Audio Description: Neosho Mural by Lawrence Sanchez
Press play and discover Lawrence Sanchez's mosaic Neosho Mural. Hear a detailed description of the artwork, descriptions of the colors and forms in the mosaic, and how the artist made the work. (Closed captions available on video.)
Neosho Mural, Lawrence Sanchez, 1965, Mosaic
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The Neosho Mural by Lawrence Sanchez is a 9 foot by 45 foot mosaic mural constructed out of 61,000 colorful 1inch square ceramic tiles. It was installed in 1965 on the south facing white brick wall of the, now former, Safeway Grocery store. A sidewalk runs in front of the mural and it faces Neosho’s Big Spring Park. The mural is sometimes erroneously referred to as the "The Safeway Mural.”
The mural’s panoramic design depicts events in Neosho’s history from its early settlement to the early days of the space age.
Moving our attention to the far left upper corner of this mural and extending downward and to the right we see how this area looked shortly after the first settlers arrived around Neosho in the 1830’s, attracted by rich soil and clear water. Here those early settlers are depicted by a pair of dark silhouetted figures tending to rows of green crops in plowed fields surrounded by tall, gray and black barked trees with foliage of light and dark green.
Below to the front right of this field is a blue stream with gray rocky banks flowing behind a multi-story red brown structure with a gray, steeply slanting roof, and tall gray smoke stack which is surrounded by a green patch of earth. To the building's left is a long gray wood pile and in front sits a light and dark gray pyramid shaped ore waste pile. This structure represents the first discovery of significant amounts of lead ores in the Neosho area in 1847.
In the foreground are two male figures of surveyors with their tools. Their larger than life size represents the pivotal moment in Neosho’s history as the tiny settlement became the county seat of Newton County and journeyed toward the years it became an important city in the nation’s entry into the space age.
The man on the left is on both knees holding a Gunter’s chain (a distance measuring device) and a survey pin in his hands while looking upward. His hair and beard are gray. He has on a long gray coat over a white shirt, wears a round brimmed blue gray hat, and a blue gray knapsack rests on his shoulders. The man to his right is looking downward. In his left hand he holds a surveyor's compass on a staff (which is an instrument used to measure horizontal angles.) He too has gray hair and beard. He wears a black round brimmed hat, green short sleeved shirt and long green pants. He is knelt on his right knee. Gray boot gaiters cover his brown boots and raise up to his knees.
To the right of the surveyors is a blue pool of water representing Neosho’s Big Spring which is located in the park directly across the street from this mural. A large white rock inscribed with the date 1839 rests in the center of the blue pool of water. The small community of Neosho was founded near that big spring and was chosen in 1839 to be the county seat of Newton County. It was from an initial survey point on the west edge of the Big Spring’s branch waters, that in 1846 they laid out the main streets that would become the town of Neosho.
To the very center of the mural and to the lower right of the surveyors we see a gray ox wearing a white yoke. To the right of the ox is the upper torso and head of the ox cart driver representing the early European Settlers who were attracted to the many springs in the area. These earlier settlers founded the community of Neosho. The larger than life size ox driver is standing with their back facing the viewer; they have gray hair and wear a pink shirt. In the drivers left hand is a dark gray whip that snakes through the air in the direction of the ox.
Above the ox and the pool of blue water is a row of tall conical shaped dark and light green evergreen trees stretching skyward and descending to the background. To the front of the evergreen trees stands the gray and black octagonal shaped gazebo that stood in the early days of Big Spring Park. Just visible behind and to the right of the tall evergreen trees one can see the tops of some of the post-Civil War buildings on the square that replaced those destroyed during the war.
To the right of the gazebo sits a red and brown brick two story building. It has three windows on the top floor with a white rectangular sign above the centrally located door on the ground level. The sign is inscribed in black with the words “Horses Home” and to the door’s right partially obscured by smoke is a small light grey rectangular sign inscribed in dark gray reading “Livery Stable.” This livery stable was the first business built on East Main Street in early day Neosho. In front of the building sits a buggy with two large wheels to the back and two smaller wheels to the front with a dark blue top. Beside it stands a dark brown horse facing right.
Located below the horse and buggy and to the lower right of the blue waters of Big Spring branch is a white scroll with the word “Bushwhacker” inscribed on it in black. The scroll recalls the time in Neosho history shortly before and during the Civil War when a form of guerrilla warfare known as bushwhacking was prevalent along the Kansas-Missouri border.
To the right of the scroll a man representing the bushwhackers wears only gray pants with no shirt or shoes. His back is to the viewer, bending at the waist, and in his right hand he carries a white torch with red flames ascending skyward. Yellow, red, and orange flames engulf a white building in front of him. The people of Neosho were divided in their loyalties when war broke out. The town was occupied and raided by both sides of the conflict and suffered widespread destruction and devastation.
The heavy gray and white smoke billowing up from the burning building drifts to the right at the top of the mural. In the smoke over the white building the head of a Confederate soldier looks downward. He is wearing a gray kepi style hat with a black bill, his hair and beard are gray. His presence in the mural recalls when Neosho briefly served as the provisional capital of the states secessionist government when on October 30, 1861 the deposed Missouri governor and a few secessionist legislators fleeing south out of the Union controlled Jefferson City stopped in Neosho and passed an Ordinance of Secession and the Confederacy accepted it, making Missouri a part of the Confederacy--at least from the Southern perspective. In reality, the Union maintained military control over most of Missouri throughout the war. During the war the city of Neosho was the scene of many skirmishes between the two armies and much of the downtown area was burned and destroyed by the end of the war.
The soldier is looking down upon the tragic scene of a hanging that is taking place, which most likely was being carried out by bushwhackers. A large man with gray hair and beard has a noose of white rope around his neck which hangs from the branch above him that is symbolically formed from the dark gray smoke as it drifts away from the white building sat aflame by the bushwhacker. Below the man being hung is a woman standing in left profile with shoulder length brown hair, wearing a light blue dress - a horrified expression on her face as she looks up at him. Beside her a young girl, her back to the viewer, is wearing a pink dress with her long brown hair parted down the middle and gathered into two symmetrical braids - looks up at the man. They represent the horror and heartache brought to the families of the community during this time of conflict.
At the top of the mural and to the right of the soldiers’ head sits a two story white building facing forward with three dark windows on the upper floor and on the lower level a door is centered and flanked on each side by a dark window. This building represents the Masonic Hall that sat on the city square and was one of a few downtown buildings not destroyed during the war. Then symbolically running out in a straight line from the Masonic Hall are four large tan signs inscribed with gray letters which are held aloft with tan post. From left to right they read:
“Scotch Land Co.”
“Missouri Land and Livestock Co.”
“Spring City Hotel”
and “Atlantic Pacific Railroad.”
The names on these signs represent the rebuilding that took place in and around post war Neosho.
The smoke from the burning building passes over the Masonic Hall and mingles with the smoke from two steam locomotives depicted along the top of the mural to the far right. One light gray and dark gray locomotive is seen from the front coming forward on gray railroad tracks. And to its right another tan, green, dark gray and light gray locomotive is in profile headed to the left along tracks at the top of the mural. This locomotive has a green, light gray, and dark gray tender car behind it with the name of the railroad company, “Saint Louie & San Francisco,” written on it in black block letters.
The first locomotive represents the coming of the first railroad to Neosho and moves downward in the mural towards a larger than life male figure of a railroad worker. He strides up on to a rocky railroad grade. On his right shoulder he carries a grey and blue shadowed wooden rail tie as he works to build tracks for the expanding railway system. His muscular upper body is naked and he wears short faded blue pants and upon his head a dark and light blue round crowned bowler style hat.
The Atlantic and Pacific Railroad was the company that laid the first tracks into Neosho in 1870 as it worked its way westward to meet the Southern Pacific Railroad coming from San Francisco California, building the second transcontinental railroad. The Atlantic and Pacific Railroad shortly thereafter became the Saint Louise and San Francisco railroad better known as the FRISCO Railroad .
To the left of the railroad worker is the iconic FRISCO railroad logo outlined in dark and light blue with a tan center with F-R-I-S-C-O spelled out in black capital letters across it. The logo idea came about during a railroad Vice President’s stop in Neosho where he noticed a drying raccoon hide tacked to the side of the depot. The local agent was supplementing his wages by tanning and selling hides. Rather than reprimand the worker, he bought the hide. Shortly thereafter a drawing indicative of a tightly stretched raccoon skin with the word FRISCO enclosed within its borders appeared in the corporate office and the Frisco trademark was born.
The FRISCO Railroad owned more than 200,000 acres in Southwest Missouri which were sold in 1882 to the Missouri Land & Livestock Company of Scotland. The company became known as the Scotch Land Company and established their American headquarters in Neosho and imported purebred Angus and Hereford bulls from Scotland and England to breed to local heifers held on their large, company owned, farms. When the Scotch Land Company moved its headquarter out of Neosho the building became the Spring City Hotel in 1890.
To the right of the FRISCO logo we see Camp Crowder which was established in 1941. There are three, long white two story, rectangular shaped, army barrack buildings with green colored roofs on a field of green. Snaking past the barracks buildings is a white winding road that disappears at the top of the green hill to the right of the last barracks building.
In front of the barracks are three tall, slender gray telephone poles with cross arms which are spaced apart on the upper third of the pole and fastened at right angles to the upright pole. The telephone poles become progressively larger as they move forward into the foreground of the mural.
Camp Crowder was a training center for the Signal Corps during World War II. The telephone poles in this mural represent the important training soldiers received at Camp Crowder as much of communications during the war were conducted over telephone wires.
The bases of the telephone poles are encircled by fluffy clouds of water vapor coming off the white and black three stage NASA rocket that rises up to their right. The escaping water vapor from the rocket forms large fluffy white, gray and dark gray billowing clouds that fill up the right lower corner of the mural.
In 1956 about 2,000 acres of the former Camp Crowder were sectioned off and transferred to the United States Air Force. That same year, Air Force Plant No. 65, which was a Rocketdyne run site opened. It was two of the Vernier guidance engines producing 1,000 pounds of thrust each that were made at Rocketdyne Neosho and were used in launching astronaut Col. John Glenn into space aboard the Mercy Friendship 7 Capsule on Feb. 20, 1962 when he became the first American to orbit the Earth, circling it three times.
The Neosho Mural was the result of a contest held 1964 by the Safeway grocery store company for a mural to be placed on its newly remodeled store across from Big Spring Park in Neosho. The company offered a $250 reward for the winning design which would then be turned into a mosaic tile mural. Thirty one artists submitted entries and Lawrence Sanchez, had the winning design which was turned into this mosaic tile mural and installed in May of 1965 by Willis Tile Company of Joplin, MO.
Sanchez studied art at the Boston Museum School of Fine Arts after serving in the U.S. Army. He eventually moved to Neosho, MO to work as a technical illustrator for Rocketdyne which was a company located in Neosho that built rocket engines for NASA during the early space age. Another of his works, a large, egg tempera mural of space he created for the Rocketdyne cafeteria can now be can be viewed inside Davidson Hall on the Crowder College Campus south of Neosho. That work of art also has an audio description available for use.
The mural’s panoramic design depicts events in Neosho’s history from its early settlement to the early days of the space age.
Moving our attention to the far left upper corner of this mural and extending downward and to the right we see how this area looked shortly after the first settlers arrived around Neosho in the 1830’s, attracted by rich soil and clear water. Here those early settlers are depicted by a pair of dark silhouetted figures tending to rows of green crops in plowed fields surrounded by tall, gray and black barked trees with foliage of light and dark green.
Below to the front right of this field is a blue stream with gray rocky banks flowing behind a multi-story red brown structure with a gray, steeply slanting roof, and tall gray smoke stack which is surrounded by a green patch of earth. To the building's left is a long gray wood pile and in front sits a light and dark gray pyramid shaped ore waste pile. This structure represents the first discovery of significant amounts of lead ores in the Neosho area in 1847.
In the foreground are two male figures of surveyors with their tools. Their larger than life size represents the pivotal moment in Neosho’s history as the tiny settlement became the county seat of Newton County and journeyed toward the years it became an important city in the nation’s entry into the space age.
The man on the left is on both knees holding a Gunter’s chain (a distance measuring device) and a survey pin in his hands while looking upward. His hair and beard are gray. He has on a long gray coat over a white shirt, wears a round brimmed blue gray hat, and a blue gray knapsack rests on his shoulders. The man to his right is looking downward. In his left hand he holds a surveyor's compass on a staff (which is an instrument used to measure horizontal angles.) He too has gray hair and beard. He wears a black round brimmed hat, green short sleeved shirt and long green pants. He is knelt on his right knee. Gray boot gaiters cover his brown boots and raise up to his knees.
To the right of the surveyors is a blue pool of water representing Neosho’s Big Spring which is located in the park directly across the street from this mural. A large white rock inscribed with the date 1839 rests in the center of the blue pool of water. The small community of Neosho was founded near that big spring and was chosen in 1839 to be the county seat of Newton County. It was from an initial survey point on the west edge of the Big Spring’s branch waters, that in 1846 they laid out the main streets that would become the town of Neosho.
To the very center of the mural and to the lower right of the surveyors we see a gray ox wearing a white yoke. To the right of the ox is the upper torso and head of the ox cart driver representing the early European Settlers who were attracted to the many springs in the area. These earlier settlers founded the community of Neosho. The larger than life size ox driver is standing with their back facing the viewer; they have gray hair and wear a pink shirt. In the drivers left hand is a dark gray whip that snakes through the air in the direction of the ox.
Above the ox and the pool of blue water is a row of tall conical shaped dark and light green evergreen trees stretching skyward and descending to the background. To the front of the evergreen trees stands the gray and black octagonal shaped gazebo that stood in the early days of Big Spring Park. Just visible behind and to the right of the tall evergreen trees one can see the tops of some of the post-Civil War buildings on the square that replaced those destroyed during the war.
To the right of the gazebo sits a red and brown brick two story building. It has three windows on the top floor with a white rectangular sign above the centrally located door on the ground level. The sign is inscribed in black with the words “Horses Home” and to the door’s right partially obscured by smoke is a small light grey rectangular sign inscribed in dark gray reading “Livery Stable.” This livery stable was the first business built on East Main Street in early day Neosho. In front of the building sits a buggy with two large wheels to the back and two smaller wheels to the front with a dark blue top. Beside it stands a dark brown horse facing right.
Located below the horse and buggy and to the lower right of the blue waters of Big Spring branch is a white scroll with the word “Bushwhacker” inscribed on it in black. The scroll recalls the time in Neosho history shortly before and during the Civil War when a form of guerrilla warfare known as bushwhacking was prevalent along the Kansas-Missouri border.
To the right of the scroll a man representing the bushwhackers wears only gray pants with no shirt or shoes. His back is to the viewer, bending at the waist, and in his right hand he carries a white torch with red flames ascending skyward. Yellow, red, and orange flames engulf a white building in front of him. The people of Neosho were divided in their loyalties when war broke out. The town was occupied and raided by both sides of the conflict and suffered widespread destruction and devastation.
The heavy gray and white smoke billowing up from the burning building drifts to the right at the top of the mural. In the smoke over the white building the head of a Confederate soldier looks downward. He is wearing a gray kepi style hat with a black bill, his hair and beard are gray. His presence in the mural recalls when Neosho briefly served as the provisional capital of the states secessionist government when on October 30, 1861 the deposed Missouri governor and a few secessionist legislators fleeing south out of the Union controlled Jefferson City stopped in Neosho and passed an Ordinance of Secession and the Confederacy accepted it, making Missouri a part of the Confederacy--at least from the Southern perspective. In reality, the Union maintained military control over most of Missouri throughout the war. During the war the city of Neosho was the scene of many skirmishes between the two armies and much of the downtown area was burned and destroyed by the end of the war.
The soldier is looking down upon the tragic scene of a hanging that is taking place, which most likely was being carried out by bushwhackers. A large man with gray hair and beard has a noose of white rope around his neck which hangs from the branch above him that is symbolically formed from the dark gray smoke as it drifts away from the white building sat aflame by the bushwhacker. Below the man being hung is a woman standing in left profile with shoulder length brown hair, wearing a light blue dress - a horrified expression on her face as she looks up at him. Beside her a young girl, her back to the viewer, is wearing a pink dress with her long brown hair parted down the middle and gathered into two symmetrical braids - looks up at the man. They represent the horror and heartache brought to the families of the community during this time of conflict.
At the top of the mural and to the right of the soldiers’ head sits a two story white building facing forward with three dark windows on the upper floor and on the lower level a door is centered and flanked on each side by a dark window. This building represents the Masonic Hall that sat on the city square and was one of a few downtown buildings not destroyed during the war. Then symbolically running out in a straight line from the Masonic Hall are four large tan signs inscribed with gray letters which are held aloft with tan post. From left to right they read:
“Scotch Land Co.”
“Missouri Land and Livestock Co.”
“Spring City Hotel”
and “Atlantic Pacific Railroad.”
The names on these signs represent the rebuilding that took place in and around post war Neosho.
The smoke from the burning building passes over the Masonic Hall and mingles with the smoke from two steam locomotives depicted along the top of the mural to the far right. One light gray and dark gray locomotive is seen from the front coming forward on gray railroad tracks. And to its right another tan, green, dark gray and light gray locomotive is in profile headed to the left along tracks at the top of the mural. This locomotive has a green, light gray, and dark gray tender car behind it with the name of the railroad company, “Saint Louie & San Francisco,” written on it in black block letters.
The first locomotive represents the coming of the first railroad to Neosho and moves downward in the mural towards a larger than life male figure of a railroad worker. He strides up on to a rocky railroad grade. On his right shoulder he carries a grey and blue shadowed wooden rail tie as he works to build tracks for the expanding railway system. His muscular upper body is naked and he wears short faded blue pants and upon his head a dark and light blue round crowned bowler style hat.
The Atlantic and Pacific Railroad was the company that laid the first tracks into Neosho in 1870 as it worked its way westward to meet the Southern Pacific Railroad coming from San Francisco California, building the second transcontinental railroad. The Atlantic and Pacific Railroad shortly thereafter became the Saint Louise and San Francisco railroad better known as the FRISCO Railroad .
To the left of the railroad worker is the iconic FRISCO railroad logo outlined in dark and light blue with a tan center with F-R-I-S-C-O spelled out in black capital letters across it. The logo idea came about during a railroad Vice President’s stop in Neosho where he noticed a drying raccoon hide tacked to the side of the depot. The local agent was supplementing his wages by tanning and selling hides. Rather than reprimand the worker, he bought the hide. Shortly thereafter a drawing indicative of a tightly stretched raccoon skin with the word FRISCO enclosed within its borders appeared in the corporate office and the Frisco trademark was born.
The FRISCO Railroad owned more than 200,000 acres in Southwest Missouri which were sold in 1882 to the Missouri Land & Livestock Company of Scotland. The company became known as the Scotch Land Company and established their American headquarters in Neosho and imported purebred Angus and Hereford bulls from Scotland and England to breed to local heifers held on their large, company owned, farms. When the Scotch Land Company moved its headquarter out of Neosho the building became the Spring City Hotel in 1890.
To the right of the FRISCO logo we see Camp Crowder which was established in 1941. There are three, long white two story, rectangular shaped, army barrack buildings with green colored roofs on a field of green. Snaking past the barracks buildings is a white winding road that disappears at the top of the green hill to the right of the last barracks building.
In front of the barracks are three tall, slender gray telephone poles with cross arms which are spaced apart on the upper third of the pole and fastened at right angles to the upright pole. The telephone poles become progressively larger as they move forward into the foreground of the mural.
Camp Crowder was a training center for the Signal Corps during World War II. The telephone poles in this mural represent the important training soldiers received at Camp Crowder as much of communications during the war were conducted over telephone wires.
The bases of the telephone poles are encircled by fluffy clouds of water vapor coming off the white and black three stage NASA rocket that rises up to their right. The escaping water vapor from the rocket forms large fluffy white, gray and dark gray billowing clouds that fill up the right lower corner of the mural.
In 1956 about 2,000 acres of the former Camp Crowder were sectioned off and transferred to the United States Air Force. That same year, Air Force Plant No. 65, which was a Rocketdyne run site opened. It was two of the Vernier guidance engines producing 1,000 pounds of thrust each that were made at Rocketdyne Neosho and were used in launching astronaut Col. John Glenn into space aboard the Mercy Friendship 7 Capsule on Feb. 20, 1962 when he became the first American to orbit the Earth, circling it three times.
The Neosho Mural was the result of a contest held 1964 by the Safeway grocery store company for a mural to be placed on its newly remodeled store across from Big Spring Park in Neosho. The company offered a $250 reward for the winning design which would then be turned into a mosaic tile mural. Thirty one artists submitted entries and Lawrence Sanchez, had the winning design which was turned into this mosaic tile mural and installed in May of 1965 by Willis Tile Company of Joplin, MO.
Sanchez studied art at the Boston Museum School of Fine Arts after serving in the U.S. Army. He eventually moved to Neosho, MO to work as a technical illustrator for Rocketdyne which was a company located in Neosho that built rocket engines for NASA during the early space age. Another of his works, a large, egg tempera mural of space he created for the Rocketdyne cafeteria can now be can be viewed inside Davidson Hall on the Crowder College Campus south of Neosho. That work of art also has an audio description available for use.
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Mural LOCATION
Big Spring Park
309 W Spring Street Neosho, MO 64850 Big Spring Park also features a unique floral clock, a Grecian stage and pavilion built in the 1920's, kids playground with an all-inclusive swing set, kids wading pool, and the popular trout and koi pond where you can enjoy feeding the fish from nearby coin operated feeders. |
Additional Content
Additional History
Sanchez entered his design in a contest being held by Safeway Grocery Stores. Safeway, at the time, was the occupant of the building the mural is on. Safeway District manager Frank Glasgow is quoted as saying “We suddenly realized that in building out new store we were putting a huge blank brick wall facing one of the most picturesque and beautiful parks in the land.”
Work began May 4, 1965 on the installation of the Neosho Mural on the side of the building.
The Neosho Mural was unveiled May 15, 1965 with over 1,000 people in attendance. Sanchez’s wife, Gladys Sanchez, cut the cord to unveiled the work.
During installation the public was only able to see the section that was being worked on at any given time. Each section was covered as it was completed so the full piece wasn’t seen until the unveiling.
The work of putting the design into tile was done by the Willis Tile Company of Joplin, MO. The first company approached to do the work balked at the size of the undertaking. The Willis Tile Company only agreed to the job after making a trial scale model.
Gene Foley and Paul Henson began work by nailing wire lathe to the cement block wall which served as the back for the three-quarter inch thick mortar that was trowled to a smooth finish. The mortar was made of Portland cement and white sand for extra strength.
The most painstaking part of the process which required great skill was transferring the colorful mural design that was done on paper and using a three-fourth inch to the foot scale to its completed size.
Tiles were cemented to 220 sheets of 13 by 25 inch special paper which were cemented to the mortar. The sheets were numbered from 1 to 220 and beginning at the lower left of the space were put into place by number, working toward the upper right hand corner.
Roughly 61,000 individual tiles of various colors are in the mural.
Howard Willis of Willis Tile Company is quoted saying it required three month to make the tiles and then two weeks to install them on the side of the building.
A firm in Olean, NY took Sanchez’s one by four foot drawing to use as a guide and prepared tiles for the mural in sheets about two square feet in size. Willis Tile Company then had the intricate task of setting it together on the wall.
Work began May 4, 1965 on the installation of the Neosho Mural on the side of the building.
The Neosho Mural was unveiled May 15, 1965 with over 1,000 people in attendance. Sanchez’s wife, Gladys Sanchez, cut the cord to unveiled the work.
During installation the public was only able to see the section that was being worked on at any given time. Each section was covered as it was completed so the full piece wasn’t seen until the unveiling.
The work of putting the design into tile was done by the Willis Tile Company of Joplin, MO. The first company approached to do the work balked at the size of the undertaking. The Willis Tile Company only agreed to the job after making a trial scale model.
Gene Foley and Paul Henson began work by nailing wire lathe to the cement block wall which served as the back for the three-quarter inch thick mortar that was trowled to a smooth finish. The mortar was made of Portland cement and white sand for extra strength.
The most painstaking part of the process which required great skill was transferring the colorful mural design that was done on paper and using a three-fourth inch to the foot scale to its completed size.
Tiles were cemented to 220 sheets of 13 by 25 inch special paper which were cemented to the mortar. The sheets were numbered from 1 to 220 and beginning at the lower left of the space were put into place by number, working toward the upper right hand corner.
Roughly 61,000 individual tiles of various colors are in the mural.
Howard Willis of Willis Tile Company is quoted saying it required three month to make the tiles and then two weeks to install them on the side of the building.
A firm in Olean, NY took Sanchez’s one by four foot drawing to use as a guide and prepared tiles for the mural in sheets about two square feet in size. Willis Tile Company then had the intricate task of setting it together on the wall.
Mural Installation Photos
Paul Henson, of Willis Tile Company out of Joplin, MO, installing the Neosho Mural in 1965.