Edward Borein: The New York Years 1907-1919

NOTICIAS Quarterly Magazine Of The Santa Barbara Historical Society Vol. XLV, No. 3

Autumn 1999

Edward Borein; The New York Years 1907-1919

71 tilt Summo'igg8 issue o/NOTICIAS, author Hamid Q. Davidsori examined the years cowboy artist Edward Borein spent in Sa7ita Barbara; Borein died here in 2945Totany may not hjiow, hoivever, that Borein spent tivelve highly productive years in Nciu Yorh City, honing his shills and developing a national reputation as an artist of great talent. Hamid Davidson returns to the pages o/NOTICIAS to documart this important,formative period in the artist’s life.

Front cover image is a lithograph ofEdward Borein executed by portraitist and scidptor William Obahardt about igig, shortly before Borein moved bach io California. Ihis image and all illustra tive material in this issue o/NOTICIAS isfrom the collection ofHarold Q. Davidson unless noted otherwise.

THE AUTHOR: Flamld Q. Davidson is the author or co-author offive boohs on artists oj the American West, includingfour boohs on Ed Borein. He is considered to be the outstanding authority on the life and worhofthis coxuboy artist. He has been involved in the art worldfor some seventy years and operated art galleriesforforty-four years. He is an acitjiowledged specialist in the appraisal and authentication ojworfs ofart ofthe American West.

Edward Borein, che New York Years. 1907-1919fvrn Edward Borein, Cowboy Artist copy right o igy^fby Hamid Q. Davidson. I^eprintedwith the permission ofDoubleday CtCompany,Inc. INFORMATION FOR CONTRIBUTORS: NOTICIAS is a quarterly journal devoted to che study of the history oi Santa Barbara County. Contributions of articles are welcome.

Those authors whose articles arc accepted for publication will receive ten gratis copies of the is sue in which their article appears. Further copies arc available to che contributor at cost. The authority in matters of style is che University ofChicago Manual ofStyle, i.ifth edition. The Pub lications Committee reserves the right to return submitted manuscripts for required changes.

Staccmcncs and opinions expressed in articles arc the sole responsibility of che author.

Michael Redmon, Editor Judy Sutcliffe, Designer

© 1999 The Santa Barbara Historical Society 136 E. Dc la Guerra Street. Santa Barbara, California 93101 ● Telephone; 805/966-1601 Single copies $5.00 ISSN 0581-5916

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GbwAPb ^opein Tbe Qew 0opk yeAPS 1Q07"1Q1Q flights” should be explained.

The poet’s reference to "four 'There were four flights, but after climbing them, one arrived at the third floor. Of such heady stuff, history is made.

Never again would there be a camp ground so incongruous. Nestled among the Gotham skyscrapers, amidst the hurlyburly of show biz. was a site staked out just for Westerners and aficionados, an oa sis amidst the concrete and steel of Man hattan. Here was the magnetic focal point which would eventually attract hundreds of visitors, including artists, writers, ac tors, poets, friends, cowboys, and a presi dent of the United States.

(B. ©Avibson

Edward Borein arrived in New York lace in December 1907. He boarded and roomed with Ed Emerson, the friend he had met on the West Coast the year be fore. and who had encouraged him to come East. The Emerson family lived on East Eighteenth Street, where Ed had a hall bedroom. Colonel Edwin Emerson, a former Rough Rider, had a large circle of friends, and the house was always filled with guests. Incidentally, the Emerson family nickname for Borein was "Slim.”

Emerson, a noted author and war cor respondent. knew his way around New York, He helped Ed get his start by intro ducing the artist to the editors of maga zines and newspapers, and Borein began to receive commissions for his illustra tions. Many of his India ink drawings were improving in technique and interest.

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During his early New York period he was determined to be a commercial illustrator, for he realized that was where the money was to be made.

The Emersons moved to another home on Fifth Avenue near Madison Square Garden. Borein moved with them and lived in a small room with a balcony on the upper floor of the house. By this time there was a little money coming in. so in 1908 Ed rented a studio at 138 West For ty-second Street, next door to the Knick erbocker Hotel in the heart of the old theatrical district. The noise and excite ment of New York was in sharp contrast to his former leisurely life in California and Mexico. The show business atmo sphere of the area added to the general

confusion, and there were several rehearsal studios in the same building, with a result ing daily passage of chorines in and out of the area.

Occasionally he stayed overnight at the West Forty-second Street studio, where he had two cots—one for himself and the other for any friend who was stranded or broke. He cooked his own meals but now and then would eat out at restaurants. A regular regime of frijoles, bacon, and black coffee was not conducive to a balanced diet or inspired artistic out put. A stray cat wandered in one day, and Ed fed the animal. Apparently it liked Mexican food, for it decided to move in and adopt the artist. It became the official studio mouse catcher.

During his years in New Yorkj Borein neverfaltered in his love of the West. Here he sits astride a horse owned by his goodfriend, actor Fred Stone, dressed in a charro costume, out on Long Island.

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BOREIN: NEW YORK YEARS His old friend, jimmy Swinnerton, was by now a well-known cartoonist for the expanding Hearst syndicate. Jimmy had been living on liquor and black coffee, and the medics of the day had diagnosed tu berculosis and had sent him to the dry Western desert, to die respectably. This was in 1903, four years before Borein ar rived in New York. After Swinnerton set tled in Palm Springs, which then had a population of about twenty, he went back East every three months to check with Hearst’s King Features Syndicate. It was during these trips that he and Ed got to gether and renewed acquantances.

Swinnerton’s cartoon series, "Little Jimmy,” had made him famous, as did his other creation. "The Canyon Kids.” Jim my was happy in the frantic newspaper world and making money, but he told Bor ein he had "always wanted to paint real pictures.” So Ed replied, "Then come up co my studio and paint.” The invitation was promptly accepted. After work. Jimmy would go to Borein's studio, have some thing co eat, then the two friends would work at their easels until quite lace, when Swinnerton would leave for home.i Borein had visited New York’s numer ous galleries, calked and exchanged notes with artists he had met, but had as yet not received any formal art training.

Qeecino GhApLie RusseLL He met Charles and Nancy Russell when they came co the city during the winter of 1908, and the two artists soon found they had much in common. Charlie and Nancy were in the same circumstanc es as Ed. scurrying around New York try ing co sell a few pictures and get commis sions from editors for commercial illustrations. It was hard going for the Russells and Ed.

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He concinued co paint in oils during this first period in New York, but made the statement that, "Me and Russell had each painted the same subject on canvas, and after seeing Charlie’s painting, and comparing it with mine, I felt that I had no business working in the same medium as Charlie." Afterwards, he told Swinnerton that he was going to give up his oil painting as he felt he would never equal the work of Charlie Russell. Ironically, Russell said that Borein could have been one of the best in that medium. Swinnerton admired Borein's oils and tried to per suade his friend to concentrate in that me dium. but to no avail. Borein was "set in his ways,” as Swinnerton remarked. Ed’s first exhibition in New York in 1908 was a mixture of oils, India inks, and pencil sketches.2 Of this first show, the noted actor Fred Stone relates, 1 was walking along Fifth Avenue and was attracted by a large painting ofa buck,' ing horse in a window.1 went in andfound a large collection ofwestern paintings guarded by a lean cowboy in boots and Levis. 1 ask,ed him whose they were and he said, somewhat bashfully, "I made ’em." I bought the large bucking horsefrom himforfive dollars,and he seemed a little afraid that he was charging me too much.

That afternoon, during the matinee, Leo Carrillo dropped into my dressing room. Leo by now had become a successful actor and was appearing in Lombardi, Ltd., a play which was having a good run on Broadway.

Seeing the picture, he ask.ed who had done it.

Then, looking at the name, he said, 'Vi^hy gosh!I know that guy. Where is he?"

Says Leo: Fred dug up a card with Ed’s address on it, and 1 nearly broke my neck getting over to 1^8 West ^znd Street. The studio was on the third floor, and 1 yelled up she stairwell in

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Spanish. A cowboy in a ten-gallon hat ap peared silhouetted on the landing with a pal ette in his hand and wanted to know who the hell was making all the damned racket. As 1 ran up the stairs,1smelled thefiijoles, and, on entering the studio, 1 saw another man, also in Levis and boots, sitting on a bench. Ed in troduced him as Charles E^ssell, thefamous artistfrom Montana.It turned out that Rus sell, too, had an exhibition in New York, and he and Ed were cooking up a bit ofofWestern grub while Ed painted. That evening we three went over to see Fred Stone in his dressing room, and this became a nightly affair. One evening Teddy Eposevelt, then President of the United States, an old friend of Fred’s, showed up and, seeing thefour ofus together, with Jim Minnick, another cowboy, said, 'You know, Fred, the one thing I like about your dressiing room—it s alwaysfull ofgood cowboys."Ed and Teddy became fastfriends and Ed was a frequent visitor at Sagamore, the Pposevelt home in Oyster Bay, Long Is land.^ One night Borein, a little homesick,

Borein s love ofhu mor is evi dent in thispen andink drawing.

He and Will Rogers, one of Borein’s best friends. would spend hours swapping stories.

wandered down co Madison Square Gar den to see a touring Wild West show.

Will Rogers was on the bill with his rop ing act, and Borcin immediately recog nized a kindred soul. After the show he went backstage, introduced himself, and thus began a lifelong friendship which ended only with Rogers’ tragic death in Alaska in 1935.

CQ^ccbino CD5LL 'Rooeps Ed was handy with a riata but was no match for the professional Rogers and his rope. He could stay with Will at the small loops and twirls, but when he tried the great swirling loops, he couldn’t quite make it, and then Will would laugh at him good-naturedly. But Borcin, with his crazy screak of stubbornness would prac tice for hours. "Goddam him. I’m going to show him,’’ he'd say. Try as he would, he never did achieve the dexterity and perfec tion of Rogers’ performance.

The studio on West Forty-second

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BOREIN: NEW YORK YEARS Street had a constant stream of visitors,

Sioux scout and U. S, Army regular; and

old and new. Among the artists were Charlie Russell, Bruce Bairnsfather of

many old acquaintances he had known on the Western range found their way to the Borein studio, where there were always friends and. more important, beans and bread. Fifteen years later. Pawnee Bill, an other famous Westerner, wrote Ed. "I

"Better 'Ole” fame, Maynard Dixon, Jim my Swinnerton, Will James, Olaf Seltzer, and a young newcomer, Carl Oscar Borg, who specialized in paintings of the South west. The actors fraternity was represent ed by Will Rogers. Fred Stone, Leo Carrillo, Annie Oakley and her husband, Frank Butler, and Chet Byers, a trick rop er. A close friend was Jim Minnick, who with his brother in Texas, bought and sold horses. Then one day. they heard of the fancy prices the Easterners were paying for good polo ponies, and overnight they were in the business of training polo po nies. And that leaves Teddy Roosevelt to be classified. How about listing him with the actors? That would please Will Rog ers, who delighted in needling the politi cians.

Other friends. Seth Hathaway, the In dian fighter; Bill McGinty, cowpuncher and Rough Rider; Charging Hawk, ex-

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shall never forget the Frontier dinner you once gave me in your studio in New York.”4

mb Eacs The rooms were crammed with sad dles, harness, hats, ropes. Indian artifacts, Navajo rugs, guns and assorted memora bilia of the artist's trips to Mexico. Dur ing the years that followed, he put to gether wonderful collections of Indian rugs and baskets. Any open space that appeared on the walls was promptly cov ered with one of Ed's drawings. Small wonder the studio was a focal point for displaced Westerners!

He had a stove and cupboards, a large

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NOTICIAS

table covered with an Indian blanket, ea sels, drawing boards, paints and brushes, and two cots. If there was an overnight guest, he was waved to one cot and told.

"That's your bed and this is mine. Stay outta mine.’’

Ed’s brother Rouble, who by this time was a star attraction on the vaudeville cir cuits, made the studio a place to stay "be tween engagements and at liberty.” Rou ble Sims (his stage name) introduced his own circle of friends to the Western at mosphere and food that could be found at his brother’s studio. The two kept a guest book, and logged many a celebrity, with many of the signers leaving a little sketch to accompany their signature.

Will Rogers left a drawing on its pag es for posterity. Here is a close approxi mation;

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In the short space of one year in the Big City, Ed’s work had improved tre mendously, and the first traces appeared of his incomparable draftsmanship. The advice his artist friends back on the West Coast had given him bore magic fruit. His style changed, particularly his modeling of horses and figures. And. of course, the gear was always perfect, each strap and buckle being exactly where it should be.

He had a fetish for authenticity, and that.

coupled with a prodigious memory, was beginning to pay dividends.

The reasons for his gradually maturing work were threefold. First, of course, was his natural talent, and also his constant contact with other artists, and the ex changing and discussing of ideas with them. The third reason was purely com mercial. He was receiving more and more commissions for illustrations, mostly In dia ink and dry brush. Art is like anything else — after you draw a thousand pictures, you should be getting pretty good at it!

The artist submitted two paintings to Sunset Magazine back in California and they were used as covers in 1908. The March issue has a cowpuncher roping, and also black and white illustrations on Page 444 used with a poem. "The Parral Coach," by L. Worthington Green. The September 1908 issue has for its cover, "A Bannock Squaw.” a colorful drawing with the squaw mounted on a regalia-decked horse, with a young colt at her mother’s front legs.

One of Ed’s friends had introduced him to Colonel William F. Cody ("Buffalo Bill”) whose "Wild West Show and Con gress of Rough Riders of the World.” founded in 1883, featuring "Little Sureshot” Annie Oakley, had fallen upon hard days. A rather involved half-interest was sold to Major Gordon W. Lillie ("Pawnee Bill") and the new title of the show be came "Buffalo Bill’s Wild West and Paw nee Bill’s Great Far East Show." It toured from 1909 to 1913 before it folded.

Borein and Cody became good friends, and Ed always received an "Annie Oak ley" (free ticket] for the season. On one occasion. Cody gave him a pass to "Ad mit Mr. Borein to make sketches around camp, Wm. F. Cody.” Ed didn’t make the sketches, but took photos of the show and performers, especially the riders and long-

BOREIN: NEW YORK YEARS

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horn cattle. He used the photos as source material for many drawings — in fact, he made extensive use of the camera, both movie and still.

you everlasting in his debt." Later in his career, he wrote several letters and deco rated them with watercolor sketches.6 There is no evidence that Borein re

Borein didn’t forget his old Charros Club in Oakland. He wrote. "Dear old

ceived formal art instruction during this first period in New York, although he cer tainly enjoyed the company, encourage ment and advice of successful artists. He

Charros; Hope you are all having a big time, and while you are having it, remem ber there is one of you back here in the damned snow. Regards and a Merry Xmas, etc [Signed] Ed Borein, P.S, You better save this letter. They are very rare."5 It was true, he did not write many let ters. The ones he did refer usually to busi ness transactions. Borein’s philosophy re letters was simple; "The meanest man in the world is the man who answers your letter the same day he receives it. He keeps Borein s cluttered studio at 138 West ^znd Street. At times the studio also served as lodgings.

became interested in etching, and the germ of an idea came into his mind. Etch ing just might be the medium by which he could get his work into the hands of the greatest number of collectors of Western Americana. One could make many im pressions from an etching plate, limited only by commercial reality, whereas there is only one original oil, watercolor, India ink or pencil sketch of a given subject.

Time only would tell if he was correct in his reasoning.

Ed became homesick and decided to

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cake a trip back co California. He packed the stuff in his studio and shipped it co Oakland, and left New York in January 1909. In California he promptly opened a studio on Fourteenth Street. He had a suc

is an arrow or a lance drawn through the spot, he was wounded with that weapon.7 While he was in Oregon, the following scene was being enacted in Oakland.

cessful one-man show in San Francisco, re organized the Charros Club and continued illustrating for the San Francisco newspa pers and magazines. He was selling more of his drawings now to collectors but con tinued co grumble chat Oakland didn’t ap preciate his work.

C(ei3e(DoniAL Sony Omce Late in August of 1909, he traveled to the Umatilla Indian reservation in Oregon, at a time when the Umatillas were holding a grand powwow enlivened by their an cient war dances and pony races. He spent several days with them, as the guest of the oldest chief, and returned with artistic impressions and notes to last a lifetime.

While at the reservation, he did an etching of their ceremonial Pony Dance — which happens two or three times a year — in which each brave shows the children, women, and visitors what history he has made in his life. Borein explained.

The San Francisco Call Saturday,September^,igog Surprise Party has a Janitor as Quest The Charros Club ofOakhnd,an organiza tion ofartists and literary men and women,re cently decided to give Ed Borein, the "Cowboy Artist,”a surprise party which was to be in the nature ofa farewell, as Borein was leavingfor New York,to be gone a year or more.

The arrangementsfor the ajfairwere placed in the hands ofa committee, which secured the necessary refreshmentsfor the occasion.

On the night in question, the members of the club assembled, gathered together the re freshments that had been secured, and trooped away to Borein's studio. They mounted the stairs silently so as to take the artist by sur prise. The studio was lighted and after gath ering outside the door, the crowd rushed in with blood curdling yells. But in place ofsee ing the smiling countenance of the artist, a horrified janitor backed against the wall and waved his broom in terror.

It’s like a pony play; only each actor did the things himself The horses are painted to show the history ofthe owner. The number of red hands on a horse means the number of horses captured in battle. Ifthe hands are yel low, it’s the number ofhorses stolenfrom ene mies.

'Where’s Borein?"was the question that each member shouted at the startled broom wielder.

If horseshoes are painted on the horses, it means the number ofwar parties their owners have participated in. Crosses stand for the number ofscalps taken. A red circle with a dot in the middle means the rider had a horse

Club show a marked disposition to avoid any reference to Borein s surprise party.

shot there in that spot, that died ofthe wound in battle. If the spot has a zigzug red paint, the horse was wounded and got well. Ifthere

'Why,he went to Portland three days ago and won’t be back until tomorrow, when he leavesfor New York,"came the reply, And now the members of the Charros

Borein returned co New York in Sep tember 1909 for by now he knew that the money was to be made in New York and not Oakland. New York was the center of the publishing industry, and there was a

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BOREIN: NEW YORK YEARS constant demand for quality illustrations to use in books and newspapers.

From this time until he left New York for the last time in 1919. he would retain his studio on West Forty-second Street, but usually roomed at a boarding house reasonably close to his studio. There would be stretches, when funds were low. when he would live at the studio.

During one of these economic "lows." his brother Rouble was "between engage ments" so he also moved into the studio

always in short supply, and besides, it makes a good anecdote.

Ed’s brother. Charlie, kept his mother supplied with money after the father died, and there was always a roof over her head.

Charlie remained a bachelor, but the two Borein sisters and Rube had married. One Easter while Ed was in New York he sent his mother a dollar for a present. She was so touched that she wrapped it in a special little package and kept it. carried it with her wherever she went — but never would

and the two set up housekeeping. Rouble had become a successful performer on the variety stage with his chalk talk, singing, and jokes, but at the moment his econom

spend it, She still had it when she died.

ic situation was desperate. Ed liked to tell the story of how he was in the studio at this time when a friend entered and slammed the door. A book fell from a shelf and a ten dollar bill fluttered to the

Ed was a hard worker and soon money was coming in again. He did quite a bit of commercial art, and his superb India ink sketches appeared as illustrations for arti

floor. It came just in time, as the brothers were down to their last dime. Money was

Eis ULuscpACions iSeLL

cles in Harper’s, Collier’s Weekly, Sunset Magazine, Everybody s Asia, The Century Illustrated, The Craftsman and Western World. He illustrated ads for PierceArrow. Stetson Hats, Aunt Jemima Pan cakes, and many other well-known prod ucts.

His friend. Edwin Emerson, wrote an article, "Wall Street’s Stake in Mexico.” which appeared in the September 3, 1910, issue of The Saturday Evening Post. Borein did six interesting sketches of the natives for the article.

There was also time for fun. Ed and a friend one day decided to have an old fashioned barbecue in Central Park. They bought the thickest steaks they could af ford and the bread and coffee, then set off.

Borein’s brother, Epuble, in vaudeville cos tume. He was featured on the Orpheum cir cuit and his act consisted ofsinging, drawing, andjohe-telling. Rouble was a skiued artist in his oum right.

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The spot they found was a secluded one under some trees. The steaks were on the fire, ready to come off. a wonderful aroma filling the air. At chat moment, one of New York’s Finest, a mounted policeman, rode up, interrupted the preparations, and was in a mood to put the pair in jail. Ed invited him to share their feast. The po liceman tied his horse behind some trees and joined them. He hadn’t had barbecued steak in years. The story made the news papers the next day, but there was no mention of the face of the hungry police man.

Other events were on the horizon.

NOTICIAS A luncheon for ex-Presidenc Roosevelt was given at the Harvard Club in New York City on June 23, 1910. The occasion was a combined celebration of Roosevelt's return from a safari in Africa following the conclusion of his second term and the Fifth Annual Convention of the Rough Riders. The luncheon menu was decorated with Ed’s drawings, and he was the only person at the affair who was not a mem ber of the organization. He was later made an honorary member. A feature of the Convention was a parade of the cam paign veterans. Roosevelt had the Cuban battle flags, but for some reason did not

Borein did a number of drawingsfor Pierce-Arrow automobiles.

This one appeared in Life Maga zine in December 1910.

Although a dramatic ad, it hardly shows the product to good advantage.

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BOREIN: NEW YORK YEARS want them used in the parade. Through the machinations of Edwin Emerson and

walk, We got to the house and the Colonel came out and we rode up there and handed

Billy McGinty. two of Teddy's Rough Riders, the flags were "obtained” and used in the procession.

The former President was furious, and

him theflags. 'Well,” he said, "Boys Fm awful glad to get them back — horses in the barn and come in. Emerson, your horse is bleeding.”

We put the horses in the bam, and some fellow threw down some hay for them, and then took^ over to the house and showed us where to wash.

to appease him Emerson and McGinty promised to return the battle flags the next day. Borein agreed to accompany them, and the three decided to rent horses and ride over to Roosevelt's home in Oys ter Bay on Long Island and deliver the flags in person. McGinty tells the story: Well sir, we had to leave New York at four[a.m.j and ride like the devil to get there.

We had thoseflags and we got to the bottom ofthe hill, and someone said, "Slow down, the old man is sure to look over the horses," and we slowed down and went up the hill on a

On the way up to the house Emerson remarked to McGinty, "We will be among some big people, but if they go to telling some stories, we have them bested for we have Borein with us.” Sure enough, during luncheon the party heard several of Roosevelt's hunting stories and was a willing audience for Ed’s stories of the West.

Borein did illustrationsfor a number of magazines. This drawing ap peared inThe National Sunday Magazine.

10) GETTING DOWN TO CASES AND CAISSONS

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BOREIN: NEW YORK YEARS It was not all fun and games, however, with the struggling artist. He worked hard too, and his art was improving steadily, and his illustrations were in demand. The Century Illustrated Tvlonthly Magazine, Vol. LXXXII, No. 2, for June 1911 con tained a story of "The Rurales of Mexico” by his friend Edwin Emerson. Borein did nine illustrations for Emerson's article, which is a definitive study of the Rurales and is an important historical document.

In 1911 Borein began illustrating the poems of John P. Wilson, a gentle soul who threw in with the circle of Borein's friends and remained with them until Ed’s final departure from New York in 1919.

Several of Wilson’s poems appeared in four issues of the College World Magazine, and in each instance the poem was illus trated by a superb Borein India ink draw ing; June 1911 "La Cantina de Palomas” July 1911 "The Story" August 1911 "The Free Trappers” October 1911 "The Child of the Rain bow" Each illustration was later used as sub-

jecc macccr for an etching ("The Story” was printed in aquatint.).

The drawing. "The Child of the Rainbow" has an interesting legend. The Navajos think that the butterflies are children of the rainbow. When trouble overtakes them they go out into the sunshine and catch a butterfly. This they put into a lit tle brass or wicker cage, and to it they come to tell their misfortunes. They need rain; the grass for their horses is gone; the water holes are dried up; the sheep are dy ing of the drought. If the butterfly dies, their prayers have not been heard by the Great Spirit. They must catch another.

Then the band goes forth carrying the caged butterfly at its head until they find signs of a storm in the distance, for in

BELOW:This drawing of"Sioux BuL falo Hunters” accompanied the article, "Stories of the Old West as Told and Painted try the Cow Puncher and Artist Ed. Borein” by A. B. Stewart. It appeared in The Craftsman Magazine, October igiz. Collection of the Santa Barbara Historical Society.

NOTICIAS

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chat country rain may be seen miles and miles away, falling like a black shadow on a tiny spot in the wide sunny plain. As soon as they have seen the rain far off. the Navajos look for the rainbow in the sunny sky above the rest of the plain. Then they set free the butterfly to soar up to its mother, the rainbow, that she may know the troubles of the poor Navajos. spread the rain cloud over them, and keep the drought away in the future.

Later Ed used the same drawing in an article for The Craftsman and eventually made it into an etching, "Navajos,” but eliminated the detail of the front rider car rying the caged butterfly.

It was about this time that Borein be gan experimenting seriously with etching.

He had owned a small etching press for several years, but had used it relatively lit tle. Childe Hassam and Ernest David Roth were among the first of many artists who gave him advice and encouragement with his etching in New York. Ed once cold Hassam chat his pictures lacked ro mance. "Why do you always paint little

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things like trees, scones and tiny creeks, when you could come out West and paint tremendous landscapes?” Hassam replied, "That’s the trouble with your work. Ed. you have no romance. It is the little things that are romantic. People see my pictures and say: 'Why that’s the little bridge where Bill proposed to me.’ Who could propose on cop of one of your tall pinna cles? By the time they reached it, they would be too breathless!”

Borein cook some of his etchings to the galleries of Frederick Keppel and Compa ny of New York and London, a large firm chat specialized in etchings and engrav ings. Mr. Keppel liked Ed's etchings and encouraged him to continue in chat medi um. It was the beginning of a long and profitable association, and although Borein always grumbled about dealers, it was Keppel who really gave Ed’s etchings their first exposure to the collectors and critics. Mr. Keppel also sent the artist’s work CO his English branch, and it was very popular in London.

Ed tried ocher dealers in the East, in-

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way, I’ve a fancy I shall follow in the camel's path awhile.

When the caravans leave Peking, turning north in single file.

63

BOREIN: NEW YORK YEARS

nr ●57EI?

nm

SPEEDWAY MEW romc ciry

AUG.

.

Borein did advertisements for rodeos including a number ofCalgary Stampedes. This example demonstrates Borein s talent in showing dynamic motion, as well as his sense ofhumor.

eluding the Vose and Cobb Galleries in Boston, but was not satisfied, and eventu ally the Keppel firm had a virtual monop oly on his etchings in that part of the country.

Shortly after this, the artist was con tacted by Charlie Russell, who had made excellent associations in western Canada.

He got Ed the assignment to do the adver tising posters and other art work for the first Calgary Stampede, which was to be staged in the Canadian city September 25, 1912. Though he did the Stampede material in New York, the Stampede itself gave Borein the excuse he needed to leave the city.

Before Borein left, he did the illustra tions and collaborated on the text for an article in The Craftsman, "Stories of the Old West as Told and Painted by the Cowpuncher and Artist Ed. Borein,” by A.

LEFT: Borein did not limit hims^ to the American Westfor subject matter. Thte artist rendered this drawing to accompany a poem

by Will Thompson.

B. Stewart. (Vol. XXIII, No. 1 October 1912). The text is fascinating and the arti cle has six India ink illustrations, including three subjects he later used for etchings, "The Child of the Rainbow” (which he re named "Navajos”), "Tonto Apaches,” and "Stray Bunch.” Incidentally, the last two drawings appeared on the letterhead he used while he was in New York.

He then left for Montana to rendez vous at Great Falls with Charlie and Nan cy Russell on the first stage of their trip to Calgary to attend the Stampede.

The colorful Guy Weadick, originator and manager of the first Stampede, was from Cheyenne and had sold his dream for the greatest show of champion bronco busters, steer and calf ropers, Indian and trick riders to the men who ran the strug gling Calgary Industrial Exhibition. He went further and arranged for financial backing from four prominent Calgary area men.

For additional color he hired the fa mous Mounted Cowboy Band from the Pendleton Roundup. He pulled off another

64

NOTICIAS

coup when he secured the attendance of the Governor General of Canada, the Duke and Duchess of Connaught, and their beautiful daughter, Lady Patricia.

Later the daughter was to give her name to one of the most famous Canadian mili tary regiments, The Princess Patricia’s Ca nadian Light Infantry, or as they are more commonly known. The Princess Pats.

The RusscIIs and Borein traveled to Calgary, attended the four-day event and had a rollicking week with the hospitable Canadians.' Wcadick staged a bang-up ro deo. but the financial returns were not up to expectations, as the pic was cut into too many pieces. Charlie Russell had a successful exhibition of his paintings at the Stampede.

Ed sketched the famous bucking horse, "Cyclone.” that defied the best efforts of the cowboys to ride him for the first three days of the Stampede. Finally, Tom Three Persons, an Indian from the Blood Reser vation at Cardston, Alberta, conquered the big outlaw, and was crowned world’s bucking horse riding champion.

The Stampede over. Ed and the Russells left Calgary, and Nancy returned to Great Falls. The two artists spent several weeks together, roaming the Plains Indi ans country and filling their sketchbooks with drawings and notes. Charlie had many friends among the tribes, and the pair were welcomed as old friends by the Indians.

Ed decided to return to Oakland, and immediately moved into his adobe studio in Fruitvalc, as free lodgings appealed to him. He bought another etching press in 1913, and soon the little studio was clut tered with etchings laid out to dry.

Although he later had formal training in New York, he seemed to have an in stinctive aptitude for etching and by now he was quite successful in selling his work.

usually priced at five to ten dollars. He was still painting oils during this 1913 pe riod. but they did not sell as well as the etchings and India ink sketches.

Ed would travel from city to city in California and try to sell his work to art dealers and collectors. It was during one of these trips that he met Fred Barton, an old-time cattleman from Miles City.

Montana, who had made a fortune in cat tle ranching and was preparing for a trip to Europe. Barton had gone to Visalia, California, to pick up a saddle previously ordered from Mr. Weeks, a well-known saddle maker.

Anb CBuLL DupbAOO A short time after Barton had left the shop, Edward Borein came in and threw down twenty of his etchings on the coun ter and told Mr. Weeks that he was be hind in his room rent, was hungry, and did not have any Bull Durham. He asked Weeks to give him twenty dollars for the lot, one dollar each, and said chat Weeks would eventually get his money back as they were worth at least S5.00 each.

Weeks turned Ed down. However, he did comment that Fred Barton had just been in the shop and was staying at the Sc. Francis Hotel in San Francisco, and chat he would probably buy a few of the etchings.

Barton recalls chat he was siccing in his hotel room next morning when the phone rang, and it proved to be Borein phoning from the lobby. Barton had heard of Bore in. but had never met him. He asked him up to the room, and Borein appeared with the twenty etchings of the previous day and repeated his story, and offered Barton the twenty etchings for twenty dollars.

Barton then asked if Ed had eaten and upon receiving a negative answer, he

65

BOREIN: NEW YORK YEARS called room service and had breakfast sent

r

up, which Borein ate with relish. Barton also sent out for a carton of Bull Durham, They then discussed the etchings. Bar ton had been to the bank the day before and had withdrawn a sizable amount of cash for his trip abroad. He laid five hun dred dollars on the table and said that he would buy the twenty etchings. Borein was offended, and felt that Barton was of fering charity. But Fred insisted, saying that twenty dollars would not even pay Borein’s past due rent, let alone feed him, so the deal was consummated. As they part ed, Barton said to Borein,"Why don’t you go down to Santa Barbara? The people and atmosphere are a little different, and you just might do well down there.’’

Once again, he secured a good assign ment through his friend Russell. In the spring of 1913, Guy Weadick had every reason to believe that Calgary would stage a second Stampede later that year. Howev er. he was told by the four principal backers of the event that they would not underwrite him a second time. He was disappointed, but still had a shot left in his locker. On his way to the Calgary conference, a delega tion of Winnipeg businessmen had met him at the train station and told him the Manitoba capital was willing to stage a Stampede under his direction. The event was staged August 9-16, 1913. but it was not a success and Weadick was lucky not to have lost his shirt on the venture.

Although the Stampede did not live up to expectations, it proved a windfall for Ed Borein and Charlie Russell. Ed had re ceived a lucrative commission to do the posters and advertising material for the event, while Charlie’s exhibition of oils, wacercolors, and bronzes were completely sold out.

As time went by, the Weadick rodeos became a good source of income for Ed. If

Another ofBorein's drawings for thefinan dally unsuccessful Stampede of 1916.

nothing else, he would do the cover for the programs. In later years he did illustra tions for Weadick-promoted Stampedes at Shecpshcad Bay Speedway, New York.

August 5-12, 1916, and for the second Calgary Stampede, August 25-30, 1919.

He attended the latter show, and made many sketches, including an India ink sketch of the bucking horse ”I-See-U.’’ He later made an etching of this subject, and titled it "Scratchin' High,’’ A lithograph was also made of the subject, and the pic ture is still used for Stampede publicity.

Once again Charlie Russell staged a

66

NOTICIAS

successful exhibition of his paintings and bronzes at the Stampede.

Early in 1914 Borein closed his studio in Oakland and went back to New York

STETSON^AT^

for the third time, where he reopened his studio at 138 West Forty-second Street, Among the first visitors was Charlie Russell, and Borein made a life mask of the Montana artist. This remarkable item is in the possession of the Santa Barbara Histor ical Society. Ed insisted that Charlie brush back his affected lock of hair which almost hid his left eye, and as a result we have been left a startling image of a middle-aged man,complete with wrinkles.

The year 1914 was a year of study and work for Ed. His easel paintings were sell ing to collectors now, and he began to study etching seriously. The Art Students League in New York lists Edward Borein as a student for three months during 1914 — under the tutelage of Vojtech Preissig, who taught graphics of various types.

The tuition fee was ten dollars per month, Very little is known about the graphics program at the Art Students League, it be ing in its early stages. Graphics did not be come a formal offering in the League’s pro gram until 1920, but the school records show that Borein was enrolled in a course for etchings, engravings, and lithography during the 1915-16 school year, where, again, his instructor was Preissig. He also signed up for an evening class in etching.

The artist took his training seriously, and by 1915 he was well into his immense production of etchings, which would even tually number over three hundred different subjects. During this period he did many of his finest etchings, among which are "The Posse," "The Dance Plaza," "Walpi," "La Cantina," "The Argument," "Sioux Chief," "Mission San Luis Rey," and "The Overland Coach."

His etching, "End of the Race," drew

Amons Borein’s commercial accounts could be numbered Stetson Hats.

the attention of Eastern critics, and the Li brary of Congress was given a collection of thirty-six of his etchings. The Keppel firm in New York and its branch in Lon don were steadily selling his output of etchings, paying their bills promptly, and asking for more. They also promised him an exhibition of his work.

In 1915, the Keppel Gallery kept its word and gave Ed a one-man show of his etchings. The show was a financial and artistic success.

In the fall of the same year, Sallie C. MeSpadden (Will Rogers’ sister) and Aunt Maud were traveling in the East.

They arrived in New York, did some sight-seeing and then met their famous brother. Sallie’s letter home to the family tells the story. ...Willie met us at the theatre at 5:15 and took, us up to the studio ofone of his special friends — a Jvlr. Borein, who is an intimate friend ofCharlie B^sell,the artist. His studio

BOREIN: NEW YORK YEARS

and den are veritable museums ofIndian and Mexican curios. He has everything imagin able — blankets, rugs, costumes, hats, ropes, saddles, etc. and pictures and clay modelsga lore ... Well, he went to dinner with us denvntown, ofcourse, and what ajolly good fellow he is. After dinner we went to see 'A Moving Picture Show,'The Birch of a Nation, It is the graphic story ofthe Civil War and the re construction days thatfollowed.

During the dinner Borein asked the girls if they had seen 'this, that, or the other thing’in New York, and receiving a "yes” answer to every question, he gave up the conversation.^ Now. at the age of forty-two he was reaching the peak of his best period (New York. 1907-19). He was made a member of the Brooklyn Society of Etchers. A lit tle fame and fortune was settling on him, and he could afford to have some fun. He was fond of the girls, and the show busi ness atmosphere surrounding him provid ed a happy hunting ground. He ace in res taurants more often, but still rustled up grub in his studio whenever he felt a han kering for Western food.

A group of his actor friends who sum mered on Long Island formed a theatrical club with headquarters at Freeport. "The Lights" was the name selected for the or ganization, it being derived from the ini tials of the Long Island Good-Hearted Thespians’ Society. Among its members were Frank Tinney, one of the great blackface comics. Fred Scone. Will Rog ers, James Corbett, Victor Moore, Wil liam Collier and many other notables of the stage.

The Lights decided to stage a rodeo in Freeport as a benefit for their club and the Accor’s Fund. Fred Scone's daughter, Dor othy, ten years old at chat time (who, with her husband. Charles, later formed the great dancing team of Dorothy Stone

67

and Charles Collins) remembers the 1915 event. She rode in the afternoon street pa rade and also in the Grand Entry with an American flag balanced on her toe. Al ways the trouper, she recalls "good crowds at the show." Ed was not a mem ber of the organization, but took part in the rodeo.

Some of Ed’s friends had been bitten by the polo bug. Fred Scone had bought a home at Amityville, Long Island, and there was sufficient acreage to install a polo field. He also purchased land across the street on which there was a house, which Will Rogers promptly rented each summer.

Rogers was encouraged by Jim Minnick to learn the game. Jim made a good living by training and selling polo ponies.

So it followed naturally chat Ed Borein, a former cowboy, was called in to round out a foursome of Stone. Rogers, Minnick and Borein. The conglomerate polo team chat resulted never graced a greensward before or since. From all accounts, Ed could ride a horse, but had one hell of a time hitting the ball. From time to time, other friends would fit into the team. Leo Carrillo. Vernon Castle, Frank Tinney, and later Douglas Fairbanks, Sr., saddled up and cook their cuts at the ball as they played teams from Long Island and vicini ty. The team’s won-and-lost record is not available.

Shortly after this, Guy Wcadick of Calgary Stampede fame and misfortune surfaced again. He decided to cry one more time. He contracted with Ed to draw a group of typical Western scenes to be used as advertising material for his next show. The artist provided a master ful collection of India ink and dry brush posters for the event. He is supposed to have received between fifteen and twenty thousand dollars for his work, and if the

68

NOTICIAS

The polo team of Ed Borein, Jim Minnick, Will Rogers, and Fred Stone on Long Island.

The New York

American

said of his work, A ccrwpuncher ofover twen ty-five years’ experience turned etcher is something to pique one's interest. 1 think L will be firmly established when you have seen the exhibition ofsome sixty ofhis prints at the Keppel &Co. Qalleries.

Edward Borein, the artist in figures are accurate, he probably made more chan the promoter. Weadick staged the Stampede at the Sheepshead Bay Speedway in New York, August 5-12, 1916, and although it was a good show with the traditional rodeo events, it was not a financial success, Borein knew many of the rodeo per formers and renewed old friendships at the Speedway event. He sketched many of his bucking horses at this time. Tlicre are not many artists who can catch, on paper, a plunging bronco in action like Ed could.

He also knew one of the scar performers at the Sheepshead Bay affair, Yakima Ca nute, whose historic ride on "Fox" at the 1919 Calgary Stampede was still in the fu ture. Yakima reports chat although it was a good show, the crowds were small, and everyone cook a beating on it, A very small percentage of the performers were paid for their efforts. The colorful Yakima eventually went on to gain new fame in Hollywood as a top-notch stunt man.

Frederick Keppel and Company in New York gave Ed a second one-man show in March of 1917. It was a success and helped establish him as a rising artist and documcncarian of the Western scene.

question, was bom in San Leandro, Califor nia, in i8yz... Borein's art school was his life and its human and natural environment; his teacher, his own instinct, developed by obser vation and knowledge.

It is true that when he had been encour aged to make drawing a vocation, he came to New York to get advice and, being eager to preserve some record ofthe manners and cus toms ofthe Indians in a form that would be accessible to a number ofpeople, determined to learn etching, and in the practical tech nique ofthe process was helped by Ernest D. Kpth, Childe Hassam and other artists.

Then he returned to the West and in the in terval of two years accomplished the work now shown....

That he should represent the character of men, horses, other animals, the villages and so forth is to be expected, but the surprise that one enjoys is in the variety ofcharacter and movement. Note,as a single instance, his rendering ofaflock ofsheep. The impression one gains is that not a single subject needed or received special study. Something immedi ately seen may have prompted the subject, the working out ofthe subject was independent of the scene, an expression of the feeling of the scene that is a part of habitual experience.

69

BOREIN: NEW YORK YEARS The result is a complete absence of that pre-occupation with picture-making and posing ofmodels which so often in representa tions of the West by alien artists reduces the human beings, animals, and landscape to studies in "still-life.”In these prints life is felt as vibrating; and everything unassumingly tak.es its place in the circulatingfreedom. Pos sibly it is because ofthisjustness ofrelations that the sense ofrhythm in these prints is so pronounced. One can believe it to be also the product ofa lifelong habit ofriding; offeeling the body move in response to the movement of the horse.

Carl Zigirosser, on the staff of the Keppel Gallery, wrote his critique as follows: The career and achievements of Edward Borein are typical ofone aspect ofAmerican life — an aspect that is fast losing its pictu resqueflavor — the life ofthe cowboy and In dian on the ranches and southwest plains.

Edward Borein is a covjpuncher translated into art. He is cheerful, generous, profane, matter-of-fact, hard working in his way yet careless and happy-go-lucky. He has the courtesy and nobility characteristic ofsimple men who have passed their lives in contact with nature. Totally without that element of

serious intellectual culture so typical of a people with a heritage ofmemories and tradi' tions, he is as simple and irresponsible as a child.

That is what contemporary critics thought of Borein’s work.

America had declared war on Germany and her allies on April 6. 1917, but it was business as usual with the forty-five-yearold Ed. He was over-age for the draft and undereducated for a commission. He con tributed a Liberty Bond poster to the cause.

He did. however, have a private war on his hands. Charlie Lummis, back in California, had received a catalogue of Ed’s exhibition at the Keppel Gallery in New York, Lummis was a dedicated his torian. and any detail of a drawing that wasn’t perfect was a sure target for one of his attacks. He was the first person to ac tually pay cash for Ed’s work back on the Jesus Maria rancho in California, many years before.

Poor Ed had made an etching of the church at Acoma, New Mexico, and had failed to reverse the image, and according ly he caught hell from Lummis as per the following letter:

One of Borein’s most en thusiastic supporters was writer and journalist Ed win Emerson."Pards”ivas one of the illustrations which graced Emerson's article, ^A Second Freder ic Pemington,” appearing m Colun^ian Magazine, July igio. Collection of the Santa Barbara His torical Society.

70

NOTICIAS

April ly, igiy Mr.Ed Bordn, 138 VJcst ^znd Street, New York,City,New Tor/^ DearBorein:— I havejust received a very interesting catalog of your etchings from Keppel — and I shall have to go see them. And the little sketch is very interesting.

We miss you here very often and wish you could drop in. There are veryfew people alive that 1 listen tofor long — but you can always talf{ to me as long as you please — as you doubtless know.

But while this is in the nature ofa lovetap,1 am going to give you a good biff.

They enclosed a card reproducing your etching ofthe Acoma Church — which gets my Dutch up. 1 have talked with you about the same sort of thing before, and am aware that you think you can't draw backward for etchings.

On the picture of "The Horse Being Shoved to Water” it makes no difference which side out it is. But a historic building it does make a difference; and when you stand the compass on its head,and reverse the architecture, it becomes a Notorious Sin against history. A hundred years from now Some Damn Fool of a closet historian will repro duce your beautiful etchings ofa picture as the way the Acoma Church looked;and Ifear I shall not be alive a hundred yearsfrom now to rip him up the back <^^d tell him that he doesn’t know anything, and that he was mis led by your Faithfixl but Perverted Pencil.

Right and left in faces and figures do not care particularly; but in buildings and monu ments and some landscapes where there are powetfid peaks, you don't want to have to have a looking glass to hold in front of the etching to see the thing as everyone knows it is who has been there.

Please reform!

I was in San Francisco for a couple of

weeks — thefirst time in seven years — a lit tle while ago. Saw Dixon and had a bully little visit with him, and have one ofhis bulliest little canvasses — a lovely sunset on the mesas by Fort Apache.

There are many here that remember you and that are hoping to have you come back- i hope this summer will see you among us.

With all best wishes.

Always Your Friend Charles F.Lummis cfl/awy ^ There is no record of Ed’s answer, bur he did not redo the etching to conform to Lummis’ letter.

Always on the move, the New York City Directory of 1918-19 lists Edward Borein’s address as 102 W.Seventh Street.

This was the home of Dr. C. R. LeFebre, a dentist friend. Ed boarded and roomed with the doctor and his wife, and while he was still using his West Forty-second Street studio during the day. he was at last getting regular home-cooked meals at the LeFebre’s, a welcome respite from beans and bacon. This information is important because several sketches have been found, drawn on the dentist’s letterheads.

The months passed and the call of the West eventually became too strong for Ed to resist. He had lived and worked in New York from 1907 to 1919, with occa sional trips to the West Coast. His etch ings of the West were selling, he had be come well-known for his illustrations, and had received excellent schooling and sound advice from artists in Gotham.

Before he left, a notable exhibition of his work was held at the Cobb Galleries in Boston, Of the work shown there, the Christian Science Monitor said.

He has caught something in his quickly etched lines (ofall mediums!)that elaborately equipped and daring colorists have failed to

71

BOREIN: NEW YORK YEARS

nobody called him that unless it may have been his mother. "Ed” was deemed sufficient by his intimates. Neighbors, who are prover bially interested in the affairs oj neighbors, thought it was a pity that Pete's boy showed no inclination to get ajob, such as driving a grocery wagon. He was only interested in pictures. He painted and drew and haunted galleries. Whenever his sketches were handed around they were looked at,for there was that something in them that instantly attracted the eye. But nobody thought much about themfor long, and Ed plugged along without making much noise in an art way. Some ofhis draw ings saw light in illustration of news and magazine articles, and in one way and in an other. After a while young Borein no loner hung around, and for years not much was heard ofhim. Nowfrom Boston comes the an John Edward Borein Cowboy Artist. Collection ofthe San ta Barbara Historical Society.

nouncement of an exhibition of etchings "by an American cowboy,” and the American cowboy turns out to be none other than Ed

ward Borein. The exhibition is taking place in the Cobb Qallery, which gives the artist capture. But the more important thing is that status at once... in his absolute sincerity, in his obvious lack of Ed was packing to leave and had sold all self-consciousness, he has struck a deeper some of his collection of Western articles note than many — one is almost tempted to to his friends, particularly Fred Stone. say the majority — oflong and well trained who purchased a large collection of Indian artists. He has had something to say. He has artifacts. The balance of his belongings said it simply, a bit crudely, perhaps, but so and his unsold pictures he packed and very earnestly. And therein he is like a spring shipped to Oakland, then left New York ofclear water in his own wide plains. for good in March 1919.

TTc Oakland Tribune, had always been booster for Ed and his work. They

picked up the notice from Boston, and ran an editorial on May 11, 1919: CALIFORNIA COWBOY ATTHEHVB Many ofthe residents ofthe transbay region must remember Pete Borein. In those

NOTES l. James Swinnerton. interview with author, 1973.

2. Ibid.

3. Edward S. Spaulding, ed., Etchings ofthe West by Edward Borein (Santa Barbara: Edward Borein Memorial. 1950), n.p.

4. Letter, Pawnee Bill to Edward Borein. formerly in collection of author.

5. A letter, Edward Borein to Oakland Charros Club, formerly in collection of author.

6. Lucilc Borein, interview with author.

other days hewas effective inpolitics, and got h.n.sdf^ County K^conkr...

Fving Wills, interview with author.

son whose name was and is Edward, though

April 1917, formerly in collection of author.

The Sahca 33ai213A12A I^iscoisicaL Sociec^^ Wishes CO AcknowLeboe che oene]20us suppo]2c op cbe

J^ncy CB. Atib Cl bOCiLLiAOi ScbLossep EaooiL^^ I^ounbACion pop cbe pubbcACion op cbis issue op

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CONTENTS Pg.49: Edward Borein: The New York Years 1907-1919