L.A. Huffman, celebrated photographer of the Montana frontier, was known for producing photographs using a variety of formats over his 52-year career. From 1906 to 1928 he published four different groups of postcards - three sets of printed cards and an unknown but relatively few real photo cards. His real photo postcards are rare and hard to find. This book provides new information about a previously little-known dimension of Huffman's work. Featuring several sets of printed postcards and his real photo postcards, this book will be a welcome addition to any L.A. Huffman or postcard collector's library.

The Battle of the Little Bighorn on June 25-26, 1876, is one of the most controversial and studied events in American history. While of relatively minor importance as military affair, the symbolic scene of "Custer's Last Stand" soon entered into the nation's public consciousness. First seen as the heroic sacrifice of Lt. Col. George Armstrong Custer and the 7th Cavalry against the combined forces of the Lakota and Cheyenne in the further settlement of the West, it has emerged as another tragic chapter in the treatment of American Indians. The battlefield in present-day southeastern Montana remains a popular destination for tourists and scholars alike.

The Real Photo Postcard Guide is an informative, comprehensive, and practical treatment of this wildly popular American phenomenon that dominated the United States photographic market during the first third of the twentieth century. Robert Bogdan and Todd Weseloh draw on extensive research and observation to address all aspects of the photo postcard from its history, origin, and cultural significance to practical matters like dating, purchasing, condition, and preservation. Illustrated with over 350 exceptional photo postcards taken from archives and private collections across the country, the scope of the Real Photo Postcard Guide spans technical considerations of production, characteristics of superior images, collecting categories, and methods of research for dating photo postcards and investigating their photographers. In a broader sense, the authors show how "real photo postcards" document the social history of America. From family outings and workplace awards to lynchings and natural disasters, every image captures a moment of American cultural history from the society that generated them. Bogdan and Weseloh’s book provides an admirable integration of informative text and compelling photographic illustrations. Collectors, archivists, photographers, photo historians, social scientists, and anyone interested in the visual documentation of America will find the Real Photo Postcard Guide indispensable.

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 Nashville, Tennessee, showcases more than two hundred of the best vintage postcards available.

In James Bretz's Mansions of Denver, the charm and history of Denver's architectural past is carefully and beautifully drawn. His book provides readers with insight into the city's youth. But it is also a lament - an homage to a time when architectural originality prevailed.

L. A. Huffman: Photographer of the American West contains more than 300 spectacular images of the American West, most of them from the extensive collection of Gene and Beverly Allen, as well as reproductions of many of Huffman�s printed and published collectibles and memorab

Today, no one seriously doubts the value, both aesthetic and historic, of the ubiquitous American photographic postcard. This was the medium that really brought photography to the masses; these cards were affordable, they were topical, and they could be sent for a penny anywhere in the country. The variety of imagery, much of it developed anonymously in small studios, much of it taken by inspired amateurs (these were the days when anyone could, and many folks did, own a camera) displays America in all its variety and vitality. Most postcards were mass produced and printed in ink by the collotype or halftone process. But a few were original photographic prints, exposed directly from glass plates or film negatives. Known as real photos these were real photographs, aristocrats of the genre and spectacular examples of vernacular photography. In this charming and scholarly book, Vaule selects the best of them, from all over the country, addressing their social and historical contexts, explaining the mysteries of their manufacture and dissemination, and describing the characteristics and identities of their makers, many of whose names and studios are listed in the book. But without doubt, it is the images themselves that still hold us: storefronts and townships, frisky children and sober adults, air ships and barn raisings. Over one hundred are reproduced here, each in fine-line duotone, each as fascinating and compelling today as when first fixed on paper.