USA > California > Alameda County > Past and present of Alameda County, California, Volume I > Part 35
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The women of the county were enlisted in 1912 to aid in defeating the cities consolidation project. They established a league with branches and auxiliaries and conducted one of the most elaborate and determined campaigns in the history of the county. Particularly were the women of Berkeley, Oakland, Livermore, Piedmont and Elmhurst well organized and extremely active. The movement closed with a mass meeting at Macdonough theatre on October 24th on which occasion Mrs. Frank K. Mott presided and Miss Mollie Conners delivered the leading speech. Mayor Mott and the Chamber of Commerce made extra efforts to defeat the proposed amendment. The whole state was asked to assist Oak- land to defeat this attempt to incorporate the east bay cities as a part of San Francisco. This amendment was defeated.
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The Women's Political League of Alameda was organized November 24, 1913, at a large and enthusiastic meeting held at the residence of Mrs. H. J. Platts. The object of the organization was to enable its members to study politics and enter knowingly local campaigns. Mrs. Platts was chosen first president of the league. Thirty captains and ten lieutenants were elected to raise the remaining purchase money for the Playter home. Mrs. Frank Havens gave $1,000 toward this object.
In January, 1914, the Women's Protective Bureau of Oakland was duly installed under Misses Beatrice McCall and Alice Richardson and designed to furnish advice to girls and women and generally to effect city probation work for females-the general protection of the moral and physical welfare of the sex.
CHAPTER XIV
ART, LITERATURE, ETC.
Throughout Alameda county, as elsewhere in the United States, music from the start was one of the sweetest and most agreeable pastimes. The mission of San Jose had its musical instruments and its congregational songs and chants by Indian voices. The first Spanish settlers and their vaqueros enjoyed the violin and the guitar. During the pioneer period of the Americans religious songs and national or sentimental airs softened the hardships of settlement and improve- ment. As the towns became cities and the cities became large, musical instructors appeared, glee clubs and choruses were formed and the art began to grow. This was demanded by the first settlers who came from the East and had there received the advantages of musical and other art instruction. The first notable musical development was in the churches, in the university and in the singing schools of nearly all the towns of the county.
The picturesque scenery, delightful climate, choice flower gardens and fine trees were the sources of inspiration that early called into action and promi- nence the artists of the county. In the eighties paintings began to attract attention and ere long could be seen in Hopkins Art Institute, San Francisco. Raymond D. Yelland was one of the most distinguished of the early county artists. His work attracted attention in New York, London and Paris. His landscapes were particularly expressive and symbolic of the glories of the West. He was long an instructor in Hopkins Art Institute. C. C. Judson, one of his pupils, distinguished himself along the Yelland line of expression and color. Marius Dahlgreen painted many beautiful scenes. Other artistic work was by Miss Lou Wall, Miss Mollie Hutchinson and Wallace Von Helm. Douglas Tilden's sculp- tures attracted much attention. Joseph Cleany excelled in painting and model- ing. The artistic work of Miss Alice McChesney found a home in New York and Paris. Miss Pearl Fine and Miss Sadie Whitney were promising students of Hopkins Institute. Miss A. F. Briggs was the author of excellent water color sketches of local natural attractions. Other artists of Alameda county in the nineties were Mr. Redmond, Arthur Lewis, Miss M. Parmenter, Miss McClel- land and H. R. Gremke. Among the china painters, Miss Emma Roberts, Miss E. M. Porter, Miss Eunice Holmes and Miss Herrick.
Westward the course of empire takes its way The first four acts already past, A fifth shall close the drama with the day Time's noblest offspring is the last.
-BISHOP BERKELEY.
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Thou Oakland, sittest like a queen
Enrobed in brightest living green; The noblest bay beneath the skies Reflects its grandeur from your eyes, And commerce, fleet-winged, daily pours Her golden treasures at your doors.
Yet why your streets should run so far Beyond the reach of boat or car I cannot tell, except it be Your people wish to disagree And live apart as rival foes
Exposed to every gale that blows.
Three millions of our free-born race Might snugly live within a space No larger than what Oakland dots With just about twelve hundred cots ; So that it may be said with grace
She lacks in brains, but not in space.
Come, Oakland, lift your banners high! Let progress be your battle cry ;
Win fresher laurels on the field; Add brighter luster to your shield With hearts united-flags unfurled- Advance! and you will beat the world.
San Francisco, July 15, 1873.
-OWEN MCARDLE.
A large number of oil paintings were exhibited at the Grand Central hotel in 1875, and were subsequently sold at auction to the highest bidders. The wealthiest residents of the city visited this exhibition and made purchases for their homes, offices and stores. The Oakland Musical Aid Society was organized in January, 1875, with the following officers: John G. Bruguiere, president ; J. M. Bonham, vice-president ; J. R. Cahill, secretary ; John C. Roos, treasurer ; K. Roos, musical director. The object was mutual improvement in music. The society asked that the council aid them to purchase a full set of brass instru- ments. The matter was referred to a committee. In June, 1875, the Alameda Harmonic Society was inaugurated, and the following officers were elected and empowered to make arrangements for the selection and purchase of suitable grounds on which to erect a music hall: Adolph Mayrisch, president ; Dr. Eichler, vice-president ; C. Volberg, secretary ; Fritz Boehmer, treasurer ; Mr. Kustel, Jr., librarian; Messrs. W. H. Wenck, Conrad Liese and William Holtz, building committee.
In September, 1876, Virgil Williams lectured at the University on "Artists, Pictures and Critics." The Centennial Jubilee Concert presented at Dietz Opera House in July under the direction of John P. Morgan was a great success. Every
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seat in the house was occupied. The audience was critical, but was enthusiastic in its approval. Among the renditions were selections from Von Weber, Morley, Max Bruch, Haydn, Blumenthal, Meyerbeer, Bellini and others. Among the performers were Louis Schmidt, Charles Pflueger, Mrs. John Trehane, Miss Clara Beutler, Fred Borneman, Walter Campbell and Mr. and Mrs. Morgan. There was a general demand for a repetition of this delightful entertainment in the near future. Charles Frees of Washington Corners wrote good verse in 1876. A verse from his "Sea Watch" is as follows:
He walks beside the moaning sea and gazes on the deep, And ever and anon he bows his hoary head to weep;
The brow that once was young and fair and glowed with health and youth, Now tells the sorrow of his heart on burning words of truth,
For here beside the spreading sea where now you see him stray,
Amid the breakers heaving wild his child was swept away.
The studio of L. O. Lussier at Ninth street contained excellent oils, water colors and etchings. He painted fine portraits of Prof. Joseph LeConte and Mr. Anthony Chabot. Andrew P. Hill was a student under his instruction at this time. A local newspaper said that there could be mentioned the names of at least fifty persons of this city whose scenic productions in painting would, if they were placed on the market, bring a handsome price. The natural beauties and fine climate developed the artistic taste and power of expression.
Antone Miller was a Portuguese painter of San Leandro in 1883 and before; his specialty was landscapes and marine scenes. T. L. Bromley painted portraits in 1883.
The song recital by Mrs. Henry Norton assisted by Mrs. C. Carr, given at Masonic hall in September, was attended by a large and critical audience. The Oakland Harmonic Society was prominent in musical circles. They gave a con- cert at the Independent church for the benefit of the Good Templars' home. Among the performers were Miss Brown, Miss Tippett, Mrs. Tippett, Messrs. Hughes, Beel, Reynolds, Lloyd, Waite, Button and Close. F. Seregui was a prominent art dealer here in the early '8os. He went to Italy and while there bought many interesting objects of art for wealthy Oaklanders, one of which, for Charles Main, was a magnificent mausoleum to be erected in Mountain View cemetery ; it was after Seregui's designs, with a base of Carrara marble. He also brought back marble statuary for D. D. Colton's lot at the cemetery. A railroad magnate authorized him to spend $50,000 for art works.
In 1884 an art loan exhibition under the auspices of the Lyon and Appomat- tox Posts, G. A. R., was held for the benefit of the Veterans' home. J. L. Brom- ley, a Mexican war veteran and a director of the Veterans' home, was on the local committee. A sub-committee was W. H. H. Hussey, W. R. Thomas and T. H. Thomas. Donations of all kinds were asked; all to be sold at auction at the close of the exhibition. The university art gallery contained rare and valu- able paintings. Reubens and Murillo were represented. Leize's "Washington at the Battle of Monmouth" occupied a place on the walls; it was a gift from Mrs. Mark Hopkins and was valued at $30,000. In 1884 Sigmund S. Beel left Oakland for Germany to perfect himself in the study of the violin. He studied
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and practiced for six years at Berlin and Munich and returned to Oakland in April, 1890, master of his instrument and his profession. Abroad at the same time was Miss Lulu Wall studying painting in Berlin and in New York were Miss Clara McChesney, Miss Lizzie Boyer and many others studying the various branches of art. Miss McChesney scored a great success at water color paint- ing. Miss Ina D. Coolbrith, librarian of the Oakland Free Library was a poetical writer of considerable prominence in the '7os and '8os. A small volume of her poems was published about 1882; they were characterized by great delicacy and refinement of feeling and had the true inspiration. Upon the death of a dear friend she wrote:
How shall we speak most fittingly of her Who walked the quiet ways Through all her busy days, Unmindful of the world's applause and stir ? Content to be what many do but seem, Happy to do, while many only dream. A worker in God's harvesting; she leaves Clean fields and garnered sheaves.
And when she passed away Into that Larger Day Which seemed as night to us, we could not say- We who so loved her, on the quiet breast Folding her hands to rest- If joy or grief, if tears or smiles, were best ! -INA D. COOLBRITH.
J. H. Backhaus, a young artist of Alameda, died in 1886, in Munich, Ger- many, where he had gone to study. He was a remarkable cartoonist and died at the age of twenty-one years. He contributed to the illustrations of the Wasp.
William Keith spoke on art before the Longfellow Association of Berkeley in March, 1888; his subject was "Landscape Painting." He said, "When I began to paint, I could not get mountains high enough, nor sunsets gorgeous enough, for my brush and colors. After a considerable number of years' experience I am contented with very slight material-a clump of trees, a hillside, a bit of sky. I find these hard enough and varied enough to express any feelings I may have about them." He said he saw two paintings side by side in a New York gallery. One seemed dauby and the other attractive. He stepped across the room and again looked. The dauby one seemed to expand and soar and you could almost feel its cool night air. The other was simply a mass of colors. The dauby one was by Corot and the other by a good artist of the East. He said that an artist should not adhere too closely to nature, but select from nature and combine what would best express what he desired; that an artist's experience consisted of three states: Childhood, youth and manhood. In the first he did not know how to express himself; in the second he received abundant experi- ence-vast accumulation of facts which crowded out his feelings and impulses ; in the third he returned to the first state with the facts of the second state, and then become the real artist.
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Emma Nevada, the world famous singer, was educated at Mills College in the class of 1876. In her time she sang to all the crowned heads of Europe and to thousands of assemblages in all portions of the civilized world. She came back to California in 1900 and was welcomed everywhere as a native product- the highest representative of the singing art.
Miss Carrie Northey, a young singer of East Oakland attracted much atten- tion in 1888-89 by the sweetness and compass of her voice. Upon her return from the East where she received favorable notice she was given a musical reception at Oakland theatre on which occasion she sang with excellent effect before a large audience soprano solos from the Italian song poems of Rotoli, and the works of Strelizki and Helmund and a selection from the opera of Ernani by Verdi. In the East she was prima donna of the New England Conservatory Con- cert Company. Her singing of Marguerite from Faust was the perfection of musical expression. The eastern newspapers were filled with praise of her art and voice. In a short time she left for Paris to continue her studies. H. P. Pass- more's class in music gave an interesting and highly cultured entertainment in Hamilton hall in January, 1889, to a large and select audience of music lovers. Selections from Bach, Schubert, Reinecke, Jensen, Rossini, Mendelssohn and other masters were rendered in splendid style. Mr. Passmore was the composer of two of the numbers rendered.
The annual conference of the American Library Association was held in San Francisco and Oakland in October, 1891. They really met in the former, but all came over to the latter for a formal reception and for sight seeing on the east side. They first visited Berkeley then Oakland, then Piedmont and then were received formally at the Starr King Fraternity rooms.
Joaquin Miller resided in the foothills just outside of Oakland. He owned there nearly one hundred acres. His home consisted of several separate cot- tages. His mother occupied one of the cottages ; he lived all alone in another. Two Japanese servants took care of the houses. The view from his home was beautiful and a daily source of inspiration to this remarkable man. A portion of the poet's house occupied the exact spot where John C. Fremont camped when he first came to the coast. He had cattle and horses, but no dogs. He loved roses and had a rare collection of the latest and richest varieties. A por- tion of his place was wild, woody and very picturesque and here he mused by the hour and built his sublime creations. He shunned visitors, but was courteous, though eccentric when met. At an entertainment given by the Native Daughters of the Golden West in April, 1888, at Medical College hall, he recited his famous poem "The Fortunate Isles." He said: "Not long ago a worthy friend, a rich San Francisco preacher, came to see me where I was at work among my olive trees. 'Will olives pay here?' This was his first and last question. The clink of the golden chain that bound that man's neck to the golden calf with the cloven feet was heard to rattle on my stony steps as he spoke. 'Will olives pay here?' Pay? Pay? In every breath of the salt sea wind that lifts their silvery leaves in the sun I am paid-paid in imperishable silver every day. I see in every olive leaf the silver branch of the peace dove of old. If there is a poem, written or unwritten, a song sung or unsung, sweeter or more plaintive than that of the dove singing in the silver gray olive tree on the mountain steeps, singing in that sad far-off way, as if the waste of waters still encompassed her and she found
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no rest for the sole of her foot, if there is anything at all in my humble path of life that is higher or holier with messages to man, I have not found it."
Be this my home till some fair star Stoop earthward and shall beckon me; For surely Godland lies not far From these Greek heights and this great sea. My friend, my lover, trend this way ; Not far along lies Arcady.
The gold that at sunlight lies In ancient banks at burst of dawn; The silver spilling from the skies At night, for him to walk upon; The diamonds gleaming with the dew -- He never saw, he never knew. He got some gold, dug from the mud, Some silver, crushed and ground from stones ; The gold was red with dead men's blood; The silver black with oaths and groans ; And when he died he moaned aloud, "They'll make no pockets in my shroud."
On May 20, 1890, the musical ladies of Oakland tendered a formal reception to Mr. Beel, the violin virtuoso, at the First Congregational church; he was assisted by Miss Alice Bacon, solo pianist, and Miss Mary Fox, contralto, both of whom were themselves artists in music. People here who knew him before he went abroad were surprised and delighted with his wonderful rendition of the difficult works of the masters of the violin. He was a pupil of the great Joachim. His performance was greeted with great applause and enthusiasm. Over 1,200 people listened to the performance. He rendered E minor concerto adagio from Spohn's Ninth Concerto, a brilliant selection from Sauret, Sara- sate's Gypsy Measure, Ernst's Elegie and others. Late in September, 1894, the new Conservatory of Music gave its first faculty recital.
In January, 1893, authors' night was celebrated in the Unitarian church, Oakland, under the auspices of the Starr King Fraternity. The special object was to honor the memory of Richard Realf. Rev. C. W. Wendte delivered an eloquent introductory address. Joaquin Miller read poems; so did Ina D. Cool- brith, John Vance Cheney, Charles Edwin Markham and David Lesser Lezinsky. Alexander G. Hawes gave personal reminiscences and Rev. J. R. McLean recalled early poetic attempts in the West. Ella Sterling Cummings read an interesting account of the poetic struggles and the life of Mr. Realf, and Edmond Russell read several of his poems. The high inspiration underneath all of the poetic writings of Realf was noted, described, admired and enjoyed. His great work and that of other poets, it was said, was thus pictured by Joaquin Miller :
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The givers of glory to Nations are we- The builders of shafts and of monuments To soldiers and daring great men of the sea ; But we are the homeless strange dwellers in tents, With never a tablet or high-built stone; Yet what care we who go down in the fight,
Though we lived unnamed, though we die unknown, If only we live and we die for the Right?
It appeared that R. J. Hinton of Washington, D. C., was the collector of the fugitive poems of Mr. Realf. It was decided at this meeting that the best monument to the dead poet would be an edition of his poems-a monument that all the world through the coming years could see, enjoy and humbly imitate.
In January, 1894, the following address was sent to the artists of Alameda county by the standing committee of the Mid-winter Exposition, consisting of Partington, Keith and Yelland: "In view of the fact that Alameda county has a greater number of able painters than any other city in the State it has been decided by the commissioners to secure representation of the artistic capabilities of the county. They have promises already of many pictures of great excellence and in considerable number and it is now evident that they have material for an art exhibit of a high class. The commissioners wish to give notice that pictures and other works of fine art for exhibition may be sent to their rooms, in Macdonough build- ing, up to February 10th, subject to the following conditions: (1) Contributing artists must be residents of Alameda county ; (2) all work sent in must be original -copies are not admissible; (3) an art committee will have sole charge of the selection of work contributed."
In April, 1894, Oakland reveled in a concert craze. The Boston Mendelssohn Quintet Club at the Unitarian church started the furor. Here is one of its pro- grams that drew such immense and enthusiastic assemblies of the music wor- shippers : Quintet in B Flat, op. 87-Mendelssohn ; recitative and air by Miss Lila Juel-Haydn; solo for flute, J. Roodenburg-Tereback; quartet in G, op. 18 (a) allegro, (b) adagio-Beethoven; Spanish dances, solo for violoncello by Louis Hoffman-Popper; Fantasie for clarinet by Thomas Ryan-Ryan; Mur- mure de Bal by quintet-Gregh; Romance for violin, Andre Verdier-Vieux temps ; waltz from Romeo and Juliet, by Miss Julia Juel-Gounod; Gypsy Rondo by quintet-Haydn. At the same time the Sousa band held forth at Macdonough ; also the Vienna band elsewhere.
Nothwithstanding that catchy, popular music was relished and enjoyed in Oakland in 1894, congregational and choir music had their worshippers just the same. Thousands went to church on Sundays as much perhaps to hear the music as to catch inspiration and hope from the eloquent words of the preachers. The recitals were invariably well attended. Concerts drew out large and delighted assemblages. Not unusually catchy music was introduced into the more solemn and sedate notes of the sacred exercises. It was noted in this city that when a brass band played "How Can I Leave Thee," the audience went almost mad in their transports of delight, but when the Prater orchestra rendered the ninth sym- phony they listened in silence, but with cold respect. Also Howard's Navy March was regarded with much keener favor than Haydn's divine fifth sonata. It was
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necessary for the church organists to yield in a measure to this so-called depraved taste. At all social functions in the city young ladies played Sousa's marches and "Daisy" instead of nocturnes or polonaises, because the gay throngs asked for them-wanted them. But the best musicians stated that true devotion to art prevented them from yielding to the taste for light and catchy airs and melodies.
The Oakland Orpheus, under the masterly training of D. P. Hughes, occupied a preeminent position among the male choruses of the coast in 1894. To all its performances large audiences were attracted. In November, Oakland Oratorio Society was organized with Rev. Charles W. Wendte as president. It was planned to give three grand concerts annually.
At the Oakland Industrial Exposition in December, 1895, there was a splendid display of Alameda county paintings. Nearly all were quiet, subdued scenes of country and town-nothing heroic. There were eighty-six oil paintings and fifty- six water colors. An Oakland artist said, "This work is the representative art work of Alameda county and is also representative of the art work of San Francisco, because while many of the artists have studios over there, they reside here." There were shown the paintings of Alicia Mooney, Mrs. A. M. Farnham, George H. Burgess, R. D. Yelland, E. R. Hill, C. C. Judson, Thomas Hill, Thomas L. Bromley and Mrs. Cooley. The art committee were Mrs. L. C. Kelly, Mrs. D. W. Gelwicks, R. D. Yelland, C. C. Judson and E. R. Hill. Specimens of deco- rative art were shown by Miss G. M. Hunt.
In April, 1898, the collection of art treasures of Doctor Merritt was sold at public auction for the insignificant sum of $500. Although the collection had cost him approximately $10,000 they were not regarded as works of special merit.
Among the Oaklanders who had distinguished themselves in music by 1899 were Miss Eva C. Shorey as a singer, Miss Hilda Newman as a pianiste, and Miss Catherine Potter as a pianiste. Miss Newman surpassed in tone coloring and subjective rhythmical treatment. Miss Anna E. Briggs became expert as a water colorist, had spent a year in Europe and had studied under Narjot and Mrs. Gelwicks. She had 200 sketches which were exhibited in San Francisco in 1898.
The Oakland Conservatory of Music was established in 1899 and was a branch of the Adolph Gregory system. Students were graduated and at once began to take positions in the leading cities of the country as teachers, directors or performers. The methods of this institution are the best from the famous conservatories of Europe.
In 1899 the Starr King Fraternity held an exhibition of amateur photography under the direction of Miss Carrie A. Whelan. At subsequent exhibitions water colors, oils, pastels, etchings, miniatures and keramics were added. The chapel of the church was illuminated with electric bulbs and reflectors and the second exhibit under Mrs. C. D. Gilman was the best ever held in the city up to that time. Its success was the occasion for the establishment of the Oakland Art Fund backed by the Starr King Fraternity. Subscribers were asked to pay an annual fee of $1. The third exhibit was held in December, 1902, and far sur- passed previous efforts in points of merit, magnitude and variety. It was managed by Dr. and Mrs. Gilman, Mrs. Reugel and Doctor Von Adelung. There were accepted and hung 175 pictures-all from artists' studios, there being no loans. At this time the membership was over two hundred. The art judges were C. P. Neilson, L. P. Latimer, G. Cadenasaso, Bertha S. Lee and Mrs. D. W. Gelwicks.
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