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The botanist's repository, for new, and rare plants :.
London :Printed by T. Bensley, and published by the author ... :1797-[1815].
Repository: California Historical Society
Collection: Portraits from the Reginaldo F. del Valle papers
Photographer: V. Wolfenstein, Temple Block, Los Angeles, Cal.
Date: circa 1869-1879
Format: Cabinet card
Call number: MSP 2230
Digital object ID: MSP2230_006.jpg
Preferred citation: [Ulpiano F. del Valle], Portraits from the Reginaldo F. del Valle papers, MSP 2230, courtesy, California Historical Society, MSP2300_006.jpg.
These are views of the Gold Palace night club in La Zona (Boy's Town) perhaps twenty years after the government closed down that area. I wrote a story about the Gold Palace and it's owner, La Senora De Nava and a young man from that city sent me pictures of the decaying building.
Here's the story:
Page 1 of 7
I've known Ray Williams most of my life and I know him about as well as I know any human being on this earth. Ray lives out there in Blanco County. He's a very private person; you won't find his phone number in the directory and you won't find his name on the rolls of the usual community organizations and service clubs. Blanco County seems to be a repository of expatriates from that emerald city to the South, Corpus Christi. Like myself, Watercolorist Pat Glenn and Professor Bill Pollock, Ray Williams left the Coastal Bend for the joys of Blanco County about eight years ago and seems to have carved a permanent cubbyhole for himself right here among the natives of the Hill Country.
Ray is not what you would call a dynamic force; when he enters a room, no one seems to notice. The few times he's made a speech have been somewhat lackluster; an hour later you would be hard pressed to find anyone who could tell you what Ray said. A week later you'd be even harder pressed to find anyone who remembered that Ray had made a speech. I think the best word to define Ray and his efforts is "USUAL". Ray has the usual family, the usual hobbies, he writes the usual thing in his emails, he says the usual thing in conversation. Ray just lives the USUAL life. He's the usual height and the usual weight and maintains a usual state of mind.
But there is one thing in Ray's life that sets him apart from everyone else in Blanco County and, in fact, from most of the people in the United States. For a four month period of time in 1965 or thereabouts, Ray Williams was the INTERIOR DECORATOR FOR ONE OF THE LARGEST WHOREHOUSES IN MATAMOROS, MEXICO.
Ray believes that this exploit in his life was destiny and that every aspect of his life led directly to that moment when La Senora DeNava said in her cultivated Spanish, "I want you to redecorate my house inside and out choosing the colors that will make American men feel comfortable while they are visiting". And with those words the saga began.
At this point I have to bend to the right, get my face close to yours, look upwards and ask in a knowing voice, "you ain't from around here, are you?" First you have to know how Ray Williams got to the point that La Senora DeNava would make such a request. Having been discharged from the Armed Forces after World War Two and using the GI Bill of Rights to acquire a college degree, Ray taught school for a while, spent some time with a youth organization and around 1960 found himself working for the largest paint company in the Rio Grande Valley of Texas. Ray did pretty well in a small store in The Valley and had just been transferred to a much larger store in Brownsville, Texas when the chain of events leading up to this lifetime effort were set into motion.
Secondly, you have to know why Ray found himself dealing with La Senora DeNava and not with Enrique DeNava who was the original owner and founder of the Gold Palace night club in Matamoros, Mexico.
If you drive South out of Matamoros for a mile or two and look to the right you will see a bright glow with accents of color caused by vivid neon signs. At least, if the year were 1965 that's what you would have seen. 'They tell me that's all gone now; like the "best little whorehouse in La Grange, Texas" it's a part of history now. This glow on the horizon is called "Boy's Town" or "La Zona" and by some "la Zona Roja". This is the prostitution district of Matamoros, Mexico.
Page 2 of 7
One of La Zona's most respected and prosperous business men is Enrique DeNava who owns the Gold Palace and the Silver Slipper night clubs. The Gold Palace has from time to time had as many as forty prostitutes working exclusively for Enrique and the Silver Slipper has perhaps twenty-five. Enrique is a very wealthy man. His Gold Palace is designed to attract the business men of both Texas and Mexico with the finest product at a slightly elevated price (keeps out the "riff raff" don't you know?) and the Silver Slipper is more a working man's blue collar home away from home. Enrique probably has percentage interests in several other less attractive night clubs as well. Enrique DeNava is not a poor man and he is known and respected to the city fathers and the law enforcement officials of Matamoros. Enrique is a success.
Not the least of his successes is his marriage to La Senora DeNava who some twenty years before had been a novice prostitute in his fledgling business. We'll never know what attracted Enrique to this beginner. He certainly had choices. No doubt he saw in her a sense of business and a vision not unlike his own. Whatever that attraction was it certainly paid off over the next twenty years for Enrique because now with La Senora in full charge of the Gold Palace and a good young manager at the Silver Slipper (certainly a well monitored young manager), Enrique had time on his hands. Time to think; time to lean back in a cane-backed chair, against the well painted wall of the Gold Palace, to feel the afternoon sun on his shoulders and to dream dreams.
Something else you have to understand is the nature of the American Business Man. Not having fully broken ranks with the Victorian Era the American Business Man of the 1950s and 1960s found himself married to a woman who from birth was trained to say "NO", "STOP", "DON"T" and "NOT NOW!" with great expression. The discovery of Boy's Town by these men was like a small boy discovering a candy store just around the corner from his home. The business men on the Border took full advantage of this in the allocation of their entertainment budgets (rule no.1: get his signature on the contract before he goes back to the room with the girl!) and so the New Jersey plumbing supply salesman got a run for his money with his Two Martini Luncheon as these Border sharpies took their deductions and rushed to the IRS with their megadollars of "write offs". So was the nature of La Frontera (as the Mexicans called The Border) in and about 1965.
An evening of entertainment would begin with a two meat dinner at an elegant restaurant some of whom even had dress codes, followed by a drink or two at a downtown bar and then the drive to Boy's Town. Smart businessmen learned to leave their own cars at home and take taxis to the various locations. This of course gave rise to another industry, the independent taxi owner-operator. Once seated at a table in the Gold Palace the businessmen would be approached by an appropriate number of what appeared to be coeds from Texas A&I University in Kingsville, Texas who would request that the businessmen buy them a drink. Once this was agreed upon the girls would find chairs and smoothly move to their selection of the men present. After the exchange of names (whose names would be anyone's guess) and several jokes and drinks later, the girl would invite her companion back to her room.
Page 3 of 7
If this was satisfactory and a price agreed upon the businessman would find himself being led like a conquering hero back to the den of delights. At this point several components kick into place to make this not quite the experience to compensate for several months of "NO", "DON"T" and "NOT NOW". Amorous ardor doesn't seem to be enhanced by subliminal guilt, a heavy meal, too much alcohol and a nagging feeling that the contract you had just signed was not the contract you had in mind when you left Dallas. As the young lady and the gentlemen return from the room, their expressions are in deep contrast to those they took with them into the room. The girl has an expression on her face that leads one to wonder if she isn't completely bored out of her mind and the gentleman seems to be in utter distress in the urgency with which he needs to excuse himself and wash his hands. Just to prove that we have all done the right thing here another drink is ordered and consumed quickly before rushing for the door and the waiting taxi which will make the mad dash to the bridge and to the waiting motel and the compulsive shower followed by the sleepless night wondering if some strange little creatures are not even as we speak actively attacking the tissue of our most private parts and working their way into our bloodstream to destroy our blood vessels our internal organs and finally our brain. These factors will require a month to wear off before the businessman will be able to make his next sashay South of the Border. Did I say taxi?
In front of the Gold Palace there is a parking place which is known as the number one spot. This spot can make it's owner a rich man, not as rich as Enrique DeNava, but rich by 1965 Matamoros standards. Number one was owned by Robert Rodriguez and had been for years. Robert couldn't even remember how he had come by the Numero Uno spot, but it was making him rich. He never had to wait an hour for a fare. The only time other drivers got work was when Roberto was on a run or at home sleeping. Roberto's family lived in a fine home, finer than their families had ever dreamed and the children even went to a private school and Roberto's wife was so proud of him that she never used words like "NO", "DON'T" or "NOT NOW!". Roberto was a happy man, but what Roberto didn't know was that Enrique DeNava had a flea up his rectum that was giving him a great itch that he couldn't scratch. Enrique DeNava coveted the Numero Uno spot for himself because he knew that it was his own Gold Palace that made the Numero Uno spot what it was. So out of the clear blue sky one day Roberto was told to remove his taxi from the Numero Uno spot, that Mr. DeNava had assigned it to someone else. And thus the die was cast for Ray Williams to redecorate the Gold Palace.
A new driver, working for a flat salary of $125 a month and driving a taxi owned by Enrique DeNava dutifully took over the Numero Uno spot with considerably less enthusiasm than Roberto had shown and Roberto slipped into a dark brooding depression. His depression ended the day he drove his taxi up to the Gold Palace, parked in the number five place, walked up to Enrique DeNava, who was leaning against the wall in his straight-back chair, removed a .45 caliber semi-automatic handgun from his waistband and blew most of Enrique's head off.
Page 4 of 7
That shot wasn't even heard by Ray Williams who was busy selling his house in Weslaco, Texas, buying a house in Brownsville, Texas and moving his family there in preparation for assuming the job of manager of the largest paint store in that city. The store was a very profitable one, was located only three blocks from the International Bridge and Ray couldn't wait to get started. His first day at work, Ray learned his first assignment: collect a $375 past due bill from the Gold Palace night club in "La Zona" in Matamoros. he would need to talk to the widow of Enrique DeNava who was now in charge of all Enrique's holdings. Ray wondered why the Credit Manager didn't make the collection but it seemed the Credit Manager didn't make collections in Mexico. The Account Salesman didn't make collections because the company felt sales personnel shouldn't burn bridges by doing collection work, but of course the main reason was the Account Salesman and the Credit Manager were Mexican-Americans and were looked down upon by the Mexicans who called them "Pochos" (Poachers). It seems that in the scheme of things in 1965 Mexicans preferred to deal with Anglo-Americans who they considered "pure" Americans, just as they themselves were "pure" Mexicans and not like those poachers who looked and talked like Mexicans but were really Americans in disguise. Yes, better to put up with the faltering Gringo Spanish and frequent misunderstandings than to deal with an IMPOSTOR! There was no other way but that Ray should make the collection. Ray was no neophyte to Boy's Town; he had taken his share of customers to dinner and "The Tour". Ray always paid, or I should say let the company pay, for dinner and drinks for his customers, but both Ray and the company felt it wise to draw the line on paying for a girl for a client. I don't know that Ray or the company could articulate an explanation for this. It could have been that they felt the client's sex life was too personal an affair to be financed with company money or there could have been deep concerns for culpability in matters of venereal disease or , God forbid, public disclosure. You never knew when some local fundamentalist preacher would go on a rampage into Boy's Town, as the police say "kicking ass and TAKING NAMES". For the local businessmen another pitfall is turning a corner and coming face to face with his teenage son. This is followed by inept excuses on both sides for being there and a final commitment on both sides that "we won't discuss this with your mother, OK?"
Ray knew the drill. The personnel in Boy's Town don't get up much earlier than 4 PM. After all they worked until 4 am, so you don't go collecting money at 2pm, at least not if you want to COLLECT the money. Ray planned his collection trip to arrive in Boy's Town around 1 am. The night's frantic rush should be over by then, most of the clients having either hit the showers already or possibly having some dysfunctional problems back in the room. That first night Ray entered the Gold Palace, admired the beautiful Monterrey Terrazzo dance floor bordered by underground lighted glass bricks and was reminded by the signs on the wall that Brownsville and Matamoros had the finest sign artists this side of Dallas or that side of Mexico City. La Senora DeNava was behind the cash register; if the Gold Palace should turn into The Alamo, that is where the Senora would remain to take her last stand to fight and die there behind her cash register. The Senora looked like she just might have fought at the Alamo, although on which side was anyone's guess.
Page 5 of 7
Her hair, lacquered high gloss jet black, stood at least four inches above Dolly Parton's and her figure, once slender and supple, was now reminiscent of Earnest Borgnine's ample shape.. But unlike Ray, la Senora had IT, la Senora had CLASS, la Senora had PRESENCE; when the Senora walked into the room, everyone looked and if they didn't already know asked "Who is that?". Ray went to the bar which ran straight from the cash register on the west to the Carta Blanca pin-up girl on the East wall, and sat down on the stool nearest the cash register. La Senora made no acknowledgment of his presence. When offered service by the bartender, Ray explained that he was there to see La Senora. The bartender whispered in the Senora's ear and returned to say that the Senora could not see Ray at that time because she was expecting very important visitors very shortly. She suggested Wednesday. Ray left
Wednesday at l am (actually Thursday) found Ray sitting on the same stool, but this time la Senora moved the three feet away from the cash register to ask Ray if he would like a drink. The bartender was instructed to bring Ray a Tom Collins. Within the next fifteen minutes Ray exhausted his two semesters of high school Spanish as well as his two semesters of college Spanish and was well on the way to exhausting the conversational Spanish he had picked up in late night Spanish language drive-in movies, when la Senora finally asked how she might be of service. Ray presented her with the statement for $350 and waited for the explosion La Senora looked at the statement for several moments and very calmly stated something to the effect that, "yo no voy pagar cagada sin la firma de mi esposo!" This was said softly but with a firmness that made one stop and think which is what Ray was doing after having made polite gestures of departure and walking with measured calm back to his car. 'Ray's mind was wondering if there had even been a signature since deals in Mexico were often done on word of mouth trust as a matter of honor and the second question was, would the Senora accept a carbon copy of the signature?. The original had already been mailed with the first statement. Thursday....
Thursday at l am (actually Friday) and Ray was on the same stool going through the same ritual wondering if he were indeed sipping the same Tom Collins but this time passing a carbon copy of the company invoice which showed the signature of Enrique DeNava. Enrique' s signature was surprisingly small labored and cramped for one of his importance and in a Country which prides itself on some of the most originally creative signatures on earth. Ray felt himself relax all over as the Senora turned back to him with tears in her eyes, her finger caressing the carbon copy signature, saying, "Es la firma de mi Esposo!" She seemed to pose for a moment and then placed the invoice into her purse below the cash register turned around and opened the right side of an old fashioned cold drink box (the left side had trays of Mexican money) and removed a stack of American money. Returning to the bar she dealt a hand of three one hundred dollar bills, two twenty dollar bills and one ten dollar bill. Ray thanked the Senora adequately, but not profusely, rose with the customary "Con Permiso?" and upon receiving the "Es propio" placed the money in his wallet and walked calmly, with every cell in his body trembling, back to his car. It did not escape Ray that he was in an area where people had been murdered for less than $4. He tried to remember how many people witnessed him receiving the money. When Ray got home HE took a shower and then lay awake all night. That was over and he would never have to go there again without an earlier hour and a number of clients. Ray now realized why the Credit Manager would not go to collect the debt. He was afraid of the Senora and the people who took orders from her.
Page 6 of 7
Shortly after the collection had been made the Account Salesman approached Ray and they agreed to exchange accounts; the salesman would work Ray's contractor accounts on the American side of the river and Ray would work the salesman's Mexican accounts. It was an exchange made in heaven and Ray's command of the Spanish language began to improve by leaps and bounds and then one day.....
Two very sophisticated, well dressed Mexican gentlemen entered the store and asked to speak with Senor Raymondo Weelleeams. Ray was told that the Senora De Nava wished to speak with him. It was arranged that Ray would be at the Gold Palace at l am that very night.
It was the same stool; it seemed like the same Tom Collins and it was then that the Senora DeNava told Ray she wanted him to be the decorator for her whole establishment. She wanted to create an environment in the rooms as well as in the night club area that would make American men feel at home. Ray was introduced to one of the men who delivered the Senora's message and informed that he was the Senora's contractor and would sign for all paints, supplies and spray guns needed to do the job. The Senora stated there was only one area in which she would be adamant.: She wanted the Monterey Terrazzo covered with bright red vinyl-asbestos floor tile. Ray hoped that no one he knew would ever find out he had been a part of that undertaking. "Undertaking" being a perfect choice of words because he felt like the undertaker at the funeral of a piece of hand made art which also had historical significance. But, then was then, now is now and La Senora is La Senora. The Show Goes On.
The survey of the Gold Palace begins the next morning and Ray is relieved to find that he will have almost no contact with La Senora. The rooms are measured; the colors are selected: soft greens, blues, pinks, yellows and tans are sprinkled throughout the establishment. One room which has a large bed with a large mirror for a headboard and built in chairs with arm-rests and drink holders around three sides of the room is given very special attention and decorated with turquoise and violet. This was the era of emergence from the sanctuary of dark colors of gloom that men returning home from World War Two retreated into and just before the era of 5000 shades of off white. Ray had dealt with colors for schools, offices and motels as well as residences so this was not a difficult undertaking. The only problem was the look of distaste on the faces of all the workers on the project. Certainly these were not the colors they would have chosen and not the colors they were accustomed to applying. Ray drank a toast to that team of fantastic sign painters from Mexico City who now lived in Matamoros and worked the two cities, as the beautiful Carta Blanca pin-up girls were painted over. Ray wondered if someday archaeologists might be able to dust away the washable latex coating and discover those icons to brothel life as had been done in Rome and Carthage.
This project lasted a little over four months during which time Ray became a "contrabandista" (one who smuggles materials across International Boundaries without benefit of customs). Ray had a Chevrolet station wagon which he drove for the better part of a year without a spare tire because there was always a load of paint, floor tile, adhesive or spray gun parts in the spare tire compartment. The project finally came to an end. Ray was tired of it. The workers had a long run of employment. The Senora seemed happy with it and the customers didn't seem to notice it. They just kept on looking at the girls. So it goes.
Page 7 of 7
There's no punch line to Ray's story. It just sort of winds down. Ray became disenchanted with the Paint Company, was offered and took a good job in Corpus Christi with a more socially oriented organization and began to commute back and forth between Brownsville and Corpus Christi to permit his children to finish their school year in Brownsville. On one of his visits, the Credit Manager asked Ray to please go to the Senora and collect $400 which was about 90 days past due and the Senora would have nothing to do with the Credit Manager. Ray knew the Credit Manager hadn't even gone to see the Senora because of his fear and so refused to make the collection for the very simple reason that he was no longer an employee.. The Credit Manager cried a lot and finally asked how much Ray would charge to make the collection. Ray answered immediately, "fifty percent". The Credit Manager groaned but agreed, whereupon Ray pulled out his wallet and counted out $200 for the Credit Manager. Ray had been to the Gold Palace the night before and knowing the account was past due had already collected the $400 from a Senora DeNava who had no idea Ray no longer worked for The Paint Company. This gave Ray every right to require a collection fee. The Credit Manager could just as easily charge off $400 as $200 so probably put the $200 in his own pocket. The Senora paid her bill. The Credit Manager made up for any reduction in his next year's bonus, Ray made an adequate finder's fee and of course the Company, who has always made the rules, has built-in ways of guaranteeing that it doesn't get hurt too badly for too long.
But the real winner was Ray Williams who walked away from this adventure knowing he was one of the few citizens of Texas and the United States who had ever been the Interior Decorator of Record of the Best Decorated Little Whorehouse in Mexico.
Images from an Album (AL-49) showing Air Postcards/clippings of early flight.
Repository: San Diego Air and Space Museum Archive
PictionID:43837627 - Catalog:14_008991 - Title:Atlas 7C Details: Missile 7C at Complex 12; Side View on Launcher Date on Neg: 03/18/1959 - Filename:14_008991.TIF - - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Repository: San Diego Air and Space Museum ArchiveWilliam Munger worked for the Granville Brothers on several projects, including the Gee Bees. This collection documents his life in aviation.
Repository: San Diego Air and Space Museum ArchiveWilliam Munger worked for the Granville Brothers on several projects, including the Gee Bees. This collection documents his life in aviation.
Bain News Service,, publisher.
Funeral of Tom Lee
[between ca. 1915 and ca. 1920]
1 negative : glass ; 5 x 7 in. or smaller.
Notes:
Title from data provided by the Bain News Service on the negative.
Forms part of: George Grantham Bain Collection (Library of Congress).
Format: Glass negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.25955
Call Number: LC-B2- 4451-5
Repository: California Historical Society
Collection: Portraits from the Reginaldo F. del Valle papers
Date: Undated
Format: Carte de visite
Call number: MSP 2230
Digital object ID: MSP2230_004.jpg
Preferred citation: [Ysabel del Valle with child], Portraits from the Reginaldo F. del Valle papers, MSP 2230, courtesy, California Historical Society, MSP2300_004.jpg.
Repository: San Diego Air and Space Museum ArchiveWilliam Munger worked for the Granville Brothers on several projects, including the Gee Bees. This collection documents his life in aviation.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: That "Tidal Wave" - "We are on the Home Stretch!"
Political Party: Democratic
Election Year: 1872
Date Made: 1872
Measurement: Sheet: 15.75 x 22.5 in.; 40.005 x 57.15 cm
Classification: Publications
Persistent URI: http://hdl.handle.net/1813.001/5zpp
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
Repository: California Historical Society
Digital object ID: Kemble Spec Col 09_B032
Call Number: Kemble Spec Col 09
Collection: California Lettersheet Collection
Date: Undated
Physical Description: Wood engraving; 10 x 19 cm.
Acquisition Information: Gift of Lowell J. Hardy.
Scope and Contents: View of Stockton from across the river, with (Boggs?) lumber yard in the foreground, city in the background, and boats on the water.
General Note: Published by L.C. Van Allen, Stockton, California. From an ambrotype by J. Boyden.
Preferred citation: City of Stockton, California Lettersheet Collection, Kemble Spec Col 09, courtesy, California Historical Society, Kemble Spec Col 09_B032.
Online finding aid: www.oac.cdlib.org/findaid/ark:/13030/c8rx9dfv
For more CHS digital collections: digitallibrary.californiahistoricalsociety.org
PictionID:46901998 - Catalog:16_008077 - Title:Lockheed P-38J 42-67183 with F-5B 42-67332 Burbank 1943 mfr V7773 - Filename:16_008077.tif - Ray Wagner was Archivist at the San Diego Air and Space Museum for several years and is an author of several books on aviation --- ---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Repository: California Historical Society
Collection: Carleton Watkins mammoth plate photographs of Yosemite Valley and Mariposa Grove, 1861-1881
Photographer: Watkins, Carleton E.
Date: 1861
Format: Albumen mammoth plate print
Call number: PC-RM-OV-Watkins
Digital object ID: OV-RM Watkins_006.jpg
Preferred citation: [The Grizzly Giant, Mariposa Grove, Yosemite], Carleton Watkins mammoth plate photographs of Yosemite Valley and Mariposa Grove, PC-RM-OV-Watkins, courtesy, California Historical Society, OV-RM Watkins_006.jpg.
Online finding aid: oac.cdlib.org/findaid/ark:/13030/c8057k72/
Boya Basma Apre Fabrikası-DEBA, Denizli (1973-74)
Repository: SALT Research
Rights Info: This material can be used under Creative Commons Attribution-NonCommercial-NoDerivatives 4.0 International (CC BY-NC-ND 4.0) license.
Repository: California Historical Society
Collection: Stereographs of the Modoc War
Photographer: Muybridge, Eadweard
Date: 1873
General note: Stereographs published by Bradley & Rulofson.
General note: Stereo No. 1605
Format: Stereograph
Call Number: PC-RM-Stereos
Digital object ID: PC-RM-Stereos_1605.jpg
Preferred citation: Panorama of Lava Beds from Signal Station at Tule Lake, Camp South, Stereographs of the Modoc War, PC-RM-Stereos, courtesy, California Historical Society, PC-RM-Stereos_1605.jpg
For more CHS digital collections: digitallibrary.californiahistoricalsociety.org
Images from an Album (AL-61B) donated by Leisure World Aerospace Club showing misc aircraft.
Repository: San Diego Air and Space Museum Archive
Unidentified
EVIDENCE
Provenance evidence: Inscription
Location in book: 3b6 v
COPY
Repository: Folger Shakespeare Library
Call number: 22284 Fo. no. 75
Copy title: Mr. VVilliam Shakespeares comedies, histories, & tragedies : published according to the true originall copies.
Author(s): Shakespeare, William
Published: London, 1623
Printer/Publisher: Issac Iaggard, and Ed. Blount
FIND IN POP
Source: Scan of a photograph.
Image: P...
Date: c1987.
Copyright: SBC.
Repository: Local Studies, Swindon Central Library.
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: General Grant and His Family
Political Party: Republican
Date Made: 1866
Measurement: Print: 22 x 26.5 in.; 55.88 x 67.31 cm
Classification: Prints
Persistent URI: http://hdl.handle.net/1813.001/5z56
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
PictionID:46704452 - Catalog:16_007944 - Title:Curtiss XP-31 33-178 AAC 17964 - Filename:16_007944.tif - Image from the Ray Wagner Collection. Ray Wagner was Archivist at the San Diego Air and Space Museum for several years and is an author of several books on aviation --- ---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Repository: California Historical Society
Creator: United States. President (1845-1849 : Polk)
Date: 1846 May 13.
Publication Note: Washington, D.C. : [s.n.], 1846.
Physical Description: 1 sheet ([1]p.) : ill. ; 32 x 21 cm.
General Note: Proclamation declaring war on Mexico, dated May 13, 1846.
Call Number: Vault B-056
Digital object ID: Vault_B-056.jpg.
Preferred Citation: A Proclamation. By the President of the United States of America, Vault B-056, courtesy, California Historical Society, Vault_B-056.jpg.
For more CHS digital collections: digitallibrary.californiahistoricalsociety.org
Repository: Worcester State University Archives
Photographer: Unknown
Date: 1969
Preferred Citation: Students, 1969. Courtesy, Worcester State University Archives.
PictionID:44987549 - Title:U S Navy Martin T3M - Catalog:16_006072 - Filename:16_006072.tif - - - - Image from the Ray Wagner Collection. Ray Wagner was Archivist at the San Diego Air and Space Museum for several years and is an author of several books on aviation --- ---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Originally called the “Music Museum and Grainger Museum”, the “Grainger Museum” is a small Streamline Moderne Art Deco building, built between 1935 and 1939, a repository of items documenting the life, career and music of the well known Australian composer, folklorist and pianist, Percy Grainger (1882 – 1961).
Built on one of Melbourne’s grand tree lined boulevards, Royal Parade in Parkville, the autobiographical museum was constructed in two stages between 1935 and 1939, on land provided for the purpose by the University of Melbourne. The Grainger Museum was designed by the staff architect of Melbourne University, John Stevens Gawler (1885 – 1978) through his architectural firm Gawler and Drummond. The building, built of brown clinker bricks is typical of Streamline Moderne design in Australia in the late 1930s, yet it also has undertones of the Arts and Crafts movement. It has very little detailing on the outside, with a severe arched entranceway, two windows featuring Art Deco grillework, a few decorative panels of brickwork (quite typical of John Gawler’s work) and the remaining windows consisting of glass bricks. The name of the museum appears above the main entranceway in stark Art Deco lettering made of cast iron which have been painted black. The museum is circular and features a small central courtyard accessed by two sets of French doors. The courtyard facades are detailed with decorative brickwork.
The Grainger Museum received input from Mr. Grainger in its design as well as its purpose, as well as funding provided by the composer. Mr. Grainger had contemplated establishing an autobiographical museum in the early 1920s, following the sudden suicide of his mother Rose, to whom he was very devoted. The museum contains large quantity of material from Mr. Grainger’s life, including art and furnishings from his home, musical instruments that he used, compositions, recordings, reformist clothing, published scores, field recordings, photographs, books and personal items belonging not only to Mr. Grainger, but also his mother. It also contains a curio case of whips that Mr. Grainger used in sadomasochist sexual acts which were in a trunk given to the museum with strict instructions that it was not to be opened until ten year after his death. The trunk also contained photographs of the composer after sessions of self flagellation. The museum also contains large amounts of material concerning some of his musical contemporaries, many of whom have fallen into obscurity. The Grainger Museum was officially opened in December 1938, and was staffed and maintained by Mr. Grainger throughout his life.
Sadly, the Grainger Museum suffered some initial setbacks with the outbreak of the Second World War in 1939, when the building was used for storage for the duration, rather than its original purpose. The museum’s designs were also problematic, as the building was prone to leaks and required extensive waterproofing. The majority of objects were not put on public display until the 1950s when Mr. Grainger visited Australia with the intention of finishing his autobiographical project; something he failed to do as he set sail for his New York home with the task still incomplete. During the 1960s the Grainger Museum was opened to the public regularly for the first time and was sometimes used for concerts and musical workshops for jazz and other avant-garde music, which would have pleased Mr. Grainger, who sadly had died some five years before this eventuality. The Grainger Museum quietly closed its doors in 2003 for extensive renovation, restoration and conservation work. It reopened seven years later 2010, and has been open selectively ever since, showcasing Mr. Grainger’s life and works in a smart, well set out and discreet fashion.
Percy Aldridge Grainger was born in Brighton, Melbourne. He showed precocious talent in music, and at the age of 13 he left Australia to further his ability by attending the Hoch Conservatory in Frankfurt, Germany. In 1901 he moved to London, where with the assistance of his mother, he established himself as a successful society pianist, and developed a career as a concert performer and composer. During his time in London, he also collected original folk melodies and helped revive interest in British folk music in the early years of the 20th Century. Mr. Grainger left England in 1914, and moved to the United States, where he lived for the rest of his life, residing in White Haven, a suburb of New York with his mother, Rose, who was always his greatest supporter and exponent. Mr. Grainger took up American citizenship in 1918. After his mother committed suicide in 1922, he involved himself more with educational work, and created his own experimental and unusual musical compositions. He particularly enjoyed musical experiments with fantastic music machines that he imagined, and perhaps hoped, would supersede human interpretation one day. During this time, he also made adaptations of other composers' musical works. In 1926, while returning to America from a tour, he met Ella Ström, a Swedish-born artist, whom he married before an enraptured audience at one of his concerts at the Hollywood Bowl in 1928. Mr. Grainger already had a great interest in Nordic music, but his wife’s lineage only served to drive his passion for such music even more. As he grew older he continued to give concerts. He also revised and rearranged compositions of his own, preferring this to writing new music, of which he produced little. After the Second World War, he suffered ill health which reduced his productivity and activity in his passions, and he considered his career to be a failure. He gave his final concert in 1960, less than a year before his death. The piece of music with which Percy Grainger is most generally remembered is his pretty piano arrangement of the folk-dance tune “Country Gardens”.
The architectural firm of Gawler and Drummond was a prolific, though rather undistinguished firm that designed a range of domestic, industrial, commercial and church buildings. These include the McRorie house in Camberwell in 1916, the Fitzroy department store Ackmans Ltd in 1918, the Loch Church of England in 1926, the Korumburra Church of England in 1927, the Deaf and Dumb Society's church at Jolimont in 1929 and the Nyora Church of England in 1930. The Percy Grainger Museum is perhaps Gawler and Drummond’s most distinguished work.
The Grainger Museum was open as part of the 2014 Open House Melbourne Weekend.
Source: Scan of original colour photograph.
Date: 1998.
Photographer: Unknown.
Repository: Swindon Museum and Art Gallery
The botanist's repository, for new, and rare plants :.
London :Printed by T. Bensley, and published by the author ... :1797-[1815].
Bain News Service,, publisher.
Steerage passengers at bow of FRIEDRICH DER GROSS
[between ca. 1915 and ca. 1920]
1 negative : nitrate ; 5 x 7 in. or smaller.
Notes:
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).
Format: Nitrate negatives.
Rights Info: No known restrictions on publication.
Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print
General information about the Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain
Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.27110
Call Number: LC-B21- 2086-38
Repository: California Historical Society
Date: circa 1896
Format: Photographic print: b&w; 26 x 20 cm.
Digital object ID: CHS2014.1692
Preferred Citation: [California College Baseball Team, Oakland], courtesy, California Historical Society, CHS2014.1692
Online finding aid: www.oac.cdlib.org/findaid/ark:/13030/kt2j49q0s2/
The botanist's repository, for new, and rare plants :.
London :Printed by T. Bensley, and published by the author ... :1797-[1815].
Repository: California Historical Society
Digital object ID: CHS2014.1470 [b]
Call number: MENU COL
Collection: California menu collection
Date: 1927 December 20
Preferred citation: Menu, Ye Bull Pen Inn, Los Angeles [open], California menu collection, courtesy, California Historical Society, CHS2014.1470 [b].jpg.
Online finding aid: www.oac.cdlib.org/findaid/ark:/13030/c8qn68hw
Collection: Cornell University Collection of Political Americana, Cornell University Library
Repository: Susan H. Douglas Political Americana Collection, #2214 Rare & Manuscript Collections, Cornell University Library, Cornell University
Title: Henry Clay "O.K. / Oll For Klay" Ribbon, 1844
Political Party: Democratic
Election Year: 1844
Date Made: 1844
Measurement: Ribbon: 6 1/4 x 2 7/8 in.; 15.875 x 7.3025 cm
Classification: Costume
Persistent URI: http://hdl.handle.net/1813.001/60b7
There are no known U.S. copyright restrictions on this image. The digital file is owned by the Cornell University Library which is making it freely available with the request that, when possible, the Library be credited as its source.
PictionID:54488271 - Catalog:Sphinx flown 2-11-1974 LC-41 13 6637 - Title:Array - Filename:Sphinx flown 2-11-1974 LC-41 13 6637.jpg - ---- Images from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Description: Portrait of Martin, painter, seated. Identification on verso (handwritten): Taken at Enfield, England, in the summer or fall of 1892. Homer Dodge Martin - Born, Albany, New York, Oct. 28, 1836; Died, St. Paul, Minnesota, Feb. 12, 1897. Mrs. Martin's handwriting.
Creator/Photographer: Unidentified photographer
Medium: Black and white photographic print
Dimensions: 16 cm x 11 cm
Date: 1892
Collection: Macbeth Gallery Records, c. 1890-1964
Persistent URL: www.aaa.si.edu/collections/images/detail/homer-dodge-mart...
Repository: Archives of American Art
Accession number: aaa_macbgall_4776
The botanist's repository, for new, and rare plants :.
London :Printed by T. Bensley, and published by the author ... :1797-[1815].
PictionID:45282303 - Catalog:14_018716 - Title:Convair Equipment Details: Fire Trucks Drafting and Pumping from Reservoir Date: 05/12/1961 - Filename:14_018716.TIF - - - - - Image from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
The botanist's repository, for new, and rare plants :.
London :Printed by T. Bensley, and published by the author ... :1797-[1815].
COPY
Repository: Penn Libraries
Call number: Folio PR2751 .A1
Copy title: Mr. VVilliam Shakespeares comedies, histories, & tragedies : published according to the true originall copies.
Author(s): Shakespeare, William, 1564-1616.
Published: England London., 1623
Printer/Publisher: Printed by Isaac Jaggard, and Ed. Blount, 1623.
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The botanist's repository, for new, and rare plants :.
London :Printed by T. Bensley, and published by the author ... :1797-[1815].
The botanist's repository, for new, and rare plants :.
London :Printed by T. Bensley, and published by the author ... :1797-[1815].
Cortesía de: Unikassel Bibliothek-ORKA Open Repository Kassel
Referencia post:
www.odisea2008.com/2013/12/moda-y-costumbres-turcas-en-el...
Title: Advertisement, Albers Brothers Milling Company, Los Angeles [p.8]
Repository: California Historical Society
Digital object ID: CHS2013.1325 [b].jpg
Call Number: BUS EPH
Collection: California business ephemera collection
Preferred citation: Advertisement, Albers Brothers Milling Company, Los Angeles [p.8], California business ephemera collection, courtesy, California Historical Society, CHS2013.1325 [b].jpg.
Online finding aid: www.oac.cdlib.org/findaid/ark:/13030/kt7f59s1tv/
PictionID:54252562 - Catalog:14_034176 - Title:Atlas 5802 Details: Liftoff of Missile 5802/Lunar Orbiter; Complex 13 Date: 11/06/1966 - Filename:14_034176.tif - - Images from the Convair/General Dynamics Astronautics Atlas Negative Collection. The processing, cataloging and digitization of these images has been made possible by a generous National Historical Publications and Records grant from the National Archives and Records Administration---Please Tag these images so that the information can be permanently stored with the digital file.---Repository: San Diego Air and Space Museum
Unidentified
EVIDENCE
Provenance evidence: Binding
Location in book: Back Cover
COPY
Repository: Penn Libraries
Call number: C59 Sh1 MC
Collection: Furness Shakespeare Library
Copy title: Macbeth : a tragedy ... / with the additions set to music by Mr. Locke and Dr. Arne ; and the variations in the manager's book at the Theatre-royal, Drury-lane.
Author(s): Shakespeare, William, 1564-1616.
Published: London, 1794
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