S. Lane Faison papers, 1922-1981, bulk 1950-1976

S. Lane Faison papers, 1922-1981, bulk 1950-1976, by Rihoko Ueno

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Funding for the processing of this collection was provided by the Samuel H. Kress Foundation.

Table of Contents:



Biographical Information

Samson Lane Faison Jr. (1907-2006) was an art history professor at Williams College and director of the Williams College Museum of Art, Massachusetts. During World War II, Faison served in the Art Looting Investigation Unit of the Office of Strategic Services, an intelligence unit related to the Monuments, Fine Arts and Archives Division of the U.S. Army.

Samson Lane Faison Jr. was born in Washington, D.C. on November 16, 1907 to Samson Lane Faison Sr., a brigadier general in the United States Army, and Eleanor Sowers Faison. Faison graduated from Williams College in 1929, completed his M.A. at Harvard University in 1930, and a M.F.A. from Princeton in 1932. Shortly thereafter, he began teaching at Yale as an associate professor of art. In 1935, Faison married Virginia Gordon Weed (d. 1997) and they had four sons: Gordon, George, Christopher and Samson. Faison joined the Williams College faculty in 1936 and became head of the art department in 1940.

During World War II, Faison initially served as an instructor in U.S. Naval Air Force. From 1945-1946, however, Faison was a member of the Office of Strategic Services' Art Looting Investigation Unit (ALIU) responsible for investigating and interrogating Nazis and art dealers who were involved in the systematic looting of fine arts and antiquities across Europe. The ALIU investigated Karl Haberstock, Hitler's primary dealer and Hermann Voss, director of Hitler's Führermuseum in Linz, Austria where Hitler planned to house and display plundered art. Faison was the primary author of the report on the Führermuseum and also interrogated Göring's curator Walter Andreas Hofer. The ALIU issued twelve Detailed Interrogation Reports on Nazi looting activities which were used at the Nuremburg Trials.

During the recovery efforts, the U.S. government decided to ship 202 paintings that had been stolen by the Nazis from several Berlin museums in Germany (notably the Kaiser Friedrich Museum now known as the Bode Museum) to the U.S. for safekeeping at the National Gallery of Art in Washington, D.C. The government argued that the storage conditions in Germany were poor. Twenty-five of the Monuments Men signed a petition, known as the Wiesbaden Manifesto, against moving the paintings out of Germany. The Berlin Paintings were transported to the U.S. anyway and went on display at the National Gallery of Art before being put in storage. Faison was one of ninety-five American art historians who signed a second resolution in protest, demanding the immediate return of the paintings. The artwork, however, was not returned until 1948.

After the war, Faison resumed his professorship and his position as art department chair at Williams College and became director of the Williams College Museum of Art in 1948. In 1950, Faison returned to Germany as the last Director of the Munich Central Collecting Point, one of several recovered artwork repositories in Europe established by the U.S. State Department for inventory, research, and repatriation. Faison's orders were to close down the Munich Collecting Point, which took nine months.

Faison continued to teach at Williams until his retirement. Faison and two of his colleagues, William H. Pierson Jr. and Whitney S. Stoddard, were the three art history professors at Williams College nicknamed the "Holy Trinity," due to their reputation for launching the careers of their students to stratospheric heights. Several of their students went on to become directors at prestigious museums such as the Museum of Modern Art and the Guggenheim in New York, the National Gallery of Art in Washington, D.C. and the Art Institute of Chicago. The New York Times created the moniker “Williams Mafia” in reference to the Williams alumni that were taught by the “Holy Trinity” and whom went on to become prominent members of the art world.

Faison was made a Chevalier of French Legion of Honor in 1952. He received a Guggenheim Fellowship for 1960-1961 and Williams college awarded him a Doctor of Letters in 1971. He stepped down from his position as art department chair in 1969, and retired from his position as the director of the Williams College Museum of Art in 1976. Faison died in Williamstown, MA in 2006 at the age of 98.

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Overview of the Collection

Scope and Contents

The papers of art historian and Monuments Man S. Lane Faison measure 5.1 linear feet and date from 1922 to 1981, bulk from 1950-1976. Faison was an art history professor at Williams College, Massachusetts and, during World War II, he was a member of the Art Looting Intelligence Unit (ALIU) of the U.S. Office of Strategic Services. The collection includes scattered correspondence; writings; teaching files; subject files on exhibitions and projects; artists files; and printed materials. There are two folders of documents and photographs related to Faison's World War II work in the U.S. Art Looting Intelligence Unit.

Six folders of scattered correspondence relate to Faison's teaching, lectures, and writings.

Writings include bound student notebooks, lecture notes, typescript drafts, published articles, and material related to his book Handbook of the Collection: Williams College Museum of Art. Eighteen bound notebooks are filled with Faison's college class notes. There are typescript drafts of Faison's articles and speeches, as well as printed versions. Papers relating to Faison's book Handbook of the Collection: Williams College Museum of Art include several drafts, a correction copy, and a folder of illustrations to accompany the text.

Teaching files consist of course files containing miscellaneous notes for classes taught by Faison. The syllabi for classes he taught are filed separately.

Subject files are arranged into three groups: Monuments Men/ALIU files; projects and exhibitions files, and general research files. There are only two folders relating to Faison's World War II work in the ALIU. They contain photographs of looted artwork and documents about the controversial decision to ship recovered artwork to the U.S. for storage in the National Gallery in Washington, D.C. Projects and exhibitions files document Faison's curatorial work on the Oberlin Project (a traveling exhibition of college art) and the Carnegie International Exhibition, and other miscellaneous collaborative projects. Research files contain documents organized according to Faison's original folder headings and include miscellaneous images and clippings loosely grouped together by topic: architecture, advertising, housing, poster design, etc.

Artist files are Faison's documents on specific artists that mostly contain images of artwork, clippings and articles. Artist files were mostly used for teaching and reference.

Printed materials include news clippings, exhibition catalogs, press releases, reports and other miscellaneous materials.

Arrangement and Series Description

This collection is arranged in 6 series.

Subjects and Names

This collection is indexed in the online catalog of the Archives of American Art under the following index terms:

  • Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section.
  • Carnegie International.
  • United States. Office of Strategic Services. Art Looting Intelligen Unit.
  • Williams College--Faculty.
  • Art historians--Massachusetts
  • Art--History--Study and teaching
  • Photographs
  • World War, 1939-1945--Art and the war

Provenance

The S. Lane Faison papers were donated to the Archives of American Art by S. Lane Faison, Jr. in 4 installments from 1978 to 1982.

Separated and Related Materials

The Archives of American Art also holds an oral history interview of S. Lane Faison conducted on December 14, 1981 by Robert F. Brown for the Archives of American Art's oral history program.

How the Collection was Processed

This collection was fully processed by Rihoko Ueno in September 2012 with funding provided by the Samuel H. Kress Foundation.


How to Use the Collection

Restrictions on Use

Use of original papers requires an appointment.

Ownership & Literary Rights

The S. Lane Faison papers are owned by the Archives of American Art, Smithsonian Institution. Literary rights as possessed by the donor have been dedicated to public use for research, study, and scholarship. The collection is subject to all copyright laws.

How to Cite this Collection

S. Lane Faison papers, 1922-1981. Archives of American Art, Smithsonian Institution.

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Detailed Description and Container Inventory

Series 1: Correspondence, 1949-1979
0.1 Linear feet; 6 folders

Scattered correspondence is with friends and colleagues about events, classes, lectures and various topics of art history. Most were written during Faison's tenure at Williams College. Several letters are related to the publication of Faison's book the Handbook of a Collection: Williams College Museum of Art.

Correspondents with three or more letters have named separate folders. Correspondents with fewer than three letters are arranged chronologically and grouped together in one folder at the end of the subseries.

Box Folder
1 1 Fox, Milton S., 1951-1960
1 2 Klitzke, Theodore E., 1957
1 3 de Montebello, Phillipe, 1973
1 4 Smith, Gordon M., 1949, 1957
1 5 Smith, Lawrence M.C., 1949-1950
1 6 Chronological Correspondence, 1949-1979

Series 2: Writings, 1928-1979
1.7 Linear feet; Box 1-2, 7

Faison's writings date from his days as a student and continue through his career as a professor. Found here are eighteen college notebooks, typescript drafts of lectures and articles, and clippings of published articles. There are also typescript drafts, illustrations and a correction copy of his book Handbook of the Collection: Williams College Museum of Art, in addition to a few papers and notes for a book on Manet.

This series is arranged as 5 subseries:

2.1: Student Notebooks, 1928-1931

Box Folder
1 7 Honors Work in Art, Vol. I, 1928
1 8 Honors Work in Art, Vol. II, 1929
1 9 Honors Work in Art, Vol. III, 1929
1 10 Fine Arts II, 1929
1 11 Fine Arts 5c, 1929
1 12 Fine Arts 5b: Renaissance Sculpture, 1929-1930
1 13 Fine Arts 5f: British Painting, 1930
1 14 Fine Arts 8a: Theory Design, circa 1930
1 15 Fine Arts 9c, circa 1930
1 16 Fine Arts 15 d: Baroque Architecture, circa 1930
1 17 Classical Archaeology 1a, 1930
1 18 Classical Archaeology 1b: Roman, 1930
1 19 Sculpture of the Cinquecento, 1930-1931
1 20 Art 201, 1930-1931
1 21 Venetian Painting; Development of Medieval Style, 1930-1931
1 22 Hellenistic Art, 1931
Box Folder
2 1 Oriental Art, 1931
2 2 Northern Renaissance, 1931

2.2: Lecture Notes, 1946-1976

Box Folder
2 3 Impressionists, 1946
2 4 German Tour; Sex in U.S. Art; European Trip, circa 1950-1976
2 5 Dutch Art, 1953
2 6 Ideals of American Painting, 1955-1971
2 7 Modern Art: Appearance and Reality, 1957-1968
2 8 Daumier and Corbet, 1959-1960
2 9 Freshman Talk, circa 1960-1976
2 10 Picasso, circa 1964

2.3: Typescript Drafts, circa 1950-1976, bulk 1956-1961

Box Folder
2 11 Transcript for a "Radio Talk on Paul Cezanne," circa 1950-1973
2 12 "The Artist Speaks to His Time," circa 1950-1976
2 13 "Portrait of the Artist as a Young Man," 1953, 1957
2 14 "Art, Art History, and the Liberal Arts," 1957
2 15 "Fashions in Learning: The History of Art," 1957
2 16 Dedication of William Hayes Ackland Memorial Art Center, 1958
2 17 Dedication of the Kresge Art Center, 1959
2 18 Dedication of the Colby College Art Center, 1959
2 19 "Education and the Arts," 1960
2 20 "American Paintings: From the Nourishing Roots," 1961
2 21 "Museum Philosophy," 1965
2 22 "MFA Boston: The Rathbone Years," circa 1972
2 23 "George Washington and Gilbert Stuart," 1975

2.4: Publications, 1932-1970

Box Folder
2 24 "Barna and Bartolo di Fredi," 1932
2 25 "A Gothic Processional Cross in the Museo Cristiano," 1935
2 26 "A Gothic Reliquary in the Metropolitan Museum of Art, New York City," 1936
2 27 Book Reviews by Faison, 1940, 1954-1970
Oversized material housed in Box 7, Folder 1.
2 28 The Journal of the Walters Art Gallery, 1941
2 29 "Survivances et Reveils," 1947
2 30 "Fact and Art in Charles Delmuth," 1950
2 31 "Honore Daumier's Third Class Railway Carriage," circa 1950
2 32 Art in America foreword, 1954
2 33 Smith College Museum of Art Bulletin, 1954-1955
2 34 Apollo, December 1968 Issue, 1968
Oversized material housed in Box 7, Folder 2.
2 35 Apollo, December 1969 Issue, 1969
Oversized material housed in Box 7, Folder 3.
Box Folder
7 1 Oversized Art Bulletin, 1970
Oversized material from Box 2, Folder 27.
7 2 Oversized Apollo Magazine, 1968
Oversized material from Box 2, Folder 34.
7 3 Oversized Apollo Magazine, 1969
Oversized material from Box 2, Folder 35.

2.5: Books, circa 1954, 1978-1979

Found here are documents concerning two books written by Faison. There is one folder relating to a pocket book edition on Édouard Manet written by Faison. The remaining files are on Faison's Handbook of the Collection: Williams College Museum of Art, including three drafts, a compilation of images for publication, and a print edition on which "SLF correction copy" has been written on the cover in ink. None of the drafts for the book are dated. .

Box Folder
2 36 Manet Book Notes, circa 1954
2 37 Typescript Draft 1 for Handbook of the Collection, 1978
2 38 Typescript Draft 2 for Handbook of the Collection, 1978
2 39 Typescript Draft 3 for Handbook of the Collection, circa 1978
2 40 Illustrations for Handbook of the Collection, circa 1978
2 41 Handbook of the Collection: Williams College Museum of Art, 1979

Series 3: Teaching Files, 1935-1976
0.7 Linear feet; Box 2-3

Teaching files consist of course files and syllabi for classes Faison taught at Williams College. Files contain handwritten notes for lectures, copies of assignments and exam questions, and some miscellaneous printed materials such as images of art, news clippings and articles for reference.

This series is arranged as 2 subseries:

This series is arranged chronologically.

3.1: Course Files, 1935-1976

Box Folder
2 42 Art 2, 1936-circa 1943
2 43 Art 2, circa 1950
2 44 Art 2, circa 1951
2 45 Art 2, circa 1953-1960
2 46 Art 3 - Art 4, circa 1940-1950
2 47 Art 3 - Art 4, circa 1940-1950
2 48 Art 3 - Art 4, circa 1941-1958
Box Folder
3 1 Art 3 - Art 4, circa 1941-1958
3 2 English - Fine Arts 15-16, circa 1935 -1940
3 3 English 1-2, circa 1937
3 4 Art History Charts, 1940-1976
3 5 History 301, circa 1940-1970
3 6 Art 401, circa 1940-1970
3 7 History 1A-2A, 1949-1951
3 8 Art 6, circa 1950-1976
3 9 Lists of Slides Used for Lectures, circa 1965
3 10 Art 402, 1970

3.2: Syllabi, circa 1950-1976

Box Folder
3 11 Humanities B - Fine Arts, circa 1950-1976
3 12 Art 1, 1954-1960
3 13 Art 3, circa 1955-1960
3 14 Art 4 and Fine Arts S-170: Modern Painting, circa 1955
3 15 English 20, 1955
3 16 Art 303, circa 1960-1970
3 17 Art 201, 1961
3 18 Art 7, circa 1961-1975
3 19 Art 552, circa 1961-1975
3 20 Art 304, circa 1964-1971
3 21 Art 363 and Art 263: Nineteenth Century Painting and Sculpture, 1971-1975
3 22 Art 374, formerly Art 304, circa 1973

Series 4: Subject Files, 1923-1981
0.6 Linear feet; Box 3, 7

Subject files contain miscellaneous documents related to Faison's World War II activities and work, special projects and exhibitions, and general research or topics of interest.

This series is arranged as 3 subseries:

All the subseries are arranged chronologically, except for research files which are arranged alphabetically.

4.1: Monuments Men, 1946-1959, 1970

There are only two folders of papers documenting Faison's World War II work in the Art Looting Investigation Unit and related activities. There are documents related to a controversy regarding the shipment to Washington, D.C. of 202 recovered paintings stolen by the Nazis from Berlin museums. The shipment was protested by many prominent art historians, including Faison, who signed a petitition to stop the shipment. The folder includes a press release about the controversy, a list of signers of the resolution, a section of a U.S. State Department bulletin about the return of the paintings, and a few news clippings. The second folder in this subseries contains black and white photographs of what appears to be art looted from the Naples National Gallery by the Nazis for Hermann Göring's personal art collection.

Box Folder
3 23 Return of German-Owned Art Stored at the National Gallery, 1946-1959, 1970
3 24 Art from Naples National Museum, circa 1950
These photographs were originally in an envelope that contained a note: "Hitler Coll. Goering: Karinhall." This likely indicates that the photographs depict items stolen from the Naples National Museum by Hermann Göring for his personal art collection at his Karinhall residence. One photo IT 42 appears to be missing from the set, but there is an index card with the following annotation that describes what was shown in the photograph: "IT 42 Jewelry: 2 rugs, a chair, Naples Natl. Gallery."

4.2: Projects & Exhibitions, 1949-1981

Found here are project and exhibition files containing brochures, news clippings, articles, reports, and other assorted materials. There is a file on a television course on the humanities; collaborations with organizations such as the Berkshire Arts Association of which he was a member; and exhibitions he organized, including the Oberlin Project for which Faison was on the planning committee. The Oberlin Project was an exhibition of college-owned art that toured Europe. The Oberlin Project folder includes a few letters from Charles Parkhurst - professor at Oberlin College, Ohio, director of the college museum, and a fellow Monuments Man.

Box Folder
3 25 Vienna Art Treasures Exhibition, 1949-1950
3 26 Berkshire Art Association, 1954-1981
3 27 College Museum Traveling Project: Oberlin Project, 1955-1957
Oversized material housed in Box 7, Folder 4.
3 28 Carnegie International Exhibition, circa 1958
Oversized material housed in Box 7, Folder 5.
3 29 Council for a Television Course in the Humanities for Secondary Schools, Inc., circa 1960
Box Folder
7 4 Oversized News Clippings from Box 3, Folder 27, 1955-1957
7 5 Oversized News Clippings from Box 3, Folder 28, circa 1958

4.3: Research Files, 1923-1978

Faison's research files cover a variety of subjects. Most of the folders are related to art, but there are also folders on automobiles, housing, advertising, and many other topics. The files contain clippings, pamphlets, articles, and a few photographs.

Box Folder
3 30 Advertising, 1938-1948
Oversized material housed in Box 7, Folder 6.
3 31 American Sculpture, 1923-1951
Oversized material housed in Box 7, Folder 7.
3 32 Automobiles, circa 1933
3 33 Baroque, 1938-1970
Oversized material housed in Box 7, Folder 8.
3 34 English Painting, 1936-1973
3 35 Forgeries, 1924-1940
3 36 French Painting, 1932, 1962-1977
3 37 German and French Sculpture, 1936-1948, 1978
3 38 H.H. Richardson Architecture in U.S.A., circa 1949
3 39 Housing, 1939-1940
Oversized material housed in Box 7, Folder 9.
3 40 Industrial Art, 1936-1940
3 41 Movies, circa 1930
3 42 Poster Designs, 1937, 1942
3 43 Spanish Paintings, 1930, 1937
3 44 U.S.A. 19th Century Painting, 1935-1947, 1977
3 45 U.S.A. 20th Century Architecture, 1931-1953, 1971
Oversized material housed in Box 7, Folder 10.
3 46 Urban Planning, 1931, 1940
Oversized material housed in Box 7, Folder 11.
Box Folder
7 6 Oversized Advertisements from Magazines from Box 3, Folder 30, 1938-1948
7 7 Oversized News Clippings and Images from Box 3, Folder 31, 1923-1951
7 8 Oversized News Clippings from Box 3, Folder 33, 1938-1970
7 9 Oversized News Clippings from Box 3, Folder 39, 1939-1940
7 10 Oversized News Clippings from Box 3, Folder 45, 1931-1953, 1971
7 11 Oversized News Clippings from Box 3, Folder 46, 1931, 1940

Series 5: Artists Files, 1922-1976
1.5 Linear feet; Box 3-5, 7

Artists reference files contain images of art, news clippings, articles and other assorted materials Faison collected for teaching and research.

Box Folder
3 47 Archipenko, Alexandre, circa 1940-1976
3 48 Arp, Jean, 1934-1954
3 49 Barnard, George Grey, 1935, 1938
3 50 Barye, circa 1936
Box Folder
4 1 Blake, William, 1934-1957
4 2 Bonington, Richard Parkes, circa 1937
4 3 Boudin, Eugene, 1933, 1950, 1972
4 4 Bourdelle, Emile Antoine, 1931-1938
4 5 Brancusi, Constantin, 1950-1967
4 6 Butler, Reg, 1957, 1959
4 7 Calder, Alexander, 1952-1974
Oversized material housed in Box 7, Folder 12.
4 8 Callery, Mary, 1950, 1952
4 9 Canova, Antonio, 1940-1976
4 10 Carpeaux, Jean Baptiste, circa 1958-circa 1966
Oversized material housed in Box 7, Folder 13.
4 11 Cassatt, Mary, circa 1940-1976
4 12 Cezanne, Paul, 1920-1973
Oversized material housed in Box 7, Folder 14.
4 13 Constable, John, 1936-1963
4 14 Corot, J.B.C., circa 1930-1965
4 15 Couture, Thomas, circa 1930-1970
4 16 Daumier, Honore Victorin, 1930, 1951-1970
4 17 David, Jacques Louis, circa 1930-1940, 1971
4 18 Davidson, Jo, circa 1948
4 19 Degas, Edgar, 1934-1976
4 20 Delacroix, Eugene, 1930-1972
4 21 Despiau, Charles, circa 1940
4 22 Dispirito, Henry, circa 1940-1976
4 23 Eakins, Thomas, circa 1931-1976
4 24 Ensor, James, circa 1957
4 25 Epstein, Jacob, circa 1938-1959
4 26 Forain, Jean Louis, circa 1956
4 27 Gauguin, Paul, 1933-1970
4 28 Gavarini, Paul, 1949-1954
4 29 Gericault, Theodore, 1934-1971
4 30 Giacometti, Alberto, 1955-1971
4 31 Gill, Eric, circa 1938
4 32 Greenbaum, Dorothea, circa 1939
4 33 Gros, circa 1963
4 34 Guys, Constantin, circa 1950-1960
4 35 Harnett, William, 1971-1972
4 36 Horwitt, Will, circa 1969
4 37 Houdon, Jean-Antoine, 1938-1964
Oversized material housed in Box 7, Folder 15.
4 38 Ingres, Jean Auguste Dominique, circa 1950-1973
Oversized material housed in Box 7, Folder 16.
4 39 Jongkind, Johann B., circa 1970-1976
4 40 de La Tour, M. Quentin, circa 1930-1970
4 41 Lachaise, Gaston, circa 1964-circa 1974
4 42 Lassaw, Ibram, 1952, 1954
4 43 Laurens, Henri, circa 1937
4 44 Lawrence, Thomas, circa 1940-1970
4 45 Lawrie, Lee, circa 1932-1938
4 46 Le Nain, circa 1940-1970
4 47 Lehmbruck, Wilhelm, circa 1974
4 48 Liberman, Alexander, circa 1971
4 49 Lipton, Seymour, circa 1956
4 50 Macmonnies, Frederick, circa 1922-1936
4 51 Maillol, Aristide, 1929-1941, circa 1971
4 52 Manet, Edouard, 1949-1957, 1972
4 53 Manship, Paul, circa 1937, circa 1951
4 54 Marini, Marino, 1950, 1956
4 55 Mestrovic, Ivan, circa 1930-1970
4 56 Milles, Carl, 1936-1939
Oversized material housed in Box 7, Folder 17.
4 57 Millet, J.F., circa 1913, circa 1963
4 58 Monet, Claude, 1949-1975
4 59 Moore, Henry, 1940-1971
Oversized material housed in Box 7, Folder 18.
4 60 Morisot, Berthe, circa 1970
4 61 Munch, Edvard, 1950-1973
4 62 Pissarro, Lucien, 1964-1973
4 63 Prud'Hon, circa 1940-1970
Oversized material housed in Box 7, Folder 17.
4 64 Puvis De Chavannes, Pierre, circa 1940-1970
4 65 Redon, Odillon, circa 1972
Box Folder
5 1 Renoir, Pierre Auguste, 1929-1973
Oversized material housed in Box 7, Folder 19.
5 2 Rodin, Auguste, circa 1955-1973
5 3 Rousseau, Henri, 1945-1949
5 4 Rousseau, Theodore, circa 1963
5 5 Saint-Gaudens, Augustus, circa 1937
5 6 Sargent, John Singer, circa 1938-1964
5 7 Seurat, Georges, circa 1957-1971
5 8 Sisley, Alfred, circa 1966
5 9 Signac, Paul, circa 1955
5 10 Toulouse-Lautrec, 1938-1958
Oversized material housed in Box 7, Folder 20.
5 11 Turner, J.M.W., circa 1950-1974
5 12 Van Gogh, Vincent, circa 1935-1971
Oversized material housed in Box 7, Folder 21.
5 13 Whistler, James Abbott McNeill, circa 1933-1972
5 14 Zorach, William, circa 1938
Box Folder
7 12 Oversized News Clippings from Box 4, Folder 7, 1952-1974
7 13 Oversized Exhibition Catalog from Box 4, Folder 10, circa 1958-circa 1966
7 14 Oversized News Clippings from Box 4, Folder 12, 1920-1973
7 15 Oversized News Clippings from Box 4, Folder 37, 1938-1964
7 16 Oversized News Clippings from Box 4, Folder 38, circa 1950-1973
7 17 Oversized News Clippings from Box 4, Folder 56, 1936-1939
7 18 Oversized Exhibition Catalogues from Box 4, Folder 59, 1940-1971
7 19 Oversized Article from Box 5, Folder 1, 1929-1973
7 20 Oversized Articles from Box 5, Folder 10, 1938-1958
7 21 Oversized Magazine and Articles from Box 5, Folder 12, circa 1935-1971

Series 6: Printed Materials, circa 1935-1980
0.5 Linear feet; Box 6, 7

Printed materials consist of exhibition catalogs, bulletins, reports, news clippings, press releases, magazines and other miscellaneous printed matter.

There is a copy of the Report on the Committee on the Visual Arts at Harvard University which examined the role of the arts in the curriculum. The report was by the Harvard Committee, whose chair was philanthropist and later Smithsonian regent John Nicholas Brown and the executive secretary was Faison. During World War II, President Roosevelt appointed Brown to General Eisenhower’s staff as Special Cultural Advisor and the civilian head of the Monuments, Fine Arts & Archives Section. Brown also argued against the removal of German-owned artworks to the United States in 1945.

Box Folder
6 1 Exhibition Catalogs, 1937, 1955-1972
6 2 Exhibition Catalogs, Williams College, 1954-1976
6 3 Museum Bulletins, 1940, 1966-1974
6 4 Williams College Bulletins, 1961
6 5 Museum of Modern Art Annual Report, 1939-1940
6 6 Report of the Committee on the Visual Arts at Harvard University, 1956
6 7 News Clippings: World War II, 1946
Oversized material housed in Box 7, Folder 22.
6 8 News Clippings written by Faison, 1955-1959
6 9 News Clippings, 1956-1982
Oversized material housed in Box 7, Folder 23.
6 10 Press Releases, 1959-1974
6 11 Williams College Alumni Review Magazine, 1976
6 12 Miscellaneous, circa 1937-1971
6 13 Undated Miscellaneous, circa 1935-1980
Box Folder
7 22 Oversized News Clippings from Box 6, Folder 7, 1946
7 23 Oversized News Clippings from Box 6, Folder 9, 1982