View Bulletin #111

CALIFORNIA S T A T E LIBRARY FOUNDATION Number 111 2015 CALIFORNIA S T A T E LIBRARY FOUNDATION Number 111 2015

EDITOR 2 �� “California Invites the World” – The 1915 Panama-Pacific Gary F. Kurutz International Exposition � EDITORIAL ASSISTANT By John E. Allen Kathleen Correia & Marta Knight

COPY EDITOR 20 �� Artist Siméon Pélenc’s San Francisco Metamorphosis� M. Patricia Morris By Meredith Eliassen BOARD OF DIRECTORS Kenneth B. Noack, Jr. 28 �� Eudora Garoutte, Doyenne of California History Librarians� President By Gary F. Kurutz George Basye Vice-President Thomas E. Vinson 32 �� Foundation Notes Treasurer A Most Incredible Gift: The Donald J. Hagerty � Donald J. Hagerty Maynard Dixon Collection Secretary Greg Lucas Foundation Board Member Mead Kibbey Gives Masterful Talk State Librarian of California Gary E. Strong Creates a Listing of Bulletin Articles

JoAnn Levy Sue T. Noack Golden Poppies and Scarlet Monkeys: � Marilyn Snider Phillip L. Isenberg An Exhibition Celebrating California Wildflowers Thomas W. Stallard Mead B. Kibbey Phyllis Smith Sandra Swafford Jeff Volberg An Exhibit Featuring Sports in the Golden State, 1850s–1950s News from the Braille and Talking Book Library� Gary F. Kurutz Marta Knight By Sandra Swafford Executive Director Foundation Administrator “Governor Olson, Past, Present and Future.” � Shelley Ford A Presentation by Debra Olson on Her Illustrious Grandfather� Bookkeeper By Kristine Klein

Opinions of the authors are their own and do not necessarily reflect the opinions of their institutions, the California State Library or the Foundation. Front/Back Cover: “Aeroplane View Main Group of Exhibit Palaces, Panama-Pacific The Bulletin is included as a membership benefit International Exposition, from Silas Christofferson’s Aeroplane, at an Altitude to Foundation members and those individuals of 1,500 feet.” To the bottom right is the Palace of Fine Arts, the only structure left contributing $40.00 or more annually to Foundation from the great exposition. Programs. Membership rates are: Ilustrations / Photos: Pages 2-19, California History Section and California State Capitol Associate: $40-$99 Museum; pages 20-27 San Francisco State University and California History Section; Contributor: $100-249 Sponsor: $250-$499 pages 28-31 California History Section; pages 32-35 California History Section, Information Patron: $500-$999 Technology Bureau, and Braille and Talking Book Library. Institutional: $500 Design: Angela Tannehill, Tannehill Design Corporate: $750 Lifetime Member: $1,000 California State Library Foundation Pioneer: $5,000 1225 8th Street, Suite 345, Sacramento, CA 95814 Subscription to Libraries: $30/year tel: 916.447.6331 | web: www.cslfdn.org | email: [email protected]

bulletin 111 1 “California Invites the World”

The 1915 Panama-Pacific International Exposition By John E. Allen

2 California State Library Foundation Those who attended the exposition kept their tickets as a memento, such as this beautifully designed ticket issued for San Francisco Day November 2, 1915.

ebruary 2015 ushered in a major milestone for California and the city of San Fran- cisco, as the centenary of when the Golden State played host to one of the great world’s fairs. When it opened on February 20, 1915, the Panama-Pacific Interna- tional Exposition (P.P.I.E.) would be the first world’s fair to be held on the Pacific shore. This grand fair would truly live up to its official promotional slogan of “California Invites the World.” In the ten months it operated, nearly twenty- five million people flocked from all over the world to see this wondrous creation and all the marvels it contained. The 1915 Exposition was the greatest fair ever held in California. The San Francisco world’s fair overlapped the Panama-California Exposition (P.C.E.) which was held in San Diego. Both fairs celebrated the opening of the engineering marvel of the Panama Canal a year earlier. One of the greatest engineering feats in human history, the fifty- mile Panama Canal, took ten years to construct. Completed in 1914, it shortened the distance between the Atlantic and Pacific Oceans by over 8,000 miles and forty-six days. The P.P.I.E. was also staged to bring national attention to San Francisco’s recovery after the devastating earthquake and fire that leveled the city in 1906. Even before the disaster, San Franciscans called for a redesign of the city’s chaotic layout along the orderly lines of the “City Beauti- ful” movement. Noted architect and urban designer Daniel Burnham was commissioned in 1905 to draw up plans for this major urban project. He proclaimed, “San Francisco of Looking west over the grounds of the P.P.I.E. In the center is the the future will be the most beautiful city of the continent.” Palace of Horticulture and to the right is the signature building, the Tower of Jewels. Cardinell-Vincent Co. photograph. In the end however, the grandiose “Burnham Plan” was abandoned as being too unrealistic. Plans for a new civic

bulletin 111 3 center did, however, go forward. After 1906, some believed San Francisco was the “City That Was,” but others campaigned for a newer and better “City That Is.” Everyone, however, understood the importance for the future of the city’s recovery by hosting the P.P.I.E. Once this had been achieved, there were many competing plans put forward to have the fair constructed in Golden Gate Park or at various multiple sites across the city. Finally it was decided to develop Harbor View, a swampy coastal strip along the north shore of San Francisco as the site for the P.P.I.E.

ARGUMENT WEEK California politicians and businesses waged a As early as 1904, Californians began mak- hard national campaign for San Francisco to receive ing plans for celebrating the completion the designation as the host of the exposition. The chief competition came from New Orleans. of the Panama Canal. San Francisco, however, had many contenders for hosting the prestigious event, principal among them, New Orleans. San Diego, as has been men- M i s s tioned, also put forward an unsuccessful o M u is r s i is bid for holding the fair. As a result of this s ip N p o i competition, an intense lobbying of local San rth Pla Francisco tte and national politicians was required to get Ark io ansas Oh the support that was necessary for gaining ee ss ne n the right to hold the exposition. e T Red For San Francisco the final decision for Map of 1910 New determining the location of the world’s fair Orleans Congressional Vote produced by lay in the hands of Congress. During what Eric Thomsen was known as the “argument week” (Octo- Unanimous Vote for San Francisco ber 1910), congressmen were inundated Majority Vote for San Francisco Unanimous Vote for New Orleans US House of Representatives’ Vote on with over two million pieces of mail peti- Majority Vote for New Orleans Whether to Consider San Francisco’s or Tie Vote New Orleans’ Proposal to Host the tioning them to favor one city over another. Non-Voting Territory Panama-Pacific International Exposition Mississippi River and Its Major Tributaries (Vote #154, 31 January 1911) In the end, San Francisco was able to gain the votes in Congress and secure itself as the location for the P.P.I.E. President Wil- EDITOR’S NOTE liam H. Taft signed a joint resolution on John Allen is a historian at the State Capitol Museum and a history professor at American River February 15, 1911 designating San Francisco College. Mr. Allen curated “California Invites the World: The 1915 Panama-Pacific International the “Exposition City.” Before very long other Exhibition” as well as past exhibits on the 1906 San Francisco earthquake and birds-eye views of California and West Coast cities were also California. The author would like to thank the California State Capitol Museum exhibit team and allowed to advertise the P.P.I.E. on their the wonderful staff at the State Library for making this exhibit a reality. This collaborative effort, postal cancelations. Over 540 million pieces which combines the resources of the two institutions, has made possible past exhibits. The on-going of mail were sent out by the San Francisco partnership will also make possible such future exhibits on California and the Second World War, Post Office with a special cancelation. the maps of California and treasures from the State Library’s collection. Special thanks are also Presidents William Howard Taft and in order to private lenders, Jay Stevens and Library Foundation board member Tom Vinson who Woodrow Wilson were both instrumental generously donated items from their own collections. in carrying forward the massive project. Taft

4 California State Library Foundation One of the exhibit rooms in the State Capitol Building featuring the PPIE exhibition. It featured many items reproduced from the State Library’s collections. The spectacular banners decorating the walls were brilliantly designed by Renato Consolini of the Department of Parks and Recreation staff.

took part in the groundbreaking ceremony helped to successfully rally the voter’s sup- “four million dollar meeting.” Within in 1911, while Wilson, who was unable to port for a $5 million bond measure to sup- less than two hours, they had pledged attend the fair, officially opened the P.P.I.E. port the construction of the P.P.I.E. Crucial $4,089,000 in support of the fair. Soon Government played a pivotal role in the to Mayor Rolph’s plans were building up more money followed from California exposition. Without the coordinated efforts the city’s infrastructure, such as water sup- counties, corporations, companies, and of national, state, and local leaders, the fair ply, street car lines, and a new civic center. benefactors, until more than $20 million would never have taken place. Between was raised. 1904 and 1915, three of California’s gov- FOUR MILLION DOLLAR MEETING The exposition was intended to be a ernors took an active role in moving the The P.P.I.E. was both a public and private money-making venture. This was the top project forward. The California State Legis- enterprise and the product of many years priority that shaped the planning for the lature passed laws and resolutions to aid in of planning and effort. Tens of millions of fair. Many well-known companies from the promotion and support of the P.P.I.E. dollars were raised by state and local gov- the Golden State, some still even in busi- Even the wording of the 1879 State Consti- ernments and the private sector. Because ness today, contributed to the funding for tution was changed so as to allow for rais- the fair did not receive any federal money, the P.P.I.E. Because many earlier exposi- ing a special tax to help provide $5 million private fundraising was critical to the suc- tions had ended in financial failure, special for the exposition. cess of the P.P.I.E. The full participation of consultants were brought in, who made San Francisco’s newly elected mayor and the business community would be essen- important recommendations to assure the later governor of California, James Rolph, tial if plans for the fair were to go forward. financial success of the fair. They called Jr., worked tirelessly to make the fair a On August 28, 1910, San Francisco and for attracting enough visitors projecting reality. As the “World’s Fair Mayor,” Rolph California boosters came together for the ticket sales, licensing, creating exhibition

bulletin 111 5 The glorious Tower of Jewels is captured in its nighttime splendor. It is one of approximately 10,000 glass plates in the State Library’s Cardinell-Vincent Collection.

and vendor fees, and establishing rental THE EXPOSITION CITY glass; 372,000 feet of phone and electri- revenues and various surcharges. The P.P.I.E. was an instant city that was cal cable; and 130,000 linear feet of water In planning for the exposition, nothing constructed within less than two years. All mains and 130,000 linear feet of sewer was left to chance. Every single detail was construction would have to begin from the lines. Just alone, the 435 feet high “Tower of attended to by the Panama-Pacific Expo- ground up. Over 1.3 million cubic yards of Jewels,” the highest building at the P.P.I.E., sition Company, the private corporation sand and mud was pumped from the bay required 3.4 million cubic feet of concrete; established in 1910 to operate the fair. to fill in the grounds and eleven miles of 1.5 million feet of timber; and 1,400 tons San Francisco businessman Charles C. water pipes laid just to bring water to the of steel. The 595 days of construction prior Moore was the president of the Panama- fairgrounds. A million square feet of roads to the fair’s opening required over two mil- Pacific International Exposition Company needed to be constructed and seventy-five lion man hours and a payroll of $7.5 mil- and the public face of the exposition. He acres of specially landscaped trees, flowers, lion. After twenty months of construction, tirelessly oversaw the construction of the and lawns. The volume of building mate- the “Exposition City” was ready to open on P.P.I.E., directed the fair’s various depart- rials used was staggering: over eighty mil- February 20, 1915. ments, and managed the daily operation lion board feet of lumber; 869,000 feet The exposition covered 635 acres and of the fair. of piling; nearly a million square feet of was over two miles in length. The Federal

6 California State Library Foundation The “Joy Zone” at the exposition was designed to create a fantasyland for young and old alike.

In anticipation of this great world’s fair, tens of thousands of pamphlets were printed designed to lure visitors. Minerva flanked by The opening of the exposition started with a parade that included this a resting grizzly bear welcomes the world to four-horse team pulling a replica of the California State Capitol Building. California and the San Francisco exposition.

government turned over parts of the Presi- pools and fountains. On the north side of on a daily basis. When completed, “The dio and Fort Mason for use by the corpora- the fair, an esplanade stretched along the Exposition City” came with its own docking tion that operated the P.P.I.E. “The Dream edge of San Francisco Bay. facilities, railroad yards, power grid, water City” was subdivided into three main sec- The P.P.I.E. was a vast undertaking not systems, and other infrastructure projects. tions: (1) the Central Group—the eleven only in its construction, but also in its day- The meticulous planning that went into main exhibition palaces centered round to-day operation. It was also a city within every detail was, in the end, responsible for the “Court of the Universe”; (2) the Eastern a city, complete with its own police and the fair’s great success. Group—the nearby sixty-five acre amuse- fire departments, hospitals, hotels, power ment park called “The Zone”; and (3) the plants, post offices, telephone exchanges, THE GOSPEL OF BEAUTY Western Group—the twenty-eight state and sewer and water systems. The fair had thou- The P.P.I.E. was the last of the great beaux- twenty-one foreign pavilions, a race track, sands of employees to staff and maintain its arts expositions. It served as the grand and livestock area. The exposition grounds various departments, exhibitions, grounds showcase for the “Four Wonderful Arts”: were laid out on a new innovative “court and operations. The “Exposition Terminal landscape gardening, architecture, sculp- plan” with five major courtyards, inter- Railroad” handled the huge volume of peo- ture, and color. Principal among these cre- secting avenues, and numerous reflecting ple and materials needed to be processed ative expressions were the many splendid

bulletin 111 7 San Diego, the southernmost city on the West Coast in the United States and the closest American port to the Panama Canal, hosted a spectacular fair in present- day Balboa Park.

The occasion of the PPIE gave impetus to a variety of creative mementos such as this beer tray promoting Ruhstaller’s Gilt Edge Lager. A The great comely woman exposition representing the gave California Golden State counties a terrific tosses golden opportunity poppies at the to promote exposition. themselves and their products. One of the most imaginative is the die-cut brochure promoting the dairy industry in Alpine County.

buildings that were constructed only for the with over 1,500 “plastic creations” or sculp- to be coordinated. Jules Guerin, the chief ten month run of the fair. Major architec- tures and hundreds of paintings by some of of color, created a palette of soft Mediterra- tural firms like McKim, Mead and White the worlds’ leading artists. nean colors that was strictly adhered to for were responsible for the overall design of The P.P.I.E. broke with many earlier fair the overall color scheme of the fair. Guerin the P.P.I.E. Individual architects designed traditions such as employing new color summed up his approach, “In coloring a specific buildings, such as noted California schemes, indirect lighting systems, and vast city of this kind, I treated it as I would a architects Bernard Maybeck, the designer planning for the fair operations to make a canvas for a picture.” of the Palace of Fine Arts, and Julia Morgan profit. No longer were the planners content The 1915 Panama-Pacific International the first women to be licensed as a Califor- to just create another “white city” that char- Exposition was the very first world’s fair nia architect and who designed the Y.W.C.A. acterized past fairs, but instead employed to use indirect illumination. Gone were Building at the fair. She would later go on a wide range of colors. The colors for all unsightly strings of incandescent light to design Hearst Castle. The exposition was the buildings, lamp poles, park benches, bulbs used at previous fairs. This revo- also an open-air art museum. It was filled gardens, and even sand for the paths had lutionary form of outdoor lighting high-

8 California State Library Foundation This celebration of technology and culture attracted millions of visitors as demonstrated by this photograph of the Southern Pacific Company pavilion.

lighted one of the new, never before seen car lines of the SF Muni system, railroad Francisco and San Diego fairs. The P.P.I.E. features at world fairs. William D’Arcy and ferryboat lines, or new roads for auto- was the first world’s fair to have parking Ryan, the chief of illumination, deployed mobiles. American and Canadian railroad lots for automobiles. Then, once at the fair, hundreds of hidden flood lights that cre- companies created special trains to bring visitors were faced with the daunting reality ated a “living film of light.” The “fireless visitors to the fair. They advertised travel of miles of avenues and roads. Many chose fair” was illuminated by 370 electric search along major northern, central, and south- to ride either one of the many tour buses, lights, 500 projectors, and 300 lamps. ern routes. Foreign and American ship- “Electriquette” cars, or a miniature train. ping companies also advertised sea travel Displays of aerial flight were also a GETTING TO THE P.P.I.E. to and from San Francisco, often via the prominent feature at the P.P.I.E. It had Transportation would be central to the suc- Panama Canal. only been eleven years earlier that humans cess of the Panama-Pacific International The recently completed transcontinental had begun to fly. Even by 1915, aerial flight Exposition. Millions of visitors were able Lincoln Highway and newly built roads in was still an exciting novelty for many. Art to attend the exposition by the new street California allowed for travel to both the San Smith was the darling of the crowds at the

bulletin 111 9 “Aeroplane View Main Group of Exhibit Palaces, Panama-Pacific International Exposition, from Silas Christofferson’s Aeroplane, at an Altitude of 1,500 feet.” To the bottom right is the Palace of Fine Arts, the only structure left from the great exposition.

fair. The boyish aviator thrilled visitors on resistance. The Japanese were perceived THE GREAT WAR AND THE P.P.I.E. a daily basis with his dare-devil acrobat- by many as posing a direct threat to Amer- The 1915 Exposition opened six months ics. (CSFL Bulletin no. 107 featured a story ican interests. Politicians called for “white after the outbreak of World War I. For the about this fearless aviator.) solidarity” in the face of the “yellow peril.” exposition promoters, the timing of the fair The P.P.I.E. officials did everything could not have been worse. Despite the out- HELPING TO CHANGE ATTITUDES within their power to counter these popu- break of the war, the fair leaders went for- The promoters of the P.P.I.E. faced numer- lar prejudices so that they could make the ward with their plans, and many nations ous challenges, including the widespread fair as welcoming as possible for partici- remained committed to exhibiting at the anti-Asian sentiments prevalent along the pating foreign nations. They, more than P.P.I.E. Against this grim backdrop, the fair West Coast. Californians, in particular, anyone else, understood how important offered those nations which took part the defined power in the Pacific in terms of Asian participation in the fair would be for opportunity to offer a positive alternative to race. China and Japan met with particular future U.S. trade. the destruction that had engulfed the world.

10 California State Library Foundation The American military had a prominent bands. A company of Marines operated would be anchored off the exposition role in the P.P.I.E. Beginning with the site a battery of forty-eight search lights, or marina for the length of the Fair, often in itself, the U.S. Army donated land for the “Scintillators,” which put on a nightly dis- the company of other warships. P.P.I.E. from parts of both Fort Mason play of colored lights. Also, all uniformed The USS Jason, a Navy collier, also played and the Presidio. Units from the Army, US servicemen were allowed to visit the an important role during the fair and the the Navy, and the Marine Corps frequently fair free of charge. First World War. The Jason was dispatched took part in the fair’s events and festivi- The USS Oregon, a battleship built in on a special mission to deliver toys to chil- ties. Units from the Army, the Navy, and 1896 at San Francisco, became an iconic dren in war torn Europe while re-coaling US the Marine Corps also went through many symbol of the P.P.I.E. After its completion warships. Since the US had not yet entered military exercises and drills. These often in 1914, the Oregon was the first US war- the war, the USS Jason could sail under the included mock battles, demonstrations of ship to pass through the Panama Canal. conditions of neutrality into the ports of equipment, and performances by military Afterwards, the “Bulldog of the Navy” these belligerent countries. The USS Jason

bulletin 111 11 ALL THE WORLD IS A FAIR

“Expositions are the timekeepers of progress. was no exception. This grand fair would 1876 Philadelphia Centennial Exposition; They record the world’s advancement. truly live up to its official promotional the 1889 Paris Exposition; and the 1893 They stimulate the energy, enterprise, and slogan of “California Invites the World.” Chicago Columbian Exposition. intellect of the people and quicken human Between February 20 and December 4, The P.P.I.E. was the first world’s fair � genius…Every exposition, great or small, 1915, over 19 million people visited this to take place on the Pacific shore. Nor has helped this onward step.”�� grand exposition held in San Francisco would the Fair be the first or last fair in (President William McKinley, 1901) during the ten months it was open. California. The P.P.I.E. was preceded The history of international expositions by the 1894 San Francisco Mid-Winter For centuries, the grandeur of and world’s fairs could be said to have Exposition and followed by the 1939 monumental structures and spectacular started in 1851, with the Crystal Palace Golden Gate Exposition. Even as early � views has drawn countless humans exposition in London. The late nineteenth as 1857, California would be poised to towards them. The great 1915 Panama- and early twentieth centuries were the open its own first exposition and fair � Pacific International Exposition (P.P.I.E.) golden age for great expositions: the with the Mechanic’s Institute.

brought back exhibition materials for the of the many European powers. Fair man- women were employed at the P.P.I.E. or fair from many of the warring nations of agement also promoted the idea that tour- took part in many of the programs at the Europe. When she arrived in San Francisco ists should avoid Europe and come to the P.P.I.E. Millions of women and girls vis- with her precious cargo in April of 1915, the fair instead. As a world’s fair, the P.P.I.E. ited the P.P.I.E. Many of the products on fair honored her crew for their service by was meant to celebrate diversity. Over display at the exposition were specifically holding a special “Jason Day” celebration. twenty nations proudly displayed aspects directed at and marketed towards women. Many of the international participants of their cultures with exhibits, displays, and Women also made major artistic contri- who originally planned to take part in the performances. For many of the visitors, butions to the fair, including noted Cali- P.P.I.E. were engaged against one another these were often their first encounters with fornia architect Julia Morgan, and several in “the Great War,” and so withdrew from many of the world’s cultures. women sculptors and painters, like Edith taking part in the exposition. Germany and Burroughs and Mary Cassatt, who had Great Britain were among them. Other WOMEN AND THE FAIR pieces prominently displayed throughout countries went forward with their plans. Beginning in 1907, California women the exposition. Among the warring nations at the fair started to take an active role in promot- were Australia and New Zealand, whose ing and participating in the plans for the A MULTICULTURAL CELEBRATION troops were fighting against Ottoman P.P.I.E. After gaining the vote in 1911, Most of the exhibits featured at the fair Turkey at Gallipoli, as well as China and women became an important political in the foreign pavilions were intended to Japan. Against the grim backdrop of the force in shaping the direction of the fair. be educational exhibits and received high First World War, the fair also offered many The Women’s Board, with Phoebe Hearst praise. Some exhibits, particularly those of the warring nations the opportunity to as honorary president, was formed as a in the amusement “Zone,” parodied some display the latest in military technology, subcommittee to the exposition direc- cultures by portraying them as exotic which sadly would be used during the war torate in 1912. The board declared that attractions for pure entertainment pur- to kill millions. Numerous groups which P.P.I.E. was the “first fruit of woman’s poses. Various ethnic groups expressed took part in the P.P.I.E. called for the end emancipation in a state made politically deep concern about some of these unflat- to the conflict or hoped that the fair would free, a practical offering of woman’s pride tering portrayals or even their ability to offer the world a positive alternative to the and woman’s patriotism.” participate in the P.P.I.E. The fair manage- collective destruction. California’s unfor- Women were responsible for much ment was able to address and rectify some tunate timing would be repeated again of the content and programs for the fair. of these issues. when the state hosted yet another world’s They took a keen interest in many social As the first exposition to be held on fair: the 1939 Golden Gate International issues of the day: the welfare of children the Pacific Coast, many nations of this Exposition at the start of World War II. and families; the position of women in region were represented along with many Some nations, like Japan, saw a chance to society and the workplace; and education Latin American countries. Also included, draw attention to themselves in the absence and welfare reform. Also, hundreds of were the newly acquired US possessions

12 California State Library Foundation S. and P. I. Jacoby composed this march song in 1914 and dedicated it to “the ladies and gentlemen who are striving to make the P.P.I.E. the greatest in history.” California playing a harp and held aloft by a bouquet of poppies with the Tower of Jewels in the background provided a most inviting image.

To celebrate the exposition, the Broadway Music Company of New York published this sheet music enhanced by this eye-catching cover of elegantly dressed visitors to the exposition. It is a wonderful document of high society fashion.

of Samoa, Guam, Hawaii, and the Phil- MUSIC AND LITERATURE AT THE P.P.I.E. and Metropolitan Opera Orchestra gave ippines. A number of Latin American Music was a central part of the Panama- stirring performances. Famed artists, such countries participated in the P.P.I.E. His- Pacific International Exposition. The visit- as John Philip Sousa, the “March King,” panics also visited the P.P.I.E. Numer- ing New York Metropolitan Opera House and French composer Camille Saint- ous ceremonies and pageants were held Conductor Max Bendix observed, “Music Saëns, not only conducted concerts, but celebrating California’s Spanish heritage. seems made for the Exposition city.” Hun- also wrote special pieces to be performed Native Americans often faced stereotypical dreds of performances took place over the at the P.P.I.E. treatment during the P.P.I.E., but some ten-month run. From daily organ recit- Noted literary figures, including many Indians were allowed to present a more als to dance bands, from children’s cho- California authors, wrote about the P.P.I.E. positive portrayal of their culture and tra- ruses to folk dance performances, from These included Gertrude Atherton, Mary ditions. One such Native American was marching bands to symphonic concerts, Austin, Edmund Wilson, and George Ster- Ishi, the last surviving member of his Cali- there was always music in the air. Famous ling among others. Maybe one of the least fornia tribe, the Yana. orchestras, such as the Boston Symphony expected literary contributors was Laura

bulletin 111 13 A Maxwell race car pauses on the exposition grounds. In the background, the Tower of Jewels nears completion. Cardinell-Vincent Co. photograph.

14 California State Library Foundation There was so much to see and do, almost too much, at the P.P.I.E.

One visitor who thought so was Laura Ingalls Wilder who said, “One simply gets satiated with beauty. There is so much beauty that it is overwhelming.”

Ingalls Wilder, who wrote many glow- FOOD FOR THE FAIR tors of the P.P.I.E. and its various vendors ing accounts of her visit. Also, numerous What would a fair be without fair food? Res- provided the public with a wide range books, publications, and magazine articles taurants and food stands were to be found of products which had to be all officially were produced covering various aspects of throughout both the exhibit area and the licensed for sale at the fair. And one of the exposition. amusement park. Food is a major part of the most unique souvenirs was the “Nova- any fair or exposition, and with the adver- gem.” These jewel-like crystals were hung A HALF MODERN WORLD tising slogan, “The Food Products to All from a spectacular structure named in The timing of the 1915 Exposition pre- the World,” the P.P.I.E. was no exception. their honor, the “Tower of Jewels.” As one sented planners with some special and Restaurants not only served meals to their advertisement put it, unique challenges for establishing guide- patrons for more formal occasions, but also “Oh! Tower of Jewels lines for exhibits. This “half modern” casual meals and snacks. Menus offered so wondrously bright era as historian Marvin Brienes calls it, hungry visitors a wide variety of cuisines Thy Novagems sparkling was a transitional period between the and fast food items as well. Prices ranged by day and by night nineteenth and twentieth centuries. The from $1.50 for a Chinese meal to 10 cents Flashing their fame operators wanted to only exhibit what they for Turkish coffee; an omelet for 30 cents o’er the land and the sea considered to be modern items which and a sandwich for 15 cents. Jewel City – 1915 – P.P.I.E.” represented products and inventions no Equally important to the P.P.I.E., were This 435-foot-high tower was the tallest more than ten years old. As one observer, the hundreds of exhibits and displays that building at the P.P.I.E. The 102,000 “Nova- George Perry, put it, “The Panama-Pacific showcased various nations and state’s food gems” which hung from it, shimmered International Exposition will go down in products, not the least of which were Cali- and sparkled in the sunlight and blazed in history as one of the most potent educa- fornia’s own impressive displays. Many a brilliant kaleidoscope of colors at night tional influences of the century.” manufacturers, including some that are still when illuminated from below by fifty-four There was so much to see and do, in business today, presented lavish displays floodlights. The multifaceted glass “Nova- almost too much, at the P.P.I.E. One of their products. The Golden State used the gems” were backed with special minia- visitor who thought so was Laura Ingalls fair as an important opportunity to highlight ture mirrors to help reflect the light back Wilder who said, “One simply gets satiated the rich bounty of its farms and ranches. through them and came in seven different with beauty. There is so much beauty that This included the budding California wine colors and sizes. The specially patented it is overwhelming.” To take in everything industry, which took the opportunity to crystals were manufactured in Bohemia at the fair had to offer could take days if not present its growing viticulture tradition to a cost of $60,527. weeks for many visitors. The vast array the rest of the country. Many of the exhib- The P.P.I.E. had a whole department of goods and products on display along its also displayed hundreds of examples of dedicated to awarding and issuing prize eleven miles of aisles, were not solely agricultural produce and food products. medals in gold, silver, and bronze. The exhibited for commercial reasons. Educa- They all offered hungry visitors menus of San Francisco branch of the US Mint also tional, informational, and scientific exhib- tasty new products and treats. Recipe books set up a fully functioning operation at the its were also an important feature of the and pamphlets helped to advertise many of fair that struck special commemorative fair. In addition to the 70,000 exhibits and these different product lines. coins for the public. Many of the exposi- displays, there were also over 800 sched- tion’s sculptors would also be responsible uled congresses, conferences, and conven- SOUVENIRS AND AWARDS for engraving both medals for the P.P.I.E. tions held at the P.P.I.E. that drew tens of What would a fair be without souvenirs, and US coins: Robert Aitken (1915 P.P.I.E. thousands of participants. keepsakes, and mementos? The opera- commemorative gold 50 dollar); James

bulletin 111 15 One of the grandest events was the arrival of the Liberty Bell at the Pennsylvania Pavilion on July 17, 1915. It was the last time this icon of America’s liberty left Philadelphia.

Fraser (1913 Buffalo nickel); and Adolph tographs, albums, and stereo-cards were AN ANTI-EXPOSITION Weinman (1916 Mercury dime). supplied by licensed photographers. The sixty-five-acre “Joy Zone” provided Photography played a major part in The amazing, yet largely untapped, millions of visitors with fun-filled enter- the exposition. San Francisco companies Cardinell-Vincent Company collection at tainment during the course of the fair like Cardinell-Vincent and H. S. Crocker the State Library documents in intimate under the slogan “Ten Million Dollars of obtained exclusive rights to professionally detail and on a day-by-day basis the entire Fun.” The carnival-like atmosphere of the photograph the fair. Visitors had to buy a run of the P.P.I.E. It should be noted that Zone was in stark contrast to the stately permit to take their own photos while at Foundation board member Mead Kibbey grandeur of the P.P.I.E. While many of the P.P.I.E. or pay photographers to make generously donated this stunning archive the 300 concessions were very popular portrait picture postcards. Likewise, pho- of glass-plate negatives to the Library. and widely visited, others were less prof-

16 California State Library Foundation itable and had to close early. Often at controversies arose over the Zone and its Rights.” After many protests, the unflatter- times, the Zone and the exposition had exhibits. Some were seen as being too friv- ing statue was eventually renamed “Little an uneasy existence together. The most olous, especially given the background of Eva.” Likewise, the San Francisco Chinese impressive of the many amusement rides the carnage of the First World War. Some community was incensed by the debasing was the 285-foot-high “Aeroscope.” It was women’s groups, were deeply troubled portrayals of Chinese in one exhibit and designed by Joseph Strauss, the builder of by exhibits they considered injurious for forced the vendors to change its content. the future Golden Gate Bridge. young visitors. Along a similar vein, many For some, the mile-long amusement women who had just won the right to vote KIDS AND THE P.P.I.E. park was seen as some sort of opposite to in 1911, took particular offense at a statue Millions of children visited and took part the fair, or an “anti-exposition.” Numerous called “Panama Pankaline Imogene Equal in the 1915 P.P.I.E. Daily events included

bulletin 111 17 everything from children’s parades and

Rear View of the Aeroscope. Located in the Joy Zone at the exposition, the aeroscope pageants to concerts and performances. was a new amusement device by which a car of passengers was lifted to an elevation Naturally, there were amusement rides of 264 feet. Occupants would receive an incredible, heart-throbbing view of the fair. and carnival shows. The fair was also promoted as being an educational experi- ence for all who came, especially children. Many exhibitors marketed new products for children and their parents. Numerous children’s books were published about the P.P.I.E. Many of the characters in these books were featured in adventure stories which took place at the fair. Interestingly enough, at a special children’s hospital on the fairground, new born babies could be viewed in newly invented baby incubators.

ARTIFICE OF ETERNITY “The hour has struck. The mighty work is done. Praise God for all the bloodless victories won. And from these courts of beauty’s pure increase Go forth in joy and brotherhood and peace.” (George Sterling)

December 3, 1915 was the closing day for the Panama-Pacific International Expo- sition. The short-lived P.P.I.E. was over. It was in a sense a faux fair, but for many visitors it was the most memorable event in their lives. What had taken so much effort to create and build came down in a relatively short time. As Louis Christian Mullgardt observed, “When the Exposi- tion buildings have been torn down, then we will have destroyed one of the greatest architectural units which has ever been created in the history of the world.” Build- ings were quickly razed, landscaping leveled, and sculptures destroyed or carted away. Even though this “artifice of eternity” is now gone, the legacy of the P.P.I.E. The most impressive of the many amusement rides was the continued to live on. The fair served as a guide for the 1939 Treasure Island Golden 285-foot-high “Aeroscope.” It was designed by Joseph Strauss, Gate International Exposition. Likewise, it also served as an important inspiration for the builder of the future Golden Gate Bridge. many future fairs and theme parks.

18 California State Library Foundation Some elements of the fair, however, Diego Union proudly proclaimed, “This sulting Frank Morton Todd’s massive five did survive. A few buildings were spared [Panama-California Exposition] is not an volume compendium, The Story of the and hauled away for reuse. An attempt Exposition, it is the expression of an idea.” Panama-Pacific International Exposition, was made to save the massive California Because of its success, the fair’s run was published in 1921.  Pavilion and turn it into a teacher train- extended an extra three months into 1916. ing college, but this ended in failure. The It was visited by over 3.7 million fair goers. French Legion of Honor Pavilion was later Nearly every country from Latin America re-created and made into one of San Fran- was represented at the fair and most of the FURTHER READING cisco’s premier art museums. In the end, hemisphere’s Indian tribes were repre- Barry, John D. The City of Domes. 1915. the magnificent domed Palace of Fine Arts sented at a World Congress. Benedict, Burton. The Anthropology of the was the only surviving structure to remain The “Magic City’s” scenic vistas, mag- World’s Fairs. 1983. standing. The land on which the P.P.I.E. nificent architecture, and many exhibits had been constructed was cleared, filled in, rivaled those of the San Francisco fair. The Berry, Rose V. S. The Dream City: Its Art and then sold off for new-home construc- Spanish San Diego Exposition covered in Story and Symbolism. 1915 tion. The unstable “made earth” on which more than 400 acres. The many buildings Brechin, Gray. Imperial San Francisco. these homes were built would later be the on the fairgrounds covered 145 acres, and 1999. underlying cause for major destruction in open spaces covered another 300 more. Issel, William and Robert Cherney. the Marina District during the 1989 Loma Over two million plants were to be found San Francisco 1865-1932. 1986. Prieta earthquake. in its rich botanical gardens. Unlike the P.P.I.E., much of the San Diego exposi- Rydell, Howard. All the World’s A Fair. THE OTHER EXPOSITION tion was intended to be left standing after 1984. “The purpose of the Panama-California its closing. The previous practice at major Starr, Kevin. Americans and the California Exposition is to illustrate the progress and expositions had been to level all of their Dream, 1850-1915. 1973. possibility of the human race, not only for the buildings after a fair was finished. This exposition, but for a permanent contribution was happily not the case as many of the to the world’s progress.” San Diego fair’s buildings were erected to (Florence Christman) be permanent structures. Current day Balboa Park is home to The 1915–16 Panama-California Exposi- some spectacular examples of Spanish tion (P.C.E.) was held in San Diego and Mission Revival architec- overlapped with the 1915 San Francisco, ture, which includes the Panama-Pacific International Exposition. California State Building, Both San Diego and San Francisco com- the Fine Arts Building, peted to become the site for the world’s fair. the Cabrillo Bridge, and After San Diego failed to be designated as the Casa del Prado. The the world’s fair in 1911, its promoters went former Panama-California ahead with holding a separate exposition. Exposition fairgrounds also Under the slogan, “The Land Divided – served as the location for The World United – San Diego the First the later 1935–6 California Port of Call,” the city’s boosters launched Pacific International Expo- their grand enterprise. The San Diego fair sition. Today, San Diego is Found in the State Library’s extensive would be the result of five years of inten- justly proud of these architectural wonders; vertical files is this post exposition permit sive planning, fund raising, and construc- with many of them on the National Register issued to M. J. Ferguson dated January 4, 1916. tion. One of the unique features about the of Historical Places. Ferguson at the time served as the Deputy State Librarian of California. No doubt other San Diego exposition was that it broke The Panama-Pacific International Expo- State Library staff visited the PPIE. with exposition tradition regarding perma- sition is probably one of the best docu- nent structures. mented world’s fairs in American history, On December 31, 1914, President Wood- and the literature on it is vast. No history row Wilson opened the P.C.E. The San of the Exposition can begin without con-

bulletin 111 19 Artist Siméon Pélenc’s San Francisco Metamorphosis

By Meredith Eliassen

enius is ageless: it cannot cre- University sheds light on this enigmatic art- ate unless it is.1 Siméon Pélenc ist whose career coincided with an art move- (1873–1935) appeared to be a ment promoting naturalism and realism in man of contradictions: he was a teetotaling the arts – verismo. Pélenc railed against bru- Frenchman, a pacifist whose nervous tem- tal realism in the theater and in the fine arts perament severed important relationships; a throughout his career. He began to work fearless asthmatic who braved construction as a professional artist at the age of twenty sites until the end of his career; and a rich years and within a decade his career reached baritone who would go days without utter- its height in France. A vast array of Pélenc’s ing a word. In one area he never wavered: work housed in the Leonard Library’s Fine art was his religion; therefore, in his studio Art Collection and the California History (Above) Letterhead, “Siméon Pélenc, Mural Artist” he found sacred ground. An unpublished Section of the State Library attests to a career Courtesy of Manuscript Collection, manuscript by Pélenc’s second wife Helen of experimentation, mastery, reversals, and J. Paul Leonard Library, San Francisco State University. that is part of the J. Paul Leonard Library’s ultimately, a modern sensibility of spiritual Historic Collections at San Francisco State vision and expression. (Top) Self portrait of the artist, 1933. Mrs. Siméon Pélenc donated it to the State Library in 1954. EDITOR’S NOTE

(Opposite page) Meredith Eliassen is the curator of University Archives and Historic Collections and the Frank V. Pélenc played with influences on the formation of de Bellis Collection at the J. Paul Leonard Library at San Francisco State University. Research- California for this working drawing used for the ing Siméon Pélenc’s career and perspective on the decorative arts reignited her love of design, and San Mateo Theater (1925), California State Library. she has recently returned to the drawing board.

20 California State Library Foundation bulletin 111 21 “For all of these paintings comprise recognizable objects, they are Pélenc was the son of David Pélenc, a French railway worker from Arphy, a small none the less strictly non-representative. They are devoid of the village in Cévennes in a Huguenot strong- hold. Siméon, the eldest of four sons, slightest preoccupation with illusion or realism in any degree. They was born in Cannes on April 6, 1873. As a Meridionaux, he loved the water and are what the average spectator calls ‘futuristic.’” —IRVING F. MORROW, 1925. learned to navigate boats by the stars in the sky. Pélenc became immersed in the “An Essay in Modern Architecture.” The Architect & Engineer, 83:3 (Dec. 1925): 101-102. artistic traditions of southern France, but as a youth, he also studied fresco painting with Angelo de Signori of Verona. Pélenc was educated at the University of Aix-en-Provence and School of Beaux-Arts in Marseille and became known for sea- scapes and murals while in France. His first wife Emily Sara, nine years his junior, worked as a music director in casinos in Monte Carlo.2 A fall from a scaffold made Pélenc reassess his life.3

One who does not know himself to the end of his tears, has not lived. 4

Siméon and Emily sailed from Bor- deaux and arrived in New York City in late 1915. They settled in San Francisco in 1916. Out of work and with limited Eng- lish language skills, Pélenc struggled. He typically wore a long black ulster with a collar and cuffs trimmed with Persian lamb with a cap to match, giving him the appearance of a Russian. Fearing that he might be a Bolshevik, the police frequently searched him for letters or clues that he might be a spy. One day they discovered him sketching on military grounds along the waterfront, searched and roughed him up before asking him questions that he could not understand in order to answer, then hauled him off to jail. An interpreter arriving the next day quickly got Pélenc cleared and released.5 His earliest mural in San Francisco was completed in 1916 for the living room of Fred S. Moody’s home, located at 1948 Pacific Avenue.6 Pélenc taught French to journalists in the Chronicle Building.7 Emily returned Etching “Train in Landscape,” by Siméon Pélenc, circa 1925, printed on tan laid paper and signed in pencil. Author’s Collection. to Europe where she fell in love with another man, informing Pélenc by post.

22 California State Library Foundation Photograph of Siméon Pélenc, circa 1920, spotlights the artist’s large hand capable of sensitive and bold brush strokes.

Pélenc’s metamorphosis emerged with friendships with architects that had been immersed in French traditions. After a serious stroke that limited his ability to communicate, Pelenc took solace in daily excursions to the Golden Gate to chronicle in charcoal or pencil construction on a new bridge designed by his dear friend Morrow. This is one of many original drawings donated by Mrs. Pelénc to the California State Library.

bulletin 111 23 Murals in fresco by Siméon Pélenc on wet mortar and gold for 55 Hermann Street in San Francisco (1928). Reproduced from Siméon Pélenc,“The Revival of Fresco,” Architect and Engineer (March 1929): 96.

Pélenc was awarded a divorce in 1919, and as the consulting architect for the Golden did not keep accounts as to whether art- destroyed all evidence of her, and married Gate Bridge, was fluent in the French lan- ists paid or not. Three long flights of stairs stenographer Helen Bordeaux (1879-1963) guage. Pélenc developed color selection for lead to Pélenc’s light-filled studio. Artists two years later.8 Said to be the only active walls, organ grills, and the wooden ceiling left doors open, including Pélenc’s neigh- fresco painter in the United States in the featuring random multicolored striations.13 bor, an English mariner-turned-mediocre 1920s, Pélenc was among fifty artists in Morrow characterized Pélenc’s panels as artist who offered nude figure-drawing his day who tried to revitalize fresco paint- “futuristic,” in essence “abstract . . . . alive classes to attract students.15 Independent ing around the world.9 Pélenc divorced with an almost startling brilliance of color.” by nature, Pélenc had an amazing power himself from French compatriots, spent Pélenc’s sketches were, “almost disconcert- to see and portray qualities beyond the real Sundays studying English at Telegraph ingly novel in form,” Morrow said. The and was able to blend modern design and Hill, and subsequently lost favor in San team had to adapt a more “eclectic” style to older classical forms in sgraffito work.16 To Francisco’s French Colony.10 coordinate with the “exuberant fancy of Mr. educate potential clients as to possibilities Pélenc’s designs.”14 of fresco murals for inside and exteriors, A MODERN PAINTER WHO WANTED Pélenc maintained a studio located on he displayed huge fresco paintings weigh- TO BE AN ARCHITECT 11 the top floor of a historic three-story brick ing over a thousand pounds.17 According to Helen Pélenc, Siméon was, building located at 728 Montgomery Street “compelled to paint, and with it came his shared with etchers, photographers, and THE GREAT DEPRESSION BRINGS REVERSALS humor and enthusiasm that was as fresh as an art school. Studios had no heat or pri- Within San Francisco’s art community, a boy.”12 He worked with architects Irving F. vate restrooms; his was 200 x 60 feet with Pélenc was recognized as an extraordi- Morrow (1884–1952) and William I. Garren, two large windows slanting diagonally narily talented but naive resource that and structural engineer Henry D. Dewell east and west. Rent was $15.00 per month; could be exploited. The Stock Market on the San Mateo Theatre (constructed and the wealthy owners H. & W. Pierce were Crash left Pélenc nearly penniless when opened in 1925). Morrow, remembered Christian Scientists who were realtors and contracts adding up to more than $25,000

24 California State Library Foundation were cancelled. He and Helen gave up their apartment and transformed the studio into an agreeable domicile. A balcony used as a storage area was converted into Helen’s bedroom. Meals were meager, and they installed a small pot-bellied cop- per stove for cooking and heat. Pélenc’s couch-bed was rolled out under the sky- lights to protect him from the midnight air “whizzing in from the courtyard.” 18 Not a sound sleeper, he gazed up at the night sky through the skylight. Perhaps Pélenc’s greatest contradiction was that his art reflected modernity, while circumstances created brutal realism in his personal life. Pélenc observed, “In the theater everything in action is put on the same place . . . . Your seat is fixed so that you cannot turn it, and you are obliged to look at the stage.”19 Pélenc’s widow observed that genius seldom included stories of power, but rather stories of drudgery, of persever- ance, and of patience; it was analogous to fresco painting in that one must learn certain laws and bring himself into har- mony with those laws.20 Pélenc’s 200-foot fresco painting for the proscenium arch in the auditorium at the Mariano Guada- lupe Vallejo Junior High School in Vallejo became the largest of its kind in Califor- nia consisting of seven large panels in an imposing triptych. This project was com- Interior of the San Mateo Theater featuring murals and sgraffito work by Siméon Pélenc, circa 1925. pleted without a formal contract, because Reproduced from Irving F. Morrow, “An Essay in Modern Architecture,” The Architect & Engineer 83:3 the contractor knew that Pélenc was not yet (Dec. 1925): 106. a United States citizen and that he could be exploited without recourse or retaliation. Pélenc paid for labor and supplies out of his own funds, and made no profit on this venture that ended in a disastrous lawsuit “We know that evolution in art is permanent and cannot be with the contractor.21 Helen wrote, “Pélenc never had power to retaliate when finally suppressed. It has invaded all expressions in our contemporary life, he pursued the policy of a laissez faire situa- tion instead of accomplishment for such an and the stage, of course, could not fail to follow. The theater is the important achievement.” 22 Pélenc resented naturalism’s brutal- most effective means of education. Everything in action is put on the ity: “A scene representing a meat market with real meat, — a quarter of real beef, same place. Your seat is fixed so that you cannot turn it, and you are so odorous that spectators nearly fainted . . . .”23 In life, nothing is fixed. An affluent obliged to look at the stage.” —SIMEON PÉLENC, 1934.

bulletin 111 25 Siméon Pélenc interviewed Vallejo relatives before developing the designs for the Proscenium Arch of the Auditorium for the Mariano Guadalupe Vallejo Junior High School in Vallejo, California, architect Frederick H. Reimers. Reproduced from Elmer L. Cave. “Vallejo Has Outstanding Junior High School Building,” Architect and Engineer 116: 2 (February 1934): 17.

French student decided that he wanted to ally assisted Pélenc with research. Pélenc revelation. Pélenc suffered a major stroke study art. The arrangement made in 1929 engaged architect pals Morrow and Henry while working on what would be his final was to have daily lessons between 7:00 and H. Gutterson (1884–1954) in a conversa- project: six panels in sgraffiti fresco paint- 10:00 a.m. for fifty dollars per month.24 tion on applying Mayan art and culture ing in a Chinese motif for the Chung Mei Two years later, the student became dissat- to modern design.27 Plachek described – Chinese Home for Boys in El Cerrito, Cal- isfied after having gone to all of Pelenc’s Pélenc’s sculpture for pylon tops as “fan- ifornia. The contractor Coburn & Company friends and asked for lessons, only to be ciful thought in a rhythm of curves and delayed work until Pélenc could complete refused. One day the student stormed out straight lines to give a modern expression it. Doctors made it clear that he did not of the session in a violent rage, and the fol- to an old art.”28 His decorative sgraffiti rep- have time and suggested that he surrender lowing day, he returned telling Pélenc he resented generations ascending the steps his studio for more comfortable accommo- started taking figure-drawing classes next- toward light and knowledge, which was dations. Pélenc refused. Helen observed door with the Englishman. The shock of depicted as rays of silver breaking through that after being dismissed from the French this betrayal led to Pélenc’s first stroke.25 dark clouds symbolizing ignorance. Pan- Hospital, Pélenc was “Just a shadow of his Pélenc is credited with introducing Ital- els along Kittredge Street and Shattuck former mischievous self. . . .” He avoided ian sgraffiti techniques to California.26 He Avenue in Berkeley allegorically illustrated “friends and acquaintances but he never worked with architect James W. Plachek on the treasure of knowledge found in books missed his daily visits to the Golden Gate Berkeley Public Library’s Central Branch suggesting the purpose of the building. Bridge.”29 He insisted that poverty was a to create an art moderne zigzag struc- Pélenc’s metamorphosis from an blessing to an artist although he regretted ture featuring pseudo-Mayan-Egyptian impressionist of Seurat’s pointillism to an pulling his wife into it. He died in his stu- design motifs. Never having been to the innovator of futuristic modern decorative dio with Helen by his side on July 6, 1935.30 Yucatán Peninsula, the San Francisco City painting emerged out of hardship and inti- Coburn & Company’s payment was enough Librarian Robert Rea (1877–1958) person- mate betrayals that led to personal spiritual to cover Pélenc‘s funeral expenses.31 

26 California State Library Foundation Detail from decorative sgraffito panel by Siméon Pélenc for Berkeley Public Library, architect James W. Plachek. Reproduced from Garren, William I. “The Berkeley Public Library,” Architect and Engineer 101: 1 (January, 1931).

ENDNOTES

1 Helen Pélenc, “Biography: Simeon Pélenc, 13 Edward Gordon Craig asserted that sym- credit, Elmer L. Cave, “Vallejo has Out- Mural Artist,” Typed manuscript (San Fran- bolism was the root of all art in his On the standing Junior High School Building,” cisco, Calif., 1961). Manuscript Collection, Art of the Theatre (London: William Heine- Architect and Engineer 116: 2 (February J. Paul Leonard Library, San Francisco, mann, 1925): 293. 1934): 17. Pélenc, 1961: 38 and 84. California: 89. 14 Irving F. Morrow, “An Essay in Modern 22 Pélenc, 1961: 84 2 Pélenc created murals in France, Swit- Architecture,” The Architect & Engineer 23 Pélenc, 1934. Inspired English stage de- zerland, and America, and had European 83:3 (Dec. 1925): 102-3. signer Gordon Craig (1872–1966) and Swiss exhibitions in Paris, London, Lausanne, 15 Pélenc, 1961: 26 and 37. theatre theorist Adolphe Appia (1862-1928), Marseille, Nice, and Cannes. Pélenc collab- 16 The word, “Fresco” comes from an Italian who promoted less elaborate, non-represen- orated with Swiss muralist Eugène Samuel word meaning “wet” or “damp” and the tational scenery and more dramatic use of Grasset (25 May 1845 – 23 October 1917) fresco painter does not paint his picture on atmospheric lighting. Craig observed that to decorate the Pavillion Bleu, of the Uni- the wall, it is meant to adorn; he makes it Realism represents Nature as a “counterfeit versal Exhibition in Paris in 1900. “Who’s become part of the wall, in the same man- of Truth, Beauty. . .and is a vulgar means of Who in this Issue,” Architect and Engineer ner in which nature makes marble — by expression bestowed upon the blind.” Craig, CI: 2 (May 1930): 27. adding mineral pigments to the plaster 1925: 286–8. 3 Pélenc, 1961: 9. while it is still wet. Pélenc learned ancient 24 Pélenc, 1961: 36. 4 Helen includes a story of Pélenc at moments techniques from Paul A. Baudouin author 25 Pélenc, 1961: 37. of retrospection, Pélenc, 1961: 12. of La Fresque: sa technique - ses applica- 26 Siméon Pélenc, “Sgraffitto Applied to tions (Paris: Librairie Centrale des Beaux- 5 Ibid. Modernism,” Architect and Engineer CI: 2 Arts, 1914) in Siméon Pélenc,“The Revival 6 Siméon Pélenc,“The Revival of Fresco,” (May 1930): 48. of an Ancient Art,” Architect and Engineer Architect and Engineer (March 1929): 27 88:1 (Jan 1927): 84-92. Pélenc, 1961: 32. 95–98. 28 17 Pélenc, 1961: 58. William I. Garren, “The Berkeley Public 7 Pélenc, 1961: 109. Library,” Architect and Engineer 101: 1 18 Pélenc, 1961: 38, 66 and 86. 8 “Artist Pelenc Wins Divorce: Wife’s Letter (January, 1931): 36. 19 Siméon Pélenc, “Comments on Scene Brings Decree, ‘Other Man a Misfortune’ 29 Pélenc, 1961: 117. Over Which She Had No Control, Writes Design,” Minutes of The Commonwealth 30 On September 30, 2013, The Chung Mei Musician Wife,” San Francisco Examiner Club, November 28, 1934. Historic Collec- Chinese Home for Boys, in El Cerrito, (August 12, 1919): CC-3. tions, J. Paul Leonard Library, San Fran- cisco, California. California was determined eligible for 9 Pélenc, 1961:19. the National Register of Historic Sites 20 Pélenc, 1961: 89. 10 Pélenc, 1961:16 and 17. #13000792. Pélenc, 1961: 98 and 117. 21 An article about the junior high school 11 Pélenc, 1961: 56. 31 Pélenc, 1961: 53. prominently featured Pélenc’s massive 12 Pélenc, 1961: 42. series of frescoes without giving him any

bulletin 111 27 Doyenne of Eudora California History Garoutte Librarians By Gary F. Kurutz

hen giving tours of the restored Library and Courts Building, I often end the visit in the Library’s stately conference room on the fifth floor. I ask everyone to look up at the vaulted ceiling as I identify the four portraits that grace its corners. After point- ing to John Sutter, H. H. Bancroft, Bret Harte, and William Keith, visitors often ask me who made that selection. My answer is Eudora Garoutte, the first head of the Library’s California History Department. That fact and having seen a striking 1890s studio photograph of Garoutte attired in a La Belle Epoque style dress and wearing a head-turning hat have always intrigued me. I wanted to know more about this fetching woman and her considerable impact on California history. She was the first in a series of talented California His- tory Department heads including Caroline Wenzel, Alan Ottley, Kenneth Pettit, Rich- Taken sometime in the late 1890s, Garoutte visited the prestigious Doré photo studio on ard Terry, and Kathleen Correia. Market Street in San Francisco. Her striking hat and dress with its “leg of mutton” sleeves Born in 1864 in Woodland, Califor- makes today’s viewer wonder if she had this portrait made for a special occasion. nia, on a large stock ranch, Mary Eudora Garoutte (who never used her first name) was descended from early California pio- EDITOR’S NOTE neers and naturally developed a strong Gary F. Kurutz is the Foundation’s executive interest in the state’s formative years. director and curator emeritus of special collec- Garoutte attended Hesperian College in tions at the California State Library. Woodland and taught in the area’s elemen-

28 California State Library Foundation tary schools.1 This teacher’s life took a dra- uscripts, and a variety of other sources. matic change when James L. Gillis became Called the California Information File, it is state librarian of California on April 1, still heavily consulted and it still stands as 1899. A great visionary, Gillis wanted to one of the great research tools saving librar- open up the State Library collections for ians and their patrons quantities of time. public use. Up until his tenure, the State For many researchers, it was the primary Library remained the exclusive domain of reason to visit the State Library. To illus- state elected officials and their staffs. Mov- trate, the week before Garoutte retired in ing quickly, Gillis hired Garoutte exactly July 1933, the famed San Francisco author one month later and assigned her the task Gertrude Atherton came to the Library to of pulling together and building up the use this index to gain background informa- Library’s resources on California history. tion for a new novel. By the time Garoutte With her pioneer Woodland roots, departed, her creation consisted of over Garoutte relished this opportunity. Direct- 2,500,000 entries. The California History ing the California History Department, Section still continues this indexing tradi- as it was originally called, she established tion, but now it is done electronically, and several programs that form the founda- this data base is available online.2 In addition to this monumental index, tion of today’s California History Section. Garoutte dressed in this pioneer dress to When Gillis hired the former teacher, the Garoutte devised other resource-building celebrate the Sacramento Centennial in 1939, State Library was located in the apse por- strategies. Knowing that California was six years after her retirement from the State Library. Hodson Fotographer, Sacramento. tion of the State Capitol building between populated by descendants of pioneers the Senate and Assembly chambers. With and gifted authors, artists, musicians, fornians. These files have proven to be its rounded east façade, the structure fea- and state officials, she sent out 3 x 5 inch a boon for researchers. Just to illustrate, tured strikingly beautiful reading rooms. biographical cards to these individuals. It my chief resource for this brief sketch is In 1903, Gillis proudly opened the State must have taken countless hours to track the Garoutte biographical information Library to the public and researchers could down these notable people. Thankfully, file in the California History Section. now delve into the Library’s rich collections thousands responded by sending back In her anonymous report for the 1906 and tap into the expertise of staff members the cards filled in with full name, date inaugural year of the State Library’s like Garoutte. and place of birth, name of spouse, date quarterly journal, News Notes of Califor- Garoutte realized that the resources on of arrival in California (if applicable), and nia Libraries, Garoutte beautifully sum- California history consisted of a wide variety major accomplishments such as books marized the rationale not only for her of material ranging from rare books docu- written, etc. Cards were received by the department but also the need for all public menting early explorers to a menu from a likes of Samuel Clemens, H. H. Ban- libraries to collect local history: San Francisco restaurant. In particular, the croft, Mary Austin, Jack London, Luther Every library, no matter how small, Library offered large holdings of Califor- Burbank, Alice Eastwood, Carleton Wat- should have its local historical depart- nia newspapers and periodicals stretching kins, John Muir, and Maynard Dixon. ment, pervaded by a home atmo- back to August 15, 1846, the start date of Many of these individuals also sent in sphere and fostered by an abundance the state’s first newspaper the Californian. photographs, letters, and books that they of family pride. It should be a place With literally thousands of volumes, provid- authored. In turn, the California Depart- where the family records, portraits, ing access to these titles represented a stiff ment supplemented these cards with and household goods can be collected challenge. In the days before microfilm and biographical files. Over the years, staff and preserved for the benefit and electronic resources, staff lugged heavy vol- under Garoutte’s direction typed obituar- enjoyment of the family circle and the umes to the reading room and researchers ies from newspapers, biographies from delectation of the interested stranger. plowed through them page by page looking county and city histories, and listed arti- The California History Department, of for needed articles. To facilitate this search- cles by or about the subject. Just as inter- the State Library is trying to do for the ing, Garoutte developed a card index with esting is the correspondence between State what each local library should do citations to people, places, and events. In Library staff and some of these individ- for its own locality. It is our endeavor to addition to newspapers, the index included uals. In this way, the Library acquired secure all books historical and descriptive periodicals, city and county histories, man- fascinating letters from noteworthy Cali- of California.3

bulletin 111 29 Upon her retirement several leading California historians signed their Dressed stylishly, Garoutte posed for this names to this gift copy of The Santa Fe Trail, the Journal and Drawings of photograph in what may have been her H. M. T. Powell. Printed by the Grabhorn Press in 1931, this very special copy Sacramento residence. Unfortunately, the image was donated to the State Library following the passing of this great librarian. is undated and no mention is made of place.

This dedicated and talented librarian It beautifully illustrates her diplomacy and under Mexican rule. Obviously impressed made numerous trips to acquire valuable ability to open doors and to gain the con- by Garoutte’s knowledge and charming material for the Library. Under her skilled fidence of noteworthy Californians. The manner, Mrs. Johnson donated a superb and imaginative direction, letters and narrative starts in San Diego and works its oil painting of Governor Pico, several pho- diaries, photographs, maps, commercial way north. For example, while in San Diego tographs, and other documents. In this fas- records, pioneer account books, theater she persuaded Moses S. Prime to donate cinating report, Garoutte told of how she programs, posters, and ephemeral items of his Gold Rush journals and the 1849 “Log met with pioneer families, solicited materi- all kinds poured into the State Library. In of the Barque La Grange, Belonging to the als from them, and gave advice as to where short, as she put it, “any and everything that Salem and California Mining and Trad- to place their letters and photographs. She will give a day by day picture of the life of ing Expedition.” It is fascinating to note also worked with local libraries in each the State.” The California Department grew that the La Grange was later tied up at the place she visited urging them to preserve to become one of the nation’s foremost Sacramento Embarcadero and converted the history of their area. resources for state and local history. Found into a jail. While in Los Angeles, she met As part of her professional duties, in her biographical information file is an with Mrs. George A. Johnson, a niece of Garoutte participated in many library asso- undated seven-page typed report she wrote two Alta California governors Juan Bautista ciation meetings, community groups, and describing an acquisition and goodwill trip. Alvarado and Pio Pico when California was frequently gave talks on California history

30 California State Library Foundation and the magnificent resources under her building of its own. After numerous delays, Woodland Cemetery. Fortunately, she left to charge. She was also a popular speaker the Library completed its move into the the State Library many of her books includ- at the California Library Association’s new facility in August 1928. Although it is ing that very special copy of The Santa Fe annual meeting. As part of her speaking not documented, one can speculate about Trail. Wenzel in praising her mentor wrote, and day-to-day duties, she contributed a the influence Garoutte may have had in “Miss Garoutte’s unbounded love and quarterly report for inclusion in the afore- the layout and decoration of the spacious enthusiasm for her chosen work, com- mentioned News Notes of California Librar- California Room on the third floor. Artists bined with her charm and graciousness ies. Her reports told of new acquisitions, painted its beamed ceiling with symbols of of manner, endeared her to all.” Every day titles being indexed, exhibits, and the addi- California history. Who better to select the researchers visiting the California History tion of biographical cards. Concerning themes than this history librarian? Room still benefit from the farsighted lead- the latter, she wrote short biographies of After nearly thirty-four years at the ership, passion, and imagination of this several of the more interesting pioneers. helm, Garoutte decided to retire on July 1, daughter of Woodland.  It is fascinating to read through her quar- 1933 to rest and travel. In recognition of terly summaries and to see the myriad of her importance, several articles appeared activities she and her staff undertook. In in the Sacramento and San Francisco addition, she wrote for News Notes a then newspapers with this bittersweet news. very useful “Study Outline of California Although it was not stated anywhere, per- History.” Because of its value, the State haps the Great Depression influenced her Library published her handy guide to the decision. The Sacramento Bee, in announc- key books of California history as a sepa- ing her retirement in its July 10, 1933 issue ENDNOTES rate publication in 1920.4 not only praised her singular contribution Naturally, a person of this depth and but also revealed how she was going to 1. Founded in 1861, Hesperian College closed passion attracted the leading scholars of spend her golden years. The Bee reporter its doors in 1896. Its property became the first site of Woodland High School. The her day to the State Library. One can only wrote, “Miss Eudora Garoutte is prepar- college’s endowments and some of its fac- imagine her beaming smile welcoming ing today to visit the historically romantic ulty transferred to the Berkeley Bible Sem- the likes of the great Western map and places she has glorified as head of the Cali- inary and later to Chapman University in Gold Rush historian Carl I. Wheat or fornia department of the state library.” The Orange, California. that notable historian of the High Sierra State Library and the library community 2. The California Information File was placed Francis P. Farquhar. One letter in her feted her at a dinner party hosted by State on microfiche in the 1980s and is available biographical letter file from Wheat dated Librarian Mabel Gillis. A highlight of the at many libraries. The computerized ver- November 1, 1932, illustrates the respect evening was a presentation to Garoutte of sion known as California Information File the history community had for her. Wheat one of the great landmark books of Califor- II contains over 60,000 references. was writing an introduction to a new edi- nia history, The Santa Fe Trail, the Journal 3. “California Historical Department” in tion of the celebrated Dame Shirley Letters and Drawings of H. M. T. Powell. Designed News Notes of California Libraries. 1 (August of the Gold Rush.5 The esteemed historian and printed by the famous Grabhorn Press 1906):170–172. asked her to critique his draft. Apparently of San Francisco in 1931, the elegant folio 4. Garoutte, Eudora. Study Outline of Califor- Garoutte was too gentle. After receiving volume included a special page inscribed nia History, California State Library. Sacra- her review, Wheat wrote back: “Why didn’t by four distinguished California histori- mento: California State Printing Office, you proceed to tear it to pieces? That’s ans: Carl I. Wheat, Francis P. Farquhar, 1920. what I really wanted. Anyway, thanks a Douglas S. Watson, and George D. Lyman 5. The letters of Louise Amelia Knapp Smith lot.” No doubt, too, over the decades she and printer Edwin Grabhorn. Clappe, better known as “Dame Shir- critiqued other drafts and wrote hundreds With Garoutte’s retirement, Mabel Gil- ley,” were first published in California’s of replies to reference inquiries concern- lis appointed Caroline Wenzel as head of first periodical, The Pioneer: or California Monthly Magazine, January 1854–Decem- ing California history. the California History Department. Wen- ber 1855. Her letters did not appear in During the 1920s, the Library and zel had worked under Garoutte for ten book form until published by the private Courts Building was under construction. years and went on to provide illustrious press of Thomas C. Russell in 1922. The The Library’s quarters in the State Capi- leadership for twenty-two years. prestigious Grabhorn Press of San Fran- tol building were overflowing with collec- Our library heroine died on January 8, cisco produced a new edition with Carl tions, and the Library desperately needed a 1943 in Alameda and was buried at the Wheat’s introduction in 1933.

bulletin 111 31 Foundation Notes

Sacramento A MOST INCREDIBLE GIFT: Solons’ star Bud Beasley THE DONALD J. HAGERTY autographed MAYNARD DIXON COLLECTION this photograph. It is one of many images onald Hagerty, the State Library’s in the California History Dever generous benefactor and secre- Section’s tary of the California State Library Foun- Sacramento Solons dation Board of Directors, donated his Collection. magnificent Maynard Dixon collection to the Foundation. Hagerty is well known A WONDERFUL EXHIBIT OF for his incredible research into the life SPORTS IN THE GOLDEN STATE of the noted California and Western artist Maynard Dixon (1875–1946). Over the nother fun exhibit on display in the years, Hagerty has written award-winning AMead B. Kibbey Gallery at 900 N books on Dixon, produced exhibit cata- Street is “Wild Cheers Broke Loose - Sports logs, curated exhibits, and written entries in California from the 1850s to the 1950s.” for numerous auction catalogs on West- The exhibit covers ice skating, baseball, ern art. In evaluating the collection, one boxing, and much more! expert wrote, “The Hagerty Collection of California, because of its mild climate, material by and about Maynard Dixon is One of the menus Dixon designed for Coppa’s Restaurant in San Francisco. varied geography, and vigorous popula- unequalled in any other public or private tion has long been a mecca for sports of collection.” It superbly complements the Hamlin; and a cup and saucer decorated all kinds. It is no accident that the Golden State Library’s Dixon collection housed in with Dixon’s designs from Pappa Coppa’s State has hosted three Olympics and scores the California History Section. The Library famous San Francisco restaurant. An abso- of national and international events. The is famous in Dixon circles for the two lutely breath-taking artifact donated by exploits of California’s athletic heroes have murals that grace the Library and Courts Hagerty is the original “Churro” Navajo produced a vast literature. The California Building and the oil on canvas painting weaving blanket that appears in his iconic History Section of the State Library pos- Allegory that hangs in the office of the State 1902 Sunset Magazine poster, “Navajo sesses an extraordinary collection of books, Librarian of California. Indian from Life.” programs, photographs, posters, and scrap- The next issue of the Bulletin will have a Reflecting his unsurpassed scholarship, books documenting this illustrious history. fuller appreciation of this extraordinary gift. Hagerty also donated five massive bibli- As demonstrated by this display, California Briefly, it consists of fourteen three-ring ographies he compiled: “Maynard Dixon has enjoyed a remarkable diversity of sport- binders of over 950 items including origi- Exhibition Record: Paintings and Watercol- ing pastimes including basketball, baseball, nal manuscripts, ephemera, exhibit cata- ors (1896–2014)”; “Maynard Dixon: Cata- bicycling, boxing, figure skating, fishing, logs, menus designed by Dixon, letters of logue Raisonné of Periodical Articles about football, golf, gymnastics, hockey, horserac- condolence upon his death, and magazine Dixon”; “Maynard Dixon, Catalogue Rai- ing, polo, skiing, surfing, swimming, and articles. The gift also contains a collection sonné: Bibliography of Books Illustrated tennis. Space, however, does not permit of books illustrated by the artist, of which by the Artist”; “Maynard Dixon, Repro- representation of all forms of athletic com- many are very rare; a complete collection ductions Found in Periodicals”; “Maynard petition. Chronologically, the exhibit begins of copies of Dixon correspondence from Dixon Bibliography: Auction and Gallery with the late 1850s and ends with the early 1897–1946; three posters; a unique Ansel Catalogs”; and “Maynard Dixon Reproduc- 1950s before the advent of major sports Adams photo portrait of Dixon printed by tions Bibliography: Book and Exhibition franchises. The one exception is the 1960 the great photographer for Dixon and never Publications.” In toto, this is a gold mine Winter Olympics. The exhibit will be on reprinted or reproduced; a unique color of hundreds of citations documenting the view through the month of May. photo portrait of Dixon by his wife, Edith illustrious career of this celebrated artist.

32 California State Library Foundation FOUNDATION BOARD MEMBER MEAD KIBBEY GIVES MASTERFUL TALK

istorian and photographer Mead B. tion photographer Matt Bartok dexter- HKibbey celebrated his ninety-third ously operated the antique lantern slide birthday by giving a dazzling slide show projector that dates from about 1910. In on Central Pacific Railroad photographer addition, State Library photographer Vin- Alfred A. Hart who made a brilliant series cent Beiderbecke video recorded the talk. of stereographs documenting the construc- This video gives the Library a permanent tion of the railroad in the 1860s. Given at record of this memorable evening. Active our regular Foundation-sponsored “Night with many organizations in Sacramento, at the State Library,” Kibbey’s reputation Kibbey has been asked when he will give as both a scholar and entertaining speaker the talk again. We are hopeful that another attracted an overflow audience. He did “Night at the State Library” will feature our Photographer Matt Bartok of the Library skillfully not disappoint. His highly informative illustrious Foundation board member and and seamlessly operated an antique lantern talk was peppered with humor and ter- Library benefactor. projector while Kibbey spoke. rific anecdotes about his own experiences Last year, Mead Kibbey gave to the State tramping through the High Sierra in the Library his complete collection of original footsteps of Hart. Hart stereographs of building the railroad. What added even more amazement to This is the only complete set in institu- his talk was that instead of PowerPoint or tional or private hands, and his gift was fea- Keynote slides, he used actual glass lan- tured in Issue 108 of the Bulletin. Kibbey tern slides that the president of the South- still keeps the lantern slides as he receives ern Pacific Railroad gave to him in 1962 numerous requests to give talks about the for a talk presented to the Sacramento monumental work of Hart. In 1984, the Historian and Foundation benefactor Mead Rotary Club. The positive glass slides were Foundation published Kibbey’s masterful Kibbey captivated a standing-room only audience with his illustrated talk on the photographs made sometime in the 1890s from Hart’s book, The Railroad Photographs of Alfred A. of A. A. Hart showing the construction of the negatives. While Kibbey spoke, Founda- Hart, Artist. Central Pacific Railroad in the 1860s.

GARY E. STRONG CREATES A LISTING OF BULLETIN ARTICLES

ounding Executive Director of the the programs that the Foundation does at each issue of the Bulletin and once FCalifornia State Library Foundation including the publication of the Bulletin. again enjoy what I found. That initial Gary E. Strong, surprised us by send- In addition, he has contributed many arti- curiosity has resulted in this listing. ing two copies of an incredibly gratify- cles to our periodical. In some small way I hope it pays trib- ing bibliography he wrote, “Discovering Upon retiring from UCLA in 2012, ute to the commitment and contribu- the Treasures within the California State Strong and his wife, Carolyn, moved tion to the history of California, but Library Foundation Bulletin, 1982–2014.” to the family farm outside of Potlatch, most to the belief in the collections Strong served as state librarian of Cali- Idaho. In his introduction, this wonderful of the California State Library and its fornia from 1980 to 1994 and recently “bibliogent” summed up how this publi- role as the oldest “public” library in retired as university librarian at UCLA. cation came to be: the West. He has been a generous benefactor of the As I was unpacking my book col- Already, this terrific work of reference Foundation through gifts of collections lection following our move to Idaho, has been most useful in assembling the and funds, and he set in motion many of I realized that I now had time to look contents of this issue.

bulletin 111 33 NEWS FROM THE BRAILLE AND TALKING BOOK LIBRARY By Sandra Swafford

hree guide dogs, ten BTBL patrons T(one by telephone), and three BTBL staff members gathered around a big table on Saturday, February 7, 2015 for the third meeting of the Braille and Talking Book Library’s User Advisory Council (BUAC). The group was organized in 2014 to provide suggestions for the improvement of BTBL’s services and to help reach out to BTBL director Mike Marlin is shown reading a braille book. His trusty service dog “Vivaldi” attentively looks on. potential patrons. The committee’s first two meetings were largely involved with nity for improvement was the BARD site. for people who have listened to an amaz- getting organized: electing officers and When fully spelled out BARD stands for ingly large number of recorded books, or exchanging ideas about how the officers National Library Service Braille and Audio for patrons who are 100 years or older and might do their jobs. At this third meeting, Reading Download site. There are patrons are still using the service? Publicizing a rec- no time was wasted getting down to busi- who want to use the site, but aren’t sure of ognition event would be a way to inform ness addressing specific issues. the spelling of an author’s name or exact readers not only about the event but about Much of the morning — including a title of a book. To remedy the problem, a BTBL as well. A subcommittee was formed working lunch — was taken up with a dis- suggestion was made to create a “sounds to explore possibilities. cussion of outreach. Apparently, there are like” feature on the downloading site. Members of the BUAC group are lively a surprising number of people who might Another area in which the committee and enthusiastic, bringing with them a vari- use the services of BTBL but don’t know focused its attention was the “digital audio ety of life and work experiences. Currently, they are available. How could committee book player.” A member said she had a they are serving staggered terms of from members best reach out to likely patrons, client who needed a Spanish translation one to three years so that new members especially school children, the elderly, of the instructions for operating the digi- can be added gradually. Sacramento and wounded veterans, dyslexics, people tal playback machine. Mike Marlin, BTBL the Bay Area are well represented, but it is unable to hold books or others with print manager, explained that there is a way to hoped that members from both the north- disabilities? What kinds of activities would set the machine to play the instructions in ern and southern parts of the region cov- be most likely to produce the greatest Spanish. This was news to several commit- ered by BTBL can soon be recruited. New return for energies expended? Since each tee members and led to a discussion of the recruits will bring fresh insights and their of the above named populations might various ways people learn. For example, own good ideas for solving problems. For require a somewhat different approach, could there be a video for the print disabled those who would like more information, a subcommittee was formed to assemble or partially sighted users showing how to please go to the BTBL web page at www. an “outreach kit” containing ideas and operate the machine? The verbal explana- btbl.ca.gov. Look for the section headed materials from which a selection of infor- tions on videos are sufficient to clarify some “Getting Involved!” and click the link to the mational items appropriate to a particular points even for the totally blind. A member “BTBL User Advisory Council” or call the population could be chosen. of the BUAC who is completely blind noted main BTBL phone number 888-952-5666 The afternoon began with a discussion that videos, if done properly, were still a big and leave a message. of technical matters relating to computer help to her for learning such things. access and to difficulties with, or improve- Then the discussion came back to out- EDITOR’S NOTE ments to, BTBL services in general. One reach. Should the committee consider Sandra Swafford is a Foundation board mem- area where the committee saw an opportu- offering special recognition, for example, ber and long-time volunteer at BTBL.

34 California State Library Foundation GOLDEN POPPIES AND SCARLET MONKEYS: AN EXHIBITION CELEBRATING CALIFORNIA WILDFLOWERS

“California, with her wonderfully varied climate and topography, has a flora correspondingly rich and varied, probably not surpassed by any region of like area in the Northern Hemisphere.” —Mary Elizabeth Parsons, author of The Wild Flowers of California

olden Poppies and Scarlet Monkeys,” the current exhibit in the Rotunda “Gof the Library & Courts II Building, celebrates California wildflowers with a “bouquet” of original watercolors, prints, volumes of pressed flowers, rare books, fine press publications, and ephemera. On display for the late winter and early spring months, the exhibition calls attention to the many ways in which the wondrous bounty of the state’s wildflowers have been portrayed since first observed and described by European explor- The program for the inauguration of Governor Olson, January 2, 1939. ers. The exhibit will be up until mid-May. While paying homage to the state’s official flower, the “GOVERNOR OLSON, PAST, golden poppy, the exhibit gives us the opportunity to PRESENT AND FUTURE” show off two little-known collections in the California A PRESENTATION BY History Section of original watercolor paintings by wild- DEBRA OLSON ON HER flower artists A. R. Valentien (1862–1925) and Corne- ILLUSTRIOUS GRANDFATHER lia Cunningham (1852–1915). In addition, the exhibit By Kristine Klein features the famous linoleum block portfolio of colored wildflower prints created by the great California n early 2014, Debra Deanne Olson con- book artist Henry Evans in 1980, and the equally rare tacted the California State Library to see Selected Shoe Plants of Southern California (1992) by I The “California Poppy, the Charles L. Leland and designed and printed by Vance if we would be interested in a number of let- State Flower” reproduced ters, photos, and ephemera relating to her Gerry of the Weather Bird Press. from a vintage postcard. grandfather, former Governor Culbert Levy Olson. He was the first Democrat elected to the office of Governor of California in well as items from the State Archives. The staff at the California State Library the twentieth century and served in that To celebrate the start of the Olson online has started to build Olson’s online archive role from 1939–1943. Ms. Olson wished archive, Ms. Olson agreed to give a presen- with the goal of access being available near to highlight and promote the work of her tation on the life of her grandfather. The the end of the year. We hope that this will grandfather as well as the contributions he event was held on January 22, 2015 in the just be the start of building online archives made to California. During our many con- elegant Room 500 of the Stanley Mosk for our state’s governors. versations, Ms. Olson and I agreed to create Library and Courts Building. Her presen- Special thanks to Olena Bilyk, Vincent an online archive of the former governor’s tation, “Governor Olson, Past, Present and Beiderbecke, Matt Bartok, and Deborah items that would be part of his profile in the Future,” provided a fascinating look into Lynch of the State Library; Rebecca Wendt Governors’ Gallery website (http://www. this little-known governor’s time in office. and Jeff Crawford of the State Archives, and governors.library.ca.gov). The audience learned, among many to the California State Library Foundation Ms. Olson sent a large box that included other intriguing facts, that Governor for its help and support with this project. family photos, letters, receipts, booklets Olson appointed the first Latino and Afri- and a number of other items, which library can American judges in California. In EDITOR’S NOTE staff set upon digitizing. In addition to addition, he appointed the first woman on Kristine Klein is the State Library’s Senior the items she sent, the Library plans to a state’s Court of Appeal. He presented a Information Analyst and Information Secu- digitize items from, related to, or about plan for universal healthcare in 1939. The rity Officer. She works in the Information Governor Olson from our collections as plan was called Olsoncare. Technology Bureau.

bulletin 111 35 Recent Contributors

ASSOCIATE LIFETIME Ms. Jeanne Sibert, Sacramento Dr. Durlynn Anema, Lodi Excelligence Learning Corporation, Spreckels Kelley Woodward, Sacramento Mr. Robin Aurelius, Sacramento Phil and Marilyn Isenberg, Sacramento In Memory of Cynthia Soyster Martha E. Whittaker, Concord Mr. William J. Barger, Pasadena Kaplan Early Learning, Lewisville, NC In Honor of Haleh Motiey Louise and David Beesley, Nevada City Peter Wiley and Valerie Barth, San Francisco Martha E. Whittaker, Concord California Judicial Center Library, San Francisco The Honorable Quentin L. Kopp, San Francisco Mr. Steven De Bry, Sacramento Mrs. Marilyn M. Snider, Oakland BRAILLE & TALKING BOOK LIBRARY Mr. & Mrs. Neal D. Gordon, Folsom Richard M. Davis Fund, Novato Debra Aggertt, Ashland, IL Elizabeth B. Leavy, Sacramento Mr. Manuel Ares, Stockton CALIFORNIA HISTORY Los Angeles Public Library, Los Angeles Ms. Lupe C. Arness, Redding MacMillan, New York Mr. James R. Blaine, Vacaville Ms. Nancy J. Broderick, Santa Rosa Paul McCormick, Sacramento Mr. Peter Browning, Lafayette Donna E. Cherlin, Forestville Laura Murra, Berkeley Mr. David E. Burkhard, San Bruno Norma Cherlin, Santa Rosa Pearson Shared Services, Ltd., United Kingdom Barry Cassidy Rare Books, Sacramento Ms. Janice Clover, Bishop South Pasadena Public Library, Pasadena Mr. Robert J. Chandler, Lafayette Vickie Collins, Library of Congress, Washington, DC Michael and Collen Ward, Rocklin LJ & Dan Dillon, Fair Oaks Peter Corchero, Paradise Mr. Edgar L. Weber, San Francisco Michael Dolgushkin, Carmichael Leonore Dei Rossi, Redwood City Mr. Earl Withycombe, Sacramento Ann Fox-Morgan, Sacramento Mr. David W. Dippel, San Francisco Wisconsin Historical Society, Madison, WI Bill George, Granite Bay Nancy E. Dolton Revocable Living Trust, Monterey Ms. Linda M. Wood, Portland, OR Catherine Hanson and Kenneth Knott, Sacramento Ms. Marilyn Gerhard, Sacramento In Honor of Irene Stone Mr. Allan Henriques, Rocklin Ms. Suzanne Grimshaw, Woodland Joan Marie and David Goode, Santa Rosa Metropolitan Museum of Art, New York Mr. Peter J. Hayes, Sacramento Mrs. Muriel H. Payne, Roseville CONTRIBUTOR Mr. Thomas H. Hudson, San Leandro Pearson Education, Livonia, MI Sharon and Robert Balmain, Woodland Dorothy L. Loweecey, San Jose Barbara Ryan, National University of Singapore, Michael and Waltraud Buckland, Berkeley Karen Lowenstein, San Jose Singapore Mr. Lee W. Champion, Orangevale Mr. & Mrs. Alfredo Muñoz, Richmond Ann Scheid, Pasadena Mr. Collin Clark, Sacramento Ms. Dorothy Nieri, Eureka Robert and Mary Swisher, Sacramento Mr. David Dawson, Carmichael Christine C. O’Neill, San Rafael Mr. Burt Lee Thompson, Granite Bay Jerrold and Wendy Franklin, Sacramento Mrs. Jeanne Pello, Nevada City In Memory of Burgess Ward Heacox Frederik Green, PhD, San Francisco Kelley Woodward, Sacramento Ms. Christina L. Petteruti, Travis AFB Mrs. Ruth Kallenberg, Fresno In Memory of Dan Levy Susan W. Reed, Guerneville Ron Lerch, Sacramento JoAnn Levy, Sutter Creek Marilyn P. Sherrard, Clio Mr. Robert Tat, Robert Tat Gallery, San Francisco In Honor of Gary F. Kurutz Geraldine Soderland, Graeagle United Way California Capital Region, Sacramento Claudine Knight, Davis Mrs. Sandra P. Swafford, Sacramento AJ and Susana Watson, Rancho Murieta California-Oregon Trails Association Edith Tannenbaum, Carmel Larry J. Schmidt, Minden, NV In Memory of Vance Gerry Judith Tannenbaum, Carmel Bob Bothamley, Rancho Palos Verdes George W. Davis Fund, Novato Mary Toledo, Santa Clara

SPONSOR SUTRO LIBRARY Elizabeth E. Weston, Guerneville William A. Karges Fine Art, Carmel Mrs. Louise P. Bea, San Francisco Mr. William H. Wheeler, Garden Valley Mrs. Sandra P. Swafford, Sacramento Mr. John Cormode, Mountain View In Memory of Ruth Champagne Mr. Willett C. Deady, San Rafael Ms. Bonnie Gratch-Lindauer, Daly City PATRON Ms. Dorothy P. Demange, Palo Alto In Memory of Louis Folberg Ms. Barbara Robinson, Aptos Mr. John B. Dykstra, Oakland Ms. Tedi Dunn, San Rafael In Honor of Tim Morris Diane Fishburn, Meadow Vista Stephen Harris, PhD, Berkeley Mr. & Mrs. Eugene M. Scott, Fair Oaks John and Carol Jewell, Davis Ms. Nevah H. Locker, San Francisco In Honor of Jene Pankow Lakeshore Learning Materials, Carson Val Sakovich, San Francisco Evelyn Pankow, Atlantic Highlands, NJ Mr. and Mrs. James O. Schuyler, San Carlos

36 California State Library Foundation