Happy New Year from BB!

(click to enlarge)

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Boulevard Haussman, taken tonight in Paris, with the rear of the Opera at center.

BB writes:

“…At least once a month, I want to photograph this little dome in color, but I’ve been working all month photographing romanesque chapels, day and night.

New Year’s Eve was my first day off.  I ran straight to the terraces on the 7th floor of the Printemps located on boulevard Haussmann.  From there, one can contemplate Paris and its magnificent 19th century domes; far from the crowded streets, we dream in a celestial field of buildings and monuments sculpted by light … Just before the new year !

Dear Ameer – Our 1902 Advance on Afghanistan

Here’s a double rarity for this media.  The attached is not from Ron Edge’s “clipping service” but from a microfilm reader at the U.W. Library.  The reason for sharing this page from the Jan 10, 1902 Daily Bulletin (a Seattle tabloid “devoted to Courts, Finance, Real Estate, Building and All Industrial Improvements”) is its clue to contemporary politics, which can be read directly below the part marked with a translucent red marker.  It expresses a sentiment that comes out of the joy of war got for Hearst and Roosevelt (representative citizens – pars pro toto – then for the nation) by beating up on Spain and the Philippines and so exhilarated the nation and brought such confidence that it was ready and eager for more broad-shouldered foreign jarring – or “big stick” jousting – in the name of “20th century progress.”  This was the first bloom and blush in the courtship of government and industry that soon gave birth to what we now call the “military industrial complex.”  Those that recall their world history will remember that 1902 was in the thick of the Age of Imperialism.  We never left it.

(Double click to Enlarge)

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Up the Down Chimney, Part II

Thanks to all who attended one of our shows this year!  The first, at Town Hall, sold out the downstairs space and was a ripsnorter, indulging in oodles of spirited holiday fare.  The second, at the Good Shepherd Center Chapel, drew a more intimate 70 or so, but revealed its own candid pleasures.

Performers included Julie Briskman, Frank Corrado, Paul Dorpat, and Jean Sherrard, displaying a wide range of seasonal tonics, anecdotes, and antidotes. Musicians included John and Tia Owen, Mark Kramer, Stu Dempster, and Ethan Sherrard. We particularly thank our tech support staff – artists both – the always inspired David Verkade and Jean’s brilliant former student Rhys Ringwald.

Here are a few photos from both events:

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Wier Harman exhorts the crowd at Town Hall
Frank Corrado reading 'Red Ryder nails the Cleveland Street Kid'
Frank Corrado reading 'Red Ryder nails the Cleveland Street Kid'
Jean with Julie Briskman singing "Christmas Island"
Jean with the remarkable Julie Briskman
Paul conducts
Dorpat conducts; Dempster's on his axe.
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Mark Kramer, John and Tia Owen, as the Town Hall show begins
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Mark, John, and Tia
Mark Kramer
Mark Kramer
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John, Ethan Sherrard, Jean, and Stu
Paul reads Thurber (photo from Rhys Ringwald's cell phone)
Paul reads Thurber (photo from Rhys Ringwald's cell phone)

Street Poet revisited

Vladimir Augustin near First & Main
Vladimir Augustin near First & Main

Vladimir Augustin, whom some may remember from an April post, walked into John Siscoe’s Globe Bookstore, looking cold and a bit blurred around the edges.

He writes poems on cards for passersby and lives rough. For the most part, the tourist trade has dried up, but he carries a small boombox (which was playing a Mozart concerto), and continues scavenging for customers.

Needle postcard
Needle postcard

John gave Augustin a postcard of the Space Needle and when I found him in front of the soon to be evacuated Elliott Bay Bookstore, he wrote me another poem. It was night and hard to decipher under the streetlight, but he read it to me aloud. ‘A Masterpiece of Christmas’ he called it, and I’d share it with you but I can’t quite make out the script.

UPDATE:

As per Maria’s request, a photo of the postcard poem — ‘A Masterpiece of Christmas’ – note it contains an acrostic: “The Collective Purpose” (click to enlarge):

'A Masterpiece of Christmas'
'A Masterpiece of Christmas'

Edge Clipping – READ ALL ABOUT IT – The Evening Dispatch for Monday Dec. 24, 1877

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For the occasion of this Christmas 2009 Ron Edge has pulled out the full four pages of Seattle’s Evening Dispatch for the Monday Evening of Dec. 24, 1877.   For those with the steady temperament to insert themselves into a small community of well under 4000 citizens – and yet still with five churches and many more bars – a close reading of these pages will take them away.

The Dispatch was not the first newspaper in Seattle, but it was an early one.  Clarence Bagley, the pioneer Seattle historian described its editor, Beriah Brown, as “one of the old school of newspaper men, a writer of editorials worthy of the great papers of the United States.  He was a friend of Horace Greeley . . .  His custom was to go to the case and put his articles in type as he composed them. It is hard to comprehend the difficulty occasioned by the dual processes of thought this brought into play.”

We will include now all four pages of this Dec. 24, 1877 issue, and separate them by short notices of some of what we found on each page.  The reader may, of course, skip our comments and go directly to Brown’s Dispatch.

First – the first page.

In 1877, Christmas fell on a Tuesday.  This made the call for profound messages especially taxing on the small community’s several preachers.  They could not very well avoid the Christ Child with their Sunday the 23rd sermon, but they then would also be expected to come up with new materials, and roughly on the same subject, for Christmas Day services.  Rarely, of course, did they have “new material” but were skilled for the great part in the twisting or adjusting of the old stories – most of them from the Bible.  Still if you read the Page One Evening Dispatch accounts of some of Seattle’s Sunday services, you will find differences of tone or emphasis in how, for instance, Rev. D. Bagley of the “Brown Church” and Rev. I. Dillon of the “White Church” and visiting Congregationalist  Rev. W. Steward handle their subjects.  J. Ellis, the local Congregationalist, also took to the pulpit, Sunday evening.  (The Baptists, Catholics and Episcopal churches were noted in other reports.)

Of these four, it was Steward, the visitor from the north, who after warming up gave the best example of a fire and brimstone sermon noting that “commonsense, sound philosophy and our home experience unite, in tones of thunder, ‘that heaven is no place for the ungodly.  The very thought of the atheist, the Deist, the liar, the murderer or blasphemer going to heaven is absurd.  There is nothing so much out of place and unfit, that would be justified for a moment by any respectable tribunal on earth, much less in the court of heaven, where nothing that defileth or maketh a lie can enter, and where ‘Holiness if the Lord’ is the imprint on every commodity.”  Commodity!?    Jumping forward to page three, we learn that Steward when relaxing with a cup of tea in the living room is a kindly “84 years of age.  He is visiting with Dr. Weed, Mrs. Weed being his niece.  Mr. Stewart has been an extraordinarily temperate (non-drinking) man all his life, and consequently is now in the enjoyment of a serene, healthful and happy old age.”  (You will find an advertisement for Dr. Weed, Steward’s host, on page three below.)

It was Ellis, the other and younger Congregationalist, who was kinder to mankind – and progress too – with his sermon.  Ellis told his congregation “Well, one thing is assured: (The coming of the Christ Child) is not a bolt from far aloft shot athwart the pathway of the race to smite it and cut if off from its onward march.  Christ is not a force antagonistic to man – He is Man Himself.  He gets the momentum of humanity, casts himself into a stream of life and comes to the surface a Babe!”

Also on page one and nearly directly to the right side of Dillon’s sober description of mankind is Fred Gasch’s announcement that he will open his “New Beer Hall” on Front Street (First Avenue) next to the North Pacific Brewery, and so also near the waterfront foot of Columbia Street. And for joyful encouragement Gasch includes in his advertisement his own sermon, of sorts, a rhyming one in song.   It goes . . .

Come to the Fountain to-night, boys, / And fill with foaming beer. / What if your heads get light, boys, / The pleasure of life is here. / Eat, drink and be merry today, boys, / The old-time philosopher said, / Then go to the Fountain and stay, boys, / Till the shadows of the night have fled.

Compared to Gasch’s New Beer Hall, William Lawrence’s Office Saloon and Billiard Room might seem a bit swanky.  It was on the south side of Mill Street (Yesler Way) opposite Yesler’s Mill.  “It is the place to get genuine J.H. Cutter, Old Golden and Gaines’, Old Hermitage Rye Whiskies, Three Star, Hennesy, and Martell Brandies, and the Best Wines and Cigars; also to have a game of Billiards on a first-class table.  We have a number of private Club Rooms for accommodation of guests.”

One more mention for Page one.  The Seattle and Walla Walla Railroad is listed with a charming little graphic for the train, and a schedule for its Seattle-to-Renton runs.  Of course, not once did it make it as far as Walla Walla.

(Please DOUBLE-CLICK to enlarge to a readable size.)

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Page Two

At the top of page two the Evening Dispatch’s editor, the crusading moralist Beriah Brown, with an editorial on “Political Fault-Finders” makes an analysis of Pres. Hayes administration’s failure, in spite of promises, to replace the spoils system with an apolitical civil service administration.  Page two is also stuffed with advertisements including one for the watchmaker, jeweler and engraver Charles Naher, who is also selling the “largest and best selection of Musical Instruments in the Territory and will be sold at reduced prices.  The public are invited to call and convince themselves.”  The editor appears again on this page with “news” that he is the proprietor of patents of California, Oregon and Washington Territory for the “Great Invention. Lockwood’s Portable Steam Oven.  The Best Cooking Utensil Ever Invented. Burning or Scorching of Food Impossible.”  As witness to the still small size of Seattle, L. Reinig, a well-known pioneer baker, promised groceries, provisions, fruit and vegetables, bread, cake, crackers and goods delivered to all parts of the city free of charge.”

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Page Three

So much of page three is simply a “good read.”  This begins with the far left column under the heading “The City, A Merry Christmas” and its spirited report on what to expect with Christmas, 1877.  The page includes a number of shorter reports including one about a tunnel being built below Washington Street near Third Avenue in order to re-route spring water from First Hill directly to the tideflats rather than to the basements of the the homes and establishments in that often sodden part of town south of Mill Street (Yesler Way).   Page three shows a number of notices – e.g. T. Couter asks that “all persons are hereby requested to call and pay up, as I need the money to pay my bills by the First of January. ”  It includes a complete – we assume – list of “Hotel Arrivals.”  There are also more church announcements and one report of a street corner religious service with an assembly of doubtful believers.   When the service was interrupted by a “bunch of fire-crackers” the paper concluded that this “mischief was probably the work of a hoodlum as there were a number of them in the congregation at the time.”  And page three also shows more small advertisements, although not as many as page two.

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Page Four

Page Four features more small ads – always enlightening of the times to read.  The biggest among them is for Steel’s Pain Eradicator, which is described as “The Most Wonderful Discovery of the Age.”  The jumbled lesson of this medicine is “The World moves, and unless we Progress we must go Backward.  Nothing remains Stationary.”  The producers claim no intention “to deceive the people” that their medicine is “a cure for every complaint on earth; but a really scientific article of the greatest merit, which will prove a boon to suffering humanity – both on account of its adaptability to both man and beast, [this part an appeal to farmers] its readiness of application, and the price being within the reach of all.”  The list of “aches and pains” for which their solution is a great eradicator is wonderful – from “lameness” to gout and “soar throats.” (Persons who believe that such grandiose advertising is no longer possible are invited to listed to Seattle’s own KING FM through a few ad breaks.) For those Dispatch readers whose pains were not eradicated by this or any of the other promising solutions from bottled beer to Dr. Goulard’s “celebrated foot powders,” another ad on page four for John Keenen’s Seattle Stone Yard offers headstones and tombs.

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THIRTY YEARS AGO – THIS MINUTE!

CLICK to enlarge this and you will see by the clock on the porth that it is 1:35 pm.  Here is Frank Shaw's friend, we assume, Violet at her place (wherever) walking towards frank with a small ribboned gift in her right hand.  It is exactly 30 years ago - when I gently push the "insert" button for his little story onto the blog.  So it is countdown now with a minute to go.!!  My this is exciting.
CLICK to enlarge this and you will see by the clock on the porch that it is 1:35 pm. Here is Violet, Frank Shaw's friend, we assume, walking towards Frank and his Hasselblad from her home with a small ribbon decorated gift in her right hand. It will be exactly 30 years ago at the instant I gently push the "insert-publish" buttons for this little story sending it onto the blog. It is countdown now with a minute to go! My this is exciting - for me!

We follow Shaw’s Christmas afternoon snap of Violet with three more scenes he photographed in December 1979.  None of them are descernibly cheery.

Shaw names the photographer on the right, "Mike."  He does not name those posing for a "metro photoshoot."  The date is Dec. 12, 1979.
Shaw names the photographer on the right, "Mike." He does not name those posing for a "metro photoshoot." The date is Dec. 12, 1979.
Frank Shaw looks over the fleet of fresh Japanese autos and south through Smith Cove to the city skyline on Dec. 22, 1979.
Frank Shaw looks over the fleet of fresh Japanese autos and south through Smith Cove to the city skyline on Dec. 22, 1979.
Something has brough Shaw to the "Fort Lawton covered motor pool" on Dec. 28, 1979.
Something has drawn Shaw to the "Fort Lawton covered motor pool" on Dec. 28, 1979.

One more Frank Shaw contribution, and this from 1976.

From the balcony at the Food Circus/Centerhouse, Frank Shaw looks over the oversized winter model train set to the old Century 21 "Bubbleator" dressed as a snowman.  Shaw took this two days after Christmas, 1976, when the place is resting.
From the balcony at the Food Circus/Centerhouse, Frank Shaw looks over an oversized winter model train layout to the old Century 21 "Bubbleator" dressed as a snowman. Shaw recorded this two days after Christmas, 1976, when Seattle Center was resting.
Two two-and-a-quarter negatives side-by-side, and both by Frank Shaw on Dec. 4, 1976.  This is some perhaps short-lived Pioneer Square promotion of a "Father Christmas."  It readers look at the comment by Jana to this insertion they will find a link to photos of her's from 1978.  Included among them is a record of the "Father Christmas" booth at Pioneer Square in 1978, althought not, as far as I could determine, of the Father himself.
Two two-and-a-quarter negatives, side-by-side, and both recorded by Frank Shaw on Dec. 4, 1976. This is some perhaps short-lived Pioneer Square promotion of a "Father Christmas." If readers look at the comment by Jana to this insertion they will find a link to photos of her's from 1978. Included among them is a record of the "Father Christmas" booth at Pioneer Square in 1978, althought not, as far as I could determine, of the Father himself. Apparently this "Father Christmas" did not endure as a proliferation - after Santa - of gift-giving men with long hair. His ringlets look both attached and Scandi. And perhaps he is not giving gifts but taking ornaments from the children, which he then attaches to the P-Square tree.

Christmas (Edge) Clippings

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Ron Edge comes forward with a few Christmas related “clippings” from his collection.  They start boldly with three front covers for the once popular and studied Argus Christmas Issues, these from 1903, 1904 and 1907.  At 25 cents a copy it was not cheap, and note that by 1907 it had doubled to four bits i.e. 50 cents.  The weekly Argus began publishing in the 1890s and continued on as a respected and influential journal of local politics and culture.  The last I remember of it is from the 1970s when the then adolescent weekly – The Weekly – made it hard for the old and stiffened Argus to keep up.

(Remember: CLICK to Enlarge.)

The Argus Christmas Issue for 1905.
The Argus Christmas Issue for 1903.
For 1904 Argus again uses a big ship for its Christmas Number cover.  This is "Seattle's Own Battleship Nebraska" manufactured at Moran's Shipyard on the waterfront - near the foot of Dearborn Street.  The keel was launched in 1904, although it took much longer to install the superstructure.
For 1904 Argus again uses a big ship for its Christmas Number cover. This is "Seattle's Own Battleship Nebraska" manufactured at Moran's Shipyard on the waterfront - near the foot of Dearborn Street. The keel was launched in 1904, although it took much longer to install the superstructure, and by then was already obsolete. It was an expensive piece of post-Spanish-American War military hardware and never used except for some steaming about.
The grandly frigid outline of Alaska - terretorial still - is turned to curls and pulchritude for the 1907 Argus Christmas Number.  This was the year that construction on the 1909 Alaska Yukon and Pacific Expostion began in earnest, and as everyone may by now know three young women, although differently composed, were used in the AYPE's principal logo or symbolic bug.
The grandly frigid outline of Alaska - territorial still - is turned to curls and pulchritude for the 1907 Argus Christmas Number. This was the year that construction on the 1909 Alaska Yukon and Pacific Expostion began in earnest, and as everyone may by now know three young women, although differently composed, were used in the AYPE's principal logo or symbolic bug. A few of the many variations are printed directly below.
AYP BUG in Plaster.  The by then old description of Puget Sound as the protected waterway where "rail meets sail" was being turned over as steamships replaced schooners and such.  There was no easy rhyme to replace "rail-sail" but at least once "steam meets steam" was tried.
AYP BUG in Plaster. The by then old description of Puget Sound as the protected waterway where "rail meets sail" was being turned over as steamships replaced schooners and such. There was no easy rhyme to replace "rail-sail" but at least once "steam meets steam" was tried.
An officially staged tableau of the AYP symbol
An officially staged tableau of the AYP symbol
The Bug-Tableau on an AYP stage with chorus and minstrels.
The Bug-Tableau on an AYP stage with chorus and minstrels.
The bug pins were popular.
The bug pins were popular.
Another tableau, this one staged for the front page of the Post-Intelligencer for Sept. 9, 1909.  The caption to the screened photo reads, "From left to right: Miss Koye, representing the Orient; Miss Frances Sarver, representing Alaska and the Yukon; Miss Fannie Sarver, representing the Pacific Northwest."
Another tableau, this one staged for the front page of the Post-Intelligencer for Sept. 9, 1909. The caption to the screened photo reads, "From left to right: Miss Koye, representing the Orient; Miss Frances Sarver, representing Alaska and the Yukon; Miss Fannie Sarver, representing the Pacific Northwest."

Next Ron Edge shares a few clips from the Bon Marche as Santa sanctuary early in the 20th Century.

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When the Bon was at Second and Pike.
When the Bon was at Second and Pike.

Every new “big thing” like Northgate needs “the biggest” of something, and the northend mall found it’s.

The "Tallest Christmas Tree" in the world needed a parking lot to parody the mere trees we put up in our mere living rooms.  Both shots - consecutive by their numbers - were photography by the prolific Ellis out of Arlington.
The "Tallest Christmas Tree" in the world needed a parking lot to parody the mere trees we put up in our mere living rooms. Both shots - consecutive by their numbers - were photography by the prolific Ellis out of Arlington.

Season's Greetings – A Century Ago

Most of the postcards shared here – and often with their messages – were published in the first years of the 20th Century.  With few exceptions they are of the “divided back” variety, meaning that the side for writing was flip to the art side, and that the writing side was divided between a message portion – usually on the left – and a portion for addressing the card and attaching the stamp.   These divided cards were first allowed in England in 1902, followed by France in 1904, Germany 1905, and the U.S. in 1907.  It will be possible to search out the postmarked date on many of the cards below.  Many perhaps most of the better cards – like these – were published in Europe, and German cards were generally thought to be the best.   I have a few hundred cards stacked in boxes and it was a delight to pull a few out for this little exhibit.  After stamps and coins, postcards are the most popular of collectibles.  The formal name for this – sometimes  mania – collecting is deltiology, a name derived from Greek word for “writing tablet.”

(Please CLICK to enlarge)

"Whitney Made Worcester Mass" a simple message "To Alice from Harriet" and handed to her, most likely.  This card features neither stamp nor postmark.
"Whitney Made Worcester Mass" with the simple message "To Alice from Harriet" and handed to her, most likely, for this card features neither stamp nor postmark on either side.
Another "USA Made" card but without postmark of personal message.  The featured message with the art, however, may be contrasted with that on the card above it.  This is the one time a year a child may be considered virtuous and not naughty for cutting down a tree.
Another "USA Made" card but without postmark or personal message. The featured message with the art may be contrasted with that on the card above it. This is the one time each year when a child may be considered virtuous and not naughty for cutting down a tree.
The card back for this card has fallen away, perhaps from heat.  The message is a synergy of pagan, Christian and exposed shoulders.
The card back for this art has fallen away, perhaps from heat. The message printed on the art side is a synergy of pagan, Christian and hour glass exposure.
Clearly a "split message" card, and both sides of its are shown.  This is a Tuck's Post Card, a prolific English producer who yet printed this card in Saxony not Sussex.  Tuck's cards also got their own titles.  This one they have named "Wonderful White Winter."  Like this one many cards end with a supplication that the pesons getting it write back more often.  This one has a penny stamp but is not postmarked.  Perhaps the author had second thoughts about sending it, or sid not want to be separated form this wonderful winter.
Clearly a "split message" card, and both sides of it are shown. This is a Tuck's Post Card, a prolific English producer who yet printed this card in Saxony not Sussex. Tuck's cards also got their own titles. This one the company has named "Wonderful White Winter." Like this postcard many others end with a supplication that the person getting it write back more often. This one has a penny stamp but is not postmarked. Perhaps the author had second thoughts about sending it, or did not want to be separated from this wonderful winter. Meanwhile Nelda Yaeger in Tacoma may have been wondering "Why doesn't Mabel write me more often?"
The postmarked date on his card out of Chicago is 1912.  One can also feel this card for much of its design is embossed.
The postmarked date on his card out of Chicago is 1912. One can also feel this card, for much of its design is embossed.
This lovely card was printed in Germany.  The postmark is smudged but it most likely is dated 1910.
This lovely card was printed in Germany. The postmark is smudged but is most likely dated 1910.
This card left Oklahoma for Missouri in 1908.  We have taken the liberty to stack the text differenty than its arrangement for publishing so that we could enlarge the art, which is titled "Violets."
This card left Oklahoma for Missouri in 1908. We have taken the liberty to stack the text differently than its arrangement for publishing so that we could enlarge the art, which is titled "Violets."
In this most fetching of cards the man in the middle is not fixing a ski but pouring some snaps. Everyone is evidently happy. Dated by hand 1900 it was given by Ella without a postmark of any kind.
In this most fetching of cards the man in the middle is not fixing a ski but pouring some schnapps. Everyone is evidently happy that neither a ski nor a pole are broken. Dated by hand 1900 it was given by Ella without a postmark of any kind.
"Printed in America" it is date 1908, a year after such split cards were first allowed in the U.S.A. The producer identifies this as one of its "Xmas-Birds Series."
"Printed in America" it is dated 1908, a year after such split cards were first allowed in the U.S.A. The publisher identifies this as one of its "Xmas-Birds Series."
Another Tuck's card this one, however, has been printed in England.  It is numbered "Postcard 9936" and named "Oilette."  What could be more cheery than waiting in the snow for one's man to return with a rabbit to skin and a pheasant to pluck.
Another Tuck's card, this one, however, has been printed in England. It is numbered "Postcard 9936" and named "Oilette." What could be more cheery than waiting at the door and in the snow for one's man to return with a rabbit to skin and a pheasant to pluck?
As you may well have figured we have fidgeted with this and reduced the side with the art so that it could rest beside the message side in one "frame."  Sent from Czeskolovakia to Portland, Oregon, the text is in German, and the penmenship delightful.
We have fidgeted with this and reduced the side with the art so that it could rest beside the message in one "frame." Sent from Czechoslovakia (perhaps Sudetenland) to Portland, Oregon, the text is in German, and the penmanship delightful.
A textured & embossed card from Tuck's Post Card, again, ("art publishers to their magesty the King and Queen"), it has been "chromographed in Bavaria"
A textured & embossed card from Tuck's Post Card, again, ("art publishers to their majesty the King and Queen"), it was "chromographed in Bavaria." Here we conclude this exhibit of century-old cards repeating this last card's season's greeting. "I don't know you, but guess it will be all right."

Illuminating Another Christmas Tradition – How to Light the Tree & What Tree

The Brown family tree, ca. 1904.  The Browns lived across Dexter Avenue from Denny Park. Father played clarinet in the Pop Wagner concert and marching band.  (courtesy, Bill Greer)
The Brown family tree, ca. 1904. The Browns lived across Dexter Avenue from Denny Park. Father played clarinet in the Pop Wagner concert and marching band. (courtesy, Bill Greer)
Bruce reflecting on this year's choices with the family tree - in Wallingford (a Seattle neighborhood).
Bruce reflecting on this year's choices with the family tree - in Wallingford (a Seattle neighborhood).

About 105 years of Christmas trees divide the two living-room scenes above.  The top Brown Home “set” – Brown was a skilled amateur photographer and almost surely designed his subject for his shot – can be compared to Bruce’s tree above, although in the latter the gifts have not yet been opened to spill their toys and such.  It will be worth your while to double click the Brown living room to examine the surely typical gifts, like a drum for the son (or daughter), an elaborate doll table with tea serving and sumptuous doll bed besides, a carving set for mom (or dad) and much else.  And also note the family photos on the wall, the variety of ornate framing then popular, and the painting of Snoqualmie Falls, upper left.  Hereabouts it was then a popular sign of the sublime.

Next.  When visiting my “just down the block” neighbor Bruce yesterday late afternoon and his family tree I was struck by the surreal qualities of its lights and compliment him on them.   Remembering the Brown set (above) I asked Bruce – known for his wit – to recount whatever decisions may have been involved in purchasing that tree and those lights.  Here is his response.  Enjoy with good will.


Hi Paul-

Sorry I didn’t get this to you last night… I fell asleep while putting my daughter down.  A common problem for me.

First something about the tree.  One of my favorite holiday traditions is the annual series of Christmas tree debates that ensues between my wife and I.   Most families simply have the traditions of procuring their tree, and trimming them in some sort of familial, time honored fashion.  But in my family’s Christmas traditions, there are three pillars that are the foundation for our holidays.  1.  What we did last year, or on any other year in the past, will have no bearing on actions taken this year.  2.  There will be much discussion, aka debate.  3.  And most importantly, I will purchase more, new and different Christmas lights each year.
As for the tree itself, my wife grew up in the South Pacific and as such always had a fake tree.  Please note the use of the word “fake” verses the manipulative term, “artificial” which my wife likes to use.   It was a necessary tradition born from the complete lack of any pine or fir being indigenous to the island where she lived.  Needless to say, my wife regularly advocates for a fake tree, stating unverified environmental benefits and ease of installation.  Of course I, born a Protestant Norwegian, need to remind her, born an Agnostic Swede, that if you don’t work hard and suffer for something, it is not worth doing.   As such, fake trees have less value because they are so easy to “pop up”.
Now because we have yet to settle this little matter and because we must return to the topic each year, the tree itself changes each season.  Do we cut from the forest, do we cut from a farm, do we go to a tree lot and if we go to a lot, which one, benefiting what organization?
In case you are curious, this year is a 7.5 foot Noble Fir from Hunters tree lot in Wedgwood.  No charity benefits from Hunters but they have really nice trees.

Similar, but more robust is the great Christmas tree light debate.  I grew up in a home in which the Christmas tree bore the warm glow of all red lights.  As a child I recall thinking it was like the glow of the fireplace fire illuminating our entire tree.  My wife… My wife… I actually don’t know what type of lights she had on her tree.  I only know that she is of the opinion that all red lights on a tree cast a brothel inspiring, red light district effect.   So the debate that ensues is simple but endless.  I would like to continue the traditions of old with a tree all in red and she…. Would prefer not.
The bi-product of this debate is my annual pilgrimage to the hardware stores looking for some new or better string of lights that I can hang in the hole left in my soul, from where the red lights used to glow.  My garage is a graveyard of old lights from Christmas past, large and small, ceramic and glass.  I have flame tip, berry, and gum drop.  Spanning from all white, to specific sequences to completely random color combinations.
This year I boldly grabbed the latest and greatest, the newest light technology, the L.E.D. (Light Emitting Diode).   They were billed as “jewel” tones that are safer, last 5X as long and use 1/12 the electricity.  They were also 3X more expensive and remind me of the neon colors, so popular in 80s fashion.  Interestingly, I’ve been advised by multiple people they simply have too many of the wrong color.  The problem is that if I were to add the colors that everyone has advised, I could simply buy another string of random bulbs.   So far it has been suggested I simply need, more green, yellow, white, blue, orange and yes of course, red.
Suffice it to say, while Christmas may yet be 4 days away, next years debate has already begun with my wife’s traditional first voile, “I want to talk about a budget for your Christmas tree lights”.  To which my traditional return sortie comes, “Don’t the red lights have an especially nice warm glow?”

Seattle Now & Then: Fifth and Westlake

(click to enlarge photos)

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THEN: The Seattle Electric Company’s sprawling “campus” for trolleys once covered most of the two blocks between Fifth and Seventh Avenues and Pine and Olive Streets. By 1910 trolleys were being parked and repaired in new barns at places like Fremont, Lower Queen Anne, and Georgetown. (Courtesy Lawton Gowey)
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NOW: The monorail terminus parked above Westlake Avenue north of Pine Street may serve as a reminder of the importance of this location for public transportation. The last direct reminders of trolleys here on Fifth Avenue were erased with the 1918 opening of the Frederick & Nelson department store (now Nordstrom, at right) and seven years later the Medical Dental Building Seattle (on the left) just north of the store. (Jean Sherrard)

Starting with its simplest part – the bottom – here in a view that looks east towards Capitol Hill, a nearly new Westlake Avenue intersects on a slant with 5th Avenue.

Next, on the far side of 5th the car barns and repair sheds of the Seattle Electric Company, once the city’s trolley monopolist, are half buried. Pine Street on the right and Olive Way on the left, were both raised atop dirt “borrowed” from the nearby Denny Regrade. And so also by 1907 were most of the avenues showing here – from Fifth to Ninth. More than raised, Westlake – still at the bottom – was created or cut through the city grid from 4th and Pike to Denny Way, as we know it now. (Or rather as we knew it up until a few years ago when Westlake Mall and the rest were developed, in part, over the first block of Westlake, the part that ran from 4th and Pike on a slant through Pine to Olive.) That work began early in 1905 and was completed in November of the next year. Perhaps this view was recorded in order to show these street changes.

An approximate date for this subject is 1908. The Waldorf Hotel was completed in 1907. It is the largest structure on the right at the northeast corner of 7th and Pike. The car barn half-sunk below 5th Avenue on the far right was built in 1896 to replace another that was built in 1889 when the trolley company moved here and replaced horse power with electric. (That first plant and much else on this block was destroyed in a 1896 fire.) In a 1909 photograph of an Alaska Yukon Pacific parade, a Chinese dragon twists along in front of that barn at the northeast corner of Pine and 5th. It is significantly different than how it appears here, ca. 1908. (This dragon-parade scene with its own extended description is included below.  It first appeared in Pacific, Jan 7. 1983 – more than a quarter-century ago!)

Eventually a super-sized Westlake Market used these old barns to sell groceries. It was in competition with the Pike Place Market until evicted for the 1916-18 construction of the first five floors of the Frederick and Nelson Department Store.

BLOG ADDITIONS

Looking east at the same neighborhood, but from the then new Standard Furniture store at the Northwest corner of 2nd and Pike (now the Gap). The seven-stroy Ritz Hotel, on the left is the prospect from which the neighborhood photograph use above was recorded about two years earlier. Here Pine Street leads east (up) into the center of the view.
Looking east at the same neighborhood, but from the then new Standard Furniture big store at the Northwest corner of 2nd and Pine (Now the Rack). The seven-story Ritz Hotel, on the left, is the prospect from which the neighborhood photograph used above was recorded about two years earlier. Many other structures appear in both views. Here Pine Street leads east (up) into the center of the view.

ALASKA YUKON PACIFIC DRAGON at 5th and Pine, 1909

Looking south on 5th Avenue across Pine Street, 1909.
Looking south on 5th Avenue across Pine Street, 1909.

With the last reprinting of Seattle Now & Then Volume 1, I returned to many of the subjects and updated their "repeats" including this look south down 5th Avenue into its intersection with Pine Street.  Frederick and Nelson Dept. Store was still in place, although barely.
With the last reprinting of Seattle Now & Then Volume 1, I returned to many of the subjects and updated their "repeats" including this look south down 5th Avenue into its intersection with Pine Street. Frederick and Nelson Dept. Store was still in place, although barely.
This print and the one directly below it were both - I believe - photographed in late 1982 as alternative "repeats" for the 1909 dragon story when it first appears in Pacific, Jan 7, 1983.  I cannot explain why I put myself to close to the intersection except, perhaps, to get closer to the pedestrians.
This print and the one directly below it were both - I believe - photographed in late 1982 as alternative "repeats" for the 1909 dragon story when it first appears in Pacific, Jan 7, 1983. I cannot explain why I put myself to close to the intersection except, perhaps, to get closer to the pedestrians.
Looking south on 5th at Pine Street, also, most likely, in late 1982.
Looking south on 5th at Pine Street, also, most likely, in late 1982.

Slaying a dragon is the single most heroic achievement – potentially crowning – for any European hero. Legendary champions have been rescuing damsels from the too hot embrace of these beasts and then putting down the girl to also plunder the treasures the beasts fiercely failed to protect. But in the East, the dragon is often different. It is the most persistent symbol of vital power, fertility and well-being. It is also ordinarily a vegetarian and inclined to share its carrots. However, in our scene of the Chinese dragon dance, we see the lead bearer carrying a staff tipped with a symbolic fruit. The dragon wants it, and will dance through many city blocks to get it.

Here it is on Seattle’s Fifth Avenue, with tail still crossing Pine Street. It is many blocks from the International District where it was released on Chinese New Year to dance through the streets south of Jackson amid fireworks and the persistent beat of drums and cymbals. The event pictured here is part of another celebration: the city’s 1909 Alaska-Yukon-Pacific Ex­position. This is – perhaps – China Day. But what is this dragon doing on Fifth Avenue? In 1909, Second Avenue was Seattle’s parade street. It was not planked but bricked, and “canyoned” by sky­scrapers like the still-standing Alaska Building, and the New Washington Hotel (today’s Jose­phinum.)

What, we also wonder, might the man in the European costume, on the right, be thinking. Could he be confusing this happy procession of the Asian monster with the fire-breathing histo­ry of its European cousin? Or could he be carrying beneath that derby another kind of demon? That old mean stereotype of the Chinese ‘coolie boy,” or the crude image of the opium-eating heathen, who worked more for less and then gambled it away. Those were the stock Euro-American responses to these Asian immigrants.

By 1909, this attitude had resulted in more than a half-century of prejudicial treatment. First Asian immigrants were used as cheap labor to mine the gold and coal, build the railroads and do domestic service. Then when the work was scarce they were peculiarly taxed and prevented from owning property, gaining citizenship and sending for relatives and wives. Often they were railroaded out of town — both in Seattle and Tacoma in the mid-1880s — on the very rails they had laid.

Here, on Fifth Avenue, some of them are back. Both their costumes and cut-back hairlines are from the Ching Dynasty, which in 1909 was in its 265th year, but with only two years to go. In 1911 demonstrators in Seattle’s Chinatown would replace the dynasty’s dragon flags with the new republic’s single white star floating on a field of blue and red. The design was inspired by the Stars and Strips.

The bottom two of the three “semi-now” scenes above I photographed in 1982 crowded with Christmas shoppers.  The top one for a reprint of Seattle Now and Then (the book) in 1997.   The Westlake Public Market, behind the dragon’s head, has been replaced by Frederick & Nelsons Department Store (long since Nordstroms). Across Pine, the Olympic Stables and behind it the Methodist Church have left for Jay Jacobs. But the building, which in 1909 held the Hotel Shirley, is still a hotel.  (Or was in 1982.) The dragon, of course, still can be seen dancing every Chinese New Year, although ordinarily not here on Fifth Avenue.

NEWSFLASH! Snow hits Paris!

In photos taken mere hours ago, our resident Parisienne Bérangère Lomont celebrates the season.

BB writes: “Just two photos of Paris under the snow, it is so rare !!! and  just marvelous…  The first photo is in the Luxembourg garden where you can see the Panthéon, at 12 noon for lunch time with kids; and the second photo at the end of the afternoon from the bus  at saint Michel.”

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In the Luxembourg gardens
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Place saint Michel

Stay tuned.  Tomorrow BB will attempt a snowy Eiffel Tower!

Ballard & Its Locks from the GNRR Bridge – An "Edge Extra"

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(click to Enlarge)

This “Edge Extra” was supplied – again – by Ron Edge. It is surely one of the earliest views of the completed Chittenden Locks. The grounds are still being prepared for the lavish garden that would follow. It was taken from the then new Great Northern Railway’s bascule bridge. Beyond the locks the Ballard waterfront clutters the north shore of Salmon Bay, with the “Ballard skyscrapers” at the Seattle Cedar Mill top-center. The long north-south line of the Ballard Bridge on 15th Ave. N.W. extends to the right of Seattle Cedar’s stacks. The bridge was completed in time for the formal opening of the Lake Washington Ship Canal on July 4, 1917, so it is here still a work-in-progress.

Near the center of this “real photo postcard” are all the buildings noted or “implied” in the historical scene included directy below this one, which is dated “1916.” That view looks in the opposite direction as this and includes a glimpse of the GN Bridge from which this scene was recorded. Fresh water is falling from the spillway far right, consequently this view was photographed sometime after July 25th 1916. The gates were closed to the locks on July 12 and it took thirteen days for the water level of Salmon Bay behind them to reach that of Lake Union. It required another three months to lower Lake Washington about 9 feet to the level of Lake Union. The big lake was slowly released through a temporary lock at the east end of the Montlake Cut.

This view to the east was photographed earlier than the one directly below, the one that looks to the west. Here the little grove of evergreens planted on the grounds mid-way between the Lock’s principal structures and the chief engineer’s home is not yet in place. A different grove, one of pioneer farmer Ole Shillestad’s apple trees, can be seen far right on the south shore. It is directly below the largest of the structures on that shore. The trunks of some of these trees are submerged in the rising waters, and you can see their shadows on the water. The last apple crop – the one of 1916 – was picked from a rowboat.

(Someday, perhaps, Jean, who has no fear of heights, will venture out on to the Great Northern bascule bridge to repeat the historic postcard scene above.  It will be tricky.  Ordinarily the bridge is up to allow ships first right-of-way.  The bridge is closed for trains only when needed.   Consequently, with the bridge down, Jean will need to watch for trains.  He may feel differently about those, I mean differently than his attitude to heights.)

Seattle Now & Then: English Gardens at Chittenden Locks

(Click to enlarge photos)

THEN: Looking east from the roof of the still standing testing lab, the Lock’s Administration Building (from which this photograph was borrowed) appears on the left, and the district engineer’s home, the Cavanaugh House (still standing) on the center horizon. (Photo courtesy Army Corps of Engineers at Chittenden Locks)
THEN: Looking west from the roof of the still standing testing lab, the Lock’s Administration Building (from which this photograph was borrowed) appears on the left, and the district engineer’s home, the Cavanaugh House (still standing) on the center horizon. (Photo courtesy Army Corps of Engineers at Chittenden Locks)
With the English Gardens the art of landscaping now often overarches that of concrete at Ballard’s Chittenden Locks.  From this prospect one can see perhaps 50 of the gardens some 500 species, include Flowering Cherries (closest to the camera), Evergreen Magnolias, Red Oaks, Atlas Cedars, Giant Sequoias, and one tall Eucalyptus, upper-right. (photo by Jean Sherrard)
NOW: With the English Gardens the art of landscaping now often overarches that of concrete at Ballard’s Chittenden Locks. From this prospect one can see perhaps 50 of the gardens some 500 species, include Flowering Cherries (closest to the camera), Evergreen Magnolias, Red Oaks, Atlas Cedars, Giant Sequoias, and one tall Eucalyptus, upper-right. (photo by Jean Sherrard)

When the artists who work with plants – gardeners – list our region’s best botanical creations, the one named for Carl S. English Jr. at Chittenden Locks is often lovingly included.  For 43 years English, whom the Army Corps hired as a graduate out of Washington State College in the early 1930s, nurtured the seven acres that army engineers had reserved and scraped for landscaping (in places foolishly carting away the top soil while doing it) when the ship canal locks were built at Ballard between 1911 and 1916.

Many years later when the botanical garden was investigated during a survey of federal lands, the visiting examiner upon studying the corps original plans against English’s green creation threw up his hands in confusion and barked, “How did this happen!?”  The official inquisitor’s broodings about returning England’s creation back to the corps intended landscape was quickly squelched by what was then a community of organized gardeners ready to save England’s paradise from any federal orthodoxy or reaction.

The date the locks were first opened, 1916, is hand-inscribed on the bottom-right corner of the historical photograph.  It records a campus as minimal as the lock’s concrete buildings.  While not this scant when English was hired, the landscaping was still “northwest predictable.”  But then the young horticulturist went to work gathering, growing and trading seeds.  On weekends and vacations he and his wife Edith, also a botanist, went away into the woods on their soon celebrated searches for seeds that they then could either nurture in their federal garden or trade for exotic seeds from distant growers in China, Brazil, and Europe.  The result is about 500 species from around the world carefully packed into seven acres.

In 1947 the Post-Intelligencer’s folksy columnist Frank Lynch described English as “a pleasant fellow, and perfectly willing to talk flowers to the interested.  There was only this; he refused to name his favorites.  ‘I like them all.’ He would answer, and nothing else.”

WEB EXTRAS:

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Jay Wells, atop the old testing lab roof

Jean writes: I arrived at the locks on a fine Sunday on the 1st of November, and quickly determined that the ‘Then’ photo had been taken from atop a large brick building on the eastern corner of the campus. I tried a few latches and banged on a few doors, but there was no answer. However, just as I was fitting my camera to my ten-foot extension pole, a fellow in uniform happened by.  Serendipitously, it was Jay Wells, director of visitor and educational services for the locks, and an amicable and inspired guide to the locks’ history. We climbed up onto the roof together and Jay talked about preserving the unique beauty of Carl English’s original garden: i.e., when a plant dies, every effort is made to find an exact replacement – which can be difficult, given the rarity of some that English planted.

Here are a few thumbnails from my visit:

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Paul dug up this photo of the locks’ garden in winter:

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Paul writes: Comparing the trees in this winterscape with those new plantings shown above with the primary “then” in this little garden essay we ask, can trees such as these grow so tall in seven years?  Since this cannot be the “Big Snow” of 1916 – the garden was new then – the next available snow of size was in 1923 when 16 inches fell in places.  It was a wet snow.  We pull this recommendation from our own History of Seattle Snows.  Of course it is possible that we missed one.

'Up the Down Chimney'

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Time once again for our holiday show at the Good Shepherd Center Chapel.

This year it’s on Tuesday the 22nd at 7:30 pm.

Paul (reading Thurber’s hilarious ‘Visit from Saint Nick’) and Jean (reading Truman Capote’s ‘A Christmas memory) will perform with special guest Julie Briskman, one of Seattle’s finest actresses (reading Nathan Englander’s delightful and bittersweet ‘Reb Kringle’).

Musical guests include John Owen (guitar & steel guitar) and Mark Kramer (guitar), accompanied by Tia Owen on violin.

Here’s a short video sampler from last year’s show:

And now let us remember great snow, through which our audience bravely trudged last year. Here are two views – looking east and west from the Good Shepherd Center’s 4th story windows.

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Looking east from the chapel
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Westward

Seasonal Kodachromes by Robert D. Bradley

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This small collection of seasonal kodachromes were photographed by Robert D. Bradley, who at least for part of his working life performed as a professional photographer.  In the 1930 census he is listed as such, and in the 1938 Seattle City Directory (by Polk) he is listed living with his wife Hortense in the lower Queen Anne neighborhood and working at the Hart Studio, which is described as his.  It was located on Second Avenue, near University Street, the site now of Benaroya Hall.   In the mid 1960s the couple moved to the then nearly new Lamplighter Apartments on Belmont Avenue just south of Mercer Street.   Their home was on the 9th floor with a balcony view that swept from the north end of Lake Union to the central business district.  Bradlely took many slides off that balcony – lots of them sunsets.  The view above is an exception.  The subjects are the lights of his neighbor’s, the Millers, Christmas tree (we assume) as they are refracted through the glass giving transluscent privacy to  the two balconies.

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Robert Bradley was generally good about naming and dating his subjects.  With both views above he has put his camera against the glass front door of Frederick Nelson Department Store to give us after hours “architectural views” (sans people) of the department store’s Christmas decors for 1957, top, and 1966, above.

On December 22, 1948 Bradley visited the intersection of Meridian Avenue and 45th Street in Wallingford.   He stood on the south side of 45th and looked west across Meridian.  Both streets – and so also the intersection – were “ordained” long before they were developed.   They were meridian lines for the first federal surveyors who dragged their “Gunther Chains” through the forests hereabouts in the 1850s.   Late this afternoon of Dec. 10, 2009 I repeated Bradley, and include that “now” directly below his scene.  The obvious change is at the northwest corner where Murphy’s Pub now takes what more than one retailer ago was Davison’s Appliances.  (It was there that Ron Edge – of our
“Edge Clippings” – discovered that the Zenith model 12s265 – the radio that started his now impressive collection of antique radios – was repaired.  It still has a Davison sticker attached.)  Not so obvious but still remarkable are the street Christmas decorations.   They were quite elaborate in the earlier view, but 61 years later hard to find.

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Bradley also visited the University District on the 22nd and took the view directly below.  It looks west, again on 45th and this time through its intersection with 12th Avenue.  As with the Wallingford repeat above, my “now” was photographed this afternoon of 12/10/09 – moments ago.  (I live nearby.)  Respecting the traffic, I stayed on the sidewalk.

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For the remainder of the Bradley Christmas tour we will follow closely to his own captions and attach them to their “picture frames” as he did to his cardboard slide holders.   Actually, he also indicated often the time of day, the camera he used, and both its shutter speed and F-stop.  With one exception below we will avoid those.  For the most part these are slides are submitted randomly, which means however the program that ordered them slip them to us.

"Christmas in the Air" Bradley has caption this.  We don't know why, perhaps you do.  The date is Dec. 3, 1961.  He does not locate it.
"Christmas in the Air" Bradley has captioned this. We don't know why, perhaps you do. The date is Dec. 3, 1961. The location is 27th Ave. NE. and N.E. 105th.
Looking north on 4th Avenue across University Street.  Part of the Olympia Hotel is on the right. The date: 12/28/47.
Looking north on 4th Avenue across University Street. Part of the Olympia Hotel is on the right. The date: 12/28/47.
Again and nearby looking north on 4th, this time through its intersection with Seneca Street.
Again and nearby looking north on 4th, this time through its intersection with Seneca Street. The Olympic Hotel is, again, on the right.
Bradley notes that this home won two years running in the competition for Christmas lights.  He gives the date, 12/30/61, the location, 336 12th West near Dravus, but not the name or sponsors of the contest.
Bradley notes that this home won two years running in the competition for Christmas lights. He gives the date, 12/30/61, the location, 336 12th West near Dravus, but not the name or sponsors of the contest.
Another slant on the winning lights at 336 12th West in 48 years ago.
Another slant on the winning lights at 336 12th West 48 years ago.
733 N. 70th in 1960 - December most likely.
733 N. 70th in 1960 - December most likely.
Somewhere in the Magnolia neighborhood, Dec. 1954.
Somewhere in the Magnolia neighborhood, Dec. 1954.
The festive Dunns lived at 4713 E. 47th in Laurelhurst.   Dec. 1954
The festive Dunns lived at 4713 E. 47th in Laurelhurst, Dec. 1954.
KING RADIO's Nativity scene at Aurora and Thomas in 1954.
KING RADIO's Nativity scene at Aurora and Thomas in 1954.
"Candlestick Lane" in Laurelhurst, Dec. 28, 1957.
"Candlestick Lane" in Laurelhurst, Dec. 28, 1957.
"University Circle" Dec. 1954.
"University Circle" Dec. 1954.
And "University Circle" once more in Dec. 1954.
And "University Circle" once more in Dec. 1954, at or near the home of the gregarious Goldies.
"Lights in the Forest" W. Roxbury District, Dec. 29, 1958.
"Lights in the Forest" W. Roxbury District, Dec. 29, 1958.
Santa Express, Mary Ave. N.W. near Olympic Terrace, Dec. 29, 1961.
Santa Express, Mary Ave. N.W. near Olympic Terrace, Dec. 29, 1961.
Navy Pier 91, Dec. 25, 1964.
Playful tax-supported Santa at Navy Pier 91, Dec. 25, 1964.
"Work's All Done - Now For the Fun" Magnolia District, Dec. 1954.
"Work's All Done - Now For the Fun" Magnolia District, Dec. 1954.
"Magnolia District, Dec. 1954" - and that's it.  Bradley gives no address.
"Magnolia District, Dec. 1954" - and that's it. Bradley gives no address. Do you know?
"Dec. 1954" is the whole of Bradley's caption for this one.
"Dec. 1954" is the whole of Bradley's caption for this one.
"Magnolia District, Dec. 28 - 1957"  The shutter was open for 15 seconds and the F-stop opened to the efficient 8 setting.
"Magnolia District, Dec. 28 - 1957" The shutter was open for 15 seconds and the F-stop opened to the efficient 8 setting - details written on the cardboard slide holder.
At home in Magnolia, 1957
At home in Magnolia, Dec. 28, 1957

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We conclude our exhibit of Robert Bradley’s seasonal slides with two, above, of the Bon Marche’s well-loved stories-high illuminated hanging at the northwest corner of 4th Avenue and Pine Street.  The first of these two was taken on Dec. 19, 1956 when the “star tradition” was still a star-topped pagoda-style Christmas Tree tradition.  By Dec. 18, 1967, the date of the subject directly above, the full tree had given way to the star alone.   This more distant view also includes a peek into a Frederick and Nelson Window on the right, which may be compared to the interior F&N decorations included near the top.

Bérangère's Adventures in Warsaw

BB has just returned from Warsaw to Paris. She sent us photos and tells the story of her trip:

Here are few photos of my discovery of Warsaw , where I traveled on two missions: Beata Czapska’s  exhibition of sculptures with my photos of her creation in the French embassy in Warsaw, and to bring Tomohiro Hatta’s file to participate in the famous concourse Chopin, where the pianist winner receives a prize and the start of great career.

We rented a flat in the center in a district called Zacheta (which means encouragement, stimulation), but the day before our arrival, the Polish owner forgot about our rental and we stayed in a flat which reminded me of the images of the communist East; I couldn’t say where it was located because we arrived at midnight and left this not so attractive place very early.

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Much more optimistic, the Royal Way (in Polish, “Trakt Krolewski”) is composed of three streets.  I could compare it to the Champs Elysées in Paris, with the biggest monuments and where the most famous shops are gathered.  Polish  people like to walk along on Saturday.

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Here is the view from our flat, the protestant church of Zacheta with its impressive dome and birds on the tree!!! The temperature was exceptional, it was like spring time.

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Following the Royal Way we arrive at the castle and the historical district of Warsaw, but it is a fact that every structure was rebuilt after the Second World War’s massive destruction, exactly the same than before.  It was declared a national oeuvre by the communist government, this titanic work of rebuilding summoned up all the people from 1949 to 1963.
Here is Rynek Starego Miasta, place of the old town where there is a Christmas market:

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Two guys in the market were making candles, I adore their look !

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In this district we can feel the dynamism of Warsaw, an entirely rebuilt town, and its modern  architecture is disconcerting  for a European capital (no patina)!  Since 2004 with Europe, Warsaw is booming,  buildings are growing in this district.

Palace of culture and science, this monument is the highest of Poland, built by Stalin “to the glory of of socialism” in the 1950s.  Doesn’t it make you think of another building?

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The view from the top:

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The Kurcharzy Restaurant is a marvel located in the kitchens of a palace hotel now transformed into offices; the atmosphere is very convivial, we could observe the chefs cooking …

But I was immediately fascinated by this lady’s chignon in front of me – she made me think of Tippy Hedren playing in Hitchcock’s movies.  But she was also fascinated by the people in front of her…

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Our neighbor, a Polish man who spoke very good French told us the fascinating man was Volker Schlöndorff [ed. note: director of ‘The Tin Drum’, amongst many other films] who was in town for a German film festival.

I went up to Schlöndorff, introduced myself, invited him to our exhibition, and asked if I could photograph him with his dinner companions.  It was delightful to meet one of my heroes!

He wanted to go to the exhibition right then, but it had not yet opened!

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Volker Schlöndorf stands in the middle, wearing a turqoise ring; just behind him on the left, the German Ambassador; in black, on the other side, is the head of the Goethe Institute.

And now, a couple of photos from our exhibition at the French Embassy. My photographic studies of Beata were in the form of transparencies, mounted on the windows – I was quite pleased with the effect.

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Finally, here are friends at the end of the opening:

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L to R: Gilles (Beata's ex husband), Philippe (Beata's coach), my cousin Didier, and Jacquie (another sculptor)

We very much enjoyed discovering Warsaw together, even though, on occasion, it wasn’t so easy.  Nevertheless, our adventure was graced with little miracles.

Our Shop

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Looking for gifts for the NW history buff in your life? Below, you’ll find a selection of books (and DVD) from Paul’s personal stock, including a few hard-to-find, limited edition items.

Additionally, we’ll sign, seal, and deliver personalized copies of our books in the next day’s mail.

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Washington Then & Now

We have 100 copies in stock and are selling them at nearly 20% off the cover price.
Hardcover
Author signed
156 pp
($38.38, includes tax, S&H)

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‘Seattle Chronicle’

Paul’s acclaimed Seattle history video, now available on DVD ($23.80 – includes tax, S&H)

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‘Building Washington’

This encyclopedic work by Paul Dorpat and Genevieve McCoy won the 1999 Governor’s Writers Award. A must-have guide to Washington state.
Hardcover
Author signed
Out-of-print
422pp 9×12″
($58 – includes tax, S&H)


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‘Seattle Now & Then, Vol. 1’

Hardcover
Author signed
Out-of-print
280 pp 8×11.5″
($36.20 – includes tax, S&H)


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‘Seattle Now & Then, Vol. 3’

Hardcover
Author signed
Out-of-print
240 pp 8×11.5″
($36.20 – includes tax, S&H)

Seattle Now & Then: The Naramore Fountain

(click to enlarge photos)

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THEN: Art Critic Sheila Farr describes George Tsutakawa’s fountain at 6th and Seneca as showing a “style that lends modernism with philosophical and formal elements of traditional Asian art, a combination that became emblematic of the Northwest school.” (Photo by Frank Shaw)
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NOW: The original hope that the Naramore Fountain would soften the environment of the Interstate-5 Freeway was later greatly extended with the construction of its neighbor, Freeway Park. For reference, the Exeter Apartments at 8th and Seneca can be seen upper-right in both the “now and then.” (Photo by Jean Sherrard)

The “Fountain of Wisdom” is the name for the first fountain that Japanese-American sculptor George Tsutakawa built a half-century ago. The name was and still is appropriate for the fountain was sited beside swinging doors into Seattle Public Library’s main downtown branch.  In 1959 it was on the 5th Avenue side of the modern public library that replaced a half-century old stone Carnegie Library on the same block.  Five years ago this “first fountain” was moved one block to the new 4th Avenue entrance of the even “more modern” Koolhouse Library.

As the sculptor’s fortunes developed after 1959 his work at the library door might have also been called “ Tsutakawa’s fountain of fountains” for in the following 40 years he built about 70 more of them including the one shown here at the southeast corner of 6th Avenue and Seneca Street.  Named for Floyd Naramore, the architect who commissioned it, this fountain site was picked in part to soften the “edge of the freeway” especially here at Seneca where northbound traffic spilled into the Central Business District.

Photographer Frank Shaw was very good about dating his slides, and this record of late installation on the fountain, was snapped on June 10, 1967.  Tsutakawa is easily identified as the man steadying the ladder on the right.  Not knowing the others, I showed the slide to sculptor and friend Gerard Tsutakawa, George’s son, who identified the man on the ladder as Jack Uchida, the mechanical engineer “who did the hydraulics and structural engineering for every one of my fathers’ fountains.”

Gerard could not name the younger man with the hush puppies standing on one of the fountain’s petal-like pieces made sturdy from silicon bronze.  However, now after this “story” has been “up” for two days, Pat Lind has written to identify the slender helper on the left. Lind writes, “The young man in the ‘then’ photo is Neil Lind, a UW student of Professor George Tsutakawa at the time, who helped install the fountain.  Neil Lind graduated from the  UW and taught art for 32 years at Mercer Island Junior High and Mercer Island Hight School until his retirement.  His favorite professor was George Tsutakawa.”

When shown Jean Sherrard’s contemporary recording of the working fountain Gerard smiled but then looked to the top and frowned.   He discovered that the tallest points of its sculptured crown had been bent down.  A vandal had climbed the fountain.  Gerard noted, “That’s got to be corrected.”

WEB EXTRAS

Jean writes: It is nigh impossible to capture the visual effects of a fountain in a photograph. I took the THEN photo used by The Times with a nearly two-second shutter speed to approximate the creamy flow of white water over the black metal of the sculpture.  But there’s another view, shot at 1/300s of a second, that freezes the individual drips and drops.

Shot at 1/300s of a second
More particles than waves

The actual fountain must lie somewhere between the two.

A wider view with onramp and red umbrella
A wider view with on-ramp and red umbrella

A FEW FRANK SHAW COLOR SLIDES – SEATTLE ART

We have made a quick search of the Frank Shaw collection – staying for now with the color – and come up with a few transparencies that record local “art in public places” most of it intended, but some of it found.  Most of these are early recordings of subjects that we suspect most readers know.  We will keep almost entirely to Shaw’s own terse captions written on the sides of these slides.  He wrote these for himself and consequently often he did not make note of the obvious.   He also typically wrote on the side of his Hasselblad slides the time of day, and both the F-stop and shutter speed he used in making the transparency.  He was disciplined in recording all this in the first moment after he snapped his shot.  Anything that we add to his notes we will “isolate” with brackets.  The first is Shaw’s own repeat of the Naramore fountain at 6th and Seneca.

6th &Seneca Fountain, June 11, 1967
6th &Seneca Fountain, June 11, 1967
Kids on Archisculpture Whale in Occidental Park, March 29, 1974
Kids on Archisculpture Whale in Occidental Park, March 29, 1974
"Black Sun" - Volunteer Park - Dec. 28, 1969
"Black Sun" - Volunteer Park - Dec. 28, 1969
Sculpture, Full View - Highland Drive, Feb 1, 1970  ["Changing Form" by Doris Chase in Kerry Park on W. Highland Drive.  Ordinarily this peice is photographed with the city's skyline behind it.  Shaw's look to the southwest is not conventional.]
Sculpture, Full View - Highland Drive, Feb 1, 1970 ("Changing Form" by Doris Chase in Kerry Park on W. Highland Drive. Ordinarily this peice is photographed with the city's skyline behind it. Shaw's look to the southwest is not conventional.)
Fountain by Science Pavilion - May 30, 1962
Fountain by Science Pavilion - May 30, 1962
Ferry Terminal Fountain from above, Dec. 31, 1972. [Another by Tsutakawa]
Ferry Terminal Fountain from above, Dec. 31, 1972. (Another by Tsutakawa)
Group by City Hall Fountain, Oct 6, 1962
Group by City Hall Fountain, Oct 6, 1962
Lion in front of Seattle Art Museum, June 19, 1962
Lion in front of Seattle Art Museum, June 19, 1962
Fountain at New Waterfront Park, Nov. 26, 1974
Fountain at New Waterfront Park, Nov. 26, 1974
Fountain in Playhouse Plaza, May 30, 1962
Fountain in Playhouse Plaza, May 30, 1962
Boys on Plaza Fountain, Civic Center, June 1, 1963
Boys on Plaza Fountain, Civic Center, June 1, 1963
Seattle First's sculpture with new Bank of California Building, Feb./21/74
Seattle First's sculpture with new Bank of California Building, Feb./21/74
Frank Shaw's 1980 return to Moore's art at the northwest corner of 4th and Madison beside what was once nicknamed "The Black Box."
Frank Shaw's 1980 return to Moore's art as furniture at the northwest corner of 4th and Madison beside what was once nicknamed "The Black Box."
Frank Shaw returned to Moore's sculpture in March 1983, this time with black & white film in is camera, to record a springtime event he does not name with his caption.
Frank Shaw returned to Moore's sculpture in March 1983, again with black & white film in his camera, to record a springtime event he did not identify.
World War I Memorial "Dough Boy" Statue, July 17, 1966
World War I Memorial "Dough Boy" Statue, July 17, 1966

Rededication of Totem Pole, Aug. 21, 1972.  [In Pioneer Square - Can you name those politicians?]
Rededication of Totem Pole, Aug. 21, 1972. (In Pioneer Square - Can you name those politicians?)
Progress Report - Pioineer Square,  Jan 14, 1973 [Note that the Olympic Block to the far side of the Pergola and on the southeast corner of Yesler and First Ave. S. - has half fallen in.]
Progress Report - Pioneer Square, Jan 14, 1973 (Note that half of the Olympic Block - to the far side of the Pergola and on the southeast corner of Yesler and First Ave. S. - has fallen in.)
View across Pioneer Square from Olympic Buildilng area. FEb. 7, 1974.  [The collapse secton of the  Olympic block provided for a few months Pioneer Square's own repeat of the romantic passion for classic ruins.]
View across Pioneer Square from Olympic Building area. Feb. 7, 1974. (The collapsed section of the Olympic block provided for a few months Pioneer Square's own opportunity for indulging the romantic passion for classic ruins.)

An example of Frank Shaw modern sensibility is this recording of what he describes as "Garbled Billboard on 1st Ave., April 5, 1972.]
An example of Frank Shaw's sometimes modern sensibility is this recording of what he describes as "Garbled Billboard" on 1st Ave., April 5, 1972.
"Concrete Block, Tree on Fill Area North of Alaskan Way, May 23, 1975.  [With his fascination for the dumped concrete blocks Frank Shaw was looking south through the location of SAM's future Sculpture Park.]
Concrete Block, Tree on Fill Area North of Alaskan Way, May 23, 1975. (With his fascination for these dumped concrete blocks Frank Shaw was presciently looking south through the location of SAM's future Sculpture Park.)