Early 20th Century Yosemite Mountain Landscape

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Margaret Rogers
Early 20th Century Yosemite Mountain Landscape
1930

Name: Early 20th Century Yosemite Mountain Landscape
Brand: Margaret Rogers
Rating: 5 (353 reviews)

Price:$1,650

About the Item

Mountain landscape by Margaret Rogers (American, 1872-1961). Presented in a period wooden frame. Provenance: from the Santa Cruz Art League Collection. Signed "Rogers" on verso. Image size, 20"H x 30"L. Born in Birmingham, England, her family immigrated to California in 1875. Margaret was one of the original "Jolly Daubers" with Cor DeGavere, Leonora Penniman, Santa Cruz Art League Founding Members. Studied with Frank Heath on many wagon trips to Big Basin. The Rogers were a cultured family who came to California for the father’s health and settled on a ranch in the King City area. Margaret grew up in the curiously paradoxical world of early California, breaking her own riding horses and roping cattle during the day, doing a man’s work, riding a man’s saddle, then sitting down to the piano to play classics in the evening after high tea. Margaret’s mother had the only piano for 80 miles around. Her father, Robert J. Rogers, had been an importer of fine tea, coffee, and spices in England. In Monterey County he raised sheep and cattle and the family lived under comparatively primitive conditions. When Margaret wasn’t riding herd plowing or playing the piano, she was painting. Art was an early love. Fame caught up with her early. She was written up in San Francisco newspaper as Monterey County’s pretty girl who rides a man’s saddle, marks and brands stock, breaks wild colts, plows and sows, plays classical music and paints in oils. Margaret’s mother was her first music and art teacher; later she took art lessons from Kate Baldwin in Salinas. She had suitors and several proposals, but never married. The year 1898 The unusually dry year dried up one of Margaret’s romances. Her intended put in 700 acres of grain, spending all he had plus money he borrowed. Not a spear of grain grew, she writes, and their plans to marry when the crop was sold dried up with the weather. Her mother died and Margaret and her father moved to Soquel, taking along her favorite saddle horse. In Santa Cruz County Margaret at once became involved in art circles which were unofficially headed by Frank Heath and his wife, Lillian Dake Heath, Frank and Margaret together founded Santa Cruz Art League in 1919, and a few months later were joined in their efforts by a Dutch woman named Cor de Gavere who arrived in Santa Cruz. The two women artists, Margaret and Cor, became fast friends and remained so until Cor’s death in July 1955, while she was visiting relatives in Holland. They painted together almost every day and shared many meals at each other’s cottages which were just a few blocks apart in the Seabright area. However, those Victorian ladies, raised in the era of rigid social conventions, always addressed each other as Miss Rogers and Miss de Gavere as long as they lived. Money was never in great supply for either lady, but Cor managed to buy a small automobile, and after six driving lessons the two of them took off for southern California and she and Margaret took many camping and painting trips in it. Later…Margaret herself got brave enough to buy an auto. Margaret from 1925 to 1947 made her home in the basement of the Arts and Crafts Building… She managed the Art League’s first gallery, which was started there. Holding informal court for friends who called, Margaret would open a can of sardines, put out a plate of crackers, and conversation about art or music would follow. During World War II Margaret raised rabbits in cages. In later years, Margaret purchased a small studio-home on Alhambra Street – still in Seabright, which both women clung to as home territory. In 1929 Margaret helped found the Art League’s first Statewide Show, which became an annual event. She served as show chairwoman for more than 20 years. A fine painter of landscapes, Margaret became better known for her strong marines. Once she explained that the ocean was the real challenge, because it won’t stand still. She served as president of the Art League from 1925 to 1947. Short, stocky, outspoken and very talented, Margaret gained many honors in her later years. With her short haircut …and her dark dresses, she was a familiar sight at local musicals and always at art events. Someone who knew both Cor and Margaret very well once described them this way: Cor was the gentle gray dove, Margaret was the noisier, more aggressive blue jay.” extracted from Santa Cruz Sentinel, June 12, 1977 The Ohlone (Costanoan) Indians made ornaments of abalone shell and other small sea shells they shaped and drilled: their woven baskets were works of art, sometimes ornamented with quail feathers and tiny, hand-drilled beads made of shells. The baskets, alas, are all too rare today. The Franciscan Padres didn't realize when they and the Indians built the California Missions that they were contributing to the world of art, but they were. The early American settlers were too busy for art for a few years. They had more urgent need of plows, hammers and saws, and shovels. But when affluence caught up with them and life became easier, they too made their contribution -- the wealth of great Victorian homes that gave Santa Cruz its charming New England atmosphere. There also was art instruction, as such, in the area before Frank Heath began his classes with the students who, with him, went on to establish the Santa Cruz Art League. The Society of Decorative Arts was founded June 1, 1885, after Fred A. Hihn sent out invitations that brought 25 men and women to a meeting. Miss A.M. Wells had been conducting a private art school in her home on Soquel Avenue. She also gave watercolor and drawing lessons at Calvary Episcopal Church, using a Sunday School room. The newly formed Decorative Arts society was created to "promote art" in Santa Cruz, furnishing both paid and free classes in all branches of the arts. It also was founded for the establishment of a depot where artistic products might be displayed and sold. Between 1885 and 1891, the society maintained an embroidery class for 25 girls and a sewing class for a group of 60 small girls. In October of 1891, a Woman's Exchange was opened where artistic needlework, painting and drawings were sold. In the 1870s Mary Hallock Foote was in Santa Cruz for several years. She taught painting and while here she recorded historic Santa Cruz scenes for a magazine. Emily Bartlett was another early artist and art teacher who taught for about 25 years at Holy Cross School; the nuns as well as the students received painting lessons from her. Art and painting lessons were given at Mrs. Gamble's Seminary on Walnut Avenue. Mrs. Gamble's nephew, John Gamble, was a well-known artist of that day. Lillian Richardson taught china painting; Mrs. L. James gave watercolor lessons. Lillian Howard, who took lessons from Frank Heath, went on to become an art teacher at Santa Cruz High School. She also gave private lessons in her home on Highland Avenue, and went about recording local scenes of historic sites and buildings that were disappearing. But art in Santa Cruz took its greatest leap ahead when Frank Heath returned from San Francisco where he had attended Hopkins Art Institute (California School of Design.) he traveled and painted on the East coast and throughout the U.S. and he taught at Hopkins for several years before coming home to Santa Cruz to open a studio in the Heath family home on Beach Hill. Heath and Margaret Rogers, one of his students, organized the Santa Cruz Art League, which developed out of an earlier group he formed that was called the Jolly Daubers. The league was formally instituted in October of 1919 with Heath as president and Margaret Rogers as vice president. For a number of years, the Art league displayed its work and had its meetings in the Santa Cruz Museum which was housed in the former William Tyrrell home in Seabright. Margaret performed the tasks of curator and caretaker, and lived in the house also, although she owned two houses she rented out, on Plum Street. Later, when the Tyrrell home was demolished and the present museum building was built for library purposes, she purchased a small house at the corner of Alhambra, and lived in it. Margaret had a fabulous collection of paintings by artists who visited Santa Cruz to display their work in the annual Statewide Art Shows, sponsored by the local league. She would trade one of her paintings for one of the visiting artist's -- they were mainly small paintings because her house was small, a friend recalls. For her own paintings she would go down to the beach and study the water for hours at a time. In the winter she made rag rugs -- which wore so well that a friend is still using two of them today. "They have been washed and washed over the years," says Dorothy Miller who is the friend. "I don't think they will ever wear out!" Dorothy's rugs were made in 1928. Margaret usually wore black dresses that covered her from her ears to her feet, in Dorothy's words, and although she didn't like hats, she felt she should wear one and did. She had an assortment of floppy velvet hats she disliked intensely, but wore to the statewide shows because she felt it was more dignified to appear in headgear. Remember -- these were women raised in the Victorian tradition. Cor hated housework and was fond of saying shyly, A little dust is becoming. She almost always wore a soft shade of blue, and when she wasn't painting which she did almost every day, she knitted a lot. Cor made one painting that a friend, Jo Stapp, wanted very much, but Cor wouldn't sell it. I loved it but I never expected to own it because she wouldn't part with it, Jo recalls. But Jo got it -- after Cor had died, miles away in Holland. "One day, Margaret Rogers came to see me and she had the painting," Jo said. "She said she was giving it to me, because she knew I had wanted it so badly." Jo says she still doesn't know why she was privileged to become a friend of such a fine person as Cor de Gavere. And she still treasures the painting. One time when Margaret and Cor were out on a painting trip in the County, they left a painting to dry for awhile, planning to return and get it later. When they went back for it, it was gone. In later years, Margaret told a friend she regretted the super-strict rules they had set up for the local Art league and she was instrumental in starting the annual shows that brought artists from all over California. Working with her on the statewide shows was Leonora Naylor Penniman, who, with Margaret and Cor were known as "The Santa Cruz Three." After Frank Heath died in 1921, his wife Lillian continued to paint china, tapestry and watercolors and to work for the establishment of the league's own gallery. Lillian Heath lived a rather formal life, and it was at her Beach Hill home, "The Studio," that I -- as a small girl -- was introduced to the custom of finger bowls at the dining table. (My other relatives, hardy mountain pioneers, where more at home with rifles and shotguns.)

Creator:
Margaret Rogers (1872 - 1961, American)
Creation Year:
1930
Dimensions:
Height: 26 in (66.04 cm)Width: 36 in (91.44 cm)Depth: 2 in (5.08 cm)
Medium:
Oil,Canvas,Cardboard
Movement & Style:
American Impressionist
Period:
1930-1939
Condition:
some age wear to frame and canvas edges.
Gallery Location:
Soquel, CA
Reference Number:
Seller: JT-j33351stDibs: LU5421542943

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