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Wiard Ihnen (1897–1979)

Trained as a painter, Wiard Ihnen entered the film business in 1919 and became a set decorator and an art director, designing many productions during the 1930s, '40s and '50s. He won two Academy Awards, for his art direction of Wilson (1944) and Blood on the Sun (1945). He was married for more than 30 years to famed costume designer Edith Head. See full bio »

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Won 2 Oscars. Another 1 nomination. See more awards »

Known For

Jane Eyre
Jane Eyre Art Director
Wilson Art Director
Man Hunt
Man Hunt Art Director
The Blue Bird
The Blue Bird Art Director


Hide Hide Show Show Art director (48 credits)
 1953 War Paint (as Wiard B. Ihnen)
 1953 I, the Jury
 1945 It's a Pleasure (as Wiard B. Ihnen)
 1944 Wilson
 1943 Jane Eyre (as Wiard B. Ihnen)
 1943 Crash Dive (as Wiard B. Ihnen)
 1942 China Girl
 1942/I Iceland
 1942 The Magnificent Dope (as Wiard B. Ihnen)
 1942 Secret Agent of Japan (as Wiard B. Ihnen)
 1942 Roxie Hart (as Wiard B. Ihnen)
 1941 Moon Over Miami (as Wiard B. Ihnen)
 1941 Man Hunt (as Wiard B. Ihnen)
 1941 Tall, Dark and Handsome (as Wiard B. Ihnen)
 1941 Hudson's Bay
 1940 The Return of Frank James (as Wiard B. Ihnen)
 1940 Maryland
 1940 Johnny Apollo (as Wiard B. Ihnen)
 1940 The Blue Bird (as Wiard B. Ihnen)
 1939 Hollywood Cavalcade (as Wiard B. Ihnen)
 1937 Love on Toast
 1937 On Such a Night (as Ward Ihnen)
 1937 Outcast
 1936 Dancing Pirate (as W.B. Ihnen)
 1934 Thirty-Day Princess (uncredited)
 1934 Good Dame
 1933 Cradle Song
 1933 Duck Soup (uncredited)
 1933 One Sunday Afternoon (uncredited)
 1933 Terror Aboard (uncredited)
 1932 Blonde Venus (uncredited)
 1923 Potash and Perlmutter (as William B. Ihnen)
 1919 The Witness for the Defense (uncredited)
Show Show Production designer (10 credits)
Show Show Art department (4 credits)
Show Show Miscellaneous Crew (1 credit)
Show Show Self (1 credit)

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Personal Details

Alternate Names:

W.B. Ihnen | Ward Ihnen | Wiard B. Ihnen | William B. Ihnen

Did You Know?

Personal Quote:

[on working with Josef Von Sternberg]: Strangely, Von Sternberg would never look at the sets ahead of time. He approved of my sketches and only saw the set on the morning of the shooting. I guess he wanted to be surprised.



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