Images from this article
AT the turn of the twentieth century, a renewed interest in the arts created an intellectual and artistic groundswell that
resulted in the formation of loose-knit organizations devoted to aesthetic
pursuits in various pockets of Europe and America. Artists banded together to
enhance their lives and provide a mutually supportive work environment. Centers
of activity sprang up in London, Paris, San Francisco, Carmel and, on a much
smaller scale, in Grossmont, California, a place that appeared to have little in
common with its cosmopolitan and sophisticated predecessors.1
Grossmont: six hundred arid, rocky acres, bounded today by
Interstate Highway 8, Fuerte Drive, Helix Drive, Pine Street and Bancroft
Street, overlooks the pleasant valley of El Cajon and the gentle hills of La
Mesa, twelve miles east of downtown San Diego. The small peak of Grossmont,
nestled beside its larger sister summit, Mount Helix, had long been used as an
observation point by the citizens of San Diego.2 The first permanent
settlement of the area took place during the mid-nineteenth century.
Granted the land in 1845, Dona Maria Antonia Estudillo, first
in a long succession of owners and a member of one of the oldest families in San
Diego, built a modest home at the base of the foothills.3 Another pioneer
resident, Enoch Birdseye, followed her example and constructed his house at the
foot of the knoll. The early death of Mr. Birdseye after one year ended his
Grossmont residency.4
Serious development of the land commenced with the purchase
of six hundred acres by Harvey C. Parke of the Parke-Davis Medical Company in
Detroit, Michigan. Named the Villa Caro Ranch, it soon became a show-place with
its acres of lush citrus trees, fragrant with the aroma of scented blossoms. A
spacious wooden Victorian home, various barns and corrals, a lily pond, and
masses of deep green camellia bushes graced the property. Cork oak, mulberry,
and wild persimmon trees blanketed the grounds in direct contrast to the
chapparal covered slopes above.5
Serendipity directed the future of this small plot of land.
While on a brief visit to Yellowstone National Park in 1901, Edward Fletcher,6 a
transplanted Easterner newly settled in San Diego with his young family, struck
up an acquaintance with another visitor to the park, William B. Gross.7 A ride
in a six horse tallyho, a horse drawn buggy, cemented their
friendship. They made plans to continue this bond back in San Diego and this led
in time to the formation of the "Grossmont Art Colony."
Pennsylvania-born William Gross, a theatrical agent and
sometime actor, brought his talents to San Diego in response to a request from
Fletcher to visit the family home. Gross, a man of medium height and stocky
build, with hypnotic eyes and a red beard trimmed to a Mephistophelean point,
emphasized his resemblance to King Edward VII of England.8 While in San Diego,
the bachelor impresarios mentioned his desire for profitable investments and a
peaceful retirement home to Fletcher.9
Ed Fletcher, six feet tall, with a classic profile and high
broad forehead capped by dark wavy hair, and patriarch of a large, handsome
family, began his lucrative real estate career with the purchase of the Villa
Caro Ranch in partnership with William Gross in 190210Charmed by the
rustic beauty of the ranch, the men made an offer of $11,500 in cash. The deal
included forty acres of citrus trees and $85;000 worth of furniture. Included in
this remarkable bargain were the Victorian home and all the outbuildings on the
property. Two hundred acres of "useless" land thrown in for good measure laid
the cornerstone for the artistic colony.11
Fletcher and Gross, two self-made men with foresight and
sound entreprenurial flair, proposed a dynamic idea for the acreage. Prompted
by the success of other artistic groups, Fletcher and Gross envisioned a colony
populated by literary and musical personalities. However, their plan to enrich
the cultural life of the city of San Diego through the establishment of an
artists' colony ranked on an equal basis with the desire for financial reward.
Even though Fletcher and Gross labeled their vision an art
colony, it never became a true artistic colony in the European style. The
various celebrities who resided in the area never appeared to form a close-knit
organization with scheduled meetings or close, constant interaction among the
participants. There was some involvement at various times among the members, of
course, but with busy performing schedules and various demands on their personal
lives, the residents had little time for regular contact.
Although motivated in part by altruism, Fletcher and Gross,
businessmen first and last, hoped to realize a significant return on their
investment.12 They knew that a core of famous residents would serve as a
substantial draw and outstanding selling point to other prospective buyers. The
term "art colony" has remained to describe the area until the present day
but it is in reality a misnomer. The area never became a true artistic endeavor
although it did develop into prime real estate and laid the foundation for
Fletcher's further ventures in this field.
The two partners divided the responsibilities for the
promotion of their dream into separate areas. Gross, as a prominent
theatrical agent very popular with the famous artists of the day, had the
important contacts so vital to the success of the colony.13 Fletcher handled all
the business aspects of the land promotion and soon moved his growing family
onto the ranch, the better to guide and direct the development of the land.14
Fletcher plunged into the creation of the colony with his
characteristic energy and enthusiasm. First he filed a subdivision map, on
October 26, 1910, naming the area Grossmont Park. One year later, Fletcher filed
an additional map, this time for Villa Caro, a smaller section of sixty acres.15 Bess Fletcher, the sister of Edward, and a favorite of Gross, suggested
the name Grossmont to honor her admirer and family friend and so the San Diego
version of Bohemia began.16
Each weekend Fletcher brought one hundred trees of different
varieties from downtown San Diego on the train and transformed the barren,
wind-swept slopes into forested niches thick with foliage. In addition, he laid
electrical lines and installed a water system to provide water for all the
proposed homes.17
With his ranch foreman, Mike Dooley, Fletcher laid out
fourteen miles of roads with rags tied to the bushes to mark the path. Nicknamed
"Freaky Fletcher's Fancy Flight" by the La Mesa Scout, the picturesque,
crooked thoroughfares, some a mere twenty feet wide, had a definite purpose.
Always thinking of the potential customer, Fletcher planned them this way in
order to give the buyers the best possible views. He completed the initial road
to the summit, El Granito Avenue, in 1913.18 Lillian Russell, the statuesque
beauty and star of light opera and vaudeville fame, opened the road and drove
the first car to the top.19
With the completion of the road, the land became ready for
sale. Lots sold for $2,500 and up per acre, with a continual rise until the
Great Depression in 1929, when they plummeted to $250-500 per acre.20 While
Fletcher continued with the subdivision plans and sales, Gross contacted his
theatrical friends and soon had an impressive lineup of future residents.21
Madame Ernestine Schumann-Heink, the famous operatic
contralto, became the first artist to live in the colony;22 followed by Carrie
Jacobs Bond, poetess and composer of the popular ballad, "I Love You Truly";23
Havrah Hubbard, editor and music critic in Chicago and San Diego;24 Owen Wister,
the novelist and creator of the cowboy genre in literature via his book - The
Virginian;25 Johanna Gadski, a German contralto;26 Teresa
Carreno, a Venezuelan pianist and composer;27 Charles Wakefield Cadman, a devotee of
American Indian music and composer of the "Land of Sky Blue Waters"28 John Vance Cheney, a
poet;29 Charles W. Clark, a baritone singer;30 Edmund Schneider;31 and Elizabeth
Robinson.32 This international roster of celebrities and their friends constituted the circle of
artists that called Grossmont home.
Each of these people saw Grossmont primarily as a refuge and
a place of respite from the heavy demands of their professions. In this era,
before television dominated the lives of millions, entertainers had to travel
and make public appearances to keep their careers viable. Long concert tours
claimed much of their time and energy and they returned to their peaceful
country homes to rest and plan for their next creative endeavor.
Attracted by the unique ambiance so carefully created by Fletcher, one artist after another voiced extravagant tribute to the charms
of their special haven from the excessive demands of their very public careers.34 Madame Schumann-Heink described her joy and anticipation in a letter
to Ed Fletcher on March 3, 1912, "I read so much about 'Paradise' well, I think
I found my dreams realized when I saw Grossmont in our blessed 'California' and
I am happy as a child in thoughts of my wonderful future home - Casa Ernestina."35 The other artists echoed similar sentiments.
Fletcher and Gross gave the grand diva the first home site on
the conditions that she build a home there. This estate, built in 1913 and
designed by architect Del Harris to complement her residence on Coronado, became
the keystone to the little community.36 Soon the other artists caught the spirit
of the dream and laid out plans for their own homes.
The design of each home supplemented the bucolic charm of the
landscape and offered a variety of either entertainment facilities or workspace
as the artists demanded certain amenities in order to nurture and expand their
creative genius. The large granite boulders and trees presented design problems
but each architect managed to work them into the final plans and a collection
of unique homes emerged as a result of their labors.37
One structure that capitalized on the ruggedness of the
terrain, the Grossmont Inn, began as a commercial venture. Built in 1913 by
Fletcher at 9680 Evans Place, it later served as the family home for several
years. White-gloved servants greeted the guests after their stage coach ride up
the hill from the train depot in El Cajon.38 A French chef, brought from New
York, produced the fine cuisine served at breakfast, lunch, dinner and
tea-time. Wide porches overlooked the verdant countryside below the Inn and
provided a spectacular view for the pleasure of the city-bound diners.39 The
seclusion and serenity drew the famous and not so famous to the area, which
delighted the ever-present businessman in Ed Fletcher.
The first residence in the colony belonged to William Gross.
Built in 1910 and designed by Gross himself, the home at 9633 El Granito Avenue
featured the Craftsman influence in the asymmetrical wooden bungalow.40 Later
bought by Madame Schumann-Heink for her son, Henry, one of her seven children by
three different marriages, it became the second home she owned in the colony.
She also owned other properties, one in Coronado and one in Mission Hills.41 Her
home at 9951 El Granito Avenue rests on a bed of granite boulders and
commands a magnificent view of San Diego.
Madame Schumann-Heink enjoyed her home and loved to putter
around in it, bake cookies for her numerous grandchildren, and relax after a
concert tour. A woman of complex personality, both grand diva and "hausfrau,"
her comfortable old world style home reflected this mix.42 When home, she
embarked on a whirlwind of improvements. Fences, rooms, bars to keep out
inquisitive coyotes and other modifications, both inside and out, have been
added to the original design.43
Activity abounded at the Schumann-Heink home. Dogs and
grandchildren romped through the halls. A murder44 and accusations of
anti-American activities in 191645 kept the pace brisk. Despite these
intrusions, she took on as a special cause all the young soldiers, "her boys"
far away from home. Tall, rawboned, with snow white hair that framed a strong
but gentle face, called "Mother" by the armed forces, she even deeded her home
to disabled soldiers. Beloved by all who came in contact with her, she gave
numerous concerts for soldiers, and her rendition of "Silent Night" every
Christmas Eve became an annual tradition for radio audiences. In addition to
her wide variety of community activities, she sold more War Bonds than any other
individual.46
Joined in her civic endeavors by Carrie Jacobs Bond, her
neighbor at 9623 Summit Circle, they campaigned for a music and art center in
San Diego. They hoped to form a festival similar to the one held in Bayreuth,
Germany where Madame Schumann-Heink had performed many times. Although the
festival never became a reality, through their efforts, they influenced music
circles in San Diego to a large extent.47
"Nest O' Rest," the home of Carrie Jacobs Bond, built in 1916
by Oscar Brannan, contained a large recital room that overlooked the valleys and
hills of San Diego.48 As a popular American song-writer, she used this room a
great deal for soirees and entertainment of noted guests, such as Amelita
Galli-Curci, the famous Italian coloratura soprano.49
Mrs. Bond, a widow, seemed frail compared to her more robust
neighbor, Madame Schumann-Heink. Wire glasses hid her blue eyes and a tidy bun
captured the stray wisps of pure white hair. Similar in looks to Eleanor
Roosevelt, her face displayed the same kind of strength. One can see the
courage in her eyes that forced her to continue after the death of her husband.
111, and with a young son to support, she turned to her music for sustenance.50
After a life of struggle, one can imagine the peace she found on Grossmont. She
dedicated a poem to Ed Fletcher in which she describes her thoughts on her
pleasurable home. Just a few lines give a clear picture of her joy:
"... And weary though my soul may be,
My spirit there is blessed
The wild birds chant their caroles,
The wild flowers bloom galore.
Out in God's lovely garden-
How could I ask for more?51
A similar desire to live in Grossmont prompted both Johanna Gadski and Teresa Carreno to acquire land in the area. Each owned a site
but did not live long enough to build homes in the community. Gadski, a German
soprano, died in an accident in 1932.52 Teresa Carreno, the fiery Venezuelan
pianist and composer, passed away on June 12, 1917 from myasthenia gravis, a
degenerative nerve disease.53
Another resident with a musical background, Charles Wakefield
Cadman, contributed a great deal to local musical circles. Cadman first saw the
area on a visit to the home of Fred Hansen, a local La Mesa land developer.54 He
exclaimed, "This is the one place in the world that makes you forget Hollywood",
and continued with the remark that "my mother is as enthusiastic as I over
coming to La Mesa."55
Cadman's deep interest in American Indian music came after a
year of study with the Omaha tribe and continued to be a major interest after
his arrival in Grossmont. Several of his compositions that were produced after
his contact with the Omaha tribe, such as "At Dawning" and "Western World",
appeared in the programs of local organizations-Grossmont High School and the
Central Congregational Church.56
This cadre of artists, even though many times busy with
European and American concert tours, radio shows, benefits, and even movies,
activities designed to further their careers, gave to the community beyond
measure. Always ready to help a cause with a personal appearance, money or their
work, they took an active role in the life of San Diego.
Poems and songs written about San Diego enriched the lives of
the local people and helped publicize the beauty of San Diego. One such poet,
John Vance Cheney, built his 1400 square foot home at 9410 Sierra Vista in 1913
on a one acre lot. Designed to take advantage of the view, the house contains
several porches. Two chimneys of cut stone masonry add to the comfort and charm
of the residence.57 Here Cheney retired after a life filled with a variety of
pursuits. His path took him from a law practice in New York City to library
positions in Chicago and San Francisco. His various volumes of poetry gained him
acceptance into the National Institute of Arts and Letters. He died in 1922 and
the property changed owners soon after.58
William Havrah Hubbard, also a literary figure, added to the
list of gifts given by the artistic colony to San Diego. He served as music
critic and editor for the San Diego Union, and had held the same position
in Chicago for the Tribune. Due to his background in piano and voice, he
qualified on all counts to cover major musical events. Little Theatre groups in
San Diego occupied his spare time. He shared his bachelor home at 9725 Sunset
Drive with his eighty-three year old aunt, Julia A. Reed, and his constant
companion, "Cheewah," a dog from the city pound, described as a cross between
"a collie and a rat"59.
Horses, not dogs, captured the attention of the literary
giant, Owen Wister. Responsible for the establishment of the cowboy and the Wild
West as a unique literary form, Wister never lived on Grossmont.60 The premature
death of his wife in 1913 caused him to abandon his dream and the home at
9499 El Granito remained a place for brief visits only.61 A business associate
of Ed Fletcher in real estate investments in San Diego county, Wister named
several of the streets-Molly Woods Avenue for the quintessential Western
"school-marm" in his classic novel, The Virginian, Wister Drive and Virginian Lane.62
The honest but tough cowboy, ready with a gun if necessary to
settle a dispute dominates the work produced by Wister. A handsome man with dark
hair parted in the middle and waved neatly to the temples, with a strong nose
and full lips brushed by a large bushy mustache, Wister resembled the heroes in
his novels.63 His visits to the West after an unidentified illness and
graduation from Harvard, shaped his life and brought him in contact with other
Western aficionados, such as Frederic Remington, the painter, and Theodore
Roosevelt, his former Harvard classmate.64 A lifelong interest in the West
enriched the life of Wister and in turn, he passed along his love for the wide
open spaces and all they contained to future generations of Americans.
Each of these international personalities made a unique
contribution to the lives of San Diego and the world. They felt privileged to
call San Diego their home and strove to give back to the people of the
community, each in his own way, something precious. Although never a formally
organized artistic group, nonetheless their presence added a special touch to
the area. Only five of the eleven celebrities associated with Grossmont ever
spent any great deal of time there. Even these people did not live there
full-time due to the demands of their professions and other commitments. The
rest visited only infrequently or their brief contact was severed by illness or
death.
Thanks to the foresight, imagination and diligence of Edward
Fletcher and William Gross, a barren piece of land became the basis for a very
successful business venture. This success allowed Fletcher to escape the produce
business and become a large scale real estate developer. The skills he learned
in the Grossmont area changed the face of San Diego County as he applied them to
other projects over the years. Even though the artists are long gone, and their
homes have passed into other hands, the aura of gentility and creativity remains
to charm a new group of home owners.
NOTES
1. The cultural center of Paris, described by Henri Murger
in his series of sketches Scenes de la vie de Boheme (1847-49),
appeared to be a place of joy and artistic expression for all types of
artists, "a veritable never-never land of happy artists and models." The word
bohemian, first used in the fifteenth century for vagabonds and gypsies,
characterized the artists of France after the revolution. Used by the poor
artisans to romanticize their plight, it seemed to represent all the freedom
and creativity the common man lacked. Despite the romantic association,
bohemians fell victim to ill repute and lost their appeal. Unconventional,
careless of debts, immoral, and unwashed came to be synonymous with artists. This attitude changed with
time and the arts came back into vogue. At different periods, small areas
became home to artistic groups who hoped the ambiance of the locale would help
in their work, as well as the support of like-minded individuals. See
"Bohemia", Americana Encyclopedia, Volume 4, Americana Corporation, New
York, 1972, p. 142.
2. Mount Helix, whose height is 1,373 feet provided a
better vantage point but no doubt, Grossmont, even though shorter, functioned
in this capacity as well. The bay, Point Loma, Mexico, the Coronado Islands,
Cowles Mountain, El Capitan Mountain and various peaks and valleys of San
Diego County are all visible from the flanks or summits of these two points.
Condensed History of the San Diego Park System 1944, for Supervisor
Walter Bellon, San Diego Historical Society Research Archives. See also, San
Diego Tribune, July 3, 1936.
3. The Estudillo family, natives of Monterey, built one of
the first homes in Old Town, complete with private chapel. Jose Antonio
Estudillo and his wife, Maria Victoria Dominguez, parents of eleven children,
lived in the twelve room home, later to gain pseudo-fame as the legendary
"Ramona's Marriage Place". Dona Maria Antonia ran cattle on the rancho
property in the East county. California's Cornerstone by Iris
Engstrand, Tulsa, Continental Press, 1981, p. 27. See also San Diego Union, March 30, 1975.
4. Enoch Birdseye, and his wife, arrived in San Diego from
Norwalk, Ohio in 1875 to seek relief from tuberculosis. After his death in
1876, his widow married Amaziah L. Knox, owner of the Knox House, a hotel in
El Cajon. La Mesa, A Brief History by Rita Larkin Wolkin, La Mesa
Historical Society, 1976.
5. The Villa Caro Ranch contained the solitary lily pond in
the entire county. Many years later Fletcher lent the land around it for a
theater group to perform in. An outdoor stage built to accommodate the actors
became a novelty in the county. Prior to his owner-ship, oranges grown on the
property gained a countrywide reputation as they went on display at the
Chicago World's Fair in 1890. The beauty of the ranch, as well as the
development possibilities, captivated Gross and plans to purchase it proceeded
at a rapid pace. Wolkin, La Mesa . . ., p. 3. See also The Memoirs
of Edward Fletcher, privately printed, no dale, for further details as to
the purchase of the ranch. Also La Mesa Scout, July 5, 1929, p. 1 gives
more background on the Lotus Theater, the natural amphitheater at the lily
pond and the programs presented there. The first production, a musical
pageant, "Amarilla", served to open the theater.
6. Colonel Edward Fletcher, born on December 31, 1872 in
Little town, Massachusetts, came to San Diego from the arms of a large and
affectionate family. He arrived in San Diego on September 3, 1888 and soon
secured a job with the firm of Johnson and Patter-son, plumbers. Fired six
days later, his next job materialized at the produce firm of Nason and Smith.
He sold apples from a horse and wagon with a rooster perched on his shoulder,
trained to crow when Fletcher pulled his tail. Fletcher longed to leave the
pro-duce business. "I had made considerable money with the growing business
but was never satisfied. My love of the back country, its possibilities of
development, both land and water, had a strong appeal to me." Over the years,
as Senator Fletcher, he influenced many of the key projects that developed
San Diego county. Friends in high places, such as John D. Spreckels, W.G.
Kirckhoff, George Marston, Harvey Chandler, and many others, the "movers and
shakers" of the era, all joined him in a variety of worthwhile goals. He
championed many causes-railroads, highways, dams-and donated much of his
personal property lo bring about the necessary changes. He donated the land
for Grossmont Hospital and Grossmont High School, just to name two. He also
owned part of the movie studio business that started in La Mesa across the
highway from the art colony. l had nothing to do with the art colony
itself but does show that Fletcher had an inlerest in a variety of art forms.
For more information on the movies in San Diego, see "Can You Read My Lips?"
by Susan Carrico, et al., unpublished manuscript, San Diego Historical Society Research
Archives. See also The Memoirs of Edward Fletcher, by Edward Fletcher,
no date, pp. 1-750.
7. William B. Gross, author of Conquest of California, a history of San Diego, actor and popular talent agent, met Fletcher and
soon they became fast friends. Ed Fletcher, Junior, recalls Gross: "Gross was
a likeable fellow. He always loved to cook and after my wife and I were
married we used to visit him in his apartment in San Diego and I remember he'd
cook pot roast. He always joined our family for Thanksgiving and Christmas and
was really just considered part of the family." San Diego Union, January 30, 1936.
8. Newspapers of the day, if no picture of King Edward
happened to be available, ran a photograph of "Brother Bill" Gross instead and
the readers never knew the difference. San Diego Tribune, July 3, 1936.
9. Gross had saved a great deal of money and confided to
Fletcher his plans for it. Fletcher then took him on a three day buggy tour of
the back country to inspect the property. Gross fell in love with San Diego
and decided to make it his place of retirement. Fletcher, Memoirs, p. 187.
10. Fletcher, either alone or with partners developed land
in all parts of the county. Soon he acquired Mount Helix and developed that
into an exclusive residential community. Fletcher Hills, the San Dieguito
Ranch and many others followed in later years. Fine home sites came about as a
result of his imagination and business acumen. Fletcher, Memoirs, pp.
187-321. Also, San Diego Union, January 30, 1972.
11. As Fletcher wrote in his memoirs to his children "Your
mother and I bought Grossmont in 1902. It was a gamble but our dream was there
and it was 'bread and butter' to us during the hard days." The property had
seen better days at one time for a mortgage had been held on it for $125,000
by the First National Bank of Chicago. Fletcher, Memoirs, p. 183.
12. W.B. Gross made $30-$40,000 in dividends on the acreage, more
than any other single investment he owned. He declined though, when offered part
of the Mount Helix development. He felt age had taken its toll and Fletcher
bought out the rest of his share of Grossmont as a personal favor and mark of
their long friendship. Fletcher, p. 193. Fletcher made an inestimable amount
in the long run for he used it to finance his next string of in-vestments.
Used as a stepping-stone to bigger things, it proved to be a very wise decision.
13. Gross managed some of the top artists of the day, such
as the Shakespearean actor, Robert Mantell, James A. Hearne starred in "Shore
Acres" and "Sag Harbor" as a result of Gross. Rose Caughlan appeared in the
play "Hearts of Oak," managed by Gross at the time he and Fletcher met. San
Diego Tribune, July 3, 1936. Also, Fletcher, Memoirs, p. 187.
14. Ed Fletcher Junior recalled those days, "We moved to
Villa Caro Ranch in 1902 where we lived most of the time from 1903-05 and part
of the time from 1905-08. I remember how my sister Catherine and I used to go
down to the railroad from the ranch and get the mail. The train came out from
San Diego to El Cajon and when it went past Grossmont a man would throw off
our mail if he saw us. We'd walk over the hill and sit on the bank until they
came by . . ." San Diego Union, January 30,1972. For more detailed
information on the ten children in the family, see the genealogical chart on
page 750 of the Memoirs of Ed Fletcher.
15. Wolkin, La Mesa, p. 18.
16. William Gross "loved Grossmont - its marvelous view,
its closeness to the city, similar to Hollywood and Beverly Hills, no city
taxes and splendid soil, particularly on the north and west slopes, especially
adapted to avocados, oranges and lemons and nearly frostless." Fletcher,
Memoirs, pp. 190-91.
17. Fletcher planted one hundred redwood trees, fifteen
hundred Torrey Pines and eucalyptus trees, plus many more varieties. He
constructed a lake between Grossmont and Helix and installed water and
electrical lines to further improve the sale ability of the land. La Mesa Scout, December 5, 1924, p. 1. Today the slopes
contain an incredible variety of trees. Subsequent residents have added
additional shrubbery, hedges, fruit trees and shade and ornamental trees. The
park like area became an oasis of greenery in the cityscape. The lots remain
large and current owners have strived to maintain the aura and beauty started
so long ago by Fletcher and Gross. Personal observation by the author, a
twelve year resident of the area.
18. Ridiculed by the people of La Mesa, Fletcher went on to
prove the feasibility of his un-orthodox plan. Many of the roads designed for
the width of a horse and buggy remain unchanged today. These roads provide a
challenge filled with thrills for the local driver. As a sidelight to the road
construction, Fletcher relates a story about the huge rattlesnakes that
inhabited the area. Fletcher stepped over a snake on the trail while at work
on the road and angry because he failed to see it, he "tried to kill it with a
stone but missed." The snake slithered into a crack and Fletcher grabbed it by
the tail and threw it on the ground and killed it. A brave but foolhardy
action, typical of the type of thing Fletcher would do. Fletcher, p. 191.
19. Lillian Russell, buxom and flamboyant, made headlines
wherever she went. The favored companion of "Diamond Jim" Brady for
forty years, she had a succession of stormy marriages and lived a life of luxury. A
favorite of audiences, she stayed with the roles she did best, light opera.
Her career spanned several decades and in later years she turned her talents
to a variety of journalistic and promotional activities. San Diego Tribune, July 3, 1936.
20. The Depression caused land values to drop everywhere,
not just Grossmont. Just a temporary setback for Fletcher, who went on to
recoup his losses at a later time. San Diego Union, March 30, 1972.
21. Due to space and time restrictions no artist can be
described in great detail in the text or notes. The author attempted to provide
information that pertains to the art colony or San Diego activities. A
biographical appendix provides more information on the artists and their
careers. In most cases, the persons had achieved greatness long before their
arrival in San Diego.
22. Born June 15, 1861 near Prague, to an aristocratic Army
officer and an Italian opera singer, Madame Schumann-Heink proceeded with an
operatic career against the express wish of her father. Forced to overcome
almost insurmountable obstacles, she rose to become one of the great
contraltos of the world. She attended a convent school and acquired local
fame by appearances in the choir. She traces her desire to succeed back to an
interview with the director of the Vienna Opera who had heard her sing in the
choir. His advice to her went as follows: "With no personality at all, how can
you ever expect to succeed? You'd better give up the idea of singing. Buy a
sewing machine and go to work. You'll never be a singer," This rejection
provided the impetus to prove him dead wrong. Madame Schumann-Heink achieved a
career most opera singers would envy, despite three failed marriages and seven
children. She claimed that after the birth of each child her voice improved.
Her career carried her from the great opera halls of the world capitals to
concert tours worldwide. It brought her fame and fortune and allowed her to
give in a lavish way to the causes she espoused. A warm, generous woman with
an unlimited capacity to give, she earned the love and admiration of millions.
Charmed by her ready wit, natural manner and deep empathy for her fellow man,
people gravitated to her. Madame Schumann-Heink had a unique operatic style,
strong and forceful but still "angelically sweet." It prompted a comment by
the composer-conductor, Richard Strauss while at the Vienna Opera House. He
bellowed to the orchestra, "Louder, I can still hear der Heink." The upper
balconies trembled when she sang. When in San Diego, she involved herself in a
wide variety of concerns which ranged from a performance at the ceremonies to
close the 1915 and 1935 Exposition sin Balboa Park, to benefit performances
to a number of causes to help the war effort. A rare and courageous woman, Ernestine Schumann-Heink occupied a unique place in the
hearts of San Diegans. For a partial list of sources see: Schumann-Heink,
Last of the Titans by Mary Lawton, 1977; When I Was A Girl by Helen
Ferris, 1931; World Book Encyclopedia, Volume 15, 1956; Notable
American Women, Volume 3, p. 240; Great Women Singers of My Time by
Herman Klein, 1931. The New York Times and San Diego Union carry
many articles on a wide range of activities. The La Mesa Scout reports
on many smaller details of her life, such as improvements to her home and
family concerns. Her obituary appeared in the San Diego Union, November
13, 1936.
23. Carrie Jacobs Bond, lyricist, poetess, artist, author
and businesswoman, came to Grossmont after a life of travail. A woman made
stronger by adversity, she came from a musical background. Her first marriage
failed but produced one son. Her second marriage ended with the accidental
death of her husband, Dr. Frank L. Bond. She turned to a variety of activities
to support herself. A talent for music compelled her to publish her songs and
many became very popular. She formed her own company to publish her music and
did all the work involved to promote and sell them. A prolific composer, she
achieved her greatest success with "I Love You Truly" and "Just A-Wearyin' for
You." Mrs. Bond never failed to thank God for her life on Grossmont. She also
owned a home in Hollywood and divided her time between the two when she came
back from promotional tours. See her autobiography, The Roads to Melody,
Notable American Women," Volume 1, 1971, pp. 194-196, Popular American
Composers, by David Even, 1962, pp. 33-34.
24. William Havrah Hubbard came to the Grossmont area in
1910 and exhibited a wide variety of interests and abilities. As a child he
studied voice and piano, then studied in Europe to further his musical
education. He used his journalistic skills as special correspondent for the
Chicago Tribune in Vienna in 1899. He coached vocal students for years.
In his capacity as music critic for the San Diego Union, he covered all the
important musical events. Hubbard remained a bachelor and, as he put it, "he
never committed the indiscretion." As an honorary member of the La Mesa Rotary
Club and other organizations, he lectured for local clubs and gave of his
services whenever possible. See La Mesa Scout, August 7, 1931, p. 1.
Also, San Diego union, January 30, 1972 and San Diego Union, March 30, 1975. Additional listings: Hubbard, H. San Diego Union for
small details about his life.
25. Owen Wister, grandson of the English actress Fanny
Kemble, had been raised in a strict, upper class household. Other relatives,
all Shakespearean actors, added to the formality of the home. In the hall hung
two framed letters from George Washington to Pierce Butler, Sr., signer of the
Constitution and great-grandfather to Wister. A man of many varied talents,
Wister suffered a breakdown of undefined nature. It is suggested by Edward C.
White, in his book, The Eastern Establishment and the Western Experience;
the West of Frederic Remington, Theodore Roosevelt and Owen Wister, that
his illness, brought on in part by the rigid expectations of his early life,
caused him to escape to the wilds of the West. He feels this crisis, similar
to those experienced by Remington and Roosevelt, close friends of Wister, came
at the same point in life to all three men and shaped the direction of their
lives ever after. Each man fled to the West, came away changed and forever
enamored of the wide open spaces and the personal freedom it represented.
Wister turned these experiences into the classic novel, The Virginian which established the cowboy as a bonafide folk hero and symbol of the West.
Many of his other books followed this same theme. Wister wrote in the preface
to Members of the Family "Wyoming burst upon the tenderfoot
resplendent, like all the story-books, like Cooper and Irving and Parkman come
true again; here actually going on, was that something which the boy runs away
from school to find, that land safe and far from Monday morning, nine o'clock,
and the spelling-book, here was Saturday eternal, where you slept out of
doors, hunted big animals, rode a horse, roped steers, and wore deadly
weapons. Make no mistake: fire arms were at times practical and imperative,
but this was not the whole reason for sporting them on your hip; you
had escaped from civilization's schoolroom, an air never breathed before
filled your lungs, and you were become one large shout of joy. College-boy,
farm-boy, street boy, this West melted you all down to the same first
principles. Were you seeking fortune? Perhaps, incidentally, but money was not
the point. You had escaped from school." This viewpoint permeated and directed
his books and may prove the theory of White correct. See Owen Wister Out
West, His journals and Letters by Fanny, 1958, Members of the Family by Wister. Most encyclopedias have articles about Wister and his life.
26. Johanna Emilia Agnes Gadski, a German soprano, never
lived on Grossmont. Her premature death from an accident in 1932 prevented
construction of a home. Born on June 15, 1872 in Auclam, Pomerania, she
enjoyed a varied career with a heavy schedule of concerts in Europe and
America as a member of the Metropolitan Opera in New York City. Her repertoire
included roles in German, English and Italian. Webster's Biographical
Dictionary, 1972, p. 569; Who Was Who in America, Volume 1, 1943,
p. 434; New Century Cyclopedia of Names, Volume 2, 1954, p. 1669.
27. Teresa Carreno, born in Caracas, Venezuela on December
22, 1853, into a musical and aristocratic family, demonstrated her
extraordinary talent as a child prodigy on the piano. Her family moved to New
York and later Paris to further her musical career. A stormy personal life,
four marriages and several children who died in infancy, added to the depth of
her dramatic interpretation. A strong, flashy, virtuoso performer, she
delighted audiences with her flair and tempestuous style of performance. She
enjoyed the company of the elite of the European musical world. Franz List
and numerous other artists accompanied her concerts and gave added impetus to
her career. Her death in 1917 of myasthenia gravis put an end to her plans of
retirement in Grossmont, as well as a brilliant career. New Century
Cyclopedia of Names, Volume 1, p. 832; Notable American Women, Volume V, 1971. pp. 288-89.
28. Charles Wakefield Cadman, born in Johnstown,
Pennsylvania on December 24, 1881, became a composer of great reknown. His
first jobs included stints as a church organist, conductor of a small, all
male choir and music editor for the Pittsburgh Dispatch. After a visit
to the Omaha Reservation in 1909, where he recorded tribal music, his musical
interests focused on American Indian music and his operas centered around
Indian themes. In 1923, he gave lecture-recitals with Tsianing Redfeather, an
Indian singer. In 1924, Cadman received a doctorate from the University of
Southern California. He moved from his Hollywood home to Grossmont and became
very active in local musical circles. La Mesa Scout, February 15, 1929,
p. 1; New Century Cyclopedia of Names, pp. 751-52; Our Contemporary
Composers, John Trasker Howard, 1946, pp. 47-51; Our American Music, 1946, pp. 407-11.
29. John Vance Cheney, born in Groveland, New York, on
December 29, 1841, was an American poet who started his literary career as a
librarian; he published several volumes of poetry. A lawyer for one year in
New York City, he moved on to the West after his first marriage failed. His
second marriage proved more successful. Little is known of his activities in
San Diego. His obituary in the San Diego Union, May 1, 1922 recaps his
literary activities. New Century Cyclopedia of Names, Volume 1, 1954,
p. 924.
30. Charles William Clark, a baritone singer, born in Van
Wert, Ohio on October 15, 1856, studied music in Chicago and London. Tours of
Europe and America brought him great acclaim. As the head of the vocal
department of the Bush Conservatory in Chicago, he influenced and guided a
number of students. Research disclosed little information on Clark or his
activities in San Diego. His address on Grossmont has not been unearthed yet
but a closer perusal of the records will no doubt reveal it. One small fact
came to light in the course of research. Madame Schumann-Heink had a picture
of Clark hung in her home. She felt he had contributed an enormous amount to
American music. His picture hung next to one of John D. Spreckels, the sugar magnate,
one of her favorite people. See Who Was Who in America, p. 1008; also
San Diego Tribune, July 3, 1936.
31. A search for data on Edmund Schneider proved fruitless.
His name appeared late in the period allotted for research and little time
remained to dig deeper for information. His name, mentioned in the San Diego
Tribune, July 3, 1936, is the only record available at this time.
32. Elizabeth Robinson also received mention in the San
Diego Tribune article of July 3,1936 but extensive research failed to
uncover any piece of information about her or if she lived on Grossmont. She
and Schneider, even though biographies, encyclopedias, dictionaries and the
vast files of the San Diego Historical Research Archives provided no clues in
either case, must have some connection with Grossmont. The Tribune article
appeared to be correct in all the other facts stated so a decision was made to
include them even though nothing has turned up so far.
33. The local papers of the area speak often of the various
tours the artists conducted. Madame Schumann-Heink went to Hollywood to appear
in her first and last movie "Here's to Romance." The travels of Carrie Jacobs
Bond and the other colony members filled the columns of the La Mesa Scout. Space restrictions preclude a complete list but a few samples are listed.
Most often there would be a few lines in a social column about their arrivals
and departures. La Mesa Scout 1913-1932; La Mesa Scout, February
15, 1919, p. 5.
34. John Vance Cheney and Owen Wister both expressed their
sentiments to Fletcher. Cheney dedicated a poem to Grossmont:
At Grossmont
Against this Grossmont boulder grey, but now
I dreamed the shape of Keats
leaned at my side
Blue-eyed, pallor of dreamland on his brow,
He spoke "My
Homer Sonnet went awide
Were I to rime again, a chief would stare
At yonder
hills, not at the sea; the bright
Dashed from his eyes, with a smit
eagle's glare
Scanning yon yellow lions of the light
He passed; a bird sang in
the chapparal,
To boulder glory burned one lion's mane.
Yea, god-born boy, I
sigh, thy song might tell
Of those prone sun cubs of the southern plain,
None
has the utterance now. The silences alone
Dare touch them, or some breath from
off
their slumber blown.
Wister wrote a simpler tribute to Fletcher in his letter as follows:
"That the view from Grossmont of the ocean, valley and
mountains equals any and surpasses most views in our country, is my opinion.
I can think of no other spot. . . with an almost perfect climate, so much
color, beauty and variety - and I have traveled repeatedly and extensively in
every state of the Union except Oklahoma." See Fletcher, Memoirs, pp.
198-200.
35. An exuberant, energetic woman, Madame Schumann-Heink
made her home on Grossmont a showplace. She loved her estate and enjoyed
California a great deal. Fletcher, Memoirs, p. 194.
36. The Romanesque first floor has an exterior of older
granite masonry and arches. A stone chimney, double hung windows and wide
eaves helped create the asymmetrical appearance of the home. Fruit trees of
various kinds formed part of the exterior landscape. Historic Resources
Inventory, La Mcsa, Volume 7, June 1984, pp. 255-56.5
37. The home of Madame Schumann-Heink included a pantry for
a butler, wine cellar, servants quarters and a secret room. Inside the walls,
interspersed among the boulders, orange, olive, eucalyptus, banana and palm
trees grew in profusion. Carrie Jacobs Bond gave recitals in a forty by forty
foot room, panelled in redwood with a large rock fireplace. Her home contained
a library and a breakfast room. Each home, surrounded by huge old trees and
thick shrubbery, stands as a tribute to the craftsmen of an earlier time. The
beveled or stained glass windows, beamed ceilings, redwood panels, field stone
or brick fireplace, board and batten siding and extensive use of wide,
comfortable porches to capitalize on the view, all speak of a quieter, more
simple and restful era. These homes exhibit a tranquility and charm not seen
today in new construction. For further architectural details of individual
homes, see the Historic Resources inventory. La Mesa, pp. 253-289. Also
the San Diego Union, January 30, 1972, La Mesa Courier, July 16,
1975, p. 5A.
38. The Grossmont Inn, built of redwood, contained a large
porte-cochere for the comfort of its guests. Inside the polished wood floors,
buffed to a high gloss, complemented the beamed ceiling and large fireplace.
Guarded by huge eucalyptus trees planted by Fletcher, it offered travelers a
pleasant experience after the long train ride from the city. In addition,
guest cottages constructed by J.B. Davis and designed by architect Emmor
Weaver, added to the amenities offered by the Grossmont Inn complex. The
Craftsman influence is seen in the low pitched, gabled roofs and combination
of fieldstone and dark stained board and batten siding. For further detail on
the architecture see the Daily Transcript, May 11, 1983, p. 1B;
Historic Resources inventory, La Mesa, pp. 257-58.
39. Grace Godwin-Sperry, from Greenwich Village in New
York, ran the Inn for Fletcher. She had owned and operated Grace's Garrett in
New York. A temperamental chef created insurmountable difficulties and the Inn
proved to be too much of a headache for Fletcher. He converted it to the
family home. La Mesa Scout, January 18, 1924.
40. Gross designed this house for use as a weekend retreat
and a place to entertain friends, putter around the garden and relax. It
featured a wide variety of window styles, "double hung windows with six over
six panes; large windows with multiple panes; single pane windows in sets
of-four". An asymmetrical one storey bungalow, it has gabled roofs, ex-posed
rafter ends and wide eaves. Historic Resources Inventory, La Mesa, pp.
253-54.
41. This information, gleaned in a personal interview with
Dr. Ray Brandes, University of San Diego, will be used as a point of departure
for further research. The conversation took place on November 10, 1984.
42. The descendants of Madame Schumann-Heink, Dr. Charles
and Marie Fox, have re-gained the family home after many years and live there
today. La Mesa Courier, July 16, 1981. p. 5A.
43. The La Mesa Scout often reported on the
improvements to the property. Over the years, she changed many things in the
home to make it more suitable for her needs and those of her large family. The
La Mesa Scout of November 22, 1919 and February 14, 1920 comments on
just two of the new changes, a fence and cement work.
44. A love triangle between the German gardener, Mexican
maid and Corean [sic] cook ended in the death of the gardener. Shot by the
cook with his own gun and buried in the back yard, the gardener vanished from
sight. The maid, sent out to hang up the clothes in the yard, noticed the dog
hard at work in the dirt. The earth flew fast and furious as the dog dug
deeper to expose the elusive smell that so intrigued him. The truth will out
and it soon became apparent that the cook had disappeared with money stolen
from the dead gardener, never to be apprehended. An open and shut case, it
shocked the local residents. La Mesa Scout, August 3, 1918.
45. Madame Schumann-Heink had been suspected of
anti-American activities, due to her German birth. Thinking her to be a spy in
1915, the government posted troops around property to keep her under surveillance. A ridiculous
notion; she had several sons in the armed forces, albeit one enlisted in the
German army. Her sentiments always championed her homeland. When she heard
the news of the guard around her home while in Chicago on tour, she hired
guards to line the inside walls of the estate. So the two armed troops
stared at each other across the property fence, a total impasse. The United
States government soon realized how impossible and foolish the whole thing had
become and called off their watchdogs, much to the relief of everyone. Her
numerous activities to entertain American troups, "her boys" as she called
them with great affection, and her ardent enthusiasm for her new country
should have outweighed the matter of her ancestry. This type of hysteria
against particular ethnic groups rose up again in the 1940's. For further
details, see La Mesa Courier, July 16,1981, p. 5A; Last of the
Titans, p. 265; California's Cornerstone, p. 115.
46. As a final tribute, a poem shows the devotion felt for
Madame Schumann-Heink. It appeared in the San Diego Union, November
19, 1936, a few days after her death.
Taps
By a Mother
Ernestine
Schumann-Heink
Passes by in the night
Gone to sing
To
her boys gone before
Waiting there. Who goes there?
Give the word.
"It is I,
Schumann-Heink,
Come to rest,"
"Welcome Home, Mother Dear,
Soldier Brave."
Sing for aye,
Lullabies
To our boys who have died,
Boys you loved,
Sing to them as you sang
To your own
Welcome her
Sons of ours
To that home where you are
Over there.
Her work now is done,
Rest in Peace.
47. Some of the many honors bestowed upon the art colony
members occasioned comment by the La Mesa Scout. It quite often
reported the activities of the various members of the little community. A
certain pride in their famous residents is evidenced by the coverage each
artist received in the press. One honor accorded Carrie Jacobs Bond came when
the La Mesa Women's Club voted to make her song "Homeland" their official
song. Both Mrs. Bond and Madame Schumann-Heink had honorary dinners given for
them by the Cuyamaca Club, just to name a few of the awards they received from
their grateful community of La Mesa, as well as San Diego and other areas.
See issue of the La Mesa Scout for greater detail and other events,
La Mesa Scout, March 7, 1924.
48. "Nest O' Rest" began as a mountain cabin covered with
wooden shingles. It boasts large picture windows and spacious decks to capture
the view. Subsequent owners have altered the home a great deal. Historic
Resources Inventory, La Mesa, pp. 561-62.
49. Amelita Galli-Curci and her husband, Homer Samuels,
also a singer, visited Carrie Jacobs Bond for tea. They decided to stay
overnight and at midnight they drove to the peak of Grossmont to see the view
in the moonlight. Galli-Curci exclaimed that "her estimate was conservative
when she called the view the most beautiful in the world." At one point her
career included a tour with the Metropolitan Opera Company in New York for ten
years, from 1920-1930. She enjoyed the beauty of Southern California and
retired from the stage to live in La Jolla. La Mesa Scout, April 6,
1934, p. 5; Webster's Biographical Dictionary, Volume II, 1972, p.
1677; Collier's Encyclopedia, Volume 10, p. 550.
50. Carrie Jacobs Bond did a variety of odd jobs to survive
and upgrade her almost penniless condition. She painted china, rented rooms
and took in sewing. Her first songs for children, "Is My Dolly Dead?" and
"Mother's Cradle Song" pointed the way to a career with more promise. She
performed her songs herself in concert but claimed to have little music
ability. She recited her songs, rather than sang them. A resourceful woman,
she gained worldwide acceptance for her romantic songs. Popular American
Composers, John Trasker Howard, 1962, pp. 33-34; Notable American Women, Volume, 1971, pp. 194-95.
51. The first verse of the poem dedicated to Ed Fletcher goes as follows:
There's a cottage in God's garden
Upon a mountain high,
Away from strife and
turmoil
And all life's din and cry.
Away from care and sorrow,
From all life's
tears and woe,
A cottage in God's garden
Where I am free to go.
The complete
poem appears on page 202 of The Memoirs of Edward Fletcher.
52. Johanna Gadski passed away before anything solid
could be accomplished on the property. Who Was Who in America, p. 434;
Fletcher, p. 196.
53. In April 1914, Teresa Carreno wrote to Ed Fletcher to
tell him of her thoughts about Grossmont. The letter starts:
"If there is a spot on the face of the earth in which all
that nature contains of beauty can be found it is that most beautiful place,
near San Diego in California, called Grossmont. The beautiful invigorating
pure air, the restfulness of this earthly paradise one can only realize when
on Grossmont. The dream of my life is to be able to live there."
April 1914
Teresa Carreno
Her dream never came true due to her unfortunate
illness. Fletcher, p. 197.
54. Hansen lived on Mount Helix in a beautiful home. Mount
Helix became the next area after Grossmont that Fletcher developed. Hansen
graded many of the properties Fletcher owned. La Mesa Scout, February
15, 1929, p. 1.
55. Cadman first glimpsed Grossmont at the home of Fred
Hansen called Chateau Belle Terre. Cadman and his mother, Caroline Cadman,
attended a party with other Hollywood luminaries and his musical associate
Edward Lynn. For more details, see La Mcsa Scout, February 15, 129, p. 1.
56. Cadman performed as guest artist at a concert given by
the Grossmont High School band. He played the overture from "Western World"
and "Festal March in C", both his own compositions. La Mesa Scout, February 3, 1933, p. 1. On September 4, 1933, he helped with the service at
the Congregational Church. A skillful pianist, Cadman performed "Service,"
"Andante Moderato" and "Festal March in C". La Mesa Scout, September 8, 1933. The La Mesa Scout also noted his
inclusion in the National Institute of Arts and Letters of New York and called
the organization "tantamount" to the French Academy. He joined the company of
such literary figures as Edna Ferber, Eugene O'Neill and Edna Saint Vincent
Millay. La Mesa Scout, December 2, 1933, p. 1.
57. Here again the Craftsman style prevailed. Little
alteration of the structure has kept the architectural details of the gable
roof, casement windows and shingle wood siding intact. Historic Resources
Inventory, La Mesa, pp. 553-54; also San Diego Union, January 30,
1972.
58. Cheney married his first wife, Abbey Perkins in 1876.
That marriage ended in divorce and he married Sara Barker on July 11, 1903.
For more details on his life, see Who Was Who in America, p. 215;
New Century Cyclopedia of Names, p. 924.
59. In reality, "Cheewah", a long haired chihuahua, no
doubt did resemble this colorful description. La Mesa Scout, August 7,
1931, p. 1.
60. Wister had many talents and interests besides the
ability to write Western novels. He too composed for voice and the piano and
possessed a good voice with a clear ring to it. Wister wrote a burlesque of
Don Giovanni, the opera, for the Tavern Club of Boston, one of his favorite
places. A lifelong interest in animals led him to acquire many unusual pets
over the years. Raccoons, mocking birds, canaries, finches, dogs, horses and a
black and white Japanese "waltzing mouse" made up just part of the family
menagerie. A devoted family man, Wister often took his six children back to
Jackson Hole, Wyoming, Montana, Utah and Idaho to acquaint them with the
scenes of his youth. These raw lands, first encountered in 1885, shaped his
ideas and gave him the impetus to write his novels and capture forever the
scenes that made the West unique. The life of Wister is discussed in much more
detail in Owen Wister Out West, His Journals and Letters, by Fanny
Kemble Wister, 1958, pp. xi-26.
61. This home, built in 1910, by the architectural firm of
Mead and Requa, a prominent local firm, features horizontal hoods over some
windows, a porch with carved balusters and a gable roof with dark painted wood
walls. Safety ladders attached to the house provided quick exit in case of
fire. Wister did not write The Virginian here as some accounts have
stated. See Historical Resources Inventory, La Mesa, p. 260.
62. These names from the Virginian serve to commemorate the
classic novel, written in 1902. An instant success, and reprinted fifteen
times in the first eight months, it failed to please Sarah B. Wister, his
mother. It seemed superfluous to her highbrow literary lastes, but the book
must have pleased someone, for translations in German, Spanish, Czech, French
and Arabic appeared over the years. See Owen Wister Out West, pp.
16-19.
63. A photograph in Members of the Family by Wister
reveals him in his middle years as a prosperous and satisfied individual. The
eyes show great intelligence, as well as a sense of humor in the set of the
mouth. He appears to be a thoughtful, sensitive man and his biography tends to bear this out.
64. Frederic Remington and Theodore Roosevelt had a long
friendship with Wister. They shared many similarities in background but their
mutual love of the West drew them together and formed an unshakeable bond.
These three men with their work and attitudes influenced American thought
about the West and brought it into existence as a unique and special entity.
The book, The Eastern Establishment and the Western Experience, discusses in great detail the three men, their friendship and the forces that
brought them together and made them kindred souls. It proposes a number of
theories that provoke a great deal of thought about these men. The book should
be read by anyone with an interest in the West or Wister for it gives a
clearer picture of the man behind the typewriter.
THE PHOTOGRAPHS are from the San Diego Historical Society's Title Insurance and Trust Collection.
