And now for a lesson in portraiture, no wait...ummmm...still life...ummmm... photojournalism....oh man...okay, FINE ART PHOTOGRAPHY! Yeah, that's it. Here is a lesson in fine art photography.

Wikipedia says:
"A still life is a work of art depicting mostly inanimate subject matter, typically commonplace objects which may be either natural (food, flowers, plants, rocks, or shells) or man-made (drinking glasses, books, vases, jewelry, coins, pipes, and so on).

A portrait is a painting, photograph, sculpture, or other artistic representation of a person, in which the face and its expression is predominant.

Photojournalism is a particular form of journalism that creates images in order to tell a news story. Photojournalism is distinguished from other close branches of photography (such as documentary photography, social documentary photography, street photography or celebrity photography) by the qualities of:
  • Timeliness — the images have meaning in the context of a recently published record of events.
  • Objectivity — the situation implied by the images is a fair and accurate representation of the events they depict in both content and tone.
  • Narrative — the images combine with other news elements to make facts relatable to the viewer or reader on a cultural level.
Fine art photography refers to photographs that are created in accordance with the creative vision of the photographer as artist.
Like I said, this here is an example of fine art photography. The photographer had a creative vision. An avant-garde vision for sure. But if they call it art who are we to question their vision? Who are we to ask, "Ummmmmm excuse me, but exactly what was your focal point here?"

Oh, I know, if the mucky mucks in the art world put their stamp of approval on this thing, had it framed in a huge frame, hung in a prestigious gallery, we could get all sorts of fools nodding their heads, jabbering to each other about the masterpiece, and isn't it a shame that the artist has passed on leaving such a small amount of work.

* This is bad photography 101. Do not do what this person did. This photo has bad fung shoe-ie. This shot gives me a headache!



And on the last day Ernie rested, unsure if anyone appreciated anything he'd done. With all the toys he bought his son it ends up the kid prefers the hassock. Oh well, tomorrow he goes back to work where he knows he's not appreciated.

And so we come to the conclusion of One Man's Christmas here at Sepia Saturday.



Ernie with his amazing gift, a Polaroid camera. Now for some quiet time to sit and read the manual. Ernie is content with his Christmas...for the moment, until the manual becomes too complicated.

This is part 3 of a 4 part Sepia Saturday post.



This fellow, we will now call him Ernie, is trying so hard. The child in snapshot 1 was sitting and staring at the bedsheet covering the table beneath the Christmas tree. We now find Ernie trying to give her encouragement that domestic toys are fun.

Come back tomorrow to see more of One Man's Christmas.

This is part 2 of a 4 part Sepia Saturday post.



Was your Christmas good or bad, or are you still trying to figure that out? Sometimes it takes time to digest not only the meal, but the emotions of the day.

Starting today I present to you One Man's Christmas in 4 parts. I know nothing about this fellow other than the prints were made in 1966. It's possible this is his 1965 Christmas.

I will let you figure out the story.

Be sure to come back the next three days to see his story unfold.

This series will be my contribution to the latest Sepia Saturday.



Now my own Christmas tradition. I pull out this shot each year.

Hoping none of you received a pink bunny suit from any of your relatives.

Merry Christmas.



This photo is a holiday tradition at this place. I repost it every year because gosh darn it just says so much about the holidays.

The one thing I have never posted is the name of the family. I felt I might be crossing the line, but now I'm stepping up and over and want you to know, and I'm not kidding, on the back it says "The Nutters." This is not a joke. That is their name. THE NUTTERS!



Okay, it's not Christmas Eve yet, but since my mind will be elsewhere that day I thought I'd post this now.

Perhaps it's just me, but I've always thought the fella on the right looks like a young Dick Clark. Early American Bandstand. Philly Bandstand. There's a whole slew of people who will have no idea what I'm talking about.

Click on image to see it larger.

Santa has a slight Bob Hope look going on...for me. I can almost here him say, "...but I want to tell ya..."

The woman...so familiar, but I can't figure it out. She reminds me of an actress from the 1940s. Anyone think she looks like someone? Maybe it's just me. I can accept that.

To see a few photos from the past of questionable Santas:


CHRISTMAS JOY with Christmas Toys

This lovely little girl was found in the bottom of a box at an antique store. Who knows how long she had been there, smiling, waiting to be acknowledged. Who could resist her for only $1.00?

I'd say she dates back to the early 1940s, possibly late 30s. Leaded tinsel. Raise your hand if you remember it. Raise your hand if you have a box of it. Okay, my hand is raised. I'm looking around for the rest of you.

To see another image of a leaded tinsel Christmas tree check out this older post called "LEADED, not unleaded." You'll understand why I have a thing for the toxic leaded stuff.

And now the challenge I pass along to you. Can you name the four dolls this little angel has next to her? If you can let me know what you think.

And to see some past Christmas posts:

All of this brought to you for another wonderful Sepia Saturday.



Another image from the box of Uncle Roy's snapshots.

I know nothing about this shot. A typical vernacular photograph. Okay, not so typical. I believe it's the only one in my collection of a guy chewing on a stogie, with a knife plunged into a table, holding a pistol in one hand and booze in the other. Oh, and also has apparently considerable reading matter displayed on the bench in the foreground. Me thinks these boys were goofin' around. But then I don't know. The story is whatever we make of it.

Click on image to see it larger.



My father has always said how tough it was being overseas at Christmas. He still chokes up when he hears Bing Crosby singing White Christmas and remembers how there were times they were told not to play the recording because it made the fellas so homesick.

I have no idea when this snapshot was taken. It is from my Great Uncle Roy's box of photos when he was a Seabee during World War II while stationed in New Guinea. Have no idea who this sleeping fella is.

Click on image to see it larger.

When you crawl between the sheets tonight think of those far from home sleeping in something like this and how much they miss their families during the holidays.

To see more from Uncle Roy's box of vernacular photographs click here and here.


DOUBLE EXPOSED Rosa and Rodrique

Double exposures are a category. There are collectors who search for these. This one fell into my lap with all of Rosa's photos. The strangest thing is that I never even noticed it in the stack until the other day. It's a gem.

Rosa and Rodrique looking at fruit on a tree, perhaps in their own backyard.

Click on image to see it larger.

Double exposures can often be a lot of fun. Mistakes, nothing more than mistakes. Wonderful mistakes. The film simply didn't advance and it was exposed a second time. I have one that was exposed three times. I have one that is purely haunting. Others that are quite funny. This one is wonderfully sweet. And to me it's perfect. Two views of Rosa and Rodrique taken probably moments apart.

Now think for a moment about future double exposures. Yes, you can make them creatively in Photoshop, but who cares? It's these mistakes that are so magical. Images not meant to happen. Double exposures simply won't happen in this digital age and that's a shame.

If you're new to my site take a look at my past two posts where I provide more images of Rosa.

This is my post for this weeks Sepia Saturday. Cherish images from the past, even those that are "mistakes."

And again, my net access is nil. I apologize in advance for not being able to visit all the wonderful Sepia Saturday sites. I am pulling my hair out as I write this.



I think it's safe to assume Rosa took this shot of her husband Rodrique. So for a moment, we see him through her eyes.

Click on image to see it larger.



Raise your hand if you remember Rosa.

Okay, 1…2…3…sorry, I can't tell if you in the back have your hand raised or are swatting flies.

I thought it time to bring Rosa back for a few days.

Rosa in the snow. Not the first time I've shown her in snow, but that's at the end of this post.

Click on image to see it larger.

I have no idea where this was taken. Obviously not at her home in National City, California. Rosa is a woman of mystery.

If you remember, Rosa was from France, an immigrant to this country. She was married to Rodrique. To see the older posts click on the following links:

And a little surprise for those who have been following along here for the past few years. I posted a shot of Rosa long before I did the lengthy post. You can see that image here.



Once again, back to the Three Buck Big Box of Photos and trip through Margaret's world.

Click on image to see it larger.

I will allow the photo and copy on the back to say everything necessary.
April 8, 1955

The sun was in Johnys eyes
Margie was crying &
Michelle was all scrunched up

boy & girl
& Carnelles girl
And here we have the lovely scrunched Michelle, scrunching as only Michelle can scrunch.

Scrunch on Michelle, scrunch on!



Again I've reached my net access limit. Okay, it's because I'm working on my Tattered and Lost Ephemera Cafe Press shop.

Two new images from vintage turn of the last century post cards are available for gift items. Take a look!

From a vintage card printed in Germany sent in 1911 is an image of children sliding down a snowy hill.

The image of horses also dates from the early 20th century, but no message or postal stamp are on the back.



When faced with a box full of photos of unknown people and events what is your eye drawn to? A hodgepodge of images, mostly of people just standing center frame staring at the photographer. Do you buy them or toss them back?

I look back on some of the things I have bought and think "What the heck?" My taste has become more refined over the years. I can't say what I buy would be a must have purchase for someone else.

Okay, it's a given that if someone is cutting a cake I'm grabbing it. It's a category. I must find more.

But how to explain this snapshot? The people are slightly blurred. The location is nothing special. So why not toss it back into the pile?

Because of the woman's smile. All of the rest of the weaknesses in the photo disappeared to me once I focused on the woman's smile. She is the story.

Is she looking at the gentleman with love or laughing at a joke?

If you're a collector I think you'll understand this. For each collector it's that certain "something" that draws us in, whether or not anyone else goes on the journey.

I never buy with the idea that any of it will be of monetary value. I am simply stepping into another world for a moment and frankly I could care less if anyone else follows. For this moment I am the eyes of the photographer. I stand in their shoes.

And that folks is my Sepia Saturday entry for the week.


World War II Plane NOSE ART

Here are a few images from Uncle Roy's box of World War II snapshots. I featured a shot of a parachute jump yesterday. Today's is nose art from World War II planes.

It was pretty common for a crew to paint an image of a scantily clad woman on their planes. The ones shown here are all pretty crude in their artistic attempt. My assumption is that all the snapshots were taken in New Guinea.

Click on any image to see it larger.

The history of nose art is pretty interesting. From Wikipedia:
Nose art is a decorative painting or design on the fuselage of a military aircraft, usually located near the nose, and is a form of aircraft graffiti.

While begun for practical reasons of identifying friendly units, the practice evolved to express the individuality often constrained by the uniformity of the military, to evoke memories of home and peacetime life, and as a kind of psychological protection against the stresses of war and the probability of death. The appeal, in part, came from nose art not being officially approved, even when the regulations against it were not enforced.

Because of its individual and unofficial nature, it is considered folk art, inseparable from work as well as representative of a group.It can also be compared to sophisticated graffiti. In both cases, the artist is often anonymous, and the art itself is ephemeral. In addition, it relies on materials immediately available.

Nose art is largely a military tradition, but civilian airliners operated by the Virgin Group feature "Virgin Girls" on the nose as part of their livery. In a broad sense, the tail art of several airlines such as the Eskimo of Alaska Airlines, can be called "nose art", as are the tail markings of present-day U.S. Navy squadrons. There were exceptions, including 8th Air Force B-17 "Whizzer", which had its girl-riding-a-bomb on the dorsal fin.

The practice of putting personalized decorations on fighting aircraft originated with Italian and German pilots. The first recorded piece of nose art was a sea monster painted on the nose of an Italian flying boat in 1913. This was followed by the popular practice of painting mouths underneath the propeller spinner, initiated by German pilots in World War I. The cavallino rampante (prancing horse) of the Italian ace Francesco Baracca was another well-known symbol, as was the red-painted aircraft of Manfred von Richthofen. However, nose art of this era was often conceived and produced by the aircraft ground crews, not by the pilots.

Other World War I examples included the "Hat in the Ring" of the American 94th Aero Squadron (attributed to Lt. Johnny Wentworth) and the "Kicking Mule" of the 95th Aero Squadron. This followed the official policy, established by the American Expeditionary Forces' (AEF) Chief of the Air Service, Brigadier General Benjamin Foulois, on 6 May 1918, requiring the creation of distinct, readily identifiable squadron insignia. What is perhaps the most famous of all nose art, the shark-face insignia made famous by the American Volunteer Group Flying Tigers, also first appeared in World War I, though often with an effect more comical than menacing.

While World War I nose art was usually embellished or extravagant squadron insignia, true nose art appeared during World War II, which is considered by many observers to be the golden age of the genre, with both Axis and Allied pilots taking part. At the height of the war, nose-artists were in very high demand in the USAAF and were paid quite well for their services while AAF commanders tolerated nose art in an effort to boost aircrew morale. The U.S. Navy, by contrast, prohibited nose art, while nose art was uncommon in the RAF or RCAF.

Some nose art was commemorative or intended to honor certain people such as the B-29 Superfortress The Ernie Pyle.

The work was done by professional civilian artists as well as talented amateur servicemen. In 1941, for instance, the 39th Pursuit Squadron commissioned a Bell Aircraft artist to design and paint the "Cobra in the Clouds" logo on their aircraft. Perhaps the most enduring nose art of WWII was the shark-face motif, which first appeared on the Bf-110s of Luftwaffe 76th Destroyer Wing over Crete, where the twin-engined Messerschmitts outmatched the Gloster Gladiator biplanes of RAF 112 Squadron. The Commonwealth pilots were withdrawn to Egypt and refitted with Curtiss Tomahawks off the same assembly line building fighter aircraft for the AVG Flying Tigers being recruited for service in China. In November 1941, AVG pilots saw a 112 Squadron Tomahawk in an illustrated weekly and immediately adopted the shark-face motif for their own planes. This work was done by the pilots and ground crew in the field. Similarly, when in 1943 the 39th Fighter Squadron became the first American squadron in their theatre with 100 kills, they adopted the shark-face for their P-38 Lightnings. The shark-face is still used to this day, most commonly seen on the A-10 Thunderbolt II (with its gaping maw leading up to the muzzle of the aircraft's GAU-8 Avenger 30mm cannon), a testament to its popularity as a form of nose art.

The largest known work of nose art ever depicted on a WW II-era American combat aircraft was on a B-24J Liberator, s/n 44-40973, which had been named "The Dragon and his Tail" of the USAAF's Fifth Air Force's 43rd Bomb Group, 64th Bomb Squadron in the Southwest Pacific, flown by a crew led by Joseph Pagoni, with Staff Sergeant Sarkis Bartigan as the artist. The dragon artwork ran from the nose just forward of the cockpit, down the entire length of the fuselage's sides, with the dragon's body depicted directly below and just aft of the cockpit, with the dragon holding a topless nude woman in its forefeet.

Tony Starcer was the resident artist for the 91st Bomb Group (Heavy), one of the initial six groups fielded by the Eighth Air Force. Starcer painted over a hundred pieces of renowned B-17 nose art, including Memphis Belle. A commercial artist named Brinkman, from Chicago, was responsible for the zodiac-themed nose art of the B-24 Liberator-equipped 834th Bomb Squadron.

In the Korean War, nose art was popular with units operating A-26 and B-29 bombers, C-119 Flying Boxcar transports, as well as USAF fighter-bombers.[9] Due to changes in military policies and changing attitudes toward the representation of women, the amount of nose art declined after the Korean War.

During the Vietnam War, AC-130 gunships of the U.S Air Force Special Operations Squadrons were often given names with accompanying nose art - for example, "Thor", "Azrael - Angel of Death", "Ghost Rider", "War Lord" and "The Arbitrator." The unofficial gunship badge of a flying skeleton with a Minigun was also applied to many aircraft until the end of the war, and was later adopted officially.

Nose art underwent a revival during Operation Desert Storm and has become more common since Operation Enduring Freedom and Operation Iraqi Freedom began. Many crews are merging artwork as part of camouflage patterns. The United States Air Force had unofficially sanctioned the return of the pin-up (albeit fully-clothed) with the Strategic Air Command permitting nose art on its bomber force in the Command's last years. The continuation of historic names such as Memphis Belle was encouraged. (SOURCE: Wikipedia)



I found this snapshot this weekend in an old box that belonged to my maternal Great Uncle Roy who died in 1958. In World War II he served in New Guinea in I believe the Seabees.

I don't know where this shot was taken of the massive parachute jump, but find it fascinating, even if it's blurred.

Click on image to see it larger.

I remember Roy's house more than I remember him. And I remember his funeral and the aftermath as family rummaged through his house taking things. My mother and father took very little. My mother told me the way the others were behaving was disgusting. The only thing I got was a small knife that I unfortunately lost a long time ago. The item I most coveted was the rattlesnake rattle nailed to the wall near the back door. I didn't get it because I never spoke up to say how much I wanted it.

Anyway, I have this small box of photos, few with Roy in any of the pictures. All and all a better deal than the rattlesnake tail.

To read about the Seebeas click here.



I find this photo fascinating for a few reasons.

The photo is in a frame and unfortunately the front of the image is now glued to the glass. There's no way I know of to remove the image without damaging it. So it will always be stuck going through life with a cheesy dime store metal frame.

Click on image to see it larger.

The second thing that interests me is the fellows uniform. Anyone have any idea what it is? There's something Russian looking about the couple, but I could be wrong. I'd certainly be fascinated to hear what others think.

And then there's the woman with the heavy framed glasses without stems. Imagine keeping those on your nose all the time without your ears doing any of the heavy lifting.

What was their history? Did he go to war? Did he return? Were there children? All that information is lost with time.

If you don't read my other blog, Tattered and Lost Ephemera, the ¡Viva Fiesta! image in the left margin will seem out of place on a photography blog. So to find out a little bit of history about it click here.



Beyond grabbing some leaves to cover themselves, what is the significance of leaves in this photo? Yesterday Forgotten Old Photos featured a photo of a couple of "gentlemen" holding leaves. I know I have others. So what gives with the leaves? Strange mystical cult? Gardners? Adam and Eve thespians? If you have a clue do pass it along.

Click on image to see it larger.

Besides the leaves the obvious question is what was cut off the left side? Was there a grouping of three fellas holding bags of dirt? A cow that had wandered into the shot? Again, you can say it with me...we'll never know.

Another fine vernacular photograph from Bert's collection.


Sittin' In the Weeds SMOKIN' SOME WEED

Now, was it the photographer's choice or the subject's choice to sit in the weeds? Was he being humorous or had he just smoked a little too much of whatever it is he's smokin'? We'll never know.

No information is given on the back so he'll always just be Weed Smokin' Guy.

Actually, I believe I could make this a category. People sitting in chairs in odd places. Photos that somehow just don't look quite right. Such as this one from the past, Odd Family Grouping. Or perhaps the category should be Stubborn Men in Chairs. Yeah, that's the ticket.

Another from Bert's fabulous collection.


DON'T LET YOUR BABY Drink and Drive

I'm thinkin' maybe these adults are not a good influence on this here youngin'. A baby with a can of brew?

Click on image to see it larger.

This shot is from the Three Buck Big Box of Photos. If this photo originally belonged to Margaret she didn't write anything on the back. I guess really, what could she say?

And if you've been following this blog you may recognize the fellow on the right as one of the beer drinking guys in Ray Witt's backyard. This guy is lovin' himself some beer.



GENEALOGY and Vintage Photographs

One thing I've discovered since I began this blog is how many genealogists are naturally drawn to vintage photographs. Obvious path for them to take since it's all about research and ultimately many are interested in not just tracing a linear family tree, but they also want to put faces and personal histories attached to that tree.

I am not a genealogist though I took some interest many years ago and have a brief line on my maternal side going back to the late 1800s in Pennsylvania. I purchased some genealogy software over a decade ago, but found it cumbersome and confusing. Plus, I just wasn't interested in creating linear trees as my goal. I'm interested in the individuals and their stories and the software was just too complicated for what I wanted to do.

Now I've started organizing my old files using Sort Your Story, a new, inexpensive, easy and fun to use, small program that fits my needs created by a friend of mine. It does exactly what I need and if I ever choose to use one of the larger programs again I'll have all of my files organized in a way that makes sense to me.

I wanted to introduce you to the program with this Sepia Saturday post because you might find it useful. I know, this seems like a shameless plug, and in a way it is, but I get no monetary gain by recommending this program. I'm doing this because I believe in the program and think that it would be perfect for families and individuals wanting to get started doing their own genealogy, sorting the images and documents they've collected. It's also an excellent program for grandparents and their grandchildren. If you have a grandchild who shows no interest in genealogy this might just be the program to spark their interest.

Visit the Sort Your Story website and the Sort Your Story Facebook page to see a tutorial video.

As for this weeks sepia image, it's another fine vintage photo from the collection Bert gave me.

Click on image to see it larger.

This family portrait was taken in St. Paul, Minnesota by Youngberg at the Camera Art Studios. When I researched Youngberg in Minnesota several different studios were listed all bearing the Youngberg name. I don't know if these were all relatives competing against each other or just a coincidence.

The Youngberg that took this photo, or at least the name listed as the studio proprietor, was David C. Youngberg. The studio had two locations in St. Paul: Saint Peter Street and 412 Cedar Street. The listing shows that the "dates of operation" was 1918 and the "decades worked in Minnesota" was 1910s. You can click here to see this listing and the two other Youngberg listings. If you click here you'll see a bit more information including the fact that David C. Youngberg had two other partners, C. E. Richter and W. G. Greene. There is also a reference to the fact that the studio was the "Official Photographers for the Saint Paul Winter Carnival."

To see two more photos taken by David C. Youngberg click here and here.

I have no information about the subjects of the portrait. The husband does look older than the wife. Perhaps she was a mail order bride from the old country. Who knows. We can create any story we want.

I do find the backdrop a bit unusual. It seems to have a slight Spanish or New Orleans influence with the palm and the wrought iron balcony. Seems a very strange backdrop for St. Paul and their large Scandinavian community. A bit more exotic than I'd have expected.

Perhaps somewhere someone knows these people and their stories. It would be fun to have the pieces of the puzzle solved.



Have a Happy Thanksgiving!

Click on image to see it larger.

I bet my bird is bigger than your bird!

To read more about this little lady riding a bird click here to a post I did on January 10, 2009.



This adorable little girl in her fancy bonnet and stylish coat is from Bert's collection. The photo is in an old frame, sans glass, so I need to be very careful when handling her.

She looks like a little doll standing on a shelf. On her way to grandma and grandpa's for Thanksgiving? We can make up any story we want because there is no information given about her.


A photo of a photo. This is a RPPC of a photo. Don't know that I've ever seen an old photo of an old photo before.

This is from Bert's collection. There is no information given on the back other than:

"I guess you will no all but Walters wife and baby"

Ummmmmmm...NO! Lot of help that is! Seriously, they couldn't have written some names on the back other than the ones they didn't think we'd know. I DON'T KNOW ANY OF THEM! Is this a group of the Beverly Hillbillies heading west? No idea where these ladies are from or why they're all crowded into the car.

Let's hope they had a rip snortin' good time driving around in circles, although those look like some mean tough rocks to drive over. Hope the baby didn't get launched from the back seat.

Love their bonnets!


The USS PUGET SOUND in Hong Kong, 1945

Here's something a little different. This is from my father's collection of photos taken when he was in Hong Kong following the end of World War II.

Click on image to see it larger.

This is the USS Puget Sound(CVE 113) at anchor in Hong Kong harbor, December 1945.
USS Puget Sound (CVE-113)

Builder: Todd Pacific Shipyards
Laid down: 12 May 1944
Launched: 20 September 1944
Commissioned: 18 June 1945
18 October 1946
Reclassified: Helicopter Carrier, CVHE-113 on 12 June 1955, Cargo Ship and Aircraft Ferry, AKV-13
Struck: 1 June 1960
Fate: Sold 10 January 1962, and scrapped in Hong Kong 1962

General Characteristics
Class and type: Commencement Bay-class escort carrier
Displacement: 10,900 long tons (11,100 t), 24,100 long tons (24,500 t) full load
Length: 557 ft (170 m)
Beam: 75 ft (23 m)
Draft: 32 ft (9.8 m)
Propulsion: 2-shaft Allis-Chambers geared turbines, 16,000 shp
Speed: 19 knots (22 mph; 35 km/h)
Complement: 1,066
Armament: 2 × 5 in (130 mm) guns (2×1), 36 × 40 mm AA guns
Aircraft carried: 34

Service Record
Part of: US Pacific Fleet (1945-1946), Pacific Reserve Fleet (1946-1960)
Operations: Operation Magic Carpet

USS Puget Sound (CVE–113) was a Commencement Bay-class escort carrier of the United States Navy.

She was laid down on 12 May 1944 at Todd-Pacific Shipyards, Inc., Tacoma, Washington; launched on 20 November 1944; sponsored by Mrs. Bert A. Teats of Sheridan, Oreg.; and commissioned on 18 June 1945 at Tacoma, Captain Charles F. Coe in command.

Service History
After trials and fitting out in the Puget Sound Naval Shipyard, Puget Sound steamed south on 6 July 1945 for shakedown out of San Diego, Calif., where she embarked Marine Air Group 6. She departed San Diego on 8 September for brief training in the Hawaiian Islands before proceeding to support the occupation of Japan.

Puget Sound entered Tokyo Bay on 14 October 1945. Her aircraft joined in the show of strength and conducted antimine patrols in support of the landings of the 10th Army at Matsuyama and Nagoya. Thence tactical training took her to the Philippines, Hong Kong, and the Marianas. Loading surplus aircraft in Apra Harbor, Guam, she put to sea on 6 January 1946 en route to Pearl Harbor, where she offloaded the surplus aircraft. At San Diego on 23 January, Marine Air Group 6 was detached and Puget Sound prepared to serve as a "Magic Carpet" home for Pacific war veterans.

From February-May 1946, Puget Sound made two "Magic Carpet" runs between San Diego and Pearl Harbor and one between Alameda, California and Okinawa, transporting 1,200 troops and surplus aircraft.

She steamed north on 24 May 1946 to prepare for inactivation, entering Puget Sound Naval Shipyard on 1 June. Decommissioning there on 18 October, she entered the Pacific Reserve Fleet at Tacoma. Her hull classification and number were changed to CVHE–113, effective 12 June 1955, and then to AKV–13, cargo ship and aircraft ferry. Struck from the Naval Vessel Register on 1 June 1960, she was sold for scrap on 10 January 1962 to Nicholai Joffee Corp. (SOURCE: Wikipedia)
Click on image to see it larger.
Formation photo of change of command on 11 February 1946 for the CVE 113 USS Puget Sound. Photo provided by John Kruppstadt in memory of his father, Robert L. Kruppstadt, Signalman 3rd Class on this ship.

As to the boat in the foreground, that is a Chinese Junk:
A junk is an ancient Chinese sailing vessel design still in use today. Junks were developed during the Han Dynasty (206 BC–220 AD) and were used as sea-going vessels as early as the 2nd century AD. They evolved in the later dynasties, and were used throughout Asia for extensive ocean voyages. They were found, and in lesser numbers are still found, throughout South-East Asia and India, but primarily in China, perhaps most famously in Hong Kong. Found more broadly today is a growing number of modern recreational junk-rigged sailboats. (SOURCE: Wikipedia)
To read more about the history of the Chinese Junk click here.


First the House Was Here Then POOF, IT WAS GONE!

I honestly have no idea what is going on in this photo. I guess, and I'm sure I'm wrong, that this is a family visiting a spot out on the prairie where their house used to be. In my mind I have a whole scenario of a happy family that looses everything to a tornado and then takes a leisurely Sunday drive to picnic on their old stomping grounds.

Click on image to see it larger.

It seems an odd place to pose and even odder the way they're grouped. But hey, it must have made sense to them at the time. We'll never know.

This is a RPPC from Bert's collection.


The Lovely Young Girl at BAKER'S ART GALLERY

For this weeks Sepia Saturday I give you two cabinet cards of a lovely unknown girl. Both were taken at Baker's Art Gallery in Columbus, Ohio, date unknown.

Since I can't do any research about the young girl, I find I can do some on Baker's Art Gallery which may lead us to make some conclusions about the girl.
Baker's Art Gallery was founded by Lorenzo Marvin Baker. I have found the following biographies:
Lorenzo Marvin Baker (1834-1924). Photographer, born in Copenhagen, New York, April 20, 1834, and active in Columbus (Franklin) format the early 1860s until about 1897. Baker's Art Gallery eventually employed two of his sons, Lorenzo N. and Duane Henry Baker, as well as Jon Samuel Schneider, and was the best-known portrait studio in the state capital until well into the twentieth-century. Between 1874 and 1886, nearly thirty first and second Ohio State Fair prizes went to L. M. Baker for photographs of every description, both plain and finished in watercolor or ink. In later years, the firm made a speciality of commercial work and genre scenes (some of which were shown at the 1893 Chicago World's Fair and the 1900 Paris Universal Exposition), and continued successfully until the mid-1950s, when it finally closed. It's founder died in Columbus on February 26, 1924. (SOURCE: Artists in Ohio, 1787-1900)

L. M. BAKER of Baker's Art Gallery, came to Columbus, in 1854 and became a clerk in a store, and later at the Neil House; was an officer at the penitentiary under Governor Chase; served a short time in the army during- the late unpleasantness; went into the photograph business in 1862, and the net year established the present gallery, of which he has been the head ever since. Baker's Art Gallery has the finest are rooms in Ohio, and it is a demonstrated fact that the work of the artists are the best produced in the United States. They were awarded the gold medal for the best specimens of photographs exhibited at the Semi-Centennial at Boston and at the World's Fair at Chicago. (SOURCE: Ohio American Local History Nework)
His son Duane H. Baker:
DUANE HENRY BAKER (1859-1934). Photographer, active in Columbus (Franklin) from 1878 until at least 1909. A son of Lrenzo Marvin Baker, he was born in Columbus in October 1859, and he worked in his father's studio for more than twenty years before gradually taking over the firms' business affairs early in the twentieth century. He later passed the Baker Art Gallery on to his son Lorenzo P. Paker. Duane Henry Baker died in Columbus on April 19, 1934. (SOURCE: Artists in Ohio, 1787-1900)

DUANE H. BAKER, of Baker's Art Gallery, Columbus. Son of L. M. Baker. Finished his education at the Ohio State University, and has since been connected with Baker's Art Gallery, he being business manager and owning a third interest. Was a veteran member of the Columbus Cadets, six years a member of Governor's Guards. Socially a K. of P. and an Elk. (SOURCE: Ohio American Local History Nework)
And the third partner in the business, John Samuel Schneider:
JOHN SAMUEL SCHNEIDER (1860-1926). Photographer, active in Columbus (Franklin) from 1880 to 1912 or later. Born in Galion (Crawford), January 31, 1860, Schneider attended German Wallace College, Berea (Cuyahoga), and trained two years with William H. Moore, then worked under George William Edmondson in NOrwalk (Huron). In 1880 he settled in Columbus, where he was part owner and principal camera operator of Duane H. and Lorenzo Marvin Baker's studio from 1886 until well into the twentieth century. IN 1901 he served as president of the National Photographer's Association and was elected several times to head the Ohio State Photographer's Association. Some of his carefully posed genre scenes were shown at the 1900 Paris Universal Exposition. (SOURCE: Artists in Ohio, 1787-1900)

JOHN S. SCHNIEDER, Of Baker's Art Gallery, Columbus. Son of Rev. John S. Schnieder; completed his education at the German Wallace College, Berea; began as a photographer at Marion and after a short time at Norwalk came to Columbus as one of Baker's staff and in 1886 acquired a third interest in the business. He is in charge of the operating rooms. (SOURCE: Ohio American Local History Nework)
And then there was the youngest son, Lorenzo N. Baker, who was not a partner in the gallery:
LORENZO N. BAKER *1861-1905). Photographer, born in Columbus (Frannklin), December 16, 1861, the younger brother of Duane Henry Baker and second sone of Lorenzo Marvin Baker and his wife, Samantha. He worked in this father's Art Gallery during the 1880s, but by 1890 he had established his own business in Piqua (Miami). In 1899 he was again listed at the family home in Columbus, where he died, February 10, 1905. (SOURCE: Artists in Ohio, 1787-1900)
The two photos I have are blank on the back, but here's an example of their advertising on an earlier card showing their studio.

(SOURCE: Sheaf -Ephemera)

Here is an actual photo of the Gallery from the Ohio Historical Society files.

Here is a photo of the front display window.

And here's a shot of their reception room.

The two photos above are from a vintage book, The Photographic Journal of America, Vol. 31, which can be read here at Google Books. It's quite interesting to read.

What I really find fascinating about Baker's Art Gallery are some of the famous names and otherwise interesting folks that walked through their door:

Actress Baby Lillie Havre here and here

So, this leaves me with a few questions and possible facts.

It's likely our lovely young girl walked through the Baker's reception room and possibly met one of the men shown above. Now, was she simply a well off young lady who posed twice at the studio or was she an actress who brought a change of clothes for a one time sitting?

Both of these images of the young girl are from Bert's collection. Thank you Bert!