About the Konrad and Florence Ballin Cramer papers

Florence Ballin was born in Brooklyn, NY, in 1884. She studied at the Woodstock, New York, summer school of the Art Students League beginning in 1906 under Birge Harrison along with fellow students John Carlson, Grace Mott Johnson, and Andrew Dasburg. She served as secretary for the League in 1906, and had a studio on 59th Street in Manhattan, where she held her first exhibition in 1909. In 1911, she traveled to Europe and met Konrad Cramer in Munich and joined him on visits to exhibitions and studios of the vanguard artists. The two married, moved to the United States, and settled permanently in Woodstock, NY.

Konrad Cramer is often credited as being in important link between German and American modernism in art, and his experimentations with abstraction and expressionism during his first years in Woodstock would seem to bear this out. In 1912 and 1913, he painted a series he called "Improvisations" (after Kandinsky) which was shown in a group exhibition at the MacDowell Club in 1913 along with Andrew Dasburg, Oliver Chaffee, and Paul Rohland. Cramer was photographed by Alfred Stieglitz and wrote an essay about the 291 Gallery for Stieglitz's magazine, Camera Work, in 1914.

The Cramers had two daughters, in 1914 and 1917, and Konrad Cramer became an American citizen in 1917. For income, he began designing textiles for department stores using stencils and batiks around 1918. In his painting, he turned from abstract experiments to the traditional subjects of landscape, still life, and figure in a more representational style that blended modern and regional influences. Florence Ballin Cramer opened a gallery on 57th Street in 1919, encouraged by the sculptor Elie Nadelman. The mission of the Florence Gallery, as it was called, was to exhibit and sell the work of living artists. Although it only survived the season, it was the first gallery to show work by Yasuo Kuniyoshi, Alexander Brook, Ernest Fiene, and Stefan Hirsch, and generated important sales for several young artists in her circle.

Konrad Cramer returned to Europe in 1920 on a Rockefeller grant to study educational methods for craftsmen in Germany and France, and on his return he taught at the Woodstock School of Painting and Allied Arts. Cramer also studied lithography with Bolton Brown in Woodstock around this time, and both Cramers took up printmaking and began publishing prints in local arts magazines. The Cramers were deeply immersed in Woodstock life, participating in the annual Maverick festivals, the Woodstock Artists Association, the Historical Society, and other organizations, hosting meetings and serving as officers of many committees and organizations that presented and supported artwork in their community. They enjoyed a rich social life there among fellow artists at frequent parties and festivals, where Konrad provided entertainment with his fiddle and both Cramers memorialized events in countless photographs.

Konrad Cramer exhibited at the Whitney Studio Club in 1924, and taught at the Children's University School (now the Dalton School), where he painted a mural in 1929. The 1930s were busy years in both Cramers' professional lives. Konrad's exhibitions included the Carnegie International (1929 and 1933), and a two-man show at the Dudensing Gallery (1930), where Cramer and Adolph Gottlieb had been selected the most deserving unknown American painters of the year. He was also included in the exhibit Abstract Painting in America at the Whitney Museum (1935). Florence Ballin Cramer exhibited at Marie Harriman Gallery (1931 and 1933), Macy Galleries (1933), at the Pennsylvania Academy (1934 and 1936), and the Corcoran (1935 and 1937). Both Konrad and Florence Ballin Cramer were included in a traveling exhibition of Woodstock artists organized by the College Art Association (1931), the first and second Whitney Biennials (1933 and 1935), and the Wanamaker Regional Art Exhibition of Contemporary American Painting (1934).

In 1934, the Cramers traveled to Mexico, where they produced many paintings and drawings. Konrad Cramer joined the Federal Art Project briefly in 1935, administering the regional program in Woodstock with Judson Smith. It was around this time that he began to learn photography. He became a sort of community photographer, taking photographs of friends' artwork and commissioned portraits, as well as informal photographs of friends. Cramer experimented with photographic techniques such as solarization and collage, using prisms, panes of glass, or composite printing. He first exhibited photographs in 1936 at the Albany Institute, and established the Woodstock School of Miniature Photography (the "miniature" referring to the then-new format of 35mm film) in 1937. He also taught courses in photography at Bard College in the 1940s, and his photographs and articles about photography were published in national magazines.

For the remainder of his life, Cramer continued to teach, write, and produce photographs, occasionally returning to painting, drawing, and printmaking, creating gouaches, wax resist drawings, and stencils of landscapes and figures, with an increasing interest in abstract styles and automatic techniques. Three of his early paintings were included in the 1946 Whitney Museum exhibition Pioneers of Modern Art in America, and the same year, he exhibited abstract photographs at the Woodstock Artists Association. In the late 1940s, he built an automatic drawing machine which he called the sympalmagraph, which rendered precise, geometric forms. In the late 1950s, he collaborated on a traveling exhibition and book of abstract photographs with Manuel Komroff and Nathan Resnik called The Third Eye.

Florence Ballin Cramer held her last exhibitions at the Woodstock Town House gallery (1953) and at Long Island University (1957). She died in 1962. Konrad Cramer died the following year. Both were memorialized in an exhibition at the Woodstock Artists Association Gallery in 1968. HIDE

Correspondence is between the Cramers and other artists, curators, gallery staff, editors, writers, and personal friends and family. Many drafts and carbons of outgoing letters are also present. The Christmas card album brings together original cards made by their artist friends in the 1920s and early 1930s. Writings include diaries of both artists, mostly from 1949 onward, with notes and excerpts from earlier diaries present; technical and biographical essays by Konrad Cramer, and autobiographical and historical essays by Florence Ballin Cramer; notebooks and notes related to art, travel, photography, and other subjects. Personal Business Records include price lists, receipts, and gallery correspondence with dealers and exhibitors; correspondence, accounting records, and writings related to Florence Ballin Cramer's Florence Gallery in New York City (1919-1920); records related to Woodstock arts and civic organizations in which the Cramers were involved; and personal financial records.

Printed Materials include publicity materials related to the Cramers' various endeavors and the activities of Woodstock arts and civic organizations, as well as dozens of books, little magazines, and journals by and about members of the Woodstock artist's colony. Photographs depict the Cramers and their friends, including early Art Students League Classes and the annual Maverick festival in the 1920s. Also found are a small number of photo-collages and experiments with color photography, and a series of early twentieth century photographs in the pictorialist style. Artwork includes early sketchbooks of both artists; loose sketches, drawings, and designs; textile designs by Konrad Cramer; and prints and printing blocks. HIDE

Correspondents include artists, curators, gallery staff, editors, writers, and personal friends and family. Artists represented here include John Carlson, Birge Harrison, Peggy Bacon, Alexander Brook, Andrew Dasburg, Alfred Stieglitz, Julius Bloch, Grace Mott Johnson, George Franklin, Hermine Kleinert, Holger Cahill, Grace Evans, Emil Ganso, George Grosz, Carl Eric Lindin, Fred Dana Marsh, Henry Lee McFee, Elie Nadelman, Homer Saint-Gaudens, Lee Simonson, Gene Speicher, Carl Sprinchorn, Alfred Stieglitz, Dorothy Varian. Artwork found in the correspondence includes a hand-painted card from Peggy Bacon and Alexander Brook (1923), a Rube Goldberg cartoon (1937), and an illustrated letter from Konrad to Florence Cramer (1957). See the index to correspondence for additional illustrated letters, and the Christmas Card album in Series 3 for additional hand-made cards.

The correspondence files include fragments of letters, especially drafts of outgoing letters, and enclosures such as receipts, photographs, and clippings. These include early photographs of Konrad Cramer in the 1911 letters, and a photograph of Eugene Speicher from 1929. Notes made retrospectively by Florence Ballin Cramer are sometimes found with letters or on accompanying envelopes.

Correspondence in this series is from two separate accessions which were previously microfilmed on reels D170-171 and 2751-2753, and which are now merged into a single chronological sequence. Materials that relate to galleries and exhibitions, which were formerly arranged and microfilmed with general correspondence on reels D170-171, have been moved to Personal Business Records. Scattered papers which are not correspondence, but which were interfiled with letters in the microfilm arrangement, have been relocated to their appropriate series, such as Writings, Photographs, and Printed Materials.

Additional correspondence can be found in Personal Business Records, and drafts of outgoing letters are found in Notebooks in the Writings series. See also the Christmas Card Album for additional notes and cards. See the index to correspondence for names and dates of selected correspondants in this series. HIDE

Loose items found in the album which do not appear to have been pasted in originally have been removed to a separate folder. Items which were pasted in and have since become unglued have been kept in the album between the pages of what appears to be their original location.

Additional hand-made cards are scattered throughout the Correspondence series. A small portion of cards in the album have been microfilmed on reel 2753. HIDE

Diaries include twelve volumes kept by Konrad Cramer from 1945 to 1962, and two volumes and some loose pages by Florence Ballin Cramer, as well as notes and excerpts from diaries that are not part of the collection. Konrad Cramer's diary entries are sporadic, recording his farming activities, weather conditions, and personal activities. The volume for 1949 also contains notes from Florence Ballin Cramer's lengthy hospital stay and his contacts in New York during that time. Florence Ballin Cramer's diaries date from her school days and travels to Europe, when she met Konrad Cramer, and contain many sketches. A later volume documents her hospital stay, and also contains sketches. Also found are detailed notes and excerpts from diaries not found in the collection, possibly loaned for microfilming and returned to the Cramers. In addition, loose items removed from several diaries, including those found within the collection and those removed from the collection, are filed here and include photographs of Florence, unidentified friends, a costume ball, and the area around Woodstock; early exhibition documentation; clippings; a sketch; and writings by Florence and Irving Ballin.

Konrad Cramer's essays mostly concern technical aspects of painting, drawing, printmaking, and photography, with a few essays on broad concepts such as modernism and design. Also found are numerous drafts of informal essays about people known to Cramer, including people from the Woodstock community such as Hervey White, founder of the Maverick artist's colony. Florence Ballin Cramer's essays include a lengthy autobiographical essay about her earliest visits to Woodstock as a student of the Art Student's League summer classes, essays on Ameican crafts and Mexican artists, and other subjects.

Konrad Cramer's earliest notebook contains recipes gathered from his peers for paints and varnishes. Other notebooks contain essays, technical notes, drafts of outgoing letters, and some notes from meetings of Woodstock organizations. Volumes given titles by Cramer are listed by title, and titled essays within volumes are noted in the folder contents list. Florence Ballin Cramer's notebooks include two volumes from her adolescence containing notes and drawings.

Notes include travel notes and an annotated map from a 1938 trip West and notes written by Florence Ballin Cramer and Konrad Cramer including technical photo notes, recipes, quotes from published sources, contact information, and other miscellany. Collection notes, probably written by Florence Ballin Cramer, describe materials in the Cramer papers that have become separated from the items they describe. Miscellaneous notes include a student's poem, a list of books about Greenwich Village, and a brief note from a friend.

Additional notes and writings are found in Biographical Materials and Personal Business Records. Picture books by the Cramers are found in Artwork.

Most of the papers in this series were previously microfilmed on reels 2753-2755, unless otherwise noted in the folder heading. HIDE

Artwork and exhibit records of Konrad Cramer include correspondence with the Dudensing Gallery, the Whitney Museum, John Graham and Sons, the Woodstock Artists Association and other exhibitors and dealers. Also found are receipts and price lists, some of which are illustrated with rough sketches. Florence Ballin Cramer's artwork and exhibit records include price lists, receipts, a guest book, and mailing lists, most of which refer to her 1953 exhibition at the Woodstock Town House gallery. Documents from her exhibitions at the Marie Harriman Gallery and Long Island University are also found. Additional materials related to exhibitions can be found in Printed Materials.

Records of the Florence Ballin Cramer's 57th Street gallery, the Florence Gallery, include photographs of Florence in the gallery, her contract with H. Kevorkian for the use of the space, clippings, catalogs, price lists, and letters from artists and subscribers to the gallery, including Andrew Dasburg, Gene Speicher, Stefan Hirsch, Elie Nadelman, Christine Chaplin, Paul Rohland, Caroline Speare, John Everts Bates, and Forbes Watson. Also found are drafts of letters and other writings by Florence promoting the gallery and its mission, and a small card file recording sales, income and expenses, and contact information.

Records of Florence Cramer's shop in Woodstock consist mostly of accounting and inventory records. Correspondence related to this venture can be found in the correspondence series, especially for the years 1925 to 1927.

Records of Woodstock craft organizations include legal contracts, by-laws, letters, notes, press releases, and other records related to the Woodstock Guild of Craftsmen and the Crafts' Foundation of Woodstock. Included are drafts of letters and speeches related to the opening of the Kleinert Wing of the Woodstock Guild of Craftsmen's building in 1958. See Correspondence, Writings, and Printed Materials for additional materials related to these groups.

Konrad Cramer's employment contracts with the Children's University School (now the Dalton School) and an advertising firm are also found. For materials related to his various teaching endeavors, see Writings and Printed Materials.

Materials in this series were previously scattered among the various accessions. Microfilm reels on which most of the documents in this series can be viewed are indicated in parentheses by the folder heading. Researchers should note that the order of documents on microfilm does not reflect the current physical arrangement. HIDE

Exhibition announcements, catalogs, and invitations are for Florence Ballin Cramer's and Konrad Cramer's group and solo shows as well as shows of other artists. Clippings are mostly from New York City and Woodstock-area papers and include notices and reviews of exhibitions, art news and features, articles about friends and neighbors, and other miscellany. Some clippings have been pasted to other types of documents, such as contracts or correspondence related to one of the Cramers' exhibitions, and appear to have been cut from a scrapbook. A number of newspapers saved in their entirety feature coverage of significant local events in Woodstock.

Brochures and letterhead are found for Konrad and Florence Ballin Cramer's various professional endeavors, including the Konrad Cramer's School for Miniature Photography as well as his auto mechanic service, Florence Ballin Cramer's antique shop, and other entities, many of which appear to be made with a manual letter-press and decorated with relief prints. Prints by other artists are filed separately and include a large engraved map of Woodstock created by Marg and Rudolph Wetterau. Additional prints are found in the Artwork series.

Woodstock organizations and events are documented here with brochures, posters, announcements, catalogs, programs, directories, and newsletters, many of which refer to Konrad or Florence Ballin Cramer's involvement in the organization. Woodstock publications include thirteen titles of books, little magazines, and journals featuring prints, drawings, stencils, and writings of the Cramers and other Woodstock-area artists and writers such as Hervey White, Paul Rohland, Peggy Bacon, Alexander Brook, John Carroll, Andrew Dasburg, John Evert Bates, Jean Paul Slusser, Grace Mott Johnson, Judson Smith, Rudolph and Marg Wetterau, Arnold Blanch, and many others. The largest run in the series is for the satirical arts paper Hue and Cry, which includes several complete volumes for its early years as well as two annuals with original relief prints on rice paper and many art reproductions. Issues of both The Wasp and The Overlook contain lengthy essays about Konrad Cramer. Woodstock Gargoyles features articles by many mainstays of the Woodstock community including Konrad Cramer, and is the first and only issue of that publication.

Additional scattered printed materials are filed with Biographical Materials, Correspondence, Writings (Items found in diaries), and Personal Business Records. See series descriptions for more details.

Printed materials in this series were part of two separate accessions previously arranged and microfilmed on reels D171 and 2755-2757, unless otherwise noted. HIDE

A series of early photographs in the pictorialist style appear to have been made on printing-out paper and are filed under the heading "Early Woodstock Views and Figures." Their photographer is unknown, but the female figure depicted is most likely Florence Ballin. A few examples of photo experiments with color and collage, probably by Konrad Cramer, are also found. Photographs filed under the heading "Portraits of Friends" include formal portraits, snapshots, and a series of posed photographs Konrad Cramer took of friends with family members in their homes.

Many of the photographs in this series were probably taken by Konrad and Florence Ballin Cramer, although many are uncredited. Wherever possible, photographs that appear to have been taken together have been filed together. Except for very early photographs, many of the individuals pictured have been identified on the photographs themselves, and names of those identified are noted in the folder listing.

Additional photographs are found in Correspondence, Personal Business Records (Florence Gallery records), and Writings (Items found in diaries). Writings and notes related to Konrad Cramer's work with photography are found in the Writings series, and manuals for cameras are filed with Printed Materials.

Except for photographs of works of art, which were not microfilmed, photographs in this series were microfilmed in an earlier arrangement on reels 1203 and 1204, unless otherwise noted. HIDE

Additional sketches by Florence Ballin Cramer can be found in the Writings series. Examples of woodblock and linoleum prints and engravings by the Cramers and others in their circle can be found in Printed Materials. Other sketches are found in the account books in Personal Business Records. See series descriptions for more details.

Most of the artwork in this series was previously microfilmed in an earlier arrangement on reel 2755. HIDE

• Apple, Marianne: 1942-1943
• Bacon, Peggy: 1922-1924, 1930, 1940, 1942, undated
• Barkin, Maeluise; 1950, 1962
• Barrère, George: 1932
• Barrère, Jean: 1950
• Bartlett, Mabel: 1957-1958
• Berkowitz, Sidney: 1954
• Bieber, Alfred: 1952, 1958, 1963, undated
• Blashfield, Edwin Howland: 1906
• Bloch, Julius: 1937, undated
• Boch, Alfred: 1961
• Boissevain Nusbaum, Anne: 1942, 1950, 1960, 1962
• Bourgeois, Stephan: 1924
• Braun, Alfred: 1957, 1959-1960, 1962-1963
• Bridgeman, George: 1906
• Brook, Alexander: 1924-1927, 1930
• Bullard, Marion: 1939, 1949
• Cahill, Holger: 1934
• Campbell, Blanche: 1948-1950, 1957, 1960
• Carlson, John: 1909-1911, 1913
• Carlson, Margaret (Mrs. John): 1962-1963
• Chambers, Faith: undated
• Chase, Barbara: 1947
• Chase, Cathy: 1947
• Cohn, Hilda: 1949
• Cowell, Sidney: 1962
• Cox, Kenyon: 1906
• Cramer, Belle: 1954
• Dasburg, Andrew: 1909, 1921, 1924-1927, 1931, 1945, 1955, 1959, undated
• Davenport, John: 1951-1953, 1955, 1963
• Delden, Gisela van: 1911, 1927, 1938-1939, 1952, 1954, 1956-1960
• DeLiagre, Alfred, Ally, and Delly: 1935, 1937, 1942-1943, 1948-1949, 1952, 1958, 1960, undated
• Dexter, Lindsay: 1939-1940
• Dickens, Elsa: 1962
• Dudensing, Leroy: undated
• Dudensing, Richard: 1932
• DuFrène, Mary: undated
• DuMond, Frank Vincent: 1906
• Dunbar, Henry: 1962
• Dunn, R. Loring; 1935-1937
• Eidlitz, Dorothy Meigs: 1945-1951, 1959-1960, 1962
• Evans, Grace: 1924, 1930 (photos enclosed), 1932, 1940, 1942, 1956, undated
• Ficke, Evelyn: undated
• Fischer, Anton Otto: 1943
• Force, Juliana: 1921, 1932-1934, 1936
• Fortess, Karl: 1935, 1940, 1945-1947, 1954, 1962
• Fortess, Lillian: 1934-1935, 1958
• Franklin, George: 1933
• Ganso, Emil: 1940-1941
• Ganso, Fanny: 1941-1947, 1949, 1951, undated
• George, Rowland: undated
• George, Thomas: 1963
• Gershoy (Gottlieb), Eugenie: 1927, 1937
• Gise, Margaret: 1934
• Gittis, Archie: 1929, 1939, undated
• Goldberg, Rube: 1937 (illustrated)
• Goodrich, Lloyd: 1962-1963
• Grant, Stuart: 1945
• Grosz, George: 1933, 1939
• Guggenheim, Mrs. Jules: 1959
• Guinzburg, Liu: 1941, undated
• Gurewitsch, Arno D.: 1936-1937, undated
• Harrison, Birge: 1910
• Hartman, Gusta and Bertram: 1928
• Haz, Hicholas: 1941
• Henderson, Alice: 1947
• Hermann, Norbert: 1962
• Hervey, Wilna: 1931, 1934-1938, 1940-1941, 1951(illustrated), 1956 (illustrated), 1962, undated (photos enclosed)
• Johnson, Grace Mott: 1910, 1911, 1916-1918, 1921, 1947
• Jones, Jane (Mrs. Wendell): 1956
• Karasz, Ilonka: undated (original print)
• Kass, Marie: 1957-1959
• Kessel, Therese Woodleaf: 1957
• Kleinert, Hermine "Mousie": 1911, 1919-1924, 1931-1934, 1936-1941, undated
• Klitgaard, Georgia: 1911, 1913-1914, 1946, undated
• Komroff, Manuel: 1945-1946, 1949-1952, 1956-1957, 1959-1961, 1963, undated
• Krom, Alice: 1935, 1943-1944, 1957
• Kuniyoshi, Katherine: 1956
• Kuniyoshi, Sara: 1954
• Labrot, Elanor: 1935
• Langner, Lawrence: 1920
• Lathrop, Charles: 1937, undated
• Lester, Henry: 1945, 1952-1956, undated
• Lester, Janka: 1940, 1942-1944, 1946, 1949, 1951, 1955-1956, 1958, 1963
• Lindin, Greg: 1944-1945, undated
• Lindin, Carl Eric: 1934
• Lindin, Louise: 1962
• Marsh, Fred Dana: 1944, 1948-1949, 1953, 1956
• Marshall, James: 1953, 1955-1956
• Marshall, Lenore: 1941, 1953, 1955-1958, 1963
• Mason, Nan: see Wilna Hervey
• Mayer, Grace: 1959-1960
• Mayers, Martha: 1934, 1945, 1950, 1953
• McFee, Aileen: 1917, 1919, 1921, 1928, 1930-1937, 1941, undated
• McFee, Henry Lee: 1921-1922, 1930-1931, 1935, 1951, undated
• Meadows, Harriet: 1962
• Mearns, Bill Hughes and Fagley: 1935, 1938-1939, 1941, 1949, 1956
• Mecklem, Austin "Meck" and Marianne: 1950, 1959
• Michelson, Nancy: 1959-1960
• Miles, Florence: 1949
• More, Herman; 1935, 1944
• Nadelman, Elie: 1914, undated
• Nadelman, Viola: 1925-1927, 1942, 1948-1949, undated
• Nelson, Doris Starr: undated (poems enclosed)
• Neuman, Janet: 1933-1935, 1956, 1960, 1962
• Neuman, Robert: 1959
• Niggli, Josefina and G. Morgan: 1935, 1938-1939, 1942, 1948
• Nusbaum, Dorothy: 1943, undated
• Obendorf, C.P.: 1945, 1952
• Oberferst, Norman: 1955
• Oertel, Curt: 1953
• Offner, Phillipa Whiting: 1942
• Ostes, Camela: 1934-1935, 1938
• Ottenberg, Irving: 1908, 1959, undated
• Ottenberg, Reuben: 1917, 1934, 1939, 1942-1945, 1948-1949, 1951, 1953, 1957, 1959, undated (photo enclosed)
• Pachner, Bill and Lorraine: 1945-1946, 1950, 1956, 1959, undated
• Parkhurst, Helen: 1933
• Penning, Tom: 1943-1944
• Pittman, Hobson: 1931, 1934, 1940
• Polansky, Ed: 1958-1959
• Pollard, William; 1954
• Ransohoff, Danny: 1943-1947, 1949-1953
• Reilly, Mary: 1911, 1921
• Resnick, Nat: 1957, 1962, 1963, undated
• Riesberg, Sid: undated
• Riley, Charlotte: 1923, undated
• Rohland, Caroline Speare: 1932-1933, 1942-1944, 1947, 1949, 1952, 1954, 1959, 1963, undated
• Rohland, Paul: undated
• Rollo, Jo: 1928-1930
• Saint-Gaudens, Carlota: 1911, undated
• Saint-Gaudens, Homer: 1923, 1919, 1933, 1937
• Segal, Bill: 1953
• Shermund, Barbara: 1939, 1942, undated
• Schultz, Andi: 1931-1933, undated
• Siegel, Adrian and Sophie: 1943-1944, 1953, undated
• Simonson, Lee: 1921, 1932-1933, undated
• Sluizer, Esther: 1951, 1962
• Slusser, Jean Paul: 1933
• Smith, Frank Leon: 1931, 1958, 1962-1963
• Smith, Judson: 1934-1935
• Sortwell, Frances: 1948
• Speicher, Gene: 1927, 1929 (photo enclosed), undated
• Sprinchorn, Carl: undated
• Stieglitz, Alfred: 1916, 1921
• Streibel, J.H.: 1956 (illustrated)
• Summers, Dudley: 1950-1953, 1955
• Trafton, Howard: 1926-1927
• Uhlenhutt, Edward "Uhli": 1918, 1919, 1921, 1927, 1935, 1937-1938, 1940-1942, 1945, 1947-1952, 1954-1959
• Varian, Dorothy: 1944
• Vaughn, Hilda: 1940, undated
• Walters, Carl: 1948
• Wangler, Albert: 1962
• Watson, Forbes: 1938-1939
• Watson, Thomas Jr.: 1958
• Webster, Ben: undated
• Wehle, Harry B.: 1921-1922, 1944
• Weyhe, E.: 1927
• White, Hervey: undated
• Wilson, Marty and Dave: 1952, 1957, 1959-1960, 1962
• Wingate, Bill and Maxine: 1962
• Wolfman, Gus: 1959-1960
• Zimm, Louise: 1962