We have a newborn in my household, so the posts will be paused for a few weeks while we get accustomed to that.
In the meantime, I suggest this great article by Christina Geyer from the weekend’s Dallas Morning News, about the Dallas Mercantile Bank mosaics designed by the Sheets Studio. There were also sculptures and, it seems, wall hangings, plus furniture designed by Rufus Turner, who came to work full-time for the Sheets Studio after this project and is quoted in the article.
The article has a nice gallery of images from the original layout, as well as of the mosaics’ restoration and reinstallation work, along with quotes from Tony Sheets, Lillian Sizemore, and me. Check it out, and see you back here soon.
One of the themes I am pursuing in this research comes from my urban-history background: How did Home Savings relate to the multiracial, multiethnic population of southern California? Did it rely on old mental maps from redlining and housing covenants to drive its lending, or socioeconomic data, or did it buck the conventional wisdom of the time?
My hunch is that Home Savings had a record about the same as its competitors. A colleague who grew up in East L.A. remembers none of this ornate art at his family’s Home Savings branch, suggesting that these commissions may have remained in affluent neighborhoods.
But there is the history, still incomplete, of the Compton branch from 1958. And there is this sculpture, by Vertis Hayes, once at the Home Savings branch, at Vermont and Slauson near the heart of South Central.
While the Compton branch showed (white?) workers, the South Central sculpture shows a family group–a common Home Savings choice–but, in this case, African Americans wearing what seems to be traditional African accessories, including a taqiyah (sometimes called a kufi) for the man, a traditional Islamic cap adopted by various Afrocentric / Black Arts supporters in the United States. But I haven’t seen a picture of the whole sculpture, so I can’t be sure of the whole theme.
Thanks for the image to George Underwood, who worked for Galaxy Advertising when it was the in-house firm for H.F. Ahmanson & Co. printing and thought up the idea of using Home Savings art and architecture to decorate the annual calendars.
The Millard Sheets Studio mosaics for the Van Nuys and Long Beach branches are done in a different style than the contemporaneous Home Savings work — and there is a comment in the studio correspondence saying that “if mural is executed in the United States add $10 per square foot,” suggesting that Williams, Sheets, or both had connections in Mexico, Italy, or elsewhere that could do the fabrication. (It is unclear where these were fabricated.)
In terms of style, both Van Nuys and Long Beach seem closely aligned with mosaics done by Ben Mayer, including those from the Norwalk Public Library on friend-of-the-blog Vickey Kalambakal’s site — check them out! The timing matches the period when Millard Sheets was becoming more involved with Interpace’s ceramic tile projects, and he seems to have broken any exclusivity deal he had had with Ahmanson and Home Savings. Mayer’s name appears in the Sheets Studio invoices for the Van Nuys location, but the affinity is also evident in the Long Beach work. UPDATE: Another colleague, Lillian Sizemore, has done research to confirm Ben Mayer was the creator, with Maurice Sands listed as design and color consultant, and has found that the Long Beach branch opened June 20, 1967. Interestingly, the (earlier?) Van Nuys branch has a Sheets signature, the Long Beach branch does not.
While the Van Nuys branch is still a Bank of America branch, the Long Beach building was most recently a music venue, and is again under renovation. One hopes the importance of the architect and the connections present in the mosaic to local and regional history will help preserve this building and its artwork.