Santa Clarita Valley History In Pictures
> WILLIAM S. HART
William S. Hart & Equine Friends
Newhall, California

Click image to enlarge

Fritz might have been his favorite, but that doesn't mean he loved his other horses any less.

William S. Hart had a full stable at his Horseshoe Ranch in Newhall. Judging from appearances, Fritz (1907-1938) would have been in his well-marked grave by the time this scene was captured probably in the mid-1940s — as were some other favorites like Cactus Kate (a mare) and Liz-beth the mule.

The animal at right, foreground, might be King Valentine (born Valentine's Day, 1920); the burro at left is probably Tuffy.

The last of the remuda to go was Roaney, a gray gelding from Arizona that Hart purchased in 1935. Hart made special dispensation for Roaney in his will: Los Angeles County could have his ranch, but it had to let Roaney live out his days there, and then join Hart's movie horses Fritz, King Valentine and Gentle in the cemetery.

Roaney would outlive his saddlepal by more than 20 years. He was said to be the oldest horse in the world when he died at age 45 on April 26, 1968.


Information from the Friends of Hart Park:

WHEN WILLIAM S. HART BEGAN HIS FILM CAREER in 1914, he initiated a fresh approach to Westerns that continues to influence the genre today. Although Western motion pictures were already very popular, for the most part they were exercises in mediocrity, filled with "impossibilities or libels on the West," according to Hart in his 1929 autobiography, My Life East and West. But in the course of appearing in or producing more than 60 movies over an eleven-year span, William S. Hart created a film style that revealed a more authentic vision of the Old West. At the same time, he made a major contribution to film history by developing and embodying the prototype of the frontier hero. Fame, artistic recognition, and wealth were Hart's rewards.

A CHILDHOOD IN THE WEST

William Surrey Hart was born in Newburgh, New York, probably in 1864. During his boyhood, his family traveled extensively in the Midwest as his father searched unsuccessfully for the ideal site to build a gristmill and make a permanent home for his family. Young Bill was raised in a pioneer atmosphere; he had contact with Indians, ranchers, and cowboys and learned Indian sign language and a little of the Sioux language from his playmates. He gained a respect for Indians and their cultures that he never lost.

HART'S FIRST CAREER

The Hart family returned to New York while Bill was in his early teens, and it was there that he developed an interest in the stage. By 1900 he had appeared in productions from New York to San Francisco to Montreal. He received critical acclaim for his own production of The Man in the Iron Mask and his creation of the role of Messala in Ben Hur.

Hart's first Western role was also in a stage production: in 1905, he was cast as "Cash" Hawkins in The Squaw Man. His subsequent stage roles were primarily Western and included the lead in an enormously successful production to The Virginian.

TWO GUN BILL

While touring with the company of The Trail of the Lonesome Pine in 1914, Hart decided to move to California to make Western films. In his autobiography, he wrote, "I was an actor and I know the West. ... I had to bend every endeavor to get a chance to make Western motion pictures." Hart obtained parts in several Westerns and collaborated in writing screenplays, and his film career was launched.

As a filmmaker, Hart drew on his childhood experiences, insisting on using realistic costumes, locales, and situation. The public loved "Two Gun Bill" and his movies, and he obliged the fans with one success after another. He became one of Hollywood's top actors and most successful directors.

LA LOMA DE LOS VIENTOS

Some of Hart's Westerns were shot on and around a ranch in Newhall, California. In 1921[1] he purchased the property from Babcock Smith. After completing Tumbleweeds (1925), his final film and one of his finest, Hart commissioned Los Angeles architect Arthur Kelly to design a magnifient Spanish colonial-style mansion, which Hart christened La Loma de los Vientos (Hill of the Winds) and occupied in 1927.

Hart filled his home with treasure reflecting his interest in the West, including Navajo textiles, Indian costumes, guns and weapons, and Western paintings and sculptures. In his retirement, he became active in the operation of his ranch and deeply involved in Santa Clarita Valley community affairs.

He wrote more than a dozen novels and short stories as well as his fascinating autobiography, My Life East and West.

Hart's reputation as a Western figure put him in contact with other prominent personalities of the day. Western enthusiasts, such as Will Rogers and Wyatt Earp, and important artists, including Charles M. Russell, C. C. Crisadoro, and James Montgomery Flagg, visited the ranch or corresponded with Hart.

THE HART LEGACY

True to the spirit of Western heroes he had portrayed on screen, Hart was humbly grateful to the fans who had supported his film career. "While I was making pictures, the people gave me their nickels, dimes, and quarters. When I am gone, I want them to have my home." When he died in 1946, he left the bulk of his estate to the County of Los Angeles, stipulating that his house and the ranch property were to be used as a museum and public park.

Today, the Parks and Recreation Department of Los Angeles County operates and maintains William S. Hart Park, which includes hiking and nature trails, a large picnic area, a campground, an exhibit of farm machinery, an assortment of live animals including a herd of bison, and approximately 110 acres set aside as a wilderness area.

The Natural History Museum of Los Angles County is responsible for the interpretation of the historical portion of Hart's bequest, which includes his home and its contents and several other buildings. The Friends of Hart Park and Museum, an active group of local citizens, provides volunteer support services.

La Loma de los Vientos stands today not only as a tribute to William S. Hart but as a valuable and edifying museum. Hart's personal effects and movie paraphernalia are displayed in his home along with Indian artifacts and Western American art that he amassed. These materials form a major resource for understanding the American West as it was perceived in the early part of the century.

1. Note: Original piece from Friends of Hart Park said 1925.

Hart biography ©Friends of Hart Park · Used by permission.


LW3169: 9600 dpi jpeg from original 6x8-inch International News wirephoto, purchased 2017 by Leon Worden.
HART CATEGORIES:
• Stage Career
• Hart Films
• Publicity Photos
• Hart as Author
• WWI War Bonds
• Hart Mansion
• Hart in Retirement
• Personal Life
• Hart in Artwork

HART IN RETIREMENT

thumbnail

Honored by Sioux 1926

thumbnail

Little Bighorn Anniversary 1926 x2

thumbnail

Dam Disaster 1928

thumbnail

With Charlie Mack in Newhall 1930s

thumbnail

With Wallace Beery, Moran & Mack in Newhall 1930s

thumbnail

With Lina Basquette 1932

thumbnail

Real Estate Instructions 1932

thumbnail

Watson Photo
1920s-1930s

thumbnail

At Saugus Rodeo 1933

thumbnail

Letter to M. Perkins 1933

thumbnail

With Freddie Bartholomew 1935

thumbnail

Letter to Amelia Earhart re: Buffalo Coat 1936

thumbnail

Brown Derby 1938

thumbnail

Hart, Ione Reed, George Putnam 1938

thumbnail

With Andy Jauregui 1938

thumbnail

Guns on Radio 1941

thumbnail

Robert Taylor Photo Shoot 1941: BTK Gun, Fritz's Grave (Mult.)

thumbnail

With Dan White ~1945

thumbnail

With Horses 1940s

thumbnail

At Home 1-7-1946

RETURN TO TOP ]   RETURN TO MAIN INDEX ]   PHOTO CREDITS ]   BIBLIOGRAPHY ]   BOOKS FOR SALE ]
SCVHistory.com is another service of SCVTV, a 501c3 Nonprofit • Site contents ©SCVTV • Additional copyrights apply
comments powered by Disqus