Wojciech DragBiblio.com
144 risultati
rif. 44015097like new. unknown
rif. A9781032239811Paperback / softback. New. paperback
19761,025 pages. "Includes papers on a variety of topics, especially aeronautics. Early work of the National Advisory Committee for Aeronautics on aircraft stability and control appears in the first section and is followed by original contributions in airfoil theory, including theories of sweptback and slender airfoils. Several papers are devoted to the theory of minimum drag and to the theory of the oblique wing. Papers on geometrical optics appear next. Perhaps the most significant of these is the design of a fast (F/.66) monochromatic lens based on an inversion of the Schmidt arrangement. Several papers based on work of Avco-Everett Research Laboratory on cardiac assist devices are included and show elementary applications of fluid dynamics to the design of blood pumps and in particular the intra-aortic baloon pump. The last section presents some simple heuristic techniques in relatistic kinematics - based on conformal coordinates in two dimensions. Here the application to space-like motions provide an interesting duality with einsteinian kinematics." - from Abstract. Above-average but not excessive wear. Binding intact. Unmarked. Two inch tape repair to top of front cover at spine. A sound copy. Book
1917rif. List3648New York City: Leo. Feist Inc. and others 1917. Five pieces of sheet music see full inventory below. Overall very good plus. Julian Eltinge 1881–1941 was the most commercially successful and popular female impersonator of his time. Beginning with drag performances in his adolescence he developed a convincing portrayal of female characters—shocking audiences at the end of shows by revealing that he was in costume—and had a successful career on the vaudeville circuit and on Broadway followed by appearances in several silent films and as mores around crossdressing changed in nightclubs. Offered here are five pieces of sheet music written for Eltinge three of which are from the 1910 musical comedy The Fascinating Widow. A New York Times review of the Widow remarks that “once over the initial unpleasantness of the idea of female impersonation which is not easy for people of delicate sensibilities there is nothing especially displeasing about Mr. Eltinge’s efforts at femininity” and notes Eltinge’s popularity and ability to draw crowds.1 Titles Included: “In the Land of Wedding Bells.” Howard Johnson and Geo. W. Meyer. New York: Leo. Feist Inc. 1917. 4 pp. Very good plus. “The Crinoline Girl”. Julian Eltinge and Percy Wenrich. New York: Leo. Feist 1914. 6 pp. Very good. “The Fascinating Widow”. E. Ray Goetz and Kerry Mills. New York: F.A. Mills Inc. 1911. 8 pp. Near Fine. The Fascinating Widow “Jack-O-Lantern Moon”. Julian Eltinge Jack Mahoney and Percy Wenrich. New York: The Wenrich-Howard Co. 1913. 6 pp. Very good. The Fascinating Widow “With Down-Cast Eye”. Otto Hauerbach and Karl Hoschna. New York Chicago San Francisco London and Paris: M. Witmark & Sons 1910. 6 pp. Excellent. 1 “Eltinge in Musical Play. Female Impersonator Seen at the Liberty in ‘The Fascinating Widow.’” The New York Times September 12 1911. Leo. Feist Inc. and others unknown
1917rif. List3648New York City: Leo. Feist Inc. and others 1917. Five pieces of sheet music see full inventory below. Overall very good plus. Julian Eltinge 1881–1941 was the most commercially successful and popular female impersonator of his time. Beginning with drag performances in his adolescence he developed a convincing portrayal of female characters—shocking audiences at the end of shows by revealing that he was in costume—and had a successful career on the vaudeville circuit and on Broadway followed by appearances in several silent films and as mores around crossdressing changed in nightclubs. Offered here are five pieces of sheet music written for Eltinge three of which are from the 1910 musical comedy The Fascinating Widow. A New York Times review of the Widow remarks that “once over the initial unpleasantness of the idea of female impersonation which is not easy for people of delicate sensibilities there is nothing especially displeasing about Mr. Eltinge’s efforts at femininity” and notes Eltinge’s popularity and ability to draw crowds.1 Titles Included: “In the Land of Wedding Bells.” Howard Johnson and Geo. W. Meyer. New York: Leo. Feist Inc. 1917. 4 pp. Very good plus. “The Crinoline Girl”. Julian Eltinge and Percy Wenrich. New York: Leo. Feist 1914. 6 pp. Very good. “The Fascinating Widow”. E. Ray Goetz and Kerry Mills. New York: F.A. Mills Inc. 1911. 8 pp. Near Fine. The Fascinating Widow “Jack-O-Lantern Moon”. Julian Eltinge Jack Mahoney and Percy Wenrich. New York: The Wenrich-Howard Co. 1913. 6 pp. Very good. The Fascinating Widow “With Down-Cast Eye”. Otto Hauerbach and Karl Hoschna. New York Chicago San Francisco London and Paris: M. Witmark & Sons 1910. 6 pp. Excellent. 1 “Eltinge in Musical Play. Female Impersonator Seen at the Liberty in ‘The Fascinating Widow.’” The New York Times September 12 1911. Leo. Feist Inc. and others unknown books
1966rif. mon0000496986Collins 1966T. hardcover. Good. in x in x in. This is the 1970 Collins reprint. NOT an ex-library book. Clean copy in good condition. Collins hardcover
1953104 pages. Features: .Great colour photo ad for Chevrolet Trucks inside front cover; New Holland forage harvester ad featuring their Flo-Trac feed; Nice Buick ad; Great colour one-page ad for Lucky Strike cigarettes; Photo of Footballer Bobby Layne is featured in a Prest-o-lite battery ad; Nice color-photo one-page ad for International Harvester tractors features their Farmall Fast-Hitch; Let's eally Sell Milk; How to stay in the Beef business with Brood Cows and Feeder Cattle; Is Your Pond a Money Maker?; International Trade Makes You Prosperous; Jabez and the Devil's Seat; Careful Credit can work for you; Sweet color ad for Studebaker Trucks; Meet-type hogs save time and feed; Low-cost housing for small flocks of hens; "Ferguson 30" tractor ad; Great color-photo one-page ad for New Idea pickers; Great photo ad for Willys Jeeps and 4-Wheel-Drive trucks; Great GM auto products color centerfold displays many of their brands/products; Checking your cattle for 'Slow Drag"; Kohler Electric Plants (Generator) ad; Rhubard Ridge cartoon; Margaret Lindsay appears in a colour photo ad for Crosley fridges; Nice Ford car ad; Opera for Everybody; Colour fashion photos show creations by designer Helen Rose of M-G-M; Basic training for your dog; Article on teaching children the facts of life by Beulah France, R.N.; Ann Delafield cosmetics ad features her photo; Pansies for Sale - a nice small business; Nice one-page colour photo ad for 7UP features a family picnic of fried chicken; Just What is Wrong with Abundance?. Moderate wear. Unmarked. Binding intact. A sound vintage copy. Magazine
rif. 46793974-nnew. unknown
rif. 46793974like new. unknown
2025rif. x-1032662395Routledge 2025. Paperback. New. 216 pages. 9.00x6.00x9.00 inches. Routledge paperback
2024rif. x-1032662360Routledge 2024. Hardcover. New. 200 pages. 9.00x6.00x0.68 inches. Routledge hardcover
1982rif. 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
1982rif. 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 books
1920rif. 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
1920rif. 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 books
1975Mm 150x210 Ristampa anastatica dell'edizione di Firenza, Formigli, 1834. Brossura editoriale di 45 pagine. Copia molto buona. SPEDIZIONE IN 24 ORE DALLA CONFERMA DELL'ORDINE.
SAINTES, Ed. Les Chemins de la Mémoire - Coll. "Mémoire et Société" - In-4 - Broché - Couverture illustrée - Très nombreuses illustrations NB dans le texte et HT - 180 pages - Bon exemplaire
rif. 16986SAINTES, Ed. Les Chemins de la Mémoire - Coll. "Mémoire et Société" - In-4 - Broché - Couverture illustrée - Très nombreuses illustrations NB dans le texte et HT - 180 pages - Bon exemplaire
1957rif. qq1951Plon Relié 1957 In-8 (15 x 21 cm), relié demi-toile, dos lisse avec titre et auteur dorés, couverture d'origine illustrée conservée, 301 pages, 28 illustrations hors-texte, 15 illustrations dans le texte ; dos légèrement insolé, des marques d'usage au 1er plat d'origine, légères rousseurs à l'intérieur plutôt frais, bon état général. Livraison a domicile (La Poste) ou en Mondial Relay sur simple demande.
1994Includes the following issues from 1994: February, March, April, May, June, August, September, November, December. Topics include: The Red Sea; Mexico Revisited; Dugong - Homely Mermaids; Slingsby Channel, B.C.; Flagship of the Muskokas; Thailand Daytrips and Liveaboards; New Caledonia; Lake Erie Shipwreck - Carlingford; Indonesian Princess - Island Hopping; Nova Scotia; Dive the Brae; Cayman Islands; Cetacean Encounter - Dolphins; Ten Best Dives in the West; Choose a Suit; Disable Divers; Swimming Scallops; U.S.S. Monitor Update; Coral in the Maldives; Beach Access in B.C.; Shipwreck - President Coolidge; Nova Scotia's 'Vienna'; Choosing a Mask; Shooting at Night; Spacious 'Lady Goodiver'; Lost Steamer 'Colonial'; Palau - 10 Great Sites; B.C.'s Magnificent Red Coral; Elusive Cuttlefish; Port Colbourne - Raleigh; Adams River Salmon Run; Grunt Sculpins; Is Liveaboard Diving For You?; How to Win Underwater Photo Contests; Snorkelling Gear for Summer Fun; Seymour Inlet Lodge; Sinking of the HMCS Saguenay; God's Pocket; Kona Coast, Hawaii; Fiji; Solomon Islands; Light Meters; Underwater Time-Keeping; Ghost Ship of the Muskokas; Duel at Swordfish - Victoria, B.C.; B.C. Garden of Sponge; Voyage Aboard Nai'a; Best of the Caribbean; Anemones - they're everywhere!; Diving is the Pits - in Minnesota; Whytecliff Park, B.C. - a favourite local dive; Telegraph Cove, B.C. - North Island Diving; Canada's Arctic; Sipidan and Sangalakki; Cape Cod. Moderate wear. Clean. Quality copies. Book
1996rif. 49869CBSterckshof, Provinciaal Museum, 1996. 4°. 27 cm. 254 Seiten. Original-Karton.
rif. 59019, Tectum Publishers 2012, 2012 Hardcover, 160 pages, NL / ENG / FR / ITA, 290 x 290 mm, book is in very good condition, with 150 perfect clear pictures in gorgeous colours, some models make you think twice : man or woman, . ISBN 9789461580290.
1960rif. 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
1960rif. 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 books
1970rif. 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
