Edward Borein: The Santa Barbara Years 1921-1945 by Santa Barbara Historical Museum

This special, three-part issue q/ Nocicias is devoted to the life and ivorks ojone ojthefinest artists ofthe American West, Edward Borein. Harold Cj. Davidson documents Edward Borcin: The Sanca Barbara Years, 1921--1945. a personal look at the anist based in large pan on inteit'ieivs with Borein sfamily and friends. We also offer a lookatsome of the highlightsfrom theAiuseum s exhibition. Cowboy Artist: The Life and Art of Edward Borein 1872--1945.luith the exhibi tion catalogue. Finally zve publish Jor thefirst time excerptsfrom Ed and Lucile Borein s Santa Barbara guest book. Ihe Boreins counted among theirfriends some of the best knoivn, most tal ented artists, zvriters, and enteriainers in the counbjand the guest bookisfilled ivith the names, sentiments, even ariivorkofthose zvho visited the Boreins’home. Front coveriMr. Edward Borcin, William SpencerBagdatopoulos(iSHS-ig:^^), Oil on can vas, 50 1/4 X 40 1/4 inches,. Collection ofthe Santa Barbara Historical Society. Purchase. Photograph by William B. Dezvey. Photographs accompanying tlarold Davidson's piece arefrom the collections of the Santa Bar bara Historical Society. Edward Borein. The Santa Barbara Years 1921'1945/m?)i Edward Borcin, Cowboy Art ist copyright oigy^ by Flarold Q. Davidson. Reprinted zvith the pennission of Doubleday & Company,Inc.

INFORMATION FOR CONTRIBUTORS: NOTICIAS is a quarterly journal devoted to the study of the history of Santa Barbara County Contributions ol articles arc wel come. Those authors whose articles are accepted for publication will receive ten gratis copies of the issue in which their article appears. Further copies arc available to the con tributor at cost. The authority in matters of style is the University ofChicago Aianual of Style. 13th edition. The Publications Committee reserves the right to return submitted manu.scripts for required changes. Statements and opinions expressed in articles arc the sole responsibility of the author. Michael Redmon. Editor Kathleen Baushke, Designer NO'HCLAS ©199S The Santa Barbara Historical Society 136 East Dc la Guerra Street, Santa Barbara California 93101 Telephone 805/966-1601 FAX 805/966-1603 Single copies $10.00 ISSN 0581-5916

NOTICIAS

VOL. XLIV NO. 2

SUMMER 1998

Ed Bordn,the Bdnta Barham icars, by Harold G. Davidson CacalogLic, Coivboy Artist:'Ihc Lijc and Art oj Bdivard Borcin i8y2-ig^‘y Santa Barbara Historical Museum June ll'October 18, 1998 A Selection trom the Santa Barbara Guesr Book ot Ed and Lucile Bc^rcin

Ed Borcin relaxes in the living room oj his Santa Barbara A lesa lunne, I-a Barranca. (hi the nails aroioid him are displayedjust aj'raction oj'the aitist’s collection ofiWative American artijacts.

HAROLD G. DAVIDSON; Ihc author or co-author ojjive books on Western artists, inciudingjourworks on Ed Borcin, I larold Davidson is considered the outstanding authority on the lije and ivorkojthis cmvhoy artist. An activejigure in the art ivorldjoralmost seventy years, he oivned and operated att galleries forjoHy-jour years. I le is an ackntnvledged specialist in the appraisal and authentication ojworks of art ojthe American W 'esl.

NOTICIAS

EDITOR’S INTRODUCTION John FAicard Bordn (iSyZ'U)^^)is today regarded as one ojAmenca'sJinest anvhoy anists, his renderings ojthe American West taking their place ahmgside the works ojsuchjamous artists as Charles R}issell(iHb^-ujibjand Frederic l\emington (iSbi-igog). Borein was horn in San Leandro,Califomiain i8~i. Just tothcJiorthiva'ethesLockyanisin Faneryville and San Leandro’s streets ivere often filled with cowboys anc/ their cattle herds. Fascinated, Borein began to sketch these scenes atjive years ojage. I Us parents zvere suppoz'tive and, in tSgi, Borein enrolled in the San Francisco Art Association Art School,Imt he quit aj'teronly one month. I le was determhied to be a coivlxry. In i8g:^, he began making his ivay south, working on a number ojmnches. During his stay at the JesiLs Maria l^nch (now Vandenburg Air Force Base), he sold hisjirst anuvrk — to The Land ot Sunshine magazine,published by Charles Lummis,who became a goodfriend. In iSgy, Borem traveled to Mexico, sketching constantly ivitli pencil or pen and ink- De also began to expez'iment ivith watercolor. Borein returned to Oakland in igoo and in igoy he moved to New %rk City. Here he enjoyed great success as an illustratorjor many oj the popidar magazines oj the period and also did a numberof commercial advertisements. It was while in New %rl{that he seriously tookup etching which ivoidd become a major mediumjor him. Still ajjected by wanderlust, he continued to travel throughout the West, visitingjriends like Charles l^issell in Montana and taking a variety ojcommissions,including poster work jor the Calgary Stampede rodeo. I le became jamiliar ivith the customs and trappings ofa number oj Indian tribes, which furnished mor-e sidyject matterfor his ar-t. During this period critics wer-e taking note oj his wor'k, especially his etchings. No matter what the medium, Bor-ein strove for scrupulous accuracy in his work. Bor'ein r-eturned to the Bay Area in igr g and,two years later, the List phase ojhis life began — the Santa Barbara years.

Edward Borein = he Santa Barbara Years t 921-1945 by C'’-

I la^vldQ. Davidson ■

ucilc Maxwell, a widow, met Edward Borein at a friend's studio in Oakland

■

the bride at the ceremony. Although Lucile had never ridden a iiorse in her life. Ed took his bride on a camping trip honeymoon in the deserts of Arizona, where he sketched

Land, following whirlwind he proposed andashe accepted.romance, On their first date, he took her for a streetcar ride

and painted the Indians ot the area. The Boreins had decided to live in Santa

and bought her an ice cream cone. What ever the technique, it worked. Ed’s family was stunned at the speed of the courtship, but they gave his new mate credit for "sort of cleaning him up and getting him to live in a house.” They were married on June 27. 1921. at ElAUstd,the Highland Park. Cali fornia home ol Ed's old friend. Charles

Barbara and, upon returning 1 rom their hon eymoon in Arizona, rented a studio in the Alexander Harmer Studios facing Dc la Guerra Plaza in Santa Barbara. Alexander Harmer(1856-1925). an artist, and his lovely wile. Felicidad, and their children lived in a pink adobe, and had built small studios in their large yard lor several artists. Harmer has left a legacy to Santa Barbara in the fine early Spanish Califc^rnia scenes he painted.

Lummis. The couple stood on a Indian chief's blanket in the large living room to repeat their vows, and Lummis gave away

HOME CAMP

EDWARD BOREIN

AFTER SEPTEMBER (5

LUCILE e.MAXWELL

DE LA GUERRA PLAZA JUNE SANTA BARBARA HARMER

STUOtO

'Ihc iccddmg announcement of ltd and Lucite Borein.

I9SI

NOTICIAS

i; ■

-'* >

●'1 »●',

Ihc nciiiyivais stand in jnmt oj the home oj Charles l.ummis, El Alisal. two days after their nupliab. Upon the occasion of the Boreins ’first anniversa}-), Lwnmis urate in the couple’s^uesl hool{, "A year ago this day in my Alisal, you began your pai-tnership tails." I le signed it, Aour loving Dad. ” The new bride describes the scudio and cvencs in a letter to Charles Lummis. dated

/'m as proud as J pup with two

other Indian Poivwmvs, 'till I'm fairly hiirstingwith anticipation.

July 24. 1921: And then she adds; ...'Ihcre is one very large room, a small kitchen, and a bathroom, and F.d expects to build on another room fora bedroom. It

Daddy Lummis, do you k^iozv / jeel that / am the most fortunate zvoman in the

will he rather small quarters, but I Itiiow

zvorld, that U.d Borein picked me out jrom

zve are going to get lots ofjun out ojit. Fd’s

all the many, many zvomen he has IpK^en

such a hoy and the best playJelloiv in the

to be his zvife. It makes me vei-y, very

ivorld. I think that's one of the things 1 love most about him.

happy and proud, also va-y humble, and

We visited the Szcinnei'tons' at Los

able to make him hapjry, and to live up to

my daily prayer is that I may alzvays be

Altos tzvo zvecks ago and zvhat do you

his high ideal of me. I le really is a zvon-

think—

derjul man, and I appreciate him more

have coaxed us to take a trip

to Arizona zvith than the middle oj Au

cve}~y day that I have lived zvith him.~

gust. Airs. Hearst has given Jimmie the use oj her log cabin at the Qrand Can

Ed built the promised bedroom, and as

yon—so zve are loohdngjon.vanl to a per-

soon as the pair were settled they held open

jectly wondajid time. Wlrs. Jimmie has

house every Sunday alternoon lor their

just stujjed me jidl zvith stories of the

many new triends, with Mrs. Harmer and

zvonders oj the Snake Dance, and all the

Lucile greeting guests. Eventually, the popu-

EDWARD BOREIN

Lir open house custom was discontinued,for so many guests were coming the studio room could not contain them. The artist and his bride had been accepted into the community. Among the local art colony they came to know Thomas Moran(1837--1927), who by then was living in Santa Barbara, and Carl Oscar Borg(1879'1947), a close friend who later held an exhibition at Ed’s El Paseo studio. Other artist Iriends included Frank Morley Fletcher (1866-1949). Joseph Knowles (1907-1980). Albert (1871-1950) and Adele (1869-1946) Hertcr, William L. Otte (1871-1957), Frank Tenney Johnson (1874-1939), and Clarence Mattel (18821945). Borein spent most ol 1922 and 1923

and Scratchin’Ili^h. The artist was elected to the Society of American Etchers and etching production being well in hand. Ed began to spend more of his time on watercolors. He was selftaught in this medium, although he did re ceive practical advice from William Spen cer Bagdatopoulos(1888-1934). an accom plished artist friend in Santa Barbara. Initially, the watercolors did not catch on with his collectors and the public. It was probably a matter ol money. Why spend thirty-five dollars lor a watercolor, when you could buy one of Borein’s etchiiigs for five or ten dollars? Eventually, they com menced to sell, but he sold them for low

w’orking on dozens ol new etchings. He was trying many methods, new inks and mate rials, and the early 1920s saw his sreatest development in this medium. It was during this period that he w'orked on a cherished project, a scries ol etchings of the Old Calilornia missions as they were bctorc recon struction. He studied old books and pictures in his research, determined to reproduce them as they were before decay and earth quakes had damaged them. Although he did not complete the series, he did record twelve different mi.s.sions, and in a lew cases etched more than one vicwol a particular mission. Other artists have painted the California missions, but lew have equaled the charm and draftsmanship of Borein’s yV/Lssion Santa hies ai or his Mission San Lids Obispo, in which the architectural render ing is excellent. In February of 1922. the Gump Galleries on Post Street in San Francisco held a oneman show of twenty-six of his etchings. The show received critical acclaim, and

'fhe Boreins'jirst home in Santa Barbara icas in the

among the subjects on display were Dlaclijeel Women Oioving Camp; Walpi, yXrLona; AUssion San Antonio de Padua

Charles Lwnmis took this igzz photograph of Borein posing in chanv eostwne uith tu-o ofI larmer’s daughters, P.thel and I lelen, at the studio.

Alexander I lannerstiidioon Dela Cjuena Pla:j.t.

NOTICIAS

prices, which really did not pay him lor his cinic and cflorc.

Durham cigaraitc in a conicro/his widemouthed grin ojivdcome.

The arcisc needed larger accommoda tions, so in 1924, the Boreins moved From

"Long time no see you, Wait,”he said.

the Harmer studio into living quarters and

Charlie ivcLs noiv crippled zvith sciatica.

a separate studio in one ol the Oreha ado bes. 29 East De la Guerra Street, known as

'Ihere zvas a lot ojgray in his hair and the

It had been about jijiecn years, and

pain ojthose periodic bouts zvith sciatica

El Patio. This move gave him twice the

had etched deep lines oj sujjenng in his

amount oF space he had previously. About

jacc,Init he gave no outzvard sign that he

this time, the large adjacent Dc la Guerra

felt pain. I Ic zvas the same old Charlie

house was being remodeled into little stu

l^issell as alzvays.

dios and shops and Ed reserved a studio.

/ le had one ojBorein's sketch tablets on

Later this Spanish Colonial Revival-style

his lap and a box ojcolored crayons,and

complex around the house would be known as El Pasco.

he zvas telling comical anecdotes about cmvhands,jerkline jreighters, trappers,

One day a new friend showed up at the El Patio studio. He was Walt Coburn, son

zvoljers, Indians, bronc riders,gamblers, lazvmen,outlazvs and othercharacters he

of Robert Coburn, the owner o! the fabled

had I'aiozvn. I le zvas pokerjaced as he

Circle C Ranch in Montana. Walt tells the

sketched each character he zvas talking

story:

about, ranoving each sketch and tossing It aside.

It was not until

zvhen I had quit

It zvas that day that I metjor thefirst

punching cozvs and was zvell launched

lime the zvestern artist, Joe De

on my somewhat checkered career as a

[1894-1975}, zvho zvas studying paint

zvriter of western fiction that our trails

ing under Rjissell. y\nother zvell kaozvn zvestem artist, zvho lived in Santa Bar

crossed in Santa Barbara, California, zvhere I was living at the time. 1 had met Ed Borein in Santa Bar

bara, Carl ()scar Borg, zvas there also that memorable day.

bara,anotherzvell-knozvn westem aiiist,

Ld Borein’s studio... had a largejire-

famousfor his etchings,and almost evax

place, and Us handmade red tiled floor

afternoon Izvoidd stop in at his LI Patio

had not been swept in iveeks. An adjoin-

studio. Years before, when Ed zvas

ingroom held Borein'spriceless collection

younger and unknown and wlls punch

of huge yMexican sombreros, leather charro costzimes, razvhide reatas and

ing cenvsfora living, he had drifted up to Tvkmtana and had hu-ed out to the Circle C.At ourfirst meeting,at a polo game at

horsehair ropes, old Aie.xican saddles, Indian zvar bonnets and beaded buckskl^^

Max Eleischmann’s polo field, we got to

clothes and moccasins. Old Spanish

talking and he asked me if I zvas by any chazice related to the Montana Cobuni

spurs and spade bits, and other relics of

family,and from thatjirst meetmg zve be

zvhere Ld processed his copper-plated

came closejriends.

etchings.

On that memorable day,in igiq,zvhen I wandered into Borein’s studio about

the ()ld West.An adjoining kitchen zvas

Boi-ein had a paitly completed large

noon, there sat Charlie [\}issell [l864-

canvas painting on the easel in the stu dio. As the aftenioon wore on he invited

1926], straddle of a kitchen chair,a Bidl

lihissell, Borg, De long, and ajezv other

EDWARD BOREIN

artists ivho happened to come by, to add something to the painting. By the end of the afternoon thepaintingivas completed, representing the art ivor({oJ hail a dozen or more ivell havnni artists ivho signed their names.-^ Perhaps some day chc paincing will be found and hung in its rightlul place in a gal lery or museum. Ed played his part in community affairs, and was always around to lend a hand when needed. He helped organize the first Fiesta in Santa Barbara, and a highlight of the ini tial Fiesta parade on State Street in 1924 was a pack train, authentic in every detail. The pack train, his own idea, was a feature of the parade for several years, and Borein saw to it that every detail was correct. He also rode his white mule in the parades, wearing his Mexican charm suit. Will Rogers and Leo Carrillo would also ride in the parades, and Ed was instrumental in bringing Rogers. Carrillo, and Irvin S. Cobb, the famous humorist, to Santa Barbara to give shows tor the townspeople during Fiesta. Fiesta time in August was(and is)a won derful event, and Spanish costumes were worn by young and old. Every year, celeb rities would visit the citv, among them being Marv Pickford and Douglas Fairbanks. Marie Dressier, Warner Oland and many others. One year. Will Rogers was scheduled to give a show at the El Fandango party, pre ceding the Fiesta. He arrived in the city late and was unable to rent or buy a Spanish out!it. He went to Ed’s studio and Ed vol unteered his dog’s Spanish blanket. Will promptly wrapped it around his shoulders and gave his performance, stopping every few minutes to scratch himscll as a result of real or imagined flea bites. The guests loved it! Mrs. Robert L. Lewis, a charming Santa

Borem in hisstudio in iheOreila adobe. I le is uvifing on the drauing lehieh became the cover oj the booh, Santa Barbara Mission by Fr. Zephyrin Fngelhardt, O.l'.A'l., n)i^. Borein designed the covers ojnine of the bool{s in F.ngeihardt's series on the history oj Calijomia !s missions.

Barbaran, tells the story of losing her little daughter Jane in the El Paseo during Fiesta, and the resulting search found the girl sit ting com!ortably listening to stories in Dou glas Fairbanks’ lap, Ed’s studio was usually headquarters for his guests, and they used his shop to change into their Fiesta costumes tor the parade up State Street. Some ol his more exuberant pals also used the rear room for sleeping off hangovers. Since their arrival in Santa Barbara, the Boreins had wanted a home of their own.

NOTICIAS

looking the Pacific Ocean, with a distant view of the Channel Islands. A deep bar ranca ran through one side ol the property and supplied the name ior the liomc. Ed imported two Hopi Indians from the Southwest to assist in the design and build ing ol his new'dwelling, w^hich consisted ot tw'o bedrooms, bathroom, kitchen, dinette,

Ihc Borcins’ Hofn-stylc home, La Barranca, takes shape on Santa Barbara’s Mesa oveiionfpng the

Pacific. but proceeded slowly and carefully. "We had originally thought of building a Span ish style house." Mrs. Borein recalled, "but Ed became disgusted with the architecture being passed off as 'Spanish.' He called it 'pseudo-Spanish’ and would have nothing to do W'ith it. Instead he w'ent back to au thentic Hopi Indian construction." The Boreins now' knew what they w'anted to build, but first had to decide on a location."' "We looked through Moncecico, the Mis sion Canyon and several ocher places, but found nothing we liked,” Mrs. Borein said. "Then one day w'c went on a picnic up on the Mesa. It w'as a magnificent spot over looking the ocean, commanding a view' ol the harbor and the mountains. We knew we had found our location.” Mrs. Borein smiled when she recalled howfriends thought them slightly insane, build ing a home on the "desolate Mesa." "We w'ere the pioneers up here and w'hen w'e moved into our home in 1923, w'e had no neighbors lor miles and miles." Mrs. Borein recalls. "But w'c had started some thing. and soon others w-ere building.’

a large living room. and a sun parlor. A sepa rate twô-story structure wâs a garage, w'ith his first studio above it, reached by a flight of extremely steep stairs, which supposedly was to discourage visitors. One of the Borcin ground rules was that nobody w'as to enter his studio wdiile he was wôrking, a rule broken only by v\'ealthy visitors. He retained his studio in El Patio, as that w'as really his sales shop, but soon found that the little studio over the garage w'as not large enough for his needs. Accordingly, he had a large studio constructed some dis tance from the house, wdiich gave him plenty ot space, including separate rooms lor storage purposes. He really had a small estate. Alter hiring a gardener, who moved into the lormcr stu dio over the garage, Ed built a bathheuise W'ith three dressing rooms and running wa ter. It was built into a side ol a hill behind his home. Farther dowm the clitt. he had a gazebo (he called it the Tea House), and a flight of w'ooden stairs led down to the beach. There was also a large patio cornpiece W'ith barbecue, which w'as used for parties. To complete the picture, there w'as a small aviary w'ith a few' exotic birds therein, and a dachshund appropriately named "Tamborein.” The Borcins ga\'c a combined housew'arming and birthday party lor Ed. His mother and several friends from Oakland

Today the Mesa is a thriving commu nity of homes. When the city laid out the streets, the Borein home, La Barranca,gave its name to the avenue.-'^ The site chosen on the Mesa w-as on the

attended the affair. During the evening, the artist told his guests that marriage does strange o things o to a man. He had w'anted an

edge of the bluffs above the beach, over-

authentic Hopi home, w'hich would include

EDWARD BOREIN

ladders for entering and leaving, but Lucilc

While,lying out in the field, after a doctor

had insisted on doors, and he had given in to her.

came,Iove7-heard him say onefoot would

There w'as a constant How of visitors,

have to be amimtated and he nmdd have to see about the otha-. I toLi L:d it couldn't

and Mrs. Borein vividlv recalls the night

be. I le uxLs the soul qfldndness and Icoidd

Will Rogers and Charles Russell spent at La Baminca.

not have jndlcd through iviihout Iwn. It was several days before there was room

Ihey told stories bejore dinner, during dinner a7id afterdinner...farinto the wee hows of the morning,’’she ixpoJis. '"[here was no druifing and no of]-color stories.

at the hospital lor Mrs. Borein and, once admitted, she remained there several months. Gradually her feet mended. "LaBan-ayica was rebuilt, but this time

'Ihey ivere just life little boys. I iveyit up

Hd Borein replaced the adobe blocks with

to bed,andat ^:oo.a.m.caniedmoi tofind

double-wall construction covered with plas

out if Ld intended to sleep at all.'Ihe three tt'cre amazed to leani ivhat time it ivas

ter, thus maintaining the original appear

—they had lost thanselves completely in their story-telling. ‘Ihey si^iofed Bidl

ance ol the sprawling, low-ceiling home.”' After the earthquake ol 1925, the artist moved into his new studio in El Pasco, in

Durluwi, rollmg their oivn ... and next morning the tobacco teas mclies thickon the rugs. Life at the studio in El Patio and at La Barranca on the Mesa was proceeding at a normal and interesting pace, enlivened by frequent visitors and a good volume ol sales of Ed’s work. Then came the Santa Barbara earthquake of June 29.1925."Wchadagroupol friends in the night belore lor a party to celebrate our fourth wedding anniversary.” Mrs. Borein related.

It was very gray and both l:d anc/ i were tired when our guests left early on the

The shdUerd house is up agin. The lalchstrinqs hangin oul. The telephone is workin. The ujije's agin about. Our Sunday teals at [our o'clock. oul. Saddle up an come

morning of the igth. It was a u\nin flight (The Goreins

and I slept out on the patio, Ld mside. Ihere ivlLs a .slunt wall between the patio and thegardai,anc/ivheji ihe ea^thcjuake struck I started over it. ‘Ihe roof and the

'Ihe earthquake ivhich struck Santa Barbara

adobe ivall of the house collapsed and

early in thcvioniingof Junezg,igiy,severely dam

caught me bejore 1 coidd reac/i open

aged La Barranca and caused grievous injiox to Lucile. Ihe Boreins celelvatcd the repair oj their

ground. Ed dug me out. I was pretty ivell bat tered and my legs were the ivorst hit.

home and the recovety:ojLucile icith this invitation to a barbecue,June igz6.

NOTICIAS

30 the lirst block of East De la Guerra Street, where there was a daily 1 low of tourists and townspeople. Ed wcnild stand in the door way of his studio, with cowboy hat on head, and exchange pleasantries with passers-by, but would step aside with alacrity, should a potential customer enter his shop. He was the very soul of courtesy when waiting on customers, and many’s the tale told of his dealing with his clientele. Tourists who saw his work in his new El Pasco studio spread the word around about the cowboy artist in Santa Barbara. There were other types of visitors to the beautiful Channel City. The Twenties were halcyon days in Santa Barbara. Prosperous Easterners were moving into the city and building huge estates in neighboring Montccito. The Armours, Cudahys. Peabodys, Knapps, Fleischmanns and other captains of industry and finance were discov ering the bucolic climate of the area. Sundays would sec them playing polo or sailing their magnificent yachts in the Channel. A few citizens did not take kindly to the "Eastern People" with the cowboy hats and boots and big estates. Like many small cit ies on the West Coast, Santa Barbara thought it had invented the West and owned the patent. However, the towns people soon became accustomed to taking the "newcomers’’ money, and gradually the economy settled into two strata, the wealthy and the service people. It was not until alter World War II that an alfluent middle class would appear in the city. Ed had been asked to teach an etching class at the Santa Barbara School of the

Joseph Knowles (1907-1980), an oucscandinctSanca Barbara arcisc who attended O Borein’s etching classes, was asked if Ed was a good teacher. "Well, maybe I was preju diced because I liked him as a person, but I chousht he was an excellent teacher, because he knew etching technique and was articu late. He would, however, become impatient with some young students who would not take the trouble to be carelul with what they were doing, such as preparing the ground, or carefully watching the 'bite.’Ycs, I think ’S he was a good teacher. Tlie story of Edward Borein in Santa Bar bara is the story of his work and his friends, whose constant visits gave color to the artist’s life. His marriage was low-keyed, childless. He was a hard worker and had the hallmark of the professional artist. He was prolific in the output of his work, produc ing literally thousands of items. He talked easily with strangers, and few who met him would suspect that this cowboy would some day be recognized as one of the finest art ists of the American West. Yakima Canutt. the old rodeo star and Hollywood stunt man. w^as among the many people to visit El Pasco to chat with Ed. He tells the following story; iivds in Santa Barbara on amotion pic ture and ivas invited to kis lunnejordin ner. Both he and his ivijc ivere very friendly and I really enj(ryed the visit.'Ihat was after the big Santa Barbara eanh-

quafe. Iheir home ivas an adobe structure,

Arts. He taught for three years, beginning in 1926. Although he had an etching press and all the necessary materials at the school, any serious students were always welcome at his studio in the El Paseo, He was never

and during the quafe one of the walls caved in and his wije ivas badly injured. I knvever, hcrrecovay was complete. During the evening I mentioned the fact that our leading man was anxious to meet him. Mr. Borein askjed me what

too busy to put aside what he was doing and discuss their problems.

kind oj'a man he was.I told hbn I had only met him on the picture, Imt he seaned like

EDWARD BOREIN

a niceJclloiv. So he said, "ISrmg him over and I’ll nm a lot o( motion picture mate rial I shot in yVlexico oj bull fights.” He added that he ivas sure I ivoiddget a kick, out oJ some oj the scenes. Vlv set a date and I took my actorjriend to their home. VJe really enjoyed the evening and the picture materialivas ivell done and ivas filledivith thrills. Infact, hehadacoupk ojscenes where thejightcrivas killed. Af terseeing thefilm, he took^is into hiszvork worn,orstudio,ivhich zvasjilledwith his zvork, a variety of drazvings and most oj them zvere really beautifid. A nitmber oj drazvings that he had throzvn aivay zvere in the zvastebasket and one zvas lying on thejloor.dvlyjriend picked it up and said, "'Ihis is beautifid. If you are ihrozving it azvay, I’ll take it.” Tvir. Borein took d from his hand and zvithout a zvord,aumplcd it and threzv it in the zvastebasket. Ile later told me to never bring that fellow back again. Edward Borein, like anyjine artist, Lookgreatpride in his zvork and certainly did not zvant any of his drazvings thatzvere not pefect on display. Ilezvas a perjectionist as his many zvorfs ojart conjinn.'-^

By this time Borein was aware of what he was doing, and cold his friends many times he was documentino the Old West as he had lived and seen it. Every detail ol horse, rider, saddle and gear, longhorn, and Indian had to be right. There are many sto ries of some detail of an etching being chal lenged. but the artist remained adamant,and usually was proven correct. The minuteness ol his observation is il lustrated by an amusing little tilt he once had with Colonel William "Buffalo Bill" Cody while showing him some drawings. Tlic famous Indian scout questioned the au-

31 thentidey ol a custom illustrated in one of his pictures, saying that he had never heard of such an application of a ''Winter-Count." The old chief, Iron Tail, was called in to settle the matter and confirmed Borein's contention chat Indians used to make "Win ter-Counts.’’ or records of exploits year by year on their blankets. Borein’s comment on the incident was the reflection chat "people often don't see things till they sec ”10 them in a picture. Knowing he cook himself and his work seriously some of his friends would have a bit of fun hy provoking him. They would go into his studio, select one of his pictures, and start,"Come now, Ed, you never .saw a horse in chat posicion,”or,"Look, you never saw a rider like that." Ocher times they would pick on the saddle or gear in one of his pictures to criticize. And then the argu ment would begin. Ed apparently did not realize they were simply ceasing him, and he would defend his pictures vehemently. Thomas Scorke, editor and publisher of the Santa Barbara News-Press, cold the writer that when he got bored with things around the office, he would cross the street to Borein's studio and get into an argument with the artist. Then, refreshed, he would return to his office. Between selling his etchings and work ing on new drawings. Ed was kept busy but never did forget his apprenticeship in the saddlery back in San Leandro. He made his own riding saddles, and also little models ol horses, complete with delicately I inished saddles and gear. For the tiny hair ropes he braided, women of the community would contribute their locks of various hues. Quite a man. On sunny days. Borein would sic in the patio of El Pasco surrounded by I riends. en tertaining them with some ol his famous "windics” This was the era ol the story tellers, and Borein was no exception. He

NOTICIAS

32 traveled in the company of some of the best in the business. His friends. Irvin S. Cobb "The Sage of Paducah.” Will Rogers. Leo Carrillo and Charlie Russell, were accom plished raconteurs. When these old friends got together, there was a mutual respect for each other. Some of the stories they cold mishc even have been true. The consensus of opinion seems to be that Cobb ranks as one of the great storytellers, followed closely by Charles Russell and Will Rogers. Will Rogers, Jr. , in a 1971 interview, said; [in .sure the .stories they told iverejust a little exaggerated, '[here might be some ha.sis inJact. h-vin S. Cobh and myfather, ivhen they ivere together, umdd have a shouting nuitch, because IXid was used to the center oj the stage, and Cobbwasn't going to yield it very ea.sily. Cobb ivas in CiLrope as a joreign con'esliondcnt in World War I, and had some hilarious and tremendous stories to tell, and the chances are, most oj them u'ere tnie. Dad had been around, and I kmnv that many oj myJat tier’s be.st ranarks that later went into his daily telegrams develo[xd out of the.se types oj conversations. yWy memory IS that r.d ivasn’t as sparkling as the rest oj them, and he w'osn’t as talkative, but of course, he was in pretty high-class company, l^issellwas a great stoi-ytcller; in fact, the dope I get is ivhen he started to tall{, everybody else stopped talking. He must have had quite a dominating per sonality.^^

ciicy arc; arc they?” The old Idler looked ac him a minute and then said, "Why,they’re tlie worst damn things in the country. 1 re member one time 1 was driving along and a rattlesnake struck out and bit my wagon tongue, and I got the damn wagon chopped ■●12 ott just in time to save its life. Another time Ed recalled that he was in a gambling saloon playing poker with some cattlemen. One of the players was a profes sional gambler who had run out of funds, so he produced his wallet and threw it on the table, saying. "I call your bet and raise you.” One of the cattlemen promptly pulled off his boot and put it on the table, and said. 'Til call you and raise you.""What do you mean?" asked the gambler. The cattleman replied, "There’s more honest leather in my "1.? boot than there is in your wallet. Viewed in the light of today's humor, with its one-liners and stand-up comics, the old-timers’ humor would be considered too lengthy, labored and at times incredibly dull. Their stories went on and on - only Will

his "windy.” which was usually humorous and greeted with laughter. One ol Ed's best

Rogers, probably the greatest humorist of his time, managed to deliver his talcs with brevity. It must be remembered that his group of friends, and most other artists of the day, very definitely created their own roles and played them to the hilt. There is much calk today of searching for one's "identity." These old-timers didn't waste any of their time looking. They knew who they were. From the moment they arose in the morn ing, until they went to bed ac night, they were "on stage" and were aware of the fact. Ed, for example, donned his cowboy hat the moment he 50c out of bed. It would have been inccrcscins; to see him take a shower.

stories concerns a tenderfoot talking to an old man about rattlesnakes; "1 don’t chink

They wrote letters to each other and vied in their efforts to see who could use the

these rattlesnakes are as bad as people say

most atrocious grammar and spelling. They

Ed fitted in somewhere alter these mas ters. He would wait his turn, and then tell

EDWARD BOREIN

communicated in a strange jargon full of critters and "bosses." "Injuns, "varmints," but it was all in fun. Many of these letters were illustrated by the artists and are now collector's items. When Charlie Russell or Will Rogers were in town they would come to the stu dio, pick up Ed and go across the way to the Restaurante del Paseo for lunch or din ner, Ed was rough and ready, and eating with him was an eye-opening, traumatic ex perience. He wolled his food with knife, lork, spoon, cup, saucer and lingers, possi bly a throw-back to the bunkhouse, where, ii you didn’t grab it. you went hungry until the next meal. Mrs. Bt^rein. at home, did

33 the table and maintained "it’s not police for people to look under the table." He com mented w'ryly. "Someone should make a suit of cloches chat is soup-colored." The artist left for Wyoming in the spring ot 1926. Bradford Brincon, a wealthy East erner. owned a large gentleman’s cattle ranch near Big Horn and commissioned Ed to do a series of panels or friezes for the living room ot the ranchhcnise. There were six panels done on prepared boards, ten Inches high and seven feet long. They arc drybrush done on a light can background, and al though there arc six panels, they make only four scenes: the trail drive. Indians of the plains in full dress, bul I alo herd being sighted

most ol her baking with sourdough, other wise it would not be eaten by her husband. He said. "Cowboys leave an outfit if the sourdough keg gets empty." Mrs. Borein, in an interview, said, "in the early days we drove a Ford, and Ed had no compunction about going to parties where the other guests arrived in swanky cars. In the midst ot one big party there was a loud bang against the side of the house. Ed cried out. 'Oh, my Ford’s come untied!’ — and the laughter he created lasted for the rest of the evening. It was really iiot the Ford, but Ed’s sense of humor was always infectious.” Another time, Mrs. Borein recalls, a Montecito socialite phoned to invite them to a party, then added, "Formal dress, please." ’’ 1 simply told her Ed refused to dress for mal. There was a long, brittle silence and I feared 1 had said the wrons china. Then the lady spoke again, ’I’m inviting him, not his cloches.● '●14 Borein heartily disliked pomp and primp ing. Only once did he wear a dress suit, then discarded it with the remark, "1 looked just like the headwaicer." He felt his black broad cloth coat made him look respectable above

F-d Borein and CharL\s Russe//. BoreinJirst became aii admireroj lidLsseU!s zeorbamund the tuni of the cen(u>-y and they met zchile Borein u’Us in Netv 'ibrl{ City, in igoS. Ihe tzeo,diaredan appre ciation of each other’s zeorl{ azid the love oj a good story; they became lije-bmgjriends.

NOTTCIAS

from an Indian camp, and tribe on the move. They were completed and in place by 1927 During this visit to the Big Horn country, Ed met two well-known artists of the area, Hans IClcibcr (1887-1967) and William Gollings (1878-1932). Gollings took a dislike to Borein and said the California art¬ ist. "'high-hatted’ all the artists in the area, feeling himself better. I guess, than we were." Kleiber said he had never seen Gollings so angry at anyone, except Will James, whom he felt was a fraud. His "anger” may have simply been jeal ousy, which is nothing new or startling among artists. Borein had the commissions from Brinton tor the panels, plus watercol ors. drawings and many etchings person ally remarqued for Brinton. Bill couldn’t have been too mad. for two years later, in 1928. he visited La Barranca in Santa Bar bara and signed the Borein guest book. A sad note was introduced this year, when Ed left Wyoming for a short visit to Great Falls, Montana, where he was an hon orary pallbearer at the funeral of his old friend. Charlie Russell. The funeral was held on Wednesday. October 27. 1926. After he completed the Brinton assign ment, he returned to Santa Barbara, where a new venture was waiting for the artist. Borein had drawn hundreds of illustrations for magazines and newspapers, but never for a complete book. Now the time arrived, and Ed jumped at the chance, Charles Elliot Perkins was in the habit of telling Western stories to his children at bedtime. Perkins, a man of substance in the financial world, president and board direc tor of several railroads, owned and lived on a ten-thousand-acrc cattle ranch in the Santa Ynez Valley, This was the Alisal Ranch, known for its cattle, polo ponies, and fine hunting and jumping horse stock. The nightly stories so captured the children's fancy that Mrs. Perkins suggested that he

collect and publish them. This idea resulted in the book, 7/ie Pinto Horse. The stories were altered slightly to put them into nar rative lorm. In 1927 Perkins visited a publisher friend, Wallace Hebberd of Santa Barbara, showed him the material and inquired about print ing a few copies lor his wife, children, and friends. Leaving his manuscript with Hebberd. he returned in a few days to find his friend both interested and excited. Hebberd suggested rather than Perkins oo publishing the volume at his own expense, that Hebberd publish the book and have it printed by the R. R. Donnelley & Sons Company in Chicago. Accordingly, he ed ited the material and sent it to them. During their discussions it was decided to have Edward Borein illustrate the book, and Perkins, being an admirer of Owen Wister. author of Phe Virginian, suggested that it would be a good idea to have Wister write a foreword to the book and this was done. It was Hebberd’s idea that Wister s let ter be printed in its original handwritten form. Borein submitted sixteen large and nu merous small India ink drawings, and two large watercolors to Perkins and Hebberd, who selected the pictures to be used. The watercolors were Vie Pinto Colt, which was used as the frontispiece for the book, and Patch Hinton, a fine picture of the book’s main character mounted on a sturdy horse. The latter picture was not used. Five thousand copies of the book were printed in 1927 The copies issued at that time were bound in vegetable parchment. When the first books arrived in Santa Bar bara, Hebberd and Borein wanted to have an Author's Copy specially bound with the hide of a Pinto horse from Montana. Perkins was not at all enthusiastic about the idea, and remarked that it would remind him of something "dead." so the idea was 16

dropped.

EDWARD BOREIN

Will Rogers, Fred Stone,Fd Ihrein at I\<)gers’home in Santa lonica, 1934. Rpgcrs u'osperhaps Borein’s bestfriend. 'Ihe tuv met in .Vcif 36r/(lohen Borein attended a slunv in u'hich Rpgers xros pafonning his trickropingact. Noted stage actor Slone scored a hit on Bmadzeay as the Scarccroiv inN/izard of Oz in 1903. {Seeguest boob.)Borein executed an oil ojStone atop a bucking horse.

NOTICIAS

36 Borein’s drawings for this book are excellenc. and Perkins wrote comments on the back of most of the originals. Borein’s per sonal scamp is also on the back of each origi nal picture. Borein had become a member of the American Artists Professional League and the Print Makers Society of California. He exhibited at the International Exhibition in Florence, Italy, in 1927, and in June and July of 1928 he had lour etchings shown in Paris by The American Federation of Arcs, and one of his prints, Navajo Visitors at Oraihi, was given to the Bibliochcque Nationalc. Ed also had become a member of the Santa Barbara Arc Club, an organization of local artists which held regular exhibitions of its members' work. He continued to etch a few new places, but spent an increasing amount ol time on his watercolors. which were now selling well CO tourists and townspeople. They were stacked in piles on a cable in his shop, ac cording to price, and the etchings were in portfolios. The artist said, "Many times I would say to a wealthy customer, go to your bank and get ten thousand dollars, then come back here and spend it on my pictures. Nobody cook my advice." Pity, for the same ten thousand invested in his work then would now yield at least twenty times the original investment. He was a master o( the quick, direct sketch. A lew'short lines with the pen. and a hor.se would appear on the paper, iollow’cd quickly by the rider. His economy ol line is equaled by few artists. Borein himself did hundreds of the.se little gems, and chev are quickly sold whenever they appear on the arc market. These were his practice sketches. Some called them "d(xxlles.” but they were far Ircxn that. He would draw them rapidly by the dozen, discarding each as he finished it. Mrs. Borein said. "Ed wasn't much of a

reader, but at night I would sit by the tireplace and read to him while he sketched. 1 am a fast reader, with the result chat I would frequently lose myself in the story, going faster and faster as the action mounted.” Mrs. Borein Iau2hed. Well,I'd he/K’ing along and suddenly Ed ivoidd a~y out, 'dal{e it easy,sloiv dozen! I can't keep up zvitli you!”I lis sketching, sidjconsciously, ivould try to keep pace ivilh my voice, and Ed had to call a halt luhen his hand tired ojthe chase. After an evening of reading, theJloor zvould be littered zvith sketches, and Ed zvozdd tellnie to "throzc thein into thefire,” Imt I rejused. I le claimed they zvere done jiLst to keep hisfingers "in practice.’’Each night / zvould collect them, and ended up zvith three big basketsJilledzvithzvonder' ful animals and horsemen.17 Will Rogers was a regular visitor to Ed’s studio and home. In fact, they looked and acted so much alike chat years later, when Borein checked into a Mexican hotel the manager eyed the register, smiled at Borein and confided, "We will keep your incog nito a close secret, Mr. Rogers!” No amount of calk could convince the man otherwise, and Borein was forced to remain "Will Rogers” to the hotel’s inner circle. Rogers w'as a nightmare to the real estate men, lor he was a perennial "looker. " He was always calking of buying a ranch, and would driye up to Santa Barbara, pick up Ed and oil they would go to look at ranches. The pair probably inspected every available ranch property in Southern Cali fornia. 11 Will had ever bought a ranch, it would have broken their hearts, for then they couldn't "l(X)k” any further. In the .spring of 1929, Ed was walking on State Street in Santa L3arbara and met a friend, Elmer Awl. They exchanged pleasantries.

;

- <. A -

t . ^/f

Cdlijomul Vaqucro Watcrcolor on paper, 14 5/8 x 19 5/8 Courtc-sy Katherine H. Haley. Ventura, Calilornia

r- '● / 7/ie Irail Boss Oil on canvas. 22 x 30 Courtesy W D. and R. M. Weiss, Jackson, Wyoming

IhcJ^'hid Wagon Waccrcolor on paper, 6 1/4 x 12 1/4 Courcesv Kcnncch and Claudia Ray. Sanra Barbara, Calilornia

Bucking Horse Oil on ^ard. 7x6 1/2 CourccsvWilliam P. and Genevieve Healey. Santa Barbara, Calilornia

lludi I lin(im,c. 1927 W4itcrco!or and gouache on paper. 19 x 14 Privacc Collcccion, Santa Barbara, Calilornia

l\(ij)cd Umvn Waccrcolor on paper, lo 1/4 x 20 lAS Courtesy Katherine hi. Haley. Ventura. Calilornia

Gnvhoy fi()pmg a Steer, 1919, Oil on canvas, 20 x 24 Courtesy Ambassador Bill and Jean Lane, Porcola Valley, California. Formerly owned by the Lane Publishing Co., publishers of Sunser magazine, presently celebrating its centennial (1898-1998)

Five Vcujuems Watcrcolor and gouache on paper, 14 1/2 x 19 1/2 Private Collection. Santa Barbara. California

!hc\\’cd<.lin_u;Airan^anciU India ink on illuscracion board, 19 1/2 x 14 1/2 Private Collection, Santa Barbara, Calilornia

/i.sMOH Dolores,Ak>. i. 1915(#260)^ Ikchiiig and drypoinc, 7 7/8 x. 11 3/16 Guircc.sy Marlene Sclnilz/Arlington Gallery. Sanca l-larhara, California

y**ii

^n H^n

Mi.'.sion Barbarj.Ao. i (#248)' Ecching and drypoinr. 8 15/16 x 14 3/8 Private Collection, Santa [Barbara, Calilornia

■

4>,:

Lu.Wma (#273)', nccliing and Jrypoint. 5 1/8 \ 8 3/8 Santa Barbara Idistorical Society. Gift of William H. IMulim, 1967178.6

Dividing the[’ddas (#36)’’ Etching and drypoinc 6,V16x II 3/4 Santa Barbara Historical Society. Cjift of William H. Bluhm,1967178.15

Jerkl.ined\'n. i (#146)' Etching and drypoint, 6 7/8 x 17 13/16 Santa Barbara 1 iiscorical Society, Gitt ol Don Bernard Kilbournc E.scate, 1978,61.5

7/ic R^nalian^, 1910 India ink and drybrush on illuscradon board, 20 3/4 x 27 Courccsy Katherine H. Haley, Ventura, Calilornia

the C/ni.ss Ihailcr^y 1911 India ink on illustration board. 22 x 28 Courtesy Gerald and Kathleen Peters, Santa I 'e, Ncv\’ Mexico

Buckskin and Feathers wich copper ccching place. I'ir.sc stacc. 1922(#150)* Etching and drypoinc, 7 1/16 x 10 1/8 Courtesy "Rip’’ and Pauline Riparecti. Santa Barbara. California

Navdjos(#183)* Etching and drypoint. 9 1/4 x 12 1/8 Santa Barbara Historical Society Gift of Lucile Borein 1965.78.80

i ● ‘ ● .

Indians Moving Camp, 1909 India ink and drybrush on paper. 22 x 27. Courtesy Tliomas Nygard Gallery, Bozeman. Montana

BLicliJoot U Aion'ng Ciunp, No. 2(#169)*’ Ecching and drypoint. o .V8 x 11 1/16 Santa I^arbara Hist{>rical Society Gift ot [.iicile l^orein 1965,78.79

/)n'n/(7n)ic(#283)* Etching,6 7/8 x 17 9/16 Private Collection, Santa Barbara, California

Chdr^ing Indiun (.iraphitc on paper, (S |/2 \ 6 1/4 Courtesy Cornell Norby Fine Arc, Newport Beach, CaliTornia Little

I ioiyc

I'.tdiing and drvpoint, 4 7/8 x 3 ld/16 Santa Barbara Historical Society Gilt ot Lucile Borein l%rv78.10

l.d Ciinlhui t/cLci-s R.l/omtJ.s, AW. a (#271)' ttebing and drvpoint, 9x11 7/8 Santa Barbara Historical S('ciet\' Gilt ot William H. Bkihm 1967178.7

Life Mask of Charles M. Russell, 1914 Blaster composition, 10 1/4x6 3/4x5 1/4 Santa Barbara Historical Society Clift of Lucile Borein, 1954.4..5

Model Horse by Charles M. Russell (1864-1926) Wax, plaster, flock and horsehair, and paint, 12 1/2 x 5 x 13 Miniature saddle, 1943 by bdward Borein Leather, silver, wire, string, and fabric, 4 1/2 x 3 1/2 x 7 Santa Barbara Historical Society Gift of Kenneth W Witters, 1969.142.1

Holy Coiv! The artist with Charles M, Russell (1864-1926) Clay, wax, flock, and paint, 7x23/4x11 1/8 Santa Barbara Historical Society Gift of Mary B. Ireland 1973.181.1 48

Note: The titles and numbers of the pieces marked with an asterisk (*)are taken from John Galvin. 'IhcF.tchinganfndivdrdBordn (San Francisco: John Howell - Books, 1971).

Inscribed. BUickfcKU Ubmen, U'cs/cni C'tOuiJci, 1932 Waccrctilor and gouache on paper, 9 3/8x12 3/8 I’rivatc Collection. Santa Barbara, Calilornia

■i

Inscribed, BLicl^ootT^ai, U-'esteni L\mada, Wacercolor and gouache on paper. 9 3/8 x 12 3/8 Private Collection. Santa Barbara, Calilornia

ifSie?" Loji Caballeros Watcrcolor on paper, 7 3/4 x 9 1 /2 Santa Barbara Historical Society Gilcol Lucilc Borcin, 196o.78.59

J;'

frail Drive Watercolor on paper. 9 x 14 1/2 Courtesy Tom and Judy Decker. Sun Lakes, Arizona

A ’k-

l{whnuiy Steer Watcrcolor on paper, H i/2 x 19 1/2 Coiirresv (.icrald and Karhlccn I’ctcrs, Santa K', New Mexico

J 'i.

/fly ●

...

'■i

-n

i«ej

; y

«■»]

« m,

●

* -4*

i*»

■ 4

'..J ● t

\4%

t-e

■

L..»4 J:-

It. ●■

:-. ● -i^- >

..:‘.»y.;. ●

Vaa/nisf j/ic / /erd Watcrcolor and gouache on paper, 9 1/4 x 14 7/8 Santa Barbara Historical Society Clift ol 1 larold A. Parma Estate, 1998.30.1

< -. ●

t '●

. \

Place Cards(2 of 12) Waccrcolor on paper. 2 1/2 x 2 5/8 CourcesyJ. N. Barcficld Galleries New York, New York

Mounted Coivboy Monotype on illustration board 5x4 1/2 Courtesy John T Reynolds, Santa Barbara, California

\ VI

Indians on Horseback Watcrcolor on paper 9 1/2x 15 Private Collection, Ventura. Calilornia

Measurements of artwork are in inches. Height precedes width, exclusive of Irames and pedestals.

Catalogue ofthe Exhibition Cmvhoy Aitist:Ihc Life and An ojEdu-ard Borcin 1872-19^5 Davids. BisoL, Curator;Ilarold Q. Davkbon andd^darlene

Scindz, Cjiu:st Curators

Sanca I^arbara Historical Museum June 11 through October 18. 1998

Cowboys Bnmeo

Patch]Jinton. cl 927

Watercolor on paper, 9 3/4 x 7 3/8 Private Collection, Santa Barbara. Calilornia

Watcrcolor and gouache on paper, 19 x 14 Private Collection, Santa Barbara, California UliLstrated page^g

Bucking I lorsc Oil on board. 7x6 1/2

Patch Hinton was a t icrional character in Charles Elliott Perkins’ Ihc Pinto I lorsc published by Wallace Hebberd in 1927 OI the two watcrcolor

Courtesy William P. and Genevieve Healey Santa l^arbara. California

images submitted by the artist to illustrate the book, this one was not used.

llliL'Uratcdpage 3iS Calijoniia Uityitcm Watercolor on paper. 14 5/8 x 19 .5/8 Courtesy Katherine H. Haley, Ventura, Calilornia Illustrated page t,-

Ihe I{anahans. 1910 India ink and drybrush on illustration board, 20 3/4 x 27 Courtesy Katherine H. Haley Ventura, California Illustrated page gg.

Dividing the l\idcrs(#36)* Etching and drypoint, 6 5/8 x 11 3/4 Santa Barbara Historical Society Ciilt ol William H. Bluhm 1967178.15

[Riding a Ibung One Watcrcolor and gouache on paper, 10 1/8 x 13 Courtesy Katherine H. Haley. Ventura. California

Illustrated page Sitting Pretty,S\'o. 1 (#65)’ Etching and drypoint, 6 1.5/16 x 4 1.5/16 Santa Barbara Historical Society Gift of Lucile Borein 19.5761,6

l<>urll(>rsemen,.'\<). i (#30)* Etching and drypoint. 9 L5/16 x 11 7/8 Sanca Barbara Historical Society Gilt of Jack Schwartz 198.5,26,8

Sun'cying a Canyon Gouache on paper, 6 1/2x4 1/4 Santa Barbara Historical Society Clift of Lucile Borein 1965.78.57

I'our I lorsemen on Parade Watercolor on paper, 5 1/2 x 7 1/2 Sanca Barbara Historical Society Gift of Reginald Vaughn 1978.88.5

Ihree Cnchirys India ink on paper. 8 1/2 x 10 3/4 Santa Barbara Historical Societv Gift of Lucile Borein 1965.78.47

Little Bucking I lorse,(#64)* Etching and drypoint, 4 7/8 x 3 1,5/16 Sanca Barbara Historical Society (.lilt ol l.ucilc Borein 196.5.78.10

U7i() UV>i.s,^(#63)* Etching and drvpoint, 4 1.5/16 x 4 Sanca Barbara Historical Societv Gift of Lucile Borein 196,5.78.14

Illustrated page gy 5lounied Cini'hoy, 1924 Monotvpe on illustration board, 5x4 1/2 Courcesyjohn T Reynolds, Sanca Barbara, California Illustrated page 52

On the Range

Inscribed 'la.^ladalinefrom Borein igag. Madeline was the wife of fellow artist Carl Oscar Borg (lS7O-j047). The artist missix’lled her name Onl\eight monoevpes arc known to exist b\’ pAlward Borein

‘Ihe BelL'^lare(#50)' remare|ue Etching and drx'poinr. 6 15/ir-. \ i ] I3'16 Santa Barbara Historical .Societs' (.lilt ol Hart'Ll A Parma L.scace 1998 30 2

.5.3

I{iding I Icnl

Cattle at the W'ateying I lole, 1945 Oil on canvas. 20 x 28

Waccrcolor on paper, 7 1/2 x 11 1/2 Courtc.sy Kenneth and Claudia Ray Santa i^arbara, California

Santa Barbara Historical Society Gilt ot Liicilc Borcin 1955,78.3

/yi/x’J Dtni'n Watercolor on paper, 15 1/4 x 20 1/8 Courtesy Katherine H. Haley Ventura, California

This unfinished canvas, depicting a small herd of steers with the riders yet to he painted into the right loreground, w'as on the artist's easel w'hen he died in 1945.

lllustnited /\ige3y Cattle /ymnein/) 'Wacercidor and gouache on paper, 14 1/2 x 19 Courtesy Ted and Sue Dalzell Sun Valiev. Idaho

l\unauay Steer Watercolor on paper, 14 1/2 x 19 1/2 Courtesy Gerald and Kathleen Peters Santa f'e. New Mexico

C (nchoy l^>innga Steer. 1919 Oil on canvas. 20 x 24

llliotraled j)age

Courtesv Ambassador Bill and Jean Lane IVrwla Valley, California llliu^trated jyage

leeolote l\Linch (#274)' Etching and drypoint, 7 3/8 x 8 3/4 I’rivatc collection. Santa Barbara. California In this etching, the artist's placement of a tecolotc in an ancient oak was a personal touch for the owner of the ranch who used the owl as a trademark.

This work was formerly owned by Lane Publish' ing Company, publishers of Sxoiset magazine, presentlv celebrating its centennial anniversary(18981998),

leudingthe I lerd Watercoku on paper. 9 1/4 x 14 7/8 Santa Barbara Historical Society Gift of Harold A. Parma Estate 1998,30.1

lindofthe l{ace. .second state (#131)' Etching and drypoint, 7 3/8x11 3/4 Santa Barbara blistorical Society Gift of Prances G. Sheets 1965.89.2

llhustratedpage 51

The remart[ue in the lower left corner of this etch ing most likely indicated the artist had personally selected the work for the purchaser. A remarque usually consisted of a small pencil drawing of a horse ai;d rider or cattle.

"Ihe [rail tti.s.s”. cl930-35 Wiitcrcolor on paper. 14 3/4 x 19 1/2 Courtesy Salah Hassanein Del Mar, California Ihe bail Boss Oil on canvas. 22 x 30

Ihe Cjrass I hoUers. 1911 India ink on illustration board, 22 x 28

Courtesy WIO. and R.M. Weiss Jack.son. Wyoming llhu'^lrated pagey^y

Courtesy Gerald and Kathleen Peters Santa Fe, New Mexico Illustrated page ,^4

Irail I Mve Her Cu//'(#121)^ Etching and drypoint. 4x9 5/8 Santa Barbara Historical Society Gift ot Lucile Borcin 1965.78.t3

Watercolor on paper, 9x14 1/2 Courtesy Tom and Judy Decker Sun Lakes, Arizona llliustrated page 50 hading Longhonis Witercolor on paper, 14 1/2 x 19 3/8 Courtesv Katherine H. Halcv. Ventura, California

Landscape with l\ider Ciraphitc and watercolor on paper. 7 1/2 x 11 1/4 Santa Barbara Idistorical Society Gilt of Lucile Borcin 1965.78.38

7u'(> Cowhoys-leam K<)ping, 1935-45 The artist with Carl Oscar Borg(1879-1947) Graphite and w-atercolor on paper, 6 3/4 x 7 3/4 Private collection. Santa Barbara. California

Ihe /yemia/ti Watercolor on paper, 10 5/8 x 15 1/4 Courtesy Santa Barbara Museum of Art L'dft of Agnes Patten Parma in memory of John A. l^arma 1975.15.ir.

In a humorous moment bctw'cen friends, Carl Oscar Borg attempts to prove he can drav\’ horses as detailed as the artist's. Borein then intnxluced w'atercolor to brins Bore's horses to life.

lu'o I iojyancn and l\icl{l lotyc(#306)* Ecching. 4 x 8 1/S Saiua Barbara Hiscorical Socictv Oiilc ol Ludlc Borcin 1965.78,16 Tlic artisc indicated on the ivnso cbac onlv one

The entire work consists of 15 panels of various lengths, totalling nearly 145 feet, and is the long est Irieze known to exist by the artisc. The artist completed cv\’o ocher 1 riczes of note near Big Horn, Wyoming: a housevs’arming gift cl910-ll lor Goelcc and Edith Pose Ciallatin, and a commission for Bradlord l3rinton's summer home completed in 1927

impression was taken from the place,

IhcAhid W'tigon Watcrcolor on paper. 6 1/4x12 1/4 Courtesy Kenneth and Claudia Ray Santa Barbara. California

Moving Arouni Ihe C oncord Cckich Watcrcolor on paper, 7 x 9 3/4 Courtesy Katherine H. Haley. Ventura, California

lllustnitcd /xjge

/)iWol912

Ihcir Ilomc, 1927 India ink on illustration board, 13x18 1/4

India ink and drybrush. 20 1/4x16 1/2 Courtesy Tony Jankowski Ventura, California

Santa Barbara Histf>rical Society Gift of Dwight Murphv 1968,28,1

flic caption for this illuscracion, executed lor the A'eu' lark Semi-Monthly, incorporated typical western lingo, Dinkhoisteted heron top ol a bom) andclum up on anotha'one, and ojj they u ent dozvn the mountain -side. t)rink‘Iime{#2S3y Ecching, 6 7/8 x 17 9/16 I’rivate Collection, Santa Barbara. California

The artist illustrated this work for Charles Elliot Perkins' 7/ie Pinin Ilor^c: ... cirnan andzamum m it light springzviigon drove up to the cabin at Big Cou lee. !he man,small,thin and wiry,sat on the extreme end of the seat, one leg hanging over the side,for the billinving proportions of his companion left him little r<H)m. Aluleteam Stage I loldup Watcrcolor on paper. 15 x 19 3/4 Courtesy Santa Barbara Museum of Art Gift of Agnes I’atccn Parma in memory of John A. Parma 1975.15.13

Illustrated page .if b In response to his wife's c{)mplaint tliac he did only pictures of violence, bucking horses, ropers, etc., the artist executed this etching with a more reliective theme.

naians

J' erl{ lane, M).i (#146)' F.tching and drypoint, 6 7/8 x 17 13/16 Santa Barbara Historical Society Gilt ol Don Bernard Kilbournc Estate 1978.61.5

Dlaclfoot A loving C amp Watcrcolor on paper. 14 .3/4 x 22 Private collection, Goleta, California

Illustrated page .fii Blaclf(H)t

La Caireia

len, U'esjeni Canada,

Waterctdcir and gouache on paper. 9 3/8 x 12 3/8 Private collection, Santa Barbara, California

Watcrcolor on paper, 4x8 1/4 Kenneth and Claudia Ray. Santa Barbara, Calilornia

Illustrated page .fi) Overland Stage Company, 1911 India ink and drvbrush on paper, 16 1/2 x 28 Courtesy William and Cicnevievc Healey Santa Barbara, California

Blackjoot lUwieu, \ \ e.steni Liatiada, Watcrcolor and gouache on paper, 9 3/8 x 12 3/8 Private collection, Santa Barbara, California llliLstrated page .fp

The artist used both sides ol the paper. A detailed study in graphite ol a roping vaquero apjx'ars reim

Bldclf<x)t \\ 'airior(# 167)’ Ecching and drvpoint. 7 13/16 x 5 1/8 Collection Santa I3arbara Historical Society Gift of Lucilc Borein 1965.78.17

Settlement of the West, 1935(Iragment) Oil on wood. 13 1/4 x 708 1/4 Courtesy The Samuel B. Mosher Eoundation and Carriage and Western Arc Museum of Santa Barbara

Commissioned by Silsby M.Spaulding l or his tack room at Tecolote Ranch. Goleta, California. In March ol 1960, it was relocated to neighboring Rancho Dos Pueblos where it remained until 1971.

.\'uvajos at the \\mitering t lolc, A'o.i(# 181)' Etching. 11 15/16 x 9 15/16 Santa Barbara Historical Society Gift of Ludic Borcin 1965.78.18

BLlcliJoot Women Slaving Camp,Wo.z(#169)* Etching and drypoint, 5 5/8 x 11 1/16 Santa Barbara Hi.storica! Society Cjiltol Lucile I^orein 1965.78.79 llliLsiraied page .^6 Buckskin and IxaLhers, 1922

On'lheirW’ay, 1913 India ink and drybrush, 17 3/8 x 26 7/8 Inscribed From Fdu-ard Borein, Meyers, 1913Courtesy Katherine H. Haley, Ventura, California

with copper plate, first state (#150)* Etching and drypoint, 7 1/16 x 10 1/8 Courtesy "Rip" and Pauline Riparctei Santa Barbara. Calilornia

The artist had known Fretlerick Meyers since he was a boy. Meyers was the tirsc director ol the California College of Arts and Crafts in Oakland.

llliestratedpage Charging Indian Grapliicc on pa[xr, 6 1/2x6 1/4 Courtesy C(irncll Norby Fine Art Newport iVacli, California llhii^trated page

Inscribed fiirstetching Ieivnnade,I:du\ird Borein 191./ Etching, 6 7/8 x 4 7/8 Private Collection, Santa Barbara, California

C'heyenne l\iiid, study India ink and graphite on paper, 15 1/2 x 36 Santa Barbara Historical Society Gilt ol Lucile Borein 1965.78,78

Inscribed 'Ihe second etching I ever made. Borein. Etching and drypoint, 7 3/4 x 5 3/4 Private Collection, Santa Barbara, California

Indian Wanior, 1914

StoiLX Utimbi'A't). 1, 1914

These two etchings were produced while the art ist was attending etching classes at the Art Stu dents' League in New York.

/ lead (>l an Indian Plaster and paint, 9x63/4x4 Santa Barbara Flistorical Society Giltol Lucile Borcin 1964.44.2 Gifted to the Historical Society as IheLiJe.^lask f)/'C7iuWe.s.M. R}Lssetl, this work remained copy

Southwest Landscape

righted under chat title until research lor this ex hibition identified a previously donated work by the artist as the actual life mask.

Ihe Edge ojthe /{mi /{oc/\s (#2c70)' Etching and drypoint, 6 5/8 x 11 1/16 Santa Barbara Historical Society Ciilt ol Lucile Borein 1966.78.4

I lopi Boys (#187)’ Etching and drypoint, 5 1/2 x 6 7/8, second state Santa Barbara Historical Society Gift of Lucile Borcin 1965.78.20

This scene is very near the Orcgon-Ncvada boundry; though formations such as this arc Irequent throughout the Soutliwest.

Indians on I lorschack Watercolor on paper, 9 1/2 x 15 Private collection, Ventura. Calilornia

7cins(#234)' Etching and drypoint, 7 15/16 x 13 1.5/16 Santa Barbara Historical Society Gil t of Lucile Borein 1965.78.8

llhustrated page Indians.5 /ni'ing Camp, 1909 India iirk and drybrush on paper, 22 x 27 Courtesy Thomas Nygard Gallery Bozeman, Montana

Missions

Illustrated page 95

AUssion Dolores,A'o.i, 1915(#260)* Etching and drypoint, 7 7/8 X 11 3/16 Courtesy Marlene Schulz/Arlington Gallery Santa Barbara. California

Aliui/V).s(#183)' Etching, 9 1/4 x 12 1/8 Santa Barbara Flistorical Society Gilt ol Lucile Borcin 1965.78.80

lliiLstrated page 92

IlliLslraied page 95 lission San l.uis l\<ry, study India ink and graphite on illustration board 10 1/2 X 18 1/2

The india ink drawing Ihe Child of the l{ainhnv was published in the College World.Magazine in 191 1 and later appeared in Ihe Craft.sman. It was Irom this drawing the artist created the etching .\avaios.

Santa Barbara Historical Society (.lilt of Lucile Borein 1965.78.25

Etching Plate Mission San Luis R^,Ab. i, first state (#244)* Zinc. 8 3/4 x 15 3/8

Los Cliarms{#26Sy Etching and drypoint, 8 15/16 x 14 7/8 Santa Barbara Historical Society Gift of William H. Bluhm 1967178.10

Santa Barbara Historical Society Gilt of Lucilc Borcin 195761.2

Lus Caballeros Missiem San Luis Tdo. 1, first state (#244)* remarque Etching and drypoint, 8 3/4 x 15 3/8 Santa Barbara Historical Society Gift of Tlioinas More Storkc 1980.66.1

Watcrcolor on paper, 7 3/4 x 9 1/2 Santa Barbara Historical Society Gilt of Lucilc Borcin 1965.78.59 Illustrated[jage 50

The donor of this etching, publisher of the Santa Barbara News-Press, recollected his method of stress reduction. He would cross the street to the

The Wedding Arrangement India ink on illustration board, 19 1/2 x 14 1/2 Private collection, Santa Barbara, California

artist’s studio and incite an argument. He would then return to his office feeling refreshed.

Illustrated page Phis work closely resembles a 1922 photograph (see page 25) taken by Charles Lummis showing the artist outside his Harmcr adobe studio in Santa Barbara.

^Mission Santa Barbara,No.1(#248)' Etching and drypoint, 8 15/16 x 14 3/8 Private collection, Santa Barbara, California Illustrated page 42

Published Works

Mission Santa Ines, No.2(#253)* Etching and drypoint. 7 7/8 x 17 1/4 Santa Barbara Historical Society Gift of Don Bernard Kilbourne 1978.61.3

'[he Land ojSunshine Magazine, August 1899 Color litlwgraph, 9x6 1/2 Land of Sunshine Publishing Co. Santa Barbara Historical Society Gift of Lucilc Borcin 1964,44.3 In a feature article, A Cowboy’s Pencil, Charles F. Lummis gives this description of the artist, A quiet, modest,unassuming boy ...his school has been the cattle-ranges ofCalifornia andMexico;his book. Nature; his tools the reata; his home a California saddle. The article is illustrated with some of the artist's earliest watercolors and sketches executed in Mexico.

1.M Cantina de Las Palomas,No.1(#271)* Etching and drypoint. 9x117/8 Santa Barbara Historical Society Gift of William H. Bluhm 1967178.7 llliLstrated page 47 In 1911, the artist began illustrating the poems of his friend John P. Wilson, several of which ap peared in College World Magazine. One of these india ink drawings would later become the etch ing La Cantina deLas Palomas.

The Pinto Horse Advertising Card Color lithograph, 14 1/4 x 10 1/2 Courtesy Marlene Schulz/Arlington Gallery Santa Barbara, California

Five Vaquerus Watcrcolor and gouache on paper. 14 1/2 x 19 1/2 Private collection, Santa Barljara, California

The Pierce-Arrow Advertisement Li/e magazine. February 2. 1911 Color lithograph. 9 5/8 x 8 The Pierce-Amnvin the Cjreat West, 1910 by Edward Borein

Illustrated page 40 Vaqueros in Fnmt of Church Watcrcolor on paper, 15 x 19 1/2 Private Collection, Santa Barbara, California

Tlie Pierce-Arrow Motor Car Company Courtesy Marlene Schulz/Arlington Gallery Santa Barbara, California

LaNorui (#273)* Etching and drypoint, 5 1/8x8 3/8 Santa Barbara Historical Society Gift of William H. Bluhm 1967178.6

The Pierce-Arrow Advertisement The Literary Digest, March 23, 1912 Color lithograph, 9 15/16 x 7 11/16 Courtesy Marlene Schulz/Arlington Gallery Santa Barbara. California

Illustrated page 43

Business Card, El Pasco studio

Book, Ihc Pinto I /nrse, 1937 Bv Charles Elliot Perkins,

Etching and engraving. 1 3/4 x 3 1/2 Courtesy Jane Rich Mueller Santa Barbara. California

illustrated by Edward Borein Second edition. Fisher & Skolicld. publisher Santa Barbara. California 1937

A fr. Bonin,u nuld you dnne »ie a thnx dot inclwv^ requested the lender as a child. She was rewarded with a "quick draw" on the hack ol his business card. The dots would mark the cars, eyes and nostrils ol the horse.

Paper and cloth bound. 11 1/S x 7 1.V16 F'irst inscription Porlj.idy In/e - U’/lose interest in hoiyes and in horsemanship is a delight toallloversojihchor.se Charles Pdliott Perkins, Santa Barbara - California, .\iigust ic;57. Second in.scription io(.joodl riendlMdy ^idejivm Pdu-ani Borein With an original watcrcolor by Edward Borein on the t ly-lcal depicting a galloping horse and rider. Courtesy John T Reynolds. Santa Barbara, Calitornia

Etching Press Maker unknown Iron and Steel, 46 x 40 3/4 x 22 1/4

Ladv Anne Yule was a wealthy Englishwoman who spent her summers in Santa l.^arbara. Enthralled with the artist’s work, she built a rcsidcncc and studio near her Santa Barbara home

Santa Barbara Historical Society Gift of Walter Silva 1994.33.1-3 It is estimated the artist produced over 44.o etch ings during his lifetime, many of which were pulled from this press, last utilized in his Santa Barbara El Pa.seo Studio.

where the Boreins resided without cost during the last two years ol the artist's lile. Lady Yule re turned to England betore the (Miset ol tlie Second World War, taking with her a vast collection ol the artist's artwork.

Ciucst Book Stetson I Lit - Bucking I iorse AdvenLsement Colored lithograph, 11 x 14 Courtesy Katherine H. Halev, Ventura, Calilornia

Natural rawhide and paper, 13 3/8 x 11 x 1 1/4 Santa Barbara Historical Society Gift of Lucilc Borein 1959.4.1

Stetson I hit - / lorseand l{iderAdiertisemcnt, H)Z^ Colored lithograpli, 14x11 Courtesy Katherine H. Haley, Ventura, Calitornia

Illustrated page ji Created by the artist, the book is signed and illus trated by visitors to iiis Santa Barbara Mesa resi dence La Bairanea. Friends leaving their mark included Carl Oscar Borg, Thomas Moran. Charles Russell and Will Rogers.

The artist became a succcsslul illustrator during his New York periixl(1907-1919). These ad\-crtisements lor Stetson were distributed to dealers tor use as window displays and repnxiuced on desk blotters as customer giwaways.

tjrecting Cards(5) Lithographs: Home Camp 1921. 3 1/2x6 14: Illustrated page a 5, Our House, La Barranca. 5 7/8x7 11/16; Sittin' as Pretty 1926, 4 7/8 x 5 11/16; Merrv Xmas 1931 ..51/4x8; Shattered Ilousecu)!^^.

Sunset Aiagazine,September 1908 Cover, A Bannock Scjuaic by Edward Borein Color lithograph publication, 9 7/8 x 6 15/16 Courtesy Marlene Schulz/Arlington Gallery Santa Barbara, Calih^rnia

llliLstrated page Kj, S 3/16 x 6 1/4 Santa Barbara Historical Society Gift of Lucilc Borein 19.59,4,2.a-f

Alter the artist's return irom Mexico in 1908. he became a commerical artist tor the San PrancLsco Cd//at $8.00 per week. He was also doing free lance illustrations lor varitnis publications, includ ing 5im.se/ A lagazine.

Hat, Pd Rcmc/iem style. cl93.5 Stetson Hat Company, maker Felt and fabric, 15x6 1/2 16 1/4 Santa Barbara Historical Society Liilt of Carolyn Stanwood 1966.1.1

fiends and Hobbies Artist's Easel Maker unknown

The hat's design was inspired by an organization the artist co-tounded in 1930, Los l\ancheros Msitadores, one ol America's nmst elite riding groups. Riders have included Will Rogers, Walt Disney and President Ronald Reagan. The sweat band of the hat is embossed with the Ranchcros Visitadores RV brand.

Iron, wood and paint, 40 1/2 x 31 x 21 Santa Barbara Historical Society Gilt ol Flarold G. Davidson, 1986.55.1 Used by the artist during his Santa Barbara pe riod (1921-194.5).

I Inly (.<nc!

Life Mask ol Charles M. Russell. 1914

Tlic artist with Clurlcs M. Russell (1864-1926) Clay, wax, flock and paint, 7x11 1/2x2 3/4 Santa Barbara Historical Society Gilt of Mary B. Ireland 1973.18.1

Plaster composition and paint, 10 1/4 x 6 3/4 x 5 1/4 Santa Barbara Historical Society Gilt of Lucilc Borein 1954.4.5 Illustrated page gH

llliLstnitcdpage gS

Cast in the artist's New York studio in 1914.

Although a description of the artist's New York studio mentions 'clav models galore," lew arc known to exist.

Leather Working Tools Maker unknown. W(Hk1 and steel Santa Barbara Historical Society Gilt ot James J. Reed 1983.48,1

Head ot Steer Santa Barbara Historical Society Gilt of Dr Irving Wills Estate 1967181.4

As a young man, the artist apprenticed to a saddlemakcr and continued to enjoy leather tcxiling throughout his life.

One of two steers used to pull a carreta in Santa Barbara’s first Ok!Spanish Davs Fiesta parade ol 1924. Reputedly Irom the last remaining pair ol Mexican steers in California. Taxidermy ol the head was executed bv the artist.

Lintel. 1922 Wotxl. 9 1/2 X 77 1/4 x 9 1/2 Santa Barbara Histt^rical Society Purchase This beam, inscribed La Barranca bv the artist, was salvaged Irom the Borein home when it was demolished in 1972.

Illustrated Letter, 1916 India ink and watercolor on pajicr. 7 7/8 x 5 7/8 Charles M. Russell (1864-1926) to Edward Borein Santa Barbara Historical Society Gilt of Lucilc Borein 1959.4.2

Minaturc Saddle. Calitornia style with rcata Leather, wire, string. 5 1/2 x 4 3/4 x 3 3/4 Clift of Mary B. Ireland 1973.18.2 Tlic artist feared arthritis, although there is no evidence that he ever had it. To keep his hands and fingers supple tor his art, he braided intricate miniature rcatas, bridles and full saddles in remark able detail.

In a poetic musing, Rus.sell laments how displaced he fek in New York writing, tchere die lodges hide the sun and its people ndi shoidders but do not speak. An illustration of two Indians sharing a pipe sym bolized the friendsitip between Russell and the artist.

Miniature Saddle. California ccntcrfirc style Leather, wire and string, 5x4x31/2 Santa Barbara Flistorical Society Clift of Carolyn Stanwood 1964.10715,a

Illustrated Letter. 1941 The artist with Sam j, Stanwood (1870-1954) India ink on papier, 13 5/8 x 9 5/16 Santa Barbara Historical Society Gilt ot Lucilc L3orcin 1959.4.2.f

Miniature Saddle, Calilornia ccntcrfirc style Leather, wire and string. 6x41/2x4 Santa Barbara Historical Society Gift ol Carolyn Stanwood 1964.10715.b

Between 1926 and 1946 Stanwood authored let ters inviting piarticipants to Santa Barbara's Old Spanish Days Fiesta. A thank-you letter was sent later, w'hich often took the form of a holiday greet ing. Before going to press, the artist’s artwork was pasted onto Stanwood’s letter.

Miniature Saddle, Mexican charro style (unfinished) Leather, wire, string and horse hair. 7x5 1/2 x 5 Santa Barbara Historical Society CYil't of Carolyn Stanwood 1964.10715.C In 1946. Lucile Borein presented County Supicrvisor Sam Stanwocxl two of these miniature saddles,

Illustrated Letter one on Christmas, the other for his birthday. Tlirce years later. Lucilc gave him the third saddle, an unfinished \'ersion of the artist’s own Bohlin

India ink on papier, 10 1/2 x 12 1/4 Santa Barbara Historical Society Gift ol Lucile Borein 1965.78.84

Mexican saddle, noting her husband meant to trim the cancel and horn with silver. Stanwood also

Addressed lo A dear little girl, the recipient, date and illustration of a Spanish Revival house arc all unknown.

served as LI Presidente of Old Spanish Days Fi esta. The grounds of the Santa Barbara Histori cal Museum are dedicated to his memory.

Model Horse widi Saddle

Saddle, Mexican charro style, cl930 Edward H. Bohlin Saddlemakcr and Silversmith

Palomino horse by Charles M. Russell(ISG^-lQZb) Wax, plaster, flock, horse hair and paint 12 l/2x5x 13

Leather, silver, natural rawhide and hair cinch 40 X 11 X 29 Courtesy The Samuel B. Mosher Foundation and Carriage & Western Art Museum ol Santa Barbara

Caliiornia stock saddle by Edward Borein, 1943 Leather, silver, wire, string and labric 4 1/2x3 1/2x7

The repoussed silver on the cantel carries a dis tinctive overlaid EB (Edward Borein) monogram and was custom designed to the artist's specifica tions. The artist rode in this saddle in early Santa

Santa Barbara Historical Society Gift of Kenneth W Watters, 1969.142,1 llhoitratcd on page 4S Known for his humor, the artist remarked to a

Barbara Old Spanish Days Fiesta parades.

reporter in 1943. Vic hardest thing alyout it [minature saddle]ivas togetthe. hairpinsfrommy wife to make the bucklct,fo,■the bridle.

Suit, Mexican charro style. cl924 Leather labric and silver braid Label: A. Leadermann,

M(xlel Horse with Saddle

Bel/a'/dnimeru, Puebla

Santa Barbara Historical Society Gift of John J. Mitchell 1970,103,1 a-c

Palomino horse by Charles M. Russell (1864-1926) Wax, plaster, flock, horse hair and paint 12 1/2x13x5

An exceptional suede suit worn by the artist in Santa Barbara’s Old Spanish Days Fiesta parades.

Mexican charro saddle by Edward Borein, 1943 Leather, silver, wire, string and labric, 4 1/2x3 1/2 x 7 Santa Barbara Historical Society Gilt ot Lucile Borein 1958.19.5

Spurs, Mexican charro style, cl920 Silver on iron. 3 1/4 x 6 1/2 x 3 3/4 Santa Barbara Historical Society Gift of Katherine Wills 1968.73.1 ,a-b

The artist recycled the repousec silver that deco rates this minature Mexican charro saddle Irom his brother’s old hairbrush.

Model of White Steer The artist with Charles M. Russell (1864-1926) Clay, wax, paint and Hock Santa Barbara Historical Society Gift of Lucilc Borein 1964.44.1

Navajo Banded Blanket, (late 19th c.) Analine dyed wool. 54 x 34 Santa Barbara Historical Society Gift of Mrs. Donald Kilbournc 1973,53.1 The Boreins amassed a vast collection ol Indian and Western artifacts which they used to deco rate both their Hopi-styled home LaBarranea and the artist’s studios. This blanket was used to deco rate his El Pasco studio in Santa Barbara.

Artist Portrayed Mr. Edward Borein, cl930-34 William Spencer Bagdatopoulos (1888-1934) Oil on canvas. 50 1/4 x 40 1/4 Santa Barbara Historical Society Purchase 1984,14.1

Revolver, Colt .^8 Calilxr Amy Special, 1915 Colt Manufacturing Company, maker Steel, mother of pearl and leather holster 4 3/4x11x11/2

lUiLstratcdfront cover

Santa Barbara Historical Society Gift of Katherine Wills 1968,73.2.a-b

Edward Borein on l^inchcro Rfde, 1946 Carl Oscar Borg (1879-1947) Gouache on board, 13 1/2x9 1/2 Courtesy Lawrence and Astrid Hammett Santa Barbara, California

Place Cards (12) Watcrcolor on paper, 2 1/2 x 2 5/8 each Courtesy J.N. Bartficld Galleries New York, New York

Illustrated backcover After the artist’s death, Lucile Borein presented Carl O.scar Borg with a photograph ot her hus band on a Los I{ancheros Visitadores ride. From

Illustrated page 52 The artist occasionally made watcrcolor "quick drawings’’ to serve as place cards for table arrange ments at dinner parties. This complete set ol twelve is rare in chat they were never used.

the photograph Borg executed this image, inscribingit. Eor Lucile Boi-ein - y\ slight tol{ai of many years offriemiship: Carl OscarBmg'June, 2nd 1946.

EDWARD BOREIN

chcn chc arcisc said, ” I have a chuck wagon. Whac do you say co going ouc for a few days with some of the boys?” The idea sounded good co Elmer, but nothing came ot the idea until April 1930, W’hen sixey-tive of the "boys’ met at Rancho Juan y Lolita, chc magnificent spread purchased by a transplanted Chica goan,John J. Mitchell. They had their meet ing. then mounted their horses, and with some men riding in rigs and stagecoaches, W'cnt to Matcei's Tavern, at Los Olivos, lor lunch. They decided to form a club and make the gathering an annual event. T Wilson Dibblec, owner of chc lamous old Rancho San Julian in the foothills of the Santa Ynez Mountains, supplied chc name lor chc group Los l{dnchcws Visitadorcs, (The Visiting Ranchers). On May 9. 1930, a group of ninety Ranchcros cook pare in chc old Spanish custom

61 of visiting chc ranches in chc area, and ev ery year, with chc exception ol chc war years, come chc first of May. more chan 500 men from all pares of North America ar rive in Santa Barbara to ride over the hills, enjoy good companionship and outdoor liv ing for six days. Ed was a charter member and rode in most of chc rides. The Western types just naturally drifted together, and lor manv vears Will Rogers and Ed were inseparable. For some reason, there were more close Iricndships between men in chose days chan there are today. Rogers had been alter Ed co take the two Rogers boys on a trip to Mexico. Will wanted his sons to see Old Mexico, and he felt Borcin was chc right person co take them. When the time came.Jimmy Rogers couldn’t go. but Will Jr., and his cousin. Bud MeSpadden, w'crc available, Ed. Will Jr, and Bud met in Los Angeles

iorycats the Liters of 1:1 ILesidenteofSanUi Ihirhara’s Old S[\mish IXiys Liesta weregniccdivith illustnithmssupplied by Borein. Ihis bucking bwnco m pen and inhaccmipanied a lelleriurilten by I:l hxsidenle bam Stdnivood in

62 in 1930, and boarded a train for Nogales. The whole trip was by train, and the tirst part took them through Nogales, Hermosillo, and Ciudad Obregon. The three travelers had Pullman berths and the train made many stops, and Will remembers going out onto the station platlorm and buying little bananas and other 1 ruit and the inevitable souvenirs. The country they traveled through was full of revolutionary activity because of the Cristcro Revolt, and the train would pro ceed slowly over places where the railroad bridges had been blown and temporarily repaired. Young Rogers had brought along a 16 mm Bell and Howell movie camera, but admits that he never shot any pictures of Borein or himself, but got many views of the buildings.(Hd always wondered why Will Jr., traveled clear to Mexico and then took pictures that you could shoot in the middle of Los Angeles.) They eventually arrived in Guadalajara where they stayed one day, before board ing the night train to Mexico City. They registered at the Hotel Geneve, and Will remembers being bv himself most of the stay in the city. He comments, ”Ed must have had quite a lew acquaintances, for he was gone most of the time—we didn't sec each other hardly at all.” Hd cook the boys out to see the charros at Chapultcpec Park on Sunday. In 1930 there were few American tourists at the hotels, and hard times lay across the land. The artist kept harping on one theme."Ah you should have seen the Reforma in Porfirio Diaz’ day. There were many more charros and they were better-dressed then." Also Borein was thirty years younger then, and probably meant that things were different, not necessarily better. They saw two types ol charros. The pa rade riders rode every Sunday on their horses, with burnished metal and leather.

NOTICIAS and colorFu] costumes. Then there were the working charros, roping steers with grace and skill. Vincenzo Orapeza. a roper with the Buttalo Bill Wild West show was a teacher ol Will Rogers, Sr., and is consid ered one ot the top ropers of all time, Hd was always interested in saddles, and the trio went to one ot the old saddle shops, where the boys stood open-mouthed hetore the hundreds of Mexican saddles. There were lew with silver mountings, which was done to special order. He also cook Will into one of the lirst bars the youth had visited, Hd knew his way around Mexico City, and this was a real bis tro. Huge, heavy booths, with tremendous chairs, and four-hy-eight hand-hewn tim bers supported the walls and ceiling. Rogers remembers that Ed did some business with the owners ot this bar, but Ed was closemouthed about his aflairs, and the hoy never did know what the negotiations concerned. They left Mexico City and visited Vera Cruz, then returned to the States by a ditferent route. Rogers reports the trip did not overly impress him at the time, as he was young and had many ocher interests, but that his lather wanted him to see Mexico with Ed Borein. So he did.^^ Later, Will Rogers, Sr. wanted a vaca tion from film work, so in October ol 1931. he and Borein planned a trip to the Hcarstowned Babicora Ranch in Old Mexico, Tlicir friend Arch Parks met them in El Paso, lor he wanted Rogers to invest in a silver mine at Namipuipa in the state of Chihuahua. The three friends crossed the border and checked out the silver mine. Nothing came of this venture, as the abandoned mine was filled with water. So they moved on to Chihuahua City, then to Santa Ana where they came to the sprawling Hearst ranch. 'Ihc ranch had originally been bought in igoo by Mrs. Phoebe A. I karst, mother

EDWARD BOREIN 0/the Lite William l^indolph Hearst.She had bought 500,000 acres of Spanish land'grant landjora reported $wo,000, ivhich was the beginning of Babicora.A.s years passed, the liearsts added land to the ranch until it exte7idcd more than 11j jniles in length and 70 miles in ividth. WhenWlrs. tka^st and her son vis ited the ranch soon after the originalpur chase they traveled for three days by stagecoach,starting at Chihuahua City and ending theirjoumey at the headquar ters ojthe ranch, which is located about 160 miles south oj the border city of El Paso.

ranch. Ed had practically abandoned his sketch pad, and was making use of his cam eras to aid him in his sketches. Their vacation over, Ed returned to Santa Barbara and the following summer made his last trip to Canada, where he gathered ma terial for a scries of splendid watcrcolor sketches of Indians and their regalia. This collection is housed in the research library of the Southwest Museum in Los Angeles. Ed had by now become a fixture on the Santa Barbara scene. The townspeople were accustomed to seeing the artist on the city's streets, and his first-name friends numbered in the hundreds. He was a colorful charac

'Ihe Ikarsts stocked the ranch with

ter, and could always be counted on for a

Durham sho)-thoni cattle, and in peak years ran 50,000 mother cows. From

story or a laugh when visiting his studio. A local lady decided to write a news story about the Ranchcros Visitadorcs, featuring the artist, who was a member of the orga nization. She wanted to interview him but

i 5,000 to 20,000 calves were dropped annually. Steers were grazed on the vast rangesfor three years and then driven in great herds to a railhead at Columbus, ivhere they were shipped to Cali fornia.Laterthey were driven to Chihua hua City and shipped by rail to El Paso, hi the igzos the Durham cattle were re placed withwhite-faced I krefords. Wil liam Randolph 1 karst imported fine Ilereford bullsfrom the United Statesfor breeding purposes. After Lazaro Cardenas became President of Mexico in ^955, the big ranch ivas cut into eight separate divi sions to comply withMexico's land own ership laws.'The divisions were placed in the names of several members of the I leaistfamily, keeping the junch intact. At one time the headquarters tookhi an entire village in u-hich up to qoofami lies lived. 'Ihe village included a school, zo chwch, hospital and sUmes. The three friends spent many days riding over some of the vast acreage, did some roping and took movies of activities on the

had never met him. Karl Obert. the pho tographer. came to her rescue and took her to Ed’s studio and introduced the pair. Right there she made her first, and as it turned out, her last mistake of the interview. She asked if Ed had ever been married. "Yep,” came the answer. "Three times. The first was to a New York chorus girl. That didn't last long so 1 married a circus aerialist. One afternoon during her act. she fell and broke her leg, and 1 had to shoot her right there in front of the audience. Then, of course, 1 came to California and married my present wife." The lady was reportedly in shock when she lelt the interview a short time later. When a new'spaper reporter interviewed Ed. he usually got enough copy to last a week. Ed was garrulous and never used one word where ten would do. But he had a fac ulty lew people possess; he could keep his mouth and hands going at 1 nil speed simulta neously. He loved company, but when he was at his home studio on the Mesa he would

NOTICIAS

W'all Dimey, Ed Bordn, and Clyde Forsythe, Ihrein was a Joundin^ member ofLos [{aneheros \'isitadores in njy)and Disney attended their annual horseback trek d <!;uesi in ^938. Victor C lyde I'orsythe(i88y~u)bz)ivas esjKcially knmvn jor his landscapes oj the West and depictions oj prospectors and 2,lu)st toivns. I le ivas also a cartoonist and illustrator. work out his ideas on paper and Lucile soon learned that he was not to be disturbed when he wanted to be alone to w'ork on a picture. The Great Depression struck in Santa Barbara in the 1930s. but Ed’s philosophy of living for the Right Now carried him over the rough spots, which included having the water shut off in his studio lor non-pay ment of the bill. He never worried, cook the good with the bad. Ed had a tough time ol it, but with his wile helping him in the shop, managed to sell enough ol his etchings and

drawings co make a living. The artist: was good ac bartering and would trade one of his waccrcolors for a piece of leather work or an Indian artilact. 01 ten he would pay a tradesman for a plumbing or repair job around his home by having him select a watercolor or perhaps two or three etchings. Usually, both parties to the swap went away happy. He survived, as did millions of other Americans, and dur ing the last years of his life he was reason ably affluent.

EDWARD BOREIN k was during this time that Ed had two projects going in Santa l^arbara for Will Rogers. He was having two specimens mounted lor his Iriend. One was the head ol a Scotch Highland steer that had bucked oil every rider at one ol the Salinas rodeos. The scccmd was a call which was stuffed and mounted on rollers. It was eventually kept under the stairway at Will's home in Santa Monica, ready to be pulled out into the room when Will wanted to rope. Ed said, "It was a nice looking calf until Will wore the cars oft practicing on it.” Will remarked, "I got an old sculled call in there that I get out and practice on. I am w'ichouc a doubt the best dead-calf roper in the w'orld, but when I try it on a live one. it don't work. But I am death on dead calves. Shorclv thcrealcer a great tragedv unlolded. Will had embraced I Iving. Thomas Scorke. editor and publisher of the Santa Barbara A^civs-Prcss wrote ; . . . For many years Will I'kigers was closely identifiedw'ith ourannual Fiesta. In the summeroj1935,when the city was being decorated with Jlags and bunting for our Old Spanish Days Celebration, Will and flier Wiley Post set out on a flight to the Orient. A Santa Barbarayi, jack Petras, happened to be in Juneau, Alaska, the

65 morning Post and lagers lool{ oj] for Point Barrow, beyond the Arctic Circle. Petras drove out to the airport in time to see Rogers climbing aboard the plane. / le plucked Will s sleeve and called above the }y)ar(>l the engme,"QreetingsJrom Santa Barbara!” Rogers thnist his head through the ivindoic and yelled back "Cjce, I'm sony we haven’t time to visit. Qive iny love to Iid Borcin and 'lorn Storke!” Aly name jnay very well have been the last tivo ivords Will I^)gers ever sent back to the outside ivorld,for he and Post Tvere instajitly /vided ivhen their plane crashed near Point Bajroic. Ihe sad news very yiearly resulted in Santa Barbara cancelmg the 19:55 i iesta. Finally it ivas decided, as a tribute to Will's evergreen me^nory, to cany on as he ivoidd have ivished us to do Ed was naturally upset by Rogers’death. They had been close friends since they met in New York in 1908, and also his circle of intimate Iriends was dw’indling. Leo Carrillo and Fred Stone, however, were very much alive, and Jimmy Swinnerton paid occa sional calls at the Borcin home. The months and years passed at La Bar' ranca, overlooking the Pacilic. The Borcins loved their home and the Mesa, and Lucile

^JSL

Borcin felt the ocean air at La Barranca was rcspmisiblc for the /oss of dc.xlcrity in his fingers, ihe Boreins moved to tj home on LI delta Roud in u).^l at the iKhest of Lad\.-\nne iide. Lucile icmdd move hack to La Barranca after Ed’s death.

other group would arrive. There were times when the artist simply had to get away from the tension. He would leave Santa Barbara to hunt with a friend, or travel to the annual Salinas Rodeo, where his well-known figure would be seen seated on the corral fence with his cameras, record

weather his hands ached, making it ditlicult to hold the etching needle. Mrs. Cox gives an insight into his char acter. He could be deeply hurt over some incident, but never show it. He might men tion it later to her. Other f riends report that he was exceptionally profane but not vul gar in his conversation. He could be very sarcastic but turn on a rough charm for the sake of the ladies. He had many friends but valued most the friendship of the persons he had met during his younger struggling 24 days. The artist and his wonderful studio full

ing the cxdtina events in the arena.

of exciting things was a Mecca for the chil

His production of new etching plates de creased, but he had a large collection of them in stock, and continued to pull impressions which sold readily. In later years he could afford help in the studio and hired several girls at different times. The girls had one complaint in common. Ed refused to sign the prints wholesale, and would only put his signature on the dil Icrent subjects a tew at a time. Actuallv. he preferred to wait until tliey were sold before signing, but this was not practical. Mrs. Ruth Cox. who worked as secre

dren of the community. The youngsters were treated with respect, as Ed had dis covered the priceless secret of how to get along with children - take an interest in what they arc saying and doing. A local youngster would often sic at his desk in the Lincoln School watching the clock. When the four o’clock dismissal bell

was a good housekeeper, hut occasionally she tired of being a sht:)rt-order cook for the dozens of visitors to the house. Then she would provide breakfast only, and the bal ance of the day's eating would be done in restaurants. Tlic visitors came in droves, and no sooner would one batch leave when an

●

NOTICIAS

I inally rang, the youngster would be ol f like a shoe. He would run the several blocks, skid around the corner and stop at his friend’s studio in El Pasco. Edward Borcin would be

mentary set of books. She provided a description of the man during the time she worked for him. He was approximately 5'7" weighed 160-65, had dark gray eyes, wore glasses, and had brown hair, which was rapidly turning gray. He usually wore modified cowboy gear, with boots, western shirt, a string tic, and a Stetson hat. He constantly worried about

waiting for him. Tlie youngster barely came up to Ed’s belt buckle, but the artist would always give him a little poke in the stom ach with his thumb and say,"How arc you, amigo?” Then the fun would begin. Ed had a saw horse fitted with a saddle, and the boy would don a scrape and a Mexican hat and pose wdiilc Ed would sketch and calk. Tlic boy spoke Spanish and Borcin insisted their conversa tion be in chat language. He reported chat Ed’s Spanish was adequate, but not fluent. Borcin paid the boy a dime or "two hies” for his services, and naturally, he was the object of cn\y of every child in the community. Arc collectors, tourists, and children were

getting arthritis, and said that in cold

not the only visitors to Ed’s studio, A dra-

tary to the artist, declares unequivocally that he would not allow anyone to sign his prints. Ruth, a charming woman,served as Ed’s Girl Friday from 1935 until 1943. She made a valiant attempt to run the studio on a business basis, and at least keep a rudi

EDWARD BOREIN

67 again, and made a proposition which muse have made Borein’s eyes bulge. Lady Yuie said she was building a home on El Cielito Road, and with his permission, she would like to build another nearby lor the Boreins, and naturally, it would include a studio with northern light tor the artist. No strings attached, no obligations; she simply wanted company and the Boreins suited her fine. Borein accepted, chietly because he felt the ocean air at La Bajranca was perhaps responsible for the growing stiflness in his lingers. The Boreins spent the war years at the El Cielito house, but Lady Yule returned to England before World War 11 started. The new home did not have the appeal ol La Baminca on the Mesa. "Let’s move back home.’’ Borein suggested. "This house is too much like hundreds in Hollywood." But Ed Borein never returned to La Bar ranca.25 The sentiment among Ed's Santa Barbara Iriends was divided over this event. Some

Borein in the doonvay oj his studio in El Pasen. lonxird the end oj his life, his artistic output de clined, hut he still speyil a purl of evei-y workday at the studio. In igyi,26 years after his death, he was elected to thcA'ational Coivlx)y I lall ojFame,join ing old friends Cluirles l'l}issell and Will l^gas. macic event took place late in 1939. Lady Anne Yule, one ol the wealthiest women in the world, had spent many of her summers in Santa Barbara. She had first crossed the ocean in her sleek white yacht, theNahlin in 1934 Irom her home in England. She had become acquainted with Ed and Lucilc through mutual Iriends and was collecting the artist’s watcrcolors. and greatly admired both his work and his personality. Passing the Borein studio in El Paseo one day, Lady Yule scoppetl in to chat with the arti.st. A short time later she .stopped by

prolcssed to look deeper into the matter. Some muttered that Lucile was a "social climber" and several Iriendsbips were bro ken , but it is SLil 1 icient to say that Lady Yule was playing one ol the traditional roles of tlie wealtlryt chat ol a patroness of the arcs. A footnote to history is chat when Lady Yule returned with her yacht, A'alilin, to En gland in 1936. King Edward VIII chartered it lor an Adriatic cruise with Mrs. Wallis Simpson, shortly belore he abdicated the Throne ol England lor the woman he loved. Mrs. Borein said her husband was never happy at his new studio and home on the side ol the mountains above Santa Barbara, w'hcre there was a superb view of the dis tant Pacific Ocean. He at least suffered in beaucilul surroundings.^^ He was slowing down in his output of work, but still drove daily to his studio in El Paseo, where he would spend the day sit-

NOTICIAS

ting in the sun, and talking with his triends and customers. Fred Barton said he knew Ed Borein over twenty-five years and visited him each time he was in Santa Barbara. One day he went into Ed's shop and Found him sitting in the hack room writing on a piece of paper. Barton joked,"What are you doing Ed, till ing out an income tax return?" Ed replied, "No it occurred to me recently that a man of mv aac miaht die one ot these days, so 1 am making a list ot my personal belong ings to be sure the right people get them ”27 after I'm gone. The artist had begun to carry some extra weight on his body, but was in good health. The morning ol May 19. 194.5, he drove to the city, parked his car and went to the Red Cross Drug Store on State Street, where he would occasionally sit in the back room with the owner and "shoot the breeze." This morning he complained of an upset stomach and was given rhubarb and soda by one the clerks. After a few min utes he left for his studio. After lunch, he complained of chest pains. A friend called a physician, and then drove the artist home in his car. Shortly after the doctor's arrival, Ed died while telling one of his famous stories. There are one or two other stories concerning the circumstances of Borein s death. 1 have used the details as given to me by his persona! physician. He was cremated, and his ashes scattered in his old haunts by a friend. A memorial service was held two days later, when he was eulogized as the "Last Artist ol the Longhorn Era." A sale of Borein's works less than a month after his death was a success, and most of the remaining watcrcolors were sold, and many of the etchings. The bal ance of Ed’s work was taken to La Barranca on the Mesa, Lucile made many sales to friends and collectors, and as is usual with

J.ucilc Borein oullived her hu,diand Iry 22 ycurs. She continued to mark the occasion oj their anni versary, as the years ivent Iry, in their guest hookShe lived at l.a l^arranca until u)6h and died the follmcing year.

widows of well-known artists, she had her share of moochers who usually departed with some loot. She was not adept at say ing no. She did, however, say no on one occa sion. Some time after Ed’s death, a widower ol some means proposed to her. but Mrs, Borein declined, saying that she had a good life with Ed. with many fond memories,and she wished to leave it that way. She never did remarry. In 1950, a group of Borein’s friends formed an Edward Borein Memorial Com mittee, and published the first of two books. Etchings oJ the West, and in 1952 a second book. Bordn’s West, was published by the same committee. The two volumes were

EDWARD BOREIN

sent to President Dwight Eisenhower, who admired Borein's work. Later the Commit tee sent one of Borein’s etchings, Biicl{sl{in and to the President, who hung it in his oHice at the White House, It is now hanging at the Eisenhower farm at Gettysburg. By 1965, Mrs. Borein's health was fail ing. and the next year she was moved to a convalescent hospital where she died Sep tember 13, 1967 La Bananca,by now badly deteriorated, w’as sold bv the heir, Mrs. Borein’s nephew, and then resold by the new ow’ncr to a de velopment corporation chat planned to build condominium apartments on the site. There was an effort made by local citizens to save the property and buildings as a historical landmark, or relocate the structures to an other site. However, it was the classic "coo little, coo late.” and in early September 1972 the complex ol buildings was razed by bull dozers. Shortly after Edward Borein's death, the follow'ing editorial appeared in the Santa Barbara .\'Lni's-Prctis. It is a fitting tribute to Ed. his work, and w'hac he stood for.

ONE WHO SERVED A GREAT PURPOSE WEL

I lumanity has no greater debts than those zvhich znankind ozves to thepeoplezvho keep the record of mazi s affaiz's clear, tnie and — very important — interesting. If, in addition, those zvho l{eep such records have tolezxizice, and kindliness and humor that they can give to their zvorl{, then they are among the gz'eat, and to them huznanity also ozves that zvhich can be appraised only in tenzis of sentiment. \\ b have knozvn for a long tizne — azid nozv zve azv beginziing to believe — that histoiyii is

not conjined to dates,uwsand edicts. W ’e have l{nmvn, and zee are beginning to believe, that the most impoitant histmjis not ivritten zcords but rather m u’ordtess records the phrases of ivhich never become obsolete and the languages of ivhich 7iever become "dead.” A "keepa-”of such records ivas lid B<mein, "painterand etcher of the old West,"first-hand student of humanity, cozvhand and philoso pher,zvho died last zveefin Santa Barbara al ter!^ years ofreside^zee in a community zvhere he belonged, by reason of his attitude tozvard life and his appreciation of the appraisals that Santa Barbara snakes of people and things. With etching tool and bnesh,zvith acid and paint P.d Borein "zvrote" the history oj America’s West, of a zvay of livmg and — cdl important —ofa zvay oftlimfing, that zvill be pan ofAmerica's snength hmg after the details of the V\7;sf are forgotten, lie "zvrote”histo7-y in a zvay that it zvill be read azid reread unnumbered timesforgeneraturns to come. Ihc tnith in his "zvriimg"zvill Cfmtmue to be clear long after the uwds tmd the tools of the "old West"are forgotten, 'lhat zvhich Ed Borein "zvrote ’’zvill be clear as hmg as people ca^i read character its it ap peals in 77ien’sfaces,in the suing of theirshoidders, hi their clothes which shozv zvhich is the more impoj'tant — znan or clothes, in the zvear ofzveatherandsun,in the zvorf-melhnved lines of gearazid in the makeshift efficiency ofevei-y frontier. Wien zvill be stnaggling zvith zvords azid research for years in attempts to tell ofthe West that zvill all fall shon — both in breadth and depth — of the tiny,fine lines in zvhich Borein ensnared the vajspirit of the \\ bst and its ap parent ease in things hard-zvon. Santa Bai'bara — and that means more thanfust a very large number of individuals in Santa Barbara — zvill miss Pd Borein. But. mow than most mezz izi this or any other comznuziity, he left a recozxl. 7/ie z'ceord zvas iznportazit because it zvas znoz-e of others than of

NOTICIAS

himscljand more ojthe spirit than ojthe mate-

duccory biography ot Borcin which ap-

rial in things,

peared in the book, Etchings oj the West. Edward S. Spaulding, cd.. Edward Borcin Memorial, pub.. 1950.

r.d Borcin s life zvas a prooj that an is not ejjaninate and that the common things ojlife are the most imponant.'^

11. Will Rogers. Jr., incerview with author. 12. Charlie Russell also used a variation of this story in a book. We do not know who was

NOTES 1. James Swinnercon (1875-1974) started out as a cartoonist, but alter moving to Palm

the originator, but the odds arc it was sim ply a story in common usage at that time. 13. Lucilc Borcin. incerview with author. 14. SaJitaBarharuNavs-Press, 12August 1956. 15. Hans Kleiber, a native ol Austria, immi grated to die U.S. and settled in Wyoming in 1907 For many years he worked for the U.S. F(«est Service. Self-trained, he ren

Springs, California in 1903 lor health rea sons, he began to paint landscapes. His can vases of the Calilornia desert and oi the

dered the American West landscape in wacercolor, prints, and oil. In both his arc and his poetry, he expressed his love of the great outdoors. Elling William Gollings spent his bovhooi.1 on an Idaho ranch and. alter a pe riod in Chicago, returned to the West to

American Southwest are highly regarded. He and Edward Borcin were dose friends; chev first met while attending the San Fran cisco Arc Association Arc School in 1891. 2. Charles Fletcher Lumniis Papers, in South

work as a cowboy. A great admirer of

west Museum Library. Los Angeles. 3. Walt Coburn. "The Injuns Called Him Medicine Man," 'InieW'esi. Also courtesy of Mrs. Walt Coburn. 4. Lucile Borein, incerview with author. 5. Santa BarbaraNeu’s-Press,\2 August 1956. 6. Lucile Borein. incerview with author. 7. Santa BarbaraA'civs-Pivss,12 August 1956. 8. Joseph Knowles,interview with author. Jo seph Knowles arrived in Santa Barbara in 1927 CO attend the Santa Barbara School ol

Remington, his work, like Borein’s, show ing ranch life and ocher aspects of the American West, was greatly respected not only lor its artistic merit but for its accuracy. 16. Wallace Hebberd, incerview with author. 17 Lucile Borcin, incerview with author. 18. Dr. Irving Wills, interview with author. 19. The account ol the trip was supplied by

ums including oil. waccrcolor, and sculpture.

Will I^ogers. Jr., at Tubac, Arizona, Au gust 24, 1971. 20. IhcNeivlorh'Umes, ib Augusi 1953. Will

He became especially well-known lor his mural work. He also was a distinguished

Rogers Memorial, courtesy of Mrs. Paula M. Love.

the Arcs. Fie worked in a variety of medi

educator, working lor a number of Santa Barbara area scliools and was an arc educa

21-

tion consultant lor Santa Barbara County Schools.

22. Will Rogers material quoted by permission of the Rogers Company. 23. Thomas M.Storkc, CalifoniiaEditorfSmiz.

9. Yakima Canute, incerview with author. 10. Dr. Irving Wills, incerview with author. Irving "Nat" Wills came to Santa Barbara in 1923 and was a surgeon for many years on the stall of Santa Barbara Clinic. Friend ol Borein, he developed a large collection of his works. He was an authority on Western Americana and wrote the intro-

Karl Obert. personal conversation with author.

Barbara; News-Press Publishing Company. 1958),.367-378. 24. Ruth Cox, interview with author. 25. Santa Barbara A’civs-Press,12 August 1956. 26. Lucile Borein, incerview with author. 27. Fred Barton, interview with author. 28. Santa Baj'hara J^eivs-Press, 22 May 1945.

A Selection from the Santa Barbara Guest Book of Ed and Incite Borein r.diior’s note:()n the occasion oj then-first wedding anniversai^',June z'j, 1922., lid and Lucile Borein began aguest hook.Appropriately,thefirst to sign the boo!{zvas Charles Lummis,ativhose home the couple manned. Manyfamiliar names appear in the bool{: V\'ill lagers, Fred Stone,Leo CaiTillo, b-ivin S. Cobb, I lelen Wills Wloody. A number ofthe Borems’ ai'tLst friends not only signed the hoof but aLso coiitributed drawings, including Carl Oscar Borg,Ihomas Moran,Joe De'iong, Colin Campbell Cooper,Jimmy Swimicnon, Will James,and B. W.(pollings. After her husband’s death in 19^5,Lucile continued to poignantly mark their anniversa7-y,ending the prac tice in with a Noel Coward quotation,"Each sweet memory through all the years will come to me, . . . In my heart will ever lies, just the echo of a sigh. Good Bye," J\lo ponion of the guest bookhas ever before been piddished.

4“

V©

St*

% '4^

X\ie

"S-

■ ■. '' .s

cSsl

tvme

wAV WuL’i.

\wm s®.

i - So wVVtc

Toux'ma. ^ \ieTfse »

0«*,

a. V^XXs.

> ;

NOTICIAS

<*«c.

(

2>^

EDWARD BOREIN

■a

, i

^ 4 X

-V

3-^

^.rr,

'ni

‘■MU y-

^ fi

CpUc^ jiaA^

> ' / <-^rfLo k,"v-v\^ 'T^di' UZ'.'\Q.^- j C^ f^ 7-V

n- ,-t. ,, ;'/ f-/^ ' sj

. / / .-

4.^

4 ^ '

Y^/<^^Z.

-^.1^1.

Cf-v-\-

-ti*n^/'. p

^uvT- .'p-T

C„

i Y. I K'

V *

NOTICIAS

■'lac^an

«iaT

u \he.

Borein^ — -^Moy^e g

one

a o ci

l>Mck

ca*^

r-A

c^oe De >r « VOa d.**u»mev^ ar\ iaoU’s ■nes't

r»

iiu\' b1®c1 1» ^ het'eS,

1+Jfi.vch %5-

EDWARD BOREIN

EX LIBRIS ■

x-<^

Hr-w^

‘v-e-c^

j^iO.^' 3<5

CARL OSCAR BORG

The Santa Barbara Historical Society wishes to acknowledge the generous (inancial support of the following towards the publication oi this issue ol NOTIQAS:

Anonymous Arlington Gallcry/Marlcne R. Schulz J. N. Bartlidd Gallery Ernest A. Bryant, 111 Torn and Judy Decker Lawrence and Astrid Hammett William P. and Genevieve Healey Ambassador Bill and jean Lane James Main Fine Art William and Nancy Meyers Warren P. Miller Cornell Norby Fine Art Thomas Nygard Gallery John T Reynolds Sanwa Trust and Investment

SANTA BARBARA HISTORICAL SOCIETY BOARD OF TRUSTEES Lani Mcanicy Collins .. Jo Beth Van Gcldcrcn .. Jane Rich Mueller Warren Pullman Miller Ruth B. Scollin

President .... First Vice President Second Vice President Treasurer Sccrctar\"

Carla A. Anuissen Victor H. Bartolome Barbara Cleveland Michael K, Cribbs Alexandra Crissman Dan Cross Oswald Da Ros Marilyn ' Chandler De \bunCT o George E. Brakes Richard Glenn Jean Goodrich Law'rence Hammett Barbara Parker Robinson Michael Rodrigue Marlene Schulz Cicclv Whcclon George M. Andcrjack. Executive Director David S. Bisol, Curator Patricia Warren. Director ol Administration and Finance Michael Redmon. Director ot Research and Publications

Museum & Library: 136 East Dc la Guerra St., Santa Barbara, CA 93101 Telephone: 805/966-1601 FAX: 805/966-1603

>●

i ,V1ji.

●‘4^

● Wvv:'';.'.

Ed Borcin cm Ranchcros Ride. iq^6. Qouachem Ixyajxl, 13 l/^x g 1/4 inclu-s, Carl Oscar Borg (iS-rg-Lg^.-). Collection ofLaurence and ^Astrid Hammett. Photograldihy William B.Dciaj.