Legacies: A History Journal for Dallas and North Central Texas, Volume 23, Number 02, Fall 2011 Page: 28
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Josset also designed a sculpture representing the United States. Still gracing Fair Park's Esplanade,it
is 20 feet tall and stands on a 12-foot pedestal.
find Raoul there also." Having lost contact with
Josset the previous year, Martin had not known
that his old friend had been hired by Cowan only
two weeks earlier. "It was marvelous to find each
other and to work together," he recollected later,
Together with "another young sculptor" named
Weiland Gregory, Martin wrote, "We were a nice
group, enjoying our work in the midst of the De-
pression" while the pottery firm "was trying very
hard to succeed and overcome the difficulties of
Later that year Martin's family joined him in
Cleveland. Unfortunately in October, only a short
time after they arrived, Cowan Pottery went out of
business.While Josset returned to Chicago, Martin
stayed until the end of the year, somehow manag-
ing to find a little work "making models of table-
ware." Eventually, that work also gave out.22
Around this time, Martin received an offer of
work from the same decoration company in Mil-
waukee that employed him in 1930. "They asked
me to go to New York," he recalled, where they
had been contracted to make the ceilings for the
new Waldorf-Astoria Hotel. Unfortunately, after
he arrived in January 1932, a problem arose with
the union that was doing the work and the job
offer fell through.23
Instead of returning to Chicago, the un-
daunted Frenchman stayed on in New York. Fol-
lowing a three-month-long search for employment
he found a job making mannequin models, after
which he sent for his wife and sons. Unfortunately,
the job did not last very long. Toward the end of
the year, Martin and his family returned to Chi-
cago, where he hoped "to find work with the 1933
Meanwhile, and in contrast to Martin's strug-
gle to survive in New York, Josset had landed on
his feet in Chicago. Owing to the era's numerous
business failures, office buildings had reduced rents.
Consequently, Josset managed to find an affordable
space on the ground floor of an office building on
Rush Street, where in 1932 he opened a studio and
also an art school. In retrospect, Martin wrote: "I
believe that this was one of the most attractive and
brilliant periods of Raoul's life. He was lecturing in
arts clubs and the Art Institute and he made several
monuments and other interesting works."25
Thanks to Josset's friendship with architect
Donald Nelson, who knew him from his own days
as an art student in France but more importantly
was a junior partner at the architectural firm of
Bennett, Parsons & Frost,Josset had been awarded
a commission to design and sculpt a number of
works of art for the Century of Progress Exposi-
tion. Consequently, Martin's return to Chicago in
late 1932 could not have been timelier.26
During the early months of 1933 the two
28 LEGACIES Fall 2011
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Dallas Historical Society. Legacies: A History Journal for Dallas and North Central Texas, Volume 23, Number 02, Fall 2011, periodical, 2011; Dallas, Texas. (texashistory.unt.edu/ark:/67531/metapth204537/m1/30/: accessed February 19, 2018), University of North Texas Libraries, The Portal to Texas History, texashistory.unt.edu; crediting Dallas Historical Society.