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[[Image:DeEviaLogo.jpg|200px|thumb|right|deEvia.com Logo designed with pen and ink ca. 1970 by Edgar de Evia]]
[[Image:DeEviaLogo.jpg|200px|thumb|right|deEvia.com Logo designed with pen and ink ca. [[1970]] by Edgar de Evia]]


'''Edgar Domingo Evia''', known professionally as Edgar de Evia ([[July 30]], [[1910]] – [[February 10]], [[2003]]), was an [[United States|American]] [[photographer]], [[artist]], and [[author]]. He was well known from the 1940s through the 1980s for his work for magazines and newspapers such as [[Town & Country (magazine)|Town & Country]], [[House & Garden]], [[Look]], and [[The New York Times]] and advertising campaigns for [[General Motors Corporation|General Motors]], [[Borden Milk Products|Borden Ice Cream]], [[Owens Corning|Owens-Corning Fiberglas Corporation]], [[Jell-O]], [[Revlon]], and other corporations.
'''Edgar Domingo Evia''', known professionally as Edgar de Evia ([[July 30]], [[1910]] – [[February 10]], [[2003]]), was an [[Mexico|Mexican]]-born [[United States|American]] [[photographer]], [[artist]], and [[author]]. He had a active carrer from the [[1940s]] through the [[1980s]] for his work for magazines and newspapers such as [[Town & Country (magazine)|Town & Country]], [[House & Garden]], [[Look]] and [[The New York Times]] and advertising campaigns for [[General Motors Corporation|General Motors]], [[Borden Milk Products|Borden Ice Cream]], [[Owens Corning|Owens-Corning Fiberglas Corporation]], [[Jell-O]], [[Revlon]], among other corporations.


==Birth==
==Birth==


De Evia was born in [[Mérida, Yucatán|Mérida]], [[Yucatán]]. His mother was [[Miirha Alhambra|Pauline Joutard]], a French-born pianist of the 1920s and 1930s who performed under the stage name [[Miirrha Alhambra]].<ref>Recitals given in New York City by Miirrha Alhambra are mentioned in The New York Times in the 1920s and 1930s.</ref> His father was Domingo Fernando Evia y Barbachano, a wealthy landowner who was a member of a prominent Mexican political family. His great-grandfather Don [[Miguel Barbachano]] y Tarrazo (1806-1859) was a five-time governor of the Mexican state of [[Yucatán]].
De Evia was born in [[Mérida, Yucatán|Mérida]], [[Yucatán]]. His mother was [[Miirha Alhambra|Pauline Joutard]], a [[France|French]]-born [[piano|pianist]] of the [[1920s]] and [[1930s]] who performed under the stage name [[Miirrha Alhambra]].<ref>Recitals given in New York City by Miirrha Alhambra are mentioned in The New York Times in the [[1920s]] and [[1930s]].</ref> His father was Domingo Fernando Evia y Barbachano, a wealthy landowner who was a member of a prominent Mexican political family {{fact}}. His great-grandfather Don [[Miguel Barbachano]] y Tarrazo ([[1806]]-[[1859]]) was a five-time governor of the Mexican state of [[Yucatán]].


Based on immigration and other official records, it appears that Evia altered his surname to de Evia sometime in his youth.
Based on immigration and other official records, it appears that Evia altered his surname to de Evia sometime in his youth. {{fact}}


On [[30 June]] [[1912]], at the age of two, Evia arrived with his family in [[New York City]] aboard the liner "Progreso." <ref>According to the ship's manifest, which can be accessed at www.ellisisland.org, several members of the Evia family immigrated from Mexico to New York at the same time, including Evia's paternal aunt Rosario Evia de Espejo and her husband and children. In the manifest, his father, Domingo, gave his occupation as farmer. According to the manifest, the family's surname was Evia, not de Evia.</ref>. He graduated from [[The Dalton School]] in 1931.<ref>The head of the Dalton School Alumni Office confirmed this date of graduation by telephone on 28 August 2006.</ref>
On [[30 June]] [[1912]], at the age of two, Evia arrived with his family in [[New York City]] aboard the liner "Progreso." <ref>According to the ship's manifest, which can be accessed at www.ellisisland.org, several members of the Evia family immigrated from Mexico to New York at the same time, including Evia's paternal aunt Rosario Evia de Espejo and her husband and children. In the manifest, his father, Domingo, gave his occupation as farmer. According to the manifest, the family's surname was Evia, not de Evia.</ref>. He graduated from [[The Dalton School]] in [[1931]].<ref>The head of the Dalton School Alumni Office confirmed this date of graduation by telephone on 28 August 2006.</ref>


[[Image:EdgarStudent.jpg|200px|thumb|right|Edgar de Evia, circa 1930]]
[[Image:EdgarStudent.jpg|200px|thumb|right|Edgar de Evia, circa [[1930]].]]


==Career==
==Career==


===Ealier carrers===
After briefly working for the [[Associated Press]]<ref>As with much of the professional information cited in this article, the photographer's time with the Associated Press is documented in the Edgar de Evia Archives, New York City, New York. Where this information can be verified via other sources, the reference to the de Evia archives will be replaced.</ref>, he became the medical research assistant to the prominent [[homeopathic]] physician Dr. [[Guy Beckley Stearns]].<ref>For ''Laurie's Domestic Medicine'', a medical guide published in 1942, Stearns and Edgar D. Evia contributed an essay called "The New Synthesis", which was discussed by Richard Moskowitz, MD, in the [[New England Journal of Homeopathy]], Spring/Summer 2001, Vol. 10, No. 1. Moskowitz called the Stearns-Evia article "a cutting-edge essay into homeopathic research that prophesied and actually began the development of kinesiology, made original contributions to radionics, and dared to sketch out a philosophy of these still esoteric frontiers of homeopathy at a time when such matters were a lot further beyond the pale of respectable science even than they are today." Stearns and Evia also contributed, from March until June 1942, a column entitled "The New Synthesis" to the Journal of the American Institute of Homeopathy. The pair also published, in the February 1942 issue of the Journal of the American Institute of Homeopathy, an article entitled "The Physical Basis of Homeopathy."</ref> According to de Evia, Stearns gave him his first camera, a [[Rollei]]flex, which he used in his office work, and taught him how to use it. He also said that one of his early mentors was Baron [[Nicolas de Gunzburg|Nicki de Gunzburg]], a celebrated editor who gave him his first assignment for [[Town & Country (magazine)|Town & Country]] magazine. {{fact}}
After briefly working for the [[Associated Press]]{{fact}}, he became the medical research assistant to the [[homeopathic]] physician Dr. [[Guy Beckley Stearns]].<ref>For ''Laurie's Domestic Medicine'', a medical guide published in [[1942]], Stearns and Edgar D. Evia contributed an essay called "''The New Synthesis''", which was discussed by Richard Moskowitz, MD, in the [[New England Journal of Homeopathy]], Spring/Summer 2001, Vol. 10, No. 1. Moskowitz called the Stearns-Evia article "''a cutting-edge essay into homeopathic research that prophesied and actually began the development of [[kinesiology]], made original contributions to [[radionics]], and dared to sketch out a philosophy of these still esoteric frontiers of homeopathy at a time when such matters were a lot further beyond the pale of respectable science even than they are today.''" Stearns and Evia also contributed, from March until June [[1942]], a column entitled "''The New Synthesis''" to the Journal of the [[American Institute of Homeopathy]]. The pair also published, in the February 1942 issue of the Journal of the American Institute of Homeopathy, an article entitled "''The Physical Basis of Homeopathy.''"</ref> According to de Evia{{fact}}, Stearns gave him his first camera, a [[Rollei]]flex, which he used in his office work, and taught him how to use it. He also said that one of his early mentors was Baron [[Nicolas de Gunzburg|Nicki de Gunzburg]], a editor who gave him his first assignment for [[Town & Country (magazine)|Town & Country]] magazine. {{fact}}


===Carrer as a photographer===
Frequently producing images utilizing soft focus and diffusion, de Evia was dubbed a "master of still life" in the 1957 publication "Popular Photography Color Annual". The inclusion of his black-and-white work in the book, said [[The New York Times]], was "a rather persuasive ... reminder" that black-and-white photography has "a useful place, even in a world of color."<ref>"Color in Review: Popular Photography's Color Annual Surveys Medium's Current Status", The New York Times, 19 May 1957, page X17</ref>
Frequently producing images utilizing soft focus and diffusion, de Evia was dubbed a "master of still life" in the [[1957]] publication [[Popular Photography Color Annual]]. The inclusion of his black-and-white work in the book, said [[The New York Times]], was "a rather persuasive ... reminder" that black-and-white photography has "a useful place, even in a world of color."<ref>"Color in Review: Popular Photography's Color Annual Surveys Medium's Current Status", The New York Times, 19 May 1957, page X17</ref>


[[William A. Reedy]], editor of ''APPLIED PHOTOGRAPHY'', in a 1970 interview for the [[Eastman Kodak]] publication ''Studio Light/Commercial Camera'', wrote that de Evia:
[[William A. Reedy]], editor of ''[[APPLIED PHOTOGRAPHY]]'', in a [[1970]] interview for the [[Eastman Kodak]] publication ''[[Studio Light/Commercial Camera]]'', wrote that de Evia:


<blockquote>"has been a photographic illustrator in New York City for many years. His work has helped sell automobiles, food, drink, furniture and countless other products. To fashion accounts he has been known as a [[fashion photography|fashion photographer]], while food people think of him as a specialist in still life. While, in fact, he is a photographer, period. He applies his considerable talent and experience to whatever the problem at hand."<ref>"about Photography with Edgar de Evia" by William A. Reedy, p. 16 ''Studio Light/Commercial Camera'' v.2 no. 2 1970.</ref></blockquote>
<blockquote>"has been a photographic illustrator in New York City for many years. His work has helped sell automobiles, food, drink, furniture and countless other products. To fashion accounts he has been known as a [[fashion photography|fashion photographer]], while food people think of him as a specialist in still life. While, in fact, he is a photographer, period. He applies his considerable talent and experience to whatever the problem at hand."<ref>"about Photography with Edgar de Evia" by [[William A. Reedy]], p. 16 ''[[Studio Light/Commercial Camera]]'' v.2 no. 2 1970.</ref></blockquote>


[[Melvin Sokolsky]], a fashion photographer who created iconic images for ''[[Vogue]]'' and other publications, considered Edgar de Evia one of his earliest influences, saying, "I discovered that Edgar was paid $4,000 for a Jell-O ad, and the idea of escaping from my tenement dwelling became an incredible dream and inspiration."<ref>''Melvin Sokolsky’s Affinities'' by Martin Harrison as reproduced on the web [http://www.digitaljournalist.org/issue0010/seeing01.htm Melvin Sokolsky ''Seeing Fashion''] retrieved [[June 29]], [[2006]] </ref>
[[Melvin Sokolsky]], a fashion photographer, considered Edgar de Evia one of his earliest influences, saying, "I discovered that Edgar was paid $4,000 for a Jell-O ad, and the idea of escaping from my tenement dwelling became an incredible dream and inspiration."<ref>''Melvin Sokolsky’s Affinities'' by Martin Harrison as reproduced on the web [http://www.digitaljournalist.org/issue0010/seeing01.htm Melvin Sokolsky ''Seeing Fashion''] retrieved [[June 29]], [[2006]] </ref>


A romantic photograph of a 1937 Rolls-Royce, which had belonged to [[Barbara Hutton]], near which de Evia's then companion, [[Robert Denning]], was posed, pushing a girl in a swing, won de Evia the [[General Motors Corporation|General Motors]]' [[Fisher Body|Body by Fisher]] account in the early 1950s.{{fact}}
A romantic photograph of a [[1937]] Rolls-Royce, which had belonged to [[Barbara Hutton]], near which de Evia's then companion, [[Robert Denning]], was posed, pushing a girl in a swing, won de Evia the [[General Motors Corporation|General Motors]]' [[Fisher Body|Body by Fisher]] account in the early [[1950s]]{{fact}}.


Later in his career, de Evia was the creative director for a company that produced photographs for a number of department-store catalogs, including those of [[Sakowitz]] in [[Houston]] and [[Gimbel's]] in New York.<ref>According to David McJonathan-Swarm, who was de Evia's companion and business partner from 1966 until 2003, the catalogue-photography company was launched in 1968.</ref>
From [[1968]] to his death in [[2003]]<ref>According to David McJonathan-Swarm, who was de Evia's companion and business partner from [[1966]] until [[2003]].</ref>, de Evia was the creative director for a catalogue-photography company that produced photographs for a number of department-store catalogs, including those of [[Sakowitz]] in [[Houston]] and [[Gimbel's]] in New York.


==Relationships==
==Relationships==


In the 1950s, de Evia's companion and business partner was [[Robert Denning]], who worked in his studio and who would become a leading American interior designer and partner in the firm [[Denning & Fourcade]].<ref>Mitchell Owens, "Robert Denning, Champion of Lavish Décor,'' [[The New York Times]], 5 September 2005, page B7</ref> From 1966 until de Evia's death, his companion and business partner was David McJonathan-Swarm.
In the [[1950s]], de Evia's companion and business partner was [[Robert Denning]], who worked in his studio and who would become a leading American interior designer and partner in the firm [[Denning & Fourcade]].<ref>Mitchell Owens, "Robert Denning, Champion of Lavish Décor,'' [[The New York Times]], 5 September 2005, page B7</ref> From 1966 until de Evia's death, his companion and business partner was David McJonathan-Swarm.


==Death==
==Death==


Edgar de Evia, age 92, died at [[St. Vincent's Hospital (Manhattan)|St. Vincent's Hospital]] in New York City from [[pneumonia]] following a broken hip.<ref>Information from de Evia's companion, David McJonathan-Swarm, executor of the photographer's estate</ref> His ashes were interred in the columbarium of the [[Little Church Around the Corner]] in New York City.<ref>Confirmed by Little Church Around the Corner</ref>
Edgar de Evia, age 92, died at [[St. Vincent's Hospital (Manhattan)|St. Vincent's Hospital]] in New York City from [[pneumonia]] following a broken hip.<ref>Information from de Evia's companion, David McJonathan-Swarm, executor of the photographer's estate</ref> His ashes were interred in the columbarium of the [[Little Church Around the Corner]] in New York City.<ref>Confirmed by [[Little Church Around the Corner]]</ref>


==Models photographed==
==Models photographed==


{{Commons|Edgar de Evia}}
{{Commons|Edgar de Evia}}
Often using the ornate backgrounds of the historic [[Rhinelander Mansion]] in New York -- much of which he leased in the 1950s and 1960s, used as his residence, and often rented out portions of as studios and offices -- de Evia photographed some of the fashion world's top models, including:
Often using the ornate backgrounds of the historic [[Rhinelander Mansion]] in New York -- much of which he leased in the [[1950s]] and [[1960s]], used as his residence, and often rented out portions of as studios and offices -- de Evia had the opportunity to photograph some of the fashion world's top models, including:


* [[Lisa Fonssagrives]] (photograph posted in [[Wikimedia Commons]])
* [[Lisa Fonssagrives]] (photograph posted in [[Wikimedia Commons]])
Line 59: Line 61:
* [[Jean Marsh]], the British actress and writer best known for creating the television series ''[[Upstairs, Downstairs]]''{{fact}}
* [[Jean Marsh]], the British actress and writer best known for creating the television series ''[[Upstairs, Downstairs]]''{{fact}}
* [[Erik Rhodes]], American film and Broadway singer and actor<ref>Edgar de Evia Archives, New York City, New York</ref>
* [[Erik Rhodes]], American film and Broadway singer and actor<ref>Edgar de Evia Archives, New York City, New York</ref>
* [[Nordstrom Sisters]], American sister act, international cabaret singers<ref>Edgar de Evia Archives, New York City, New York</ref>
* [[Nordstrom Sisters]], American sister act, international cabaret singers<ref>[[Edgar de Evia Archives]], New York City, New York</ref>
===Working for magazines==
* [[Gloria Vanderbilt]], "House & Garden", February 1984
* [[Gloria Vanderbilt]], "House & Garden", February 1984
* [[Ralph Lauren]], "House & Garden", October 1984
* [[Ralph Lauren]], "House & Garden", October 1984
Line 66: Line 69:
==Editorial photography==
==Editorial photography==


The citations given are only a fraction of de Evia's known published work.<ref>According to records held by the Condé Nast Publications Library, in 1984 alone, de Evia had 193 photographs published in House & Garden, primarily of interiors of houses owned by individuals such as Helen Hayes and Gloria Vanderbilt. Company records also indicate that he produced thousands of images for Conde Nast Publications, on subjects ranging from fashion to food to interiors, which were published in Vogue, Architectural Digest, and other magazines.</ref>
The citations given are only a fraction of de Evia's known published work.<ref>According to records held by the [[Condé Nast Publications Library]], in 1984 alone, de Evia had 193 photographs published in House & Garden, primarily of interiors of houses owned by individuals such as Helen Hayes and Gloria Vanderbilt. Company records also indicate that he produced thousands of images for Conde Nast Publications, on subjects ranging from fashion to food to interiors, which were published in Vogue, Architectural Digest, and other magazines.</ref>


* ''[[Applied Photography]]'': ''5 expressions on a new film'' #12, 1959; ''Studies in Tone Gradation&mdash;the hallmark of excellence'' #60, 1975
* ''[[Applied Photography]]'': ''5 expressions on a new film'' #12, 1959; ''Studies in Tone Gradation&mdash;the hallmark of excellence'' #60, 1975
Line 125: Line 128:


==See also==
==See also==
*[[List of photographers known for portraying males erotically|The erotic male in photography]]
*[[List of photographers known for portraying males erotically]]




Revision as of 18:00, 30 August 2006

deEvia.com Logo designed with pen and ink ca. 1970 by Edgar de Evia

Edgar Domingo Evia, known professionally as Edgar de Evia (July 30, 1910 – February 10, 2003), was an Mexican-born American photographer, artist, and author. He had a active carrer from the 1940s through the 1980s for his work for magazines and newspapers such as Town & Country, House & Garden, Look and The New York Times and advertising campaigns for General Motors, Borden Ice Cream, Owens-Corning Fiberglas Corporation, Jell-O, Revlon, among other corporations.

Birth

De Evia was born in Mérida, Yucatán. His mother was Pauline Joutard, a French-born pianist of the 1920s and 1930s who performed under the stage name Miirrha Alhambra.[1] His father was Domingo Fernando Evia y Barbachano, a wealthy landowner who was a member of a prominent Mexican political family [citation needed]. His great-grandfather Don Miguel Barbachano y Tarrazo (1806-1859) was a five-time governor of the Mexican state of Yucatán.

Based on immigration and other official records, it appears that Evia altered his surname to de Evia sometime in his youth. [citation needed]

On 30 June 1912, at the age of two, Evia arrived with his family in New York City aboard the liner "Progreso." [2]. He graduated from The Dalton School in 1931.[3]

Edgar de Evia, circa 1930.

Career

Ealier carrers

After briefly working for the Associated Press[citation needed], he became the medical research assistant to the homeopathic physician Dr. Guy Beckley Stearns.[4] According to de Evia[citation needed], Stearns gave him his first camera, a Rolleiflex, which he used in his office work, and taught him how to use it. He also said that one of his early mentors was Baron Nicki de Gunzburg, a editor who gave him his first assignment for Town & Country magazine. [citation needed]

Carrer as a photographer

Frequently producing images utilizing soft focus and diffusion, de Evia was dubbed a "master of still life" in the 1957 publication Popular Photography Color Annual. The inclusion of his black-and-white work in the book, said The New York Times, was "a rather persuasive ... reminder" that black-and-white photography has "a useful place, even in a world of color."[5]

William A. Reedy, editor of APPLIED PHOTOGRAPHY, in a 1970 interview for the Eastman Kodak publication Studio Light/Commercial Camera, wrote that de Evia:

"has been a photographic illustrator in New York City for many years. His work has helped sell automobiles, food, drink, furniture and countless other products. To fashion accounts he has been known as a fashion photographer, while food people think of him as a specialist in still life. While, in fact, he is a photographer, period. He applies his considerable talent and experience to whatever the problem at hand."[6]

Melvin Sokolsky, a fashion photographer, considered Edgar de Evia one of his earliest influences, saying, "I discovered that Edgar was paid $4,000 for a Jell-O ad, and the idea of escaping from my tenement dwelling became an incredible dream and inspiration."[7]

A romantic photograph of a 1937 Rolls-Royce, which had belonged to Barbara Hutton, near which de Evia's then companion, Robert Denning, was posed, pushing a girl in a swing, won de Evia the General Motors' Body by Fisher account in the early 1950s[citation needed].

From 1968 to his death in 2003[8], de Evia was the creative director for a catalogue-photography company that produced photographs for a number of department-store catalogs, including those of Sakowitz in Houston and Gimbel's in New York.

Relationships

In the 1950s, de Evia's companion and business partner was Robert Denning, who worked in his studio and who would become a leading American interior designer and partner in the firm Denning & Fourcade.[9] From 1966 until de Evia's death, his companion and business partner was David McJonathan-Swarm.

Death

Edgar de Evia, age 92, died at St. Vincent's Hospital in New York City from pneumonia following a broken hip.[10] His ashes were interred in the columbarium of the Little Church Around the Corner in New York City.[11]

Models photographed

Wikimedia Commons has media related to Edgar de Evia.

Often using the ornate backgrounds of the historic Rhinelander Mansion in New York -- much of which he leased in the 1950s and 1960s, used as his residence, and often rented out portions of as studios and offices -- de Evia had the opportunity to photograph some of the fashion world's top models, including:

Personalities photographed

=Working for magazines

Editorial photography

The citations given are only a fraction of de Evia's known published work.[15]

Books

Books that have been illustrated with de Evia's photography include:

Commercial photography

References

  1. ^ Recitals given in New York City by Miirrha Alhambra are mentioned in The New York Times in the 1920s and 1930s.
  2. ^ According to the ship's manifest, which can be accessed at www.ellisisland.org, several members of the Evia family immigrated from Mexico to New York at the same time, including Evia's paternal aunt Rosario Evia de Espejo and her husband and children. In the manifest, his father, Domingo, gave his occupation as farmer. According to the manifest, the family's surname was Evia, not de Evia.
  3. ^ The head of the Dalton School Alumni Office confirmed this date of graduation by telephone on 28 August 2006.
  4. ^ For Laurie's Domestic Medicine, a medical guide published in 1942, Stearns and Edgar D. Evia contributed an essay called "The New Synthesis", which was discussed by Richard Moskowitz, MD, in the New England Journal of Homeopathy, Spring/Summer 2001, Vol. 10, No. 1. Moskowitz called the Stearns-Evia article "a cutting-edge essay into homeopathic research that prophesied and actually began the development of kinesiology, made original contributions to radionics, and dared to sketch out a philosophy of these still esoteric frontiers of homeopathy at a time when such matters were a lot further beyond the pale of respectable science even than they are today." Stearns and Evia also contributed, from March until June 1942, a column entitled "The New Synthesis" to the Journal of the American Institute of Homeopathy. The pair also published, in the February 1942 issue of the Journal of the American Institute of Homeopathy, an article entitled "The Physical Basis of Homeopathy."
  5. ^ "Color in Review: Popular Photography's Color Annual Surveys Medium's Current Status", The New York Times, 19 May 1957, page X17
  6. ^ "about Photography with Edgar de Evia" by William A. Reedy, p. 16 Studio Light/Commercial Camera v.2 no. 2 1970.
  7. ^ Melvin Sokolsky’s Affinities by Martin Harrison as reproduced on the web Melvin Sokolsky Seeing Fashion retrieved June 29, 2006
  8. ^ According to David McJonathan-Swarm, who was de Evia's companion and business partner from 1966 until 2003.
  9. ^ Mitchell Owens, "Robert Denning, Champion of Lavish Décor, The New York Times, 5 September 2005, page B7
  10. ^ Information from de Evia's companion, David McJonathan-Swarm, executor of the photographer's estate
  11. ^ Confirmed by Little Church Around the Corner
  12. ^ Edgar de Evia Archives, New York City, New York
  13. ^ Edgar de Evia Archives, New York City, New York
  14. ^ Edgar de Evia Archives, New York City, New York
  15. ^ According to records held by the Condé Nast Publications Library, in 1984 alone, de Evia had 193 photographs published in House & Garden, primarily of interiors of houses owned by individuals such as Helen Hayes and Gloria Vanderbilt. Company records also indicate that he produced thousands of images for Conde Nast Publications, on subjects ranging from fashion to food to interiors, which were published in Vogue, Architectural Digest, and other magazines.
  16. ^ Confirmed via holdings of Town & Country at the New York Public Library, Research Division, New York City, New York
  17. ^ Condé Nast Publications Library, New York City, New York
  18. ^ Condé Nast Publications Library, New York City, New York
  19. ^ The Petticoat Craze retrieved August 28, 2006
  20. ^ Seven photographic sheets from de Evia's shoot for this article are in the Look Magazine Photograph Collection, which is held at the Library of Congress, Washington, D.C., call number LOOK - Job 68-3978. Information about these images, which were taken on 14 November 1968, can be accessed at Library of Congress, retrieved 28 August 2006
  21. ^ Edgar de Evia Archives, New York City, New York

See also


External links

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