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"Snow White" is a 19th-century German fairy tale that is today known widely across the Western world. The Brothers Grimm published it in 1812 in the first edition of their collection Grimms' Fairy Tales and numbered as Tale 53. The original German title was Sneewittchen, a Low German form, but the first version gave the High German translation Schneeweißchen, and the tale has become known in German by the mixed form Schneewittchen. The Grimms completed their final revision of the story in 1854.[1][2]
The fairy tale features such elements as the magic mirror, the poisoned apple, the glass coffin, and the characters of the Evil Queen and the Seven Dwarfs. The seven dwarfs were first given individual names in the 1912 Broadway play Snow White and the Seven Dwarfs and then given different names in Walt Disney's 1937 film Snow White and the Seven Dwarfs. The Grimm story, which is commonly referred to as "Snow White",[3] should not be confused with the story of "Snow-White and Rose-Red" (in German "Schneeweißchen und Rosenrot"), another fairy tale collected by the Brothers Grimm.
In the Aarne–Thompson folklore classification, tales of this kind are grouped together as type 709, Snow White. Others of this kind include "Bella Venezia", "Myrsina", "Nourie Hadig", "Gold-Tree and Silver-Tree",[4] "The Young Slave", and "La petite Toute-Belle".
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"The Snow Queen" is an original fairy tale by Danish author Hans Christian Andersen. It was first published 21 December 1844 in New Fairy Tales. First Volume. Second Collection (Nye Eventyr. Første Bind. Anden Samling).[1] The story centres on the struggle between good and evil as experienced by Gerda and her friend, Kai.
The story is one of Andersen's longest and most highly acclaimed stories. It is regularly included in selected tales and collections of his work and is frequently reprinted in illustrated storybook editions for children.
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"Rumpelstiltskin"[1] is a German fairy tale.[2] It was collected by the Brothers Grimm in the 1812 edition of Children's and Household Tales.[2] The story is about an imp who spins straw into gold in exchange for a girl's firstborn.[2]
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Beauty and the Beast is a fairy tale written by French novelist Gabrielle-Suzanne Barbot de Villeneuve and published in 1740 in La Jeune Américaine et les contes marins (The Young American and Marine Tales).[1][2] Her lengthy version was abridged, rewritten, and published by Jeanne-Marie Leprince de Beaumont in 1756 in Magasin des enfants[3] (Children's Collection) to produce the version most commonly retold[4] and later by Andrew Lang in the Blue Fairy Book of his Fairy Book series in 1889.[5] The fairy tale was influenced by Ancient Greek stories such as "Cupid and Psyche" from The Golden Ass, written by Lucius Apuleius Madaurensis in the 2nd century AD, and The Pig King, an Italian fairytale published by Giovanni Francesco Straparola in The Facetious Nights of Straparola around 1550.[6]
Variants of the tale are known across Europe.[7] In France, for example, Zémire and Azor is an operatic version of the story, written by Marmontel and composed by Grétry in 1771, which had enormous success into the 19th century.[8] Zémire and Azor is based on the second version of the tale. Amour pour amour (Love for love), by Pierre-Claude Nivelle de La Chaussée, is a 1742 play based on de Villeneuve's version. According to researchers at universities in Durham and Lisbon, the story originated about 4,000 years ago.[9][10][11]
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"Little Red Riding Hood" is a European fairy tale about a young girl and a Big Bad Wolf.[1] Its origins can be traced back to several pre-17th century European folk tales. The two best known versions were written by Charles Perrault[2] and the Brothers Grimm.
The story has been changed considerably in various retellings and subjected to numerous modern adaptations and readings. Other names for the story are: "Little Red Cap" or simply "Red Riding Hood". It is number 333 in the Aarne–Thompson classification system for folktales.[3]
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"Cinderella",[2] or "The Little Glass Slipper", is a folk tale with thousands of variants throughout the world.[3][4] The protagonist is a young woman living in forsaken circumstances that are suddenly changed to remarkable fortune, with her ascension to the throne via marriage. The story of Rhodopis, recounted by the Greek geographer Strabo sometime between around 7 BC and AD 23, about a Greek slave girl who marries the king of Egypt, is usually considered to be the earliest known variant of the Cinderella story.[3][4][5]
The first literary European version of the story was published in Italy by Giambattista Basile in his Pentamerone in 1634; the version that is now most widely known in the English-speaking world was published in French by Charles Perrault in Histoires ou contes du temps passé in 1697.[6] Another version was later published by the Brothers Grimm in their folk tale collection Grimms' Fairy Tales in 1812.
Although the story's title and main character's name change in different languages, in English-language folklore Cinderella is an archetypal name. The word Cinderella has, by analogy, come to mean one whose attributes were unrecognized: one who unexpectedly achieves recognition or success after a period of obscurity and neglect. The still-popular story of Cinderella continues to influence popular culture internationally, lending plot elements, allusions, and tropes to a wide variety of media.
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Rapunzel is a German fairy tale recorded by the Brothers Grimm and first published in 1812 as part of Children's and Household Tales (KHM 12).[1] The Brothers Grimm's story is an adaptation of the fairy tale Rapunzel by Friedrich Schulz (1790) that was a translation of Persinette (1698) by Charlotte-Rose de Caumont de La Force, which was itself influenced by an earlier Italian tale, Petrosinella (1634), by Giambattista Basile.[2][3][1]
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The Aarne-Thompson classification system for folktales classifies "Sleeping Beauty" as being a 410 tale type, meaning it includes a princess who is forced into an enchanted sleep and is later awakened reversing the magic placed upon her. The story has been adapted many times throughout history and has continued to be retold by modern storytellers throughout various media.
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"Bluebeard" is a French folktale, the most famous surviving version of which was written by Charles Perrault and first published by Barbin in Paris in 1697 in Histoires ou contes du temps passé.[1][2] The tale tells the story of a wealthy man in the habit of murdering his wives and the attempts of one wife to avoid the fate of her predecessors. "The White Dove", "The Robber Bridegroom" and "Fitcher's Bird" (also called "Fowler's Fowl") are tales similar to "Bluebeard".[3][4] The notoriety of the tale is such that Merriam-Webster gives the word "Bluebeard" the definition of "a man who marries and kills one wife after another". The verb "bluebearding" has even appeared as a way to describe the crime of either killing a series of women, or seducing and abandoning a series of women.[5]
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Tom Thumb is a character of English folklore. The History of Tom Thumb was published in 1621 and was the first fairy tale printed in English. Tom is no bigger than his father's thumb, and his adventures include being swallowed by a cow, tangling with giants, and becoming a favourite of King Arthur. The earliest allusions to Tom occur in various 16th-century works such as Reginald Scot's Discovery of Witchcraft (1584), where Tom is cited as one of the supernatural folk employed by servant maids to frighten children. Tattershall in Lincolnshire, England, reputedly has the home and grave of Tom Thumb.[1]
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Oscar Wilde is a Irish wit, poet and dramatist. While best known for the literary work The Picture of Dorian Gray, he also published the fairy tales The Happy Prince and A House of Pomegranates.
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Edmund Leamy is an Irish writer, politician and lawyer. His most well-known fairy tale books are the Irish Fairy Tales and Irish Fairy Stories for Children.
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George MacDonald is a novelist and poet who is remembered for his allegorical fairy stories. His most known fairy tale books are At the Back of the North Wind, The Princess and the Goblin, and it's sequel, The Princess and Curdie.
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Hans Christian Andersen is a Danish master of literary fairy tales whose work is among the most frequently translated work in literary history. Some of his well-known fairy tales includes "The Emperor's New Clothes," "The Little Mermaid," "The Nightingale," "The Steadfast Tin Soldier," "The Red Shoes," "The Princess and the Pea," "The Snow Queen," "The Ugly Duckling," "The Little Match Girl," and "Thumbelina."
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Andrew Lang is a Scottish scholar known for publishing a 12-volume of collection of fairy tales. He also authored his own fairy tales.
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Peter Christen Asbjørnsen is a Norwegian author. He is best remembered for Norwegian Folktales, a book he published with Jørgen Engebretsen Moe. Asbjørnsen also published a collection of fairy tales called Norwegian Fairy Tales and Folk Legends.
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Charles Perrault is a French poet, prose writer and storyteller. He is remembered for his Tales of Mother Goose, a collection of fairy stories for children. His Tales of Mother Goose features well-known fairy tales "Little Red Riding Hood," "The Sleeping Beauty," "Puss in Boots," and "Bluebeard."
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Brothers Grimm are German folklorists and linguists best known for Grimm's Fairy Tales. The book features well-known fairy tales like "Snow White," "Little Red Riding Hood," "Sleeping Beauty," and "Rumpelstiltskin." Throughout their lives, they compiled collections of folktales or what is now commonly known as fairy tales from different parts of the world. Their work led to the modern study of folklore.
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Brothers Grimm are German folklorists and linguists best known for Grimm's Fairy Tales. The book features well-known fairy tales like "Snow White," "Little Red Riding Hood," "Sleeping Beauty," and "Rumpelstiltskin." Throughout their lives, they compiled collections of folktales or what is now commonly known as fairy tales from different parts of the world. Their work led to the modern study of folklore.
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Schofield Barracks, Honolulu, HI - Informal remarks at military review of 7th Infantry Division (1 min)
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Reissue of Edison 4-minute Amberol 9815.
Blanche Browning Rich collection.
Edison Blue Amberol: 9865.
Foreign Blue Amberol record release: Bohemian series.
Sung in Czech.
Year of release from "The Edison Phonograph Monthly," v.11 (1913).
Bohumil Pták.
Tenor with orchestra accompaniment.
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Edison Gold Moulded Record: 18447.
Foreign Gold Moulded Record: Holland/Dutch series
Lynn Andersen Collection.
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Todd collection.
Lynn Andersen collection.
Library's copy one from Todd collection, copy two from Lynn Andersen collection.
Edison Gold Moulded Record: 12882.
Year of release from "The Edison Phonograph Monthly," v.1 (1903-1904).
Foreign Gold Moulded Record: French-Canadian series.
James C. McAuliffe.
Irish jig. Bagpipe solo.
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Darrell Baker collection.
Edison Amberol: 12361.
Year of release from "The Edison Phonograph Monthly," v.9 (1911).
Foreign Amberol record release: British.
Harry Lauder.
Male vocal with orchestra accompaniment.
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Todd collection.
Edison Gold Moulded Record: 9761.
Year of release from "The Edison Phonograph Monthly," v.5 (1907/1908).
John Kimmble [i.e. John J. Kimmel].
Accordian [sic] solo with piano accompaniment.
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Edison Blue Amberol: 5156.
Dubbed from Edison Diamond Disc matrix: 10885.
Year of release from Edison Blue Amberol cylinders: U.S., special, and foreign issues, 1912-1929 / Allan Sutton, 2009.
Whistling with violin, piano and celesta.
David Giovannoni collection
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Dubbed from Edison Diamond Disc matrix 9676.
BGSU Collection.
Edison Blue Amberol: 4958.
Year of release from "Edison Blue Amberol Recordings" by R. Dethlefson, v.2 (1981).
August Eckert.
Swiss harp-zither.
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Year of release from "The Edison Phonograph Monthly," v.11 (1913).
Edison Blue Amberol: 23079.
Foreign Blue Amberol record release: British series.
Highlanders Bagpipe Band.
Bagpipe music.
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Todd collection.
Edison Gold Moulded Record: 9197.
Medley introduces "On the banks of the Rhine with a stein," "I'll be waiting in the gloaming, sweet Genevieve," and "Wait till the sun shines, Nellie."
Year of release from "The Edison Phonograph Monthly," v.3 (1905/1906).
Eugene Rose.
Ocarina solo with orchestra accompaniment.
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Todd collection.
Brown wax cylinder.
Home recording.
"Cântarea lui Andrei a lui Gelu din România" (The singing of Andrew (son) of Gelu from Romania)--announcement.
Unaccompanied instrumental performance on the tárogató.
Andrei, son of Gelu.
Also available online via the Internet.
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This digital image is a surrogate of an item from the Baja California and the West Postcard Collection.
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This digital image is a surrogate of an item from the Baja California and the West Postcard Collection.
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This digital image is a surrogate of an item from the Baja California and the West Postcard Collection.
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This digital image is a surrogate of an item from the Baja California and the West Postcard Collection.
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This digital image is a surrogate of an item from the Baja California and the West Postcard Collection.
Postcard series number: 59
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Plates in: [Real photo postcard collection depicting Hollywood and Los Angeles]. Vol. 9, page [9].
Addressed to Mr. H. Liefeld, Bridgeport, Conn.
2010-4709.
Paul De Longpre was born in Lyons, France in 1855. Came to the United States in 1890, settling in New York. Moved to Los Angeles in 1899, began building the home on Prospect Ave. in 1900. He was watercolor, still-life painter, specializing in flowers. Died in 1911 in Hollywood.
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New York : Henry Holt and Company, 1885
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Postcard of the Dragon Gorge roller coaster in Ocean Park, California, from a color photograph. The image shows two large dragons flanking the large cavernous entrance to the ride. "128" -- printed on front.
Handwritten manuscript on back. Postmarked from Santa Monica, California on July 8, 1912.
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Illustrated by the author.
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Real photo postcard collection depicting Hollywood and Los Angeles
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Edmund Leamy, poet, lawyer and Irish Parliament Party MP, circa 1880s
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Performance Note: "Horned Owl" (vocals) performed by John Josh at Cow Creek settlement, Seminole Indian Reservation, Florida, on July 1, 1940.
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Performance Note: "Steal Partner" (vocals) performed by Richard Osceola, Naha Tiger, John Josh, and Morgan Smith at Cow Creek settlement, Seminole Indian Reservation, Florida, on July 1, 1940.
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- This is William D. Boehmer, teacher at the Brighton Indian Day School, at Brighton, Florida, introducing Lura May Jumper, 8-year-old Seminole girl, a pupil at the school. She will sing a traditional Seminole children's song called 'The Bat Song,' 'Chish-hi-you-bung-gay.'"
- The sound quality of this recording is poor, and the record concludes with skipping.
- Performance Note: "Chish-hi-you-bung-gay" (vocals) performed by Lura May Jumper at Brighton Indian Day School, Cow Creek settlement, Seminole Indian Reservation, Florida, on July 1, 1940.
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This song was collected by Alice Cunningham Fletcher and Francis La Flesche. It is included on "Omaha Indian Music: Historical Recordings from the Fletcher/La Flesche Collection" (AFC L71).
- From the liner notes of the "Omaha Indian Music" album: The Ritual of the Maize concerned the springtime distribution of kernals from the sacred ears of red corn, and the song accompanying this ritual details the stages in the life of the corn plant from its germination to its fulfillment as a gift to man (1911, pp. 261-269).
- When maize was discovered the grain was distributed among the people that they might plant and eat of the fruit of their labor, and from that time on it has been the custom to sing the song of the maize and to repeat the distribution of the corn every year at the time of planting (1911, p. 261).
- James Robinson was the last keeper of the sacred white buffalo hide. His probable year of birth is 1811.
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- This song was collected by Alice Cunningham Fletcher and Francis La Flesche. It is included on "Omaha Indian Music: Historical Recordings from the Fletcher/La Flesche Collection" (AFC L71).
- From the liner notes of the "Omaha Indian Music" album: "When a group of warriors moved out to defend the camp they did not go silently to the field of battle. Each man sang as he went. . . . Captive songs always expressed the warrior's feeling when contemplating the dangers of war and the facing of death (1911, p. 427)." Captive songs, also referred to as death songs, were usually composed and sung by warriors about to face death as captives of their enemies, or when facing a particularly dangerous battle or enterprise (1893, pp. 45-46, 126-129; 1911, pp. 427-431).
- Gilbert Morris's probable year of birth is 1865.
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From the 16th to the mid-19th century, whalebone was the primary stiffening material in the stays/corsets worn by women in Europe. Over all other materials, whalebone was preferred for its malleability, flexibility and comfort during wear. A strip such as this would be inserted into a channel stitched between two layers of linen. The number of whalebone strips used and their proximity to each other would depend upon the style and date of the stays/corset.
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Although black tended to be associated with mourning in the 19th century, by the early 1900s it had become an acceptable colour for elegant evening and day gowns. The dress illustrated in this coloured pencil drawing may represent a design for a widow in the final stages of mourning when she was beginning to reenter social life and attend the theatre and other events, as although extremely fashionable in silhouette, it is untrimmed save for a few touches of white, and the wearer is depicted in a reflective, pensive mood. However, it is equally probable that it was simply designed as a "little black dress", a smart, understated black gown, designed to enhance and emphasise the wearer. Although the "little black dress" is popularly credited as a 1920s invention by Gabrielle 'Coco' Chanel (1883-1971), images such as this show that the concept existed well before Chanel launched her career as a fashion designer.
The fashionable corset of the time had a straight front and a curved back, which pushed out both bust and bottom, creating a "S-bend" silhouette, which can be seen in this drawing, along with the way in which the wearer leaned forward slightly. The dress is designed to enhance this effect, with a trailing skirt and a pouched bodice front, the fabric hanging from the bust and caught up at the waist creating a "pouter pigeon" effect. The sleeves echo the lines in the bodice and skirt, fitted at the top and fuller at the bottom. The high piled hairstyle with a dramatic black hat poised on the top also enhances the wearer's posture and height.
The artist, Lucien Guy was a French illustrator and caricaturist active in the early 20th century, who appears to have specialized in portraying elegant, fashionable women of the period.
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Corset lace made from white linen braid. Finished with white metal tags.
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Corset of blue watered silk trimmed with broderie anglaise.
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A young woman gets dressed in 1910s clothing.
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This dress (bodice and skirt) or reception gown is made of stamped silk velvet, trimmed with silk machine lace and self-fabric rosettes. The bodice of the dress demonstrates the ‘cuirasse’ style, cut to fit smoothly over the torso and hips, worn over a long stiffened corest. There are whalebone strips in the bodice, emphasising the smooth line of the torso, while the skirt is well organised with a flat vertical front, a section of smocking, and swags and puffs supported by internal bones and tapes, culminating in a train. The unknown maker of this dress was highly skilled. The fact that there is no label in the dress suggests that it may have been made by a local dressmaker working independently. Larger dressmaking shops employed seamstresses organised in separate workrooms specialising in bodices or skirts. This dress shows the many different techniques involved.
The dress could have been made in London, although it comes from a family based in Cambridge. Before it came to the museum, it was cared for by the same family for three generations, although it is not clear which family member may have worn it originally.
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Fitted to the figure Around 1909, the fashionable s-bend silhouette gave way to a more elongated body shape and upright posture. This new figure required differently shaped underwear to control and support it. Bust bodices were designed to lift and contain the bust, which was largely unsupported by the low, straighter, hip-confining corset. Bust bodice Dickins & Jones Britain, London, 1910s Figured silk satin ribbon, machine-made lace, front fastening with mother-of-pearl buttons, boned and laced at the back V&A: T.33-1996 Given by Christina McMillan (16/04/2016-12/03/2017)
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This is a design for a day dress for the Summer collection of 1900. The model is wearing a sun hat and holding a parasol as was the custom for fashionable ladies at that time. The dress has a high neck, and an elaborate front decoration. This matches the diamond patterns found alongside the bottom part of the dress and the top part of the long tight sleeves.
This design is an example of the dominating popular S-Bend silhouette present in fashion designs up to until about 1908. In order to achieve this shape, the hips were forced backwards by the tightly laced corset worn at the waist - as a counter effect the woman's bosom was pushed forwards creating what some referred to as the "pouter pigeon" effect.
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This style of delicate pale dress was very popular for wear at summer garden parties and fêtes. The Lady's Realm (1907) remarked: 'July is the ideal month in England where dress is concerned, and our thoughts turn to transparent lawns, ethereal muslins and dainty laces which are all associated with summer confections of London and Paris'.
The skirt appears seamless but is made up of many almost invisible hand-stitched joins linking the bands of hand-made lace and lawn. The hand-crocheted flowers add depth and texture. This labour-intensive decoration within an all-white colour scheme satisfied the fashion for costly detail. Although this dress looks soft and pliable, the wearer would have worn rigid corseting underneath.
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A woman dressed in corset and drawers leans over a double bed revealing her bottom through a slit in her drawers
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When Lucien Guy drew this elegant lady in 1904, the ideal woman of the period was tall and statuesque, with a small waist, a full imposing bust and a rounded bottom. This silhouette was achieved through corsetry. The early 1900s corset had a straight front and a curved back, which pushed forward the bust and pushed out the bottom, creating an exaggerated "S-bend" silhouette. This drawing clearly illustrates the effect such corsetry had on the wearer's posture, with the sitter perching on her chair and leaning forward from her hips rather than bending at the waist, which would have been impossible. Even standing, the wearer of such a corset would have leaned forward slightly, with her bust thrust forward, an effect clearly illustrated in this drawing.
Fashionable dress was designed to emphasise this silhouette. Skirts were worn straight in front, with full gathers and fullness in the back falling into a sweeping train. The bodices were cut full in front, with the fabric draped over the bust and hanging down from it, rather than being fitted to the figure, and the loose fabric was caught up into the waist, creating an overhang, sometimes described as a "pouter pigeon" effect. This is clearly shown in Guy's drawing, with the sitter obligingly leaning forward to emphasise the effect. Her high, piled hairstyle and large, elaborately trimmed front-heavy hat further enhanced her height and posture. Although the hat looks precariously poised, it would have been secured to the hairstyle with long hat-pins.
The artist, Lucien Guy was a French illustrator and caricaturist active in the early 20th century, who appears to have specialized in portraying elegant, fashionable women of the period.
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A postcard of a tinted photograph showing a woman dressing. She wears boots, a white petticoat and black corset and is about to put on her jacket.
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A postcard depicting a woman smiling at the viewer and resting her foot on a low stool; she wears a blue corset and white and pink undergarments which are artfully falling off her shoulders
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A postcard depicting a woman half-kneeling on a chair; her corset is unbuttoned and reveals her nude body despite clasping her long yellow robe to her.
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Full-skirted lilac silk 'war crinoline' dress trimmed with inset ruched bands.
This is one of a group of 59 sketches mainly showing designs for wedding and bridesmaid dresses. Although bound in a volume marked as 1911, the designs date throughout the 1910s.
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The crinoline was invented in the 1850s. It was made of dozens of circles of fine wire held together vertically with fabric tape. It replaced layers and layers of petticoats made of heavy horsehair and linen with starched ruffles. The new lighter crinoline was eagerly adopted by women to achieve the fashionably full profile of the skirt.
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Bustle pad of dark brown glazed calico trimmed with dark brown silk cord. It consists of an almost square pad with rounded corners overlaid with a smaller one held in place by the silk cord.
It appears to be stuffed with straw. It fastens with a white waist tape.
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Given by Messrs Harrods Ltd.
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Crinoline bustle made from cream woven horsehair. It is hip length and consists of a panel bound with white cotton and pleated onto a shaped and boned waistband which fastens with tapes.
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Cotton, French
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Photos of a replica 1859 cylinder phonautograph: Invented by Édouard-Léon Scott de Martinville, the original built by him and Rudolph Koenig in Paris, France in 1859. This object is a replica based on historic drawings, built in 2014 by Jean-Paul Agnard for the David Giovannoni collection. An original machine of this design does not survive.
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English: A drawing of a phonautographic recording session.
Français : Dessin d'une séance d'enregistrement sur phonautographe.
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Recorded by John A. and Ruby T. Lomax, Oil City, Louisiana, 1940.
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Recorded by John A. and Ruby T. Lomax, Livingston, Alabama, 1940.
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English: It's unclear who took this photograph, but it is the photograph of Munsell included in A Color Notation, his 1905 book, and is therefore now out of copyright. The image was restored by Munsell Color Science Laboratory graduate student Douglas Corbin in 1998 as described here.
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A short video demo about the Universal Viewer module in Omeka S.
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- Title from unverified data provided by the Bain News Service on the negatives or caption cards.
- Forms part of: George Grantham Bain Collection (Library of Congress).
- General information about the George Grantham Bain Collection is available at http://hdl.loc.gov/loc.pnp/pp.ggbain
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- H99979 U.S. Copyright Office
- This record contains unverified data from caption card.
- Caption card tracings: Telegraph; Telephone.
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- H99976 U.S. Copyright Office
- This record contains unverified, old data from caption card.
- Caption card tracings: Telegraphone; Telephones 1907; Shelf.
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[Real photo postcard collection depicting Hollywood and Los Angeles]
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Plates in: [Real photo postcard collection depicting Hollywood and Los Angeles]. Vol. 2, page 35.
"Theo Sohmer, Los Angeles" -- on verso. Addressed to Mr. W. Thurston Rowley, New York City.
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Scene still of Belshazzar's feast in the central courtyard of Babylon from D. W. Griffith's 1916 silent film Intolerance.
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View of the entrance to Universal City movie studio with administrative buildings in view, which was promoted as a tourist destination. A woman is seen next to a sign "University City 'Capital of the Film World'" and an automobile, and several people are near the gated entrance.
Title devised by cataloger based on text on image. Date devised by history of Universal City. In 1915, Carl Laemmle opened his new movie studio, Universal City, which spread south from Lankershim Boulevard across today’s main studio complex in the San Fernando Valley. Now home to Universal Studios theme park and the largest film production facility in the world ("Universal City turns 100 years old," L.A. Daily News, March 4, 2015).
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Recorded by Dr. L. Turner, St. Helena Island, South Carolina (Gullah), June 27, 1932.
- On jacket and incised on disc: "Recorded by Dr. L. Turner" Per waterman manuscript "Disks (sic.) #1277-1292 were made in the Gullah areas of Georgia and South Carolina. Not read from DARE." See also Publication of the American Dialect Society 3.13-28. Skip on Side A about 1 inch from outer rim.
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- Recorded by Archibald A. Hill, Mrs. John Faulconer Ware, and Guy S. Lowman, Dunnsville, Virginia, 1935.
- On jacket and incised on disc: "negress" "Original - 1935"; "near 139, 140" (Community no.), and name, community, and age of informant. On jacket: "Hill & Lowman Original 1935" "Master Copy" "good". This informant shifts between reminiscences and religious chanting, punctuated by laughter. A woman asks some questions as well as GL and AH; based on comments on ADS 1389, this woman seems to be related to the informant's former employer. Based on comments about "Aunt Phoebe" on beginning of ADS 1396, Side B, and on similarity of voice, it seems that Mrs. John Faulconer Ware (ADS 1394-1397) is the woman whose voice is heard in the background of ADS 1387-1390.
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- Recorded by Archibald A. Hill and Guy S. Lowman, Albemarle County, Virginia, Summer or Fall, 1934.
- On jacket (re. Brooks) "Negress, 40 yrs"; (re. Ashton) "Negress, former slave". Two informants named "Hancock" were interviewed in the earlier series from this county, cf. ADS 909, 911A. Re. Interviewer states "Apparently all the Southern interviews were done by Mr. Guy S. Lowman as part of the preliminary survey of the South Atlantic states for a projected linguistic atlas", but the voice is that of Archibald A. Hill (cf. ADS 1182) and "Hill" is incised on the discs.
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Image of General Don Andres Pico (1810-1876) of Los Angeles, 1865, showing corridor of farm building (ex-mission of San Fernando) with men, women, children, and animals in foreground. Includes the southern mission orchard and vaqueros lassoing cattle in distance.
Handwritten title (LC). Handwritten (lower margin): General Don Andres Pico of Los Angeles, 1865. Southern mission orchard; vaqueros lassoing cattle; corridor of the farm-building. Ex-Mission of San Fernando.
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Gen. Andrés Pico was the younger brother of Pío Pico. Andrés surrendered to the U.S. and signed the Treaty of Cahuenga. Despite negotiating for protection for California-Mexicans, he was a victim of having his land confiscated by the new government.
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Dubbed from Edison Diamond Disc matrix 5677.
Edison Blue Amberol: 3346.
Year of release from "Edison Blue Amberol Recordings" by R. Dethlefson, v.2 (1981).
The Carol Singers.
Old Christmas carol. Mixed voices with orchestra accompaniment.
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Todd collection.
Edison Goldguss Walze: 15109.
Year of release from "The Edison Phonograph Monthly," v.4 (1906-1907).
Foreign Gold Moulded Record: German series.
Nebe-Quartett.
Voices in German.
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Blanche Browning Rich collection.
Edison Blue Amberol: 27182.
Year of release from "Edison Blue Amberol Recordings" by R. Dethlefson, v.2 (1981).
Foreign Blue Amberol record release: French series.
P. A. Asselin.
Tenor solo with orchestra accompaniment.
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Dubbed from Edison Diamond Disc matrix 6092.
Blanche Browning Rich collection.
Edison Blue Amberol: 4008.
Year of release from "Edison Blue Amberol Recordings" by R. Dethlefson, v.2 (1981).
Fritz Zimmerman.
Yodel song (in Swiss) with orchestra accompaniment.
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Dubbed from Edison Diamond Disc matrix 7709.
Year of release from Edsion Blue Amberol cylinders: U.S., special, and foreign issues, 1912-1929 / Allan Sutton, 2009.
Foreign Blue Amberol record release: Russian series.
Edison Blue Amberol: 11234.
English title: Unhappy Cossack.
Alexander Sashko.
Preservation and digitization of this cylinder funded by a donation from Bruce Triggs, Vancouver, British Columbia.
Tenor solo, with accordion accompaniment by Iranova.
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Reissue of Edison 4-minute Amberol 11553.
Blanche Browning Rich collection.
Edison Blue Amberol: 11703.
Foreign Blue Amberol record release: Finnish series.
Sung in Finnish.
Year of release from Edsion Blue Amberol cylinders: U.S., special, and foreign issues, 1912-1929 / Allan Sutton, 2009.
Juho Koskelo.
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Dubbed from Edison Diamond Disc matrix 5048.
Baritone with orchestra.
Issue date and composer from Ethnic music on records / Spottswood, 1990.
Blanche Browning Rich collection.
Edison Blue Amberol: 9457.
Foreign Blue Amberol record release: Swedish series.
Sung in Swedish
Joel Mossberg.
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'Form 2370-4-1-13-unnm'
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- This record contains unverified data from PGA shelflist card.
- Copyright by W. K. Dickson, 1892.
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Shows George Meader (1888-1963), a singer and Columbia recording artist, performing for an acoustic recording. (Source: Flickr Commons project, 2017)
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Lankershim was a farmer who bought land in the San Fernando Valley from Pío Pico. He built a toll road that later became the Interstate 405. He is also the father-in-law and business partner of Isaac Van Nuys. Lankershim Blvd. is named after him.
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Isaac Newton Van Nuys was one of the early ranchers who owned most of the San Fernando Valley. The land was later sold for real estate development and became a vied piece of land during construction of the aqueduct. The city of Van Nuys is named after him.
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Photograph of the exterior view of the Pico House at the Los Angeles Plaza, ca.1870-1875. A stage coach is parked in the front of the building. Several other horse-drawn carriage are parked along the street. The sidewalks are filled with pedestriams. The building is three-stories tall and features arched windows and doorways.
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Pío Pico was the last governor of Alta California under Mexican rule, with Los Angeles the capital. Despite having to step down from office after U.S. conquest, Pico remained influential in the growth of the LA area.
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"Office: 44 North Spring St., Los Angeles, Cal."
Inset "location" map of the Lankershim Ranch
Inset of pictorial bird's-eye-view of the Lankershim Ranch
Names of officers and board of directors are listed
In 1887, the Lankershim Ranch Land and Water Company of San Fernando Valley, California purchased a 12,000 acre ranch from J. B. Lankershim aned I. N. Van Nuys. The property, running from Whitsett Avenue on the west, to the Burbank city limits on the East, and from the skyline of the Hollywood Hills on the south
Relief shown by hachures
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Advertising postcard produced by the Lankershim Development Company promoting Lankershim and Van Nuys Ranchos. The panoramic view shows the Los Angeles basin, Santa Monica Mountains, and the San Fernando Valley. The Lankershim Development Company developed the Lankershim Townsite and the Van Nuys Townsite. Their main office was located at 435 South Hill Street, Los Angeles, CA. Color postcard, 5.5 x 3.5 in
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This broadside advertises land availability in the town of Lankershim. Lankershim incorporated into Los Angeles in the 1923 and was later renamed North Hollywood (1927). North Hollywood High School opened sometime after 1927. Donors: John and Marian Bowater. Paper flier. 12 x 5 in.
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A real esate advertisement in the LA Times for the Lankershim Ranch Land & Water Co.
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Photograph of seven laborers in a bean field, on either the Hammel and Denker Ranch in western Hollywood or the Centinela Ranch in Inglewood, 1901. The dirt field is blanketed with leaves and spotted with piles made up of pieces of plants. The men wear work clothes, suspenders and hats while maneuvering the large piles with long pitchforks. One man on the left holds his pitchfork at his chest as he drinks from his canteen.
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A group of people picking peas with one on horseback and two in a carriage.
Title from verso.
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View of the corner of Cahuenga and Hollywood Blvd with annotations.
Title from verso.
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Making an 1890s Split Skirt
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Black twilled cotton figured with pink silk spots. Fronts in two shaped sections each side of boned centre front opening, fastening with five metal catches, lower edge dipping to sharply-pointed waistline; gusset for bust each side, separate section over hips; two more pairs of bones towards centre, side seam boned; back in two narrow sections each side, boned at seam and diagonally above waist, boned central opening with fifteen metal eyelet holes each side, the 7th and 8th from the bottom closer together, laced with green silk braid lacing; sharply-pointed waistline at centre back; black elastic suspenders attached to each side of centre back and front; top edge trimmed with black lace threaded with two rows of pink ribbon; white cotton inner waistband, stamped "Echt Fischbein garantiert" (translation: authentic whalebone guaranteed).
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The short end of the box reads "Mdm. Thompson improved 23." The lid has two corset illustrations. The container has black and brown colored pattern decortions.
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A thin, flat-faced woman seen from behind and turned to the right, in a shirt and corset, plays the guitar. Her petticoat hangs from the key of an ice cupboard on the left. On the wall his half-legged portrait, in a toilet that gives relief to his throat and hips.
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Fashion plates in various sizes, chiefly of male costume, in a collection of 1320 engravings and lithographs, some coloured by hand. English and French, 1832 to 1931.
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Fashion plate. Part of a collection of 1320 plates showing examples of predominantly menswear between the years 1832 and 1931. Engravings and lithographs from England and France.
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Uncoloured engraving showing two women in mantles and bonnets over crinoline skirts and a third in a day dress with netted and fringed yoke and peplum to the jacket and flounced crinoline skirt. In the background can be seen a mirror on the wall with a sideboard holding flower vases and the back of an armchair.
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Fashion plate entitled 'The London Art Fashions for Winter- 1888' by John Williamson & Co., Drury Lane, London, from a collection of 1320 engravings and lithographs, some coloured by hand. English, 1888.
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Corset of blue cotton twill with the bones covered in green sateen ribbon, feather stitched at the bottom and the top is trimmed with a band of machine-made lace through which is inserted two narrow bands of green satin ribbon. The corset is made in two halves joined at the centre back with a white tape lacing through brass metal eyelets and at the centre front with five sets of white metal studs and loops, and on each of the latter is stamped 'S. & S'. The corset reaches from the mid bust to mid hip and is steam shaped at the hips. It has two wide bones at each side, and strong metal at the back flanked by a triple row of more flexible bones. The front bust is strongly boned and five narrow bones slope from the side to the centre front. Inside the corset is a waistband on which is stamped in blue cursive writing on the right hand side with 'NOUVELLE FORM DROIT DEVANT' and on the left side with 'THE S & S CORSET REGISTERED made in Belgium' and a figure of the statue of liberty '23' is written in pencil inside the right centre back. The corset does give a 'straight fronted' outline.
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Front cover of music sheet for Mrs. Bloomer's Own, composed by Edmond Reyloff. Front cover lithograph by J. Coventry, printed by M. & N. Hanhart. Published ca. 19th century - early 20th century.
These songs celebrate Mrs Amelia Bloomer and her unconventional clothing! Mrs Bloomer was an Nineteenth century American liberal reformer, who campaigned against slavery, and for temperance and women"s rights. Hearing that some women had been attacked by the media for wearing pantaloons and not the conventional crinoline dresses, she started to wear them herself. Amelia embarked on a national lecture tour, and soon became famous across the United States for her wearing these garments. Soon the name Bloomer became synonymous with women"s loose knee-length trousers, and later with long loose underwear. Four pieces of ballroom dance music were sold with this cover: a schottische, a quadrille, a galop and some waltzes. Schottisches had a quick tempo like a polka, and were popular at this time. Quadrilles were also fashionable, especially after Napoleon favoured them at his court. They were a type of square dance, and many popular songs were adapted for this dance. Galops, as their name suggests, were also a quick dance. Waltzes could be of any tempo, quick or slow. One can imagine how wearing bloomers would be very appropriate for these quick dances!
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British Corset
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American corset
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American or European Bustle
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European Corset