I put together a book on Painted Backdrops and their use in the transitional period from painting to photography last year, it is a modest attempt at describing the relationship between the two art forms at the turn of the century. Having collected examples of tintype photographs with unusual backdrops (and photos of studios with them on display or being painted) I know how scarce original 19th century studio backdrops are.
A gentleman with two extraordinary ORIGINAL examples contacted me last week and asked if I was interested in obtaining these two remarkable survivors. I have moved on to other projects after finishing The Painted Backdrop...and since I have not the room to display these quite striking historical pieces, asked the owner if I could share them here (with his contact information for a purchaser.) I am very grateful, and hope this post helps these find a good home!ANY museum of photography or a serious collector knows how scarce these are.
Condition looks remarkable, and the owner even has an example of a photo taken here to show you one of the drapes "in use."If you are interested in purchasing or asking questions about these early photographic backdrops, contact the owner at email nypopa@aol.com or I would be happy to forward your request for information to the owner.
I can tell you the price is QUITE modest, and these really should be in an institution or a very serious collection.Thanks to the current owner for sharing, and to any photography collector who wants a wonderful addition to their collection, these are quite nice.
I hope they find a good home.
(For those of you interested in my book The Painted Backdrop: Behind the Sitter in American Tintype Photography 1860-1920 see it HERE)
Unsung Heroes of Photography runs on Dull Tool Dim Bulb and on Vintage Sleaze on occasion. See others in the series HERE
Frank J. Haynes was a master photographer, but then he had a good gig for a man with a camera...official photographer of Yellowstone National Park. Mr. Haynes was born in Michigan in 1857.
The Antler House (or House of Antlers) was one of the rare "unnatural" beautiful parts of the park. In a somewhat misguided attempt to attract visitors, it was erected by man pretty much to appeal to the common Joe...after all, antlers fall off, but they do not fall off into a house shaped pile. It was constructed by Ranger Woodring in 1928, I suspect simply so it could be turned into a tinted postcard to entice visitors.
With the park firmly established on travel agendas after every home had an automobile, the antler house was taken apart. Park officials feared it would encourage others to harvest antlers from the wild, and its phony purpose had been fulfilled.
There is another photo of the Antler house by Mr. Haynes and an astounding group 60 of the 1500 photographs he took (along with other members of his family), in the park over the period of decades appears HERE on the Montana State University Flickr page.
Mr Haynes went by the name "Professor" or "F. Jay" Read more about the Professor HERE
Antler House Photograph, circa 1930 by Frank J. Haynes Collection Jim Linderman DULL TOOL DIM BULB BOOKS HERE
Everyone thinks the word "vintage" means old. Well, not quite. What it means is "of it's time" or a period of origin. So something "vintage" could be from last week, as long as it is indicated "Vintage 2010" like a cheap wine. So when searching the term on Ebay, you should consider it to mean the same thing "natural" does on food labels...nothing. There isn't any reason to put "natural" on the label unless it ISN'T really natural. When is the last time you ate "unnatural" food? My guess is the last time you ate.
Anyway, here is a vintage Carte de Visite size Salesman Sample which is EXTRA vintage! CDV is French for "visiting card" more or less, and came to replace the tintype, more or less, though both photographic mediums flourished at the same time. You'll also find both hidden in baskets at the flea market...the tintypes are the ones with rust, the CDVs are the ones on little cards, and no one wants either unless they show an early baseball player, or an unfortunate slave.
So anyway here is an example of a composite salesman sample CDV by an enterprising fellow selling OTHER CDVs of what passed for sexy dames around 1890. "Allow me to present my card...of ZAFTIG HOT BABES!" Some 19th century Larry Flynt would hand these out, take down orders, and deliver the spicy goods a few days later. One could take out a loupe and get a rise, I guess, but probably better to spring a quarter for 6 of your choosing full-sized. Then each would be like 2" x 3" and they would be as big as women on your smart phone, easy to shuffle (and hide from the wife.) You can "click to engorge" but "French postcards" didn't get good until about 30 years later, I am afraid. Funny, but they are all built the way woman are today. So when did "sexy" come to mean "skinny?" Topic for another post.
CDV Salesman Sample for early risque photographs, circa 1890. "Six for 25 Cents" Collection Jim Linderman
Now that Beyonce has channeled Bettie Page in the new Lady Gaga video it is time for me to reveal a little secret and entertain all you gents and gals with even the slightest interest in the history of photography...at least as it relates to women with whips. First of all, every year it is increasingly evident NO model has influenced popular culture more than Bettie Page. So curious given her clumsy short movies and relatively short career. But the face and derriere? To die for.
One can't tell the story of Bettie Page without the fellow who first put her in a studio with bondage props...Irving Klaw. Wiki him up...or rent the underrated film The Notorious Bettie Page directed by Mary Harron in which Gretchen Mol makes Beyonce's bangs look glued on. Now here is the secret you will all thank me for. As part of the deal made with prosecutors in the 1950's, Klaw burned his negatives. We all know that, right?
WRONG!
Not only does a sizable archive still exist the family is STILL selling incredible glossy photographs of Bettie for pennies, just like they did in the 1950's from the back of sleazy men's magazines. The place is called Movie Star News and hundreds upon hundreds upon hundreds of glorious black and white photographs are shown on their website. Movie Star News used to print a big fat catalog when I was living near their little workshop and studio on west 18th Street, and walking into the place is like time-warp central. They still sell movie stills of B-grade actors, posters...and grumpy folks still look up suspiciously and growl "whaddya want?" when you enter. Well, we all know we aren't here for that old 8 x 10 of Vince Edwards as Ben Casey.
Ask for the Klaw catalog, circle the numbers you want, and skulk back in a week later to pick up the pics. The photographs are as gorgeous as the model. So if you want to taste a little of that "unmarked brown paper wrapper" spice, take a peek. Who says old New York City is gone?
You are welcome.
For more tales of the sleazy underbelly of our shared cultural closets, follow Vintage Sleaze the blog
A yard of Heaven! "Yard Long" or panoramic photographs are frequently seen but seldom as crisp as this pair showing 1942 Bible School Students and their teachers from Grand Rapids, Michigan. Too big for my scanner, and a shame as they are splendid. There is a slight "row" in one row...(second row on the left, detail shown) but all in all, the little monkeys behaved and each holds their little Bibles with respect. Photographed at the height of World War Two, it is exceptional to realize virtually all these children had a father serving in the Armed Forces. We can also surmise most of the teachers had husbands or sons serving. A beautiful pair of integrated images at a time when segregation was still common, and together a splendid example of what panoramic photos are for. The special cameras used for these giant pictures were developed as early as the late 19th century and their high resolution is still a marvel.
Harshberger began commercial photography in Grand Rapids in 1921 and closed the shop in 1949.
Two Panoramic photographs, each 8" x 28" Charles I. Harshberger "Photos of Quality...Groups any time or place in Michigan" 1942 Collection Jim Linderman
What can we learn from a single real photo postcard? For one thing, the horror depicted here resulted from the Collinwood School fire of 1908, which killed 172 students and two teachers trapped in school just outside of Cleveland, Ohio. The event led to regulations requiring safety bar door releases in public buildings. So every time you push your way out of a public space rather than turn a knob is directly traced to this event.
However, as this is a blog about the visual...there is an even more remarkable aspect to this event. It was captured on FILM in 1908! The film was shot as the fire smoldered by twenty-three-year-old William Hubern Bullock, a moving picture operator nearby. Bullock rushed to the fire on a streetcar with his motion picture equipment. A week later he was SHOWING THE FILM in the Nickelodeon which employed him until Police, responding to complaints from grieving parents, forced him to stop. The film was discovered in the archives of the Motion Picture, Broadcasting and Recorded Sound division of the Library of Congress in 2008, 100 years after the young cameraman filmed it. It is believed that recently discovered footage represents only a portion of what was originally filmed.
It is a haunting, extraordinary film. No bodies are shown, but the silent, stark and steamy film will stun you as you are virtually seeing the invention of modern journalism. In fact, THIS VERY SCENE is captured in the second portion of the film! As Bullock pans the crowd, it is quite likely the photographer who shot this photo is shown. That certainly makes this one of the most remarkable real photo postcards imaginable, and gives testimony to their value as cultural and historical artifacts.
Some 30 years later, "The March of Time" was a staple in American Motion Picture Theaters. Today, as we watch events like Haiti unfold in real time before our eyes, one might think of young Mr. Bullock as he rides to tragedy with his bulky equipment.
Collinwood Real Photo Postcard 1908 Collection Jim Linderman
Archiving is a natural thing, I suppose, as is arranging, organizing and documenting. Various content sites such as flickr and a million plus blogs are growing faster than American's waistlines. There is a tendency for humans to share just as there is a tendency for birds to crow. What is usually missed, however, is that social websites have basically created an entire population of content providers, none of whom get paid one penny. In fact, some pay for the privilege. Every image loaded becomes public property of a sort, but it also becomes fodder for search engines to use, manipulate and market. As computerized digital recognition becomes more and more sophisticated, one will be able to specify any characteristic in an image and retrieve it in micro-seconds. "Let's find 50 images which look EXACTLY like Aunt Gertie!" I'm not kidding one bit. (One might also specify a search parameter to find models with their faces obliterated by too much incandescent light, as above) It should give one pause...me? I don't care as I usually retain the originals, and there will always be someone interested in physical objects (at least I think there will). I am also interested in how things age and fall apart more than how they are maintained and preserved. But if you treasure a photo, drawing, painting or doodle with unique characteristics of any kind, you might think about uploading it into the universal brain.
Untitled (Photographer) Snapshot, c. 1940 Collection Jim Linderman
A little while ago, I noted on the blog a newly published collection of beautifully real and worn photographs of baptismal scenes from the earlier twentieth century, along with an accompanying CD, Take Me To the Water. This book comes from the collector Jim Linderman, who blogs about his own work on this particular project here, and reflects more broadly on free lance collecting, folk art, ephemera, and curiosities at Dull Tool Dim Bulb.
The combination of photographs, capturing emotional experience in unselfconscious ways, and the CD soundtrack bring alive a world of religious ritual in ways that the writer Luc Sante briefly suggests in his preface to the book. Below is an interview I've conducted with Linderman, in which he talks about this work, his feeling for these baptismal photographs, and his philosophy of collecting and presenting his work.
1) First, Jim, you are a collector of everything from toy plows to homemade dolls to old recordings, and have been for quite a long time. I'm not a collector; I always want to get rid of/throw out stuff. So, explain the collecting impulse to me -- what drives you in that direction? And, where do you find room for all your stuff?
Editing is the secret. What I've assembled has always been manageable. Other than a few pieces of folk art furniture, virtually everything fits in a few shoe boxes. That's one beauty of photographs...for a small flat object, they pack a large visual punch. I lived for decades in a small, narrow, four room railroad apartment near Times Square and never had a problem squeezing things in. Andy Rooney, who I worked with while at CBS News long ago, once told me to take out an old book from the house every time I brought a new one in. That's the key...weeding and upgrading.
Collecting comes naturally to me. Not only do I enjoy looking for things which have been neglected or passed over, the hunt wakes me up in the morning. When I was healthy and young, a 500 mile drive for a flea market was nothing...now I use the web. Everyone should collect something, even if only interesting rocks. Everything looks better in groups of three or more.
2) Most people who are into collections of folk religious stuff fall in love with the documents and recordings of religion. But you are not driven by a religious impulse to collect this material, but something else. What is that? What fed your passion for old baptismal photographs and recordings?
I had originally conceived the project as a response to Jimmy Allen's book Without Sanctuary, which documents through antique photographs African-Americans being lynched. It was a controversial but most successful project of considerable historical value. Jimmy's book was a model for future photographic projects. He presented the photos, many which were crumpled and torn, as historical documents as much as images. There was no embellishment, cropping or cleaning up. More importantly the pictures often had participants identified by pen marks or notes on the reverse. Photographs have age and wear like any other object, and over time, important ones gain legitimacy through the aging process. As you might imagine, original images of people being murdered are not easy to find, but Mr. Allen was fearless and he managed to ferret them out. Many of the photographs were what are known as "real photo post cards" which are actually "limited editions" of a sort, printed by a cameraman in quantities of a dozen or a hundred, depending on what he perceived as a market...possibly one copy for each attendee. As frightening as the photos were, the faces of the participants scared Jimmy the most, they often smiled into the camera seemingly not even affected by the horrible event taking place behind them.
I had seen a photograph by W.P.A photographer Doris Ulmann depicting a river baptism, thought it exceptionally beautiful and collected a few similar images when I could find them. When I saw Allen's book, I realized there was a need to assemble and preserve other events of a vernacular nature and that there might even be a market for them. At the least, the collection would be a contribution to our shared culture. I didn't initially recognize the collection as a spiritual antidote to Allen's collection, but the feel of the event, the spectacle and the participants had a similar feel with a more positive appeal. I was also on a sort of mission to convince photography collectors that condition matters far less than the "feel" of a photo...paper has texture, form and age...and I found photography folks were far too concerned with pristine condition. I like wear.
3) Your material has been put out by Dust to Digital, the remarkable Atlanta outfit best known probably for their collection Goodbye Babylon, for my money the greatest compilation of American religious music ever assembled. How did you hook up with them, and describe the experience of putting out a book along with a CD?
I've always prided myself at sorting through the commercial fluff and finding some authenticity. Early recordings, in particular blues, started interesting me as young as junior high...and while my older sister listened to Dylan, I was listening to the Harry Smith Anthology of American Music from my local public library. I pursue music vigorously, and had always held gospel in reserve as the last area to explore. Goodbye Babylon did it for me. I admired their work very much. Lance Ledbetter is a genius who has an amazing ability to actually produce solid, physical results from his passions. The design of Susan Archie was also incredible, and I not only recognized them as kindred souls, but had the notion of pushing them toward book publishing in addition to their sound recording projects. It certainly was a natural fit. I wrote them, sent some images and flew down with a huge file of photos. On my first visit, I left them in their hands.
4) The well-known writer Luc Sante has prepared a preface and short introduction to your book. How did he become involved, and describe what you think drew him to this particular work?
The project began long before Luc was involved. I had initially thought a prominent religious figure should do the introduction and essay and didn't anticipate having trouble finding one. One day I showed the collection of original photos to Brian Wallis, the bright and innovative director of the International Center of Photography in New York, and he immediately recognized their historical value. He put my donation of the originals to the collection into motion. Later, he happened to ask if I had seen "Luc's show" which was an exhibit of ephemera and photos he found interesting, and apparently it contained a few baptism scenes.
I was familiar with Sante's music essays and reporting, and had read his landmark book Low Life. I knew Luc was a wonderful writer, then learned he was a professor of photography at Bard College....AND that Lance Ledbetter at Dust to Digital had sold him previous releases, including Goodbye Babylon. The fit was kismet.
5) When people went to "wade in the water," what do you think they were experiencing? How do your photographs capture (or not capture) that? What about the participants standing on the banks, or on the bridge overpasses overlooking the water?
As I mention is the book, I have always felt performers and artists work harder when they are working for the Lord. Years ago, when I was meeting and encouraging folk artists and primitive painters, they would ask "what should I paint" and I always suggested something from the Bible. Everyone knows the stories and everyone immediately visualizes their favorite scene the minute you suggest it.
I grew up next to Lake Michigan. Living close to a body of water is in itself a deep, moving experience. Like a turtle you place on the ground, I always sense the direction of the nearest lake. Add a touch of spiritual cleansing and you've got a highly personal AND public event. All the senses are at work...the individual feels it physically and emotionally at the exact same time. They are nervous, anticipatory, shocked and relieved. The viewers senses are also working...they share the passion, they feel the sun, they hear the splash, the preacher's powerful words, the crying out, the shout. What I admire most about the production of Take Me To The Water is how Lance was able to PERFECTLY combine an aural melding of the events with the visual. It is uncanny and not only a testament to his skill, but I think never done as well with a physical book.
6) When I first blogged about this book, a skeptic in the comments section wrote the following: "Can someone help me out with the theology here? These are churches that don't believe in baptismal regeneration and that one "chooses" Jesus, making them far outside the mainstream of historic Christianity. If the baptism effectively "means" nothing, why is it so important that immersion be used? --Clueless Lutheran stuck in the Bible Belt" How would you answer that query?
One should look at the images. Can anyone look at the faces of those emerging from the water here and say it means nothing? I believe at the moment captured in each photo, it means EVERYTHING.
7) How would you suggest first-time viewers/listeners approach the CD of music included with the volume? I ask because I'm an fan of these recordings, but those who aren't coming with that kind of knowledge may find them strange, distant, and primitive (as do my students). What would you saw as part of a "listening guide" to your photographs?
Pictures strike one immediately. Eyes being our first line of defense, an image is immediate. Music takes a bit longer. One has to reach a certain level of familiarity to experience it...part of the reason music works is that on repeated listenings we can anticipate the sounds we heard before. Even I like the selections here the more I listen to them. I guarantee after a few listenings, "Sister Lucy Lee" will make all the sense in the world, and if the quiver in Washington Phillips voice as he describes the differences between denominations doesn't reach you... just give it another play. As for a guide, the track listings and notes Lance wrote are astounding. Many of these performers are today genuine cyphers...but he finds them. We truly did create a little world there. The music stands alone on many levels, the photographs stand alone on many levels...but together the become even greater.
8) Speaking on this blog specifically to those interested in American religious history, explain what you think is most important about your work, and how perhaps classroom teachers might be able to use your work.
As I hope to do a few lectures and presentations, I am actually trying to figure that out now!
