photographers unknown (5 Ergebnisse)

Zustand: 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.

Zustand: 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.

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.

Zustand: 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.