757 Episodes of the Classic TV Game Show What’s My Line?: Watch Eleanor Roosevelt, Louis Armstrong, Salvador Dali & More

What would the host and panelists of the classic primetime television game show What’s My Line? have made of The Masked Singera more recent offering in which panelists attempt to identify celebrity contestants who are concealed by elaborate head-to-toe costumes and electronically altered voiceovers.

One expects such shenanigans might have struck them as a bit uncouth.

Host John Charles Daly was willing to keep the ball up in the air by answering the panel’s initial questions for a Mystery Guest with a widely recognizable voice, but it’s hard to imagine anyone stuffing former First Lady Eleanor Roosevelt into the full body steampunk bee suit the (SPOILER) Empress of Soul wore on The Masked Singer’s first season.




Mrs. Roosevelt’s Oct 18, 1953 appearance is a delight, especially her pantomimed disgust at the 17:29 mark, above, when blindfolded panelist Arlene Francis asks if she’s associated with politics, and Daly jumps in to reply yes on her behalf.

Later on, you get a sense of what playing a jolly parlor game with Mrs. Roosevelt would have been like. She’s not above fudging her answers a bit, and very nearly wriggles with anticipation as another panelist, journalist Dorothy Kilgallen, begins to home in on the truth.

While the roster of Mystery Guests over the show’s original 17-year broadcast is impressive — Cab CallowayJudy Garland, and Edward R. Murrow to name a few — every episode also boasted two or three civilians hoping to stump the sophisticated panel with their profession.

Mrs. Roosevelt was preceded by a bathtub salesman and a fellow involved in the manufacture of Bloodhound Chewing Tobacco, after which there was just enough time for a woman who wrote television commercials.

Non-celebrity guests stood to earn up to $50 (over $500 today) by prolonging the revelation of their professions, as compared to the Mystery Guests who received an appearance fee of ten times that, win or lose. (Presumably, Mrs. Roosevelt was one of those to donate her honorarium.)

The regular panelists were paid “scandalous amounts of money” as per publisher Bennett Cerf, whose “reputation as a nimble-witted gentleman-about-town was reinforced by his tenure on What’s My Line?”, according to Columbia University’s Oral History Research Office.

The unscripted urbane banter kept viewers tuning in. Broadway actor Francis recalled: “I got so much pleasure out of ‘What’s My Line?’ There were no rehearsals. You’d just sit there and be yourself and do the best you could.”

Panelist Steve Allen is credited with spontaneously alighting on a breadbox as a unit of comparative measurement while questioning a manhole cover salesman in an episode that featured June Havoc, legend of stage and screen as the Mystery Guest (at at 23:57, below).

“Want to show us your breadbox, Steve?” one of the female panelists fires back off-camera.

The phrase “is it bigger than a breadbox” went on to become a running joke, further contributing to the illusion that viewers had been invited to a fashionable cocktail party where glamorous New York scenemakers dressed up to play 21 Professional Questions with ordinary mortals and a celebrity guest.

Jazz great Louis Armstrong appeared on the show twice, in 1954 and then again in 1964, when he employed a successful technique of light monosyllabic responses to trick the same panelists who had identified him quickly on his initial outing.

“Are you related to anybody that has anything to do with What’s My Line?” Cerf asks, causing Armstrong, host Daly, and the studio audience to dissolve with laughter.

“What happened?” Arlene Francis cries from under her pearl-trimmed mask, not wanting to miss the joke.

Television — and America itself — was a long way off from acknowledging the existence of interracial families.

“It’s not Van Clyburn, is it?” Francis ventures a couple of minutes later….

Expect the usual gender-based assumptions of the period, but also appearances by Mary G. Ross, a Cherokee aerospace engineer, and physicist Helen P. Mann, a data analyst at Cape Canaveral.

If you find the convivial atmosphere of this seminal Goodson-Todman game show absorbing, there are 757 episodes available for viewing on What’s My Line?’YouTube channel.

Allow us to kick things off on a Surreal Note with Mystery Guest Salvador Dali, after which you can browse chronological playlists as you see fit:

1950-54

1955-57

1958-60

1961 -63

1964-65

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Follow her @AyunHalliday.

Don Felder Plays “Hotel California” at the The Metropolitan Museum of Art, with a Double-Neck Guitar

Pete Townshend played one. Jimmy Page famously brandished one. John McLaughlin basically started his own post-Miles Davis jazz group based around one. But the double-neck guitar played by Don Felder on The Eagles “Hotel California” may be the best known to all the children of the 1970s. The white guitar went on display in 2019 for the exhibition “Play It Loud” at New York’s Metropolitan Museum of Art, which also featured such historical instruments as the humble Martin acoustic that Elvis Presley played on the Sun Sessions, to Eddie Van Halen’s Frankenstein guitar. (And in a bit of DADA sculpture, the Met also displayed the remains of a drum set that Keith Moon destroyed during a live gig.)

As part of the exhibit’s promotional tour, Don Felder, long since out of the Eagles and with a lawsuit behind him, picked up the guitar for a few minutes on CBS This Morning and played both the intro acoustic picking part and the famous solo from “Hotel California.’ Even though he isn’t mic’d up, you can still hear him singing along. He gives a cheekily satisfied laugh at the end.




“Hotel California”, the music at least, is all Don Felder. It began life as one of many demos and sketches he’d record while living in a Malibu rental and looking after his one-year-old daughter. This one was given the shorthand title “Mexican Reggae” as it combined a little bit of each. Don Henley and Glenn Frey spotted its potential immediately, and wrote some of their best lyrics, both very specific (“Her mind is Tiffany twisted” is about Henley’s jewelry designer ex-girlfriend) and universal—-California, the state of mind, the fame machine, is the Isle of the Lotus Eaters, seductive and destructive.

The demo and the studio recording did not use the Gibson EDS-1275, but Felder purchased the guitar to use on tour.

Felder told The Sound NZ:

“When I got to the soundstage to rehearse how we were going to go out and play the ‘Hotel California’ tour, I said, ‘How am I going to play all these guitars with different sounds?’ So I sent a guitar tech out to a music store and said, ‘Just buy a double neck with a 12-string and a six-string on it, I’ll see if I can make it work. So he brought it back, he brought back this white guitar, and I said, ‘Why did you get a white one? Why didn’t you get a black one or a red one? Why so girly looking?’. He said, ‘That’s all they had.’ So I took a drill, drilled a hole at the top of it, wired it, so it was really two separate guitars,”

“Girly” or not—-sigh, Mr. Felder, sighhh—-that guitar still sounds pretty damn good.

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Ted Mills is a freelance writer on the arts who currently hosts the Notes from the Shed podcast and is the producer of KCRW’s Curious Coast. You can also follow him on Twitter at @tedmills, and/or watch his films here.

Watch the Live TV Adaptation of George Orwell’s Nineteen Eighty-Four, the Most Controversial TV Drama of Its Time (1954)

“Wife Dies as She Watches,” announced a Daily Express headline after the broadcast of Nineteen Eighty-Four, a BBC adaptation of George Orwell’s novel. The article seems to have attributed the sudden collapse and death of a 42-year-old Herne Bay Woman to the production’s shocking content. That was the most dramatic of the many accusations leveled against the BBC of inflicting distress on the viewing public with Orwell’s bleak and harrowing vision of a totalitarian future. Yet that same public also wanted more, demanding a second broadcast that drew seven million viewers, the largest television audience in Britain since the Coronation of Elizabeth II, which had happened the previous year; Orwell’s book had been published just four years before that.

This was the mid-1950s, a time when standards of televisual decency remained almost wholly up for debate — and when most of what aired on television was broadcast live, not produced in advance. Daring not just in its content but its technical and artistic complexity, a project like Nineteen Eighty-Four pushed the limits of the medium, with a live orchestral score as well as fourteen pre-filmed segments meant to establish the unrelentingly grim surrounding reality (and to provide time for scene changes back in the studio).




“This unusual freedom,” says the British Film Institute, “helped make Nineteen Eighty-Four the most expensive TV drama of its day,” though the production’s effectiveness owes to much more than its budget.

“The careful use of close-ups, accompanied by recorded voice-over, allows us a window into Winston’s inner torment” as he “struggles to disguise his ‘thoughtcrimes’, while effectively representing Big Brother’s frightening omniscience.” It also demonstrates star Peter Cushing’s “grasp of small screen performance,” though he would go on to greater renown on the big screen in Hammer Horror pictures, and later as Star Wars‘ Grand Moff Tarkin. (Wilfrid Brambell, who plays two minor parts, would for his part be immortalized as Paul McCartney’s very clean grandfather in A Hard Day’s Night.) Though it got producer-director Rudolph Cartier death threats at the time — perhaps because Orwell’s implicit indictment of a grubby, diminished postwar Britain hit too close to home — this adaptation of  Nineteen Eighty-Four holds its own alongside the many made before and since. That’s true even now that its titular year is decades behind us rather than decades ahead.

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

A Gallery of 1,800 Gigapixel Images of Classic Paintings: See Vermeer’s Girl with the Pearl Earring, Van Gogh’s Starry Night & Other Masterpieces in Close Detail

Far be it from me, or anyone, to know the future, but several signs point toward another season or two of staying indoors — and maybe putting travel plans on hold again. If, like me, you find yourself itching to get away, maybe to finally make the journey to see the art you’ve only seen in small-scale reproductions, don’t despair just yet. The art is coming to you, in ultra-high resolution, gigapixel images from Google Cultural Institute.

See extraordinary levels of detail in famous works of art like Vermeer’s Girl with the Pearl Earring and Van Gogh’s Starry Night. “So much of the beauty and power of art lives in the details,” writes Google Cultural Institute Engineer Ben St. John.




“You can only fully appreciate the genius of artists like Monet or Van Gogh when you stand so close to a masterpiece that your nose almost touches it.” This kind of intimacy is nearly impossible to achieve in a crowded gallery.

Google’s enormous art photographs are, in some ways, superior to observation with the eye: “Zooming into these images is the closest thing to walking up to the real thing with a magnifying glass.” Even when painted on flat canvases, works of art exist in three dimensions, and there’s still the matter of color reproduction on your screen…. Yet the point remains: there’s no way you’d be able to get as close to Monet or Van Gogh’s work in person unless you were a conservator or maybe a museum guard.

Creating these images has hitherto been an extremely time-consuming affair that required the expert know-how of technicians, a process that has hampered the wide adoption of gigapixel images for the study of art. “In the first five years of the Google Cultural Institute,” Google admits, “we’ve only been able to share about 200 gigapixel images.” The process can now be automated, however, expanding the gallery to 1800+ images and counting, with the invention of a sophisticated machine called the Art Camera:

A robotic system steers the camera automatically from detail to detail, taking hundreds of high resolution close-ups of the painting. To make sure the focus is right on each brush stroke, it’s equipped with a laser and a sonar that—much like a bat—uses high frequency sound to measure the distance of the artwork. Once each detail is captured, our software takes the thousands of close-up shots and, like a jigsaw, stitches the pieces together into one single image.

The technological breakthrough inarguably enhances our experience of art, whether we ever get to see these works in person, and it preserves a cultural legacy for posterity. “Many of the works of our greatest artists are fragile and sensitive to light and humidity,” Google Arts & Culture notes. “With the Art Camera, museums can share these priceless works with the global public while they’re ensuring they’re preserved for future generations.”

They are preserved in multiple views that give the illusion of a three-dimensional experience, including a “street view” option that places viewers inside the gallery and an augmented reality app called Art Projector that “lets you see how artworks look in real size in front of you.” Viewing art this way goes miles beyond my art history education spent staring at the pages of Janson’s History of Art, trying to imagine what it would be like if I could actually see what was happening on the canvas.

Projects like Google Arts & Culture offer an entirely new kind of art education by digitally conserving hundreds of artworks that don’t tend to appear in textbooks, surveys, or museum gift shops. Works, for example, like Joos van Craesbeeck’s Hieronymus Bosch-influenced The Temptation of Saint Anthony, which show how seriously Bosch’s contemporaries and followers took his medieval “diableries”; and Kristian Zahrtmann’s 1894 painting The Mysterious Wedding in Pistoia. “Idolised” in his time, Zahrtmann “managed to rejuvenate Danish painting in the early 20th century” then sank into obscurity. His work is now “the object of renewed interest — at the dawn of another new century.”

While I hope our experience of art does not become primarily virtual, we can be grateful for the opportunity to see — in ways we never could before — the up-close handiwork of artists who can feel so far away from us even in the best of times. Enter the collection here.

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

An Animated History of Writing: From Ancient Egypt to Modern Writing Systems

He would be a very simple person, and quite a stranger to the oracles of Thamus or Ammon, who should leave in writing or receive in writing any art under the idea that the written word would be intelligible or certain. — Socrates

The transmission of truth was at one time a face-to-face business that took place directly between teacher and student. We find ancient sages around the world who discouraged writing and privileged spoken dialogue as the best way to communicate. Why is that? Socrates himself explained it in Plato’s Phaedrus, with a myth about the origin of writing. In his story, the Egyptian god Thoth devises the various means of communication by signs and presents them to the Egyptian god-king Thamus, also known as Ammon. Thamus examines them, praising or disparaging each in turn. When he gets to writing, he is especially put out.

“O most ingenious Theuth,” says Thamus (in Benjamin Jowett’s translation), “you who are the father of letters, from a paternal love of your own children have been led to attribute to them a quality which they cannot have; for this discovery of yours will create forgetfulness in the learners’ souls, because they will not use their memories; they will trust to the external written characters and not remember of themselves. The specific which you have discovered is an aid not to memory, but to reminiscence, and you give your disciples not truth, but only the semblance of truth.”




Other technologies of communication like Incan khipu have the quality of “embeddedness,” says YouTuber NativeLang above, in an animated history of writing that begins with the myth of “Thoth’s Pill.” That is to say, such forms are inseparable from the material context of their origins. Writing is unique, fungible, alienable, and alienating. Its greatest strength — the ability to communicate across distances of time and space — is also its weakness since it separates us from each other, requiring us to memorize complex systems of signs and interpret an author’s meaning in their absence. Socrates criticizes writing because “it will de-embed you.”

The irony of Socrates’ critique (via Plato) is that “it comes to us via text,” notes Bear Skin Digital. “We enjoy it and think about it purely because it is recorded in writing.” What’s more, as Phaedrus says in response, Socrates’ story is only a story. “You can easily invent tales of Egypt, or of any other country.” To which Socrates replies that a truth is a truth, no matter who says it, or how we happen to hear it. Is it so with writing? Does its ambiguity render it useless? Are written works like orphans, as Socrates characterizes them? “If they are maltreated or abused, they have no parents to protect them; and they cannot protect or defend themselves….”

It’s a little too late to decide if we’re better off without the written word, so many millennia after writing grew out of pictographs, or “proto-writing” and into ideographs, logographs, rebuses, phonetic alphabets, and more. Watch the full animated history of writing above and, then, by all means, close your browser and go have a long conversation with someone face-to-face.

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

The Sounds of Space: An Interplanetary Sonic Journey

There are those of us who, when presented with dueling starships in a movie or television show, always make the same objection: there’s no sound in outer space. In the short film above, this valid if aggravatingly pedantic charge is confirmed by Lori Glaze, Director of NASA’s Science Mission Directorate’s Planetary Science Division. “Sound requires molecules,” she says. “You have to be able to move molecules with the sound waves, and without the molecules, the sound just doesn’t move.” Space has as few as ten atoms per cubic meter; our atmosphere, by contrast, has more ten trillion trillion — that’s “trillion trillion” with two Ts.

No wonder Earth can be such an infernal racket. But as every schoolchild knows, the rest of solar system as a whole is hardly empty. In twenty minutes, the The Sounds of Space takes us on a tour of the planets from Mercury out to Pluto and even Saturn’s moon of Titan, not just visualizing their sights but, if you like, auralizing their sounds.




These include real recordings, like those of Venusian winds captured by the Soviet lander Venera 14 in 1981. Most, however, are scientifically informed constructions of more speculative phenomenon: a “Mercuryquake,” for instance, or a “Methanofall” on Titan.

A collaboration between filmmaker John D. Boswell (also known as Melodysheep) and Twenty Thousand Hertz, a podcast about “the stories behind the world’s most recognizable and interesting sounds,” The Sounds of Space was recently featured at Aeon. That site recommends viewing the film “as an exploration of the physics of sound, and the science of how we’ve evolved to receive sound waves right here on Earth.” However you frame it, you’ll hear plenty of sounds the likes of which you’ve never heard before, as well as the voices of Earthlings highly knowledgable in these matters: Glaze’s, but also those of NASA Planetary Astronomer Keith Noll and Research Astrophysicist Scott Guzewich. And as a bonus, you’ll be prepared to critique the sonic realism of the next battle you see staged on the surface of Mars.

via Aeon

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Based in Seoul, Colin Marshall writes and broadcasts on cities, language, and culture. His projects include the Substack newsletter Books on Cities, the book The Stateless City: a Walk through 21st-Century Los Angeles and the video series The City in Cinema. Follow him on Twitter at @colinmarshall or on Facebook.

Are We All Getting More Depressed?: A New Study Analyzing 14 Million Books, Written Over 160 Years, Finds the Language of Depression Steadily Rising


The relations between thought, language, and mood have become subjects of study for several scientific fields of late. Some of the conclusions seem to echo religious notions from millennia ago. “As a man thinketh, so he is,” for example, proclaims a famous verse in Proverbs (one that helped spawn a self-help movement in 1903). Positive psychology might agree. “All that we are is the result of what we have thought,” says one translation of the Buddhist Dhammapada, a sentiment that cognitive behavioral therapy might endorse.

But the insights of these traditions — and of social psychology — also show that we’re embedded in webs of connection: we don’t only think alone; we think — and talk and write and read — with others. External circumstances influence mood as well as internal states of mind. Approaching these questions differently, researchers at the Luddy School of Informatics, Computing, and Engineering at Indiana University asked, “Can entire societies become more or less depressed over time?,” and is it possible to read collective changes in mood in the written languages of the past century or so?




The team of scientists, led by Johan Bollen, Indiana University professor of informatics and computing, took a novel approach that brings together tools from at least two fields: large-scale data analysis and cognitive-behavioral therapy (CBT). Since diagnostic criteria for measuring depression have only been around for the past 40 years, the question seemed to resist longitudinal study. But CBT provided a means of analyzing language for markers of “cognitive distortions” — thinking that skews in overly negative ways. “Language is closely intertwined with this dynamic” of thought and mood, the researchers write in their study, “Historical language records reveal a surge of cognitive distortions in recent decades,” published just last month in PNAS.

Choosing three languages, English (US), German, and Spanish, the team looked for “short sequences of one to five words (n-grams), labeled cognitive distortion schemata (CDS).” These words and phrases express negative thought processes like “catastrophizing,” “dichotomous reasoning,” “disqualifying the positive,” etc. Then, the researchers identified the prevalence of such language in a collection of over 14 million books published between 1855 and 2019 and uploaded to Google Books. The study controlled for language and syntax changes during that time and accounted for the increase in technical and non-fiction books published (though it did not distinguish between literary genres).

What the scientists found in all three languages was a distinctive “‘hockey stick’ pattern” — a sharp uptick in the language of depression after 1980 and into the present time. The only spikes that come close on the timeline occur in English language books during the Gilded Age and books published in German during and immediately after World War II. (Highly interesting, if unsurprising, findings.) Why the sudden, steep climb in language signifying depressive thinking? Does it actually mark a collective shift in mood, or show how historically oppressed groups have had more access to publishing in the past forty years, and have expressed less satisfaction with the status quo?

While they are careful to emphasize that they “make no causal claims” in the study, the researchers have some ideas about what’s happened, observing for example:

The US surge in CDS prevalence coincides with the late 1970s when wages stopped tracking increasing work productivity. This trend was associated with rises in income inequality to recent levels not seen since the 1930s. This phenomenon has been observed for most developed economies, including Germany, Spain and Latin America.

Other factors cited include the development of the World Wide Web and its facilitation of political polarization, “in particular us-vs.-them thinking… dichotomous reasoning,” and other maladaptive thought patterns that accompany depression. The scale of these developments might be enough to explain a major collective rise in depression, but one commenter offers an additional gloss:

The globe is *Literally* on fire, or historically flooding – Multiple economic crashes barely decades apart – a ghost town of a housing market – a multi-year global pandemic – wealth concentration at the .01% level – terrible pay/COL equations – blocking unionization/workers rights – abusive militarized police, without the restraint or training of actual military –  You can’t afford X for a monthly mortgage payment!  Pay 1.5x for rent instead! – endless wars for the last… 30…years? 50 if we include stuff like Korea, Cold War, Vietnam… How far has the IMC been milking the gov for funds to make the rich richer? Oh, and a billionaire 3-way space race to determine who’s got the biggest “rocket”

These sound like reasons for global depression indeed, but the arrow could also go the other way: maybe catastrophic reasoning produced actual catastrophes; black and white thinking led to endless wars, etc…. More study is needed, says Bollen and his colleagues, yet it seems probable, given the data, that “large populations are increasingly stressed by pervasive cultural, economic, and social changes” — changes occurring more rapidly, frequently, and with greater impact on our daily lives than ever before. Read the full study at PNAS

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Josh Jones is a writer and musician based in Durham, NC. Follow him at @jdmagness

Discover the Stettheimer Dollhouse: The 12-Room Dollhouse Featuring Miniature, Original Modernist Art by Marcel Duchamp

The Stettheimer Dollhouse has been wowing young New Yorkers since it entered the Museum of the City of New York’s collection in 1944.

The luxuriously appointed, two-story, twelve-room house features tiny crystal chandeliers, trompe l’oeil panels, an itty bitty mah-jongg set, and a delicious-looking dessert assortment that would have driven Beatrix Potter’s Two Bad Mice wild.

Its most astonishing feature, however, tends to go over its youngest fans’ heads — an art gallery filled with original modernist paintings, drawings, and sculptures by the likes of Marcel DuchampGeorge BellowsGaston Lachaise, and Marguerite Zorach.




The house’s creator, Carrie Walter Stettheimer, drew on her family’s close personal ties to the avant-garde art world to secure these contributions.

The art dealer Paul Rosenberg described the affinity between these artists and the three wealthy Stettheimer sisters, one of whom, Florine, was herself a modernist painter:

Artists… went there and not at all merely because of the individualities of the trio of women and their tasteful hospitality. They went for the reason that they felt themselves entirely at home with the Stetties—so the trio was called—and the Stetties seemed to feel themselves entirely at home in their company. Art was an indispensable component of the modern, open intellectual life of the place. The sisters felt it as a living issue. Sincerely they lived it.

Art is definitely part of the dollhouse’s life.

Duchamp recreated Nude Descending a Staircase, inscribing the back “Pour la collection de la poupée de Carrie Stettheimer à l’occasion de sa fête en bon souvenir. Marcel Duchamp 23 juillet 1918 N.Y.”

Marguerite Thompson ZorachAlexander Archipenko, and Paul Thevenaz also felt no compunction about furnishing a dollhouse with nudes.

Louis Bouché — the “bad boy of American art” as per the Stettheimers’ friend, writer and photographer Carl Van Vechten, made a tiny version of his painting, Mama’s Boy.

Carrie wrote to Gaston Lachaise, to thank him for two miniature nude drawings and an alabaster Venus:

My dolls and I thank you most sincerely for the lovely drawings that are to grace their art gallery. I think that the dolls—after they are born, which they are not, yet—ought to be the happiest and proudest dolls in the world as owners of the drawings and the beautiful statue. I am now hoping that they will never be born, so that I can keep them [the art works] forever in custody, and enjoy them myself, while awaiting their arrival.

Carrie worked on the dollhouse from from 1916 to 1935. Her sister Ettie donated it to the museum and took it upon herself to arrange the artwork. As Johanna Fateman writes in 4Columns:

Twenty-eight of the artists’ gifts were stored separately; Ettie selected thirteen from the collection, and her graceful arrangement became permanent, though it’s likely that the pieces were meant to be shown in rotation.

The Museum of the City of New York’s current exhibition, The Stettheimer Dollhouse: Up Close, includes photos of the artworks that Ettie did not choose to install.

The works that have always been on view are Marcel Duchamp’s Nude Descending a Staircase, Alexander Archipenko’s Nude, Louis Bouche’s Mama’s Boy, Gaston Lachaise’s Venus and two nudesCarl Sprinchorn’s Dancers, Albert Gleizes’ Seated Figure and Bermuda Landscape, Paul Thevenaz’s L’Ombre and Nude with Flowing Hair, Marguerite Zorach’s Bather and Bathers, William Zorach’s Mother and Child, and a painting of a ship by an unknown artist.

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Ayun Halliday is an author, illustrator, theater maker and Chief Primatologist of the East Village Inky zine.  Follow her @AyunHalliday.

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