1927 (1926) (1928) (1920-1930) (1930-1940) Table of Contents
Harry Carr Los Angeles City of Dreams (Illustrated by E.H. Suydam), D. Appleton-Century Co.: NY, 1935, 402 pp. See Text
David Gebhard and Robert Winter A Guide to Architecture in Los Angeles & Southern California, Peregrine Smith: Santa Barbara, 1977, 728pp, 1977, 1919, 1900s See Text
Paul J. Karlstrom and Susan Ehrlich Turning the Tide: Early Los Angeles Modernists 1920-1956, Barry M. Heisler Introduction Santa Barbara Museum of Art 1990, 1927 See Text
Christopher Knight Walter Hopps* [1932-2005] Curator Brought Fame to Postwar L.A. Artists, Los Angeles Times, 22/3/05, pp. A1, A19, 2005b, 1927
James W. Lunsford The Ocean and the Sunset, The Hills and the Clouds: Looking at Santa Monica, illustrated by Alice N. Lunsford, 1983, 1977, 1927 See Text
Marathon Dance from Santa Monica to El Patio Ballroom in Los Angeles, 1927 See Image
Santa Monica Planning
Division Santa Monica Landmarks Tour,
2003.
49. Parkhurst Building, 1927 See
Text
Amanda Schacter (ed.)
Santa Monica Landmarks Santa Monica Landmarks Commission,
1990.
10 Parkhurst Building See
Text
Colm Tóibín Rinse it in dead champagne: Lindy Woodhead War Paint: Helena Rubinstein and Elizabeth Arden: Their Lives, Their Times, Their Rivalry, Virago, April 2003, 498 pp. London Review of Books, 5 February 2004, pp. 32-34, See Text
Documents
Harry Carr Los Angeles City of Dreams (Illustrated by E.H. Suydam), D. Appleton-Century Co.: NY, 1935, 402 pp.
Chapter XV Underneath the Surface
p. 186 "The bringing of the Olympic Games to Los Angeles was the result of more than five years' ceaseless propaganda-including several trips to Europe by leading citizens of the pueblo. The technical arrangements-once the games were assured-represented two years work by experts.
" . . . "
"[p. 188] . . . Although our cheers for the Japanese were innocent enthusiams without guile, we learned a lot about internationalisms during the Games.
Chapter XXV Characters Make a Town
"[p. 331] California now produces 25 percent of the national output and 18 per cent of the world's oil. At the end of 1927 the output was 2,800,000,000 barrels valued at $3,000,000,000. The output was choked back by the regulations of the N.R.A.
" . . . "
Chapter XXVII The Athens of America
"[p. 358] Henry E. Huntington [1850-1927] was a different type [than Collis Huntington]. He was a tall, distinguished-looking, but rather shy. He had a very curious habit of repeating the last words of every sentence; as for instance: "It looks to me as though it were going to rain-I say going to rain. I had better take along my umbrella-I say my umbrella."
"He gave me the first big scoop I had ever had on a newspaper. The city editor knew he had come to town with a party of financial men and all the experienced reporters were out; so he had sent me-with obvious misgivings. I waylaid Mr. Huntington as he was going through the Southern Pacific Depot on his way to his private car with a bevy of gentlemen who looked like money. It would have been impossible for any one to have looked as scared as I felt; but I must have looked scared enough for him to take pity on me. He sent his party ahead and we sat down on a bench.
"[p. 359] . . .
" . . . he handed me some information that stood the town on its head and sent up the curtain for a new and one of the greatest acts of our pueblo. Mr. Huntington wa about to start the great system of interurban railroads that now spreads like a network all over Southern California, annexing them all in a way to Los Angeles.
" . . .
"[p. 359] He had been brought up in the railroad business by his uncle, and came to Los Angeles in 1898 with a large fortune which he must have multiplied many times by his real estate operations. Every time it was announced that Huntington was to build another suburban line into another town, a boom in real estate spurted up in that town. As Huntington was the only man who knew where the next town would be, he was able to buy up the real estate and profit by his own boom. His railroad building paid for itself as it went along.
"In the course of this expansion, he gobbled up several other weaker railroad ventures. It is a fairly good guess that the great Huntington Library resulted from a conversation with one of the gobbled. Unable to hold out against the pressure, the owner of one of these squeezed-out railroads burst into Mr. Huntington's office, defying the czar on his throne. "Go ahead; take my railroad," he shouted. "You will grab all the money in Southern California and die and no one will ever know that you have ever lived-just like your uncle-only a hated name." {p. 360]
"[p. 360] Mr. Huntington said nothing; he merely smiled a cold, chilled-steel smile; but he built the Huntington Library, which will perpetuate his memory long after his railroads have been forgotten.
"Another fact had also something to do with it. After his death there were found among his effects a collectin of sketches he had drawn of his estate; he wanted to paint and he painted with millions . . . tens of millions.
" . . .
Details about the location and extent of the collections of the Huntington Library pp. 360, 361, 362.
" . . . "
David
Gebhard and Robert Winter A Guide to Architecture in Los Angeles
& Southern California, Peregrine Smith: Santa Barbara, 1977,
728pp, 1977, 1927, 1900s
42. Parkhurst Bldg. ca. 1925, NW cor. Main & Pier
"This building with its beautiful brick work might have come out of old Seville. Evidently it was once an automobile showroom. At the moment it is in desperate need of restoration."
Paul J. Karlstrom and Susan Ehrlich Turning the Tide: Early Los Angeles Modernists 1920-1956, Barry M. Heisler Introduction Santa Barbara Museum of Art 1990
Henrietta Shore (1880-1963), 1990, 1933, 1928, 1927, 1920, 1916, 1915, 1914, 1913
""Shore . . . realizes a fusion of her own ego with a deep universality . . . When she paints a flower she IS that flower, when she draws a rock she IS that rock." [Edward Weston, 1933]
"The youngest of seven children, Shore was born in Toronto, Canada on 22 January 1880. In her early teens she decided to become an artist when in a prophetic moment she perceived herself and nature to be intimately wed: "I was on my way home from school and saw myself reflected in a puddle. It was the first time I had seen my image completely surrounded by nature, and I suddenly had an overwhelming sense of belonging to it-of actually being part of every tree and flower. I was filled with a desire to tell what I felt through painting."
"After this revelation, Shore embarked upon a concerted study of painting, training first with Toronto artist Laura Muntz and then with William Merritt Chase and Robert Henri in New York City. Henri's vitalist views, which regarded art as a spiritual force . . .
"In 1913, beguiled by travels along the Pacific Coast, Shore immigrated to Los Angeles. By the following year she had established herself within the art community and was earning commendations from Los Angeles Times critic Anthony Anderson. This recognition, buttressed by silver medals in 1914 and 1915 at the Panama-California Exposition in San Diego, encouraged her to join with her friend Helena Dunlap and a few other artists in founding the Los Angeles Modern Art Society in 1916. . . .
" . . . [She returned to New York in 1920 where she remained for three years] . . .
" . . . "To be true to nature one must abstract. Nature does not waste her forms. If you would know the clouds-then study the rocks. Flowers, shells, rocks, trees, mountains, hills-all have the same forms within themselves used with endless variety."
"In her aim to express universals in nature, Shore reveals her Symbolist roots. As such she shows an accord with Symbolist heirs Paul Klee and Vasily Kandinsky as well as with the American modernists Arthur Dove and Georgia O'Keeffe. Like Dove and O'Keeffe, Shore felt an intuitive bond with nature, whose vitalism she aimed to evoke in synoptic pictorial form . . .
"It also relates to the ethos of Agnes Pelton and Edward Weston who harbored similar aspirations . . . Allies in spirit, Shore and Weston shared a purist aesthetic that sought to portray quintessentials in nature. . . .
" . . .
"Back in Southern California in 1923, Shore operated a diner, the Studio Inn, where she displayed her works . . . In 1927, she was awarded one-woman shows at the Los Angeles County Museum of Art and at the Fine Arts Gallery of San Diego. The next year brought solo exhibitions at the Brick Row Gallery and Jake Zeitlin's Bookstore in Los Angeles . . . By [1931], Shore, following Weston's example, had moved from Los Angeles to the Northern California coast town of Carmel.
". . . Work in the mid-1930s on murals in Santa Cruz and Monterey for the Treasury Relief Arts Project . . ."
Christopher Knight Walter Hopps* [1932-2005] Curator Brought Fame to Postwar L.A. Artists, Los Angeles Times, 22/3/05, pp. A1, A19
Duchanp had been the primary advisor in the development of their collection, and for them he was the center of that legacy.
James W.
Lunsford The Ocean and the Sunset, The Hills and the Clouds:
Looking at Santa Monica, illustrated by Alice N. Lunsford, 1983,
1977, 1927
Ocean Park
"25. Parkhurst Building, 185 Pier Avenue. A two-story ornate brick commercial building built in 1927 by C. Gordon Parkhurst, a prominent realtor and next-to-last mayor of Venice. The architect, Norman F. Marsh, also designed Windward Avenue in Venice. His firm, Marsh, Smith and Powell, designed Washington and Roosevelt Schools in Santa Monica. The structure was designated a Santa Monica City Landmark in 1977 and has also been placed on the National Register of Historical Places by the United States Department of the Interior."
Marathon Dance from Santa Monica to El Patio Ballroom in Los Angeles, 1927
Marathon Dance from Santa Monica to El Patio Ballroom in Los Angeles, 1927, United Press International, N.Y., No. A83, (Postmarked Jul 1990)
Santa Monica Planning
Division Santa Monica Landmarks Tour, 2003.
49. Parkhurst Building, 1927
185 Pier Ave
Architects: Norman F. Marsh & Company
Designated 6 December 1977
"This Spanish Colonial Revival building was constructed by Clinton Gordon Parkhurst, the next to the last mayor of Venice before this city became incorporated into the City of Los Angeles. It was designed by the architectural firm of Marsh, Smith and Powell. Partner Norman F. Marsh was responsible for the design of the many prominent structures in Venice, as well as the plan for the arcaded streets and canals. The multi-sided tower with its intricate design formed by protruding bricks, as well as it other ornamentation, make this one of the more visible landmarks on Main Street. This building was listed on the National Register of Historic Places in 1978."
Amanda Schacter
(Ed.) Santa Monica Landmarks Santa Monica Landmarks
Commission, 1990.
10 Parkhurst Building
185 Pier Ave and Main Street
Built: 1927
Architects: Marsh, Smith and Powell
Designated 6 December 1977
"This fine example of the Spanish Colonial Revival style was constructed in 1927 by Clinton Gordon Parkhurst, the next to the last mayor of Venice before this city became incorporated into the City of Los Angeles. It was designed by the architectural firm of Marsh, Smith and Powell. Partner Norman F. Marsh was responsible for the design of the many prominent structures in, as well as the plan for the arcaded streets and canals of, Venice. The multi-sided tower with its intricate design formed by protruding bricks, as well as it other ornamentation, makes this one of the more visible landmarks on Main Street. This building is also listed on the National Register of Historic Places."
Colm Tóibín Rinse it in dead champagne: Lindy Woodhead War Paint: Helena Rubinstein and Elizabeth Arden: Their Lives, Their Times, Their Rivalry, Virago, April 2003, 498 pp. London Review of Books, 5 February 2004, pp. 32-34.
"Rubinstein begins competition with Arden in 1914 by moving into the New York market. Rubinstein was born in Poland (1872-1966?) and began her business in Australia. Arden (1881) began in Toronto.
"By 1927 American women were buying 52,000 tons of cleansing cream, 26,500 tons of skin lotion, 19,109 tons of complexion soap, 17, 500 tons of nourishing cream, 8750 tons of tinted foundation, 6562 tons of talcum powder and 2375 tons of rouge . . ."