FRANK

STELLA
IRREGULAR POLYGONS196566
APRIL 8JULY 24
2011
CANADAY GALLERY
A GUIDE TO THE EXHIBITION
2 3
Use this Guide in the Exhibition
The 11 monumental paintings in the Irregular Polygons series are
presented without explanatory labels in order for the works to have
the maximum visual impact without distraction.
This guide is provided as your own set of portable labels. The text
is excerpted and adapted from the exhibitions catalogue written by Brian
Kennedy, curator of the exhibition and President, Director, and CEO of the
Toledo Museum of Art.*
Because Frank Stellas abstract art engages so essentially with the basic
elements and principles of art and design, the text also highlights
these fundamentals.
Other resources provided in the exhibition include:
A .|dec e/:e|p| c| ||a| S|e||a ||cr Painters Painting: The New York Art
Scene 19401970 (1973)
V|dec c| T|A d||e:|c| B||a |eed] |a||| aocu| ||e Irregular Polygons
A |ar||] 0u|de |c |e|p pa|e| ad :|||d|e |cc| a| :c|c|, ||e, ad |ape
in Frank Stellas abstract art
A 'a:||.||] a|ea' W|e|e .|||c| c| a|| ae :a W|||e pcer, d|aW ||e||
own irregular polygons, create irregular polygons using magnetic shapes,
and read more about Frank Stella and abstract art
Please do not touch the works of art.
Frank Stella: Irregular Polygons was curated by TMA Director Brian Kennedy, while he was director
at the Hood Museum of Art, and organized by the Hood Museum of Art, Dartmouth College. Special
exhibitions supported in part by the generous members of the Toledo Museum of Art and the Ohio
Arts Council.
p 5 Chocorua IV
p 6 Conway I
p 7 Effingham IV
p 9 Moultonville II
p 10 Ossipee II
p 12 Sunapee II
p 13 Tuftonboro III
p 14 Union I
p 15 Wolfeboro IV
p 8 Moultonboro II
p 11 Sanbornville III
The paintings in this guide are arranged alphabetically by title.
4 5
Frank Stella: Irregular Polygons
When presenting Frank Stella with the National Medal of the Arts on
February 25, 2010, President Barack Obama described the renowned
ao||a:| a|||| a 'a |eed |c| || a::crp|||re| a ce c| ||e
worlds most innovative painters and sculptors. His sophisticated visual
experimentsoften transcending boundaries between painting, print
ra||, ad :u|p|u|e-a|e rcde| ra|e|p|e:e.'
Since he first burst on the New York art scene in 1958, Frank Stella
(American, born 1936) has had a long and prolific career at the forefront
of abstract art. A consistent innovator who prefers to produce works in
series, he has immersed himself in visual thinking and creating, according
|c :e||a| |e] a|||||: p||:|p|e. '||e, p|ae, .c|ure ad pc||, | pa:e.'
The Irregular Polygons series of 196566 is startlingly dramatic and
original. Although based on simple geometries, these paintings comprise
one of the most complex artistic statements of Stellas career. Each of the
11 compositions combines varying numbers of shapes to create daringly
irregular outlines. Stella made four versions of each composition, altering
their color combinations. These asymmetrical canvases play with illusion,
confronting Stellas previous emphasis on flatness while anticipating his
career-long exploration of space and volume in both painting and sculpture.
Along with the 11 Irregular Polygonseach of which is named for a small
town in New Hampshire where Stellas father took him on fishing trips as a
young boythis exhibition includes preparatory drawings for the paintings
and the print series Eccentric Polygons (1974), which was based on the
Irregular Polygons.
Shown here together for the first time in the same room, the Irregular
Polygons c||e| a e/:||| cppc||u||] |c eae W||| ||e ':crp|e/
|rp||:||]' ||a| | ||e pa|adc/ c| S|e||a' a||.
Chocorua I Chocorua III
Chocorua II
Chocorua IV
1966
Fluorescent alkyd and
epoxy paints on canvas
Theres a very shallow type of illusion going on in Chocorua. But
once youre committed to doing this in three-dimensions, then it
really would be a pyramid inside a cube. Frank Stella
The central theme of the Irregular Polygons series is the relationship of
shapes, which interpenetrate, interlock with, and butt up against each
other. Because the abutting or impinging shapes do not overlap (except in
Sanbornville; see p. 10), the illusion of depth is caused mainly by the value
differentiation of the colors.
By mitering the lightning-like band that cushions the triangle, Stella
reinforces the squares ability to contain the triangle, rather than appear
to be trying to eject it. (Picture the band without the mitered corners and
imagine how that would change the composition.)
Stella associates the triangle in Chocorua with Mount Chocorua in the White
Mountains of New Hampshire. When he began working on the Irregular
Polygons, '||e] We|e c |rred|a|e|] |ad:ape ad rcu|a|cu,' that he
decided to name them after places he had visited with his father during his
boyhood.
Space, one of the elements of art, is the area around or within
objects. In a two-dimensional image space refers to the arrangement of
components on the surface. The illusion of depth of space may be created
in two-dimensions by various means, including overlapping, proportion,
and color values.
6 7
Conway II Conway IV Conway III
Conway I
1966
Fluorescent alkyd and
epoxy paints on canvas
A notch at Conway in the White Mountains was a favorite fishing place for
Frank Stella while on childhood vacations with his father.
1
In the painting
named for this location, a parallelogram is locked into and supporting a
rectangle, creating a diagonal, left-to-right movement.
What I had in mind was a swinging mirror in my mothers bedroom.
This was a rectangular mirror mounted on two pieces of wood with
pivots.
2
Frank Stella
If Stella had adopted the furniture reference literally, the mirror (the
parallelogram) would have been above its bureau (the rectangle). He has
confirmed since that he preferred the composition with the parallelogram
below.
The eight-inch-wide stripe used in all of the Irregular Polygons is especially
pronounced in Conway, because it wraps around the base and left side but
does not extend into the interior. There, another band of a different color
completes the border around the parallelogram. This causes the shape to
appear to swivel.
Movement is a principle of design. It refers to the way shapes, lines,
colors, and forms direct the eye around a composition or interact with each
other to suggest motion. Diagonals often create a sense of movement
in art.
E|l||I| l E|l||I| lll E|l||I| ll
Effingham IV
1966
Fluorescent alkyd and
epoxy paints on canvas
The shapes in Effingham butt up against each other rather than interlock.
The interior band, however, is itself interlocking, such that the painting, in
Stellas words, 'W|d up || cW p||. || :u|| c ||e||.'
1
The composition
is complicated because:
the larger shape could propel the parallelogram out. The large
shape secures the smaller one by wrapping its band around it. It
is in equilibrium and the smaller shape is under tension. But the
smaller shape supports the larger one, so it will not fall off. The
painting is up in the air, and the large shape needs the smaller one
to hold it up.
2

Art historian Michael Fried described the effect of the open top of Effingham
(W|||cu| a oc|de|| oad, a |a.| 'a a|c||| .e|||:a| a::e|e|a||c,
c| ca||, c| |e|eae.'
3

Balance is one of the principles of design and relates to the sense
of visual equilibrium in a work of art. Balance can be symmetrical or
asymmetrical, but depends on how elements of varying visual weights or
sizes in an image are arranged around a fulcrum point. In the quotation
above, Stella explains the interdependence of the two shapes. Where do
you see balance in this connection?
8 9
Destroyed

Moultonboro I Moultonboro IV Moultonboro III

Moultonboro II
1966
Fluorescent alkyd and
epoxy paints on canvas
Moultonboro features a triangle wedged into the top right corner of a shape
that the viewers eye may or may not complete as a rectangle. The triangle
fits into a Z-like band. 'T|| e|u|e, ||e Z, |a |c oe epa|a|ed c ||a| ||
dce'| |u ||c e|||e| ||e oa:||cud c| ||e c||e| p|e:e,' Stella explains.
1
Each shape had to be distinct, and Stella achieved this via the wide Z
banding but also the fine white line of raw canvas on either side of it.
I always leave a space, because I dont want the confusion of
shapes. I want the independence of each unit, so it has white
on each side. It is painted independently. Each item is doubly
independent. Nothing touches each other.
2

The triangle can be read as tilting, slanting, or sloping from the picture
plane (the flat surface of the painting). Critic Rosalind Krauss remarked on
the spatial ambiguity in the Irregular Polygons | 19OO. 'T|| | ||e |||u|c
||a| ||e p|:|u|e a|e |c|d| c| ou:|||.||c |||ee-d|re|ca| coje:|.'
3

The effect is compounded by the changes in value :aued o] ||e Oa]0|c
fluorescent alkyd and epoxy paint surfaces, which make the colored shapes
appear lighter or darker as the viewer moves before the painting.
Value, one of the elements of art and an aspect of color, is the degree of
lightness or darkness in an image. When colors are close in value, shapes
appear to flatten and to be closely connected in space. If values contrast,
shapes appear to be separated in space and some stand out, seeming to
project or recede.
Moultonville I Moultonville IV Moultonville III
Moultonville II
1966
Fluorescent alkyd and
epoxy paints on canvas
Moultonville sits in a way. Its kind of nice, and it has a base, a
wedge at the top and this spring band to the right that holds the
Z band in place. The wedge sits on top of the field and props up
the background and the rectangular figure. The rectangle is locked
inwell, or you could say its sitting therebut it depends on
which color version of the picture.
1
Frank Stella
The 44 paintings in the Irregular Polygons series forced Stella to find some
help with moving the large stretchers, preparing the paints, putting down
masking tape, and applying four coats of paint. If a color was not working
well with the others in a given painting, Stella would change it, requiring
even more coats of paint. This was why, for the first time, he hired an
a||a|, ||e pa||e| Rcoe|| 'Bco' 0c|dc.
2

The decision to make four versions of each design was capricious:
Its just the number I thought Id like to have. If I dont like the way
one comes out, I can go on to the next one. And it also gives me
something to work against it doesnt matter if the first painting
of each shape is good or badit gives me a start. If I see in it
something that I dont likeits still something to react against,
and it sets the way Ill go with the next few pictures.
3

Color, an element of art, refers to the full visible light spectrum (rainbow)
and black and white, plus all possible combinations therein. Stellas interest
color relationships and their effect on the relationships between shapes is
evident in the four versions of each of the Irregular Polygons titles, which
differ only in their color combinations.
10 11
Ossipee I Ossipee IV Ossipee III
Ossipee II
1966
Fluorescent alkyd and
epoxy paints on canvas
Although Frank Stella has said that he named the Irregular Polygons after
small towns in New Hampshire because they reminded him of mountains,
Ossipee has especially personal associations. The painting evokes a
building rather than a mountain, and Stella acknowledges, 'T|| | a :ao|
c ||e |de c| a ||||.'
1
Stella in fact fished with his father at a family vacation
home in the White Mountains town of Ossipee during his youth. The home
at Ossipee is still owned by Stellas family.
The Irregular Polygons share the continual challenge of all abstraction,
Stella says:
The problem is always couched in the proposition of abstraction
as some kind of remedial or representational figuration. So this
abstract form behaves the way that this could be a person. You
could have the Empresss portrait in the pentagon of Ossipee, and
it would be a good painting actually. Abstract art always struggles
with what representation has, that its flat and has the mechanics
for representing illusion and it works. The background for these
pieces, the landscape or architecture or whatever it was, we dont
see it, so it becomes unfamiliar.
2
Texture is one of the elements of art and refers to the tactile quality
c| a coje:|. Va||a||c c| |ea| c| pe|:e|.ed |e/|u|e W|||| a Wc|| c| a||
can add interest or variety and can have a subtle effect on the relationship
between shapes and forms. Stellas Irregular Polygons use smooth epoxy
and fluorescent paints, but also utilize the rough texture of the canvas itself.
Sanbornville I Sanbornville IV Sanbornville II
Sanbornville III
1966
Fluorescent alkyd and
epoxy paints on canvas
Discussing the Irregular Polygons in 1966, art historian Michael Fried wrote
aocu| ||e d|||:||c oe|Wee a pa|||' '|||e|a|' |ape (||e cu|||e c| ||
uppc||, ad || 'dep|:|ed' |ape (||e cu|||e c| ||e e|ere| | ||e p|:|u|e,.
1

The distinction is most easily seen in Sanbornville. The composition, which
places a triangle and a parallelogram within an overall irregular shape,
differs from the other Irregular Polygons in that the triangle is imposed
upon it. In all of the other compositions, each shape is necessary to the
task of holding the composition together, but the triangle in Sanbornville is
an applied, depicted shape.
Another feature unique to Sanbornville is that the triangle has a double
border. This causes it to play a visual game with the parallelogram (which
is of equal height) that creates an illusion of back-and-forth movement.
The balance of the shapes in the composition is somewhat precarious,
and the composition relies on the colors applied to it for stability. As Stella
remarked:
There are abstract problems that dont lend themselves to easy
solutions, but its obvious that I am doing a double thing. I am
trying to work with a parallelogram and a triangle in one situation,
but thats probably not a particularly good way to work at it. Its
almost better upside down.
2

Shape, one of the elements of art, is an enclosed area defined by other
elements of art, such as line or color. Two-dimensional shapes can give the
appearance of three-dimensional objects. The central concern of Stellas
Irregular Polygons is the interplay of shapes.
12 13
Sunapee I Sunapee IV Sunapee III
Sunapee II
1966
Fluorescent alkyd and
epoxy paints on canvas
With its four shapes, Sunapee is the most complex composition among the
Irregular Polygons. As with Effingham (p. 7), Stella tried to outline much of
the exterior shape with a long colored band, but he admitted that it did not
work as well here. In fact, he thought about removing the colored block at
the top of the composition altogether: 'T|a|' W|a| | p|coao|] Wcu|d |a.e
dce, ad || r||| |a.e oee oe||e| a:|ua||]. | :cu|d dc || cW.'
1
Along with
Wolfeboro (p. 15), Sunapee was the most problematic composition of the
Irregular Polygons for Stella.
The impetus for the next major shift in Stellas careerhis first wall
reliefs, the Polish Villages (197174)was, he has said, implied in the
irregular polygon canvases like Sunapee II (1966). I took that one
a long way, and I really liked it, but it didnt quite go anywhere.
But then I bounced back a few years later, and it came out with a
whole new geometry. I basically built a painting and then painted
on it. That was essentially true from early on, when I was making
the shape paintings, but it didnt really sink in.
2
Composition is the arrangement of the elements of art in an image
according to the principles of design. A composition can be symmetrical
or asymmetrical and represents the artists deliberate ordering of the
picture. Stella constructed the Irregular Polygons on the core compositional
principle of asymmetry.
Tuftonboro I Tuftonboro IV Tuftonboro II
Tuftonboro III
1966
Fluorescent alkyd and
epoxy paints on canvas
The triangle in Tuftonboro, locked tightly into a notched larger irregular
shape, is a good example of why Stella argued that his Irregular Polygons
were not overly concerned with illusion but instead with the relationship
between shapes. If the larger shape is read as a background or field, then
the R-shaped band can seem to move backward and forward, with the
triangle tilting in the process.
Tuftonboro is actually one of my favorites. The band is obviously
a spring and is going to propel the triangle out. The triangle is
pushing back, but the spring has the ability to push it out. So that
creates a nice feeling in the painting.
1
Frank Stella
Stella explains why the mitering of the band and the open space at the
bottom of the painting are necessary:
Its pretty much a pictorial problem. The band holds the shape of
whatever kind of imagined rectangle this was, so Ive got it holding
this triangle, but I dont want to keep outlining indefinitely, or I
lose this openness. The open space at the bottom and right side
allows you to get a sense of the triangle being pushed in, but also
having space to be able to go out of it. So there has to be an open
edge. And the mitered edge was a way of dealing with that to open
it up at the bottom.
2
Line, an element of art, is a continuous mark with width and height, but
c dep||. ||e :a cu|||e c| |rp|] |ape, p|c.|de |e/|u|e c| .c|ure, c| ||e a
composition together. Stella uses thick lines, or bands, of color as essential
compositional elements in the Irregular Polygons.
14 15
Union II Union IV Union III
Union I
1966
Fluorescent alkyd and
epoxy paints on canvas
The color schemes used for the Union paintings were especially successful,
harmonious, and complementary. Union is also the most stable of the
Irregular Polygon compositions, a square plugged into the base of a
truncated rectangle. As in Sanbornville, the eight-inch banding stretches
around four of the five sides. This makes the depicted rectangular shape
more enclosed, the effect being to create a modernist-looking container.
|||e Conway, Union was inverted from its original design. Preparatory
drawings for Union show the broad open side now on top as the base of
the image. Stella was unhappy with the composition, however, because it
evoked a tabletop mountain or a Mayan temple. When the art dealer John
Kasmin saw the Union painting with its broad base in Stellas studio, he
suggested that it would look better if turned upside down. Stella agreed and
inverted the painting.
1
Failure is relative. And I dont worry about taking risk. If something
is not beautiful, then Im unhappy with it, and there are some
things that are certainly not beautiful, but they get by. But youre
still striving for the ones that really feel beautiful in the end. And
so thats what its about. The risk is committing yourself to try to
make art.
2
Frank Stella
Unity is one of the principles of design. It is the overall coherence of
the compositionthe way the parts work together to create a harmonious
whole. Underlying structure and color or shapes that complement each
other contribute to a unified picture.
Wolfeboro I Wolfeboro III Wolfeboro II
Wolfeboro IV
1966
Fluorescent alkyd and
epoxy paints on canvas
The [Irregular Polygons] paintings are pretty frontal. I dont see
twists in them. I want to see them flat. I see the planar ambiguities,
but I minimize them as much as I can. I feel that this is the right
way, the way I want to look at these pictures, and I feel that it is
possible to do this without forcing oneself to see the paintings in
a manner that really distorts them and their intentions.
1
Frank
Stella
The Wolfeboro format, the tallest of the Irregular Polygons, has two irregular
shapes, one seated upon the other. They abut rather than penetrate each
other, and the larger one is lugged onto the trapezoid base. This truncated
rectangle acts like a keystone but also seems to tilt, because the band
above and to its left does not continue down the right side. Stella described
Wolfeboro and Sunapee (p. 12) as the most problematic compositions in
the series: 'Scre||re ||e |c|r ||d c| ||.' He was unhappy with the
tension between his decision to allow the upper shape in Wolfeboro to rest
ad || ||e|e| 'p|||e.'
2
Proportion is a principle of design that deals with the relative scale of
objects and shapes in an image to one another and to the viewer. Wolfeboro
contains two shapes, with the larger one placed on top of the smaller,
creating a deliberately disproportionate composition.
16 17
Elements and Principles of Art and Design
Composition is the arrangement of the elements of art in an image
according to the principles of design. It can be symmetrical or asymmetrical.
Elements of art (two-dimensional)
Line is a continuous mark with width and height, but no depth, made with
a moving point.
Shape is an enclosed area defined by other elements of art, such as line
or color.
Color is the full visible light spectrum (rainbow) and black and white, plus
all possible combinations therein. It has three part:
Hue is the name of the spectrum colors (red, blue, yellow, etc.)
Intensity is the purity of the color (e.g., how bright or dull it is)
Value is the degree of lightness or darkness of a color .
Texture refers to the tactile quality of an object, whether real or perceived.
Space is the area around or within objects; the arrangement of components
on the surface.
Principles of art and design
Emphasis is the point or points of focus in a compositionareas that
break the compositional rhythm.
Balance relates to the sense of visual equilibrium in a work of arthow
components of an image are arranged around a fulcrum point.
Harmony is the balanced use of similar elements throughout a work of art.
Variety is the use of different, often contrasting, elements that provide
visual and conceptual interest.
Movement refers to the way shapes, lines, colors, and forms direct the eye
around a composition or interact with each other to suggest motion.
Rhythm is the path along which the eye follows a regular or repeating
arrangement of motifs (such as shapes or colors) around a composition.
Proportion is the relative scale of objects and shapes in an image to one
another and to the viewer.
Unity is the overall coherence of the compositionthe way the parts work
together to create a harmonious whole.
Biography
Frank Stella was born in 1936 in Malden Massachusetts and lives in New
York. He attended Phillips Academy, Andover, and Princeton University,
from which he graduated in 1958. That same year he first gained
|e:c|||c | ||e a|| Wc||d W|e e.e|a| c| || 'o|a:| pa|||' We|e
included in the exhibition Sixteen Americans at the Museum of Modern
Art, New York.
His consistent inventiveness has seen him make remarkable advances
in pictorial and sculptural tradition. By the mid-1960s, he was making
his powerfully influential shaped paintings, which he launched with his
aluminum paintings (1960) and then pursued further with the irregularly
shaped paintings known as the Irregular Polygons (196566). From
the 1970s onward, Stella has also explored the arts of sculpture and
printmaking. At the age of seventy-five, he continues to work assiduously
today, and his art can be seen in nearly all of the worlds major museums.
He is without doubt one of the most significant and influential artists of the
last half-century to work in the abstract tradition of painting, sculpture,
and printmaking.
||I|| S|||I || ||: |W|u||, |W Yu||, :|uJ|u W||| |.51 (|| |u|||) I|J |.54 (||u |u|||), |u|| 2JJo, ||u|
||: ||| :||:, || Pu|]||u| R|||:, Ap||| 2JJ9. P|u|u |] B||I| |||J].
18 19
Notes
C|0C0RuA lV
1. ||I|| S|||I || I| ||||1|W W||| B||I|
|||J], |W Yu||, |u1||| c, 2JJ9.
C0|wAY l
1. B||| Ru|||, Frank Stella, 121.
2. ||I|| S|||I || I p|u| u|1|:I||u| W|||
B||I| |||J], |I] 2J, 2J1J.
E||l|G|A| lV
1, 2. ||I|| S|||I || I| ||||1|W W||| B||I|
|||J], |W Yu||, |u1||| c, 2JJ9.
3. C|||:||I| G||II|, Frank Stella: Working
Drawings, 195c19J (BI:|. |u|:||u:u|,
19oJ), 11112.
|0u|l0|B0R0 ll
1, 2. ||I|| S|||I || I| ||||1|W W||| B||I|
|||J], |W Yu||, |u1||| c, 2JJ9.
3. Ru:I|||J ||Iu::, ||I|| S|||I, CI:||||
GI|||], Artforum 4, |u. 9 (|I] 19cc). 4.
MOULTONVILLE II
1. I1|J Buu|Ju|, A |W Cu| || A||. 0JJ|]
S|IpJ CI|1I:: |] ||I|| S|||I C|I|||
V|W|:, Life (1I|uI|] 19, 19co). 44.
2. ||I|| S|||I || I| ||||1|W W||| B||I|
|||J], |W Yu||, |u1||| c, 2JJ9.
3. ||I|| S|||I || I p|u| u|1|:I||u| W|||
B||I| |||J], |I] 2J, 2J1J.
4. w||||I| S. Ru|||, Frank Stella (|W Yu||.
|u:u| u| |uJ|| A||, 19J), 111.
0SSlPEE ll
1, 2. ||I|| S|||I || I| ||||1|W W||| B||I|
|||J], |W Yu||, |u1||| c, 2JJ9
SA|B0R|Vl||E lll
1. |||I| |||J, S|Ip I: |u||. ||I||
S|||I: |W PI|||||:, Artforum 5, |u. 3
(|u1||| 19cc)
2. ||I|| S|||I || I| ||||1|W W||| B||I|
|||J], |W Yu||, |u1||| c, 2JJ9.
Su|APEE ll
1, 2. ||I|| S|||I || I| ||||1|W W||| B||I|
|||J], |W Yu||, |u1||| c, 2JJ9.
lu|l0|B0R0 lll
1, 2. ||I|| S|||I || I| ||||1|W W||| B||I|
|||J], |W Yu||, |u1||| c, 2JJ9.
UNION I
1. l. 1. CI||||, ||I|| S|||I. l| |I1]W|||
C|I|p|u| u| A|:||I||u| lI||: A|uu| R|:|
lI||| I|J ||uu|:|, Time Out New York
31 (0|u|| 1, 2JJ9).
2. ||I|| S|||I || I| ||||1|W W||| B||I|
|||J], |W Yu||, Ap||| 21, 2JJ9.
w0||EB0R0 lV
1. w||||I| S. Ru|||, Frank Stella (|W Yu||.
|u:u| u| |uJ|| A||, 19J), 124.
2. ||I|| S|||I || I| ||||1|W W||| B||I|
|||J], |W Yu||, |u1||| c, 2JJ9.
Credit lines for Paintings
A|| Wu||: 2J11 ||I|| S|||I / A|||:|: R|||:
Su||] (ARS), |W Yu||
Cu1|. Tuftonboro III, luu|:|| I||]J I|J pu/]
pI|||: u| I|1I:, 19cc. Cu||||u| u| || I|||:|.
p. 5, |uuJ |u:u| u| A||, I|||uu||. Pu||I:J
|||uu| || ||||I| I|J S|J|] S|u||I| A(u|:|-
||u|: |u|J, I ||| ||u| 1uJ:u| I|J CI|u| B||:
c, I|J |||: ||u| || |I|||up |||uW:, || |u|u|
u| B||I| |||J], |||u| u| || |uuJ |u:u| u|
A||, 2JJ52J1J. P|u|u |] S|1| S|u|I|.
p. c, Cu||||u| u| || I|||:|. P|u|u |] S|1|
S|u|I|.
p. , Cu||||u| ||. I|J ||:. I1|J |||1|:|,
lu|u||u. P|u|u |] S|1| S|u|I|.
p. o, Cu||||u| ||. I|J ||:. I1|J |||1|:|,
lu|u||u. P|u|u |] S|1| S|u|I|.
p. 9, Cu||||u| ||. I|J ||:. I1|J |||1|:|,
lu|u||u. P|u|u |] S|1| S|u|I|.
p. 1J, A|| GI|||] u| 0||I||u. G||| u| || ||I|
|uu|JI||u|, 19cc.
p. 11, w||||] |u:u| u| A|||I| A||. G||| u|
1u:p| A. |||I|, |W Yu||.
p. 12, Cu||||u| u| || I|||:|.
p. 13, Cu||||u| u| || I|||:|.
p. 14, ||u|| l|:|||u| u| A||:. |uu|J|: Su||]
Pu||I:, ||||J: u| |uJ|| A|| |u|J, cc.co.
p. 15, |||:||u|| |u:u| I|J Su|p|u| GI|J|,
S||||:u||I| l|:|||u||u|. G||| u| 1u:p| |. |||:|-
|u||, 192. P|u|u |] | S|I|:Wu|||.
Plate Comparative Captions
Sanbornville I, 1J4 / 14c 4/5 / 4 ||. (2c4 / 33
/ 1J.1c |). |w||I|J:|u:u| |J| |u|:|
u|J |u||u|:|||| (w:||I||:|:
|I|J:|u:u|). l|1. ||. 125 ||.
Sanbornville II. P|:|| |uI||u| u|||uW|.
Sanbornville IV, 1J4 1/2 / 144 / 4 ||. (2c5.4 /
3c5.o / 1J.1c |). P|||IJ|p||I |u:u| u|
A||. G||| u| || ||||J: u| || P|||IJ|p||I
|u:u| u| A||.
Sunapee I, 12 1/2 / 12J / 4 ||. (324.o5 /
3J4.o / 1J.1c |). |u ||u |uu|JI||u|, l|
|||||I|J:, uu||:] u| |u|||I |uWI|J
GI|||], |W Yu||.
Sunapee III, 12 5/o / 119 2/3 / 4 ||. (324.1 /
3J3.95 / 1J.1c |). Cuu||:] VI| J w|
||| A||, |W Yu||.
Sunapee IV, 12 1/2 / 12J / 4 ||. (324.o5 / 3J4.o
/ 1J.1c |). I1|J w|||u| B|| GI|||], B|uW|
u||1|:||]. G||| u| || I|||:|.
Tuftonboro I, 1JJ 1/2 / 1J9 / 4 ||. (255 / 2c /
1J.1c |). l| |u|||I| Cu||||u|, B||||.
Tuftonboro II. Cu||||u| u| |]|I SI||.
Tuftonboro IV, 99 / 1J9 / 4 ||. (251.4c / 2c.oc
/ 1J.1c |). AJJ|:u| GI|||] u| A|||I| A||,
P|||||p: AIJ|], A|Ju1|, |I::.. G||| u| ||
I|||:|, 1991.95.
Union II. |I||| A|| GI|||], u||1|:||] u|
R||I, SI:|I||WI|.
Union III, 1J3 3/4 / 13 3/4 / 4 ||. (2c3.5 / 441.3 /
1J.1c |). l| |u:u| u| Cu|||pu|I|] A||,
|u: A||:. G||| u| Ru||| A. RuWI|, oJ.4.
Union IV. Cu||||u| u| R||I|J |||. P|u|u
B|u |. w|||, 2J1J.
Wolfeboro I, 1cJ 5/o / 99 3/4 / 4 ||. (4J.99 /
253.3 / 1J.1c |). SI| ||I||:u |u:u|
u| |uJ|| A||. G||| u| Ru||| A. RuWI|, o.54.
Wolfeboro II, 1cJ / 1JJ / 4 ||. (4Jc.4 / 254 /
1J.1c |). l| I]|u| A|| l|:|||u|. |u:u|
pu||I: W||| |u|J: p|u1|JJ |] || 199
A::u|I| BuI|J A|| BI||, 199.1.
Wolfeboro III, 1cJ 3/4 / 99 3/4 / 4 ||. (4Jo.3 /
253.3 / 1J.1c |). SI||| A|| |u:u|. G|||
u| ||. I|J ||:. BI|] w||||, 3.o. P|u|u.
PIu| |IIp|I.
A|| Wu||: I| 19cc (u||:: u|||W|: |u|J),
luu|:|| I||]J I|J pu/] pI|||: u| I|1I:.
A|| 2J11 ||I|| S|||I / A|||:|: R|||:
Su||] (ARS), |W Yu||
Chocorua I, 19c5cc, 12J / 12o / 4 ||. (3J4.o /
325.12 / 1J.1c |). |u: A||: Cuu||]
|u:u| u| A||, |u: A||:, u.S.A.. G||| u|
|| I|||:| |||uu| || Cu|||pu|I|] A||
Cuu|||, 19cc, |.cc.9J. |||I| ||I 2JJ9
|u:u| A::u|I|: / |AC|A / A|| R:uu|, |Y.
Chocorua II, 12J 3/o / 12o /1c / 3 15/1c ||.
(3J5.o / 32c.2 / 1J |). l| SpJ A|| |u:u|,
|uu|:1|||, |||u|]. |u:u| ||||: Pu||I:,
19c.44.
Chocorua III, 12J / 12o / 4 ||. (3J4.o / 325.12
/ 1J.1c |). |||WIu| A|| |u:u|. G||| u|
||||J: u| A||, |19co.12.
Conway II, 19c5, oJ / 122 1/2 / 4 ||. (2J3.2 /
311.15 / 1J.1c |). Cuu||:] VI| J w|
||| A||, |W Yu||.
Conway III, oJ 3/4 / 122 3/4 / 4 ||. (2J5.1 /
311.o / 1J.1c |). |u||u| S||u| |u:u|.
G||| u| || l|u|I: G. l|||| 1|. |I|||], P19J.J5.
Conway IV. P|:|| |uI||u| u|||uW|.
E|l||I| l, 19c, 12o 3/4 / 132 / 4 ||. (32 /
335.5 / 1J.1c |). Cu||||u| VI| A|||u:u|,
E||J|u1|, l| |||||I|J:. P|u|u|Ip|.
P|| Cu/, E||J|u1|, l| |||||I|J:.
Effingham II, 12 1/2 / 132 / 4 ||. (323.o5 /
335.5 / 1J.1c |). l| P||||p 1u||:u| G|I::
|uu:, A S|| u| || |I||u|I| l|u:| |u| ||:|u||
P|:|1I||u|.
Effingham III. P|:|| |uI||u| u|||uW|.
Moultonboro III. P|:|| |uI||u| u|||uW|.
Moultonboro IV. P|:|| |uI||u| u|||uW|.
Moultonville I, 124 3/4 / o 3/1c / 4 ||. (31c.9 /
223 / 1J.1c |). l| |u:u| u| ||| A||:,
|uu:|u|. G||| u| ||. I|J ||:. S. |. |A:|I|
1|., 3.o5.
Moultonville III, 123 / oo / 4 ||. (312.4 / 223.5
/ 1J.1c |). l| ||:u|A||||: |u:u| u|
A||, |I|:I: C||], ||::uu||. G||| u| || ||||J:
u| A||, |c13. P|u|u |] 1u|| |I||||u|.
Moultonville IV, 122 / o4 2/3 / 4 ||. (31J / 215
/ 1J.1c |). |u|:||u:u| Bu|u|.
Pu||I:J 19oJ, |u. 2JJ. P|u|u |] 0|I|
B||I||.
Ossipee I. Cu||||u| |. I|J ||:. E||:|
|I||I, |W Yu||. P|u|u B|u |. w|||,
2J1J.
Ossipee III, 9 / 141 / 5 ||. (24c.3o / 35o.14 /
12. |). |u:| C|||P||u|||| A||:
C||| u| |u: A||: Cuu||], p||1I| u||||u|.
Ossipee IV, 9c / 13o / 4 ||. (243.o4 / 35J.52 /
1J.1c |). |I|1] |. wI|| I|J Ru||
G|:|] wI||. P|u|u|Ip| |] G. R.
C|||:||I:, uu||:] l| PI GI|||].