Scope and Contents Records related to the planning, design, and construction of the Ellen Phillips Samuel Memorial, including an extract from Samuel's will, a contract with architect Paul Philippe Cret, a preliminary report on sculpture and inscriptions, and a 1933 Cret architectural drawing. Also includes correspondence between Henri Marceau, C.L. Borie, Emory McMichael, Joseph Carson, and Cret regarding the sequential approval of individual sculptural elements — the Ploughman, the Gold Miner, Spanning the...

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Correspondence regarding the proposed location of the sundial in Rittenhouse Square, including Henri Marceau's suggestion that it replace the Giant Frog (1946), architectural drawings by Sydney E. Martin titled 'Memorial to Mrs. Eli Kirk Price by Beatrice Fenton' (1947), and correspondence regarding the pedestal design and inscription — notably a debate over whether Mrs. Price's given name should appear. Also includes Art Jury resolutions and related correspondence.

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Correspondence regarding the proposed relocation of the sculpture from Lemon Hill to the Carnivora House at the Philadelphia Zoo, including letters between Russell T. Vodges of the Fairmount Park Commission and Henri Marceau of the Philadelphia Museum of Art, between the Fairmount Park Art Association and the Zoological Society, and a letter to William Cadwalader regarding the relocation resolution (1950). Correspondence also notes that the sculpture had shifted from its base.

Scope and Contents Correspondence regarding William D. Disston's request to relocate the marble statue he donated to the city from Horticultural Hall to the Philadelphia Museum of Art (1938), including consultation with Henri Marceau of the Philadelphia Museum of Art. Marceau's assessment that the work was competent but of no outstanding merit, and that frankness was necessary 'even at the expense of having the gift cancelled,' informed the Commission's decision to decline the request. Also includes notes and...

Scope and Contents Correspondence regarding the loan of Rush sculptures to the Philadelphia Museum of Art for an exhibition of Rush's work, including a letter from Henri Marceau recommending the permanent removal of The Schuylkill Chained and The Schuylkill Freed from their exposed position at the Water Works on the grounds that repeated repainting had obscured Rush's delicate modelling and that as pine sculptures their deterioration was inevitable (1937), and a letter from Marceau confirming the removal and...