Two years ago I bought a box containing 203 Kodachrome slides from my friend Vanessa. Neither one of us knew the owner. Many of the 35 mm images were dated 1952 - 1961 and annotated with names, comments and places but many were not marked or dated. I recently scanned these slides and was fascinated to discover a timeline of milestones, personal moments and holidays depicted by a sweet couple named Gene and Nancy (aka Nance). I’ve decided that it’s time to share these images. I doubt these two could have ever foreseen their personal visual records ending up in a stranger’s hands (much less being seen on social media) but I think these slides ended up with me for a reason. Friends, meet lovely Nance and handsome Gene as they were in 1954.
As you will see by the lack of annotation or vague notations of many of these slides, it is not always clear who people are or what we are looking at. The era is evident, however. I have left many of the images below without caption and out of chronological sequence as I believe each is a vignette of its own. I have done my best to preserve the quality of the original slide and at times have enhanced it for purposes of visibility.
Gene And Nance At Home (1950s) • This image shows our lovable couple in an intimate, low light setting. Though extremely underexposed, I was able to pull an image from the original slide through multiple processes. The inherent limitations of the original image give this photo a warm, muted feel... almost Renaissance in its light play. Within it, we are being invited into Gene and Nance’s living room where the couple sits like characters in a theatrical set piece, almost completely consumed by the many midcentury decorative accoutrements that surround them. They are captured here (perhaps with a timer setting) in a quiet, loving moment... possibly having just prepared themselves and their home for a gathering. A “calm before the storm” feel is present as is the connection between the two of them in what little of their faces and body language this slide reveals from a distance. For all of the attendant obscurity, we can see a definite resonance of their love shining through the slide’s murky grain. May that same love and light shine through all of us and onto one another in this holiday season and beyond.
Gene And Nance’s Living Room (1950s) • This is a split screen of undated interior shots showing two arrangements within the couples’ living room. These photos could have been taken months or years apart however they both showcase the room after its walls were changed from dark blue to taupe. A Hardoy butterfly chair seems to have been affixed with different colored canvases in each, the pink looking a bit careworn (as if it was outside a great deal). While we did see a yellow butterfly chair in some of the patio shots, I’m still not certain who that patio (or that chair) belonged to as the photos were marked “Gams Patio”. My guess would be that in each shot, outdoor furniture, however worn, was brought in to accommodate guests before more formal, permanent furnishings took their place in the living room. Regardless, both images appear to have been shot during the Christmas holidays as each contains holiday decorations: at top a geometric abstraction of a Christmas tree and at bottom a stylized Santa with conical cuffs. The top image contains much of the same composition as the image of Gene and Nance preceding it and the brightness created by the camera flash exposes more of the room’s elements than previously seen. One charming detail of the top image in particular is the wooden ball joint doll at right, seated comfortably as any human guest would be, its head bent forward as if engaged in a stimulating conversation with its hosts. At bottom we have what appears to be either a sunken hi-fi console with a central grille speaker or a sidebar cabinet, possibly for liquor. Either way, the rich cherry-toned wood renders this a handsome investment piece that creates a solid foundation for any gathering room. Wouldn’t it be great to lounge in a butterfly chair and hear Gene and Nance tell us stories for hours? In many ways, with this collection of photos, they’re already doing that for us. Thanks again, you two!
Nance & Joanne (1952) • The top shows Nance and a woman named Joanne. Another slide in the collection indicates that the shelves behind them are “shelves Gene made”. On the right, a polka dotted basket carries christmas wrap and ribbon, newly ripped and ravaged in a gifting frenzy. On the top shelf directly next to it, we see chips in the snack bowls, a package of Kool cigarettes and another open box with tissue paper and gifts inside. Behind Joanne, a circular hat box with two rope handles carries a winter scene upon its base and lid next to a stack of records and what appears to be a bottle of whisky wrapped in festive pine sprigs and foil ribbon. The grey and white stockings with embroidered names appear here again along with what seems to be a third stocking (which may be for Joanne). At the far left, a small wedge of the tinseled tree and the gifts below take us into the bottom image. The plaid cup and saucer set from slides six and seven appears here alongside gloves, a sweater, soaps, an Old Spice gift set and the game of Foto Electric Football. It’s been fascinating to admire these items when worn or used by Gene and Nance and even more intriguing to discover their origins. I’m so glad they committed these personal moments and details to film, very pleased that they’ve lasted for all of these decades and extremely grateful to be their current custodian and curator.
Noel With Nance! (1952) • In this slide from The Gene And Nance Archives, we see Nance and a woman named "Sister Sue" decorating the kitchen Christmas tree among a plethora of tableware and gifts. The colors of the kitchen are once again on bold display as is a sense of giddy holiday delight. Nance looks elegant yet comfortable in a quilted robe (which she wears like a ball gown) while the couple’s guest is in a slim cut gold dress with a series of buttons on the bodice. Both ladies are fresh faced and wearing lipstick. It’s interesting to note that the tree appears to be getting its trimmings on Christmas Day rather than earlier in the week or month. Perhaps holiday decoration was a simpler, more intimate activity for Gene and Nance rather than part of a larger series of complex decorative moves (as it has become for many people in the intervening years). The simplicity of this activity has yielded rich, sparkling results which have clearly brought pleasure and happiness to those engaged in it. As with all images in this series, this one is being shared in the hopes that it makes you feel some of that same joy.
Gene Has Some Holiday Cheer (1952)
This image speaks for itself.
Cheers and bottoms up, my friend. ‘Nuff said.
Gene And Nance In Al Khobar (1961) • This image was marked “Al Khobar” and (like the others below) was stamped 1961 by the film processor. No other written information is given however this slide does provide a dramatically foreshortened view of a street in Saudi Arabia along with a shadowy glimpse of a woman on the second floor terrace of the building on the right. A 1955 Chevrolet Bel Air station wagon (thanks Dave!) sits at lower left, pointing in the direction of a mostly empty street whose buildings appear to top out at three stories high. The distant human activity present and questions about the identity of the terrace woman (was it Nance?) gives this a slide a cinematic “haunted in daylight” ghost town feel and again, stands as one of very few urban images in Gene and Nance’s archive. Though rich in color and “east meets west” details (note the Admiral TV Appliances sign to the left of the one reading Al Alamaan) this rather desolate image carries with it all of the mysterious fascination of set of midcentury American eyes as they experience other parts of the world for the first time. Thank you, Gene and Nance, for this beautifully seen slice of local Saudi Arabian color.
Gene And Nance In The Middle East (1961) • This street scene is one of very few urban images in the couple’s vast slide library. This is one of a handful of slides from a trip to Egypt and Saudi Arabia, sitting amongst the others without any annotation. Despite the lack of context, this image gives us a great deal to examine and consider. An unnamed woman (seen with Nance in another image below) approaches the viewer holding a purse in the crook of her left arm and a cigarette in her left hand. Her right hand holds either a pack of cigarettes or a small cigarette wallet as she strides forward in sunglasses and a floral print dress. Every detail of this entire look is evocative of the period. Similarly, we see the midcentury era represented in the cars and buses that are found in this roundabout. TWA and BOAC, two airlines which are now defunct, are advertised on billboards containing both Western letters and the Arabic abjad. If not for the presence of Arabic script, the setting of this image could be mistaken for an American or European city. Once again, despite the vagueness of details (or perhaps because of it) the sheer presence of these Middle East images in Gene and Nance’s archive have added more layers to the mystique around their fascinating world.
Gene And Nance Visit The Mosque Of Muhammad Ali Pasha (1961) • This appears to be a slide of The Mosque Of Muhammad Ali Pasha, also known as The Alabaster Mosque. Using what little context the mostly unmarked 1961 slides provided, I looked at where this image sat in the succession of Gene and Nance’s Middle East photos for purposes of identification. After researching mosques in Cairo and viewing photos of them from multiple angles I arrived at The Alabaster Mosque as the one seen here. No other information besides the image and its physical context remains and for now, that’s plenty. Gene and Nance went half way around the world and have once again treated us to a beautiful trip across space and time in an era where current global conditions are keeping many of us locked down. I am forever grateful to this wonderful couple for what they’ve left for us at this particularly dark time in history and extremely grateful to be the current custodian and curator of their visual journal. I hope all of those looking, following and lurking (yes, silent lurkers, I see you) are enjoying this visual journey as well.
Gene And Nance Go To Egypt (1961) • This image shows Nance and an unnamed woman standing before the pyramids of Egypt. Above is a separate zoomed shot of the pyramids themselves. These are two of a handful of slides from a trip the couple took to Egypt and Al Khobar in Saudi Arabia in 1961. As I’ve presented Gene and Nance’s treasure trove of images I haven’t sought to create a linear timeline as much as I’ve worked to curate a series of vignettes from their life as evidenced by their rich archive. While I plan to share earlier and later images that flesh out more details of their life together, I will be sharing a series of these travel shots first as they create a surprising, almost anomalous, visual left turn. The Egypt and Al Khobar images are completely different than everything else they photographed in terms of content and shows our quintessential midcentury American couple completely out of their cultural element. I’m certain that they were fascinated by all they witnessed and as you’ll see in the images from this trip, they took some time to depict both landscape and cityscape. While I wish they’d dedicated more slide exposures to this journey, the ones I discovered in the archive do hold a great deal of fascination. Despite the scarcity of images from their trip to The Middle East, it’s nice to see that they were well traveled. Thanks again, Gene and Nance, for allowing us to follow you to other lands some 59 years later.
Gene On A Mosaic (1956) • This image shows Gene in a shearling lined leather bomber jacket seated atop what appears to be a stone mosaic sculpture of a house. The original slide was marked “My Boy. Whiting Park.” in Nance’s florid handwriting. The natural, comfortably posed scene, Gene’s smile and Nance’s sentimental annotation say it all. This is yet another manifestation of Gene and Nance’s mutual love and adoration captured on 35 mm Kodachrome film.
Marked "Gene & Had"
Marked "Gene & Tymeson Boys"
Gene And Nance On The Farm (1952) • This shot was taken at Ricketts Glen State Park in Benton, Pennsylvania. This is one of the few slides in the collection that were annotated with a definite location. Gene and Nance are seen standing on either side of a geographic marker and it’s interesting to note that Nance, who appears taller than Gene in some photos, is standing on the down slope, giving her a shorter appearance. It also bears noting that the couple is visiting a farm, which calls to mind rustic surroundings and activities for which one would dress down. Gene and Nance however, quite true to form, have dressed up. At first glance, Gene is wearing what could be termed simple blue collar wear but upon closer inspection, that’s not the case. A brown braided belt and matching shoes coordinate with the two tone blue of his loose-fitting button down and pleated royal blue slacks. There’s a flow and ease to the garments that belie their almost nondescript conservative colors. Nance is quite striking in a full length multicolored herringbone stripe dress and what appears to be a knotted rope necklace of pearls. Standing still with hand on hip, she manages to be a moving, rhythmic pop of colors in contrast with her husband’s solid blues. That is to say, Gene lets Nance be the star of the show... a role she has comfortably stepped into. Though they had probably been married for a little while here, there is something of a first date freshness to Gene and Nance’s energy. In this moment, a Kodachrome snapshot (possibly snapped by another farm visitor) captures coquettish smiles suggesting that a weekend of hand-in-hand strolls in the natural beauty and relative seclusion of the woods is the start of a romantic getaway that presents an opportunity for these two to get to know one another more deeply. Away from their social circles and the ritual habits of their home base, they have stolen away to focus on themselves and their bucolic surroundings without the observing eyes or interference of others. Sixty eight years on, however, we are presented with a classic and timeless image of two lovers who thought enough to document this sublime moment on film. Thanks again, Gene and Nance, for this richly colored, revealing glimpse into your very special private world.
Marked "Lovebrids" (1952)
This image highlights the couple whose love and affection for one another is evident in the looks on their faces and body language. From what I’ve learned by looking at the dated slides, this would have been about two years into their marriage. The interior details show a finely appointed midcentury suburban home. One thing that seems apparent in all of their interior shots across the years is the great pride they took in their stylish, comfortable lifestyle. Earlier images from 1952 seem to show a bright, tidy apartment while the photos from 1954 onward show a more deluxe single family home, which I assume they bought with the hopes of raising a family.
Out With Gene And Nance (1956) • This is one of many slides showing the couple socializing with friends. This is one of three photos from this particular gathering, which may be at the home of one of their friends. What’s striking in this slide is the steep diagonal angle as well as the effect of the camera flash. The high bookshelf is also an intriguing feature because it gives us a window into the life and interests of the homeowner. This photo, however, may have been a misfire or the composition may have been a mistake. Gene and Nance appear to be looking above the camera rather than into the lens. My guess is that they handed the camera to someone at the gathering and while this person was shooting the photo, the camera slipped. Perhaps the couple was distracted by something happening elsewhere in the room. Regardless, Gene and Nance maintain their ever present gorgeous looks, perfect grooming and stylish attire. I can only imagine that they were That Couple... The folks that upon arriving, brought a great deal of warmth and laughter to any dinner party or holiday celebration.
Gene And Nance On Holiday (1958) • In this slide we see the couple relaxing on a blanket in front of a series of cabins. They are posing confidently, sitting close together and smiling. The presence of trees, bicycles, children and cabins (more of which are visible in the uncropped slide) creates the appearance of a family lake resort. Had a camera not captured this moment it’s easy to envision Gene and Nance seated in this exact position, simply having a conversation with other vacationers on the lawn. “Gorgeous day, isn’t it? Have you been in the lake yet? It’s chilly today but it feels good.” Again, as in all of their images, the couple is neatly groomed, wearing nicely fitted seasonal attire and appear to be in fantastic physical shape. Rather than posing to impress others, they are merely presenting themselves as they are: beautiful people having a good time together while surrounded by others who are also taking in the natural beauty. Simple pleasures, the perfect company and no pretense. These are people I would genuinely enjoy vacationing with. Thank you, Gene and Nance, for giving us another glimpse into your colorful world of timeless warmth and enduring charm.
Gene And Nance In Chicago (1952) • Here is the lovely couple dressed up for a visit to The Art Institute Of Chicago. I’m not certain if they were attending an event or viewing an exhibit, however it’s clear that Gene and Nance have once again dressed up for the occasion. The soft, cool bluish grey of Gene’s suit and azure tie against a crisp white shirt create a handsome, comfortable spring look. The fuller cut of the suit looks more 1940s than 1950s and appears to allow Gene freedom of movement without formalized constriction. Nance maintains her ever present confidence and poise in a slim cut white calf length skirt and coordinating cobalt color blocked top with a cuffed short sleeve jacket. The hues they are draped in unify the couple visually while giving each of them a distinctive look. One can imagine them making wardrobe choices, dressing and admiring themselves together in a mirror before heading out for the day. Gene and Nance’s enduring adoration for one another shines through this image as it does in all others. Their pride in themselves as individuals is always presented with comfort and ease rather than pretense and arrogance. When these elements are added up and presented with their genuine, bright smiles we continue to see an inspiring and incandescent couple in love. Let’s all follow Gene and Nance’s example and carry ourselves with a little more ease and lightness of heart today, friends. Smile, be happy and make others smile too.
Gene In Jeans (1952) • In this image we see Gene seated on a rustic tree branch handrail attached to a wooden footbridge over a stream. He is casual, wearing a white t-shirt, blue jeans and black shoes rather handsomely. The most notable details in this image are the highly rolled cuffs of Gene’s blue jeans. These cuffs were a signature style of the 1950s and became a keynote of the rockabilly look as rock and roll music dominated the landscape of popular culture. Our friend Gene, who is always seen looking stylish, neat and attired with a confident poise may have been dressing for a weekend of hiking and outdoor activities but he was also just ahead of the fashion curve. The overall look in which Nance has captured him in 1952 would later be echoed and modified by silver screen heart throbs, most notably Marlon Brando in On The Waterfront from 1954 and James Dean in Rebel Without A Cause from 1955. An assembly line of rock and roll stars would also start entering the public consciousness wearing outfits similar to this about three years after this photo was taken. One could easily picture Gene on a motorcycle or brandishing a guitar but in this intimate moment he is simply a very handsome young man depicted during a quiet weekend of leisure by his loving wife. Happiness, love and authenticity never go out of style. In any decade, Gene is KILLING IT!
Soft Focus Gene (1952) • I’m presenting this slide from The Gene And Nance Archives uncropped and unedited with its original tilt. This was going to be an outtake until I realized that within the soft focus, this image reveals a great deal of emotional content. The distance and lack of definition gives this slide the air of a buried memory whose details are vague but still held with high regard. Gene’s confident physicality and warm smile are distinctive enough to be completely visible through the technical limitations of the photo. What some might consider a “throwaway” shot is actually yet another window into how Gene presented himself with an authentic singularity as well as how lovingly Nance’s eye was cast upon him when she clicked the shutter. Many photographers (whether aware of it or not) cast a layer of their intent, spirit and emotional presence on their subjects. Oftentimes what we see when one person photographs another isn’t merely a portrait of the subject but also evidence of the relationship between photographer and subject. In this portrait, even at a distance, it’s clear that the same light that shone through Gene’s eyes also illuminated Nance’s when the exposure was snapped. Ain’t love grand, folks?
Master Chef Gene (1952) • In this slide from The Gene And Nance Archives we see Gene dressed in some humorous holiday items. A white apron with a blue meat cleaver across the front carries the words “Master Chef” in a faint red script. Strangely enough, Gene’s blue grey and white socks with attached bells and ribbons seems to coordinate with the apron quite well and leads me to wonder if Nance made these items herself. The red script on the apron and the pattern of Gene’s socks are similar to the script and colors we see on the Christmas stockings in images five, eighteen and twenty-seven. The similarity of the script on all of these items leads me to believe that the letters were threaded through both the apron and stockings by Nance. It’s also possible that the Christmas stockings and gag gift socks came from the same original package. Standing at what is likely the decorated back door in the kitchen of the apartment he shared with Nance, Gene is having a good time with it all. Smirking with a pipe in his mouth and wearing the same t-shirt and vest that we see in image number six, his eyes sparkle as they often do. One can imagine Christmas music playing from the kitchen Bakelite radio underscored by the pervasive ringing of the bells on Gene’s socks as he walks around preparing food. Nance could easily be adding last minute ribbons to gifts for friends and family before sweeping up stray pieces of tinsel from beneath the tree or merely picking them up from the floor and draping them back onto the branches. It’s a scene that likely played out year after year as Gene and Nance continued to receive guests for holidays and I have to wonder how many times the Master Chef apron made an appearance on these occasions. For all the narrative and detail these slides carry, they allow space for our imaginations to color the scene around each, continually beguiling and delighting a future audience that Gene and Nance never could have imagined.
Double Exposure Gene (1954) • This is one of those quizzical anomalies that no longer exists in the digital era. It was created when the reel did not advance within the camera and two consecutive images were exposed onto the same piece of film. The primary image (likely shot by Nance) shows Gene smiling and reclining on the couple’s maple bed. Above him hangs a patterned curtain, most likely covering a small window. A visual interpolation occurs across the image in the form of two tall candelabras whose reflections are faintly mirrored in the sheen of a polished dining room table. A tall china cabinet (complete with the glare of a flash bulb) appears under the lower curve of an overhead lighting fixture. On the left we see the faint, ghostly smile of an unnamed woman in eyeglasses. Hands crossed at her waist, her blouse and other garments disappear into the overlapping bed frame and blankets. The compression of these successive images tells me that the first photo was taken in the couple’s dining room (as the cabinet appears in other images from inside their home) and that the camera was subsequently brought into the bedroom for the second shot. Two completely different environments overlap here, creating dual, if not disparate vignettes from Gene and Nance’s life. One image was taken of a guest whose body language connotes an awareness of posture and presentation as she stands in a public part of the home while the other image was taken in a more private space, capturing a decidedly more relaxed, intimate moment with Gene. Though he is somewhat obscured by the double exposure, Gene’s smiling ease with himself and comfort in front of the camera, helmed by his wife, remains. Overall, what has endured over seven decades on this tiny piece of Kodachrome is a gloriously revealing glitch that could only happen in the analog age.
Gene And The Dresser (1954) • Here we see Gene standing next to a dresser in the bedroom he shares with Nance. The couple documented the arrival of a set of brand new maple furniture with photos of themselves posing near different pieces. This had to be a large expenditure for a young couple and stylistically speaking, Gene and Nance made a sound investment. It’s significant to note that Gene is attired in a decidedly adult button down shirt, pants and leather belt. The earthen tones and clean, classic cut of his outfit wouldn’t seem out of place on a 21st century man. He and Nance’s knack for selecting timeless clothing translated to other purchases as well. While the couple was modern, in the moment and stylish in terms of dress and lifestyle, many of the “investment pieces” in their home had a great deal of practical, timeless integrity. This dresser and the other set pieces present in other slides wouldn’t look out of place in a bedroom 66 years later. I’d love to know if these furnishings are still in use (in part or as a full set) in somebody’s bedroom all these decades later. On a personal note, I wouldn’t mind having that beautiful Bakelite clock.
Gene At A Train Station In Al Khobar (1961) • This is one of a handful of slides from the couple’s jaunt to The Middle East. In this slide, likely shot by Nance, we see Gene walking out of frame and looking at the viewer from behind sunglasses with a cigarette in his mouth. One could imagine hearing Nance yell “Gene, look over here!” as she clicked the shutter. Gene is one of a group of men and women moving about a train platform which is separated from the tracks by a low barbed wire fence. Caught in mid-step, Gene is the most undated figure in this tableau, styled in a way that places him squarely within the modern era. If Gene stepped out of this 1961 photograph into the present day, his air of timeless, cool sophistication would still be contemporary, striking and quite admirable. We would, however, probably have to apprise him of a global or cultural update or two. I could envision it going something like this: Hi Gene! Nice to see you. Welcome to 2020. Have a seat, sir. We need to explain a few things to you...
In this image we see Gene pouring a drink in the kitchen in 1954. A wheeled utility cart might be a makeshift bar here. Perhaps Nance shot this image to highlight some of their shiny housewares. I’m unsure of the occasion being depicted here but what’s clear is the warm, engaging smile that Gene is often seen sporting in the couple’s photos. Whether alone, with friends, family or Nance, Gene strikes me as being an all around good guy who is always ready for a fun time and has kind words for all.
Gene & Sue At Eaglesmere (1956) • This image shows Gene and a woman identified as Sue relaxing on a large blanket near Eaglesmere Lake in Pennsylvania. The photo appears to have been taken by Nance and the annotation on the original slide seems to be written in her handwriting. An open space on the blanket indicates her spot next to her husband, who is laid out for sunbathing in a pair of contemporary looking midlength black trunks with a white stripe. The cut and styling details of his swimwear is so timelessly modern that if it weren’t for the quintessential midcentury swimsuit worn by Sue, this photo could’ve been taken this year. Gene is tan, relaxed, enjoying a cigarette and completely comfortable with his surroundings. Notably, there are no books, magazines, newspapers or portable radios in the image. The absence of these accessories is striking for it indicates that there is no need for external stimuli or sound beyond conversation with present company or the incidental entertainment the environment provides. Once again, Gene and Nance’s slide archive has reached out to us some 64 years later to provide a shining example of simple fun, good times, pleasant conversation and a peaceful, momentary pause on all outside world affairs.
Gene On The Stairs (1952) • This image shows Gene standing on a set of stairs leading to what seems to be his and Nance’s first apartment. The slide is marked “back steps and porch” and is one of a pair of shots showing Gene and Nance at different entry points to their apartment building, each holding a golf club. Though his shirt is slightly untucked, Gene is casually neat and looks as though he has just stepped off the course (perhaps with Nance). It bears noting that this image could have been taken today. There aren’t any decade-specific details on the building to indicate exactly when this photo was captured. Gene’s khaki trousers, olive shirt and brown shoes could easily be those of a man 68 years (or more) later. Though fairly sparse with cultural details, when looked at in the context of its time period, this timeless image of a handsome, well dressed man with a golf club carries enough information to signal many of the enduring symbols of leisure, contentment, prosperity, comfort and optimism in midcentury America. Despite being slightly out of focus, Nance once again did a wonderful job of capturing an atmospheric vignette of Gene in his element... posing for just a moment yet still being himself in an unscripted manner. Hey, I wonder how well he played that day?
This one was marked "Gene & Stevie - Ocean City, MD"
Gene On The Patio (1956) • This is a bit of a mystery but it gives us a lot to look at. This is a cropped image from a group of slides marked “Gams Patio” so I don’t think we are at the couple’s home. The patio carries some striking details of midcentury style, namely the thatched fence and yellow butterfly chair. A pair of what I first thought were blue paper lanterns appear to be hanging from the rafters, however upon closer inspection they reveal themselves to be imperfections in the original slide. These blue orbs do not appear in other images from the patio series. The circular redwood picnic table carries a revolving disc (also known as a “Lazy Susan”) in its center, designed to be swiveled so that items placed on it can be moved toward people seated around the table. Gene is once again dressed handsomely in crisp formal attire with a yellow pop of color on his socks that coordinates with the chair rather uncannily. All questions aside, this is yet another window into Gene and Nance’s world, the spaces they interacted with and the moments they felt were important enough to capture and make their own. If nothing else, it’s an attractive quintessential 1950s time capsule with Gene as the central figure in the set piece.
Time to eat! In this sixth slide from The Gene And Nance Archives (dated 1952) we see Gene about to carve some meat for a Christmas meal. A plaid dish and bowl set appears to be arranged into three place settings. The tree is festooned with ornaments and slim cascades of meticulously arranged tinsel. A metal cover sits atop the radiator. On it we see a wedge of what appears to be a cream colored Bakelite radio. The red valences over the white curtains create a bold, graphic pop against muted walls. While all of these details create a classic 1950s Christmas snapshot, the element that speaks most loudly is Gene. He is casual, relaxed and neat but not fussy. His stance indicates that he has stepped into his traditional role as “man of the house” who carves the meat with pride and a touch of humor. Gene’s warm smile and the joyful sparkle in his eyes complete the story of this image, which was most likely captured by Nance. Once again, Gene exhibits the same pride, joy and presence of self that Nance projects when Gene points the camera at her. There’s one more level on which this photo engages the viewer. It’s as if we’ve popped in to drop off a gift and Gene just said “Hey... Why don’t you stay for dinner?” Despite our protestations of other homes to visit, he waves our agenda away brusquely. Turning to Nance as he readies his carving tools, he says “Nance, put out another place setting, would ya? We got company!” Thank you, Gene and Nance, for offering us a place at your table.
This was marked "Tymesons On Sliding Board"
Marked "Marty, Had, Gene & Dick"
This was marked "Nancy & Tymeson Girls"
Nance At Home (1956) • This tenth slide features Nance elegantly attired and confidently posed in a slate grey belted dress with a white collar. Her right hand rests on a room divider at the doorway of the home she shares with Gene. Though only an entryway, we gain a great deal of insight into the couple’s lifestyle and aesthetic sensibility from this narrow wedge of interior. The crisp white hollow squares that compose the room divider stand out against the deep blue of the living room walls. A red doormat complements the warm brown of the immaculate hardwood floors. The print on the floral barkcloth drapes (which make an appearance in an earlier slide from 1954) relates to the gestures of the leaves springing from the ceramic pots on the left. A small mirror breaks up the otherwise monolithic wall between the front door and window, cleverly placed so one can check their hair before answering the doorbell. This entire scene speaks to a comfortable lifestyle that is efficiently run, not garish in any way and one in which every detail (from wall color to choice of ceramic planters) is well considered. The woman standing central to all of this is the proud doyenne of this designscape. With a stance that connotes ownership and authority, Nance asserts her role as the literal gatekeeper to this idyllic 1950s suburban world. That said, with a warm smile, she also strikes a keen balance as a warm and welcoming hostess. Well done, Nance. Well done.
Another slide marked "Nancy & Tymeson Girls"
Nance At The Door (1952) • Here we have Nance standing at the decorated back door that Gene stood next to in the "apron" shot. This shot appears to have been taken from an exterior landing looking into the kitchen (note the two toned walls and chair rail) with a flash. Nance is festively attired in a red vest and shares a megawatt smile with the photographer (most likely Gene) and the viewer. A series of simple yet charming Christmas decorations that look homemade adorn the windows and frame. One can almost hear the ringing of the small bells knotted into the red and white ribbon every time the door is opened and closed. Apart from that, there isn’t much else to unpack. This is a simple, very upbeat portrait filled with homegrown holiday cheer and more of this very special couple’s brand of genuine optimism, warmth and stylishness. Good tidings to you and your kin!
Nance On The Farm (1952) • This photo was another digital rescue. The original slide was underexposed and I took great care in brightening it to a level that wouldn’t obscure Nance or the overall mood but would instead enhance both. What was revealed as I worked to expand the image beyond its original limitations showed me a new emotional dimension of this beautiful young lady. For all her usual poise, Nance’s face carries a gleeful, more relaxed giggle than we see in other shots. My first reaction upon watching her smiling face emerge from the analog underexposure behind which it sat for 68 years was “Wow!” While Nance definitely has a look and style that is as unique as it is classic, in looking upon her here I saw shades of Betty Grable or, to bring things into the modern era, a very young, early career Gwen Stefani. It struck me then that all three women: Nance, Betty and Gwen are part of a stylistic lineage that will never fall from the favor of popular culture. Class, elegance (however casual) and fresh, youthful joy (at any age) create the most timeless looks ever. Let’s all try to identify the same beauty within ourselves and one another as we enter this holiday season.
Nance In A Mosaic Garden (1956) • In this slide we see Nance seated in the same Whiting Park sculpture garden from the previous slide. Pre-selfie culture, couples had to photograph one another or hand the camera to a third party. As with all other portraits the couple took of one another in the collection of 203 slides, the love is once again resonant through the lens. Gene and Nance weren’t showing off to an audience of anonymous followers, looking to inspire visibility, envy or chasing the interest of remote strangers. They were simply living, being and enjoying themselves. That said, I’m very grateful that they left these warm, elegant and classic visual documents for all of us to enjoy.
Nance In Gold (1955) • In this slide we see Nance looking especially radiant and sophisticated. There are no other words to describe her as she poses before the fireplace in a gold dress with golden hair and an electrifying movie star smile. She is noticeably surrounded by freshly unwrapped gifts, perhaps for her birthday. It’s interesting to note that Nance’s ever present smile and loving gaze are seen throughout the couple’s photos whether or not she is being showered with gifts. In this moment, however, her entire being seems to be illuminated with some extra wattage. When I see this image, most likely shot by Gene, I see an elegant woman who is cherished and adored... and she knows it. Once again, this photo is a case of Gene lovingly depicting Nance in an intimate moment and Nance simply reflecting his love back at him. There is no clothing, makeup, hair care product or filter that can artificially manufacture the internal glow or energetic exchange this photograph has recorded. It’s simply there or it isn’t. That said, let’s all follow the beautiful example set by this wonderful couple and shine a little bit brighter... Perhaps some of that warm light will be reflected back at us.
Nance At Christmas (1955) • The forty-eighth image from The Gene And Nance Archives is another feast for the eyes. In this slide we see Nance in the gold dress from earlier images in she and Gene’s blue living room. The room’s floral barkcloth curtains create the perfect stage for this scene, positioned as if to frame the flocked and potted tabletop Christmas tree whose frosted boughs splay upward and outward in all directions. Nance’s requisite elegance and poise is present as is her bright Hollywood smile. The illumination of a flashbulb casts a bold incandescence upon this entire set piece and manages to enhance the white of the tree, the rich colors of the curtains and the warmth of Nance’s skin. A display of freshly unwrapped gifts spreads around Nance’s seated figure, as it does in other Christmas slides. Notable among the spoils of this holiday haul is what appears to be a small blue suitcase at right, topped with a full red bow. Given the other images of travel we’ve seen from Gene and Nance, one can only imagine the miles this case would travel en route to any number of destinations. Abundance, health, love, joy, prosperity, comfort, security and optimism for the future... these are the real (however intangible) gifts unseen beneath this tree but they resonate in all of the images within Gene and Nance’s visual diaries. In current times of great global difficulty where many are lacking one or more of the above, it may be hard to envision these blessings for ourselves. One of the reasons I chose to share The Gene And Nance Archives at this particular time was for that very reason: to not only showcase a storehouse of rich vintage beauty, warmth and style but also to remind everyone that the love, joy and abundance seen here is not only ever present but also able to be harnessed and realized for ourselves regardless of present circumstances. This and all images in the collection are being shared with all of you in the spirit of hope and the promise of bright days ahead.
Nance At Christmas (1955) • This images posits Nance within a now familiar setting. Once again, the stark white squares of the room divider stand out in high contrast against the dark blue walls. Notably, this painted wooden feature has been decorated for the Christmas holiday with red ribbon, a bottle brush tree, strands of beads and several hanging ornaments. Despite all the festoonery, Nance is once again the standout in this image. Resplendent in gold with hair of a matching hue, her red lips complement the vertical stretches of red ribbon behind her. Looking more like a Hollywood screen star on a red carpet than a Midwestern housewife in her home, Nance once again presents herself as a stylish, contemporary woman who isn’t merely playing “dress up”. She is completely engaged in creating all aspects of her world, aware of how special all of it is and has shown up for each moment of it dressed, powdered and painted accordingly. Perhaps if we all focused this much attention on everything we engaged in, created or the way in which we approached day to day living, our individual worlds would change. We may find our immediate environments transformed for the better. We may also see changes in the attitudes of others as well as positive reactions from those we encounter along the way. Whether staying in or stepping out today, remember to put your best foot forward. You never know who’s watching or who might be taking a positive example from your presence, words or actions. Thanks again, Gene and Nance, for unwittingly exemplifying beauty, grace and class across the decades in these beautiful Kodachrome images.
Marked "Nance's Baby Shower" (1958)
These images were marked "Nan In Shortie"
Nance In The Mirror (1954) • In this slide, we see Nance posed with more of the maple bedroom furniture that Gene posed with in an earlier shot. Gene gave this slide a composition which is rather peculiar. The center of the shot is dominated by a mirror which shows us the juncture of two green walls and the lower curve of what appears to be a holly shaped ceramic wall hanging. The mirror reflection alone is its own compositional world in which Nance’s reflection looks out into a deep, sparse interior space. Outside the inset created by the mirror’s frame, Nance herself engages the viewer with bright blue eyes and a relaxed smile. This is truly a “picture in picture” photograph which gives us a literal window into Gene and Nance’s life. The all consuming verdant hues of the photo are balanced by the warm honey blonde tones of the maple. The room appears freshly painted and prepared to receive these new furnishings, of which the couple are clearly proud. Three personalized details show the chest of drawers as having been “claimed”... two small rectangular boxes with white dragons on them and a silver tabletop cigarette lighter. Though Nance is at far right, she is a definite focus puller and presents a dynamic pop of black and red in addition to her own beautiful physical attributes. All told, this slide is not unlike a 1950s magazine advertisement for a furniture showroom. The maple finery is featured in an attractive, relatable domestic setting and Nance is a fetching spokesmodel, however NOT an ornament. There is the same projection of ownership, pride and comfort visible here as we saw in the image of Nance next to the room divider in slide number ten. While we, the viewers, are being welcomed, we are merely being invited to visit, look and perhaps (in a way) reflect upon ourselves.
The inscription on the cardboard of this slide read: “Gee I Look Awfully Skinny!” Dated 1954, we see quite a bit of context here. A pair of Christmas stockings hangs above the stove. The top left corner of an open tool chest is visible on the lower right. The same tool chest appears in another photo which showcases a number of freshly unwrapped gifts on and around the kitchen table. Had Nance just given this to Gene? The kitchen cart in the previously posted shot of Gene is present next to the small gas stove. A green glass Coca Cola bottle (possibly just rinsed) sits atop the large sink near Nance’s elbow. A fresh dishcloth rests in Nance’s left hand while her right hand appears to be wiping down the stove top with another. Perhaps Gene said “Smile, Nance!” as she was cleaning up after breakfast or tidying up in anticipation of arriving guests. Regardless, whether posed or authentically captured in the midst of kitchen chores, Nance presents herself elegantly in a dress trimmed with a floral print. Hair curled and makeup applied, she is beaming with pride in her clean kitchen on what appears to be a holiday. Every time I view the single images of Gene or Nance that are in the collection I get the sense that each member of this couple was truly fascinated by and enamored with the other. A loving gaze is evident in Gene’s photographic depictions of Nance and Nance’s depictions of Gene. I’d like to think that each one was looking through either side of the lens directly into the other’s heart. We could all follow Gene and Nance’s example and learn to fix a kinder eye upon everyone in our lives.
Nance At The Door (1952) • This slide is marked “our front door” and was likely shot by Gene, perhaps within minutes of Nance shooting the image of Gene on the back stairs. The building Nance is entering here is the same one whose stairs Gene was standing on. This is made evident when looking at the lower third of the right side of image thirty-five and noticing the raised brick and concrete stoop (with handrail) that Nance is standing on here. The front door that Nance annotated on this slide is most likely the side door of an apartment building with multiple units, the front door facing out toward the street behind her. On that street, the sleek profile of a black car cuts an impressive form in this brightly lit suburban setting. The same could be said for Nance, who once again is seen in a relaxed, playful and unguarded moment. Wielding a golf club and sporting brown loafers, plaid pants and a suede fringe vest, Nance looks as though she just stepped off the course. Without the presence of the club in her hand, Nance could just as easily be headed out for a drive (or walk) in the country on an autumn or early spring day. The pride and optimism with which Gene and Nance depicted themselves outside their first apartment is reflected in their presence in all interior and exterior shots of this and later homes. Smart people. Good beginnings. Big dreams. Well done, Gene and Nance. Well done.
Marked "Erica, Leighann & Nancy" (1960)
Nance At Christmas (1952) • This slide shows Nance in a sea of wrapping paper and gift boxes. She is once again in her quilted robe, smiling and in the kitchen. Gene’s name appears among the strewn wrappings as well. It appears the kitchen floor space was a gifting area in the apartment they shared at the start of their marriage. At the lower right we see a sparkling silver pot and platter, freshly unboxed at a slight tilt. This detail and the festive visual chaos of the scene speaks to a furious gifting frenzy in which paper, ribbons and boxes were excitedly pillaged and plundered. One can imagine the sights and sounds of the unsealing of carefully wrapped packages and reveal after reveal of surprises and finery. What is apparent here once again is Nance’s casual elegance and authentic joy as well as the loving photographic eye with which Gene depicts her. We should all be so lucky to have somebody to look at (and in turn have them looking at us) this way.
Nance is keeping house! In this image from Gene and Nance’s 35 mm slide treasure chest, we see the lovely Mrs. dressed in a skirt and cardigan to do some vacuuming in 1952. Based on what I’ve gathered from Gene and Nance’s photo chronology, this photo was taken when they were newlyweds living in an apartment. Nance not only proudly displays what appears to be a brand new housekeeping appliance, she is also standing before some low brick and plank bookshelves. Note the neat arrangement of the bricks (which are mortared, not just stacked) and the evenly cut planks which have a rich honey colored stain. A wire rack of some sort stands to the left side of the image with individual dishes inside and a pair of wire fish wall hangings articulate the far corner of the room. A double welled snack tray for entertaining sits on the right. Perhaps Gene and Nance were not only documenting the stylish goods and modern conveniences they collected but also showing off their wedding gifts. Regardless, I’m fascinated to know that Nance gave us a flawlessly styled yet natural looking quintessential 1950s housewife pose and Gene (most likely) thought to snap it. I’d love to know what books they were reading at this time. What music were they enjoying? Which TV shows did they watch? For every detail Gene and Nance reveal to us there are always many more questions.
This image is one that I rescued from complete darkness. When I scanned it, the slide (marked Echo Lake 1958) was a murky black and brown rectangle. Through the magic of iPhoto I was able to pull a visible, however grainy, image from a piece of film that could’ve easily been thrown away 62 years ago. The fact that it was among the 203 slides saved by Gene and Nance despite its underexposed and inscrutable state says a lot. Pre-digital era, every photo that was shot meant something. The click of a shutter was the spending of film (and the money that bought it) with no guarantee that the processed slide or print (which you paid for later) would develop properly. In essence, a person paid for every picture twice. Even if you were burning and dodging prints to salvage a printable image in your own darkroom, chemicals, photo paper and processing were an expenditure of time, effort and money. The resulting photo was a victory: a physical record, a personal document and an image object that was literal and not ephemeral. The other significant characteristic of this slide is (of course) its subject matter: Gene and Nance are proudly standing close, holding hands and smiling. Even through the dim grain on this six decades old sliver of film we can see these lovebirds radiating a unified aura of togetherness and joy. True love (and its evidence) does indeed endure all circumstances and technical conditions.
This slide was marked “Millie, Frank, Mae, Dick, Mary, Me - Xmas ‘58”.
This slide was marked “Dick & Me - Xmas ‘58”.
This slide was marked “Millie Von Beiberstine, Me, Mae & Mary Engate - Xmas ‘58”.
While I don’t know everyone’s relationship to Gene and Nance, some of these people appear in photos from previous gatherings. Based on shots taken at this and other occasions during the late 1950s it appears that Gene and Nance’s dark blue living room walls were updated with a fresh shade of taupe at some point. The floral barkcloth curtains have been replaced with a solid swath of honey beige. This window treatment complements the coffee table and the sleek, sand colored lamp atop the blond end table next to which Dick is reclining with a cigarette in his mouth. The flocked tabletop tree makes an appearance behind Nance again as does a tiny glittering wire tree bedecked with tiny colored balls. The atomic styling gives this piece a decidedly futuristic, space age feel. Nance is once again a visual standout in slim cobalt blue slacks and a patterned top which has been accessorized with a series of necklaces. A pack of Winston cigarettes and a small cocktail glass sits before her in the top slide as Frank casually enjoys a cigar next to Millie, who appears to be offering the photographer (most likely Gene) a sip from her glass. Millie’s expression seems to say, “Here, Gene... Put that camera down and have a drink on me!” Mae seems to be enjoying a drink as well and Mary appears to be kicking up her heels with an adorable smile. Once again: Good times. Good fun. Good company. Oh, how I would love to join this crew for an evening of laughs. Cheers to all!
Marked "Bridge Club" (1955)
Nance And The Gals (1950s)
Nance appears at the far right, resplendent in metallic blue with her attendant megawatt smile present. The late hour at which these and the prior slide in the series were taken as well as the formal dress leads me to believe that this is a New Year’s Eve gathering. No Christmas gifts (wrapped or unwrapped) appear under the tree, giving the impression that they have all been distributed, opened and put away. After all, this isn’t kid stuff, folks... It’s cocktail time for the grownups. Once again, Gene, Nance and their contemporaries have shown us how to celebrate a holiday (or any day) with the greatest style.
Gene And The Guys (1950s) • This slide is another one that required some digital recovery. Areas of under and overexposure were toggled and filtered to pull a legible image from the original slide. This process revealed a charming vignette of Gene (bottom left) smiling with a cigar in his mouth. Gene is joined here by five other men, all of them suited and tied. A large ashtray with a plunger that discards and extinguishes cigar and cigarette butts sits on a low table. Very little other visual information is given here however I will note that a faint Christmas tree was cropped out of the original rectangular image when it was edited into a square. This is one of several slides from an undated Christmas party that may have been held in Gene and Nance’s home. We will be seeing more of those images (which feature other guests and hold some more interior details) later. For now, we can enjoy the faces of these smiling gentlemen, imagine the ambient sounds of music, laughter, conversation, holiday cheer and note how the Kodachrome film picked up the golden reflection of the metallic cigar band in the mouth of the man at lower right.
Nance On The Patio (1956) • In this shot we see Nance in another slide that was marked “Gams Patio”. Apart from that annotation, the location is unknown. Nance is in the same location in which Gene was seated in the previous slide, however she is seen from a different vantage point. The diagonal shadows of the slatted redwood pergola above tell us that she was photographed at a different time of day than Gene as these shadows aren’t present in his photo. Looking seasonably sporty in a comfortable summer outfit, it bears noting that Nance’s blue and white top appears to be the same one she was wearing under the short sleeved color blocked jacket in the 1952 Art Institute Of Chicago slide. This detail underscores a stylish practicality that we’ve seen in Nance’s other clothing choices, both casual and formal. Thoughtfully chosen, well made garments could have sustainability for several years. These anchor pieces performed multiple functions across different activities and social settings when dressed up or down with other garments or accessories. That said, the most striking accessory Nance exhibits here wasn’t purchased... It’s the warm smile on her lovely face.
I will conclude The Gene And Nance Archives with a split screen of the couple playing tetherball on a holiday in 1952. When viewed side by side, the contrast between their playing styles is an entertaining display of traditional midcentury gender roles. Gene is in his classic t-shirt and jeans combo, looking very much like a kid playing ball in a park with his buddies. He wields the paddle with a broad, vigorous swipe which activates his whole body. Nance is decidedly more dainty in her approach and mode of dress which includes a blouse, slacks and what appear to be loafers. Even as her paddle makes contact with the tetherball her stance is more formal, if not tentative. Her facial expression connotes attention and full engagement but her body is only partially committed to the act. The 35 mm Kodachrome film succeeded in capturing a couple of striking motion images with areas of sharp clarity and soft focus that call to mind super 8 film stills or the backlit glow of Viewmaster reels.
Though I bought them and they are in my possession, I do not feel as though these slides are entirely mine. Myself and another friend have made a few attempts to speak to Gene and Nance, who as of this writing are 89 years old and still with us, however neither of us have heard back. If there is anyone out there within eyeshot of this post that knows them, please show them this page. In addition, if Gene, Nance or anyone connected to them would reach out to me at artskooldamage@gmail.com or through my Facebook page (link in right margin) I would love to speak with you. Limitless thanks to Gene and Nance for shooting all of these images which have brought me and many of my loved ones so much joy since I began sharing them on social media in late October. There is indeed a large audience of good folks out there who admire you and wish you well, as do I.
