S. Lane Faison papers
name: label: Creator
content: Faison, S. Lane (Samson Lane), 1907-2006
label: Names
content: Allied Forces. Supreme Headquarters. Monuments, Fine Arts and Archives Section
label: Names
content: Carnegie International
label: Names
content: United States. Office of Strategic Services. Art Looting Intelligen Unit
label: Names
content: Williams College -- Faculty
topic: label: Occupation
content: Art historians -- Massachusetts
label: Topic
content: World War, 1939-1945 -- Art and the war
label: Topic
content: Art -- History -- Study and teaching
acqinfo: label: Provenance
content: The S. Lane Faison papers were donated to the Archives of American Art by S. Lane Faison, Jr. in 4 installments from 1978 to 1982.
creator: label: Creator
content: Faison, S. Lane (Samson Lane), 1907-2006
setName: label: See more items in
content: S. Lane Faison papers
abstract: label: Summary
content: The papers of art historian and Monuments Man S. Lane Faison measure 5.1 linear feet and date from 1922 to 1981, bulk from 1950-1976.  Faison was an art history professor at Williams College, Massachusetts and, during World War II, he was a member of the Art Looting Intelligence Unit (ALIU) of the U.S. Office of Strategic Services.  The collection includes scattered correspondence; writings; teaching files; subject files on exhibitions and projects; artists files; and printed materials.  There are two folders of documents and photographs related to Faison's World War II work in the U.S. Art Looting Intelligence Unit.
bioghist: label: Biographical / Historical
content: Samson Lane Faison Jr. (1907-2006) was an art history professor at Williams College and director of the Williams College Museum of Art, Massachusetts.  During World War II, Faison served in the Art Looting Investigation Unit of the Office of Strategic Services, an intelligence unit related to the Monuments, Fine Arts and Archives Division of the U.S. Army. 

Samson Lane Faison Jr. was born in Washington, D.C. on November 16, 1907 to Samson Lane Faison Sr., a brigadier general in the United States Army, and Eleanor Sowers Faison.  Faison graduated from Williams College in 1929, completed his M.A. at Harvard University in 1930, and a M.F.A. from Princeton in 1932. Shortly thereafter, he began teaching at Yale as an associate professor of art.  In 1935, Faison married Virginia Gordon Weed (d. 1997) and they had four sons: Gordon, George, Christopher and Samson.  Faison joined the Williams College faculty in 1936 and became head of the art department in 1940.  

During World War II, Faison initially served as an instructor in U.S. Naval Air Force.  From 1945-1946, however, Faison was a member of the Office of Strategic Services' Art Looting Investigation Unit (ALIU) responsible for investigating and interrogating Nazis and art dealers who were involved in the systematic looting of fine arts and antiquities across Europe.  The ALIU investigated Karl Haberstock, Hitler's primary dealer and Hermann Voss, director of Hitler's Führermuseum in Linz, Austria where Hitler planned to house and display plundered art.  Faison was the primary author of the report on the Führermuseum and also interrogated Göring's curator Walter Andreas Hofer.  The ALIU issued twelve Detailed Interrogation Reports on Nazi looting activities which were used at the Nuremburg Trials. 

During the recovery efforts, the U.S. government decided to ship 202 paintings that had been stolen by the Nazis from several Berlin museums in Germany (notably the Kaiser Friedrich Museum now known as the Bode Museum) to the U.S. for safekeeping at the National Gallery of Art in Washington, D.C.  The government argued that the storage conditions in Germany were poor.  Twenty-five of the Monuments Men signed a petition, known as the Wiesbaden Manifesto, against moving the paintings out of Germany.  The Berlin Paintings were transported to the U.S. anyway and went on display at the National Gallery of Art before being put in storage.  Faison was one of ninety-five American art historians who signed a second resolution in protest, demanding the immediate return of the paintings.  The artwork, however, was not returned until 1948.  

After the war, Faison resumed his professorship and his position as art department chair at Williams College and became director of the Williams College Museum of Art in 1948.  In 1950, Faison returned to Germany as the last Director of the Munich Central Collecting Point, one of several recovered artwork repositories in Europe established by the U.S. State Department for inventory, research, and repatriation.  Faison's orders were to close down the Munich Collecting Point, which took nine months.  

Faison continued to teach at Williams until his retirement.  Faison and two of his colleagues, William H. Pierson Jr. and Whitney S. Stoddard, were the three art history professors at Williams College nicknamed the "Holy Trinity," due to their reputation for launching the careers of their students to stratospheric heights. Several of their students went on to become directors at prestigious museums such as the Museum of Modern Art and the Guggenheim in New York, the National Gallery of Art in Washington, D.C. and the Art Institute of Chicago.  The New York Times created the moniker "Williams Mafia" in reference to the Williams alumni that were taught by the "Holy Trinity" and whom went on to become prominent members of the art world.

Faison was made a Chevalier of French Legion of Honor in 1952.  He received a Guggenheim Fellowship for 1960-1961 and Williams college awarded him a Doctor of Letters in 1971.  He stepped down from his position as art department chair in 1969, and retired from his position as the director of the Williams College Museum of Art in 1976.  Faison died in Williamstown, MA in 2006 at the age of 98.
physdesc: label: Extent
content: 5.1 Linear Feet
unitdate: label: Date
content: 1922-1981
label: Date
content: bulk 1950-1976
dataSource: label: Archival Repository
content: Archives of American Art
identifier: label: Identifier
content: AAA.faislane
objectType: label: Type
content: Collection descriptions
label: Type
content: Archival materials
label: Type
content: Photographs
arrangement: label: Arrangement
content: This collection is arranged in 6 series.

Series 1: Correspondence, 1949-1979 (0.1 linear feet; Box 1, 6 folders)

Series 2: Writings, 1928-1979 (1.7 linear feet; Box 1-2, 7)

Series 3: Teaching Files, 1935-1976 (0.7 linear feet; Box 2-3)

Series 4: Subject Files, 1923-1981 (0.6 linear feet; Box 3, 7)

Series 5: Artist Files, 1922-1976 (1.5 linear feet; Box 3-5, 7)

Series 6: Printed Materials, circa 1935-1980 (0.5 linear feet; Box 6-7)
processinfo: label: Processing Information
content: This collection was fully processed by Rihoko Ueno in September 2012 with funding provided by the Samuel H. Kress Foundation.
genre_format: label: Genre/Form
content: Photographs
scopecontent: label: Scope and Contents
content: The papers of art historian and Monuments Man S. Lane Faison measure 5.1 linear feet and date from 1922 to 1981, bulk from 1950-1976.  Faison was an art history professor at Williams College, Massachusetts and, during World War II, he was a member of the Art Looting Intelligence Unit (ALIU) of the U.S. Office of Strategic Services.  The collection includes scattered correspondence; writings; teaching files; subject files on exhibitions and projects; artists files; and printed materials.  There are two folders of documents and photographs related to Faison's World War II work in the U.S. Art Looting Intelligence Unit.   

Six folders of scattered correspondence relate to Faison's teaching, lectures, and writings. 

Writings include bound student notebooks, lecture notes, typescript drafts, published articles, and material related to his book Handbook of the Collection: Williams College Museum of Art.  Eighteen bound notebooks are filled with Faison's college class notes.  There are typescript drafts of Faison's articles and speeches, as well as printed versions. Papers relating to Faison's book Handbook of the Collection: Williams College Museum of Art include several drafts, a correction copy, and a folder of illustrations to accompany the text.  

Teaching files consist of course files containing miscellaneous notes for classes taught by Faison. The syllabi for classes he taught are filed separately.  

Subject files are arranged into three groups:  Monuments Men/ALIU files; projects and exhibitions files, and general research files.  There are only two folders relating to Faison's World War II work in the ALIU.  They contain photographs of looted artwork and documents about the controversial decision to ship recovered artwork to the U.S. for storage in the National Gallery in Washington, D.C.  Projects and exhibitions files document Faison's curatorial work on the Oberlin Project (a traveling exhibition of college art) and the Carnegie International Exhibition, and other miscellaneous collaborative projects. Research files contain documents organized according to Faison's original folder headings and include miscellaneous images and clippings loosely grouped together by topic: architecture, advertising, housing, poster design, etc. 

Artist files are Faison's documents on specific artists that mostly contain images of artwork, clippings and articles.  Artist files were mostly used for teaching and reference. 

Printed materials include news clippings, exhibition catalogs, press releases, reports and other miscellaneous materials.
relatedmaterial: label: Related Materials
content: The Archives of American Art also holds an oral history interview of S. Lane Faison conducted on December 14, 1981 by Robert F. Brown for the Archives of American Art's oral history program. 

Papers of S. Lane Faison, 1945-1986, are also located at the National Gallery of Art.