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185 Appendix Popular Cartographers of Arizona, A Biographical Catalogue Norton Allen Allen (1901–97), a California and Arizona resident, contributed to Desert magazine from its inception in November 1937. His spare, linear cartographic representations of the desert landscape achieved iconographic status early in his career. “Norton Allen’s maps are a great boon to us,” a 1964 Desert editorial enthused. “He is one of the most efficient cartographers in America and is constantly on the road checking new trails and keeping us up to date.” The editorial concluded that Desert “is considered the one true guide and history of the desert west. Much of this credit is earned by Norton Allen’s maps.”1 Allen’s oeuvre favored California, but included the greater desert Southwest: Arizona, New Mexico, Nevada, Colorado, and occasionally northern Mexico. In addition to his work as a cartographic illustrator, Allen spent four decades doing salvage anthropology along Arizona’s Gila River, living in Gila Bend during the winters. Scholars cite his large and significant archeological collection, which he donated to the Arizona State Museum in Tucson, as a model for tribal repatriation practice in contemporary museums.2 During his lifetime, Allen actively insisted that his own collecting practices, and the museum’s curatorial policies, would allow tribal access to the collection. He also refused to sell or divide the collection. After his death, Allen’s wife established memorial scholarships in anthropology in his name at the University of Arizona and San Diego State University. Robert T. Aitchison Aitchison (1887–1964) illustrated Arizona as part of a series of state maps commissioned by the Mentholatum Company. Aitchison, an illustrator from Wichita, Kansas, was essentially local talent for the Wichita-based pharmaceutical company . His twenty-nine-map series for Mentholatum was printed between 1936 and 1942. The maps combined visual appeal, educational content, and corporate 186 • Popular Cartographers of Arizona promotion. “Arizona” (1939) uses the same graphic conventions, illustrative style, and lengthy historical texts as the other maps in the series. Aitchison also drew another six maps not published by Mentholatum. Only one of these, “Indian Ruins of the Southwest” (1963), pertained to Arizona.3 The Wichita State University Library holds a collection of Aitchison’s work, as well as his papers.4 George Avey Avey (1906–73) served as the first art director of Arizona Highways (1937–72), working in close partnership with editor Raymond Carlson. In 1921, the young Avey relocated from Arkansas to Mesa, Arizona, with his family. His mother was a high school art teacher, his father a traveling salesman. In 1927, Avey enrolled as an architecture student at the University of Arizona, transferring to the University of California at Berkeley in 1928. The onset of the Great Depression forced him out of architecture school and back to Arizona.5 By 1933, Avey was employed as a draftsman for the Arizona Highway Department.6 He remained part of the Plans Division at least through 1939.7 During World War II, Avey worked as a civil employee for the Navy, drawing perspective views of aircraft parts for the Goodyear Aircraft Company in Goodyear, Arizona.8 In his role as art director of Arizona Highways, a position he assumed officially in 1938, Avey drew a wide variety of maps, marginalia, and illustrations. Though many of his images were unsigned, Avey’s style permeated the magazine. This style, however, sometimes shifted to meet the editorial needs at hand. Avey drew cartoon maps (a popular technique during the 1930s and 1940s), vignette-style cartographic illustrations, and ostensibly scientific distribution and location maps. Avey’s legacy continued to shape representations of Arizona even after his death. His son, Gary Avey (1940–2005), edited Arizona Highways from 1979 to 1985, served as deputy director of the Heard Museum from 1985 to 1988, and in 1987 became the founding editor of Native Peoples magazine.9 Don Bloodgood Born in California, Bloodgood (1897–1989) lived and worked in Sedona, Arizona , during the 1960s through the 1980s.10 A cartoonist and map-maker, he published much of his later work in Arizona. His earlier maps, however, emerged from a variety of sources. Shell Oil sponsored his 1935 “California-Pacific International Exposition” map. Shell Oil’s touring service division also published several “laff” maps drawn by Bloodgood, some as late as 1950. Pic-Tour Guide Maps published his “Pic-Tour Map of Washington, D.C.” in 1952. The Washington , DC–based company produced tourism-oriented sightseeing maps, many drawn by Bloodgood, for a variety...

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