if ¢ Wontalvo Cemer for the Arts ee Ge dass ney ar oer ce Perewouat SPEECH FOR MONTALVO MEETING SEPTEMBER 17, 1980 When Jane Goldbach asked me to speak here tonight, I answered her with a resounding 'no way’ and then immediately suggested someone we both knew was much more qualified than I to speak about Montalvo. Jane told me ' my suggestion ' had been asked but could not accept as she was so involved in other Montalvo projects, and anyway, in turn she hac suggested me. So there I was, neatly back to square one. So - I consented. Three weeks from then seemed a long time, but weeks become days, days - hours, hours- minutes - here I am. My first contact with Montalvo was in late 1939, or early 1940. Marjorie Mendelsohn got me involved in some way or other. At this time, I met Anne Bailache, Montalvo's first director. I'm going to describe my experience here, from February 1942 until the middle of the following September. This was a crucial time for Montalvo because of the war — the whole Montalvo concept could have easily been lost - but for the Getermination and courage of Anne Bailache. As you know, the San Francisco Art Association was the Montalvo trustee, from 1930 - 1952, By 1939, the Art Association Board realized that to fulfill their trusteeship obligation, they must establish a work- able and productive program at Montalvo. Ted Spencer was the President of the Art Association Board and Anne Bailache was a board member. Since her husband Arthur's retirement, the Bailaches had been considering leaving San Francisco and retiring in this area, so it was a fine arrangement for everyone when the board appointed her, resident-director of Montalvo. Remember this area was considered almost in the boon docks. It was rural and unincorporated, Saratoga Village had a population of approximately 3500. Her appointment was a stroke of genius. I have always deeply felt- very deeply - that if it hadn't been for Anne Bailache and her devotion to the Montalvo goals, there would not be Montalvo as we know it today.cage iwo Alls a , Se 7 —S One of her first acts as director was the appointment of a Board of Advisors or directors. Again, everything worked in Montalvo's favor, because the board members were distinguished and gifted residents of Saratoga and Los Gatos., Dr. Louis Mendelsohn was Chairman, Miss Mabel Pierce, Mrs. Harry Whiting, Mr. Henry Neumark and Mr. George Dennison. Montalvo Foundation of the San Francisco Art Association was our first official name. The first meeting of the Montalvo board was held, January 21, 1939, By 1940, the artist in residence program had been established and several art courses were being offered. The Art Association was particularly interested in the residence program. As I recall, the Coolidge String Quartet was in residence, working and presenting outstanding concerts. Gradually, Montalvo was gaining recognition. The Montalvo Society had been organized. There were 275 members. This society was by no means just a local affair, but included many members rom San Francisco and the peninsula. ® Anne Bailache was a rare person - She was very attractive, in her mid-fifties. She was intelligent, poised, smart - a gifted artist. She had an inborn sense of elegance, known today as a “touch of class". She could be arrogant, snobbish, demanding, but also very charming. A doer and a driver. She simply would not tolerate the mediocre. As a boss, she was aggravating, stimulating and appreciative and fun to be with. I admired and respected her so much and loved her as a dear friend. : The summer of 1941 - everything was progressing - and then December 7, 1941 there were problems and time of crisis for Montalvo. Would it be wise to continue or simply close for the duration. While this was being decided, tragedy touched Anne. The Bailaches had just moved into their lovely restored home on Orchard Road in Saratoga when Arthur Bailache suddenly died. Anne, in spite of her loss, was even more determined to keep Montalvo open, She felt that if it closed, it would never open again and fulfill Senator Phelan's dream. She persuaded the Art Association to keep it open. Anne sold her home in 1943 and returned alone to Montalvo to continue as director in residence. She remained here as I remember, during most of the war “ears, and about the only activity was the artist in residence program. e inally, Anne moved to Coranada, and later to San Diego and remained ~ there until her death several years ago. I used to visit with Anne in San Diego and Montalvo was still dear to her.rage incee o® In February of 1942, Anne asked me to be her assistant. The Art Association would pay me $50 or $75 a month. TI was not teaching that terms, s0 I said yes, So in my trust and innocence, I began an enlightening, overwhelming, exhausting experience that lasted to mid-September when I returned to teaching. Often I am asked about ye olden days of Montalvo. Was there really a staff? Did we really have activities? Did people actually come to Montalvo? ‘ Of course there was a staff, Anne Bailache; director, C. Hayes; assistant director, George Doltz; outside man, Jerry Dunsmuir; inside man. George Doltz, was one of earth's gentle men. Every plant, shrub, and tree not native to this area was planted by him personally or under his direct supervision. He had been head gardner since & = Montalvo's beginning. George and Montalvo were as one. Every day he sallied to battle the ever enroaching wilderness. Jerzy Dunsmuir was our ‘coper'. He coped with all electrical, plumbing, painting, carpentry, plastering emergencies. Not to mention window washing, dusting, sweeping, mopping. I do not recall Jerry ever walking, He was always muttering, and trotting. Programs - naturally ~ among those I remember were recitals, concerts, poetry readings, two elegant dinner dances on the brick terrace, a ballet from San Francisco, a luncheon for 200 in the lower garden, and of course, three resident artists in the guest houses. Lacking today's more explicit terminology, we referred to them as being rather unusual but most creative. And we had art shows, Anne would sizply drive to the city, call an artist friend and return with art works that we would hang and display in the gallery across from the library. One of her friends in New York shipped some magnificent Italian textiles for a show. We sent out notices and invitations. People came - we were happy. There was not one art gallery in Santa Clara Valley at this time other than one at Stanford University. When time permitted, Anne and I would fmf over a gigantic set of @ ive prints that the Art Association had designed and produced. Theseplans showed the ultimate in Montalvo goals. They included design for 2 heatre to seat 500, special living quarters for musicians complete with practice and recital rooms; special studios and quarters for sculptor: maralists and painters, complete craft center; secluded units for writers and what plans we would make, Montalvo would become the home of the finest musical festivals in the U.S... It would become the foundation of Sil caltursl creativity , Believe me, ve were simply forty years ton Picniso ant eure we could have easily handled King Tut, The Dresden Show, Picasso and the Present Chinese Industrial Show. Of course, our actual programs never quite came up to our dream jevel- and in no way could match Montalvo's scope today — however, and this I want you to remember, they were presented with integrity, enthusiasm and style. Never, never did we allow Montalvo to stoop. We demanded in every way we could that the people coming here reach up, extend themselves to receive Montalvo's offerings. Fach board, each director that has followed has made their unique @ Contribution to the Montalvo concept, but I feel, that because of some mystic process of osmosis, those ideals and standards established by Anne Bailache and her board of 41 years ago, are still a vital influence in the ever developing Montalvo experience. Today, as I make the last turn at the top of the hill, and I see fBe acres of green velvet lawn, the manicured terraces, the staf! workers, the ever-expanding landscaping, I think of George Doltz and hiw lawn mower, his ladder, his wheelbarrow, rake and shovel and his keeping the faith for you, Today when I hear $40,000 being budgeted for roof repairs, $18,000 for kitchen remodeling, $509000 successful buildiig fund campaign and see the housekeeping and Villa maintenance staff, I think of ferry Dunemuis scurrying about with his little box of tools, his broom, his mop, his cleaning rags - he kept the faith too. Today, when I see Pat Oakes in her crowded busy office, and the Montalvo calendar of events, I realize the hours of planning and the multitude of details that go into the making of one Montalvo day, and 7 see the office staff and the machine that spews out a terrific nunber nenctices, bulletins, etc and I begin to count...the Executive Board, zie Association, The Coordinating Council, Service Group, Gallery comsitt©, New Dimensions, Music Committee, Drama Committee, Literary Arts Committee, Community Resource Group, the Volunteer Group and all of their ramifications, Z stop and remember that first Montalvo board of five dedicated people and Anne Bailache, a gallant majority of one.ral What nerve that staff of four had forty years ago- what rollicking, colossal nerve we had to do what'we did - to dream those dreans. When T came here, like this evening, and see audiences, school buses of children, tour buses, nature field trips, gallery visitors crowGs, etc. at holiday time - the workshops - the classes ~ thousands of Yolunteer work hours - I am proud and grateful that in these furbulent, uncertain days. I and all of you are so fortunate to be participating in the fulfillment of one man's dream. A dream, so Sloriously unique today because it -not concerned of involved in intrigue, seven OE Greed. It is an exquiste dream, this bringingheauty into the jives of all who come here. Creating - sharing - experiencing it, Providing spiritual rejuvenation of the highest degree. Fo me, Montalvo will always be a gentle oasis of memories, anticipation, enjoyment, contentment. I wish the same for each of you. Carolyn B. Hayes September 17, 1980