180 Years of Santa Barbara Art

NOTICIAS Quarterly Magazine Of The Santa Barbara Historical Society Vol. XLV, No. 4

Winter 1999

One HundreD'Eighty Years OF Santa Barbara Art

uring the past seven years,a number ofissues o/Nocicias have been devoted to the history ofSanta Barbaras artists’ colony. These have included issues on cowboy artist Edward Borein,landscapist Henry Chapman Ford, artists oftheperiod ig^o-60, the Santa Bar bara School ofthe Arts ofthe igzos and ig^os, and a Look the history ofartworkdepicting Mission Santa Barbara. There has yet to be written, however,a general survey ofSanta Bar bara art and artists, until now.

Nancy Dustin Wall Moure, one ofthe foremost authorities on the history of California art, has filled this gap in the cultural history ofSanta Barbara. After touching upon the Chumash,she moves on to a discussion ofearly map-making as art and notes the utilitarian nature ofthe art produced by the earliest settlers in this region. She continues her story through the early American period, touching upon artists ofgreat renown and those new little-kriown, bringing her survey to a close in the early dec ades ofthis century. This sweeping panorama of artistic achievement in Santa Barbara should prove to be an invaluable reference workfor years to come.

Front cover is an untitled gouache on board by Alexander F. Harmer(18^6-1925), Donor:Mr.and Mrs. Carl Qray Park- The backcover portrait ofJose de la Querra y Noriega by Leonardo Barbieri (ci8io-ci8j^), oil on canvas, was the bequest ofFrederica Poett. All images arefrom the collections of the Santa Barbara Historical Society, unless otherwise noted.

THE A VTHORj Nancy Moure is afree lance curator specializing in thefield ofCalifornia art. She obtained herM.A.in art historyfrom UCLA and was Assistant Curator ofAmerican Art at the Los Angeles County Museum ofArtforfifteen years. Her Dictionary of Art and Artists in Southern California Before 19S0,first issued in igy^,was a pioneering workin thefieldofCaliforina art histo ry. She has written more than fifty books and articles including the historicalsurveys,Painting and Sculpture in Los Angeles 1900-1945, Drawings and Illustrations by Southern California Artists Before 1950,and Loners, Mavericks and Dreamers: Art in Los Angeles Before 1900. She /ids re cent/)!completed California Art; 450 Years of Painting and Other Media,thefirst survey ofCalfornia artfrom its beginnings to the immediate present.

INFORMATION FOR CONTRIBUTORS: NOTICIAS is a quarterly journal devoted to the study of the history of Santa Barbara County. Contributions of articles are welcome.

Those authors whose articles are accepted for publication will receive ten gratis copies of the is sue in which their article appears. Further copies are available to the contributor at cost. The authority in matters of style is the University ofChicago Manual ofStyle, i^th edition. The Pub lications Committee reserves the right to return submitted manuscripts for required changes.

Statements and opinions expressed in articles are the sole responsibility of the author.

Michael Redmon, Editor Judy Sutcliffe. Designer

® 1999 The Santa Barbara Historical Society 136 E. De la Guerra Street, Santa Barbara, California 93101 ● Telephone: 805/966-1601 Single copies $5.00 ISSN 0581-5916

:<\mL

One Hundred^Oigbtg IJeors of

J5anta Darbara

[PSvERY ART CENTER has its owfi hiscory, ^h^its own personalicy and its own accomplishmcncs. Santa Barbara, the last of Califor nia's major cities to have its art history docu mented, has much of which to be proud.

During the time Native Americans com prised the area's only residents, the Chumash,

brillo in 1542 on his search for the Strait of Anian (the fabled shortcut between the Atlan tic and Pacific that rumor placed along the north edge of the present United States), the Santa Barbara Channel became the most ex tensively mapped portion of the California coast.

whose range centered in Santa Barbara, pro duced the most elaborate and colorful pictographs (paintings on rocks and walls of caves) of any California tribe. They also created beau

Maps were a byproduct of the Renais sance's Golden Age of Exploration2 at which

tifully made tulc baskets and carvings of stea tite (a black stone) sometimes inset with abalone shell.'

attention struggled peninsula winter in

Following the arrival of Juan Rodriguez Ca-

time European mapmaking reached an artistic peak. Santa Barbara's coastline received such because Cabrillo, whose ships had as far north as Point Reyes (on the north of San Francisco), decided to warmer waters. Over the winter of

1542-43 when his ships lay in the ice of San

Hancy Dustin WaLL A/\oure

Miguel Island and Cabrillo lay dying of gan grene from a broken bone, the mariners occu-

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pied their hours by surveying the islands and coast.

bcllishcd, they arc practical rather than "artis tic." although some have attractive lettering,

Although their surveys aren't "artistic" in any real sense, they (and others by succeeding

and the faded colored inks on parchment arc

parties such as that by Englishman Sir Francis Drake in 1578, Portuguese Sebastian Rodriguez Cermeno in 1595 and Sebastian Vizcaino in 1602), were used by Europeans to engrave maps. Some maps are "artistic” be cause they arc colored, as opposed to black and white, and because they arc embellished with decorative vignettes of native peoples, animals and plants. Although the coastlines in these early maps are not one hundred percent accu rate, Santa Barbara is usually easy to locate by its offshore islands. Starting in 1622, believing the Strait of Anian had been found just north of California, and lacking further exploration that could have disproved this error. California is represented as an island for the next one hundred fifty years.^ Art During the Spanish Occupation, 1769-1823 The Spanish, prompted by the fear of los ing Alta California to Russia, decided to lay claim to the land by establishing outposts. In 1775 Captain Juan Bautista dc Anza brought in families from Sinaloa to settle the new coun try. Possibly the earliest drawing of land for mations in the Santa Barbara area was made

by Father Pedro Font, diarist of that expedi tion. In his original manuscript journal (Coll.

John Carter Brown Library, Brown Universi ty) between lines of text, appears a profile of the Channel Islands as seen from the mainland atVentura.

harmonious. Still extant is a plan of Santa Bar bara's presidio dated 1788 (Coll. Bancroft Li brary, University of California, Berkeley).

Art ofthe Spanish TvUssions—^Ugious and Secular Most of the art produced in California during Spanish times was created at or for the various missions, and Santa Barbara's was one of the largest and most impressive. Known as the "Queen of the Missions," it was founded December 16, 1786. Within the wider Santa Barbara domain arc also found: Mission San Buenaventura (Ventura) founded March 31.

1782 (about thirty miles to the south); Mis sion La Purisima Concepcion (near Lompoc), founded December 2. 1787; Mission Santa Ines (in Solvang)founded September 17, 1804; and Mission San Luis Obispo dc Tolosa (about ninety miles northwest) founded September 1, 1772. The local priests trying to beautify their poor adobe churches followed centuries of Eu ropean church precedent. Not only did they import easel paintings (portraits of saints and scenes from the Bible) to hang along the nave walls, but they employed artists of varying talents and knowledge to paint murals inside and outside the churches and to carve wooden and stone sculpture.

Plan oF Santa Barbara Presidio. 1788

c\ n

T^aps and Surveys—Secularimages Some of the first images made of the land (as opposed to the coast) were the maps and surveys required to lay out pueblos (towns), presidios (forts) and missions. Usually uncm-

PLA2A

This diagram ofthe RpyaL Presidio ofSanta Bar bara in iy88 demonstrates the utilitarian nature of much of the art in early Spanish California. This draiving appeared in Volume One ofHubert Howe Bancrofts History of California.

impTEXX' Lb

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SANTA BARBARA ART Sanca Barbara Mission has a fine collcccion of Spanish-period European and Mexican easel paincings and sculptures chat have been well preserved thanks to the mission being in con tinuous use since its foundation.

The mission also has some very fine paint ed decorations on the interior church walls (al though some of the earliest have been de stroyed by earthquakes or painted over). Wall paintings helped to relieve the blank white wash and clumsy appearance of adobe walls.

Most California mission wall paincings emu late real architectural elements, such as marble pilasters and arches chat decorated the interi ors of costlier European and Mexican church es. Sanca Barbara has the usual marbleizcd painted columns and arches along the nave walls as well as the standard painted floral garlands, but it stands among only a few ocher missions in having several pucti (cherubim an gels). Well preserved records at Sanca Barbara give us the names of several of the painters: Fr. Esteban Tapis(a missionary who made the

ly barred from landing in California except in emergencies) the earliest known sophisticated image of the Sanca Barbara area comes from this period. It was made by John Sykes (17731858) who accompanied the voyage of the English explorer George Vancouver. In 1793 Vancouver's flagship Discovery anchored off Sanca Barbara so that his naturalist could col lect specimens and Sykes cook the opportuni ty to make a wacercolor panorama of the shore. Typical of the scientifically accurate drawings produced by topographical artists, this carefully records the terrain and vegeta tion extending irom the area now termed the Mesa to the Riviera and includes an Indian vil lage, the presidio and the mission (Coll. Ban croft Library, University of California, Berke

ley).6 Art of the Mexican Period. 1822-1847 Wlicn Mexican revolutionaries overthrew Spain's rule in New Spain (1821) making Mexico a republic in December 1822, Califor

decorations around the altar in 1794). Jose An

nia automatically became a province of it. Cer

tonio Ramirez (architect who possibly execut ed some painting when the church was rebuilt

tain social and economic changes took place that affected California's art. Since the more

following the 1812 earthquake), and Juan Pa-

liberal Mexican laws allowed non-Spanish to land at California's ports, artists accompany ing voyages of discovery and trade could now make views of the inland.

cifico (an Indian neophyte, who later painted at San Buenaventura). We also know chat Tomes Gonzalez, a soldier at the presidio of Sanca Barbara, decorated the chapel there in 1782. Carved stone sculpture is rare in California's missions making the facade of the Mission of Sanca Barbara unusual for its scone cut ionic columns, the dentils and fret on the entablature, as well as its statues.5 Spaxush'Period Landscapes ky ExplorerArtists Santa Barbara lays claim to the earliest top ographical land image in Southern California.

Throughout the Spanish occupation of Cali fornia. exploration parties sent out by various European countries sailed the California coast.

Their duty was to collect information on the New World and to this end each had one or more artists aboard to draw pictures of the new landscape, flora, and fauna. Although Spanish-period images were almost exclusive ly of the Monterey area (foreigners were legal¬

Arriving by sea in 1842 was William Hen ry Meyers (gunner on the Cyayie, part of the U.S. Pacific Squadron). The ship's orders were to cruise the Pacific and wait for orders to seize California, if a war broke out between the U. S. and Mexico. Although the ship had been up and down the coast several times, on one layover on October 30, 1842, a Sunday, Meyers painted his one view of Santa Barbara, seen from anchor. His becomes the standard viewpoint looking from the sea toward the mountains showing the town at sea level and the mission behind at a higher altitude. Mey ers’s outlined figures, poor perspective and flat colors brand him a "folk" artist, but overall his painting has great charm.^ In an era when California had few roads, most long distance travel was made by ship.

Other ship employees and passengers also

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made views of Santa Barbara. Ships usually

Santa Barbara Mission, for, in Mexico City in

stopped at the port, and the ability to draw was considered a standard accomplishment of

1832, he developed oil paintings from them (both Coll. Santa Barbara Mission Archives; another version of the Santa Barbara Mission

educated ladies and gentlemen. William Phelps, master of the trading ship Alert made an architectural schematic drawing of the fa cade of the Santa Barbara mission (Coll.

Houghton Library. Harvard University) possi bly drawn January 1841.8 The main social change to affect art oc curred when the missions were secularized and

in Coll. Orange County Museum of Art).

The second artist is Alfred Robinson (18061895) agent for Bryant and Sturgis, merchants of Boston. He traveled somewhat the same routes as Deppe and occasionally even rode

when money and power shifted to California's

along with him. Compositional similarity in their independent views ol San Gabriel Mission suggests they shared artistic ideas. Robinson

new landed gentry. Wealthy rancho families had different needs than the missions and put

has special relevance to Santa Barbara because he married Ana Maria dc la Guerra in 1836 and

their money into decorative arts, such as tooled saddles and embroidered clothing. Two agents who worked for companies that bought hides and callow from the ranchos had ama teur artistic talents, and they became the first to make pictorial images of inland sices. The first is Ferdinand Deppe (active California c.

1828-1836). employed by a German firm head quartered in Mexico City. He made six crips through California on business between 1828 and 1836. In 1828 he made a drawing of the San Gabriel Mission and possibly one of the

because he sketched several views of the town—one panorama from the bay, one view of the town from a hill near the presidio, and a view of the mission—chat appeared as litho graphic illustrations in his book. Life in Califor nia (New York: Wiley. 1846). Artistically "stiff" they arc still important because they document the early appearance of the tov.Ti. An unknown artist drew a panorama of Santa Barbara showing a Chumash canoe in the foreground. It appeared as an illustration in a Histoty of Upper and Lxnver California (Lon-

'This lithograph ofthe town and harbor ofSanta Barbara appeared as thefrontispiece of thefirst edition ofLi^c in California byAi/red Robinson, iS^6.Later editions p7-esentedavariety ofimag es as thefro7itispiece.

i

HI

VIEW or THE PRESIDIO OR TOWK 07 SANTA BARBARA

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SANTA BARBARA ART

don: Smith and Elder, 1839) written by AIckander Forbes from descriptions supplied by onthe-spot writers. It may be the only contem porary drawing of a Chumash canoe.

The last Mexican-era artist to produce an image of Santa Barbara was Emmanuel Sandelius (?-c.l845). A Swede, using the name Gus tave M. Waseurtz af Sandels. he became the first tourist to sketch views of Santa Barbara

ed population were met by itinerants, artists who traveled from town to town.

The portraitist Leonardo Barbieri (c. 1810c. 1873) worked in San Francisco, Monterey, San Diego and Santa Barbara between c. 1847 and c. 1854. Barbieri was born in Italy and trained in Europe, and arrived in California from South America. In Santa Barbara in the three summer months of 1850, Barbieri set up

when he visited there in April 1843 {although one is inscribed "1844”). His two shorthand

a studio in the Hill-Carrillo adobe. He painted several portraits of the Carrillo family and

pencil and pen and ink views of the town nes tled along the shoreline are no more than

spouses, one of Ramona dc los Angeles Lorenzana (all Coll. Santa Barbara Historical Socie ty), and one of Jose dc la Guerra. Most of

sketchy outlines that emphasize buildings over landforms (Coll. Society of California Pioneers, San Francisco).9 Art After the American Possession. 1846-1876 Qold B}ishArtists in Santa Barbara The Gold Rush of 1849 brought an instan taneous population to Northern California, along with sophisticated Yankee-style cities, and resident fine arts communities. It had al most negligible effect on Southern California.

However, one of the failed goldseekers, George Victor Cooper (1810-1878). a New York artist who came to California in 1849 with his friend John M. Letts, a writer, to pan for gold, did, on his return trip to the States, go ashore at Santa Barbara. When the ship stopped for passengers and cattle, he made two views that ultimately appeared among the forty-eight lithographed illustrations in Letts' California Il lustrated, Including a Description ofthe Panama &INicaragua Routes...(New York: Holdredgc.

1852). One of these was a shoreline panorama of Santa Barbara as seen from a choppy sea peopled by men in skiffs; horsemen on the shore chase a cow. The second showed the front of the mission, with, in the foreground, fancily dressed Californio men and women.

Portraiture in Santa Barbara c.1850 In the twenty years following the Gold Rush, the southern half of the state had no art scene compared to the rich burst of culture that sprouted in San Francisco. While da guerreotype photographers set up in most towns, the "fine" art needs for the area’s limit¬

these, like the majority of painted portraits, were restricted to bust-length, waist length, or 3/4-length views with plain backgrounds.

Women usually wore black but sometimes displayed wealth through jewelry or lace. Barbieri's main purpose was to record a likeness, and he was talented enough to impart a sym pathetic expression to the eyes.

In the fall of 1850 the people of Santa Bar bara asked Barbieri to paint Father Jose Qonzales Rubio ofthe Santa Barbara T^ission (Coll.

Santa Barbara Mission), a much-loved priest who had been resident since 1842. This was executed in Grand Manner style. That is, it is elaborate in clothing and setting. Rubio wears the habit and tonsure of the Franciscan order.

Seated at a cloth-covered table holding a quill pen, his opposite hand flat on an open book on which he has cither just quit writing or from which he is copying, implies his scholarship.

The inscription in the lower right corner fur ther cites his "eminent virtues" and his "un quenchable charity towards the poor and his love for everyone." Barbieri returned in Febru ary 1852 to paint a portrait of Carlos Antonio Carrillo (Coll. Santa Barbara Historical Socie ty). apparently to satisfy a debt. He left Cali fornia in the summer of 1853 for Mexico Oty.lO Landscape Draughtsmen ofthe 18505 Although California was admitted to state hood in 1850, over the next thirty years, art in Southern California changed little from that produced during the Mexican era. It was made

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Alexander For6es’California A History of Upper and Lower California, 1^39, offered a lithograph which portrayed a Chumash plank,canoe, or tcnnol, in theforeground. primarily by itinerants who were cither ama teurs or had some training in topographical drawing. Several of these, on their rambles through Southern California passed through Santa Barbara. The first to make a view of the area was William Rich Hutton (1826-1901), civil engineer, surveyor, draughtsman, and am ateur artist. He arrived in California just after the cessation of war there in 1847 to serve as a

es. A drawing of Santa Barbara shore and town (from the point west of the town) and another of the mission in 1852 suggest that he must have come south from where he was then working at the New Almadcn mine and in San Francisco. In March 1853 he departed for the East. The accuracy of his pencil-on-

clerk to his uncle, William Rich, a paymaster

paper views reveals his scientific background, but the wiry outlines with no shading or ex pressive use of the pencil are admittedly not

of the United States Volunteer Troops. He re mained for six years, holding various posts, traveling widely, and sketching for his person al amusement- Between January 1847 and Au

very "artistic." His arrangement of land ele ments shows a sense of composition.il Chronologically, the next artist to represent Santa Barbara was H. M. T. Powell (active

gust 1849, Hutton was officially employed as a paymaster's clerk, and his trips to Los An

California 1849-1850), a townscape and por trait painter who came west with a wagon train from Illinois, and tried to eke out a "liv

geles must have been made via ships that stopped for business in Santa Barbara, because he drew a view of the town from anchorage dated June 30, 1847 and the Santa Barbara

ing" in San Diego making pencil landscape drawings and maps. Failing, he joined the par ty of a Mr. Patrick and headed up El Camino

Mission waterworks on August 3, 1847. In 1848 he drew at least two views of the mis

Real to San Francisco, passing through Santa Barbara on March 25, 1850. There he sac on a

sion. From the spring of 1850 to August 1851 Hutton surveyed in San Luis Obispo where in 1850 he made several drawings of area ranch¬

rock on the side of a hill about a quarter mile from the mission, and drew the mission. He then pivoted one hundred-eighty degrees and

SANTA BARBARA ART

sketched a panorama of Santa Barbara as seen from the heights with a background of the Channel Islands (Coll, California Historical So ciety and California State Library respective ly). He also made views of the missions of San Buenaventura, Santa Ines, and San Luis Obispo.12 Vitus Wackenreuder, a civil engineer, painted a gouache of Mission Santa Barbara in July 1852(Honcyman Coll., Bancroft Library, University of California, Berkeley).!^ Henry Miller (active 1856-57) traveled the state by mule in 1856, camping outside settle ments, making sketches of towns and mis sions that he intended to develop into a pano rama of California, Panoramas were the nineteenth century equivalent to today's mo tion pictures. Sometimes a mile long, canvases depicted subjects such as travels through a ge ographic area (such as down the Mississippi River), recreated famous battles, or told a sto ry with a moral truth, such as Paradise Lost and Paradise Regained. Several panoramas of California arc known and were good money makers. Miller also hoped to publish an album of some one hundred engravings of California scenery. His itinerary brought him to Santa Barbara from the north where he had already made drawings of San Luis Obispo, La Purisima Concepcion, and Santa Ines. After descending a rugged "canada" he came out at

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ous reasons the town was not pictured by any artist on the Mexican/American Boundary Survey. It equally missed out being captured by draughtsmen of Lt. R. S. Williamson's Pa cific Railway survey. That group's route south from the Bay Area took it along the east side of California’s Central Valley and into the Los Angeles Basin via Tehachapi, Williamson's Pass, and the San Fernando Valley.

Santa Barbara did benefit from the Coast Survey (known after 1878 as the United States Coast and Geodetic Survey), whose two ships sailed up and down the coast many times taking measurements. The survey’s duty was to create accurate charts to replace the sketchy maps and charts made by early explorers. Hopefully these would prevent the ever more frequent shipwrecks suffered by the increasing sea traffic prompted by American occupation. Besides charts covering extended sections of the entire coast, regional charts were made for especially difficult navigational areas, such as Santa Barbara, where islands, shoals, and wrecked ships made it difficult to navigate the channel into safe anchor.

Several different artists were attached to this survey at various times. William Birch McMurtrie (1816-1872) was official draughtsman. He intermittently visited the West

well as a panorama of the town as seen from a hill west of town. Miller's work was semi-

Coast from 1854 to 1858 as shown by dated drawings and watcrcolors in an early sketch book(Honcyman Coll, Bancroft Library, Uni versity of California, Berkeley). At least two of these watcrcolors: Near Santa Barbara.

primitive, tight, and his architecture marked

dated Aug. 25, 1856, and Santa Barbara ivith

by faulty perspective, but he achieves a sense

theT^ission are pertinent to this study. Eleven of McMurtric's views of harbors and promi nent headlands were reproduced as vignettes around the marine chart depicting the coast from San Diego to San Francisco.15 "h was an

Santa Barbara Mission on Sunday, July 6. He sketched both the outside of the mission as

of three dimensions through subtle shading.

One assumes the great amount of detail is ac curate, since he meant to base his panorama on the sketches. By the 8th he was off to Ventura. Although he never completed his panorama, the drawings are preserved in the Bancroft Library. Bcrkclcy.i4 R^econnaissance Artofthe i8^os Santa Barbara did not benefit that greatly from art produced by the various U.S. govern ment expeditions of the 1850s that were sent out to collect data on the new state. For obvi-

official drawing by McMurtrie of Anacapa Is land off the coast ol Santa Barbara to which James McNeill Whistler, then a lowly em ployee in the drafting rooms of the U. S. Coast Survey, Washington, D. C. added a few more seagulls, an alteration that cost the youthful Whistler his job.”'5 The most important of the Coast Survey artists was James Madison Alden (1834-1922)

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In the late 1840s and 1850s, Leonardo Barbieri traveled up and doum California paijiting por traits of powerful grandees. This portrait of Joaquin Carrillo probably dates from 1850.

Carrillo became the first district judge in Southern California after California came un der American rule.

draughtsman and nephew to Lieutenant James Alden who commanded the survey. Aldcn served with the survey from 1854 to 1857, and in the early years worked alongside McMurtrie. Both artists seem to have been given con siderable free rein. We find Aldcn frequently leaving one ship to travel by land and rejoin one or the other of the two ships at another point. At Santa Barbara in October of 1855 he made several excellent watcrcolors of the town and mission (Coll. Santa Barbara Mission), the Presidio Chapel, T'Tontecito Valley, Sulphur Springs, and Santa Cruz Island. In early 1856 he made Cave in the Island ofSanta Rpsa, and on June 7. 1856, he painted the steamer Active and the schooner Ewing at anchor in the Santa Barbara Channel as seen from shore. In 1858 he painted a watercolor of the cave on Anacapa Island. Aldcn's watcrcolors arc meant to be accurate topographic records; the colors are subtle and the shades natural, but at the same time certain stylization imparts a charming folk feel. Qewland Roclc^ll (1837-1907), who later joined the coast survey, made a view of Santa Barbara Mission, and Lt. T. H. Ste vens made V.S. Coast Survey Sketch ofAnacapa Island (both Coll. Santa Barbara Historical Society).

Landscape Draughtsmen ofthe 1860s Santa Barbara also shared California's most important itinerant of the 1860s. Edward Vischer (1809-1878).Vischer was a former hide trader, then a businessman of San Francisco, who created a Pictorial ofCalifornia (a book of original photographic prints of his watercolor sketches) In 1870. In the late 1850s he began to notice how rapidly the Spanish/Mexican life style was disappearing and felt a need to docu ment its remnants. Until his death in San Francisco, while on his business travels around the state, he painted watcrcolors and even used

a camera to record scenes from which he later developed watcrcolors. His Pictorial contains three views of Santa Barbara; the standard mission facade and panorama of the town, made on May 6 and May 7. 1865. respective ly. It also reproduces his watercolor of the Mouth of the Qaviota Pass showing a stage coach making its way down the rugged defile (dated April 1865). In another section of the book there appears A View of the Convent of Santa Barbara from the Town, showing a herd of cattle in the midground. Another extant work shows a stagecoach splashing through the surf between Santa Barbara and Ventura to get around a rocky point. Although self caught. Vischer’s compositions and technique are more sophisticated chan those of Hutton or Miller and show he studied the work of profes sional artists. Topographically accurate, they are at the same time artistic in execution, the energetic brushwork imparts an atmosphere.

He portrays California as a friendly land whose inhabitants gallop around a prosaic landscape on carouscl-likc horses.1^ The Railroads Open Up Southern California Whereas the Gold Rush gave Northern California its start on population and culture, the railroads did the same for Southern Califor-

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SANTA BARBARA ART nia. The railroads affected art in numerous 20 ways.

The Transcontinental Pflilroad cfi86p At first glance, the Transcontinental Rail road. completed across country to Oakland in 1869, seems hardly in the position to affect Santa Barbara art. But among the many East Coast artists who took advantage of its case of travel to come West to see and sketch the wonders of California was Herman Herzog (1832-1932).

Herzog was a born wanderer in search of new sights to paint. After immigrating to Phil adelphia from Germany, in 1871 he began making train trips throughout the continental United States. In 1874 he made his first trip west, and this included California where he sketched the usual Northern California scenic wonders. He probably took the coastal steam er to Los Angeles because he painted a Scene near Santa Barbara (Coll. Bancroft Library, University of California, Berkeley)!^

graphical arcisc, chcir technical and artistic so phistication allowed them to produce "artis tic" renditions.

From the early 1870s, Santa Barbara was visited by professional (as opposed to amateur or topographic) artists. In 1871 came Vincent Colyer (1825-1888). As Special U S. Indian Commissioner in the late 1860s and early 1870s he made many sketches, draw'ings and watcrcolors on his travels through the South west. His Sdnta Barbara/Laiver Califoinia, a watercoior dated October 15. 1871 (Honeyman Coll. Bancroft Library. University of California, Berkeley) may be of Santa Barbara in Southern California (as opposed to Baja Cal ifornia). Jules Tavernier (1844-1889) a Harpers illustrator came west in 1873 and before leav ing California in 1884 painted Chinese Camp Santa Barbara (Dentzcl Coll.). The amateur artist Henry L. Oak traveled to and sketched Southern California missions in 1874 (Coll.

Southwest Museum).20

His style falls generally into the category of the Hudson River School. These artists pre ferred panoramic views of valleys seen from

Southern Pacific to Southern Califirmia 187^-76

nearby elevations. And while they recorded the landscape accurately, as would a topo-

benefited Santa Barbara disappointed the city.

The Southern Pacific decided to lay its tracks

California's first railroad that mignt have

H.M. T. Powell's drawing ofSanta Barbara,March 18^0, is unusual in its south-facing orientU' tion. The estero to the left was the inspirationfor the naming of today's Laguna Street. Theflagflies above the remnants ofthe Ppyal Presidio.(From the original in possession of Qrabhom Press.)

a,rOO.rO..

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James Whistler produced only two plates during his brieftenure with the V.S. Coast Survey and only his etching ofAnacapa Island survives. His superiors reprimanded him for including fanciful sea gulls in this reitdaing ofthe island.

from the Bay Area to Southern California via government lands in the central valley rather than along the coast where it would have had

the makers of town views. Following Ameri ca's westward expansion and settlement, these itinerants kept an eye out for new and small

to negotiate with many private ranchers.

However, as Southern California's population began to grow in the 1870s, so too did Santa

towns of which they could make images.

Their lithographs were purchased by a grow ing middle class, proud citizens who liked to

Barbara’s. Between 1868 and 1872 transporta tion to the town was improved through more frequent stops by steamships and by the con

sec portraits of their towns, by California set

struction of two piers. Stagecoaches ran along improved roads to Los Angeles. Improved transportation came just in time because

English-speaking immigrants looking for a place to settle to understand.

Charles Nordhoff's Californiafor Health, Pleas ure and R^esidence:A Bookjor Travellers and Set

Southern Pacific's line completed to Los An geles in 1876, once viewmakers had traveled

tlers (New York: Harper and Brothers, 1872) attracted hundreds of new immigrants to San ta Barbara. Their need for homesites occurred at the same time the large cattle ranchos were

to Los Angeles to render its basin towns, they maximized their trip by rendering other near by towns in which they also saw commercial potential.

being broken up into small farms for grain, olives, and fruit.

The first person to make a bird's-eye view of Santa Barbara was Alfred E. Mathews

Bird's Eye Views

(1831-1874). Over the winter of 1872-73 he sketched several towns in Southern California,

In the post-railroad era, some of the first artists to render views of Santa Barbara were

tlers who wanted to send the images to rela tives in the East. Pictures were easy for non-

Although Santa Barbara was not on the

producing five lithographs, one of Santa Bar bara. A viewmakcr's standard procedure was

83

SANTA BARBARA ART

to make drawings of the town and individual buildings, to take out advertisements and oth erwise announce his project in the local news papers, to pre-sell views, and only then to do the actual transferring of drawings to the lith ographic stone. San Francisco had developed into a West Coast publishing center, and most pre-1895 Southern California views were

bara was Eli Sheldon Glover (1844-1920) who had made views of cowns in che West and Northwest before traveling south to San Fran cisco and ultimately, in the spring of 1876. to Southern California. While living in Los An geles for a year and a half he drew a view of Santa Barbara, dated 1877, published also by Bancroft (Coll. Santa Barbara Historical Socie

printed there. This includes Mathews's 9 x 16

ty). It measured 17 x 30 in., and its larger size

in. view of Santa Barbara printed by A. L. Bancroft in 1873. Mathews chose the same

allowed it to incorporate more detail. A key listed twenty-seven points of interest.

An unknown artist (possibly William Wallace Elliott (1842-?)) drew views of Santa

point of view selected by most earlier topogra phers; from the harbor towards the shore. In his drawing the town's buildings begin almost at the sand, and the town is represented in typical grid style with parallel roads disappear ing to a common vanishing point at the moun tains, Over the fifty years of America's town

Barbara printed in 1877 and 1887 by Elliott's firm in San Francisco. Because Elliott often

view movement, perspective gravitated from ground level to the vantage point of a bird'seye, and production moved from hand-drawn

twenty-nine vignettes of the principal busi nesses and residences.(The 1877 view is in the

images on stone to mechanically produced im ages. California was somewhat artistically be hind the times. When similar works in the

Two town view artists who timed their pro duction with the arrival of the Southern Pacif

worked in large format, in this case 21 x 35 in., he could include a lot of detail, and in addi tion he surrounded his two town grids with

Coll.

Santa

Barbara

Historical

Society.)

East were being published in color (chromoli

ic spur line into Santa Barbara in 1887 were Henry Steinegger (1831?-1893?) and E. F.

thography), California views were primarily in black and white.

Cook (active late 1880s) of Britton & Rcy printers in San Francisco. Their 15 1/2 x 31 1/

The next artist to make a view of Santa Bar-

2 in., view was probably produced about 1888.

Lidiographs ofurban landscapes,frenn an aerial perspective and commonly called bird's-eye views, were popular in the last decades ofthe nineteenth century. The earliest such lithograph ofSanta Barbara tuas produced in i8y^. Among its interestingfeatures is the portrayal ofthe short-lived Chapa la Street Piernext to its longer neighbor,Steams Wharf.

84

NOTICIAS

Two very late views, one from 1896 meas uring 5 X 7 in. and one from 1898 measuring 25 X 36 in., were produced by unknown artists for unknown purposes. The latter has the distinc tion of being printed by Los Angeles Litho graphic Company, established after that town grew large enough to have its own printing firm. But. by this late in the century the town view movement had run its course. The seven

tors could hike and ride horseback, remnants of the town's Spanish heritage (such as the mission and some of the old adobes), the town panorama as viewed from the bay. the great grape vine, and recreational sailing among the Channel Islands. H. C, Ford. Santa Barbara's earliest resident artist illustrated several of the

views of Santa Barbara made over twenty-five

early publications.22 Among the more richly illustrated books that include views of Santa Barbara is Thomp

years show its growth from an adobe pueblo to

son and West's history of Santa Barbara. Like

a prosperous city of wood and brick.^l

the authors’ similar publication on Los An geles, this was copiously interspersed with lith

Illustrators, American/Califomian(1870s-1890s) Once Southern California’s population be

ographs of individual farms and businesses.23 Santa Barbara is also represented in Pictu

gan to grow, job opportunities opened up for illustrators. Illustrators provided images for railroad promotional publications, for histories, and for armchair travel books. Some illustra

resque California, the most impressive of the several travel books on California (ten vol

tors were employed by the railroads, others by East Coast and San Francisco publishers who

pealed to armchair travelers, to Americans' pride in their own land, and to their love of

ran magazine articles on the area.

Although Santa Barbara, like other South

beautifully printed gift books,24

umes, published in 1888) published in the sec ond half of the nineteenth century. These ap

Picturesque California was providentially timed with Santa Barbara's real estate boom

ern California towns, was represented by pic tures of prosperous farms, certain other images became particularly identified with it. These include the town's large resort hotel, the Ar

Pacific spur. Santa Barbara is included in "Chapter XXI Monterey to Ventura." Illustra

lington, the picturesque canyons where visi¬

tions include a sailboat amid the Anacapas by

that followed the 1887 arrival of the Southern

The lavishly illustrated, Picturesque California, John Muir, ed., ojfered a number ofSouth Coast views, including a photogravure ofHenry Chapman Ford's painting, Morning at the Anacapas.

Ford was thefirst artist ofmajorstature to settle on the South Coast.

85

SANTA BARBARA ART

H. C. Ford, the Santa Barbara Mission by j. P. Robertson, a pen and ink by A. Hcnckc, and the De La Guerra house by San Francisco land scapist Julian Rix. {Picturesque California’s art ists were primarily residents of Northern Cali fornia and either developed their pen and ink

played at a Library Social at the Odd Fellows Building.28 In the summer of 1880, he decided to create a series of paintings of the missions.

Mission Paintings Southern California, without the spectacu

illustrations from photographs or after travel ing to Santa Barbara.) One of Picturesque California's artists, Frank L. Heath of Santa Cruz, who also made many San Diego views for the book, may have made his Montecito Coastline (Coll. Santa Barbara Historical Socie

lar scenery identified with Northern Califor nia, turned to the missions for subject mat

ty) on the same trip south, c. 1887. It was not used as an illustration in the book.25

years residence in California no doubt brought him to the same opinion as Vischer—that the state's Spanish/Mexican antiquities were dis

Through the last twenty-five years of the century, illustrated publications about South ern California increased exponentially, primari ly due to the popularity of promotion and the

ter.29 Ford was one of the most important painters of missions because he was first to make a set in the sophisticated medium of oil.

In 1875 Ford saw Vischer's Pictorial. Five

appearing and should be preserved in paint. In 1880 he toured California south of his home making pencil drawings and oil sketches; the

increased case of illustrating with photo graphs. Several important California maga

following summer he visited the missions north of Santa Barbara.

zines such as Overland Monthly and Lxind of Sunshine also ran illustrated articles on Santa Barbara.28

tarian, i.e., he sublimated artistic license to ac curacy. His standard composition showed the

Santa Barbara Art. 1870-1887

entire mission complex, usually without any

Between 1870 and 1887, new settlers in Santa Barbara spurred civic improvements in streets, schools, churches, and buildings, ini tiating the still lively conflict between those who want to sec "progress" and those who want to keep Santa Barbara's Spanish/ Mexican charm. Santa Barbara became known as a town of Spanish-style buildings, and its aware city fathers maintained the image. After the 1925 earthquake, the town chose to rebuild major damaged portions in the Spanish style.

Even today publications on Santa Barbara fo cus on its architecture and gardens rather than its contributions to painting and sculpture.27 Probably the earliest professional painter to settle in Santa Barbara was the landscapist Henry Ch^man Ford (1828-1894) from Chi cago. He chose Santa Barbara in 1875 for its healthy climate. Ford spent five years painting landscapes, such as his wonderful views of Glen Annie Canyon, 1879(Coll. Santa Barbara Historical Society) and Santa Barbara Harbor 1884 (Private Collection). In 1875, the year of his arrival, thirty of his sketches were dis-

Ford rendered the missions as a documcn-

people. One of Ford’s most refined paintings (much of his work is heavy-handed) is a view of Mission Santa Barbara (Coll. Jonathan Club, Los Angeles) made during a remodeling phase when the mission sported dormer win dows. This has the added interest of the fore ground people and animals. Many of the vari ous missions had deteriorated into lumps of adobe by the 1880s, but continuously-in-usc Mission Santa Barbara was in good repair.

When Ford encountered a mission that was so worn down it was no longer recognizable, he created his painting from old photographs or early topographical drawings.80 Other artists also began to paint sets of the missions, necessitating visits to Santa Barbara to record the "Queen of the Missions." Impor tant painters of sets included San Franciscan Edwin Deakin (1838-1923), who emphasized the building's picturesque qualities, and Oriana Day (1838-1886), who recreated the struc tures as they must have looked in their hey days. complete with human activity in the foreground.^!

By the 1880s, documentarians were being

86

NOTICIAS

replaced by illuscracors. llluscracors were intercsccd in the human element and often used mission architecture as a backdrop for real, fic tional. or historic Spanish/Mexican period events that ostensibly cook place there. Popu lar were images of padres among picturesque portions of the complexes. Some were pro duced by J. Henry Sandham (1842-1912) an Ease Coast illustrator who was in California prior to 1883 to gather material to illustrate Helen Hunt Jackson's magazine articles on the

events from the "Days of the Dons" (as the Spanish/Mexican period was known) using mission settings. Seth C. Jones (1853-1930) a Rochester. New York, painter who made sev eral pencil drawings of Santa Barbara Mission in 1889 (Honcyman Collection, Bancroft Li brary. University of California, Berkeley) in cluded padres in some images.

Mission paintings sold well to tourists in ducing many other artists of the 1880s and 1890s to jump on the bandwagon. So many turned to the mission subject that it is impos sible CO mention all of them. All of the mis

missions (republished in book form as QUmpses ofCalifornia and the Missions. Boston: Little Brown & Co., 1883). Julius Ludovici (18371906) created six wacercolor and gouache paintings of padres busy around Santa Barbara mission for Mission Padres of California (Los Angeles: Kingsley Barnes & Ncuncr Co., 1898). Santa Barbara artist Alexander Harmer

sions were painted, but certain missions (pri marily chose with easy access from towns or near railroad routes), were painted more often chan others. Women amateurs, illustrators,

(discussed at length below) often recreated

was most popular with artists south of Mon-

and highly accomplished professionals alike painted Santa Barbara. "fbe mission theme

A’umbered among the talented xvomeri artists here m the late nineteenth centioy was Ellen Cooper Baxley, daughter ofQoleta Valley rancher, Elhvood Cooper. Her canvas ofRincon Point is con sidered one ofher best works.

87

SANTA BARBARA ART

terey, but missions were also painted by such Northern California artists such as Chris Jor gensen (1860-1935)and William ICeich (18381911),33 Other H,esident Artists i8yo~i88y Artists began to settle in Santa Barbara at tracted, like ocher arrivals, by the healthful cli mate. Arriving the same year as Ford, in 1875. was Mary Stevens Fish (1842-1894), who studied with Ford and kept a studio in her home in the Keeler cottage on Anapamu Street.3'! By 1877 there was already a small community.35 In November 1880 came Ed ward Edmondson (1830-1884) an accomplished portrait and still-life painter from Dayton, Ohio, who, like Ford, was in search of a healthful climate. In Santa Barbara he contin ued to paint portraits and still lifes but also made three views of the mission (Coll. Santa

Although Santa Barbara’s population was still very small, its interest in arc is shown in the very ambitious 1881 Art Loan Exhibition (held at Odd Fellows Building, February 8).

The show’s "Contributions by Local Artists” came mainly from the several amateur women artists cited above plus Grace Flail Barnard (1861-1932) of Carpinccria.3S Ac the time of the 1887 railroad link. Santa Barbara's arc community consisted of H. C. Ford, Miss Ellen Cooper and her studio mate Miss Cover, Mrs. Philo Dimmick (painter of flowers), George Flail (portrait and interior painting), Mrs. Lunt (painter of ferns and arc teacher), and Miss Alice R. Johnston (teacher of charcoal drawing, oil. and watcrcolor paincing),39 Art after the i887Hpilroad Linf

Barbara Historical Society).

Santa Barbara’s real boom occurred when the Southern Pacific built a branch line to it

Thompson and West's 1883 History lists active artists as H. C. Ford and Mr. Edmond

from Saugus. Opened to Santa Paula on Feb

son and also cites several female names, most

ruary 8, to Ventura by May 18, to Carpinceria by July 1, and to Santa Barbara on August

probably of amateur status: Mrs. N.P. Austin (probably Almira L. Higgs Austin, i.e. Mrs. Nathan Austin, 1843-1929), Miss M. L. Fish.

Mrs. P. J. Dimmick, Mrs. Cunningham, Miss Ellen Cooper, and Mrs. Reed. Ellen Cooper (Ellen Cooper Baxley. 1860-1949) was the daughter of Ellwood Cooper, who owned the large ranch, Ellivood, in Golcta. The Cooper family was interested in arc (several of its members painted, and Mr. Cooper collected paintings) and in botany. The Santa Barbara Historical Society owns six landscapes by Cooper/Baxley including three of Ellwood ranch.36 Also active in Santa Barbara in the early 1880s were John Nelson Marble (1855-1918) (active 1881-82 and 1907-12) a Woodstock, Vermont, artist, and Frank Tliompson (18361905)(settled c. 1880), who painted seascapes and marine subjects. About 1885 artist John Sykes (1859-1934) joined the community and remained until his death. (He should not be confused with the John Sykes who accompa nied Vancouver's voyage in 1793.) A scries of his mission paintings arc in the Santa Barbara Mission Archives.37

19, it was CO be the first lap of a coastal line chat would ultimately reach San Francisco.

Based on the business potential this offered Santa Barbara's population swelled from 3500 in 1880 to about 6000 in 1890. However, when the cracks got no further chan Golcta, the boom went bust, and in 1900 the town's population still stood at only about 6500.

As with ocher Southern California towns, boom times attracted artists and allowed for the development of a cultural scene.“ii In 1891, women of Santa Barbara, inspired by their sis ters across the nation, formed a Woman's Club. The following year, with one hundred eleven members, it moved to a frame house on Victoria Street. By 1906 it had established four subjects chat the women studied: art, Shakespeare, history, and music.^*2 The cultural leaders of Santa Barbara con tinued CO be Ellwood Cooper and Colonel William Welles Hollister, who owned the ranch, QUn Annie. Cooper and Hollister were the two largest shareholders in the College of Santa Barbara formed in 1869. Cooper's wife, along with the painter H. C. Ford, helped or-

NOTICIAS

>

● 't.

Some ofHenry Clubman Ford's best ivorf^were his renderings ofthe California missions.

This oil on canvas ofMission Santa Barbara datesfrom 1880. Qift ofW.Edivin Qledhill.

V

t

SANTA BARBARA ART

89

NOTICIAS

k->'.

Alexander Manner has beeyi called by one sciwlar, "Southeni Calijoniiasfirst significant paint er.”He often drew upon California’s historyfor subject matter. Here he imagines hoiv theAlpheus Jhcnnpson adobe appeared shortly after its complctum iti the mid-iS^os. 'The building, razed in igi^.is now cmisidered to be thefirst T^ionterey-style adobe ccmstnicted in California.

ganizc Santa Barbara’s Society of Natural

The 1890s were notable for chc floral fes

History in 1876.'*3 In February 1893 Cooper's

tivals, at least two of which were rendered

ranch was chc meeting place of chc Fortnight ly Club; chc topic was Florentine art.'*'^ In 1893 a Sloyd school was begun by Bos-

in paint by chc artists 1. N. Cook and Min nie Jordan (both Coll. Santa Barbara Histori

con-born philanthropist Anna Sophia Cabot Blake, who had arrived in town only two years earlier. Sloyd, a common educational philosophy of chc 1890s, advocated chc teach ing of manual dexterity along with chc devel opment of chc mind. The Blake school caught woodworking and "cookery" equally to boys and girls. After Mrs. Blake’s death in 1899, her educational work was carried on by Miss Ednah Rich, which, in 1909 obtained State Nor mal School status. The school received its first state appropriation in 1911, and in 1913 moved to chc Riviera. An Art Department was added to complement Manual Arcs and Home Economics. (It eventually grew into chc University of California, Santa Barbara.)

cal Society). Jordan was active in San Fran cisco in chc 1890s. The design for the 1895 festival program cover made by Alexander Harmcr, is his earliest known work on the theme of old Spanish days. Art was dis played at some of the local yearly Agricultu ral Fairs. Ac chc 1893 World’s Columbian Exposition in Chicago chat galvanized artists throughout chc state, chc only Santa Barbara contributor was H. C. Ford with twentyfour waccrcolors and a sec of etchings of the missions.45 The most important artist to arrive in chc 1890s was probably Alexander Harmcr (18561925). Harmcr had studied at chc Pennsylvania Academy of chc Fine Arcs but had joined chc U. S. Cavalry in order to travel America's

91

SANTA BARBARA ART

West to gain access to Indians and other sub

Barbara) is especially charming in its child

ject matter he wanted to paint. By the mid1880s he had arrived in California, but he

like arrangement of buildings and its pat tern.

only settled down and reached his stride as a painter after he met and married Felicidad A.

Popularity ofEtchings

Abadic. descendant of an early Californio family. In 1893 they sec up quarters in Santa Barbara's Hawley Block, and within a year or

In the latter nineteenth century, etching was sweeping the nation as a new medium for fine arts artists. One of the earliest Cali

so Harmer began to paint scenes of early Cal ifornio life. In so doing, he became a slightly later counterpart to the San Francisco painters of the 1880s who had produced genre pictures of Californio life. Their interest, like his. was

fornia artists to become seriously interested in the medium was Henry Chapman Ford.

Looking for a method to reproduce his draw

prompted by Americans' nostalgia for their romantic and colorful past. Warmer's works

ings of the missions, he considered lithogra phy then opted for the more up-to-date etch ing medium. In 1883 he went to New York to prepare copper places chat resulted in his

have the added authenticity of pictorializing stories he heard about his wife's family and

Etchings ofthe Fraiiciscayi Aiissions of Caiifor7iia. published by Studio Press of New York.

portraying historic clothing belonging to fam ily and friends. Warmer was one of the few

Ford's Mission etchings have been called tech nically sophisticated since he employed multi

genre painters in the Southland and was sup ported by commissions from local Californio

ple bitings of the places, selective use of drypoint, and retroussage.

families and from publishers who needed illus

In 1891 Ford began a second sec of etch ings In a smaller format (Coll. Southwest

trations. He also painted some pure land scapes of the Santa Barbara area including some of the San Marcos Pass and in Ojai.46 By 1896, several ocher artists were active

Museum, Los Angeles). Uncompleted, it is nevertheless interesting because related cellu

including Albert Ames {?-1897), Mr. A. Lee

loids show how Ford transferred his pencil drawings to the etching places. (Ford did not

Rogers and Mrs. Lunt. Every arc community has its folk and primitive painters, but a painting of Santa Barbara showing St. Antho ny's Seminary in 1893 {Coll. Mission Santa

some other artists.) He first traced the pencil sketches onto the celluloid with a sharp nee dle. filled the lines with chalk, reversed the

create his etchings directly on the plate, as

H. C. Ford ivasfascinated by the vajiishmg architectural legacy of Old California; in this etching he captures the time-zoom digriity ofSanta Barbara's Aguvre adobe, ojice one ofthe city’s grandest bialdings.

NOTICIAS

92

celluloid, laid it on the wax-covered copper place, then rubbed the chalk off onto the wax.

He then used the chalk lines to guide his nee dle on the copper place.

Ford's biographer, Norman Neuerburg, be lieves Ford had his own personal press or ac cess to one in Santa Barbara since a brochure,

don and "drawing" directly on the metal with a sharp burin. In Los Angeles, on Febru ary 9, 1893, a day of rain, she mailed Mr. Keith (probably the artist William Keith of San Francisco) three etchings for critique—of the missions in Santa Barbara. San Diego, and San Luis Rey. She also sent half a dozen

printed about 1888-91, offers etchings on all kinds of paper and any image available. Neucrburg guesses they were only printed on re

San Diego etchings to dealers in San Francis co and Coronado (San Diego) suggesting she

quest. Ford didn't number his prints, so the to tal number of copies of each one is not known.'^S

Angeles or Santa Barbara.“19

Santa Barbara had a second important etcher in the Boston artist Ellen Day Hale (1855-1940) who wintered in the city in 1892-93 and 1896. (Her father, the famous

had access to an etching press, cither in Los

Tourist Artists While Santa Barbara did not have a large, sophisticated, resident art community, many artists did visit as tourists or winter residents.

Winter lifisidcnt Tourist Artists

clergyman, Edward Everett Hale, accompa nied her in 1896.) Hale, a talented artist in

firm the East and Midwest

many media had been utilizing etching at least since 1888. As her diary (Coll. Archives of American Arc) cells us. she occupied 1892-

ton of the West, proved alluring to frost bit

93 etching scenes in Santa Barbara and Los Angeles. In contrast to Ford, she worked di rectly on the place, taking her places to loca-

Santa Barbara, sometimes called the Men ten Easterners, especially those of Boston and New York. Like the heroes and heroines of Henry James's novels, following the Civil War, liberated by train travel and excess

One ofthe leaders ofthe area's arts and crafts inovanent was Charles Frederick^ Eaton,primarily knownfor his work in wood, metal, and leather. He also painted, as this oil of Missiem San Luis R^ey de Francia attests.

93

SANTA BARBARA ART

money, lured by che adverdsements of Raymond and Wliitcomb Tours, Bostonians stepped onto comfortable Pullman cars and were whisked from che snow drifts of che East to che balmy shores of che Pacific in a matter of four or five days. After the Santa Fe reached Los Angeles in 1885 and che Southern Pacific linked CO Santa Barbara in 1887.

Pasadena and Santa Barbara be came Bosconites' main winter outposts. California's large resort hotels, such as the Arlington in Santa Barbara, provided sophisti cated accommodations. Trains reached most of California's major towns.50 Thus, wintering artists often sketched all over che Southland.

Some of che Boston artists who

Forfive decades,Joh7i Marshall Qambleivas a leaderofSanta Barbaras art colony. He saved as Boa>d Presidait ofthe Santa Barbara School ofthe Arts,as color consultantfor the city’s Ar chitectural Board ofEjojieiv, and had a major hand in the interior design ofSanta Barbara’s Arlington Theatre. Photograph by W.Edwin and Carolyn Qledhill,c. igog.

have left art works of Santa Bar bara

include

Ellen

Day

Hale

(1855-1940), Mr. Butler (probably Philip A. Butler, active 1890s), Miss Jane Hunt (18221907, sister to che Boston artist, William Morris Hunt), Joseph Foxcroft Cole (18371892), as well as che Brookline, Massachusetts artist. Henry P. Spaulding(1868-?)in 1892.51 Ellen Hale's 1893 diary gives us an idea of her typical activities during her stay. She made several train crips to Los Angeles and Pasadena to meet friends at che Raymond Hotel and to make etchings.

She bought arc supplies, sketched a landscape in pastel, and made a rough preparatory sketch on canvas for a por trait she had been commissioned to do— probably of Mrs. Nordhoff. She visited artist friends and attended at least one meeting of che Fortnightly Club at Mr. Cooper’s ranch.

A few New York landscapists also visited San

exhibitions, such as at che National Academy of Design and the Brooklyn Arc Association showed other artists che beauty of the area and induced them to visit.53 San Francisco Artists who Circulated to Santa Barbara The railroads made it easier for San Francis co artists in search of a warmer winter climate and new and exotic subject matter to reach Santa Barbara.

Judging from the daces that paintings of Santa Barbara were exhibited at the San Fran cisco Arc Association exhibitions, most of the artists arrived after the railroad spur was com pleted in 1887. and their favorite subject was the Santa Barbara Mission. Views of the beach and some nearby oaks and canyons arc also known. Some of the more important art ist visitors of the 1890s include Edwin Dcakin,

ta Barbara including Samuel Colman (18321920) and Louis C. Tiffany (1848-1933), inde pendently in 1888, and Lovell Birge Harrison (1854-1929) who settled for a couple of years from 1891.52

Theophilus Hope D'Estrella (1851-1929).

Hugo Ancon Fisher (1854-1916), Charles R. Peters (1862-1928), Amedee Joullin (1862-

In turn, paintings of Southern California’s scenery, exhibited in major East Coast annual

1917), Lucia Mathews (1870-1955), and Er nest Narjot(1826-1898).54

94

NOTICIAS Los Ayigdes Artists who Circidated to Santa Barbara iSSo-xpio

Los Angeles artists also traveled up to San ta Barbara, but less as an escape from the cold or to seek out Californio subject matter than to find new and picturesque scenery. Artists known to have made the trip at the turn of the century include Fannie Duvall (1861-1934).

Benjamin Brown (1865-1942). Gardner Sy mons(1861-1930), and Elmer Wachtel(18641929).55 Santa Barbara Art. 1900-C.1915 In 1901, the Southern Pacific chat had been building its coast line south from San Francis co and had faced especially heavy construction problems in the one hundred fifty miles north of Santa Barbara, finally linked to its rails in Goleta. Expectedly the coast line stimulated new growth- The town doubled its population in ten years, and many civic improvements were made: the town got electric lights, a fan cy train depot, two new schools. Sc. Antho ny's College, a boulevard along the beach, sew ers. and parks. Moncecito developed into an exclusive suburb with luxurious estates built by wealthy easterners. Social life centered on the Potter Hotel opened December 19. 1902, and the Montccito Country Club, where tennis and polo was played. Milestones in these two years include the visit of two presidents: Wil liam McKinley in May 1901 and Theodore Roosevelt in 1903.56 Arts &Crafis?^ovaneni Parallels Early Art Some of the wealthy Easterners construct ing large estates in Moncecito included small arcs and crafts enclaves on their grounds. A handful of craftsmen in various media tcx)k up residence in the arca.57 The arcs community and the arcs and crafts community were mutually supportive. Take, for example, the two building complexes built by persons interested in arts and crafts that also provided space to fine arts artists. It was across from the newly opened Potter resort ho tel in 1902 chat Mrs. Charles Eaton (wife of the arts and crafts artisan) constructed her building for artisans and artists. It consisted of

chrcc small connecting frame studios.58 The same year, 1902. Mrs. Charlotte Delaney constructed a one-story, two-office building on the northwest corner of State and Anapamu streets.59 Fine Arts If we consider Santa Barbara's first "Gold en Age” of painting as taking place prior to 1900 (it consisted of the historical painters H. C. Ford and A. F. Harmcr). then Santa Barba ra's second "Golden Age" of painting existed between c. 1905 and c. 1912. Besides the arri val of artisans and craftsmen, many new painters moved to town, as did photographers (the most important of which were W. Ed win and Carolyn Glcdhill).60 Studios were available in the Hawley block, in the two arts and crafts complexes of Mrs. Eaton and Mrs. Delaney, in a complex built by Alexander Harmcr after 1906 (sec below), and in homes in picturesque Mission Canyon. Art was dis played in individual studios, at the two arts and crafts shops, and at the Potter Arc Gal lery. This latter was located in the 100 block of Chapala Street, was headed by Frederick Junior (1888-1950) and remained open until 1921 when the Potter hotel burned. Occasion ally. a loan exhibit ol locally owned paintings would be organized, such as that held at the Normal School in 1908 and at the Woman's Club.61 Tlie arc community began to build about 1905 when Thaddeus Welch (1844-1919) and his wife Ludmilla Welch (1867-1925) moved to Santa Barbara for his health. For the Welches as well as for many of the most im portant artists of the second Golden Age, San ta Barbara represented an attractive place to settle with a pleasant climate. (Many of the top resident artists ol the first two decades of the twentieth century used the town only as headquarters from which they made field crips CO such places as the desert (as did Lungren), Indian country(as did Borg), or to locate wildflowcrs (as did as Gamble)). The town also of fered crainloads of wealthy tourists interested in purchasing paintings. Thad Welch had earned a reputation lor his landscapes of cows

SANTA BARBARA ART

95

grazing on Marin County hills, and he contin ued painting these until his death. However, Santa Barbara residence gave Ludmilla's career a real start. Learning how to paint from her husband, she used watcrcolor to record the

mule and wagon in order to acquire new sub ject matter. Often creating extended panora mas and eliminating humans entirely, his works convey the silence and vastness of the deserts seen under varying lights of day. He

many historic adobes in Santa Barbara. (Fifty works are in the collection of the Santa Barba

holds claim to being the most important early depictor of the American deserts (a subject

ra Historical Society). Women artists seemed to like painting series, such as sets of missions

that became generally fashionable after 1920).

After Lungren's wife died in 1917, he dedicat

and the state's wildflowers. In selecting histor ic adobes. Ludmilla was reminiscent of Los An

ed the rest of his life to developing the local art community; his first action was to will his

geles’s Eva Scott Fenyes (1846-1930) whose series of watercolors on adobe houses of Cali

collection of paintings to the people of Santa Barbara (Coll. University of California, Santa Barbara).64

fornia (Coll. Southwest Museum) include sev eral from the Santa Barbara arca.^2 It was about 1906 that Alexander Harmer moved from his studio in the Hawley block to his wife's family residence, the Abadie-Yorba adobe off of the City Hall Plaza. Reportedly, at the request of recently arrived portraitist Robert Leicester Wagner (1872-1942), he be gan building a series of adobe studios near him.

These eventually housed many famous artists.

Wagner had been an illustrator in New York, and his mother Mary was a prominent ceram ist in the arts and crafts community. He occu pied himself with painting portraits until his move to Los Angeles in 1910.^3 Also in 1906 came Fernand Lungren (18591932). He enjoyed a reputation in the East as an excellent illustrator, but like many illustra tors he yearned to produce fine art. Most of his Santa Barbara-era paintings arc of Death Valley and other deserts to which he made long and sometimes solitary trecks with a

Arriving in 1906, a refugee of the San Fran cisco earthquake and fire, was John Marshall Gamble (1863-1957). Gamble had gained a reputation as a painter of landscapes of Cali fornia's wildflowers. After moving to Santa Barbara, he became a familiar sight in his high laced boots, bound for the country in his brown roadster in search of fields of wildflow ers to paint. For years his pink-tinted studio was a Mecca for young artists who listened to his recordings of Bach, Bartok. and Maori folk songs. Even in his eighties he served as the color expert on the city's Architectural Board of Review.65 Three artists did come specifically to Santa Barbara to paint its scenery. The first. Henry Joseph Breuer (1860-1932), whose main resi dence was San Francisco but who made his home in Santa Barbara on and off through the first decade of the twentieth century, made some wonderful landscapes of Santa Barbara

Although knoum primarilyfor his work in oil and his etchings, H. C. Ford also worked in watercohr as demonstrated here in his view ojSanta Barbaras Vdest Beach. The promontory at left is Castle Rpekjthe inansion on the Mesa is that ofthe Thomas Bloodgood Dibbleefamily.

4’ .

Jut#

NOTICIAS

96

back country in 1902.66 George Elbert Burr (1859-1939). a Denver artist, probably painted his gouache watcrcolors of Montecito Gardens in 1907. He ultimately made several etchings of wild scenery in the area.67 Carl Oscar Borg (1879-1947) of Los Angeles discovered Santa Barbara in 1907 while exploring Southern Cali fornia for picturesque scenery to paint. He is almost unique in his paintings of seal hunting on the Channel Islands, and he made some wonderful Barbizon-style landscapes of Santa Barbara's oak dotted hills and shoreline. How ever, when he settled in the later teens, he be came yet another painter to use Santa Barbara as headquarters for his trips to sketch the Indi ans of the Southwest-6S Although the role that Montecito estates played in the Arts and Crafts movement is well known, this area’s wealthy residents also had an impact on painters. Many of these came and went without really touching Santa Barbara’s mainstream art community. Lowell Birge Harrison (1854-1929), suffering from poor health, arrived in Montecito in the sum mer of 1891- His neighbor was Ralph White head at whose home. Arcady. Harrison was a frequent guest, and after Harrison returned to the East in 1896 he taught at Brydeliffe, an art colony Whitehead established in Woodstock.

The Montecito interlude was crucial to Harri

dcrsca painter Zarh Pritchard {1866-C.1948).

Arriving at the beginning of 1903 he was in and out of the town until late 1904. The inter lude also proved crucial to him for, improved in health, he turned from his profession of dec orator to take up his love of painting undersea themes. Visiting much later, in the early 1920s. was Frederic Mathews (7-1941), an American expatriate whose "permanent" ad dress was Paris. He painted poetic studies of the lavish prohibition-era parties held at Montccito estates, particularly the costume parties held at the Gillespie estate.69 As the century's first decade unrolled, painters continued to settle while workers in arts and crafts dwindled. Although the new painters were not of the caliber of the earlier arrivals, some of the most notable were land scapists in the Barbizon style such as Oscar R. Coast (1851-1931) and Harry Cassic Best (1863-1936). the latter from San Francisco who wintered in Santa Barbara. In the early teens came William L. Ocie (1871-1957) and Alexis Podchemikoff(1886-1933).70 This discussion of early Santa Barbara art ends in the mid-teens, for from that time through the 1920s, the new artists who set tled became members of Santa Barbara's third "Golden Age" of painting associated with the 1920s. Most of these artists painted Impres

of figurals that he had learned in Paris, to the

sionist-style landscapes or Western themes and associated themselves with the Santa Bar

painting of landscapes. Another artist attract ed to Santa Barbara for his health was the un¬

chronicled by other art historians.

son's career in that he turned from the painting

bara School of the Arts. They have been

footnotes/ 5ibLiosraphg 1. Campbell Grant, The Ffick.Paintings ofthe Chumasn: A Study of a California Indian Culture (Santa Barbara, Ca,: Santa Barbara Museum of Natural History, 1993).

Christopher L. Moser, Native American Bos}{,etry ofSouthern California{RivcTsidc. Ca.: Riv erside Museum Press, exh. cat.. Riverside Mu nicipal Museum, October 12. 1992 to May 30.

1993).

Travis Hudson. The Material Culture of the Chumash Interaction Sphere (Santa Barbara Museum of Natural History, 5 voL. c. 1982-7).

2. Various entries in the American People’s Ency-

clopedia, "European History," "Renaissance," "Exploration," ’Northwest Passage."

3- Ralph J. Roskc, Everyman's Eden, A History of Caifomia (New York: MacMillan, 1968) Chapters 1-6.

Frances Tomlinson Gardner, Early California Navigators and their Maps{S^n Francisco: National Society of Colonial Dames of Ameri ca. 1941).

R. V. Toolcy, California os cm Island,a Cjeographical Misconceptioii Illustrated by wo Ex amplesfixnn 1625 to lyyo(London: Map Collec tor s Circle, 1964).

Pierluigi Portinaro and Franco Knirsch, Hie

97

SANTA BARBARA ART Cartography ofJ^orth America 1500-2800(New YorkrTacts on File, 1987).

10. "Painting in El Dorado, 1849-1859" in Jeanne van Nostrand. Fii^t Hundred Years, pp. 34-56.

4. John W. Reps, Cities ofthe American West: A History of Frontier Urban Planning (Princeton, N. J.: Princeton University Press. 1972).

Bruce Kamcrling, "The Portraits of Signor Barbieri,” California History, v. LXVI, no. 4

Daniel Garr, "Hispanic Colonial Sccclcmcnc in California: Planning and Urban Develop ment on the Frontier: 1769-1850" (Ph.D. Dis sertation. Cornell University. Ithaca, N.Y., 1972).

In the Mexican period, maps were made to define the private ranchos. David Hornbeck, "A Source for Mapping Hispanic Sccclcmcnc of California," presented at me Association of American Geographers. New Orleans, 1978.

5. The California Missions: A Pictorial History (Menlo rark, Ca.: Sunset Publishing Corp..

1993).

Kurt Baer, Painting and Scuhture at Mission Santa Barbara(Wa^ingion, D. C.: Academy of American Franciscan History, 1955). Nor man Neuerburg, The Decoration of the Cali fornia Missions (Santa Barbara: Bcllcrophon Books, 1987).

Norman Neuerburg. "Painting in the Cali fornia Missions," American Art Review, vol.

IV, no. 1 0uly 1977) pp. 72-88.

Maynard J. Geiger, Pictorial History of the Physical Development ofMission Santa Barbara ijo6-ig6^(San Francisco, 1963).

Kurt Baer, The Treasures of Mission Santa Inez (Fresno, Ca.: Academy of California Church History, 1956).

James L. Nolan, "The Cross and Our Lady

of Mt. Carmel,” Ventura County Historical So ciety Quarterly(Winter 1977).

Lanier Bartlett, Carved Ornamentation ofthe California Mission Period (Southern California Index of American Design), vol. 1 (Los An geles, 1940).

6. Jeanne Van Nostrand, The First Hundred Years of Painting in California lyyyiSje (San Fran cisco: John Howell Books. 1980). Sykes paint ing reproduced in Grant. RochPaintings 7. W. H. Mcycts.Journal ofa Cruise to California and the Sandwich Islands...i8,f.i-i84^ (San Francisco: Book Club of California, 1955).

8. Alta California 1840-184Z: The Journal and Ob servations ofWilliam Dane Phelps Master oj the Ship ”A/ert"(Glendale, Ca.: Arthur H. Clark, 1983).

A S^oum in CaUfomia by the Kings Orphan.

The Travels and Sketches ofQ. M. waseurtz af Sandels, a Swedish Qentleman Who Visited Cal ifornia in iS^z-iS^^ (San Francisco.- Book Club of California. 1945).

Hinrich Lichtenstein, Ferdinand Deppe's Traveb in California in 1837..., translated fwm the Qerman by Qustave O. Aiit (Los Angeles: Dawsons. 1953): Deppe is also mentioned in the writings of Alfred Robinson and Edward Vischcr.

(December 1987^ pp. 262-77; (SBHS owns portraits of Carlos Antonio Carrillo, Joaquin Carrillo, Maria Josefa Castro Carrillo. Kamona Lorenzana and Jose dc la Guerra y Noriega).

11. Hutton’s portfolio of drawings and paintings is in the collection of the Henry E. Huntington Library and Arc Gallery and has been partially published. California Drauings of william Ric/i Hutton (San Marino, Ca.: Henry E. Huntington Library, 1942), 12. H. M. T. Powell. Santa Fe Trail to California (San Francisco: Book Club of Cali fornia. 1931).

13. Joseph Armstrong Baird, Jr., compl.. Cata logue of Original Paintings, Drawings and Watercolors in me Robert B.Honeyman, Jr., Collec tion (Berkeley: The Friends of the Bancroft Library, University of California, Berkeley, 1968). omia Missions Or 14. Account ofa Tour ofthe Calfc . . .. _ Tozvns 1^6, the Journal & Drawings of Henry Miller fSanca Barbara: Bcllcrophon Books, 1985 ana San Francisco: Book Club of Califor nia. 1952). Miller's drawings are in the Ban croft Library. University of California, Berke-

ley.

Henry Miller, 13 California Toivns from the Original Drawings(San Francisco: Book Club of California, 1947).

15. Robert D. Monroe. "William Birch McMurtrie: A Painter Partially Restored," Oregon Historical Quarterly. LX (September 1959) pp.

352-374.

16. Van Nostrand, First Hundred Years, p. 63.

17. Franz Stenzcl, James Madison Alden: Yanfee Artist of the Pacific Coast, 18^4-1860 (Fort Worth: Amon Carter Museum. 1975).

18. Most of Vischer’s works arc in the Bancroft Library, University of California, Berkeley.

Edward Vischer, Vischer's PictorialofCalifor nia {San Francisco: J. Winterburn. 1870).

19. Thea Glidden, Herman Herzog i8jz-iggz American Landscape Painter exh. cat., Phoenix Chase Galleries, Inc., Baltimore Md., n.d. In list of paintings arc five works owned bv Ban croft Library, University of California, Berke ley, that includes Scene fijear Santa Barbara.

Donald S. Lewis, Ir., "Herman Herzog (1831-1932), German Landscapist in Ameri ca," American Art Reviezv. v. 3 (July-August 1976) pp. 52-66.

20. Biographies for Colyer, Tavernier and Browne come from Edan Milton Hughes, Art rancisco: (San ists in California iy86-i Hughes Publishi] :o., 1989).

Browne's presence mentioned in Owen H. O’Neill. History ofSanta Barbara County (San ta Barbara, Ca.: Harold McLean Meier. 1939)

98

NOTICIAS

p. 259.

Henry L. Oak, A Visif to the Missions ofSouthern California in February and March i8~^ (Los Angeles: Southwest Museum. 1981).

21. John W. Reps, Views and Vieiemakers of Ur ban America America (Columbia: (Columbia: University University of of Missouban ri Press. 1984).

22. Edwards Roberts, Santa Barbara and Around There (Boston: Roberts Bros., 1886) pen and ink illus. by H. C. Ford.

Charles P. Heininger. publ.. Souvenir ofSatita Barbara, Cai.(SanTrancisco?: c. 1888). Foldout contains bird's-eye view from Mesa and ocher grisailles probably from photos.

Surn^ Skies And Southern VtsCas: An Illus trated Ckade to the Most Favored Section ofCali imigracion Bureau, bureau, c. fornia (Sunset Land & Immigration 1895). Pen and ink illus. by W. J. Miller (perside). Mentions F^ranhaps also active in Riverside). cis H. Knight, wall paper and art store; Na than Bentz, importer and dealer in Japanese art; A. H. Rogers, a photographer; _' L. Ortiz, a carriage and sign painter neer ... for cnircy ... years; and W. J- Becker, a house and sign painter from New York.

23. Reproduction ofThompson and Wests History of Santa Barbara and Ventura Counties (Berkeley, Ca.: Howell-North. 1961). Originally pub lished 1883.

24. Albert F. Moritz. America the Picturesque in 7\’ineteenth Century Engraving (New York: New Trend, 1983).

25. Picturesque California (New York and San Francisco: J. Dewing, 1888).

28. Ford biography and information on Santa Barbara arc community of the 1870s and 1880s in Norman Neuerburg, An Artist R,ccords the California Missions: Henry Chap man Ford (San Francisco: Book Club of Cali fornia. 1989).

"The Home of H. C. Ford," SantaBarhara Weekly Press. July 2,1881.

"Ford's Santa Barbara Pictures," Santa Bar bara Weekly Press. October 28, 1876. Ford’s 1878 crip to Yosemicc with a party chat in cluded fellow Santa Barbara artist and his pu pil Mary Fish and wife of Los Angeles Times publisher Mrs. Harrison Gray Otis was re ported weekly by Otis. Santa Barbara Weekly Press, June 29, July 6, 13, 20, 27. August 3, 10, 17, 24, 31, September 7, 14, 21, 28, and Octo ber 5.

Library Social, Odd Fellows Building, Santa Barbara, September 17, 1875, contains "Cata logue of Ford's Oil Sketches" (Coll. SBHS).

Sec also a Ford landscape dated 1875 (Coll.

Bowers Museum, Santa Ana).

The Santa Barbara Historical Society owns 48 works by Ford including views of cne mis sions. Gavioca Pass, Mission Creek, various adobes (Carrillo. Gonzales, dc la Guerra), the Hollister Ranch, the Dibblee Mansion, etc.

29. Norman Neuerburg,"The Old Missions Pop ular Theme in Soutlicrn California Art before 1900," in Nancy Dustin Wall Moure. Draw ings and Illustrations by Southern Califamia Artists before ig§o, (cxh. cat.. Laguna Beach Museum of Art, August 6 - September 16, 1982), bibliog.

John Muir, ed.. Picturesque California(West oi the Rocky Mountains) (Philadelphia: Run ning Press. 1976).

Norman Neuerburg, "Painting Mission San ta Barbara," TJoticias. v. XLII, no. 4, Winter 1996, entire issue.

26. "Two Seaports of New Spain," (Guaymas, Mcx. & Santa Barbara, Ca.) OverlandWkonthly (December 1884), pp. 561-75, 3 pen and ink of SB, one by J. Harrison Wright; Edwards Robcres. "A Santa Barbara Holiday," Harpers, v.

James L. Nolan, "Anglo - American Myopia and Calitornia Mission Art,” Historical Society of Southern California Quarterly (Spring 1976) p.l+, p.l43+ and p. 261+.

LXXV (November 1887) pp. 813-835, pen and ink and steel engr. by H. C. Ford?; "The Channel City.” Hind of Sunshine (^November 1894) p.ll2, one pen and ink by Nellie Steams Gooaloc; S. M. Kennedy. "The American Mentone," Land of Sunshine, v. 10 (March 1899) pp.187-91, grisaille gouache by A. Harmcr.

Elisabeth L. Egenhoff, Fabricas: A Collec tion of Pictures and Statements on the Mineral Materiab Used in Building in California Prior to 1850 (Supplement to the California Journal of Mines and Geology for April 1952).

(Santa Barbara: Capra Press, 1980).

David Gcbhard, Santa Barbara: The Creation of Tleiv Spain in America (cxh. cat., UCSB. 1982),

Nancy Moure, Loners Mavericks and Dreamers: Art in Los Angeles Prior to 1900, (cxh. cat. Laguna Arc Museum, November 26.

1993 to February 20. 1994), section on mis sions and bibliography.

The Irvine Museum, Rpmance i the Belb: Hie California Missions in Art, (exh. cat. June 17-Octobcr 14, 1995).

David C. Strcacficld, California Gardens: Creating a New Eden (New York: Aobeville Press, 1994).

30. Norman Neuerburg, "Ford Drawings at the Southwest Museum,” 'The Masterfey, v. 54, no. 2(April - June 1980) pp. 60-64.

27. Herb Andrce. Santa Barbara Architecture

David F. Myrick, Montecito and Santa Bar bara, voi I: From Farms to Estates, vol. II: The Days of the Cp'eat Estates (Glendale. Ca..Trans-Anglo Books, 1988 and 1991).

i

Neuerburg, An Artist Records.

Charlotte Bcrncy, "The Return of the Mis sions: Henry Chapman Ford's Serenely Beau tiful Images arc Windows on California His tory," Antiques & Fine Art (February 1989)

99

SANTA BARBARA ART pp. 59-62"Henry Chapman Ford Paintings on Display in March," Mission Inn Foundation Neivsletter

34. Hughes. Artists in Ccilifomia.

(February 1992) p. 1.

31. Ruth 1. Mahood. ed., A QalUry of California Mission Paintings by Edwin Dea/yn (Los An geles: Ward Ritchie Press. 1966).

Deakin sets owned by Los Angeles County Museum of Natural History and the Francis can Fathers of California, on exhibit at Santa Barbara Historical Society.

Fabricas.

32. K. S. Torrey, Sketches

Also see the many views of Santa Barbara Mission exhibiccd by San Francisco arrises, be low.

the Old Santa Barba

ra Mission (Troy, N.i.: Nims & Knight, 88^.

Lesser works were produced by Fan nie Duvall; Waterworks Santa Barbara Mis sion, an oil. Santa Barbara Cloister No. n. and No. 9 Ventura Mission are oils owned by the Bowers Museum. Santa Ana; Duvall pid>lished Old MissioJis of Southern California (Los Angeles: Lang-Bircley. Co., 1897).

Moure, Loners.

Armand Harold Griffith (1860-1930) painted Mission Santa Barbara (reprod. in Arthur Hopkin Gibson. Artists ofEary Michigan (Detroit: Wayne State University Press, 19/5).

The Santa Barbara painter John Sykes paint ed several of the missions c. 1881 (Coll, Santa Barbara Mission Archives), Between 1888 and 1894 Jane Hunt made about 140 watcrcolor sketches of the missions upon 121 separate sheets, nineteen of Santa Barbara, George Watson Cole. "Missions and Mission Pictures," News Notes ofCalifornia Li braries, V. 5. no. 3(July 1910) p. 407.

TTic Santa Barbara Historical Society owns a tainting of Santa Barbara Mission by Oscar 1. Coast (1851-1931) and 17 paintings of mis sions by William G. Purvis (1870-1924).

33. "Jorgensen's interpretation of the California Missions had much in common with the wa tcrcolor renderings of a professional architect.

They arc highly topographical." Each mission is shown in its entirety. Smaller paintings fo cus on particular architectural motifs. "Chris tainted the majority of the mission pictures Ktween January 17, 1904, when he and Ange la began their journey by horse and buggy to each of the twenty-one California Missions, and 1905 when the Jorgensen’s built their win ter studio in Carmel. ...Departing from Santa Barbara, Chris and Angela had traveled from Santa InE9s to La PurBDsima ConccpciF3n, San Luis Obispo, San Miguel, San Antonio...”

Katherine M. Lictcll. Chris Jorgensoi California Pioneer Artist (Sonora, Ca.: Fine Arts Research Publishing Co., 1988) p.18.

The Santa Barbara Historical Society owns six pictures by Jorgensen, one of Mission Santa Barbara.

William Keith painted Santa Barbara Mis sion, 1883 (offcrccl by Montgomery Gallery in 1992).

The Santa Barbara Historical Society owns six paintings of Spanish/Mexican era adobes painted by Fish.

35. Santa Barbara Shcciai Weekly Press. July 1877, "Art in Santa Barbara," p. 4.

Marcus Mote (1817-1898) painted Santa Barbara in 1877. repro. in Hirschl & Adler Gal leries, Inc.. New York The American Scene. (cxh. cat., October 29 - November 22, 1969).

36- Thompson and West, History of Santa Bar bara. discusses Ellwood Cooper and artists of Santa Barbara.

Ellen Cooper Baxley listed in Hughes, Art ists in California.

O'Neill, History, discusses H.C. Ford and Browne.

37. Hughes. Artists in California, lists Marble.

Thompson and Sykes, The Santa Barbara His torical Society owns a garden scene and a por trait of Welch by Marble, 14 marines by Frank Wildes Thompson (possibly this is Francis Alpheus Thompson), and 11 works by Sykes, including several of Castle Rock and the mission.

Several mission

are

owned by the Santa Barbara Mission Ar chives, 38. Santa Barbara Improvement Association, Catalogue Art Loan Exhibition, held at Odd Fellows Building. February 8, 1881 (Santa Bar bara: Press Steam Printing House, 1881). Art exhibitors included Abbe Reed and J. H. S. Reed, Miss Mary Stevens Fish, Grace Hall Barnard (listed in Hughes) landscapist, Mrs. Frank Kellogg, a still life artist, Mrs. F. Leslie Kellogg (The Santa Barbara Historical Society owns a view of CastU_ Ppek. by Mary C. Kcflogeb and Mrs. N. P. AustinL (probabfv Almira L. niggs Austin, i.e. Mrs . Nathaniel Austin, listed in Hughes). "Art Loan Exhibition."

Santa Barbara Weekly Press, February 12, 1881, 39. Santa Barbara: A Cjuide to the Channel City...

(New York: Hastings House. 1941).

Santa Barbara Morning Press. Special Edi tion, November 1887, ^Museums and Arc Galleries,” pp. 34-5. Katharine Bard Wollman. compl., Joanna Bard Newton, introd.. Vl'estem Draivmgs from the Sketchbooks of Margaret BoydBitsh i88^-i8Sy(Santa Barbara, 198040. Southern Pacific's First Century (San Francis co: Southern Pacific Public Refations Depart ment, 1955) p. 29.

41. Santa Barbara in "Southern California," in William Gerdts, Art ./Across America (New York: Abbeville Press, 1990) vol. 3, pp. 293298.

Gary Breitweiscr, "Art in Santa Barbara: A

NOTICIAS

100

Brief History." typescript, Santa 1982.

Barbara,

42. O'Neill, cd.. History.

43. C. M. Gidney, History ofSanta Barbara, San Luis Obispo and Ventura Counties, California (Chicago, 111.: Lewis Publ. Co.. 1917), pp. 11213 for information on College of Santa Barbara.

44. On February 18, 1893, Ellen Day Hale drove out by carriage to a meeting. "We met Mr. Butler the artist and Miss Kelly a little way on, and we drove out to Mr. Cooper's ranch, where the Fortnightly Club was to meet.” Hale Diary(Archives of American Art. Smithsonian Institution).

45. Visit to sloyd school. El Barbaraio/ South western Californian, 2, no. 1 (July 1897) p. 2.

Walker A. Tompkins. Santa Barbara Yester days (Santa Barbara: McNally and Loftin, 1962) p. 43 "Sloyd School Became UCSB." Other artists active; Minnie Jordan Santa Barbara Flower Festival of i8p6 (Coll. SBHS); and Geo. F. Kaiser View ofSanta Barbarafrom theM.esa (Coll. SBHS) and S. B.Mission, 1898 (Coll. L. B. Robinson).

The 1893 Santa Barbara City Directory lists Albert Ames and Cyrus Subminto.

Final Rieport of the California Worlds Fair Commission,.. Chicago. 1893 (Sacramento: State Office, 1894).

46. The Santa Barbara Historical Society owns twenty-nine works by Harmer including Bur ton Mound, portraits. Lobero Adobe, Battle of Flowers Fleet Festival, Fiesta de la Cuesta Ranch, etc.

Alexander F. Harmer 1856-1925, (cxh. cat..

James M. Hansen Galleries. Santa Barbara, September 27 - October 16, 1982), 47. Visit to studios of Albert Ames, the late Hen ry Chapman Ford and Alexander Harmer. El Darbareno, 1, no. 13(March 7. 1896), p. 1; visit to studios of Mr. A. Lee Rogers(many studios in upper Hawley block) ana Mrs. Lunt at her home, El Barbareno. 1. no.l4 (March 14, 1896), p. 2, The Santa Barbara Historical Society has a picture of the de la Guerra home by Mrs. Lunt and a watercolor of Mission Santa Barbara by A. Lee Rogers.

48. Maureen C, O' Brian and Patricia C. F. Mandel, The American Painter-Etcher Movement (Southampton, N. Y.: The Parrish Art Mu seum.1984).

Moure. Loners, section on "Printmakers."

Neuerburg, An Artist Records.

Henry Chapman Ford, Etchings ofCalifornia (Santa Barbara: Pacific Coast Publishing, 1961), Ebria Fcinblatt, "Los Angeles Prints, 18831959." Los Alleles Prints i8oyio8o,(exh. cat., Los Angeles County Museum of Art, Septem ber 4-November 30. 1980 and June 25-

September 20, 1981). pp.10-11.

1891 set of etchings and celluloids (Coll.

Southwest Museum).

49. Ellen Day Hale diaries, (Archives of Ameri can Art, Smithsonian Institution), Washing ton, D. C. Karen F. Beall, American Prints in the Library of Congress (Baltimore: Johns Hopkins Press, 1970),lists San Diego, 1893 and Santa Barbara 1892, etchings from the Hubbard col lection.

Rev. E. E. Hale's opinion of Santa Barbara where he is spending tne winter, ElBarbareno, V. 1, no.l4(March 14, 1896) p. 1.

50. Aug^ustus F. Trmp, Notes ofan Excursion to Calfomiainthe WinterCrSpring0'i8g^ (typescript at Huntington Library, San Marino).

His itinerary is typical of that of other tourists. His party from troi Buffalo. N.Y. traveled to the Raymona and amused themselves in Los age ride nae to to San oan GauaAngeles by taking a carriage briel Mission, the Rose Winery, and Baldwin's ranch. They made an excursion by train to Los Angeles and to Redondo Beach, then took off for the Coronado Hotel, in San Diego from which they made an an excursion excursion to to Tijua ney maac 1 ijuana, Mexico . Thcy then cook the train to the Arlington Hotel, Riverside, where they ate oranges, on to the Hotel Westminster, in Los Angdes, then the Arlington Hotel. Santa Bar bara. From there they returned via train to Saugus and to Mojave where they joined the Santa Fc train to San Francisco. Two amateur photographers were with the group.

51. The Bostonians: Painters of an Elegant A^ge 1870-1930 (Boston: Museum of Fine Arcs, 1986).

Janice H. Chadbourne, et al., TheBostonArt club: Exhibition Record 1873-1909 (Madison, Cc.: Sound View Press, 1991) lists Philip A. Butler ex. Mommg at Santa Paula Mission, 1899; Santa Barbara scenes were also exhibiccd by some of the following: George Henry Clements, William Henry Drake. Mich Loring GetchcII. Samuel W. Griggs, Ellen Day Hale, Birgc Harrison. Al HeneK. L. B. Hum phrey, Benoni Irwin, J. R. Key,John Nelson vlar&lc, Walter E. Nccciccon. Edith Lorin Pierce, Charles W. Sanderson, and Sara Choate Sears.

See Nancy Moure. Loners. "Pasadena Tour ist Artists 1885-1900" for references to Hale, Hunt, Butler, and Cole, and see footnotes.

Cole painted Brook,Montecito, Ca., wc, 12 x 19 in., and California Landscape, 1880, wc, 10 X 14 in., and California Mission wc, 10 x 7 in.

(Coll. Museum ofFinc Arts, Boston).

Jane Hunt was a recurring winter visitor in California and between 1883 and 1898 she painted 114 watercolor sketches of missions, many of Santa Barbara (Coll. Pasadena Public Library). She was listed as an artist in the Santa Barbara City Directory 1905,

101

SANTA BARBARA ART

Diary of Ellen Day Hale for 1893 ^rchives of American Art); ^llen Day Hale 18^-1^40, (exh. cat.. Richard York Gallery, NY. October 17-Novembcr 14. 1981), chronology.

Some paintings of this period reproduced in Gloria Kexfora Martin and William H. Gerdts. A Painters Paradise: Artists and the California Landscape (Santa Barbara: Santa Barbara Museum of Art, 1996).

52. Monograph recently acq. by Santa Barbara Historical ^ciety re Hudson River type artist whose name starts with P. Moure. Loners. "Pasadena Tourist Artists" and footnotes.

Colman painted Eucalyptus Qrove, S.B., S B Mountainsfrom the Home of George Booth, Ojai Valley: Sycamore Trees, California Landscape, all repro in Kennedy Qtiarterly. v. XI , no. 1 (June 1971); Ojai Vallery, Sycamore Trees, wc.

10 X 16 in., (Coll. MFA, Boston), listed in Karolib Collection ofWatercolors and Drawings (Boston, 1962) no. 185.

For Tilfany, sec Grey Arc Gallery and Study Center, Louis Comfort Tiffany the Paint ings, exh. cat. March 20-May 12, 1979(NYU: Faculty of Arcs and Science, 1979) lists Mis sion at Santa Barbara. 1888, oil, 11 X 20 in.

Lovell Birge Harrison settled brielly in Santa Barbara for his health, Gerdts, Arrt Across America, v. 3.

Peter Hastings Falk, ed., 'The AnnualExhibition I^ecord ofthe Art Institute of Chicago. 18881950 (Madison, Ct.: Sound View Press, 1990) lists Bi^e Harrison in 1897 with Food Near Santa Barbara and L. Houghteling in 1892 with Old Mission Santa Barbara.

53- Maria Naylor, National Academy of Design Exhibition Record 1861-igoo(New York: Ken nedy Galleries, 1973).

Clark S. Marlor, A History of the Brooklyn Art Association ivith an Index of Exhibitions (New York: James F. Carr, 1970).

Peter Hastings Falk. 'The Annual Exhibition Record of the Pennsylvania Academy ofthe Fine Arts 1876-1913 (Madison, Ct.: Sound View Press, 1989).

Chadbourne, Boston Art Club.

Falk. ed., Art Institute ofChicago.

54. Edwin Deakin, Mission Santa Barbara (1894); Theophilus Hope D'Estrella, An Old 'tree at Santa Barbara (^1896); Hugo Ancon Fisher, Mission Santa Barbara (1894); Arthur Ma thews, Mission Santa Barbara (1896); Orrin Peck. Santa Barbara Mission (1894) listed in Ellen Schwartz, Nincteenth-Centioy San FranCISCO Art Exhibition Catalozues (C)avis: University of California, Library Associates, 1981).

H. C. Best, Afterglow, Santa Barbara (1907) and Oaks, Santa Barbara (1915); John W. Cantrell, Santa Barbara Hills (1907); Willis E. Davis, Low Tide. Santa Barbara Beach water-

color and Ram)' Day (1900); Edwin Deakin, T^ission of Santa Barbara (188^ and (1906); John Gamble, Wild Heliotr^c, Santa Barbara (1906); Chris Jorgensen, Santa Barbara Mis sion and Belltouer, Santa Barbara Mission il904k Wm. Keith, Sarita Barbara Oak.s (1905); Charles R. Peters. Santa Barbara Mis sion (1898) and Mission San Buoiai-entura 5); Santa Inez (1912). " ■ ; Constance Peters. t)ooru'ay, Santa Barbara (1915); Daniel Sweency, Santa Barbara (1903) listed in Ellen Halteman Schwartz. ^Northern California Art Exhibition Catalogues (1878-1915) (La Jolla, Ca.: Laurence McGilvery, 1990).

Henry J. Breuer. In Mission Canyon, Santa Barbara (1903) and others in 1904 and 1905; Willis Davis. A Qray Day, Santa Barbara (1904) and Near Sarita Barbara ; Jose)hine Ecklcr, Road to Santa Barbara (1897); ^Jellie Stearns Goodloe, Santa Barbara Mis and sion and Santa Barbara Beach (^1891) and (1893); Charles Hittell, Ventura lave Uaks (1907); Amcdce Joullin, In the Gar den Santa Barbara Mission (1889); Lucia Ma thews, Beach at Santa Barbara (1896); Gilbert Munger, Mission San Buenaventura (1873); Ernest Narjot, Santa Barbara (1890); Maty Nicholl, Noon at Santa Barbara Mission (1900); John Stanton, Mission Qarden, Mis sion Church Door, Date Palms Santa Barbara Elmer Wachtel, A Qlimpse ofthe Bay, Santa Barbara (1904) listed in Ellen Schwartz.

Index to the San Francisco Art Institute Exhibi tions to 1915(unpublished ms.)

The Santa Barbara Historical Society owns six Santa Barbara scenes by Chris Jorgensen as well as two portraits and a picture oFthc mis sion by Mary Curtis Richardson.

55. Fannie Duvall (as mentioned above under "Missions”); I. H. Von Keith probably went to Santa BarData as he mentions its flora in his VVestu'ard and he mentions painting forty scenes of Southern California for a panorama and recommends to visit the mission, W. W. Hollister's Ranch, and Ellwood Cc«pcr's olive orchards; Benjamin Browm summers with family in Santa Barbara, Pasadaia Daily Neivs. June 25, 1900, p. 5; In 1894 Gardner Symons and his wife traveled from Montecito to Los Angeles by buggy (Redfern Gallery, Qeorse Qardner Symons, exh. cat., November 19 - December 17, 1989); Elmer Wachtel who exhibited Qlimpse ofthe Bay, Santa Barbara at the San Francisco Art Association in 1904.

56. Brief overview history from Santa Barbara:A Guide to the Channel City and its Environs (New York: Hastings House, 1941).

Santa Barbara Club: A History (Edward S. Spaulding, 1954) p. 48 says chat at opening of c ubhousc on February 16, 1904, there were two large pictures on display, one by Frederic Remington and the other bv A. Harmer of a wedding party at the Old Mission.

Loren Nicholson, Old Picture Postcards (San

NOTICIAS

102

Jose, Ca.; California Heritage Publ. Assoc..

1989).

57. Crafesworkers included Charles F. Eaton and

Canyon pottery and showed hand-printed greeting cards made by returned illuminator Robert Hyde. Clcck, ibid.

his dai^htcr Elizabeth Eaton Burton, metalsmith Christopher Tornoe, illuminator Robert Wilson Hyde, woodworker Julius Starke, ce ramist Mary L. Wagner (mother of portraitist Rob Wagner), potter Frederick Rncad, and jeweler John Comstock

60- Mary Beth Crain. "The Magnificent Gledhills,” Santa Barbara Magazine (Winter 1994) pp. 42-7.

Patricia Gardner Cleek. "Arts and Crafts in Santa Barbara: The Talc of Two Studios," A’oticias. vol. XXXVIII, no. 4 (winter 1992) pp. 61-77.

Leslie Greene Bowman, "The Arts and Crafts Movement in the Southland,” in The Arts and Crafts Movanent m California: Living the CjoodLfe(Oakland, Ca.: Oakland Museum and New York: Abbeville Press, 1993) pp.

163-202.

Gustave Sticklcy, "Nature and Arc in Cali fornia," Craftsman, v. 6(July 1904) pp. 370-90.

The Santa Barbara Historical Society owns Mission San Luis Rcy by craftsman C. F. Ea ton.

58. First tenants were Eaton's Arcs and Crafts and a branch of Paul Elder's San Francisco arcs and crafts shop. Elder held exhibits of the paintings of Walter Pritchard and Jose V. Giles undersea life (both artists had lived briefly in Santa Barbara's Mission Canyon while they painted the sea life off Santa Cruz Island), wnen Elder moved to the DeLaney building (described below) in 1906, his ^ace was taken by Mr. and hdrs. W. Edwin Glcd hill, artistic photographers, and by Robert Hyde, illuminator. Among various shows.

Hyde, in 1908. showed works by local painters Carl Oscar Borg, Robert Wagner. John Gam ble and Alexander Harmcr. In 1912 tenant G. T. Marsh, an arc connoisseur and dealer, gave a show of oriental antiques, and from 1915 to 1918 one of the three Eaton studios was occu pied by the painter Marco Zim. Cleek, "Arcs and Crafts” 59. Mrs. DeLaney's first lessees in October of 1903 were Mmes O’Hara and Livermore of San Francisco who opened an arc score that showed pottery. In early 1906 Robert Hyde il luminator briefly had a studio there, as did Mary Leicester \Vagner, ceramist and mother of portrait painter Robert Wagner. Upon Eld er’s move from the Eaton to the DeLaney building, a facade of stone was added. Taking Elder's space in 1909, JT. Botsford opened an art gallery chat in September showed oil paint ings by William Wendt and wacercolors by Frank R. Lidcll. John Comstock in 1910 opened a Gift shop of his arcs and crafts group which he called Lrafe-Camarata that sold fur niture and jewelry. When Comstock left to study Osteopathy in Los Angeles in 1912, the shop was headed by Miss Donna Youmans who. about 1914 exhibited the first pottery produced by Frederick Rhead from his Mission

Keith and David Glcdhill, The Qledhills Por traits (Santa Barbara.- Mission Creek Studios, 1988).

Santa Barbara Historical Society owns a portfolio of 15 prints by the Gledfiills and a scrapbook in their Glcdhill Library, Noticiasv.

6. no. 4 (Winter 1960). "Brief History," in The Santa Barbara Connection: Contemporary Photography Santa Barbara Museum or Art, 1994 and planned exhibit of historic photogra-

phy.

Catalogue First Annual Amateur Photograph Exhibition, Santa Barbara. 1899.

61. Potter Arc Gallery Junior’s jubilee reception on December 15, 1907 showed works by Thaddeus Welch and wacercolor paintings of Santa Barbara gardens by George Elbert Burr, Stella Havcrland Rouse, "The Way It Was," Santa Barbara News Press. December 29.

1987.

Catalogue ofthe Loan Exhibition of"Ye Treas ures ofle Olden Times/ Woman's Club in the Club House, Santa Barbara, Februarv 25, 26.

27, 28, 1908.

Early newspaper clippings on Harmer from the Santa Baroara Public Library and the Santa Barbara Historical Society.

62. Helen V. Brockhoff, Thad Welch: Pioneer and Painter,(Oakland Arc Museum, 1966, reprint ed from OverUind Monthly and Out West Magazine, 1924).

Assorted newspaper clippings on Ludmilla Welch’s wacercolors of adooes (clippings Coll.

Santa Barbara Public Library).

The Santa Barbara Historical Society owns Sau Marcos Pass and Sycamore Canyon and a jortrait by Thad Welch and fifty works by .udmillaWelch of buildings and scenes around Santa Barbara.

Thirty-Two Adobe Houses (ff Old California: R^eproduced Jrom Watercolor Paintings by Eva Scott Fenyes (Los Angeles: Southwest Mu seum, 1950).

63- "Robert Leicester Wagner,” in Nancy Dustin Wall Moure, Dictionary ofArt and Artists in Southern California before 1930 (Los Angeles: Privately Published, 1975).

64. John A, Berger, Fernand Lungren (Santa Bar bara: Schauer Press, 1936).

F. Lungren. Some Notes on His Life (Santa Barbara: Santa Barbara School of the Arcs, 1933).

Bill Grccnwald, "The Lost Legacy of Fer nand Lungren," Santa Barbara Magazine (Fall 1994) pp. 46-51.

The Santa Barbara Historical Society owns

SANTA BARBARA ART

six works by Lungren; UC, Sanca Barbara owns the estate of Lungren, and the Santa Bar bara Museum of Art owns at least one land scape65. "John Marshall Gamble." in Ruth Westphal, Pkin Air Painters of California: the North (Ir vine, Ca.: Westphal Publishing, 1986).

Newspaper clippings from the Santa Barba ra Public Library and the Santa Barbara Histor ical Society.

The Historical Society owns fourteen works

by Gamble.

66. "Henry Joseph Breucr," in Westphal, Plein Air Painters ofCalifornia: The North.

67. Louise Combes Sceber, Qeorge Elbert Burr iS^g-ig^g, Catalogue Pflisonne ^agstaff, Ar.: Northland Press. 1971) lists tne etchings A Santa Barbara Road (Christmas card 1913); Santa Barbara Live Oak.s, Eucalyptus Trees, Santa Barbara. Burr made a sketching tour through California and Colorado shortly before a December 1907 show of works from the trip.

Watercolor of a Santa Barbara garden repro duced in The Denier Post, January 11, 1909.

Some tides of his watercolors are: Gathering Storm, Santa Barbara, The Home of Edioara [sic.] Steivart White, Oak-Trees, Santa Barbara, and Pathway in Garden of Miss Drecr, Santa Barbara.

Karges Fine Arc recen^ had a G. E. Burr ;ardcn scene for sale. "The Way It Was," >an£a BarbaraNews Press. 12-29-87.

68. Carl Oscar Bo^:A Niche in Time (cxh. cat..

Palm Springs Desert Museum, January 6 March 18, 1990).

Helen Laird. Carl Oscar Borg and the Magic Region (Peregrine Smith Bck^s: Gibbs M. Smith, Inc., 1986).

Sanca Barbara Historical Society, Carl Oscar Borg: California Images,(cxh. cat., April 8-Junc 3.1990), pp, 6-7.

69. For Birgc Harrison, see Andrea Husby,Birge Harrison:Artist, Teacher and Critic, Ph. D. Dis sertation in progress, City University of New York, 1999. For Zarh Pritchard, see Thomas N. Burgess. TakeMe Under the Sea:The Dream Merchants of the Deep, Salem: Ocean Archives, 1994 and Nancy Moure, Zarh Pritchard, Los Angeles: Karges Fine Arc, 1999. For Mathews. see Barbara Lanz-Macco, "Through the Eyes of a Painter: The Recently Discovered Paint ings of Frederic Mathews ...," Montecito. v.

XVlll. no. 2, Fall 1998. pp. 14-19+.

70. From the Santa Barbara City Directories (SBCC^and from Edan Milton Hughes, Art ists m California. Second tier artists of the first decade include landscapist Oscar Regan Coast (winters 1896-1930)(oBCD 1905), portraitist Clarence Maccci (1900-1945)(many portraits owned by the Sanca Barbara Historical Socie ty); landscapist Julian Rix (1901), landscapist Harry Cassic Best (SBCD 1905. 1906). Minor

103

artists include Mrs. E. E. Barton, Katherine Van Dyke Harker (1904); Miss M D. Westcott (S^CD 1905-6); Stephen Marshhauser (SBCD 1905); Miss M. 3. Groom (SBCD 1905, 1906); Miss H. E. Hardv (SBCD 1905, 1906); Esther Stedman (E. C.)(SBCD 1905, 1906, 1917-18); Mrs. Eunice E. Youn2_(SBCD 1906); Lillian Cary (Miss L. E.)(SBCD 1906, 1908-9, 1909-10); Mary Maud Means (190610); J. N. Marble (SBCD 1908-1917), F. E. Junior (SBCD 1908-1913); Mrs. M. W. Means(SBCD 1908-10); Paul Harvey (1910+); Earl Van Boven (1910+); Albert Funke (19101912).

The Santa Barbara Historical Society owns O. R. Coast. Santa Barbara Mission; £. Sted man, Old City Jail, Anacapa Street; and two portraits by Rob Wagner.

A number of artists arrived c. 1910-1913.

William L. Ottc interviewed bv W. Edwin and Andrictte Gledhill for the Santa Barbara Historical Society on June 18, 1956(one audiocassette at the Historical Society); William L. Ottc listed SBCD 1913+; The Santa Barbara Historical Society owns ten impressionist-type landscapes by Otte.

Alexis Podchernikoff listed SBCD 1913+; the Santa Barbara Historical Society owns a moonlight adobe scene and San Marcos Pass landscape by Podchernikoff.

Other artists listed in the Santa Barbara City Directory include.- Karl Schmidt (18901962) (listed 1910-c. 1930?); Reginald W. Vaughan (1870-1958)(listed 1911+) (The Santa Barbara Historical Society owns forcy-four works by R. W. Vaughan of fishing scenes and desert scenes.); hKlcn Salisbury (18901966}(listed 1913+); William G. Purvis(l8701924) settled S. B. 1913 (The Sanca Barbara Historical Society owns seventeen views of missions by Pur\’is); and Henry L. Sawc (1875-1961} settled S. B. 1913(The Sanca Bar bara Historical Society owns Binic Cotes du Nord and Spring, Pelican Lal{e by Sawe.).

Hughes, Artists in California, lists Schmidt, Vaughan, Salisbury, Purvis, and Sawc.

71. The 1920s witnessed major advances in all the arcs: music, fine arcs, cneacer and dance as well as architecture (the town was rebuilt in the Snanish style after the mid 1920s earth quake).

Gloria Rexford Martin & Michael Redmon, "The Sanca Barbara School of the Arcs: 19201938," Noticias. vol. XL, nos. 3. 4(Autumn &; Winter, 1994).

Lynn Carlisle. "The Sanca Cruz Island Col lection," Art of California (January 1990) pp.

35-41, contains paintings oy Santa Barbara artists and Diebenxom.

Janet Dominik. "The Arcs in Sanca Barbara," in Westphal. Plein Air Painters ofCalifor nia:'The North.

“Che Santa Darbara HistoricaLSocictg wishes to acknowLedsc the generous support of

vano It

for the publication of this issue of

Dotiaas

SANTA BARBARA HISTORICAL SOCIETY BOARD OF TRUSTEES Ruch B. Scollin Lawrence Hammctc . . .

Jane Rich Mueller Barbara Parker Robinson

Victor H. Barcolomc Patricia Broome Barbara Cleveland Lani Meanley Collins Alexandra Crissman

President . . First Vice President Second Vice President Secretary

Elizabeth Edwards

Marlene R. Miller

George E. Brakes Jean Goodrich Leslie Hovey Thad McMillan

Michael Rodrigue Gen. F. Michael Rogers, USAF(ret.)

Cicely Wlicclon

Marilyn Chandler De Young George M. Anderjack, Executive Director David S. Bisol. Curator Patricia Warren, Director of Administration and Finance Barbara Clingwald, Coordinator of Development Michael Redmon, Director of Research and Publications

MAJOR CONTRIBLJTORS - 1999 COLLECTORS SERIES The Santa Barbara Historical Society wishes to thank and to acknowledge with pride the following members and institutions for their most generous contributions to the 1999 Collectors Series.

PATRONS($1000 and up) Stewart & Katherine Abercrombie Alger & Marge Chaney Harold & Diana Frank Perri Harcourt Keith & Nancy Marston Leinie Schilling Mullin Raintrec Foundation William & Barbara Woods BENEFACTORS ($500 and up) Leslie S. Bernstein Dora B. Bradley John & Patricia Broome Richard & Alexandra Crissman Gordon &. Constance Fish Priscilla K. Giesen Jean Smith Goodrich Nancy G. Gray

Josiah Si Karen Jenkins Lynn P. Kirsc/Spectrum Tours Frances D. Larkin Kim Smith Lazarus Pat Licker Francis & Patricia McComb Donn Miller Jane Rich Mueller William & Nancy Myers David F. Myrick Donald &Jane Patterson Michael & JoAnn Rodrigue Ruth B. Scollin

Janet Million Crary George 6d roney Eagleton Richard & Katherine Godfrey Julie Greener Janette M. Hellmann Arthur L. Hoff Preston & Maurinc Hotchkis Harry & Leslie Hovey John & Josephine Hunter Cliff & Karen Kearsley Colleen Kirst Carrie Belle McFie Eileen 1. Mielko

Molly M. Smith Hugh & Mary Thorson Donald & Jo Beth Gcldcren The Wharton Foundation

Kay Paschall Bruno & Martha Pilorz Peter & Laura Rcnsel Kenneth & Mary Louise Riley Barbara Parker Robinson

SPONSORS($250 and up)

Walton & Shirley Ross Maryan Schall C. William & Nancy Schlosser Jock & Sara Sewall John & Stuart Watling Shirley Wilson

Carla A. Amussen & George C. Shattuck Mary Louise Case Lani Meanley Collins

Museum & Library: 136 East De la Guerra St., Santa Barbara, ca 93101 ● Telephone: 805/966-1601

Non-Profit Organization U.S. Postage PAID Santa Barbara California Permit No, 534

NOTICIAS Quarterly Magazine of the Santa Barbara Historical Society P.O. Box 578 Santa Barbara, California 93102-0578

Address Service Requested

CONTENTS Pg.73: One Hundred-Eighty Years of Santa Barbara Art