135 résultats
193250 pages. Features: Front cover Thompson Valves ad commemorates Navy flyer Lieut. Soucek and his 1930 altitude record at 43,166 feet; Good Year ad features photos of American Airways planes; Data on the strength of Aircraft Materials; Improving the Control System; Weight Reduction Versus Drag Reduction in Design; The Stark System of Instrument Flying; A New Army Fighting Grade Anti-Knock Aviation Gasoline - article by Major James H. Doolittle; Engineering Deductions of a Flight Around the World - Charles Healy Day and his Errant (Martin); The New Continental R-670; Care and Construction of Metal Propellers; 1931 Aircraft Production; Century Airlines Hangar-Terminal Building; Brief personality profile - with photo - of Charles N. Monteith, Boeing's chief engineer; Obituary of C.T. Porter; Autogiro photo ad inside back cover shows Juan De La Cierva taking off from Pier 34, New York, December 23, 1931; Nice illustrated back cover ad for the new Stinson Model "R"; and more. Unmarked with average wear. A sound vintage copy. Book
1960réf. 152883Los Angeles: National Hot Rod Association 1960. Original style guide for freelance reporters and photographers covering competition drag racing created by the National Hot Rod Association NHRA circa 1960s. The NHRA was founded by Wally Parks editor of Hot Rod magazine in 1951 in order to promote "safety sportsmanship and fellowship" among racer and more broadly to convince the general public and especially police that there was a difference between reckless street racers and hot rod drivers. In 1960 the association began publishing "National Dragster" a biweekly news magazine featuring racing stats and interviews which continues to be published today. Housed in black wrappers with a die-cut title window in the British style. Mimeograph duplication rectos only. Ten leaves not numbered. Wrapper Very Good plus leaves Very Good plus lightly age-toned bound internally with three silver brads. National Hot Rod Association unknown
2025réf. x-1350529915Bloomsbury USA Academic 2025. Hardcover. New. 272 pages. 9.22x6.14x1.01 inches. Bloomsbury USA Academic hardcover
2025réf. x-1032662395Routledge 2025. Paperback. New. 216 pages. 9.00x6.00x9.00 inches. Routledge paperback
2019réf. x-0367437422Taylor & Francis 2019. Hardcover. New. 248 pages. 9.25x6.25x0.75 inches. Taylor & Francis hardcover
1991réf. x-0792310209Kluwer Academic Pub 1991. Hardcover. New. 173 pages. 9.13x6.57x1.11 inches. Kluwer Academic Pub hardcover
2024réf. x-1032662360Routledge 2024. Hardcover. New. 200 pages. 9.00x6.00x0.68 inches. Routledge hardcover
2022réf. x-8323349495Jagiellonian Univ Pr 2022. Hardcover. New. 709 pages. 9.75x7.00x1.50 inches. Jagiellonian Univ Pr hardcover
2021réf. x-1032239816Routledge 2021. Paperback. New. 216 pages. 9.00x6.00x0.55 inches. Routledge paperback
2011réf. x-3642822096Springer 2011. Paperback. New. 4th edition. 888 pages. German language. 9.61x6.69x2.13 inches. Springer paperback
2011réf. x-3642820921Springer 2011. Paperback. New. 4th reprint edition. 766 pages. German language. 9.61x6.69x1.73 inches. Springer paperback
réf. 37734776-nnew. unknown
réf. 44015097-nnew. unknown
réf. 46793974-nnew. unknown
1887réf. 47165New Haven Conn. J.D. & E.S. Dana 1887. 8vo. Contemporary half calf. Gilt lettering to spine. A small stamp to top of title-page. In: "The American Journal of Science. Editors James D. and Edward S. Dana" Third series Vol. XXXIV July to December 1887. VIII500 pp. textillustr. and 10 plates. Entire volume offered. The joint paper: pp. 333-345 and textillustr. Apparatus. A few faint brownspots to titlepage otherwise clean and fine. First appearance of this classic paper which announced one of the most celebrated experiments in the history of physics and eventually led Einstein to his Relativity Theory.The experiment was expected to show the rate of the earth's movement through the ether; they looked in vain for a difference between the speed of light in the direction of the earth's motion around the sun and the direction perpendicular to it. The failure of this experiment was a serious blow to classical scientific theories because it cast doubts on the existance of the universal ether which had been a basic principleof for example the Newtonian theories of the universe. Vide PMM: 378 401 408.The paper appeared first in the "American Journal of Science" in November as offered here and was published a month later in "Philosophical Magazine" in a slightly modified form."Michelson trained at the U.S. Naval Academy and Morley minister turned chemist began a series of experiments to determine the relation of ether drift and the velocity of light effects of extremely minute values. They used a slightly silvered glass set angular to a ray of sunlight so that a part ofthe ray was transmitted a part reflected out and again returned thereby providing two paths one perpendicular to the other. If drift existed the superimposed rays would produce interference. None was observed showing that the earth's motion did not affect the light's speed. The negative result held revolutionary implications which led directly thru Lorentz and Einstein to the acceptance of new standards of reference of time and space from geometry and cosmometry."DibnerIn 1919 Einstein met Michelson in California. At a dinner given in honor of them both Einstein said in a speech "You Michelson uncovered an insidious defect in the ether theory of light as it existed and stimulated the ideas of H.A. Lorentz and Fitzgerald out of which the Special Theory of Relativity developed. Without your work this theory would today be scarcely more than an interesting speculation." In an interview in 1842 Einstein said: "It is no doubt that Michelson's experiment was of considerably influence upon my work insofar as it strengthened my conviction concerning the validity of the Principle of relativity.On the other side I was pretty much convinced of the validity of the principle before I did know this experiment and its result. In any case Michelson's experiment removed practically any doubt about the validity of the principle in optics and showed that a profound change of the basic concepts of physics was inevitable."Michelson was awarded the 1907 Nobel Prize "for his optical precision instrument the inteferometer and the spectroscopic and metrological investigations he has carried on."Dibner: Heralds of Science: 161 lising the later version from "Philosophical Magazine" - Norman 1505.- Magee "A Source Book in Physics" pp. 369 ff. the later paper.The volume contains another paper by Michelson and Morley "On a method of Making the Wave-lenght of Sodium Light the actual and practical Standard of Lenght" pp. 427-430. unknown
2000réf. 235592000. Imperial Court of New York Pride parade photo archive showing drag royalty queer pageantry and public LGBTQ Pride in Manhattan circa 2000 when court organizations used coronation ritual and performance spectacle to make gay community work visible in the street. The Imperial Court System was founded in 1965 by José Sarria the San Francisco performer and activist who became the first openly gay candidate for public office in the United States in 1961 and the Imperial Court of New York was founded in 1986 under Emperor I George and Empress I Sybil Bruncheon. The New York court describes itself as a social and fundraising organization that has raised money for social service and health support organizations placing these photographs within a culture of drag performance tied to HIV/AIDS support social visibility and charitable work in the tri state area. Photo archive of 9 chromogenic color photographs each 6 x 4 inches New York City circa 2000. The photographs show an Imperial Court of New York float in a Pride parade with participants in crowns tiaras formal wear pink sequined costumes curled wigs red lipstick and court regalia performing camp monarchy before spectators behind barricades. Float signage reads "Imperial Court New York" and "Imperial Court" while another photograph shows the rear of the float framed by rainbow bunting a painted crown and a papered platform carrying costumed titleholders and attendants. Other images show parade marchers and street performers in drag leather rainbow wings and bright costume elements including a performer in a horned headpiece and black corset another in blue hair and a short white dress and a figure wearing rainbow colored wing panels before a dense sidewalk crowd. NYPD presence is also documented in the photographs. The group records a local chapter of a national queer court culture using royal titles camp hierarchy and public spectacle to convert drag performance into civic and charitable presence. The International Court System identifies its chapters as courts with elected leaders bearing titles such as emperor empress prince and princess and describes their work through coronation events drag performances and community activities supporting LGBTQ rights social services and charitable causes. In these photographs that structure appears not as an indoor gala or bar revue but as a public Pride procession where formal gowns crowns float signage and playful monarchy announce the court to spectators in the city that had become central to national gay liberation memory after Stonewall. Clean versos; images bright with good color and sharpness. Overall in very good condition. The photo archive documents the Imperial Court of New York drag pageantry carrying fundraising culture camp royalty and LGBTQ community visibility into the public space of Manhattan Pride. unknown
1950réf. 236641950. American cross dressing performance photo archive depicting cisgender men modeling women's bathing suits skirts jewelry and accessories before a mixed audience circa 1950s when gender nonconformity remained vulnerable to public condemnation employment discrimination police surveillance and prosecution under local masquerade and public decency laws. The photographs record gender play within a communal entertainment setting where exaggerated poses costume changes and spectators' laughter temporarily displaced the rigid standards governing masculine appearance in postwar public life. Neither the performers' identities nor their sexual orientations are established but the event preserves a social space in which femininity could be assumed displayed and applauded by men and women. Photo archive of 10 silver gelatin photographs each 3.5" x 3.5" United States circa 1950s. The photographs show several men taking turns before an audience inside a wood paneled bar diner lodge or social hall. Performers model floral and striped bathing suits short skirts necklaces earrings head coverings sunglasses handbags and other accessories sometimes standing with hands on hips or adopting runway poses associated with fashion modeling and beauty contests. One man walks past seated spectators carrying a handbag; another poses beside a jukebox; others appear in groups as participants watch wait or compare costumes. A tattooed performer sits at a counter while applying or adjusting makeup preserving an informal backstage moment within the evening. Women and men sit close to the improvised runway and an illuminated "Exit" sign recurs behind the performers. Cross dressing revues occupied an unstable position in midcentury American culture. Professional female impersonation appeared in traveling productions and nightclub programs including the nationally touring Jewel Box Revue during the 1950s while comparable conduct outside theatrical settings could expose individuals to arrest harassment or forced disclosure. The federal Lavender Scare begun in 1950 treated homosexuality and perceived sexual nonconformity as threats to employment and national security reinforcing the pressure to conceal identities and relationships. This event appears less formal than a commercial revue locating gender performance within an ordinary social gathering where friends and patrons participated as performers witnesses and judges. Light surface wear curling occasional creasing and small edge losses with a larger tear affecting the borders of two photographs; images retain generally strong contrast. Overall in good condition. A compact visual record of men testing the boundaries of acceptable dress and gendered behavior through fashion parody embodied performance and collective amusement in 1950s America. unknown
1982réf. 237491982. Nine works of trans and cross-dressing erotic fiction circa 1980s to 1990 documenting a specialized adult market for fiction centered on feminization gender-role reversal and fantasies of sexual and social roles outside conventional heterosexual gender roles. The narratives range from cross dressing to l transformation. Several titles were issued by Cathy Charles Slavik's Empathy Press of Seattle a mail order publisher specializing in transgender cross dressing LGBT erotic fiction. Archive includes nine staple bound fiction booklets all approximately 45-65 pp.: 1 "Skirted Men. Book 9." Empathy Press Seattle 1982. 2 "Skirted Men. Book 24." Empathy Press Seattle 1984. 3 "Transvestite Training Camp." Empathy Press circa 1986. 4 "Men in Skirts. Book 37." Empathy Press Seattle 1987. 5 "Guys in Gowns: Transvestite Adventure Stories. Book 81." Empathy Press Seattle 1990. 6 Wilson Joanne. "He's the New Girl in Town." 1990. 7 "Transvestite Sissy." Empathy Press attribution established externally; no imprint in this copy. 8 "Queen of the Square Dance." Publisher unidentified circa 1980s. 9 "Vacation Transvestites." Publisher unidentified. The booklets preserve evidence of an underground market for queer erotic material and gender play from a period when public representation of trans and gender-nonconforming sexuality remained limited. Empathy Press marketed this fiction alongside a larger catalogue of explorative transgender and cross-dressing books magazines films tapes contacts and related adult material while the unidentified publications demonstrate the same broader commercial appetite for a feminization cross dressing and gender transformation narratives. Moderate toning rubbing edge wear and occasional soiling to wrappers; staples intact. Overall good condition. A concentrated group of 1980s fetish fiction documenting the commercial development of cross dressing progressive feminization and gender transformation as specialized categories of adult print culture. unknown
1991réf. 237521991. Three works of transvestite and gender transformation fiction by Jan O'Sullivan Susan Peerless and Michelle Lange published 1991 to 1992 for a readership developing literary and social networks outside mainstream publishing. Issued by Empathy Press and Reluctant Press the novels center on forced feminization domestic service supernatural transformation and cross-gender identification using contemporary publisher terminology including "Transvestite Fiction Fantasy" and "TV" fiction. Michelle Lange also appeared in "The TV TS Tapestry Journal" published by the International Foundation for Gender Education where she described her interest in domestic service sought correspondence with others and stated that she collected and wrote stories drawn from experiences and fantasies. Reluctant Press advertised in "Tapestry" as well placing both within the underground national print network through which crossdressers and trans people exchanged writing correspondence and commercial resources in the early 1990s. Three staple-bound illustrated fiction booklets each approximately 5½ x 8½ inches published 1991 to 1992: 1 O'Sullivan Jan. "School for Shemales." Seattle: Empathy Press 1991. 50 pp. "A Transvestite Fiction Fantasy." 2 Peerless Susan. "Spirit of a Lady." Alexandria Virginia: Reluctant Press 1992. 84 pp. Illustrated by Brian Dukehart. First printing. Peerless was a recurring Reluctant Press author with other fiction issued by the press including "Two Pink Ladies" "An Antebellum Way of Life" "Unchained Bride" and "Georgio & Zoe." 3 Lange Michelle. "Mademoiselle's Replacement." Alexandria Virginia: Reluctant Press 1992. 64 pp. Illustrated by Brian Dukehart. First printing October 1992. The publisher's introductory text identifies Lange as the author of the earlier "Forced to be A Maiden Person" and describes the story as "a delightful version of a young man being transformed into the perfect French maid." Under the same name in "TV TS Tapestry" Lange described enjoying domestic service from the servant's point of view and writing stories based on "experiences and fantasies." The three booklets belong to the early-1990s cross-dressing and trans print culture represented by "TV TS Tapestry" which carried erotic fiction personal ads medical and legal writing and advertising from publishers including Reluctant Press. Lange's contribution provides a direct link between commercial transformation fiction and that wider community print network: her interest in domestic service appears both in her published fiction and in her own "Tapestry" statement. The books retain the period's terminology including "Transvestite" "TV" and "transsexual" while their publishers and authors operated within a market where erotic transformation fiction circulated alongside personal correspondence community information organizations and other services. Light rubbing and toning to wrappers with minor handling wear and retail labels to covers; interiors appear clean and intact. Overall very good condition. A concentrated group of early-1990s gender transformation fiction from the commercial and community print culture serving cross-dressing and trans readers. unknown
1970réf. 239451970. 1970s drag gala and showgirl photo archive depicting costumed performers gender transformation erotic display and nightlife during a decade when gay liberation and the broader sexual revolution challenged established boundaries governing sexuality dress and gender presentation. Several photographs carry December 1973 processing dates placing part of the archive only four years after Stonewall and three years after the first Christopher Street Liberation Day marches brought a new gay liberation politics into American public life. The photographs concentrate on the social life within through parties galas clubs and other gathering spaces in which men and women could adopt extravagant personae expose or transform their bodies and participate in forms of gender presentation that remained subject to discrimination and in some jurisdictions police scrutiny outside such settings. Drag organizations themselves were contesting those restrictions during these years; the Queens Liberation Front campaigned against cross dressing laws and began publishing Drag in 1971 as a forum for drag and gender nonconforming communities. Photo archive of 23 chromogenic color photographs ranging from approximately 3.5 x 4 to 4 x 6 inches circa 1970s with several prints dated December 1973. The photographs show showgirls and drag performers in feathered headdresses rhinestone and pearl covered costumes gowns masks lingerie boas wigs theatrical makeup and revealing stage clothes. A blonde showgirl repeatedly poses in an elaborate white jeweled costume with a towering feathered headdress and fan both alone and beside a woman in a floral dress. Other photographs show performers in enormous white wigs and feathered costumes a figure enveloped in a tiered ruffled gown masked men in minimal costumes and participants mingling in crowded interiors. Several scenes are particularly physical: a nearly nude masked man dances in briefs and boots beneath a feathered headdress; another performer wears a bikini style costume with white fur; dancers in abbreviated stage costumes pose and move beneath colored lights. Six square prints record individual performers onstage in feathered and ruffled costumes preserving the performance itself rather than only posed portraits before or after it. Men and women appear as performers companions and spectators and the photographs repeatedly move between staged glamour and informal social interaction. One outdoor image depicts costumed participants near a banner extending the material beyond the interiors represented elsewhere in the group. The archive belongs to the decade in which post Stonewall liberation politics and older drag traditions increasingly overlapped with a broader culture of sexual experimentation. The first Pride march in 1970 emerged directly from resistance to police harassment and anti homosexual laws while drag queens and gender nonconforming participants occupied a contested position even within gay liberation. Contemporary drag culture was simultaneously developing its own institutions and media. Drag magazine recorded performers clubs legal struggles and community life beginning in 1971 while Female Mimics in 1974 reported on performance venues and offered readers information about makeup clothing and drag presentation. The private and semi private interiors represented here show another dimension of that history: spaces in which elaborate femininity male erotic display masquerade nudity and transformations of conventional gender presentation could function as entertainment and as social practice among participants and spectators. Light surface and handling wear occasional scratches and minor fading or color shift; several prints show period processing marks. Overall in very good condition. A concentrated visual record of drag pageantry showgirl spectacle sexual display and the social spaces in which men and women experimented with gender and self presentation during the sexual liberation era. unknown
1990réf. 239441990. West Hollywood Halloween and drag photo archive showing gay nightlife costume performance and gender play at the city's Halloween celebration circa 1990s when the annual event was developing into one of the country's largest public Halloween gatherings. West Hollywood occupied an exceptional position in American gay civic life by this period.Incorporated in 1984 through a coalition that included LGBT activists its first City Council became the first municipal governing body in the United States with an openly gay majority and the new city quickly enacted protections against discrimination based on sexual orientation and against people with HIV and AIDS.The Halloween Carnaval formally launched in 1987 from earlier gay Halloween gatherings along Santa Monica Boulevard gave that political and social visibility a mass public expression through drag costume performance and occupation of the street. WeHo By 1995 contemporary reporting described nearly 100000 people converging on West Hollywood for Halloween and traced the celebration to gay men who had begun gathering there more than two decades earlier. Photo archive of 41 chromogenic color photographs each approximately 4 x 6 inches West Hollywood California circa 1990s. The photographs record drag queens gay men and other costumed participants moving through a crowded nighttime celebration frequently stopping to pose embrace dance and perform for the camera. Costumes range from Snow White and other fairy tale figures to nurses brides cowboys showgirls geisha inspired characters with parasols Egyptian royalty devils flight attendants and performers in elaborate gowns lingerie wigs feathers sequins jewelry and theatrical makeup. Several photographs concentrate on coordinated groups: three figures appear in matching blue dresses and white caps; blond performers carry circular signs reading "Air Head Airlines"; a nurse wears white with prominent red crosses; and bridal and princess costumes recur in exaggerated forms. Other images capture pairs embracing friends laughing for the camera performers dancing among spectators and men adopting deliberately heightened feminine personae through padded bodies evening dresses high heels wigs cosmetics and jewelry. The recurring participants and crowded surroundings preserve the Carnaval as a social event rather than simply a costume display recording interaction between drag performers friends spectators couples and other revelers within West Hollywood's nightlife environment. The photographs belong to a specific history of West Hollywood as both a center of gay life in Southern California and a municipality in which LGBTQ political power became part of civic identity. The city's connection to gay activism preceded incorporation: Los Angeles Pride moved to West Hollywood in the 1980s while local organizing around gay rights HIV and AIDS domestic partnership and discrimination shaped the government established in 1984. Halloween developed within that environment as a particularly visible form of queer public culture. A 1995 Los Angeles Times account described gender bending costume as a defining feature of the West Hollywood celebration even as its popularity brought an increasingly broad public audience. As the scale continued to grow the City later described the Carnaval as the country's largest outdoor Halloween celebration and has recorded attendance estimates reaching hundreds of thousands while identifying costumes exhibition performance and self expression as defining elements of the event. These photographs capture that culture during the 1990s when an event rooted in gay community life was becoming a mass regional spectacle without losing drag and gender transformation as central forms of participation. Light surface wear and occasional handling marks; images remain strong and legible. Overall in very good condition. A substantial photographic record of West Hollywood Halloween at the intersection of gay civic identity drag culture gender performance and one of the nation's largest public Halloween celebrations. unknown
1960réf. 234611960. Gender nonconforming and drag performance photo archive documenting queer social gatherings costume performance pageantry and private queer community life from the 1960s through the 1990s. The photographs preserve a period when drag culture existed simultaneously in nightlife informal house parties outdoor gatherings and small community events often outside mainstream visibility. Long before drag became widely commercialized through television and corporate entertainment circuits queer performers and gender nonconforming individuals built their own social spaces through costume parody theatricality and communal celebration. Photo archive of 22 color and silver gelatin photographs ranging from small vernacular snapshots to larger prints United States circa 1960s-1990s. Several images center on a recurring bridal drag performer wearing lace wedding dresses veils floral bouquets wigs and exaggerated makeup while posing beside guests in tuxedos theatrical costumes and evening attire. Other photographs depict individuals in burlesque-inspired outfits feather boas crop tops wigs and handmade dresses posed indoors and outdoors at parties picnics and performance-like gatherings. One outdoor scene shows two figures in matching feminine costumes smiling arm in arm while additional images record staged poses beside vehicles improvised dance or performance gestures and casual snapshots emphasizing glamour and gender transformation. The archive repeatedly shifts between formal costume display and relaxed social interaction grounding drag not only as stage entertainment but as an everyday form of queer expression and community-making. The photographs align with broader developments in post-Stonewall queer culture when drag performance expanded from underground bars and private parties into increasingly visible forms of social and artistic expression. During much of this period openly gender nonconforming presentation still carried substantial social and legal risk especially outside major urban nightlife districts. This archive preserves the social fabric surrounding drag culture through intimate portrayals of friendships amateur performance gender experimentation and private community environments that sustained queer life across several decades. Light handling wear scattered creasing and occasional fading consistent with vernacular snapshot use. Overall in good condition. unknown
1940réf. 226681940. LGBTQ Drag Archive of Finocchio's nightclub materials 1940s-1950s one of the earliest and most influential drag venues in the United States. Founded in 1936 at 506 Broadway in San Francisco Finocchio's emerged from Depression-era nightlife to become a nationally recognized stage for female impersonation at a time when queer expression was routinely policed and publicly stigmatized. Operating decades before the gay liberation movement the club cultivated a space where gender illusion theatrical glamour and camp spectacle were presented for mixed audiences from San Francisco's gay community to tourists and Hollywood figures. Six items. San Francisco 1940s-1950s. The archive is anchored by a large-format performance booklet featuring illustrated cover artwork by performer and artist Li-Kar and interior photographic portraits of principal female impersonators in elaborate costume. Substantially larger than standard venue handouts the booklet is a visually ambitious souvenir highlighting star performers through graphic design and photography. Also included are a smaller illustrated promotional drink menu and four souvenir postcards depicting the revue cast in sequined gowns chorus-line formations and staged tableaux. Measurements range approximately from 4 x 6 inches to 8 x 11 inches. During the 1940s and 1950s as policing of queer bars intensified in many American cities Finocchio's maintained a visible and commercially successful presence marketing itself with the slogan "The most interesting women are not women at all." Its stage featured performers who helped bring female impersonation into mainstream entertainment in the U.S. Minor edge wear and light handling creases; printed surfaces remain bright with strong image clarity. Overall very good condition. unknown
1969réf. 229941969. LGBTQTransgenderCross-Dressing Anonymous. Miss High-heels. New York: Grove Press Inc. 1969. First U.S. edition. Octavo. Lime green cloth boards in original photo-illustrated dust jacket. First published anonymously in Paris in 1931 Miss High-heels is an infamous work of fetishistic and feminization-themed erotica presented here in its first U.S. printing by Grove Press known for its defiance of censorship and promotion of transgressive literature. The novel tells the story of Dennis Evelyn Beryl a young effeminate English aristocrat who under the coercive influence of his domineering step-sister Helen is gradually transformed into "Denise" the titular Miss High-heels. Framed as a fictional memoir penned at Helen's command the narrative follows Dennis's journey from privileged heir to submissive cross-dresser. He is forced into girls' school stripped of masculine identifiers and eventually returned to the family estate clothed in "diamond-buckled satin slippers" and "the finest silks and satins" fully assuming the role of a "fetichiste-du-pied." Themes of humiliation and gender inversion mark the main character's transition as a fetish story but the book also allows for them to feel comfortable in their new identity: "Eventually Dennis is brought to realize how much more pleasurable is his life as a young girl and he willingly abandons his name fortune and life to the whims of Helen." Notable both for its elaborate prose and for its early depiction of forced feminization fantasy Miss High-heels occupies a space between pornography and proto-trans literature which would later flourish in small press chapbook format in the 80s and 90s. While drenched in the misogynistic and sadomasochistic tropes of its genre the text is nevertheless of interest among scholars of queer publishing history. Binding tight and square; boards clean; jacket bright with light shelfwear and a single 1/2 in closed tear at the top margin of front panel. Overall near fine in very good dust jacket. A historically resonant text in trans and fetish literature. unknown
1880réf. 230281880. Cross-dressing Archive of six 19th century photographs of cross-dressing performers Springfield Illinois capturing early American drag performance during a period when public cross-dressing outside performance contexts could provoke not only social but legal backlash. These cross dressing portrait photographs created in Springfield Illinois during the late nineteenth century document early visual culture of gender nonconforming performance in the United States decades before modern LGBTQ identities were publicly articulated. The photographs show male individuals posed in women's clothing and adopting stylized feminine presentation part of a broader nineteenth century culture in which gender impersonation circulated in entertainment spaces private gatherings and visual novelty photography while remaining socially and legally sensitive in everyday life. Public cross dressing outside stage contexts could provoke moral condemnation and in many cities legal sanction under emerging anti cross dressing ordinances that appeared in the late nineteenth century. Portraits such as these therefore preserve rare visual evidence of early drag presentation and gender play at a moment when photographic studios documented identities and performances that existed at the margins of accepted social norms such portraits illuminate early emerging cross-dressing long before twentieth century drag entertainment or even the articulation of modern LGBTQ identities. Six original photographs produced in Springfield Illinois ca. 1880s to 1890s consisting of five cabinet cards and one tintype depicting cross dressing individuals posed in elaborate women's attire. The cabinet cards bear the imprint of Kessberger and Georg Studio of Springfield. Subjects appear against painted studio backdrops typical of commercial portrait photography of the period. Costumes include knee length dresses with lace trim aprons bows bonnets stockings and heeled shoes with attention given to wigs coiffure and accessories. Several figures hold musical instruments including trombone cornet and clarinet suggesting coordinated presentation or group identity among the sitters. Gestures emphasize stylized femininity including a figure lifting a skirt in exaggerated pose and another standing with hand placed at the hip. Also includes one smaller tintype photograph shows a similarly costumed man with a tick mustache in women's nightgown and holding a parasol. Cabinet card mounts show moderate edge wear and minor corner bumping with light surface scratches typical of late nineteenth century albumen studio photography. Images remain clear with strong contrast and well preserved costume detail. Overall Very good condition. Together the photographs form a cohesive visual archive documenting late nineteenth century cross dressing and early drag presentation in the American Midwest preserving rare photographic evidence of gender non conforming identity and performance practices that circulated in American culture long before twentieth century LGBTQ communities began to organize publicly. unknown
