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MERRITT MAUZEY PAPERS

de Grummond Children's Literature Collection
The University of Southern Mississippi


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Creator: Merritt Mauzey
Title: Merritt Mauzey Papers
Dates: ca. 1912 - 1979
Dates: [bulk ca. 1933 - 1973]
Quantity: 14.8 cubic feet (22 boxes, 2 map case drawers)
Identification: DG0680

Abstract: Merritt Mauzey was a self-styled primitive artist, primarily known for his lithographs of depression-era dry land cotton farmers in Texas. These "cotton series" lithographs became the illustrations for several important children's books, including Cotton-Farm Boy and Texas Ranch Boy. The Merritt Mauzey Papers contain production materials for eight books and seven articles published between 1953 and 1979. They also include more than eighty-five lithographic prints unrelated to published books, small sketches, and lithographic prints by more than ninety other Texas artists.

Biographical Note

Merritt Mauzey was born in 1897 near Sweetwater, Texas, the youngest of nine children born to a devout Presbyterian sharecropper family. He became a cotton sharecropper himself, but the combined effect of grasshopper infestation, hail storms, and army worms convinced him to abandon that way of life. He did a variety of jobs in Sweetwater, but in 1927 he, his wife Maggie, and son, Merritt Jr., moved to Dallas where Mauzey began work as a clerk in a cotton exporting firm.

Mauzey and his brother had taken correspondence art classes as boys and Merritt continued his interest by taking evening art classes at a local technical high school in 1933. In his first two years of study he created 24 designs on copper, many of them depicting his beloved Texas cotton country. He also began painting in oils at this time, and two of his oils were selected for an art show at the Texas Centennial Exposition of 1936. After deciding on lithography as his primary artistic medium, Mauzey began sending his drawings to a Philadelphia printer who pressed the drawings onto lithograph stones and then made prints from them. Mauzey later purchased his own lithographic stones and press, allowing him to print not only his own creations, but those of other lithographic artists as well.

Once Mauzey discovered his talent, he quickly became consumed with what he deemed "the fanatical pursuit of my obsession." His artistic pace exhausted him and affected his health. He left his job at the cotton exporting firm and did odd jobs while teaching lithographic drawing technique classes. In 1943 he went to work for the Firestone Tire and Rubber Company of Dallas, staying there for the remainder of his career. He worked more than 50 hours per week at his daytime job while continuing to draw, paint, and write at night. This hectic schedule resulted in a bleeding ulcer, a condition which occurred off and on for the rest of his life, hospitalizing him as often as every other year.

Perhaps the highlight of his artistic career came in April 1946 when he became the first Texan to receive the John Simon Guggenheim Memorial Award, allowing him to spend an entire year exclusively pursuing his art. His cotton series prints eventually were published in book form as illustrations for The Land of Beginning Again, Cotton-Farm Boy, and Texas Ranch Boy. Later lithographs provided illustrations and text for Rice Boy, Rubber Boy, and Oilfield Boy. Mauzey also drew on yet another of his deep-seated passions, his Christian faith, to render interpretations of Old and New Testament stories and expressions of the Psalms. In his lifetime Mauzey donated or sold more than 1,000 prints and sketches to more than fifty museums, libraries, universities, schools, and private collections around the world. He had completed illustrations for two new stories, "Sugar Boy" and "Spice Boy," and was working on the text for the prints when he passed away in 1973 at the age of seventy-six.

Compiled from sources within the Merritt Mauzey Collection


Scope and Content Note

The Merritt Mauzey Papers contain typescripts, linoleum blocks, copper plates, lithographs, a lithographic stone, oil paintings, sketches, printed material, and correspondence created and accumulated by Merritt Mauzey between 1912 and 1973. They also contain production materials for a catalogue of his papers published in 1972 by the Library of the University of Southern Mississippi. The Merritt Mauzey Papers are organized into nine series: biographical, literary, artwork not published in books, sketches, lithographic prints by acquaintances, art exhibits, clippings, personal papers, and the University of Southern Mississippi.

The Biographical Series contains five autobiographical sketches created and updated by Mauzey between the mid-1960s and 1973. It also includes biographical journal articles, clippings, and a photocopy of an entry written by Carl Zigrosser for The Artist in America. Mauzey acknowledged this particular piece not only as an excellent biographical resource, but also credited it as a springboard to his career.

The Literary Series is divided into two subseries: Books and Articles. The Books Subseries contains typescripts, a linoleum block, an aluminum plate, black & white and colored lithographic prints, oil paintings, and galleys created by Merritt Mauzey for six books published between 1952 and 1963. A seventh book, Mauzey's autobiography, was edited and published posthumously in 1979. The papers in the subseries are arranged alphabetically by title and the material for each book is arranged chronologically in order of creation when known. Of primary importance in this subseries are the "cotton series" lithographs which illustrate The Land of Beginning Again, Cotton-Farm Boy, and Texas Ranch Boy. Owing to the notoriety of this particular group of prints, the titles of individual prints are given in the container listings for these three books. Lithographs appearing in more than one book have been filed with the material for the book in which they first appeared. Mauzey titled, pencil signed, and numbered all of his prints, but he often mislabeled them, sometimes giving the same title to two prints of similar subject matter or occasionally assigning different titles to the same print at different times. For cases of misnaming, the container listing provides all of the titles ever given to a particular lithograph, but the title used in publication is always listed first.

The Books Subseries contains production material from all phases of the lithographic process. It includes pencil drawings on paper, also called line drawings, which were used to trace an image onto a flat stone or metal plate. A lithographer next draws directly onto the surface with a grease pencil, crayon, or some other substance to which printing ink will adhere. A special press exerts pressure sufficient to draw up the ink and print the lithograph onto a sheet of paper. The Books Suberies includes several copper plates, one stone, and numerous hand-colored prints in addition to black & white prints.

The Articles Subseries includes typescripts and clippings related to seven journal and newspaper articles written by Mauzey between 1955 and 1973. Several newspaper articles recount the international trips he took later in life. The Sketches Series contains illustrations drawn during these trips. The material in the subseries is arranged alphabetically by title.

The Artwork Not Published in Books Series contains individual finished lithographs never published in book form. It includes pencil drawings, copper plates, and black & white or hand-colored lithographic prints. Mauzey created lithographs on a variety of topics, although most refer to the Texas cotton country he knew so well. In addition to agricultural themes are several lithographs on World War II themes, including "I Would Come to Destroy not Save" and "My Brother's Keeper," a lithograph created to raise money for the British war relief effort. Mauzey, a white man, produced many striking lithographs featuring African-American Texas cotton workers, such as "Mother & Child," "Basket Method," and "Weighing Time." The series also contains Mauzey illustrations used as cover art for Farm and Ranch magazine. All lithographic prints are titled, pencil signed, and numbered, although Mauzey often mislabeled lithographs just as he had done with his books. The material in the series is arranged alphabetically by title.

The pencil and ink sketches in the Sketches Series are all drawn on shirt-pocket-sized pieces of paper that Mauzey used to capture images of people, places, and things during idle moments. He created many drawings while in church, at hospitals, or in airports, usually sketching head and shoulder profiles of the people who sat near him. Many of the drawings in this series Mauzey made during his trips to Western Europe in 1969, Eastern Europe in 1970, around the world in 1971, and to Africa in 1972. The Articles Subseries of the Literary Series offers a complete description of these trips. The sketches are arranged categorically and chronologically, where applicable.

The Lithographic Prints by Acquaintances Series consists of prints created by friends, students, and other acquaintances of Mauzey between about 1933 and 1942. Some of the artists represented in the series joined Mauzey in creating the Lone Star Printmakers, a small group of Texas artists organized in 1938 to conduct a traveling exhibition to showcase the talent of emerging Texas artists. Among the state's prominent printmakers represented here are Ed Bearden, Charles Bowling, Carroll Cloar, Edward G. Eisenlohr, Arthur William Heintzelman, H.O. Robertson, and Chang Reynolds. Other artists whose work Mauzey collected were his students in the lithographic technique classes that he taught from his garage studio and during one semester at the Dallas Museum of Fine Arts. Mauzey also printed many of the lithographs contained in the series. The prints in the series are arranged alphabetically by the name of the artist and multiple prints for some artists are arranged alphabetically by title.

Mauzey showed his art in dozens of exhibits, including more than thirty one-man shows. The Art Exhibits Series contains catalogues and clippings related to selected art exhibits shown worldwide between 1939 and 1971. Of note is material related to an Office of War Information (OWI) exhibit entitled "Contemporary American Prints," an overseas traveling exhibit displaying American regional art in 1944. The material in the series is arranged chronologically.

Mauzey, by his own admission, stayed too busy to keep up properly with his paperwork. His disorganization is apparent in the Clippings Series. It is a hodgepodge assortment of newspaper clippings and other ephemera that Mauzey collected and attached to thin sheets of cardboard measuring 10 inches by 11 inches. The clippings concerned diverse topics such as book reviews, book signing notices, public appearances, and art exhibitions. Mauzey attached items to boards with no apparent arrangement in mind. A single board could contain anywhere from one to six items of widely varying dates. Clippings often physically overlapped each other, making reading sometimes difficult. The clippings have been photocopied for preservation and are arranged chronologically by the earliest date represented on each cardboard sheet.

The Personal Papers Series is divided into six subseries: Material Related to Artwork, Letters Received, Awards, Donations, Public Appearances, and Church. The Material Related to Artwork Subseries includes brochures, articles, and clippings about Mauzey's artwork, as well as black & white and color prints unrelated to Texas. The subseries also includes personalized artistic greeting cards sent by Merritt and Maggie Mauzey in the 1960s. The Letters Received Subseries contains fan mail and personal correspondence. Noteworthy here is a 1955 letter received from Texas Congressman Lyndon B. Johnson thanking the Mauzeys for their 1954 Christmas card.

The Awards Subseries consists of newspaper clippings, a congratulatory telegram, and an actual red ribbon won by a Mauzey lithograph. The Donations subseries is composed primarily of correspondence with more than a dozen museums and libraries to whom Mauzey donated artwork or books in the late 1960s, particularly after his wife's death in 1968. The Public Appearances Subseries is composed mostly of newspaper clippings regarding talks that Mauzey gave to women's groups and artistic or literary organizations in the 1960s. Mauzey and his wife were active members of the University Park Methodist Church in Dallas. The Church Subseries contains clippings about Mauzey that appeared in the church's weekly newspaper. It also includes a church publication using a Mauzey illustration and an announcement of a men's meeting at which Mauzey spoke. All material in the Personal Papers Series is arranged chronologically.

The University of Southern Mississippi series documents the university's role in establishing, assembling, organizing, and exhibiting the Merritt Mauzey Papers. It includes material related to the University Library's creation of the comprehensive Catalogue of the Merritt Mauzey Collection, published in 1972. The material is arranged chronologically by order of creation when known. The series also includes correspondence between Mauzey and the de Grummond Children's Literature Collection from 1966 to 1973. The letters were selected and photocopied from the correspondence file of the de Grummond Collection because they provide information on Mauzey's artwork and life. They are arranged chronologically.


Series and Subseries

A. Biographical (1942-1973)
B. Literary (1952-1979)

1. Books

An Artist's Notebook: The Life and Art of Merritt Mauzey (1979)

Cotton Farm Boy (1953)

Land of Beginning Again: Romance of the Brazos (1952)

Oilfield Boy (1957)

Rice Boy (1958)

Rubber Boy (1962)

Salt Boy (1963)

Texas Ranch Boy (1955)

2. Articles

"African Safari Tops All Thrills for Roving Artist" (1973)

"Artist's Christmas in Mexico" (n.d.)

"Behind the Iron Curtain" (1970)

"A Book of Art is Born" (1955)

"Europe Tour Fulfills Dream" (1970)

"Lithography as a Fine Art" (1955)

"Poco, the Pet Coyote" (1968)

C. Artwork Not Published in Books (1912-ca. 1950s)
D. Sketches (1965-1973)
E. Lithographic Prints by Acquaintances (ca. 1933-1942)
F. Art Exhibits (1939-1971)
G. Clippings (1937-1968)
H. Personal Papers (1938-1973)

1. Related to Artwork

2. Letters Received

3. Awards

4. Donations

5. Public Appearances

6. Church

I. University of Southern Mississippi (1966-1973)


Restrictions

Restrictions on Use

Noncirculating; available for research.

Copyright Restrictions

The collection is protected by the Copyright Law of the United States (Title 17, U.S. Code). Reproductions can be made only if they are to be used for "private study, scholarship, or research." It is the user's responsibility to verify copyright ownership and to obtain all necessary permissions prior to the reproduction, publication, or other use of any portion of these materials, other than that noted above.


Administrative Information

Preferred Citation

(Identify the item and cite the series), Merritt Mauzey Papers, de Grummond Children's Literature Collection, University of Southern Mississippi Libraries.

Provenance

These papers were donated to the de Grummond Children's Literature Collection of the University of Southern Mississippi Libraries by Merritt Mauzey between 1966 and 1973.

Processing Information

Processed by C. Alder, October 2002. Encoded into EAD Version 1.0 by Danielle L. Bishop. This finding aid is the product of a grant funded by the National Endowment for the Humanities.


Container Listing

Box/Folder

.

A. Biographical

First typed autobiographical sketch, edited, [ca. 1960-1965], (1 item)
Second typed autobiographical sketch, (1 item )
Printed cards, "To 'Maggie' in Memory of our Teen-age Dreams," 1968, (4 items)
Third typed autobiographical sketch, [ca. 1969], (2 items )
Fourth typed autobiographical sketch, 1 May 1971, (1 item )
Fifth typed autobiographical sketch, [ca. 1973], (6 items )
Photocopy of "Merritt Mauzey" by Carl Zigrosser in The Artist in America: Twenty-four Close-Ups of Contemporary Printmakers, with front dust jacket and book review, 1942, (3 items)
"Sermons on Stone: The Lithographs of Merritt Mauzey" by Ruth Morgan in The Southwest Review, Spring 1947, (1 item)
"Sermons in Stones . . ." by Luise Putcamp, Jr. in Town-North, October 1953, (3 items)
Typed biographical sketch composed by the University of Southern Mississippi Library for a Merritt Mauzey exhibit, October 1968, (3 items)
Handwritten biographical notes by unknown source, (1 sheet)
Clippings, 1942-1972, (11 items )



.

B. Literary

1. Books
An Artist's Notebook: The Life and Art of Merritt Mauzey by Merritt Mauzey, posthumously edited by Gordon Weaver (Memphis: Memphis State University Press, 1979)
Typescript for chapters 1-8, edited, (39 pp.)
Typescript for chapters 9-15 and chronology, edited, (55 pp.)
Cotton-Farm Boy story and illustrations by Merritt Mauzey (New York: H. Schuman, 1953)
"New Age," frontispiece: black & white print, hand-colored lithograph, and page layout, (3 items )
"Billy," p. 15: black & white print and hand-colored lithograph, (2 items )
22"Billy / Forgotten": framed oil painting, (1 item )
"Volunteer Cotton," p. 17: pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Volunteer Cotton," p. 17: issue of Mississippi Review, v.2 no. 1, 1973, featuring print on cover, with attached note, (1 item)
"October," p. 18: pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Home on the Range," p. 19: black & white print and hand-colored lithograph, (2 items )
"Bob Smith, Grubber," p. 21: black & white print, ( 1 item)
"Post Cutter," p. 23: pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Ed's Place," p. 26: pencil drawing and black & white print, (2 items )
"The Lagow Place," p. 27: black & white print, (1 item )
"Oasis / Water Tank," p. 28: black & white print, (1 item )
"Dave Henry's Rig," p. 29: black & white print and hand-colored lithograph, (2 items)
"Prairie Ghost," p. 31: pencil drawing and black & white print, (2 items )
"Leander [1917]," p. 33: black & white print and two-sided hand-colored lithograph, (2 items)
"Bill Kitchens [1917]," p. 35: black & white prints and hand-colored lithograph, (3 items )
"The Drummer," p. 36: pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Black Snake Demonstration," p. 37: pencil drawing and black & white print, (2 items)
"Nomads," p. 38: pencil drawing and black & white print, (2 items )
"Pack Peddler," p. 39: black & white print and hand-colored lithograph, (2 items)
"Sheepherder," p. 41: black & white print, (1 item )
"Andrew Goodman," p. 43: black & white print, (1 item)
"Devotion," p. 45: black & white print, (1 item )
"Southern Memories," p. 46: black & white print of early version; aluminum plate, black & white print, hand-colored lithograph, and clipping of final version, (5 items)
"Admiration," dust jacket and p. 47: hand-colored lithograph, (1 item )
"Winter Southland," p. 50: pencil drawing and black & white print, (2 items)
"Mellow the Earth," p. 51: pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Good Earth," p. 52: pencil drawing and black & white print, (2 items)
"Brothers," p. 53: black & white print, (1 item )
"Crop Talk," p. 55: pencil drawing and black & white print, (2 items)
"Tournament Practice / Tournament Races," p. 57: black & white print and hand-colored lithograph, (2 items)
"Snap," p. 58: pencil drawing and black & white print, (2 items)
"Brush Arbor," p. 59: black & white print, (1 item )
"Circuit Rider," p. 61: pencil drawing, black & white print, and tear sheet, (3 items)
"Their Lot," p. 62: pencil drawing and black & white print, (2 items )
"Bumblebee Cotton," p. 64: pencil drawing, black & white print, and hand-colored lithograph, ( 3 items)
"Cotton Wagon," p. 68: pencil drawing and black & white print, (2 items)
"Day's End," p. 69: pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Trip to the Gin," p. 70: black & white print, (1 item )
"Cotton Yard," p. 71: black & white print, (1 item )
"Burning Stalks / Harvest End," p. 72: pencil drawing and black & white prints, (3 items)
"Year's End," p. 73: black & white print, (1 item )
"Molten Skies," p. 74: pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Cotton Compress," p. 75: black & white print, (1 item )
"Down the River," p. 77: black & white prints and hand-colored lithograph, (3 items)
"To Distant Shores," p. 78: pencil drawing and black & white print, (2 items )
Page proofs of half-title page, chapter titles, dedication, and introduction, edited and marked for publication, (2 sheets)
First galley, edited, (9 sheets)
Second galley, (8 sheets )
Paste-up of title page, (1 item)
Order forms and 1953-54 catalogue from Abelard-Schuman, (3 items)
Clippings re reviews, book publication, and public appearances, 1954-1956, (20 items)
Clippings and letters received re donation of copies of Cotton-Farm Boy to libraries in Southwest states, March-October 1956, (36 items )
The Land of Beginning Again: The Romance of the Brazos by Julien Hyer, illustrations by Merritt Mauzey (Atlanta: Foote & Davies, Inc., 1952)
"Salt Lick," p. 5: black & white print and hand-colored lithograph, (2 items)
"River Nocturne," p. 21: black & white print, (1 item )
"The Giles Place," p. 37: pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Twilight / Parker Ranch / Sundown," p. 53: black & white print and hand-colored lithograph, (2 items)
"Twilight / Parker Ranch / Sundown," p. 53: linoleum block for early version, (1 item)
"Shiner," p. 85: pencil drawing, black & white print, hand-colored lithographs, and Farm and Ranch magazine covers, November 1937, (6 items)
"Thy Kingdom / Our Dreams," p. 101: black & white print and hand-colored lithograph, (2 items)
"Rendezvous," p. 117: pencil drawing, black & white print, and hand -colored lithograph, (3 items)
"Early Morn / Morning," p. 133: pencil drawing and black & white print, (2 items)
"November," p. 149: pencil drawing and black & white prints, (3 items)
"Snubbing Post," p. 165: black & white print, (1 item )
"The Harrow," p. 181: pencil drawing and black & white print, (2 items)
"Evangeline Country," p. 197: pencil drawing and black & white print, (2 items)
"Invasion," p. 213: black & white print, (1 item )
"Plainsman's Dream," p. 229: black & white print, (1 item)
"Early Spring," p. 245: black & white print, (1 item )
"While the Sun Shines," p. 261: black & white print, (1 item)
"Goat Ranch," p. 277: hand-colored lithograph, (1 item )
"Adam's Ale," p. 293: pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Tail Him Up," p. 309: black & white print, (1 item )
"New Ground," p. 325: black & white print and hand-colored lithograph, (2 items)
"The Well," p. 341: black & white print and hand-colored lithograph, (2 items )
"Wind Break," p. 357: pencil drawing and black & white print, (2 items )
"Pumper's House," p. 373: hand-colored lithograph, (1 item )
Clippings re review, book publication, and public appearances, 1952, (3 items)
Oilfield Boy story and illustrations by Merritt Mauzey (London, New York: Abelard-Schuman, 1957)
Typescript, including front matter, edited and marked for publication, (65 pp.)
Publisher promotional pieces and clippings re reviews and personal appearances, 1957, (8 items)
Program and clippings re donation of 41 lithographs to Nicholson Memorial Library in Longview, Texas, 1967 and 1971, (8 items)
Rice Boy story and illustrations by Merritt Mauzey (London, New York: Abelard-Schuman, 1958)
Typescript, including front matter, edited and marked for publication, (46 pp.)
Unused original black & white lithograph: "Lo Feng Lo - Rice Boy," (1 item )
Original black & white lithographs: pp. 7, 9, and 11-12, (4 items )
Original black & white lithographs: pp. 13-14 and 16-17, (4 items )
Original black & white lithographs: pp. 18-19 and 21-23, (5 items )
Original black & white lithographs: pp. 24-25, 27, and 29, (4 items )
Original black & white lithographs: pp. 31-35, (5 items )
Original black & white lithographs: pp. 36-39, (4 items )
Original black & white lithographs: pp. 40-44, (5 items )
Original black & white lithographs: pp. 45-48, (4 items )
Original black & white lithographs: pp. 49-53, (5 items )
Original black & white lithographs: pp. 54-57, (4 items)
Original black & white lithographs: pp. 58-61, (4 items)
Original black & white lithographs: pp. 63, 65-66, and 68, (4 items )
Original black & white lithograph: endpapers, (1 item)
Dust jacket, (1 item )
Reviews, 1958-1960, (10 items)
Rubber Boy story and illustrations by Merritt Mauzey (London, New York: Abelard-Schuman, 1962)
First typescript, edited, marked 'Original Manuscript,' (53 pp.)
Second typescript, edited and marked for publication, (48 pp.)
Unused original black & white lithographs: "Amos," "Baking," and "The Big Squeeze," (3 items)
Unused original black & white lithographs: "Centrifuging," "Coagulated," and "Collecting," (3 items)
Unused original black & white lithographs: "Concentrated," "Dried Crepe," and "Early Botanical Research," (3 items)
Unused original black & white lithographs: "From the Jungle," "Harbel Dock," and "Home," (3 items)
Unused original black & white lithographs: "Last Experiment," "Late Botanical Research," and two versions of "Liberian Friend," (4 items)
Unused original black & white lithographs: "Map," "Marketing," and "Milling," (3 items)
Unused original black & white lithographs: "Off to the Trek," "Road Block," and "Rubber Boy," (3 items)
Unused original black & white lithographs: "Ruth," "School Day," and "Smoking," (3 items)
Unused original black & white lithographs: "To Market," "Topper," and "Tragedy," (3 items )
Original black & white lithographs: endpapers and pp. 11-12, (4 items )
Original black & white lithographs: pp. 15 and 17-18, (3 items )
Original black & white lithographs: pp. 20-21 and 23, (3 items )
Original black & white lithographs: pp. 24-26, (3 items )
Original black & white lithographs: pp. 27 and 29-30, (3 items)
Original black & white lithographs: pp. 31-32 and 34, (3 items )
Original black & white lithographs: pp. 35-36 and 38, (3 items )
Original black & white lithographs: pp. 39-41, (3 items )
Original black & white lithographs: pp. 42-43 and 45, (3 items)
Original black & white lithographs: pp. 46-48, (3 items )
Original black & white lithographs: pp. 49-52 and 54, (4 items)
Original black & white lithographs: pp. 55-57 and 59, (4 items )
Folded and gathered sheets, (2 items )
Dust jackets, (4 items )
Clippings re reviews and book publication, 1962-1963, (7 items)
Display posters, (2 items )
Salt Boy story and illustrations by Merritt Mauzey (London, New York: Abelard-Schuman, 1963)
Typescript, including front matter, edited and marked for publication, (48 pp.)
Unused original black & white lithographs: title page, "Around the World with Salt," and "Benvenuto Cellini's Salt Cup," (3 items)
Unused original black & white lithographs: "Palmyra," "Salt Cellar," and "Salt Dome," (3 items)
Unused original black & white lithographs: "Salt Gusher," "Timbuktu," and endpapers, (4 items )
Negative lithograph of endpapers and original positive black & white lithographs for pp. 7 and 10, (3 items)
Original black & white lithographs: pp. 13-15, (3 items)
Original black & white lithographs: pp. 16-18, (3 items )
Original black & white lithographs: pp. 19-21, (3 items )
Original black & white lithographs: pp. 22-25, (3 items )
Original black & white lithographs: pp. 26-28, (3 items )
Original black & white lithographs: pp. 29 and 31-32, (3 items)
Original black & white lithographs: pp. 34-35 and 37, (3 items )
Original black & white lithographs: pp. 38 and 40-41, (3 items )
Original black & white lithographs: pp. 42-44, (4 items )
Original black & white lithographs: pp. 45-47, (3 items )
Original black & white lithographs: pp. 48-50, (3 items)
Original black & white lithographs: pp. 51-53, (3 items )
Original black & white lithographs: pp. 55 and 59-60, (3 items)
Clippings re reviews and book signing, 1963, (12 items )
Texas Ranch Boy story and illustrations by Merritt Mauzey (New York: Abelard-Schuman, 1955)
Typescript, including front matter, edited, (53 pp.)
Book dummy with illustration and text boxes, (5 signatures)
"Transition," p. 10: pencil drawing and black & white prints, (3 items)
"Resourceful," p. 15: pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Ballard Ranch," p. 17: black & white print, (1 item )
"Railroad Town," p. 21: pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Railroad Town," p. 21: lithographic stone, (1 item)
"Rock Pens / Bolin Ranch," pp. 22-23: pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Frisky Critters," p. 24: pencil drawing, black & white prints, and hand-colored lithograph, (4 items)
"Nugent's Homestead," p. 25: black & white print, (1 item)
"The Whippoorwills' Song," p. 27: pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Building a Water Tank," p. 30: pencil drawing and black & white print, (2 items)
"Moonlight Serenade," p. 33: black & white print, (1 item )
"Cornered," pp. 36-37: pencil drawing and black & white print, (2 items)
"Cold Trail," p. 39: black & white print, (1 item )
"Prairie Fire," p. 41: black & white print, (1 item )
"Ravens," p. 43: black & white print and hand-colored lithograph, (2 items)
"Milo-Maize," p. 49: black & white print, (1 item )
"Grove Meeting For Women," p. 51: pencil drawing and black & white print, (2 items)
"Grove Meeting For Men," p. 52: pencil drawing and black & white print, (2 items )
"Autumn," p. 55: pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Autumn," p. 55: framed oil painting, (1 item )
"Frosty Morn" p. 56-57: black & white print, (1 item)
"Gray December," p. 62: pencil drawing and black & white print, (2 items)
"Winter Time," p. 63: pencil drawing, black & white print, and hand-colored lithographs, (4 items)
"Hobbles and Morrals," p. 67: pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Boatright Ranch," p. 69: black & white print, (1 item)
"Sand Storm and Tumbling Weeds," p. 71: pencil drawing and black & white print, (2 items)
"Right of Way," p. 72: pencil drawing and black & white print, (2 items )
"Road to Blackwell," p. 73: black & white print, (1 item )
"Texas Highway," p. 74: black & white print and hand-colored lithograph, (2 items)
Publisher promotional pieces and clippings re reviews and public appearances, 1955-1956, (17 items)
2. Articles
"African Safari Tops All Thrills for Roving Artist," Dallas Morning News, 21 January 1973: photocopy of typescript and published article, (3 items)
"Around the World in 35 Days," Dallas Morning News, 20 February 1972: typescripts and carbon copies of typescripts, (5 items)
"Artist's Christmas in Mexico," Park Cities News, n.d.: typescript, (1 item)
"Behind the Iron Curtain," Dallas Morning News, 23 August 1970: typescripts, ( 2 items)
"A Book of Art is Born," Today's Art, January 1955: published article and photocopy of published article, (2 items)
"Europe Tour Fulfills Dream," Dallas Morning News, 22 February 1970: typescript and photocopy of article, (2 items)
"Lithography as a Fine Art," Today's Art, October 1955: photocopy of cover and published article, (1 item)
"Poco, the Pet Coyote," Cattleman Magazine, January 1968: typescript and photocopy of article, (2 items)
C. Artwork Not Published in Books
"Adobe": copper plate, dry point etching, and clipping, 1938, (3 items)
"Adoration": pencil drawing and black & white print, (2 items )
"Along the Way": pencil drawing and black & white print, (2 items)
"Army Worms / Crop Dusting": pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Around the Bend": black & white print and hand-colored lithograph, (2 items)
"Basket Method / Gleaners": pencil drawing and black & white print, (2 items )
"Blue Norther": pencil drawing and hand-colored lithograph, (2 items )
"Brooks House": black & white print, ( 1 item )
"Buck and Annie": pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Cedar Gap": pencil drawing and black & white print, (2 items )
"Challenge / Dark Days": pencil drawing and black & white prints, (3 items)
"Chopping Time / Lord and Master": pencil drawing and black & white prints, (3 items)
"Compressing": black & white print, (1 item )
"Cook Place": black & white print, (1 item )
"Cotton Export": copper plate and miniature dry point etching, (2 items)
"Cotton Gin / Last Bale," four varieties: dry point etchings, linoleum block print, black & white lithographic prints, hand-colored lithograph, and clipping, (8 items)
"Cotton Gin": linoleum block, (1 item)
"Cotton Pickers": copper plates, pencil drawing, black & white print, and cover of Farm and Ranch magazine, 1 October 1937, (7 items)
"Cotton Pickers": framed oil painting, (1 item)
"Cotton Stalk / A Symbol," three varieties: copper plate, pencil drawing and black & white prints, (4 items)
"Cotton Stalk": framed oil painting, (1 item)
"Coyote": copper plate and dry point etchings, (3 items)
"Deer": miniature lithographs, (5 items )
"Desert": copper plate and miniature lithographs, (3 items)
"Eagle": miniature lithograph, (1 item )
"Erosion / Painted Desert": pencil drawing and black & white print, (2 items)
"F and M [Merchant's] Compress": pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"The Family": pencil drawing and black & white print, (2 items)
"Farmers National Bank Forney [Forney, Texas]": black & white print, (1 item)
"Fruit Tree Salesman": pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Gin Yard": pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Grand Pa Snazzy": pencil drawing, 2-sided artist's proof, and black & white print, (3 items)
"Haying": black & white print, (1 item )
"Home Made Electricity": pencil drawing and black & white print, (2 items)
"The Home Place": pencil drawing, (1 item )
"I Would Come to Destroy Not Save": black & white print, (1 item)
"Jess": black & white print and hand-colored lithograph, (2 items )
"Joy and Thanksgiving / The Rains Came": pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Lightning Rod Agent": black & white print, (1 item)
"Lower Country": pencil drawing and black & white prints, (3 items)
"Mallard": copper plate and bitten-line etching, (2 items )
"March Winds": bitten line etching, (1 item )
"Merritt Jr.": black & white print, (1 item )
"Mission": copper plate, (1 item )
"Mosquito Fleet": dry point etching, (1 item)
"Mother & Child": pencil drawing and black & white print, (2 items)
"Mule Deer": black & white print, (1 item)
"My Brother's Keeper": black & white print, photographic print, promotional items, and clippings, (7 items)
"My Farm Day Pleasure": lithograph, 1912, (1 item)
"Nawth Jawga [North Georgia]": black & white print and hand-colored lithograph, (2 items)
"Neighbors": clipping from New York Times Book Review, 26 March 1944, (1 item )
"Offat's Bayou": pencil drawing, black & white print, and hand-colored lithographs, (4 items)
"Old Gus": pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Old Salt": dry point miniature lithographs, (2 items )
"Olsen's": pencil drawing, black & white print, and hand-colored lithographs, (4 items)
"Out of the Darkness": black & white print, (1 item )
"Pancho": copper plate and miniature lithographs, (3 items)
"Placid / Placid Bridge": copper plate and miniature aquatint lithograph, (2 items)
"Public Weigher": black & white print, (1 item )
"Rancho de Taos": copper plate and aquatint etching, (2 items)
"Rising": copper plate and bitten line etchings, (3 items )
"Rows End": pencil drawing with typed note, black & white print, and hand-colored lithograph, (4 items)
"Sample Room": pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Sampling": pencil drawing, (1 item )
"Sandstorm": hand-colored lithograph, (1 item)
"Seaside Tragedy": pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Self Portrait": black & white prints, (2 items )
"Simple Beauty": copper plate and bitten line etching, (2 items)
"Soaking Wheels": pencil drawing and black & white print, (2 items )
"Stack-Lot": pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"Star of Bethlehem": miniature aquatint lithograph, (1 item )
"Stormy Weather": black & white print, (1 item )
"Supper Time": black & white print, (1 item )
"Texas Politics": black & white print, (1 item )
"To the Compress": black & white print, (1 item )
"To Market": pencil drawing, black & white print, and hand-colored lithograph, (3 items)
"A Treat": pencil drawing and black & white print, (2 items)
"Twilight / Nightfall": pencil drawing and black & white print, (2 items)
"Uncle Fud and Aunt Boo": pencil drawing with typed note, black & white print, and hand-colored lithograph, (4 items)
"Vanquished": pencil drawing and black & white print, (2 items)
"Weighing Time": pencil drawing and black & white print, (2 items)
"West Beach": pencil drawing, black & white print, and hand-colored lithographs, (4 items)
"West Texas Snow": pencil drawing and black & white print, (2 items )
"White Rock / White Rock Lake": copper plate and bitten line etchings, (3 items)
"Wings of Morn / Morning": black & white print and hand-colored lithograph, (2 items)
"Winter / Winter Afternoon / Wintertime": copper plate, etchings, and clipping [1937], (5 items)
"Winter Evening / Late Afternoon": miniature black & white prints, (4 items )
"Winter Night": copper plate and aquatint etching, (2 items )
"Winter Twilight": copper plate and bitten line etching, (2 items )
"World War 2": black & white print, (1 item )
"Yucca": black & white print and cover of Farm & Ranch magazine, 1 July 1938, (2 items)
Copper plates for unknown lithographs, (3 items)
Small assorted prints, labeled 'Photo. Offset from Originals,' (5 prints on 3 boards)
Cover and progressive proofs of Farm and Ranch magazine featuring unknown illustration, March 1939, (2 items)
Cover and progressive proofs of Farm and Ranch magazine featuring unknown illustration, April 1941, (2 items)
D. Sketches
Pencil and ink sketches made in hospitals and doctor's offices, 1965-1973, (65 items)
Pencil and ink sketches made in church, [ca. 1973], (42 items )
Pencil and ink sketches made in cafeterias and lodge, [ca. 1973], (17 items)
Pencil and ink sketches of people's heads and shoulders, (43 items )
Ink sketches of furniture and furnishings, (52 items )
Pencil and ink sketches of houses, cars, animals, trees, and articles of clothing, (19 items)
Ink sketches made of tourists, airports, and hotel rooms, (15 items )
Ink sketches of West Texas, (7 items )
Ink sketches made during trip to Western Europe, 1969, (10 items)
Ink and pencil sketches made during trip to Eastern Europe, 1970, (75 items)
Ink sketches made in Honolulu and Japan during trip around the world, 1971, (43 items)
Ink sketches made in Nationalist China (Taipei, Taiwan), Hong Kong, and Malaysia during trip around the world, 1971, (33 items)
Ink sketches made in Thailand and Nepal during trip around the world, 1971, (23 items)
Ink sketches made in India during trip around the world, 1971, (43 items )
Ink sketches made in Iran, Lebanon, and Cyprus during trip around the world, 1971, (28 items)
Ink sketches made in Israel, Turkey, and Greece during trip around the world, 1971, (29 items )
Notes and unidentified ink sketches made during trip around the world, 1971, (50 items )
Clipping, "Dallasite Draws Global 'Diary'" Dallas Morning News, 20 February 1972, with ink sketches used in article, (12 items)
Ink sketches of African mammals and reptiles, 1972, (48 items)
Ink sketches of African mammals and reptiles, 1972, (60 items )
Ink sketches of African birds, 1972, (41 items )
Ink sketches of African people, 1972, (24 items )
Ink sketches of African buildings, scenery, and vegetation, 1972, (28 items)
E. Lithographic Prints by Acquaintances
Bearden, Ed: "Old John" and untitled print of a sawmill interior, (2 items)
Berkowitz, Rosalie: "Freddie" and "Paul," 1941, (2 items )
Bowling, Charles T.: "Cedars and White Rock," "Deep Woods," "Fishing Pier," "Industrial Encroachment," "Little Mexico," "March," "Meadow Wind," "Old Houses," "Sunflowers," "Wet Road," "White Factory," and "Winter Evening," 1938-1940, (12 items)
Burdge: "Desert Palms," "Mission Memories," and "Old Timer," (3 items )
Carpenter, Elmer: "Dad" and "Off to Market," (2 items )
Clack, Clyde C.: "The Harvester," (1 item )
Cloar, Carroll: "Rhoda and Carroll David, 1889," (1 item)
Eisenlohr, Edward G.: "New Mexican Corral, Santa Fe," "North Texas Pastoral," "Rural Church [1933]," and "Sunlit Acres," (4 items)
Elliott, William: untitled print of two steer locking horns, (1 item)
Eskers: "Desert Clouds," (1 item )
Fall, Frieda Kay: "Grainery," "New England Highway," and "Wash Day," (3 items)
Gharis, Charles: "Dutch Mill," (1 item )
Haley, Jean: "Closed Up," (1 item )
Heintzelman, Arthur William: untitled print of girl in a rocking chair, ( 1 item)
Jeffries, Lucille: "Do-Si-Do" and "The Uncompromising Earth," (2 items )
Johnson, McSears: "Cienequilla" and "Windmill and Scissor Tails," 1935, (2 items matted on one board)
Karper, Mary Nelson: "Stormy Day," (1 item)
Lightfoot, Mary: "Taxco," (1 item )
Lockhard, George: "Creek Bank with Houses and Trees," (1 item)
Maples, Barbara: "Sixty First Street" and "Squall," (2 items )
McClain, George M.: "Dust and Old Vagabond," "Magnolia Blossom in the Moonlight," "The Robin," and "The Snow Bird/A Christmas Visitor," (4 items matted on 2 boards)
Means, Glenn: "Chopin Prelude, Opus 24, no. 7" and "Nude #4," (2 items )
Meisener, E.: "Monterrey Coast," 1935, (1 item )
Nelson, Betty: "Hilltop," (1 item )
Nichols, Perry: "Excited Horses," 1939, (1 item)
Ostrander: "Desert Waste," (1 item )
Owen, Mike: "Figure," (1 item )
Pachl, Delmar: "This is the Constitution," 1942, ( 1 item)
Porterfield: "Crossing the Arroyo" and "Main and Akard," (2 items)
Reynolds, Chang: "Brush Off," "Circus Bull," "Circus Sunrise," "Confidentially, Mabel," "Exercise Cage," "Fourth Section," "Loading Out," "Muddy Lot," "Old Wagon Show," "Raffy" "Resin Backs," and "Tehachapi Mule Deer," (12 items)
Robertson, H.O.: "Church by the Bayou," "Docker's Riverside Hotel-Shawneetown" and "River Bottom Pasture," 1941-1942, (3 items)
Schoenfeldt, Henry (Hank): "Early Morning," (1 item)
Simpson, Mary Mildred: "Early Spring," (1 item )
Skillern, Nancy: "Barnyard," 1942, (1 item )
Skinner, Frances: "Wood Lily and the Snail," (1 item)
Smith, Jessie Neville: "Candle Glow," (1 item )
Taylor, Lura Ann: "Mullen" and untitled print of exotic building, (2 items)
Vehan, Milton: "House by the Side of the Road" and "Study in Textures," (2 items)
Walmsley, Elizabeth: "Evening on Hall St.," "Forgotten Corner," "National Highway," "November," "Sunlight," "The Townsend Plan," "Winter Sunshine," and untitled street scene, 1941 and 1943, (8 items)
Ware, Maud: "Bopo Creek" and "Walt Whitman," 1933-1937, (2 items matted on one board)
Wasteu, Georges: "Desert Sentinels," (1 item )
White, Jessie Aline: untitled prints of an aloe plant and a rose, (2 items)
Williams: "Eucalyptus Grove," (1 item )
F. Art Exhibits
Typed list of Mauzey's one-man exhibits, prizes won, and art held in permanent collections, (2 sheets)
Exhibit catalogues, 1939-1940, (2 items)
Exhibit catalogues and clippings, 1941-1948, (9 items)
Correspondence and catalogue re "Contemporary American Prints," Office of War Information (OWI) overseas exhibit, 1944, (2 items)
Exhibit catalogues and clippings, 1953-1957, (13 items)
Exhibit catalogues, notices, and clippings, 1960-1971, (21 items)
Undated clippings about Mauzey art exhibits, (5 items )
G. Clippings
Clippings, 1937-1939, (6 sheets)
Clippings, 1940-1946, (17 sheets )
Clippings, 1947-1952, (15 sheets )
Clippings, 1953-1955, (16 sheets)
Clippings, 1956-1968, (9 sheets )
Clippings, undated, (9 sheets )
H. Personal Papers
1. Related to Artwork
"The Cotton Industry on Canvas," in The Cotton Trade Journal International Edition, 1938, with attached note, (2 items)
Lone Star Printmakers brochures, 1940-42, (3 items)
Greeting cards and clipping, 1943 and undated, (6 items )
Printed Christmas Cards sent by Merritt and Maggie Mauzey, [ca. 1960-1969], (6 items)
Black & white and color prints collected by Merritt Mauzey, (7 items )
Clippings, 1939-1962, (10 items )
2. Letters Received
Fan Mail, 1955-1961, (7 items)
Cards, letters, and telegram received, 1948-1968, (6 items)
3. Awards
Telegram received re receipt of the H.F.J. Knobloch Prize, 1947, (1 item)
Second-place award ribbon from the 3rd Annual Texas-Oklahoma Sidewalk Art Show, n.d., (1 item)
Clippings, 1938-1947, (9 items)
4. Donations
Photocopied correspondence with museums re acknowledgements of donations, 1966-1971, (30 items)
Photocopied correspondence with museums and collections re accession information, 1965-1968, (4 items)
Clippings, 1939-1968, (6 items)
5. Public Appearances
Clippings and programs, 1963-1967, (6 items)
6. Church
"Why?", a University Park Methodist Church (Dallas, Texas) publication, featuring a Mauzey illustration on the cover, 1952-1953, (2 items)
Brochure, flyer, and letter received, (3 items )
Clippings, 1954-1973, (6 items )
I. University of Southern Mississippi
Handwritten and typed biographical notes used in composing the Catalogue of the Merritt Mauzey Collection in the Library of the University of Southern Mississippi, (35 pp.)
Handwritten production notes and bid sheet for Mauzey catalogue, (7 sheets )
First dummy of Mauzey catalogue featuring typescript with handwritten dimensions of illustrations, (1 item)
Second dummy of catalogue featuring edited typescript with handwritten note cards, (1 item)
Third dummy of catalogue featuring corrected typescript, (1 item )
Reproductions of photographs used as catalogue illustrations, (22 items )
Large uncut press sheets of catalogue, (8 sheets )
Small folded press sheets of catalogue for pp. 25-40, 42-43, and 46-47, (3 sheets)
Tin proof of catalogue cover, (1 item )
Bound folded and gathered sheets of catalogue with blank paper cover, (1 item)
Published catalogue, with handwritten corrections by unknown source, (1 item )
Correspondence re Catalogue of the Merritt Mauzey Collection, January 1969 - November 1972, (59 items)
Typed biographical leaflets for a Mauzey exhibit at the University of Southern Mississippi, 1968, (3 items)
Posters advertising Merritt Mauzey exhibit at the University of Southern Mississippi Library, October 1968, (4 items)
General correspondence with the de Grummond Children's Literature Collection, 1966-1973, (9 items)



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