Untitled (The Mary Heye Bottle)

Andrew Clemens, Untitled (The Mary Heye Bottle), 1883, naturally colored rock sand in pharmacy bottle, 8 12 × 2 34 in. (21.6 × 7.0 cm) diam., Smithsonian American Art Museum, Gift from the estate of Mary Brashier, granddaughter of Mary Heye, 2021.69
Free to use

Artwork Details

Title
Untitled (The Mary Heye Bottle)
Date
1883
Dimensions
8 12 × 2 34 in. (21.6 × 7.0 cm) diam.
Credit Line
Gift from the estate of Mary Brashier, granddaughter of Mary Heye
Mediums
Mediums Description
naturally colored rock sand in pharmacy bottle
Subjects
  • Object — flower
  • Homage
  • Object — other — container
Object Number
2021.69

Artwork Description

Sand bottles are made, quite literally, a grain of sand at a time. The grains are stacked and pushed around until layers and colors form a desired design, which is then pressured into place with a waxed stopper. Part painting, part sculpture, the resulting artform is unique and often quite astonishing.

Andrew Clemens lived his entire life in Iowa's Mississippi River Valley. He lost his hearing during a childhood illness and thereafter attended the Iowa State School for the Deaf in Council Bluffs. There he discovered an aptitude and affinity for handcrafts. During summers at home, he collected pieces of colored sandstone in the Pictured Rocks area of Iowa's Pikes Peak State Park then ground them into a palette of earth-toned colors. His sand bottles began as simple designs, becoming increasingly intricate over time and taking as much as a year to complete. Ultimately, Clemens shaped a profession of making customized sand bottles on commission; The Mary Heye Bottle, made at the zenith of his career, was one of these commissions. One side bears the honoree's name, the year the bottle was made, and a detailed floral arrangement. The other side has a flying eagle carrying the United States flag, and an array of precise geometric ornamentation. Clemens produced hundreds of sand bottles but only a small number survive.

Works by this artist (3 items)

Ray Strong, San Francisco from Russian Hill, ca. 1934, oil on canvas, Smithsonian American Art Museum, Transfer from the General Services Administration, 1974.89.9
San Francisco from Russian Hill
Dateca. 1934
oil on canvas
On view
Ray Strong, San Francisco from Russian Hill, ca. 1933-1934, oil on canvas, Smithsonian American Art Museum, Transfer from the U.S. Department of Labor, 1964.1.102
San Francisco from Russian Hill
Dateca. 1933-1934
oil on canvas
Not on view
Ray Strong, Golden Gate Bridge, 1934, oil on canvas, Smithsonian American Art Museum, Transfer from the U.S. Department of the Interior, National Park Service, 1965.18.50
Golden Gate Bridge
Date1934
oil on canvas
Not on view

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Winfred Rembert, Picking Cotton with Boss Men, 2007, dye on carved and tooled leather, Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2022.35, © Estate of Winfred Rembert/Artists Rights Society (ARS), New York
Picking Cotton with Boss Men
Date2007
dye on carved and tooled leather
Not on view
Flag Spectre
Date2015
urethane and chromaluscent paint on aluminum
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Radcliffe Bailey, Untitled, 2022, mixed media including flock, oil stick, acrylic paint on tarp, with steel railroad tracks, Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2024.23.2A-B, © Radcliffe Bailey. Courtesy of the artist and Jack Shainman Gallery, New York.
Untitled
Date2022
mixed media including flock, oil stick, acrylic paint on tarp, with steel railroad tracks
Not on view
Radcliffe Bailey, Up From, 2015, canvas tarpaulin, velvet, Georgia clay, wood, rock, metal, thread, rum, and tobacco, Smithsonian American Art Museum, Museum purchase through the Luisita L. and Franz H. Denghausen Endowment, 2024.23.1A-D, © Radcliffe Bailey. Courtesy of the artist and Jack Shainman Gallery, New York.
Up From
Date2015
canvas tarpaulin, velvet, Georgia clay, wood, rock, metal, thread, rum, and tobacco
On view