FAMOUS PHOTOGRAPHER NYC ARTIST SIGNED CARL VAN VECHTEN AUTOGRAPH SCARCE

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A VINTAGE ORIGINAL autograph IN FAIR CONDITION WITH fading SIGNED BY CARL VAN Carl Van Vechten was an American writer and artistic photographer who was a patron of the Harlem Renaissance and the literary executor of Gertrude Stein. He gained fame as a writer, and notoriety as well, for his 1926 novel N****r Heaven. –writer and photographer—was born in Cedar Rapids, Iowa, to wealthy, educated parents (his father, Charles Van Vechten, was a prominent banker). He was culturally advan taged–his mother, Ada Amanda (Fitch) Van Vechten, almost single-handedly established the Cedar Rapids Public Library–and musically talented, and he could not wait to leave what he called “that unloved town” for better things. At age 19, Van Vechten left to study at the University of Chicago, graduating in 1903. His first writing was “The Chaperone,” a florid newspaper column for the Chicago American blending semiautobiographical gossip and criticism. After being fired for “lowering the tone of the Hearst papers,” he moved to New York, where he wrote music criticism for the New York Times and was drama critic for the New York Press. In 1907 he married a high school friend from Cedar Rapids, Anna Elizabeth Snyder, and divorced her in 1912. Under the direction of his social mentor, Mabel Dodge Luhan, he immersed himself in avant-garde art, attending ground-breaking premieres in New York and Paris, where he met Gertrude Stein. In 1914 Van Vechten married Fania Marinoff, the love of his life. She was a Russian immigrant who had progressed from a pathetic childhood selling matches on the street to a celebrated career as an actress on Broadway. Carl and Fania quarreled nonstop, often over Carl’s numerous homosexual affairs, but despite their differences, their stormy relationship lasted 50 years. Collections of Van Vechten’s early articles and reviews were published in seven volumes, and he wrote an essential book about cats (The Tiger in the House) that has never gone out of print. At age 40, Van Vechten created a work that was instantly recognized as new and important and established him as a novelist. In his book Peter Wiffle, autobiographical facts were artfully arranged into a fictional form that was a precursor to the style of Truman Capote. His new career lasted exactly 10 years, and produced seven novels. One of them, The Tat- tooed Countess, was a thinly disguised manipulation of his memories of adolescence in Cedar Rapids. The book was made into an unsuccessful movie starring Pola Negri. At the height of his popularity during the Roaring Twenties, Van Vechten’s new status allowed him to champion African American artists, including Langston Hughes and Zora Neal Hurston. He was a central figure in the promotion of the Harlem Renaissance. His novel Nigger Heaven was an unapologetic story of dissolute behavior in a cultured Negro class, and it shocked hypocritical values in black and white readers alike. His final novel, Parties, chronicled episodes from the decadent, drunken, Prohibition era, when his personal excesses rivaled those of F. Scott Fitzgerald. At age 50, at the height of the Great Depression, an uncle died in Cedar Rapids, leaving Van Vechten a fortune worth a couple of million dollars. Freed from the obligation to write for a living, he gave himself over to photography, a craft he practiced for the next 35 years. He was Gertrude Stein’s literary agent, and he used his considerable resources to support writers and libraries of African American literature. His parties were legendary: George Gershwin would play the piano, Paul Robeson would sing, and afterward Van Vechten would have all-night photography sessions with luminaries such as Billy Holiday. He photographed every important black artist from Bill “Bojangles” Robinson to James Earl Jones. Like Andy Warhol after him, Van Vechten photographed celebrities and chorus boys in a photo booth portrait style. Most of his subjects were shot standing in front of art deco fabric swatches. He shot hundreds of exposures but usually made only one print from each negative. He experimented with color photography and reportedly died after a day in the darkroom at the age of 84.Sources Collections of Carl Van Vechten’s primary materials are held at the New York Public Library; Yale University’s Beinecke Library, New Haven, Connecticut; and Fisk University, Nashville, Tennessee. Many of his photographs are at the Museum of the City of New York, the Museum of Modern Art (New York City), and the University of New Mexico’s Jonson Gallery in Albuquerque. Van Vechten wrote an autobiography, Sacred and Profane Memories (1932). For a bibliography of his writings and a full listing of his photographic portraits, see Bruce Kellner, A Bibliography of the Work of Carl Van Vechten (1980). Kellner also wrote a biography, Carl Van Vechten and the Irreverent Decades (1968). Other book-length studies include Hisao Kishimoto, Carl Van Vechten: The Man and His Role in the Harlem Renaissance (1983); and Edward Lueders, Carl Van Vechten (1965).”Carl Van Vechten (June 17, 1880 – December 21, 1964) was an American writer and artistic photographer who was a patron of the Harlem Renaissance and the literary executor of Gertrude Stein.[1] He gained fame as a writer, and notoriety as well, for his 1926 novel Nigger Heaven. In his later years, he took up photography and took many portraits of notable people. Although he was married to women for most of his adult life, Van Vechten engaged in numerous homosexual affairs over his lifetime. Carl Van Vechten, (born June 17, 1880, Cedar Rapids, Iowa, U.S.—died Dec. 21, 1964, New York City), U.S. novelist and music and drama critic, an influential figure in New York literary circles in the 1920s; he was an early enthusiast for the culture of U.S. blacks. Zora Neale Hurston (1891-1960) portrait by Carl Van Vecht April 3, 1938. Writer, folklorist and anthropologist celebrated African American culture of the rural South.BRITANNICA QUIZAmerican Writers QuizWho wrote Beloved? How about Leaves of Grass? Prepare to test your deepest knowledge of American writers with this book-length quiz.Van Vechten was graduated from the University of Chicago in 1903 and worked as assistant music critic for The New York Times (1906–08), then as that paper’s Paris correspondent. His elegant, sophisticated novels, Peter Whiffle, His Life and Works (1922), The Tattooed Countess (1924), and Nigger Heaven (1926), were very popular. He also wrote extensively on music and published an autobiography, Sacred and Profane Memories (1932), following which he vowed to write no more and to devote his time to photography. His extensive collection of books on black Americana, the James Weldon Johnson Memorial Collection of Negro Arts and Letters, is now at Yale University. He also established the Carl Van Vechten Collection at the New York City Public Library and a collection of music and musical literature (music books) at Fisk University, Nashville, Tenn. Contents1Life and career2Works3Archives and museum collections4Gallery5References5.1Notes5.2Bibliography6External linksLife and careerBorn in Cedar Rapids, Iowa, he was the youngest child of Charles Duane Van Vechten and Ada Amanda Van Vechten (née Fitch).[2]:14 [3] Both of his parents were well educated. His father was a wealthy and prominent banker. His mother established the Cedar Rapids Public Library and had great musical talent.[4] As a child, Van Vechten developed a passion for music and theatre.[5] He graduated from Washington High School in 1898.[6] After high school, Van Vechten was eager to take the next steps in his life, but found it difficult to pursue his passions in Iowa. He described his hometown as “that unloved town”. To advance his education, he decided in 1899 to study at the University of Chicago,[7][5] where he studied a variety of topics including music, art and opera. As a student, he became increasingly interested in writing and wrote for the college newspaper, the University of Chicago Weekly. After graduating from college in 1903, Van Vechten accepted a job as a columnist for the Chicago American. In his column “The Chaperone”, Van Vechten covered many different topics through a style of semi-autobiographical gossip and criticism.[5] During his time with the Chicago American, he was occasionally asked to include photographs with his column. This was the first time he was thought to have experimented with photography, which later became one of his greatest passions.[5] Van Vechten was fired from his position with the Chicago American because of what was described as an elaborate and complicated style of writing. Some described his contributions to the paper as “lowering the tone of the Hearst papers”.[4] In 1906, he moved to New York City. He was hired as the assistant music critic at The New York Times.[8] His interest in opera had him take a leave of absence from the paper in 1907 to travel to Europe and explore opera.[1] While in England, he married Anna Snyder, his long-time friend from Cedar Rapids. He returned to his job at The New York Times in 1909, where he became the first American critic of modern dance. Under the leadership of Van Vechten’s social mentor Mabel Dodge Luhan, he became engrossed in avant-garde art. This was an innovative type of art which explores new styles or subject matters and is thought to be well ahead of other art in terms of technique, subject matter, and application. He began to frequently attend groundbreaking musical premieres at the time when Isadora Duncan, Anna Pavlova, and Loie Fuller were performing in New York City. He also attended premieres in Paris where he met American author and poet Gertrude Stein in 1913.[4] He became a devoted friend and champion of Stein and was considered to be one of Stein’s most enthusiastic fans.[9] They continued corresponding for the remainder of Stein’s life, and, at her death, she appointed Van Vechten her literary executor; he helped to bring into print her unpublished writings.[2]:306 A collection of the letters between Van Vechten and Stein has been published.[10] Van Vechten wrote a piece called “How to Read Gertrude Stein” for the arts magazine The Trend. In his piece, Van Vechten attempted to demystify Stein and bring clarity to her works. Van Vechten came to the conclusion that Stein can be best understood when one has been guided through her work by an “expert insider”. He writes that “special writers require special readers”.[11] The marriage to Anna Snyder ended in divorce in 1912, and he wed actress Fania Marinoff in 1914.[12] Van Vechten and Marinoff were known for ignoring the social separation of races during the times and for inviting blacks to their home for social gatherings. They were also known to attend public gatherings for black people and to visit black friends in their homes. Van Vechten is depicted in Asbury Park South, 1920 painting by Jazz Age artist Florine Stettheimer. Amid a summer crowd in Asbury Park, the artist is under a green parasol, several of her friends are also recognizable. Van Vechten stands on the elevated structure left (black suit), Avery Hopwood (white suit, right side) talks with a woman in a yellow dress, and the Swiss painter Paul Thévanaz (red bathing suit) bends over a camera. Artist Marcel Duchamp (pink suit) walks with Van Vechten’s wife, the actress Fania Marinoff. [13]Although Van Vechten’s marriage to his wife Fania Marinoff lasted for 50 years, they often had arguments about Van Vechten’s affairs with men.[9] Van Vechten was known to have romantic and sexual relationships with men, especially Mark Lutz.[8] Lutz (1901–1968) grew up in Richmond, Virginia, and was introduced to Van Vechten by Hunter Stagg in New York in 1931. Lutz was a model for some of Van Vechten’s earliest experiments with photography. The friendship lasted until Van Vechten’s death. At Lutz’s death, as per his wishes, the correspondence with Van Vechten, amounting to 10,000 letters, was destroyed. Lutz donated his collection of Van Vechten’s photographs to the Philadelphia Museum of Art.[14] Several books of Van Vechten’s essays on various subjects, such as music and literature, were published between 1915 and 1920, and Van Vechten also served as an informal scout for the newly formed Alfred A. Knopf.[15] Between 1922 and 1930 Knopf published seven novels by him, starting with Peter Whiffle: His Life and Works and ending with Parties.[16] His sexuality is most clearly reflected in his intensely homoerotic portraits of working-class men. As an appreciator of the arts, Van Vechten was extremely intrigued by the explosion of creativity which was occurring in Harlem. He was drawn towards the tolerance of Harlem society and the excitement it generated among black writers and artists. He also felt most accepted there as a gay man.[17] Van Vechten promoted many of the major figures of the Harlem Renaissance, including Paul Robeson, Langston Hughes, Ethel Waters, Richard Wright, Zora Neale Hurston and Wallace Thurman. Van Vechten’s controversial novel Nigger Heaven[7] was published in 1926. His essay “Negro Blues Singers” was published in Vanity Fair in 1926. Biographer Edward White suggests Van Vechten was convinced that negro culture was the essence of America.[2] Van Vechten played a critical role in the Harlem Renaissance and helped to bring greater clarity to the African-American movement. However, for a long time he was also seen as a very controversial figure. In Van Vechten’s early writings, he claimed that black people were born to be entertainers and sexually “free”. In other words, he believed that black people should be free to explore their sexuality and singers should follow their natural talents such as jazz, spirituals and blues.[17] Van Vechten wrote about his experiences of attending a Bessie Smith concert at the Orpheum Theatre in Newark, New Jersey, in 1925.[18] In Harlem, Van Vechten often attended opera and cabarets. He was credited for the surge in white interest in Harlem nightlife and culture as well as involved in helping well-respected writers such as Langston Hughes and Nella Larsen to find publishers for their early works.[19] In 2001, Emily Bernard published “Remember Me to Harlem”. This was a collection of letters which documented the long friendship between Van Vechten and Langston Hughes, who publicly defended Nigger Heaven.[17] Bernard’s book Carl Van Vechten and the Harlem Renaissance: A Portrait in Black and White explores the messy and uncomfortable realities of race, and the complicated tangle of black and white in America.[17] His older brother Ralph Van Vechten died on June 28, 1927; when Ralph’s widow Fannie died in 1928, Van Vechten inherited $1 million invested in a trust fund, which was unaffected by the stock market crash of 1929 and provided financial support for Carl and Fania.[2]:242–244[20] Van Vechten House and Studio, Manhattan, New York City, 2017By the start of the 1930s and at the age of 50, Van Vechten was finished with writing and took up photography, using his apartment at 150 West 55th Street as a studio, where he photographed many notable people.[21][22] After the 1930s Van Vechten published little writing, though he continued writing letters to many correspondents. Van Vechten died in 1964 at the age of 84 in New York City. His ashes were scattered over the Shakespeare garden in Central Park.[23] He was the subject of a 1968 biography by Bruce Kellner, Carl Van Vechten and the Irreverent Decades,[24] as well as Edward White’s 2014 biography, The Tastemaker: Carl Van Vechten and the Birth of Modern America.[2] WorksAt age 40, Van Vechten wrote the book Peter Whiffle, which established him as a respected novelist. This novel was recognized as contemporary and an important work to the collection of Harlem Renaissance history. In his novel, autobiographical facts were arranged into a fictional form. In addition to Peter Whiffle, Van Vechten wrote several other novels. One is The Tattooed Countess, a disguised manipulation of his memories of growing up in Cedar Rapids.[9] His book the Tiger in the House explores the quirks and qualities of Van Vechten’s most beloved animal, the cat.[25] One of his more controversial novels, Nigger Heaven, was received with both controversy and praise. Van Vechten called this book “my Negro novel”. He intended for this novel to depict how African Americans were living in Harlem and not about the suffering of blacks in the South who were dealing with racism and lynchings. Although many encouraged Van Vechten to reconsider giving his novel such a controversial name, he could not resist having an incendiary title. Some worried that his title would take away from the content of the book. In one letter, his father wrote to him, “Whatever you may be compelled to say in the book,” he wrote, “your present title will not be understood & I feel certain you should change it.”[26] Many black readers were divided over how the novel depicted African Americans. Some felt that it depicted black people as “alien and strange”, and others valued the novel for its representation of African Americans as everyday people, with complexity and flaws just like typical White characters. The novel’s supporters included Nella Larsen, Langston Hughes and Gertrude Stein, who all defended the novel for bringing Harlem society and racial issues to the forefront of America.[27] His supporters also sent him letters to voice their opinions of the novel. Alain Locke sent Van Vechten a letter from Berlin citing his novel Nigger Heaven and the excitement surrounding its release as his primary reason for making an imminent return home. Gertrude Stein sent Van Vechten a letter from France writing that the novel was the best thing he had ever written. Stein also played an important role in the development of the novel.[27] Well-known critics of this novel included African-American scholar W. E. B. Du Bois and black novelist Wallace Thurman. Du Bois dismissed the novel as “cheap melodrama”.[17] Decades after the book was published, literary critic and scholar Ralph Ellison remembered Van Vechten as a bad influence, an unpleasant character who “introduced a note of decadence into Afro-American literary matters which was not needed”. In 1981, David Levering Lewis, historian and author of a classic study of the Harlem Renaissance, called Nigger Heaven a “colossal fraud”, a seemingly uplifting book with a message that was overshadowed by “the throb of the tom-tom”. He viewed Van Vechten as being driven by “a mixture of commercialism and patronizing sympathy”.[26]Music After the Great War (1915)Music and Bad Manners (1916)Interpreters and Interpretations (1917)The Merry-Go-Round (1918)The Music of Spain (1918)In the Garret (1919)The Tiger in the House (1920)Lords of the Housetops (1921)Peter Whiffle (1922)The Blind Bow-Boy (1923)The Tattooed Countess (1924)Red (1925)Firecrackers. A Realistic Novel (1925)Excavations (1926)Nigger Heaven (1926)Spider Boy (1928)Parties (1930)Feathers (1930)Sacred and Profane Memories (1932)Posthumous The Dance Writings of Carl Van Vechten (1974)Source: A bibliography of the writings of Carl Van Vechten at the HathiTrust Digital Library Archives and museum collectionsMost of Van Vechten’s personal papers are held by the Beinecke Rare Book & Manuscript Library at Yale University. The Beinecke Library also holds a collection titled “Living Portraits: Carl Van Vechten’s Color Photographs of African Americans, 1939–1964”, a collection of 1,884 color Kodachrome slides.[28] Saul Mauriber, after a photograph of Salvador Dalí by Halsman (1944), by Van VechtenThe Library of Congress has a collection of approximately 1,400 photographs which it acquired in 1966 from Saul Mauriber (May 21, 1915 – February 12, 2003). There is also a collection of Van Vechten’s photographs in the Prentiss Taylor collection in the Smithsonian’s Archives of American Art, and a Van Vechten collection at Fisk University. The Museum of the City of New York’s collection includes 2,174 of Carl Van Vechten’s photographs. Brandeis University’s department of Archives & Special Collections holds 1,689 Carl Van Vechten portraits.[29] Van Vechten also donated materials to Fisk University to form the George Gershwin Memorial Collection of Music and Musical Literature.[2]:284 The Philadelphia Museum of Art currently holds one of the largest collection of photographs by Van Vechten in the United States. The collection began in 1949 when Van Vechten made a gift of sixty of his photographs to the museum. In 1965, Mark Lutz made a gift to the museum of over 12,000 photographs by Van Vechten from his personal collection. Included in the collection are images from extensive portrait sessions with figures of the Harlem Renaissance such as Langston Hughes, Ella Fitzgerald, Billie Holiday, Zora Neale Hurston, and Cab Calloway; artists such as Marcel Duchamp, Henri Matisse, Joan Miró, and Frida Kahlo; and countless other actors, musicians, and cultural figures. Also included in the Mark Lutz gift is an extensive body of photographs Van Vechten took at the 1939 New York World’s Fair as well as a large number of photographs depicting scenes across Western Europe and Northern Africa taken during Van Vechten’s travels in 1935–1936.[30] In 1980, concerned that Van Vechten’s fragile 35 mm nitrate negatives were fast deteriorating, photographer Richard Benson, in conjunction with the Eakins Press Foundation, transformed 50 of the portraits into handmade gravure prints. The album ‘O, Write My Name’: American Portraits, Harlem Heroes was completed in 1983. That year, the National Endowment for the Arts transferred the Eakins Press Foundation’s prototype albums to the permanent collection of the Smithsonian American Art Museum.[31] The National Portrait Gallery, London, holds 17 of Van Vechten’s portraits of leading creative talents of his era.[32] More than 3,000 Van Vechten portraits, most of which come from the Library of Congress collection, are included in Wikimedia Commons. His public domain photographs illustrate countless Wikipedia entries on mid-century (mostly American) notables. See examples in the gallery below. Carl Van Vechten Papers. Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.Carl Van Vechten Papers Relating to African American Arts and Letters. James Weldon Johnson Collection in the Yale Collection of American Literature, Beinecke Rare Book and Manuscript Library.Guide to the Carl Van Vechten papers, 1833–1965. Manuscripts and Archives, New York Public Library.Carl Van Vechten collection of papers, 1911–1964. Berg Collection of English and American Literature, New York Public Library.Carl Van Vechten theatre photographs, 1932–1943, held by the Billy Rose Theatre Division at the New York Public Library for the Performing ArtsCarl Van Vechten photographs, 1932–1964 at Brandeis University’s Archives & Special Collections, contains 1,689 Van Vechten portraits.Images by Carl Van Vechten in the Collections of the Museum of the City of New York[permanent dead link]Living Portraits: Carl Van Vechten’s Color Photographs of African Americans, 1939–1964, Beinecke Rare Book and Manuscript Library at Yale University, features a searchable database of 1,884 rare color Kodachrome slidesPortraits by Carl Van Vechten at the National Portrait Gallery, LondonCreative Americans: Portraits by Carl Van Vechten at the Library of CongressCarl Van Vechten’s Portraits from the collection of the Beinecke Rare Book and Manuscript Library at Yale University: over 9,000 black-and-white printsPostcards from Manhattan: The Portrait Photography of Carl Van Vechten at Marquette University: hundreds of portrait postcards sent by Van Vechten to Wisconsin artist Karl Priebe from 1946 to 1956.Guide to the Carl Van Vechten Photograph Collection 1932-1956 at the University of Chicago Special Collections Research Center Carl Milles (Swedish pronunciation: [ˈkɑːɭ ˈmɪ̂lːɛs] (About this soundlisten); 23 June 1875 – 19 September 1955) was a Swedish sculptor. He was married to artist Olga Milles (née Granner) and brother to Ruth Milles and half-brother to the architect Evert Milles. Carl Milles sculpted the Gustaf Vasa statue at the Stockholm Nordic Museum, the Poseidon statue in Gothenburg, the Orpheus group outside the Stockholm Concert Hall, and the Fountain of Faith in Falls Church, Virginia. His home near Stockholm, Millesgården, became his resting place and is now a museum. Contents1Biography2Selected works3Gallery4Sources and references5See also6Notes7External linksBiographyHe was born as Carl Wilhelm Emil Andersson, son of lieutenant August Emil Sebastian “Mille” Andersson (1843-1910) and his wife Walborg Alfhild Maria Tisell (1846-1879), at Lagga outside Uppsala in 1875. [1][2] In 1897 he made what he thought would be a temporary stop in Paris on his way to Chile, where he was due to manage a school of gymnastics. However, he remained in Paris, where he studied art, working in Auguste Rodin’s studio and slowly gaining recognition as a sculptor. In 1904 he and Olga moved to Munich. Two years later they settled in Sweden, buying property on Herserud Cliff on Lidingö, a large island near Stockholm. Millesgården was built there between 1906 and 1908 as the sculptor’s private residence and workspace. It was turned into a foundation and donated to the Swedish people in 1936. In 1931, American publisher George Gough Booth brought Milles to Cranbrook Educational Community, in Bloomfield Hills, Michigan, to serve as his sculptor in residence.[3] Part of Booth’s arrangement with his principal artists was that they were expected to create major commissions outside the Cranbrook environment.[4] Sculpture at Fort ChristinaIn 1938, for the 300th anniversary of the founding of New Sweden, the country commissioned a sculpture by Milles featuring a replica of the Kalmar Nyckel, the ship which originally brought the Swedish colonists to America. The sculpture is located at Fort Christina in Wilmington, Delaware, near the landing site where the colonists arrived in 1638. In America he is best known for his fountains. Milles’ fountain group The Wedding of the Waters in St. Louis symbolizes the Missouri and Mississippi Rivers merging just upstream. Commissioned in 1936 and unveiled in May 1940 to a crowd of about 3000 people, the fountain caused a local uproar because of its playful, irreverent, naked, and nearly cartoonish figures, and because Milles had conceived the group as a wedding party. Local officials insisted that the name be changed to The Meeting of the Waters. Outside Detroit’s Frank Murphy Hall of Justice is a Carl Milles statue, The Hand of God, which was sculpted in honor of Frank Murphy, Detroit Mayor, Michigan Governor, and United States Supreme Court Associate Justice. The statue was placed on a pedestal with the help of sculptor Marshall Fredericks. The statue was commissioned by the United Automobile Workers,[5] and paid for by individual donations from UAW members.[6] The Global Award for Entrepreneurship Research, an annual award for research on entrepreneurship, consists of a replica statuette of The Hand of God and a prize of 100,000 euros. Milles’ sculptures sometimes offended American sensibilities, and he had a ‘fig leaf’ maker on retainer.[3] Milles Indian headPhotographs of his sculptures, taken for a monograph on Milles, are now held in the Carl Milles Photograph Collection, c. 1938–1939, in the Ryerson & Burnham Libraries at the Art Institute of Chicago. Milles and his wife returned to Sweden in 1951, and lived in Millesgården every summer until Milles’ death in 1955. They spent winters in Rome, where the American Academy had supplied them with a studio. Milles and his wife, Olga, who died in 1967 in Graz, Austria, are buried in a small stone chapel, designed by Milles, at Millesgården. Because Swedish law requires burial on sacred ground, it took the assistance of the then reigning Gustaf VI Adolf to allow this resting place. Selected works The Sunsinger, National Memorial Gardens, Falls Church, VA Triton Blowing a Shell, Mayo Clinic, Rochester, Minnesota Two Dancers, Götaplatsen, GothenburgAganippe Fountain, Metropolitan Museum of Art, New York City, 1951-1955 (at Brookgreen Gardens since 1982)Aviator Monument, Karlaplan, Stockholm, 1931Fountain of Faith, National Memorial Park cemetery, Falls Church, Virginia, 1939-1952 [7]Gustav Vasa Statue, Nordic Museum, Stockholm, 1905-1907 (painted gypsum) and 1925 (painted oak)Folkung Fountain, Old Square, Linköping, 1924–1927Louis De Geer, Old Square, Norrköping, 1945Sten Sture Monument, Uppsala, 1902–1925Indian God of Peace, City Hall, Saint Paul, Minnesota, 1932–1936Bronze doors, Finance Building, Pennsylvania State Capitol Complex, Harrisburg, Pennsylvania, 1938Diana Fountain, Matchstick Palace, Stockholm, 1927–28Europe and the Bull Fountain, Stora Torg, Halmstad, 1924–1926Exterior sculpted decor of Sweden’s Royal Dramatic Theatre, Stockholm, 1903–1908God on the Rainbow, Nacka, 1995 (by Marshall Fredericks, on a 1946 model by Milles for the Headquarters of the United Nations)Greendale War Memorial for Veterans of All Wars, Worcester, Massachusetts, 1948Man and Nature, lobby of 1 Rockefeller Plaza, Rockefeller Center, New York City, 1937–1941Man and Pegasus, Castle Park, Malmö, 1949Maritime Goddess, Helsingborg, 1921–1923Meeting of the Waters, monumental fountain, St. Louis, Missouri, 1936–1940Monument to Johannes Rudbeckius, Västerås, 1923Numerous works at Cranbrook Educational Community, Bloomfield Hills, Michigan, including Mermaids & Tritons Fountain, 1930, Sven Hedin on a Camel, 1932, Jonah and the Whale Fountain, 1932, Orpheus Fountain, 1936.[4]On a Sunday Morning, monumental fountain, Ingalls Mall, University of Michigan, Ann Arbor, Michigan, 1939–1941Orpheus Group, in front of Stockholm Concert Hall, 1926–1936Playing Angels, Philadelphia, Pennsylvania, 1950 (purchased by Fairmount Park Art Association in 1968; installed 1972)[8]Poseidon Fountain, Götaplatsen, Gothenburg, 1925–1931Saint Martin of Tours (William Volker Memorial Fountain), Kansas City, Missouri, 1950-1955Sjöguden (Sea God), Skeppsbron, Stockholm, 1913Spirit of Transportation, Detroit Civic Center, Detroit, Michigan, 1952Sun Singer, Helgeandsholmen, Stockholm, 1926; replicas in Robert Allerton Park, Monticello, Illinois,[9][10] and National Memorial Gardens, Falls Church, VirginiaSwedish Tercentenary Monument, Fort Christina, Wilmington, Delaware, 1937–38The Archer, in front of Liljevalchs konsthall, Stockholm, 1919The Astronomer, 1939 New York World’s Fair, Flushing Meadows–Corona Park, 1938-39 (plaster, destroyed at the Fair’s end; later reproduced in smaller-scale bronze)The Four Ages of Economic Exchange, Stockholms Enskilda Bank head office, Stockholm, 1915The Hand of God, Eskilstuna, 1952-1954Two Dancers, 1915, placed on Gothenburg’s Götaplatsen in 1952Two plaques on WWJ Building, Detroit, Michigan, 1936Wall reliefs on Racine County Courthouse, Racine, Wisconsin, 1931GalleryCarl Milles sculptures Poseidon, Gothenburg Angels Playing Music, Millesgården, Stockholm Wild Boar, Millesgården Millesgården Millesgården Europa on the Bull, University of Tennessee, Knoxville God Father, Nacka Strand, Nacka Man and Pegasus, Millesgården The Hand of God, Millesgården Sources and references Milles’ Poseidon in Gothenburg, SwedenJonsson, Ann, « D’un mythe à l’autre : L’ ‘Europe’ de Carl Milles et sa symbolique en Suède », in D’Europe à l’Europe, II. Mythe et identité du XIXe s. à nos jours (colloque de Caen, 1999), éd. Rémy Poignault, Françoise Lecocq et Odile Wattel – de Croizant, Tours, Centre Piganiol, coll. Caesarodunum, n° XXXIII bis, 2000, p. 157-162.Kvaran, Einar E., An Annoted Inventory of Outdoor Sculpture in Washtenaw County (Masters Thesis. 1989)Liden, Elisabeth, Between Water and Heaven, Carl Milles Search for American Commissions, (Almqvist & Wiksell International, Stockholm, Sweden 1986)Martenson, Gunilla, A Stockholm Sculpture Garden (New York Times, Dec. 27, 1987)Nawrocki, Dennis and Thomas Holleman, Art in Detroit Public Places, (Wayne State University Press, Detroit, Michigan 1980)Piland & Uguccioni, Fountains of Kansas City, (City of Fountains Foundation 1985)Rogers, Meyric, Carl Milles, An Interpretation of His Work, (Yale University Press, New Haven, Connecticut 1940)Taylor, Askew, Croze, et al., Milles At Cranbrook, (Cranbrook Academy of Art, 1961)Westbrook, Adele and Anne Yarowsky, Design in America, The Cranbrook Vision 1925–1950, (Detroit Institute)

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