Princeton resident Lt. George Thornton Emmons as well as the Field Museum of Natural History, Chicago. Selections of these were subsequently displayed in Guyot Hall from 1909 until its space was refurbished in 2000, when many of those holdings migrated once again to the Art Museum. In the late nineteenth and early twentieth centuries, indigenous American art, like the arts of Africa and Oceania, largely fell outside of the scope of the Princeton Art Museum’s specifi cally “historic” collecting. Nonetheless, donations of ceramic and stone works, along with several auction purchases from the William Randolph Hearst estate, comprised a modest sampling of Mexican and Peruvian material. To this, J. Lionberger Davis (class of 1900) began adding select donations, including in 1965 a stellar Maya fi gurine of an aged goddess from Jaina Island (fi g. 7). Despite this, by the mid-1960s, the Art Museum still held very few works of Pre-Columbian art of the highest quality. In 1967, ancient American art enjoyed a tremendous infl ux in presence and attention at Princeton with the appointment of Gillett G. Griffi n as faculty curator. Much of Princeton’s extant collection is due to Griffi n’s extraordinary efforts to promote the ancient Americans as signifi cant among the world’s great art traditions, 91 FIG. 4: Chocolate cup depicting a mythic scene. Maya, El Zotz or vicinity, Central Lowlands, Petén, Guatemala. AD 650–800. Ceramic with polychrome slip. H: 21.5 cm. The Princeton University Art Museum, gift of Stephanie H. Bernheim and Leonard H. Bernheim Jr. in honor of Gillett G. Griffi n, inv. 2005-127. Photo: Bruce M. White.
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