The Tom Lea Collection consists of typescript and handwritten manuscripts, printed
and pamphlets, prospectuses, photographs, galleys, page proofs, pasteups, mockups,
layouts, drawings, transparencies, dust jackets, postcards, correspondence, printed
advertisements, invitations, clippings, newspapers, programs, tickets, and a menu.
collection is arranged in two series: I. Fiction (1927-1964, bulk 1949-1964; 4 boxes),
and II. Non-Fiction (1889-1974, bulk 1937-1974; 3 boxes). The materials are arranged
alphabetically by title within each series.
The Fiction series includes material relating to The Brave Bulls, The Hands of
Cantú, The Primal Yoke, and The Wonderful Country. The Brave Bulls includes typed and handwritten notes and a
typed and handwritten biography of the fictional bullfighter Luis Bello Garcia. The
consists of background material, including typescripts of Spanish-language bullfighting
articles, a typescript titled "The Land of
Gold," a guidebook, a typescript article and notes on the Spanish bullfighter
Manolete, photographs and other images of bullfighters, a photograph and other images
the Virgin Mary, correspondence, a pamphlet titled "Cantares Flamencos," programs, tickets, advertisements, and
invitations. The Hands of Cantú
material consists of notes, a drawing, galleys, a typescript printer's copy, incomplete
page proofs, a pasteup and proof of the dust jacket, and correspondence. The Primal Yoke material includes galleys,
a page proof, proofs and pasteups of chapter headings, and a mockup of the dust jacket.
The Wonderful Country is represented
by notes, a point outline by Bob Parrish, a story outline, shot sequences, a typescript
of the screenplay by Maurice Zimm, typescripts of the screenplay by Tom Lea,
correspondence, and a map drawn by Tom Lea.
The Non-Fiction series includes material relating to the Bullfight Manual for Spectators, the Calendar of Twelve Travelers through the Pass of the North,
the Exhibition of Preliminary Drawings
for a Mural in the Lobby of the United States Court House, El Paso, Texas by Tom
Lea, In the Crucible of the Sun,
The King Ranch, Peleliu Landing, A
Picture Gallery, and Westward Bound:
a Hundred Years Ago. The material for the Bullfight Manual includes a pasteup, page proofs, a proof
copy, and both small and large format printed copies. The Calendar includes a printed sheet, a handwritten draft of
"El Paso del Norte," a
typescript, a page proof, a proof of the illustration "Don Diego de Vargas, the Warrior," and a menu. The Exhibition of Preliminary Drawings includes
the exhibition catalog and correspondence. For In the Crucible of the Sun, there are a corrected typescript, typescript
photocopies, typescript captions for the illustrations, two layouts, page proofs,
unbound proof copy, a sketchbook, photographic transparencies, an illustration layout,
proofs of illustrations, and correspondence. The King Ranch includes a typescript with chapters 1 and 2 in page proof,
instructions to the printer, typed footnotes, incomplete page proofs, a prospectus,
correspondence. The Peleliu Landing
material consists of two notebooks, U.S. Navy and U.S.S. Ormsby documents, typescripts of a poem and songs written by marines and
sailors, photocopies of drawings, photographic negatives, Japanese postcards, military
identification cards, an aerial photograph of Peleliu, and correspondence. A Picture Gallery consists of lists of
illustrations for Life and the Saturday Evening Post, laid in a binding.
Westward Bound is represented by
page proofs and correspondence. In addition, there is a proof copy of a program titled
"Fort Bliss One-hundredth Anniversary
1848-1948" with pageant and parade instructions and correspondence; a
typescript essay, "Homer Lea," as
well as clippings; a typescript titled "A
Report from the Advisory Commission on Church Art and Ornamentation [by the] Diocese
of New Mexico and Southwest Texas" and correspondence; a leaflet titled "Art and Religion: a Symposium on the New
Encounter"; and a pamphlet titled "Stained Glass Designs of McKee Chapel in the Church of Saint
Clement," including a program from the church, drawings of the window designs,
and a pasteup for the pamphlet.
The correspondence is primarily professional in nature, concerning textual suggestions
from colleagues and details of publication. The correspondence from Carl Hertzog touches
on the design and production of the books on which he and Lea collaborated. The
correspondence from Robert Parrish suggests improvements to the screenplay The Wonderful Country.