COOKBOOK COLLECTION | Grandma’s Cooking

Another post in a series from the cataloger of the Anne M. Cranston cookbook collection, which consists of approximately 4,400 British and American cookbooks from the 19th and 20th centuries. In this series, Shelley shares fascinating recipes, quotes, kitchen solutions, and anecdotes she has uncovered in the collection.

Allan Keller, Grandma’s Cooking. New York: Gramercy Publishing Co., 1955.

Allan Keller, Grandma’s Cooking. New York: Gramercy Publishing Co., 1955.

In his book Grandma’s Cooking (1955), Allan Keller wrote, “My grandmother was the best cook in the whole wide world.” While I would argue that my grandmother was the best cook in the world, I do find it hard to take that away from Mr. Keller. After reading his tribute to his Connecticut Yankee Grandma, I will concede that she was an amazing woman and one heck of a great cook.

Not all of the cookbooks at The Huntington are simply collections of recipes. I have mentioned that some of the cookbooks cover everything from cheese-making to poultry keeping, but there is another type: a memoir or life of the cook with recipes mixed in. It is completely gratifying not only to read a story about how a town would almost mutiny if the dear lady brought anything but her peach pudding to the covered-dish suppers at the local church but also to then make the pudding for myself. I not only made it, I ended up buying the book.

Old Connecticut Peach Pudding

1 teaspoon vanilla
3 tablespoons butter
Grated rind on 1 lemon
¼ cup sugar
2 egg yolks
1 cup flour
¼ teaspoon salt
¼ teaspoon cinnamon
3 teaspoons baking powder
½ cup milk
10 large ripe peaches
1 ½ tablespoons lemon juice
¾ cup sugar
2 tablespoons sugar
2 egg whites, beaten stiff

Blend together vanilla, butter, grated lemon rind, ¼ cup sugar, and egg yolks. Beat thoroughly. Sift together flour, salt and baking powder and add alternately with milk to first mixture, beating well. Butter baking dish and fill bottom with peaches, which have been pealed, stoned, and quartered. Sprinkle with lemon juice. Then lightly mix in ¾ cup sugar. Pour pudding mixture over peaches and bake at 350° for 25 minutes. Remove from oven and cover with meringue made by slowly adding 2 tablespoons sugar to egg whites and beating until stiff.  Dust with cinnamon and return dish to oven to brown meringue. This will take 15 minutes or longer if you prefer darker topping. Serve warm as is, or with cream.

Grandma Keller looked upon packaged foods and store-bought bread as if they had been concocted by the devil himself.  She cooked 3 meals a day, 365 days a year until, as her grandson puts it, God called her up to cook for the angels. On the Connecticut farm there was no running water and no electricity. What couldn’t be canned was stored in the root cellar or in a bucket in the well just above water level.

Many other books from the collection round out the Connecticut menu, such as the New Connecticut Cookbook, which has a chapter on salads. From Woman’s Club of Westport (Westport, Conn.), compiler. New Connecticut Cookbook: Being a Collection of Recipes from Connecticut Kitchens. First edition. New York and London: Harper & Brothers Publishers, 1947.

Many other books from the collection round out the Connecticut menu, such as the New Connecticut Cookbook, which has a chapter on salads. From Woman’s Club of Westport (Westport, Conn.), compiler. New Connecticut Cookbook: Being a Collection of Recipes from Connecticut Kitchens. First edition. New York and London: Harper & Brothers Publishers, 1947.

Children did farm chores, went to school and church, and skated and fished over frozen ponds.  The family butchered the animals and planted and harvested.  At the end of the day, they all sat down to meals like pork roast with onion shortcake:

Pork Roast

1 loin roast of pork
1 tablespoon salt
1 large onion, sliced
1 teaspoon black pepper
3 tablespoon flour

Preheat oven to 450°. Wipe pork carefully with a clean damp cloth. Place meat on the rack of the roaster with fat side up. Rub in salt and sprinkle pepper and flour over meat. Lay onion slices on top and place in oven, uncovered. Cook for 15 minutes, then reduce heat to 325°. Cover roaster and bake until well done, allowing 25 minutes to the pound [Note: I personally like it cooked until the internal temperature is 160°]. During the last half hour of baking, remove the cover of the roaster so that the pork can become crisply browned.

Onion shortcake

2 cups onions, sliced thin
1 teaspoon salt
2 tablespoons butter
1 egg slightly beaten
½ cup sour cream
¼ teaspoon black pepper
Biscuit dough (see below)

Cook onions with salt and butter in saucepan in enough water to cover. When almost tender, but not browned, remove from fire and cool. Place biscuit dough [recipe below] about ½ inch thick in greased baking dish. Beat egg and cream and pepper together. Places onions on top of dough and pour cream mixture over all. Bake uncovered in hot oven (425°) for 20 minutes.

Buttermilk Biscuit Dough

2 cups sifted flour
2 teaspoons baking powder
¼ teaspoon baking soda
1 teaspoon salt
5 tablespoons butter
¾ cup buttermilk

Sift dry ingredients together. Work in butter with fork or fingers until finely mixed. Stir in buttermilk to make a soft dough. Put out on lightly floured board and knead slightly, just enough to shine up dough [do not overwork dough or biscuits will be tough]. Pat out to desired thickness.

Note:  If cutting for regular biscuits, pat into 1-inch thickness and cut into desired rounds with lightly floured cutter. Place closely together in lightly greased baking pan. Bake in hot oven (475°) for 10 minutes, or until as brown as desired. This makes a high fluffy type of biscuit.

When he was young, Mr. Keller didn’t understand why people left the farm for the city.  He eventually did just that and went on to be a commander in the U.S. Navy; a reporter, columnist, and city editor for the New York World-Telegram; and a professor at the Columbia University Graduate School of Journalism. He died at a much younger age than did his Connecticut farm grandparents. Perhaps there is something to be said about staying on the farm, but it is doubtful we would have heard about Grandma Keller if her grandson hadn’t ventured off of it.

Advertisement from Mothers' Guild, St. John's Episcopal Church (Waterbury, Conn.), compiler. Household Digest and Directory. Waterbury, Conn.: Mothers' Guild, St. John's Episcopal Church, ca. 1927.

Advertisement from Mothers’ Guild, St. John’s Episcopal Church (Waterbury, Conn.), compiler. Household Digest and Directory. Waterbury, Conn.: Mothers’ Guild, St. John’s Episcopal Church, ca. 1927.

In this post, I cited from Allan Keller’s Grandma’s Cooking (New York: Gramercy Publishing Co., 1955).

Shelley Kresan is a rare book cataloger in The Huntington’s technical services department.

THIS WEEK AT THE H | May 13–20

this-week-at-the-hThis Week at The H is a weekly feature here at Verso. Stop in each Monday to find out what’s happening throughout the week at The Huntington!

LAST CHANCE: Today is the last day to see “Cultivating California,” the Library exhibition about the three families who helped found San Marino 100 years ago.

Tonight, David Hancock will deliver a free lecture: “Body in the Library: Lord Shelburne and the Nursery of Imagination.” William Petty-FitzMaurice, 2nd Earl of Shelburne (1737–1805), was one of Georgian England’s greatest collectors of books, manuscripts, and art. Hancock, who is professor of history at the University of Michigan and the R. Stanton Avery Distinguished Fellow, will examine the evolution of this important collection and the imperatives and tastes it reflects in the last third of the 18th century. The lecture starts at 7:30 p.m. and takes place in the Ahmanson Room of the Botanical Center. No reservations are required.

On Saturday at 2:30 p.m., John Wickham will deliver “California’s Wildflower Artists,” a talk related to the exhibition “When They Were Wild: Recapturing California’s Wildflower Heritage.” Wickham, the former president of the Theodore Payne Foundation, will discuss the work of a wide range of artists who have documented California’s exquisite native flora for the benefit of science, education, and conservation. This event also takes place in the Ahmanson Room of the Botanical Center and does not require reservations.

We have a Nursery Collections Tour on Sunday at 1:30 p.m. Dylan Hannon, The Huntington’s curator of tropical collections, will take you behind the scenes for a tour of the botanical nurseries, where rare orchids, aroids, ferns, and carnivorous plants are grown. The 90-minute tour will meet at the Conservatory Information Desk. THIS EVENT IS SOLD OUT.

For information on events that require registration and/or additional fees, please check out the calendar on The Huntington’s website.

Matt Stevens is editor of Verso and Huntington Frontiers magazine.

The Place to Be

The Greene brothers and a companion in the Arroyo in an undated photo from the Greene & Greene Archives, University of Southern California.

The Greene brothers and a companion in the Arroyo in an undated photo from the Greene & Greene Archives, University of Southern California.

The second annual LitFest Pasadena takes place this Saturday, May 11, at Pasadena’s Central Park. From 10 a.m. to 5 p.m., you can catch readings, performances, and panel discussions from more than 75 authors, storytellers, performers, and exhibitors.

The local event puts the emphasis on local, with panels on surfing (New Waves in SoCal Surf Culture), Chinese restaurants (How the San Gabriel Valley Became the Western—and Eastern—Capital of Chinese Cooking), and poetry (In the Shadow of the San Gabriels: Five Local Poets).

One of Pasadena’s most distinct landscapes will be the focus of “In Conversation: Severin Browne, Ann Scheid, and Robert Winter on the Legacy of the Arroyo Culture.” Scheid is the archivist of the Greene & Greene Archives, which is part of the University of Southern California but housed here at The Huntington; Robert Winter is professor emeritus of the history of ideas at Occidental College and an architectural historian credited with coining the phrase Arroyo Culture; and Severin Browne (along with brother Jackson Browne) grew up in the Arroyo in his grandfather’s famed Abbey El Encino in Highland Park.

“We’re going to talk about the Arroyo as both a physical space and as a place in the minds of the people of California,” say Scheid. Depending on whom you talk to, the once-wild Arroyo has been tamed, threatened, or destroyed over the years. The conversation will likely traverse these varied interpretations as well as the distinct landscapes of the upper, central, and lower Arroyo.

Pasadena can’t lay exclusive claim to one increasingly popular space in literature—the intersection of fiction and history. An aptly titled panel—“Are Fiction & History Converging?”—features Pulitzer Prize–winning historian Daniel Walker Howe, who has conducted much of his research over the years at The Huntington, culminating with his award-winning book What Hath God Wrought: The Transformation of America, 1815–1848. He and his fellow panelists will explore the intersections of fiction and history in their own work.

LitFest-2For more information, and a complete rundown, visit the LitFest website. Also check out “Seeing the Light of Day: The Art of a Master Craftsman,” by Ann Scheid in the fall/winter 2008 issue of Huntington Frontiers magazine. We also profiled Daniel Walker Howe in the “Back Flap” of the spring/summer 2008 issue. If you use an e-reader, you can download digital back-issues of Huntington Frontiers magazine and read them wherever you want.

Matt Stevens is editor of Verso and Huntington Frontiers magazine.

EXHIBITIONS | Coming Up Wildflowers

Before he went on to a successful career in design, Albert Richard Stockdale (1909–1970) painted botanical specimens as a student at Pasadena City College. His artworks, and more than 3,000 herbarium specimens, came to The Huntington in 2009. The Huntington Library, Art Collections, and Botanical Gardens.

Before he went on to a successful career in design, Albert Richard Stockdale (1909–1970) painted botanical specimens as a student at Pasadena City College. His artworks, and more than 3,000 herbarium specimens, came to The Huntington in 2009. The Huntington Library, Art Collections, and Botanical Gardens.

While the genesis of “When They Were Wild: Recapturing California’s Wildflower Heritage” was The Huntington’s collections of wildflower paintings by Alice Chittenden and Ethel Wickes, other collections made their way into the exhibition through unexpected routes.

One collection was originally among the plant specimens of the Pasadena City College (PCC) herbarium, which was donated to The Huntington in 2009. An herbarium is an organized collection of pressed, dried plant specimens, a sort of reference library of plants. Researchers use herbarium specimens to verify the identity of plants, document their distribution, and study plant classification and relationships within and among species. Along with about 3,000 specimens, the PCC collection also includes about 25 flower paintings by students, including those by Albert Richard Stockdale (1909–1970), who went on to have a successful career in design. We included four of his works in the exhibition.

“When They Were Wild” includes 45 paintings by Clara Mason Fox (1873–1959), including her watercolor of Keckiella cordifolia. Rancho Santa Ana Botanic Garden.

“When They Were Wild” includes 45 paintings by Clara Mason Fox (1873–1959), including her watercolor of Keckia cordifolia. Rancho Santa Ana Botanic Garden.

It isn’t unusual for collections of wildflower paintings to be treated as scientific documents. For many years, Clara Mason Fox’s (1873–1959) watercolors were treated like the rest of the herbarium at Rancho Santa Ana Botanic Garden. As the exhibition’s curators, we recognized the scientific and aesthetic value of her paintings, so we included 45 of them in the show. The exhibition also includes 14 pieces by Sophie Fauntleroy (ca. 1872–1948) and 15 by Stella Sherwood Vosburg (1869–1943). The Fauntleroy and Sherwood pieces were part of a project that Alice Eastwood (1859–1953) started during her 58 years in the botany department at the California Academy of Sciences in San Francisco.

We located another collection through a chance relationship between a board member of Rancho Santa Ana Botanic Garden and a family member of Rose Frances Kittredge Cronise (1870–1959), whose 189 paintings now reside at the Thatcher School in Ojai. With the board member’s help, we contacted the school librarian, who was happy to loan 14 of Cronise’s works to the show.

There are many individual works and whole collections of California wildflower paintings waiting to be discovered. Maybe it’s time to take a look in the attic!

The exhibition also includes 14 works by Rose Frances Kittredge Cronise (1870–1959), including Iris macrosiphon. Thatcher School, Ojai, Calif.

The exhibition also includes 14 works by Rose Frances Kittredge Cronise (1870–1959), including Iris macrosiphon. Thatcher School, Ojai, Calif.

“When They Were Wild: Recapturing California’s Wildflower Heritage” is on view in the MaryLou and George Boone Gallery at The Huntington through July 8, 2013.

Kitty Connolly is the botanical interpretation manager in The Huntington’s education department.

THIS WEEK AT THE H | May 6–13

this-week-at-the-hThis Week at The H is a weekly feature here at Verso. Stop in each Monday to find out what’s happening throughout the week at The Huntington!

LAST CHANCE: This is the final week to catch “Cultivating California,” on view through May 13 in the West Hall of the Library. We have a couple of blog stories from the show’s curator to whet your appetite.

Tonight at 7:30 p.m. we present “The Signatures of the Robben Island Shakespeare,” a free lecture in the Ahmanson Room of the Botanical Center. David Schalkwyk, director of research at the Folger Shakespeare Library and author of Hamlet’s Dreams: The Robben Island Shakespeare, talks about the copy of The Complete Works of Shakespeare that was secretly circulated, annotated, and signed by Nelson Mandela and other political prisoners on Robben Island, the notorious apartheid prison. A book signing follows the talk. NOTE: This event is filled.

Wednesday at 7:30 p.m. we present “Crash, Bang, Smash: Three Artists Create the Modern Era,” a free lecture in the Ahmanson Room of the Botanical Center. Robert C. Ritchie, senior research associate at The Huntington, tells the story of how three remarkable geniuses overturned the cultural world of 19th-century bourgeois Europe. NOTE: This event is filled.

Thursday afternoon at 2:30 p.m. in the Ahmanson Room of the Botanical Center is “Paper, Paint, and Postage,” this month’s Second Thursday Garden Talk. Artist Gene Bauer, author of Botanical Serigraphs: The Gene Bauer Collection, tells the story behind her Golden Native serigraphs of the 1970s, some of which are included in the exhibition “When They Were Wild: Recapturing California’s Wildflower Heritage.” A book signing follows the talk. The event is free, and no reservations are required.

Next Monday—on May 13—is “Body in the Library: Lord Shelburne and the Nursery of Imagination,” a free lecture rescheduled from April 3. William Petty-FitzMaurice, 2nd Earl of Shelburne (1737–1805), was one of Georgian England’s greatest collectors of books, manuscripts, and art. David Hancock, professor of history at the University of Michigan and the R. Stanton Avery Distinguished Fellow, examines the evolution of this important collection. The event starts at 7:30 p.m. and takes place in the Ahmanson Room of the Botanical Center. No reservations are required.

For information on events that require registration and/or additional fees, please check out the calendar on The Huntington’s website.

Kate Lain is the new media developer in the office of communications at The Huntington.

EXHIBITIONS | One Easy Piece

Items on view in the exhibition “Cultivating California: Founding Families of the San Marino Ranch.”

Items on view in the exhibition “Cultivating California: Founding Families of the San Marino Ranch.”

Deciding what goes into a library exhibition is far more difficult than you might expect. After months of research in books and archival collections, you’re expected to concentrate all of that knowledge and insight into fewer than 100 items. In my case, the effort to select appropriate pieces often means that I need to decide between two items, such as a letter or photograph. Both would be excellent pieces for historical and visual value, but only one will make the cut.

For example, when I was selecting the items for “Cultivating California: Founding Families of the San Marino Ranch,” I had to choose between two letters. One was from the second elected mayor of Los Angeles, Benjamin Davis Wilson, to his wife, Margaret, who was in St. Louis visiting family. The letter, dated 1856, details the dangers of living in the city of Los Angeles and how happy he was with the “place at the vineyard,” their future home in the San Gabriel Valley. The second letter was from Adolf Eberhart, Wilson’s wine and citrus merchant in San Francisco, in which Adolf asks Wilson to send more oranges and lemons to stock the empty markets in San Francisco. Wilson’s letter is personal and gives a detailed account of why he was moving to the San Gabriel Valley, whereas Eberhart’s letter reflects Wilson’s business interests and indicates the process by which Los Angeles growers in the 1850s were selling their citrus to San Francisco and beyond. Each letter was legible and one page long, two great traits of a manuscript for exhibit. Believe me, this was not an easy decision. Curious which piece made the cut? You’ll have to visit “Cultivating California” to find out.

Maria de Jesus “Sue” Wilson Shorb, ca. 1915. Huntington Library, Art Collections, and Botanical Gardens.

Maria de Jesus “Sue” Wilson Shorb, ca. 1915. Huntington Library, Art Collections, and Botanical Gardens.

On occasion, selecting an item isn’t difficult at all. While I spent hours with the photographs in the Wilson, Shorb, and Patton family collections, the seated portrait of Maria de Jesus “Sue” Wilson Shorb struck me immediately. Here was a woman at the end of her life, still in mourning garb for her husband, who had died some 20 years before—and she was carrying the coolest purse! She was adorable and seemed genuinely happy. Even though the date of the photograph (ca. 1915) was out of my self-imposed date range of 1854–1905, there was no question I would include it in the exhibition. I placed the photograph next to items from the court case brought against her by Farmers and Merchants Bank over nonpayment of loans. She puts a face on the transcript, open to her testimony lovingly describing her husband James De Barth Shorb and adds a bit of lightness to some very difficult circumstances, including financial trouble and health problems.

The portrait also begs the inevitable question—What happened to Sue after she lost her property? I will admit I didn’t read too far beyond my date range, but from what I can tell, she moved to San Francisco, where many of her children had relocated. She spent her final years between San Francisco and Los Angeles, visiting relatives and grandchildren. And she never stopped loving James De Barth Shorb. Our collections include a photograph of Sue on her deathbed; sitting on the ornate headboard is a picture of her former husband, he of “the most sanguine temperament.”

“Cultivating California” is on display through May 13, 2013, in the West Hall of the Library.

Jennifer Allan Goldman is a manuscripts curator and the institutional archivist at The Huntington.

Just Add Water

The Bacchante fountain on The Huntington’s North Loggia helped “CSI” create the atmosphere of an upscale spiritual retreat.

Water flows again in the Bacchante fountain (on The Huntington’s North Loggia) for an episode of “CSI.”

It’s just one shot, really. It might not even be in the final show. But creating that one shot took permission from the highest levels of The Huntington art division and several hours of direct supervision over the course of two days by a specialist from Rosa Lowinger and Associates, an art conservation company The Huntington brings in from time to time. On top of that, the shot required three “CSI” special effects people. Plus, of course, about 120 cast members and crew necessary to film the entire scene.

When “CSI” first called us in late February wanting to scout for an upcoming episode, we were pleased. Both “CSI: Miami” and “CSI: New York” had filmed here in years past. Now with the addition of the original “CSI”—the episode airs May 1—we could say we’d collected the complete set. “CSI” considered and rejected several locations, but they loved the Huntington Art Gallery Loggia, the perfect spot for the elegant lobby/presentation space of their upscale spiritual retreat. Then the “Bacchante” fountain that stands in the rock garden north of the Loggia seemed to catch the director’s eye.

The fountain’s marble base is a rare example of 16th century Florentine marble carving, most likely done by Battista Lorenzi. The bronze woman atop the bowl brandishing grapes and clutching an infant faun is by the American artist Frederick MacMonnies. Purchased in 1920, the fountain is a striking piece, even without water cascading down from the upper bowl.

An art conservator and at least three special effects people made the fountain “flow.”

An art conservator and at least three special effects people made the fountain “flow.”

The director, Eagle Egilsson, has shot here before, most notably for the episode of “CSI: Miami” that staged a lavish wedding on the North Vista (only to have the bride get shot at the altar). In that episode, I was particularly impressed with how good The Huntington looked—and how much of it actually appeared on the screen. It’s always disappointing when several days of work boil down to a scene shot entirely in close-up with all our scenery reduced to vague background green. So when Egilsson asked if the fountain worked, clearly planning an elaborate crane shot that would move past the flowing water toward the actors inside on the Loggia, he didn’t get the “no” nearly anyone else would have heard. I said, “I’ll find out.”

In fact, the fountain doesn’t work right now. Currently, it’s not quite level, so it took several tries for the magic of special effects to overcome the forces of gravity. (The crew hid a perforated hose in the bowl; more holes on one side than on the other finally equalized the water flow.) It wasn’t a long-term solution—“CSI” isn’t going to pay to have special effects people and an art conservator on standby every day—but it was lovely while it lasted.

Just part of the prep for a single shot, moving past the flowing water toward actors inside the Loggia.

Just part of the prep for a single shot, moving past the flowing water toward actors inside the Loggia.

This episode of “CSI,” titled “Fearless,” airs Wednesday, May 1, at 10 p.m. on CBS. After airing, episodes are available to view on-line for a few weeks. For more on the history of the fountain, you can read “At the Base of It” by Nicole Logan, in the spring/summer 2011 issue of Huntington Frontiers.

Dinah LeHoven is liaison for filming, commercial photography, and weddings for The Huntington.

THIS WEEK AT THE H | April 29–May 6

this-week-at-the-hThis Week at The H is a weekly feature here at Verso. Stop in each Monday to find out what’s happening throughout the week at The Huntington!

JUST LAUNCHED: The web-based digital exhibition “Form and Landscape: Southern California Edison and the Los Angeles Basin, 1940–1990” is now live. Part of the Getty’s Pacific Standard Time Presents: Modern Architecture in L.A., this online-only exhibition brings together scholars, artists, authors, and critics to explore the photographic treasure trove that is the Southern California Edison archive, donated to The Huntington in 2006.

Tonight at 7:30 p.m. is “Anatomy of a Revolution: Understanding the Civil War’s Inner Dynamics,” a free lecture in Friends’ Hall. Bruce Levine, author of The Fall of the House of Dixie, will discuss the specific social and political forces that launched and shaped the revolutionary process of the Civil War. Levine is professor of history at the University of Illinois, Urbana, and the Rogers Distinguished Fellow in 19th-Century American History. A book signing will follow the lecture.

Wednesday afternoon from 1 to 3 p.m. is our weekly live performance of traditional Chinese music in the Garden of Flowing Fragrance. A different solo musician performs each week, playing unamplified melodies on classical instruments including the dizi, sheng, pipa, erhu, and zheng. Listening is free with general admission.

Next Monday—May 6—we present “The Signatures of the Robben Island Shakespeare,” a free lecture in the Ahmanson Room of the Botanical Center. David Schalkwyk, director of research at the Folger Shakespeare Library and author of Hamlet’s Dreams: The Robben Island Shakespeare, talks about the copy of The Complete Works of Shakespeare that was secretly circulated, annotated, and signed by Nelson Mandela and other political prisoners on Robben Island, the notorious apartheid prison. Talk starts at 7:30 p.m. A book signing follows the talk. PLEASE NOTE: Reservations are required. You can make your reservation online or by calling 800-838-3006.

For information on events that require registration and/or additional fees, please check out the calendar on The Huntington’s website.

Kate Lain is the new media developer in the office of communications at The Huntington.

EXHIBITIONS | Welcome to Los Robles Library, Art Collections, and Botanical Gardens

Henry E. Huntington, letterpress copy of letter to George S. Patton, April 26, 1904. Huntington Library, Art Collections, and Botanical Gardens.

Henry E. Huntington, letterpress copy of letter to George S. Patton, April 26, 1904. Huntington Library, Art Collections, and Botanical Gardens.

I came across quite a few interesting pieces when I was researching my current exhibition, “Cultivating California: Founding Families of the San Marino Ranch.” When I was researching George S. Patton (senior), I stumbled upon an item that was begging to be displayed. On an onion-skin sheet dated April 26, 1904, Henry E. Huntington writes:

My dear Patton: As I do not exactly like the name “San Marino” I have decided to change the name of Shorb Ranch to “Los Robles” Ranch, which I think more appropriate; so I suggest that you have a sign board with “Los Robles” neatly painted on it put at the entrance of the place. It should not be over 3 or 4 feet long.

Yours truly, H. E. Huntington

This little memo, dashed off in Huntington’s own hand, explains why Huntington’s personal letterhead says “Los Robles” and not “San Marino.” And it makes one wonder why Huntington wanted to change the name and when it went back to San Marino.

I suspect Huntington wanted to separate the property from its past. The man who named the property, James De Barth Shorb, was deeply in debt when he died in 1896. His wife, Maria de Jesus “Sue” Wilson Shorb, lost the property in foreclosure to Farmers and Merchants Bank after a well-publicized trial. If I purchased a property with such a history, I would change the name, too.

But San Marino—as both the estate of James De Barth Shorb and the property surrounding the home—was very well known and had been since the 1880s. It was a familiar location for people throughout Southern California and was regularly referenced in the society pages of the Los Angeles newspapers. San Marino was not going to disappear, even if Huntington tore down the three-story Victorian mansion in 1906.

losrobles-2

Detail from a 1913 map of the city of San Marino. When the city of San Marino was founded in 1913, Henry E. Huntington and his Huntington Land and Improvement Company owned a large portion of the land. In this map, Huntington’s ranch is labeled both Los Robles and San Marino.

When Huntington purchased San Marino/Los Robles in 1903, he already owned a large estate in downtown Los Angeles. The San Gabriel Valley property was an investment—land for crops until it could be subdivided and sold for enormous profit. I imagine that when Arabella Huntington started advising Henry Huntington on his new home, she recommended a country house akin to those in Newport, R.I.—an impressive manse surrounded by acres of land. And Arabella always had a flare for the dramatic, so Los Robles (which even today I’m sure I mispronounce: is it ROBE-els or ROBE-leis?) would not do.

Come 1913, the maps show the property as both San Marino and Los Robles. Huntington’s dislike for the name “San Marino” must have waned enough for him to agree that the new city could be called by that name. I also suspect that he enjoyed naming the new city after a very wealthy sovereign nation surrounded by Italy, as his new city was in a similar situation: a very wealthy enclave surrounded by other cities (Pasadena, South Pasadena, and Alhambra, to be specific) interested in annexing the estates for themselves.

“Cultivating California” is on display through May 13, 2013, in the West Hall of the Library.

Jennifer Allan Goldman is a manuscripts curator and the institutional archivist at The Huntington.

Bookended by a Pair of Awards

Adria L. Imada, University of California, San Diego, is the recipient of the 2013 OAH Lawrence W. Levine Award. She is pictured with OAH President Albert M Camarillo, Stanford University, who presented her with the award at the 2013 OAH Annual Meeting, April 10-13, San Francisco. Courtesy of the Organization of American Historians (http://www.oah.org), photo by Michael Regoli, licensed under Creative Commons 3.0.

Adria L. Imada, University of California, San Diego, is the recipient of the 2013 OAH Lawrence W. Levine Award. She is pictured with OAH President Albert M Camarillo, Stanford University, who presented her with the award at the 2013 OAH Annual Meeting, April 10-13, San Francisco. Courtesy of the Organization of American Historians (http://www.oah.org), photo by Michael Regoli, licensed under Creative Commons 3.0.

Earlier this month, Adria L. Imada won the annual Lawrence W. Levine Award from the Organization of American Historians for the best book in American cultural history, Aloha America: Hula Circuits through the U.S. Empire (Duke University Press).

The awards committee noted: “Through nuanced readings of diverse bodies of evidence—interviews and oral history, newspapers and scrapbooks, photographs and U.S. military films—Imada maps the shifting meanings of hula performance from annexation to statehood to contemporary tourism…. Aloha America not only contributes to histories of performance, gender, and empire, but also presents a rich narrative about the ways in which generations of women negotiated the contradictions of heritage.”

Imada credits a fellowship at The Huntington with giving her the time and resources to work on the manuscript, which she adapted from her doctoral dissertation from New York University.

“The Barbara Thom Fellowship in 2007–08 provided me with essential time to conduct archival research in the Huntington collection of rare 19th-century travel books about Hawai‘i, as well as the Nathaniel B. Emerson manuscript collection on hula,” says Imada, now an associate professor in the ethnic studies department at the University of California, San Diego. “Emerson was the Hawai‘i-born missionary descendant, physician, and ethnographer of hula who wrote Unwritten Literature of Hawaii: The Sacred Songs of the Hula (1909). It became the definitive study of hula in the greater part of the 20th century.” Imada’s book counters Emerson’s work by interpreting hula as a cultural and political practice that has enabled Native Hawaiian survival despite missionary and colonial repression.

It’s not uncommon for first books to arise from adapted dissertations. The challenge for many younger scholars is finding the time required to transform a dissertation into a published book. Enter the Barbara Thom Fellowship Award at The Huntington. Each year the research division selects two or three scholars to come to The Huntington for a full academic year to work on their manuscripts. The Thom Fellowships are part of an annual $1.6 million program that includes about 20 full-year awards along with short-term grants (1 to 5 months) to an additional 150 researchers.

Adria L. Imada's award-winning book, published by Duke University Press in 2012.

Adria L. Imada’s award-winning book, published by Duke University Press in 2012.

Steve Hindle, the W. M. Keck Foundation Director of Research at The Huntington, calls the Thom Fellowship the “single most important category in the entire fellowship program” for the vital role it plays in fulfilling the pressures of junior scholars to publish—which in turn becomes so important to the process of securing tenure at their universities. Yesterday The Huntington announced its awards for the 2013–14 academic year.

“Thanks to the yearlong fellowship,” says Imada, “I was able to complete the primary research and revise most of the manuscript. But above all, The Huntington provided a collegial space for scholarly exchanges. I became good friends with scholars who were on short and long-term fellowships, and we still collaborate today.” During that fellowship, Imada also managed to find the time to begin preliminary research on her next book project, a study of the colonial visuality of leprosy (Hansen’s disease) in Hawai‘i and the Philippines, which relies in part on the Jack London photography collection here.

In archived Verso posts you can read about past awards to scholars, including the OAH’s Billington Prize as well as the Bancroft and Pulitzer Prizes. To order a copy of Aloha America and many other award-winning books by Huntington scholars, contact the Huntington Bookstore & More. For links to this year’s OAH Awards Program, as well as past programs, click here

Matt Stevens is editor of Verso and Huntington Frontiers magazine.