Images of Old Hawaiʻi

by Peter T Young Leave a Comment

Old Koloa Town

“Koloa is the product of all of the peoples and cultures who have come to live there … ‘Families were close, and there was more than enough love for children and the elderly. . . . Hard work and character were respected as were other old fashioned values such as cleanliness, decency and courtesy.’”

“‘Crime was virtually unknown . . . the people of Koloa did not have to contend with the negative aspects we have in so many parts of our country today: illegitimacy, drug use, senseless violence at a presumed slight, or the rioting and looting that destroy a community . . .”

“. . . those who were old enough to remember Koloa as children and are still with us agree the high water-mark was in the thirties; and the tide has been receding slowly since’”. Donohugh; Bushnell)

“The last direct hit [to Kauai] was by Hurricane Dot in 1959. Dot passed south of Oahu but took a sudden turn to the north and hit Kauai, its eye passing right over Lihue.”

On November 23, 1982, “Hurricane Iwa aimed winds gusting to 110 mph at Hawaii Tuesday and 5,000 residents of Kauai island were evacuated from the storm that posed the fiercest threat to the islands since 1959.” (UPI)

“Property loss was estimated at $130 million by Thomas C. Hamner, the Federal emergency relief coordinator. … Some landmarks are gone, particularly along the island’s south coast, which were hit by the strongest winds.” (NY Times)

Old Kōloa Town grew up around the Plantation industry, attracting people to come work there from many different countries. Plantation workers not only labored, lived and shopped on the plantation, they also received medical care.

Kōloa’s buildings housed plantation stores and services for these people, including Kauai’s first hotel. Kōloa was the center of agriculture and, as such, became the center of activity for Kauai.

“Of course, we heard there was going to be a hurricane, so I had the radio on. And I was watching. And they start telling that, ‘You people better be prepared with candles or something because the lights going off.’  And I looked around all over the place, and I just couldn’t find one candle. And I thought, ‘I better go up to the store and get one.’”

“When I opened the door, it was just cats and dogs. It was raining and blowing. I said, ‘Oh, no. I’m not going.’ So I shut the door, and then I looked in all the drawers, and finally I found one big one that in the restaurants, in the hotels, they use in the cup?”

“Those, yeah. I had one of those, so I thought, ‘Oh, this should last.’ So I had it here. I sat here and I looked outside and it was blowing gales. And I thought, ‘Chee, I better sit here. And just in case the house should come down, then if I lay down between here, then it will protect me.’”

“Then, next morning, early, I went out, I see my neighbor’s house, Aoki’s house, the roof had all flown away, the living room. And then, the roof flied, was way over on the other side of the bridge and some was on the bushes.” (Kōloa resident, Masako Hanzawa Sugawa; UH Oral History)

Hurricane ʻIwa damaged some of the structures in the town, most were simply old.  Then, a group called Kōloa Town Associates (KTA) persuaded the Smith‐Waterhouse Family Partnership to grant the group a long-term lease on the property comprising the core of the town.

The stated intention was to restore the historic structures in this part of Kōloa. Project architect Spencer Leineweber and landscape architect Michael S Chu collaborated in preparing the overall master plan and detailed design work for the restoration and repair of Old Koloa Town.

The challenge for the design team was to preserve the town without imposing twentieth century aesthetics. The focus for the development was on three major principles: design, organization, and economic restructuring. (Leineweber & Chu)

“As he had done with several Chinatown properties, Gerrell is trying out his ‘preservation and profit’ formula to ‘return Koloa Town to its original appearance’ and attract more visitors to Kauai.” (SB, May 12, 1983)

“[Bob] Gerell … doing business as Koloa Town Associates, has signed a 67-year lease with the Mabel P Waterhouse Trust. Waterhouse has owned much of the town’s commercial property since 1850.”

“Gerell has begun refurbishing 18 buildings on four acres of land in the original town … He plans to demolish some ‘unsalvageable’ structures and build six or seven new structures with space for up to 25 tenants.” (SB May 12, 1983)

“When we took over, there were 18 original plantation-style buildings. Our intent was to renovate them back to this original appearance. We were able to save 13, but the rest were in such bad condition that they had to be torn down.” (Gerell, SB, Aug 29, 1984)

“The design development of the oldest area, known as the Kahalewai Court, concentrated on restoration of the old general store and the old hotel building. Since the Yamamoto Store has the strongest visual image for Koloa, this area will become the visual gateway to the development.”

“The area will have an open lawn for outdoor performances. A dry stream bed will meander through the area to provide a necessary relief drainage system. It is quite common in older developments that the buildings are not always positioned in the most ideal locations for drainage.”

“Since the existing relationship with the ground was critical to the overall perception and scale of the buildings, a secondary drainage system that was not foreign to the old town was added so that the original ground drainage patterns could remain.”

“The second area in the town’s development was the Plantation House Shops. As the plantation expanded, housing for the workers began to develop around the town. A portion of these residential buildings will be developed into small craftsman-style shops. The landscape development in this area will be residential in scale and have that ‘chopsuey’ look of many plantation villages.”

“The last area of the town to develop was the false front ‘old west’ commercial structures. These buildings will once again have canopies over the sidewalk and boardwalks connecting the buildings to each other. Large shop windows that have been boarded up for years will once again display merchandise.” (Leineweber & Chu)

The wooden walkway along Kōloa Road in front of the buildings was added to facilitate tourist shopping. Some attention was paid to exterior features such as false fronts to give an appearance from the street similar to the original. Kōloa Town Associates named the resulting group of new buildings ‘Old Kōloa Town’ and leased them to businesses catering to tourists.

Although the majority of the structures were in an extremely dilapidated condition when the project began, the emphasis of the renovation was to bring the historic assets of the town back into focus. Techniques for accomplishing this include the careful repair of cornice moldings, small window panes, decorative rail work, as well as substantial replacement of structural beams and roofings. (Leineweber & Chu)

“One of the distinct advantages of a shopping center, organization of the tenants, was applied to Koloa. Since the developer, Mr. Robert Gerell, has a sixty-seven-year master lease with the landowner, all of the shops can have a similar lease. This arrangement gives them common marketing advantages (promotions, sales, common store hours, signage).”

“The merchants begin to give up the idea of being the biggest and the best on the block and seek a stronger image of being part of a larger whole.”

“The revitalization of any area cannot happen overnight. The emphasis is not on instant solution to problems that have taken years to develop. A gradual but steady program of improvements based on a flexible master plan is essential in anticipating the dynamics of this town of Koloa.” (Leineweber & Chu)

Monkeypod trees are the signature of Kōloa Town. The trees line Kōloa, Weliweli, Waikomo and Po‘ipū Roads. They enhance the character and atmosphere of Hawai‘i’s first plantation town.

Two monkeypod seeds were been brought to Hawai‘i from Mexico by Mr. Peter Brinsdale who was the American Consul in 1847. The seeds were germinated and the seedlings planted. One was planted in Kōloa. The second seedling was planted in Honolulu. This tree was removed when the Alexander Young Hotel was built on the site.

Old Koloa Town is part of the region’s Holo Holo Kōloa Scenic Byway.  We prepared the Corridor Management Plan for the Byway. The CMP was recognized with a “Preservation Commendation” from Historic Hawai‘i Foundation and the American Planning Association – Hawaiʻi Chapter presented Hoʻokuleana LLC with the “Community-Based Planning” award.

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by Peter T Young Leave a Comment

Schoenberg

“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, and the following days at the office of Hans P. Faye, at Drammen from 11 to 3 o’clock. The parties must be provided with good recommendations, and attestations for good and faultless behaviour.”

“Parties under obligation of military service, must bring release from service. Signature of minors must, to be valid, be confirmed by guardian.”

“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” (PCA, Oct 21, 1882)

“There were about 600 Norwegians who emigrated to Hawaii, the main harbor for this organized emigration was Drammen. It was planned and executed by Hans L’Orange. L’Orange was commissioned by the king of Hawaii (King Kalakaua) to bring the Norwegians to the island. L’Orange was a Norwegian plantation owner in the islands.”  (Haakon Bjerke)

A plaque near Maalaea Maui states, “This monument commemorates the arrival of the Norwegian barque Beta which dropped anchor near this spot on February 18, 1881, and of her sister ship Musca, which arrived in Honolulu May 13, 1881.”

“They brought more than six hundred Norwegians, Swedes and Danes to work in the sugar cane fields and mills of the Hawaiian Kingdom – the first and only mass migration of Scandinavians to these islands.”

“For their contribution to the life of this land, as well as those of their countrymen who proceeded or followed, our mahalo and aloha. The Scandinavian Centennial Commission, February 14, 1981, the centennial date. This monument was restored in the year 2006, in celebration of the 125th anniversary of the Scandinavians arrival in Hawaii”.

“The Norwegians had signed a four-year contract as plantation workers. This experiment by having the Norwegians employed as plantation workers was not successful enterprise. The plantation owners soon found out they could not whip the Norwegians as they had previously done with the Asians. Soon, strikes flourished and the jails were filled up with Norwegians.”

“The Norwegian emigration to Hawaii was a failure, as soon as their four-years contract expired the majority of the Norwegians left for the US mainland to places like California, Minnesota and the Dakotas; there were only then a small number of Norwegians who remained in Hawaii.” (Haakon Bjerke)

But sugar laborers weren’t the only Norwegians to come to Hawai’i.  “A long line of seafaring ancestors were responsible for the early call to the sea of Victor [Cotta] Schoenberg (born December 5, 1885, at Bergen, Norway; son of Fredrik Christian Torp and Edle Margarete (Holm-Brock) Schoenberg).” (Nellist and Siddall)

“At the completion of his education in the Hambro School and College and the Bergen Commercial College at Bergen, Norway, M. Schoenberg began his world travels [by way of England, Egypt, Siam and Hongkong, remaining in Hongkong until June, 1906] and reached Hawaii in Aug, 1906, as an officer on a Norwegian steamship. He remained here to accept a position in a mill at Makaweli, Kauai.”

“Later he removed to Waimea, Kauai, where he was acting postmaster for a short time. From 1907 to 1909 he was bookkeeper for the Lahaina branch of H. Hackfeld & Co., and for the next seven years was manager of the Lahaina National Bank, Lahaina, Maui, going to the Waipahu branch of the Bank of Hawaii, Ltd., in 1918, as manager and cashier, a position he still occupies.”

“Mr. Schoenberg has specialized in country and branch bank organization. He organized and developed the Pearl Harbor branch of the Bank of Hawaii, Ltd., in 1921, with a collection office at Aiea, which he managed for a year in conjunction with the Waipahu branch and a collection office at Wahiawa.”

In 1910 he married Jennie Wilhelmina Hansen and they have two sons, Erling (born in Wailuku July 2, 1911) and Eyvinn Schoenberg. (Nellist)  Eyvinn was born and raised in Pearl Harbor, Hawaii, and began making model aircraft at age eleven while visiting San Leandro, California.

“On returning home to Hawaii, my room became my model shop, as I turned out all kinds of rubber-powered models, culminating in my building a successful flying Gas model ‘California Chief,’ powered with a Baby Cyclone engine, in 1939.”

“This lead to my interest in flying and I obtained a pilot’s license through the University of Hawaii’s CAAPT5 flight training course in 1940.” Schoenberg learned to fly a full-sized Piper Cub.

“Post war, living in Lima Peru, I built my first Radio Controlled model, a Walt Good ‘Rudder Bug’ design, with an English single-channel radio system and an S29 engine, with rudder only control. It flew beautifully!!”

“And while driving to the flying area 43 kilometers south of Lima, Peru, I saw the wonderful point break waves at Punta Hermosa, surfed there with my pal Hal McNicol, and changed Peruvian surfing from beach break to point break surfing thereafter …” (Schoenberg, Academy of Model Aeronautics)

Eyvinn’s son had an influence on music in the Islands. “I collaborated with Herb Ohta, Sr. (Ohta-San) on a number of songs over the years, beginning in the late 60s when I was a student at Punahou (class of 69).”

“This came about when a guest lecturer at a creative writing class mentioned that a local musician was looking for help with lyrics. That sounded interesting, so I met with Mr. Ohta at his practice studio and then went to see him perform at a club in Waikiki.”

“Initially, a song translated from French needed a little editing. Later, Ohta wrote original compositions that required lyrics. After I moved back to the mainland we continued working together by mail. He would send me sheet music, sometimes a cassette recording, or call and play a new tune over the phone.”

“Ohta was a terrific musician who could play the ukelele like a jazz guitar. Many of his recordings were instrumentals, although I still received credit as lyricist.” (The songs he collaborated with Ohta-san include, The Changing, Claustrophobia, Everything Is Real, I’m Going To Go, Love Can Be A Harmful Thing, More Than I Can Say, Sunshine, Wishes and You.)

“His music was very popular in Japan, where he was known as Ohta-San. For a while, I received annual printouts showing royalties earned, categorized in Japanese with amounts in Yen. A letter in English said they would hold onto the sum until it was enough to write a check.”  (Victor (Vic) E Schoenberg)

That wasn’t the only musical Schoenberg. Folks might recall the Vaqueros that included Cotta Schoenberg (who played regularly at the Kāneʻohe Yacht Club). Back in the day, the Long House was available for periodic teen dances (hundreds of us packed the place.)

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by Peter T Young Leave a Comment

Pipe Line

An image posted on the ‘History of Hawaii Island (The Big Island) in photos’ Facebook page caught my eye. It is an aerial image of a portion of Hilo Bay from NARA (National Archives and Records Administration).

It showed and was labeled ‘Pipe Line, Hilo Harbor, Hawaii, TH, 6 August 1935’. It looked like a pier going out into the bay coming off of Downtown Hilo. I had never seen this before on any images or maps, and certainly did not know what it was.

The land-based connection of the pier was at the northern end of Kaipalaoa (also known as Mokupane and Isabel Point). I had just researched that area of Hilo and there was never any mention of a pier, nor any mapping or photos of it … until now.

Looking at nautical charts, the ‘pier’ extended from the fringing, shallower part of the Bay to the drop-off. Initial thoughts suggested the ‘pipe line’ may mean it was a fueling line (that offshore ships could refuel or it could be a place for ships to offload fuel for the city).

(Somewhat supporting this idea, starting in 1917, Hilo Gas had a manufacturing facility nearby on Ponahawai Street that produced liquid gas from crude oil for local industrial, lighting, and cooking needs.  By 1935, the facility could produce 120,000 cubic feet of gas in eight hours.  (The plant was destroyed by the May 22, 1960 tsunami.) (Weston))

After further review, it was clear the fuel alternatives – either supplying ships or off-loading from ships – were not viable (there was no land-based evidence of fuel storage in the vicinity).

Then, the prospect of something relating to wastewater disposal came up. Initially, a subtle reference to ‘Sewage Sys’ (and very small square near the railroad track) on the land was noted on a map.

Further investigation led to more information about the ‘pier’ and ‘pipe line’ led to the conclusion that the ‘pier’ in the image was associated with sewer improvements in Hilo.

The word “Sewer” is derived from the term “seaward” in Old English, as in ditches and ravines slightly sloped to run waste water from land to sea.

From an 1857 story in the Commercial Pacific Advertiser it appears that the first sewer facility to be constructed on Oʻahu was a storm drain located at Queen Street at the foot of Kaʻahumanu Street opposite Pier 11.  (ASCE)

Despite three outbreaks of smallpox, a typhus epidemic and two cholera epidemics between 1853 and 1895, no other serious actions were taken to improve conditions.

In Hilo, “The old system built in 1905 together with minor improvements and extensions up to 1933 was serving only 2.6 per cent of the city within the old limits (9 square miles) and 0.6 per cent within the new limits (43 square miles).”

“With the increase in population and extension of the city limits in Hilo, the old sewer system was found to be inadequate to meet the growth and expansion.”

“The low areas in the lands of Ponahawai, Waiolama, Waiakea and Kapiolani drained their sewage into the Waiolama canal, Wailoa river and the Kalepolepo and Mohouli ponds.”

“Twenty or more years of house wastes being discharged into these waterways made them dangerous open sewers. The bay areas were simultaneously greatly polluted by the discharges from these two sources.”

“Formal application for a direct grant and loan for the immediate sewerage works program for the city was made on October 19, 1933”. (Hawaii Tribune Herald, Sept 13, 1936)

On January 1, 1935, the Star Bulletin reported, “Hawaii received more than $18,000,000 in federal government’s ‘spending program’ for public works”.

With respect to the County of Hawaii, one of those projects was “A sewer system for the city of Hilo, consisting of an 1,800 foot outfall into Hilo bay, three pumping stations and the required interceptor and laterals.” (SB, Jan 1, 1935)

“The first unit consisting of a pipe 24 in. in diameter, will start near the present outfall and carry along Shipman St, then over Keawe and up Furneaux St, across three blocks midway between Kilauea and Kinoole streets, and back along Kilauea St, as far as the junction at Hualalai.”

“The purpose of this pipe will be to ‘intercept’ all the mains above coming down toward the bay; and acting as a trunk line, convey the pump-in sewage out into the bay 2,000 feet to a new outfall by force of gravity.”  (Hawaii Tribune Herald, Nov 16, 1933)

Then, information on the outfall pipeline and ‘pier,’ “Contractor EE Black, who is in charge of Job 870, outfall unit, is now working his men on a 21-hour shift. The men worked until 3 am today in constructing trussels for a distance of 1800 feet into the bay. “

“This is preparatory work for the excavating of trench and laying of 24-inch cast iron pipes.” (Hawaii Tribune Herald, April 4, 1935) On September 4, 1935, the project engineer announced that the outfall was complete.

“The outfall sewer job is well-constructed, and is functioning very well … There was no sign of sewage coming to the surface.” (HTH, Sep 4, 1935)

The Hilo Chamber of Commerce recently suggested that a buoy be put up over the outfall terminal in order to prevent ships from anchoring in its vicinity.” (HTH, Oct 3, 1935)  A red buoy was placed the next month. (HTH. Nov 27, 1935)

So, the 1935 ‘Pipe Line’ image shows the brief installation and use of the ‘pier’ above the waterline, while the contractor trenched, then laid, the new sewer outfall.  There are no identifiable remnants of that ‘trussel’ structure.  There is a remnant of pumping station on the makai side of the highway, just before you get to the Wailuku River – it was completed March 13, 1936.

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by Peter T Young Leave a Comment

DLNR’s Roles at the Ala Wai

During the 1920s, the Waikīkī landscape would be transformed when the construction of the Ala Wai Drainage Canal, begun in 1921 and completed in 1928, resulted in the draining and filling in of the remaining ponds and irrigated fields of Waikīkī.

“Over the decades, all sorts of pollution – pesticides, heavy metals, sediments and even raw sewage –  has flowed into the canal. As Honolulu’s upstream population mushroomed, contamination in the canal has steadily increased …”

“… and over the years levels of pollution have tested well above limits considered safe. One local man died from bacterial infections he picked up after falling in the water.” (Civil Beat)

One role DLNR plays is dealing with the trash that floats down the respective drainage ditches up mauka that make their way into the Ala Wai.

Ala Wai small boat harbor is particularly prone to collecting trash that heavy rains, such as has been experienced this summer, wash down from watershed areas of Manoa, Makiki and Palolo streams.

Trash then flows down the Ala Wai canal, where a portion is captured in a debris trap, or amid the harbor front row piers and boats that is visible to the public.

“The trap utilizes a floating boom on the makai side of the bridge span next to Ala Wai Marine boatyard that captures tons of refuse after every rainstorm. But, like any trap, once it’s filled it must be emptied before it can function again.” (Pendleton)

DLNR Division of Boating and Ocean Recreation (DOBOR) is responsible for removing this mess from the traps. (DLNR) The trap is normally cleaned three to four times a year. The expense is paid through the Boating Special Fund (paid by boaters), not from General Funds from tax revenues.

That responsibility became more profound when, in 2006, “the city dumped 48 million gallons of untreated sewage into the canal – which flowed out into the ocean and polluted Waikiki beaches – in order to keep the waste from backing up into hotels, homes and businesses.”  (Civil Beat)

“This spill is such a large magnitude. We have never seen this before,” said state Health Department spokesman Kurt Tsue. “It’s pretty bad.”

“More than 100 warning signs to stay out of the water were posted along a 1 ½-mile stretch covering 18 beaches from Waikiki to downtown Honolulu.” (LA Times)

“Oliver Johnson, a 34-year-old mortgage broker, died April 6 from a bacterial infection after falling or being pushed into the sewage-contaminated Ala Wai Harbor on March 31.” (Star Bulletin, April 15, 2006)

DLNR had to clean up the debris trap and we viewed it as a biological hazardous waste removal/treatment and “Workers in protective gear will begin cleaning the sewage-polluted Ala Wai Boat Harbor today, under a $50,000 state contract.” (Star Bulletin, April 15, 2006)

Some may recall the ‘black noodle’ in and around the Ala Wai.  “The 5,135-foot sewage pipe that juts out of the water near community gardens on the mauka bank of the canal, has been a constant reminder of that environmental disaster.” (Civil Beat)

It took the City seven years to remove the large black sewage pipe that snaked along the bottom of the Ala Wai Canal and out toward the mouth of the boat harbor, adjacent to Waikiki’s famous beaches.

In addition to the surface collection of debris, DLNR is also responsible for periodic dredging of the Ala Wai Canal.  Just as debris comes downstream, accumulated silt and sediments come down and collect in the Ala Wai.

The Ala Wai Canal serves as an essential drainageway and sediment basin for the Ala Wai watershed. Over time, the build-up of sediments into the Ala Wai Canal has affected the canal’s sediment- and water-holding capacity, reducing the canal’s ability to temporarily contain and then release storm water when there are heavy storm events. (Army Corps)

At times, “some areas are only 4 to 6 feet deep at high tide and canoes ply inches-deep water at low tide” (Honolulu); dredging is targeted to get water levels closer to “12-6 feet below the mean lower low water mark”. (DLNR)

As reported in 2003, “The dredging is a state-financed, $7.4 million effort to restore a measure of health and self-respect to the Ala Wai, which began filling with sediment almost as soon as the Army Corps of Engineers dug it in 1927 to control floods and mosquitoes and to provide landfill for the swampland that was then Waikiki.”

“The canal, which collects runoff from streams and storm drains on the densely populated mountain slopes above Waikiki, has been dredged periodically, most recently in 1979.” (NY Times, March 3, 2003)

A challenge was that Hawaiian Electric has underground electrical cable crossing under the Ala Wai (first installed in 1956 replaced in 1990 with higher capacity cables).  “DLNR encountered Hawaiian Electric’s cables during routine maintenance dredging of the Ala Wai Canal” and “it was determined the cables were at risk of damage from dredging”.

“As a temporary solution, sections of the active cables on the makai side of the canal were covered with twelve 20-foot by 8-foot pre-cast concrete panels. The panels provided protection and allowed the dredging operations to continue in areas upstream of the cables.” (Belt Collins)

Later, “Hawaiian Electric relocated underground sub-transmission line cables that connect to HECO’s Waikiki Substation located on Kai‘olu Street.” This also shifted the alignment of the cable to the west of the existing route. New technology allowed for horizontal directional drilling to cross under the Ala Wai Canal.

In part, HECO’s action supported the Department of Land and Natural Resources’ efforts to provide continuous maintenance dredging of the Ala Wai Canal. The replacement cables also help maintain the reliability of the electrical distribution system. (Belt Collins)

DLNR Chief Engineer Carty Chang said, “The long-term benefits of this project include maintaining the ability of the canal to efficiently convey storm water flows to the ocean to reduce the risk of flooding, and to improve the aesthetics and safe use of the canal for recreational users.”

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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, 25th 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.

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