Landscape Painting: The Eucalyptus School | John R. Southworth and the Covarrubias Adobe

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NOTICIAS Quarterly Magazine Of The Santa Barbara Historical Society

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Vol. XLVIII. No. 2

Summer 2002

Landscape Painting: The Eucalyptus School AND

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OHN R. SOUTHWORTH AND THE CoVARRUBIAS AdOBE

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.nc^ t^tus Scheme? ’ /V\er e ArmiT^^ co\r\eA he^hvAse In /^^c6 in reference re Ca ifomiA ^n^sc^r^e ^rhsts / ressbnist'sMe, Armit'^ OU‘^\HA vvne werke^ in ah rrip 0 i\seA me term In ^ ^<^^me^ ^isk’^r^^ln^ bnfthese artists \A^ere Ae enAeA \7u ether cn’t cs. i ier wrete. " me huth is m^t the Huc^ t^tus Schee is the mos\ henefu renn^werk er ^ re^ genuine. in^iWenens senthern 4^

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mountain vistas, coastline, and ocean made

The artists who belonged to this school and who came to Santa Barbara obviously

the Santa Barbara region highly attractive to landscapists.

When Charles Nordhoff visited

reacted to the beauty of the landscape. For many, the appeal of this landscape lay in the eucalyptus trees, popularized by local rancher Ellwood Cooper. The mix ol

Southern California and published his book on the state in 1873, which brought

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Sleek 29

NOTICIAS

PfiECLDlNQ PAQE: Vic Ellwood Cooper ranch with its eucalyptus treesfurnished inspirationfor visiting artists, 'ihis oil was excaited lyy Ellen Cooper Baxley, one oj Ellwood Cooper's daughters. She studied with landscape artist Henry Chapman Ford.

Author’s Acknowledgments: Iwishtothank Bngitte Forssell,ivlw is very k^oivledgeable about the Mission Ridge area and who put me in touch with Priscilla Eossel{, an artist ivho lives in Clarence I link]x'sjormer home.

1 am also grateful to Donna Abbey, wlw put me in touch with Sara Kolb Danner's son, Peter. Jim Blakfey was very generous shar ing his expertise on the Santa Bai'bara backcountry. Finally, Peter Danner was wonderful sfuiring infonnatim and materi als ccmceming his mother's role in the stor\ of the Eucalyptus Scluxd.

ABOVE:THarion Kavanaugh visited the Coo perranch m 1903.Kavanaugh,who later married artist Elmer Wachtel,is atfar right, next to Ellen Cooper. Ilenry Cooper, son ofEllwood Cooper, and hisJamily round out the portrait.

an influx of hcalth-scckers and travelers here, he was impressed with the oaks and the fast-growing eucalyptus trees which covered the local landscape,^ The latter were introduced as seedlings from Aus tralia to Santa Barbara in 1872 by Ellwood Cooper on his ranch. They were planted in various areas around Santa Barbara and eventually throughout Southern California.

Cooper’s daughter, Ellen, who was an artist, included eucalyptus in her land scapes of the family homestead. In 1903,

EUCALYPTUS ARTISTS Marion Kavanaugh, originally from Mil waukee. visited the ranch for several months and sketched in the vicinity. Eu calyptus trees became one of her favor ite motifs in her California landscapes.

In 1905, when Thaddeus Welch and his wife. Ludmilla Pilat Welch, first came to Santa Barbara, they also sketched at the Cooper ranch, including the eucalyp tus in some oi their work.-^ A second area, rising between Santa Barbara’s coastal plain and the mountains, soon attracted other artists and nature lov ers. It became known as Mission Ridge, located as it was above the Santa Barbara Mission. A San Francisco landscape artist, Henry Joseph Breuer, who traveled up and down the California coast living and work ing out of a horse-drawn wagon, spent much of the first decade of the 1900s in Santa Barbara. In 1908, the San Francisco Examiner mentioned his home and studio as "one of the prettiest places in the hills back ol the Santa Barbara Mission.’’^ Brcucr remained here through 1910.

31 In 1902, Brcucr executed an oil paint ing from the site on Mission Ridge. His canvas showed the area as quite bare with the exception of a grove of oak trees, A few rooftops are discernible. In the back ground arc two mountain peaks and a trail.^ By 1905, there were a few homes up in this area. The noted horticulturist, Francisco Franceschi. had built a home there and eucalyptus were beginning to appear.

In 1907, two more San Francisco artists arrived. John Gamble and Willis E. Davis had been members, along with Breuer, in the Bohemian Club. At the opening ol a new art gallery in Santa Barbara, Davis showed a painting of the Santa Barbara Channel as seen from Eucalyptus Hill. It would not be long bclorc other artists would capture similar views.

The closing of the railroad gap between San Francisco and Santa Barbara in 1901 and the opening of the Potter Hotel one year later contributed to the growing in flux of wealthy travelers who began to winter here. One of these arrivals was

Ciarcnce Black often opened his Riviera estate, El Cerrito, to visiting artists. He had a special studio builtjnr his artist tvije in the home.

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NOTICIAS

Clarence A. Black. He was one of the lounders ot Cadillac Motor Car Company in 1898. In 1908, when the company was bought by General Motors Corporation, Black sold his stock and moved to Seattle, where his younger brothers had gone into business. He began to winter in Santa Bar bara and. stimulated by the burgeoning cultural scene, he decided to make Santa Barbara his home in 1911.

Black had taken an active interest in the arts in Detroit. In 1883, he had participated on the finance committee for the Great Loan Exhibition, which led to the creation of the Detroit Institute of Arts, He had also served on the city’s commissions on the arts and the library. When he left Detroit

he donated his mansion and property for a new public library. Today. Detroit’s main library occupies the site.

In 1913, George Batchelder bought a large tract of land in the foothills of Santa Barbara which he named the "Riviera" and formed a company to sell parcels. That same year. Black purchased slightly more than six acres at the juncture of Mountain Drive and Mission Ridge Road. He already had in hand plans for a Spanish-style man sion drawn by the local architectural firm of Soule, Murphy, and Hastings. Tlie north wing would include a commodious art stu dio lacing the mountains for his wife. Tlie den would be oriented towards the south with views of the ocean and the city.® Black

WlUium W^n^«, ntmvp nJl M.w. nil ton InrkinR in it« si.ptoojflMon ● pnJnler of fh** vfrltlos. Thrtr ii of Jtisf tho«ir thing* ●onu»lh1ng solid nnd rlron. with Ihf IHo corllp .si dnys of his purliy of A «j.rlng morning. »n his painting rnrpfr. Willlsm Womll ha* paintings that glvr.s one n fPfllngjhB«l nn umisiial nnd nn Individml in-lleihniqnfwhlrh he has not changed Unslfled by several of the titles. but which nas been warmed and mellowed Ihrongh the year*, unlii Hills IS a ranv-a* that through today It has the tones and the sheer beauty of hillside landarape, finesse of handling (hat go to ncrentimte the spirlliinl qiialltv In tllf^e laiidscnprn (hat. make one glad to he alive. ,, nnd ol the same time humble heforo the heaiify that Ihe Great Painter has given 80 prodlgjoiiMiv.

oti!p:k c.'ANVAsrs ●fJreen I’tstyre'" lifts one above jihr. burdens of the day with Its message of spiingllme color, and Ihe canvas lllled; "U’hcn Foliage Is Golden - spells the fulfillment of the fall of the year with warm and gnlden tones. In the eanva*'. "We Three,- three graceful, leafless syeaninre Irees limned RHsinst. a : background of ploughed ground, shows thin painter of trees at hit WILLIAM WENDT jhesf.

"A Woodland, Tool and ‘Palntrr /.wifreofe of Cnttfornin' ifth ady." Is one of the Inllmale , t‘sn. , I vHfic.s that invite one to come again brings Ihe meesa gn of peace and j and again, faith that the Psalmist voiced so; Mr. Wendt painft old ranch long ago. In these day* of exhlbl-' houses, barns nnd even harnvsrd* finnists. of short cuts to notoriety. ; with the same poetical beautvHhat Ihe ^^endt canvases are as u-el-.he sees In the distant hills for to corns as the 'shadow of a greatfhim they assume the character of mr^k m a weary land" - ihose same hills, rather than that Fimdnmenl als always come flrsl jof the .so-called "American scene-wllh r“lnter nf lhe great mil-lpainteH by «o mnnv modern artists doors^ His hills are alwnv,.. solid The Wendt Inlerpfetallon is alwavs and there Is a feeling nf good solid one of tranqullltv and n permea»in» pylh beneath the green grass, and beauty as seen hv this man who U j' "J'* ", Pslnler I>atireate of H»a skies da*r*e with hghi and his Calif ornia

One of the artists to enjoy Black’s hospitality was William Wendt, whom one critic

called

the

"painter laureate of California. ’’

EUCALYPTUS ARTISTS already had a crew of thirty preparing chc house's stone foundation. A little over a year later, chc Blacks had moved into their new residence.

In chc summer of 1914, chc Blacks enter tained William Wendt for several weeks.

Wendt was a well-known artist, originally from Chicago. In 1906, he had seeded in Los Angeles after a number of visits to Califor nia during the 1890s. He had visited Santa Barbara in 1900 and 1903 and had made chc acquaintance of a number of artists, includ ing Alexander Harmcr. Wendt still had ties to Chicago, He received a prize from chc Chicago Arc Institute in 1913 a year after being named an Associate of chc National Academy of Design, During his stay with the Blacks, "he has been busy sketching and chc hall dozen or more canvases now well under way were admired. These pictures will form pare of his exhibit at the Panama-Pacific Exposi tion.”^ The Blacks held a reception for lo cal artists to meet Wendt.

Two of Wendt’s paintings were shown at chc exposition in San Francisco in 1915.

His 'Ihc Land nfHeart's Desire, showing a woodland scene, was illustrated in chc ex position catalogue, but without an indica tion of the site depicted. One of chc prize paintings, Calijornia, was made into a post card and proved to be very popular with chc souvenir-buying public. In chc spring of 1916, one of Wendt’s paintings. Santa Barbara Foothills, appeared in American Magazine ofArt.^ More evidence of Wendt's work during his stay in Santa Barbara came Irom chc pen of Anthony Anderson, arc critic for chc Los Angeles'limes. During a visit to Wendt’s stu dio, he saw "a score of recent studies made among chc Santa Barbara mountains and chc mountains of Santa Ynez.”9 Black likely met Wendt in Los Ange les while attending some of the exhibits of

33 chc California Arc Club in chc early 1910s.

Afeer 1913, when die Los Angeles Museum of History, Science, and Art opened, it an nually hosted chc California Arc Club.

Wendt became chc president ot chc Club in 1911 and headed it for many years. Ac chc Artises Show in 1916, Clarence Black sponsored three prizes. Wende won one of 10 chc prizes.

In the summer of 1919, Black cook on another art project and purchased the his toric Covarrubias adobe at 715 Santa Bar bara Street. A few months before, a pho tographer had seen the possibilities of us ing chc adobe as an arc studio. After some modifications, he arranged for artists to meet "to sketch from life, exchange views and cxliibit their pictures. ‘ During Black’s ownership, chc adobe continued to be used for classes and other artistic pursuits until sold to John Souchworth.

Black continued with his cultural inter ests in 1920 byjoining with ocher like-minded individuals to promote "a movement for an artists' colony and a community play house."'^ This marked chc beginnings of chc Community Arts Association, which was to play an all-importanc role in the cultural life of Santa Barbara, instrumental in establish ing such institutions as chc Lobero Theatre and the School of chc Arts.

Elmer Wachcel and Marion Kavanaugh Elmer Wachtcl and Marion Kavanaugh Wachtcl, who lived in chc picturesque Ar royo Seco area of the Los Angeles basin, often visited Santa Barbara on painting ex cursions. Wachtcl first visited this area in 1900,'^ Kavanaugh, after training at the Chicago Arc Institute, traveled to Califor nia under a Southern Pacific commission to paint landscapes after her arrival in the Golden State.

In 1903, she visited the Ellwood Coo-

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NOTICIAS

per ranch, just west of Golcta, and made sketches of the coastal mountains.''’ At that time she met Cooper’s daughter, Ellen, an artist four years her senior. Ellen had studied with the landscape painter, Henry Chapman Ford.

Soon after their first meeting, Wachtel and Kavanaugh married, in 1904. Soon they began their motor trips in search of landscape subjects. First they traveled in a Ford, then in a car partially designed by Elmer.

Arthur Millier told of their travels through the Santa Barbara area.

Viey went horse bach over the San Marcos Pass into the Santa Ynez Valley. Vicy painted the still little-known coast between Qaviota and Concepcion lighthouse and spent happy days at the legendary Cooper l^nch north oj Santa Barbara. They broke painting trail in Matilija Canyon and Wheeler’s and what is now the OjaV’^ One Santa Barbara artist, who early on became a friend, was John Gamble, who moved from San Francisco after the 1906 earthquake. He moved into one of the stu dios in the Harmcr adobe on the cast side of Dc la Guerra Plaza in January, 1907 Be fore coming to Santa Barbara, Gamble had visited Wachtel in Los Angeles before con tinuing on to Santa Barbara, In 1909, Gamble traveled with the Wachtcis to the San Bernardino Mountains on a sketching trip. Many years later.

Gamble donated a painting of this subject by his friend to the Santa Barbara Museum of Art, a long-kept memento of a shared experience.

In 1910, the Wachtcis held their annual autumn exhibition in their studio overlook ing the Arroyo Seco. Two of their paint ings were scenes near Santa Barbara.'® In October of 1911, a headline in the

Morning Press announced, "Beautiful Site on Mission Ridge Secured for a Number of Studios." The article continued, "The location is cast of the Franccschi place at the turn of Mission Ridge Road as it leads to the north slope of the hill on its way to ”17 join Mountain Drive.

The Wachtcis decided to move up to Santa Barbara "to build their summer stu dio for part of the year.” They were aware of the sketching and painting opportuni ties as well as exhibiting at the Arlington Hotel and the Potter Art Gallery. In De cember, the couple purchased three acres of the Hoyt tract on Mission Ridge Road next to land which John Gamble bought 18 on the same day.

By the spring of the next year, they had an exhibit of their work in Los Ange les to be later shown at the Arlington Ho tel in Santa Barbara. Wachtel portrayed

John Cjamblc arrived in Santa Barbara afew months after his San Francisco studio ivas de stroyed in the igo6earthquake andfire.By the time oj/jis death in Qamble was known as "the dean ojSanta Barbara artists."Photograph by W. Edwin and Carolyn Cjledhill, igog.

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EUCALYPTUS ARTISTS Santa Barbara Bay. Still another painting was Mountain Flower Qarden with a fore ground study of buckwheat and shrubbery, a favorite motif of their Iricnd, John Gamble.'"’ Marion displayed a watcrcolor.

After the Shower, Santa Barbara, showing "purple clouds piled high behind a gracelul group of eucalyptus trees . . . the valley lying in a subdued light."

In November of 1913, the Wachtcls had an exhibition of their sketches in their Ar royo studio. It was a record of all the places they had covered in California lor the past several years. One of the sketches by Elmer was TheFnvinmsofSantaBarbara showing a foreground ol trees includingeucalyptus and a narrow valley with a mountain range in the background. A photograph ol this sketch appeared in the November 23, 1913 edition of the lu)s Angeles Times.

Yet again, this time early in 1915. the Wachtcls showed studies executed among the mountains behind Santa Barbara. In an other exhibit, Elmer Wachtcl exhibited Santa 20

Barbara Mission and Montecito Valley.

In spite of their fondness for the area, in April 1916, the Wachtcls sold their prop erty on Mission Ridge Road. The freedom of their automobile trips to different locales apparently exerted a stronger pull on them than maintaining a studio in a single place.

John Marshall Gamble in Santa Barbara John Gamble first studied arc at the San Francisco School of Design in the early 1880s. After continuing his training at the Acadanic Julian in Paris, he returned to San Francisco to begin his career as an artist.

After his studio with his paintings were destroyed in the city’s 1906 earthquake and fire, he journeyed south intending to live near his friends, the Wachtcls. He arrived in Santa Barbara in late December, 1906, and saw there were numerous opportuni-

tics for artists here. There was news of a new gallery soon to open opposite the Pot ter Hotel. He determined to stay and he, with fellow artist Willis E. Davis, also of San Francisco, rented a studio in the Harmer adobe off of Dc la Guerra Plaza.

In the inaugural exhibit in Frederic E. Junior’s Gallery, Gamble’s wildflower scenes of California and the desert were shouTi. He was one of the first artists to make a name for himself by painting land scapes of wildflowcrs, which at times were criticized as too vivid in color and referred to as "wild fires." In September, 1907. Jun ior opened his new gallery in a "Moorish style of architecture" at 114 Chapala Street.

Gamble was a part ol the new show, dis playing a scene ot a Held ol mustard off

Cliff Drive.^’ Gamble gained more recognition in 1909 for a painting ol poppies and lupine which earned a gold medal at the SeattleYukon Exposition. A piece was written on him in The Craftsman magazine, which il lustrated his work. Wild Mustard andWild Oaks at Twilight. The article gave an ac count of his latest work showing. more elaborate compositions in the trees and mountains and beach ojSanta Barbara. His treatment ofthe background is original and modern.Ile siveeps azvay the loidaH-ush and shoivs us a clear .space zvith a curve ofthe beach enclosing a bit oJ the bay where most of the painters ofthe oak <^^d eucalyptus trees, following[William) Keith’s example, have 22 striven for mysterious and poetic depths.

In February 1911. Gamble exhibited in a gallery in Los Angeles with scenes of wildflowcrs. oaks, and mountains. One of his large canvases entitled Light and Shadow depicted oaks in Hope Ranch. This painting was shown a few months later at the Bohemian Club in San Francisco, of

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NOTICIAS

< U

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One ofthe cottages built (yy James Warrai which became pUit ofthe El Encantu I lotel. William Otte rented this cottage.

which he was a member. During this pe riod Gamble’s lavorice locales included Toro Canyon, Romero Canyon, and the Ellwood Ccx)per Ranch. Eucalyptus trees often fig ured in his canvases at this time, probably on the Cooper ranch or up on Mission Ridge.

Gamble purchased acreage next to the Wachtels on Mission Ridge Road in Decem ber 1911 with the intent of building a studio.

His method of landscape painting changed.

Formerly, he did large paintings out-ol-doors, working for weeks, even months.

Today he takes a smalty [sic] canvas and catches on it the very mood ojthe place infrom three orfourto tzvo hours. Ihen he drives bacl{ to his studio, his head jidl ofhis picture and transfers the very spirit of the scene to his big canvas, using his small sketchfor reference.

Gamble and the Wachtels eventually abandoned their ideas of building studios on Santa Barbara’s Riviera and sold their properties in 1916. The reason for this may

well have been the beginnings ol a nearby building project. James Warren, a cashier at Santa Barbara County National Bank, had just built a home on Mission Ridge Road and had acquired additional property in the area. In May, 1917, he announced a plan to develop a small hotel around eight cottages he had built. These were de signed as accommodations lor students at Santa Barbara State Normal School.

The main building, designed by local architect Winsor Soule, opened in Janu ary. 1918. An advertisement described this El Encanto Hotel as located "on sunny Mission Ridge in the Riviera resi dence district, commanding splendid marine and mountain views. The main building and cottages arc in a grove of ”25

magnilicent eucalyptus trees . .

Only three of the cottages were rented to college students. The remaining ones were occupied by artists. William Otte and his wile. John Gamble, and Clarence Mattel, and by the writers E, S. Peterson

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EUCALYPTUS ARTISTS and Hermann Hagedorn, biographer of Theodore Roosevelt and an occasional visi tor to Santa Barbara.

In 1917, Gamble was completing a land scape showing Montedto Peak and the range behind the Riviera, to be placed above the fircplace in the lobby of the El Encanto, At about the same period he painted Foot' 26 kill l^ad with eucalyptus trees.

In 1918, Gamble was still residing at El Encanto. By 1920, he had moved back to a home below the Riviera. He also contin ued to use a studio in an upper Iloor of Reginald Fernald's Morning Press building at 813 State Street. Early in 1937, he moved to El Caserio, a small complex of build

school teacher, Emily Lamb, Octc recalled the studio "stood alone up on Mission Ridge commanding an uninterrupted view of ocean and islands.” Mission Ridge Road ’2« at that time was "no more than a trail.

"His second studio was located on the present site of El Encanto Hotel among the eucalyptus trees. In 1927, he built his present studio high up among the oaks on Las Alturas Road where he has a sweeping view of his beloved mountains. ●29 One of Otte's earliest exhibits in Santa Barbara took place at the Arlington Hotel in 1917 Tlic exhibit featured landscapes and marine scenes of the Santa Barbara area and

ings in the 900 block of Garden Street, which had become an enclave of artists.

The building Gamble occupied was de signed by Joseph Plunkett, designer of the Arlington Theatre.^

Wdtiam andTdan Otte sluyrtly after they rented one of the 'Wurren Court Studios.’’Eucalyptus ivas a continuing theine in Otte’s work.

William Otte on the Riviera William L. Otte, a native of Wisconsin, came to Cali fornia to work as a reporter for the Los Angeles 'Rmes. In 1898, he visited Santa Bar bara and married a local girl.

Seeking new horizons, he went to New York and worked as a stockbroker for twelve years. Still looking tor stimulation and new in sights, he took evening art classes from Robert Henri, a realist artist and member of the "ash can” school. Otte’s health began to suffer in the cold New York climes and he returned to Santa Barbara in about 1913.

From 1913 to 1915, Otte rented a studio from a high

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NOTICIAS

Santa Cruz Island, In this early period Otte’s favored medium was pastel. He coiicinued in this medium into the early 1920s when one critic praised him for his "fairy ’.’0 eucalyptus trees on a sun-drenched hill," Ottc was featured in the Morning Press in a column in 1921 entitled. "Strolls thru the Studio,” He was praised "as an artist who has made great advances in his pro fession during the last few years.

At the time Otte was showing landscapes of the coast in the Carmel area, one of his favor ite painting sites. In October Dune he de picted goldcnrod and wild buckwheat along the beach, suggesting Gamble’s influence in the use of colorful grasses.

Another work was the recent Ike Eu calyptus at Sunset "showing a beautiful group of those trees standing on the crest of Mission Ridge. . . . It has in it all the quality of pastel. In this he has accom plished what he has been striving for - the '32 getting of pastel qualities in oil.

Otte was one of the founding members of the Santa Barbara Art League in 1924. He first exhibited in the League’s gallery at the Casa dc la Guerra a canvas of Sand Dunes which he painted in Carmel. In 1927, League members were invited to exhibit at the Biltmore Salon in Los Angeles. Ottc showed Ihe Bay ofSanta Barbara as well as 'llie Eu calyptus, at Sunset. The former was selected for the rocogra\oire section of the May 22.

1927 edition of the LosAngeles Times, along with other Santa Barbara artists.

Eucalyptus was again the theme when he showed at the opening of the new wing of the Santa Barbara Public Library’s Faulkner Memorial Gallery in October 1930. Eucalyptus would be a continuing motif for Otte,inspired by the scenes along Mission Ridge Road and near the El Encanto Hotel.

In 1954, Ottc was honored with a oneman show as part of the Tri-Countics Arc

Exhibition at the Santa Barbara Museum of Arc. By now an octogenarian, he was praised for "painting the landscape of this area for forty years. Whether he paints foothills, cotton wood, dunes or eucalyp tus trees of California, his intcrprctacions vibrate with his emotional attachment to the scene which makes him an outstand ing artist in the genre. three years later.

William Otte died

Sara Kolb Danner and Her Mission Ridge Studio Sara Kolb Danner arrived in Santa Bar bara in 1926 with her husband, William Mason Danner, when he accepted a posi tion with the Y.M.C.A. Sara had suffered periodically from a mastoid problem and hoped that a milder climate would be ben eficial CO her health. Growing up in Phila delphia. she studied at the Philadelphia School of Design as a pupil of Henry Snell lor four years before her marriage in 1917 Her artistic talent was probably inherited from her father. He had received a scholar ship to the Pennsylvania Academy of Fine Arcs, studied with Thomas Eakins, and later worked for a lithography firm. He encouraged his daughter’s interest in arc.

Tlie Danners lived in Boston for a short time after their marriage. While there she studied at the Massachusetts Normal Arc School. The couple then lived in South Bend, Indiana,from 1919 to 1924. By 1921, Sara Danner had begun a promising artis tic career. In 1922, she earned a prize at the Indiana State Fair for a still life and cook a first for her landscape at a Women’s Club competition in South Bend, She continued to win prizes and exhibited at the Art In stitute of Chicago.

Upon their arrival in Santa Barbara, the Danners bought property on Las Tunas Road which runs just above Mission Ridge

I

EUCALYPTUS ARTISTS

39 recalls. "Ours was the last house on the street which terminated just up the hill. We would often walk on a dirt path that continued from there through a eucalyptus grove over to Hillcrcst to visit Clarence Hinkle, The path is still there, Sara Kolb Danner had her lirst onewoman art show at the Santa Barbara Art League in December, 1928, with a second show a year later. Tliis second show dis played her still lifes oi Ilowers and assorted garden scenes. Trees were also a prominent subject and included views of the eucalyptus along Mission Ridge Road.^^ The autumn of 1930 saw her partici pating in the opening ol the Faulkner Me morial Gallery at the Santa Barbara Public Library. Her paintings were praised tor their "luxurious color supported by "3H

composition.

From 1934 to 1943 the Danners split their time between Santa Barbara and Palo Self-portrait oj Clarence Aiattd.Ile, too, rented a .●studio on Santa Barbara's [Riviera for a time.

Matteixvas knownforhisportrails executed in oil and in charcoal.

Road. Their house, one of only three on Las Tunas Road at the time, was designed

by George Washington Smith. Santa Barbara’s best-known architect and mas ter of the Spanish Colonial Revival style, Sara found the views from Las Tunas es pecially inspiring.

She was soon welcomed into the Santa Barbara Art League. She had previously made the acquaintance of Giovanni Troccoli. a League member, who had known the Danners in Boston. The League showed Troccoli’s portrait ol her in a show in February 1928. She also found she had a connection to Colin Campbell Cooper, who had lived in Philadelphia. Clarence Hinkle, who arrived in Santa Barbara in 1935, be came a friend and mentor. Peter Danner

Alto, California, as William Danner pur sued graduate studies at Stanford Univer sity. During this period Sara took courses in creative writing at Mills College in Oak land and at Stanford. Her poetry appeared in the Saturday Kevietv oj Literature and other journals, Stanford University Press published her book. Qallery %ur. in 1952. This book contained poetry and was illustrated by some ol her paintings. The trees ol the Santa Barbara area were a major subject.

In one poem, "Lost Tree," she conveyed the "horror and hurt in my eyes” when a favorite eucalyptus near her home was cut down, "The tree 1 loved had been violated and broken.”35 In 1943 and again in 1946. Danner was represented in an exhibition of the National Association of Women Artists in New York City. The Santa Barbara Museum ol Art arranged a show of her landscapes and still lifes in the Von Romberg Gallery dur-

40

NOTICIAS

ing the summer of 1949. She also cook pare in the Museum’s tirsc Pacific Coast Bien nial exhibition in 1955. She continued to

A native Californian, Hinkle first studied arc in San Francisco under Arthur Mathews. Mathews was best-known for

paint until her death in January, 1969.

his decorative murals, but he also did

Clarence Flinkle Locates to Mission Ridge Road Although he painted figures, still lifes, and ocher subjects before coming to Santa Barbara in 1935, Hinkle concentrated on landscapes when he nioved to his home on Mission Ridge Road. He does not neatly fit into the group of eucalyptus artists dis cussed previously for Hinkle took a more Expressionist approach to his subject mat ter. Like chose artists, however, Hinkle coo

California landscapes, including images of trees of the Monterey Peninsula.

Hinkle later studied at the Arc Students League in New York with William Merritt Chase, who in his later years was influenced by Impressionism.

After winning a scholarship, Hinkle studied in Paris for six years, where he came under the influence of French Im pressionists. He then returned to San Francisco, where he maintained a studio.

was inspired by the views of the moun

He moved to Los Angeles in 1917 to teach arc and after a time became an in structor at the Chouinard Art Institute.

tains, coastline, and ocean from his eyrie overlooking Santa Barbara.

In the early 1930s, he settled in the arc colony at Laguna Beach.

Clarence I linklc and his wife sent out this Christmas card in i g^S.'Ihisgives an idea ofthe views availablejrwn artists'eyries on the Riviera.

EUCALYPTUS ARTISTS

Posing injhmt ofthe CLircnce Hinkle home, i g^i,areJnnn left, unidentified, Sara Kolb Danner,Mabel Ilinkle, Clarence I linkle, and Sara’s son, Peter Danner. Photograph courtesy ofPeter Danner.

Hinkle made his final move in 1935, settling in Santa Barbara. He would spend his last twenty-five years here. He chose a site on Mission Ridge Road to build his home and a studio. The latter was roomy with a large window which filled the inte rior with light.

Hinkle introduced himself to Santa Bar bara when a selection ot his paintings which had been award winners was shown at the Faulkner Gallery. One of them, 7b Sta. Ynez^ had won prizes from the San Diego Guild and the Oakland Art Museum. In the autumn of 1941, he showed this paint ing in an exhibition ot "Trends in Ameri can Art" at the Carnegie Museum in Pitts burgh. Pennsylvania.

In the spring of 1941. Hinkle had the painting, Missum l^dgc, exhibited at the Corcoran Gallery in Washington, D.C. That fall, Donald Bear, director ot the Santa Barbara Museum of Art, organized a one-man show tor Hinkle in two ot the museum's aalleries. Bear also wrote the

newspaper review ot the show. A strong element in the show was a number of Hinkle’s Santa Barbara pictures, mostly landscapes, "done with sketch-like free In his review for the Santa Bardom. bdra News'Press, Bear pointed out Hinkle's "inspiring influence” on Santa Barbara’s 42 younger artists.

Hinkle’s still lifes and figures were ex hibited at the Dalzcll Harfield Galleries in Los Angeles in 1944. They were com mended for their "explosions ot color” and for "being true to Southern California's golden light. One of these paintings was a panoramic view of the "Santa Barbara Harbor" painted from his Mission Ridge home. Divided into three horizontal sections, it showed tree foliage in the fore ground, the city spread out in the middle ground, with the ocean and sky in the back ground. Over the years he would return to this view from his backyard in many ver sions with a bold and expressive treatment.

In 1945, Donald Bear wrote the intro-

42 duccion co chc catalogue for the show, Izncyclopedia Britannica's Collection ofCoU' temporary Painting, which was touring the country. Clarence Hinkle and Jack Gage Stark were the two Santa Barbara artists represented; both had paintings reproduced in the catalogue. Hinkle's La Cumbre Peak received praise from Bear and other review ers. Bear commended Hinkle for "the spon taneity of the sketch . . . but underneath there is the control of classic organization in composition.

In 1948, local artist Natalie ClarkHarpham began a long friendship with Hinkle and his wife. She would become a long-time art teacher at Laguna Blanca School and would teach children’s classes at the Santa Barbara Museum of Art. Af ter graduating from Scripps College as an art major, she was introduced to Hinkle

by Millard Sheets, head of the Scripps De partment of Art, Sheets had studied with Hinkle at the Chouinard Art Institute.

During the early 1950s, Natalie went up to Hinkle's studio to receive critiques of her paintings. The sessions ended with Hinkle’s wife providing tea or lemonade as the group enjoyed the views from the home. The young artist had the opportu nity to see a large number of Hinkle’s works. She described the paintings as "free, fresh, and emotional, showing energy in his brushstrokes." She considered Hinkle then as "the dean of Santa Barbara art ists.”4,4 The Santa Barbara Museum of Arc held a comprehensive show of Hinkle’s arc in 1952. The exhibit included some sixty pieces in oil and wacercolor. Some of chc oils dated back co Hinkle’s days in Laguna Beach, as well as later works. Up to La Cumbre was singled out by Donald Bear as "one of the most successful paintings in chc current show. 46 The Metropolitan Museum of Arc in

NOTICIAS New York City showed Hinkle’s watcrcolor.

Vie City and Over the Mesa in 1953. Hinkle painted this from the backyard of his Mis sion Canyon home with the trees in the fore ground treated abstractly with calligraphic brushstrokes.

A highlight of the first Pacific Coast Bi ennial at the Santa Barbara Museum of Art in 1955 was Hinkle’s panorama, FromMission l^dge. In the same year he had a oneman show at Scripps College. This included Santa Barbara Flarbor a subject to which he often returned. In September, Hinkle took part in the Santa Barbara Art Association show at the Faulkner Gallery, with another view of the city and coastline from the Riviera.^^ Hinkle reached his seventy-fifth year in 1956. He had works represented in exhibits at the Carnegie and the Corcoran museums that year. He participated in numerous other shows to wide critical acclaim and his works were held in the permanent collections of a number of California museums,including the Santa Barbara Museum of Art, His enthusi asm lor his art unabated, he continued to paint and draw daily in his Hillcrest Road 48 studio just above Mission Ridge Road.

Hinkle continued to paint almost up to the moment of his death in 1960 at the age of eighty. The Santa Barbara Museum of Art staged a memorial exhibition of his work covering a span of sixty years. Millard Sheets wrote a tribute for the exhibition catalogue which emphasized Hinkle’s deep devotion to his art. He recalled the encouragement he had received from chc older artist to pursue a ca reer in arc. It was just a personal example of chc inspiration that Hinkle passed on to so many young, aspiring artists. Hinkle’s Riviera home is today inhabited by an artist who is inspired, as Hinkle was, by chc views overlooking the city and chc Pacific.

In 1986, a group of Santa Barbara artists formed, inspired by chc region’s natural

EUCALYPTUS ARTISTS

bcaucy. Holding their first exhibit at the Santa Barbara Museum of Natural History, the Oak Group hoped that by showing the beauties of the local landscape it would en courage environmentalism and help pre serve our natural heritage. This group fol lows in the footsteps of an earlier plein air group, Santa Barbara’s Eucalyptus School.

43 22 Hannah Astrap Larsen, ''California Land scape,” Vie Craftsman. August 1909. 63Z 23 LnsAngdes 'limes, 21 April 1911.

24 Stella Havcriand Rouse, "Olden Days," Santa Barbara News-Press. 24 August 1980.

25 SantaBarbara City Directory igiS-ig,(Santa Barbara: Santa Barbara Directory Com pany, 1919).

26 Morning Press(Santa Barbara), 28 October 191Z

NOTES

2Z /Vfoming Press(Santa Barbara), 13 Decem ber 1936.

1 Los Angeles Times, 16 September 1928.

2 Charles Nordhofi. California: Tor Health, Pleasure,andP^sidence,(New York; Harper & Brothers. 18Z3). 65-66.

3 MomingPress(Santa Barbara). 6 July 1906.

4 San Francisco Txaminer. 13Deccmber 1908.

28 Interview with William Louis Otte by W Edwin and AndricttcGledhill, 18Junc 1956, collection of the Santa Barbara Historical

5 This painting appears in the book by Nancy Dustin Wall Moure. California Art.^^o years ofPainting.(Los Angeles, 1988), 145. E. R. "Jim" Blaklcy. noted expert on the Santa Bar bara backcountry.discussed wath this author the location depicted in the painting.

6 Adorning Press(Santa Barbara),6 April 1913.

Z yVfomingPrt’.s‘s(SantaBarbara), IZJuly 1914.

8 Mabel Urmy Searcs, "William Wendt,” American Magazine ofArt. April 1916, 232.

9 Z-osAnge/es'iimes, 2january 1915.

10 Nancy Dustin Wall Moure. California Art ClubDindscapesof'WilliamWendt. Califor nia State University. Long Beach, 1989, 9, 11 Adorning Press(Santa Barbara), 3 June 1919.

12 Morning Press(Santa Barbara)20 February 1920.

13 Nancy Dustin Wall Moure. William Wendt.

Laguna Beach Museum of Arc, 19ZZ, 12.

14 Phil Kovinick and M. Y. Kovinick. Ency clopedia ofWomen Artists of the West,(Aus tin; University of Texas. 1988). 320.

15 Ruth Lily Wescphal. Plein Air Painters of California:'Ihe South. (Irvine, Wescphal Publishing, 1988), 115.

16 Los Angeles Times. 30 October 1910.

IZ /Morning Press(Santa Barbara), 11 October 1911.

18 Santa Barbara Book of Deeds. December 14.

1911, 134. 2Z9. i9 Los Angeles‘limes, 24 March 1912.

20 Los Angeles'Rmes, 30 May 1915.

21 yMoming Press(Santa Barbara), 22 Septem ber 190Z

Society.

29 William L. Otte scrapbook, collection ot Santa Barbara Historical Society.

30 L. W Wilson, "Santa Barbara's Artist Colony,” American Magazine of Art, De cember 1921, 413.

31 yMonn'ng Press(Santa Barbara). 20 Novem ber 1921.

32 Ibid. ^3 SantaBarbaraNewS'Press. 11 April 1954.

34 Conversation with Peter Danner,son oI Sara Kolb Danner.

35 Morning Press(Santa Barbara), 2 December 1928.

36 Letter from Peter Danner to author. 4 July 2001.

3Z Morning Press(Santa Barbara), IZ January 1930.

38 MomingPress(Santa Barbara). 16 October 1930.

39 Sara Kolb Danner. Qailery lour.(Palo Alto; Stanlord University Press, 1952), 45.

40 Santa Barbara News-Press. 30 December 193Z: 12 October 1941.

41 LosAngelesVmes. 9 November 1941.

42 Santa Barbara News-Press. 12 October 1941.

43 Art Digest. 1.5 May 1944. 11, 44 Santa Barbara News-Press. 20 May 1945.

45 Natalie Clark-Harpham, telephone conver sation with author. 15 September 2001.

46 Santa Barbara News-Press. 3 February 1952.

4Z SantaBarbara Neivs-Press. 11 September 19.5.5.

48 Santa Barbara News-Press. 7 January 1956.

c^john

S" ouihWovih

(ZoVauuh'iAs ^v\Aohe^

Ihe. Covarrubias adobe, at yi<j Santa Barham Street, was built in i8iy by Domingo Carrillo. In the igzos it became a centerojartistic and cidtural activity.

In 1817, chc Covarrubias adobe was built

by Domingo Carrillo. In 1853, chc house passed inco the hands of his daughter, Maria dc Espiritu Santos, who married Jose Maria Covarrubias in 1838. Members of the Covarrubias family continued to reside in the home at 715 Santa Barbara Street until 1907, when Nicolas, a son of Jose Maria, sold it to Thomas B. Adams.

Adams, a gardener, used the adobe as a rental property.

In the summer of 1919, Adams sold the property to Clarence A. Black. Black had arrived in Santa Barbara from the East in 1913 and had built his estate, El Cerrito. on what is now Mission Ridge Road. Black became interested in Santa Barbara’s Span¬

iAiiiciA C^AiJnet CleeL

ish Colonial past. He became a benefactor to the Old Mission and a friend to Santa Barbara's art community.

A tew months before Black purchased chc Covarrubias adobe, J. H. McDonald, a photographer, revealed plans to use chc adobe as a ”rendezvous as an artist colony."

J.11.McDonald,'recently connected ivith the American Film Sindio,andforsome time interested in the high ist development oj por trait photography,saiv the possibilities in the old adobe and has been adapting it to studio purposes.

It is now in shape....A group ofartists will meet once or tivice a iveek to sketchfrom life and exchange views Localartists may exhibit their pictures.'

Black continued to allow artists to use chc adobe for classes and camaraderie. Ac-

45

JOHN R. SOUTHWORTH cording to John Southworth, the Santa Bar bara School ot the Arts, which opened in November of 1920. used the adobe for classes until he began to use the building lor an antique shop.^ One of the first instructors there was Kem Weber,a German artist and designer, who first came to San Francisco in 1915 for the Panama-Pacific International Expo sition. According to Weber’s daughter.

Mrs. Erika Edwards, his first Santa Bar bara connection was with the Flying A Studio.^ He then plunged into the creative fervor that brought about the Community Arts Association. Weber was an art direc tor plus stage and costume designer for a number of the early plays produced by the Drama Branch of the Community Arts As sociation. In 1920 and 1921, he taught de sign at the Santa Barbara School of the Arts, which merged with the Association in 1923.

.

1 'fi

Clarence Black on the patio of his Santa Barbara liiviera estate.BLickl^ight the Covarmbias adobe in igig,inaugurating its use as an art center.

John R. Southworth (1866-1947) John R. Southworth moved to Santa Barbara about 1920 after an odyssey of travels. He was born in 1866 in Liverpool, England, and at an early age came to the U.S. He spent considerable periods both in this country and in Mexico and became known as an authority on the latter.

He also traveled extensively in the American Southwest and West, In 1894, he published a history of Los Angeles, the first in a number of brief community his tories he would write. In 1899, "after spending some weeks in San Diego,” he published EL Puerto de San Diego, in both English and Spanish "under the direction of the chamber of commerce . . . with 34 pages of descriptive matter.”"* In the same year he traveled to Baja California to write El territorio de la Baja California, Mexico. It was on the basis of his publishing maps of this region that he was made a fellow of the Royal Geographi cal Society’ The late 1890s was a period of peripa tetic travel for Southworth. Other publi cations included El estado de Sinaloa, Mexico and El estado de Sonora, Mexico.

For a time he was editor of the Border Vidette in Nogales. Mexico. He also lived in New York City and El Paso, Texas, be fore the turn of the century.® For four years, beginning in 1900, he continued to publish on Mexico, concen trating on the eastern part of the country.

In 1900 he wrote El estado de Veracruz.

This was followed by treatments of neigh boring areas, El estado de Puebla and El estado de Oaxaca, published together in 1901. Two years later he published Mexico ilustrado, Districto federal, his final work on Mexico. All these featured many pho tographs and engravings.

During this period he lived in Mexico

46

NOTICIAS

City, where he published the daily El Financiera Mcxicano in Spanish and En glish and also the Bankers’ OJJicial Dircc' toryofjHcxico. He was prominent socially and was one ot the founders ol the Mexi can Country Club."

Southworth called his Mexican volumes a series which were planned "under the authorization of the state government."

They were published by Blake and Mackenzie of Liverpool and covered the ge ography, history, commerce, minerals, cul ture, and industries of these Mexican states.

Southworth stated in one of the introduc tions that his purpose was "to convince the most skeptical oi the unlimited advantages in the States for profitable exploitation”*^ Upon his return to the U.S., he was ac companied by his wile.

Southworth Purchases the Covarrubias Adobe

able eighteenth and nineteenth century paintings from England. France, Spain, and Italy, as well as tapestries, antique Euro pean furniture, china, silver, and Spanish wrought iron. There were church furnish ings such as altar cloths, chasuble, credenzas, pric-diai (a prayer desk), and choir stalls. Spanish antiques were particularly sought alter by owners ol Spanish Colo nial Revival-style homes in the Santa Bar bara area.

Southworth continued selling antiques until about 1932. In 1933, while Mission La Purisima was undergoing restoration, Southworth gave an image ol the Virgin Purisima painted by Michale Cabrera in 1771.'- He felt the mission would be a suit able home for this piece.

Santa Barbara’s first Old Spanish Days Fiesta took place in the summer of 1924.

Southworth and his wife participated, opening the patio between the two adobes for entertainment. As was recalled in 1949,

In December, 1920. Southworth and his wife. Florence, purchased the Covarrubias adobe from Clarence Black with the intent of preserving it and using it as their home.

By the spring of 1921, he had remodeled the building and was seeking the services of Harold G. Chase to rent it out as an art studio. Southworth was planning a trip to "seek curios for his studio here" and upon his return "will move the Historical adobe on Anacapa Street adjoining the Recreation Center to his new location.”^ It was not until 1922 that the Historic adobe was taken apart brick by brick and reassembled next to the Covarrubias adobe, with a pa tio separating them. Southworth used the Historic adobe as an antique shop.

Within a few years Southworth had amassed an incredible inventory. In Febru ary, 1924, as he was planning to lease the Covarrubias adobe, he held a public sale of his collection. The catalogue included valu-

I

John Soutlnvorih,from his book, El cstado dc Oaxaca,igoi.

47

JOHN R. SOUTHWORTH La Jota was danced by a pair in the patio ofthe Covamd?ias Adobe at an early Old

into a headquarters building for the Rancheros.”1')

Spanish Days Fiesta. A4any ofthe prelimi nary meetings ofthefirst Fiesta Board ofDi rectors were held around the supper table in this court. For awhile it was an out-of-door

Reconstruction work proceeded on the two adobes under the direction of archi

diningroom.'^ Southworth also sponsored other cul tural events at his adobes. He encouraged young artists and singers by allowing them to have exhibits and concerts in the Covarrubias adobe. In 1936, Roger Clerbois gave music lessons there, A year or so later, Florence Wieder also taught music there.

In the spring of 1936. Southworth put the two adobes up for sale. He was hoping, however, that "efforts miglit be made to have the property preserved as a public shrine,"'^ A year later, he leased the Covarrubias adobe which was used

tect Joseph Plunkett and Charles Urton. contractor. In September, members of the Ranchcros building committee gathered at the site for the cornerstone ceremony.

Other members included Leo Carrillo, Sam Stanwood. and Elmer Awl.^^ The Santa Barbara Writings of John R. Southworth In 1920, Southworth published his first book of local interest. Santa Barbara and Montecito Past and Present, which took the story of the area from the voyage of Juan Rodriguez Cabrillo up to shortly before the book was published. The book was heavily illustrated with photographs and drawings

by H. H, Halliday. Tlic book was revised and expanded in 1934.

In 1921, he published Los Adobes

Florence Southworth

as a restaurant and nightclub. Southworth moved out of the adobe, took up residence at 1229 State Street and resumed his writ ing career.

In June 1938. the local newspaper an nounced that John J. Mitchell, president, and officers of the Ranchcros Visitadorcs proposed to purchase the Covarrubias adobe from Southworth. The group wished quarters larger than the club room it pres ently had in El Paseo.

In May 1940, an article appeared in he Santa Barbara News-Press that the two adobes, purchased the year before by the Ranchcros, would be utilized in different ways. One would be "developed as a museum along the lines oi that main tained by the Bohemian Club in San Francisco, and the other will be made

Antiguos de Santa Barbara with contem porary photographs of the buildings. He later expanded this work, bringing out His toric Adobes ofSanta Barbara, Calif He cast his net even wider with Historic Ado bes ofSanta Barbara County Calijomia. His last work of local history was Viva Santa Barbara, which appeared in 1946.

Although in declining health, he con tinued to write and was working on an other book when he died in 1947 at the age of eighty-one. The Santa Barbara NewsPress ran a eulogy on the front page: Air. Southivorth’s great contribution to the Southwest luas the preservatum ofmuch ofits romantic past through the publication ofbooklets on monuments and shrines and old adobes which were in the process ojawmbling into ruin. He collected data and pictures upon them before it ivas too late.

48

NOTICIAS NOTES

1 A4omm^Pre55(SantaBarbara), Sjunc 1919.

The American Film Studio refers to the Flying A Studio of the American Film Manufacturing Company, The studio was active in Santa Barbara from 1912 until 1921. For a time, it was the largest studio in the United States.

2 John R. Southworth, Li)s Adobes Antiguos ck Santa Barbara.(Santa Barbara; John R. Southworth, 1921), unpaged.

3 Interview with Erika Edwards conducted

by Patricia Clcck, 11 March 1985, collcccion of the Santa Barbara Museum of Arc. 4 San Diego Union, 13 September 1899, 5 Los Angeles Times, 25 June 1934.

6 Morning Press(Santa Barbara), 20 August 1947 7 Los Angeles Times, 25 ]unc i934.

8 John R. Southworth, Eiestadode Ocixcica,(Liverpool; Blake and Mackenzie, 1901).

9 MomingPress(Santa Barbara), 14 May 1921.

10 Morning Press(Santa Barbara), 24 February 1924.

11 Santa Barbara AlewS'Press. 21 August 1947 12 Santa BarbaraNenvs-Press. 31 July 1949.

13 Santa Barbara News-Press. 19 April 1936.

14 Santa Barbara News-Press. lOMav 1940.

15 Santa Barbara News-Press. 20 September 1940.

16 Santa Barbara News-Press. 20 August 1947

The courtyard ofthe 1listoric adobe, evocative ofthe Old Calfomia which sofascinated Southworth.

SANTA BARBARA HISTORICAL SOCIETY BOARD OF TRUSTEES Leslie L. Hovey . . .

Lawrence Ham meet

President 1st Vice President

Jo Beth Van Geldcrcn . . . . 2nd Vice President Treasurer Michael Rodrique , . , Jean Smith Goodrich Secretary Glen Adams Victor H. Bartolome Leslie Bernstein Alexandra Crissman Melissa Dvorak Elizabeth Edwards

Thad MacMillan Jane Rich Mueller Michael Rodrigue Gen. F. Michael Rogers, USAF (ret.)

Robin Schutte

Mary Standlee Frank Stevens Stefani Taliaferro James Vitanza Eileen Winters

George M. Anderjack, Executive Director David S. Bisol, Curator LIFE MEMBERS The Santa Barbara Historical Society wishes to thank and to acknowledge with pride the following Life Members for their continuing support.

Mr. Stephen A. Acronico Mr. William B. Azbcll

Miss Sally Gane Mrs. Keith Glcdhill

Mr. and Mrs. J. W Beaver Elizabeth Booth

Mr. Richard C. Harpham Mr. Eric P. Hvolb©!!

Mr. Marvin J. Branch Mr. and Mrs. Ashleigh Brilliant Mrs. Virginia Castagnola-Huntcr Mr. Pierre P. Claeyssens Mrs. Natalie B. Clark-Harpham Mr. and Mrs. Charles Cleek Mrs. Florence Cordcr-Witter

Dr. and Mrs. C. Seybert Kinscll Mr. and Mrs. William F. Luton. Jr.

Mr. J. V Crawford Mr. Richard G. Croft, Jr. Mr. and Mrs. Oswald J. Da Ros Marla Daily Mrs. Albert Dc LArbrc Mr. and Mrs. Gordon Fish Mrs. Helen W Foyer Mr. John Galvin Mr. Michael Galvin

Mrs. Jane Rich Mueller Mr. William W Murtcy Mr. David F. Myrick Mr. and Mrs. Godwin J. Pelissero Lord and Lady Paul Ridley-Trce Mrs. Alma R. Ritchie Mr. Wade Rubottom Mr. and Mrs. Peter J. Samuelson Mr. and Mrs. J. Terry Schwartz Mr, Walter G. Silva Mr. and Mrs, Burke H. Simpson Mr. Ivano Paolo Vit Mr. John Woodward

'The Santa Barbara Historical Society 101

1:^6 E.DeUi Quara Street, Santa Barbara, California 93

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

NOTICIAS Quarterly Magazine of the Santa Barbara Historical Society 136 E. Dc la Guerra Street Santa Barbara. California 93101 Address Service Requested

CONTENTS Pg-29: Landscape Painting; the Eucalyptus School Pg. 44; John R. Southworth and the Covarrubias Adobe