The most prolific photographer of Chapala of all time was Jesús González Miranda (1898-1995). Active for over half a century from 1938 until the late 1980s, González signed the bulk of his work, including hundreds of picture postcards, “FOTO. J. GONZALEZ“.
Jesús González. c 1950? Fishermen on beach.
González was in his mid-thirties when he first arrived in Chapala. Born in Cuquío, Jalisco, on 17 January 1898, the son of Florencio González and his wife, Maria Miranda, he lived much of his childhood and youth in Guadalajara where his first occupation (of many he would hold during his lifetime) was as a hairdresser, working at a shop on calle Juan Álvarez.
Life in the city led to him becoming a fan of the theater and González participated in shows at the Teatro Degollado and Teatro Principal as a dancer and member of the chorus. This gave him the opportunity to meet many of the famous artists of the time.
Jesús González. c 1940? Water supply from the lake via ‘pipones.’
In Guadalajara, on 22 September 1922, he married 21-year-old Isabel (“Chabelita”) Mireles Cruz, from Sabinas Hidalgo in the state of Nuevo León. González gave his occupation to the notary registering the marriage as “painter.” The couple, who had no children, subsequently moved to Chapala.
According to Javier Raygoza, González initially moved to Chapala to join his uncle, Dionisio Miranda, in 1926, and stayed to work in a hairdressing salon owned by Juan Enciso. González’s second wife and children told me that he first moved to Chapala a few years later, in 1932.
Jesús González. c 1940? Folk dancing on 8 December in front of parish church.
Regardless of when he first arrived, González was soon regularly providing music for dances, weddings and special events. While Raygoza suggests that González was the first person to introduce public music and movies to Chapala—when he set up speakers, a record player and other equipment on the main plaza in 1933—a fellow photographer, José Edmundo Sánchez (who died that year), had previously done something similar most Saturday afternoons.
Jesús González. c 1960? Boats on the beach.
González began taking photographs and producing postcards in about 1938, specializing in taking portraits of individuals and groups of visitors, the famous and the not-so-famous, enjoying themselves near the pier or in the Beer Garden, the iconic restaurant-bar overlooking the beach. He apparently learned photography from Demetrio Padilla López, a Guadalajara-based photographer who visited Chapala regularly in the 1930s. Business was especially brisk on weekends and holidays.
Jesús González. c 1938? #A-1 – crowded beach.
In his early years in Chapala, prior to the demolition of buildings in central Chapala to create Avenida Francisco I. Madero, the main thoroughfare leading direct to the pier, González photographed patrons of the Widow’s Bar (Cantina de la Viuda). Its proprietor was María Guadalupe Nuño, whose husband, José Edmundo Sánchez, had published numerous postcards of Chapala in the 1920s and early 1930s.
In addition to portrait photos, González also sold hundreds of different postcards featuring local buildings and views at a time when there was a clean, sandy beach in front of the Beer Garden, and when day-trippers outnumbered residents most weekends.
In captioning his postcards, González employed several different numbering systems, the meaning of which he took with him to the grave, making it close to impossible to identify specific series or dates. Very few González images can be precisely dated, though the details of individual buildings and scenes, many of which changed significantly during his lengthy photographic career, do sometimes allow us to narrow the time frame for when they must have been taken.
Jesús González. c 1967. Iconic photo of swimmers on pier. (Fig 8.19 of Lake Chapala: a postcard history)
Some months after the death of his wife, Chabelita Mireles, and following a chance encounter involving a bicycle, González married Margarita Manzo on 30 March 1966. They had three children, the eldest born in 1970.
González, whose nickname was “El Chorchas,” was accorded due recognition for his outstanding photographic endeavors in a television segment devoted to his work. Unfortunately, an attempt organized by Javier Raygoza in the early 1990s to produce a book of González’s photographs as a tribute to the great photographer ultimately came to nothing.
José de Jesús González Miranda died in Chapala on 13 December 1995.
Jesús González. c 1945. Lakefront bar (right) in front of tower of Villa Ana Victoria (demolished a few years later)
Over his fifty-plus years of photographing Chapala, an extraordinary number of subjects had stared, at one time or another, into his lens as he captured school groups, weddings, ceremonies, and all manner of public and private events.
Several years after his death, a number of González’s photographs were published in two collections relating to Lake Chapala arranged by Manuel Galindo Gaitán. According to Galindo, González “left an important collection of photos, irrefutable testimonials of life at Lake Chapala from the earliest years of the last century.” The sentiment is correct even if the time frame is not.
González has bequeathed us a treasure trove of images, a visual testimony whose cultural context and historical significance demand that they be adequately safeguarded for future generations to appreciate.
Jesús González. Date unknown. Sunset over lake.
Appreciation
My sincere thanks to Margarita Manzo viuda de González and her children for answering my questions about Don Jesús, and for their generosity in sharing examples of his postcards. My thanks, also, to Rogelio Ochoa Corona for introducing me to the family and for sharing his personal recollections of ‘El Chorchas,’ and to the late artist Sylvia Fein, who gave me several González postcards dating from the mid-1940s.
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José Edmundo “Pepe” Sánchez Rojas (c. 1888-1933), the son of Juan Sánchez and Ceferina Rojas, was born and raised in Chapala. His paternal grandparents were the exceptionally long-lived J. Guadalupe Sánchez (1806-1896) and María Dolores Pantoja (c 1799-1905), who died in Chapala on 22 May 1905, aged 106, according to her death registration. Jose Edmundo’s immediate family included individuals who served as mayor of Chapala (on more than one occasion) and as administrator of the local postal service, a position of some prestige at the start of the twentieth century.
We know nothing about José Edmundo Sánchez’s early life, education, or how he gained proficiency as a photographer. But he is the first professional photographer born in Chapala, and he appears never to have taken photographs anywhere else. Over a relatively short but productive career, he produced hundreds of real photo postcards, at a time when the town’s tourism attractions were gaining international attention.
He did have sidelines. In 1920, Sánchez and a friend—the renowned architect Guillermo de Alba—opened a bar named the Pavilion Monterrey in Chapala where food and drinks were served in an open-air pavilion facing the lake. The bar was just back from the beach, mid-way between the Arzapalo Hotel and the Casa Braniff (now the Cazadores restaurant). De Alba helped run the bar until 1926 when he moved to Mexico City.
José Edmundo Sánchez. Lakefront, Chapala, c. 1920.
By happy coincidence, both Sánchez and de Alba were keen and skilled photographers. Their discerning eye and considerable talent resulted in numerous sensitive and artistic images of Chapala, among the finest images of the town ever taken. While de Alba does not appear to have ever commercialized his photographic work, Sánchez certainly did. He took a large number of views of Chapala and was keen to sell them, going so far as to emblazon “tarjetas postales” in paint across the wall of his lakefront bar. Sanchez also sold photography-related items, and developed and printed films for others. In addition, he showed movies on Saturday afternoons, years before any formal cinema was established in the area, and at a time when the town only had one power plant.
José Edmundo Sánchez. Beach and boat trips, Chapala, c. 1920.
Sánchez married María Guadalupe Nuño in about 1920; the couple made their home at Calle San Miguel (now Lopez Cotilla) #18. She helped run the bar, perhaps to make sure her husband and his pals did not drink all the profits.
In addition to raising several children, María Guadalupe accidentally hit upon the recipe to ensure the family’s future financial security. By the time D. H. Lawrence and the American poet Witter Bynner arrived in Chapala in 1923, she had perfected a chaser for tequila, made of freshly-squeezed orange juice, spiced up with salt and powdered red chile peppers. Vegetable coloring was later added to heighten the chaser’s blood-red color. The chaser, christened sangrita (“little blood”), quickly became the preferred accompaniment for tequila drinking sessions, and its fame spread nationwide.
Tragically, José Edmundo Sanchez’s photographic career came to an abrupt end when he died of gunshot injuries at his home in Chapala on 15 July 1933; he was only 45 years old.
José Edmundo Sánchez. El puerto, Chapala, c. 1920.
[Aside: At about the time Sánchez died, a specially commissioned plinth was placed alongside the bar for a unique twenty-year-old sculpture of a lioness, created by master stonemason Faustino Gil, using volcanic ash collected from the streets of Chapala after the major eruption of Colima Volcano in January 1913. Later photos show only an empty plinth, and the plinth itself was destroyed when Avenida Francisco I. Madero was created in about 1950. Does the sculpture still exist somewhere in Chapala? Is the lioness prowling the streets at night?]
Sánchez’s photographs
American poet Witter Bynner, who knew a thing or two about art, described Pepe Sanchez as “an expert photographer, whose prints of Chapala are a selective and artistic record of its aspects in those years.” Another American who lived in Chapala in the 1920s, the artist Everett Gee Jackson, also knew Sr. and Sra. Sánchez at that time and was delighted to be instantly recognized by Widow Sánchez when he and his friend Lowelito paid a return visit to the town in 1950 and visited her bar for a drink: “I was surprised at the reception she gave me. She greeted me as an old friend, although I had known her but slightly, as the wife of Mr. Sánchez, the village photographer.”
José Edmundo Sánchez. Chapala, c. 1910. Postcard, courtesy of Ing. Mario González García.
Among the early photos taken by Sánchez is one of the Gran Hotel Victor Huber, which was located across the street from the Hotel Arzapalo. The hotel was only in operation under this name for a short time, from 1908-1909, before it was renamed Hotel Francés. It is likely, though, that (as is the case for several other old buildings in Chapala) the sign on the upper story remained in place for some years after the hotel had been renamed. All known Sánchez photographs were taken in, or very near, Chapala.
Most of Sánchez’s photographs, including those reproduced and sold as picture postcards, almost certainly date from the 1920s and start of the 1930s. From an historical viewpoint, noteworthy images include panoramic views from Cerro San Miguel, showing how modern villas sprawled along the lakeshore west of town, and several superb images taken under trying circumstances in October 1926 when the lake level rose so high that it flooded all the low-lying areas of the town, including the Chapala Railroad Station.
José Edmundo Sánchez. Casa Capetillo, Chapala, 1926.
Sánchez used several different photographic papers for his postcards, and added several distinct signatures, ranging from his initials J.E.S. to a flowery, elaborate cursive script spelling “Sánchez”, and, most commonly, a single “S„ alongside a distinctive initial C (with an elongated tail) for “Chapala.” Only a very small number of his cards include a date. The wide range of cards he produced begs for further research to try to establish if the various signatures were used sequentially or concurrently.
At least one Sánchez photograph—of shoreline villas as seen from the lake—was reprinted by Mexico City photographer Hugo Brehme in the late 1920s. It is unclear whether or not Brehme purchased the rights, though the reverse side of the reprint carries the typical Brehme handstamp: “Propriedad Asegurada Hugo Brehme.”
Of the postally used examples of Sánchez postcards I’ve seen, the prize for the most poignant message goes to a young girl named Hilda, who wrote on a card showing sailboats in Chapala, which she then mailed to her father in Tampico: “Dear Daddy, How are you? I am waiting for a letter from you or I won’t send another card. Love from Hilda.”
Photographs taken by Sánchez have rarely appeared in print media, but are frequently reproduced—almost invariably uncredited—in social media posts relating to Lake Chapala. The surviving work of pioneering local photographer José Edmundo Sánchez is an important part of the cultural heritage of Mexico’s first international tourist destination, and deserves our recognition and respect.
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Note. Several descendants of José Edmundo Sánchez were apparently also keen photographers, though attempts to locate examples of their work have so far been unsuccessful.
Sources
Witter Bynner. 1951. Journey with Genius. New York: The John Day Company.
Aurelio Cortés Diáz. 1988. Semblanzas tapatías, 1925-1945. Guadalajara: Gobierno de Jalisco.
Chente García. 2002. “Chapala.” Chapter in Jaime Alvarez del Castillo (coordinator). 2002. Arquitecto Guillermo de Alba. Guadalajara: Editorial Agata/Fotoglobo.
Everett Gee Jackson. 1987. It’s a long road to Comondú: Mexican adventures since 1928.
Comments, corrections and additional material are welcome, whether via comments or email.
Despite not being a native of Chapala, Guillermo de Alba (1874–1935) left a diverse and rich legacy in the city. De Alba was born in Mexico City. After his family moved to Guadalajara, de Alba attended the Escuela Libre de Ingenieros, from which he graduated as an Ingeniero Topógrafo (engineer-surveyor) in 1895. [At that time the school did not offer any professional qualification as an architect.]
It is evident from the accounts of de Alba’s grandson—Martín Casillas, a prominent author and novelist, who has published several works relating to his grandfather—that, after graduating, Guillermo de Alba spent some time in Chicago where he was influenced by the Chicago School of architecture. (The Chicago School was a style or movement, not an institution.) In Chicago, de Alba likely studied recently completed buildings, and perhaps met the two most famous proponents of the Chicago school: Dankmar Adler and Louis H. Sullivan (‘form follows function’), who had dissolved their own architectural partnership in 1894, a year or two before de Alba’s visit.
By 1898, de Alba, still in his early twenties, was living in Chapala and working in construction with Manuel Henríquez. De Alba married Maclovia de Cañedo y González de Hermosillo (1859-1933) in Chapala in 1900, and their only child, Guillermina, was born two years later.
In the first two decades of the twentieth century, de Alba designed and built numerous fine residences and commercial buildings in Guadalajara and Chapala, before moving to live in Mexico City in 1926.
His works in Guadalajara included the Hotel Fenix, Casa Abanicos and Villa Guillermina, but the most dramatic of all, in terms of impact on the city, was the major project to develop Colonia Moderna, a new ‘garden city’ neighborhood.
At Lake Chapala, de Alba’s earliest large project was to design a country residence, originally named Villa Cristina, at the eastern end of the lake near Hacienda Cumuato, for José G. Castellanos and his wife, Cristina, in 1903. This building was later acquired by Joaquín Cuesta Gallardo and his wife, Antonia Moreno Corcuera. After decades in ruins, efforts are now apparently underway to restore the property, commonly known as Hacienda Maltaraña.
Not long afterwards, De Alba was asked by Ignacio Arzapalo to design a major hotel in the then small settlement of Chapala. Arzapalo already owned the Hotel Arzapalo, the area’s earliest purpose-built hotel, which opened in 1898, and had realized that Chapala needed another large hotel if it was to satisfy the growing demand for rooms. The de Alba-designed Hotel Palmera was completed in 1907. De Alba’s other works in Chapala include Mi Pullman (1908), a remodeling of Villa Ave María (1919), Villa Niza (1919), and the Chapala Railroad Station (1920).
Hotel Palmera (1907)
Hotel Palmera, c. 1908. Photo: Calpini.
The 60-room Hotel Palmera, built at a cost of $100,000, was completed in 1907, and opened the following year. It was described at the time as a “modern construction, brick, iron and cement”, with “fine woodwork,” “American furnishings, electric bells” and a “dining room for 400 people.” Following a change of ownership in the 1920s, the building was divided into two independent hotels. The southern wing, purchased by Ramón Nido and his Mexican wife, Sara, reopened in 1930 as the Hotel Nido. In 2001, this wonderful old building was repurposed as the town’s Palacio Municipal. The building’s stairwell has a magnificent 240-square-meter mural by talented and energetic Ajijic artist Efrén González depicting local history.
Mi Pullman (1908)
Mi Pullman, 2019. Photo: Tony Burton
Built on an unusually narrow lot, Mi Pullman, at Aquiles Serdán #28, is one of the most distinctive private residences in Chapala. This tall, skinny building, inspired by a Pullman rail car, was built as de Alba’s family home. Its construction, which began in 1907, was completed in June 1908. The house-warming party for the completed residence was a grand formally attired affair, as was to be expected given the owner’s growing reputation as an architect.
By the 1990s (and several owners later) the building had fallen into a terrible state of repair, before its potential was recognized by English-born Rosalind Chenery. Chenery eventually purchased the building, and restored this intriguing narrow Art Nouveau townhouse to its former glory, inside and out. It retains many original fixtures and fittings, including oak wood parquet flooring, stained glass windows, tile floors and a cast iron bath tub. Chenery’s multi-part account of her extraordinary achievement can be read on MexConnect, starting with Mi Pullman: remodeling a Mexican Art Nouveau townhouse.
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Pier (1908)
In 1908, Guillermo de Alba was entrusted with adding steps to the east side of Chapala pier (which had been completed a decade earlier), and with some renovations to its surrounds.
Calle Lourdes (1909)
Guillermo de Alba was commissioned in 1909 by Aurelio González Hermosillo, the owner of Villa Montecarlo, to lay out a new street, lined with palm trees, named La Calzada de las Palmas. On the final day of that year, the street was the scene of a hill-climbing contest for automobiles. The vehicle which made it all the way to the top, and won the competition, was a German-made Protos with five passengers driven by Benjamín Hurtado. The short street is known today as Calle Lourdes.
Street plan of Chapala (1915)
Guillermo de Alba’s 1915 street plan of Chapala. (Chapala archives)
We are indebted to de Alba for the earliest known street plan of Chapala, dating from 1915. This is an immensely valuable historical document, indicating the then limits of the small but growing settlement.
Automobile road (1916)
When fund raising began in 1916 to build a new automobile road between Guadalajara and Chapala, de Alba was elected the group’s treasurer. Several prominent individuals each gave $5000 to supplement a state government grant of $23,300. The new road made it much easier for wealthy families to visit Chapala, even if only for a day, or over a weekend.
Photography and Chapala’s first tennis court (1918)
Guillermo de Alba. 1918. Tennis match, Chapala. (Aquellos tiempos en Chapala)
The lakefront restaurants immediately west of the Beer Garden in Chapala occupy property that was once used for the area’s earliest lawn tennis courts. They were laid out by Guillermo de Alba in 1918, just after the end of the first world war, and financed by Ramón Castañeda y Castañeda, whose daughter, Margarita, had learned to play tennis “at one of the best schools in England” and was one of the top players in Guadalajara.
Besides his work as an engineer-architect, de Alba was also an excellent photographer. We are indebted to him for some fine pictures of Chapala dating from the early years of the twentieth century.
In 1920, Guillermo de Alba helped a fellow photographer—José Edmundo Sánchez—open Pavilion Monterrey, a beachfront bar where food and drinks were served in an open-air pavilion, located mid-way between the Hotel Arzapalo (the Beer Garden today) and the Braniff mansion (Cazadores restaurant).
Villa Ave María (1919)
Villa Ave María, 1919. Photo: Guillermo de Alba
At Aquiles Serdán #27, across the street from Mi Pullman, is Villa Ave María. It is believed that Guillermo de Alba remodeled an existing building on this site in 1919 to create the stately villa shown in the image. Ninety years later, following many modifications, this building was registered as a three-unit condominium.
Villa Niza (1919)
Villa Niza, c. 1920. Photo: José Edmundo Sánchez
Villa Niza, at Hidalgo #250, was designed by Guillermo de Alba for Guadalajara businessman Andrés Somellera. Completed in 1919, the house makes the most of its lakeshore position with a mirador (look out) atop its central tower offering sweeping panoramic views over the gardens and lake. De Alba’s strong geometric design boasts only minimal exterior ornamentation. Villa Niza has been well maintained over the years and retains many of its original interior features.
Chapala Railroad Station (1920), now the Centro Cultural González Gallo
Centro Cultural González Gallo (former Chapala Railroad Station), 2019. Photo: Tony Burton
The crowning glory of Guillermo de Alba’s architectural career in Chapala was the elegant and imposing former Chapala Railroad Station, now the Centro Cultural González Gallo. Work on this building began in 1918, commissioned by visionary Norwegian entrepreneur Christian Schjetnan as the terminus for the La Capilla-Chapala railroad, and was completed in 1920. While Schjetnan envisioned that this grand station terminus would be a focal point for a major hotel, magnificent park and scores of beautiful residences—a breathtakingly ambitious idea—the rest of the project never made it beyond the drawing board. The railroad closed in 1926 and the station building eventually fell into disuse. Restoration of the historic building began in 1998, and it was reopened as a Cultural Center in 2006. It retains some original flooring and architectural details, though tall glass panels were added to protect the formerly open station vestibule from any adverse weather.
Cerro de San Miguel (1930s)
After moving from Chapala to Mexico City in 1926, de Alba worked as a draftsman in the Secretaría de Recursos Hidráulicos drawing designs for bridges and dams. He retained a keen interest in Chapala, and was asked in 1931 by the town’s then mayor, Basulto Limón, to design a walkway to the top of Cerro San Miguel with shelters and pergolas near the top to serve the needs of visitors who climbed the hill for the panoramic view. Sadly, this plan was apparently never carried out.
Did Guillermo de Alba design the Hotel Arzapalo (1898)?
Though the design of the Hotel Arzapalo, which opened in 1898, has sometimes been attributed to Guillermo de Alba (including in a display honoring de Alba in the Centro Cultural González Gallo), his name does not feature in any of the contemporaneous accounts of the hotel’s construction or opening celebration. For this reason—and others detailed in If Walls Could Talk—I do not believe that de Alba designed the Hotel Arzapalo, though it is possible that he helped with its construction. The claim may have arisen from a misreading of this (admittedly ambiguous) sentence on page 116 of Antonio de Alba‘s Chapala: “A los 7 años, habiendo progresado la empresa, edifice el mismo Sr. Arzapalo, bajo la dirección del Ing. Guillermo de Alba otro hotel, el ‘Hotel Palmera.'” (“After 7 years, the business having progressed, the same Mr Arzapalo built, under the direction of Engineer Guillermo de Alba another hotel, the ‘Hotel Palmera.'”)
Regardless of who designed the Hotel Arzapalo, Guillermo de Alba made an incomparable contribution to Chapala’s history and heritage, bequeathing us several superb buildings which have not only withstood the test of time but which are still worthy of our admiration more than a century after they were first built.
Herbert Johnson (1877-1960) and his wife, Georgette (1893-1975), settled in Ajijic in December 1939. Shortly after Herbert died in Ajijic in 1960, Georgette returned to live in the UK.
These photographs come from a photo album that once belonged to Georgette. For the story of its rediscovery by historian Dr Kimberly Lamay Licursi in an estate sale in New York, see
The photos in the album are in no particular order and have no captions or dates. While most of the photos in the album date from 1940-1945, some of the photos in this gallery must be a few years later.
This gallery focuses on Ajijic and its surrounding area:
Higher quality scans of the photos are available on request (Terms and conditions will apply to their usage)
Acknowledgment
My sincere thanks to Dr Kimberly Lamay Licursi for recognizing the importance of this photo album and for kindly entrusting it to my care.
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This is the third in a mini series identifying some examples of photo identification errors related to the Lake Chapala area.
Mexico’s National Photo Archive (Fototeca Nacional) includes this unattributed photo of ships and boats on Lake Chapala captioned as “Lago de Chapala, Jalisco, 1925-1930.” The photo was used in an internal 2004 INAH newsletter (later published online) which had numerous illustrations related to fishing.
Something isn’t quite right here. Lake Chapala did have a sizable fishing fleet during much of the twentieth century. The catch of highly prized whitefish peaked at 150 tons in 1946, and the charal catch peaked in excess of 3000 tons in 1968. But the ships and boats depicted above are very different to the various types of fishing vessels and cargo-carrying boats normally associated with the lake. Several appear to be large steamships. While Chapala did have numerous steamships plying the lake waters at one time or other between the 1860s and 1940s, it never had this many at one time—or any as large as the larger ones in the photograph.
By way of comparison, here is an image (photographer and date unknown) of the vapor Libertad on Lake Chapala. Libertad was the first iron steamship built in San Francisco, and the first steamship launched on Lake Chapala (in 1868) and was, to the best of my knowledge, the largest steamship ever to grace the lake. The Libertad capsized, with the loss of 28 lives, near Ocotlán on 14 March 1889.
Vapor Libertad. Photographer unknown. Date: c 1885?
In the absence of knowing when the National Photo Archive image was taken, or who the photographer was, it may prove impossible to give it an accurate caption, but… Chapala between 1925 and 1930? I don’t think so.
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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. Chapter 8 is devoted to Fishing and Environmental Change.
Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcome, whether via comments feature or email.
Canadian teacher, photographer and social activist Jean (‘Jackie’) Hartley lived in Jocotepec for several years at the start of the 1980s. She is still remembered in the Lake Chapala area today because she and a friend, Roma Jones, co-founded the Lakeside School for the Deaf, now the School for Special Children, located in Jocotepec:
In the summer of 1979, Jackie and Roma, then in their late 50s, drove a camper van from Vancouver Island, British Columbia, to Mexico. Arriving in the town of Jocotepec (population 9000), on the shores of beautiful Lake Chapala, they decided to spend their retirement years there, in leisurely pursuit of their artistic interests: painting, photography, crafts and woodworking. These dreams were never realized; instead, their waking hours became entirely focused on meeting the needs of disadvantaged Mexican children.”
– Gwen Chan Burton, New Worlds for the Deaf.
Within a few months of arriving, and despite no experience of deaf education, Jackie, a qualified primary school teacher, and Roma had started to teach two local deaf children. Their success was evident, and the number of deaf children seeking help grew rapidly.
When Jackie and Roma returned to Canada in 1986, the support system they had established, and the teachers they had hired, ensured that the school continued to grow, barely missing a beat. The history of this pioneering and successful project, with its many highs and some lows, is candidly related in New Worlds for the Deaf.
These photographs taken by Jackie, some of them printed as greetings cards, are the only ones known to have survived to today. Signed NEJH, they were presumably taken in Jocotepec between 1979 and 1986.
Jackie Hartley. c 1980. Untitled photograph (Child in shop doorway).
Jackie Hartley. c 1980. Untitled photograph (Child in doorway).
Jackie Hartley. c 1980. Untitled photograph (Young girl).
Jackie Hartley. c 1980. Untitled photograph, damaged. (Young girls with bird).
Jackie Hartley. c 1980. Untitled photograph (Shoeshine boy).
Jackie Hartley. c 1980. Untitled photograph (Burro with load).
Jackie Hartley. c 1980. Untitled photograph (Fisherman and boat on shore).
Jackie Hartley. c 1980. Untitled photograph (Elderly woman).
During her life,
Jackie had taught primary school students, including many indigenous children, for several years in British Columbia before bringing up her own four children. After her pharmacist husband died, Jackie had spent six months in Europe studying art before she journeyed to Mexico.” – Guadalajara Reporter
Jackie, born in about 1921, died in Victoria, British Columbia, on 24 January 1999.
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
Sources
Donald Grant. 1983. “Retired Canadians open Mexican school for deaf.” Globe and Mail, 25 April 1983.
Why has it taken me so long to write about U.S.-born photographer C. B. Waite and his important contribution to documenting Mexico at the start of the twentieth century? The main challenge has been to unravel the discrepancies and inconsistencies in most previous accounts of his life and work. So, before examining Waite’s major contributions to documenting Mexican history, let’s get some of the more common and egregious misunderstandings out of the way once and for all.
First, C. B. Waite (who signed his work “Waite Photo”) is Charles Betts Waite (1861-1927), not Charles Burlingame Waite, as erroneously claimed in 2007 in Casanova and Konzevik’s major book about Mexican photographers, and—as recently as 2016—in an exhibition catalog published by Mexico’s National University, UNAM. (For the record, Charles Burlingame Waite (1824-1909) was an American writer and judge.)
Secondly, our Charles Waite did not marry “at age 35″ and then move to Mexico “in 1896 with wife and two daughters, Helen and Mary,” as claimed by some, including Francisco Montellano. Charles Betts Waite’s first wife was Alice A. Ironmonger; their only child was Hazel Pearl Waite, born in Los Angeles on 15 June 1885. Waite was on his own when he moved to Mexico in 1897. Three years later he married his second Alice—Alice Mary Cooley (1866–1923)—in Quincy, Illinois, and the new couple made their home in Mexico City.
Thirdly, Waite’s brother was not the “William Waite” murdered on a plantation near Veracruz in April 1912, as sometimes claimed. While C. B. Waite’s own father was, coincidentally, also named William, there is no known familial connection to the man killed in Mexico. Waite’s (only) brother was Frank Dawson Waite (1854–1927), a newspaperman associated with the San Diegan and the San Diego Sun, and considered “one of the ablest and most respected editorial writers in Southern California.”
To add to the confusion, Waite has often been credited with photographs taken by other photographers working in Mexico at the same time. I examine the background and reasons for this in a separate post: Who gets the credit? Charles Betts Waite or Winfield Scott?
Waite’s pre-Mexico life
Charles Betts Waite was born in Ohio on 19 December 1861 to an English-born couple, William and Ann (née Dawson) Waite. On passport and consular documents, he usually named his birthplace as Plymouth, Ohio, but sometimes claimed Auburn Township in Crawford County, Ohio. Either way, he was apparently raised in Plymouth. But, by June 1881, shortly before his 20th birthday, he had moved to California and was working with photographer Henry Ellis Coonley in the San Diego region. He married his first wife, Alice Aldelaid Ironmonger (1860-1948), in 1883. By his late twenties, Waite was credited for photographs published in the San Diego Union and was apparently working as a view photographer for Burdick and Company in Los Angeles.
During the 1890s, Waite’s photographs of ranches and landscapes in Southern California appeared in the Los Angeles-based magazine Land of Sunshine, and he was taking commissions from railroad companies, including the Santa Fe, Los Angeles Terminal, and Mount Lowe Railways. His 1896 voter registration in California puts him at 5’6″ tall, with blue eyes, dark hair, and living at 8 Stockton Street in Los Angeles.
C. B. Waite. Three views of Lake Chapala. Postcard published by Juan Kaiser c 1901, mailed 1902.
In May 1897, Waite left the U.S. for Mexico City, where he established his first studio at Calle de Rosales #200, intending to supply photographs primarily for American magazines. He moved several times during his thirty or so years in the city, and later addresses included San Cosme #8 and San Juan de Letrán #3 and #5.
Within months of arriving in Mexico City, Waite was advertising his professional services, which included “Developing and printing for amateurs. Views, Groups, Interiors and Haciendas; also Flash Light Photos at night.” Waite certainly traveled widely throughout Mexico, taking photographs and undertaking commissions related to archaeology, scenery, tourism, and indigenous groups. By February 1900 he had amassed “a great variety of general views comprising more than 1000 subjects from all parts of the Republic.” On a short business trip to the U.S. that month, Waite personally delivered hundreds of 20x 24-inch prints of the Mexican National Railway to investors north of the border.
During the winter of 1900-01, Waite spent several weeks in southern Mexico, on a commission from the U.S.-owned Chiapas Rubber Company to document its operations, including land clearance, planting, rubber tree cultivation and tapping; these photos were intended to stimulate further foreign investment in the company and its activities. Waite also documented the cultivation and harvesting of coffee, cacao, tobacco and sugar cane.
These photo trips were not without their dangers. The Mexican Herald informed readers in early 1901 that, a few weeks earlier (during his Chiapas trip), Waite had suffered an accident while taking his photographic equipment up the Río Michol, and barely escaped with his life. The boat capsized and Waite and his boatman were thrown into the torrent. As they struggled to the shore, they managed to salvage a can of crackers and a valise which fortuitously contained a flask of cognac.
The disaster cost Waite his ‘small’ (6 ½ x8-inch format) camera in the raging waters, and he was left with only his ‘large’ (20×24-inch format) Rochester Optical camera, which weighed 100 kg in its traveling case. Undaunted, Waite carried on. At Palenque, it took a team of 12 local helpers an entire day to carry the camera the six miles (km) from the village to the ruins, where Waite then took 24 photos of the archaeological site, but only after his 12-man crew had spent eight days hacking down enough brush and foliage to guarantee the best views. Waite’s photos of Palenque were one of the highlights on Mexico’s stand at the Pan-American Exposition in Buffalo, New York, that year.
That boat accident was not the only calamity to befall Waite in 1901. A few months later, he had an unexpected brush with Mexican police, accused of sending “indecent” material through the mail. A note in El Imparcial reported that one shipment from Waite contained photos of “miserable hovels” and “disheveled dirty women dressed in rags and men degenerated by every vice imaginable”. It was not impounded, but postcards in a second package showing “two dirty, absolutely wretched boys wracked with disease” were, and led to Waite’s arrest. Waite paid $400 pesos and was released from Belén prison three days later. Waite’s offense was not taking risqué “portraits of pubescent children” (for which Winfield Scott had been briefly imprisoned in California) but depicting the underbelly of Mexican society, which local authorities hoped would remain invisible to tourists.
Things brightened up in July 1901 when Waite was asked to visit Iguala, Guerrero, for a seance. Waite told a reporter afterwards that his photographic plates would convert skeptics: “I never had any faith in the spiritualist doctrine, but the appearance of scenes on the plates of my camera which I knew to have been absolutely clear… has aroused the curiosity of not only myself but many others who were previously skeptical on the subject.”
Waite’s major commissions that year included several for the government: Waite was tasked with producing about 1500 large format views of archaeological ruins in the republic for displays in the national museum, the precursor of Mexico’s world famous Museo Nacional de Antropología. And he was also hired by the government to supply photographs, including a series relating to bullfighting, for use on Mexico’s stand at the Pan-American Exposition in Buffalo, New York.
Waite was back in the U.S. in 1902, “on business connected with his mining interests in Mexico. During the course of his travels through the interior as a landscape photographer, Mr Waite has secured control of a number of properties and the object of his visit to the U.S. is to place his property before American capitalists.” These mines were probably the small gold, silver and lead mines in Taxco, which he registered in his name in 1904. Not much more is known about them, so presumably they were never very successful.
C.B. Waite. c 1898? Lake Chapala from Carden Residence (Villa Tlalocan), Chapala.
A few months after purchasing the photographic view business of Cox and Carmichael in 1904, Waite visited Atequiza hacienda, then owned by the Cuesta Gallardo family. From a photographic standpoint, this was a significant event, since it was here, eight years earlier, where French cinematographer Gabriel Veyre and his partner Claude Ferdinand Von Bernard filmed eight short movie films, some of the earliest movies shot anywhere in Mexico, depicting rural life, dances, cockfights and daily activities. Atequiza hacienda was also the birthplace of Octaviano de la Mora (1841-1921), arguably the most famous of all the early photographers based in Guadalajara.
Waite has left us several very interesting photographs of the hacienda, including views of the chapel, the hacienda store and main patio, the view of the main buildings from the mill, and a panoramic view of the hacienda in its idyllic setting. A year after being the official photographer documenting U.S. Secretary of State Elhu Root’s visit to Mexico in 1907, Waite revisited Atequiza to take photographs of the “La Florida” mansion and of hacienda’s orange groves.
Though Waite certainly participated as official photographer on several academic expeditions, I do not believe they include the two in 1908—led respectively by Norwegian anthropologist Carl Lumholtz and German ornithologist Hans Gadow—claimed in the timeline offered by Fuentes Rojas and her colleagues. First, there is no record of Lumholtz (author of Unknown Mexico, based on his first four trips to Mexico, all prior to 1900) visiting Mexico in 1908. And, secondly, Waite is never mentioned in Gadow’s 1908 book “Through Southern Mexico.” The confusion in the latter case perhaps arose because Gadow dedicated his book, “To C.B.”, but this is not a reference to C.B. Waite, but to pioneering American ornithologist Charles Beebe.
By 1910, Waite was a highly respected member of Mexico City’s foreign community and master of the Freemasons’ Toltec Lodge. Though Waite’s photographic activities were greatly reduced after the downfall of President Díaz, and the start of the revolution, he is known to have photographed Mexico’s centenary celebrations in 1910 and to have taken some photos related to the Maderista conspiracy.
Despite what some websites claim (eg. Getty Research Institute), there is no evidence that Waite left Mexico for the U.S. in 1913. On the contrary, Waite and his wife continued to live in Mexico City for the next decade, as is evidenced by his passport applications in 1918 and 1920.
His 1918 passport application included a lengthy affidavit explaining why he had lived outside the U.S. since May 1897:
“My mother died of consumption when I was four years old. My health failed when I was a young man and it was believed that I would die of consumption also and I was ordered to live in a warm climate by my physicians and came to Mexico where I established a Commercial Photography business, making a specialty of wholesale views of the country on a large scale. Illustrations for books and magazines of the interesting features of the country was an important part of my business.”
In the same application, Waite listed his visits to the U.S. since moving to Mexico: September 1898, January 1899, July 1899, February 190l, May 1902, July 1903, September 1903, December 1904, December 1906 and January 1912.
It was only after Alice’s death in the American Hospital in Mexico City in June 1923 that Waite opted to return to the U.S. to be closer to his daughter. He revisited Mexico with his daughter briefly in 1925, before dying in Los Angeles at the age of 65 on 22 March 1927.
Waite’s body of work
Landscapes, markets, railway lines, towns, people going about everyday tasks, farms, tropical crops, rural areas, fiestas in danger of extinction, major cities, bull fights, official events… Waite photographed all these and more, amassing a huge collection of images, which were widely published, including in the popular periodical El Mundo (later El Mundo Ilustrado), Modern Mexico, and as postcards issued by almost all the larger postcard publishers.
As early as 1901 the Sonora News Company was advertising that it sold “Waite’s Photographic Views” of “Native Types and Scenes.” This series included costumbrista images of men, women and children going about their everyday occupations and tasks. In 1902, Granat’s Mexican Specialty Store offered “Waite’s, Carmichel’s [sic] and Other Photographers’ Views of Mexico” for $2.25 a dozen.” Waite’s photos were also published and/or sold by Ruhland & Ahlschier; Latapi y Bert; J. G. Hatton; and Jacob Kalb of the Iturbide Curio Shop (all based in Mexico City), and Juan Kaiser, based in Guadalajara.
Waite’s photos were used to illustrate numerous books, including ornithologist Charles Beebe’s Two Bird-Lovers in Mexico (1905) and Percy F. Martin’s Mexico of the twentieth century (1907).
Waite. Church at Chapala, as published in Pauncefote, 1900.
In 1905, Waite applied for, and was granted, formal registration for ten photographs related to Lake Chapala, numbered 770-779. They included two photos of “the Carden residence” (Villa Tlalocan), built by British consul Lionel Carden in 1896. Three years later, Carden sold the property and moved to Cuba, so these two photos—and most probably the other eight—must be much earlier than 1905, and were probably taken at the end of the 1890s. Waite’s other photographs of Chapala in this group of ten, some of them published as postcards, included “Street in Chapala” “Cathedral, Chapala,” and “La Playa, Chapala.” Several of the photos, including the one of San Francisco Church (above) were first published in Harper’s Bazaar in 1900 to illustrate the Hon. Maud Pauncefote’s landmark article about Lake Chapala. (An extended excerpt of the article appears in chapter 46 of Lake Chapala Through the Ages.)
Waite later also registered a large number of images acquired from other photographers such as Winfield Scott, including many additional images of Chapala, as well as images of Prison Island (#2094), Tuxcueca (2177), Tizapan River (2182), Point Fuerte, Chapala (2196), Jamay (2840), Petetan (sic, 3056), Alacran Island (3058) and Cojumatlan (3062). It is likely that some or all of these were photographs taken by Scott.Examples of Waite’s work have found their way into numerous major U.S. museum and library collections, including The Huntington Library, Art Collections and Botanical Gardens; University of New Mexico’s Center for Southwest Research; Princeton University Library’s Collections of Western Americana; the Latin American Library of Tulane University; the Benson Latin American Collection, University of Texas at Austin; the Eugene P. Lyle, Jr. Photographs, University of Oregon; the DeGolyer Library, Southern Methodist University; and at the Tomás Rivera Library at University of California, Riverside.
Despite this, there have been relatively few exhibitions featuring his work apart from “Mexican Life and Culture During the Porfiriato: The Photography of C.B. Waite, 1898-1913″ at the Southwest Museum, Los Angeles, in 1991; “Mexico: From Empire to Revolution” at the Getty Institute in 2000-2001; and “Charles B. Waite. Primeras impresiones” at Galerías de la Antigua Academia de San Carlos in Mexico City in 2016.
Waite’s significant contribution to the history of photography in Mexico was recognized at the turn of the millennium by the nation’s postal authorities, when it issued a series of stamps and souvenir sheet to commemorate 100 years of photography in Mexico. A number of the stamps incorporated tiny versions of photographs taken by Waite into their design.
Servicio Postal Mexicano. (2000) 100 years of photography.
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Francisco Ballesteros Montellano. 1989. “C. B. Waite, profesional fotógrafo.” Tesis de Licenciatura, Universidad Nacional Autónoma de México.
___ 1994. C. B. Waite, fotógrafo. Una mirada diversa sobre el México de principios del siglo XX. Mexico: Grijalba/CNCA.
___ 1998. Charles B. Waite: la época de oro de las postales en México. Mexico: CONACULTA (Consejo Nacional para la Cultura y Las Artes).
Francisco Hernández. 2018. Diario sin fechas de Charles B. Waite (novel). USA: Almadia.
Benigno Casas. 2010. “Charles B. Waite y Winfield Scott: lo documental y lo estético en su obra fotográfica”. Dimensión antropológica, 48: 221–244.
Elizabeth Fuentes Rojas, Gabriela Prieto Soriano, Gabriela Vilches Larrea (coordinators). 2016. Charles B. Waite. Primeras impresiones. Mexico City: UNAM, Facultad de Artes y Diseño.
Rosa Casanova and Adriana Konzevik. 2007. Mexico: A Photographic History. Mexico: Editorial RM.
Clarence Alan McGrew. 1922. City of San Diego and San Diego County. The Birthplace of California. The American Historical Society. Vol I, p 289.
Hon. Maud Pauncefote. 1900. “Chapala the Beautiful.” Harper’s Bazar, Volume XXXIII #52, December 29, 1900. p 2231-3.
The Mexican Herald: 29 Aug 1897; 21 Feb 1900, 5; 18 Nov 1900, 6; 10 Feb 1901, 8; 30 March 1901, 8; 14 July 1901, 17; 28 July, 1901, 17; 19 Aug 1901, 8; 17 April 1902, 8; 18 Nov 1902; 3 March 1904, 7; 1 Sep 1904, 11; 24 Apr 1908; 27 June 1910; 18 August 1914, 5.
Diario Oficial de la Federación: 19 Jan 1905, 277-278-279; 17 March 1905, 300; 6 April 1905, 663; 13 April 1905; 14 Jan 1908, 150-151; 1 June 1908, 477-8; 14 July 1908, 202-3; 5 Oct 1908, 493.
The Two Republics: 5 Jan 1898, 6.
El Imparcial: 5 June 1901.
Jalisco Times: 10 Apr 1908.
El Universal, 20 May 1925.
Comments, corrections and additional material are welcome, whether via comments or email.
Mexico’s National Photo Archive (Fototeca Nacional) combines the work of two photographers—Winfield Scott (1863-1942) and Charles Betts Waite (1861-1927)—into a single collection titled “C.B. Waite / W. Scott.” The two men did have several things in common: of similar age, both were prominent US-born photographers working in Mexico at the start of the twentieth century; both learned photography in California before working for railway companies; both married twice and had one daughter; and they both spent some time in jail on account of their chosen profession.
These two photographers were also interested in similar subject matter and traveled extensively in Mexico. The images they took, specifically tailored to an English-speaking audience, offered, in the words of photographic historian Rosa Casanova, “a ‘costumbrista’ vision of the landscape, monuments, and people of the country, producing an imagery that was also adopted in Mexico, thanks to their widespread circulation in the form of postcards.”
C.B. Waite. c 1898. View from Villa Tlalocan (the Carden residence), Chapala.
Waite’s photos, like this one of “Lake Chapala, Méx. from Carden Residence” usually have a caption and credit added along their lower edge.
Waite, based in Mexico City, traveled by train, oxcart, stagecoach, mule and on foot to visit some of the country’s remotest regions, as far south as Chiapas. Scott, meanwhile, lived initially in Guanajuato and then settled in Jalisco, where he married into a family of modest means and established a small farm near Ocotlán on the northern shore of Lake Chapala. His travels were centered on the areas served by the Mexican Central Railway.
Winfield Scott. c 1897. Chapala lakeshore, as reproduced and attributed to Waite in Diario de campo (INAH, 2004). See Fig 1.1 of Lake Chapala: a postcard history.
The photo above, definitely by Winfield Scott, is one of those sometimes mistakenly attributed to C.B. Waite. Scott’s typical markings—caption and credit in black boxes—have been almost entirely erased.
So why is their work combined into a single collection in the Fototeca Nacional? Prior to 2005, the photographs had all been thought to be the work of Waite; the collection’s name was revised in 2005 when it was recognized that many of the photos had been taken by Scott. In part, this confusion arose because many images taken by Scott had subsequently been monetized by Waite.
Casanova and Konzevik argue that “ample evidence suggests that the two had some sort of agreement under which both of them used the material without distinguishing between them who had actually taken a specific photo.” Other researchers have assumed that, since photo piracy was relatively rife in Mexico at the time, Waite simply ignored Scott’s authorship and published Scott’s work as his own. (This idea was developed by novelist Fernando Hernández into his fictional work, Diario sin fechas de Charles B. Waite.)
The truth, at least in my opinion, is far more prosaic. There is no solid evidence that Scott and Waite ever collaborated in the manner suggested by Casanova and Konzevik. But contemporaneous newspaper records do show how Waite expanded his catalog of photographs by purchasing the work of smaller rival firms. In 1904, for example, Waite advertised that, “Having bought the photographic view business of Cox and Carmichael, any person desiring views from their negatives can obtain them from C. B. Waite, San Juan de Letrán No. 3.” Four years later, in 1908, Waite advertised in The Mexican Herald that he had acquired Scott’s photographs:
Having purchased the photographic view negatives of Mr. Winfield Scott of Ocotlán, Jalisco, all orders for his Types and Views of Mexico must now be sent direct to me. I now have the largest assortment of views of any one country in the world.”
Immediately after acquiring Scott’s photos, Waite formally registered his rights to them with the Mexican government. When republishing these photos, Waite generally blocked or edited out any previous captions or signature, and added his own statement of ownership, as was entirely within his rights. Hence, the confusion over the original authorship of individual photographs arose from a perfectly legal and normal commercial transaction, not one involving any subterfuge or trickery.
Among the images taken by Scott that Waite acquired and registered are numerous photographs related to Lake Chapala, including views of Prison Island (#2094), Tuxcueca (2177), Tizapan River (2182), Point Fuerte, Chapala (2196), Jamay (2840), Petetan (sic, 3056), Alacran Island (3058) and Cojumatlan (3062). It may not be possible to decide which of the two expert photographers took some of the photos currently in the Waite/Scott collection of the Fototeca Nacional, but I think it is possible to do so for those photos that relate to Lake Chapala.
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
My 2022 book Lake Chapala: A Postcard History with reproductions of more than 150 vintage postcards tells the incredible story of how Lake Chapala became an international tourist and retirement center.
Sources
Francisco Hernández. 2018. Diario sin fechas de Charles B. Waite (novel). USA: Almadia.
Rosa Casanova and Adriana Konzevik. 2007. Mexico: A Photographic History. Mexico: Editorial RM.
The Mexican Herald: 3 March 1904, 7; 24 Apr 1908.
Diario Oficial de la Federación: 14 Jan 1908, 150-151; 1 June 1908, 477-8; 14 July 1908, 202-3.
Ajijic’s unofficial photographer in the early 1970s was free-spirited Beverly Johnson (1933-1976), one of the many people who helped make Ajijic tick in what old timers still remember as the ‘good old days.’ Beverly and her five young children moved to Mexico in the early 1960s and settled in Ajijic, where she hoped to eke out a living from singing.
Photo of Beverly Johnson in Ajijic by Helen Goodridge. Reproduced by kind permission of Jill Maldonado.
The tenuous roots that she initially put down in Ajijic grew steadily over the years, despite her premature death in 1976, and her children have maintained ties to the village that endure to this day.
As Ajijic’s unofficial village photographer, Beverly was often asked to shoot personal portraits, wedding photos, landscape shots, first communions, baptisms and even portraits of recently deceased children for their families to remember them by.
At least one exhibition of Beverly’s photos was held in Ajijic. It was in about 1971 at the Galería del Lago (now the Ajijic Cultural Center), next to the old movie house. One of Beverly’s daughters recalls that her mother’s photos were also exhibited by Laura Bateman, who held shows in her own home before opening Ajijic’s first purpose-built gallery, Rincón del Arte at Hidalgo #41.
Some of Beverly’s photographs have been published previously. Beverly’s children kindly provided all but one of the photos for an article on MexConnect — A Tour of Ajijic, Chapala, Mexico, in about 1970 — with daughter Tamara choosing the selection and providing the captions.
Beverly’s daughter Jill has rightly observed that her mother’s black and white portraits of Ajijic families are “timeless and most precious.”
It is hoped to stage an exhibition of Beverly Johnson’s photographs at the Ajijic Museo de Arte (Priv. Flores Magón 3-A, Ajijic) to celebrate her important contribution to village life in Ajijic in the 1970s.
Acknowledgments
My thanks to Tamara Janúz, Jill Maldonado, Rachel Lyn Johnson and Miriam Pérez Johnson for their support in helping preserve their mother’s photographic legacy, and to Carol Shepherd McClain for graciously sharing the photographs used in this post to illustrate Beverly’s work.
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Before the advent of trains and motor vehicles, the only way to get to Lake Chapala was to walk, ride or take a stagecoach (diligencia). The first regular Guadalajara–Chapala stagecoach service began in 1866. While the trip could be done in ten hours, it usually took twelve or more, and the mix of excitement, speed, fright, danger and uncertainty described by early travelers was certainly not for the faint-hearted.
After the completion of the Irapuato-Ocotlán-Atequiza-Guadalajara branch line of the Mexican Central Railway in 1888, demand for a Guadalajara–Chapala stagecoach service declined. Travelers from the city had a choice: they could take a train to Atequiza, followed by a relatively short stagecoach ride to Chapala, or they could take the train to Ocotlán, and then catch a steamboat to Chapala, avoiding having to ride the stagecoach at all.
I know of about ten early photos of stagecoaches taken in the town of Chapala. Some were used as book or magazine illustrations, and several were mass-produced as commercial picture postcards in the first decade of the twentieth century.
The images reproduced here are presented in approximate chronological order, based on evidence of publication dates and on details of buildings in the respective photos.
Fig 1. c 1900. Winfield Scott. Postcard by Juan Kaiser. The turreted building behind the stagecoach is Villa Ana Victoria. On the extreme right, a water carrier is walking towards the camera.
This photo (Fig 1) of a stagecoach on the eastern side of Calle del Muelle was uncredited when it was first published in 1900 to illustrate an article about Chapala by the Hon. Maud Pauncefote in Harper’s Bazar. The photo was also published in about 1901 on a triple-view postcard by Juan Kaiser, then based in San Luis Potosí. The other two photos on that postcard can be positively identified as the work of Winfield Scott, so there is little doubt that Scott also took this stagecoach photo.
A slightly cropped version of Fig 1 was included in Vitold de Szyszlo’s book, Dix mil kilometres a traverse le Mexique, 1909-1910, published in 1913, where the photo is credited to Charles B. Waite. This attribution is not as surprising as it sounds, given that Waite had purchased all Scott’s negatives and photo rights in April 1908.
Fig 2. c. 1900. Winfield Scott. Published in El Mundo Ilustrado, 2 June 1901.
Winfield Scott also took this photograph (Fig 2) of a stagecoach on the other side of Calle del Muelle, waiting outside the Hotel Arzapalo (which first opened in 1898). This image appeared in El Mundo Ilustrado in 1901, and in Four Track News in 1905.
Fig 3. c 1904. Photo by José María Lupercio (?). Postcard by Juan Kaiser.
Fig 3 is a somewhat similar image, which I believe was taken a year or two later, probably by Guadalajara-based photographer José María Lupercio. It was reproduced in about 1904 on postcards published both by Ruhland & Ahlschier and by Juan Kaiser, who by then had moved his publishing sideline from San Luis Potosí to Guadalajara. By that time, the Hotel Arzapalo owned two stagecoaches for daily service to and from Atequiza railroad station, as well as several carriages (guayines) for special trips.
Traveling by stagecoach was both uncomfortable and unreliable. Stagecoach service was often impossible during the rainy season, owing to the poor state of the wagon roads. In July 1904, Chapala hotel owners Victor Huber and Ignacio Arzapalo joined forces to finance repairs and reopen the road before October. At that time the stagecoach between Chapala and Atequiza cost one peso (US$0.50) each way.
We can date this photograph (Fig 4) of another stagecoach outside the Hotel Arzapalo to 1907 with certainty, because it was taken by American photographer Sumner Matteson during his first trip to Mexico.
Fig 5. c 1907. Photograph by José María Lupercio (?) Postcard published by T Schwidernoch, Austria.
This photo (Fig 5) must date from about the same time, and is believed to be another photograph taken by José María Lupercio. It was used by several postcard publishers, including Juan Kaiser (post-1906), Manuel Hernández (1907), and T. Schwidernoch of Vienna, Austria.
The postal service was efficient in those days. One of these cards, mailed in 1908 by guests at the Hotel Ribera Castellanos near Ocotlán, took only five days to reach Virginia! The card explained why the senders had chosen to stay near Ocotlán in preference to Chapala: “Would you like a souvenir of Mex? This is the coach they use to go from the R.R. [railroad] to the hotel on Lake Chapala fourteen miles. We are staying at a place on the same lake but only three miles from the R.R.”
Fig 6. c 1908. Unknown photographer. Believed to have been published by Juan Kaiser. (Courtesy of Ing. Manuel González García.)
In Fig 4 and Fig 5 there is no building abutting the Hotel Arzapalo, which proves they were taken prior to the second half of 1907, when construction began of the Guillermo de Alba-designed Hotel Palmera, completed in 1908. The Hotel Palmera does appear on the left side of this photo (Fig 6), a rare early image of a stagecoach in motion. The building on the right is the competing Gran Hotel Victor Huber (later Gran Hotel Chapala).
Fig 7. c 1908. Photographer and publisher unknown.
The Gran Hotel Victor Huber (later Gran Hotel Chapala) is shown in all its glory in Fig 7, which must date from about the same time.
By 1908, the days of stagecoaches were numbered, and the automobile was taking over. In 1906 prominent American dentist Dr. John W. Purnell drove his Reo from Guadalajara to Chapala in 3 hours 49 minutes, and made the return trip (including an 11-minute stop in Tlaquepaque) in 3 hours 39 minutes. The following year, Alfonso Fernández Somellera took just 63 minutes out to the lake and 65 minutes back to complete his round trip from the big city to Chapala (about 130 kilometers in total) in his 30-horsepower Packard.
Stagecoaches were unable to compete, in speed or comfort, and rapidly became a thing of the past.
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.
Comments, corrections and additional material are welcome, whether via comments or email.
Though I didn’t realize it at the time, a photo I took of Ajijic in 1980 (below) shows, almost precisely in the middle, the bare hillside known as Cerro del Aguila (“Hill of the Eagle”) or Cerro Colorado (“Colored Hill”). According to a local legend, the hillside was formed during the centuries-long migration of the Mexica people (the forerunners of the Aztecs) from their ancestral homeland, Aztlán, en route to founding their capital city, Tenochtitlan (where Mexico City stands today) in 1325.
The Mexica were looking for a sign—an eagle perched on a prickly pear cactus—to tell them where to found their new capital and ceremonial center. Today, this sign, with the addition of a serpent, which the eagle is devouring, is a national symbol and appears on the national flag.
The Ajijic version of the legend was summarized in 1988 by journalist Ruth Netherton, a long-time Ajijic resident. She explained to her readers that the Mexica saw their sign at Lake Chapala’s Isla de los Alacranes:
As the priests pondered the omen, a strong wind blew up and dashed the eagle against a barren hill, leaving its image there. The eagle is still visible today above Rancho del Oro, with wings outstretched, a shrub forming the eye. Why the priests were discouraged from founding Tenochtitlan at Lake Chapala is not explained. Perhaps the strong wind (called locally “el abajeño” or “el mexicano”) was considered a bad omen.”
This is an appealing legend, and one which directly links Ajijic to the rise of the Aztec Empire. But the unanswered question about this legend is just how old it might be. Did the legend start when Ajijic was founded in 1531? Is it possible to trace its origin back that far, or even further?
In my thirty-plus years of research about Lake Chapala, I have come across remarkably few references to the Ajijic Eagle, and none of them date back very far. The earliest documentary evidence I’ve come across is a paragraph written by Dr Leo Stanley in October 1937, when he and and a friend rode horseback from Chapala to Jocotepec, and then continued along the southern shore of the lake to San Luis [Soyutlán], where they found lodgings for the night. In the early evening, Stanley strolled down to the lake shore:
It was a very pretty afternoon, and off in the distance across the lake toward San Juan could be seen a peculiar phenomenon. By landslides and erosions in the mountains, the natural form of a spread eagle was displayed in brown against the green verdure. This marking could be seen very distinctly from the southern shore of the lake.”
On the other hand, none of the three best-known books about the Ajijic area written a decade later—House in the Sun and Village in the Sun, both by ‘Dane Chandos (Peter Lilley and Nigel Millett), and Dust on my Heart, by Neill James— includes any mention or description of the Ajijic Eagle.
This leads me to believe that, even though the Mexica migration legend is ancient, its link to the Ajijic eagle is much more recent, perhaps dating from the beginning of the twentieth century, and associated with several decades of mining in the hills behind Ajijic. For example, just before the Mexican Revolution erupted in 1910, we know that the owners of one of the main mines were installing “a cyanide annex at the plant, which now consists of ten-stamp concentrators and amalgamating plates.” The use of cyanide on this scale would have killed off the immediate vegetation and destroyed soil organisms, creating a barren area that has remained infertile to this day: the unusual eagle-shaped hillside scar on Cerro Colorado.
If you know of other literary or documentary references to the Ajijic Eagle, please let me know!
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Ruth Netherton. 1988. “Laguna Chapalac.” Guadalajara Reporter, 20 August 1988.
Leo L. Stanley. 1937. “Mixing in Mexico,” 1937, two volumes. Leo L. Stanley Papers, MS 2061, California Historical Society. Volume 2. (My sincere thanks to Frances Kaplan, Reference & Outreach Librarian of the California Historical Society, and to the California Historical Society for permission to reproduce the excerpt used in this post.)
Comments, corrections and additional material are welcome, whether via the comments feature or email.
American photographer Sumner W Matteson has not received the attention he deserves for the thousands of outstanding images of landscapes and people in the US, Cuba and Mexico he took at the start of the twentieth century.
Sumner Warren Matteson Jr was born on 15 September 1867 in Decorah, Iowa, and died in Mexico City on 27 Oct 1920. Following his death, the American Consulate in Mexico City curtly reported: “ASSETS: Miscellaneous articles of clothing of no intrinsic value. Given away and destroyed. Suitcase.” Matteson had only just celebrated his 53rd birthday.
German-Mexican photographer Hugo Brehme (1882-1954), based in Mexico City, had seen some of Matteson’s work and bought some of Matteson’s Mexican negatives from his estate. Brehme later printed some of them under his own copyright, sometimes with a note that the negatives were the work of Matteson.
Sumner W Matteson. 1907. “Native craft near outlet of Lake Chapala and water hyacinth drifting with the wind.” Reproduced courtesy of Milwaukee Public Museum, Wisconsin.
The photos in this post are reproduced by kind permission of the Milwaukee Public Museum in Wisconsin, which purchased them from the Matteson estate in 1922. Other Matteson negatives and prints can be found in the collections of the Science Museum of Minnesota in Saint Paul, the Field Museum of Natural History in Chicago and the Smithsonian Institution in Washington.
Matteson graduated with a B.S. degree from the University of Minnesota in 1888, and worked for a few years as a banking clerk before becoming an agent for a bicycle manufacturer, the Overman Wheel Company. By the end of the century, Matteson was calling himself an “amateur photographer” and a “traveling correspondent.”
In 1902 an album of his Hopi Indian photos was presented to the Smithsonian Institute, and Matteson documented several other indigenous groups in New Mexico and Arizona, as well as spending many months in Cuba.
The photos shown in this profile were all taken in 1907, during Matteson’s first trip to Mexico.
Sumner W Matteson. 1907. “Tramp musicians who carry copper coins in sombrero and silver coins in their ears (note 25 cent in ear nearest tree) taken near Hotel Ribera, Lake Chapala.” Reproduced courtesy of Milwaukee Public Museum, Wisconsin.
During this first visit to Mexico in 1907, Matteson spent 10 months climbing mountains and traveling around the Republic. A Mexico City daily described him as “the expert photographer who has traveled over a great portion of the world as the representative of a number of American newspapers, periodicals and magazines and whose work has evoked high commendation wherever it is known.”
Using Mexico City as his base, he climbed Popocatapetl and Orizaba volcanoes before succeeding in a 5-day ascent of “the most interesting and picturesque of them all”—Volcán de Fuego and Nevado de Colima, the twin volcanoes in Colima. Matteson succeeded in getting photos from inside the Nevado’s crater. From atop the Nevado, Matteson, and his small group—which included Samuel E Rogers of Ocotlán—could see from the Pacific Ocean to Lake Chapala.
On their way up the Volcán de Fuego, the climbing party happened across a “primitive ice plant,” where layers of hailstones were “gathered up in piles and placed in a layer—then with grass thrown on in, another layer is put on, and stamped down, and then wound in cloth and cut up in blocks of forty pounds each.”
Sumner W Matteson. 1907. “Stage coach from Lake Chapala.” Reproduced courtesy of Milwaukee Public Museum, Wisconsin.
Matteson’s second trip to Mexico was in 1920. After another successful ascent of Mt. Popocatepetl with some American friends, he stayed too long at the high altitude near the summit and developed pulmonary edema. He barely made it back to his hotel in Mexico City before he collapsed and died.
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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.
Unlike most of my writing, this is a very personal post. It was 1980—and I was in my mid-twenties—when I first saw Lake Chapala. I was only there a few hours, took a few photos, and was not overly impressed. It was to be several years before I revisited. What I hadn’t realized, until quite recently, was just how apropos the Kodachrome slides I took during that first brief visit would prove to be for most of my later life.
In 1980, I was on my way back to my teaching job in Mexico City from an Easter trip to the Copper Canyon, and was able to squeeze in two nights in a cheap hotel in Guadalajara before returning to the classroom. Given my limited time, and in the absence of a car, I decided the simplest way to see Mexico’s largest natural lake was to take a Panoramex day trip out to the lake.
The Panoramex bus took highway 15 out of Guadalajara and made its first brief stop in the center of Jocotepec. Little did I realize at the time that this unprepossessing village would later become my home.
The next stop on this tour was Ajijic. Given only limited time to explore the village, I set off east along the lakeshore to get a better view of the picturesque setting, not realizing at the time that the view I captured included the Ajijic Eagle (Cerro del Aguila or Cerro Colorado).
On the way back to the bus, I just had time to take three quick costumbrista snaps of the lakeshore: fishing nets, washerwomen and a fishing boat, with no idea that these subjects had been depicted by numerous serious artists and photographers for decades.
From Ajijic, the Panoramex bus stopped at the Chula Vista hotel for lunch, before the short drive to Chapala. Because it was only a few days after Easter, the town of Chapala was humming and buzzing, though we had such a short time there that I barely managed to snatch this quick photo from the pier.
It was another six years (by which time I was living in Guadalajara) before I saw Lake Chapala again. Within a year, I’d met my future wife, the director of the School for the Deaf in Jocotepec, and we’d had three weddings: civil, religious and a special service organized by the staff of the school for the students. The rest, as they say, is history!
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Juan Aráuz Lomeli (ca 1887-1970) is known to have taken photos of Chapala from the 1920s onward. The somewhat unusual surname Aráuz or Arauz—the accent is optional—is of Basque origin. Though not a full-time professional photographer, Juan Aráuz Lomeli stamped “ARAUZ – FOT.” and an address in Guadalajara on the reverse of the photos he published as postcards, and sometimes added a small white circle containing a stylized JA (or JAL) alongside the caption.
Juan Aráuz Lomeli’s son, Juan Victor Aráuz Gutiérrez (1914-2000), was also a photographer who lived and worked in Guadalajara. Because they sometimes photographed the same subject at the same time, this has led to some uncertainty in the case of some images as to the true identity of the photographer. In addition, more than one edition of some images is known, distinguished by distinct styles of lettering for the captions.
Juan Aráuz Lomeli is known to have photographed and published more than a dozen different postcard views of Chapala.
Juan Aráuz Lomeli. “Chapala.” ca 1926.
This particular card (above), number 156, is entitled “Chapala – Jal” and has a handwritten notation dating it to 4 October 1926, leaving no doubt that it is the work of Juan Aráuz Lomeli rather than his son. The reverse of the card has a rectangular hand-stamped box reading (on three lines) “ARAUZ- FOT. / HGO 19, NUM 881, / GUADALAJARA, MEX.”
Some captions were probably added in haste, and occasionally are inaccurate. For example, this second card (below), which has an identical hand-written date, is mistakenly captioned “Villa Josefina;” the building in this photo is not Villa Josefina but the larger historic estate known as Villa Montecarlo.
Juan Aráuz Lomeli. Villa Montecarlo (despite the caption), Chapala. ca 1926.
Juan Aráuz Lomeli was born to Juan Aráuz and his wife, Austreberta Lomeli, in Guanajuato in about 1887 or 1888. He died in Guadalajara on 30 November 1970. Curiously, his death certificate mistakenly names his wife (who had died many years earlier) as Victoria Rodriguez in place of Victoria Gutiérrez. According to a contemporary newspaper, Victoria Gutiérrez de Arauz Lomeli had died on 15 July 1942, at the age of 52, though this age does not match the census data from 1930!
The household listed in 1930 comprised Juan Arauz Lomeli (aged 42), who gave his profession as photographer, his wife Victoria J de Arauz (36) and their four sons: Jorge (17), Juan Victor (15), Fernando (12) and Alfonzo (10). The name Fernando appears to have been an enumerator’s error for Francisco, since records show that Francisco Aráuz Gutiérrez (born ca 1918, and definitely the son of Juan Aráuz Lomeli and Victoria Gutiérrez) married twice in relatively quick succession in the 1940s, first in 1942, at the age of 25, and then in 1947.
Alberto Gómez Barbosa, in his multi-part series on photography in Jalisco for El Informador in 2004, recalled that Juan Aráuz Lomeli’s interest in photography began when he worked for the Compañia Eléctrica de Chapala, where one of the managers was Luis Gonzaga Castañeda. Gonzaga was a particularly keen photographer and inspired several colleagues, including Aráuz, to take up the hobby. Aráuz and Gonzaga both contributed photographs to illustrate Guadalajara Colonial, a book by José Cornejo Franco, as did a third photographer, Ignacio Gómez Gallardo.
Aráuz knew and was an admirer of José María Lupercio, another of the famous photographers of Guadalajara, whose timeless images of the city and of Lake Chapala have in many ways never been surpassed. Aráuz particularly admired the fact that Lupercio was a true artist, who eschewed timers and measuring scales in favor of mixing all his solutions for developing photographs by eye.
According to Gómez Barbosa, Aráuz became a good friend of José Clemente Orozco and took several singularly-striking portraits of the artist, including some reproduced in later biographies of the world-renowned muralist. As we saw in a previous post, Arauz’s son, Juan Victor Aráuz, also knew Orozco and later documented the progress of Orozco’s work on several murals in Guadalajara, including preliminary sketches that were later altered or never executed.
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.
Note: This post was first published 9 August 2019.
Sources
Alberto Gómez Barbosa. 2004. “La fotografía en Jalisco.” El Informador, 1 August 2004, 14.
El Informador: 16 July 1942, 11.
Comments, corrections and additional material are welcome, whether via the comments feature or email.
Juan Victor Aráuz Gutiérrez (1914-2000) and his father, Juan Aráuz Lomeli, were photographers who lived and worked in Guadalajara. Because they sometimes photographed the same subject at the same time, there is uncertainty in the case of some images as to which of the two men was the photographer.
Juan Victor Aráuz Gutiérrez (sometimes mistakenly named as Juan Victor Aráuz Martínez) was born in Guadalajara in November 1914 and died in the city on 4 October 2000.
Alberto Gómez Barbosa was a good friend of Juan Victor Aráuz. In his multi-part series on photography in Jalisco for El Informador in 2004, Gómez Barbosa recalled that Juan Victor Aráuz had learned photography from early childhood before pursuing a career as a professional photographer.
His father’s friendship with José Clemente Orozco meant that Juan Victor Aráuz also got to know the great muralist. Juan Victor Aráuz not only chronicled the growth of Guadalajara in photographs but also documented the progress of Orozco’s work on the murals in the city’s university, Government Palace and Hospicio Cabañas (now the Instituto Cultural Cabañas). His photos have proved especially valuable to Orozco scholars since they include images of preliminary sketches that were later altered or never executed.
Along with Orozco, Aráuz was among the founders in 1935 of the Jalisco Union of Painters and Sculptors (Unión de Pintores y Escultores de Jalisco), formed to respond to the call by the Revolutionary Writers and Artists League (Liga de Escritores y Artistas Revolucionarias) for a National Assembly of Artists. Other members of the Jalisco Union with links to Lake Chapala included Ixca Farías, José María Servín and Rubén Mora Gálvez..
At the end of the 1930s, when the University of Guadalajara established a School of Fine Arts (Escuela de Artes Plasticas), Aráuz was appointed as its first photography instructor even though there was then no formal career path for student photographers. He remained in that position for many years and taught successive generations of students, many of whom subsequently became well-known photographers.
In 1948, Juan Victor Aráuz partnered with Gabriel Camarena to open the Camarauz photo shop selling cameras and all manner of photographic equipment. Aráuz’s story-telling prowess and willingness to share his experiences and techniques quickly made his store a very popular meeting place for the city’s bohemian architects, painters, writers and would-be photographers.
This card, an interesting aerial view clearly marked Camarauz, dates from the early 1950s and was taken to document the near-completion of the wide avenue (Francisco I. Madero) in Chapala that leads to the town’s jetty and lakeside promenade. Like many other prominent Guadalajara families of the time, Juan Victor Aráuz had a vacation home in Chapala.
Juan Victor Aráuz. Aerial view of Chapala, ca 1950.
Author Katie Goodridge Ingram recalls Aráuz with fondness, saying that she, like her mother and brothers, took their films to him to be developed and printed, and always enjoyed the experience. She chatted with Aráuz several times in Chapala, and remembers him as “a tall lanky man, with thinning black hair, large features in mouth and nose and hands, and the long slumped look of an accomplished aristocrat.” She was so impressed with his photos that she took a selection with her when she attended a US boarding school and college.
In 1950, recognizing the shortage of gallery space in Guadalajara, Aráuz opened the Galeria Camarauz where shows featured the works of locally-resident artists such as Thomas Coffeen, Matias Goeritz and many others. The legendary Dr. Atl (Gerardo Murillo) held a solo exhibit there entitled “Como nace y crece un volcán” (How a volcano is born and grows), based on the eruptions of Paricutin Volcano in Michoacán in the previous decade. The Galería Camarauz also sponsored an exhibition of photographs taken by the distinguished Jaliscan writer Juan Rulfo (a personal friend of Victor’s) at the Casa de Cultura in Guadalajara in 1960.
Contemporaries praised Aráuz as a sensitive person with a great sense of humor. He was also an inveterate traveler. His time living with the indigenous Huichol Indians in their remote ancestral lands in the mountains of northern Jalisco and neighboring states proved to be his springboard to national fame. In 1959, an exhibit featuring a selection of his extraordinary Huichol photographs – “Los huicholes ante mi cámara” – opened at the Modern Art Museum in Mexico City in early February. It ran until the end of March. This was the very first time any photographer had been given a solo exhibit at the museum. The exhibit was a personal triumph. His sensitive and powerful Huichol images are now on permanent exhibition in the Sala Juan Víctor Aráuz of the Casa de la Moneda (former Mint), a museum in Zacatecas.
Juan Victor Aráuz was an avid and intelligent collector of early photography. His extensive and unrivaled collection of old photographic plates, daguerreotypes, negatives and prints of Guadalajara, many dating back to the 19th century, was bequeathed to the city. Aráuz researched early photography in Guadalajara and in 1988 a selection of his reproductions of early photographs, accompanied by texts by Francisco Ayón Zester, was published by the Unidad Editorial del Gobierno del Estado de Jalisco as Guadalajara, iconografía del siglo XIX y principios del XX.
The largest ever exhibition of photographs by Juan Víctor Aráuz was held in the Ex-Convento del Carmen in Guadalajara from December 1993 to the following January. On display were 338 images spanning half a century, with examples of Aráuz’s best work from all over Mexico, as well as from New York and several countries in Europe, Africa and Asia, alongside several abstract compositions.
Juan Víctor Aráuz won numerous awards for his work, including the Premio Jalisco (Jalisco Prize)in 1957, awarded by then governor Agustín Yáñez, the Premio Ciudad de Guadalajara (City of Guadalajara Prize) in 1998 and the Premio Jalisco en Artes (Jalisco Arts Prize) in 1982.
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.
Note: This post was first published 23 August 2019.
Sources:
Arturo Camacho. 2008. “La fotografía en Guadalajara”. Revista La Tarea (revista de la Sección 47 del Sindicato Nacional de Trabajadores de la Educación), #6, Oct 2008.
Justino Fernandez. 1960. “Catálogo de las Exposiciones de Arte en 1959.” Suplemento del Num. 29 de los Anales del Instituto de Investigaciones Esteticas, Mexico, 1960.
Alberto Gómez Barbosa. 2004. “La fotografía en Jalisco.” El Informador, 1 August 2004, 14.
Francisco Javier Ibarra. 2005. “Juan Víctor Arauz: espejo de la memoria III.” El Informador, 17 July 2005, 14-B.
El Informador: 5 October 2000.
Katie Goodridge Ingram, personal communication, July 2018.
Raquel Tibol. 1994. “Gran Exposicion Fotografica De Juan Victor Arauz”, Proceso, 22 January 1994.
Comments, corrections and additional material are welcome, whether via the comments feature or email.
A striking series of color-tinted postcards was published by S. Altamirano in the mid-1920s. The application of color on these cards was far more sophisticated than that used earlier by (among others) Alba y Fernández.
The reverse side of these cards carries the imprint, “Editor S. Altamirano, Av. Colon 165, Guadalajara.” The front of the cards includes a series number and caption, in black lettering as a single line, using both upper and lower case. The font used for the number is smaller than the font used for the caption.
Most Altamirano cards depict buildings in Guadalajara. But at least five cards in the series are related to Lake Chapala. They include (below) this carefully-composed view, from the lake, of Chapala’s majestic railroad station (now the Centro Cultural González Gallo). Carriages are visible behind a throng of excited passengers. Given that the railroad station was only in service from 1920 to 1926, this photograph must date from that period.
Romero / S. Altamirano. c 1925. Chapala Railroad Station.
Another Altamirano card shows the Hotel Arzapalo, as viewed from the main pier. A third, taken from almost the same vantage point, focuses on the San Francisco church and Casa Braniff; it has a line of cargo boats in the foreground.
Romero ? / S. Altamirano. c 1925. San Francisco Church and Casa Braniff.
The fourth card in the series is an unusual view from the beach looking up to the castle-like Villa Montecarlo. The only other Altamirano card I have seen that relates to Chapala is a view of the famous trio of villas—Niza, Elena and Josefina—that caught the eye of so many different photographers over the years.
At least two of the photographs—the railroad station and the trio of villas— are definitely the work of a Guadalajara-based photographer named Romero. Romero took black and white photos and usually added “Romero Fot” and “Es propiedad” on them as a means of protecting his authorship. Presumably Altamirano and Romero had a commercial relationship, and it is more than possible that the other images published by Altamirano as color-tinted postcards were also originally by Romero.
One possible candidate for “S. Altamirano” is Guadalajara-born Salvador Altamirano Jiménez (1883-1939). He was a civil and electrical engineer, married first (in 1909) to Cecilia Martínez Cairo and then (1926) to Dolores Elizondo. Prior to the Mexican Revolution, he was an engineer in the Mexican armed forces. He also liked fast cars and was a member of the the Mexican Section of the American Institute of Electrical Engineers.
Each image on Altamirano postcards has a unique 5-digit number in tiny print at the bottom, sometimes in white, sometimes in black, depending on the tones in the photograph. These numbers are identical in style to the 5-digit numbers used by publisher Felix Martín of Mexico City. Martín’s postcards include one of the historic Villa Virginia in Chapala, and it seems likely that the two publishers had some kind of commercial connection.
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.
Note: This post was first published 7 August 2023.
Sources
La Iberia: diario de la mañana, 23 Jan 1910, 2.
The Mexican Herald: 8 Nov 1912, 8; 6 December 1912.
El Diario: 13 April 1914, 1.
Comments, corrections and additional material are welcome, whether via the comments feature or email.
Photographer and hotelier Winfield Scott was born in Galesburg, Michigan, on 15 July 1863 and died in Los Angeles, California, on 19 January 1942.
Scott spent six months in Mexico in 1888, and then lived in the country, with occasional breaks in California, from 1895 to 1924.
From 1890 to 1894, he was working in Oakland, California. In 1894, he spent a weekend in jail when an aggrieved ex-colleague, unhappy about the terms of a business deal, denounced Scott for taking and possessing “indecent” photographs. A contemporary news report described them as “obscene photographs of semi-naked young Chinese girls” between 10 and 14 years of age. Scott was freed and exonerated because it proved impossible to find any such photos in his possession.
This may well have been the stimulus, if any was needed, that prompted Scott to move to Mexico in 1895 and settle in Silao, Guanajuato, where he undertook photographic commissions for the Mexican Central Railway (Ferrocarril Central Mexicano) and, from January 1897, for the National Railways (Ferrocarriles Nacionales). He is known to have photographed the famous Guanajuato mummies. He also sold some photos in 1896 to the Field Columbian Museum in Chicago.
His railway-related images include photos of canyons, stations, rural landscapes, and everyday life of the people living close to the tracks. By 1897, an advert in Modern Mexico (January 1897) claimed that he had amassed “the largest and most complete collection of scenes of Mexico and Mexican life”. In that same year, Wilson’s photographic magazine called him a pictorialist photographer and publicized his hundreds of images of Mexico and the U.S., with 5×8 prints on sale by mail order for $3 a dozen.
On 21 October 1898, now 35 years of age, Scott married 18-year-old Edna Browning Cody in the city of León, Guanajuato. Edna was from Lakeview, Michigan, but lived with her parents in the mining camp of Mineral de Cardones in Guanajuato.
By 1900, he and his wife (now known as Edna Cody Scott) lived in Ocotlán, Jalisco, on Lake Chapala, where he advertised the sale of “true portraits of the life and landscape of this country of unparalleled picturesqueness.”
Several of his photos, including a panoramic view of Chapala, were used to illustrate A tour in Mexico, written by Mrs James Edwin Morris (The Abbey Press, 1902).
A 1903 list of Scott’s Views of Mexico (published in Ocotlán, Jalisco) has 2486 numbered titles for Scott’s Mexican photographs, together with a testimonial attesting to their quality from Reau Campbell, of the American Tourist Association, author of Campbell’s New Revised Complete Guide and Descriptive Book of Mexico (1899).
Scott: A Water Carrier (Lake Chapala) , 1909
In 1904, two of his photographs related to Lake Chapala—an Indian woman spinning and an Indian woman weaving—were published in National Geographic to illustrate an article by E. W. Nelson whose own photograph of a square-sailed boat on Lake Chapala was also included. These three images were the earliest photos of Lake Chapala to find their way into the pages of that august magazine.
Scott’s photographs were also used on numerous postcards, including several published by the Sonora News Company in Mexico City. In addition, three small photographs of Chapala, all by Scott, were used on one of the earliest postcards published by Juan Kaiser (with the imprint “Al Libro Mayor, S. Luis Potosí”) in about 1901.
Scott: Lake Chapala, ca 1908
Scott’s specialty was the portrayal of women and children, as well as landscapes, and Mexico’s national photographic archive holds no fewer than 223 female portraits taken by Scott. Many of his portraits are exceptional in composition. Scott was one of the first of Mexico’s commercial photographers to pay as much attention to the context and surroundings as to the subject. His success in this regard is partly attributable to his rapid adoption of smaller and lighter cameras.
In 1908 Scott’s photographs were used to illustrate an account in Modern Mexico about the Colima-Manzanillo railway, then under construction but due to be completed in time for Mexico’s centenary celebrations in 1910.
During his time in Mexico, Scott collaborated with fellow American photographer Charles B. Waite. The two photographers offered, in the words of photographic historian Rosa Casanova, images specially chosen to appeal to an English-speaking audience: “a ‘costumbrista’ vision of the landscape, monuments, and people of the country, producing an imagery that was also adopted in Mexico, thanks to their widespread circulation in the form of postcards produced first by the Sonora News Company and later on by La Rochester.”
Winfield Scott. c 1900. Calle del Muelle, Chapala.
In April 1908, Charles B. Waite announced in the Jalisco Times that he had bought all of Scott’s negatives, and that any orders for Scott’s “Types and Views of Mexico” should now be addressed to him. Waite proudly proclaimed that he had “the largest assortment of views of any one country in the world.” Waite registered all the rights to the photographs with the relevant federal authorities. When republishing Scott’s work, Waite usually whited out (on the negatives) Scott’s numbers, captions and credit. This purchase and subsequent (re)registration has caused considerable uncertainty in some quarters (including Mexico’s National Fototeca) as to which photos should really be attributed to Scott, and which to Waite. Even one relatively recent INAH publication erroneously credited Waite for several photographs that are definitely the work of Scott.
After Winfield Scott separated, in about 1905, from his wife, Edna (who died in San Francisco in 1957), he began a relationship with Ramona Rodriguez. Their daughter, Margaret (Margarita), was born in Mexico in 1906. According to poet Witter Bynner and others, Ramona was Mexican and died (definitely before 1920) while Margaret was still young, leaving Scott to bring her up on his own.
When the Mexican Revolution broke out in 1910, Scott moved to California, but returned in 1912, and then divided his time between California and Mexico until 1924. When applying in 1921 (in the U.S.) for a new passport so that he can return to Ocotlán, he described himself as 5′ 5″ tall, with light blue eyes and brown hair.
Scott: The Hotel Arzapalo, early 1900s.
From 1919 to about 1922, Scott was managing the Hotel Ribera near Ocotlán, the source of stories Scott shared with D. H. Lawrence, his wife Frieda, Witter Bynner and others in 1923.
By 1923, Scott was managing the Hotel Arzapalo in Chapala, living there with his daughter Margaret in rooms on the west wing facing the lake. D. H. Lawrence used Scott as the basis for the hotel owner Bell in his novel The Plumed Serpent. Lawrence’s traveling companions Witter Bynner and Willard “Spud” Johnson stayed at the hotel, which was conveniently close to the house that Lawrence and his wife Frieda had rented.
In his memoir Journey with Genius (1951), Witter Bynner devotes chapter 16 to the Hotel Arzapalo and chapter 22 to Mr. Winfield Scott. He includes a detailed account of Scott telling them about how, while managing an hotel in Ocotlán, he and his guests narrowly escaped a run-in with gun-toting bandits. (Bynner, pp 110-114)
Elsewhere, Idella Purnell, a Guadalajara poet who spent time with Lawrence, has written about how she and Margarita Scott accompanied the Lawrences by boat to the railway station in mid-July 1923, when Lawrence and his wife Frieda left Chapala to return to Guadalajara and then New York.
Later that year, when Lawrence and Kai Gøtzsche visited Guadalajara in October 1923, they chose to stay at the Hotel García because Winfield Scott had now moved from Chapala and was managing that hotel. Scott did not remain at the Hotel García for long. By the end of the following year, he had moved back to California, where he lived until his death in 1942.
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.
Sources:
Witter Bynner. 1951. Journey with Genius. New York: John Day.
Benigno Casas, “Charles B. Waite y Winfield Scott: lo documental y lo estético en su obra fotográfica”, in Dimensión Antropológica, vol. 48, 2010, pp. 221-244.
E. W. Nelson. 1904. “A Winter Expedition into Southwestern Mexico.” National Geographic, vol XV, #9 (September 1904), 341-357.
Jalisco Times, 10 April 1908, 24 April 1908.
Note: This is an expanded and updated version of a post first published in 2015.
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards, including several by Scott, to tell the incredible story of how Lake Chapala became an international tourist and retirement center.
Comments, corrections and additional material are welcome, whether via the comments feature or email.
Every now and again my research into the photographers who captured images of Lake Chapala used on vintage postcards draws a near-complete blank. This post considers two striking images taken by “Andrade.”
The only reference I have so far found to Andrade comes in the unpublished journal (now in the archives of the California Historical Society) kept by Dr Leo Stanley, a prison doctor from California, when he visited Guadalajara and Lake Chapala in 1937. Near the end of his trip, Stanley decided to take a boat from Chapala to Mezcala Island to see for himself the ruins of the nineteenth century jail that had given rise to the island’s nickname, Prison Island. Just as Stanley is setting sail, Andrade asks if he can join him:
15 October 1937: I engaged the launch “Corona” to take us to the island, and invited Ysidoro [Ysidoro Pulido] and the two little Mexican boys of the day before to go with us. As we were about ready to shove off, a Mexican came to me and asked how much I would charge to let him go along with us to the island. He said he was a photographer and wanted to take some pictures there. I told him there would be no charge, and asked him to come along. He said his name was Andrade, and that he had taken a number of pictures about the lake, some of which he showed to me. With him was another boy of about fourteen years of age. This lad carried on his back a large gourd with a hinged door. In this gourd, he carried some of his photographic supplies.”
The first image (above) reminds us that during the nineteenth and early twentieth centuries, the lake was a vital link in the regional transportation network connecting central Mexico to Guadalajara. Local craft crisscrossed the lake every day ferrying all manner of goods and provisions, as well as people, from one small port to the next.
The vessels in use included paddle steamers, fishing skiffs, flat-bottomed launches (canoas) and large sail canoes (canoas de vela), like the one shown in the photograph. Paddle steamers (vapores) were faster, and could carry more cargo, but required more investment and were more expensive to operate than sail canoes.
Almost every village, however small, had its own pier or jetty. Larger towns, like Chapala, had several small piers, some for public use, others built privately by local property owners. The largest piers, like the one in the photograph offered sufficient depth of water that even large cargo-carrying vessels could safely tie up to load and unload.
Andrade. c 1935. En el muro, embarcadero. Lago de Chapala.
The second postcard photograph is more unusual. The large throng of people occupying the pier and lakeshore wall must presumably have been for some very special occasion or event. But what is the occasion? There are no obvious clues on the image. If you can suggest a reason or occasion for this large crowd to gather by the pier, please get in touch!
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.
Acknowledgments
My heartfelt thanks to Frances Kaplan, Reference & Outreach Librarian of the California Historical Society, for supplying photos of Stanley’s account of his time at Lake Chapala. I am very grateful to Ms Kaplan and the California Historical Society for permission to reproduce the excerpt used in this post.
Antonio Mólgora was an Italian businessman and hotelier who ran various hotels in Chapala from about 1907 to his death in 1927. Both he and one of his sons, also named Antonio, were accomplished amateur photographers and published a number of postcards, the son generally preferring pictures of boats and people to pictures of buildings. They were almost certainly the first local residents to produce real photographic postcards of Chapala.
At least three postcards must be the work of Antonio Mólgora Sr. (“El Muelle,” “La Plalla” [sic] and “La Reynera”) while many more can definitely be attributed to his son, Antonio Mólgora Jr. There is no evidence that either Mólgora ever tried to commercialize any photographs of other places; their Chapala postcards were presumably given or sold to visitors in the hotels owned or managed by Antonio Sr.
The numbering on some of the father’s postcards suggests there are likely to be many more photos of Chapala still waiting to be found and attributed to him!
Antonio Mólgora Sr. ca 1911. El Muelle.
Antonio Mólgora Sr.
Antonio Mólgora (Sr.) was born at Novara, Italy, in 1877. He was one of at least eight children born there to Clemente Mólgora Declerechi (1841-1900), a pork butcher, and his wife, Paulina de Ferrari (1852-1931). One of Antonio’s uncles, Enrique Mólgora (ca 1840-1900), had established himself and his family in Mexico in the 1870s, and Enrique’s brother—Antonio’s father—followed him to Mexico with his family in the 1890s.
In 1900, Antonio married 19-year-old María Espinosa Gómez in Chihuahua. The couple had two sons: Clemente Mólgora Espinosa (1901-1981) and Antonio Héctor Mólgora Espinosa (1903-1980). Clemente, who married a local Chapala girl in about 1927, is mentioned in Journey with Genius, the account by poet Witter Bynner of visiting Chapala in 1923 in the company of D. H. Lawrence. (Bynner later bought a house in the village and was a regular visitor for decades.)
It is unclear what Antonio Mólgora (father) did before becoming manager of the Gran Hotel Victor Huber in Chapala in about 1906. But, roughly three years later, he bought this hotel, originally named for its owner, and renamed it the Hotel Francés. Located immediately opposite the church, it was demolished at the end of the 1940s when the wide main boulevard (Avenida Francisco I. Madero) was created.
In 1919, Mólgora also took over the management of the Hotel Palmera. Part of this building, designed by Guillermo de Alba and completed in 1907, later became the Hotel Nido, and is now the Presidencia, housing Chapala municipal offices.
In March 1921 a vacationer wrote on a Mólgora postcard to friends in New Orleans that, besides having a good time, they had felt their first earthquake – “We all dressed and went down stairs. Thought the next shake would bring down the building.” a reference, presumably, to the 6.4 magnitude earthquake off the coast of Colima on 1 May 1921, an event fortunately without any casualties.
In about 1924, Mólgora bought and took over the running of the Hotel Arzapalo; it was promptly renamed the Hotel Mólgora. The Arzapalo had opened in 1898 as the town’s first major hotel, but had operated only intermittently during the Mexican Revolution before reopening in the 1920s.
Antonio Mólgora Sr., photographer, hotelier and ardent supporter of the Italian community in Guadalajara, died in his adopted home of Chapala on 9 October 1927.
Antonio Mólgora Jr.
Antonio Hector Mólgora (1903-1980) married in 1931 and had at least three children, including Jorge Enrique Mólgora Gil, an artist and architect who has designed or co-designed several projects in Chapala and Ajijic since the 1980s.
Antonio Hector Jr took numerous fine photographs of Chapala from about 1920 onward, at least 20 of which were published as postcards. His father promoted his hotels by offering special rates for excursion groups, and this photo of a passenger boat (below) may have been taken to document a special excursion group from Guadalajara.
Antonio Hector Mólgora. ca 1922? Passenger boat, Lake Chapala.
Antonio Mólgora Jr. also documented the huts used by fishermen at Chapala, including one on Isla de los Alacranes. It is unclear if this example (below) was taken on the island or somewhere closer to the town of Chapala:
Antonio Hector Mólgora. ca 1922? Fisherman’s hut, Lake Chapala.
This Mólgora postcard (with “MOLGORA” in block letters) of typical freight-carrying “sail canoes” or canoas (below) is evocative of the era in which D. H. Lawrence and his friends visited in 1923.
Antonio Hector Mólgora (probably). Date unknown. Boats on Lake Chapala.
Acknowledgment
My sincere thanks to Jorge Enrique Mólgora Gil for helping clarify which photographs were the work of his father, Antonio Hector Mólgora Espinosa.
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.
Note: This post was first published 3 August 2019.
Sources:
El Correo de Jalisco: 9 January 1907.
El Informador: 15 September 1918, 2; 30 November 1919; 7 March 1920, 10; 1 July 1921, 7; 12 March 1926.
Comments, corrections and additional material are welcome, whether via the comments feature or email.
This is the second in a mini series identifying some examples of photo identification errors which pertain to the Lake Chapala area.
Estampas de Chapala by Manuel Galindo Gaitan is an outstanding two-volume collection of mainly vintage photographs of Chapala and other places around the lake. Some of the historical details in the text are outdated but the photographs are an absolute treasure. The volumes were published in 2003 and 2005 respectively. Long out-of-print, they occasionally show up for sale on mercadolibre and similar sites.
Included in volume 1 (page 89) is this image, captioned “Los jóvenes que gustaban de remar en canoas por el Lago de Chapala eran turistas que con suma frecuencia visitablan el lugar.” (“The young people who liked to row small boats on Lake Chapala were tourists who visited the place very frequently.”)
I admit to doing a double-take when I first saw this image many years ago. The pitched roofs of some of the buildings are quite reminiscent of some of the early villas of Chapala, including Casa Albión (later Villa Josefina), built by Septimus Crowe at the end of the nineteenth century. But my eye was drawn more to the much taller, four or five story building further back, mainly because there were no buildings this tall anywhere at Lake Chapala until relatively recently.
A quick reverse image search with the help of Señor Google brought up this strikingly similar image from more recent times:
Waikiki postcard
It is apparent that this is the same location. The difference in date between the two images is shown by the very different leisure attire, but does nothing to mask the fact that the major buildings are the same in both photos.
Chapala or Hawaii? You be the judge!
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.
Comments, corrections 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.
Mauricio Yáñez was a Mexican photographer and one of the more prolific producers of postcards in Mexico during the 1930s. He took thousands of tourist photos of Mexico, showing towns, cities and people, including at least 20 related to Lake Chapala.
This view of Chapala and its lakeshore (below) includes a lakefront cantina mid-way between the Arzapalo hotel building (on the left) and the twin towers of San Francisco church. The cantina was demolished during the construction of the main avenue to Chapala pier (Avenida Francisco I Madero) at the very start of the 1950s.
Mauricio Yáñez. c 1935? Chapala waterfront.
Yáñez’s photographs of Lake Chapala include several beautifully-composed images of fishermen and their fishing techniques. Fishing at Lake Chapala was described by travel writer Edna Mae Stark at about the same time as Yáñez took these photos.
Mauricio Yáñez. c 1935? Lake Chapala fishermen.
The photo above shows a timeless scene of local fishermen, including young men, deftly working a net to catch fish right next to the shore; the waterfront is covered by water hyacinth (lirio), first introduced to Lake Chapala at the end of the nineteenth century.
Fishermen constantly needed to repair their nets, a task depicted on the following postcard. “Drying large nets required the use of an extensive area of beach. Among the many significant adverse impacts of the rash of shoreline invasions that have occurred in the past century is the great reduction in the area available to fishermen for drying and mending their nets. Missing floats or weights and tears in the mesh, however small, require rapid replacement or repair. However long the nets, their drying, checking and repairing is an essential daily task.” (Lake Chapala: A Postcard History).
Maurico Yáñez. c 1935? Fishermen mending nets, Chapala. (Fig 8.7 of Lake Chapala: A Postcard History)
According to photography researcher Miguel Ángel Morales, Mauricio Yáñez was born in Jalisco in 1882 and died in an aviation accident in Tamazunchale, San Luis Potosí, on 1 April 1939. As a youth, Yáñez apparently used a do-it-yourself manual to build his own camera and began to take portraits. He moved to Guadalajara where he continued his career under the well-established and locally-renowned photographer Ignacio Gómez Gallardo.
During the Mexican Revolution, Yáñez became a correspondent for La Ilustración Semanal and also had numerous photos published in La Semana Ilustrada. He had a studio for a time in Culiacán, Sinaloa, where he took portraits of several leading Maderistas, and then opened a studio in Mazatlán in partnership with J. M. Guillen, before finally branching out on his own.
Yáñez moved to Monterrey, Nuevo León, in 1917 where, in partnership with Jesús R. Sandoval, he ran the “El Bello Arte” studio which specialized in marriage photography and portraits. While living in Monterrey, Yáñez and local author and politician David Alberto Cossio co-founded a literary magazine, Azteca.
From Monterrey, Yáñez is known to have visited the U.S. on at least two occasions, in 1918 and again in 1924-25. The latter visit may have been to meet Kodak executives. In 1925 he was named as the “representative of Kodak Mexicana” in Monterrey, where he hosted a dinner party to which numerous local photographers were invited. According to one source, Yanez had been asked by Kodak to re-organize the “Sociedad Fotográfica de Monterrey.”
Based afterwards in Mexico City, Yáñez amassed an impressive collection of photos, and in December 1928 began selling many of them as postcards. They depicted cities and sites of tourist interest across the entire country. According to one estimate, more than 5 million photographic postcards with Yáñez’s name were printed during his lifetime!
In 1935, with Hugo Brehme, Yáñez illustrated a bilingual guide to the Teotihuacán Archaeological Zone, and in 1937 the D.A.P.P. (Departamento Autónomo de Prensa y Propaganda) published his photographs in El Valle de México.
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.
Note: This post was first published 1 August 2019.
Sources
Arturo Guevara Escobar. 2012. “Mauricio Yáñez“. Blog entry, dated 14 July 2011.
Lynda Klich. 2018. “Circulating lo mexicano in Mauricio Yañez’s Postcards,” chapter 10 of Tara Zanardi and Lynda Klich. 2018. Visual Typologies from the Early Modern to the Contemporary: Local Contexts and Global Practices (Routledge).
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.
At least two postcards of Lake Chapala from the late 1920s bear the imprint on their reverse side of “F. Martín. Mexico, D.F.” and a stylized “FM” circular logo. According to researcher Arturo Guevara Escobar, the “F. Martín” name was registered as a trade name and used for about 50 years for several distinct series of postcards, which makes it likely that the estimated 1000+ postcards produced by the firm represented the work of more than one individual.
The main “F. Martín” series has bilingual captions in red numbered from 1 to at least 628. This series includes the two cards illustrated here. It is unknown whether these photographs, which date from the 1920s, were taken by Martín himself or were the bought-in work of other photographers.
F. Martin. c 1928 (?). “Lago de Chapala.”
The card above (#158) shows a view of Chapala from the west towards the town and jetty of Chapala. The twin towers of the Church of San Francisco are especially prominent.
The card below (#154) is one the very few postcards showing Villa Virginia, one of the numerous elegant villas built along the lakeshore in the period 1890-1930. This particular villa, west of the jetty, and still standing, was built after 1905 by the Hunton family. The matriarch of the family was the basis for the title character of Arthur Davison Ficke’s 1939 novel “Mrs Morton of Mexico.” (See chapter 31 of If Walls Could Talk: Chapala’s Historic Buildings and Their Former Occupants.)
F. Martin. c 1928 (?). “Un challet a orillas del Lago de Chapala”
The images on both postcards have five-digit numbers—97899 and 97900 respectively—in tiny white font in the lower left corner. These numbers appear to be identical in style to the five-digit numbers found on cards published (at approximately the same time) by “S. Altamirano” of Guadalajara, so it is likely that the two publishers had a commercial relationship.
The mystery of F. Martín
Arturo Guevara Escobar decided that postcards marked “F. M.” or “F. Martín” were almost certainly the work of Félix Martín Espinoza, who lived in Mexico City, and was a member of the committee responsible for overseeing Mexican participation in the World’s Columbian Exposition (Chicago World’s Fair) in 1893. The address of this individual in the first decade of the 20th century was 1er Callejón de López #416.
Display adverts in the Mexico City press from 1901 to 1913 tie that address (and a series of others) to the “Yucatán Medicine Co.” a company selling patent medicines, including a vegetable oil for hair color restoration made by the doctor. At least one of the hair restorer ads gives the doctor’s full name as “Félix Martín Espinoza L.” This would mean that “Martín” was not the doctor’s paternal surname (as the name “F. Martín” would suggest) but was actually his second name, and that his paternal surname was Espinoza. It would have been very unusual at the start of the twentieth century to use two forenames as an advertising/company name, so I believe we need to find a stronger candidate for the “F. Martín” who published postcards.
A much more likely candidate, in my opinion, though no further biographical details are known, is the “Felix Martín” who lived at “5a Capuchinas 89, Mexico City,” and placed regular advertisements in The Mexican Herald from October 1913 to April 1914 claiming to be “The best place in the city to buy postal cards at wholesale prices.” A subsequent F. Martín campaign, in El Pueblo from 1915 to 1919, offered “postcards of every type and style.” The Capuchinas address was a commercial premises which had previously belonged to Bordenave & Coryn, “General Agents for Scotch Whisky Perfection, American Whiskey, Ceylon Tea, etc.”
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.
Note: This post was first published 30 July 2019.
Source
El Imparcial: diario ilustrado de la mañana,12 April 1913, 6.
When cataloguing extensive photo archives, it is inevitable that errors are occasionally made. This mini series identifies some examples of photo identification errors which pertain to the Lake Chapala area.
Mexico’s National Photo Archive (Fototeca Nacional INAH) includes this image, titled “Multitud en la ribera del lago de Chapala” (Multitude on the shore of Lake Chapala). The image is credited to Winfield Scott, with a date of about 1920.
“Multitud en la ribera del lago de Chapala” ?? (Winfield Scott, c 1920) Fototeca Nacional INAH.
I have no idea whether or not this photo was taken by photographer and hotelier Winfield Scott (1863-1942), whose close ties to Lake Chapala are explained in “Photographer and hotelier Winfield Scott (1863–1942).” Nor do I have any idea how accurate the date might be.
However, the photograph was certainly not taken at Lake Chapala. Indeed, I think it unlikely to have been taken anywhere in Mexico! The group of multistory buildings (right-hand side of the image) does not correspond in any way to the architecture of any town at Lake Chapala, whether at the end of the nineteenth century or at any point since.
Surely, this photo must show a place in the US? Perhaps an eagle-eyed reader can suggest a likely location? All suggestions welcomed!
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.
Comments, corrections 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.
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.
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.
Comments, corrections 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.
Pedro Magallanes López was a Guadalajara photographer, active from the mid-1880s until the start of the 1920s, whose studio was initially located in the city center at Santuario #1, and then at Pedro Loza 17. This latter location was advertised in 1922 as for sale or rent, suggesting that this may be when Magallanes retired.
Best known for his superb portrait work, Magallanes also took several very interesting photographs of Lake Chapala, colorized versions of which were published by the Guadalajara firm of Editores Alba y Fernández. (Among those credited for other postcards of the region in the Alba y Fernández series are J. de Obeso and Manuel Hernández.)
Pedro Magallanes. Undated. Fuerte de Ocotlán.
At the start of Magallanes’ career, the town of Ocotlán, on the main railroad line between Mexico City and Guadalajara, was still one of the major routes via which visitors reached the town of Chapala. Near Ocotlán, the resort known as Ribera Castellanos, built in the first decade of the twentieth century, attracted lots of tourists, especially those looking to hunt or fish.
Relatively little is known about the life of Pedro Magallanes López. He was born on 23 August 1863, the son of Pedro Magallanes and Petra López, and married Herminia del Castillo, then aged 20, in January 1887. The couple had four children. Sadly, his first wife died in December 1894.
Four years later, Magallanes took Clotilde Castellanos as his second wife. Clotilde, 30 years old at the time of their marriage in Guadalajara on 24 August 1898, gave birth to a daughter, also named Clotilde, on 4 March 1900, and to a son, José Manuel, on 1 April 1902.
Magallanes’ marriage to Clotilde, who had been present as a guest at his first marriage, clearly cemented his ties to the extensive and influential Castellanos clan, and Magallanes became the family’s official portraitist (see the article by Beatriz Bastarrica Mora). He took numerous formal portraits of family members and groups, as well as many unusually informal photos of the family vacationing at Lake Chapala. Some of these show the family’s domestic workers and several include local residents in the background.
Pedro Magallanes. c 1910. View of Chapala from Villa Carmen.
Magallanes’ studio in Guadalajara was only one of several photo studios that thrived in Guadalajara at the time. The reverse of his photos included an elaborately drawn logo of an arch, bright rays of light, flower pots and flowers emblazoned with the photographer’s name. Many prints also included a statement saying that the negatives were kept on file to allow for future repeat orders. As Alberto Gómez Barbosa has pointed out, this is indicative of the importance Magallanes attached to marketing and maintaining clients.
Magallanes died in Guadalajara on 6 September 1928. In 1930 his widow, Clotilde (aged 63), was living in the city with several unmarried relatives, including Clotilde Magallanes (30), Manuel Magallanes (28), M. Maria Magallanes (20) and Beatriz Magallanes (15).
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became such an important international center for tourism and retirement.
Alex G. Contreras. Undated. “Pedro Magallanes” – blog post [4 July 2018]
Alberto Gómez Barbosa. 2004. La fotografía en Jalisco. [2nd part], El Informador, 1 August 2004, 13:
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.
Librería Ruhland & Ahlschier, publisher of the earliest illustrated postcards of Mexico, was a bookstore in Mexico City owned by Emil Ruhland and Max Ahlschier. The store advertised as “Libreria Internacional de Ruhland & Ahlschier” and was located at Coliseo Viejo #16. The company published at least seven different postcards of Lake Chapala, including views of the shoreline, boats, church, plaza (jardín) and a stagecoach. Two of the photographs were also published, at about the same time, by Juan Kaiser in Guadalajara. Kaiser and Ruhland were apparently close friends.
Ruhland & Ahlschier were commissioned to provide the first ever series of illustrated postcards for the Mexican Post Office in 1897. All previous postcards (which at that time were postage paid and purchased in a post office) had one side for correspondence and the other side pre-stamped and reserved for the address. As illustrated cards became popular in Europe and then in the U.S., the Mexican government saw the advantages of issuing its own illustrated cards, which required the purchaser to purchase postage stamps separately and affix them to the card prior to mailing.
These beautifully-produced and inexpensive souvenir postcards soon spurred a new market for collectors; many of the art cards, especially, were far too pretty to entrust to the vagaries of being sent through the mail without an envelope to protect them. In consequence, relatively few postally-used examples exist of many of the more attractive cards.
Demand for illustrated postcards grew rapidly. When the postal service relaxed its regulations, several private firms entered the market, each producing their own illustrated cards and selling them through hotels and a wide variety of stores and other outlets.
Illustrated cards still reserved, prior to 1906, one entire side for the address and stamp, meaning that any message or correspondence had to be written on the same side as the image. The first postcards to have divided backs, allowing for both correspondence and address on the reverse, thereby leaving the entire front side of the card for the image, were released in the UK (1902), then mainland Europe and Mexico (1905), and the U.S. (1907); they were legal to mail in the U.S. from 1 March 1907.
The two men who owned Ruhland & Ahlschier are something of an enigma. Emil Ruhland and Max Ahlschier were both born in Germany. Ruhland, born in about 1847, left Germany in about 1869 and was certainly established in Mexico City by 1883 when he is named as the editor of Deutsche Zeitung von Mexiko, a newspaper for the German-speaking community in the city. In 1888 he partnered with Isidoro Epstein to found (and co-edit) another German newspaper, Germania. Ruhland’s name continued to be associated with Deutsche Zeitung von Mexiko until at least 1897, by which time Max Ahlschier was his co-editor.
In 1888, Ruhland edited and published the Directorio General de la Ciudad de México, a forerunner of the telephone directory and later commonly referred to simply as Directorio Ruhland. City directories were especially important following the introduction of the telephone to Mexico in the 1880s. By 1893 telephone services existed in 14 cities even though intercity lines would not become available until much later.
The first edition of Directorio General de la Ciudad de México in 1888 cost $1.60 (paper cover) or $2.00 (cloth cover). New editions of the directory appeared more or less annually thereafter for more than twenty years. The 500-page 1892 version, “more complete than ever,” cost $3.00 and had four parts: the names of residents and industries and their place of residence; a listing of professional men, merchants and manufacturers; contact details for all government offices and heads of departments; and listings for railroads, the press, societies and ecclesiastical figures. Ruhland published a similar volume for Guadalajara in 1894.
The full text of the 1893 edition of the Mexico City directory is available online courtesy of the Biblioteca Nacional de España.
Ruhland’s directories proved to be extremely popular and a commercial success. At the 1895 Cotton States and International Exposition in Atlanta, Georgia, Ruhland won an award for his guides to the Mexican republic. The following year, the 1896-1897 edition of his directories went on sale in Mexico City at his own store (Avenida Cinco de Mayo #4) and at the bookstore of F. P. Hoeck (San Francisco #12) as well as in New York (E. Steiger & Co., 25, Park Place) and London (Dulan & Co, 37, Soho Square).
Emil Ruhland’s association with Max Ahlschier seems to have begun in 1897. We know little about Ahlschier beyond the fact that he was born in Germany in 1867 and married Anna Vogt, also from Germany, in Mexico City on 4 June 1903. The Lutheran service was held at the Casino Alemán.
The two men opened their joint bookstore, Librería Ruhland & Ahlschier, and also began to publish pictorial postcards. Publicity for their store in 1897 shows that it sold, among other items, American books, literature, American and German paper, pencils, pens, inks, maps of Mexico and illustrated postal cards with views of Mexico.
The earliest Ruhland & Ahlschier cards were black and white or sepia collotypes; later cards were produced by chromolithography. Though their postcards do not identify the photographer, their stable of photographers included some important names in Mexican photography, including German-born Guillermo Kahlo (the father of Frida Kahlo), Guadalajara-native José María Lupercio, and American photographers Winfield Scott and Charles B. Waite.
Guillermo Kahlo (born Carl Wilhelm Kahlo) (1872-1941), who first arrived in Mexico City in 1891, at the age of 19, learned his craft in Mexico and was mainly known as a commercial photographer; his photos were first turned into postcards by “Ruhland & Ahlschier” in about 1903.
Charles Betts Waite (1861-1927) set up shop as a photographer in Mexico City in 1896 and amassed a vast collection of thousands of images taken all over Mexico. In 1908 he bought all the “photographic view negatives” of Winfield Scott, and advertised that he now had “the largest assortment of views of any one country in the world.”
Winfield Scott. c 1897 (published c 1902). Beach, Chapala.
Winfield Scott was responsible for the photograph on this Ruhland & Ahlschier postcard (above), a photograph now in the collection of Mexico’s National Photo Archive. The photo shows fishermen sitting on a boat in front of the beach, with the Casa Capetillo in the middle background. To the right, only the first story of the Hotel Arzapalo has been built, dating this particular image (though not the card) to 1896-1897. The two-story hotel opened in 1898, and Winfield Scott was its manager when D. H Lawrence visited Chapala in 1923.
José María Lupercio. c. 1900 (published c 1904). Carden’s garden, Chapala.
The National Photo Archive also has this Lupercio photo of the garden of Villa Tlalocan, the vacation home in Chapala of British consul Lionel Carden and his wife. The home was completed in 1896 and this postcard shows ornamental flower vases in the front garden, with the lake behind and Chapala’s San Francisco church in the distance.
Early cards published by Ruhland & Ahlschier have the imprint “Librería Ruhland y Ahlschier, México, Coliseo Viejo 16.” In about 1903, the two men sold their business, and later postcards (published from 1904 on) have a different imprint: “Ruhland & Ahlschier Sucr. Calle Espiritu Santo 1½, México.” This was the address of La Sociedad Müller y Cia, owners of a competing bookstore, Librería Internacional.
By 1909, Müller and Company had also acquired ownership of, and the rights to publish, Ruhland’s Directorio general de la ciudad de México. The 1909-1910 edition was published in two volumes, one for Mexico City and one for the rest of the country. Müller and Company continued to publish the directory until at least 1913.
What became of Emil Ruhland and Max Ahlschier, pioneers of the Mexican illustrated postcard?
Ruhland revisited Germany in 1899 after an absence of 30 years, before returning to Mexico. Four years later (1903) he appears to have moved to the U.S., at about the time the postcard publishing company was sold. He was a good friend of Juan Kaiser, and Kaiser’s wife, Bertha, records the two men meeting for the first time in twelve years in Los Angeles in 1915.
Ahlschier and his wife visited Europe in 1906. Two years later, he was elected secretary of the Sociedad Alemana de Beneficencia (German Benevolent Society) in Mexico City. In 1912 he lost a civil action brought by a Martin G Ribon and was ordered to pay $3371.08 plus costs.
It seems likely that he and his wife subsequently returned to live in Germany, given that a Max Ahlschier is listed in trade directories there as a publisher between 1928 and 1933. Support for the idea that he returned to Germany also comes from an unusual source. In the Library of Congress’s vast collection of German documents, captured by American military forces after World War II, is a record of one by Max Ahlschier entitled “German colonies in Mexico, 1890-1910.”
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.
Note: This post was first published 9 August 2019.
Sources
Atlanta Constitution, 22 Nov 1895, 1.
El Continental, 13 May 1894, 3.
El Diario del Hogar, 3 Feb 1912, 3.
Diario Oficial Estados Unidos Mexicanos, 19 Jan 1905; 13 June 1908; 16 July 1909; 17 Oct 1912.
El Imparcial, 7 June 1903, 2.
Jalisco Times, 10 Apr 1908.
Verena Kaiser-Ernst. 2012. Tagebuch Von Bertha Kaiser-Peter Fur Ihren sohn Hans Paul Kaiser. Stuttgart: T H Schetter, 45.
The Mexican Herald: 6 Sep 1896, 9; 6 July 1897, 8; 3 May 1899, 8.
El Mundo, 1 April 1897.
La Patria, 28 Aug 1883, 8.
El Partido Liberal, 7 June 1888, 2.
The Two Republics, 31 Oct 1888, 2; 20 Feb 1892, 1.
Comments, corrections or additional material related to any of the writers and artists featured in our series of mini-bios are welcome. Please use the comments feature at the bottom of individual posts, or email us.
Mexican photographer José María Lupercio (1870-1929) took numerous outstanding photos of Lake Chapala at the start of the twentieth century.
Lupercio was born in Guadalajara on 29 December 1870 and was one of the most noteworthy Mexican photographers of his era. Lupercio was one of several fine photographers whose work reached a wide audience because it was used for many early picture postcards of Lake Chapala. While Lupercio was 100% Mexican, many of the other photographers whose images of Lake Chapala illustrated postcards in the early twentieth century—including Charles Betts Waite, Hugo Brehme and Winfield Scott—were foreign-born, as were most of the postcard publishers.
José María Lupercio began his artistic career by studying painting in the Guadalajara studio-workshop of the Brazilian artist Félix Bernardelli, where he was a classmate of such distinguished artists as Gerardo Murillo (Dr. Atl), Rafael Ponce de León and Jorge Enciso.
Bernadelli and friends, 1898
Lupercio developed his photography skills by working with the commercial photographer Octaviano de la Mora (1841-1921) who had his studio in Guadalajara. Despite his humble background, De la Mora, born in Ixtlahuacán de los Membrillos, became one of the most renowned early commercial photographers in Mexico. The quality of his portraiture work was praised by contemporary critics and won him a major award in the third Paris World’s Fair in 1878.
Lupercio took over de la Mora’s Guadalajara studio, located in Portal Matamoros, in 1900 when de la Mora moved to Mexico City to work at the National Archaeology, History and Ethnology Museum. Some years later, Lupercio also moved to Mexico City, and again stepped into de la Mora’s shoes when he took over as the museum’s resident photographer after de la Mora retired.
During Lupercio’s time in Guadalajara he shifted the emphasis of the studio’s commercial work away from the formal portraits initially favored by his mentor towards landscapes and photographs of people posed in their natural, day-to-day surroundings. According to an editorial mention in a local English-language paper in 1904, “José Lupercio, the photographer in Portal Matamoros, offers some beautiful views of the city and republic. His portrait work is unrivalled.”
José María Lupercio. Chapala. c 1905. Published by Juan Kaiser.
Lupercio’s talents brought him great success and he won numerous national and international awards for his work, including a diploma from the French Photographic Society (1898), a silver medal from the 1900 Paris Exposition, a silver medal from the 1901 Panamerican Exhibition in Buffalo, New York, and a gold medal in the 1904 Saint Louis Exposition in Missouri.
The latter achievement was the basis for the text of a 1906 ad for Lupercio’s studio: “Honor for Guadalajara! Native Types of Mexico Took First Premium at St. Louis Exposition. – Lupercio’s – The Finest Views of Guadalajara – Photographs of all Kinds. – José Lupercio, Portal Matamoros #9, Guad.”
Lupercio was a founder member of the Ateneo Libre de Controversias Literarias, Artísticas y Políticas founded by Dr. Atl in Guadalajara in 1916, along with José Othón de Aguinaga, Antonio Pérez Verdía, Ixca Farías and several other local artists and intellectuals.
Many examples of Lupercio’s photographs of Lake Chapala are preserved in the National Archives. More than a dozen of his Chapala photographs were published as postcards in the first decade of the twentieth century, mainly by either Juan Kaiser or Ruhland & Ashclier, though Lupercio also sold his work to several other publishers. Some of the finest images of Chapala taken by Lupercio were used by little-known local publisher Manuel Hernández for postcards printed in Austria, which are of exceptional quality.
In the year 2000, one particular photograph of Chapala, taken by Lupercio in about 1906, was accorded the rare distinction of being included on a Mexican postage stamp to commemorate the importance of photography in Mexico during the twentieth century. Somewhat surprisingly, this 2000 issue was the first time Lake Chapala had been portrayed on a Mexican stamp.
Mexican postage stamp (2000) with Lupercio photograph of Lake Chapala, c 1906.
In 1916, Lupercio was appointed the official photographer at the National Museum in Mexico City. He subsequently took thousands of photographs of archaeological pieces and other items in the museum’s collections. He also photographed the artwork of his former classmate Dr. Atl in the Escuela de San Pedro y San Pablo, the paintings of Saturnino Herrán, the murals of Diego Rivera and took portraits of many of the celebrities of the time, including Rivera, Atl, Manuel Toussaint, José Vasconcelas and other prominent intellectuals.
Lupercio maintained a private studio in Mexico City at Avenida Madero 42 and began to produce postcards for sale in the National Museum. The postcard photographs portrayed ethnographic themes as well as ancient codices, archaeological sites and historic monuments. His production was prolific. For example in 1922, he produced no fewer than 2,564 different postcards! But this was not even his peak level of activity. Astoundingly, between July 1925 and July 1926, he produced 8,229 distinct postcards!
Ever an adventurous individual, Lupercio not only found time for his painting and photography but also worked on theater sets and participated in bullfighting, car racing and flying.
Examples of Lupercio’s superb photographs are preserved in many public and private collections, including those of the Instituto Cultural Cabañas in Guadalajara, the National Anthropology Museum in Mexico City and the National Archives in Pachuca, Hidalgo.
Lupercio remained the official photographer at the National Museum until his death in Mexico City on 2 May 1929.
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
My 2022 book Lake Chapala: A Postcard History uses reproductions of more than 150 vintage postcards to tell the incredible story of how Lake Chapala became an international tourist and retirement center.
Note: This post was first published 2 July 2019.
Sources:
Raúl Aceves. 2005. “La tarjeta postal ilustrada en México durante la época clásica (1896-19015).” Boletín Filatélico Guadalajara, Año 8, No 17, 2005, 3-19.
Francisco Javier Ibarra. 2005. “José María Lupercio: espejo de la memoria IV.” El Informador, 24 July 2005, 13-B.
El Informador: 27 February 1966.
Jalisco Times: 14 May 1904; 5 January 1906.
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.
Herbert Johnson (1877-1960) and his wife, Georgette (1893-1975), settled in Ajijic in December 1939. Georgette returned to live in the UK shortly after Herbert died in Ajijic in 1960.
These photographs come from a photo album that once belonged to Georgette. For the story of its fortuitous rediscovery by historian Dr Kimberly Lamay Licursi in an estate sale in New York, see
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Acknowledgment
My sincere thanks to Dr Kimberly Lamay Licursi for recognizing the importance of this photo album and for kindly entrusting it to my care.
Comments welcomed via email or via comments feature on this post.
Herbert and Georgette Johnson were almost certainly the earliest English couple to settle in Ajijic. They arrived in December 1939 and were fixtures of the local community for the next two decades.
The pioneering Johnsons acquired an extensive lakefront property one block east of the current pier and built a roomy single-story home in the local architecture style of adobe and tiles. The couple then created a stunning garden, extending down to the beach.
Otto Butterlin. 1943. Portrait of Herbert Johnson. Image courtesy of Milagros Sendis.
Herbert was a keen amateur photographer and documented the construction work via his camera. By a remarkable stroke of luck, I was gifted a photograph album in 2019 that once belonged to the Johnsons and had been found by chance at an estate sale in New York State. The 250 or so photographs it contains include approximately one hundred images of Ajijic, depicting construction of the house and garden, local scenery, streets, buildings, people and events. The album also includes photos taken on trips elsewhere in Mexico:
As an engineer, Herbert Johnson loved his gadgets, and the superb quality of these photographs, most of them from the 1940s, reflects his technical prowess with a camera. His photos of Ajijic are among the earliest known photographic images of the village.
Who was Herbert Johnson?
Johnson was quite an adventurer. As a teenager he helped lay cable in the Amazon; decades later, in retirement, he was the unofficial squire of Ajijic.
The son of a Cambridge-educated clergyman, Herbert Braithwaite Johnson, was born on 16 August 1877 in Lincolnshire, UK. At age 16, he left Harrow, one of England’s top private schools, to become an electrical engineer.
Johnson was likely already working for Siemens in 1895 when the company was contracted to lay telegraph cable along the Amazon, from Belem to Manaos. This massive undertaking, and the 18-year-old Johnson’s role in it, have been well documented by Bill Burns and James Catmur, a great-grandnephew of Johnson.
By November 1898, Johnson was back in London, and sponsored for student admission to The Institution of Electrical Engineers (formerly The Society of Telegraph Engineers). In his application, Johnson wrote that he was employed by Siemens Bros & Co., and was attending evening classes at the City and Guilds of London Institute in Finsbury. He was a student member of the IEE for three years before becoming an Associate Member in 1902 and a full Member in 1904, by which time he was living at 8, Quarry Road, Wandsworth. In 1905 he was fined £5 for riding his motorcycle too fast through the village of Cobham. By the 1920s, Johnson was the Resident Engineer at the Wandsworth Generating Station. He retained membership of the IEE until his retirement in 1930, the year he married Georgette Martin Wilkie.
The newly weds moved to Chinon, in the Loire Valley of France. In 1939, on the eve of the second world war, the Johnsons wisely decided to leave France and move to Mexico.
The unofficial squire of Ajijic
When the Johnsons arrived in Los Angeles, via the Panama Canal, in June 1939, they first headed north to visit a cousin in Canada and take a trip to Alaska. They then headed south, and crossed the border into Mexico on 5 December 1939. It is unknown how they first learned of Ajijic or precisely why they decided to make their home in the village. Within a couple of years, they had bought 5000 square meters of lakefront property (known informally as Quinta Johnson) and built their house, garden and orchard.
Ann Medalie. 1944. Ajijic. (Quinta Johnson)
The elaborate and colorful garden was painted and photographed by prominent artists, such as Ann Medalie (whose paintings of Ajijic were exhibited in Mexico City), and lavished with praise by visitors, including the Canadian writer Ross Parmenter. It even made it into Gardens of the World. In 1949 it was the setting for the marriage of Johnson’s 29-year-old niece, nurse Helen Eunice Riggall, and Canadian writer Harold Walter Masson. Their love story, one of the most endearing tales to emerge from my Ajijic research, is retold in Foreign Footprints in Ajijic.
Binoculars at the ready, Herbert took a paternal interest in all the comings and goings at the nearby pier. (At that time it was far easier to reach Ajijic from Chapala by boat than by road.) The foreign community in Ajijic was tiny when the Johnsons first arrived. But a combination of world events and personal misfortunes caused it to grow steadily during the 1940s.
Herbert Johnson. c 1944. Mezcala Island.
Having completed his house and gardens, Herbert Johnson used his engineering skills to help others. He oversaw the construction in San Antonio Tlayacapan, on a lot owned by Georgette, of a house which became the residence of Peter Lilley (one half of the Dane Chandos pen name responsible for House in the Sun and Village in the Sun). Author Sybille Bedford included references to both the Johnsons and Lilley in The Sudden View, her fictionalized account of traveling in Mexico.
In 1948, Johnson also helped Neill James design and build Quinta Tzintzuntzan, now part of the Lake Chapala Society complex, as she recounted in “Ajijic Carrousel”:
I was faced with building a casa for myself, an intriguing project. Herbert Johnson, Ajijic’s first English home-owner, a retired engineer, was a help to me… Herbert helped figure out the stress and strain of wooden and steel beams… He supervised the making of the reinforced cement ring with cutting edge used in digging my well.”
The Johnsons also fomented the nascent artistic community in the village. In December 1944, for instance, they held an exhibition of work by area artists and authors on the terrace of their home. The show included paintings, drawings and watercolors, plus embroidery work by village women.
In an unpublished manuscript, Neill James describes Herbert Johnson as a feudal lord whose list of all the foreigners living in Ajijic was divided into two columns: the sane and the crazy. The only sane ones were Johnson himself, Georgette and a couple from Scotland. All the others—including La Rusa, Louisa Heuer, James herself, and “Dane Chandos”—were crazy.
In the 1950s, the Johnsons’ guest cottage was rented by American artist Barbara Zacheisz.
Later occupants of Quinta Johnson, which was divided into three sections shortly after Herbert’s death, included Helen Kirtland. Kirtland’s daughter, Katie Goodridge Ingram, wrote a fascinating account of early life in Mexico City and Ajijic (in the 1940s and 1950s) in According to Soledad; memories of a Mexican Childhood.
The large metal cross on the lakeshore at the end of Calle Nicolas Bravo was originally erected by Herbert Johnson. It is one of the few remaining signs of the Johnsons’ long period residing in, and presiding over, the foreign community in Ajijic.
After Johnson died in 1960 and was laid to rest in the Ajijic cemetery, Georgette returned to live in England, where she died in 1975. When Georgette’s estate was finally settled in 1983, it was valued at only £5665.00. Apparently she must have known nothing about—or had no way of accessing—the several million dollars held by Herbert in the US, some of which was eventually claimed by, and distributed among, family members.
Family members visiting Mexico in 1973 successfully located Johnson’s grave marker. Looking somewhat improvised, and with an incorrect year of birth, it read “H. B Johnson / EX-HARROVIAN / ENGLAND / 1876-1960.”
Is it still there? If so, having it restored or replaced would be a long overdue tribute to this pioneering Englishman.
Acknowledgments
My sincere thanks to James Catmur, for sharing family photos and memories, to Bill Burns, and to Dr Kimberly Lamay Licursi for kindly entrusting the Johnson’s photo album to my care.
Lake Chapala Artists & Authors is reader-supported. Purchases made via links on our site may, at no cost to you, earn us an affiliate commission. Learn more.
Neill James. Undated. “Mexican Story.” Unpublished manuscript in the Neill James archive of the Lake Chapala Society.
——— 1967. “Ajijic Carrousel,” Guadalajara Reporter, 11 March 1967
Elizabeth Schuler. 1964. Gardens of the World. London: MacDonald, 160–161.
Surrey Comet (UK): 3 June 1905.
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.
Juan (‘Juanito’) Olivarez Sánchez was born in Ajijic on 12 July 1944 and died there at the age of 77 on 28 May 2022.
Like numerous other local artists in Ajijic, Olivarez’ interest in art began as a student of the Children’s Art Program (CAP) started by Neill James. Olivarez was among the first generation of students to benefit from CAP which began in the mid-1950s.In the 1960s, Olivarez helped teach the next generation of youngsters. Later students of Juan Olivarez included, in the early 1990s, Bruno Mariscal, described by Lyn Adams as: “Truly a jack-of-all-trades, this talented man is also a well-known rotulista or sign painter. His padrino, Juan Olivarez, started training him in this craft when he was around 18 years old.”
Olivarez’ considerable artistic talent was recognized by the highly experienced art educator Jack Rutherford, a professional Californian artist then living in Ajijic with his wife and their four children. Rutherford was instrumental in arranging for Olivarez to spend several weeks in Studio City (then Ajijic’s sister city) in 1970. Rutherford persuaded Studio City Chamber of Commerce to sponsor Olivarez and to find him a family to board with while he took art classes. Rutherford and his family drove Olivarez up to Studio City, where he was a house guest of the Heckers; Mrs Robert Hecker was a fellow art student. A lively welcome reception in Studio City was held in honor of Olivarez’ arrival before the Rutherford family carried on to spend the summer in Laguna Beach.
Juan Olivarez. c 1960. Untitled landscape in the Neill James Collection. Reproduced by kind permission of his family.
Jesús López Vega informed me that Olivarez was a member of the “Jardín del Arte,” a group of young local artists at the start of the 1970s, which later became known as “Asociación de Artistas de Ajijic.” This group was a forerunner of the “Ajijic Society of the Arts” (which continues to this day), the largest organization of its kind for artists (Mexican and foreign) in the area.
By 1975, Olivarez was directing a gallery in Ajijic, the Galería de los Artistas Cooperativos, a sign of the bustling art scene in the village at the time. Competing with the long-running Galería del Lago, the Galería de los Artistas Cooperativos was located at 16 de Septiembre #9. It opened on 14 December 1975 with a solo show of 25 works by Frank Barton, an American artist then living in Ajijic, fresh off a successful show in Mexico City.
Olivarez had become interested in photography from a relatively early age, initially acquiring a simple Kodak camera to help him develop his drawing technique, and then discovering the lure of photography as a hobby. He was probably the first native-born photographer to become Ajijic’s unofficial village photographer, taking over this role from, among others, Beverly Johnson.
Juan Olivarez. El Charracate. Reproduced by kind permission of Tom Thompson.
Olivarez photographed hundreds of family gatherings, parties and special occasions, and amassed an extensive collection of photographs of Ajijic, covering a very wide range of subjects and events, many of them no longer celebrated in quite the way they once were. Late in life, recounting his experiences to journalist Sofía Medeles, he explained how his photos had originally cost only 50 centavos each. His photographic business was unable to survive the advent of the smartphone, which replaced conventional cameras.
Alongside his photography, Olivarez continued to paint small pictures and do some commercial sign painting. Many of his paintings remain in possession of his family and I hope to add additional images of his work to this profile shortly.
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.
Lyn Adams. 2007. “The gallery and art of Bruno Mariscal.” MexConnect.com
Sofía Medeles. 2022. “Remembering Juan “Juanito” Olivares, prolific photographer of Ajijic.” Semanario Laguna, 15 de junio de 2022.
The Van Nuys News: 26 Jun 1970, 17.
Guadalajara Reporter: 13 Dec 1975.
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.
