Atlas de toutes les parties connues du globe terrestre : dressé pour l'Histoire philosophique et politique des établissemens et du commerce des Européens dans les deux Indes (1780)

Atlas to: Histoire philosophique et politique des établissemens et du commerce des Européens dans les deux Indes / Guillaume Thomas Raynal. - Genêve : J.-L. Pellet, 1780 Author statement on maps: Par M. Bonne, ingénieur-hydrographe de la Marine Maps numbered: 1-17, 17 bis-49. [23] leaves of tables at end are lacking in Special Collections' copy

Photograph - Julia Cleveland Woodruff in Sequined Dress

Black and white photograph, 23 cm x 18 cm, of Julia Cleveland Woodruff wearing a sequined dress and a string of pearls. The photo was taken by Dudley Hoyt of New York. This is a head and shoulders photograph.

Photograph - Margaret Julia Woodruff Band in a Lace Dress

Black and white photograph, 17 cm x 13 ½, of Margaret Julia Woodruff Band in a seated position wearing a lace dress and a string of pearls. The photo was taken by Dudley Hoyt of New York.

Photograph - Margaret Julia Woodruff Band, Side Angle Lace Dress

Black and white photograph, 23 cm x 17 cm, of Margaret Julia Woodruff Band in a seated position, taken from a side angle. She is wearing a lace dress. The photo was taken by Dudley Hoyt of New York.

Photograph - Margaret Julia Woodruff Band, Lace Dress and Wide-Brimmed Hat

Black and white photograph, 23 cm x 17 cm, of Margaret Julia Woodruff Band in a seated position, wearing a lace dress and wide- brimmed hat. The photo was taken by Dudley Hoyt of New York.

Photograph - Margaret Julia Woodruff Band in a Wedding Dress

Black and white photograph, 17 cm x 13 cm, of Margaret Julia Woodruff Band in a seated position, wearing a wedding dress and veil. She is carrying flowers in her hand. A wedding band is evident in this photograph. The photo was taken by Dudley Hoyt of New York.

Photograph - Margaret Julia Woodruff Band in a Wedding Dress #2

Black and white photograph, enclosed in a folder, 17 cm x 13 cm, of Margaret Julia Woodruff Band in a seated position wearing a wedding gown and veil. The photo was taken by Dudley Hoyt of New York.

Photograph - Margaret Julia Woodruff Band in a Wedding Dress, in Silver Frame

Black and white photograph, 12 cm x 9 cm, of Margaret Julia Woodruff Band in a seated position, wearing a wedding dress and veil. The photo was taken by Dudley Hoyt of New York. The photo is encased within an ornate, silver frame which is engraved with the initials “M.J.W.”.

Place Card - Girl in Blue Dress with Flower

A place card with an illustration of a girl in a blue dress and red flowers.

Place Card - Girl in Green Dress with Flower

A place card with an illustration of a girl in a green dress and red flowers.

Place Card - Girl in Blue Dress on Yellow Chest

A place card with an illustration of a girl in a blue dress sitting on a yellow chest.

Place Card - Girl in Red Dress on Yellow Chest

A place card with an illustration of a girl in a red dress sitting on a yellow chest.

"I might be a duck, but I'm human" : an analysis of clothing in Disney cartoons

Mickey Mouse, one of the world's most recognizable cartoon characters, did not wear a shirt in his earliest incarnation in theatrical shorts and, for many years, Donald Duck did not wear pants and still rarely does so. Especially when one considers the era in which these figures were first created by the Walt Disney Studio, in the 1920s and 1930s, why are they portrayed without full clothing? The obvious answer, of course, is that they are animals, and animals do not wear clothes. But these are no ordinary animals: in most cases, they do wear clothing - some clothing, at least - and they walk on two legs, talk in a more or less intelligible fashion, and display a number of other anthropomorphic traits. If they are essentially animals, why do they wear clothing at all? On the other hand, if these characters are more human than animal, as suggested by other behavioral traits - they walk, talk, work, read, and so on - why are they not more often fully clothed? To answer these questions I undertook three major research strategies used to gather evidence: interpretive textual analysis of 321 cartoons; secondary analysis of interviews conducted with the animators who created the Disney characters; and historical and archival research on the Disney Company and on the times and context in which it functioned. I was able to identify five themes that played a large part in what kind of clothing a character wore; first, the character's gender and/or sexuality; second, what species or "race" the character was; third, the character's socio-economic status; fourth, the degree to which the character was anthropomorphized; and, fifth, the context in which the character and its clothing appeared in a particular scene or narrative. I concluded that all of these factors played a part in determining, to some extent, the clothing worn by particular characters at particular times. However, certain patterns emerged from the analysis that could not be explained by these factors alone or in combination. Therefore, my analysis also investigates the individual and collective attitudes and desires of the men in the Disney studio who were responsible for creating these characters and the cultural conditions under which they were created. Drawing on literature from the psychoanalytic approach to film studies, I argue that the clothing choices spoke to an idealized fantasy world to which the animators (most importantly, Walt Disney himself), and possibly wider society, wanted to return.

Cabinet Card of African Canadian by Photographer W. J. Rea, of Windsor [n.d.]

An unidentified African Canadian man is featured in this cabinet card by W. J. Rea, photographer, of Windsor, Ontario. The man appears to be in official dress, possibly of a religious or legal nature. This cabinet card bears the stamp of the photographer, W. J. Rea, in black ink along the bottom of the card and on the reverse. While it is undated, it is likely from the 1870s or 1880s. This cabinet card was in the possession of Iris Sloman Bell, of St. Catharines, Ontario. The Sloman - Bell family descendants include African American slaves from the United States who settled in Canada."Cabinet card photographs were first introduced in 1866. They were initially employed for landscapes rather than portraitures. Cabinet cards replaced Carte de visite photographs as the popular mode of photography. Cabinet cards became the standard for photographic portraits in 1870. Cabinet cards experienced their peak in popularity in the 1880's. Cabinet cards were still being produced in the United States until the early 1900's and continued to be produced in Europe even longer. The best way to describe a cabinet card is that it is a thin photograph that is mounted on a card that measures 4 1/4″ by 6 1/2″. Cabinet cards frequently have artistic logos and information on the bottom or the reverse of the card which advertised the photographer or the photography studio's services." Source: http://cabinetcardgallery.wordpress.com/category/cabinet-card-history/

Manuscript of James Cummings- August 28, 1860

Transcript (spelling and grammar retained): Chippawa [Chippewa] 28th August 1860 My Dear Sir I duly received your very kind letter of the 24th [June] asking me to communicate such facts of general interest connected with my career during the War with the United States. I have no objection to afford you such information as came under my own observation; nevertheless I do so, with the understanding, I have no desire to be my own trumpeter. With respect to your circular wherein you state you have been for several years collecting materials for a History of the late War between the United States & Great Britain, for which you are now gathering further materials to add to your collection, concerning the Second War for Independence. I am rather at a loss to know, what is meant by the second war; If you allude to the petty Rebellion, it could not be called a War, Those that caused the outbreak were very soon put down, by the Loyal people of the Province without the aid of Regular Troops being satisfied with the Independence they enjoyed. With respect to the several questions names in your circular: To the 1st I would say, this locality is made memorable by the battle of Chippawa [Chippewa] which took place about a mile above the village on the ground I pointed out to you, when I had the pleasure of seeing you a few days ago, with Mr Porter of the Niagara Falls, of which I believe you took sketches at the time. 2nd I have no historical documents of any value; so many years having gone past, the most of my old papers have either been lost or destroyed, I however came across two letters, one dated Queenston 9th July 1812 from Lt. Col. Nicholl Quarter Master General of Militia, the other from Lt. Col Myers Deputy Quarter Master General of the Regular Army date Fort George 23rd same month, directed to me in the hand writing of each of those officers as Deputy Quarter Master General of Militia, which letters I shall be obliged you would return at as early a day possible, as I wish to place them with tome others in the case, I have had made to hold the cocked hat & feather I wore during that eventful period, which I am sorry I did not exhibit when you was at my house; with reference to it I now enclose a letter from Lt. Col. Clark, residing at Port Dalhousie he was Captain & Adjutant of Militia in the War of 1812__ I send the letter in proof of the cock’d hat it is a lengthy one, but you may find time to turn over it, as I shall also place it in the hat case__ 3rd Where are [but] [for] traditionary [sic] witnesses residing in this vicinity – Col Clark above named Mr Merritt of St. Catharines, & Mr Kerby of Brantford are the only ones I now recollect, who could offord [sic] you any statistical information. 4th I have no pictorial sketches of any Military Movements or fortifications. As regards my own career, which you appear [ ? ] of knowing__ I was first a Lieutenant in a volunteer flank company stationed on the river side opposite [Navy] Island not far from the battle ground of Chippawa [Chippewa], I got promotion as Lieutenant of Cavalry before I got my Cavalry dress completed in three days more, I was called by General Brock to Fort George, was appointed Deputy Quarter Master General of Militia with the rank of Captain s the accompanying letters will show. I was at the battle of Stony Creek, several skirmishes at the Cross Roads, when the American army [ ? ] Fort George, at the taking of Col. Boerstler at the Beaver Dam, & had the honor of receiving Colonel Chapens sword at the surrender, who commanded a company of volunteer Horse Men was at the taking of 15 regulars & two officers at Fort Schlosser—was with Col. Bishop at the taking of Black Rock, near him when he fell, three men of the 8th Reg. more killed in the Boat I was in – I was at Chippawa battle, and the last, not the least in Lundy’s lane battle, which the Americans call the battle of Bridge [Waters]. I had forgot; there was another small affair at Corks Mill where I was. I could write a little history of events, but have not the time to do so. If what I have stated will be of any service for the purpose you require I shall feel happy. The history of the late War was published at Toronto in the Anglo American Magazine. Did you ever see it, I have the Books, there were however several errors which came under my notice, which I could have corrected. If my time would permit I could give you a more detailed statement of events. I trust however you may succeed with your publication , and I shall be most happy to hear from you at all times—I related many little occurances verbally to you when here, which I thought not necessary to repeat again as you would have a perfect recollection of them. Be pleased to return the letters for the purpose I require them. I am My Dear Sir Your respectful friend James Cummings