Missing Mother? CDV Photographs Tinted by Hand

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Three original Cartes de Visite photographs from San Francisco around 1880, maybe a bit earlier, maybe a bit later. They were found together, but I do not know if they are actually related. It does look like red and green were popular.

Group of CDV photographs, tinted by hand, circa 1880 Collection Jim Linderman

Weegee Bettie Page and the FBI The Last (?) Unpublished Photographs and What Weegee told the FBI about Bettie Page

(c) Weegee/International Center of Photography/Getty Images


(c) Weegee/International Center of Photography/Getty Images


(c) Weegee/International Center of Photography/Getty Images


(c) Weegee/International Center of Photography/Getty Images


What if you could put Bettie Page, the most influential pinup model of the last 50 years in the same room with Weegee, certainly one of the most famous photographers in the world...and he had a camera in his hands? I'd say it would be so juicy even the FBI would be interested. And it appears they were!

Search for a photograph of Bettie Page taken by Weegee. One appears on the International Center of Photography website, which is appropriate as Weegee's widow Wilma Wilcox donated his extensive archive to the museum in 1993. The photo actually appears on Fans in a Flashbulb, the museum's exceptional blog.

Weegee (Arthur Fellig) was personal friends with the model, for years living only three blocks apart from each other just off Times Square (Weegee on West 47th Street and Ms. Page on West 46th Street), a walk one can do in less than five minutes, even Weegee with a cigar. There is a story reported that Weegee once climbed into a bathtub fully clothed with Bettie hoping for a better photo until she literally kicked him out. But until now, very few of the photographs Weegee took of his beautiful acquaintance have ever been publicly shown.
Cass Carr, Harlem jazz musician and promoter of amateur camera club outings also had a space in the very same neighborhood at 218 West 47th Street (a mere two blocks from Weegee's house) which he called the "Concorde Camera Circle" with a rudimentary studio. I believe the revealing studio shot here showing other participants snapping away was taken at Carr's place. It is typical of Weegee to create his own particular view in a photographic setting. The one thing you do NOT want to see in a photo of Bettie Page is other men, but there you go. Leave it to Weegee to turn the camera on the cameramen.

(c) Weegee/International Center of Photography/Getty Images

Carr also arranged outings to local farms and parks for camera club participants prior to forming the Concorde Club (previously known as the Lens Art Club) but he changed the club's name after being arrested along with others for promoting an outing in South Salem, New York. Some accounts have Weegee arrested at a camera club outing along with Ms. Page, if so it probably would have been the South Salem, New York shoot on July 27, 1952.

One thing I can confirm is the outdoor photographs here were taken at Headley Farm in New Jersey, as the gas pump has figured in other photographer's pictures. Also present at the shoot, which took place on September 9, 1956, were photographers Art Amsie, Arnold Kovacks, Don Baida, and an unknown woman photographer seen here on the left holding her own camera with the boys.

As far as I know, this unknown woman's pictures of Bettie have not turned up, but we can now say Bettie was photographed by at least three women, the others being Paula Klaw (Paula Kramer) and Bunny Yeager (Linnea Eleanor Yeager)

(c) Weegee/International Center of Photography/Getty Images

The Weegee photographs (and there are more) are beautiful pictures of the model in her prime. Striking poses of a young model obviously both aware of her talents and enjoying the session. That they were taken by one of the most interesting and talented photographers in history adds to their charm and importance.

The photographs Weegee took of Bettie Page have never been shown, and it is an honor I do not take lightly. It is also the reason the copyright notice I have placed under each image is not to be ignored.

One of the Weegee photos of the model taken in a studio is notable primarily for the unusual bikini Bettie wears which she would have made herself! It was a talent she was proud of, but maybe she should have stuck with store-bought. It also appears in a cropped version on a website or two, but in poor and possibly purloined quality.

(c) Weegee/International Center of Photography/Getty Images

The other Weegee image from the ICP collection which has appeared on the web is a cropped print showing Ms. Page in virtually the same pose taken at the same day by four different photographers.

Another Weegee photograph here shows Ms. Page in a make-shift studio not as yet identified. It could be either of their own apartments, as Page was known to pose individually on request and for her standard modeling fee. It is not known (to me anyway) if Weegee was in the habit of hiring individual models, but he did sell and publish other cheesecake photographs in news digests and quite likely some joke and gag publications. I would like to think Bettie gave him a freebie on this one!


(c) Weegee/International Center of Photography/Getty Images
But what of the FBI? Recently the FBI released several documents on Bettie Page, likely in response to repeated requests. As we know, the model was harassed and hounded by zealots and government agencies during her modeling years. Once being called by the Kefauver Committee in conjunction with their investigation of Irving Klaw, and earlier in relation to an obscenity bust in 1956 Harlem (in which the amateur bondage model was asked about "ping pong paddles" and a riding crop. She denied being involved, and also denied knowing of any photographs of the sort being produced in Harlem.



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In the the newly released FBI document pictured here I noticed a most interesting story hiding in the redacted print! Half way down, note the passage enlarged here which indicates photos of the model were "turned over on 5/25/60...by (name omitted) also known as (name omitted) a photographer who resides at (location omitted.) Now I do not know of any other New York City photographer working with a short pseudonym who took pictures of Bettie Page! So there you go... it now looks like we can add Weegee to the long list of artists who have been pestered by the long arm of the law.


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Now if I were writing this for a tabloid in the 1950s, when the neighborhood all three principles called home was known as "Hell's Kitchen" I would have titled this 'WEEGEE SQUAWKS TO FEDS" but to be fair, anyone with the slightest connection to "dirty" pictures was vulnerable to such puritanical procedures, when the laws attempting to define obscenity were far more strict than today. So let's call them all pioneers rather than pigeons.


(c) Weegee/International Center of Photography/Getty Images

I would like to thank the International Center of Photography for allowing me to use the above unpublished photographs from their archive to help illustrate this discovery and story. If you are not an active member or supporter of the museum, please take the time to join.



Jim Linderman is author of Times Square Smut and The Birth of Rock and Roll

 "Times Square Smut" available now covers the same time period as the above in detail and publishes numerous works by African-American artist Eugene Bilbrew unseen for over 50 years. Times Square Smut will tell the story of denizen and mobster Edward Mishkin, who printed and sold proto-porno soft-core books using the artist's work on 42nd Street at the same time Irving Klaw was publishing photographs of Bettie Page. In the meantime.  The Birth of Rock and Roll might be the most unusual music book you have ever seen!

Mat Mugs! The Wonderful Photomatic Photograph Machine and Mutoscope. William Rabkin Fast Talking Genius of the Photomatic Machine and the Claw

Let's all take a minute to thank the International Mutoscope and Reel Company! No one provided better value for your time and your dime. "Photomatic" photographs are but one example of their product line.

Photomatic machines were plopped down where folks killed time. Railroad stations mostly...the same places Starbucks wedges their six dollar a cup baristas today. The company created the Mutoscope too..probably the first general circulation machine which displayed moving pictures. Drop a coin, peep in and see something you think you never saw before! It was like peering through a keyhole, but for some I suppose it was the first time their eyes were tricked by the moving image.

Mutoscope could suck a coin out of a parking meter. They created weight and fortune machines and arcade games but as far as I know the Photomatic machine was the only one with a chemical bath built right in the machine.

Time magazine profiled the owner of International Mutoscope Reel company William Rabkin in 1934 calling him a "fast-talking Jew"...don't they all? In the article they credit Rabkin with inventing THE CLAW! That's right...the machine at the carnival which allows one to move around a tiny steam shovel and pick up useless trinkets instead of the valuable watch sitting on a pedestal among the junk.

Now I hate to give credit or praise to a company which referred to their customers as "marks" but it was all in good fun. No one kicked Mutoscope machines if they lost (or rather WHEN they lost) as the process was as good as the prize.

Now the photo machines took a few minutes to develop your photograph...but you were stuck there anyway. Back then, unlike today, modes of transportation were always late. (snicker)

What I have not yet figured out is how they got the cool metal frames on the photo. As you can see from the reverse, they were not only smart, they were brilliant. One here allows the owner to peel out a built in stand for displaying the photo on your dresser, the other reveals Photomatic was also in the lucrative "photo ID" market... Imagine how many of THESE were produced as World War Two loomed.


Photomatic photographs collection Jim Linderman

DULL TOOL DIM BULB BOOKS CATALOG HERE
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Laura Levine Prolific Photographer Proprietor Artist and Renaissance Woman

Bjork, Woodstock, NY, 1991 © Laura Levine - All Rights Reserved


Dr. John, NYC, 1992 © Laura Levine - All Rights Reserved



Captain Beefheart, NYC 1980 © Laura Levine - All Rights Reserved



Henry Rollins, NYC 1993 © Laura Levine - All Rights Reserved



Madonna, NYC, 1982 © Laura Levine - All Rights Reserved



Tina Weymouth and Grandmaster Flash, NY, 1981 © Laura Levine - All Rights Reserved


I was all set to profile my friend Laura Levine a few months ago, but the Museum of Modern Art selected her work for the Looking at Music 3.0 exhibition currently on view (running though June 2011) and she became impossible!

Not really. But the Museum does start off their video for the show with her image of Tina Weymouth and Grandmaster Flash!

I love Laura Levine but mostly I admire her. Laura brings back the tradition of the "renaissance man" but she's a woman. A renaissance man is "one whose expertise spans a significant number of different subject areas" and it is hard to find a better example today. As you can see above, Laura is a photographer of great, great talent and skill. These are extraordinary photographs by any standard, but that they are all of musicians I personally admire is a bonus. She let me pick them. I was a kid in a rock star store.

Laura has more. She was Chief Photographer for the New York Rocker, a tabloid which was largely responsible for me packing my bags and moving to the city decades ago. They were lucky to have her as the photos above testify.

Despite the work above (and in some limited cases, available for purchase from the artist) photography is hardly Laura's only skill.

You have likely seen her paintings as well. As this post is an excuse for me to show the photos, I'm not posting any paintings here, but Laura, self-taught, works in a most appealing naive style and has created some of the most endearing portraits of musicians you will ever see. Her portfolio is a trip through American music history, and I can't think of an artist who has done as much except R. Crumb. Just take a few minutes to browse HERE.

A published author. Not just published, but with a blurb from GEORGE JONES. I don't have to say any more. Among her books are Honky-Tonk Heroes and Hillbilly Angels: The Pioneers of Country & Western Music, and Shake, Rattle & Roll: The Founders of Rock & Roll. Her first picture book was Wig!, a collaboration with the B-52's. I expect many more.

Shall I go on? Okay...Documentary filmmaker who has been screened at Sundance. Need more?

Laura also handles Homer and Langley's Mystery Spot. I know it sounds like a place you read billboards for two hundred miles then stop to pee at, but it is in fact one of the greatest junk stores in the world. Vintage fashions, books, records, what-nots and what-have-yous. Take a look at the folks who have shopped there. Somehow, Laura even finds time to take THEIR pictures. I'm only telling you about the shop because since I moved, it is too far for me to drive to. They even have porch parties you wouldn't believe.

Gawd...I HATE Laura Levine. But I also love her like a sister.


The artist Laura Levine owns all rights to the photographs above, and she deserves them. She also didn't have to share them here, so respect her artistic contributions and don't crib them. It would be an insult to me, the artist and you! However, Laura does from time to time sell limited editions of the work and you can see the catalog HERE. Homer and Langley's Mystery Spot is HERE. The Artist's official website (which dances and moves) is HERE.

Above Photographs courtesy of the photographer© Laura Levine - All Rights Reserved

Nightclub Photography Club DeLisa Hard-boiled Nostalgia Evidence Blackmail and Dames with a Camera

Club DeLisa in Chicago's Bronzeville was THE place for African-American floor shows and Jazz during the 1950s. It was run by four brothers and presented the finest in African-American entertainment (all the while allowing gambling in the basement.) From Albert Ammons to Joe Williams. "The Harlem of Chicago"


Like to be your own boss? Consider the Nightclub photographer. One of the few photography genres seemingly without scholarship or museum shows (If you know of one, let me know.) They were and are often women (Noted photojournalist Ruth Orkin started as one, so did a female character in Dick Tracy) Weegee also worked the clubs.


I could probably compile a long list of photographers who started out with a speed-graphic and a tip tray, but I'll leave it up to a doctoral student needing a project.


Big operators in famous clubs printed their own cardboard frames to sleeve the photos. One could go late...folks are more likely to spend the money for a portrait after a few drinks. They appear in hard-boiled novels all the time...being in the club affords them opportunities for both evidence and blackmail. Many a plot turns on the appearance of a "surprise" photograph taken by a pretty dame with a shutter. Nightclub photographers also have provided many historical images of performers as they often had the only camera in the club.


As popular today as it was in the 1950's, I am not sure how long it will last. Whether the cellphone camera will kill the nightclub photographer is questionable...there is glamour missing in a digital picture, and If I were a young photographer starting out today, I would get a big camera with a collapsible bellows and carry it around clubs.


Anonymous Original Nightclub Photo Club DeLisa circa 1950 with original sleeve
Collection Jim Linderman

Dull Tool Dim Bulb Books in print HERE

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Okay, now Turn Around

Three original photographs in sleeves, circa 1900 Collection Jim Linderman

Canada Carte de Visite Stephen Allen Spencer Finds Gold Taking Pictures

It occurs to me I have never posted a carte de visite photograph, so here is a bunch! CDV photos were an albumen print on small cards, about the size of a small tintype (2.5" x 3.5")

They became the predominant form of photography following the "hard" images of dags, ambros and tintypes and were popular from 1860 to 1900 or so...a few were produced earlier and a few later.

They were common, and they were cute. Many were tinted by hand, and many were popular figures of the day...show folk, authors, politicians...and in this case, Canadians!

S.A. Spencer was born in Connecticut but headed west to find gold. How he happened upon photography is unknown to me, but he was a bit better than most...and being on the West Coast of Canada early means his work is valuable for genealogy and Canadian history. The sitters might not look it, but they were pioneers. They dressed for the camera...but trust British Columbia was frontier when he produced these images.

One is dated on the reverse 1874, I suppose from his peak. Stephen Allen Spencer passed away in 1911.

Group of CDV photographs by S.A. Spencer, circa 1870-1880 Collection Jim Linderman

Dull Tool Dim Bulb Books HERE

Pair of ORIGINAL 19th Century Painted Photographer Studio Backdrops (For Sale)

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)

Photo Autograph Teeny Tiny Tintype Calling Cards

With tintype photographs no larger than a penny held in place with stickers from the Sunbeam Gallery in Rochester, NY. A gentility of the past.


Pair of Photo Autograph calling cards, Circa 1880 Collection Jim Linderman


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Sand Sculptures of Atlantic City Seaside Sand Sculpture without Snookie or the Situation

Working with sand! Sand Sculpture where I live is done with your toes and with every step, but the REAL art flourished in Atlantic City in the late 19th century. Talented artists began creating temporary statues and, as shown here, relief sculptures for passing boardwalk visitors.

They always had a purpose other than mere beauty. Some were commissioned by boardwalk businesses as advertising, others were sponsored by local fraternal organizations. There were independent artists as well, they worked for tips...but like all boardwalk "artists" many were con men. I don't know how you can pick the pocket of a fellow bending over to look at your sand sculpture when he is wearing bathing trunks, but it happened, and the practice of drawing crowds to sand art was outlawed in 1944.

Some artists worked close enough to the boardwalk to catch coins tossed by the strolling masses, early versions of "The Situation" and drunken shore slut "Snookie" (both who actually hang a few miles north at Seaside Heights, once one of my favorite places to escape from New York City for a weekend.) The only sculptures up there are The Situation's sculpted abdominal muscles.

Some would work on commission and create a sculpture of a paying customer. Many of the artists were African-American. Although not too well known, the Clarion magazine, (published by the American Folk Art Museum) describes Black artists working on the beach in a 1992 article, and as I recall, documenting an instance of an African-American artist being "lightened up" for a postcard.

For the silica masterpieces shown here, sand was densely packed into a box surrounded by 2 x 4 wood section and shaped with sticks and trowels. The sand surrounding the work was then painted black. I have found no less than two dozen postcards depicting the artists and their work, most dating to around 1910 (including one dated 1911 showing this very group of sculptures) but this is the only actual photograph I have seen. It dates to 1910 or so as well, I have seen the same group of works shown in a magazine around that time. As you can see, the artist added a few more works before the picture was taken for the postcard. Maybe they lugged them under the boardwalk when it rained.
Original Vernacular photograph of Atlantic City Sand Sculptures, circa 1910 collection Jim Linderman

Pictures Always Lie Press Photographs from the Past and a Piker Pushing a Peanut

I'm a bit tied up, so the post today is a slight rehash, but never, I promise, have I posted a picture of a prone piker pushing a peanut across the country with his nose. Note how Nehi butted in with their sign carrying flivver. The point here is that press photographs were always cropped, painted, embellished and fixed...and we thought a picture couldn't lie?

FAR from it.

I guess you don't always see a man with a Bee Beard either...but some drone in the photo department thought he could improve on it with a black halo.


See you in a few days.


Group of Original Glossy Press Photographs embellished by hand, circa 1930 - 1960. All Collection Jim Linderman


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