History Of The Cartonnage By William Randolph Hearst

The coffin, cartonnage, and mummy is about six feet long with a vintage or rustic look because the cartonnage is chipped from age. You can determine whether it has human remains because the way that it is shaped, the coffin is proportional to a human’s size. The texture of the cloth is as hard as a rock because the cloth was made in the 22nd dynasty. The four painted panels are about four feet tall and twelve inches wide. They look freshly painted because when the light hits the oil it makes them sparkle. Tasenetnethor is a gift from C. Granville Way and Jan Polack is a William Randolph Hearst Collection. William Randolph Hearst (1860–1951) was one of the most influential forces in the history of American journalism. Mercilessly caricatured in Citizen Kane, Hearst in reality was a populist multimillionaire who crusaded against political corruption. “He fostered simultaneous excellence and sensationalism in reporting, transformed the graphic design of newspapers, and was in the vanguard of the development of newsreels.” Hearst also became a conspicuous movie producer, a voracious collector, and an outstanding benefactor of the early Los Angeles County Museum.

When his empire teetered near bankruptcy in 1937, the collections were divided. Half was retained by Hearst, and half became his companies' asset, much of it to be sold. The dispersal of most of this colossal hoard over the years, and Citizen Kane 's freakish image, hindered a correct assessment of Hearst's achievements as a collector, as a thrillingly imaginative patron of architecture and design, and as the greatest individual donor to the Los Angeles County Museum. A remarkable figure in American history, Hearst was part of California's heritage and a dominant personality in Los