Roger Baker; VaudevilleBiblio.com
336 resultados
1968ref. 207741968. LGBTQ Baker Roger. Drag: A History of Female Impersonation on the Stage. London: Triton Books 1968. First edition. 256 pages. Original brown cloth binding with author title and publisher stamped on spine. Original dustjacket with black and white image of English drag performer Chris Shaw in a black sequined dress and full glam makeup and title spelled out in red sequins. Includes 92 black and white photographs and illustrations of cross-dressing performers artists and stage productions. This book by British scholar Roger Baker examines the history of drag performance dating back to ancient China Japan and Greece through the punk scene of the 1960s. Baker touches on the difference between drag as a performance art and transvestism a personal practice before delving in to the historical uses of drag by actors and impersonators. Chapters touch on famous cross-dressers including the Chevalier D'Eon Vesta Tilley Marlene Dietrichand Julian Eltinge and cross-dressing traditions on the Elizabethan stage in pantomime Kabuki vaudeville and opera among others. Wear to edges of dustjacket price clipped. Overall very good condition. A detailed history on the uses of drag in performance and entertainment across the world. unknown
1968ref. 207741968. LGBTQ Baker Roger. Drag: A History of Female Impersonation on the Stage. London: Triton Books 1968. First edition. 256 pages. Original brown cloth binding with author title and publisher stamped on spine. Original dustjacket with black and white image of English drag performer Chris Shaw in a black sequined dress and full glam makeup and title spelled out in red sequins. Includes 92 black and white photographs and illustrations of cross-dressing performers artists and stage productions. This book by British scholar Roger Baker examines the history of drag performance dating back to ancient China Japan and Greece through the punk scene of the 1960s. Baker touches on the difference between drag as a performance art and transvestism a personal practice before delving in to the historical uses of drag by actors and impersonators. Chapters touch on famous cross-dressers including the Chevalier D'Eon Vesta Tilley Marlene Dietrichand Julian Eltinge and cross-dressing traditions on the Elizabethan stage in pantomime Kabuki vaudeville and opera among others. Wear to edges of dustjacket price clipped. Overall very good condition. A detailed history on the uses of drag in performance and entertainment across the world. unknown books
1944ref. 1062661944 A Paris, Compagnie Française des Arts Graphiques - 1944 - In-quarto (25 x 30 cm), feuillets libres sous jaquette papier rempliée + chemise et emboîtage cartonnés neutres - Illustrations (eaux-fortes) en N&B hors-texte de Michel Ciry sous serpentes - 268 pages - Tirage limité à 315 exemplaires. L'un des 50 exemplaires sur Auvergne pur chiffon à la main avec une suite sur Berzélius des gravures - Numéroté N° 59
ref. 14493Chansonnier historique du XVIIIème siècle. Recueil CLAIRAMBAULT-MAUREPAS publié avec introduction, commentaires, notes et inde par Emile RAUNIE archiviste paléologue. 10 tomes en 10 volumes in 12 brochés, grand papier non justifié. 190x1255mm, Paris Quantin imprimeur éditeur 1879-1884. Recueil de chansons, vaudeville, sonnets, épigrammes, épitaphe et autres vers satiriques et historiques formé avec la collection de Clairambault de Maurepas et autres manuscrits inédits. Pour chaque volume, faux titre, titre. Tome 1 : CX, 156 pages, 5 portraits hors texte, gravés par ROUSSELLE, sous serpente plus table des portraits ; Tome 2 :4 portraits hors texte sous serpente ; 328 pages, plus table des portraits.1879 Tome 3 : portraits hors texte gravés par ROUSSELLE, sous serpente ; 328 pages, plus table des portraits1880. Tome 4 : 5 portraits hors texte gravés par ROUSSELLE, sous serpente ; 302 pages, plus table des portraits 1880. Tome 5 : XXX, 5 portraits hors texte gravés par ROUSSELLE, sous serpente ; 305 pages, plus table des portraits 1881. Tome 6 : 5 portraits hors texte gravés par ROUSSELLE, sous serpente ; 368 pages, plus table des portraits 1882. Tome 7 : XX, 5 portraits hors texte gravés par ROUSSELLE, sous serpente ; 373 pages, plus table des portraits 1882. Tome 8 :XXV 5 portraits hors texte gravés par ROUSSELLE, sous serpente ; 339 pages, plus table des portraits 1883.Tome 9 :XXXIX, 5 portraits hors texte gravés par ROUSSELLE, sous serpente ; 268 pages, plus table des portraits 1884. Tome X : 5 portraits hors texte gravés par ROUSSELLE, sous serpente ; 328 pages, plus table des portraits 1884. Bel ensemble.
1902ref. 220121902. Minstrelsy Archive of minstrel sheet music and ephemera documenting the role of blackface performance and racial caricature in American popular music during the late 19th and early 20th centuries. Josephine My Jo. Words by R.C. McPherson; music by Jas. T. Brymn 1902 appears alongside a group of minstrel and ragtime-era compositions and a touring advertisement for Culligan and Morgan's Alabama Minstrels establishing a concentrated record of how African American identity was constructed marketed and circulated as commercial entertainment. These materials are tied to vaudeville circuits Tin Pan Alley publishing and traveling minstrel troupes including works associated with Lew Dockstader's Minstrels. Brymn an African American composer who later led the 350th Field Artillery Regiment Band during World War I represents the constrained presence of Black musicians working within a white-dominated industry reliant on the mass acceptance of racist tropes and widely disseminated caricatured imagery and dialect performance. Archive consists of 9 items: 8 pieces of large-format sheet music and 1 minstrel tour poster dating from 1897 to approximately 1900-1915. Sheet music titles include Josephine My Jo 1902; Melissy: A Melody of Dark Town Admiration by Joseph B. Carey 1897 issued as a supplement to the San Francisco Examiner; and additional titles including Any Rags by Thos. S. Allen Smoky Mokes Bunch O' Blackberries By the Watermelon Vine Lindy Lou Whistling Rufus by Kerry Mills and Your Dad Gave His Life for His Country as performed by Lew Dockstader's Minstrels. Sheet music measures approximately 11" x 14" and retains staple-bound or disbound formats with illustrated covers. The poster for Culligan and Morgan's Alabama Minstrels printed in Ohio with illustrations by the National Press and Engraving Company of Chicago measures approximately 10.5" x 27" and survives in multiple separated sections. Across the archive cover imagery employs exaggerated racial caricatures "Darktown" themes and blackface performance conventions reflecting the visual and commercial strategies through which minstrel entertainment was promoted to national audiences. General toning edge wear and chipping present across the sheet music with occasional fragility to bindings; poster is brittle with losses and separation along folds and margins. The advert poster is separated into three pieces with text largely preserved but overall in poor form. Archive in overall good condition. The grouping provides direct primary source evidence of how blackface and minstrelsy operated as a popular form of entertainment and music production while also documenting the limited participation of African American composers within that structure and the broader transition from minstrel traditions into ragtime-era popular music. unknown
1902ref. 220121902. Minstrelsy Archive of minstrel sheet music and ephemera documenting the role of blackface performance and racial caricature in American popular music during the late 19th and early 20th centuries. Josephine My Jo. Words by R.C. McPherson; music by Jas. T. Brymn 1902 appears alongside a group of minstrel and ragtime-era compositions and a touring advertisement for Culligan and Morgan's Alabama Minstrels establishing a concentrated record of how African American identity was constructed marketed and circulated as commercial entertainment. These materials are tied to vaudeville circuits Tin Pan Alley publishing and traveling minstrel troupes including works associated with Lew Dockstader's Minstrels. Brymn an African American composer who later led the 350th Field Artillery Regiment Band during World War I represents the constrained presence of Black musicians working within a white-dominated industry reliant on the mass acceptance of racist tropes and widely disseminated caricatured imagery and dialect performance. Archive consists of 9 items: 8 pieces of large-format sheet music and 1 minstrel tour poster dating from 1897 to approximately 1900-1915. Sheet music titles include Josephine My Jo 1902; Melissy: A Melody of Dark Town Admiration by Joseph B. Carey 1897 issued as a supplement to the San Francisco Examiner; and additional titles including Any Rags by Thos. S. Allen Smoky Mokes Bunch O' Blackberries By the Watermelon Vine Lindy Lou Whistling Rufus by Kerry Mills and Your Dad Gave His Life for His Country as performed by Lew Dockstader's Minstrels. Sheet music measures approximately 11" x 14" and retains staple-bound or disbound formats with illustrated covers. The poster for Culligan and Morgan's Alabama Minstrels printed in Ohio with illustrations by the National Press and Engraving Company of Chicago measures approximately 10.5" x 27" and survives in multiple separated sections. Across the archive cover imagery employs exaggerated racial caricatures "Darktown" themes and blackface performance conventions reflecting the visual and commercial strategies through which minstrel entertainment was promoted to national audiences. General toning edge wear and chipping present across the sheet music with occasional fragility to bindings; poster is brittle with losses and separation along folds and margins. The advert poster is separated into three pieces with text largely preserved but overall in poor form. Archive in overall good condition. The grouping provides direct primary source evidence of how blackface and minstrelsy operated as a popular form of entertainment and music production while also documenting the limited participation of African American composers within that structure and the broader transition from minstrel traditions into ragtime-era popular music. unknown books
1827ref. 31683A Bruxelles, chez Adolpge Weissenbruch, s.d. [1827]. Un fort vol. au format in-4 à l'italienne (232 x 155 mm) de 1 page de titre gravée n.fol., vii - 220 pp. et 500 pp. de partitions gravées in fine. Reliure de l'époque de demi-maroquin glacé incarnat à coins, doubles filets gras et maigres dorés portés sur chacun des plats, dos lisse orné d'un filet maigre d'encadrement doré, larges fleurons romantiques dorés, jeu de filets courbes en noir, titre doré, supra libros doré en queue.
1915ref. 2788431915. unbound. very good. Signed 1915 Columbia Records release #A - 1855 one of the earliest comedy releases ever put on phonograph discs featuring a skit titled "Trust Scene" boldly etched into the dead wax and partly on the record labels: "Joe Weber - Lew Fields." The B side of this record has mechanically etched signatures of the performers. Very good condition. Immensely popular Polish-Jewish comedy team who at the height of their stage success opened up their own Broadway venue in 1896 and booked some of the greatest talent of the early 20th century. Included in this roster are Gallagher and Sheen The Marx Brothers Ted Healy and his Three Stooges Jimmy Durante and W.C. Fields. They are also credited with recording some of the earliest known comedy phonograph records between 1912 and 1915. unknown
1915ref. 2788431915. unbound. very good. Signed 1915 Columbia Records release #A - 1855 one of the earliest comedy releases ever put on phonograph discs featuring a skit titled "Trust Scene" boldly etched into the dead wax and partly on the record labels: "Joe Weber - Lew Fields." The B side of this record has mechanically etched signatures of the performers. Very good condition. Immensely popular Polish-Jewish comedy team who at the height of their stage success opened up their own Broadway venue in 1896 and booked some of the greatest talent of the early 20th century. Included in this roster are Gallagher and Sheen The Marx Brothers Ted Healy and his Three Stooges Jimmy Durante and W.C. Fields. They are also credited with recording some of the earliest known comedy phonograph records between 1912 and 1915. unknown books
1925ref. 64700New York NY: Harper & Brothers 1925. 8vo. 8 264 pp. Frontisp. numerous photo plates. Red publisher’s cloth gilt lettering front cover & spine minor shelfwear slight dustsoiling w/ d.j. cover art of Cohan w/ initials RJ front cover minor chipping head & foot of spine couple minor closed tears edgewear old paper repair to spine on verso still a VG/VG- copy w/ former ownership marking on front pastedown. First edition stated of this anecdotal memoir by the famed actor playwright singer dancer and producer offering a vivid picture of the Vaudeville and Broadway Theatre circuit in the closing years of the Gilded Age into the Progressive Era through World War I when he became known as “the man who owned Broadway” and his adaptation of the Earl Derr Biggers “Seven Keys to Baldpate” mystery was a long-running hit and later silent film. Very scarce in original dustjacket. Harper & Brothers, hardcover
ref. 21913Paris, Librairie théâtrale, artistique et littéraire, 1914. In-8, 78 pp., broché, couverture originale imprimée (petits manques, taches et déchirures marginales à la couverture, dos fendu, 1er cahier débroché).
1910ref. 208451910. Archive of drag performance and female impersonation music ephemera 1910s-1950s documents the role of stage performance popular song and nightclub culture in the development of early twentieth century queer entertainment. The material centers on performers who shaped female impersonation traditions in vaudeville cabaret and nightclub circuits preserving evidence of repertoire publicity and audience engagement. Figures such as Karyl Norman and Bert Errol appear through attributed sheet music situating the archive within a transatlantic performance culture in which gender impersonation functioned as both theatrical convention and queer expression. Five pieces of sheet music and related memorabilia measuring approximately 9 x 12 to 10 x 14 inches. Two sheet music titles associated with Karyl Norman include I'm Through Shedding Tears Over You and Nobody Lied When They Said I Cried Over You reflecting the popular song repertoire of female impersonators active from the late 1910s through the 1940s. One sheet is attributed to Bert Errol performing Gimme a Little Kiss Will Ya Huh a standard adapted within impersonation performance contexts. The archive also includes a 1950s promotional pamphlet for Club My-O-My a venue known for female impersonation shows featuring the tagline "The World's Most Beautiful Boys in Women's Attire" and illustrated with black and white photographs of performers in formal gowns wigs and stage makeup. Spanning the period from vaudeville through midcentury nightclub entertainment the material reflects the persistence and evolution of drag performance prior to the emergence of modern LGBTQ political movements. The combination of printed music and promotional imagery supports research into performance history gender expression and the commercial infrastructure of queer nightlife. Minor wear to some covers; materials remain clean and visually strong; overall very good condition. unknown
1910ref. 208451910. Archive of drag performance and female impersonation music ephemera 1910s-1950s documents the role of stage performance popular song and nightclub culture in the development of early twentieth century queer entertainment. The material centers on performers who shaped female impersonation traditions in vaudeville cabaret and nightclub circuits preserving evidence of repertoire publicity and audience engagement. Figures such as Karyl Norman and Bert Errol appear through attributed sheet music situating the archive within a transatlantic performance culture in which gender impersonation functioned as both theatrical convention and queer expression. Five pieces of sheet music and related memorabilia measuring approximately 9 x 12 to 10 x 14 inches. Two sheet music titles associated with Karyl Norman include I'm Through Shedding Tears Over You and Nobody Lied When They Said I Cried Over You reflecting the popular song repertoire of female impersonators active from the late 1910s through the 1940s. One sheet is attributed to Bert Errol performing Gimme a Little Kiss Will Ya Huh a standard adapted within impersonation performance contexts. The archive also includes a 1950s promotional pamphlet for Club My-O-My a venue known for female impersonation shows featuring the tagline "The World's Most Beautiful Boys in Women's Attire" and illustrated with black and white photographs of performers in formal gowns wigs and stage makeup. Spanning the period from vaudeville through midcentury nightclub entertainment the material reflects the persistence and evolution of drag performance prior to the emergence of modern LGBTQ political movements. The combination of printed music and promotional imagery supports research into performance history gender expression and the commercial infrastructure of queer nightlife. Minor wear to some covers; materials remain clean and visually strong; overall very good condition. unknown books
1968ref. 207711968. Baker Roger. Drag: A History of Female Impersonation on the Stage 1968 surveys the historical development of drag performance across theatrical traditions and situates gender impersonation within global performance culture. The study traces practices from early stage conventions in Asia and Europe through modern entertainment circuits distinguishing between drag as theatrical performance and cross dressing as personal identity expression. By documenting performers venues and performance styles Baker provides a consolidated account of drag within stage history offering material for the study of gender representation theatrical convention and LGBTQ cultural expression in the mid twentieth century. Baker Roger. Drag: A History of Female Impersonation on the Stage. London: Triton Books 1968. Signed by the author on the title page "Roger Baker April 1969." First edition. One volume. 256 pages. Illustrated with 92 black and white photographs and illustrations depicting performers productions and historical figures. Original brown cloth binding with titled spine; original dust jacket featuring drag performer imagery. Also included are two loose signed black and white photographs of performer Gary Webb one in drag and one out of costume whose career is referenced within the text. The volume includes discussion of figures such as Chevalier d'Éon Vesta Tilley Marlene Dietrich and Julian Eltinge alongside analysis of performance traditions in Elizabethan theatre pantomime Kabuki vaudeville and opera. Published during a period of expanding visibility for gender nonconforming performance and emerging queer cultural discourse the work consolidates earlier theatrical traditions into a single historical narrative accessible to contemporary audiences. Its combination of textual analysis and photographic documentation supports research into performance studies gender history and the evolution of drag as both entertainment and cultural practice. Dust jacket shows edge wear and is price clipped; volume otherwise clean and intact; overall very good condition. unknown
1968ref. 207711968. Baker Roger. Drag: A History of Female Impersonation on the Stage 1968 surveys the historical development of drag performance across theatrical traditions and situates gender impersonation within global performance culture. The study traces practices from early stage conventions in Asia and Europe through modern entertainment circuits distinguishing between drag as theatrical performance and cross dressing as personal identity expression. By documenting performers venues and performance styles Baker provides a consolidated account of drag within stage history offering material for the study of gender representation theatrical convention and LGBTQ cultural expression in the mid twentieth century. Baker Roger. Drag: A History of Female Impersonation on the Stage. London: Triton Books 1968. Signed by the author on the title page "Roger Baker April 1969." First edition. One volume. 256 pages. Illustrated with 92 black and white photographs and illustrations depicting performers productions and historical figures. Original brown cloth binding with titled spine; original dust jacket featuring drag performer imagery. Also included are two loose signed black and white photographs of performer Gary Webb one in drag and one out of costume whose career is referenced within the text. The volume includes discussion of figures such as Chevalier d'Éon Vesta Tilley Marlene Dietrich and Julian Eltinge alongside analysis of performance traditions in Elizabethan theatre pantomime Kabuki vaudeville and opera. Published during a period of expanding visibility for gender nonconforming performance and emerging queer cultural discourse the work consolidates earlier theatrical traditions into a single historical narrative accessible to contemporary audiences. Its combination of textual analysis and photographic documentation supports research into performance studies gender history and the evolution of drag as both entertainment and cultural practice. Dust jacket shows edge wear and is price clipped; volume otherwise clean and intact; overall very good condition. unknown books
ref. 17877(Ecrit sous le pseudonyme de Paul Smith). Paris, Labitte. 1844. Deux volumes in-8 (21x13). 384-366 pages. Demi-chagrin prune, dos à nerfs ornés de fleurons dorés (reliure fin 19°).
ref. D19738Collection of approximately 20 real photo postcards most signed and many addressed to a Miss Florie Florrie Hopkins. First decade of the 20th century. Vaudeville performers. A delightful group. Also included is a large photo of a young woman dated Kansas City 1915. unknown
ref. D19738Collection of approximately 20 real photo postcards most signed and many addressed to a Miss Florie Florrie Hopkins. First decade of the 20th century. Vaudeville performers. A delightful group. Also included is a large photo of a young woman dated Kansas City 1915. unknown books
1920ref. List2734Unknown location 1920. Approximately 10 x 13 inches. Some tears and chips at edges very good contrast editorial overpainting on recto overall very good. Marks on verso reading “Julian Eltinge Hippodrome March 12”. Very good. Julian Eltinge 1881/1883–1941 was an American actor and “female impersonator”—in today’s terms a drag performer—from Newtonville Massachusetts. Eltinge’s drag career began at age ten and by the early 1900s he was touring internationally performing a vaudeville act wherein the “audience was completely deceived as to Eltinge’s sex until he removed his wig”1. This portrait shows Eltinge seated in costume. On the reverse is written “Julian Eltinge Hippodrome March 12” and the front is signed “Herold Brown” this signature does not appear to belong to commercial photographer Harold M. Brown. A stamp is legible that dates the photograph to the 1920s though the exact year is not legible. Eltinge has been described as “without question the most famous female impersonator of all time” ibid. 1 Slide Anthony “Julian Eltinge” in The Vaudevillians: A Dictionary of Vaudeville Performers Westport Connecticut: Arlington House 1981 46. unknown
1920ref. List2734Unknown location 1920. Approximately 10 x 13 inches. Some tears and chips at edges very good contrast editorial overpainting on recto overall very good. Marks on verso reading “Julian Eltinge Hippodrome March 12”. Very good. Julian Eltinge 1881/1883–1941 was an American actor and “female impersonator”—in today’s terms a drag performer—from Newtonville Massachusetts. Eltinge’s drag career began at age ten and by the early 1900s he was touring internationally performing a vaudeville act wherein the “audience was completely deceived as to Eltinge’s sex until he removed his wig”1. This portrait shows Eltinge seated in costume. On the reverse is written “Julian Eltinge Hippodrome March 12” and the front is signed “Herold Brown” this signature does not appear to belong to commercial photographer Harold M. Brown. A stamp is legible that dates the photograph to the 1920s though the exact year is not legible. Eltinge has been described as “without question the most famous female impersonator of all time” ibid. 1 Slide Anthony “Julian Eltinge” in The Vaudevillians: A Dictionary of Vaudeville Performers Westport Connecticut: Arlington House 1981 46. unknown books
1925ref. 55679Kokomo IN & Lewiston ID: Lylburn B. Johnson 514 S. Webster ca. 1925-1933. Seven pieces. 1st - Folio. 11 x 14 in. Photo-illustrated broadside printed on thick card stock minor soiling very small and slight oil stain at upper fore-edge still VG; 2nd -- 8vo. 4 x 8 in. Four pieces printed on colour-tinted newsprint stock 1 w/ additional stamping minor toning edgewear; 3rd. - 16mo. 2.5 x 3.5 in. Photo-illust. on playing card by T.L. DeLand design on verso rounded corners NF; 4to. 2 x 4 in. photo-printed business card w/ lettering & address on recto illustration on verso NF. Fascinating small collection of exceedingly scarce promotional advertising for the Kokomo IN illusionist and magician Lylburn Johnson b. 1904. He performed with the Chautauqua Circuit between 1925 and 1929 and later on the vaudeville circuit throughout the Midwest and West for private clubs fundraisers vaudeville theaters and more. His act illustrated as illustrated on these pieces incorporated his double death defying feat of begin handcuffed and locked in a barrel full of water escaping from ropes tied to a chair as well as the Mysterious Mail Bag Escape in which he had been locked. In addition he would drive a car blindfolded perform illusions such as the floating woman floating ball and skull the burning cone of water and perform mind reading and spiritualist portions as well. One of the playbills specifically cites performing at the Legion Club House for a P.T.A. Benefit in Lewiston ID Friday Nov. 10 1933. Johnson was the only child of the noted Kokomo IN physician Dr. Oliver Johnson 1878-1927 and although continuing to list the family home as his place of residence and business on the advertising cards included here appears in no street directories trade directories or census records after 1910. No copies in Worldcat; See: Lylburn B. Johnson The Great Johnson with His Mysteries Brochures and Promotional Materials Redpath Chautauqua Collection Univ. of Iowa Special Collections No. MSC0150. Lylburn B. Johnson, 514 S. Webster, unknown
1845ref. 11299Paris, H. Fournier, 1845 ; cartonnage polychrome à fond noir représentant un personnage chinois fumant, en habit traditionnel doré rehaussé de rouge, bleu et blanc, fond décoré de scènes et objets symboliques, second plat à grand décor doré et vert, tranches dorées ; VI, (2), 396 pp., 50 planches hors-texte, nombreuses illustrations in-texte de tous formats, dessins de Auguste Borget.
ref. 21911Paris, Librairie théâtrale, artistique et littéraire, 1914. In-8, 376 pp., broché, couverture originale imprimée (petits manques, taches et déchirures à la couverture, quelques rousseurs).
ref. 21912Paris, Librairie théâtrale, 1910. In-8, 280 pp., broché, couverture originale imprimée (petits manques, taches et déchirures marginales à la couverture, second plat détaché, marges empoussiérées).
1920ref. 201891920. LGBTQ Cross-Dressing Collection of eight photographs 1920s-1990s traces the evolution of female impersonation and cross-dressing entertainment across the twentieth century spanning early vaudeville-era performers through television and film portrayals of gender variance. The archive captures both underground stage culture and mainstream representation illuminating shifting public attitudes toward cross-dressing in American performance history. Early real photo postcards advertising Francis Blair as "Dancer De Luxe" demonstrate commercial promotion of female impersonation in the 1920s while later silver gelatin photographs depict drag performers in 1960s stage attire and publicity stills from film and television exploring gender disguise as narrative device. One image references Jamie Farr's portrayal of a cross-dressing soldier in 1979 television described in accompanying press text as "the first time a man played a man who would dress as a woman" underscoring changing media engagement with gender nonconformity. Collection of eight photographs. Sizes range from 3.5 x 5.25 inches to 8 x 10 inches. Includes two real photo postcards from the early 1920s advertising Francis Blair; four silver gelatin photographs from the 1960s showing drag performers in contemporary women's fashion; publicity still of Reg Varney in The Best Pair of Legs in the Business 1973; and images of Danielle Carter in tiger print stage costume. Several photographs retain original press articles or captions en verso. The archive chart a movement from theatrical female impersonation in live revue culture to mediated representation in film and television. They illustrate how cross-dressing functioned alternately as spectacle satire subcultural identity and emerging topic of public conversation. Photographs crisp with minimal edge wear; versos clean where visible. Overall very good condition. A cross-generational visual archive of twentieth-century gender-nonconforming performance. unknown
