Title: Sid Boyum Collection
Inclusive Dates: circa 1900-2018 (bulk 1950s-1980s)

Creators:

• Boyum, Sid (Sidney), 1913-1991, artist and collector
• Friends of Sid Boyum, compiler

Call Number: PH 6986; AE 726-AE 729; CD 343-CD 344; DG 356; Mss 1213

Quantity: 6.0 cubic feet of mixed visual materials (8 oversize boxes), 0.4 cubic feet of posters and drawings (4 oversize folders), 2.0 cubic feet of photographic materials (4 card boxes, 2 binders, 3 archives boxes), 7 reels of film (16 mm), and 1.4 cubic feet of manuscript materials (4 archives boxes)

Repository:

Wisconsin Historical Society, Division of Library, Archives, and Museum Collections

Archival Locations:

Wisconsin Historical Society (Map)

COLLECTIONS MAY BE STORED OFF-SITE: see catalog entry for additional information.

Abstract:

The Sid Boyum Collection, mostly from the 1950s to the 1980s, consists of mixed materials created and collected by Sid Boyum, a cartoonist, commercial graphic artist, industrial photographer and advertising artist for Gisholt Machine Company, and a neighborhood outsider artist largely known for sculpture. The collection primarily contains photographic materials representing his diverse range of artistic talent and production, and documents his active professional and personal life in and around Madison. Visual materials include Boyum's commercial, non-commercial, and cartoon designs in genres such as mechanicals, drawings, paintings, and posters, as well as greeting cards and invitations for area businesses, attractions, and seasonal events. Also includes biographical papers, a photograph album, personal and professional correspondence, writings, and industrial trade magazines, brochures on Gisholt products, clippings, and tear sheets featuring Boyum's art. Some Gisholt materials appear to have been created by other artists, and other artworks are by known and unknown creators. Also includes filmstrips on Gisholt product promotion and films on Boyum's personal life. Additional materials compiled by the non-profit group, Friends of Sid Boyum, document Boyum's sculpture re-location project.

Language: English

URL to cite for this finding aid: http://digital.library.wisc.edu/1711.dl/wiarchives.uw-whs-ph06986

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Sidney “Sid” Emmet Boyum was an artist, graphic designer, photographer, filmmaker, and sculptor from Madison, Wisconsin. Boyum was born in Duluth, Minnesota on August 16, 1913, to Severt Louis Boyum and Emma Maria (née Schroeder) Boyum (1885-1974). In 1917, his father and mother separated, with Severt moving to Madison with his oldest son John the same year and Emma moving with Sid and her youngest child Bernice (1915-2006) in 1919. Sid graduated from Madison East High School in 1932, and married Margaret L. Klassy (1911-1977) in 1939. In 1946, Margaret moved in with his mother, while their only child Steven (1940-2010) was sent to life with his mother's parents in Monticello, Wisconsin. Around this time Sid Boyum became involved with Beatrice “Bea” (née Walusiak) Heitmeyer. The affair never resulted in divorce, but Margaret moved out of her mother-in-law's house in 1959 when their son finished high school. Boyum eventually inherited his mother's house at 237 Waubesa Street, where he turned the house into a neighborhood landmark serving as a commercial studio, art gallery, and sculpture garden for his two- and three-dimensional work.

Since childhood, Boyum created art that combined a witty sense of humor with a method based on imitation, which is evident throughout the collection. He started drawing by copying newspaper comic strips and cartoons. By his senior year at East High School, he served as both art editor for the yearbook, Tower Tales, and president of the Cartoon Club; early versions of his style and signature appear throughout the yearbook. Boyum stated that he hoped cartoons would promote “a spirit of fun” and make others “appreciate art”^[1] —two sentiments he lived by and expressed throughout his lifetime. Upon graduation, he attended classes at the University of Wisconsin-Madison but quickly withdrew for financial reasons, taking a job with the Brock Engraving Company.^[2] Boyum reportedly worked there as an artist and photographer for a decade which overlapped employment with Rayovac in 1939.^[3]

By the late 1930s, Boyum earned a scholarship from the Federal Arts Project.^[4] With this fellowship, he formally studied art and graphic design at the Layton School of Art in Milwaukee which specialized in Modernism, and at the American Academy of Art in Chicago. ^[5] Boyum landed a brief stint in 1940 painting canvases for the Milwaukee Toy Loan Program ^[6] overseen by the Works Progress Administration (WPA). While studying in Chicago, he worked as a portrait photographer, a photo retoucher for catalogs printed by Sears and Roebuck, and a candy wrapper designer for McMillian Studios.^[7]

By the mid-1940s, Boyum established himself professionally in Madison by opening Graphic Arts Service^[8] in the Waubesa home which he ran for the next forty years. There, he created mechanicals and paste ups for commercial advertising designs ordered by local businesses such as Swann Studios, Cecil's Sandals, Martin Glass, Union Tavern, Virginia Dance Company, and Ole's Clothes. He also did photography for Ducks Unlimited, R.L. Bender Deluxe Cab Limousine Service, and Gratco Corporation (later Graftobian; a Madison make-up company started by Boyum's friend, Gene Coffman, which produced Disguise Stix©). In addition to his home studio, he worked at commercial photography firms located on State Street, starting with Meuer Photoart House in 1939 and then Sanchez Photography Store.

From 1943 until 1973 Boyum served as the Gisholt photographer and graphic artist for advertising. During his thirty-year career at the company, he created images for product pamphlets and brochures, trade magazines such as American Machinist, and safety signs for the plant.^[9] Boyum also regularly contributed cartoons, Christmas holiday art, and humorous writings to the News Crib, the bimonthly employee newsletter. He also regularly shared his knowledge of photography by offering classes for the company's Camera Club (established in 1948 ^[10]) and by formal invitation. For a number of subsequent years, he gave instructional lectures at the American Society of Tool Engineers, and in 1958 he presented a slide lecture on industrial photography for a UW Department of Engineering workshop that included other photographers associated with local businesses such as Bjorksten Research Laboratories. In 1954, Boyum studied film production, earning a certificate on industrial film from Marquette University. It is at this time that he began to make promotional and training films for Gisholt as well as home movies.

Boyum's most notable (and notorious) work at Gisholt, however, documents amusing antics and carousing fishing trips with co-workers in the 1950s and 1960s. Among these are countless retirement parties for friends and annual winter banquets for the Ice Chippers, all held in local supper clubs with walls plastered in Boyum's posters of characteristically sassy and bawdy cartoons replete with drinking and sex humor. Boyum designed jocular invitations for the Ice Chippers (also known as the Piscatores), an all-male ice fishing group of Gisholt employees who met on Lake Mendota typically in January or February. He also designed other greeting and holiday cards to send to Gisholt friends, all requiring graphic design that combined photographs, paste ups, and poetic text. Boyum's other poster art, photography, and film also show that he interacted with everyone at Gisholt from corporate administrators to plant workers and clerical staff (both male and female). His political posters champion working class issues. Examples of these outings, parties, posters, and cards are included in the collection.

The most outstanding and unique graphic work is the series, “Opening Day.” Running from 1963 to 1989 on the front page of the Sports sections in the Capital Times and Wisconsin State Journal, this series includes elaborate and imaginative drawings which promoted the first day of the general fishing season. They were often captioned with Boyum's writing, sometimes poetic odes to the outdoors, sometimes comical word play about the fishing fantasy depicted. He reportedly created the drawings without compensation from the newspapers but as an exchange for prints. Like his other commercial and non-commercial work, Boyum applied the many techniques of graphic design with an added element of staging zany scenarios with friends outdoors and fishing, which were then photographed to serve as visual aids for the drawings.

One of Boyum's other side jobs was assisting Alex Jordan Jr., with the creation and promotion of the House on the Rock, which opened in 1959. Boyum and Tom Every (also known as Dr. Evermor) helped in the construction of many exhibits, including the carousels, and later appointed artistic director and board member, Boyum photographed interiors and exteriors for tourist brochures which he designed. In 1975, he also wrote to the National Trust for Historic Preservation on behalf of Jordan to seek outside support for the site. The Asian and African themes repeated throughout the site's art and architecture inspired Boyum, who by the mid-to-late 1960s began altering his home. Inside, he decorated walls with carvings, paintings and collected works, treating his home as an ever-evolving gallery space. Outside, he converted his back and side yard into a sculpture garden, beginning with a torii (a Japanese gate), an arched bridge by a reflecting pond, lanterns, and a pagoda. It was at this time that Boyum began his outdoor sculpture phase with large-scale painted concrete-cast forms inspired by Asian and African motifs, abstract and geometric designs, whimsical creatures, and other works influenced by art that he saw in major museums, on Milwaukee buildings or state historical markers. His colorful and imaginative profusion of sculpture endeared him to the neighborhood and attracted the attention of others, including Charles Kuralt who featured Boyum in an “On the Road” television segment in the 1970s. Boyum's reputation as an “outsider artist” is based on these outdoor sculptures.

Conservation and relocation projects of Boyum's outdoor art began after his death in 1991. When Steve Boyum inherited his father's home in 1992, he sought solutions to preserve and restore the folk art, which led to the founding of Friends of Sid Boyum Sculpture.^[11] The works were surveyed by UW students in 1992 as part of the Smithsonian and Heritage Preservation Inc. sponsored the Save Outdoor Sculpture! (SOS!) initiative.^[12] Steve and concerned neighbors organized the community to ensure long-term preservation and immediate conservation of the painted concrete art through several means including official city approval; professional advice from art conservator Anton (Tony) Rajer and architect Lou Host-Jablonski; applying for financial assistance through Madison's Community Enhancement Grant Program; and conducting a second inventory by a UW conservation class in 1999. Due to this community action, the City of Madison accepted thirteen of the seventy Boyum sculptures to be placed throughout the Atwood-Schenk neighborhood, which resulted in the largest, single donation of public sculpture in Madison's history.^[13] The first move took place in 2000 of the Smiling Mushroom, followed by the Polar Bear Chair, blue tripod, hippopotamus, and others. This “Sculpture Project” has been documented and mapped by Host-Jablonski and members of the Friends of Sid Boyum Sculpture organization such as filmmaker Gretta Wing Miller for the Design Coalition website.

In 2015, Friends of Sid Boyum (FoSB) incorporated as a non-profit to save the dilapidated 237 Waubesa Street property and to conserve “the art and legacy of … Sid Boyum.”^[14] The home had been seized by the County for non-payment of taxes, and FoSB worked with the Dane County Cultural Affairs Commission on solutions to save the house.

The Sid Boyum Collection, mainly 1950s to 1980s, consists largely of mixed visual materials created and collected by Boyum, a Madison-based artist of commercial graphics, photography, cartoons, film, and sculpture. A few materials pre-date and post-date Boyum's life including a family photograph album (circa 1900), and clippings and photographs on the outdoor sculpture preservation project which began in the early 1990s compiled by Friends of Sid Boyum. The majority of visual materials date to Boyum's art career as a commercial graphic designer and photographer for advertising at Gisholt Machine Company and for other local businesses. Collection materials also include his non-commercial art. Many of the works are signed by Boyum with first and full name, or simply “S.”

Items throughout the collection are often repeated in other formats for two general reasons. First, the bulk of visual materials reflect the complex process of graphic design which relied on various media to produce a single camera-ready graphic which resulted in a final print image for reproduction in publications or other print formats. Many collection materials, therefore, consist of the final print graphic as well as mechanicals and paste-ups used in this process such as drawings, paintings, collages, posters, retouched photographs, and negatives. Second, many completed works on paper or board are repeated in photographic formats as copies or as part of the printing process. For example, some posters also appear as 4 x 5-inch negatives, and some color photographic prints as 35 mm transparencies.

It is important to note that photographic negatives and transparencies are included in all eight series but are not comprehensively listed in the finding aid. Given the volume of over 500 color and black-and-white negatives, the 4 x 5-inch negatives (PH 6986, Boxes 7-10) are arranged by subject and in labeled sleeves. The binders for 35 mm color negatives (PH 6986, Box 12) and 35 mm transparencies (PH 6986, Box 13) also contain digital contact sheets for ease of viewing. There are no digital contact sheets for the Gisholt 35 mm filmstrips (PH 6986, Box 13).

By August 2018, over 1,000 items from the Sid Boyum Collection had been digitized and can be viewed on the Wisconsin Historical Society website.

The PERSONAL FILES series, 1914-2018 (bulk 1930s-1960s), consists of documents, visual materials and film. Documents include: baptism certificate, educational degrees and certificate of merit, humorous identification cards, voter registration, an application with the FBI; professional and personal correspondence (mainly with Bea Heitmeyer); samples of creative writing and poetry; notes on commercial art theory, design and cartoon drawing; clippings of drawings on fishing season and the sex scandal relating to Alex Jordan's son, art exhibitions and auctions; 1998 brochure for the Dr. Evermor Foundation Proposal for the Badger Army Ammunition Plant re-use project to as “an historic artistic educational memorial sculpture park dedicated to the workers of the munitions”; and a 1932 Madison East High School yearbook, and 1931 anthology of cartoons published in The New Yorker with Jordan's doodles in the margins. Visual materials include one portrait drawing of Jordan, but the majority consists of varying photographic formats of Jordan, his family, friends, co-workers, and the interior of 237 Waubesa; there are also greeting cards of his mother and Bea. Other photographic images include snapshots taken in and around Madison, Milwaukee, and the state. The short black-and-white film of Bea's nude body is silent. Other films which include footage of Bea are found in the Gisholt Machine Company series.

The GISHOLT MACHINE COMPANY series, 1940s-1973, consists of documents, realia, visual materials, and films. Documents include: a company history that chronicles its founding in 1887 to 1904 written by an unknown author; annual reports (1950s) and employee benefit plan; News Crib copies with Jordan's cover art (1947-1960); production brochures, tear sheets, and trade magazine covers with Jordan's commercial designs and photography (1948-1964); trade-magazine proofs (circa 1950s); product brochure (circa 1910) and service manuals (1947). Realia include: two carved stamps for the athletics team and company insignia; and two other machine emblems.

Visual materials make up the bulk of this series, including both commercial and non-commercial art as mechanicals, photographs, and posters. They exist in small, medium and large dimensions of mixed-media genres such as works on paper, photographic paper and board with paint, graphite, ink or paper collage. Commercial work covers Jordan's artistic range in graphic design and photography for print advertising, for the News Crib (such as the Christmas issue), as well as for posters on plant safety; many works on boards include print firms' coversheets and printers' notations. Industrial photography documents factory machines such as lathes, employees operating machinery, working women in the factory, and the plant's interior and exterior; a set of metal-mount slides accompany notes for a lecture on Engineering Photography that Jordan presented at the University of Wisconsin on October 30-31, 1958. Non-commercial work includes: photography of retirement parties, employees (mostly male but some female) at work and in bars, the Ice Chippers in supper clubs, and Jordan in the company dark room; mechanicals for Ice Chipper invitations to winter-fishing events on Lake Mendota and supper parties; humorous and political posters on the working class that sometimes appeared at Ice Chipper parties. Other materials on paper are: blueprints, a dummy of product literature, and large technical drawings of machines. There are also three cartoon filmstrips on machine products; and five color films: two are silent shorts from 1962 of friends at work (including footage of Bea Heitmeyer); three longer films are on machine product development.

The FISHING AND HUNTING series, 1950s-1980s, is broadly represented across mixed-media genres of visual materials including drawings, posters, photography, and film. Within this series are two notable sub-series: “Opening Day” (1962-1987), with drawings, photographic prints, photographic negatives, posters, clippings, mechanicals, and fine art prints; and Ducks Unlimited (circa 1950s-1960s), with drawings, paintings, posters, stencils, and mechanicals for graphic designs as well as photographic prints, photographic negatives, and clippings of events and outings. These two sub-series are also represented by fine art prints and drawings of Jordan's artwork, which are signed. A general sub-series includes additional photographic prints and negatives of Jordan's many outdoor trips as well as cartoons, posters, and drawings. One silent, color film dated around 1962 is a montage of various fishing trips in Wisconsin.

The HOUSE ON THE ROCK series, 1939-1989 (bulk 1960s-1970s), includes documents but is mostly photographic materials and drawings. Documents include correspondence, clippings, and an interview transcript. There are four letters: one to Jordan from the National Trust for Historic Preservation (1975); and three handwritten drafts by Jordan about a commercial deal (1989), about Jordan, and about a tax evasion issue. The two clippings regard a blackmail charge (1939) against Jordan and his then-girlfriend, Jennie Olson, involving a candid camera and a local businessman framed in a sex scandal. The transcript (1990) is of Jordan speaking about his friend, Alex Jordan Jr., and House on the Rock. The bulk of visual materials (1960s-1970s) are black-and-white and color photography (prints, negatives, and transparencies) of interiors of specific rooms and exhibits, exteriors of buildings and streets, the carousel, sculpture, gardens, views, and construction. The photographic work is largely commercial and appeared in tourist booklets. One large black-and-white print pictures Jordan's custom car that was published in Doug Moe's biography of Jordan. There are also several color-marker and pen-and-ink drawings of the entrance and mill as well as interior rooms, windows, and sculpture. Among these drawings is a color-pencil portrait of Jordan by Marv Balousek.

The OUTDOOR ART AND SCULPTURE series, 1960s-2010s, divides materials into two periods: Jordan's outdoor art phase from the late 1960s to 1980s; and the relocation project from late 1980s to the late 2010s. The bulk of materials on the outdoor art phase consist of photography in color and black-and-white prints and 35 mm transparencies; there is also one large sketch that was used to design the Diana relief. These images extensively cover Jordan's process of making concrete-cast sculptures from wood frame to painted designs; they also show the array of styles, themes, and locations of the sculptures in his yard. His Japanese garden with torii gate, moon pond, and bridge appear across all photographic formats as does his Toonerville Trolley. Many of these Asian-, African-inspired, and more whimsical works can be viewed on the Wisconsin Historical Society website. Materials on the relocation project include a brochure circulated after 2000 about the fundraising effort to conserve the sculptures in their new settings and an educational flyer about the completed relocation project in the Atwood-Schenk neighborhood. The latter document includes a map for a walking tour. There are also newspaper clippings from 1988 to 2018 about Jordan, the relocated sculptures and remaining sculptures at the Waubesa house. Printouts from the Design Coalition website, “Sculpture by Sid Boyum - Art Conservation by Neighbors,” are also filed in this series. These include pages dedicated to the thirteen relocated sculptures, a map of Madison's eastside locations, histories on the first two moves, and an article by art conservator Anton (Tony) Rajer and architect Lou Host-Jablonski.

The COMMERCIAL ART series, 1940s-1980s, includes drawings, posters, and photographic materials, and covers advertising and promotional graphics for diverse businesses and retail shops in Madison. Jordan's work includes designs for companies such as Cecil's Sandals, Ole's Clothes, Martin Glass, Union Tavern, Swann Studios, Virginia Dance Company, R.L. Bender Deluxe Cab Limousine Service, and Gratco Corporation. Many of the photographic materials, especially the 4 x 5-inch negatives, document businesses such as Madison Brass Works, Madison Balancing Machine, La Grille Machine, Del Wood's Country Store, Cecil's Boot Ranch, Millstone Café, and the Simon House, and have not been digitized.

The NON-COMMERCIAL ART series, 1940s-1980s, includes drawings, posters, and photographic materials. This series consists of design graphics for greeting cards and invitations that Jordan regularly made for the holidays and special occasions; some cards and sheets of stationery are in their final print versions. The series also has political cartoons and caricatures such as Richard Nixon or topics including labor rights and taxes; there are also posters of stenciled epigrams that are witty and critical. There are also paintings, mostly watercolor, of varying subjects including a gorilla performing on a stage and a pastel panorama of downtown Madison from the lake. Among the photographic materials are a couple of examples of Jordan's art photography that may have served as mechanicals; and prints and negatives of his drawings and paintings on canvas, including images of Jordan painting for the Toy Loan Program. There is also a sketch given to Jordan by another artist, signed “Nelson.”

The WOMEN AND SEX HUMOR series, circa 1950s to circa 1970s, consists of cartoons, drawings, paintings, posters, and photographs. This series largely includes Jordan's photographs of unidentified women. These include portraits, stereographs of women in bathing suits at beauty contests sponsored by state-wide media outlets in the 1950s and held at the Steinwert pub in Milwaukee and other unidentified locales, and nude models covered in Disguise Stix body paint, circa 1968-1970. Many cartoons, drawings and paintings by Jordan reflect negative and stereotypical humor about women, and one set of cartoon strips with Whimpey, Popeye, and Olive Oyl (not by Jordan) is explicit. There is also an instructional drawing guide of nudes by the pin-up artist, Fritz Willis. Erotic films were separated from the collection and sent to the Museum of Sex in New York City and the Kinsey Institute at Indiana University-Bloomington. For representations of women close to Jordan or at the workplace, see the following series: Personal Files, Gisholt Machine Company, and Outdoor Art and Sculpture.

Extraneous Format / Content Designation in reference numbers

The following letters were used in the early stages of arranging collection items based on content or format. While most items were physically labeled with this system, efforts have been made to remove them to prevent confusion with reference numbers. However, given the volume of materials, some letters persist on both physical items and in digital records. This is particularly true for the 4 x 5-inch negatives which are labeled on sleeves and catalogued with PH 6986A. Such letters are not a standard part of the reference number.

A

4 x 5-inch negatives (black and white and color)

B

8 x 10-inch photographs (mostly black and white)

C

35 mm color negatives and contact sheets

D

35 mm color transparencies and stereo slides (1950s-1980s) with stereo viewer

E

“Opening Day” mixed materials

F

Photo album

G

Greeting cards, invitations, and small-scale mechanicals (camera-ready copy)

H

Color photographs (3 x 5 to 8.5 x 11-inch)

I

Gisholt Machine Company

J

Art: Commercial, Political Cartoons, Sex Humor, Miscellaneous

K

Hunting and Fishing

L

Non-Boyum Art

P

House on the Rock

Some visual materials separated out have been redistributed. Returned to FoSB are materials not produced by Sid Boyum: some art and photographs; a 1932 map of San Francisco Gyres Conference; a 1960 reprint of a film poster for The Thief of Bagdad; and vintage poster for Ringling Bros & Barnum and Bailey Circus, “The Children's Favorite Clown.” Explicit films have been donated to the Museum of Sex in New York City and to the Kinsey Institute at the University of Indiana-Bloomington. A few materials have been catalogued in the WHS Visual Materials collections: a signed photographic portrait of Wisconsin Secretary of State, Theodore Dammann (1935-1939), is in the name file; a print of Tenney Park in the place file; a 1986 poster for “Fifteen Hundred Little Pictures” Polaroid exhibit held at Survival Graphics on 853 Williamson Street (PH 4434 [3]); and a 1981 poster of Art Nesson on State Street by Shelley Ehlers (WHi 140410).

Use Restrictions

The Wisconsin Historical Society does not own the copyright to most images and documents in its collections. It is the researcher's responsibility to determine whether the proposed use violates copyright, and if so, to obtain permission from the copyright holder. In some cases, WHS has written agreements with copyright holders. In others, copyright has lapsed. Often, it is not clear who owns copyright. The user is legally liable for complying with the provisions of the law. For more information on copyright, consult U.S. Copyright Office publications.

Acquisition Information

Assembled by Friends of Sid Boyum, Madison, Wisconsin, from 2015 to 2017. Accession Number: M2017-061

Processing Information

Processed by Andy Kraushaar, David Erickson, Friends of Sid Boyum member-volunteers, UW-Madison School of Library and Information Studies graduate students, and Heather S. Sonntag, 2015-2018.

	Series: Personal Files
Mss 1213	Papers and books
Box   1 Folder   1	Personal and biographical materials
Box   1 Folder   2	Professional and personal correspondence, 1912-2000 (bulk 1950-1970) Note: Includes UW Engineering Photography Institute conference.
Box   1 Folder   3	Bea Heitmeyer, correspondence, 1940-1950s
Box   1 Folder   4	Personal writing and poetry, undated
Box   1 Folder   5	Lecture on Engineering and Industrial Photography notes, 1950s
Box   1 Folder   6	Commercial Art Theory and Design notes
Box   1 Folder   9	Dr. Evermor Foundation proposal for Badger, 1998
Box   4 Folder   1	How to draw cartoons notes
Box   4 Folder   2	Tower Tales, Madison East High School yearbook, 1932
Box   4 Folder   3	The Fourth New Yorker Album (Doubleday Doran & Sons, 1931) with doodles by Jordan
PH 6986	Visual materials
Box   5 Folder   2, 4	Greeting cards
Box   6 Folder   1	Baptism certificate, 1914
Box   6 Folder   7	Portrait drawing of Jordan by Nelson, 1973
Box   6 Folder   8-12	Photo album, circa 1900-circa 1960 (bulk 1930-1950)
	Photographs
Box   11 Folder   1	Bars with Gisholt Machine Company friends
Box   11 Folder   6	Portraits of Jordan
Box   11 Folder   7	Family and friends
Box   11 Folder   9	Industrial Photography lecture, 1958 October 30-31
	Negatives
Box   12 Sheet   23	Gravesite of Jordan's mother and aunt, Columbus, Wisconsin
Box   12 Sheet   33	Emma with birthday cake
	Transparencies
Box   13 Sheet   4	Waubesa home
Box   13 Sheet   10-11	Jordan, family and friends, including Bea
	Photographs
Box   14 Folder   1	Portraits of Jordan
Box   14 Folder   1	Family and friends, including Bea
Box   14 Folder   2	Waubesa home interior art
Box   15 Folder   7	Portrait painting of Bea
Box   16 Folder   1	Jordan self-portrait drawing in “Gallery 4”
AE 729	Bea Heitmeyer nude, circa 1960
	Series: Gisholt Machine Company, 1940s-1960s	⇧
Mss 1213	Notes, Reports and Product Literature
Box   2 Folder   1	Company history
Box   2 Folder   2	News Crib (incomplete)
Box   2 Folder   2	Annual reports, 1957 and 1959
Box   2 Folder   3	Product literature
Box   2 Folder   8	Gisholt Tools brochure (Cantwell Printing Company: Madison, Wisconsin), circa 1910
Box   2 Folder   9	Service manuals on “S” Balancers and Wear and Surface Finish (Gisholt Machine Company: Madison, Wisconsin), 1947
	Commercial Art: Graphic Design
Box   2 Folder   4	Trade magazine tear sheets, 1940s-1960s
Box   2 Folder   5	Trade magazine covers, 1948-1964
Box   2 Folder   6	Trade magazine proofs
PH 6986 Box   1 Folder   1	Plant and foundry hand-drawn map
Box   1 Folder   2-3	Dummies of product literature
Box   1 Folder   4-6	Mechanicals
Box   1 Folder   8-9	Mechanicals (continued)
Box   1 Folder   7	Madison-Kipp Corporation photographs, circa 1910
Box   2 Folder   2	Trade magazine tear sheets
Box   2 Folder   3-15	Mechanicals
Box   3 Folder   1-8	Mechanicals (continued)
Box   4 Folder   1-6	Mechanicals (continued)
Box   5 Folder   6	Mechanicals (continued)
Box   15 Folder   1	Technical drawings of machine lathes
	Commercial Art: Industrial Photography
Box   2 Folder   1	Blueprints
Box   7 Sleeve   237-268	Negatives
Box   11 Folder   3	Machines and plant photographs
	Filmstrips, circa 1950s
Box   12 Sleeve   58	“Cri-Dan”
Box   12 Sleeve   59	“Gisholt Machine Company ABC”
Box   12 Sleeve   60	“Gisholt Presents Balancing Theory”
Box   13 Sheet   15	Factory interior and exterior transparencies
Box   13 Sheet   16-19	Industrial Photography lecture transparencies, 1958 October 30-31
Box   15 Folder   2	Posters of instructional materials on photography
	Working-men's clubs: Ice Chippers
Box   11 Folder   4	Dinners and retirement parties photographs
Box   5 Folder   3	Event invitations
Box   5 Folder   4	Mechanicals for cards and invitations
Box   8 Sleeve   206-207	Negatives
Box   11 Folder   1	Event photographs
Box   16 Folder   1	Mechanicals for cards and invitations
Oversize Folder   1	Posters
	Non-Commercial Art: Employees
Box   9 Sleeve   269-276	Executives and company parties negatives
Box   11 Folder   4	Executive and employee parties photographs
Box   12 Sheet   20, 31	Employee and retirement parties negatives
Box   13 Sheet   15	Employee parties transparencies
Box   14 Folder   5	Retirement party photograph album
	Non-Commercial Art: Social commentary
Box   15 Folder   2	Cartoons and posters
Box   16 Folder   1	Cartoons and posters (continued)
	Films
AE 726	Friends, Bea, and Jordan in the Gisholt dark room, 1962
AE 727	Male and female workers, and Bea in plant offices, 1962 May 26
CD 343	Dyn-aut-ronic
CD 344	Motor Wheel
DG 356	The Nature of Balancing
Mss 1213 Box   3	Stamps and emblems
	Series: Fishing and Hunting, 1950s-1980s	⇧
PH 6986	Opening Day Fishing Season, 1962-1987
Box   6 Folder   2	Photomechanical negatives of drawings, 1962-1972
Box   6 Folder   3	Prints of drawings, 1963-1983
Box   6 Folder   4	Newspaper clippings of drawings, 1979-1983
Box   7 Sleeve   22-24	Negatives
Box   7 Sleeve   26-30	Negatives (continued)
Box   11 Folder   2	Mechanicals for drawings
Box   13 Sheet   8	Transparencies of drawings, 1970s
Box   15 Folder   3	Prints of drawings, 1971-1987
Box   15 Folder   4	Photomechanical negatives of drawings, 1964-1966
Mss 1213	Ducks Unlimited
Box   1 Folder   7	Clipping on fundraiser supper, 1962 February 7
PH 6986 Box   8 Sleeve   201-205	Events and advertising negatives
Box   8 Sleeve   208-212	Events and advertising negatives (continued)
Box   11 Folder   1, 2	Events and advertising
Box   12 Sheet   47	Event negatives
Box   12 Sheet   49	Event negatives (continued)
Box   16 Folder   2	Mechanicals and stencils
Oversize Folder   2	“'61 Was a Tuff Flight” poster
Mss 1213	General
Box   1 Folder   8	Newspaper clippings
PH 6986 Box   5 Folder   9	Hunting and fishing cartoons
Box   7 Sleeve   17-50	Negatives
Box   11 Folder   6	Photographs
Box   12	Fish, Ducks, Geese negatives Note: Found throughout sleeves in box.
	Transparencies
Box   13 Sheet   3	Ducks, paintings
Box   13 Sheet   4	Ducks, models
Box   13 Sheet   7-8	Jordan fishing, 1960s
Box   14 Folder   1	Photographs
Box   15 Folder   5	Fine art prints
Box   15 Folder   6	Drawings and paintings
Box   16 Folder   4	Catfish fisherman cartoon
Oversize Folder   2	Cartoons
Oversize Folder   2	Fine art prints
AE 728	Fishing trips around Wisconsin, 1962
Mss 1213	Series: House on the Rock, 1939-1989 (bulk 1960s-1970s)	⇧
Box   1 Folder   1	Correspondence, 1975 and 1989
Box   1 Folder   1	Interview transcript, 1990 March 2
Box   1 Folder   7	Alex Jordan blackmail case clippings, 1939
PH 6986 Box   7 Sleeve   51-112	Interiors and exteriors negatives, circa 1960s
Box   5 Folder   14	Drawings
Box   6 Folder   5	Drawings (continued)
Box   6 Folder   5	Interiors photographs, circa 1960s
Box   6 Folder   5	Alex Jordan custom car photographs
Box   11 Folder   11	Photographs
Box   12 Sheet   6	Alex Jordan portrait
Box   13 Sheet   9	Interiors and carousel, circa 1975-1983
Box   14 Folder   3	Interiors and exteriors photographs
	Series: Outdoor Art and Sculpture, 1960s-2010s	⇧
	Backyard art
Box   11 Folder   10	Multi-tiered pagoda photographs
Box   12	Toonerville Trolley sculpture, Waubesa House, negatives
Box   13 Sheet   4-6	Waubesa House sculpture transparencies
Box   14 Folder   2	Toonerville Trolley sculpture, Waubesa House
Oversize Folder   4	Diana relief sketch
Mss 1213	Relocation project, 1997-2018
Box   1 Folder   8	Brochure and flyer, after 2000
Box   1 Folder   8	Clippings, 1988-2018
Box   1 Folder   8	Design Coalition website printouts, circa 2005
PH 6986 Box   14 Folder   2	First move photographs, 2000
	Series: Commercial Art	⇧
Box   5 Folder   7	Mechanicals
Box   16 Folder   2	Posters
Box   16 Folder   2	Mechanicals
Box   16 Folder   7	Man drinking painting and sketch
Oversize Folder   1	Posters
	Series: Non-Commercial Art	⇧
Box   5 Folder   1-2, 5	Cards, invitations, and stationery
Box   5 Folder   4	Cards and invitations mechanicals
Box   5 Folder   8	Drawings
Box   5 Folder   10	Political cartoons
Box   5 Folder   11	Cartoons
Box   5 Folder   13	Non-Jordan art
Box   11 Folder   10	Photographs
Box   12	Drawings and paintings negatives Note: Found throughout sleeves in box.
Box   13 Sheet   2-3	Paintings, including WPA for Toy Loan Program, transparencies
Box   14 Folder   4	Paintings and metal sculpture photographs
Box   15 Folder   8	Drawings
Box   16 Folder   3	Political cartoons
Box   16 Folder   4	Cartoons
Box   16 Folder   4	Epigrams
Oversize Folder   3	Political cartoons
Oversize Folder   3	Miscellaneous
Oversize Folder   4	Paintings
Mss 1213	Series: Women and Sex Humor	⇧
Box   1 Folder   7	Explicit cartoons of Whimpey, Popeye, and Olive Oyl
PH 6986 Box   5 Folder   12	Cartoons
	Body painting
Box   6 Folder   6	Tiger Woman photograph
Box   9 Sleeve   233-236	Negatives, 1970s
Box   13 Sheet   1	Transparencies, 1970s
Box   14 Folder   4	Photographs
Box   11 Folder   8	Unidentified women photographs
	Negatives
Box   12 Sheet   11	Dancers
Box   12 Sheet   18, 52	Models
Box   13 Sheet   20-27	Beauty contests stereo slides, 1950s
Box   15 Folder   7	Paintings
Box   16 Folder   5	Drawings
Box   16 Folder   6	Art-o-Graph / Fritz Willis (Art Guild Hollywood, undated) Note: An instruction guide on how to draw nudes.

Tower Tales, East High School, Madison, Wisconsin (1932).

Seifert, Kristi. "Neighbors To Decide On Public Sculpture, "Eastside News, 126, no. 3 (May/June 1997), front page.

Newspaper clipping of wedding announcement in photo album (PH 6986, Box 6, Folder 10, page 24).

Seifert, front page.

Ibid., front page and 15.

The Sixteenth Census of the United States Census (1940) lists “Sidney Boyum” as an “artist” for the Toy Loan Program.

Seifert, front page.

Evidence for this business appears as letterhead stationery dated as early as 1945 sent to Bea Heitmeyer (Mss 1213, Box 1, Folder 3).

News Crib, 10 (1958): Gisholt Machine Company Press, Madison.

Ibid., 2 (1948).

Host-Jablonski, Lou, and Anton Rajer, "From the Folk Art Messenger,"The Journal of the Folk Art Society of America, 12, No. 4 (Fall 1999); also "Sid Boyum's Sculpture: The Challenges of Preserving Folk Art Environments," on the Design Coalition website.

Ibid.

Ibid.

Friends of Sid Boyum website, “About Us” page, accessed May 29, 2019.