Unkwn (21 results)

Soft cover. Condition: Good. No Jacket. G softcover brochure listing of bulbs and flowers for sale at nursery in business at time of publication 47+ years. 9+ pages of various varietiess of daylilies, hostas, iris and prices.

[Colorado Springs and Manitou, Colorado, 1915]. Folding photo brochure with two mounted sepia tone photographs, each dated or captioned in ink. Brochure: black paper bifolium with printed cover, 6½ x 8¾ inches. Photographs each measuring 5 x 7 inches. Near fine. 1915 Photographic souvenir of an autobus tour of Colorado Springs and Manitou. The folding photo brochure contains two mounted photographs, one depicting a sweeping roadside view of the Rocky Mountain terrain and the second showing an 18-member tour group, plus their driver, posing in front of a five-row touring automobile or autocar whose canopy roof reads "Crystal Park." A handprinted caption within the photographic negative gives the date August 22, 1915 and the mountainous altitude of the touring group: "8745 Ft."over 1½ miles high. Three tour members are identified: "Moe[?], Mother, M.C." Interesting documentary images from the earliest years of automobile touring of the Rocky Mountains.

[Newport, Rhode Island?: np, 1890]. Frontis, 20pp. Sm. 8vo. Presentation inscription on upper cover. Small broadside folded and tipped onto verso of upper cover. Printed wrappers chipped with upper cover detached; fair with clean, sound, and complete contents. Scarce exhibition catalog of 216 miniature paintings, 52 portraits, and 18 silhouettes shown in Newport, Rhode Island. Includes the names of lenders to the exhibition; this copy with numerous handwritten additions and annotations. With a small broadside list (with a few manuscript corrections and annotations) entitled "Miniature Painters in America," reprinted from the Newport Daily News, June 3, 1890.

New York: Kiggins & Kellogg, 88 John Street. [between 1849 and 1856?]. 16pp. Printed wrappers with vignette illustration. 4½ x 2¾ inches. Wood engraved illustrations throughout variously signed including "Lossing & Co." (i.e., Benson John Lossing), "W. Howland sc." (i.e., William Howland), and "H.H." "Third series.No. 8." at head of wrapper title and ad on rear wrapper for "Redfield's Toy Books." Ownership inscriptions on title page of "Miss Thomas" and "Carrie Baker." Minor foxing and handling; Very Good. A young boy sails with the ship Godolphin to the Indian Ocean, stopping at ports in the East Indies, then to China, and then to Australia. Shipwrecked, the young hero and his shipmates reaches Banguay, a small island near Borneo, where they are captured by Malays and brought to Suba Island. Eventually they escape and return home, but on the way back they experience a shark attack a la Jaws that is so gory that two sailors are confined to their hammocks, in a state of shock, for ten days. The moral of the story seems to be the ocean is dangerous, stay home.

Havana, Cuba: Published C. Jordi. Box 2334, c.1929. [18] leaves of plates. View Book. 8¼ x 10¼ inches. Color printed wrappers; stapled. Color illustrations on rectos and versos captioned in English and Spanish. English-language text on front endpaper; Spanish-language text of rear endpaper. Wrappers separated at lower spine with short tear to upper cover at staple; brief wear at fore-edge; otherwise, very good. Vibrant souvenir color view book of Havana, Cuba with over 50 illustrations depicting the city's principal government and historical buildings, street views, harbor, and other scenes. A view of the Capitol Building on Inauguration Day, May 20, 1929, suggest the booklet was published at this time, when Cuban President Gerardo Machado (18711939) was beginning his second term in office. A view of Fraternity Square, with the Capitol in the background, touts "many great improvements" and "modernization" to Havana"the nicest Capital of all Americas." The view book's color illustrationsreproduced from photographs and here captioned both in English and Spanish, appear to have been derived from postcards. Publisher C. Jordi is known to have made and sold numerous postcards of Havana. OCLC: Newberry, University of Miami.

[Dover, Del.?: np, 1918]. [3]pp. 7 x 5½ inches. Bifolium. Tears at vertical center fold; good. Patriotic 1918 songster prepared for a Saturday-night community sing-along in Dover, Delaware, organized to promote subscriptions to the Third Liberty Loan. These war bonds, issued by the U.S. Treasury in April of that year, helped finance American involvement in the First World War. The program includes "God Save Our Men" (sung to the tune of "America"), "What Are You Going to Do to Help the Boys," "Mother's War Hymn!" (set to "Abide with Me"), "Over There," and "The Star-Spangled Banner," which had not yet been designated the national anthem. A note at the end announces a follow-up "Community Sing at the [Dover] Armory Tuesday night.".

[America: np, ca. 1890s1900s]. 3½ x 5½ inches. Postcard imprinting on verso. Faint crease at one corner; near fine. Three railroad workers posing casually in front of a steel truss railroad bridge. A senior conductor with four stripes on his sleeve is seen at the center flanked by two brakemen, each man's occupation emblazoned on his hat. The brakeman on the right holds a furled flag used by brakemen on train platforms and rail lines.

[Lake Placid, ca. 1910s-1920s]. 4½ x 6½ inches. Captioned within negative. Pencil annotations on verso. One corner creased; some paper residue on verso; very good. View of the Lake Placid Club, founded in 1895 by librarian Melvil Dewey. The photograph shows the clubhouse complex, including a large boathouse and dock on Mirror Lake, with Cobble Hill and the Sentinel Mountains in the background. The private club catered to children, families, convalescents, and outdoor recreation enthusiasts. By the 1920s, it expanded to over 9,500 acres, featuring numerous residences, a theater, and several golf courses.

[Colorado Springs, June 1905]. 5½ x 8 inches. Photo mounted on stiff paper backed by newspaper. Ink captioning on image. Photo mounted on stiff paper backed with newspaper. Light creasing and minor chipping at corners; good. This image shows a large group of women posed on the Antlers Hotel verandah and front steps in Colorado Springs. These women attended the 28th National Electric Light Association convention in Denver and Colorado Springs from June 6-11, 1905. The horse-drawn carriages behind them suggest they were preparing to go on an excursion. "The NELA played a dominant role in promoting the interests and expansion of the U.S. commercial electric industry. The association's conventions became a major clearinghouse for technical papers covering the entire field of electricity and its development, with a special focus on the components needed for centralized power stations or power plants. Each convention was organized to draw prominent media coverage. Exhibitions that included dazzling displays of lighting and the latest electric appliances were modeled after the wildly popular 1893 Chicago World's Fair. It was always held at a high-profile luxury hotel." (Wikipedia).

[Cambridgeport, Vermont: np, ca. 1880s1890s]. 8 x 10 inches overall; image 4¾ x 6½ inches. Car stock mount. Near fine, sharp image. View of the façade and side elevation of the Cambridge-Port Hotel in Cambridgeport, Rockingham County, Vermont. The hotel's sign hangs from a post on the second floor balcony; a lone dog stands below at the end of the porch and two other buildings are visible to the left.

[Dover, Delaware, ca. 1940s]. Two gelatin silver prints, each approx. 8¼ x 10 inches. Very good. Pair of photographs documenting a large flatbed parade float sponsored by the Lions Club of Dover, Delaware. Two women, likely the float's designers or decorators, pose atop the float with a papier-mâché lion mascot. One image shows a backdrop of stacked peach baskets; the other features a glass-domed gas pump in the background.

[New York?1856]. 7pp. Pamphlet. 8vo. Removed; without wrappers. Soft vertical center crease; spine expertly strengthened with tissue; Good. Anti-Republican and anti-John C. Fremont (18131890) attack during the 1856 presidential election. The author warned that the former advocated for free love and considered Blacks and women as equals to white men. Wendell Phillips was vilified as was Anson Burlingame, among others, for purportedly demanding an "Anti-Slavery Bible, and an Anti-Slavery God." LCP, AFRO-AMERICANA 5123.

[Cohoes, New York: np, ca. 1880s-1890s]. Three photographs. 8 x 10 inches overall; images ranging in size from 4¾ x 8 inches to 6¼ x 8 inches. Card stock mounts; handwritten captions. Light soiling in margins; one corner creased; images very good. Three photographs taken along the Mohawk River in Cohoes, Albany County, New York. Two show the city's famous 90-foot waterfall during the springtime when the water flow is greatest. The third photograph shows an eastward view along the top of the Cohoes Company Dam above the falls. The solid stone masonry dam was built in 18651866 under the supervision New York engineer William E. Worthen, its purpose to divert water to generate power for the city's mills. A large mill and other buildings can be seen at the east end of the dam.

[Np, ca. 1950s]. 8 x 10 inches. Number "9588-4" in negative. Ink circle on image; verso with pencil caption. Creases small tear and corner loss in left margin; very good. Photograph of the soundstage and set of an experimental, early television production of Helen Glaspell's one-act play Trifles. The 1916 play, based on a real-life murder, is set in a rural farmhouse kitchen, with the plot and dialogue exploring the social and psychological divisions between men and women. The play was previously filmed in 1930, starring Jason Robards Sr. and Sarah Padden. The actors, including Helen Wesley and Arthur Geary, are gathered around the kitchen table in the photograph. The production crew, three television cameras, a boom microphone, and a hyper-lighting setup of over 65 lamps are visible in the foreground. The experimental nature of this production, noted in the caption, likely refers to the uniformly lit set (ensuring consistent visuals) and the use of three cameras to capture the performance. These techniques were pioneered in the early 1950s by producer Jerry Fairbanks and his live anthology television series "The Silver Theater," and by "I Love Lucy" cinematographer Karl Freund.

[America, c.1890s]. Albumen photograph on card mount. No backmark. 5¼ x 4¼ inches overall; image 3¾ x 3½ inches. Faintly rubbed; Very Good. Nineteenth-century American family portrait, taken on the porch of a modest home. A husband and wife and their baby in a carriage are to the far right. Two young women sit on the steps. To their left sits an older man, arms crossed the family patriarch. Behind this man, two elderly women are seated. Behind the elderly women, and behind everyone, is an African American boy, standing, who was likely served the family with domestic help. His purpose in the photograph perhaps suggests that the family, in addition to showing off their Sunday best, wanted to show their upward mobility; of being able to afford hired help. The visual layout of the photograph presents an intentionally-defined social "order" that fit within the cultural perspective of this American white family, and perhaps that of the anonymous photographer as well.

[Near Siletz, Oregon? Missoula, Montana?: np, ca. 19041918]. AZO real photo postcard (RPPC). 5¼ x 3¼ inches. Annotations on verso. Very good. Hold on, partner. This souvenir photograph depicts more than your typical scene of a bandit cowboy and a saloon owner fighting over a bottle of Red Eye. The cowboy's attire and the backdrop scenery are quite elaborate. Above the bartender's head, a large sign boldly proclaims: "The bartender keeps your change / Shoot him, he is forgetful." Other signs nearby announce: "No place for a tenderfoot" and "$5000 Reward for Montana Red. Dead or alive Ketchum". Handwriting on the back of the card reveals details such as "Lou's [indistinct word] Siletz, Oregon" and "Steve Pione [and] David Bogard, Missoula, Montana," offering clues about the people, place, and context captured in this image.

[Likely America, c.1790s1810s?]. [8]ff comprising 14 manuscript pages; a fair copy. Approx. 8 x 6½ inches. Coarse paper wrappers with wove paper leaves; sewn. Some staining to wrappers; vertical center crease; foxing and toning; Very Good. Late 18th or early 19th century essay on music with original content, though freely borrowing from the the text of Noah Webster's essay "On Vocal Music" which was first published in 1787 in the Pennsylvania Packet newspaper in Philadelphia and revised in 1788 (American Magazine) and then collected in a book in 1790. The anonymous essayist addresses a sympathetic audience, possibly a learned society or a social club: "As this branch of science [music] hath been the employment of a respectable part of this assembly for a few months pastit will be the subject of the present discourse." (p2) The essayist rehearses Biblical precedents for music, choirs (women and men), and harmony and discusses the poets Homer and Milton. When the subject turns to the teaching of music, the formation of singing schools, and instrumental music (p6ff), the author relies on Noah Webster to advance the argument. Though not verbatim plagiarizing, the texts are very close. Here is what Webster writes in 1787: "The human mind is formed for activity; and will ever be employed in business or diversions. Children are perpetually in motion, and all the ingenuity of their parents and guardians should be exerted to devise methods for restraining this active principle, and directing it to some useful object, or to harmless trifles. If this is not done, their propensity to action, even without a vicious motive, will hurry them into follies and crimes. Every thing innocent, that attracts the attention of children, and will employ their minds in leisure hours, when idleness might otherwise open the way to vice, must be considered as a valuable employment. Of this kind is vocal music. Instrumental music may exceed vocal in some nice touches and distinctions of sound; but when regarded as to its effects upon the mind and upon society, it is as inferior to vocal, as sound is inferior to sense. Instrumental music affords an agreeable amusement; and as an amusement it ought to be cultivated. But the advantage is private and limited; it pleases the ear, but leaves no impression upon the heart. The design of music is to awaken the passions, to soften the heart for the reception of sentiment. To awaken passion is within the power of instruments, and this may afford a temporary pleasure; but society derives no advantage from it, unless some useful sentiment is left upon the heart." The present writer instead pens: "The human mind is formed for activity & must be employed, everything innocent that attracts the attention of youth, and will employ their minds in leisure hours; when idleness otherwise might open the way to vice, must be considered as a valuable employment. Of this kind is the study of music. I have thus far considered music, Instrumental & Vocal. It is proper we should make a distinction. Instrumental, may in some nice touches and distinctions of sound, exceed Vocal, but, when regarded as to affect upon the mind, it is vastly inferior to vocal as sound is inferior to sense. Instrumental affords an agreeable amusement & as such ought to be cultivated. But the advantages is private & limited, it pleases the ear, but leaves no impression on the heart. The design of Music, is to awaken the passions to the reception of sentiment. To awaken the passions, is in the power of Instruments; but society derives no advantage, unless some useful sentiments are left on the heartthis leads me to the advantages derived to Society from this Science." (p8) The manuscript's additional three pages contain other examples of further observations by Webster, albeit re-worked by the essayist for their audience. An interesting and likely unpublished oration that reflects a public, even social, discourse on music. An opportunity to study the reception of Noah Webster's essay, "On Vocal Music," which was published several times in the late 18th century here so curiously intertwined. Note. 1. As early as 1771, when Webster was about 13, he wrote publicly about musical activities of his church group in a letter in the Connecticut Courant (August 21). Worth mentioning: "The Whistling Plowman," i.e. The Whistling-Plowman, a New Hunting Song, a fairly obscure piece of sheet music, first appearing circa 1760 and published as late as 1800, is mentioned near the essay's conclusion. See Webster, A Collection of Essays and Fugitive Writings (Boston, 1790), pp229230.

[America, c.1920s]. Mammoth Photograph. Approx. 25 x 30 inches. Sepia tone. Very good. Poignant, an unusual, extremely large-format or "mammoth" studio photograph of an American bridal party. We've never seen a wedding photo so large. Even the wedding party is immense. In this oversized studio photographover 5 square feetwe see the bride and groom; the best man and two groomsmen; a maid of honor and sixteen bridesmaid's; a boy ring bearer; and five flower girls. That's 28 people! A wonderful photograph for its unexpected, striking effect.

[Columbus, Ohio, 1947]. 8 x 16 inches. Oblong. Some student autographs on verso and stray rubber stamping; one student's face circled in ink. Wear at vertical creases; small loss at top; good. Class photograph of then-segregated Champion Avenue Junior High School in Columbus, Ohio. Champion opened in 1909 as an all-Black elementary school. Despite protests from the Black communitywho opposed the ongoing segregationjunior high grades were added in 1922. By the time this photograph was taken, seven years before the U.S. Supreme Court case Brown v. Board of Education, Champion Avenue Junior High was firmly entrenched in an unconstitutionally segregated school district. Ref. Jacobs, Getting Around Brown, Desegregation, Development, and the Columbus Public Schools (Columbus, 1998).

[Honolulu, Hilo, and Laupahoehoe, Hawaii, 19111935]. 50 photographs, some captioned or annotated, ranging in size from 2¾ x 4½ inches to 5 x 7 inches. Several images removed from albums. Overall, very good. Fifty Hawaiian photographs with themes emphasizing military life, transportation, and engineering. Inventory Schofield Barracks near Honolulu. (22 photos). Soldiers on the way to camp or marching; tanks, searchlight trucks and other military vehicles; portable artillery and a mammoth artillery piece for field testing. Other images: A Hawaiian sergeant on parade with senior officers; the barrack's band's saxophone section; baseball and a football game scenes; views of an Army hangar. Military Camp (4 photos). Grouped soldiers, a mess tent, a large tent encampment with supply wagons. China Clipper Flying Boat (2 photos). Images of the vessel tied up in Honolulu Harbor; its crew on board, an adjacent service vessel. Honolulu Harbor, etc. (3 photos). "Sampan Fisherman's Wharf," ships leaving port or docked, the Aloha Tower lighthouse, a U.S. Naval destroyer. Hilo (8 photos). Construction views of the Hilo Post Office, built ca. 1915-1917: a work crew, the building's façades scafolded, roof construction, etc. Views of the library, nearby bridges, Hilo harbor, and Laup?hoehoe City with its lava-tipped cape; a swimmer at Coconut Isle (Moku Ola). Bridges (2 photos). The Kawainu and the Hakalau Gulch railroad bridges under construction. Portraits (4 photos). Hawaiian women, one dancing a hula, the other standing by a papaya tree; a Hawaiian man on a donkey; lifeguards posing with a surfboard on the beach at Waikiki and wearing swimsuits labeled "Moaka." Miscellaneous (5 photos). An automobile fitted with wheels to drive on railroad tracks, men posing by a rail car, a stand of banyan trees; an outdoor gathering showing pavilions and seated guests, etc.

[Likely Great Britain. ca.1840s1860s]. Oil on Canvas. Untitled [Landscape with Pot Bank]. 62cm x 76cm unframed. (Approx. 241?2 x 30 inches). Professionally cleaned, conserved and re-lined (full treatment report with photo documentation available on request). Nineteenth century landscape painting documenting a "Pot Bank" or pottery manufactory, an industrial complex of buildings for the commercial manufacture of ceramics. Additionally, ten workersmen women and children, including a supervisor in an elevated loading bayinhabit the smoke-filled scene, the soot from the kilns and chimneys rising in columns to meet a cloud-filled sky. This painting depicts three large bottle ovens or kilns for firing ceramics. On the right, there can be seen a smaller glost oven for firing glazed wares. The pot bank depicted here is typical of those seen in Stoke-on-Trent in Staffordshire, England, the center of the English pottery industry. According to decorative arts and material culture scholar Prof. J. Ritchie Garrison, the painting is likely English, painted in the 1840s1860s, and depicts a manufactory similar to a surviving 19th century pot bank maintained by the Gladstone Pottery Museum in Staffordshire. He describes the scene in the painting in this way: "The long low warehouses were where the firm housed various processes used in production: molds for slip casting, wheels for throwing pots, jollying equipment for standardizing forms, facilities for making saggars into which the pots were placed for firing, and the all-important shop for refining and processing clays. The tall square chimneys were for heating and for the steam engine that was typically involved in mixing the clays The pit in the foreground may actually have been a used up coal seam as the general ratio was as much as 10 tons of coal to one of clay in order to run a pot bank: the point being that the important geography was the coal seam with the clay generally imported from various parts of the U.K. (Garrison)" The pit was also where "wasters" or very defective pottery pieces were tossed away. The labor of several of the workers seen in the painting is oriented toward this pit, the men, women, and children moving toward it carrying buckets possibly containing wasters. Prominent is the center is a man driving a horse-drawn wagon and, behind him in the upper doorway or loading bay, a male supervisor. The wagon appears to be carrying open-top, slat-sided crates packed with what appears to be straw, this workman likely transporting finished waresa clever simultaneous depiction of industry and commerce. It is curious to note that some of the workers seem to be posed or staged, a few even looking directly at the viewer. This documentary quality is vaguely photographic and lends an "on-the-spot" immediacy to the painting. A very unusual subject to find portrayed in this manner.