103 resultados para Harrison, Ansley, and Co. (London, England)--Correspondence


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Receipt from Foley, Fitzgerald and Co., Bakers and Confectioners, St. Catharines for baked goods, Feb. 29, 1888.

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Receipt from N. W. Harris and Co., Bankers, New York for installment on Dominion Power and Transmission Co., Dec. 19, 1907.

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Flyer (2 double sided pages, printed) about the Dominion Power and Transmission Company bonds from R.W. Harris and Co. Bankers, New York, n.d.

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Flyer (2 double sided pages, printed) about railroad bonds from E.D. Shepard and Co. Bankers, New York, n.d.

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Receipt from John Turrill manufacturer of Desks, London, England for a writing desk, June, 29, 1817.

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Receipt from James Oliphant, Cap Maker to the Army, London, England for a silk hat, Aug. 26, 1847.

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Receipt from G. Heath, Chemist, London, England for pills, Aug. 26, 1847.

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Receipt from Thomas Handford, trunk maker, London, England for new cover to writing case with engraving, Aug. 27, 1847.

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Bill to Mr. R. Nelles from Wm. Atkinson and Co., Importers of Hardware, Hamilton for miscellaneous hardware item. There is a note on the bottom of the invoice from Wm. Atkinson requesting payment, Jan. 1850.

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Promissory note to James C. Henderson and Co. signed by Robert F. Nelles, May 8, 1850.

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Two notices from the Director of Graves Registration and Enquiries, London, England noting the location of the grave as Wailly Orchard Cemetery near Arras. One of the certificates incorrectly notes the name as S.G. Woodruff while the other correctly has S. D. Woodruff. The number listed for Lieut. S. D. Woodruff's grave site photograph is CCM/9/4433.

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This thesis explores the representation of Swinging London in three examples of 1960s British cinema: Blowup (Michelangelo Antonioni, 1966), Smashing Time (Desmond Davis, 1967) and Performance (Donald Cammell and Nicolas Roeg, 1970). It suggests that the films chronologically signify the evolution, commodification and dissolution of the Swinging London era. The thesis explores how the concept of Swinging London is both critiqued and perpetuated in each film through the use of visual tropes: the reconstruction of London as a cinematic space; the Pop photographer; the dolly; representations of music performance and fashion; the appropriation of signs and symbols associated with the visual culture of Swinging London. Using fashion, music performance, consumerism and cultural symbolism as visual narratives, each film also explores the construction of youth identity through the representation of manufactured and mediated images. Ultimately, these films reinforce Swinging London as a visual economy that circulates media images as commodities within a system of exchange. With this in view, the signs and symbols that comprise the visual culture of Swinging London are as central and significant to the cultural era as their material reality. While they attempt to destabilize prevailing representations of the era through the reproduction and exchange of such symbols, Blowup, Smashing Time, and Performance nevertheless contribute to the nostalgia for Swinging London in larger cultural memory.

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Envelope postmarked Indo-Ceylon, special flight X’mas 1936, Bombay, Jan. 1937 and Thomas Cook and Son, Jan. 2, 1937. The letter is addressed to Mr. Welland D. Woodruff at Thomas Cook and Son, Columbo, India. This is crossed out and sent on to Royal Trust Co. 3 St. James St., London, England. This is crossed out and finally sent to the Mayfair Hotel, London, England, 1936-1937.