TABLE OF CONTENTS
Overview
Biographical Note
Scope and Contents of the Collection
Arrangement of the Collection
Restrictions
Access Terms
Related Material
Administrative Information
Description of Series
Series 1: Art work: circa 1927 – 1975
Series 2: Clippings: 1972 - 2015
Series 3: Correspondence: 1951 - 1995
Series 4: Documents: 1930 - 1996
Series 5: Ephemera: circa 1972 – circa 1998
Series 6: Negatives/Slides: circa 1914 – circa 1994
Series 7: Photographs: circa 1914 - 1999
Series 8: Publicity: 1941 - 1996
Series 9: Published Works: 1943 - 1997
Series 10: Scrapbooks: 1938 - 1996
Series 11: Three-Dimensional Objects: 1977
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Octavio Medellin art work and papers, circa 1914 – 2015:
A Guide to the Collection
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Creator: |
Medellin, Octavio, 1907 or 1908 – 1999 |
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Title: |
Octavio Medellin art work and papers |
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Dates: | circa 1914 – 2015 |
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Abstract: |
Octavio Medellin was an artist and teacher who was active in Texas from the 1920s until his death in 1999. He is primarily known as a sculptor but also did work in ceramics, glass, and mosaics. Born in Mexico, Medellin was heavily motivated by pre-Columbian art, mainly of Mayan origin, and he is associated with the Texas Regionalists movement of the 1930s and 1940s. The collection reflects his distinguished art career and includes art work, clippings, correspondence, documents, ephemera, negatives/slides, photographs, publicity, published works, scrapbooks, and three-dimensional objects. |
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Accession No: |
BSC.1990.0011
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Quantity: |
98.500 linear feet (1 artifact box, 6 archival boxes, 8 flat archival boxes, 1 archival newspaper storage box, 3 archival photo/slide boxes, 5 flat archival photo/slide boxes, 11 flat archival slide boxes, 2 flat conservation folders, 3 metal shelves, 6 metal drawers, 5 matted photographs, 6 matted works of art on paper, 1 archival rolled storage tube, 1 audio-digital file) |
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Language: |
Material is in English and Spanish. |
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Repository |
Jerry Bywaters Special Collections, Hamon Arts Library, Southern Methodist University |
 Original Designs for the windows of the Trinity Lutheran Church of Dallas, Texas
Octavio Medellin was born in San Luis Potosi, Mexico in 1907 [or 1908] at a time when his country stood on the brink of a violent revolution. His family, of Otomi Indian heritage, moved to San Antonio, Texas in 1920 where the young Medellin began his art studies at the San Antonio Art Institute with José Arpa and Xavier Gonzales, Spanish artists who had relocated to San Antonio and established flourishing art careers. In 1928 Medellin left San Antonio and moved to Chicago where he studied at the Chicago Art Institute. A year later he returned to Mexico to begin a two year study of his native country’s art, customs, and history – a period that proved to be a major influence in the young artist’s artistic evolution. While in Mexico, he met and became friends with artist Carlos Mérida, a friendship that lasted until Mérida’s death in 1985. Medellin traveled throughout the Gulf Coast, including the Yucatan, and studied the local crafts produced in small villages and the ancient ruins and sculpture of the Mayan and Toltec Indians. Mexico’s unique artistic culture profoundly influenced Medellin’s art and that of the many students he taught over the next four decades.
In 1931 Medellin moved back to San Antonio and taught sculpture at the Witte Museum and a few years later, with several other local artists, opened La Villita Art Gallery. There he met Lucy Maverick, herself a young artist whose family was influential in the historic preservation of San Antonio during the late 19th/early 20th centuries. In 1938, interested in encouraging Medellin’s art development, Maverick sponsored the artist’s journey to Mexico for a six-month study of the ruins at Chichén Itzá. Medellin and his wife, Consuelo, and their two young children, Patsy and Sergio, traveled from New Orleans to Progreso, Yucatán, and toured other towns and historical sites, including Mérida and Uxmal. The Medellins stayed in Pisté for three months as guests of the local residents but were later invited by Dr. Sylvanus Morley to stay at the Carnegie Institute research center, located next to the ruins at Chichén Itzá. In 1913, Dr. Morley had been instrumental in initiating and directing the first Chichén Itzá project, funded by the Carnegie Institution of Washington, but excavations did not start until 1920s. The Carnegie Institution continued to support excavations at the site until the 1940s.
Medellin made numerous sketches of the ruins in Mexico and, in addition, documented his travels with 181 black and white photographs that he compiled into a scrapbook entitled Maya – Toltec, Temples and Carvings, 1938. His drawings of the first register of the bas-relief carvings in the Lower Temple of the Jaguars [or “Tigers”] at Chichén Itzá were later worked into the portfolio, XTOL – Dance of the Ancient Mayan People , published by the Dallas Museum of Fine Arts [DMFA], now known as the Dallas Museum of Art, in 1947. Medellin dedicated the portfolio to Maverick. Plans were made to make three additional portfolios using the remaining three registers of the bas-relief carvings, but lack of funds kept future publications from materializing. Some of Medellin’s drawings were reproduced in the article “The Shower of the Road: The Democratic Approach to Mayan Mysteries” by American writer and anthropologist Oliver La Farge [Town and Country, September 1942].
Upon his return to the U.S., Medellin continued to teach while finding time to do his own work. From 1938 – 1942, he taught at North Texas State Teachers College [now the University of North Texas] and, beginning in 1945, at the DMFA School - a teaching post he held for the next twenty-one years. In the mid-1940s, Medellin was on the teaching staff at Southern Methodist University and, later in the 1960s, instructed art majors from the University in his studio at the Dallas Museum. Throughout his career Medellin explored other media including ceramics, mosaics, glass, and lost-wax process in bronze casting, and introduced them to his students. During the 1950s and 1960s, Medellin designed and implemented major art projects in Dallas that included the Mercantile National Bank, Saint Bernard of Clarivaux Church, Temple Emanu-El , and Trinity Lutheran Church. In 1966 he opened the Medellin School of Sculpture in Dallas [now the Creative Arts Center of Dallas] and continued to teach until semi-retirement in 1979 when he and Consuelo moved to Bandera, Texas. Medellin’s work has been represented in exhibitions and museums including the Dallas Museum of Arts, the Huntington Art Gallery at the University of Texas in Austin, the Meadows Museum at Southern Methodist University, the Witte Museum in San Antonio, and the Museum of Modern Art in New York. In 1977, he was awarded an honorary lifetime membership from the Texas Fine Arts Association, and in 1996 the Dallas Visual Arts Center, now the Dallas Contemporary, honored Medellin with the prestigious Legends Award.
Medellin died in Dallas, Texas in 1999; he was 91. He is buried at Calvary Hill Cemetery close to his mosaic monument, The Garden of the Glorious Mysteries, designed and installed in 1962 – 1965.
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The Octavio Medellin art work and papers collection consists of material that includes art work, clippings, correspondence, documents, ephemera, photographs and slides, publicity, and published works. These reveal Medellin’s interest and study of pre-Columbian art, mainly at Chichén Itzá in Mexico, his designs for final art projects, and his involvement in his students’ work throughout his teaching career. Work by other artists included in the collection reflect Medellin’s friendship with his contemporaries. The clippings, photographs, publicity, and published works document his art career and museum exhibitions.>
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Arrangement of the Collection |
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The collection is organized into eleven series: |
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Series 1: Art work: circa 1927 - 1975
- Sub-series 1: Architectural/Design drawings: undated
- Sub-series 2: Glasswork: 1948
- Sub-series 3: Paintings, circa 1927 – 1930
- Sub-series 4: Print Blocks: undated
- Sub-series 5: Sculpture: circa1953
- Sub-series 6: Works of Art on Paper: 1938 – 1967
- Sub-series 7: Works of Art on Paper [oversize]: circa 1949 - 1965
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Series 2: Clippings: 1972 – 2015 |
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Series 3: Correspondence: 1951 – 1995 |
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Series 4: Documents: 1930 - 1996 |
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Series 5: Ephemera: circa 1972 – circa 1998 |
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Series 6: Negatives/Slides: circa 1914 – circa 1994
- Sub-series 1: Correspondence [Negatives of photographs attached to correspondence - cross-referenced to correspondence files]: 1987 - 19891987 - 1989
- Sub-series 2: Medellin, Family, Friends, Other Artists: circa 1914 – 1980
- Sub-series 3: Medellin Sculpture: 1932 - 1994
- Sub-series 4: Miscellaneous: circa 1960s – circa 1990s
- Sub-series 5: Projects: circa 1953 - 1989
- Sub-series 6: Flat Slide Boxes: circa 1950s – 1980s
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Series 7: Photographs: circa 1914 - 1999
- Sub-series 1: Photographs attached to correspondence [cross-referenced to correspondence files]: 1978 - 1991
- Sub-series 2: Medellin, Family, Friends and Other Artists: circa 1914 - 1999
- Sub-series 3: Medellin Sculpture: 1927 - 1994
- Sub-series 4: Miscellaneous: 1938 - 1992
- Sub-series 5: Projects: 1953 - 1989
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Series 8: Publicity: 1941 - 1996 |
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Series 9: Published Works: 1943 - 1997 |
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Series 10: Scrapbooks: 1938 - 1996 |
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Series 11: Three-Dimensional Objects: 1977 |
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Access to Collection:
Collection is open for research use. Appointment with curatorial staff at Hamon Library is required.
Publication Rights:
Permission to publish materials must be obtained from the staff of Jerry Bywaters Special Collections.
Copyright Statement:
It is the responsibility of the user to obtain copyright authorization.
Sensitive Material Statement:
Manuscript collections and archival records may contain materials with sensitive or confidential information that is protected under federal or state right to privacy laws and regulations. Researchers are advised that the disclosure of certain information pertaining to identifiable living individuals represented in this collection without the consent of those individuals may have legal ramifications for which Hamon Library assumes no responsibility.
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This collection is indexed under the following terms in the Southern Methodist University Libraries' online catalog. Researchers desiring related materials may search the catalog using these terms. |
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Medellin, Octavio, 1907 or 1908-1999.> |
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Sculptors -- Mexico. |
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Artists -- Texas -- Dallas. |
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Works of art. |
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Photographs. |
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Slides. |
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Letters. |
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Collections:
Collection on Rabbi Levi A. Olan, Bridwell Library, Perkins School of Theology, Southern Methodist University - http://legacy.lib.utexas.edu/taro/smu/00172/smu-00172.html
Octavio Medellin papers, 1932-1979, Smithsonian, Archives of American Art - http://www.aaa.si.edu/collections/octavio-medellin-papers-5503 and http://s.si.edu/1KzJNWo
Evaline Sellors art work and papers, Bywaters Special Collections, Southern Methodist University - http://legacy.lib.utexas.edu/taro/smu/00284/smu-00284.html
Evaline Sellors papers, Old Jail Art Center, Albany, Texas - http://legacy.lib.utexas.edu/taro/ojac/00003/ojac-00003.html
Octavio Medellin Papers, Syracuse University - http://library.syr.edu/digital/guides/m/medellin_o.htm
SMU Digital Collections:
Maya-Toltec Temples and Carvings, 1938 [photo scrapbook]: http://digitalcollections.smu.edu/cdm/search/collection/med/searchterm/OM.2001.1/mode/exact
Octavio Medellin Art Work and Papers : http://digitalcollections.smu.edu/all/cul/med/
XTOL: Dance of the Ancient Mayan People, 1947: http://digitalcollections.smu.edu/cdm/search/collection/med/searchterm/Xtol:%20Dance%20of%20the%20Ancient%20Mayan%20People/mode/exact
Published Works:
Sixty-nine books were removed from the collection and cataloged. They can be found in the SMU online catalog using the search string, “Part of Octavio Medellin Collection.”
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Octavio Medellin art work and papers, Jerry Bywaters Special Collections, Hamon Arts Library, Southern Methodist University.
Gifts, Mr. Octavio Medellin, 1989, 1994 [March, May, December], 1996, 1997, 1998; Mr. Jan Boles, 1998; Estate of Octavio Medellin, 2001 [March, September]; Mrs. Patricia Medellin McDonald, 2011, 2012; Estate of Cecilia Steinfeldt, 2013; Henry and Maxine Zaleta, 2013, the Ratcliffe Family, 2015; Mr. Al Guerra, 2019.
The Octavio Medellin art work and papers were donated in 15 parts beginning in 1989. The contents of each gift were divided into separate archival files and boxes for clippings, correspondence, documents, photographs, publicity, and published works. Negatives, photographs, and slides are housed in separate archival boxes. Five photographs are matted and placed in flat museum cases. Art work is placed in flat archival boxes or flat metal drawers; conservation has been completed on several items. The newspaper articles are copied onto acid-free paper; articles published in 2015 are de-acidified and encapsulated with mylar. Scrapbooks are housed in archival boxes or metal shelves. Effort was made to keep files organized as originally identified and arranged by the artist [original folder titles are noted in quotation marks].
Records were processed, beginning in 1994, by Leslie Sookma [Rortvedt] and completed in 2015 by Ellen Buie Niewyk. Additional information was updated by Ellen Buie Niewyk in 2020.
Ellen Buie Niewyk, 2015.
Ada Negraru, 2015.
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Series 1: Art work: circa 1927 – 1975
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The art work contains Medellin’s glass experiments, prints, print blocks, and preliminary drawings for final projects, and paintings by Medellin and his contemporaries. Architectural blueprints and designs are for potential art projects; some designs are for equipment used in Medellin’s studio. The art work consists of 6 blueprints, 11 colored pencil drawings, 3 glass experiments, 6 intaglios, 2 linoleum block prints, 3 oil-base crayon drawings, 3 oil on canvas paintings, 11 pencil drawings, 3 photo cut-outs [and pencil] designs, 7 print blocks, 2 sculptures, and 1 watercolor painting. |
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The artists represented in the Medellin Collection include Lawson Blackmon, Fred Darge, Richard A. Florsheim, Lucy Maverick, Octavio Medellin, Enrique de la Mora y Palomar, Evaline Sellors, and Pedro Teran. |
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Sub-series 1: Architectural/Design drawings: undated |
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| Flat Box 1 |
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Designer/artist unknown, blueprint for plaster slab clay table, 17 ¼” x 11 3/16” [paper], undated |
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Designer/artist unknown, blueprint for gas fired crucible furnace and crucible, 17 1/16” x 21 15/16” [paper], undated |
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Designer/artist unknown, blueprint for fired crucible furnace and crucible tongs, 18 12/16” x 23 7/16” [paper], undated |
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Designer/artist unknown, pencil drawing of foundry and equipment, 17 ¼” x 23 7/16” [paper], undated |
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Designer/artist unknown, pencil drawing of gas-fired crucible furnace, includes images of crucible tongs and shake-out tongs, 17 1/8” x 23 3/16” [paper], undated |
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Designer/artist unknown, blueprint for gas-fired crucible furnace, includes images of crucible tongs and shake-out tongs, 17” x 21 7/8” [paper], undated |
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Blueprint, Capilla Para El Colegio Mexico En S. L. P., Enrique de la Mora y Palomar [architect], 23 ¾” x 17 13/16” [paper], undated. Note originally attached to blueprint: “Blueprint to do study for proposed glass, surround the entire chapel, San Luis Potosi, Mexico” |
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Blueprint, Capilla Para El Colegio Mexico En S. L. P., Enrique de la Mora y Palomar [architect], 23 7/8” x 35 ½” [paper], undated. “Note originally attached to blueprint: Blueprint to do study of proposed glass, surrounding the entire chapel, San Luis Potosi, Mexico” |
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Sub-series 2: Glasswork: 1948 |
| Shelf |
| Metal shelf, “Medellin” |
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Medellin, Octavio, wood box labeled “First Glass Experiments,” contains three fused glass samples, each glass piece is irregular in shape, 20 ½” x 7” x 1 ¾” [dimensions of wood box], 1948 |
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Sub-series 3: Paintings: circa 1927 – 1930 |
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The paintings are oil on canvas without frames or support |
| Drawer |
| Flat Metal File Drawer “Medellin” - 1 |
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Darge, Fred, untitled [image of Octavio Medellin working on sculpture entitled Spirit of Revolution], oil on canvas [flat, without support], 12 5/8” x 15” [overall], 11 15/16” x 13 15/16” [image], undated |
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Medellin, Octavio, untitled [image of a young woman], oil on canvas [flat, without support], 24” x 19 ½” [overall], 23 ½” x 17 ¾” [image], circa 1927 – 1930. Note originally attached to painting: “One of my oil paintings of my work in 1927 – 1930, before I took up sculpture only. The subject is Cecilia Neuheisel before she became Mrs. Eric Steinfeldt, now Senior Curator of Art, San Antonio Museum of Art, San Antonio, Texas” |
| Drawer |
| Flat Metal File Drawer “Medellin” - 2 |
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Medellin, Octavio, untitled [image of a young man], oil on canvas [flat, without support], 25” x 19 ½” [overall], 24 ½” x 19 ½” [image], circa 1927 – 1930. Note originally attached to painting: “One of my oil paintings of my work in 1927 – 1930, before I took sculpture. The subject may be [Gregorio] Prestopino, the painter, during the time he was in San Antonio, Texas” |
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Sub-series 4: Print Blocks: undated |
| Shelf |
| Metal shelf – “Medellin” |
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Medellin, Octavio, linoleum on wood, untitled [design of pre-Columbian figure], 11 ½” x 8 5/8” x 7/8” [overall], undated [print image located in Museum Case A-VII] |
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Medellin, Octavio, six linoleum on wood blocks, untitled [image of hummingbird], each block measures 4 ¼” x 5 ½” x 7/8”, undated [print image located in Museum Case A-VII] |
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Sub-series 5: Sculpture: circa 1953 |
| Room |
| Research Room |
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Sellors, Evaline, bust of Octavio Medellin [mounted on wood base]; fired clay, 14” x 7” x 9 ½” [wood base, 7 ¼” x 5 ¾” x 1 ¾”], undated |
| Box |
| Artifact Box 1 |
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Medellin, Octavio, plaster cast of Paul Van Katwijk’s hand, 9 ¼” x 6” x 3” [overall], circa 1953 |
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Sub-series 6: Works of Art on Paper: 1938 - 1967 |
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The following contains works by Richard A. Florsheim, Lucy Maverick, Octavio Medellin, and Pedro Teran. Florsheim is known for his lithographs made during the 1940s and 1950s; he lived in Chicago, Illinois, and Provincetown, Massachusetts. Maverick was an artist and an advocate of the arts in San Antonio, Texas. She was also interested in pre-Columbian art and in 1938 supported Octavio Medellins’s studies in Mexico. Teran, a native of San Antonio, painted the murals in the city’s Alameda Theatre during the late 1940s; the murals depict the history of Texas and Mexico. Dimensions listed are height by width. |
| Box |
| Flat Box 1 |
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Medellin, Octavio, untitled [mosaic design with image of Christ on cross; design of three candlestick holders in lower left corner], St. Paul the Apostle Catholic Church, Richardson, Texas, colored pencil on paper, 26” x 10 7/16” [paper], 1961. Note originally attached to drawing: “Color for suspended mosaic, St. Paul the Apostle, Richardson, Texas” |
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Medellin, Octavio, untitled [design of colored squares spaced throughout the image], colored pencil on paper, 35 5/8” x 15 15/16” [paper], circa 1963. Note originally attached to drawing: Glass for living room wall, residence for Mr. and Mrs. [Theo] Hochstim” |
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Medellin, Octavio, untitled [stained glass design], colored pencil on paper, 32 1/8” x 16 1/16” [paper], 26 1/14” x 7” [image], circa 1960. Note originally attached to drawing: “Color scheme for solar screen, 9 ft. x 35 ft., Campanile of the Trinity Lutheran Church, Dallas, Texas” |
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Medellin, Octavio, The Resurrection, Garden of the Glorious Mysteries, colored pencil on paper, 36” x 23 11/16” [paper], 29 7/8” x 14 ½” [image], circa 1962 – 1965. Note originally attached to drawing: “Study and color scheme, for Calvary Hill Cemetery mosaic pylons, The Resurrection, Garden of the Glorious Mysteries” |
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Medellin, Octavio, untitled [image of individuals participating in basketball, swimming and gymnastics], colored pencil on paper, 18 ¼” x 35 ½” [paper], 11 ¾” x 26 3/8” [image], undated. Note originally attached to drawing: “Color scheme for proposed mosaic mural, Jaycee Park Recreation Building, City of Dallas, Texas” |
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| Flat Box 2 |
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Note written by Medellin for works of art on paper by Lucy Maverick: “All of this work is by Lucy Maverick, some are signed, others unsigned. They are pencil drawings of my work; others are creations of her own. They were a gift from her to me.” |
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Medellin, Octavio, untitled [image of three crosses/crucifixes among branches with leaves], pencil on paper, 13 7/16” x 21 7/8” [paper], circa 1956. Written on front, lower right corner: “Proposed design on front glass vestibule for Prince of Peace Lutheran Church, Austin, Texas. Eugene Wukasch Architect, Octavio Medellin S. C.” |
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Maverick, Lucy, untitled [image of a sculpture of a female torso on a pedestal], pencil on paper, 23 7/8” x 18” [paper], undated |
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Maverick, Lucy, untitled [image of two of Medellin’s wood carvings on pedestals], pencil on paper, 25” x 18 15/16” [paper], undated |
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Maverick, Lucy, untitled [image of a garden scene with a sculpture of a figure in the foreground], pencil on paper, 22 1/8” x 11 ¼” [paper], undated |
| Drawer |
| Flat Metal File Drawer “Medellin” -2 |
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Maverick, Lucy, untitled [image of a king and queen from a playing card and a brown bottle holding green leaves], oil-base crayon on paper, 17 12/16” x 24” [paper], undated |
| Drawer |
| Flat Metal File Drawer “Medellin” -3 |
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Maverick, Lucy, untitled [abstract design in colors of blue, orange, and green; another unfinished drawing is on reverse], oil-base crayon on paper, 14 7/8” x 21 ½” [paper], undated |
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Maverick, Lucy, The Pomegranite [sic] Flower , oil-base crayon on paper, 18” x 17 7/8” [paper], undated |
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Maverick, Lucy, untitled [image of a man playing a guitar], oil-base crayon on paper, 21 13/16” x 15” [paper], undated |
| Drawer |
| Flat Metal File Drawer “Medellin” -4 |
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Medellin, Octavio, untitled, colored pencil on paper, 42” x 20” [paper], circa 1960. Inscription along left edge of paper: “To Henry & Mrs. Zaleta – 1967 – original designs for the windows of the Trinity Lutheran Church at Dallas, Texas. Octavio Medellin” |
| Drawer |
| Flat Metal File Drawer “Medellin” -5 |
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The following items are Medellin’s preliminary designs for the glass inserts attached to the mosaics designed by Millard Sheets for the Mercantile National Bank in Dallas, Texas. |
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Medellin, Octavio, untitled, color photograph cutout mounted on board and colored pencil on paper, 11 1/4” x 22” [paper], circa 1957. Written on board: “Preliminary idea for glass design. Mercantile National Bank, Dallas, Texas” and “Preliminary idea for design for glass. Mercantile National Bank, Dallas, Texas” |
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Medellin, Octavio, untitled, color photograph cutout mounted on board and colored pencil on paper, 7 ¾” x 22” [paper], circa 1957. Written on board: “Preliminary idea for glass design – Mercantile National Bank, Dallas, Texas” and “Preliminary idea for design for glass. Mercantile National Bank, Dallas, Texas” |
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Medellin, Octavio, untitled, color photograph cutout mounted on board and colored pencil on paper, 8 7/8” x 22” [paper], circa 1957. Written on board: “Preliminary idea for glass design – Mercantile National Bank, Dallas, Texas”. |
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The following sketches created by Medellin are baptismal fonts and glass designs for churches. |
| Drawer |
| Flat Metal File Drawer “Medellin” -5 |
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Medellin, Octavio, untitled, pencil on paper mounted on board, 8 7/16” x 16 ½” [image], 12” x 20” [paper], 1945. Paper label on board: “Proposed drawings for relief, details for baptismal font for Saint Andrew Episcopal church, Grand Prairie, Texas, 1945” |
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Medellin, Octavio, untitled, pencil on paper mounted on board, 8 5/8” x 16 ½” [image], 12” x 20” [paper], pencil on paper mounted on board, 8 5/8” x 16 ½”, undated. Note originally attached to back of board: “Study reliefs. Baptismal font St. Henrys Episcopal church [not produced]” |
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Medellin, Octavio, untitled, pencil on paper mounted on board, 8 ¾” x 16 5/8” [image], 12” x 20” [paper], circa 1956. Note originally attached to back of board: “Study for sandblasted glass for Prince of Peace Lutheran church, Austin, Texas” |
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Medellin, Octavio, untitled, pencil on paper mounted on board, 8 3/8” x 16 ¼” [image], 12” x 20” [paper], 1948. Note originally attached to back of board: “Preliminary study for low relief carving on side of baptismal font, 1948” |
| Drawer |
| Flat Metal File Drawer “Medellin” -6 |
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Medellin, Octavio, untitled [image of designs for stained glass windows, candlesticks, and baptismal], colored pencil on paper, 32 1/2“ x 40” [paper], 25” x 36” [image], undated. Note originally attached to drawing: “Proposed design for candlesticks and baptismal font only. Glass window was already in existence, McKinney, Texas” |
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Medellin, Octavio, untitled [mosaic design with figure], colored pencil on paper, 33 ¾” x 27 7/8” [paper], 28 3/8” x 21 11/16” [image], 1961. Note originally attached to drawing: “Proposed design for mosaic mural, St. Paul the Apostle, Richardson, Texas, 1961” |
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Medellin, Octavio, untitled [designs for procession cross and candlesticks], colored pencil on paper, 33 ½” x 28 ¾” [paper], 30 1/8” x 20 ¾” [image], undated. Note originally attached to drawing: “Study of Christus Rex, procession cross, and candlesticks for retreat center chapel, Grapevine, Texas” |
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Medellin, Octavio, untitled [design of geometric shapes for stained glass window], colored pencil on paper, 34” x 40 7/8” [paper], 31 ½” x 36” [image], 1961. Note originally attached to drawing: “Glass for priest chapel wall, Bishop Lynch High School, Dallas, Texas” |
| Box |
| Flat Box 3 |
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Florsheim, Richard, Masts, intaglio, 13 7/8” x 9 7/8” [paper], 13 7/8” x 9 7/8” [image], undated |
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Teran, Pedro, Apotheosis #2, intaglio, 13 7/8” x 4 3/8”, edition 7/30, 1957 |
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Teran, Pedro, Star Angel, intaglio, 11 15/16” x 10 ¼” [paper], 8 13/16” x 7 5/16” [image], 1952 |
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Teran, Pedro, The Quill Pen, intaglio, 8 5/8” x 9 11/16” [paper], 6 7/8” x 8 ¾” [image], second state, edition 2/30, 1954 |
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Teran, Pedro, Toward the New Year, intaglio, edition 3/30, 6 3/8” x 15 15/16” [paper], 4 3/8” x 13 7/8” [image], 1953 |
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Teran, Pedro, Death and Transfiguration, intaglio, edition 6/30, 17” x 13” [paper], 9 ¾” x 7 ¾” [image], 1946 |
| Case |
| Museum Case A-VII |
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Medellin, Octavio, untitled [image of pre-Columbian figure], block print, 15 13/16” x 11 ¾” [paper], 11 ½” x 8 9/16” [image], circa 1938. Information from original mat: “From murals at the Temple of the Tigers, Chichén Itzá, Yucatan” |
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Medellin, Octavio, untitled [image of a hummingbird], six color block print,9 9/16” x 8 11/16” [paper], 4 5/16” x 5 9/16” [image], 1975. Image is from Medellin’s studies at Chichén Itzá in 1938. |
| Case |
| Museum Case A-XIII |
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Blackmon, Lawson, Octavio Working, watercolor on paper, 15” x 9 7/8” [paper], 1939 |
| Case |
| Museum Case C-III |
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Neuheisel [Steinfeldt], Cecilia, Octavio Medellin at Work, Villita Art Gallery, pencil on paper, 16 7/8” x 13 7/8” [paper], 1938 [?] |
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Sub-series 7: Works of Art on Paper [oversize]: circa 1949 - 1965 |
| Tube |
| Roll Storage Tube 1 |
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Medellin, Octavio, History of Mexico, pencil on paper, 86 ½” x 42” [paper], circa 1949 |
| Folder |
| Flat conservation Folder 1 |
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Twelve mural sketches for the “Stations of the Cross” mosaic in the St. Bernard of Clairvaux Catholic Church in Dallas, ca. 1957 - 1958. Four of the sketches are executed in colored pencil on medium weight, white paper. Eight are graphite on thin, lightweight, wood-based paper. |
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Station 1: colored pencil on paper, 12” x 26 ½” [paper] |
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Station 1: pencil on paper, 11 7/8” x 25” [paper] |
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Station 2 and Station 3: colored pencil on paper, 12” x 49 ½” [paper] |
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Station 2 and Station 3: pencil on paper, 11 ¾” x 49 5/8” [paper] |
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Station 4 and Station 5: colored pencil on paper, 12” x 49 ½” [paper] |
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Station 4 and Station 5: pencil on paper, 11 ¾” x 49 ½” [paper] |
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Station 6 and Station 7: colored pencil on paper, 12” x 51 ¾” [paper] |
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Station 6 and Station 7: pencil on paper, 11 ¾” x 52 ¼” [paper] |
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Station 8 and Station 9: pencil on paper, 11 ¾” x 49” [paper] |
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Station 10 and Station 11: pencil on paper, 11 ¾” x 49 ½” [paper] |
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Station 12 and Station 13: pencil on paper, 12” x 49 ½” [paper] |
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Station 14: pencil on paper, 11 ¾” x 24” [paper] |
| Folder |
| Flat conservation Folder 2 |
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Medellin, Octavio, Our Lady of the Seat of Wisdom, 1965, colored pencil on paper, 46 5/16” x 25 ½” [paper], 45 5/8” x 15 ¼” [image], undated. Note originally attached to drawing: “color design for glass windows, main wall of the sanctuary, Kennedy Memorial Chapel, University of Texas at Austin, Texas.” [note: the glass window is currently located at the University Catholic Center, UT Austin] |
Return to the Table of Contents
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Series 2: Clippings: 1972 - 2015
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This series contains sixty-two articles from various newspapers documenting Medellin’s art
career.
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| Box |
Folder |
| 1 |
1 |
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General - undated, 1970s |
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2 |
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General -1980s |
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3 |
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General - 1990s |
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4 |
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1990s – Press Coverage of The Figure in American Sculpture: A Question of Modernity, organized by the Los Angeles County Museum of Art, 1995 - 1996 |
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5 |
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2015 – “Church Windows by artist Octavio Medellin saved from Demolition” by Dianne Solis, Dallas Morning News, April 6, 2015 [computer print-out copies] |
| Box |
| Bywaters – Original Newspaper Box 2 |
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“Saving a Touch of Glass” by Dianne Solis, Dallas Morning News, April 7, 2015 |
Return to the Table of Contents
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Series 3: Correspondence: 1951 - 1995
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The correspondence files contains 923 letters and one audio letter relating to Medellin’s art career, colleagues and
professional contacts, commission works, and museum and gallery exhibitions. Included in the
correspondence are letters from the Creative Art Center of Dallas, Marie [Mitzi] Watts [Medellin’s art
representative], Saint Andrews Episcopal Church [Grand Prairie, Texas], and Temple Emanu-el
[Dallas]. Correspondence with professional associates includes David Hickman [Dallas artist] and
Marty Ray [North Lake College, Irving, Texas]. Additional correspondence files contain letters
between Medellin and museum directors and staff regarding his work in exhibitions at the Bronx
Museum of Art, New York [The Latin American Spirit: Art and Artists in the United States, 1920 –
1970], Dallas Museum of Art [Lone Star Regionalism] Huntington Art Gallery, University of Texas at
Austin [A Century of Sculpture in Texas, 1889 – 1989], and Yale University Art Gallery [South of the
Border: Mexico in the American Imagination, 1914 – 1947].
|
| Box |
Folder |
| 1 |
6 |
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Commission Work: “Saint Andrews Episcopal Church, Altar File”[Grand Prairie, Texas] |
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7 |
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Commission Work: Temple Emanu-El, Dallas |
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8 |
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undated [miscellaneous - including birthday cards, correspondence with art supply company] |
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9 |
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“Medellin Correspondence Prior to 1975” [begins in 1951] |
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10 |
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“Medellin Correspondence 1977” |
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11-12 |
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“Correspondence 1978” |
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13 |
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“Correspondence 1979” |
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14-15 |
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“Correspondence 1980” |
| Box |
Folder |
| 2 |
1-2 |
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“Correspondence 1981” |
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3 |
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“Correspondence 1982” |
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4-5 |
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“Correspondence 1983” |
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6-7 |
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“Correspondence 1984” |
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8-9 |
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“Correspondence 1985” |
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10 |
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“Correspondence 1986” |
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11-12 |
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“Correspondence 1987” |
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13 |
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“Correspondence 1988” |
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14-15 |
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“Correspondence 1989” |
| Box |
Folder |
| 3 |
1 |
|
“Correspondence 1990” |
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2-3 |
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“Correspondence 1991” |
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4 |
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“Correspondence 1992” |
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5 |
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Correspondence 1995 |
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Audio correspondence to Alfredo Guerra in New York from Octavio Medellin, 1979, cassette tape
(digitized)
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Series 4: Documents: 1930 - 1996
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The Documents contain 45 items relating to Medellin’s art career including commission work and his
art representative, Mitzi Watts. Additional documents contain Medellin’s student roll books, dated
circa 1953 through 1978, and information on the exhibition, A Century of Sculpture in Texas, 1889 –
1989, organized by the Huntington Art Gallery at the University of Texas at Austin. Also included is
an oral history transcription of an interview between Helen Stuhl, co-chairman of the Archives
Committee at Temple Emanu-El in Dallas, Texas, and Rabbi Levi A. Olan, dated March 22, 1978,
discussing the art work selected for the temple.
|
| Box |
Folder |
| 4 |
1 |
|
undated; Medellin’s autobiography [incomplete] |
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2-3 |
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Commission Work: Temple Emanu-El, Dallas, Texas |
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4 |
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Commission Work: “Saint Andrews Episcopal Church, Altar File” [Grand Prairie, Texas] |
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5 |
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1930s |
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6 |
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1940s |
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7 |
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1950s |
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8 |
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Records and Roll Book; undated |
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9 |
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Records and Roll Book; circa 1953 - 1957 |
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10 |
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Records and Roll Book; 1954 – 1955 |
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11 |
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Records and Roll Book. 1957 – 1959 |
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12 |
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Late 1950s – 1960s; The Hill & Griffith Co. [foundry supplies and equipment] |
| Box |
Folder |
| 5 |
1-3 |
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1970s |
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4-7 |
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1980s |
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8 |
|
1990s |
| Box |
| Flat Box 4 |
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Certificate: AIA Dallas, commendation presented to Octavio Medellin, from American Institute of Architects/Dallas, April 24, 1981 |
Return to the Table of Contents
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Series 5: Ephemera: circa 1972 – circa 1998
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The Ephemera files contain 134 items relating to such matters as Medellin’s endeavor to create
“Sculptureware,” business cards, and notes for his design for the altar at Saint Andrew’s
Church in Grand Prairie, Texas. 89 original notes taken from his art work, boxes, and photos are
housed with the cataloging sheets.
|
| Box |
Folder |
| 5 |
9-11 |
|
undated |
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12 |
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Commission Work: “Saint Andrews Episcopal Church, Altar File” [Grand Prairie, Texas |
|
13-14 |
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1970s |
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15 |
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1980s |
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16-25 |
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1990s: cataloging sheets and original labels removed from art work, boxes, and photographs |
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26-27 |
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1990s: original labels removed from photographs and slide boxes; also includes original photographic envelopes with handwritten notes |
Return to the Table of Contents
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Series 6: Negatives/Slides: circa 1914 – circa 1994
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290 slides and 32 negatives are in archival photo/slide boxes and 5079 slides are in flat slide boxes. The boxes contain images of Medellin, his family, colleagues, students, and his work. |
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Sub-series 1: Correspondence [Negatives of photographs attached to correspondence - cross-referenced to correspondence files]: 1987 - 1989 |
| Box |
Folder |
| Photograph/ Slide Box 1 |
1 |
|
“Correspondence 1987” |
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2 |
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“Correspondence 1989” |
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Sub-series 2: Medellin, Family, Friends, Other Artists: circa 1914 – 1980 |
| Box |
Folder |
| Photograph/ Slide Box 1 |
3 |
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undated [Frank Angona and David Hickman] |
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4 |
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Early 1900s |
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5 |
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1960s [Creative Arts Center of Dallas and Dallas Museum of Fine Arts School] |
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6 |
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1960s [includes slide of Carlos Mérida] |
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7 |
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1970s |
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8 |
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1980s |
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Sub-series 3: Medellin Sculpture: 1932 - 1994 |
| Box |
Folder |
| Photograph/ Slide Box 1 |
9-10 |
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1930s |
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11 |
|
1940s |
|
12-13 |
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1950s |
|
14-15 |
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1960s |
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16 |
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1970s |
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17 |
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1980s [Construction of Medellin’s sculpture The Adolescent] |
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18 |
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1980s [Medellin’s sculpture The Adolescent and Mazanticutli] |
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19 |
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1980s [“All Sculpture Photos”] |
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20 |
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1980s [Sculpture photos – unfinished] |
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21-22 |
|
1990s |
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Sub-series 4: Miscellaneous: circa 1960s – circa 1990s |
| Box |
Folder |
| Photograph/ Slide Box 1 |
23 |
|
undated |
|
24 |
|
1960s [slides of Marc Chagall’s stained glass windows Twelve Tribes of Israel] |
|
25-26 |
|
1990s [“around the studio grounds”] |
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Sub-series 5: Projects: circa 1953 – 1989 |
| Box |
Folder |
| Photograph/ Slide Box 1 |
27 |
|
1950s [Mercantile National Bank, Dallas, Texas] |
|
28 |
|
1950s [St. Andrews Church, Grand Prairie, Texas |
|
29-30 |
|
1950s [St. Bernard of Clairvaux, Dallas, Texas] |
|
31 |
|
1950s [Temple Emanu-El, Dallas, Texas] |
|
32 |
|
1960s [Garden of the Glorious Mysteries, cemetery, Dallas, Texas] |
|
33 |
|
1980s [Prince of Peace Church, Austin, Texas] |
|
34 |
|
1980s [The Promised Land, Temple Emanu-El, Dallas; beginning of construction 1981] |
|
35 |
|
1980s [The Promised Land, Temple Emanu-El, Dallas, beginning of construction, 1981 and 1982] |
|
36 |
|
1980s [The Promised Land, Temple Emanu-El, Dallas, Red Sea section, 1982] |
|
37 |
|
1980s [The Promised Land, Temple Emanu-El, “Splitting of the Red Sea,” 1982 |
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38 |
|
1980s [The Promised Land, Temple Emanu-El, installation, 1982] |
|
39 |
|
1980s [The Promised Land, Temple Emanu-El, dedication] |
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Sub-series 6: Flat Slide Boxes: 1950s – circa 1980s. Sub-series 6 includes links to digitized images from the Octavio Medellin: Works of Art and Artistic Processes website for slide boxes 1 – 2, 4, 6 – 9, 11. |
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|
|
Information for each box is the label identification written by Octavio Medellin. |
| Box |
| Flat Slide Box 1 |
|
|
All Personal Work, Color Slides, Octavio Medellin. All These Slides have been catalogued: |
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Landing Eagle |
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Bald Eagle |
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Altar |
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Hanging Pix |
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New City Hall |
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Salt and Pepper Shakers |
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River of Fire |
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Flat Slide Box 01 |
| Box |
| Flat Slide Box 2 |
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|
Octavio Medellin – These color slides constitute my personal work in various fields. Some on known artist work during the opening of the Hemisfair in San Antonio, Tx. Contemporary and old catholic churches in Mexico. Seminar on sculpture in Vermont, Vermont Marble Co. Hammered lead, investment of wax and bronze casting by students of the Medellin School of sculpture at the Creative Art Center, Dallas, Texas. Home and Studio in Bandera, Texas. Lake and house in Daingerfield, Tx. Young glass blowers in Monterrey, Mexico. Glass Seminar, Toledo, Ohio, Harvey Littleton – Directing. |
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Flat Slide Box 02 |
| Box |
| Flat Slide Box 3 |
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Student Work at: |
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The Dallas Museum of Fine Arts School |
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The Mendocino Art Center, Mendocino, CA |
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Gainesville Arts, Inc., Gainesville, Texas |
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The Medellin School of Sculpture, Dallas, TX |
| Box |
| Flat Slide Box 3 |
|
|
Experiments with Clay: |
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Terra-Cotta |
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Direct Modeling |
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Mold Making and Casting |
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Armature Making |
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Wood Carving |
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Stone Carving |
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Lost Wax, Bronze Casting |
| Box |
| Flat Slide Box 4 |
|
|
This box contains color slides of personal work in sculpture: |
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Lead Repoussé |
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Some Wood Carving |
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Stone Carving |
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Terra Cotta |
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Armature Making |
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My First Experiment in Glass |
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Mercantile National Bank Ceiling Glass Lights [Dallas, Texas] |
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Flat Slide Box 04 |
| Box |
| Flat Slide Box 5 |
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|
Color slides, most personal work, Medellin |
| Box |
| Flat Slide Box 6 |
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This box of slides contains the second and third trip to study relief carvings through many pre-Columbian ruins and temples: |
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Tamuín |
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Teopanzolco |
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Xochicalco |
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The Museum of Guatemala City |
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Quiriguá, Guatemala |
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Kaminaljuyu, Guatemala |
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Tula, Chichén Itzá, Yucatan |
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Palenque, Chiapas |
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El Tajin, Veracruz |
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Mitla, Uxmal |
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San Juan Teotihuacán and museum |
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Tenayuca, Kabha, The Museum in Jalapa |
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Monte Albán, Dzibilchaltún, La Venta |
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Villahermosa, Tabasco Museum |
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Flat Slide Box 06 |
| Box |
| Flat Slide Box 7 |
|
|
All these slides are catalogued: |
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Trinity Lutheran Church [Dallas, Texas] |
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Dallas Studio |
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Bishop Lynch High School [Dallas, Texas] |
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St. Paul the Apostle [Richardson, Texas] |
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[Catholic] Student Center [Austin, Texas] |
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Unitarian Church [Dallas, Texas] |
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St. Henry’s Church [Freeport, Texas] |
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Temple Emanu-El [Dallas, Texas] |
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Calvary Hill Cemetery [Dallas, Texas] |
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Luis Potosi Chapel [Mexico] |
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The Bather [sculpture] |
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Flat Slide Box 07 |
| Box |
| Flat Slide Box 8 |
|
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Not identified by Medellin [contains images of his drawings completed at Chichén Itzá] |
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Flat Slide Box 08 |
| Box |
| Flat Slide Box 9 |
|
|
All these slides are catalogued: |
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|
Crucifix, St. Andrew Catholic Church [Fort Worth, Texas] |
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Candlesticks and Procession Cross [Bishop Mason Retreat Center, Grapevine, Texas] |
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Reflections in Glass [sculpture] |
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Uplifting Force [sculpture] |
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Flat Slide Box 09 |
| Box |
| Flat Slide Box 10 |
|
|
All these slides have been catalogued, ‘Prometheus.’ St. Andrews Episc. Church, Candlesticks, Medellin School Students, Wood, Stone Carving. Metal Welded Constructions. Sculpture Studio, C.A.C. Dallas |
| Box |
| Flat Slide Box 11 |
|
|
Temple of the Jaguar [Chichén Itzá]: Wall carvings in relief, in the lower chamber. This frieze in low relief carving, represent the base between the floor and the three lines of warriors. #1 to #14. #1A slide, relief carving on the outer wall of same chamber. Color slides #1B – 2B-3B-8B-19B-24B are from block prints of this same project. The original linoleum blocks and drawings were given to the Syracuse University, Collection of Manuscripts of Sculptors in 1963. |
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Temple of the Jaguar [Chichén Itzá]: Wall carving in relief, in the lower chamber: #1 to #12 represent the upper line of the warriors; #5 and #6 are missing? #13 to #24 represent the center line of warriors. #25 to #36 represent the lower line of warriors. These slides were taken from the original drawings that were made on actual site in 1938. Original drawings of this research were given to the Syracuse University Library, Collection of Manuscript of Sculptors in 1963. |
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Flat Slide Box 11 |
Return to the Table of Contents
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Series 7: Photographs: circa 1914 - 1999
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461 photographs are in archival photo boxes. The boxes contain images of Medellin, his family, colleagues, students, and his work. |
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Sub-series 1: Photographs attached to correspondence [cross-referenced to correspondence files] 1978 - 1991 |
| Box |
Folder |
| Photograph/ Slide Box 2 |
1 |
|
1978 [“Correspondence 1978”] |
|
2 |
|
1981 [“Medellin Correspondence 1981”] |
|
3 |
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1983 [“Correspondence 1983, Dr. H. C. Coggenthall Paintings”] |
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4 |
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1984 [“Correspondence 1984”] |
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5 |
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1985 [“Correspondence 1985”] |
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6 |
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1986 [“Correspondence 1986”] |
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7 |
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1987 [“Correspondence 1987”] |
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8 |
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1988 [“Correspondence 1988”] |
|
9 |
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1989 |
|
10 |
|
1990 – 1991 [David Hickman] |
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Sub-series 2: Medellin, Family, Friends and Other Artists: circa 1914 - 1999 |
| Box |
Folder |
| Photograph/ Slide Box 2 |
11 |
|
Undated |
|
12 |
|
Undated [Frank Angona and David Hickman] |
|
13 |
|
Undated [Various Projects, Events, People] |
|
14 |
|
Early 1900s, original photograph of Medellin’s family taken around 1914 in Mexico; includes identification of family members |
|
15 |
|
1950s |
|
16 |
|
1970s |
|
17 |
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1980s [Photographs taken by David Hickman; includes Medellin’s sculpture at North Lake College, Irving, Texas] |
|
18 |
|
1980s [Creative Arts Center, student sculpture show, 1980] |
|
19 |
|
1990s [Various Projects, Events, People] |
|
|
|
Oversize Photographs: |
| Box |
| Flat Photograph/ Slide 1 |
|
|
1940s, 1950s, 1960s [images of Medellin] |
|
|
|
Sub-series 3: Medellin Sculpture: 1927 - 1994 |
| Box |
Folder |
| Photograph/Slide Box 2 |
20 |
|
Undated |
|
21 |
|
Undated [various photos of unfinished work] |
|
22 |
|
1920s |
|
23 |
|
1930s |
|
24 |
|
1940s |
|
25-27 |
|
1950s |
|
28 |
|
1960s |
|
29 |
|
1970s |
|
30 |
|
1970s [various photos of unfinished work] |
|
31 |
|
1980s [The Adolescent, construction and development] |
|
32 |
|
1980s [all sculpture photos] |
|
33 |
|
1980s [various photos of unfinished work] |
|
34 |
|
1980s [sculpture photos – unfinished] |
|
35-36 |
|
1990s |
|
|
|
Matted Photographs: |
| Case |
| Museum Case Ap-1-12 thru 16: |
|
|
Medellin Sculpture [OM.98.2 – 6], 1960s |
|
|
|
Oversize Photographs: |
| Box |
| Flat Photograph/ Slide Box 2 |
|
|
1930s - Medellin Sculpture |
| Box |
| Flat Photograph/ Slide Box 3 |
|
|
1940s - Medellin Sculpture |
| Box |
| Flat Photograph/ Slide Box 4 |
|
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1950s - Medellin Sculpture |
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|
|
Sub-series 4: Miscellaneous: 1938 - 1992 |
| Box |
Folder |
| Photograph/Slide Box 3 |
1 |
|
Undated [empty photo negatives sleeves] |
|
2 |
|
1930s [duplicate photos from Medellin’s photo scrapbook Maya – Toltec Temples and Carvings, 1938] |
|
3 |
|
1990s [“around the studio grounds”] |
|
|
|
Sub-series 5: Projects: 1953 - 1989 |
| Box |
Folder |
| Photograph/Slide Box 3 |
4 |
|
1950s [St. Andrews Church, Grand Prairie, Texas] |
|
5 |
|
1950s [St. Bernard of Clairvaux Church, Dallas, Texas |
|
6 |
|
1950s [Temple Emanu-El, Dallas, Texas] |
|
7 |
|
1960s [Garden of Glorious Memories, Dallas, Texas] |
|
8 |
|
1970s [“Experiment in Production of Sand Casting in Aluminum”] |
|
9 |
|
1980s [Prince of Peace Church, Austin, Texas] |
|
10 |
|
1980s [Installation of Medellin’s sculpture The Promised Land at Temple Emanu-El, Dallas] |
|
11 |
|
1980s [Dedication, The Promised Land at Temple Emanu- El] |
|
|
|
Oversize Photographs: |
| Box |
| Flat Photograph/ Slide Box 5 |
|
|
1950s – Mercantile Bank project [glass inserts] |
Return to the Table of Contents
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Series 8: Publicity: 1941 - 1996
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The Publicity files contain 77 items relating to Medellin’s career, including bulletins from North
Texas State Teachers College and brochures from the Medellin School of Sculpture and the Creative
Arts Center of Dallas. Additional items include invitations and brochures from galleries and
museums exhibiting his work.
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Folder |
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1 |
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undated |
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2 |
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1940s |
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3 |
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1960s |
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4 |
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1970s |
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5-7 |
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1980s |
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8 |
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1990s |
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| Flat Box 5 |
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Brochure [copies, oversize] - Medellin School of Sculpture, Creative Arts Center of Dallas, 122 E. Fifth Street, Dallas, Texas 75203, 1969 - 1970 |
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Posters , North Lake College Irving, Texas; mentions the unveiling of Medellin’s sculpture on October 6, 1987 |
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1987 Calendar |
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1987 – 1988 Calendar |
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Series 9: Published Works: 1943 - 1997
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106 items in the Published Works files include art portfolios, books, catalogues, and newsletters
relating to Medellin’s art career, travels, his interest in pre-Columbian and Mexican art, and
his contemporaries.
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Folder |
| 6 |
9 |
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undated |
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10 |
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1940s |
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11 |
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1950s |
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12 |
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1970s |
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13 |
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1990s |
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| Flat Box 5 |
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Dipinti Di Leonardo Da Vinci [portfolio; incomplete] |
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| Flat Box 6 |
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Publications containing photographs of Medellin’s work or of special interest to the artist; including, Artforum, Prism, Neiman Marcus [The Book, The Guide – The Anniversary House], Southern Accents |
Return to the Table of Contents
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Series 10: Scrapbooks: 1938 - 1996
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The three scrapbooks are in their original bindings. The scrapbook entitled Maya-Toltec Temples and
Carvings, 1938 is post-bound with a hand-made wooden cover and back. The 181 black and white
photographs taken by Octavio Medellin documents his six-month travel in Mexico with his family in
Mexico where he studied the Mayan ruins at Chichén Itzá and Uxmal.
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The second scrapbook is fabric covered with a spiral binding and consist of 107 color photographs
and 2 black and white photographs. The photographs are images of Octavio Medellin, Consuelo
Medellin [wife], Patsy Medellin McDonald [daughter], David Hickman [artist], Marty Ray [artist],
Patricia Meadows, and Sam Ratcliffe. The photographs were taken at various locations including
Medellin’s home and sculpture studio [Bandera, Texas], St. Bernard of Clairvaux [Dallas, Texas] and
North Lake College [Irving, Texas].
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The third scrapbook has a brown leather binding with the name “Octavio Medellin” imprinted on the spine. The scrapbook contains brochures, magazine and newspaper clippings, exhibition catalogues, and newsletters documenting the artist’s career, circa 1943 – 1996. |
| Shelf |
| Metal shelf “Medellin” |
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Maya-Toltec Temples and Carvings, 1938 |
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| Flat Box 7 |
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Untitled, circa 1980s – circa 1990s |
| Box |
| Flat Box 8 |
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Octavio Medellin |
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Series 11: Three-Dimensional Objects: 1977
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The one three-dimensional object is a plaque with a metal plate mounted on a wood base. |
| Box |
| Flat Box 9 |
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Plaque, presented to Octavio Medellin from the Texas Fine Arts Association, Region 2, Lifetime Membership, November, 1977; inscribed: “For His Continuous and Outstanding Contributions to the Visual Arts” |
Return to the Table of Contents
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