Mary Poppins Puddle Jumper Story behind the photo This young lady is having a delightful time puddle jumping. Like Mary Poppins, a popular character and movie during the 1960s, she is defying gravity by putting much confidence in her jumping ability and the protection of her umbrella. As you can see by the smile on her face, she’s having a grand time showing off for my camera. This picture was set to be part of a series that I was creating on orphanages to be published in America Illustrated, which was distributed all over Russia. Unfortunately, the mother changed her mind and would not allow the picture to be distributed internationally due to fear of others’ opinions of her daughter being called an “orphan,” which she felt was tantamount to “one who is impoverished.” I had to start all over on the assignment, but this picture has remained one of my favorites. It represents the fearless approach to challenges that kids will take head-on. Roberts commented, “Kids can defy logic and gravity––as seen in this picture taken in a small town north of Charlotte. This girl must have just seen Mary Poppins, and, like her, was ‘…practically perfect in every way.’ ” BRUCE ROBERTS His talent to capture candid moments in the lives of people attempting to make a positive difference in life is a gift of genius. With only a 35 mm camera, some film, natural light, and a keen eye for the right moment, Bruce has saved for future generations some of the most compelling faces for us to study from the last half of the 20th century. His images introduce us to people we otherwise never would have had the chance to know, yet we all know. Bruce was weaned on night police patrols, trained on award-winning newspapers, and given the freedom to choose his subjects for nearly every major American magazine or book on the South. His photojournalism focuses on the 1960s and ‘70s while his entire photographic career continues into the 21st century. His wife, Cheryl Shelton-Roberts, remembers; "We were on the northern California coast in 1993 and he was using his cherry 4x5 view camera and then one of his three Nikon 35mm cameras. I asked him, "How do you know what image you're getting just looking through the viewfinder?" He looked at me without expression and quickly answered, 'I'm a photographer. I don't see objects. I see light.' " Bruce Stuart Roberts (February 4, 1930 – June 16, 2023) was an American photographer and author who began his career in the 1950s. He started out as a reporter but soon moved into photography and was part of the group of photojournalists at The Charlotte Observer who pioneered the use of the 35 mm format cameras. Over the years his work has appeared in Time, Life, Sports Illustrated, and Time Life Books. From 1978 through 1992, he worked for Southern Living magazine, first as director of photography and later as senior travel photographer. Through his work as a photographer he has depicted such significant events as the civil rights movement in the 1960s and rural health initiatives in the 1970s. In later years much of his work has been spent photographing and documenting lighthouses, a subject he has shared through several books he has either co-authored or illustrations with photographs. Following his postgraduate studies Roberts moved to North Carolina, taking a job as a photographer for the local Hamlet News-Messenger newspaper, in Hamlet, North Carolina, just south of Rockingham on the South Carolina border.[2] During his early years in North Carolina his photos were published in national and international publications such as Life, Look, Time and the Saturday Evening Post.[2][5] Many of his photos were used on the cover of The State magazine (now known as Our State). In 1958 he was hired as a staff photographer for The Charlotte Observer newspaper, working for editor Pete McKnight as part of a group of young up-and-coming photographers.[6] The group of Charlotte Observer photographers would be among the first to use 35 mm photography in their work, and would later be credited with being pioneers of the 35 mm camera in photojournalism as well in as the use of natural light for their photos. In 1959 and 1961, Roberts was named "Southern Photographer of the Year" for his work with the Charlotte Observer.[1][2] He also took first place in the National Press Photographers Association news pictures competition in 1959, 1960 and 1961.[1] In 1962 Roberts took the position of Director of Photography for the News Journal paper in Wilmington, Delaware, where he remained until 1963.[1] Over time he would also take photographs of various important historical figures of the time such as Reverend Billy Graham, Elvis Presley, John F. Kennedy and Joe DiMaggio.[5] One day last summer, Bruce Roberts flew from his home in Charlotte to Atlanta to photograph a magazine story. Working almost nonstop for 36 hours, Roberts exposed 27 rolls of film. The end product was one superb photograph of an Atlanta policeman working in the slums. It is that kind of relentless effort that has made him one of the best in his profession. But it is also compassion, the kind of compassion that allows a parent to live and love a child who is retarded. That makes him the artist he is.” —?Reg Murphy. Atlanta Journal and Constitution editor, 1968, [7] Suzy, one of Roberts’ most famous photos which was exhibited at the Museum of Modern Art in New York City. In 1963 Roberts began to work as a freelance photographer instead of specifically for one newspaper.[6] During this period he and his then-wife Nancy Roberts co-authored several books, including The Governor in 1972[8] and Goodliest Land in 1973.[9] Later they wrote books about the supernatural, releasing books such as Ghosts and Specters: Ten Supernatural Stories in 1974[10] America's Most Haunted Places in 1976,[11] and Southern Ghosts in 1979.[12] Roberts' photographs also appeared in the children's book Where Time Stood Still: A Portrait of Appalachia, which was named by The New York Times as one of the best children's books of 1970.[13] In 1978 he became the director of photography for Southern Living magazine, a position he held until 1982.[6] In 1982 he took on the role of senior travel photographer for the magazine, focusing on depicting the Southern United States.[6] In 1992, after 14 years with Southern Living he left to pursue freelance photography and to focus on contributing to various books, especially books on the lighthouses of North Carolina which became his passion.[5] In the fall of 1994, while living in Nags Head on the Outer Banks of North Carolina, Roberts and his second wife Cheryl Shelton-Roberts co-founded the Outer Banks Lighthouse Society dedicated to preserving North Carolina's lighthouses and to spreading awareness about their history,[14] and served on its board of directors.[15] Starting in 1997 Roberts, working with Cheryl, published his first book on the historical lighthouses, called Lighthouse Families.[16] In subsequent years the Roberts published further books on lighthouses in and around North Carolina.[17][18][19] He would later be awarded "Keeper of the Light" award from the American Lighthouse Foundation as a result of the preservation initiatives he led through the Outer Banks Lighthouse Society. In 2001 Our State magazine awarded Roberts the first ever Carl Goerch Award, named after the magazine's founder.[4] In a 2005 article in Lighthouse Magazine, magazine editor Tim Harrison and the magazine staff declared that Roberts was one of America's all-time best lighthouse photographers, citing his long history of capturing historical lighthouses on film.[20] In 2010 the Outer Banks History Center (OBHC) presented an exhibit of Roberts' photographs entitled "Bruce Roberts, Photojournalist: 50 Years of Capturing Change" that featured photos from throughout his career, primarily focusing on pictures taken in North Carolina.[21]

Story behind the picture: It was a slow news day at the Tampa Tribune and the city editor sent me over to the National Guard Armory to photograph a new singer that “Colonel Parker” had just found and thought was the hottest thing around. The Colonel and the city editor were friends and I suspected this was just a way to get one of the Colonel’s latest protégées featured in the newspaper. I went to the picture editor and asked him what I should shoot of this new performer if I couldn’t get a shot of him singing. He made an offhand remark, “Oh, don’t shoot him on stage because I’ve heard that his moves are too sexually suggestive. Just ask him to sweep out his dressing room.” Imagine my surprise when I found the place packed with girls. The armory was filled to capacity and there were lines outside waiting to get in. They were all there to see a kid named “Elvis.” A couple of the girls who couldn’t get in waved to him through the chain link fence and he smiled back. Just a small gesture from this charming young man conjured up dreamy looks on their pretty faces. I went around to the back of the armory and met Colonel Parker. He took me to Elvis’ dressing room and asked what kind of pictures my editor wanted. I said quickly, “He wants a picture of him sweeping out his dressing room.” Well, that was what had been suggested, and I didn’t know any better. But Elvis wasn’t famous yet and he had agreed to do whatever was asked of him. The Colonel handed him a broom and the rising star swept his room for me. Later on, I got some good shots of his performance. The show was outstanding and the girls went crazy. But, the next morning when I checked the newspaper, there was a story about Elvis Presley––but no pictures. BRUCE ROBERTS His talent to capture candid moments in the lives of people attempting to make a positive difference in life is a gift of genius. With only a 35 mm camera, some film, natural light, and a keen eye for the right moment, Bruce has saved for future generations some of the most compelling faces for us to study from the last half of the 20th century. His images introduce us to people we otherwise never would have had the chance to know, yet we all know. Bruce was weaned on night police patrols, trained on award-winning newspapers, and given the freedom to choose his subjects for nearly every major American magazine or book on the South. His photojournalism focuses on the 1960s and ‘70s while his entire photographic career continues into the 21st century. His wife, Cheryl Shelton-Roberts, remembers; "We were on the northern California coast in 1993 and he was using his cherry 4x5 view camera and then one of his three Nikon 35mm cameras. I asked him, "How do you know what image you're getting just looking through the viewfinder?" He looked at me without expression and quickly answered, 'I'm a photographer. I don't see objects. I see light.' " Bruce Stuart Roberts (February 4, 1930 – June 16, 2023) was an American photographer and author who began his career in the 1950s. He started out as a reporter but soon moved into photography and was part of the group of photojournalists at The Charlotte Observer who pioneered the use of the 35 mm format cameras. Over the years his work has appeared in Time, Life, Sports Illustrated, and Time Life Books. From 1978 through 1992, he worked for Southern Living magazine, first as director of photography and later as senior travel photographer. Through his work as a photographer he has depicted such significant events as the civil rights movement in the 1960s and rural health initiatives in the 1970s. In later years much of his work has been spent photographing and documenting lighthouses, a subject he has shared through several books he has either co-authored or illustrations with photographs. Following his postgraduate studies Roberts moved to North Carolina, taking a job as a photographer for the local Hamlet News-Messenger newspaper, in Hamlet, North Carolina, just south of Rockingham on the South Carolina border.[2] During his early years in North Carolina his photos were published in national and international publications such as Life, Look, Time and the Saturday Evening Post.[2][5] Many of his photos were used on the cover of The State magazine (now known as Our State). In 1958 he was hired as a staff photographer for The Charlotte Observer newspaper, working for editor Pete McKnight as part of a group of young up-and-coming photographers.[6] The group of Charlotte Observer photographers would be among the first to use 35 mm photography in their work, and would later be credited with being pioneers of the 35 mm camera in photojournalism as well in as the use of natural light for their photos. In 1959 and 1961, Roberts was named "Southern Photographer of the Year" for his work with the Charlotte Observer.[1][2] He also took first place in the National Press Photographers Association news pictures competition in 1959, 1960 and 1961.[1] In 1962 Roberts took the position of Director of Photography for the News Journal paper in Wilmington, Delaware, where he remained until 1963.[1] Over time he would also take photographs of various important historical figures of the time such as Reverend Billy Graham, Elvis Presley, John F. Kennedy and Joe DiMaggio.[5] One day last summer, Bruce Roberts flew from his home in Charlotte to Atlanta to photograph a magazine story. Working almost nonstop for 36 hours, Roberts exposed 27 rolls of film. The end product was one superb photograph of an Atlanta policeman working in the slums. It is that kind of relentless effort that has made him one of the best in his profession. But it is also compassion, the kind of compassion that allows a parent to live and love a child who is retarded. That makes him the artist he is.” —?Reg Murphy. Atlanta Journal and Constitution editor, 1968, [7] Suzy, one of Roberts’ most famous photos which was exhibited at the Museum of Modern Art in New York City. In 1963 Roberts began to work as a freelance photographer instead of specifically for one newspaper.[6] During this period he and his then-wife Nancy Roberts co-authored several books, including The Governor in 1972[8] and Goodliest Land in 1973.[9] Later they wrote books about the supernatural, releasing books such as Ghosts and Specters: Ten Supernatural Stories in 1974[10] America's Most Haunted Places in 1976,[11] and Southern Ghosts in 1979.[12] Roberts' photographs also appeared in the children's book Where Time Stood Still: A Portrait of Appalachia, which was named by The New York Times as one of the best children's books of 1970.[13] In 1978 he became the director of photography for Southern Living magazine, a position he held until 1982.[6] In 1982 he took on the role of senior travel photographer for the magazine, focusing on depicting the Southern United States.[6] In 1992, after 14 years with Southern Living he left to pursue freelance photography and to focus on contributing to various books, especially books on the lighthouses of North Carolina which became his passion.[5] In the fall of 1994, while living in Nags Head on the Outer Banks of North Carolina, Roberts and his second wife Cheryl Shelton-Roberts co-founded the Outer Banks Lighthouse Society dedicated to preserving North Carolina's lighthouses and to spreading awareness about their history,[14] and served on its board of directors.[15] Starting in 1997 Roberts, working with Cheryl, published his first book on the historical lighthouses, called Lighthouse Families.[16] In subsequent years the Roberts published further books on lighthouses in and around North Carolina.[17][18][19] He would later be awarded "Keeper of the Light" award from the American Lighthouse Foundation as a result of the preservation initiatives he led through the Outer Banks Lighthouse Society. In 2001 Our State magazine awarded Roberts the first ever Carl Goerch Award, named after the magazine's founder.[4] In a 2005 article in Lighthouse Magazine, magazine editor Tim Harrison and the magazine staff declared that Roberts was one of America's all-time best lighthouse photographers, citing his long history of capturing historical lighthouses on film.[20] In 2010 the Outer Banks History Center (OBHC) presented an exhibit of Roberts' photographs entitled "Bruce Roberts, Photojournalist: 50 Years of Capturing Change" that featured photos from throughout his career, primarily focusing on pictures taken in North Carolina.[21]

Some scratching and flaws on wood. Seats would benefit from reupholstering Chairs are nicely weighted

Vintage Silverplate Twist Arm Triple Candelabra converts to single Candlestick wedding Candelabra

Gorgeous Vintage Lenox Acanthus Leaf Collection Oval Dish Rugged Scalloped Edge Cream w/ Heavy 24K Gold Trim c1906 - 1930 Green Label

Incredibly beautiful! perfect as a curio or china cabinet one shelf has come out please see all photos

his sunset with the buttermilk sky was photographed in north Mecklenburg County in 1961. This picture has several elements that I look for while photographing my surroundings: A big sky; a sunset; silhouetted people/objects; serenity; and, the contrast of light that leads the eye along the line of brightness to dark and back again. Many of us would speed right by a scene like this and never notice nature’s gifts in the form of memorable scenes. I look at this photograph today, decades hence, and I can still remember how I felt as I scanned the scene and lifted my camera. The farmer was on his way to feed his animals at the end of a day. These farms have since been turned into subdivisions, and I wonder if I could ever find a scene like this today.

Vintage Crystal Bohemian Vase Etched Whirling Star Heavy

Requires a good cleaning has staining and discoloration

Pet friendly home Has pet hair on it Very heavy please bring help to move it out of the back office 1 story home

Just ask, will require some TLC missing hardware. Please see molding as it is coming loose

Bruce Roberts The Bodie Island Lighthouse is pictured here after a rare snowstorm on the Outer Banks of North Carolina. I had to rush over to the park to get the picture because snow disappears quickly in the wind as well as the color in the sky. Just a few frames after this one, the entire sky turned dark. I treasure this photograph for many reasons: I was the first to get the light station in a snow scene many years ago, Bodie Island is my favorite lighthouse, the Fresnel lens was still on that morning against the stormy sky, and the picture cannot be had anymore. Although the lighthouse has been beautifully restored and opened to the public, the trees have been removed and the area turned into parking. I love the old double keepers' quarters also. I can envision a keeper in the upstairs window watching the light do its job or I can see him in the lantern room adjusting the lamp's flame while the wind howled all around him. Today the light station looks much as it did when completed in 1872. I love stuff like this.

JAMESTOWN STERLING Solid Hard Rock Maple Colonial Style 40" Three Drawer Chest Needs TLC Bottom drawer not closing properly damage to the top Split in wood see photos

Needs TLC

Some of the seats need TLC

Lighthouse bald head island

Lucas. Geographical, Statistical and Historical Map of North Carolina (1822) Map: “Geographical, Statistical and Historical Map of North Carolina” Maker Artist/ cartographer: F. Lucas, Jr. Engraver: Kneass Printer/ publisher: Carey & Lea Hand-colored, double-page, engraved map of North Carolina showing the individual counties: NORTH CAROLINA. [title] | GEOGRAPHICAL, STATISTICAL AND HISTORICAL MAP OF NORTH CAROLINA No. 23 [top, outside neat line] | Drawn by F. Lucas, Jr. [lower left, outside neat line] | Kneass, sc. [lower right, outside neat line] The map is Plate No. 23 from first edition of Carey & Lea’s Atlas (1822). Made of two sheets joined together, the map identifies only 62 of the present 100 counties in the state. The western-most counties are greatly over-sized. The map is Plate No. 23 from first edition of Carey & Lea’s Atlas (1822). Made of two sheets joined together, the map identifies only 62 of the present 100 counties in the state. The western-most counties are greatly over-sized.

It appears that one of the cushions has been replaced. Please see all photos sofa needs a good cleaning sofa has staining under cushions

Keeping the light First printing photography

Missouri, Kansas, and Texas railway company Marconi wireless telegraph company Utica and Waterville railroad company Stock shares

The White House historical Association Christmas ornaments 2003 through 2010

White House historical Association Christmas ornaments

Some flaws chips ect

I am not 100% sure as to what this bowl

Large heavy room divider COASTAL BREEZE Nautical Ocean American Lighthouse Sailboat Blue America the beautiful

No shipping offered on this lot

No contents

Mesh on chairs flawed

This piece of framed art is based on Bruce Roberts photograph, Suzy Roberts said of this image, "This is one of my most famous photographs. It was taken at an old two-room school near Rockingham, North Carolina, during a summer in the mid-1960s. An innovative program by the North Carolina Fund had set up a daycare for local children. The program went on to serve as a model for America’s domestic Peace Corps." “I saw a young boy coming over to Suzy, he had tripped and fallen, and he needed some reassurance. Suzy pulled him up on her knees and they talked while looking into each other’s eyes, and I shot my Nikon. I don’t think anyone even heard the shutter click, but something clicked inside of me. I knew it was the best [picture] I had ever taken. I thought back to what Suzy had said about eyes that can understand and that speak, and I knew what they said. ‘I care.’ “This picture was exhibited at the Museum of Modern Art in New York City and published in many magazines including Our State: Down Home in North Carolina. “Suzy graduated from UNC-Chapel Hill the following year.”

pet friendly home.

25” deep 52” tall 70” long Beautiful antique mahogany Buffet sideboard Veneer has chipped in some areas. Please see all photos very large piece. Top comes off.

A new map of Nth. Carolina : with its canals, roads & distances from place to place, along the stage & steam boat routes Beautifully detailed map of North Carolina divided into counties. Delineates towns, waterways, railroads and major routes. Includes insets of Craven and the Gold Region as well as a profile of the "Dismal Swamp Canal". Minor overall toning, slight tape residue along top and bottom edges, small tear to right edge. Thomas, Cowperthwait & Co. took over publication of S. A. Mitchell's important "Universal Atlas" in 1850, and continued to produce updated maps that were considered some of the best commercial cartography of the 19th century.

Rome city Street railway company stock certificate, 10 shares 1893 Gulf mobile and Ohio railroad company 18 stock shares 1964

The Bodie Island Lighthouse is pictured here after a rare snowstorm on the Outer Banks of North Carolina. I had to rush over to the park to get the picture because snow disappears quickly in the wind as well as the color in the sky. Just a few frames after this one, the entire sky turned dark. I treasure this photograph for many reasons: I was the first to get the light station in a snow scene many years ago, Bodie Island is my favorite lighthouse, the Fresnel lens was still on that morning against the stormy sky, and the picture cannot be had anymore. Although the lighthouse has been beautifully restored and opened to the public, the trees have been removed and the area turned into parking. I love the old double keepers' quarters also. I can envision a keeper in the upstairs window watching the light do its job or I can see him in the lantern room adjusting the lamp's flame while the wind howled all around him. Today the light station looks much as it did when completed in 1872. I love stuff like this. Bodie Island Lighthouse in the Snow, North Carolina

When John F. Kennedy campaigned in fall 1960, he was the center of a whirlwind of admirers as he left the Charlotte Coliseum. This picture appeared in the Charlotte Observer and was picked up by Associated Press and ran in every major newspaper in America. In this picture, John F. Kennedy is surrounded by a sea of Southern faces as he makes his way to his car. Kennedy won North Carolina by a narrow margin; however, it wasn’t the politics that interested me, it was his charisma that gave the feeling that Camelot just might be real. I’ll never forget the story he opened his speech with. He told of the Connecticut legislature that was meeting in session during the early 1800s when an eclipse darkened the noonday sky. There was a clamor amongst the politicians to adjourn immediately and go home. A voice from the back differed. He said, “Mr. Speaker, I ask that candles be brought. We must remain here and be found doing our work if indeed this is the end of the world.”

When I lived near Charlotte, the surrounding countryside was dominated by cotton and tobacco fields. This photograph was taken near Pineville, North Carolina, in 1959. Arriving in the 1950s from parts north, I knew immediately that what I saw ongoing in the South was about to change dramatically. Farming was becoming more and more automated with machines that could do just about any task that a man could do, and the machine could do it faster. So when the opportunity to photograph scenes like this presented itself, I had my camera ready to record what I felt strongly would one day be only a memory­­––history. Although the cotton picking was backbreaking, hot, and dirty, it was a job that paid money and allowed even tenant farmers to feel proud to help support themselves and their families. Rising early every morning, eating a good breakfast, and then heading to the fields was as much a custom as was attending church on Sunday. Conversations were based on how many bags of cotton had been picked that day, how many rows of tobacco had been tended and weeded, how much hay had been cut and baled. Hard work, yes, but it was a simpler time that some long to return to. I have noted in my old photographs that few people were overweight then. The bag this woman wore around her waist to catch the cotton balls that she picked once held 200 pounds of fertilizer. How many today could lift that? Better yet, how many could spend a day bent over and picking cotton? I tried it for about twenty minutes and decided that it was not for me. If the bending didn’t get me, the heat would. My respect for cotton pickers grew exponentially.

Girl in the doorway I was driving near Maxton, North Carolina, in 1960 and passed a house with a mother and her children sitting on the porch. It strongly reminded me of one of Dorothea Lang’s pictures. So I stopped and took the group’s picture, but then I noticed the girl in the doorway. I simply slipped to the side and took her portrait with a zoom lens. There was just something about the picture with all its shadows and patterns with the girl as the focal point that I had to record. I immediately liked the photograph and had no idea that decades later it would be in demand. Reynolds Price had purchased a print of this photograph during an exhibition at the Intimate Bookshop on Franklin Street in Chapel Hill. Publisher Scribner/Simon and Schuster wrote me in a letter that Price had placed the picture above his typewriter and looked at it frequently while he was writing about Lumbee Indians and their culture in A Long and Happy Life, published in 1962. His publisher asked, at Price’s request, for permission to use it on the cover of the anniversary edition of his best-selling book, published in 2009. I have always enjoyed studying this photograph. The young lady has a Mona Lisa smile and a far-away look in her eyes as she watched her mother and siblings sitting on the porch in front of her. Although living a humble lifestyle, she is obviously content within the security of her family.

pet friendly home

Handcrafted byFleet Shelton 1980

42” long 23 “ deep 42” tall

Beautiful

nautical maritime maps see photos

Dryer is only working on high heat setting. All lots are sold as is where is with no guarantee or warranty .

NOT WORKING All lots are sold as is where is with no guarantee or warranty .

This box was built by John Gaskill. His father was a keeper at Bodie Island lighthouse. This box was built to house two lights exhibited in race rocks lighthouse.

Creamer and sugar no lid

Pet Friendly home.

Extra $25 fee to ship

pet friendly

Untested

leans a little

2622 of 3000

Framed canvas

View of the Capitol at Washington, USA, 1837. by CJ Bentley

Many signed books. Duplicates Lighthouse books and more!

Flawed

Base of table is strapped together see photos Table sees to have condition issues Rug is in a pet friendly home and needs to be cleaned