KENNY HOWARD PT. II | THE MASTER PAINTER, STRIPER & CUSTOM FABRICATOR ALSO KNOWN AS VON DUTCH

What Ever Happened to Von Dutch? --Modern Cycle magazine, 1965

WORLD FAMOUS BODY STRIPER NOW "IN HIDING" AT SOUTHERN CALIFORNIA CYCLE SHOP.

Automotive striping, whether for motorcycles or cars, was a dead art form in this country when 15-year-old Von Dutch went to work in George Beerup's motorcycle shop back in the mid forties. Six or seven years later is was a thriving trade carried on by several hundred artistically inclined body men around the country, and no self-respecting Hot Rodder would consider his customizing finished until the striping had been put on.

Few people realize that striping, even to this day is strictly a hand craft. At the Triumph factory, for instance, one elderly gentleman who appears to have been with the company for a century, spends his working day doing nothing but placing the finishing stripes o fenders and fuel tanks by hand. The same is true at the Enfield works... and the Rolls Royce works.

The last automobile hand striping by American car makers was done by General Motors cars in 1938 (excluding, of course, any special bodies created later). Then, nearly 20 years later, youthful car customers brought it back in vogue with some outlandish designs, often believing they were doing something entirely new. The man who started the vogue was a young motorcycle mechanic named Von Dutch.

Today Dutch is "in hiding" as a result of the reputation he built. Working as a mechanic once again, he'll do an occasional striping job on a fender or a tank for a friend. But he made us promise not to identify the shop where he works because "I don't want any damn kids around here trying to get me to stripe their cars."

DUTCH STRIPES WITHOUT ANY PLANNING WHATSOEVER. HE DID THIS JOB IN APPROXIMATELY 10 MINUTES, TALKING CONSTANTLY WITH PHOTOGRAPHER JIM SULLIVAN. DUTCH DIPS HIS DAGGER STRIPING BRUSH ON HIS FAVORITE PALET, THE TELEPHONE BOOK.

At 15, Von Dutch was what he called "the gunk boy" in George Beerup's motorcycle shop in Southern California when he took one of the bikes home, painted it and striped it with his father's brushes. (The elder Von Dutch had done some motorcycle striping and worked mostly as a sign painter.) When he brought the bike back, Beerup refused to believe he had done the striping himself. So he got the brushes and did another job. As soon as Beerup saw what he could do, he took Dutch off mechanical work and put him to painting and striping, and for the next decade he built a reputation he didn't want.

"I'm a mechanic first," he says. "If I had my way, I'd be a gunsmith, but there isn't enough of that kind of work to make a living. I like to make things out of metal, because metal is forever. When you paint something, how long does it last? A few years, and then it's gone."

ABOVE, TOP: IN CASE YOU DON'T RECOGNIZE IT, THAT'S AN M-1 DUTCH IS POLISHING. THIS IS DUTCH'S IDEA FOR A SCOTT-POWERED MACHINE USING REYNOLDS TYPE FORKS AND MODERN REAR SUSPENSION, WITH DISC BRAKES.

ABOVE RIGHT: ANOTHER OF DUTCH'S DREAMS, UTILIZING A 750cc INLINE FOUR WITH "OFFENHAUSER CHARACTERISTICS," EARLES TYPE FORKS AND THE SWING ARM OF CAST MAGNESIUM FORMING A CHAIN CASE, THE WHOLE AFAIR SWINGING ON THE AXIS OF THE COUNTERSHAFT TO ELIMINATE CHAIN DEFLECTION.

ABOVE, BOTTOM: DUTCH ON HIS BABY, A 1930 SCOTT "FLYING SQUIRREL" 600cc WATER COOLED TWO STROKER. With 5 1/:1 COMPRESSION IT DEVELOPS 33 hp AT 4500 rpm. COMPLETELY RESTORED, IT IS UNMODIFIED EXCEPT FOR A SEPARATE OIL TANK, SUPPLYING LUBRICANT UNDER PRESSURE TO MAINS AND CRANKPINS.

For the next several years, Dutch worked at nothing but motorcycle painting and striping moving from shop to shop, "saturating each area," he says. By the mid fifties he had still not touched a car, but had painted and striped thousands of bikes. After a year or so of building his reputation,

"Striping cars started as a gag when I was working Al Titus' motorcycle shop down in Lynwood," Dutch says. Then the idea ballooned. He was hired to stripe some custom jobs for one of the auto shows, an while there was approached by a man known as the Crazy Arab who thought it could be worked into a full time occupation. Dutch didn't believe it, but he tried it, and for the next three years he worked at it until "it nearly drove me out of my mind."

When Von Dutch quit striping around 1958, his talents were still in great demand. Customers all over the country had heard of him, and cars had come as far away as the East Coast to be striped. Moreover, when a car owner came to him, he didn't tell Dutch what he wanted: he just told him how much time he was willing to purchase. The designs were up to Dutch, and some of them were as wild and far out as his eccentric imagination. He had hundreds of imitators, and when you went to a body shop to inquire about such work, you didn't ask if they knew how to stripe, you asked if they knew how to "Von Dutch."

Despite this, Dutch never made any money from striping, because money is something he hates, as unorthodox as that sounds. After a year or so of building his reputation, he doubled his hourly rate just to weed out some of the customers. So many were coming to him that he couldn't stand it anymore. But the gambit didn't work. No matter how much he charged, he still did better work for less money than any competitor.

He could have charged much more. He could have charged $20 an hour and gotten away with it easily back then. Moreover, he could have done six or eight cars a day, if he really wanted to work at all. But Dutch is blissfully devoid of the driving force that motivates most Americans. He couldn't care less about material possessions.

"I make a point of staying right at the bridge of poverty. I don't have a pair of pants without a hole in them, and the only pair of boots I own are the ones I have on. I don't have anything else to put on my feet. I don't spend money on unnecessary stuff, so i don't have to have a lot of money. I don't need it. I keep as poor as I can and just get along. I like that. I believe that's the way it's meant to be. There's a struggle you have to go through, and if you make a lot of money, it doesn't make the struggle go away. It just makes it more complicated. If you keep poor, the struggle is simple. "

"That's why I never overcharged anybody, or made this thing commercial. You can't do good work if you're thinking about the money angle all the time. To me the work is important; that's number one."

Most of Dutch's custom work is now done exclusively on antique motorcycles belonging to the shop where he works. The shop is not known to have a painting department, but a fellow in North Carolina, who knew where to go, sent them a tank and fenders from a brand new Triumph to be painted as they saw fit, and Dutch did the work.

Dutch's personal motorcycle is a 1930 Scott twin, a two stroke water-cooled job that most motorcycle enthusiasts had never heard of. When something wears out on it, he manufactures the part himself. He also has a customized Honda, of which he says, "I had to paint it so I could find it. There are so many around that mine was getting lost in the crowd."

Dutch's whole life is more or less devoted to individualism, to expressing himself. He says he can no longer take paint work as a steady diet, but once you get him started on a project, you can't stop him until his imagination is temporarily worn out. He takes plain metal and turns it into a gun of his own design. Lately, he has taken to engraving designs on Aluminum fenders.

There seems to be no end to his creative aptitudes, despite his refusal to use them for profit. One of his co-workers calls him "That artistic creep," but in may ways he's the Einstein of the motor world.

ART ICON JACKSON POLLOCK | THE LEGENDARY AND MISUNDERSTOOD PAINTER ALSO KNOWN AS "JACK THE DRIPPER"

Painter Jackson Pollock (seated R) sitting on the steps of painter Thomas Hart Benton's summer home w. Rita Benton (sitting, in white hat) and author Coburn Gilman (standing). Martha's Vineyard, ca. 1937.

THE ORIGINAL POST ON JACKSON POLLOCK, DONE WITHIN THE FIRST WEEK OF THESELVEDGEYARD's INCEPTION, CONTINUES TO BE ONE OF TSY's TOP POSTS EVER. I THINK IT SPEAKS VOLUMES ABOUT POLLOCK'S RELEVANCE, TIMELESSNESS, AND MYSTIQUE. OBVIOUSLY THERE'S SOMETHING ABOUT THE MAN AND HIS LEGENDARY WORK THAT KEEPS PEOPLE COMING BACK DAY AFTER DAY, YEARS AFTER HIS PASSING.

Artist Jackson Pollock painting in his Springs, NY studio, ca. 1949.

ART ICON JACKSON POLLOCK WAS A MAJOR FORCE IN THE ABSTRACT EXPRESSIONISM MOVEMENT, AND KNOWN THROUGHOUT THE ART WORLD AS A DARK AND MOODY MAVERICK. HE WAS UNDENIABLY AN OBSESSED AND INNOVATIVE GENIUS, AND MUCH MORE. POLLOCK'S TECHNIQUE HAS BEEN CAREFULLY STUDIED OVER THE YEARS, AND IT'S THOUGHT BY MANY THAT SOME OF HIS WORKS CONTAIN PROPERTIES SPECIFIC TO MATHEMATIC FRACTALS, AND THAT THE WORKS AS A WHOLE BECOME MORE FRACTAL-LIKE CHRONOLOGICALLY. SOME EVEN GO SO FAR AS TO SPECULATE THAT POLLOCK MAY HAVE BEEN AWARE OF THE NATURE OF CHAOTIC MOTION, AND THROUGH HIS PAINTINGS WAS CREATING WHAT HE PERCEIVED AS PERFECT REPRESENTATIONS OF MATHEMATICAL CHAOS -- AND ALL THIS MORE THAN 10 YEARS BEFORE CHAOS THEORY WAS DISCOVERED. SO I ASK YOU -- IS IT ARTISTIC INSPIRATION, MATHEMATICAL GENIUS, RANDOM DRIPPINGS, OR ALL OF THE ABOVE?

Jackson Pollock's "One: Number 31", painted 1950.

CLICK HERE TO SEE AN AMAZING OLD FILM ON THE ARTIST, STARRING AND NARRATED BY NONE OTHER THAN JACKSON POLLOCK HIMSELF. WATCHING THE FILM, IT STRUCK ME THROUGH HIS STIFF VOICE AND PHRASING THAT THIS WAS DEFINITELY A SOCIALLY AWKWARD MAN, WHO FELT MORE COMFORTABLE IN HIS ART THAN AROUND PEOPLE. ALL THE TALES AND ACCOUNTS THAT SURROUND HIS LIFE, AND THE AMAZING PORTRAYAL IN FILM BY ED HARRIS, DEFINITELY SUPPORT THIS AS WELL.

Painter Jackson Pollock, master of chaos, in his Springs, NY studio.

SADLY IN 1955, THE WORLD LOST A LEGEND. AFTER A LONG AND TUMULTUOUS STRUGGLE WITH ALCOHOLISM, EVER DEEPENED BY THE PRESSURES OF FAME AND HIS AUDIENCE'S EXPECTATIONS, POLLOCK CRASHED HIS CAR LESS THAN A MILE FROM HIS EAST HAMPTON HOME AND WAS KILLED. HIS INFLUENCE LIVES ON TODAY IN ANOTHER WAY, AS HE WAS NOT JUST A SOURCE OF INSPIRATION FOR PAINTERS, ARTISTS AND MUSICIANS WHO EMULATE HIS STYLE -- BUT ALSO THE COUNTLESS FASHION DESIGNERS AND VINTAGE CLOTHING NUTS WHO FOR YEARS HAVE CAREFULLY STUDIED OLD PHOTOS OF POLLOCK. THEY SCRUTINIZE EVERY DETAIL OF HIS WORN & SPLATTERED DENIM AND WORKWEAR -- AN INSPIRATION AND LEGACY THAT EVEN JACKSON POLLOCK HIMSELF CERTAINLY NEVER IMAGINED HE'D HAVE.

Painter Jackson Pollock, also a huge inspiration to men's workwear designers, in his Springs, East Hampton, NY studio.

Jackson Pollock in his Springs, NY painting studio, ca. 1949.

Jackson Pollock with a Long Island neighbor, amateur artist Mary Monteverdi, looking over her works, ca. 1949.

Painter Jackson Pollock, and wife Lee Krasner, talking with a guest at their East Hampton home, ca. 1949.

Husband & wife artists Jackson Pollock and Lee Krasner walking outside on Long Island with their dog, ca. 1949.

Group portrait of American Abstract Expressionists, "The Irascibles." From left, rear: Willem de Kooning, Adolph Gottleib, Ad Reinhardt, Hedda Sterne;(next row) Richard Pousette-Dart, William Baziotes, Jimmy Ernst (w. bow tie), Jackson Pollock (in striped jacket), James Brooks, Clyfford Still (leaning on knee), Robert Motherwell, Bradley Walker Tomlin; (in foreground) Theodoros Stamos (on bench), Barnett Newman (on stool), Mark Rothko (with glasses), NY, NY, ca. 1950.

ROGUES, SAILORS & ANCIENT MARINERS | A HISTORICAL VIEW OF NAUTICAL TATTOOS

In the early 19th century, as more and more sailors returned from distant lands, tattooing had become highly popular in the British Navy. It spread even to the British admiralty, which has for a long time included certain royals who obtained rank. Field Marshal Earl Roberts is rumored to have expressed the opinion that “every officer in the British army should be tattooed with his regimental crest.” It not only boosted morale among the ranks, but it proved useful when identifying casualties. The Prince of Wales was tattooed with a Jerusalem Cross after visiting the Holy Land in 1862. Then, his sons, the Duke of Clarence and the Duke of York (later King George V) were tattooed by the Japanese master tattooist, Hori Chiyo.

Although much of maritime tattooing took place on board ship, sailor to sailor– the craze spawned an industry of tattoo parlors in port cities in Britain and the United States, and indeed, around the world. Many of the proprietors of early tattoo shops were sailors who had come ashore. Famed British tattoo artist George Burchett learned his craft with an early stint in the service. By the end of the 19th century, it was estimated that ninety percent of British and American sailors had tattoos, according to some sources.

The anchor remains the favorite tattoo of sailors, and is still one of the most popular designs worldwide– usually placed on the upper arm, just like Popeye. Tattoos of a sailor’s ship were like a badge of honor that proudly displayed his feelings of patriotism and comradery. Roosters tattooed on the foot were a common motif in the early days– they acted as charms to protect against drowning. And of course, Images of naked women were a major hit too– that is until the brass issued their ‘obscene’ warning. After that, naval applicants could have their hopes dashed by showing up with too much ’skin’ on their skin. Tattoo artists did a booming business covering the scantily-clad hula girls with grass skirts.

EASYRIDERS' LEGENDARY ARTIST EXTRAORDINAIRE DAVE MANN | THE NORMAN ROCKWELL OF BIKER ART

My stepdad was a biker– rode a ‘79 Lowrider, with a 44 magnum strapped to his leg for all the honest world to feel (as Townes Van Zandt would say). Sounds cool, but like a lot of things, you tend to idealize it when you’re on the outside looking in. We didn’t exactly fit into the norm, nor did we to care to. Let’s just say it wasn’t a typical childhood. I was not invited to a lot of sleepovers. Easyrider’s magazines were a part of growing up, and exposed me to a lot of… art. Yeah, there’s other stuff in there too that a kid shouldn’t see, but I was fascinated with the illustrations by Dave Mann– and still am. They’re incredible.

Dave Mann’s dad was a lifelong illustrator and active member of the Society of Scribes in London. The younger Mann was born in Kansas City, Missouri. In 1957 he first drew pencil sketches of hot rods while feigning attention in high school. His crude sketches opened the door for Dave’s first job, pinstriping cars for Doug Thompson and Ray Hetrick’s custom car shop in Kansas City.

The allure of the West Coast drew Dave and buddy Al Burnett to Santa Monica, California. While cruising the seaside community he stumbled across Bay Area Muffler, an area custom car house, and there discovered completely insane chopped Harleys. The bikes drove him wild. They projected freedom, power and mobility with every chromed curve. Dave was immediately hooked.

He returned home to Kansas City and bought his first new bike, a ‘48 Panhead, for $350. At the same time he created his first painting, “Hollywood Run.” It represented the wild, unleashed, Hollywood outlaw lifestyle. Riding his customized Harley with his painting tucked under his arm, Dave Mann entered the 1963 Kansas City Custom Car Show. That car show launched Dave’s artistic & biker career. He had the only custom-bike entry in the show, so for his creative efforts the judges initiated a new class and trophy specifically for Dave.

Dave Mann painted several posters for Ed "Big Daddy" Roth, the California custom car creator and publisher of the first chopper magazine. In 1965, he went to work in the mailroom at Scheffer Studios in Kansas city, where he met an architectural renderer, Dave Poole, who taught him technical drawing. By 1967, Dave developed into an architectural renderer, having studied at the Kansas City Art Institute.

Then in 1971, Dave discovered a new magazine— Easyriders. It was the first full-fledged, lifestyle-related bike rag. Since the third issue, Dave has followed, and in some aspects le the industry by capturing the essence of a changing lifestyle on the center-spreads of Easyriders.

Dave was forced to retire in 2003 due to his failing health– the years of paint fumes had deteriorated his lungs to the point where surgeons had to remove them both and put him on a breathing machine. Sadly, Dave died about a day after his 64th birthday, Sept. 11 2004.

R.I.P. Dave Mann, and thanks for your lasting legacy of incredible artwork.