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From the 1890s through the 1920s, the postcard was an extraordinarily popular means of communication, and many of the postcards produced during this "golden age" can today be considered works of art. Postcard photographers traveled the length and breadth of the nation snapping photographs of busy street scenes, documenting local landmarks, and assembling crowds of local children only too happy to pose for a picture. These images, printed as postcards and sold in general stores across the country, survive as telling reminders of an important era in America's history. This fascinating new history of New Orleans showcases more than two hundred of the best vintage postcards available.
New Orleans in Golden Age Postcards showcases over three hundred vintage postcard images of the city, printed in glorious color. From popular tourist attractions, restaurants, and grand hotels to local businesses, banks, churches, neighborhoods, civic buildings, and parks, the book not only celebrates these cards’ visual beauty but also considers their historic value. After providing an overview of the history of postcards in New Orleans, Matthew Griffis expertly arranges and describes the postcards by subject or theme. Focusing on the period from 1900 to 1920, the book is the first to offer information about the cards’ many publishers. More than a century ago, people sent postcards like we make phone calls today. Many also collected postcards, even trading them in groups or clubs. Adorned with colorized views of urban and rural landscapes, postcards offered people a chance to own images of places they lived, visited, or merely dreamed of visiting. Today, these relics remain one of the richest visual records of the last century as they offer a glimpse at the ways a city represented itself. They now appear regularly in art exhibits, blogs, and research collections. Many of the cards in this book have not been widely seen in well over a century, and many of the places and traditions they depict have long since vanished.
New Orleans in Golden Age Postcards showcases over three hundred vintage postcard images of the city, printed in glorious color. From popular tourist attractions, restaurants, and grand hotels to local businesses, banks, churches, neighborhoods, civic buildings, and parks, the book not only celebrates these cards’ visual beauty but also considers their historic value. After providing an overview of the history of postcards in New Orleans, Matthew Griffis expertly arranges and describes the postcards by subject or theme. Focusing on the period from 1900 to 1920, the book is the first to offer information about the cards’ many publishers. More than a century ago, people sent postcards like we make phone calls today. Many also collected postcards, even trading them in groups or clubs. Adorned with colorized views of urban and rural landscapes, postcards offered people a chance to own images of places they lived, visited, or merely dreamed of visiting. Today, these relics remain one of the richest visual records of the last century as they offer a glimpse at the ways a city represented itself. They now appear regularly in art exhibits, blogs, and research collections. Many of the cards in this book have not been widely seen in well over a century, and many of the places and traditions they depict have long since vanished.
Gilded Age New Orleans is overrun with prostitutes, pornographers, and a malicious Jack the Ripper copycat. As threatening letters to newspaper editors proclaim, no woman is safe from his blade. Desperate to know who murdered her favorite student, ambitious typewriting teacher Fanny Newcomb launches into a hunt for the self-proclaimed Irish Channel Ripper. Fanny quickly enlists the help of her well-connected employers¿Principal Sylvia Giddings and her sister Dr. Olive¿and together the women forge through saloons, cemeteries, slums, and houses of prostitution. Fanny¿s good intentions quickly infuriate her longtime beau Lawrence Decatur, while her reckless persistence confounds the talented police detective Daniel Crenshaw. Reluctantly, Lawrence and Daniel also lend their talents to Fanny¿s investigation. As the murderer sets a date for his next heinous crime, can Fanny Newcomb and her crew stop the Irish Channel Ripper before he kills again?
From the Great Depression through the early postwar years, any postcard sent in America was more than likely a “linen” card. Colorized in vivid, often exaggerated hues and printed on card stock embossed with a linen-like texture, linen postcards celebrated the American scene with views of majestic landscapes, modern cityscapes, roadside attractions, and other notable features. These colorful images portrayed the United States as shimmering with promise, quite unlike the black-and-white worlds of documentary photography or Life magazine. Linen postcards were enormously popular, with close to a billion printed and sold. Postcard America offers the first comprehensive study of these cards and their cultural significance. Drawing on the production files of Curt Teich & Co. of Chicago, the originator of linen postcards, Jeffrey L. Meikle reveals how photographic views were transformed into colorized postcard images, often by means of manipulation—adding and deleting details or collaging bits and pieces from several photos. He presents two extensive portfolios of postcards—landscapes and cityscapes—that comprise a representative iconography of linen postcard views. For each image, Meikle explains the postcard’s subject, describes aspects of its production, and places it in social and cultural contexts. In the concluding chapter, he shifts from historical interpretation to a contemporary viewpoint, considering nostalgia as a motive for collectors and others who are fascinated today by these striking images.
The beloved gift format that is 100 postcards in a box has never been more beautiful. The images include 100 rare portraits of exotic flowers, cacti and succulents from the world-renowned collection of the NY Botanical Garden. Printed on lush, uncoated stock to mimic the original paintings, these brilliantly colored postacrds can be mailed, framed or used in craft projects.
Nostalgic poster images evoke a world of romance, glamour, and adventure. Twelve colorful postcards in a variety of early-20th-century styles offer appealing invitations to vacation at the New York World's Fair of 1939, Atlantic City, the beaches of California and the Mediterranean, Italy, France, and other exciting locales.
For over forty years, professor and culinary historian Jessica B. Harris has collected postcards depicting Africans and their descendants in the American diaspora. They are presented for the first time in this exquisite volume. Vintage Postcards from the African World: In the Dignity of Their Work and the Joy of Their Play brings together more than 150 images, providing a visual document of more than a century of work in agricultural and culinary pursuits and joy in entertainments, parades, and celebrations. Organized by geography—Africa, the Caribbean, and the United States—as well as by the types of scenes depicted—the farm, the garden, and the sea; the marketplace; the vendors and the cooks; leisure, entertainments, and festivities—the images capture the dignity of the labors of everyday life and the pride of festive occasions. Superb and rare images demonstrate everything from how Africans and their descendants dressed to what tools they used to how their entertainments provided relief from toil. Three essays accompany the postcards, one of which details Harris’s collection and the collecting process. A second presents suggestions on how to interpret the cards. A final essay gives brief information on the history of postcards and postcard dating and its increasing use and value to scholars.
Postcards are an important element of understanding our past, for they provide future generations a rare glimpse into a world that many times has disappeared under the aegis of expansion and progress. This book, containing over 175 vintage postcards, allows readers to see one of the South's most historic cities as it looked in the earlier part of the twentieth century--a time when the city was experiencing unparalleled growth. Memphis contains scenes of early river commerce, images of many historic hotels, such as the Peabody Hotel and Hotel Claridge, postcards of significant commercial buildings, as well as examples of the rapid development of downtown, showcasing Beale Street, Madison Avenue, and Main Street.
Winner, Abbott Lowell Cummings Prize, Vernacular Architecture Forum, 2010 From iconic neighborhoods such as the French Quarter and the Garden District to more economically modest but no less culturally vibrant areas, architecture is a key element that makes New Orleans an extraordinary American city. Delirious New Orleans began as a documentary project to capture the idiosyncratic vernacular architecture and artifacts—vintage mom-and-pop businesses, roadside motels, live music clubs, neon signs, wall murals, fast-food joints, and so on—that helped give the city's various neighborhoods their unique character. But because so many of these places and artifacts were devastated by Hurricane Katrina, Delirious New Orleans has become both a historical record of what existed in the past and a blueprint for what must be rebuilt and restored to retain the city's unique multicultural landscape. Stephen Verderber starts with the premise that New Orleans's often-overlooked neighborhoods imbue the city with deep authenticity as a place. He opens Delirious New Orleans with a photo-essay that vividly presents this vernacular architecture and its artifacts, both before Katrina and in its immediate aftermath. In the following sections of the book, which are also heavily illustrated, Verderber takes us on a tour of the city's commercial vernacular architecture, as well as the expressive folk architecture of its African American neighborhoods. He discusses how the built environment was profoundly shaped by New Orleans's history of race and class inequities and political maneuvering, along with its peculiar, below-sea-level geography. Verderber also considers the aftermath of Katrina and the armada of faceless FEMA trailers that have, at least temporarily and by default, transformed this urban landscape.