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A Catalog of the Oyen Collection, from the University of Wisconsin, La Crosse, Including a History of the Oyen Interior Design Firm, Buildings Decorated by the Oyen Firm, Employees of the Oyen Firm / Prepared by Joan M. Rausch, with Leslie F. Crocker La Crosse, Wis.: Board of Regents, University of Wisconsin System, c1979

Special Collections Wisconsiana  NK204.3.O93 A4 1979
 
 
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ODIN J. OYEN 1896

Odin J. Oyen


The Oyen Collection


THE LARGEST WALL PAPER HOUSE IN THE CITY

Odin J. Oyen
Decorator.
Interior Decorations done to suit all tastes,
in Fresco, Wall Paper or modern Decorations,
Painting, Paper hanging, etc.
DEALER IN
ARTISTS' MATERIALS, PICTURES AND FRAMES

A
Catalog
of
The Oyen Collection
from the
University of Wisconsin, La Crosse
Including
A History of the Oyen Interior Design Firm
Buildings Decorated by the Oyen Firm
Employees of the Oyen Firm

PREPARED BY: Joan M. Rausch
with Dr. Leslie F. Crocker
Department of Art
University of Wisconsin-La Crosse


Copyright 1979 by the Board of Regents, University of Wisconsin System,
Joan M. Rausch, Dr. Leslie F. Crocker

ACKNOWLEDGEMENTS
We appreciate all those who contributed information, support, and cooperation and work
which made the creation of this publication possible. We are especially grateful to the following
who gave invaluble assistance.

Leighton and Faye Oyen
University of Wisconsin-La Crosse
Edwin Hill of the Area Research Library
Leonard R. Stach, Chairman of the Art Department
Betty Inderberg, Typist
Larry Dittman of the University of Wisconsin-La Crosse Foundation
Donald Suter and Paul Currier of Audio Visual Services
Carl Scheel
Henry Rust
Sandy Lewis

This publication has been made possible with funds from The University of Wisconsin-
La Crosse Foundation, Inc.


Contents

Introduction 1
History of the Oyen Firm 2
Designs in the University Collection 18
The Process of Mural Painting 46
Employees of the Oyen Firm 48
Index of Known Sites of Interior Decoration by the Oyen Firm 52
Catalog of Designs by the Oyen Firm 56


This catalog is issued in conjunction with an exhibition of designs from the Oyen Collection in
the Fine Arts Gallery, University of Wisconsin, La Crosse, August 20, 1979.



Introduction
Once there was only History. Today we have Economic History, Art History, Political
History, American History, Social History, Military History and increasingly smaller
fragments of time and place. Seldom can we see a total image of one time and place in the past,
unless the various fragments of history are combined.

The half century from 1880 to 1930, saw great changes in the United States and particularly
in the new states of the mid-west. The boom years of the late 1880's and 1890's, the "Gay
Nineties" of song and legend, were replaced by the cautious first decade of the new century. The
horrors of the first war that was world wide in scope dominated the decade of the "teens" only to
be replaced with the "Roaring Twenties" and the collapse brought about the stockmarket crash
in 1929.

A half century of change that has been forgotten in our rush into a new world of seemingly
unlimited prosperity. The Odin J. Oyen firm grew, prospered and declined during this half
century. The business was built upon its founders belief that the relatively young states needed
art and culture. The beautiful and the symbolic were considered necessary adjuncts to every
person's life. Such a business reflected the nineteenth century view of art "elevating" the
human spirit, an idea seldom heard today, though I suspect our modern spirits are no less in
need of elevation.

The son of an immigrant works hard to achieve social and financial success. His business
commands national respect and he and his firm are honored by the community. But the second
part of the story is less romantic, though no less typical of the American success story. The
collapse of 1929 destroyed the Oyen firm, even though it continued in operation for several
years after that fateful date. Now, the courthouse murals are faded and few people remember
the effort necessary to bring beauty to the mid-west.

The Oyen Collection is a group of designs done by artists and workmen employed by Odin J.
Oyen in his decorating business. Ranging from preliminary drawings to finished watercolors,
these designs show each of the steps from idea to final painting. Because the Oyen firm
decorated almost every possible type of building, these designs give the present viewer a better
understanding of the late nineteenth and early twentieth century. Subject matter and style of
execution vary through time and partially depend upon their intended use. The Oyen firm
clearly suited the subject of the paintings to the use of the building.

These designs and the books, records and photographs associated with them provide us a
unique insight into the working of an unusual business and the people that created beauty.
Elongated Art Nouveau ladies once stood beside sun-burned cowboys on the walls of the Oyen
studio. Viking gods rubbed shoulders with Christian Saints. Roman Goddesses dispensed
justice beside Wisconsin loggers. Symbols were important to people and defined virtues that
were advocated and admired in our society. Our nation accepted the symbolism of the
nineteenth century as a universal langauge that the people of Europe shared with the new
world. Only in such an environment could a Swedish artist move to a Mississippi river logging
town and paint scenes of Indians and Wagon trains for a courthouse in Montana. Such was the
American experience.

We are fortunate that the son of Odin J. Oyen, Leighton Oyen, recognized the importance of
preserving these designs and donated them to the University of Wisconsin-La Crosse, where
they will be properly preserved.

Les Crocker


I. History of the Oyen Firm
FAMILY HISTORY.
Odin Julius Oyen was born on May 21, 1865, in Trondhjem, Norway. The Oyen family
previously had come from Vaage on the Lommen River in northern Norway. His father, Lars
Oyen, a guilder and molder by trade, owned a factory in Trondhjem which created decorative
items such as mirrors and picture frames.

Suffering financial difficulties, Lars Oyen immigrated to America in 1870, first settling in
Chicago. Odin, Mollie, Annie and Thea accompanied their parents, Lars and Anna Oyen, to
America. The family eventually settled in Madison, Wisconsin, in 1872, where Lars worked as
a painter and woodfinisher. The large Norwegian settlement in Madison lent support to the
Oyen family in their new home. A son, Louis, was born during the first years the Oyen family
lived in Madison. Life in their new home was marred by the death of both Annie and Thea.

Peter, the eldest son, remained in Norway with relatives due to ill health. There he pursued
the study of geology. Later he held a chair at Christiania University in Oslo, Norway. Peter
Oyen's studies of the glaciers of Norway are recognized internationally in the field of geology.
He impressed a clerk while buying a suit of clothes on a visit to La Crosse when he was reported
by his nephew, Leighton Oyen, to ask: "My dear fellow, will you assure me that the brambles
and briars will not render this garment asunder?"

In Madison, where he received eight years of formal education, Odin Oyen's family and
teachers encouraged the development of his artistic talent. Lacking the financial means
necessary to develop his decorative talent, Odin Oyen was apprenticed to the T. A. Nelson
Decorating firm, 110 East Mifflin Street, in Madison, at age fourteen. He lived with his parents
while learning the decorative trade. At the end of his apprenticeship, he was to receive the sum
of one dollar, and a bible.

In 1883, at age 18, Odin enrolled at the Art Institute of Chicago where he studied under John
Henry Vanderpoel, author of The Human Figure. While there he was awarded first prize in
several student competitions. Oyen gained practical experience working days for a very large
decorating firm, S. A. Maxwell Decorating Company on Michigan Ave., which specialized in
wallpaper and frescoing.

THE EARLY YEARS, 1888-1900
In February, of 1888, the 22 year old, Odin J. Oyen came to La Crosse at the suggestion of Ori
Sorensen of Sorensen and Davis Contractors. Louis Nelson, the son of Oyen's Madison
employer, joined him in organizing an interior decorating business. Both young men had
known Sorensen in Madison and sought to duplicate the success he had found in the growing
town of La Crosse. The opportunity in La Crosse for a painter and interior decorator was
almost unlimited at this time. The building boom of the late 1880's and 1890's was underway,
fueled by the immense profits from lumber. The newly rich barons of commerce were building
large mansions and needed decorations for them. The La Crosse Directory of 1890 listed them
as:
Nelson and Oyen, (Louis Nelson & Odin Oyen), Decorators and Fresco House and Sign
Painters. Office 109 South Fifth.

At the same time, many older churches were being remodeled and new ones under
construction. Courthouses were needed to serve the new communities formed from immigrants
and other people moving west for new opportunities. Recognizing the need for a wide clientele,
Oyen began to bid on contracts for large public buildings throughout the upper Midwest.

By 1890, the partnership with Nelson had been dissolved. An advertisement in the 1892
La Crosse Directory indicates the addition of saleable merchandise to the business:
Oyen, Odin J. Decorator, Fresco, House and Sign Painting, Dealer in Wallpaper, Window
Shades, Mixed Paints, Artist Materials, Varnishes, Leads, Oil, Glass, Room and Picture
Molding.

2


NELSON AND OYEN,
DECORATORS, 109 SO. 5TH AVE.,
LA CROSSE, WI

1888

ODIN J. OYEN, DECORATOR,
314 SO. 4TH ST., LA CROSSE, WI
FROM LEFT, LOUIS NELSON,
O.J. OYEN, JOSEPH ERICKSON,
UNKNOWN, LARS OYEN,
UNKNOWN.

c 1893

3


Oyen rented the Rehfuss Building, a two-story and basement brick structure across from the
Old Market Square, at 314 South 4th, in 1891. More space was needed to accommodate a
business which had attained a state-wide reputation.

Odin was joined by his father, Lars and brother, Louis, in the firm about 1891. Louis started
as a salesman. Later, as the business enlarged, he held several management positions in the
firm. Lars Oyen used his skills as painter, woodfinisher and picture framer in the Oyen firm
until his death in 1897. Odin's sister, Mollie B. Oyen, also talented in the decorative arts
became a noted dress designer and importer in Chicago during this period. Her business card
advertised "Gowns, Suits, Wraps and Waists for all Occasions" at Madame Oyen's. Her
clientele included the prominent Hixon family of La Crosse.

Odin Oyen used his talents as a designer, stencil maker and decorator-painter in
combination with his instincts for good business to advance his career at La Crosse. The circa
1893 edition of Pen and Sunlight Sketches of Principal Cities of Wisconsin states:
Mr. Oyen is not only an artist, but a lover of fine arts, as is ably demonstrated by the large
display of oil painting, watercolors, engravings, etchings, photogravures, etc. in his
establishment. As a designer of artistic decorations he has no superior, but few equals, in the
state... As a decorator of public buildings, churches and private residences he excels in his
line, and has won a name in his art by classic productions, simplicity of designs and
harmony of colors that has justly earned him the high reputation which he now enjoys.
The article also states that he employed 15-25 skilled artisans.

In an advertising souvenir dated September 1893, Oyen's intention to build a company of
national reputation is made clear:
In presenting this souvenir we desire to thank our many customers and friends for their
liberal patronage and kind compliments bestowed, unsought often times, therefore all the
more highly appreciated.

We also aspire to add many more patrons to the list. It is our constant endeavor to keep at
the front as regards style, quality of goods, workmanship and honorable dealings, and from
the frequent kind words of approval received from patrons both in and out of the city, we can
but feel that our efforts are appreciated.
Yours truly,
Odin J. Oyen
P.S.Frescoing, Painting, Paper Hanging. Give us an idea of what you want and we will be
pleased to submit designs, samples and estimates.

Decorations for Churches, Theaters and Residences. Artist, Painters and Paper Hangers
sent to any part of the country.

Recognizing the need to keep informed of business affairs in the city as a necessary element
in a successful career, he became an active member of the Builders Exchange, Board of Trade
and the Inter-State Fair Association.

As his company grew to national prominence, Oyen found it necessary to devote more and
more of his time to business aspects of the firm. He drew on the talents of skilled European
artisans migrating to America for his artists. About 1895, he hired his first full time
artist-designer, Joseph Erickson, born and trained in Norway. Oyen had met Erickson while
working in Chicago. In Norway and Chicago, Joseph Erickson worked as a painter and
designer of stage scenery. To keep Mr. Erickson on the job and out of the taverns, Mr. Oyen, a
practical man, arranged to keep a keg of beer on ice up on the scaffolding while work was in
progress.

In these early years, Oyen's enthusiastic, imaginative approach to business distinguished
his firm from the average decorating or painting company. The La Crosse Daily Press on May
25, 1895, described the exuberance of the fifth anniversary celebration of the Odin J. Oyen,
Decorator company:
One of the most attractive and probably the most novel street parades ever seen in La
Crosse was given this afternoon by Mr. Odin J. Oyen and the employees of his extensive art
establishment, at 314 South Fourth Street. This ought to be amended, too, as all the
employees were not out; several are engaged in work at Fairbault (decorating the new Hotel
Brunswick) and other places, while eight lady employees of the framing department were
excused from appearing in line. As it was, the total number in the parade was about forty.
Exceptingfor Mr. Oyen, his father and brother, Messrs. J. H. Thompson and L. E. Johnson,
the employees were dressed completely in white - overalls, jackets, and caps - while
Langstadt's full band, which marched at the front, were similary attired. The costumes,

4


JOSEPH ERICKSON, ARTIST 1893

FIFTH ANNIVERSARY CELEBRATION PARADE 1895

5


made for the occasion, shone with cleanliness, and the attractive effect of the whole can
readily be imagined. The line of march was from Mr. Oyen's establishment to the head of
Pearl Street, down Pearl to Front, to Main, to Eighth, to State, to Eleventh, to Cass, to Fourth
and thence to the rendezvous. As the column reached "Newspaper Row" (the block between
Second and Front), the band serenaded the Press, Chronicle, Nordstern, Volksfreund and
Budget offices. In addition to their handsome costumes, eighteen of the marching employees
carried large gilt shields, on which appeared the name of several departments of Mr. Oyen's
establishment, such as frescoing, house painting, sign painting, paper hanging, window
shades, picture framing, salesroom etc. also two wagons appropriately decorated.

The parade was not intended simply to illustrate (though it did it most effectively) the
magnitude of Mr. Oyen's establishment and business; but was one part of a little celebration
of the fifth anniversary of the establishment of his widely known and highly popular
institution. The balance of the celebration is a private matter between Mr. Oyen and his
employees, and Mr. Oyen's well known generosity is convincing evidence that the employees
will not suffer during the fete occasion. The day was made a holiday for the nearly
half-hundred operatives, with full pay thrown in. The public fully enjoyed their share of the
program too, but it is to be regretted that Mr. Oyen failed to give advance notice of the affair,
to the end that all could share in the pleasure of the rare sight; could it be repeated, there is
little doubt that the streets would be jammed as is only seen on circus day.

Mr. Oyen's almost wonderful success is a cause for general gratification. He has won his
enviable record by first class work and upright dealing, while his reputation for these
characteristics is, as readers of papers know, not confined to La Crosse nor to the state of
Wisconsin. The Daily Press extends it hearty congratulations to Mr. Oyen on the success of
his little celebration, and hopes that the tenth anniversary will show a hundred men in line.

The growth of his business demanded a larger and more prestigious location. On December 1,
1895, the firm moved to 114 South Fourth and later added a third floor to the building. This
building is now rented to Coney Island Restaurant, but the second floor remains unchanged
from Oyen's time.

Oyen's thoughts turned to marriage and family once his business had gained a measure of
stability. His sister, Mollie, added further encouragement by suggesting that, at age 31, it was
time he thought of marriage. Mollie had already chosen Emma Nelson, a school teacher at a
grade school on East Gorham Street, in Madison, for her brother, Odin. Odin and Emma were
married on December 31,1896. Emma Nelson was known for her strong character and believed
in an active, full life. She had changed from the strict Lutheran Church of her parents to the
Congregational Church, which more closely correlated with her philosophy of life. After their
marriage, Odin also attended the Congregational Church in La Crosse. A year later, in 1897,
his son, Leighton Oyen, was born and another son, Harold, completed the family two and a half
years later. Leighton later trained to be the artist-designer of the Oyen family firm while
Harold began as a salesman in 1921.

The problems of travel and communication during the late 1800's and early 1900's were
fundamental concerns in a business which covered a large geographical area. Fortunately,
La Crosse was a transportation center in the midwest. However, fulfillment of the business
claim that Oyen "personally superintends every detail of the work during the operation of his
workmen" could only have been accomplished with a great expenditure of time, effort and
stress.

0. J. Oyen's early years of business had difficult moments as well as success and satisfaction.
The older workmen told his son, Leighton, of the early days when they would wait in the
backroom of the store each payday. Bets were taken on whether 0. J. "Owe-um" as they called
him on those occasions could or could not collect enough money from those who owed him
around town to pay his workmen full wages for that week.

6


0. J. OYEN,
INTERIOR
DECORATOR,
114 SO. 4TH ST.,
LA CROSSE, WI 1897


7
ODIN AND EMMA OYEN c. 1908
FRONT LEFT, HAROLD OYEN; FRONT RIGHT, LEIGHTON OYENl l

8


NEW DIRECTIONS 1900-1919
Oyen tried to influence the thinking of the La Crosse community about decoration on all
levels. "Nothing was too big or too small" as he explains in a "Spring-opening" advertisement
in the 1901 La Crosse Chronicle.
Let us suggest a scheme of decoration for your home this spring. If you have one or more
rooms to be decorated, let us help you. Your needs can neither be too big or too little. They will
have our prompt and best attention . . . will be pleased to send samples and suggestions or
when the work justifies, we will send a competent representative to call upon you and make
suggestions and furnish estimates for work.

In 1902, looking for opportunities to broaden his business operation, Oyen purchased a sign
and bill-posting company, calling it the Oyen-Ad Sign System. The Oyen-Ad Sign System
controlled the outdoor advertising space within 500 miles of La Crosse. It gave Oyen an
additional opportunity to place his name before the public. A Coca-Cola contract for out-door
advertising gave him the entire upper midwest territory. Large advertisements were painted
on the sides of buildings and examples of these art ads can sometimes be identified in early
photographs of the city. 0. J. Oyen's brother, Louis, shared controlling interest in the sign
company. The first manager was J. H. Dale followed by E. F. Munn, in 1905, who remained
with the sign company till 1911. The company was eventually sold to W. P. Jagow who
managed the company from 1911 to 1930.

0. J. Oyen firmly believed in promoting his business through advertisement. Modern
advertisement has a well formulated psychological basis, but Mr. Oyen didn't need the science
of psychology to show him how advertisement could be used. He knew the value of using every
opportunity to place his name before the general public as well as in journals concerned with
construction and design. The Oyen firm placed advertisements in the Catholic Directory, a list
of all the Catholic churches in the United States and Canada, and in the magazine Western
Architect. The Improvement Bulletin, published weekly in St. Paul listed all the buildings
being erected in the area including churches, courthouses, creameries and small residences. He
sent advertisement calendars to all the county auditors of the upper midwest each year. His

OYEN-AD SIGN SYSTEM BILL BOARD c. 1902/1919

9


business cards were decorated with a photograph of his work plus a list of past commissions.
The outdoor advertising company Oyen acquired in the early 1900's prominently displayed the
name, "Oyen," on many large billboards throughout the midwest.

In 1903, Axel Edward Soderberg was hired as the firm's artist. Odin Oyen enticed Soderberg
away from Andrews Decorating Company of Clinton, Iowa, his chief rival in this area.
Soderberg had immigrated to America when he obtained a commission to work on the
Columbian Exposition in Chicago. A. Edward Soderberg trained as artist in his native Sweden
and studied in Paris for several years during the 1880's. Most of the watercolor designs of
interiors that survive to the present day were done by Soderberg. Joseph Erickson, Oyen's
original artist, remained in La Crosse until 1905 when he returned to Chicago to obtain better
wages.

Securing commissions became much easier once his reputation became established on a
national level. Because Minneapolis was, at that time, the central city for business operations
throughout the north and midwest, it was imperative that he establish a reputation in this city.
According to his son, Leighton, architectural firms such as Buechner and Orth or Omeyer and
Thori, both of St. Paul, would personally recommend the 0. J. Oyen firm.

A reputation of the highest esteem became the deciding factor in many bidding competitions.
However, buying the job with money or business favors was a frequently used maneuver to
secure the bid. Entertaining the Board of Commissioners was viewed as "good business" and
the cost simply necessary expense. "Good business" or a good reputation could be a probable
explanation for the following sequence of events:

On December 19, 1905, the Commissioners of Lake County, in Minnesota, opened the bids for
the decoration of the Courthouse. The bids read:
Odin J. Oyen, La Crosse, Wisconsin $1500.00
L. A. Mclver Co., Minneapolis, Minnesota $1500.00
W. J. Andrew Decoration Co., Clinton, Iowa $1500.00
M. Peterson, Two-Harbors, Minnesota $1050.00
The bid was awarded to Odin J. Oyen for the painting of a court room mural and the corridors.

A EDWARD SODERBERG, ARTIST circa 1916

10


On February 13, 1906, the decorating was complete and the auditor was ordered to pay Odin J.
Oyen in full the sum of$1500.00. Three 20" x 3'6" oil paintings depicting commerce, mining and
forestry were hung in the Commissioners Room. This additional contract was awarded to the
Odin J. Oyen Decorating firm, La Crosse, Wisconsin, on February 13, 1906.

The Oyen firm's national reputation was not restricted to courthouses. The wife of the
president of the Anaconda Copper Company was impressed by the effect of the interior of St.
Patrick's Church in Butte, Montana. She encouraged her husband to hire Oyen to decorate the
chain of hotels which he was building at the time. Oyen's impact on this area of the country
prompted J. G. Morony, President of the Daly Bank & Trust Co. of Butte, Montana to write the
following letter:

To the State Board of Examiners Butte, Mont., June 12, 1911
Helena, Montana
Gentlemen:

Mr. Oyen, of La Crosse, Wisconsin, did the decorating on the ground floor rooms of the
Rainbow Hotel, at Great Falls - the dining room, palm room, lobby and arcade. In so far as I
am able to judge, he did a very good job.

I beg to commend him to your favorable consideration.

Yours Truly,
John G. Morony

RAINBOW HOTEL, GREAT FALLS, MT c. 1910

The bidding process for public building naturally was very competitive. Acquiring
commissions from a company owning a chain of hotels or theatres gave the Oyen decorating
firm a form of job security. About 1912, in addition to the chain of hotels in Montana, O. J. Oyen
obtained contracts to decorate Friedman Brothers theatres and the theatres owned by
Finklestein and Ruben. Both of these firms had offices in the Minneapolis and St. Paul area.
The Oyen firm designed the interiors of many of these theatres from about 1912 to 1925.

At this point of success in his career, Mr. Oyen must have remembered the difficult years of
business when he still needed to establish his reputation as a competent interior decorator. The
older workmen in the firm told his son, Leighton, of the time when O. J. was denied the job of

11


FINKLESTEIN AND RUBEN THEATRE (D-20), WATERCOLOR c 1912/1925

12


decorating St. Joseph's Cathedral in La Crosse by the elders of the cathedral. They felt that O.
J. Oven was too young at age 23 to take on the job of decorating the cathedral. However, Bishop
Flasch directed them to award the contract to O. J. Oyen irrespective of his age. In doing so, the
Bishop recollected when as a young priest assigned to a new parish, the congregation felt he
also was too young to take on the responsibilities of their parish especially hearing confession
and dealing with the problems of women. In terms of appreciation and business volume. 0. J.
Oyen and his artisans had attained remarkable acceptance in the first twenty years of
business.

ST. JOSEPH'S CATHEDRAL, LA CROSSE, WI c. 1893

13


0. J. OYEN, INTERIOR
DECORATOR,
507 MAIN STREET,
LA CROSSE, WI

c. 1913

The Oyen firm opened a new store in the fall of 1912 at 507 Main Street.

Oyen created the design for this building himself, based on commercial structures that were
popular in New York. The building is a composite of three different buildings Odin saw in the
ArchitecturalRecord magazines. Oyen's friend, the local architect, Percy Dwight Bentley, gave
the design its physical form. The new Oyen Building, illustrated in the November 1913
Western Architect, was stone faced on the first story with brick above. The site at 507 Main had
been bought from Wm. Doerflinger and J. C. Toeller for $9,000. Now occupied by Soell's Liquor,
the property is still owned by the Oyen family.

The three story building gave Oyen space to add rugs and draperies to his inventory. The
Oyen firm began to change its emphasis to more residential interests rather than public
buildings. This change occurs gradually from the time of the erection of the new building when
rugs and draperies were added until 1917, when special furniture received more attention.

14


TASTE AND THE COMMUNITY

0. J. Oyen's physical absence from the city curtailed but did not completely remove his
participation in community affairs during the early years of his career. In the celebration of
President Theodore Roosevelt's visit on April 4, 1903, in La Crosse, he represented the
community as an official participant. Oyen is listed on the program as an escort for surrey
number twelve in the ceremonial parade to old Market Square where President Roosevelt
made his campaign speech.

Mr. Oyen did find time later in his career to more actively promote taste, style, and the
decorative arts in the community. Aware of the national trend toward residential decoration,
Odin Oyen sought to expose the community to the value of self-expression as reflected in their
home environment. In an advertisement in the local paper, he stated:

"People plan their homes with a great deal more care than they did a decade ago. Today they
study their requirements and select wallpaper, rugs, draperies and furniture which appeals
to them as being in good taste - furnishings that are beautiful in design as well as
substantially built - home furnishings that will convey at once the idea of harmony, peace
and contentment in the home. As fashion goes so go home furnishing ..."

A Christmas invitation from the Oyen company in 1908, tells potential customers "All the
World Loves a Picture." Braun Carbon photographs, Curtis and Cameron's famous Copley
prints and Nutting's hand colored platinum prints were suggestions by O. J. Oyen of prints
worthy to be framed by his firm and hung in La Crosse homes.
Mr. Oyen's love of fine arts and good business sense prompted him to bring in exhibitions of
paintings from New York to be displayed in his store for the La Crosse community. A
commission was given him for any paintings sold. Frank Enders, possessor of a gold medal from
the Munich Academy and advertised in the La Crosse paper as a celebrated artist, sent a
collection of water colors to Oyen's for exhibition and sale on March 10, 1897. A special
invitational sale of Copley prints occurred at the Oyen store on October 13, 1905.

A similar arrangement prompted the exhibition of "art rugs" or Oriental rugs in the Masonic
Temple. The La Crosse newspaper reports that Odin J. Oyen, personally responsible for
bringing the display here on July 16, 1910, was greatly gratified upon hearing the
complimentary remarks by the most prominent people in La Crosse on the merits and beauties
of the many fabrics examined.

O. J. Oyen supported all cultural events that enriched the lives of his customers. Pictures of
the well-known Freida Henipel, who impersonated Jenny Lind in concert at the La Crosse
Normal School decorated his store windows during her visit to La Crosse.

Oyen did not limit his concern for appreciation of art to the decorative arts. Mr. Oyen lent his
support to the Art Association of La Crosse, organized in 1914, to promote interest in and
appreciation of Art. He, in association with other prominent citizens of the city such as L. C.
Colman and Frank Hixon, is listed as being on the original Board of Directors. In the first year
of its existence, Mr. Oyen contributed his efforts to the committee for membership cards and
the art exhibit of April 18th held in the City Library.

Odin J. Oyen's devotion to visual decoration did not have pure financial gain as a motive. His
commitment had its basis in his own personal value structure. Mrs. S. U. Pinney, a client of
Oyen's about 1889, detected this quality in Odin. The lasting impression made by O. J. Oyen
was revealed twenty years later in her will. On August 2,1909, theLa Crosse Tribune reported:

Because she observed how tenderly and carefully Odin J. Oyen of this city handled her art
collection of marble statuary when he decorated her home twenty years ago, and was struck
with the sincere admiration which he showed for the works of art, Mrs. S. U. Pinney, late of
Madison, Wis., widow of former Judge of the Supreme Court S. U. Pinney, has willed Mr.
Oyen her entire collection of eight pieces ...

Mrs. Pinney says that her reason in giving them to Mr. Oyen was that he is the only person
she knows of who has enough appreciation of their artistic value.

15


In a Daily Republican and Leader advertisement written by him dated March 18, 1899, Odin
makes a statement which seems to offer a clue to his philosophy of interior decoration:
IT IS OUR DUTY TO MAKE PEOPLE HAPPY
In Greek mythology Venus was the mother of Cupid, i.e., Beauty brought forth love. It always
does. We can no more help admiring what is beautiful, and being happy in its presence, than
a hungry man could help enjoying food. Then why not please ourselves and others by
making things beautiful? Who does not offer a pleased and grateful remark on entering a
finely decorated or neatly prepared home.
We are at your service.
A cartoon caricature in the La Crosse Tribune dated December 11, 1914, gives additional
insight into O. J. Oyen. The following rhyme accompanied the cartoon:
From the Court, the Church, the Home
Comes the proclamation
Art for art's sake is the law
Of Oyen Decoration.
His belief in the importance of decoration of public buildings was found in some surviving
correspondence of the Oyen firm. Mr. Oyen wrote F. I. Whitney concerning the Masonic Temple
of St. Paul, Minnesota in 1909:
It would be a little short of criminal to give this building the temporary and inappropriate
treatment your present appropriation would suggest.
This will be one of the show places of a beautiful city. It is in no sense a temporary or
commercial undertaking. I might say much to you personally on this very important subject
and in my remarks, I would not stoop to selfishness nor commercialism. I am interested
above and beyond it. You have a condition to meet. Meet it right. Don't get something that
will answer for the time being, but something that is architecturally correct in design and
proportions. Then the material, construction and finish will make it a completed and
harmonious picture that will endure for many years to come. These last touches of
refinement and beauty in our great public buildings do much to develop art and education as
they appeal to the aesthetic sense and to the sense of patriotism in as much as they beautify
and commemorate.

Odin Oyen endeavored to be aware of the trends in the decorative arts. He visited the
exhibitions at the Columbian Exposition and World's Fair in Chicago. In New York and
Washington, D.C., he frequently visited the large public buildings such as the Library of
Congress. He continuously searched wherever he traveled for books, magazines and other
materials to be used as resource material. Near the end of his career, he had the opportunity to
see some of the major influences of his decorating styles during a trip to Europe in 1923.
According to the La Crosse Tribune and Leader Press on September 16, 1923, "Mr. and Mrs.
Odin J. Oyen spent three months touring Europe. They spent a month in the Scandinavian
countries and then journeyed down through the central European countries to Italy where they
spent another month. Their last stop was in Paris. In many of the large cities visited, Mr. Oyen
found pleasure in inspecting famous works of art and architecture."

THE FINAL YEARS 1919-1931

Aware of the fashion change toward creating a total design rather than the earlier practice of
decoration for walls, windows and ceilings, Oyen intensified his interest in this area in later
years. This, however, was only one of the factors which influenced O. J. Oyen to reassess his
business objectives. Following the events of World War I some of the labor unions in La Crosse
went on strike, including Oyen's painters, in support of the Gund Brewery workers. The union
demanded more wages and less working hours. In the history of La Crosse, it is known as the
"sympathetic labor strike." Oyen, unable to fulfill several theatre commissions in Minneapolis,

16


was forced to allow his competitors to take over the contracts. 0. J. Oyen, whose business
depended on the cooperation of skilled craftsmen was greatly disappointed in his workmen. In
addition, changing economic conditions resulted in fewer grand mansions and more middle
class homes while changing taste resulted in decreased demand for elaborate decorations in
public buildings. 0. J. Oyen reacted to these circumstances by altering his business to give
priority to his thriving retail store at 507 Main and the more controllable business of interior
design on a local level.

Axel Edward Soderberg, chief artist-designer for the firm, died of cancer on November 21,
1922. 0. J. Oyen's son, Leighton, assumed the position as a designer for the firm. Harold, the
younger son, had previously joined the firm as a salesman.

The decorative art legacy of the Oyen family has been kept alive in Odin Oyen's son,
Leighton. Born on September 21, 1897, the world of design and decoration was always part of
his life just as it was for his father. The freedom to roam the hills and river of La Crosse in his
youth and constant exposure to the artistic world of his father greatly influenced his formative
years. Leighton Oyen discovered a desire to draw at an early age. Concerning his continued
urge to draw, Leighton Oyen has said, "I could draw just as well with my left hand as with my
right. It's your brain that does the drawing; it isn't your hand at all. My mother had great
ambition for me."
Leighton was given the opportunity, by his father Odin Oyen, to prepare for a career in art
and design. His preparation was not to be as an apprentice with "on-the-job training." Odin
wanted the "proper preparation" for his son. After high school graduation at age 17, Leighton
went to the Chicago Institute of Art as his father had done before him. He remained at the
Institute for about two years. After a short time as a crew member with the Oyen-Ad Sign
System, Leighton Oyen temporarily put aside his personal career to enlist in the old 6th
Wisconsin Infantry. Their name changed to the 32nd Division when they were sent to eastern
France and Burgundy in January of 1918. Leighton Oyen became fascinated by the ancient
Roman and Celtic history of the area. After the war, at age 21, Leighton resumed his training
as an artist in the midst of the most active art scene in the United States - New York. He
began his experience at the New York National Academy of Design in 1919, and continued his
education as an artist at the New York Art Student League from 1920 until 1921. He worked
for a summer at a resort in Glouchester, Mass. There he met and became acquainted with
Stuart Davis who later became a leader of the American art movement of the early twentieth
century.

About 1922, when the Oyen firm required his assistance, Leighton returned to La Crosse.
The emphasis on interior decoration of homes by the Oyen firm continued after this period. In a
December 2, 1923 issue of The La Crosse Tribune and Leader Press, Harold Oyen states:

The essential features of a room is that it should express one's own individuality and
personal objects should be present. Many times articles are given a prominent place in a
room when they are ugly. The fact that the associations of the article to the possessor are dear
is no indication that the article is artistic. Ugly articles should have no place in a good
interior.

The response to the emphasis on residential interior design was limited to the more affluent
people of the La Crosse community. Although Odin expressed to his son, Leighton,
disappointment over the lack of response from the entire community, he must have received
great satisfaction from his years of success specializing in interior design of public buildings.

The family-managed business of O. J. Oyen, Interior-Decorator suffered a severe blow in
June, 1925, when Harold Oyen died in a car accident and the following year when O. J. Oyen
died of lung cancer on July 31, 1926. The business continued under the name Odin J. Oyen
Studios for a time under the direction of his son, Leighton Oyen and brother, Louis Oyen. The
depression years and the death of Louis Oyen in 1931 contributed to the end of the company's
function as interior decorators of public buildings.

17


II. Designs in the Collection

DESIGN SOURCES

Interior decoration in public and private buildings at the turn of the century in America was
shaped by the taste of the eastern United States. To remain competitive, Mr. O. J. Oyen had to
remain aware of the latest, acceptable interior designs. Every few years he went east; to New
York or to Washington to see interiors of the Capitol, the Congressional buildings, and the
Library of Congress. The Library of Congress with its ornate decoration was a particularly
important source of inspiration for him. The book Library of Congress Paintings published by
Foster and Reynolds in 1902, was part of the Oyen firm's library, and is in the possession of his
son, Leighton. Every month Odin received German magazines filled with elaborate designs.
Decorating books from Germany, England, Italy and France filled his library. According to his
son, whenever Mr. Oyen went to Chicago, he would go to all the bookstores. He bought books on
German and Norwegian culture titled Vor Gamle Bondekultur (Norwegian peasant art),
published in 1923 by Kristofer Vistel, and Walhall, Die Gotterwelt Der Germanen, (Valhalla,
The God's World of the Germans), from about 1909, by E. Doepler and Dr. W. Ranisch. An
illustrated magazine of fine and applied art, The International Studio, published in London
from 1890's to the 1920's later bound into volumes was a frequent addition to his library. Works
on the symbolism of the Catholic Church were essential for the creation of design used in
Catholic Church interiors. Moderne Kirchen-Malerei, (Modern Church Paintings), 1898, from
Vienna published by Anton Schroll & Co. and Die Bibel in Bildern, (The Bible in Pictures), by
Julius Schnorr published in Leipzig in 1853, are typical of the volumes in his library. From
France were found portfolios of beautiful prints such as L'Art Decoratif aux Expositions des
Beaux-Arts published in Paris in 1911. Modelli D' Arte Decorative, Preiss Bestetti & Co., 1911
of Milan, Italy, includes colored prints of art nouveau female figures used in several of Oyen's
theatre and residential interiors. The Decorator and Furnisher, a trade magazine, published
monthly by Art Trades Publishing Co. of New York, during the 1880's and 1890's was less
exotic but just as essential to his library.

However, not all of his clients were interested in European or east coast styles. In Wyoming
and Montana scenes from the American west were popular and the Oyen designers turned to
the illustrations of artists like Charles Russell and Frederick Remington as sources. The Oyen
artist did not copy the paintings and illustrations exactly but would change the composition to
fit their needs. Many times only a figure from a composition was used by the Oyen designer. In
the Court House Interior Wall Detail #113, the use of a mule team and wagon resembles the
mule team in Charles Russell's Freighting From Fort Benton. The mural used in water color
sketch #149 and #67 are copies of "An Eleusinian Festival" from a portfolio, Mural Figure
Decorations by Louis Schaettle published by Schneck Art Company of New York, in 1908.
These murals were copyrighted only against publishers. Copying works and the reuse of a
composition in another painting did not have the stigma of unacceptability that they do today.
In order to meet deadlines and stay in competition financially, the artist of the early twentieth
century found it necessary to use this method as had most artists before the modern period of
art.

The western clients seemed to prefer scenes of buffalo, cowboys and wild animals in their
public buildings. In comparison, the Minneapolis-St. Paul community seem to prefer the use of
symbolic female figures and goddesses in their interior designs.

German and Norwegian immigrants settled in La Crosse in large numbers. 0. J. Oyen's
knowledge of these cultures certainly gave him a special understanding of the needs and
characteristics of the community. Stories of Norwegian mythology told to Odin by his mother
and later retold to her grandson, Leighton, not only informed him of his cultural heritage, but
also gave him a knowledge that he used in decorating for people who could still remember
"home." The watercolor sketches #97 and #35 are copied directly from the book on German
mythology, Walhall, Die Gotterwelt Der Germanen.

The O. J. Oyen firm desired to coordinate the proper interior in each building with the taste
of the people in the area where the building was located. Attainment of this coordination
required continuous travel and research by the Oyen decorating firm. A knowledge of the taste
of the client gained through sensitivity to their emotional need as well as their physical space
requirements was essential to Oyen's success.

18


COURT HOUSE INTERIOR WALL DESIGN (D-113), WATERCOLOR c. 1903/1918

19


THEATRE INTERIOR DESIGN (D-149), WATERCOLOR
NEW PALACE THEATRE, ST. PAUL, MN 1916

20


LODGE INTERIOR DESIGN (D-67), WATERCOLOR
THE ELKS' CLUB, BILLINGS, MT 1911

21


RESIDENTIAL INTERIOR DESIGN (D-97), WATERCOLOR c. 1908/1922

22


"THOR" MURAL DESIGN (D-35), WATERCOLOR c. 1908/1922

23


DOMESTIC INTERIOR DESIGN

Among the surviving watercolor sketches, house interiors are the most varied of any group of
designs, showing several different styles that were in common usage at the turn of the century.
In the year 1889, a newspaper account described the elegance of tradition which was desired by
the relatively new mid-western society:

For some time the firm of Nelson & Oyen, artist of the first order, in fresco and general
decorations, have had a card in the Democrat, and they have likewise met with a liberal
share of patronage in this city. The gentlemen are in business in the city of La Crosse, but Mr.
Oyen, one of the firm, is a product of the city of Madison, reared and educated here; and in
him very many Madisonians put great confidence as an artist.

In order to show what excellent work has been performed by Messrs. Nelson & Oyen, and
artists under their supervision it is necessary to visit the home of Hon. S. U. Pinney, on
Wilson Street, near Carroll, in the Fourth Ward.

Upon entering the vestibule, your attention will be called to a new decoration known as
linspar - something purely antique in appearance. One is apt to linger in the vestibule for
some time, for the art there displayed is highly attractive. Upon entering the hall, the ceiling
will catch the eye. The artist, pointing to it said: "We call that russet color; the frieze being
antique blue, and the sides being carried out in burr olive." In the farther end of the hall,
facing the front entrance, is a bust of Daniel Webster; and in the background is a novel and
highly attractive piece of art-selections of tropical plants. The wainscoting is of antique
finish. As you enter the hall, on the left you pass into the parlor. Here you find a coloring in
olive tone, with tendencies to white, a very lovely effect; and some of the main features in the
decoration are the four seasons on the ceiling - very pretty. The wall frieze is carried out in
tropical plants etc. The drawing room directly across the hall, presents some grand colors
and rare touches of art. Here is again found the burr olive; apple blossoms adorn the ceiling,
and in the arch forming the bay window is presented a beautiful bouquet of choice flowers, in
oil. From the drawing room one enters a chamber. The ceiling first takes the fancy. The artist
tells you it represents a conventional sky, with open terrace, and gold lines are interlaced
with morning glories. The predominating color is pink. The dining room is grand and
refreshing; the color is rich in the extreme, the general effect being terra cotta. On the ceiling
are two fruit pieces done in oil, and carried out in grape vines in conventional form.

24


0. J. OYEN LIVING ROOM, 124 SO. 17TH ST., LA CROSSE, WI 1950


RESIDENTIAL INTERIOR DESIGN (D-72), BY
A. E. SODERBERG, WATERCOLOR c. 1903

25


Murals were an important element in the interior design of O. J. Oyen's home in La Crosse,
at 124 South Seventeenth at the turn of the century. Odin decorated the family's living room
with symbols of the visual arts, drama and theatre. A. E. Soderberg painted murals of familiar
river and bluff scenes in the four seasons in the dining room when he first began to work for the
Oyen firm. During this period, people took great pride in woodwork of unusual grain. The
dining room in the Oyen home had quarter-sawn oak, but maple stained to match the oak was
used in the other rooms. 0. J. Oyen had many small oriental rugs in his home and their vibrant
color contrasted with the fine woodwork.

During the same period some of the La Crosse community desired dark, heavy interiors. Jap
leather, a wallpaper with a pressed design, or paper with raised design made of linseed oil
decorated the walls. Dark grass cloth was another type of wall paper used to achieve the same
effect.

The most outstanding designs in the collection are the interiors in the Mission or Craftsman
style. This style emphasized the crafts, and these watercolor sketches show furniture and
decorations that still seem modern today. Lamps, chairs, fireplaces and wall decoration give
the feeling that the room is to be used and enjoyed by the people who live. It is a style not
reserved for only formal occasions. Brass hooded fireplaces, colored squares linked together
with fine lines, sitting corners and fine woodwork are often in the craftsman style. The
emphasis on objects that look handmade was a reaction to the mass production of the machine
age. A simple and sometimes primitive look to the craftsman style which originated in England
contrasted strongly with the slick surfaces of European styles of the same period.

A change in the designs occurred about 1910 when light pastel colors became fashionable.
Geometric stenciled designs were used on the ceiling and around the upper walls. Murals such
as hunting scenes were generally still used in dining rooms. Mural subjects of symoblic
significance did not have a place in the lifestyle of the modern world and weren't suited to most
homes.

PUBLIC BUILDING INTERIOR DESIGN

Public buildings of the late nineteenth and early twentieth century were much more
elaborate than our present day examples. The personification of philosophical concepts such as
Truth, Justice and Law is shown in several examples. Generally, beautiful women in classical
garments are used to personify these concepts.

Some mural designs such as the "Trial and Judgement," sketch #57, were frequently reused
in other interior designs. Courthouse design #54, and #56 illustrate this practice. In several of
the watercolors, one area has an alternate design taped over the original to allow the customer
a choice or possibly they represent a last minute change in the design. This may be noted in the
ceiling design of courthouse sketch #56. The domed areas and ceilings were the most heavily
decorated area of public buildings and the designs reflect that custom.

Many western subjects were used for courthouses in Montana or Wyoming. Although a
native of Sweden, A. E. Soderberg had little difficulty expressing a world that was totally
foreign to him. His designs have little of the action used by western artists like Remington and
Russell, but such scenes would have been out of place in a public building. Logging,
shipbuilding, mining and farming subjects were more commonly used in designs for the upper
midwest.

Because these designs would have been high above floor level, the compositions are simple
with only a few figures and little background decoration.

26


RESIDENTIAL INTERIOR DESIGN (D-75), WATERCOLOR c. 1900/1915

27


"TRIAL AND JUDGEMENT" MURAL DESIGN (D-57), BY A. E. SODERBERG, OIL ON CANVAS c. 1903

28


COURT HOUSE INTERIOR DESIGN (D-54), WATERCOLOR COTTONWOOD, COUNT, WINDOM, MN 1908

29


COURT HOUSE INTERIOR DESIGN (D-56), WATERCOLOR c.1903/1918

30


The La Crosse community enjoyed the atmosphere of an O. J. Oyen design for many years.
The interior decoration of the La Crosse County Court House was completed by the Oyen firm
in 1904. Several murals by A. E. Soderberg remained in the building till the destruction of the
old courthouse in 1965. On March 16, 1905, The La Crosse Leader-Press commented on the
decoration of the building shortly after the dedication of the courthouse "had been made
without ceremony."

So imposing and costly a building as is above described requires for its perfect completion
the work of the artist as well as the architect and artisan, and for its decoration the building
committee was fortunate in contracting with Odin J. Oyen - also of La Crosse and one of the
most successful decorators in the northwest. Mr. Oyen has executed a number of contracts for
the decoration of public buildings during the past year, but he has done nothing better than
the work he has put into the La Crosse county courthouse.

The good taste and artistic quality of the decorators is apparent from the moment of
entrance into the spacious corridors of the building until you stand beneath the masterpiece
which glories the ceiling of the handsomely decorated circuit court room on the second floor.
The color scheme of the corridors is a russet yellow for the walls, providing a pleasing
contrast to the marbleized columns and a most satisfactory background for the allegorical
paintings that embellish both the corridors and the rotunda.

The painting on the wall to the right of the grand staircase as you enter the building is
entitled "Civil Liberty" and bears beneath it the following inscription:
"When tongue and pen alike are free
Safe from all foes dwells liberty"

"CIVIL LIBERTY" MURAL, LA CROSSE COUNTY COURT HOUSE, 1904
LA CROSSE, WISCONSIN

31


"RELIGIOUS LIBERTY" MURAL 1904
LA CROSSE COUNTY COURT HOUSE, LA CROSSE, WI

Upon the opposite wall to the left as you ascend the grand staircase is a mural of the same size
depicting "Religious Liberty" and bearing the sentiment:
"Science and faith may love her rule
Who shield alike the church and school"

Both of these paintings are by A. E. Soderberg, whose work is seen to advantage, not only
throughout the La Crosse county courthouse but in many other public buildings for the
decoration of which Mr. Oyen has contracts.
The decoration of the rotunda is particularly effective, the walls being tastefully treated
and the dome a brilliant example of the artist's skill. These decorations include figure pieces
representing "Justice" and "Government," The Great Seal of the state of Wisconsin and
other appropriate subjects. The dome is illuminated by hundreds of electric lights, and
altogether the effect could hardly be better.

The decoration of the county court room, the hall in which meetings of the board of
supervisors are held, and of the several county offices in harmony with the general scheme
that is apparent upon entrance to the corridors, and the room devoted to the Grand Army of
the Republic and other organizations of war veterans has had special treatment - the walls
bearing several well executed paintings of military significance.

32


CIRCUIT COURT ROOM 1904
LA CROSSE COUNTY COURT HOUSE, LA CROSSE, WI

"JUSTICE" AND THE "POWER OF THE LAW" CEILING MURAL 1904
LA CROSSE COUNTY COURT HOUSE, LA CROSSE, WI

33


Mr. Oyen and his artists found their greatest opportunity, however, in the decoration of the
spacious circuit court room and improved it to the full. Here the general color scheme is olive
green and in the elaborate decoration of the ceiling, cove and walls, the artists have been
peculiarly successful. Everything is worked out in harmony with the beautiful centerpiece in
the ceiling - an allegorical painting depicting "Justice" and the "Power of the Law." The
painting is framed in with stucco and bordering this is a frieze which comprises the signs of
the zodiac, the whole being strikingly illuminated by well-arranged circles of electric lights.

The cove, of course, carries the most ornate of the decorative work, which is strictly in the
pure French renaissance style, with the usual winged figures prominent, interspersed with
cartouches ornamented by various emblems symbolic of the authority and majority of the
law.

Directly over the judge's bench is a beautiful painting representing the figure of"Equity" -
a strong piece of work - and on either side the sentiments "Uphold the Right," "Prevent the
Wrong." The whole room is brilliantly lighted by electricity, adding to the effectiveness of the
decorations, which are conceded by artists and others of good taste who have seen them to be
of superior artistic merit and in every way worthy of the handsome building which they
adorn.

"EQUITY" MURAL 1904
LA CROSSE COUNTY COURT HOUSE, LA CROSSE, WI

34


RELIGIOUS BUILDINGS

The decoration of churches constituted a major area of Oyen's interior decorating business in
La Crosse and throughout the midwest. Again, a knowledge of the cultural traditions of the
community was essential to his work as an interior designer. The people of the community were
intimately tied to various churches according to their cultural or national background.
Immigrants were being Americanized in some aspects but in matters of religion they were still
German Catholic, German Lutheran or Norwegian Lutheran.

Many churches were being built or in need of redecorating at the turn of the century. The
great influx of immigrant population had achieved a measure of stability and prosperity.
People felt a deep commitment to their church society. They were willing to make the financial
sacrifice necessary to decorate their church in a manner worthy of God's presence. A La Crosse
newspaper, circa, 1904, noted the stiff competition that existed for these church commissions:

Odin J. Oyen has been awarded the contract for decorating St. Joseph's Cathedral, one of
the largest and finest churches in Minneapolis. A. E. Soderberg, designer and decorator,
will leave tomorrow morning for Minneapolis to do the art work on this church.

This substantial recognition of La Crosse in the field of art which cannot but impress the
people of this city with the excellent character of the work being done here. The contract was
secured in competition with leading decorators of Minneapolis, Milwaukee and Chicago, a
fact which adds to the compliment paid La Crosse talent.

Decoration for cathedrals calls for the best there is in decorative art. It is gratifying to all
La Crosse to know that there is in this city a concern with so much enterprise as to be able
successfully to compete for high class work in large cities where the best is required. It
reflects credit upon La Crosse, and deserves encouragement by the people of the city.

ST. JOSEPH'S CATHEDRAL, MINNEAPOLIS. MN c. 1904

35


PROTESTANT CHURCH INTERIOUR DESIGN (D-211), WATERCOLOR c. 1888/1922

36


SOCIAL STRUCTURES

Multi-purpose theatres were still common in the early twentieth century and several of these
designs indicate why such buildings were known as "pleasure palaces." In the earlier examples
before 1910, the use of red color with gold and heavy plaster decoration gave the theatre an
oppressive feeling. Baroque or Rococo decoration abound in these designs and they are the most
elaborate examples in the Oyen collection. Gilded ornament and complex surfaces overwhelm
the modern viewer who is more accustomed to the starkness of contemporary buildings.

Classical mythology appears in the guise of Apollo, the god of the arts, and the bringer of
light. However, subjects from the ancient world were becoming less fashionable except for
courthouse decoration where Justice, Truth and Virtue remain as standard elements.

About 1912, his son's experiments with pastel colors and geometric shapes in the style of a
noted artist, John Held, pointed a new direction for 0. J. Oyen. He directed A. E. Soderberg to
draw up a design for a new theatre in St. Paul in this style. The client, having grown tired of the
very elaborate, heavy style of decorating, was very receptive to the "light and airy" feeling of
this new style of decorating. The less elaborate style of decoration became fashionable when
the theatres were being replaced by much simpler movie houses.

Several female figures used in the theater designs retain touches of the Art Nouveau style
popular in the 1890's. These tall, thin elegant ladies contrast dramatically with the more
'modern' female figure teasing a parrot in the watercolor #18 of a theatre from about 1920.

La Crosse, like most midwestern towns with German immigrants, had a large number of
bars and taverns. Many of these were owned by local breweries and used the brewery name in
their decorations. The style of painting is frequently Rococo with thin flowing lines, floral
ornament and pastel colors. The La Crosse Leader-Press of July 2, 1897, gives an account of the
opening of the newly decorated Bodega done in this decorative style:

Of all the cool places in this hot town none offered a more inviting aspect than Mr. Jule
Freas' new "Bodega," which was opened for the inspection of the ladies of the city at noon.
After being cooled by the electric fans and delighted by the beautiful settings of the place
quite a few fail to wonder any more why their husbands are given to wandering down town
on hot evenings, especially when they consider the tempting and cooling drinks offered
behind the bar. The Bodega will be open for the inspection of ladies again this evening and
tomorrow will be opened for business.

Mr. Freas is to be complimented upon the finish and beauty of his establishment for he has
one of the most artistically arranged places in the northwest. And all of this is due to local
talent. Mr. Odin J. Oyen, the noted decorator planned the arrangements and designed and
executed the decoration of walls and ceiling. Segelke & Kohlhaus executed the furniture
from designs of Stoltze & Schick, and James Sheridan did the electrical work.

The entrance to the place is through a daintily decorated vestibule where stained glass
effects predominate. Within, the walls and ceiling are decorated in panel effects, with
delicate tinted wreaths of flowers and blossoms, disporting themselves about a barrel
bearing the representation of Gambridus and the initial "G" (Gund.) The surrounding color
is light green gradually changing in shades until it merges almost imperceptibly, into the
deep, rich russett of the walls.

On the walls the decorative effect is increased by a bas-relief of "Apollo and the Muses," a
Bacchante head in the same and several minor pieces; a statue of Thorwaldsen's "Venus,"
two tapestries, hand painted, showing two well known paintings, "In the Wine Cellar," and
"Feeding the Doves From the Steps of St. Mark's in Venice," Japanese and Chinese vases of
beautiful designs and colors, etc.

The bar and fixtures are in handsome cherry and harmonize well with the rest of the
decorations. All in all Mr. Freas has a most handsome place and is to be congratulated on it.

37


THEATRE INTERIOR DESIGN (D-15), WATERCOLOR c. 1903/1922

38


THEATRE INTERIOR DESIGN (D-18), WATERCOLOR c. 1918/1925

39


"OLD STYLE LABEL" BREWERY DESIGN (D-30), WATERCOLOR c. 1888/1905

40


THE BODEGA, 329 SO. PEARL ST., LA CROSSE, WI 1897

CEILING MURAL, THE BODEGA, LA CROSSE, WI 1897

41


"VALHALLA" MURAL DESIGN (D-24), WATERCOLOR c. 1903/1911

42


Scenes of German or Scandinavian mythology are common in these interiors and contribute
to the European flavor of many of these interiors. The designs for barroom decoration seem to
be the earliest designs in the collection and probably date from the 1890's. Valhalla, the heaven
of warriors who die in battle, is often painted. The typical conception of Valhalla shows the gods
sitting around a table drinking mead before going into battle the next day. Several variations
of this theme are found in the Oyen designs. A large painted mural of Valhalla has been
donated to the University and has been hung in Valhalla Hall of Cartwright Center. This
mural was painted by Soderberg for the Oyen company. A small watercolor of Valhalla in the
Oyen collection was the initial design for this mural.

In the late 1800's and early 1900's, mythological tales were still common knowledge in many
cultural groups. A typical story told to children related that the god, Thor, rode in a chariot
pulled by a pair of goats. Thunder was explained as the pounding of his war hammer.

The designs for an Old King Cole mural do not seem to fit the mythological schemes, but the
subject was quite popular in the early twentieth century. Maxfield Parish's famous scene of Old
King Cole for the Knickerbocker Bar, in New York, stimulated interest in the subject and may
have been the inspiration for these locally produced designs.

Fraternal orders were popular gathering places in communities throughout the midwest
during the early twentieth century. The interiors of these club rooms reflected a desire for
mystery and fantasy to provide a momentary escape from the real world. Secret fraternal
societies such as the Grand Masonic Order often used symbols from Egypt as part of their
decoration and ritual long before the interest in King Tut became popular. The All Seeing Eye
was used for decoration as well as the Winged Solar Disc with Cobra heads. The interior of the
Masonic Temple and Theatre in Viroqua, Wisconsin designed by the Oyen firm using this
theme was described in the La Crosse Tribune on July 30, 1922:

The lobby is attractive in subdued coloring of emerald green and amber and panels
containing pastoral scenes with subjects representing music, lyric and the silent arts.

In the theatre, the walls, vaulted dome ceiling and paneling are of soft mauve and amber
with beautiful flowers adorning the curved ceiling and grill work. Artistic lighting
arrangements have been installed in the theatre. Nearly two hundred lights surround the
stage, arranged in series of four colors - red, blue, amber and white. Each side wall of the
theatre has five ornamental baskets containing four lights each of the same colors, indirect
lighting system ...

The lodge room, dining room and club rooms occupy the second floor ... Wood paneling
and ornamental plastering is everywhere tastefully decorated. The general tones used in the
lodge room are in grays and blues. The furniture is all in gray oak, upholstered in blue
leather. Two oil paintings, one depicting the Pyramid of Cheops and the Sphinx, the other
"Pharaoh's Bed in the Island of Philae" are placed on either side of the grand master's chair.

Oriental rugs in soft colors spread on the floors and rich velour draperies hang from open
door and archways.

43


LODGE INTERIOR DESIGN (D-65), WATERCOLOR 1922
NEW MASONIC TEMPLE, VIROQUA, WI

44


Later that year, on Dec. 31, 1922, the La Crosse Tribune and Leader Press reported the
following account of the newly redecorated Armory Hall at Fifth and Market:

One of the main features of the decorations in the newly remodeled and redecorated
Armory hall of the Governor's Guards association is the panel painted by Leighton N. Oyen,
La Crosse artist, depicting victory triumphant after the two recent struggles in which United
States was involved - the Spanish-American war and the World War. The panel, which is 6
feet by 17feet, is beautifully executed and occupies a prominent space on the wall opposite the
main entrance. In the background, on one side, are figures representing the fighters of the
Spanish-American period, and on the other side the figures are those of soldiers of the world
war. Members of the guards fought in both of those wars.

The decorations of the hall are designed after the manner of the ancient Romans who
commemorated the conquests of their legions. Shields, golden eagles, battle axes and the
elements of military decoration are emblazoned on the walls by the artist in gay colors to
produce a festive atmosphere of victory and rejoicing. The central figures of the main panel
are intended to represent Enlightment, Peace and Victory. The globe at the left of the panel is
suggestive of the late war which involved the whole world, and the prow which appears on
the right is that of a Spanish galleon representing the Kingdom of Spain in the
Spanish-American war ...

Mr. Oyen is a member of the Association and saw active service on five fronts with the
32nd Division during the World War. It was during his period of service that he became
imbued with the ideas which he has recently placed on canvas. The scene of the World War
battle is drawn from what he actually saw and experienced while in France.

"VICTORY TRIUMPHANT" MURAL, ARMORY HALL, LA CROSSE, WI 1922

45


III. The Process of Mural Painting

Interior decorations in public buildings were left out for bids among many competing firms
once the possibility of work was established. The design was created with specifications and
spatial dimensions obtained from the blue prints or from the already existing building. A
watercolor sketch of the interior as visualized by the designer was submitted for the actual
bidding process.

After approval of a bid, a wooden scaffold was erected by workmen responsible for this part of
the job. The plaster wall was then prepared with a sizing undercoat of varnish or oil paint, after
which a thin coat of glue was applied. If the wall was rough, a thin coat of animal glue sizing
was applied. Following the application of a second coat of paint, the final finish coat was
painted. Colors were mixed to correspond to the watercolor sketch by the decorator/painter.
Only the skilled craftsmen, 0. J. Oyen, Eivind Forseth, Alfred Shelbe, Louis Nelson or Max
Scheel were given the responsibility of this important task.

The artist of the firm prepared stencils on oiled paper and designs on tracing paper scaled to
fit the intended space or canvas. A pounce wheel was run around the outline of the design on the
tracing paper leaving a pin-hole dot outline. This outline was applied to the wall at the site or
on the canvas in the studio by applying charcoal dust with a "pounce" bag through the pin-hole
dot outline. The grid was another system used to transfer and enlarge the watercolor sketch to
a canvas or a wall. The design was divided into equal squares. The spaces were enlarged
equally to fit the actual area designated for the design. The part of the design inside each
square was drawn proportionately larger to fit the larger space. Canvas murals which were
glued on the wall as specified in the watercolor design generally involved more time and
expense than did paintings applied directly to the wall. Occasionally, when dimensions of area
were uncertain or uneven, painting directly on the wall was indicated. These techniques
decreased the amount of time necessary to carry out the elaborate decoration created in the
watercolor sketches of the Oyen firm.

Coordination of the many operations which contributed to the total effect depended on
clearly defined responsibilities for each member of the work force. Each "job" had a
superintendent who was also a skilled interior decorator, many of whom immigrated from
Europe as trained craftsmen. The foreman or superintendent's duties included hiring extra
painters at the job site, positioning and coordinating stencil application, painting artificial
wood grain and mixing colors. These decorators further differentiated themselves from the
other employees by their mode of dress. Their clothing was spotless and somewhat formal by
our standards with white celluloid cuffs, cuff links and celluloid white collars with bow ties.
The other workmen, including the skilled craftsmen were directed on the job by the
foreman-decorator. In the early days of the Oyen business, a foreman received 12¢ an hour as
pay while the painter received 10¢ an hour.

The artist-designer was treated with great respect by all members of the crew. They received
permission from him to enter his studio and were expected to refer to him as Mr. Erickson or
Mr. Soderberg. Usually the artist remained in the studio creating perspective sketches from
the blueprints of the building.

On occasion, it was necessary for the artist to go to the work site to do a ceiling decoration or
mural that could not be executed in the studio.

A job well done by the crew was occasionally celebrated by the entire Oyen firm. A large
formal banquet was given in the Oyen Home for all the men and their families with much
toasting to their success. With each toast another drink was poured, creating much merriment.
During these profitable years, presentation of a goose to each employee became a Christmas
tradition.

46


ARTIST STUDIO, O. J. OYEN BUILDING, 507 MAIN ST., LA CROSSE, WI c. 1912/1922

47


IV. Employees of the Oyen Firm

JOSEPH ERICKSON

Joseph Erickson, a native of Norway, was trained there as a painter of stage scenery. 0. J.
Oyen met Joseph Erickson while in Chicago and brought him to La Crosse in the early 1890's.
He is listed in the 1895 city directory as a fresco artist.

Work attributed to him in the La Crosse community includes the Germania Hall on 5th and
Market, which used scenes of the upper Rhine River. The selection of the scenes was influenced
by the Michel family of Michel Brewery who had immigrated from that area of Germany. A
mural of Moses and the Burning Bush attributed to him remained in the vestibule of old St.
Joseph's Cathedral till the structure was taken down and replaced by the new Cathedral in the
1960's. A painting of Christ in the Garden is still preserved in Our Savior's Lutheran Church at
6th and Division.

In the middle of painting the ceiling in the Bodega, Erickson threw down his brush in
rebellion over low pay, left La Crosse and returned to Chicago.

EIVIND 0. FORSETH

A Norwegian immigrant, Eivind Forseth came to La Crosse at 18 years of age. After working
for Ori Sorensen as a finisher, Forseth was hired as a painter by the Oyen firm in 1909. He
received his training in a technical school in Norway.

His father, a music professor in Norway, encouraged a love of music in his son. Eivind
Forseth contributed his musical skill to the community of La Crosse as choir director of the
Normanna Society.

When Theodore Schultz left to form his own business, leaving the sign company without an
artist, Forseth's abilities were used at the Oyen-Ad Sign Company beginning about 1921. He
went in business for himself as a commercial artist after O. J. Oyen's death in 1926.

Mr. E. Forseth died on May 12, 1953, in La Crosse, Wisconsin.

MAX KREIGLE

Max Kreigle was a short German immigrant who came to this country rather late, about
1912. He was a trained painter who worked for 0. J. Oyen, intermittently, from 1913 till the
early 1920's, when he worked for the decorating firm of Max Scheel. He left the city in 1925 to
return to Germany. Due to financial difficulties, Kreigle found it necessary to return to work at
the Max Scheel company in America where he remained till his death.

LARS OYEN

Born August 7, 1829, at Vaage, Norway, Lars Oyen came to America in 1870, first settling in
Chicago. He moved to Madison with his family in 1872. In his native country, Mr. Oyen owned
a factory where he practiced his trade as a guilder and molder. In America, he was a painter and
wood finisher. He joined the firm of his son, Odin, at La Crosse in 1891.
He died in 1897 in La Crosse and is buried at Oak Grove Cemetery.

48


Louis A. OYEN

Louis A. Oyen came to La Crosse with his father, Lars, at age 16, to join the firm of his
brother, 0. J., in 1891. He had previously worked as a page in the Wisconsin legislature where
he was exposed to the interaction of business with politics. He had a varied career, starting as
salesman and then manager of the Oyen firm. He alternated the positions of president,
secretary, or treasurer of the Oyen-Ad Sign System in which he had half interest. In 1922, he
also added the duties of another Oyen business, the La Crosse Posting Service.

He died on September 10, 1931, at age 56.

HERMAN RUPP

A former delivery boy of Oyen's, Herman Rupp learned on the job. He stayed all of his life
except for the time spent in WW I with the Oyen firm starting at age 11 and staying till he
became ill about 1926.

He adjusted his skills throughout the years to fit the needs of the Oyen firm starting with
delivery boy, to painter, to frame maker and then furniture maintenance.

MAX E. SCHEEL

One of the more reliable decorator-painters, Max Scheel, was hired by O. J. Oyen in 1891.
Max Scheel was born in Stafien, Germany in the 1870's. He served a four year apprenticeship
with an interior decorating firm in Berlin. Mr. Scheel gained further experience traveling
through Poland and Russia as a member of a traveling decorating service. He immigrated to
America in 1890 to join his parents and family who lived in La Crosse, Wisconsin.

He worked for many years as a foreman of a decorating crew with the Oyen company. Mr.
Scheel specialized in the technique of "marbleizing", (creating an artificial marble effect). On
an average, he spent six months out of the year traveling throughout the midwest as a
decorator for the Oyen company.

Continued friction between the artist and the decorator-painter influenced his decision to
leave the Oyen firm about 1909. Relying on the support of the Hirshheimer family of
Hirshheimer Plow company, Max Scheel established his own interior decorating service. He
entered his business with his sons, Carl and Alfred, to be known as Max E. Scheel and Sons, in
1913. Alfred remained in business with his father for only a short time.

The Max E. Scheel and Son Decorating Business is presently managed by John M. Scheel,
son of Carl Scheel.

Max E. Scheel died in La Crosse in 1950, on January 11th.

AXEL EDWARD SODERBERG

Axel Edward Soderberg, a cultured, well-educated gentleman, joined the firm of O. J. Oyen,
Interior Decorator as an artist-designer in 1903. Soderberg was born in Gothenburg, Sweden,
on February 24, 1859. He received his art education at the Academy at Copenhagen, Denmark.
He spent considerable time in Paris studying at the leading art schools. A. E. Soderberg did
ceiling decoration for the Swedish King's summer palace in Uppsala and had established a
reputation in Sweden.

In 1892, he went to London where he secured a commission to decorate one of the buildings at
the World's Fair to be held in Chicago. Following completion of the Columbian Exhibition,
Soderberg was hired by the Andrews Decorating Company, of Clinton, Iowa, Oyen's chief rival
in the area. Odin Oyen enticed A. E. Soderberg to come to La Crosse where he gave many years
of responsible service to the Oyen firm.

In referring to him, Leighton Oyen remarked "that he was a good all around artist ... he
used to make sketches which involved a lot of perspective ... he was a good figure painter." His
wife, Katherine Ryerson, pretty and much younger than Soderberg, modeled for many of his
female figures.
A. Edward Soderberg remained with the firm as head designer until his death on November
22, 1922, in La Crosse. Most of the designs in the Oyen collection are by Soderberg.

49


LOUIS OYEN 1907

OTHER EMPLOYEES OF OYEN FIRM
Bertha Amunson Saleslady/Seamstress 1922-1932
Olaf Almvig Painter 1922-1924
Willis D. Ashley Painter 1905-1907
Harry Bennett Painter 1891-1892
J. H. Dale Manager, Oyen-Ad Sign Co. 1902-1905
Wm. Dettlof Paperhanger 1904-1906, 1909-1910
Edward Gautsch Painter, Paperhanger 1905-1911
Louis Girod Painter 1891-1892
Peter Hendricks Paperhanger 1897-1899
Ole Huse Painter 1891-1892
W. P. .Jagow Manager, Oyen-Ad Sign Co. 1911-1930
L. E. Johnosn Clerk, Framemaker 1893-1899
Wm. Kutzborsky Delivery Clerk, Chauffeur 1915-1920
Munn, E. F. Manager, Oyen-Ad Sign Co. 1905-1911
Martin Nelson Painter 1903-1904
Nilbert Nelson Painter 1903-1904
F. W. Peters Signwriter 1895-1899
Nels Sandvik Painter 1907-1913, 1922-1925
Alfred Schelbe Painter/Decorator 1903-1910, 1913-1928
Theodore Schultz Sign Painter 1905-1918
Borre M. Selund Painter/Decorator 1904-1919
Ole Simonson Painter 1902-1928
Arnold Thode Sign Writer, Oyen Ad-Sign 1922-1926
J. H. Thompson Manager, Salesroom 1895-1898
Nicholas Wagner Framer, Painter 1922-1924

50


O. J. OYEN AND ARTISANS, LUVERNE, MN
FROM LEFT: O. J. OYEN, B. M. SELUND, MAX SCHEEL,
LOUIS NELSON, A. E. SODERBERG c. 1903/1908

51


V. Index of Known Sites of
Interior Decoration by the Oyen Firm

1888-1931, LA CROSSE, WISCONSIN

COURTHOUSES
La Crosse County (2nd Courthouse) La Crosse, WI c. 1892
La Crosse County (3rd Courthouse) La Crosse, WI 1904
Buffalo County Alma, WI c. 1892
Yankton County Yankton, SD Nov. 1905
Lake County Two Harbors, MN 1906
Jackson County Jackson, MN 1908
Langlade County Antigo, WI c. 1904
Rosebud County Forsythe, MT 1913
Chateau County Havre, MT
Osceola County Sibley, IA 1905
Pembina County Cavalier, ND 1913
McIntosh County Ashley, ND
Divide County Crosby, ND
Pierce County Rugby, ND 1911
La Moure County La Moure, ND
Foster County Carrington, ND
McHenry County Towner, ND 1908
Brown County Aberdeen, SD c. 1904
Deuel County Clear Lake, SD Apr. 1917
Bon Homme County Tyndall, SD 1914
Moody County Flandreau, SD 1914
Shiawasse County Corunna, MI c. 1905
La Sueur County La Sueur Center, MN 1905
Cottonwood County Windom, MN 1908
Houston County Caledonia, MN 1906
Nobles County Worthington, MN 1906
Grant County Elbow Lake, MN 1906
Fairbault County Blue Earth, MN 1907
Koohiching County International Falls, MN 1910
Freeborn County Albert Lea, MN
Fond du La County Fond du Lac, WI July, 1907
La Fayette County Darlington, WI 1906
Walworth County Elkhorn, WI 1907
Dodge County Juneau, WI July, 1907
Forest County Crandon, WI1910
Vernon County Viroqua, WI c. 1910
Vernon County (Mural) Viroqua, WI c. 1932
Brookings County Brookings, SD 1912
Richland County Wahpeton, ND
Muscatine County Muscatine, IA
Clayton. County Elkader, IA
Cass County Fargo, ND 1906
Lawerence County Deadwood, SD 1905
Dickey County Ellensdale, ND 1912
Manitowoc County Manitowoc, W I 1905

52


CHURCHES
St. Mary's Church Tomahawk, WI c. 1888/1905
St. Mark's Church Shakopee, MN
St. Patrick's Church Madison, WI c. 1888/1905 and 1917
St. Joseph's Cathedral Minneapolis, MN c. 1904
German Lutheran Church La Crosse, WI c. 1894
Norwegian Lutheran Church La Crosse, WI 1896
Presbyterian Church La Crosse, WI c. 1888/1892
St. Wenceslaus Church La Crosse, WI c. 1888/1892
St. Joseph's Cathedral (Mural Paintings) La Crosse, WI 1893
Christ Episcopal Church La Crosse, WI 1898
Congregational Church La Crosse, WI c. 1888/1904
Evangelical Lutheran Church La Crosse, WI
St. Peter Episcopal Church La Crosse, WI c. 1888/1896
St. Mary Episcopal Church Tomah, WI c. 1888/1892
United Church Onalaska, WI c. 1888/1894
Holy Mother Church Oregon, WI c. 1888/1905
Methodist Episcopal Church Cresco, IA
Methodist Episcopal Church Prairie du Chien, WI
St. Charles Church Chippewa Falls, WI c. 1906
Guardian Angel Church Crystal Falls, MI c. 1906
Assumption of the B.V.M Cresco, IA
Our Savior's Lutheran Church Eau Claire, WI c. 1888/1905
St. Theodore Church Albert Lea, MN c. 1904
Presbyterian Church West Salem, WI
German Lutheran West Salem, WI
German Lutheran Mound Prairie, MN
St. Columbanus Church Preston, MN c. 1907
St. Mary's Church La Crosse, WI 1905
Methodist Episcopal Church La Crosse, WI c. 1888/1904
German Methodist Episcopal Church La Crosse, WI c. 1888/1894
Congregational Church Sparta, WI
St. Patrick's Church Elroy, WI c. 1888/1905
St. Mary's Church Woodstock, IL
St. James' Cathedral Rockford, IL Nov. 1908
St. Mary's Quincy, IL
Norwegian Church Holmen, WI
Our Savior's Church Eau Claire, WI
St. Leo's Church Minot, ND Sept. 1908
St. Joseph's Church Rushford, MN
Reformed Church La Crosse, WI
Evangelical Lutheran Church North La Crosse, WI c. 1888/1904
Evangelical Lutheran................ Rushford, MN
Bethel Lutheran Church North La Crosse, WI c. 1888-1896
Norwegian Methodist Episcopal Church La Crosse, WI c. 1888/1894
St. Peter's Church Mondovi, WI
St. Mary's Church Oregon, WI
St. Patrick's Church Billings, MT c. 1910
Methodist Episcopal Sparta, WI
St. Patrick's Church Butte, MT 1908

THEATRES
New Palace Theatre St. Paul, MN 1916
Schubert Theatre St. Paul, MN
Park Theatre St. Paul, MN
Oxford Theatre St. Paul, MN
New Garrick Theatre Minneapolis, MN

53


Astor Theatre Minneapolis, MN
Unique Theatre Minneapolis, MN
Grand Theatre Minneapolis, MN
Garrick Theatre St. Paul, MN
Starland Theatre St. Paul, MN
Princess Theatre St. Paul, MN 1912
New Palace Theatre Minneapolis, MN
La Crosse Theatre La Crosse, WI 1891
Majestic Theatre La Crosse, WI c. 1910
Riviera Theatre La Crosse, WI
Bijou Theatre La Crosse, WI
Rivoli Theatre La Crosse, W I
Temple Theatre Viroqua, WI
New Theatre Richland Center, WI
New Theatre Blue Earth, MN
New Theatre Gladstone, MI
Friedman Brothers Theatres Minneapolis/St. Paul, MN 1912-1925
Finklestein and Ruben Theatres Minneapolis/St. Paul, MN 1912-1925
Majestic Theatre Lobby La Crosse, WI 1928
Opera House Lake City, MN c. 1892
Germania Hall La Crosse, WI c. 1892
Capitol Theatre St. Paul, MN
Opera House La Crosse, WI
Opera House McGregor, IA
Theatre Fairbault, MN 1925

LODGES AND FRATERNAL ORDERS
Masonic Temple West Salem, WI
Elks' Club La Crosse, WI
Knights of Pythias La Crosse, WI
New Masonic Temple Viroqua, WI July, 1922
The Elks' Club Billings, MT 1911
Masonic Temple West Salem, WI
Armory La Crosse, WI c. 1888/1904
Armory (redecorated) La Crosse, WI Dec. 1922
Masonic Temple Winona, MN Aug. 1919
Elks' Club Mankato, MN
Masonic Temple Madison, WI 1898

MISCELLANEOUS PUBLIC BUILDINGS
U.S. Post Office and Custom House La Crosse, WI c 1888/1892
Y.M.C.A. Building La Crosse, WI 1909
Public Library La Crosse, WI c. 1888/1903
Carnegie Library Mankato, MN 1904
Salzer Seed Company Building La Crosse, WI c. 1918
Logan Jr. High Auditorium La Crosse, WI c 1928
Public Library Auditorium La Crosse, WI c. 1928
Candy Box Winona, MN c. 1928
Administration Bldg. - Mendota State Hosp. Mendota, WI c. 1910
Administration Bldg. - Waupon State Prison Waupon, WI c. 1910
Administration Bldg. - Children's Home Chippewa Falls, WI c 1910
Administration Bldg. - State Reformatory Waukesha, WI c. 1910
State Hospital Madison, WI
Logan School Annex La Crosse, WI 1917
Linker Block La Crosse, WI 1898
People's Meat Market 214 So. 3rd, La Crosse, WI 1916

54


BANKS
Citizens Bank Aberdeen, SD
First National Bank Luverne, MN c. 1903/1908
Bank Viroqua, WI
Batavian Bank La Crosse, WI c. 1888/1896
First National Bank Miles City, MT Feb. 1911

HOTELS
Hotel Rainbow Great Falls, MT c. 1910
Park Hotel Great Falls, MT
Hotel Northern Billings, MT
Hotel Florence Missoula, MT c. 1908
Hotel La Crosse, Banquet Room La Crosse, WI c. 1928
The Brunswick Fairbault, MN 1895
New Cliff House McGregor, IA 1898

BARS AND RESTAURANTS
Husselburring Pool Hall and Tavern
(later known as Ziemann Bar) West Salem, WI 1911
Bodega 329 S. Pearl, La Crosse, WI June, 1897
The New Mint La Crosse, WI 1892
The Mecca 109 North Fourth St., La Crosse, WI June, 1894
The Giraldo 107-109 North Fourth St., La Crosse, WI 1907
German Village Sample Room 210 So. 4th St., La Crosse, WI

RESIDENCES
Henry Gund Home La Crosse, WI 1908
McMillan Home 13th and Cass, La Crosse, WI
Gelatt Home La Crosse, WI
I. Schilling Home 221 So. 10th, La Crosse, WI
Judge S. U. Pinney Residence Wilson Street, Madison, WI 1889
Executive Mansion Madison, WI c 1900
0. J. Oyen Residence 124 So. 17th St., La Crosse, WI 1903
Gideon Hixon Residence 429 N. 7th St., La Crosse, WI
J. W. Skinner Bachelor Apt. & Office 126 N. 3rd St., La Crosse, WI 1892
J. W. McCoy Residence New Richmond, WI 1895
Dr. D. E. Collins Residence Address Unknown
J. W. Losey Residence La Crosse, WI March, 1893
La Due Residence Luverne, WI
Wm. Ott Residence 121 Losey Blvd., La Crosse, WI 1925
C. J. Felber Residence 1408 King St., La Crosse, WI 1913
Edward Bartl 238 So. 17th St., La Crosse, WI 1913
Frederick Dyson, Jr. Viroqua, WI 1923

55


VI. Catalog of Designs by the Oyen Firm

UNIVERSITY OF WISCONSIN - LA CROSSE

D-1. THEATRE INTERIOR DESIGN #1
Watercolor
(c. 1888/1900)
D-2. THEATRE INTERIOR DESIGN #2
Watercolor
(c. 1888/1900)
D-3. SKETCH OF FOUR FEMALE HEADS
IN ART NOUVEAU STYLE
Watercolor
(c. 1903/1922)
D-4. "MORNING QUITTING NIGHT"
MURAL DESIGN
Watercolor
Signed E. S-g (Edward Soderberg)
Rivoli Theatre, La Crosse, Wisconsin
(c. 1922)
D-5. "MORNING QUITTING NIGHT"
MURAL DESIGN
Pencil Sketch
Rivoli Theatre, La Crosse, Wisconsin
(c. 1922)
D-6. LODGE INTERIOR DESIGN
Watercolor
Noted on back of design: Winona,
Minnesota, 8-2-19
D-7. CHURCH INTERIOR MURAL DESIGN
Watercolor
(c. 1888/1922)
D-8. THEATRE INTERIOR DESIGN #3
Watercolor
(c. 1903/1922)
D-9. THEATRE INTERIOR DESIGN #4
Watercolor
(c. 1912/1922)
D-10. THEATRE INTERIOR DESIGN #5
Watercolor
(c. 1912/1922)
D-11. THEATRE INTERIOR DESIGN #6
Watercolor
Design for Friedman Brothers Theatres
(c. 1912/1925)
D-12. THEATRE INTERIOR WALL
DESIGN #7
Watercolor
(c. 1903/1922)
D-13. THEATRE INTERIOR DESIGN #8
Watercolor
(c. 1888/1922)
D-14. THEATRE INTERIOR WALL
DESIGN #9
Watercolor
Design for Finklestein & Ruben Theatres
(c. 1912/1925)
D-15. THEATRE INTERIOR DESIGN #10
Watercolor
(c. 1903/1922)
D-16. "APOLLO AND PEGASUS"
THEATRE MURAL DESIGN
Watercolor
Design used in Theatre Interior D-15 &
D-8
(c. 1903/1922)
D-17. "GIRL AND PARROT" MURAL
DESIGN
Watercolor
Design used in Theatre Interior D-18
(c. 1918/1925)
D-18. THEATRE INTERIOR DESIGN #11
Watercolor
Design for Finklestein & Ruben Theatres
(c. 1918/1925)
D-19. LADIES POWDER ROOM, THEATRE
INTERIOR DESIGN #12
Watercolor
(c. 1912/1925)
D-20. THEATRE INTERIOR DESIGN #13
Watercolor
Design for Finklestein & Ruben Theatres
(c. 1912/1925)
D-21. FEMALE FIGURES
"COVETOUSNESS, LUXURY AND
PRIDE" MURAL DESIGN
Watercolor
Design used in Theatre Interior D-20
(c. 1912/1925)
D-22. THEATRE INTERIOR DESIGN #14
Watercolor
Design for Finklestein & Ruben Theatres
(c. 1912/1925)
D-23. BAR INTERIOR MURAL DESIGN
Watercolor
Franz-Bartl Brewing Company,
La Crosse, Wisconsin
(c. 1916/1922)
D-24. "VALHALLA" MURAL DESIGN
Watercolor
Design used for mural in Bar Room
Interior D-130
(c. 1903/1911)
D-25. BAR INTERIOR MURAL DESIGN
Watercolor
C. and J. Michel Brewing Company,
La Crosse, Wisconsin
(c. 1903/1916)
D-26. "VALHALLA" MURAL DESIGN
Watercolor
Design for Elfen-Brau Beer
(c. 1903/1916)

56


D-27. BAR INTERIOR MURAL DESIGN
Watercolor
Signed E. S-g (Edward Soderberg)
(c. 1903/1922)
D-28. "VIKING" MURAL DESIGN
Pen and Ink Sketch
Design by Leighton Oyen
(1923)
D-29. BAR INTERIOR MURAL DESIGN
Watercolor
Design for Old Style Lager Beer
(c. 1903/1922)
D-30. "OLD STYLE LABEL" BREWERY
DESIGN
Watercolor
Design for Old Style Lager Beer
(c. 1888/1905)
D-31. "BEER AND WINE" MURAL DESIGN
Watercolor
Design for Gold Leaf Beer
(c. 1910)
D-32. BAR INTERIOR "INDIAN" MURAL
WALL DESIGN
Watercolor
Hotel Rainbow, Great Falls, Montana
(1910)
D-33. "GERMAN" BAR INTERIOR MURAL
DESIGN
Watercolor
(c. 1903/1922)
D-34. "DANCING COUPLE" MURAL
DESIGN
Watercolor
(c. 1903/1922)
D-35. "THOR" MURAL DESIGN
Watercolor
(c. 1908/1922)
D-36. "OLD KING COLE" MURAL DESIGN
Watercolor
Signed E. Soderberg
Design used in Bar Interior D-37 & D-38
(c. 1917)
D-37. BAR INTERIOR "OLD KING COLE"
MURAL WALL DESIGN
Watercolor
(c. 1917/1922)
D-38. BAR INTERIOR "OLD KING COLE"
MURAL WALL DESIGN
Watercolor
(c. 1917/1922)
D-39. COURT HOUSE INTERIOR DESIGN #1
Watercolor
(c. 1903/1918)
D-40. COURT HOUSE INTERIOR DESIGN #2
Watercolor
(c. 1903/1918)
D-41. COURT HOUSE INTERIOR WALL
WITH "CIVIL LIBERTY" MURAL
DESIGN #3
Watercolor
(c. 1903/1918)
D-42. COURT HOUSE INTERIOR DESIGN #4
Watercolor
State of Wisconsin
(c. 1903/1918)
D-43. COURT HOUSE INTERIOR DESIGN #5
Watercolor
State of Montana
(c. 1903/1918)
D-44. COURT HOUSE INTERIOR DESIGN #6
Watercolor
State of North Dakota
Noted on back of design: Fargo Corridor
(1906)
D-45. COURTHOUSE INTERIOR DESIGN #7
Watercolor
(c. 1903/1918)
D-46. COURT HOUSE INTERIOR WALL
DESIGN #8
Watercolor
State of Minnesota
(c. 1903/1918)
D-47. COURT HOUSE INTERIOR DESIGN #9
Watercolor
State of North Dakota
(c. 1903/1918)
D-48. COURT HOUSE INTERIOR DESIGN #10
Watercolor
(c. 1903/1918)
D-49. COURT HOUSE INTERIOR DESIGN #11
Watercolor
State of Minnesota
(c. 1903/1918)
D-50. COURT HOUSE INTERIOR DESIGN #12
Watercolor
Noted on back of design: Deuel County
Rotunda, 9-4-17
D-51. COURT HOUSE INTERIOR DESIGN #13
Watercolor
State of Wisconsin
(c. 1903/1918)
D-52. "JUSTICE" MURAL DESIGN
Oil on Canvas
Signed E. S-g (Edward Soderberg)
Design used in Court House Interior D-53
(c. 1903/1918)
D-53. COURT HOUSE INTERIOR DESIGN #14
Watercolor
(c. 1903/1918)

57


D-54. COURTHOUSE INTERIOR DESIGN #15
Watercolor
Noted on back of design: Cottonwood
County Courtroom, Windom, Minnesota
(1908)
D-55. COURT HOUSE INTERIOR DESIGN #16
Watercolor
Osceloa County, Sibley, Iowa
(1905)
D-56. COURT HOUSE INTERIOR DESIGN #17
Watercolor
(c. 1903/1918)
D-57. "TRIAL AND JUDGEMENT" MURAL
DESIGN
Watercolor
Signed E. S-g (Edward Soderberg)
Design used in Court House Interior
D-54, D-55, & D-56
(c. 1903)
D-58. TWO COURT HOUSE DOME MURAL
DESIGN
Watercolor
(c. 1903/1918)
D-59. COURT HOUSE INTERIOR WALL
DESIGN #18
Watercolor
(c. 1903/1918)
D-60. "LOGGING INDUSTRY" MURAL
DESIGN
Photograph
(c. 1903/1918)
D-61. "SEQUENCE OF LIFE" MURAL
DESIGN
Photograph
(c. 1903/1918)
D-62. "RATHSKELLER" LODGE INTERIOR
DESIGN
Watercolor
The Elks Club, Billings, Montana
(1911)
D-63. "TEMPLE OF ISIS" MURAL DESIGN
Watercolor
Design used for mural in Carnegie
Library, Mankato, Minnesota
(1904)
D-64. "EGYPTIAN TEMPLE" MURAL
DESIGN
Pencil Sketch
Design used in Lodge Interior D-65
(c. 1903/1922)
D-65. "EGYPTIAN" LODGE INTERIOR
DTESIGN
Watercolor
New Masonic Temple, Viroqua,
Wisconsin
(July, 1922)
D-66. "EGYPTIAN" LODGE INTERIOR
WALL DESIGN
Watercolor
(c. 1903/1922)
D-67. "LOUNGING ROOM" LODGE
INTERIOR DESIGN
Watercolor
The Elks Club, Billings, Montana
(1911)
D-68. LODGE INTERIOR DESIGN
Watercolor
(c. 1903/1922)
D-69. "POOL ROOM" LODGE INTERIOR
DESIGN
Watercolor
The Elks Club, Billings, Montana
(1911)
D-70. RESIDENTIAL INTERIOR DESIGN #1
Watercolor
(c. 1920/1922)
D-71. RESIDENTIAL INTERIOR DESIGN #2
Watercolor
(c. 1903/1915)
D-72. RESIDENTIAL INTERIOR DESIGN #3
Watercolor
Signed E. S-g (Edward Soderberg)
(c. 1903)
D-73. RESIDENTIAL INTERIOR DESIGN #4
Watercolor
(c. 1900/1915)
D-74. "MISSION STYLE" RESIDENTIAL
INTERIOR DESIGN #5
Watercolor
(c. 1900/1915)
D-75. RESIDENTIAL INTERIOR DESIGN #6
Watercolor
(c. 1900/1915)
D-76. RESIDENTIAL INTERIOR DESIGN #7
Watercolor
(c. 1900/1915)
D-77. RESIDENTIAL INTERIOR DESIGN #8
Watercolor
(c. 1900/1915)
D-78. RESIDENTIAL INTERIOR DESIGN #9
Watercolor
(c. 1900/1915)
D-79. RESIDENTIAL INTERIOR DESIGN #10
Watercolor
(c. 1900/1915)
D-80. RESIDENTIAL INTERIOR DESIGN #11
Watercolor
(c. 1895/1900)
D-81. RESIDENTIAL INTERIOR DESIGN #12
Watercolor
(c. 1895/1900)

58


D-82. LODGE INTERIOR WALL DESIGN
Watercolor
(c. 1903/1922)
D-83. BAR ROOM INTERIOR DESIGN
Watercolor
(c. 1903/1922)
D-84. INTERIOR WALL DESIGN
Watercolor
(c. 1900/1905)
D-85. SCHOOL INTERIOR DESIGN
Watercolor
(c. 1903/1922)
D-86. HOTEL DINING ROOM INTERIOR
DESIGN
Watercolor
(c. 1903/1922)
D-87. HOTEL INTERIOR WALL DESIGN
Watercolor
(c. 1903/1922)
D-88. DRAPERY DESIGN
Watercolor
(c. 1903/1922)
D-89. "CROCKER'S BUTTERFLY" DESIGN
Watercolor
(c. 1903/1922)
D-90. "LOGGING INDUSTRY" MURAL
DESIGN
Watercolor
Signed E. S-g (Edward Soderberg)
Design used in Mural Design D-60 &
Court House Interior D-193
(c. 1903/1922)
D-91. "WAGON TRAIN" MURAL DESIGN
Watercolor
Signed E. S-g (Edward Soderberg)
Design used in Court House Interior
D-126
(c. 1903/1922)
D-92. "THE FIRST FURROW" MURAL
DESIGN
Watercolor
Signed E. S-g (Edward Soderberg)
(c. 1903/1922)
D-93. "INDIAN COUNCIL MEETING"
MURAL DESIGN
Watercolor
Signed E. S-g (Edward Soderberg)
(c. 1903/1922)
D-94. "COWBOY ON HORSE" MURAL
DESIGN
Watercolor
Signed E. S-g (Edward Soderberg)
(c. 1903/1922)
D-95. "LEWIS AND CLARK EXPEDITION,
1805" MURAL DESIGN
Watercolor
Signed E. Soderberg
(c. 1903/1922)
D-96. "BUFFALO HUNT" MURAL DESIGN
Watercolor
Signed E. S-g (Edward Soderberg)
(c. 1903/1922)
D-97. RESIDENTIAL INTERIOR DESIGN
#13
Watercolor
(c. 1908/1922)
D-98. "TRAVEL OF YOUTH" MURAL
DESIGN
Watercolor
Signed E. S-g (Edward Soderberg)
(c. 1903/1922)
D-99. "TRAVEL OF YOUTH" MURAL
DESIGN
Pencil Sketch
Signed E. S-g (Edward Soderberg)
Design Used for Mural D-98 & D-168
(c. 1903/1922)
D-100. "VICTORY TRIUMPHANT" MURAL
DESIGN
Pen and Ink Sketch
Design by Leighton Oyen
Design used for Mural in Armory Hall,
La Crosse, Wisconsin
(1922)
D-101. "GOD OF MERCURY" MURAL DESIGN
Photograph
(c. 1903/1922)
D-102. "SEASHORE" MURAL DESIGN
Watercolor
(c. 1903/1922)
D-103. "CHERUBS WITH GRAPES" MURAL
DESIGN
Watercolor
(c. 1903/1922)
D-104. RESIDENTIAL INTERIOR DESIGN #14
Watercolor
(c. 1888/1900)
D-105. "MOORISH" RESIDENTIAL INTERIOR
DESIGN
Watercolor
(c. 1888/1900)
D-106. RESIDENTIAL INTERIOR DESIGN #15
Watercolor
(c. 1888/1900)
D-107. RESIDENTIAL INTERIOR DESIGN #16
Watercolor
(c. 1888/1900)
D-108. RESIDENTIAL INTERIOR DESIGN #17
Watercolor
(c. 1900/1915)

59


D-109. LIVING ROOM MANTLE DESIGN BY
PITTSBURGH PLATE GLASS
Watercolor
(c. 1900/1920)
D-110. GREEN TILE FIREPLACE DESIGN BY
PITTSBURGH PLATE GLASS
Watercolor
(1900/1920)
D-1ll. FIREPLACE FACING #3 DESIGN BY
PITTSBURGH PLATE GLASS
Watercolor
(c. 1900/1920)
D-112. FREDERICK DYSON, JR. HOUSE,
VIROQUA, WISCONSIN
Watercolor
Design by Leighton Oyen
(1923)
D-113. COURT HOUSE INTERIOR WALL
WITH MULE TRAIN MURAL
DESIGN #19
Watercolor
(c. 1903/1913)
D-114. BANK INTERIOR WALL WITH
BUFFALO HUNT MURAL DESIGN
Watercolor
Noted on back of design: First National
Bank, Miles City, Montana, 2-25-11
D-115. COURT HOUSE INTERIOR DESIGN #20
Watercolor
State of Wisconsin
(c. 1903/1918)
D-116. COURT HOUSE INTERIOR DESIGN #21
Watercolor
State of Wisconsin
(c. 1903/1918)
D-117. COURT HOUSE INTERIOR DESIGN #22
Watercolor
Design by Leighton Oyen
(c. 1922/1928)
D-118. "HERALDIC ANGEL" MURAL DESIGN
Pencil Sketch
Design used in many Court House Interiors
(c. 1903/1918)
D-119. FOUR COURT HOUSE DOME MURAL
DESIGNS
Watercolor
(c. 1903/1918)
D-120. COURT HOUSE DOME MURALS,
"OBEDIENCE, JUSTICE, DEFENCE
OF LIBERTY, AND REVERENCE"
DESIGN I
Watercolor
(c, 1903/1918)
D-121. FOUR COURT HOUSE DOME MURAL
DESIGNS
Watercolor
(c. 1903/1918)
D-122. COURTHOUSE INTERIOR DESIGN #23
Watercolor
(c. 1903/1918)
D-123. COURT HOUSE DOME MURALS,
"OBEDIENCE, JUSTICE, DEFENCE
OF LIBERTY, AND REVERENCE"
DESIGN II
Watercolor
(c. 1903/1918)
D-124. "INDIAN ON HORSES" MURAL DESIGN
Pencil Sketch
(c. 1903/1922)
D-125. COURT HOUSE UNITED STATES
CREST MURAL DESIGN
Watercolor
Design used in many Court House Interiors
(c. 1903/1918)
D-126. COURT HOUSE INTERIOR DESGIN #24
Watercolor
State of South Dakota
(c. 1903/1918)
D-127. "LIBERTY, EQUALITY AND JUSTICE"
COURT HOUSE MURAL DESIGN
Watercolor
(c. 1903/1922)
D-128. BAR ROOM INTERIOR WALL DESIGN
Watercolor
(c. 1903/1922)
D-129. "GERMANIC FIGURE" BARINTERIOR
MURAL DESIGN
Watercolor
Signed E. Soderberg
(c. 1903/1922)
D-130. "VALHALLA" BAR ROOM INTERIOR
DESIGN
Watercolor
Ziemann's Bar; West Salem, Wisconsin;
Mural presently located in Cartwright
Center, University of Wisconsin at
La Crosse
(1911)
D-131. BAR INTERIOR MURAL DESIGN
Watercolor
Design for Elfen-Brau Beer
(c. 1903/1916)
D-132. "OLD KING COLE" MURAL DESIGN
Pen and Ink Sketch
Signed E. S-g (Edward Soderberg)
Sketch used for Mural Design D-36
(c. 1917)
D-133. BAR ROOM INTERIOR WALL DESIGN
Watercolor
Design for C. & J. Michel Brewing
Company
(c. 1903/1922)

60


D-134. "LISTMAN MILLS" MURAL DESIGN
Watercolor
Magestic Theatre Curtain, La Crosse,
Wisconsin
(c. 1910)
D-135. "PARK STORE" MURAL DESIGN
Watercolor
(c. 1888/1922)
D-136. "SUMMER GARDEN" WALL MURAL
DESIGN
Oil on Canvas
Salzer Seed Company, La Crosse,
Wisconsin
(c. 1918)
D-137. "GARDEN WALL" MURAL DESIGN
Oil on Canvas
Salzer Seed Company, La Crosse,
Wisconsin
(c. 1918)
D-138. "COTTAGE GARDEN" WALL MURAL
DESIGN
Oil on Canvas
Salzer Seed Company, La Crosse,
Wisconsin
(c. 1918)
D-139. WALL INTERIOR WITH ENGLISH
HUNTING SCENE MURAL DESIGN
Watercolor
Noted on back of design: Elks Club Assn.,
Billings, Montana
(1911)
D-140. SCHOOL ROOM INTERIOR WALL
DESIGN
Watercolor
(c. 1903/1922)
D-141. INTERIOR WALL DESIGN
Watercolor
(c. 1890/1900)
D-142. INTERIOR WALL WITH TAPESTRY
MURAL DESIGN
Watercolor
(c. 1890/1900)
D-143. RESIDENTIAL INTERIOR DESIGN #18
Watercolor
(c. 1895/1905)
D-144. RESIDENTIAL INTERIOR DESIGN #19
Watercolor
(c. 1903/1915)
D-145. RESIDENTIAL INTERIOR DESIGN #20
Watercolor
Signed E. S-g (Edward Soderberg)
(c. 1903/1922)
D-146. BANK INTERIOR DESIGN
Watercolor
(1903/1922)
D-147. THEATRE INTERIOR DESIGN #15
Watercolor
Design for Finklestein & Ruben Theatres
(c. 1912/1925)
D-148. THEATRE INTERIOR DESIGN #16
Watercolor
(c. 1909/1922)
D-149. THEATRE INTERIOR DESIGN #17
Watercolor
New Palace Theatre, St. Paul, Minnesota
(1916)
D-150. THEATRE INTERIOR DESIGN #18
Watercolor
(c. 1912/1922)
D-151. THEATRE INTERIOR WALL
DESIGN #19
Watercolor
(c. 1903/1922)
D-152. THEATRE INTERIOR DESIGN #20
Watercolor
Noted on back of design: St. Paul
Auditorium
(c. 1903/1922)
D-153. THEATRE INTERIOR WALL
DESIGN #21
Watercolor
(c. 1903/1922)
D-154. THEATRE ART NOUVEAU INTERIOR
WALL DESIGN #22
Watercolor
(c. 1903/1922)
D-155. FEMALE FIGURES, "ENVY,
TEMPTATION, AND ANGER"
MURAL DESIGN
Watercolor
(c. 1912/1925)
D-156. THEATRE INTERIOR DESIGN #23
Watercolor
(c. 1903/1922)
D-157. "EGYPTIAN" LODGE INTERIOR
DESIGN
Watercolor
(c. 1903/1922)
D-158. LODGE INTERIOR WALL DESIGN
Watercolor
(c. 1920)
D-159. HOTEL LOBBY INTERIOR DESIGN
Watercolor
Hotel Rainbow, Great Falls, Montana
(1910)
D-160. ST. PATRICK MURAL DESIGN
Watercolor
(c. 1888/1922)

61


D-161. "JESUS TAKING LEAVE OF HIS
MOTHER" MURAL DESIGN
Watercolor
Noted on design: St. Patrick's Church,
Billings, Montana
(c. 1910)
D-162. CATHOLIC CHURCH INTERIOR
Watercolor
(c. 1888/1922)
D-163. CATHOLIC CHURCH INTERIOR
Watercolor
(c. 1888/1922)
D-164. "EASTERN" WALL MURAL DESIGN
PART I
Pen and Ink on Tissue Paper
Design by Leighton Oyen
Design for Theatre, Fairbault, Minnesota
(c. 1925)
D-165. "EASTERN" WALL MURAL DESIGN
PART II
Pen and Ink on Tissue Paper
Design by Leighton Oyen
Design for Theatre, Fairbault, Minnesota
(c. 1925)
D-166. "EASTERN" WALL MURAL DESIGN
PART III
Pen and Ink on Tissue Paper
Design by Leighton Oyen
Design for Theatre, Fairbault, Minnesota
(c. 1925)
D-167. "GREEK DANCE" MURAL DESIGN
Watercolor
(c. 1903/1922)
D-168. "TRAVEL OF YOUTH" MURAL
DESIGN
Oil on Canvas
(c. 1903/1922)
D-169. BAR INTERIOR MURAL DESIGN
Watercolor
(c. 1903/1922)
D-170. "GREEK DANCE" MURAL DESIGN
Pencil Sketch
Design used for Mural D-167
(c. 1903/1922)
D-171. "OUR FIGHTING 32ND" MURAL
DESIGN
Watercolor
Signed E. Soderberg
(c. 1919)
D-172. ART NOUVEAU FEMALE FIGURE
MURAL DESIGN
Watercolor
(c. 1903/1922)
D-173. "ELEUSINIAN FESTIVAL" MURAL
DESIGN
Photograph
(c. 1909/1922)
D-174. "CLASSIC" FEMALE FIGURE
DESIGN I
Pencil Sketch
(c. 1903/1922)
D-175. "CLASSIC" FIGURE DESIGN II
Pencil Sketch
(c. 1903/1922)
D-176. "CLASSIC" FEMALE FIGURE
DESIGN III
Pencil Sketch
(c. 1903/1922)
D-177. STENCILED FLORAL DESIGN
Oiled Paper
(c. 1888/1931)
D-178. STENCILED BUTTERFLY DESIGN
Oiled Paper
(c. 1888/1931)
D-179. STENCILED MORNING GLORY
DESIGN
Oiled Paper
Design by Leighton Oyen
(c. 1922/1931)
D-180. STENCILED FLORAL.BORDER
DESIGN
Oiled Paper
(c. 1888/1931)
D-181. "DANCING GIRLS" MURAL DESIGN
Photograph
(c. 1920/1921)
D-182. STENCIL OF DEFENCE OF LIBERTY"
PASSAGE
Pencil Sketch
(c. 1888/1918)
D-183. CARTOON OF ODIN J. OYEN
Photograph
Printed by The La Crosse Tribune
(December 11, 1914)
D-184. "ALPINE" MURAL DESIGN
Watercolor
(c. 1903/1922)
D-185. "G. A. R. ROOM" COURT HOUSE
MURAL DESIGN
Watercolor
Signed E. S-g (Edward Soderberg)
(c. 1903/1922)
D-186. COURT HOUSE INTERIOR
DESIGN #25
Watercolor
State of Minnesota
.Noted on back of design: Freeborn
County, Lower Corridor
(c. 1903/1918)

62


D-187. COURT HOUSE INTERIOR
DESIGN #26
Watercolor
Noted on back of design: Yankton
County, South Dakota
(November, 1905)
D-188. "THREE PHASES OF TIME" MURAL
DESIGN
Pen and Ink Sketch
Design used in Court House Interior
D-189
Noted on design: Cass County Court
House
(c. 1906)
D-189. COURT HOUSE INTERIOR
DESIGN #27
Watercolor
State of Wisconsin
Noted on back of design: Antigo Court
Room
(c. 1904)
D-190. COURT HOUSE INTERIOR WALL
DESIGN #28
Watercolor
D-191. COURT HOUSE INTERIOR
DESIGN #29
Watercolor
State of Michigan
Noted on back of design: Corunna Court
Room
(c. 1905)
D-192. COURT HOUSE INTERIOR
DESIGN #30
Watercolor
Noted on back of design: Carthage
Corridor
(1908)
D-193. COURT HOUSE INTERIOR
DESIGN #31
Watercolor
Noted on back of design: International
Falls Corridor
(1910)
D-194. COURT HOUSE INTERIOR
DESIGN #32
Watercolor
Noted on back of design: Aberdeen
Corridor and Rotunda
(c. 1904)
D-195. LIBRARY INTERIOR DESIGN
Watercolor
Noted on back of design: Mankato
Library Stack Room
(1904)
D-196. CATHOLIC CHURCH INTERIOR
WALL WITH "NATIVITY" AND
"DESCENT OF HOLY GHOST"
MURALS DESIGN
Watercolor
Signed E. Soderberg
(c. 1903/1922)
D-197. BAR INTERIOR WALL DESIGN
Watercolor
(c. 1903/1922)
D-198. "ELEUSINIAN FESTIVAL" MURAL
DESIGN
Pen and Ink Sketch
Design used in Theatre Interior D-149 &
Lodge Interior D-67
(c. 1909/1922)
D-199. "ELEUSINIAN FESTIVAL" MURAL
DESIGN
Pen and Ink Sketch
Design used for Mural D-173
(c. 1909/1922)
D-200. "ELEUSINIAN FESTIVAL" MURAL
DESIGN
Pen and Ink Sketch
(c. 1909/1922)
D-201. ART NOUVEAU FEMALE FIGURES
DESIGN
Pen and Ink Sketch
Design used for Theatre Interior D-19 &
Sketch D-3
(c. 1903/1922)
D-202. ART NOUVEAU FEMALE FIGURE
DESIGN
Pen and Ink Sketch
Design used for Mural Design D-172
(c. 1903/1922)
D-203. ART NOUVEAU FEMALE FIGURE
DESIGN
Pen and Ink Sketch
(c. 1903/1922)
D-204. "PARIS '92" DESIGN
Watercolor and Ink
Signed Edw. S-g (Edward Soderberg)
(c. 1903/1922)
D-206. "ST. MARK" MURAL DESIGN
Watercolor and Ink
Signed Edw. S-g (Edward Soderberg)
(c. 1903/1922)
D-207. "ST. LUKE" MURAL DESIGN
Watercolor and Ink
Signed Edw. S-g (Edward Soderberg)
(c. 1903/1922)

63


D-208. "THE NATIVITY" MURAL DESIGN
Watercolor and Ink
Signed E. S. (Edward Soderberg)
(c. 1903/1922)
D-209. "ST. MATTHEW" MURAL DESIGN
Watercolor and Ink
Signed Edw. S-g (Edward Soderberg)
(c. 1903/1922)
D-210. "ST. JOHN" MURAL DESIGN
Watercolor and Ink
Signed Edw. S-g (Edward Soderberg)
(c. 1903/1922)
D-211. PROTESTANT CHURCH INTERIOR
DESIGN
Watercolor
(c. 1888/1922)

Historic photographs courtesy of Leighton Oyen. Copies on file at the Area Research Center, University of
Wisconsin-La Crosse, La Crosse, Wisconsin.

All watercolor reproductions from the Oyen Collection, University of Wisconsin-La Crosse, La Crosse,
Wisconsin.

64

 

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