As a painter, illustrator, and
cartoonist, William Gropper addressed all his art to the causes of the common
man, earning him the designation as “the workingman’s protector.”
Frequently placed in the same class as Callot, Goya, and Daumier, he was considered
to be one of America’s foremost social realist artists. Throughout most
of his long career, Mr. Gropper enjoyed both critical and popular regard.
In the 1950s, however, after his testimony before the Senator McCarthy hearings,
he was blacklisted and his book American Folklore was removed from library
shelves. Commissions for work and purchases of his paintings dropped dramatically.
During this bleak period, he expressed his bitterness and frustration in a
series of lithographs called the “Caprichos.” Fortunately, this
dark period did not last long before his art was again in demand. Today Mr.
Gropper’s drawings and paintings are on display in collections all over
the United States, and in England and Russia.
Often called “the American
Daumier,” William Gropper was born on December 3, 1897 in New York City.
His father, Harry Gropper, though learned and fluent in eight languages, always
had difficulty in holding a job. To support the family, his mother, Jenny
Nidel Gropper, a Ukrainian immigrant, worked in a garment factory during the
day and did piece work at home at night.
During William Gropper’s formative years, New York was becoming the
center of culture as well as the center for dissent and reform in art. In
the midst of this movement was the Ferrer School, where Gropper received his
first formal art training in 1912. Rejecting the traditional methods of training,
the school tried to instill the notions of originality, expanding the horizons
of art to capture the emotions of life and the essence of the times. A year
later, Gropper was given a scholarship to attend the National Academy of Design.
But he preferred the individuality of the Ferrer school and could not conform
to the traditional discipline of the N.A.D,. and was there for only a short
time. He then went to work as a clerk and general helper at a men’s
clothing store. From time to time he lettered signs and addressed postal cards
to customers which he decorated with small drawings. One such drawing caught
the eye of Frank Alvah Parsons, president of the New York School of Fine and
Applied Arts. He offered Gropper a scholarship. From 1915 to 1918, William
Gropper attended the New York School where he earned several awards and a
reputation as a comer.
Just as his humorous drawings got William Gropper into the New York School,
they also got him his first job as an artist when they came to the attention
of Assistant Editor Garrett of The New York Times. In 1919, Gropper went to
work at the Times’ Sunday magazine, drawing caricatures and comic sketches.
An assignment to cover the activities of the International Workers of the
World (the “Wobblies”) drew the young artist away from his comfortable
job and into the world of social and liberal causes. Soon his drawings began
to appear in The Rebel Worker, a small underground paper, The Dial, Village
Quill, Pagan, the New Masses, and The Sunday Worker. He started drawing a
daily political cartoon for the Freiheit, a liberal Yiddish paper, in 1924.
That same year he married Sophie Frankel on October 10. They had two children,
Gene and Lee. Before long his cartoons found their way into the more mainstream
publications like The New York Post, New Yorker, and Vanity Fair.
By 1921, William Gropper was an
established illustrator and newspaper cartoonist. He then turned his efforts
to becoming a serious painter. His first one-man show at the Dinghy Gallery
in Greenwich Village on February 3, 1936 brought him instant critical and
professional recognition. The next year the ACA Gallery in Greenwich put on
two Gropper shows. From that time, until 1943, he had annual show at the ACA.
After the war, galleries from all over put on Gropper exhibits: the ACA in
1945; the AAA Gallery in 1951; Detroit’s Garelick Gallery, San Francisco’s
Galerie de Tours and Los Angeles’ Heritage Gallery in 1956; Mexico City
in 1957; Rome in 1964; Israel’s Herzl Institute in 1966; and the Tamarind
Lithograph Workshop in California in 1967. Permanent exhibits of his work
are at the Metropolitan Museum of Art, the Museum of Modern Art, the Whitney
Museum of American Art in New York; the Library of Congress and the Phillips
Memorial Museum in Washington D.C.; the Hartford Museum of Connecticut; the
Art Institute of Chicago; the Fogg Art Museum and the Brooklyn Museum in Cambridge,
Massachusetts; the St. Louis Art Museum; New Jersey’s Newark Museum;
the Walker Art Center of Minneapolis; the Pennsylvania Academy of Art in Philadelphia;
the Los Angeles County Museum; the John Herron Art Institute; the Museum of
Western Art in Moscow, Russia; the Encyclopedia British Collection; at the
universities of Arizona and Maine, and in the Abbot and Dr. Paul Sach Collections.
Mr. Gropper’s paintings can
also be seen outside of the galleries and museums. In 1934 the Schenley Distilleries
Corporation of New York commissioned him to paint a mural depicting the various
stages of wine making. This was just the first in a series of murals. In the
Hotel Taft coffee shop, he covered the wall with paintings with Colonial American
themes. Other murals were painted for the Post Office at Freeport, Long Island
(a W.P.A. project); the new Department of the Interior Building in Washington,
D.C. (a United States Treasury Art Project); and Northwestern Postal Station
and Wayne State University of Detroit. He also designed the stained glass
windows for the Temple Har Zion in River Forest, Illinois (a Chicago suburb).
In addition numerous examples of his cartoons, drawings, lithographs, illustrations,
and paintings can be found in several books. He is the author of: The Golden
Land, a set of political cartoons, 1927; 56 Drawings of the U.S.S.R., 1928;
Alay-Oop, a story in pictures, 1930; Gropper, a collection of art works, 1938;
Portfolio of Caucasian Studies, 1950; American Folklore, a book of lithographs,
1953; The Little Tailor, 1954; The Lost Conscience, a book of lithographs,
1955; Caprichos, lithographs, 1957; Portfolio of Twelve Etchings; and The
Shtetl, a portfolio of lithographs, 1970. He is the illustrator of: Literary
Spotlight by John Farrar, 1924; The Circus Parade by Jim Tully, 1927; My Reminiscences
as a Cowboy by Frank Harris, 1930; Whither, Whither by W. S. Hankel, 1930;
More Necessary Nonsense by Burges Johnson, 1931; There Ought to Be a Law by
William Seagle, 1933; Reading Left to Right by Robert Forsythe, 1938; Bowleg
Bill by Jeremiah Digges, 1938; The Illustrious Dunderheads, 1942; Lidice for
the Coordinator of Inter-American Affairs in Washington D.C., 1942; The Crime
of Imprisonment by George Bernard Shaw, 1954; Here Comes Daddy by Gale Parks,
1951; and Hound Dog Moses and Promised Land by W. D. Edwards in 1954.
His great body of work has earned
him numerous awards. He received a National Academy Guggenheim Fellowship
in 1937. The Carnegie jury of 1946 gave him third prize for his painting “Don
Quixote.” He won the Collier prize for illustration in 1920, the Harmon
prize in 1930, the Young Israel prize in 1931, the Artists for Victory lithograph
prize in 1944, the John Herron Art Institute Prize for lithography in 1944,
and the Thomas B. Clark Prize National Academy Design in 1973. In 1965 he
was awarded a Ford Foundation Grant and became Artist-in-Residence under the
American Federation of Art at the Evansville Museum, and was again Artist-in-Residence
of the Tamarind Lithographic Workshop at Los Angeles in 1967. Memberships
included the Society of American Graphic Artists; Institute of Arts and Letters;
Society of Mural Painters; American Society of Painters, Sculptors, and Gravers;
The American Group; Artists Equity Association; and the Society of American
Etcher, Gravers, Lithographers and Woodcutters, Inc.
Series
1 -- Cartoons |
|
|
|
|
Box
1 |
FF
1 |
Egg
Hatching [81.28.101] |
81.28.101 |
Box
1 |
FF
1 |
The
Graveyard [81.28.117] |
81.28.117 |
Box
1 |
FF
1 |
Rage
[81.28.167] |
81.28.167 |
Box
1 |
FF
1 |
Japan’s
Ultimatum [81.28.202] |
81.28.202 |
Box
1 |
FF
1 |
1942
[81.28.214] |
81.28.214 |
Box
1 |
FF
1 |
Inflation
[81.29.23] |
81.29.023 |
Box
1 |
FF
1 |
Taft-Hartley
Act [81.36.94] |
81.36.094 |
Box
1 |
FF
1 |
Wage
Cuts [81.39.5] |
81.39.005 |
Box
1 |
FF
1 |
Octopus
[81.39.6] |
81.39.006 |
Box
1 |
FF
1 |
Nazi
Defeat [81.39.7] |
81.39.007 |
Box
1 |
FF
2 |
Allied
War Machine Pummeling Axis [81.39.8] |
81.39.008 |
Box
1 |
FF
2 |
Wage
Cuts [81.39.10] |
81.39.010 |
Box
1 |
FF
2 |
Hitler
Booted Out of Soviet Union [81.39.11] |
81.39.011 |
Box
1 |
FF
2 |
Anti-Soviet
War Monger [81.39.12] |
81.39.012 |
Box
1 |
FF
2 |
Increase
in Millionaires [81.39.13] |
81.39.013 |
Box
1 |
FF
2 |
High
Cost of Living [81.39.14] |
81.39.014 |
Box
1 |
FF
2 |
West
and East Walls Collapsing On Hitler [81.39.15] |
81.39.015 |
Box
1 |
FF
2 |
Frost
[81.39.16] |
81.39.016 |
Box
1 |
FF
2 |
Lincoln
[81.39.17] |
81.39.017 |
Box
1 |
FF
2 |
Price
Ceiling [81.39.18] |
81.39.018 |
Box
1 |
FF
3 |
Planting
Seeds [81.39.19] |
81.39.019 |
Box
1 |
FF
3 |
Hitler
Spinning Japan [81.39.20] |
81.39.020 |
Box
1 |
FF
3 |
Anti-Comintern
[81.39.21] |
81.39.021 |
Box
1 |
FF
3 |
Two
Sides of Japan [81.39.22] |
81.39.022 |
Box
1 |
FF
3 |
Child
Labor [81.39.24] |
81.39.024 |
Box
1 |
FF
3 |
Public
Opinion [81.39.25] |
81.39.025 |
Box
1 |
FF
3 |
Drowning
[81.39.26] |
81.39.026 |
Box
1 |
FF
3 |
Spain
[81.39.27] |
81.39.027 |
Box
1 |
FF
3 |
Lincoln
Holds Rankin [81.39.28] |
81.39.028 |
Box
1 |
FF
3 |
Intervention
in China [81.39.29] |
81.39.029 |
Box
1 |
FF
4 |
Seeds
of Victory [81.39.30] |
81.39.030 |
Box
1 |
FF
4 |
King
Leopold [81.39.31] |
81.39.031 |
Box
1 |
FF
4 |
War
Production [81.39.32] |
81.39.032 |
Box
1 |
FF
4 |
Steel
Trust [81.39.33] |
81.39.033 |
Box
1 |
FF
4 |
Anti-Poll
Tax Bill [81.39.34] |
81.39.034 |
Box
1 |
FF
4 |
Milk
Trust [81.39.35] |
81.39.035 |
Box
1 |
FF
4 |
Discrimination
[81.39.36] |
81.39.036 |
Box
1 |
FF
4 |
Inflation
[81.39.37] |
81.39.037 |
Box
1 |
FF
4 |
Defeatists
[81.39.38] |
81.39.038 |
Box
1 |
FF
4 |
Black
Market [81.39.39] |
81.39.039 |
Box
1 |
FF
5 |
Sit
Down Strike [81.39.40] |
81.39.040 |
Box
1 |
FF
5 |
Welcome
Ike [81.39.41] |
81.39.041 |
Box
1 |
FF
5 |
Nazi
Snake [81.39.42] |
81.39.042 |
Box
1 |
FF
5 |
Unite
for Victory [81.39.43] |
81.39.043 |
Box
1 |
FF
5 |
Stalin's
Tank [81.39.44] |
81.39.044 |
Box
1 |
FF
5 |
Victory
[81.39.45] |
81.39.045 |
Box
1 |
FF
5 |
Russian
Steppes [81.39.46] |
81.39.046 |
Box
1 |
FF
5 |
Justice
[81.39.47] |
81.39.047 |
Box
1 |
FF
5 |
Dies
Sings to Pelley [81.39.48] |
81.39.048 |
Box
1 |
FF
5 |
William
Green [81.39.49] |
81.39.049 |
Box
1 |
FF
6 |
China
Laughs at Japan [81.39.50] |
81.39.050 |
Box
1 |
FF
6 |
Dynamite
with Hearst McCormick Howard Press, Norman Thomas, Polltaxers and Reactionaries
Sitting on Top [81.39.51] |
81.39.051 |
Box
1 |
FF
6 |
Hoover
[81.39.52] |
81.39.052 |
Box
1 |
FF
6 |
Hitler
Flattened [81.39.53a] |
81.39.053a |
Box
1 |
FF
6 |
Labor
and Management Agree [81.39.53b] |
81.39.053b |
Box
1 |
FF
6 |
Wendell
Willkie [81.39.54] |
81.39.054 |
Box
1 |
FF
6 |
Imperialism
[81.39.55] |
81.39.055 |
Box
1 |
FF
6 |
Poll
Tax Congressman [81.39.56] |
81.39.056 |
Box
1 |
FF
6 |
Dewey
[81.39.57] |
81.39.057 |
Box
1 |
FF
6 |
Hoover
Delivers Armaments [81.39.58] |
81.39.058 |
Box
1 |
FF
7 |
Wall
Street Stock Exchange [81.39.59] |
81.39.059 |
Box
1 |
FF
7 |
Bilbo
[81.39.60] |
81.39.060 |
Box
1 |
FF
7 |
Dis-unity
of China [81.39.61] |
81.39.061 |
Box
1 |
FF
7 |
Needle
Trade Workers [81.39.62] |
81.39.062 |
Box
1 |
FF
7 |
Black
Market [81.39.63] |
81.39.063 |
Box
1 |
FF
7 |
San
Francisco [81.39.64] |
81.39.064 |
Box
1 |
FF
7 |
Christian
Front Pushes Farley and Bennett Towards Election [81.39.65] |
81.39.065 |
Box
1 |
FF
7 |
We
Want A Change [81.39.66] |
81.39.066 |
Box
1 |
FF
7 |
Two
Drawings -- Two Men in the Palm of a Hand; Man with Three Heads, Four Arms
and Legs Holding a Banner and a Sign [81.39.67] |
81.39.067 |
Box
1 |
FF
7 |
Two
Drawings -- Man Pointing to Man Sewing Uniforms; Two Men Winding Up a Weeping
Speaker [81.39.68] |
81.39.068 |
Box
1 |
FF
8 |
Nazi
Brute [81.39.69] |
81.39.069 |
Box
1 |
FF
8 |
Three
Drawings -- A Man and a Woman Crying Over Two Graves; Sword Fight Between
a Man in a Suit and a Man in a Dress; Man Winding Up Phonograph with Human
Head [81.39.70] |
81.39.070 |
Box
1 |
FF
8 |
Parade
[81.39.72] |
81.39.072 |
Box
1 |
FF
8 |
Czechoslovakia
[81.39.73] |
81.39.073 |
Box
1 |
FF
8 |
Open
Second Front [81.39.74] |
81.39.074 |
Box
1 |
FF
8 |
No
Vacancy [81.39.75] |
81.39.075
|
Box
1 |
FF
8 |
Moscow
Conference [81.40.1] |
81.40.001 |
Box
1 |
FF
8 |
USSR
Bombing [81.40.2] |
81.40.002 |
Box
1 |
FF
8 |
Russia
Breaking Ukraine’s Chains [81.40.3] |
81.40.003 |
Box
1 |
FF
8 |
Russian
Gun Butt [81.40.4] |
81.40.004 |
Box
1 |
FF
9 |
The
Arena [81.40.5] |
81.40.005 |
Box
1 |
FF
9 |
Popular
Front in Spain [81.40.6] |
81.40.006 |
Box
1 |
FF
9 |
Poland
[81.40.7] |
81.40.007 |
Box
1 |
FF
9 |
British-U.S.
Imperialism [81.40.8] |
81.40.008 |
Box
1 |
FF
9 |
Liberation
of Italy [81.40.9] |
81.40.009 |
Box
1 |
FF
9 |
Race
Hatred [81.40.10] |
81.40.010 |
Box
1 |
FF
9 |
Fish
[81.40.11] |
81.40.011 |
Box
1 |
FF
9 |
Mopping
Up [81.40.13] |
81.40.013 |
Box
1 |
FF
9 |
Black
Market [81.40.14] |
81.40.014 |
Box
1 |
FF
9 |
San
Francisco Conference [81.40.15] |
81.40.015 |
Box
2 |
FF
10 |
Ex-King
Peter [81.40.16] |
81.40.016 |
Box
2 |
FF
10 |
From
All Directions [81.40.17] |
81.40.017 |
Box
2 |
FF
10 |
Town
Hall Meeting of the Air [81.40.18] |
81.40.018 |
Box
2 |
FF
10 |
Yalta
Highway [81.40.19] |
81.40.019 |
Box
2 |
FF
10 |
Bilbo
[81.40.20] |
81.40.020 |
Box
2 |
FF
10 |
1942
Treaty [81.40.21] |
81.40.021 |
Box
2 |
FF
10 |
Berlin
[81.40.22] |
81.40.022 |
Box
2 |
FF
10 |
Three
Drawings -- Man Wearing Only a Shirt Standing Next to Man Sitting on Scrolls;
Man Sweeping Off a Chair; Man Serving Papers [81.40.23] |
81.40.023 |
Box
2 |
FF
10 |
Neutral
[81.41.1] |
81.41.001 |
Box
2 |
FF
10 |
USSR
Years [81.41.2] |
81.41.002 |
Box
2 |
FF
11 |
Rommel
in Africa [81.41.3] |
81.41.003 |
Box
2 |
FF
11 |
Backside
to Anti-Semitism [81.41.4] |
81.41.004 |
Box
2 |
FF
11 |
Argentina
[81.41.5] |
81.41.005 |
Box
2 |
FF
11 |
We
Propose to Stand Together [81.41.6] |
81.41.006 |
Box
2 |
FF
11 |
WPA
Relief [81.41.7] |
81.41.007 |
Box
2 |
FF
11 |
Price
Control [81.41.8] |
81.41.008 |
Box
2 |
FF
11 |
Relief
[81.41.9] |
81.41.009 |
Box
2 |
FF
11 |
F.D.R.
Election Sweep [81.41.10] |
81.41.010 |
Box
2 |
FF
11 |
A.P.M.
[81.41.11] |
81.41.011 |
Box
2 |
FF
11 |
Russian
Break Through [81.41.12] |
81.41.012 |
Box
2 |
FF
12 |
U.S.
Punches Japan [81.41.13] |
81.41.013 |
Box
2 |
FF
12 |
Ohrbach
[81.41.14] |
81.41.014 |
Box
2 |
FF
12 |
White
Paper [81.41.15] |
81.41.015 |
Box
2 |
FF
12 |
Second
Front [81.41.16] |
81.41.016 |
Box
2 |
FF
12 |
Truman
[81.41.17] |
81.41.017 |
Box
2 |
FF
12 |
Sweep
Off the Globe [81.41.18] |
81.41.018 |
Box
2 |
FF
12 |
W.I.R.
[81.41.19] |
81.41.019 |
Box
2 |
FF
12 |
Sixth
War Loan [81.41.20] |
81.41.020 |
Box
2 |
FF
12 |
War
Loan [81.41.21] |
81.41.021 |
Box
2 |
FF
12 |
Second
Front -- Allied Invasion [81.41.22] |
81.41.022 |
Box
2 |
FF
13 |
Rommel
on Edge of African Cliff [81.41.23] |
81.41.023 |
Box
2 |
FF
13 |
Pegler
[81.41.24] |
81.41.024 |
Box
2 |
FF
13 |
United
Front [81.41.25] |
81.41.025 |
Box
2 |
FF
13 |
Darlan
[81.41.26] |
81.41.026 |
Box
2 |
FF
13 |
Washington
Pacts [81.41.27] |
81.41.027 |
Box
2 |
FF
13 |
Surrounded
[81.41.28] |
81.41.028 |
Box
2 |
FF
13 |
On
a Limb [81.41.29] |
81.41.029 |
Box
2 |
FF
13 |
Munich
Pact [81.41.30] |
81.41.030 |
Box
2 |
FF
13 |
Man
in Black Hat Holding Strap [81.41.31a] |
81.41.031a |
Box
2 |
FF
13 |
Man
With Hand on a Stone [81.41.31b] |
81.41.031b |
Box
2 |
FF
14 |
Handshake
Over Berlin [81.42.1] |
81.42.001 |
Box
2 |
FF
14 |
Everything
is Normal in Spain [81.42.2] |
81.42.002 |
Box
2 |
FF
14 |
Broken
[81.42.3] |
81.42.003 |
Box
2 |
FF
14 |
Death’s
Grip [81.42.4] |
81.42.004 |
Box
2 |
FF
14 |
Rally
[81.42.5] |
81.42.005 |
Box
2 |
FF
14 |
Crimea
Policy [81.42.6] |
81.42.006 |
Box
2 |
FF
14 |
Chamberlain’s
Valentine [81.43.1] |
81.43.001 |
Box
2 |
FF
14 |
Nazi
Industrialists [81.43.2] |
81.43.002 |
Box
2 |
FF
14 |
Ring
in Nose [81.43.3] |
81.43.003 |
Box
2 |
FF
14 |
Madison
Square Garden [81.43.4] |
81.43.004 |
Box
2 |
FF
15 |
Byrnes
Side of the Fence [81.43.5] |
81.43.005 |
Box
2 |
FF
15 |
Labor
Unites [81.43.6] |
81.43.006 |
Box
2 |
FF
15 |
Impeach
Bilbo and Rankin [81.43.7] |
81.43.007 |
Box
2 |
FF
15 |
Mass
Protest [81.43.8] |
81.43.008 |
Box
2 |
FF
15 |
Shabby
Umbrella [81.43.9] |
81.43.009 |
Box
2 |
FF
15 |
Nazi
Election [81.43.10] |
81.43.010 |
Box
2 |
FF
15 |
Petain
[81.43.11] |
81.43.011 |
Box
2 |
FF
15 |
Two
Nazi Generals [81.43.12] |
81.43.012 |
Box
2 |
FF
15 |
Japan
Dragon [81.43.13] |
81.43.013 |
Box
2 |
FF
15 |
Hungary
[81.43.14] |
81.43.014 |
Box
2 |
FF
15 |
Breaking
Embargo [81.43.15] |
81.43.015 |
Box
2 |
FF
16 |
Dies
and Hunting Dogs [81.43.16] |
81.43.016 |
Box
2 |
FF
16 |
Wall
Street [81.43.17] |
81.43.017 |
Box
2 |
FF
16 |
Among
the White Crosses [81.43.18] |
81.43.018 |
Box
2 |
FF
16 |
May
1 [81.43.20] |
81.43.020 |
Box
2 |
FF
16 |
Dies’
Ride [81.43.21] |
81.43.021 |
Box
2 |
FF
16 |
March
Back to Soviet Front [81.43.22] |
81.43.022 |
Box
2 |
FF
16 |
Death
March [81.43.23] |
81.43.023 |
Box
2 |
FF
16 |
Mouth
of Death [81.43.24] |
81.43.024 |
Box
2 |
FF
16 |
Franco
and the Bull [81.43.25] |
81.43.025 |
Box
2 |
FF
16 |
Dies
Honor Roll [81.43.26] |
81.43.026 |
Box
2 |
FF
17 |
Let’s
Go [81.43.27] |
81.43.027 |
Box
2 |
FF
17 |
Trojan
Horse [81.43.28] |
81.43.028 |
Box
2 |
FF
17 |
Greed’s
Monster [81.43.29] |
81.43.029 |
Box
2 |
FF
17 |
Made
In U.S.A. [81.43.30] |
81.43.030 |
Box
2 |
FF
17 |
On
the Run [81.43.31] |
81.43.031 |
Box
2 |
FF
17 |
Three
Drawings -- Masked Skeleton Playing Guitar; Man With Glasses Holding on
to Shirt of Man With a Fish; Laborer Caught Between Yelling Man and Blaring
Human Head Phonograph [81.43.32] |
81.43.032 |
Box
2 |
FF
17 |
Nazi
Crimes [81.43.79] |
81.43.079 |
Box
2 |
FF
17 |
Labor
and Price Boulder [81.44.1] |
81.44.001 |
Box
2 |
FF
17 |
America
First Committee [81.44.2] |
81.44.002 |
Box
2 |
FF
17 |
Russian
Cutter [81.44.3] |
81.44.003 |
Box
2 |
FF
18 |
Two
Men With Umbrellas [81.44.4] |
81.44.004 |
Box
2 |
FF
18 |
Palestine
[81.44.5] |
81.44.005 |
Box
2 |
FF
18 |
Czechoslovakia
[81.44.6] |
81.44.006 |
Box
2 |
FF
18 |
Czech
Students Rebel [81.44.7] |
81.44.007 |
Box
2 |
FF
18 |
The
Umbrella [81.44.8] |
81.44.008 |
Box
2 |
FF
18 |
Anti-Coughlin
Broadcasts [81.44.10] |
81.44.010 |
Box
2 |
FF
18 |
National
Unity [81.44.11] |
81.44.011 |
Box
2 |
FF
18 |
J.
Edgar Hoover [81.44.12] |
81.44.012 |
Box
2 |
FF
18 |
War
Hysteria [81.44.13] |
81.44.013 |
Box
2 |
FF
18 |
Blow
Up the Constitution [81.44.14] |
81.44.014 |
Box
2 |
FF
19 |
Capitalism
Betrays Itself [81.44.15] |
81.44.015 |
Box
2 |
FF
19 |
Organ
Grinder [81.44.16] |
81.44.016 |
Box
2 |
FF
19 |
Mission
to Stalin [81.44.17] |
81.44.017 |
Box
2 |
FF
19 |
Democracy-Fascism
Struggle [81.44.18] |
81.44.018 |
Box
2 |
FF
19 |
Fight
Against Hoover’s Wage Cutting Policy [81.44.19] |
81.44.019 |
Box
2 |
FF
19 |
French
Partisans [81.44.20] |
81.44.020 |
Box
2 |
FF
19 |
Wall
Street [81.44.21] |
81.44.021 |
Box
2 |
FF
19 |
Umbrella
Protection [81.44.22] |
81.44.022 |
Box
2 |
FF
19 |
Nazi
Butcher [81.44.23] |
81.44.023 |
Box
2 |
FF
19 |
Dimitrov
[81.44.24] |
81.44.024 |
Box
3 |
FF
20 |
Nazi
Monster [81.44.26] |
81.44.026 |
Box
3 |
FF
20 |
United
Power [81.44.27] |
81.44.027 |
Box
3 |
FF
20 |
Bomb
On Axis [81.44.28] |
81.44.028 |
Box
3 |
FF
20 |
Byrnes
Eye Test [81.44.29] |
81.44.029 |
Box
3 |
FF
20 |
War
Profits [81.44.30] |
81.44.030 |
Box
3 |
FF
20 |
Nazi
Monster [81.44.31] |
81.44.031 |
Box
3 |
FF
20 |
Man
On Ladder [81.45.1] |
81.45.001 |
Box
3 |
FF
20 |
Bevin
Tip-Toeing [81.45.2] |
81.45.002 |
Box
3 |
FF
20 |
Franco’s
Nest [81.45.3] |
81.45.003 |
Box
3 |
FF
20 |
Gangsters
[81.45.4] |
81.45.004 |
Box
3 |
FF
21 |
Iron
Fence [81.45.5] |
81.45.005 |
Box
3 |
FF
21 |
Vice
Racket [81.45.6] |
81.45.006 |
Box
3 |
FF
21 |
Democracy
Will Not Survive Another War [81.45.7] |
81.45.007 |
Box
3 |
FF
21 |
Another
Bombshell [81.45.8] |
81.45.008 |
Box
3 |
FF
21 |
Peace
[81.45.9] |
81.45.009 |
Box
3 |
FF
21 |
Nazi
Whip [81.45.10] |
81.45.010 |
Box
3 |
FF
21 |
Hour
Glass [81.45.11] |
81.45.011 |
Box
3 |
FF
21 |
Scaffolds
[81.45.12] |
81.45.012 |
Box
3 |
FF
21 |
The
U.S.S.R.’s Grip [81.45.13] |
81.45.013 |
Box
3 |
FF
21 |
Politics
as Usual [81.45.14] |
81.45.014 |
Box
3 |
FF
22 |
Chicken
in Hand [81.45.15] |
81.45.015 |
Box
3 |
FF
22 |
Isolation
[81.45.16] |
81.45.016 |
Box
3 |
FF
22 |
Unconditional
Surrender [81.45.17] |
81.45.017 |
Box
3 |
FF
22 |
Nazi-U.S.S.R.
Struggle [81.45.18] |
81.45.018 |
Box
3 |
FF
22 |
Bayonet’s
End [81.45.19] |
81.45.019 |
Box
3 |
FF
22 |
Mussolini,
the Sorcerer [81.45.20] |
81.45.020 |
Box
3 |
FF
22 |
Occupied
Europe [81.45.21] |
81.45.021 |
Box
3 |
FF
22 |
Rome-Berlin
Axis [81.45.22] |
81.45.022 |
Box
3 |
FF
22 |
Bank
of England [81.45.23] |
81.45.023 |
Box
3 |
FF
22 |
Nightclub
[81.45.24] |
81.45.024 |
Box
3 |
FF
23 |
Department
of Justice [81.45.25] |
81.45.025 |
Box
3 |
FF
23 |
London
Daily Worker [81.45.26] |
81.45.026 |
Box
3 |
FF
23 |
Aid
for Democratic Finland [81.45.27] |
81.45.027 |
Box
3 |
FF
23 |
Re-conversion
[81.45.28] |
81.45.028 |
Box
3 |
FF
23 |
Scales
Uneven [81.45.29] |
81.45.029 |
Box
3 |
FF
23 |
F.D.R.
the Monkey [81.45.30] |
81.45.030 |
Box
3 |
FF
23 |
Three
Drawings -- Man Talking Down to a Professor; Fishman Holding a Bomb; Man
Sitting on Moneybag Hit by Truck [81.45.31] |
81.45.031 |
Box
3 |
FF
23 |
Two
Vignettes [81.46.1] |
81.46.001 |
Box
3 |
FF
23 |
Newspaper
[81.46.2] |
81.46.002 |
Box
3 |
FF
23 |
Forging
Victory [81.46.4] |
81.46.004 |
Box
3 |
FF
24 |
Our
Hero [81.46.5] |
81.46.005 |
Box
3 |
FF
24 |
Hosing
[81.46.6] |
81.46.006 |
Box
3 |
FF
24 |
Step
Goose [81.46.7] |
81.46.007 |
Box
3 |
FF
24 |
Radio
Towers [81.46.8] |
81.46.008 |
Box
3 |
FF
24 |
Three
Men Being Pushed By Large Shield [81.46.9] |
81.46.009 |
Box
3 |
FF
24 |
Parade
Review [81.46.10] |
81.46.010 |
Box
3 |
FF
24 |
Ford
[81.46.11] |
81.46.011 |
Box
3 |
FF
24 |
Arise
[81.46.12] |
81.46.012 |
Box
3 |
FF
24 |
Hands
Meet [81.46.14] |
81.46.014 |
Box
3 |
FF
24 |
Above
the Volumes [81.46.15] |
81.46.015 |
Box
3 |
FF
25 |
Rubber
Arms [81.46.16] |
81.46.016 |
Box
3 |
FF
25 |
Man
With Briefcase [81.46.17] |
81.46.017 |
Box
3 |
FF
25 |
Dubinsky
[81.46.18] |
81.46.018 |
Box
3 |
FF
25 |
Ben
Davis Rock Slide [81.46.19] |
81.46.019 |
Box
3 |
FF
25 |
Daily
News [81.46.20] |
81.46.020 |
Box
3 |
FF
25 |
More
Production [81.46.21] |
81.46.021 |
Box
3 |
FF
25 |
Rome-Berlin
Axis [81.46.22] |
81.46.022 |
Box
3 |
FF
25 |
Big
Club [81.46.23] |
81.46.023 |
Box
3 |
FF
25 |
Cowboys
Talk in the Street with a Priest [81.46.24] |
81.46.024 |
Box
3 |
FF
25 |
The
Sweep [81.46.25] |
81.46.025 |
Box
3 |
FF
26 |
Workers
of the World [81.46.26] |
81.46.026 |
Box
3 |
FF
26 |
Waldman
and Spy [81.46.27] |
81.46.027 |
Box
3 |
FF
26 |
War
Production [81.46.28] |
81.46.028 |
Box
3 |
FF
26 |
Enemy
Embassies [81.46.29] |
81.46.029 |
Box
3 |
FF
26 |
The
Blackout That Failed [81.46.30] |
81.46.030 |
Box
3 |
FF
26 |
Three
Drawings -- Two Men with Sheaves of Papers; Two Men with Bags of People
On Their Backs Arguing; Laborer With Banner Leading the Way [81.46.31] |
81.46.031 |
Box
3 |
FF
26 |
NYC
Election [81.47.1] |
81.47.001 |
Box
3 |
FF
26 |
Unity’s
Punch [81.47.2] |
81.47.002 |
Box
3 |
FF
26 |
Mikhilovitch
Baloney [81.47.3] |
81.47.003 |
Box
3 |
FF
26 |
Nazi
Trash Can [81.47.4] |
81.47.004 |
Box
3 |
FF
27 |
Salute
[81.47.5] |
81.47.005 |
Box
3 |
FF
27 |
Russia’s
Grip [81.47.6] |
81.47.006 |
Box
3 |
FF
27 |
Rankin
Vulture [81.47.7] |
81.47.007 |
Box
3 |
FF
27 |
Wagner
Act [81.47.8] |
81.47.008 |
Box
3 |
FF
27 |
Hoover
[81.47.9] |
81.47.009 |
Box
3 |
FF
27 |
Reactionary
Politician [81.47.10] |
81.47.010 |
Box
3 |
FF
27 |
Nazi
Directing Human Weather Vane [81.47.11] |
81.47.011 |
Box
3 |
FF
27 |
Three
Drawings -- Man with Wrench Waiting Outside Door; Man Pouring Bucket Over
Head; Three Workers on Top of the World Writing While Another Man Sits on
the Side of the World Under an Umbrella [81.48.1] |
81.48.001 |
Box
3 |
FF
27 |
Three
Drawings -- Man Holding Money Bag Behind His Back; Man with One Hand on
Book while Other Hand Holds Up Two Fingers, Laborer Blowing a Bugle [81.48.2] |
81.48.002 |
Box
3 |
FF
27 |
Three
Drawings -- Kneeling Man Offering Plate for Thumbprint; Happy Painter in
Front of a Sign; Woman Yelling at Convict with $185,000 Moneybag [81.48.3] |
81.48.003 |
Box
3 |
FF
28 |
Second
Front Blast [81.49.1] |
81.49.001 |
Box
3 |
FF
28 |
Complacency
[81.49.2] |
81.49.002 |
Box
3 |
FF
28 |
Nazi
Sword [81.49.3] |
81.49.003 |
Box
3 |
FF
28 |
Rubber
for Hitler [81.49.4] |
81.49.004 |
Box
3 |
FF
28 |
Second
War Loan [81.49.5] |
81.49.005 |
Box
3 |
FF
28 |
Bombache
[81.49.6] |
81.49.006 |
Box
3 |
FF
28 |
Sheep
[81.49.7] |
81.49.007 |
Box
3 |
FF
28 |
Jim
Farley [81.49.8] |
81.49.008 |
Box
3 |
FF
28 |
Iwo
[81.49.9] |
81.49.009 |
Box
3 |
FF
28 |
Oust
Bilbo [81.49.10] |
81.49.010 |
Box
3 |
FF
29 |
Black
Markets [81.49.11] |
81.49.011 |
Box
3 |
FF
29 |
Opposition
to War Effort [81.49.13] |
81.49.013 |
Box
3 |
FF
29 |
Bank
Depositor Protest [81.49.14] |
81.49.014 |
Box
3 |
FF
29 |
Post
War Jobs [81.49.15] |
81.49.015 |
Box
3 |
FF
29 |
Socked
From All Directions [81.49.16a] |
81.49.016a |
Box
3 |
FF
29 |
Union
Labor [81.49.16b] |
81.49.016b |
Box
3 |
FF
29 |
Allies
Attack Serpents [81.50.1] |
81.50.001 |
|
Series
2 -- Accession Cards |
|
|
|
|
Box
4 |
|
Accession
cards from the Ulrich Museum. Information on the cards includes title, description,
provenance, and cartoon numbers. |
|