VOLUME 1 The Nahl Family tTVt a c ^ _____^ 2 — / * 3 7 ? Z ^ ^ y r f T ^ - l f ------ p c r ^ ----- - /^ V - ---- - ^ 5Y 4 / *y!— ^y*i / L.^ / ^ y p - y v i r ^ ------ 4 0001 California Art Research Edited by Gene Hailey Originally published by the Works Progress Administration San Francisco, California 1936-1937 A MICROFICHE EDITION fssay a/M? ^iMiograp/uca/ iwprov^w^^ts Ellen Schwartz MICROFICHE CARDS 1-12 Laurence McGilvery La Jolla, California 1987 0002 California Art Research Edited by Gene Hailey Originally published by the Works Progress Administration San Francisco, California 1936-1937 A MICROFICHE EDITION uzz'r^ a?? ^z'sfon'ca/ Msay awtf ^zMognip^zca/ ZTMprov^zM^Mfs Ellen Schwartz MICROFICHE CARD 1: CONTENTS Handbook 0003-0038 Volume 1 0039-0168 Table of contents 0041-0044 Prefatory note 0046 Introduction 0047-0058 The Nahl Family 0060-0066 Charles Christian Heinrich Nahl 0066-0104 "Rape of the Sabines" 0045 "Rape of the Sabines" 0059 "Rape of the Sabines" 0092 Hugo Wilhelm Arthur Nahl 0105-0122 Virgil Theodore Nahl 0123-0125 Perham Wilhelm Nahl 0126-0131 Arthur Charles Nahl 0132 Margery Nahl 0133-0140 Tabulated information on the Nahl Family 0141-0151 Newly added material on the Nahl Family 0152-0166 Note on personnel 0167-0168 Volume 2 0169-0318 Table of contents 0171-0172 William Keith 0173-0245 "Autumn oaks and sycamores" 0173 Newly added material 0240-0245 Thomas Hill 0246-0281 "Driving the last spike" 0246 Newly added material 0278-0281 Albert Bierstadt 0282-0318 "Mt. Corcoran" 0282 Newly added material 0315-0318 Newly added material copyright @ 1987 by EHen Haiteman Schwartz ISBN 0-910938-88-1 0003 California Art Research Edited by Gene Hailey Originally published by the Works Progress Administration San Francisco, California 1936-1937 A MICROFICHE EDITION wzt/? a?? Ellen Schwartz HANDBOOK Laurence McGilvery La Jolla, California 1987 0004 Newly added material copyright @ 1987 by Ellen Halteman Schwartz Laurence McGilvery Post Office Box 852 La Jolla, California 92038 ISBN 0-910938-88-1 Microfiche cards by Western Micrographics, Inc., San Diego, California MANUFACTURED IN THE UNITED STATES OF AMERICA 000b CONTENTS Publisher's Note iv Acknowledgments v Art An Historical Essay vi-viii Notes viii-ix Key to Bibliographies x Guide to the Supplements xi-xii Identification of Original Sources xi-xii Supplementary Bibliographies xii Frequently Cited Sources, with Abbreviations xiii-xviii Contents Pages of Microfiche Cards 1-12 xix-xxxi The Hundred Artists of Cg/t/orHM Art R?spgrc/7 xxxii-xxxiii Key to Abbreviations xxxiv-xxxv 00 OB PUBLISHER'S NOTE It must have been about 1970 on a visit to the iate Mel tenth microfiche cards (vols. 9-10,13-14, and 19-20ptl), Royer, Los Angeles art book dealer, that I bought a adjustments have been made to accommodate two full thin monograph on a Northern California artist named volumes per card. The new tables of contents at the be­ George Booth Post. It had been issued in 1937 by the ginning of each card are best used in tandem with the Federal Art Project, San Francisco, and it consisted of original, detailed ones that open each volume. The reader only eight mimeographed pages stapled to a cover with may need to refer both to the original page numbers (at an original photograph of a harbor scene mounted on it. upper right) and the new, continuous ones. In all vol­ In March, 1972, I catalogued it at $5.00 and sold it to an umes the sequence of original page numbers is interrupted East Coast dealer in my normal course of business as an by the new bibliographical features at the end of each antiquarian bookseller. Along the way, I was introduced biography. Citations to this edition should refer to to the massive work in twenty-one volumes of which it both sets of page numbers, where applicable. was only a tiny part, Ca/i/orwM Art Rfsparc/?. The eleven text cards are reproduced at a reduction It was a fascinating and eccentric document. The of 42x. The original photographs that accompanied page layout still is a source of amusement and wonder. most of the monographs appear in their proper places, The justified right margins of the typewritten text but they are all duplicated more faithfully on the required either typing each page at least twice or count­ twelfth card at a lesser reduction of 24x. Cross- ing each line before it was typed and inserting spaces to references to both locations have been added. adjust the length. That is not an efficient procedure, but, The names of Eugenie Candau and Eleanor Hartman then, efficiency was not the goal. The sheer mass of the appear in Ellen Schwartz's Acknowledgments, but they work and its immediacy—the brief and extraordinary both deserve my heartfelt thanks, as well, for their surge of activity that produced it—recommended the encouragement. William B. Walker, now Librarian of future worth of Ca/i/orma Arf as source the Metropolitan Museum of Art, made a real difference material. With a total edition of one hundred copies, it at the very beginning of this project with his support was undeniably scarce. Then, there was the matter of and intelligent advice. Mary Fuller of Petaluma and the mimeograph paper on which it was printed. Sets in fellow booksellers Michael Good and Joyce B. Muns libraries all over California were already entering the supplied answers to some early questions. terminal throes of disintegration. AH these elements Special thanks must go to the San Diego Public appealed to the antiquarian and preservationist in me. Library and its staff, particularly: the indispensable Late in 1972 I began to think about a reprint. Rhoda Kruse, former librarian in charge of the Cali­ Various alternatives were considered. Each proved fornia Room; William W. Sannwald, Library Director, impractical or overly expensive. A straight, full-size and his predecessor, Marco Thorne; Mary Allely, reprint would have had a selling price of hundreds of Special Collections Librarian; and Eileen Boyle of dollars, thus limiting its market to perhaps two or three the Wangenheim Room. dozen buyers. To have completely reset the book on my Then there is Ellen Schwartz. How shall I thank her own equipment would have reduced the size—and the for her part in this enterprise? Praise that might sound printing costs—by two-thirds, but the prospect of type­ extravagant to a stranger will appear scant, even stingy, setting a thousand pages was a daunting one. Other to those privileged to know her. She is a paragon among printed solutions only compounded the difficulties. researchers, a devoted mother and catlover, and a better In 1980 the project came to life again when Ellen friend than her wayward publisher deserves. Schwartz generously accepted my invitation to update Ca/z/brwM Art could have been reproduced the bibliographies and the basic biographical data for complete and without comment, revision, or addition. each artist. This microfiche edition is the result. It would have had its uses, and it certainly would have The San Diego Public Library kindly let me use its been finished more rapidly. Once the decision was complete set of Art to make a made to bring the original bibliographies up to some­ master copy. The photocopying process increased the thing approaching modern standards without obliter­ contrast of the text, and the type was strengthened by ating the original references as first published, the hand in areas where there seemed a real risk of illegibil­ closet door was opened. Elsewhere in this handbook ity. Ellen Schwartz's contributions were added, and Ellen describes the procedures she used and the limits this handbook was prepared as a guide to the set. she placed on her additions and revisions. Without her Continuous pagination and running heads have been passion for excellence, her energy, her seemingly incorporated into this edition to simplify its use and to boundless good spirits, and her patience, I doubt that allow the addition of about three hundred fifty pages this project would ever have been completed. I am, of new material. The new page numbers appear at the and remain, in her debt. upper left of each frame. On the fifth, seventh, and Laurence McGilvery 0007 ACKNOWLEDGMENTS My special thanks and appreciation go to the publisher, Laurence McGilvery, for asking me to edit this microfiche edition of C<i/:ybf7H'a Art and for being so patient during the two years it took me to compile and prepare my work for publication. I thank him also for his wise editorial suggestions and for designing a useful and convenient volume. No author could wish for a more skillful publisher, or for a more gracious friend. The following artists profiled in Ca/i/brzzM Art Rfs^arc^, or members of their families, responded to my letters and spoke with me on the telephone: Esther Bruton, Helen Bruton, the late Margaret Bruton, the late Ruth Cravath, Ellen Howard, the late Robert Boardman Howard, Masha Zakheim Jewett, George Booth Post, the late Kenneth Rexroth, Jacques Schnier, and the late Bernard Baruch Zakheim. 1 thank them all for their time and the information they generously provided. The following is, I hope, a complete list of those who contributed specific information about the California Art Research Project and its artists. Their assistance is gratefully acknowledged. the [ate Thomas Albright, San Francisco C&ronic/f Andrew Hoyem Mildred Aibronda Dr. Bruce Johnson, California Historical Society Library Dr. Joseph Armstrong Baird, Jr. James Kantor staff of The Bancroft Library Dr. Paul J. Karlstrom, Archives of American Art, Nancy C. Bavor, Stanford University Museum of Art San Francisco Anne-Marie Bouche, Mills College Library Dr.