Peter T Young

August 22, 2024 by Peter T Young Leave a Comment

Henrik Christian L’Orange

L’Orange is a Norwegian family of French origin. The family were Huguenots (Protestants), and after the repeal of the Edict of Nantes in 1685, members of the family had to leave France.

The first known man of the family, Jean L’Orange, who according to tradition came from St.-Quentin in Gascogne , probably came to Copenhagen at the end of the 17th century. His son Johan Gerhard L’orange (1696–1772) came to Norway and settled in Vestfold. (Norwegian Encyclopedia)

Fast forward to the end of the American Civil War in 1865; emigration from Norway to the US increased rapidly. But there were some who chose other destinations.

In 1877, Hendrik Christian (Christian) L’Orange (born in Fredrikshald in 1843) married Caroline Faye (born in Drammen in 1856), daughter of merchant Hans Peter Faye and his wife Karen Sophie Knudsen in Drammen. (Emigrantforlaget)

Following their wedding Christian and Caroline sailed for the islands of Hawai‘i in 1877. Her cousin, Anton Faye, also sailed with them to Kauai in 1877. Caroline’s uncle, Valdemar Knudsen, had already settled there in 1856.

Knudsen, Faye and L’Orange got involved in the operation of a sugar plantation on Kauai. (Scandinavian Club of Hawai‘i) Knudsen had acquired a 30-year lease on crown lands in the Waimea district where he established a ranch. Using an old Hawaiian ditch at Waiele, he drained and reclaimed about 50 acres on which he and L‘Orange planted sugar cane in 1878. (HSPA)

In 1879 Christian purchased his own plantation on Maui. He named it Lilikoi. He later sold the plantation and moved to Kauai. There he became the director of a sugar plantation, which was also given the name Lilikoi. (Norwegian Heritage)

As early as July 7, 1878, Captain L’Orange proposed to the Bureau of Immigration of the Hawaiian Kingdom to bring Scandinavian laborers to the Islands. By mid-June of 1880 he was involved in plans to go to Norway for contract workers to fill the needs of plantations represented by the sugar factors, Castle and Cooke. (Satrum)

By July 20, 1880, he had received his letter of appointment as agent of the Bureau of Immigration, and a few weeks later was on his way to Norway with a letter of credit for $20,000 from the firm of Castle and Cooke for expenses and advances.

Captain L’Orange had Instructions to hire not more than 400 adult workers, in a ratio of 35 to 40 women to each 100 men. These people were to be of ‘proper class’ and good workers, and no family was to bring more than two children. (Satrum)

A long depression from the mid-1870s to the early 1890s hit the Norwegian economy severely. Signs of the stagnation could be found in the large-scale immigration from Norway to North America during the 1880s. In the long-run, immigration was basically a result of increased labor productivity in the primary sector, causing surplus labor to find jobs in the New World. (Grytten)

Thousands were leaving Norway for other lands. This occurred at a time when there was actually a demand for more farm laborers in Hawai‘i. These circumstances partially determined who would be in the mix of people signing contracts as Hawaiian plantation workers. (Satrum)

L’Orange placed an advertisement in Drammen, Norway newspapers, stating, in part, “To the Emigrants for the Sandwich Islands Contracts with those who will go to the Sandwich Islands, are drawn up and signed on Wednesday, Sept. 23 … The parties must be provided with good recommendations, and attestations for good and faultless behaviour.”

“The conditions are now regulated, and thus fixed: laborers over 20 years, 9 dollars; under 20 years, somewhat less, per month, with free board, or board-money and free lodgings, families may bring two children with them. Free passage and board, which Is not to be worked out afterwards. Chr. L’Orange, Agent for the Hawaiian Bureau of Immigration, Sandwich Islands”.

The idea of a paid voyage and an opportunity to make their fortunes in a new land had an irresistible appeal to many Drammen folk that difficult year of 1880. Norwegians by the thousands were flocking to the US in response to promises of free land or jobs.

However, some were unable to raise the passage money, or unwilling to risk their savings on the gamble of a better life in a new country. To these the phrase, ‘free passage and board, which Is not to be worked out afterwards,’ had a special attraction. (Davis)

The planters were eager for the new laborers to arrive quickly, though Captain L’Orange warned that it would be impossible to find suitable ones in a hurry. The great need in Hawai‘i was for men to work in the fields. (Davis)

When L’Orange began hiring he found men with farm experience difficult to obtain. But there were plenty of artisans and industrial workers from the towns eager to sign his contracts, and from these came most of the recruits for Hawai‘i. (Davis)

Most of the recruits were from the town of Drammen or from nearby areas; but there were a few Swedes as well. The Norwegian bark Beta, commanded by Captain Kasper Rist Christensen, was first to weigh anchor (October 27, 1880). Almost 400 people made up the passenger list – 327 adults, Including 49 married couples, and 69 children 12 years and younger. (Davis)

The ship stopped briefly at Lahaina to take on board Captain L’Orange, who had traveled by a quicker route than the emigrants, and then went on to Ma‘alaea Landing. On February 18, 1881, it let down Its anchor.

On arrival, “The physician of the Board of Health pronounces them the most healthy company of men, women, and children he has ever seen and affirms that they are without the slightest taint of infectious diseases. The planters, who are so fortunate to obtain these laborers, highly value their adaptability by skill, as well as by physical strength, for almost every kind of work of plantations.”

“There are amongst them carpenters, blacksmiths, upholsterers, harness makers, printers, and engineers, while many of the women are admirably adapted for housekeepers.” (Hawaiian Gazette, March 2, 1881)

Two hundred and twenty eight adults with their children drew numbers assigning them to Maul. Passengers not included among this number remained on board to be trans-shipped at the end of the week to Hilo by the steamer Llkelike for work on the Hitchcock plantation is Pāpa’ikou. (Davis)

The German bark, ‘Musca’ sailed from Drammen for Hawai‘i, November 23, 1880. Its master was Captain DW Oltman, and it carried 237 passengers, including 29 married and 57 children 12 and under. Arriving in Honolulu on the island of O‘ahu, most of the workers were assigned to a variety of plantations. (Satrum)

The German bark, ‘Cedar’ arrived in Hawai‘i on July 18, 1881, primarily with Germans hired to work in the plantations of Hawai‘i, although there were ten Norwegians and four Swedes on the ship as well. One child was also born during the voyage. (Satrum)

So far, it is good news for the Hawai‘i sugar planters and the Norwegian workers. However, things soon soured …

On both Maui and the Big Island, the Scandinavians had begun complaining almost immediately: They didn’t like the food, they didn’t like their houses, they didn’t like their wages, they felt their employers violated their contracts, they found field work difficult, the Hawaiian sun burned their flesh unmercifully.

Many of the new immigrants declared, flatout, that they’d become slaves. By the time the Musca landed in Honolulu, the folks at Castle & Cooke wanted to scatter the latest contingent of Scandinavians as widely as possible so that they couldn’t band together in their complaints. … But the complaints continued. (Bowman)

For most of the Scandinavians, Hawai‘i was a place to leave as soon as it was possible. It is estimated that about 50 of the immigrants who came to the Islands aboard the Beta and the Musca remained in Hawai‘i.

Some of them stayed on the plantations and moved rapidly out of field work and into positions that took advantage of their industrial skills. Some became integrated into the fabric of Hawai‘i and led successful lives. Christian L’Orange found himself decidedly unpopular with his fellow sugar planters and disbanded his activities on Maui. (Bowman)

Around 1885 the family moved to Florida. One of the reasons that they left Hawai‘i was, without a doubt, all the criticism he had received for having brought such ill-suited laborers to work on the plantations there.

He bought property in Florida and became a tobacco farmer. Christian died in Florida in 1916. Caroline was buried in Hawai‘i in 1935. Their oldest son, Hans Peter Faye L’Orange (born in 1892 in Florida), became one of the administrators of O‘ahu Sugar Company. (Norwegian Heritage)

August 20, 2024 by Peter T Young Leave a Comment

The Eight of Oʻahu

At the time of Captain Cook’s arrival (1778-1779), the Hawaiian Islands were divided into four chiefdoms: (1) the island of Hawaiʻi under the rule of Kalaniʻōpuʻu, who also had possession of the Hāna district of east Maui; (2) Maui (except the Hāna district,) Molokaʻi, Lānaʻi and Kahoʻolawe, ruled by Kahekili; (3) Oʻahu, under the rule of Kahahana; and (4) Kauaʻi and Niʻihau, Kamakahelei was ruler.

Kalaniʻōpuʻu was born about 1729; he died in April 1782. His brother was Keōua and his son was Kiwalaʻō; he was the grandfather of Keōpūolani. When Keōua, the father of Kamehameha, died, he commended his son to the care of Kalaniʻōpuʻu, who received him, and treated him as his own child. (Dibble)

“(W)hen Captain Cook first landed on Hawaiʻi he found the (chief) of that island absent on another warlike expedition to Maui, intent upon avenging his defeat of two years before, when his famous brigade of eight hundred nobles was hewn in pieces.” (Kalākaua)

Kahekili was born at Hāliʻimaile, Maui, the son of the high chief Kekaulike. In 1765, Kahekili inherited all of Maui Nui and O‘ahu and was appointed successor to his brother Kamehamehanui’s chiefdom (not to be confused with Hawai‘i Island’s Kamehameha I.)

Kahahana was high-born and royally-connected. His father was Elani, one of the highest nobles in the ʻEwa district on Oʻahu, a descendant of the ancient lords of Līhuʻe. His mother was a sister of Peleioholani, Chief of Oʻahu, and a cousin of Kahekili, Chief of Maui. (Fornander)

Kahahana had from boyhood been brought up at the court of Kahekili, who looked upon his cousin’s child almost as a son of his own. (Fornander)

Kamakahelei was the “queen of Kauaʻi and Niʻihau, and her husband was a younger brother to Kahekili, while she was related to the royal family of Hawaiʻi.”

“Thus, it will be seen, the reigning families of the several islands of the group were all related to each other, as well by marriage as by blood. So had it been for many generations. But their wars with each other were none the less vindictive because of their kinship, or attended with less of barbarity in their hours of triumph.” (Kalākaua)

At the time of Cook’s arrival, “Kahekili was plotting for the downfall of Kahahana and the seizure of Oʻahu and Molokai, and the queen of Kauaʻi was disposed to assist him in these enterprises. “ (Kalākaua)

At about that time, in 1779, Kahahana had assisted Kahekili in his wars against Kalaiopuʻu of Hawaiʻi. The rupture between Kahekili and Kahahana did not occur till afterward, in 1780-81. (Fornander)

In the early part of 1783, Kahahana was in the upper part of Nuʻuanu valley, when the news came of Kahekili’s landing at Waikīkī, and hastily summoning his warriors, he prepared as best he could to meet so sudden an emergency. (Fornander)

In this company there were eight famous warriors, who seemed to think themselves invulnerable: Pupuka, Makaʻioulu, Puakea, Pinau, Kalaeone, Pahua, Kauhi and Kapukoa.

They had often faced danger, and returned chanting victory.

The night shadows were falling around the camp when these eight men, one by one, crept away from the other chiefs. Word had been passed from one to the other and a secret expedition partially outlined. Therefore each man was laden with his spear, club and javelins. (Westervelt)

With the coming of morning light they found themselves not far from the old temple, which had been used for ages for most solemn royal ceremonies, a part of which was often the sacrifice of human beings, and here, aided by their gods, they thought to inflict such injuries upon the Maui men as would make their names remembered in the Maui households.

While Kahekili and his Maui army were camped near the heiau at ʻApuakehau, they were suddenly attacked by the eight of Oʻahu.

Without authorization from Kahahana, into these hundreds the eight boldly charged.

The conflict was hand to hand, and in that respect was favorable to the eight men well-skilled in the use of spear and javelin. Side by side, striking and smiting all before them, the little band forced its way into the heart of the body of its foes.

Wave upon wave of men from Maui beat against the eight, but each time the wave was shattered and scattered and destroyed. Large numbers were killed while the eight still fought side by side apparently uninjured.

It has been said that this was a fight “to which Hawaiian legends record no parallel.” Eight men attacked an army and for some time were victorious in their onslaught. (Westervelt)

Surrounded, they were able to escape at Kawehewehe, killing dozens of their adversaries.

Only one of the eight lived to perpetuate his name among the families of Oʻahu. Pupuka became the ancestor of noted chiefs of high rank. The others were probably all killed in the destructive battles which soon followed. (Westervelt)

Kahahana’s army was later routed, and he and his wife fled to the mountains. For nearly two years or more they wandered over the mountains, secretly aided, fed and clothed by his supporters. He was finally betrayed and killed by his wife’s brother. (Kanahele)

Kahekili conquered Oʻahu and finally received the body of Kahahana, which was taken to the temple at Waikīkī and offered in sacrifice. After this annihilation of the Oʻahu army, no hint is given of the other members of the band of the famous eight. (Westervelt)

Kahekili and his eldest son and heir-apparent, Kalanikūpule, conquered Kahahana, adding Oʻahu under his control. (Kahekili’s son, Kalanikūpule, inherited his chiefdom; Oʻahu was later lost to Kamehameha in the Battle of Nuʻuanu (1795.)) The image shows the Oʻahu Eight, drawn by Brook Kapukuniahi Parker.

August 19, 2024 by Peter T Young Leave a Comment

William Twigg-Smith

He was born November 2, 1882 in New Zealand to Frederick and Alice Smith He was named William Twigg Smith. (Registration #1882/15452, New Zealand Government, Births, Deaths & Marriages Online)

He moved to the US in his late teens, living first in San Francisco, where he studied painting with Evelyn Almond Withrow, and then in Chicago, where he worked with Harry M. Walcott at the School of the Art Institute.

He was also a talented musician and supported himself by playing the flute while in Chicago. (For a number of years in Hawaii, he played second flutist with the Honolulu Symphony Orchestra.) He became a naturalized US citizen and visited Hawaiʻi in 1916. (Isaacs Art Center)

He seemed to more-often-than-not go by the first name ‘Twigg’ and last name ‘Smith.’ “The exhibition of paintings by Twigg Smith of San Francisco and Chicago, which began yesterday under the auspices of the University Club, is of interest not only to the lover of art, but the student and follower of island history and development.” (Star Bulletin, Dec 9, 1916)

“This is the third time Smith has visited Honolulu, and each time his stay has been longer. Until he has become to be well known as one of the local community.”

“Honolulu is now ‘home’ to Twigg Smith, and it is his intention to return here after doing his part in the conflict [WWI], if he is one of those so lucky as to return.”

To join the American artists’ battalion in New York Smith must pay his own expenses, and all painting sold during the exhibition will help to send him on his way to aid the trench-fighters on the front in France, or wherever the American troops abroad are placed when they take their share of the fighting.” (Star Bulletin, July 16, 1917)

In WWI he used his artistic skills as a camoufleur; “‘Camouflage’ is the very latest pet word in the great world-war and a well-known Honolulan, Twigg Smith, artist, is now on the road to becoming a first-class camoufleur.”

“[I]n another month he will be on his way to France to put into operation with the American troops some of this new branch of warfare, this new and wholly unique technique of concealment against the spying eyes of the enemy.”

“Twigg Smith was about the first man on the ground, and he carries No. 1 card showing him to be the first member of Company F, 25^th United States Engineers, Camouflage, the official name of the unit.”

“The camouflage unit is in camp at Camp University, Washington. Here are artists of all sorts, sculptors, scene painters, scene shifters, electricians and a host of others. … They are learning how to disguise batteries, hangers, trenches, campos, observation posts, everything that can possibly be disguised by protective coloration or screening.” (Star Bulletin, Oct 20, 1917)

“‘Another feature of the work, perhaps the most dangerous. Is to simulate some feature like a dead horse or an old tree stump out in No Man’s Land between the trenches, so that it may be used as a shelter for sharpshooters.’”

‘‘Those who are detailed for this service creep out between the lines under shelter of darkness and take measurements which enable other artists to copy the object exactly. Then the next night the false object, which is armored, is substituted and the sharpshooter is placed behind it to get as many of the enemy as he can before some of them get him.” Advertiser, July 23, 1917)

After the war, Smith returned permanently to Hawaii. “In Honolulu, July 9, 1919, Twigg Smith and Miss Margaret Carter Thurston” married. (Annual Report, Volume 68, Hawaiian Mission Children’s Society, 1920) Margaret was granddaughter of missionaries Asa and Lucy Thurston.

“[H]e recognized that this field [artist] was limited here from the standpoint of income, so he obtained a position with the Hawaiian Sugar Planters Association as an illustrator. His responsibility was to reproduce accurately in illustrations the various forms of insect life that affect the growing of sugar.” Advertiser, Sep 21, 1950)

“Wm. Twigg-Smith was employed on a part-time basis starting in January 1923, and on September 1, he was appointed as Illustrator. Mr. Twigg-Smith immediately took up the study of the Jeswiet identification characters of cane varieties, a system of positively identifying any seedlings by the minute and almost microscopic hair groups of the buds and certain leaf areas.” (HSPA, History 1895-1945, Grammer)

William T Smith “was his real name … then he decided when he became the artist he’d hyphenate the name to have some distinction.” (Thurston Twigg-Smith)

Twigg-Smith was in the Volcano School. The Volcano School was a generation of mostly non-native Hawaiian painters who portrayed Hawaiʻi Island’s volcanoes in dramatic fashion during the late 19th century. (NPS HAVO)

This was in the days before color photography – painters were among the most eager to witness and recreate the explosive lava plumes and vibrant flows. (HuffPost)

A distinctive and recognizable school of Hawaiian painting developed. Kīlauea was such a popular subject for painters that a group emerged called the “Volcano School,” which included well-known Hawai‘i painters Charles Furneaux, Joseph Dwight Strong, and D Howard Hitchcock. Check out some of Twigg-Smith’s work at the Volcano House.

“So far as the observation of the present critic goes, Mr Smith is the first painter exhibiting here who has shown something like a sequence of Volcano paintings – an attempt to catch Madame Pele in a systematic series of her changeful moods. … Artist Smith is evidently proudest of his volcano pictures.” (Star Bulletin, Dec 9, 1916)

Twigg-Smith and Hitchcock exhibited their works together, here and in California, and elsewhere on the continent. (Advertiser, Feb 15, 1925)

“Mr Twigg-Smith kept on with his work as a freehand artist and his painting found wide favor here and abroad. It was his dream that when the time came for his retirement he would be able to devote his late years to his first and lasting love – painting. (Advertiser, September 21, 1950) He died April 21, 1950.

August 18, 2024 by Peter T Young Leave a Comment

Central Union Church

Although Central Union Church does not owe its existence directly to the American Board of Commissioners for Foreign Missions (ABCFM,) its connection with that organization has always been so intimate that the two have worked hand in hand in the islands.

The history of Central Union Church dates back to the days of the Seaman’s Bethel Church.

In 1828, churchmen in Boston had founded the American Seamen’s Friend Society to supply Bibles and religious messages to the whaling and trading ships leaving for foreign waters.

In 1833, practically the only commercial interest in these islands centered around the fleet of whalers which each season filled Honolulu Harbor or anchored off-shore. That year, the Seamen’s Friend Society sent Rev. John Diell to establish a chapel in Honolulu.

The Bethel Chapel and the seamen’s chaplaincy were dedicated on November 28, 1833, in a service attended by “the king, Kinau, and the principal chiefs … together with a respectable number of residents, masters of vessels and seamen.”

The growing population of the town led some to believe that it was time to leave the fold of the Seamen’s Friend Society and form a separate and self-supporting church, and by their efforts, in 1852, the Second Foreign Church in Honolulu came into existence.

Worshiping for four years in the old Court House, for many years known as the store of H. Hackfeld & Co., in 1856, they built a permanent house of worship at the corner of Fort and Beretania streets and the name of the organization was changed to the Fort Street Church of Honolulu.

In April 1887, Fort Street Church extended a formal proposal to unite in a new organization, and from that time until the formal union, two churches worshipped together. Selection of the new church’s name was settled by vote; the final result was Central Union 28, Church of the Redeemer 18, and Bethel Union 1.

Thus, Central Union Church began its existence. The original congregation numbered 337 members—250 from the Fort Street Church, 72 from Bethel Union, 13 from other churches and 2 on confession of faith at the first service.

By 1888, increased church membership made it apparent that the Central Union congregation was outgrowing the Fort Street building.

Central Union owned a lot on the makai-Diamond Head corner of the intersection directly across Beretania from Washington Place, home of the heir-apparent to the throne of Hawaiʻi, Mrs. John Dominis, later Queen Liliʻuokalani.

Plans for the new church were discussed repeatedly over the ensuing several years, as wishes for a “commodious and substantial church edifice” outgrew the site.

But the lot was too small for a new stone structure and enough room for churchgoers’ horse-drawn carriages; so they negotiated with Punahou Preparatory School located across Beretania Street between Washington Place and the present St. Andrew’s Cathedral, to allow churchgoers to hitch their horses in the back of the school grounds (but not in the front yard.)

Plans were completed and work begun. A special service on June 3, 1891, marked the laying of the cornerstone, placed by the oldest member of the church, Samuel Northrup Castle, and the youngest, Sophie B. Judd.

Central Union’s growth in membership and consequent increase in attendance created a real problem of overcrowding at the Richards Street location. Increased traffic noise on Beretania Street and congestion in downtown increased frustration in the congregation and they decided to move, again.

There was much searching for the “perfect” site for a new church building. Members even took to the air and flew over Honolulu in an airplane to survey possibilities. The site committee reported on May 26, 1920; it judged one location outstanding in all respects.

This 8.3-acre parcel was part of the Dillingham estate (known as Woodlawn) at the corner of Beretania and Punahou streets, “well away from the center of town” but within easy reach of the new residential areas.

The senior Dillinghams had both been members of the Bethel Union congregation before their marriage in 1869 and therefore were early members of Central Union.

To design a building that would express the church’s New England heritage, the congregation retained the Boston architectural firm of Cram and Ferguson. EE Black, Ltd. was the general contractor. Seating was planned for 750 on the main floor and 250 in the balcony.

The cornerstone was laid in 1922 following retrieval and opening of the cornerstone from the Richards Street church. Stone from the old church were transferred to the new one and were placed in the foundation of the new Central Union. The 1891 cornerstone itself was embedded high in the wall of the entrance.

“Open Air Services” were held on the new church grounds as early as June 1922, so that the congregation could watch the construction progress and enjoy the new property.

By the end of March 1924, the new building was essentially complete, and during the week of May 18, Central Union Church, also known as the “Church in a Garden”, moved to its present location on Beretania Street.

The idea of a Children’s Chapel arose, “to accommodate extensions of all the services of Central Union Church, including use by all age groups for any church function which would be better served in a small, intimate setting.” The cornerstone of the Atherton Memorial Chapel was finally laid in November 1949 (Information and images here came from ‘Central Union Church 1887-1988’.)

August 17, 2024 by Peter T Young Leave a Comment

Georgia O’Keeffe

“The pineapple is quite beautiful as it grows. When it is little and you look down into it as I did into the corn when I painted it – it is very handsome – and later when it is big and has not turned ripe it is a wonderful green and purple sort of color – very beautiful among its foliage …” (Georgia O’Keeffe; Saville)

James Drummond Dole founded Hawaiian Pineapple Company in 1901. Within a few years pineapple production at Wahiawa had increased that Dole planned a cannery at Iwilei, near the shipping facilities of Honolulu Harbor.

Later (1922,) Dole bought the Island of Lānaʻi and transformed it into the largest pineapple plantation in the world, with 20,000 farmed acres and a planned plantation village to house more than a thousand workers and their families.

The ad agency for Dole was looking for something special for a national magazine advertising campaign; in exchange for an all-expense-paid trip, they asked Georgia O’Keeffe to submit two paintings from Hawai‘i. She was also free to paint for herself.

The second of seven children of Wisconsin dairy farmers, Georgia Totto O’Keeffe (November 15, 1887 – March 6, 1986) knew by age ten that she wanted to become an artist. In 1908, she won a prize for a still-life oil painting. After a short hiatus, she painted in earnest and in 1917 held her first solo show (organized by Alfred Stieglitz, her future husband.)

O’Keeffe became one of the greatest female artists of the 20th century. Best known for her still-life paintings, she painted natural settings at their most basic: large-scale flowers, bones and landscapes.

On January 30, 1939, O’Keeffe and Stieglitz headed to New York’s Grand Central Station to start the trip. Nine days later, she stepped off the Lurline, was draped with ʻilima and crown flower lei and found herself in the Islands. (Stelle)

She spent her first month in Hawai‘i on O‘ahu. After 2-weeks, she finally saw a pineapple field; it was “all sharp and silvery stretching for miles off to the beautiful irregular mountains. … I was astonished – it was so beautiful.” (O’Keeffe; Steele)

On March 10, she moved to Maui and ended up in Hāna. “This seems to be the best yet. The trip over by plane was fine – I will be off in the far away some where – but every one says is the good place. The flying was very good and I am fine – 9 in the morning on a new island seems good – Wish you could see it.” (Postcard, O’Keeffe to Stieglitz, March 10, 1939; Saville)

She was hosted by the Willis Jennings family (he was manager of the Hāna sugar plantation;) “You would laugh to see where I am now – almost at the end of the road on Maui – a little sugar plantation town – at the managers house – the only white family for 60 miles and it is different as the man in Honolulu told me it would be – The mans wife is not at home but his daughter is”. (Letter, O’Keeffe to Stieglitz, March 12, 1939; Saville)

Twelve-year-old Patricia Jennings became her companion and guide for the next ten days. “The road to Hāna was there, but not paved all the way. We always took a picnic lunch because you never knew how long it would take.” (Patricia Jennings; Tarleton)

O’Keeffe would drive the family car to favorite island sites with Patricia, then send the girl off to amuse herself while she painted. The one exception was when a sudden ‘Īao Valley shower made them retreat to the car. Patricia watched, without speaking, enthralled by the brush in her hand, the effortless glide of oil paints onto canvas. (Tarleton)

“It is hard to tell about the islands—the people have a kind of gentleness that isn’t usual on the mainland. I feel that my tempo must definitely change to put down anything of what is here—I don’t know whether I can or not—but it is certainly a different world—and I am glad I came.” (O’Keeffe to Stieglitz, March 12, 1939; Saville)

From Hāna she spent a few days in Wailuku, then, headed to Volcano on the Big Island. “We drove about hundred and 75 miles—part of it through as tropical woods as I have seen—about a third of it along the sea—then up to the top of the volcano where they left me at the (Volcano House) hotel – It was a good day” (O’Keeffe to Stieglitz, March 31, 1939; Saville)

“I didn’t care for that place. I don’t like steam coming out of the earth and holes in the road where the earth has opened up and not closed properly – and great bumps about a foot high where the pavement just rose up and didn’t go down.” (O’Keeffe to Stieglitz, March 31, 1939; Saville) She soon left the Volcano area and headed to the Kona Inn.

“I guess we did this area of the island pretty thoroughly – First we watched fishermen bringing in their net of fish in a little bay -what beautiful fish – every color and many queer shapes – very very beautiful color – the men swim and dive about – have quite a time gathering their net in.” (O’Keeffe to Stieglitz, April 3, 1939; Saville)

“All day I was driving over here (Hilo) from Kona Inn and it was a wonderful day – Warm and lovely and blue this morning – the loveliest part the Parker Ranch – quite like (New Mexico) but it is high and the lower part of the island – shore line and sea floating off in space like a map far below with no edge where it went off into the sky – sky became water and water became sky – and all so delicate and lovely – It was as beautiful as anything I’ve ever seen.” (O’Keeffe to Stieglitz, April 9, 1939; Saville)

She returned briefly to O‘ahu and sailed for California on the Matsonia on April 14. More than six months after her arrival in Hawaiʻi, O’Keeffe had produced 20-paintings, not one included a pineapple and she subsequently “submitted depictions of a papaya tree and the spiky blossom of a lobster’s claw heliconia” for the Dole ads.

Some creative ad copy featuring the heliconia noted, “Hospitable Hawaiʻi cannot send you its abundance of flowers or its sunshine. But it sends you something reminiscent of both – golden fragrant Dole Pineapple Juice”;– it ran nationally in Vogue and the Saturday Evening Post. (Yagi)

For the other ad, “(t)actful Art Director Charles Coiner,” as Time Magazine reported in 1940, “spouted to Painter O’Keeffe about the beauty of pineapples in bud, urg(ing) her to give the pineapple a break. He phoned Honolulu, had a budding plant put aboard the Clipper.”

“Thirty-six hours later the plant was delivered to the O’Keeffe studio in Manhattan. ‘It’s beautiful, I never knew that,’ exclaimed Artist O’Keeffe… She promptly painted it, and Dole got a pineapple picture after all.” (Yagi)

A year after her Hawaiʻi trip, in 1940, she bought a house at Ghost Ranch, in New Mexico. After Stieglitz died in 1946, she settled his estate and moved to New Mexico permanently. There in the wilderness and isolation she continued to paint, and she remained in New Mexico until her death at the age of 98. (Steele)

There is an interesting side note to this story; one day, I received an unrelated FB message asking about Willis Jennings (Patricia’s father.) Unrelated to that, earlier that same day, I received word that Patricia Jennings Morriss Caldwell had just passed away at the age of 87. Patricia Jennings is the mother of my HPA classmate, Lex Morriss.