subculture (14 risultati)

Condizione: New.

Color poster, folder into 8 parts, unfolded 85 x 61 cms, illustrated.

Condizione: Fine. KOS02201033.

Condizione: Fine. KOS01200402.

Newspaper shaped catalogue, 60 x 42 cms., (48) pp. divided in 3 volumes, throughout photo-illustrated. In good condition.

Bulletin, 29,7 x 21 cms., 16 up to 36 pp., text in Dutch, illustrations.

Bulletin, 29,7 x 21 cms., 16 up to 36 pp., text in Dutch, illustrations.

Condizione sovraccoperta: dj. First Edition. Motorcycle adventure book archive, 1910 to 1918, gathers three early twentieth-century juvenile novels that used the motorcycle as a symbol of speed, independence, mechanical ingenuity, and modern mobility. The grouping belongs to American youth literature and transportation culture, illustrating how boys' series fiction translated new motor technologies into stories of exploration, problem-solving, scouting, and wartime service. Rather than documenting motorcycling as a subculture in the later sense, the books show how motorcycles entered popular fiction as instruments of movement across towns, roads, camps, and military landscapes, giving young readers a narrative form for imagining modern travel, outdoor self-reliance, and technological competence. The archive consists of three hardcover books published between 1910 and 1918, each approximately 200 pages and measuring about 5.25 x 7.75 inches. The books include illustrations and maps throughout, with one volume containing photographs on the pastedowns and two volumes including photographs on the publishing page. Collectively, the archive documents the early literary treatment of motorcycling across three overlapping contexts: invention fiction, Boy Scout adventure, and World War I messenger service. The physical group also preserves the publishers' commercial presentation of motorcycle adventure through illustrated covers, series formats, and pictorial apparatus designed for young readers. [1] Appleton, Victor. Tom Swift and His Motor Cycle. New York: Grosset & Dunlap, 1910. First edition hardcover with dust jacket. Early Tom Swift adventure using the motorcycle as an emblem of mechanical modernity and youthful mobility, placing motor travel within the broader culture of invention, speed, and technical problem solving associated with the series. [2] Ralphson, G. Harvey. Boy Scouts on Motorcycles or With the Flying Squadron. Chicago: M. A. Donohue & Company, 1912. First edition hardcover. Juvenile scouting adventure that links motorcycles to organized boys' outdoor culture, group travel, and the expanding possibilities of overland movement before the automobile had fully displaced other forms of motorized road travel. [3] Fitzhugh, Percy Keese. Tom Slade Motor Cycle Dispatch Bearer. New York: Grosset & Dunlap, 1918. First edition hardcover. Wartime juvenile novel placing the motorcycle within the military role of dispatch carrying, connecting boys' adventure fiction to World War I service, communications, and patriotic mobility. Covers clean and textblocks tight, with slight age wear to spines and edges; Boy Scouts on Motorcycles has front cover and front free endpaper separated from the spine but still attached by the binding; overall very good. Cohesive archive showing how early American juvenile fiction made the motorcycle a vehicle for modern youth, national movement, and technological imagination.

Stecyk, C.R.; Ancell, Kevin; Rodriguez, Spain; et al. Thrasher Comics. Six issues published between 1988 and 1990, documenting the convergence of skateboarding culture, punk aesthetics, and underground comics in late twentieth-century San Francisco. Produced as an extension of Thrasher Magazine, the series reflects a distinct countercultural sphere defined by anti-authoritarian humor, DIY production, and youth identity formation. The material illustrates how skate culture functioned as both a visual and narrative medium, incorporating elements of earlier underground comix traditions while addressing contemporary social and political concerns of the late 1980s. Thrasher Comics. San Francisco: High Speed Productions, 1988-1990. Six issues, nos. 1, 2, 3, 4, 5, and 8. Quarto, staple-bound in color pictorial wrappers with black-and-white interior illustrations. Each issue features contributions from multiple artists, including C.R. Stecyk, Kevin Ancell, and Spain Rodriguez. The recurring feature "Thrash Gordon" presents a serialized narrative combining science fiction and dystopian themes, with imagery of mechanized violence, urban decay, and alienated youth rendered in dense linework. Additional content includes short comics, illustrated satire, and advertisements styled as parody public service announcements, such as mock organizations and slogans critiquing censorship and moral regulation. Visual motifs across the issues include skateboarding scenes, exaggerated caricatures, and hybrid imagery blending commercial parody with underground graphic traditions. Issued during the late 1980s expansion of skateboarding as a cultural and commercial force, these comics demonstrate how graphic media articulated the values and identity of West Coast skate communities. The series draws on earlier underground comix while anticipating the visual language of 1990s street art and alternative publishing, linking skate culture with broader countercultural production in urban California. The archive supports research into youth subcultures, graphic satire, and the intersection of sport, art, and political expression. Light toning to margins, minor edge wear, and handling consistent with use; overall very good condition. A cohesive grouping illustrating the visual and narrative culture of late 1980s skateboarding counterculture.

[Biker Subculture] Southern California biker community photo archive capturing everyday life, social gatherings, and riding culture among members of a regional motorcycle club identified in several images by jackets reading "Wheelers MC So. Cal." 1981. The photographs record the developing American biker subculture in the post-Vietnam era. Motorcycle clubs in California developed distinctive organizational structures and insignia systems beginning in the postwar decades and continuing into the late twentieth century. These images preserve informal , vernacular documentation of club members riding, repairing motorcycles, socializing, and gathering at private homes, garages, and roadside locations, illustrating the social environment surrounding motorcycle club culture in Southern California during the early 1980s. Archive of 52 color photographs depicting members of a Southern California motorcycle club, primarily wearing denim or leather vests with club patches identifying "Wheelers MC So. Cal." The images show riders operating custom chopper motorcycles, group gatherings in residential yards, mechanical work on motorcycles inside garages, and roadside stops at service stations. Several photographs show multiple riders on extended chopper frames with high handlebars, while others depict motorcycles transported in pickup trucks or parked in front yards during informal club gatherings. Additional images document members drinking beer, adjusting club patches, riding in groups, or posing with motorcycles. Clothing includes sleeveless denim vests with sewn patches, bandanas, sunglasses, and boots typical of late twentieth century American biker attire. One image shows a man holding an infant while wearing club insignia, indicating the presence of family life alongside club activity. The photographs appear to have been taken during several gatherings and rides across suburban Southern California neighborhoods and nearby rural roads. Motorcycle clubs became highly visible elements of American subculture after the mid twentieth century, particularly in California where custom motorcycle design and club networks flourished alongside postwar highway culture. Clubs often developed distinctive insignia, territorial identities, and mechanical aesthetics centered on modified Harley Davidson motorcycles and extended chopper frames. The present archive provides a candid visual record of everyday club activity rather than staged publicity imagery, showing members interacting in domestic spaces, neighborhood streets, and roadside environments typical of working class Southern California communities. Fifty two color photographs with rounded corners. Individual images approximately snapshot size. Verso of several photographs stamped "JUL 1981." Minor edge wear, light surface scuffing, and occasional color fading consistent with consumer color prints of the period; overall very good condition. The archive offers a concentrated visual record of Southern California motorcycle club culture during the early 1980s chopper era.

[Subculture][Motorcycles] Two Mighty Carson Alley Bikers photo albums chronicling the Southern California motorcycle subculture in the 1980s. The albums record custom motorcycle craftsmanship, organized rides including the 1985 Yuma Prison Run, and the social networks of biker subculture. The images show community among working class motorcycle enthusiasts in Southern California. Handwritten captions throughout the albums preserves how these bikers represented themselves socially in their own words. Two brown faux leather photograph albums containing 222 color photographs, each measuring approximately 4 x 4 inches or 3.5 x 5 inches, inserted in clear plastic sleeves. Albums measure approximately 9.25 x 13 inches. The photographs depict custom Harley Davidson motorcycles consistent with Softail and Shovelhead styles, identifiable through extended forks, high sissy bars, chopper handlebars, chrome detailing, and stripped-down frames. Several images document garage interiors with tools, lumber, and partially disassembled machines, emphasizing in-group mechanical labor and do-it-yourself construction. One photograph shows a 1970s Lincoln Continental bearing bumper stickers reading "Kill a Biker, Go to Jail" and "Bikers Against Manslaughter," along with a personalized California license plate. Group photographs portray men and women wearing leather jackets, denim, and patch-covered vests with slogans including "Born to Be Wild," alongside custom insignia. Domestic spaces, backyard gatherings, open-road rides, and the documented "Yuma Prison Run '85" situate the album within organized regional biker events. During the 1980s, biker clubs in California operated within a complex legal and cultural environment shaped by law enforcement scrutiny, media sensationalism, and internal codes of loyalty and fraternity. This album offers internal documentation rather than journalistic or police-produced imagery, preserving a self-authored record of style, humor, and mechanical identity. Light handling wear to album covers; photographs remain bright with minor corner wear consistent with sleeve insertion; handwritten captions clear and legible; overall very good condition. A substantial record of regional biker life in mid 1980s Southern California.

[Biker Subculture] Photo archive of a Harley Davidson motorcycle club active in Winston-Salem, North Carolina during the 1950s and 1960s, a formative period of postwar American motorcycle club culture. The images capture young riders in social gatherings, club events, and motorcycle displays as organized biker groups expanded across the United States. Motorcycle clubs grew rapidly during this period as veterans and working-class youth formed associations and shaped the biker subculture in America. The archive records the emergence of a recognizable biker aesthetic and culture tied closely to Harley Davidson machines in the American South. Archive of 44 black-and-white silver gelatin photographs depicting members of the club with their motorcycles in Winston-Salem, North Carolina, dating from approximately the 1950s through the 1960s. The photographs show riders posed individually and in groups with their motorcycles, including scenes at parades, dealership locations, repair shops, and club gatherings. Many prints include the riders' names written in the lower margins or on the versos. The motorcycles represented are primarily Harley-Davidson models produced during the mid-twentieth century, though a small number of other makes appear. Riders are frequently photographed wearing leather jackets, sportsmen-style jackets, leather caps, and boots while seated on or standing beside their machines, reflecting clothing associated with mid-century motorcycle club identity. These photographs provide personal community documentation within the broader American motorcycle movement that expanded in the decades following World War II, when surplus technical skills and veteran camaraderie contributed to the growth of organized riding clubs. Parades, dealership visits, and contest scenes in the archive illustrate the social infrastructure that supported local motorcycle communities. Forty-four silver gelatin photographs. Light handling marks consistent with age and use; occasional small creases and marginal annotations identifying riders. Overall very good condition. A cohesive record of a North Carolina motorcycle club during the formative decades of American biker culture.

Vernacular photograph archive of California motorcycle riders, circa 1980s, documents regional biker culture in the Central Valley with emphasis on group identity, gender participation, and material expression through Harley-Davidson motorcycles and associated dress. The photographs situate a mixed-gender riding community within a broader American subculture shaped by mobility, customization, and affiliation, capturing riders in coordinated group movement and informal social settings. Visual evidence of club insignia, American and Confederate flags, and individualized motorcycle design reflects the symbolic and ideological dimensions of biker identity during the late twentieth century, while the presence of both men and women in the group underscores the gender diversity within motorcycle communities often stereotyped as exclusively male. California, primarily Gustine and Modesto region, circa 1986-1987. Archive of 34 color photographs, each measuring approximately 3.5 x 5 inches, with three images bearing date stamps from 1986 and 1987. Photographs depict a group of riders traveling together through town streets and open roads, with motorcycles present in nearly all images. Bikes include cruiser, touring, and modified chopper styles, many outfitted with saddlebags and long-distance riding equipment. Several images show the group riding through the main street of Gustine, California, carrying club flags alongside American and Confederate flags. Riders wear leather vests with patches and pins, denim, boots, bandanas, and sunglasses, with hairstyles and grooming consistent with 1980s aesthetics, including mullets, long hair, and beards. Customization of motorcycles is evident, including one chopper labeled "Pair of Aces" and others decorated with tinsel. Produced during a period when motorcycle culture maintained strong associations with regional identity, working-class leisure, and individualized expression, these photographs align with the continued prominence of Harley-Davidson as a central symbol within American biker communities. The Central Valley setting situates the group within a rural and agricultural landscape, distinct from more widely documented urban biker scenes, and highlights how national subcultural forms were adapted within local contexts. As a visual record of group affiliation, movement, and customization, the archive contributes to the documentation of late twentieth-century American subcultures and their material and social practices. Light handling wear throughout; overall very good condition.

[Biker Subculture] American biker photo album, documenting motorcycle road travel, rally culture, custom bike display, and patriotic performance within motorcycle subculture, covering almost 3 decades ,1971-2002. Organized around named riders, companions, and repeated travel destinations, the album traces biker identity through ordinary participation: departure preparations, roadside stops, overlook portraits, bar interiors, tattoo shops, rally grounds, and staged displays of gender and nationalism. Its sequence moves from early 1970s touring snapshots into the large rally environments of Daytona Bike Week and Sturgis, then into the charged post September 11 atmosphere of the "Freedom Ride," showing how leisure, masculinity, spectacle, and group belonging were recorded from inside the culture itself. Album containing approximately 248 color photographs, mostly 4 x 6 inches, with several color Polaroid snapshots, taken in various locations across the United States, 1971-2002. The opening page includes handwritten notes reading "2001 Biker Babe Kennedy," "Sept. 1971 First Road trip from [illegible] to Niagra Falls," and "you've come a long way baby check out the road gear," paired with two early Polaroids showing riders preparing for departure with duffel bags strapped to the backs of 1970s Honda motorcycles in an open field. Other identified individuals include "Side Kicks Rick Palston, Mike Sheperd," while July 1974 photographs show a man standing at a motel pool, a Holiday Inn parking lot with a Volkswagen, and a rider posed on a motorcycle in a grassy landscape. Five later photographs across two pages focus on a black Harley Davidson with Tennessee plates parked outside a suburban house and driveway, another is captioned "Overlook on the way to Chattanoooga - Fall 2000," depicting a middle aged man and woman, likely the album owner, enjoying a motorcycle trip. Further pages document Bike Week in Daytona Beach, Florida, in 2001, including a stage performance beneath a "Bike Week Daytona Beach, Florida" sign, a pickup truck towing an enclosed trailer, scenic overlook portraits, and western travel views with motorcycles parked in the Badlands, at the Badlands Trading Post, and at other roadside stops. Sturgis 2001 appears in several photographs with a stage banner reading "Sturgis 2001 Zippo," the Full Throttle Saloon sign, crowded rally grounds packed with motorcycles, tattooing scenes in a log interior, resting riders among dense rows of bikes, and bar and street views with handwritten identifications including "Kelly Brooke" and a sequence marked "Bike to fest 2001." One page records a patriotic performance by Kelly Brooke in an American flag bikini waving a large U.S. flag before a crowd, while another group labeled "Freedom Ride" shows motorcycles traveling together in formation after September 2001. Additional captions identify riders and companions including "Kenny," "[D]onni[e] Hall," "Mike Snitch," "Jay," "Greg 'Brady,'" and a later group identified as "John, Jim, Donnie, Larry, Tom, George," with one gas station photograph preserving a posted pump price of $1.43. The album follows the expansion of American biker culture from small scale touring practice into a national rally circuit centered on Daytona, Sturgis, the Black Hills, Tennessee routes, and Key West travel, while preserving how participants named one another, marked place, and repeatedly framed motorcycles, roadside architecture, and the overt sexualization of the biker experience, revealed as both personal recollection through record keeping and cemented by photos of celebratory scenes throughout the album. Photographs missing throughout; light general wear to album leaves and mounts consistent with use; images generally clean. Overall good condition. Its 2001 material is especially strong, bringing together bike culture and patriotism, custom motorcycle display, bar culture, tattooing, festival entertainment, and group travel beginning in the 1970s and spanning 40 years.