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A Guide to the Hiram Williams Papers

Finding aid created by Diane Young

Funding from the University of Florida Graduate School and Dr. David Cofrin.

University of Florida Smathers Libraries - Special and Area Studies Collections

March 2012

Descriptive Summary

Creator: Williams, Hiram.
Title: Hiram Williams Papers
Dates: 1935-1999
Bulk dates: 1968-1995
Abstract: This collection contains 200 journals and 92 drawings and sketches created by the artist Hiram Williams.
Extent: 28 Linear feet. 24 boxes.
Identification: Ms Coll. 008
Language(s): English

Biographical/Historical Note

"Art is an invention for bringing life within an emotional grasp. This is the function of all the arts and is also the function of painting." (1) "A painting uses form to give expression to experiences that yield universal truth." (2) To write a biographical sketch of Hiram Williams one must then isolate the experiences in his life that influenced his thinking and show some of his struggles as he searched for the form which gave expression to his experience.

Hiram Williams is a short man whose generous torso houses a booming voice with which, in expressive language, he communicates -- joy, anger, frustration, confidence. Although he has entertained friends for hours with his wit and showmanship, he has firm convictions in his judgment of individuals. Quick of temper, he bounces in anger.

As a child, he had to conform to the kindly but rigorous discipline of a ministerial household where right and wrong were carefully defined. His father, a moderately liberal Baptist minister, required that Hiram and his brother, Robert, be properly indoctrinated in the tenets and beliefs of the church. The small town of Muncy, Pennsylvania, where he grew up (3) was a conservative, family-centered community in which the church members were an extended family. As a minister's son he was in the local spotlight which he soon learned to both command and enjoy.

He must have been a busy little boy for despite supervision by his parents, there were two notable incidents in his early childhood. First, Hiram lost access to his father's hobby shop following an attempt to chop off his brother's hand with a hatchet! He says he was much too young to remember what impulse provoked hum to do this but the consequences were swift and lasting!

"My understanding and sympathy for building and mechanical things is practically nil. I have repaired clogged toilets and drain fields. I have built sheds and repaired things broken. But I am all quivery emotion when I am required to do these things by unhappy fate. I am just not confident of myself in these situations. I am sure that this stems from the times my father would object when I touched his tools. Both he and mother proclaimed over the years that I was not mechanical. This is not true, but I was made to believe (and still do act on it) that I was a natural-born non-mechanic." (4)

Second, some time later Hiram suffered a severe concussion from an eight-foot fall. During the recuperation his mother, in an effort to amuse and distract him from his discomfort, persuaded a friend to teach him to draw. In Mrs. Williams' praise of Hiram's progress she convinced him that he had great talent. Supporting that conviction, he was elected class artist, his Thanksgiving Turkey having won the first prize! Mrs. Williams took great pleasure in her son's continuing interest, in watching him pursue his "gift." She arranged drawing and painting lessons which continued through his school days. Hiram remembers that, "when I was ten years old or so, Dad took me to the Carnegie International. I recall that I wanted to be represented in that show someday. And I was, in 1964." (5)

These were the years of the Great Depression; life was restricted by the lack of money with which ministers' families as well as others had to contend. While the church did provide their home and neighbors supplied food and hand-me-down clothing, young teenagers were left to their own resources. There were no televisions, toys, trinkets, ready-made diversions, no great shopping centers. They had to devise their own games. Books were available at the library, but they had to make their own trinkets and toys from scraps that were available. This served to encourage the youngsters to explore their own capacities.

To supplement the food supply Reverend Williams took his two boys hunting for wild game. Doing so instilled in them a love for the out-of-doors and respect for the life around them. Along the way they experienced the sense of freedom inspired by the Muncy hills over which they roamed. In those days there were forests and open fields. People knew and trusted one another. One stayed out of pastures where a bull might be dangerous and was careful not to destroy gardens and crops which were the food supply. But, generally speaking, life was as free as the imagination could make it.

Hiram had an insatiable curiosity which his parents carefully channeled. He was introduced to the joys of reading and was fortunate in those difficult days to have access to a good public library as well as to his father's library which contained a good selection of the classics. He read extensively. His father never limited his reading as some parents did but wisely encouraged discussion of the material at hand. Hiram still reads Ernest Thompson Seton's Two Little Savages in delightful memory of the days when Hiram and his friends wrestled and practiced gymnastics, built tepees, canoes and swam in the river.

During high school, Hiram read Bernard Shaw, Thomas Mann, T.E. Lawrence, Ernest Hemingway, Joseph Conrad and others. There is excitement, and a sense of discovery, even a sense of danger in the pursuit of ideas. Hiram Williams had discovered that excitement. Oblivious to the stares of those around him, he would walk to and from the library with one foot on the sidewalk and as the other in the gutter as a guide to keep from bumping into others on the sidewalk while absorbing the outpourings of his latest and favorite author. He learned Yoga, which Webster defines as "a Hindu theistic philosophy teaching the suppression of all activity of body, mind, and will in order that the self may realize the distinction from them and attain liberation". After he had sat on the roof for three days waiting for suppression to happen, his father commanded: "Son, it is time you came down and had something to eat!"

After high school, he completed one year of college but was forced to quit for lack of tuition money. In a community where boys grew up knowing something of many trades, Hiram's lack of training in the manual arts gave him little chance to compete for the few jobs available. In retrospect, however, the lack of job opportunity became an opportunity in itself. Although defiant door locks, switches, sticky bolts and the like have haunted him most of his life, at this time what he considered his ineptitude did afford him the time to paint and study. He joined the Williamsport Sketch Club and rode his bicycle forty miles twice a week to study with George Eddinger, a graduate of the Pennsylvania Academy. It was at the Sketch Club that he learned about Brueghel, Rubens, Rembrandt and many others. As if centuries did not exist between them, he identified with them; he spent hours thinking about their work. He read about them. He copied their work in an effort to learn more about their techniques. His youthful perseverance seems impressive.

The Sketch Club did not have models but Bridgeman's anatomy books were available. Hiram memorized them. Again, a limiting factor served him well; he developed a superb visual memory. To this day he speaks fondly of Bridgeman for no matter how carefully disguised, he can recognize the use of a photograph by another painter in the development of a painting. A look of disdain still flickers on his face upon such recognition, even though the use of photography in painting has become a common practice. Although he occasionally sketches from life, almost all of his paintings and drawings are from memory. He never uses a photograph except on those rare occasions when he has been asked to do a portrait of someone who is deceased.

"Dad supported me for about three years while I painted in the attic. I painted on cardboard. I painted on window blinds, green blinds, but that was no good because my brush sometimes would go right through them. I drew. Probably the best learning of my entire life was done there in that attic. I worked awfully hard while I was painting and drawing. I really did. My parents were decent to me; there was little use yammering at me to get a job, for there were no jobs. That was good. It meant I had time to pursue art while doing those chores that earned a little money . . . . I had time to wander in the sunshine along Muncy Creek and the Susquehanna, time to enjoy nature, to enjoy seasons. I burst with energy. I remember running through a field of high grass and leaping with the joy of it, thanking God. All was too wonderful to be believed. Those were golden years." (6)

In 1940, he attended the Art Student's League in New York. For the first time, he found himself surrounded by people whose concerns were his concerns, whose parallel needs gave legitimacy to his. After three months however, he was again forced to return home for lack of funds.

The year 1941 literally marked the turning point in his life. A new girl appeared in the church choir--he fell in love! With the exuberance of youth the young couple announced their engagement to their parents. Reverend Williams, after a moment of shock, squeaked out , "Well, she has an honest face!" Her father, in stunned silence. pulled his six-foot frame into a womb-like position as he struggled for composure. Finally he forced out, "What do you plan to live on?" But such mundane things as having a job and earning a living were secondary to the excitement of the moment. Mrs. Williams recovered sufficiently to serve cream puffs and tea in celebration!

The problem of earning a living was resolved shortly thereafter for at this time the forces of war were shaping up in Europe and Hiram was drafted into the army! After long soul searching talks with his father on the purpose of war and his place in it, they finally concluded that Hiram should answer the call and join the army rather than seek "conscientious objector" status. There was something to be said about loyalty to one's country and assuming the responsibility that goes along with that loyalty. On June 6, 1941, Hiram was inducted into the army. He spent the first night peeling potatoes in the kitchen, and, typical of many draftees, he learned then never to volunteer his services for anything!

In 1942, the United States declared war on Germany. Williams was sent to Officer Candidate School. Despite his meager background in things mechanical (he had not yet learned to drive a car!), he survived OCS to become an officer. He was assigned to a combat engineering company, soon rose to Captain, and was sent to Europe as a member of General George Patton's Third Army.

This was the real world in one of its most dreadful moments. The reality of war caused him to rethink his beliefs and he found that, for him, his Christian background had not prepared him for the slaughter he saw: the stench, the blood, the exploded bodies, the brutality of which man is capable.

"I found that man is exceedingly corporeal. The first thing that happens upon his death is unrestrained bowel movement. I saw his innards scattered upon the landscape and I had a frightening sense of our mortality. Nothing in it suggested or corresponded with the view that I had as an attentive Baptist in the Protestant denomination. In my father's theology and what I lived with was the death of Christ crucified and his resurrection and somehow through the tangle of what I finally concluded to be a miasmatic complement of thought, a heavenly world is created for all believers in this Christ. What I saw was the obverse." (7)

Williams came back from the war physically exhausted and completely shaken in his beliefs. Moreover, nothing in his prior training nor in his war experience had prepared him to earn a living. He was married now and compelled to find some way to sustain life. After a year of recuperation, he and his wife moved to Philadelphia where he earned a meager salary drawing cartoons of the life of Luther for a company that published religious literature. He visited art museums and libraries. A friend introduced him to "modern" art. This was an emotionally turbulent period in his life for he had not yet fully recovered from the war. He was working for a company whose mission espoused beliefs he no longer shared; additionally, he was forced to recognize that the old secure foundations in art had been largely abandoned for new definitions of what painting was about.

In the fall of 1948, at the age of 31, he entered The Pennsylvania State University. Though largely self-taught, he was well-grounded in Western Art up to the time of the Impressionists. He was eager to explore current ideas, current movements in art. There was fascination with the literary world as well. Meanwhile he would prepare himself to teach art in the public schools.

"In combat I developed a sense of man's fate--that we were only too material, that there was nothing spiritual about us, that we were simply bodies like any other animal body on the face of the earth. This wasn't catalyzed into a philosophic belief until I went to Penn State and encountered the existential writers--Camus, Sartre, and others. I had a sense that these were people who were saying and thinking the things that I had come to believe." (8)

His exploration continued until he finally realized that "as an artist my interest has been in re-creating the images of the human figure. Why the human figure? Because it is us." (9) But the human form had been used through the ages. What could be done with it? How could he add to what had already been done?

"It seemed to me that American art was much the loser when it by-passed the depicted human figure, and I planned to reintroduce it into art. I understood that this meant I had to re-invent it, updating representation of the figure would not be enough." (10)

Despite the war, Williams clung to a belief in the basic potential for good in man. Like his father before him, he had the messianic need to point out the problems that beset mankind, fully confident that man would correct his wrongs once they were made known to him. A naive and perhaps arrogant view, but an ideal that would sustain the young man as he accepted the challenge of developing the body of work through which he would make his contribution. There was also the not-so-small challenge of supporting his wife and new son while doing so.

Upon graduation from the University, he was fortunate to secure a job teaching art in the public school in Harrington, Delaware. Williams seemed to be a natural teacher, the imagination he developed in childhood served him well, his commitment to his art continued to be a driving force and eighteen-hour days ended many times with him asleep at his easel.

But, depression plagued him. The doctor informed him that he had to choose between teaching and painting, he couldn't do both. He sought solace in his painting. His students, however, had absorbed Williams' enthusiasm. With great excitement they produced a show that won first prize in the state competition for public school art projects.

The many hours of study and work on his painting began to pay off; he was beginning to develop a new approach to the human figure, a shape through which he could give expression to his ideas.

"The key lay in consideration of Cezanne whose multiple views in still life led to Cubist fracturing of the image. What would result if I followed Cezanne's lead and painted multiple views without fracturing?" (11) He painted his Undulating Figure, (Man Moving Through Doorway), an 8' x 8' painting that seemed to fill his studio.

In the meantime, his son, a sickly child, required continuing attention. Then a daughter was born. His salary never quite covered even basic expenses. In addition, the community offered no stimulation or even conversation in the arts. Consequently, he was happy to have the opportunity to accept a teaching position at the University of Southern California. The family sold what little furniture they had and drove to California, taking the one painting with them. It was only after they arrived there that they learned that the appointment was for nine months only!

In June, Williams flew his family home to Pennsylvania while he spent his last few dollars bringing the car home (he had learned to drive!) leaving the painting behind. (12) Despite the beautiful vistas of spring, the roads seemed to lead nowhere. Deep loneliness was a constant companion. He lost his sense of self-worth. Living in a time when among other things, the measure of a man meant the ability to support his family, and with his art at an impasse, Williams reached Pennsylvania completely defeated. Once again his wife's parents took care of the family. It wasn't until August that he learned of a job opening at the University of Texas.

Bad luck seemed to follow him to Texas. His son still had seizures, his wife had to have surgery, and postal authorities accused him of using the mails to slander a woman who was then head of Art Education in the Commonwealth of Delaware. It was not until he was able to prove that he was not in Delaware at the time the offensive post cards were mailed that that incident was closed. Hysteria and depression immobilized him; he found himself sitting on the steps in front of the University unable to move his arms.

Williams is a natural story teller with a wonderful ability to laugh at himself. Despite his troubles, despair gave way to hope as tales of his escapades brought laughter to his colleagues, and young faculty and students alike became friends. His wife recovered and with an increase in salary he could again concentrate on his painting. He had always painted landscapes as an adjunct to his main theme of re-inventing the figure. During his search for his own identity in art, and with the memories of his long cross-country drives, he produced some sixty or seventy fine landscapes, roads that speak both of the beauty of the earth and of the aloneness of man.

Williams was once again assigned classes in art education, although he knew now that his place in the University was in the area of studio drawing and painting. Because he believed that to teach art education one must teach something of art, he added drawing, art history and painting to the usual weaving, papier maché, and whatever else makes up art education. He began to attract students from other studio classes.

Fortunately, Donald Weismann, then Chairman of the Art Department, recognized Williams' talent, not only as an artist, but as a teacher as well, and Weismann offered encouragement. But Williams' troubles were not over. To the older members of the faculty, the all-powerful Budget Council, he was the "young Turk" who should be ignored as they stomped by him in the halls symbolically crushing him under their heels. So, Weismann's support was necessary, not only to his peace of mind, but to his ability to keep his job.

In June of 1958, through the efforts of Dr. Gordon Whaley, Dean of the Graduate School, the University Research Council awarded him a University of Texas Research Grant, the first to be given by that institution for "creative work in painting." Williams was ready! The problem of form had been solved, the pent-up frustrations of prior years gave him an energy that carried him to heights he himself had not thought possible.

Using a male figure in a black business suit, he completed a group of paintings that within the context of man running from his fates, was a scathing comment on institutional thinking and decision-making by committees.

Within four and a half months--he created a series of twenty-five paintings--twenty were 8' x 6' and five were 6' x 12'. He was given a one-man show in Houston. Mary Nye of Nye Galleries arranged shows in Dallas and contacts in New York. The Highway, a painting that sings of the beauty of the earth, won the J.J. Feldman Award.

The infighting in the Art Department by this time had reached the boiling point. Weismann resigned in protest and Williams was fired! As a vote of confidence, the provost, Dr. Harry Ransom gave him a $600.00 raise, in those days a considerable amount, for his terminal year. Weismann arranged for him to meet Clinton Adams, then Chairman of the Art Department at the University of Florida. Dr. Ransom in communication with President J. Wayne Reitz of the University of Florida, recommended Williams.

"And, oh, the experience of campus politics and human relationships. I got more education there [Texas] than I probably ever got anywhere else when it comes to the nature of survival among my fellow man." (13)

The momentum of the success of his paintings in Texas prevailed; and after he began teaching at the University of Florida, he was awarded a Guggenheim Fellowship. Hobson Pittman of Penn State days introduced him to Dorothy Miller of the Museum of Modern Art in New York. The Museum bought Challenging Man; the Whitney Museum of American Art acquired Turning Gazer; Lee Nordness of Nordness Galleries gave him a one-man show that was a sell-out; Incubus was included in the Art: USA collection that toured the United States, England and Japan and is now in the National Collection of the Smithsonian Institution.

In the twenty-two years he was on the staff of the University of Florida, he produced an impressive body of paintings: His compassion for women forced into a secondary role in society emerged as a series of Chorus Lines; he gave vent to his outrage with corruption in government in the Watergate Series. Always mindful of the formal aspects of painting, he used man's sexuality to produce high jinks in the form of Bananas that were wounded, drunken, laughing, yellow, brown, spotted. The Audience series was a statement of man's existential relationship to the universe while the many Heads expressed man victimized by the insanity of our times.

His writings include a book directed to young art students, Notes for a Young Painter; a novel, Poons Smith, a satire on the university system and its inmates. He wrote Poons Smith while walking across campus to meet other professors for lunch, he enjoyed regaling them with the latest Poon adventure. Beginning in 1968, he began to keep a journal and has completed over 170 volumes.

Dr. T. Walter Herbert, a Shakespearean scholar and professor of English at the University of Florida, has written of these years: "A vital part of a good university's life is of course its function to bring minds from diverse fields and have them rub against one another... For years Professor and Mrs. Williams have been active in an allied way. Their genius for friendliness, their hospitality, and in particular their great Christmas celebrations have made them a happy center of good fellowship... in encouraging the mode of conversation which has been notable in universities since universities began to have character." (14)

In 1982 Hiram Williams retired as Distinguished Service Professor Emeritus from the University of Florida. He believes that out of the chaos of life, each of us has a moral obligation to give the best in us, to establish a reason for our existence. In 1987, he gave to the new Samuel P. Harn Museum of Art of the University of Florida a substantial collection of his paintings and drawings. It is the most representative collection of his works anywhere. He continues to paint of the plight of man in an uncaring universe. "There's no sense for the artist and only spots of mercy." (15)

Any book about his paintings should properly be called "The World of Hiram Williams", for there is no definitive line between the painting world he has created and the life he has experienced. The paintings are an outgrowth and an expression of the life he has lived. Significantly, the title of his journals is Art/Life. Painting has always been his first love, his refuge, his reason for being. He dared the bizarre in an approach that provided vehicles for his recognition of the tragi-comic aspects of life playing good taste to the edge of pornography to reveal his laughter bubbling through a life that recognizes the tragedy of the final abyss.

But the last word in this biographical sketch belongs to Hiram Williams: "Between cloudy nights and moonlighted nights, I have almost forgotten that Florida has stars. The past two nights have disclosed all their startling diamond glitter against depths of blue-black velvet. The atom in me, that once was part of a star, races in heady remembrance!" (16)

Notes: (1). Edman, Erwin, Arts and the Man. W.W. Norton and Co., Inc., New York, N.Y., 1960. (2). Williams, Hiram, Notes For a Young Painter, p. 7, Prentice-Hall, Inc., Englewood Cliffs, N. J., 1963. (3). Hiram Williams was born in Indianapolis, Indiana, February 11, 1917. His family lived in Gifford, Illinois; Chester, Pennsylvania; Titusville, Pennsylvania; Plainfield, New Jersey; and Muncy, Pennsylvania as his father moved from church to church during Hiram's childhood. (4). Williams, Hiram, Art/Life, Vol. 4, p. 95, Archives, University of Florida Libraries, Gainesville, Fl., 1969. (5). From a taped interview with Hiram Williams by William B. Stephens in preparation for his book, Hiram Williams--Exploring the Sources of His Expression, 1975. (6). Ibid. (7). From a conversation with Hiram Williams, October 18, 1986. (8). Ibid. (9). From a conversation with Hiram Williams July 5, 1988. (10). From a conversation with Hiram Williams June 5, 1989. (11). From a conversation with Hiram Williams, October 26, 1988. (12). The painting still hangs nailed to the ceiling of a bookstore in Los Angeles. (13). From a conversation with Hiram Williams, October 28, 1986. (14). Herbert T. Walter, Sr., a letter to the President of the University of Florida on the occasion of Hiram William's promotion to Distinguished Service Professor. (15). Williams, Hiram, Art/Life, Vol. 177, p.26, from a letter to Mernet Larsen, dated June 1, 1989, Archives, University of Florida Libraries, Gainesville, Fla. (16). Williams, Hiram, Art/Life, Vol. 79, p.20, Archives, University of Florida Libraries, Gainesville, Fla.

Scope and Content

This collection contains 200 "Art/Life" journals and 92 drawings and sketches created by the artist Hiram Williams. Accompanying the journals are a few folders of correspondence, writings by Williams, news clippings, articles, biographical information about Williams, and other miscellaneous papers. Additionally, the drawings also include a few articles, letters, photographs and writings by Williams.

It is recommended that the user of this collection start with a review of Diane Young's Hiram Williams and Audience, University of Florida thesis, 1990.

Access or Use Restrictions


The collection is open for research.

Administrative Information

Preferred Citation

[Identification of item], Hiram Williams Papers, Special and Area Studies Collections, George A. Smathers Libraries, University of Florida, Gainesville, Florida.

Acquisition Information

Hiram Williams donated the journals in 1990 and the drawings in 1994.

Contents List

Art/Life Journals.

The Art/Life diary by Hiram Williams contain, in each of the volumes, references to the daily news headlines, the local weather, personal musings on social events with friends and family, and many correspondences. References to the studio classes Williams teaches at the University of Florida (until his retirement in 1982) and his dealings with fellow faculty are made throughout the journals. General day to day business of life and maintenance, as well as observations of the natural world, are included. A wealth of visual information both sketched in and glued into the diaries. One discovers the ups and downs in the artist's professional and personal life and that his achievements are due, to a degree, to the unwavering support of his wife, Avonell. The complete diary reveals that all elements of life are relative to the making of art for Hiram Williams, and he has appropriately entitled his journal, Art/Life.

The contents of the majority of the journals have been summarized in a separate document, available online:

This guide does not fully reflect the cultural context or diversity of Williams's activities. Rather, the guide is intended to lead the user to information on Williams's creative process, developing themes and philosophy in his work, and his relationship to the art world at large, perhaps most notably New York. Topics of interest and disdain as well as artists and works of art to which Williams refers are listed in this guide. Books read, places traveled to and paintings worked on are listed. Major health concerns are listed. The guide follows a thread of the artistic concerns in Williams's life. What is not apparent through the guide is the fullness of Williams's life, the sense of him as a family man, a sports fan, a man fully observant of the natural world around him and concerned with humanity. This guide does not reveal the very dry wit of Williams or name the dozens of friends who visit the Williamses at home, and with whom they socialize. For more on these aspects, the researcher must go to the complete diary.

Box Volume
11 Oct. 29, 1968--Jan. 20, 1969 [a summary of the contents is available online.].
12 Jan. 23, 1969--Jan. 27, 1969.
13 Jan. 28, 1969--Feb. 14, 1969.
14 Feb. 14, 1969--Feb 27, 1969.
15 Feb. 27, 1969--Mar. 20, 1969.
16 Mar. 21, 1969--May 7, 1969.
17 May 11, 1969--Aug. 10, 1969.
18 Aug. 12, 1969--Dec. 14, 1969.
19 Dec. 16, 1969--Mar. 6, 1970.
110 Mar. 7, 1970--July 15, 1970.
111 July 15, 1970--Sept. 13, 1970.
112 Sept. 18, 1970--Oct. 11, 1970.
113 Oct 19, 1970--Dec. 7, 1970.
114 Dec. 8, 1970--Jan. 4, 1971 (sketch series).
215 Jan. 4, 1971--Feb. 23, 1971.
216 Feb. 23, 1971--Mar. 29, 1971.
217 Mar. 29, 1971--May 9, 1971.
218 May 10, 1971--June 5, 1971.
219 June 6, 1971--July 16, 1971.
220 July 16, 1971--Sept. 1, 1971.
221 Sept. 1, 1971--Oct. 8, 1971.
222 Oct. 11, 1971--Nov. 8, 1971.
223 Nov. 8, 1971--Dec. 9, 1971.
224 Dec. 9, 1971--Jan. 10, 1972.
225 Jan. 10, 1972--Feb. 10, 1972.
226 Feb. 11, 1972--Mar. 15, 1972.
227 Mar. 16, 1972--April 18, 1972.
228 April 18, 1972--May 3, 1972--(Audience).
229 May 5, 1972--June 13, 1972.
330 June 13, 1972--July 17, 1972.
331 July 17, 1972--Aug. 15, 1972.
332 Aug. 16, 1972--Sept. 30, 1972.
333 Oct. 1, 1972--Nov. 6, 1972.
334 Nov. 6, 1972--Nov. 27, 1972.
335 Nov. 27, 1972--Jan. 1, 1973.
336 Jan. 2, 1973--Jan. 29, 1973.
337 Jan. 29, 1973--Mar. 13, 1973.
338 Mar. 14, 1973--April 6, 1973.
339 April 6, 1973--May 21, 1973.
340 May 24, 1973--July 2, 1973.
341 July 3, 1973--Sept. 14, 1973.
342 Sept. 15, 1973--Oct. 15, 1973 (Pres. O'Connell portrait).
443 Oct. 15, 1973--Dec. 12, 1973 (Watergate).
444 Dec. 12, 1973--Jan. 17, 1974 (Avie's portrait, Watergate IV, Chorus Line).
445 Jan. 17, 1974--Feb. 19, 1974.
446 Feb. 20, 1974--Mar. 25, 1974.
447 Mar. 25, 1974--May 6, 1974.
448 May 7, 1974--June 16, 1974.
449 June 17, 1974--July 5, 1974 (33rd Anniv).
450 July 5, 1974--July 26, 1974.
451 July 26, 1974--Aug. 12, 1974.
452 Aug. 13, 1974--Sept. 12, 1974.
453 Sept. 14, 1974--Oct. 18, 1974.
554 Oct. 18, 1974--Nov. 22, 1974.
555 Nov. 23, 1974--Dec. 30, 1974.
556A 1975, Income tax receipts.
556B Dec. 31, 1974--Feb. 5, 1975.
557 Jan. 5, 1975--Feb. 26, 1975.
558 Feb. 26, 1975--Mar. 17, 1975.
559 Mar. 18, 1975--April 9, 1975.
560 April 10, 1975--May 12, 1975.
561 May 13, 1975--May 29, 1975.
562 May 30, 1975--July 2, 1975.
563 July 3, 1975--Aug. 12, 1975.
664 Aug. 12, 1975--Aug. 21, 1975.
665 Aug. 30, 1975--Sept. 13, 1975.
666 Sept. 14, 1975--Oct. 16, 1975.
667 Oct. 18, 1975--Nov. 7, 1975.
668 Nov. 8, 1975--Dec. 8, 1975.
669 Dec. 9, 1975--Dec. 22, 1975.
670 Dec. 23, 1975--Jan. 8, 1976.
671 Jan. 8, 1976--Feb. 1, 1976.
672 Feb. 2, 1976--Feb. 14, 1976.
673 Feb. 14, 1976--Mar. 4, 1976.
674 Mar. 4, 1976--Mar. 30, 1976.
775 Mar 25, 1976--April 23, 1976.
776 April 24, 1976--May 10, 1976.
777 May 11, 1976--June 4, 1976.
778 June 4, 1976--June 21, 1976.
779 June 21, 1976--July 11, 1976.
780 July 11, 1976--Aug. 2, 1976.
781 Aug. 2, 1976--Aug. 31, 1976.
782 Sept. 1, 1976--Sept 23, 1976.
783 Sept. 24, 1976--Oct. 26, 1976.
784 Oct. 27, 1976--Nov. 29, 1976.
785 Nov. 29, 1976--Dec. 24, 1976.
886 Dec. 25, 1976--Feb. 27, 1977.
887 Feb. 17, 1977--Mar 21, 1977.
888 Mar. 23, 1977--Apr. 27, 1977.
889 Apr. 27, 1977--May 16, 1977.
890 May 16, 1977--June 9, 1977.
891 June 10, 1977--July 5, 1977.
892 July 6, 1977--July 27, 1977.
893 July 28, 1977--Aug. 8, 1977.
894 Aug. 8, 1977--Aug. 25, 1977.
895 Aug. 27, 1977--Sept. 25, 1977.
896 Sept. 26, 1977--Oct. 24, 1977.
897 Oct. 24, 1977--Nov. 17, 1977.
898 Nov. 17, 1977--Dec. 1, 1977.
999 Dec. 13, 1977--Jan. 4, 1978.
9100 Jan. 4, 1978--Feb. 6, 1978.
9101 Feb. 6, 1978--Mar. 1, 1978.
9102 Mar. 8, 1978--April 7, 1978.
9103 April 8, 1978--May 2, 1978.
9104 May 3, 1978--May 24, 1978.
9105 May 25, 1978--June 13, 1978.
9106 June 15, 1978--July 23, 1978.
9107 July 16, 1978--Aug. 22, 1978.
9108 Aug. 17, 1978--Oct. 3, 1978.
9109 Oct. 4, 1978--Nov. 11, 1978.
9110 Nov. 11, 1978-Dec. 14, 1978.
10111 Dec. 14, 1978--Jan. 14, 1978.
10112 Jan. 15, 1979--Feb. 12, 1979.
10113 Feb. 12, 1979--Mar. 9, 1979.
10114 Mar. 9, 1979--April 10, 1979.
10115 April 12, 1979--May 7, 1979.
10116 May 7, 1979--June 12, 1979.
10117 June 13, 1979--July 30, 1979.
10118 July 31, 1979--Oct. 3, 1979.
10119 Oct. 4, 1979--Nov. 20, 1979.
10120 Nov. 20, 1979--Jan. 17, 1980.
10121 Jan. 19, 1980--Mar. 14, 1980.
11122 Mar. 6, 1980--April 30, 1980.
11123 May 1, 1980--June 29, 1980.
11124 July 2, 1980--Aug. 29, 1980.
11125 Aug. 29, 1980--Sept. 26, 1980.
11126 Sept 27, 1980--Nove. 5, 1980.
11127 Nov. 6, 1980--Dec. 12, 1980.
11128 Dec. 12, 1980--Jan. 18, 1981.
11129 Jan. 11, 1981--Feb. 18, 1981.
11130 Mar. 6, 1981--April 15, 1981.
11131 April 15, 1981--May 30, 1981.
11132 May 31, 1981--July 10, 1981.
11133 June 19, 1981--Aug. 21, 1981.
11134 Aug. 21, 1981-Oct. 20, 1981.
12135 Oct. 20, 1981--Dec. 4, 1981.
12136 Dec. 5, 1981--Jan. 15, 1982.
12137 Jan. 16, 1982--Mar. 8, 1982.
12138 Mar. 9, 1982--May 1, 1982.
12139 May 1, 1982--June 3, 1982.
12140 June 8, 1982--Aug. 7, 1982.
12141 Aug. 8, 1982--Nov. 4, 1982.
12142 Nov. 5, 1982--Jan. 1, 1983.
12143 Jan. 1, 1983--Mar. 8, 1983.
12144 Mar. 20, 1983--April 19, 1983.
12145 April 19, 1983--June 15, 1983.
13146 June 16, 1983--Aug. 15, 1983.
13147 Aug. 17, 1983--Oct. 13, 1983.
13148 Dec. 12, 1980--Jan. 18, 1981.
13149 Dec. 1, 1983--Jan 19, 1984.
13150 Jan. 20, 1984--Mar. 16, 1984.
13151 Mar. 17, 1984--June 26, 1984.
13152 June 26, 1984--Aug. 3, 1984.
13153 Aug. 3, 1984--Sept. 10, 1984.
13154 Sept. 11, 1984--Sept. 29, 1984.
13155 Nov. 23, 1984--Feb. 4, 1985.
14156 Feb. 5, 1985--May 23, 1985.
14157 Mar 22, 1985--May 12, 1985.
14158 May 14, 1985--July 14, 1985.
14159 July 15, 1985--Oct. 7, 1985.
14160 Oct. 8, 1985--Nov. 15, 1985.
14161 Nov. 15, 1985--Feb. 4, 1986.
14162 Feb. 5-Feb. 24, 1986--April 11, 1986 (lots of info on Audience).
14163 April 11, 1986--June 30, 1986--(manifesto on religion, Audience).
14164 July 1, 1986--Sept. 15, 1986.
14165 Sept 17, 1986--Nov. 14, 1986.
15166 Nov. 15, 1986--Feb. 1, 1987.
15167 Feb. 2, 1987--April 9, 1987.
15168 April 9, 1987--June 30, 1987.
15169 June 30, 1987--Sept. 10, 1987.
15170 Sept. 11, 1987--Nov. 30, 1987.
15171 Nov. 29, 1987--Feb. 14, 1988.
15172 Feb. 16, 1988--April 27, 1988.
15173 April 29, 1988--July 26, 1988.
15174 July 26, 1988--Oct. 28, 1988.
15175 Oct. 30, 1988--Feb. 12, 1988.
15176 Feb. 13, 1988--May 19, 1989.
16177 May 19, 1989--Aug. 8, 1989.
16178 Aug. 9, 1989--Nov. 9, 1989.
16179 Nov. 9, 1989--Feb. 23, 1990.
16180 Feb. 24, 1990--May 25, 1990.
16181 May 26, 1990--Sept. 26, 1990.
16182 Sept. 26, 1990--Nov. 25, 1990.
16183 Dec. 1, 1990--Feb. 2, 1991.
16184 Feb. 11, 1991--July 5, 1991.
17185 July 6, 1991--Dec. 4, 1991.
17186 Dec. 5, 1991--Feb. 29, 1992.
17187 Mar. 1, 1992--May 23, 1992.
17188 May 24, 1992--Aug. 17, 1992.
17189 Aug. 18, 1992--Nov. 29, 1992.
17190 Nov. 29, 1992--Feb. 16, 1993.
17191 Feb. 16, 1993--May 12, 1993.
18192 May 14, 1993--Aug. 2, 1993.
18193 Aug. 3, 1993--Oct. 18, 1993.
18194 Oct. 19, 1993--Dec. 27, 1993.
18195 Dec. 28, 1993--Mar. 30, 1994.
18196 Mar. 31, 1994--July 4, 1994.
18197 July 5, 1994--Dec. 8, 1994.
18198 Dec. 9, 1994--April 11, 1995.
19199 April 12, 1995--Aug. 8, 1995.
19200 Aug. 9, 1995--Nov. 5, 1995.

Miscellaneous Papers.

This small group of materials includes folders of correspondence, writings by Williams, news clippings, articles, biographical information about Williams, and other miscellaneous papers.

19 "Myself as a New Ruin" (paper). 1973
19 "On Creativity" (lecture?). Not dated
19 "One of My Heroes": Richard Halliburton. 1935
19 Art Catalog. 1969
19 Articles from period as Florida correspondent for Art in America. 1962
19 Cartoons. 1946
19 Committee on Museum Collections. 1960
19 Exhibits. 1958
19 Exhibits. 1959
19 Exhibits. 1960
19 Exhibits. 1961
19 Exhibits. 1977
19 Exhibits. 1961-1989
19 Exhibits - letters. 1962
19 Items sent to archives at Syracuse University. 1963?
19 Johnson Wax Collection. 1962
19 Laguna Gloria Art Gallery. 1957
19 Miscellaneous. 1964
19 Miscellaneous. 1965
19 Miscellaneous. 1966
19 Miscellaneous. 1968
19 Miscellaneous. 1988
19 Miscellaneous. 1969-1983
19 Miscellaneous. 1988-1989
19 Miscellaneous - Questions for Karen. 1958-1986
19 Miscellaneous letters. 1967
19 Miscellaneous letters. 1978
19 Miscellaneous letters. 1979
19 Miscellaneous letters. 1981
19 Miscellaneous letters. 1982
19 Miscellaneous letters. 1984
19 Miscellaneous letters. 1985
19 Miscellaneous letters. 1986
19 Miscellaneous letters. 1987
19 Miscellaneous letters. 1969-1987
19 Miscellaneous letters (news clippings). 1983
19 Miscellaneous letters (student term papers). 1980
19 Miscellaneous letters and exhibit clippings. 1963
19 News Clippings. 1944
19 Publicity. 1959-1983
19 Request for Recommendation; letter to Pittman. 1954-1955
19 U.S. Army. 1942
19 U.S. Army Reserves. 1948-1953
19 Veterans Administration. 1947
19 Witte Memorial Museum. 1956
19 Womack, Bill. 1969-1976
19 Notes for a Young Painter (signed copy). Call no. ND1260.W5. 1963

Addenda - Drawings, Sketches, Photographs.

On Thursday, February 3, 1994 Hiram M. Williams donated 92 drawings, one sketchbook, and several photographs to the University Archives. He thought that the drawings should reside with the journals which were donated in 1990. The drawings are sorted and arranged alphabetically according to subject matter. Following is a list of every drawing in each alphabetical category as well as any descriptions which Mr. Williams included pertaining to particular categories. Each drawing is numbered sequentially according to the alphabetical arrangement.


Hiram Williams: "The 'Skins' became 'audiences'. Once read an article in The Saturday Evening Post (I think) that proposed the notion that we humans w/ our consciousness in an apparently unconscious universe are here largely as observers, hence I call us The Audience. I painted the audiences (mostly seated) without heads or arms, completely at the mercy of the unconscious universe. Currently I'm doing images of dismembering (audience dismembering)."

4 1. "Tan Audience." 17 15/16" x 12 1/2" (45.6 cm. x 25.3 cm.). 1990
4 2. Drawing. 3148Au457. 12" x 18" (30.5 cm. x 45.6 cm.). 1986
4 3. Gray skin-like forms. 12" x 17 15/16" (30.5 cm. x 45.5 cm.). 1985
5 "4. Abstract skin-like form on paper mounted on matt board and then attached onto green poster board. 14 1/2"" x 11 3/4"" (37 cm. x 29.8 cm). Green poster board is 17 13/16"" x 14 1/16""". Not dated
4 5. Drawing. Overlay of paper and transparent acetate. (3779). 18" x 12 1/2" (45.6 cm. x 31.7 cm.). 1990
4 6. Drawing. Overlays of paper, acetate. (Revised Jan 3) (3788). 17" x 11 1/16" (43 cm. x 28 cm.). 1990
4 7. Drawing. Acetate overlay. (3786). 18" x 12 1/2" (45.7 cm. x 31.7 cm.). 1990
5 8. "Seated Figures." Paper mounted on cardboard. 9 14/16 x 12 5/16" (25 cm. x 31.3 cm.) Cardboard is 14" x 17". Not dated
4 9. Drawing. 3149Au-458. Another small drawing in pen on reverse side. 12" x 18" ((30.5 cm. x 45.7 cm.). 1986
4 10. Drawing. 3151Au-460. 12" x 18" (30.5 cm. x 45.7 cm.) [Both #10 and 11 are from the same sketchpad and are still attached.]. Not dated
4 11. Drawing. 3152Au-461. 12" x 18" (30.5 cm. x 45.7 cm.). Not dated
4 12. Drawing. 3150Au-459. 12" x 18" (30.5 cm. x 45.7 cm.). 1986 October 16
2 13. "Tiers of Seated Women." Mounted on matt board and matted. 10 2/16 x 7 1/2" (25.8 cm. x 19 cm.) Matt is 20" x 16". Not dated
2 14. "Seated Woman." Mounted on matt board and matted. 10 2/16" x 7 9/16" (25.9 cm. x 19.3 cm.) Matt is 20" x 16". Circa 1970-1979
2 15. Drawing. Overlaid paper. Drawing under top layer. Affixed to a matt board. 14 10/16" x 11" (37.1 cm. x 28 cm.) Matt board is 20" x 16". Not dated
4 16. Small drawing. (1360). 5 2/16" x 5 2/16" (13cm. x 13 cm.). 1978
4 17. Three Drawings. Two drawings on one side and one on the reverse. Affixed to sketch paper. 1(1358) 11" x 9" (27.9 cm. x 23 cm.). Not dated
4 18. "Chorus Line/Audience." Drawing attached to heavier weight paper. 15 2/16" x 11 3/4" (38.5 cm. x 29.9 cm) Under paper is 17 7/16" x 12". 1983
5 19. Drawing. Dual image. Drawing attached to heavier paper and matted with medium blue matt board. 9 1/4" x 11 3/4" Blue matt is 14 3/4" x 16 3/4" (23.5 cm. x 29.7 cm.). 1978
2 20. "Chorus Line Skin." (Skin in ink). Drawling attached to matt board with a white matt. 10 1/4" x 15 5/16" (26 cm. x 38.9 cm.) Matt is 16" x 20". 1979
2 21. "Chorus Line." Small tan paper mounted on matt board with a white matt. 8 14/16" x 6" (22.6 cm. x 15.2 cm.) Matt is 20" x 16". 1979
2 22. "Chorus Line" (image reconsidered). A piece of paper attached to one below then both attached to matt board onto which drawing is extended. A white matt board frames the drawing. 15 5/16" x 11 1/4" (38.8 cm. x 28.6 cm.) Matt is 20" x 16". Not dated
2 23. "Chorus Line." (1366). Tan paper attached to white paper which protrudes about 5/8". Attached to matt board with a white matt. 9 1/2" x 6 2/16" (22.6 cm. x 15.7 cm.) Matt is 20" x 16". 1975
2 24. "Stampede of a Chorus Line." Rich fuchsia color in two areas. Paper attached to matt board with a white matt frame. 14" x 10 6/16" (35.5 cm. x 26.3 cm.) Matt is 20" x 16". 1981
2 25. "Chorus Line with Trousers." Drawing extends beyond the edges of the white matt. The drawing on paper is attached to a matt board. 15 5/16" x 11 1/4" (38.8 cm. x 28.6 cm.) Matt is 20" x 16". 1981
2 26. Drawing. Pencil. Several purple areas. Paper with drawing is attached to a matt board with a white matt frame. 10 1/4" x 7 1/2" (26 cm. x 19 cm.) Matt is 20" x 16". 1979


5 27. Drawing. No title or date and unsigned. Drawing of a bust with lips and teeth pasted in the middle of the head area. Paper affixed to cardboard and white heavier stock attached beneath the cardboard. 13" x 10" (33 cm. x 25.3 cm.) White heavier paper is 14 5/16 x 11 1/16". Not dated
4 28. Drawing. Head with three noses - on drawing paper. 15" x 11 10/16" (38 cm. x 29 cm.). Not dated
4 29. Drawing. Multiple noses (three). On drawing paper. 12 2/16" x 11 1/4" 30.5 cm. x 28.7 cm.). Not dated
4 30. Self Portrait. Line drawing on white paper - outline of a head. Overlays of paper with paint and pencil to articulate the nasal area and left side of the face. 14 6/16" x 10 14/16" (36.5 cm. x 27.5 cm.). 1989 October 22
4 31. Drawing. Repeated image of head. The nasal area is articulated as in #30. Tan paper is used. 16 11/16" x 11 14/16" (42.2 cm. x 30.1 cm.). Circa 1978
1 32. Drawing. Very few lines used to render the outline of the head. There is a large, flat nose. 16 1/2" x 14" (42 cm. x 35.5 cm.). 1968
1 33. Drawing. Similar to #32. 15 1/2" x 14" (42 cm. x 35.5 cm.). 1968
2 "34. ""Nose."" Several tan papers are attached to a cream colored one. The topmost paper is cut out to show the nose which has been cut out from a magazine and pasted to the paper beneath. The tan and cream papers are pasted to matt board and a white matt is used to frame the drawing. 8 10/16"" x 7 1/2"" (22 cm. x 19 cm.) Matt is 20"" x 16""". 1965
2 35. Drawing with color. Repeated head (double image). Eyes are cut out and pasted onto each face in a collage-like manner. The drawing is attached to some paper which is just 1/4" large on the right side. These two papers are attached to matt board and a white matt is used as a frame. 10 1/4" x 7 1/2" (26 cm. x 19 cm.) Matt is 20" x 16". 1968


Hiram Williams: "I drew and painted images that attempt to emblemize the panic we all feel as we live w/ knowledge of our impending deaths."

3 36. Shivering Graces. Tan paper pasted to cream colored paper about the same size. Both are attached to matt board and framed by a white matt. 10" x 7 1/4" (25.2 cm. x 18.6 cm.) Matt is 20" x 16". 1979
3 37. Shivering Man. Tan paper is pasted over cream colored paper and both are pasted onto matt board. Framed with a white matt. 8 14/16" x 6" (22.5 cm. x 15.2 cm.) Matt is 20" x 16". 1979
3 38. Two Seated Men. (written on the matt). Nov. 9, 1976 written on the drawing. Smaller paper (white) with color attached to matt board. Framed with white matt. 7 2/16" x 6 1/2" (18 cm. x 16.5 cm.). 1979
5 39. Jittery Man. Drawing on tan paper. White matt over entire paper. 11 1/2" x 8 1/2" (29.3 cm. x 21.7 cm.) Matt is 18" x 14". 1976
3 40. Drawings and written statements. Several smaller papers with drawings layered and attached to larger format paper on which drawings and writings are included. 15 1/4" x 11 1/4" (38.8 cm. x 28.6 cm.) Matt is 20" x 16". 1979, 1981
3 41. Two Nervous Men Spinning. Drawing with a white matt. Pen and ink with some color. 15 5/16" x 11 1/4" (38.9 cm. x 28.6 cm.) Matt is 20" x 16". 1979
3 "42. Three Men Quivering. Pen and ink. The colors include pink with a touch of blue/green. A white matt frames the drawing. 15 1/4"" x 11 1/4"" (38.7 cm. x 28.6 cm.) ". 1979


Hiram Williams: "Parallel to the figure works I've painted various versions of landscape: panoramas, particular elements in landscape. Have done memories of mountains. Floridascapes: Palms, Beaches and Shore Birds. Symbolic images: Snakes in punch bowls. Environmental protests i.e. land in ruins."

4 43. "Across the U.S.A." Possibly a page from one of the journal notebooks. Six small drawings in pen and ink and brown colors on one side with writing on the other side stating "William T. Wiley's techniques when drawing and some titles." 10 1/4" x 7 3/4" (26 cm. x 18.7 cm.). 1988
4 44. Drawing. Pen and ink on tan paper. A tree form with a background. 6 3/16" x 9" (15.5 cm. x 22.7 cm.). 1967
4 45. Four Sketches. Two sketches on each side of the paper. A rectangle is drawn about each one in ink. 10 3/16" x 7 9/16" (25.9 cm. x 19.2 cm.). Not dated
4 46. Four Sketches. Similar format to #45. Two sketches on each side of the paper. Hills or mountains are depicted. 10 3/16" x 7 9/16" (25.9 cm. x 19.2 cm). Not dated
4 47. Four Sketches. Similar format to #45 and #46. Two sketches on each side. Tree forms and flowers. 10 3/16" x 7 9/16" (25.9 cm. x 19.2 cm.). Not dated
4 48. Drawing. Pen and ink and a wash. 8 15/16" x 11 15/16" (22.6 cm. x 30.3 cm.). 1983
4 49. "Soviet Harvest I." Drawing on glossy surfaced paper. Some collage in the form of a small piece of paper in pale pinks affixed to the top part of the drawing. 12 1/2" x 18" (31.6 cm. x 45.7 cm.). 1990
3 50. "Five Cedars Near Charlotte." Pencil. A white matt used to frame the drawing. 11 1/4" x 15 5/16" (28.5 cm. x 38.9 cm.). Not dated
3 51. "Near Charlotte." Pen and charcoal(?), collage with lined paper. White sketchbook paper pasted on matt board. The paper is slightly torn off at the top right. 14" x 16 14/16" (35.5 cm. x 43 cm.). 1982
3 52. Palm Stumps. Conte crayon(?) drawing. Framed with a white matt. 11 1/4" x 15 5/16" (28.5 cm. x 38.9 cm.). 1981
4 "53. Pen and ink drawing. White paper pasted onto heavier paper. Image of top of a palm tree. There is also an underdrawing with darker tones. 7 5/16"" x 11 1/4"" (18.8 cm. x 28.6 cm.)". Not dated
4 54. "Palm." Black, pale yellow tones on gray paper. 17" x 11" (43.1 cm. x 28 cm.). 1990
4 55. "Palm." Medium yellow, dark lines on gray paper. 17" x 11" (43.1 cm. x 28 cm.). 1990
4 56. "Palm Trunk #1." Also written are the words "Palm Flexin." 18" x 12 1/2" (45.6 cm. x 31.7 cm.) ["Palm Trunk #1" to "Palm Trunk #VII" is a series. All are similarly rendered in that all are on the same glossy paper stock. Also generally a strip of the same glossy paper has been torn and then pasted onto the paper below and then the drawing has been continued onto that surface. All are in monochromes - i.e. black, gray, and white.]. 1990
4 57. "Palm Trunk #II." Written on the bottom of the page is: "Blighted Palm - Oh, the pathos of it all. Yet it doesn't seem to mind. Would I were a palm." 18" x 12 1/2" (45.6 cm. x 31.7 cm.). 1990
4 58. "Palm Trunk #III." Written near the bottom on the left side: "Palm rising to become a constellation". 18" x 12 1/2" (45.6 cm. x 31.7 cm.). 1990
4 59. "Palm Trunk #IV." Written near the bottom: "Palm w/ cancer or perhaps it's measles, anyway something rotten". 18" x 12 1/2" (45.6 cm. x 31.7 cm.). 1990
4 60. "Palm Trunk #V." 18" x 12 1/2:" (45.6 cm. x 31.7 cm.). 1990
4 61. "Palm Trunk #VI." Written near the bottom: "Palm aging rapidly, the more I draw, the more it ages". 18" x 12 1/2" (45.6 cm. x 31.7 cm.). 1990
4 62. "Palm Trunk #VII." Written near the bottom: "Palm at twilight (when the lights are low and the twinkling shadows softely come and go)". 18" x 12 1/2 " (45.6 cm. x 31.7 cm.). 1990
4 63. "Palm w/ Blue Marks." Similar to the series of "Palm Trunk" but not defined as such. Similar glossy paper is used but there is some use of color - blue and some pale rose lines. 18 2/16" x 12 1/2" (46 cm. x 31.7 cm.). 1990
4 64. Drawing. A palm. In yellows from light to dark with some pale green, and blue lines. Drawn on white paper. 17" x 11 1/4" (43.1 cm. x 28.7 cm.). 1990
4 65. Drawing. A palm. Mostly grays, a bit of black, and some yellow/green on glossy white paper. 18" x 12 1/2" (45.7 cm. x 31.7 cm.). 1990
4 66. "Angry Palm." Drawn on white paper. Some colors as yellow, red, and blue. The top of the palm is almost black. 18" x 12" (45.6 cm. x 30.4 cm.). 1992
4 67. "Palm." On glossy white paper. Grays and blacks. 18" x 12 1/2" (45.6 cm. x 31.7 cm.). 1990
4 68. Drawing. Drawing on glossy paper. Some paper is torn then pasted on the top part. The drawing then continues onto this torn paper. Gray, black, white, and a little red. 18 1/16" x 12 1/2" (45.8 cm. x 31.6 cm.). 1990
4 69. Drawing. Drawing on glossy paper. Grays, black, and a touch of pale orange. 18" x 12 1/2" (45.7 cm. x 31.7 cm.). 1990
1 70. "? Palm Tree." Two pages from a notebook still attached. A series of circular forms in a small area on the second page. The first page has title and Hiram's signature and date. Gray and yellow. 22 1/2" x 17 11/16" (57.2 cm. x 45 cm.). 1989


This group of four drawings were used by Hiram Williams in teaching painting in one of his classes. All are done on white paper.

1 71. "Running Man." Written on the bottom above the date is: "Drawn to express images 1962-63". Also his signature is included with the date 1989. 17 1/2" x 22 1/2" (44.4 cm. x 57.1 cm.). 1989
1 72. "Overhead Man." Signed and dated. Written on the top is: "drawn to express ideas of 1957-1958". Drawing is of a striding man as seen from above. 22 1/2" x 17 1/2" (57.1 cm. x 44.4 cm.). 1989
1 73. Drawing. Writing states: "drawn to express images of 1957-58". Striding man series. Drawing and a wash of some sort. Rectangle (6" x 4 1/8") attached to the figure already drawn on the large sheet of paper. 22 1/2" x 17 1/2" (57.1 cm. x 44.4 cm.). 1989
1 74. Drawing. Written statement: "Drawn to express first image of total figure". The figure is drawn in a circular format with an attempt to show the entire body. 17 1/2" x 22 1/2" (44.4 cm. x 57.1 cm.). Not dated


This group of four drawings were used by Hiram Williams in teaching painting in one of his classes. All are done on white paper.

4 75. Sketchbook. Some of the sketches are of alligators swimming as seen from above. The rest of the sketchbook contains drawings and sketches of birds (probably all crows) in pencil, pen and ink, colored pencils. 8 1/2" x 5 1/2" (21.5 cm. x 14 cm.). 1993
4 76. "On Going Blind." Drawing on glossy paper with three lines with paper attached and colored with very pale pink and blue. 12 1/2" x 18" (31.7 cm. x 45.7 cm.). 1990


Hiram Williams: "Following WWII experience and Pennsylvania State University education I involved myself in efforts to invent 'total figures'. This led to commentary about the evil guys on Madison Avenue (as I understood them) to 'the guilty men'. Eventually I developed this concept, that we are all essentially 'skins' (which happen to be largest organ in our bodies). I grew to believe that from moment of conception humans are en route to their deaths. This led to the fashioning of 'skins' - obviously dead- but w/ breasts, bellies, etc. that gave the appearance of being alive. Life in death, one might say. We are shrouded in our mortality. I drew and painted mostly female parts. The introduction of male parts immediately introduced a viewer to these images as sexual. What I wanted were images that represented all of us as the same in our human quandary (condition)."

5 77. Sketch or painting. Various colors of pink. Part of a page torn from a sketchbook and matted. 6 3/4" x 5 14/16" (17.1 cm. x 15 cm.) Matt is 11 9/16" x 10". Not dated
4 78. Drawing. Some torn tracing paper pasted in the middle and the top left side of the paper. 12" x 8 3/4" (30.3 cm. x 22.2 cm.). 1983
5 79. "Skin with Purple and Green." Two pieces of paper pasted side by side onto a textured piece of paper which is pasted to foam board. Images are in pinks with a mere touch of blue in three places. 9 1/4" x 11 1/2" (23.4 cm. x 29.3 cm.) Matt is 11 13/16" x 17 1/4". 1978
4 80. "Skinned Group." Paint on glossy paper. Cut paper is attached to the top and also a strip is pasted to the back. Monochromatic - white to dark grays. Several arrows are drawn in one of which points to a navel. 13 3/4" x 11 1/16" (35 cm. x 28 cm.). 1990
4 81. "Skinned Group, Dismembering." Revised Jan. 3, 1990. This drawing is similar to that of #80. In this a square piece of paper (3 1/8" x 2 7/8") is attached to the middle and a navel has been drawn there. Again paper was torn then pasted onto the main sheet of paper and then the drawing continued onto that. 14 3/4" x 11" (37.3 cm. x 27.8 cm.). 1990
4 82. "Skinscape." Glossy papers. One paper is torn just at the top and pasted over the one beneath. A small area (somewhat pear shaped) has been cut out. There is another layering effect on the upper left with perhaps three layers of paper in all. Colors are grays and red. 12 1/2" x 18" (31.7 cm. x 45.7 cm.). 1990
4 83. "Rotting Skins." Several layers of paper (drawn on or painted in skin tones) are torn and cut and attached to a glossy piece of paper. 18" x 12 1/2" (45.7 cm. x 31.7 cm.). 1990
1 84. Seven small drawings pasted to a piece of drawing paper. 14 1/16" x 22 1/16" (35.8 cm. x 56 cm.). Not dated
3 85. "Two (2) Skinned Tables." Two pieces of paper are pasted side by side onto a matt. A white matt is used as a frame. 10 1/4" x 15 1/16" (25.8 cm. x 38.5 cm.). 1980
1 86. Drawing. A piece of paper from a sketch pad attached to a large sheet of paper. Pen and ink. Small gold colored dots cover the entire surface. 11" x 14" (27.8 cm. x 35.5 cm.) Large piece of paper is 17 9/16" x 23 2/16". 1978
1 87. Drawing. Pen and ink with paint (color wash ?) in pink, pale orange, purple. The drawing (on a small piece of paper) has been pasted to a larger piece of paper. 5 3/4" x 8 1/4" (14.4 cm. x 21 cm.) Larger paper is 23 2/16" x 17 10/16". 1978


Hiram Williams: "From the beginning in George Eddinger's WPA art classes in Williamsport, Pennsylvania, I drew or painted landscapes and still life. In the early days my work was depictive, entirely. Following WWII, w/ my introduction and grasp of 'modern art' I began to experiment w/ imagery, making an object or two treated as through one w/ their environment (drawing of two coffee cups to exemplify this with the one to the left being more realistic and the one to the right becoming a part of the surface on which it sets). I had concluded that the human eye (and brain) tends to see in elevation, also I began to use gestalt. I drew bananas, very suggestive of male privates decorated this image w/ marks to underscore male preoccupation w/ their genitals."

4 88. "Small Bowl of Objects." Pen and ink and pencil(?). 7 1/4" x 11 1/4" (18.4 cm. x 28.5 cm.). 1990
4 89. "Set of Keys." Pen and ink. 8" x 10 11/16" (20.3 cm. x 27.2 cm.). 1983
4 90. "Giant Keys, No. 1." Pen and ink. Similar to #89 but more articulated. 11 2/16" x 13 1/2" (28.2 cm. x 34.2 cm.). 1983-1993
1 91. Drawing. Pencil, and a wash. Image of a banana on sketch paper. 13 15/16" x 17" (35.4 cm. x 43.1 cm.). 1977
3 92. Bathroom Still Life. Pencil. The drawing on a piece of paper is attached to a matt board. Framed with a white matt. 11" x 14" (27.9 cm. x 35.6 cm.) Matt is 16" x 20". 1984
3 93. Drawing. Similar to #92. The drawing is attached to a matt board and framed by a white matt. 11" x 14" (27.9 cm. x 35.6 cm.) Matt is 16" x 20". 1984


4 Article: "Project L-810: Paintings by Hiram Williams". By Donald L. Weismann. The Texas Quarterly. Spring, 1960. pp. 65-73. 1960
5 "The Position of a Soldier", an unpublished article (Williams's experiences in World War 2) by Williams, Fort Meade. 1941 June
5 Six letters - 3 are from Harry H. Ransom, and 2 from Donald L. Weismann, and 1 from Charles Burchfield.
5 Photographs: Two black and white photographs (duplicates) showing the installation of the paintings by Hiram Williams in the University Gallery. 8 1/2" x 10" (20.6 cm. x 25.3 cm.).
5 Photographs: Two black and white photographs (duplicates) showing another view of the installation of the paintings by Hiram Williams in the University Gallery. 8 1/2" x 10" (20.6 cm. x 25.3 cm.).
5 Photograph: Panel #1 "Audience". A black and white photograph showing a detail of a drawing. 9 11/16" x 5 1/2" (24.7 cm. x 13.8 cm.).
5 Two photographic slides: Views of the installation in the University Gallery. 1973 January

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