Alan Mays' photos with the keyword: art

A rotated view of this reward of merit provides a better--though still tilted--view of the chromolithographed scrap added in the middle For the original, see Those Who Know Everything in General Know Nothing in Particular .

A reward of merit dated 1875. Unfortunately, the small but colorful chromolithographed scrap glued to the middle of the card isn't positioned correctly (take a look at a rotated version instead of craning your neck), but the elaborate design surrounding the scrap makes up for it. The nineteenth-century "maxim" printed on the card reminds me of the modern quip about know-it-alls: "Those who think they know everything annoy those of us who do." For another reward of merit printed by Colton, Zahm, & Roberts, see Look Up and Not Down . Golden Maxim Reward Those who know everything in general, know nothing in particular. Colton, Zahm, & Roberts, New York. Written on the back of the card: "1875, James M. Stoner."

A breakfast photo for the Vintage Photos Theme Park. (In selecting images for the VPTP, I normally attempt to find a new photo that I haven't previously posted on Ipernity. But the frig was bare when I went to look for breakfast, so I'm reheating this pic for this week's theme.) An early photo mounted on cardboard captures a group of young women in a student dormitory room (note the bed with folded blanket at lower right). These fourteen ladies have apparently crowded into a single room to share breakfast. Many of them are holding doughnuts, and one--standing in the corner at right--is eating a banana. Some of the students are pretending to feed each other, and a number of them have their eyes closed, possibly due to whatever the photographer used for a flash. Various photos and artworks adorn the walls, including a print hanging in the upper right-hand corner that's derived from Heinrich Hofmann 's painting of Christ in Gethsemane (1890). The blinds on the window at the back of the room are pulled down, and what seems to be an American flag is partially hidden in the folds of the curtains. There wasn't any caption or description on the photo, unfortunately, and we may never know what special occasion or celebration it was that prompted this dorm-room get-together.

A defaced or altered photo for the Vintage Photos Theme Park. I was surprised when I spotted this painted-over cabinet card photo at an antique mall last year. I had never seen anything quite like it, and I thought that it ruined the photo. On the other hand, I was intrigued by the way some unknown artist had re-imagined what was probably an otherwise unremarkable portrait, painting a modern lucha libre skull mask (and a small bat) onto a nineteenth-century photo and thereby transforming it into a work of Halloween art. I didn't necessarily want to encourage anyone to deface old photos, and I debated whether to even purchase it. The cabinet card was the only painted photo in the antique dealer's booth, however, and the eyes looked so haunting and pleading that I ended up buying it. Since then, I've come across Now and Then: The Cabinet Card Paintings of Alex Gross (Berkeley, Calif.: Gingko Press, 2012), a book described by its publisher as "the complete compendium of acclaimed artist Alex Gross's mixed media paintings layered on top of antique 19th century cabinet card photographs from portrait studios all around the country" (for before-and-after examples of the cabinet photos and finished paintings in the book, see the February 8, 2013, posting on Larry Fire's Fire Wire Pop Culture Blog ). This cabinet card painting isn't as elaborate as those by Alex Gross, and I still have mixed feelings about these kinds of mixed media, but it's still fascinating to see how the somewhat contradictory juxtaposition of modern artwork and vintage media can create something new and surprising. Note to administrators of photo groups: If you feel that the altered aspect of this photo isn't suitable for your group, I won't be offended at all if you remove it. Otherwise, I hope it sparks some discussion regarding the appropriateness of using old photographs in this manner.

An example of postage stamp collage art on a vintage postcard. This clever construction consists of used U.S. postage stamps that have been cut apart and arranged to depict a colonial interior scene that includes a grandfather clock, spinning wheel, writing table with a quill pen and inkwell, chair, fireplace, cat, and two works of art hanging on the wall. Based on the issue dates for the Warren G. Harding stamp (1925) and the Yorktown sesquicentennial stamp (1931), the collage was probably created sometime in the 1930s. Although this postcard was not postally used (there's no message, address, or postmark on the other side), the glaring hole in the middle of the Yorktown stamp suggests that it was hung on the wall at some point. For some interesting articles on stamp collages, see David A. Norris, "Vintage Stamp Collage Postcards," American Philatelist , Jan. 2012, pp. 56-58, and Russ Hahn, "Postage Stamp Collage Art," American Philatelist , Dec. 2012, pp. 1120-32 (to locate copies, Google the article citations). For another example of repurposed stamps, see Easter in Stamps :

For information about Sykes Ranch, see the full version of this photo:

For an enlarged view of the structure , mouse over the image above. I didn't quite know what to make of this snapshot when I purchased it. The photo is dated July 1956 and shows a haphazardly constructed structure of some sort, with discarded tires, odd lengths of wood, and unidentifiable pieces of metal. A strangely shaped homemade bench stands on one side of what looks like an entrance, and a couple of steer skulls stand guard on the other side. I thought that it might be the entrance to a junkyard. A number of handmade signs appear on the structure. One sign warns, "Posted, Keep Out," and right below it is another that says, "Welcome." I spotted yet another sign with a religious message--"Do You Believe in Jesus, Thank You"--and then I noticed a pair of signs that simply say, "Sykes Ranch." Could that be the name of the junkyard? After numerous Google searches, I found a March 3, 2011, blog posting by Vance Lauderdale that described " Stephen Sykes and His 'In-Curiosity' House ." It turns our that the owner of Sykes Ranch was "a remarkable fellow named Stephen Sykes, who constructed an absolutely amazing folk-art house / junk pile / art creation outside Aberdeen, Mississippi, in the 1950s that he called 'In-Curiosity.'" Despite the Sykes Ranch signs in the photo, the structure was referred to as "In-Curiosity" by Sykes or sometimes just "Curiosity" by others, as Lauderdale recounts in his blog posting and in a Very Curious column that he wrote for Memphis Magazine , February 2011. Lauderdale also located an earlier article, " Do It Yourself 'Skyscraper' ," in Ebony magazine, March 1963, pp. 75-78, that described Stephen Sykes as "a 69-year-old bachelor with a driving amibition to rise above his fellow man." Sykes, an African-American veteran of World War I, began building In-Curiosity, which he used as a residence, in the early 1950s on family-owned land located along U.S. Route 45 near Aberdeen, Mississippi. Lauderdale heard that Stephen Sykes passed away sometime in the 1960s, and he assumed that all traces of In-Curiosity vanished when Route 45 was later widened. "But Sykes and his amazing creation," Lauderdale fittingly said, "live on in the memories of hundreds, perhaps thousands, of travelers in this area, and in grainy home movies and snapshots tucked away in boxes and scrapbooks." -------- For additional views of In-Curiosity, photos of Stephen Sykes, and further information regarding the maker and his house, check out Vance Laureldale's writings and the Ebony article: Vance Lauderdale. Very Curious column. Memphis Magazine , February 2011. Vance Lauderdale. " Stephen Sykes and His 'In-Curiosity' House ." Ask Vance , March 3, 2011. " Do It Yourself 'Skyscraper' ." Ebony , March 1963, pp. 75-78.

See also the full version of this real photo postcard.

"Brown Village" is the caption on this real photo postcard signed by "Frazer," but I haven't been able to figure out who constructed this miniature village, where it was located, and whether the buildings in it correspond to those in an actual town somewhere in the United States. Mouse over the image to see a close-up of part of the village . The buildings, some of which are labeled, include a "Cudahy Packing Co., U.S.A." plant, water mill, church, "General Store," "Hotel," "Village School," and "Black Smith" shop. The initials "TVB" appear on a water tank above the Cudahy Packing Company, and a small sign next to the plant says, "Please Do Not Touch." Unfortunately, I haven't been able to determine what TVB stands for, nor have I been able to match the miniature Cudahy company building with a specific location (according to Wikipedia, the Cudahy Packing Company operated in over 97 U.S. cities by 1922). So until additional information comes to light, Brown Village will have to remain hidden somewhere in the twilight of some unknown zone.

I'm not sure what to make of this scene. A man and woman are posing with three sculptural pieces in the shapes of a boy, a woman, and a man. The sign above the boy says, "Hey, mom, is that guy Rip Van Winkle?" The mom replies, according to the second sign, "Yeah, and look at his wrinkled wink." Unfortunately, the third sign is only partially visibile, and I can't determine what it says. The guy with the wrinkled wink who turned out to be Rip Van Winkle is reading a book entitled Love Stories , and the cover of the book also says, "For the love of Mike." Inscribed on part of the stump just below Rip is the name "Ben Funk." Does any of this ring a bell with anyone?

"Dreamland at Legat Garden. Boudnek Photo. 58." This "Dreamland" castle was constructed in the 1920s by a man named John Legat as part of a garden in Fox River Grove, Illinois, that also included a wishing well, windmill, and fountain. Legat, who was married to the town's doctor, gave tours of his garden and sold postcard views of it (including, possibly, this one). Legat's land was later turned into building lots, and the garden gave way to a neighborhood of houses. Some of Legat's structures--including the castle--still remain, although they're in a state of disrepair. Check out Google Maps for a current view of the castle, which is located in a front yard at the corner of Grove and Lincoln avenues in Fox River Grove. For additional information, see the article, " Fox River Grove’s Other Castle ," which was originally published in the Northwest Herald , June 7, 2011. (The title of the article refers to another castle that's a full-size residence known as Castle Vianden or Bettendorf Castle; see the Wikipedia entry for Fox River Grove, Illinois , which provides a brief history and photo of this second castle.)

For this cabinet card back, see the full backmark illustration (above) and a detail showing the street scene in front of the photographer's gallery . -------- Although the photographer's name and address appears as "Schlickeisen, 343 Central Avenue, Jersey City, N.J.," on the front of this cabinet card, the name on the sign in the illustration on the back is spelled as "Schlickeysen" (ending in -keysen instead of -keisen). In addition, the arrangement of the street number--"343"--in the palette shapes on either side of the Art Gallery sign is curious, ending with a smaller superscript "3" that seemingly was added after the fact. Interestingly, Langdon's List of 19th & Early 20th Century Photographers provides some relevant information regarding Gustav Schlickeysen/Schlickeisen. According to Langdon, "Schlickeysen" was the spelling listed in city directories for 1888 and 1889, but during those years the photographer's address was 34 Hancock Avenue, Hoboken, New Jersey, rather than 343 Central Avenue, Jersey City, N.J. Directories for 1891, 1892, and 1893, however, indicate that "Schlickeisen" had already moved to the Central Avenue address in Hoboken. It's not clear why the spelling of Schlickeysen changed to Schlickeisen when the photographer moved from Hoboken to Jersey City. Although the new spelling appeared on the front of this cabinet card, the sign in the artwork on the back retained the old spelling. The street number, however, was updated by squeezing an extra "3" into the palette shapes to indicate the change from "34" (Hancock Avenue, Hoboken) to "343" (Central Avenue, Jersey City). If the illustration depicts the original gallery in Hoboken, however, I wonder if customers at Schlickeisen's new gallery in Jersey City were still confused by the drawing despite the updated street number. Finally, it's worth noting that a "Portrait" display case to attract potential customers is situated on the sidewalk in front of the gallery. And notice the horse-drawn tram passing by on the tracks in front of the gallery--an indication of how easy it would be to travel to the gallery.

For this cabinet card back, see the full backmark illustration and a detail showing the street scene in front of the photographer's gallery (above). -------- Although the photographer's name and address appears as "Schlickeisen, 343 Central Avenue, Jersey City, N.J.," on the front of this cabinet card, the name on the sign in the illustration on the back is spelled as "Schlickeysen" (ending in -keysen instead of -keisen). In addition, the arrangement of the street number--"343"--in the palette shapes on either side of the Art Gallery sign is curious, ending with a smaller superscript "3" that seemingly was added after the fact. Interestingly, Langdon's List of 19th & Early 20th Century Photographers provides some relevant information regarding Gustav Schlickeysen/Schlickeisen. According to Langdon, "Schlickeysen" was the spelling listed in city directories for 1888 and 1889, but during those years the photographer's address was 34 Hancock Avenue, Hoboken, New Jersey, rather than 343 Central Avenue, Jersey City, N.J. Directories for 1891, 1892, and 1893, however, indicate that "Schlickeisen" had already moved to the Central Avenue address in Hoboken. It's not clear why the spelling of Schlickeysen changed to Schlickeisen when the photographer moved from Hoboken to Jersey City. Although the new spelling appeared on the front of this cabinet card, the sign in the artwork on the back retained the old spelling. The street number, however, was updated by squeezing an extra "3" into the palette shapes to indicate the change from "34" (Hancock Avenue, Hoboken) to "343" (Central Avenue, Jersey City). If the illustration depicts the original gallery in Hoboken, however, I wonder if customers at Schlickeisen's new gallery in Jersey City were still confused by the drawing despite the updated street number. Finally, it's worth noting that a "Portrait" display case to attract potential customers is situated on the sidewalk in front of the gallery. And notice the horse-drawn tram passing by on the tracks in front of the gallery--an indication of how easy it would be to travel to the gallery.