I know it has been a long time since I posted on this blog — but I have been able to meet many Millard Sheets enthusiasts at book talks and other public lectures across California over the past eight months! It has been so wonderful to talk about this project with Sheets Studio artists, Sheets family members, in Sheets Studio buildings, and even on public radio!
I am honored that the book has been recognized as “bring[ing] attention to main street architecture with real design value and the impact of individual grassroots efforts” through the 2018 DOCOMOMO US Modernism in America Awards. And I am grateful that the Archives of American Art highlighted the book in its July e-newsletter.
With the book published, more local Millard Sheets enthusiasts and preservation advocates have found me, and so I have some updates:
• The 1980 Long Beach mosaic that was painted over has now re-emerged, with a formal rededication scheduled for October 2018. Learn more here and look for the unveiling photos soon!
• Despite having voted for the building as a local landmark in 2017, the Santa Monica City Council signed an agreement with the building owner in September 2018 to allow it to be demolished, with “four pieces of artwork” to be preserved within the city. Given the large mosaic, the stained-glass windows, and at least two large sculptures, it is unclear whether all will be preserved; read what we know now, here.
• The trees in front of the Home Savings at Lombard and Van Ness in San Francisco have been cut down, and so the mosaics can finally be seen again for the first time in decades! Here’s my photograph from the first day they were visible, in March 2018:
• I was also able to see three artworks for the first time: a Nancy Colbath-designed mosaic in Borrego Springs, and a sculpture by Gwynn Merrill outside the former Home Savings at 200 California, and a Parable of the Talents completed by Millard Sheets and Sue Hertel for a Dallas savings-and-loan in the 1950s, now on display at Biola University:
• In the book, I follow Denis O’Connor’s notes suggesting that the bird mosaics for Vallejo were demolished. Reader Ted Ellison happily has proved me wrong, and he has sent along these recent pictures of the building. Do note, though, how some floodlights have been placed over sections of the mosaic:
Ted Ellison, 2018 photograph of former Home Savings in Vallejo, artwork by Denis O’Connor and Studio. Note the floodlight cut into the rear mosaic (not the same one as above).
• In the book, I suggest that the El Sereno branch never had any Millard Sheets Studio artwork; in February, I met a woman who used to bank there who said there was likely a mural behind the tellers. I haven’t been able to learn more, but if you have any more information about this branch, please let me know!
I am so glad that this research is published, and that it has found an audience among those interested in Mid-Century Modern art and architecture, suburban main streets, community history, and more! I hope to continue to organize events to discuss this research, and to help communities with preservation efforts — I look forward to hearing from you!
Banking on Beauty:
Millard Sheets and Midcentury Commercial Architecture in California
Available February 2018 • University of Texas Press
Expansively researched and illustrated, this lively history recounts how the extraordinary partnership of financier Howard Ahmanson and artist Millard Sheets produced outstanding mid-century modern architecture and art for Home Savings and Loan and other commercial clients.
Meet the author at upcoming events.
Read my one hundred blog posts about my research in creating this book.
I know it has been quiet on the blog — because I have been perfecting the book manuscript!
I’m proud to say that the book — covering the Home Savings art and architecture commissions from the 1950s to the 1990s, and the entire scope of Millard Sheets’s public and commercial art and architecture commissions — will be published by the University of Texas Press in the first half of 2018, with 150 color illustrations. I will post the exact title, cover art, and pre-order information when they are available.
I enjoyed speaking at Palm Springs Modernism Week about the project, and I plan to speak in many locations about it in 2018.
As for right now, be sure to catch the exhibition on Millard Sheets, Tony Sheets, and Rick Caughman at the Ontario Museum of Art and the Chaffey Community Museum of Art, through March 26.
As a quick follow-up to my recent posts about the Sheets Studio’s relationship with the Ravenna Mosaic Company and the questions of religious symbols in artwork for public patrons, I present these mosaics, designed by Richard Haines for the federal building at 300 N. Los Angeles Street in 1963.
Among other reasons for interest, this demonstrates the staying power of Ravenna Mosaic Company as the fabricator of choice. The use of mosaic with marble columns and the change of color planes divided by diagonal lines are very reminiscent of Sheets’s work—though I find this artwork flatter, in all senses of the word, than the Sheets Studio work. (Haines’s work at UCLA, on Schoenberg Hall and the Physics Building, seems more lively and fun.)
UPDATE: Just after posting, I have learned via John Waide and the Ravenna Mosaic archives at St. Louis University, that Sheets, Haines, and a mosaic designer listed only as DeRosen (likely Jan Henryk de Rosen) had all bid for the UCLA Music Hall job in 1954, but that Haines eventually received it.
Beyond the design and the fabrication, the universalized themes of “Celebration of our Homeland” and “Recognition of all Foreign Lands” also contributes to that rather blah feel—perhaps a demonstration of the way, in the early 1960s, a government commission could be more limiting than work with a financial institution, despite the risk-averse and “conservative” nature of each. (For comparison, these mosaics appeared at that time at the downtown Home Savings branch—and Sheets’s tile mosaics for City Hall East are vibrant visions of a universalized theme. More on them one of these weeks.)
The mosaic depicts many symbols of justice and harmony, showing two hemispheres, flowering trees, small images of animals and industry—and then collections of white-robed people, carrying gifts and tools. Though perhaps no more than one is holding an overtly religious symbol, the sense of a procession and of communal action in white robes is as evocative of a choir and a baptism as much as the Parthenon frieze or the art and architecture of the United Nations. But perhaps evocative is the key word–no explicit religious symbols, and hence no controversy?
Back next week to Sheets and Home Savings.
As the semester revs up, longer and shorter posts will be alternating here, on somewhat of a regular schedule. Today, a short one, as a postscript to recent posts on the use of maps by Home Savings to connect to customers in Illinois, Missouri, New York, and other new states with branches in the 1980s.
Here Home Savings is put on the map of California, its home state — but in a very different format. This is from a calendar, rather than a road map, and that probably helps — the size of the state and the number of branches might overwhelm the other format (though I hear one exists).
While the eastern maps emphasize the convenience along the roads, here Home Savings is represented on a natural-resources map of California–emphasizing, in an even more dramatic way, the history and rootedness Home Savings strove for.
Here it seems the savings and loans are literally as old as the hills, and as permanent on the California landscape as the Sierras, the Mojave desert, and the Central Valley. (And how great it would be if those blue regional dividing lines were rivers instead!)
More in the weeks ahead about that Home Savings shield in the bottom left corner.
Hello again! After wonderful and encouraging events last month in San Francisco and this month at the Columbia University Seminar on The City, I am happy to report that I have serious interest from a few publishers, as well as some conversations ongoing with museums about an exhibition.
A history of the collaboration between the Millard Sheets Studio and Home Savings and Loan, studded more than one hundred color images and beautifully designed, is on its way!
My target publication date is Fall 2017, in time for your holiday purchases. What that means is, between now and July 1, I will be gathering the very best images–archival or taken yesterday–for every building, angle, process, or detail I would like to include. I will also be revising what I have written with the goal of entering production this fall.
If you have places I should speak, or media outlets I should alert, let me know — I can add them to my planning list. But, for now, think if you have an image you haven’t seen on the blog, or that might not be in the Millard Sheets, Denis O’Connor, or Home Savings archives. I would love to know about it, and if we can create a high-resolution digital scan and include it, I will credit you as my source in the final publication.
Please be in touch, and I will provide an update once the images are assembled and the text is honed.
Hi everyone! My first semester teaching at Manhattan College is winding down, and so I finally have a chance to update things here.
I have a full draft completed for my book on the art and architecture of the Millard Sheets Studio, and I have conversations ongoing with publishers and museums (though your leads welcomed!), as I edit and I plan an exhibition. I am also connected to new archives, and I am helping with preservation for Sheets Studio artwork from Los Angeles to Texas and beyond. Hopefully I will have a chance to write more about it here soon.
I am pleased to announce I will start 2016 with an event January 14 at the Scottish Rite Center in San Francisco with Millard’s son, the artist Tony Sheets; mosaicist and scholar Lillian Sizemore; storyteller Jim Cogan, and more. “CREATIVE COLLABORATION – Honoring Millard Sheets: Master of Art & Design” will be a great day, organized by Peter Mullens, the Tile Heritage Foundation, and the Stone Foundation, among others. Learn more here and join us!
The semester is drawing to a close, so it’s time to get serious about that research paper.
Wait—you are headed to the couch to watch some TV?
Ok, that seems a reasonable way to prepare to write it.
How so? Suspense-filled half-hour and hour-long shows are effective at providing a compelling question, keeping focused on the argument at hand, condensing research into its most effective form, making the investigators the stars, and finishing with a flourish, right on time.
In the spirit of term-paper season, I want explain how that crime, medical, or legal drama might be your best writing coach.
Providing a compelling question. It happens so often it’s a cliché: the crime procedural opens with a regular life being interrupted by the discovery of a dead body. Attention-gripping, to the point: this is not an introduction that starts as so many student papers do, with some paean to how “throughout time, wars have plagued human societies.” Here’s a dead guy, and we’re going to spend an hour figuring out how he got here, and whether the perpetrator will be punished.
Take the lesson to heart: in your title and your opening paragraph, provide a compelling image, a sharp-edged argument, a reason for your reader to want to keep going and not change be channel to another paper.
Keeping focused on the argument at hand. Television shows create and solve problems so well that they need to create dead ends and dismissed possibilities to keep viewers along for the ride.
Your research and writing process will have a lot of dead ends of on its own: hunches that don’t pan out, sources you can’t find, ways of framing the argument that turn out to be all wrong. Unlike TV, we generally don’t want to hear about them, but it is worth including a few of the alternative explanations that rival your argument, and demonstrate why your thesis is the one that will carry the day, not that idea the police captain at the desk insists is correct.
Condensing research into its most effective form. Do you notice how television shows ask for DNA evidence and get it immediately? Or say they will go through all the surveillance footage for the past three weeks, and then cut to the telling clip? That’s because they don’t have time to show you how long these procedures really take, between the actual labor and the lab backlogs (which are months, years, and even the equivalent of forever on rape kits in some states). Skipping the tedium, and the waiting, and the uninteresting dead ends means that results magically appear: the perfect evidence for the search is revealed succinctly, and the chase moves on.
Your research paper should do the same thing. For a quality research paper, you will read lots and lots of things that aren’t relevant to your paper, and find evidence that isn’t quite good enough to make it into the text. That’s the nature of the business—so don’t put that dross in your paper. It can all go in your bibliography, and some can go in your citations as “For similar cases, see…”. Even an invaluable source will go on at length, and that isn’t an invitation for a long block quotation. Take the juiciest bits, string them together with an ellipses, and keep moving.
Making the investigators the stars of the show. That colorful character you meet in the first minute of a procedural, who you know will be dead soon? The aggrieved widow or mother or brother, who might also be the culprit? The child rushed into the emergency room? That crying client with sympathy but not the law on their side? Your are immediately captivated by them—but, after watching a few episodes, you know that they are only the prelude. The shows don’t really begin until they call up the familiar cast of police detectives and medical examiners, prosecutors and judges, doctors and nurses. It’s called a procedural because the real stars are those who dramatize the everyday working of the police, hospitals, and courtrooms with their Hollywood-endowed credentials.
In your paper, you and your argument should similarly receive starring roles. Some sources are so eloquent or so compelling that you are tempted just to let them fill the space, but what makes it an essay rather than just a transcript is your intervention—the moments when you guide the reader to see what is important, or contradictory, or wrong based on other sources and traces of evidence. A paper can’t just be an impersonal gathering of the evidence. While the first-person “I did this” or “I think” won’t work for most paper styles, insert your argument as the director does: in the scenes you select, the order you choose for them, the decision of who gets the close-up and when. How you signal your argument’s importance is the interesting part, even if a thousand other television shows or student papers have been down this road before.
Finishing with a flourish, right on time. Whether it is Lennie Briscoe finishing with a wisecrack or the ER team sharing a beer, lots of procedurals finish their work with a few seconds to spare, so that the main characters can sit back, relax, and reflect one more time on the bigger picture. Then the credits roll and the next half-hour of television can fall right into line.
There are three lessons here for the paper-writing: leave a concluding space for the big picture; fill the space allotted; and get finished by your deadline. The latter two are rather obvious—and, in the age of digital submissions, we know when you messed with the margins or the font size to make it artificially longer or shorter. But the first one is very important: just as the investigator relates all the pieces of the case to the suspects, and they finally break down and admit what they did, a good summary always is a good choice.
That final breather is key, where you can step back and tell us why your argument matters not just for the evidence here, but for the wider field of study, how questions like these are essential to some wider, perhaps even universal truth. Pulling the camera back from that porch, and flying up over the town, as the sun is setting—that’s the kind of magical paper writing that can earn an A.
So happy term-paper season. For you and your favorite television show, I hope the ratings are good.
Sunday, March 22, is an important day for admirers of Millard Sheets and the work of the Claremont arts community: it’s the premiere of Paul Bockhurst’s documentary Design for Modern Living: Millard Sheets and the Claremont Art Community, 1935-1975 at the Garrison Theater. All the information is here—buy your tickets now! I’ve bought mine!
Paul is the winner of five Emmy Awards, who has long been fascinated with the accomplishments of the Claremont art community. This film highlights how Sheets, Albert Stewart, Betty Davenport Ford, Karl Benjamin, Harrison McIntosh, Sam Maloof, and others made Claremont a major center for art, craft, and architecture in the postwar period. The project spawned a second documentary–Claremont Modern: The Convergence of Art + Architecture at Midcentury–in which he and I discuss my research on the Sheets Studio art and architecture for Home Savings.
As I complete my book and work to create a related museum exhibition, it is heartening to see Paul’s hour-long film completed. Come celebrate it on March 22, at an event co-sponsored by the Claremont Museum of Art (the film’s co-producer), the Clark Humanities Museum, and the Ruth Chandler Williamson Gallery at Scripps College. See you there!
From my interview with documentary filmmaker Paul Bockhorst, photographed by David Shearer.
As we reach the end of 2014, I wanted to give you an update about all that is happening behind the scenes–as well as to share some thoughts about those Home Savings branches constructed outside California, and the effort to add them to the story.
It has been a productive fall! With support from Howard Ahmanson Jr. and the Ahmanson Foundation, I have been on leave, writing my book on the art, architecture, and urban context of the Sheets Studio work for Home Savings. Four of the planned seven chapters are drafted: The Story, Origins, Location, and Reception. That leaves Process, Meaning, and Legacies as the chapters to draft this spring. I am also speaking with presses about a full-color, heavily illustrated book, as well as museums about a possible exhibition. And, on Monday, I was interviewed by Paul Bockhurst for his documentary projects about Millard Sheets and other Claremont artists, and I toured Claremont Heritage.
Both the Location and Legacies chapter have sent me back into the records to track down dates and addresses–and so this week I published a full revision of the Definitive List, with more locations, and more accurate construction dates. There are two maps: one mapping all of the 168 former Home Savings locations, and the other with all the 159 other Sheets Studio public art sites. I welcome more information about their current status as well.
The question of current ownership–and whether those owners realize what they have–has finally driven my new post off the to-do list and now to your screens.
From 1947, when Howard Ahmanson purchased it, Home Savings had regular periods of growth, through acquiring other savings-and-loans, petitioning the state to expand their territory, and final due to changed regulations that allowed expansion throughout California, in around 1976, and then across the nation, in the mid-1980s. Though Millard Sheets had completed retired from the studio in 1980, Sue Hertel and Denis O’Connor, who had worked with Sheets on these commissions for decades, continued to produce similar work. Around 1990, Home Savings also commissioned some other artists, such as Marlo Bartels, Astrid Preston, and Richard Haas, to produce branch artwork, with a similar focus on community identity and history. These locations were constructed in Florida, Illinois, Missouri, New York, Ohio, and Texas.
In 1998, Home Savings was sold to Washington Mutual, and then in 2007-8, Washington Mutual was seized by the government and rapidly given to JP Morgan Chase. At both moments, some of the locations that the Sheets Studio had designed and decorated for Home Savings ceased to be banks. In 1998, some of those properties were sold to Met Life and managed by CB Richard Ellis, such as former branches in Santa Monica, Coronado, Montebello, and the Home Savings headquarters in Irwindale, along with some locations that are still banks, such as Santa Barbara and Riverside, presumably based on the value of their locations. Since Washington Mutual acquired a number of financial institutions before its collapse, other branches in an area where multiple banks were acquired, such as La Mesa and Redondo Beach, were sold off to other commercial-real-estate holders at other times. (I don’t have a master list of Washington Mutual locations from 2007; if you do, perhaps in a booklet form, I would love to see it!)
Chase was interested in taking Washington Mutual from the federal government in part because of its network of locations on the West Coast, where Chase had not had a presence; according to my list, Chase currently owns at least 69 locations with Sheets Studio artwork, mostly former Home Savings locations.
But what gets really interesting is what happened to the 52 Home Savings locations with Sheets Studio artwork outside of California. Home Savings had for decades used their art and architecture as part of how to stand out against their traditional competitors in the West, including Wells Fargo and Bank of America, both based in San Francisco at the time. While both had some tradition of historic artifacts or mosaic banks, these seemed pale imitations to the number and uniformity of the Home Savings locations.
Yet, outside of California, I have found that, over and over again, it is Wells Fargo and Bank of America that are using the former Home Savings buildings–either purchased outright, or by acquiring banks that had acquired the location, such as Wachovia in Florida. Whether these locations were sold off by Washington Mutual in 1998 or Chase in 2008, I am not sure, but it seems that the California banks understood the power of this art and architecture, and they wanted to be first in line to pick up the former competitors’ locations in other states. I have found 12 locations owned by Bank of America, mostly in Illinois; 12 by Wells Fargo, mostly in Florida; and a few by US Bank in California, and then local credit unions and banks and trust companies elsewhere.
Thus, in a way, even when these banks are isolated–only five in all of Ohio, six each in Texas and Missouri, fifteen in Illinois, nineteen in Florida, just one in New York–they actually are still part of a conversation with Home Savings, carried on by its once-rivals that survive as well as by Chase, the steward of the largest number of these buildings.
Below I post the full details for these outside-California Home Savings branches with Sheets Studio art and architecture, to aid those in these communities in seeing their value and working to preserve them.
If an address brings you to this post, please contact me so I can connect you to the wider history of these buildings and their artwork.
|Home Savings||3090 (3050) Aventura Blvd||Aventura||FL||1990||Safra National Bank||GoogleStreetView||tile mosaic; O’Connor plan “beach scene (maybe Santa Monica)”||Richard Haas; O’Connor|
|Home Savings||9035 Boca Fontana Blvd 33434||Boca Raton||FL||1986||Fifth Third Bank||GoogleStreetView||mosaic: fish and snorklers||Denis, Sue, Alba, Jill, Darin||O’Connor|
|Home Savings||7380 Manatee Ave west||Bradenton||FL||1990||Wells Fargo||GoogleStreetView||tile mosaic: city map, sword, compass rose||Richard Haas|
|Home Savings||25749 U S Highway 19||Clearwater||FL||1985?||Perenich and Coldwell Banker; covered?||GoogleStreetView||painted mural: segulls in flight||O’Connor|
|Home Savings||3325 W Hillsboro Blvd||Deerfield||FL||1986||TD Bank; shows no art?||GoogleStreetView||galleon and deers?||Denis, NOVA Designs?||O’Connor|
|Home Savings||1483 Main Street||Dunedin||FL||1989||Wells Fargo||GoogleStreetView||egret and pelican over water; city shield?||Marlo Bartels; Denis, Sue||O’Connor; and http://www.marlobartels.blogspot.com/|
|Home Savings||4875 N Federal Hwy||Fort Lauderdale||FL||1986||Wells Fargo||GoogleStreetView||tower|
|Home Savings||12370 S Cleveland Ave||Fort Myers||FL||1986||Wells Fargo||GoogleStreetView||mosaic: text tell history from muddy road to palms; Macgregor Blvd and mention Edison, Hendry, Terry, McGregor, Miles||Denis, Sue, Homolka-Gilkerson||O’Connor|
|Home Savings||1701 East Young Circle||Hollywood||FL||1988||demolished?||GoogleStreetView||“egrets”||Denis, Sue||O’Connor – CF Arlington Heights|
|Home Savings||9899 NE 2nd Ave||Miami Shores||FL||1986||Wells Fargo||GoogleStreetView||pelicans, boats||Denis, Sue, Alba, Jill, Darin, Martita||O’Connor|
|Home Savings||900 Neapolitan Way||Naples||FL||1987||put on hold|
|Home Savings||12440 Pines Blvd 33027||Pembroke Pines||FL||1988||Wells Fargo||GoogleStreetView||Marlo Bartels||http://www.marlobartels.blogspot.com/|
|Home Savings||702 N University Dr||Pembroke Pines||FL||1985?||Wells Fargo||GoogleStreetView||cows in enamel tile mosaic||Fox Tile?||http://www.foxtile.com/projects.html|
|Home Savings||3340 N Tamiami Trail||Port Charlotte||FL||1985||Charlotte Heart & Vascular Institute||GoogleStreetView||mosaic: Caloosa Indians, cattle, eagles, Seminole Indians, wildlife, shels, ranching, galleons, egrets, black woman, pelicans, fishing, phosphates, palm trees||Denis, Sue, Alba, Annie, Pete Knersel?||O’Connor|
|Home Savings||2891 South Tamiami Trail, US Highway 41 Bougainvillea||Sarasota||FL||1987||Wells Fargo||GoogleStreetView||circus animals, including monkeys, elephants, camels||Denis, Franco -Nova Designs, Frank Homolka Jess Gilkerson; Studio MosaicArt Colledani Milan/NOVA Designs||O’Connor|
|Home Savings||1901 Alton Road 33139||So. Miami Beach (Alton Rd.)||FL||1987||Wells Fargo||GoogleStreetView||mosaic – fish||Denis||O’Connor|
|Home Savings||4100 4th Street North||St. Petersburg||FL||1987||Wells Fargo||GoogleStreetView||2 mosaic: dolphins and fish; just dolphins||Denis||O’Connor|
|Home Savings||2050 U. S. Highway #1 / 8th avenue||Vero Beach||FL||1990||tile mosaic||Richard Haas|
|Home Savings||6000 Okeechobee Blvd, Drexel Plaza||W. Palm Beach||FL||1986||CDA Financial Plaza||GoogleStreetView||mosaic: polo players||Denis, Franco; Studio MosaicArt Colledani Milan/NOVA Designs||O’Connor|
|Home Savings||415 E. Rand Rd||Arlington Heights||IL||1989||Bank of America||GoogleStreetView||mosaic: “racetrack – horses & jockeys”||Denis, Sue; Italian||O’Connor|
|Home Savings||6400 W Cermak Rd (at Ridgeland) 60402||Berwyn||IL||1991||Bank of America||GoogleStreetView||mosaic: theater showing The Ragman with Jackie Coogan; streetscape||Denis, Sue, Gina Lawson, Leland Means,||O’Connor|
|Home Savings||6115 S Pulaski Rd||Chicago||IL||1989||Bank of America||Google StreetView||mosaic – snow scene, ice skating||Denis, Sue||O’Connor||are these interior? Not there?|
|Home Savings||1300 Oakton Ave, 60018||Des Plaines||IL||1988||demolished?||mosaic: “street w/ people in front (brass band)”||Denis, Sue, Franco||O’Connor|
|Home Savings||1000 S York Rd||Elmhurst||IL||1990||Bank of America||Google StreetView||interior mural||“another artist”|
|Home Savings||1336 Chicago Ave 60201||Evanston||IL||1991||Bank of America||Google StreetView||mosaic – men putting boat into lake; their wagon||Denis, Sue, Gina, Kathy, Leland Means, Studio Marble||O’Connor|
|Home Savings||2108 W Jefferson St||Joliet||IL||1988||Joliet Bank & Trust||Google StreetView||mosaic – birds; Roger Nelson inside painting of fields||Denis, Sue, Roger Nelson||O’Connor|
|Home Savings||8745 N Waukegan Rd||Morton Grove||IL||1988||Bank of America||Google StreetView||Denis, Sue, Frank Homolka, Franco||O’Connor||are these interior? Not there?|
|Home Savings||1080 S Elmhurst Rd||Mt. Prospect||IL||1989||Bank of America||Google StreetView||mosaic of columns||Denis, Sue, “others”||O’Connor|
|Home Savings||1301 E Odgen Rd 60540||Naperville||IL||1990||Bank of America||Google StreetView||mosaic: fire company, wagon, bicycles; painted mural; is it mosaic: “volunteer fire dep”?||Denis, Sue, Studio Marble||O’Connor|
|Home Savings||4200 W 95th St||Oaklawn||IL||1989||Bank of America||Google StreetView||mosaic – RR< family scene, animals, church||Denis, Franco||O’Connor|
|Home Savings||15826 S Lagrange Rd||Orland Park||IL||1988||Bank of America||Google StreetView||mosaic: pointy trees; children as well?||Denis, Sarah, Alba, Katy, Frank Homolka||O’Connor|
|Home Savings||501 N Greenwood Ave||Park Ridge||IL||1986||Bank of America||Google StreetView||mosaic: wagon and children||O’Connor|
|Home Savings||5033 Dempster St||Skokie||IL||1986||PNC Bank||Google StreetView||Henry Harmes, children, Market Day, Blameuser’s saloon, baseball team, hardware store, Amelia Louise Klehan doctor||Denis, Sue, Jill, Alba||O’Connor|
|Home Savings||6300 S Kingery Hwy Suite 500||Willowbrook||IL||1987||mall; unclear||Google StreetView||mosaic – birds, squirrels, and owl that looks too happy?||Denis, Melvin Wood, Franco Merli, NOVA Designs||O’Connor|
|Home Savings||1700 Clarkson Rd||Chesterfield||MO||1991||First National Bank||Google StreetView||mural: “German immigrant farmers” field of corn||Leland Means||O’Connor|
|Home Savings||201 N. Florissant Rd||Ferguson||MO||1987||US Bank||Google StreetView||mosaic: figures from Indian to conquistador to train conductor in front of train||Denis, Sue; Nova Designs||O’Connor|
|Home Savings||5720 E Bannister Rd||Kansas City||MO||1986||vacant||Google StreetView||sculptures||Denis; Betty Davenport Ford?||O’Connor|
|Home Savings||321 W Battlefield St||Springfield||MO||1986||Hawthorn Bank||Google StreetView||mosaic||Denis, Sue, Studio MosaicArt Colledani Milan/NOVA Designs /studio shots — from CA or Italy?//||O’Connor|
|Home Savings||3921 Hampton Ave||St Louis||MO||1980s||Lindell Bank||Google StreetView||Ford? Sculpture|
|Home Savings||3727 Frederick||St. Joseph||MO||1988||Citizens Bank and Trust||Google StreetView||painted mural: Pony Express||Denis, Sue, Rebecca Guzak||O’Connor|
|Home Savings||108-36 Queens Boulevard (at 71 Rd)||Forest Hills||NY||1989||Commerce Bank||Google StreetView||tile mosaic of New York horizon, trains; DOC painted mural : bluebirds?||Richard Haas; Denis discussed||CF in O’Connor Papers|
|Home Savings||3174 Tremont Rd||Columbus||OH||Jul-84||removed and preserved||ceramic tile mosaic: cityscape and state symbols||Marlo Bartels||http://www.marlobartels.blogspot.com/|
|Home Savings||95 E. William St||Delaware||OH||1989||First Merit||Google StreetView||“Little Brown Jug harness race”||Denis, Sue, Franco/NOVA||O’Connor|
|Home Savings||6280 Sawmill Rd||Dublin||OH||1989||Diamond Cellar; art removed||Google StreetView||mosaic: Wyandotte Indian, homesteader, dam, child on horse in cornfield, Victorian lady, University Hall||Denis, Sue; NOVA Designs||O’Connor|
|Home Savings||150 S State St||Marion||OH||1987||Huntington||Google StreetView||mosaic birds sitting on vines frieze over the doorway||Denis, Sue||O’Connor|
|Home Savings||1055 W Fifth St||Marysville||OH||1988||The Bank||Google StreetView||abstract tiles? Plan of mosaic of townscape||Denis, Richard Ewen||O’Connor|
|Home Savings||10721 Preston Rd||Dallas||TX||1989||Chase? Vacant?||Google StreetView||map of Texas, rodeo, Exxon Mobil pegasus, more||Denis, Sue, Studio Marble||O’Connor|
|Home Savings||12802 Memorial Drive||Houston||TX||1986||Chase||Google StreetView||Thundering Horses on the Open Range||Denis, Sue, NOVA Designs||O’Connor|
|Home Savings||14550 Memorial Drive||Houston||TX||1986||Chase||Google StreetView||painted mural: church, farm scene, tractor, trees||Denis, Jude Freeman, Kathryn Yelsa|
|Home Savings||4081 F.M. 1960 West 77068||Houston||TX||1987||Chase||Google StreetView||“rodeo”||Denis, Sue, Frank Homolka; Studio MosaicArt Colledani Milan/NOVA Designs||O’Connor|
|Home Savings||10011 FM 1960 Bypass Road West||Humble||TX||1986||painted mural: oil derrrick, cowboys, longhorns, train||Denis, Sue, Kathryn Yelsa||O’Connor|
|Home Savings||2201 N.W. Military Hwy||San Antonio||TX||1987||International Bank of Commerce||Google StreetView||mosaic: family group and livestock; H. Lee Hale: “use scenes of early Texas Pioneer cultures (German, English, Irish) overlaid on a background of wild flowers as the subject” – DOC – “No Alamo – Mexicans, etc.”||Denis, NOVA Designs||O’Connor|