H. E. Serbaroli

Anecdotes of an Artist’s Life in Cambria in the 1920s
by Joseph A. Serbaroli, Jr., Yonkers, NY

My grandfather, the artist Hector E. Serbaroli, was contacted in 1924 by the architect Miss Julia Morgan. She was looking for someone with broad-ranging artistic abilities to do decorative work on William Randolph Hearst’s magnificent castle in San Simeon. Grandfather was ideally suited to the task, because he had in-depth knowledge of European architectural detailing, which was precisely what Hearst and Morgan had in mind for the castle’s construction. He also had extensive experience doing original ornamental art in churches and buildings from Rome to Mexico to San Francisco.

In the 1920’s, it was problematic to convince artisans to move to such an inaccessible locale. The main train station and hospital that serviced the area was in San Luis Obispo, and the 275 mile train ride from San Francisco took about 6 hours. From there, one took a car about 40 miles north and eventually turned up a meandering five mile road that was formerly a series of cow paths. For Serbaroli, it would mean leaving a secure existence in Marin County; giving up the supplemental income he received from his teaching job at Tamalpais Military Academy (today Marin Academy); and closing his studio in San Francisco where he had established himself as an artist. On the other hand, the job paid reasonably well at $63.00 a week, but more importantly it was steady work.

When he asked Julia Morgan where he would live and where his children would go to school, she informed him that the small town of Cambria near San Simeon had a school house and that the town would be a suitable place for him and his family while he worked on the castle. With a population of a few hundred, it was a quaint community of Swiss and Italian immigrants, some of whom were dairy farmers who found the expansive rolling knolls to be ideal for grazing cattle.

William Randolph Hearst with Julia Morgan at San Simeon (photo courtesy of Marc Wannamaker, Bison Archives)

Hearst wanted only the best artisans for his San Simeon retreat, trained professionals who could recreate the European detailing to enhance his palace. He needed engineers, skilled wood carvers, specialists in ornamental plaster and stone, weavers for the tapestries, metal workers, and, of course, painters. Many were immigrants, and most lived in Cambria or San Simeon. These were men like Camille Rossi, Chief Engineer at the castle, and Frank Gyorgy, a master wood worker from the Austro-Hungarian Empire.

At Hearst Castle, Hector Serbaroli was entrusted with much of the decorative work on the palatial interiors doing European-style embellishments, as well as restoration work on the priceless antique artworks, including the fabulous ornate ceilings, some of which were from Spain and Italy that had been disassembled in Europe and shipped in huge, numbered wooden crates. (i)  He worked on the ceilings of the Doge’s Suite bedrooms, the Assembly Hall, the Roman style Vestibule and other rooms.  It was difficult, grueling work, not just because of the physical strains, but because the lighting was often poor and impeded his ability to match the colors exactly on his palette.

The frieze in the vestibule of Hearst Castle at San Simeon. The mosaic floor of the vestibule is from Pompeii and Serbaroli painted it in an ancient Roman style in keeping with the floor.

Serbaroli spent most of his week working atop steel and wood scaffolding in the castle’s interior.  But weekends and holidays would find him in the hills around Cambria studying the topography, looking for a suitable place that would yield a few good landscapes or seascapes to paint and then sell for extra income. On some weekends he would sit in the rolling pastures on a small stool wearing an old wide-brimmed hat to shade his eyes. He would hear the distant clanging of the Swiss cow bells as he worked his brushes over the canvas. At times, the warm coastal wind was strong enough to rattle the dangling tin cup that held his brushes on the right side of his easel.

The scenic coastal area of Morro Bay was a favorite location for Serbaroli’s landscapes and seascapes.

In stark contrast to the opulent castle he was working on, where Hollywood’s elite would revel in sumptuous banquets and were entertained in the most lavish lifestyle imaginable, Serbaroli’s dreams and aspirations in Cambria were not grandiose. He had four lively young children to feed, clothe and educate on an artist’s modest wages. He needed to paint continuously to provide the things that the growing family needed. His wife Josefina, unlike the starlets and the “flappers” with raised hemlines who were up at the castle, would not be dancing the Charleston on Saturday nights. Cooking, keeping house and raising four children was hard work.  There was little time or money for partying on weekend nights. The small house they rented in the peaceful, newly forming section of Cambria called Cambria Pines was what they could afford and it was all that they needed to be happy.

The house in Cambria that the Serbaroli family rented

For the four children now ranging from 5 to 11 years of age, Cambria became an absolutely idyllic place for them to spend part of their childhood. Josefina enrolled the children in a little primary school with 2 large rooms. The lower classes, grades 1 through 4, were in one room of the schoolhouse and were taught by Miss Balaban. The higher grades 5 – 8 were in the other room and taught by the principal, Mr. Weimer. He was an older gentleman, tall and gangly, who bore some resemblance to Ichabod Crane of “The Legend of Sleepy Hollow”. He also taught violin to the Serbaroli’s daughter, Judy, and other children who were interested in learning a musical instrument. (ii)

The small group of music students at the school in Cambria. Serbaroli’s daughter Judith is in the front row second from right with her violin. Behind her is Alec Campbell. The tallest gentleman in the back row with a tie is the instructor & principal of the school Mr. Weimer.

Josefina insisted that her children go to school in proper attire as they had when they lived in the city of San Rafael.  This meant walking to school with shoes! But as soon as the children were out of sight of their home, the shoes would come off and be hidden in the bushes. They would then walk to school as barefoot as the rest of their classmates. To do anything else would have meant ridicule at the hands of the local farm kids. Josefina would find out about her barefoot boys disobedience because the oil on the classroom floors would make the dirt adhere to the soles of the children’s feet turning them coal black.

For parents, it was not the easiest of times and it was hard work to keep up the household; yet for children growing up in the little section of Cambria Pines, these were halcyon days. Pretty little Judy at the age of fourteen was being pursued by Wilfred Lyons who was a year or two older, and whose family owned a local store. For the boys, it was a time when a good fishing pole and a can of fat worms promised grand adventures at Santa Rosa Creek that ran behind their house. It was there that Alec Campbell, an older boy whom they looked up to, taught them how to hook trout in Santa Rosa creek. If they caught a few good sized ones, they were beamingly proud to bring them home and they were happy to have fresh fish for the evening meal. As the small feast was being enjoyed, they would all remark how delicious those fish were and how well the boys had done to catch them.

The four Serbaroli children L to R, Alex, Augie, Judy and Joseph, behind their house at Santa Rosa Creek, ca. 1928

During the hours when he was not working at the castle, Serbaroli would make picnic excursions with the family to the beaches and the surrounding region. On Sundays, Josefina would make sure that the children were properly dressed. After attending mass at Santa Rosa Church, they would go with the children down to the small dairy community of Harmony that had a population of a few dozen. There they would buy milk and flavorful cheeses. Then it was home again where they would pack a picnic lunch.

Evenings after work were occasions to be spent with the whole family. They prepared evening meals together. Locally harvested produce was plentiful, but Josefina loved to grow tomatoes, basil, rosemary and other herbs in the garden, because it was less expensive, and it meant one less trip to Mr. Joaquin Soto’s market, where she bought her groceries. It wasn’t easy to make ends meet on an artist’s salary, but they did better than the unskilled laborers.

Mrs. Bertha Gyorgy standing in front of the First Presbyterian Church (Old Baptist Church) on Bridge Street

Lila Soto, one of Judy’s friends outside the Cambria Meat Market & Grocery, owned by her father Mr. Joaquin Soto

And although lively occasions, these were chances for the children to communicate boisterously in a loving environment about their episodes of the day. When the accident happened at the nearby cinnabar mine, they talked at dinner about seeing the bodies of the deceased miners carted through the main street of Cambria. Or when a fire broke out at one of the nearby homes, older brothers Joe and Augie told their father excitedly how they helped out in the “bucket brigade,” passing water along a human chain from Santa Rosa Creek to the blazing house to contain the fire. (iii)

In winter, Josefina would ask the children to collect pine cones for the fireplace. The children would come back with sacks full of pine cones. Augie was the champion pine cone gatherer and would snack on the pine nuts as he went on his excursions through the woods. They burned well, took the chill off the house in winter, and released a wonderful fragrance in their living room and outside in the night air.

Or Josefina would ask the children in the afternoon to go down to the shore when the tide went out. There, clinging to the protruding rocks on the beach during low tide was an abundance of abalone that was native to the region.  The boys, looking like Tom Sawyer with pant legs rolled up and bare feet, would take tire irons with them and knew how to pry the shells away from the rocks. They looked only for the pink abalone, because it was the tastiest. It would be on the family’s dinner table as much as 3 to 4 times a week prepared in a variety of ways, but mostly sliced like filets and sautéed in olive oil with a little garlic and some home-grown herbs. It was just another way to stretch an artist’s salary to meet the needs of a growing family.  The boys often brought home so much that Josefina would carry some over to her neighbors like Bertha and Frank Gyorgy, who always appreciated the gesture and would reciprocate in kind with baked goods or fresh vegetables from their own gardens. That’s the way life was in Cambria. People helped each other.

Serbaroli met Frank Gyorgy while working on the interior of the castle doing antique restorations as well as faux antique finishing of restored wood and metal. Hearst brought him from New York where he was doing work on one of his buildings. His Swiss-born wife Bertha and Josefina became the best of friends. She was vivacious, loved people – especially children, and eventually was elected mayor of Cambria, serving for many years in that office.

Together with Camillo Rossi and his family, they would all go down to the beach for a picnic lunch. It was a polyglot group whose communication during these outings was a pastiche of Spanish, Italian and broken English. Perhaps for that very reason, they all had a wonderful time together. They would all remain in touch for many, many years.

Serbaroli, Rossi and Gyorgy with their families at the beach near Cambria. They are left to right: Mrs. Josefina Serbaroli, Camillo Rossi, Mrs. Bertha Gyorgy, Joseph Serbaroli, Frank Gyorgy, Mildred Rossi, August Serbaroli, Ruth Rossi, Judith Serbaroli, Alex Serbaroli, and Hector Serbaroli ca. 1925. The photo was taken by Rossi’s son Ulrich.

By the fall of 1926, much of the décor for the castle’s interior was complete and efforts on that phase of the project were beginning to scale down. It was a difficult position to be in, because he was in the small town of Cambria where there were no other jobs that required his skills or would allow him to earn the money he needed to support his family. As time passed, employment at the castle became sporadic and he sensed the need to start looking elsewhere for work, some place that would afford him better opportunity to showcase his talents.

It was around 1927, on a day like any other ordinary day in his working life, that he met a young, illustrious newspaper reporter named Adela Rogers St. Johns (1894-1988). (iv)  In her early thirties, she was a friend of Hearst’s, beginning her career as a reporter for his newspaper, “The San Francisco Examiner” in 1913, and more recently writing for “Photoplay” magazine. She struck up a conversation.  Why not?  There might have been a potential story in it for her magazine. She inquired about what he was doing, and he told her about his training in Italy and the types of creative projects he did in San Francisco at the Pan Pacific Expo and on Hearst’s palatial home. It quickly became apparent to her that he was not only highly skilled, but that he was a very serious and professional craftsman.

Rogers St. Johns informed him that, in addition to her news reporting, she was doing screenwriting for the studios in L.A., which put her in touch with some key people.  She seemed to know everyone and everything that was going on in Hollywood.  More importantly, she heard that First National Studios was looking to hire a qualified sketch artist.  By the end of their dialogue, she had presented him with an offer to connect him with one of the more successful motion picture operations in Los Angeles.

Adela Rogers St. Johns, the Hollywood screenwriter and news reporter for Hearst, who put Serbaroli in touch with First National Studios in Hollywood

Serbaroli left Cambria for Los Angeles in 1927 and made his career there working for the next 20 years at studios like First National, Warner Bros., RKO Pictures, 20th Century Fox, Paramount and others working on the sets and painting portraits of stars like Bette Davis, H.B. Warner, Hedy Lamarr, Tyrone Power, Loretta Young, Shirley Temple and others.  But the children always looked back fondly on those years of their youth in Cambria.

(i) White, Emil, “The Fabulous Hearst Castle”, p. 21

(ii) Conversations with Joseph A. Serbaroli, Sr. and August Serbaroli

(iii) Conversation with August R. Serbaroli, 2006

(iv) Conversations with Hector Serbaroli’s children

26 Responses to “H. E. Serbaroli”

  1. Nick Dunlop says:

    I have a original of his. if anyone is interested.

  2. Andrew Vracin says:

    Hello Joseph! I left the above comment back in December 2014, to which you graciously replied. Not long after, I was contacted via email by your niece (?) Alessandra. We discussed many things regarding Judy, including photos I took of Judy in her studio, and I would truly love to hear from her again, but I lost all my contact information for her. Would you please forward my email address to her so that we can reconnect? Thanks so much!

    -Andrew Vracin

  3. B&J says:


    We have forwarded your comments to Joseph Serbaroli and he will surely reply to you soon. The last we heard (2 or 3 weeks ago) he was in Asia so it might take a while.


  4. Jill Urquhart says:

    Thank you CHEx and Joe Serberoli Jr. for sharing this story. I am a guide and librarian at the Castle. We keep a file on the Hearst’s staff and the image of the Gyorgy, Rossi and Serberoli families on the beach is new to us! We have no images of any of them! Unfortunately exact work by Serberoli and others was not recorded as a practice. I am glad you shared the Vestibule information, we were just doing some research work on it. All we could find in the Hearst-Morgan correspondence was “have one of the old Italians do the extension”. I would like to credit Serberoli for anything you can remember. The St. Johns connection is also new to us. I believe the house your grandparents lived in is the one on Main St. to the side of and behind the Garden Shed. Best regards and I hope to hear from you.

  5. Jill Urquhart says:

    Thanks to CHEx and Joe Serberoli Jr. for sharing this info. I am a guide at the Castle and a librarian. I keep the historic staff list. The picture of Gyorgy, Rossi and Serberoli on the beach is something we have never seen, nor do we have any images of them or their families. I had no idea of the St. Johns connection. I recently did research on the frieze in the vestibule that you shared, your grandfather was not credited for his work on the painting in our records and I would like to change that and anything else you could add.
    Our service to the public and sharing your information is important to our staff. It seems amazing that a woman, Julia Morgan could convince your grandfather to move to Cambria in the 1920s! We would love to have a copy of your book, when it is finished. PS, I try

  6. B&J says:


    Thanks for that information. We have forwarded your comment to Joe Serbaroli and he will probably respond to you shortly.


  7. Donata Marie Siegler-Lynch says:

    In going back through my aunts (Jean Pinataro) emails this date, 8-7-2015, I located this info, and she had mentioned that I should let the Serbaroli family know – I am the owner of the painting that Judy Serbaroli did of my mother, Marie Donata Pinataro. The date on the painting appears to read 1942, the year I was born. If I can be of any help, let me know. I visited Judy with my family many times, in her studio. Many pictures of Bishops and Archbishops that she had been commissioned to do. I have been to Saint Charles Boremeo church; I have taken pictures of each station of the cross. I also have a copy of a ‘write up’ done by the Tidings Catholic newspaper. Aunt Jean gave me an email address, and I believe I’ll send my email there to see if I get a follow up.

  8. Joe Serbaroli, Jr. says:

    Dear Andrew, I just saw the note that you left on this website in December, and am touched by the tribute you’ve left about my Aunt Judy. Yes, she was a very special person in the lives of everyone she encountered. She was a true artist in every sense of the word. Her grave site, which was arranged by Cardinal Manning, is in Calvary Cemetery in Los Angeles, the same cemetery where her parents are.

    I was interested to read that you live in Dallas. Judy’s father Hector Serbaroli painted a large mural at Fair Park in Dallas. It is on 2 walls of the Food & Fibers Building. He was there at the Texas Centennial Exposition in 1936, one of the few times he was away from the family. An article is available on the Internet from the magazine Legacies titled “H.E.Serbaroli and the Mysterious Muralists of Fair Park.” Thank you again for your very kind comments about my Aunt Judy.
    Kindest regards, Joseph Serbaroli

  9. Andrew Vracin says:

    Dearest Serbaroli family: My parents, Dr and Mrs Daniel Vracin were introduced to Judy Serbaroli by Katie Grace, all of Downey, CA, in the early 1960’s. When I was 12 or 13, I began studying with Judy almost every Saturday morning. I continued my art studies with her all through high school and my first few years of college. As I grew older, often our3 hours of ‘study’ were really conversations about art and life while sitting in her kitchen, drinking coffee and smoking cigarettes! I often dropped in on Judy as she was producing her Stations of the Cros for St. Charles Borromeo Catholic Church in North Hollywood. In fact, when she would get ‘stuck’ with a particular pose or gesture she was having trouble with, I would pose for her in the postions she needed…often just a hand or arm gesture, or a slant of the shouders or back. My hair was very long at that time, and she loved that even more,as she would work that into her ‘study’ as well. There are few days that go by that I don’t think of her and the influence she had on my life. She always referred to herself as a real “KOOK”, and that she certainly was…and I so fortunate to have known her. I eventually moved from fine art, into photography. I studied at Art Center College of Design, and Judy would always return the favor of posing for me. I loved her dearly…that KOOK!!

    Would someone please forward me information as to where her final resting place is. I live in Dallas, and occasionally get out to SoCal, and I’d love to stop and pay my respects to her. I remember when my mom called and told me Judy had died…and how much I cried. To this day I am still saddened that I was unable to attend her funeral…She meant that much to me.

    Bless you all!

    -Andrew Vracin

  10. B&J says:


    Hector Serbaroli did many paintings for 20th Century Fox and a number of other Hollywood studios.

    If the painting you are referring to is about 8 feet tall and 5 feet wide, then that is likely the one he did for the movie Wilson (1944).

    It was one of 4 paintings, which are reproductions of the paintings in the East Room of the White House, the others being

    George Washington, Martha Washington and Thomas Jefferson.

    Kind regards,

    Joe Serbaroli

  11. B&J says:


    We have forwarded your comment to Joseph Serbaroli, the author of this article. We expect to see a response soon.


  12. Diane Noble says:

    Dear Sir:

    I have come across a large painting that was done of Abrham Lincoln. It was used by Twentieth Century Fox in the early 40s for use in a film about President Wilson ( I think ) I am told it probably is by Hector Saraboli because he was the artist in residence for the studio at that time. Does this ring a bell?

  13. B&J says:


    We have forwarded your inquiry to Joe Serbaroli who wrote the article and he will contact you soon and you two can exchange information.


  14. Alexander w. serbaroli says:

    Was wondering if you could send me any family history for my records and family. Or if you could contact me via email and we can talk, would love to know more. Love Alex and kids

  15. B&J says:

    Hi Jim,

    Yes, that is my grandfather’s signature. For your info, I’m attaching an image of what his signature looked like.
    He lived in San Rafael from around 1914 to 1924 and sold many landscapes there.
    I would be very interested to see a picture of the painting. I may be able to identify the location for you.
    Do you know if your aunt bought it in the 1920’s? What was your aunt’s name?
    Was she a friend or acquaintance of the Robert Dollar, William Kent or E.B. Martinelli families?
    What are the dimensions (size) of the painting? Is there a label on the back that says where it was framed?
    Thanks in advance.
    Best regards,
    Joseph Serbaroli, Jr.

  16. B&J says:


    We have forwarded your comment to Joseph Serbaroli, the author of this article. We expect to see a response soon.


  17. Jim Roth says:

    For many years we have had a small oil painting of an ocean and coast setting that was inherited from a great aunt who lived in San Rafeal from about 1900-1952. The painting has a signature that we could not read but looks like F SarBAROLi with a line under from the F to the i. We took it to a museum to see if they could ID it but they could not. After examining it more it looked like the ‘F’ could be an ‘E’ and the first ‘a’ could be an ‘e’. When I Googled it I found Ettore Serbaroli. I then found a picture he had painted of Will Rogers and a similiar style signature on it. Do you have a place where I can find additional signatures to compare?

  18. Joe thankyou so much for your responce. Yes I realized after I had emailed you that you had to be Joe’s son. My sister was Marie Pinataro. She married John Siegler, a friend of Joe’s, in 1939. In fact Joe stood up for John….he is in the wedding picture! Judy’s painting of my sister was an oil painting & is owned by my sister’s oldest daughter, Donni Lynch who lives in Thousand Oaks. Judy was a great admirer of my sister’s beauty & painted her in about 1945? My sister was about 25 or 26… I don’t remember these exact dates. But I will never forget the date my sister committed suicide, April 17, 1952. If I remember correctly, the day she died two of the Serbaroli brothers had been invited to dinner. You said you had trouble reaching me. I would be very happy to hear from you. My phone is xxx-xxx-xxxx. I keep my message unit on–it rings 4 times. If I miss you, please leave your phone & I will get back to you. I will put you in touch with my niece if you want to photograph Judy’s beautiful painting. My email is jpannamarie@yahoo.com. I live in West L.A.

  19. B&J says:


    Neither we nor Joe has been able to contact you so we’re posting Joe’s reply here:

    “All 4 of Hector Serbaroli’s children are deceased.

    I am Joseph Serbaroli, Jr., the son of Joseph Serbaroli. He and his brother Alex were singers.

    There is no mention of their singing voices in the article, because they were small children when they lived in Cambria.

    My Aunt Judy would have painted your sister’s picture.

    I have never heard my family speak of someone named Marie Siegler.

    I would be interested to know the following?

    What was your sister’s maiden name.

    Was it an oil on canvas or a watercolor?

    How old was she when my Aunt Judy painted her portrait?

    Thank you.

    Kind regards,

    Joseph Serbaroli”


  20. B&J says:


    We forwarded your email to Joe and he will reply to you. We hope this turns out to be a long lost family connection.


  21. Joe are you of the Serbaroli family that I met through my sister’s husband, John Siegler? Your sister painted my beautiful sister, Marie, about 1945? The online info mentions Judy but there is no mention of her brothers’ wonderful singing voices. Weren’t you the one who tried out for the Metropolitan opera auditions of the air? If I have the right family, I would appreciate any information you may have about my sister’s marriage & death? I am writing an autobiography in an attempt to find out what happened to my lovely family. Thankyou

  22. Joseph Serbaroli says:

    Thanks Arlene for your very thoughtful comments. Your kind words about my grandparents mean more to me than you can know. You are one of the very few people still alive who knew the whole family, and experienced their hospitality first hand. My grandfather passed away in December 1951 and my grandmother shortly afterward. I will contact you soon, as I am writing a biography about them and would be interested to hear more of your personal recollections.

  23. B&J says:

    Thanks so much for your kind words, Arlene. We’re glad you enjoyed the article. It is responses like yours that make the effort of collecting the local history worthwhile.


  24. This morning on a whim I decided to Google “Ettore Serbaroli,” whom I met in his home when I was 18 years old. I can not describe to you the pleasure I had in reading about his career. In 1947 his eyesight was severely impaired by cataracts, and I knew little about his art before his church work and the series of portraits he painted of Will Rogers. It was my joy and privilege to come to know all the members of his family. For years I considered Judy my most treasured friend, and Mrs. Serbaroli was wonderfully kind to me when as a lonely college student, I would sometimes spend weekends with them. This depiction of their life in Cambria was completely unknown to me and brought both smiles and tears.

  25. Joseph Serbaroli says:

    Thanks Patty. I agree that the tour guides and tour books should should give more recognition to the individual artists and engineers who were instrumental in building and beautifying Hearst Castle.
    Joseph Serbaroli

  26. Patty Fogle says:

    I was just in Cambria last weekend and visited the Hearst Castle for the 4th time. Interesting to read this story about your grandfather. When visiting the castle we don’t really get a glimpse of the artists and craftsmen who greatly contributed to the estate’s beauty.

    Cambria is a beautiful area and a nice reprieve from the crowded cities south of it. I can only imagine how beautiful it was in the 1920’s when your grandparents lived there.

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