I have lived in Los Angeles for a month now, and I have the chance to encounter the work of the Millard Sheets Studio constantly — when sought out in Pasadena, at the offramp to the Westminster Mall, all around the Claremont area. I have had the occasion to discuss my interest in the mosaics, murals, and sculptures with those who knew Sheets, with the children of those who worked in the studio, with (thankfully understanding) bank managers, and with librarians, curators, archivists, and historical preservation activists, whether professional or amateur.
I’m learning a lot about the process by which the art was conceived, designed, and created by Millard Sheets, Sue Hertel, and Denis O’Connor, and I am thinking more deeply about their influences and goals, and how it relates to my original desire — to learn how banks designed and decorated after World War II came to reflect the earliest histories of California, as well as the region’s glorious flora, fauna, and diversions.
I am working on a new database, using lists from the Huntington Library and the Smithsonian’s Archives of American Art, to create a complete list of the Sheets Studio’s creations, the designer and date — as well as their current status as safe, lost, or threatened.
To start rolling out those ideas, and to keep the slew of other professional work (like my just-finished book) from sidelining this investigation, today I inaugurate a new series on the blog: Millard Sheets Studio Image of the Week! I’ll pull an image from my travels, or my extensive archive of Sheets-and-co. images, and give you a sense of what I think we’re seeing.
Above is a small, whimsical Sheets creation in an unusual plane for the studio’s work — the floor! As you enter what was the Sheets-and-co. studio at 655 E. Foothill Ave, you would have encountered this cat, ready to greet you with a flower in its mouth. (The current ophthalmology office still uses the same reception area, but they had the cat covered with chairs.)
I visited the office yesterday with Brian Worley, a Friend of the Blog and a onetime worker in Sheets’s studio, helping with everything from background work on the mosaics to installation and documentation of the work once completed. The visit will provide a lot of images and information, but today I’ll relate how this cat came to mind as the perfect image of what I now know about Sheets — curious, creative, and seeking to infuse his designs with joy and fun.
The work of the Sheets Studio has a lot of animals, a lot of families in loving embraces, or out having fun, and the artwork of the studio complex (more in coming weeks) reflects this interest. Brian told me there used to be a birdcage right in the center of the two buildings, their color, activity, and song presumably filling the space between Sheets’s office and the large production studio, the shelves stacked with cans of mosaic tesserae.
So Sheets’s clients would see the exterior decorations, hear the birds, and then come inside to await their appointment — and see this wonderful cat, embracing the moment with a flower in its mouth.
We can feel welcomed to explore the Sheets Studio work, too.
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You may be interested to know that I have a friend , a former Home Savings employee in California, who possesses some Millard Sheets artwork.The items, commissioned by Home Savings, consist of four 4′ x 8′ panels, opaque transparent oil on walnut plywood, “Trees and Horses.” Three are signed on the lower right, and one on the lower left. These items may be coming on the market in the near future and any information you can provide regarding them will be greatly appreciated. Thank you.
I would be happy to hear more about them, and to put him in touch with Tony Sheets and/or museums collecting this work.