Unidentified Woman with Camera, circa 1935. Hand tinted gelatin silver print from the ICP’s Cowin Collection of African-American Vernacular Photography.

Probably intended as an advertisement for a photographer’s studio or for a new product, this large hand-colored portrait shows a female photographer holding a bulky Speed Graphic, the camera of choice for news photographers in the 1930s.

I Sell the Shadow to Support the Substance. Sojourner Truth (1864). Albumen print carte-de-viste from the ICP’s Cowin Collection of African-American Vernacular Photography

Sojourner Truth (1797-1883), born Isabella Baumfree to a family of slaves in Ulster County, New York, escaped with her daughter in 1826, a year before New York state’s emancipation. After living in a commune, she converted to Christianity, changed her name in 1843, and became an itinerant preacher. The publication of the Narrative of Sojourner Truth, recorded in 1850 by her friend Olive Gilbert, and “Sojourner Truth: The Libyan Sibyl,” written by Harriet Beecher Stowe for the Atlantic Monthly in 1863, raised Truth’s national profile. She toured with abolitionists Frederick Douglass and William Lloyd Garrison and earned money from these speaking engagements as well as from the sale of images. As demonstrated by the inclusion of text on her cartes-de-visite, Truth actively controlled the dissemination of her image as a proper, educated, middle-class woman to support herself and her activist work. An ardent feminist, Truth often had herself represented proudly engaged in “women’s work,” such as knitting.

Unidentified Man on a Motorcycle, circa 1936. Gelatin silver print from the Cowin Collection of African-American Vernacular Photography.

This man is seated on an Indian Chief, a model that was introduced by the Indian Motocycle Company in 1920 (the spelling of Motocycle refers to a nineteenth-century horseless carriage and was used to distinguish the company from other motorcycle makers). This was one of the most popular bikes sold by the firm, which produced different variations of this model into the 1940s.


Hi i’m chiyo-csc :D from now on i’ll change my name into cowania, hope you guys will keep supporting me! 

idk just found it cool while saying Kingsmoo, since i have a cow obsession lol (i blame Hiromu Arakawa for this)

start from doodles from my textbook, i’ll try to create this Kingsmoo AU where the Kingsmoo protect citizens from free milk from Richcow Valentine which contains micro chips will control the mind of people who drink it





i’m so not sorry just ignore me, i’ll do the whole cast but only Eggsy Cowin for now


Several pages from a family photo album (ca. 1900 to 1940), part of the ICP’s Cowin Collection of African-American Vernacular Photography.

This image of the Tuskegee class of 1910 is pasted into a family album containing photographs ranging in date from ca. 1900 to 1940.


“Dress Rehearsal” (1936) by James VanDerZee. Gelatin silver print from the ICP’s Cowin Collection of African-American Vernacular Photography.

On the verso of this portrait of a man in Shakespearean costume is the name Walter B. Smith and an address in Harlem on West 119th Street. Smith may have been a member of one of the Negro Repertory Companies, or “Negro Units,” of the Federal Theatre Project, which was very active in Harlem in the 1930s.