of many that totaled more than $250,000 over the next thirty years, plus $200,000 in her will and more from her estate. She was heir to much of the Rand family fortune, amassed by her father Jasper Rand (1837–1909) and bachelor uncle Addison C. Rand (1841–1900), who together had founded Rand Drill Company in 1871. Needing a dedicated structure to house the collections, museum trustee Michel Le Brun hired Albert R. Ross to design a neoclassical building. Ross had worked on several Carnegie libraries and the Pueblo County Courthouse (1908–12) in Colorado. When the museum opened on January 15, 1914, it was the first museum in New Jersey that granted access to the public and the first dedicated solely to art. On the circular lawn in front of the museum's entrance, the founders placed a bronze sculpture by Hermon Atkins MacNeil, The Sun Vow, another gift from Evans. It remains there as a signature piece for the museum, blending Native American and American themes. At its opening the museum had two collections gifted by its principal organizer, Evans, and its principal funder, Lang. Evans' donation of American art included 2 sculptures and 54 paintings, among them works by George Inness, Ralph Albert Blakelock, and Childe Hassam. Lang donated a collection of Native American art amassed by her mother, Annie Valentine Rand. The Rand Collection's several hundred objects included baskets, clothing, jewelry, and household items. The museum's holdings have expanded by means of acquisitions and donations. In 1922, the museum invited Montclair residents to vote for their favorite among 25 works for acquisition. The museum's art committee overrode the winning work by the impressionist Daniel Garber and instead purchased a work by the comparatively avant-garde Arthur Bowen Davies, Meeting in the Forest (1900), a depiction of nudes in a landscape in the Symbolist style. In the 1930s the museum was less open to modernists, and in the 1940s it tried to counter that reputation by having works for its annual exhibit of local artists' work selected by two juries, traditional and modern, a procedure abandoned when artists objected to having to characterize themselves in such a fashion. The building has since expanded along with the collection. The museum grew with additional gifts from Lang that allowed the front portico and mezzanine to be completed in 1924 and a new East Wing added in 1931 to house the Rand Collection. In the