View allAll Photos Tagged George
Please board the revolution here.
--
This image is part of a continuing series following the unrest and events in Minneapolis following the May 25th, 2020 murder of George Floyd.
Mercedes Benz Tourismo (Tri axle) - C55Ft - new in May 2014 to Evobus, Coventry (Demonstrator to numerous operators) - with George Edwards Jan 2016
Belgian 10 Euro coin issued on the 100th anniversary of his birthday. Most published author of the 20th century.
There were TV series of his Commissioner Maigret character in about 8 different countries.
"George Washington" (1960) by C. Edgar Patience at the Pennsylvania Anthracite Heritage Museum in Scranton, PA.
British postcard, no. 58. Photo: Paramount Pictures.
American actor George Raft (1901-1980) was born and grew up in a poor family in Hell's Kitchen, at the time one of the roughest, meanest areas of New York City. With his dark good looks and sharp dressing, Raft tried his luck in Hollywood. His first big role was as the coin-tossing henchman in Scarface (1932). His career was marked by numerous tough-guy roles, often a gangster or convict. The believability with which he played these, together with his lifelong associations with real-life gangsters like Bugsy Siegel, added to persistent rumours that he was also a gangster. The slightly shady reputation helped his popularity early on, but it made him somewhat undesirable to movie executives later in his career. He somewhat parodied his gangster reputation in Billy Wilder's Some Like It Hot (1959).
George Raft was born George Ranft in New York in 1901. He was the eldest of ten children of German immigrant Conrad Ranft and his wife Eva Glockner. His parents worked as dancers in New York nightclubs. George grew up in poor circumstances in Hell's Kitchen, at the time one of the roughest, meanest areas of New York City. George Raft spoke fluent German, which he had learned from his parents. In his childhood, he befriended the later mobsters Bugsy Siegel and Owney Madden, who grew up in the same neighbourhoods as he did. The friendship between Siegel and Raft lasted a lifetime, with Raft making Siegel's acquaintances in Hollywood and using his popularity to support him in courtroom prosecutions. Raft ran away from home at the age of 13. In his younger years, he tried his hand as a boxer, taxi driver and nightclub dancer. His success as a dancer in New York nightclubs led him to Broadway, where he also worked as a dancer. Fred Astaire, in his autobiography 'Steps in Time' (1959), said Raft was "the neatest, fastest Charleston dancer ever. He practically floored me with his footwork." George Raft married Grayce Mulrooney in 1923 but soon after they would divorce. Grayce, a devout Catholic, refused Raft a divorce, however, and he remained married to her until her death in 1970. Raft later had several relationships with Betty Grable and Mae West. He appeared with Mae West in both her first film, Night After Night (Archie Mayo, 1932) and her last film, Sextette (Ken Hughes, 1977). He openly declared that he wanted to marry Norma Shearer, but his wife's refusal to divorce meant that his wedding plans came to nothing.
George Raft moved to Hollywood in 1929 and first played small roles there. His success came in Scarface (Howard Hawks, 1932). He played Guino Rinaldo, the aspiring gangster partner of Paul Muni, who is ultimately killed by him because of an affair with his sister. Raft's charisma made him an ideal gangster on the silver screen. Raft solidified his reputation as a movie star in the 1930s with crime and gangster films such as The Glass Key (1935). In 1938 he played the male lead in You and I, directed by Fritz Lang. He was one of the most popular actors in gangster roles of the 1930s, with James Cagney and Edward G. Robinson. Raft and Cagney worked as convicts in a prison in Each Dawn I Die (William Keighley, 1939). From 1945 his popularity waned and from then on he was mostly seen as the lead in B-movies in Film Noir style. He also took leading roles in European films. In the 1950s, Raft, along with Kosher-Nostra head Meyer Lansky and mob boss Santo Trafficante, opened the Capri Casino in Havana, which was initially financially successful. However, he lost it in 1959 to the revolution in Cuba. In 1965, Raft was accused of tax evasion because of his financial problems. However, he got off with a suspended sentence as he pleaded guilty. In 1967, Britain banned him from entering the country because of his Mafia contacts. One of his best-known later film appearances was in the comedy classic Some Like It Hot (Billy Wilder, 1959), where he played the gangster boss "Spats Colombo" in a parody of his usual roles. Some Like It Hot became one of Raft's last major film appearances. In the 1960s and 1970s, the veteran star mostly had to settle for cameo appearances. Raft's last film Sam Marlow, Private Detective (Robert Day, 1980) was released in the last year of his life and was a tribute to his co-star Humphrey Bogart. George Raft died of leukaemia in Los Angeles in November 1980 at the age of 79. He was buried in Forest Lawn Memorial Park.
Sources: Ken Yousten (IMDb), Wikipedia (Dutch and English) and IMDb.
And, please check out our blog European Film Star Postcards.
George's (@bagged_cc) bagged CC on K3 Projekt IND-SB6s.
Don't forget to like us on facebook: Blacklight Propaganda
Follow me on Instagram: @SneakerHeadAJS4 or our page @BlacklightPropaganda
Impression of the Seal of the Guild of St George, Ferrara.
Italian gilt-bronze, 13th Century, in an exhibition in the British Museum.
George Hendrik Breitner, Girl in Red Kimono, Geesje Kwak, 1893–95. Oil on canvas, 24 x 19 1/2 in. Noortman Master Paintings, Amsterdam. On behalf of private collection, Netherlands.
All kinds of things happening this weekend and I have a music video to shoot up in Whistler in the morning.
George's (@stancyvw) bagged CC on K3 Projekt IND-SB6s.
Don't forget to like us on facebook: Blacklight Propaganda
Follow me on Instagram: @BP_AJ or our page @BlacklightPropaganda
GEORGE FREEMAN QUARTET - live@inntoene Festival 04.06.2017 - weitere Fotos unter:
www.jazzfoto.at/konzertfotos17/_inntoene_2017/george_free...
Jazz am Bauernhof
Besetzung:
George Freeman: guitar
Osian Roberts: sax
Jan Korinek: hammond organ
Jeff Boudroux: drums
A poster at George Floyd Square.
--
This image is part of a continuing series following the unrest and events in Minneapolis following the May 25th, 2020 murder of George Floyd.
(Edited to add answer key)
I shot the same scene with eight different imaging devices. Which device shot George best?
Each photo was shot in full-auto mode and I made no adjustments to the image afterward. All I did was crop and scale each one to a size of 2048 pixels to facilitate your side-by-side comparison. Go ahead and click through to the full-size version if y'like.
To give you some idea of the detail in the image, I've also compiled a lightbox of thumbnails, clipped from the same region of the image at the file's full original resolution (and then scaled to common dimensions).
What to you think? Leave your comments in the comments. I'll post the "answer key" after these have been online for a bit.
French postcard.
Handsome and athletic Georges Marchal (1920-1997) was one of the main lead actors in the French cinema of the 1950s, together with Jean Marais. He starred in several costume dramas and Swashbucklers and later appeared in films of Luis Buñuel.
Georges Marchal was born as Georges Louis Lucot in Nancy, France, in 1920. In Paris, he followed secondary school, and then took classes in ballet and acrobatics. Many odd jobs followed, like courier, docker at the Les Halles market, and assistant at the Medrano circus. He enrolled in the course of Ms. Calvi, and was hired at the Théâtre du Palais-Royal for the play 'Permission de détente' (Permission to relax) by Yves Mirande. At 20, he joined the Comédie-Française to play in 'Iphigénie et Psyché' (Iphigenia and Psyche). He soon also played in boulevard comedies. His film career started with the comedy Fausse alerte/The French Way (Jacques de Baroncelli, Bernard Dalban, 1940) starring Josephine Baker, which was only released in 1945. During the Occupation days, he was noted in Lumière d'été/Summer Light (Jean Grémillon, 1943) opposite Madeleine Renaud, Vautrin/Vautrin The Thief (Pierre Billon, 1943) with Michel Simon, and after the war, in Au grand balcon/The Grand Terrace (Henri Decoin, 1949) with Pierre Fresnay, about the heroic pilots who struggled, suffered and often died to carry the mail. He became the typical Jeune Premier of the French post-war cinema and posed as a rival of Jean Marais although he didn’t reach the same level. In 1951, he assumed the title role in Il naufrago del Pacifico/Robinson Crusoe (Jeff Musso, 1951), and for Sacha Guitry, he played the young Louis XIV in the star-studded Si Versailles m'était conté/Affairs of Versailles (Sacha Guitry, 1953). In 1951, he married actress Dany Robin. They were both young, beautiful, adored, and preserved their privacy in a house of Montfort l'Amaury. They made six films together, including La Voyageuse Inattendue/The Unexpected Voyager (Jean Stelli, 1949), based on an old script by Billy Wilder, and the comedy Jupiter (Gilles Grangier, 1952). Georges’ talent as a stuntman did wonders for his parts in costume films and swashbucklers such as Messalina (Carmine Gallone, 1952) with Maria Félix, Teodora, imperatrice di Bisanzio/Theodora, Slave Empress (Riccardo Freda, 1954) with Gianna Maria Cannale, and Les trois mousquetaires/The Three Musketeers (André Hunebelle, 1953) in which he featured as D'Artagnan.
The arrival of the Nouvelle Vague (New Wave) sounded like the death knell for Georges Marchal. He moved to Italy to continue his career. With his muscular body, he was an ideal hero for the Peplum films (the Italian sword and sandal epics). He appeared in a dozen of them, including Nel Segno Di Roma/Sheba and the Gladiator (Guido Brignone - and uncredited Riccardo Freda and Michelangelo Antonioni, 1958) with Anita Ekberg, Le Legioni di Cleopatra/Legions of the Nile (Vittorio Cottafavi, 1959) with Linda Cristal, and Sergio Leone's first solo directorial effort, Il colosso di Rodi/The Colossus of Rhodes (Sergio Leone, 1961) with Rory Calhoun. Marchal was a close friend of Luis Buñuel and also one of his preferred actors. Marchal starred in four of his films: Cela s'appelle l'aurore/That is the Dawn (1955) with Lucia Bosé, La mort en ce jardin/Death in the Garden (1956) with Simone Signoret, Belle de jour/Beauty of the Day (1967) with Catherine Deneuve, and La voie lactee/The Milky Way (1969) with Laurent Terzieff. Other interesting films he appeared in were the anthology film Guerre secrète/The Dirty Game (Terence Young, Christian Jaque, Carlo Lizzani, Werner Klinger, 1965) with Robert Ryan, the Romanian historical epic Dacii/The Dacians (Sergiu Nicolaescu, 1967) with Pierre Brice, Faustine et le bel été/Faustine and the Beautiful Summer (Nina Companeez, 1972) and Les Enfants du placard/The Closet Children (Benoît Jacquot, 1977) with Lou Castel. During the 1970s, he focussed on television and appeared in Quentin Durward (Gilles Grangier, 1971), as Philip IV the Fair in Les Rois maudits/The Accursed Kings (Claude Barma, 1972), Gaston Phébus (Bernard Borderie, 1977), and Les grandes familles/The Great Families (Edouard Molinaro, 1988) with Michel Piccoli. He played a seductive older man in three TV-films based on the legendary Claudine novels by Colette, Claudine à Paris/Claudine in Paris (1978), Claudine en ménage/Pauline Engaged (1978) and Claudine s'en va/Claudine Goes (1978), all starring Marie-Hélène Breillat and directed by Edouard Molinaro. He also played Claude Jade's father in the fine TV Mini-series L'Île aux trente cercueils/The Island of Thirty Coffins (Marcel Cravenne, 1979). He retired in 1989. His last film appearance had been as General Keller in L'Honneur d'un capitaine/A Captain’s Honour (Pierre Schoendoerffer, 1982) about the French army's behaviour in Algeria. Georges Marchal died in 1997 in Maurens, France, following a long illness. He was married to Dany Robin from 1951 till their much-publicised divorce in 1969. He remarried in 1983 to Michele Heyberger.
Sources: Hal Erickson (AllMovie), Pablo Montoya (IMDb), Ciné-Ressources, Wikipedia, and IMDb.
And, please check out our blog European Film Star Postcards.
A George V postbox, which the internet tells me will be from 1910-35. I uploaded a later one (George VI) elsewhere.
This is in Elie, Fife. (Near the corner of Park Place and Woodside Road).
Fuji RDP100 35mm slide film, Olympus OM2SP.
Standard consumer E6 chemicals, processed at home.
Digitized using a Nikon D7000 dslr, Nikkor 40mm lens, JJC ES-2 adapter.
RAW file edited in Photoshop Elements 11.
French postcard.
Singer-songwriter and poet Georges Brassens (1921-1981) is an iconic figure in France. He wrote and sang, with his guitar, more than a hundred of his poems, as well as texts from many others such as Victor Hugo, Paul Verlaine, or Louis Aragon. Between 1952 and 1976, he recorded fourteen albums that include several popular French Chansons. Most of his texts are black humour-tinged and often anarchist-minded. His most famous film is Porte des Lilas/Gates of Paris (René Clair, 1957).
Georges Charles Brassens was born in 1921 in the town of Sète, a town in southern France near Montpellier. Brassens grew up in the family home in Sète with his mother, Elvira Dagrosa, father, Jean-Louis, half-sister, Simone, and paternal grandfather, Jules. His mother was a devout Roman Catholic, while his father was an easy-going, generous, openminded, anticlerical man. Brassens grew up between these two starkly contrasting personalities, who nonetheless shared a love for music. His mother, Simone and Jules, were always singing. This environment imparted to Brassens a passion for singing that would come to define his life. A poor student, Brassens performed badly in school. Alphonse Bonnafé, his literature teacher strongly encouraged the 15-years-old Braassens’s apparent gift for poetry and creativity. Bonnafé would later write the first Brassens biography in 1963. Georges listened constantly to his early idols: Charles Trenet, Tino Rossi, and Ray Ventura. At age seventeen, Georges and his gang started to steal from their families and others. Georges stole a ring and a bracelet from his sister. The police found and caught him, which caused a scandal. The young men were publicly characterized as ‘voyous’ (high school scum). Brassens was expelled from school. Following a short trial as an apprentice mason in his father's business, he moved to Paris in 1940 to live with his aunt and work at the Renault car factory. In the meantime, he learned piano and wrote some of his first original compositions. He stayed there after World War II had broken out while he felt that this was where his future lay and wrote his first collection of poems. Brassens published two short poetry collections in 1942, thanks to the money of his family and friends. In 1943, he was forced by the Germans to work in a labor camp at a BMW aircraft engine plant in Basdorf near Berlin in Germany. Here Brassens met some of his future friends, such as Pierre Onténiente, whom he called Gibraltar because he was "steady as a rock." Onténiente later became his right-hand man and his private secretary. After being given ten days' leave in France, he took refuge in a small cul-de-sac called "Impasse Florimont," in the 14th arrondissement of Paris. Without much else to occupy him, Brassens spent his days composing songs and writing music, eventually teaching himself the guitar based on his prior experience with the mandolin. There he lived for several years with its owner, Jeanne Planche and her husband Marcel in relative poverty: without gas, running water, or electricity. Brassens remained hidden there until the end of the war five months later, but ended up staying for 22 years. Planche was the inspiration for Brassens's song Jeanne.
In 1946, after the war had ended, Georges Brassens published the first of a series of virulent, black humour-tinged articles in the anarchist journal Le Libertaire. The following year, he also published his first novel, La Lune Écoute Aux Portes, and met Joha Heiman, the woman he would love -- and write about -- for the remainder of his life. His friends who heard and liked his songs urged him to go and try them out in a cabaret, café or concert hall. He was shy and had difficulty performing in front of people. At first, he wanted to sell his songs to well-known singers such as "les frères Jacques". In 1952 he met the singer Patachou, owner of a very well known cafe, Les Trois Baudets. Though Brassens had never considered himself a singer, Patachou convinced him to try his hand at performing himself. A bass player present at the audition, Pierre Nicolas, quickly joined Brassens in support, and would serve in that capacity for the remainder of the singer's career. Jacques Brel and Léo Ferré came also into the music industry with the help of Patachou. With her help, Brassens met Polydor exec Jacques Canetti, and landed a record deal. His first single, Le Gorille, was released later in 1952, and stirred up controversy with its strong anti-death penalty stance; in fact, it was banned from French radio until 1955. In these years, Brassens achieved fame with his elegant songs with their harmonically complex music for voice and guitar and articulate, diverse lyrics. He won the prestigious Grand Prix du Disque de l'Academie Charles Cros in 1954 for his EP Le Parapluie, and spent much of the year touring Europe and northern Africa. In 1957, he made his film debut in Porte des Lilas/Gates of Paris (René Clair, 1957). An old bum (Pierre Brassens) becomes infatuated with a pretty young girl (Dany Carrel) who gets entangled with a young gangster (Henri Vidal). Brassens played an important part as an the bum’s friend, L'Artiste, a taciturn, solitary bard, whose character seems to have been based on Brassens himself. Peter Beagle at IMDb: “The film turned out to be a delightful, warmhearted work, holding up remarkably well on repeated viewings, and Brassens makes an excellent deadpan foil for the great Pierre Brasseur. And the songs he wrote for the film remain among the best of his classic repertoire.” Brassens performed his songs in several other films, but his main focus was live performing. He later on made several appearances at the Paris Olympia and at the Bobino music hall theater. He toured with Pierre Louki, who wrote a book of recollections entitled Avec Brassens. During these performances he accompanied himself on acoustic guitar. Most of the time the only other accompaniment came from his friend Pierre Nicolas with a double bass, and sometimes a second guitar (Barthélémy Rosso, Joël Favreau). He released several more LPs over the remainder of the 1950s, during which time chronic kidney ailments began to affect his health, resulting in periodic hospitalizations. In the following decades he continued to tour. His songs often decry hypocrisy and self-righteousness in the conservative French society of the time, especially among the religious, the well-to-do, and those in law enforcement. The criticism is often indirect, focusing on the good deeds or innocence of others in contrast. His elegant use of florid language and dark humor, along with bouncy rhythms, often give a rather jocular feel to even the grimmest lyrics. Brassens’s lyrics are difficult to translate, though his work is translated in more than 20 languages. Georges Brassens died of cancer in 1981, in Saint-Gély-du-Fesc, having suffered health problems for many years. He was 60. Brassens rests at the Cimetière le Py in Sète.Steve Huey at AllMusic: “Along with Jacques Brel, he became one of the most unique voices on the French cabaret circuit, and exerted a tremendous influence on many other singers and songwriters of the postwar era. His poetry and lyrics are still studied as part of France's standard educational curriculum.”
Sources: Peter Beagle (IMDb), Steve Huey (AllMusic), Wikipedia and IMDb.
Dutch postcard, no. KF 50. Photo: Republic Pictures.
American character actor George 'Gabby' Hayes (1885-1969) was one of the colourful sidekicks to the leading men in the Hollywood Westerns of the 1930s and 1940s. His grizzled codger was so popular that Hayes landed repeatedly on the annual list of Top Ten Western Box-office Stars.
George Francis Hayes was born in the tiny hamlet of Stannards on the outskirts of Wellsville, New York, in 1885. He was the third of seven children of Elizabeth Morrison and hotelier and oil-production manager Clark Hayes. As a teenager, George played semi-pro baseball. At 17, he ran away from home, and joined a touring stock company in 1902. He married Olive Ireland in 1914 and the pair became quite successful on the vaudeville circuit. Olive performed under the name Dorothy Earle. Retired in his 40s, he lost much of his money in the 1929 stock market crash and was forced to return to work. Although he had made his film debut in a single appearance prior to the crash, it was not until his wife convinced him to move to California and he met producer Trem Carr that he began working steadily in the medium. He played scores of roles in Westerns and non-Westerns alike, finally in the mid-1930s settling in to an almost exclusively Western career. He gained fame as Windy Halliday, the sidekick to Hopalong Cassidy (William Boyd). in many films between 1935 and 1939. He left the Cassidy films in a salary dispute and Paramount legally precluded him from using the 'Windy' nickname.
George Hayes moved to Republic Pictures and took on the nickname 'Gabby'. As Gabby Whitaker, Hayes appeared in more than 40 films between 1939 and 1946, usually with Roy Rogers, but also with Gene Autry or Wild Bill Elliott, often working under the directorship of Joseph Kane. One of the few sidekicks to land on the annual list of Top Ten Western Box-office Stars, he did so repeatedly. In his early films, he alternated between whiskered comic-relief sidekicks and clean-shaven bad guys, but by the later 1930s, he worked almost exclusively as a Western sidekick. 15 times, Hayes was cast next to Western icon John Wayne, some times as straight or villainous characters. Most famously, Hayes played Wayne's sidekick in Dark Command (Raoul Walsh, 1940) He was also six times the sidekick of another Western legend, Randolph Scott. His most famous catchphrases were "yer durn tootin" and "young whipper snapper". The Western film genre declined in the late 1940s and Hayes made his last film appearance in The Cariboo Trail (Edwin L. Marin, 1950). He moved to television and starred as the host of a network television show devoted to stories of the Old West for children, The Gabby Hayes Show (1950-1954). When the series ended, Hayes retired from show business. He lent his name to a comic book series and to a children's summer camp in New York. Offstage an elegant and well-appointed connoisseur and man-about-town, Hayes devoted the final years of his life to his investments. George 'Gabby' Hayes died of cardiovascular disease in Burbank, California, in 1969. He was 83.
Source: Jim Beaver (IMDb), Wikipedia and IMDb.
George Melas Taylor, director of the Le-La-La Dancers, keeps time as a bear figure appears during a traditional Kwakwaka'wakw dance at Maffeo-Sutton Park in Nanaimo, British Columbia, Canada.
Nelson designed the first bubble lamp in 1947, incorporating a self-webbing plastic that was developed for military use. It was typical in the postwar era to incorporate these sorts of military materials in domestic products — even familiar materials like plywood had been greatly improved through military necessity. The result for Nelson was a lamp that was safer to produce and more durable than a paper lantern, cheaper and easier to produce than a silk lantern he had been inspired by, and which above all was incredibly versatile and created an warm glow when illuminated. Here's how he described it, and note how self-deprecating he was:
It was important to me to have certain status symbols around, and one of the symbols was a spherical hanging lamp made in Sweden. It had a silk covering that was very difficult to make; they had to cut gores and sew them onto a wire frame. But I wanted one badly.
We had a modest office and I felt that if I had one of those big hanging spheres from Sweden, it would show that I was really with it, a pillar of contemporary design. One day Bonniers, a Swedish import store in New York, announced a sale of these lamps. I rushed down with one of the guys in the office and found one shopworn sample with thumbmarks on it and a price of $125.
It is hard to remember what $125 meant in the late 'forties … I was furious and was stalking angrily down the stairs when suddenly an image popped into my mind which seemed to have nothing to do with anything. It was a picture in The New York Times some weeks before which showed Liberty ships being mothballed by having the decks covered with netting and then being sprayed with a self-webbing plastic … Whammo! We rushed back to the office and made a roughly spherical frame; we called various places until we located the manufacturer of the spiderwebby spray. By the next night we had a plastic-covered lamp, and when you put a light in it, it glowed, and it did not cost $125."
Source: Stanley Abercrombie, George Nelson: The Design of Modern Design, MIT Press (2000).
This is all that is left standing from the hut used by local historian George Quayle, on the Isle of Man. With a forecast for a dry, reasonably clear night, I sallied forth to play with the new camera. As is usual, it is ESTO, (Equipment Smarter Than Operator), but I am trying to get to grips with it. The night shots worked, but the dawn shots weren't so good (my fault). Everyday a school day!
The sculpture of President George Washington in the center of Washington Circle, located on the boundary of the Foggy Bottom and West End neighborhoods in Washington, D.C. Dedicated on February 22, 1860, the bronze equestrian was sculpted by Clark Mills at a cost of $60,000. The sculpture is one of fourteen American Revolution statuary collectively listed on the National Register of Historic Places in 1978.
Via the Smithsonian:
"Equestrian portrait of George Washington dressed in his military uniform as he faces the British troops. The horse is rearing back, but Washington is sitting erect in the saddle as he looks out over the battle scene. His uniform consists of a long jacket with fringed epaulets, boots, and a three-cornered hat. He holds the horses reins in his proper left hand and his sword at his side in his proper right hand.
Mills modeled Washington's portrait after Jean Houdon's famous and much copied bust of Washington. Mills served as the architect for this piece which was authorized by an act of Congress on January 25, 1853 and again on February 24, 1860. Mills had originally designed an elaborate base, complete with relief panels and additional figures of Washington and his general, but due to a lack of fund, this base was not constructed. The [James M.] Goode publication contains a sketch of this base. The sculpture was temporarily moved during the early 1960s when the K Street underpass was built. It was reinstalled in 1963."
This is one of my older photos I originally uploaded to Wikimedia Commons.
Description: Four snapshots, ca. 1910, of Inness's studio, Montclair, N.J., photographer unknown.
Creator/Photographer: Unidentified photographer
Medium: Black and white photographic print
Dimensions: 8 cm x 11 cm
Date: 1910
Persistent URL: www.aaa.si.edu/collections/images/detail/george-innesss-s...
Repository: Archives of American Art
Accession number: AAA_miscphot_8135