Geezers Yearbook Page 2020
GEEZER YEARBOOK PAGE 2020
A full page of our collection for 2020 is also at the top of the left column. Each year there will be these individual photos and remembrances.
1. Bob Porter (Hoefer in the 70’s.)
The photo comes from a Shasta shoot down south in the early 70’s. The director was Sid Avery. At the time, I was Jim Nelson’s Associate CD at Hoefer. I’ve been retired and painting for the last 15 years. And this year, I finally made it to artist status at the California Art Club. (It’s an honor that mainly that lets you pay more in dues…)
2. George Hampton
This photo was taken last year as I was hanging my art at the Salt Traders Coastal Cooking restaurant. After moving to Austin, Texas in 2006 where I have a studio in my home, I began painting. Around this time I was very fortunate to have met Jack Gilmore and Tom Kamm, experienced restaurant chef/managers, who asked me to hang my art in their first restaurant, Jack Allen’s Kitchen. They have since opened 3 more Jack Allen’s and one Salt Traders Coastal Cooking restaurants…I have followed along and have not only sold my art to them but have sold paintings to their clientele. How lucky can you get!
(Formerly with Landphere Studios, Botsford, Constantine & McCarty, Botsford Ketchum & The San Francisco Chronicle)
3. Tom Peacock
No artist, but enjoyed your company while working for BM&T. Frolicking in Cuba after retirement.
(GGNote: Tom represented Blake, Moffitt & Towne (paper and printing services in San Francisco as early as 1855).
Paper, type, artist, studio and printing Reps knew everyone. I envied that. And often, when calling on a studio, Tom brought a jar of honey from his own hives of bees!
4. Jed Falby
What a great gift you give us with your time machine taking us all back to our youth and those good ol’ days.
Art Director/Producer at Y&R in those great TV years 1960 – 66 with Hanley Norins Creative Director and his creative collective (Steve Gordon, Mik Kitagawa, Gerry Severson, Paul Frahm et al).
Although Y&R shipped me out of San Francisco to NYC in 1966 I stayed with them in all those ‘Mad Men’ TV years ’till 1970 when I opened my TV Production Company in Paris.
Finally moved back to England in 1990 to paint (South West Academy) draw (cartoons!) and write (“Le Train de Michel” Graphic Novel).
My cartoon here was done for this year’s NY ‘Vote’ campaign with the other SF Geezers now in NYC: John Emmerling, Mike Slosberg,
5. John Mattos
#1- I’m still friends with Vic Marcelli- (art director at Vicom, and other agencies in SF- ) and Vic is a TOTAL geezer- so please put Vic on the list — if he asks what this is about- just tell him “John thinks you are a TOTAL GEEZER” ‑ha
#2– I have 22 pages in the Upcoming December Graphis magazine — naturally I’m quite happy about this –
Merry Christmas –
6. John Hyatt
Fresh out of Art Center School in 1967 I got my first job as an art director at Lennon and Newell Advertising in San Francisco. Roy Gover was also an AD there at the time — he and I would trip over each other sneaking out the back door after lunch to go home and paint. Roy sold his work at the famous Vorpal Gallery and I sold a series of oils paintings at H.P.Corwith on Union Street. Our fine art was considerably more compelling than Lennon and Newell trade ads for Hewlett Packard electronics – a few years before HP became the personal computer giant.
During a seven year stint at Wilton, Coombs and Colnett, I was fortunate to work with photographers Stephen Frisch, Karl Bauer and Craig Simpson; illustrators Lowell Herrero and David Broad; designers Nicholas Sidjakov and Jerry Berman. I started a freelance career (JohnHyattIllustration.com) when I met Chris Blum at Honig, Cooper and Harrington. Chris gave me my first illustration job – a TV storyboard for Levis, animated by Duck Soup in LA.
Currently I’m selling huge paintings of rowboats at www.CanyonDriveGallery.com.
7. Mort Beebe
Having photographed for clients abroad for 50 years, co-founded the Image Bank, authored five books and was location manager for five feature films and TV series…now editing my film archive of the City.
Best wish to both of you,
8. Tom Brenner
! I was a copywriter for a total of ten years, averaging about 2 years per agency! The last, being BBDO, with Herb Briggs and Hal Riney. I’ve enjoyed the stories about those two. Here’s mine: It seemed that every time I took copy to Hal, he’d read it, look up and say, “Is that the best you can do?” I’d mumble, let me try again, or something like that. I left BBD&O at the end of summer on the Friday before San Francisco State started fall classes, where I went to get a teaching credential. On my last day at the agency, people came by to say, “so long, good luck.” Hal walked by, stopped at my door, looked in, and said, “Bastard.” I took it as a compliment. And then Herb came by and gave me a gallon glass jar filled with oatmeal mixed in water, with a reduced copy of an ad (Don’t let Mush Die) I had done while at Dancer for Wheat Hearts. My wife and I had just bought our first house in Berkeley. The jar of mush sat on a living room bookshelf and every time I pasted it I petted it, thanking and thinking of Herb and the others in my ad life. The jar lasted for about three weeks — it exploded one night. Glass and old oatmeal was everywhere! School started, ad writing ended. After writing ads, I taught 4th-6th grades in Piedmont. And when I retired we moved up to Vashon, an island off of Seattle. I took a few Writing for Children classes and now have three published (by Candlewick) picture books (fourth one will be out soon!)— a series of AND THEN COMES —so far: HALLOWEEN, CHRISTMAS, SUMMER., and SCHOOL is next, not sure when. I have no control over that! I REALLY enjoy the Geezer Gallery you post. Even though I only know a few of those who show up, just looking at the others takes me back to the days and how I enjoyed working with the people I worked with. Each agency had a different “set’ and I remember just about every one, even those not mentioned in my posting. Even though I enjoyed teaching little kids, there was a special element about creating ads — working with an artist to solve a commercial charge (not sure of the right word) was exhilarating! And probably can’t be found in many places, well, maybe working with Steve Jobs or Bill Gates might have made the cut. But working with highly talented people made average days exciting — looking back.
Thanks for doing the Geezer Gallery.
All the best,
9. Pierre & Marian Jacot
Here is a pic of me and one of my folks throwing a party circa 1965 – 66? It’s from an Advertising party they threw in their first home in Mill Valley.
Mill Valley House on Lovell Avenue. Pierre just started working for an Agency. I was too young to know which. Maybe someone out there was at the party that might remember?
I wish I knew more about that party. But all the ad people and illustrators and artists, etc. that they knew at the time were there from my mom’s telling years later. ; )
I hope you get some good stuff coming in!
Michele Engel (Pierre and Marian Jacot’s daughter)
10. Tom LaPerle
1977, on the Burbank “Back Lots” shooting a Transamerica series with Marty Evens (LA).
2003, no deadlines, no stress, no worries, no hair… life is good.
2020, living in Oregon on the banks of the Columbia River with G‑monsters, family and a 37-ft express cruiser.
Forever (it seems)…
LaPerle Associates, 1970 – 1990.
11. Lars Melander
Hi Ann,? Thanks for all Mail. Always fun to see. Nice to see Nick Sidjakov’s face — who I knew and admired. Here above is a picture from Macy’s 1978 where I participated in a show for Greengrass Gallery.
Here is the card from Macy’s show. I must say I was in really good company!
Here above is a picture from my latest show this year in Stockholm. Take care and safe!?
Best from Lars
12. Diana Thewlis
Here is my latest self-portrait (in this yearbook page, above) titled, ’The Inner Woman’. Loved my years as a graphic designer, product illustrator, tech. illustrator, and then contract general illustrator. Especially loved teaching at the Academy of Art University. Now basically retired, but painting and getting back into teaching up here in Washington State. I’m going to be filmed painting a portrait in watercolor for the local watercolor society to be used as a fund-raiser.
Nicolas Sidjakov, (12 – 16-1924 – 6 – 20-1993).
Born in Riga, Latvia.
Nic Sidjakov studied at the École des Beaux Arts in Paris, worked in advertising, and free-lanced for the French movie industry before moving to the USA in 1954.
In San Francisco, his locations were — 1967: 120 Green Street — 1971: 433 Turk Street — 1976: 1779 Union Street — and then with partners — Sidjakov, Berman & Gomez from 1981 – 1987: 1779 Union Street. Nic lived in Sausalito, CA.
When Tom Kamifugi & Associates (at 433 Turk Street) and Nic shared neighboring art studios — they created this poster, an invitation to their party. It appeared in the Art Directors and Artists Club of San Francisco’s eighteenth annual in 1967, under the classification of “Magazine Ad”. (Hal Riney was ADASF’s show chairman, that year.)
The credit information shown in the annual, shows M. Halberstadt as the photographer — but the photo was by Jack Allen.
Jack had been forming an ad agency with Harrah’s club as his first client. When internal politics ended that plan, Jack became a professional photographer.
This, I reported previously. (See: Geezers’ Gallery Jack Allen — Ad Man + Photographer + Painter)
Jack Allen wrote:
“Meanwhile, the photographer Milton (Hal) Halberstadt invited me to lunch and suggested we might pool our talents. He had a beautiful studio in North Beach and I said yes, quicker than dirt.
At first we had fun — as Hal liked the sets he was so good at putting together — and I liked the people. So we fit well. And we enjoyed lunch at New Joes. And Hal was a Master Photographer so I was learning every day.
As in many things, they don’t always work as planned. Hal and I parted as friends and I moved to Vanderwater Street in my own studio, next to Veneto’s Restaurant. Years of work came out this Studio.”
So on 11−10−20, I emailed and phoned Jack and asked what it was like taking this photo of Sidjakov and Kamifugi. “Can you tell what the day was like, working with those two – – taking that shot? How long could Nic, hold still in that Cossack position?”
Jack said that all he said at that time was: “Hold still”!
There is a lot to be found on-line about the extremely talented, Nic Sidjakov. In my collection of ADASF publications, I found 107 of Nic’s accepted entries in the years of 1963-to-1967 and 1974 and 1978. Some, show that he was listed as Art Director – (19) and others, credited his artistic / design skills – (88). I had planned to scan and show these pieces but he was too prolific with his many styles — for me to be able to display them here.
His volume of work was explained. This from Chris Blum:
–“ad folks would drink their afternoon and want to nap and Nic would take over and save their jobs for them”. C.B.
I never had the chance to meet Nic Sidjakov, but i was told that he was as kind as he was talented and was always there to assist.
The sixth publication (1964) of the Champion Paper’s – Imagination – “The Wild West” paper sample was in the ADASF’s sixteenth annual show in 1965 listed under Booklet or Folders”. Nic Sidjakov and Ewald Breuer provided the artwork and Tom Gorey directed the art. (And, Jack Allen shot the photo of the “Gunslinger”.)
I show the complicated planning necessary in producing this booklet.
There are fold-out pages, partial pages, die-cut pages, embossed pages, even a sleeve, holding a single detached page. All of the artwork explained how chosen colors worked well on the various samples of stock. The booklet was designed to show the the graphic art community the many possibilities for their graphic projects when choosing Champion Papers.
I have repeated the pages to show the planned sequence as one looks through the booklet – – opening folds that reveal more images – – all that was created offered an “experience”.
Also, here are samples of Nic Sidjakov’s design that I have kept though the years. These two newspaper spreads and a Focus Magazine ad from 1975 promote the new Embarcadero Center in San Francisco.
Maybe, when I have more time, I can go back to scan and show even just a part of the 107 Nic Sidjakov’s ADASF accepted entries mentioned above.
Comments, Corrections and more about Y&R.
Follow-up To Previous Post:
Here are a few of the many comments to our previous “Herb & Hal” posting:
Wasn’t Herb married to Barbra Bradley of the Academy of Art at some point?? Bruce Hettema
My reply to Bruce:
Barbara was born in Los Angeles, but spent most of her childhood in San Francisco. She graduated from Lowell High School in San Francisco and then attended the University of California, Berkeley, where she met her first husband Herbert Briggs (a fellow artist) while drawing for the rally committee. Herb and Barbara studied at Art Center College of Design in Los Angeles before setting off for New York to begin their careers.
Lee Riney’s story about Herb in the elevator wasn’t at FCB, it was at Y&R. And I was one of the guys that was with the crew that taped Herb and put him in the elevator.
(A reply me to forward to Dave from Lee Riney)
Yes, it was definitely Young & Rubicam. I worked there for five years when I left Foote Cone. I should have made that clear in my story. Please send my email on to Dave Sanchez.
Thanks Ann. Herb was pretty drunk, so he didn’t fight. I think he was in the elevator into the evening.
I have fun memories of Herb, most are the insane memories. He sure was a character, I wish there were more.
Bringing this up to date, I asked Dave Sanchez who guessed that “The Elevator Caper” was in 1961 or 1962. He said Herb left Y & R after 1962.
I called Jack Allen:
Jack explained that the client of Y&R was Petri Wines – – so I’m guessing that there were a lot of samples there to inspire the agency folks (after hours?). Jack said that his two hires were there: Dave Sanchez and Mik Kitagawa. Alan Lefkort was also there, also. He was their “father figure”.
I called Alan who accepted that title.
I remember the brand, Petri.
I saw that it was established with barrel wines in 1886 by Raffaello Petri in San Francisco — with vineyards in the San Joaquin Valley. As “prohibition” became the law, the stock for 250,000 gallons of barrel wines were sold to pay for Petri’s new products — including Italian leather goods and cigars. At the end of “prohibition” it was back to selling wines, this time bottled as well — contracting In 1935 with E & J Gallo. When Petri bought Italian Swiss Colony Wines in 1953 — Petri became the largest wine producer in the USA.
The company also established United Vintners.
This ad was shown in the10th Annual Art Directors Exhibition of 1958.
Herb Briggs Story – Hal Riney’s Storyboard
By Lee Riney
When I came to San Francisco from the Midwest in the ‘60s, I didn’t know what an advertising agency was. Somehow, I’ve forgotten how, I ended up as a secretary at Foote Cone & Belding. It was my first job.
I soon discovered that my favorite office on the 18th floor of the Russ Building was Herb Briggs’ office. His walls were covered with sheets of illustrations tacked up willy nilly. The air smelled of fixative and chalk. It was a jumble of pencils, paint and paper. Herb could always be found there – crouched over his drawing board, pencil in hand. He could sketch anything in seconds, and the many storyboards tacked to his office walls were impressive, even to an untrained eye.
Herb was about 5’10”. He was unkempt – he needed to comb his hair and shave. Faded jeans, plaid flannel shirts and sneakers were his daily garb. Always friendly, he would growl at you in his rumbling low voice. I could understand only a few words, but didn’t bother to ask him to repeat himself. No one else could understand him either. He kept a small fridge filled with beer in his office, which was promptly opened and shared at 5PM every day.
When a client rejected a proposal, everyone was expected to stay at the office to rework all the art, all the copy. Herb didn’t go home at midnight along with the others. He took down the drapes in his office, found a couch, pulled the drapes over him and spent the night. In the morning, he looked just like he had the day before.
Everyone loved Herb. Not only because of his immense talent, but because he was so genuine – the agency staff, copywriters, account executives, media people, were indeed smart, witty, will – dressed and charming, but they never stopped trying to impress. Herb was just Herb.
His modest home in Mill Valley was a Sunday afternoon destination. His wife, Pat, would greet us at the door. His son, Dan, would be sprawled in front of the TV watching Star Trek. Agency people and their friends, lovers and wives came knowing there would be large jugs of cheap wine passed around, with maybe some popcorn or chips, and excellent company. People sat on the floor with Herb, or sprawled on the couch. There was spirited conversation on every possible subject except work. All arrived and left with little fuss, perhaps a “See you tomorrow”.
The creative section of the agency – the copywriters and artists – spent a great deal of time thinking up pranks. Any secretary who went down the hall to the creative department, always watched carefully before passing doorway. Fixative that could be lighted with a match and projected into the hall like a flamethrower was a favorite weapon to be use on passing secretaries. We hardly looked up from our typewriters when we heard screams. Herb never failed to call his good friend, Mik Kitagawa, on Pearl Harbor Day, rail at him about the Japanese attack, and hang up without identifying himself. One memorable day, several of the creative staff got together, duct taped Herb to a desk chair, rolled him to the elevator, left him inside to be seen by everyone, and pressed the “down” button. This lasted tor at least 10 minutes. We gathered around the elevator door, laughing and shouting encouragement to Herb when the elevator opened at our floor; waving when the doors closed.
Herb was a Scot, and once in a while, to everyone’s delight, he would put on his kilts and march thorough the office playing his bagpipe. If a client was visiting, so be it.
Later in his career, Herb worked for my husband, Hal Riney.
Hal Riney was renowned for never giving anyone a compliment of any kind. If Hal found work acceptable, the best anyone could hope for was a grunt and a nod. Herb had a framed storyboard hung in his den. At the bottom of the page Hal had written “Not Bad” and signed it. Anyone who knew them both, understood.
(Notes: Read more about Herb? Go to: The Prince Of Pranksters By Todd Miller
I could find no photos of Herb Briggs.
I received this, below, from Tim Price – that shows a Hal Riney Storyboard.
It’s a Xerox copy of one of the Riney Rulers. Hal didn’t do shooting boards, instead he drew out these exacting – to the second– graphs in which every scene, all dialogue is precisely laid out. I think that’s why Hal once told me, “We use Mr. Pytka (director) mainly as a cameraman.”
Yep, Herb worked for Hal at the same time I did, Botsford Ketchum days.
I knew Herb, got no photos.
“Pink Pearl” and More Art Supplies
In the previous post, Bill Stewart’s “Pink Pearl” eraser was there among his art supplies. That brand of eraser was not just an art tool it was used by all. I got curious about its origin and found — the science!
On June 17, 2019, Ray Hahn wrote this: (Search: Bottle Caps and Pink Pearl Erasers)
The Eberhard Faber Company opened America’s first pencil factory in New York City in 1861 on a plot of land now occupied by the United Nations. It is uncertain when the eraser was invented, but in general terms, Joseph Priestly (the same man who discovered Oxygen) is frequently given credit for the eraser.
The history of the Pink Pearl eraser is much better documented. It was invented in 1848 in Germany when Eberhard Faber’s grandfather, Casper, decided that a new method of erasing wayward graphite marks (not, lead) might be achieved by using rubber. Erasers have been an important piece of writing history, but the pencil and the eraser were at first, two different tools. It was Faber who first added erasers to his pencils and he did so sometime after a new factory was built in the Greenpoint section of Brooklyn in 1872.
The magic ingredient in the Pink Pearl is volcanic ash from Italy. When mixed with rubber, it is the pumice in the ash that gives the eraser its unique smell. Unlike poorly formulated erasers that loosen and remove paper fibers, the Pink Pearl erases by cleaning the surface. It is elementary science, which demonstrates that erasers don’t just work manually; they also work chemically. ?Pencils work because, when they are put to paper, their graphite mingles with the fiber particles in the paper. Erasers work because the polymers that are used in manufacturing them are stickier than the particles of paper. It’s that simple, graphite particles end up getting stuck to the eraser instead of the paper. Erasers are literally sticky graphite magnets. (This article appeared in an earlier form in the South Jersey Postcard Club’s McClintock Letter of October 2014, page 6.)
And More Art Tools
I have contributed photos of a lot of my old art tools to the “Museum of Lost Art Supplies” as we show in the column on the left under “Places We Like”. This is still a great collection to look over.
Recently with the extra time and a few items still to send in – I found that the site was not responsive in accepting additional items. After several attempts, I reached Lou Brooks.
Hey, Hi Ann! Sorry it took a while to get back to you. Lots of changes. Clare and I moved to McMinnville Oregon almost a year ago, and we’re still chasing our own tails to catch up. Now, the CO-VID! But on we all go. My original provider has made it difficult to get the Museum of Forgotten Art Supplies site to do us much good these days. I value your contribs and friendship, Ann, and strongly request you sign up on FB for my Forgotten Art Supplies Forum Pushing 4,000 enthusiastic members and climbing. With stellar results… tons of postings, and plenty of back and forth helpful dialog. All seem to enjoy it immensely. I enjoy you posts, and would love to see your stuff up there.
Just sign up and I’ll put you right in.
I don’t do Facebook but I slipped my collectible into Richard’s FB account —to place these two examples with my written description. It went up quickly on the “Forgotten Art Supplies Forum”. I was surprised as I received twelve comments about my submission. Lou Brook’s new Facebook collection shows items that are in addition than those on his previous site.
(We are keeping the original “Museum” on this site. It is still interactive for viewing the extensive collections but it doesn’t accept new additions.) Or use this link.
I’ve thought of another subject – the Flo-master felt tip pen and its ink.
This attractive felt-tip pen could be filled and re-filled. It was available before Magic Markers and other markers appeared in art stores.
The beauty of this pen was that I could control the wet or dryness of the strokes to the paper. As you pressed the felt tip a few times to a surface, ink would flow into it. When the felt tip became partially dry, subtle shading was possible. I used it often in life drawing classes and I carried it when sketching outdoors.
This sketch, above, I made on a landscape sketching field trip in the summer of 1961 – a summer class at the Academy of Art (founded in 1929 by Richard S. Stephens) Mr. Stephens was leading us there on SF’s Telegraph Hill. At the end of class, all were invited to a coffee shop (where Scoma’s Restaurant is now) —where “Pappy Stephens” held court.
I mentioned the pen to Bill Stewart and I was surprised that he, too, remembered it as a favorite tool.
Bill Stewart wrote:
I was going to send a Pix of a Flo-Master Pen. A pre Magic Marker refillable felt pen. When I was a student, Robert Fawcett gave a lecture. Of course, everyone wanted to know what he used for his beautiful, powerful illustrations. He said a Flo-master pen. After that, all the art supply stores sold out of Flo-masters. Actually Flo-masters were originally intended for use as sign markers in the retail stores. Later, a tool for NYC subway taggers.
This was my SF office/studio room —with lovely “North light”! (1 Lombard Street, where Battery Street met the Embarcadero.) On November 6, 1997, I dragged my chairs, drawing board, lamps, two file cabinets and all of my art supplies —home.
Art supplies that I was sure I was going to need.
Now, I need to send photos of the last of my collection of art tools— to the “Forgotten Art Supplies Forum”.