Individuals marked with a red dot are direct ancestors of Oliver Michael JACOBS
For privacy reasons, Date of Birth and Date of Marriage for persons believed to still be living are not shown.

KOLM, Dirk Van Der {I01089} (b. , d. ?)

Source: (Name)
Author: Netherlands Govt. Registrar of Civil Records
Title: GenLias
Publication: Name: Dutch on-line searchable records;Source Medium: Electronic
Source Quality: High
On line data typically covers years 1811-1900Repository:

Name: http://www-lias.rad.archief.nl/genlias/ara/logon?cid=-1

Page: Utrecht/281/855/Kamerik-Houtdjken/Marriage/5

Source: (Name)
Author: Netherlands Govt. Registrar of Civil Records
Title: GenLias
Publication: Name: Dutch on-line searchable records;Source Medium: Electronic
Source Quality: High
On line data typically covers years 1811-1900Repository:

Name: http://www-lias.rad.archief.nl/genlias/ara/logon?cid=-1

Page: Utrecht/281/343/Zegveld/Marriage/4

Source: (Name)
Author: Netherlands Govt. Registrar of Civil Records
Title: GenLias
Publication: Name: Dutch on-line searchable records;Source Medium: Electronic
Source Quality: High
On line data typically covers years 1811-1900Repository:

Name: http://www-lias.rad.archief.nl/genlias/ara/logon?cid=-1

Page: Utrecht/281/1255/Barwoutswaarder/6

Source: (Name)
Author: Netherlands Govt. Registrar of Civil Records
Title: GenLias
Publication: Name: Dutch on-line searchable records;Source Medium: Electronic
Source Quality: High
On line data typically covers years 1811-1900Repository:

Name: http://www-lias.rad.archief.nl/genlias/ara/logon?cid=-1

Page: Utrecht/281/232/Kamerik/Marriage/8

Note: Beryl worked for the taxation dept for many years.

She reportedly had an affair with Jimmy Lear. He may have been in business with one of the Fiddens in movies.

Source: (Birth)
Author: South Australian, Birth, Death and Marriage Registrar
Title: South Australian BirthsSource Medium: Microfiche
Source Quality: High

Data:
Text: Book 542, page 22

Source: (Burial)
Title: SA Centennial Park Cemetery
Publication: Name: www.centennialpark.org;Source Medium: ElectronicRepository:

Name: On line

Data:
Text: Beryl May Lear Kook from HYDE PK Date of Death: 22/08/1965 Age: 71 Years Interment Details: Cremation Section: Columbarium Walls Row: W Path: 20 Site: F036 Licence Number: 240339 Licence Expiry Date: 26/10/2015

Source: (Death Field)
Footnote: Church program announcement (Church of Emmanuel, Wayville SA)
Church program announcement (Church of Emmanuel, Wayville SA)

Emigration: Place: Long time director and member (50 years) Adelaide Repertory Company

Occupation: Place: Bookeeper, Federal Taxation Office (30 years)

Residence: Place: Long time address: 238 Young St.,North Unley, SA

Address: 238 Young St / North Unley, SA / Australia

Religion: Place: Centennial Park, Adelaide, SA, AUS

Cause: Cancer (vaginal?)

Source: (Name)
Author: South Australian, Birth, Death and Marriage Registrar
Title: South Australian BirthsSource Medium: Microfiche
Source Quality: High

Page: 23/10/1904
Data:
Text: Adelaide SA 123A-72

Source: (Burial)
Title: Cemetery IndexSource Medium: Book

Page: St. Kilda Cemetery
Data:
Text: Ref # 44403 20/4/1937 aged 13. DELIPIA OTTILEY KOOK

Source: (Death)
Title: Victorian DeathsSource Medium: Book

Data:
Text: 1937 # 3002

Emigration: Place: Died aged about 14 years of appendicitus

Religion: Place: St Kilda, Victoria, Australia

Note: Gladys was a good water painter and spent considerable time learning piano in her younger years. An excellent seamstress.

Her marriage was unhappy due to her husband's poor treatment of her and the twins.

Also hold a copy of Gladys' will.

Athalie Jacobs stated in 2007 that: Gladys had a difficult life. At age 12 she suffered from an ear problem resulting in major impairment to her hearing in both ears. At age 20 she was operated on for goiter resulting in an incision half way around her neck (a major operation in 1909). She did not marry until she was 33 and suffered seriously from a lack of self worth.

Gladys was something of a social snob (probably because her father and mother were - Ada was an academic snob and Jacob Peter came from a well-to-do family in Europe). As a result she encouraged Moya and Athalie to mix socially with the "right" people.

Gladys was married at 33 and she already owned the property at 3 Woodlyn Ave. Hyde Park where they lived for the rest of their married life. She was amazing with money - eventually being able to put both her daughers through the very best secretarial college in Adelaide and travelling to the US to visit Moya.

Source: (Burial)
Title: Newspaper ArticleSource Medium: Newspaper
Source Quality: Low

Source: (Death)
Author: New South Wales, Birth, Death and Marriage Registrar
Title: NSW Probate IndexSource Medium: Book
Source Quality: High

Page: 1977 #850221

Source: (Death)
Author: New South Wales, Birth, Death and Marriage Registrar
Title: NSW DeathsSource Medium: Book
Source Quality: High

Page: 1977 #17446
Data:
Text: Copy held

Education: Place: Attended The Mrs Tucker School

Occupation: Place: Dressmaker.

Address: 3 Woodlyn Ave / Hyde Park, SA / Australia

Religion: Place: Cremated, buried at Northern Suburbs Crematorium, NSW.

Cause: Cerebral Artery Thrombosis, Artherosclerosis

Note: Served in World War I, Regimental #971,Private, A.C. Sig C (Armoured Corps, C Company, Signals) period 8/24/1915 - 5/16/1919 - status Returned to Australia. (Source - Australian AIF records of all soldiers sent overseas in WWI)

Thor reputedly suffered bad gassing during the war and suffered permanent physical damage as a result.

Thor's military records are on file.
-------------------------------------------------------------------------------------------------------------------------------
State Library of Victoria

Accession number(s): MS 9642
Author: Kook, Thorvald Emil Lear.
Title: Photographs and newspapers, [manuscript].
Date(s): 1915-1970.
Extent: 1.0 cm.
Contents/Summary: Comprises three portraits of Kook, 1915, 25 July 1917, and ca. 1970. He is dressed as a soldier in the 1915 and 1917 photos. The 1917 photograph was taken in France. Also, copy of the "Anzac Bulletin", 24 May 1918, and copy of "The South Australian Worker", 17 April 1931.
Subject(s): Kook, Thorvald Emil Lear
Australia. Army. Battalion, 43rd.
Soldiers--Archives.--South Australia
World War, 1914-1918.
Danes--Australia.
Newspapers.
Photographs.

Access/Copyright: Available for reference.
Notes: Printed and photographs.
Biographical/Historical note(s): Thorvald Emil Lear Kook (no. 971) enlisted on 24 August 1915, served as a Private with the 43rd Battalion, and was repatriated to Australia on 16 May 1919. Born in 1896, he was a telegraphist before he enlisted. He came from Mt. Gambier, S. A. and his father was Danish. He died in Vic. in 1977.
Associated material(s): State Library of Victoria. Australian Manuscripts Collection. MS 9895 Related material;
-------------------------------------------------------------------------------
World War One diary,

Accession number(s): MS 9895
Author: Kook, Thorvald Emil Lear
Title: World War One diary, [manuscript].
Date(s): 1917-1918.
Extent: 1 v. (0.5 cm.)
Contents/Summary: Diary, 5 June 1917-27 March 1918, containing brief entries describing life on the Western Front, and includes poems by Kook.
Subject(s): Kook, Thorvald Emil Lear
Australia. Army. Battalion, 43rd.
World War, 1914-1918--Personal narratives, Australian.
Danes--Australia
Poems.
Diaries.

Access/Copyright: Available for reference.
Notes: Original ms.
Biographical/Historical note(s): Thorvald Emil Lear Kook (no. 971) enlisted on 24 August 1915, served as a Private with the 43rd Battalion, and was repatriated to Australia on 16 May 1919. Born in 1896, he was a telegraphist before he enlisted. He came from Mt. Gambier, S. A. and his father was Danish. He died in Vic. in 1977.
Associated material(s): State Library of Victoria. Australian Manuscripts Collection. MS 9642 Related material;

--------------------------------------------------------------------------------

Location: Australian Manuscripts Collection - Ask at La Trobe Desk
Call number: MSB 119A
Number of items: 1

--------------------------------------------------------------------------------

Location: Australian Manuscripts Collection - Ask at La Trobe Desk
Call number: MSB 66
Number of items: 1
--------------------------------------------------------------------------------
Thorwald Emil Lear KOOK

Regimental number 971
Religion Church of England
Occupation Telegraphist
Address Morgan, South Australia
Marital status Single
Age at embarkation 19
Next of kin Mother, Mrs Adelaide Theresa Kook, 68 Thomas Street, Hyde Park, South Australia
Enlistment Date 24 August 1915
Rank on enlistment Private
Unit name 43rd Infantry Battalion, Headquarters
Rank from Nominal Roll Private
Unit from Nominal Roll Australian Corps Signal Company
Fate Returned to Australia 16 May 1919
______________________________________________________________________________
Copyright, AIF Database. May not be printed or reproduced without permission.
Thorwald Emil Lear KOOK
Regimental number 971
Religion Church of England
Occupation Telegraphist
Address Morgan, South Australia
Marital status Single
Age at embarkation 19
Next of kin Mother, Mrs Adelaide Theresa Kook, 68 Thomas Street, Hyde Park, South Australia
Enlistment date 24 August 1915
Rank on enlistment Private
Unit name 43rd Infantry Battalion, Headquarters
Rank from Nominal Roll Private
Unit from Nominal Roll Australian Corps Signal Company
Fate Returned to Australia 16 May 1919

Source: (Birth Field)
Footnote: Book 584, page 90
Book 584, page 90

Source: (Burial)
Title: Cemetery IndexSource Medium: Book

Page: http://www.necropolis.com.au/mainindex.htm
Data:
Text: St. Kilda KOOK THORVALD EMIL LEAR Burial 28/04/1977 80 Perpetuity

Occupation: Place: Post Office Worker

Religion: Place: St Kilda, Victoria, Australia

Source: (Name)
Author: Netherlands Govt. Registrar of Civil Records
Title: GenLias
Publication: Name: Dutch on-line searchable records;Source Medium: Electronic
Source Quality: High
On line data typically covers years 1811-1900Repository:

Name: http://www-lias.rad.archief.nl/genlias/ara/logon?cid=-1

Page: Utrecht/263/41/Linschoten/Marriage/21

Source: (Name)
Author: Netherlands Govt. Registrar of Civil Records
Title: GenLias
Publication: Name: Dutch on-line searchable records;Source Medium: Electronic
Source Quality: High
On line data typically covers years 1811-1900Repository:

Name: http://www-lias.rad.archief.nl/genlias/ara/logon?cid=-1

Page: Utrecht/281/858/Kamerik/Marriage/8

Source: (Birth)
Author: Netherlands Govt. Registrar of Civil Records
Title: GenLias
Publication: Name: Dutch on-line searchable records;Source Medium: Electronic
Source Quality: High
On line data typically covers years 1811-1900Repository:

Name: http://www-lias.rad.archief.nl/genlias/ara/logon?cid=-1

Page: Utrecht/281/858/Kamerik/Marriage/8

Note: Christopher Grant La Farge

1862-1938

Birth: January 5, 1862 in Rhode Island, United States
Death: October 11, 1938
Occupation: Architect
Source: Dictionary of American Biography, Supplements 1-2: To 1940. American Council of Learned Societies, 1944-1958.

TABLE OF CONTENTS
Biographical Essay
Further Readings
Source Citation

BIOGRAPHICAL ESSAY
La Farge, Christopher Grant (Jan. 5, 1862 - Oct. 11, 1938), architect, known as C. Grant La Farge, was born in Newport, R. I., the oldest of nine children (four boys and five girls) of John La Farge [q.v.], the distinguished painter and designer of stained glass, and Margaret Mason (Perry) La Farge. Two of his brothers also attained distinction, John as a Jesuit priest and man of letters, Bancel as a painter and, following his father's interest, as a designer of stained glass windows, some of them for his brother Grant's churches. Reared in an artistic household, young Grant La Farge began to draw at an early age. At fourteen, after attending Newport public schools, he was already helping his father by making tracings and putting on colors. His technical turn of mind, however, and a trip to Spain, where he was much impressed by the cathedrals, persuaded him to become an architect rather than an artist, and he began his studies toward that end in 1880 with a year at the Massachusetts Institute of Technology.

In 1886, after two years as an architectural assistant to his father, La Farge formed a partnership with an M.I.T. classmate, George Lewis Heins, with whom, until the latter's death in 1907, he executed most of his best-known commissions. Foremost among these were the initial designs for the Cathedral of St. John the Divine in New York City, but there were others, among them the church and parsonage of the Fourth Presbyterian Church in New York; St. Matthew's, Washington; Church of the Blessed Sacrament, Providence; the Roman Catholic Chapel, West Point; Houghton Memorial Chapel at Wellesley College; and St. Patrick's Church, Philadelphia. Among the firm's secular works were the original subway stations for New York's Interborough Rapid Transit system (1900-04), the new United States Naval Hospital, Brooklyn, and the buildings for the New York Zoological Park, of which La Farge was one of the founders.

The great Cathedral of St. John the Divine was begun in 1892. Only the apse, however, was built according to the original Romanesque designs of Heins & La Farge. After the death of Heins, certain of the cathedral authorities, who had been urging a return to the more traditional Gothic, declared the original contract at an end and turned the commission over to the architectural firm of Cram, Goodhue & Ferguson, who prepared new designs in that style. The loss of the commission was a deep and disheartening blow to La Farge and largely cut short his creative career.

In later years La Farge was a member of several architectural partnerships, including La Farge & Morris (1910-15) and La Farge & Son (beginning in 1931). A close personal friend of Theodore Roosevelt, for whose Long Island home, Sagamore Hill, he designed a library (1905), he shared Roosevelt's interests in conservation and the West. La Farge was deeply concerned with the welfare of the architectural profession and served as a fellow, director, and vice-president of the American Institute of Architects, trustee and secretary of the American Academy in Rome, and chairman of the advisory committees of the schools of architecture at Columbia University and at the Massachusetts Institute of Technology.

In 1895 La Farge married Florence Bayard Lockwood, a niece of Senator Thomas F. Bayard [q.v.]. They had twin daughters--Florence, who died in infancy, and Margaret Grant--and three sons: Christopher Grant, who became an architect and later a novelist; Francis Willing; and Oliver, anthropologist and author. La Farge died at his home in Saunderstown, R. I., after suffering from heart disease for two years. He was buried in St. Columban's Cemetery at Newport, in the La Farge family plot.
-- Eugene Raskin

FURTHER READINGS
[C. G. La Farge, "Catholic Church Architecture," Brickbuilder, May 1906; article about La Farge in ibid., Oct. 1915; Architectural Forum, Jan. 1939; H. F. and E. R. Withey, Biog. Dict. of Am. Architects (Deceased) (1956); Nat. Cyc. Am. Biog., XXVIII, 54-55; Who Was Who in America, vol. I (1942); N. Y. Times, N. Y. Herald Tribune, Oct. 12, 1938. The Avery Lib., Columbia Univ., has certain MS. material relating to La Farge and the Cathedral of St. John the Divine.]

SOURCE CITATION
"Christopher Grant La Farge."Dictionary of American Biography, Supplements 1-2: To 1940. American Council of Learned Societies, 1944-1958.
Reproduced in Biography Resource Center. Farmington Hills, Mich.: The Gale Group. 2004. http://galenet.galegroup.com/servlet/BioRC

Document Number:

Note: Christopher Grant La Farge

1897-1956

Birth: December 10, 1897 in New York, United States
Death: January 5, 1956
Occupation: Architect, Novelist, Poet
Source: Dictionary of American Biography, Supplement 6: 1956-1960. American Council of Learned Societies, 1980.

TABLE OF CONTENTS
Biographical Essay
Further Readings
Source Citation

BIOGRAPHICAL ESSAY
La Farge, Christopher Grant (Dec. 10, 1897 - Jan. 5, 1956), novelist, poet, and architect, was born in New York City, the son of the architect C. Grant La Farge and Florence Bayard Lockwood. His grandfather was the painter and glass designer John La Farge, and his younger brother Oliver was the novelist and student of American Indians. Christopher grew up on the family farm near Saunderstown, R.I. Secure in its New England tradition, it was a remarkably energetic and stimulating family. Christopher attended St. Bernard's School in New York and Groton (Mass.) School and entered Harvard in 1915. His studies were mainly literary and architectural. He helped edit the Advocate and Monthly and wrote for amateur theatricals. He took reserve officer's training at Plattsburg, N.Y., in 1916 and again in 1918, when he was commissioned second lieutenant. After four months he was discharged (December 1918). He graduated from Harvard with the B.A. in 1920 and took a B.S. from the School of Architecture at the University of Pennsylvania in 1923. In June of that year he married Louisa Ruth Hoar, daughter of Congressman Rockwood Hoar of Massachusetts. They had two children.

La Farge began his career as a designer with the noted New York City firm of McKim, Mead, and White, where he remained from 1924 to 1931. He became a skillful watercolorist, exhibiting his work in New York at the Ferargil Gallery in 1930 and the Wildenstein Gallery in 1931. After his younger brother Oliver became famous for his studies of the Navajo Indians and his novel Laughing Boy (1929), Christopher and his father helped to conceive and set up exhibits at the Exposition of Indian Tribal Arts at the Brooklyn Museum in 1931. That same year he joined his father at La Farge, Warren, and Clark, but the Great Depression soon deprived the firm (now La Farge and Son) of business, and his career as an architect was over.

He decided to become a writer. In 1932 he packed up his family and went to Kent, England, where he began Hoxie Sells His Acres (1934), a novel in verse about a man who upsets his community by planning to cut up his Rhode Island farmland and sell it to summer people for building lots. La Farge explained that his purpose was to "make this a comprehensible form as interesting as the novel in prose and more moving." He was quickly recognized as an adept chronicler of his region. He took up residences again in Saunderstown and New York in 1934 and began contributing stories and poems to such magazines as the American, Harper's, and the Saturday Review of Literature. His second novel in verse, Each to the Other (1939), concerned the marital problems of a father and son. Reviewer William Rose Benét, a friend, observed that "he wrote it out of the compulsion of his own life. . . . In the fundamentals, it is his own story." It was awarded the Benson Silver medal by the Royal Society of Literature, London. In 1940 he issued a volume of verse, Poems and Portraits, which reviewers found slight. A group of stories about one family published serially in the New Yorker became The Wilsons (1941). His first work of conventional prose fiction, it was described as a "wicked and graceful . . . study of American snobbism."

During World War II, La Farge was active on the War Writers' Board. In 1943 Harper's magazine sent him to the South Pacific as a war correspondent. "His intention," wrote Newsweek, "was to report the war not with named and dated facts, but deliberately in the form of fiction." The ten stories of this series became East by Southwest (1944). His play, Mesa Verde (1945), was conceived and written as an opera libretto. In it La Farge faithfully reproduces Navajo speech and customs, acknowledging a debt "to my brother Oliver, who first in American literature succeeded in writing of the Indian as a human being instead of an inaccurate symbol." La Farge's wife died in 1945, and on Sept. 2, 1946, he married Violet Amory Loomis, daughter of Boston stockbroker John Austin Amory. They had one son.

La Farge's most successful work was The Sudden Guest (1946), another novel in verse. A Book-of-the-Month-Club selection, it sold more than half a million copies. It concerned another Rhode Island landowner, a selfish old woman who recalled the hurricane of 1938 during a similar one in 1944. The "sudden guest" of the title, borrowed from a line in Pushkin, is her awakened conscience. La Farge published seventeen of his best short stories, with prefatory comments, in All Sorts and Kinds (1949). His last verse novel, Beauty for Ashes (1953), dramatized the effect of a beautiful nineteen-year-old girl on the lives of three men in rural Rhode Island: an architect, a novelist, and a young navy veteran down from Harvard. It was more successful as a narrative than a poem. One reviewer pointed out that its male characters "were but different ages and aspects of the same personality." That personality was essentially the author's own.

La Farge's work was always autobiographical, but that was not a flaw. Widely admired for his careful craftsmanship and convincing dialogue, frequently criticized for conventionality and lack of a dramatic creative energy, La Farge remains a valuable and interesting writer. He was a subtle analyst of the mores of his Rhode Island world, and from first to last his moral theme remained the responsibility of the single individual to his community. He died in Providence.

FURTHER READINGS
[Unreprinted articles, poems, and stories published in England, in little magazines, and in alumni journals are collected in the Harvard University Library. Significant manuscripts and letters are held by the American Academy and Institute of Arts and Letters, New York Public Library, University of Buffalo, University of Chicago, and Yale University. For the family history, see Oliver La Farge's reminiscences, Raw Material (1945). More information may be found in the obituary in the New York Times, Jan. 6, 1956. For brief criticism and interpretation, see Saturday Review of Literature, Sept. 13, 1941; John Peale Bishop, Collected Essays (1948); Newsweek, July 24, 1944; and New York Herald Tribune Book Review, Oct. 11, 1953.]

SOURCE CITATION
"Christopher Grant La Farge."Dictionary of American Biography, Supplement 6: 1956-1960. American Council of Learned Societies, 1980.
Reproduced in Biography Resource Center. Farmington Hills, Mich.: The Gale Group. 2004. http://galenet.galegroup.com/servlet/BioRC

Note: John La Farge

Birth: March 31, 1835 in New York, United States
Death: November 14, 1910
Occupation: Author, Craftsman, Painter
Source: Dictionary of American Biography Base Set. American Council of Learned Societies, 1928-1936.

TABLE OF CONTENTS
Biographical Essay
Further Readings
Source Citation

BIOGRAPHICAL ESSAY
La Farge, John (Mar. 31, 1835 - Nov. 14, 1910), painter, worker in stained glass, and writer, though intensely an American, was all his life proud of his French blood. His father, Jean-Frédéric de la Farge, born in 1786 at Bussac, Charente Inférieure, grew up during the transition from the old régime to the new and at an early age embraced an adventurous career. Bred in the Napoleonic wars, he had both military and naval experiences. In December 1801, he embarked as an ensign on the expedition under General Leclerc to apprehend Toussaint l'Ouverture in Santo Domingo. A wound received during the passage of his ship through the British blockade seems only to have increased his love of action. He gave up his post as ensign for a lieutenancy in the army, was captured by Guerrier, and narrowly escaped massacre when he finally contrived to leave the island and board a ship that took him to Philadelphia. There his martial proclivities fell from him. Starting without capital, he developed such effective business traits that he succeeded in shipping, banking, and real-estate ventures, aided by connections with France. He forthwith dropped his French style, including the particle, and became John La Farge. Removing to New York, he established a hotel and engaged in numerous other enterprises. He acquired properties in Louisiana and in Jefferson and Lewis counties in New York. The village not far from Watertown, on the edge of which he built a mansion, came ultimately to be known as Lafargeville. This energetic man of affairs married a Frenchwoman, Louisa, the daughter of M. Binsse de Saint-Victor. They were living in New York, at No. 40 Beach St., when the future painter was born.

John La Farge came into a suave, gracious environment, in a neighborhood about midway between the Battery and Washington Square. With but few brief periods farther north, he dwelt always within easy reach of Washington Square--in Clinton Place, Washington Place, Ninth Street, Tenth Street, lower Fifth Avenue. All his life he maintained his studios in the famous building at 51 West Tenth St. There was always something about him, in his reticence, his dignity, his whole air of breeding, reminiscent of "Old Washington Square." But his upbringing was essentially French. He was steeped in the French language, in French manners and ways of family life, in the French care for religion and for the things of the mind. An English governess drilled him in the language and looked closely to his behavior. "I think I was a good boy," he once said, and "very innocent" (Cortissoz, p. 54). Also he "supposed" he went to school. At six he was reading Robinson Crusoe, and not much later pretty nearly everything from Homer to Voltaire. His education as the years went on was received from various sources--the grammar school of Columbia, St. John's College (later part of Fordham University), and Mount St. Mary's College at Emmitsburg, Md., where he was graduated in 1853.

A sheaf of letters that passed between him and his father when he was first at St. Mary's throws light upon his character and aptitudes, and upon the paternal understanding which fostered both. His father adjured the boy of fifteen to keep guard over his three younger brothers, to "give them good counsel and give it to them in such manner that they do not think you act as master .... Read them when you can the fables of Fontaine. Take the moral in it which is excellent in all the courses of life, and show them the application" ("Schoolboy Letters," post, p. 76). Greatly pleased with his son's progress, the father wrote, late in 1850: "I am persuaded that you advance always because you understand or seek to understand everything you read--that you have an excellent memory and all the good judgment that a boy of your age can have" (Ibid., p. 93). Some idea of what that phrase, "everything you read," involved may be gathered from a bald enumeration of the authors La Farge demanded of his father--Cicero, Catullus, Herodotus, Homer, Landor, Coleridge, Dryden, Goldsmith, and even twelve numbers of the Encyclopédie Iconographique. The letters chiefly reveal a devouring curiosity, foreshadowing the man who was, in his way, to take all knowledge for his province. Meanwhile, what of the arts? In his own words, "the influences which I felt as a little boy were those of the paintings and works of art that surrounded me at home .... There were on the walls a sea piece by Vernet; some imitation historical story, that of Daniel, charming, however, in color, by Lemoyne; ... a large painting of Noah and his sons, ascribed to Sebastiano del Piombo; ... many Dutch paintings of various authors and excellence, among them a beautiful Solomon Ruysdael .... All this and the very furniture and hangings of the Empire parlor did not belong to the Victorian epoch in which I was growing up. It so happened that my first teachings were those of the eighteenth century and my training has covered a century and a half" (Cortissoz, pp. 63-64).

As early as six he had "a mere boy's wish" to learn how to draw and paint and he had lessons from his maternal grandfather, Binsse de Saint-Victor, who appears to have been a good miniaturist. Later an English water colorist also gave him lessons. The reading of Ruskin withdrew him for a time from the atmosphere of the eighteenth century, interesting him in medievalism instead, but this mood passed. Art attracted him but not yet as a vocation. Insofar as any specific bent declared itself on the termination of his college days it was intellectual rather than esthetic. The mood in which he faced the future is reflected in this autobiographical passage: "In the early part of 1856, ... I went to Europe, having already passed some little while in a lawyer's office--enough to make me doubt whether my calling lay in that direction, ... Europe was to be a manner of amusement, and, for me, of taking up also some family connections" (Ibid., p. 73). He sailed in the celebrated side-wheeler, the Fulton, and, arriving in Paris, plunged into experiences which in the long run were to determine his career.

His sponsors, of course, were his relatives, the Saint-Victors. He saw much of the famous Paul de Saint-Victor, a man of letters occupying a place of high importance in Paris, and was often in the house of his grand-uncle, Paul's father. All about him was the stimulating world of Gautier, Victor Hugo, and Baudelaire. Romanticism was at its apogee but if La Farge needed a corrective for its redundancies he could always find it in the eighteenth-century gait of grand-uncle Saint-Victor. He visited the academic Géröme, then a promising young artist, and at the house of Chassériau he found raging all the time the war between things academic and things romantic. "At once one was asked what one held in regard to M. Ingres and M. Delacroix" (Ibid., p. 85). Presently, as an onlooker upon the mêlée, he had to make something like a decision for himself. His father advised him to study painting, "of which I was rather fond," as La Farge mildly put it, and American friends in Paris helped him to make choice of a master. They were "very much inclined" to Couture, so to Couture he went. His mode of establishing himself in the studio was characteristic. "I explained to him what I wished, which was to get a practical knowledge of painting, as practiced by him. I also made him understand that I was doing this as a study of art in general and had no intention of becoming a painter. This he at first thought preposterous and was probably somewhat astonished at the youngster who laid out this programme in such an unusual manner. But I argued with him, and won his good graces, so that the next day in the early morning I entered the studio and took my place with the others. I was given, in the usual manner, by the student in control, a seat and place, paper, etc., and I began drawing from the model before me. There being no one to guide me, and feeling that the way the others drew was not mine, I went on my own way. That day or next came in the great man, who, instead of objecting to my work having so little in common with those following his system, was pleased to say, on the contrary, that mine was the only one that really gave the motion of the model" (Ibid., pp. 91-92).

In its suggestion of a certain thoughtful independence this points to La Farge's whole evolution as an artist. Even Couture's appreciative treatment was not enough to hold him. He was in the studio only about a fortnight, frequenting the drawings of the old masters in the Louvre instead, on Couture's advice, and then hunting them down in Munich and Dresden. His travels took him as far as Copenhagen, and there he made a careful study of Rembrandt's "Supper at Emmaus." In Belgium he developed a profound feeling for Rubens, tracking down practically every painting of his in the country, and after that thrilling experience he spent the autumn in England, where he saw the great Manchester exhibition of 1857, admiring the Rokeby "Venus" of Velasquez and finding much interest in the juxtaposition of that master with Titian and Rubens. In England he was also for a time in the company of some of the Pre-Raphaelites. Returning to America in 1858, he went back to reading law.

He had not yet made up his mind. But he had architects and painters among his friends, he dabbled with brush and pencil, and in another year he was studying at Newport with one of his friend Couture's pupils, William Hunt. In 1860 he was married to Margaret Mason Perry, by whom he had nine children. Though for a moment the Civil War threatened to dislocate all plans, the fates willed otherwise. La Farge wanted to enlist but his shortsightedness unfitted him for the profession of arms and he was obliged, willy-nilly, to stay at home. There his vision answered for the pursuit of experimental activities, half artistic, half scientific, in which a newfound friend, John Bancroft, proved enormously stimulating and helpful. "He was a student," wrote La Farge, "almost too much of one, and we plunged into the great questions of light and color which were beginning to be laid out by the scientific men and which later the painters were to take up. This was the cause of a great deal of work but of less painting, if I may say so, less picture-making, because of an almost incessant set of observations and comments and inquiries supplemented by actual work in painting. All that I have done since then has been modified by those few years of optical studies, and the last realistic painting which may have shown it is the 'Paradise Valley,' which belongs to '66-'67-'68." (Ibid., pp. 121-22).

Not only chronologically but also in other more important ways the "Paradise Valley" supplies a perfect point of departure for consideration of La Farge's development as an artist. It was energized primarily by the operation of that mysterious force which is called genius but it was conditioned also by a factor not always noticeable among artists, a steady play of mind. The foregoing passage is prophetic. The optical studies to which he refers were fortified by others in many fields. Side by side with his investigations into science went research into nature. The "Paradise Valley" was in advance of its time. French impressionism was yet to make its impact upon American art but in this landscape La Farge, animated by his own inquisitiveness, reveals his own discoveries and anticipates the formula of Monet. "I wished," he said, "to apply principles of light and color of which I had learned a little. I wished my studies of nature to indicate something of this, to be free from recipes, as far as possible, and to indicate very carefully in every part, the exact time of day and circumstance of light" (Ibid., p. 112). He delighted in his association with Hunt and appreciated the latter's idolization of Millet but he adhered to his already ingrained habit of thinking his own way through the production of a picture. At the same time he was slow to yield to the purely creative impulses half unconsciously stirring within him and his later memories of that formative period were those of a young experimentalist much preoccupied with the ponderable problems of a craft. Referring to certain of his early landscapes, he dwells upon the effort that he made in them to achieve sheer accuracy: "They are studies out of the window to give the effect and appearance of looking out of the window and our not being in the same light as the landscape. And also to indicate very exactly the time of day and the exact condition of the light in the sky .... I aimed at making a realistic study of painting, keeping to myself the designs and attempts, serious or slight, which might have a meaning more than that of a strict copy from nature. I painted flowers to get the relation between the softness and brittleness of the flowers and the hardness of the bowl or whatever it might be in which the flowers might be placed. Instead of arranging my subject, which is the usual studio way, I had it placed for me by chance, with any background and any light, leaving, for instance, the choice of flowers and vase to the servant girl or groom or any one. Or else I copied the corner of the breakfast table as it happened to be" (Ibid., p. 116). In other words, the technician was finding himself, under self-imposed discipline.

From all this cogitation and experimentation there emerged a painter of equal proficiency and distinction, the kind of painter whose labors have a strange inner support, from which they draw most of their validity. Logical ratiocination--incurably characteristic of him--might be at the bottom of his work. He might say, as a thinker, recurring to the "Paradise Valley," that his program was "to paint from nature a portrait," but he went on to explain that it was also his purpose to "make distinctly a work of art which should remain as a type of the sort of subject I undertook, a subject both novel and absolutely 'everydayish' " (Ibid., p. 129). Being what he was now proving himself to be, an instinctive artist, in his paintings he subordinated the "everydayish" element to his originality. What made him ultimately a commanding figure in the American school was the fact that he saw his subjects beautifully as well as veraciously, that he had breadth of vision as well as control over the minute, passing effect, that he was a fine colorist and draftsman, and a skillful man with his hands. He was also versatile and industrious. His career, once inaugurated, was one of prodigious activities. At the outset he painted landscapes, flower subjects, and a few figure subjects. Incidentally he dipped into illustration. When the Riverside Magazine was started by Ticknor and Fields he made numerous drawings for it, taking his motives from Browning and other poets. In these he showed the quality of inventive imagination which was ever to stand him in good stead. He liked to tell of a piquant incident flowing from one of his early illustrations, "The Wolf Charmer." Long afterward he met in Japan a court painter, Hung Ai, and that luminary immediately exclaimed: "Oh, you are the wolf man!" (Ibid., p. 143). The old engraving had lodged itself in his mind for years. From the "stroke" Hung Ai had guessed the truth, that La Farge had used a Japanese brush on the design.

La Farge went on painting easel pictures for some time but even while landscape thus occupied him he had "become tempted and then drawn to work in the lines of architecture" (Ibid., p. 156); and, in 1876, he was invited by H. H. Richardson, who was then carrying Trinity Church in Boston to completion, to decorate the interior. There was then practically no such thing as mural decoration in the United States. The only pioneer in the field was La Farge's friend William Hunt, painting his charming designs in the Capitol at Albany. La Farge, however, so richly fertilized by his European travels and so apt in the logic of art, fearlessly tackled the huge walls in Boston, improvised a staff of helpers, and, working amid the crudest of conditions and under much pressure as to time, left the church astonishingly unified in a scheme of great warmth and dignity. It was the forerunner of divers important commissions, of panels in the Church of the Incarnation in New York, of others in St. Thomas's in the same city (which were destined to be destroyed by fire), of the lovely "Music" and "Drama" for the music room in the residence of Whitelaw Reid in New York, and many other notable achievements, "The Ascension," in the Church of the Ascension, New York, looming above all the rest.

This great painting had a curious origin. Dr. Donald, the rector, first consulted La Farge with a view to placing a stained-glass window in the altar wall. Then the painter had the idea of getting Augustus Saint-Gaudens to fill the space with a big bas-relief. Neither of these plans prospered and when Stanford White undertook the architectural renovation of the church the upshot of all their deliberations on the subject was La Farge's execution of his vast picture. At the moment of signing the contract, in 1886, he had agreed to go with Henry Adams to Japan and there, with characteristic freedom from convention, he found his background. "I had a vague belief," he said, "that I might find there certain conditions of line in the mountains which might help me. Of course the Judean mountains were entirely out of the question, all the more that they implied a given place. I kept all this in mind and on one given day I saw before me a space of mountains and cloud and flat land which seemed to me to be what was needed. I gave up my other work and made thereupon a rapid but very careful study, so complete that the big picture is only a part of the amount of work put into the study of that afternoon" (Ibid., pp. 164-65). In other words, "The Ascension," indubitably the greatest mural painting of a religious subject produced anywhere in La Farge's time, is in essentials the result of a sudden burst of white-hot inspiration, a fact which might be inferred from the spiritual force and pure beauty vitalizing it in a well-knit, soundly structural design. He impressively adorned other walls, especially those of the supreme court room in the state Capitol of Minnesota, at St. Paul, where he illustrated in four great lunettes "The Moral and Divine Law," "The Relation of the Individual to the State," "The Recording of Precedents," and "The Adjustment of Conflicting Interests." The deep student of religion, philosophy, and statesmanship, as well as the authoritative artist, is apparent in these compositions. The figure of Moses on Mount Sinai, in the first of these lunettes, is especially eloquent of La Farge's command of the grand style.

All through his mural period La Farge was also much occupied with work in stained glass. It was due to his genius that one of the great crafts of the Middle Ages was in America revived and lifted to a high plane. When he exhibited one of his windows, the Watson Memorial, at the Paris Exposition of 1889, the insignia of the Legion of Honor was conferred upon him by the Government, and his fellow artists, assembled as a jury, added to a medal of the first class this expression of their admiration: "His work cannot be fully gauged here, where a single window represents a name the most celebrated and widely known in our Sister Republic. He is the great innovator, the inventor of opaline glass. He has created in all its details an art unknown before, an entirely new industry, and in a country without tradition he will begin one followed by thousands of pupils filled with the same respect for him that we have ourselves for our own masters. To share in this respect is the highest praise that we can give to this great artist" (Ibid., p. 184).

La Farge treasured this tribute as one of the greatest strokes of good fortune in his life--taking it, too, as in some sort a ratification of his French blood. The beginnings of his glass were promoted casually enough. He was rather at a loose end, painting pictures that did not sell any too rapidly. In despair of finding a satisfactory market in New York, he was considering a proposal from Durand-Ruel to exploit his work in Paris and London. An architectural friend commissioned him, just then, to design a window for Memorial Hall, at Harvard, and as contact with the Pre-Raphaelites in England had interested him in glass he agreed to go on with the project. When he had made the window he liked it so little that he promptly destroyed it. During a convalescence in bed the secret of success came to him. A colored glass container of tooth powder on his toilet table caught his eye at the moment when light was passing through it. His imagination leapt to the suggestion and shortly afterward, with a Luxemburg glassmaker in Brooklyn for an aid, he had developed the "opalescent glass" on which much of his fame was to rest. He produced thenceforth thousands of windows, not only for churches but for private houses, and at least one renowned design, the "Peacock Window," which might be described as glass created for its own sake, the embodiment of the very genius of an artistic medium. La Farge was a born colorist. This is made plain by his early paintings, by the later works commemorating his travels in Japan and amongst the islands of the South Seas, and by his mural decorations. Yet it may be said that in his glass as nowhere else La Farge the colorist comes definitively into his own, investing his beautiful designs, whether based on the figure or on purely decorative motives, with a kind of orchestral piercingness and power.

It was an inordinately busy life that he led. He drew and painted; he made his glass; he traveled not only to Europe but to the far places of the earth; he lectured and he wrote. All the time he was dogged by ill health. He suffered from a slight lameness, he had had lead poisoning, he knew all about the pains of neuritis, he was often obliged to take to his bed from exhaustion, yet even there he was active with pencil or brush. He was six feet tall, deep-chested, with long and slender hands and feet. His dark brown hair, only subdued with touches of gray in his last years, crowned a magnificent head. His green-gray eyes were set in deep sockets; his nose was long, straight, and aristocratic; his skin was fine-textured and, while fairly warm in tint, had a certain parchment-like quality. A shrewd observer found him in his youth "picturesque." He was that always but the term requires a little qualification. Clothed usually in black and consistently fastidious in all his wear and ways, ceremonious without stiffness, he somewhat fused the traits of the artist with those of the man of the world. He had something of the aloofness, the mystery, characteristic of his great French contemporary, Puvis de Chavannes, and could be, when he chose, extremely difficult to approach. Also, when he chose, he could be most humanly accessible, sympathetic with young people, knowing how to laugh and to chuckle, delighting in a good limerick, and foregathering with a friend over a cigar with all the humor in the world. With all his scholarship, he had an extraordinary imagination and an almost mystical feeling for recondite ideas. In his talk he was as distinguished, as creative, as in his art, having--as in all things--a way of his own, very deliberate, elaborately parenthetical, and altogether fascinating.

When with Henry Adams he visited Japan and later went to the South Seas, he studied life with the directness of the explorer and with the more complex passion of the philosopher. An Artist's Letters from Japan (1897), and Reminiscences of the South Seas (1912), with illustrations from his own paintings and drawings, are a record not only of what he saw but also of the myriad thoughts evoked by his exotic surroundings. Writing of the siva dance, in the latter book, he says: "If I do not refrain and cut short at once, I shall become entangled in trying to give you word pictures that are utterly inadequate. I feel, too, that the drawings and paintings I have made are so stupid from their freezing into attitudes the beauties that are made of sequence" (Reminiscences, p. 119). As a matter of fact, his travel books, like his travel pictures, remain among the most typical things he did in color and in eloquence. Somewhere in his strange cosmos was the instinct of the poet; he had, indeed, a great literary gift. His earliest published writing was "An Essay on Japanese Art," prepared to accompany Raphael Pumpelly's Across America and Asia (1870). In 1893 appeared his pamphlet, The American Art of Glass. With A. F. Jaccaci, he edited Noteworthy Paintings in American Collections (1904), to which he contributed an exhaustive survey of Mrs. Gardner's collection at Fenway Court. Lectures that he gave at the Metropolitan Museum in New York in 1893 were later brought together in a volume entitled Considerations on Painting (1895). Those on the Barbizon school with which he inaugurated the Scammon Course at the Art Institute of Chicago were afterwards published as The Higher Life in Art (1908). In his Great Masters (1903) he recorded his critical interpretations of Michelangelo, Raphael, Rembrandt, Rubens, Velasquez, Dürer, and Hokusai. One Hundred Masterpieces of Painting (1912) has specifically to do not only with the giants of the art but also with the subjects that they treated. He writes of allegories, of portraits, of decorations. In the preface, written as the end of his life was drawing near, he said: "The contemplation of art is a form of study of the history of man and a very certain one. Its records are absolutely disinterested from any attempt at proving anything. ... We have before us (in works of art) the mirror of life at a given moment .... I have chosen masterpieces or beautiful examples, not only because they are beautiful, which in itself is all sufficient, but because they escape, in that way, the touch of the bad taste of fashion." In all his writings, down to the very last, The Gospel Story in Art (1913), which was prepared for the press after his death in Providence, R. I., by his old friend Mary Cadwalader Jones, his mind was set on the eternal verities. In these writings he is careful of facts, faithful to history, a learned expert, and, above all things, the reverent student of truth and beauty.

La Farge was unique in the Protean nature of his genius and in the operation of its multifarious activities in a peculiarly rarefied atmosphere. He had a kind of Leonardesque wisdom, an intellectuality which gave balance to everything he did and encrusted it with rich, subtle implications. His sensibility and his depth were matched by the delicate French precision with which he defined a thought in words or in the language of art. "In conversation La Farge's mind was opaline, with infinite shades and refractions of light, and with color toned down to the finest gradations" (The Education of Henry Adams, 1918, p. 371). He worked in paint or in glass, so far as his refractory mediums permitted, very much as he talked, and so he used a pen. He could be very simple and intimate, both in his early and late periods, and he could paint in the grand style when the theme called for it. In all his moods he painted with a certain authority. "The Ascension" and the "Peacock Window," two totally different conceptions, are alike in their demonstration of his command over mass and over nuance. He came indeed, in some quarters, to be regarded before he died as an old master born out of his time.

This was the feeling and the judgment of many of his contemporaries, in and out of his profession. His fellow artists held him in honor and valued his opinion. He had a devoted following amongst collectors. The adverse criticism that was occasionally directed against his work was never sufficient in point or in volume to lessen the prestige which gave him, finally, a sort of Olympian relation to his coevals as well as to his juniors. On what, specifically, is to be based any surmise as to the endurance of his high repute? In his earlier period he painted landscapes of great distinction but they do not place him in the category of landscape painters as Innes, say, is placed there. They are vitalized and beautiful but they are not numerous enough, he did not "follow them up" enough, for them to give him outstanding rank in their field. His flower subjects are so extraordinarily fine that they are always likely to retain a salience of their own. But neither the flower subjects nor the smaller figure pieces which he painted from time to time will give him his distinctive place. That he will probably owe to his stained glass and to his mural painting. He was the first American master of the fusion of decorative art with architecture and he remains the greatest, a colorist and a designer who developed remarkable powers as a collaborator with the builder. Both as a designer and a colorist he could make the easel picture a memorable thing. In the continuation of a wall, whether in glass or on canvas, he reached his highest level. To this more or less recondite claim upon the attention of the student of American art, giving new life to old tradition, he added imagination, extraordinary play of mind, and grace of style, attributes stamped with originality and distinction.
-- Royal Cortissoz

FURTHER READINGS
[The "Schoolboy Letters

Source: (Individual)
Author: US Government
Title: US Census 1880
Publication: Name: Index published by Church of Jesus Christ Latter Day Saints;Source Medium: Electronic
Source Quality: mediumRepository:

Name: www.familysearch.com

Occupation: Date: 1880
Place: Artist

Note: Oliver Hazard Perry La Farge

1901-1963

Birth: December 19, 1901 in New York, United States
Death: August 2, 1963
Occupation: Anthropologist, Author
Source: Dictionary of American Biography, Supplement 7: 1961-1965. American Council of Learned Societies, 1981.

TABLE OF CONTENTS
Biographical Essay
Further Readings
Source Citation

BIOGRAPHICAL ESSAY
La Farge, Oliver Hazard Perry (Dec. 19, 1901 - Aug. 2, 1963), author and anthropologist, was born in New York City, the son of Christopher Grant La Farge and Florence Bayard Lockwood. La Farge spent his childhood in Rhode Island. His architect father inspired an interest in the arts, and as a woodsman he initiated La Farge's lifelong interest in American Indians.

La Farge graduated from Groton in 1920, then entered Harvard, where he edited the Advocate, worked on the Lampoon, and rowed on the varsity crew for two years. He also became interested in anthropology, and after graduating in 1924 he participated in his third expedition for Harvard to Navajo country. That fall he began graduate work at Harvard, but left in 1925 to accept a position as assistant in ethnology at Tulane University.

While working as a linguist and ethnologist, La Farge wrote fiction. His first commercial short story appeared in The Dial in 1927, the year that he and Frans Blom published Tribes and Temples, an ethnology of Guatemalan Indians. He began Laughing Boy, the novel that was to make him famous, at this time. La Farge returned to Harvard in 1929 to complete a master's degree in anthropology, then accepted a research associateship at the University of Pennsylvania museum (1929-1931).

Laughing Boy, which appeared in 1929, was awarded a Pulitzer Prize, and his short story "Haunted Ground" won the O. Henry Memorial Prize in 1930. La Farge's career as an author was firmly established. He settled in New York City to follow an expensive, leisurely life that his autobiography records with regret. In 1931, La Farge completed his second novel, Sparks Fly Upward, a story of romance and revolution set in Central America. It marks a turn toward a more liberal outlook coinciding with his becoming a director of the Eastern Association on Indian Affairs in 1930.

Continuing his ethnological work as a research associate in anthropology at Columbia University (1931-1933), La Farge led a Columbia expedition to Guatemala in 1932. His research centered on the Mayan calendar and its associated ritual. Interest in the practical politics of Indian affairs balanced this scholarly pursuit. La Farge became president of the Eastern Association on Indian Affairs (1933-1937), increased its membership, and changed its name to the National Association on Indian Affairs. After differences between it and the American Indian Defense Association were reconciled, the two merged into the Association on American Indian Affairs in 1937, with La Farge as president. Except for service in the army during World War II, he held this post until his death.

La Farge married Wanden E. Mathews on Sept. 28, 1929; they had two children. The marriage ended in divorce in 1937. During the 1930's, a period La Farge regarded as wasted, he published The Year Bearer's People (1931), an ethnology written with Douglas Byers; Long Pennant (1933), a novel about the War of 1812; and All the Young Men (1935), a collection of his short stories. In 1937 The Enemy Gods, a novel that La Farge liked more than Laughing Boy, appeared.

La Farge often visited the Southwest but retained a base in New York, where he worked on Indian affairs and taught writing at Columbia University (1936-1941). On Oct. 14, 1939, he married Consuelo Otille Cabeza de Baca; they had one son. During the next two years he compiled two influential books about the conditions of contemporary Indians: As Long as the Grass Shall Grow (1940) and The Changing Indian (1942). In 1942 La Farge joined the U.S. Army and was commissioned in its Air Transport Command. He served as its historian and wrote a popular history, The Eagle in the Egg (1949). Several short stories about his wartime experiences appeared in War Below Zero (1944), written with Bernt Balchen and Corey Ford. He was discharged with the rank of lieutenant colonel.

La Farge's autobiography, Raw Material, was published in 1945. In 1948 he resumed presidency of the Association on American Indian Affairs, sometimes working with the commissioner of Indian affairs and at other times strongly opposing his policies. He lived with his wife's family in Santa Fe, where he wrote a weekly column for the New Mexican. Selections from these newspaper columns were published in Santa Fe (1959) and The Man with the Calabash Pipe (1966). In 1951 La Farge wrote The White Shell Cross, a dance drama, following it with the juvenile books Cochise of Arizona (1953) and The Mother Ditch (1955). He also assembled A Pictorial History of the American Indian (1956).

La Farge often differed sharply with the Truman administration over Indian affairs. His wife's family campaigned for Dwight D. Eisenhower in 1952, but within a year of Eisenhower's election La Farge engaged in a bitter struggle with his administration. Previously La Farge's concerns had been mostly for southwestern Indians; he now became the champion of the Indian cause nationwide. He opposed Eisenhower's "termination policy," an attempt to end all special rights of Indians. Advocacy of such rights made La Farge a protector of Indian education, health care, and certain legal rights. In joining Indians in their opposition to the policy, La Farge truly became the "Indian Man" (a childhood nickname).

A heavy smoker, La Farge experienced increasing difficulty in breathing. After several treatments he died in Albuquerque of a collapsed lung.
-- Ernest L. Schusky

FURTHER READINGS
[La Farge's literary work is evaluated in Everett A. Gillis, Oliver La Farge (1967). Biographies are D'Arcy McNickle, Indian Man (1971), and T. M. Pearce, Oliver La Farge (1972). An obituary is in the New York Times, Aug. 3, 1963.]

SOURCE CITATION
"Oliver Hazard Perry La Farge."Dictionary of American Biography, Supplement 7: 1961-1965. American Council of Learned Societies, 1981.
Reproduced in Biography Resource Center. Farmington Hills, Mich.: The Gale Group. 2004. http://galenet.galegroup.com/servlet/BioRC

Document Number:

Note: ID: I1988
Name: Catherine LANGDON
_MARNM: Patrick Devine
Sex: F
Birth: NOV 1829 in Langford County,Ireland
Death: 4 DEC 1903 in Kinross,Keokuk Co.,Iowa
Burial: "Little Crick " Cem.St Patricks Of Liberty Twp,Iowa 1
Emigration: 1856 From Ireland To America
Census: 1870 Liberty Twp,Keokuk Co.,Iowa ( Pg 24 )
Census: 1880 Liberty Twp,Keokuk Co.,Iowa ( 41D )
Census: 1900 Liberty Twp,Keokuk Co.,Iowa ( 15 Of 21 )
Note:
BURIAL: Gravestone Records of Keokuk County, Iowa

BURIAL: Page: 51
Name: Catherine Devine
Death Date: 04 Dec 1903
Age: 74
Cemetery: Little Creek
Town: Liberty
Comment: (Mrs. Patrick)
---------------------------------------------------------------------
Change Date: 31 OCT 2004 at 11:36:49

Father: Phillip LANGDON
Mother: Catherine LANGDON

Marriage 1 Patrick DEVINE b: 18 MAR 1803 in Drogheda,Meath County,Ireland
Children
Mary Anne DEVINE b: 1850 in Pennsylvania
Daniel DEVINE b: 20 MAY 1853 in Ashland,Pennsylvania
Bridget DEVINE b: 1858 in Pennsylvania
Ellen DEVINE b: 1861 in Pennsylvania
Margaret DEVINE b: 1 JAN 1862 in Pottsville,Schuylkill Co.,Pennsylvania
James DEVINE b: NOV 1866 in Iowa
Catherine DEVINE b: 1869 in Iowa

Sources:
Title: St. Patricks, Little Creek Cemetery, Liberty Twp. Keokuk County, Iowa
Abbrev: St. Patricks, Little Creek Cemetery, Liberty Twp. Keokuk County, Iowa
Text: McKenna Wm. J. "Bill" 3-29-1926 10-24-1990 20 Lot B WWI, Friend of Bill W.
Text: Devine Catherine ae 74 years 12-4-1903 Row 9 Lot H County Mayo, Ireland

Source: (Burial)
Title: St. Patricks, Little Creek Cemetery, Liberty Twp. Keokuk County, IowaSource Medium: Book

Data:
Text: Devine Catherine ae 74 years 12-4-1903 9 H County Mayo, Ireland

Religion: Place: St. Patricks, Little Creek Cemetery, Liberty Twp. Keokuk County, Iowa

Source: (Birth)
Title: US Census 1860Source Medium: Book

Page: Pennsylvania > Schuylkill > Ashland

Source: (Individual)
Title: US Census 1860Source Medium: Book

Census: Date: JUL 1860
Place: Pennsylvania > Schuylkill > Ashland

Source: (Name)
Author: Netherlands Govt. Registrar of Civil Records
Title: GenLias
Publication: Name: Dutch on-line searchable records;Source Medium: Electronic
Source Quality: High
On line data typically covers years 1811-1900Repository:

Name: http://www-lias.rad.archief.nl/genlias/ara/logon?cid=-1

Page: Utrecht/263/243/Kamerik/Marriage/7

Source: (Name)
Author: Netherlands Govt. Registrar of Civil Records
Title: GenLias
Publication: Name: Dutch on-line searchable records;Source Medium: Electronic
Source Quality: High
On line data typically covers years 1811-1900Repository:

Name: http://www-lias.rad.archief.nl/genlias/ara/logon?cid=-1

Page: Utrecht/281/996/Wilnis/Marriage/16

Source: (Birth)
Author: Netherlands Govt. Registrar of Civil Records
Title: GenLias
Publication: Name: Dutch on-line searchable records;Source Medium: Electronic
Source Quality: High
On line data typically covers years 1811-1900Repository:

Name: http://www-lias.rad.archief.nl/genlias/ara/logon?cid=-1

Page: Utrecht/281/996/Wilnis/Marriage/16

Source: (Death)
Author: Netherlands Govt. Registrar of Civil Records
Title: GenLias
Publication: Name: Dutch on-line searchable records;Source Medium: Electronic
Source Quality: High
On line data typically covers years 1811-1900Repository:

Name: http://www-lias.rad.archief.nl/genlias/ara/logon?cid=-1

Page: Utrecht/281/858/Kamerik/Marriage/3
Data:
Text: Text states Hermanus Hilgeman, Widower of Woutera Johanna Langhorst

Source: (Death)
Author: Netherlands Govt. Registrar of Civil Records
Title: GenLias
Publication: Name: Dutch on-line searchable records;Source Medium: Electronic
Source Quality: High
On line data typically covers years 1811-1900Repository:

Name: http://www-lias.rad.archief.nl/genlias/ara/logon?cid=-1

Data:
Text: Bron Burgerlijke stand - Overlijden (Partner) Archieflocatie Het Utrechts Archief Algemeen Toegangnr: 481 Inventarisnr: 1092 Gemeente: Kamerik Soort akte: Overlijdensakte Aktenummer: 2 Aangiftedatum: 19-01-1877 Overledene Woutera Johanna Langhorst Geslacht: V Overlijdensdatum: 19-01-1877 Leeftijd: 26 Overlijdensplaats: Kamerik Vader Aart Langhorst Moeder Jansje Jansen Partner Hermanus Hilgeman Relatie: echtgenote van