Harriet Hoctor in unpublished photograph of in a black costume, en pointe, with her arms in front her, 1932. Vanity Fair. Photograph by Edward Steichen.
Dancer Hoctor started touring with vaudeville companies at age 16, which led to a role in Topsy and Eva on Broadway. She was discovered by Florenz Ziegfeld, who cast her in his production of The Three Musketeers and several other shows throughout the next decade.
Photographer Edward Colver captured and lived the hardcore punk movement in LA from late 1978 to mid-1984. His amazing photographs tell this story: Not only was he always on stage taking photographs or in the pit, but his work has been featured on more than 250 albums, including some of the most iconic covers of the punk era –from Black Flag’s “Damaged,” Circle Jerk’s “Group Sex,” to Wasted Youth’s “Reagan’s In,” just to name a few. His recent exhibition ‘Idol Worship II,’ which opened Saturday, April 28th at Lethal Amounts Gallery in Los Angeles, featured some of his most iconic works as well as several unpublished photographs. We were honored to chat with Ed about various topics– from how he got into photography, how he shot amidst the chaos, and what his ingredients were for the “blood recipe” used for Black Flag’s “Damaged” cover.
A collection of six unpublished personal colour photographs (colour faded), printed October 1967 but probably taken by George and Pattie
Harrison during their first trip to India in September-October 1966,
including a fish-eye self-portrait of George on a beach, George with two
Indian friends on a beach, two shots of Patti against a backdrop of
trees, George stopping on a footpath in the mountains, and George and
Patti with Ravi Shankar and friends sitting on stone steps among ancient
ruins; accompanied by a document concerning the provenance
After meeting Ravi Shankar in London in June 1966, George and his wife Patti travelled to India in September 1966 so that George could study
the sitar under Shankar. They stayed at the Taj Mahal Palace Hotel under
assumed names before travelling all over, including to Kashmir and
Benares. George later said of the trip …it was the first feeling I’d ever had of being liberated from being a Beatle or a number.
Audrey Hepburn posing with turkeys at Great Gobions Farm in Hertfordshire, England, November 1950.
The photographs of Audrey Hepburn with turkeys were taken in November 1950 at Great Gobions Farm which lies on the outskirts of the village of Stapleford in the county of Hertfordshire, England. The farm belonged to Ethel Morgan and at the time was being run by her son, Bob Morgan. His wife, Greta, wrote “It was raining. She borrowed my umbrella. She was afraid of the turkeys, so Bob helped her. It was great fun – we had coffee in the farmhouse with her.” Greta continues: "Audrey was still a starlet, it was before Roman Holiday".
The photos were taken by, and were copyright of, the Sunday Pictorial, a leading British Sunday newspaper which was renamed the Sunday Mirror in 1963. - Laura Morgan
A great big thank you to the Morgan Family for sharing these very rare, unpublished photographs of Audrey Hepburn. Happy Thanksgiving!
Photograph by @thomaspeschak Every winter sub-adult whale sharks gather in the seas off Djibouti, a small African nation sandwiched between Somalia and Eritrea, to feed on plankton blooms caused by upwelling. At night they are attracted to the lights of local Afari fishing boats which concentrate their favorite plankton food. Unpublished photograph from @natgeo story on the Seas of Arabia #sharks #africa #diving #ocean @thephotosociety @saveourseasfoundation @natgeocreative For more images of sharks and glimpses of remote underwater realms follow me on @thomaspeschak by natgeo
An unpublished photograph by Richard Avedon of Coco Chanel, standing under a sign that reads “pourquoi Hitler”. Not realising where she had stood, upon seeing the photograph, the furious Chanel forbade Vogue Magazine from publishing it.
“In the past 10 years, we have witnessed a total revolution in image making. A new form of imagery is being created that can no longer be called just photography, as it shares nothing with that medium’s defining parameters. Daphne Guinness and designer Gareth Pugh perfectly embody that spirit of technological and artistic change, so I felt they were very appropriate subjects for W’s 40th-anniversary issue. Vive la révolution!”