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Richard V. Correll prints and papers, circa 1927-2012

Overview of the Collection

Creator
Correll, Richard V., 1904-1990
Title
Richard V. Correll prints and papers
Dates
circa 1927-2012 (inclusive)
circa 1930-1990 (bulk)
Quantity
8.3 cubic feet (8 boxes and 1 oversize folder)
Collection Number
5855 (Accession No. 5855-001)
Summary
Prints and papers of printmaker Richard V. Correll.
Repository
University of Washington Libraries, Special Collections.
Special Collections
University of Washington Libraries
Box 352900
Seattle, WA
98195-2900
Telephone: 206-543-1929
Fax: 206-543-1931
speccoll@uw.edu
Access Restrictions

Access to original art prints is restricted. The majority of the collection is available on the UW digital collections website. The portions of the collection not digitized are open to the public. Contact Special Collections for more information.

Languages
English


Biographical NoteReturn to Top

Richard V. "Dick" Correll (1904-1990), described as "one of the leading masters of printmaking in the West", was best known for his powerful black and white linoleum cuts, etchings and woodblock prints. For most of his life he earned a living as a commercial artist in the book publishing and advertising fields while producing a large body of fine art in his own time. His themes ranged from landscapes, animals and agricultural scenes, harbors and ships, and music and dance to those which reflected his lifelong concern with political and social issues. As one curator wrote, "the maturity of his technique, with its rich textures and dramatic contrasts, combines with a wide range of subject matter to produce a body of work of great warmth, power, and depth". Correll stated that, above all, he was a humanist.

Born in Missouri 1904, Richard Correll spent most of his life in the three West Coast states, spending his early years in small farms or towns in Oregon and California. He absorbed his intellectual thirst -- and the craft of fine woodworking - from his father, a lawyer, school teacher, master carpenter, and voracious reader, and the love of art and music from his mother, a musician trained at Oberlin. A natural artist from early childhood, by the age of four Dick was cutting perfect farm animals out of paper with his mother's sewing scissors. He was largely self-taught: "I combed the library of every place we moved to for reproductions and critical articles on artwork or artists. I’m a constant student." He also became sensitized to the environment early on through working in his family’s small garden plots and farms and caring for the occasional family cow, horse or flock of chickens.

By the later 1920s the family had moved to Los Angeles. Dick's father and uncle began building houses there during the housing boom, with Dick doing the architectural drafting and his younger brother the electrical work. The two young men helped their father and brother with everything from basic construction to fine cabinetry. After the building boom collapsed with the Depression, Dick opened a couple of sign shops and did sign painting and calligraphy. He took a few art classes at what was then Chouinard Art Institute, but never attended as a matriculated student. He continued to sketch and draw on his own.

Dick's political thinking deepened with the Depression and seeing flocks of people uprooted by the Dust Bowl, hungry and homeless, stream into California. He began to see that art could be a vehicle to express ideas.

Correll specialized in printmaking, primarily wood and linoleum block prints, but produced etchings and lithographs as well. In addition, he produced drawings, gouache paintings and two murals. Especially notable from Correll's WPA period is a suite of prints depicting the legendary American folk hero, Paul Bunyan. In one exhibition catalogue these were described to be "as large in spirit as their inspiration."

During the Seattle years, Correll was a founding member of the Washington Artists' Union. He married his wife Alice in 1938. He had several solo shows and exhibited widely in national juried group shows (Print Club of Philadelphia, the California Etcher's Society, and the San Francisco Museum of Modern Art's Print Annual.) In 1939 his work was exhibited at the New York World’s Fair. Many of the works from the WPA period are today in the collections of museums, universities, and public buildings and continue to be shown and circulated. His murals of Paul Bunyan remain in a high school in Bremerton, Washington.

Curator and fine print dealer M. Lee Stone writes, "In 1941 Correll and his wife moved to New York City where he remained for 11 years working in the commercial art field. New York's commercial and fine art scenes, however, were not without their difficulties. While commercial work paid decently, Correll always thought it a 'sorry thing' to use one's artistic abilities to sell products. His values were completely opposed to those of Madison Avenue, and this contradiction plagued him throughout his commercial career.

As America entered World War II, Correll, at 36, was too old for the draft. He joined the Civilian Defense Corps as an Air Raid Warden in the Greenwich Village area. He also did artwork for Civil Defense, producing dozens of pro bono flyers, banners, signs and posters for various causes." Daughter Leslie was born in 1944.

After joining the Artists League of America (ALA), an organization of progressive artists and sculptors "devoted to social, cultural, and economic interest of artists", Correll served as Publication Chair of the ALA News from 1943 on, and by 1946 was Editor. Membership in those years included Rockwell Kent, Lynd Ward, Jacob Lawrence and Moses Soyer. He exhibited regularly with ALA, and his linocut, "Air Raid Wardens" was included in the "Artists for Victory" travelling exhibition at the Metropolitan Museum of Art and 26 other venues in the USA and Canada.

Correll remarked, “New York was an especially exciting place for an artist during these years. Murals by the Mexican artists could be seen in the School for Social Research as well as in the Museum of Modern Art. Refugees from fascist persecution were bringing over the latest European art theories.” George Grosz was teaching at the Art Students League. Correll knew Fritz Eichenberg, Robert Gwathmey and Miguel Covarrubias among others. Receiving serious attention in New York for the first time were works by Kathe Kollwitz, Edvard Munch, Miguel Covarrubias, Joseph Cornell, and the major collection of African sculpture owned by fellow ALA member Ladislas Segy. Fellow artists Norman Barr, Harry Roth and Abe Blashko were good friends of the Corrells.

In 1952 Dick had had enough of Madison Avenue and the family moved back to the West Coast, this time to San Francisco. Soon Dick joined the newly-formed Graphic Arts Workshop and Printmaker’s Gallery of San Francisco, a dynamic group of progressive artist-activists who shared studio and exhibition space as well as the desire to serve the ideals of peace and social justice through their artwork. The GAW was then located in North Beach, which threw Dick into the vital art and cultural movement of the 50’s. Through his lifelong membership in the Workshop he and met and worked with many other noted San Francisco artists and muralists of his generation such as Emmy Lou Packard, Irving Fromer, Victor Arnautoff, William Wolff, Louise Gilbert, Pele de Lappe and Stanley Koppel. In 1954 he realized a lifelong dream of visiting México, the famous Taller de Gráfica Popular and the great works of Rivera, Orozco and Siqueiros that had so influenced him and his generation.

In 1969 Correll happily retired from the commercial art field and was able to work full time at his fine art. The family moved to Oakland, across the Bay from San Francisco in 1972, where Dick could at last have a garden and a large studio. Upon the occasion of his 80th birthday he was honored with a major retrospective exhibition and community celebration. He died in 1990 at the age of 85. A monograph on his work (Richard V. Correll: Prints and Drawings) was published in 2005, to recognize the centenary of his birth.

On two occasions Correll participated with other artists in an attempt to form a union: in Washington with the Washington Artists Union and in New York City with the Artists League of America. Colleagues in the latter included Rockwell Kent, Lynd Ward, Philip Evergood, Ladislas Segy, Harry Gottlieb, Robert Gwathmey, Moses Sawyer, Art Young and Harry Sternberg. Correll served as the organization's Publications Chair and Editor of the A.L.A. News.

Correll's gentle and reserved demeanor was in sharp contrast to what San Francisco art critic Thomas Albright saw as the "remarkable boldness and strength" of his artwork. His themes often reflected his social conscience and he was attracted by heroic acts committed by everyday people in the struggle to achieve respect, freedom, and human rights. He marched with César Chávez and the United Farm Workers on their historic journey from Delano to Sacramento, contributed to and mounted the inaugural exhibition for the S.F. Afro-American Historical and Cultural Society, and created countless posters, leaflets, signs, and exhibits to civil rights, Native American, senior, labor, environmental, and world peace groups.

-Text excerpted courtesy of Correll Studios, www.richardvcorrell.com. Copyright © 2012, Correll Studios. All rights reserved. Sources Correll Studios. "About Richard V. Correll and His Work" www.richardvcorrell.com. Retrieved November 28, 2012 from http://www.richardvcorrell.com/about/ Correll, Richard V., DeWitt Cheng, Lincoln Cushing, and Leslie Correll. 2005. Richard V. Correll: prints and drawings. Oakland, Calif: Correll Studios. Grijalva, Brian. "Richard Correll and the Woodcut Graphics of the Voice of Action," Communism in Washington State History and Memory Project Retrieved November 28, 2012 from http://depts.washington.edu/labhist/cpproject/correll.shtml.

Content DescriptionReturn to Top

The Richard V. Correll prints and papers consist primarily of original artwork created by Correll, including woodcut, lithographic, serigraph, and linocut prints; several blocks used to create prints; drypoint etchings; photostats; pencil, ink, chalk, and scratchboard drawings; and paintings. Also included is a small series of books and periodicals featuring Correll and his artwork as well as a series of ephemera, photographs, and other published material related to Correll’s career as an artist. In addition to the physical material, the collection contains 6 audio tapes of an oral history interview with Correll, conducted by Bruce Kaiper for the Radical Elders Oral History Project, as well as 3 cd-roms of scanned photographs of Correll and digital photographs of his artwork, book cover and spine designs, and book illustrations, many of which were taken for the book, Richard V. Correll: Prints and Drawings , edited by his daughter, Leslie Correll.

Use of the CollectionReturn to Top

Alternative Forms Available

View selections from the collection in digital format.

View Images of Labor and Social Justice: The Art of Richard V. Correll online exhibit.

Preferred Citation

Labor Archives of Washington, University of Washington Libraries, Special Collections, Richard V. Correll prints and papers, 5855-001, box number, folder number.

Restrictions on Use

Creator's rights retained for the images in this collection. May be used for research and instruction. Some restrictions exist on copying or publication of images. Contact Special Collections for details.

Administrative InformationReturn to Top


Detailed Description of the CollectionReturn to Top

 

SERIES I :  ORIGINAL PRINTS1930-1984Return to Top

Container(s): Box-folder 1/4 - 2/4

Container(s) Description Dates
Box/Folder
1/1-2/1
Subseries A : Prints on Assorted Topics
1930-1984
Box/Folder
1/1
After the War.  
Linocut; Sheet Size: 13 1/8 in. x 17 1/2 in.; Image Size: 11 in. x 14 in.
Title on print:Post War
1953
1/1
Air Raid Drill.  
Lithograph. Sheet Size: 12 3/4 in. x 17 1/2 in. Image Size: 10 in. x 15 in.
1955
1/1
Air Raid Wardens.  
Linocut. Sheet Size: 14 5/8 in. x 19 in. Image Size: 10 in. x 15 1/4 in.
1943
1/6
An Injury to All.  
Linocut. Sheet size:15 in. x 21 in. mat board size: 21 3/4 in. x 28 in. Image Size: 15 in. x 21 in.
1980
1/1
Athletes.  
Lithograph. Sheet Size: 11 3/8 in. x 15 3/8 in. Image Size: 8 3/8 in. x 12 3/8 in.
Works Progress Administration (WPA).
1937
1/2
Autumn.  
Woodcut. Sheet Size: 20 in. x 24 1/2 in. Image Size: 16 1/4 in. x 20 1/4 in.
1971
1/2
Banana Gleaners.  
Woodcut. Sheet Size: 26 in. x 20 1/4 in. Image Size: 18 in. x 13 in.
1981
Rare Map Case Drawer 1
Battleground.  
Woodcut. Sheet Size: 23 1/2 in. x 35 in. Image Size: 21 1/2 in. x 30 in.
1973
1/1
Birdcage.  
Linocut. Sheet Size: 9 in. x 8 in. Image Size: 4 3/4 in. x 4 1/4 in.
Print adhered to same mat board as "Standing Figure."
1930
1/1
Black Mountain.  
Color woodcut. Sheet Size: 18 3/4 in. x 24 in. Image Size: 13 1/2 in. x 20 in.
Title on print: Black Mountain: Variation II
1978
1/2
Black Stockings.  
Woodcut. Sheet Size: 24 3/4 in. x 18 3/4 in. Image Size: 21 1/2 in. x 15 1/8 in.
Title on print: Three Horses II
1972
1/1
Bookplates.  
Color woodcut. Sheet Size: 4 in. x 6 in.
circa 1930s-1950s
1/2
Bull.  
Drypoint etching. Sheet Size: 17 in. x 26 1/4 in. Image Size: 11 7/8 in. x 17 5/8 in.
1977
1/3
Cane Cutter.  
Etching. Sheet Size: 12 7/8 in. x 9 1/2 in. Image Size: 7 1/2 in. x 7 1/2 in.
1975
1/6
Cargo Handling in the 1950s.  
Linocut. Sheet Size: 13 in. x 17 in. Mat Board Size: 20 in. x 22 3/4 in. Image Size: 13 in. x 17 in.
1954
Chains.  
Linocut.
Physical print not in collection. Image in Digital Collections is a donor provided digital photograph of the print.
Box/Folder
1/3
Cityscape.  
Linocut. Sheet Size: 13 1/4 in. x 10 1/4 in. Image Size: 9 3/4 in. x 7 3/4 in.
Title on print: City.
circa 1937-1939
1/2
Clarinetist.  
Linocut. Sheet Size: 26 in. x 12 in. Image Size: 23 in. x 8 in.
1972
1/2
Cotton Pickers.  
Woodcut. Sheet Size: 22 in. x 30 in. Image Size: 17 1/4 in. x 24 1/2 in.
1974
1/3
Country Road.  
Drypoint etching. Sheet Size: 14 in. x 11 in. Image Size: 10 3/4 in. x 91/4 in.
1977
1/3
Cows.  
Linocut. Sheet Size: 16 1/4 in. x 23 1/4 in. Image Size: 11 3/4 in. x 18 1/4 in.
1972
1/3
Defoliation Caper (Final State).  
Woodcut/collage. Sheet Size: 17 3/4 in. x 21 3/8 in. Image Size: 12 1/2 in. x 16 in.
1968
1/4
Delta Town.  
Woodcut. Sheet Size: 25 1/2 in. x 16 3/4 in. Image Size: 21 1/4 in. x 11 1/2 in.
1972
1/3
Drought.  
Lithograph. Sheet Size: 21 1/2 in. x 15 in. Image Size: 21 1/2 in. x 15 in.
1955
1/3
The Eastern Front.  
Linocut. Sheet Size: 10 3/8 in. x 14 3/8 in. Image Size: 10 3/8 in. x 14 3/8 in.
1943
1/4
End of the Marina Trestle.  
Woodcut. Sheet Size: 19 in. x 24 in. Image Size: 13 3/4 in. x 18 3/4 in.
1974
2/1
Eve.  
Drypoint etching. Sheet Size: 17 5/8 in. x 13 in. Image Size: 12 in. x 10 in.
1977
1/4
Fantasy on a Ski Lift.  
Woodcut. Sheet Size: 26 in. x 18 3/4 in. Image Size: 23 in. x 16 1/2 in.
1973
1/3
Farm Scene.  
Linocut. Sheet Size: 6 1/4 in. x 9 1/4 in. Image Size: 4 1/4 in. x 6 in.
circa 1930
1/4
The Fence.  
Woodcut/collage. Sheet Size: 17 3/8 in. x 19 1/8 in. Image Size: 12 3/4 in. x 15 in.
1976
1/6
Fire Hose/Fight Back.  
Linocut. Sheet Size: 12 1/2 in. x 21 in. mat board: 19 in. x 27 in. Image Size: 12 1/2 in. x 21 in.
1971
1/4
First State, Boating.  
Linocut. Sheet Size: 17 5/8 in. x 27 5/8 in. Image Size: 23 in. x 13 in.
1974
1/4
Folk Dance.  
Linocut. Sheet Size: 22 in. x 30 in. Image Size: 18 in. x 24 in.
1977
For the Future.  
Lithograph.
(First version). Physical print not in collection. Image in Digital Collections is a donor provided digital photograph of the print.
1954
Box/Folder
1/7
For the Future.  
Woodcut. Sheet Size: 13 in. x 9 1/4 in. mat board:20 in. x 29 in. Image Size: 13 in. x 9 1/4 in.
(Second version).
1983
1/4
Grazing Horse.  
Linocut. Sheet Size: 26 in. x 16 1/2 in. Image Size: 19 3/4 in. x 10 1/2 in.
1971
1/4
Guitar Quartet.  
Linocut. Sheet Size: 18 7/8 in. x 25 1/2 in. Image Size: 15 1/2 in. x 21 1/2 in.
1975
1/5
Hillside Shacks.  
Linocut. Sheet Size: 8 in.x11 in. Image Size: 5 5/8 in. x 7 7/8 in.
Works Progress Administration (WPA).
1937
1/4
Holsteins.  
Woodcut. Sheet Size: 16 3/4 in. x 23 in. Image Size: 11 1/4 in. x 18 in.
1983
1/4
Horse With Clown.  
Woodcut. Sheet Size: 25 1/8 in. x 18 1/8 in. Image Size: 13 3/4 in. x 21 in.
1974
1/5
Horse Trainer.  
Woodcut. Sheet Size: 16 1/4 in. x 12 in. Image Size: 16 1/4 in. x 12 in.
undated
1/5
Hunger.  
Linocut. Sheet Size: 15 3/4 in. x 11 in. Image Size: 9 1/2 in. x 7 1/4 in.
Works Progress Administration (WPA).
1937
1/4
Impression of the Bay Bridge.  
Woodcut Sheet Size: 26 in. x 17 1/4 in. Image Size: 19 3/4 in. x 11 1/2 in.
1964
1/5
In the Field.  
Woodcut. Sheet Size: 10 1/4 in. x 9 3/4 in. Image Size: 6 in. x 6 3/4 in.
1930
1/7
Jobless March on the Palace, Dominican Republic 1965.  
Woodcut. Sheet Size: 16 in. x23 1/4 in. Mat Board: 23 in. x 30 in. Image Size: 16 in. x 23 1/4 in.
1973
1/5
The Last Fall.  
Linocut. Sheet Size: 15 3/4 in. x 11 in. Image Size: 12 1/2 in. x 8 7/8 in.
Works Progress Administration (WPA).
1938
1/4
The Last Ferry.  
Linocut. Sheet Size: 19 1/4 in. x 26 in. Image Size: 14 in. x 19 3/4 in.
1980
1/4
The Little Steam Tug.  
Linocut. Sheet Size: 23 1/2 in. x 26 in. Image Size: 18 1/2 in. x 21 1/4 in.
Title on print: The Little Steamer.
1975
1/5
Live and Let Live.  
Linocut. Sheet Size: 23 in.x15 1/2 in. Image Size: 18 1/2 in. x 11 1/2 in.
1967
1/7
Locusts.  
Woodcut. Sheet Size: 11 1/2 in. x 18 in. Image Size: 11 1/2 in. x 18 in.
1966
1/4
Low Tide.  
Linocut. Sheet Size: 28 in. x 18 in. Image Size: 24 in. x 15 in.
Alternative title used in the book of Correll's work, Richard V. Correll: Prints and Drawings edited by Leslie Correll: Low Tide Litter.
1973
2/1
Man Running.  
Linocut. Sheet Size: 15 1/2 in. x 10 1/4 in. Image Size: 9 in. x 6 in.
1939
2/1
Mariachis I.  
Drypoint Etching. Sheet Size: 12 1/2 in. x 11 in. Image Size: 10 3/4 in. x 7 3/4 in.
1977
2/2
Mariachis II.  
Color Linocut. Sheet Size: 25 in. x 17 5/8 in. Image Size: 20 in. x 13 in.
1979
3/3
Mariachis III.  
Color Etching. Sheet Size: 15 5/6 in. x 13 in. Image Size: 13 in. x 10 1/2 in.
Title on print: January.
circa late 1970s
2/1
Mill Town School Child.  
Lithograph. Sheet Size: 11 1/2 in. x 17 in. Image Size: 10 in. x 12 1/2 in.
Works Progress Administration (WPA).
1939
2/1
Mother and Child.  
Linocut. Sheet Size: 8 3/4 in. x 8 1/4 in. Image Size: 4 1/2 in. x 4 in.
1936
2/1
Neighborhood Market.  
Lithograph. Sheet Size: 13 3/4 in. x 17 1/2 in. Image Size: 11 1/4 in. x 15 1/4 in.
1957
2/2
New Growth.  
Woodcut. Sheet Size: 26 in. x 19 in. Image Size: 21 3/4 in. x 15 in.
Title on print: Stumps.Foxing on print. Stored in separate folder.
1972
2/2
Ore Dock.  
Linocut. Sheet Size: 27 1/4 in. x 20 1/4 in. Image Size: 22 1/4 in. x 15 1/2 in.
1976
2/1
Overweights.  
Linocut. Sheet Size: 15 3/4 in. x 11 in. Image Size: 11 3/8 in. x 6 1/8 in.
Works Progress Administration (WPA).
1938
2/1
Pacification.  
Linocut. Sheet Size: 18 1/4 in. x 15 5/8 in. Image Size: 13 1/2 in. x 11 3/4 in.
1970
2/1
Polka.  
Woodcut. Sheet Size: 15 3/4 in. x 11 in. Image Size: 14 in. x 10 in.
circa 1930
2/2
The Pollution Plant.  
Linocut. Sheet Size: 27 1/2 in. x 20 1/8 in. Image Size: 23 1/4 in. x 15 1/2 in.
1974
2/3
The Prisoner.  
Lithograph. Sheet Size: 12 in. x 14 1/2 in. mat board size: 17 1/2 in. x 20 in. Image Size: 12 in. x 14 1/2 in.
Title on print: Wesley Robert Wells.
1969
2/1
The Prodigal's Return.  
Lithograph. Sheet Size: 11 1/4 in. x 10 in. Image Size: 7 1/2 in. x 9 in.
1948
2/4
Quarry Workers.  
Linocut Sheet Size: 15 1/2 in. x 21 in. mat board size: 21 5/8 in. x 27 in. Image Size: 15 1/2 in. x 21 in.
1978
2/1
Railroaders.  
Lithograph. Sheet Size: 13 3/4 in. x 19 in. Image Size: 11 1/4 in. x 14 1/2 in.
1958
2/1
Refugees.  
Linocut. Sheet Size: 8 7/8 in. x 11 in. Image Size: 6 1/2 in. x 8 3/4 in.
1938
2/2
The Run for the Wire.  
Linocut. Sheet Size: 18 1/4 in. x 25 1/2 in. Image Size: 13 3/8 in. x 21 3/8 in.
1938
2/1
Sharecropper and Mule.  
Lithograph. Sheet Size: 15 in. x 17 1/4 in. Image Size: 12 1/2 in. x 14 1/4 in.
Title on print: Sharecropper's Mule.
1957
2/1
Shoveler.  
Linocut. Sheet Size: 11 in. x 16 in. Image Size: 9 1/2 in. x 6 in.
1939
2/1
Southern Landscape.  
Woodcut. Mat Board Size: 18 x 14 in. Image Size: 9 1/2 x 7 1/2 in.
1934
2/1
Southern Landscape.  
Linocut. Sheet Size: 6 1/2 in. x 6 1/2 in. Mat Board Size: 13 3/8 in. x 11 in. Image Size: 6 1/2 in. x 6 1/2 in.
Alternative title used in the book of Correll's work, Richard V. Correll: Prints and Drawingsedited by Leslie Correll: Blots on the Landscape (KKK).
1939
4/4
Southern Landscape.  
Photostat of linocut. Sheet Size: 6 1/2 in. x 7 in. Image Size: 5 1/3 in. x 5 1/3 in.
1939
2/2
Spring Plowing.  
Woodcut. Sheet Size: 25 3/8 in. x 17 1/8 in. Image Size: 20 in. x 11 1/8 in.
1974
1/1
Standing Figure.  
Linocut. Sheet Size: 8 3/4 in. x 3 3/4 in. Image Size: 8 3/4 in. x 3 3/4 in.
Print adhered to same mat board as "Birdcage."
circa 1930
2/1
Still Life with Fruits.  
Linocut. Sheet Size: 12 1/2 in. x 11 in. Image Size: 12 1/2 in. x 11 in.
Title on print: Common Objects. Works Progress Administration (WPA).
1939
Swamp Boat.  
Woodcut.
Physical print not in collection. Image in Digital Collections is a donor provided digital photograph of the print.
1974
Box/Folder
2/2
Thoreau.  
Linocut. Sheet Size: 24 1/4 in. x 19 in. Image Size: 20 in. x 12 in.
1972
2/2
Toilers of the Sea.  
Color woodcut/collage. Sheet Size: 17 1/2 in. x 27 in. Image Size: 16 in. x 24 in.
1967
2/2
The Troika.  
Linocut. Sheet Size: 20 1/2 in. x 27 3/8 in. Image Size: 15 3/4 in. x 22 3/4 in.
1974
Trombonist.  
Linocut.
Physical print not in collection. Image in Digital Collections is a donor provided digital photograph of the print.
1984
Box/Folder
1/1
Untitled [Bucking Logs].  
Lithograph. Sheet Size: 15 in. x 13 1/2 in. Image Size: 8 in. x 9 1/2 in.
1938
1/1
Untitled [Figure Digging Two Stalks of Corn].  
Woodcut. Sheet Size: 4 1/4 in. x 6 in. Image Size: 4 1/4 in. x 6 in.
circa 1930
2/1
Untitled [Mother and Two Children].  
Woodcut. Sheet Size: 11 1/2 in. x 8 1/4 in. Image Size: 81/2 in. x 6 1/4 in.
Title of work on Richard Correll website: Jobless Family.
1936
2/1
Untitled [Nude].  
Woodcut. Sheet Size: 11 in. x 8 in. Image Size: 9 1/2 in. x 6 3/4 in.
circa 1930
2/1
Untitled [Tobacco Barn].  
Woodcut. Sheet Size: 8 1/2 in. x 10 in. Image Size: 4 3/4 in. x 6 1/8 in.
circa 1930
2/2
Veterans of a Hill Farm Struggle.  
Linocut. Sheet Size: 23 1/2 in. x 18 in. Image Size: 18 1/8 in. x 13 in.
1981
2/5
Vineyard March.  
Woodcut. Mat Board Size: 19 in. x 24 in. Image Size: 17 1/4 in. x 11 1/4 in.
1970
2/1
Windblown.  
Drypoint etching. Sheet Size: 13 in. x 10 1/4 in. Image Size: 9 1/4 in. x 8 1/4 in.
1977
2/2
Wine Triptych.  
Drypoint etching. Sheet Size: 20 in. x 26 in. Image Size: 9 1/2 in. x 20 3/4 in.
1978
The Workers' Quarter.  
Lithograph.
Alternative title for this print, noted in the book of Correll's work, Richard V. Correll: Prints and Drawings, edited by Leslie Correll: Backyards, Evening.Physical print not in collection. Image in Digital Collections is a donor provided digital photograph of the print.
1955
Box/Folder
2/1
Work Rhythm.  
Color Lithograph. Sheet Size: 8 1/2 in. x 12 in. Image Size: 9 7/8 in. x 13 1/4 in.
1937
Subseries B : Paul Bunyan Series. Works Progress Administration (WPA).
1936-1940
Box/Folder
4/2
Babe Outgrows his Barn.  
Lithograph. Sheet Size: 14 in. x 17 3/4 in. Image Size: 10 in. x 13 in.
1938
4/2
Babe the Blue Ox.  
Lithograph. Sheet Size: 11 3/4 in. x 15 1/4 in. Image Size: 7 5/8 in. x 11 in.
1938
4/2
Barn Window.  
Linocut. Sheet Size: 7 3/4 in. x 10 7/8 in. Image Size: 5 1/2 in. x 6 7/8 in.
Title on print: Paul Bunyan and Babe- Barn Window.
1936
4/2
Clearing Tacoma Flats.  
Linocut. Sheet Size: 11 in. x 15 1/2 in. Image Size: 8 3/4 in. x 10 3/4 in.
1938
4/2
Digging Puget Sound.  
Linocut. Sheet Size: 11 in. x 15 1/2 in. Image Size: 9 1/2 in. x 12 1/2 in.
1939
4/2
Paul Bunyan.  
Linocut. Sheet Size: 11 in. x 15 in. Image Size: 7 5/8 in. x 11 in.
Alternative title for this print, used in the book of Correll's work, Richard V. Correll: Prints and Drawings, edited by Leslie Correll:Packing Lumber. Book also notes 1937 as the creation date.
1938
4/2
Paul and Babe.  
Color lithograph. Sheet Size: 8 1/2 in. x 11 in. Image Size: 7 1/2 in. x 10 in.
1938
4/2
Slumbering.  
Linocut. Sheet Size: 10 3/4 in. x 15 in. Image Size: 7 3/4 in. x 10 1/2 in.
1938
4/2
The Upside Down Mountain.  
Linocut. Sheet Size: 16 in. x 12 in. Image Size: 12 3/8 in. x 10 1/4 in.
Title on print: Paul Bunyan and the Upside-down Mountain.
1940

SERIES II :  ORIGINAL DRAWINGS AND PAINTINGS1927-1986Return to Top

Container(s) Description Dates
Box/Folder
8/18
Sketches from March with Cesar Chavez and United Farm Workers Organizing Committee (later the United Farm Workers of America) from Delano to Sacramento.
1966
4/5
Red sketchbook with untitled figure drawings.  
None of the 31 drawings in the sketchbook are dated and most are untitled. Several of the drawings were created on loose sheets of paper and stored in the front and back of the book. The majority of drawings were sketched in black and red charcoal pencil, several appear to be sketched using an ink pen or marker, and one colored in with paint.
undated
Cane Cutter.
Ink drawing. Sheet Size: 11 5/8 in. x 10 1/4 in.
An etching print version of Cane Cutter is located in Box 1/3 of the collection.
circa 1975
Sharecropper and Mule.
Ink drawing. Sheet Size: 11 7/8 in. x 8 3/8 in.)
A lithographic print version of this image is located in Box 2/1 of the collection.
circa 1957
Cane Cutter.
Marker pen drawing. Sheet Size: 9 in. x 11 in.
circa 1975
4/5
Brown sketchbook with untitled figure drawings.  
None of the 17 drawings in the sketchbook have titles or dates. Drawings were sketched most likely using black and red charcoal pencil with some of the drawings filled in using watercolor and one sketched partially with blue ink.
undated
4/1
Loose sketches of figure drawings, various sizes.  
undated
8/1
2 small sketchbooks.
Sheet Size: 4 in. x 6 in.
1954, undated
Untitled sketchbook with figure drawings.
undated.
Sketchbook: Mexico.
1954
4/1
8 early pencil drawings of the San Fernando Valley
1927-1931
Untitled [Barn, front view].  
Pencil drawing. Sheet Size: 10 3/4 in. x 8 1/2 in.
1931
Untitled [Barn, side view].  
Pencil drawing. Sheet Size: 10 1/8 in. x 8 1/4 in.
1929
Untitled [Farm tower 1].  
Pencil drawing. Sheet Size: 10 1/2 in. x 7 7/8 in.
1930
Untitled [Farm tower 2].  
Pencil Drawing. Sheet Size: 11 in. x 7 in.
1930
Untitled [Horse standing between two trees].  
Pencil Drawing. Sheet Size: 11 in. x 7 in.
1927 September 04
Untitled [Small shack by tree].  
Pencil Drawing. Sheet Size: 11 in. x 8 1/2 in.
1931
Untitled [Shack in field].  
Pencil Drawing. Sheet Size: 12 1/8 in. x 8 1/2 in.
1931
Untitled [Side view of barn next to telephone poll].  
Pencil Drawing. Sheet Size: 10 1/8 in. x 7 1/4 in.
1929
3 /4
Untitled [Three Boats].  
Watercolor. Sheet Size: 15 in. x 22 1/2 in.
Unfinished painting on the reverse side.
undated
3 /4
Untitled [Beach and Rock Cliffs].  
Watercolor. Mat Board Size: 20 in. x 26 in. Image Size: 13 in. x 19 in.
undated
3 /5
Untitled [Two Boats].  
Watercolor. Mat Board Size: 20 in. x 26 in. Image Size: 12 in. x 18 1/4 in.
undated
4/1
Allies [Soviet and American Soldiers Shake Hands].  
Chalk Drawing. Sheet Size: 14 in. x 16 1/2 in. Image Size: 14 in. x 16 1/2 in.
circa 1940
3/1
Black Cowman.  
Painting. Sheet Size: 14 in. x 19 in. Image Size: 14 in. x 19 in.
circa 1975
3/1
Black Cowman.  
Scratchboard Drawing. Sheet Size: 14 in. x 19 in. Image Size: 14 in. x 19 in.
1975
3/1
Cowman.  
Color Painting. Sheet Size: 11 in. x 22 in. Image Size: 11 in. x 22 in.
undated
3/3
Divers  
Woodcut/Collage. Sheet Size: 17 in. x 14 1/8 in. Image Size: 17 in. x 14 1/8 in.
1986
3/8
Feeding the Lambs.  
Scratchboard Drawing. Sheet Size: 20 in. x 24 1/4 in. Image Size: 13 in. x 17 1/2 in.
1982
3/7
Hooverville.  
Scratchboard Drawing. Sheet Size: 17 3/4 in. x 22 in. Image Size: 12 in. x 16 1/2 in.
undated
3/10
Noon Hour at the Boat Yard.  
Grease Pencil Drawing. Mat Board: 22 in. x 29 1/2 in. Image Size: 19 in. x 26 in.
1960
3/2
Piling Logs.  
Chalk Pencil Drawing. Mat Board Size: 21 3/4 in. x 26 in. Image Size: 16 in. x 18 in.
1962
3/6
Point Rugged.  
Scratchboard Drawing. Sheet Size: 20 in. x 24 in. Image Size: 20 in. x 24 in.
1960
4/1
Paul Robeson [Portrait].  
Ink drawing. Sheet Size: 11 1/4 in. x 14 in. Image Size: 11 1/4 in. x 14 in.
undated
3/9
Raid.  
Scratchboard Drawing Sheet Size: 18 in. x 24 in. Image Size: 18 in. x 24 in.
undated
4/1
Railroaders.  
Chalk Drawing. Sheet Size: 13 1/2 in. x 16 1/2 in. Image Size: 13 1/2 in. x 16 1/2 in.
This original chalk drawing was used by Correll to create the lithograph of the same title, housed in Box 2/1.
circa 1950-1958
4/1
Untitled [Figure Drawings, Five Sketches].  
Pencil or Charcoal Drawing. Sheet Size: 11 1/4 in. x 14 3/4 in.
undated
4/1
Untitled [Person Holding Infant].  
Pencil Drawing. Sheet Size: 10 1/2 in. x 8 1/2 in.
undated
4/1
Untitled [Workers With Construction Equipment].  
Color Chalk Drawing. Sheet Size: 21 in. x 10 in.
undated

SERIES III :  PRINT BLOCKScirca 1954-1976Return to Top

Container(s) Description Dates
Box/Folder
5
The Fence.
Woodblock.
See print in Box 1/4.
circa 1976
6
Cargo Handling in the 1950s.
Linocut Block. Sheet Size: 14 in. x 17 in. Image Size: 14 in. x 17 in.
See print in Box 1/6.
circa 1954
6
Live and Let Live.
Linocut Block.
See print in Box 1/5.
circa 1967

SERIES IV :  PHOTOSTATS1948, 1964-1967Return to Top

Items within this series are photostats for images not already included within other series.

Container(s) Description Dates
Box/Folder
4/3
Winter Tree.  
Photostat of Scratchboard Drawing. Sheet Size: 5 1/2 in. x 8 1/4 in. Image Size: 5 1/2 in. x 8 1/4 in.
1967
4/3
Black Mother.  
Photostat of Scratchboard Drawing. Sheet Size: 19 1/4 in. x 10 in. Image Size: 19 1/4 in. x 10 in.
1964
Subseries A : Call of the Wild Suite
1948
Box/Folder
4/3
Feeding the Dog Team.  
Photostat of Pencil Drawing. Sheet Size: 8 1/2 in. x 11 in. Image Size: 8 1/2 in. x 11 in.
4/3
Moonlight.  
Photostat of Pencil Drawing. Sheet Size: 9 1/8 in. x 6 1/8 in. Image Sizw: 9 1/8 in. x 6 1/8 in.
4/3
Aurora Borealis.  
Photostat of Pencil Drawing. Sheet Size: 11 3/8 in. x 8 in. Image Size: 11 3/8 in. x 8 in.
4/3
Listening.  
Photostat of Pencil Drawing. Sheet Size: 11 1/2 in. x 17 in. Image Size: 11 1/2 in. x 17 in.
4/3
At the Camp.  
Photostat of Pencil Drawing. Sheet Size: 11 1/2 in. x 16 in. Image Size: 11 1/2 in. x 16 in.
4/3
Over the Snow.  
Photostat of Pencil Drawing. Sheet Size: 11 3/8 in. x 16 in. Image Size: 11 3/8 in. x 16 in.
4/3
Untitled ["Call of the Wild" IV].  
Photostat of Pencil Drawing.
Physical print not in collection. Image in Digital Collections is a donor provided digital photograph of the print.

SERIES V :  POSTERS, POLITICAL CARTOONS, AND FLYERS1930-1982Return to Top

Container(s) Description Dates
Subseries A: Leaflets and Flyers from Correll's Art and Political Activities.
1940-1982
Box/Folder
4/3
6th Annual Festival of Nationalities in Song and Dance flyer.  
Color print. 8 1/2 in. x 11 in.
circa 1958
4/3
Passing Through film screening flyer.  
Color print. 8 1/2 in. x 14 in.
circa 1977
4/3
"Save Our Security" 11th Annual Sacramento Rally flyer.  
Color print. 8 1/2 in. x 11 in.
1981 May 21
4/3
"Senior Citizens, what's cooking for you in Washington, D.C.?" flyer.  
Print. 8 1/2 in. x 11 in.
circa 1980-1989
4/3
"Vote for Life...Yes on Prop. 12" poster.  
Print. 8 1/2 in. x 14 in.
2 copies of poster.
1982
4/3
"What are the Prospects for Peace?" flyer.  
Print. 5 1/2 in. x 7 1/2 in.
circa 1940-1950
4/3
Committee for International Support of Trade Union Rights International Labor Solidarity Award certificate.  
Print. 11 in. x 17 in.
circa 1940-1960
4/3
George Sandy and Mary Tipton's Wedding Party invitation.  
Color print. 8 1/2 in. x 11 in.
1981 September 11
4/3
Graphic Arts Workshop Christmas Show and Sale flyer.  
Color print. 8 1/2 in. x 14 in.
circa 1940-1963
4/3
Irving Fromer's 70th Birthday Celebration Invitation  
Color print. 8 1/2 in. x 11 in.
1983 September 25
4/3
Letter to Richard V. Correll from Margrit Adler of the Northern California Peace Council featuring letterhead design by Correll.  
Print. 8 1/2 in. x 11 in.
circa 1950-1960
4/3
Seniors' Non-Partisan Legislative Club Gala Holiday Celebration flyer, ca. 1980-1989  
Color print. 8 1/2 in. x 11 in.
circa 1980-1989
Box/Folder
4/3
Subseries B: Northwest Labor History Calendar.  
Woodcuts reprinted in offset calendar. Sheet Size: 12 in. x 16 in. Image Size: 12 in. x 16 in
The calendar was published by the Voice of Action, a weekly radical labor newspaper in Seattle distributed from March 1933 until October 1936. Correll began contributing woodblock prints to the pages of Voice of Action on a weekly basis in 1933. Each month of the 1936 calendar contains an illustration from Correll with text alongside them highlighting major events in labor history from previous years.
1936
Subseries C : Posters
1970-1983
Box/Folder
4/4
American Indian International Tribunal Benefit.  
Color serigraph print. Sheet Size: 16 1/2 in. x 22 in.
1982
4/4
11th Annual Festival of Nationalities.  
Color serigraph print. Sheet Size: 14 in. x 22 in.
circa 1970
4/4
"I Want Your Social Security Dollars for U.S. Military."  
Color serigraph print. Sheet Size: 15 1/2 in. x 23 1/4 in.
circa 1983
4/4
"No Wars for Big Oil."  
Color serigraph poster. Sheet Size: 14 in. x 22 in.
See Box 8/7 for photographs of protesters holding copies of the sign.
1979
4/4
"Salt II, Yes. Arms Race, Nuclear Weapons, Registration-Draft, No."  
Color serigraph poster. Sheet Size: 14 in. x 22 in.
circa 1970
Subseries D : Political Cartoons and Illustrations
1930-1979
Box/Folder
4/4
"Are you now or have you ever been...?"  
Scratchboard drawing. Sheet Size: 22 in. x 18 in.
1956
4/4
"Are you now or have you ever been...?"  
Photostat of scratchboard drawing. Sheet Size: 10 1/2 in. x 9 1/4 in.
1956
4/4
Destroying Cattle to Bolster the Price of Meat.  
Photostat of linocut. Sheet Size: 10 in. x 8 in. Image Size: 9 in. x 6 1/2 in.
Writing on back of photostat notes title as Killing (Destroying) Cattle to Raise the Price of Beef.
1934
4/4
Federal Mediation Board.  
Photocopy of woodcut print. Sheet Size: 4 in. x 6 in.
circa 1930s
4/4
"For Labor's Right to Organize."  
Photostat of linocut print. Sheet Size: 9 in. x 6 in.
1934
4/4
Huelga [United Farm Workers Strike].  
Photocopy of woodcut print. Sheet Size: 14 in. x 9 1/2 in.
circa 1965
4/4
Prosperity in the Third Reich.  
Photostat of ink drawing. Sheet Size: 10 1/2 in. x 8 in.
1940
4/4
Spirit of Christmas.  
Photostat of woodcut print. Sheet Size: 18 in. x 14 in. Image Size: 10 in. x 6 1/2 in.
1934
4/4
Take My Advice / Outlaw War.  
Woodcut print. Mat Board Size: 11 in. x 14 in. Sheet Size: 3 1/8 in. x 4 in.
Title on print: Outlaw War.
circa 1942-1943
4/4
U.N. Charter - SALT III - Peace Law.  
Sheet Size: 9 1/4 in. x 8 3/4 in. Image Size: 9 1/4 in. x 8 3/4 in.
circa 1979

SERIES VI :   HOLIDAY GREETING CARDS SCRAPBOOK (12 in. x 14 in.)   1938-1977Return to Top

Container(s): Box-folder 6

SERIES VII :  BOOKS AND PERIODICALS, 1946-2012Return to Top

Container(s): Box-folder 7

Container(s) Description Dates
box-folder
7
Box/Folder
7
Americas Review: Writing of the Political Movements. Vol. 2 (1987) cover, p.vi.
7
Correll, Richard and Leslie Correll. Richard V. Correll: Prints and Drawings. Oakland: Correll Studios, 2005.
7
Cushing, Lincoln. "Off the Wall: Senior Progressive Printmaker." Community Murals. (Winter 1984), pp. 19-20.
7
Cushing, Lincoln. "Artists Talk Slideshow: Cultural Resistance in the Bay Area." Community Murals. (Fall 1983) cover, p. 29.
7
Cushing, Lincoln. All of Us or None: Social Justice Posters of the San Francisco Bay Area. Berkeley: Heyday Press, 2012.
7
Foner, Philip S. and Reinhard Schultz. The Other America: Art and the Labour Movement in the United States. London: Journeyman Press, 1985. (catalogued international show by that name).
7
Hazelwood, Art. Hobos to Street People: Artists' Responses to Homelessness from the New Deal to the Present. Berkeley: Freedom Voices, 2011.
7
Gulick, Bill and Thomas Rothrock. Desolation Trail. New York: Cupples and Leon Company, 1946. (children's novel illustrated by Richard Correll).
7
Johnson, Mark Dean, ed. At Work: The Art of California Labor. San Francisco: California Historical Society Press, 2003.
7
Schultz, Reinhard. Kunst und Krieg (Art and War). Berlin: der Neuen Gesellschaft fur Bildende Kunst, 1990.
7
Sklar, Marty, ed. Editor's Choice III: Fiction, Poetry & Arts from the U.S. Small Press. New York: The Spirit that Moves U Press, 1991. (Correll illustration).
7
Western American Literature: Quarterly Journal of the Western Literature Association . Special issue: Working Class Literature of the American West. (Winter 2006), p. 440.

SERIES VIII :  EPHEMERA, PHOTOGRAPHS, AND OTHER PUBLISHED MATERIALcirca 1930-2011Return to Top

Container(s): Box-folder 8

Container(s) Description Dates
Box/Folder
8/2
Richard Correll Illustration in "Voice of Action" News Article on Anti-Miscegenation Bill, H.B. 301
1935
8/3
Sign and Pictorial Painters, Card Writers and Lobby Displaymen Local 435: By-Laws, Business Cards, and Conference Tickets
circa 1936
8/4
Richard V. Correll Known Holdings in Public Institutions List
Undated
8/5
Richard V. Correll's Business Cards
circa 1952-1970
8/6
Correll Illustrations: Irving Fromer, Alice Correll " Ex Libris"
Undated
8/7
Photographs and News Clippings of Protesters Holding Correll's Political Posters
circa 1970-1990
8/8
Correll's Work Progress Administration Artwork: Repository Registers
1996-1998
8/9
Graphic Arts Workshop Exhibitions Ephemera
circa 1974-2002
8/10
Photographs of Correll's Art Studio [?]
circa 1985-1990
8/11
Washington Artists Union, Seattle, Washington: Blank Letterhead
circa 1930-1940
8/12
A.L.A. [Artists League of America] News
1943-1946
8/13
Published Material Featuring Richard Correll and His Artwork
1953-1986
San Francisco Writers' Workshop Magazine, Spring Issue  
Illustrations created by Richard V. Correll are featured in this magazine on pages 28 and 29 of article by Ann Vandevander, "The February Strike in Amsterdam." The magazine was edited and published by the Writers' Workshop of the California Labor School.
1953
8/14
Works Progress Administration Federal Art Project: Correll and Paul Bunyan Artwork
circa 1938-1940, 1985
Arlington High School Yearbook, Volume 34  
1940
8/15-8/16
Correll Exhibitions: Catalogs, Press, and Photographs
1938-2011
8/17
Correll Biographies and Obituary
1978, 1990

SERIES IX :  MEDIA1978-2012Return to Top

Container(s): Box-folder 7

Container(s) Description Dates
Subseries A: 6 audio tapes of interview with Richard Correll conducted by Bruce Kaiper for the Radical Elders Oral History Project.
1978 May 16
Subseries B: Three CD-roms, one with photos of Richard Correll and others, the other two with digital photographs of his artwork , book cover and spine designs , and book illustrations.
Many of these digital images of Richard Correll and his artwork were photographed or scanned for publishing in the book, Richard V. Correll: Prints and Drawings, edited by Leslie Correll.
2004-2012