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Member of the American Institute of Architects (AIA) 1921-decease
Recipient of the AIA Gold Medal 2014 (posthumous)
Biographical Sources
American Architects Directories:
Address listed in 1956 American Architects Directory
Biographical directoriesDirectories:
Entry in Macmillan Encyclopedia of Architects (New York: Macmillan, 1982)
Entry in Sarah Allaback, The First American Women Architects (University of Illinois Press, 2008)
Biographical entry in A Guide to Historic Architecture in Fresno, California
Biographical information:
Contributed by the Environmental Design Archives, University of California, Berkeley:
Julia Morgan was born in 1872 in Oakland, California where she continued to live throughout her life. Immediately after Morgan's graduation from Oakland High School, she enrolled in the College of Civil Engineering at University of California, Berkeley, receiving her degree in 1894. While at Berkeley she was introduced to Bernard Maybeck, who was an instructor of drawing at the university and taught architecture privately, since at that time there was no school of architecture. Maybeck encouraged students interested in architecture to study at the Ecole des Beaux-Arts in Paris, the foremost architectural program at the time. After graduation Morgan worked briefly for Maybeck, and then traveled to Paris in 1896 intending to enroll in the Ecole.
In 1897, Morgan took the entrance examination for the Ecole des Beaux-Arts, ranking 13th out of 392 competitors. Despite her score, she was denied admission because the school did not wish to encourage women in the field of architecture. The next year Morgan became the first woman to be admitted to the architecture school. She chose the atelier of Benjamin Chaussemiche, winner of the 1890 Prix de Rome and official architect for the City of Paris. Morgan excelled in her studies, becoming the first woman to receive a diploma in architecture in 1901. After graduation, she continued to work for Chaussemiche, designing the Harriet Fearing Residence in Fontainebleau.
In 1902 Morgan returned to the Bay Area and was employed by John Galen Howard, the University of California, Berkeley architect. While at his office, she worked on projects such as the Hearst Mining Building and the Greek Theater. In 1905 she opened her own office in the Merchants Exchange Building in San Francisco, however, the 1906 earthquake and subsequent fires interrupted her practice. Morgan temporarily moved her practice to Oakland and formed a partnership with Ira Wilson Hoover, another draftsman in Howard's office. The new firm, "Morgan and Hoover" had several notable commissions during this period, including the Carnegie Library at Mills College, St. John's Presbyterian Church in Berkeley, and the structural renovation of the Fairmont Hotel in San Francisco.
In 1910 Hoover moved to New York, and the firm changed its name to "Julia Morgan, Architect." Although Morgan maintained her own practice, she often worked on joint projects with other architects and engineers. Morgan worked with Maybeck on the Hearst Gymnasium at University of California, Berkeley, and later, on Principia College in Elsah, Illinois. She also collaborated with engineer Walter Steilberg, even after he left her office.
Julia Morgan is well known for her residences, but she also designed numerous institutional buildings such as churches, schools, hospitals, university buildings, swimming pools and a series of YWCA buildings. She worked principally in California and the West. For distant projects, she often sent Edward Hussey, an architect in her office; to monitor projects and keep her updated on their progress.
Phoebe Apperson Hearst and her son William Randolph Hearst were responsible for a number of Morgan's commissions. Phoebe Hearst encouraged Morgan in her career, commissioned her to work, and was a great supporter until her death in 1919. One of Morgan's largest commissions was William Randolph Hearst's La Cuesta Encantada, popularly known as Hearst Castle, in San Simeon. In 1919 she began work on the lavish and enormous compound, a project which continued for nearly twenty years. Other designs for Hearst included a commercial building in San Francisco, Wyntoon estate in Siskiyou County, the San Francisco Medieval Museum, a residence for Marion Davies in Santa Monica, and the Babicora Hacienda in Mexico.
Morgan's projects were incredibly varied in style and materials. This diversity is usually attributed to her willingness to listen to clients' desires as well as her flexibility as an architect. Utilizing her Beaux-Arts training, Morgan began with logical and coherent plans and then added the exterior facades and ornament. Renaissance Revival, Tudor, Spanish Colonial, Mediterranean and Islamic styles were all part of her architectural vocabulary and were pieced together and overlapped with Craftsman elements as needed. Although the exact number of projects by Julia Morgan is unknown, over her career she is believed to have designed more than seven hundred buildings, most of which were constructed. She closed her office in 1951 at the age of seventy-nine. Morgan died February 2, 1957 at the age of eighty-five.
Sources: ___________. "Julia Morgan of San Francisco, California." TMs [photocopy]. Environmental Design Archives, University of California, Berkeley.
Adams, Annmarie. "Notes on the Julia Morgan Collection, 1985." TMs [photocopy]. Environmental Design Archives, University of California Berkeley.
Boutelle, Sara H. "Julia Morgan, Architect." New York: Abbeville Publishers, 1988.
James, Cary, "Julia Morgan," New York: Chelsea House Publishers, 1990.
Longstreth, Richard W. "Julia Morgan, Architect." Berkeley: Berkeley Architectural Heritage Association, 1977.
Riess, Suzanne B. ed. "The Julia Morgan Architectural History Project." Vol.1 and 2. Berkeley: Bancroft Library Regional Oral History Office, 1976.
Biographical information:
Contributed by Special Collections, Robert E. Kennedy Library, California Polytechnic State University, San Luis Obispo:
Born in San Francisco, Julia Morgan (1872–1957) grew up in Oakland in a spacious Victorian house. Gifted in mathematics and encouraged in her studies by her mother, Morgan was influenced to become an architect by her mother's cousin, Pierre Le Brun, who designed an early skyscraper, the Metropolitan Life Insurance Tower in Manhattan. In 1890, she enrolled in the undergraduate civil engineering program at the University of California at Berkeley, in part because there were no architectural schools on the West coast at that time. After graduation, Berkeley instructor and architect Bernard Maybeck recommended further study at his alma mater, L'École dex Beaux-Arts, where the curriculum was renowned for the scope and majesty of its assignments: apartment suites in palaces, art galleries, opera houses, and other opulent environments fit for lavish, if imaginary, clients. Once in Paris, Morgan failed the entrance exam twice. Morgan then learned that the faculty had failed her deliberately to discourage her admission. Eventually the faculty relented and Morgan went on to win medals for her work in mathematics, architecture, and design. She traveled throughout Europe in her free time, filling sketchbook after sketchbook with accomplished watercolors, pastels, and line drawings. In 1902, Morgan was certified by the Beaux-Arts in architecture.
Returning to California upon graduation, Morgan became the first woman licensed as an architect in California, working first for John Galen Howard on several significant University of California buildings as part of the campus master plan bankrolled by philanthropist Phoebe Apperson Hearst.
In 1904, Morgan opened her own office in San Francisco. One of her first commissions, a campanile for the Oakland campus of Mills College, withstood the San Francisco earthquake of 1906, bringing her local acclaim and new commissions, including rebuilding the earthquake-damaged Fairmont Hotel. From this point Morgan's career was assured, and her practice thrived.
Morgan designed her first YWCA building in Oakland in 1912. The next year, Morgan began work on the first of 13 buildings in the Arts & Crafts style for Asilomar, the seaside YWCA retreat near Monterey. Host to thousands of visitors since its founding in 1913, Asilomar is now a state historical park and conference center. Morgan eventually designed 28 unique YWCA buildings in fifteen cities in California, Utah and Hawaii.
Publisher William Randolph Hearst first retained Morgan in 1910 for a residence in Sausalito, but it was never built. In 1915, she completed a notable Mission Revival building for the Los Angeles Examiner, Hearst's flagship newspaper. Hearst was so delighted by the structure that he commissioned Morgan to design his legendary estate at San Simeon, situated on a crest of the Santa Lucia Mountains of central California. Known today as Hearst Castle, the estate is now a state historical monument that has attracted more than 35 million visitors since it opened to the public in 1958.
Morgan's classical Beaux-Arts training, joined with her engineering degree and expertise with reinforced concrete, made her the ideal architect for this commission, which absorbed both architect and client from 1919 to 1947. Morgan designed the main building (Casa Grande), and guesthouses ("A" "B" and "C" Houses), workers' housing, grounds and terraces, indoor and outdoor pools, tennis courts, zoo and aviary, poultry ranch, greenhouses, warehouses, animal shelters, a five-mile pergola, and a seaside village for the estate's supervisors.
In 1930, Hearst commissioned Morgan to build a Bavarian village on the McCloud River at Wyntoon, his northern California estate, to replace his mother's Maybeck-designed castle that had recently been destroyed by fire. Other Hearst commissions documented in the collections include the unbuilt hacienda at Babicora, his million-acre ranch in Mexico; the unbuilt "Hopi" residence and unrealized plans for a hotel at the Grand Canyon; and the Phoebe Apperson Hearst Memorial Women's Gymnasium at UC Berkeley. Morgan also supervised the alterations of Marion Davies' vast beach house in Santa Monica.
Through art dealers Arthur and Mildred Stapely Byne, Hearst purchased a thirteenth-century Spanish monastery in 1931. Santa Maria de Ovila was dismantled and shipped to San Francisco, where Morgan and Hearst contemplated its use at Wyntoon. When the plans were dropped for lack of funds, Morgan convinced Hearst to give the stones to the city of San Francisco for a medieval museum to rival Manhattan's Cloisters. Morgan contributed additional plans and by 1941, the city had selected a site in Golden Gate Park. After a series of arson fires at the warehouses obliterated the markings on the stones, the city lost enthusiasm for the project. This last great collaboration between Morgan and Hearst was never realized.
Historian Elinor Richey wrote, "Morgan's work was outstanding not only for its thoroughness, diversity, and volume ... but also for its stylistic innovation and influence. Her early redwood shingle houses contributed to the emergence of the Bay Area shingle style. She was also a decade ahead of most of her contemporaries in using structure as a means of architectural expression. Unlike the work of most San Francisco architects of her time, Morgan's was reflective of that being done outside the Bay area." (Richey, Eminent Women of the West, p. 501)
Despite shortages of building materials and skilled labor, Morgan remained active professionally through World War II. In 1951, she closed her San Francisco office and retired. After several years of poor health, Julia Morgan died in San Francisco in 1957 at the age of 85.
Related Records
Julia Morgan (firm)
Walter T. Steilberg
Archival Holdings
The American Institute of Architects Archives
Membership file includes application and membership correspondence. Gold Medal nomination file.
Environmental Design Archives, University of California, Berkeley
Collection Number: 1959-2. Extent: 4 boxes, 1 flat box, 4 flat file drawers, 26 tubes, and 1 model. Microfilm containing selected records and drawings from the collection is available in the Bancroft Library: BANC FILM 2546 and in the Environmental Design Library: MICROFILM 78264 NA
The Julia Morgan Collection spans the years 1893-1980, (bulk 1893-1940). It is important as a record of the education and work of one of the earliest female architects in the nation and as a record of California design. The records document Morgan's education at University of California Berkeley and the Ecole des Beaux-Arts, as well as her professional life and her many architectural projects. The collection contains a limited amount of personal papers. Similarly there is little project correspondence; projects are documented mainly through photographs and drawings. The collection is organized into six series: Personal Papers, Professional Papers, Project Records, William Randolph Hearst Commissions, YWCA Commissions, and Additional Donations.
The personal papers include notes and drawings documenting Morgan's undergraduate work in engineering at University of California, Berkeley and education at the Ecole des Beaux-Arts. The series also contains a small amount of correspondence (including a Christmas card designed by Bernard Maybeck), and sketches from Morgan's trips to France and Switzerland. A travel diary of Morgan's trip to South America is found in Series VI Additional Donations.
The professional papers consist primarily of plates and clippings of European art and architecture. Some of the plates held a personal significance for Morgan; two were signed gifts from her classmate Arthur Brown Jr., and others were reproductions of the work of her patron, Benjamin Chaussemiche.
The project records represent works from the full chronological range of Morgan's architectural practice: from the Harriet Fearing residence in Fontainebleu, France designed in 1901 to her later residential projects. This series also contains records from her collaborations with other architects and engineers such as Bernard Maybeck, her partner Ira Wilson Hoover and her employees, Walter Steilberg and Edward Hussey. Also contains product literature collected by Morgan. Additional project records can be found in Series VI Additional Donations.
Series V contains records of projects commissioned William Randolph Hearst. Each project includes drawings. Photographs and correspondence also document San Simeon, which includes a large number of letters between Julia Morgan and Julian Messick, the female artist who created models for the San Simeon project. Wyntoon is represented by a letter and photograph of the Bradenstoke Barn, a historic structure Hearst proposed incorporating into the main building. The series also includes records and photographs of the Spanish monastery that was dismantled and brought to this country to be constructed as the Medieval Museum in 1941. Other Hearst commissions are represented by records found in Series VI Additional Donations.
Series VI consists of materials from Morgan's projects for the Young Women's Christian Association. Included are drawings of YWCA's in Honolulu, Oakland, and Pasadena plus additional records on the Berkeley and Honolulu buildings.
The Additional Donations contain a large number of records that were given to the archives after the initial donation in 1959. Each of the subsequent donations was given to the archives by different donors between the years 1960-1989. Each donation is a subseries, most subseries contain one project, but several subseries contain multiple projects. The Additional Donations series includes specifications, drawings, a model and a diary.
Link to online finding aid: http://www.oac.cdlib.org/findaid/ark:/13030/tf7b69n9k9
Special Collections, Robert E. Kennedy Library, California Polytechnic State University, San Luis Obispo
Julia Morgan Papers, 1835-1958, MS 010
The Julia Morgan Papers contains architectural drawings and plans, office records, photographs, correspondence, project files, student work, and personal papers from the estate of Julia Morgan. The bulk of the material in this collection extends from 1896, when Morgan left for Paris to study architecture at the Beaux-Arts to 1945, when her practice began to wind down. The earliest piece in the collection is an 1835 remembrance book belonging to Julia Morgan's grandmother. Additional donors have given more than twenty-seven significant additional donations of original Morgan materials to Cal Poly, which are also included in this guide.
The collection is organized into nine series:
- Personal Papers, including family correspondence and photographs, extensive student work from the Beaux-Arts years, and travel diaries;
- Professional Papers, including awards, research notes and photographs;
- Office Records, including correspondence with clients and colleagues and contemporaneous published works on Morgan commissions;
- Project Records, including files, photographs, and drawings on residential and commercial commissions;
- San Simeon Project Records, including extensive correspondence, financial records, photographs, and drawings;
- Other Hearst Project Records, including files, photographs, and drawings for Wyntoon, the Hearst Building in San Francisco, the Los Angeles Examiner building, the Milpitas ranch near Jolon in California and Babicora ranch in Mexico, the Phoebe A. Hearst Gymnasium for Women at UC Berkeley, and the Santa Maria de Ovila monastery;
- YWCA Project Records, including files, photographs, and drawings for Asilomar and YWCA buildings in California and Hawaii;
- Art and Artifacts, including Morgan's Beaux-Arts medals, doctoral hood, and drafting table;
- Additional Donations, including extensive Morgan project files from Walter Leroy Huber, a San Francisco-based civil engineer; extensive collections of photographs and plans for Morgan's masterworks at Asilomar, San Simeon, and Wyntoon; and project files and drawings for Morgan commissions throughout California.
Large and/or significant series include Morgan family correspondence and memorabilia; travel diaries, sketchbooks and memorabilia from Morgan's educational years in Europe; honors, awards, and degrees; business records and correspondence between Morgan and Walter L. Huber, a consulting engineer; professional and business correspondence, primarily for commissions from William Randolph Hearst; photographic prints and negatives of family members, friends and various architectural commissions, including San Simeon and Wyntoon; architectural drawings and sketches for a variety of Morgan's commissions, including private residences, YWCAs and Hearst estates; and artifacts, including Morgan's architectural competition medals won at the École des Beaux-Arts, and the hood she received for her honorary doctorate from UC Berkeley.
An extensive and significant portion of the collection is the correspondence between Morgan and William Randolph Hearst, which covers twenty-six years between 1919 and 1945 and documents the design, construction and maintenance of such Hearst commissions as San Simeon, Wyntoon, several newspaper office buildings, and Hearst's Mexican ranch, Babicora. The Morgan/Hearst correspondence has been placed in the San Simeon portion of the papers, Series 5, Subseries E. However, the researcher should be reminded that most of the correspondence between Hearst and Morgan contains references to a variety of commissions or projects and therefore is found in the first series.
Note that names for complex projects, such as San Simeon and Wyntoon, usually had variant names for individual buildings. For Wyntoon, chalets in the Bavarian Village are known by multiple variant names: e.g., Cinderella House was also called Pinnacles, Angel House was also called Sleeping Beauty House or Fairy House, and Brown Bear House was Bear House or Snow White-Rose Red House. At San Simeon guesthouses had the following variants: Casa del Mar was also called A House or House A, Casa del Monte was also called B House or House B, and Casa del Sol was also called C House or House C.
Within each series the correspondence is arranged chronologically, with Hearst's letters or telegrams followed by a copy Morgan made of her reply, which is the method Morgan used to maintain her office files. Architectural drawings and business records regarding Morgan's other commissions can be found in her papers, although these materials have survived on an extremely random basis and may not be considered representative of the bulk of her life's work. Researchers interested in Morgan's commissions for clients other than Hearst should consult Series 4 Project Records and Series 7 YWCA Projects Records carefully. Folder headings for Morgan's projects files first list the building name, client name, city or county in which the structure is located, and date, if known.
Client names and construction dates may differ from Sara Holmes Boutelle's published lists and have been updated in this guide for greater accuracy. All cities and counties listed on folder headings are located in California, unless noted otherwise.
Link to online finding aid at: http://lib.calpoly.edu/specialcollections/findingaids/ms010/
Special Collections, Robert E. Kennedy Library, California Polytechnic State University, San Luis Obispo
Julia Morgan-Sara Holmes Boutelle Collection, 1877-1958, MS 027
The Julia Morgan-Sara Holmes Boutelle Collection contains architectural drawings and plans, office records, photographs, correspondence, project files, student work, personal papers, and artifacts belonging to Julia Morgan, which were collected by her biographer, Sara Holmes Boutelle, over a 27-year period.
There are 5.75 linear feet of original Morgan documents, including Morgan's holographic journal of her travels in Europe in 1938; correspondence with painter, muralist, and landscape designer Bruce Porter (1865–1953); rare vintage prints of Morgan residential commissions under construction. In addition, there are more than 100 original architectural drawings, which were given to Boutelle in the course of her research by Morgan's friends and staff members. Documentary evidence of Morgan buildings under construction are contained in the collection.
The Morgan-Boutelle Collection is divided into five series:
1. Personal Papers, including family correspondence and photographs; newspaper clippings, student work, Morgan's address book, and ephemera from the Beaux-Arts years; and a travel diary from 1938;
2. Professional Papers, including reference files and photographs;
3. Office Records, including Morgan's holographic lists of her clients by year, correspondence and photographs of clients and colleagues and staff, and contemporaneous published works on Morgan commissions;
4. Project Records, including project files, photographs, and drawings for Morgan commissions throughout California, including Morgan's masterworks at Asilomar, San Simeon, and Wyntoon; and
5. Art and Artifacts, including Morgan-designed vintage food service china for the Berkeley Women's City Club and architectural elements.
All cities listed on folder headings are located in California, unless noted otherwise.
Link to online finding aid at: http://lib.calpoly.edu/specialcollections/findingaids/ms027/
Special Collections, Robert E. Kennedy Library, California Polytechnic State University, San Luis Obispo
Sara Holmes Boutelle Papers 1972-1999, MS 141
This collection contains the papers of architectural historian Sara Holmes Boutelle (1909-1999), Julia Morgan's biographer, who researched and collected material on Julia Morgan for twenty-seven years. Boutelle's lecturing and writing on Morgan not only preserved important documentary evidence of Morgan's practice, but also lifted the architect from obscurity, inspiring others to study Morgan and her work. Documentary evidence of previously unknown Morgan commissions is included in this collection, along with materials documenting Morgan buildings lost to fire or demolition.
Original Julia Morgan materials found in Boutelle's papers have been processed separately as the Julia Morgan-Sara Holmes Boutelle Collection (MS 27).
In many ways, the collection is the physical manifestation of Boutelle's efforts to establish the credentials necessary to secure a book contract and publish her biography of California architect Julia Morgan, a struggle that is recounted in her article for the Brearley alumni publication entitled, "Julia Morgan: Architecture of a Biography" (Box 1 Folder 4).
The collection contains 34.5 linear feet of Boutelle's extensive correspondence, photographs, interview notes, book drafts, subject files, and visual media, research and interview notes on Morgan, her clients, colleagues, staff members and commissions, gathered by Boutelle in the course of preparing Julia Morgan, Architect (Abbeville Press, 1988, revised 1995). Additional materials in the collection include articles, book reviews, presentation notes, secondary sources, and newspaper clippings, primarily relating to Morgan, women in American architecture, and historic preservation in the Bay Area.
The Boutelle Papers are housed in 79 containers, with Series 3. Julia Morgan Building Research Files and Series 4. Julia Morgan Research Files containing the most extensive and informative portions of the collection.
When documents with multiple purposes were encountered (e.g., correspondence on Morgan commissions together with invitations to make presentations), the highest priority was given to placing materials together that document Morgan's project list.
This collection is also particularly rich in visual media, including hundreds of black-and-white and color prints and nearly 5,000 35mm transparencies of Morgan commissions as they appeared in the 1970s and 1980s. The visual media and Boutelle's accompanying notes will greatly inform the on-going process of identifying Morgan's work.
Little original organization of the papers was evident. Therefore, to facilitate access to the collection for researchers, materials were largely reorganized and refoldered to more accurately reflect their contents.
Client names and dates may differ from Boutelle's published lists and have been updated in this guide for greater accuracy.
The collection is divided into five series:
- Personal Papers, including biographical statements by Sara Holmes Boutelle, photographs of Sara Holmes Boutelle, and newspaper clippings about Sara Holmes Boutelle;
- Professional Papers, including Boutelle's correspondence with other writers and historians; awards and grants; extensive documentation of her professional memberships and her activities related to historical preservation in the Bay Area; articles for scholarly and popular publications; architectural book reviews by Boutelle; teaching and research files on women in American architecture for extension courses and public presentations; appearances by Boutelle in news media to publicize her book and in documentaries on Julia Morgan; and newspaper clippings on women in American architecture, historic preservation and American architecture in general;
- Julia Morgan Building Research Files, including Boutelle's extensive written and visual documentation of Morgan-designed projects; lists of Morgan's work arranged by client, city, job number, town and region; and research on disputed Julia Morgan projects;
- Julia Morgan Research Files, including Boutelle's primary and secondary research into Morgan's family, friends, education, practice, staff members, and colleagues; Boutelle's advocacy of recognition for Morgan through her commercial slide show, nomination of Morgan for various posthumous honors, and work on exhibitions and walking tours.
- Julia Morgan, Architect Book Files, including Boutelle's many attempts to find a publisher, book proposals, contracts with Peregrine Smith and Abbeville, research notes, book and chapter drafts, photographs, marketing efforts, book reviews, and correspondence with readers.
All cities listed on folder headings are located in California, unless noted otherwise.
Link to online finding aid at: http://lib.calpoly.edu/specialcollections/findingaids/ms141/
Special Collections, Robert E. Kennedy Library, California Polytechnic State University, San Luis Obispo
Julia Morgan-Walter T. Steilberg Collection, 1908-1974, MS 144
The Julia Morgan–Walter T. Steilberg Collection contains photographs and files relating to Julia Morgan commissions in the Bay Area, created by long-time staff member and engineer Walter T. Steilberg.
Project files and project photographs are arranged alphabetically by client name, followed by building type, city and date of construction. Cities listed on folder headings are located in California, unless noted otherwise.
Where possible, the provenance, or original organization, of the papers has been preserved. However, in order to simplify access to the collection for researchers, some materials in specific formats and topics were reorganized and refoldered to more accurately reflect their contents.
There are two series in the Julia Morgan–Walter T. Steilberg Collection:
1. Personal Papers, including obituaries and Steilberg's photographs of buildings in California; and
2. Professional Papers, including Steilberg's written and visual documentation of work for Julia Morgan.
The collection is housed in one box. Series 2 Professional Papers contains the most significant and unique portions of the collection, including both Steilberg's published and unpublished recollections of working in Julia Morgan's practice, as well as Steilberg's vintage photographs from the 1920s of various Morgan commissions soon after their completion.
Link to online finding aid at: http://lib.calpoly.edu/specialcollections/findingaids/ms144/
Special Collections, Robert E. Kennedy Library, California Polytechnic State University, San Luis Obispo
Additional collections pertaining to William Randolph Hearst's mansion at San Simeon include:
Camille Solon Drawings Collection, 1900-1952, MS 106. The collection contains approximately 225 sketches by muralist and ceramicist Camille Solon (1877-1960), whose work appears throughout the Hearst estate at San Simeon, California. Link to online finding aid at: http://lib.calpoly.edu/specialcollections/findingaids/ms106/
Edward G. Trinkkeller Papers, 1896-1999, MS 097. The Edward G. Trinkkeller Papers contains the family papers, office records, and photographs of the work of wrought ironwork artisan Gustaf Edward Trinkkeller (1872-1945). After immigrating to the United States from Germany, he began using the names Edward G. Trinkkeller or Ed Trinkkeller. Link to online finding aid at: http://lib.calpoly.edu/specialcollections/findingaids/ms097/