Among the many early postcards of Lake Chapala that were published in Mexico City are several labeled with a caption and stylized “MF” logo. These cards were produced and distributed by México Fotográfico, a Mexico City firm founded by Demetrio Sánchez Ortega. Sánchez Ortega himself took many of the photographs used for the company’s early cards and may have taken this view of the shoreline in Chapala with its distinctive “chalets”. The three most prominent buildings nestled beneath Cerro San Miguel in this image are (from left to right) Villa Elena, Villa Niza and Villa Josefina.
México Fotográfico. c 1930. (l to r) Villa Elena, Villa Niza and Villa Josefina.
Demetrio Sánchez Ortega was born in Huatusco, Veracruz, on 22 December 1898. He moved to Mexico City in search of work as a young man and took a job selling paper before finding work as a traveling agent for the Cervecería Moctezuma brewery. This position involved traveling to bars (cantinas) all over the country, where he would perform simple sleight-of-hand and magic tricks, using cards, bottles and simple props, all designed to boost the sales of the brewery’s XX beer brand.
During these trips he must have come across (and maybe relied on) existing illustrated tourist guides, just as he surely encountered postcards published earlier by the likes of Hugo Brehme, Alfred Briquet, William Henry Jackson and Charles B. Waite.
The knowledge, experience and connections that he built up during his travels served him well when he decided to become a photographer. Introduced to photography by a friend, and almost entirely self-taught, Sánchez Ortega founded México Fotográfico, located on Calzada de Guadalupe in Villa de Guadalupe in Mexico City, in 1925, a year after Plutarco Elías Calles became president. Some sources suggest he had government support. México Fotográfico, like several other postcard publishers, became an important pillar of Mexico’s promotion of tourism.
México Fotográfico. c 1945 (?). Former Chapala plaza and Presidencia Municipal.
The view of downtown Chapala (above) shows the plaza in its pre-1950s location and the former Presidencia Municipal.
México Fotográfico was very much a family business. Sánchez Ortega and his wife, Tomasita Pedrero, had five children—Alfredo, Eustolia, Teresa, Demetrio and Alfonso—all of whom worked at one time or another in the laboratory and printing side of the business.
Later, the sons became traveling photographers. The company employed a number of “traveling agents”, responsible for photographing the places they visited while promoting the company, taking orders and arranging the distribution of postcards.
México Fotográfico. c 1950. Chapala lakeshore.
This card (above), showing the lakeshore, trees and fishing nets, and believed to date from the 1950s, was a popular choice as a memento of a trip to Lake Chapala.
Over the years, México Fotográfico amassed an extensive and culturally-rich collection of landscapes and towns large and small all over the country. The collection includes more than 25 cards related to Chapala, and an additional 10 cards of Ocotlán. Several of the cards were reissued in a colorized edition with crenulated edges, and the firm published at least one multi-view card of Chapala, with small reproductions of six photographs in the series.
México Fotográfico. c. 1935? Main beach, Chapala.
The company’s longevity (it was still producing cards into the 1970s) meant that its corpus of work provides a valuable visual record of the changes in towns, people and customs across post-revolutionary Mexico.
The Mexico City daily, Excelsior, had introduced a weekly supplement—Jueves en Excelsior—in 1923. Photographs published by México Fotográfico were used occasionally as illustrations in 1926. In 1927, the two companies began a much closer relationship, with México Fotográfico supplying many of the photos used in the supplement, perhaps in exchange for small display ads. The earliest such ad, in May 1927, had a portrait of Sánchez Ortega and the text “Fundador gerente de la negociación México Fotográfico, establecida en Guadalupe Hidalgo, México, DF”.
México Fotográfico was active from the 1920s into the 1970s. Its founder, the beer-parlor magician Demetrio Sánchez Ortega, master of postcard illustration, gradually lost his sight and had become completely blind by the time of his death on 27 January 1979.
Acknowledgments
My thanks to Manuel Ramirez for responding to a query posted on Facebook asking which postcard publisher utilized the MF logo.
This profile is based almost entirely on the extensive research by Mayra N. Uribe Eguiluz for her 2011 thesis on the company for a Masters degree in Art History at the National University (UNAM) and her related article in Alquimia, referenced below.
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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 or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
Renowned American painter, educator, designer and architect Millard Owen Sheets was born in Pomona, California, on 24 June 1907, and died in Anchor Bay, California, on 31 March 1989.
But, in summary, Sheets studied at the Chouinard Art Institute, where, even before graduating, he was exhibiting watercolors in the annual shows of the California Water Color Society and teaching watercolor techniques at Chouinard.
Millard Sheets. 1983. Lake Chapala, Mexico. Reproduced by kind permission of California Watercolor gallery.
He exhibited widely across the U.S. and Europe, and gained national recognition as a fine watercolorist. His life, work and painting style made the pages of Art Digest, Eyes on America and a book published by Dalzell Hatfield in Los Angeles in 1935.
During the second world war, Sheets was an artist-correspondent for Life magazine and served with the United States Army Air Forces in India and Burma.
As an art educator, Sheets worked at Chouinard Art Institute, Scripps College, and was Director of Otis Art Institute (1953-1960), fomenting the development of hundreds of young artists.
Millard Sheets. Chapala Church. (EBay photo)
Later in life he designed and executed dozens of major mosaic and mural projects. His commissions ranged from Los Angeles City Hall to Detroit Public Library, the Mayo Clinic, the mosaic dome and chapel at the National Shrine in Washington DC, and the Hilton Hotel in Honolulu, Hawaii.
Works by Sheets are in the permanent collections of many major museums, including the Metropolitan Museum of Art and the Whitney Museum (both in New York; the Chicago Art Institute; the National Gallery (Washington D.C.); the DeYoung Museum (San Francisco); and the Los Angeles County Museum.
Sheets made multiple visits to Chapala between 1947 (believed to be the first time he visited the lake) and the early 1980s.
Millard Sheets.1979. Noon, Chapala. Reproduced by kind permission of California Watercolor gallery.
Sheets’ 1947 trip to Chapala was in the company of long-time friend Merritt (‘Muggs’) Van Sant (1898-1964) and fellow artist, master woodworker and designer Sam Maloof (1916-2009), who was working for Sheets at the time and had learnt Spanish as a child from a Mexican-born housekeeper. Interviewed in 2002 by Mary MacNaughton for the Archives of American Art, Maloof recalled, albeit all too briefly, their trip to Chapala:
“… we flew to Guadalajara and I could have stayed for three years for what it cost us for three weeks. Of course it had to be the best hotel rooms and I had a room by myself. Millard and Muggs Van Zandt [Sant] had a room together and we had to rent a car. They had a brand new Buick with a driver that drove us all over and we’d all put money in the kitty every morning and Muggs would be the banker and we traveled from Lake Chapala to Morelia.”
Katie Goodridge Ingram (who first brought Millard Sheets’ link to Lake Chapala to my attention) remembered Sheets bringing an artist group to paint in Ajijic on at least one occasion.
Note: This is a work in progress. If you can offer any additional information about Millard Sheets’ visits to Lake Chapala, please get in touch!
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Mary MacNaughton. 2002. Interview of Sam Maloof conducted January 2002 by Mary MacNaughton, for the Archives of American Art, in Maloof’s home/studio in Alta Loma, California.
Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
Prolific playwright Fred Walker Carmichael (1924-2009) visited his brother Thomas M. Carmichael in Ajijic at some point during the latter’s residence there with his family from 1966 to 1972. Fred subsequently wrote a play, dedicated to Tom, set in Ajijic entitled Mixed Doubles: A Comedy in Two Acts (Samuel French Inc., 1973). Curiously, despite its close connection to Ajijic, this play has never been performed at the Lakeside Little Theatre.
Fred Carmichael was born in Pelham, New York on 1 February 1924. His love for the theater began when he acted in Peter Pan in his teens with the Clare Tree Major performing group. He performed in many plays and eventually turned to writing. He was the author of more than 50 plays, including: Exit The Body (1962); The Best Laid Plans (1965); Any Number Can Die (1965); All the Better To Kill You With (1968); Victoria’s House (1969); Done To Death (1971); Foiled by an Innocent Maid, or The Curse of the Iron Horse (1977); Said the Spider to the Spy (1987); Don’t Mention My Name (1993); Coming Apart (1994). Fred Carmichael and his wife Patricia owned and operated the Caravan Theatre at the Dorset Playhouse in Dorset, Vermont, for twenty-seven seasons from 1949 to 1975.
The first performance of Mixed Doubles was at the Dorset Playhouse, and featured Fred Carmichael playing two parts in a production staged by his wife. It has been regularly performed in community theatres (including the Borelians Community Theatre in Port Perry, Ontario, in 1981; the Red Barn Theatre in New Castle, Pennsylvania, in 1986; and Boise Little Theater in Idaho in 1988. It also played to packed houses in New Orleans in 1986, when the Community Theater there put on several performances at the Bayou Barriere Country Club. More recently, in April 2010, the play was put on in Mexico, at Rosarito Beach, in Baja California.
Mixed Doubles: A Comedy in Two Acts, described by Village Voice as “perhaps the funniest of his laugh-a-minute plays”, is set in a small hotel in Ajijic called the Casa Pericolo. The first act, about a separated middle-aged couple who occupy connecting suites and have a romantic fling, takes place in October. In the second act, set in the following June, the adjoining suites are respectively occupied by an unmarried golden-age couple and a band of inept drug smugglers.
The Casa Pericolo is fictional, but in the late 1950s, there was a small bed and breakfast establishment in Ajijic called the “Posada del Perico,” operated by Bruce Ackland, and, in much more recent years, a “Hotel Perico” on the libramiento.
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Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
American artist Emily Meeker (1908-1983) was a long-time resident of Chula Vista who had previously led an extraordinarily exciting life in India and elsewhere.
Born Emily Preston in Abilene, Texas, on 26 June 1908, her architect father moved the family to Brazil three years later. Emily later attended the New York School of Interior Design in 1926, where she won a scholarship for a 6-week trip to England and France. With her sister and mother for company, the six weeks eventually became three years, and included art classes as they toured France in a Model T Ford. When the Depression hit, Emily’s father cabled: “Broke. Home best way you can.” They could only afford a cabin in steerage class, but talked their way into dining first class and dancing second class.
Emily married New York native Don Meeker in 1932. Don lived and worked in India, as the representative of Colgate-Palmolive-Peet in India, Burma and Sri Lanka. Five years into their marriage, Don switched jobs to join Warner-Lambert. After a year in New York, while Don familiarized himself with the company, they were returning to India in 1939, when, just as they embarked at Genoa for the ship home, Mussolini took over the railways. The ship left port for Bombay (now Mumbai) and was repainted and transformed mid-voyage into a troop ship. The Meekers traveled extensively each year to cover all the territory that Don was overseeing. Their adventures included unexpectedly having to share their reserved compartment on a long distance train with three locals and their belongings: “a canary in a cage, a pot of roses, jugs of drinking water, foul-smelling food, bed rolls, and prayer rugs.” On another occasion, trekking in Kashmir with twenty two helpers and eighteen ponies to carry their supplies, Emily lost her footing and slid to the brink of a 400-foot-deep ravine; the helpers formed a human chain and just managed to stop her slide in time.
In 1942, the couple returned to New York to see out the end of the war. Three years later, war over, they returned to Bombay; it took them five months, and they had to travel via Lisbon and South Africa. Back in India, Emily took up golf, and became the women’s champion of “West and East India and Ceylon.” She was also elected president of the Bombay American Woman’s club. The Meekers were guests of the Aga Khan III in his palace when he celebrated his 60th year of Ismaili rule.
In 1948, Emily visited her mother in Abilene, Texas, for the first time in ten years. She held an exhibit of artworks there. Three years later, she designed costumes for a play held in the city, and in 1960 she exhibited 40 oils and pastels at the City Library, and gave a gallery talk about the status of art in India. in 1962 she exhibited a selection of her paintings in India, though the claim that this was the first art show in India by an American woman seems somewhat far-fetched.
Emily Meeker. Bombay, 1954. Courtesy Tom Thompson.
Emily began a new phase of her life after Don’s retirement in 1963. They read about Chula Vista, visited and, on their first trip, bought a view lot on the appropriately named Privada de la Vista, where they built their new home overlooking the lake. They moved in the following year, after several weeks visiting family in the US.
In May 1964, Emily, who normally golfed at either the sporty 9-hole Chula Vista course or the Chapala Country Club, had a hole-in-one at the 4th hole of the Guadalajara Country Club. This was reportedly the first ever hole-in-one by a female golfer at that course.
After her husband died in 1966, Emily continued to call Chula Vista ‘home’ for more than twenty years, until her own death on 18 November 1993 at the age of 85.
In the mid-1980s, Emily exhibited in several group shows in the Chapala area, the most noteworthy of which was “Pintores de la Ribera” in May 1985 at the Club Campestre La Hacienda (km 30 of the Guadalajara-Chapala highway). Fellow artists at that show included Daphne Aluta, Eugenia Bolduc, Jean Caragonne, Donald Demerest, Laura Goeglein, Hubert Harmon, B. R. Kline, Jo Kreig, Carla W. Manger, Sydney Moehlman, Xavier Pérez; Tiu Pessa, De Nyse Turner Pinkerton and Eleanor Smart.
In 1987, Emily’s artworks were exhibited in a group show at the Piaf Restaurant in Guadalajara.
Few artists associated with Lake Chapala led such a varied and adventurous life as Emily Preston Meeker.
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Abilene Reporter-News: 2 June 1946, 58; 11 July 1948, 50; 13 November 1951, 8; 25 August 1960;
Maura Drechsler. “Travels of a Lakeside Painter,” El Ojo del Lago, April 1987, 1-3.
El Informador: 4 May 1985.
Guadalajara Reporter: 19 March 1964, 5; 28 May 1964, 1.
Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
Helen Marie Krustev, born in the USA on 16 September 1933, and wife of Bulgarian-born artist Dimitar Krustev, is an accomplished portraitist in her own right. Helen Marie had private art training in the Middle East before studying in Des Moines, Iowa, where Dimitar was one of her teachers. She continued to develop her own art while working with Dimitar on numerous cultural tours in Europe, Mexico and elsewhere.
Helen Marie Krustev. Untitled.
Helen and her husband moved permanently to Ajijic in the year 2000. Her love of Mexico, and enthusiasm for portraying the country’s dozens of indigenous groups, shines through in her work. In recent years she has specialized in painting portraits, usually in acrylics, of people such as the Tarahumar, Huichol, Cora and Maya, depicted in their colorful traditional clothing, and often facing away from the artist.
Helen Marie Krustev. Canoa y chinchorro.
Helen’s work has been exhibited, often alongside that of her husband, in several galleries in Mexico. In 1989 the couple held a joint showing of their work at the Art Studio Galeria in San Antonio Tlayacapan. In February 2000, they held another noteworthy joint exhibit, titled Caras de México, in the lobby of the Las Hadas hotel in Manzanillo.
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Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
Dimitar Iliev Krustev (1920-2013) was born in Sofia, Bulgaria, on 12 January 1920 and died in Ajijic on 11 February 2013. After studying at The Natioual Academy of Art for Portrait Painting in Sofia, Krustev served in the army under German rule for three years during the second world war. He moved to the US in 1947 to take a bachelor’s degree in commercial art at Kent State University, and then completed a masters degree in art history at the University of Iowa.
Dimitar Krustev. 1969. Portrait of a young man. Reproduced by kind permission of Ricardo Santana.
Krustev took US citizenship and he and his wife, Helen Marie, a former student, lived most of their married life in Des Moines, Iowa. Krustev worked as a commercial artist for the Des Moines-based magazine Better Homes and Gardens for nine years before opening the Des Moines Krustev Studio of Art. Krustev, who specialized in portraiture, loved teaching art, and many of his hundreds of students went on to enjoy considerable commercial and personal success. Krustev also enjoyed leading art study groups to Europe, Ajijic and elsewhere.
In the 1960s, as a member of The Explorer’s Club, Krustev began to travel to distant locations to document, photograph and paint the indigenous peoples of the Americas. In 1968 he became the first person known to have successfully navigated the Usumacinta River from its headwaters in Guatemala to the Gulf of México. Krustev’s fascination with people living in near isolation in what are commonly perceived as extreme environments led to his particular interest in the plight of the Lacandon Maya who live in the rain forest of Chiapas in southern Mexico.
Krustev’s experiences resulted in several books, including River of the Sacred Monkey (1970), Voices in the Night (1992), The Journals of Dimitar Krustev, an Artist–Explorer (Volume One) (1996), Black Hand Over the Jungle (1997), and Lacondón Journal 1969: From the Journals of Dimitar Krustev Artist-Explorer, published by Editorial Mazatlán in December 2012, only months before the artist’s death. His books and journals, supported by exquisite portraits, provide extraordinary insights into the changing daily lifes of the people who befriended him at a time when their traditional way of life was under siege from modernizing influences. Krustev is also the subject of a film titled The Bulgarian Gaugin.
After traveling back and forth between Des Moines and Ajijic for almost thirty years, Krustev and his wife established their home and studios in Ajijic in the year 2000. Ajijic became their base for more traveling, painting, teaching, and many joint shows. Among the artists inspired by Krustev are Pauli Zmolek (who painted her own scenes of the Chapala area) and Lois Black.
Dimitar Krustev. Boats of Ajijic. (Greetings card)
This conté drawing titled Boats of Ajijic shows typical fishing boats and fishing nets on the shore of lake, with Cerro Garcia in the background.
Krustev’s first major show in Mexico was in 1972 when he presented portraits and landscapes at the Mexican-North American Cultural Institute in the Zona Rosa, Mexico City. He also exhibited in Guadalajara and throughout Europe and the USA.
His earliest recorded exhibit in Ajijic (which accompanied a showing of his film of the Lacandon Maya) was at the Posada Ajijic in August 1977. He first ran workshops in Ajijic at about this time. Four years later, in 1981, he advertised an 11-day workshop in Ajijic for $552.60 a person; the fee included air fare from Omaha, room and art instruction.
In 1989, Krustev and his wife, Helen Marie Krustev, held a joint showing of their work at the Art Studio Galeria in San Antonio Tlayacapan. They held another noteworthy joint exhibit, titled Caras de México, in the lobby of the Las Hadas hotel in Manzanillo in February 2000.
Several of their shows in Mexico were organized by Katie Goodridge Ingram, who ran two successful art galleries in Ajijic—Galería del Lago and Mi México—for many years. Ingram explained to me that “Many of his works were a combination of conté and charcoal and pastels, though he also painted in oils” and that she was enthralled by his work among the Lacandon:
partly because of their inherent beauty and their attempts to preserve their old ways and partly because of the tragedy involved in the confluence of two cultures. I admired the adventurer who went into the jungle and, fearing the imminent extinction of these people, drew the wonderful faces, garb and lifestyle of the Lacandon Indians.”
Krustev’s work has been exhibited all over the world, and his paintings are in many prominent, private collections in Africa, USA, Europe and Mexico, where several fine examples are in the permanent collection of Ajijic Museo de Arte.
Papers and archives
The Human Studies Film Archives of the Smithsonian include two color silent film reels from Krustev’s trips (in the 1970s and 1996), as well as 180 35mm transparencies and two sound cassettes. His manuscripts and journals are archived at the American Heritage Center at the University of Wyoming.
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Guadalajara Reporter: 20 Aug 1977, 17; 11 April 1998, 13; 5 Nov 2011; 3 Jan 2014;
Kent Stater: 28 Oct 1947.
Omaha World Herald: 7 June 1981.
David Bodwell and Richard Grabman (editors). 2013. Lancandon Journal—1969: From the Journals of Dimitar Krustev: Artist-Explorer. Editorial Mazatlán.
Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
Ajijic’s sister city connection to Studio City in California had already been going five years by the time journalist Bill Reed wrote about it in 1967. The sister city program was part of the People to People initiative begun a decade earlier by former US president Dwight D. Eisenhower.
In 1964 the executive board of People to People held a lunch meeting at the Villa Montecarlo in Chapala, a meeting attended by Eisenhower’s son (John D. Eisenhower), Mexican President Adolfo López Mateos, former president Miguel Alemán, the Jalisco state governor Juan Gil Preciado, and other guests who listened to a keynote address by Walt Disney (in which he claimed “Jalisco” was his favorite song).
According to the Los Angeles Evening Citizen News (in January 1963), the idea to twin Ajijic and Studio City came from Eric Lindhe, a retired US Army colonel who had lived seven years in Ajijic and suggested the idea to Jim Hawthorne, Studio City’s honorary mayor. Lindhe undertook to liaise with villagers and help organize a formal sister city relationship. The press report also mentioned that a more recent Ajijic resident, retired civil engineer Don Savage, “has been working on a project to get water into the town’s homes for the first time.”
Press Telegram, 1962
The first tangible impact of the sister city connection was in September 1962 when a Studio City resident, the uncle of Ann Mosher, visited Ajijic and presented donated poster paints to the children taking art classes in Neill James’ library. That program grew into the Children’s Art Program, now held under the auspices of the Lake Chapala Society.
Mosher explained to fellow donors that the children made cards which tourists bought for a peso each, with part of the proceeds going direct to the aspiring young artists.
The Chamber of Commerce in Studio City had initially wanted to send medicines and children’s clothing to Ajijic, before learning that customs regulations might be an issue, so they sent large bottles of poster paint instead.
Despite knowing the potential problems, in October the Kiwanis Club in Studio City organized a major clothing drive for Ajijic children and collected close to a ton of clothes and shoes! Simultaneously, the Studio City Chamber of Commerce (SCCC) announced a 10-day tour to Mexico, to include Ajijic, Guadalajara, Mexico City, Taxco and Acapulco.
In November 1962 the Studio City Merchants Association joined with SSCC to host a Mexican Fiesta to raise funds, and at the end of month, thirteen Studio City residents left Los Angeles for Mexico. According to press reports, Mexicana airline assisted with the transportation of the donated clothing.
All thirteen visitors were overwhelmed by the “extraordinary cordiality of their hosts south of the border.” The group traveled to Ajijic from the airport in a “special bar-equipped bus.” Some sixty charros in multicolored serapes met the bus on the outskirts of Ajijic to escort the Studio City group to the plaza, where an estimated 4000 villagers gathered to cheer and welcome the group with music, folkloric dancing, church bells and confetti. “Torchlights blazed on all sides (there are no street lights in Ajijic).” This was the start of a three-day whirl of receptions, visits, parties and dancing. The visitors encountered no anti-US sentiments in the village, which “may be partly because the Americans residing in Ajijic have taken a special, helpful interest in the town and its problems.”
The following March the Los Angeles Times reported that plans were underway for a return visit by a group of Ajijic villagers to Studio City in April (via bus to Tijuana), and that Studio City residents had started to fund raise for a “long-needed” school in Ajijic, which “could be built for as little as $1,500.” This visit was subsequently postponed more than once, in part because a school teacher from Ajijic was acting as the group’s interpreter, so it needed to take place during a school holiday.
In April it emerged that the six large boxes of clothing that had been held at Guadalajara airport since the previous December had finally been granted duty-free status and had been released, following the personal intervention of the President, to Col. Eric Lindhe for onward transport to Ajijic.
Los Angeles Times, 23 July 1963.
Fund raising continued apace in Studio City, including a Bowling Tourney for the “rehabilitation of a boys’ school” in Ajijic, and the auction of a Tink Strother oil painting of an Ajijic woman preparing tortillas. Strother had lived in Ajijic the previous year.
In July an “advance party,” comprised of Ajijic residents Don Savage and his wife, and their 22-year-old maid, Mariana Yañez (the niece of Ajijic mayor José Serna Flores), arrived in Studio City. Savage persuaded Studio City officials that any funds raised by SCCC to affray the expenses of a visit by Ajijic children could be far better utilized to help pay for the expansion of Saúl Rodilas Pina boys’ school in the village. The school, for grades 1 to 6, was attended by 400 boys at the time, and needed to expand but had run out of money. Villagers wanted to buy bricks and steel beams to add two classrooms and a kitchen. Savage pointed out to his SCCC hosts that the expense of obtaining passports and visas for Ajijic students would be considerable. The SCCC sent a check for $650.00 to Ajijic for the school and continued to fund raise. Eric Lindhe gave a talk in Studio City in December and raised a further #105.00 to outfit junior soccer teams in Ajijic.
In March 1964 the SCCC voted to provide $300.00 to bring two boys, two girls and two teachers from Ajijic to visit Studio City. At the end of the academic year, the Ajijic students finally arrived.
The four students named in newspaper reports were Rafael Chávez (13 years old), “Frederico” (Federico) López (11), María del Rosario Díaz (14) and María Guadalupe Reyes (13). They were chaperoned by teacher Martha Zumiga (20) and school principal Velia Hugo. Born in Toledo, Ohio, Hugo had moved to Ajijic with her family as a 10-year-old and spoke perfect English. Also accompanying the group was delegado José Ramos Pérez and the village padre, Ramón Barba. Their Studio City hosts financed an itinerary that included visits to Disneyland, a beauty salon, shopping for clothes, a baseball game at Dodger’s Stadium, Revue Studio, boating and the naval air station at Long Beach. In their honor, Los Angeles mayor, Sam Yorty, officially proclaimed the week of July 9-16 “Ajijic Week in Studio City.”
Two years later a second group from Studio City, about 20-strong, stayed in Ajijic for several days at the end of November 1966. They toured the village boys’ and girls’ schools, and the new vocational school to which SCCC had contributed funds. By then, SCCC had plans to raise at least $1,000 to launch a food program of breakfasts for 200 needy Mexican youngsters in Ajijic. Blaine Hodgson, a retired US army officer living in Ajijic, had offered to oversee the program.
Velia Hugo kept in close contact with Studio City and the local newspaper reported in January 1968 that she was raising funds for a basketball court and that members of the SCCC also hoped to build a clinic in Ajijic, and start a kindergarten. A letter exchange was organized between students in Studio City and Ajijic, and in May the SCCC was planning to expand the small library in Ajijic and was considering establishing a retail outlet in Studio City to sell wares from Ajijic.
The SCCC also helped sponsor a 13-year-old Ajijic artist, Ramón Navarro, to leave Ajijic and live with an aunt in Los Angeles to take formal art classes. According to press reports, Navarro was, in August 1968, “exhibiting his oil paintings and watercolors at an art show in Guadalajara” and his talent had been discovered by Irma McCall, a former resident of Ajijic residing in Long Beach. (McCall’s article, “Ajijic–Paradise Under the Mexican Sun,” was published in the 11 March 1962 issue of the Independent Press-Telegram.) Studio City support for Navarro continued for several years. In 1973 the Women’s Division of SCCC gave him a scholarship to complete his education in the US.
The SCCC announced plans to invite Navarro and several residents of Ajijic to a block party in September. The Ajijic group was comprised of four adults—J. Trinidad Ramos Jr, president of the Ajijic Chamber of Commerce; businessman Rufino Palacios; Velia Hugo and Esperanza Briones, both teachers at the Girls’ School; and four 6th grader students: Rosemaría Jiménez (13), Antelma Plasencia (12), Rubén Romero (12) and Arnulfo Beas (13).
Velia Hugo addressed teachers at a luncheon at Riverside Drive Elementary school, telling them that, in Ajijic: “The number of children in our classes varies with about 100 children in first grade, 62 in fourth grade and 32 in sixth grade…. These children have only one teacher in each class.” She also explained that, with DIF support, hot breakfasts were being provided to about 500 village children.
J. Trinidad Ramos told the local press that after 6th grade in Ajijic, boys received “manual training” and girls studied sewing and dressmaking. He estimated that there were “more than 300 American families” living in the village, and stated that the resident Americans, spearheaded by Mr and Mrs Booth Waterbury of the Posada Ajijic, were interested in starting a medical center.
Studio City helped another young Ajijic artist in 1970 when the SCCC sponsored 24-year-old “Juan Olverez” (= Juan Olivares) to study art for a month in Studio City. American artist Jack Rutherford, who had been living in Ajijic for several years and recognized the young man’s talent, had contacted the SCCC, which arranged for Olivares to become the house-guest of Mr and Mrs Robert Hecker for the summer, while Mr and Mrs Rutherford and their four children enjoyed a working holiday in Laguna Beach.
Note: Juan Olivares was born in 1944 and would have been 26 in July 1970. Sadly he died in 2022 before I was able to ask him about his memories of Studio City and about his later artistic career, which centered on photography, for a profile which will be published on this site shortly.
As Ajijic grew, so contacts with—and financial support from—Studio City became more sporadic, though they continued until at least the mid-1980s. In 1971, for example educator Margaret Hyatt spent several days in Ajijic and returned later that year to give a month-long literacy tutor-training and demonstration course to young adults in Ajijic. A group of Studio City residents visited Ajijic in November 1973, to begin arrangements for a return trip for a 30-member delegation from Ajijic, including a youth soccer team, the following year. In 1976, SCCC organized the donation of medical equipment for Ajijic’s first public health clinic, which opened in May 1977. The SCCC also raised funds in 1977 for “school and church supplies” in Ajijic, and were still supporting a Scholarship Fund for Ajijic as late as 1984.
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Other Lakeside communities with sister cities include:
Chapala-Lake Arrowhead, California (included on official 1972 list of all sister cities)
Jocotepec-Watsonville, California (begun 15 September 2018)
Chapala-Jin Xi, China (the highway through La Floresta was renamed Boulevard Jin Xi in 1994)
Chapala-Barrhead, Alberta, Canada (from about 2007).
Sources
Los Angeles Evening Citizen News: 19 Jan 1963, 4; 5 Dec 1963, 7; 3 Jul 1964, 6; 3 Jul 1964, 6; 13 Jul 1964, 6.
Los Angeles Times: 7 Mar 1963, 138; 7 Apr 1963, 234; 15 Apr 1963, 2; 23 Jun 1963, 201; 4 Jul 1963, 107; 9 Jul 1963, 73; 27 Aug 1963, 2; 9 Jun 1964, 94; 31 Jul 1980, 209 12 Jul 1984, 211.
Press-Telegram, 30 Sep 1962, 109.
South Pasadena Journal: 03 Nov 1971, 10.
Valley News: 07 Feb 1967, 99; 05 Jan 1967, 49; 29 Dec 1967, 15; 04 Aug 1968, 50; 20 Sep 1968, 35; 22 Sep 1968, 12; 04 Feb 1971, 90; 16 Nov 1973, 43; 08 Oct 1974, 25; 02 Sep 1976, 42; 31 Mar 1977, 35; 01 Nov 1977, 32.
Valley Times, 2 Oct 1962, 15; 25 Oct 1962,17; 19 Nov 1962, 15; 27 Nov 1962, 2; 10 Jul 1964, 2; 25 Sep 1968, 8.
Van Nuys News: 21 Jan 1968, 6; 09 May 1968, 49; 26 Jun 1970, 17; 30 Jun 1970, 13; 17 May 1973, 105; 07 Aug 1973, 12.
Van Nuys News and Valley Green Sheet: 04 Jan 1966, 10; 04 Oct 1966, 47; 7 Oct 1962, 3.
Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
What was Ajijic like in 1967? Fortunately for us, that was the year when long-time journalist Ellis E. ‘Bill’ Reed reported from Ajijic on the status of the village’s sister city relationship with his home base of Studio City, California.
Reed, then the Executive Editor of the Valley Times in San Fernando, first highlighted the size difference between the two communities, explaining that Studio City had six times as many inhabitants as Ajijic, which he described as “a picturesque fishing village on beautiful Lake Chapala… now a community of 5,000.” He then explained to his readers how two Dane Chandos books—Village in the Sun and House in the Sun, both published in the 1940s—had introduced Ajijic to the English-speaking world: “Ajijic first gained fame as a Bohemian Center, but this has generally been replaced by a colony of serious writers and artists.”
Had this influx of foreigners had any impact on Ajijic? Reed noted that “Far from taking over the Americans have blended into the landscape and the only way you can tell their homes form those of the natives is by the screens on the windows. They have, however, brought in telephones and electricity.”
He also commented that “The bar at the Posada Ajijic is now in the earnest hands of former Hollywood producer Sherman Harris” and that “Climbing a hill at Chula Vista… is a Palm Springs-like subdivision of more than 100 lots, about 75 of them with occupied houses bearing names like ‘Dream’s End.’”
Photos accompanying Reed’s article illustrated a concert in a lakeshore park; fruit vendors, and two women cooking over an open fire on the beach.
Two of the images illustrating Bill Reed’s Valley Times article
The sister city program was one strand of the People-to-People initiative started by former US president Dwight D. Eisenhower in 1956. The executive board of People to People held a lunch meeting at the Villa Montecarlo in Chapala in 1964, a meeting attended by Eisenhower’s son (John D. Eisenhower), Mexican President Adolfo López Mateos, former president Miguel Alemán, the Jalisco state governor Juan Gil Preciado, who listened to a keynote address by Walt Disney (who claimed “Jalisco” was his favorite song).
In writing about the sister city connection between Ajijic and Studio City, Reed recalled how a contingent of Studio City residents and merchants had traveled to Ajijic in 1964 and decided that their efforts should be concentrated in youth programs, where the need was greatest. Funds were raised in Studio City funds to help remodel the boys school in Ajijic and provide uniforms for a youth soccer team. The following year a ten-person delegation from Ajijic visited Studio City. The Studio City Chamber of Commerce sponsored a letter writing exchange between students of the twinned communities and helped initiate a daily school breakfast program for 200 children in Ajijic. See also:
Long after Reed’s visit, this sister city connection was still going strong. For example, in 1977, Studio City residents organized a donation of medical supplies, including adjustable hospital beds, examination tables and assorted operating room equipment for Ajijic’s first public health clinic. They also raised funds to speed up construction of the village’s first purpose-built secondary school, which opened in 1983.
And who was Bill Reed?
Bill Reed had edited several other publications before joining the Valley Times, including the Daily Star-Progress in Brea-La Habra and the Daily Independent in Corona. Prior to living in California, Reed had worked as an editor and public relations executive in New York, where he had also taught marketing classes at New York University.
In an unusual claim to fame, Reed directed the first postwar tour of the landing beaches and battlefields of France in 1946, following which the entire group was invited by the Duke and Duchess of Windsor (Wallis Simpson) to visit their chateau on the French Riviera. Reed had also been secretary of the International Management Congress in Brussels and a consultant to the United Nations Economic and Social Council.
Though I have yet to locate any details, Reed also apparently wrote several plays, texts on marketing and a regular syndicated column, “Broadway to Main Street.”
Sources
Citizen-News, 24 April 1967, A-9.
Ellis E. (Bill) Reed. 1967. “Quaint Lake Community Wins Fame.” San Fernando Valley Times (North Hollywood, California), 26 Dec 1967, 14.
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Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
Artist and author Henry F. Edwards lived in Ajijic, with his wife, Corinne, and their numerous children, for many years in the 1960s and 1970s.
Henry ‘Hank’ Edwards was born on 9 May 1933 and completed studies at the University of New Mexico; San Diego State University; and the University of California. He served in the Navy on the aircraft carrier USS Shangri-La and then worked for a decade in the space industry, as a scientist-engineer on advanced satellites. Having made profitable investments, he retired young to travel the world; the family lived in several different countries before settling at Lake Chapala for more than a decade, most of the time in Ajijic, and a much shorter time on the southern shore of the lake.
Edwards published and republished several books. The one most directly related to Ajijic is titled The Sweet Bird of Youth . This book, published in 2008, consists of two parts: “Fall of the Globo” and “Living the Lucky Life,” previously published in 1977 and 1997 respectively.
“Fall of the Globo” is a fictionalized memoir of his time in Ajijic. Ajijic is renamed Tzipan in the book, and Jocotepec becomes San Pedro, while Henry and Corinne become Harold and Colleen. The book is a roman à clef, where many of the characters are only thinly disguised. It includes stories about building the Edwards’ family home, nicknamed “El Castillo” because of its castle-like turret, a couple of blocks north of Seis Esquinas. They had previously rented a property at Independencia #41, where artist John K Peterson later lived for a time.
Parts ofPlaying Prince in a Palace (2009) also relate to the family’s time in Mexico, while The View from Across the Lake(originally published in 2002) is about life on the southern shore of the lake before they then decided to move to Guatemala.
Edwards also penned an article titled “On Lake Chapala” for the Lake Chapala Review, which offers a chatty account of what life in Ajijic was like when he and his family lived in the village. The illustration accompanying that article was drawn by Simón Velásquez, son of long-time village artists Enrique and Belva Velásquez.
What was Ajijic like when Hank Edwards was living there? Well, it was a lot smaller than it is today, as evidenced by this simplified sketch map drawn by Hank and included in The Sweet Bird of Youth:
Sketch map of Ajijic, c. 1970, by Henry F Edwards.
The ‘paved road’ is the current carretera, completed in the early 1950s, a decade before Edwards arrived in Ajijic. The line labelled ‘End of Town’ is especially instructive in that there was apparently very little construction north of the carretera, even in about 1960. The “Castillo” was on the edge of the town.
Edwards pursued his art interests while in Ajijic, and held a one man show of 36 oils, done over five years, at what was then the Jalisco state gallery in La Floresta.
Edwards exhibited in a group show in March 1976 at the “José Clemente Orozco Gallery” in Ajijic, a gallery directed by Dionicio Morales at a location three blocks from the plaza on Guadalupe Victoria. Other artists in that show included Jonathan Aparicio, Frank Barton, Antonio Cárdenas, Antonio López Vega, Dionicio Morales, Julian Pulido, Sid Schwartzman, and Havano Tadeo.
Hank and Corinne (Bush) Edwards co-starred as the leading couple in the farce “Here Lies Jeremy Troy” presented by the Lakeside Little Theater in April 1976 at the Chula Vista Country Club. Corinne had performed in Victoria, BC, Canada, and in several previous Lakeside Little Theater productions.
At the time of “”Here Lies Jeremy Troy,” Hank Edwards apparently sponsored the short-lived Wes Penn Gallery (named for the deceased artist ex-husband of author Jan Dunlap). The gallery was trying to organize a two-person exhibit of paintings by Peter Huf and his wife, Eunice Hunt Huf, who, after living in Ajijic for many years, had moved back to Germany. A short press comment adds that, “Hank Edwards and Corinne Bush plan to leave Ajijic at the end of April, at which time the Wes Penn Gallery will be managed by Cristina Rigby of Jocotepec.” Cristina Rigby, it is worth noting, was the wife of British Hollywood writer Ray Rigby (The Hill).
Henry Edwards. c 1970. Street scene.
Hank and Corinne left Ajijic in May 1976, after throwing a medieval costume party for Frank and Kathy Barton who had taken over “El Castillo,” but returned the following year, when Hank became an active member of the informal cultural group TLAC (Todas las Artes Combinadas).
At the end of the 1970s, Edwards and his wife moved back to the US, where they lived in Oregon and Arizona. Corinne died in about 2016. When I was last in touch with Henry, several years ago, he still owned an island in the middle of Lake Atitlan in Guatemala, an island where he and his wife had once hoped to build a castle . . .
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My sincere thanks to both Alan Pattison and Henry Edwards for sharing their memories of Ajijic with me via phone, in July 2014 and November 2016 respectively.
Sources
Henry F Edwards. 2008. The Sweet Bird of Youth (BookSurge)
___2009. Playing Prince in a Palace (BookSurge)
___2009. The View from Across the Lake (BookSurge)
___2007. “On Lake Chapala,” Lake Chapala Review, April 2007
Guadalajara Reporter: 13 March 1976, 21; 3 April 1976, 31; 3 April 1976; 22 May 1976, 22; 16 Apr 1977, 19.
Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
Lona Mae Christians, later Isoard, (1903-1992) was a long-time resident of Ajijic in the 1960s and 1970s. She was born 8 November 1903 in Williamsburg, Colorado, and died 22 Sep 1992 in Walnut Creek, California, aged 88. Lona married her husband, Max Conlin Isoard (1900-1974), then a medical student, in June 1926. The couple had a daughter, Antoinette Ruth (Toni) Isoard, born in about 1940.
The family lived mostly in California, first in San Francisco (1928), then Sacramento (from 1930-at least 1955). In September 1951, Lona and Max Isoard arrived back in New York from Le Havre, France, on board the SS Liberté.
A 1938 newspaper article reveals that Isoard was a well-known polo player: “Among the players in the first game, will be Mrs. Lona Isoard, prominent in state polo circles.”
Lona Isoard: Fruit Still Life (ca 1972)
By all accounts, Lona Mae Isoard was quite an eccentric character. The late Tom Faloon commented to me that she was a “nutty lady”, adding that her sister and brother-in-law also lived in Ajijic. Katie Goodridge Ingram, former gallery owner, remembers that Lona lived at one time in the small, lakeside cottage belonging to “Russian” dancer Zara. (This cottage later became known as “Iona’s cottage”, taking its name from another eccentric American, a former teacher and world traveler, Iona Kupiec, who lived there from 1962).
In 1966, Lona Isoard remodeled a home in Ajijic at Calle Independencia #39 for herself, and an adjoining home, sharing the same street address, was occupied by her younger sister, Henrietta (and her husband, Herbert B. Phillips).
The following year, Lona spent three months visiting her daughter in California, where the two women acted together on stage in Oakland, California, in April 1967 in a production of the farce Botheration.
Isoard was active in the local Ajijic art scene and occasionally exhibited. For example, her work was included in the May 1971 group show, “Fiesta of Art”, held at the private home of Mr and Mrs E. D. Windham, Calle 16 de Septiembre #33, Ajijic. (The other artists involved were Daphne Aluta;Mario Aluta; Beth Avary; Charles Blodgett; Antonio Cárdenas; Alan Davoll; Alice de Boton; Robert de Boton; Tom Faloon; John Frost; Dorothy Goldner; Burt Hawley; Peter Huf; Eunice (Hunt) Huf; Michael Heinichen; John Maybra Kilpatrick; Gail Michael; Bert Miller; Robert Neathery; John K. Peterson; Stuart Phillips; Hudson Rose; Mary Rose; Jesús Santana; Walt Shou; Frances Showalter; Sloane; Eleanor Smart; Robert Snodgrass; and Agustín Velarde.)
Lona showed a self portrait in the TLAC (Todos las artes combinados) show at Posada Ajijic in April 1978.
An example of Isoard’s work, a still life of fruit, was included (along with works by many of the other artists in the 1971 group show) in A Cookbook with Color Reproductions by Artists from the Galería (Guadalajara, Mexico: Boutique d’Artes Gráficas, 1972).
Note: This is a revised version of a post first published 28 January 2016.
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Robert Lewis Taylor (1912-1998) worked as a journalist on the St Louis Post-Dispatch before joining the staff of the New Yorker magazine. He wrote numerous books in a productive literary career which spanned four decades and included a Pulitzer Prize in 1959 for his novel The Travels of Jamie McPheeters, a novel about the travails of a 14-year-old boy and his father during the 1849 California gold rush.
Taylor was a frequent visitor to Ajijic from about 1973, and kept a home there (“Casa Sastre”) until at least 1978. Bill Atkinson, a longtime Chapala resident who knew Taylor, once proudly showed me the copy Taylor had given him of his biography of W. C. Fields, with a personal inscription dated 1974.
During his time in Ajijic, Taylor focused on writing books. Interviewed by a journalist in 1978, Taylor, then 65 years old, explained that he preferred research (“digging is such good fun”) to writing, and that he had devoted the past five or six years to writing books:
Every morning I get up at 5:30 a.m. and, oozing pain from every pore, I drink some coffee and then I start writing and keep it up until about 1 p.m. without leaving my desk.
At our home in Ajijic, Mexico (he and his wife also have homes in Connecticut and Florida which they use frequently) I’ve got the housekeeper trained to keep people away from me. She’s marvelous! When she’s there no one gets to see me before I’m through working.”
In the afternoons he relaxed by playing tennis, swimming, lifting barbells and shooting pool.
Adapted for TV, 1963
Robert Lewis Taylor, was born in Carbondale, Illinois on 24 September 1912. After graduating from the University of Illinois at Urbana-Champaign he worked at the Carbondale Herald and the St. Louis Post-Dispatch for three years and had articles published in the Saturday Evening Post and Reader’s Digest. Taylor joined the New Yorker in 1939 and continued to write for the magazine until 1961, even submitting copy during the years he served in the Navy (1942-1946). He married Judith Martin in 1945.
None of Taylor’s writing was specifically about Mexico, though two of his novels do relate to Mexico as it was in the early nineteenth century. A Journey to Matecumbe (1961), the story of a boy on a journey from Illinois to the Florida Keys, was adapted in 1976 as the Disney movie Treasure of Matecumbe. Two Roads to Guadalupe (1964) recounts the adventures of two brothers who served with Alexander Doniphan’s Missouri Volunteers in the Mexican War of 1846-48.
Taylor’s other published books include: Adrift in a Boneyard (1947), Doctor, Lawyer, Merchant, Chief (1948), W.C. Fields: His Follies and Fortunes (1949), The Running Pianist (1950), Winston Churchill: An Informal Study of Greatness (1952), The Bright Sands (1954), Center Ring: The People of the Circus (956), Vessels of Wrath: The Life and Times of Carry Nation (1966), A Roaring in the Wind: Being a History of Alder Gulch, Montana (1977), and Niagara (1980).
His obituary in the New York Times remembered him in his prime “as tall and good-looking, a brilliant comic writer and sharply—some say caustically—witty.”
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Barbara Stewart. 1998. “Robert Lewis Taylor Is Dead, Novelist and Biographer, 88.” (obituary). New York Times, 4 October 1998.
Brownsville Herald: 4 November 1976.
Contra Costa Times (Walnut Creek): 19 February 1978, 35.
Michael Hargraves. 1992. Lake Chapala: A literary survey; plus an historical overview with some personal observations and reflections of this lakeside area of Jalisco, Mexico. Los Angeles: Michael Hargraves.
Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
Talented British artists Richard and Nancy Carline never lived in Ajijic, but did visit friends in the village more than once and completed several paintings of the area.
Richard Cotton Carline (1896-1980) was born in Oxford to a family of painters. After studying in Paris, and doing some teaching, he working on developing camouflage designs for the military before serving on the Western Front and in the Middle East as an Official War Artist during the first world war. During the second world war, Carline wrote the Ministry of Aircraft Production’s official report on industrial and aircraft camouflage; his work on camouflage projects was highlighted in a 2016 exhibition at Leamington Spa Art Gallery & Museum. The quality of his work as war artist and camouflage expert is almost unparalleled.
Richard Carline. Carrying burdens in Mexico. Credit: Christie’s.
In the interwar period, Carline taught at the Ruskin School of Drawing in Oxford and held his first solo show at the Goupil Gallery in 1931. He was an active member of the AIA (Artists’ International Association) and, according to Mexican art critic Justino Fernández [1], spent eight months in Mexico in 1936. The more commonly repeated version is that Carline visited the USA and Mexico in 1937-1938, where he was impressed by both the value of public murals and the value of encouraging them via such programs as the Federal Art Project.
In the early 1940s, on behalf of the AIA (Artists’ International Association), Carline lobbied for the UK to have a public mural program, based on those in Mexico and the US, as a way of enabling artists to contribute to the war effort. Sadly, the AIA’s efforts met with only limited success, but did not deter Carline from establishing a National Mural Council in 1943 to promote the commissioning of murals by industry. Three years later, Carline was chosen as the first Art Counsellor of UNESCO.
Richard Carline. 1975. Ajijic after rain. Credit: Canterbury Auctions
Carline was an aficionado of picture postcards and wrote Pictures in the Post: Story of the Picture Postcard and Its Place in the History of Popular Art, first published in 1959. He also wrote The Arts of West Africa (1935), Draw they Must (1968) and Stanley Spencer at War (1978).
Richard and Nancy Carline married in 1950 and had two children, one of whom (Herminone) is also a professional artist.
Nancy Mona Carline (née Higgins) (1909-2004) trained at the Slade School of Fine Art in London and then worked at the Sadlers Wells Ballet, where she met Vladimir Polunin, who encouraged her to return to the Slade and take the course he was teaching in stage design.
Nancy Carline was an ardent advocate of art education and exhibited regularly, including in shows arranged by the Royal Academy, the London Group, the New English Art Club, the Artists’ International Association, and the Wildenstein Gallery. A retrospective of her life’s work was held at the Camden Arts Centre in 1980.
Though the details of Richard Carline’s first trips to Mexico remain unclear, his later visits, accompanied by wife Nancy, were to visit Laura and Jack Bateman and their children in Ajijic. Laura Bateman ran an art gallery in Ajijic for many years. How the two couples first met each other is unclear, but they became firm friends. Based on the dates of paintings of Lake Chapala completed by the Carlines, they visited Mexico in 1967 and 1975, and perhaps on other occasions as well. Shortly after their 1975 trip, Richard Carline wrote to German artist Dr. Frederick Solomon (1899-1980) in New Hampshire explaining that he had returned to Lake Chapala because he “found it so fruitful for painting.” But, because they had bought a reduced fare ticket, “we did not have very long in Mexico – but by going to paint we can deduct this as an expense of artists from income tax.”
Paintings by both artists were sold by the Canterbury Auction Galleries in the UK in 2020. Richard’s “After Rain Ajijic Mexico 1967” had a pencil inscription stating it had been exhibited at the London Group in 1968/9. Two Lake Chapala-related paintings by Nancy were in the same auction: “Ajijic Mexico Lake Chapala”, and “Mexico” (which had “Ajijic” and “1975″ written on the back).
The Carlines’ close friendship with the Bateman family had another very significant link to the Lake Chapala art world. The Bateman’s eldest daughter, Alice, after attending a village school in Ajijic, studied art for a year at the University of Guadalajara in 1963. The following year Alice lived with the Carlines in London, when she moved to the UK to study at the Byam Shaw School of Art (now Central Saint Martins College of Arts and Design). Alice Bateman, who later also studied sculpting in Italy, lives in Texas and has enjoyed a stellar career as a sculptor.
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[1] Justino Fernández. 1969. Catálogo de las Exposiciones de Arte en el año 1968. Anales del Instituto de Investigaciones Estéticas, Mexico.
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Does anyone recognize the artist who painted this attractive gouache of a village scene? It is dated ’62. The indistinct signature appears to start with “PETER” in block capitals.
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Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
Of all the notable artists associated with Lake Chapala, the one who made the most waves in international art circles in the latter part of the twentieth century was Feliciano Béjar.
Feliciano (‘Chano’) Béjar was born on 14 July 1920 in Jiquilpan, Michoacán. Jiquilpan had been in close proximity to Lake Chapala for centuries until the eastern third of the lake was drained for agriculture a decade before Béjar was born.
A self-taught artist, who overcame polio as a child, Béjar was revered for his inspired sculptures, painting and weaving. His most famous series of works, dubbed ‘magiscopes,’ imaginatively combined glass with metals, plastics and other recycled materials; they stimulate viewers awareness of the unlimited power of the human eye to see and interpret abstract sculptures.
Feliciano Bejar. Boat seller.
Béjar attended the Colegio Salesiano of Guadalajara (1932-1934) and his childhood interest in art was stimulated by meeting José Clemente Orozco when that great artist was painting his remarkable murals in Jiquilpan in 1940.
There is little point in me rehashing all the details of Béjar’s life, which are readily available online, including in this Wikipedia article.
If it had not been for serendipity, Béjar might never have become an acclaimed artist. He had traveled widely in Mexico before leaving for New York in 1945 to work, paint and buy himself a Chevrolet. Béjar painted during the day and worked nights in a department store.
Feliciano Bejar. Posada del niño
In 1947 he left some paintings at a frame shop which, by chance, was patronized by gallery owner Ward Eggleston. Helped by Nathaniel Coleman and his wife, a wealthy art-loving couple who had struck up a friendship with Béjar in the department store, Eggleston made arrangements to hold a solo show of Béjar’s work at his gallery the following year.
Meanwhile, Béjar had bought a car (despite not knowing how to drive) and persuaded a friend to drive him and the car back to Jiquilpan. Shortly after their safe arrival, his friend borrowed the vehicle to visit his own family; unfortunately he then totaled the automobile in an accident.
Béjar returned to New York for his solo show, the first of several he would hold at the Ward Eggleston Galleries. Nathaniel Coleman remained his chief promoter and sponsor; he purchased some two hundred of Béjar’s works over the years; the terms of his will meant that more than half of them eventually returned to the artist.
Feliciano Bejar.Sunset at Lake Chapala
According to a contemporary review of the first New York show, at the Ward Eggleston Galleries in 1948:
“It was difficult to leave the Ward Eggleston Galleries after viewing the paintings of Chano Bejar without being haunted long afterwards by the pinks and yellows and greens in his “Fiery Horse,” a dream creature out of Mexican Indian mythology who flamed and quivered with motion that threatened to shatter the very canvas which held him.”
Béjar’s art remained unrecognized in Mexico, until after he was sponsored by UNESCO to travel to Europe in 1949 for a group show of Latin-American artists which included several of his works. On his return, the Instituto Mexicano Norteamericano de Relaciones Culturales took a keen interest and arranged several shows over the next few years. A retrospective exhibit of his works in Los Angeles in 1956 was funded by the Rockefeller Foundation. These shows helped establish Béjar’s reputation and resulted in dozens more solo shows. UNESCO produced a film in 1964, “The world of Feliciano Béjar,” and Béjar’s work featured in the Mexican pavilion at the New York World Fair in 1965. During his long artistic career, Béjar held more than 150 solo shows in Mexico, the US and Europe.
Two early Chapala-related paintings deserve a special mention. Béjar’s solo show at the Galeria José María Velasco in Mexico City in 1962 included “Tuxcueca.” Completed in 1947, this painting of a humble village on the south shore of Lake Chapala is probably the only time the village has ever been painted by a major artist. A second 1947 oil on canvas was included in Béjar’s 1965 show at Galeria Mer-kup, also in Mexico City: it was titled ‘Chapala.’
Feliciano Bejar. Three magiscopes.
Magiscopes were first shown in 1966 at the Instituto Nacional de Bellas Artes in Mexico City, and at Mappin Art Gallery in London, UK. Inspired by childhood toys and games, Béjar’s magiscopios are somewhat reminiscent of Renaissance clocks, astrolobes and other scientific instruments, coupled with the visual allure of kaleidoscopes.
During this highly productive period of his life, Béjar also prepared designs for several European ceramics makers, including Spode, and designed stage sets. The artist held strong opinions about all manner of social and environmental concerns, and shared them via a weekly column in the 1980s in Mexico City daily El Universal.
Francisco Béjar, one of the more remarkable self-taught artists to emerge in Mexico during the second half of the twentieth century, died in Mexico City on 1 February 2007. His work continues to be highly sought after by collectors.
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Justino Fernández. (multiple years) Catálogos de las Exposiciones de Arte, Anales del Instituto de Investigaciones Estéticas, Mexico.
Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
Japanese artist Masaharu Shimada, who specializes in sumi-e pen and ink drawings and has held dozens of acclaimed exhibitions in Mexico and his native Japan, lived for several months each year in San Antonio Tlayacapan from 1986 onwards. His exquisite works include numerous evocative monochrome impressionist landscapes of Ajijic and San Antonio Tlayacapan.
Sumi-e, which means black ink painting, developed over several centuries in Japan, after Zen Buddhist monks from China first introduced their deceptively simple techniques and style back in the fourteenth century. Chinese ink is applied to paper using brushes traditionally made of hair, bamboo or feathers.
Born in Nakagyo, Kyoto, in 1931, Shimada graduated from the calligraphy department of Tokyo Gakugei University in 1953 before teaching himself the techniques of sumi-e. He held his first solo show of sumi-e at the Chuokoron-sha Gallery, Tokyo, in 1961.
Masaharu Shimada. 2000. Cerro y lago de Chulavista.
In 1967, he visited Mexico for the first time and stayed six months. Two years later, he produced his first book, México en Sumi-e, published by Mokuji-sha, Tokyo.
He returned to Mexico in 1970 and held a solo show at the University of Guanajuato. In 1972, during his third visit to Mexico, he had a one-person show in Valle de Bravo, in the State of México.
Over the next decade, he revisited Mexico almost every year, before deciding in 1986 to establish a seasonal home in San Antonio Tlayacapan on Lake Chapala.
Masaharu Shimada. 1999. Casa antigua de San Antonio Tlayacapan.
During the course of his long love affair with Mexico, Shimada has produced several more books, including México Pintado en Tinta China and Colección de Pinturas en San Antonio (both published by Editorial Work House, Tokyo) and México Pintado en Tinta China, published in 2003 by Editorial Artes Gráficas Panorama S.A. de C.V. in Mexico City.
Shimada’s major solo exhibitions in Mexico include: University of Guanajuato (1970); Valle de Bravo (1972); Museo Alhondiga de Granaditas, Guanajuato (1978); Galería Arvil, Mexico City (1977, 1979); Casa de Cultura, Guadalajara (1988); Instituto Cabañas, Guadalajara (1989); Museo Pueblo de Guanajuato (1980, 1983, 1988, 1995); Colegio de Michoacán, Zamora (1996); Televisa, Guadalajara (1998); Nikkei Cultural Center, Mexico City (1999); Museo Casa de Arte Olga Costa-José Chávez Morado, Guanajuato (2001); Yakult Cultural Center, Guadalajara (1994, 2002); and Galería Ramón Alva de la Canal, Xalapa, Veracruz (2016).
The 48 sumi-e works Shimada displayed at the last named show included Lago y casa de San Antonio Tlayacapan, Chapala, Jalisco (1995); Fantasía de árbol de nopal (1996); Nopales (1997); and Panorámica de Guanajuato (2000).
The catalog of images from this exhibition can be viewed on issuu.com.
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Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
Robert Clutton (1932-2016) lived in Ajijic from about 1959 to 1961. His time in Mexico introduced him to the pantheon of ancient Aztec and Maya gods which so strongly influenced much of his later art. He revisited Ajijic several times after this initial extended stay in the village.
“Bob” Clutton, “Roberto” to his Mexican friends, was born in England on 5 June 1932, brought up in Wales, and passed away in San Francisco on 15 August 2016 at the age of 84.
He left Wales in 1949 to cross the Atlantic on the Mauretania. (Until late in life he much preferred ocean liners to aircraft.) He settled in Baltimore where he became the Art Director for Black & Decker. In October 1955, he was one of numerous artists exhibiting in the The Artists’ Union of Baltimore annual show.
By 1959 Clutton was living and working in Ajijic on Lake Chapala. Several of his paintings from this time can be seen on this Facebook page of the San Francisco Senior Center. This painting of the Posada Ajijic in 1959 (below) is a fine example of Clutton’s style during his first months at Lake Chapala.
Robert Clutton. 1959. Untitled painting of Posada Ajijic. Reproduced by kind permission of the artist’s family
Former Ajijic gallery owner Katie Goodridge Ingram remembers Bob Clutton as a lovely man, who was well-liked by everyone in the community. During his time in Mexico, Clutton became increasingly fascinated by the “gods of ancient Mexico” and images of these gods became a frequent theme in his later paintings.
When he decided to leave Ajijic in 1961, he chose to move to San Francisco because that was where “all the interesting people he met in Mexico” were from. He continued to make his living as a professional artist in that city for more than fifty years. He retained some close ties to Mexican friends in Ajijic, and revisited the village several times.
Robert Clutton. 1959. Bullfight, Ajijic. (Image from San Francisco Senior Center page)
A newspaper feature in 1968, entitled “Art by the Foot” described how Clutton, “a bronzed, bearded, no-nonsense British artist” was making “made-to-measure bas-reliefs” in his Divisadero Street studio. The bas-reliefs, “designed to be decorative indoors and architectural assets outdoors”, used Aztec symbols and colors, and relied on the interplay of sun and shade to emphasize the materials, relief and texture.
Clutton was still producing “formal paintings” which also showed the influence of Mexico, and was represented by the Vorpal Gallery in San Francisco. A solo show of his oils and acrylics at that gallery in 1969 brought a wider audience for his work. Shortly after Clutton petitioned for US citizenship in 1971, the Vorpal Gallery also included examples of his work in its 1971 Christmas Show, which also featured paintings by John Denning, Muldoon Elder, Roy Glover, Stephen Haines Hall, Bruce Sherratt (who had previously lived for several years at Lake Chapala) and Gary Smith.
Clutton also exhibited in Los Angeles and in Puerto Vallarta, Mexico, where a show of his oil paintings opened at Galeria Uno (Morelos 561) in Puerto Vallarta on 23 March 1993.
Robert Clutton. ca 1969. Tezcatlipoca in front of his smoking mirror seeing himself as Huitzilapochtli. (Vorpal Gallery)
In 1988, Clutton designed the poster for the 1988 Haight Ashbury Street Fair. He enjoyed social events, garden parties and dinners and surrounded himself with creative people, making for lively and entertaining discussions. In his final years, Clutton was active as an artist at the San Francisco Senior Center.
This is an updated version of a profile first published 1 December 2016.
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My sincere thanks to Jane Clutton for sharing memories of her husband, and for graciously permitting me to share images of paintings belonging to his family.
Sources
Jane Clutton; personal communication, October 2016.
Peninsula Times Tribune, 1 Jan 1972, 42.
San Francisco Sunday Examiner and Chronicle, California Living, Week of March 31, 1968: “Art by the Foot” [copy supplied by Jane Clutton]
San Francisco Chronicle. 2016. Robert Clutton – obituary, San Francisco Chronicle from Oct. 2 to Oct. 7, 2016.
Vorpal Galleries. Robert Clutton. 1969. San Francisco: Vorpal Galleries.
Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
Artist and international art educator Bruce Robert Sherratt and his first wife, Lesley Jervis, a British sculptor, lived in Jocotepec at the western end of Lake Chapala from 1968 to 1970. Prior to their arrival in Mexico, they had lived and traveled for some time in the USA.
Bruce Robert Sherratt was born in Biddulph, Derbyshire on 31 May 1944. Both Sherratt and his wife studied at the Newcastle School of Art in Newcastle under Lyme, Staffordshire, before moving to London where they married in 1963, and where Sherratt gained his degree in drawing and painting from the Camberwell College of Arts. Many years later, as a mature student, he also completed a degree in Art Education from the University of Wales in Cardiff, U.K.
Sherratt has written of fulfilling a youthful ambition by traveling (with his wife) to Mexico, where he gradually established his own identity as a surrealist painter, “hypnotized by the Aztec, Mayan and Toltec mythology” and “drawn to the giants of Mexican revolutionary muralism such as Orozco, Rivera, Tamayo and Siquieros.”
After reaching Jocotepec, the young couple rented a huge house called “El Kiosko”, “with spectacular views of the entire lake”, set up their studio, and got to work. Sherratt describes them as “hermits”, obsessed by their work: “We were very serious, determined to develop our work and we were very ambitious.” They had relatively little connection to the Lakeside art scene of the time, though they did frequent Ramón’s bar on the plaza and got to know Jocotepec artists (Don) Shaw and John Frost.
During his time in Mexico, Sherratt held several exhibitions of his work , including a solo show at the Galería Municipal in Guadalajara in 1969.
Bruce Sherratt. 1970. Silent Cataclysm (oil on canvas). Credit: Bruce Sherratt Gallery.
In June 1970, Bruce Sherratt’s work was in a group exhibit in Guadalajara at the Casa de la Cultura Jalisciense. Other artists participating in this show, included Eunice Hunt, Peter Paul Huf, John Frost, Mario Aluta, Daphne Aluta, Chester Vincent, Lesley Jervis Maddock (aka Lesley Sherratt), Gustave Aranguren, Hector Navarro, and Willi Hartung. According to the Guadalajara Reporter, the three works by Sherratt, titled “Victims,” showed “imaginative fluidity,”
Bruce Sherratt – 1971 exhibit
The following month (July 1970) the Anglo Mexican Institute in Mexico City held a joint show of Sherratt’s paintings and sculptures by ‘Madock’ (the art name used by Lesley, his wife). This show in Mexico City was apparently at the encouragement of the surrealist painter Leonora Carrington.
After his time in Jocotepec, Sherratt traveled to California, where he painted for a year in San Francisco. His work was exhibited in a group show at the San Francisco Museum of Modern Art (1970) and in an exhibit entitled “Surrealist Painters in San Francisco”, in the Vorpal Gallery, San Francisco (also 1970).
The following year, he had another exhibit of oils and drawings in Guadalajara, in the Galeria Municipal. In his review for El Informador, John Frost called it “a passionate description of a trip to another world”, writing that Sherratt, “guides us through regions that could alarm and depress us if it was not for his vision and artistic discipline”. El Informador‘s regular art columnist, J. Luis Meza Ina, however, viewed the show as the work of a painter, not an artist.
At the end of 1971, Sherratt’s work was included in the San Francisco Vorpal Gallery Christmas Show, alongside works by Robert Clutton (who had also lived for several years at Lake Chapala), John Denning, Muldoon Elder, Roy Glover, Stephen Haines Hall, and Gary Smith.
After his time in San Francisco, Sherratt decided to travel the world and spent several years meandering through Latin America. He became sufficiently interested in the ideas of Rudolf Steiner, and color theory, to return to the UK to take a degree in Art Education, before becoming a respected international art educator, whose teaching career has taken him to international schools in Germany, Tanzania, Sri Lanka, the Philippines, Malaysia and Indonesia.
Sherratt’s studio is currently in Ubud on the island of Bali in Indonesia, where he is the founder and CEO of the Bali Center for Artistic Creativity (BCAC). The powerful and colorful images on his website show there are few limits to his imagination and artistic abilities. In the past twenty years or so, he has exhibited in numerous countries, including several shows in Jakarta, Indonesia: a retrospective at the Duta Fine Arts Foundation (1998), a show entitled “Synthesis and Abstraction” at the British Council (2001) and an exhibition at the ExpatriArt Gallery (2005).
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.
Sincere thanks to Bruce Sherratt for sharing, via email, some of his memories from his time in Mexico. To see more of his work, please visit his website.
This is a revised version of a profile first published 25 June 2015.
Sources
El Informador, 5 June 1970; 10 May 1971; 16 May 1971.
Evening Sentinel (Stoke on Trent), 21 Sep 1963, 8.
Guadalajara Reporter, 21 Mar 1970; 13 June 1970.
The Peninsula Times Tribune, 1 Jan 1972, 42.
Justino Fernández. 1971. Catálogo de las Exposiciones de Arte en el año 1970. Anales del Instituto de Investigaciones Estéticas, Mexico.
Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
Inveterate world traveler Norman D Ford (1921-2009) described Lake Chapala and Ajijic in several of his books, including in Bargain Paradises of the World (1952). By 1970, he had decided that Lake Chapala was “no longer the cheapest place in Mexico. Since 1950, about 1,500 American couples have moved into its two dreamy villages of Chapala and Ajijic. Prices have inevitably risen. But building costs still average only $4 per square foot, and you can hire a maid for $12 or a cook for $16 a month.”
“You can have a modern home built for under $5,000…. For two, you can budget about $70 for food and $30 for utilities and your maid per month. The rest is for high living–golf, riding or swimming by day, followed by some of the most fabulous parties on this continent.”
Ford was born in the UK on 8 January 1921, the only child of Frederick William John Matthew and Jessie Shortland Ford. He grew up in Wales, and became a lifelong adventurer, especially keen on cycling, hiking and kayaking. During six years service as a radio operator in the Merchant Navy during the second world war, Ford traveled as far as the U.S., Sri Lanka and New Zealand.
A few days after the war ended, Ford declared himself president of the Globetrotters Club, a then loose-knit organization which produced “a monthly newsletter describing how to travel the world at rock bottom cost, plus a list of other members.” This helped popularize low budget adventure travel to all manner of unlikely destinations.
In early 1947 he moved permanently to the US where he worked as an editor and began to write travel and retirement books, starting with Where to Retire on a Small Income (1950). The success of this book, and several later books, enabled Ford to quit his day job, move to Florida, and focus on freelance writing. By 1980 travel writing had become increasingly competitive, so Ford moved to Boulder, Colorado, and switched to writing popular books about health issues. He spent the last years of his life in Kerville, Texas, where he died on 19 June 2009 at the age of 88.
Ford wrote a more detailed account of Ajijic in Fabulous Mexico where everything costs less. The following excerpts are from the 10th edition (1970).
AJIJIC. Alt 5,030′, pop 3,500. An ancient Tarascan fishing village, Ajijic nestles on the lush shores of Lake Chapala beneath a steep, green and aesthetically contoured mountain range…. You notice the neat, trim plaza with its well painted bandstand, the picturesque fishing nets strung along the shore. What lies behind those bare adobe walls? Inside are white patios lush with flowers, well equipped art studios and the comfortable homes and apartments of Ajijic’s 300 permanent American residents.”
Ford summarizes how foreigners ‘discovered’ Ajijic and began to change it:
Years ago, a retired British engineer seeking a Utopia discovered this garden spot and built himself an impressive lakeshore home fronted by an acre of color-splashed blooms. After World War II, veterans studying in Guadalajara found they could live well here on their G.I. Bill payments. Artists moved in, led by several well known modern painters. Several writers and musicians followed together with a group of enterprising ladies who reorganized Ajijic’s dwindling handlooms crafts into a thriving industry. With a few exceptions, this group still forms Ajijic’s Old Guard. Getting in early, they bought up the choicest lots and homes, secured long term leases on the lowest rentals and today, most of these old timers offer outstanding examples of the way in which the good life can be enjoyed in Mexico on little.”
Ford explains that while some of these incomers were still paying “fantastically low rents” [$7.50 to $15.00 a month] “and living well on very small budgets,” some were “constructing lavish homes costing up to $14,000 and $15,000. New homes are sprouting all around the village and to the west, ultra modern homes are studding a new hillside subdivision.”
He concluded that “Ajijic today is a slightly raffish, slightly bohemian rustic village where retirees outnumber the artists five to one.” The foreign community was changing: “Ajijic is still no place for suburban conformists but neither is its nonconformity disquieting. Drinks and gossip are still favorite pastimes but criticism today centers on the unstable electricity, the water supply which sometimes runs dry in May, and the water hyacinths which clog the lake rather than on eccentric people.”
Besides writing about Mexico, Ford wrote dozens of other books, including Florida: A Complete Guide to Finding What You Seek in Florida (1953); How to travel without being rich (1955); America’s 50 best cities in which to live, work, and retire (1956); America by car : planned routings to all that’s worth seeing (1957); Where to retire on a small income (1966); Good night : the easy and natural way to sleep the whole night through (1983); Keep on pedaling : the complete guide to adult bicycling (1990); 50 Healthiest Places to Live & Retire in the United States (1991); The sleep Rx: 75 proven ways to get a good night’s sleep (1994); and Natural remedies: techniques for preventing headaches and the common cold (1994).
When Ford looked back on his varied experiences on several continents, including cycling trips in 38 countries, he concluded that:
travel half a century ago was much more rewarding and much more fun…. Overall, the world was much safer then with far less risk of being robbed or mugged. In fact, every year since 1945 I’ve witnessed a world-wide deterioration in the quality of life and the quality of the travel experience. Each year, more Coca-Cola signs appear and almost every country is rapidly losing its national character while it fuses into a faceless industrial monoculture.”
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Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
Painter, print maker and sculptor Stanley (“Stan”) Fullerton (1935-2018) lived in Chapala in the early 1960s and subsequently became a successful painter in the Santa Cruz area, California.
Born in Portland, Oregon, on 19 January 1935, Fullerton had already exhibited at the City Lights Bookstore in San Francisco (one of the favorite venues of Beat era poets and artists) and held a solo show at the Telegraph Hill Gallery, in that city in 1958 before he moved to New York where he studied at the Art Students League (1959-60), became friends with George Grosz, and held solo shows at the European Gallery (1959) and the Hilda Carmel Gallery (1960).
After a short period of service in Korea and Japan with the US Marines, Fullerton spent a year or two at Lake Chapala, before settling in the Santa Cruz area of California in the mid-1960s. His wife, Gail Putney, was the first female president of San Jose State University. The couple moved to Coos Bay, Oregon, in the 1990s.
Stan Fullerton. 1969. Man Playing Cello Outdoors
According to former “Merry Prankster” Lee Quarnstrom, Fullerton “inspired both the stoic American Indian character, “Chief” Bromden, and recidivist criminal, Randle McMurphy, in Kesey’s novel, One Flew Over the Cuckoo’s Nest.”
In the words of journalist Mark Marinovich:
Fullerton’s expressionistic paintings, prints and drawings are populated by improbable characters juxtaposed in even more improbable circumstances.”
– “ “I paint human folly. I paint authority figures as fools, and fools as authority figures.” Fullerton champions self-expression, which, he asserted, is generally lacking in American art.”
Despite not liking to exhibit his art, Fullerton held several one-man shows, including exhibitions at The Cupola Gallery, Santa Cruz (1966), The Downstairs Gallery, Los Gatos (1970), Pacific Grove Art Center, Pacific Grove (1982), Bruce Velick Gallery, San Francisco (1987) and Southwestern Oregon City College, North Bend, Oregon (2016).
Exhibit of work by Stan Fullerton, 2017.
His group shows included Nova I in Berkeley, California (1969), The Great Montgrove Craft Guild, Pacific Grove (1970), 1971- 1973 The Forge in the Forest, Carmel (1971, 1972, 1973), Corn Roast, Davenport (1972), and Bruce Velick Gallery, San Francisco (1987) and Untitled 2.0 Gallery, Grants Pass, Oregon (2017).
Fullerton’s friends during his time in Chapala included guitarist Jim Byers. Byers and Fullerton were also close buddies in Santa Cruz. Fullerton was bartender at The Catalyst, where Byers—dubbed “The First King of Lompico” by one regular—often played classical guitar for tips.
Stan Fullerton had been widowed two years when he died in Coos Bay, Oregon, in 2018.
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Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
In the early 1960s, Grant Risdon, a student at San Francisco Art Institute, lived in Chapala for some time. Risdon, a larger than life character, became friends with guitarist Jim Byers, and the two men rented rooms in El Manglar, the extensive lakeside estate in San Antonio Tlayacapan.
Scott Hampson, who visited his half-sister Beverly Johnson in Ajijic over the winter of 1963-64, shared his tales of his own adventures with Grant Risdon:
By that time I had two close friends who kept me company out at Manglar. One, the one I was closest to, was Tony Bateman…. He and I and a friend named Grant stole two very expensive early era inflatable boats from two explorer tourists who were en-route back from South America. They were staying at a lakefront hotel in town and had the boats out on their deck. We stored them at Manglar and took midnight floats out on the lake, which was the only time one could float stolen boats…. One late night in the graveyard we unbuckled the crypt of an important ancient citizen, a priest perhaps. When we got the lid off and shone our flashlight inside we saw the skeleton, screamed, and took off running like contestants in a 100 yard dash.”
A year earlier, an encounter with Risdon and Byers had left an indelible impression on Doctor Avis, as recounted by Dayton Lummis in Spaceships and Liquor: Venus and Mars Are All Right Tonight. According to Lummis: “Ajijic was then, 1962, just barely beginning to be discovered, mostly by a few beatniks and adventurers” when Doctor Avis got out of the army and decided to stay there a few days:
Not long after getting off the bus in Ajijic he fell in with two American chaps, Jim Byers and Grant Risdon from Chicago, who playfully called himself “Pancho Napoleon Anaya… These two chaps directed the Doctor to some cheap lodging and then suggested they buy some of the locally available and very cheap marijuana, or mota, to assist them in getting through the afternoon…”
Risdon’s moniker reflected the fact that he had been informally adopted by the prominent Anaya family in Chapala.
Grant Risdon. Credit: Monterey County Weekly.
Risdon, who was born in Monterey, California, in about 1943, started life with an abusive father and, while still a child, lost his mother to a heroin overdose. Brought up by his grandfather in Jamesburg, near Cachagua, RIsdon eventually graduated from Carmel High and served briefly in the US Marines before moving to Lake Chapala.
His art education had begun with Monterey painter Buck Warshawsky, and his early works were sufficiently original to be greatly admired by Jack Swanson, a renowned cowboy painter living in Carmel Valley. Swanson awarded him the top prize in an art contest at the Trail & Saddle Club for a painted three-panel door.
The only Risdon artworks known to have been published are the “brilliant illustrations (Aztec Design)” linoleum block prints he produced for a hand bound book of poems by Richard Denner, published in 1968.
Risdon sold pastel drawings of ships in local galleries, and often painted scenes of the Civil War, the Old West and Native Americans. Adorning the Cachagua General Store for years was one of his “Indian Surrealism” pieces: an image of a canoe under a full moon, with its Native American rower only visible as a reflection in the water.
In 1981, following a violent altercation with a naked man, Risdon fled police to hide out in a cave in Los Padres National Forest for the next three years, before returning to the scene of the crime to turn himself in. Or did he? Risdon was a brilliant raconteur but, according to many friends and journalists, was liberal with the truth and often embellished his stories for dramatic effect. Years later, Conall Jones, a New York filmmaker, produced a 20-minute documentary short, An Unwanted Man (2014), about Risdon’s years on the lam. [link is to trailer]
Friends considered Risdon “a sensitive soul who loved horses, painted Western-style art and pursued history and culture with almost as much passion as he did pretty women.” He always retained very fond memories of Lake Chapala and Mexico. In the words of one journalist:
Reliving those memories behind the General Store, Risdon clacks his castanets and sings “El Lechero,” a Mexican folk song about a handsome milkman. The nostalgia begins to flow like tequila: how he tangoed with beautiful women in the Guadalajara dance halls, received a presidential smile during Jonn F. Kennedy’s visit to Mexico, and learned spirituality from the Huichol Indians of Jalisco.
– “Honey, that place – ” he says with a dreamy smile, “that is the most beautiful time in my life.”
Risdon, who returned briefly to Chapala in about 2014, died in Cachagua, California, in 2018.
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Richard Denner. 1968. Poemes. D-Press (Ketchikan, Alaska).
Scott Hampson. 2016. Unpublished document dated December 2016 titled “BEVERLY AND MEXICO 63-64″, sent to me December 2020:
Dayton Lummis. 2011. Spaceships and Liquor: Venus and Mars Are All Right Tonight. iUniverse, 159-160.
Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
According to his birth certificate, painter and art educator Luis Sahagún Cortés was born in the town of Sahuayo, Michoacán, on 20 November 1900 (and not on 20 May as stated in some online biographies). His parents were well educated: his mother (Petra Cortés, or Cortéz as on his birth certificate) was a teacher and his father (Pascual Sahagún) a doctor. In 1900, Sahuayo was situated on the southern shore of Lake Chapala; during the artist’s childhood, the eastern third of the lake was drained and ‘reclaimed’ for agriculture, causing Sahuayo to lose its proximity to the lake.
Luis Sahagún Cortés. Autoretrato. Credit: Morton Casa de Subastas, 2017.
Luis Sahagún studied art in Guadalajara from the age of 18 with José Vizcarra (1868-1956) and then at the Escuela Libre de Bellas Artes in Mexico City before moving to Rome, Italy, in 1925 to study at the Academy Libre de Desnudo, where his teachers included Rómulo Bernardini. Sahagún also attended art classes and workshops in Turkey, Palestine, Egypt and Morocco.
Sahagún returned from Europe in 1932 and married Italian-born Adela Appiani Panozzi (c.1907-1964) in Mexico City on 5 November 1936; the couple never had children.
Sahagún dedicated his life to his art and art education. As an educator, he was Professor of Art at the National Fine Arts School (Escuela Nacional de Artes Plásticas) in Mexico City, where he had a studio in the colonia Postal, from 1932 to 1976. He also led the Departamento de Restauración Artística del Instituto Nacional de Bellas Artes (INBA) for more than 20 years.
Sahagún held more than 40 one-person exhibitions, in locations from France, Spain and Cuba to New York and Philadelphia, and was commissioned to complete official portraits of numerous ex-Presidents. During the presidency (1934-1940) of Lázaro Cárdenas, Sahagún was appointed official painter to the president, commissioned to complete official portraits of numerous former presidents and asked to paint several murals, including some in Los Pinos (formerly the official residence of the president), and the Palacio Nacional (National Palace).
Luis Sahagún Cortés. Peces de colores.
In addition to his oil paintings, his charming well-executed drawings are much sought after by collectors. Drawings and paintings by Sahagún are on permanent display in the Gallery of the Società Dante Alighieri in Rome, Italy, and can be found in collections in New York, London, the Dutch Royal Academy, Denmark, Monaco, the Oval Office of the U.S., Cuba, and many other places, including, now, the Ajijic Museum of Art.
Luis Sahagún Cortés. Personajes en el autobus. Credit: Morton Casa de subastas.
Sahagún never relinquished his attachment to Sahauyo and moved back there in 1975 to live out his final years. His paintings can be admired in the city’s Santuario de Guadalupe, and in the Museo Luis Sahagún museum (part of the Casa de la Cultura Petrita Cortés de Sahagún).
His most well known works in Sahuayo are the fourteen unique stations of the cross, using Venetial mosaics and commemorating the Cristero martyrs, embedded in niches beside the stairway leading up to the Cristo Rey monument. Sahagún’s depictions feature Purepecha Indians; this is perhaps the only Way of the Cross in the world to have truly indigenous motifs.
Sahagún died in Sahuayo on 24 February 1978. In his memory, Mexico’s Lotería Nacional issued tickets bearing his portrait, and (in 1999) a series of Ladatel phone cards with illustrations of his paintings was issued.
A short book about his life and work was published in 2006 by the Consejo Nacional para la Cultura y las Artes (CONACULTA).
Several fine examples of drawings by Luis Sahagún Cortés are in the permanent collection of the Ajijic Museum of Art (AMA).
Sources
Ma. del Carmen Alberú Gómez. 2006. Luis Sahagún Cortés : pincel del equilibrio. Mexico City: Consejo Nacional para la Cultura y las Artes (CONACULTA).
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Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
Sometimes amateur artists paint something close to unique. Jim Byers, born in about 1940, first visited Lake Chapala in 1960 after graduating from Berkeley High School, California. He remained in Mexico for three years before returning north to study for a degree in Comparative Literature at the University of California, Berkeley.
For part of this first extended visit to Mexico, Byers lived at the extensive property in San Antonio Tlayacapan, known as El Manglar, where President Díaz stayed on several occasions in the 1900s, paying the princely sum of $18 a month for room and board.
Jim Byers. 1961. Photograph of El Manglar.
It was at El Manglar that Byers took this photograph of where he was living and completed a painting of the same scene. While Byers had no pretensions as a visual artist, his 1961 painting of El Manglar is the only one I’m currently aware of. Byers explained to me that,
“It’s a one of a kind. I painted it when I was young and had had a couple of art classes as a teenager. I am glad you like it. It was here in Ajijic when I was maybe 19 years old.” He then went on to point out that “the guy on the bench is Montgomery Clift playing Freud in a movie, the skeleton is the Mona Lisa… the guy flying is of course the artist.”
Jim Byers. 1961. El Manglar, San Antonio, Ajijic.
El Manglar is also associated with American artist Everett Gee Jackson. Shortly after their marriage in 1926, Jackson and his wife, Eileen, rented it and lived their with a couple of friends for several months. Jackson described El Manglar’s extensive grounds and idiosyncratic decorations:
Eileen and I took the large music room, with its shining tile floor, for our bedroom. We thought it must have been the old dictator’s music room, since it had cupids playing musical instruments painting on the ceiling.“
Staying at El Manglar for at least part of the time Byers was there, was Grant Risdon, a student at the San Francisco Art Institute who was a frequent visitor to Chapala. An encounter with Risdon and Byers in 1962 left an indelible impression on Doctor Avis, as recounted by Dayton Lummis in Spaceships and Liquor: Venus and Mars Are All Right Tonight. According to Lummis: “Ajijic was then, 1962, just barely beginning to be discovered, mostly by a few beatniks and adventurers” when Doctor Avis got out of the army and decided to stay there a few days:
“Not long after getting off the bus in Ajijic he fell in with two American chaps, Jim Byers and Grant Risdon from Chicago, who playfully called himself “Pancho Napoleon Anaya… These two chaps directed the Doctor to some cheap lodging and then suggested they buy some of the locally available and very cheap marijuana, or mota, to assist them in getting through the afternoon…”
Jim’s drug of choice, however, was not mota or painting but playing classical guitar. In his own words,
“I came here in 1960 when I got out of high school. I decided to hitchhike South and kept going. I’m a classical guitarist and was very very good friends with Gustavo Sendis and Geoffrey Goodridge. Gustavo lived with my family for maybe a year in Berkeley and I knew Geoffrey because he was a student at Cal as well although I met him down here in Ajijic. So we were all very tight for some years. Beautiful beautiful men.”
Byers performed internationally as a classical guitarist, after studying with David Mozqueda in Mexico and taking master classes with Oscar Ghiglia, counter-tenor Alfred Deller, Paul O’Dette and the great American guitarist and composer Philip Rosheger (1950-2013).
During his later years living in Chapala (Jim Byers died in 2018), he continued to perform, often as an accompanist to singers, and acted as mentor to the next generation of musicians, including guitarist Ernie Lara. When Rosheger, Byer’s own mentor, visited him in Chapala in 2008, he composed a short piece titled “Clear Southern Sky,” which he dedicated to his host. Lara subsequently gave the world première performance of this piece at the Centro Cultural González Gallo in Chapala in 2021.
Like Jim Byers, both Gustavo Sendis and Geoffrey Goodridge were exceptionally talented guitarists. Sendis studied in Spain and combined guitar playing with his love for visual arts, often holding joint recital-exhibitions. As an adult, Goodridge moved to Europe, adopted the name Azul and gained renown as a professional flamenco guitarist.
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Dayton Lummis. 2011. Spaceships and Liquor: Venus and Mars Are All Right Tonight. iUniverse, 159-160.
Ojo del Lago, December 2013.
Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
Six small (postcard size) pen and ink drawings of Lake Chapala came into my possession a year or two ago. Their quality is undeniable (see the two shown below), but I have yet to identify the artist. They are believed to date from 1968.
‘Daniel.’ ca. 1968. Line drawings.
All six line drawings are signed ‘daniel’ (all lower case):
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Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
Painter Herbert (Herb) Rhodes, the fourth husband of calendar artist and illustrator Zoe Mozert, lived in Ajijic in the early 1960s. Rhodes, who had been married previously, married Mozert in 1958; the couple divorced two years later, but remained good friends and art companions.
Little is known about Rhodes’ background, early life or education. Six feet tall, with black hair, he served in the US Navy, and had attained the rank of Captain by the time he was discharged.
According to his son, Rhodes held art shows in New York, Rome and several other European cities. His work rarely comes up at auction, though this pastel titled “Navajo Indian” was sold at auction in New York in 2017.
Herbert E Rhodes. 1963. Navajo Indian. Credit: Roland Auctions, New York.
Rhodes lived most of the 1960s and 1970s in Taos, where, amongst other things, he gained fame for drawing 127 life-sized caricatures of local residents on the walls of La Cocina de Taos, the town’s night life and live music center. Sadly, the mural was destroyed after the building was sold in the late 1970s and converted into a novelty shop and clothing store.
In 1963, Rhodes’ work was exhibited in Taos at a new art gallery owned by Zoe Mozert. Mozert’s “portrait and figure paintings with Indian subjects” were shown alongside Rhodes’ caricatures, and landscapes by Verne Matheny.
In the mid-1960s, he lived for a time in Ajijic. as shown by this briefest of notes in the Guadalajara Reporter in January 1965: “Artist Herb Rhodes and Margaret Wasson are on a trip to the States.”
If anyone can supply any additional information about Rhodes’ time at Lake Chapala, please get in touch!
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“Diamond” Jim Halter. 2012. Liz, Inc. iUniverse, 79-80.
Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
Do you recognize the two children who are the subjects of this charming painting by Florentino Padilla? Padilla (who lived from about 1943 to 2010) was one of several young artists whose talent was recognized by Neill James, the American writer who resided in Ajijic from the mid-1940s. James helped Padilla obtain a scholarship to study art in San Miguel de Allende from 1960 to 1962.
Florentino Padilla. c 1975. Untitled.
The painting—believed to date from the mid-1970s, when Padilla was giving classes for the Children’s Art Program (CAP) organized by the Lake Chapala Society—was owned by acclaimed American photographer Sylvia Salmi, who resided in Ajijic at that time and was an active supporter of CAP.
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My sincere thanks to Bruce Wilcox for sharing a photograph of this painting with me and for allowing its reproduction in this post.
Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
American pin-up girl and painter Zoë Mozert (1907-1993) lived and exhibited her artwork at Lake Chapala in the 1960s.
Mozert (birth name Alice Adelaide Moser) was born in Colorado Springs on 27 April 1907 and began painting at the age of four. After the family moved to Pennsylvania, Zoë attended Fairfax Hall, a prestigious private girl’s boarding school in Waynesboro, Virginia. After graduation, she moved back to live with her family and take art lessons at the LaFrance Art School.
From 1925 to 1928 she studied at the Philadelphia Museum School of Industrial Art, where she took advanced classes with Thorton Oakley. The “petite, pert and practical” young woman (who was just under five feet tall) paid for her tuition by modeling at the school. After her studies, she established her own window display business, and in 1932 she moved to New York City to seek freelance work as an independent designer, using ‘Zoë Mozert’ as her art name. The following year she won a scholarship to study at the Art Students League.
Bernard Hoffman. 1943. Portrait of “Zoë Mozert, Artist” for Life Magazine.
Mozert sold her first cover portrait (for which her sister modeled) to True Confessions in 1933. During the next five years, she painted and sold more than 400 cover illustrations. Mozert was her own model for many of her magazine covers and movie posters, using mirrors, cameras and an assistant to help create the desired pose. Seven color photos by Mozert, titled “Glorious Beauty of America’s Women as seen through a Woman’s Eyes,” were published in American Weekly in 1936. Her sensual and glamorous work appeared on the covers of numerous pulp magazines, including Smart Love Stories, Love Revels, and Night Life Tales, and glamor magazines such as Romantic Movie Stories, Romantic Stories, and Screen Stories. Mozert also painted artwork for advertisements, some based on her pastel portraits of famous movie stars.
While working on a cruise ship to South America in 1939, Mozert used a photo of a friend to paint her first nude. When the painting was shown in Mendelssohns Gallery in New York two years later, it was seen by the art director of Brown & Bigelow, the largest US calendar company, based in California. He immediately offered Mozert an exclusive contract to produce calendar illustrations, the start of her lucrative twenty-plus-year career with the company. Mozert’s annual pin-up calendars called Victory Girls became immensely popular during the second world war.
Zoë Mozert artwork for Brown and Bigelow
Mozert also designed movie posters and her career received another huge boost when she was commissioned by billionaire Howard Hughes to paint a publicity poster of Jane Russell for The Outlaw (1943).
Zoë Mozert “The Outlaw”
The year the film was released, the 36-year-old Mozert and her husband (the second of her four short-lived marriages) moved to Hollywood. Shortly after, Paramount Pictures produced a short about Zoë, “the pin up girl who paints ’em too” in its series “Unusual Occupations.”
In the 1950s, Mozert was at the peak of her career, reputedly the highest paid calendar artist of all time. According to one news article, between 1940 and 1960, more than 35 million reproductions of her paintings had been sold around the world.
In 1958 she married Herbert E Rhodes, “a well-known painter (of Indians, murals, and portraits) from Taos.” The marriage only lasted two years but the couple remained friends and continued to work together. When Mozert opened a gallery in Taos in 1963, the first show combined her portrait and figure paintings, with Indian subjects and caricatures by Herb Rhodes, and landscapes by Verne Matheny.
Zoë Mozert. Cat. 1970s. Reproduced by kind permission of Iván González Barón and family.
In 1965, Mozert and Rhodes visited Lake Chapala, where the “famous, vivacious artist” was reported to be getting the “feel of the village, taking a walk on our cobblestone streets.” Rhodes did not apparently stay long in Mexico, but Mozert spent four months in the country, taking in Guadalajara, San Blas, Mazatlán and Monterrey.
According to the Taos News: “At Ajijic she stayed with Mr. and Mrs. William Stallard (the former Lady Rivers), who have moved there from Canada,” and exhibited her pictures in the village. Zoë told the paper that she was impressed everywhere in Mexico with the cleanliness, since street littering wasn’t allowed. Mozert’s painting of a cat may have been a gift to the Stallards. It was later owned by photographer and linguist Friedrich Butterlin, one of the four pall-bearers at Mrs Stallard’s funeral in September 1965.
In 1978 Mozert retired to Sedona, Arizona, where she continued to produce pastel drawings and portraits, many of which were sold in fine art galleries. A shoulder injury in 1985 brought an end to her painting career. Zoë Mozert, pin-up girl, commercial calendar illustrator and artist extraordinaire, died on 1 February 1993 in Flagstaff, Arizona.
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Mona Jordan (1908-1995), a multi-talented and much traveled artist, exhibited a painting titled “Tarascans, Ajijic” in Florida in 1961.
Gladys “Mona” Lynch Jordan was born on 12 November 1908 at West Point, Orange County, New York, and died at the age of 86 on 28 September 1995 in Annandale, Fairfax County, Virginia. Her remains are buried in Arlington National Cemetery.
Mona Jordan and ‘Tarascans, Ajijic’. 1961.
Jordan was a professional artist, who had taken classes at the Corcoran Museum of Art.
At age 21, on Christmas Day 1929, she married Howell Hopson Jordan (1905-1994) in Washington D.C. Her husband served all his working life in the military, gained promotion to Colonel, and retired from the Army in January 1957. The couple had three children, the eldest born in Hawaii and the middle child in Maryland.
Mona Jordan. The Opening. Undated acrylic.
In the early part of her adult life, Mona Jordan was an army wife, continuing to paint whenever possible. The family traveled extensively. During several years in Japan, Jordan became an accomplished portraitist, completing numerous portraits, working in pastels, of household helpers and Japanese people they knew. A pastel from her time in Japan (titled Tokyo 1947) is in the permanent collection of the Corcoran Gallery of Art, Washington DC. Examples of her work are also in the collections of the National Environmental Protection Agency (Washington DC), Boeing Company, Puget Sound College (Washington), and many private collections.
Jordan exhibited at the American International in Bordighera, Italy, and at El Paso Museum of Art, American Painters in Paris, and at the National Academy of Design in Florida (1986). She had a solo show in Melbourne, Florida, in 1984. Her work garnered many awards from galleries and institutions, prizes at Lighthouse Gallery (Tequesta, Florida, 1983 and 1985), Grumbacher Award Bacam (1985), Space Experience (Spaceport, Cape Canaveral, 1985), and Today Newspaper (1986).
After her husband’s retirement in 1957, the family moved to Florida, where Mona Jordan could finally devote more time to her art. In 1961, then living in Cocoa Beach, she exhibited several paintings at the annual show of the Central Brevard Art Association. They included a painting titled “Tarascans, Ajijic.” Jordan was a teacher at the Association’s art school, and at Brevard Art Center and Museum. Her focus while living in Florida (1957-1990) was on abstract, intuitive paintings and portraits; her subjects included several Florida noteworthies.
The details of her visit to Ajijic are unknown. Please get in touch if you can supply any additional information about when and why she visited Lake Chapala.
Mona Jordan. The Digs. Sold at 2015 auction.
Mona Jordan remained in Florida after she and husband divorced, after more than forty years of marriage, in 1971.
Jordan continued to paint and had work included in the 24th Annual Exhibition organized by the Florida Artists Group at Florida Atlantic University, Boca Raton, in 1973.
Mona Jordan occasionally wrote about art for local publications. In one column she lamented the fact that U.S. women artists won such little recognition for their efforts and success. At that time, Jordan was living in Indian Harbour Beach, and working in oil, acrylic, pastels and charcoal.
Mona Jordan. The Surfers. Undated acrylic.
Jordan also registered, as author, the copyright to Come to the Garden Party, a book illustrated by Bernadene L Jurgens. It is unclear if this work was ever actually published.
During her lengthy career as a professional artist and art educator, Jordan was a member of the Fifth Avenue Art Gallery, Florida Artists Group, Brevard Artists’ Forum, and The Ten: Ten Women in Art.
Jordan’s daughter Gladys Seaward and granddaughter Wendy Seaward are both well-known bead and jewelry designers. When Wendy was interviewed in 2015 for an article about her own work—after winning Best of Show in the Tennessee Craft Fair—she described how her grandmother had been “a very well known intuitive painter in Cocoa Beach, Florida.”
On her own website, Wendy remembers, as a child, watching her grandmother demonstrate intuitive painting: “She would close her eyes and scribble all over the canvas and then spend the next several hours coaxing forms and images out of the tangle.”
Sources
Stephanie Stewart-Howard. 2015. “Face to face with Wendy Seaward.” Nashville Arts Magazine, July 2015.
The Evening Tribune (Cocoa, Florida): 20 June 1961, 4.
Mona Jordan. 1986. “Nation’s women artists win little recognition.” Florida Today, 29 June 1986, 49.
Florida Today: 5 October 1995, 21.
Artists of Florida, volume II, 131. 1990.
Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
Peg Kittinger is one of the mystery artists associated with Lake Chapala. “Mrs L B (Peg) Kittinger” was an artist and art teacher who lived in Chapala for about nine years, from 1955 to 1964. Her address in Chapala in 1955 was Morelos #181, though she apparently later had a home in Chula Vista.
Hazel Peg (aka Peggy) Philips was born in Evansville, Indiana, on 23 September 1895. She married Louis Blacklock Kittinger (1892-1935) on 24 December 1919. The couple had two sons (George and Harold) and a daughter (Patricia Lou). On the marriage certificate her occupation is given as “decorator.”
Peg Kittinger. Still Life. Credit: K.C. Auction
The family lived in Kansas City, Missouri, where Kittinger was a founder member of the Kansas City Society of Artists, which began in about 1921 and lasted into the 1940s. Kittinger was especially active in the Society after it moved its headquarters to 1718 Holly Street, a formerly abandoned hotel in about 1930. Several members of the Society, including Kittinger, had studios in the building. The Society’s great claim to fame was having Thomas Hart Benson as a member; the Society held the first solo exhibition of his work in 1934, by which time the artist was teaching in New York City.
In 1932, Kittinger held a solo show at the Kansas City Athletic Club, displaying 24 paintings, including landscapes of Colorado, still lifes and portraits of her houseman, cook and children. Her studio at that time was in the “Old Westport Studios.” The following year she held an exhibit of oils, mainly landscapes, at Women’s City Club in Kansas City, and in 1934 thirty of her paintings were exhibited in the Museum of her birthplace, Evansville. Kittinger had been almost totally deaf for several years by the time of this exhibition and an Evansville newspaper printed a poignant poem she had written entitled “Compensation” about her positive experiences after losing her hearing.
Her husband died in 1935. Kittinger then lived for some years in Albuquerque, New Mexico, where she taught art in Santa Fe and Alburquerque and spent summers painting in a Taos Canyon cabin. In 1952, Kittinger held a one person show of her paintings, weaving and metal work at the Botts Memorial Hall of the Albuquerque Public Library. The following year she participated in a joint show of recent work by female artists held at the Santa Fe Museum.
A year after moving to Chapala, Kittinger drove an artist friend, Mrs A Anway, back to the US when her friend decided to settle in Albuquerque.
Peg Kittinger died in Kansas City, Missouri, on 6 June 1964. Only two months previously, the Guadalajara Reporter had said that Peg Kittinger “of Chula Vista” was now “painting again” following a recent illness.
If you have any artwork by Peg Kittinger, especially any related to Lake Chapala, please get in touch!
Sources
Albuquerque Journal (Albuquerque, New Mexico) 19 Jan 1956, 6.
Evansville Courier and Press (Evansville, Indiana), 1 Jul 1934.
Guadalajara Reporter, 23 April 1964.
The Kansas City Times (Kansas City, Missouri), 8 Jun 1964, 11.
Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please email us or use the comments feature at the bottom of individual posts.
This fun and vibrant painting titled “Chapala” was offered at auction in New York in August 2021. The painting, an oil on canvas measuring 30 x 24 inches, signed “Ellen” and dated 1967, was attributed in the auction listing to Ellen Black, with the additional details that “Ellen Black (20th Century) was active/lived in California. Ellen Black is known for Watercolor painting.”
“Ellen.” 1967. “Chapala.” (Auctioned 2021 at Doyle New York)
My curiosity aroused, I looked into the only artist named “Ellen Black” that I could locate. She turned out to be a noted watercolorist (with earlier links to California) and art educator now living in Wyoming. When I spoke with her briefly by phone, it turned out that this particular painting was definitely not her work. She had never been to Lake Chapala and normally signs her works “E. Black,” not “Ellen.”
Given that it appears the auction house was probably mistaken in its attribution, can any alert reader suggest who this Lake Chapala-related “Ellen” might be?
Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please use the comments feature at the bottom of individual posts, or email us.
Anthony Ostroff (1923-1978) was born in Gary, Indiana and educated at Northwestern University, the University of Michigan, the Sorbonne, and the University of Grenoble. Ostroff wrote a short poem entitled: “Lake Chapala” which was published in 1977 in his A Fall in Mexico (Garden City, New York: Doubleday).
Ostroff traveled widely in Mexico (the date of his visit to Chapala is unclear) but was clearly not impressed by the lake, as evidenced by the last stanza of his poem, which reads:
Farther on
the road descends
to us & ends,
a lake-edge mess
of roots, mud,
tubers. A sludge
moccasin
swims the soup,
his writhing lost
to a straight V.
His arrow head
held lip high,
his nostrils try
the line of cess.
In his notes to the poem, in the back of the book, Ostroff writes:
“The lake, a part of which extends into Michoacán, lies mainly in Jalisco and is, at a distance, quite beautiful. It was once a popular resort area for wealthy Mexicans. Pollution of the lake, however, proceeded at such a rate that by the time of the poem bearing its name it had become a broth of typhoid and amebic dysentery, and the town of Chapala was all but deserted. The village of Ajijic, also on the shores of the lake, had a small, expatriate American colony.”
The collection A Fall in Mexico also includes poems titled “In Puerta Vallarta,” “Near San Miguel,” “The Altar at Teotihuacan,” “Monte Alban” and “To Barra de Navidad.”
Working mainly in the 1950s and 1960s, his poetry and short fiction was published in such magazines as Harper’s, The Paris Review, Atlantic Monthly, Kenyon Review, and Poetry. Ostroff was also the recipient of a grant from the National Association of Educational Broadcasting to produce a series of broadcasts on American Poetry.
Ostroff, whose literary and academic career included spells teaching at the University of California at Berkley (1949-1969) and at Lewis and Clark College in Portland, Oregon (1969-1978), edited The contemporary poet as artist and critic: Eight symposia (Boston: Little, Brown, 1964) and also wrote:
Imperatives (Harcourt Brace & World, 1962)
Islander, selected poems of Anthony Ostroff (Ash Creek Press, 2000)
To build a House; the short stories of Anthony Ostroff (Portland, Ash Creek Press, 2003)
Anthony Ostroff was friends with various poets in the San Francisco region, including Robert Duncan, Thom Gunn, Josephine Miles and Richard Everhart.
Ostroff died in 1978 from a heart attack suffered after hang-gliding on the coast of Oregon.
The Poetry Collection of the State University of New York at Buffalo houses the Anthony Ostroff Collection, 1955-1978, which contains all of the poet’s published and unpublished poems, plays, short stories and articles in manuscript and published form, with thousands of corrections in the poet’s hand, as well as tape recordings prepared by Ostroff, including the series of 20 broadcasts about American poetry he directed for the National Association of Educational Broadcasting.
Note: This profile was first published 30 June 2014.
Sources
Anthony Ostroff Collection, 1955-1978
Anthony Ostroff. 1977. A Fall in Mexico. New York: Doubleday.
Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcomed. Please email or use the comments feature at the bottom of individual posts.
