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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
1896 photographic view of Happy Hollow and the Happy Hollow (Brannon) Covered Bridge in Richmond, Indiana
This photograph is from an 1896 pictorial history of the city.¹ The road from which this photograph was taken no longer exists and was not named in the 1896 Sanborn™ fire insurance map set. Farther south, the road was labeled North Third Street in the 1909 map set. The photographer was looking north-northeast across the East Fork Whitewater River Valley when the photograph was taken. Happy Hollow was on the west side of the river and the covered bridge was that community’s link to downtown Richmond.
The stream discharging into East Fork Whitewater River near the lower left-hand corner of this scene is the West Fork Whitewater River. Near the left edge of the scene, a road was descending down into the valley. It ran past an iron bridge. Below that bridge, the road appears to turn east across the river toward the barn with the CHEW & SMOKE MAIL POUCH advertisement.
The area appears to be mostly residential in this scene. Sanborn™ didn’t complete detailed mapping of this area until 1909. The 1909 map set shows primarily residential development west of the West Fork. However, just beyond the covered bridge, the chimneys identified the location of Nixon Paper Company. The 1896 map set shows a millrace flowing southeast along the northwest side of the East Fork. The millrace flowed through the factory and then discharged back into the river just above the covered bridge. The 1896 map set listed the company’s power sources as steam and water. That map set says the square brick chimney was 96 feet tall and the iron chimney was 175 feet tall. By the time the 1909 map set was being prepared, the paper mill had closed and the millrace was no longer on the detailed map sheet.
1. Ed F. Dalbey and Walter L. Dalbey, Dalbey’s Souvenir Pictorial History of the City of Richmond, Indiana (Richmond, IN: Nicholson Printing and Mfg. Co., 1896). Available online at archive.org/stream/dalbeyssouvenirp00rich#page/n7/mode/2up.
Ron Branson kindly loaned this book from his library for the purpose of scanning this image.
Selected close-up sections of this photographic image can be seen here, from left to right in the image.
www.flickr.com/photos/hoosier_recollections/16269681758/
www.flickr.com/photos/hoosier_recollections/15837304723/
Copyright 2006-2015 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.
RolleiFlex : FUJIFILM NEOPANN ACROS100
生まれたての緑は
空に向かい大きく呼吸していた
今年の春には眩しくて美しい藤の花を咲かせるのだろう。
【Recollection】 1/1~2/15
アイランドギャラリー沖縄さんにて展示しております。http://sesoko.ti-da.net/
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.
My recollection is that these cranes were installed and then they closed the Docks!
Scan edited 7/6/20
this is late, but I guess, for my next thing, I'll try and take a photo every week of senior year.
let's see how far I get.
I guess I'll just try to reflect/express my feelings here.
I'll give you an essay this time. You might've read it already. If you haven't, you don't have to (; [it's really lengthy.]
and the coloring on this might be funky...my comp screens have different resolutions or whatever, and it's odd.= =
I grew up with a really fond appreciation for make-up.
It’s not even really a superficial personal thing; I never got to wear it when I was little, and I’m still not really allowed to cake artificial materials on my face.
However, when I was little, make-up just had that magical grown-up allure to it. It was so fascinating. I remember going into Victoria’s Secret with my aunt when I was about 4 or 5 [giving my parents one of the biggest scares of their lives, since they thought they lost us in a foreign mall]. You’d think I’d at least have a slight recollection of half-naked models or something, but I only remember the really bright lights and colorful perfume bottles.
I was always a bit jealous of my best friend, Rebecca [who pretty much has the perfect American family; not trying to be racist or anything, because it’s lovely, and her home’s one of my favorite places in this nation], because she’d always get the odd lipgloss or eyeshadow from her mom, after it had been used or neglected.
I was at her house once during one of these giveaways, and to my delight, I received two items: a sample of pink Clinique glosswear, as well as a sleek black tube of lipstick.
I still have both.
The lipstick’s by Lancome, and it’s called Champagne.
Even from a young age, I recognized that champagne was more of a bubbly, clear or maybe tinted beverage. It wasn’t this rich shade of warm pinkish shades, of glitter and glamour and rose-colored-glasses-celebrity.
Either way, I was thrilled, and felt like such a grown-up.
Even then, my parents were amongst the stricter in the Chinese organization. [I still don’t have my ears pierced.]
But that was okay when I was little—I had pretty hair clips, a collection of jewel-toned clip-on earrings, and a big smile to make up for everything.
And AR points. Lots of those. Those things got me the world.
But anyway—I remember one year, there was a Chinese New Year celebration, like there was every year. I got to dress up and perform; it was singing or dancing or something. Either way, my friend Charlotte and I got to glam up, changing into our pretty qi-paos, mine this vibrant red with gold embellishments; her a less-traditional lavender and white. During the final prepping moments in the bathroom, I remember her mother bringing out a shiny tube, and feeling a sudden rush of excitement. Indeed—her mom carefully applied a thick layer of glossy red lipstick to Charlotte’s lips, then adorned my own with the bright red as well.
I was thrilled. Beyond thrilled. In the space of those few seconds, we went from excited little elementary school kids to mature grown-ups wearing lipstick.
I messed with it just like I had seen my aunt do so—I pursed my lips, then took a bit of toilet paper and gently smacked my lips around it, making sure to also blot off the bit of excess.
It was awesome.
I don’t remember my performance at all. But I do remember coming off stage, cheeks burning naturally with all the applause and attention, and running to my family’s table. My brother greeted me with this I-have-no-idea-of-what’s-happening-because-I’m-a-baby-so-I’ll-just-coo-adorably-at-you face, so I just did what any doting celebrity would do [in my mind, at least].
I planted a big ol’ kiss on his cheek.
He squealed of course, laughing like it was his newest game.
My parents looked mildly confused—after all, Asian families don’t really show affection in public.
But I was euphoric—I did it again, making sure my brother’s face was equally imprinted with a messy crimson mark on his other cheek.
My parents rolled their eyes at my performance, naturally.
But I felt amazingly adult. I was such a star.
I don’t know why I just told you that. I mean, I’ve worn lipstick prominently like once in the past 8 years, and that was for prom sophomore year. I did come across the aforementioned lipstick when I was digging for tubes earlier, and I did read over my old diary as well…that probably led me here. But my point…
Senior year’s about two weeks in, and I’m not seeing why I ever wanted to grow up. Go figure.
But whatever—in a weekish, I’ll go put on my coats of bright red lipstick like all the other girls in my grade, and grant all those willing to participate in school spirit an imprint of my lips on some part of their face. That sounds really weird when I read it to myself, but whatever. Really, it’s an excuse for hormone-fueled seniors to express their pent-up emotions/frustrations/stuff I’m not going to inquire into. It does look hella fun, of course, now that I’m a senior. XD
And just by the way—bright red lipstick looks awful on me. Just dreadful. [shudder]
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.
Brücke/Bridge, 2005 (Kohle und Kreide auf Jute/Charcoal and chalk on jute)
The Albertina
The architectural history of the Palais
(Pictures you can see by clicking on the link at the end of page!)
Image: The oldest photographic view of the newly designed Palais Archduke Albrecht, 1869
"It is my will that the expansion of the inner city of Vienna with regard to a suitable connection of the same with the suburbs as soon as possible is tackled and at this on Regulirung (regulation) and beautifying of my Residence and Imperial Capital is taken into account. To this end I grant the withdrawal of the ramparts and fortifications of the inner city and the trenches around the same".
This decree of Emperor Franz Joseph I, published on 25 December 1857 in the Wiener Zeitung, formed the basis for the largest the surface concerning and architecturally most significant transformation of the Viennese cityscape. Involving several renowned domestic and foreign architects a "master plan" took form, which included the construction of a boulevard instead of the ramparts between the inner city and its radially upstream suburbs. In the 50-years during implementation phase, an impressive architectural ensemble developed, consisting of imperial and private representational buildings, public administration and cultural buildings, churches and barracks, marking the era under the term "ring-street style". Already in the first year tithe decided a senior member of the Austrian imperial family to decorate the facades of his palace according to the new design principles, and thus certified the aristocratic claim that this also "historicism" said style on the part of the imperial house was attributed.
Image: The Old Albertina after 1920
It was the palace of Archduke Albrecht (1817-1895), the Senior of the Habsburg Family Council, who as Field Marshal held the overall command over the Austro-Hungarian army. The building was incorporated into the imperial residence of the Hofburg complex, forming the south-west corner and extending eleven meters above street level on the so-called Augustinerbastei.
The close proximity of the palace to the imperial residence corresponded not only with Emperor Franz Joseph I and Archduke Albert with a close familial relationship between the owner of the palace and the monarch. Even the former inhabitants were always in close relationship to the imperial family, whether by birth or marriage. An exception here again proves the rule: Don Emanuel Teles da Silva Conde Tarouca (1696-1771), for which Maria Theresa in 1744 the palace had built, was just a close friend and advisor of the monarch. Silva Tarouca underpins the rule with a second exception, because he belonged to the administrative services as Generalhofbaudirektor (general court architect) and President of the Austrian-Dutch administration, while all other him subsequent owners were highest ranking military.
In the annals of Austrian history, especially those of military history, they either went into as commander of the Imperial Army, or the Austrian, later kk Army. In chronological order, this applies to Duke Carl Alexander of Lorraine, the brother-of-law of Maria Theresa, as Imperial Marshal, her son-in-law Duke Albert of Saxe-Teschen, also field marshal, whos adopted son, Archduke Charles of Austria, the last imperial field marshal and only Generalissimo of Austria, his son Archduke Albrecht of Austria as Feldmarschalil and army Supreme commander, and most recently his nephew Archduke Friedrich of Austria, who held as field marshal from 1914 to 1916 the command of the Austro-Hungarian troops. Despite their military profession, all five generals conceived themselves as patrons of the arts and promoted large sums of money to build large collections, the construction of magnificent buildings and cultural life. Charles Alexander of Lorraine promoted as governor of the Austrian Netherlands from 1741 to 1780 the Academy of Fine Arts, the Théâtre de Ja Monnaie and the companies Bourgeois Concert and Concert Noble, he founded the Academie royale et imperial des Sciences et des Lettres, opened the Bibliotheque Royal for the population and supported artistic talents with high scholarships. World fame got his porcelain collection, which however had to be sold by Emperor Joseph II to pay off his debts. Duke Albert began in 1776 according to the concept of conte Durazzo to set up an encyclopedic collection of prints, which forms the core of the world-famous "Albertina" today.
Image : Duke Albert and Archduchess Marie Christine show in family cercle the from Italy brought along art, 1776. Frederick Henry Füger.
1816 declared to Fideikommiss and thus in future indivisible, inalienable and inseparable, the collection 1822 passed into the possession of Archduke Carl, who, like his descendants, it broadened. Under him, the collection was introduced together with the sumptuously equipped palace on the Augustinerbastei in the so-called "Carl Ludwig'schen fideicommissum in 1826, by which the building and the in it kept collection fused into an indissoluble unity. At this time had from the Palais Tarouca by structural expansion or acquisition a veritable Residenz palace evolved. Duke Albert of Saxe-Teschen was first in 1800 the third floor of the adjacent Augustinian convent wing adapted to house his collection and he had after 1802 by his Belgian architect Louis de Montoyer at the suburban side built a magnificent extension, called the wing of staterooms, it was equipped in the style of Louis XVI. Only two decades later, Archduke Carl the entire palace newly set up. According to scetches of the architect Joseph Kornhäusel the 1822-1825 retreaded premises presented themselves in the Empire style. The interior of the palace testified from now in an impressive way the high rank and the prominent position of its owner. Under Archduke Albrecht the outer appearance also should meet the requirements. He had the facade of the palace in the style of historicism orchestrated and added to the Palais front against the suburbs an offshore covered access. Inside, he limited himself, apart from the redesign of the Rococo room in the manner of the second Blondel style, to the retention of the paternal stock. Archduke Friedrich's plans for an expansion of the palace were omitted, however, because of the outbreak of the First World War so that his contribution to the state rooms, especially, consists in the layout of the Spanish apartment, which he in 1895 for his sister, the Queen of Spain Maria Christina, had set up as a permanent residence.
Picture: The "audience room" after the restoration: Picture: The "balcony room" around 1990
The era of stately representation with handing down their cultural values found its most obvious visualization inside the palace through the design and features of the staterooms. On one hand, by the use of the finest materials and the purchase of masterfully manufactured pieces of equipment, such as on the other hand by the permanent reuse of older equipment parts. This period lasted until 1919, when Archduke Friedrich was expropriated by the newly founded Republic of Austria. With the republicanization of the collection and the building first of all finished the tradition that the owner's name was synonymous with the building name:
After Palais Tarouca or tarokkisches house it was called Lorraine House, afterwards Duke Albert Palais and Palais Archduke Carl. Due to the new construction of an adjacently located administration building it received in 1865 the prefix "Upper" and was referred to as Upper Palais Archduke Albrecht and Upper Palais Archduke Frederick. For the state a special reference to the Habsburg past was certainly politically no longer opportune, which is why was decided to name the building according to the in it kept collection "Albertina".
Picture: The "Wedgwood Cabinet" after the restoration: Picture: the "Wedgwood Cabinet" in the Palais Archduke Friedrich, 1905
This name derives from the term "La Collection Albertina" which had been used by the gallery Inspector Maurice von Thausing in 1870 in the Gazette des Beaux-Arts for the former graphics collection of Duke Albert. For this reason, it was the first time since the foundation of the palace that the name of the collection had become synonymous with the room shell. Room shell, hence, because the Republic of Austria Archduke Friedrich had allowed to take along all the movable goods from the palace in his Hungarian exile: crystal chandeliers, curtains and carpets as well as sculptures, vases and clocks. Particularly stressed should be the exquisite furniture, which stems of three facilities phases: the Louis XVI furnitures of Duke Albert, which had been manufactured on the basis of fraternal relations between his wife Archduchess Marie Christine and the French Queen Marie Antoinette after 1780 in the French Hofmanufakturen, also the on behalf of Archduke Charles 1822-1825 in the Vienna Porcelain Manufactory by Joseph Danhauser produced Empire furnitures and thirdly additions of the same style of Archduke Friedrich, which this about 1900 at Portois & Ffix as well as at Friedrich Otto Schmidt had commissioned.
The "swept clean" building got due to the strained financial situation after the First World War initially only a makeshift facility. However, since until 1999 no revision of the emergency equipment took place, but differently designed, primarily the utilitarianism committed office furnitures complementarily had been added, the equipment of the former state rooms presented itself at the end of the 20th century as an inhomogeneous administrative mingle-mangle of insignificant parts, where, however, dwelt a certain quaint charm. From the magnificent state rooms had evolved depots, storage rooms, a library, a study hall and several officed.
Image: The Albertina Graphic Arts Collection and the Philipphof after the American bombing of 12 März 1945.
Image: The palace after the demolition of the entrance facade, 1948-52
Worse it hit the outer appearance of the palace, because in times of continued anti-Habsburg sentiment after the Second World War and inspired by an intolerant destruction will, it came by pickaxe to a ministerial erasure of history. In contrast to the graphic collection possessed the richly decorated facades with the conspicuous insignia of the former owner an object-immanent reference to the Habsburg past and thus exhibited the monarchial traditions and values of the era of Francis Joseph significantly. As part of the remedial measures after a bomb damage, in 1948 the aristocratic, by Archduke Albert initiated, historicist facade structuring along with all decorations was cut off, many facade figures demolished and the Hapsburg crest emblems plunged to the ground. Since in addition the old ramp also had been cancelled and the main entrance of the bastion level had been moved down to the second basement storey at street level, ended the presence of the old Archduke's palace after more than 200 years. At the reopening of the "Albertina Graphic Collection" in 1952, the former Hapsburg Palais of splendour presented itself as one of his identity robbed, formally trivial, soulless room shell, whose successful republicanization an oversized and also unproportional eagle above the new main entrance to the Augustinian road symbolized. The emocratic throw of monuments had wiped out the Hapsburg palace from the urban appeareance, whereby in the perception only existed a nondescript, nameless and ahistorical building that henceforth served the lodging and presentation of world-famous graphic collection of the Albertina. The condition was not changed by the decision to the refurbishment because there were only planned collection specific extensions, but no restoration of the palace.
Image: The palace after the Second World War with simplified facades, the rudiment of the Danubiusbrunnens (well) and the new staircase up to the Augustinerbastei
This paradigm shift corresponded to a blatant reversal of the historical circumstances, as the travel guides and travel books for kk Residence and imperial capital of Vienna dedicated itself primarily with the magnificent, aristocratic palace on the Augustinerbastei with the sumptuously fitted out reception rooms and mentioned the collection kept there - if at all - only in passing. Only with the repositioning of the Albertina in 2000 under the direction of Klaus Albrecht Schröder, the palace was within the meaning and in fulfillment of the Fideikommiss of Archduke Charles in 1826 again met with the high regard, from which could result a further inseparable bond between the magnificent mansions and the world-famous collection. In view of the knowing about politically motivated errors and omissions of the past, the facades should get back their noble, historicist designing, the staterooms regain their glamorous, prestigious appearance and culturally unique equippment be repurchased. From this presumption, eventually grew the full commitment to revise the history of redemption and the return of the stately palace in the public consciousness.
Image: The restored suburb facade of the Palais Albertina suburb
The smoothed palace facades were returned to their original condition and present themselves today - with the exception of the not anymore reconstructed Attica figures - again with the historicist decoration and layout elements that Archduke Albrecht had given after the razing of the Augustinerbastei in 1865 in order. The neoclassical interiors, today called after the former inhabitants "Habsburg Staterooms", receiving a meticulous and detailed restoration taking place at the premises of originality and authenticity, got back their venerable and sumptuous appearance. From the world wide scattered historical pieces of equipment have been bought back 70 properties or could be returned through permanent loan to its original location, by which to the visitors is made experiencable again that atmosphere in 1919 the state rooms of the last Habsburg owner Archduke Frederick had owned. The for the first time in 80 years public accessible "Habsburg State Rooms" at the Palais Albertina enable now again as eloquent testimony to our Habsburg past and as a unique cultural heritage fundamental and essential insights into the Austrian cultural history. With the relocation of the main entrance to the level of the Augustinerbastei the recollection to this so valuable Austrian Cultural Heritage formally and functionally came to completion. The vision of the restoration and recovery of the grand palace was a pillar on which the new Albertina should arise again, the other embody the four large newly built exhibition halls, which allow for the first time in the history of the Albertina, to exhibit the collection throughout its encyclopedic breadh under optimal conservation conditions.
Image: The new entrance area of the Albertina
64 meter long shed roof. Hans Hollein.
The palace presents itself now in its appearance in the historicist style of the Ringstrassenära, almost as if nothing had happened in the meantime. But will the wheel of time should not, cannot and must not be turned back, so that the double standards of the "Albertina Palace" said museum - on the one hand Habsburg grandeur palaces and other modern museum for the arts of graphics - should be symbolized by a modern character: The in 2003 by Hans Hollein designed far into the Albertina square cantilevering, elegant floating flying roof. 64 meters long, it symbolizes in the form of a dynamic wedge the accelerated urban spatial connectivity and public access to the palace. It advertises the major changes in the interior as well as the huge underground extensions of the repositioned "Albertina".
Christian Benedictine
Art historian with research interests History of Architecture, building industry of the Hapsburgs, Hofburg and Zeremonialwissenschaft (ceremonial sciences). Since 1990 he works in the architecture collection of the Albertina. Since 2000 he supervises as director of the newly founded department "Staterooms" the restoration and furnishing of the state rooms and the restoration of the facades and explores the history of the palace and its inhabitants.
Canonet QL-17 GIII, Kodak Tri-X (@800)
Going through past stuff to put up on the blog (thus the circle-b - theatreofthemundane.tumblr.com/) and came across this, which I overlooked back in January. For whatever reason I didn't care for it at the time.
I had a vague recollection of one of these Spanish-built Dodges in the livery of Buckinghamshire haulier RG Jellis & Sons; it turned out to be to be a different company altogether but the idea was already stuck in my mind. That said, it would not have been out of place in a fleet that was an early adopter of foreign trucks in the form of Mercedes-Benz NGs. The Dodge R-Series was briefly popular with operators seeking an ‘alternative’ 32-ton truck with sprightly performance (26-Jan-20).
All rights reserved; not to be posted on Facebook or anywhere else without prior written permission. Please follow the link below for additional information about my work and the techniques used:
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.
“The human brain is like a railroad freight car -- guaranteed to have a certain capacity but often running empty.”
Still playing with my new Hero Arts inks and stamps, trying out different styles. I'm pretty pleased with the subtle woodgrain on the white layer. Don't know if it really shows up in the photo. The black embossing on the letters has a very cool bubbly texture.
Stamps and Dies - Hero Arts Designer Woodgrain (S5208); Arrow stamp and die DI072 (Archiver's Exclusive); PTI Pattern Hearts stamp & die
Inks - Hero Arts Raspberry Jam mid tone; Soft Granite; Colorbox Frost White pigment; Ranger embossing ink
Miscellaneous - Neenah Solar White CS; Tim Holtz Grunge Paper letters Recollections Ebony embossing powder.
Submitting to:
Hero Club Blog January 2013 Challenge (something new): heroarts.com/blogs/club/january-2013-contest-details/
Simon Says Stamp Challenge Blog (B/W with a Splash of Colour): simonsaysstampschallenge.blogspot.com/
And a final shot from the little project I set myself this week to try and document my commute with my iphone. It was good fun breaking out of the usual routine with the big camera, and nice too not to be weighed down by it and the changing of lenses.
The iphone is never going to take over my photography, but I really feel like I pushed myself into seeing things a little differently again.
c1910 postcard view of a Shriners parade on Monument Circle in Indianapolis, Indiana. This is a portion of the southwest quadrant looking west northwest toward Market Street. The FOR RENT signs on the building at the left appear to be from BARKER & SON. There is a MILLINERY sign painted on a display window in that building. The INDIANAPOLIS LIGHT AND HEAT Company building was next door (46-48 Monument Place according to the 1914 Sanborn fire insurance map set). A sign above the entrance announces SHRINE BAND HDQTS. Next door (50 Monument Place), a partially visible sign appears to include DeHA___. At 52 Monument Place is a business sign for ___N R. WELCH. The 1905 Polk city directory includes a listing for John R. Welch doing real estate, loans and insurance business at this address. The directory also lists Dora, Katherine and Thomas Welch working at this same address. In the 1912 Polk city directory, the business address is 1859 North Pennsylvania Street. Above the Welch sign is one for DR. E. GRUBER DENTISTS. Earnest D. GRUBER is listed in the 1905 Polk city directory at 53½ Monument Place and in the 1912 directory at 52½ Monument Place. The latter address is the location shown in this photograph.
The next business address is 56 Monument Place. The sign isn’t quite readable, but appears to include MILLIN___. The 1912 Polk city directory includes a listing for Elizabeth M. Johnson with a millinery business at this address. The next business address is 58 Monument Place and the sign at that address is for BURTON LOAN & JEWELRY. The 1912 Polk city directory lists the Burton Loan and Jewelry Co. at this address. The last retail store in this quadrant is advertising the PARAMOUNT 10C CIGAR. The address is 60 Monument Place per the Sanborn map set. The 1912 Polk city directory lists the Hamilton and McDowell business at this address under the category “Cigars and Tobacco—Retail.” The BATES HOTEL was located above the businesses at 56-60 Monument Place. The hotel’s address was 3 Market Street according to the 1912 Polk city directory. The Bates sign advertises EUROPEAN plan and ROOMS 75c to $1.00. CHAS. G. CRAMER was proprietor at the time this photo was taken. The 1912 Polk city directory lists Hubert. H. Keller as the proprietor.
The multi-story building in the background at the right edge of the view is the Traction Terminal Building at Market and Illinois Streets.
From a private collection.
Selected closeup sections of this postcard can be seen here, from left to right in the image.
www.flickr.com/photos/hoosier_recollections/7108077869/in...
www.flickr.com/photos/hoosier_recollections/7108077673/in...
www.flickr.com/photos/hoosier_recollections/7108077519/in...
www.flickr.com/photos/hoosier_recollections/6962007164/in...
www.flickr.com/photos/hoosier_recollections/7108077195/in...
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.
1913 postmarked (Cedar Lake) postcard view of the railroad depot in Cook, Indiana. Cook was located west of Cedar Lake in Lake County. The earliest online USGS topographic map is from 1953 and shows Cook on US 41 at the intersection of West 133rd Avenue. The map also shows the New York Central (Cleveland, Cincinnati, Chicago & St. Louis) Railroad passing on the east edge of town. South of West 133rd Street, a short siding looped around the back side of a building on the west side of the double tracks. This postcard appears to show double tracks and a possible siding behind the depot. Assuming that building was the depot shown in this scene, then the photographer was facing south-southwest when this photograph was taken.
The top line on the chalkboard beside the doorway read C. I. & S. R. R. This was the Chicago, Indiana & Southern Railroad. It was controlled by the New York Central Railroad. The sign on the corner of the building advertised the WESTERN UNION TELEGRAPH & CABLE OFFICE. Around the corner, signs advertised AGENCY AMERICAN EXPRESS and AMERICAN EXPRESS CO. The platform had been paved with bricks.
A handful of filled bags sat on the platform. Two young men sat on horse-drawn wagon nearby and two men stood near the doorway. They must have been anticipating the arrival of a train.
From a private collection.
A close-up section of this postcard image can be seen here.
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Copyright 2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. 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 La Porte, Indiana. This view was looking northeast toward the Indiana Avenue intersection and the LaPorte County Courthouse. The trolley car had stopped in the street. The shadows indicate the photograph was taken in the early morning.
The building at the left was on the west corner of the Indiana Avenue intersection. The sign above the awning advertised the OBERREICH & ARNOLD store. A 1902 directory¹ listed their business as “pianos” at 903 Main Street. The 1907 and 1912 Sanborn™ fire insurance map sets for La Porte both show a jewelry and china shop at that address.
The Sanborn™ map sets both show a bank in the building on the east corner at Indiana Avenue (824 Main Street). The 1902 directory identified that building as the State Bank Building and identified the bank as the Bank of The State of Indiana. Both map sets show a grocery on the south corner at that intersection (902 Main Street). The 1902 directory listed Martin Grandstaff as the grocer. Next door, the banner advertised CHOICE HAVANA CIGARS. Both map sets show a drug store at this location (904 Main Street). The 1902 directory listed Thomas H. Boyd & Co. as the druggist doing business at that address. The business was still listed as a La Porte druggist in a 1912 druggists’ directory.²
1. Johnson’s Business and Professional Directory (Washington, D. C.: Johnson Publishing Co., 1902). Available online at archive.org/details/johnsonsbusiness190203wash.
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....
From the collection of Thomas Keesling.
Selected close-up sections of this postcard can be seen here, from left to right in the image.
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Copyright 2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. 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.
1918 postmarked postcard view of the terrace on the St. Joseph’s College campus at Rensselaer, Indiana. The campus is on the south side of Rensselaer along the west side of South College Avenue. The chapel is still there, but the other building is gone. The 1909 Sanborn™ fire insurance map set shows this other building with a wide variety of functions, from baths and dormitories to study rooms and classrooms. This multi-purpose building faced east and this view was looking south-southwest.
The college filed articles of incorporation with the Indiana Secretary of State on April 1, 1889. The 1916 county history¹ says the south wing of this main building was completed and the first students enrolled in 1891. The main building was expanded to the north in 1893. The chapel in this scene was built in 1898-1899.
As of the spring of 2017, financial difficulties are forcing the closing of St. Joseph College.
1. Louis H. Hamilton and William Darroch, editors, A Standard History of Jasper and Newton Counties, Indiana (Chicago, IL: The Lewis Publishing Company, 1916). Available online at archive.org/stream/standardhistoryo01hami#page/n5/mode/2up.
From a private collection.
Copyright 2007-2017 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.
c1910 postcard view of the Civil War Monument and Main Street in Elkhart, Indiana. The photographer was facing north-northwest on Main Street when he took this photograph. The monument originally stood on Main Street at the Tyler Avenue intersection. However, it was removed to a cemetery in the 1920s. Except for the trolley car, all the vehicles in the street appear to be horse-drawn.
Several business signs are identifiable. For example, the signs on the northwest corner at South Main Street and Tyler Avenue (623 South Main Street) advertised the E. B. FELT DRUGS store. A 1905 directory of druggists¹ listed Elmer B. Felt as a druggist at this location. A penny scale stood outside the store entrance and a U. S. MAIL box stood at the curb in front of the drugstore. Next door, the name at the bottom of the HUDSON sign isn’t quite readable. However, the egg-shaped sign in the display window (above the mailbox) advertised KAMM & SCHELLINGER BEER. This was a Mishawaka brewery. The 1901 Sanborn™ fire insurance map set for Elkhart shows a saloon at this location (621 South Main Street). By the time the 1910 map set was being prepared, a clothing store had replaced the saloon. The advertising poster in that same window with the beer sign is only partially readable, but advertised the NAVASSARS LADIES BAND.
The lettering on the awning north of Hudson’s advertised the DAN COSCARELLY business (619 South Main Street). The front of the awning may have advertised WHOLESALE FRUIT STORE. A 1902 business directory² listed a Coscarelly & Spaniolo selling confections, fruit and cigars at 109 South Main Street. A 1904 directory³ listed a Cascarelly [sic] in the wholesale and retail fruit business at 127 South Main Street. The 1910 map set shows a fruit business at this 619 South Main Street location. Another postcard shows a newer awning at this address advertising DAN COSCARELLY FOR ICE CREAM.
Several signs were posted beyond Coscarelly’s. Some were on the south side of the alley (617 South Main) and some on the north side (615 South Main Street). THE POST sign appears to be on the south side of the alley. It may have been the name of the pool hall the 1910 Sanborn map set shows at this location. A smaller sign advertised PABST BLUE RIBBON Beer. It may have been on the building across the alley. The HARPER WHISKEY sign hung from the balcony on that building. The 1901 map set shows a lunch and saloon business at this location, but the 1910 map set shows a soft drinks business.
The fringe of the second awning north of the alley (613 South Main Street) advertised BILLIARDS. The 1910 map set shows a pool hall at that location. Another sign, partially hidden by a utility pole, advertised ____ FONG LO CHINESE CAFÉ CHOP SUEY. Neither map shows this business. A dog was standing in the second floor window immediately above that sign. The round sign farther north advertised $9.99 ____ ___ OVERCOAT. This was probably the second business south of Harrison Street. It was a gents furnishings business (605 South Main Street) in 1901 and a clothing business (603 South Main Street) in 1910. The 1902 directory listed E. G. Krienke as a tailor at this location.
The Bucklen Opera House was across the street on the northwest corner at Harrison Street. The awning on that corner that faced Main Street advertised DRUGS. The 1910 Sanborn map set shows a drugstore at that location (531 South Main Street). Both the 1902 and 1904 directories listed the Houseworth Brothers (Bert D. and John E.) as the druggists at that address.
The GOLDEN HOTEL sign was on the building at the southeast corner of Division Street (600-604 South Main Street). This hotel is shown on the 1910 Sanborn map set. The 618 sign was at 618 South Main Street. The 1910 Sanborn map set doesn’t identify the type of business at this address, but the 1901 map set shows a saloon. The awning and signs on the northeast corner at State Street advertise the OK (or O. K.) BARBER SHOP and BATHS business (626 South Main Street). TOBACCO AND CIGARS were also advertised. The map set identifies this building as the Tremont Block. It is still in use today.
1. The Era Druggists Directory, Eleventh Edition (New York, NY: D. O. Haynes & Co., 1905). Available online at books.google.com/books?id=bantAAAAMAAJ&printsec=front....
2. Johnson’s Business and Professional Directory (Washington, D. C.: Johnson Publishing Co., 1902). Available online at archive.org/details/johnsonsbusiness190203wash.
3. Elkhart Directory Company, Elkhart City Directory 1904-1905, Volume 1 (Elkhart, Indiana: Truth Print, 1904). Available online at archive.org/details/elkhartindianaci00unse_1.
This is a John Inbody photograph (Elkhart, Indiana).
From a private collection.
The full postcard image can be seen here.
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Copyright 2005-2014 by Hoosier Recollections. All rights reserved. This image is part of a creative package that includes the associated text, geodata and/or other information. 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.