Art Works Sites

The Clinton Federal Building (north) was originally the US Post Office Department headquarters, completed under the New Deal in 1934.  It contains a wealth of New Deal artworks commissioned and paid for by the Treasury Section of Fine Arts – 25 murals and 22 sculptural elements (12 bas-reliefs, 2 statues, 8 wood medallions) – featuring postal themes. Reginald Marsh painted two large (6'7" x 12'6") murals for the Post Office building:  "Sorting the Mail" and "Unloading the Mail" (1936).   The Marsh murals hang in the 4th floor of the north wing of the Clinton building. The building is presently occupied by the Environmental...

The Clinton Federal Building (north) was originally the US Post Office Department headquarters, completed under the New Deal in 1934.  It contains a wealth of New Deal artworks commissioned and paid for by the Treasury Section of Fine Arts – 25 murals and 22 sculptural elements (12 bas-reliefs, 2 statues, 8 wood medallions) – featuring postal themes. In 1937, Frank Mechau painted two large (7 x 13') oil-on-canvas murals for the former Post Office Department Building: "Dangers of the Mail" and "Pony Express."  They are notable both for their stylistic daring and their controversial subject matter, and they have evoked praise...

The Clinton Federal Building (north) was originally the US Post Office Department headquarters, completed under the New Deal in 1934.  It contains a wealth of New Deal artworks commissioned and paid for by the Treasury Section of Fine Arts – 25 murals and 22 sculptural elements (12 bas-reliefs, 2 statues, 8 wood medallions) – featuring postal themes. William C. Palmer painted two large (7' x 13.5') murals for the Post Office Building: "Covered Wagon Attacked by Indians" and "Mail Coach Attacked by Bandits" (1937). It must be said that Palmer's idea of the Wild West was standard popular mythology and the...

Attilio Piccirilli was commissioned by the New Deal’s Treasury Section of Fine Arts to create the sculpture “Contemporary Postman.” The sculpture was made out of an aluminum alloy, and Piccirilli was paid $3,000 for the job. When this artwork was created, the present-day Clinton Federal Building was the headquarters of the U.S. Post Office Department. The Treasury Section of Fine Arts existed from 1934 to 1943. It was initially called the “Treasury Section of Painting and Sculpture”; then the “Treasury Section of Fine Arts”; and finally just “Section of Fine Arts” when it was moved under the jurisdiction of the newly-created...

The William Jefferson Clinton Federal Building, originally the US Post Office Department, was begun under the Hoover Administration and completed under the New Deal in 1934.  It is richly decorated with New Deal artworks paid for by the Treasury Section of Fine Arts. There are 25 murals and 22 sculptural elements: 12 bas-reliefs, 2 statues, and 8 carved wood medallions. The building serves today as the headquarters for the Environmental Protection Agency (EPA).  It includes a local branch post office, called Benjamin Franklin Station, on Pennsylvania Avenue, that is open to the public; but entry to the rest of the building...

The Clinton Federal Building (north) was originally the US Post Office Department headquarters, completed under the New Deal in 1934.  It contains a wealth of New Deal artworks commissioned and paid for by the Treasury Section of Fine Arts – 25 murals and 22 sculptural elements (12 bas-reliefs, 2 statues, 8 wood medallions) – featuring postal themes. Eugene Francis Savage painted two large (7 x 13.5') murals for the Post Office Department building:  "Carrier of News and Knowledge" and "Messenger of Sympathy and Love".  The works were painted in 1937. Sarah Gordon says of these murals: "As the culmination of the U.S. Post...

Concetta Maria Scaravaglione was commissioned by the New Deal’s Treasury Section of Fine Arts to create the sculpture “Railway Mail Carrier, 1862.” The sculpture was made out of an aluminum alloy, and Scaravaglione was paid $3,000 for the job. When this artwork was created, the present-day Clinton Federal Building was the headquarters of the U.S. Post Office Department. The Treasury Section of Fine Arts existed from 1934 to 1943. It was initially called the “Treasury Section of Painting and Sculpture”; then the “Treasury Section of Fine Arts”; and finally just “Section of Fine Arts” when it was moved under the jurisdiction...

Carl Ludwig Schmitz was commissioned by the New Deal’s Treasury Section of Fine Arts to create the sculpture “City Delivery Carrier, 1863.” The sculpture was made out of an aluminum alloy, and Schmitz was paid $3,000 for the job. When this artwork was created, the present-day Clinton Federal Building was the headquarters of the U.S. Post Office Department. The Treasury Section of Fine Arts existed from 1934 to 1943. It was initially called the “Treasury Section of Painting and Sculpture”; then the “Treasury Section of Fine Arts”; and finally just “Section of Fine Arts” when it was moved under the jurisdiction...

Heinz Warneke was commissioned by the New Deal’s Treasury Section of Fine Arts to create the sculpture “Express Mail Carrier.” The sculpture was made out of an aluminum alloy, and Warneke was paid $3,000 for the job. When this artwork was created, the present-day Clinton Federal Building was the headquarters of the U.S. Post Office Department. The Treasury Section of Fine Arts existed from 1934 to 1943. It was initially called the “Treasury Section of Painting and Sculpture”; then the “Treasury Section of Fine Arts”; and finally just “Section of Fine Arts” when it was moved under the jurisdiction of the...

Sidney Biehler Waugh was commissioned by the New Deal’s Treasury Section of Fine Arts to create the sculpture “U.S. Post Stage Driver, 1789-1836.” The sculpture was made out of an aluminum alloy, and Waugh was paid $3,000 for the job. When this artwork was created, the present-day Clinton Federal Building was the headquarters of the U.S. Post Office Department. The Treasury Section of Fine Arts existed from 1934 to 1943. It was initially called the “Treasury Section of Painting and Sculpture”; then the “Treasury Section of Fine Arts”; and finally just “Section of Fine Arts” when it was moved under the...

Four WPA murals by Jefferson League show historical stages in the history of the neighborhood; the fifth is a map of the community at the turn of the century. Medium: oil on canvas Size: 5 murals; 4 11' x 6'2", 1 7' x 6'2" Restoration Info: Restored 1999

WPA Coast Guard Air Station building includes several murals depicting Coast Guard themes.

"The Cochise County Courthouse contains several pieces of New Deal art. 'A Cavalcade of Cochise County History' is depicted in six bas-reliefs that line the entryway. R. Phillips Sanderson was funded by the Federal Art Project under the Works Progress Administration to produce these plaster sculptures. On the second floor landing hangs another WPA commission, an impressive relief map of Cochise County created by artist George Sellers. Forty-four pounds of screws, nails, tacks, and over 2,000 cups of plaster were used to create the map."

"To portray 'beauty, toil and simplicity' was the goal of artist, R. Phillips Sanderson, when he designed the 'Copper Miner.' Sanderson had moved to Bisbee during the Depression and worked as a commercial artist. He was paid $30.00 per month by the Federal Emergency Relief Administration during the six months it took to complete the statue. Bisbee native, Lee Petrovitch, posed for the artist. The statue was cast in concrete and covered (metalized) with a thin layer of copper. The statue was dedicated to all of the miners who had worked in Bisbee mines."

The Wilbur J. Cohen building, originally built for the Social Security Administration in 1938-1940, is home to a magnificent collection of social security themed artworks funded by the Treasury Section of Fine Arts. One of the artworks is a sculpture, "American Eagle," by noted African American artist and sculptor, Richmond Barthé (1940). The Social Security Administration never occupied the building, which was turned over to the War Department in 1941.  After the war, the Federal Security Agency (FSA), under which the Social Security Board had been placed in 1939, moved into the building. In 1953, the Department of Health, Education and Welfare, succeeded...

The Wilbur J. Cohen building, originally built for the Social Security Administration in 1938-1940, is home to a magnificent collection of social security themed artworks funded by the Treasury Section of Fine Arts. Two of the artworks are exterior bas-reliefs over entrances by Emma Lou Davis, "Family Group" and "Unemployment Compensation" (1941). The Social Security Administration never occupied the building, which was turned over to the War Department in 1941.  After the war, the Federal Security Agency (FSA), under which the Social Security Board had been placed in 1939, moved into the building. In 1953, the Department of Health, Education and Welfare, succeeded the...

The Wilbur J. Cohen building, originally built for the Social Security Administration in 1938-1940, is home to many social security themed artworks funded by the Treasury Section of Fine Arts. Two of the artworks are murals by Seymour Fogel, "Wealth of the Nation" and "Security of the People," painted in 1938 and installed in 1942 in the lobby at Independence Avenue entrance. The Social Security Administration never occupied the building, which was turned over to the War Department in 1941.  After the war, the Federal Security Agency (FSA), under which the Social Security Board had been placed in 1939, moved into the building. In...

The Wilbur J. Cohen building, originally built for the Social Security Administration in 1938-1940, is home to a magnificent collection of social security themed artworks funded by the Treasury Section of Fine Arts. One of the artworks is a large fresco stage curtain in the auditorium by Philip Guston, "Reconstruction and Well-Being of the Family" (1942). The Social Security Administration never occupied the building, which was turned over to the War Department in 1941.  After the war, the Federal Security Agency (FSA), under which the Social Security Board had been placed in 1939, moved into the building. In 1953, the Department of Health,...

The Wilbur J. Cohen building, originally built for the Social Security Administration in 1938-1940, is home to a magnificent collection of social security themed artworks funded by the Treasury Section of Fine Arts. Two of the artworks are exterior bas-reliefs over the entrances by Henry Kreis, "The Growth of Social Security" and "The Benefits of Social Security" (1941). The Social Security Administration never occupied the building, which was turned over to the War Department in 1941.  After the war, the Federal Security Agency (FSA), under which the Social Security Board had been placed in 1939, moved into the building. In 1953, the Department...

The Wilbur J. Cohen building, originally built for the Social Security Administration in 1938-1940, is home to a magnificent collection of social security themed artworks funded by the Treasury Section of Fine Arts. One of the lesser-known artworks is a mural by Jenne and Ethel Magafan, "Mountains in Snow." (c. 1942) Two other murals have been removed and are now stored at the National Museum of American Art: Dorothy and Fred Farr, "Sports Related to Food" (1942). Gertrude Goodrich mural, originally placed around the four walls of the cafeteria, depicting typical activities in four parts of the country (1943).    

The Wilbur J. Cohen building, originally built for the Social Security Administration in 1938-1940, is home to a magnificent collection of social security themed artworks funded by the Treasury Section of Fine Arts.  The most spectacular of the artworks is a massive, multi-paneled, fresco mural by Lithuanian-born artist Ben Shahn, entitled "The Meaning of Social Security." Shahn's mural cycle covers both sides of the central corridor of the  building. On the east wall are three panels depicting the ills Social Security was meant to alleviate:  "Child Labor, Unemployment, and Old Age."  On the west well are scenes of a society cured of...

This large 10' x 42' fresco "California" by Maxine Albro depicts a variety of California agricultural harvest scenes. It was funded by the PWAP.

This 10' x 36' fresco "City Life" was painted by Victor Arnautoff with the help of Edward Hansen and Farwell Taylor with funding from the PWAP. The onsite plaque reads: "Such familiar San Francisco buildings as City Hall, the Main Library, the Legion of Honor, and the Stock Exchange watch over the hectic urban scene, which includes an accident and a robbery." Arnautoff, who was a student of Diego Rivera's, supervised the entire Coit Tower mural project. The photos below show the mural from left to right.The man standing to the right of the newspaper stand is a portrait of the artist.  

This 9' x 34' egg tempera PWAP mural "Home Life" by Jane Berlandina is located on the second floor of Coit Tower. It is accessible only during the Saturday morning tour.  

This 10' x 10' fresco "Meat Industry" by Ray Bertrand was funded by the PWAP and depicts numerous scenes from the California meat industry.  

This 10' x 36' PWAP fresco "Animal Force and Machine Force" by Ray Boynton depicts various scenes of production. It is located on the inner north wall of Coit Tower.    

This 9' x 6' PWAP fresco "Children at Play" by Ralph Chesse is located on the second floor of Coit Tower. It is accessible only during the Saturday morning tour  

Two 9' x 54' oil-on-canvas panels entitled "Bay Area Hills" painted by Rinaldo Cuneo with support from the PWAP depict the rolling hills of the Bay Area.  

This 9' x 22' PWAP fresco "Outdoor Life" by Benjamin Cunningham is located on the second floor of Coit Tower. It is accessible only during the Saturday morning tour.

Mallette Dean painted two 10' x 4' frescoes for the main floor of the Coit Tower under the auspices of the PWAP. "Stockbroker" is a portrait of A. P. Giannini, founder of Bank of America. The second mural depicts a“Scientist-Inventor.”

This 9' x 13' PWAP fresco "Collegiate Sports" painted by Parker Hall is located on the second floor of Coit Tower. It is accessible during the free SF City Guides tours every Wednesday and Saturday morning at 11:00 AM. The murals can also be viewed on CT Docents tours.  

This 9' x 12' PWAP fresco "Hunting in California" by Edith Hamlin is located on the second floor of Coit Tower. It is accessible only during the Saturday morning tour.  

The Coit Tower sign for this 10' x 10' PWAP fresco "Banking and Law" by George Harris reads: "While the stocks continue to plunge and bags of money are guarded, lawyers pour over books in a law library. The artist's sense of humor is evident in the titles of books and the authors to whom he attributes the titles."

The sign for this 10' x 10' PWAP fresco "Railroad and Shipping" by William Hesthal in Coit Tower reads: "Seen here are the symbols of transportation commerce in the 1930s: trains and boats. On the left, a train prepares to depart while a signalman watches and waits. Behind the boat is the Third Street Bridge at China Basin, completed in 1933."    

The label attached to John Langley Howard's 10' x 24' PWAP fresco "California Industrial Scenes" in Coit Tower reads: "In this mural industry is physically portrayed, and with a powerful social and political message emerges from the mixture of visual images: demonstrating workers, the homeless, a strip mining operation, and Shasta Dam, to name a few."      

This PWAP mural of two 6' x 32' panels painted by Lucien Labaudt depicts a scene on San Francisco's Powell Street. The mural "Powell Street" is accessible during the free SF City Guides tours every Wednesday and Saturday morning at 11:00 AM. The murals can also be viewed on CT Docents tours.

This 10' x 27' PWAP fresco "California Agriculture and Industry" was painted by Gordon Langdon and H. Clement. The man spraying the cow is a portrait of fellow artist Lucien Labaudt.  

A 9' x 54' PWAP oil painting "San Francisco Bay, North" by Jose Moya del Pino is located on the north wall of the elevator lobby in Coit Tower.  

Under the auspices of the PWAP, Otis Oldfield painted several murals for the Coit Tower. One 9′ x 54′ oil painting mural depicts the "San Francisco Bay." Two 2' x 4' semi-circular lunettes depicting "Seabirds" are located on the south wall of  the elevator lobby. Another 2'x 4' semi-circular lunette shows a "Bay Area Map."

A 3' x 3' fresco, "Power," painted by Frederick Olmsted with funding from the PWAP, is located on the outer north wall of Coit Tower.