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Something different for the TOY (Re)collections show at LULUBELL toy Bodega in Tuscon Arizona. The concept of this show is for artists to create work that reflects their early memory of toys and what influenced them to become toy designers. I chose to illustrate the oft-told tale of when I was nine and tried to make a mold of my Greedo figure out of a bar of soap and then cast in in melted Green crayon.
The show is Saturday, June 5th
from 6-9PM
Lulubell Toy Bodega
439 N. 6th Avenue, Suite 187
Tucson, AZ 85705
RECOLLECTIONS OF OLD HOBART
THE POST OFFICE BLOCK. (By G. W. Rex.)
Noticing at different times accounts of old Hobart, the writer thought it might be interesting to put down from his own recollections and from mention in publications of early days some account of the buildings in the block at the corner of which the Post Office now stands, their occupants, and their history. The writer may claim to have had a particularly large intimate connection with this part of Hobart, since his business hours have been spent in it for the last 54 years, from January, 1857, down to the present time. But his first acquaintance with it dates even further back than that, and man's allotted span of three score years and ten has passed since he was taken, very young indeed, to the house of Mrs. Seal, which in the forties stood, as is mentioned below, where "The Mercury" office is now built. This is, of course, one of the oldest parts of Hobart, though not the very oldest. In a plan made in 1811, seven years after the settlement, the streets bounding it are shown with their present names. Collins-street is, of course, named after Colonel David Collins, Lieut.-Governor from 1804 till his death in-1810. Macquarie-street was so named by Governor Macquarie, after himself. Elizabeth-street was called after his wife and Argyle-street after his native county of that name in Scotland. It would be desirable, by the way, if someone did for Tasmania what has been done for South Australia, and gave us the origin as far as can be ascertainable of our place names. It may be anticipated, however, that it would be something of a labour of love, and that the circulation of the work would not be large. The first Government House stood opposite the Commercial Bank, and the ball-room on the other side of this block, about where the entrance to the Town-hall is now. This was built of wood, the timber being cut by nine Government sawyers employed by Collins from the trees which in those days grew thick and tall along the Hobart Rivulet. Elizabeth-street terminated at Macquarie-street, and when old Government House was pulled down the street was extended to the wharf. It is said that the first private house in Hobart was a hut built by Lieut. Lord, a little higher up, near where Macquarie House now stands. Coming down to a somewhat later date, there stood in the forties on the site now occupied by the General Post Office the residence of David Lord, father of the late John and James Lord, but a distinct family from that ot Lieutenant Lord. The house had a neat flower garden in front, where Mrs. Lord was often to be seen in the morning watering her garden. After her death the house was occupied by Mr. John Lord and his family. Next door to Mr. Lord's, where "The Mercury" office now stands was the residence of Mr. Charles Seal, merchant and shipowner. His son, the late Matthew Seal, was chairman of the Fisheries Board, and died at the Great Lake while on a salmon fishing trip. The house was afterwards occupied by Mr. George Burn, auctioneer, and others. Adjoining this is the old "Mercury" printing establishment, still in the possession of Messrs. Davies Bros. Limited, and used as a store, etc. On this spot, in very early days, the business of the Bank of Australasia was started, and the word "Bank." in gold letters, is still visible over the blocked-up old-entrance. Later on it was used as the residence of Mr. John Moore, printer, and then as a boarding-house kept by a family of the name of Jones. At the back of this was a yard, abutting on which were the "Herald" and the ''Guardian" printing office, and a tinsmith's workshop. In June, 1854, the late Mr. John Davies, M.H.A., purchased the printing office, and the newspaper, and altered the latter's name to ''The Mercury," which it has borne ever since. About 1852 three shops were built in the front, and occupied by Mr. R. J. Edwards, tobacconist (who previously had a shop in Liverpool street, and was burnt out by the large fire which raged between Wellington Bridge and Messrs. Brownell Bros.), Mr. Ellis Williams, tinsmith, and Mr. W. Hissey, a taxidermist and hairdresser. At the corner of Argyle and Macquarie streets in the building now known as Norman's Coffee Palace, but then called Ingloehall, after Mr. Ingle, who at one time owned a large portion of this square, a school, the nucleus of the present Hutchins School, was conducted by the Rev.J. R. Buck land, who afterwards became head master of Hutchins School. Before this the building had been occupied by Messrs. R. Lewis and Sons as a drapery establishment. Like most of the very old buildings, it stands a little back from the street, and is probably one of the oldest buildings still standing in this block. A little later Mr. W. Robertson, who had previously had a draper's shop in Elizabeth-street, where Mr. Cumming's shop now is, moved to this house, out he afterwards went to Victoria, and settled at Colac. The writer remembers two Norfolk Island pines which grew in front of Ingle-hall, being taken up and replanted in front of St. Andrew's Church, Bathurst-street, where they are still growing. Turning to Argyle-street, the first place was an oil and colour warehouse occupied by Mr. O. H. Hedberg. Mr. Hedberg, who was a Swede by birth, and a man of great strength and energy, was also superintendent of the Fire Brigade, and the Tasmanian Fire Insurance Company's manual fire engine was kept on his premises. The buildings next to these were occupied by Mr. James Burdon, coach-builder. They are still used for the same purpose, being occupied by Vout, Chisholm, and Co. The place at the corner of Argyle and Collins streets was occupied by Mr. Alex. Gellie, merchant and corn-dealer. Later on Mr. Guillois, a Frenchman, carried on the mattress-making business on these premises, and at his death Mr. Mangan, who still carries it on, took over the business. In part of the same premises in Collins-street Mr. R. Sawyer had a boot and shoe establishment. This part of the town was then something of an educational centre, for the next place up Collins-Street was a children's school, kept by Mrs. Metheringham. Next to her Mr. Alex. Fraser, who was also superintendent of the Melville street Wesleyan Sunday school, carried on business as a coach builder. Later on he went to Melbourne, and finally became Minister for Lands and Works in Victoria. His business here was taken over by Mr. J. McPherson, but later on the place was bought by Mr. G. S. Crouch, who carried on the business of an auctioneer there. The building next to this has had a very varied history. In those days it was used as auctioneering premises, and as such occupied by Messrs. Lowes and Macmichael, then by Mr. T. Y. Lowes, and then by Messrs. Brent and Westbrook. After this Mr. Daniel Graham carried on business there as a grocer and tea dealer. When he retired the place was renovated, and turned into a dancing saloon, called "the Polytechnic." It then reverted for a time to auctioneering uses under Mr. Thomas Westbrook and finally became the office of the "Tasmanian News." Where the building now occupied by Mr. Nettlefold stands there was in those days a gable ended building. To this Messrs. Ferguson and Co. at a later date built a front and carried on a wine and spirit business there. Before long building and front alike will probably be things of the past. On the corner where tho A.M.P. Society's buildings now stand were the stores of Messrs. L. Stevenson and Sons, drapery importers (in whose office Sir Philip Fysh and his brother were accountants), and occupied the place. Later on they moved to where Tattersalls now stands. Horwitz and Marks then occupied it, and Mr. J. G. Parker succeeded them on the corner. His business was that of a general importer, and there was also a bark mill near by. The building was a very old one, and, stood back a few yards from the footpath ; finally the A.M.P. Society bought it, and erected their present premises. Next door, in Elizabeth-street, was a small tailor's shop, occupied by a Mr. Capurn, who hailed from Lincolnshire. After him it was occupied successively by John Dean (baker and store), Messrs. Boyle Robertson Patey (agent), Robin Hood (picture-frame maker), and W. Le grand (old book-dealer), and finally became a tea-room. The place next-door was an upholstery and cabinet warehouse, occupied by Mr. Leonard Pear| son. After his death Mr. Henry Hopkins; jun. (son of Henry Hopkins, who built Westella, and is said to have been the first to export Tasmanian wool) carried on business as a machinery importer there. The place was afterwards purchased by Mr. James Robb, saddler, who still occupies it. Next door to this Mr. M. Fitzgerald had a tailoring business which afterwards passed to Mr. Henry Cook. and is still carried on by his son. It is interesting to notice that on this spot there stood, in still earlier days according to J. H. Walker's Early Tasmania, the Derwent Hotel, which was in its time the best inn in the town, and was kept by Mr. William Thomas Stocker, who was appointed by Lieut.-Governor Collins captain of the night watch soon after the first settlement of Hobart. Down Lord's Lane (now known as Cook's Lane) was a third-class educational establishment, a select academy and boarding-school for young gentlemen, conducted by Mr. Henry Wolff, the father of Mrs. George Levy, who is still a resident of Hobart. In addition to this, there were in the lane buildings occupied by Mr. C. E. Wilmot (registrar of births), Mr. J. Gill (solicitor, father of the late Mr. J. W. Gill), and other tenements and stables At the corner of Lord's Lane facing Elizabeth-street, stood Mrs. Gilford's choice silk, satin, and drapery establishment. Later on, Mr. McGregor used this as an office, and ultimately it, together with Lord's corner with which we began our catalogue, was bought as a site for the now Post Office. This fine building, which now adorns the city, is of course of very recent origin, the foundation stone having been laid on July 6, 1901, by our present King, George V., then Duke of York.
NLA Reference trove.nla.gov.au/ndp/del/article/10070110
A wonderful collection designed by Katarina Roccella for Art Gallery Fabrics. The colors are so unusual and amazing at the same time!
At the beginning of the year I started to make something with these pretties and I hope that soon I will have opportunity to finish it.
Uncle Walters recollections and photographs (See rest of set for more info)
This is the Tiergarten. It was here they used to have a big black market. Did I tell you about that Russian officer I picked up? I was in the Russian Zone, this was when you could go into the Russian Zone. I can’t remember what I was doing there, but I was on me way out, by myself. And this Russian flagged me down like. He was quite a decent sort of bloke, I think he might have been in the airforce. I stopped and he said “Alexanderplaatz”, it was in the Russian Sector, near where Checkpoint Charlie was later on. I picked him up and I was driving down there, and I didn’t know where the bloody hell I was going! I was a bit lost! Anyway I was driving down and there was this big notice up, on the side of a building. I couldn’t understand it, it was in Russian! He says “Ahh! Alexanderplaatz, that way.” So I carried on down, and we came to another one, “Alexanderplaatz!” So we got to Alexanderplaatz, and I knew where we was from then. Then he said “Brandenburg Gate?” So I says “Oh yeah, righto.” We was driving down there, and it was quite nice. We were sort of talking. The little bit of German that I knew, plus a little English he knew, it was going well! “Hey Tommee, Churchill, very good!” So I said “Stalin, very good!” “Tommee, very good!” So we were shaking hands and all that. When I got to the Brandenburg Gate, he got out, and that was where he was going, the black market!
Did you need passes to get into the different zones then?
No, we just drove into the zones. I did go into the American Zone, but I didn’t have much to do with the French Zone, and we used to do quite a bit in the Russian Zone, until things started going wrong.
This one job we had, we had to go to Spandau railhead, and these wagon loads of potatoes come in. And these German
civilians, they just loaded the potatoes in the back of our wagons with shovels, so they were all loose, and we’d pile them up. And then we used to go in convoy, probably about four or five of us, with a corporal in charge. When we’d go round a corner potatoes would fall off the back of the wagons, and these kids out there, they were picking the potatoes up! They got it so that they had a stick you see, and as we went past they used it to knock the potatoes off! It was dangerous, but I don’t think anybody got hurt.
The thing was, we used to take them all over the place, and this one place was in the Russian Zone, a depot of some kind. We just drove into a yard, and tipped the potatoes out and off we went. But there was one convoy went, with a corporal in charge, and the corporal got out and went to find out where they’d got to go. Of course the kids were helping themselves to these potatoes, and when the wagons did drive in, and tip their loads, the Russians closed the bloody gates, locked them, and wouldn’t let them out! They said they were selling their potatoes to the Germans. So they were stuck there for two or three days. Course when they got out the corporal was on a charge, but he wasn’t selling them at all. The Russians were like that.
There was another one. It was somewhere around about the Brandenburg Gate, and he was driving into the Russian Zone, and a Russian soldier stopped him. They used to carry machine guns, and obviously he stopped. They made him get out, and when he got out they got in and drove the bloody thing off! That’s the sort of things they used to do! This was when it started to turn sour, then of course they stopped us from going in the Russian Sector, but before that we used to drive straight through there.
What an incredible journey this costume has been to make!
The snow patterns on the cape are made with silicone from the hardware store. I think I used 18 tubes. Although it gives the perfect effect that I was looking for, it is terrible to work with. The fumes are insane when you're using a quantity like I did. In case you didn't know this, almost nothing sticks to it. I had to order a tube of glue worth $50 to try and get my silicone cut outs to adhere to my shoes (funtasma cry103/c) I used about 4 containers of Recollections extra fine glitter from Michael's craft store in Frost and white aurora borealis to embellish them. They shed like a nightmare. We went to a bar for Halloween and I had a drift of glitter up against the side of our booth. I shook it on when the silicone was freshly spread, but still it didn't really seal in at all.
I guess I should talk about the back panel, since it took the most time. The section that is embellished with rhinestones was done entirely by hand. They are 3mm glass rhinestones. Not as expensive as crystal but they still sparkle really nicely. I had originally planned to do the whole cape in crystal but after approximately 85 hours I cried uncle. The resulting conundrum was how to make it appear as if it was intentional, lol. I added an overlayer of "jagged ice", a piece of netting with the silicone and glitter technique layered over top to blend the rhinestone piece with the rest.
The fabric for the skirt came from here on etsy: www.etsy.com/ca/listing/189572293/extremely-hard-to-find-...
and it was utterly perfect, worth every penny.
I used vogue pattern V2810 to construct the skirt and corset, with a few necessary modifications. I made the front of the skirt flat, and put the slit in . It was a good guide to work from as I've no experience adding a train to a dress. Mine came out funny because I was working with patterned fabric and I couldn't place the pattern pieces in the correct way to achieve the right drape while still having the fabric pattern face the direction I wanted it to. I also didn't put a busk in the front of the corset, which I am still not sure about. On one hand I have the look I wanted in the front, but on the other hand if I had put the busk in I could have sewn the cape right on to the corset, which in my opinion might have been worth the compromise in appearance, because it would add more convenience (but when has looking good ever been about convenience, am I right?) The cape is connected to the top of the corset with bra hooks and has to be put on once I'm laced in to the corset tightly. The corset is boned with spring steel, and it's a good thing, because the cape weighs so much that if it was boned with plastic it would probably buckle under the strain.
Because I planned to wear this on halloween and to conventions I added a small clasp at the bottom of the train that connects with a recieving piece sewn just below the zipper. It allowes me to stow the train for easier movement and take it down conveniently for photos (or whatever).
The sequins were sewn to the corset by hand individually, after trimming off the second hole on the end of each sequin (there are almost 6000 of them, in cornflower blue, bought on Ebay from amazonbeads4u). Knowing the corset would stretch a bit as it got warm, I wanted the sequins to be able to move individually to avoid having any of them break off.
For the shirt I used McCalls pattern M4872 (d) but left the top band off the shirt and extended the sleeves to a point.
It took over 200 hours and about $600. For those of you keeping count if I was paying someone to make this and they made $15 an hour, it probably would have cost me around $3600. I love being able to sew :)
“The human brain is like a railroad freight car -- guaranteed to have a certain capacity but often running empty.”
I believe this to be the actual and official color scheme, but there seems to be a recollection among certain people in different locations about it.
Check this awesome artist out!!!
Recollections of a Visit to Leningrad, 1965. Oil on canvas (1922-1993) Private collection. Crocker Art Museum
RECOLLECTIONS OF OLD HOBART
THE POST OFFICE BLOCK. (By G. W. Rex.)
Noticing at different times accounts of old Hobart, the writer thought it might be interesting to put down from his own recollections and from mention in publications of early days some account of the buildings in the block at the corner of which the Post Office now stands, their occupants, and their history. The writer may claim to have had a particularly large intimate connection with this part of Hobart, since his business hours have been spent in it for the last 54 years, from January, 1857, down to the present time. But his first acquaintance with it dates even further back than that, and man's allotted span of three score years and ten has passed since he was taken, very young indeed, to the house of Mrs. Seal, which in the forties stood, as is mentioned below, where "The Mercury" office is now built. This is, of course, one of the oldest parts of Hobart, though not the very oldest. In a plan made in 1811, seven years after the settlement, the streets bounding it are shown with their present names. Collins-street is, of course, named after Colonel David Collins, Lieut.-Governor from 1804 till his death in-1810. Macquarie-street was so named by Governor Macquarie, after himself. Elizabeth-street was called after his wife and Argyle-street after his native county of that name in Scotland. It would be desirable, by the way, if someone did for Tasmania what has been done for South Australia, and gave us the origin as far as can be ascertainable of our place names. It may be anticipated, however, that it would be something of a labour of love, and that the circulation of the work would not be large. The first Government House stood opposite the Commercial Bank, and the ball-room on the other side of this block, about where the entrance to the Town-hall is now. This was built of wood, the timber being cut by nine Government sawyers employed by Collins from the trees which in those days grew thick and tall along the Hobart Rivulet. Elizabeth-street terminated at Macquarie-street, and when old Government House was pulled down the street was extended to the wharf. It is said that the first private house in Hobart was a hut built by Lieut. Lord, a little higher up, near where Macquarie House now stands. Coming down to a somewhat later date, there stood in the forties on the site now occupied by the General Post Office the residence of David Lord, father of the late John and James Lord, but a distinct family from that ot Lieutenant Lord. The house had a neat flower garden in front, where Mrs. Lord was often to be seen in the morning watering her garden. After her death the house was occupied by Mr. John Lord and his family. Next door to Mr. Lord's, where "The Mercury" office now stands was the residence of Mr. Charles Seal, merchant and shipowner. His son, the late Matthew Seal, was chairman of the Fisheries Board, and died at the Great Lake while on a salmon fishing trip. The house was afterwards occupied by Mr. George Burn, auctioneer, and others. Adjoining this is the old "Mercury" printing establishment, still in the possession of Messrs. Davies Bros. Limited, and used as a store, etc. On this spot, in very early days, the business of the Bank of Australasia was started, and the word "Bank." in gold letters, is still visible over the blocked-up old-entrance. Later on it was used as the residence of Mr. John Moore, printer, and then as a boarding-house kept by a family of the name of Jones. At the back of this was a yard, abutting on which were the "Herald" and the ''Guardian" printing office, and a tinsmith's workshop. In June, 1854, the late Mr. John Davies, M.H.A., purchased the printing office, and the newspaper, and altered the latter's name to ''The Mercury," which it has borne ever since. About 1852 three shops were built in the front, and occupied by Mr. R. J. Edwards, tobacconist (who previously had a shop in Liverpool street, and was burnt out by the large fire which raged between Wellington Bridge and Messrs. Brownell Bros.), Mr. Ellis Williams, tinsmith, and Mr. W. Hissey, a taxidermist and hairdresser. At the corner of Argyle and Macquarie streets in the building now known as Norman's Coffee Palace, but then called Ingloehall, after Mr. Ingle, who at one time owned a large portion of this square, a school, the nucleus of the present Hutchins School, was conducted by the Rev.J. R. Buck land, who afterwards became head master of Hutchins School. Before this the building had been occupied by Messrs. R. Lewis and Sons as a drapery establishment. Like most of the very old buildings, it stands a little back from the street, and is probably one of the oldest buildings still standing in this block. A little later Mr. W. Robertson, who had previously had a draper's shop in Elizabeth-street, where Mr. Cumming's shop now is, moved to this house, out he afterwards went to Victoria, and settled at Colac. The writer remembers two Norfolk Island pines which grew in front of Ingle-hall, being taken up and replanted in front of St. Andrew's Church, Bathurst-street, where they are still growing. Turning to Argyle-street, the first place was an oil and colour warehouse occupied by Mr. O. H. Hedberg. Mr. Hedberg, who was a Swede by birth, and a man of great strength and energy, was also superintendent of the Fire Brigade, and the Tasmanian Fire Insurance Company's manual fire engine was kept on his premises. The buildings next to these were occupied by Mr. James Burdon, coach-builder. They are still used for the same purpose, being occupied by Vout, Chisholm, and Co. The place at the corner of Argyle and Collins streets was occupied by Mr. Alex. Gellie, merchant and corn-dealer. Later on Mr. Guillois, a Frenchman, carried on the mattress-making business on these premises, and at his death Mr. Mangan, who still carries it on, took over the business. In part of the same premises in Collins-street Mr. R. Sawyer had a boot and shoe establishment. This part of the town was then something of an educational centre, for the next place up Collins-Street was a children's school, kept by Mrs. Metheringham. Next to her Mr. Alex. Fraser, who was also superintendent of the Melville street Wesleyan Sunday school, carried on business as a coach builder. Later on he went to Melbourne, and finally became Minister for Lands and Works in Victoria. His business here was taken over by Mr. J. McPherson, but later on the place was bought by Mr. G. S. Crouch, who carried on the business of an auctioneer there. The building next to this has had a very varied history. In those days it was used as auctioneering premises, and as such occupied by Messrs. Lowes and Macmichael, then by Mr. T. Y. Lowes, and then by Messrs. Brent and Westbrook. After this Mr. Daniel Graham carried on business there as a grocer and tea dealer. When he retired the place was renovated, and turned into a dancing saloon, called "the Polytechnic." It then reverted for a time to auctioneering uses under Mr. Thomas Westbrook and finally became the office of the "Tasmanian News." Where the building now occupied by Mr. Nettlefold stands there was in those days a gable ended building. To this Messrs. Ferguson and Co. at a later date built a front and carried on a wine and spirit business there. Before long building and front alike will probably be things of the past. On the corner where tho A.M.P. Society's buildings now stand were the stores of Messrs. L. Stevenson and Sons, drapery importers (in whose office Sir Philip Fysh and his brother were accountants), and occupied the place. Later on they moved to where Tattersalls now stands. Horwitz and Marks then occupied it, and Mr. J. G. Parker succeeded them on the corner. His business was that of a general importer, and there was also a bark mill near by. The building was a very old one, and, stood back a few yards from the footpath ; finally the A.M.P. Society bought it, and erected their present premises. Next door, in Elizabeth-street, was a small tailor's shop, occupied by a Mr. Capurn, who hailed from Lincolnshire. After him it was occupied successively by John Dean (baker and store), Messrs. Boyle Robertson Patey (agent), Robin Hood (picture-frame maker), and W. Le grand (old book-dealer), and finally became a tea-room. The place next-door was an upholstery and cabinet warehouse, occupied by Mr. Leonard Pear| son. After his death Mr. Henry Hopkins; jun. (son of Henry Hopkins, who built Westella, and is said to have been the first to export Tasmanian wool) carried on business as a machinery importer there. The place was afterwards purchased by Mr. James Robb, saddler, who still occupies it. Next door to this Mr. M. Fitzgerald had a tailoring business which afterwards passed to Mr. Henry Cook. and is still carried on by his son. It is interesting to notice that on this spot there stood, in still earlier days according to J. H. Walker's Early Tasmania, the Derwent Hotel, which was in its time the best inn in the town, and was kept by Mr. William Thomas Stocker, who was appointed by Lieut.-Governor Collins captain of the night watch soon after the first settlement of Hobart. Down Lord's Lane (now known as Cook's Lane) was a third-class educational establishment, a select academy and boarding-school for young gentlemen, conducted by Mr. Henry Wolff, the father of Mrs. George Levy, who is still a resident of Hobart. In addition to this, there were in the lane buildings occupied by Mr. C. E. Wilmot (registrar of births), Mr. J. Gill (solicitor, father of the late Mr. J. W. Gill), and other tenements and stables At the corner of Lord's Lane facing Elizabeth-street, stood Mrs. Gilford's choice silk, satin, and drapery establishment. Later on, Mr. McGregor used this as an office, and ultimately it, together with Lord's corner with which we began our catalogue, was bought as a site for the now Post Office. This fine building, which now adorns the city, is of course of very recent origin, the foundation stone having been laid on July 6, 1901, by our present King, George V., then Duke of York.
Looking southeast off the Whole Foods parking lot. An inbound Rock Island train is arriving LaSalle Street in the distance, AMTK P42DC #192 is about to deadhead into Union Station with the Empire Builder, and IDTX SC-44 #4617 gets servicing at 14th Street.
1910 postmarked postcard view of a boy on his bicycle posing in Etna Green, Indiana. A newspaper bag from THE JOURNAL-GAZETTE newspaper in Fort Wayne hung from the bicycle handlebar. Etna Green is about 50 miles from Fort Wayne. The backdrop for this photograph was the G. H. BURGH MEAT MARKET in Etna Green. George H. Burgh was the proprietor of that shop. One of the metal cans behind the right-hand display window was labeled LAR_. This was probably lard and the label included the G. H. Burgh name and his location in Etna Green.
The location of the shop wasn’t identified, but the reflection of a two-story brick building in the shop windows offers a clue. The second-story windows in that brick building are different from those in the two-story brick building that dominates the corner today at Walnut and Broadway streets. The windows are reflecting another brick building that is no longer standing.
The Journal-Gazette was the product of a merger of two Fort Wayne newspapers that began publishing in the 1860s. A 1910 newspaper directory¹ didn’t list any Etna Green newspapers, but did list six newspapers published in Fort Wayne. Two of the Fort Wayne newspapers were German language and another was a weekly. The Journal-Gazette had the largest circulation with 15,950; the News had 10,883; and the Sentinel had 8,437.
The 1910 directory identified The Journal-Gazette as a Democratic newspaper published every morning with 10-30 pages on 17” x 22” paper. The subscription rate was $4.80. A separate listing for a Thursday (evening?) edition with 12 pages had a subscription rate of $1.00, but had only 900 subscribers. A. J. Moynihan was listed as editor.
1. N. W. Ayer & Son's American Newspaper Annual and Directory (Philadelphia, PA: N. W. Ayer & Son, 1910), page 219. Available online at books.google.com/books?id=Oog7AQAAMAAJ&printsec=front....
From a private collection.
The full postcard view can be seen here.
www.flickr.com/photos/hoosier_recollections/5324704894/
Copyright 2010-2017 Hoosier Recollections. All rights reserved. This creative JPG file package is an original compilation of materials and data. The package is unique, consisting of a wide variety of related and integrated components. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
CARMINE INFANTINO
Flash 137
Carmine Infantino
BornMay 24, 1925
NationalityAmerican
Area(s) Penciller, Editor
Notable works Flash (Barry Allen)
Awards National Cartoonists Society Award, various Alley awards
Carmine Infantino (born May 24, 1925) is an American comic book artist and editor who was a major force in the Silver Age of Comic Books. He was inducted into the Comic Book Hall of Fame in 2000.
Early life and career
Carmine Infantino was born in Brooklyn, New York City.
He attended Public Schools 75 and 85 in Brooklyn before going on the High School of Industrial Arts (now the High School of Art and Design) in Manhattan. During his freshman year of high school, Infantino began working for the quirkily named Harry "A" Chesler, whose studio was one of a handful of comic-book "packagers" who created complete comics for publishers looking to enter the emerging field in the 1930s-1940s Golden Age of Comic Books. As Infantino recalled
“I used to go around as a youngster into companies, go in and try to meet people -- nothing ever happened. One day I went to this place on 23rd Street, this old broken-down warehouse, and I met Harry Chesler. Now, I was told he was a mean guy and he used people and he took artists. But he was very sweet to me. He said, 'Look, kid. You come up here, I'll give you a dollar a day, just study art, learn, and grow.' That was damn nice of him, I thought. He did that for me for a whole summer.”
Infantino, who also attended night classes at the Art Students League, became an art assistant at Quality Comics the following summer. Later, at Timely Comics, the Golden Age precursor of Marvel, Infantino got his first job drawing comics. With friend and high-school classmate Frank Giacoia penciling, Infanto inked the debut of the feature "Jack Frost" in USA Comics #1 (Aug. 1941). Infantino would eventually work for several publishers during the decade, drawing Airboy and the Heap for Hillman Periodicals; working for packager Jack Binder, who supplied Fawcett Comics; briefly at Holyoke; then landing at DC Comics, where he became a regular atist of the Golden Age Flash, Black Canary, Green Lantern and Justice Society of America.
During the 1950s, Infantino freelanced for Joe Simon and Jack Kirby's company, Prize Comics, drawing the series Charlie Chan, which in particular shows the influence both of Kirby's and Milton Caniff's art styles. Back at DC, during a lull in the popularity of superheroes, Infantino drew Westerns, mysteries, science fiction comics. As his style evolved, he began to shed both the Kirbyisms and the gritty shading of Caniff, and develop a clean, linear style.
The Silver Age
In 1956, DC editor Julius Schwartz assigned writer Robert Kanigher and artist Infantino to the company's first attempt at reviving superheroes: an updated version of the Flash that would appear in issue #4 (Oct. 1956) of the try-out series Showcase. Infantino designed the now-classic red uniform with yellow detail, striving to keep the costume as streamlined as possible, and he drew on his design abilities to create a new visual language to depict the Flash's speed, making the figure a red and yellow blur. The eventual success of the new, science-fictiony Flash heralded the wholesale return of superheroes, and the beginning of what fans and historians call the Silver Age of comics.
Showcase #4 (Oct. 1956): The Silver Age starts. Art by Carmine Infantino and Joe Kubert.
Infantino continued to work for Schwartz in his other features and titles, most notably "Adam Strange" in Strange Adventures, replacing Mike Sekowsky. In 1964, Schwartz was made responsible for reviving the faded Batman titles. Writer John Broome and artist Infantino jettisoned the sillier aspects that had crept into the series (such as (Ace the Bathound, and Bat-Mite) and gave the "New Look" Batman and Robin a more detective-oriented direction and sleeker draftsmanship that proved a hit combination. Other features and characters Infantino drew at DC include "The Space Museum", and Elongated Man
For his work in this period, he tied for the 1958 National Cartoonists Society award for the Comic Book Division.
After Wilson McCoy, the artist of The Phantom comic strip, died, Infantino finished one of his last stories. Infantino was a candidate for taking over the Phantom Sunday strip after McCoy's death, but the job was instead given to Sy Barry.
DC Comics editorial director
In 1967, Infantino was tasked with designing covers for the entire DC line. When DC was sold to Kinney National Company, Infantino was promoted to editorial director. He started by hiring new talent, and promoting artists to editorial positions. He hired Dick Giordano away from Charlton Comics, and made artists Joe Orlando, Joe Kubert and Mike Sekowsky editors. New talents such as Neal Adams and Denny O'Neil were injected into the company.
Infantino was made publisher in 1971, during a time of declining circulation for DC's comics. Infantino attempted a number of changes, including the launch of starting several new titles. Older characters including Green Lantern, Green Arrow, Superman, Wonder Woman and, again, Batman were revamped to mixed results.
The same year he was made publisher, Infantino scored a major coup in signing on Marvel Comics' star artist, Jack Kirby. Beginning with Jimmy Olsen, Kirby created his Fourth World saga that wove through that existing title and three new series he created. With sales of his comics landing below expectations, however, the titles were eventually canceled and a few years later Kirby went back to working at Marvel Comics.
In an effort to raise revenue, Infantino raised the cover price of DC's comics from 15 to 25 cents, simultaneously raising the page count by adding reprints and new backup features. Marvel met the price increase, then dropped back to 20 cents; Infantino stayed at 25 cents, a decision that ultimately proved bad for over-all sales.
After working with writer Mario Puzo on the Superman movie, Infantino collaborated with Marvel on the historic company-crossover publication Superman vs. Spider-Man. Yet before sales on that hit book had been recorded, Warner Communications replaced Infantino with Jenette Kahn, a person new to the comics field. Mr. Infantino returned to drawing freelance.
Later career
Infantino later drew for a number of titles for Warren Publishing and Marvel, including the latter's Star Wars, Spider-Woman, and Nova. In the 1980s, he again drew the Flash for DC. As of 2005, Infantino is retired, although he is often a guest at comic book conventions. Vanguard Productions published his autobiography The Amazing World of Carmine Infantino (ISBN 1-887591-12-5).
Awards
Infantino's awards include:
*1958 National Cartoonists Society Award, Best Comic Book
*1961 Alley Award, Best Single Issue: The Flash #123 (with Gardner Fox)
*1961 Alley Award, Best Story: "Flash of Two Worlds", The Flash #123 (with Gardner Fox)
*1961 Alley Award, Best Artist
*1962 Alley Award, Best Book-Length Story: "The Planet that Came to a Standstill!", Mystery in Space #75 (with Gardner Fox)
*1962 Alley Award, Best Pencil Artist
*1963 Alley Award, Best Artist
*1964 Alley Award, Best Short Story: "Doorway to the Unknown", The Flash #148 (with John Broome)
*1964 Alley Award, Best Pencil Artist
*1964 Alley Award, Best Comic Book Cover (Detective Comics #329 with Murphy Anderson)
*1967 Alley Award, Best Full-Length Story: "Who's Been Lying in My Grave?", Strange Adventures #205 (with Arnold Drake)
*1967 Alley Award, Best New Strip: "Deadman" in Strange Adventures (with Arnold Drake)
*1969 special Alley Award for being the person "who exemplifies the spirit of innovation and inventiveness in the field of comic art"
Categories: | American comics artists | Batman artists | Comic book editors | DC Comics executives | Flash (comics) artists |
It would seem that Lichtenstein was even less original than many of his existing detractors had thought.
Although Lichtenstein had been using comic book imagery in his paintings since 1957, he did not do large canvases reproducing single comic strip panels featuring speech balloons until he painted Look Mickey in the summer of 1961 4 months after he had, by his own admission, seen Warhol's canvases. Warhol had been painting single comic strip panels featuring speech balloons since 1960 - a year earlier than Lichtenstein. It is possible that Lichtenstein, as Warhol suspected, had seen Warhol's paintings at Bonwit Teller, although Lichtenstein never mentioned it in interviews. In any case, Lichtenstein admitted having seen Warhol's cartoon paintings prior to doing his own single panel comic strip paintings featuring speech balloons (Look Mickey) and it is possible he was influenced by Warhol's work.
www.flickr.com/photos/deconstructing-roy-lichtenstein/395...
www.warholstars.org/warhol1/11roylichtenstein.html
ROY LICHTENSTEIN
The first time that Warhol's large canvases of comic strip characters were exhibited publicly was in April 1961 as part of a window display at the Bonwit Teller department store. Ted Carey discovered afterwards that Roy Lichtenstein was doing similar work.
Ted Carey:
"... I can remember one Saturday afternoon going into Castelli [Gallery], and I was in looking at a show, and Ivan said, 'Oh, I've got something to show you...' so, we went into the closet and he pulled out this big Pop Art painting, and I can't remember what it was, but it was a cartoon-type painting. And I said, 'It looks like Andy Warhol.' and he said, 'No, it's Roy Lichtenstein.' And I said, 'Well it looks very much like some paintings that Andy is doing.' 'Yes, we've heard that Andy is doing some paintings like this,' he said, 'Leo would like to see them. So, tell Andy to give us a call.'"1
When Carey told Warhol of Lichtenstein's paintings, Warhol thought Lichtenstein was copying his ideas.
Ted Carey:
"... So, I went home and called Andy - no, I think, I went right over to Andy's house... and so, I said, 'Prepare yourself for a shock.' And he said, 'What?' I said, 'Castelli has a closet full of comic paintings.' And he said, 'You're kidding?!' And he said, 'Who did them?' And I said, 'Somebody by the name of Lichtenstein.' Well, Andy turned white. He said, 'Roy Lichtenstein.' He said, 'Roy Lichtenstein used to... ' - as I remember, he used to be a sign painter for Bonwit Teller, and here's where I'm a little bit confused because Andy... couldn't get anybody to show his early cartoon paintings, so he went to Gene Moore and Gene Moore said, 'Well I can put the paintings in the windows...' He put them in the 57th Street window... As I remember, the implication was: Andy felt that Lichtenstein had seen the paintings in the window and gave him the idea to do his paintings. Now, whether this is true or not, I don't know, but at this time, this is what Andy had felt."2
Lichtenstein later denied that he had any knowledge of Warhol's comic strip paintings prior to doing his own:
Roy Lichtenstein:
"I saw Andy's work at Leo Castelli's about the same time I brought mine in, about the spring of 1961... Of course, I was amazed to see Andy's work because he was doing cartoons of Nancy and Dick Tracy and they were similar to mine."3
Although Lichtenstein maintains that he saw Warhol's paintings at Castelli's gallery in "about" the Spring of 1961, Castelli did not have any Warhol paintings at that time. The only place they had been exhibited was in April 1961 in the windows of Bonwit Teller. Lichtenstein implies that Castelli was stocking Warhol's work prior to his own, whereas Carey's comments indicate the opposite - and Carey's comments are supported by the recollections of both Leo Castelli and Ivan Karp. Although Lichtenstein had been using comic book imagery in his paintings since 1957, he did not do large canvases reproducing single comic strip panels featuring speech balloons until he painted Look Mickey in the summer of 1961 4 months after he had, by his own admission, seen Warhol's canvases. Warhol had been painting single comic strip panels featuring speech balloons since 1960 - a year earlier than Lichtenstein. It is possible that Lichtenstein, as Warhol suspected, had seen Warhol's paintings at Bonwit Teller, although Lichtenstein never mentioned it in interviews. In any case, Lichtenstein admitted having seen Warhol's cartoon paintings prior to doing his own single panel comic strip paintings featuring speech balloons (Look Mickey) and it is possible he was influenced by Warhol's work.
davidbarsalou.homestead.com/LICHTENSTEINPROJECT.html
www.flickr.com/photos/deconstructing-roy-lichtenstein/
www.valleyadvocate.com/gbase/Arts/content?oid=oid:688
One of Silver Lake's largest estates at 11,743 square feet on a lot of 82,764 square feet. This huge residence has a storied history, culminating in the development of the Hathaway Estates, a planned subdivision within Silver Lake. The house was built in 1923 and has a commanding 360 Degree View atop one of Silver Lake's highest hills. The house is built entirely of reinforced concrete; there is not one stick of wood in its structure. Mr. Hathaway apparently had a great fear of fire, and did not want his house burning down! It was recently (September 2004) on the market for $3,250,000. The house is located at 1809 Apex Avenue in Silver Lake. It is currently owned by Dov Charney, founder and CEO of American Apparel, known for his success as an entrepreneur and passion for simple clothing. His leadership style has drawn extensive praise and criticism. He has earned recognition in the media for management decisions to pay a fair wage and refusing to outsource manufacturing. The Los Angeles Times named him as one of the Top 100 powerful people in Southern California and in 2009, he was nominated as a Time 100 finalist by Time magazine.
If any of our readers know about the development of Hathaway Estates, details about the original owner, architect or builder, please feel free to contact the editor of this column.
NOTES: I recently received an e-mail from Michele Martin informing me that 'the Estate belonged to a Charles Hathaway, a director/studio head from the silent screen era. His great granddaughter, Robin Clarke, was my best friend and neighbor when I lived at 2400 Micheltorena Street.'
Michele Martin
Greenwich Library
SLN Subscriber Ken Puchlik writes: 'From 1950 to 1965 I lived on Redesdale Ave. on the west side of the valley looking east at the Hathaway house on top of the hill. It was always vacant and never a light on. One night, the mansion was ablaze with light and everyone came out to wonder what was going on. It was simply the moon rising behind the home and the light was passing through the windows and out the other side. Obviously, it was devoid of furniture or curtains.
I also remember that there was another large building or home next to it; people said it was another mansion. It apparently was demolished during the construction of the 'tract' homes that I believe were a poor use of the viewscape. Having half the number of lots with higher end-well designed homes, taking better advantage of the pre-existing topography, would have been better use of the land. The developer should have used the axiom of 'less is more' and probably realized more investment return by developing premium lots on what was a rare piece of land. Paradise lost.
Mr. Hathaway had good reason to fear fire. In the early 50's a grass fire at the end of summer burnt up to the edge of the estate. Every local fire unit was on the scene. Dry summer grass was prevalent with all the vacant lots at the time. After that, the fire department started controlled burns of the lots every summer.
Before the hum of the freeways diminished the neighborhood's ambient sound, you could hear the trains switching in the yards off Fletcher Dr. late at night. The greatest chili dogs in the world were sold out of the old Signal Gas station at Effie and Silver Lake Blvd. Across the street, the 7/11 was a Union Oil Gas station with the friendliest guys who took good care of you at 20 cents a gallon of gas. And a kid could walk the 0.75 mile to catch the PE and go to the Ramona and see a 25 cent movie without any concern for safety, even at night.
Craig Collins writes 'When I moved here in 1982, the subdivision was just being built. The land had been bought by CalTrans for continuation of the Glendale Freeway, which was to connect with the Hollywood Freeway (near Vermont...where there's that very wide median), then on to Beverly Hills, which was to be the name of the freeway. As a result of that unfortunate choice of name and alignment, one of the very first successful opposition to a California freeway project was mounted, and the freeway ended at Glendale Boulevard. After many years, CalTrans began selling off the property, and you can pretty much trace the path by much of the newer construction, especially on the south side of Sunset.
I had heard about an effort to create a park on the Hathaway hill, but know nothing further about it. How spectacular that would have been!
Anyway, Peggy Stevenson was City Councilperson at the time, was a fervent supporter of the development community, and she evidently got quick approval of the housing project. After the development was completed, it mysteriously became a gated community. It's worth noting that Stevenson was defeated in a reelection bid by Michael Woo, who shepherded many of the pro-planning and more progressive changes in the city (such as getting a moratorium on the explosive development of mini-malls that was then in full swing). Upon her defeat, Stevenson systematically destroyed all the district constituent and project files in her office, forcing Woo to begin his office with nothing to aid projects and constituent concerns. That was the good old days in the LA City Council!
Well, that's what I know, subject to verification by others who may have a better historical perspective.
Veteran Silver Lake activist Maryann Kuk writes 'My recollection about Hathaway is that it had nothing to do with the #2 freeway. It was before I participated in any community stuff. The Hathaway estate (they are old money LA Athletic club, Riviera Country club, CA yacht club) sold it to a developer who wanted to build 100's of condos. SLRA got heavily involved opposing along with the immediate 'hood and the developer backed down to the 40+ or so [ugly, tract, crappy] houses. He promised to leave all of the mature tress, but the day after he got his permit he cut them all down. The Hathaway family had been collectors of specimens and I'm told it was beautiful.'
The Silver Lake News thanks our readers for their generous contributions of history and insights of Silver Lake!
Update: Without editing the content, I found some new "wrinkles" to our ongoing story, as reported in the popular real estate blog, "Take Sunset", March 28th, 2011:
"The Garbutt House actually has a very interesting history. It’s one of Silver Lake’s largest estates at 11,743 square feet of interior space, 3-stories tall with 20 rooms. It was built by Frank A. Garbutt, a movie pioneer, inventor, industrialist, and “one of the most prominent citizens of Los Angeles in the late 19th and early 20th Century” according to the Los Angeles Times. In 1923, Garbutt acquired the 37-acre hilltop site overlooking the Silver Lake Reservoir with views of the Pacific Ocean, the Santa Monica and Verdugo Mountains, and the downtown skyline. He built three houses on the site, which came to be known as the Garbutt-Hathaway Estate. (Garbutt’s son-in-law was Charles F. Hathaway, a shipbuilder and real estate developer.) The structures were built primarily of concrete, and were designed to withstand earthquakes, floods, and fire, which Garbutt was particularly afraid of. (There were also no fireplaces in the home.) He did allow some design touches, however. There were bronze window frames, hand carved teak and marble floors, and the first floor was entirely travertine.
Garbutt lived in the mansion until his death in 1947. In his spare time, he experimented with new inventions, built race cars, invented a soap-less detergent, and worked on a superior chewing gum.
Garbutt’s three children and their families lived on the estate after his death in 1947. The estate was eventually sold by his daughter in 1960. The houses sat dormant for several years as owners battled with the city and preservationists over plans to raze the three houses and build condominiums or a large housing development on the site. In 1978, two of the houses were torn down to make room for a 100-home development, but the Garbutt House was spared. In 1987, the Garbutt House was listed in the National Register of Historic Places. It’s now part of the gated community Hathaway Hill Estates, and it most recently sold in 2004 for $3,250,000".
New notes submitted 10/31/2019: Frank A. Garbutt owned all 3 homes. His daughter Melodile Garbutt married a Hathaway. Frank A Garbutt was fearful of fires and that is why his home was like a fortress. My mother is Frank E. Garbutts daughter. I hate to tell you this because you seem like a good writer but you have a lot of false info here. Frank A and Frank E were involved in the studios. Robin is my cousin, her Mother is Frank A’s daughter. Please corrects these errors. Thank you, Melodile Adams
The Garbutt House is listed in the National Register of Historic Resources. Please do not use this image in any media without my permission. © All rights reserved.
1913 dated postcard view of a flooded railroad bridge at Shoals, Indiana. This was the B. & O. SW (Baltimore & Ohio Southwestern) Railroad Bridge over East Fork of White River. It was one of the B. & O. SW bridges that survived the flood. The 1909 Sanborn™ fire insurance map set for Shoals shows the railroad following Third Street through downtown to the bridge west of downtown. That route remains in place today.
The photographer was at the east end of the bridge and facing west when the photograph was taken. A crowd of people had gathered to watch the flooded river and pose for the photograph. The 1909 map set identified the building in this scene as the pump house for the railroad water tank. The map set also shows the water tank about 350 feet east on Third Street at the Main Street intersection. It was on the north side of the track. The passenger and freight station was another block east at High Street on the south side of the track.
This B. & O. SW line between Cincinnati and St. Louis was out of commission for a month following the flood. Bridges were lost at the following Indiana locations: Lawrenceburg over the Big Miami River; Brownsville over East Fork of White River; Vallonia and Washington, over West Fork of White River; and Morristown over the Big Blue River. In some cases, temporary structures were built for train operation until new bridges could be completed.¹,²
The following news of a B. & O. SW status report was published on May 2, 1913.³
Baltimore & Ohio Losses by Floods
“The Baltimore & Ohio announces the restoration of its line across the Miami river at Lawrenceburg, Ind., 25 miles west of Cincinnati, and the resumption of through trains over all of the company's lines. The bridge at Lawrenceburg was 1240 ft. long and 820 ft. of the steel structure was carried away. The total property loss to the Baltimore & Ohio by the floods of a month ago is now estimated at $3,000,000. About 500 miles of track was badly damaged and twelve important steel bridges were destroyed or disabled. The total length of these bridges was about 4,000 ft. and the length of wooden trestles destroyed was about four miles. The work of restoration carried on during the past month has engaged the services of about 8,000 men using 18 pile drivers and numerous steam shovels and other machines. At many places, work was carried on both day and night.”
1. The Commercial and Financial Chronicle, Volume 97, No. 2519 (New York, NY: William B. Dana Company, 1913), page 1509. Available online at books.google.com/books?id=cko9AQAAMAAJ&printsec=front....
2. Engineering News, Volume LXIX (New York, NY: Hill Publishing Company, 1913). Available online at books.google.com/books?id=ZTRKAQAAMAAJ&printsec=front....
3. Samuel O. Dunn, Editor, Railway Age Gazette, Volume 54, No. 18 (New York, NY: Simmons-Boardman Publishing Co., 1913), page 1004. Available online at books.google.com/books?id=yQYjAQAAMAAJ&printsec=front....
From a private collection.
Selected close-up sections of this postcard can be seen here, from left to right in the image.
www.flickr.com/photos/hoosier_recollections/8381806692/in...
www.flickr.com/photos/hoosier_recollections/8381806486/in...
Copyright 2006-2018 Hoosier Recollections. All rights reserved. This creative JPG file package is an original compilation of materials and data. The package is unique, consisting of a wide variety of related and integrated components. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
c1910 postcard view of Main Street in Crawfordsville, Indiana. This view was looking east through the Green Street intersection in the foreground toward Water Street. The 1907 and 1913 Sanborn™ fire insurance map sets for Crawfordsville identify the building on the northeast corner at Green Street as the Crawford House hotel. The first floor of the building was devoted to retail and office space. The sign painted on the window advertised the WILL R. COLEMAN DRUGS store on the corner (200 East Main Street). Mr. Coleman advertised DRUGS, SODA and CIGARS. COCA COLA signs were leaning against the building on either side of the store entrance. A 1908 Indiana Board or Pharmacy report¹ listed Mr. Coleman as a Crawfordsville druggist. The 1912 ERA DRUGGIST directory² listed him as one of six druggists in the city. In addition to drugs, medicines and drug sundries, this directory indicates he also sold wines and liquors and had a soda fountain.
The hotel entrance (204 East Main Street) was easily identified by the portico and pillars. A public telephone sign (bell shape) was fastened to one of those pillars. A barber’s pole next to the hotel entrance advertised the barbershop (206 East Main Street) in the building. A 1902 Indiana business directory³ listed E. J. Tillotson as proprietor of the Crawford House Barber Shop.
A sign, partially hidden by one of the portico pillars, advertised a SALOON. The sign appears to include WESTERN as part of the name. The 1907 Sanborn™ map set shows two saloons immediately east of the Crawford House, at 210 and 212 East Main Street. Two of the 16 businesses listed as “Saloons” in the 1902 business directory for Crawfordsville were at these addresses. O. H. Gill was listed as proprietor at 210 East Main Street. M. J. Callahan was listed as proprietor of the business at 212 East Main Street. Large numbers of saloons in Indiana began to disappear after 1907, and the 1913 map set shows a boots and shoes business and a bakery where these two saloons had been.
The 1907 map set shows an office (214 East Main Street) and a restaurant (216 East Main Street) in the next building east. By the time the 1913 map set was being prepared, a liniment manufacturer and a grocery had replaced those earlier businesses. Farther east, the INTERURBAN SIGN corresponds to the location of an “electric railway baggage room” (218 East Main Street) and “waiting room” (220 East Main Street) that are identified in both map sets.
Initially, two separate interurban lines and stations served Crawfordsville. The station in this view belonged to the Indianapolis & Northwestern Traction Co. It served their Lebanon-Crawfordsville line beginning in 1904. Later, both interurban companies serving Crawfordsville became part of the T. H. I. & E. (Terre Haute, Indianapolis & Eastern) system. Apparently, both older stations were closed and replaced by a single station.
On the south side of Main Street, the signs are less clear. A partial RESTAURANT sign can be seen in the distance. The 1907 Sanborn™ map set shows a restaurant and bakery west of the alley (215 and 217 East Main Street, respectively) between Green and Water streets. The 1913 map set shows a moving pictures theatre and a restaurant at 215 and 217 East Main Street, respectively. A sign advertising CIGARS was probably associated with the cigar business shown on both map sets at 207 East Main Street. The 1902 directory listed H. S. Ensminger as proprietor of a cigar business at that address. A little farther west was a small sign that appears to advertise CANDIES. The 1907 map set shows a confectionery business at 205 East Main Street, but it had been replaced by a haberdashery business by the time the 1913 map set was being prepared. The DENTIST sign was probably advertising an office above the bank on the corner. The 1913 map set shows a stairway at the east end of that building where that sign was located. The 1902 directory listed E. Tatten as a dentist with an office address at the corner of Main and Green streets.
1. Indiana Board of Pharmacy. Ninth Annual Report (Indianapolis, IN: William B. Burford, 1908). Available online at books.google.com/books?id=afjqAAAAMAAJ&printsec=front....
2. Ezra J. Kennedy, ed. The Era Druggists Directory Sixteenth Edition (New York, NY: D. O. Haynes & Co., 1912). Available online at books.google.com/books?id=_PbNAAAAMAAJ&printsec=front....
3. Business and Professional Directory of Central Indiana (Indianapolis, IN: Union Directory Co., 1902). Available online at openlibrary.org/books/OL22862780M/Business_and_profession....
From a private collection.
Selected close-up sections of this postcard can be seen here, from left to right in the image.
www.flickr.com/photos/hoosier_recollections/8143515070/in...
www.flickr.com/photos/hoosier_recollections/8143514954/in...
www.flickr.com/photos/hoosier_recollections/8143484443/in...
Copyright 2005-2018 Hoosier Recollections. All rights reserved. This creative JPG file package is an original compilation of materials and data. The package is unique, consisting of a wide variety of related and integrated components. Neither this package in its entirety nor any of the individual components may be downloaded, transmitted or reproduced without the prior written permission of Hoosier Recollections.
V Sattui Winery, St. Helena, California, USA
History of the V Sattui Winery:
Dario Sattui remembers visiting Vittorio, his great-grandfather, who continued to live upstairs at the long dormant Bryant Street winery until his death at age 94. "As a small child, my first recollection was the aroma of wine emanating from the old building as soon as I entered," he says. He played among the barrels and ovals in the cellars, stories of the old family wine business ringing in his ears. It was then, Dario believes, that the dream of reopening the winery began.
In 1972, after two years in Europe beyond college, Dario began his apprenticeship at various Napa Valley wineries. He still had his dream, the same dream he'd had as a child. Dario pledged he "would reestablish V. Sattui Winery to its former glory."
But just how to do this was the problem. Dario had almost no capital and little practical knowledge of the wine industry. So he dedicated himself to developing the tools and skills he'd need to make the dream become a reality. Soon Dario had developed a business plan and began looking for prospective investors. Later, he found a parcel of land for sale that had a small walnut orchard with an old house on it. Dario remembers bringing prospective investors to the property telling them, "'Here is where we will build our winery,' all the while afraid that the people living on the property would throw me off for trespassing." Since he couldn't afford to purchase the property outright, he managed to get a lease-option for $500 a month. "The house was in such bad condition we lived in my VW bus for more than a month while making it suitable enough to live in."
Time passed as Dario continued to look for investors, but there were no takers. With his last $500, he paid for one more month on the property. Dario had only raised half the capital he needed to begin the winery, but he managed during that "last" month to talk a Napa real estate broker into buying the property, building a small winery on it, and then leasing it to Dario with an option to purchase it back sometime in the future. Still short of funds, Dario enlisted investors without money, but with the skills needed to help him create the winery building. That summer, July of 1975, they began construction, and it was finished in early 1976.
Renting the winemaking equipment he needed, using his great-grandfather's hand-corking machine and Vittorio's original design for the wine labels, the winery was open for business.
When Dario had lived in Europe, he'd remembered seeing small, family-run neighborhood delis filled with freshly made foods and wonderful selections of cheese. He was able to convert this memory into what was to become the perfect match for great wine, V. Sattui's famous Cheese Shop and Deli. Years passed and the struggle continued. Slowly, the winemaking process improved and success came. However, in those first few years, times were hard and Dario lived frugally, sometimes spending his nights sleeping on the floor of the winery so he could put what money he had into the new business. The original winery building is now the Tasting Room, Cheese Shop and Deli and Gift Shop.
As business grew, Dario began to be able to accumulate the best equipment available.
By 1985, V. Sattui Winery was able to build a beautiful stone winery amid the venerable 250 year-old oaks, reminiscent of the late 19th century wineries in Italy and France. With its two stories, tower, wine caves and underground aging cellars, its completion was a fitting tribute to help celebrate the centennial of Vittorio's dream. That same year, the 34-acre vineyard adjacent to the winery became available.
Renamed Suzanne's Vineyard, after his wife, it was soon joined by Carsi Vineyard in Yountville, followed in 1993 by the 556-acre Henry Ranch property in the Carneros grape-growing region, and then in 1998, a 128-acre ranch in Solano County. These, along with other acquisitions, will in the near future allow V. Sattui Winery to supply over 85% of its grape needs from five very distinct microclimates.
From the very beginning, Dario refused to compromise on the quality of the wine. The production and retailing concept offers insight into the reasons for V. Sattui Winery's success. Dario's vision has always been to fully integrate the process of winemaking from the grape to the consumer. This vertical control over all aspects of viticulture, winemaking, and sales is the future for V. Sattui Winery. It is because of Dario Sattui's dream that it has been able to provide the finest wines possible while continuing to sell them at a fair price directly to its customers.
Someday," I said to myself, "when I am rich and have nothing to do, I think I shall try and ride on every passenger train I can--and go to as many cities as I can, spending very little time in the city itself, but more in the clubcars and the elevated observation cars of the different trains." No, I didn't say it quite that way, but you get my drift if you are an adult reading this text.
We had so many dreams in youth, too many. There was no way they could all materialize, right? Sometimes I wonder if, as Americans, we create too many goals and dreams for ourselves, concentrating on one goal and then another, filling our minds with ambitions that would take several lifetimes to fulfill.