Tag Archives: Shead

Shead Geologic Map

To continue from the end of the previous post, this will just highlight the largest painting completed by Ralph B. Shead. This Oklahoma Geologic Map is dated 1938, making it another in the line of WPA paintings.

Age and renovation have taken a toll on something that was never meant to last this long. It was another of those bygone works marked for disposal.  Preliminary talks are underway on how to get it restored/preserved, where it should hang after, and how to maintain it in the meantime. Maybe we can do something broadly inclusive like a crowdfunding campaign. The thing itself is a logistical nightmare measuring approximately 10×14 feet. It appears to have been painted with acrylic paint, so I am not sure if restoration is an option, it may just be a preservation issue with a coat of sealant to prevent anymore paint loss or damage.

These are just raw camera images I have taken in order to try and do some digital repairs on it myself. As soon as Photoshop is working again on my work laptop I will get right on that. Until then, enjoy this enormous map with scenes of Oklahoma farm and industry surrounding it.

digitally manipulated image with adjusted perspective for a full on front shot. Digitally restoring this is going to be more difficult than I anticipated.

The 12+ labors of Ralph B. Shead

For me, History is filled with people and things. I have never really indulged in the movements and theories and isms that seem to infect the past presently. For a historian this is a professional character defect, for me it is what brings history alive and allows us to find our connections to it.  It is likely why I spent so much time learning archaeology and paleontology. I believe it is ultimately what lead me to the history of science so I could talk about all of that at once.

When I first came to OU and was getting settled across campus with the few people I had some connection with I was shown around the Sam Noble Natural History Museum. On the second floor back in the hallway to the VP lab and collections there are these two enormous paintings (13.5 feet long by 3.5 feet high). After taking in the scale and content of these behemoths I immediately looked for the signature. “Ralph B. Shead ’42” and “Ralph B. Shead ’34 (or 39 it is obscured by the frame I believe it is 34).

Who was this artist? What else had he done, and why was he doing these things at this scale? This was years before I started the digitization and scanning project and information was slow in coming. I wouldn’t even find a photo of him for 2 years. When I started scanning and updating an internal manuscript on the history of the museum I gleaned a little more information.

You can see his Mammoth Mural in the background (Source: Unpublished manuscript by Wann Langston, Jr. )

You can see how hard it is to piece this stuff together. Langston missed Shead’s retirement by a few years which is understandable because Langston was working at the National Museum of Canada from 1954-62.  Shead stayed at the Museum until 1960 or 61 and he wan’t simply the museum artist.  In addition to his museum technician and painting work he served as the Oklahoma sate superintendent for the WPA during the 30s (when the bulk of his work was completed). The WPA records and receipts over in our Western History Collection indicate that some paint and supplies were purchased as part of the “Fossil Bones” project making at least the two paintings upstairs technically WPA art.  Through some interesting turn of events another giant (13-footer) painting now resides down at the Texas A&M Biodiversity Heritage prep lab. The irony behind this is that its subject matter is Norman’s native (Permian) son–the Cotylorhynchus. 

The Cotylorhynchus  painting falls  under the WPA years as well and was complete with the aid of a plaster or clay model he created.

Shead at work on Cotylorhynchus painting (Copyright Sam Noble Oklahoma Museum of Natural History)
Ralph B. Shead with his plaster (clay?) model of Cotylorhynchus (Copyright Sam Noble Oklahoma Museum of Natural History)

Shead also created other plaster models for reference, and I believe he was the one who fashioned/oversaw the plaster for the Procamelus (now Aepyicamelus) skeletal reconstruction that accompanied the skull until it disintegrated.

More plaster models. (Source: Unpublished manuscript by Wann Langston, Jr.)

The bulk of Shead’s work predates the formation of the WPA by a year. They were the “missing” and then “rehomed” paints from the previous two posts. They are also impressive in scale and scope as well, and add three more paleontology paintings to Shead’s portfolio. Ralph’s great-nephew told me that the marine reptiles  mural wasn’t one of Ralph’s. Conrad said he was certain that it was a  signed  just as the Mammoth was, of course the place where his signature would have been was unfortunately damaged when it was removed from the wall. It doesn’t look quite like other works by Shea, and was painted on sheetrock and not canvass like Shed’s other works, but he did paint most everything that was in the museum. If anyone out there has a photo of this with the signature intact please send it along.

The moving of these paintings led to some renewed interest in some old emails and leads that were passed to me for follow up. Chasing down contacts I was able to locate the final “missing” mural that I was aware of living peacefully over in the Geology Graduate offices in Sarkey’s. It is another of Shead’s giants too, this one of a Carboniferous landscape painted in 1938 (during the WPA funded period)

There were also some Shead paintings reportedly hanging out in the microbiology department so I went in search for them. There were three, two in an classroom/lab and one in the herbarium office. These were as surprising as the marine reptile mural because I had never seen mention or reference of them. I photographed them to add to my ever-growin Shead dossier. When I was processing the images later that evening I noticed that there were no signatures on the microscope or fungi ones, but I assumed they had been covered by the frame (looking back now I don’t think that is the case, I just need to look harder).

The other one was even more surprising because while it is a Shead painting, it wan’t painted by Ralph.


I had no idea there *was* a Robert Shead and that added a whole new layer to the simple project of documenting Ralph B. Shead’s work. I found even less on Robert Shead (1908-1999) than his older brother Ralph. Robert had a son who ended up working at an internationally acclaimed interior design firm in Dallas. That son’s, (David LaForge Shead) obituary outlined his work followed in his parents’ footsteps studying art and design at OU. I haven’t been able to track down Robert’s years at OU yet. William Shead confirmed all this and added that Robert had a lucrative interior design company in Oklahoma City. He even served as a designer during his war service years, boasting that he has designed the interior of MacArthur’s private plane. He also confirmed that the fungi and the microscope were Robert Shead paintings and not Ralph’s.

Ralph B. Shead from OU 1916 yearbook
Shead in 1915 (OU Yearbook)

Ralph however received his certificate of art in 1916, 14 years before Stovall arrived at the university, and became *the* name associated with all things museum and paleontology related. David Levy’s  The University of Oklahoma: A History, Volume II 1917-1950 only mentions Shead in a single sentence: “Ralph Shead, a professional artist who became a long time employee of the museum, designed displays and created historic murals.” (214).  At least two of which include a Jurassic scene and the background for the oreodon exhibit. Not only did Shead paint the background but  he did the figure sculpting for the diorama as well.

Jurassic Background (Copyright Sam Noble Oklahoma Museum of Natural History)

 

Oreodon display. These fossils were prepped and mounted by WPA workers and are still in these positions in their new habitat in the current museum. (Copyright Sam Noble Oklahoma Museum of Natural History)

Pretty short-shrift for someone who produced four 13+ foot paintings, three slightly smaller ones, and served as acting director of the museum between 1952 and 54 (Stovall died in 1953) after the “new” Museum was opened in 1951.

University Museum 1951. (OU Yearbook, 1951)

The paleontology paintings aren’t even the largest scale that Shead worked with while painting at OU. There is an enormous geological map of Oklahoma painted with various labor scenes around it that I will be spending some time with next week photographing more completely and attempting to do some digital repairs on it.

Photo by author

Shead wasn’t bound to the art studio during his tenure at the museum. As WPA superintendent part of his work included accompanying the visitors and press to sites worked under WPA funding. Here here is during the “This Project Pays your Community” public tour week in the Cimarron County Dinosaur Quarry.

Mr. Held, pres agent, Ralph Shead, Miss Fullerton, Mrs Stafford, J.W. Stovall (left to right)(Copyright Sam Noble Oklahoma Museum of Natural History)
Cimarron County. Dinosaur Eula Fullerton, Director P&S Division and Ralph Shead, Supt. Paleo project (Copyright Sam Noble Oklahoma Museum of Natural History)

Similarly, Shead’s fieldwork was not simply administrative. There were times when Shead as a “museum technician” was involved in the dirt of the excavation, and like his paintings he worked with dinosaurs and extinct mammals.

Ralph Shead (right) with WPA foreman Mannie Capansky and the “brontosaur” femur. (Copyright Sam Noble Oklahoma Museum of Natural History)
R.B. Shead excavating elephant 3 miles SW of Weatherford Sept 4, 1941. (Copyright Sam Noble Oklahoma Museum of Natural History)

Later in 1941 Shead published a 7 page informational booklet on the Bear Zuni Fetishes from the Spiro Mounds archaeological excavations. Spiro was another scientific University WPA project. OU Anthropology students Shawn Lambert and Lucius Martin presented a poster highlighting the OU WPA artists and their illustrations for the Spiro project and publications. Interestingly this poster hangs in the same paleontology hall as the first two Shead paintings that I saw.

While I was working on this collection of Shead work, I contacted his great nephew William who not only lives in Norman, but lives at the original Shead address. The original house burned in the 1930s and the current house is a gorgeous faux adobe Mexican colonial partially designed by Ralph with the interior designed by Robert. It is definitely my favorite house in Norman.

I spent the afternoon surrounded by even more of  Ralph’s art in his old house catching up on the Shead family history which is as fascinating as I had figured and in a surreal way similar to threads of my mother’s side of my family. Just to add all the smaller pieces of Shead’s work here to what is part of the University it is obvious that Shead painted all the time. Some of these landscapes are from the areas in the panhandle area which William said Shead really liked.  I am going to make it a habit of visiting more often and next time I will have my big camera, but for now, having all of Ralph’s extant work together, even if it is just digitally. is a pretty fulfilling feat.  There is at least one more that was given to a family psychologist friend. Either set of these would be an impressive portfolio, when lumped together is simply staggering.


Most are normal “house-art” sized (16×20 or so) except the Mexican scene, it is at least 48×60. I want to try and get some better photos of at least that one for a print.

I don’t know much more about the artist that was born in New Madrid, Missouri in 1892; What was he up to between 1916 and 1933 when he started painting for Stovall and the museum? Shead’s WWI draft card lists him as a school teacher in Jenks in June of 1917. William said he thought Shead was pursuing a master’s degree in art in Indiana before the family called him home to help during the depression. A few newspapers have him exhibiting art at the Herron Art Museum and the Indiana State Fair. He  is mentioned as living in Indianapolis with his brother Walter (newspaper reporter) in the reports of Laurance’s death in 1933.   An article in the Inianapolis Star  (January 8, 1935) lists Shead as having attended Washington University in St. Louis, MO, the Grand Central School of art, and the School of Design in New York.  It mentions his OU museum murals and a potrait of Bishop Francis Kelly of the Catholic diocese of Tulsa and Oklahoma City which all seem to have been completed in 1934.

Indianapolis Star Tue. Jan 8, 1935

His plans to return to Indianapolis in 1935 changed when he became the WPA Oklahoma state superintendent that same year.  When the WPA folded, Shead became the assistant director of the University Museum, serving as “acting director” from 1952 to 1954 when the Hungarian-born archaeologist Stephan Francis Borhegyi took over the museum directorship.

The Oklahoman. December 27, 1948.
Shead in Sooner Magazine in 1957. (Vol 29 . no. 8 pp 8-10)

According to William Eugene Hollon’s A History of the Stovall Museum of Science and History (1956), during the late 1940s through the early years of the 1950s Shead was the only full-time museum employee. He serve as assistant director and head of exhibit preparation at the renamed Stovall Museum  until he retired in 1960. He continued to paint the rest of his life finally laying down his brush in 1969.

The Oklahoman Thursday Feb 20, 1969

Shead is buried next to his parents and brother (not Robert) in the the St. Joseph’s Catholic section of the Norman IOOF cemetery on Porter St. in Norman, less than 50 yards from J. Willis Stovall and his wife.  There is an American Legion medallion next to his headstone. There were even a story tied to the headstone.

The large Shead stone was created by Shead’s father James. He was skilled with concrete and decorative planters and birdbaths are part of the front garden at the house.

The family stories are not without tragedy either. The brother Laurance that is buried here was a fairly successful theatre manager at the Garden Theatre in Paterson, New Jersey who was known to help anyone down on there luck. One such patron, a prospective singer from Georgia named Louis Kenneth Neu took advantage of his kindness, accompanied Laurance to his apartment for a party, and eventually hit him from behind with an iron and stole his wallet. Laurance died of his injuries and Ney was later apprehended and executed in New Orleans for the murder of Laurence Shead and a wealthy Tennessee businessman.

Their mother Mary is, so far, the longest-lived Shead, and her story ties the family to one of the most significant geological stories in North America.  Her Father’s Grandfather, a LaForge survived the New Madrid Earthquake only to catch pneumonia from wading through the slush that was once his farmland when the Mississippi River flooded. He later succumbed to his illness ultimately making him another victim of the quake.

His surviving work is impressive by any standard, and that isn’t taking into account all the already (really) lost “displays” and “historic murals” that served as backdrops for all the dioramas throughout the museum. His work isn’t simply art or background, paleontology or archaeology. His work crisscrossed all aspects of the museum, its collections, and ever expanding subject areas (which I think is why I have been drawn to finding out more about him). They also remain some of the strongest physical links to the history of the university museum outside of the collection artifacts themselves.

 

C’mon Get involved ’till the mystery is solved…

Continuing with the Scooby Doo theme here I get to update one of the most exciting stories that has happened since my time here.  You remember my last lament of the missing murals?  Well guess what isn’t “missing” anymore!

copyright Sam Noble Oklahoma Museum of Natural History, the University of Oklahoma

This is far more than a “ta-da” story and I need to explain about the use of “” above missing. Through the years and many renovations and relocations things get shuffled and repurposed. Such was the case of the old museum storage facility. When the University Landscape Management HQ and shop moved into the old building there were four large paintings standing in the corner stacked against each other.

Luckily, Conrad Zindel, a 17-year-old temp worker in 1997 liked them enough to hang them in their break room (which I am convinced is the only reason they’ve survived intact/ this long/at all). This is why I used the “” earlier, because for me they were missing, but for Conrad, after going full-time, they are something that he has seen every day for the last  20 years!

They’b been hanging out here for the last 20 years. Photo sent by Brandy Zindel

Recent renovations for their building meant they had to come down and they would not be re-installed. It was this news that drove his wife Brandy and her sister Kimberley Cloud to hit the internet where, as luck, would have it, she hit on my most recent blog post here. I can’t describe the excitement when her comment hit “I know where these paintings are.” I dropped everything and directed her to contact me through my Paleo Porch facebook page and we started figuring out how to orchestrate the rehoming of these nearly 85-year-old paintings. It culminated with me meeting Conrad at his shop not long after I came into work.

This was the one I had always hoped to see. Photo by one very excited author

They were coming to install sheetrock in the area where they were temporarily stored so we had to act quickly (in fact they started installing it while we were moving the last one!). Thankfully everyone who could do anything about it was on campus that morning, and through the course of the day the two largest ones were taken down the the museum. The two smaller (relatively speaking) paintings were taken to Conrad and his wife Brandy’s house lest they be stepped on or damaged in some other way and they–including the mammoth one that started this whole adventure–will be re-homed this coming week and I will update this post some higher quality images than the ones that Brandy sent me online  as soon as I get them.

Mammoth Mural photo sent by Brandy Zindel
Full frame. This thing is about the size of a queen sized bed. Photo by Author

This wasn’t just a case of missing/found, only 2 of the four were on the list of the ones I knew existed. The other two, one large and one smaller, were both new to me and terribly exciting. At the time of writing I only have images of the one that was indeed a mural–painted on Sheetrock–and the other large canvas. But look at this classic marine reptile scene! Now I need to try and backtrack the historical side of things and see what I can find out about it. Since this piece was done directly on sheetrock it took a little damage when it was removed, losing Shead’s signature and the date (another 1934!) But it is absolutely stunning.

This scene was completely new to me, as I was never around to see it as part of the original Stovall Museum Mural. Photo by Author.

The other one was even more extraordinary as it wasn’t a painting by Shead, but one by J. Willis Stovall himself! I have only seen a corner of it featuring Polar Bears from an photo Brandy sent me through facebook.

Not a Shead, but a Stoval!! photo sent by Brandy Zindel
Stovall’s Polar Bears painting is about 4×6 feet. Photo by Author

It was a red letter day, and will be even more exciting this week when the other two are able to join their old roommates down at the museum.

I love everything about this story, how they were not really lost, how the timing hit to get them moved quickly, but mostly how it was my silly little blog post that helped orchestrate it. It just goes to show you what can happen when the doors of communication are opened as far as humanly possible. I am confident that there would be no other way that this would have played out so positively had it not been for my silly blogging that Brandy and her sister Kimberley found on my website in an internet search. As an archaeologist and historian I am beyond thrilled that they’ve been “found,” as a paleontologist and historian of science, I am excited about the historic representations of these scenes, and as someone who likes good stories I am beyond elated that this one played out like it did.

Copyright Warner Bros, Hanna-Barbera Productions, A Scooby Doo! Christmas, (2002)

The conversations that this has started have also proved fruitful. Since then I have been able to ascertain that another of Shead’s paintings currently lives in the Texas A&M Biodiversity Heritage prep lab and that he was commissioned for another 5 murals related to biology and they are on campus in two different buildings which I fully intend to find in the next episode, which I think will give me enough for a full post on the artist Ralph B. Shead. Until then, I can shift pop culture references and say that this part of the case is solve-ed!