Tony Burton

Tony Burton's books include “Lake Chapala: A Postcard History” (2022), “Foreign Footprints in Ajijic” (2022), “If Walls Could Talk: Chapala’s historic buildings and their former occupants” (2020), (available in translation as “Si Las Paredes Hablaran"), "Mexican Kaleidoscope” (2016), and “Lake Chapala Through the Ages” (2008). Amazon Author Page                                          Facebook Page

Mar 132025
 

As we saw in a previous post—Wilhelm Schiess described Chapala in 1899—Dr Schiess (1869-1929), a Swiss doctor, visited Chapala briefly in 1899 with his brother, Ernst, and later published a detailed account of their trip.

After a quick visit to Guadalajara, and seeing Juanacatlán Falls, the brothers had taken a special carriage from Atequiza to Chapala on Wednesday 6 December, where they had lunch at the Hotel Arzapalo, overlooking the lake. One bottle of red wine later, the brothers decided not to stay overnight at the hotel, but to take a boat to Ocotlán. This turned out be be far more of an adventure than they had ever imagined.

We could have stayed overnight in Chapala and taken the stagecoach back tomorrow. The steamboat arrives in Chapala only very irregularly and is mainly intended for transporting goods from the ranchos on the southern shore, so we could not rely on it…. Ernst therefore negotiated with two boatmen who agreed to take us to Ocotlán for 8 pesos [4 dollars]. The innkeeper warned us about the boat trip, as we would be completely dependent on the unpredictable whims of the wind, and an unreliable companion might leave us stranded for days along the way. But as if by a sign from heaven, a strong west wind suddenly rose, and the two sailors assured us that we would reach Ocotlán by 8.00pm.

“At 3.40pm, we had loaded our luggage onto the boat and set sail. The innkeeper and the few remaining guests stood on the shore, waving their white handkerchiefs in farewell for a long time. Chapala is located near the western end of the lake, which is roughly the size of Lake Constance. From our wide, flat barge, we had a magnificent view of the mountain range enclosing the western side of the lake, at whose foot Chapala, with its charming villas, was beautifully situated. The sail was hoisted on the mast in the middle of the boat and secured to both sides. We had the wind coming directly from behind us, which could not have been more favorable, as these barges can only sail with the wind at their back. With the massive waves, our boat rocked dangerously in all directions, making it difficult to remain seated on the rickety little chairs that had been placed in the barge for us.

“The two mozos were barefoot, with their light manta trousers rolled up above mid-thigh. They steered the rudder and sang a few melancholic, monotonous Mexican tunes. The lake had a murky yellow color, but in the evening light, one could almost believe it was the clearest, most transparent water. Ernst and I grew quieter and quieter, a sense of unease creeping over us. We tossed our cigars overboard. I noticed my brother growing paler and paler, and I could feel the same happening to me. Cursed seasickness! We had crossed the ocean without trouble, even laughing at our suffering fellow passengers, and now—less than an hour on this lake—we had to admit that we, too, were not immune. We moved our chairs closer to the edge of the boat, and not in vain! Just as quickly as the sickness had come, it passed. The two mozos smiled slightly and advised us to smell a lemon—an infallible remedy for seasickness, they claimed. Half an hour later, Ernst’s cheeks were rosy again, and I felt as well as before.

“Unfortunately, the wind grew weaker, the waves subsided, and the lake became as smooth as a mirror. The sail was taken down. If we had already been making slow progress with a good wind, the heavy barge now barely moved at all.
The two Mexicans took up small, clumsy oars and began paddling. We stayed close to the northern shore, which was occasionally hilly, with scattered trees and a few cornfields. At 5.30pm, the sun set. In the west, long after darkness had fallen, a magnificent, grand glow remained, as if a colossal forest fire were raging in the distance. Gradually, even this fiery spectacle faded, leaving only the dark silhouettes of the mountains. Everything around us was pitch black. Aside from the monotonous, slow strokes of the oars, and the drowsy singing of the two sailors, there was no sound in this desolate expanse. The lake lay utterly calm and smooth, and we soon realized that reaching our destination that evening would be impossible.

“We consulted with our two guides about whether it might be best to land and wait until morning. However, our companions were absolutely opposed to this idea. They began telling stories of robbers—each more terrifying than the last—and no treasure in the world could persuade them to dock at the shore. One of them claimed that his uncle had been murdered by native Indians just a few days ago, and even the captain of the steamboat had fallen victim to these people only a few weeks earlier. Listening to these tales, a deep sense of unease crept over us.

“The first quarter moon stood high in the sky, occasionally casting its pale light through the clouds onto our little boat. The lake was lightly rippled again, reflecting the silver moonlight. The mozos encouraged us to lie down on the floor of the barge and sleep. But could we trust these two strong young men? The innkeeper had recommended them, and besides, they couldn’t have gotten rid of us without the crime becoming known afterward. Moreover, Ernst still had his revolver…. So, we spread blankets over the damp wooden floor, stretched out, and covered ourselves as best we could. Our hard suitcases served as pillows. A sip of cognac, a piece of chocolate, a lump of sugar, and a small slice of sausage made up our frugal supper. Suddenly, Ernst, who was sleeping right next to me, jolted up in fright. He had dreamed that a mozo was leaning over him, trying to slit his throat. Instinctively, he stretched out a hand in defense—only to realize that the mozo was merely climbing over him to hoist the sail, with no sinister intentions. But just as the sail was raised, the wind died down again, forcing the Mexicans to keep stepping over us repeatedly. Finally, around 1.30am, even they grew tired. Their monotonous singing ceased, and we drifted into a small bay without landing. The two mozos lay down to sleep—one at the front of the boat, the other at the back.”

Terry-map-Chapala

Source: Terry’s Mexico Handbook (1909)

The Schiess brothers survived the night, and woke up the following morning to find that:

Our barge lay motionless in the bay, not far from the shore. Heavy clouds covered the sky, except for a narrow blue-green strip on the eastern horizon. Then, the sun rose in an absolutely magnificent display. A vast fire spread across the entire mountain range and reflected in the lake, which took on a brilliant green hue. This dreamlike illumination lasted only a few minutes before vanishing completely. It began to rain, and for a brief moment, two massive rainbows arched across a large part of the lake in the west. Soon after, the sun disappeared behind thick clouds. The mountains darkened and were later partially shrouded in mist. We woke our two companions and continued our journey, staying close to the shore. Our only provisions for breakfast were a small tin of sardines…. With the help of the oars, we made slow progress. Whenever the lake’s shallow depth near the shore allowed, the boatmen used long poles to push off the lakebed, which helped us move forward more efficiently. Ernst played the harmonica, and the two mozos sang.

“Each time we passed an indigenous settlement, the mozos made a tremendous racket, shouting for eggs and tortillas. In front of the huts, we saw a few indigenous people, wearing nothing but cloaks made of maize straw, busy piling up corn. They paid no attention to our pleas or, at best, called back that they had nothing to spare. Several small villages, hidden among the greenery, came into view. Their huts were made entirely of maize straw. Here and there, cows grazed on the dry meadows. We caught up with a sailboat similar to ours and bought a few cigarettes from the boatmen. This boat, which we soon left far behind, had already been traveling from Chapala for three days, so we had to consider ourselves lucky to have come so far in such a short time.

“At 10 o’clock, we spotted two miserable straw huts on land and an old woman hurrying back and forth between them. Summoning their courage, the mozos asked Ernst to keep the revolver ready, then—miraculously—went ashore. They returned beaming with warm tortillas made from red maize and a few fresh eggs. We devoured this dry breakfast with great appetite, though it had been slightly dampened by the rain. It was pouring in torrents, and water streamed from our hats as if from gutters. Trees stood deep in the water along the shore, their crowns dipping far into the lake. The southern shore was no longer visible—thick veils of mist shrouded the mountains.

“Around 11.30am, we finally arrived in the bay of Ocotlán, which is bordered to the east by a rocky mountain and to the west by some hills covered with cornfields. It was too late to catch the train to Zamora that day, but that hardly mattered, as we first needed to dry off. The rain had gradually seeped through the wool blankets, leaving us completely soaked. In the bay, the lake gradually took on a lagoon-like appearance. A vast number of ducks could be seen here. Passing through trees and reeds, we reached the mouth of the Río Grande.”

They finally made it to Ocotlán at around 1.30pm:

“Here, in one of the canals, lay the steamboat, which was built similarly to the Mississippi riverboats, with a colossal paddle wheel at the back, although it only had about half of its original paddles left. We made some purchases in the plaza, including candles to have festive lighting in the evening. At the Mexican hotel, where there was only one other guest besides us, we immediately sent the landlady to the kitchen, and soon we were served something warm to eat.”

After a meal and a good night’s sleep, they continued on their way:

Friday, December 8th. At 6.45am, the thermometer showed +12°C, and it felt quite warm to us now that we were in completely dry clothes again…. We climbed up the church tower; from a platform, under the bells, and surrounded by the various domes of the church, we had a wide, open view of the entire landscape. To the south, we could see a shining strip, the Chapala Lake, and beyond it, the beautifully shaped mountains. At our feet, the Rio Grande meandered with its green banks through the plain, gradually dissolving into numerous lagoons. Before us lay the plaza planted with orange trees, where a vast number of people were currently gathered. Beyond the flat rooftops of the houses, numerous hills could be seen, only sparsely wooded…. After lunch, we took the tram to the station, about 10 minutes away. . . .

“At around 1 o’clock, it was +21°C at the station. The train took us through a flat area with many lagoons, a splendid hunting ground for duck hunters. Here and there, we could see green fields. In La Barca, where there was again a tram connection to the town, we had a few minutes’ stop. What a scene it was at the station! Mexicans and their wives, along with a large number of children, walked from one train window to another, carrying baskets and trays, hawking their goods. You could buy sandwiches with half chickens, radishes, oranges, beer, goat cheese, tortillas—all at a cheap price. Mexicans are masters at quickly devouring massive bites, and the baskets emptied out rapidly. Blind and lame beggars, singing and playing harps, were led by their wives from one compartment to another. The heart-wrenching and ear-piercing songs had their effect, as copper coins were often thrown from the windows.”

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.

Sources

  • Wilhelm Schiess. 1902. Quer durch Mexiko vom Atlantischen zum Stillen Ocean. Berlin: Dietrich Reimer.

Comments, corrections and additional material are welcome, whether via the comments feature or email.

Mar 062025
 

A 1958 article titled “Art colony in Mexico will be high and dry” focused on whether Ajijic’s artistic community could survive if an alarming prediction made by a Mexican engineer came true. The engineer, after visiting the lake, gave it “just five years more of existence.” Fortunately, this did not come true—at least not yet—and the village art community continues to thrive.

Though the startling prediction proved inaccurate, Herbert J. Mangham, the author of the article, offers some interesting insights into the Ajijic artistic community of almost 70 years ago, which we will examine shortly. 

Mangham-1958-title

But, first, who was Herbert Mangham? Fortunately for me, and saving me hours of research, Terence Hanley, author of a blog devoted to “Weird Tales and other weird fiction and science fiction magazines of the pulp era” has already published the results of a deep dive into Mangham’s life.

Summarising Hanley, Mangham was a pen name of Herbert Joseph Maughiman, born in Des Moines, Iowa, on 27 April 1896. He was only a child when his family moved to Kansas City, Missouri, where he took journalism classes at the University of Missouri. After serving in the U.S. Army medical corps for a year (1918-1919) he joined the staff of the Kansas City Star and was soon earning extra money by submitting jokes, poems and stories to various magazines, including Life, Ladies’ Home Journal, Snappy Stories, Argosy Allstory Weekly, The Saturday Evening Post and Weird Tales. In addition, he had several pieces published in The New Yorker between 1925 and 1942.

Chapala, July 1950. Photo: Dr. Erich Fred Legner. Creative Commons Attribution-Share Alike License, from University of California Riverside

Chapala, July 1950. Photo: Dr. Erich Fred Legner. Creative Commons Attribution-Share Alike License, from University of California Riverside. The building at the right hand edge of the photo is Capilla de Lourdes; the building in the center is Villa Montecarlo.

Maughiman was also an accomplished pianist who played at cinemas, night clubs and other venues. He spent extended periods of time living in Europe, Mexico and Central America, and had been living for several years in Guatemala City, before dying and being buried there on 14 September 1967.

Maughiman appears to have spent much of the 1950s in Mexico. His article “Dim-Wits over Mexico” appeared in the December 1951 issue of Vogue, and the following year “The Life of Bobby Ortiz y Riley” was published by Prairie Schooner, which included this biographical note of the author:

“Herbert J. Mangham gives his address as “c/o American Consulate, Mexico, D.F.” We have this note from him: “I was born in Des Moines, schooled in Salina, Kansas, and Kansas City, before finished off at Kansas City Junior College and the University of Missouri. To support myself I have been pianist, journalist, shipyard timekeeper, bridge instructor, artist’s agent and model (they liked my bones). My writings first appeared, almost simultaneously in Black Cat and Nathan & Mencken’s Smart Set. In the past few months I have appeared in periodicals as varied as Vogue and the Farmer’s Magazine (Canada).”

Writing to the editor of the Kansas City Star in 1954, Maughiman claimed that:

My fame is thin and localized, and my fortune is contained in a slim envelope of war bonds. But my life is richly threaded with travel, good friends, radiant women, varied foods and adventure.” (McCarty, 1967)

Lake Chapala was suffering in 1958. The lake was still recovering from its lowest ever level three years earlier, and, as Evan Atkinson pointed out at the time, “The water is clouded with mud and, as its level has dropped ten feet in the last few years, mud flats up to a mile wide ring its shoreline. There are no real beaches and the coagulated slime of weeds and lilies squelch any pleasure from aquatic sports.”

Ajijic lakeshore. ca 1957. Photo: Jacques Van Belle.

Ajijic lakeshore. ca 1957. Photo: Jacques Van Belle.

In his 1958 article about the art colony in Ajijic, Maughiman reported that:

Ajijic soon will be fronting on a desert waste instead of one of the world’s most beautiful lakes, according to a Mexican engineer who had just visited that region. He gives Chapala, Mexico’s largest lake, just five years more of existence.”

According to the author, “the high saturation points” for artists drawn to Mexico are Taxco, Ajijic and San Miguel de Allende, and:

The composition of these exotic Greenwich Villages is the same—a few good painters and writers, a number of second-raters and would-be’s, a shifting body of students in uniform (beards, heavy spectacles, sandals, dirndls, levis, whatever is modish at the moment), artisans, keepers of shoppes, and a few people who can live permanently or temporarily on private incomes. Most of the people who give the colonies their character are Americans . . .
“The colonists’ association with the natives is confined largely to shopkeepers and the helper classes, whose low charges permit a semi-feudalistic way of life that was unknown to most of them back home.”

As regards the demise of the lake, Maughiman explained that:

The engineer quoted is not the ultimate authority, but most reports are equally pessimistic. Although the lake level rose 11 feet in 1955 as a result of unusual rainfalls, it now continues to recede. … Since 1944, Chapala has lost five billion cubic meters of water, uncovering 45,000 acres of land. This land, a source of conflict between the farmers and influential politicians, is temporarily rich farming country; but it becomes salty in time.”

And, in the worst case scenario?

The country may readjust by resettlement and adaptation, but the colonists can scarcely readjust to a vista of salt waste in place of a much-hymned lake. They will have to pack up their levis and flit.”

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
Several chapters of Foreign Footprints in Ajijic: Decades of Change in a Mexican Village offer more details about the history of the artistic community in Ajijic.

Sources

  • Terence E. Hanley. 2016. “Herbert J. Mangham (1896-1967),” Blog post at Artists & Writers in The Unique Magazine, 13 Jan 2016.
  • Terence E. Hanley. 2023. “Herbert J. Mangham (1896-1967)-The Basket.” Blog post at Artists & Writers in The Unique Magazine, 2 May 2023.
  • Herbert J. Mangham. 1951. “Dim-Wits over Mexico.” Vogue, December 1951.
  • Herbert J. Mangham. 1952. “The Life of Bobby Ortiz y Riley.” Prairie Schooner, Vol. 26, #1 (Spring 1952), 44-55.
  • Herbert J. Mangham. 1958. “Art colony in Mexico will be high and dry.” The Birmingham News, 26 Mar 1958, 26.
  •  Ira B. McCarty. 1967. “About Town.” Kansas City Times, 28 Sep 1967, 73.

Comments, corrections and additional material are welcome, whether via comments or email.

Feb 272025
 

Milton Avery has been widely recognized as one of the most famous modernist painters born in the U.S. There is little point in recapping his extraordinary career and achievements here. But, for anyone unfamiliar with his life and work, here are two good starting points:

By way of establishing a basic time line, Milton Clark Avery was born in Altmar, New York, on 7 March 1885. Avery moved to Hartford, Connecticut, in 1905, where he studied briefly at the Connecticut League of Art Students, and then moved to New York in 1925, where the following year he married fellow artist Sally Michel (1902-2003). The couple shared joint studio space and worked together. Michel subsequently focused more on promoting her husband’s career than her own. Her decision to undertake commercial illustrations to keep the family afloat allowed her husband to devote himself to his art.

Avery, largely self taught, is best known for developing a simplified style of painting featuring broad, contoured shapes with veiled fields of color. Avery was close friends with, and influenced, many younger artists, including Mark Rothko, Adolph Gottlieb, Barnett Newman and Helen Frankenthaler, all now recognized as major Abstract Expressionists.

Milton Avery. 1945. Seaside.

Milton Avery. 1945. Seaside.

Avery had his first solo museum exhibition, at the Phillips Memorial Gallery in Washington D.C., in 1944. Shortly afterwards, Paul Rosenberg, who had fled France to establish a gallery in New York, agreed to buy twenty-five of Avery’s paintings twice a year. This might have been a daunting commitment for some artists. But Avery was never short of ideas, all competing to be the first to reach canvas, and he completed almost all his paintings the same day he started them.

This success enabled Avery to travel. In 1946, perhaps inspired by the magnificent 1940 exhibition of Twenty Centuries of Mexican Art at New York’s Museum of Modern Art (MoMA), Avery, with his wife and daughter, spent three months in Mexico.

Milton Avery. Crucifixion.

Milton Avery. 1946. Crucifixion.

Among the major paintings inspired by this visit was “Crucifixion.” When it came up for auction in 2011, Sotheby’s estimate was between 1.0 and 1.5 million dollars. The painting is based on a woman praying in front of a crucifix at the Parroquia, the main church in San Miguel de Allende.

Though the family spent most of their time in San Miguel, they also took brief trips elsewhere, to places such as Mexico City. Avery did numerous watercolors in Mexico, and also made “made many quick sketches in small notebooks, observing specific colors and atmospheric conditions,” which he would refer back to when painting oils once he was back in New York.

One of these side trips was to Chapala, as recalled, shortly after his passing, by his wife when she was interviewed by Dorothy Seckler:

Milton was very impressed with the beauty of Mexico because it is such a dramatic and beautiful country. And we went down there with no particular itinerary. But on the way down, we met a couple and they were going to San Miguel de Allende. So they said, “Why don’t you come along, it’s this lovely little colonial town.”

So we went intending to stay overnight and we stayed six weeks. And so we met a lot of people there and made a lot of new friends and went sketching every day. Milton did a whole series of watercolors while he was down in Mexico.

He said, though, that Mexico was so picturesque in itself that it was very difficult to make a painting. It was so pictorial.
. . . But even so. When we got back to New York he did a series of paintings from these watercolors, some of which I think were very stunning.

. . . and we left San Miguel and went down to Guadalajara [Chapala] which was on this great lake where they find a lot of the pre-Columbian idols because people used to throw the idols into the lake there to appease the gods. And actually, one of the nicest paintings—one of Milton’s minor masterpieces I think—was “Mexican Seaside” which was just shown in London and that was done from a sketch he made by Lake Chapala.
. . . [in] the review in the London Times, the critic said that this was undoubtedly a masterpiece. And the interesting thing was it was done in ’46, but it’s very much like the late things he did in Provincetown in 1960. Amazing. I mean it was like, in terms of colors and shapes it was like a forerunner. It had that same type of quality.”

  • Can you help? Do you have an image of “Mexican Seaside,” or know its current location?

Three years after visiting Mexico, Avery had a heart attack, from which he never fully recovered, though he continued to paint, and was able to visit Europe for the first time. He had a second heart attack ten years later and died in New York on 3 January 1965.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
Several chapters of Foreign Footprints in Ajijic: Decades of Change in a Mexican Village offer more details about the history of the artistic community in Ajijic.

Sources

Comments, corrections and additional material are welcome, whether via comments or email.

Feb 192025
 

There are not many genuinely old buildings left in Ajijic. Most of those that survived into the 1970s have since been modified or remodeled beyond recognition. One exception is the building at Morelos #8, one block back from the pier, which housed (until mid-February 2025) the store Mi México. It is a rare survivor, largely unchanged for the past 80 years or more.

Mi Mexico, 1982. Photo courtesy of Alejandro Wagner

Mi Mexico, 1982. Photo courtesy of Alejandro Wagner

I don’t know for sure who built it or precisely how old the building actually is. But I do know—based on my research into the influence of foreigners at Lake Chapala—that this building was acquired in 1937 as a vacation home by U.S. entrepreneur Louis E. Stephens, then living in Mexico City. Stephens had first learned about the delights of living in Mexico—and of Ajijic in particular—from screenplay writer Charles Kaufman, who had lived in the village in 1929. Kaufman’s novel Fiesta in Manhattan (1939), which tells the story of a young village musician and his wife who are encouraged to leave their lives at Lake Chapala for the bright lights of Manhattan, is actually dedicated by its author to the people of Ajijic.

Stephens and his then-wife Annette Margolis (later known as Annette Nancarrow, artist and assistant to José Clemente Orozco) were exceptionally well-connected. They were members of the literary, artistic and cultural elite of Mexico City, and often offered the use of their Ajijic property to friends.

The most significant of these friends (from our narrow perspective) was U.S. fashion designer Helen Beth Kirtland, whose husband was a noted Mexico City rare books dealer. When Kirtland decided to separate from her husband, Stephens offered her and her three young children the use of his Ajijic home.

Mi Mexico, 1996. Photo courtesy of Alejandro Wagner

Mi Mexico, 1996. Photo courtesy of Alejandro Wagner

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Their first visit in 1946 was for only a short time, but a year later Kirtland moved to Ajijic permanently with her children and never looked back. She founded Telares Ajijic (Ajijic Hand Looms), employed weavers and, through enterprise, good fortune and hard work, built up a highly successful business. She also opened her own store, Mi México. Her children all grew up in the village.

After completing college in California, her daughter, Katie Goodridge Ingram, born in Mexico City in 1938, returned to Ajijic and ran the Galería del Lago from 1975 until it closed in 1977. Ingram then opened her own gallery as part of Mi México, which she ran from 1978 to 1983. Ingram, an award-winning poet, later wrote an absorbing and beautifully written memoir of her childhood in Mexico City and Ajijic—According to Soledad, memories of a Mexican childhood—which garnered rave reviews following its publication in 2020.

Many other famous artists and authors have vacationed in or visited the Mi México building over the years. They include Algerian-born painter Violette Mège and her award-winning artist husband, Michael Baxte, in the 1940s. And, because of Kirtland, German poet Gustav Regler lived and wrote here in the late 1940s, and Erik Erikson (Young Man Luther) did so in the 1950s. Helen Kirtland’s tocaya and good friend Helen O’Gorman (wife of architect-artist Juan O’Gorman) visited more than once.

Mi Mexico, 2024. Photo courtesy of Alejandro Wagner

Mi Mexico, 2024. Photo courtesy of Alejandro Wagner

Kirtland later married American sculptor Mort Carl, who deserves the credit for building Ajijic’s first tennis court in an empty lot immediately behind the Mi México building. Carl’s work became better known after he abandoned Kirtland and Ajijic to return to the U.S. And, much more recently, I’m reliably informed that novelist Edgar Taylor Morris lived at Mi México while writing All the Clouds’ll roll away.

Mi México has now relocated to Riberas del Pilar, but this Ajijic landmark’s historical, literary and artistic heritage deserve to be recognized for many years to come. The building’s owners want to sell. Any ‘renovation’ would need prior approval from the Chapala municipality, which has apparently promised to preserve the facade. Will local authorities step up when needed to ensure its future? Only time will tell.

Comments, corrections and additional material are welcome, whether via comments or email.

Feb 132025
 

Dwight Furness (1861-1924) was a wealthy and influential Chicago investor who grew up in Furnessville (named for his family) in Indiana. He arrived in Guanajuato as a 26-year-old—to represent a Missouri-based mining company—before quickly branching out on his own, buying and trading mineral ores. Furness was appointed U.S. consular agent at Guanajuato in 1889, and retained this position until 1907.

In 1890, Furness married Anna Rodgers, a Methodist missionary. The couple had ten children (five sons and five daughters), two of whom died as infants.

Furness, who gained a reputation as a fair and benevolent businessman, built up several highly profitable general merchandise and minerals trading companies, conducting more than $2 million worth of business a year. His business interests ranged from mines to land and financing, and extended across several states, including Aguascalientes, Durango and Jalisco. In 1902 he paid Ignacio Castellanos and his wife, Esther Tapia Ruíz, $200,000 pesos in gold for 7000 acres of land, including a section of lakefront known as Rivera Castellanos.

Dwight Furness. c 1907. Hotel Ribera Castellanos. (Fig 6-6 of Lake Chapala: A Postcard History.)

Dwight R. Furness. c 1907. Hotel Ribera Castellanos. (Fig 6-6 of Lake Chapala: A Postcard History.)

While Furness planned to farm most of the land, he recognized the enormous economic and tourist potential of Rivera Castellanos, “one of the finest scenic spots in Mexico” with “nearly three miles of lake and river front.” It was ideally located, easily accessible from the main Irapuato-Guadalajara railroad.

Furness began planning a modern “summer colony” and a large “commodious” lakefront hotel which would take full advantage of some nearby thermal springs. This was the first serious competition for Lake Chapala’s earliest purpose-built hotel, the Hotel Arzapalo, completed in Chapala in 1898.

A correspondent for The Mexican Herald was immediately enthusiastic. After pointing out that “in winter months people of the tableland cities go down to Veracruz or Tampico for sea bathing and boating,” but that summer months could be uncomfortable both in the cities and on the coast, the journalist extolled the Rivera Castellanos’ wonderful year-round climate:

There is no finer all-the-year-round climate than that which may be enjoyed along the shores of Lake Chapala. The air is itself a tonic, the lake breezes invigorating, and the worn out business man, or society woman, finds in a few days that the system is generously renewed.”

To finance the project, Furness incorporated the Lake Chapala Agricultural and Improvement Company in Phoenix, Arizona, in July 1902. The company raised $600,000 dollars in capital, and Furness began building an “American style” town and hotel. Construction of the first homes and the Hotel Ribera began in the summer of 1904.

The Hotel Ribera, overlooking the lake, opened in 1906 and was fully functional by 1907. Banner advertisements in advance of its inauguration used the tag line, “The Riviera of Mexico,” a line designed to strike a chord with the well-heeled clientele being targeted. The hotel, about five kilometers by road south of Ocotlán and approximately the same distance west of Jamay, billed itself as the “Sportsman’s Paradise,” the perfect headquarters for hunting during the winter season, especially since the area had no mosquitos and no malaria.

Soon after the hotel opened, Dwight Furness’ eldest son, Dwight Rodgers Furness (1892-1960) used his then amateur photography skills to take a series of promotional postcards showing the hotel and its surroundings. (Dwight Rodgers Furness subsequently studied in the US, became a professional photographer, and was chosen in 1918 to head the pioneering U.S.A. Aerial Photography School started by George Eastman.)

The earliest Dwight R Furness postcards of Hotel Ribera date from about 1907. They are printed on several different papers, including an AZO paper sold only between 1907 and 1909, a VELOX paper dating to that same narrow time period, and an AZO paper sold between 1904 and 1918. A small number, presumably reprints, are on ARTUR paper which was not sold prior to 1911.

Dwight Furness. ca 1907. View from bridge, Ocotlán.

Dwight R. Furness. ca 1907. View from bridge, Ocotlán.

Most tourists staying at the Hotel Ribera reached Ocotlán via the Central Mexican Railroad. After alighting at Ocotlán station, they took a short boat ride to the hotel, passing under this bridge (which spans the Santiago River) into the lake and then heading east, hugging the lakeshore to the hotel.

Furness-Postcard-Credit-Imprint

Almost all known Furness postcards have this imprint on the reverse

Almost all Furness cards relate to the Hotel Ribera, with images of the plant-lined driveway, different buildings, hotel interiors and various views of the hotel from the lake. Other cards show moonlight over the lake, the view from the main bridge in Ocotlán, and the main street of Jamay, the nearest village to the hotel.

Dwight Furness. ca 1907. Jamay. (Published by Alba y Fernández, Guadalajara)

Dwight R. Furness. ca 1907. Jamay. (Published by Alba y Fernández, Guadalajara)

The quality of the composition and printing of Furness’ photographs, taken when he was a teenager, is not as high as that achieved by professional photographers of the time, one of whom—Winfield Scott—lived nearby. Either his father wanted to save money or he preferred not to commission Scott because of his rival business start-up. (Scott, the official photographer for the Mexican Central railroad, had settled in Ocotlán in 1901 and was trying tried to establish his own rival hotel and “Inland Sea Boating Club.” Scott, incidentally, may have been the first person to advertise the Lake Chapala climate as the “best on earth.”)

In a curious later twist of fate, Scott—despite not taking the early promotional photos of Hotel Rivera—became the hotel’s manager in 1919.

The Hotel Ribera gained a reputation as “Mexico’s best resort.” Rooms with full board were between US$1.50-2.00) a day in 1907 when two well-heeled federal politicians—Vice-President Ramón Corral and Finance Secretary José Yves Limantour—stayed overnight before taking a steamship ride to spend a few nights in Chapala. Such patronage ensured that The Hotel Ribera Castellanos quickly became a highly desirable and popular destination, and all manner of politicians and celebrities vacationed there over the next decade.

Soon after the outbreak of the Mexican Revolution in 1910, Furness decided to spend more time in the U.S. and sold the hotel to Enrique Langenscheidt Schwartz, a prominent and well-connected German businessman based in Guanajuato. It was Enrique’s son who hired Winfield Scott as manager in 1919.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.

Sources

  • Arizona Republic (Phoenix, Arizona) 24 Jul 1902, 4.
  • El Mundo Ilustrado: 5 Oct 1913.
  • Jalisco Times: 7 May 1904; 4 Nov 1904; 8 Nov 1907; 29 Mar 1907; 27 Sep 1907; 17 Jan 1908; 1 May 1908.
  • The Mexican Herald: 18 Feb 1902, 3; 21 May 1902, 2; 31 May 1902, 4; 4 Jan 1907; 13 May 1907; 27 Sep 1907, 8; 5 Jun 1909. 5 Sep 1909, 3; 27 June 1910, 5; 24 Aug 1911, 7;
  • El Abogado Cristiano Ilustrado: 24 Dec 1903, 16.

Comments, corrections and additional material are welcome, whether via the comments feature or email.

Feb 062025
 

Dr Wilhelm Schiess (1869-1929) visited Chapala briefly in 1899, during a winter trip to Mexico with his brother, Ernst. His detailed account of their trip, with dozens of photographs, was published in 1902 as Quer durch Mexiko vom Atlantischen zum Stillen Ocean (“Across Mexico from the Atlantic to the Pacific Ocean”). It was well received at the time as an accurate, first-hand account of several little-known parts of Mexico. Sadly—and presumably because the book was never translated—Schiess’s work has received relatively little attention.

Carl Wilhelm Schiess was born in Basel, Switzerland, on 12 July 1869 to Prof. Dr. Heinrich Schiess, a well-known ophthalmologist in that city, and his wife, Rosalie Gemuseus.

Schiess had already completed his medical training before visiting the US and Mexico with his brother in 1899. The two young men entered Mexico via New Orleans, before traveling by rail to Torreón and Durango, and crossing the Western Sierra Madre to Mazatlán. From there, they took a steamer to San Blas, and then proceeded to cross the country from west to east, via Tepic, Tequila, Guadalajara, Chapala, Zamora, Uruapan, Pátzcuaro, Morelia, Mexico City and Amecameca to Veracruz, before returning north via Orizaba, Cordoba, Guanajuato, Aguascalientes and Zacatecas. Quite the itinerary to complete in just two months!

The Schiess brothers had lots of adventures along the way. Like many other early travelers in Mexico, they even climbed to the summit of Popocatepetl Volcano, and photographed the interior of its crater. They visited remote mines and explored archeological sites, including Xochicalco.

The brothers arrived in Guadalajara on Monday 4 December 1899. The following morning, they left the city to view Juanacatlán Falls. They were very impressed by their grandeur, and the book includes photographs of the falls themselves, of a group of women washing clothes below the falls, and this photo of a then pristine River Santiago (aka Río Grande), immediately above the falls. After a full day exploring, they returned to their hotel in Guadalajara.

Wilhelm Schiess. 1899. Río Grande at Juanacatlán. (opp. p. 137)

Wilhelm Schiess. 1899. Río Grande at Juanacatlán. (opp. p. 137)

The next day (Wednesday 6 December) they left the city by train en route to Chapala:

We set off at 10:20. Since our journey would not be long, we sat in second class. By 11.30am, we arrived in Atequiza, where the temperature was only 12°C. Back home, with such a cloudy sky, one would surely predict rain soon. However, no one here believed in rain at this time of year; instead, they assured us that the sun would soon shine again.

“Behind the train station, an eight-horse stagecoach was already waiting, along with a half-open carriage drawn by five mules. We took our seats in the carriage, which we had entirely to ourselves. We galloped off, and although this road seemed smooth compared to those we had previously encountered, we were still jolted and shaken considerably and had to hold on tightly to avoid being thrown from the carriage. As we sped along, one of the postillions frequently jumped down from the coach, ran as fast as he could alongside the carriage, and urged the mules to an even faster pace with his whip and shouts. The second driver swung his endlessly long whip from the coach seat.

“We raced along, always closely following the mail cart, passing over the rough cobblestones of Atequiza. The road led up and down hills, with little vegetation in sight—only a few bare trees with white blossoms here and there. An hour before reaching Chapala, we occasionally caught glimpses of the lake far below us. At a furious pace, we raced down the hill, and the two white church towers of Chapala approached with a completely different speed than the towers of Guadalajara had a few days ago. That time, we sat on exhausted animals, whereas today, five lively mules were pulling us along. At 1.30pm, we arrived in Chapala and stopped in front of the large, comfortably furnished hotel.”

The hotel was the Hotel Arzapalo, where:

In the spacious, European-style dining hall on the ground floor, we enjoyed our lunch and, from our table, had a magnificent view of the lake through the small orange garden in front of the hotel. The hotel is located directly on the shore. A bottle of red wine gave us the courage to ponder further adventures. Besides us, only a small family had taken a seat in the otherwise empty hall, giving the place a rather deserted appearance. The season had long since ended. In summer, many families, mainly from Guadalajara, come here to spend their time rowing and swimming. The sandy beach is perfect for children. The Chapala Lake is said to have a very mild climate, yet we happened to arrive on one of the least pleasant days imaginable. Now, people are even complaining about the cold!”

Wilhelm Schiess. 1899. Chapala. (opp. p153)

Wilhelm Schiess. 1899. Chapala. (opp. p. 153) The distant building on the left of the image is Villa Montecarlo, built by Septimus Crowe. In the middle is Villa Tlalocan, completed in 1896. The white residence on the right is Casa Capetillo.

Chapala itself is a small village, whose main street, consisting of closely built small houses, runs westward from the hotel, going up and down the hills along the lake. It is separated from the lake by beautiful gardens, where magnificent specimens of evergreen trees, blooming oleanders, blue morning glories, and red geraniums can be found. Small side alleys lead from the main street down to the lake. Along the lakefront, as well as partially in the water, there are trees through which one has a lovely view of the four or five stately villas of the village.

“Next to the hotel is the steamboat landing, which extends into the lake. It is planted with young trees and furnished with well-maintained benches for visitors. There is no daily regular steamboat service, even in summer. Behind the hotel rises a brown, barren hill that stretches westward along the lake. Along the village street, near the small water ponds, we noticed some women washing and bathing, who covered themselves upon our approach. The villas, with their terraces, offered a rather charming view from the lake, and in fine weather, living here must certainly be pleasant. East of the hotel, near the lake, stands the large white church, which presents a picturesque sight. Now and then, the sun shimmered through the dense clouds, bringing a bit of life to the otherwise deserted village. On the southern side of the lake, as well as in the west, high mountains could be seen everywhere. The lake has a somewhat dark and wild appearance—at least under this lighting—yet one still sees orange and banana trees. At 2.30pm, the temperature was 19°C, while the water measured 18°C. However, today we had no desire to go for a swim.”

After considering their options, the brothers decided not to stay overnight in Chapala, but to take a boat that afternoon to Ocotlán:

We could have stayed overnight in Chapala and taken the stagecoach back tomorrow. The steamboat arrives in Chapala only very irregularly and is mainly intended for transporting goods from the ranchos on the southern shore, so we could not rely on it. The only way to continue directly was to hire a sailing boat. Ernst therefore negotiated with two boatmen who agreed to take us to Ocotlán for 8 pesos.”

We will examine the book’s lengthy description of their boat ride to Ocotlán, which turned out to be far more of an adventure than they had expected, in a future post.

Links to a Swiss castle

Carl Wilhelm Scheiss is the unexpected link between Chapala and a famous Swiss castle. In 1900, shortly after his return to Switzerland, his aunt, Mrs. Rosina Magdalena Gemuseus, purchased Spiez Castle on Lake Thun in the Swiss canton of Bern, and invited Scheiss and his wife, Helene Schiess-Frey (1882–1962), to live there. In July 1900, Schiess opened a medical practice based in the castle, parts of which date back to the tenth century. He lived in the castle for several years, with office hours every morning to 11.00am, and clinics for eye diseases every Tuesday and Friday morning.

The village of Spiez grew rapidly: roads were improved and villagers added a new stone church and many new homes. In about 1906, close to the time his son was born, Schiess commissioned a firm of Basel architects to build him a large family home in the village, with an attached medical office.

In 1907, Schiess’s aunt sold him some of the outlying castle properties, including the old church, rectory, manager’s house, cherry orchard, vineyards and an area of forest. Schiess continued to live quite modestly, accustomed to making home visits to patients by bicycle. Contemporaries described him as a friendly, helpful and keen doctor, who worked tirelessly without any break during the terrible 1918 flu epidemic.

Following the death of his aunt on 3 February 1919, Schiess inherited the castle itself. But the upkeep was costly, and Schiess soon found himself having to sell valuables from the castle to cover ongoing maintenance expenses. By 1922 he started looking for a potential purchaser. In the absence of finding anyone, a group of villagers established a foundation five years later with the idea of preserving the castle for future generations. On 14 August 1929, barely two weeks after the Spiez Castle Foundation took over the castle, Schiess died unexpectedly of heart failure.

The castle and gardens opened to the public in June 1930 and are now used for conferences, concerts, exhibitions and other events. Curiously, it is apparently not known which precise rooms of the castle were once used by the doctor and his wife.

Note: Translations of Schiess’ text are by the author and were AI-assisted.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center. The fascinating stories behind the first vacation homes and hotels in Chapala are the subject of If Walls Could Talk: Chapala’s Historic Buildings and Their Former Occupants, translated into Spanish as Si las paredes hablaran: Edificios históricos de Chapala y sus antiguos ocupantes.

Sources

  • Tony Burton. 2016. “A 1902 travel account, and unexpected link between Mexico and a Swiss castle.” Post dated 25 February 2016 on Geo-Mexico.com.
  • Wilhelm Schiess. 1902. Quer durch Mexiko vom Atlantischen zum Stillen Ocean. Berlin: Dietrich Reimer.
  • Alfred Stettler. 2004. “75 Jahre Stiftung Schloss Spiez: Die Anfänge” in Jahrbuch: vom Thuner und Brienzersee, Uferschutzverband Thuner- und Brienzersee.

Comments, corrections and additional material are welcome, whether via the comments feature or email.

Jan 302025
 

Commercial illustrator Fritz (Fred) Alseth (1924-2006) resided at Lake Chapala in the late 1980s. During his time at the lake, he provided illustrations for El Ojo del Lago, and also for a series of cards promoting the local area, from Chapala to San Juan Cosalá, with an emphasis on hotels and tourist locations.

Drawing by Fritz Alseth. 1988.

Drawing by Fritz Alseth. 1988.

Alseth’s sketches for the cards are all dated 1988. They provide a fun way to look back at what the area was like at that time. The images in the gallery are arranged in approximate order from west to east, starting with San Juan Cosalá and ending with Chapala Haciendas. Enjoy!

Alseth-1988-SJC-Balneario
Alseth-1988-SJC-Balneario
Drawing by Fritz Alseth. 1988.
Alseth-1988-Ajijic-Hotel-Danza-del-Sol
Alseth-1988-Ajijic-Hotel-Danza-del-Sol
Drawing by Fritz Alseth. 1988.
Alseth-1988-Ajijic-street-scene
Alseth-1988-Ajijic-street-scene
Drawing by Fritz Alseth. 1988.
Alseth-1988-Ajijic-Mi-Mexico
Alseth-1988-Ajijic-Mi-Mexico
Drawing by Fritz Alseth. 1988.
Alseth-1988-Ajijic-Posada-Ajijic-3
Alseth-1988-Ajijic-Posada-Ajijic-3
Drawing by Fritz Alseth. 1988.
Alseth-1988-Ajijic-Posada-Ajijic-2
Alseth-1988-Ajijic-Posada-Ajijic-2
Drawing by Fritz Alseth. 1988.
Alseth-1988-Ajijic-Plaza-and-Chapel
Alseth-1988-Ajijic-Plaza-and-Chapel
Drawing by Fritz Alseth. 1988.
Alseth-1988-Ajijic-Plaza
Alseth-1988-Ajijic-Plaza
Drawing by Fritz Alseth. 1988.
Alseth-1988-Ajijic-Restaurant-El-Meson
Alseth-1988-Ajijic-Restaurant-El-Meson
Drawing by Fritz Alseth. 1988.
Alseth-1988-Ajijic-Hotel-Mariana
Alseth-1988-Ajijic-Hotel-Mariana
Drawing by Fritz Alseth. 1988.
Alseth-1988-Ajijic-Hotel-La-Floresta
Alseth-1988-Ajijic-Hotel-La-Floresta
Drawing by Fritz Alseth. 1988.
Alseth-1988-Ajijic-Hotel-Real-de-Chapala-2
Alseth-1988-Ajijic-Hotel-Real-de-Chapala-2
Drawing by Fritz Alseth. 1988.
Alseth-1988-Ajijic-Hotel-Real-de-Chapala
Alseth-1988-Ajijic-Hotel-Real-de-Chapala
Drawing by Fritz Alseth. 1988.
Alseth-1988-Chapala-Hotel-Nido
Alseth-1988-Chapala-Hotel-Nido
Drawing by Fritz Alseth. 1988.
Alseth-1988-Chapala-trees
Alseth-1988-Chapala-trees
Drawing by Fritz Alseth. 1988.
Alseth-1988-Chapala-Haciendas-hotel
Alseth-1988-Chapala-Haciendas-hotel
Drawing by Fritz Alseth. 1988.

Note regarding copyright. Attempts to identify the copyright owner of these images have been unsuccessful. Use of the low resolution images in this post is believed to fall under the fair dealing exemption, section 29 of copyright legislation in Canada.

Acknowledgments

  • My sincere thanks to business consultant Alejandro Wagner (the owner of Mi México store) and to fellow writer and long-time Ajijic resident Dale Hoyt Palfrey for supplying the illustrations used in this post.
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.

Comments, corrections and additional material are welcome, whether via the comments feature or email.

Jan 232025
 

Canadian journalist and adventurer Evan Evans-Atkinson (who used the name Evan Atkinson for his early writing) wrote “Candid View of Chapala. An Honest Report on Retiring In Mexico” for the New York-based periodical Travel in 1958.

“Candid View” was one of several articles in the 1950s that publicized Lake Chapala as an option for inexpensive living. Earlier articles included Regina Shekerjian’s “You can Afford a Mexican Summer” (1952) and John Russell Clift’sChapala: Mexico’s Shangri-la” (1953).

However, unlike those articles, and two later short books—Thomas McLaughlin’s The Greatest Escape (1983) and R. Emil Neuman’s Paradise found (1986)—“Candid View” presents the arguments both for and against living cheaply in Mexico.

Who was Evan Atkinson?

Adventuring journalist Evan Evans-Atkinson (who used the name Evan Atkinson for his early writing) was born in Saskatchewan, Canada, on 13 December 1924.

His father, Capt. Norman Evans-Atkinson, was a UK-born, Cambridge-educated geologist and prospector who served in the British and Indian armies before arriving in Canada in 1921 for the Cedar Creek gold rush in British Columbia, where he made a living by staking and selling mineral claims, and helped save the first-growth cedars at Cedar Point, near Likely.

After graduating from St. George’s School in Vancouver, Evan, who began building and sailing boats during childhood, attended the University of British Columbia, and served in the Royal Canadian Air Force. He met his first wife, English-born Joan ‘Toni’ Henley, at the Royal Vancouver Yacht Club.

Aside: In 1950, during a solo motorcycle ride across North America, Toni had met Bob Hope. A photograph of Toni, with Bob Hope riding pillion on her bike in 1950, was published in The Harbour City Star in 2003, a few days after Hope’s death at the age of 100.

After Evan and Toni married in 1952 in Portsmouth, UK, they purchased a 27-foot ketch, which they sailed to Paris and lived on while Evan studied at the Sorbonne. Studies over, they spent almost a year exploring the Mediterranean, before selling the boat in Cannes, and returning to England to find a larger vessel to sail back to Canada.

They eventually located a 36-foot yawl, with ample headroom for 6’4″-tall Evan, and left England in the summer of 1954, calling in at Lisbon and the Canary Islands, before sailing west to the Caribbean. They landed at the island of Antigua barely two weeks before Toni gave birth to their first child, Wanda. Baby safely on board, they then meandered around the Caribbean Islands as far south as Barbados, from where Toni and baby returned to Vancouver, while Evan planned to sail the boat home via the Panama Canal. He made it as far as Costa Rica before a mechanical mishap resulted in significant damage to the boat. An American bought the boat, and Evan returned home aboard a banana boat.

According to one newspaper account of their exploits, Evan had “supported himself and the family for several years, during his venturesome voyaging, by selling children’s stories to English magazines,” while Toni had contributed to the family finances by painting and selling watercolors of boats.

Once back in Vancouver, Evan began his career in journalism. He worked for several newspapers, in a variety of positions, over the years, including The Province and The Sun, with several extended travel breaks away from the office.

Evan and Toni Evans-Atkinson, Ajijic (Travel, November 1958)

Evan and Toni Evans-Atkinson, Ajijic (Travel, November 1958)

Soon after the birth of the Evan-Atkinsons’ second child, Bruce, in 1956, the family left for Mexico, where Toni developed her artistic talents, trying her hand at weaving, while Evan wrote. They lived part of the time in a converted school bus, and several months in Chapala, which gave Evan the material for “Candid View of Chapala.”

Candid View of Chapala

Subtitled “An Honest Report on Retiring In Mexico,” “Candid View” does indeed present both sides of the arguments for and against living cheaply in Mexico.

Atkinson states that “the cost of living is fantastically cheap when you know your way around.” However, he cautions, this is only “one side of this low-cost paradise. There is never a word about the real disadvantages of becoming a gringo on a low budget.” The following paragraphs offer stark warnings about noise, health issues, smells and pollution, concluding “On a low budget, there is no escape from the smell, squalor and clamor.”

And while the weather is “wonderful nine months a year . . . the other three can be miserable.”

In 1958, the lake was still recovering from its lowest ever level three years earlier: “The water is clouded with mud and, as its level has dropped ten feet in the last few years, mud flats up to a mile wide ring its shoreline. There are no real beaches and the coagulated slime of weeds and lilies squelch any pleasure from aquatic sports.”

How many foreigners were living at Lake Chapala in 1958?

“Some 500 gringos live in Ajijic and Chapala, and almost every one of them is completely and utterly idle. In spite of a reputation as an artist’s colony, the number of people making even the feeblest attempt at painting or writing is less than two dozen. Eighty per cent of this expatriate population is elderly, retired on pensions and waiting for the inevitable. Most of the remaining twenty per cent live on alimony or some similar disability pension, on their parents or on their wits.”

Some amenities were lacking at Lake Chapala. The nearest supermarket was in Guadalajara. “The mail service, apart from mangling parcels, works well and takes about three days airmail to New York and seven days regular… You can make long distance calls, yet are not pestered by a local telephone system. TV hasn’t found this place yet.”

Despite all the negatives, and the difficulties of establishing close friendships with Mexicans, Atkinson and his family all loved living in Chapala: “We are living in one of the most expensive towns in the area. We have a servant and a five-room house with water, electricity and sewer connections. Our cost of living averages out to $110 dollars a month.”

The article ends with a summary of Mexico’s “regulations for retirement.” At the time (1958), the minimum income required for a foreign retiree was US$320 a month.

Life after Mexico

In 1967, Evan and family left Canada for Polynesia on Pacer, a 41-foot trimaran they had built. They planned to sail around the world, but discovered that their son suffered from chronic sea sickness. They abandoned this dream and returned to Vancouver, where Evan resumed his career as a journalist.

In 1979, Evan Evans-Atkinson left his job at The Sun to work on the Canadian Constitution. He suffered a severe stroke in 1995, and died in Vancouver on 3 January 2011, at the age of 86.

Toni moved to Nanaimo on Vancouver Island in 1979, where she gained prominence as a noted watercolor artist; she died in Nanaimo in 1992.

Evan’s second wife, Mary—a student of fine arts and graduate of Le Cordon Bleu Paris—wrote British Columbia Heritage Cookbook (1984).

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
Several chapters of Foreign Footprints in Ajijic: Decades of Change in a Mexican Village offer more details about the history of the artistic community in Ajijic.

Sources

  • Evan Atkinson. 1958. “Candid View of Chapala. An Honest Report on Retiring In Mexico.” Travel (New York), Volume 110, No 5 (Nov 1958), pp 19-22.
  • The Harbour City Star (Nanaimo): 30 Jul 2003, A3.
  • Nanaimo Daily News: 11 Jun 1981.
  • The Province (BC, Canada): 2 April 1954; 10 May 1956; 14 Jan 1957; 20 Oct 1967; 21 Dec 1974.
  • The Times Colonist: 28 Jul 1967.
  • The Vancouver Sun. “Evans-Atkinson, Evan” (obituary). The Vancouver Sun, 15 January 2011.

Comments, corrections and additional material are welcome, whether via comments or email.

Jan 162025
 

Professional dancer Carla Manger (the name she was known by in Mexico) was born in Wattenscheid, Germany, on 7 August 1914. Her birth name was Carla Marie Windeler. After completing the equivalent of high school in Bochum, she danced in Oldenburg, Bielefeld and Stetin, before studying and dancing for three years at the Folk Arts School (Volsartschule) at Essen.

Carla, who also studied with noted German dance instructors Mary Wigman and Harold Kreutzberg, became an accomplished performer not only of classical ballet, but also modern dance and Russian, Polish, Hungarian and Spanish folk dances. During World War Two, she spent five years dancing professionally in Germany and Poland, including a lengthy spell at the Staats Theatre in Kraków, Poland. (Many years later, Howard Fryer, who lived near Carla Manger in her final years, claimed to have heard that “she was one of Hitler’s favourites and danced for him on numerous occasions.”)

Near the end of the war, Carla returned to Germany and later opened a  studio and ballet school in Hameln-Weser (Hamlin). She and a dance partner ran the school and gave many performances in West Germany for nine years until she decided to leave Germany for the U.S. She arrived (unaccompanied) in the U.S. as “Carla Luecke” on 7 April 1955. Her first husband, Carl Frank Luecke (1902-1985), had moved to Los Angeles, California, decades earlier.

Carla Manger, 1958. (Credit: Wichita Falls Times, 29 June 1958)

Carla Manger, 1958. (Credit: Wichita Falls Times, 29 June 1958)

After working briefly as a housekeeper in Port Jervis, New York, Carla moved to Wichita Falls, Texas, in 1956, where she became a dance instructor at Gross School of Fine Arts in Wichita Falls, Texas.

Two years later, in 1958, she bought the Betty Jeane Studio of Dancing in Tucson, Arizona, filed for divorce from Luecke, reverted to her maiden name of Carla Windeler, and renamed the studio the Carla Windeler Dance Studio. An advertisement for a dance performance in 1961 by her students described their director as “Carla Windeler, former Ballerina of European Opera.”

The Wichita Falls Times published a story by Carla in 1957 about the “bell clock” ( a kind of alarm clock), she had been given by her brother in 1939 at the start of her professional career. Carla had taken it everywhere, and described how it woke her at 2.00am one day in 1943, so she could hurry to the station to meet a Red Cross train carrying her younger brother, wounded in war, who was en route back from the front to a hospital.

In 1944, Carla was in Kraków, Poland, when the Russians arrived. She and many others fled. It took Carla four months to finally reach her family home in Bochum, which was bombed and destroyed shortly afterwards. Suddenly, under the rubble, the clock rang! Carla dug it out, but the glass was smashed; her father fashioned a replacement out of a broken window. After the war ended in May 1945, Carla took the clock with her to Hameln. Not long after she arrived in the U.S., the clock was “so tired” it stopped working. Luckily, an expert in Wichita Falls was able to restore the movement without damaging the polished window glass, which was Carla’s last link to her family home.

In about 1963, Carla married Henry Kinast Manger. Henry, born in Newark, New Jersey, in 1904, had divorced his previous wife, Helen, in 1962, after five years of marriage, on the grounds of cruelty.

After moving to Jocotepec, Henry Manger is known to have helped archaeologists Clement Meighan and Len Foote during their excavations at Tizapán el Alto on the southern shore of Lake Chapala. He also donated land for a school in Nextipac, on the eastern outskirts of Jocotepec, and organized local parents to build a school and a house for the teachers. These plans continued even after Henry Manger’s unfortunate death in a Guadalajara hospital on 15 June 1968. According to local teacher Manuel Flores Jimènez, in appreciation of Manger’s generosity, the school had a bust of Manger on prominent display for many years.

With help from well-wishers, Carla was able to install, doors and bathrooms in the school by 1970, and bought school uniforms. That year she arranged a Christmas party for 175 boys and girls, despite having only just been discharged from a stay in hospital.

Carla also gave free dancing lessons to local children; some 80 youngsters were participating in 1970. Iin addition, she ran exercise ballet classes, and gave ballet classes at the Chula Vista Country Club.

Carla Manger. c 1988. Mercado en la plaza.

Carla Manger. c 1988. Mercado en la plaza.

The Nextipac school (now the Escuela Primaria 15 de Mayo) continued to thrive and expand. In 1976, Henry Manger Jr. raised funds in the US for the cement, tiles and gravel needed to build a 6th Grade classroom, helping to ensure that Nextipac children could complete their primary school years without having to leave their barrio.

At least three of Carla Manger’s paintings of Jocotepec were chosen by Joan Frost for reproduction as Amigos de Salud greetings cards: a street scene and a view of La Quinta (Los Naranjitos), both dated 1982, and an open-air market on the plaza.

Carla was one of numerous Lakeside artists whose work was included in a group show titled “Pintores de la Ribera” at Club Campestre La Hacienda (mid-way between Guadalajara and Chapala) in May 1985. Other artists showing on this occasion were Daphne Aluta, Eugenia Bolduc, Jean Caragonne, Donald Demerest, Laura Goeglein, Hubert Harmon, B. R. Kline, Jo Kreig, Carla W. Manger, Emily Meeker, Sydney Moehlman, Xavier Pérez; Tiu Pessa, De Nyse Turner Pinkerton and Eleanor Smart.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Sources

  • Arizona Republic: 6 May 1961, 12.
  • Tucson Daily Citizen: 21 April 1961.
  • Wichita Falls Times: 26 Aug 1956; 23 Sep 1956; 14 Apr 1957, 52; 20 Mar 1958.
  • The News (Paterson, New Jersey): 16 Oct 1962, 32.
  • Howard Fryer. 2010. El Nitty-Gritty.
  • El Informador: 4 May 1985.
  • Guadalajara Reporter: 30 July 1966; 28 Feb 1970; 25 Mar 1972; 26 Jun 1976, 21.
  • Clement Woodward Meighan and Leonard J. Foote. 1968. Excavations at Tizapan El Alto: Jalisco. University of California.

Comments, corrections and additional material are welcome, whether via comments or email.

Jan 092025
 

Orator, poet, jeweler and diplomat Francisco Izábal Iriarte was born in the port city of Mazatlán, Sinaloa, in 1871, but lived much of his adult life in Guadalajara. Claims on social media that he (and two sisters) settled in Guadalajara after 1910 are contradicted by contemporaneous newspaper accounts which show that Izábal was definitely a resident of Guadalajara by the 1890s, perhaps even earlier.

Poem by Izabal IriarteIzábal, who never married, was exceptionally well connected and a member of numerous civic and political committees and groups. He was a prominent leader of the Sinaloan community in Guadalajara, and led fund-raising efforts whenever his native state suffered from storms, disease or earthquakes. In 1897, he was one of the small group accompanying General Cañedo, then Governor of Sinaloa, on a business trip to Mexico City.

Izábal was a member of the Guadalajara city council, and worked with numerous other prominent individuals, including Manuel Cuesta Gallardo, Eduardo Collignon, Andrés Arroyo de Anda, Enrique Álvarez del Castillo, etc. Among other things, Izábal was actively involved in plans to rename city streets.

Despite being a prominent supporter of President Porfirio Díaz, Izábal and his family emerged relatively unscathed, with most of their extensive landholdings, including the Hacienda de Peñuelas in the state of Aguascalientes, still intact, after the ravages and retributions of the Mexican Revolution.

Izábal published several poems in the 1890s in a relatively short-lived journal called Flor de Lis; these included one in memory of the illustrious Lake Chapala-connected poet Esther Tapia de Castellanos. In 1902, Izábal wrote at least two poems relating to the lake which were published in the national periodical El Mundo Ilustrado.

Here is one of them, with a loose translation into English:

Al Lago de Chapala  / To Lake Chapala

¡Que serena quietud y qué divina
la paz de tu ribera, soñadora
á la luz del crepúsculo que dora
el agua con la lumbre vespertina!
¡Cuánto adoro tu calma peregrina
al fugor de esta tarde encantadora,
oyendo la cadencia arrulladora
con que canta la onda cristalina!
Aquí está, suspirando bajo el cielo
mi corazón, que triste y sin consuelo,
llegó hasta ti, cansado y dolorido;
la calma de tus ondas es la calma
que anhelan los ensueños de mi alma
en sus profundos éxtasis de olvido!
How serene the stillness, and how divine
the peace of your shore, dreamy
in the light of the twilight that gilds
the water with evening’s glow!
How I adore your wandering calm
in the glow of this enchanting afternoon,
listening to the soothing cadence
with which the crystalline waves sing!
Here lies, sighing beneath the sky
my heart, which, sad and inconsolable,
came to you weary and in pain;
the calm of your waves is the calm
for which the dreams of my soul yearn
in their profound ecstasies of oblivion!

Francisco Izábal Iriarte. 1902. “Al Lago de Chapala  / To Lake Chapala”

In 1906, Izábal accompanied his two sisters, Aurelia (two years older) and Alejandra (two years younger) when they left Guadalajara by train en route to Chapala. (It is unclear if they alighted at Atequiza to take the stagecoach, or continued as far as Ocotlán in order to catch the steamer back to Chapala).

Their brother, Dr Conrado Izábal Iriarte (1875-1936), was a medical specialist. After studying in Mexico City and Paris, Conrado held a high-ranking position at the Hospital General de México from 1907 to 1911, and moved to join his siblings in Guadalajara in 1916, where, seven years later, he co-founded the Unión Médica de Guadalajara.

Calle Libertad, ca. 1908. Photo: Smarth. Postcard published by Alba y Fernández.

Chalet Izabál Iriarte (Calle Libertad), ca. 1908. Photo: Smarth. Postcard published by Alba y Fernández.

The family home in Guadalajara, known as Chalet Izábal Iriarte, with its distinctive tower, was located at Libertad 1139 (now renumbered as Libertad 1705), and was apparently designed by Guillermo de Alba. In recent years, the elegant building, eclectic in style, has been occupied by a “La Casa del Waffle” restaurant. While several blog posts claim the building dates from around 1915, it must have been completed several years earlier, given the fact that it appears on this postcard, which is one in a series published by Alba y Fernández prior to 1909. The photograph colorized for the postcard was taken by Librado Garcia “Smarth.”

During the early years of the Revolution, Izábal’s connections gave him the chance to serve his country in foreign office posts, including spells as the Mexican consul in Galveston, Texas, and in Douglas, Arizona.

A large portion of the family hacienda of Peñuelas was appropriated for redistribution to ejidos in 1940. The hacienda is located on the Camino Real de Tierra Adentro, formally designated by UNESCO in 2010 as a World Heritage Site.

Francisco Izábal Iriarte died in Guadalajara, from complications of diabetes, at the age of 76 on 31 December 1947.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Sources

  • El Tiempo: 22 Jan 1903, 1.
  • El Informador: 22 April 1916; 19 Mar 1936, 5; 1 Feb 1945; 17 May 1970, 12-D.
  • El Mundo Ilustrado, 28 Sep 1902; 21 Dec 1902.
  • Flor de Lis: 15 Jun 1896, 3; 15 Nov 1896; 15 Jan 1897.
  • La Gaceta de Guadalajara: 20 May 1906, 2.
My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.

Comments, corrections and additional material are welcome, whether via the comments feature or email.

Jan 022025
 

Among the early grayscale postcard photographs of Lake Chapala are several well-composed views signed L. V. García. In researching this photographer, I stumbled across an article which included this image of Lake Chapala, captioned “L. V. García. Alrededores de Guadalajara: Chapala, Jalisco. Ca. 1900,” held in the Fondo Fotográfico Antonio Alzate of the National University (UNAM).

L. V. García. Alrededores de Guadalajara: Chapala, Jalisco. (c 1900). Col: UNAM, IIH, Fondo Fotográfica Antonio Alzate.

L. V. García. Alrededores de Guadalajara: Chapala, Jalisco. (c 1900). Col: UNAM, IIH, Fondo Fotográfica Antonio Alzate.

This postcard is unusual, and quite avant-garde for its time. It may be slightly later than 1900, given that several other photos of Chapala by the same artist were definitely taken post-1904. But the strong composition, details, and novel way of embracing the lake in artistic flowers, make this card more of a work of art than any mere traveler’s memento.

Librado V. García, it turns out, was one of the most enigmatic Mexican photographers of all time. While virtually nothing is known about his personal life, he opened photo studios in both Mexico City and Guadalajara, and adopted the moniker “Smarth” as he moved away from conventional portraits and landscape images towards artistic photographs that helped lead a revolution in Mexican photography.

García was responsible not only for the artistic card above but for numerous conventional photographic postcards of Chapala, including two cards, one signed “L. V. García” and the other “FOT. GARCIA” which were taken from the jetty in Chapala and show the shoreline buildings east of the church. Closer inspection showed that the FOT. GARCIA version (which has the number 209 in tiny print at the bottom right) is an enlargement of one small section of the other version. These two cards were presumably published at different points in the photographer’s career. A third postcard, with the identical photo, is also known, though it lacks any credit, title or number on the front.

In addition, there are several “Edic. García” or simply “García” postcards that are clearly the work of the same photographer, especially since the way “García” is written—partially enclosed in a line that serves to underline the name—exactly matches how it appears on several “L. V. Garcia” cards.

Given that only about 200 photographs by Librado García “Smarth” are known, the addition of these postcards to his oeuvre may offer some clues as to when and how the artist gradually became a master of composition and technique.

L. V. García. Chapala, Jalisco. (c 1900).

L. V. García (Fot. García). Chapala (c 1900).

In an interview in the 1920s, García claimed to have been born in a cave in the mountains of either Sinaloa or Jalisco. According to art collector and researcher David Torrez, García was born in 1892 on the hacienda de la Cuesta, close to the Jalisco/Nayarit state limits.

In that same 1920s’ interview, García claimed that his birth was never registered, and so he had no idea of his real age or date of birth. He had chosen the name Librado García himself, and had worked as a telegrapher and for the postal service before being inspired to investigate photography after a friend took his portrait as a decapitated body holding his head in his right hand.

García bought a camera, read the manual, experimented and taught himself. If there are any grains of truth in this fabulous tale they presumably help to account for his artistic originality, perceived closeness to indigenous Mexico, and reputation for incorporating a strong sense of nationalism in his images.

This enigmatic photographer with his creative backstory presumably believed that his photographs should be judged squarely on their artistic merits and that opinions about them should not be influenced by any knowledge of the photographer’s personal background, education or life experiences.

According to Jaliscan artist and politician José Guadalupe Zuno, Smarth‘s career as a master portraitist began in 1911, a date supported by photography researcher José Antonio Rodríguez who traced Librado García’s career back to a listing for his photo studio (at Avenida Madero #66) in a 1911-12 Mexico City directory.

L. V. García. Alrededores de Guadalajara: Chapala, Jalisco. (c 1900).

L. V. García. Alrededores de Guadalajara: Chapala, Jalisco. (c 1905).

The start of his career as an artistic photographer may date from 1911, but García was clearly active well before this, as proven by his postcard views of Lake Chapala, some of which were mailed prior to 1910. On the other hand, some of his photographs must be post-1904 since they show Casa Braniff (as it is popularly called), construction of which began that year.

García was clearly already well-known in Guadalajara, and presumably had a studio there, several years before opening “Foto Smarth” at Avenida Corona #128 in Guadalajara in October 1915. During the next decade, Smarth was very active in Guadalajara. In 1918, and again in 1919, he advertised his search for “three apprentices without pretensions,” and regularly donated prizes to major local fund-raisers such as the raffle held for the Red Cross in February 1918.

Smarth was a fun-loving character with a reputation for throwing interesting parties. In February 1920 he organized a masked ball at his photo studio in Guadalajara one evening for young ladies “wearing capricious dresses”, where the intent was to display originality and good taste. The following October, he sent out invitations for a new exhibition of photographic works. The local paper was certain that the show would gain the artist new admirers.

Smarth’s photographs were included in a group exhibition of local artists at the Guadalajara Male Teachers’ School (Escuela Normal para Varones) in September 1921.

In August 1922, El Informador reported that “Sr Librado García, Smarth” had just returned to the city from a few days’ vacation in Cuernavaca. Two days later, there were references in the paper to a “Sra de Smarth” and “Srtas Smarth”, suggesting either that Librado Garcia had a wife and daughters, or an unlikely coincidence of names.

The following March, Sr and Sra Smarth are named on a lengthy list of those present at the official inauguration of the railroad from La Quemada (near Magdalena) to Tepic. This was a major event. President Álvaro Obregón did the honors, accompanied by his eventual successor Plutarco Elías Calles, and dozens of high-level politicians, railway officials, guests and members of the international press. One Chapala-related curiosity about this list is the inclusion of Miss Helen Creighton, a Canadian author and folklorist who was employed as a teacher at the American School in Guadalajara and took several snapshots of Chapala that year.

From 1924 to 1926, Librado Garcia taught photography workshops in Guadalajara at the Young Women’s Industrial School (Escuela Federal de Arte Industrial para Señoritas), a school established to promote economic independence for young women. In December 1924, the school celebrated its first year with a seasonal fiesta and exhibitions showcasing student work in fields ranging from sombrero-making, fashion design and embroidery to decorative art, bookbinding, drawing and photography.

Smarth‘s classes were especially popular. A display of student photography in November 1925 “showed the notable progress made by students, and accounted for the large number of students taking the course.” The numerous enlargements and photos taken by students of each other and their teachers were praised as especially artistic, demonstrating a mastery of the use of light to obtain images with varying tonalities.

For some years, the photographer apparently maintained studios in both Guadalajara and Mexico City simultaneously before deciding to close the Guadalajara studio to focus exclusively on work in the capital.

By the early 1920s, Smarth‘s portraits had matured into true works of art, characterized by strong composition and the use of settings or backdrops often drawn or painted by the photographer himself for the specific individual. Smarth was among the first to hold portrait sessions where he would choose the attire of his sitters and experiment with a variety of poses and backgrounds. Smarth took striking portraits of many notable figures of the time including the American ballerina Rosa Rolanda. Rolanda, the wife of Miguel Covarrubias, not only sat for painters Diego Rivera and Roberto Montenegro but also posed for photographers Edward Weston and Tina Modotti.

Photos by Smarth appeared in many of the leading papers and magazines of the time, including El Universal Ilustrado, Revista de Revistas, Jueves de Excélsior and Cúspide in Mexico City and El Informador in Guadalajara.

From about 1926, García chose to live primarily in Mexico City, making occasional trips back to Guadalajara. For example, he is recorded as leaving Guadalajara at the end of March 1929 on the night train to return to Mexico City “where he has lived for some time”.

Smarth, described as a photographer with “imagination and elegance,” was a prize-winner at the 1929 Expo Seville (Feria Iberoamericana) in Spain, as were his Mexican colleagues Antonio Garduño, Hugo Brehme, Roberto A. Turnbull, Ignacio Gómez Gallardo and Tina Modotti.

It was also in 1929 when Mexico’s first monthly national photo magazine was launched. The inaugural issue of Helios, Revista Mensual Fotografica announced the creation of an Asociación de Fotógrafos de México (with Macario González as president) and invited readers to participate in photographic contests. Helios ran until 1936, and competition winners included several Guadalajara photographers—Librado García, Ignacio Gomez Gallardo and Eva Mendiola—as well as Tina Modotti and Eva González.

A major collective exhibit of works by Mexican photographers was held in December 1929. This show, titled “Guillermo Toussaint y 11 fotógrafos mexicanos”, took place in the Galería de Arte Mexicano, located in what was then Mexico City’s Teatro Nacional (now the Palacio de Bellas Artes). Carlos Mérida and Carlos Orozco Romero, the organizers, invited 11 photographers—Manuel Álvarez Bravo, Hugo Brehme, Rafael García, Librado García Smart, Agustín Jiménez, Ricardo Mantel, Luis Márquez, Juan Ocón, Roberto Turnbull, Aurora Eugenia Latapi and Aurora Latapí (her mother)—to show their work, alongside sculptures by Guillermo Toussaint.

According to Cynthia Pérez, Smarth‘s activity as a photographer ceased in about 1936. He dropped out of sight in the 1930s; his life has been little researched and his work is little known.

The stunning black and white photos taken by these talented photographers were the forerunners for the marvelous cinematography of movies filmed in Mexico in the 1930s, movies that heralded the golden age of Mexican cinema.

Over the years, Smarth and his work soon became largely forgotten, though one significant group show in 1953 did include several of his fine photographs. This was a collective exhibit organized by the University of Guadalajara at the “Galeria de Art Contemporáneo” in downtown Guadalajara. Titled “Plástica Jalisciense (1668-1953)”, it included photographs taken by Smarth, José María Lupercio, Ignacio Gómez Gallardo, Lola Álvarez Bravo and Juan Victor Aráuz, as well as sculptures by Miguel Miramontes and innumerable paintings.

Lingering memories of Smarth lived on in Guadalajara. Columnists in El Informador periodically bemoaned the fact that the work of the city’s talented photographers, especially Librado García “Smarth,” Ignacio Gómez Gallardo, José María Lupercio and Pedro Magallanes had been forgotten. One lament, by Dr. Pedro Rodríguez Lomelí, came in a general piece headlined “Decline of Art in Jalisco.” Decades later, in the 1960s, one journalist claimed that the reasons why their fine work had been forgotten were “time, ingratitude and ignorance.”

Fortunately, Smarth’s artistic reputation has been more than restored in recent years, and he is now widely recognized as one of the earliest artistic photographers in Mexico. This re-evaluation coincided with a 2008 exhibit at the Museo de Estanquillo (Colecciones Carlos Monsiváis) in Mexico City, which included three unattributed nudes of Jaliscan painter Chucho Reyes Ferreira. Art researcher Carlos Córdova identified them as the work of Smarth and showed that they belonged to a series of unsigned portraits of Reyes, some of which had originally been published in 1920. Examples of the photographs were then included in a traveling exhibit about the development of portraiture titled “Te pareces tanto a mí” shown in Oaxaca, Mexico City, Guadalajara and Puebla in 2010. Carlos A. Códova’s research into Smarth and other early photographers won him the National Photography Essay Prize in 2010 and was published in 2012 as Tríptico de sombras.

By then, another researcher, José Antonio Rodríguez had shown that Smarth was responsible for several photos previously attributed to other famous photographers, including an image of a single alcatraz (calla lily), previously displayed as the work of Edward Weston.

In 2016 there was widespread press coverage when the Patricia Conde Galería in Mexico City assembled a small but powerful exhibition of 20 photographs titled “Smarth: Obras maestras de Librado García, fotógrafo.” A second major exhibit of his works titled “Librado García Smarth: entre el pictoralismo y la vanguardia,” opened 1 July 2021 at Casa ITESO Clavijero in Guadalajara.

The idea that “modern” Mexican photography really got underway only after the arrival of outsiders, such as Tina Modotti and Edward Weston in 1923, needs serious revision. By then, an artistic revolution in Mexican photography was already well underway, led by Smarth and others.

Smarth’s early postcards of Lake Chapala were the starting point for a truly memorable artistic journey, one that helped change the face of Mexican photography and still resonates with art lovers today.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.

Sources:

  • Carlos A. Códova. 2012. Tríptico de sombras. Mexico City: Conaculta/Cenart/Centro de la Imagén.
  • Francisco Javier Ibarra. 2005. “Pioneras de la fotografía en Jalisco.” El Informador: 06 March 2005, 30.
  • El Informador: 3 February 1918, 4; 3 February 1918, 3; 3 September 1919, 4; 17 Feb 1920, 8; 6 Oct 1920, 7; 25 Sep 1921, 5; 23 Aug 1922, 7; 25 August 1922, 7; 6 March 1923, 1, 8; 1 December 1924, 5; 22 November 1925, 8; 1 April 1929, 4; 3 October 1965, 27; 23 October 1966, 25.
  • Arturo Jiménez. 2010. “Fotografías con desnudos de Chucho Reyes y Nahui Ollin dialogarán en Guadalajara.” La Jornada, 8 Sep 2010, 8.
  • Cynthia Pérez. 2016. “El Misterio Detrás de un visionario, Librado García Smart.Cuartoscuro. July 2016.
  • José Antonio Rodríguez. 2011. “Librado García Smart: cortejar a la sombra.” Alquimía. Vol 14, No 41 (Jan-April 2011), 20-36.
  • Pedro Rodriguez Lomeli. 1939. “Decaimiento del Arte en Jalisco”. El Informador, 4 June 1939, 11, 12.
  • Cecilia Vilches Malagón and Martín Romero Sandoval Cortés. 2016. “La tarjeta postal como fuente de información para entender la historia de un país“, in Imatge i Recerca: Jornades Antoni Varés (14es: 2016: Girona) Tribuna d’Experiències – 2016.

Comments, corrections or additional material welcomed, whether via the comments feature or email.

Dec 232024
 

Many of the artists and authors associated with Lake Chapala have clear links to Christmas. Admittedly, some links are more tenuous than others. Here, in no particular order, are some that come to mind:

German-born photographer Hugo Brehme, who is credited with having introduced the first photographic Christmas cards into Mexico. Brehme photographed Lake Chapala more than once; many of his superb black-and-white postcard images are hauntingly beautiful.

Toni Beatty. Christmas Cheer, Mesquite, NM. Print on metal.

Toni Beatty. Christmas Cheer, Mesquite, NM. Print on metal.

Another photographer, Toni Beatty, found creative freedom while living in Ajijic in 1976. The image above (reproduced with her kind permission) is an example of her more recent, extraordinary, work which involves digitally-enhanced photographs printed on metal to emphasize their vivid colors and luminescence.

Both Eunice (Hunt) Huf and Peter Huf, who met and married in Ajijic in the 1960s, were regular exhibitors for many years at Munich’s Schwabing Christmas Market. In 1994, Peter Huf founded the market’s Art Tent, and oversaw its operation until 2014.

The work of several Lakeside artists was included in the “Collective Christmas Exhibition” in December 1968 at Galeria 1728 (Hidalgo #1728) in Guadalajara. These artists included Gustel Foust, Peter Huf, Eunice (Hunt) Huf and José María Servín and Guillermo Chávez Vega.

In California, two Lake Chapala-related artists—Bruce Sherratt and Robert Clutton—had works in the 1971 Christmas Show at the prestigious Vorpal Gallery.

New Orleans poet Mary Ashley Townsend was given a magnificent Christmas present—the Villa Montecarlo in Chapala—by her daughter, Cora, in 1895. Mary Ashley and her husband enjoyed several lengthy stays there over the next few years.

Architect George Heneghan and his wife Molly Heneghan, a graphic designer, first visited Ajijic in 1970 to spend Christmas with Molly’s parents. They liked what they saw, stayed for several years and George designed the Danza del Sol hotel in the village.

Prolific non-fiction author Joseph Cottler (1899-1996), an accomplished guitarist and violinist who visited Ajijic on numerous occasions, co-wrote (with Nicola A. Montani) a musical score entitled “Lovely babe : Christmas carol for three-part chorus of women’s voices with piano or organ accompaniment” (1946).

Illustration by Regina and Haig Shekerjian

Illustration by Regina and Haig Shekerjian from A Book of Christmas Carols.

More Christmas carols came from Regina Tor (deCormier) Shekerjian and her husband, photographer Haig Shekerjian, who were frequent visitors to Ajijic from the early 1950s to the 1980s. They co-wrote A Book of Christmas Carols (1963) and illustrated Nancy Willard’s book The merry history of a Christmas pie: with a delicious description of a Christmas soup (1974).

Numerous artists contributed their work over the years to the annual fundraising greetings cards sold to benefit Amigos de Salud, a non-profit started in 1974 by novelist Joan Frost. They included Daphne Aluta, Jean Caragonne, Gustel Foust, Bill Gentes, James Marthai, Bob Neathery and Georg Rauch. Amigos de Salud supported the Lakeside School for the Deaf and in 1993 merged into the Programa Pro Niños Incapacitados del Lago, whose worthy efforts continue to make a difference to this day.

Enterprising Hollywood actor and artist Todd “Rocky” Karns retired to Ajijic with his wife and family in 1971 to paint, and produce and direct shows at the Lakeside Little Theater. Karns’ best-known movie role was as “Harry Bailey” in the classic Christmas holiday movie It’s a Wonderful Life (1946).

American author Garland Franklin Clifton lived in the Chapala area in the 1960s. He wrote Wooden Leg John. Satire on Americans living in Mexico, a series of 20 letters dated from Christmas Day 1967 to Christmas Day 1968.

Charles Pollock was born in Denver, Colorado, on Christmas Day 1902. He painted for a year in Ajijic on the shores of Lake Chapala in 1955-56, producing his Chapala Series, exhibited in New York in 2007. Charles’s younger brother Jackson Pollock became an icon of the American abstract art movement in the late 1940s and early 1950s.

Also born on Christmas Day (but in 1906) was American journalist Edgar Ellinger, who wrote about “the small, captivating town of Ajijic” in 1953 for the Arizona Republic under the title, “Mexican Town Offers Peaceful Way of Life.”

Frieda Hauswirth Das (1886-1974) painted in Ajijic in the mid-1940s and spent Christmas 1945 in Monterrey, Mexico.

American anthropologist Frederick Starr (1858-1933) attended a performance of the Pastores (Shepherds), a Passion Play, in Chapala in December 1895 and wrote the experience up for an article published in The Journal of American Folklore.

Anthropologist George Carpenter Barker is noteworthy for his editing and translation of a copy of a manuscript found in Chapala in 1948 after a performance of a nativity play on Christmas morning in the village churchyard. The manuscript was apparently committed to paper, from older oral sources, by Aristeo Flores of El Salto, Jalisco, around 1914.

Dudley Kuzell, husband of Betty Kuzell, was a baritone in the Ken Lane Singers and The Guardsmen quartet. The Kuzells lived at Lake Chapala for many years, from the early 1950s. The Ken Lane Singers accompanied Frank Sinatra on his 1945 recording of America the Beautiful; Silent Night, Holy Night; The Moon was Yellow; and I only Have Eyes for You, and on his 1947 recording that included It Came Upon the Midnight Clear; O little Town of Bethlehem; and the iconic White Christmas.

John Maybra Kilpatrick who painted a WPA mural in Chicago in 1947, retired to Ajijic with his wife Lucy in 1964 and lived there until his death in 1972. Kilpatrick had been a commercial artist for the H. D. Catty Corporation of Huntly, Illinois. In 1952, the corporation copyrighted colored Christmas wrapping paper designed by Kilpatrick, entitled “Merry Christmas (Snow scene with 3 figures in front of houses)”.

Novelist, playwright and travel writer David Dodge settled in Ajijic with his wife Elva in 1966. Early in his career, Dodge co-wrote (with Loyall McLaren) Christmas Eve at the Mermaid, which was first performed as the Bohemian Club’s Christmas play of 1940.

Award-winning novelist Glendon Swarthout, whose short story entitled “Ixion”, set at Lake Chapala, was later turned into a screenplay by his son Miles Swarthout as Convictions of the Heart, spent six months in Ajijic with his wife and son in 1951. Among his many successful novels was A Christmas Gift (also known as The Melodeon), published in 1977.

Guadalajara poet Idella Purnell frequently visited Lake Chapala, where her dentist father owned a small home, in the 1920s and 1930s. Her short story “The Idols Of San Juan Cosala“, which we have used as our Christmas post some years, was first published in the December 1936 issue of American Junior Red Cross News and reprinted in 2001 in El Ojo del Lago.

– – – – – – –

Happy Christmas! – ¡Feliz Navidad!

Note: This is a revised version of a post first published in December 2016.

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

Dec 192024
 

A one line comment by Fernando Parra on a Facebook post with an image signed “Foto Esmeralda” caused me to stop dead in my tracks. Foto Esmeralda was one of the three or four most prolific Chapala-based postcard publishers of the twentieth century. Yet, prior to Parra’s comment, I had unquestioningly accepted a claim made elsewhere that Foto Esmeralda was the studio name for the photographer Jesús González Miranda.

Photo by José Cruz Padilla Sánchez. 1950s.

Photo by José Cruz Padilla Sánchez. Date unknown. (1950s?)

However, according to Fernando Parra, the person responsible for photos signed Foto Esmeralda was his late uncle, José Cruz Padilla Sánchez. It is unclear when, or how, the mistaken claim about Jesús González originated, but Parra is absolutely correct that he has no connection to Foto Esmeralda photographs. Even so, it is not quite so simple: it turns out that only some of the photos signed Foto Esmeralda were taken by José Cruz Padilla Sánchez (1933-2005), while others were taken by José Cruz’s father, Demetrio Padilla López (1899-1989).

Demetrio Padilla López and his wife, María Guadalupe Sánchez García, were living in Guadalajara, when José Cruz was born on 3 May 1933. Demetrio, originally from Tonaya, Jalisco, later became a professional photographer, and, according to his granddaughter, one of the first photographers to ply his trade in the late 1930s in Guadalajara’s newly opened Parque Agua Azul.

Recognizing the potential tourist market for photographs at Lake Chapala, Demetrio began to make regular weekly visits to Chapala. José Cruz was eight years of age when he first accompanied his father to the lakeside town in 1941, and did so often thereafter. Demetrio made a simple camera for his son, who, after completing four years of primary education, began to help his father take and develop photographs.

Lakefront bars. Photo by José Cruz Padilla Sánchez. 1958.

Lakefront bars. Photo by Demetrio Padilla López. 1958.

In about 1950, José Cruz’s parents moved to Chapala. They lived in a rented home at Calle Juárez #599, where Demetrio established Foto Esmeralda. The photo studio, used by both Demetrio and José Cruz, remained in operation for roughly 40 years, until the early-1990s.

Not long after moving to Chapala, José Cruz married Consuelo Urzua Beltrán there on 5 July 1951. Tragically, Consuelo died suddenly only seven years later, in 1958. The couple’s two young children went to live with their maternal grandparents at Manzanillo #479 in Chapala. Four years later, in 1962, José Cruz married Mercedes Reyes Aparicio, by whom he had 13 children.

Photo by José Cruz Padilla Sánchez. Date unknown.

Photo by Demetrio Padilla López. Date illegible. (1958?)

In addition to studio photographic work such as formal portraits, Demetrio and José Cruz produced and sold postcards from shortly after their move to Chapala. José Cruz was helped in the studio by a sister, and later by his children, especially his daughter Luz.

From the mid-1950s on, José Cruz supplemented the family income by spending several months many years working as a seasonal laborer in Canada and the U.S. The earliest U.S. social security record of him is from January 1962; the records show that he used several slightly different variants of his name over the years, including José Cruz Padilla, Jcruz Padilla and J-Cruz Padilla. Among other temporary jobs, he picked grapes in California.

Regular trips to the U.S. did not prevent José Cruz from being active in local Chapala politics. For instance, in 1967, Padilla represented the “Sindicato Marinero” in a display advertisement supporting Luis Cuevas Pimienta as a candidate for State Diputado. By 1982, after several years of living full time in Chapala, José Cruz was named a Regidor for PRI in Chapala, and he attended the Grito the following year in that capacity.

José Cruz died in Chapala on 13 February 2005. QEPD.

Photo by José Cruz Padilla Sánchez. Date unknown.

Photo by Demetrio Padilla López. Date unknown.

Foto Esmeralda black and white postcards range, in terms of date, from the mid-1940s to the late 1960s; only a very small number (mainly those showing special events) include precise dates. Because Demetrio and his son both used the studio over such a long period of time, the definitive attribution of particular images to one or the other of the two photographers is fraught with difficulty.

In addition to postcard views, José Cruz also took studio portraits for birthdays and special occasions, and attended parties and events. Many of these studio portraits were taken in front of a beautiful hand-painted backdrop depicting an imaginary, idealized Mediterranean-looking landscape. With the help of family members, he did all the developing and printing out of his own dark room, and finished prints were available before guests left their party. José Cruz strongly preferred to work with the available light, and rarely, if ever, used a flash.

Postcards were displayed and sold on the pier and waterfront in Chapala by family members, with the assistance of local youngsters, who were given a commission for sales to tourists.

When color photography became more accessible, José Cruz added some full color postcards to his portfolio. Developed and printed in Guadalajara, they included several of racing yachts in action on the lake, probably taken around the time the World Flying Dutchman Championships were held at Chapala in 1971. The address given on the reverse of these cards was Manzanillo #479, Chapala (the home where his children were raised by their maternal grandparents).

Photo by José Cruz Padilla Sánchez. Early 1960s.

“Veleros en Chapala” (Chapala sailboats). Postcard. José Cruz Padilla Sánchez. c. 1970.

The advent of relatively inexpensive color photographs initially reduced the appeal of “old-fashioned” black and white images, though, interestingly, many people subsequently reversed their preference, because they decided that monochrome prints were more characterful.

Reliance on having developing and printing done in Guadalajara inevitably led to some issues of quality control, and in some cases, the outright theft of negatives and their unauthorized reproduction. José Cruz’s eldest daughter, Luz Padilla Urzua, recalls how films were sometimes “lost” in Guadalajara, only for prints of photographs taken by her father to show up for sale in street markets and flea markets.

She also shared her belief that her grandfather, Demetrio, had been responsible for introducing Jesús González Miranda to photography, so perhaps there is a link, albeit it a very tenuous one, between González and Foto Esmeralda after all!

Note: The lengthy family tradition begun by Demetrio, and carried on by José Cruz, continues to this day. Two of José Cruz’s children—Adriana and Octavio Padilla Reyes—supplement their work in Chapala as itinerant photographers with private commissions.

Appreciation

My sincere thanks to Fernando Parra for first alerting me to the true authorship of Foto Esmeralda images, and to José Cruz Padilla’s daughter, Luz Padilla Urzua, for explaining details of her father’s life and work to my ever-reliable research assistant, Maricruz Ibarra. Thanks, too, to Dr R B Brown for his generous donation of several Esmeralda postcards.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Three additional Foto Esmeralda images are included in Lake Chapala: A Postcard History, which shares the incredible story of how Lake Chapala became an international tourist and retirement center.

Sources

  • El Informador: 18 Oct 1967; 19 Sep 1983.

Comments, corrections and additional material are welcome, whether via the comments feature or email.

Dec 122024
 

Among several “how to live cheaply in Mexico” books hitting the market in the 1980s was Paradise found: how to live in North America’s best climate for under $300 a month, by R. Emil Neuman, published in 1986.

Neuman-cover

Roger Emil Neuman (1941-2001), born in Detroit, Michigan, on 7 June 1941, was the son of Adolph Neuman (1916-1994), who worked as a designer for Ford Motor Company for 40 years, and his wife, Elizabeth Ann Barker (1917-1995). He graduated from Allen Park High School in 1959, gained a “BS degree” in accounting, and scored in the top 5% of all candidates in his CPA exam.

Neuman died at his home in Carlsbad, California, on 6 November 2001, and was buried alongside family members at the Glen Eden Memorial Park near Detroit, Michigan.

According to one obituary, his resumé included service in the US Army. In Paradise Found, Neuman describes having worked as a Congressional Investigator in Detroit for 12 years, before moving to San Diego in 1978.

In California, Neuman became an early self-publisher and mail order marketer, setting himself up as the president and CEO of United Research Publishers (URP) in Encinitas, California. URP issued about 25 works by 10 different authors between 1978 and 2005, mainly related to either health or self-help topics. It was a highly successful business: his Detroit Free Press obituary claims it was “the most successful mail order book publishing business in the United States” at the time. Neuman, described as kind, brilliant, philosophical and funny,” made numerous generous donations to churches in Michigan and California, and also supported children’s programs in far flung parts of the world.

Neuman grave marker, Michigan

Neuman’s grave marker, near Detroit

The story line of Paradise found: how to live in North America’s best climate for under $300 a month is that Neuman decides to take his retired father to visit Lake Chapala to consider moving there. The book, which includes many photos, is written in non-specialist language (a high school reading level) and was published in relatively large print. The story is told via reported interactions with a series of individuals who explain how they came to retire to the area, and why they love living there.

Neuman offers lots of sage advice along the way, with brief, and largely accurate (at the time), accounts of how house purchases, shopping, language, expenses, migration permits, can best be managed by a newcomer.

As background, he writes that:

Wealthy Americans visited Lake Chapala in the late 1880s. Many Americans built homes and spent part of each year on the Lake. For example, Albert Braniff, founder of Braniff Airlines, built a large home near the Lake is about 1885. Tennessee Williams reportedly spent a good deal of time here writing many of his famous novels.”

Even if the details of this paragraph are not quite right, the basic sentiment is accurate. Relatively wealthy foreigners (not just Americans) certainly visited Chapala in the last decade of the nineteenth century. And there is a house known as Casa Braniff in Chapala, though it has no connection to the Albert Braniff of Braniff Airlines. Casa Braniff, designed by English architect George E King, was completed in 1905 for Guadalajara historian and lawyer Luis Pérez Verdía, who sold it two years later to Mexico’s own “Alberto Braniff,” a Mexico City businessman, with no family connection to the Braniff Airline family. As for Tennessee Williams, he only spent a single summer (1945) in Chapala, while writing “The Poker Night,” the basis for A Streetcar Named Desire.

Neuman’s informants in Paradise Found include Jack (73), who rents a home for “only $150 a month. Nice place. Two beds, full cooking facilities, a courtyard, laundry area, big swimming pool out front.” and who figures that he lives here “for under $300 a month. I mean good living too.” Adjusted for US inflation, $300 in 1986 is the equivalent of about $850 today.

Another informant, Tom, a retired truck driver aged about 55, had found Hawaii and California too expensive, Florida winters too cold, and had been living in Chapala with his wife for several years. Heat and all utilities were less than $5 a month, annual taxes were $27, they had their own cook, gardener and maid, and he “lived like a king on about $600 a month.” Tom told Neuman that he was afraid too many Americans will find out about the place and turn it into a tourist area.

Neuman claims that homes ranged in price from about $15,000 ($42,000 today) for a smaller home of 700 square feet or a fixer-upper, to $350,000 ($982,261 today) for a 4,000-square-foot “mansion.”

He also sagely recommends that “Lake Chapala is not for everyone. Before buying you should rent a home for at least six months. This will give you time to check things out thoroughly before you make a commitment to buy.”

Neuman quotes some typical hotel prices. Rooms (double occupancy) at the Hotel Real de Chapala were $20 a night (more in December), the same price as the Hotel Chula Vista. Double rooms at the Hotel Montecarlo were $22 a night, while for budget travelers, the Hotel Nido charged $7 single and $10 double a night.

Posada Ajijic menu, ca. 1986.

Posada Ajijic menu, ca. 1986. (Click to expand)

Comparing restaurant menus and prices, Neuman describes how La Viuda restaurant in Chapala, around the corner from the Hotel Nido, offers excellent food and service, and is “owned by Gus, who also owns the butcher shop next door where most American buy their meats.” Gus is Gustavo Sánchez, a direct descendant of Chapala-born photographer José Edmundo Sánchez.

Helpfully, Neuman includes menus for La Viuda, as well as the Real de Chapala hotel, El Mesón (Ajijic) and Posada Ajijic, “the main “hang out” for Americans living around the Lake… The Posada is owned by a Canadian couple who have plenty of restaurant experience. That’s why this place is so popular.” The book lists restaurant prices in pesos. At the time the book was published (1986), the exchange rate was about 900 pesos to a dollar, the following year it was 2200 pesos to a dollar. Neuman, who trained as an accountant, clearly published his book at precisely the right time for anyone thinking of moving south!

At the back of the 148-page book are a several pages of simple Spanish vocabulary, and a basic map of Lake Chapala. This map was originally surveyed and drawn in about 1816 by Spanish cartographer José María Narváez (1768-1840), and was subsequently used, with only minor changes, in many later publications, including Terry’s Mexican Handbook (1909), which is the version Neuman reproduces (without credit) in Paradise Found (1986). Few maps can boast such longevity!

Other works written by Roger Emil Neuman include Write Perfect Letters for Any Occasion (1990); You can collect $$$ from Uncle Sam (1975); How to Collect Big $$$ From Uncle Sam (1985); The Complete Handbook of Health Tips: based on the latest dietary and scientific findings and traditional remedies (1985); How You Can Achieve Financial Independence in Mail Order (1986); and The Complete Handbook of U.S. Government Benefits: How to Collect Big from Uncle Sam (1989). Many of these titles were released in more than one edition, and some had foreign language editions.

The books were promoted via nationwide advertising campaigns, which stressed the advantages of ordering direct from the publisher. For example, an advert in 1987 for Paradise Found informed readers that:“You can order direct from the publisher and save. Send only $12.95 plus $1 postage and handling to: United Research Publishers, 249 South Highway 101, Dept. UP-6, Solana Beach, CA 92075.”

The “departments” in the address presumably enabled Neuman to gauge the relative success of different market areas and ad styles.

While Paradise Found is much derided by modern readers as hopelessly out-of-date and wildly inaccurate in terms of prices quoted, the real question is whether or not these claims were valid when the book was written and first marketed. In my view, they were not as wild as often assumed. For example, the somewhat staid Frommer’s Guides to Mexico published, in 1986, one titled Mexico on $20 A Day, which equates to about $600 a month, the same figure quoted by Tom the truck driver.

On the other hand, some of the claims made by Canadian business consultant Thomas McLaughlin in The Greatest Escape, or How to Live in Paradise, in Luxury, for 250 Dollars Per Month, first published in 1983 (and reprinted in 1985), and competing in the same market sector, strike me as far more dubious. McLaughlin (who died in 1987) divided his time between Ontario and Lake Chapala for several years, marketed his book aggressively with the help of a retired business consultant in Ontario, Gerry Gailius, and organized tours to the lake.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.

Sources

  • North County Times: 12 Nov 2001, 14; 8 Jan 2002, 32.
  • Detroit Free Press: 18 Nov 2001, 18.

Comments, corrections and additional material are welcome, whether via the comments feature or email.

Dec 052024
 

Among the miscellaneous, difficult-to-file, items I’ve encountered during my decades of research into the authors and artists associated with Lake Chapala is this curious one-of-a-kind drawing by Basil Merrett.

I got quite excited when I first saw this drawing (listed on eBay in 2016) because it purports to show the house rented by D. H. Lawrence and his wife, Frieda, for their three-month sojourn in Chapala in 1923, during which the English novelist wrote the first draft of The Plumed Serpent.

According to folk art collector and enthusiast Jim Linderman on his personal blog about “outsider art,” Merrett’s work is believed to date from the late 1940s or early 1950s, and is comprised of about 1000 works, mostly postcard size (6″x4″),  divided into several numbered series, each relating to a different topic. The Lawrence drawing is #44 of the “Famous Authors and Poets” series.

Basil Merrett. The D. H. Lawrence house, Chapala.

Basil Merrett. ca 1966? The D. H. Lawrence house, Chapala, in 1923.

Linderman also says that Merrett “was institutionalized at Bethlem Royal Hospital in London as a psychiatric patient.” Bethlem Royal Hospital, which was commonly known in the UK as Bedlam, was founded in the fourteenth century and is England’s oldest hospital for the treatment of mental illness. It is unclear how long Merrett may have been a patient there but, if he was there in the 1930s and 1940s, he would have had to endure some pretty dire conditions. While it came far too late for Basil Merrett, the Bethlem Royal Hospital opened its own gallery, Bethlem Gallery, in 1997, which showcases the work of visual artists who have, or have experienced, mental distress.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

The artist Basil Merrett is believed to be Richard Basil Merrett, born 23 April 1910 in Lydney, a parish on the west bank for River Severn in the English county of Gloucestershire, U.K. His parents were Richard Merrett, a tinworker, and Martha Florence Clarke. They had married in about 1903, and Basil had an elder sister, Florence, born in 1904. Basil reportedly attended the Lydney Craft School (which later became the Lydney Art School).

In 1939, according to the Register for Gloucestershire, Basil Merrett was still living with his parents; the Register lists his “occupation” as “incapacitated.” Without knowing any details of the psychological challenges faced by Basil, we can only surmise that his care allowed him ample opportunity for reading and art. Basil Merrett, illustrator extraordinaire, died in July 1969 and was buried in Lyndley.

DH Lawrence house in Chapala, ca 1950, Photo by Roy MacNicol

D H Lawrence house, Chapala, ca 1950. Photo: Roy MacNicol (Moore & Roberts, 1966)

Basil Merrett’s source for his illustration of the Lawrence House in Chapala in 1923 was certainly not based on any first-hand experience of Mexico. It was apparently based on this photograph, which appears in Moore and Roberts’ book D. H. Lawrence and his world, published by Thames and Hudson in 1966, where it is credited as “Lawrence’s house at 4 Zaragoza, Chapala, Mexico. 1923. Photo R. MacNicol.” It is unknown if the photograph had been published previously, though if Merrett’s illustration actually dates from the 1950s, then clearly it must have been! (If you know of an earlier publication featuring this photo by Roy MacNicol, please get in touch!)

In any event, the date of 1923 given in Merrett’s caption cannot be correct. First, the photographer—American artist Roy MacNicol (1889-1970)—was nowhere near Lake Chapala in 1923. MacNicol first visited Chapala in the early 1950s, and bought (and added a second story to) this house in 1954. His photo presumably shows the house at about the time he purchased it. Secondly, the photograph clearly shows the house after its remodeling in about 1940 by the famous Mexican architect Luis Barragán, who, as described in a 1941 article in House and Garden, added the highly distinctive “oriental halfmoon entrance gateway” shown in the photo.

So, sadly, even though Basil Merrett thought he was drawing the D. H. Lawrence house in Chapala in 1923, he was, in fact, drawing the house as it appeared some thirty years after Lawrence’s visit.

Source

  • M. O. Goldsmith. 1941. “Week-end house in Mexico: G. Cristo house, Lake Chapala.” House and Garden, vol 79 (May 1941).
  • Harry T. Moore and Warren Roberts. 1966. D. H. Lawrence and his world. London: Thames & Hudson.

Comments, corrections and additional material are welcome, whether via comments or email.

Nov 282024
 

The iconic landmark right in the heart of Chapala commonly known as Casa Braniff (Paseo Ramón Corona 18) was originally built by influential Guadalajara lawyer and historian Luis Pérez Verdía. The building has significant historical and cultural connections.

Construction of this magnificent edifice began in 1904 on the site of Chapala’s sixteenth century friary, close to the parish church. By the end of the nineteenth century, the friary buildings had fallen into disrepair and were used by the Hotel Arzapalo as stables for the teams of horses that pulled their stagecoaches.

Romero ? / S. Altamirano. c 1925. San Francisco Church and Casa Braniff.

San Francisco Church and Casa Braniff, c. 1925. Photo: Romero (?). Publisher: S. Altamirano.

To design his new home, Pérez Verdía commissioned British architect George Edward King, who had previously built Villa Tlalocan for the British consul, Lionel Carden, and who, with his son, had offices in several Mexican cities, including Guadalajara. Expected to cost $30,000, the “fine residence” was to be “a modern structure in every way.” By June, with work well underway, the estimated cost of the house had already risen to $40,000. Contrary to later conjecture, the bricks for Pérez Verdía’s house were not imported from Europe; they came from King’s own brickyards, located alongside the Central Mexican Railway on the southern outskirts of Guadalajara.

When the house was completed early in 1905, the state government agreed to exempt the property from all municipal and state taxes for a period of ten years.

Two years later, in March 1907, Pérez Verdía offered José Yves Limantour, the federal finance minister, the use of his house over the upcoming holidays. Apparently, the letter only reached Limantour after he had already arrived in Chapala. Shortly afterwards, Pérez Verdía sold the house, complete with its furnishings, for $57,000 to Alberto Braniff, a wealthy Mexico City businessman, who bought it as a gift for his widowed mother.

The quixotic design of the house, now the Restaurant Cazadores, was perfectly encapsulated in words by American poet Witter Bynner, who first saw it in 1923 while in Chapala with D. H. Lawrence: “We came by a pretentious Victorian brick villa, in the convulsive style of architecture—bay windows, turrets, cupolas, stained-glass windows.”

Casa Braniff (with church behind). Photo: Tony Burton, 2007.

Casa Braniff (with church behind). Photo: Tony Burton, 2007.

Who was Luis Pérez Verdía?

Pérez Verdía, born in 1857, grew up in the intellectual milieu of Guadalajara and was a member of the Ateneo Jalisciense, Jalisco’s leading artistic-scientific society. The society, active at the very start of the twentieth century, brought together a host of distinguished writers, artists and musicians, including photographer José María Lupercio, violinist and painter Félix Bernardelli, and artist and author Gerardo Murillo (Dr. Atl).

In the 1880s, Pérez Verdía was the lawyer in Guadalajara who represented Ferrocarril Central Mexicano (Mexican Central Railway) as it acquired land and overcame all obstacles to build its spur line, completed in 1888, connecting the city to existing tracks at Irapuato.

Pérez Verdía was the official representative for Jalisco at the 11th International Americanistas Congress in Mexico City in 1895, an event also attended by Cora Townsend and her mother, Mary Ashley Townsend (Cora bought Villa Montecarlo as her mother’s Christmas present that year!),  British consul Lionel Carden, who had already begun building Villa Tlalocan, and anthropologist Frederick Starr.

Pérez Verdía was involved in various development projects in Chapala. In 1896, he reportedly bought Isla de Alacranes (Scorpion Island) from the federal government for “the nominal sum of twenty-one dollars.” He planned to pay a bounty to rid the island of scorpions and “convert the Isla into a pleasure resort like Coney island.” About five years later, he sold the island to Ernesto Paulsen, who intended to build a “general sporting resort” there. The island, a site revered by the indigenous Huichol people, is partially protected today.

Pérez Verdía was also a member of the group of powerful and well-connected individuals that formed the Jalisco development company in 1902, with grandiose plans to build an electric railroad from Guadalajara to Chapala, hotels, supply electric light to all settlements from Jocotepec to Chapala, and finance large scale irrigation works, and install a public potable water system in all towns.

A similarly powerful group, including Pérez Verdía, founded the Chapala Yacht Club in 1904, though it would take another six years before it finally realized its goal of constructing a lengthy pier with boathouse and clubhouse.

In 1905, the Chapala council empowered Luis Pérez Verdia to represent them in their efforts to get help from the Jalisco State government to combat the proliferation of lirio (water hyacinth) that had invaded the harbor during the rainy season. Documents in Chapala’s archives show that a contract was drawn up with Jesús Cuevas for daily cleaning of the beach, with all lirio to be removed by boat for disposal elsewhere.

Besides working as a lawyer, and later as a magistrate and state congressman, Pérez Verdía founded Jalisco’s college for teachers (Escuela Normal). He took up a diplomatic post as Minister of Mexico in 1913 in Guatemala, where he died the following year.

Pérez Verdía’s three-volume Historia Particular del Estado de Jalisco (1910) was an astonishing labor of love which remained an important source of state history for decades, prior to being superseded by the monumental four-volume multi-author Historia de Jalisco in 1982.

Pérez Verdía’s many other published works include Apuntes Históricos de la Guerra de Independencia en Jalisco (1886); Compendio de la Historia de México (1892); Biografía del Sr. Don Prisciliano Sánchez (1881) and Estudio biográfico del Sr. Lic. D. Jesús López Portillo (1908).

Pérez Verdía claimed custody of his granddaughter

Luis Pérez Verdía married Trinidad Pérez González Rubio in Guadalajara in 1877. Their daughter, Aurora Pérez Verdía, fell in love with José Ignacio Arzapalo Pacheco, the son of businessman and hotelier Ignacio Arzapalo (who had opened his eponymous hotel in Chapala in 1898) and his second wife, María Pacheco. Aurora and José married in 1900, and their only child—María Aurora—was born the following year. Tragically, Aurora died shortly after giving birth. A few years later, in 1904, the little girl also lost her father. She was then cared for by her paternal grandparents.

But tragedy struck again. Her grandfather, Ignacio Arzapalo Sr., died in 1909, only a year after he had opened his second elegant hotel in Chapala, the Hotel Palmera. According to Arzapalo’s will, both hotels plus his life insurance and some property in central Guadalajara were left to María Aurora (then aged 7), with Lic. Enrique Pazos appointed as María Aurora’s guardian to manage her affairs until she came of age. This inheritance was worth at least US$300,000 at the time (equivalent to $7.5 million today); for whatever motives, Luis Pérez Verdía, her maternal grandfather, immediately challenged the arrangement.

When the ever-impatient Pérez Verdía decided that his legal challenge was proceeding too slowly, he took matters into his own hands. He kidnapped María Aurora in broad daylight from her nurse in a public park in Guadalajara, and contested Pazos’ right to be her guardian and administer her share of the estate. Not surprisingly, this sequence of events led to sensationalist press headlines.

One version, “Wealthy Orphan Vanishes,” claimed that orphan Aurora Arzapalo, heiress to millions, had been kidnapped and that the police had arrested several suspects among her relatives, “all of whom are wealthy but would fall heir to some of the Arzapalo millions if the child were out of the way.”

The drawn-out legal case, which caused a scandalous rift between two of Guadalajara’s most distinguished families, who had at least two direct ties by marriage, eventually wound up in the Supreme Court, where Pérez Verdía finally won. But this success was short-lived. While serving as Mexican ambassador in Guatemala, Pérez Verdía died there in 1914. María Aurora, still barely a teenager, then lived in Chapala with her paternal grandmother, María Pacheco.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Sources

This article is based on several chapters of If Walls Could Talk: Chapala’s Historic Buildings and Their Former Occupants translated into Spanish as Si las paredes hablaran: Edificios históricos de Chapala y sus antiguos ocupantes. For detailed references, please refer to the notes in that book.

Note

The author is proud to announce that the Asociación de Cronistas Municipales del Estade de Jalisco, A.C. (Association of Municipal Chroniclers of Jalisco) recently awarded him the Luis Pérez Verdía medal for his research into the history of the Lake Chapala area.

Presea Luis Perez Verdia, 2024

Comments, corrections and additional material are welcome, whether via the comments feature or email.

Nov 212024
 

The most prolific photographer of Chapala of all time was Jesús González Miranda (1898-1995). Active for over half a century from 1938 until the late 1980s, González signed the bulk of his work, including hundreds of picture postcards, “FOTO. J. GONZALEZ“.

Jesús González. c 1950? Fishermen on beach.

Jesús González. c 1950? Fishermen on beach.

González was in his mid-thirties when he first arrived in Chapala. Born in Cuquío, Jalisco, on 17 January 1898, the son of Florencio González and his wife, Maria Miranda, he lived much of his childhood and youth in Guadalajara where his first occupation (of many he would hold during his lifetime) was as a hairdresser, working at a shop on calle Juan Álvarez.

Life in the city led to him becoming a fan of the theater and González participated in shows at the Teatro Degollado and Teatro Principal as a dancer and member of the chorus. This gave him the opportunity to meet many of the famous artists of the time.

Jesús González. c 1940? Water supply from the lake via 'pipones.'

Jesús González. c 1940? Water supply from the lake via ‘pipones.’

In Guadalajara, on 22 September 1922, he married 21-year-old Isabel (“Chabelita”) Mireles Cruz, from Sabinas Hidalgo in the state of Nuevo León. González gave his occupation to the notary registering the marriage as “painter.” The couple, who had no children, subsequently moved to Chapala.

According to Javier Raygoza, González initially moved to Chapala to join his uncle, Dionisio Miranda, in 1926, and stayed to work in a hairdressing salon owned by Juan Enciso. González’s second wife and children told me that he first moved to Chapala a few years later, in 1932.

Jesús González. c 1940? Folk dancing on 8 December in front of parish church.

Jesús González. c 1940? Folk dancing on 8 December in front of parish church.

Regardless of when he first arrived, González was soon regularly providing music for dances, weddings and special events. While Raygoza suggests that González was the first person to introduce public music and movies to Chapala—when he set up speakers, a record player and other equipment on the main plaza in 1933—a fellow photographer, José Edmundo Sánchez (who died that year), had previously done something similar most Saturday afternoons.

Jesús González. c 1960? Boats on the beach.

Jesús González. c 1960? Boats on the beach.

González began taking photographs and producing postcards in about 1938, specializing in taking portraits of individuals and groups of visitors, the famous and the not-so-famous, enjoying themselves near the pier or in the Beer Garden, the iconic restaurant-bar overlooking the beach. He apparently learned photography from Demetrio Padilla López, a Guadalajara-based photographer who visited Chapala regularly in the 1930s. Business was especially brisk on weekends and holidays.

Jesús González. c 1938? #A-1 - crowded beach.

Jesús González. c 1938? #A-1 – crowded beach.

In his early years in Chapala, prior to the demolition of buildings in central Chapala to create Avenida Francisco I. Madero, the main thoroughfare leading direct to the pier, González photographed patrons of the Widow’s Bar (Cantina de la Viuda). Its proprietor was María Guadalupe Nuño, whose husband, José Edmundo Sánchez, had published numerous postcards of Chapala in the 1920s and early 1930s.

In addition to portrait photos, González also sold hundreds of different postcards featuring local buildings and views at a time when there was a clean, sandy beach in front of the Beer Garden, and when day-trippers outnumbered residents most weekends.

In captioning his postcards, González employed several different numbering systems, the meaning of which he took with him to the grave, making it close to impossible to identify specific series or dates. Very few González images can be precisely dated, though the details of individual buildings and scenes, many of which changed significantly during his lengthy photographic career, do sometimes allow us to narrow the time frame for when they must have been taken.

Jesús González. c 1967. Iconic photo of swimmers on pier. (Fig 8.19 of Lake Chapala: a postcard history)

Jesús González. c 1967. Iconic photo of swimmers on pier. (Fig 8.19 of Lake Chapala: a postcard history)

Some months after the death of his wife, Chabelita Mireles, and following a chance encounter involving a bicycle, González married Margarita Manzo on 30 March 1966. They had three children, the eldest born in 1970.

González, whose nickname was “El Chorchas,” was accorded due recognition for his outstanding photographic endeavors in a television segment devoted to his work. Unfortunately, an attempt organized by Javier Raygoza in the early 1990s to produce a book of González’s photographs as a tribute to the great photographer ultimately came to nothing.

José de Jesús González Miranda died in Chapala on 13 December 1995.

Jesús González. c 1945. Lakefront bar (right) in front of tower of Villa Ana Victoria (demolished a few years later)

Jesús González. c 1945. Lakefront bar (right) in front of tower of Villa Ana Victoria (demolished a few years later)

Over his fifty-plus years of photographing Chapala, an extraordinary number of subjects had stared, at one time or another, into his lens as he captured school groups, weddings, ceremonies, and all manner of public and private events.

Several years after his death, a number of González’s photographs were published in two collections relating to Lake Chapala arranged by Manuel Galindo Gaitán. According to Galindo, González “left an important collection of photos, irrefutable testimonials of life at Lake Chapala from the earliest years of the last century.” The sentiment is correct even if the time frame is not.

González has bequeathed us a treasure trove of images, a visual testimony whose cultural context and historical significance demand that they be adequately safeguarded for future generations to appreciate.

Jesús González. Date unknown. Sunset over lake.

Jesús González. Date unknown. Sunset over lake.

Appreciation

My sincere thanks to Margarita Manzo viuda de González and her children for answering my questions about Don Jesús, and for their generosity in sharing examples of his postcards. My thanks, also, to Rogelio Ochoa Corona for introducing me to the family and for sharing his personal recollections of ‘El Chorchas,’ and to the late artist Sylvia Fein, who gave me several González postcards dating from the mid-1940s.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Several additional González images are included in If Walls Could Talk: Chapala’s Historic Buildings and Their Former Occupants (translated into Spanish as Si las paredes hablaran: Edificios históricos de Chapala y sus antiguos ocupantes) and in Lake Chapala: A Postcard History, which shares the incredible story of how Lake Chapala became an international tourist and retirement center.

Sources

  • Aurelio Cortés Diáz. 1988. Semblanzas tapatías, 1925-1945. Guadalajara: Gobierno de Jalisco, 175.
  • Manuel Galindo Gaitán. Estampas de Chapala (2 vols). Guadalajara: Ediciones Pacífico, S.A., Vol 1 (2003) and Vol 2 (2005).
  • Javier Raygoza Munguía. 1995. “Don Jesús González Miranda “El Chorchas”.” Página Que sí se lee! 18 de diciembre de 1995, edición 49.

Comments, corrections and additional material are welcome, whether via the comments feature or email.

Nov 142024
 

Among the many Canadian visitors to Lake Chapala in the 1970s were Harry Furniss and his second wife, Enid. Late in life, Harry, the grandson of English artist and cartoonist Harry Furniss (1854-1925), wrote a three volume memoir, full of off-beat memories and humor, interspersed with small line drawings. It includes a chapter about visiting long-time friends Leslie and Eleanor Powell in Chapala, who first settled there in 1973.

Harry and Enid Furniss

Furniss cover

Raised in Montreal, Harry Furniss (1920-2015) wrote radio dramas in his spare time, and served in the Royal Canadian Air Force (RCAF) during World War 2 (when he was captured by the Germans), before being appointed Director of Public Relations (RCAF) Overseas, in London, U.K. He married his RCAF-Womens Division aide, Enid, in London, in 1947. Enid (1911-2016), of English, Spanish and French heritage, had driven ambulances in London during the blitz.

After they settled in Canada, Harry spent a decade as a journalist for the Toronto Telegram, Reuters news agency, and The Vancouver Province, and then established his own corporate public relations consultancy. After decades of building and cruising pleasure boats on the rugged coast of British Columbia, Harry and Enid lived their final years in Victoria on Vancouver Island. Married for 68 years, Harry died there on 26 November 2015, at the age of 95, and Enid the following year on 27 December 2016.

The third volume of Harry’s memoir, Family & Friends, includes a chapter about visiting friends, Leslie and Eleanore Powell, who had settled in Chapala some years earlier.

Leslie and Eleanore Powell

U.K.-born Leslie Cooke Powell (1908-1999) was working at the Montreal Gazette when the second world war erupted. He joined the RCAF public relations department during the war, and served in North Africa, Italy and Northwest Europe, before being appointed Director of RCAF Public Relations (Overseas), based in London, England, where—in 1946, a year after the war ended—he married Canadian journalist Eleanore Roberta Martin.

Back in Canada after leaving the armed services, Powell worked as the Montreal Gazette’s aviation and military editor, before starting his own public relations company. He subsequently became the national PR director of the Canadian Red Cross Society, and of Canadair.

Eleanore Powell was a reporter for the Ottawa Citizen during the Second World War. After joining the women’s division of the Royal Canadian Air Force, she worked as a public relations officer in Ottawa, Newfoundland, and later for the RCAF Overseas headquarters in London, England. In 1999, following her death, her estate established the Robert and Alyce Martin journalism scholarships (named after her parents) for students entering the Master of Journalism program at Carleton University in Ottawa.

What was Chapala like in the 1970s?

The Powells’ first visit to Chapala was in 1973, and they subsequently visited the lake many times (and had a house there) in many of the next 17 years. Chapter 4 of Furniss’s book includes excerpts from letters he and Enid had received from the Powells describing their time at Chapala.

Sketch by Furniss

Sketch by Furniss

On their first trip, in 1973, the Powells drove down and stopped for a couple of nights at the Rincón del Montero hotel in Parras de la Fuente en route to to Mexico City. A week later, they drove west along Highway 15 to Morelia and then branched off along the southern shore of Lake Chapala to Jocotepec, where they stayed at La Quinta, then run by Bob Whipple: “It took us nine hours to drive from Mexico City to our ultimate destination, Jocotepec. An excellent road, much of it toll, with beautiful scenery.”

They stayed in a two room unit at La Quinta, which cost, for two, including three meals a day, $310 Cdn a month, plus 10% for service. After two weeks, the Powells “chanced upon an idyllic little house nearby at Chapala” and signed a one-year lease. Needing help with the Spanish in the lease, they were referred to a fellow Canadian (Bill Strange) who lived nearby. He wasn’t home, so Powell asked an English-speaking lawyer to check the contract. The lawyer refused any payment when he learned that the two men shared a mutual friend: “my old hometown pal and once-Mayor of Montreal, Pax Plante, who now lives in retirement nearby!”

Pacifique Plante

French Canadian lawyer Pacifique “Pax” Plante (1907-1976) became known as “the “Elliot Ness” of Montreal, after fighting city crime in the 1940s and 1950s and organizing the prosecution of many notorious gangsters and mafia members. Plante retired to Mexico in 1958 and lived there to his death in 1976. Understandably paranoid about the need for privacy and security, Plante built his retirement home high on the hillside east of Jocotepec. It had a commanding view over the only access route which winds up from the highway, and was designed to be mistaken from a distance for a chapel, not a private dwelling.

In one of those strange coincidences in life, Bill Strange turned out to be Captain William Strange, who had been Director Public Relations (Navy) Overseas when Powell held the equivalent position in the RCAF. Strange, and his wife, architect Jean Strange, had retired to Chapala in 1965, and the coincidences did not end there. Powell later learned that Strange had married his WREN assistant, just as he had married his RCAF-WD aide.

Once they had their casa (rent $64.00, all prices in Canadian dollars), the Powells were able to slash their living expenses. Return trips to Guadalajara on the air-conditioned coach were $1.45 for two. Pork was $1.80 a kilo, a pint of strawberries 40 cents, a cleaning lady charged 40 cents (then five pesos) an hour. For relaxation, the waters at San Juan Cosalá beckoned for $1.28 a day. They estimated that two people could easily live in Chapala at that time on $200.00 a month.

When the Funisses visited the Powells in 1975, they discovered that other mutual friends—John and Lenore Clare—were already occupying the Powells’ guest quarters, so they took a room at the Hotel Nido for $6.80 a night for two, including dinner.

John and Lenore Clare

Clare-coverJohn Purvis Clare (1910-1991), who studied at the University of Saskatchewan, served as a public relations officer for the Royal Canadian Air Force in North Africa. During his lengthy journalistic career, Clare worked for The Saskatoon Star Phoenix, The Globe and Mail, The Toronto Telegram, and was the war correspondent for the Toronto Daily Star, as well as managing editor of MacLean’s Magazine and an editor at Chatelaine and Geos. His short stories were published in The Saturday Evening Post, Collier’s and many other magazines. He also wrote The Passionate Invaders, a humorous novel, published in 1965, about ‘the first armed invasion of the United States from Canada in more than a hundred years.’

Lenore Reinke Clare (1907-1991) worked for the T. Eaton Company before accepting a position with RCA Victor, with involvement in all phases of casting, writing, producing and recording. She then built and managed a recording studio for Harry E Foster, and continued to work there through the war. She married John Clare in 1945, joined the CBC in 1957 and was a supervising script editor at CBC, in charge of the script department, from 1959 to 1972. Her wide-ranging interests helped take CBC’s radio plays to a whole new level.

After a few days catching up with their friends, the Furnisses then took a self-contained casita in a U-shaped motel in Ajijic, which cost $160 a month. They stayed for a month or so, exploring Ajijic and its environs.

Later letters to the Furnisses from the Powells include references to a “bang up July 1 (Canada Day) party at the Chula Vista Motel” given by Hector Márquez (who owned the main farmacia in Chapala), a paragraph musing on the possibility of becoming the Honorary Canadian consul in Chapala, and delight following the 1976 devaluation of the peso that everything was now even cheaper than previously. In 1977, the Powells rented a different house for the winter for $75 a month.

The Powells returned to Chapala in 1984, after a gap of four or five years, and rented a two-bedroom casa with huge garden for $160 a month. The following year, they rented a place for the winter in Guadalajara. Their last trip to Mexico was over the winter of 1989-90.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
Foreign Footprints in Ajijic: Decades of Change in a Mexican Village explores the history of the artistic community in Ajijic.

Sources

  • Harry Furniss. 2003. Family and Friends, A memoir, vol 3. Canada: Trafford Publishing.
  • The Times Colonist (Victoria, BC): 5 Dec 2015; 13 Jan 2017.
  • North Bay Nugget: 28 May 1991, 12.
  • Telegraph Journal: 19 Dec 1949, 3.
  • The Toronto Star. 1991. Clare, Eleanor (Reinke). (obit). The Toronto Star, 29 July 1991, 50.
  • Le Devoir: 11 August 1976, 6.

Comments, corrections and additional material are welcome, whether via comments or email.

Nov 072024
 

One of the more interesting formal publications relating to art in Chapala is a 44-page booklet titled A Cookbook with Color Reproductions by Artists from the Galería, published by La Galería del Lago de Chapala in 1972, and copyrighted by Arthur L. Ganung, the gallery’s then president.

A Cookbook with Color Reproductions (1972). Cover image: Eleanor Smart. Women with Green Hair.

A Cookbook with Color Reproductions (1972). Cover image: Eleanor Smart. Women with Green Hair.

Small full-color illustrations of original artwork are interspersed with dozens of recipes shared by members of the gallery and their friends. The recipes range from Cheese Straws – Ajijic (submitted by Neill James), Sopa de flores de calabaza (Antonio Cárdenas P.), Pork nopal (Gloria Marthai) and This is the best roasted chicken you ever ate (Russell Bayly) to Hungarian Meetatay (John R. Seybold) and Corn Flake Banana Bread (Hudson Rose).

The visual artists whose work is featured in the cookbook are Luis Avalos, Antonio Cárdenas, Marian Carpenter, Jerry Carr, Tom Faloon, Priscilla Frazer, John Frost, Arthur Ganung, Virginia Ganung, Lona Isoard, Antonio López Vega, Luz Luna, Robert Neathery, Eugene Nowlen, Marjorie Nowlen, José Olmedo, Hudson Rose, Mary Rose, Eleanor Smart, and Jack Williams.

Luis Avalos (age 12). Primavera. Watercolor.
Luis Avalos (age 12). Primavera. Watercolor.
Luis Avalos (age 12). Primavera. Watercolor.
Antonio Cárdenas. Canoa. Oil.
Antonio Cárdenas. Canoa. Oil.
Antonio Cárdenas. Canoa. Oil.
carpenter-marian-abstract
carpenter-marian-abstract
Marian Carpenter. Abstract. Weaving.
carr-jerry-red-lilies
carr-jerry-red-lilies
Jerry Carr. Red Lillies. Acrylic.
faloon-tom-la-mujer
faloon-tom-la-mujer
Tom Faloon. La Mujer. Watercolor.
frazer-priscilla-patzcuaro
frazer-priscilla-patzcuaro
Priscilla Frazer. Pátzcuaro. Duco.
frost-john-nude-with-flower
frost-john-nude-with-flower
John Frost. Nude with Flower. Silk Screen.
ganung-arthur-market
ganung-arthur-market
Arthur L. Ganung. Market. Acrylic.
Virginia Ganung. Birds. Batik.
Virginia Ganung. Birds. Batik.
Virginia Ganung. Birds. Batik.
Lona Isoard. Fruits Still Life. Oil.
Lona Isoard. Fruits Still Life. Oil.
Lona Isoard. Fruits Still Life. Oil.
Antonio López Vega. Iglesia. Watercolor.
Antonio López Vega. Iglesia. Watercolor.
Antonio López Vega. Iglesia. Watercolor.
Luz Luna. Aztec. Collage.
Luz Luna. Aztec. Collage.
Luz Luna. Aztec. Collage.
Robert Neathery. Red Rain. Oil.
Robert Neathery. Red Rain. Oil.
Robert Neathery. Red Rain. Oil.
Eugene Nowlen. Festival. Mixed media.
Eugene Nowlen. Festival. Mixed media.
Eugene Nowlen. Festival. Mixed media.
Marjorie Nowlen. Happy moments. Collage.
Marjorie Nowlen. Happy moments. Collage.
Marjorie Nowlen. Happy moments. Collage.
José Olmedo. El indio. Yarn.
José Olmedo. El indio. Yarn.
José Olmedo. El indio. Yarn.
Hudson M. Rose. Anciano. Pastel.
Hudson M. Rose. Anciano. Pastel.
Hudson M. Rose. Anciano. Pastel.
Mary Rose. Untitled. Etching and aquarelle.
Mary Rose. Untitled. Etching and aquarelle.
Mary Rose. Untitled. Etching and aquarelle.
Eleanor Smart. Woman with green hair. Acrylic.
Eleanor Smart. Woman with green hair. Acrylic.
Eleanor Smart. Woman with green hair. Acrylic.
Jack Williams. River of Love. Mixed media.
Jack Williams. River of Love. Mixed media.
Jack Williams. River of Love. Mixed media.

La Galería del Lago de Chapala, often called simply Galería del Lago, was the most important and influential Ajijic art gallery in the 1970s. It was a cooperative non-profit founded on 27 November 1971 by Arthur and Virginia Ganung, assisted by Charlotte McNamara, Jack Williams and John Frost.

The gallery had about twenty founder members, and some 180 artists had purchased memberships by the time the gallery opened in the former Ajijic public market on the north side of the plaza (now the Ajijic Cultural Center), next door to what was then the village cinema.

The gallery was determined to be inclusive and appeal to the entire community, both Mexican and non-Mexican. It arranged evening lectures, a massive village fiesta on the plaza and classes in painting, craft-making and ceramics.

In August 1974 the the Ganungs departed Ajijic and the gallery moved to Colon 6, across from El Tejaban, for a couple of years, with Katie Goodridge Ingram as president. Having grown up in the village, she was particularly determined to encourage young Mexican talent and immediately established a fund to pay for materials and framing. The gallery also branched out by offering a Christmas exhibit of batiks in the garden of Quinta Johnson (then owned by Ingram’s mother, Helen Kirtland), concerts, an Art and Craft Bazaar, and a series of gourmet candlelight dinners.

In 1976 the gallery had outgrown its Calle Colón location and moved to larger premises on the north side of the highway near the gas station.

The list of artists shown at Galería del Lago is a Who’s Who of the artists then working in Ajijic. In addition to those featured in the cookbook, noteworthy exhibitors included Frank Barton, Jean Caragonne, Conrado Contreras, Frank Kent, Dionicio Morales, John Peterson, Julián Pulido, Georg Rauch, Sylvia Salmi, Gustavo Sendis, Sheryl Stokes Sourelis, Leonie Trager and Betty Warren. The gallery also displayed and sold paintings by the young artists of the Childrens Art Program.

The gallery also mounted group shows in 1976 in Guadalajara and Puerto Vallarta. Galería del Lago closed in 1977. After that, Ingram arranged monthly shows until 1983 at a smaller gallery inside her mother’s store, Mi México. (Ingram, later an award-winning poet, wrote a memoir about her early life in Ajijic, titled According to Soledad: memories of a Mexican childhood.)

Note: The history of Galería del Lago comes from chapter 41 of Foreign Footprints in Ajijic: Decades of Change in a Mexican Village, a book which explores the origins and history of the artistic community in Ajijic.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Source

  • La Galería del Lago de Chapala. 1972. A Cookbook with Color Reproductions by Artists from the Galería. Ajijic, Mexico: La Galería del Lago de Chapala. (Guadalajara, Mexico: Boutique d’Artes Gráficas, 1972).

Comments, corrections and additional material are welcome, whether via comments or email.

Oct 312024
 

Relatively little is known about the life of Thomas L. Rogers, the American author of Mexico? Sí, señor, based on a trip to Mexico in July 1892, and published the following year by the Mexican Central Railway. The book provides an up-beat accessible account of all the places and regions that the then-expanding railway network was opening up for travelers.

At that time the Mexican Central Railway was the principal railway of the Republic, with 1846 miles of line; it was the only standard gauge line connecting Mexico City to the U.S. First class rail fares at the time were very reasonable: return fares to Mexico City were $50 (dollars) from El Paso; $88.60 from Chicago and $135 from New York or Boston.

The book covers the sights along not only the Mexico Central Railway’s main route from Ciudad Juárez to Mexico City, but also along its two major branch lines: the first to Tampico, and the second to Guadalajara via Irapuato. The completion of this latter branch in 1888 spurred a significant growth in tourism at Lake Chapala, and was the route used by many of the early visitors to Chapala, including eccentric pioneer Septimus Crowe, English  writer Maud Pauncefote, British consul Lionel Carden, American writers Charles Embree and Mary Ashley Townsend, and anthropologist Frederick Starr. American photographer-hotelier Winfield Scott , who lived for many years near Ocotlán, was commissioned by the Mexican Central Railway to document the company’s network in Mexico.

Rogers’ writing style is informal and chatty. Mexico? Sí, señor is well illustrated with small sketches, photographs and several maps. Chapter XVI includes one of the earliest published photographs (untitled) of Ocotlán, as well as images of the Atequiza hacienda, the Río Lerma, and the famous Juanacatlán Falls. (Note, however, that the photograph he includes titled “On the Lake Shore’ (by A. Briquet) depicts Lake Cuitzeo, not Lake Chapala.)

Excerpts from chapter XIV of Mexico? Sí, señor

Ocotlán is situated on a plain which slopes southward a few miles into the shore of the lake. With its pretty plaza, beautiful church spires, its portales, and its two bridges (one over the Sula, south of the village, and one west over the Lerma), Ocotlán is very picturesque.

The water front of the city is on the Sula, just above the bridge. Here a novel sight is seen on the levee. No great steamers are moored there, but scores of great canoes are loading and unloading, or waiting for the spirit of their captains to move. These canoes have hitherto done all the business on Lake Chapala.

The water works of Ocotlán are not extensive, but such as they are, they can be seen at the bridge across the Lerma, over which passes the highway to Guadalajara. They consist of one large wheel and a pump. The wheel is on a frame under one of the arches of the bridge. The current of the river runs the wheel, and the wheel, of course, runs the pump. But rivers in this region rise and fall, and there are times when this wheel is six feet above the water. Whenever the current cannot reach the wheel, the people of Ocotlán get their water by carts and carriers.

The steamer “Chapala” is a flat-bottom stern-wheel boat, very like those that are common on the shallow rivers of the West; the only boats adapted to shoal-water service. Everything about the steamer appears new, but one of the things not new on the “Chapala” is Juan Perez, the pilot. He is not necessarily old, but he is a veteran in service….

The steamship Chapala. From Thomas Rogers (1893), p222.

The steamship Chapala. From Thomas Rogers (1893), p222.

The sail along the north shore from Mescala to the town of Chapala is delightful. We seem, at times, to be shut in, but the pilot finds a way out and duly brings us to a pretty little city which nestles at the base of a sugar loaf mountain, and which is the largest town on the lake. A fine old church is one of the attractions of the town for visitors, but the hot springs which boil up not far from the plaza have given Chapala fame as a health resort. The springs, although not numerous… have made Chapala a favorite resort of the people of Guadalajara and vicinity, and when better known will attract people from a greater distance. “Charming” is the word to describe Chapala; I doubt if there is another town in Mexico more prettily situated. A short distance from shore is a large island, which is made use of as a picnic ground. The view from the hill immediately back of the town is one of great beauty.

It is an interesting sight to see the water works of Chapala in operation. No wheels, no pumps, no fountains; only dippers. The lake is the reservoir, and women are the dippers. They wade out as far as they please, fill their jars as full as they please, shoulder them and march home. No scooping with gourds as at Zacatecas, for water is plenty, and no one has to wait for another.

Chapala is sure to become more and more a favorite watering place. Already there are some fine summer “seaside” cottages there, and in the offing you can see a yacht! With a combination of delightful climate and hot springs, with mountain climbing, boating, bathing, and fishing as recreations for visitors, why shouldn’t charming Chapala become the finest health and pleasure resort in Mexico?

The next port is Xocotopec, at the extreme western end of the lake. The town lies in a pretty valley three miles back from the lake, and is the center of an extensive rural trade. Returning along the south shore we find no towns of commercial importance, but do find a succession of beautiful views which charm by their variety. We pass San Martin, San Cristobal, Tuscueca, and see, partly hidden by groves of orange and lemon trees, the flourishing city of Tizapan which reposes on the hillside two miles from the lake, along the little Rio de la Pasion.

We sail over what is supposed to be an oil well, some signs of which appear on the surface of the lake; we touch at the fisherman’s village with the pretty name, La Palma, and thence complete our eighty mile circuit of Lake Chapala by a direct return to Ocotlán, where we resume our railroad journey.

Who was Thomas L. Rogers?

Thomas L Rogers was born at Pownal, Vermont, on 2 August 1851, and died in Brookline, Massachusetts at the age of 59 on 19 June 1901. He was survived by his wife and six children.

Rogers was a prominent Baptist minister, and publisher of The Watchman (formerly The Christian Watchman), who graduated from the Newton Theological Institution, before serving in Cleveland and Scituate. He spent the winter of 1880-81 traveling in Arizona, southwestern California and Mexico. He was appointed Vice-President of the Board of the California Southern Railroad in 1881. The President of that railroad was his father-in-law Thomas Nickerson.

Rogers’ railroad links were probably a key reason why he was offered the commission to write Mexico? Sí, señor.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
The text is an edited excerpt from chapter 36 of Lake Chapala Through the Ages: an anthology of travelers’ tales which explores the history of Lake Chapala from 1530 to 1910 based on more than fifty original sources. The significance of the Mexican Central Railway in fomenting the nascent tourist industry at Lake Chapala at the end of the nineteenth century is explained, with a detailed route map, in chapter 2 of Lake Chapala: A Postcard History.

Sources

  • Thomas L. Rogers. 1893. Mexico? Sí, señor. Boston: Mexican Central Railway Co.
  • Boston Evening Transcript: 20 Apr 1881, 2; 20 June 1901.
  • Los Angeles Evening Express: 4 May 1881, 3.
  • Los Angeles Times: 8 Jan 1882, 1.

Comments, corrections and additional material are welcome, whether via comments or email.

Oct 242024
 

José Edmundo “Pepe” Sánchez Rojas (c. 1888-1933), the son of Juan Sánchez and Ceferina Rojas, was born and raised in Chapala. His paternal grandparents were the exceptionally long-lived J. Guadalupe Sánchez (1806-1896) and María Dolores Pantoja (c 1799-1905), who died in Chapala on 22 May 1905, aged 106, according to her death registration. Jose Edmundo’s immediate family included individuals who served as mayor of Chapala (on more than one occasion) and as administrator of the local postal service, a position of some prestige at the start of the twentieth century.

We know nothing about José Edmundo Sánchez’s early life, education, or how he gained proficiency as a photographer. But he is the first professional photographer born in Chapala, and he appears never to have taken photographs anywhere else. Over a relatively short but productive career, he produced hundreds of real photo postcards, at a time when the town’s tourism attractions were gaining international attention.

He did have sidelines. In 1920, Sánchez and a friend—the renowned architect Guillermo de Alba—opened a bar named the Pavilion Monterrey in Chapala where food and drinks were served in an open-air pavilion facing the lake. The bar was just back from the beach, mid-way between the Arzapalo Hotel and the Casa Braniff (now the Cazadores restaurant). De Alba helped run the bar until 1926 when he moved to Mexico City.

José Edmundo Sánchez. Lakefront, Chapala, c. 1920.

José Edmundo Sánchez. Lakefront, Chapala, c. 1920.

By happy coincidence, both Sánchez and de Alba were keen and skilled photographers. Their discerning eye and considerable talent resulted in numerous sensitive and artistic images of Chapala, among the finest images of the town ever taken. While de Alba does not appear to have ever commercialized his photographic work, Sánchez certainly did. He took a large number of views of Chapala and was keen to sell them, going so far as to emblazon “tarjetas postales” in paint across the wall of his lakefront bar. Sanchez also sold photography-related items, and developed and printed films for others. In addition, he showed movies on Saturday afternoons, years before any formal cinema was established in the area, and at a time when the town only had one power plant.

José Edmundo Sánchez. Beach and boat trips, Chapala, c. 1920.

José Edmundo Sánchez. Beach and boat trips, Chapala, c. 1920.

Sánchez married María Guadalupe Nuño in about 1920; the couple made their home at Calle San Miguel (now Lopez Cotilla) #18. She helped run the bar, perhaps to make sure her husband and his pals did not drink all the profits.

In addition to raising several children, María Guadalupe accidentally hit upon the recipe to ensure the family’s future financial security. By the time D. H. Lawrence and the American poet Witter Bynner arrived in Chapala in 1923, she had perfected a chaser for tequila, made of freshly-squeezed orange juice, spiced up with salt and powdered red chile peppers. Vegetable coloring was later added to heighten the chaser’s blood-red color. The chaser, christened sangrita (“little blood”), quickly became the preferred accompaniment for tequila drinking sessions, and its fame spread nationwide.

Tragically, José Edmundo Sanchez’s photographic career came to an abrupt end when he died of gunshot injuries at his home in Chapala on 15 July 1933; he was only 45 years old.

José Edmundo Sánchez. Boats, Chapala, c. 1920.

José Edmundo Sánchez. El puerto, Chapala, c. 1920.

[Aside: At about the time Sánchez died, a specially commissioned plinth was placed alongside the bar for a unique twenty-year-old sculpture of a lioness, created by master stonemason Faustino Gil, using volcanic ash collected from the streets of Chapala after the major eruption of Colima Volcano in January 1913. Later photos show only an empty plinth, and the plinth itself was destroyed when Avenida Francisco I. Madero was created in about 1950. Does the sculpture still exist somewhere in Chapala? Is the lioness prowling the streets at night?]

Sánchez’s photographs

American poet Witter Bynner, who knew a thing or two about art, described Pepe Sanchez as “an expert photographer, whose prints of Chapala are a selective and artistic record of its aspects in those years.” Another American who lived in Chapala in the 1920s, the artist Everett Gee Jackson, also knew Sr. and Sra. Sánchez at that time and was delighted to be instantly recognized by Widow Sánchez when he and his friend Lowelito paid a return visit to the town in 1950 and visited her bar for a drink: “I was surprised at the reception she gave me. She greeted me as an old friend, although I had known her but slightly, as the wife of Mr. Sánchez, the village photographer.”

José Edmundo Sánchez. Chapala. Postcard reproduced courtesy of Ing/ Mario González García.

José Edmundo Sánchez. Chapala, c. 1910. Postcard, courtesy of Ing. Mario González García.

Among the early photos taken by Sánchez is one of the Gran Hotel Victor Huber, which was located across the street from the Hotel Arzapalo. The hotel was only in operation under this name for a short time, from 1908-1909, before it was renamed Hotel Francés. It is likely, though, that (as is the case for several other old buildings in Chapala) the sign on the upper story remained in place for some years after the hotel had been renamed. All known Sánchez photographs were taken in, or very near, Chapala.

Most of Sánchez’s photographs, including those reproduced and sold as picture postcards, almost certainly date from the 1920s and start of the 1930s. From an historical viewpoint, noteworthy images include panoramic views from Cerro San Miguel, showing how modern villas sprawled along the lakeshore west of town, and several superb images taken under trying circumstances in October 1926 when the lake level rose so high that it flooded all the low-lying areas of the town, including the Chapala Railroad Station.

José Edmundo Sánchez. Casa Capetillo, Chapala, 1926.

José Edmundo Sánchez. Casa Capetillo, Chapala, 1926.

Sánchez used several different photographic papers for his postcards, and added several distinct signatures, ranging from his initials J.E.S. to a flowery, elaborate cursive script spelling “Sánchez”, and, most commonly, a single “S„ alongside a distinctive initial C (with an elongated tail) for “Chapala.” Only a very small number of his cards include a date. The wide range of cards he produced begs for further research to try to establish if the various signatures were used sequentially or concurrently.

At least one Sánchez photograph—of shoreline villas as seen from the lake—was reprinted by Mexico City photographer Hugo Brehme in the late 1920s. It is unclear whether or not Brehme purchased the rights, though the reverse side of the reprint carries the typical Brehme handstamp: “Propriedad Asegurada Hugo Brehme.”

Of the postally used examples of Sánchez postcards I’ve seen, the prize for the most poignant message goes to a young girl named Hilda, who wrote on a card showing sailboats in Chapala, which she then mailed to her father in Tampico: “Dear Daddy, How are you? I am waiting for a letter from you or I won’t send another card. Love from Hilda.”

Photographs taken by Sánchez have rarely appeared in print media, but are frequently reproduced—almost invariably uncredited—in social media posts relating to Lake Chapala. The surviving work of pioneering local photographer José Edmundo Sánchez is an important part of the cultural heritage of Mexico’s first international tourist destination, and deserves our recognition and respect.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

If Walls Could Talk: Chapala’s Historic Buildings and Their Former Occupants, translated into Spanish as Si las paredes hablaran: Edificios históricos de Chapala y sus antiguos ocupantes, has more about Sánchez and the early history of tourism in Chapala, while Lake Chapala: A Postcard History—which gives a broader sweep of the area’s development—includes several additional Sánchez photographs.

Note. Several descendants of José Edmundo Sánchez were apparently also keen photographers, though attempts to locate examples of their work have so far been unsuccessful.

Sources

  • Witter Bynner. 1951. Journey with Genius. New York: The John Day Company.
  • Aurelio Cortés Diáz. 1988. Semblanzas tapatías, 1925-1945. Guadalajara: Gobierno de Jalisco.
  • Chente García. 2002. “Chapala.” Chapter in Jaime Alvarez del Castillo (coordinator). 2002. Arquitecto Guillermo de Alba. Guadalajara: Editorial Agata/Fotoglobo.
  • Everett Gee Jackson. 1987. It’s a long road to Comondú: Mexican adventures since 1928.

Comments, corrections and additional material are welcome, whether via comments or email.

Oct 172024
 

Educated Italian traveler Adolfo Dollero (1872-1936) resided in Mexico for many years. Though not published until 1911, his book México al día relates to travels in Mexico in 1907-10. The work is a large volume (almost a thousand pages) and covers almost the entire country, with details of activities, ranches, villages, towns and cities, together with a partial listing of hotels and significant stores and services. Dollero was interested in the economic opportunities Mexico offered, and considered that improved transport routes would allow the nation’s natural wealth, mines, caves, lakes, coast and rivers to be fully exploited.

Dollero title pageDollero was born in Turin in November 1872. He moved to Mexico in 1895, but continued to make regular return trips to Europe. In 1898, he married Maria Luisa Paoletti, countess of Rodoretto (the daughter of the Italian vice consul to Mexico) in Mexico City. Eight years later, in 1906, the couple—now with two children, Ernastina and Lamberto, and a Mexican servant—are named on the passenger manifest of a boat back from Europe. The couple added twin boys to their family in 1912.

Towards the end of 1914, the difficult political circumstances in Mexico caused the family to  relocate to Cuba, where they remained until 1921, when they returned to Mexico. The family also lived for periods of time in Colombia and Venezuela. Dollero died in Mexico City in September 1936.

In migration records, Dollero described his profession variously as “publicist”, “publisher”, “author” or “press.” A Colombian book by Rito Rueda Rueda describes Dollero as a historiographer who agreed with the opinion of the geographer Eliseo Reclus “that all the native Americans belong to the same ethnic group despite their diversity of customs and their four hundred languages.”

The title page of México al día refers to future English, French, Italian and German editions of the book; however, only the Italian edition ever saw the light of day, and not until 1914. Dollero also wrote books on Cuba (1916, 1919, 1921), Colombia (1930) and Venezuela (1933).

His account of the Lake Chapala area, which he visited in 1909, includes descriptions of the towns, climate and fertility of the lakeshore, as well as the gold and silver mines in the area, and the names of the major landowners. The only hotel listed for the “bathing resort of Chapala,” is the Hotel La Palmera, managed by Francisco Mántice, and the only store he lists is Juan Sanchez é hijos, selling ‘Ropa y Abarrotes’ at the intersection of calle Muelle (now Avenida Francisco I Madero) and calle Agua Caliente (now Avenida Hidalgo).

Dollero stayed at the Hotel Palmera—designed by Guillermo de Alba for owner Ignacio Arzapalo— which had opened in 1908 adjacent to the Hotel Arzapalo. (One section of the Hotel Palmera later became the Hotel Nido, which was acquired by the Chapala municipality in 2001 for its main municipal offices.)

José María Lupercio. c 1907. Chapala. (Dollero p 435)

José María Lupercio. Chapala, c. 1907. (Dollero p 435)

Dollero’s account of the Chapala region is illustrated with four small photographs: one (above) credited to “Jup.” (sic) (= José María Lupercio) and three—The Isla del Presidio, aka Mezcala Island; a chalet on the lakeshore (Casa Capetillo); and boats in Ocotlán—credited to Winfield Scott.

The following excerpts from México al día (translations by author) give a sense of what most interested Dollero:

Chapala is a village of no more than 3000 inhabitants, but its privileged location and truly unbeatable climate have made it the meeting place for the most important Mexican families, especially those from the Republic’s capital and Guadalajara.

On the shores of the lake, or at the foot of the hills that are reflected in its water, are magnificent chalets. The President of the Republic, General Porfirio Díaz, himself likes to spend some vacation time here at the end of Lent in the company of his close friends. Then the lake acquires a special liveliness: hundreds of steam launches and boats plow through the water in every direction; everywhere there are high society parties and lots of money is spent. It is a shame that this liveliness has been, up to now, very short lived; it has always been restricted to a few months of the year, perhaps on account of the communication difficulties.

From the station at Atequiza, we were shaken for more than two and a half hours in an uncomfortable diligence, which was certainly not very agreeable. They assured us, however, that within a short time a branch line of the railroad would be started to remove the only obstacle which up to now has prevented Chapala from being a place of happiness year round.

We were staying in the hotel La Palmera, belonging to a congenial Italian citizen Mr. Francisco Mantice. The hotel was first rate and the cooking, distinctly French and Italian, was therefore very satisfying.

Chapala has, in general, good land, especially that which is on the shores of the lake; some fields are less fertile than others. Besides dedicating themselves to agriculture, the inhabitants also fish; fine fish are abundant, as are turtles and various species of aquatic birds, some of them valued highly for their very fine feathers.

Lake Chapala measures some 100 kilometers in length and its maximum width is 24 kilometers.

There are some mines for gold and silver in Ajijic, but, judging by what has been discovered in them up to now, they are not very rich. Some traces of petroleum have been found in the lake, but tests have shown it to be insufficient for exploitation.

The sand of the lake contains lots of quartz and silica and could be used for the manufacture of glass: there was already one bottle factory, which was closed down for lack of capital. Several thermal springs also exist in Chapala: one of them is ferruginous and another one sulfurous.

After two days in Chapala, Dollero departed for Ocotlán on board the small steamship Raúl:

Our voyage lasted four hours and proved extremely interesting. Black storm clouds were gathering on the horizon, and from time to time a ray of sunshine shone through them for a few moments to fleetingly illuminate the top of this or that greenish hill before becoming hidden again behind other clouds, still blacker and heavier . . . .

We passed a short way off the island of Alacranes and afterwards very close to Presidio Island, where we could clearly distinguish the old walls, almost destroyed, of the gaol that existed there long ago… The island appeared to be abandoned. Only a very short time after we had passed Presidio Island, we saw a huge vertical column shaped like an enormous serpent appear on the horizon.

We had the opportunity to see for the first time the phenomenon of a water spout, which greatly interested us, though we would have preferred to meet it on board a large steamer rather than the extremely fragile Raúl. However, the little steamer’s owner, who had not put down the telescope, calmed us down shortly afterwards, assuring us that the wind from the North that was blowing strongly at the time would have changed the direction of the water spout or would have destroyed it. In truth, some twenty minutes later, the column of water did become less dense, becoming gradually like a bow before disappearing completely. . . .

The left bank gradually acquired an extraordinary liveliness: house followed house; then came ranches and haciendas which they told us belonged to American citizens who had changed them into poetic residences with an abundance of flowers, fruit and cattle. A more enchanting landscape could not be planned.

At last, we entered the River Zula and then clearly saw the small churches of Ocotlán and to the right the Hotel Rivera Castellanos and the haciendas of El Fuerte, also extremely pleasant places, and very popular with North Americans, great lovers, as is known, of natural beauty.

Dollero then describes Ocotlán:

Ocotlán is a small town of 5000 inhabitants with a lot of commercial activity. The products of all the lake arrive here. Given this, it attracted our attention that there was no wharf and that the small steamers and different vessels had to moor alongside the trees on the banks! We were told, however, that a Mr. Ramón Flores, a person of initiative and capital, had requested authorization from the Secretariat of Communications and Public Works to build a suitable one within a short period of time.

Ocotlán is a true granary: since all the region is fertile, canoes come here from all directions with loads of cereals, fruit, matting of tule (an aquatic plant that is very abundant in these parts). On some occasions, the dozens of warehouses belonging to the Railway Company and private owners, and the wagons of the Tram Company, which sometimes transport up to 3000 loads a day—an enormous quantity considering that Ocotlán is more a town than a city—are not sufficient.

The countryside is splendid: irrigation, already practiced on a vast scale, will soon be on an even larger one, once the magnificent project of Mr. Manuel Cuesta Gallardo, for which the Federal Government has made important concessions, has been carried out.

Dollero then describes the proposed irrigation system, noting that the irrigation company will make a ‘fairly good profit’ by selling parcels of the land ceded to it by the Government, and that Cuesta Gallardo had reached ‘extra-judicial agreements’ with the most important of those landowners who had initially opposed the scheme. Dollero also commented on the likely high agricultural productivity of the reclaimed, irrigated land, for fruit trees, grapevines, chickpeas, corn and cattle.

In a later section, Dollero turns his attention to the resources found on the southern shore of the lake, and makes some pertinent observations:

The District of Jiquilpan, to which Cotija also belongs, is very rich. A short distance from Cotija are large deposits of iron oxides, zinc sulfides, copper sulfate and carbonate: the mountains have mica, talc or anhydrous magnesium silicate, and kaolin (hydrated aluminum silicate) for the manufacture of porcelain, etc.

There are also fine construction woods, many fruit trees, a large variety of medicinal plants, and the terrible weed that causes temporary madness, that is to say marijuana (Cannabis indica).

Near La Palma, on the shores of Lake Chapala, part of which belongs to the State of Michoacán, a lot of stone suitable for blade-sharpening is also found.

Source

  • Dollero, Adolfo. 1911. México al día. (Impresiones y notas de viaje). Paris-Mexico: Librería de la Vda. de C. Bouret, 435-441, 456.
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

This post is based on chapter 51 of Lake Chapala Through the Ages: an anthology of travelers’ tales, which focuses on the period 1530-1910. For more recent history of the region, see Lake Chapala: A Postcard History.

Comments welcomed via email or via comments feature on this post.

Oct 092024
 

Despite not being a native of Chapala, Guillermo de Alba (1874–1935) left a diverse and rich legacy in the city. De Alba was born in Mexico City. After his family moved to Guadalajara, de Alba attended the Escuela Libre de Ingenieros, from which he graduated as an Ingeniero Topógrafo (engineer-surveyor) in 1895. [At that time the school did not offer any professional qualification as an architect.]

It is evident from the accounts of de Alba’s grandson—Martín Casillas, a prominent author and novelist, who has published several works relating to his grandfather—that, after graduating, Guillermo de Alba spent some time in Chicago where he was influenced by the Chicago School of architecture. (The Chicago School was a style or movement, not an institution.) In Chicago, de Alba likely studied recently completed buildings, and perhaps met the two most famous proponents of the Chicago school: Dankmar Adler and Louis H. Sullivan (‘form follows function’), who had dissolved their own architectural partnership in 1894, a year or two before de Alba’s visit.

By 1898, de Alba, still in his early twenties, was living in Chapala and working in construction with Manuel Henríquez. De Alba married Maclovia de Cañedo y González de Hermosillo (1859-1933) in Chapala in 1900, and their only child, Guillermina, was born two years later.

In the first two decades of the twentieth century, de Alba designed and built numerous fine residences and commercial buildings in Guadalajara and Chapala, before moving to live in Mexico City in 1926.

His works in Guadalajara included the Hotel Fenix, Casa Abanicos and Villa Guillermina, but the most dramatic of all, in terms of impact on the city, was the major project to develop Colonia Moderna, a new ‘garden city’ neighborhood.

At Lake Chapala, de Alba’s earliest large project was to design a country residence, originally named Villa Cristina, at the eastern end of the lake near Hacienda Cumuato, for José G. Castellanos and his wife, Cristina, in 1903. This building was later acquired by Joaquín Cuesta Gallardo and his wife, Antonia Moreno Corcuera. After decades in ruins, efforts are now apparently underway to restore the property, commonly known as Hacienda Maltaraña.

Not long afterwards, De Alba was asked by Ignacio Arzapalo to design a major hotel in the then small settlement of Chapala. Arzapalo already owned the Hotel Arzapalo, the area’s earliest purpose-built hotel, which opened in 1898, and had realized that Chapala needed another large hotel if it was to satisfy the growing demand for rooms. The de Alba-designed Hotel Palmera was completed in 1907. De Alba’s other works in Chapala include Mi Pullman (1908), a remodeling of Villa Ave María (1919), Villa Niza (1919), and the Chapala Railroad Station (1920).

Hotel Palmera (1907)

Hotel Palmera, c. 1908. Photo: Calpini.

Hotel Palmera, c. 1908. Photo: Calpini.

The 60-room Hotel Palmera, built at a cost of $100,000, was completed in 1907, and opened the following year. It was described at the time as a “modern construction, brick, iron and cement”, with “fine woodwork,” “American furnishings, electric bells” and a “dining room for 400 people.” Following a change of ownership in the 1920s, the building was divided into two independent hotels. The southern wing, purchased by Ramón Nido and his Mexican wife, Sara, reopened in 1930 as the Hotel Nido. In 2001, this wonderful old building was repurposed as the town’s Palacio Municipal. The building’s stairwell has a magnificent 240-square-meter mural by talented and energetic Ajijic artist Efrén González depicting local history.

Mi Pullman (1908)

Mi Pullman, 2019. Credit: Tony Burton

Mi Pullman, 2019. Photo: Tony Burton

Built on an unusually narrow lot, Mi Pullman, at Aquiles Serdán #28, is one of the most distinctive private residences in Chapala. This tall, skinny building, inspired by a Pullman rail car, was built as de Alba’s family home. Its construction, which began in 1907, was completed in June 1908. The house-warming party for the completed residence was a grand formally attired affair, as was to be expected given the owner’s growing reputation as an architect.

By the 1990s (and several owners later) the building had fallen into a terrible state of repair, before its potential was recognized by English-born Rosalind Chenery. Chenery eventually purchased the building, and restored this intriguing narrow Art Nouveau townhouse to its former glory, inside and out. It retains many original fixtures and fittings, including oak wood parquet flooring, stained glass windows, tile floors and a cast iron bath tub. Chenery’s multi-part account of her extraordinary achievement can be read on MexConnect, starting with Mi Pullman: remodeling a Mexican Art Nouveau townhouse.

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Pier (1908)

In 1908, Guillermo de Alba was entrusted with adding steps to the east side of Chapala pier (which had been completed a decade earlier), and with some renovations to its surrounds.

Calle Lourdes (1909)

Guillermo de Alba was commissioned in 1909 by Aurelio González Hermosillo, the owner of Villa Montecarlo, to lay out a new street, lined with palm trees, named La Calzada de las Palmas. On the final day of that year, the street was the scene of a hill-climbing contest for automobiles. The vehicle which made it all the way to the top, and won the competition, was a German-made Protos with five passengers driven by Benjamín Hurtado. The short street is known today as Calle Lourdes.

Street plan of Chapala (1915)

Guillermo de Alba's 1915 street plan of Chapala. (Chapala archives)

Guillermo de Alba’s 1915 street plan of Chapala. (Chapala archives)

We are indebted to de Alba for the earliest known street plan of Chapala, dating from 1915. This is an immensely valuable historical document, indicating the then limits of the small but growing settlement.

Automobile road (1916)

When fund raising began in 1916 to build a new automobile road between Guadalajara and Chapala, de Alba was elected the group’s treasurer. Several prominent individuals each gave $5000 to supplement a state government grant of $23,300. The new road made it much easier for wealthy families to visit Chapala, even if only for a day, or over a weekend.

Photography and Chapala’s first tennis court (1918)

Guillermo de Alba. 1918. Tennis match, Chapala. (Aquellos tiempos en Chapala)

Guillermo de Alba. 1918. Tennis match, Chapala. (Aquellos tiempos en Chapala)

The lakefront restaurants immediately west of the Beer Garden in Chapala occupy property that was once used for the area’s earliest lawn tennis courts. They were laid out by Guillermo de Alba in 1918, just after the end of the first world war, and financed by Ramón Castañeda y Castañeda, whose daughter, Margarita, had learned to play tennis “at one of the best schools in England” and was one of the top players in Guadalajara.

Besides his work as an engineer-architect, de Alba was also an excellent photographer. We are indebted to him for some fine pictures of Chapala dating from the early years of the twentieth century.

In 1920, Guillermo de Alba helped a fellow photographer—José Edmundo Sánchez—open Pavilion Monterrey, a beachfront bar where food and drinks were served in an open-air pavilion, located mid-way between the Hotel Arzapalo (the Beer Garden today) and the Braniff mansion (Cazadores restaurant).

Villa Ave María (1919)

Villa Ave María, 1919. Credit: Guillermo de Alba

Villa Ave María, 1919. Photo: Guillermo de Alba

At Aquiles Serdán #27, across the street from Mi Pullman, is Villa Ave María. It is believed that Guillermo de Alba remodeled an existing building on this site in 1919 to create the stately villa shown in the image. Ninety years later, following many modifications, this building was registered as a three-unit condominium.

Villa Niza (1919)

Villa Niza, c. 1920. Credit: José Edmundo Sánchez

Villa Niza, c. 1920. Photo: José Edmundo Sánchez

Villa Niza, at Hidalgo #250, was designed by Guillermo de Alba for Guadalajara businessman Andrés Somellera. Completed in 1919, the house makes the most of its lakeshore position with a mirador (look out) atop its central tower offering sweeping panoramic views over the gardens and lake. De Alba’s strong geometric design boasts only minimal exterior ornamentation. Villa Niza has been well maintained over the years and retains many of its original interior features.

Chapala Railroad Station (1920), now the Centro Cultural González Gallo

Centro Cultural González Gallo (former Chapala Railroad Station), 2019. Photo: Tony Burton

Centro Cultural González Gallo (former Chapala Railroad Station), 2019. Photo: Tony Burton

The crowning glory of Guillermo de Alba’s architectural career in Chapala was the elegant and imposing former Chapala Railroad Station, now the Centro Cultural González Gallo. Work on this building began in 1918, commissioned by visionary Norwegian entrepreneur Christian Schjetnan as the terminus for the La Capilla-Chapala railroad, and was completed in 1920. While Schjetnan envisioned that this grand station terminus would be a focal point for a major hotel, magnificent park and scores of beautiful residences—a breathtakingly ambitious idea—the rest of the project never made it beyond the drawing board. The railroad closed in 1926 and the station building eventually fell into disuse. Restoration of the historic building began in 1998, and it was reopened as a Cultural Center in 2006. It retains some original flooring and architectural details, though tall glass panels were added to protect the formerly open station vestibule from any adverse weather.

Cerro de San Miguel (1930s)

After moving from Chapala to Mexico City in 1926, de Alba worked as a draftsman in the Secretaría de Recursos Hidráulicos drawing designs for bridges and dams. He retained a keen interest in Chapala, and was asked in 1931 by the town’s then mayor, Basulto Limón, to design a walkway to the top of Cerro San Miguel with shelters and pergolas near the top to serve the needs of visitors who climbed the hill for the panoramic view. Sadly, this plan was apparently never carried out.

Did Guillermo de Alba design the Hotel Arzapalo (1898)?

Though the design of the Hotel Arzapalo, which opened in 1898, has sometimes been attributed to Guillermo de Alba (including in a display honoring de Alba in the Centro Cultural González Gallo), his name does not feature in any of the contemporaneous accounts of the hotel’s construction or opening celebration. For this reason—and others detailed in If Walls Could Talk—I do not believe that de Alba designed the Hotel Arzapalo, though it is possible that he helped with its construction. The claim may have arisen from a misreading of this (admittedly ambiguous) sentence on page 116 of Antonio de Alba‘s Chapala: “A los 7 años, habiendo progresado la empresa, edifice el mismo Sr. Arzapalo, bajo la dirección del Ing. Guillermo de Alba otro hotel, el ‘Hotel Palmera.'” (“After 7 years, the business having progressed, the same Mr Arzapalo built, under the direction of Engineer Guillermo de Alba another hotel, the ‘Hotel Palmera.'”)

Regardless of who designed the Hotel Arzapalo, Guillermo de Alba made an incomparable contribution to Chapala’s history and heritage, bequeathing us several superb buildings which have not only withstood the test of time but which are still worthy of our admiration more than a century after they were first built.

Note: More details of these projects can be found in If Walls Could Talk: Chapala’s Historic Buildings and Their Former Occupants, translated into Spanish as Si las paredes hablaran: Edificios históricos de Chapala y sus antiguos ocupantes. My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how the small village of Chapala morphed into an international tourist and retirement center.

Sources

  • El Informador: 17 Oct 1918, 1.
  • J. Jesús González Gortázar. 1992. Aquellos tiempos en Chapala. Guadalajara: Editorial Agata.
  • Jaime Álvarez del Castillo (coordinator). 2002. Arquitecto Guillermo de Alba. Editorial Agata / Fotoglobo.
  • María Dolores Traslaviña García. 2006. Guillermo de Alba. Gobierno de Jalisco Secretaría de Cultura.
  • Brigitte Boehm Schoendube (coord.), Cartografía Histórica del Lago de Chapala.

Comments, corrections and additional material are welcome, whether via comments or email.

Oct 032024
 

What was Italian Count Giuseppe Antona doing at Lake Chapala in 1895? Shooting as many teal ducks as possible! And he wrote all about it for The Detroit Free Press.

Who was Giuseppe Antona?

Count Alessandro Giuseppe (sometimes Guiseppe) Valerio Antona was born in Asli, Italy, on 10 May 1865 and died in Detroit, Michigan, on 27 January 1931. According to a short piece about him in The Detroit Free Press shortly after he moved to the US in 1893, he had previously worked for the Italian government, and came from an old Piedmont family.

His grandfather was “the Count of Casale and Montebello until the Austrian domination in Italy obliterated the title with many others in Piedmont.” Following the death of his elder brother in February 1894, Giuseppe theoretically succeeded to the “earldom and estates of Barraggio, including one of the largest and most valuable vineyard tracts in all Piedmont,” in the event that his family’s title was ever restored by King Umberto I, as was widely expected to happen at the time. Unfortunately for Antona, the King was assassinated in 1900.

In April 1894 a Mexican newspaper reported that “Sra Annetta Josefa Valerio-Antona and Sr Alessandro Giuseppe Valerio-Antona, Italian writers who have lived in US for some time” were staying at the Hotel Humboldt for a couple of months, with plans to write articles for US news outlets and a book about Mexico. This report was not entirely accurate. Annetta Josefa Halliday (1866-1949) was American, not Italian, and went to Mexico as a special correspondent for the Chicago Times. Giuseppe did not marry Annetta until 26 June that year; the newlyweds received a cable of congratulations from President Porfirio Díaz and his wife.

Despite being offered a post as Secretary to the Italian Royal Legation in Cairo, Egypt, Antona chose to remain in Detroit, and do some writing alongside investing in real estate, construction, a chemical business and the wine trade. Annetta continued her established career in writing and lecturing. Less than a month after their marriage, Annetta gave a presentation on “Mexico, the Egypt of the New World” at the Chateau Frontenac in Quebec City, Canada. Annetta also taught history and art at the Ganopel School of Musical Art. She was also reportedly working on a book about Mexico, titled The Florence of Mexico, based on her knowledge of Mexico and Mexican customs. Whether by coincidence or not, this was precisely the same title as a work by Mexican diplomat Eduardo A Gibbon published a few years earlier. She also published articles in Town Topics, Smart Set, Munsey’s, McClure’s, Scribner’s, Collier’s, Good Housekeeping, Outing and the New York Tribune.

The Antonas’ only child, Janice, was born in Michigan on 15 June 1901. Eleven years later, in 1912, Detroit society was shocked to the core when the “Count and Countess” were arrested in relation to the sudden death of their housekeeper, and were held behind bars for several days. According to press reports, their housekeeper, Miss Lizzie Fleming died at the age of 63 on 4 July after a short illness, and her body was cremated the following day. Suspicions were arisen because a few days prior to her death, Fleming made a will leaving virtually everything to Mrs. Antona. Her relatives in Ohio, who did not learn about her death until a few weeks later, claimed that Fleming had often expressed a horror of cremation and had already purchased a cemetery lot for her burial, and demanded an investigation.

What did Giuseppe Antona write about Chapala?

Antona opens his article with an exaggeratedly poetic description of Lake Chapala, setting the scene for the spring morning when he set off with three friends (one of them the son of the American consul) to shoot waterbirds at the lake. After taking the train from Guadalajara to Atequiza, the four gun-toting sportsmen’s plans to take the stage coach to Chapala were thwarted—”rendered impossible by the conductor’s illness”—so they “procured horses with some difficulty for ourselves and one extra for provisions and ammunition,” before riding south to the lake.

Antona’s article is illustrated by two unsigned sketches, which may well be the author’s own work: one of the village of Chapala, and the other of an unidentified tiny lakeshore village.

After riding through “Rancho del Mirador” and three small haciendas—San Nicolas, Labor and Buena Vista— the group approached Chapala, entering the village through a “rustic wood gate” designed to keep village livestock (and people) off the adjoining hacienda land. (Mexican Herald correspondent Owen Wallace Gillpatrick, who rode from Atequiza to the lake about three years later, claimed to have ridden through about a dozen ranches, separated by gates which were opened “at the rate of a centavo a gate, which is cheap as gates go.”)

In the 1890s the village of Chapala was tightly sandwiched between the Hacienda del Cuije (to the west and north) and the Hacienda de la Labor (to the east). As Antonio de Alba wrote decades later in Chapala, the northern limit of the village until some years into the twentieth century was approximately along the line followed by calle Degollado. It was several years after Antona’s visit before the local haciendas lost their territorial power, and Chapala had room to expand.

Antona’s visit predated the opening of the Hotel Arzapalo in 1898, so where did he stay? Arriving in Chapala, Antona and his friends “dismounted at the Inn of the ‘Nueva Purissima,’ [which] was more suited to be called a stable than anything else.” According to Antona, the rooms had no windows, a description which does not match the small inn where Eduardo Gibbon had stayed a few years earlier. Antona’s hostelry was the (no longer extant) building called “Mesón de la Purísima,” located where the Plaza Chapala Hotel (Avenida Madero #232) is today.

Antona-Image

Giuseppe Antona (?). The Detroit Free Press, 1895.

Antona and his companions walked down to the beach, where:

The view was most fascinating: with rolling hills, steep mountains, the perfect sky, and the villas scattered here and there; one called Monte Carlo was kept by an English man named Crow[e] and nestled among the rocks like a little fortress.”

Antona’s mention of “villas” (plural), the Montecarlo, and of its then owner, Septimus Crowe, all dovetail perfectly with my own view of when and how Chapala first began its courtship with tourism. Chapala’s development certainly began some years before 1895, the date often used (even today) in some Spanish-language accounts.

The beach reminded Antona of his native land: “The smooth, sandy stretch of beach touched by the fringe of the waves, recalled the lake regions of sunny Italy.” But it was not tourism that brought Antona and his friends to Chapala, it was the local wildlife, including:

the wild teal duck, which made their homes in the tangle of matted vegetation on the shores, and render Chapala a veritable paradise.”

After bathing in the lake, they:

procured a native boat and an Indian who served both as a steersman and oarsman, and embarked just before sunset well provided with ammunition and Parker guns, our zest for sport heightened by the tract of morass visible in the distance… which our greed told us could not but abound with prey.

Our craft, made from a hollowed tree trunk, had for oars and rudder a single pole, such as might be called a slender flag-staff in the states, and used for such on national holidays, and which our Indian boatman and guide, Feliciano, maneuvered much like a laundryman attempting to fill a receptacle of soiled clothes.

Antona-Image-2

Giuseppe Antona (?). The Detroit Free Press, 1895.

By moonlight, with the stars twinkling overhead, the men:

gradually and cautiously approached the feeding grounds, and leaving the smallest of wakes behind us, slid gently through the reeds and grasses and anchored behind some great logs near a mud bank.”

As hundreds and hundreds of ducks started feeding in front of them, the men opened fire:

Out of the reeds and sedge flew the terrified fowl, hundreds of wounded concealing themselves in the rushes, others half-swimming, half-wading away in their fright, the loud flapping of wings of the thousands in flight seeming like distant thunder, while dull thuds and loud splashes made known where our shots had told upon water and upon land.”

After waiting a few minutes—and as surviving ducks returned to feed—the men opened fire again… and again:

Each man emptied his barrels as quickly as possible into the black clouds, loading up again every three minutes as long as ammunition lasted.”

When the dawn light came up, the men collected “200 ducks, or 50 apiece, all blue-winged teal.” The ducks were taken to shore, and a Mexican boy hired to carry them back to the village, while the men rowed their boat back.

In addition to his article about Lake Chapala, Giuseppe Altona also published pieces about Alaska and America-Russia relations.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala, at the end of the nineteenth century, became a significant international tourist destination. Most chapters of If Walls Could Talk: Chapala’s Historic Buildings and Their Former Occupants (also published in Spanish as Si las paredes hablaran: Edificios históricos de Chapala y sus antiguos ocupantes) relate to the early tourist history of Chapala.

Sources

  • Guiseppe [Giuseppe] Antona. 1895. “Shooting Teal Duck at Lake Chapala.” The Detroit Free Press, 3 March 1895, 11.
  • Antonio de Alba. 1954. Chapala. Guadalajara: Banco Industrial de Jalisco.
  • The Detroit Free Press: 10 Dec 1893, 23; 3 Jun 1894, 9.
  • El siglo diez y nueve: 17 April 1894, 17.
  • Eduardo A Gibbon. 1893. Guadalajara, (La Florencia Mexicana). El salto de Juanacatlán y El Mar Chapálico. 1992 reprint, Guadalajara: Presidencia Municipal de Guadalajara.
  • The Omaha Evening Bee: 26 Mar 1895, 1.
  • Muncie Evening Press: 31 Jul 1912, 2.
  • Quebec Morning Chronicle: 4 July 1894, 2.
  • The American: 29 Mar 1895, 1.

Comments, corrections and additional material are welcome, whether via the comments feature or email.

Sep 262024
 

Herbert Johnson (1877-1960) and his wife, Georgette (1893-1975), settled in Ajijic in December 1939. Shortly after Herbert died in Ajijic in 1960, Georgette returned to live in the UK.

These photographs come from a photo album that once belonged to Georgette. For the story of its rediscovery by historian Dr Kimberly Lamay Licursi in an estate sale in New York, see

The photos in the album are in no particular order and have no captions or dates. While most of the photos in the album date from 1940-1945, some of the photos in this gallery must be a few years later.

This gallery focuses on Ajijic and its surrounding area:

Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
Herbert Johnson. c. 1946.
« of 2 »


Note

Acknowledgment

My sincere thanks to Dr Kimberly Lamay Licursi for recognizing the importance of this photo album and for kindly entrusting it to my care.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Chapter 9 of Foreign Footprints in Ajijic: Decades of Change in a Mexican Village is devoted to the Johnsons and their time in Ajijic.

Comments, corrections and additional material are welcome, whether via comments feature or email.

Sep 192024
 

Though E. Ernest Bilbrough (1861-1891) died tragically young, he certainly had some adventures before departing this world.

One of the three children born to Thomas Priestley Bilbrough and his wife, Gertrude Elizabeth Bates, Edward Ernest Bilbrough was born in Liverpool, UK, on 6 March 1861. Details of his education are unknown, but he became a writer and photographer. He published his first book, Twixt France and Spain; Or, A Spring in the Pyrenees, in 1884, and the following year the UK-based periodical The Field printed Bilbrough’s account of sport and travel in Mexico. This article includes a description of his experiences at Lake Chapala. Also relating to Mexico, though as a photographer, Bilbrough was credited for some of the photos illustrating an article in The Graphic in 1886 about the Mexican National Railroad.

By 1887, Bilbrough had moved to New Zealand and been awarded a “certificate of excellence” in an Auckland Society of Arts competition for a set of six landscape photographs. At about this time, he was elected Secretary of the Athenaeum, a newly formed Auckland literary and debating society.

On 13 June 1889, Bilbrough married Mary Jane MacKellar (1865–1922), the Shanghai-born daughter of “Mrs MacKeller of The Pines, Epsom, and the late John MacKellar Esq. of London and Calcutta.”

Bilbrough’s second book, Brett’s Handy Guide to New Zealand., was published in 1890, only months before his untimely death in Auckland on 27 March 1891, shortly after his 30th birthday. Bilbrough was buried in the city’s Purewa Cemetery. His obituary in the New Zealand Herald explained how the well-known manager of Cook’s Tourists’ Agency in Auckland had been in failing health for several weeks, despite completing a trip to England the previous year.

Unusually, it was only after the death of his mother—Gertrude Bates Bilbrough—almost thirty years later, that his estate in the UK was settled, with probate (for effects valued at £1151) then granted to Bilbrough’s widow, Mary Jane.

Gertrude Bates Bilbrough, who died in Hong Kong, had close ties to “Wonsan Korea and Victoria Island Lower Burma.” Probate for her estate, valued at £1249, 2s, 5d, was granted to Bilbrough’s brother, Charles Francis Stanhope Bilbrough. Robert Neff has written several interesting articles about the family’s links to Korea:

What did E Ernest Bilbrough write about Mexico and Lake Chapala?

Bilbrough opens his article, published in England, by claiming that, “Of all the civilized countries, Mexico is undoubtedly the least known, especially to dwellers on this side of the Atlantic.” He then points out that Mexico has four railways already built, and several more under construction. The four existing lines were the Mexican Railway (Mexico City to Veracruz), the Mexican Central (Mexico City to the northern border and New York), the Mexican National (Mexico City north, but not yet reaching the US border), and Inter-oceanic (“so called because it approaches neither ocean.”)

The author considered Mexican roads “frightful,” and recommended overland travel by horseback, “preferably on a steed of your own, though others can be hired from place to place if desired.” Horses could be hired for one dollar a day, but it was necessary to add another dollar for the horse’s attendant. Travel by stage coach brought its own perils, and Bilbrough advised, in the event of a hold-up, not to flee, and “never carry arms unless you intend to use them.”

He also recommended that travelers forget about regular hotels—”in the interior, hotel charges may be reckoned generally at from two dollars per diem to four, in the capital and chief towns from three dollars to six dollars, according to your room, your restaurant, and your liquor”—and consider staying in haciendas:

Accommodation can almost invariably be procured at the haciendas for the night—that is to say, as a guest—even without a letter of introduction of any kind; and right good-hearted men some of the “hacendados “ are too, giving you of their best, and giving freely.”

The main purpose of his article was to describe the opportunities Mexico offered for hunting. Bilbrough thought the methods for shooting wildfowl at Lake Texcoco were unsportsmanlike because:

the sport consists in erecting batteries of guns on three different levels close to all the favourite feeding grounds. The first discharge is directed at the birds on the water, the next just as they rise, and the last sweeps about two yards from the surface, so that it is a lucky bird that gets away. These ‘sportsmen’ have a lofty contempt for the individual who allows the bird to rise before firing.

Eastern end of Lake Chapala. (For complete map, see "Lake Chapala Through the Ages")

Eastern end of Lake Chapala. (For complete map, see “Lake Chapala Through the Ages”)

He contrasted this with the situation at Lake Chapala, where “some splendid sport is to be had, not exactly on the lake itself, but on the land which receives its overflow, and is known as ‘cienega,’ a marsh.”

These ciénegas were at the eastern end of the lake, and are marked on the map as “former wetlands.” Some of these ciénegas were drained and converted to farmland twenty years after Bilbrough’s visit.

Bilbrough was sufficiently astute to recognize that the ciénegas played an important role in the local ecosystem:

These ‘cienegas’ form the most valuable pasturage for cattle and horses when drained, partially levelled, and well ditched; but are excessively dangerous to man and beast in their natural state, being nothing less than bogs with a thin crust of treacherous, safe-looking soil. Their value, however, is really derived from the very same cause which makes them dangerous: this being the porous or penetrable state of the lower strata, which receives the overflow from the lake at a period of the year when there is no rain, and promotes the growth of the grass when nothing but surface irrigation, at immense expense, would otherwise produce such an early crop.”

Bilbrough then described in detail his visit “last winter” to an area of ciénega belonging to an hacienda some twenty miles from Lake Chapala, where he enjoyed some varied and excellent shooting:

The best—that is, the most abundant sport, was duck and geese shooting. Of the former, mallards, green teal, blue teal, redhead, wood-ducks, tree-ducks, and pintails were the most numerous varieties; while grey and white geese were in tens of thousands on some fields where the grass was sprouting. Snipe were fairly plentiful (one morning I shot eight, and three the same afternoon), hares and quail likewise. Curlews, sandsnipe, glossy ibis and white ditto, green shanks, pelicans, grey cranes (Grullas pardas), spoonbills, avocets, and stilts were numerous; water hens (which are never eaten there) and thrashers (yellow-throated and red winged) very abundant.”

Ground squirrels were plentiful in the hedges, and I believe rabbits flourish during the rains (May to October), when hares are also more prolific. There were several coyotes, but I never managed to get near enough, unfortunately, to kill one; though common owls, which hooted over my room at night, I used to shoot by moonlight, and some fine horned specimens were bagged also.”

But of all the varieties of sport, none had the same interest as the pursuit of white cranes, called also soldier cranes (Grullas blancas), which are the shyest birds and the wariest it has yet been my lot to stalk. Deer are much less difficult to approach, for a sharp cry or whistle will generally make them halt long enough to give you a chance to get your rifle to bear. Not so white cranes; the least sound, the least movement, and they are off.”

The rifles at the hacienda were not true enough for such sport, and I was obliged to use ball in my gun. Even thus handicapped, pelicans, grey cranes, greater ibis, geese, etc., were added to the bag, but not till the last days of my stay did a white crane crown the whole. It was feeding with four others (they never go alone, but seldom more than a pair of old birds and their young will be seen together, while grey crane always are in flocks) among the maize stalks about one hundred and fifty yards from the nearest hedge, and these stalks, being so numerous and thick, make shooting very difficult. This time, however, I had a fair shot, and saw the bird fall, shot through the wing and body. He was a fine specimen—5ft. 3½in from tip of beak to toe, 7ft. 1½in. across the wings, and weighed 14½lb.”

Other travelers and explorers profiled on this site who have written about hunting at Lake Chapala include:

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Illustrated by reproductions of vintage postcards, chapters 6 and 8 of Lake Chapala: A Postcard History look at history of the eastern end of the lake, and the area’s environmental change.

Sources

  • E Ernest Bilbrough. 1884. Twixt France and Spain; Or, A Spring in the Pyrenees. Sampson Low and Co.
  • E Ernest Bilbrough. 1885. “Sport and travel in Mexico.” The Field, 24 October 1885, 585-6.
  • E Ernest Bilbrough (editor). 1890. Brett’s Handy Guide to New Zealand. Auckland: H. Brett.
  • The Graphic: An Illustrated Weekly Newspaper: 24 Apr 1886, 8.
  • The New Zealand Herald: 25 Feb 1887, 11; 8 Apr 1887, 6; 24 April 1891, 9.

Comments, corrections and additional material are welcome, whether via the comments feature or email.

Sep 122024
 

Author and social activist Joan Frost, a resident of Jocotepec, was the leader of a group of friends who co-founded Amigos de Salud in 1974. That year, the group organized the sale of hand-colored greetings cards to raise funds for medicines for the Centro de Salud in Jocotepec, which was due to open 1 January 1975. The artwork for the first card was a black and white drawing donated by Bob Neathery; local schoolchildren helped hand color the cards to give them a special holiday flavor. A pack of ten cards (whether black and white or hand-colored) with envelopes cost 15 pesos (then about US$1.25). They were available for purchase at three main locations: Ramón’s Bar in Jocotepec, Servicios Unlimited in Ajijic, and Los Arcos supermarket in Chapala.

Carla Manger. 1982. Untitled street scene.

Carla Manger. 1982. Untitled street scene.

The cards became an annual event. Sold primarily in the months leading up to Christmas, the simple bi-fold cards, illustrated with original artwork, had no interior wording, making them perfect for any occasion. A large number of area artists, including many of the best in the region, allowed Amigos de Salud to reproduce their work to help raise funds. For some artists, it was valuable additional exposure.

The precise wording on the back of each card changed over the years in response to gradual changes in the focus of Amigos de Salud.

Carla Manger. 1982. La Quinta (Los Naranjitos) Jocotepec.

Carla Manger. 1982. La Quinta (Los Naranjitos) Jocotepec.

In Jean Caragonne‘s case, her painting of the view from her house in Chapala, titled Cerro San Miguel, was her very first painting at Lake Chapala! It was used on a 1986 card.

The youngest contributor to the Amigos de Salud cards was Adriana de Rocio Garcia Hernandez, aged 15 when her painting El pescador was used.

For about two decades, Amigos de Salud, which was also financially supported for many years by the Ajijic Mexico National Chili Cookoff (also co-founded by Joan Frost!), helped many health and educational programs, including the Lakeside School for the Deaf and the Women’s Development Clinic founded by Sylvia Flores.

Prior to Amigos de Salud, Joan Frost had helped coordinate medical consultations and surgeries for Chapala-area children via the Shriners organization. As the Lake Chapala area developed, and its needs and priorities changed, Joan Frost merged Amigos de Salud in 1993 into the newly formed Programa Pro Niños Incapacitados del Lago, whose worthy efforts continue to make a difference to this day. It is unlikely that any foreign resident will make a greater contribution to the welfare of children at Lake Chapala than the tireless and extraordinarily selfless Joan Frost.

The artists whose work appeared on Amigos de Salud cards included:

Blanca Aldana, Bruce Allen, Daphne Aluta, Jean Caragonne, Conrado Contreras, Victoria Corona Vega, Gustel Foust, Adriana de Rocio García Hernández, Bill Gentes, Petie Jensen, Oliver Johnson, Carla Manger, James Marthai, Dionicio Morales López, Edith Morris, Bob Neathery, Brian Pimlott, Georg Rauch and Jesús Sánchez.

If you can add to this list, or supply images of other cards, please get in touch!

Examples of greetings cards published by Amigos de Salud.

Bruce Allen. Photograph.
Bruce Allen. Photograph.
Bruce Allen. Photograph.
Daphne Aluta. Los pastores.
Daphne Aluta. Los pastores.
Daphne Aluta. Los pastores.
Victoria Corona Vega. Ofreciendo flores a la Virgen, San-Antonio
Victoria Corona Vega. Ofreciendo flores a la Virgen, San-Antonio
Victoria Corona Vega. Ofreciendo flores a la Virgen, San Antonio
Gustel Foust. Street scene.
Gustel Foust. Street scene.
Gustel Foust. Street scene.
William Gentes. Canoa.
William Gentes. Canoa.
William Gentes. Canoa.
Petie Jensen. Ajijic plaza and chapel.
Petie Jensen. Ajijic plaza and chapel.
Petie Jensen. Ajijic plaza and chapel.
Oliver Johnson. Untitled (street musician).
Oliver Johnson. Untitled (street musician).
Oliver Johnson. Untitled (street musician).
Carla Manger. c 1988. Mercado en la plaza.
Carla Manger. c 1988. Mercado en la plaza.
Carla Manger. c 1988. Mercado en la plaza.
Carla Manger. 1982. La Quinta (Los Naranjitos), Jocotepec.
Carla Manger. 1982. La Quinta (Los Naranjitos), Jocotepec.
Carla Manger. 1982. La Quinta (Los Naranjitos), Jocotepec.
James Marthai. Ajijic.
James Marthai. Ajijic.
James Marthai. Ajijic.
Dionicio Morales. Calle Real.
Dionicio Morales. Calle Real.
Dionicio Morales. Calle Real.

Acknowledgment

  • My thanks to Joan Frost’s son, John Burdett Frost, and to writer Dale Hoyt Palfrey for supplying images and examples of many Amigos de Salud greetings cards.
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Several chapters of Foreign Footprints in Ajijic: Decades of Change in a Mexican Village offer more details about the history of the artistic community in Ajijic and their support of educational and health initiatives in the area.

Sources

  • Guadalajara Reporter: 28 Sep 1974, 15; 27 Mar 1976, 23.

Comments, corrections and additional material are welcome, whether via comments or email.

Sep 052024
 

Making the rounds periodically on social media—and still prominent in web searches more than twenty years after it was written—the late Lawrence H. Freeman’s piece titled “The History of Lakeside” is, unfortunately, riddled with historical misconceptions and inaccuracies. The full text of the article is available on chapala.com and was recently reprinted on another Chapala-related site as “About Chapala Haciendas Fraccionamientos and Chapala, Axixic and the neighboring Ribera.

‘Larry’ Freeman (1936-2016) was born in Toronto, Canada. After gaining a degree in industrial design from the University of Toronto, Freeman moved to California in 1961 where he qualified as a lawyer in 1970. He worked in the legal field for two decades, including a spell as a deputy public defender. In retirement, Freeman lived part-time in Mexico, and worked as an archivist at Casa Na Bolom in San Cristóbal de las Casas, Chiapas, and as a reference librarian and tour director at The Lake Chapala Society in Ajijic. “The History of Lakeside” is one of several articles he contributed to El Ojo del Lago. Freeman died in California in 2016.

My critique of Freeman’s article on lakeside history follows (quotes from the original in red):

Ajijic was originally named, in Nahuatl, the Aztec language, ‘Axixic, place where the water springs forth,’ commemorating the seven fresh-water wells that originally provided the water in this area.

There are several possible derivations of ‘Axixic.’ Whatever the derivation, water did not come from wells until relatively recently; it came from springs and the lake. There is no clear evidence for seven springs, though the idea is appealing, given the legend that the Mexica (direct ancestors of the Aztecs) were one of seven tribes occupying seven caves in a mythical place named Chicomoztoc.

Before the Spanish arrived, the indigenous Cocas were living at Cutzalán, now San Juan Cosala…. By the mid-fourteenth century, the Cocas’ burgeoning population caused them to form additional lakeside villages, including Axixic.

In the 1980s, ethnoarchaeologist Dr Carolyn Baus Czitrom showed that all the indigenous people living on the northern shore of Lake Chapala at the time of the conquest belonged to the Coca indigenous group, except for those living in San Juan Cosalá, Ajijic, San Antonio Tlayacapan and Chapala, who were Caxcan.

Ajijic was not formed in the mid-fourteenth century. It was founded in 1531 by Franciscan friar Martín de Jesús (or de la Coruña), who suggested to an indigenous group led by Xitomatl (later baptized Andrés Carlos) that they move their existing community to begin a new settlement, where water was more readily available, named Axixic [Ajijic].

The town of Chapala was founded in 1510, and Axixic followed when the Spanish under Captain Alonso de Avalos, a cousin of Hernan Cortes, arrived in 1523 and persuaded the Cocas to surrender and be baptized without a fight. He was given a royal grant and his cousin Saenz was given a grant for Ajijic.

It is true that the settlement of Chapala was founded before the arrival in the area (in 1530) of the Spanish conquistadors. I am unaware of any evidence supporting a date of 1510; Chapala was almost certainly founded far earlier.

The Olid Expedition, which reached the southern shores of Lake Chapala in about 1522, involved Fernando (sometimes Hernando) de Saavedra, the older brother of Alonso de Ávalos, who arrived in New Spain a year later. The two brothers were cousins of Hernán Cortés, who granted them (and a third relative who died shortly afterwards) the encomienda (the right to collect tributes and labor from indigenous inhabitants) for a large area, which included the southern shore of Lake Chapala, and later also the northern shore. After their partner’s death, the two brothers shared tribute payments from the encomienda. After Fernando’s death in 1535, his half-share reverted to the Spanish Crown. The encomienda system did not, strictly speaking, constitute a grant of either solo or joint ownership. The tributes supplied by Ajijic every 80 days consisted of blankets and items of clothing, cotton, fish and provisions.

It is nonsense to suggest that “his cousin Saenz was given a grant for Ajijic.” I know of no record of anyone named ‘Saenz’ ever owning any hacienda near Ajijic, though a Sebastian Sainz (note spelling) acquired the Hacienda El Cuije (which included land in and around Ajijic) in about 1900, following the murder of its former owner, Hans (‘Juan’) Jaacks. Sainz had no known familial connection to Hernán Cortés. Both Sebastian Sainz Peña (ca 1851-1927) and his wife, María Dolores Stephenson Zambrano (1869-1958) were born in Spain. They arrived in Mexico in the 1890s and soon amassed an extensive property portfolio in Ajijic and Chapala.

The first major building, which still exists, was a mill built in the 1530s on the site of the Posada Ajijic. A monastery on the corner of Hidalgo and Cinco de Mayo was founded in 1535 …

The building that was transformed (in the late 1930s) into Posada Ajijic was a mill (and taberna) but nowhere near as old as the sixteenth century. It was part of the Hacienda El Cuije, established in the nineteenth century. A more noteworthy building from the same era was the residence known as El Tejabán, (one block north of the current plaza) which belonged to Hans (‘Juan’) Jaacks, the owner of El Cuije. The ‘monastery’ was a friary, not a monastery.

By the early 1550s, the lakeside area came under the domination of the Spanish evangelists and they officially founded the city of Chapala in 1538, building the church in 1548.

As already noted, the settlement of Chapala was founded many years before the arrival of the Spanish conquistadors. Its first church was constructed in 1548, but was burned down in 1557, and its replacement was burned down in 1581. Chapala was officially designated a town in 1824 and a city in 1970.

Lakeside remained a quiet fishing and agricultural community, but in the late 1700s was ravaged by a plague that resulted in over 50,000 deaths in Nueva España.

Ravaged? Perhaps in some regions, but at Lake Chapala the plague of viruela (smallpox)  in the late 1700s peaked in 1780, when 80 lives were lost to the disease in the entire parish of Chapala.

Chapala was brought to new life by the 35-year presidency of Porfirio Diaz. It became the watering hole for the upper classes and boasted a railway and steamboat service…

Díaz’s influence played a part in—but was not responsible for—bringing ‘new life’ (tourism) to Chapala. The railway did not reach Chapala until 1920 (almost a decade after Díaz had entered exile in Europe), and it closed in 1926.

It was only in 1909 that the first motor car (named ‘Protos’) arrived in Chapala, but by 1910, a cobbled road connected Chapala to Guadalajara, and it was paved by 1937.

Many cars had been drive to Chapala before ‘Protos.’ Though ‘Protos’ was not the first motor car in Chapala, it did win a hill-climbing race there in 1909. The road between Guadalajara and Chapala was not cobbled by 1910; almost its entire length was dirt until much later.

Ajijic was discovered by European intellectuals and provided a refuge for those fleeing political prosecution [sic] after WWI.

This is a stretch. Only a handful of Europeans of any kind had ‘discovered’ Ajijic prior to the 1940s, and those who had were neither ‘intellectuals’ nor fleeing political persecution following WWI.

In 1925, D.H. Lawrence was writing “The Plumed Serpent” in Chapala.

D. H. Lawrence wrote his first draft of The Plumed Serpent in Chapala in 1923, not 1925.

… Nigel Millet was managing Posada Ajijic, and in the mid-30s, a gold rush transformed the town into a short frenzy of greed. That was soon over and Ajijic settled down again while Nigel Millet co-wrote “Village in the Sun” under the name of Dale [sic] Chandos. The other half of the team, Peter Lilley, then wrote “House in the Sun.”

There was no gold rush in the mid-1930s. Gold mining in the hills behind Ajijic began much earlier: by 1885 there were already thirty silver and gold mines in Ajijic. Production peaked in the first decade of the twentieth century, with occasional short-lived revivals thereafter. The pen-name used by Nigel Millett and Peter Lilley was Dane (not Dale) Chandos. There is no doubt in my opinion that both men wrote both books, with some revisions possibly made by a third man, Anthony Stansfeld. (For more about mining in Ajijic and about Dane Chandos, see Foreign Footprints in Ajijic.)

In the 1940s… there were 14 foreigners living here.

This number is often quoted. There were certainly fewer than 14 foreigners living in Ajijic in 1940, but many more than 14 for most of the decade.

In 1943, Neill James, a world-renowned travel writer, arrived in Ajijic to recover from serious injuries suffered while exploring a newly active volcano, Paracutín [sic], located near Pátzcuaro.

Neill James did arrive in Ajijic in 1943, to recuperate from two (not one) volcanic mishaps. She spent more time in hospital recovering from the first accident (on Mt. Popocatapetl) than she did following the incident at Paricutín.

She soon purchased the property where the Lake Chapala Society stands today, and never left until she died in 1994, just a few months short of her 100th birthday. Neill James was born in 1899 on a cotton plantation in Granada, Mississippi.

Nellie Neill James was not born in Granada, Mississippi, nor on a cotton plantation, and not in 1899. She was born in Gore Springs, Mississippi on 3 January 1895. Her family was far from wealthy; her father worked as a laborer in a saw mill.

She married and quickly divorced without children. In 1929 she left the work-a-day world to pursue a life as a pioneering adventurer, world-traveler, travel writer and novelist. Heroine of many adventures, including living among Asiatic primitives and being pursued and hounded across Asia by Japanese agents, she finally came to roost in Ajijic in 1942.

Except for her trip to Mexico (and holiday trips late in her life), her world travels as an adventurer came before her brief marriage (to Harold C. Campbell) in 1937, and not after. Neill James arrived in Ajijic in September 1943, not in 1942.

The building now housing the office, multi-cultural reading room and the reference portion of the library was built and operated as a silkworm factory and a salesroom until a freak cold snap killed the silkworms.

Of the many possible reasons suggested for the demise of her silkworm business, James herself placed the blame squarely on a single negligent employee. (See chapter 34 of Foreign Footprints in Ajijic.)

As she settled in, Ms. James built a house for her sister on the property, and deeded several parcels to her friends to build some of the picturesque houses that can be seen on the edges of our grounds.

This is fanciful. For the history of how Neill James acquired her extensive estate in Ajijic, see Foreign Footprints in Ajijic, chapter 14.

Neill James articles in Life and other U.S. magazines inspired the first wave of gringo visitations. Her book, Dust On My Heart, a personal view of early lakeside life.

Life never published anything by Neill James. Her only published article, “I live in Ajijic,” appeared in Modern Mexico, the periodical of the Mexican Chamber of Commerce in New York. Dust On My Heart was not her “personal view of early lakeside life.” Of the forty short chapters in Dust on My Heart, only the final two—“Ajijic” and “Adobe Hut in Heaven”—relate to the Lake Chapala area.

Ms. James opened her first public library for Mexican children in 1945 and it has continued uninterrupted, though in different locations, since then.

Neill James’ first children’s library in Ajijic was not opened in 1945, but some years later, in about 1953.

By 1983, the Lake Chapala Society moved to the present location and in 1985, Neill James donated her property to the Society.

James had graciously allowed the Lake Chapala Society to use parts of her property from 1983. The legal transfer of her property to the society was completed in January 1990. See chapter 24 of Foreign Footprints in Ajijic for details.

In 1989, all the streets were torn up to lay sewers, and the 460-year-old cobblestones were tossed to one side …

There is no evidence that Ajijic had any cobblestone streets prior to the end of the nineteenth century.

Rumors abound that Ajijic and the Guadalajara Airport were the nexus of a recent well-known ‘undercover’ CIA operation… known as the Iran-Contra connection of President Ronald Reagan and Oliver North.

Ajijic did indeed play a part in this operation. Terry Reed had an active role in the Iran-Contra affair established a machine-tool business in Guadalajara as a front for the “guns-in, drugs-out” operation in Central America. Reed, who lived in Ajijic from 1986 to 1988, coauthored Compromised: Clinton, Bush and the CIA, an international best seller.

It is clearly high time that someone writes a more realistic short history of Ajijic. My vote for this project goes to Dale Hoyt Palfrey!

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

Foreign Footprints in Ajijic: Decades of Change in a Mexican Village offers more details about the twentieth-century history of Ajijic.

References

  • Carolyn Baus de Czitrom. 1982. Tecuexes y Cocas. Dos grupos de la región de Jalisco en el siglo XVI. Mexico City: INAH.
  • Lawrence H. Freeman. 2001. “The History of Lakeside.” El Ojo del Lago, Vol 17, Number 6 (February 2001).
  • Daniel I. Becerra de la Cruz. 2021. “La viruela de 1780 y 1798 en la parroquia de Chapala.” Estudios Jaliscienses (El Colegio de Jalisco), febrero de 2021, 24-34.
  • Neill James. 1945. “I Live in Ajijic.” Modern Mexico (New York: Mexican Chamber of Commerce), Vol. 18 #5 (October 1945), 23-28.
  • Neill James. 1946. Dust on my Heart: Petticoat Vagabond in Mexico. New York: Charles Scribner’s.
  • Terry Reed and John Cummings. 1995. Compromised: Clinton, Bush and the CIA. Clandestine Publishing.

Comments, corrections and additional material are welcome, whether via the comments feature or email.

Aug 282024
 

Artist Daphne Aluta (1919-2017) moved to Ajijic with her then husband Mario Aluta in the late 1960s, and lived there for about twenty years. In September 1985 she was the first female artist ever to have her work featured in the Chapala area monthly El Ojo del Lago; all previous art profiles had highlighted male artists.

Daphne Aluta. Portrait. Courtesy of Ricardo Santana.

Daphne Aluta. Portrait. Date unknown. Courtesy of Ricardo Santana.

Born Daphne Craig on 24 June 1919 in Detroit, Michigan, she grew up in Evanston, Illinois, before studying at Cranbrook School for Girls and then graduating from the Cranbrook Academy of Art in Bloomfield Hills, Michigan.

In 1937 she married Richard Flu; the couple had a daughter, Stephanie. In 1941 Daphne married Frank L Greer and moved to Santa Barbara, California; they had two daughters and a son. Frank was an architect (he designed various public buildings in Santa Barbara) and it was only natural that Daphne, who loved sculpture as much as painting, began to help design homes.

Her marriage to Turkish painter and architect Mario Aluta, 15 years her senior, is recorded as taking place in Nevada in 1960. It is assumed that Daphne exhibited in the US before moving to Mexico, but no details of such exhibits are currently known.

During her time in Ajijic, in addition to painting and sculpting, Aluta designed and built several homes in the village. Aluta lived at various addresses in Ajijic, including Juan Alvarez 44 and, in 1971, Encarnación Rosas #20.

Daphne Aluta. Ajijic. Reproduced by kind permission of Ricardo Santana.

Daphne Aluta. Ajijic. Date unknown. Reproduced by kind permission of Ricardo Santana.

As an artist, her group exhibitions in Mexico included the Casa de la Cultura in Guadalajara (1970); the “Fiesta de Arte” held at a private home in Ajijic (15 May 1971); the ex-Convento del Carmen in Guadalajara (1980); the Club Campestre La Hacienda (1985) on the main Guadalajara-Chapala highway; and the “Help Save Lake Chapala” exhibit in Mexico City (1988).

The Lakeside artists exhibiting with Aluta at the Casa de la Cultura Jalisciense show in 1970 included Eunice Hunt; Peter Paul Huf; Mario Aluta; Chester Vincent; Bruce Sherratt and Lesley Jervis Maddock (aka Lesley Sherratt). Aluta’s acrylics were described as “strong and vibrant.”

Undated. Nude. Photo courtesy of Tom Thompson.

Daphne Aluta. Undated. Nude. Photo courtesy of Tom Thompson.

At the Fiesta de Arte in 1971, Aluta’s work hung alongside art by Mario Aluta; Beth Avary; Charles Blodgett; Antonio Cárdenas; Alan Davoll; Alice de Boton; Robert de Boton; Tom Faloon; John Frost; Fernando García; Dorothy Goldner; Burt Hawley; Eunice Hunt; Peter Paul Huf; Lona Isoard, Michael Heinichen; John Maybra Kilpatrick; Gail Michel; Bert Miller; Robert Neathery, John Peterson, Stuart Phillips; Hudson Rose; Mary Rose; Jesús Santana; Walt Shou; Frances Showalter; Sloane; Eleanor Smart; Robert Snodgrass; and Agustín Velarde.

Painters from the Chapala area exhibiting alongside Aluta at the ex-Convento del Carmen in 1980 included Georg Rauch; Eleanor Smart; Betty Warren; Stefan Lökös and Gustel Foust.

At the Club Campestre La Hacienda exhibition in 1985, Aluta’s fellow artists included Eugenia Bolduc, Jean Caragonne, Donald Demerest, Laura Goeglein, Hubert Harmon, B. R. Kline, Jo Kreig, Carla W. Manger, Emily Meeker, Sydney Moehlman, Xavier Pérez, Tiu Pessa, De Nyse Turner Pinkerton and Eleanor Smart.

Other artists in the 1988 Mexico City exhibit included Nancy Bollembach, Luisa Julian, Conrado Contreras, Rick Ledwon, Georg Rauch, Enrique Velázquez and Laura Goeglin.

Daphne’s fourth husband was Colin MacDougall. They married in Ajijic in 1974, in a small ceremony at the home of Sherm and Adele Harris, who were then managing the Posada Ajijic.

After living in Mexico for 30 years, Aluta returned to the U.S. in 2000, to make her home in Ventura, California, where she died seventeen years later on 6 July 2017.

Note

This is a revised and expanded version of a post first published 23 June 2016.

Sources

  • Santa Barbara News-Press, 11-15 July 2017.
  • Guadalajara Reporter: 13 June 1970; 27 Jun 1970; 3 April 1971; 31 August 1974.
  • El Informador: 5 June 1970; 4 May 1985; 26 January 1980.
  • El Ojo del Lago, September 1985.

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

Aug 222024
 

In 1905 keen traveler Leland Ives published an article about Chapala in Four Track News, a periodical begun a few years earlier by the New York Central Railroad. The short article contains a memorable description of his stage coach ride from Atequiza to Chapala, and all manner of valuable nuggets of information which indicate Ives was a keen observer and listener. Ives had traveled fairly widely in Spanish-speaking countries before visiting Mexico, so (unlike most modern tourists) could readily manage the language barrier.

Ives took the train from Guadalajara to Atequiza. On stepping down from the train, he remarks that

generally it isn’t every day that the tourist can taste the joys and miseries of coach travel; but the fourteen-mile journey to Lake Chapala is the genuine article…. The roof of the huge box is piled high with baggage, freight and mail, and [three?] lucky passengers fill a seat on deck behind the driver, while inside eight others lurch around hanging to straps.”

In addition to observing closely the attire of the driver and his assistant, Ives had a keen eye for the behavior of the mules pulling the stage, summarizing their lack of discipline by commenting, “If they have ever been broken, their tuition fails to show.”

When they finally entered the village, and the stage coach driver was “urging the mules to a final gallop,” Chapala appeared to be half asleep:

The village isn’t much. There is a good hotel which is the terminus of the route; across the way a typical native inn, a remarkable stately church, and a plaza shaded by sour orange trees [while] along the lakefront in the outskirts are residences built as recreation retreats by merchants in Guadalajara and Mexico City, and one at least belongs to a foreign [family].”

At the hotel, Ives scanned the list of guests, but recognized few of the names “in the hotel register, for Chapala is yet but little known. Until within a very few years it lay nearly eight hundred miles from any railway, and while explorers and geographers have long been acquainted with it, tourists are but just finding out how attractive it is.”

Ives then turned his attention to the local fishermen and the various kinds of boats on the lake. Making regular trips between Ocotlán and Chapala was:

a gasoline launch which was brought from “the states” on a flat-car, and plies [the waters] regularly in charge of its owner, a young Canadian. Off the stone pier a little steamer rides at anchor, which was packed piecemeal over the mountains from San Blas on the Pacific, long before the advent of railroads. “

The “gasoline launch” Ives refers to is almost certainly the Carlota, brought by the Crompton brothers from Canada when they moved to Chapala in 1900. They also brought a 30-seat “electrical yacht” named Carmelita, which made regular runs two or three times a week between Chapala, Ocotlán, La Palma and Tuxcueca to support the booming Hotel Arzapalo, with pleasure trips to Mezcala Island on Sundays. The brothers sold their launches to the Lake Chapala Navigation Company (managed by Julio Lewels) in 1904. (See chapter 2 of If Walls Could Talk.)

Ives’ description of a “little steamer” appears to conflate two distinct vessels. The first steamboat on the lake, launched in 1868, was the Libertad, built in California and carried in pieces over the mountains to the lake. However, it had capsized near Ocotlán in 1889 with a heavy loss of life; it was later refloated, renamed and sent to Lake Pátzcuaro. In the interim, several other small steamships had taken its place, including the Chapala, launched in 1881 and the San Francisco.

Who was Leland Howard Ives?

Leland Howard Ives, the son of John and Wealthy Sage (Merwin) Ives, was born on 16 October 1859 in Meriden, Connecticut. Ives and his parents were active lifelong members of the First Baptist Church Society of Meriden.

Ives entered Yale in the class of 1883 but never graduated. He worked for a dry goods commission house in New York City from 1885 to 1889, before leaving for Europe, to meet friends in London and tour the UK, France and Belgium for six weeks. He later shared his talents and financial acumen with various businesses in his home town of Meriden.

Leland Howard Ives.

Leland Howard Ives.

Ives traveled widely from a relatively young age, and submitted his accounts of his travels to his local newspaper in Meriden and to magazines such as Outside and Four Track News. Ives also gave lectures about his foreign travels in New York City and elsewhere, illustrated with his own photographs.

He had lengthy trips to the West Indies (1892), Cuba (1893), the north coast of South America (1895) and Puerto Rico (1899).

It is not entirely clear when he visited Chapala. He was definitely in Mexico City in 1901, with plans to also visit Tampico, but there is no record of his time in Chapala beyond the article he published in February 1905 in Four Track News, which was clearly a very personal account. The April 1905 issue had another piece by Ives titled “After Ducks in Mexico.”

Ives’ mother died in 1914 and his father died the following year.

On 12 May 1920, Ives married Mrs. Florence W. Fisk; the couple continued to travel regularly. Ives had no children, and after he died on 31 January 1943, his assets were held in trust for the benefit of his wife and his sister. Following the deaths of his wife in 1950 and his sister in 1951, Ives’ sizable estate was shared between various charitable organizations.

Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.

My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.

Sources

Comments, corrections and additional material are welcome, whether via the comments feature or email.