WorldCat Identities

Paper Print Collection (Library of Congress)

Overview
Works: 618 works in 641 publications in 1 language and 1,979 library holdings
Genres: History  Sources  Archives  Drama  Biography  Travelogues (Motion pictures) 
Classifications: LC2180 (PAPER POS), 791.43
Publication Timeline
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Most widely held works about Paper Print Collection (Library of Congress)
 
Most widely held works by Paper Print Collection (Library of Congress)
Scenes in San Francisco, [no. 1] ( Visual )
6 editions published in 1906 in English and held by 123 WorldCat member libraries worldwide
The following is a scene-by-scene description of the film: [Frame: 0100] The camera, positioned at the southwest corner of Mission and 5th streets, makes a hurried and jerky pan from the east side of 5th Street eastward to the south side of Mission Street. At the start of the pan, the ruined Lincoln School building is seen, with the dark profile of the Flood Building behind it on Market Street. The camera pans right on a long row of windows in the ruined west wall of the Emporium department store [0130]. The tent in the foreground is probably a temporary "office" of the business formerly on the site. The pan continues further right and looks northeast down Mission Street. [0338] The Rialto Building stands in the distance. The camera pans farther right, to another tent and a sign -- "Safes opened 105 5th Street" [0420]. Many safes fused shut in the heat of the fire and others had to be cooled for weeks before being opened. [0441] The camera is at the southwest corner of 4th and Market streets, looking northeast across Market Street in afternoon light. The Mutual Savings Bank (two blank walls) is in the background at Geary/Kearny and Market streets. The street traffic is part of the afternoon commute down Market Street to the Ferry Building. [0485] Note the heavily-laden wagon (perhaps containing a family's possessions) and the Sanitary Laundry Company wagon. [1638] The camera captures a traffic jam on Market Street. The view is probably north, across Market Street just east of California Street, in the afternoon. The laying of streetcar tracks along this section of Market Street may be the cause of the bottleneck. [1835] The view is northwest, near the southwest corner of East and Market streets, just west of the Ferry Building. A heavily-laden streetcar approaches the Ferry Building. [1908] Note the beggar on crutches. [2075] In the hazy background are Nob Hill and the south slope of Russian Hill (right). [2135] The view is approximately the same as the previous segment, with a streetcar beginning its run up Market Street. [2814] Note the sailor patrolling with fixed bayonet. In the hazy distance unburnt dwellings on the summit of Russian Hill are visible. Nob Hill is in the distance, with the rectangular silhouette of the Fairmont Hotel. [3000] In this very brief scene the camera focuses on workers removing debris. The view is east on Mission Street between 4th and 3rd streets, just east of St. Patrick's Church, part of which is visible at left. [3075] The camera pans to show the demolition of the facade of St. Patrick's Church. The camera is southwest of the church on Mission Street between 4th and 3rd streets. After a brief view of ruins along Market Street, the camera pans right (eastward) past two men near a fire engine [3270], to the church facade being demolished [3957]. Of particular interest is the cameraman seen in the foreground filming the action. He is photographing the film titled San Francisco Earthquake and Fire, April 18, 1906
President McKinley's funeral cortege at Washington, D.C ( Visual )
4 editions published in 1901 in English and held by 81 WorldCat member libraries worldwide
From a contemporary Edison film company catalog: PRESIDENT McKINLEY'S FUNERAL CORTEGE AT WASHINGTON, D.C. Ungodding. [code for telegraphic orders]. When photographing the funeral of President McKinley we secured an excellent position at the foot of Pennsylvania Avenue in Washington, D.C., having had the exclusive right for animated picture apparatus inside the lines. Our camera is focused looking up Pennsylvania Avenue and shows countless thousands of mourning people who line the streets along the way. As the funeral procession which accompanies the body of our martyred President approaches, our camera is set in motion and pictures of the marching multitude who pay the last tribute to President McKinley at our National Capitol are recorded in the following order. The line is headed by a troop of U.S. Cavalry, followed by detachments of heavy artillery [end of part 1]; then comes the Loyal Legion, followed by G. A. R. detachments, made up of both Federal and Confederate veterans. Next in order comes the Guard of Honor [end of part 2], who are in turn followed by the hearse, which is drawn by six black-plumed and black-netted horses. Inside the hearse can be seen the flag covered casket. The light and color of the procession is suddenly gone; spectators silently bow and bare their heads. The pageant has suddenly been transformed into a funeral cortege. Our position was so excellent that as the hearse passed our camera a distinct and life-size view was procured, showing this vehicle of sadness in all its detail. The hearse is closely followed by the Admirals of the Navy and the Generals of the Army. Next in order come the carriages of the family and the relatives, and then the carriage of President Roosevelt, which is drawn by four black horses. Next come the carriages which contain the President's Cabinet, the Diplomatic Corps, Chief Justice Fuller and Associate Justices, Senators, Congressman, Governors of States and Government Officials. These carriages are followed by the United States Marine Band, which forms a most imposing spectacle as it marches slowly and solemnly to the strains of "Nearer My God to Thee." Following the United States Marine Band and in step with the slow funeral march comes the National Guard of the District of Columbia and sailors from United States Battleships, clad in their natty uniforms and jackey hats. The sailors and soldiers are marching sixteen abreast and make a very imposing spectacle as they pass our camera [sequence from the Marine Band to sailors appears in part 2]. The procession having passed, the crowd immediately surges toward the Capitol, intent on securing a place in the line that they may enter the rotunda and look upon the face of the illustrious President McKinley. Our panoramic device is then set in motion and a most perfect and interesting picture is secured as an ending to the Washington film. The picture shows the immense crowds surging toward the Capitol, and as rain begins falling at that moment tens of thousands of umbrellas are raised for protection. Our camera having been above the heads of the people, a most novel effect is secured. As the camera rotates, the base and steps of the Capitol are brought into view and the crowd is shown crushing and struggling for entrance to the rotunda. One of the most perfect of the McKinley funeral pictures. Class A 350 ft. $52.50. We also furnish a 75 foot strip of the above, showing the crowds at the Capitol. Class A Ungodily. $11.25
America at work, America at leisure motion pictures from 1894-1915 ( Visual )
in English and held by 40 WorldCat member libraries worldwide
Collection of motion pictures covering work, school, and leisure activities in the United States from 1894 to 1915. Features films of the United States Postal Service from 1903, cattle breeding, fire fighters, ice manufacturing, logging, calisthenic and gymnastic exercises in schools, amusement parks, boxing, expositions, football, parades, swimming, and other sporting events
Theodore Roosevelt his life and times on film ( Visual )
1 edition published in 1999 in English and held by 35 WorldCat member libraries worldwide
Derived from the Theodore Roosevelt Association Collection and the Paper Print Collection of the Motion Picture, Broadcasting, and Recorded Sound Division at the Library of Congress, presents 104 films that document the events in Theodore Roosevelt's life from the Spanish-American War in 1898 to his death in 1919. Features selected bibliography, timeline, film chronology, and four sound recordings of Roosevelt stating his progressive political views
The last days of a president films of McKinley and the Pan-American Exposition, 1901 ( Visual )
in English and held by 34 WorldCat member libraries worldwide
Presents twenty-eight films from the Paper Print Collection of the Library of Congress. Produced by the Edison Manufacturing Company from March to November 1901, these actuality motion pictures feature footage of President William McKinley at his second inauguration; the Pan-American Exposition in Buffalo, New York; McKinley at the Pan-American Exposition; and McKinley's funeral. Links to a section of The Learning Page covering the subjects of United States history, critical thinking, and arts and humanities as they relate to the collection
Early motion pictures of world's fairs & expositions ( Visual )
2 editions published in 1997 in English and held by 33 WorldCat member libraries worldwide
These films are from the Paper Print Collection at the Library of Congress. The films represent views of three major fairs and expositions of the early film era: The Exposition Universelle of 1900 in Paris, the Pan-American Exposition of 1901 in Buffalo, and the Louisiana Purchase Exposition of 1904 in St. Louis. Also included are two early films from Luna Park at Coney Island and a reenactment of the Boer War shot in 1905 at Brighton Beach in Brooklyn
The life of a city early films of New York, 1898-1906 ( Visual )
1 edition published in 1999 in English and held by 9 WorldCat member libraries worldwide
Derived from the Paper Print Collection of the Library of Congress, presents forty-five films of New York that were made during the period from 1898 to 1906 by the Edison Company and the American Mutoscope and Biograph Company. Features selected bibliographies on New York and early motion pictures. Includes historical information about turn-of-the-century New York City and the United States
Early motion pictures, 1897-1916 ( )
in English and held by 7 WorldCat member libraries worldwide
Collection of early motion pictures derived primarily from the Paper Print Film Collection of the Library of Congress to form part of American Memory's digitized historical collections for the National Digital Library Program. Features four groupings of actuality films including twenty-one films showing various views of Westinghouse companies from 1904; twenty-six films of San Francisco before and after the great earthquake and fire; twenty-eight of President William McKinley from 1901; and forty-five of New York City from 1897 to 1916. Includes topic search feature, historical overview of America at the turn-of-the-century, and selected bibliography
The Italian by Reginald Barker( Visual )
1 edition published in 1915 in English and held by 3 WorldCat member libraries worldwide
Beppo, an Italian gondolier, is in love with Annette, who has another suitor, wealthy but much older. Her father gives Beppo a year to prove himself, so he emigrates to New York City, opens a shoeshine stand, and makes many friends among his neighbors. He meets his ward boss, Corrigan, who, to a friendly, unsophisticated immigrant like Beppo, seems to be a good fellow. Eventually he makes enough money to send for Annette. They marry and have a son. When the baby becomes ill from lack of pasteurized milk, Beppo rushes out to to buy some, but is robbed of his last few cents, and is arrested when he brawls with the thugs who robbed him. He appeals to Corrigan for help, but is rebuffed. Beppo is jailed and his baby dies. Later, crazed with grief, he learns that Corrigan's child has fallen ill. He sneaks into the house of the ward boss, intent on revenge, but has a change of heart when the sick child makes a gesture in her sleep, reminding Beppo of his own son
Launch of Japanese man-of-war "Chitosa" [i.e., "Chitose"] ( Visual )
2 editions published in 1898 in English and held by 2 WorldCat member libraries worldwide
Shows the launching of the Imperial Japanese Navy cruiser Chitose at the Union Iron Works shipyard, San Francisco, on Saturday, January 22, 1898. The camera view is east, across a small inlet of Central Basin, to slipway no. 1. Four additional slipways lay beyond to the west. The camera viewpoint is today called pier 68, part of Southwest Marine's facilities. The launch took place at 10:25 a.m. before a crowd of 200 distinguished guests and over 1,000 members of the public, as well as many shipworkers. Numerous workers can be seen dangling from the framework of the assembley shed [Frame: 1030], and a large crowd watches from a grandstand at the rear. Men and boys watch from small boats in the foreground and two boys jump into the water fully clothed near the end of the film [Frame: 1570]. Miss May Budd, niece of California governor James Budd, christened the ship with a bottle of California wine. Miss Gladys Sullivan, niece of San Francisco mayor James Phelan, pressed the button that sent the ship down the slipway. Following a Japanese custom symbolizing the peace-keeping role of a warship, 100 doves were released at the same moment. Bands played and Japanese fireworks were set off as the Chitose slid into the Bay. United States Army and Navy officials, state and city officials, and the consular corps attended the launching. Japanese Consul General Segawa explained in a speech at the following luncheon that Chitose meant "a thousand years of peace" in Japanese, and hoped that the ship would fulfill that wish
Launching a stranded schooner from the docks ( Visual )
1 edition published in 1900 in English and held by 2 WorldCat member libraries worldwide
"The Galveston Cyclone series. At the first news of the disaster by cyclone and tidal wave that devastated Galveston on Saturday, Sept. 8th, 1900, we equipped a party of photographers and sent them by special train to the scene of the ruins. Arriving at the scene of desolation shortly after the storm had swept over that city, our party succeeded, at the risk of life and limb, in taking about a thousand feet of moving pictures. In spite of the fact that Galveston was under martial law and that the photographers were shot down at sight by the excited police guards, a very wide range of subject has been secured. The series, taken as a whole, will give the entire world a definite idea of the terrible disaster, unequaled since the Johnstown flood of 1889. The following pictures are all copyrighted and fully protected by law. They are made from the original negatives taken at a great expense, and expressed to us immediately after they were taken. We will prosecute anyone who copies or uses copies of these films. These films are now drawing immense crowds at Eden Musee and Proctor's vaudeville houses in New York City. Procure these films and increase the receipts of your exhibitions. This great disaster which has startled the entire world, has made an indelible impression on the minds of the public, and everyone will be interested in seeing authentic moving pictures of a representative American city almost entirely wiped out by the combined power of water and wind. The films we list below are genuine, and ours are positively the only animated picture films secured while the city of Galveston was in a state of chaos"--Edison films catalog
Return of lifeboat ( Visual )
1 edition published in 1897 in English and held by 2 WorldCat member libraries worldwide
"Pacific Coast Life Saving Service series: These subjects are illustrative of the work performed by the Life Saving Corps of the United States Government, and show the methods in vogue at one of the most important stations on either side of our Continent. The exact routine pursued in actual practice is clearly illustrated. We are particularly indebted to Major T. J. Blakeney, Superintendent of the U.S. Life Saving Service, 12th District, San Francisco, Cal., and Captain W. C. Coulson, of the U.S. Revenue Cutter, San Francisco, Cal., for their kind co-operation. We are thus enabled to bring before the public generally absolutely true and accurate pictures of one of our most worthy as well as interesting institutions, the crews of which are constantly risking their own lives for the preservation of others"--Edison films catalog
Freight train ( Visual )
1 edition published in 1898 in English and held by 2 WorldCat member libraries worldwide
Advertised as part of the "Southern Pacific Company Series" (Edison films catalog): The Southern Pacific Company ("Sunset Route") offers special inducements to winter travelers, by reason of its southern route, thereby avoiding the extreme cold of the winter months. Its course lies through a section of the country that presents a variety of beautiful and picturesque natural scenery. It is also the direct route to the popular resorts of Southern California, thereby making it a favorable route for tourists. The following subjects were taken by our artist while traveling over the very extensive lines of the Southern Pacific Railroad Co., to whom we are indebted for many courtesies, and without whose co-operation we should not have been able to bring before the public these animated photographs of interesting and novel scenes (p. 43)
Mabel and Fatty viewing the World's Fair at San Francisco, Cal. ( Visual )
1 edition published in 1915 in English and held by 2 WorldCat member libraries worldwide
The following is a scene-by-scene description of the film: [Frame: 0793 (part 1)] Mabel and Fatty are seated on the cabin roof of a launch. The broken sequence was filmed in San Francisco Bay near the piers. Fatty rolls a cigarette. Mabel, dressed in the height of fashion, waves at a ship. Looking north, the camera passes from bow to midships of the battleship "Oregon," anchored off the North Gardens for the duration of the fair. Built at the Union Iron Works Shipyard in San Francisco in 1896, the Oregon foreshadowed the first naval dreadnoughts. [1550 (part 1)] Fatty and Mabel wave. [2160 (part 1)] The excited Mabel upsets Fatty's partly rolled cigarette. They kiss and make up. [2495 (part 1)] The intertitle accurately describes the elaborate jumble of exotic styles seen at the fair. We look south from a boat-mounted camera to the Court and its Organ Tower, the east central focus of the main fairgrounds. Louis C. Mullgardt was the architect of this section. The Palace of Mines and Metallurgy is on the left, the Palace of Transportation on the right. The North Gardens are seen in the foreground. [3160 (part 1)] Mabel and Fatty point at various sights. Fatty says "Nooo!" to one of her comments. Continuing the previous view of the Fair, the camera continues west (right) and looks south, passing the central north-south axis of the Fair (today's Scott Street). Beyond the Column of Progress and the Court of the Universe rises the Tower of Jewels [3827 (Part 1)], the centerpiece of the Fair. [4478 (part 1)] A small Crowley Ferry (#17 of 18), built for use in the fair, is seen at anchor. Note the train on the jetty, a Southern Pacific exhibit. The domed Palace of Agriculture is in the background. The Douglas Fir flagpole stands in front of the Oregon State Building (the cornice of which is seen briefly at right). The flagpole is in the Guiness Book of World Records, and the measured height of 251 feet included 22-feet underground. [0102 (part 2)] Intertitle: "Roscoe Arbuckle meets Madame Schuman-Heink the concert singer." The scene is on the passenger deck of a ferry, probably berthed at the Ferry Building on a windy day. Ernestine Shumann-Heink (1861-1936) was an Austrian-born contralto opera star and a noted interpreter of Wagner and Richard Strauss. [0915 (part 2)] Madame Schumann-Heink quickly silences Fatty's singing with a gloved hand. He shakes her hand, bows, and tries again. She again silences him, holding onto her hat, which threatens to fly away. [1698 (part 2)] Madame Schumann-Heink bows to the camera. [2294 (part 2)] The ferry-mounted camera looks southwest as the ferry passes the Western Union cable crossing sign and fog bell, and approaches the dock. The time is 2:35 on the tower clock. The roof sign reads "California Invites the World -- Panama-Pacific Exposition." The Ferry Building, opened in 1896 (it was finished in 1903), was the hub of all commuter traffic between the East Bay and San Francisco. Most rail lines ended in Oakland, so most out-of-state visitors also rode the ferries to San Francisco. In the 1930s it was estimated that around 50 million people passed through the Ferry Building annually, a figure exceeded only by Charing Cross station, London. [3329 (part 2)] The start of a pan to the right (southeast to northeast). In view is the streetcar circle at the foot of Market Steet, and the facade of the Ferry Building. [4418 (part 2)] The camera looks northeast down Market Street, just east of Stockton Street, possibly from a double-decker bus. In the foreground are four jitney taxi-cabs with signs in their windows (one gives "Owl" night rates). Taxis, with their mobility and convenience, became increasingly popular during the Fair despite complaints from the Municipal Railway. Buildings in the background include the white Union Trust Bank at Grant Avenue (left) and the new white Hearst Building, across 3rd Street (right). [4979 (part 2)] The camera, located on a building at Stockton Street and Maiden Lane, pans right (from southwest to west) across Union Square, with the St. Francis Hotel in the background, facing Powell Street [5496 (part 2)]. Built in 1904 and enlarged with a new north wing in 1906-07, the Saint Francis Hotel is one of San Francisco's grand hotels. Ironically, two years after this film was made, Fatty Arbuckle would be implicated in the death of a young actress at this hotel. The Gunst Building is seen at the corner of Geary and Powell Streets (left) [6005 (part 2)], and the Clift Hotel beyond, on Geary. [6347 (part 2)] The elegant new City Hall, designed by Bakewell and Brown, opened December 28, 1915. At 308 feet tall, it exceeds the Capitol building in Washington, D.C. by several feet. The camera view is northeast from a building at Grove Street and Van Ness Avenue. [6476 (part 2)]
Society ballooning, Pittsfield, Mass. ( Visual )
1 edition published in 1906 in English and held by 2 WorldCat member libraries worldwide
At the beginning of the film, a group of men can be seen gathered around a flat area near a large municipal gas tank. Most of the group are attending to the skin of a big balloon in the foreground near the camera. The remainder of the film shows the balloon being filled with gas until it is buoyant enough to become airborne, the mounting of the suspended basket, the release of the balloon, and the actual flight. The balloon was the Centaur, which set the world's record of 1,193 miles in thirty-five hours during the contest at the Paris Exposition. Count Henri de la Vaulx, French aeronaut, and member of the Aero Club of America can be seen
S.S. "Coptic" at dock ( Visual )
1 edition published in 1897 in English and held by 2 WorldCat member libraries worldwide
From F.Z. Maguire catalogue: Taken at the docks of the Pacific Steamship Co., San Francisco, Cal., which is operated in connection with the Southern Pacific Railroad Co. The "Coptic" is one of the best appointed, largest and fastest vessels that traverse the Pacific Ocean, and this view was taken as she was leaving for a voyage to the Sandwich Islands, Japan and China. The multitude of people crowding the decks and dock, waving hands, hats, &c, to each other, makes a stirring and life like scene. The picture is clear and sharp and the figures show life size
Seeing Boston ( Visual )
1 edition published in 1906 in English and held by 2 WorldCat member libraries worldwide
Views of Boston taken from a trolly (streetcar)
Launching, no. 2 ( Visual )
1 edition published in 1898 in English and held by 2 WorldCat member libraries worldwide
Part of the "Southern Pacific Company Series" (Edison films catalog): The Southern Pacific Company ("Sunset Route") offers special inducements to winter travelers, by reason of its southern route, thereby avoiding the extreme cold of the winter months. Its course lies through a section of the country that presents a variety of beautiful and picturesque natural scenery. It is also the direct route to the popular resorts of Southern California, thereby making it a favorable route for tourists. The following subjects were taken by our artist while traveling over the very extensive lines of the Southern Pacific Railroad Co., to whom we are indebted for many courtesies, and without whose co-operation we should not have been able to bring before the public these animated photographs of interesting and novel scenes (p. 43)
Buster's joke on Papa ( Visual )
2 editions published in 1903 in English and held by 2 WorldCat member libraries worldwide
The first scene shows Mama buying crabs from a vendor. The second shows Papa preparing for bed while Buster places crabs in the bed. Father retires and leaps from the bed in agony at the pain inflicted by the crabs. The last scene shows Mama placing Buster on a pillow on his chair to eat his breakfast
Latina, contortionist ( Visual )
1 edition published in 1905 in English and held by 2 WorldCat member libraries worldwide
From K.R. Niver, Early motion pictures: We see a woman in tights, attempting to maneuver her body through a hoop that seems too small. However, she does it since her body is double-jointed
 
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Alternative Names
Library of Congress. Paper Print Collection
Library of Congress. Paper Print Collection (Library of Congress)
Paper Print Fragment Collection (Library of Congress)
Languages
English (37)