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Visual Diary Treasured stories
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by felipe zapata
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Content Me
08 - 09
Deer God!
10 - 15
The only survivor
17 - 21
The unexpected trunk
22 - 27
Window to your soul
28 - 33
Ironic Toys
34 - 39
Almost a batmobile
40 - 45
King of fire
46 - 51
Bibliography
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Me From a very young age I have been charmed and attracted by really old things. The stuff I collected, according to my mom was just old junk, but to me they were little treasures with a huge history behind them. To say it simply, I was intrigued. This history I sensed behind the objects was teeming with rich facts about people and events that had long been forgotten. When I see antique items in different settings, such as museums and roadshows, I feel like they lack the story, and to me that is the most important part. I am creating this book to bridge the gap between these old objects and the history behind them. With the help of antique collector and owner of Eclectic Collectibles & Antiques in Brooklyn, New York, I am going to tell the story and history of some very curious items.
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Deer God! “When taxidermy is done well it’s an amazing piece of art.” -Amanda Seyfried
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axidermy has been present for a long time now. Man has always wanted to represent his strength by collecting trophies, and by that I mean dead animals from his hunt. Egyptians applied first known ways of taxidermy when they mummified animals such as cats, dogs and others. Many of them were found later on, buried with their owner. It was during the middle ages, where bird hunting became popular, that taxidermy methods improved significantly. In 1555, Pierre Belon became the first person to write a book about taxidermy. In the Victorian era many museums stared using mountains in their displays, which made taxidermy extremely popular, and a good business.
The Victorian era saw a trend of taxidermists like Walter Potter making anthropomorphic tableaux of squirrels smoking cigars and kittens having tea parties.
Art of taxidermy started by this time where taxidermist worked hard to recreate animals in human poses. Walter Potter has a famous piece where kittens were posing as if they were having a tea party with mices. The 20th century was the modern era of taxidermy. Posing animals and birds as they would appear in real life became popular and is still popular today. Some of the well-known taxidermists of the 20th century are Van Ingen & Van Ingen, William T. Horneday, Leon Pray, and Carl E. Akeley. The mountings started having a form placed inside the preserved skin instead of being stuffed with straw and other materials. The forms make it possible to have a more realistic shape and look to the animal. The forms are made to look like the animal would if seen in the wild.
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Bambi Bambi Movie: “The animated story of Bambi, a young deer hailed as the ‘Prince of the Forest’ at his birth. As Bambi grows, he makes friends with the other animals of the forest, learns the skills needed to survive, and even finds love. One day, however, the hunters come, and Bambi must learn to be as brave as his father if he is to lead the other deer to safety.” -Jean-Marc Rocher
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“The story I got from the gentleman, this was in a museum in 1984, there was a hill, sort of a highway where all these trucks come through. And these families, they were still in the belly of the parents and every time those trucks and cars go through, they wind up killing these dears. So they found them on the side of the road, they found two pregnant dears, they open the dears and the babies were inside, but the babies were dead. They are actually that big, they were not fully developed. So the state allowed this gentleman, his name was Anthony actually, to taxidermy them and put in a museum in 1974, because you are not allowed to taxidermy baby dears. So they had a permit on the side that’s the only way you can have it. So this came right out of the museum and this was the place to come to. They mounted on a place with a display and it’s all painted in the back. That’s the way they were found in the road. The landscape is a little bit different”
Taxidermy + Design “The common trait among all these artists, is a curiosity about death.” -Marbury
“Why has taxidermy art experienced this great 21st-century resurgence? Aside from the influence of art stars like Damien Hirst, “it’s the return of the hand,” Marbury says. With all-digital-everything, “we want to have more involvement in making things with hands, in having an experience that isn’t quantified by a photograph.” Designers are once again leading the charge and introducing taxidermy and stuffed animals as part of their designs. Imagine, if you will, walking into a home with a jungle feel and seeing a stuffed zebra standing life-like in the corner next to a couch. And maybe that zebra is wearing a mohair scarf. Designers are decorating rooms around animals stuffed and mounted to walls in terms of a color palette. A mounted deer head, for example, could inspire earth tones in furnishings with a nod toward a coffee table that looks like it came right out of the forest.
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The only survivor The USS Williamson (DD-244) served in the U.S. Navy for over two and a half decades in the early 20th century. She was named for William Price Williamson, who served with the U.S. Navy during World War I.
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SS Williamson DD-244 was laid down on March 27, 1919, and built by the New York Shipbuilding Corporation. The Clemson class destroyer had a length of 314 feet and four inches. She weighed 1,190 tons and could sail at 35 knots per hour. The Williamson had a complement of 122 officers and enlisted men. She was launched on October 16, 1919, and commissioned on October 29, 1920 with Lieutenant Commander J.C. Cunningham in command of the vessel.
USS Williamson (DD-244/ AVP-15/AVD-2/APD-27) was a Clemson-class destroyer in the United States Navy during World War II. She was named for Commander William Price Williamson.
“This gentlemen [the owner of the trunk] was the United States Naval Ship Commander of the USS Williamson. He passed away and his entire life in this trunk. It has all his accommodations, all his awards, and his uniform, everything in here. In 1974, I’m not sure, but if you look for that, you’ll see when they decommissioned the ship. They actually fired from a helicopter into the ship to bring it down on purpose to make it part of a reef of the ocean.”
Williamson was deployed to France and England after departing the east coast of the United States, and then sailed to the Mediterranean to operate off of Turkey and Russia. In September 1922, Williamson joined the Atlantic Fleet and conducted battle practice off Hampton Roads, Virginia; Newport, Rhode Island; and Guantanamo Bay. Williamson was placed in rotating reserve at Norfolk in December 1932, and returned to the east coast at Washington Navy Yard for installation of sonar equipment, and then was redeployed to San Diego in November 1934.
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USS Williamson was named for Commander William Price Williamson.
Williamson underwent conversion to auxiliary vessel APV-15 for aviation duty in June 1938, which added 30-foot motor launches for sea planes and four anti-aircraft machine guns. She served between the west coast and Hawaii when World War II began in Europe, and then operated as an escort and materials transport to Seattle and Alaskan Navy bases beginning in December 1941. When the Japanese invaded the Aleutians, six men were wounded when enemy planes attacked Williamson, and also suffered an explosion when towing Catalina from Dutch Harbor in August 1942, which wounded 16 crew members. In January 1943, Williamson was reclassified as a carrier escort and operated out of Puget Sound and San Diego, but aided in the invasion and occupation of Kiska and Attu in the Aleutians in April and May. Williamson was repaired at Mare Island Navy Yard in January 1944 and served as an escort in the Solomon Islands and New Guinea. In June, Williamson reported for battle in Saipan and in July, refueled spotter planes at Guam. She rescued survivors of ditched carrier planes and provided medical and damage control assistance during the bombardment of Iwo Jima. Williamson conducted anti-submarine operations and refueling duty at Okinawa, and then escorted carriers in the Marianas until August 1945. She was decommissioned at Philadelphia in November and sold for scrap to the North American Smelting Company in October 1946.
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Asbestos Industrial sites began using ACMs (asbestos-containing materials) late in the 19th century because it was extremely useful in industrial applications. By the 1930s, new safety regulations requiring the use of asbestos insulation aboard seagoing vessels were implemented. Although Williamson was laid down before those regulations were in place, ships of her era used asbestos extensively in their engine rooms to protect boilers, engines, and other heavy machinery. After several decades, medical science began to realize that exposure to asbestos was more dangerous than previously thought, and restrictions regarding its use were put into place around 1979. Williamson earned four battle stars/awards for her World War II service.
Repair and drydock service members were also exposed to asbestos fibers at high levels, particularly boilermakers, pipefitters, and shipfitters. A dock worker’s family could also be placed at risk because these workers would bring the dust of asbestos products home on their clothing. When inhaled into the lungs, asbestos material damages the thin membrane known as the mesothelium and can then cause mesothelioma. Pleural mesothelioma is just one of a variety of ailments caused by asbestos, many of which are very serious. As it has become clear that the use of asbestos can cause life-threatening diseases and possible death, legal options are often available to those who have developed asbestos-related diseases.
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The unexpected trunk “First on de heel tap, den on the toe Every time I wheel about I jump Jim Crow. I wheel about and turn about an do just so, And every time I wheel about I jump Jim Crow.� -Giles Oakley
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“The mask of blackface enabled you to have voice and to speak without fear of repression. I mean, masks do that. We put on masks at Halloween, and it gives us a kind of anonymity to go and to do things and to say things that we normally wouldn’t. The same thing happens at Mardi Gras. Minstrelsy effectively did that.” -Dale Cockrell
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he stock characters of blackface minstrelsy have played a significant role in disseminating racist images, attitudes and perceptions worldwide. Every immigrant group was stereotyped on the music hall stage during the 19th Century, but the history of prejudice, hostility, and ignorance towards black people has insured a unique longevity to the stereotypes. White America’s conceptions of Black entertainers were shaped by minstrelsy’s mocking caricatures and for over one hundred years the belief that Blacks were racially and socially inferior was fostered by legions of both white and black performers in blackface. Blackface Minstrelsy presented the black character as being stupid, as being comical, as being basically a frivolous character. Now, how that impacted upon society itself was that they embraced it. They loved it. This was what people had thought about blacks all along. When the Virginia Minstrels came along what they did was to develop other characters, and the characters they developed were much more over the edge than the character Rice had portrayed. That’s when you get Mr. Bones and Mr. Tambo. That’s when you get the semi-circle with the traditional minstrel set-up, with these two characters being outrageous, who fidgeted all the time, who were saying the most inane things that could possibly be said. That’s when you really get the negative characterization of blacks as the total comic fool, and that is what minstrelsy was about, to a certain extent.
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“I think there are still the lenses white people put on when they look at black Americans, and it’s sad but it’s kind of desperately indicative of the way in which this country still hasn’t surmounted the kinds of feelings that gave rise to minstrelsy in the first place.” -Eric Lott
“This trunk belonged to one of the performers of black face. They started in the 1819s, there was two of them and what they used to is do these plays and they used to paint their faces black and their lips white or red or something very bright. What they used to do, is do it that way to look like a black person, and make fun of them, it was more of a racist kind of thing. They were stereotyping and make them look like the person was funny and stupid. When I bought this trunk I bought from the auction, I didn’t buy it for that reason, I actually bought it because it was a nice trunk, they didn’t give all the information on it. It was actually covered, when you open it inside it has the black face but they had it covered. What happened was, there was a little piece of material sticking out so I went to fix it, there was a panel and the panel
dropped and the two faces were behind it and it has all the compartments for their makeup and all that stuff. So after I bought I thought about it twice, I was going to rip the papers, I was going to rip the pictures that were around there and I decided not to. But I have it here so nobody actually opens it up.” The history of blackface minstrelsy isn’t talked about regularly today, but its cultural residue is all around us. Until we actively remember the ugliness of this history, people will continue to blacken their faces without recognizing the horror hidden beneath the paint. 26
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Window to your soul “Man has, as it were, become a kind of prosthetic God. When he puts on all his auxiliary organs, he is truly magnificent; but those organs have not grown on him and they still give him much trouble at times.� -Sigmund Freud
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rtificial eyes have been created since ancient times. Egyptian priests made the first ocular prostheses, called Ectblepharons, as early as the fifth century BC. In those days, artificial eyes were made of enameled metal or painted clay and attached to cloth and worn outside the socket. The first in-socket artificial eyes made in the 15th century were made of gold with colored enamel. In the latter part of the sixteenth century, the Venetian glass artisans discovered a formula that could be tolerated inside the eye socket. These early glass eyes were crude, uncomfortable to wear, and very fragile. Even so, the Venetian method was considered the finest in the world. They kept their methods and materials secret until the end of the eighteenth century. First prostheses were made by Roman and Egyptian priests as early as the fifth century BC. Artificial eyes were made of painted clay attached to cloth and worn outside the socket.
In the 17th century the center for artificial eye making shifted to Paris for a time. Improvements in techniques and materials followed. The French word oculariste was given to the makers of artificial eyes. In the mid-nineteenth century, glass artisans in Thuringia, a region in eastern Germany, developed a superior glass formula for the making of artificial eyes. Combined with their techniques of blowing hollow glass objects, the center for glass eye making moved to Germany. The methods of making hollow kryolite glass prosthesis are still used today in Germany and many parts of the world. Glass eye making was introduced in the United States in the mid 1800’s by immigrant German ocularists. Although the American Ocularists of this era continued to make glass prostheses, the kryolite glass material itself was exported from Germany.
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Ambrose Paré (1510-1590), a famous French surgeon, was the first to describe the use of artificial eyes to fit an eye socket.
The Department of the Navy set up a crash course in applying plastics to the field of Ocularistry that lead to the development of medical grade acrylic plastic and its use in eye-making. Combined with the use of impressions in the design of the artificial eye, modern prostheses can be perfectly fit for each individual patient. The popularity of these methods has continued to increase over the years. Today the vast majority of patients all around the world wear ocular prostheses made of acrylic. “These are late 1800’s prosthetic eyes, each eye was created for individual persons. What they do is create a mold, take the guy’s socket and they put a full plaster and they make a mold of the muscle and they pull it out. When they make the eye, they make each of them different. Can you see it? Because the muscle inside is different. The reason they made it that way, when you pull the eye into the socket, the muscle still move when you moves when you look so it kind of moves the eye a little when you move. It’s not perfect but still it moves the eye a little bit, that’s why every single eye is made different. These are made in France and they were expensive. The reason why they have them, the reason why people collect them is because after a while the eye doesn’t come up right or the person doesn’t like it, they make a new one but they doesn’t through the eye out and these eyes wont fit anybody else.“
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Ironic toys Hubley cast iron toys, doorstops collectibles, Hubley manufacturing company was founded in 1894 in lancaster, pennsylvania. the first toys hubley produced were made of cast iron.
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he manufacturing of cast iron toys experienced its heyday during the first years of the 20th century. To create such toys as fire engines, sewing machines, and miniature soldiers from iron, skilled artisans first carved forms from wood or hammered them into metal. Then, they pressed the form firmly into fine, compacted sand to create a mold. They filled the sand mold with molten iron at an approximate temperature of 3,000 degrees Fahrenheit and allowed it to cool and harden. This became one of the actual receptacles they used in mass producing a run of a single toy or toy part. Individual artists painted each toy by hand to complete what amounted to custom-made, hand-crafted toys. Due to the mold-making process, these toys typically were highly detailed, unlike their tin contemporaries, which depended primarily on paint for details. In addition, antique cast-iron toys often included detailed accessories. For example, a horse-drawn fire wagon might have removable ladders and a pair of firemen on board.
Fire engines, toy soldiers, autos, motorbikes, miniature cook stoves, and sewing machines are all examples of toys once made with cast iron.
In contrast to many types of toys, antique cast iron playthings are the products of a specific period in history. Specific clues in the toys themselves make it fairly easy for the collector to identify a cast iron piece as an antique and to judge its approximate value. Collectors find this degree of certainty makes collecting more fun and less of a financial risk than purchasing other kinds of collectables. Very early examples of this type of toy were not
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Cars, trucks, and trains constituted the majority of these cast-iron toys, but even dirigibles and planes appeared in the 1920s. There were even a few boats and ships, the most interesting of which are the 19th century steamboats by makers such as Ives.
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marked with the name of their manufacturer. Only after the turn of the 20th century did makers start stamping their names on the cast iron toys they produced. The unique nature of antique cast iron toys is one of the primary attributes that attracts collectors. Although they were made in turn-of-the-century factories, each one is handpainted and hand-finished so each is unique. Attention to minute detail also sets antique cast iron toys apart from other mass-produced toys. Toy makers such as Hubley employed designers who kept current with automobile innovations and changed their toy designs regularly to keep them up to date. Toy makers manufacturing cast iron doll house furniture, such as Arcade, made sure that each miniature met exacting detail standards. Horse-drawn cast iron toys made by Kenton in the 1920s featured realistically cast and painted horses, complete with harnesses and reins, uniformed
An interesting collectible (toy soldiers) were generally made of lead or other alloys, but one American firm, Grey Iron of Pennsylvania, actually made toy soldiers made of cast iron.
drivers, and smooth-turning, spoked wheels. The number of reproduction cast iron toys still being produced testifies to this type of toy’s popularity. Many iconic antique toys, including horse-drawn wagons, motorcycle cops, toy stoves, and vintage autos, are among the reproductions. While collectors must beware of mistaking inexpensive reproductions for antique prices, others who simply enjoy the look of these vintage-style toys can purchase them at affordable costs. The resurgence in popularity of cast iron toys, as evidenced by the thriving new toy trade, indicates that antique collectables will retain their desirability and value.
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Almost Batmobile “Another night, another costume party. On goes the mask, the suit, and all the accessories needed to make the illusion complete. That’s me. The one wearing the tuxedo and the forced smile. Bruce Wayne: Billionaire, socialite, playboy.” -Bruce Wayne
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atman first appeared 75 years ago, in May of 1939 in Detective Comics #27. Although the first true Batmobile did not appear for another two years, it has become one of the Dark Knight’s best known weapons. The Batmobile made its career debut in Batman #5, then appeared on a comic cover for the first time for Batman #20. Because of different artists’ interpretations of what the car should be, it changed size, shape, and features frequently. Later, as the car was marketed beyond the comics, more forms appeared based on practical or aesthetic considerations. In the 1960s, the first full size, fully operational Batmobile was built for the TV show Batman, and had to face financial and functional questions.
The car has evolved along with the character from comic books to television and films reflecting evolving car technologies. Kept in the Batcave accessed through a hidden entrance, the gadget-laden car is used by Batman in his crime-fighting activities.
A few years later the design of this car would be modified for use in the Superfriends cartoon series, with the unique considerations of making a car that could be easily drawn repeatedly for animation. Then, nearly three decades after the TV series, Batman returned to live action with Warner Brothers Batman movies. At about the same time, Batman: The Animated series came out, with a whole new take on the design of Batman and his universe. All of this was on top of the natural evolution of the car over 60+ years, taking into account new technological features like the jet engine and the computer.
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The vehicle that became the Batmobile was introduced in Detective Comics #27, the first Batman story. Originally, the vehicle was a simple red convertible with nothing special in its functions. Other batvehicles soon followed, including the Batcycle, Batboat and Robin’s Redbird.
“This 1974 Sterling GT was originally bought to recreate a car and put it in a movie in 1989, The Batman movies, it wasn’t a batmobile, it was one of Bruce Wayne’s cars. In the movie he’s coming out of the car and the car was silver. This car belonged to a gentleman, and it was sold to somebody else. That person sold it to another person back in the 80’s. It sat in an old man’s garage and it got crashed in the back, and they destroy the whole back of the car. I bought the car, restored the entire back and instead of making it silver grey again I painted black. The whole top of the car slides forward hydrologically. So, this movie was when that batman was Michael Keaton.”
“But what about parking? Can that thing even fit into a standard parking spot? Have you ever tried to parallel park a car that has huge scalloped bat wings on the back while wearing a rubber cowl that prevents you from moving your neck more than five degrees in any direction? I want to see a director’s cut of Tim Burton’s Batman where Michael Keaton tries to slide that beast into a parking spot without scraping the curb or bumping into another car.” -David Campbell
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King of f ire
“The rise of the range from an 18th century innovation to an essential appliance has helped define the look of kitchens in any era.� -Gordon Bock
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Nonetheless, the kitchen as we know it today has been the heart of the modern house for nearly 150 years, and all through this time the heart of the modern kitchen has been the cookstove or range.
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ere there kitchens before there were cookstoves? Technically, yes, because the ancient art of food preparation took place in open hearths well before the birth of the stove in the late 18th century. Any place there was roasting or baking was, in effect, a kitchen, regardless of whether it was a multi-use room like the post-medieval hall, a dedicated wing, or even a totally separate building like a summer kitchen.
“Fireking made a bunch of stolve late 1800’s early 1900’s, they never made a stolve this style in this particular size, it was specially made for somebody. Because all stoves are big. This one is definitely unique. I haven’t found this in any other books and all the books only show pictures of big ones.” From a cooking perspective, the ingredients of the modern kitchen came together only about 200 years ago with the first appearance of a true range— that is, a flat-topped heat source combined with an oven. Credit goes to Benjamin Thompson, better known as Count Rumford, who designed the earliest such cooking devices to scientifically control heat as early as the 1790s. Rumford was an engineering pioneer who made the first scientific studies of heat transfer while perfecting methods for boring cannons. Better known today as the inventor of the Thermos Bottle and the fireplace that bears his name, Rumford’s particular genius in the kitchen was to take the cooking fire out of the open hearth and put it in a box. 49
Gas was not the only fuel innovation, however. The vapor stove, common by the 1890s, capitalized on the new availability of petroleum products in areas where piped-in gas was not available. Also made of iron and sheet steel, these stoves were light and portable with a styling not unlike the treadle sewing machines of the day.
As the Age of Invention waxed in the 1880s and ’90s, stove manufacturers began a search for heat sources beyond wood and coal, and an unlikely combination of forces led them to gas. Always pioneers in the use of gas, English inventors had been experimenting with cooking by gas as early as the 1830s, but it took the maturing of the gas lighting industry to extend the notion to cooking in America. In the 19th century, gas was made from bituminous coal and was primarily an illuminant used to power street and indoor lights. Though gas cooking had found a place in England by the 1860s, and range manufacturers were beginning to ship their product overseas, in America gas was considered too expensive a fuel to be burned for cooking (not to mention the source of an after-taste in some minds). After 1900, though, gas companies were seeing electric power companies nibble away at their bread-and-butter business —lighting—so they turned to the kitchen as the source of a new market. Since gas ranges had no need for the heavy, cast iron box of a wood- or coal-burning range, they could be built in much lighter and more compact forms. Plus gas ranges gave off much less excess heat and had no need for a chimney, making them ideal for the new, smaller kitchens of houses like bungalows. What’s more, they were light enough to stand on tall, slender legs to become, along with sinks, one of several pieces of freestanding furniture in the early modern kitchen.
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