Rendezvous exhibition, featuring a retrospective of sculpture from Matia and paintings from Thomas, will continue through July 12, 2015.

The Rendezvous Exhibition and Art Sale is sponsored by the Gilcrease Council and The Zarrow Families Foundation. The Title Sponsor of the 2015 exhibition season is the Sherman E. Smith Family Charitable Foundation.

Left to right, Hans Helmerich, Gilcrease National Board, welcomes Rendezvous artists Andy Thomas and Walter Matia, along with new Gilcrease Executive Director James Pepper Henry.

The crowd gathers for Rendezvous 2015 and awaits the box draw.

Use your Gilcrease Membership as the Ultimate Excuse to Travel By increasing your support of Gilcrease Museum, you could claim free admission, shop discounts and other perks at 700+ museums across the nation!

Pack up the kids for a day trip to Crystal Bridges Museum of American Art, or fill up the tank for a weekend getaway to Kimbell Art Museum.

Whether you’re planning a staycation or a vacation, check out the full list of participating museums at gilcrease.utulsa.edu/reciprocal. To receive reciprocal program benefits, renew your membership at $125 or more, or pay the difference between your current membership level and your newly selected level. To sign up, contact Karen Darling at 918-596-2780.* *Members who give $125 or more are eligible to participate in reciprocal programs. Those who opt in understand that $20 of their gift is not tax deductible.

SUMMER / 2015

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director’s report

A Native Son Returns Home

James Pepper Henry

Dear Members & Friends, It is my honor to be your new executive director of the Thomas Gilcrease Institute of American History and Art, commonly known as Gilcrease Museum. It is a great feeling to return to my cultural homeland of Oklahoma where I have many family members and friends. Tulsa, in particular, is an exciting place to be at this time with a burgeoning arts community and many great civic projects recently completed or currently in development including the Brady Arts District and The Gathering Place.

Gilcrease Museum is arguably Tulsa’s single most valuable municipal asset. It has one of the finest art, archeological and archival collections in the country, if not the world.

Thomas Gilcrease left an invaluable and irreplaceable gift to the people of Tulsa and Oklahoma, with the vision that it

would inspire and educate current and future generations in perpetuity. Though I have only been on the job a short time, I am anxious to lead the effort to further Thomas Gilcrease’s vision for Gilcrease Museum — as a premier art and history museum. With the newly established Helmerich Center for American Research, Gilcrease will secure its place as a nationally and internationally recognized research facility.

Through the stewardship of the City of Tulsa in partnership with The University of Tulsa, it is the right moment in time to refresh and market the museum to secure its standing as the best of the best. Over the summer, we will develop a strategic plan that will focus on three critical aspects of the museum: 1) audience development and relevancy; 2) facilities and grounds enhancement; and 3) longterm sustainability. We will engage our members, employees, volunteers and key constituencies in the strategic planning process. By the beginning of autumn, our goal is to have a completed strategic plan that will provide the road map for the institution for the next several years.

Thank you for being a member of Gilcrease Museum, and thank you for the warm welcome to Tulsa. We value your thoughts and observations and appreciate your input and feedback, especially as we consider the path for the future of the institution. Over the summer, please do not hesitate to send us in writing your ideas and recommendations to enhance your museum, Gilcrease Museum.

Kindest regards,

James Pepper Henry Executive Director

Gilcrease National Board Cynthia Stephenson Field, Chair • Jon R. Stuart, Vice Chair • Cheryl Groenendyke, Secretary Joan B. Atkinson, Chair, Exhibitions & Programs Committee • Hans C. Helmerich, Chair, Planning & Development Committee Thomas A. Petrie, Chair, Collections Committee • Randy A. Foutch, Chair, Nominating Committee Steadman Upham, President, The University of Tulsa Carol M. Adelson • Teresa B. Adwan • James F. Arens II • Robert L. Bayless, Jr. • Max N. Berry • James E. Bertelsmeyer • Robert S. Boswell Douglas A. Campbell • Sharon Coffman • George S. Dotson • Donna M. Dutton • Frederick F. Drummond • Charles R. Ford • E. Ann Graves Gregory Allen Gray • Elizabeth Griot Hagans • Kent J. Harrell • William P. Healey • Susan B. Jackson • Kristen Kenneally David M. Leuschen • Marcia V. Mayo • Marcia M. MacLeod • Charles O. Meyers, Jr. • Thomas Minckler • Mia Mascarin Oven James P. Ronda • Miles William Scoggins • J. Terrell Siegfried • Deacon Turner • Randi Stuart Wightman • Maxine Zarrow 4

Gilcrease Magazine

This year’s Rendezvous Art Sale was one of the most successful in its history. Artists Walter Matia and Andy Thomas were inducted into the Rendezvous Hall of Fame by new Gilcrease Museum Executive Director James Pepper Henry. A crowd of more than 200 gathered to pay homage to these two exceptional contemporary artists. Fans and collectors of Matia and Thomas came from across the country to view the life

works of both artists. The Rendezvous exhibition, featuring a retrospective of sculpture from Matia and paintings from Thomas, will continue through July 12, 2015.

The Rendezvous Exhibition and Art Sale is sponsored by the Gilcrease Council and The Zarrow Families Foundation. The Title Sponsor of the 2015 exhibition season is the Sherman E. Smith Family Charitable Foundation.

Left to right, Hans Helmerich, Gilcrease National Board, welcomes Rendezvous artists Andy Thomas and Walter Matia, along with new Gilcrease Executive Director James Pepper Henry.

The crowd gathers for Rendezvous 2015 and awaits the box draw.

Use your Gilcrease Membership as the Ultimate Excuse to Travel By increasing your support of Gilcrease Museum, you could claim free admission, shop discounts and other perks at 700+ museums across the nation!

Pack up the kids for a day trip to Crystal Bridges Museum of American Art, or fill up the tank for a weekend getaway to Kimbell Art Museum.

Whether you’re planning a staycation or a vacation, check out the full list of participating museums at gilcrease.utulsa.edu/reciprocal. To receive reciprocal program benefits, renew your membership at $125 or more, or pay the difference between your current membership level and your newly selected level. To sign up, contact Karen Darling at 918-596-2780.* *Members who give $125 or more are eligible to participate in reciprocal programs. Those who opt in understand that $20 of their gift is not tax deductible.

SUMMER / 2015

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On 52nd Street: The Jazz Photography of William P. Gottlieb

O

klahoma and the city of Tulsa have a rich history and tradition of jazz music, so it’s only fitting that Gilcrease should celebrate this uniquely American form of music with a special exhibition that opens this summer.

On 52nd Street: The Jazz Photography of William P. Gottlieb opens July 26 and runs through October 11, 2015. In New York City, 52nd Street was the epicenter of a music and social revolution during the 1940s. Known as “Swing Alley,” or simply “The Street,” it was “heaven on earth for jazz fans and jazz musicians,” photographer William P. Gottlieb (1917–2006) recalled. In the dozen or so nightclubs located there — mostly in the converted basements of former speakeasies — jazz emerged as distinct concert music with featured soloists.

No longer simply dance music, jazz (as exemplified by the burgeoning bebop tradition) became to Gottlieb a “rebellion against the rigidities of the old order.” The Street was also one of the few

racially integrated places in the city. As trumpeter Dizzy Gillespie remembered, there was “very little racist feeling,” though “once you left Fifty-Second Street, look out.”

Born in Brooklyn, Gottlieb began photographing jazz musicians in 1938 to illustrate a weekly feature, “Swing Sessions,” that he wrote for The Washington Post. Over the next decade, he created almost 2,000 portraits of more than 250 musicians.

At this time he also had a regular jazz program at WRC Radio and served as an assistant editor for Down Beat magazine. Gottlieb’s photographs are notable for their artistic originality and the intimate relationship he formed with many of his subjects.

Though he traveled widely to photograph, he spent the majority of his time on 52nd Street following the end of World War II. These remarkable photographs recall the leading jazz musicians of this era and document changing social mores in American life.

On 52nd Street: The Jazz Photography of William P. Gottlieb Exhibition Lecture Frank H. Goodyear, III, curator of On 52nd Street, and codirector of Bowdoin College Museum of Art, will present an exhibition lecture at 2 p.m. on July 25 in the Tom Gilcrease Jr. Auditorium. Free for members, and free with paid museum admission for not-yet members.

Louis “Satchmo” Armstrong, 1901-1971 Born New Orleans, Louisiana gelatin silver print, 1947 © 2014 Louis Armstrong House Museum 6

Gilcrease Magazine

SPRING / 2015

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SUMMER / 2015

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On 52nd Street: The Jazz Photography of William P. Gottlieb

O

klahoma and the city of Tulsa have a rich history and tradition of jazz music, so it’s only fitting that Gilcrease should celebrate this uniquely American form of music with a special exhibition that opens this summer.

On 52nd Street: The Jazz Photography of William P. Gottlieb opens July 26 and runs through October 11, 2015. In New York City, 52nd Street was the epicenter of a music and social revolution during the 1940s. Known as “Swing Alley,” or simply “The Street,” it was “heaven on earth for jazz fans and jazz musicians,” photographer William P. Gottlieb (1917–2006) recalled. In the dozen or so nightclubs located there — mostly in the converted basements of former speakeasies — jazz emerged as distinct concert music with featured soloists.

No longer simply dance music, jazz (as exemplified by the burgeoning bebop tradition) became to Gottlieb a “rebellion against the rigidities of the old order.” The Street was also one of the few

racially integrated places in the city. As trumpeter Dizzy Gillespie remembered, there was “very little racist feeling,” though “once you left Fifty-Second Street, look out.”

Born in Brooklyn, Gottlieb began photographing jazz musicians in 1938 to illustrate a weekly feature, “Swing Sessions,” that he wrote for The Washington Post. Over the next decade, he created almost 2,000 portraits of more than 250 musicians.

At this time he also had a regular jazz program at WRC Radio and served as an assistant editor for Down Beat magazine. Gottlieb’s photographs are notable for their artistic originality and the intimate relationship he formed with many of his subjects.

Though he traveled widely to photograph, he spent the majority of his time on 52nd Street following the end of World War II. These remarkable photographs recall the leading jazz musicians of this era and document changing social mores in American life.

On 52nd Street: The Jazz Photography of William P. Gottlieb Exhibition Lecture Frank H. Goodyear, III, curator of On 52nd Street, and codirector of Bowdoin College Museum of Art, will present an exhibition lecture at 2 p.m. on July 25 in the Tom Gilcrease Jr. Auditorium. Free for members, and free with paid museum admission for not-yet members.

Louis “Satchmo” Armstrong, 1901-1971 Born New Orleans, Louisiana gelatin silver print, 1947 © 2014 Louis Armstrong House Museum 6

Gilcrease Magazine

SPRING / 2015

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SUMMER / 2015

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Educational programming to accompany the On 52nd Street exhibition includes two Sunday Matinee Films that are part of the Ken Burns Jazz Series. Both will be shown in the Tom Gilcrease Jr. Auditorium begining at 1:30 p.m.

August 9 – Jazz: The True Welcome (1929-1935) With the economy in tatters and the Great Depression bearing down hard, jazz is called upon to lift the spirits of a frightened country. Film footage and narrative on the Lindy Hop, big band music played by Chick Webb and Fletcher Henderson, musical renderings by Fats Waller, Art Tatum, Louis Armstrong and Duke Ellington along with the big band sound of Benny Goodman illustrate a time when the Swing Era was born.

September 13 – Jaz: Dedicated to Chaos (1940-1945) When America entered World War II in 1941, jazz music came along. Swing became the symbol of democracy at home and bandleaders like Glenn Miller and Artie Shaw enlisted, taking their music to the men and women of the armed forces overseas. Featured in this video are stories detailing the move of jazz clubs from New York’s Harlem to 52nd Street.

Familiar entertainers Billie Holiday and Duke Ellington gave

way to a new way of playing introduced by Dizzy Gillespie and Charlie Parker that heralds the birth of bebop, altering the course of jazz forever.

A From My Point of View lecture will be held at noon on Friday, September 11. Mark Dolph, director of volunteer services at Gilcrease Museum and noted jazz enthusiast, will present “Giant Steps and Milestones: An Appreciation of Jazz Through the Lens of William Gottlieb.”

In addition to regular art activities on Funday Sunday on September 20, the Edison Preparatory High School Jazz Band will perform from 1:30 p.m. to 2:30 p.m.

Teens can enjoy a jazz-inspired photography class led by Mark Wittig, educator for the Tulsa School for Arts and Science from 1-3 p.m. on September 26 and from 1-4 p.m. on September 27 at the Hardesty Arts Center (AHHA) photo lab.

There is a $10 fee per student.

On October 4, the Clinton Middle School Jazz Band will perform, and the Sunday Draws session that day will focus on musicians’ portraits.

JAZZ: The Smithsonian Anthology A 111-track, 6-CD, 200-page compendium of jazz, traces the turning points of this 20th-century tale through its legendary innovators and notable styles. The great American musical invention of the 20th century, jazz is an ever-youthful, still evolving music of beauty, sensitivity and brilliance that has produced (and been produced by) an extraordinary progression of talented artists.

Showcasing artists at their best and most influential, this remarkable anthology updates and expands the milestone Smithsonian Collection of Classic Jazz of 1973, once again offering a wellspring resource for educators, students, musicians, beginners, and aficionados. Scores of leading jazz scholars, performers, and writers collaborated in selecting the recordings and producing the incisive annotations.

Available in the Museum Store, $107.98.

Sidney Bechet, 1897–1959 Born New Orleans, Louisiana gelatin silver print, 1947 8

Gilcrease Magazine

SUMMER / 2015

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Educational programming to accompany the On 52nd Street exhibition includes two Sunday Matinee Films that are part of the Ken Burns Jazz Series. Both will be shown in the Tom Gilcrease Jr. Auditorium begining at 1:30 p.m.

August 9 – Jazz: The True Welcome (1929-1935) With the economy in tatters and the Great Depression bearing down hard, jazz is called upon to lift the spirits of a frightened country. Film footage and narrative on the Lindy Hop, big band music played by Chick Webb and Fletcher Henderson, musical renderings by Fats Waller, Art Tatum, Louis Armstrong and Duke Ellington along with the big band sound of Benny Goodman illustrate a time when the Swing Era was born.

September 13 – Jaz: Dedicated to Chaos (1940-1945) When America entered World War II in 1941, jazz music came along. Swing became the symbol of democracy at home and bandleaders like Glenn Miller and Artie Shaw enlisted, taking their music to the men and women of the armed forces overseas. Featured in this video are stories detailing the move of jazz clubs from New York’s Harlem to 52nd Street.

Familiar entertainers Billie Holiday and Duke Ellington gave

way to a new way of playing introduced by Dizzy Gillespie and Charlie Parker that heralds the birth of bebop, altering the course of jazz forever.

A From My Point of View lecture will be held at noon on Friday, September 11. Mark Dolph, director of volunteer services at Gilcrease Museum and noted jazz enthusiast, will present “Giant Steps and Milestones: An Appreciation of Jazz Through the Lens of William Gottlieb.”

In addition to regular art activities on Funday Sunday on September 20, the Edison Preparatory High School Jazz Band will perform from 1:30 p.m. to 2:30 p.m.

Teens can enjoy a jazz-inspired photography class led by Mark Wittig, educator for the Tulsa School for Arts and Science from 1-3 p.m. on September 26 and from 1-4 p.m. on September 27 at the Hardesty Arts Center (AHHA) photo lab.

There is a $10 fee per student.

On October 4, the Clinton Middle School Jazz Band will perform, and the Sunday Draws session that day will focus on musicians’ portraits.

JAZZ: The Smithsonian Anthology A 111-track, 6-CD, 200-page compendium of jazz, traces the turning points of this 20th-century tale through its legendary innovators and notable styles. The great American musical invention of the 20th century, jazz is an ever-youthful, still evolving music of beauty, sensitivity and brilliance that has produced (and been produced by) an extraordinary progression of talented artists.

Showcasing artists at their best and most influential, this remarkable anthology updates and expands the milestone Smithsonian Collection of Classic Jazz of 1973, once again offering a wellspring resource for educators, students, musicians, beginners, and aficionados. Scores of leading jazz scholars, performers, and writers collaborated in selecting the recordings and producing the incisive annotations.

Available in the Museum Store, $107.98.

Sidney Bechet, 1897–1959 Born New Orleans, Louisiana gelatin silver print, 1947 8

Gilcrease Magazine

SUMMER / 2015

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Jon Stuart: A Love of Art

Jon Stuart stands in front of a portrait of his grandfather, W.G. Skelly, in his Tulsa office.

Sitting amid two beautiful Edgar Payne landscapes in his office, Jon Stuart talked about his long association with Gilcrease Museum. At the urging of an art dealer and friend in Scottsdale, Arizona, he fully immersed himself in the life of Gilcrease: Stuart is a past Thomas Gilcrease Museum Association president and chaired the Rendezvous art sale in 1984 and 2002.

“He told me I had to go, and not just visit, but to get involved here,” Stuart said with a smile. “So I did!”

The impact that Scottsdale has had on Stuart is noteworthy. It was on a trip there with his father, the late Harold C. Stuart, that art began to pique his interest.

American art from the early American West, especially landscapes, was of great interest to Stuart, and he became enamored with California Post-Impressionism works. The

first painting he purchased was a small landscape by Edgar Payne, an oil.

Stuart has gifted two Paynes to the museum’s collection: Sunshine and Shadows, after the exhibition Edgar Payne: The Scenic Journey ended its run at Gilcrease in March of 2013; and more recently, Packing from Payne Lake. When asked if it was difficult to part with a beloved work of art, Stuart said, “Not really. You want to share this wonderful work with people, and the best way to do that is through museums.”

“I’ve come to like museums a great deal. I like what they do, and how they do it,” he said.

Stuart’s father wanted to support his son’s efforts at the museum. Despite the fact that the elder Stuart wasn’t that fond of western art, he purchased a Paul Calle piece at an art sale.

Later they struck a deal. Jon’s dad told him, “You take care of the inside (of the museum), and I’ll take care of the outside.”

The idea for Stuart Park was born, and the elder Stuart donated generously to create the park, Joan’s Garden, named for his wife, and the many trails and gazebo that make it one of the jewels in the Tulsa park system.

Stuart currently serves on the Gilcrease Museum National Board as vice chairman. He has shared his love of art across the state. He and his wife, Dee Dee, made a gift to the Fred Jones Jr. Museum of Art at the University of Oklahoma. The Stuart Wing there was named in their honor. He’s also a past board member at Philbrook Museum.

The Stuart Family Foundation provided the lead gift in support of programming at the Helmerich Center for American Research at Gilcrease, and made possible the new Visiting Scholar program there. The program is designed to encourage research and writing based on the collections of Gilcrease Museum, exhibit development, publications and symposia sponsored by the Helmerich Center.

In addition to fine art, Stuart has donated some chaps to the museum’s collection. He is a collector of all accoutrements from the American West. Dee Dee, too, shares a love of the American Indian artifacts and other art they have collected over the years, he says.

In November, the Helmerich Center will host a symposium on Plains Ethnography, and an exhibition of related material, including many items from Stuart’s personal collection, is set for 2017.

The Helmerich Center Visiting Scholar program is not unlike the Russell Center at OU, which Stuart says, is a think tank

Edgar Alwin Payne, Sunshine and Shadows, oil on canvas, GM 01.2580

for art of the American West. Every other year, the Russell Center hosts symposia and brings in experts from across the country to discuss a particular subject. Stuart is chair of the OU Board of Regents and is serving his last term. After two, seven-year terms, he is leaving, he says “to make way for new faces” on the board.

Stuart plans to continue his service on the Gilcrease National Board and to help spread the word about the treasure that is Gilcrease Museum.

“It all came full circle for me, really, when the first oil painting I bought was hung in Gilcrease Museum during the Edgar Payne exhibition,” Stuart said. “That was something.

It was a wonderful show.”

A group of chaps donated to the museum by Jon Stuart.

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Gilcrease Magazine

SUMMER / 2015

11

Jon Stuart: A Love of Art

Jon Stuart stands in front of a portrait of his grandfather, W.G. Skelly, in his Tulsa office.

Sitting amid two beautiful Edgar Payne landscapes in his office, Jon Stuart talked about his long association with Gilcrease Museum. At the urging of an art dealer and friend in Scottsdale, Arizona, he fully immersed himself in the life of Gilcrease: Stuart is a past Thomas Gilcrease Museum Association president and chaired the Rendezvous art sale in 1984 and 2002.

“He told me I had to go, and not just visit, but to get involved here,” Stuart said with a smile. “So I did!”

The impact that Scottsdale has had on Stuart is noteworthy. It was on a trip there with his father, the late Harold C. Stuart, that art began to pique his interest.

American art from the early American West, especially landscapes, was of great interest to Stuart, and he became enamored with California Post-Impressionism works. The

first painting he purchased was a small landscape by Edgar Payne, an oil.

Stuart has gifted two Paynes to the museum’s collection: Sunshine and Shadows, after the exhibition Edgar Payne: The Scenic Journey ended its run at Gilcrease in March of 2013; and more recently, Packing from Payne Lake. When asked if it was difficult to part with a beloved work of art, Stuart said, “Not really. You want to share this wonderful work with people, and the best way to do that is through museums.”

“I’ve come to like museums a great deal. I like what they do, and how they do it,” he said.

Stuart’s father wanted to support his son’s efforts at the museum. Despite the fact that the elder Stuart wasn’t that fond of western art, he purchased a Paul Calle piece at an art sale.

Later they struck a deal. Jon’s dad told him, “You take care of the inside (of the museum), and I’ll take care of the outside.”

The idea for Stuart Park was born, and the elder Stuart donated generously to create the park, Joan’s Garden, named for his wife, and the many trails and gazebo that make it one of the jewels in the Tulsa park system.

Stuart currently serves on the Gilcrease Museum National Board as vice chairman. He has shared his love of art across the state. He and his wife, Dee Dee, made a gift to the Fred Jones Jr. Museum of Art at the University of Oklahoma. The Stuart Wing there was named in their honor. He’s also a past board member at Philbrook Museum.

The Stuart Family Foundation provided the lead gift in support of programming at the Helmerich Center for American Research at Gilcrease, and made possible the new Visiting Scholar program there. The program is designed to encourage research and writing based on the collections of Gilcrease Museum, exhibit development, publications and symposia sponsored by the Helmerich Center.

In addition to fine art, Stuart has donated some chaps to the museum’s collection. He is a collector of all accoutrements from the American West. Dee Dee, too, shares a love of the American Indian artifacts and other art they have collected over the years, he says.

In November, the Helmerich Center will host a symposium on Plains Ethnography, and an exhibition of related material, including many items from Stuart’s personal collection, is set for 2017.

The Helmerich Center Visiting Scholar program is not unlike the Russell Center at OU, which Stuart says, is a think tank

Edgar Alwin Payne, Sunshine and Shadows, oil on canvas, GM 01.2580

for art of the American West. Every other year, the Russell Center hosts symposia and brings in experts from across the country to discuss a particular subject. Stuart is chair of the OU Board of Regents and is serving his last term. After two, seven-year terms, he is leaving, he says “to make way for new faces” on the board.

Stuart plans to continue his service on the Gilcrease National Board and to help spread the word about the treasure that is Gilcrease Museum.

“It all came full circle for me, really, when the first oil painting I bought was hung in Gilcrease Museum during the Edgar Payne exhibition,” Stuart said. “That was something.

It was a wonderful show.”

A group of chaps donated to the museum by Jon Stuart.

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Gilcrease Magazine

SUMMER / 2015

11

Unlocking the History of the Americas at the Helmerich Center

The inaugural symposium was held in the Frances W. O’Hornett Great Hall.

The Helmerich Center for American Research celebrated its public opening on March 27-

28, 2015, with the inaugural symposium, “The Gilcrease Archives: Unlocking the History of the Americas.”

Ten highly respected scholars spoke to an enthusiastic audience on the significance of individual and collective treasures in the Gilcrease archives. Some of the treasures are quite well known such as the Codex Canadensis, a 17th century manuscript that documents the flora, fauna and indigenous people of New France along the St. Lawrence at a time

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when it was virtually unknown to the rest of the world.

Dr. Germaine Warkentin, University of Toronto, described why the document, which was written and illustrated by Jesuit priest Louis Nicolas, is so revered in Canada, and how after more than a half century of research by French Canadian scholars, much can still be learned from new studies of this important manuscript.

Other documents such as the Luke Foxe Nautical Journal of 1631, described by Jonathan King, University of Cambridge, are virtually unknown. Like his nautical predecessors, Foxe sought to find the Northwest Passage that might offer a more direct route from Europe to Asia than sailing around Africa or South America. The exploration of the Canadian Arctic

by Foxe and his failure to find a navigable passage changed nautical history for the next 250 years.

The Spanish Colonial records in the Gilcrease archives described by Roy Ritchie, Huntington Library, contain more than 100,000 pages of documents from the 16th and 17th centuries. The documents, most of which have yet to be translated into English, chronicle the Spanish exploration and conquest of the Western Hemisphere and provide insight into religious persecution during the Mexican Inquisition. A few documents were written by or to some of the most memorable names in history including Diego Columbus, Hernando de Soto, Hernán Cortés and Ponce de León.

The importance of historic maps in the Gilcrease collections was clearly demonstrated by the presentations “The Battle for the Americas as seen through Maps,” by TU Professor Thomas Foster and “Maps: Witnesses to History,”

by Dr. Ralph Ehrenberg, chief, Geography and Map Division, Library of Congress.

Cultural contact and conflict were the underlying themes of several presentations. TU Professor Kristen Oertel examined original documents in the collection dating from 1512 to 1863 to explore the conflict over slavery, and Professor Brian Hosmer explored the Miami struggle for sovereignty in the 19th century through the Thomas Richardville papers. Dr. Herman Viola, from the National Museum of the American Indian, Smithsonian Institution, spoke on the “Indian Legacy of Charles Bird King,” reminding us of the importance of the 19th century Indian portraits by King in the Gilcrease collection since most of his work was destroyed in the Smithsonian fire of 1865.

Declaration on Display One of Gilcrease Museum’s greatest treasures, a handwritten copy of the Declaration of Independence, will be on display during the Fourth of July weekend, July 3-5, 2015.

In March, researchers at the inaugural symposium at the Helmerich Center for American Research announced that Silas Deane, member of the Continental Congress, had penned the museum’s handwritten copy.

Fenella France, Ph.D., the preservation research and testing division chief, Library of Congress, presented her findings at the symposium.

The museum’s copy was used as a diplomatic missive presented to Baron Schulenburg (minister to Frederick

the Great of Prussia) by Benjamin Franklin, Deane and Arthur Lee. Headquartered in Paris, the trio were serving as American commissioners plenipotentiary.

Acting on instructions from the Continental Congress, the three sent a letter, along with the Declaration of Independence, and the Articles of Confederation to Schulenburg to promote friendship and commerce with the newly formed United States.

Other related art and material will be on display near the Declaration, including the Liberty color engraving.

The last time the museum’s copy of the Declaration of Independence was on public display was during the opening weekend of the America: Life, Liberty and the Pursuit of a Nation exhibition in June 2010.

Liberty Edward Savage, 1796 color engraving GM 1526.272

Certified Copy of the Declaration of Independence 1776, (detail), GM 4026.901

Dr. Fenella France, chief of Preservation Research and Testing Division, Library of Congress, used a recently developed technology of hyperspectral imaging to examine some of the most significant documents in the Gilcrease archival collections. The technique revealed much about the founding documents of the United States in the Gilcrease archives. To discover whose fingerprints were

on Gilcrease’s handwritten copy of the Declaration of Independence, France used good old-fashioned detective work and handwriting analysis. The fingerprints are in the same ink in which the document was written, and the handwriting matched documents in the Connecticut State Archives written by Silas Deane, U.S. Ambassador to France in 1776-1777.

SUMMER / 2015

13

Unlocking the History of the Americas at the Helmerich Center

The inaugural symposium was held in the Frances W. O’Hornett Great Hall.

The Helmerich Center for American Research celebrated its public opening on March 27-

28, 2015, with the inaugural symposium, “The Gilcrease Archives: Unlocking the History of the Americas.”

Ten highly respected scholars spoke to an enthusiastic audience on the significance of individual and collective treasures in the Gilcrease archives. Some of the treasures are quite well known such as the Codex Canadensis, a 17th century manuscript that documents the flora, fauna and indigenous people of New France along the St. Lawrence at a time

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Gilcrease Magazine

when it was virtually unknown to the rest of the world.

Dr. Germaine Warkentin, University of Toronto, described why the document, which was written and illustrated by Jesuit priest Louis Nicolas, is so revered in Canada, and how after more than a half century of research by French Canadian scholars, much can still be learned from new studies of this important manuscript.

Other documents such as the Luke Foxe Nautical Journal of 1631, described by Jonathan King, University of Cambridge, are virtually unknown. Like his nautical predecessors, Foxe sought to find the Northwest Passage that might offer a more direct route from Europe to Asia than sailing around Africa or South America. The exploration of the Canadian Arctic

by Foxe and his failure to find a navigable passage changed nautical history for the next 250 years.

The Spanish Colonial records in the Gilcrease archives described by Roy Ritchie, Huntington Library, contain more than 100,000 pages of documents from the 16th and 17th centuries. The documents, most of which have yet to be translated into English, chronicle the Spanish exploration and conquest of the Western Hemisphere and provide insight into religious persecution during the Mexican Inquisition. A few documents were written by or to some of the most memorable names in history including Diego Columbus, Hernando de Soto, Hernán Cortés and Ponce de León.

The importance of historic maps in the Gilcrease collections was clearly demonstrated by the presentations “The Battle for the Americas as seen through Maps,” by TU Professor Thomas Foster and “Maps: Witnesses to History,”

by Dr. Ralph Ehrenberg, chief, Geography and Map Division, Library of Congress.

Cultural contact and conflict were the underlying themes of several presentations. TU Professor Kristen Oertel examined original documents in the collection dating from 1512 to 1863 to explore the conflict over slavery, and Professor Brian Hosmer explored the Miami struggle for sovereignty in the 19th century through the Thomas Richardville papers. Dr. Herman Viola, from the National Museum of the American Indian, Smithsonian Institution, spoke on the “Indian Legacy of Charles Bird King,” reminding us of the importance of the 19th century Indian portraits by King in the Gilcrease collection since most of his work was destroyed in the Smithsonian fire of 1865.

Declaration on Display One of Gilcrease Museum’s greatest treasures, a handwritten copy of the Declaration of Independence, will be on display during the Fourth of July weekend, July 3-5, 2015.

In March, researchers at the inaugural symposium at the Helmerich Center for American Research announced that Silas Deane, member of the Continental Congress, had penned the museum’s handwritten copy.

Fenella France, Ph.D., the preservation research and testing division chief, Library of Congress, presented her findings at the symposium.

The museum’s copy was used as a diplomatic missive presented to Baron Schulenburg (minister to Frederick

the Great of Prussia) by Benjamin Franklin, Deane and Arthur Lee. Headquartered in Paris, the trio were serving as American commissioners plenipotentiary.

Acting on instructions from the Continental Congress, the three sent a letter, along with the Declaration of Independence, and the Articles of Confederation to Schulenburg to promote friendship and commerce with the newly formed United States.

Other related art and material will be on display near the Declaration, including the Liberty color engraving.

The last time the museum’s copy of the Declaration of Independence was on public display was during the opening weekend of the America: Life, Liberty and the Pursuit of a Nation exhibition in June 2010.

Liberty Edward Savage, 1796 color engraving GM 1526.272

Certified Copy of the Declaration of Independence 1776, (detail), GM 4026.901

Dr. Fenella France, chief of Preservation Research and Testing Division, Library of Congress, used a recently developed technology of hyperspectral imaging to examine some of the most significant documents in the Gilcrease archival collections. The technique revealed much about the founding documents of the United States in the Gilcrease archives. To discover whose fingerprints were

on Gilcrease’s handwritten copy of the Declaration of Independence, France used good old-fashioned detective work and handwriting analysis. The fingerprints are in the same ink in which the document was written, and the handwriting matched documents in the Connecticut State Archives written by Silas Deane, U.S. Ambassador to France in 1776-1777.

SUMMER / 2015

13

Thomas Sully (1783-1872) American

MRS. JOSEPH HOPKINSON

COLLECTION FEATURE

Mrs. Joseph Hopkinson T

he woman wears a white gown, gold jewelry and an elusive expression in this portrait by famed artist Thomas Sully. Behind the serene composition and flushed complexion, however, is a great deal more. Sully began the piece on July 1 and finished it four days later; a striking correlation given the sitter’s history and status in Philadelphia. Who was Mrs. Joseph Hopkinson? What were her connections to the Declaration of Independence, the Revolution, the Constitution, the XYZ Affair, and the unofficial national anthem?

Born in 1770 to privilege and politics, she was a daughter of successful merchant Thomas Mifflin and his wife, Sarah, both Quakers.

Wealth and comfort surrounded young Emily from her first recollections, but as tensions between the colonists and Great Britain increased, so too did her family’s involvement.

Thomas opposed the taxes placed on British goods and refused to import them, while Sarah supported the boycott of such goods at home by refusing to buy them. In time, Thomas even joined the Continental Congress before accepting a commission as major under General Washington. It marked the beginning of a successful military and political career that carried him to the Pennsylvania State House of Representatives, the Constitutional Convention (as a signer), and the first governorship of Pennsylvania in 1790.

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Gilcrease Magazine

oil on canvas, 1808, GM 0126.2107 Gift of the Thomas Gilcrease Foundation, 1964

Emily’s political connections did not end with her father, however. On February 27, 1794, she married prominent attorney, Joseph Hopkinson, son of Francis — an attorney, judge, and signer of the Declaration. The couple followed their families’ examples and actively supported the Federalist cause during the XYZ Affair in 1798, a brief dispute with France over commerce. For his part, Joseph wrote lyrics for The President’s March, now known as Hail Columbia. It became the unofficial anthem and was used throughout the 19th century and even into the 20th century until 1931 when The Star Spangled Banner became official. Hail Columbia is still used today as the entrance song for the vice president.

Emily, however, also contributed during this time and presented a painting to Federalist volunteers on July 4, 1798. It depicts an eagle with stars and stripes and held in its talons the day’s popular slogans: Independence and Millions for Defense, but not a Cent for Tribute.

Joseph went on to serve as a congressman and judge while Emily oversaw their large family, nine of 14 children surviving to adulthood. She died in 1850, eight years after Joseph. The two passed on their sense of patriotism, politics, and civil service as evidenced in the lives of their sons who became lawyers, doctors, and soldiers — continuing a legacy inherited from both their parents.

SUMMER / 2015

15

Thomas Sully (1783-1872) American

MRS. JOSEPH HOPKINSON

COLLECTION FEATURE

Mrs. Joseph Hopkinson T

he woman wears a white gown, gold jewelry and an elusive expression in this portrait by famed artist Thomas Sully. Behind the serene composition and flushed complexion, however, is a great deal more. Sully began the piece on July 1 and finished it four days later; a striking correlation given the sitter’s history and status in Philadelphia. Who was Mrs. Joseph Hopkinson? What were her connections to the Declaration of Independence, the Revolution, the Constitution, the XYZ Affair, and the unofficial national anthem?

Born in 1770 to privilege and politics, she was a daughter of successful merchant Thomas Mifflin and his wife, Sarah, both Quakers.

Wealth and comfort surrounded young Emily from her first recollections, but as tensions between the colonists and Great Britain increased, so too did her family’s involvement.

Thomas opposed the taxes placed on British goods and refused to import them, while Sarah supported the boycott of such goods at home by refusing to buy them. In time, Thomas even joined the Continental Congress before accepting a commission as major under General Washington. It marked the beginning of a successful military and political career that carried him to the Pennsylvania State House of Representatives, the Constitutional Convention (as a signer), and the first governorship of Pennsylvania in 1790.

14

Gilcrease Magazine

oil on canvas, 1808, GM 0126.2107 Gift of the Thomas Gilcrease Foundation, 1964

Emily’s political connections did not end with her father, however. On February 27, 1794, she married prominent attorney, Joseph Hopkinson, son of Francis — an attorney, judge, and signer of the Declaration. The couple followed their families’ examples and actively supported the Federalist cause during the XYZ Affair in 1798, a brief dispute with France over commerce. For his part, Joseph wrote lyrics for The President’s March, now known as Hail Columbia. It became the unofficial anthem and was used throughout the 19th century and even into the 20th century until 1931 when The Star Spangled Banner became official. Hail Columbia is still used today as the entrance song for the vice president.

Emily, however, also contributed during this time and presented a painting to Federalist volunteers on July 4, 1798. It depicts an eagle with stars and stripes and held in its talons the day’s popular slogans: Independence and Millions for Defense, but not a Cent for Tribute.

Joseph went on to serve as a congressman and judge while Emily oversaw their large family, nine of 14 children surviving to adulthood. She died in 1850, eight years after Joseph. The two passed on their sense of patriotism, politics, and civil service as evidenced in the lives of their sons who became lawyers, doctors, and soldiers — continuing a legacy inherited from both their parents.

SUMMER / 2015

15

Museum News

Education Highlights

Oklahoma Impressionism Exhibition and Art Sale

White Swan, Crow, (1851-1904), War Record, Watercolor, ink and pencil on muslin, GM 0226.589

Art and Artistry of Plains Indian Communities Symposium Save The Date Friday, November 13, 2015 The art and artistry of 19th century Plains Indian communities not only reflect the unparalleled talent of certain individuals, but also tell the story of how colonization, trade, firearms, horses and war altered Plains Indian life. This symposium celebrates the anticipated Art and Artistry of Plains Indian Communities exhibition, set to open in 2017.

Join leading Plains Indian scholars Emma Hansen (Buffalo Bill Center of the West), David Penney (National Museum for the American Indian) and Gaylord Torrence (The Nelson-Atkins Museum of Art) among others as they explore the special role of Plains artists in their communities. The scholars will trace the historical forces that shaped Plains Indian life from the antebellum period through the Progressive Era.

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Gilcrease Magazine

Gil Adams, Cain’s oil on board, 16" x 20"

July 3 – August 2 , 2015 Henry Zarrow Center for Art and Education The Oklahoma Impressionism exhibition will be on display at the Zarrow Center for a month this summer in conjunction with the California Impressionism: Selections from The Irvine Museum exhibition currently showing at Gilcrease Museum.

Created by local and regional artists, this exhibition will focus on images representing Oklahoma in the Impressionistic style. Local artist Christopher Westfall will demonstrate how Impressionistic paintings are created during a lunch lecture from noon to 1 p.m. on Friday, July 10 at the Zarrow Center, 124 East M.B. Brady Street. Bring a brown bag lunch to enjoy before you explore the Oklahoma Impressionsim exhibition in the Sherman Smith Family Gallery. Coffee, tea and dessert are provided. Please RSVP to Cindy Williams at 918-631-4402, or cindy-williams@utulsa.edu.

American Girl Doll Tea Party

Quilled Shirt Cheyenne, 1890 GM 84.1818

July 11, 2015 • 2:00 p.m.

Come celebrate the American Girl Doll experience with a tea party for you and your American Girl Doll. Our featured doll this summer is Josefina. Experience artwork in the galleries that relate to Josefina’s life in New Mexico in the early 1800s before New Mexico became a state. Josefina’s life on her ranch was full of change and possibilities. Come dressed as Josefina or your own favorite American Girl Doll and enjoy a tea party.

For ages 4 and older. $20 for members/$25 for not-yet members. To register online, visit gilcrease.utulsa.edu/TeaParty

Museum News

Education Highlights

Oklahoma Impressionism Exhibition and Art Sale

White Swan, Crow, (1851-1904), War Record, Watercolor, ink and pencil on muslin, GM 0226.589

Art and Artistry of Plains Indian Communities Symposium Save The Date Friday, November 13, 2015 The art and artistry of 19th century Plains Indian communities not only reflect the unparalleled talent of certain individuals, but also tell the story of how colonization, trade, firearms, horses and war altered Plains Indian life. This symposium celebrates the anticipated Art and Artistry of Plains Indian Communities exhibition, set to open in 2017.

Join leading Plains Indian scholars Emma Hansen (Buffalo Bill Center of the West), David Penney (National Museum for the American Indian) and Gaylord Torrence (The Nelson-Atkins Museum of Art) among others as they explore the special role of Plains artists in their communities. The scholars will trace the historical forces that shaped Plains Indian life from the antebellum period through the Progressive Era.

16

Gilcrease Magazine

Gil Adams, Cain’s oil on board, 16" x 20"

July 3 – August 2 , 2015 Henry Zarrow Center for Art and Education The Oklahoma Impressionism exhibition will be on display at the Zarrow Center for a month this summer in conjunction with the California Impressionism: Selections from The Irvine Museum exhibition currently showing at Gilcrease Museum.

Created by local and regional artists, this exhibition will focus on images representing Oklahoma in the Impressionistic style. Local artist Christopher Westfall will demonstrate how Impressionistic paintings are created during a lunch lecture from noon to 1 p.m. on Friday, July 10 at the Zarrow Center, 124 East M.B. Brady Street. Bring a brown bag lunch to enjoy before you explore the Oklahoma Impressionsim exhibition in the Sherman Smith Family Gallery. Coffee, tea and dessert are provided. Please RSVP to Cindy Williams at 918-631-4402, or cindy-williams@utulsa.edu.

American Girl Doll Tea Party

Quilled Shirt Cheyenne, 1890 GM 84.1818

July 11, 2015 • 2:00 p.m.

Come celebrate the American Girl Doll experience with a tea party for you and your American Girl Doll. Our featured doll this summer is Josefina. Experience artwork in the galleries that relate to Josefina’s life in New Mexico in the early 1800s before New Mexico became a state. Josefina’s life on her ranch was full of change and possibilities. Come dressed as Josefina or your own favorite American Girl Doll and enjoy a tea party.

For ages 4 and older. $20 for members/$25 for not-yet members. To register online, visit gilcrease.utulsa.edu/TeaParty

Calendar of Events

For detailed information, visit www.gilcrease.utulsa.edu.

July 3, 10, 17, 24, 31 Mini Masters 10 a.m. For ages 3-6 accompanied by a caregiver.

3, 10, 17, 24, 31 Kids Dig Books Noon-1 p.m. For ages 3-6 accompanied by caregiver.

3 First Friday Art Crawl

Gilcrease Museum Exhibitions On Common Ground Ongoing Focus on Favorites: Masterworks from the Gilcrease Collection Ongoing Rendezvous Exhibition and Art Sale Through July 12, 2015 California Impressionism: Selections from The Irvine Museum Through September 6, 2015 On 52nd Street: The Jazz Photography of William P. Gottlieb Opens July 26 through October 11, 2015

Zarrow Center Exhibitions Sherman Smith Family Gallery Noon-6 p.m., Tuesday – Saturday; 1-5 p.m., Sunday • Admission is free.

Oklahoma Impressionism Opens July 3 through August 2, 2015 The Art of Charles Addams Opens August 7 through Sept. 27, 2015

Henrietta Shore, Mount Wilson oil on canvas, 21" x 33"

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Gilcrease Magazine

6-9 p.m., Zarrow Center. Enjoy the Brady Arts District, see the Oklahoma Impressionism exhibit. Free

5 Sunday Draws 1-2:30 p.m. For ages 8 and up. $5, members; $8, not-yet-members.

7, 14, 21, 28 Mini Masters 2-3 p.m. For ages 3-6 accompanied by caregiver.

10 Brown Bag Lunch Lecture Oklahoma Impressionism, Noon - 1 p.m., Zarrow Center. Free

11 American Girl Doll Tea Party 2-4 p.m., For ages 4 and older accompanied by adult. $20, members; $25, not-yet members.

12 Sunday Matinee Film

19 Funday Sunday

7 Kids Dig Books

Noon-4 p.m. Families with children ages 3 - 15. Free

Noon-1 p.m. For ages 3-6 years accompanied by a caregiver.

20-24 Summer Art Camp

7 From My Point of View

Gilcrease Museum, 9 a.m.-Noon, & 1-4 p.m. For ages 5-6. $100/session, members; $125/session, not-yet members.

Noon, Gallery 18. Free with paid admission.

25 Exhibition Lecture On 52nd Street: The Jazz Photography of William P. Gottlieb, Frank H. Goodyear, III. 2 p.m., Tom Gilcrease Jr. Auditorium.

Free with paid admission.

27-31 Summer Art Camp Gilcrease and the Zarrow Center, 9 a.m.Noon, 1-4 p.m. For ages 5-12. $100/ session, members; $125/session, not-yet members.

August 2 Sunday Draws 1-2:30 p.m. For ages 8 and up. $5, members; $8, not-yet members.

3-7 Summer Art Camp Zarrow Center, 9 a.m.-Noon, & 1-4 p.m.

For ages 7-12. $100/session, members; $125/session, not-yet members.

Anthem: The Story Behind the Star Spangled Banner, 1:30 & 2:45 p.m., Tom Gilcrease Jr. Auditorium. Free with paid admission.

4 Mini Masters

13-17 Summer Art Camp — Creative Creatures

7 First Friday Art Crawl

Gilcrease and the Zarrow Center, 9 a.m.-Noon, 1-4 p.m. For ages 5-6, $100/session, members; $125/session, not-yet members.

14 Art Explorations 10 a.m.-12 Noon, Gallery/The Study

Andy Thomas, Captains Courageous oil on linen, 24" x 48", 2014

2-3 p.m. For ages 3-6 accompanied by a caregiver.

6-9 p.m., Zarrow Center. Enjoy the Brady Arts District, see the Charles Addams exhibit. Free

7 Mini Masters

9 Sunday Matinee Film Ken Burns: Jazz – The True Welcome (19291935), 1:30 p.m., Tom Gilcrease Jr. Auditorium. Free with paid admission.

September 1 & 15 Open Studio for Adult Artists Bring your own supplies, 4-7p.m. Zarrow Center. Free

4 First Friday Art Crawl

11 Art Explorations

6-9 p.m., Zarrow Center. Enjoy the Brady Arts District, see the Charles Addams exhibit.

Free

10 a.m.-Noon, Gallery/The Study

5 Mini Masters

13 Wine & Design Series: Collage Pendants

10:30-11:30 a.m. For ages 3-6 accompanied by a caregiver.

6-8 p.m., Zarrow Center. $35 members; $40 not-yet members.

6 Sunday Draws

15 Extended Pose Figure Drawing

1-2:30 p.m. For ages 8 and up. $5, members; $8, not-yet members.

1-5 p.m., Zarrow Center. $25. Registration required.

6 & 27 Zarrow Family Drop-in Days

16 Funday Sunday Noon-4 p.m. For families with children ages 3-15. Free

2-5 p.m., Music and Art in the Park. Enjoy live music at Guthrie Green with children’s fun art activities.

29 Cartooning Fun

8 Mini Masters

1-3 p.m., Zarrow Center. Josh Butts will guide children ages 6 and up and adults through a step-by-step process. Children must be accompanied by an adult. $12 members; $15 not-yet members.

10-11 a.m. & 12-1 p.m. For ages 3-6 accompanied by a caregiver.

29 Zarrow Family Dropin Days

10-11 a.m., Noon-1 p.m. For ages 3-6 years old, accompanied by caregiver.

4-7 p.m. Festival Americas at Guthrie Green Park. Free art activities for the whole family.

8 Art Explorations 10 a.m.-Noon, Gallery/The Study

10 Kids Dig Books

10 ZACH: Teen Time Zarrow Center, 10-11:30 a.m. Teen art program designed especially for the homeschooling community. $12 members; $15 not-yet members.

10 & 24 ZACH: Zarrow Art Classes for Homeschool September 10, 1:30-3 p.m.; September 24, 10-11:30 a.m. or 1:30-3 p.m. For ages 6-12.

Zarrow Center. $10 members; $12 not-yet members.

11 From My Point of View Noon, Gallery 18. Free with paid admission.

Speaker - Mark Dolph, Giant Steps and Milestones: A Brief History and Appreciation of Jazz.

11 Brown Bag Lunch Lecture Noon-1 p.m. Artist Matt Moffett will discuss The Art of Charles Addams.

13 Sunday Matinee Film Ken Burns: Jazz - Dedicated to Chaos (1940-1945), 1:30 p.m., Tom Gilcrease Jr. Auditorium. Free with paid admission.

17, 18 Museum Babies 10:30-11:30 a.m., For ages: birth to not-yet 3 years old accompanied by a caregiver.

18 Mini Masters 10-11 a.m., Noon-1 p.m. For ages 3-6 years, accompanied by caregiver.

20 Funday Sunday Noon-4 p.m. For families with children ages 3-15. Free (Edison Preparatory H.S. Jazz Band to perform from 1:30-2:30 pm.)

26-27 Photography Workshop Saturday, 1-3 p.m.; Sunday, 1-4 p.m. Hardesty Arts Center. In conjunction with the exhibit, On 52nd Street: The Jazz Photography of William P. Gottlieb. For ages 13-18. Free

10-11 a.m. For ages 3-6 accompanied by a caregiver.

Walter T. Matia A Point of Honor, 2012 14” x 20” x 12”

Frank Myers, Football Players oil on canvas, 24" x 36"

SUMMER / 2015

19

Calendar of Events

For detailed information, visit www.gilcrease.utulsa.edu.

July 3, 10, 17, 24, 31 Mini Masters 10 a.m. For ages 3-6 accompanied by a caregiver.

3, 10, 17, 24, 31 Kids Dig Books Noon-1 p.m. For ages 3-6 accompanied by caregiver.

3 First Friday Art Crawl

Gilcrease Museum Exhibitions On Common Ground Ongoing Focus on Favorites: Masterworks from the Gilcrease Collection Ongoing Rendezvous Exhibition and Art Sale Through July 12, 2015 California Impressionism: Selections from The Irvine Museum Through September 6, 2015 On 52nd Street: The Jazz Photography of William P. Gottlieb Opens July 26 through October 11, 2015

Zarrow Center Exhibitions Sherman Smith Family Gallery Noon-6 p.m., Tuesday – Saturday; 1-5 p.m., Sunday • Admission is free.

Oklahoma Impressionism Opens July 3 through August 2, 2015 The Art of Charles Addams Opens August 7 through Sept. 27, 2015

Henrietta Shore, Mount Wilson oil on canvas, 21" x 33"

18

Gilcrease Magazine

6-9 p.m., Zarrow Center. Enjoy the Brady Arts District, see the Oklahoma Impressionism exhibit. Free

5 Sunday Draws 1-2:30 p.m. For ages 8 and up. $5, members; $8, not-yet-members.

7, 14, 21, 28 Mini Masters 2-3 p.m. For ages 3-6 accompanied by caregiver.

10 Brown Bag Lunch Lecture Oklahoma Impressionism, Noon - 1 p.m., Zarrow Center. Free

11 American Girl Doll Tea Party 2-4 p.m., For ages 4 and older accompanied by adult. $20, members; $25, not-yet members.

12 Sunday Matinee Film

19 Funday Sunday

7 Kids Dig Books

Noon-4 p.m. Families with children ages 3 - 15. Free

Noon-1 p.m. For ages 3-6 years accompanied by a caregiver.

20-24 Summer Art Camp

7 From My Point of View

Gilcrease Museum, 9 a.m.-Noon, & 1-4 p.m. For ages 5-6. $100/session, members; $125/session, not-yet members.

Noon, Gallery 18. Free with paid admission.

25 Exhibition Lecture On 52nd Street: The Jazz Photography of William P. Gottlieb, Frank H. Goodyear, III. 2 p.m., Tom Gilcrease Jr. Auditorium.

Free with paid admission.

27-31 Summer Art Camp Gilcrease and the Zarrow Center, 9 a.m.Noon, 1-4 p.m. For ages 5-12. $100/ session, members; $125/session, not-yet members.

August 2 Sunday Draws 1-2:30 p.m. For ages 8 and up. $5, members; $8, not-yet members.

3-7 Summer Art Camp Zarrow Center, 9 a.m.-Noon, & 1-4 p.m.

For ages 7-12. $100/session, members; $125/session, not-yet members.

Anthem: The Story Behind the Star Spangled Banner, 1:30 & 2:45 p.m., Tom Gilcrease Jr. Auditorium. Free with paid admission.

4 Mini Masters

13-17 Summer Art Camp — Creative Creatures

7 First Friday Art Crawl

Gilcrease and the Zarrow Center, 9 a.m.-Noon, 1-4 p.m. For ages 5-6, $100/session, members; $125/session, not-yet members.

14 Art Explorations 10 a.m.-12 Noon, Gallery/The Study

Andy Thomas, Captains Courageous oil on linen, 24" x 48", 2014

2-3 p.m. For ages 3-6 accompanied by a caregiver.

6-9 p.m., Zarrow Center. Enjoy the Brady Arts District, see the Charles Addams exhibit. Free

7 Mini Masters

9 Sunday Matinee Film Ken Burns: Jazz – The True Welcome (19291935), 1:30 p.m., Tom Gilcrease Jr. Auditorium. Free with paid admission.

September 1 & 15 Open Studio for Adult Artists Bring your own supplies, 4-7p.m. Zarrow Center. Free

4 First Friday Art Crawl

11 Art Explorations

6-9 p.m., Zarrow Center. Enjoy the Brady Arts District, see the Charles Addams exhibit.

Free

10 a.m.-Noon, Gallery/The Study

5 Mini Masters

13 Wine & Design Series: Collage Pendants

10:30-11:30 a.m. For ages 3-6 accompanied by a caregiver.

6-8 p.m., Zarrow Center. $35 members; $40 not-yet members.

6 Sunday Draws

15 Extended Pose Figure Drawing

1-2:30 p.m. For ages 8 and up. $5, members; $8, not-yet members.

1-5 p.m., Zarrow Center. $25. Registration required.

6 & 27 Zarrow Family Drop-in Days

16 Funday Sunday Noon-4 p.m. For families with children ages 3-15. Free

2-5 p.m., Music and Art in the Park. Enjoy live music at Guthrie Green with children’s fun art activities.

29 Cartooning Fun

8 Mini Masters

1-3 p.m., Zarrow Center. Josh Butts will guide children ages 6 and up and adults through a step-by-step process. Children must be accompanied by an adult. $12 members; $15 not-yet members.

10-11 a.m. & 12-1 p.m. For ages 3-6 accompanied by a caregiver.

29 Zarrow Family Dropin Days

10-11 a.m., Noon-1 p.m. For ages 3-6 years old, accompanied by caregiver.

4-7 p.m. Festival Americas at Guthrie Green Park. Free art activities for the whole family.

8 Art Explorations 10 a.m.-Noon, Gallery/The Study

10 Kids Dig Books

10 ZACH: Teen Time Zarrow Center, 10-11:30 a.m. Teen art program designed especially for the homeschooling community. $12 members; $15 not-yet members.

10 & 24 ZACH: Zarrow Art Classes for Homeschool September 10, 1:30-3 p.m.; September 24, 10-11:30 a.m. or 1:30-3 p.m. For ages 6-12.

Zarrow Center. $10 members; $12 not-yet members.

11 From My Point of View Noon, Gallery 18. Free with paid admission.

Speaker - Mark Dolph, Giant Steps and Milestones: A Brief History and Appreciation of Jazz.

11 Brown Bag Lunch Lecture Noon-1 p.m. Artist Matt Moffett will discuss The Art of Charles Addams.

13 Sunday Matinee Film Ken Burns: Jazz - Dedicated to Chaos (1940-1945), 1:30 p.m., Tom Gilcrease Jr. Auditorium. Free with paid admission.

17, 18 Museum Babies 10:30-11:30 a.m., For ages: birth to not-yet 3 years old accompanied by a caregiver.

18 Mini Masters 10-11 a.m., Noon-1 p.m. For ages 3-6 years, accompanied by caregiver.

20 Funday Sunday Noon-4 p.m. For families with children ages 3-15. Free (Edison Preparatory H.S. Jazz Band to perform from 1:30-2:30 pm.)

26-27 Photography Workshop Saturday, 1-3 p.m.; Sunday, 1-4 p.m. Hardesty Arts Center. In conjunction with the exhibit, On 52nd Street: The Jazz Photography of William P. Gottlieb. For ages 13-18. Free

10-11 a.m. For ages 3-6 accompanied by a caregiver.

Walter T. Matia A Point of Honor, 2012 14” x 20” x 12”

Frank Myers, Football Players oil on canvas, 24" x 36"

SUMMER / 2015

19

1400 N. Gilcrease Museum Road Tulsa, OK 74127-2100

It’s Not Too Late to Enroll in Summer Camp!

Contact Gilcrease Museum

If you’re still looking for summer activities, it’s not too late to enroll your kiddos in art camp.

TOLL FREE........................................ 888-655-2278

Gilcrease Museum offers camp for 5-6 year olds. Camp is in session now through June 26 and July 13-31. Kids can explore the museum and the gardens, learning about art and different cultures, then make their own art.

FAX.................................................... 918-596-2770

The Henry Zarrow Center for Art and Education in the Brady Arts District downtown has camp for 7-12 year olds. Camp is in session now through June 26, as well as July 13-17 and July 27-August 7. Campers will explore the Brady Arts District and participate in various activities including making glass art at the Tulsa Glass Studio. Daily shuttles to Gilcrease will be available for museum visits.

Cost is per week Half-Day Class, 9 a.m.-12 p.m. & 1-4 p.m. $100 members, $125 not-yet members All-Day Class, 9 a.m.-4 p.m. $200 members, $250 not-yet members Extended day, 4-5 p.m.: $25 per week per child Registration is required. For more information about camp, visit gilcrease.utulsa.edu/camp.

MAIN NUMBER............................... 918-596-2700

TOURS.............................................. 918-596-2782 DEVELOPMENT................................ 918-596-2758 PUBLIC Relations........................ 918-596-2752 MEMBERSHIP................................. 918-596-2758 support-gilcrease@utulsa.edu MUSEUM Store............................. 918-596-2725 EDUCATION..................................... 918-596-2768 GILCREASE LIBRARY...................... 918-631-6441 Administration.......................... 918-596-2754 Museum RESTAURANT................ 918-596-2720 FACILITY EVENTS............................ 918-596-2771 HELMERICH CENTER AT GILCREASE................................. 918-631-6400 gilcrease.utulsa.edu ©2015, Gilcrease Museum

The University of Tulsa does not discriminate on the basis of personal status or group characteristics including but not limited to the classes protected under federal and state law in its programs, services, aids, or benefits. Inquiries regarding 20 ofGilcrease Magazine implementation this policy may be addressed to the Office of Human Resources, 800 South Tucker Drive, Tulsa, Oklahoma 74104-9700, 918-631-2616. Requests for accommodation of disabilities may be addressed to the University’s 504 Coordinator, Dr. Tawny Taylor, 918-631-2315. To ensure availability of an interpreter, five to seven days notice is needed; 48 hours is recommended for all other accommodations. TU#15247