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Sep 202018
 

The artist Sid Sklar exhibited at Lake Chapala in April 1989. The images show two very different works by this artist. I have been unable to pin down any biographical details about Sid Sklar, so I’m hoping that some alert reader will supply me with more clues about his  life and work.

Sklar’s 1989 exhibit was at the Art Studio Gallery in San Antonio Tlayacapan, a gallery run by Luisa Julian de Arechiga and her husband. The brief note about the exhibit suggests that Sklar lived in Guadalajara.

Sid Sklar. Undated. Untitled.

Sid Sklar. Undated. Untitled.

I have found only tiny snippets of information related to Sid (presumably Sidney) Sklar, though am unable to say whether or not they refer to the same person. There are three or four people in the U.S. who would have been about the right age at the time, living in several different states.

The most detailed account on line is of a visually-impaired artist named Sid Sklar who was one of the first people in the world to have a successful cornea transplant (in the early 1940s). It seems, though, that he only took up art (with watercolors) in the 1990s, following a terrible accident when he was hit at a toll booth by a hit-and-run driver. The extraordinary story of this Sid Sklar has been told by journalist Beverly Antel. Given the dates, this does not appear to be the correct Sid Sklar for the Chapala exhibition.

Sid Sklar. 1973. Untitled.

Sid Sklar. 1973. Untitled.

The first of the two Sidney Sklar references that may refer to the right person comes from Baltimore in 1976, where a review of a show of works by members of Artists Equity at the Turner Auditorium Gallery of the Johns Hopkins Medical School included “Midsummer”, in which “Sidney Sklar exhibits masterful control over batik.”

The second reference comes from Ottawa, Canada, in 1981. A display ad for a new collection of jewelry on sale at The Bay (Hudson’s Bay Company) in Ottawa lists a Sid Sklar among the designers of the “The Signature Collection by Universe International.”

If anyone can help identify the correct Sid Sklar or tell me any more about him, please get in touch via the comments section.

Acknowledgment

My thanks to Ricardo Santana for bringing Sid Sklar to my attention and for his kind permission to reproduce the images used in this post.

Sources

  • Beverly Antel. 2009. “Seeing Life With The Eyes Of A Child.” National Keratoconus Foundation, Feb 2009.
  • The Baltimore Sun (Baltimore, Maryland), 29 Apr 1976, 27.
  • The Ottawa Citizen (Canada) 17 Nov 1981, 53.

Other Art Mysteries:

Sep 132018
 

Everyone knows that Lake Chapala has attracted hosts of famous writers over the years – after all, without them, this blog would have been a bit pointless! However, as I suggested in “Did Somerset Maugham ever visit Lake Chapala?“, some famous writers have been associated with the lake despite never visiting it. Is this also the case for the Nobel Prize-winning author Ernest Hemingway? Did he ever actually visit or work at Lake Chapala?

Señor Google turns up several articles and websites claiming Hemingway-Lake Chapala links. One in particular, entitled “Neill James—Ajijic’s Woman of the Century!” and first published in the 19 February 2012 edition of the USA Today’s weekend feature, La Voz de Mexico, makes some strong claims about Ajijic and Hemingway.

Ernest Hemingway and his trusty Underwood typewriter

Ernest Hemingway and his trusty Underwood typewriter [See Sources for image credit]

The article’s subject, author Neill James, first settled in Ajijic in the mid-1940s. James, the “Petticoat Vagabond”, had written several books prior to visiting Mexico and completed her final book – Dust on My Heart, which includes several chapters related to Ajijic – during her recuperation in the village following a dreadful climbing accident.

To quote the article:

“Her publisher was Scribner’s, who at the time was also publishing Thomas Wolfe, F. Scott Fitzgerald and Ernest Hemingway—three of the most legendary writers of the 20th century.

Neill’s five books introduced and drew flocks of writers to Lakeside to share in her wealth of information. As the desire to travel began to subside and she settled in Ajijic, Ernest Hemingway, D.H. Lawrence, George Bernard Shaw, plus the editor of Life Magazine, came to visit her.”

The first sentence is fine: Neill James was indeed published by Scribner’s as were the other authors named, and it is perfectly conceivable (though by no means proven) that she met one or more of the other authors when visiting Maxwell Perkins at his offices in New York. It is even possible, as Laura Bateman wrote in Ajijic: 500 Years of Adventures, that, “Once, while waiting in Perkins’ outer office, Neill witnessed the notorious fist fight between Ernest Hemingway and Max Eastman.” That event occurred in August 1937.

The second sentence has some elements of truth about it, but the third – about Ernest Hemingway, D.H. Lawrence, George Bernard Shaw, and the editor of Life magazine visiting James – is wishful thinking and completely unsupported by the available evidence.

D. H. Lawrence was long dead before Neill James ever arrived in Ajijic, so that claim is clearly bunkum. (Lawrence, who died on 2 March 1930, lived in Chapala from May to July 1923.)

There is no evidence that George Bernard Shaw ever visited Lake Chapala, though it is remotely possible that the great English philosopher met Miss James somewhere else. Note that, by the time James settled in Ajijic, Shaw was already 88 years old. I do have lots of sympathy for the idea that Shaw can be linked to Mexico since he apparently once said that, “The two most beautiful things in the world are the Taj Mahal and Dolores del Rio”! (Dolores del Río was a stunningly beautiful Mexican actress from Mexico’s golden age of cinema).

I have never found any evidence that any serving editor of Life magazine visited Chapala to call on James or anyone else, though three photographs of Neill James in Ajijic do appear in Leonard McCombe’s photo essay for Life magazine, published in 1957.

The Hemingway-Chapala claim, which has since been repeated in International Living, seems equally inaccurate. Hemingway’s life has been painstakingly analyzed by a small army of biographers, but Lake Chapala never makes an appearance.

So far as I am aware, the only significant time Hemingway ventured into Mexico was a visit to Mexico City (from Cuba) in March 1942, which later came to the attention of the FBI because he apparently checked into the Reforma Hotel under an assumed name and met Gustav Regler, a friend from his time in Spain during the Spanish Civil War.

While I’d love to be proved wrong, the idea that Hemingway ever visited or lived at Lake Chapala is just one more literary myth.

Sources

  • Laura Bateman. 2011. “Neill James”, a chapter in Alexandra Bateman and Nancy Bollenbach (compilers). 2011. Ajijic: 500 years of adventurers (Thomas Paine Chapter NSDAR), p 79-84
  • Mary Dearborn. 2017. Ernest Hemingway – A Biography. Knopf Doubleday Publishing Group.
  • Tod Jonson. 2012. “Neill James—Ajijic’s Woman of the Century!”, in USA Today’s weekend feature La Voz de Mexico, 19 February 2012 edition; reprinted in El Ojo del Lago, September 2012.
  • Leonard McCombe. 1957. “Yanks Who Don’t Go Home. Expatriates Settle Down to Live and Loaf in Mexico.” Life, 23 December 1957.
  • David Ramón. 1997. Dolores del Río. Editorial Clío.
  • Matt Reimann. 2015. “When Ernest Hemingway Fought Max Eastman“, at bookstellyouwhy.com, 8 June 2015.
  • Nicholas Reynolds. 2012. “A Spy Who Made His Own Way. Ernest Hemingway, Wartime Spy”, in Studies in Intelligence, Vol. 56, No. 2 (Extracts, June 2012).
  • Image credit: https://player.watch.aetnd.com/player.html?tpid=572995835 [13 Sep 2018]

Sombrero Books welcomes comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

Sep 062018
 

One of the earliest films related to Lake Chapala is the silent movie La gran noticia. Most of the film was shot in studios in Mexico City but some parts were shot on location in the town of Chapala in the summer of 1921.

Novel by Carlos Noriega Hope

Novel by Carlos Noriega Hope

The director (and co-screenplay writer) of La gran noticia was Carlos Noriega Hope, a Mexican journalist, author and director who was in charge of the print magazine El Universal Ilustrado from 1920 to 1934.

[Note: In the absence of any image from La gran noticia, the illustration to the left is the cover of one of Noriega Hope’s novels.]

La gran noticia is the story of an adventurous reporter who is given a month’s vacation in Chapala by his editor on condition that he investigate the crimes of a local gang. In Chapala, he meets and falls in love with a beautiful French woman. In his pursuit of her he confronts and kills a mysterious criminal.

The screenplay was written by Noriega Hope and Marco Aurelio Galindo.

Carlos Noriega Hope (1896-1034) studied law before becoming a journalist. One of his early assignments was to visit Hollywood and report on the nascent cinematographic industry there. He wrote several books as well as the screenplays for Santa (1932) and Una vida por otra (1934).

Marco Aurelio Galindo (1902-1989) was a Monterrey-born writer, film critic and translator who won a Silver Ariel for “Best Adaptation” for his work on Los Fernández de Peralvillo (1954). His other screenplays included Se la llevó el Remington (1948), La edad de la tentación (1959) and El Zurdo (1965). He also directed numerous movies, including Corazón de niño (1939), El hombre de la máscara de hierro (1943) and Bodas de fuego (1951). He translated works by Eugene O’Neill and Joseph Conrad, and  was head of publicity for Metro-Goldwyn-Mayer in 1934.

American photographer William (“Bill”) J. Beckway (1881-1945) was the principal cinematographer for La gran noticia. He was the cinematographer for numerous films between 1915 and 1937, including Comrade John (1915), The Matrimonial Martyr (1916), 1917 Told at Twilight (1917), Betty Be Good (1917), The One-Way Trail (1920), Secrets of Chinatown (1935), Stampede (1936) and Woman Against the World (1937).

Beckway was a pioneer in the art of cinematography, credited with inventing one of the world’s first portable video cameras. In 1921, The American Cinematographer reported that, “Mr. Beckway, who is not only an artistic cinematographer of long experience, but an expert mechanical engineer, has built a perfect motion camera that not only photographs but develops and projects and the entire apparatus, tripod and all, can be carried in a small suit case.”

Work on the movie La gran noticia was completed in 1922 and the film premiered in Mexico City on 15 January 1923.

Sources

  • The American Cinematographer (Los Angeles), Vol. 2, #20, 1 November 1921.
  • Javier García-Galiano. 2016. “Noriega Hope: un habitante del mundo de las sombras.” El Universal. Confabulario (suplemento cultural), 1 October 2016.
  • Guillermo Vaidovitz. 1989. “Reseña de la producción de cine en Jalisco durante la época muda”, 120-132 in E. E. Sánchez Ruiz (comp.) 1989. Medios de Difusión en Jalisco. Avances de Investigación. Guadalajara: Universidad de Guadalajara, Cuadernos del CEIC, Comunicación y Sociedad, No 4-5).

We welcome comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios. Please use the comments feature at the bottom of individual posts, or email us.

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Aug 302018
 

Mexican-born Virginia Downs (1914-2005) was the third wife of William (“Bill”) Colfax Miller. After their marriage in November 1969, the Millers lived in Cuernavaca, where they co-owned an art gallery, before moving first to the U.S. for a year and then, in about 1982, to Lake Chapala, where Virginia Miller was a prolific writer of articles about Mexico for local English-language publications.

Virginia Downs was born into a wealthy American family in Guadalajara on 11 March 1914 and died in that same city on 16 November 2005. Her grandfather, Alfred Ryder Downs, had been a successful miner in Alaska before moving to Mexico, where he built up a business empire as owner of the American Bank of Guadalajara, a Ford Agency and (allegedly) the first gas station in Guadalajara. He bought land on the then northern outskirts of the city that he subsequently developed at the start of the 20th century as Colonia Seattle. Modeled on an American garden city, this area initially had 57 homes and its own electric and water plants.

Virginia was only nine days old when her family fled Guadalajara for the U.S., fearing for their lives as the Mexican Revolution engulfed the city and most Americans were forced to flee. Grandfather Downs returned a few years later and resumed his business interests. Virginia’s family also returned, and she attended school in Guadalajara before completing her high school education at Grey Castle (which later became San Diego High School) in California, after which she majored in foreign languages at the University of California Los Angeles.

After graduating, Downs worked in the U.S. Civil Service. She worked 5 years in Hawaii, two years in Japan and a year in Frankfurt before spending 15 years in Paris, where she worked as a researcher and writer for the U.S. Joint Chiefs of Staff European Command. When NATO personnel were ordered out of France in 1967 by President Charles de Gaulle, she returned to the U.S.

Failing to find suitable work in Los Angeles, she moved back to Mexico, living first in Oaxaca, then San Miguel de Allende (where she took art classes), and then to the Cortés house in Cuernavaca. It was in Cuernavaca that she met and married Bill Miller.

During their time in Cuernavaca, Virginia was a columnist for the local daily El Diario de Morelos and the couple opened the Akari Art Gallery, the city’s first major art gallery. The couple were friends of many famous Mexican artists, including Alfaro David Siqueiros who gave them a personally-inscribed heliographic copy of a drawing entitled “La Niña Madre”. This drawing was used by Excelsior, the national daily, during its campaign to get Mother’s Day officially celebrated in Mexico.

The Atari Gallery was one of the venues for a group show by Clique Ajijic in February 1976. The Clique Ajijic was comprised of eight Ajijic artists: Tom FaloonHubert Harmon, Todd (“Rocky”) Karns, Gail Michaels, John Peterson, Synnove (Shaffer) PettersenAdolfo Riestra and Sidney Schwartzman.

Among the other “Ajijicans” attending the opening in Cuernavaca were Peggy Koll, Margo Thomas, and Bruce and Patricia Wightman.

In Ajijic, in addition to her regular contributions to El Ojo del Lago (The Eye of the Lake) and other local publications, Virginia Miller self-published South of Yesterday (2001), a family history, subsequently translated into Spanish as Al Sur del Ayer (2004). She described the book as “the story of my mother’s life as a bride coming to a strange land. The book flows through the charmed life of an American living in Guadalajara in the early nineteen hundreds into the violence of the Revolution, escape from and return to a much-beloved Mexico.”

Sources

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Aug 232018
 

In the early 1990s, a small number of photos signed “Arzapalo” were included in J. Jesús González Gallo’s book Aquellos tiempos en Chapala. Judging by their subject matter, the Arzapalo who took these photographs was almost certainly Ignacio Arzapalo Palacios (1837-1909), though there is a small possibility that they were the work of his son, José Ignacio Arzapalo Pacheco (1878-1904).

Ignacio Arzapalo was the man who built the Hotel Arzapalo, Chapala’s first purpose-built hotel which opened with 36 large and comfortable rooms in 1898. For the record, brief biographies of Arzapalo appear in each of my previous books about the Chapala area – Western Mexico, A Traveler’s Treasury and Lake Chapala Through the Ages – but I now realize that my descriptions of his life were not entirely accurate.

Ignacio Arzapalo. ca. 1898. San Francisco Church, Chapala. [from Aquellos tiempos en Chapala)

Ignacio Arzapalo. ca. 1898. San Francisco Church, Chapala. [from Aquellos tiempos en Chapala)

I now know that Arzapalo was born in Sinaloa, not Spain, and had been in Guadalajara for many years before he commissioned local architect Guillermo de Alba to build the Arzapalo Hotel in Chapala.

Ignacio Arzapalo was born in the mining town of Cosalá, Sinaloa, in 1837. He had two marriages, the first of which was to Emilia Salgado Maldonado. They married in Mazatlán on 12 February 1963 and four years later Emilia bore him twin girls: Emilia and María Luisa.

It is unclear what became of his first wife, but by the 1870s, Arzapalo was living in Guadalajara, apparently without his daughters. In 1877 he married 16-year-old María Pacheco in that city; their son, José Ignacio, was born the following year on 7 February 1878. José Ignacio, who was sent to school in Denver, eventually married into the highest levels of Guadalajara society, taking as his bride Aurora Pérez Verdía, the daughter of influential lawyer and historian Luis Pérez Verdía and his wife. José Ignacio died in Guadalajara in 1904; his father Ignacio Arzapalo died in Guadalajara five years later, on 6 May 1909.

Ignacio Arzapalo. ca. 1898. Chapala shoreline. [from Aquellos tiempos en Chapala)

Ignacio Arzapalo. ca. 1898. Chapala shoreline. [from Aquellos tiempos en Chapala)

In the 1870s and 1880s, Ignacio Arzapalo was on the board of various different partnerships hoping to build a railway linking Guadalajara to Tlaquepaque. In 1881, for example, he was prepared to invest $10,000 pesos to help capitalize a new company that needed to raise $105,000 in total.

In 1888 Arzapalo was elected to a seat on the Guadalajara city council.

Coincidentally, only a couple of months earlier, his wife had lent her diamond necklace to a group of people interested in witnessing the skills of American mentalist Washington Irving Bishop who was visiting the city. The necklace was hidden, without his knowledge, a mile away from the Hotel Humboldt where he was staying. Wearing a blindfold, he was walked out of the hotel and placed in a carriage. The instructions he relayed to the driver took the carriage directly to the necklace to the cheers and applause of thousands of onlookers.

Ignacio Arzapalo. ca. 1898. Villa Capetillo, Chapala. [from Aquellos tiempos en Chapala)

Ignacio Arzapalo. ca. 1898. Villa Capetillo, Chapala. [from Aquellos tiempos en Chapala)

Arzapalo began preparations for his hotel in Chapala in 1891 after being granted permission to construct a wall at the lakefront side of property he owned.

As plans progressed, he continued to do his civic duty in Guadalajara, sitting on the board of the “Círculo Mercantil” and as a member of the group planning the city’s Parque Agua Azul.

Construction of his two-story hotel in Chapala got underway in earnest in 1896 and the hotel opened for business in 1898.

Arzapalo eventually commissioned de Alba to build him a second, even better-appointed hotel. The Hotel Palmera had its formal opening in 1908. Part of the original Arzapalo Hotel is now the lakefront Beer Garden restaurant-bar. The Hotel Palmera later became two hotels: Hotel Nido (now Chapala’s Presidencia Municipal or city hall) and the short-lived Hotel Niza.

Not surprisingly, given his obvious commercial interests, Ignacio Arzapalo was an active member of the Jalisco Development Company which proposed, in 1902, building an electric railroad from Guadalajara to Chapala, and was one of the business leaders trying, in 1904, to form the first Chapala Yacht Club. Though neither of those projects came to fruition, Arzapalo’s contributions to Chapala were one of the crucial steps in transforming the former fishing village into Mexico’s premier lakeside resort.

Note

While aware that the quality of these images is not up to our usual standards, we believe they are worth reproducing. If any reader has access to better quality images of photographs by Ignacio Arzapalo please get in touch!

Sources

  • Anales del Ministerio de Fomento de la República Mexicana, Volume 4, 1881.
  • El Siglo Diez y Nueve, 16 Jan 1892.
  • El Tiempo, 28 June 1893; 11 Sep 1896.
  • Jalisco Times, 27 Aug 1904.
  • J. Jesús González Gallo. 1992. Aquellos tiempos en Chapala. Guadalajara: Editorial Agata.
  • La Patria, 12 August 1904, 2.
  • La Voz de México, 27 Sep 1888.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Aug 162018
 

Writer, actor and cinematographer William Colfax Miller (1911-1995) had worked in the film industry in Hollywood and Mexico, before he moved to Lake Chapala with his third wife, Virginia Downs Miller (1914-2005), in the early 1980s.

Miller was born on 29 May 1911 in South Dakota. He moved to Chicago after graduating from high school in 1928 to attend the Armour Institute of Technology where he majored in chemical engineering.

William C. Miller in Spain, 1938. Credit: Abraham Lincoln Brigade Archives.

William C. Miller in Spain, 1938. Credit: Abraham Lincoln Brigade Archives.

His interest in the film industry soon took him to Hollywood where he worked for several movie studios until January 1938 when he left the U.S. to go to Europe and fight in the Spanish Civil War. While participating in the 3,000-strong Abraham Lincoln Brigade of American volunteers fighting fascism in the Battle of the Ebro, Miller was diagnosed with tuberculosis and removed from combat. He returned to the U.S. a year later, after working on a war documentary for the Spanish Communist Party’s film office.

Later in life, Miller claimed to have left the U.S. in 1939 because he was a Marxist, and was therefore no longer welcomed in Hollywood. He decided to move to Mexico because he had heard that, having being a commander with the Lincoln Brigade, he could be made a General in the Mexican Army. This turned out not to be true, but Miller remained in Mexico anyway. Miller’s claim to have been a commander in Spain was equally untrue; this was a classic cross-border promotion. While not in any way diminishing Miller’s contribution to the Spanish Civil War, the archives of the Abraham Lincoln Brigade show that Miller’s rank in the volunteers never rose above “soldado”, the lowest rank possible.

Equally, Diana Anhalt relates in her book about American political expatriates in Mexico how Miller wrote to her a few years before he died claiming personal involvement in the first attempt on Trotsky’s life in Mexico City in May 1940, an attempt led by artist David Alfaro Siqueiros who later became a personal friend of Miller and his third wife. However, when Anhalt phoned Miller to double-check the details, he back-tracked on this claim and admitted that he “had never actually participated in the attempt but, yes, he had known about it”.

Soon after he moved to Mexico, Miller met then-president Lázaro Cárdenas who hired him as his official photographer to film a series of short documentaries during the final year of his administration. Miller then began combining work as a cinematographer with roles in acting and directing.

Miller claimed to have participated in more than 150 films in Mexico; this may or may not be an exaggeration. Unfortunately, for some of the claims made in earlier biographies, independent corroboration is lacking. It has proved impossible to verify, for example, the claim made in regard to Forgotten Village (1941) that “Bill commandeered an entire village, persuading the people to be photographed and adapting the script.” (El Ojo del Lago, July 1989).

As an actor, Miller apparently appeared in Soy Puro Mexicano (1942) and Espionaje en el Golfo (1943). He worked behind the camera on Luis Buñuel’s Subida al Cielo (1951) and was assistant director on the the award-winning documentary Walls of Fire (1971). Miller was also one of the photographers employed to work on a documentary film given the working title of The Spanish Republicans In Mexico. While it is unclear if this film was ever completed, the Brownsville Herald in November 1943 reported that Miller’s specialist contribution to this project was “agricultural documentary photography” to complement the “industrial photography” supplied by Walter Reuter, a well-known German photographer who was resident in Mexico City.

Miller was credited as “Technical Director” for the satirical comedy El Brazo Fuerte (1957), filmed by Walter Reuter in the picturesque small village of Erongaricuaro on the shores of Lake Pátzcuaro. This film won prizes at the Cannes Film Festival but was not released in Mexico until 1975.

Miller also apparently worked with Pathé Newsreel, published a Mexican Motion Picture Directory and recorded numerous talking books, as well as being appointed Director of Cinephotography for the Mexico City Olympics in 1968.

Miller was married three times. His first marriage, in Hollywood in 1932 to Ruth Elizabeth Timberlake (1911-1940), ended with her death in 1940; they had one daughter. In 1948, Miller married Roseann Sparks (1923-1968) in Atizapan de Zaragoza on the outskirts of Mexico City in 1948; they lived in Cuernavaca and had a son and two daughters. In November 1969, a year after he lost his second wife, Miller married Virginia Downs. The couple lived in Cuernavaca and opened the Akari Gallery, the city’s first major art gallery, before moving to Lake Chapala.

The Atari Gallery was one of the venues for a group show by Clique Ajijic in February 1976. The Clique Ajijic was comprised of eight Ajijic artists: Tom FaloonHubert Harmon, Todd (“Rocky”) Karns, Gail Michaels, John Peterson, Synnove (Shaffer) PettersenAdolfo Riestra and Sidney Schwartzman.

Among the other “Ajijicans” attending the opening in Cuernavaca were Peggy Koll, Margo Thomas, and Bruce and Patricia Wightman.

William Colfax Miller, who led a rich, varied and productive life, died on 15 September 1995.

Sources:

  • Diana Anhalt. 2001. A Gathering of Fugitives. American Political Expatriates in Mexico 1948-1965. Archer Books.
  • Anon. 2005. “William Colfax Miller.” The Volunteer (Journal of the Veterans of the Abraham Lincoln Brigade) Vol XXVII, No 3 (September 2005), 22.
  • Anon. “William Colfax Miller.” Abraham Lincoln Brigade Archives.
  • El Ojo del Lago: August 1985, July 1989.
  • The Brownsville Herald (Texas): 19 Nov 1943, 15.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Aug 092018
 

Chapala-born Jorge Seimandi Ramírez was a highly-respected art educator at the University of Guadalajara for more than 40 years. He was not interested in the commercial side of art and his own work was rarely sold or exhibited.

Seimandi was born in Chapala on 2 February 1929, the son of Italian-born businessman Juan Seimandi and his wife, Refugio Ramírez, a local Chapala girl. Jorge Seimandi studied art at the Escuela de Bellas Artes in Guadalajara from 1947 to 1950. His teachers included Ixca Farías, Leopoldo Bancalari and Rubén Mora Gálvez.

Recognized for his proficiency in both oils and watercolors, Seimandi painted still lifes, figurative studies, portraits and landscapes, some of which were exhibited in the 1950s.

Jorge Seimandi. Undated still life. Photo credit: A. Hinojosa/Informador.

Jorge Seimandi. Undated still life. Photo credit: A. Hinojosa/Informador.

His work was exhibited at the Exhibition of the School of Fine Arts (Exposición Anual de la Escuela de Bellas Artes) in Guadalajara in 1949 (where he won a “diploma of recognition”); in two shows at the city’s Galerías Degollado, in 1957 and 1958;and at at the Mexican-North American Cultural Institute (Instituto Cultural Mexicano Norteamericano de Jalisco). Seimandi  held solo shows at the Escuela de Artes Plásticas (1970; 1994) and at the Galería Jorge Martínez (1998).

Along with Alfonso de Lara Gallardo, Jorge Navarro Hernández and others, Seimandi was an active member of Grupo Integración, a loose collective of modernistic artists founded in 1966.

Seimandi was never a full-time professional painter but pursued art in his spare time while earning a qualification in law. He was appointed head of the Jalisco State Tourism Office in 1957. He taught art and art history at the University of Guadalajara’s Escuela de Bellas Artes (Fine Arts School) from 1953 to 1981, where he inspired the next generation of artists. He directed the school from 1978-1981. He was also appointed Professor of Drawing for the Jalisco State Primary Schools, a position that enabled him to research basic education in drawing.

Following his death in Guadalajara on 2 October 2013, at the age of 84, his family announced their intention to compile a complete catalog his works, many of which he gave to friends, and to arrange a retrospective exhibition at the University of Guadalajara’s Museo de las Artes. If they are successful, this will be a show worth seeing!

Sources:

  • El Informador: 25 April 1970; 26 June 1994; 25 Nov 1998; 28 Nov 1998.
  • Thamara Villaseñor. 2013. “Seimandi y su pasión por la pintura.” El Informador, 1 Dec 2013, 11-B.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Aug 022018
 

As we saw in previous posts, the two writers behind the first two Dane Chandos books related to Lake Chapala – Village in the Sun and House in the Sun  – were Nigel Millett and Peter Lilley.

Whether by coincidence or not, less than 3 weeks after Nigel Millett‘s father died in Ajijic in 1947, Anthony Stansfeld set out from the U.K. to visit Peter Lilley in Mexico. This timing makes it perfectly conceivable that he helped Lilley in the final stages of preparing the manuscript of House in the Sun for publication.

Anthony Ralph Wolryche Stansfeld was born in Winchester, Hampshire, on 4 March 1913 and died in Macon, Georgia, on 7 March 1998. Stansfeld was at Oxford University from 1932 to about 1935. During World War II he served as a Temporary Lieutenant in the Royal Naval Volunteer Service for two years from 4 March 1943 (his 30th birthday). The blond, blue-eyed Stansfeld, who spoke fluent English, French, Spanish and Italian, subsequently became a university lecturer, specializing in art history.

Cover of first edition (published by Michael Joseph)

Cover of first edition (published by Michael Joseph)

It is unclear how he and Peter Lilley first met, though they were very close in age. In about 1950, Stansfeld took a teaching position at Mercer University in Macon, Georgia. He lived the remainder of his life in Macon but became a regular visitor to Lake Chapala to collaborate with Lilley.

Continuing the pen name Dane Chandos, the duo wrote two travelogues: Journey in the Sun (a trip from Mexico to Spain) and The Trade Wind Islands (which takes the reader from Mexico to several Caribbean islands). The two men also created the huarache-wearing Mexican detective Don Pancho and wrote two well-constructed stories about his crime-solving exploits: Boiled Alive and Three Bad Nights, for which they used the pen name (or more accurately pen name of a pen name) Bruce Buckingham.

References

  • Bruce Buckingham. 1956. Three Bad Nights. London: Michael Joseph (Reissued as Penguin edition, 1961).
  • Bruce Buckingham. 1957. Boiled Alive. London: Michael Joseph (Reissued as Penguin edition, 1961).

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Jul 262018
 

Jakob Granat (1871-1945) was a Jewish merchant and businessman born on 18 October 1871 in Lemberg (now Lviv, Ukraine), then part of the Austrian empire. He left Europe in July 1887 to seek his fortune in the U.S., where he was known as Jacob Granat. He became a naturalized U.S. citizen in New York City on 11 July 1900, having worked as a salesman in New York, Chicago and San Antonio, Texas.

Granat moved to Mexico City (where he was known as Jacobo Granat) in about 1905 and lived there, with periodic trips back to the U.S. until at least the 1920s. His brother also lived in Mexico City. Granat established various businesses in Mexico, including a leather and curios shop, a printing company and a small chain of cinemas. Granat is credited with opening the city’s first public cinema – El Salón Rojo – by elegantly remodeling the interior of the downtown eighteenth century building known as Casa de Borda. The renovations included the installation of Mexico’s first electric escalator.

El Salón Rojo quickly became the most famous of Mexico City’s early movie houses and the one favored by all the high society families, including those close to President Porfirio Díaz. To help publicize the silent films being shown, which starred both Mexican and foreign actors, Granat published a series of small movie lobby cards, similar to postcards, sold in the theater lobby. These became popular collectors’ items as did the series of picture postcards he published showing people, views and scenes from all over Mexico.

Granat is believed to have published around 300 postcards, including this one of the buildings along the waterfront in Chapala in about 1905. The most prominent buildings are the Arzapalo Hotel (opened in 1898) with its bathing huts (on the left), the turreted Villa Ana Victoria owned by the Collignon family (in the center) and the San Francisco parish church with its twin towers.

Chapala, ca. 1905. Postcard published by J. Granat.

Lago de Chapala, ca. 1905. Postcard published by J. Granat.

During the Mexican Revolution, Jakob Granat claimed on repeated passport applications to have returned to the U.S. every year since 1905 for between two and six months, though these claims may have been made only to prevent losing his right to a U.S. passport.

Later, Granat sold his cinemas to William O. Jenkins, an unscrupulous American businessman and property speculator who was living in Mexico City, and moved back to Europe. Granat continued to visit Mexico periodically, presumably to see family members (including a sister-in-law and her children) still living in Mexico City.

When the second world war began, Granat (and his wife?) found themselves trapped in Europe. Despite the claim made in Mexican sources that Granat was killed in the gas chambers at Auschwitz in 1943, the Holocaust Survivors and Victims Database lists him as dying in the equally infamous Bergen-Belsen concentration camp two years later, on 27 January 1945. His wife’s name does not appear in the database, though it is possible that she did indeed die in Auschwitz in 1943, since only fragmentary records exist of the thousands who lost their lives there.

This is an outline profile. Contact us if you would like to learn more about this particular artist or have information to share.

Sources:

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Jul 192018
 

The second strand of the pen name Dane Chandos, and indeed the originator of the name, was Peter Lilley. How, when and where Lilley first met Nigel Millett is currently unknown but they became literary collaborators and good friends during their time in Ajijic.

Peter Lilley, whose birth name was James Gilbert Lilley, was the only child of James Cecil Lilley (1878-1948) and Madeline Clare Angus Thomas (1890–1979). He was born in Clacton-on-Sea, Essex, on 25 July 1913.

Lilley’s father was a director of Lilley and Skinner, a famous London shoe brand (manufacturing, wholesale and retail), founded by his great grandfather.

Peter Lilley attended Stowe School (in Buckinghamshire) from 1927 to 1932 and was captain of the school tennis team in 1931. He remained an avid tennis player throughout his life and built a grass court at his home in San Antonio Tlayacapan (mid-way between Ajijic and Chapala).

Lilley is not known to have published anything under his own name, or any nom de plume, prior to the books about Ajijic.

The name Dane Chandos was conjured up by Lilley himself, since it combined his nickname at Stowe – “Dane”, on account of his blond hair and square, Danish-looking jaw – with Chandos, the name of one of the school’s boarding houses. Interestingly, though, Lilley had actually spent his own school years in a different house, Grafton.

If shipping and immigration records accurately reflect his travels to North America, Peter Lilley first visited the U.S. in 1938, at the age of 24, traveling with an older cousin, Thomas. The following year, he revisited the U.S. en route to Toronto, Canada. In 1940, he again traveled to New York, arriving on 7 July 1940. It remains unclear precisely when Lilley first visited Lake Chapala.

The first Dane Chandos book, Village in the Sun, was written by Peter Lilley and Nigel Millett and published in the U.S. in the fall of 1945. Because Nigel Millett died the following year, it is often argued that the second Dane Chandos book – House in the Sun, first published in the U.S. in 1949 – must have been the result of a different collaboration, with Millett replaced by Anthony Stansfeld as Lilley’s writing partner. For a number of reasons, including similarities of style and subject matter, I do not consider this at all likely but believe that House in the Sun, like Village in the Sun, was co-written by Lilley and Millett.

This opinion is supported by the fact that Stansfeld himself, in a letter many years ago to the house’s current owner, laid no claim to authorship of either book, writing only that he and Lilley had collaborated from 1950 onwards.

Village in the Sun tells the story of building a house (located in real life in San Antonio Tlayacapan). The house was Peter Lilley’s home in Mexico. The book is an interesting, keenly observed and reflective account of life in Ajijic in the 1940s, full of curious tidbits alongside anecdotes about local superstitions and habits. When it was finally published in the U.K. in 1948, English author and linguist Rodney Gallop, who had visited Ajijic in the 1930s, praised its use of colorful characters to paint a picture of Ajijic that was sympathetic and “penetrated to the very heart of Mexico.” Among the central characters is Candelaria, the cook, who “seemed to delight in piling up obstacles and then making an enormous fuss surmounting them and then with a pleased tired smile viewing her achievement.”

In House in the Sun the author has added extra rooms for guests and taken on the role of amateur hotelier, “held hostage by maddening servants and equally unpredictable and maddening guests.”

The two books share many of the same characters, including Candelaria and the other household help. Some of the characters are based on real residents or visitors while others stem from the authors’ imaginations. A line near the start of House in the Sun – “An Englishman had built a long, low house fronted by a superb garden, which blazed with color the year round” – is a public nod to Herbert Johnson and his wife, Georgette, and their wonderful lakefront garden in Ajijic.

The final Dane Chandos book

Peter Lilley continued to live in his beautiful “house in the sun” in San Antonio Tlayacapan until well into the 1970s. He spent his final weeks in his native England where he died at the London Clinic in Westminster on 17 April 1980. Leslie Chater and his wife, Moreen, long-time friends of Lilley, subsequently became the new owners of the house in San Antonio Tlayacapan.

A chance find there in a desk drawer by Moreen Chater caused her to revive the Dane Chandos brand in 1997, long after all three original Dane Chandos authors had died. Chater stumbled across a “scruffy folder” containing a manuscript of recipes “faintly typed and badly eaten by mice.” Providentially, these proved to be Candelaria’s original recipes, with notes and anecdotes added by Lilley. Chater used them to compile Candelaria’s Cookbook, an unusual bilingual book of more than forty recipes (and related stories) sold as a fund-raiser to support projects benefiting children in San Antonio Tlayacapan.

References

  • Dane Chandos. 1945. Village in the Sun. New York: G. P. Putnam’s Sons.
  • Dane Chandos. 1949. House in the Sun. New York: G. P. Putnam’s Sons.
  • Rodney Gallop. 1948. “Rural Mexico: Village in the Sun. By Dane Chandos.” (Review), The Spectator, 17 June 1948, 22.
  • Catherine A. MacKenzie. 2011. “Three Authors in the Sun”, Lake Chapala Review, vol 13 #1, 15 January 2011.
  • Sophie Annan Jensen. 1999. “Candelaria’s Cookbook” (review) on MexConnect.com –
    [25 May 2018]

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Jul 122018
 

Mexican actor and photographer Luis Márquez Romay (1899-1978) was born in Mexico City on 25 September 1899. The family fled to the father’s homeland of Cuba in the midst of the Mexican Revolution and Luis began his art studies there at the Feliú studio in Havana. Alongside his studying, he worked as an actor, with starring roles in Dios existe (1920), Mamá Zenobia (1921) and Aves de paso (1921).

He returned to Mexico City in 1921 to study photography at the Public Education Secretariat’s Photography and Cinematography Workshop. He also continued his acting career, with major roles in Bolchevikismo (1923), El Cristo de oro (1926) and Conspiración (1927).

His photographic assignments at the workshop included documenting traditional religious celebrations in Chalma (State of México) and in Janitzio, the island-village in Lake Pátzcuaro renowned for its Day of the Dead festivities. This began a life-long interest in indigenous Mexico. Márquez later wrote the screenplay for the romantic drama movie Janitzio (1935) – the earliest all-Mexican sound film – which starred Emilio Fernández and María Teresa Orozco.

Poster for Janitzio (1935)

Poster for Janitzio (1935).

As Márquez pursued his photographic career during the 1920s and early 1930s he was working during one of the most creative periods in Mexican photography. The photographic opportunities offered by Mexico were being used to good effect by several talented foreign-born photographers including Edward Weston, Tina Modotti, Henri Cartier-Bresson, Paul Strand and Josef Albers among others.

Márquez was a key member of what he later called Modern Mexican Photography as it gradually emerged, evident in the body of work of photographers such as Manuel Álvarez Bravo, Agustín Jiménez, Emilio Amero, Lola Álvarez Bravo and Aurora Eugenia Latapí. This group eschewed conventional pictorialism in favor of subjects that allowed them to edge towards surrealism and abstractionism. The light, patterns and shadows of urban and industrial landscapes gained favor, as did artistic images of the human form.

This postcard view of Lake Chapala was taken on a trip to the lake sponsored by the Carta Blanca beer company in November 1930.

Luis Márquez. Chapala (November 1930).

Luis Márquez. Chapala (November 1930).

This colorized postcard of a Lake Chapala aguador (watercarrier) was published by Publicaciones Fishgrund in Mexico City in about 1939.

Luis Márquez. Aguador en el Lago de Chapala. (1939)

Luis Márquez. Aguador en el Lago de Chapala. (1939)

Márquez traveled widely across Mexico for decades and combined his ever-evolving photography with collecting and exhibiting ethnic Mexican clothing. His photographic work was popular as illustrations in newspapers and magazines, as well as for postcards, calendars and books. His work won numerous awards, including a coveted first prize at the Exposición Iberoamericana (1930) in Seville, Spain, and a first prize at the International Photography Exhibition at the New York World’s Fair (1939-40).

Four of his photographs were published in the May 1937 issue of National Geographic which brought his work to an international audience.

Mexican Folklore: 100 Photographs by Luis Marquez, a book that showcased a selection of 100 of his magnificent black and white photos, accompanied by text by Justino Fernandez, was published by Eugenio Fischgrund in Mexico City in about 1954. In the 1970s, Mobil Oil sponsored the publication of El México de Luis Márquez and its English version, Luis Marquez’ Timeless Mexico.

In 1997, a previously unknown side of Márquez’s portfolio as a photographer emerged when 53 artistic photos of nudes (40 male and 13 female) were discovered. The photographs date from the mid-1930s and are some of the earliest photographs of the male form ever taken in Mexico.

The extraordinarily gifted photographer Luis Márquez Romay died in Mexico City on December 11, 1978.

Sources:

  • Alquimia. 2000. El imaginario de Luis Marquez” – The major source for this post is this special issue of Alquimia, año 4, núm. 10, Sep-Dec 2000, which has numerous essays about Márquez and his work.
  • Susan Toomey Frost. Undated. “Postcards of Luis Marquez“. Blog post.
  • Arturo Guevara Escobar. 2011. “Letra M. Fotógrafos y productores de postales.” Blog post.
  • Ernesto Peñaloza Méndez. Undated. “Luis Márquez Romay.” Kean University.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Jul 052018
 

Swiss-born publisher Juan Kaiser (1858-1916) published some of the earliest postcards of Lake Chapala. His early postcards of the lake, dating back to the start of the 20th century were multi-views, with three small images on each card.

Kaiser was born in Leuzigen, Bern, Switzerland in 1858. In 1881, at the age of 23, he left home to seek his fortune in the Americas. After working with family friends in Peru and traveling in several South and Central American countries, he moved to Mexico in about 1886. After some months in Mexico City, working at “La Helvetia” (part owned by his countryman Guillermo Kaiser who, despite his surname, is not thought to be a relative), Juan Kaiser moved to the silver mining boom town of San Luis Potosí where he bought a bookstore – “Al Libro Mayor” – in 1887.

This proved to be a successful venture and Kaiser envisioned that opening a branch in Guadalajara, which was experiencing rapid growth at the end of the nineteenth century would be similarly profitable. With this in mind, he sent for his younger brother, Arnoldo Kaiser (1875-1952), to join him in Mexico to help run the business. Arnoldo, still a teenager, joined him in San Luis Potosí in 1891. Both brothers were multilingual, having acquired French, German and Spanish in addition to the Romansche spoken at home.

Juan Kaiser postcard

Juan Kaiser’s first wife, Ana Simmen, of Swiss parentage, died in San Luis Potosí on 19 January 1892. The following year, on 13 Nov 1893, Kaiser married her sister, Maria Guillermina Simmen, then 38 years of age, in Mexico City. The couple’s eldest child, Guillermo Juan Kaiser, died as an infant in San Luis Potosí in February 1895.

Juan Kaiser expanded the business to Guadalajara in 1899, opening a store named “Al Libro de Caja”. This bookstore and stationers supplied all manner of pens, inkwells, journals, bookbinding, pocket books, cashbooks and accounts books for the city’s thriving commercial and mining sector. Kaiser also developed a lucrative sideline in publishing picture postcards. His artistic connections were immediately visible to all patrons since the entrance to the store, located at the intersection of Calle San Francisco and Calle López Cotilla, was decorated “in a neat and stylish manner” with the work of another Guadalajara resident, the Brazilian-born artist Félix Bernardelli.

The first series of Kaiser postcards (see triple view of Chapala, above) was published in 1900-1901, with the imprint “Al Libro Mayor. S. Luis Potosi”. Various other imprints were used by the brothers including “Juan Kaiser y hermano”, “Juan y Arnoldo Kaiser”, “Juan Kaiser, Guadalajara”, “Juan Kaiser, San Luis Potosí”, “Juan Kaiser, San Luis Potosí y Guadalajara”, “Arnoldo Kaiser, San Luis Potosí”, “Al Libro Mayor, San Luis Potosí” and “Al Libro de Caja.” According to expert deltiologists (postcard collectors) all the early Juan Kaiser postcards were printed in Germany.

Jose María Lupercio. Chapala. Postcard view published by Juan Kaiser.

Jose María Lupercio. Chapala. Postcard view published by Juan Kaiser.

The Kaiser brothers worked with several photographers, including José María Lupercio and the American hotelier-photographer Winfield Scott. The early Chapala photographs on Kaiser postcards are unattributed but believed to be the work of Scott. Scott also sold his own vast collection of photographs of Mexico – “Scott’s Types and Views of Mexico… true pictures of life and scenery in this country of unequaled picturesqueness” – through the Guadalajara store. The majority of later views of Chapala (see above) include a clear attribution to Lupercio.

Juan Kaiser died in Guadalajara on 17 February 1916. His then wife, Berta Meter, and their son Hans Paul Kaiser, aged 4, inherited the business and sold their interests in Al Libro Mayor to Arnoldo Kaiser. Advertisements for the store continued into the 1920s. In 1927, Berta and Hans Paul left Guadalajara for Switzerland. They came back in 1930 to wind up affairs in Mexico before moving permanently to Switzerland in 1932.

Sources:

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Jun 282018
 

Everett Gee Jackson (1900-1995), the renowned American painter, illustrator and art educator, lived at Lake Chapala, apart from some short breaks, from 1923 to 1926 (and returned there in 1950 and 1968). Jackson loved Mexico and during his first visit to Chapala he became intimately acquainted with the artistic creativity of Mexico’s ancient pre-Columbian civilizations, later teaching and writing on the subject.

Unlike so many other early foreign visiting artists who have left very little trace of their presence, Jackson wrote entertaining accounts of his experiences in Chapala and Ajijic in his two memoirs —Burros and Paintbrushes, A Mexican Adventure (1985) and It’s a Long Road to Comondú (1987), both published by Texas A&M University Press. Both memoirs are informative and beautifully illustrated.

Given the wealth of available material on Jackson’s life and art, this post will focus on the personal and wider significance of his earliest extended trip to Lake Chapala.

Cover painting is "Street in Ajijic", ca 1924

Cover painting is “Street in Ajijic”, ca 1924

Jackson was born in Mexia, Texas, on 8 October 1900. He enrolled at Texas A&M to study architecture but was persuaded by one of his instructors that his true talents lay in art. In 1921 Jackson moved to Chicago to study at the Art Institute where impressionism was in vogue. At the end of the following year he eschewed another Chicago winter in favor of completing his art studies at the San Diego Academy of Art in sunnier California. He eventually completed a B.A. degree from San Diego State College (now San Diego State University) in 1929 and a Masters degree in art history from the University of Southern California in 1934.

As an educator, Jackson taught and directed the art department at San Diego State University (1930-1963) and was a visiting professor at the University of Costa Rica (1962).

Prior to his first visit to Chapala in 1923, Jackson had already undertaken a brief foray into Mexico, traveling just across the border from Texas into Coahuila with Lowell D. Houser (1902-1971), a friend from the Art Institute of Chicago. In summer 1923, the pair of artists decided to venture further into Mexico, to the city of Guadalajara. After a month in the city, they rented a house in Chapala and were among the earliest American artists to paint at Lake Chapala and Ajijic, though they were not the first, given that the Chicago artist Richard Robbins and Donald Cecil Totten (1903-1967), among others, had painted Lake Chapala much earlier, as had many artists of European origin.

Mexico, though, exerted a much more powerful influence over Houser’s and Jackson’s subsequent art than it did over any of these earlier visitors.

Jackson and Houser stayed in Chapala until the summer of 1925 when they decided to move to Guanajuato to experience a different side of Mexico. En route, they stopped off in Mexico City to view some of the famous Mexican murals, by Diego Rivera and others, that they had heard so much about.

After a few months in Guanajuato, the two young artists briefly parted ways when Jackson went back to El Paso to meet his girlfriend, Eileen Dwyer.

Everett Gee Jackson. ca 1923. Fisherman's Shacks, Chapala. (from Burros and Paintbrushes: A Mexican Adventure, 1985)

Everett Gee Jackson. ca 1923. Fisherman’s Shacks, Chapala. (from Burros and Paintbrushes: A Mexican Adventure, 1985)

Jackson returned to Mexico, newly engaged to Eileen, and discovered that Lowelito had decided to rent another house, not in Chapala but in the smaller, more isolated, village of Ajijic. Jackson is almost certainly correct in writing that they were the “first art students ever to live in Ajijic”, but there may be a hint of exaggeration in his claim that they were, “the only Americans living in Ajijic.”

After Jackson married Eileen in July 1926, the couple had an unconventional honeymoon, sharing a house in Chapala with Lowelito and a friend. In November the group moved to Mexico City, where they were welcomed by Anita Brenner and an elite circle of young artists and intellectuals that included Jean Charlot (1898–1979). They were also visited by the great muralist José Clemente Orozco (1883–1949). Early the following year, at Brenner’s insistence, Jackson and his wife visited the Zapotec Indian area of the Isthmus of Tehuantepec before returning home to San Diego.

Everett Gee Jackson. 1926. Lake Chapala. (Hirshl & Adler Galleries, New York)

Everett Gee Jackson. 1926. Lake Chapala. (Hirshl & Adler Galleries, New York)

Even before their return, fifty of Jackson’s Mexican paintings had been exhibited at the “The Little Gallery” in San Diego. The exhibit was warmly received by critics and art lovers and further showings of his “ultra-modern canvasses” were arranged for venues in Dallas and New York. Among the paintings that attracted most attention in The San Diego exhibition were “The Lake Village,” (Chapala), which had won first prize at the Texas State Fair in Dallas in October 1926, and “Straw Shacks in Chapala”.

There is no question that Jackson’s subsequent artistic trajectory owed much to his time in Chapala at the start of his career. His encounter with Mexican art — from pre-Columbian figurines to modern murals — transformed him from an impressionist to a post-impressionist painter. He was one of the first American artists to be so heavily influenced by Mexican modernism, with its stylized forms, blocks of color and hints of ancient motifs. Jackson’s work remained realist rather than abstract.

Jackson’s work was widely exhibited and won numerous awards. His major exhibitions included Art Institute of Chicago (1927); Corcoran Gallery (1928); Whitney Museum of American Art; School of the Museum of Fine Arts, Boston (1928; 1946); Pennsylvania Academy of Fine Arts (1929-30); San Francisco Art Association; San Diego Fine Arts Society; and the Laguna Beach Art Association (1934). Retrospectives of his work included a 1979 show at the Museo del Carmen in Mexico City, jointly organized by INBA (Instituto Nacional de Bellas Artes and INAH (Instituto Nacional de Antropologia e Historia); and an exhibit at San Diego Modern in 2007-2008.

Jackson’s wonderful illustrations enliven several books, including Max Miller’s Mexico Around Me (1937) and The Wonderful Adventures of Paul Bunyon (1945).

Everett Gee Jackson, Drying Nets, ca 1924., pen and ink. (from Burros and Paintbrushes: A Mexican Adventure, 1985)

Everett Gee Jackson, Drying Nets, ca 1924., pen and ink. (from Burros and Paintbrushes: A Mexican Adventure, 1985)

In addition to his two volumes of memoirs, Jackson also wrote and illustrated Goat tails and doodlebugs: a journey toward art (1993).

Jackson’s time in Mexico led to a lifelong interest in pre-Columbian art, as evidenced by his short paper, “The Pre-Columbian Figurines from Western Mexico”, published in 1941, and his book, Four Trips to Antiquity: Adventures of an Artist in Maya Ruined Cities (1991). In his 1941 paper, which included images of two figurines found at Lake Chapala, Jackson considered the varying degree of abstraction or expressionism in different figurines.

Everett Gee Jackson, author, pioneering artist, illustrator and much more besides, died in San Diego on 4 March 1995.

Acknowledgment

  • My thanks to Texas art historian James Baker for his interest in this project and for sharing his research about Everett Gee Jackson.

This is an outline profile. Contact us if you would like to learn more about this particular artist or have information to share.

Sources

  • Anon. 1927. “Talented Artist Of Mexia To Have Dallas Exhibition”, Corsicana Daily Sun, 29 Jan 1927, p 13.
  • Archives of American Art. 1964. Oral history interview (by Betty Hoag) with Everett Gee Jackson, 1964 July 31. Archives of American Art, Smithsonian Institution.
  • D. Scott Atkinson. 2007. Everett Gee Jackson: San Diego Modern, 1920-1955. San Diego Museum of Art.
  • Everett Gee Jackson. 1941. “The Pre-Columbian Ceramic Figurines from Western Mexico”, in Parnassus, Vol. 13, No. 1 (Jan., 1941), pp. 17-20.
  • Everett Gee Jackson. 1985. Burros and Paintbrushes, A Mexican Adventure. Texas A&M University Press.
  • Everett Gee Jackson. 1987. It’s a Long Road to Comondú. Texas A&M University Press.
  • Jerry Williamson. 2000. Eileen: The Story Of Eileen Jackson As Told By Her Daughter. San Diego Historical Society.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcome. Please use the comments feature at the bottom of individual posts, or email us.

 

Jun 212018
 

Ajijic has certainly attracted more than its fair share of strange and colorful characters over the years but perhaps nobody with quite so many true tales to spin as serial prankster Jim Moran.

By the time Moran “retired” to Ajijic, he was almost 80 years old and had put his pranks behind him. Tall, rotund, with a flowing white beard and a deliberate walk, he focused on his photography, art, writing and classical guitar playing.

James Sterling Moran (1908-1999) was one of the most original publicists and press agents in the U.S., pulling one stunt after another to boost the products, services or politicians he sought to promote. Moran never attended college but held a wide variety of jobs from tour guide to airline executive and radio studio manager. In 1989, Time called him, “the supreme master of that most singular marketing device–the publicity stunt.”

In chronological order, Moran’s most noteworthy pranks, many based on acting out old sayings, included selling a refrigerator to an Inuit in Alaska on behalf of General Electric (1938); spending 10 days to find a needle in a haystack to promote a real estate development (1939); leading a bull through a china shop on 5th Avenue in New York City (1940); changing horses mid-stream in the Truckee River, Nevada, during the 1944 US Presidential election; sitting on an ostrich egg for 19 days, until it hatched, to promote the film The Egg and I (1946); and opening an embassy in Washington D.C. for the fictitious country of Grand Duchy of Fenwick to advertise The Mouse That Roared (1959).

His best-known outright hoax was to paint an abstract – “the worst thing I could think of” – and get a friend to submit it to a Los Angeles Art Association show in November 1946 as the work of a previously-unknown artist, “Naromji”. The work, entitled “Three out of Five”, was accepted for an exhibition of abstract art.

Woman holding Naromji's "Three out of Five". (Life archive)

Woman holding Naromji’s “Three out of Five”. (Life archive)

The Los Angeles Times described it as “an astonishing conglomeration of paint, chalk, magazine cut-outs and carmine fingernail polish.” At the end of the month, Moran stepped forward to claim authorship, pointing out that Naromji was Moran spelled backwards, with a ‘ji’ added for confusion and that “Three out of Five” was the name of a hair restorer, since abstract painting always made him want to tear out his hair.

Moran wrote several books, including Sophocles, the Hyena: a fable (1954). The first edition was illustrated by Roger Duvoisin, but a later edition featured illustrations by Andy Warhol. Moran also wrote Why Men Shouldn’t Marry (1969); How I became an authority on Sex (1973) and The Wonders of Magic Squares (1982).

Jim Moran. Sophocles the Hyena. 1954. Illustrated by Andy Warhol.

Jim Moran. Sophocles the Hyena. Illustrated by Andy Warhol.

In Ajijic, the multi-talented and highly imaginative Moran was known as a writer, artist and photographer, as well as a skilled classical guitar player.

In 1986, the Galeria Gentes, run by master lithographer Bill Gentes, held a one-person exhibit of Moran’s artwork. The show was comprised of about 100 works by “Naromji”. A contemporary reviewer found that, “His use of brilliant color gives the works an alluring touch. His birds and other serious subjects are strikingly beautiful, while most of the rest convey something of the cosmic giggle to be expected from Jim Moran the prankster.”

Ajijic watercolorist Enrique Velázquez remembers Jim Moran with great affection. He recalls Moran as having lived in Ajijic for several years from the mid-1980s into the 1990s. Velázquez prepared a series of stunningly beautiful illustrations for a children’s book by Moran entitled Linda and the Magic Dream Bubble, a work that was apparently never published.

Acknowledgment

  • My sincere thanks to Ajijic watercolorist Enrique Velasquez for first bringing Jim Moran’s artistic side to my attention.

Sources

  • Anon. 1986. “Portrait of the Artist” (Jim Moran). El Ojo del Lago, March 1986.
  • Ezra Goodman. “High Priest of Hoopla.” The New York Times, 14 December 1947.
  • Los Angeles Times. 1946. “Gagster’s masterpiece hung as authentic art.” Los Angeles Times, 30 Nov 1946.
  • Douglas Martin. 1999. “James S. Moran Dies at 91; Master of the Publicity Stunt” (Obituary), New York Times, 24 October 1999.
  • Christopher Reed. 1999. “Jim Moran” (obituary), The Guardian, 1 December 1999.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

Jun 132018
 

Lee Freeman Hersch (1896-1953) was born 5 September 1896 in Cleveland, Ohio. He was a painter in realist and abstract styles. He died in Madrid, Spain, in 1953.

Hersch attended the University of Cincinnati and spent the winter of 1917-1918 in Taos, New Mexico, where he painted scenes with Indians of the Taos Pueblo. His Taos paintings established his reputation as an outstanding artist. His formal artistic training included classes with Henry Keller, Kenyon Cox and Douglas Volk at the Cleveland School of Art and the National Academy of Design.

Hersch enlisted in August 1918 and served with the American Expeditionary Forces in France from 28 October 1918 to 11 July 1919. He was honorably discharged a week later. This was his first time overseas and was the start of extensive travels.

In 1920, at age 24, he left the U.S. to return to Europe. On his passport application, he said he planned to visit and paint France, Italy, Spain, England, Holland, Belgium, Switzerland, Morocco and Algeria. Hersch had not been long in Paris when he met American novelist Helen Virginia Davis (1896-1978). They married on 21 April 1921.

For some years thereafter their joint studio on the Left Bank was a popular gathering-place for painters, writers, and other intellectuals. They became close friends of Mexican artist Ángel Zárraga (1886-1946) who had moved to Paris in 1911 to live there permanently. As a gift, Zárraga painted a portrait of “Miss Davis” shortly before she married.

In 1925, Lee Hersch held a solo exhibit at the Montross Gallery in New York. In the 1930s, he was painting mainly landscapes, dividing his time between California and New York. His painting of Lake Chapala is believed to date from about 1930.

Lee Hersch: Lake Chapala (ca 1930)

Lee Hersch: Lake Chapala (ca 1930)

Relatively little is known about some parts of his life, but his works include a “super modernist impressionist painting” of Mexico’s Lake Chapala, described by the Bruce Palmer Galleries as having “great color and energy, and in fine condition”. It is thought to have been painted relatively early in his career (circa 1930) and was sold at William Doyle auction house in New York in 2005.

Hersch catalog

After the second world war, his work became more abstract, and he joined the ranks of New York’s influential abstract expressionists, an art movement that rivaled or echoed what was happening in the Parisian art world. Hersch was given a one-man show by Peggy Guggenheim in her gallery in New York, which became well-known for shows of abstract expressionism, by artists such as Jackson Pollock, William Baziotes and Hans Hofmann.

Hersch was a member of the Painters and Sculptors of Los Angeles and the Woodstock Art Association. He exhibited at the Pennsylvania Academy of Fine Art, Art Institute of Chicago, the Whitney Museum of American Art and the Salons of America. A retrospective of his work, with accompanying catalog, was held in Paris in 1954.

Examples of his work hang in many major museum collections, including that of the Fine Arts Museums of San Francisco.

Note: This is an updated version of a post first published on 22 March 2012.

Credits / references

  • Albuquerque Journal, 3 February 1918, 10.
  • Edan Hughes. Artists in California, 1786-1940.
  • Peter Falk. Who Was Who in American Art.
  • Bruce Palmer Galleries. “Lee Hersch”.
  • Lee Hersch and Michel Seuphor. 1954. Lee Hersch. Paris: Librairie-Galerie Arnaud, 42 pp.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

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Jun 072018
 

In the 1940s, two superbly written books introduced readers in the U.S. and U.K. to life in the village of Ajijic. Both have remained perennial favorites on the must-read lists of anyone interested in Lake Chapala. Village in the Sun and House in the Sun were both written by Dane Chandos, who later wrote several travel books.

Readers of Village in the Sun and House in the Sun are usually surprised to discover that Dane Chandos was not a real person but a pen name, and not a pen name of a single writer but of two distinct writing duos. Peter Lilley and Stansbury (later Nigel) Millett wrote the early Dane Chandos books. After Millett’s death, Lilley’s partner for later Dane Chandos works was Anthony Stansfeld. All three men were well-educated Englishmen with an excellent ear for languages.

This post looks at the life of the first of these three men; we will consider the other two in future posts.

Stansbury Girtin Millett was born in London, England, on 23 October 1904 and died (of tuberculosis) in Guadalajara in the early hours of 25 March 1946.

Millett’s parents were Mary Frances Barnard (1867-1935) and Henry Stansbury Millett (1867-1947). When Stansbury was in his teens, his father was appointed district auditor for the Ministry of Health in Oxfordshire and the family moved from London to Oxford.

Millett attended Oxford University in the mid-1920s, traveled widely in Europe and spoke several languages fluently. His first novel, written with the pseudonym of Richard Oke, was Frolic Wind, published in London in 1929. The setting was an English house party at the stately pile of Pagnell Bois. Young lovers were cavorting naked in the pond when a flash of lightning killed the mysterious Lady Athaliah in her tower. The resulting revelations entangled young and old alike. A Canadian reviewer gushed that “There have been novels written in the past that are just as brilliant as this, but not many. Between the covers amazing genius has been compressed.”

Millett’s follow-up books established his reputation as a brilliant young novelist known for his biting, edgy satire. However, he also wrote The Boy From Apulia, a biography of Frederick II, Emperor of Germany.

Like many young men of his time, Millett was also very interested in the stage. He designed the sets and costumes for Hassan, a play performed by the Oxford University Dramatic Society in 1931 and also illustrated the accompanying program.

In 1935, Millett’s first novel was adapted by novelist and dramatist Richard Pryce (1864-1942) for the London stage. A made-for-TV version aired in 1955.

In 1937, for reasons unknown, Millett and his father left the U.K. for Mexico. They arrived in Los Angeles on 29 March 1937 and traveled to Ajijic. When they first arrived in the village, they lodged at the small inn run by the Heuer siblings but later stayed at what eventually became known as the Posada Ajijic.

Nigel Millett died in Guadalajara in 1946 and, a year later, on 6 June 1947 his father died in Ajijic. The Milletts have adjoining gravestones in Ajijic cemetery.

Cover artist

The cover art has a tiny signature (below). If anyone knows who this cover artist is, or anything more about them, please get in touch!

Signature of cover artist, Village in the Sun.

Signature of cover artist, Village in the Sun.

References

  • Dane Chandos. 1945. Village in the Sun. New York: G. P. Putnam’s Sons. Published in London, U.K., with same title by Michael Joseph in 1948. Reissued in London by Country Book Club in 1953. Reissued in Mexico (Tlayacapan Press) in 1998.
  • Dane Chandos. 1949. House in the Sun. New York: G. P. Putnam’s Sons. U.K. edition in 1950 by Michael Joseph. Reissued in Mexico (Tlayacapan Press) in 1999.
  • The Gazette (Montreal, Canada), 25 Jan 1930, 13.
  • Richard Pryce. 1935. Frolic Wind. A play in three acts. (Adapted by Richard Pryce from the novel by Richard Oke.) London: Victor Gollancz.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

May 292018
 

John Russell Clift wrote, and illustrated with original serigraphs, “Chapala-Mexico’s Shangri-La”, published in Ford Times, the monthly magazine of the Ford Motor Company in October 1953. The article was published in Ford Times,. Volume 45 # 10 (October 1953) pp 34-39. The article, with illustrations, was reprinted on Mexconnect.com in its October 2003 edition, to mark the 50th anniversary of the original publication date.

John Russell Clift: Chapala Market

John Russell Clift: Chapala Market (1953)

John Russell Clift: Lake Chapala (1953)

John Russell Clift: Lake Chapala (1953)

  • The full text of “Chapala-Mexico’s Shangri-la“, with accompanying illustrations, reprinted on Mexconnect.com by kind permission of Ford Motor Company.

John Russell Clift, American author and illustrator, was born in Taunton, Massachusetts in 1925 and at the peak of his career in the 1950s when he wrote this piece, one of the earliest to promote the attractions of the Chapala area as a retirement haven. His thoughtful prose and fine silkscreens paint a vivid picture of what life was like at Lakeside in the early 1950s.

After a stint in the U.S. Navy (1944-46), Clift studied at the School of the Museum of Fine Arts, Boston, and became an accomplished illustrator, painter, teacher, graphic artist, and successful commercial artist. Clift won his first fellowship at the Boston Museum School in 1952-53, which enabled him to spend six months painting in Chapala. He taught drawing and illustration at the institution for many years and was awarded a second fellowship in 1958-59.

John Russell Clift: Weaver's House in Jocotepec (1953)

John Russell Clift: Weaver’s House in Jocotepec (1953)

His commercial art career included spells working for Ford Motor Company, Alcan Aluminum Co. of Cleveland, the Lamp-Standard Oil Co. and the Bethlehem Steel Co. of Pennsylvania. In 1965, The Bridgeport Post lauded him as “an artist admired by the professionals for his technique in encaustic and by businessmen for his illustrations in business magazines.” (10 Oct 1965). Among Clift’s contributions to Ford Times, was “Riverside, Rhode Island”, a story illustrated by his paintings, in the July 1955 issue.

Clift held numerous exhibitions of his work in Bridgeport, Connecticut, in the 1955-1965 period. His work was also exhibited at print shows throughout the U.S., including the Museum of Modern Art and the DeCordova & Dana Museum in Lincoln, Massachusetts. He held a solo show in 1963 in the Mirski Gallery, Boston.

In 1967, Clift was a member of the three-person jury for The Boston Printmakers 19th Annual Print Exhibition, held at the Museum of Fine Arts, Boston, from 28 February to 2 April 1967. The exhibition featured more than 120 prints from the U.S. and Canada.

John Russell Clift passed away in Chelsea, Massachusetts, on 16 July 1999.

Note: This is an updated version of a post first published on 22 March 2012.

Exhibits/collections:

  • A screenprint entitled “Long Wharf” is in the collection of the US National Gallery of Art, Washington D.C..
  • A painting, oil on canvas, entitled “Couple in the Park” (1961) is in the collection of the Museum of Fine Arts, Boston.
  • A color lithograph entitled “Market at Chapala” was sold at auction in 2007.

Sources/References:

  • John Russell Clift. 1953. “Chapala-Mexico’s Shangri-la”, Ford Times, Volume 45 # 10 (October 1953), 34-39.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

May 242018
 

Lowell D. Houser (1902-1971) lived and painted in Chapala, and later Ajijic, in the mid-1920s. He was subsequently hired to paint copies of Mayan murals for an archaeological survey of the Yucatán Peninsula.

Houser was born in Chicago on 18 May 1902. During his childhood, the family moved to Iowa, where Houser graduated from Ames High School in 1921. He then studied briefly at Iowa State University before switching to the Art Institute of Chicago. Lowell D. Houser’s long connection with Mexico began in the company of his fellow artist Everett Gee Jackson. The two had studied together at the Art Institute of Chicago.

Following a brief exploratory foray into Mexico, traveling just across the border from Texas into Coahuila, the pair of artists decided to venture further into Mexico, to the city of Guadalajara, in the summer of 1923. They later rented a house in Chapala.

They were among the earliest American artists to paint at Lake Chapala and Ajijic, though they were not the first, given that the Chicago artist Richard Robbins and Donald Cecil Totten (1903-1967), among others, had painted Lake Chapala before this. So, too, had many artists of European origin. Mexico, though, exerted a much more powerful influence over Houser’s art than it did over any of these previous visitors.

Lowell Houser. 1925. Maidens carrying water jars, Ajijic.

Lowell Houser. 1925. Maidens carrying water jars, Ajijic.

Houser’s “Maidens Carrying Water Jars” has been aptly described by James Oles as a “study in patterns… the women almost seem cut from the same mold, and even their faces lack individuality…”.

A chance encounter with the well-connected young author and art critic Anita Brenner (1905-1974) led to Houser being invited back to Mexico a couple of years later to be the illustrator for an archaeological group studying Mayan ruins on the Yucatán Peninsula.

After returning from Mexico, Houser lived for a short time in New York before returning to Ames to teach at the Arts Students Workshop in Des Moines (1933-36) and at Iowa State College (1936-37). Houser developed his own art career in oils, watercolors and block printing and also undertook commercial illustrations for books and magazines. While living in Ames, Houser worked under Grant Wood on nine murals for the new library at Iowa State College.

Houser was then commissioned by the Works Progress/Projects Administration (WPA; 1935-1943) to paint a mural in the town’s Post Office. The bold mural depicts the evolution of corn (maize), from both an indigenous Indian and more modern American farmer’s perspective.

In 1938, Houser accepted a position teaching printmaking, drawing and painting in the art department at San Diego State College, where his good friend Everett Gee Jackson was directing the art program.

Houser died in Fredericksburg, Virginia, in 1971.

This is an outline profile. Contact us if you would like to learn more about this particular artist or have information to share.

Partial list of sources:

  • Peter H. Falk et al. 1999. Who was who in American art, 1564-1975: 400 years of artists in America. Madison, CT: Sound View Press, 1999.
  • Everett Gee Jackson. 1985. Burros and Paintbrushes, A Mexican Adventure. Texas A&M University Press.
  • Meghan A. Navarro. 2013. “Indians at the Post Office. Native Themes in New Deal-Era Murals: The Evolution of Corn”. Smithsonian National Postal Museum.
  • James Oles. 1993. South of the Border: Mexico in the American Imagination, 1914-47. Smithsonian Institution Press.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

May 172018
 

Shortly after retiring from Hollywood, Sherman (“Sherm”) Harris and his wife, Jane, moved to Ajijic to run the Posada Ajijic. Harris, who had previously managed a 450-room hotel in Disneyland, ran the Posada from 1963 to 1968. He was a film editor and TV producer best known for the Lone Ranger movies and TV shows, and for more than 70 episodes in the long-running Lassie TV series.

Movie poster, 1958. (Producer: Sherman A. Harris)

Movie poster, 1958. (Producer: Sherman A. Harris)

Sherman Allison Harris was born in Minnesota on 8 Mar 1909. His parents were sufficiently well-do-do that they had a full-time live-in helper when their children were young. Still in his teens, Harris spent the summer of 1928 in Europe.

By the time of the 1930 U.S. Census, Harris was living in Los Angeles, where he apparently first worked for the Bank of Italy (now Bank of America). On 9 April 1932 he married Ninette Crawford (1912-1978) and the following year he began working in movies as a film editor (cutter). By 1940, the Harris household – “studio worker” Sherman, his picture extra” wife, Ninette, and their 3-year-old son, Sherman – was established in Van Nuys, North Hollywood.

As a film editor, Harris worked on It happened One Night (1934); Broadway Bill (1934); One Night of Love (1934) and Mr Smith Goes to Washington (1939). In the succeeding decades, he was production manager for several movies and TV shows including Cheers for Miss Bishop (1941) and then, after World War II, for Rendezvous (1946); Dangerous Millions (1946); and Guilty of Treason (1950). He was producer of hundreds of television programs in series such as Stars over Hollywood (1951); Hollywood Opening Night (1951-52); The Loretta Young Show (1953); The Lone Ranger (1956-57); and Lassie (1958-1960).

It is unclear when he divorced Ninette, but on 1 December 1960 Harris married Jane E. Goza (1916-1968) in San Diego. After retiring from the movie industry and directing a 450-room hotel in Disneyland, Harris and his new wife moved to Mexico in 1963. Harris had replied to a classified ad in the Los Angeles Times for someone willing to invest $5,000 “in a growing business”.

The growing business turned out to be the Posada Ajijic. Harris bought the business (not the property) from Vic Aldridge and spent several years building up the business, including improvements such as upscaling the restaurant and adding a swimming pool, bar and a new patio.

Sherm Harris sold his interest in the Posada Ajijic to Sue and Booth Waterbury in 1966. Harris and his wife continued to live at their lakeshore home of Morelos #33 in Ajijic, but Jane died, unexpectedly, in a Guadalajara hospital in 1968.

Within a couple of years, Sherm Harris remarried. His new bride was Adele Adams Harris. Sherman Harris died in Houston, Texas, on 20 August 1980 and donated his body to medical research.

Sources:

  • Guadalajara Reporter, 19 March 1964.
  • IMDB. Sherman A. Harris.
  • Jack McDonald. 1970. “Sherm Harris. Posada Ajijic’s former owner was top Hollywood Producer.” Guadalajara Reporter, 7 March 1970, 15-16.
  • Van Nuys, California, City Directory, 1939.

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.

 

May 102018
 

Among those active in the Lakeside Little Theater twenty-plus years ago was Norman Schnall (1923-2003) who moved to Ajijic with his wife, Claire, in 1998.

Schnall’s professional name as a film and television actor was Norman Burton. As a stage and screen actor, Schnall appeared in more than 40 movies, including Pretty Boy Floyd (1960), Planet of the Apes (1968), Diamonds Are Forever (1971), Save the Tiger (1973), The Towering Inferno (1974) and Bloodsport (1988), as well as in dozens of TV programs.

Schnall was born in the Bronx, New York (of Russian and Austrian parents) on 5 December 1923. He was a good friend of Beat authors Jack Kerouac and Allen Ginsburg, and is the basis for the character “Normie Krall” in Kerouac’s masterwork, Visions of Cody (1973).

Other Beat Era artists and authors with links to Lake Chapala include George Abend, Ernest Alexander, Clayton Eshleman, Jack Gilbert, Don Martin, Anne McKeever, Arthur Monroe, Ned Polsky, Alexander Trocchi, Stanley Twardowicz, ruth weiss, and Al Young.

Schnall studied at the Actors Studio in New York in the 1950s under Lee Strasberg and appeared in several Broadway plays including The Wedding Breakfast, Sound of Hunting and Anna Christie. He became a devotee of the method school of acting, and later taught method acting in Lakeside, California.

Norman Schnall as Felix Leiter.

Norman Schnall as Felix Leiter.

His first film role was a minor part in Fright (1956). He appeared in over 40 movies and dozens of television programs during the 1960s and 1970s. Perhaps his best known role on screen was as the villain Felix Leiter in the James Bond movie Diamonds Are Forever. Movie trivia buffs will know that Schnall played the gorilla Hunt Leader in the science fiction film Planet of the Apes.

After retiring, Schnall and his wife lived for some time in Prescott, Arizona, before moving to Ajijic.

Schnall was also reputed to be a fine artist and painter, though I have not yet seen any of his work.

In November 2003, Schnall was killed in an auto accident in the U.S. while on his way back to his home in Ajijic.

Sources

  • IMDB entry. https://www.imdb.com/name/nm0123680/ [28 April 2018]
  • Dave Moore (compiler). 2010. “Character Key to Kerouac’s Duluoz Legend.” http://www.beatbookcovers.com/kercomp/ [28 April 2018]

Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomes. Please email us or use the comments feature at the bottom of individual posts.

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