Arthur Rothstein Arthur Rothstein, FSA (Farm Security Administration

Total Page:16

File Type:pdf, Size:1020Kb

Arthur Rothstein Arthur Rothstein, FSA (Farm Security Administration ARTHUR ROTHSTEIN Arthur Rothstein Note: Fiche title: “Entrance to the Jones & Laughlin Steel Plant.” Arthur Rothstein, FSA (Farm Security Administration) General view of Aliquippa, Pennsylvania, July 1938. Photographer, July . No photographer indicated. LC website: fsa 8b17097 : LC-USF34-026537-D; fsa 8b17107 :LC- LC website: fsa 8a09935 : LC-USF33-002825-M2. USF34-026546-D. Fiche no. 43. Photographer Arthur Rothstein on L Street in Washington, D.C., Microfilm: Lot 1337, Reel 80. January 1938. Photograph taken by Russell Lee. NYPL FSA Collection: Box 1, 1938, Folder 2 of 8. LC website: fsa 8a22586 : LC-USF33-011408-M1; fsa 8a22587 :LC- Note: No caption list titles on fiche copies. Titles taken from LC USF33-011408-M2; fsa 8a22588 : LC-USF33-011408-M3. website, NYPL, and caption list. Aliquippa A Greek steel worker in a coffee shop, Aliquippa, July 1938. Change of shift at the steel plant, Aliquippa, July 1938. LC website: Titled: fsa 8a09914 : LC-USF33-002821-M1;fsa LC website: fsa 8b36379 : LC-USF34-026496-D; fsa 8b36380 :LC- 8a099123 : LC-USF33-002822-M5. Untitled: fsa 8a09915 :LC- USF34-026497-D; fsa 8b36381 : LC-USF34-026498-D; fsa USF33-002821-M2. 8b36382 : LC-USF34-026499-D; fsa 8b36383 : LC-USF34- Fiche no. 400:LC-2821-M1. 026500-D; fsa 8b36384 : LC-USF34-026501-D. Fiche no. 419:LC-2822-M5. Fiche no. 333. Microfilm: Lot 1337, Reel 80. Microfilm: Lot 1337, Reel 80, except for 026498-D, which indi- Note: LC website also indicates that 2822-M5 also on Lot 1334,Lot cates Lot 1338, Reel 80, which are Delano/Vachon photographs 80, but this is not the case. No caption list information avail- and not Rothstein’s. However, this is a Rothstein photograph. able for 2821-M2; not seen on fiche or microfilm. NYPL FSA Collection: 26500-D; 26501-D: 1938,Box 1, Folder 2 of 8; 26499-D: 1938,Box 1, Folder 4 of 8; 26498-D: Undated, Box A group of steel workers, Aliquippa, July 1938. 3, Folder 8 of 11. LC website: fsa 8a09957 : LC-USF33-002829-M5. Note: Fiche title: “Change of shift at the Jones and Laughlin Steel Fiche no. 64. Plant.” Some captions misspell “Laughlin” as “Langhlin.” Microfilm: Lot 1337, Reel 80. Children playing on the street, Aliquippa, July 1938. A group of steel workers discussing politics, Aliquippa, July 1938. LC website: Titled: fsa 8a09937 : LC-USF33-002825-M5. Untitled: LC website: Titled: fsa 8a09927 : LC-USF33-002823-M4. Untitled: fsa 8a09919 : LC-USF33-002822-M1. fsa 8a09925 : LC-USF33-002823-M2; fsa 8a09926 : LC-USF33- Fiche no. 64: titled photograph. 002823-M3; fsa 8a09928 : LC-USF33-002823-M5. Microfilm: Lot 1337, Reel 80: titled photograph. Fiche no. 85: titled photograph. NYPL FSA Collection: 2825-M5:Box 1, 1938, Folder 2 of 8. Microfilm: Lot 1337, Reel 80: titled photograph. Note: No caption list information available for 2822-M1; not seen Note: No caption list information for untitled photographs; not on fiche or microfilm. seen on fiche or microfilm. Clifford Shorts John Koltias See Shorts Family series See Koltias Family series Entrance to the steel plant, Aliquippa, July 1938. Jones and Laughlin Steel Plant LC website: fsa 36378: LC-USF34-026495-D. See Steel plant on the Ohio River Fiche no. 375. Microfilm: Lot 1337, Reel 80. NYPL FSA: Undated, Box 3, Folder 8 of 11. times of sorrow and hope on-line catalog • 213 ARTHUR ROTHSTEIN (cont.) Koltias Family series Fiche no. 163. John Koltias and family, Aliquippa, July 1938. Microfilm: Lot 1337, Reel 80. LC website: Titled: fsa 8b17137 : LC-USF34-026579-D. Untitled: fsa 8b17136 : LC-USF34-026578-D. Main Street, Aliquippa, July 1938. Fiche no. 92: titled photograph. LC website: fsa 8b17082 : LC-USF34-026552-D. Microfilm: Lot 1337, Reel 80: titled photograph. Fiche no. 29. NYPL FSA Collection: Box 1, 1938, Folder 2 of 8: titled photo- Microfilm: Lot 1337, Reel 80. graph. Note: Caption list indicates 26578-D “killed”; not seen on fiche or Mrs. Koltias microfilm. See Koltias Family series John Koltias leaving for work, Aliquippa, July 1938. Mrs. Shorts LC website: fsa 8b17139 : LC-USF34-026581-D. See Shorts Family series Fiche no. 61. Microfilm: Lot 1337, Reel 80. One of John Koltias’ sons, also a steel worker, washing NYPL FSA Collection: Undated, Box 3, Folder 8 of 11. before breakfast Note: NYPL title: “Steel worker leaving for work.” See Koltias Family series John Koltias on the steps of his home, Aliquippa, July 1938. A Polish steel worker, Aliquippa, July 1938. LC website: fsa 8b17135 : LC-USF34-026577-D. LC website: fsa 8a09936 : LC-USF33-002825-M4. Fiche no. 141. Fiche no. 72. Microfilm: Lot 1337, Reel 80. Microfilm: Lot 1337, Reel 80. NYPL FSA Collection: Undated, Box 3, Folder 8 of 11. Roy Stryker Collection: 78.09.1252. Note: NYPL title: “Steel worker on steps of his home.” Note: LC website also indicates a possible related photograph: [Untitled] LC-USF33-002825-M3-B; no digital image available. John Koltias, steel worker, Aliquippa, July 1938. This photograph may be related to M4, but it is difficult to LC website: fsa 8b17140 : LC-USF34-026582-D. determine. Caption list has no listing for 2825-M3 but has for Fiche no. 72. other numbers in this sequence. Microfilm: Lot 1337, Reel 80. Proprietor of a Greek coffee shop, Aliquippa, July 1938. Mrs. Koltias in the early morning, Aliquippa, July 1938. LC website: fsa 8a09924 : LC-USF33-002823-M1. LC website: fsa 8b17141 : LC-USF34-026583-D. Fiche no. 74. Fiche no. 163. Microfilm: Lot 1337, Reel 80. Microfilm: Lot 1337, Reel 80. NYPL FSA Collection: 1938,Box 1, Folder 4 of 8. Note: This is the same proprietor as in “Steelworkers talking to Mrs. Koltias ironing clothes, Aliquippa, July 1938. the proprietor of a coffee shop....”See also that entry. LC website: fsa 8b17138 : LC-USF34-026580-D. Fiche no. 171. Microfilm: Lot 1337, Reel 80. Shorts Family series NYPL FSA Collection: Undated, Box 3, Folder 8 of 11. Clifford Shorts, a roller at the steel plant, Aliquippa, July 1938. LC website: fsa 8b17153 : LC-USF34-026595-D. One of John Koltias’ sons, also a steel worker, washing before break- Fiche no. 419. fast, Aliquippa, July 1938. Microfilm: Lot 1337, Reel 80. LC website: fsa 8b17142 : LC-USF34-026584-D. NYPL FSA Collection: Box 1, 1938, Folder 2 of 8. times of sorrow and hope on-line catalog • 214 ARTHUR ROTHSTEIN (cont.) Note: NYPL title: “Roller at the Steel Mill.” LC website: fsa 8b17147 : LC-USF34-034-026589-D. Fiche no. 166. Clifford Shorts and his family, Aliquippa, July 1938. Microfilm: Lot 1337, Reel 80. LC website: fsa 8b17157 : LC-USF34-026599-D. Fiche no. 93. Mrs. Shorts washing the dishes, Aliquippa, July 1938. Microfilm: Lot 1337, Reel 80; Lot 2303, Reel 105. LC website: fsa 8b17158 : LC-USF34-026600-D. NYPL FSA Collection: 1938,Box 1, Folder 2 of 8. Fiche no. 170. Note: NYPL title: “Clifford Shorts, steel worker, and his family.” Microfilm: Lot 1337, Reel 80. NYPL FSA Collection: 1938,Box 1, Folder 2 of 8. Clifford Shorts and his family reading about homes for workers, Note: NYPL title: “Steel worker’s wife washing the dishes.” Aliquippa, July 1938. LC website: fsa 8b17149 : LC-USF34-026591-D. The Shorts’ children playing on the steps of their home, Fiche no. 155. Aliquippa, July 1938. Microfilm: Lot 1337, Reel 80. LC website: fsa 8b17156 : LC-USF34-026598-D. Fiche no. 173. Clifford Shorts’ children playing, Aliquippa, July 1938. Microfilm: Lot 1337, Reel 80. LC website: fsa 8b17155 : LC-USF34-026597-D. Fiche no. 136. The Shorts family at dinner, Aliquippa, July 1938. Microfilm: Lot 1337, Reel 80. LC website: fsa 8b17143 : LC-USF34-026585-D; fsa 8b17144 :LC- USF34-34-026586-D; fsa 8a17145 : LC-USF34-34-026587-D; fsa Clifford Shorts comes home from work, Aliquippa, July 1938. 8b17159 : LC-USF34-026601-D. LC website: fsa 8b17151 : LC-USF34-026593-D. Fiche no. 169. Fiche no. 92. Microfilm: Lot 1337, Reel 80. Microfilm: Lot 1337, Reel 80. NYPL FSA Collection: 1938,Box 1, Folder 2 of 8: 26585-D; 26586- NYPL FSA Collection: Box 1, 1938, Folder 2 of 8 (2 copies). D; 26587-D. Note: Fiche title: “Clifford Shorts coming home from work.” The Shorts family in their living room, Aliquippa, July 1938. Clifford Shorts leaving for work, Aliquippa, July 1938. LC website: fsa 8b17146 : LC-USF34-026588-D. LC website: fsa 8b17150 : LC-USF34-026592-D. Fiche no. 154. Fiche no. 92. Microfilm: Lot 1337, Reel 80. Microfilm: Lot 1337, Reel 80. NYPL FSA Collection: 1938,Box 1, Folder 2 of 8. NYPL FSA Collection: Box 1, 1938, Folder 2 of 8 (2 copies). Note: NYPL has title “The Shorts Family at dinner.” NYPL has another copy with the “Shorts Family in their living room” Clifford Shorts reading the evening paper, Aliquippa, July 1938. title. NYPL has three copies. LC website: fsa 8b17152 : LC-USF34-026594-D. Fiche no. 155. The Shorts family on their front porch, Aliquippa, July 1938. LC website: fsa 8b17154 : LC-USF34-026596-D. Clifford Shorts reading the funnies to his daughter, Aliquippa, Fiche no. 92. July 1938. Microfilm: Lot 1337, Reel 80. LC website: fsa 8b17148 : LC-USF34-026590-D. NYPL FSA Collection: 1938,Box 1, Folder 2 of 8. Fiche no. 96. Microfilm: Lot 1337, Reel 80. Steel plant on the Ohio River, Aliquippa, July 1938. LC website: fsa 8b17059 : LC-USF34-026485-D; fsa 8b17059 :LC- Mrs. Shorts cooking dinner, Aliquippa, July 1938. USF346-026485-D; fsa 8a17060 : LC-USF34-026486-D; cph 3c19059 : LC-USF34-026488-D. times of sorrow and hope on-line catalog • 215 ARTHUR ROTHSTEIN (cont.) Fiche no.
Recommended publications
  • Children at the Mutoscope Dan Streible
    Document généré le 27 sept. 2021 17:28 Cinémas Revue d'études cinématographiques Journal of Film Studies Children at the Mutoscope Dan Streible Dispositif(s) du cinéma (des premiers temps) Résumé de l'article Volume 14, numéro 1, automne 2003 À la fin des années 1890, les mutoscopes étaient associés aux productions dites pour adultes. Pourtant, ces appareils étaient souvent accessibles aux enfants. URI : https://id.erudit.org/iderudit/008959ar Deux sources de documentation, la campagne du groupe de presse Hearst, en DOI : https://doi.org/10.7202/008959ar 1899, contre « les images des galeries de l’enfer », ainsi que les photographies de la Farm Security Administration, remontant aux années 1930, permettent Aller au sommaire du numéro d’établir la longévité de la fréquentation des mutoscopes par la jeunesse américaine. La panique morale qu’instillait la rhétorique des journaux de Hearst fut de courte durée et servit surtout les intérêts du groupe de presse. Elle demeure cependant fort instructive pour qui s’intéresse à la manière dont Éditeur(s) les discours sur les nouveaux médias diffusent une même angoisse au cours de Cinémas tout le vingtième siècle. Au contraire, les photographies du FSA révèlent pour leur part que les indécences du mutoscope n’étaient ressenties comme telles que de façon marginale dans les années 1930. ISSN 1181-6945 (imprimé) 1705-6500 (numérique) Découvrir la revue Citer cet article Streible, D. (2003). Children at the Mutoscope. Cinémas, 14(1), 91–116. https://doi.org/10.7202/008959ar Tous droits réservés © Cinémas, 2003 Ce document est protégé par la loi sur le droit d’auteur.
    [Show full text]
  • Oral History Interview with Bernarda Bryson Shahn, 1995 July 3
    Oral history interview with Bernarda Bryson Shahn, 1995 July 3 Funding for the digital preservation of this interview was provided by a grant from the Save America's Treasures Program of the National Park Service. Contact Information Reference Department Archives of American Art Smithsonian Institution Washington. D.C. 20560 www.aaa.si.edu/askus Transcript Preface The following oral history transcript is the result of a tape-recorded interview with Bernarda Bryson Shahn on July 3, 1995. The interview was conducted by Pam Meechum for the Archives of American Art, Smithsonian Institution. Interview BERNARDA BRYSON SHAHN: You'll have to repeat that, I think. PAM MEECHUM: Right. I wondered if you could first of all recount your travels across America in the thirties, when you traveled with your husband, Ben Shahn. And recount your impressions of America outside New York, because of course we all know pretty much New York, that's all documented, but less so, life outside. BERNARDA BRYSON SHAHN: It is indeed. The reason why I traveled with Ben was that he could not drive and he asked me to go, that I would drive for him. And of course I said, "Yes, I would." Actually I think I'll start a little earlier. I had left the Artists Union in a big degree of indignation and despair, gone to Woodstock, where I was working with ______ Brown who was in those days the leading lithographer in this country and I'd been watching him at work and that sort of thing and I got a call from Washington, and it was Ben, who said that, he asked me whether I would like to set up a lithographic shop in the Special Skills Section of the Agriculture Department and the Resettlement Administration, and of course I did want to.
    [Show full text]
  • The Bitter Years: 1935-1941 Rural America As Seen by the Photographers of the Farm Security Administration
    The bitter years: 1935-1941 Rural America as seen by the photographers of the Farm Security Administration. Edited by Edward Steichen Author United States. Farm Security Administration Date 1962 Publisher The Museum of Modern Art: Distributed by Doubleday, Garden City, N.Y. Exhibition URL www.moma.org/calendar/exhibitions/3433 The Museum of Modern Art's exhibition history—from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art THE BITTER YEARS 1.935-1 94 1 Rural America as seen by the photographers of the Farm Security Administration Edited by Edward Steichen The Museum of Modern Art New York The Bitter Years: 1935-1941 Rural America as seen by the photographers of the Farm Security Administration Edited by Edward Steichen The Museum of Modern Art, New Y ork Distributed by Doubleday and Co., Inc., Garden City, N.5 . To salute one of the proudest achievements in the history of photography, this book and the exhibition on which it is based are dedicated by Edward Steichen to ROY E. STRYKER who organized and directed the Photographic Unit of the Farm Security Administration and to his photo graphers : Paul Carter, John Collier, Jr., Jack Delano, Walker Evans, Theo Jung, Dorothea Lange, Russell Lee, Carl Mydans, Arthur Rothstein, Ben Shahn, John Vachon, and Marion Post Wolcott. © 1962, The Museumof Modern Art, JVew York Library of CongressCatalogue Card JVumber:62-22096 Printed in the United States of America I believe it is good at this time to be reminded of It was clear to those of us who had responsibility for those "Bitter Years" and to bring them into the con the relief of distress among farmers during the Great sciousness of a new generation which has problems of Depression and during the following years of drought, its own, but is largely unaware of the endurance and that we were passing through an experience of fortitude that made the emergence from the Great American life that was unique.
    [Show full text]
  • The Jersey Homesteads Mural: Ben Shahn, Bernarda Bryson, and History Painting in the 1930S”Published in Redefining History Painting, Cambridge University Press, 1995
    RESEARCH ESSAY “The Jersey Homesteads Mural: Ben Shahn, Bernarda Bryson, and History Painting in the 1930s”published in Redefining History Painting, Cambridge University Press, 1995. ©Susan Noyes Platt Jersey Homestead Mural, (detail), photograph by Susan Platt In a mural for the community of Jersey Homesteads, (now Roosevelt), New Jersey, Ben Shahn, with the assistance of Bernarda Bryson,1 redefined contemporary history painting by combining the difficult medium of true fresco with unusual historical themes, and a spatial order that dramatizes the psychological aspect of the scenes. Painted during 1937-1938 in a medium which demands rapid work in large simple forms, the mural nonetheless includes three detailed and interrelated historical episodes with many subordinate scenes and references. The primary themes are Jewish immigration, Union organizing, and the planning of a cooperative community in the early New Deal Resettlement Administration. Spatially, the mural combines the traditional linear perspective of the Renaissance, the shallow space of some photographic portraits, the three dimensionality of theatrical sets, and the arrested action of film frames. These various devices serve to underline the contrasts between the dynamic and the static experiences depicted. 2 In narrating history, the mural departs from the tradition of the unified tableau, based in the theory of Diderot, which focuses on a single moment in which the action hangs in the balance, the peripateia. In the traditional tableau there is frequently a single identifiable heroic figure who with gesture and pose, implies the leadership of the moment in history depicted. This concept of history descends into still photography as the "decisive moment." Instead of the peripateia, the mural created in Jersey Homesteads, New Jersey presents groups of figures acting as part of an on-going process.
    [Show full text]
  • Nomination Form See Instructions in How to Complete National Register Forms Type All Entries—Complete Applicable Sections______1
    -UU 1 O NFS Form 10-900 (7-81) EXrr~ v o . United States Department of the Interior National Park Service National Register of Historic Places Inventory—Nomination Form See instructions in How to Complete National Register Forms Type all entries—complete applicable sections______________ 1. Name historic Jersey Homesteads and/or common Roosevelt thorough? 2. Location All that area within the corporate boundaries street & number of the Borough of- Roosevelt: See property map NA not for publication city, town Roosevelt vicinity of state county Monmouth code 3. Classification Category Ownership Status Present Use x district public x occupied X agriculture . museum building(s) private unoccupied _X _ commercial X park structure X both work in progress .X _ educational X private residence site Public Acquisition Accessible entertainment X religious object in process yes: restricted X government scientific being considered yes: unrestricted .X _ industrial transportation no military other: 4. Owner off Property name Multiple Ownership street & number N/A city, town N/A vicinity of state N/A 5. Location off Legal Description °ffice of the Clerk > County Hall of Records courthouse, registry of deeds, etc. West Main Street street & number Freehold New Jersey 07748 city, town state 6. Representation in Existing Surveys____ New Jersey Historic Sites Inventory; title Monmouth County Survey___________has this property been determined eligible? date 1982 _JL- federal state county local NJ Dept. Of Environmental Protection depository for survey records Office of New Jersey Heritage, CN 402 Trenton city, town state New Jersey 7. Description Condition Check one Check one excellent TJf]f deteriorated unaltered X original site A good ruins altered moved date fair unexposed Describe the present and original (iff known) physical appearance DESCRIPTION The Description is divided into four sections: I.
    [Show full text]
  • The FSA Photographs: Information, Or Propaganda?
    From the Writer My essay was inspired by discussions in my WR 150 section about an article by Michael Carlebach in which he argued, as I later would, that the FSA photographs were both propaganda and legitimate political communication. As we discussed Carlebach's thesis, two things struck me: first, that the question depended largely on what propaganda is to begin with, and second, that this was more something to decide (within reasonable bounds) than to discover. I consulted a couple of dictionaries and used the information therein to form a working definition that I thought conformed to the word’s everyday use and provided clear conditions for its satisfaction. Another question emerged from the fact that my definition contained words like “information” and “deceptive,” which are associated with saying things, whereas an image cannot literally say anything. I set out to determine how photographs communicate information, and under what conditions they can be considered propaganda. Then it remained to use historical evidence to show whether the FSA photographs met these conditions; this was the step that required the most actual research. By carefully analyzing the main points of my argument, I was able to ensure that I made a convincing case, and that my essay would have a coher- ent structure (since I simply had to address each issue in turn). Finally, I was enormously helped by the mandatory first draft, which forced me to think about, research, and begin writing my essay early, counteracting my strong tendencies toward laziness and procrastination and helping me produce a complete essay on time.
    [Show full text]
  • The History of Photography: the Research Library of the Mack Lee
    THE HISTORY OF PHOTOGRAPHY The Research Library of the Mack Lee Gallery 2,633 titles in circa 3,140 volumes Lee Gallery Photography Research Library Comprising over 3,100 volumes of monographs, exhibition catalogues and periodicals, the Lee Gallery Photography Research Library provides an overview of the history of photography, with a focus on the nineteenth century, in particular on the first three decades after the invention photography. Strengths of the Lee Library include American, British, and French photography and photographers. The publications on French 19th- century material (numbering well over 100), include many uncommon specialized catalogues from French regional museums and galleries, on the major photographers of the time, such as Eugène Atget, Daguerre, Gustave Le Gray, Charles Marville, Félix Nadar, Charles Nègre, and others. In addition, it is noteworthy that the library includes many small exhibition catalogues, which are often the only publication on specific photographers’ work, providing invaluable research material. The major developments and evolutions in the history of photography are covered, including numerous titles on the pioneers of photography and photographic processes such as daguerreotypes, calotypes, and the invention of negative-positive photography. The Lee Gallery Library has great depth in the Pictorialist Photography aesthetic movement, the Photo- Secession and the circle of Alfred Stieglitz, as evidenced by the numerous titles on American photography of the early 20th-century. This is supplemented by concentrations of books on the photography of the American Civil War and the exploration of the American West. Photojournalism is also well represented, from war documentary to Farm Security Administration and LIFE photography.
    [Show full text]
  • The Forgotten Man: the Rhetorical Construction of Class and Classlessness in Depression Era Media
    The Forgotten Man: The Rhetorical Construction of Class and Classlessness in Depression Era Media A dissertation presented to the faculty of the College of Arts of and Sciences of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Lee A. Gray November 2003 @ 2003 Lee A. Gray All Rights Reserved This dissertation entitled The Forgotten Man: The Rhetorical Construction of Class and Classlessness in Depression Era Media By Lee A. Gray has been approved for the Individual Interdisciplinary Program and The College of Arts and Sciences by Katherine Jellison Associate Professor, History Raymie E. McKerrow Professor, Communication Studies Leslie A. Flemming Dean, College of Arts and Sciences Gray, Lee A. Ph.D. November 2003. History/Individual Interdisciplinary Program The Forgotten Man: The Rhetorical Construction of Class and Classlessness in Depression Era Media (206 pp.) Co-Directors of Dissertation: Katherine Jellison and Raymie McKerrow The following study is an analysis of visual and narrative cultural discourses during the interwar years of 1920-1941. These years, specifically those of the 1930s, represent a significant transitional point in American history regarding cultural identity and social class formation. This study seeks to present one profile of how the use of media contributed to a mythic cultural identity of the United States as both classless and middle-class simultaneously. The analysis is interdisciplinary by design and purports to highlight interaction between visual and oral rhetorical strategies used to construct and support the complex myths of class as they formed during this period in American history. I begin my argument with Franklin D.
    [Show full text]
  • BTC Catalog 180.Pdf
    BETWEEN THE COVERS RARE BOOKS, INC. 112 Nicholson Rd (856) 456-8008 Gloucester City, NJ 08030 [email protected] www.betweenthecovers.com C ATALOG 180: New Arrivals Literature and Non-Fiction ................ Item 1 Film & Photoplays ................................. 420 Anthologies ............................................ 368 Music ..................................................... 436 Art, Architecture & Photography .......... 379 Mysteries & Detective Fiction ............... 456 Children’s Books ................................... 398 Science-Fiction, Fantasy & Horror........ 482 Terms of Sale Images are not to scale. Dimensions of all items, including artwork, are given width first. All books are returnable within ten days if returned in the same condition as sent. Books may be reserved by telephone, fax, or email. Institutions will be billed to meet their requirements. For private individuals, payment should accompany order if you are unknown to us. Customers known to us will be invoiced with payment due in 30 days. Payment schedule may be adjusted for larger purchases. We accept VISA, MASTERCARD, AMERICAN EXPRESS, DISCOVER, and PayPal. Gift certificates available. Domestic orders please include $7.00 postage for the first item, $2.00 for each item thereafter. Overseas orders will be sent airmail at cost (unless other arrangements are requested). N.J. residents please add 7% sales tax. All items are insured. All items subject to prior sale. Members ABAA, ILAB Cover by Tom Bloom. © 2012 Between the Covers Rare Books, Inc. Note: Color pictures of all available items in this catalog can be seen at www.betweenthecovers.com by searching under author or title. Literature and Non-Fiction 1 Æ [pen name of George William RUSSELL]. Voices of the Stones. London: The Macmillan Company 1925. First edition.
    [Show full text]
  • "Introducing America to Americans": FSA Photography and The
    “INTRODUCING AMERICA TO AMERICANS”: FSA PHOTOGRAPHY AND THE CONSTRUCTION OF RACIALIZED AND GENDERED CITIZENS Lisa Helene Kaplan A Dissertation Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY December 2015 Committee: Susana Peña, Advisor Danielle Kuhl Graduate Faculty Representative Andrew Hershberger Lynn Whitney © 2015 Lisa Helene Kaplan All Rights Reserved iii ABSTRACT Susana Peña, Advisor Historians and artists have examined the Farm Security Administration-Office of War Information (FSA-OWI) Photographic Collection as a broad and deep account of Depression era US experience, and as a valuable collection of early documentary photography. During the Depression, FSA photographs had everyday life implications for those experiencing rural poverty; the images were made and circulated in order to garner support for rural rehabilitation programs. Simultaneously, the images were circulated as visual representations of “Americans” and the rural US citizen. Problematically, the images were circulated within a modern framework of straight photography in connection to a discourse of objectivity. I consider the photographic project within the historical moment in which it was created with a specific focus on the influence of dominant constructions of race, motherhood, and poverty. The impetus for this research stems from a 1935 photograph by Dorothea Lange of a Mexican-American mother and child which is strikingly similar to her iconic 1936 “Migrant Mother.” In stark contrast to the icon, the image to which I refer as the “1935 Migrant Mother” was rendered invisible within the national imaginary. These two images serve as an entry point through which to consider the entire archive in terms of those images of rural mothers and motherhood that were popularly circulated and those images that were left unseen, unprinted, or unmade.
    [Show full text]
  • Bronx General Post Office Lobby, First Floor Interior
    Landmarks Preservation Commission December 17, 2013, Designation List 470 LP-2552 BRONX GENERAL POST OFFICE LOBBY, FIRST FLOOR INTERIOR, consisting of the lobby and the fixtures and components of this space, including but not limited to, the wall surfaces, murals, wainscoting, ceiling surfaces, floor surfaces, columns, plaque, metal gate and globe lighting fixtures, 560 Grand Concourse (aka 554-582 Grand Concourse), Bronx. Built: 1935-37; Architect: Thomas Harlan Ellett; Murals: 1938-39, Ben Shahn and Bernarda Bryson. Landmark Site: Borough of the Bronx, Tax Map Block 2443, Lot 400. On October 29, 2013, the Landmarks Preservation Commission held a public hearing on the proposed designation of the Bronx General Post Office Lobby, First Floor Interior and the proposed designation of the related Landmark Site (Public Hearing Item No. 2). The hearing had been duly advertised in accordance with the provisions of the law. Four people spoke in support of designation, including representatives of Congressman José E. Serrano and Bronx Borough President Ruben Diaz, Jr., as well as representatives of the Historic Districts Council and the New York Landmarks Conservancy. There were no speakers in opposition to the designation. The Commission also received thirteen letters and emails in support of designation. Summary The Bronx General Post Office Building and its notable interior lobby were planned and constructed between 1934-37. The architectural design was executed by Thomas Harlan Ellett. The space contains a series of 13 mural panels created by noted artists Ben Shahn and Bernarda Bryson. In the early 20th century—as the Bronx was becoming one of the fastest-growing urban areas in the country—it became apparent that the borough needed improved postal facilities.
    [Show full text]
  • The Great Depression Transforms Montana, 1929-1941
    Primary Source Set Project Title: The Great Depression Transforms Montana, 1929-1941 Title & Description Collection Media/File URL/Location Thumbnail Type Charles McKenzie’s sheep Courtesy LOC JPEG Image https://mhs.mt.gov/ ranch, Garfield County, LC-USF34- education/Textboo photo by John Vachon, 064965-D k/ARS/18-1.jpg 1942 Mrs. Ballinger, Flathead Courtesy LOC JPEG Image https://mhs.mt.gov/ Valley, photo by John LC-USF34- education/Textboo Vachon, 1942 065186-D k/ARS/18-2.jpg Cricket traps, Big Horn Courtesy JPEG Image https://mhs.mt.gov/ County, photo by Arthur LOC-LC- education/Textboo Rothstein, 1939 USF34- k/ARS/18-3.jpg 027411-D Salvation Army, Butte, MHS PA PAc JPEG Image https://mhs.mt.gov/ 1935, photo by L.H. Jorud 74-37 education/Textboo k/ARS/18-4.jpg Oregon or Bust, near Courtesy LOC JPEG Image https://mhs.mt.gov/ Missoula, photo by Arthur LC-USF34- education/Textboo Rothstein, 1936 005008-D k/ARS/18-5.jpg Percentage of Montanans on JPEG Image https://mhs.mt.gov/ relief by county, 1935, map education/Textboo by MHS with information k/ARS/18-6.jpg from Carol F. Kraenzel and Ruth B. McIntosh, The Relief in Montana: A Study of the Change in the Character of the Relief Population, bulletin no. 343 (Bozeman, 1937), p. 10. F.D.R. with Col. T.B. MHS PA JPEG Image https://mhs.mt.gov/ Larkin, District Engineer, education/Textboo and George H. Dern, k/ARS/18-7.jpg Secretary of War, Fort Peck Dam, 1934 WPA Bookmobile, Fairfield MHS PA Pac JPEG Image https://mhs.mt.gov/ 89-38 F5 education/Textboo k/ARS/18-8.jpg CCC camp Courtesy Dr.
    [Show full text]