View allAll Photos Tagged laborer
The was a discarded industrial sized air conditioner. It was large, about 3 feet by 4 feet, making it imposing. It was truly used up with the top row of fins actually melted. But, even in its demise, it was very potent.
El Centro Humanitario Para Los Trabajadores, created to defend the human rights of day laborers. California Street and Park Avenue West, Denver, CO.
After a long day of work, a construction laborer relaxes to enjoy a cup of chai near the main bus stop in Mcleod Ganj, Dharmsala, India.
I was considering posting a chest-up crop of this, which I felt was perhaps more strong, but I went for this one instead for more variety in my photostream. I love portraits that add a layer of depth, showing the setting too. I'll definitely be taking more of those in the future! I'll probably post the crop of this shot at some point.
Technical info:
Canon FD 50mm f1.4
f1.4
1/60th sec.
ISO 800
Manual focus
Thanks everyone for your views, kind comments and faves! I really appreciate them! Be well and happy shooting!
Best viewed large!
Maurizio Cattelan, the great provocateur...
Five horses which want to run (jump) headfirst into the wall.
Anyone who engages with Maurizio Cattelan as an exhibition organizer never really knows what awaits them. Born in Padua in 1960 and originally a laborer, the Italian artist has made a name for himself as a rule-breaker, a provocateur, but also a player of perceptions, an intelligent art clown, and a generator of surprising and often confusing ideas.
In 1993, he provoked audiences when he rented his exhibition space at the Venice Biennale to a PR firm that was promoting a commercial product. In 2000, he surprised the audience at Zurich's Migros Museum of Contemporary Art by emptying the halls. The only perceptible work of art to be discovered was a small wax figure in a Beuysian felt suit and with Cattelan's facial features, hanging helplessly from the coat rack. And another time, he even had the door of a gallery that had announced a Cattelan exhibition bricked up.
Five Horses with Their Heads in the Wall
He wasn't quite so radical in his refusal to exhibit at the Fondation Beyeler in 2013. His works were indeed on display there in a conventional museum setting. But strictly speaking, it was originally just one work, just one horse, the sculpture "Untitled" from 2007: a taxidermied brown horse with its head stuck high up in the museum wall, its muscular body hanging helplessly and pitifully. It appears as if the horse had leaped impetuously into the wall and remained there.
Cattelan had the horse prepared in five versions (he apparently hardly ever touches it himself). Three copies are owned by various international private collections, two are exhibition copies.
Breaking the Rule
With this, Cattelan once again broke a rule in the art world, namely that exhibition copies and "originals" are never shown at the same time in the same place. This is because doing so would impair the aura of the original. Maurizio Cattelan wouldn't be himself if he adhered to this rule. The owners of his originals are aware of this, of course. And indeed, the five copies of an old work now combine to form a new, temporary group of works. However, it's difficult to say whether a single horse with its head in the wall leaves a more lasting impression than five neatly lined up next to each other.
In 2011, Maurizio Cattelan bid farewell to the art world with a large-scale retrospective entitled "All" at the Guggenheim Museum in New York. Of course, no one really believed him. But it must have been an exceptionally spectacular farewell exhibition, with 130 of his works, all hanging from the museum's ceiling like a giant mobile. Among them were Cattelan's most famous works, such as the Pope Thrown to the Ground by a Meteorite (first shown at the Kunsthalle Basel in 1999) and the equally famous praying Hitler figure.
The same work, which was first shown in this arrangement in Switzerland, is now in the Centre Pomdedou in Metz. It hangs higher here than it did at the Fondation Beyeler, making it even more spectacular, I think.
In my triptych, I show the proportion of height to the human figure. A homeless person has also been added here, which further irritates the viewer. And finally, the third painting demonstrates the banalization in the colorful context of the large space with the exposed building techniques typical of the centre and distracting colorful artworks. Biomorphic is contrasted with inorganic construction, which seems to be a recurring theme in the exhibition...
Deutsch
Maurizio Cattelan, der große Profokateur ...
Fünf Pferde, die mit dem Kopf durch die Wand wollen.
Wer sich als Ausstellungsmacher auf Maurizio Cattelan einlässt, weiss nie so richtig, was ihm letztlich blüht. Der 1960 in Padua geborene italienische Künstler, der ursrünglich Hilfsarbeiter war, hat sich einen Namen gemacht als Regelbrecher, Provokateur, aber auch Spieler mit Wahrnehmungen, intelligenter Kunstclown und Generator mit überraschenden und oftmals auch verwirrenden Ideen.
So provozierte er 1993, als er seine Ausstellungsfläche an der Biennale in Venedig an eine PR-Firma vermietete, die dort für ein kommerzielles Produkt warb. Im Jahr 2000 überraschte er das Publikum im Zürcher Migros Museum für Gegenwartskunst mit leergeräumten Hallen. Als wahrnehmbares Kunstwerk war lediglich eine kleine Wachsfigur im Beuys’schen Filzanzug und mit Cattelans Gesichtszügen zu entdecken, die hilflos an der Garderobe hing. Und ein anderes Mal liess er die Türe einer Galerie, in der eine Cattelan-Ausstellung angekündigt war, gar zumauern.
Fünf Pferde mit dem Kopf in der Wand
Ganz so radikal verweigerte er sich anlässlich einer Ausstellung 2013 in der Fondation Beyeler nicht. Dort waren tatsächlich Werke von ihm in einem gängigen musealen Rahmen zu sehen. Doch genau genommen war es ursprünglich nur ein Werk, nur ein Pferd, die Plastik «Untitled» aus dem Jahr 2007: Ein präpariertes braunes Pferd, das mit dem Kopf hoch oben in der Museumswand steckt und dessen muskulöser Körper hilflos und jämmerlich herunter hängt. Es scheint so, als ob das Pferd ungestüm in die Wand gesprungen und dort hängen geblieben sei.
Cattelan hat das Pferd in fünf Ausführungen präparieren lassen (selber legt er ja offenbar die Hand kaum je an). Drei Exemplare befinden sich im Besitz von verschiedenen internationalen Privatsammlungen, zwei sind Ausstellungskopien.
Bruch mit der Regel
Damit brach Cattelan einmal mehr mit einer Regel im Kunstbetrieb, nämlich dass Ausstellungskopien und «Originale» eigentlich niemals zur selben Zeit am selben Ort gezeigt werden. Dies, weil damit die Aura des Originals beeinträchtigt wird. Maurizio Cattelan wäre aber nicht er selbst, wenn er sich an diese Regel halten würde. Das wissen natürlich auch die Besitzer seiner Originale. Und tatsächlich vereinigen sich die fünf Kopien eines alten Werks nun zu einer neuen Werkgruppe auf Zeit. Dabei ist aber schwierig zu sagen, ob nun ein einzelnes Pferd mit dem Kopf in der Wand einen nachhaltigeren Eindruck hinterlässt als gleich deren fünf, sauber nebeneinander aufgereiht.
2011 hat sich Maurizio Cattelan mit einer gross angelegten Retrospektive mit dem Titel «All» im New Yorker Guggenheim-Museum vom Kunstbetrieb verabschiedet. Natürlich glaubte ihm das niemand so richtig. Aber es muss sich um eine ausgesprochen spektakuläre Abschiedsausstellung gehandelt haben mit 130 seiner Werke, die allesamt wie ein riesiges Mobile von der Decke des Museums hingen. Darunter Cattelans bekanntesten Arbeiten, wie etwa der Papst, der von einem Meteoriten zu Boden geworfen wurde (1999 erstmals in der Kunsthalle Basel zu sehen) oder die nicht weniger bekannte betende Hitlerfigur.
Das gleiche Werk, das in dieser Zuammenstellung erstmals in der Schweiz gezeigt wurde, befindet sich jetzt im Centre Pomdedou in Metz. Es hängt hier höger als es in der Fondation Beyeler hing und ist damit noch spektakulärer, finde ich.
In meinem Triptychon zeige ich die Proportion der Höhe zum Menschen. Hier ist auch noch eine Obdachlose hinzugekommen, die zusätzlich Irritaionen auslöst. Und schließlich zeigt das dritte Bild die Banalisierung im bunten Kontext des großen Raumes mit den centre-typischen, freigelegten Gebäudetechniken und ablenkenden bunten Kunstwerken. Biomorphes wird gegen anorganische Konstruktion gestellt, was mehrfach in der Ausstellung Thema zu sein scheint ...
Ihr könnt euch vorstellen, das 4 Bilder vorzubereiten und alle wichtigen Informationen dazu zusammen zu stellen viel "Arbeit" erfordert ... hoffe, es findet sich jemand, der das zu schätzen weiß ;-) ...
_V0A4987_pa2
By virtue of their size,placement,and dignity,these youthful laborers dominate the landscape setting-an open field near Pissaro's house at Éragny.Sympathetic to anarchist ideas,the artist wanted to preserve the values of agrarian society that were being threatened by the rapid industrialization of France.He began this picture in summer 1891 and completed it in mid-January 1892,a month before the opening of a major exhibition of his work organized by his dealer Joseph Durand-Ruel.Many of the fifty paintings were sold in the show,but Pissaro kept this canvas and gave it to his wife-the MET
Note:A drawing for the seated figure appeared in 1928 in the sale of Mme Pissaro's pictures.The field in the background near the artist's house at Éragny,is seen from the same angle in two other pictures.Pissaro probably began this picture in the summer of 1891,but,because of eye trouble,did not finish it until just before the retrospective exhibition of his work at Durand-Ruel in January 1892.He considered it one of the three most important of the fifty pictures he showed at the exhibition.This is the last large canvas that Pissaro painted.
A continuation of my "In the Kitchen" series, this one is about becoming a slave to the kitchen and therefore losing a part of yourself (ie: your sexuality) - as represented by the placement of the apples, one touching the chest and the other falling.
This was one of those rare instances where I set up the shot and then decided to edit it a bit differently than I expected. I placed an artificial light in there for fill light because it was broad daylight, but I liked the warm hue it cast and decided to make it look like refrigerator light.
formspring won't be open for too much longer, but it is fun!
Laborer with an empty basket of salt in Dhaka Bangladesh. The room behind him is a storehouse for salt.
A young man working temporarily as a laborer-helper at a house construction project performs one of his several duties - manually screening white sand to separate fine from coarse particles with the use of a strainer made of a wiremesh which is attached to a wooden frame.
Fine sand is used for finishing concrete walls and flooring.
Taken in early bright, sunny morning at a village in Subic, Zambales, Philippines.
The Library of Congress Migrant laborer's family 1939
I claim no rights other than colorizing this image if you wish to use let me know and always give due credit to The Library of Congress. I have no commercial gain in publishing this image.
Title
[Untitled photo, possibly related to: Migrant laborer's family. Belle Glade, Florida]
Contributor Names
Wolcott, Marion Post, 1910-1990, photographer
Created / Published
1939 Feb.
Subject Headings
- United States--Florida--Palm Beach County--Belle Glade
Headings
Nitrate negatives.
Genre
Nitrate negatives
Notes
- Title and other information from a possibly related negative. Image came to Library of Congress untitled. (There was no caption for this image in the FSA/OWI shelflist.)
- Appears to be related to negative LC-USF34-051182-E www.loc.gov/pictures/item/2017800396/
- Transfer; United States. Office of War Information. Overseas Picture Division. Washington Division; 1944.
- More information about the FSA/OWI Collection is available at hdl.loc.gov/loc.pnp/pp.fsaowi
- Temp. note: usf34batch9
- Film copy on SIS roll 16, frame 2256.
Medium
1 negative : nitrate ; 2 1/4 x 2 1/4 inches or smaller.
Call Number/Physical Location
LC-USF34- 092088-E [P&P]
Source Collection
Farm Security Administration - Office of War Information Photograph Collection (Library of Congress)
Repository
Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA hdl.loc.gov/loc.pnp/pp.print
Digital Id
fsa 8c34381 //hdl.loc.gov/loc.pnp/fsa.8c34381
Library of Congress Control Number
2017824828
Reproduction Number
LC-USF34-092088-E (b&w film nitrate neg.) LC-DIG-fsa-8c34381 (digital file from original neg.)
Rights Advisory
No known restrictions. For information, see U.S. Farm Security Administration/Office of War Information Black & White Photographs www.loc.gov/rr/print/res/071_fsab.html
Online Format
image
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Laborer listening to instructions of wrecking company foreman on Independence Avenue, June 1942.
Gordon Parks (1912-2006), photographer. Part of The Farm Security Administration, Office of War Information Photography Collection.
Library of Congress
The Library of Congress Children of agricultural day laborer 1939
I claim no rights other than colorizing this image if you wish to use let me know and always give due credit to The Library of Congress. I have no commercial gain in publishing this image.
Title
Children of agricultural day laborer in doorway of home near Tullahassee, Oklahoma. Wagoner County
Names
Lee, Russell, 1903-1986, photographer
Created / Published
1939 June.
Headings
- United States--Oklahoma--Wagoner County--Tullahassee
- Day laborers, migrants--Wagoner County--Oklahoma
Headings
Safety film negatives.
Genre
Safety film negatives
Notes
- Title and other information from caption card.
- Transfer; United States. Office of War Information. Overseas Picture Division. Washington Division; 1944.
- More information about the FSA/OWI Collection is available at hdl.loc.gov/loc.pnp/pp.fsaowi
- Temp. note: usf34batch4
- Film copy on SIS roll 23, frame 518.
Medium
1 negative : safety ; 3 1/4 x 4 1/4 inches or smaller.
Call Number/Physical Location
LC-USF34- 033651-D [P&P] LOT 523 (corresponding photographic print)
Source Collection
Farm Security Administration - Office of War Information Photograph Collection (Library of Congress)
Repository
Library of Congress Prints & Photographs Division Washington, D.C. 20540 USA hdl.loc.gov/loc.pnp/pp.print
Digital Id
fsa 8b22276 //hdl.loc.gov/loc.pnp/fsa.8b22276
Library of Congress Control Number
2017783707
Reproduction Number
LC-USF34-033651-D (b&w film neg.)
Rights Advisory
No known restrictions. For information, see U.S. Farm Security Administration/Office of War Information Black & White Photographs www.loc.gov/rr/print/res/071_fsab.html
Online Format
image
LCCN Permalink
Excerpt from Wikipedia:
LIUNA Station, former CN Railway James Street Station, on the east side of James Street North at Murray Street, was built between 1929 and 1931 by the Canadian National Railway to a design by architect John Schofield.
The property is a National Historic Site and has been designated under the Federal Heritage Railway Stations Protection Act and under Part IV of the Ontario Heritage Act by City of Hamilton By-law 95-115. Portions of the building were protected by the Ontario Heritage Trust in 1999.
In 1967 GO Transit took over CN's commuter service between Toronto and Hamilton, and in 1978 all other CN passenger service was transferred to Via Rail.
In 1992 Via Rail closed their Burlington, Hamilton and Dundas stations and consolidated service at the new Aldershot GO Station.
GO Transit closed the James Street station in 1993 and moved any remaining service to the Hamilton GO Centre, only one and a half kilometres directly south on James Street.
The Laborers' International Union of North America (LIUNA) bought and renovated the station, and in 2000, station was reopened as LIUNA Station, an events centre with catering facilities for weddings, dances, and other special events.
On a foggy morning pierced by the sun, my attention was grabbed by the poured silo which dates the old barn sitting beside it. Poured silos became prevalent in the early 1900s before concrete staves later took over and dominated the main construction method for silos for quite a few years. When my brain started to slowly develop in my teen years in the 1950s I became aware the silo on our farm was constructed from interlocking cement staves held in place by circular iron rods that embraced the round silo.
Looking through the fog framing the barn there are reminders sitting by the barn of things used by a farmer years ago trying to eke out a living on a smaller farm. A couple of old portable self-feeders lie overturned on the east side of the barn and an old wagon sits in an open space on the left side of the structure.
I am old enough to remember when self-feeders began to lighten the load of daily feedings of livestock. Many hog farmers used ones that were steel and revolved as pigs snuffed out the feed. Today a new 100 bushel steel self-feeder can cost up to $3,000 so even at prices back in the 1950s they were not a cheap alternative to hand labor.
My father built an ingenious wooden A-frame hog feeder with a large opening about eight foot up from the ground. We would grind corn with a power-takeoff powered loud portable grain grinder that would blow the feed into this opening. The feed would pile up and through gravity would provide feed at the bottom through small slots into wooden trays. The pigs could enter this small building from either side and would stand in rows like cows in stanchions and noisily eat their days away while happily twitching their curled tails.
This method allowed a presentation of a couple of weeks’ worth of feed for the pigs, feed which did not have to be physically handled each day by one of dad’s unpaid young male laborers.
Unlike our wealthier neighbors, we never had a similar method to feed the few beef cattle we raised so dad’s red-haired son through his teenage years hauled hundreds of 5 gallon pails, two at a time, full of ground corn from a storage room about twenty yards away in a far corner of the barn and out through the silo room where it was dumped unceremoniously into wooden feed troughs as the beef cows tried to step on his feet as they crowded around the newly poured feed.
That same kid developed large upper body muscles unlike the town kids but to this day suffers back and neck problems as a nostalgic reminder of those wonderful times.
(Photographed near Rush City, MN)
The job of some tradesmen like mason are made less harder because of the presence in their midst of less trained or less experienced people who perform multiple tasks. And these people are known as laborer-helpers.
One good example is the young man shown here, who is carrying on his shoulder a half-filled bag of white sand, which will be used in mixing concrete.
Captured in early afternoon sunlight in Subic, Zambales, Philippines.
A young laborer taking a breather at the midnight wholesale spice market, Khari Baoli, in old Delhi, India. Khari Baoli is Asia's largest wholesale spice market. I did not pose him. He stood there like that lost in some thoughts.
The Library of Congress Untitled Some children of a laborer between 1935-1942
I claim no rights other than colorizing this image if you wish to use let me know and always give due credit to The Library of Congress I have no commercial gain in publishing this image.
Title
[Untitled]
Created / Published
[between 1935 and 1942]
Subject Headings
- United States
Headings
Safety film negatives.
Genre
Safety film negatives
Notes
- To identify this image it may help to search for images that have neighboring call numbers, are similar in appearance, and have titles. There was no caption for this image in the FSA/OWI shelflist.
- Transfer; United States. Office of War Information. Overseas Picture Division. Washington Division; 1944.
- More information about the FSA/OWI Collection is available at hdl.loc.gov/loc.pnp/pp.fsaowi
- Temp. note: usf34batch7
- Film copy on SIS roll 8, frame 1814.
Medium
1 negative : safety ; 3 1/4 x 4 1/4 inches or smaller.
Call Number/Physical Location
LC-USF34- 060104-D [P&P]
Source Collection
Farm Security Administration - Office of War Information Photograph Collection (Library of Congress)
Repository
Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA hdl.loc.gov/loc.pnp/pp.print
Digital Id
fsa 8c16695 //hdl.loc.gov/loc.pnp/fsa.8c16695
Library of Congress Control Number
2017809543
Reproduction Number
LC-USF34-060104-D (b&w film neg.)
Rights Advisory
No known restrictions. For information, see U.S. Farm Security Administration/Office of War Information Black & White Photographs www.loc.gov/rr/print/res/071_fsab.html
Online Format
image
LCCN Permalink
Workers change an exhibit at the National Air and Space Museum in Washington DC, with an Apollo lunar module in the background
The Library of Congress Four year old cotton picker 1913
I claim no rights other than colorizing this image if you wish to use let me know and always give due credit to The Library of Congress I have no commercial gain in publishing this image.
Title
Four year old cotton picker who picks fifteen pounds a day regularly and seven year old who picks fifty pounds a day. They live in emigrant wagons. Moving about from farm to farm. Location: McKinney [vicinity], Texas.
Contributor Names
Hine, Lewis Wickes, 1874-1940, photographer
Created / Published
1913 October.
Subject Headings
- Children
- Migrant agricultural laborers
- Cotton pickers
- United States--Texas--McKinney
Headings
Photographic prints.
Genre
Photographic prints
Notes
- Title from NCLC caption card.
- Attribution to Hine based on provenance.
- In album: Agriculture.
- Hine no. 3627.
- Credit line: National Child Labor Committee collection, Library of Congress, Prints and Photographs Division.
- General information about the National Child Labor Committee collection is available at: hdl.loc.gov/loc.pnp/pp.nclc
- Forms part of: National Child Labor Committee collection.
Medium
1 photographic print.
Call Number/Physical Location
LOT 7475, v. 1, no. 3627 [P&P]
Source Collection
National Child Labor Committee collection
Repository
Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA hdl.loc.gov/loc.pnp/pp.print
Digital Id
nclc 00221 hdl.loc.gov/loc.pnp/nclc.00221
Library of Congress Control Number
2018677632
Reproduction Number
LC-DIG-nclc-00221 (color digital file from b&w original print)
Rights Advisory
No known restrictions on publication. For information see: "National Child Labor Committee (Lewis Hine photographs)," hdl.loc.gov/loc.pnp/res.097.hine
Access Advisory
For reference access, please use the digital item to preserve the fragile original item.
Language
english
Online Format
image
Description
1 photographic print.
Original Format
photo, print, drawing
LCCN Permalink
laborers carrying logs of wood
from Raj Ghat
to
the major cremation ghats
in
VARANASI
Photography’s new conscience
The Library of Congress Daughter of Mexican field laborer 1937
I claim no rights other than colorizing this image if you wish to use let me know and always give due credit to The Library of Congress I have no commercial gain in publishing this image.
Title
Daughter of Mexican field laborer. Near Chandler, Arizona
Contributor Names
Lange, Dorothea, photographer
Created / Published
1937 May.
Subject Headings
- United States--Arizona--Maricopa County--Chandler
- Migrants--Arizona
Headings
Safety film negatives.
Genre
Safety film negatives
Notes
- Annotation on original negative jacket: DL.
- Title and other information from caption card.
- Transfer; United States. Office of War Information. Overseas Picture Division. Washington Division; 1944.
- More information about the FSA/OWI Collection is available at hdl.loc.gov/loc.pnp/pp.fsaowi
- Temp. note: usf34batch2
- Film copy on SIS roll 38, frame 274.
Medium
1 negative : safety ; 4 x 5 inches or smaller.
Call Number/Physical Location
LC-USF34- 016792-C [P&P]
Source Collection
Farm Security Administration - Office of War Information Photograph Collection (Library of Congress)
Repository
Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA hdl.loc.gov/loc.pnp/pp.print
Digital Id
fsa 8b37621 //hdl.loc.gov/loc.pnp/fsa.8b37621
Library of Congress Control Number
2017769999
Reproduction Number
LC-USF34-016792-C (b&w film neg.)
Rights Advisory
No known restrictions. For information, see U.S. Farm Security Administration/Office of War Information Black & White Photographs www.loc.gov/rr/print/res/071_fsab.html
Online Format
image
LCCN Permalink
Migrant Laborers from Rajasthan playing Ravanhatha outside Baijnath Temple in Kangra Valley , Himachal Pradesh.
Ravanhatha is made up of bamboo, coconut shell and is covered with a goat membrane and the strings are made up of horsehair. Ravanhatta players are called ‘Bhopas’. They belong to the Nayak, Bhil or Thori castes. It is also known as the ancestor of the violin. "
reference: Google Image, F. Cortez, photo. Without our Mexican laborers, our lawns and gardens and patios, etc., would look seriously unkempt.
The Library of Congress Farm laborer's family in the hills 1942
I claim no rights other than colorizing this image if you wish to use let me know and always give due credit to The Library of Congress I have no commercial gain in publishing this image.
Title
[Untitled photo, possibly related to: San German, Puerto Rico (vicinity). Farm laborer's family in the hills]
Created / Published
1942 Jan.
Subject Headings
- Puerto Rico--San German Municipality--San German
Headings
Safety film negatives.
Genre
Safety film negatives
Notes
- This image in a jacket marked "Killed."
- Title and other information from a possibly related negative. Image came to Library of Congress untitled. (There was no caption for this image in the FSA/OWI shelflist.)
- Appears to be related to negative LC-USF34-047970-D www.loc.gov/pictures/item/2017798382/
- Transfer; United States. Office of War Information. Overseas Picture Division. Washington Division; 1944.
- More information about the FSA/OWI Collection is available at hdl.loc.gov/loc.pnp/pp.fsaowi
- Temp. note: usf34batch5
- Film copy on SIS roll 5, frame 223.
Medium
1 negative : safety ; 3 1/4 x 4 1/4 inches or smaller.
Call Number/Physical Location
LC-USF34- 047971-D [P&P]
Source Collection
Farm Security Administration - Office of War Information Photograph Collection (Library of Congress)
Repository
Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA hdl.loc.gov/loc.pnp/pp.print
Digital Id
fsa 8c08789 //hdl.loc.gov/loc.pnp/fsa.8c08789
Library of Congress Control Number
2017798383
Reproduction Number
LC-USF34-047971-D (b&w film neg.)
Rights Advisory
No known restrictions. For information, see U.S. Farm Security Administration/Office of War Information Black & White Photographs www.loc.gov/rr/print/res/071_fsab.html
Online Format
image
LCCN Permalink