unknown photographers (28 resultados)

Trade Paperback. Condición: As New. Estado de la sobrecubierta: Near Fine. Various Photographers Ilustrador. First Edition First Printing. Illustrated throughout with color photographs. Pages [93 including index] clean, unmarked, binding tight and square. Covers clean, colors bright, protected by clear plastic sleeve jacket, wrinkling in some areas which show up as white areas in the photo. A $3.99 voucher for a free magazine [no expiration date] is laid in. Media Mail, Priority & most international shipping include free tracking information. Every book listed is located in my smoke free and climate controlled shop. All are inspected by me and will have qualities and/or flaws described. Size: 4to - over 9¾" - 12" tall.

Hardcover. Condición: Very Good. Various Photographers, Many Unknown Ilustrador. First Edition. the immigration flood in words and photographs. many by unknown photographers.

Soft cover. Condición: Worn. Various Photographers Ilustrador. Some water damage.

Hardcover. Condición: Fair - Some Loose Pages. No Jacket. Various Photographers Ilustrador.

Hardcover. Condición: Worn, Loose Spine. No Jacket. M.G.Croft and other Artists and Photographers Ilustrador. First Chancellor Press Edition.

Soft cover. Condición: Good. Michigan Photographers Ilustrador. First Edition.

Soft cover. Condición: Very Good. Various Photographers Ilustrador. First.

Soft cover. Condición: Good. Various Photographers Ilustrador. First. Introduction by Zinzan Brooke.

Hardcover. Condición: Very Good. No Jacket. Various Photographers Ilustrador. A heavy book - extra postage will apply. 39th edition. Copies: 2.

Soft cover. Condición: Good. Various Photographers Ilustrador. First. Introduction by Zinzan Brooke. Autographed by 4 Rugby People.

Soft cover. Condición: Good to Worn - Curled Edges. Various Artists and Photographers Ilustrador. Creased cover. Heavy book. May incur extra costs.

Soft cover. Condición: Good - sl Wear. Various Artists and Photographers Ilustrador. Creased cover. Heavy book. May incur extra costs.

Hardcover. Condición: Fair - Good. Various Photographers Ilustrador. First. This is a heavy book - extra postage will apply.

Hardcover. Condición: Very Good. No Jacket. Various Photographers Ilustrador. Eighth. A heavy book - extra postage will apply.

Hardcover. Condición: Good. Estado de la sobrecubierta: Good. Various Artists & Photographers Ilustrador. Reprint. Practical Projects to create a beautiful backyard and garden. A heavy book - extra postage will apply.

Soft cover. Condición: Excellent. Various Photographers Ilustrador. Captions in English & Mandarin.

Unbound. Condición: Very Good. Artists,photographers Unknown Ilustrador. 4 full pages telling the story of the opening of the Paris exposition with 2 full pages of photos, and two half-page engravings & photos of ceremonies [Image shows 1st page of item only] Size: 11'' x 16".

Hardcover. Condición: Near Fine. Lavishly illustrated throughout by various photographers Ilustrador. The work of various photographers are depicted here with their full contact details. Due to weight the book may incur additional postage charges outside of the UK, but no extra will be needed for United Kingdom orders.

Condición: Good. 3 photos attached to one 27x35 cm card. 1) One 16x21 cm b&w photo labelled "1197 Ilfracombe. Wildersmouth from the Capstone. Bedford." Numbered 60 in pencil. 2) 12x21 cm b&w photo labelled "2777. Ilfracombe, Lantern Hill and Hillsboro from Capstone Parade. C.N. & Co." Numbered 61 in pencil. 3) A 21 cm b&w photo labelled "2174. Ilfracombe, The Torrs from Ladies' Bathing Cove." Numbered 62 in pencil. All pasted to a slightly warped card, apparently taken from an album.

Condición: Good. 4 photos: 1) 11x15cm b&w photo with caption: "On the East Lyn. 9876. J.V." No. 71 in pencil. 2) Another 11x15 cm photo with caption "On the East Lyn. 9875. J.V." No. 72 in pencil. 3) One 21 cm b&w photo labelled "Bedford, 2013. Lynmouth, The Cliff Railway." No. 69 in pencil. 4) One 16x21 cm b&w photo with caption "Waters Meet. Lymouth." No. 70 in pencil. All attached to 26x35 cm card, apparently removed from an album.

A grouping of ten black and white photos of people and events associated with the United Nations Conference on the Human Environment held in Stockholm, Sweden, during June 5Ð16, 1972, including the following: Engraved invitation to conference reception; 5 x 7 photo of limousines parked on a Stockholm street; 5 x 7 photo of two conference delegates; 9 1/2 x 7 photo of delegates; 10 x 7 photo of delegates in formal wear; 10 x 7 photo of delegates at table; 5 x 7 photo of delegates; 10 x 7 photo of delegates; 5 x 7 photo of guards; 14 x 9 photo of conference protesters; 14 x 10 photos of delegates in formal wear [duplicate] and 8 x 10 photo of conference underway. The photos are in generally Very Good condition with the larger photos having sme waviness along the edges. The photos are storied in plastic sleeves and pebbled leather portfolio. The United Nations Conference on the Human Environment was held in Stockholm, Sweden, during June 5Ð16, 1972. When the United Nations General Assembly decided to convene the 1972 Stockholm Conference, taking up the offer of the Government of Sweden to host it, UN secretary-general U Thant invited Maurice Strong to lead it as Secretary-General of the Conference, as the Canadian diplomat [under Pierre Trudeau] had initiated and already worked for over two years on the project. The Soviet Union and other Warsaw Pact nations boycotted the conference due to the lack of inclusion of East Germany, which was not allowed to participate. Neither East or West Germany were members of the UN at that time, as they had not yet accepted each other as states [which they agreed upon later by signing the Basic Treaty in December 1972]. The conference was not welcomed by countries like Britain, the U.S., Italy, Belgium, the Netherlands and France, which formed the so-called Brussels Group and attempted to stifle the impact of the conference. At the conference itself, divisions between developed and developing countries began to emerge. The Chinese delegation issued a 17-point memorandum condemning United States policies in Indochina, as well as around the world. This stance emboldened other developing countries, which made up 70 of the 122 countries attending. Multiple countries including Pakistan, Peru, and Chile issued statements that were anti-colonial in nature, further worrying the United States delegation. In 1972, environmental governance was not seen as an international priority, particularly for the Global South. Developing nations supported the creation of the UNEP, not because they supported environmental governance, but because of its headquarters' location in Nairobi, Kenya, as the UNEP would be the first UN agency to be based in a developing country. The meeting agreed upon a ÔStockholm DeclarationÕ containing 26 principles concerning the environment and development, an Action Plan with 109 recommendations, and a Resolution. The United Nations Environment Programme [UNEP] was also created as a result of this conference.

Eleven photographs showing NAACP activities in and around Los Angeles in the early 1950s. Most are uncaptioned; the one captioned photograph shows the organizers of a 1952 NAACP rally organized in collaboration with the AFL, CIO, and American Jewish Committee protesting the murder of Florida Civil Rights activists Harry and Harriet Moore. The couple were killed in their home, likely by the Klan, though no arrests were made and the case was closed in 2011. Other photographs include a mixed race group standing outside of the Carillo Auditorium (likely in Santa Barbara) holding folders with "Win With Stevenson" stickers on them, which was the campaign slogan for Democratic presidential nominee Adlai Stevenson. Stevenson ran for president in 1952 and 1956, losing both times to Eisenhower. In another photo, a group stands around a desk holding papers that read "The NAACP Condemns So-Called 'Right to Work' Laws", likely concerning 1958 California Proposition 18, a right to work ballot measure. In a photo likely from the early 1950s, a young man holds a flyer reading "UAW-CIO OUTLAWS DISCRIMINATION", concerning the adoption of International Constitution Article 25, which created the organization's Fair Practices and Anti-Discrimination Department. Other photographs that are more difficult to identify include a group holding a large key, a man being presented with a shovel (likely for a groundbreaking ceremony), a young man standing at a church lectern, and a group of men standing with clothing and canned goods, probably for a charity drive. Of interest to historians of NAACP activities in California during the early Civil Rights era. Slightly curled with wrinkling and some folds and tears; overall very good plus. Eleven individual photographs with one duplicate, measuring 8 x 10 inches.

Condición: Excellent. A collection of sixteen real photo postcards showing the Chilocco Indian Agricultural School. Chilocco opened in 1884 in what was then Cherokee land in Indian Territory, and is now Newkirk, Oklahoma. Its early students were Cheyenne, Arapaho, Wichita, Comanche, and Pawnee; after 1910, Cherokee students began attending the school as well. Like other residential schools, it was run in the style of a military school, but focused on vocational training and manual and domestic labor. In the 1930s, its curriculum was reformed to have a greater focus on academics. It closed in 1980. The postcards include shots of grounds and building exteriors; some interiors, especially the school's newspaper office; a performance of "Hiawatha" (probably Samuel Coleridge-Taylor's The Song of Hiawatha), where students in traditional dress pose with tipis and a canoe; "Indian Students At Chiloco In Native Costume", showing a boy and a girl posing; and "Battalion and Band Inspection", showing groups of uniformed students in marching formation. One interesting shot shows band practice in the chapel, which has large woven tapestries on the wall, including one that appears to show a cross. Four of the completed cards were mailed from "Polly" to her parents, Mr. and Mrs. J.W.T. Andem of Milton, Massachusetts. These are likely from the 1940s to 1950s. Mr. Andem seems to have been a student at Chilocco; Polly writes: "We were greeted royally at Chiloco. [.] One of the teachers was there so I showed him your map and he tried to locate old buildings for me. My, how the place has changed! You'd never recognize it. There are dozens of stone buildings. The place looks like a college campus. I don't know whether my pictures will mean anything to you or not. [.] Does it look familiar? They were all interested in your map. Some thought the water tower had been moved and others said it hadn't." Of interest to historians of US residential schools. Sixteen real photo postcards with six completed.

Condición: Excellent. A collection of seventeen real photo postcards showing the Chemawa Indian School in Salem, Oregon. Chemawa, opened in 1880, was the second of its kind established after Pennsylvania's Carlisle. Its early students were from Indigenous tribes in the Pacific Northwest, including Puyallup, Nisqually, Nez Perce, and Wasco; it would later host a large proportion of Native Alaskan students as well. It became an accredited high school in 1927 and is still open today, with a number of buildings on the National Register of Historic Places. It is also one site of probable mass unmarked children's graves, discovered in 2016 using ground penetrating radar. Many of the postcards are colorized. Shots are mainly building exteriors; several show the girls' dormitory with a large group of girls in Euro-American clothing on the lawn; one shows the parade grounds with boys in uniform lined up for a military-style parade; and one is the gated entrance to the school, with a large group of boys in uniform standing behind it. One completed Chewama postcard seems to be from a student, Agnes Jaeschke, who writes to her brother: "My dear Bertram: hope to see you soon. I hope [you] are well contended [sic] and happy as I am. My school is so much better here than in Mont. Much love and happiness to all." Of interest to historians of US residential schools. Seventeen real photo postcards with five completed.

A scrapbook of photographs of better- and lesser-known country musicians, likely assembled in the 1950s. Subjects include the National Barn Dance Gang, the 101 Ranch Boys, the Carolina Sweethearts, the Bar X Cowboys, Gene Autry and the Ranch Riders, and the Novelty Boys and Cora Deane. The scrapbooker seems to have been a serious fan of Andy Reynolds from the 101 Ranch Boys, as many photographs in the scrapbook are portraits of him. The band hailed from Kansas City, Kansas, and was active in the 1930s, playing regularly on WSBA in York, Pennsylvania. The photos of the Novelty Boys and a musician called "Willie Whistle"not the clown of the same nameare signed. Of interest to historians and fans of country western music. Photos generally excellent to Near Fine; scrapbook pages delicate with some marginal damage. Excellent. Eighty-four photos, including real photo postcards, mainly measuring 3 ½ x 5 ½ inches. With manuscript captions under photos and many photos captioned on negative.

Two albums containing 200; 104 original postcards, many printed in colour. Some wear and tear to albums, but the postcards in very good condition. Tokyo, Meiji 44 [i.e.  An impressive collection of postcards which chart the highs and lows of Yoshiwara, as well as scenes from other lesser-known entertainment districts.   As well Yoshiwara in Tokyo, the postcards also show geisha in Shimabara of Kyoto, Shinmachi and Matsushima in Osaka, Fukuhara in Kobe, and the pleasure quarter in Moji harbour (Kyushu). Together they form a fascinating insight into these historical areas and the long tradition of entertainers, many of whom would also engage in sex work. The postcards are important photographic records of these women from different parts of Japan, and document the culture of entertainment in the Meiji period, when Japan was no longer isolated from the outside world.   Across the two albums are several vibrant portraits, group shots with attendants and festival processions. The Yukaku pleasure districts consisted of a large number of women and their attendants ranging from shinzo (teenage attendants), tayu (courtesans), and oiran (highest rank). Of particular interest are the portraits of individual geisha wearing elaborate kimonos, obis, and hairpieces with large combs and hairpins (kanzashi). Today, there are far fewer geisha and maiko (essentially geisha-in-training), but one can spot them from time to time in the Gion district of Kyoto in their wonderful, traditional finery.   On April 9th 1911, a large fire broke out inside the Yoshiwara which completely destroyed the area. Photographers recorded the event and a series of postcards were produced, showing the start of the fire, the firefighting operations and the aftermath. Around 6000 people worked in the compound of which 300 were killed. Some of the photos show rather gruesome scenes of the wreckage, which at the time were not subject to censorship.

Photograph album by J.W. Lindt, Melbourne, early 1890s. Oblong quarto, padded leather with gilt blind-tooling stamped 'From J.W. Lindt's Studio, Melbourne', lining papers with floral decoration in gold, all edges gilt, containing [12] leaves of thick card with 20 albumen silver photographs (photographer unidentified) of the University of Cambridge, in uniform format 150 x 205 mm, mounted recto and verso; most are views of the exteriors of buildings and the University's famously picturesque grounds, the first being a view of Newnham College;a cabinet-size albumen print portrait of Anne Jemima Clough, the first principal of Newnham College, is mounted at the front of the album; the prints are uncaptioned; in superb condition throughout, all of the albumen prints with crisp detail and excellent tonal range. This significant and intriguing album, in its deluxe binding by the studio of renowned colonial photographer J.W. Lindt, Melbourne, was compiled in the early 1890s by a graduate of Newnham College, Cambridge. Its original owner, who presumably brought the photographs from England with her unmounted, was quite possibly Miss Emily Hensley, an English graduate of Newnham who arrived in Melbourne in 1892, was briefly principal of Janet Clarke Hostel at the University of Melbourne, and then became the first principal of Melbourne Girls' Grammar School in 1893. Miss Hensley named the exclusive Melbourne school's first building, Merton Hall, after its namesake - the ancient, rambling building at Cambridge which was the first to house Newnham College. There would have been extremely few (if indeed any) other Newnham College graduates in Melbourne at this time. Newnham, a women-only college founded in 1871, was only the second Cambridge college to admit women, after Girton College (1869). Newnham's founder and first principal, Anne Jemima Clough(1820-1892) was an early Englishsuffragistand a promoter of higher education for women. The fine portrait of her that acts as the album's frontispiece appears to have been taken in her rooms, towards the end of her life; the photographer is unidentified.

Condición: Very Good. Hollywood: studio-issued publicity fashion photographs, with original wardrobe descriptions,c.1936.[Gelatin silver prints with attached typed wardrobe descriptions.] A small, cohesive group of studio-issued Hollywood publicity photographs documenting women's fashion as mediated through film-star imagery in the mid-1930s. Each photograph is accompanied by a contemporaneous typed wardrobe description identifying garments, fabrics, colors, and stylistic features, reflecting how studios framed costume design for press circulation and public consumption. Physical Description: Three original gelatin silver publicity photographs, each approximately 8 × 10 inches, with attached or accompanying typed studio wardrobe descriptions on paper. Photographs depict actresses Ann Sothern, Maureen O'Sullivan, and Joan Blondell in studio fashion poses. One photograph credited to photographer John Miehle, with studio markings present. Prints trimmed to standard publicity format. Condition: Photographs are clean and well-preserved, with strong tonal range and stable contrast. Minor edge wear and handling marks consistent with studio press use. Typed descriptions intact and legible. Overall condition Very Good. Original studio publicity format retained. Scarcity Note: Hollywood publicity photographs survive in quantity, but examples retaining original wardrobe or costume descriptions are significantly less common. Sets documenting fashion across multiple studios and actresses from a single period are particularly scarce, as textual materials were often discarded after press use. These photographs document the intersection of Hollywood publicity, costume design, and fashion journalism during the mid-1930s. Studios actively circulated fashion-focused images to newspapers and magazines, positioning film actresses as style authorities while subtly promoting costume trends. The attached descriptions reveal the language used to translate costume design into consumer fashion terms, noting fabrics, construction details, and aesthetic intent. Together, the group demonstrates how Hollywood functioned as a conduit between film production and everyday dress culture, shaping public taste through carefully curated visual and textual messaging. Contextual / Historical Significance During the 1930s, Hollywood studios increasingly emphasized fashion as a component of star branding and audience engagement. Costume departments collaborated with publicity offices to frame on-screen wardrobes as aspirational yet attainable. These materials provide primary visual evidence of that process, offering insight into gender, consumption, and media influence in prewar American culture. Subjects: Costume design in film; women's fashion; Hollywood publicity photography; 1930s American cinema; celebrity culture; fashion journalism; studio press materials, Vernacular photography, fashion history, Hollywood studio publicity.