Little documentation exists about the physique photographer known as “Stan of Sweden.” Universal Hunks by David L. Chapman notes that Stan was a bodybuilder and photographer in Gothenburg, Sweden in the 1960s. Recognized for non-nudes, his photos include many competition shots that appear in traditional bodybuilding magazines of the period.

The best overview of his work is the Vol. 3, #3 (Winter 1966) issue of The Vikings. The majority of his photos were published in the early to mid-1960s. One of the earliest print references is from Tomorrow's Man, Feb. 1962. 

Of course he issued photographic catalog sheets, of which we have a few examples on the Homobilia site. His models are mostly Swedish or Scandinavian and include not just physique models but what might have been considered “trade” or as the French would say, “mecs.” 

He did like to assign pithy little labels like “Hans The Defined,” or “Niels That Nature Boy.” Perhaps the most well-known model he photographed was the incomparable Serge Nubret. His “Art Experiments” catalogs offer dramatically lit, close-up studio shots which reveal a different sort of Stan (not least in that they feature nudes). 

Besides posing trunks, there’s an emphasis on tight jeans and leather accessories. Props including swords, guns and ice hooks show up occasionally. Studio backgrounds tend to be stark white though there were also a substantial number of outdoor photo sessions. There are a few examples of two models posing together.

There are two different studio stamps: the basic “STAN” stamp and the larger “Gothenburg” stamp.

Here's a rare signed letter from Stan to one of his customers, a Mr. Burts, in the U.K.

A rare album with over 150 photos of male cross dressers in exquisite outfits including evening gowns and a wedding dress, was sold as part of Swann Galleries' LGBTQ sale (08/19/21). The price realized was $11,250.

The photos are artfully composed and set in an elegant apartment. They span over a decade from 1930 to 1941. The number of sittings,  combinations of poses, and attention to detail convey the joy and care with which each photo was created.

This charming studio portrait exudes a casual upper-class British elegance. The painted backdrop is cleverly done to erase any separation from the studio floor. 

But there's an intriguing story behind the image created by Jennie Rewman, "Manageress" of The Worthing Portrait Company.

In the 1891 census Rewman is described as a "Photographer's Assistant" aged 35. She was boarding at Miss Florence Stewart's Lodging House at 40 High Street, Worthing. Miss Stewart, the proprietor of the lodging house, was later to join Rewman as a partner in the Worthing Portrait Company.

The 1901 census records both Miss Rewman and Miss Stewart residing at their business premises at 4 Railway Approach, Worthing. Rewman is entered on the census return as a "Photographer (Employer at home)" aged 46, and the same occupational description is given to 47 year old Florence Kate Stewart.

The two photographers employed a number of assistants, and one can be identified as Frances Clarke, who in the 1901 census is recorded as a twenty-one year old "Photographer (worker)."

It was certainly uncommon for women of the period to own and manage their own photography studios. That Miss Rewman and Miss Steward also shared a residence is thought-provoking. Of course we'll never know the intimate details of their relationship and mustn't engage in idle speculation.

Carte-de-visite of a Handsome Cricket Player
Worthing Portrait Company, c. 1900.
4 1/2" x 6 1/2" in very good condition.

To call this photo a “male nude in posing strap” does not do it justice. It’s more of a 60s-sit-com-Christian-icon mashup.

The adjustable gold lamé posing strap does a piss-poor job of concealing his pubic hair, but thanks to precise positioning, cock and balls are veiled. Everything’s held in place by a gold chain. The look is very "I Dream of Jeannie."

Standing with his back against a California Pepper tree, this 60s Sebastian is no martyr. Rather than being pierced by arrows, he holds a saber above his head. Hair spills from his armpits as the edge of his lithe body is lit by the morning sun. He confronts the camera with a serious expression that belies the silly tableau. 

Interesting note about Saint Sebastian: The arrows didn’t kill him. He was, according to tradition, rescued and healed by Saint Irene. After recovering, he went to Emperor Diocletian to caution him about his sins and was promptly clubbed to death.

No studio marks
Undated c. 1960s

These utilitarian photos record the diverse inventory of Hollywood’s Altman Galleries in the 1920s and 30s. Clearly the photographer paid scant attention to composition and made no concession to value or beauty. 

In contrast to the banal warehouse setting, a crystal chandelier kneels on a rough wood floor. A dusty gilt mirror glances at the ceiling joists. A glamorous velvet-covered chair practically begs to be stroked.

The latent personalities of these inanimate objects were revealed to the camera and captured in glossy sepia prints. Candid and forthright, they’re more like headshots than still-lifes. From bit players to leading ladies, they silently wait to be chosen for a star-turn on a soundstage or a supporting role in the boudoir. 

With a range of periods from Renaissance to Deco and styles from chateau chic to contemporary cool, Altman supplied whatever the myth required. Money was no object.

We see these pieces in their prime. But what has become of them 100 years later? Do they grace the homes of Hollywood royalty still, or have they been consigned to obscurity at the back of some second-hand furniture store? Worn-down and beaten-up, hoping for a comeback.

Sepia prints, 8” x 10,” gloss finish.
Mounted on linen backing with two-hole punch in a 1” wide binding strip.
Numbered, often with handwritten corrections in purple ink.
From the catalogs of the Altman Galleries, Hollywood, undated c. 1920s - 1930s

Once upon a time there were gay hippies who came to San Francisco to find freedom and adventure and each other. And sex.

They weren’t glued to their phones. They didn’t shop at Room and Board. They didn’t work for start-ups. A lot of them didn’t “work” at all.

They had different values. They were artists, musicians and free spirits, arrayed in feathers and leathers and tight striped jeans. Young and unbowed by time or convention or AIDS or COVID.

A fleeting moment, captured by this rare photo, that reminds the isolated, lonely, frustrated and horny among us that it wasn’t always like this. Joy is part of our heritage. 

Vintage black and white photo, 8” x 10,” c. 1970.

Alan Winn, Ford Modeling Agency, New York, late 1960s.

We all come into this planet with our stories mostly written, but do we always tell our story to its fullest potential?

Some may boast about their career, a lavish home or new boy toy. Others experience a lifetime of fulfillment to utter only small ovations to their success. Enter Mr. Alan Winn, a soldier, a top male model, a successful restaurateur, an art collector and a charming story-teller.

Alan (left) and an Army buddy waiting for a Greyhound bus to take them on their first trip to New York City. Alan never made it to New York. He met a like-minded guy on the bus and they decided to spend the weekend in a hotel room instead. Summer of 1961.

I met Alan through our common path in visual store merchandising. My first impression was “this ole guy has a flair that reminds me of Halston!” He’d work his beautiful magic on the marble retail floor and dance amongst the ladies as if he actually owned the place. I was intrigued.

Alan and his partner Thad soon became friends outside the workplace and we shared many lovely dinners at their humble duplex apartment. Martinis would be in order along with conversations of their days in New York and Key West. One of my favorite stories was of Bette Midler and Barry Manilow entertaining at their local gay bathhouse.  

Alan (kneeling) and Thad at their infamously successful Lazy Afternoon Garden Restaurant, Key West, mid 1980s.

One night we were talking about our first gay magazines and I mentioned mine had been Honcho or Colt. It turned out that Alan and Thad had been neighbors of Colt founder Jim French and had boxes full of his photos featuring just about every 80’s gay icon. I was like a kid in a candy store. 

Alan would also show me photos from the Western Photography Guild: “my first purchase of homoerotica,” he told me. And then there were those marvelous little Ferrero nudes… and so much more.

 As the years passed I found myself looking up to Alan as an uncle, admiring his discernment and knowledge of the arts, his culinary talent, and his tales of a life well-lived full of carefree love and passion. 

When Thad passed away I made a promise to Alan; he would always be family to me and I would never desert that bond. Fast forward to the last eight years of Alan’s life. I became his general caregiver of sorts. We’d run errands, go to doctors’ appointments and have long conversations through lazy Sunday afternoons together. In a way I feel compelled to say: I needed his company as much as he may have needed mine. 

Alan in a Karl Lagerfeld campaign, late 1960s and a fashion magazine.

One afternoon Alan came out of his art room with those boxes of photographs he’d shown me years ago. He said “Bruce, Thad would have wanted you and Neil to have these.” (This was in 2013 and Neil was my partner at the time). Well, with profuse appreciation we accepted his gift. 

Reboxed and kept on the shelf in our wardrobe, I never assumed much about the collection other than my dear friend Alan wanted me to have it and share it with people, as he had. Other than an occasional dusting off with a “show and tell” among friends, the boxes of men sat unaffected by the years. 

March of 2020 came along and Alan’s health declined rapidly to the point I became his full time caregiver and power of attorney. Alan’s only brother was in Utah, stuck there because of Covid-19. Alan passed on May 16, 2020. 

Alan in the middle of his Boy Scout troop heading off on a three day wilderness expedition, Preston Idaho, c. 1949.

I was left with the daunting task of donating his belongings and sharing some of his favorite art pieces amongst his nephews and nieces along with a few of his friends. I will always treasure the wonderful memories of our 22 year friendship. The gratitude I have for him as grown even deeper with his passing .

 As I became overwhelmed by the duties ahead of me, I decided one evening to take a moment and reminisce through my boxes of photos. My joy came not just from the images, but from the stories and memories of companionship of my dearly missed friend. 

Before I knew it I’d amassed an inventory of photos that left me wanting to get them back out into the world for everyone to enjoy. I threw the dice against the wall one day and reached out to Barry at Homobilia and within 15 minutes of our conversation, felt a level of comfort with my decision to consign his collection. 

Alan’s hidden treasures have been reborn in a way, and I hope they’ll be enjoyed by other aficionados of homoerotica for many decades to come.

Bruce Smith, North Carolina, November 2020