Ædes Hartwellianæ: or, Notices of the manor and mansion of Hartwell. Captain W. H. Smyth, Royal Navy, author. Printed in London in 1851 for private circulation by Jobn Bowyer Nichols and Son, Parliament Street. Title page. Collections of the Getty Research Institute. In the public domain due to age via https://archive.org/details/deshartwellianor00smyt/page/n10/mode/1upHartwell House, Reduced from a large view painted in 1749. James Basire, Engraver. Image 61, Plate III of Ædes Hartwellianæ: or, Notices of the manor and mansion of Hartwell. Captain W. H. Smyth, Royal Navy, author. Printed in London in 1851 for private circulation by Jobn Bowyer Nichols and Son, Parliament Street. Collections of the Getty Research Institute. In the public domain due to age via https://archive.org/details/deshartwellianor00smyt/page/n61/mode/1upLees of Cheshire (left) – Lees of Hartwell (right). Coat of arms.James Basire, engraver. Page 98, Image 126 of Ædes Hartwellianæ: or, Notices of the manor and mansion of Hartwell. Captain W. H. Smyth, Royal Navy, author. Printed in London in 1851 for private circulation by Jobn Bowyer Nichols and Son, Parliament Street. Collections of the Getty Research Institute. In the public domain due to age via https://archive.org/details/deshartwellianor00smyt/page/98/mode/1upThe Muniment Room at Hartwell House. James Basire, engraver.Page 101, Image 128 of Ædes Hartwellianæ: or, Notices of the manor and mansion of Hartwell. Captain W. H. Smyth, Royal Navy, author. Printed in London in 1851 for private circulation by Jobn Bowyer Nichols and Son, Parliament Street. Collections of the Getty Research Institute. In the public domain due to age via https://archive.org/details/deshartwellianor00smyt/page/101/mode/1upThree statues carved in oak (out of a total of twenty-four) that decorate the staircase leading to the main apartments at Hartwell House. James Basire, engraver. Page 111 image 140 of Ædes Hartwellianæ: or, Notices of the manor and mansion of Hartwell. Captain W. H. Smyth, Royal Navy, author. Printed in London in 1851 for private circulation by Jobn Bowyer Nichols and Son, Parliament Street. Collections of the Getty Research Institute. In the public domain due to age via https://archive.org/details/deshartwellianor00smyt/page/111/mode/1upTwo Ancient Egyptian mummies included as illustrations although it appears from the text that these two mummies were not in Dr. Lee’s Hartwell House Collection. James Basire, engraver. Page 170 image 199 of Ædes Hartwellianæ: or, Notices of the manor and mansion of Hartwell. Captain W. H. Smyth, Royal Navy, author. Printed in London in 1851 for private circulation by Jobn Bowyer Nichols and Son, Parliament Street. Collections of the Getty Research Institute. In the public domain due to age via https://archive.org/details/deshartwellianor00smyt/page/170/mode/1upAncient Egyptian women wearing headresses (left) – female of the Tlascaltecas (Mexican) right. James Basire, engraver. Page 182 image 211 of Ædes Hartwellianæ: or, Notices of the manor and mansion of Hartwell. Captain W. H. Smyth, Royal Navy, author. Printed in London in 1851 for private circulation by Jobn Bowyer Nichols and Son, Parliament Street. Collections of the Getty Research Institute. In the public domain due to age via https://archive.org/details/deshartwellianor00smyt/page/182/mode/1up
The Egyptian Structure over the Hartwell Fountain. After a drawing by Cleghorn. James Basire, engraver. Page 222 image 259 of Ædes Hartwellianæ: or, Notices of the manor and mansion of Hartwell. Captain W. H. Smyth, Royal Navy, author. Printed in London in 1851 for private circulation by Jobn Bowyer Nichols and Son, Parliament Street. Collections of the Getty Research Institute. In the public domain due to age via https://archive.org/details/deshartwellianor00smyt/page/n259/mode/1up
ENCKE’S COMET. As seen at its re-appearance on the 22nd of September 1848, At the Hartwell Observatory. James Basire, engraver. Page 385 of Ædes Hartwellianæ: or, Notices of the manor and mansion of Hartwell. Captain W. H. Smyth, Royal Navy, author. Printed in London in 1851 for private circulation by Jobn Bowyer Nichols and Son, Parliament Street. Collections of the Getty Research Institute. In the public domain due to age via https://archive.org/details/deshartwellianor00smyt/page/n385/mode/1up
Clock – Greek in character, contributed to the 1867 Paris Universal Exposition by Paris Bronze Manufacturer M. Henri Houdebine. Page 47 of The illustrated catalogue of the Universal Exhibition of 1867 published with Art Journal which was published in London and New York in 1868 by Virtue and Company. Cc0 License 3.0. https://archive.org/details/hartley52087804/page/n47/mode/1upFrom the many and varied contributions of Mr. J. W. Benson – Goldsmith and Jeweller, of London – we select, for engraving, the CASKET in which was presented to Prince Alfred (Duke of Edinburgh) the freedom of the City of London. It is carved in oak by Mr. W. G. Rogers. Minute tracery of carved work and fine gold in high relief. Page 28 of The illustrated catalogue of the Universal Exhibition of 1867 published with Art Journal which was published in London and New York in 1868 by Virtue and Company. Cc0 License 3.0. https://archive.org/details/hartley52087804/page/n28/mode/1upMessrs. Winfield and Company, of Birmingham, who have long-established repute for the production of works in Brass and Or-molu, more especially Bedsteads and Chandeliers, contribute several works of a high order, with reference to design as well as execution. of the CHANDELIERS we give two admirable examples; they are of considerable merit, and confer honour on the great capital of the metal district. We add one of the suspending pillars. Those who call to mind the collection exhibited by this eminent firm in 1862, will readily believe that these contributions manifest exceeding and invaluable perfection of finish. Page 81 of The illustrated catalogue of the Universal Exhibition of 1867 published with Art Journal which was published in London and New York in 1868 by Virtue and Company. Cc0 License 3.0. https://archive.org/details/hartley52087804/page/n81/mode/1upThe Paper-hangings (PAPIERS-PEINTS) of Paris maintain their high position; they have an excellence which the artists and artisans of other countries vainly strive to reach. We engrave on this page the decoration of the side of a room, and part of another, the manufacture of M. HOOUK, the successor of the long-renowned firm of DELICOURT, to which firm France was largely indebted for its supremacy in this art. The designs are applied by an eminent artist, M. VICTOR DUMONT. We can give no idea of the brilliancy and harmony of the colours employed. Page 266 of The illustrated catalogue of the Universal Exhibition of 1867 published with Art Journal which was published in London and New York in 1868 by Virtue and Company. Cc0 License 3.0. https://archive.org/details/hartley52087804/page/n266/mode/1upFront cover. Collections of the Hartley Institution Southampton Reference Library. Image 1 of The illustrated catalogue of the Universal Exhibition of 1867 published with Art Journal which was published in London and New York in 1868 by Virtue and Company. Cc0 License 3.0. https://archive.org/details/hartley52087804/mode/1up
Cape Town from the Camps Bay Road. Cape Colony (South Africa). George French Argas, artist (and author). Page 6, Image 36 of The Kafirs illustrated in a series of drawings taken among the Amazulu, Amaponda, and Amakosa tribes : also, portraits of the … other races inhabiting southern Africa.Published in 1847 by J. Hogarth, Haymarket, London. Collections of the National History Museum Library, London. In the public domain due to age. via https://archive.org/details/kafirsillustrat00anga/page/6/mode/1upKarel, a Malay priest, at prayer: his wife Nazea. George French Argas, artist (and author).Plate 2, Image 25 of The Kafirs illustrated in a series of drawings taken among the Amazulu, Amaponda, and Amakosa tribes : also, portraits of the … other races inhabiting southern Africa.Published in 1847 by J. Hogarth, Haymarket, London. Collections of the National History Museum Library, London. In the public domain due to age. via https://archive.org/details/kafirsillustrat00anga/page/n24/mode/1upBavian’s Kloof (The Glen of Baboons, Genadendal. George French Argas, artist (and author).Image 48 of The Kafirs illustrated in a series of drawings taken among the Amazulu, Amaponda, and Amakosa tribes : also, portraits of the … other races inhabiting southern Africa.Published in 1847 by J. Hogarth, Haymarket, London. Collections of the National History Museum Library, London. In the public domain due to age. via https://archive.org/details/kafirsillustrat00anga/page/n48/mode/1up Umpanda, the King of the Amazulu. George French Argas, artist (and author).Image 59 of The Kafirs illustrated in a series of drawings taken among the Amazulu, Amaponda, and Amakosa tribes : also, portraits of the … other races inhabiting southern Africa.Published in 1847 by J. Hogarth, Haymarket, London. Collections of the National History Museum Library, London. In the public domain due to age. via https://archive.org/details/kafirsillustrat00anga/page/n59/mode/1upPanda Reviewing his Soldiers at Nonduengu.George French Argas, artist (and author).Image 63 of The Kafirs illustrated in a series of drawings taken among the Amazulu, Amaponda, and Amakosa tribes : also, portraits of the … other races inhabiting southern Africa.Published in 1847 by J. Hogarth, Haymarket, London. Collections of the National History Museum Library, London. In the public domain due to age. via https://archive.org/details/kafirsillustrat00anga/page/n63/mode/1upZulu Kraal on the Umgani, with Cattle and Sheep. George French Argas, artist (and author).Image 77 of The Kafirs illustrated in a series of drawings taken among the Amazulu, Amaponda, and Amakosa tribes : also, portraits of the … other races inhabiting southern Africa.Published in 1847 by J. Hogarth, Haymarket, London. Collections of the National History Museum Library, London. In the public domain due to age. via https://archive.org/details/kafirsillustrat00anga/page/16/mode/1upMouth of the Umvoti River, on the Indian Ocean, Natal.George French Argas, artist (and author).Image 81 of The Kafirs illustrated in a series of drawings taken among the Amazulu, Amaponda, and Amakosa tribes : also, portraits of the … other races inhabiting southern Africa.Published in 1847 by J. Hogarth, Haymarket, London. Collections of the National History Museum Library, London. In the public domain due to age. via https://archive.org/details/kafirsillustrat00anga/page/n81/mode/1upSoldiers of King Panda’s Army. George French Argas, artist (and author).Image 88 of The Kafirs illustrated in a series of drawings taken among the Amazulu, Amaponda, and Amakosa tribes : also, portraits of the … other races inhabiting southern Africa.Published in 1847 by J. Hogarth, Haymarket, London. Collections of the National History Museum Library, London. In the public domain due to age. via https://archive.org/details/kafirsillustrat00anga/page/n88/mode/1upScene in a Zulu Kraal, with Huts and Screens. George French Argas, artist (and author).Image 91 of The Kafirs illustrated in a series of drawings taken among the Amazulu, Amaponda, and Amakosa tribes : also, portraits of the … other races inhabiting southern Africa.Published in 1847 by J. Hogarth, Haymarket, London. Collections of the National History Museum Library, London. In the public domain due to age. via https://archive.org/details/kafirsillustrat00anga/page/n91/mode/1upEvening Scene on the Umnonoti River. George French Argas, artist (and author).Image 94 of The Kafirs illustrated in a series of drawings taken among the Amazulu, Amaponda, and Amakosa tribes : also, portraits of the … other races inhabiting southern Africa.Published in 1847 by J. Hogarth, Haymarket, London. Collections of the National History Museum Library, London. In the public domain due to age. via https://archive.org/details/kafirsillustrat00anga/page/n94/mode/1upThe New Antelope from Saint Lucia Bay.George French Argas, artist (and author). Image 117 of The Kafirs illustrated in a series of drawings taken among the Amazulu, Amaponda, and Amakosa tribes : also, portraits of the … other races inhabiting southern Africa.Published in 1847 by J. Hogarth, Haymarket, London. Collections of the National History Museum Library, London. In the public domain due to age. via https://archive.org/details/kafirsillustrat00anga/page/n117/mode/1upNew and Remarkable Species of Lepidoptera, from Natal and the Zulu Country.George French Argas, artist (and author). Image 120 of The Kafirs illustrated in a series of drawings taken among the Amazulu, Amaponda, and Amakosa tribes : also, portraits of the … other races inhabiting southern Africa.Published in 1847 by J. Hogarth, Haymarket, London. Collections of the National History Museum Library, London. In the public domain due to age. via https://archive.org/details/kafirsillustrat00anga/page/n120/mode/1up
George French Argas was an English explorer, naturalist, painter and poet. In 1846 he went to what is now South Africa, where he spent two years in Natal and the Cape. I don’t think he was one of those artists who accompanied explorers because the book these are taken is dedicated to Major-General Sir Harry Smith, Bart. G.C.B. who was Her Majesty’s High Commissioner for the Cape of Good Hope.
Also, this is more faded out than many of these and I can’t make out the names of the lithographers for the various plates. Often the lithographer (s) is listed on the title page but not here.
I would assume they were selling the store fronts (shop fronts) which could then be installed at your place of business. This is their only catalogue that is turning up online. They were listed as a firm working with masonry with the French government back in the mid 1960s but that’s all that turns up at least as of today.
Front cover. Image 1 of “Architectural Drawing and Lettering.” Frank A. Bourne, H.V. Von Horst, and Frank Chouteau Brown, authors. Published in 1910 by the American School of Correspondence, Chicago, Illinois. In the public domain due to age. via https://archive.org/details/bwb_W7-DDB-713/mode/1upDETAIL OF GREEK DORIC ORDER: an example of conventional shadows and rendering. Page 17, Image 18 of “Architectural Drawing and Lettering.” Frank A. Bourne, H.V. Von Horst, and Frank Chouteau Brown, authors. Published in 1910 by the American School of Correspondence, Chicago, Illinois. In the public domain due to age. via https://archive.org/details/bwb_W7-DDB-713/page/n17/mode/1upgSection Through Vaulted Ceiling, Showing Conventional Shadows and Method of Rendering.Page 56, Image 57 of “Architectural Drawing and Lettering.” Frank A. Bourne, H.V. Von Horst, and Frank Chouteau Brown, authors. Published in 1910 by the American School of Correspondence, Chicago, Illinois. In the public domain due to age. via https://archive.org/details/bwb_W7-DDB-713/page/n56/mode/1upShowing Difference in Rendering Stone and Metal. Page 60, Image 61 of “Architectural Drawing and Lettering.” Frank A. Bourne, H.V. Von Horst, and Frank Chouteau Brown, authors. Published in 1910 by the American School of Correspondence, Chicago, Illinois. In the public domain due to age. via https://archive.org/details/bwb_W7-DDB-713/page/n60/mode/1up
Front cover. Image 1 of STUDIES OF TREES IN PENCIL AND WATER-COLORS: Lessons in Foliage Contrasts; Oak, Ash, Beech, Etc. First Series. Vere Foster, artist. J Needham, author. Published in 1895 by Blackie and Son, Glasgow, Edinburgh and Dublin. Collections of Brigham Young University. In the public domain due to age. https://archive.org/details/studiesoftreesin00need/mode/1upFront cover. Image 4 of STUDIES OF TREES IN PENCIL AND WATER-COLORS: With a Description of each Tree, and Full Instructions for Drawing and Painting by an Experienced Teacher. First Series. Vere Foster, artist. J Needham, author. Published in 1895 by Blackie and Son, Glasgow, Edinburgh and Dublin. Collections of Brigham Young University. In the public domain due to age. https://archive.org/details/studiesoftreesin00need/page/n4/mode/1upPlate 1 – Contrasts of Foliage – the Oak and the Ash – by J. Needham. Image 11 of STUDIES OF TREES IN PENCIL AND WATER-COLORS: With a Description of each Tree, and Full Instructions for Drawing and Painting by an Experienced Teacher. First Series. Vere Foster, artist. J Needham, author. Published in 1895 by Blackie and Son, Glasgow, Edinburgh and Dublin. Collections of Brigham Young University. In the public domain due to age. https://archive.org/details/studiesoftreesin00need/page/11/mode/1upMountain Scene – Oak – Drawn by J. Needham. Image 21 of STUDIES OF TREES IN PENCIL AND WATER-COLORS: With a Description of each Tree, and Full Instructions for Drawing and Painting by an Experienced Teacher. First Series. Vere Foster, artist. J Needham, author. Published in 1895 by Blackie and Son, Glasgow, Edinburgh and Dublin. Collections of Brigham Young University. In the public domain due to age. https://archive.org/details/studiesoftreesin00need/page/21/mode/1upPlate IV – Scene in Sherwood Forest – Drawn by J. Needham. Image 23 of STUDIES OF TREES IN PENCIL AND WATER-COLORS: With a Description of each Tree, and Full Instructions for Drawing and Painting by an Experienced Teacher. First Series. Vere Foster, artist. J Needham, author. Published in 1895 by Blackie and Son, Glasgow, Edinburgh and Dublin. Collections of Brigham Young University. In the public domain due to age. https://archive.org/details/studiesoftreesin00need/page/23/mode/1upPlate V – Old Oak by the Wayside, Surrey – by J. Needham. Image 27 of STUDIES OF TREES IN PENCIL AND WATER-COLORS: With a Description of each Tree, and Full Instructions for Drawing and Painting by an Experienced Teacher. First Series. Vere Foster, artist. J Needham, author. Published in 1895 by Blackie and Son, Glasgow, Edinburgh and Dublin. Collections of Brigham Young University. In the public domain due to age. https://archive.org/details/studiesoftreesin00need/page/27/mode/1upPlate VI – Ash by the Wayside – by J. Needham. Image 35 of STUDIES OF TREES IN PENCIL AND WATER-COLORS: With a Description of each Tree, and Full Instructions for Drawing and Painting by an Experienced Teacher. First Series. Vere Foster, artist. J Needham, author. Published in 1895 by Blackie and Son, Glasgow, Edinburgh and Dublin. Collections of Brigham Young University. In the public domain due to age. https://archive.org/details/studiesoftreesin00need/page/35/mode/1upOld Ash-trunk – Drawn by J. Needham. Image 37 of STUDIES OF TREES IN PENCIL AND WATER-COLORS: With a Description of each Tree, and Full Instructions for Drawing and Painting by an Experienced Teacher. First Series. Vere Foster, artist. J Needham, author. Published in 1895 by Blackie and Son, Glasgow, Edinburgh and Dublin. Collections of Brigham Young University. In the public domain due to age. https://archive.org/details/studiesoftreesin00need/page/37/mode/1upPlate VII – The Great Ash Scene in Surrey – By J. Needham. Image 39 of STUDIES OF TREES IN PENCIL AND WATER-COLORS: With a Description of each Tree, and Full Instructions for Drawing and Painting by an Experienced Teacher. First Series. Vere Foster, artist. J Needham, author. Published in 1895 by Blackie and Son, Glasgow, Edinburgh and Dublin. Collections of Brigham Young University. In the public domain due to age. https://archive.org/details/studiesoftreesin00need/page/39/mode/1upPlate VIII – The Beech in Early Autumn – By J. Needham. Image 43 of STUDIES OF TREES IN PENCIL AND WATER-COLORS: With a Description of each Tree, and Full Instructions for Drawing and Painting by an Experienced Teacher. First Series. Vere Foster, artist. J Needham, author. Published in 1895 by Blackie and Son, Glasgow, Edinburgh and Dublin. Collections of Brigham Young University. In the public domain due to age. https://archive.org/details/studiesoftreesin00need/page/43/mode/1upPlate IX – Old Beech Trunks in Burnham Wood – By J. Needham. Image 49 of STUDIES OF TREES IN PENCIL AND WATER-COLORS: With a Description of each Tree, and Full Instructions for Drawing and Painting by an Experienced Teacher. First Series. Vere Foster, artist. J Needham, author. Published in 1895 by Blackie and Son, Glasgow, Edinburgh and Dublin. Collections of Brigham Young University. In the public domain due to age. https://archive.org/details/studiesoftreesin00need/page/49/mode/1up
Vere Foster put out other books along the same lines including one about painting landscapes.
Front cover. Image 5 of Mount Desert with pen and pencil. Doctor W. B. Latham, compiler. Published in New York by the Press of Liberty Printing Company in 1886. Collections of the Library of Congress. In the public domain due to age. via the Internet Archive https://archive.org/details/barharbormountde00laph/page/n4/mode/1upBar Harbor, Mount Desert, Maine. Page 4, Image 10 of of Mount Desert with pen and pencil. Doctor W. B. Latham, compiler. Published in New York by the Press of Liberty Printing Company in 1886. Collections of the Library of Congress. In the public domain due to age. via the Internet Archive. https://archive.org/details/barharbormountde00laph/page/4/mode/1upEagle Lake. Page 10, Image 16 of of Mount Desert with pen and pencil. Doctor W. B. Latham, compiler. Published in New York by the Press of Liberty Printing Company in 1886. Collections of the Library of Congress. In the public domain due to age. via the Internet Archive. https://archive.org/details/barharbormountde00laph/page/10/mode/1upMount Desert from ‘The Bluffs.’ Mount Desert Ferry. Page 12, Image 18 of of Mount Desert with pen and pencil. Doctor W. B. Latham, compiler. Published in New York by the Press of Liberty Printing Company in 1886. Collections of the Library of Congress. In the public domain due to age. via the Internet Archive. https://archive.org/details/barharbormountde00laph/page/12/mode/1upThe Ovens. Page 17, Image 23 of of Mount Desert with pen and pencil. Doctor W. B. Latham, compiler. Published in New York by the Press of Liberty Printing Company in 1886. Collections of the Library of Congress. In the public domain due to age. via the Internet Archive. https://archive.org/details/barharbormountde00laph/page/17/mode/1upMount Desert, Looking up Some’s Sound. The Rand Avery Supply Company (lower left) was a Boston printing company. Page 21, Image 27 of of Mount Desert with pen and pencil. Doctor W. B. Latham, compiler. Published in New York by the Press of Liberty Printing Company in 1886. Collections of the Library of Congress. In the public domain due to age. via the Internet Archive. https://archive.org/details/barharbormountde00laph/page/21/mode/1up Page 49, Image 55 of of Mount Desert with pen and pencil. Doctor W. B. Latham, compiler. Published in New York by the Press of Liberty Printing Company in 1886. Collections of the Library of Congress. In the public domain due to age. via the Internet Archive. https://archive.org/details/barharbormountde00laph/page/49/mode/1up
Just like some others I found a different version of this here but it’s a different edition? Not sure what but it has 72 pages not 60
Seahorse and Letters. Full Size Details of Letters and Ornament for Inscription Panel Main Entrance of Student Union Building, University of Arkansas, Fayetteville. Sheet number 118. Haralson and Mott and Mann and Wanger, Architects, Fort Smith, Arkansas. May 8, 1939. American. Pencil drawing on yellow tracing paper. Collections of and image credit the University of Arkansas Libraries. Fair use license. https://digitalcollections.uark.edu/digital/collection/Sesquicen/id/54/rec/2
Detail of Carved Stone Panels above Arched Windows of North Entrance. Student Union Building University of Arkansas, Fayetteville. Sheet number 124. Haralson and Mott and Mann and Wanger, Architects, Fort Smith, Arkansas.June 24, 1939. American. Pencil drawing on yellow tracing paper. Collections of and image credit the University of Arkansas Libraries. Fair use license. https://digitalcollections.uark.edu/digital/collection/Sesquicen/id/57/rec/3Full Size Tower Ornament (carved drops not required). Student Union Main Entrance Details. University of Arkansas, Fayetteville. Sheet number 120. Haralson and Mott and Mann and Wanger, Architects, Fort Smith, Arkansas (lower image).May 22, 1939. American. Pencil drawing on yellow tracing paper. Collections of and image credit the University of Arkansas Libraries. Fair use license. https://digitalcollections.uark.edu/digital/collection/Sesquicen/id/67/rec/5Quatrefoil Design repeated below Window Panels on the Student Union Entrance: Sills and Carved Panels for Windows C-131 to C-138 Inclusive: two carved ornaments as above for each window opening.University of Arkansas, Fayetteville. Sheet number 107. Haralson and Mott and Mann and Wanger, Architects, Fort Smith, Arkansas (lower image).May 22, 1939. American. Pencil drawing on yellow tracing paper. Collections of and image credit the University of Arkansas Libraries. Fair use license. https://digitalcollections.uark.edu/digital/collection/Sesquicen/id/69/rec/6Razorback Panel Detail. The Razorbacks being the name of the football team at the University of Arkansas. Detail from a drawing showing proposed details for the Main Entrance at the Student Union of the University of Arkansas Fayetteville. In the end they went with a more standard cornucopia panel, not this one. Haralson and Mott and Mann and Wanger, Architects, Fort Smith, Arkansas (lower image). January 30, 1939. American. Pencil drawing on yellow tracing paper. Collections of and image credit the University of Arkansas Libraries. Fair use license. https://digitalcollections.uark.edu/digital/collection/Sesquicen/id/77/rec/9Carved Quatrefoil Design Panel below Window of Main Entrance.Student Union. University of Arkansas, Fayetteville. Sheet number 105. Haralson and Mott and Mann and Wanger, Architects, Fort Smith, Arkansas. February 8, 1939. American. Pencil drawing on yellow tracing paper. Collections of and image credit the University of Arkansas Libraries. Fair use license. https://digitalcollections.uark.edu/digital/collection/Sesquicen/id/80/rec/10Stone Details South Entrance: Classroom Building Stone Building at South Entrances. University of Arkansas, Fayetteville. Sheet number 203. Haralson and Mott and Mann and Wanger, Architects, Fort Smith, Arkansas. June 26, 1939. American. Pencil drawing on yellow tracing paper. Collections of and image credit the University of Arkansas Libraries. Fair use license. https://digitalcollections.uark.edu/digital/collection/Sesquicen/id/106/rec/13
The Student Union at the University of Arkansas that these were part of was built as part of Franklin Roosevelt’s New Deal. The building is still there, now it is called Memorial Hall or Futrall Memorial Hall. The current Student Union was built in 1972. The 1939 building is on the National Register of Historic Places. It is the first photograph here https://livingnewdeal.org/sites/university-of-arkansas-futrall-memorial-hall-fayetteville-ar/
