With permission:
Westerners International

ANY BRUSHES," as he was affectionately known by his many Indian friends, specialized in painting and drawing portraits of living Western American Indians. Elbridge Ayer Burbank was one of the last artists to capture on canvas and paper the true likeness of most the older chiefs living at the turn of the century. His training in the United States and in Europe prepared him for the demands of portrait painting. Burbank won the confidence and loyalty of the Indians he painted.

Burbank was the product of both the 19th and 20th centuries. Born in a town in northern Illinois at the edge of Indian country, he ended his in the cosmopolitan city of San Francisco. The Burbank and Ayer families came overland from Massachusetts in 1836. Grandfather Ayer built the Ayer Hotel at the newly established village of Harvard Junction, birthplace of Elbridge. Some of Burbanks earliest recollections were of the return Civil War soldiers to their homes in Wisconsin and Minnesota. Sick, ill and destitute, they were cared for at the hotel without charge.

Burbank began to draw at an early age. At school he carried around a paper and a slate. His skill in drawing never left him. In his final years, pencil sketches of scenes of Northern California show the same concern for detail, the "likeness" of the subject, techniques he learned early. He entered the Academy of Design, Chicago (later the Chicago Art Institute), in 1874 to receive his first formal art instruction. He graduated from the Academy as one of its outstanding pupils.

Anxious to become sell-supporting, the young artist opened a small studio in St. Paul, Minnesota. Eugene Smalley, editor of the Northwest Illustrated Monthly, admiring some of Burbanks drawings in the window, offered youthful Burbank a job.

The illustrated magazine was a promotional publication of the Northern Pacific Railroad. Scenes along the route were the subjects of Burbanks drawings as he and Smalley traveled to the West Coast as "guests" of the company. The salary was good, $100.00 for drawing a town. All expenses were paid. Saving his money, Burbank soon had laid aside enough to further his art education. Returning from Seattle in 1886, he turned over the remaining drawings to the railroad management at St. Paul. He took his pay, left for home, and prepared for a trip to Europe.

American artists of the time believed their training incomplete without the experience of advanced work in European art centers. Bidding farewell to his parents and two sisters, Burbank left for Munich. There he met William R. Leigh and J. H. Sharp as fellow students. All three became famous as painters of the American west. Toby Rosenthal and Paul Nauer were Burbanks teachers. Rosenthal taught his pupil how to use purple and grey paint as shadows in faces of portraits. Burbanks style and draftmanship improved following his European training.

Returning to Chicago in 1892, Burbank opened a studio in the Athenium Building. His first oil portraits were of local young Negroes. These small paintings, some only two inches square on mahogany wood panels, became the young artists trademark. His "American Beauty," a small boy holding an American Beauty rose, was reproduced as a chromo in the Sunday supplements.

The Yerkes first prize (Chicago) was awarded to Burbank in 1893. An Honorable Mention medal at the Atlanta Georgia Exposition was won in 1895. Exhibitions in Paris, St. Louis Worlds Fair, Chicago Art Institute, included works by Burbank. His handsome face with the familiar bushy moustache appeared in the pages of the Chicago Graphic announcing the activities of the now well known local artist. He became a member of the Chicago Society of Artists.

E. E. Ayer, Chicago civic leader, philanthropist, and uncle of Burbank was about to launch his nephew on a new career. Ayer, an insatiable collector of Indian artifacts, had presented much of his collection to the Newberry Library in Chicago. Original Indian paintings and drawings of George Catlin and Karl Bodmer were of an earlier period. Ayer wanted the portraits of the Indians of his era represented in the Newberry collection. Chief Geronimo was of special interest to Ayer. Burbank accepted the commission to visit the famous warrior at Ft. Sill, Oklahoma, and to paint his portrait. The project was successful. Burbank painted the tough old chief five times, the only artist to paint the crafty Apache from life. An incident reported later, shows how a simple gesture of friendship made it possible for Burbank to establish rapport with his Indian subjects.

In a letter to the editor of the San Francisco Chronicle, May 29, 1948, Burbank wrote:

Editor, I have just been reading in the Chronicle about Jesse James, etc. When I was on my way to Ft. Sill to paint a picture of Geronimo from life, I went to a cigar store in Kansas City, Mo., kept by Jesse James son. I bought a package of cigarettes from him, and Chief Geronimo and I smoked them. San Francisco. E. A. Burbank.

Burbanks portraits of Geronimo have been reproduced in books and magazines. The simple bright red blanket and headband worn by Geronimo are an effective contrast to the deeply lined brown face and penetrating eyes of the once proud leader of the Apaches. This was the beginning of Burbanks most productive and successful period as a painter of Indians. As a tribute to his uncles interest and support, some 28 oil paintings and over 1,000 red chalk drawings are now a part of the Newberry Library collection and are safely housed in portfolios kept in the library vault.

Chief Joseph, leader of the Nez Perces Indians, was another friend Burbank painted from life. Mutual respect was the key to this friendship. The famous Indian was living in seclusion and difficult to reach. Burbank visited him at Nes Pelem Agency, Washington, wearing his best corduroy suit in deference to Josephs position. Seven portraits followed. Burbank was the only artist allowed to paint Joseph from life, Burbank considered the Nez Perces leader the greatest Indian he had ever known.

By 1902 Burbank was firmly established as an Indian portrait authority. Ads in magazines offered colored reproductions for sale. A popular magazine advertised embossed proofs of red crayon drawings for a years subscription to the magazine. Colored reproductions of oil paintings were offered in two sizes, 5 and 10. These first prints are now prized collectors items. His Chicago studio was filled with Indian blankets and baskets. Private collectors began acquiring Burbank paintings and drawings. J. C. Butler, industrialist of Youngstown, Ohio, was buying paintings by American artists. Burbank was contacted. He answered as follows in his jerky, cramped handwriting:

"Philadelphia, Pa., Feb. 10, 1902

Dear Mr. Butler

I received your letter this morning and went over to the Museum and had the pictures shipped to you by Adams Express, then this noon I received another letter from you but received it too late as the box had gone.

I will bring with me the other pictures.

I shall be glad to paint your portrait and will paint for the same price as the Indians.

Since I have been here, Mr. Eakins, a well known portrait painter has painted a portrait of me, he gave the portrait to me but said that whatever Museum bought my Indian pictures he would like to have that Museum own my portrait so I guess I have to give the portrait to you. I will bring it along with me.

No, I will not make the sale of the pictures public at present. I will go to the Tod House as you suggest.

Sincerely yours,

E. A. Burbank"

The Butler-Burbank collection grew to 80 oil portraits, 147 drawings, both groups escaping the disastrous Butler home fire of 1919. One may view the collection at the Butler Institute of American Art at Youngstown.

Burbank continued to roam the west and southwest, seeking out the native tribes. One of several artists befriended by Juan Lorenzo Hubbell, Indian trader at Ganado, Arizona, Burbank spent 10 months in 1905 at this post sketching and painting the Navajos. Hubbell wanted the Indians to improve the designs for their hand loomed rugs. Burbank painted some 50 small selected patterns in oil which were hung in the store for the weavers to copy. These are now in the harness room at the post. Many believe the red chalk drawings of Navajos were among his best work. The Hubbell Trading Post was recently designated as an Historic Site. The paintings of Burbank and other artists are preserved in the main house for all to see. Burbank must have also been in Southern California at about the same time. A portfolio of Cahuilla Indian drawings now in the Newberry Collection was also rendered in 1905.

A series of articles appeared in The Graphic Magazine, Los Angeles, 1910, on Burbanks experiences in painting Indians. "My Indian Princess Sitter at Fort Sill Oklahoma" and "Famous War Chiefs I Have Known" were written in the first person. An exhibition of red chalk drawings was held at Steckel's Gallery in Los Angeles about 1920. Already Burbank was beginning to reflect upon his past. The bulk of his best work was behind him. But what a rich legacy! A colorful and pictorial representation of American history he left as a memorial to our "first citizens."

The Depression years were difficult times for artists. Some painted murals in post offices and in other government buildings. Their work was funded by federal agencies. Other artists turned to teaching and commercial work. Burbank would not accept WPA work. Always fiercely independent, he preferred to go it alone. To support himself he turned to drawing scenes for postcards, greeting cards, pictures of famous Americans. Charles Russell, Buffalo Bill, General MacArthur, Franklin Roosevelt, Harry Truman, Charles Lindbergh, were subjects for his pencil. Those were reproduced as prints and were widely distributed. Many "thank you" notes were sent from Hollywood movie stars who received Burbank prints. Tiny oil sketches, some selling for as little as $1.00, Burbank made available for purchase.

As with the many Indians he painted, Burbank made friends easily with artists, art dealers, collectors. "Tactful," "gentle," they described him. Milham R. Leigh, Jo Mora, Grace Hudson, Marion Wachtel were fellow artists who corresponded with some regularity. While others played cards, Burbank joined them with brush and canvas, painting "conversation pieces," small sketches as gifts for his admirers.

Burbank realized he was "painting history." He was meticulous about identifying his paintings with place and date, and always his own signature. Additional notes written on the back of the work or left in portfolios to accompany the paintings and drawings, give interesting details of the Indians and scenes.

Of Chief Spotted Elk - Sioux, "Son of old Spotted Elk. Medal he wears he took from fathers dead body at Pine Ridge." For Bon I Ta Comanche, "Dude of the Comanches and a bright Indian. Best rider at Fort Sill, won many prizes for riding horseback." "Has-Tin-Naz Navajo, good cook, Ganado, Arizona,"

Burbanks early work was his best. The many Indian portraits, full of authentic detail, alive with strong bright colors, have a unique quality, a freshness not so apparent in his later work, he was the only Western artist to use red chalk and crayon as mediums for portrait drawings.

Public and private institutions control the bulk of his work. Among these are: Field Museum, Butler Art Institute, Newberry Library, Gilerease Art Museum, Southwest Museum, Pony Express Museum, Smithsonian Institute.

The last years were spent at the Manx Hotel in San Francisco. Struck down by a cable car with both hips broken, he lingered on for two months. A good manager of his affairs, Burbank was solvent when the end came.

As a tribute to E. A. Burbank, painter of Indians, on the 100th anniversary of his birth, Chief Geronimos words seem appropriate: "I like Burbank better than any white man I have known. He has never lied to me and has always been kind and just to me and my family"

BOOKS

Burbank E. A. & Royce, Ernest. Burbank Among the Indians. Caldwell, Idaho, 1946 (sic - 1944 & 1946)

Lockwood, F. G. The Life of Edward S (sic E). Ayer. Chicago, 1929.

McNitt, Robert. Artists and Illustrators of the Old West 1850-1900. New York, 1953

HOSKINGS, ARTHUR N. ed. The Artists Yearbook. Chicago, 1905.

W. P. A. Oklahoma, A Guide to the Sooner State. Norman, 1941.

PERIODICALS

The Graphic (Chicago), July 8, 1893; December 23, 1893: "Art and Artists", by staff writers.

Brush and Pencil, v. 2 (1898): "Elbridge Ayer Burbank," Charles F. Browne.

Carters Monthly, v. XV, No, 3 (June, 1899): "The Apache Indian," E. A. Burbank.

The Craftsman v. VII (December, 1904): "A Noted Painter of Indian Types," Gustav Stickier.

West Coast Magazine, v. 4 (June, 1908): "A Painter of Indians," Nona L. White.

Fine Arts Journal, v. XXII, No. 1 (January, 1910): "The Art of Elbridge A. Burbank", Everett Maxwell.

The Graphic (Los Angeles), February 12, 1910, "My Indian Princess Sitter at Ft. Sill, Oklahoma," E. A. Burbank.

The Graphic (Los Angeles), May 14, 1910: "Famous War Chiefs I Have Known," E. A. Burbank.

Land of Sunshine, v. XII, No. 6 (May, 1910): "Painting the First Americans," Charles F. Lummis.

Fine Arts Journal, January, 1911: "His Experiences in Painting Indian Life," J. W. Pattison.

Arizona Highways, v. XLIII, No. 9 (September, 1967): "Hubbell Trading Post National Historic Site," Jo Jeffers.

CATALOGUES, NEWSPAPERS

Montana Historical Society, 1963: "An Art Perspective of the Historical Northwest," Franz R. Stenzel.

Butler Art Institute, permanent catalogue, 1940.

Dawsons Book Shop, Catalogue 206 (September, 1946).

The Kennedy Quarterly, v. VI, No. 2 (1966).

The Pony Express Courier, v. IX, No. 6 (November, 1942): "Burbank the Great Contributor," Herb S. Hamlin.

The Pony Express v. XXXLI (1966): "Elbridge Ayer Burbank 1858-1949," Herb S. Hamlin.

The Youngstown Vindicator, May 1, 1949: "Memorial To E. A. Burbank," staff writers.

UNPUBLISHED MATERIALS

Clipping files, catalogues, photostats, Chicago Art Institute.

Clipping files, typed lists, paintings, drawings, Newberry Library, Chicago.

Personal effects collection, clipping files, Southwest Museum, Los Angeles.

Conversations with former friends, Los Angeles and San Francisco.