Richmond’s Lost Mural Rediscovered After 40 Years

“Richmond Industrial City,” by Victor Arnautoff,

The Richmond Post Office mural in situ.
“Richmond Industrial City,” by Victor Arnautoff,
Photo Credit: Courtesy Richmond Museum of History

Built in 1938, the art deco Richmond Post Office has long been a center of activity in this once-bustling shipbuilding city on San Francisco Bay. In 2014, the staff at the Richmond Museum of History learned that a mural once graced the post office lobby. “Richmond Industrial City,” by Victor Arnautoff, was commissioned by the U.S. Treasury Section of Fine Arts and installed at the post office in April 1940.

The Russian born Arnatouff, a protégé of Diego Rivera, was perhaps the most prolific muralist in San Francisco in the 1930s. He served as artistic director for the Public Works Administration murals at Coit Tower in nearby San Francisco, and painted the murals for the city’s George Washington High School and the Chapel at the Main Post of the Presidio.

The label on the crate containing the missing mural.

Shipping label
The label on the crate containing the missing mural.
Photo Credit: Courtesy Richmond Museum of History

Records show that when the Richmond post office lobby was remodeled in 1976, a 13 by 7-foot oil-on-canvas mural depicting Richmond’s industrial landmarks, had been carefully removed and crated by art conservator Nathan Zakheim, son of the renowned New Deal artist, Bernard Zakheim. The crate was supposed to be sent to Los Angeles where Nathan would perform needed conservation work, but for reasons unknown the crate was never sent. Eventually, Arnautoff’s mural was listed as “lost” on an endangered mural registry.

Then, in 2015, a janitor found a dusty triangular crate in an unlit room in the Richmond post office basement, a label clearly identifying it as the missing mural. It had been left there, forgotten for nearly forty years.

Staff from the Richmond Museum of History worked for nearly a year to gain permission from the Postal Service to take possession of the crate and have it opened by a conservator, when a water leak flooded the post office basement. The crate, showing a distinct water line, was moved six blocks to the museum where experts were on hand to open it. There was a collective sigh of relief when, upon opening the crate it was revealed that Zakheim, the conservator, had built the crate to hold the canvas on 10-inch stilts. The canvas was dry and in overall good condition.

Close up of Richmond, California Post Office mural.

Restoration needed
Close up of Richmond, California Post Office mural.
Photo Credit: Courtesy Richmond Museum of History

The museum has raised $5,000 of the roughly $30,000 needed to restore the mural and return it to public view. There’s been a recent setback—a restoration expert found lead adhesive stuck to the back of the canvas from the wall where the mural originally hung. Special handling is required to remove the toxic glue. Restoration is underway at the University of California, Santa Barbara. If you would like to contribute to restoring the mural, please contact the museum, (510) 235-7387.

Colorado Springs Saves Its New Deal Murals

City Auditorium, Colorado Springs

City Auditorium, Colorado Springs
Site of newly conserved PWAP murals.

The City Auditorium has served as Colorado Springs favored venue for public events since 1923. In the past, circuses, dance, and music reigned in the Classical Revival building. In recent years it has played host to cat shows, wrestling, and psychic fairs.

In 1934, under the Public Works of Art (PWAP) section of FDR’s New Deal, Boardman Robinson, the Southwest Coordinator of New Deal Art, and city officials selected two artists to paint lunette murals in the auditorium’s foyer. Both murals were to represent the focus and purpose of the public building.

Both artists were members of the Broadmoor Art Academy, an early oasis of art and culture in Colorado Springs. It was academy instructor George Biddle who wrote to his former classmate at Groton, Franklin Delano Roosevelt, proposing a program for artist relief. Many of the academy’s instructors and students were soon hired under New Deal art programs to paint murals.

The Arts mural by Tabor Utley

The Arts Mural by Tabor Utley
One of two recently conserved murals in the City Auditorium in Colorado Springs.

Tabor Utley taught landscape painting at the academy. His lunette at City Auditorium depicts the performing arts—dance, theatre, orchestral music, and a gospel choir. Facing it is a lunette painted by Utley’s student, Missourian Archie Musick. “Hard Rock Miners,” is Musick’s first major mural. It depicts the history of the area—gold mining and the cultural environment that the industry supported. Musick went on to paint New Deal murals at post offices in Red Cloud, Nebraska and Manitou Springs, Colorado.

When City Auditorium was placed on the National Register of Historic Places in 1992, the murals were in bad shape, suffering from cracks in the plaster, moisture in the walls, and layers of accumulated smoke and grime.

Unfortunately, conservation was a low priority given the City’s budget and there was confusion about who was responsible for the care of the murals.

In 1998, Archie’s daughter, artist Pat Musick, and I decided to take on the conservation project ourselves. The then-director of the building became our third mover and shaker.

Hardrock Miners by Archie Musick

Hardrock Miners by Archie Musick
One of two recently conserved murals in the City Auditorium in Colorado Springs.

Through much networking, fundraising, and lobbying, we were on our way to getting the City to be our partner. Our efforts led to a grassroots campaign, “A New Deal for the New Deal of Southern Colorado.” The Pikes Peak Arts Council became our fiscal sponsor, which enabled us to apply for grants not available to the City. We managed to secure funding from two local organizations, The El Pomar Foundation and the Gay and Lesbian Fund for Colorado.

We raised $10,000, which the City matched, to hire a local conservator. A lab analysis confirmed that both murals were painted in oil. Conservation began in early 2004 to stabilize, consolidate, and clean them. The restoration included new lighting and a Data Logger to monitor environmental conditions.

We held a public unveiling of the newly conserved murals, and received an award from the Arts, Business, and Education Consortium. We were invited to the annual Saving Places conference in Denver, hosted by Colorado Preservation, Inc, and were surprised to find our project on the cover of the conference issue of their magazine.

“Post Office Freak” Hits the Trail

David Gates at the Ladysmith, Wisconsin Post Office

David Gates at the Ladysmith, Wisconsin Post Office
The Colonial Revival-style post office was built in 1935.

A self-described “post office freak,” Chicago native David Gates is on a mission to document the nation’s post office art. The idea came to him during a river rafting trip when he and his friends came upon an unprepossessing post office in Athelstane, Wisconsin, and used it as backdrop for a group photo. Thereafter, David began to take notice of post offices, especially those in small town America.

David, a computer specialist, is an intrepid hiker. His peregrinations include the Pacific Crest and the Appalachian Trails. It was as a through hiker on the Appalachian Trail—a 2,176-mile trek through 14 states—that his obsession with post offices took hold.

The tiny post offices along the route were David’s lifeline during his 6-month journey through the Appalachians. Retrieving the supplies he had mailed to himself via “General Delivery” before starting out led David to post offices in Erwin, Tennessee; Hot Springs, North Carolina; Front Royal, Virginia; Pearisburg, Virginia; Harpers Ferry, West Virginia; Damascus, Virginia; Boiler Springs, Pennsylvania; Glen Cliff, New Hampshire; Caratunk, Maine; and Andover, Maine. He’s been photographing and writing about post offices ever since. His website, Postofficefreak.com, includes nearly 800 blogs about his post offices encounters.

David had originally planned to photograph as many post office buildings as he could, but has since narrowed this quest to documenting New Deal post offices. Many, he found, have been shuttered or sold.

“Unloading a River Barge” by Ruth Grotenrath, 1943.

“Unloading a River Barge” by Ruth Grotenrath, 1943.
Gates searched for the mural in the former Hudson, Wisconsin, Post Office. He found it in storage, no longer viewable by the public. The post office, built in 1939, was sold and is now a restaurant.

New Deal murals and sculpture in post offices were produced between 1934 and 1943 under the Treasury Department’s Section of Painting and Sculpture, later called the Section of Fine Arts. The purpose was to boost the public’s morale during the Great Depression with art that, in the words of President Roosevelt, was “native, human, eager and alive — all of it painted by their own kind in their own country, and painted about things they know and look at often and have touched and loved.”

According to the U.S. Postal Service’s website, “more than 1,150 post offices across the continental United States house this uniquely American art for people to enjoy as they go about their daily lives…The United States Postal Service is making every effort to preserve and safeguard it for future generations.”

That’s not what David says he found. “New Deal artworks that belong to the public are no longer available for the public to enjoy,” he says. “Many of these works have been removed, locked away, and even painted over.  I want to record them before they disappear.”

David recently published a guide to Wisconsin’s 35 New Deal post offices, “so that people can know what’s out there.”

To learn more go to www.Postofficefreak.com

David Gates is the Living New Deal’s Research Associate for Illinois and post office buildings nationwide. He lives in Crystal Lake, Illinois.

The New Deal’s Forgotten Art Form

“History of Transportation,” by Helen Lundeberg, 1039

“History of Transportation,” by Helen Lundeberg, 1039
This massive petrachrome mural in Inglewood, California was recently restored.

The Federal Art Project (FAP) encompassed a wide variety of art forms—from sculpture and fresco to oil-on-canvas and wood relief. However, few realize that an entirely new medium was invented by an FAP artist solely for use on public projects in Southern California.

American artist Stanton MacDonald-Wright first achieved prominence in the art world when he and fellow artist Morgan Russell co-founded the Synchromism movement, an approach to painting that analogized color to music. These works were among the first abstract paintings in American art.

During the 1930s, while MacDonald-Wright was in charge of the FAP in Southern California he devised an entirely new method of creating murals, which he called “petrachrome.”

The petrachrome process is significant not only to those interested in the New Deal but also to art historians in general. The process was similar in principle to a paint-by-numbers. Cement was first tinted with different pigments corresponding to the different sections of the mural. Next, crushed rock, glass, or tile was added to the mixture, which was then applied to the mural surface. Typically, the different color sections were delineated by strips of brass.

The colored cement was allowed to harden and then polished, creating a bold, striking appearance. Instead of a mural being painted onto a surface, the petrachrome process was designed so that the mural was the surface. Reports at the time claimed that the result “more enduring than marble” and “should last as long as the remaining great monuments of antiquity.”

Once the FAP was terminated in the early 1940s the petrachrome method seems to have disappeared completely, leaving only a handful of examples scattered around Southern California. The most celebrated of these is Helen Lundeberg’s “History of Transportation” in Inglewood. Recently the subject of an extensive renovation, Lundeberg’s mural is 8 feet tall and 240 feet long—making it one of the largest New Deal artworks in California.

Other examples of petrachrome murals can be found in San Diego’s Presidio Park, Santa Paula High School, Upland Elementary School, Santa Monica City Hall, and Canoga Park High School.

The majority of petrachrome murals still exist today. That they, by and large, remain in good condition is a testament to their resilience. I hope to publish a fully illustrated volume dedicated to preserving the legacy of MacDonald-Wright’s petrachrome process.

Erasing the United Nations

World War II interrupted, postponed, and ultimately altered what became the last New Deal art project. Artist Anton Refregier embarked on his monumental mural cycle for San Francisco’s Main Post Office in 1946. He began with a study of a heroic, solitary California Indian, and—27 panels and 18 months later—culminated with thesigning the United Nations Charter at that city’s Veterans Memorial Building.

The signing of the U.N. Charter. Mural by Anton Refregier

War and Peace
The signing of the U.N. Charter. Mural by Anton Refregier
Photo Credit: Creative Commons

That event is depicted in a triptych terminating in the post office’s long lobby in which Refregier’s also depicted the horrors of the recent war, multiracial representatives gathered to end war, and Franklin Roosevelt’s face bridging the two. Almost immediately after Roosevelt’s death, reaction set in even as Refregier was still painting.

Refregier had used a photograph of FDR taken after the president’s return from signing the peace treaty at Yalta. “It is a tired, sensitive, and completely beautiful face,” he wrote, “one expressing Roosevelt to me.” He wanted that face to act as a bridge between war and peace and to dedicate the mural cycle to the man “who lives in the heart and minds of the people,” and whose ultimate plan for an international mediating body would, many hoped, end war forever. Hiroshima had demonstrated that the next world war would be the world’s last.

But Refregier’s new bosses in Washington ordered him to delete FDR’s portrait. After resisting the order for seven months, the artist capitulated by replacing the face with a family group representing the Four Freedoms, which Roosevelt had enunciated in his 1941 State of the Union address. Freedom of speech and religion, FDR insisted, must be added to freedom from fear and from want everywhere in the world.

Regregier’s personal papers indicate that he understood the larger implications of the order to remove FDR’s face from this very public building. “The fight was lost[s1] !… The [political] climate was changing. It was necessary to erase the image of Roosevelt and his plans for coexistence and Peace… in order to see the American people on [to] the Cold War.” When Congressmen sought to destroy the murals in 1953, Refregier wrote, “the attack is part of reaction’s drive to destroy the significance of the 1945 U.N. Conference in San Francisco.”

Refregier was not wide of the mark. Although the signing of the U.N. Charter was one of the outstanding events in San Francisco’s history, it is largely forgotten today.

Virginia Gildersleeve, the Dean of Barnard College who attended the conference and who crafted the opening to the charter’s preamble based on that of the United States Constitution, said in her memoirs that Roosevelt’s sudden death “lay like a black shadow over all the world and particularly over the small nations who had pinned their hopes on him.”

As war becomes perpetual in the 21st century, we should remember that under that black shadow, the nations of the world once gathered to abolish it in his memory.

Famed Coit Tower Murals Restored

Mural  “California” by Maxine Albro

Orange Harvest
Mural “California” by Maxine Albro

The long-awaited restoration of twenty-seven New Deal murals at San Francisco’s Coit Tower is complete. The tower re-opened to the public with a ribbon-cutting ceremony on May 14.

The murals were painted in 1934 under the auspices of the Public Works of Art Project, the first New Deal employment program for artists.  They depict scenes of California in the 1930s. The Living New Deal’s Advisor Harvey Smith wrote the tower’s new signage interpreting the murals and the tumultuous times that inspired them.

Mural “Library” by Bernard Zakheim

Library
Mural “Library” by Bernard Zakheim

Age and neglect had taken a toll on both the tower and its artworks. Local activists pushed a successful ballot initiative to require the city to dedicate funds to restore and protect the landmark and murals. The tower closed in October 2013 for the $1.3 million upgrade.

Coit Tower, named for Lillie Hitchcock Coit, a colorful local character, was built in 1933. With 360-degree views of the city and the bay, the tower is one of San Francisco’s most visited landmarks.

Indians at the Post Office

Indian Bear Dance, by Boris Deutsch, adorns the post office in Truth or Consequences, New Mexico

Indian Bear Dance
Indian Bear Dance, by Boris Deutsch, adorns the post office in Truth or Consequences, New Mexico
Photo Credit: Courtesy of the U.S. Postal Service

As communities around the nation protest the dismantling of the U.S. Postal Service and the sell off of historic post offices—some containing New Deal art works—the Smithsonian’s Museum of the American Indian and National Post Office Museum have jointly debuted an online exhibition of post office art depicting Native Americans: Indians at the Post Office: “Native Themes in New Deal-Era Murals.”

A research team pouring over photos of the roughly 1,600 post office murals that were sponsored by the Treasury Section of Fine Arts in the 1930s found that about a quarter of them depicted Indians. From these, the team selected two-dozen murals that it organized into categories including Treaties, Encounter, Conflict, Evangelization, Indian Lifeways, and The Myth of Extinction.

Two Eagle Dancers, 1936 by Stephen Mopope a Kiowa Indian, is one of 16 WPA murals commissioned for the Anadarko, Oklahoma Post Office.

Two Eagle Dancers
Two Eagle Dancers, 1936 by Stephen Mopope a Kiowa Indian, is one of 16 WPA murals commissioned for the Anadarko, Oklahoma Post Office.
Photo Credit: Courtesy of the U.S. Postal Service

An essay accompanies each mural detailing its locale, the circumstance of its creation, subject matter, tribal details, artist biography, and more. Largely thanks to papers collected and oral histories conducted by the Archives of American Art, the sometimes subversive intentions of the artists, not obvious to the casual viewer, can now be explained.

Like the lands over which Native Americans and immigrants fought, the team has staked out contested terrain: many New Deal painters hired to adorn the post offices visually reiterated mythologies congenial to those who had won and occupied the land.  But, as a Forward to the exhibition correctly states, the muralists often encountered political minefields, “Artists were constantly reminded by Treasury officials that the communities were their patrons, and they must go to great lengths to satisfy the desires of everyone involved in the project in order to save their commission. Needless to say, “everyone” did not include the Indians they so often depicted. With the exception of a few Native artists and others sympathetic to their forcible displacement, history was portrayed by the victors to legitimate their conquest.

Early Indian Life on Analostan Island is one of seven murals created by Auriel Bussemer in the Arlington, Virginia Post Office

Early Indian Life Analostan Island
Early Indian Life on Analostan Island is one of seven murals created by Auriel Bussemer in the Arlington, Virginia Post Office
Photo Credit: Courtesy of the U.S. Postal Service

‘Indians at the Post Office” suggests other themes yet to be tackled in the continent-spanning gallery of public art created during the Great Depression by the Treasury Section. These could include themes such as local labor and economy, nature, technology, African-Americans, and above all, postal work and service. Since art encompasses fine architecture, such an exhibition should be staged at the National Building Museum only a few blocks from the National Postal Museum. It would provide Americans an opportunity to see what we paid for, and what we are now so rapidly losing.

 

For Sale: America’s Historic Post Offices

Citizens protest at the Downtown Berkeley Main Post Office

Citizens protest at the Downtown Berkeley Main Post Office
Berkeley, California

 

Despite growing public protest, the U.S. Postal Service is moving apace to sell the public’s historic post offices. Last month, the Postal Service added four more post offices on the National Register of Historic Places to its “For Sale” list: California’s La Jolla Wall Street Post Office, built in 1935; New York City’s Old Chelsea Station on West 18th Street, and the Bronx General Post Office on the Grand Concourse, both built in 1937; and the Berkeley Downtown Post Office, which, in spite of a year long campaign to keep the century-old building in the public domain, was recently slated for sale.

Like many other endangered post offices, these buildings contain unique New Deal artworks.

During the 1930s the federal government put thousands to work building the nation’s postal system.  In big cities and small towns alike, New Deal post offices are among the most artful, architecturally distinguished, and beloved buildings.

The thirteen murals in the Bronx Post Office created by New Deal artists Ben Shahn and Bernarda Bryson are considered masterpieces.

The Bronx Post Office
The thirteen murals in the Bronx Post Office created by New Deal artists Ben Shahn and Bernarda Bryson are considered masterpieces.

“Apparently the country is done with that kind of idealism,” notes Gray Brechin, geographer and Living New Deal Project scholar, “Rather than building beautiful public places, the federal government is selling them off.”

Buildings on the National Register of Historic Places are afforded some protection—their exterior must be preserved. But once sold the buildings are often gutted. In at least one case, a 1937 post office in Virginia Beach, Virginia was demolished to make way for a Walgreen’s pharmacy.

The National Historic Preservation Act ensures public access to public artwork, but when post offices are sold the murals and sculptures often are removed to storage. Even when the art remains in place, it’s up to the new owners whether the public may view it.

The Postal Service financial crisis started in 2006 when Congress required the Postal Service to pre-pay 75 years of workers’ benefits within ten years. Although many blame email for the Postal Service’s demise, the Postal Accountability and Enhancement Act of 2006 is responsible for $4 out of every $5 in Postal Service debt—more than $15 billion in 2012. In response, the Postal Service is cutting services and selling many of its most valuable properties.

CB Richard Ellis, a giant commercial real estate firm, holds the exclusive contract to sell postal properties worth billions. CB Richard Ellis’ chairman is Richard Blum, a University of California Regent and the husband of California Senator Dianne Feinstein. So far, the press has shown no interest in investigating how that contract was awarded, nor its terms.

Senator Bernie Sanders (I-VT) and Rep. Peter DeFazio (D-OR) introduced legislation to repeal the law responsible for the Postal Service’s death spiral. The bill recently passed the Senate but the other has yet to be voted on in the House.


The National Trust for Historic Preservation named the Historic Post Office to its list of America’s 11 Most Endangered Places of 2012.

Read Francis O’Connor’s open letter about post office art »

For a list of endangered post offices go to:  https://www.savethepostoffice.com