Summer/Fall 1993

A Vision of Cincinnati:The Worker Muralsof Winold Reiss

A Vision of Cincinnati 81

Daniel Hurley

In July 1972, the Southern Railroadannounced its intention to purchase the all-but-unusedUnion Terminal Concourse, tear it down, and redevelopthe land as part of a modern piggy-back freight operation.The plan seemed to spell disaster for the fourteen muralsdedicated to Cincinnati's workers which had lined the con-course for forty years. Ironically, this crisis ended not inthe destruction of the murals, but in their elevation to anew level of influence on community consciousness.

At their new home, the Greater CincinnatiInternational Airport, this group of fourteen murals wovethemselves into the everyday experience of millions ofCincinnatians and out-of-town travelers.1 If the Concoursehad remained standing, they would have remained lockedaway from public view for fifteen long years. But theenduring popularity of this artistic endeavor was groundedin more than accessibility. Their power and durability restson original vision of their creator.

Originally the worker murals were a distinctpart of the larger effort by the Terminal architects,Fellheimer and Wagner, and its interior decorator, PaulCret, to enliven the interior. In the Concourse, they pro-posed a series of murals on the wall spaces above andbetween the gates honoring the industrial workers ofCincinnati. The architects asked two foreign born artists,Pierre Bourdelle from France and Winold Reiss fromGermany, to submit proposals for the concourse muralproject.

Bourdelle submitted sketches rooted in hisimagination of how workers ought to look. He projectedthese figures against a thin screen of information about theimportant industries of Cincinnati. The result was a seriesof sketches of young, muscular males working in settingsthat vaguely suggested soap making and machine toolmanufacture. The effect was a glorification of idealizedworkers.

Winold Reiss began from a radically differentpoint of departure. He personally visited at least seventeenCincinnati factories to photograph real workers performing

actual tasks. A few were young and muscular, but themajority reflected the great cross section of society. Somewere middle aged, some were old. Some were skinny, somewere overweight. All were quite ordinary. The result was agrittier, more realistic, and ultimately more engaging viewof the people who built Cincinnati.

This is not to say that Winold Reiss, theartist, did not carefully craft the scenes he photographed.Emil Weston was one of the four workers pictured in theAmerican Rolling Mill (Armco) mural. In 1988, almostsixty years after the base photograph was shot, Weston stillrecalled with awe Reiss's methodical approach the day hevisited Armco.2 First, the artist surveyed the various indus-trial processes of the plant and decided to focus his studyon the dramatic process of pouring molten iron into amold. At that moment the workers were active and theprocess created a shower of sparks.

In addition, Reiss carefully selected fourworkers from the pool of men who worked in that area ofthe plant. Reiss determined, according to Weston, that "atall, muscular man" by the name of Swope would be thecentral figure. Weston, who was taking the temperature ofthe molten iron, and a Mr. Rendering who is shown work-ing the wheel on the bucket, were physically much smaller,and meant to stand in artistic contrast with Swope.Although Reiss worked to stage this scene dramatically, heworked with real people and recorded them going aboutthe tasks that they performed every day.

The reality Reiss perceived and recordedwith his camera on the factory floor was the truth heworked to depict in the completed mural. Most of themurals are based on a single photographic image, althoughseveral combine elements from two or even three pho-tographs.

But even at the level of detail, the continuitybetween original image and completed mural is often star-tling. For example, the Andrews Rolling Mill photoreveals a small triangular shadow cast on the factory floorby a hot piece of metal being dragged by two workers.Even that shadow survives as a triangle of violet coloredtiles in the finished mural.

The development process from original base

Daniel Hurley is the founderof Applied HistoryAssociates, a Cincinnatibased consulting firm. In1988 he wrote and co-pro-duced "Working in Mosaic"which won a regional

Emmy and a national Iris forWKRC-TV.

Figure 1

photo to completed mural included four principal steps.3

First, Reiss enlarged the black and white photographs anddrew a grid over the images. This gridded image becamethe roadmap guiding all later steps. Second, he developedcharcoal and crayon studies of each of the human figuresin the photograph. Some of these sketches went throughseveral stages of refinement, including, the first experi-mentation with color. Third, Reiss developed small watercolor sketches that began the process of translating theblack and white images into color. Fourth, Reiss executedoil paintings about one third the size of the final murals.These, like the original base photographs, were griddedand numbered to indicate the color families of glass tilesthat Reiss wanted the craftsmen to work within.

The architects had originally proposed thatthe murals be executed as oil paintings on canvas. Reiss con-vinced them — at the price of a cut in his personal commis-sion — that working with glass mosaic tiles would be moreeffective.4 Not only would the murals be more durable, butthat artistically mosaics would be more brilliant.

The final murals are, in fact, a combination

Queen City Heritage

of two artistic techniques. The human images are renderedin tile, while the background areas are treated as largemasses of frescoed concrete — concrete that has the coloradded while it is still wet. Background shapes such asshadows, are outlined, or silhouetted, in tile.

Craftsmen at the Ravenna Tile Companyheadquartered in New York implemented Reiss's plans.Photographs of the oil painting were enlarged to full size(20 feet by 20 feet) and then cut into two foot squares anddistributed to individual craftsmen. Under the direction ofReiss and company owner, Paul Heudeck, the Ravennaworkers could choose from over 8,000 shades of tile, toimplement the vision.

These two foot square sections were pastedface down on heavy brown paper, organized, and shippedto Cincinnati. Heudeck and Reiss came to Cincinnati tosupervise their installation on the walls of the Concoursepersonally.

Many commentators refer to the murals thatonce graced the Union Terminal Concourse as the"Industrial Murals." It is more helpful to think of them asthe "Worker Murals." Whether taken individually, or as atotal body of work, Reiss's thematic interest is clear —portraying the factory workers of Cincinnati with dignityand respect.

In the worker murals, machinery and tech-nology are secondary, providing the backdrop and contextfor the human images. And by concentrating on ordinaryworkers, Reiss clearly opted to ignore and exclude theowners and managers of the businesses. The only personin the worker murals dressed in a business suit is the pianoplayer in the radio mural.

Reiss's bias for ordinary people is consistentthroughout the Union Terminal murals. The Rotundamurals portray frontiersmen and farmers, roustabouts andpacket boat captains, railroad engineers, and constructionlaborers. Only in one place did Reiss depict political andeconomic "leaders." He sandwiched them on the crampedwalls of the relatively narrow passage between theRotunda and the concourse originally called the "checkinglobby." Clearly, Reiss placed his priorities with ordinarypeople performing everyday tasks. He strove to presentthem sympathetically, as strong, dignified contributors tosociety. These workers were responsible for the contem-porary strength of Cincinnati.

It is ironic that at the very moment thatReiss was planning and executing his tribute toCincinnati's workers, the United States began its long

Most of the murals are basedon a single photographicimage, although several com-bine elements from two oreven three photographs.(Figure #1)

Credits for the illustrations inthis article are listed onpage 96.

Summer/Fall 1993 A Vision of Cincinnati 83

plunge into the Great Depression of the 1930s. Just whenthe murals were completed and dedicated, America'sindustrial workers faced the prospect of unprecedentedhardship and challenge.

Local boosterish literature never tires of pro-claiming that Cincinnati's diversified, locally owned, econ-omy withstood the Depression better than one-industrycities like Detroit and Pittsburgh. But Cincinnati was farfrom "depression proof." Between 1929 and 1933, the yearthe Terminal opened, unemployment rose from 5.9 percentto 30.4 percent, and underemployment rose from 5.2 per-cent to 17.9 percent.5 The local trend matched the nationalaverages almost perfectly.

In selecting which industries and workers tofeature, Reiss had to make choices about what to includeand what to exclude. The photos, preliminary sketches,and water color studies saved by his son, Tjark Reiss, clear-ly show that Winold Reiss seriously considered a mural fea-turing stone workers and another focused on watchmak-ing. In fact, a water color study featuring Gruen WatchCompany suggests the artist not only played with alterna-tive subjects, but also an alternative, more abstract, artisticstyle.6

From the perspective of the 1990s many peo-ple looking at the murals think Reiss was trying to depictCincinnati's industrial history. In fact, Reiss focused on thepresent and future prospects of Cincinnati industry as it

existed in the early 1930s. Although many of the featuredindustries had deep roots in Cincinnati's nineteenth centu-ry economy, Reiss presented the workers and the factoryprocesses as they existed in his day. None of the muralslook back to the origins of soapmaking or machine toolmanufacture.

Figure 2

The most easily recognizablemurals feature Cincinnati'shistorically most famousindustries. The soap makingmural features workers atProcter & Gamble's IvorydalePlant producing the compa-ny's most famous product.

The soap makers in the muralare completing the manufac-ture of bars of Ivory soap bypushing large slabs throughframes of horizontal wires.(Figure #2)

A water color study featuringGruen Watch Company sug-gests that Reiss not onlyplayed with alternative sub-jects, but also an alternative,more abstract artistic style.(Figure #3)

Queen City Heritage

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Figure 4

Figure 5

If Ivory Soap and Kahn'smeat helped fix Cincinnati'simage among consumers, itwas the city's machine toolcompanies that carried itsname into factories and work-shops around the world.Cincinnati Milling Machine

(now Cincinnati Milacron)was not only the city's largestmachine tool manufacturer,but it stamped "Cincinnati"prominently on everymachine tool. (Figure #4)

Cincinnati's soap productionrested on the ready accessi-bility of lard and oil byprod-ucts of the city's meat pack-ing industry. By the 1930sCincinnati was no longer"Porkopolis," but meat pack-ing companies, strung out

along Spring Grove Avenuenorth of Union Terminal,were still major employers.The mural features workerson a modern production lineat E. Kahn's Sons Company,the city's leading meat packerin the 1930s. (Figure #5)

Figure 6

While machinists in Englandand France learned aboutCincinnati in their factoriesbecause of Cincinnati MillingMachine, millions of musi-cians learned of Cincinnati intheir parlors and music halls

while playing Baldwin Pianosthat were "made inCincinnati, Ohio." The com-pany's roots reached backinto the 1850s, but the muralis set at the Baldwin's mod-ern factory on Gilbert

Avenue. The two workers inthe mural are shaping casesfor Baldwin grand pianos.(Figure #6)

86

Although never moved to the airport, thetwo smaller murals featuring a potter and a kiln worker atRookwood Pottery thematically fit the mold of depictingCincinnati's oldest and most famous work traditions. Inthe 1920s Rookwood was at the height of its influence asone of the most innovative and creative art potteries in theworld. Perched on the brow of Mt. Adams, at the top ofthe Incline, Rookwood was a magnet drawing both visitorsand residents alike. Ironically, by focusing on a potter andkiln worker, Reiss ignored the workers who were the soulof Rookwood, the decorators. What distinguishedRookwood from hundreds of industrial potteries aroundthe United States was the central role played by profession-al artists. The goal at Rookwood was beauty, not mass pro-duction. Today these two murals are exhibited in theCincinnati Historical Society's special exhibits gallery.

Another cluster of murals also drew on longestablished, though not famous, local industrial work tradi-tions. As early as the 1850s Cincinnati emerged as a majorpublishing and printing center. By the 1930s Cincinnatiwas home for over 300 commercial printing establishmentsnot to mention dozens of typesetting firms.

Figure 8

Figure 7

The two smaller murals fea-turing a potter and a kilnworker at Rookwood Potterythematically fit the mold ofdepicting Cincinnati's oldestand most famous work tradi-tions. Today these two

murals are exhibited in theCincinnati Historical Society'sspecial exhibits gallery.(Figures #7 and #8)

Summer/Fall 1993 Winold Reiss As A Portraitist 87

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Figure 10

Figure 9

Two murals draw on threedifferent companies to tellthe story of the workers inthe printing industries. Onemural is based on the work ofthe Ault & Weiborg Companythat was founded in 1850 andwas located at Dana Avenue

and Montgomery Road in the1930s. The company made avariety of industrial paint andvarnish products, includingthe colorful printing inksReiss chose to highlight inthe mural. (Figure #9)

A related mural combinesimages from two companiesrelated to printing. In thebackground two workers atU.S. Playing Card Companyin Norwood operate a pressprinting red and blue decks ofcards on a large, modern

printing press. In the fore-ground Reiss superimposed ahuge roll of paper and aworker from Champion PaperCompany in Hamilton, Ohio.(Figure #10)

Queen City Heritage

The mural based on the work of the WilliamS. Merrell Company features a Cincinnati business that wasformed in 1828, and had roots in Cincinnati as early as1804. This made Merrell the oldest pharmaceutical manu-facturer in the United States by the 1930s. The Merrellmural is the only one that depicts an African-Americanworker. The central figure in the mural is a white jacketedchemist. The African-American is presented as a laborer inthe lower left portion of the mural.

This marginal presentation of African-Americans in Cincinnati's industrial workforce is a relative-ly accurate portrayal of the marginal place black workersoccupied in Cincinnati factories. Less than three percent ofthe black workforce found employment as skilled or semi-

skilled industrial workers, and those usually had to take theleast desirable jobs.7 Jim Powell worked in the foundry atCincinnati Milling Machine, the dirtiest section of theplant. He would get covered every day with "pitch," a grit-ty, greasy black substance. "You couldn't wash it off. Itwould just cling to your skin. I messed up all my wife'ssheets, you could tell where I slept."8

The majority of African-Americans foundemployment outside Cincinnati factories. A small, but suc-cessful group, developed professional careers as teachers,doctors, and nurses. The vast majority worked as commonlaborers on construction sites, as domestics, or as unskilledworkers in the service and transportation industries. Thetwo roustabouts in the Rotunda mural recall that tradition.

Figure 11

The Merrell mural is the onlyone that depicts an African-American worker.(Figure #11)

Summer/Fall 1993 A Vision of Cincinnati 89

Figure 12

Figure 14

Although Pittsburgh was the the workers at the American The other mural in this group hot piece of rolled steelcenter of the steel industry inthe United States, theCincinnati area also had along history of metal work-ing. Two murals highlightthis tradition. One focused on

Rolling Mills (Armco) ofMidddletown, Ohio, whichemployed about 4,000 peoplelocally and 12,000 nationallyin the 1930s. (Figure #12)

is based on the workers atthe Newport Rolling Mill ofthe Andrews Steel Companyin Newport, Kentucky. Thismural depicts two workersusing long tongs to carry a

across the mill floor.(Figures#13 and 14)

90

One of the most obscure selections is themural that features workers from the Philip CareyManufacturing Company producing asphalt roofing shin-gles. Although many Cincinnati companies producedbuilding materials, the city did not stand out as a famouscenter for this effort, and the Philip Carey Company (nowCelotex) was not particularly renowned in its own right.Its inclusion, however, reflected the critical role its presi-dent, George Dent Crabbs, played in making the UnionTerminal a reality. Beginning in 1923 Crabbs headed theCincinnati Chamber of Commerce's Committee on NewTerminals and personally negotiated the agreement amongthe seven passenger railroad companies servicingCincinnati to cooperate on the building of UnionTerminal.9 A mural featuring workers from his companysaturating felt with asphalt was a way of thanking the manwho made the entire project possible.

Queen City Heritage

Figure 15 Figure 16

The Philip Carey Companyproduced asphalt roofingshingles. (Figures #15 and 16)

Summer/Fall 1993 A Vision of Cincinnati 91

Figure 17

Figure 18

The American LaundryMachine in Norwood wasfounded in 1909, but quicklybecame the world's largestmanufacturer of laundryequipment for commerciallaundries, hospitals, andhotels. (Figure #17)

A mural that grows out ofCincinnati nineteenth centuryindustrial history depicts theworkers at the American OakLeather Company. Tanneriesoperated in Cincinnati from atleast 1791 and flourished inthe mid-nineteenth century

as the processors of animalhides, a major byproduct ofthe meat packing process.American Oak Leather wasthe largest of the tanneriesoperating in the 1930s,employing about 550 peoplein the production of shoe

soles, upholstery, patent,enamelled, andnovelty leathers. (Figure #18)

Figure 20 Figure 21

The Crosley mural is a com-posite of two base photo-graphs. The right side of themural focuses on the artisticside of radio and features apiano player performing in abroadcast studio. The left

side focuses on the technicalside, an engineer monitoringa wall-sized control panel.(Figures #19, 20 and 21)

Summer/Fall 1993 A Vision of Cincinnati 93

Two murals look more to what seemed likeCincinnati's future than its past. In 1933 broadcasting wasstill in its infancy. Commercial radio was barely a decadeold. Television was still something only futurists spun pre-dictions about. But already Cincinnati had established itselfas a leader in broadcasting. Besides the half dozen localradio stations similar to other cities its size, Cincinnati wasalso home to one of the industry's true leaders, WLW.Founded by Powell Crosley in 1922, within a decade WLWestablished itself as the "Nation's Station" able to reachmost of the United States with its regular 50,000 watts ofpower and its additional 450,000 experimental watts.

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Figure 23

Figure 22

The other future orientedmural features the workers atthe Aeronca Company whichwas originally headquarteredin a hanger at Lunken Airport.The mural depicts twoworkers assembling one of

Aeronca's small massmarketed planes.(Figures #22 and 23)

94 Queen City Heritage

Almost as interesting as what Reiss chose toinclude, is what he decided to exclude. Because he focusedon the present and future as it appeared in the early 1930s,he did not develop a mural dedicated to Cincinnati's brew-eries, historically one of the city's most important and col-orful industries. When the project was planned,Prohibition was the law of the land, and Cincinnati's oncebustling breweries were either shuttered or limping alongas soft drink manufacturers.

Harder to explain, and far more troubling, isthe total absence of women workers in the murals. Notone woman appears in any of the finished murals.

to include workers at Champion Paper, as well as printers,the huge paper roll from the second photograph coveredthe woman printer, and all the women she might have sym-bolized.

During the first third of the twentieth centu-ry an increasing number of Cincinnati women worked out-side their homes, and an ever larger percentage of thosewomen worked in area factories. Why didn't Reiss findmore women with his camera, or at least preserve the placeof the one woman he did find — much as he preserved alone African-American worker in the Merrell mural? Therecognition of the roll of women faced two hurdles.

Figure 24

Yet Reiss had opportunities to capturewomen at work in many of the factories he featured. Athird of the decorators at Rookwood Pottery, for example,were always women. And, ironically, a woman did appear inone of the base photographs, but disappeared before themural was completed. In the U.S. Playing Card basephotograph a woman printer is shown working on a plat-form on the press. But by expanding the focus of the mural

First, women tended to be confined to lowerprestige and lower paying manufacturing jobs.Traditionally, women in manufacturing were assigned jobsthat seemed to be outgrowths of domestic tasks — pro-ducing food products, pasting labels on cans and jars, orsewing clothes — or in office jobs. In Cincinnati womenworked at Strietmann baking crackers, at Ibold boxing cig-ars, at Gibson assembling greeting cards, and at hundreds

A woman did appear in oneof the source photos for theU.S. Playing Card mural butdisappeared before the muralwas completed.(Figure #24)

Summer/Fall 1993 A Vision of Cincinnati 95

Figure 25

of other manufacturing establishments.Second, a certain cultural presumption exist-

ed that women in manufacturing jobs worked only untilthey found a husband, got married, and then quit theirjobs to assume their proper roles as wives, mothers, home-makers, and consumers. Language usage reinforced thisassumption. Experts and workers repeatedly referred to"working girls" rather than "working women." CatherineSchauer reflected that "We were girls. WE weren't women,we were girls."10 And Ray Ostrander who worked hisentire life at U.S. Playing Card remembers that in the1930s, "no matter what their age, they were always'girls.'"11 For a "girl" factory work was supposedly a transi-tional phase, a taste of the larger world, between youthand womanhood.

Some companies reinforced these assump-tions by making it company policy that a woman had toresign when she married, or, in other cases, when shebecame pregnant. Alberta Pyle remembers that in thosedays you didn't work after you got married. You got mar-ried and there was somebody waiting for your job."12

But thousands of women did work theirentire adult lives in factories, often performing unpleasantand hard labor. Alberta Schauer of Price Hill worked at

Ivorydale packing bars of soap into splintered woodenboxes. "You had to watch, your hands got sore, splinterswere all over your fingers."13

Sixty years after their completion, theCincinnati Worker Murals rank second only to the TylerDavidson Fountain as a defining artistic image forCincinnati. Winold Reiss's commitment to putting ordi-nary people performing everyday tasks at the center of hisimages makes it easy for millions of people to see them-selves reflected in the artist's vision of the city. And hisstraight forward, bold artistic style makes the murals acces-sible to everyone.

What may be most amazing is the flexibilityof the pieces. In their original setting, they were meant tobe seen mounted high on the walls of the concourse. Theadvantage was that they could all be seen at once and makea collective statement.

At the Greater Cincinnati-NorthernKentucky International Airport they are scattered throughthree terminal buildings over two floors. Never more thanthree can be viewed at a time. But at the airport eachmural is mounted at floor level. It is possible to walk up tothe murals and to touch and enjoy them at close range. AtUnion Terminal the Crosley engineer wore a simple tanvest and white shirt. At the airport his vest is alive withtans, browns, rusts, and purples while his shirt is composedof white, off-white, and several shades of blue tiles.

According to his son, Tjark, Winold Reissbelieved the Union Terminal murals were one of hisfather's favorite commissions. "He believed, they expressedAmerica, they expressed Cincinnati."14

Sixty years after they were completed, theworker murals remain a powerful artistic and social state-ment. If we are to understand the multi-voiced story that isCincinnati, we must understand and remember more thanthe experiences of business leaders who occupy the boardrooms of Fourth Street, or the political leaders who delib-erate in government offices on Plum and Court streets. Wemust pursue the path Winold Reiss set upon in the early1930s. We must carefully observe the experiences, and lis-ten to the wisdom, of the ordinary men and women whowork on the factory floors from Newport to Middletownto build a greater Cincinnati.

At the airport each is mount-ed at floor level. It is possibleto walk up to the murals andto touch, to enjoy them atclose range, and to see thetans, browns, rusts, and

purples in the Crosleyengineer's vest. (Figure #25)

96 Queen City Heritage

1. When the Concourse was torn down in 1973, the GreaterCincinnati Airport in Northern Kentucky integrated fourteen workermurals into their expanding facility. Two smaller, but thematicallyrelated, murals featuring workers from Rookwood Pottery, were leftat Union Terminal. These two murals originally stood above theoffices of the Station Master and the Passenger Agent. In 1991 theywere reinstalled in the special exhibits space at the CincinnatiHistorical Society.2. Oral interview for author, October 1988, for WKRC-TV special"Working in Moasic."3. Art History Department of the University of Cincinnati in cooper-ation with the Cincinnati Contemporary Arts Center, Art Deco andthe Cincinnati Union Terminal, (Cincinnati, 1973).4. Oral history interview with Tjark Reiss by Daniel Hurley, January23,1988, for WKRC-TV special, "Working in Mosaic."5. Daniel Hurley, Cincinnati: The Queen City (Cincinnati HistoricalSociety, 1982), p. 123.6. Based on an examination by the author of the working materialssaved by Tjark Reiss.7. Negro Welfare Association, "Some Facts Taken From theEconomic Life of the Negro in Cincinnati, Ohio, 1920-24;" and"Industries and Employment, 1932;" Harvey Kearns, "EmploymentOpportunities for Negro Youth in Cincinnati, 1939" in the CincinnatiUrban League Papers, Cincinnati Historical Society.8. Oral History interview with Daniel Hurley, February, 1988, forWKRC-TV special, "Working in Mosaic."9. "Recall Dinner for Promoter of Terminal," Cincinnati Times StarMarch 31,1933.10. Oral history interview with Daniel Hurley, February, 1988, forWKRC-TV special, "Working in Mosaic."11. Oral history interview with Daniel Hurley, February, 1988, forWKRC-TV special, "Working in Mosaic."12. Oral history interview with Daniel Hurley, February, 1988, forWKRC-TV special, "Working in Mosaic."13. Oral history interview with Daniel Hurley, February, 1988, forWKRC-TV special, Working in Mosaic."14. Oral history interview, January 23,1988.

List of IllustrationsFigure #1. Foundry Machine Shop, source photo, Gregory ThorpCollection, Cincinnati Historical Society.

Figure #2. Procter & Gamble, tempera 18in. x 18in., courtesy MichaelLowe Gallery, Inc.

Figure #3. Winold Reiss. Gruen Watch sketch, courtesy MichaelLowe Gallery, Inc.

Figure #4. Cincinnati Milling Machine, oil on canvas, 9ft. x 9ft., cour-tesy Michael Lowe Gallery, Inc.

Figure #5. Kahn's Meat Packing, slide, Gregory Thorp Collection,Cincinnati Historical Society.

Figure #6. Baldwin Piano Company, water color sketch, courtesyMichael Lowe Gallery, Inc.

Figure #7. Rookwood Pottery, source photo, Gregory ThorpCollection, Cincinnati Historical Society.

Figure #8. Rookwood Pottery, slide, Gregory Thorp Collection,Cincinnati Historical Society.

Figure #9. Printing Inks and Dyes, Ault & Weiborg Corp., slide,Gregory Thorp Collection, Cincinnati Historical Society.

Figure #10. U.S. Playing Card, slide, Gregory Thorp Collection,Cincinnati Historical Society.

Figure #11. William S. Merrell Company, slide, Gregory ThorpCollection, Cincinnati Historical Society.

Figure #12. American Rolling Mills (Armco), slide, Gregory ThorpCollection, Cincinnati Historical Society.

Figure #13. Newport Rolling Mill, Andrews Steel Company, slide,Gregory Thorp Collection, Cincinnati Historical Society.

Figure #14. Newport Rolling Mill, Andrews Steel Company, sourcephoto, Gregory Thorp Collection, Cincinnati Historical Society.

Figure #15. Roofing Company, tempera 7m. x 7in., courtesy MichaelLowe Gallery, Inc.

Figure #16. Philip Carey Company, cartoon, Gregory ThorpCollection, Cincinnati Historical Society.

Figure #17. American Laundry Machine, slide, Gregory ThorpCollection, Cincinnati Historical Society.

Figure #18. Oak Leather, tempera 7in. x 7in., courtesy, Michael LoweGallery, Inc.

Figure #19. Crosley Broadcasting, slide, Gregory Thorp Collection,Cincinnati Historical Society.

Figure #20. Technician, Crosley Broadcasting, source photo, GregoryThorp Collection, Cincinnati Historical Society.

Figure #21. Piano Player, source photo, Gregory Thorp Collection,Cincinnati Historical Society.

Figure #22. Aeronca Company, slide, Gregory Thorp Collection,Cincinnati Historical Society.

Figure #23. Aeronca Company, source photo, Gregory ThorpCollection, Cincinnati Historical Society.

Figure #24. U.S. Playing Card Company, source photo, GregoryThorp Collection, Cincinnati Historical Society.

Figure #25. Crosley Broadcasting, slide, Gregory Thorp Collection,Cincinnati Historical Society.