1. An undated note from Mrs. Paul Wormser to M. E. Petersen. Amy Jo Wormser (nee Wangenheim) was a model of style and sophistication. A former student of John Singer Sargent, Julie H. Heyneman, a San Francisco painter and teacher, had arranged for Sargent to paint Mrs. Wormser as a child. There seems to be an illusive reason that this never transpired. Julie Heyneman died in 1943 at the age of 72. Amy Jo was, also, a practicing and exhibiting artist. She exhibited at the San Diego Museum of Art with a group named San Diego Moderns, local artists who considered themselves more up to date on art and its creation. Mrs. Wormser had studied in France and received recognition for success as a designer. Among her other interests were Asian art, and she was a long standing member of the Museum’s Asian Art Committee. She usually played an important role in the successful annual Bazaar sponsored by the Asian Arts Committee to benefit the Museum. The Bazaar was one of its major and most successful fund raising efforts for the museum with funds applied to art purchases in the field and sponsorship of related programs. She was an indispensable source of information about the extended Klauber family.

2. For a history of the Klauber family see History of the City and County of San Diego, Liberthon & Taylor , 1881; Alice W. Heyneman, Abraham Klauber, San Diego, Rover Press, 1963; Laurence M. Klauber, “Abraham Klauber,” Western States Jewish Historical Quarterly, II (January1970).// Dates used here are recorded in the family Bible provided by the Klauber family.// Three siblings died in infancy.

3. Mary C. Morse, from a paper written for the Ladies’ Pioneer Society of San Diego, August 12, 1889.

4. Quoted in R. C. Leon, The Original San Diego Catalogue, San Diego: Privately printed, 1981, page 11,

5. Mission San Diego was officially secularized in 1835. For a survey of early art activity in the San Diego area, see the unpublished manuscript by Rebecca Lytle, People and Places: Images of Nineteenth Century San Diego Drawings, Lithographs and Paintings, San Diego State University, 1978. Lytle has included works by artists active in the community between 1850 and 1870 especially.

6. See Larry Booth, Roger Olmsted, and Richard F. Pourade. Portrait of a Boom Town: San Diego in the 1880’s, The San Diego Historical Society, 1971.

7. Noted in The Modern Clubwoman, November 1929.

8. See D. C. Ipsen, Rattlesnakes and Scientists, Redding: Addison-Wesley Publishing Company, 1970.

9. The Art Guild was one part of a parent organization of the Fine Arts Society of San Diego that operates and maintains the Fine Arts Gallery of San Diego (San Diego Museum of Art). Leda Klauber was a founding member of the Guild and the Asian Arts Committee.

10. An unidentified local newspaper obituary dated April 29, 1942 reported that Stella’s dancing performances took place in New York City.

11. The notes were formerly in the collection of Miss Klauber’s friend, Mrs. Ira ‘Margaret’ Robbins.

12. San Diego Union, July 8, 1952.

13. Bennard B. Perlman, Professor of Art, Baltimore, for example has referred to Miss Klauber and her notes in several recent publications as have other authors interested in a developing history of American art.

14. Recent interest in Putnam’s small animal bronzes appears to have developed in art circles; see Carol M. Osborne, “Arthur Putnam, Animal Sculptor,” American Art Review, III (1976). A large exhibition of the artist’s small bronzes circulated among Southwestern museums in 1978 and 1979.

15. When the photographer was first contacted, Adams recalled Putnam and had intended to send further information from his records about the glass negatives he had made of works by the sculpture. Unfortunately, his death occurred shortly thereafter and cut short correspondence with the author.

16. Acquisition nos. 34:33 (a-p), 34:34 and 34:38.

17. Found in an undated hand written letter to Miss Klauber from the artist who was in Chicago with Edward Kemeys at the time.

18. Julia Gethman Andrews, San Diego Union, January 7, 1945.

19. Letter, from Grace Storey to Alice Klauber dated October 24, 1909.

20. Information of the artist’s studio may be found in an unidentified and undated typed resume of the artist in the archives of the San Diego Museum of Art.

21. See Milton W. Brown, The Story of the Armory Show, New York: Abbeville Press, 1988, p.303; Martin Green, New York 1913: The Armory Show and the Paterson Strike Pageant, New York: Charles Scribner’s Sons, 1988.

22. Letter, private collection. Amie Merchant Farnham was the earliest professional artist to locate in San Diego where he died in 1922.

23. Katherine Metcalf Roof, The Life and Art of William Merritt Chase, New York, 1917, chap. 22.

24. Miss Klauber’s journal notes, July 8, 1907.

25. San Diego, Evening Tribune, January 8, 1940.

26. Time Magazine, June 3, 1935.

27. M. Elizabeth Boone,”American Artists and the Spanish Experience,” American Art Review, XI: I (January-February 1999), 132ff.

28. Miss Klauber may have been encouraged to join the Henri class by her friend and fellow San Diegan, Esther Stevens Barney who had studied with the artist the preceding winter and who, also, accompanied the tour to Spain. Two Los Angeles artists and friends of Klauber, Bert C. and Metta Cressey, were also with the Henri trip. They located in Los Angeles about 1916. See The Los Angeles Art Association, Color Impressionists in California, 1937 and Hazel Boyer Braun, San Diego Tribune, July 21, 1929.

29. Eileen Jackson noting a copy of the paper on Miss Klauber informed me that Ronda is probably 50 miles from the sea. The Guadalquivir River runs through a very deep canyon there and there might be a beach somewhere along the river.

30. Alice Klauber, 1st Trip Abroad (Chiefly Galleries of Paintings), dated at home March 14, 1913.

31. The 13-1/8x 9-3/8 inch oil sketch is in the collection of the San Diego Museum of Art, acquisition number 42:83

32. Recording the occasion see Richard U. Dodge. Pacific Railroad Journal, 1960.

33. The City voted to contribute $1,700,000; popular subscription amounted for $1,000,000; the State appropriated $750,000 for the construction of the California Building.

34. San Diego’s Balboa Park the second largest city park to be established in America following New York’s Central Park of 1865 and preceding San Francisco’s Golden Gate Park by two years was first referred to in 1789 when a survey was made for the king of Spain to the further development in pueblos in California. In 1868, 1400 acres were set aside to be maintained as parkland by farsighted community leaders in a town covering a much smaller acreage and populated by less than 2500 inhabitants living in 915 homes. It was first survey for park possibilities by 1902. City Park became Balboa Park officially in 1910 in honor of the Spanish adventurer Vasca Nunez de Balboa, 1475-1517, whom history credits with the first sighting of the Pacific Ocean. In addition to talented locals, a great deal of input into the Exposition site by noted specialists such as John C. Olmstead of the Olmsted Brothers of Brookline, Massachusetts, and Dr. Ales Hrdlicka from the Smithsonian, contributed to the perfection of the Exposition and its grounds. See Florence Christman, The Romance of Balboa Park, San Diego Historical Society, 1985.

35. Alice Klauber. “The Paintings of Donald Beauregard,” Art and Archaeology, VII: 1-2 (January-February 1918), page 82.

36. A fact acknowledged but not accepted by the local citizenry. See “Balboa Park Open House Climaxes Reconstruction Job,” San Diego Journal of San Diego History, March 22, 1919.

37 For an account of the New York Armory Exhibition see Walt Kuhn’s The Story of the Armory Show, 1938. Kuhn served the organizers as secretary.

38. Ira Glackens, son of painter William, wrote a standard reference on the group. He preferred to refer to them as a ‘school’ but his publisher had insisted on using the word ‘group’ that is used today by specialists in American art history. The publisher won out. Ref: Letter to M. E. Petersen from Ira Glackens, August 21, 1962.

39. International Studio, LXVIII (November 1917), page 8.

40. Henri’s California visit has been the subject of several articles. See Robert Henri, The Craftsmen, XXVII (February 1915), pages 459-469; M. E. Petersen, “Henri’s California Visit,” FASM Newsletter, I (February 1971); M. E. Petersen, “Modern Art Goes to California,” Southwest Art, II (September 1972); Jean Stern, “Robert Henri and the 1915 San Diego Exposition,” American Art Review, II (September-October 1975).

41. The oil sketch of Margorie ‘O’, 24 x 20 inches, dedicated lower left to Miss Klauber: This sketch to Alice Klauber by Robert Henri. Souvenir of Summer 1914 in La Jolla and San Diego. In the collection of the San Diego Museum of Art, acquisition number 59:2, Gift of Mrs. George Heyneman. It is a version of a more finished portrait The Beach Hat in the collection of the Detroit Art Institute.

42. Letter from Robert Henri to Dr. Hewett, July 29, 1914.

43. Copies of the catalogue are difficult to find. In an attempt to recreate the exhibition in 1962, only a portion of the original paintings were available. Many were not available for loan. For some it was difficult to trace location.. Carl Sprinchorn notified the Museum that his work was destroyed in a fire along with a large number of others he had done when he was in Coronado earlier. See M. E. Petersen, Modern American Painting: 1915, San Diego Museum of Art, 1962. A copy of the original catalogue is in the collection of the San Diego Public Library, California Room.

44. J. Carroll Beckwith, Art World, III (December 1917) pages 176-179.

45. “Paintings of the Southwestern Artist,” Art and Archaeology, VII:1-2 (January-February 1917, page 53.

46. Details of Natalie’s paper and reactions are from a summation she wrote in a letter to ‘Dearest Friends’ and dated October 16, 1921, provided by Alfred R. Bredenberg, husband of Natalie’s niece.

47. Cubism, a style rather than a movement, permeates much of the 20th century art movements.

48. See Edward Behr. The Good Frenchman. New York: Villard Books, 1993.

49. For a brief history of the Asian Arts Committee see Edwina Naylor Decker, “The Asiatic Arts Committee,” Thursday Club Bulletin, San Diego, February 1966, pages 11-12.

50. Fine Arts Gallery of San Diego, Catalogue of the Circulating Gallery of Portable Pictures and Sculpture, 1932.

51. Marg Loring. San Diego, Sun, April 19, 1939.

52. Hazel Boyer Braun. San Diego, Evening Tribune, April 2, 1927.


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