{
"data": {
"id": 307526,
"accession_number": "2017.310",
"share_license_status": "Copyrighted",
"tombstone": "Still Life with Bicycle Wheel, 1935. Edward W. Quigley (American, 1898\u20131977). Gelatin silver print; image: 7.6 x 10.1 cm (3 x 4 in.); paper: 7.6 x 10.1 cm (3 x 4 in.). The Cleveland Museum of Art, Gift of Michael Mattis and Judith Hochberg, 2017.310",
"current_location": null,
"title": "Still Life with Bicycle Wheel",
"creation_date": "1935",
"creation_date_earliest": 1935,
"creation_date_latest": 1935,
"artists_tags": [
"male"
],
"culture": [
"United States"
],
"technique": "gelatin silver print",
"support_materials": [],
"department": "Photography",
"collection": "PH - American 1900-1950",
"type": "Photograph",
"measurements": "Image: 7.6 x 10.1 cm (3 x 4 in.); Paper: 7.6 x 10.1 cm (3 x 4 in.)",
"dimensions": {
"image": {
"height": 0.076,
"height_inch": 3,
"height_inch_fraction": 0.0,
"width": 0.101,
"width_inch": 4,
"width_inch_fraction": 0.0
},
"paper": {
"height": 0.076,
"height_inch": 3,
"height_inch_fraction": 0.0,
"width": 0.101,
"width_inch": 4,
"width_inch_fraction": 0.0
}
},
"state_of_the_work": null,
"edition_of_the_work": null,
"copyright": null,
"inscriptions": [
{
"inscription": "Written in pencil on verso: \u201cEQ-291\u201d",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": null
},
{
"inscription": "Stamped in black ink on verso: \u201c7281\u201d",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": null
},
{
"inscription": "Stamped in blue ink on verso: \u201cPHOTOGRAPH BY/EDWARD QUIGLEY/4231 WALNUT STREET/PHILADELPHIA 4\"",
"inscription_translation": null,
"inscription_remark": null,
"sortorder": null
}
],
"exhibitions": {
"current": [],
"legacy": []
},
"provenance": [],
"find_spot": null,
"related_works": [],
"former_accession_numbers": [],
"did_you_know": null,
"early_education_description": null,
"artlens_description": null,
"description": "Edward Quigley\u2019s abstract still lifes were radically experimental in 1930s America. Though abstracted through cropping, the bicycle is rendered whole\u2014and therefore functional\u2014by the shadow behind it. In its insistence on function, lyricism, and beauty, could Still Life be Quigley\u2019s response to Marcel Duchamp\u2019s 1913 ironic, provocative Bicycle Wheel sculpture?",
"external_resources": {
"wikidata": [
"https://www.wikidata.org/wiki/Q79873374"
],
"internet_archive": []
},
"citations": [],
"url": "https://clevelandart.org/art/2017.310",
"images": {},
"alternate_images": [],
"creditline": "Gift of Michael Mattis and Judith Hochberg",
"image_credit": null,
"sketchfab_id": null,
"sketchfab_url": null,
"gallery_donor_text": null,
"athena_id": 307526,
"creators": [
{
"id": 799,
"description": "Edward W. Quigley (American, 1898\u20131977)",
"extent": null,
"qualifier": null,
"role": "artist",
"biography": "Edward W. Quigley American, 1898-1977\r\n\r\nPhiladelphia-born Edward Quigley was a modernist photographer who became known in the 1930s for his pioneering experiments with light abstractions. A self-taught photographer, Quigley became interested in the medium as a child, taking his first photographs with a Brownie camera around 1910. In 1918 he embarked on a professional career and in 1930 opened a commercial studio in Philadelphia. During the 1930s-40s he produced innovative advertising and editorial photographs for clients ranging from Wanamaker's department store, Frances Denney Cosmetics, and S.K.F. Industries to Harper's Bazaar and Farm Journal.\r\n\tIn the early 1930s Quigley undertook a number of photographic experiments. He created pure, projected light abstractions (which he called \"light forms\") as well as abstract images produced using raking light and cutout cardboard constructions. He also experimented with photograms (cameraless photographs). During this period Quigley showed his work in many exhibitions and photographic salons. In 1932 his light abstractions were featured in a one-person show at the Philadelphia Art Alliance, and two years later he took part in the First Salon of Pure Photography at the Adams-Danysh Galleries in San Francisco (juried by, among others, Ansel Adams, Willard Van Dyke, and Edward Weston). That same year Quigley had another one-person show, Designs with Light, at the Delphic Studios in New York and participated in an exhibition of modernist photography at the Cleveland Museum of Art that also included works by Margaret Bourke-White, Anton Bruehl, Edward Steichen, Alfred Stieglitz, Ralph Steiner, and Weston.\r\n\tIn 1938 Quigley organized two exhibitions for the Photographic Society of Philadelphia (of which he had been a member since 1929), one featuring the photographs of Weston and the other the work of L\u00e1szl\u00f3 Moholy-Nagy. Although Quigley did not participate in many exhibitions after the 1930s, he continued his commercial work during the 1940s and early 1950s and also began writing technical articles for such journals as American Photography, The Camera, and Good Photography. M.M.",
"name_in_original_language": null,
"birth_year": "1898",
"death_year": "1977",
"use_in_caption": true,
"include_extent": false,
"weight": 0
}
],
"legal_status": "accessioned",
"accession_date": "2018-02-26T00:00:00-05:00",
"sortable_date": 1935,
"date_added_to_oa": null,
"date_text": "1935",
"collapse_artists": false,
"on_loan": false,
"recently_acquired": false,
"record_type": "object",
"conservation_statement": null,
"has_conservation_images": false,
"cover_accession_number": null,
"is_nazi_era_provenance": false,
"impression": null,
"alternate_titles": [],
"is_highlight": false,
"updated_at": "2026-05-01 06:53:50.565000"
}
}