Anonymous photographer (19 Ergebnisse)

Zustand: Very Good. A classic late-Victorian stereoscopic study of the first major incarnation of the Cliff House, captured before the devastating fire of 1894. This view serves as a primary visual record of San Francisco?s transition from a rugged frontier outpost to a sophisticated center of seaside leisure. Perched precariously above the Pacific, the structure represented the pinnacle of Gilded Age coastal tourism, and this specific albumen print maintains the sharp tonal contrast necessary to appreciate the architectural detail of the original wooden frame. KEY FEATURES +++ Visuals: Dual albumen prints mounted on a standard curved-corner stereoview card; high-contrast coastal scenery. +++ Binding: Buff-colored card mount with rounded corners. +++ Content: Depicts the iconic Cliff House with the sandy shoreline in the foreground and the expansive Pacific horizon. Captures the 'First Cliff House' (or the 1880s expansion), a structure that defined the San Francisco skyline until the 'Gingerbread' chateau was built by Adolph Sutro in 1896. +++ Visual Culture: Represents the height of the 'Armchair Travel' movement, where stereoviews allowed Eastern Americans to experience the 'Wild West' coastline from their parlors. +++ Topographic Study: Provides a baseline for studying coastal erosion and urban development along Ocean Beach. +++ Imprint: No publisher stated; title printed in black beneath the right-hand image. +++ Specs: Standard stereoview format (approx. 7 x 3.5 inches). CONDITION +++ THE CARD: The mount is clean with light, even age-toning and no significant foxing or staining. There is minor surface wear consistent with Victorian-era handling. The albumen images remain clear with good tonal contrast and only minimal fading at the edges. The verso is blank. HISTORICAL SIGNIFICANCE The Cliff House is perhaps the most resilient landmark in San Francisco history, having been rebuilt five times following fires and structural failures. This view captures the era of the 'Long Bridge' and the early Seal Rocks excursions, a time when the site was the social heart of the city's coastal recreation. For the historian of photography, these anonymous regional views are critical. They document the landscape before the massive development of the Sutro Baths and the eventual modernization of the Great Highway. SUBJECTS: Stereoviews, San Francisco California, Cliff House, Coastal Landscapes, 19th-Century Photography, Tourism History, Albumen Prints, Western Americana. Photography, Ephemera, Americana.…

Zustand: Good. One 11 x 17.5 cm b&w photo on 12.5 x 19.5 cm card. Numbered 3095. Bottom corner chipped, other edges a little worn.

No Binding. Zustand: Near Fine. GREG NORMAN 8 1/2 x 10 color glossy Boldly signed in black marker AUTHENTIC - HAND-SIGNED Australian professional golfer and entrepreneur who spent 331 weeks as the world's Number 1 Official World Golf Rankings ranked golfer in the 1980s and 1990s He has won over 85 international tournaments in his career, including two majors: The Open Championship in 1986 and 1993. Signed by Author.…

Zustand: Very good. 11 x 17 cm card with slightly smaller b&w photo. top corner slightly chipped. Pencil insciption on rear reads "Baden Baden September 10/85".

Zustand: Good. Hand colored wood engraving from an unsigned photograph. This print has been taken from a German magazine. It is undated. Mount: 13 x 9; image: 5-1/2 x 6-1/8 inches. Fine.

Paperback. Zustand: Good. 1. Dutch Deze speciale uitgave van Opwaarts is een informatienummer gericht aan ouders, oud-leerlingen, leerlingen en vrienden van de onderwijsinstelling van de Zusters van Onze-Lieve-Vrouw van Bijstand te Kortrijk. De publicatie bevat mededelingen over het schoolleven, pedagogische initiatieven, activiteiten en ontwikkelingen binnen de schoolgemeenschap. Daarnaast worden gebeurtenissen, projecten en visies toegelicht die de band tussen school en achterban versterken. …

Paperback. Zustand: Very Good. 1. Dutch Deze bezoekersgids biedt een beknopte en toegankelijke rondleiding door de Sint-Pieterskerk te Lo. De tekst geeft toelichting bij de geschiedenis van het kerkgebouw, de architectuur en het interieur, terwijl foto?s de belangrijkste kunst- en erfgoedelementen illustreren. De uitgave is bedoeld voor bezoekers en geïnteresseerden in het lokale religieuze erfgoed en sluit aan bij de traditie van kleine, geïllustreerde kerkengidsen.…

Paperback. Zustand: Very Good. 1. Losbladige verzameling fiches op A4 karton Dutch Fiches van kastelen die bij de benzinestations van Elf gegeven werden bij een tankbeurt in 1971 en 1972. Attre, Braine-Le-Chateau; Gent; Annevoie; Hanzinelle; Warfusée, Beloeil; Gaasbeek; Corroy-le-Chateau; Franc-Waret; Leeuwergem; Jehay; Mielmont; Schoonbeek; Chimay; Rumbeke; Ecaussines-Lalaing; Laarne; Bois-Seigneur-Isaac en Groot-Bijgaarden. Langs de voorkant staat een A4 foto en langs de achterkant de geschiedenis, architectuur, beschrijving en praktische inlichtingen. …

First Edition. Original black and white photographic print, 8" x 10". Stamps and composition notes to recto below image; clipping glued to verso with brief ink caption; small loss to bottom right corner, well away from image. Very Good overall, with image area clean and unfaded. Photo shows the aftermath of the attempted assassination of Fred Bassett Blair, at this time Chairman of the Wisconsin Communist Party. A year earlier, Blair had been singled out by FBI Director J. Edgar Hoover as the proprietor of one of "eight major communist bookstores operating in the United States." The shooting was carried out by a 17-year-old boy with a handgun inside Mary's Books, a used bookshop owned and managed by Blair's wife (which indeed carried a small section of Marxist books). Blair was unharmed, but a bookseller colleague, Ralph Sacks, was injured by three bullets. Blair beat the assailant into submission with a toy baseball bat, and in this photo the unidentified youth is seen being carried out of the store on a stretcher.…

Zustand: Very Good. Columbus, OH: Baker's Art Gallery, 1894. Original large format silver gelatin photograph (52.5x40.5cm) glued down to slightly later card mount (70.5x55.5cm). Card mount toned and a bit dust soiled. The image a Very Good or better, bright example. Oversized (and sadly unattributed) artistic portrait photograph very much in the style of the pre-Raphaelites, depicting a melancholy young woman with long, flowing curly hair in a puffy white gown leaning against a crumbling decorative stone wall and chipped canvas. The photograph has fairly extensive paint touch-ups made by the studio to the woman's dress and hair, providing detail so that the photograph could be reproduced as a halftone engraving by another Columbus-based artisan, the Terry Engraving Company. An example of the Terry reproduction was featured in The Inland Printer, Vol. XIII, p. 348. While the photograph coincides with the 1894 Broadway production of "Cinderella," the woman in the photograph is not the play's star Ellaline Terriss, though she has borrowed her hair-do.…

Original (vintage) photographic print, 4" x 6" with narrow borders. Captioned in image: "Penna. Klan Haven / Harrisburg, PA." Slightly bowed; corners rounded; light wear and soill; Very Good. Verso unprinted. Good image of the original "Klan Haven" facility in Harrisburg, Pa. The Haven was lost to fire in 1926, then reopened in a new facility about 1930, where it operated through the Great Depression.…

Three large-format black-and-white photographic prints, 11" x 14"; very mild creasing at edges, still Near Fine. Three anonymous but excellent images of a Gulf War-era demonstration, probably in Manhattan, ca. 1990. The photographer is unidentified, but the prints are of professional quality, and capture close-up scenes of crowds carrying banners and placards opposing military involvement in the Middle East and directly attacking President George H.W. Bush. One placard calls for Bush's impeachment, accusing him of ".creating the Gulf War to Cover Up His High Crimes and Misdemeanors;" another appears to read, "Liar, Liar, We Will Set Your Ass on Fire." Several images suggest a New York (likely Manhattan) locale: one poster connects the marcher to SUNY Old Westbury on Long Island; several placards bear the imprint of the National Coalition to Stop U.S. Intervention in the Middle East, including a New York City phone number. Though the precise date is obviously uncertain, the event captured here is plausibly the October 20, 1990 nationwide protest against Operation Desert Storm; rallies took place in several cities simultaneously, but New York's was by far the largest, as some 15,000 protesters gathered at Columbus Circle and marched to Times Square. In general, opposition to the first Gulf War was rather muted, but significant demostrations did take place in October 1990 and January 1991, as well as a less well-attended counter-protest on the day of the Desert Storm victory parade, June 8th, 1991.…

Wonderful photograph album of Victoria, New South Wales, and Tasmania, with large photographs and manuscript titles. A total of 47 photos, with 33 of Victoria, 6 of New South Wales, 5 of Tasmania, 1 of New Zealand, and 2 others. Each photograph is lightly tipped on to the album paper, with blank verso. Most of the photographs are by an unknown photographer; there are also some signed by J.W. Beattie, Thomas Foster Chuck, Frank Arnold Coxhead, C. Rudd, and J.P., possibly John Paine. Beginning with a large photograph is of "Aboriginals of Lake Tyers". It is an outdoor view of a family group of aborigines, from children to grand parents, dressed in western clothing, with spear, boomerangs and lean-to behind them. Others include some rather poetic views of woodcutters at Black Spur & Fernshaw; a couple of gold mining at Bendigo including Garden Gully United Gold Mining Company, with houses in fore and background. Melbourne, 33 photos including the Empire Building, Collins St. West; Prell's Building, corner of Queen St. and Flinders Lane; Austral Chambers, Queen St., with Austral Chambers sign and "Offices to Let", by Selby & Co., 97 Queen St.; Grand Hotel, Spring St., with carriages at the front; Federal Coffee Palace, Collins St., #102, showing electrical workers, 3 of whom have climbed electrical poles; "Tuck's Buildings" (or Luck's?), Elizabeth & Flinders St, with the caption "Rent of Shop L 22.10 per week"; Government Public Offices (Melbourne), #48, with a dirt road in the foreground; Melbourne Hospital with a train moving past in the foreground; Centennial Exhibition Procession, August 1st, 1888, with Victorian Confectioner's Society banner in front; St. Kilda Jetty, busy with people fishing; another showing neighboring jetty, Hegerty's Railway Baths for Gentlemen, and fishermen with the town behind them; The New Prince's Bridge, with scattered construction debris; The Melbourne Hotel, #10, with the #220 Carlton and Abbotsford tram in the foreground; Collins St. from Elizabeth St., looking east, #73, with a busy street scene and a George & George flag flying; Modern Permanent Building Society offices, with Kilpatrick & Co. Watchmakers & Jewelers, a police box, and Auchalps Sales Rooms; Bourke St., Melbourne, full length looking west with trams, a horse and cart, Mayger's Imperial Hotel at the right and Old Whitehart Hotel at the left; Town Hall, Melbourne, a view looking down, with 2 trams & Martin & Leasances Pharmacy sign visible; Elizabeth St., Melbourne, a great snap shot view of people, traffic, a wagon and cart, electric lights, and a large Cullis Hill & Co. sign; Elizabeth St., Melbourne, a snap shot view with street traffic, a tram, the Sunbeam Tea and Luncheon Rooms in the foreground, and Lincoln Stuart & Co. in the distance; Bourke St., Melbourne, a snap shot view toward E. A. Petherick Booksellers & Publishers, with trams and traffic. There are three views of clipper ships - H. M. S. Calliope in Port Philip (Hobson's Bay), with 3 yachts, a tender and row boat; The Liverpool, largest sailing ship afloat sailing under the Red Ensign. Steamship Cavo Romano, New Orleans Feb 26th 94, docked with several crew sitting on barrels (with a tear). The NSW photographs are taken in and around Sydney, mostly signed "J.P.", possibly John Paine, 1834 - 1915, including Manly Cove; Harbour from Neutral Bay, with a building under construction in the foreground, and harbour and ships in the distance; Harbour from Mr McMahon's Hill, with flags, ferries, row boats and sailing ships; Farm Cove, with ships and Government House in the distance; Coogee (?), with a hut in the foreground; trams in a turning circle, a beach and vacant land in the distance and an unidentified grand public building, with a horse and carriage visible. The Tasmanian photographs are unsigned. "Port Arthur, Tasmania" is a small panoramic view with the Penitentiary, ruins of Church and Model Prison, noted in the margins. Hobart from the lower slopes of Mt. Wellingto.…

Three original black-and-white photographs, 4" x 6". Captioned in pencil on versos, "10/15/1952". Fine condition. Three snapshots by an unknown amateur photographer depicting a 1952 street protest against Soviet occupation of the Baltic States. The protesters can be seen carrying placards in front of a large Horn & Hardart warehouse, possibly in lower Manhattan. Signs read "Soviets Out of Lithuania;" "USSR is NOT Russia!;" "Stalin's Gang is not the Russian People;" "Stop Genocide in the Baltic States," etc. The protest would have coincided with the final throttling of the organized resistance movement in Lithuania, following a series of mass deportations to Siberia of Lithuanians and other Baltic dissidents that began immediately following the Second World War and lasted until Stalin's death in 1953. Presumably a localized protest, as we have been able to find no published record of it in contemporary newspaper reports; but an evocative glimpse into Cold War-era sentiments among Americans of Easter-European descent.…

Zustand: Very good. One 11 x 14 cm b&w photo on 12 x 19 cm card. labelled "180. Rat Portage and Lake of the Woods." Rear is stamped "Linton Bros., Books, Stationery, New Depot &c., Rat Portage." Ink inscription reads "To Miss Annie Angus Whinton with best wishes of J.S." Slight horizontal warp and edge wear. It's said that Rat Portage was changed to Kenora because the Maple Leaf Milling Company was reluctant to establish a mill in the town if it had to put the word "rat" on its flour bags. "Kenora" was named from the first letters of Keewatin, Norman, and Rat Portage in 1905, but not without indignation from local ratepayers loyal to the former name. Photo shows C.P.R. bridge. Linton Bros. in town from about 1883 to 1886 when they left for Calgary.…

Tall Octavo. 24.5cm. Original green cloth over bevelled boards, titled "Photographs" in gilt to the lower front cover. 24pp; 48 3" x 4" black and white images in total. Light bumping and scuffing to corners and spine ends, cup ring to front board, some light scuffing, strong and tight. Internally clean with heavy grey card mounting leaves, 2 captioned, numbered, and often dated images per page. Photographs are clear, sharp, and well composed with no apparent defects or signs of wear. A very good, handsome album. Photographer unidentified. but clearly at least a gifted amateur, this album, judging from the numbers on the image captions, is one surviving volume of at least two or three. The execution is excellent, the composition and subject matter are far beyond the usual "Here's a picture of Big Ben!" genre of London photography; major landmarks are represented, Hyde Park, Kew, The Embankment, Cleopatra's Needle etc. but the manner of the photography is more artisitic than purely descriptive. The image of Cleopatra's Needle, for example, is captioned as such, but the focus of the image is a small Edwardian boy in a Norfolk Jacket and knickerbockers lounging across one of the bronze sphinxes. The views of the River Thames in particular elevate this album to degree of historical usefulness; the shipping details, including a number of photos taken from the water, have effectively preserved vernacular images of the sheer weight and diversity of shipping at a time when the river ports of London were the arguably the most important in the world. Aside from the usual luggers and rowboats there are a number of photos of sail wherries and river barges, which for a long period of time were the pre-eminent open water trading and delivery vessels in the UK, with wherries and shallow water barges making their way from the enormous larder of East Anglia and the North East down to London. Wool, potatoes, rope,textiles from Manchester, steel work from Sheffield and the North West, coal from Sunderland and Newcastle all traveled mainly by water right up to the 1940's and, in some places, later. There were barge crews in the 1960's essentially doing the same jobs in the same vessels that their extended and often clannish families had been doing for 200 years or more. The watermen depicted navigating the Thames' vicious currents in these photos were essentially the same men who carried Pepys, Newton, and Marlowe backwards and forwards between the palaces of Westminster and the stews, bear pits and rookeries of the Surreyside. Where there are clear avenues of industry, there are the necessary shadow economies that accompany them; there are a number of images of small ragged children scouring the foreshore (or "Mudlarking" as it was known), around the breaking wharfs where barges and ships too old and dangerous for use were destroyed for re-usable lumber and fittings. A bag of copper nails or a few salvaged shackles, even salvaged rope, could be enough to get a few pennies at the back door of Pocock's bargebuilders down near Rotherhithe. In contrast to these off the beaten track images of industry and poverty, there are also depictions of the more fortunate wandering around Hyde Park or Kew, visiting the Palace, or St. James Park. Also present, in a slightly forboding fashion is an image of Graham White's biplane flight at Hendon, on July 11th 1914, only 17 days before the opening of hostilities in WW1, an event which would quickly transform aviation from a public spectacle of wonder to the pre-eminent weapon of 20th century warfare. The fact that these images were all taken on the very brink of a conflict that would change every aspect of what they depict, is sobering; the UK lost almost a million military casualties during the conflict, meaning that a very significant number of the men and boys in these images would be dead within a handful of years of them being photographed. In the words of John Burns "Every drop of the Thames is liquid history.".…

Oblong octavo (6-1/2" x 9"). Bound album of 17 mounted silver-gelatin photographs, most 5" x 7" (two smaller) on heavy pasteboard mounts. Captioned (but one); unsigned; apparently the work of a talented amateur or possibly a professional photographer (see note below). Binding worn, with losses at spine ends and corners; internally quite good, though one photograph has fallen victim to the work of an infant graffiti artist (fortunately working in pencil; the image is not entirely defaced); another image, the first in the album, is slightly faded and aged. Overall Very Good and apparently complete as assembled. Of the seventeen views, eight are of the 1901 Pan-American Exposition in Buffalo, New York. The remainder (but for one, a view of Niagara Falls) are scenes in Wisconsin, which would appear to be the photographer's home. Though unsigned, the work is of a constistently high quality, printed from large-format negatives, suggesting a talented (and well-heeled) amateur working with a view camera. The only place-name referenced other than the Exposition is Kilbourn, Wisconsin, a mill town on the Wisconsin River that changed its name to Wisconsin Dells in 1931. Kilbourn was the home of the celebrated photographer and publisher of stereoviews, H.H. Bennett, and the Wisconsin views herein bear a very strong resemblance - both compositionally and in terms of overall quality - to Bennett's work. But while it is tempting to attribute these photographs to Bennett, the one biographical detail we have found in the album - an image captioned "Our Boys Playground" - positively eliminates Bennett from consideration; he had two young children at the time of these photos, but they were both girls. Amateur 20th-century Exposition albums filled with small-format tourist snapshots are abundant, as are published views by professional photographers. But we have seen very few examples like this one: a hand-assembled album of exceptional, well-printed views, intended only for private consumption. The photographs are all (but one) hand-captioned in ink, as follows: 1. "Court of Fountains" [Pan American Expo] 2. "The Narrows of the Wisconsin [River]" 3. "The Old Mill at Kilbourn, Wis." 4. "Streets of Venice, Pan Amer. Exp." 5. "Down the Lagoon" [Pan American Expo] 6. "Triumphal Bridge, from Illinois Building" [Pan American Expo] 7. "Niagara above the Falls" 8. "Ohio and Illinois Buildings, Pan Amer Exp." 9. "On the Wisconsin River" 10. "Our Wisconsin Farm Buildings" 11. "On the Pan Amer. Exposition Grounds" 12. "Temple of Music where President McKinley was Shot" 13. "The Midway, Pan Amer. Exp." 14. "On Littler's Creek" 15. "The Jaws of the Dells of the Wisconsin" [with view of The Dell Queen, a tourist steamboat] 16. [Uncaptioned] 17. "Our Boys Playground".…

Zustand: Good. 7 glossy black and white prints on paper (3 3/16 x 4 1/2 inches), on versos the paper numbered M001, M220, and M349. Some general wear (creasing from handling, soiling on versos, one small tear). ODD, CLAUSTROPHOBIC INNER-CITY VERNACULAR PHOTOGRAPHS FROM THE 1940s. Depicted here are unnamed African-American neighbors (and probably relatives) assembled on brick streets against brick-walled houses. At least three of the photos were taken on the same street corner. A well-dressed man stands in front of a grocery store; one very young woman smokes; behind a wide-eyed girl wearing glasses and too-large sandals hangs laundry; another woman sits in a shadowy alley; three girls pose against a brick wall which exhibits faint graffiti, behind them a contraption of some kind appears in the darkness for no reason; a stone step worn and sunken supports the feet of two boys in a doorway: on the sidewalk in front of them falls the shadow of the amateur photographer, his fedora visible in the flawed negative. The photographer's subjects are often strangely positioned to one side; he has decapitated 1.5 heads; he has made the children squint and scowl uncomfortably; one woman smiles at the camera, a bag of trash on the ground at her feet, while her companion stares into a window. The several ghostly flaws to the negatives remove the viewer even further away from these lost moments. But not every photograph is claustrophobic: there is one of a forgotten family-outing at a hard-scrabble beach, with radio towers and industry looming vaguely in the background. But we all know that the outing will be brief, that they must soon return to the inner-city, where perhaps there will live out the end of their days. The photographs were discovered in Pittsburgh and it is very possible that they were all taken there. At present we have only the emulsion and paper and thoughts of Temps Perdus.…

First Edition. Original silver-gelatin photographic print, 7" x 6". Mounted on thin board, 13" x 9-3/4", signed "A. Feny" on mount below image (see note). Dated in the subject's hand, "17/8/27 - Paris," and inscribed: "To the Beloved couple Grover [?] & Nettie hoping you will continue having success and making friends," signed in full. Some abrasion to the mount, especially at corners; small flaw to image at upper left corner, still Very Good or better. A lovely jazz-age portrait of Henry Georges Walter playing his trumpet, probably in a Paris nightclub around 1927. Walter (b.1902) was born in Alabama and studied music in the renowned Harlem studio of Isabel Talafierro-Spiller, but seems to have spent most of his performing career in Europe. A brief notice in the Baltimore Afro-American for Oct. 19, 1929 advises that Walter "will return to America in October. after being eleven years in Europe;" he was at this time performing with Opal Cooper's "International Five," a popular Paris quintet which also included Samuel Richardson, Harvey White, and Charlie Lewis. Little else is known of Walter; the 1930 U.S. Census finds him living as a lodger on 151st Street in Harlem, with the occupation of "musician," but we find no further record of him after this. The photograph is titled "A Fény" with an address in Hungarian at left: "Váczi U [Vaci Utca] 11/B." The title, which translates to "The Light," is possibly a reference to the influential Hungarian photographic journal of the same name, published in Budapest from 1906-1912. We have been unable to satisfactorily identify the photographer. Signed.…