Surely the best of all portraits of Lauren Bacall, Cornell's Penny Arcade Portrait could easily join the parade of American presidents, celebrities, and inventors downstairs in the Portrait Gallery. When he constructed this sumptuous box, Cornell had just seen Bacall in her first movie, To Have and Have Not, the great film that Howard Hawks made from Hemingway's worst novel. Cornell meant for the tinted glass to recall the "night blue of early silent film," and the windows and peepholes suggest early penny arcades. Any moment now and the redwood ball, hurtling down from a slot at the top of the box, could pass right by Bacall's nose on a little glass shelf. What Cornell loved most about To Have and Have Not was the mood it conveyed to him of the melancholy of hotel rooms. In his notations for this box, included in the Washington installation, he wrote of seeking "an insight into the lives of countless young women who never knew, and may never know, any other home than the plainest of furnished rooms in a drab hotel."