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Richard Correll prints and papers, circa 1920-1987

Overview of the Collection

Creator
Correll, Richard V., 1904-1990
Title
Richard Correll prints and papers
Dates
circa 1920-1987 (inclusive)
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 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

Open to all users.

Languages
English

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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

Posters, wood block prints, lithographs, flyers, 6 audio tapes of oral histories with Correll, 3 CD-ROMs, woodblocks and lithographic blocks, publications on Correll, art catalogs containing Correll's work. Pencil drawings, ink drawings.

Use of the CollectionReturn to Top

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 ARTWORK: PRINTSc. 1930-1981Return 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
Backyards, Evening.
Lithograph.
Print not found in collection
1955
Box/Folder
1/2
Banana Gleaners.  
Woodcut. Sheet Size: 26 in. x 20 1/4 in. Image Size: 18 in. x 13 in.
1981
1/2
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
1/2
Black Mountain.  
Color woodcut. Sheet Size: 18 3/4 in. x 24 in. Image Size: 13 1/2 in. x 20 in.
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 (3) 1
Sheet Size: 4x6 in.
1930s- 1950s
1/1
Bucking Logs.
Lithograph. Sheet Size: 15 in. x 13 1/2 in. Image Size: 8 in. x 9 1/2 in.
No title on print. See jpg image "Bucking Logs" for description
1938
1/2
Bull.
Dry point 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
1/1
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.
Print not found in collection
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.
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.
Dry point etching. Sheet Size: 14 in.x 11 in. Image Size: 10 3/4 in. x 91/4 in.
No title on print
c. 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.  
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
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.
c. 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
1/1
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). Print not found in collection
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
Grazing Cattle.
Dry point etching.
Early version of Holsteins. Print not found in collection
1977
Box/Folder
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 and 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.
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.
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.
1965, 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.
1973
2/1
Man Running.
Linocut. Sheet Size: 15 1/2 in. x 10/14 in. Image Size: 9 in. x 6 in.
1939
2/1
Mariachis I.
Dry Point Etching. Sheet Size: 12 1/2 in.x 11 in. Image Size:
1977
2/2
Mariachis II.
Color Linocut. Sheet Size: 25 in.x 17 5/8 in. Image Size:
1979
3/3
Mariachis III.
Color Etching. Sheet Size: 15 5/6 in. x 13 in. Image Size:
Date circa late 1970s
Undated, c. 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.
c. 1930
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.
print not found in collection
1974
Box/Folder
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
2/3
Quarry Workers.
Linocut Sheet Size: 151/2 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: 61/2 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.
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.
Photostat of woodcut print. Mat Board Size: 5 1/2 in. x 5/12 in. Image Size: 5 1/2 in. x 5 1/2 in.
1934
2/1
Southern Landscape.  
Linocut and Photostat. 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.
Title in book: Blots on the Landscape (KKK).
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."
c.1930
2/1
Still Life with Fruits (or Common Objects).
Linocut. Sheet Size: 12 1/2 in. x 11 in. Image Size: 12 1/2 in. x 11 in.
Works Progress Administration (WPA).
1939
Swamp Boat or Boating.
Woodcut. Sheet Size: Image Size:
Print not found in collection
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.
Woodcut/collage. Sheet Size: 17 1/2 in. x 27 in. Image Size: 16 in. x 24 in.
1967
2/2
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. Sheet Size: Image Size:
Print not found in collection
1984
Box/Folder
2/1
Untitled Eve with Apple.
Dry point etching. Sheet Size: 17 5/8 in. x 13 in. Image Size: 12 in. x 10 in.
Title on print: Eve.
1977
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.
c. 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.
Date on print 1936. Title of work on Richard Correll website "Jobless Family."
c. 1930
2/1
Untitled nude.
Woodcut. Sheet Size: 11 in. x 8 in. Image Size: 9 1/2 in. x 6 3/4 in.
c. 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.
c. 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
2/4
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 (or Three Trees).
Dry point 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.
Dry point etching. Sheet Size: 20 in. x 26 in. Image Size: 9 1/2 in. x 20 3/4 in.
1978
The Workers' Quarter.
Lithograph. Sheet Size: Image Size:
Print not found in collection
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
Packing Lumber or Work Rhythm.
Linocut. Sheet Size: 11 in. x 15 in. Image Size: 7 5/8 in. x 11 in.
Title of artwork Paul Bunyan, according to Correll book. JPG image title Packing Same as Paul Bunyan listed below.
1937
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.
1936
4/2
Clearing Tacoma Flats.  
Linocut. Sheet Size: 11 in. x 15 1/2 in. Image Size: 8 3/4 in. x10 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.
Sheet Size: 11 in. x 15 in. Image Size: 7 5/8 in. x 11 in.
Same as Packing Lumber or Work Rythm
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.
1940

SERIES II :  ORIGINAL DRAWINGS AND PAINTINGS1920-1987Return to Top

Container(s) Description Dates
Box/Folder
4/5
1 binder with sketches made on march with Cesar Chavez and United Farm Workers Organizing Committee (later the United Farm Workers of America) from Delano to Sacramento.
4/5
1 sketchbook of figure drawings
4/1
Loose sketches of figure drawings, various sizes
Undated.
2 small sketchbooks
Sheet Size: 4 in. x 6 in. Image Size: 4 in. x 6 in.
Not found in collection
Box/Folder
4/1
8 very early pencil and pen drawings of the San Fernando Valley
Pencil drawing. Sheet Size: various Image Size: various
1929 - 1931
3 /4 & 3/5
3 watercolors of boats and seashore, no date
Watercolor. Sheet Size: 13 in.x19 in. Mat Board: 20 in.x26 in. Image Size: 13 in. x 19 in.
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.
c. 1940
3/1
Black Cowman.
Painting. Sheet Size: 14 in. x 19 in. Image Size: 14 in. x 19 in.
Undated
3/1
Black Cowman.  
Ink drawing. Sheet Size: 14 in. x 19 in. Image Size: 14 in. x 19 in.
Undated
3/1
Cowman.
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.
1987
3/8
Feeding the Lambs.
Scratchboard drawing. Sheet Size: 20 in.x 24 1/4 in. Image Size: 20 in. x 24 1/4 in.
1982
Holsteins.
Painting.
Original study for later woodcut. Not found in collection
Undated
Box/Folder
3/7
Hooverville.
Scratchboard drawing. Sheet Size: 17 3/4 in.x 22 in. Image Size:
Undated
3/10
Noon Hour at the Boat Yard.
Grease pencil. Mat board: 22 in.x 29 1/2 in. Image Size: 19 in. x 26 in.
Undated
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.x24 in. Image Size: 20 in. x 24 in.
1960
4/1
Portrait of Paul Robeson.
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.
Original drawing for lithograph.
Undated

SERIES III :  BLOCKS FOR PRINTSc. 1950-1975Return to Top

Container(s) Description Dates
Box/Folder
6
The Fence.
Woodblock.
Undated
6
Cargo Loading in the 1950s.
Linocut block. Sheet Size: 14 in. x 17 in. Image Size: 14 in. x 17 in.
c. 1950
6
Live and Let Live.
Linocut block.
Undated

SERIES IV :  PHOTOSTATS FOR IMAGES NOT INCLUDED ABOVEReturn to Top

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. 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: 8/12 in. x 11 in. Image Size: 8 1/2 in. x 11 in.
1948
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.
1948
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.
1948
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.
1948
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.
1948
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 16in.
1948

SERIES V :  POSTERS, POLITICAL CARTOONS, AND FLYERSReturn to Top

Container(s) Description Dates
Box/Folder
4/3
Subseries A : 13 Leaflets and Flyers from Correlle's Art and Political Activities
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
1936
Subseries C : Posters
Undated
Box/Folder
4/4
American Indian Tribunal (for AIM).
Serigraph poster. Sheet Size: 16 1/2 in. x 22 in. Image Size: 16 1/2 in. x 22 in.
Undated
4/4
Festival of Nations Poster.
Serigraph poster. Sheet Size: 14 in. x 22 in. Image Size: 14 in. x 22 in.
c. 1970
4/4
I Want Your Medicare Dollars for U.S. Military.
Serigraph poster. Sheet Size: 15 1/2 in. x 23 1/4 in. Image Size: 15 1/2 in. x 23 1/4 in.
Title on print: I Want Your Social Security Follars for U.S. Military
Undated
4/4
No Wars for Big Oil.
Serigraph poster. Sheet Size: 14 in. x 22 in. Image Size: 14 in. x 22 in.
1979
4/4
SALT II YES Poster.
Serigraph poster. Sheet Size: 14 in. x 22 in. Image Size: 14 in. x 22 in.
c.1970
Subseries D : Political Cartoons and Illustrations
1930-1960
Box/Folder
4/4
"Are you now or have you ever been...?"  
Scratchboard cartoon and photostat. Scratchboard Sheet Size: 22 in. x 18 in. Photostat 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.
1934
4/4
Federal Mediation Board.
Photocopy of woodcut. Sheet Size: 4 in. x 6 in. Image Size: 4 in. x 6 in.
c. 1930
4/4
For Labor's Right to Organize.
Photostat of linocut. Sheet Size: 9 in.x 6 in. Image Size: 9 in. x 6 in.
1934
4/4
HUELGA (United Farm Workers Strike)
Photocopy of woodcut. Sheet Size: 14 in. x 9 1/2 in. Image Size: 14 in. x 9 1/2 in.
Undated
4/4
Prosperity in the Third Reich.
Sheet Size: 10 1/2 in. x 8 in. Image Size: 10 1/2 in. x 8 in.
1940
4/4
Spirit of Christmas.
Sheet Size: 18 in.x14 in. Image Size: 10 in. x 6 1/2 in.
1934
4/4
Take My Advice / Outlaw War.
Sheet Size: 3 1/8 in. x 4 in. Image Size: mat board 11 x 14
Title on print "Outlaw War."
1942-1943
4/4
U.N. Charter- SALT Ill- Peace Law.
Sheet Size: 9 1/4 in. x 8 3/4 in. Image Size: 9 1/4 in. x 8 3/4 in.
Undated

SERIES VI :  SCRAPBOOK OF HOLIDAY GREETING CARDS 12 in. x 14 in. Return to Top

Container(s): Box-folder 6

SERIES VII :  BOOKS AND PERIODICALSReturn to Top

Container(s): Box-folder 7

Container(s) Description
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 AreaBerkeley: Heyday Press, 2012
7
Foner, Philip S. and Reinhard Schultz. The Other America: Art and the Labour Movement in the United StatesLondon: 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 PresentBerkeley: Freedom Voices, 2011.
7
Gulick, Bill and Thomas Rothrock. Desolation TrailNew York: Cupples and Leon Company, 1946. (Young peoples' novel Illustrated by Richard Correll)
7
Johnson, Mark Dean, ed. At Work: The Art of California LaborSan 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 Ill: 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 :  EPHEMERAReturn to Top

Container(s): Box-folder 8

Exhibition announcements, newspaper articles, photographs, Signpainters' "union bug" logo stickers and membership booklet.

SERIES IX :  MEDIAReturn to Top

Container(s): Box-folder 7

Container(s) Description
Subseries A : 6 audio tapes of Richard Correll being interviewed by Bruce Kaiper for the Radical Elders Oral History Project
Subseries B : 3 CDs, one with photos of Dick Correll, the other two with files of his artwork