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In the summer of 1964, the ingenious Walt Grishkot came up with another stunt to attract publicity to Lake George. Grishkot and Bolton Police Chief Joe Stafford persuaded a young woman to pretend to be swimming in a mono-kini, whom they also pretended to take into custody. The photo was actually shot in Hague, although when the newswires picked it up, the story was datelined Bolton Landing. The stunt worked, as Joe Zarzynski

In the summer of 1964, the ingenious Walt Grishkot came up with another stunt to attract publicity to Lake George. Grishkot and Bolton Police Chief Joe Stafford persuaded a young woman to pretend to be swimming in a mono-kini, whom they also pretended to take into custody. The photo was actually shot in Hague, although when the newswires picked it up, the story was datelined Bolton Landing. The stunt worked, as Joe Zarzynski's archival research below demonstrates.

When Fashion History Happened at Bolton Landing—The Monokini

By Joseph W. Zarzynski

Monday, June 17, 2013

When one thinks of Lake George one might conjure up visions of beautiful blue water, sandy beaches, and bountiful history. Here is a story from half-a-century ago that generates all three of those mental images.

The decade of the 1960s in America was a rebellious era and Lake George was certainly not an exception. At the start of that decade in 1960, a song, “Itsy Bitsy Teeny Weeny Yellow Polka Dot Bikini,” sung by Brian Hyland, became a huge hit. The bubblegum pop tune was about a shy young woman embarrassed to appear on the beach because of her “itsy bitsy” bikini, that two-piece bathing suit that soon became the norm for female beach attire.

However, by the mid-1960s, Lake George had a more extreme story, a daring woman who went to a Bolton Landing beach wearing only a topless bathing suit.

The beginning of that story actually began 50 years ago in 1963, the year the “monokini” was introduced to American fashion. Rather than a two-piece bikini bathing suit, it was a one-piece topless apparel for females appropriately named–monokini. The shocking garment was essentially a bathing suit bottom with a long thin neck strap that revealed the woman’s bare top.

Rudi Gernreich, an Austrian-born, avant-garde fashion designer, shocked the world with the monokini. Gernreich said his one-piece topless bathing suit was an expression of freedom for women. After all, it was the audacious sixties! When released, the monokini was controversial amongst mainstream America, but was a bit more accepted in some fashion quarters of the world. Ironically, today the monokini describes a popular one-piece bathing suit with straps from bottom-to-top that links a bikini into a one-piece, non-topless suit.

A year after the monokini first appeared, Gernreich’s design hit a Lake George beach. On July 14, 1964 the Amsterdam (NY) Evening Recorder published an Associated Press article entitled “Woman in New Swimsuit Nabbed.” The story began like this: “An alert Bolton Landing policeman was credited with the first sighting on Lake George of a topless bathing suit.” The account, however, did not state whether the brunette woman was clothed in a monokini or simply a bikini bottom.

According to the Associated Press, on July 13, a Bolton Landing policeman ordered a 22-year-old Manhattan woman out of the water as she waded from the beach into Lake George in a red one-piece topless bathing suit. The Manhattanite was whisked from the lake and a blanket was provided to cover her up. The constable then drove the bather to her motel to get more clothing.

The wire service news story reported the young woman said she just wanted “to be fashionable.” Thus, half-a-century ago during the tumultuous 1960s, a small piece of fashion history was made at the “Queen of American Lakes.”

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Chuck Boylen

Chuck Boylen

Darrin Fresh Water Institute’s Chuck Boylen Receives Award Honoring Research Center’s Benefactor

By Mirror Staff

Saturday, June 15, 2013

Chuck Boylen, the associate director of the Darrin Fresh Water Institute in Bolton Landing as well as a Professor of Biology at RPI’s Troy campus, has been selected to receive this year’s David M. Darrin ’40 Counseling Award.

The award is given by Phalanx, the student leadership honor society at RPI, and was established by David M. Darrin, a trustee and a member of the class of 1940, to recognize a faculty member who has made an unusual contribution in the counseling of undergraduate students.

“Student advising and counseling have always been at the core of my educational philosophy,” said Boylen. “With each student experience, I feel my life has become enhanced and, conversely, I feel my interactions with students impart a positive attitude of their experience as a college student. My career at RPI has been enriched beyond measure with the experiences I have had with my students.”

Boylen said he was especially pleased to receive the award because of its association with David M. Darrin, the Hague summer resident who was an early supporter of the work of the Fresh Water Institute.

“As an RPI trustee, David’s interest in undergraduate and graduate education was already evident on campus with the construction and opening of the Darrin Communication Center in 1972,” said Boylen. “But his firsthand experiences with RPI students and faculty at Lake George in the early years of the Fresh Water Institute played a significant role in David’s motivation to recognize faculty advising and counseling by creating the Darrin Counseling Award.”

Boylen said he first became acquainted with Darrin while doing research on Lake George.

“Within a year of my arrival at RPI, I initiated my research program at Lake George with RPI’s Water Research Center. The first research site was at Smith Bay, on the northeast side of the lake, south of Gull Bay. Directly across from the laboratory was Hague. David and Peggy had a summer home there and in the summers, David would boat across the lake to ‘see what was going on,’ to use his phrase. He enjoyed engaging faculty and students in conversation about the lake’s ecology and their own research.”

David M. Darrin died in 1981. But his support for the Fresh Water Institute, which was continued by his wife Peggy, led RPI to name the new laboratory and renovated campus in Bolton Landing the David and Margaret Darrin Fresh Water Institute.

Boylen received a BA in Microbiology from Indiana University and a Ph.D. in Microbiology from the University of Wisconsin, Madison. He has been at RPI since 1972 and was director of the Fresh Water Institute from 1983 to 1993 and has been its Associate Director since 1993. Boylen is internationally known for his research on Lake George and other water bodies of the Adirondacks.

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In Praise of Donald Ross: Nationally-Known Golf Writer Shares the Secrets of his Favorite Golf Course

By Bill Giering

Monday, June 3, 2013

I have a friend who is the king of dry, subtle humor. He lures you into a comfortable environment, relaxes you, and then pulls the rug out from under you, leaving you flat on your butt, embarrassed and wondering, “What just happened?” The next time I see him, he does the exact same thing. I don’t know why I keep going back for more, but I do.

Meet Donald

My friend’s name is Donald Ross, influential golf course architect and designer of The Sagamore Resort Golf Course and over 400 other courses in the United States, including the Pinehurst Resort in North Carolina and Oak Hills Country Club, the site of this year’s U.S. Open in Rochester New York. Ross, a Scotsman, died in 1948, but his personality and handiwork are present in every nook and cranny of the Sagamore course.

The better you know Donald Ross, the more you appreciate the genius and legacy of The Sagamore Golf Resort. He designed holes that are part of the landscape, his subtle fairways wind graciously through the tall Lake George pines. There are always short walks between the greens and the next tee, he routes his short par 4′s on uphills, easy open run-ups to the greens, but usually trouble behind. And the courses are easy to maintain, in a Scottish sort of way. At the Sagamore, Ross even brought some heather over from his hometown in Scotland and planted it along the 6th fairway and behind the 4th green. This golden heather still waves at you in a late summer breeze.

Richard Nixon, Lee Trevino, Gary McCord, Paul Azinger–even the Dave Matthews Band–have banged around this course trying to figure out the sneaky ways of Donald Ross. Sometimes he will throw you a curve ball that will make you mad or make you laugh. I recommend the latter, as going the other way can add years to your life.

“Stay in the Sun”

“If you don’t pay attention, this course can really embarrass you,” warns Dave Cummings, Director of Golf at the Sagamore and PGA Professional. “I have seen some average golfers have great days and some low handicap golfers have horrible days. If you get a little aggressive you can end up in some very shady positions…try to stay in the sun.”

Let’s Wander

The Sagamore’s first hole may be the most beautiful start in New England, especially with the brilliant crimsons and rich golds of fall surrounding it. It’s the only starting hole Ross ever designed in an easterly direction. He didn’t want the early sunrise to be shining in players’ eyes. Standing at the highest point, he incorporated the region’s natural glory with a view of Lake George glimmering in the background, white sails in the distance, a possible distraction if you’re not in the game.

The first shot is way downhill to a welcoming fairway lined with dark pines. Even a poorly hit straight tee shot will stumble and bumble its way to the bottom. And it is here that a false sense of security begins to settle in. Here you are in the fairway a long way from the tee. A big open green is up the hill, right in front of you. Big traps to either side, but a wide open entrance to the back-to-front slanting green.

A nice start. Life is good. Until you notice that if you are short the ball might roll right back at you. If you are long, there is a sharp fall off at the back of the green with out of bound stakes right behind that. Welcome to the Sagamore and Donald Ross.

And so it goes, as you wander through this charming, but demanding, long enduring design of one of America’s most prolific golf course architects.

The Sagamore course is a terrific piece of golf architecture. It holds your interest. It makes you think. It forces you to be strategic. Here Ross laid the groundwork for today’s golf industry. If you can’t go long, short, left or right, what do you do? Ross makes you think about every shot, and that my golf-thirsty friends, is the secret of the Sagamore. I have consumed a lot of ice pondering this devil of a course. The conundrum being, if you enjoy the surrounding beauty, you can’t focus on golf. If you focus on golf, you miss some of the most beautiful views in New England.

If you love golf and golf course architecture, you owe it to yourself to enjoy this course. The Sagamore Golf Resort recently announced it will now be open 12 months a year. In addition to top quality golf, there will be a new spa, restaurants and bar, along with views to cherish for all four seasons.

Bill Giering is a national award winning golf writer from Menands, New York, who has played golf on most continents, covered all four majors and still can’t putt.

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The Civilian Conservation Corps Comes to Bolton

By Ted Caldwell

Wednesday, April 24, 2013

On July 2, 1932, the Governor of the State of New York, Franklin Delano Roosevelt, easily won the Democratic presidential nomination.  In his acceptance speech he outlined what was to become the most popular experiment of his New Deal.  To end the rampant unemployment and economic chaos that was gripping the country, he wanted to create an army of young men to fight soil erosion, save declining timber resources and preserve parks and public spaces. His Emergency Work Act became the Civilian Conservation Corps, and on April 7, 1933 the first inductee was enrolled in the CCC.

By 1941 when Congress stopped funding the CCC, almost three million young men had participated.  Most came from poor, urban environments, primarily in the northeast, describing themselves as borderline juvenile delinquents with no hope for meaningful work or a meaningful future.  The CCC gave their lives structure, albeit of a military nature, and provided monthly income to their families back home.

Roosevelt wanted to move quickly, getting a quarter of a million young men in camps by July of 1933.  His staff boldly charged ahead and made detailed plans. The CCC camps would be designed to hold about 200 men so a relatively large, open space was needed for housing, food preparation and machinery storage.  Publicly owned land, adequate roads and the proximity of good work sites were critical.  The vast tracts of state land on the western side of Lake George were ideal.

Located seven miles north of the hamlet of Bolton Landing was the 1,000-acre Alma Farm, a property acquired by the State of New York in 1925.  The farm once had two large farmhouses, three enormous barns, and many outbuildings, but by 1926 all of the buildings had been removed.  It also had 200 acres of open land and it bordered Northwest Bay Brook, an excellent source of water.  The best site on the farm was near the location of the large farmhouse, but the mid -1920s construction of the new highway over Tongue Mountain had created a long causeway across the low fields at the southern end of the Alma Farm.  This causeway blocked the natural flow of water and created flooding conditions during heavy downpours.  The best CCC campsite would have been cut off during high water, and the men would not have been able to be transported to work sites.

Farther to the south and on the west side of Northwest Bay Brook was an Alma Farm property called the Burgess Farm.  It was here that the planners decided to build the camp.

On May 23, 1933, Roosevelt’s third month in office, twenty-eight men arrived in Bolton and set up a temporary tent campsite on the northern fringes of the Alma Farm.  Four days later another 161 men arrived and set up tents.  In the meantime construction crews were building the permanent camp at the Burgess Farm site.  As each bunkhouse was finished, 40 men left their tents and moved into their new lodgings.  In less than seven months the permanent camp was finished.  The first meal served in the new mess hall was Thanksgiving dinner, with all the trimmings.

The camp became CCC Camp S-82, 204th Company and was one of 67 CCC camps in the state. It was run by Army and Navy reserve officers, who insisted on military decorum, although some aspects of military life, like saluting and bed checks, were rarely enforced.  Some men did get homesick, and occasionally a man would go AWOL.  The commanding officers would contact home to see if the man arrived safely, but they never forced him to return.  The men were expected to follow orders and to complete their tasks thoroughly and efficiently. They were paid $5 a month, and $25 a month was sent home to their families.

Men were assigned work sites based on their skill levels and the requirements of the jobs.  Every morning they would load up large trucks and travel to projects in state parks, on the islands, and in the state forests.  Men scoured the white pine forests looking for gooseberry and currant bushes to dig up as part of a blister rust eradication program.  They destroyed gypsy moth egg masses to counteract previous years’ caterpillar devastations.  They planted thousands of pine seedlings on old farm fields.  The 200 acres of open land on the Alma Farm was completely covered in pine plantings.  Near the lake, stream banks were rip rapped to control erosion, and fish spawning habitats were improved. The men constructed buildings on Glen Island, in Hearthstone Park, Fort George Battleground Park and Rogers Rock Park.

They built hiking trails on Tongue Mountain.  They also responded to local emergencies like finding a lost person, fighting forest fires, helping with flooded roads and snow removal after blizzards.  Keeping 200 men busy was a daunting task that required planning, supervision, and the cooperation of many.

Keeping 200 men fed was another daunting task. Twenty-five men worked in the kitchen and mess hall.  Six days a week, breakfast, a packed lunch and dinner had to be provided, and on Sundays three meals a day were available at the camp.  Universally the men said that the food was “damn” good, and there was always a lot of it.

Keeping 200 men occupied when they weren’t working was another daunting task.  The officers knew that these young men who came from poor, urban environments were going to be restless.  Left to their own whims, things could have gotten out of hand very easily.  The camp had a large rec hall and canteen in one building and in another, an educational room complete with a library of 2000 volumes, a printing press, and a mimeograph machine where the camp newspaper, The Incinerator, was printed.  The school gym was made available for a CCC basketball team, and a camp baseball team used the school’s athletic fields.  Considering the distance from the camp to town and with earnings of $5 a month, the men couldn’t get into too much trouble in the local bars.  Many journals refer to the kindness of Mary Drube, a young waitress at Alex’s Restaurant .  Not only did she befriend the young men, she made sure they got back to camp safely if they had been over-served.

Often the men from camp would hitch a ride into town.  The citizens of Bolton Landing were a little wary of the poor, street-tough, city men and often would not allow their children to interact with them.  It was a love – hate relationship since the camp purchased over $5,000 a month in supplies from local merchants.  Invariably many men did meet, and marry, local girls. Earl Dudley was the local policeman, and he delivered ice to the camp. His daughter Verna married Howard Barnes, a member of the first group of 28 men who moved into the tents in May of 1933.  Joe Morabito married Doris French.  Fred Lethbridge married Angeline Bantham.  Nick Forte married Belle Bentley, and Frank Leonbruno married Betty Weller.  The families of these unions continue to live in Bolton to this day.

The last man I mentioned, Frank Leonbruno, was an Italian American from Whitehall, New York.  In his own words, he had been running with a tough crowd. He was a 16-year-old kid from a big family living on the edge of poverty.  When he turned 17 he signed up at a local relief agency, and on October 17, 1935 he joined 16 other men from Whitehall and headed to the Bolton camp in the back of an Army truck.  He recalled his first meal – spaghetti – and a physical exam that required little more than a pulse.  In the supply room he was issued a sewing kit, blankets, fatigues, long johns, socks, shoes, rubber overshoes, toiletries, hats, gloves, an olive drab uniform, a jacket and a mess kit and cup.  He began his first assignment the next morning – Gypsy moth control.  In October there are no Gypsy moths, only their elusive egg masses, and Frank was frustrated by the boredom of the task.  Later, he was part of the blister rust crew and wandered the forests looking for diseased trees to remove – another task that seemed more time-filling than useful.  Finally he found his niche and moved to the kitchen where he served as first cook, second cook, and finally mess sergeant.

In 1941 Frank was the last person there to oversee the closure and dismantling of the camp.  Through his CCC contacts he got a job with the New York State Department of Environmental Conservation where he worked for over 40 years.  He served on the Bolton Town Board and as Bolton’s Town Supervisor, and wrote a wonderful memoir about his beloved islands. The CCC truly changed his life, and he was forever grateful.

In its 8-year existence, approximately 3,000 men cycled through CCC Camp S-82.  Most moved on into employment relative to the military industrial buildup prior to World War II.  All were grateful for the monthly checks received by their families, and nearly all appreciated the structured life required of the CCC.  Today there are very few remnants of the once bustling camp.  The bridge across Northwest Bay Brook is gone.  All of the buildings were dismantled by late 1941 although the fireplace of the officer’s quarters refuses to fall apart.  Excavation sites are obvious where barracks and other buildings once stood.  A slab under part of the mess hall remains as does the cellar hole from the Burgess farmhouse and the incinerator. Parts of the water distribution system remain and two circles of stones show where the men had small gardens.

Although a few remain, the men too have passed on.   These men who grew up in terribly hopeless times used their experiences at Camp S-82 to radically change their lives.  They participated in a great experiment, a miracle of cooperation among all branches and agencies of the federal government, a mobilization of men, materials, and transportation on a scale never before known in times of peace.  Franklin Roosevelt made a campaign promise in the summer of 1932. Thirty-four days after his inauguration his promise became a reality, and it helped save a nation.  “The wastage and neglect of our natural resources plus the wastage and despair of our human resources, our youth,” created the need for the CCC.  The great experiment worked.

Ted Caldwell is the Bolton Town Historian.

 

 

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Dorothy Dehner at The Hyde: Life on the Farm and Beyond

By Anthony F. Hall

Tuesday, April 2, 2013

“Dorothy Dehner at The Hyde,” a new exhibition of works owned by the Glens Falls museum, affirms the many connections between the artist and the Lake George region.

No other institution has done as much to build and sustain her reputation as The Hyde, and no institution meant as much to her, despite the fact that her career as an artist truly began only after 1950, when she left Bolton Landing for New York.

The museum hosted a reception to celebrate the opening of the exhibition, as well as the larger 50th anniversary “Five Decades of Collecting” show, on January 26.

“I’m so pleased for Dorothy; she would have been very pleased to know that this work will stay here,” said Bolton resident Theta Curri.

While The Hyde has helped call the art world’s attention to Dehner, it is Curri who, almost single-handedly, has reminded residents of Bolton Landing that an abstract artist of national significance once lived in town.

Growing up in Bolton in the 1940s, Curri knew both Dehner and her more famous husband, the sculptor David Smith.

“Everyone knows all about David Smith; they knew his second wife and have come to know his two beautiful daughters; but very few know anything about Dorothy Dehner and what became of her. That became my mission: to educate Bolton about Dorothy Dehner,” said Curri.

Born in Cleveland, Ohio, in 1901, Dehner enrolled at New York’s Art Students League, where she met David Smith in 1926. They bought their Bolton farm in 1929 and became year-round residents in 1940.

“In Bolton Landing, it was like living in a giant salad bowl, all shades of green, all textures. So we both threw our hearts into country life; gardening, later on raising pigs and a few chickens, smoking hams, making sausage and preserving uncounted jars in our larder,” Dehner recalled in essay written for the catalogue for The Hyde’s 1973 show, ‘David Smith of Bolton Landing.’

The couple’s “country life” provided the material for a remarkable series of miniatures painted by Dehner in 1943, called ‘Life on the Farm.’ (One of them is included in the current exhibition.)

Those images of life in Bolton in the 1940s became the catalyst for the friendship that developed between Curri and Dehner during the last decades of the artist’s life.

“When I retired from teaching in 1986, I became the director of our local history museum,” Curri explained. “Dorothy had remained friends with Hugh Allen Wilson, the harpsichordist, and she had entrusted him with a gift for our museum. It was a collection of prints made from her series, ‘Life on the Farm,” which is all about life in Bolton and on the farm she shared with David Smith.”

Curri continued, “I was responsible for the museum when the prints arrived. I was sitting at my desk, writing a thank you note to Dorothy, when the phone rang. It was Dorothy. That was the beginning of our friendship.”

“We began telephoning one another,” Curri said. “I could call her up at 10:30 pm and I knew she’d be awake, but I learned never to call her before noon. She always asked about Bolton folks, about the people she knew.”

Through Curri, Dehner was able to re-establish a relationship, however indirectly, with the place that meant so much to her.

“She called me her Bolton connection,” said Curri.

Curri, in turn, re-connected Bolton with Dehner.

She mounted a display of the ‘Life on the Farm’ prints at the bank in the off-season, when the museum was closed, and encouraged visitors to the museum to spend time viewing the prints.

One of those visitors was Martha Nodine, who attended the reception for “Dorothy Dehner at The Hyde” with Curri.

Curri recalled, “Marty had helped to organize an exhibition of David Smith’s work in Texas, and when she and her husband came east, they made an excursion to Bolton Landing. She looked at our museum’s David Smith exhibit, and I directed her to the wall where ‘Life on the Farm’ hung. ‘Those are by Dorothy Dehner,’ I said. ‘Who’s Dorothy Dehner?’ Marty asked.”

Curri felt the two should meet, which they did, and developed a friendship of their own. Before her death in 1994, Dehner selected Nodine to be her authorized biographer.

The biography, which is nearing completion, is called “No Day Without a Line: the Life and Times of Artist and Activist Dorothy Dehner.”

“People will discover that there’s a range and depth to Dehner’s work and extraordinary experiences that might surprise them,” said Nodine. “Her life did not end with ‘Life on the Farm.’”

In fact, according to art collector Bernard Brown, a Hyde trustee, Dehner’s mature work is by far her most interesting.

“At age fifty-one, Dorothy Dehner had her first solo exhibition in New York at the Rose Fried Gallery, which is notable in part because the gallery had never shown the work of a woman artist before that date,” said Brown.

“In the early 1950s, Dehner developed new techniques in her work by combining the expression of geometric forms in pen and ink with watercolor washes and splattered paint. She applied wet sponges to the paper and painted wet-on-wet resulting in blurred images, which contrast sharply with the precisely drawn elements of the painting. After 1955, she turned to sculpture and this medium would dominate her interest for the next thirty-eight years,” Brown said.

But rather than leaving Bolton Landing behind, Dehner incorporated it even as she found her voice or vision as a mature artist.

‘Low Landscape, Sideways (1962),’ for instance, which is included in this exhibition, “suggests a panoramic view of nature,” writes Joan M. Marter, the art historian who serves as president of the Dorothy Dehner Foundation for the Visual Arts.

“One is reminded that David Smith often made sculptural landscapes,” Marter writes, while noting that Dehner had found a sculptural vocabulary of her own.

Even works that appear to have no relationship to Bolton, such as “Interior Studio” bear traces of its influence. Tellingly, an almost identical version of the work, which Dehner gave to Theta Curri, has a different, more Bolton-inflected title, “Barns.”

Of course, Dehner herself acknowledged Bolton’s lasting influence on her life and art.

“Bolton Landing remains forever vivid in my mind – because of the great beauty of the place and the joy I had in the sense that I was part of it,” she wrote in 1973.

So it comes as no surprise to learn that among her last requests was this: that her ashes be scattered above Lake George.

“Dorothy Dehner at The Hyde” will remain on view in the Hoopes Gallery through April 14. The Hyde, which is located at 161 Warren Street in downtown Glens Falls, is open Wednesday through Saturday from 10 am to 5 pm and on Sunday from noon to 5 pm. For more information, call 518-792-1761.

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Bob and Noelle Schwab

Bob and Noelle Schwab

Pub on Nine: Locals Flock to New Year-Round Bolton Pub

By Mirror Staff

Friday, November 9, 2012

Bob and Noelle Schwab met in a Dallas, Texas restaurant called on Pub on Main. Call them sentimental, but when they opened their own pub in Bolton Landing, they wanted to honor it.  Hence Pub on Nine.

Actually, Pub on Nine is on Route 9N, which Bob is fully aware of, having spent summers and weekends in the area for more than thirty years.

The couple moved to Bolton year-round in 2006. Arriving during one of the heaviest snowfalls on record, they found a community willing to embrace even newcomers and the Wooden Barrel, a pub at the bottom of the hill where they felt at home.

“We loved the Barrel,” says Noelle. “We like to go out dancing and listen to music, and there were few places like that. We saw its potential.”

While Bob’s background is in civil engineering, Noelle’s is in restaurants, so they were willing to take a risk and re-open the Wooden Barrel as a music and sports pub.

“We opened in January,” said Noelle. “Local people have given us a lot of support, and the other restaurant owners, people like Peg and Mark Turner from the Diamond Point Grille and the Foys from Cate’s, have been incredibly helpful.”

The Schwabs began booking bands almost as soon as they opened their doors and now host music Wednesday through Saturday nights. As of this weekend, bands will play on the deck starting at 5 pm.

“We’ve learned that if you book the right bands, the people will follow,” said Bob. “We book popular bands like Blue Moon and Bobby Dick. We have jazz, rock, country, whatever people want. We’re trying to learn what people like. We’re here for the customers, not ourselves.”

While the Schwabs knew their beer taps, their wide-screen TVs, karaoke machines and bands would be draws, they’re pleasantly surprised by the popularity of their food.

“Fifty percent of our business is food,” said Bob. “We attribute that to the skills of our cook, Chet Huck.”

“We started with the basics of a pub menu and elaborated upon that,” said Noelle. “In addition to burgers and wings, we have a hot pastrami sandwich and a Cuban that have both become popular and great soups and salads.”

Service from the kitchen is available until 11 pm. The bar closes at 2 pm.

The Schwabs used the winter to get the kinks out of the operation before the summer crush.

“We’re beginning to attract unfamiliar faces, and we make sure they feel as welcome as the locals are” said Noelle.

“The fact that we have so much parking is a draw in itself,” said Bob. “We’re especially convenient for anyone staying south of Bolton Landing.”

 

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Mohican Point

Mohican Point

The Patriarch: W.K. Bixby is the subject of a new biography by his grand daughter, Bolton resident Sally B. Defty

By Anthony F. Hall

Friday, September 21, 2012

Perhaps because of the impressive Greek Revival mansion at the entrance to Bolton Landing, or the 36 foot electric launch, the ‘St Louis,’ which without question is Lake George’s best known privately-owned boat, people may feel they know all there is to be known about W.K. Bixby.

But according to his grand daughter, Sally Bixby Defty, not even his direct, living descendants (268 at last count), are as well-acquainted with him as they should be.

“For many in the family, he’s not much more than an imposing figure in the portrait that hangs in the Big House,” said Defty, a former reporter and editor at the St. Louis Post-Dispatch.

That was enough to inspire her to write “Passionate Pursuits: William Keeney Bixby,” a life of the St. Louis industrialist, collector, philanthropist, traveler (and, of course, Bolton summer resident),  which  was published in July and is now available for purchase at Trees.

Sally B. Defty

“I wanted to humanize him,” said Defty. “Even in old age, he retained a capacity to be thrilled, to be exhilarated by whatever he saw; his curiosity never flagged. At heart, he remained a young man.”

Bixby’s accomplishments are sufficient to earn him an authorized biography, regardless of his local fame.

By the age of 42, he was president of  American Car and Foundry, a conglomeration of rail car manufacturers that made St Louis, in his words, “the principal seat of the car manufacturing industry in the world.”

Six years later, in 1906, he retired, prepared to spend the rest of his life collecting art, rare books and manuscripts and endowing institutions such as Washington University and the St. Louis Art Museum.

“He had more interesting things to do than make money,” said Defty.

Bixby never received a college education. The lack of a degree was something he shared with contemporaries and friends Robert S. Brookings, who founded Brookings Institution in Washington, and Charles Freer, for whom the Freer Gallery at the Smithsonian is named, said Defty.

“They were all nouveau riches, but what they did with their money was so imaginative,” said Defty. “There was not a Donald Trump among them.”

Bixby was an auto-didact, Defty said. Once he began collecting an author’s manuscripts, “he would read everything by and about him. He would read a book a night,” she said.

Bixby disposed of his manuscript collection in the 1920s.

“None of his sons were interested in his collections; they had absorbed too much of  their father’s  attention,” she said.

For Bixby’s sons, Bolton Landing was not only the lakeshore town where their father bought an old hotel, demolished it and raised in its place a summer cottage, but their mother’s hometown.

Lillian Tuttle Bixby was born in 1856 at the farm on Federal Hill Road which Sally Defty’s father, Ralph Bixby, bought from relatives and restored in the 1940s.

Bixby and Lillian Tuttle met in 1879, almost by accident, in Texas, at the rail depot run by Lillian’s brother Sidney.

According to Sally Defty, Sidney Tuttle asked his sister to come to Texas and to “bring some of the butternuts so fondly remembered from Bolton…. her train pulled into the station (and with) her suitcase in one hand and the bag of butternuts in the other, she descended the metal steps… And just as she alighted, the bag burst…. A baggage man hurried over to help her retrieve them.”

The baggage man was a young W.K. Bixby.

Despite its romantic beginnings, the relationship between W.K. Bixby and Lillian Tuttle Bixby remains obscure, Defty said.

“In every photograph I’ve seen, she’s looking away from him,” said Defty. “They travelled together throughout Europe, Asia and Africa, and W.K. kept detailed travel journals, but he never records her re-actions to anything.”

Bixby’s relations with his sons also appear to have been distant, said Defty.

W.K. Bixby

“He was a very busy man,” said Defty.  “It was his older brother Sidney who taught my father to fish, for example. My father was much closer to his mother.”

Nevertheless, the Bixbys were a true clan.

As Ralph Bixby once wrote in a letter to a niece’s husband, “All (the brothers) got along well together and often people laughed to see Bixby brothers talking to each other at a party of fifty.”

The family remains a tightly-knit clan, thanks in large part to the patriarch. Before his death in 1931, W.K. Bixbycreated a trust to maintain Mohican Point, which allows his descendants to still gather in Bolton Landing every summer.

“Without the house, and without the ‘St. Louis,’ the family would have dispersed long ago,” said Defty.

To celebrate the publication of “Passionate Pursuits: William Keeney Bixby,” a reception for Sally Defty will be held at the Bolton Historical Museum on Saturday, August 18 from 4 to 6 pm. After the reception, Defty will sign copies of her book at Trees.

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Bolton Town Historian Ted Caldwell and Clint Weber at Golden Heart Farm, where the Furlongs lived from the 1921 until 1952.

Bolton Town Historian Ted Caldwell and Clint Weber at Golden Heart Farm, where the Furlongs lived from the 1921 until 1952.

Tales from Golden Heart, Part Three: Documenting the Life and Times of Bolton Artist Weber Furlong

By Anthony F. Hall

Tuesday, July 24, 2012

For much of his life, Clint Weber has lived with a mystery: the source of an extraordinary collection of art he found himself the guardian of.

“Even as a nine-year-old, I would take these portfolios from underneath my bed and gaze at these wonderful things,” said Weber, a former Navy submariner now managing information systems for health care centers in Texas.

Those “wonderful things” included paintings and drawings by artists such as John Graham, David Smith, Dorothy Dehner, Max Weber and two remote relatives: Thomas and Weber Furlong.

The collection had passed from Thomas and Weber Furlong to their nephew, Clint’s father, and then to him.

“Fortunately, my family’s the kind that never throws anything out,” said Clint.

A few years ago, he met Mona Blocker Garcia, a world traveler who had settled in Marfa, Texas, which is frequently described as the emerging arts capital of the southwest. There, she bought a building on what had once been the campus of Fort D.A. Russell and turned it into the headquarters for her International Women’s Foundation, which she describes as “a training center for the artistic development and healthful aging of mature women artists.”

(Garcia’s building, Building 98, was once the officers’ club. It contains murals painted by German Prisoners of War during World War II, which she is restoring.)

“As soon as Clint told me about the collection, I had to see it,” said Garcia. “And as soon as I saw it, I knew he had to do something with it. It’s too important to be kept hidden.”

“Mona is the driving force. Without her, these things might still be under my bed,” said Clint.

This fall, Garcia and Weber will exhibit the collection at the International Women’s Foundation in Marfa.

The centerpiece of the exhibition will consist of Weber Furlong’s own paintings and will constitute the first major retrospective of the work of the artist, who Weber claims is “America’s first woman modern artist.”

As Weber and Garcia began to appreciate the depth and the extent of the collection, they felt compelled to learn more about the woman behind it.

What sort of woman could hold the respect and friendship of so many great artists, or create such astonishing work herself?

“I had found my life’s mission – to preserve the legacy of Weber Furlong and to create a record of her life,” said Weber.

That mission led Weber and Garcia to Bolton Landing, where Thomas and Weber Furlong lived from 1921 to 1952 at Golden Heart Farm, in the hills above Bolton Landing.

The house was built in the 1860s by  Rufus Randall, a returning veteran of the Civil War. He  cleared and farmed the land and raised his family there before selling the property to another Bolton man, Edson Persons.

The farm was reputed to have “one of the most magnificent views of the lake in the vicinity,” according to a newspaper clipping from 1961.

“Although my father had visited the farm when he was a child, I didn’t know much about it – where it was, whether the house even still existed,” said Weber.

He finally reached Bolton Town Clerk Pat Steele, who put him in touch with Ted Caldwell, the town’s historian.

Caldwell told him all there was to know about Golden Heart, and invited Weber to come see the farm himself.

In early May, Weber and Garcia flew in from Texas to begin documenting Furlong’s life in Bolton Landing and in Glens Falls, where the artist lived and worked from 1952 until her death in 1962.

“This is hallowed ground; this is where it all happened,” Weber said as he and Garcia arrived at Golden Heart Farm, where a reception was held in their honor.

According to Weber, Thomas and Weber Furlong were drawn to Bolton Landing by another artist, opera singer Louise Homer.

“Louise Homer’s daughters were attending a boarding school here in Bolton, and she recruited Weber Furlong to design some sets for a theater program,” said Weber.

(The school, Bremestead, closed in 1924. It was located near Braley Point.)

Clint Weber and Mona Blocker Garcia

The Furlongs moved to the farm in 1921. Although Weber Furlong was an administrator at the Arts Students League rather than a teacher, like her husband, she is generally regarded as the better artist.

Weber Furlong was born in St. Louis in 1878. She studied with William Merritt Chase and Max Weber and Furlong himself, whom she called “the best and most important” of her teachers. After the two were married, they moved to a building on Washington Square where John Graham, Alexander Calder, Thomas Hart Benton and Rockwell Kent also rented studios.

Weber Furlong refused to call herself a teacher. Rather, she saw herself as an enabler of other artists, distributing advice and encouragement.

After Thomas Furlong’s death in 1952, Weber Furlong moved to Glens Falls, where she continued to teach and paint until her death in 1962. James Kettlewell, a curator at The Hyde Collection in Glens Falls, organized an exhibition of Furlong’s work at The Hyde in 1966, and he is largely responsible for the belated recognition she received from critics, collectors and museums as a serious, mid-century artist.

“Weber Furlong emerged as an artist only after Thomas Furlong’s death in 1952. And at that time the only art that could make it in America had to be very large and abstract. Nevertheless the art she produced was entirely of her time,” Kettlewell wrote in a catalogue for the exhibition.

Although she painted almost nothing but still-lifes, Furlong’s work was influenced by the abstract expresssionists, said Kettlewell.

“If she finds the place she deserves in the art historical record,” Kettlewell wrote, “she will be classified with the Abstract Expressionists, as was her friend, the greatest sculptor of the American modern movement, David Smith.”

(The Furlongs are credited with introducing David Smith to Bolton Landing, having invited him to stay at the farm in 1929. Shortly thereafter, he bought the farm on Edgecomb Pond Road.)

Kettlewell was among those interviewed by Weber during his visit to Warren County.

He also met some of Furlong’s former students, such as Loren Blackburn, visited The Hyde, which owns several Furlong works, and examined private collections containing pieces by both Furlongs.

“This was an amazing visit; I was able to fill in so many gaps in my knowledge of Weber and Thomas Furlong and their careers,” said Weber.

Weber is at work on a documentary film and book about the Furlongs, both of which he hopes will be completed before the exhibition of pieces by Furlong and her friends opens in Marfa in September.

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Norge Village postcard from the 50s

Norge Village postcard from the 50s

Horicon Heights: Keeping it Simple

By Anthony F. Hall

“It seems here a part of nature’s self.” That’s how Seneca Ray Stoddard described the Horicon Pavilion hotel on Black Mountain Point in 1880, but it could just as easily be said of Horicon Heights.

Horicon Heights, like its predecessor, is a resort overlooking Lake George, or Horicon, as James Fenimore Cooper called it in ‘Last of the Mohicans.’ (“The French name was too complicated, the American too commonplace, and the Indian too unpronounceable,” Cooper explained.)

The six-cabin resort is owned and managed by Craig and Amy Clesceri; it was purchased, and named, by Craig’s parents in 1973.

“It was originally called ‘Norge Village,’ in reference to the kit cottages imported from Norway that were used for housekeeping cabins,” explains Nick Clesceri.

(To lure motorists off the road, owner Phil Birch erected a giant Viking, whose ignominious end came after serving as a standing target for too many hunters over too many years.)

Nick and Lenore Clesceri were RPI professors at the time, and Nick was conducting the Lake George research that would lead to the foundation of the Darrin Fresh Water Institute, which he directed for ten years.

“We were spending weeks on Lake George and weekends in the suburbs of Albany, which seemed to us to be the reverse of what we should be doing,” said Nick. “One winter, we saw this place, and after digging through the snow, we found a realtor’s sign and gave him a call. We thought it would make a nice small business.”

Very little has changed at Horicon Heights, or on Northwest Bay, for that matter, since the Clesceris discovered the property in 1973.

“It’s nice to look around and the only lights you see are your own,” said Craig Clesceri.

Even the water quality of Northwest Bay is essentially unchanged, said Nick, who headed the first comprehensive study of Lake George more than 40 years ago.

The rustic pavilion at Horicon Heights

“The only measurable change is in the traces of chloride, which can be attributed to road salt,” said Clesceri.” But even that could be reduced if highway departments switched to other materials or employed better practices.”

The Clesceris preserved the cabins rather than demolishing them, and they remain perched throughout the sloping, wooded property. Those not overlooking Northwest Bay and the Tongue Mountain range have views of woods, fields and ponds.

At the bottom of the hill, at the shore, is a small, naturally sandy swimming area and a rustic summer house, built in the 1920s when the property was part of Brook Hill Farm, the estate of Bishop E.M. Stires.

“What we lack in lake frontage, we more than make up for in lake views,” said Craig, who’s also a captain on the Sagamore’s Morgan.

Craig and his four siblings grew up at Horicon Heights, attending Bolton Central School in the winter. In the summer, their lives revolved around the resort.

“The repeat rate was something like 80%. The same families would come for the same two weeks and stay in the same cabins. We would scan the register, excited about who was coming next,” says Craig.

“I was just grateful that there were always children around to keep my kids company,” said Lenore Clesceri. “We were too busy to take them to town every day.”

Some of those friends from summers at Horicon Heights remain Craig’s best friends, and now his four children are making friends from among this generation of guests.

“If someone worries that their kids will be bored, I remind them that we have four of our own. As soon as they’re out of the car, they’re off and running. You can’t keep them away from the ponds. Kids, ponds and frogs: they’re irresistibly drawn to one another,” says Amy.

As in the past, families tend to reserve the same cabins every year, says Amy.

“People personalize the cabins, which we’re fine with. They’ll leave family photographs, artwork, even kitchen utensils. When they return the next summer, everything is still there,” said Amy.

The experience at Horicon Heights remains the same as well.

“We’ve surveyed the guests, asking if they want television or phones, and the answer is ‘absolutely not,’” said Craig.

With high speed, enhanced internet service, though, people do have the option to access the outside world.

“It’s up to the individual,” said Craig. “During Americade, we had guests sitting around a campfire streaming movies from Netflix.”

Craig and Amy, who met at Hartwick College, moved to Horicon Heights to live full-time after five years spent operating a charter boat up and down the eastern seaboard.

“The farther away I went, the sweeter the memories of Lake George became,” said Craig.

He and Amy hope that at least one of their children will become the third generation owners of Horicon Heights.

“We know they’ll go away to college and want do other things with their lives, but we’re hopeful they’ll want to come back someday, ” said Amy.

“Everyone comes back to Lake George, eventually, ” said Craig.

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McKendree Spring

McKendree Spring

Tales from Golden Heart, Part Two: In the 1960s, McKendree Spring was Bolton Landing’s Rock Band in Residence

By Anthony F. Hall

Wednesday, April 18, 2012

Golden Heart farm, the Bolton Landing artists’ colony established by Thomas and Weber Furlong in the 1920s, was not only a retreat for painters and sculptors.

In the 1960s and 70s, the farm was headquarters for a band which Billboard magazine called “one of the best unknown groups in the world,” McKendree Spring.

Last summer, the Lake George Mirror published a brief history of the farm, recounting the lives of the Furlongs, two New York artists who painted along side John Graham, Alexander Calder, Thomas Hart Benton and Rockwell Kent, and who were responsible for introducing sculptor David Smith to Bolton Landing.

Affiliated with the Art Students League, the Furlongs purchased the house, fields, barns and outbuildings in 1921 and renamed the old farm “Golden Heart.”

The farm was reputed to have “one of the most magnificent views of the lake in the vicinity,” according to a newspaper clipping from 1961.

The house was built in the 1860s by Rufus Randall, a returning veteran of the Civil War. He cleared and farmed the land and raised his family there before selling the property to another Bolton man, Edson Persons.

For three decades, from the 20s through the 50s, artists came to the farm every summer to work and study with the Furlongs.

After Thomas Furlong’s death in 1952, Weber Furlong moved to Glens Falls, where she continued to teach and paint until her death in 1962.

That, more or less, was where our story ended.  But at least one chapter of the tale was missing, because we were unable to answer this question: what became of Golden Heart after Weber Furlong sold it?

Ted Caldwell, Bolton’s Town Historian, suggested we contact Michael “Doc” Dreyfuss.

“There’s a reason why Dreyfuss is known as ‘Doc.’ He holds degrees in physics and medicine. And he was a founding member of a band called McKendree Spring. He’ll fill you in,” said Caldwell.

We reached Dreyfuss at his home in Cleveland, Ohio.

In 1947, Dreyfuss began visiting Golden Heart with his parents, Dr. William Dreyfuss and Lily Dreyfuss, a painter.

“The Furlongs and my parents became fast friends, and we would visit every summer for two weeks or so. My mother painted. My father and I hung out,” says Dreyfuss

“Several years later, Weber was offered a modest amount for Golden Heart. We offered her more, because she was such a good friend. Next thing you know, we owned land, a barn, a house that was quaint, without water or electricity, but with an astonishing view of Lake George.  Olaf Ronning rehabbed the house and put it into beautiful shape,” recalled Dreyfuss.

Seeking a quiet place where he could complete his first novel, Dreyfuss and his wife, Elizabeth Travis Dreyfuss, moved to the farm in 1965.

“Elisabeth taught American history at Adirondack Community College, while I stayed home, being a daddy to our first child and writing,” said Dreyfuss.

Having played the violin since he was five and the viola since high school, Dreyfuss also taught music at Skidmore.

“I also played chamber music with local musicians, mostly from Saratoga Springs. I remember one summer in particular. A friend of mine, a cellist named Christopher von Baeyer, happened to be performing with the Lake George Opera Festival, and he stayed with us.  After the performances, he would bring home a bevy of extraordinary musicians. We had three cabins, and the musicians would spend the night. Our chamber music evenings usually began around 1 am and ended at 4 am, by which time Chris and I were inevitably incoherent, mentally and musically,” said Dreyfuss.

Dreyfuss’s wife Elizabeth introduced him to another extraordinary musician, Fran McKendree.

“Elisabeth mentioned that she had seen a student in an ACC talent show who sang beautifully. ‘Would you like to meet him?’ she asked. His name was Fran Mckendree. Elisabeth brought Fran to Golden Heart one day and we hit it off immediately, very much enjoying improvising and playing tunes together. We invited guitarist Marty Slutsky and bass player Larry Tucker to join us, and we rehearsed with the intention of forming a band. That was the beginning of McKendree Spring,” said Dreyfuss.

“We knew we had something right away. Our first official gig was a benefit for the NAACP in Glens Falls. We had heard that the organization was under duress, and we volunteered to play. All the instruments, including my violin, went through a small Fender Reverb amp which I had purchased at a gift shop in Glens Falls,” said Dreyfuss.

The band, which drew initially upon the traditions of American folk music that also inspired groups like the Byrds, the Flying Burrito Brothers, Poco and Quicksilver Messenger Service, began playing the coffee house circuit from Boston to New York. The band’s rise was a quick one.

“Sometime in 1968, we decided to drive to New York in our Dodge Dart with our instruments and gear and audition for the Bitter End’s Hootenanny Tuesdays, where we knew bands got discovered by agents, managers, and other record people. We made it through the audition and were scheduled to play the Hootenanny late – 2 am.  The place was nearly empty. They invited us back and as a result of that show we were offered recording, publication, and management contracts,” said Dreyfuss.

Within the next few years, the band traveled through Europe and the United States, performing at places such as Carnegie Hall, Lincoln Center, Radio City Music Hall, and at the Washington Monument, where the group played before a million Vietnam War protesters.

McKendreee Spring opened for bands like Emerson, Lake and Palmer and the Velvet Underground, groups that shared Dreyfuss’s interest in experimenting with electric violins and feedback.

“Between tours, we would come home to Bolton Landing to crash,” said Dreyfuss.

Michael and Elisabeth Dreyfuss sold Golden Heart in 1972, and the members of Mckendree Spring went on to pursue new careers.

Mckendree, Slutsky and Dreyfuss, however, still re-unite on occasion, and in 2010 the band released its first studio recording in 35 years, “Recording Number 9.” The Progressive Rock Hall of Fame named it the best progressive rock album of the year in 2011.

Dreyfuss’ days in Bolton Landing, though, are indelibly printed in his memory.

“I’ll never forget that view across Lake George from Gold Heart, or rehearsing in the barn,” said Dreyfuss. “Bolton Landing was essentially dead in the winter, but it was a fun, relaxed place, especially in the summer. I was always struck by the camaraderie and the good will of the community. Good people.”

Of Golden Heart, Dreyfuss says,  “Writing all day and playing tunes all night. It was music heaven.”

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