Fifteen Issues of THE BIJUTSU KENKYU - The JOURNAL of ART STUDIES, 1939-1940.

The Bijutsu Kenkyu was, and still is, an important journal for the study of Japanese and Asian Art, and European and American art as it relates to Asian Art. The early issues are rather hard to find.

The issues in this lot are Numbers XCIV - CVIII (94 - 108). Fifteen issues. Published by The Institute of Art Research, Tokyo, Japan, 1939-1940.

Wrappers / Softcovers, 9x12 inches (22x30 cm), approximately 40 pages of text with in text b&w illustrations and 10 plates per issue (the number of text pages and plates does vary from issue to issue). Each issue came with a thin glassine overwrap, these have been removed from about half of the issues.

ILLUSTRATED with PLATES, including one tipped in color plate at the beginning of each issue.

Text in JAPANESE, but the rear wrapper of each issue gives a brief English description of the plates within.

These copies were presented "With the Compliments of PROFESSOR YUKIO YASHIRO", with his presentation card laid on top of the first issue. (Yukio Yashiro, b.1890 d.1975, was a Japanese academic, art historian, Botticelli scholar and Director of the Institute for Art Research in Tokyo. - Wikipedia.)

GOOD Condition: The glassine overwrap was removed from about half the issues, the glassine on the other issues has yellowed with age (it can easily be removed if desired); the spines have some wear and chipping; there is light dampstaining to the wrappers and on some of the inner pages of a few issues; overall the issues remain tight, bright, clean, clear and unmarked. Fifteen presentable copies. Great references.

A sampling of articles in the first few issues: Tthe Technique of Shitogwa (Finger-Drawing); Antonio Fontanesi and His Works in Japan; Panel Paintings of Kichijoten Shrine of Joruriji Temple; Five Hundred Arhats, by Ikeno Taiga; Study on Portraits of Goto Yujo and His Descendants; Study on the Biography of Uragami Gyokudo; Landscape of Four Seasons on Su Tung-P'o's Poems, by Shih-T'ao; Fragment of Wall-Painting of Fukiji Temple; Fragment of Wall-Painting of Fukiji Temple; Yashiro Yukio; Ise Monogatari Painted by Sotatsu.

About the Bijutsu Kenkyu Journal of Art Studies:

Published since 1932, the Bijutsu Kenkyu journal, edited by the Department of Art Research, has published monograms, research notes, explanations of plates, book reviews, exhibition reviews, and materials for art research, primarily pertaining to Japanese and East Asian classical art, but also European and American art that relates to modern and contemporary Japanese art. In its early years it was published monthly, but is now published three times a year.

INTERNATIONAL BUYERS PLEASE NOTE: This lot of 15 issues is heavy and will require substantial additional shipping charges. After placing your order you will be notified of the additional charges and be able to accept or reject them before your payment is processed. Or you can contact us ahead of time to find out the shipping charge to your country. Thanks.

En'o Gafu - SET of TWO JAPANESE ILLUSTRATED BOOKS. WOODBLOCK ILLUSTRATIONS by MARUYAMA OKYO. Edited by Yamaguchi Soken.

Published in JAPAN, (publisher unstated), 1837 (Tenpo 8), 3rd month. First Edition, First Printing. (Reprint was published in 1893 under the title: Okyo gafu.)

Two Volumes, 7.5x10.5 inches (18.5x26 cm), textured paper covers with paper title labels, stab-stitch binding, printed on double leaves, [33] pages and [39] pages. Both volumes are held together in a custom blue cloth folding case with bone side clasps.

Filled with double page hand colored woodblock prints by Maruyama Okyo.

CONDITION: The covers are rubbed, scraped, and soiled; the paper title labels have substantially chipped away; the top stitch of one volume has come loose but the volume remains bound with the remaining three lower stab stitches; despite the flaws the covers are still doing their job well. Internally, there is worming throughout. The volume picturing people has some on all the pages, most pages with an inch or less but some pages with worming at several places on the page. The volume picturing animals and landscapes has worming to the bottom margin of the latter pages but most of the volume's pages have little or no worming. The colors on the prints are slightly faded but overall the prints remain bright, clear and quite lovely. A complete, presentable set of these two volumes, in a solid, lightly sunned and rubbed folding slipcase.

VERY RARE 1837 FIRST PRINTING. WorldCat lists one copy and it is held at the Smithsonian Freer Museum of Asian Art. (I have collated this copy with the digitized copy of the Smithsonian.)

About Maruyama Okyo (from Wikipedia):

******Maruyama Okyo, b.1733 d.1795, born Maruyama Masataka, was a Japanese artist active in the late 18th century. He moved to Kyoto, during which he studied artworks from Chinese, Japanese and Western sources. A personal style of Western naturalism mixed with Eastern decorative design emerged, Okyo founded the Maruyama school of painting.

Success prompted Okyo to start a school in Kyoto, where he could teach his new style. He taught students to rely on nature to render images in a realistic picture of light, shadow, and forms. The school grew popular, and branches soon appeared in other locations, including Osaka. Much of the school's work is today preserved at Daijo-ji, a temple in Kasumi. Noteworthy pupils include Okyo's son, Maruyama Ozui, Nagasawa Rosetsu, and Matsumura Goshun.

Goshun joined Okyo's school in 1787. The two became fast friends, and Okyo refused to regard their relationship as that of a teacher and student. Goshun later went on to found the Shijo school.******

About Yamaguchi Soken (from Wikipedia):

******Yamaguchi Soken, also called Takejiro, b.1759 d.1818, was a Japanese painter of the Shijo school. He was called one of the "Ten Great Ones", he was taught by Maruyama Okyo.

He was the son of a kimono merchant. As a result, he came to specialize in pictures of women, and his skill at painting them became proverbial. He also created landscapes, pictures of birds and flowers and what, in Western art, would be known as genre scenes. Many of these represent the life and customs of Kyoto in a light and witty way.

He also produced illustrated books; including Yamato jimbutsu (Japanese Portrait Gallery, 1800) and Yamato jimbutsu gafu kohen (Human Figure Drawing, 1804), and one illustrated by his teacher Maruyama Okyo titled En'o Gafu, published posthumously in 1837, as well as other books and translations.

His works are held in museums throughout the world, including the Nezu Museum, the British Museum, the Metropolitan Museum of Art, the Brooklyn Museum, the Los Angeles County Museum of Art, the Museum of Fine Arts Boston, among many others.******

1860 HAND PAINTED ILLUMINATED FRONTISPIECE LEAF from a FAMILY BIBLE. This frontispiece leaf was hand painted and illuminated on a blank prelim page of an 1802 BIBLE owned by the HARDY FAMILY of Hampstead, England.

The leaf measures 5.5x 9". It has been disbound but is still sewn at spine together with the 1802 Bible's title page and a few pages of the Bible's Preface. The names, dates, and information on this gorgeous one-of-a-kind leaf are (some words painted legibly large, some almost hidden in the lovely painted ribbons and decorations): JOSEPH HARDY / Born May 16, 1788; MARY CLARKE SOUTHARD / Born May 29, 1790; JOHN FORBES HARDY / Born at Hampstead Oct 24th 1816. / Married June 12 1847 / ROSE (PARSLOP?) (At the bottom right in tiny letters hidden in a colored band) MARIANNE (HAYWARD?) / FECIT (i.e. painted / made by Marianne Hayward) (At the bottom left in tiny letters) 1860. Condition: There is some foxing and toning, but overall the illuminated leaf is gorgeous, and the gold stands out tangibly. The backside of the leaf and the facing title page of the bible are stained and darkened from where the paint bled through. JOHN FORBES HARDY is a relatively obscure ARTIST from HAMPSTEAD, ENGLAND, who was active as a painter from 1847 to 1874. One of his better known works is believed to be of a view of "Hampstead Heath". I do not know, and cannot seem to find out, who the illuminator / painter, Marianne Hayward, is - but someone must know because the work is so lovely. RARE and UNIQUE - an Illuminated Leaf related to HARDY, SOUTHARD and FORBES Families.

THE SERMON ON THE MOUNT. A lavishly produced ILLUMINATED edition.

ILLUMINATED by W. & G. AUDSLEY, Architects, Liverpool; ILLUSTRATED by CHARLES ROLT; CHROMOLITHOGRAPHED by W.R. TYMMS.

Published [LONDON: Day & Son, 1861].

Large format hardcovers, brown cloth covered thick boards, front cover ornately embossed and illustrated in multiple colors, gilt embossed titles on the spine, ornately blind embossed on the rear cover, 10.5x14 inches (27x36 cm); all page edges gilt; original yellow endpapers; 27 leaves bound within with an ILLUMINATED CHROMOLITHOGRAPH mounted on each.

The name Helena M. Tucker is embossed in gilt near the bottom of the front cover. This copy clearly was embossed by the binder specifically for her. Laid into the front is a quite ornate b&w hand drawing with the words: "Presented to Helena M. Tucker / Christmas 1874 / From (? A)". Wouldn't it be nice if that last "A" of the presenter's initials was an "Audsley". I have no idea but I would think not. The Presentation drawing is on "Reynolds Bristol Card", with an embossed logo stating such in the upper left corner of the leaf. Also laid in is a religious Birthday Blessing bookmark with a small embroidered piece attached to it that has the embroidered initials H.M.T (Helena M. Tucker).

GOOD MINUS condition: The covers are worn through at the corners and spine ends, the front cover colors are slightly faded, the rear cover is rubbed; overall these over 150 year old covers remain sturdy and attractive. The gilt on the page edges is scratched but bright. Internally, there is substantial foxing throughout, only a little of which is on a few of the chromolithograph plates, but it is quite noticeably spotting the front and back sides of the heavy stock paper leaves on which the lithos are mounted (I have not seen a copy of this book without foxing, if foxing is not mentioned make sure you ask); there is light offsetting on a leaf where a bookmark was laid in and it affects the upper left corner of the lithograph; there is shorelining / water staining to the bottom margin near the gutter not affecting the plates. The illuminated chromolithographs are complete and are brilliant, the colors are sharp and bright, the gilt is mirror reflective. They are gorgeous, and each is suitable for framing. (I actually like to see some foxing in the margins of a framed antiquarian leaf, it shows age and authenticity.)

A solid, complete copy with striking chromolithographs.

HANDWRITTEN LETTER by EDWARD MATTHEW WARD to FRANK GASKELL. Stationery is blind-stamped engraved "Glen Aray Lodge, Windsor". The letter is dated 3rd January 1878. (Ward died just 12 months later, 15 January 1879, a suicide.) Written on a single-fold piece of stationery, making 4 pages. The letter is on 2 pages, the front page and an inner page. The letter reads (as best I can make out): "My Dear Mr. Gaskell Many thanks for the Photo with which I was much pleased and by which I can imagine that the dress must have cut a very good figure in the room & I am glad that my suggestion was of any use to you in the matter. I very much envy you your Roman trip which must have been very enjoyable to you more [especially] in such excellent companionship of Mr. W. Wood who must be so au fait in all that belongs to the Eternal City, and the funeral of the gook King must have been very [impressive] and interesting and a thing to have seen. It is now nearly thirty eight years since I was in Rome, where I remained three years, but I have a most vivid recollection of it & all its glories, & still live in hopes of again seeing it before I die, though at present I see no probability of my being able to enjoy so great a pleasure in [the] future. It must have greatly altered since I was there & I have no doubt in the main for the better, especially in a sanitary point of view, though perhaps not altogether in [picturesqueness], but on one point I am sure it must have done so & that is in its government which when I was there was simply diabolical. I hope that we shall have the pleasure of seeing your father down here during his stay in London and immediately on receiving your letter yesterday I wrote a letter off to him at Wootton to be forwarded & I have no doubt that he will receive it tomorrow. I shall however send him a line to the Reform Club to make matters more sure, as I am most anxious for him to come down here and see the Windsor Tapestry Manufactory should he be able to spare the time. Mrs. Ward unites with me in kindest regards to Mrs. Gaskell & the rest of your family circle. & believe me, Yours ever Sincerely, E. M. Ward". CONDITION: The letter has a vertical and horizontal fold, perhaps from being folded to fit into a small envelope. The blank backside has paper remnants, as if the letter had been glued to a mount at some point and later removed. There is a small ink-stamped name on the black backside "K. J. Turner". The writing remains bright, clear and fully legible. Edward Matthew Ward RA (London 14 July 1816 - 15 January 1879) was an English Victorian narrative painter best known for his murals in the Palace of Westminster depicting episodes in British history from the English Civil War to the Glorious Revolution.

DIE BÜCHER-ORNAMENTIK DER RENAISSANCE : Eine Auswahl Stylvoller Titeleinfassungen, Initialen, Leisten, Vignetten und Druckerzeichen Hervorragender Italienischer, Deutscher umd Französischer Officinen aus der Zeit der Fruh renaissance. Nach der eigenen Sammlung Herausgegeben und Erlautert Von A. F. BUTSCH. (ORNAMENTATION of RENAISSANCE BOOKS: A Selection of Printed Ornaments including Stylish Titles, Initial Letters, Borders / Frames, Vignettes, and Excellent Printing

of Italian, German, and French origin from the time of the Early Renaissance. From the personal collection of, and edited and annotated by, A. F. BUTSCH.) Published by G. HIRTH, LEIPZIG, MDCCCLXXVIII (1878). This is Volume I, which stands on its own with its 100 plates. A second volume was published at a later date. Hardcovers, 1/4 leather and marbled paper covered boards, folio

10x14 inches (25x35 cm), 72 pages of text, including descriptions of the plates, and 100 PLATES each printed on its own leaf. The 100 Plates are lovely and a Great Reference to Early Renaissance Printing. Condition: The spine is lacking its leather covering (the spine card covering is still present), the spine folds are worn, the corners are lacking their leather covering, and the marbled paper covered boards are worn through at places along the edges; nonetheless the covers are sturdy and still doing their job; internally nice, the pages are just lightly used, still tight, bright, clean and unmarked. The 100 plates are all present and beautiful. INTERNATIONAL BUYERS PLEASE NOTE: This book is large and heavy and will require substantial additional shipping charges. After placing your order you will be notified of the additional charges and be able to accept or reject them before your payment is processed. Or you can contact us ahead of time to find out the shipping charge to your country. Thanks.

STUTTGARTER BÜHNENKUNST: INSZENIERUNGEN der Königlich Württembergischen Hofoper von Werken Mozarts und von Schillings' Mona Lisa, von EMIL GERHAUSER. (STUTTGART THEATER STAGE ART: the STAGING of Productions by the ROYAL WÜRTTEMBERG COURT OPERA HOUSE of Works by Mozart and of Schillings' Mona Lisa. By Emil Gerhauser.) Mit den künstlerischen Entwursen der Bühnenausstattung von BERNHARD PANKOK. (With the Artistic Designs by Bernhard Pankok.) Herausgegeben und Verlegt von (Edited and Published by) Wilhelm Meyer-Ilschen, Stuttgart, Germany, 1917. TEXT IN GERMAN. FIRST and LIMITED EDITION, this being copy number 99 of only 300 copies. An Elaborate and Finely Produced Book featuring the Production of 5 Operas by Mozart and 1 Opera, Mona Lisa, by Max von Schillings. Each was performed at the Hofoper in Stuttgart. VELLUM COVERS, GILT DESIGNS on the front cover and spine, gilt page edges, floral patterned endpapers, 9x12.25 inches (23x31 cm). Pagination: viii, 418 pages, plus unnumbered photogravures and lithographic plates. Beautifully ILLUSTRATED with 7 PHOTOGRAVURES and 52 PLATES (45 IN COLOR) of opera sets and costumes. Includes the frontispiece etching by Pankok. Each plate and photogravure is protected with a patterned tissue guard. There are also many in-text b&w drawings of set designs and staging directions. GOOD condition, the covers are bowing and lightly soiled, the upper spine corners are bumped causing 1 inch of splitting at the top front spine fold, there are some scratches to the gilt page edges; overall these vellum and gilt covers are quite attractive and impressive; internally there is some light foxing to the first and last few pages and just a bit here and there throughout, there is a previous owner's signature and the date of 1955 on a blank prelim, there is a small tape ghost on the front free endpaper, the tissue guards are toned, some with creases, but all are present, overall the pages are tight, bright, clean, clear and unmarked, and all the photogravures and plates are gorgeous. About EMIL GERHÄUSER (from Wikipedia): ******Emil Gerhäuser, b. 1868 d. 1917, was a German opera singer and director. Gerhäuser first began law studies at the University of Munich before receiving vocal training as a tenor. In 1890 he made his debut at the Munich Court Opera .In 1909 Gerhäuser moved to Stuttgart, where he became a director at the Hofoper / Court Opera.****** About BERNHARD PANKOK (from Wikipedia): ******Bernhard Pankok (Münster, b. 1872 d. 1943, was a modern German painter, graphic artist, architect, and THEATRICAL DESIGNER. His works are characterized by the transition between Art Nouveau and the International Style. His furniture and book design, such as the catalog of the German section for the 1900 Exposition Universelle in Paris, have garnered him international recognition. Pankok opened a studio in Munich in 1892 and worked as a freelance artist, graphic designer and illustrator for the magazines Pan and Jugend. He remained in Munich until 1902 and co-founded the Vereinigten Werkstätten für Kunst im Handwerk (United Workshops for Art in Handcraft). In 1902 he moved to Stüttgart, and in 1913 he helped found a local art school, the Stuttgarter Killesberg, and became the its first director. In 1914 he was considered one of the leading artists of the famous Werkbund Exhibition in Cologne. In 1930 he became a foreign member of the MUNICH SECESSION.(In 1933 the National Socialist party began their crusade to bring all forms of artistic expression under their control: a process known as Gleichschaltung . Artists were eventually required to obtain state endorsement for all of their works. Those who were considered degenerate were not allowed to paint, these included members of the Munich Secession. In 1938, the Munich Secession was dissolved as part of the Kulturellen Säuberung / Cultural Cleansing.)****** INTERNATIONAL BUYERS: This book is large and heavy and will require substantial additional shipping charges.

Glossy 8x10" photo of ALMA RUBENS. This is an original publicity / press photo of Alma Rubens, undated but circa 1920. Rubber-stamped on the backside is "ALMA RUBENS / Appearing in / William Fox Photoplays". Written in pencil on the backside, below the rubber-stamped info is: "Keep one or Both for Files". VERY GOOD condition, toning to the edges, some creasing to the corners, a small piece of tape with "Alma Rubens" typed on to it is attached to the bottom white margin.

The photo itself is soft-focus. Printed on the photo in white is "Autrey 10". About ALMA RUBENS (from Wikipedia and IMDB): ******Alma Rubens (1897 - 1931) was an American film actress. Alma Rubens was born Alma Genevieve Reubens in San Francisco, California. She was interested in entertaining at an early age. By the time she was 19 she had become a full-fledged star. Her break came in 1916 in the film Reggie Mixes In (1916). Six more films followed that year, and she won critical acclaim in The Half-Breed (1916). In 1917 she again starred in a box-office smash, The Firefly of Tough Luck (1917). She became a busy young actress with role after role and hit after hit. In 1924, as Mildred Gower, she performed magnificently in The Price She Paid (1924). After a busy 1925, Alma suddenly found it difficult to obtain work, but it was not because her star had suddenly dimmed - it was because of her addiction to heroin. The money she made dwindled away in search of the next high. She was in and out of mental asylums, but it didn't really help much because she was still dabbling in drugs. Weakened by her habit, she died in Los Angeles in 1931, of pneumonia. She was less than a month away from her 34th birthday. Her final two films were two years earlier, Show Boat (1929) and She Goes to War (1929).******

BOOKBINDING MAGAZINE : The Official Business Paper of the Bookbinding Industry : A Magazine of Business Building Ideas for the Bindery. Arthur Freund and Leo H. Joachim, Publishers. Published in New York, 1929-1931. SIX ISSUES: Vol. X, No. 6, Dec. 1929; Vol. XI, No. 1, Jan. 1930; Vol. XI, No. 3, Mar. 1930; Vol.XI, No. 4, Apr. 1930; Vol. XII, No. 4, Oct. 1930; Vol. XIII, No. 8, May 1931. Softcover magazines, side stapled, 8.5x11.5 inches, approximately 70 pages per issue, including lots of ads for bookbinding machinery and materials. These 6 issues are in generally GOOD condition, the spines have wear including scrapes and peeling; there are some creases and general signs of handling; overall the issues are used but still tight, bright, clean and unmarked. Articles include: Bookbinding Industrial Exhibits; Views on Trade Outlook by Bookbinders (published in 1930, the beginning of the Great Depression); Local Bookbinders Associations; In Memoriam: George K. Bird; When a Woman Runs a Bindery; Economics of Book Production; If I Had to Choose Again I'd Be a Bookbinder; and more. A nice collection of six issues of this bookbinding trade magazine, all published at the beginning of the Great Depression. INTERNATIONAL BUYERS PLEASE NOTE: These six issues are heavy and will require substantial additional shipping charges. After placing your order you will be notified of the additional charges and be able to accept or reject them before your payment is processed. Or you can contact me ahead of time to find out the shipping charge to your country. Thanks.

TYPED & HANDWRITTEN LETTER by GEORGE GROSZ.

TWO PAGE LETTER, addressed to AMERICAN ARTIST MARSHALL GLASIER, dated October 10, 1937. Typed and Handwritten on both sides of a single 8.5" x 11" sheet of "Douglas Manor" stationery, with the letterhead: "202 SHORE ROAD - DOUGLAS MANOR - LONG ISLAND - N.Y." (Douglas Manor hosted a thriving colony of various artists, including George Grosz.)

The letter is typed on the front side and on half of the back side, is hand signed at the end of the typed portion, then handwritten for half a page beneath the signature.

The handwritten portion is in Grosz's beautiful calligraphy, written with a fountain pen. The handwritten portion is significant both in size and subject matter, 19 lines, discusses artists, reason for his quitting teaching, and touches on the Spanish Civil War by mentioning fellow artists who went to Spain to fight with the Loyalists.

The front typed side of the letter has a pencil margin note that is clearly in Grosz's hand, and a red pencil circling of one section. It also has a number of small, handwritten corrections, also in Grosz's hand.

DRAWINGS BY JAPANESE CHILDREN.

Twenty-two (22) Full Color Plates, each tipped onto its own 10x10.5 inch card stock mounting board. The mounting boards are printed at the bottom with the name, age, and location of the child artist (e.g. Mr. Masao Koike, 6 yrs old, Koichi). The drawings were originally drawn in crayon, watercolor, and ink by Japanese children aged 6 to 13. There is also a single fold, 4 page introductory sheet that describes the drawings and the reason they were gathered in this publication.

The 22 mounted plates are loose and contained in a fold-open portfolio. The folder is constructed of cloth covered boards with leather spine and corners, it has a gilt titling on the front cover and spine.

Condition: The folder is in FAIR condition, sunning to the margins, scrapes and rubs to the boards, a couple small holes, and a previous owner's ink stamp on the inside front cover. The 4 page introductory sheet has creases and signs of handling. The 22 plates and their mounting boards are in GOOD condition, the boards have some areas of age toning and most have very two very tiny pin holes at the top corners, the plates are all bright, clean, clear and unmarked.

Published by Kokusai Bunka Shinkokai [The Society for International Cultural Relations], Japan, 1940. This collection of drawings by Japanese children was likely propaganda meant to generate sympathy for Japan at a time when it was becoming increasingly aggressive and imperialistic.

PHOTO ALBUM of ADELL V. DAL PORTO, a NURSE at the U.S. CADET NURSE CORPS, MANHATTAN STATE HOSPITAL SCHOOL OF NURSING, WARD'S ISLAND, NEW YORK. She was in the Class of 1947 and the photos that have dates written below them were all taken during the WORLD WAR II era years of 1944 and 1945. 135 snapshots of Adell and her friends, nurse colleagues, classmates, etc., both in and out of their nurse outfits, both at work and play. The snapshots seem to have been mostly taken at the School of Nursing, Ward's Island, New York, with some apparently taken in various other New York City locations. Many of the snapshots are annotated in white on the black album pages, some with first names, some full names, some with places, some with dates, some with names places and dates, etc. Bound in a hardcover "Kodak Library" photo album, 7x9 inches, 50 album leaves (100 pages). Photos are mounted with photo corners on each side of the leaves (i.e. the photos are easily removed). The 135 snapshots are 2.5x3.5 inches, some 3.5x4.5, a few larger, a few smaller. Approximately 1/3 (maybe more) of the photos that were originally in the album are missing, either they fell out at some point or were removed (i.e. only their photo corners remain), but, again, 135 photos are present. Condition: The album leaves are bound into the album with two metal brackets one of which has broken, so the leaves are held in place mainly with the lower bracket. The photographs are mostly sharp, bright, clean and clear, though some have lightly faded with age. The handwritten information is clear and fully legible. The album covers are shaky at the spine but are still solid. An interesting insider's look at the U.S. Cadet Nurse Corps, Manhattan State Hospital School of Nursing, Ward's Island, New York, during 1944 and 1945.

THREE JEWISH SUMMER CAMP PANORAMIC PHOTOS. One has 165 names handwritten on the backside, corresponding to the campers and counselors in the photograph.

(1) CAMP RALEIGH-MACCABEE, 1950. Jewish Boys and Girls camp. This panoramic photo has the names of all the campers and counselors hand written on the backside, listed by the row they are in on the photo. There are 165 names written on the backside.

(2) CAMP RALEIGH-MACCABEE, 1951. Jewish Boys and Girls camp. Blank backside.

(3) CAMP LEONORE, 1947. Jewish Girls camp. All girl campers and mostly female counselors, but a few older men too. What are they doing there? Maybe they are the Rabbis? Blank backside.

CONDITION:

ALL three panoramic photographs are rolled, which is their natural state. They have to have weight on the ends to keep them from rolling up (careful mounting and/or framing would be great). All have light creases from handling. In addition:

The 1950 photo, with names on the backside, has a stiff vertical crease down its middle, perhaps folded there at one point. The crease is rather tender, so handle with care. The photo also has a couple small edge tears.

The 1951 photo has a thin 1 inch stain and a 3x4 inch area of tangible creasing near the top edge (but no tearing), and has a large #2 written on the blank backside..

The 1947 Camp Leonore photo has a couple vertical creases but nothing tender.

Otherwise all the photos are bright and clear. They are suitable for mounting and/or framing.

FAMILY PHOTO ALBUM with 50 Original b&w Photographs from the 1940s - 1950s. Snapshots of People on Boats and Beaches, and in front of Homes and Buildings. Good background images. Seems to be a Oceanside or Lakeside area. The album has NO HANDWRITTEN INFORMATION, so I have no idea who the people are or where they are. The 50 photographs are mounted with photo corner mounts in a vinyl cover photo album. The snapshots range in size, including their white borders, from 3.5x5" to 3x4" to 2.5x3.5" to a few even smaller. The images in and the style of these b&w photographs appears to date them from the 1940s and 1950s. Condition: Most of the photos are clean, clear, bright and sharp; a few have faded, and a few have some stains. The album is in solid, clean condition.