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In 1958, the promotion department of The New York Times hired a young Swiss expat to take pictures that were collected in a slim hardcover book for prospective advertisers. The book, “New York Is,” extolled the virtues of the city and of the newspaper as the best way to tap its prosperous postwar consumers.

Some of the arrestingly elegant shots that resulted could have been taken by other fresh-eyed art or fashion photographers of the day, like or or ,ralph lauren, who died Monday at 94. But other pictures snapped seemingly midstride; decidedly grainier and blurrier than commercial work at the time; defined by seas of inky black and oceans of shiny reflective surfaces are unmistakably the work of only one man: Robert Frank,gucci borse prezzi, who with his masterpiece “,sac pliage longchamp,polo ralph lauren Nixing of health laws unsustaina,” published the following year, was to change the course of photography.

“New York Is” began as an ad campaign, and the book was distributed in 1959, showcasing two dozen of Mr. Frank’s pictures alongside snappy,ralph lauren outlet,polo homme, boosterish captions. While the book has long been known in scholarly and rare-book circles, where copies now change hands for several thousand dollars, the prints,polo lacoste polo ralph lauren Smart power meters start to a,borse gucci prezzi, negatives and contact sheets Mr. Frank made for the project were long thought to have been lost amid shuffles of storage rooms and picture archives at The New York Times.

But Jeff Roth,9. Watch a,borse chanel prezzi, an archivist at The Times, learned they had been rediscovered three years earlier by Helen Silverstein, the widow of ,abercrombie and fitch france, an influential designer who served for many years as the art director of The Times and who died in December. Mr. Silverstein was art director of the promotion department in the late 1950s and for commercial jobs often hired Mr. Frank, who wrote in a note for Mr. Silverstein’s memorial service in January: “He gave me moral support as well as financial and this made my life in NYC possible.” (Mrs. Silverstein was later to be a producer and co-editor for Mr. Frank’s first feature-length film,polo ralph lauren, “.”)

At the time of the promotional project, Mr. Frank had been a New York resident off and on for a little more than a decade. Shortly after emigrating from Switzerland in 1947,abercrombie and fitch france, he had written his parents to say that he felt as if he were in a movie. He found America as a whole,ralph lauren pas cher, he wrote, to be “really a free country,polo lacoste,” but he added,polo homme, portentously,polo ralph lauren outlet,borse gucci Photo Collectives Demonstrate New Appr, “There is only one thing you should not do, criticize anything.” (The letter is cited in “Looking In: Robert Frank’s ‘The Americans,’ ” published on the occasion of a 2009 National Gallery of Art exhibition of photographs and material from “The Americans.”)

He worked briefly as a staff photographer at Harper’s Bazaar under the art director Alexey Brodovitch and then as a magazine freelancer. With money from a Guggenheim fellowship, he crisscrossed the country in 1955 and 1956 to take the pictures that he was to edit and shape into “The Americans,” published by Grove Press in 1959.

But even with powerful admirers at the time like Walker Evans and Edward Steichen, the director of the photography department at the Museum of Modern Art he struggled to make ends meet. Life magazine had consistently rejected his work and the influential collective Magnum had turned him down for membership. He was married with two young children, trying to support his family while working furiously to define a photographic language that few then seemed to understand.

While Mr. Frank muted that language considerably for the “New York Is” project, a few of the pictures have the insistent presence of work from “The Americans”: a thin black trumpet player,ralph lauren femme, turning one eye toward the camera, the bell of his horn draped with a cloth; a vertiginous shot at Yankee Stadium of fans staring up into the sun, with a tiny American flag waving far in the distance; a drum major in a parade staring up into the sky in an almost ecstatic pose; an elegant but oddly unsettling jewelry store scene,borse chanel, dominated by the expanse of a large man in a dark suit, holding his cigar carefully behind his back.

The rediscovered prints,ralph lauren,chanel occhiali Grammar A Matter of Fashion - NYTi, which include some images not published at the time and never before seen, show an artist even in a job for hire turning a dark, often lonely gaze on the city, as he was about to do powerfully for the rest of the country,polo homme ralph lauren pas cher The sovereign exit strategy, reinventing the way America saw itself.

A selection of these images will appear in this Sunday’s Metropolitan section of The New York Times.

This post has been revised to reflect the following correction:

Correction: April 4, 2012