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Photographs

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Photographs Books & Ephemera


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    $75.00

    Antonella Lualdi and her donkey (Vintage press photograph) by Lualdi, Antonella; Carlo Cisventi (photographer)

    Milan, Italy: Carlo Cisventi, 1955. Vintage borderless black-and-white press photograph of Italian actress Antonella Lualdi as she walks her donkey down the street. A curious man, perhaps a friend of Lualdi's, or her then-husband Franco Interlenghi, has decided to stop for a riding lesson. The photograph, taken by Carlo Cisventi (with his rubber stamps on the verso), was produced circa 1955, as indicated by the film poster seen in the background of the image. The poster is for the film "Una sera di maggio," an Italian film released in 1955. Lualdi's notable film credits include Alberto Lattuada's "The Overcoat" (1952), Carmine Gallone's "Casta diva" (1954), Carlo Lizzani's "Chronicle of Poor Lovers" (1954, with Marcello Mastroianni), Claude Autant-Lara's "Rouge et noir" (1954), Giorgio Bianchi's "Non c'e amore piu grande" (1955, her first film with Franco Interlenghi), Mauro Bolognini's "Wild Love" (1955, also with Interlenghi), and Claude Chabrol's "Leda" (1959). 7 x 9.5 inches. Very Good plus, with toning, tape ghosts on the verso, and various press notations on the recto and verso.


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    $5.00

    ORIGINAL PHOTOGRAPH -- MIMI MIYAGI PRESS PHOTO by (Photographic Nudes)

    1980. Original color press photograph. Light notations on reverse. Else very good.. 8" x 10"


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    $75.00

    Poor Cow (Keybook photograph from the 1967 film) by Loach, Ken (director, screenwriter); Nell Dunn (novel, screenwriter); Carol White, John Bindon, Terence Stamp (starring)

    London: National General Pictures, 1967. Vintage black-and-white double weight linen-backed keybook photograph from the 1967 film. With a three-hole punch at the left margin as called for, and a mimeo snipe on the verso noting actors White and Bindon (pictured), as well as actor Terence Stamp, novelist and screenwriter Nell Dunn, director Ken Loach, and producer Joseph Janni. Set in London, and shot there on location. 8 x 10 inches (20 x 25 cm). Near Fine. Complete collation details available on request.


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    $10.00

    ORIGINAL PHOTOGRAPH -- COUPLE ON BED - 1 - UNKNOWN FILM STILL by (Photographic Nudes)

    1970. Original color photograph. Very good.. 8" x 10". Printed on Kodak paper.


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    $375.00

    A Royal Scandal (Complete set of 29 design photographs from the 1945 film) by Preminger, Otto (director); Ernest Lubitsch (producer); Tallulah Bankhead, Charles Coburn, Anne Baxter (starring); Lajos Biro (novel); Thomas Little (set decorator)

    Los Angeles: Twentieth Century-Fox, 1945. Complete set of 29 vintage set design photographs, each numbered from 1 to 29, from the 1945 film. Based on the novel by Lajos Biro. From the collection of set decorator Thomas Little. Two-hole punch at the left margin of each photograph, bound in brown card wrappers with a prong binding (now removed to preserve condition) as issued. 8 x 10 inches (20 x 25 cm). Light wear at the punch holes from the prong binding, else Near Fine. For a complete collation, please inquire.


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    $25.00

    Photograph: Railway Construction Camp In New Zealand

    Very Good with no dust jacket. Silver gelatin print. A N.Z Government publicity photograph [c. 1900s ?]. "Construction Camp on the Stratford-Ongaruhe [?] Railway - this line Connecting the Wellington - Taranaki with the main trunk will open up a large block of good dairying country in Taranaki." Dimensions: 220mm x 153mm. ; 8vo .


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    $34.95

    Scotland Shadow of Heaven by MacDONALD, Patricia

    New York: Rizzoli, 1989. First Edition, 1989. Fine Rizzoli hard cover in fine dust jacket preserved in clear, easily removable, archival polyester cover. Colorful coffee-table size volume of spectacular aerial photography of Scotland, with an essay by Dominic Cooper. . First Edition. Cloth. Fine/Fine.


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    $158.00

    An original Associated Press German Photo Service wartime photograph of Prime Minister Winston S. Churchill inspecting British defense preparations early in his wartime premiership

    Berlin: Associated Press German Picture Service, 1940. Photograph. This is an original, wartime press photo of Winston Churchill (1874-1965) originating from the Associated Press German Picture Service, an American news agency on German soil that symbolized the imperfect struggle to maintain free press operations in Nazi Germany. The photo measures 5.25 x 7.25 inches (13.4 x 18.5 cm) and is in very good condition. The glossy photo surface is clean and bright with no tears or folds and light scratches visible only under raking light. The verso features a typed three-line German caption pasted on, which translated reads "During a tour of inspection by British Prime Minister Winston Churchill, where he visited the defense facilities of the British Isle in the northwest". A stamp in pink ink reads “The Associated Press | Berlin SW 68, Zimmerstrasse 68 | Telef. 17 0124-0125” along with four further lines in German that translate to “Publication may only be made with the permission and appointment of Associated Press A. P. Photos along with the delivery of voucher copies”. This undated photo was taken in the summer of 1940, shortly after Churchill became Prime Minister. When Churchill became Prime Minister on 10 May, 1940, the war for Britain was not so much a struggle for victory as a struggle to survive. From the fall of France to the formal entry of the United States, the outcome of the Second World War was not a forgone conclusion and Britain’s peril was quite real. Churchill’s first six months in office would see, among other near-calamities, the Battle of the Atlantic, the fall of France, evacuation at Dunkirk, and the Battle of Britain. The threat of Nazi invasion of Britain was an imminent and pressing in concern in 1940, accounting for this image of Churchill inspecting local defense preparedness. This photo’s verso bears the stamp of The Associated Press German Picture Service. The Associated Press (AP) established AP’s German photo service as a subsidiary in 1931. After 1933, the Nazis quickly brought the AP German photo service under the supervision of the Propaganda Ministry. Compromises were inevitable, including re-writing of AP captions and firing of Jewish AP employees in Germany. Nonetheless, “The AP made the difficult decision to comply because it believed it was critical for AP to remain in Germany and gather news and photos during this crucial period”. Berlin-based American AP reporters and German photographers covered the first part of the Second World War from 1939-1941 from the German side of the battle lines. When the U.S. entered the war in December 1941, AP’s American staff members in Germany were arrested and interned for five months, while the AP German picture service was seized by the Nazi government and put under control of a Waffen SS photographer, Helmut Laux. Nonetheless, AP still wanted to make images of Nazi-controlled areas of Europe available to the American public, so with approval from the US Government a deal was brokered. Through a third party in neutral Portugal and Switzerland Bureau Laux and AP exchanged photos. Of course the captions for AP images that appeared in German publication were rewritten by Nazi propagandists, but the German photos obtained by AP in exchange helped AP to cover the war as comprehensively as possible and thereby give the U.S. public “a much fuller picture of the war than could have been obtained otherwise”. (AP)


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    $250.00

    Medium Cool (Collection of five original photographs from the 1969 film) by Wexler, Haskell (director, screenwriter, producer); Tully Friedman (producer); Jerrold Wexler (producer); Robert Forster, Marianna Hill (starring)

    Hollywood: Paramount Pictures, 1969. Collection of five vintage black-and-white studio still photographs from the 1969 film. A semi-documentary dramatization of the violence that surrounded the 1968 Democratic National Convention, and a film that questions the politics inherent in journalism and image-making, "Medium Cool" is a remarkable directorial accomplishment, highlighting the political unrest of the late 1960s, in part by using real footage. 8 x 10 inches (20 x 25 cm). Near Fine. Complete collation details available on request.


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    $158.00

    An original wartime press photograph from The Associated Press German Picture Service of Winston S. Churchill and dockworkers on 1 August 1940

    Berlin: Associated Press, 1940. Photograph. This wartime press photograph of Prime Minister Winston S. Churchill (1874-1965) belonged to the Associated Press German Picture Service, an American news agency on German soil that symbolized the imperfect struggle to maintain free press operations in Nazi Germany. The photo measures 5.25 x 7.25 inches (13.4 x 18.5 cm) and is in very good condition. The glossy photo surface is clean and bright with no tears or folds and light scratches visible only under raking light. The verso features an original, typed German caption pasted on which, translated, reads: "Winston Churchill. During a sightseeing trip to the defenses in the northwest of the British Isles photographed with “workers” after giving a short speech.” A stamp in pink ink reads “The Associated Press | Berlin SW 68, Zimmerstrasse 68 | Telef. 17 0124-0125” along with four further lines in German that translate to “Publication may only be made with the permission and appointment of Associated Press A. P. Photos along with the delivery of voucher copies”. This undated photo was taken on 1 August, 1940, only a few months into his premiership. Churchill is depicted on the right side of the image, standing on the running boards of what is ostensibly his car and gesturing to the crowd, which is looking toward him and toward the camera. When Churchill became Prime Minister on 10 May, 1940, the war for Britain was not so much a struggle for victory as a struggle to survive. From the fall of France to the formal entry of the United States, the outcome of the Second World War was not a forgone conclusion and Britain’s peril was quite real. Churchill’s first six months in office would see, among other near-calamities, the Battle of the Atlantic, the fall of France, evacuation at Dunkirk, and the Battle of Britain. The threat of Nazi invasion of Britain was imminent and every boost to the morale and productivity of her citizens the potential difference. Churchill was “totally fearless, and left his car often throughout the Blitz to walk about”. (Richard Langworth) He was also known to gather crowds, with whom he would become emotional. Later, his dear friend Lady Diana Cooper told him that his greatest achievement was giving people courage. “I never gave them courage,” he replied. “I was able to focus theirs.” Obviously, Churchill was not just “sightseeing” and the workers did not merit the implied deprecating sarcasm of quotation marks. The Associated Press (AP) established AP’s German photo service as a subsidiary in 1931. After 1933, the Nazis quickly brought the AP German photo service under the supervision of the Propaganda Ministry. Compromises were inevitable, including re-writing of AP captions and firing of Jewish AP employees in Germany. Nonetheless, “The AP made the difficult decision to comply because it believed it was critical for AP to remain in Germany and gather news and photos during this crucial period”. Berlin-based American AP reporters and German photographers covered the first part of the Second World War from 1939-1941 from the German side of the battle lines. When the U.S. entered the war in December 1941, AP’s American staff members in Germany were arrested and interned for five months, while the AP German picture service was seized by the Nazi government and put under control of a Waffen SS photographer, Helmut Laux. Nonetheless, AP still wanted to make images of Nazi-controlled areas of Europe available to the American Public, so with approval from US Government a deal was brokered. Through a third party in neutral Portugal and Switzerland Bureau Laux and AP exchanged photos. Of course the captions for AP images that appeared in German publication were rewritten by Nazi propagandists, but the German photos obtained by AP in exchange helped AP to cover the war as comprehensively as possible and thereby give the U.S. public “a much fuller picture of the war than could have been obtained otherwise”. (AP)


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    $75.00

    Scandal Sheet (Collection of three original photographs from the 1952 film) by Karlson, Phil (director); Samuel Fuller (novel); Ted Sherdeman, Eugene Ling, James Poe (screenwriter); Broderick Crawford, Donna Reed, John Derek (starring)

    N.p.: Motion Picture Investors, 1952. Collection of three studio still photographs from the 1952 film. Based on Samuel Fuller's 1944 novel "The Dark Page." The editor of an exploitative magazine murders his wife, then has one of his journalists investigate the matter in order to divert attention from himself. 10 x 8 inches (25.5 x 20.5 cm). Very Good, with a deep crease to one of the images, stamps to the versos of each, and occasional holograph notations to same. Complete collation details available on request.


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    $315.00

    A wartime British Official War Office press photograph of Winston S. Churchill descending the gangplank of Lord Nelson's HMS Victory during a January 1941 tour of the bomb-damaged Portsmouth docks

    London: The British War Office, printed by Keystone Press Agency Ltd., 1941. Photograph. This is an original, War Office press photo of Winston Churchill (1874-1965) descending the gangplank of the HMS Victory taken in Portsmouth on 31 January 1941. The photo measures 4.75 x 6.75 inches (12 x 17 cm) and is in good plus condition. The glossy photo surface is clean with no tears or folds, though with some overall wrinkling. The verso features a typed caption which reads "British Official Photograph No. BH 3386. | (War Office Photo - Crown Copyright Reserved). | CHURCHILL AND "VICTORY" | Behind Mr. Churchill rise the wooden walls of "Victory", | that famous old warship in which Nelson asserted Britain's rule | of the sea. A picture taken during a visit by the Prime Minister | to Portsmouth. With him is Admiral Sir William James. FO. " A stamp in purple ink, covered by the typed caption, reads “KEYSTONE | Press Agency Ltd., | Fleet Street, London, E.C.4”. On 31 January 1941, Churchill took President Franklin D. Roosevelt’s close advisor, Harry Hopkins, to Southampton and Portsmouth, which had recently been savaged by Nazi air raids. (Gilbert, Vol. VI, p.999) It is hard to imagine a more potent and fitting symbolic background for Churchill’s England in the difficult days of early 1941 than the oldest commissioned warship in the world. HMS Victory remains a physical manifestation of British endurance and triumph over odds and eons. In 1805, Victory achieved fame as the flagship of Vice-Admiral Horatio Nelson during the Battle of Trafalgar. Nelson sent the signal “"England expects that every man will do his duty" to the fleet before he did his, dying in the naval battle that saw England defeat the combined fleets of Napoleonic France and Spain. Churchill had served as First Lord of the Admiralty from 1911-1915 until he was scapegoated for the Dardanelles disaster and forced to resign from the Cabinet. After his “wilderness years” in the 1930s, when the Second World War began Churchill was called back to reprise his role as First Lord on 3 September 1939, a post he held until he became wartime Prime Minister on 10 May 1940. When Churchill became Prime Minister, the war for Britain was not so much a struggle for victory as a struggle to survive. Churchill’s first year in office saw, among other near-calamities, the Battle of the Atlantic, the fall of France, evacuation at Dunkirk, and the Battle of Britain. Indeed, at the time this photo was taken, invasion by Nazi Germany remained a credible threat. Her Prime Minister set against the backdrop of her most ancient and famous warship was a reminder both of Britain’s past victories and the historic bulwark of her navy. Historian Christopher M. Bell, author of Churchill and Sea Power, wrote of this image “There are many photos to connect Churchill and the Royal Navy during the twentieth century, but it’s hard to imagine a single image that could more effectively link him to Britain’s long and glorious naval past.” We can be confident that the important symbolism was not lost upon the man who took the photograph, Churchill’s War Office official photographer, Major William. G. Horton. The War Office assigned Horton to Churchill throughout the Second World War. Of Churchill, Edward R. Murrow said: "He mobilized the English language and sent it into battle." Horton witnessed and chronicled this time, making many of the images that illustrate Churchill's wartime narrative. Admiral Sir William James, who accompanies Churchill on the HMS Victory gangplank, served at the time as Commander-in-Chief, Portsmouth. Churchill had visited Portsmouth with James on 13 January 1940. Upon that visit, Churchill was still wartime First Lord of the Admiralty, four months away from his storied wartime premiership. James recorded “The Dockyard men love him… and turned out in thousands to cheer. Wherever he was, frowns gave way to smiles.” (James, The Portsmouth Letters, p.30, quoted in Gilbert, Vol. VI, p.157)


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    $25.00

    FROM RUSSIA WITH LOVE -- FILM STILLS

    1963. Original b/w photographs. Very good. Two 8 X 10" promo film stills. (1) Lesbian innuendo as Lenya, in Russian KGB uniform, places her hand on Daniela Bianchi's shoulder. (2) Daniela Bianchi in sleeveless dress, with handgun pointed at camera. From the 1963 James Bond movie FROM RUSSIA WITH LOVE.


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    $1,155.00

    A sailor's Second World War photo album including eight original, unpublished photographs of Prime Minister Winston S. Churchill in Iceland during his return from meeting with President Roosevelt in Placentia Bay and just days after their announcement of the Atlantic Charter

    Iceland, 1941. Stiff wraps. This Second World War Royal Navy Sailor’s album contains eight previously unseen, unpublished photos of Winston Churchill’s visit to Iceland on 16 August 1941, just two days after the historic Atlantic Charter was issued. The 6.25 x 9.5 inch (15.7 x 23.8 cm) album contains thirty 2.25 x 3.375 inch (5.8 x 8.6 cm) contact prints on Velox paper. Of these thirty, eight feature Churchill, one is of Ensign Franklin D. Roosevelt Jr. and an unidentified officer, one is of the US and British troops lined along a road, and the remainder are various landscape shots of Iceland. There are an additional five images including a portrait of a Royal Navy Sailor and one real photo postcard of four men, three of whom are in military dress. The album is in very good condition. The textured paper covers are clean, the front features “Photographs” in bright gilt script, the rear cover is embossed “MADE IN ENGLAND”, and the album is bound with tasseled brown yarn. “Scenes of Reykjavik | William Smale” is written in pen on the inside of the front cover. All photographs are in very good condition with minor silvering present on some. All photos are removable, held in place with album corners. The snapshot quality, likeness in film stock across all photos in this album, both of Churchill and not, and the fact that these were printed on Velox paper, advertised as “the only photographic paper made exclusively for amateur negatives”, lead us to a reasonable certainty that these images are amateur snapshots and never published. We note that the pamphlet of photographs published to commemorate the Prime Minister’s visit includes many similar images, only at slightly different angles. In August 1941, Winston Churchill braved the Battle of the Atlantic to voyage by warship to Placentia Bay, Newfoundland, where he secretly met with President Franklin D. Roosevelt from the 9th to the 12th. Their agenda included setting constructive goals for the post-war world, even as the struggle against Nazi Germany and Imperial Japan was still very much undecided and the U.S. had yet to formally enter the war. The eight principles to which they agreed became known as the Atlantic Charter. “That it had little legal validity did not detract from its value… Coming from the two great democratic leaders of the day… the Atlantic Charter created a profound impression on the embattled Allies. It came as a message of hope to the occupied countries, and it held out the promise of a world organization based on the enduring verities of international morality.” (United Nations) During his return to England, Churchill stopped in Iceland on 16 August. Accompanied by Ensign Franklin D. Roosevelt Jr., Churchill led an inspection of the troops in Reykjavik. This was the first joint parade of British and U.S. forces during the war. A soldier recollected: “The Prime Minister appeared, stumping stolidly forward… There was a flurry as he suddenly barked ‘Bring me a soapbox’… He spoke to us for nearly a quarter of an hour… He would not deny that this was one of the bleakest times in Britain’s history, but he was confident that that we would survive, and with right on our side and help from allies – a glance to the ensign [FDR Jr.] here – we should win through to a great and glorious victory.” (Gilbert, VI, pp.1169-1170) Even after Newfoundland, to Churchill’s frustration, America had still “made no commitments and was no nearer to war than before the ship board meeting.” (Gilbert, VI, p.1176) In his live broadcast from Chequers on August 24, Churchill rather modestly introduced the Atlantic Charter thus: “…a simple, rough-and-ready war-time statement of the goal towards which the British Commonwealth and the United States mean to make their way…” Not until December 1941, after the Japanese attack on Pearl Harbor, did America formally enter the war, ending Britain’s two year solitary stance against Hitler’s Germany.


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    $18.99

    Birds of North America by RAUZON, Mark

    London: Bison Books, 1987. This wonderful book is filled with spectacular photographs of birds in their natural surroundings, from the arctic to the tropics. 96 slick pages capturing songbirds, shorebirds and wader, birds of prey, waterbirds, gamebirds and seabirds. The dust jacket has some chipping at spine ends, but is now Brodart protected.. First Edition. Cloth. Fine/Very Good. Illus. by Color Photographs. Folio - 12" Tall.


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    $325.00

    Love Story (Original photograph from the 1970 film) by Hiller, Arthur (director); Erich Segal (screenwriter, novel); Ali MacGraw, Ryan O'Neal, John Marley, Ray Milland (starring)

    Los Angeles: Paramount Pictures, 1970. Vintage borderless still photograph of Ali MacGraw, Ryan O'Neal, and Arthur Hiller on the set of the 1970 film. With typed identifying description, holograph notations regarding layout, and press agency stamps on the verso. Based on screenwriter Erich Segal's novel of the same name. Oliver Barrett IV (Ryan O'Neal), a wealthy Harvard Law student and Jennifer Cavilleri (Ali MacGraw), a working class music student fall in love despite their class differences. As their love grows into a serious relationship, and eventually marriage, they face the disapproval of the Oliver's father despite Jenny's attempts to find common ground. Winner of the 1971 Academy Award for Best Original Score, and nominated for six others. Shot on location in California, New York, China, Massachusetts, and England. 9.5 x 7.5 inches (24 x 19 cm). Near Fine.


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    $850.00

    Investigation of a Citizen Above Suspicion [Indagine su un cittadino al di sopra di ogni sospetto] (Original photograph from the 1970 film) by Petri, Elio (director); Ennio Morricone (composer); Gian Maria Volonté (starring)

    Italy: Vera Films, 1970. Vintage borderless photograph from the 1970 Italian film. With the stamp of photograph Mario Tursi on the verso. An iconic photograph from an iconic film, a study in corruption in which a police inspector investigates a crime that he himself has committed. Winner of the 1971 Academy Award for Best Foreign Film and the Cannes Grand Prix. 7 x 9 inches (18 x 24 cm). In an archival mat. Near Fine. Criterion Collection 682. Grant US. Spicer US.


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    £10.00

    Down Your Street, Cambridge Past & Present: Volume I Central Cambridge by Sara Payne

    The Pevensey Press, Cambridge, 1983. First Edition. Paperback. Very Good/N/A. Illustrator: Photo's. b/w. map frontis; "Side by side, the M.A. and the mechanic, men in broad cloth and boys in fustian." John Pink was describing users of the Cambridge Free Library (in "The Cambridge Public Free Library, Its Rise and Progress", Cambridge, 1882), but his words are still relevant and apply to the people we meet in the pages of this book. In the streets of Cambridge people mingle - those who make the city, those who have been made by the University, long-term resident and transient undergraduate. Unlike many historians of Cambridge, Sara Payne studies the whole community, giving equal attention to town and gown. She takes us inside the colleges, offices and shops that dominate the streets of the city centre to meet the individuals behind counter or desk; and she goes into the homes of citizens to learn their stories and memories, which have been recorded in no other book - an impressive claim, for new and antiquarian bookshops contain dozens of shelves of studies of Cambridge, thousands of pages of learned and detailed texts. Sara Payne has had access to virtually all of them, and to more besides, thanks to the enthusiasm of John Pink and his Library Committee, who set out in 1855 to collect "every scrap" relating to the town and county, and whose work has been continued ever since in the Cambridgeshire Collection of the Central Library. In 1921 Arthur Beales Gray published his marvellous book "Cambridge Revisited", which has much in common with the present work. They both started as a series of articles in local newspapers, they both contain information that is not readily accessible or has never been published before, and they both contain historical and contemporary notes on Cambridge streets. Much of what Gray saw in 1921 still survives, and it is fascinating to follow the same routes with Sara Payne and note the changes. A neat & clean copy; including list of contents, foreword, preface, & bibliography. Size: 4to - over 9¾" - 12" tall. 176 pages. Black titles spine. slight bumping to outer corners. illustrated by b/w. photo's.. Illustrator: Photo's. Quantity Available: 1. Shipped Weight: Under 1 kilogram. Category: History; East Anglia; Topography Great Britain; Photographs; England; Genealogy & Local History. ISBN: 0907115160. ISBN/EAN: 9780907115168. Pictures of this item not already displayed here available upon request. Inventory No: 2805. . 9780907115168


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    $3,750.00

    Archive of 59 original photographs taken at American rock shows, circa 1969 by Wargo, Richard (photographer); Led Zeppelin, The Who, Ted Nugent, James Gang, Jethro Tull, et al (subjects)

    N.p.: N.p., 1969. Archive of 59 original color photographs taken by Cleveland teenager Richard Wargo at various concerts, primarily in the Cleveland area, but with three sets of photographs venturing to Houston and Austin, TX and Atlantic City, NJ, all circa 1969. Subjects include Led Zeppelin, The Who, Jethro Tull, James Gang, and others. Eight of the photographs are signed, one by Amboy Dukes era Ted Nugent, two by various members of Savoy Brown, and the rest by Cleveland area garage rockers The Choir. The majority of the photographs contained holograph notations on the verso with identifying information. A personal, candid collection taken mostly at small clubs, where the audience was close to the stage, and featuring a mix of local acts, some of whom went on to major label status, such as The Choir, The Raspberries, and James Gang, bands that would come to dominate the next decade, including Led Zeppelin, Jethro Tull, and The Who, as well as early, rawer incarnations of 1970s icons Ted Nugent, Joe Walsh, and "Lonesome" Dave Peverett of Foghat. A unique and intimate look depicting rock and roll at the end of its first full decade, as it was lived by its primary acolyte, the American teenager, up close and immediate. 4.25 x 3.5 inches. Photographs mostly Very Good, a few Good only, with bruises or other blemishes affecting the image, though the primary subject of the photograph is visible in most. For details please inquire.


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    $30.00

    AMATEUR POLAROID - BUSTY BLONDE ORAL SEX

    np: NP, nd. 3 color polaroid photos, 3.5 x 4.25 in. Very good.. Her: cascading locks of blonde hair, big brown eyes, full lips, and large natural-looking breasts; portrait, deep throat, and orgasm. Him: torso only, dripping ejaculate.


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    $125.00

    Where's Poppa (Collection of five pieces of advertising material for the 1979 television movie) by Benjamin, Richard (director); Robert Klane, Patricia Rickey (screenwriters); Elsa Lanchester, George Segal (starring)

    Burbank, CA: American Broadcasting Company [ABC], 1979. Collection of three vintage studio still photographs and two advertising mockups from the 1979 film. Both the photographs and the advertising mockups have been hand-retouched, adhered to a backing board, and prepared for use in advertising. A stark black comedy in which a man who is caretaker for his mentally disabled mother becomes increasingly frustrated with his inability to have a love life due to her interference. The first of Carl Reiner's later directorial efforts intended to push the envelope, the film includes a naked male bottom (heavily represented in the advertising materials), an ending that hints on the incestuous, and graphic descriptions of a US general's genocidal acts against the Vietnamese. Set in New York. Photos 8 x 10 inches (20.5 x 25.5 cm) on mat board sized variously between 10 x 12 inches and 10 x 15 inches. Good to Near Fine condition, with one photo loose from its backing. Complete collation details available on request.


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    €17.00

    Les cent photos du siècle by Robin Marie-Monique

    France loisirs, 1999. in4 Cartonné jaquette paperback. Très Bon Etat. jaquette etat d'usage car petite dechirure.


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    $350.00

    Berlin Alexanderplatz (Original photograph from the set of the 1980 television mini-series) by Fassbinder, Rainer Werner (director, screenwriter); Alfred Doblin (novel); Gunter Lamprecht, Hanna Schygulla, Claus Holm (starring)

    Grunwald, Germany: Bavaria Film, 1980. Vintage photograph showing director Rainer Werner Fassbinder on the set of 1980 German television mini-series. With the stamps of German magazine "Der Spiegel" and photo agency Presse-Seeger, as well as holograph notations, on the verso. Based on the 1929 novel by Alfred Doblin, previously filmed in 1931, directed by Phil Jutzi. Despite taking place over 14 parts, with a runtime of 15 and a half hours, the film received a theatrical release in the US in 1983, with theatres showing two or three parts per night, and the series gained a cult following, leading to PBS broadcasts and a VHS release. 8.5 x 6 inches (22 x 15 cm). Near Fine. Criterion Collection 411.


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    $25.00

    Photograph of work by Käthe Kollwitz. by Pasquale Iannetti Art Galleries, Inc.; Käthe Kollwitz

    San Francisco, CA: Pasquale Iannetti Art Galleries, [1986?]. Photograph 12.5 x 17.5 cm., VG with minor shelf wear. Pasquale Iannetti Art Galleries photo documentation.


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    $30.00

    Thunder Bay (Original photograph from the 1953 film) by Mann, Anthony (director); Gil Doud, John Michael Hayes (screenwriters); James Stewart, Joanne Dru, Gilbert Roland, Dan Duryea (starring)

    Universal City, CA: Universal Pictures, 1954. Vintage black-and-white press photograph from the 1954 French release of the 1953 film. "Service de Presse" rubber stamp on the verso. Steve (Stewart) is an ex-GI who, with help from his army buddy Gambi (Duryea), head south to begin their careers in oil drilling. Trouble greets them before their first drill, when local shrimp fishermen boycott their presence. Things get worse when Steve falls in love with Stella (Dru), the daughter of a combative fisherman. Set in the Deep South, shot on location in Louisiana. 8 x 10 inches (20 x 25 cm). Very Good plus, with holograph notations on the verso, and evidence of a mimeo snipe removal. Complete collation details available on request.


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