Central Library

Tempered glass clock with artistic silk screen printing acknowledges the work of the great artistic master of antiquity, Michelangelo di Lodovico Buonarroti Simoni. The major misperception of the pavement of the "Piazza del Campidoglio" is that this square is a simple geometric or ornamental motif. Michelangelo had the intention of reconnecting with his Etruscan and Roman ancestry, and therefore established in the center of Piazza Campidoglio what he named "the umbilicus" or navel of the world; and he did this by defining his challenging and intriguing oval design.

The large scale painting is an oil on canvas depicting the town of Kansas (Kansas City before it became a city). The painting shows many of the key elements that define fifty years or more of Kansas City history and development.

This grandfather clock stands at approximately six and a half feet high. The design is sleek with black varnish and clear glass windows that reveal brushed metal mechanical elements of the weights and pendulum. The face of the clock is white and adorned with silver Arabic numerals and black accents.

This elegant antique Victorian style glass display case, circa 1860, is mounted on a four legged wooden base. The wood of this piece is noted to be walnut. The octagonal turned legs are tapered with rounded ornamentation at the top and base of each leg. The base is secured by an attached "I" shaped wooden support connected to each leg. The cabinet is encased with five panes of beveled glass and an interior glass shelf. Each pane of glass is bordered with the same walnut material and is triangular in shape.

The following , from The Collectors Guild LTD, provides detailed information regarding the artist Pierre Henry. Pierre Henry, born 1924 , was the son of a baker of Rue St. Denis. Henry though he studied at the school of Beau Arts, is a self-taught painter. During trips to Italy, his slow researching led him to define his style which is a far away reflection of his revered masters: Piero della Francesca, and Pisanello. Winner of the Prix de la Jeune Peinture in 1955, Pierre Henry was encouraged in the beginning by artist Gertrude Stein.

Jean-Baptiste-Camille Corot inherited property from his parents at Ville-d'Avray and created many paintings with a large pond on the property as the subject (-metmuseum.org). In this particular work, two village people stand in the foreground amongst a haze of tall grasses. The grasses fade into the calm waters of the pond that reflect the buildings along the horizon line. The overall tone is cool and muted, but the brightness of white in the painting and highlighted leaves in the trees suggest the sun might've been shining through a thin layer of clouds.

Louis Le Breton specialized in marine paintings which he created while working for the French Navy. This particular work depicts a view of ships arriving in the New York harbor from a transatlantic voyage. The foremost and largest ship dons a French flag and American flag. Other watercrafts head in various directions, leaving planes of colliding choppy wakes behind them. The city rests on the horizon beneath what must have been the gray sky of an overcast day. The ultra-precise details achieved through the etching process create a haze of mast ropes and building spires on the horizon.

This print is a commemorative "Thank You Walt Disney, Inc." product with the original piece by Phil Starke. The print incorporates a collage of drawings and paintings by Disney from his late teens and early twenties. In the lower left corner of the print, Disney is shown seated in the back of a car without his famous mustache. He and his crew can be seen advertising his Laugh-O-Grams features which were to be shown at the Isis Theater. Above this area is a depiction of Disney seated at a drawing board. The center of the piece highlights a portrait of Disney.

In this drawing the architect W.C. Root renders a warehouse for W.J. Smith, ESQ in a popular style with architects at the time. The first floor of the building has large windows in threes punctuated with entry doors. The windows continue in pairs to the second and third stories with layered trapezoidal keystones over each. The fourth-floor windows break the pattern with a series of lunette-shaped archways over each window series. The windows get smaller with the subsequent fifth and sixth floors, quickening the pace of the windows with each.

George Wright was a British painter of coaching and hunting scenes. He was the elder brother of Gilbert Scott Wright. Mainly a self taught artist, although it is thought he worked with his younger brother until 1925. During that time their combined work was frequently reproduced on calendars. Wright lived for some time in Rugby and Oxford before moving to Richmond in Surrey in 1929 and later he chose to retire to Seaford in Sussex, where he remained until his death in 1942.

This sculpture is one of a few in the library's collection by an unknown artist with the initials "CCC". This particular piece is of the head and trunk of a female figure. She dons flattened headwear with a tangled design carved out of the brim. Her hair contains a similar design executed with a finer tool and extends down from her head and pools onto her back to complete an hourglass shape. Her face and form maintain a smooth surface with simple carved lines representing the eyes, nose, and mouth features.

This large textile work exhibits a blossoming geometric pattern executed with vibrant woven yarn. Large fields of hot pink alternates with yellow and green borders that surround the repeated geometric design. The design and illumination of color work together to create an effect similar to a stained-glass window. Up close, thin black lines that separate colors within the pattern imitate the sautered lines of stained glass designs. The anticipated smoothness of the piece is pleasantly offset by the texture of the yarn itself, woven in and out of a clear plastic grid beneath.