Category Archives: Museums

The Rantoul Historical Society Museum

Posted on by

Back on Tuesday. Take holidays whenever you can get them.

Rantoul, Illinois, is a town of about 13,000 just off of I-57 and roughly 20 miles north-northeast of Champaign-Urbana. For the last two years that I’ve been driving regularly between metro Chicago and Champaign, it’s been a sign on the Interstate. I knew that there had been an Air Force base there, and then an air museum on the site, but that both were gone. That’s about all I knew.

So on Sunday, I took the Rantoul exit and made my way to the Rantoul Historical Society Museum. Support little local museums when you can. Besides, you never know what oddities you’ll see, such as White Star brand tomatoes.

The museum is in a former church building on a main road.
Not a particularly old church, either: the Rantoul Presbyterian Church, dedicated in 1953.
The church is something of a microcosm of the town. When the museum moved into the building in 2016, the Rantoul Press did an article about it.

“At one time, when Chanute Air Force Base was open, membership was strong and the building was the site of a number of church and social events,” the Press noted. “But membership tailed off dramatically when the base closed.”

Chanute Air Force Base was open from 1917 to 1993, beginning as an Army Air Corps training facility and ending in a round of base rationalizations. When the base went, most of the local economy went with it.

A good part of the museum is given over to Chanute AFB.

The church’s former sanctuary isn’t used for displays, but a number of other rooms are chock-full of items, some in display cases, some not: photos, paintings, posters, newspapers, other printed ephemera, clothes, household items, knickknacks, toys, furniture, machinery, and items about the Illinois Central RR, which was the town’s reason for being in the 19th century.

In short, the museum sports anything that the good people of Rantoul wanted to give to the historical society after parents and grandparents died, or debris they cleaned out their homes before moving, or things they simply couldn’t bear to throw away. It’s Rantoul’s attic and Rantoul’s basement.

I spent about an hour looking around. I was the only person there besides the fellow watching the place. When I came in, he greeted me and turned on the lights in the other rooms for me. Otherwise, he said, they stay off.

Wonder who Mr. Rantoul was? The museum tells you. And shows you what he looked like.
Robert Rantoul Jr. (1805-52) was a U.S. Representative from Massachusetts and a director of the Illinois Central Railroad. As far as I can tell, he never visited Illinois, but when the Illinois Central was naming towns along its route, he got the nod.

I enjoyed the case full of old telephones.
There were plenty of displays devoted to bygone local sports glory.
A leather football helmet.

I’ve heard you can make a pretty good case that chronic concussion injuries would be reduced if football went back to leather helmets. Besides, they look cooler.

A few of the artifacts hint at someone’s long-ago personal sadness, such as this.
Boy Scout Vest Worn By: Jerry Wright

The picture must be a high school yearbook shot with “1954” added. No doubt the vest was tucked away somewhere by that time. Gerald Wright, it says under the picture. Deceased. Band 1,2,3. Football 1,2.

The Pritzker Military Museum

Posted on by

One of the things I wanted to do between Christmas and New Year was visit one of Chicago’s lesser-known museums, ideally one I hadn’t gotten around to. So I went to the Pritzker Military Museum & Library, which is on second and third floors of 104 S. Michigan Ave., overlooking Millennium Park.
Pritzker, as in the Chicago family of billionaires, the architecture prize, and the incoming governor of Illinois. In particular, the museum is a project of retired Col. Jennifer (formerly James) Pritzker of the Illinois Army National Guard, who was also in the U.S. Army for a good many years.

All of the display space — a few rooms on the two floors — is currently given over to the Great War. Fittingly. On display are photos, posters and items carried by WWI soldiers.
There are also a few less conventional items to see.

Nothing says Great War like a papier-mâché Kaiser head. According to the sign, “A mask like this one… might have been worn on a float or during a play as a way to mock the German monarch.”

No doubt. What I wonder is how the thing survived 100 years. When the initial fun of Kaiser-mocking died down, did its creator tuck it away in some attic, only to be forgotten for decades? I can imagine some grandson or granddaughter cleaning out that attic in, say, the 1970s, and saying, “What is this? Let’s get rid of it.” But that didn’t happen. Somehow the Kaiser head made its way to the Pritzker, founded only in 2003.

What could be more important to Great War soldiers and sailors than their cigs?

I was especially taken with the collection of posters. Some as conventional as can be.
Some more whimsical.

One appealing to ethnic pride and righteous outrage at the same time.
This was for an organization essentially lost to time, though in fact the American Red Star Animal Relief Program is still around, now called Animal Emergency Services.
“[In WWI] the U.S. armed services used 243,135 horses and mules during the war to transport supply wagons, ambulances, traveling kitchens, water carts, food, engineer equipment, light artillery, and tons of shells. Horses were used in direct combat as well,” American Humane says.

“American Humane sent medical supplies, bandages, and ambulances to the front lines to care for the injured horses — an estimated 68,000 per month.

“Since that time, American Humane has helped the animal victims of natural and manmade disasters, such as floods, chemical spills, hurricanes, volcanic eruptions, and victims of animal cruelty throughout the country.”

Le Corbusier & Ando

Posted on by

The first-ever exhibit at Wrightwood 659 is called Tadao Ando and Le Corbusier: Masters of Architecture. You’d think the more alliterative Masters of Modernism would be the thing, but probably the organizers thought that would be too narrow. And Masters of Human Creativity would be too broad.
The Le Corbusier exhibit was on the second floor. Pictures and paintings and models and a lot to read.
Before I’d only had a casual acquaintance with his output. I didn’t know about his paintings, for instance. Such as Taureau VIII (Bull VIII), 1954.

Looks suspiciously Picassoesque to my unlearned eye, but I don’t doubt Le Corbusier’s creativity. The models for some of his buildings, built and unbuilt, show that well enough.

A house he designed in Argentina, 1949.
An unbuilt governor’s palace for Punjab State in India, 1950-65.
Still, when I looked at some of the models, I couldn’t help being reminded of every ugly modernist box I’ve ever seen, even if his own work — in this case Le Corbusier’s Cité Radieuse in Marseille — had a bit more style.
Remarkably, the building now includes the Hôtel Le Corbusier on two floors, and some color seems to have been added to the exterior. Even more remarkably, according to the Telegraph: “Double rooms from €79 (£67) year-round, an incredibly reasonable rate for the opportunity to sleep within an architectural icon.”

Reasonable all right. If the hotel were in this country, its owner would brag about curating Le Corbusier’s legacy, tout its upscale amenities, and charge three or four times as much.

On floors three and four of Wrightwood 659 were the Ando exhibits. I believe Ando has some advantages over Le Corbusier. He’s alive, for example, and could visit the exhibit when it opened and draw on the walls. This doodle evokes the Modern Art Museum of Fort Worth, which he designed.
Also, Ando is a niche practitioner who does marvels in concrete, not someone inspiring a rash of urban renewal destruction and ugliness. Here’s a model of Ando’s Church of the Light near Osaka. I need to visit someday.

A lot of the third floor was taken up with a model of Naoshima, a small island in the Inland Sea that’s large enough to be home to a number of Ando-designed museums, developed over the last few decades.

Know where else I need to visit? Naoshima. There are just too many interesting places in the world.

Hull-House

Posted on by

Besides trees and a little public art and some brutalist buildings, here’s something else I saw at the University of Illinois at Chicago on Sunday, the likes of which I’d never seen before.
It’s a knife-sharpening cart, complete with cobble stones, on display on the second floor of Hull-House, with a sign that says: “Julio Fabrizio, an immigrant from Castelvino, Italy, to Chicago in 1919, built this knife-sharpening cart in the 1930s for his peddling services. Pushing it through the streets of his Near West Side neighborhood, Fabrizio used it to repair umbrellas and sharpen scissors, saws, and knives.”

Since I was already at UIC on Sunday afternoon, I decided to drop by for a look at Hull-House, which is more formally called the Jane Addams Hull-House Museum. All the years I’ve been in Chicago area, I’d never gotten around to it.

The current structure is a fragment of the 13-building complex in its heyday 100 years ago, but at least it’s a restored version of the original building, which dates back to 1856. By the time it became a settlement house in 1889, the house was fully part of the surrounding immigrant slum and so exactly where Addams and Hull-House cofounder Ellen Gates Starr wanted to be. The organization’s physical structure grew from there. The later buildings, just like much of the neighborhood, were destroyed in the 1960s to make way for the UIC campus.

“In the 1890s, Hull-House was located in the midst of a densely populated urban neighborhood peopled by Italian, Irish, German, Greek, Bohemian, and Russian and Polish Jewish immigrants,” the museum says.

“Jane Addams and the Hull-House residents provided kindergarten and day care facilities for the children of working mothers; an employment bureau; an art gallery; libraries; English and citizenship classes; and theater, music and art classes. As the complex expanded to include thirteen buildings, Hull-House supported more clubs and activities such as a Labor Museum, the Jane Club for single working girls, meeting places for trade union groups, and a wide array of cultural events.”

The museum is small but well designed to convey how the organization furthered the goals of the Progressive movement in the late 19th and early 20th centuries, besides providing numerous social services in the immediate neighborhood.

“Among the projects that they helped launch were the Immigrants’ Protective League, the Juvenile Protective Association, the first juvenile court in the nation, and a Juvenile Psychopathic Clinic (later called the Institute for Juvenile Research),” the museum notes.

“Through their efforts, the Illinois Legislature enacted protective legislation for women and children in 1893. With the creation of the Federal Children’s Bureau in 1912 and the passage of a federal child labor law in 1916, the Hull-House reformers saw their efforts expanded to the national level.”

Addams’ bedroom is part of the exhibit.
Fairly spare, though there’s a portrait of Tolstoy on the wall (no artist named that I could see, but it looks like a part copy of a 1901 portrait by Ilya Repin).
Apparently the Russian was an inspiration to Addams, though when they met in 1896 the event was less than comfortable for the American reformer.

The museum isn’t all about Addams or even the other settlement workers. Other people associated with the organization are given their due. One in particular caught my eye: Morris Topchevsky (1899-1947), immigrant from Poland when it was still part of the Russian Empire, painter, etcher, lecturer, writer and red.

Some of his works are on display.

Topchevsky took classes at Hull-House and later taught there. Seems that he also spent time in Mexico in the 1920s, becoming friends with Diego Rivera and Jose Clemente Orozco, though too early to have hung out with Trotsky.

The Ellwood House Museum

Posted on by

Every junior high student in Texas takes, or used to take, a class in Texas history. My teacher 45 years ago was the no-nonsense Mrs. Carrico, whose first name I do not remember. She told some Texas history stories that I do remember, including one I thought of not long ago when we visited the Ellwood House Museum in DeKalb, Illinois.

The story was about the popularization of barbed wire in Texas, specifically a demonstration of wire in 1876 in San Antonio organized by salesmen from up north. As the Texas State Historical Association puts it:

“In 1876 salesman Pete McManus with his partner John Warne (Bet-a-Million) Gates conducted a famous demonstration on Alamo Plaza [other sources say Military Plaza, including the TSHA] in San Antonio in which a fence of… wire restrained a herd of longhorn cattle. Gates reportedly touted the product as ‘light as air, stronger than whiskey, and cheap as dirt.’ Sales grew quickly thereafter, and barbed wire permanently changed land uses and land values in Texas.”

I’d heard of steel and oil magnate John Bet-a-Million Gates before, but until I visited the Ellwood I hadn’t connected him with this incident. It was early in his career and before he was renowned as a gambler.

At the time, Gates was working for Isaac Ellwood, barbed wire manufacturer of DeKalb. Later Ellwood owned a major ranch in Texas, and built a “Pompeiian Villa” in Port Arthur, but it’s his Illinois manse that concerns me here.It’s a handsome Victorian house, originally dating from 1879, and designed by a Chicago architect named George O. Garnsey, with later modifications by others.

The museum web site says: “The museum campus consists of seven historic structures (including the 1879 Ellwood Mansion and 1899 Ellwood-Nehring House), four gardens, and 6,000 square feet of exhibit space in the Patience Ellwood Towle Visitor Center, a converted and expanded 1912 multi-car garage.

“Originally built for barbed wire entrepreneur Isaac Ellwood, the Mansion was home to three generations of the Ellwood family from 1879 to 1965. In 1965, the Ellwood Mansion was given to the DeKalb Park District by Mrs. May Ellwood and her three children.”

No pics allowed inside, but be assured that it’s lavishly decorated and includes a lot of the furniture that the Ellwoods owned. No barbed wire, though: that’s on exhibit at the visitors center.

More Riverside

Posted on by

Hanging in the metra station in Riverside, Illinois, is a reproduction of the plan of the town as originally envisioned in the late 1860s, except the spot that says “land not belonging to the company” (that is, the Riverside Improvement Co.) is part of the town in our time.

The streets and the green spaces are still pretty much still the way they were originally laid out. Note the bend in the Des Plaines River that forms a tongue of land, marked by me by a red circle. Also, the red star is roughly where the train station, tower, library, etc. are located.

With a Riverside Museum walking tour pamphlet in hand, we decided to take a walk in the tongue of land after seeing the sights near the train station. The air was a little steamy, but with the sun hiding behind clouds, we put up with it.

One of the streets along the river is Bloomingbank Road. The river, hidden by foliage, is to the right in this image.

The road is populated mostly by large vintage houses. Such as the Clarence Cross Cottage, 1887 Shingle & Queen Anne.

The Thomas W. Blayney Residence, 1869 Italianate.

The John C. Smith House, 1907 American Four Square. That’s a nice porch.

Most people probably come this way for the Frank Lloyd Wright works, which are a cluster of residences on 10 acres near the tip of the tongue. Originally they were built as a single residence for the Coonley family.

Per Wiki: “Avery Coonley, a Chicago industrialist and his wife, Queene Ferry of the Detroit-based Ferry Seed Company, were both heirs to industrial fortunes and had an unlimited budget to commission a new residence.” Just the kind of clients FLW liked, no doubt.

Formerly the stables and coach house.

Formerly the gardener’s residence.

Formerly the main house.

Not the best view of the house. That would be the other side, but there’s no access to ordinary gawkers since the house is privately owned. That source says the house is up for sale, listed this spring for $1.6 million. Might be a reasonable price for a FLW work, if you remember it’s an artwork more than a residence, and don’t mind the invisible hole somewhere in the place where your money seems to go.

Graue Mill & Fullersburg Woods Forest Preserve

Posted on by

Not long ago I was passing through the western suburbs, not too far from where I lived — and it feels a little strange to put it this way — around the turn of the century. Since I had a little extra time, I decided on a whim to visit the Graue Mill and Museum.

Re-visit it. The last time I was there, I remember pushing one of my daughters in a stroller. I don’t remember which one. In either case, that was a while ago. Around the turn of the century.

Graue Mill is a water-powered grist mill on Salt Creek in DuPage County, dating from the 1850s. The machinery inside is elaborate, restored to operation, and still grinding small quantities of grain that the museum sells. I didn’t go inside this time, but pondered the handsome exterior of the mill.

As well as its large water wheel.
“Frederick Graue was born in Germany, came to the United States and settled in Fullersburg, Illinois, in 1842,” the museum’s web site says. In 1849, he purchased the site of a sawmill that had burned down, along with his partner William Asche, and constructed a gristmill there. Asche later sold his share to Graue.

“Limestone for the basement walls was quarried near Lemont; bricks for the rest of the walls were made from clay from the Graue farm and fired in kilns near the mill site; flooring, beams, and posts were from white oak timbers cut along the I&M canal. The four one-ton buhrstones used for grinding were imported from France. After the gristmill opened in April 1852, it ground wheat, corn and other grains produced by local farmers.

“The mill was a major center of economic life during the 19th century and was also used by Fred Graue to hide runaway slaves on their journey to freedom in Canada.”

In the 20th century, the now-obsolete mill fell into ruin, but it was restored in the 1930s by none other than the CCC. Specifically, Troop V-1668, made up of veterans. These days, the mill is part of the Fullersburg Woods Forest Preserve, which is a unit of the DuPage County Forest Preserve District. The village of Fullersburg, for its part, was never incorporated and doesn’t exist as a modern entity.

This is Salt Creek next to the mill, which gives it its power.
Salt Creek, despite its name, is really more of a river in this part of DuPage County, but never mind. It joins the Des Plaines River in Cook County, which later joins the Illinois and then of course the Mississippi.

I had time enough to take a stroll on one of the paths through Fullersburg Woods Forest Preserve, not too far from the mill.

Along the way, the path takes you past other views of Salt Creek, slightly upstream from the mill.
Past summer fields. The years do go by like so many summer fields.
And a handful of well-maintained CCC structures.
Though I didn’t capture any of the activity with my camera, the paths of Fullersburg Woods are very popular with dog walkers and their dogs.

Bong!

Posted on by

On the morning of July 31, as the girls slept a little late, I drove from Duluth to Superior, Wis., via the Richard I. Bong Memorial Bridge. It’s a long, not particularly wide bridge over St. Louis Bay, in service since 1985.

Richard Ira Bong, who grew up on a farm near Superior, is credited with shooting down 40 Japanese aircraft as a fighter pilot with the U. S. Army Air Corps, and likely got other kills that weren’t credited. Driving through Superior a few days earlier, I’d noticed the Richard I. Bong Veterans Historical Center on the lake, so after crossing his namesake bridge, I made my way to the Bong Center to take a look.

It’s a small military museum with a strong Bong component, but not entirely devoted to him. Walking in, it’s hard to miss the centerpiece P-38 Lightning fighter plane, the very sort that Maj. Bong flew to such lethal effect on the enemy.

This aircraft isn’t the one Bong flew. While he was stateside, it crashed while another pilot was flying it. The Army took delivery of the one on display in July 1945, after Bong had been ordered to quit flying combat missions. The Richard I. Bong American Legion Post of Poplar, Wis., acquired the plane from the Air Force in 1949, and it was on display in that town for some decades.

In the 1990s, the plane was restored to resemble Bong’s P-38J “Marge,” complete with his fiance Marge’s portrait on it.

Bong’s Medal of Honor is on display. His citation says: “For conspicuous gallantry and intrepidity in action above and beyond the call of duty in the Southwest Pacific area from 10 October to 15 November 1944.

“Though assigned to duty as gunnery instructor and neither required nor expected to perform combat duty, Maj. Bong voluntarily and at his own urgent request engaged in repeated combat missions, including unusually hazardous sorties over Balikpapan, Borneo, and in the Leyte area of the Philippines. His aggressiveness and daring resulted in his shooting down 8 enemy airplanes during this period.”

As mentioned, the museum isn’t all about Bong. There’s an assortment of artifacts, such as this magnetic mine.

Some home-front ephemera.

A piece of a Messerschmitt 109.

Bong came home for good in 1945, before the war was over, and did some test piloting of jet aircraft for the Army in California. Being a test pilot turned out to be more dangerous for Bong than facing the Japanese in the Pacific.

His plane crashed in an accident on an otherwise famed date: August 6, 1945. He and Marge had only been married a short while (she died in 2003, after playing an important part in establishing the museum).

Duluth & Environs ’18

Posted on by

When I was very young, I had a U.S. map puzzle that I put together who knows how many times, fascinated by the individual shapes of the states. Some states more than others, including Minnesota, with its rough northern border, more-or-less straight-back western border, concave eastern border and pointy southeast and especially northeast corners.

The northeast corner still holds some fascination, and for more than just the shape. There’s the lure of the North Woods, and Lake Superior is always calling. Enough to inspire a short trip. On July 27, after I finished my Friday work, we hit the road for a five-night trip to Duluth and environs.

Since reaching Duluth means crossing northwest all the way through Wisconsin, a few points in that state were part of the trip as well, especially Eau Claire, where we spent the first night at a spartan but tolerable chain motel.

From Saturday afternoon until the morning of Wednesday, August 1, we stayed at the non-chain Allyndale Motel, a notch up from spartan. It’s in west Duluth, almost at the edge of town, but actually Duluth isn’t that large, so the location wasn’t bad.

I guessed that the Allyndate dated from the golden age of independent motel development, namely the 1950s. The details were right, except no bottle opener attached to a surface somewhere in the room. Just before we left, in a talk with the owner, I was able to confirm that vintage. The first rooms dated from 1952, he said, with later additions.

Before checking into the motel that first day, we spent a short while in downtown Duluth, walking along E. Superior St., which features shops and entertainment venues, including a legitimate theater, art house cinema and a casino. Rain, which had been holding back on the way into town, started to come down hard, so we ducked into the Duluth Coffee Company Cafe long enough to wait it out over various beverages.

That evening, we took in a show at the Marshall W. Alworth Planetarium, which is part of the University of Minnesota Duluth. The recorded show, narrated by Liam Neeson, was about black holes, and then an astrophysics grad student (I think) talked about the night sky. Many planetariums don’t bother with live narration anymore, so that was refreshing.

On Sunday we drove along much of the winding and often scenic Skyline Parkway in Duluth, stopping along the route to take in the sweeping view of the city, as well its twin city of Superior, Wis., and a large stretch of Lake Superior, from the Enger Tower in the aptly named Enger Park.

There happened to be a coffee and ice cream truck in the park, so Lilly had iced coffee and Ann had ice cream. The truck showed its regional pride in the form of a Minnesota flag.

The design needs work, like many Midwest state flags. Here’s an alternative.

Late that morning we saw Duluth’s Aerial Lift Bridge up close, along with other parts of Canal Park and lakeside spots. The lofty bridge — crossing the entrance to Lake Superior from St. Louis Bay — is the Eiffel Tower of Duluth, a stand-in for the city that appears in a lot of places, including a refrigerator magnet that we brought home. (But I refuse to use the i-word.)

In the afternoon, we headed northeast from town along U.S. 61, which follows the shore of Lake Superior. That region, I discovered, is known locally as the North Shore. We made it as far as Gooseberry Falls State Park.

On Monday, July 30, we headed north, mostly via U.S. 53, to Voyageurs National Park, which is hard by the Canadian border. The trip up and back from Duluth is a little far for a single day, but ultimately seemed worth the effort. Besides, something about the symmetry of visiting Voyageurs NP and Big Bend NP during the same year appealed to me.

As the girls slept late on the last day of July, I made my way to Superior, Wis., and visited the Richard I. Bong Veterans Historical Center, a small military museum. WWII is increasingly distant, and except in Wisconsin, the memory of air ace Bong’s deeds has faded. But he had his moment.

The main event of July 31, our last day in town, was the Great Lakes Aquarium, which is in downtown Duluth, on St. Louis Bay not far from the Aerial Lift Bridge and Canal Park. The aquarium’s distinction is that it focuses on freshwater creatures.

Late that afternoon, I struck out again on my own to see one more place: Forest Hill Cemetery, which is in the hills northeast of the University of Minnesota Duluth. My kind of site, not the girls’.

On August 1, we got up early and drove home, stopping only to eat lunch in Madison. I wanted to take Lilly to Ella’s Deli, since she wasn’t with us last year when we went. But it’s closed.

Too bad. Wonder what happened to all the oddball stuff Ella’s had. Instead we found Monty’s Blue Plate Diner. Not as much whimsy on the walls as Ella’s, but the food was good.

The San Antonio Museum of Art

Posted on by

Besides the Briscoe, last Tuesday I visited the San Antonio Museum of Art, which is just north of downtown and also happens to be no charge in the late afternoon and early evening every Tuesday.
The SAMA complex is a major adaptive reuse project from the 1980s. The former Lone Star Brewery, whose solid brick buildings dated from the late 19th and early 20th centuries, was transformed into the museum, complete with neon-decorated skybridge on the fourth floor. Sounds Vegas-like, but it isn’t garish.

The museum has a sizable collection befitting its location in a sizable city, including ancient Egyptian, Greek and Roman art, North American, Latin American and Spanish colonial pieces, collections representing Japan, Korea, and India, three galleries of Chinese works from early times to later dynasties, Near Eastern art, an Oceania gallery and more.

I decided to focus on two of the museum’s strengths — art from Antiquity, especially Rome, and Latin American folk art — though I did spend some time looking at American paintings and Texas artwork.

Here’s something that gets your attention, or ought to, right when you enter SAMA’s commodious Roman art gallery.
A second-century CE statue known as the Landsdowne Marcus Aurelius. Wonder what the original colors looked like.

“Begun by Gavin Hamilton (1723-98), one of the most prominent British explorers of classical sites of the eighteenth century, the Lansdowne Collection came to hold more than one hundred stellar examples of classical statuary, displayed in a specially designed gallery in Lansdowne House in London,” says a blurb for Reconstructing the Landsdowne Collection of Classical Marbles.

“The collection, however, was dispersed in the years after 1930, and its works are now scattered across the globe.”

This particular one wound up at SAMA, a donation of the 20th-century American owner of the piece, a rich fellow I’ve run across before: Gilbert Denman Jr. In fact, he left his collection of ancient art to the museum, making the gallery possible.
Another Denman bequest: the Lansdowne Trajan. The Romans were clearly not shy about official nudity.
A beat-up portrait of Hadrian.

Here’s something you don’t see every day: Etruscan art.
In this case, a lid from a sarcophagus. Considerably worn, with an unsettling face that looks at us from across 25 centuries or so. As historical peoples go, the Etruscans are a half-remembered fragment of a haruspical dream.

I also spent time at the Latin American Folk Art gallery, which is part of the Nelson A. Rockefeller Center for Latin American Art. Rockefeller had his hobbies, and one of them was collecting Latin American folk art.

As the NYT reported when the center opened about 20 years ago: “When Nelson A. Rockefeller made his final trip to Mexico in 1978, several months before his death, his eye was drawn to a small hacienda surrounded by a picket fence along a rural road in Oaxaca. Atop each picket was a tall, strangely striking figurine made of rough pottery.

“The former Vice President stopped the car, walked to the door and discovered the shop of a family of potters. Each statue on the fence had been damaged somehow in the making and just perched on the fence to help advertise the shop. They were evocative pieces spanning many years, left to bake in the Mexican sun. Rockefeller bought them all.”

These fellows greet you at the gallery.
Molds for papier mache figures, ca. 1930, artist unknown, from Celaya, Mexico.

The work of another unknown artist.
A Parachico Mask (Mascara de Parachico) from Chiapas, Mexico. Polychromed wood, glass, ribbon and cactus fiber. Ca. 1970 and about as funky as can be.

By contrast, the artist of these delightful creations is well known.

They’re painted earthenware by Candelario Medrano, a Mexican artist who died in 1988. “Medrano began his career by producing toy whistles, mermaids, roosters, and other animals,” the museum says. “Later, he placed them on airplanes, boats, towers, merry-do-rounds and trucks, thereby creating delightful and colorful scenes of fantasy.”

As usual, the museum isn’t selling postcards based on artwork that would make unusual cards, like this.

“The Psychoanalyst (El Psicoanalista),” ca. 1994 by Jose Francisco Borges of Brazil.