This assembled collection comprises 99 items written by 87 persons between 1795 and 1936. There are 73 letters with readable signatures, but the names could not be documented. They are filed in alphabetical order (folders 1 to 61). The next group are letters with indecipherable signatures filed in chronological order (folder 62 to 64). The first group includes a funerary inscription to the memory of the dowager Anna Maria Barrow, deceased on 1857, and a poem "Premonitions" signed T.D. Sullivan (1895). A sheet of paper on which are pasted 3 short letters with readable dates and signatures is filed at the very end
These edicts, promulgated by the Grand Duke of Tuscany, contain restrictions on the wearing of imported silk garments and gold jewelry by those not of the nobility. The law establishes both a customs tax and a fine for infractions. Collection also contains laws setting limitations on the type of materials to be adorned by goldsmiths, wood being one of the few permissible. Given that their productivity will suffer due to the enactment of these laws, monetary compensation is to be provided for goldsmiths who know no other trade and have no family able to provide supplementary income
This collection of photographs documents the "second Italian Futurism" of the 1920s and 1930s, centered principally in Rome and Turin. The collection includes photocollages by Adele Gloria; photographs of architecture, including the 1928 Futurist Pavilion designed by Enrico Prampolini; portraits of the writer Giovanni Papini, the photographer Adele Azari, the composer Balilla Pratella and other futurists; photocollages and commercial installations by the designer Marcello Nizzoli; installation photographs of exhibitions; Futurist cabaret interiors; national events such as the hommage to Marinetti in 1924 in Milan; photographs of aerosculptures from the mid 1930s; and photographs of stage decor, costumes, and scenes from Futurist performances including Marinetti's "Cocktail" (1927), a Futurist stage set by Ernesto Thayaht (1928) and the Futurist dancer Zdenska Podhajska
Prospectus issued by the developer of 60 acres of land in Beverly Hills, illustrated with lithographs of pencil drawings by Malcolm Cameron of imagined homes on landscaped sites. With text descriptive of these possible settings, and a fold-out map "depicting the form and roads of Shadow Hill.".
The collection comprises two letters. In a letter from London Archer sends a Turner manuscript to an editor or publisher , and asks that a drawing of the house in Maiden Lane, "now gone," be included (1861 Dec. 21). He is also offering some verses, suggested by a Francis Danby picture, for the Once a week magazine. In the second letter (n.d.), Archer informs an editor that he has just received the proofs, and is leaving them in the care of his draftsman, because he must leave town in a hurry (n.d.).
Collection consists of letters by Forbes from Penzance, including: ca. 1880, to an unnamed correspondent, "I regret I have no more pictures similar to the head I have just sent you, & in fact rarely do such small work."; 1891 Oct. to Frank Richards, Hants - acknowledging receipt of condolence; 1897 Nov. 23 to "Norris"--Acknowledging receipt of money; 1897 May 26, to Richards, West Kensington - praising Richards work and encouraging his teaching; 1916 Dec. 20, letter of recommendation for Frank Richards; n.d., to Richards requesting some pictures
The images in this album were taken during the ten days of revolution in Mexico City in February 1913 known as the Decena Trágica. There are numerous images of both forces defending their outposts (the Felicista forces in the Ciudadela, and the Federal troops at the National Palace). The aftermath of the various battles is depicted in photographs of fallen soldiers and civilians and views of damaged public buildings and private residences, including Francisco Madero's burned home and the buildings that housed the El Heraldo and Nuevo Era newspapers. Several dramatic images depict residents fleeing from their homes as the fighting encroaches upon them, and small groups of people staring at the burned corpses of fighters lying in the streets. Photographs by Manuel Ramos of the battle that took place on February 18th in the Plaza de Armas include shots of both the action and its aftermath