Texas Archival Resources Online

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

Southern Methodist University

Octavio Medellin art work and papers

A Guide to the Collection



Overview

Creator: Medellin, Octavio, 1907 or 1908 – 1999
Title: Octavio Medellin art work and papers
Dates: circa 1914 – 2015
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.
Accession No:
Extent: 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, 3 metal shelves, 6 metal drawers, 6 matted works of art on paper, 2 archival rolled storage tubes (Total extent: 79.42 linear feet)
Language: Material is in English and Spanish.
Repository Jerry Bywaters Special Collections, Hamon Arts Library, Southern Methodist University

Biographical Note

Original Designs for the windows of the Trinity Lutheran Church of Dallas, Texas

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, Medellin designed and implemented major art projects in Dallas that included Temple Emanu-El and the Mercantile National Bank. 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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Scope and Contents of the Collection

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

The collection is organized into eleven series:
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: Drawings [oversize]: circa 1949
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
  • 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
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
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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Restrictions

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.

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Access Terms

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.
Medellin, Octavio, 1907 or 1908-1999.>
Sculptors -- Mexico.
Artists -- Texas -- Dallas.
Works of art.
Photographs.
Slides.
Letters.

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Related Materials

Collections:

Collection on Rabbi Levi A. Olan, Bridwell Library, Perkins School of Theology, Southern Methodist University - http://www.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://www.lib.utexas.edu/taro/smu/00284/smu-00284.html

Evaline Sellors papers, Old Jail Art Center, Albany, Texas - http://www.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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Administrative Information

Preferred Citation

Octavio Medellin art work and papers, Jerry Bywaters Special Collections, Hamon Arts Library, Southern Methodist University.

Acquisition Information

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

Processing Information

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. 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].

Processed by

Records were processed, beginning in 1994, by Leslie Sookma [Rortvedt] and completed in 2015 by Ellen Buie Niewyk.

Finding aid written by

Ellen Buie Niewyk, 2015.

Encoded by

Ada Negraru, 2015.

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Detailed Description of the Collection

Series 1: Art work: circa 1927 – 1975

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.
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.
Sub-series 1: Architectural/Design drawings: undated
Box
Flat Box 1 Designer/artist unknown, blueprint for plaster slab clay table, 17 ¼” x 11 3/16” [paper], undated
Designer/artist unknown, blueprint for gas fired crucible furnace and crucible, 17 1/16” x 21 15/16” [paper], undated
Designer/artist unknown, blueprint for fired crucible furnace and crucible tongs, 18 12/16” x 23 7/16” [paper], undated
Designer/artist unknown, pencil drawing of foundry and equipment, 17 ¼” x 23 7/16” [paper], undated
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
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
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”
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”
Sub-series 2: Glasswork: 1948
Shelf
Metal shelf, “Medellin” 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
Sub-series 3: Paintings: circa 1927 – 1930
The paintings are oil on canvas without frames or support
Drawer
Flat Metal File Drawer “Medellin” - 1 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
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 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”
Sub-series 4: Print Blocks: undated
Shelf
Metal shelf – “Medellin” 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]
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]
Sub-series 5: Sculpture: circa 1953
Room
Research Room 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 Medellin, Octavio, plaster cast of Paul Van Katwijk’s hand, 9 ¼” x 6” x 3” [overall], circa 1953
Sub-series 6: Works of Art on Paper: 1938 - 1967
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 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”
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”
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”
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”
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”
Box
Flat Box 2 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.”
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.”
Maverick, Lucy, untitled [image of a sculpture of a female torso on a pedestal], pencil on paper, 23 7/8” x 18” [paper], undated
Maverick, Lucy, untitled [image of two of Medellin’s wood carvings on pedestals], pencil on paper, 25” x 18 15/16” [paper], undated
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 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 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
Maverick, Lucy, The Pomegranite [sic] Flower , oil-base crayon on paper, 18” x 17 7/8” [paper], undated
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 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 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.
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”
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”
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”.
The following sketches created by Medellin are baptismal fonts and glass designs for churches.
Drawer
Flat Metal File Drawer “Medellin” -5 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”
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]”
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”
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 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”
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”
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”
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 Florsheim, Richard, Masts, intaglio, 13 7/8” x 9 7/8” [paper], 13 7/8” x 9 7/8” [image], undated
Teran, Pedro, Apotheosis #2, intaglio, 13 7/8” x 4 3/8”, edition 7/30, 1957
Teran, Pedro, Star Angel, intaglio, 11 15/16” x 10 ¼” [paper], 8 13/16” x 7 5/16” [image], 1952
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
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
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 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”
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 Blackmon, Lawson, Octavio Working, watercolor on paper, 15” x 9 7/8” [paper], 1939
Case
Museum Case C-III Neuheisel [Steinfeldt], Cecilia, Octavio Medellin at Work, Villita Art Gallery, pencil on paper, 16 7/8” x 13 7/8” [paper], 1938 [?]
Sub-series 7: Drawings [oversize]: circa 1949
Tube
Roll Storage Tube 1 Medellin, Octavio, History of Mexico, pencil on paper, 86 ½” x 42” [paper], circa 1949
Tube
Roll Storage Tube 2 Medellin, Octavio, untitled [image of Virgin Mary], 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]

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Series 2: Clippings: 1972 - 2015

This series contains sixty-two articles from various newspapers documenting Medellin’s art career.
Box Folder
1 1 General - undated, 1970s
2 General -1980s
3 General - 1990s
4 1990s – Press Coverage of The Figure in American Sculpture: A Question of Modernity, organized by the Los Angeles County Museum of Art, 1995 - 1996
5 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 “Saving a Touch of Glass” by Dianne Solis, Dallas Morning News, April 7, 2015

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Series 3: Correspondence: 1951 - 1995

The correspondence files contains 923 letters 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 Commission Work: “Saint Andrews Episcopal Church, Altar File”[Grand Prairie, Texas]
7 Commission Work: Temple Emanu-El, Dallas
8 undated [miscellaneous - including birthday cards, correspondence with art supply company]
9 “Medellin Correspondence Prior to 1975” [begins in 1951]
10 “Medellin Correspondence 1977”
11-12 “Correspondence 1978”
13 “Correspondence 1979”
14-15 “Correspondence 1980”
Box Folder
2 1-2 “Correspondence 1981”
3 “Correspondence 1982”
4-5 “Correspondence 1983”
6-7 “Correspondence 1984”
8-9 “Correspondence 1985”
10 “Correspondence 1986”
11-12 “Correspondence 1987”
13 “Correspondence 1988”
14-15 “Correspondence 1989”
Box Folder
3 1 “Correspondence 1990”
2-3 “Correspondence 1991”
4 “Correspondence 1992”
5 Correspondence 1995

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Series 4: Documents: 1930 - 1996

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]
2-3 Commission Work: Temple Emanu-El, Dallas, Texas
4 Commission Work: “Saint Andrews Episcopal Church, Altar File” [Grand Prairie, Texas]
5 1930s
6 1940s
7 1950s
8 Records and Roll Book; undated
9 Records and Roll Book; circa 1953 - 1957
10 Records and Roll Book; 1954 – 1955
11 Records and Roll Book. 1957 – 1959
12 Late 1950s – 1960s; The Hill & Griffith Co. [foundry supplies and equipment]
Box Folder
5 1-3 1970s
4-7 1980s
8 1990s
Box
Flat Box 4 Certificate: AIA Dallas, commendation presented to Octavio Medellin, from American Institute of Architects/Dallas, April 24, 1981

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Series 5: Ephemera: circa 1972 – circa 1998

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
12 Commission Work: “Saint Andrews Episcopal Church, Altar File” [Grand Prairie, Texas
13-14 1970s
15 1980s
16-25 1990s: cataloging sheets and original labels removed from art work, boxes, and photographs
26-27 1990s: original labels removed from photographs and slide boxes; also includes original photographic envelopes with handwritten notes

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Series 6: Negatives/Slides: circa 1914 – circa 1994

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.
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”
2 “Correspondence 1989”
Sub-series 2: Medellin, Family, Friends, Other Artists: circa 1914 – 1980
Box Folder
Photograph/ Slide Box 1 3 undated [Frank Angona and David Hickman]
4 Early 1900s
5 1960s [Creative Arts Center of Dallas and Dallas Museum of Fine Arts School]
6 1960s [includes slide of Carlos Mérida]
7 1970s
8 1980s
Sub-series 3: Medellin Sculpture: 1932 - 1994
Box Folder
Photograph/ Slide Box 1 9-10 1930s
11 1940s
12-13 1950s
14-15 1960s
16 1970s
17 1980s [Construction of Medellin’s sculpture The Adolescent]
18 1980s [Medellin’s sculpture The Adolescent and Mazanticutli]
19 1980s [“All Sculpture Photos”]
20 1980s [Sculpture photos – unfinished]
21-22 1990s
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”]
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
38 1980s [The Promised Land, Temple Emanu-El, installation, 1982]
39 1980s [The Promised Land, Temple Emanu-El, dedication]
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.
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:
Landing Eagle
Bald Eagle
Altar
Hanging Pix
New City Hall
Salt and Pepper Shakers
River of Fire
Flat Slide Box 01
Box
Flat Slide Box 2 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.
Flat Slide Box 02
Box
Flat Slide Box 3 Student Work at:
The Dallas Museum of Fine Arts School
The Mendocino Art Center, Mendocino, CA
Gainesville Arts, Inc., Gainesville, Texas
The Medellin School of Sculpture, Dallas, TX
Box
Flat Slide Box 3 Experiments with Clay:
Terra-Cotta
Direct Modeling
Mold Making and Casting
Armature Making
Wood Carving
Stone Carving
Lost Wax, Bronze Casting
Box
Flat Slide Box 4 This box contains color slides of personal work in sculpture:
Lead Repoussé
Some Wood Carving
Stone Carving
Terra Cotta
Armature Making
My First Experiment in Glass
Mercantile National Bank Ceiling Glass Lights [Dallas, Texas]
Flat Slide Box 04
Box
Flat Slide Box 5 Color slides, most personal work, Medellin
Box
Flat Slide Box 6 This box of slides contains the second and third trip to study relief carvings through many pre-Columbian ruins and temples:
Tamuín
Teopanzolco
Xochicalco
The Museum of Guatemala City
Quiriguá, Guatemala
Kaminaljuyu, Guatemala
Tula, Chichén Itzá, Yucatan
Palenque, Chiapas
El Tajin, Veracruz
Mitla, Uxmal
San Juan Teotihuacán and museum
Tenayuca, Kabha, The Museum in Jalapa
Monte Albán, Dzibilchaltún, La Venta
Villahermosa, Tabasco Museum
Flat Slide Box 06
Box
Flat Slide Box 7 All these slides are catalogued:
Trinity Lutheran Church [Dallas, Texas]
Dallas Studio
Bishop Lynch High School [Dallas, Texas]
St. Paul the Apostle [Richardson, Texas]
[Catholic] Student Center [Austin, Texas]
Unitarian Church [Dallas, Texas]
St. Henry’s Church [Freeport, Texas]
Temple Emanu-El [Dallas, Texas]
Calvary Hill Cemetery [Dallas, Texas]
Luis Potosi Chapel [Mexico]
The Bather [sculpture]
Flat Slide Box 07
Box
Flat Slide Box 8 Not identified by Medellin [contains images of his drawings completed at Chichén Itzá]
Flat Slide Box 08
Box
Flat Slide Box 9 All these slides are catalogued:
Crucifix, St. Andrew Catholic Church [Fort Worth, Texas]
Candlesticks and Procession Cross [Bishop Mason Retreat Center, Grapevine, Texas]
Reflections in Glass [sculpture]
Uplifting Force [sculpture]
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.
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.
Flat Slide Box 11

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Series 7: Photographs: circa 1914 - 1999

456 photographs are in archival photo boxes. The boxes contain images of Medellin, his family, colleagues, students, and his work.
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 1983 [“Correspondence 1983, Dr. H. C. Coggenthall Paintings”]
4 1984 [“Correspondence 1984”]
5 1985 [“Correspondence 1985”]
6 1986 [“Correspondence 1986”]
7 1987 [“Correspondence 1987”]
8 1988 [“Correspondence 1988”]
9 1989
10 1990 – 1991 [David Hickman]
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 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
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 1950s - Medellin Sculpture
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]

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Series 8: Publicity: 1941 - 1996

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.
Box Folder
6 1 undated
2 1940s
3 1960s
4 1970s
5-7 1980s
8 1990s
Box
Flat Box 5 Brochure [copies, oversize] - Medellin School of Sculpture, Creative Arts Center of Dallas, 122 E. Fifth Street, Dallas, Texas 75203, 1969 - 1970
Posters , North Lake College Irving, Texas; mentions the unveiling of Medellin’s sculpture on October 6, 1987
1987 Calendar
1987 – 1988 Calendar

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Series 9: Published Works: 1943 - 1997

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.
Box Folder
6 9 undated
10 1940s
11 1950s
12 1970s
13 1990s
Box
Flat Box 5 Dipinti Di Leonardo Da Vinci [portfolio; incomplete]
Box
Flat Box 6 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

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Series 10: Scrapbooks: 1938 - 1996

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.
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].
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” Maya-Toltec Temples and Carvings, 1938
Box
Flat Box 7 Untitled, circa 1980s – circa 1990s
Box
Flat Box 8 Octavio Medellin

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Series 11: Three-Dimensional Objects: 1977

The one three-dimensional object is a plaque with a metal plate mounted on a wood base.
Box
Flat Box 9 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”

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