Breaker Boys
Lewis Wickes Hine, American, 1874 - 1940
negative 1911, print 1911-1930
Gelatin silver print
Image: 7 1/4 × 9 7/16 in. (18.4 × 24 cm)
Sheet: 8 1/8 × 10 3/16 in. (20.6 × 25.9 cm)
Hood Museum of Art, Dartmouth: Purchased through the Katharine T. and Merrill G. Beede 1929 Fund
2005.12
Geography
Place Made: United States, North America
Period
20th century
Object Name
Photograph
Research Area
Photograph
Not on view
Inscriptions
Inscribed, on reverse, in blue ink: Pennsylvania-1911. Breaker Boys- Photo / Lewis W. Hine; inscribed, on reverse, in blue ink: 1/2 page; stamped, on reverse, in black ink: This photograph is loaned by the / NATIONAL CHILD LABOR COMMITTEE / with the distinct understanding that / credit will be given the Committee in / publication; inscribed, on reverse, in graphite, circled: CUT #1 / Young Coal Miners; inscribed, on reverse, in graphite, each possibly in different hand: 419 4th / NYC 16; x1075 [Lee Gallery inventory number}; 7[?]1942; CS7429
Course History
ARTH 86, Senior Seminar in Art Historical Theory and Method, Mary Coffey, Winter 2013
ARTH 17, History of Photography, Katie Hornstein, Spring 2013
ARTH 17, The Power of Place: Urban and Rural Images in American Art, 1900-1945, Sarah Powers, Winter 2014
WRIT 5, Human Rights, Global to Local, Peggy Baum, Winter 2014
ENGL 29, American Fiction to 1900, Colleen Boggs, Spring 2014
ARTH 85, Senior Seminar in Theory and Method, Mary Coffey, Fall 2014
SART 17.9, The Photographer as Activist: Making Art Inspired by the Hood Museum's Collection, Virginia Beahan, Winter 2015
ARTH 71, The "American Century": Modern Art in the United States, Mary Coffey, Winter 2015
ARTH 71, The "American Century": Modern Art in the United States. Mary Coffey, Winter 2015
ARTH 48.08, The Photographic Medium, Allan Doyle, Winter 2019
HIST 2, #EverythingHasAHistory, Matthew Delmont and Max Fraser - OPEN HOURS, Fall 2019
HIST 2, #EverythingHasAHistory, Matthew Delmont and Max Fraser 2, Fall 2019
HIST 2, #EverythingHasAHistory, Matthew Delmont and Max Fraser, Fall 2019
ARTH 48.02, History of Photography, Katie Hornstein, Winter 2020
ARTH 48.02, History of Photography, Katie Hornstein, Winter 2020
ARTH 48.02, History of Photography, Katie Hornstein, Winter 2020
ANTH 55, Anthropology of Global Health, Anne Sosin, Spring 2021
ANTH 55.01, Anthropology of Global Health, Anne Sosin, Spring 2022
Anthropology 55.01, Anthropology of Global Health, Anne Sosin, Spring 2023
English 52.19, Poverty in American LIterature: 1861-1925, Colleen Boggs, Spring 2023
English 52.19, Poverty in American Literature: 1861-1925, Colleen Boggs, Spring 2023
English 52.19, Poverty in American LIterature: 1861-1925, Colleen Boggs, Spring 2023
Anthropology 55.01, Anthropology of Global Health, Anne Sosin, Fall 2023
Art History 48.02, Histories of Photography, Katie Hornstein, Spring 2024
Art History 48.02, Histories of Photography, Katie Hornstein, Spring 2024
Anthropology 55.01, Anthropology of Global Health, Anne Sosin, Spring 2024
Geography 21.01, International Studies 18.01, Global Health and Society, Anne Sosin, Spring 2024
Exhibition History
American Works on Paper to 1950: Highlights from the Hood Museum of Art, Friends and Owen Robertson Cheatham Galleries, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, September 22-December 9, 2007.
Capturing Innocence: Photography and the Construction of Childhood, a Student Curated Exhibition for Professor Katie Hornstein’s History of Photography, ARTH17, Spring 2013, Ivan Albright Gallery, Hood Museum of Art, Dartmouth College, Hanover, New Hampshire, June 26-September 8, 2013 .
Publication History
Barbara J. MacAdam, American Art at Dartmouth: Highlights from the Hood Muesum of Art, Hanover: Trustees of Dartmouth College, 2007, p. 171, no. 141.
John R. Stomberg, The Hood Now: Art and Inquiry at Dartmouth, Hanover, New Hampshire: Hood Museum of Art, Dartmouth College, 2019, p. 138, ill. plate no. 69.
Provenance
National Child Labor Committee, New York, Alan Klotz Gallery, New York; Charles Schwarts Ltd., New York; Lee Gallery, Winchester, Massachusetts; sold to present collection, 2005.
This record is part of an active database that includes information from historic documentation that may not have been recently reviewed. Information may be inaccurate or incomplete. We also acknowledge some language and imagery may be offensive, violent, or discriminatory. These records reflect the institution’s history or the views of artists or scholars, past and present. Our collections research is ongoing.
We welcome questions, feedback, and suggestions for improvement. Please contact us at: Hood.Collections@dartmouth.edu