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The museum continually acquires new works by gift or by purchase that expand the stories that we tell in our galleries.
A work made of oil on panel.
Crucifixion, 1646
María Josefa Sánchez

Intimately scaled crosses, such as this newly acquired work, were extremely popular devotional objects in 17th-century Spain. This example is exceptional as it is dated and signed by a female artist, María Josefa Sánchez. Very little is known about Sánchez; she was active 1639–49, probably in Castile, and the only works currently attributed to her are four other crucifixes.

The work is currently installed in Gallery 212.

A work made of graphite, with touches of erasing, on cream wove paper.
Hairy Who (cat-a-log), 1969
James Falconer

James Falconer, a member of the Hairy Who exhibition group, created this graphite drawing based on half of an underwear ad that fellow Hairy Who artist Jim Nutt sent to him, recasting the neatly coiffed gentleman in his undergarments as a monstrous, almost alien figure with a misshapen head, bulging eyes, and wildly wagging nose.

See this work as well as the inspiring ad and the exhibition catalog cover created from it in the exhibition Hairy Who? 1966–1969 through January 6, 2019.

A work made of oil on canvas.
A Boy Blowing on a Firebrand, 1621–1622
Gerrit van Honthorst

The works that Dutch painter Gerrit van Honthorst created during and after his studies in Rome often feature candlelight or torchlight in night scenes, presenting a gentler, more meditative variation on the dramatic light effects employed by his Italian peers. This painting expands the range and complexity of the Art Institute’s collection of Dutch paintings. Moreover, as a character or head study—called a tronie, in the parlance of the day—it complements our great Rembrandt, Old Man with a Gold Chain (1631).

See A Boy Blowing on a Firebrand in the John L. and Helen Kellogg Gallery 213 alongside other Dutch works.

Circular metal bottle rack with five rows of prongs to hold bottles to dry. Signature is visible in black around the bottom circle.
Bottle Rack (Porte-Bouteilles), 1958–1959
Marcel Duchamp

One of Duchamp's iconic readymades—an ordinary object transformed into art by the artist’s selection of it—this version of Bottle Rack was a prized possession of the painter Robert Rauschenberg before coming in to the Art Institute's collection.

Find this transformative piece of modern art in Gallery 395.

A work made of wool and cotton; tapestry weave.
Untitled, 1971
Roberto Burle-Marx

This tapestry by Roberto Burle Marx, a Brazilian artist best known for his landscape designs, is one of a pair by the artist acquired in fall 2017. Burle Marx had a wide-ranging artistic career, encompassing painting, sculpture, photography, printed fabrics, and ceramic tiles. Like his gardens, his tapestries feature a combination of colors, forms, and textures carefully arranged to highlight contrasts and produce an overall sense of balance and harmony.

Find this tapestry in the exhibition Movement and Music: Rhythm in Textile Design, open through January 6, 2019.

A work made of wood, human hair, and pigment.
Helmet Mask (Lipiko), 1900–1950
Diteka

This recent acquisition is a superb example of a well-known genre of helmet mask of the Makonde people. It is characterized by the realistic imitation of incised angular facial scarification marks, carved renderings of chipped teeth, and insertion of real human hair in asymmetrical patterns on the mask’s skull.

Find it in Gallery 137.

A work made of oil on panel.
Saint Jerome in Penitence, 1525–1530

This depiction of Saint Jerome, hailing from the Flemish city and trade center of Antwerp, shows him as both a scholar and a penitent. The exaggerated angle of his head, the gesture of his open hand, the thin application of paint, and the nervous contours all belong to the Master of the Lille Adoration’s signature style.

Find this Old Master work in Gallery 207.

A work made of stainless steel.
Mended Petal, 2016
Yoko Ono

This sculpture represents the 13th petal from Yoko Ono’s installation SKYLANDING, a 12-petal lotus in Chicago’s Jackson Park that rises from the ashes of the Phoenix Pavilion. In contrast to the smooth petals of SKYLANDING, MENDED PETAL has visible seams of repair, symbolically commemorating the ground-healing ceremony held by the artist in June 2015 through which she prepared the site of the lost Phoenix Pavilion for her new work.

Find MENDED PETAL in Pritzker Garden.

A work made of bronze.
Statuette of a Horse, 750 BC–730 BC
Ancient Greek

The Greek people’s worship of the Olympian deities included the ritual dedication of gifts (votives) at sacred sites. These offerings took a variety of forms, but statuettes of horses had special significance as symbols of affluence. This bronze sculpture is one of the finest such votive statuettes to survive from antiquity.

Find this statuette in Gallery 151.

A work made of porcelain painted in overglaze enamels (famille rose).
Altar set, 1644–1911
China

The five vessels in this set would have been the focus of either Buddhist or Confucian spiritual ceremonies. Each vessel is painted with the Eight Buddhist Emblems over a lime green background—a color perhaps inspired by enameled metalwork introduced to China from Europe.

Find this altar set in Gallery 134.

A work made of porcelain painted in underglaze blue and overglaze yellow enamel.
Dish with Floral and Fruit Sprays ("Gardenia Dish"), 1488–1505

Yellow and underglaze-blue dishes of this type are among the most treasured Ming dynasty porcelains in China; they are particularly rare, making this example, covered in traditional motifs, an exquisite acquisition for the Art Institute.

Find this dish in Gallery 134.

A work made of silver.
Tureen, 1883
Gorham Manufacturing Company

Gorham was the first major American silver company to introduce Japanese-inspired designs to their product line, with this particular vessel featuring interpretations of Asian motifs, likely drawn from print sources: giant carp and a turtle thrash in violent waters, suggesting the movement of the sea.

Find this tureen in Gallery 171.

Christ, in a white robe and thorn crown, carries a large brown cross, with a man in a brown robe and a man in armor behind him. Many people can be seen on the road in the background. Painting is brown, black and dark blues.
Christ Carrying the Cross, 1515–1517
Sebastiano del Piombo

Sebastiano’s depiction of Christ carrying the cross has dramatic visual impact in the expressions of the figures, in the diagonals lines created by the cross, and the luminous background. This work is a significant addition to the museum’s holdings of central Italian paintings.

Find this painting in Gallery 205.

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