The Grammar Of Grace Rev Kent Eilersashley

Cocksworthanna M Silvas download

https://ebookbell.com/product/the-grammar-of-grace-rev-kent-
eilersashley-cocksworthanna-m-silvas-59320990

Explore and download more ebooks at ebookbell.com

Here are some recommended products that we believe you will be
interested in. You can click the link to download.

The Literary Culture Of The Reformation Grammar And Grace Brian

Cummings

https://ebookbell.com/product/the-literary-culture-of-the-reformation-
grammar-and-grace-brian-cummings-2179728

A Grammar Of Crow Apsalooke Alilau Randolph Graczyk

https://ebookbell.com/product/a-grammar-of-crow-apsalooke-alilau-
randolph-graczyk-5764610

The Complete Book Of Grammar And Punctuation Grade 34 American

Education Publishing

https://ebookbell.com/product/the-complete-book-of-grammar-and-
punctuation-grade-34-american-education-publishing-33425376

Graded Lessons In English An Elementary English Grammar Consisting Of

One Hundred Practical Lessons Carefully Graded And Adapted To The
Classroom Brainerd Kellogg Alonzo Reed

https://ebookbell.com/product/graded-lessons-in-english-an-elementary-
english-grammar-consisting-of-one-hundred-practical-lessons-carefully-
graded-and-adapted-to-the-classroom-brainerd-kellogg-alonzo-
reed-1377084
The Oxford Handbook Of Construction Grammar Thomas Hoffmann Graeme
Trousdale

https://ebookbell.com/product/the-oxford-handbook-of-construction-
grammar-thomas-hoffmann-graeme-trousdale-4748796

5th Grade Grammar Vocabulary Skills Book Inspire The Love Of Learning

https://ebookbell.com/product/5th-grade-grammar-vocabulary-skills-
book-inspire-the-love-of-learning-5083100

3rd Grade Grammar Vocabulary Skills Inspire The Love Of Learning

https://ebookbell.com/product/3rd-grade-grammar-vocabulary-skills-
inspire-the-love-of-learning-5083200

4th Grade Grammar Vocabulary Skills Inspire The Love Of Learning

https://ebookbell.com/product/4th-grade-grammar-vocabulary-skills-
inspire-the-love-of-learning-5083264

The Grammar Of School Discipline Removal Resistance And Reform In

Alabama Schools Hannah Carson Baggett

https://ebookbell.com/product/the-grammar-of-school-discipline-
removal-resistance-and-reform-in-alabama-schools-hannah-carson-
baggett-47277114
Another Random Scribd Document
with Unrelated Content
The Project Gutenberg eBook of Motion Pictures,
1894-1912
This ebook is for the use of anyone anywhere in the United
States and most other parts of the world at no cost and with
almost no restrictions whatsoever. You may copy it, give it away
or re-use it under the terms of the Project Gutenberg License
included with this ebook or online at www.gutenberg.org. If you
are not located in the United States, you will have to check the
laws of the country where you are located before using this
eBook.

Title: Motion Pictures, 1894-1912

Author: Howard Lamarr Walls

Release date: April 12, 2018 [eBook #56966]

Language: English

Credits: Produced by Richard Tonsing and the Online Distributed

Proofreading Team at http://www.pgdp.net (This file
was
produced from images generously made available by
The
Internet Archive)

*** START OF THE PROJECT GUTENBERG EBOOK MOTION

PICTURES, 1894-1912 ***
 Motion Pictures
1894–1912
Identified from the Records of the United States
Copyright Office

by
Howard Lamarr Walls

1953

COPYRIGHT OFFICE ☆ THE LIBRARY OF CONGRESS

L. C. card, 53–60033
 For sale by the Register of Copyrights,
Library of Congress, Washington 25, D. C.
Price $2
 Table of Contents

Page
Motion Pictures, 1894–1912 1
Claimant Index 71
 Foreword
Motion Pictures, 1894–1912, is a catalog of those copyrighted works
identified as motion pictures by Howard Lamarr Walls which were
produced during the pioneer period of the motion picture industry.
Inasmuch as this catalog includes information supplied by Mr. Walls
which does not appear in the records of the Copyright Office, it is not
considered a part of the regular Catalog of Copyright Entries,
Cumulative Series. It supplements, however, the two volumes in the
Cumulative Series, Motion Pictures, 1912–1939 and Motion Pictures,
1940–1949. These three volumes, together with the current issues of
the Catalog of Copyright Entries, Third Series, Parts 12–13, Motion
Pictures and Filmstrips, comprise an unbroken record of the
copyright registration of motion pictures and, also, an extensive
although incomplete record of motion picture production in the
United States through the entire history of the industry.
The catalog lists 8,506 works, representing approximately 6,000
titles, which were registered in the Copyright Office as photographs
and identified as motion pictures by Mr. Walls. In making this
identification, the record books in the Copyright Office were
searched for the years 1893 through 1913. The first such registration
found is the Edison Kinetoscopic Record of a Sneeze, January 7,
1894, copyright date January 9, 1894, and the last is the Feast of
Belshazzar, copyright date January 23, 1913. Twenty-four motion
pictures were registered in Class J, photographs, between August 24,
1912, the effective date of the amendment to the copyright law
establishing classes for motion pictures, and the end of the year 1913.
These twenty-four motion pictures are listed in this catalog.
Familiarity with the individuals and organizations connected with
the production of motion pictures during the pioneer period was
essential to the identification as motion pictures of works registered
as photographs in the Copyright Office. Mr. Walls is uniquely fitted
to make this selection. He is at present Curator of the Motion Picture
Collection of the Academy of Motion Picture Arts and Sciences.
Previously he was for several years on the staff of the Copyright
Office and during that period was interested in the records of early
motion pictures which existed in the files of the Office, including the
paper prints which were deposited at the time of the registration of
many of these motion pictures. Later he became Curator of the
Motion Picture Collection of the Library of Congress and Reference
Assistant in the Motion Picture Division. He has had, therefore, long
and intensive experience in working with these early motion pictures
and he is also familiar with the organization of the records of the
Copyright Office.
The preparation of the catalog for printing was principally the work
of the staff of the Cumulative Section of the Cataloging Division of
the Copyright Office. Mr. Walls reviewed all entries after they were
transcribed from the record books and assisted in editing them by
adding in brackets, whenever he could do so without additional
research, explanatory information in those cases in which the titles
are not fully self-explanatory. Except for these bracketed phrases the
information appearing in the entries in the catalog is that on record
in the Copyright Office.
In the case of each entry the name of the copyright claimant is that
given in the record book. Any information relating to renewal
copyrights or to subsequent changes of ownership recorded in the
Copyright Office can be ascertained upon request and upon payment
to the Register of Copyrights of the fee specified in the law for the
conduct of a search of the records. In addition, information relating
to renewal copyrights can be secured by referring to the issue of the
Catalog of Copyright Entries covering renewal registrations for the
particular class of work during the renewal period.
In the Claimant Index the name of each claimant is given in the
fullest form on record in the Copyright Office with cross-references
from variant forms. Full information in regard to the content of the
entries in the main section and in the index will be found in the
section, How To Use This Catalog, p. X.
 Preface
The first public showing of motion pictures for a fee took place at the
Holland Brothers’ Kinetoscope Parlor, 1155 Broadway, New York
City, April 14, 1894. The making of motion pictures soon became a
highly competitive business, and producers were eager to obtain
some sort of protection for their works. The copyright law at that
time did not provide for the registration of motion pictures as such,
and was not amended to do so until August 24, 1912. The only course
open to pioneer producers was to register their works as photographs
and hope that the desired protection had been obtained. This became
the practice in the new industry.
Before 1900, all items were recorded in sequence as they were
received and registered (or “entered” as the law stated prior to 1909)
in the Copyright Office. The different types of material were
distinguished from one another only by a descriptive word or phrase;
i.e., photograph, book, musical composition, etc. On January 1, 1900,
the Copyright Office established Classes A, B, C, and D. Class D,
Graphic Arts and Miscellaneous, included photographs. On January
1, 1901, photographs were placed in a class of their own—Class H. On
March 4, 1909, photographs were assigned to Class J and included
both published and unpublished works. All motion pictures
copyrighted as photographs from 1894 to 1912, the period covered by
this catalog, fall correspondingly into these categories. They are
recorded in over five hundred official copyright record books, each of
which contains about two thousand entries. To compile the catalog it
was necessary to search approximately one million entries, and to
determine—by title, or copyright claimant, or both—which items
recorded as photographs did, or did not, represent motion pictures.
The task was sizable and presented many difficulties; but I hope that,
with the margin for error customarily allotted even to the best of
compilers, I have produced an acceptable list. And, while Dr. Luther
H. Evans, Librarian of Congress, and Mr. Arthur Fisher, the Register
of Copyrights, have made it possible for this work to be produced, it
is only fair to say that the responsibility for omissions which may
later be discovered is certainly mine.
The first problem encountered, that of identifying the work, was the
biggest. Then, although the information in the record books was
acceptable in the light of requirements for copyright registration, it
was found all too frequently to be unsatisfactory from the standpoint
of a full description or a complete identification of the motion
picture. Lengths of films were seldom given; claimants had not
always made it clear as to whether numbers accompanying titles
stood for parts, scenes, reels, or production numbers; some films,
copyrighted as separate entities, were obviously only parts of a
unified subject which the claimant had failed to furnish; the articles
in the titles were often omitted; and, for the pre-1900 years, it was
not always clear as to whether certain titles referred to a Kineograph
(thumb book), a Mutoscope reel, or a 35mm film. There were
numerous other deficiencies, such as misspelling of names or words
and omission of words other than articles from titles.
A complete solution to the complexities and limitations existing in
the project would have required motion picture research, but such
research is beyond the scope or function of the Copyright Office, and
of the project for which I was employed. Hence, the record is passed
along to you precisely as it stands with minor additions and
corrections. Misspellings and similar minor errors have been dealt
with by corrections written within brackets. In several instances,
where titles of factual films are ambiguous as to persons, places, or
things, it has been possible to draw on first-hand knowledge to
enhance their meaning and significance. This information is also
presented, within brackets, with a view to increasing as much as
possible the practical value of the catalog. A general correlation of
the films under supplied subject headings was, as in the case of
extensive research, considered beyond the scope of the project. Such
grouping has been left to those whose special interest may require it.
To facilitate such further research, the Claimant Index provides a
chronological listing of titles by year to bring them together in their
significant time relationships.
After an examination of the record, it appears that the earliest
motion picture copyrighted was Kinetoscopic Record of a Sneeze,
January 7, 1894. The claimant was William Kennedy Laurie
Dickson, West Orange, New Jersey. This film, popularly known in
film circles as “Fred Ott’s Sneeze,” and famous as one of the films
which launched the modern motion picture industry, now has added
fame as the first to be registered for copyright. There were only three
other entries to the end of 1894. For some inexplicable reason, there
is a total gap from the end of 1894 to October 23, 1896, at which date
the registrations substantially began and continued. One highly
important irregularity in this connection must be pointed out; there
is evidence that the American Mutoscope and Biograph Company, in
its 1902 and 1903 registrations, submitted, along with current
material, a considerable backlog of pictures produced from late 1895
to 1902. An appreciable amount of research would have to be done to
clarify the wide discrepancies between the production and copyright
dates of this company. There is no evidence that other claimants
followed this practice.
Not all motion pictures produced from 1894 to 1912 appear in the
copyright record. However, the overwhelming majority do—
representing nearly every important advance made in the first 18
years of the medium. The record pertaining to the newsreel type of
film affords some surprise. The entries for these are rather profuse
and important from 1896 to 1907, after which there are practically no
entries during the period under consideration. It is clear that by 1908
fictional entertainment had become an almost exclusive business
with the industry.
Although the entries in the record books of the Copyright Office do
not indicate the exact physical nature of items submitted by
claimants as copyright deposits, an investigation of the Library of
Congress holdings of this material revealed a heterogeneous
collection. Claimants submitted deposits indiscriminately and
variously in the following forms: Mutoscope reels; sample 35mm
frames from every scene in a motion picture, in the form of positive
photographic paper prints or on celluloid; photographic stills or
enlargements—one each of representative, but not all, scenes from a
motion picture; photographs of the sets used in a motion picture;
Kineographs (popularly known as thumb books or flip books); and,
most important of all, complete motion pictures printed on 35mm
positive photographic paper rolls.
About half of the films listed in this catalog are represented in the
Library’s collection of paper prints. Other films are available in other
collections or are likely to be located in the future in forgotten
storage places. An ingenious way has been found to rephotograph the
paper prints on celluloid by the optical printing process in order that
they may be put to current use.
Here is a cross section of the nonfictional film titles, selected at
random from this early collection: “Street Scene, Chicago” (1897);
“Troop Ships for the Philippines” (1898); “Burial of the Maine
Victims” (1898); “Admiral Dewey Landing at Gibraltar” (1899);
“Sharkey-Jeffries Fight” (1899); “Automobile Parade” (1900); “Boers
Bringing in British Prisoners” (1900); “President McKinley Taking
Oath of Office” (1901); “President McKinley’s Funeral Cortege at
Washington, D. C.” (1901); “Anna Held” (1902); “Princeton and Yale
Football Game” (1903); “Opening Ceremonies, New York Subway”
(1904); “Senator Mark Hanna” (1904); “Inauguration of President
Theodore Roosevelt” (1905); “Scenes and Incidents, Russo-Japanese
Peace Conference, Portsmouth, New Hampshire” (1905); and
hundreds of other similar films which bring back an almost forgotten
era.
These films depict the true customs, dress, and manners of the time
and place; they show general world events, Presidential
inaugurations; events of the Spanish-American War, noted political
figures and other personalities, fires and disasters, sports, popular
dances, and many other phases in the life of this period.
Changes in techniques or styles of motion picture production cannot
affect the importance of these films. Specialized students of the
motion picture and drama will derive profit and pleasure from seeing
the first attempts to tell a story on the screen, the evolution of screen
syntax by D. W. Griffith, and the first appearances of such celebrities
as Mary Pickford, and the films listed in this catalog and preserved in
the Library of Congress and elsewhere will have an even wider appeal
to general historians, sociologists, and educators who may have no
interest in the motion picture as such.
It is hoped that this catalog will serve not only those seeking
information regarding the copyright history and status of these films
but will also be of material assistance to those studying the motion
picture as an art, as an important means of communication, as a
historical record, or as an effective social force.
Howard Lamarr Walls
 How To Use This Catalog
This catalog consists of two parts: Motion Pictures, 1894–1912,
which is a list of main entries arranged alphabetically under title, and
a Claimant Index, which is a list of the claimants of copyright in the
motion pictures included in the main section.
 Motion Pictures, 1894–1912
The items which constitute each entry are given below in the order in
which they appear. In general, the entry consists only of title, name
of the claimant of copyright, date of the beginning of the copyright
term, and registration number. Other information is included if
given in the record books. Explanatory and corrective information
not available in the records of the Copyright Office and supplied by
the compiler, Mr. Howard L. Walls, always appears in brackets.
1. Title. The title is given in the form in which it appears in the
record book. The main title is followed, as applicable, by subtitle,
alternate title, and translated title. Cross-references from
alternate and translated titles are included in the list.
Information which appears in the title in the record book and
which relates to the principal player or to the number of parts
and scenes is given in a brief statement following the title as
described above. Sometimes such information includes a
numeral which may well have had originally some descriptive
value but which cannot now be identified, either as a production
number, a catalog number, or a number indicating the
relationship of the particular film to other films. In many
instances, the successive scenes or parts of a motion picture were
registered separately, each registration including the main title
and the title of the particular part. In such cases the main title is
given, followed by other elements in the entry relating to the
whole motion picture, and the numbers and titles of the separate
parts are listed below the main part of the entry, each part of the
title being followed by information relating to it alone.
2. Name of the claimant. This name is given as it appears in the
record book and is immediately preceded by the copyright
symbol ©.
3. Date. This date includes the day, month, and year of the
beginning of the term of copyright protection and is determined
by different requirements in the periods separated by the date
 July 1, 1909. Prior to July 1 of that year, the date of the recording
in the Copyright Office of the title page of a published work
determined the beginning of the term of copyright protection.
During this period the law also provided for the deposit of two
copies of the work when published. Because the record of these
deposits was not consistently kept in the record books, the
information has been omitted from the entries in this catalog.
Beginning with July 1, 1909, provision was made for copyright
protection both of published and of unpublished works in some
classes, among which photographs and, later, motion pictures
were included. For published works, the date of the beginning of
the term of copyright was determined by the date of publication
supplied in the application; for unpublished works, by the
deposit of one copy in the Copyright Office. These facts are
indicated in the entries by the use of date alone for all published
works and by the addition of the abbreviation 1c immediately
preceding the date for all unpublished works.
4. Registration number. Prior to January 1, 1900, all works were
numbered in sequence as they were registered, and a new series
of numbers was established at the beginning of each calendar
year. In citing the number for any registration made during this
period, the year date must, therefore, be given. To achieve
brevity, however, the year date is not repeated in the entry in
connection with the registration number, because the number
immediately follows the full date in each entry. Beginning with
January 1, 1900, the material received in the Copyright Office
was divided for purposes of registration into classes designated
by letters of the alphabet. Three different series of classes were
used in chronological sequence during the next 12 years; in
consequence, the registration numbers of motion pictures
registered as photographs included in this catalog are preceded
by class designations as follows:
January 1–December 31, 1900 D
January 1, 1901–June 30, 1909 H
July 1, 1909–January 23, 1913 J
 Sample Entries:

THE AWKWARD MAN; or, OH! SO CLUMSY. © The Vitagraph

Co. of America; 19June1907; H95361.
CORBETT AND COURTNEY BEFORE THE KINETOGRAPH. ©
Wm. K. L. Dickson; 17Nov1894; 53707.
EDNA’S IMPRISONMENT, scenes 1–4. © Thomas A. Edison, Inc.
Scene 1. © 9May1911; J155327.
Scene 2. © 9May1911; J155328.
Scene 3. © 9May1911; J155329.
Scene 4. © 9May1911; J155330.
SOUVENIR STRIP OF THE EDISON KINETOSCOPE [Sandow,
the modern Hercules]. © W. K. L. Dickson; 18May1894; 10777.
OH! SO CLUMSY. SEE The Awkward Man.
WILLIAM J. BRYAN IN THE BIOGRAPH. © American Mutoscope
& Biograph Co.; 10Sept1900; D17977.
 Claimant Index
This index lists the names of the claimants of copyright in the motion
pictures included in the main section. Each name is given in the
fullest form on record in the Copyright Office with cross-references
from variant forms. The names are arranged alphabetically under the
distinctive part of each name. Under each name are listed the titles of
the motion pictures connected with the name, arranged, first,
chronologically by the year date, and, second, alphabetically by title.
Copyright Office – The Library of
Congress

MOTION PICTURES, 1894–1912

ERRATA AND ADDENDA

The following lists of corrections
and additions to Motion Pictures,
1894–1912 have been compiled by
the staff of the Copyright Office
from information gathered and
generously contributed by Miss
Elizabeth Franklin of the Academy
of Motion Picture Arts and
Sciences during the course of two
summers’ work on the paper print
collection of the Library of
Congress. The corrections cover
both typographical errors and
variances between information on
the paper prints and in the record
books of the office. Mr. Howard L.
Walls was limited to the record
books in making his original
selection. Most of the additions
consist of films not readily
identifiable as such from the
record book entries, since before
1912 motion pictures were
registered simply as photographs.
 ERRATA

Page

16 DISCOVERIES OF BODIES. For DISCOVERIES read

DISCOVERY.

23 GIRLS SWIMMING. For SWIMMING read SWINGING.

32 LAS VEGAS [i.e., LA VIGA] CANAL, MEXICO. For LAS

VEGAS read LAS VIGAS.

32 LAS VEGAS [i.e., LA VIGA] CANAL, MEXICO CITY. For

LAS VEGAS read LAS VIGAS.

34 LITTLE LILLIAN, TOE DANSEUSE. Omit TOE.

38 MINING OPERATIONS, PENNSYLVANIA FIELDS. For

PENNSYLVANIA FIELDS read PENNSYLVANIA COAL
FIELDS.

42 OLD GENTLEMAN SPRINKLES. For SPRINKLES read

SPINKLES.

45 PANORAMIC VIEW OF THE CHAMPS ELYSEES. ©

Thomas A. Edison; 29Aug1900; D18581. Registration
number should be D18582.

48 PRESIDENT MCKINLEY. Should be PRESIDENT

MCKINLEY LEAVING OBSERVATORY, MT. TOM,
HOLYOKE, MASS.
50 REILY’S LIGHT BATTERY F. For REILY’S read REILLY’S.

51 REVIEW OF CADETS, WEST POINT. © American

Mutoscope & Biograph Co.; 8July1903; H33283, H33387.
Second registration number should be H33287.

54 SCENE IN THE SWISS VILLAGE AT PARIS EXPOSITION.

© Thomas A. Edison; 29Aug1900; D18582. Registration
number should be D18581.

60 10TH U. S. INFANTRY, 2ND BATTALION LEAVING CARS.

For AND read 2ND.

64 AN UNEXPECTED FEMALE. Should be AN

UNPROTECTED FEMALE, NO. 2.
 ADDENDA
AN AFFAIR OF HEARTS. © Biograph Co.; 23May1910; J141593.
ATLANTIC CITY FLORAL PARADE. © Percival L. Waters;
22June1904; H47449.
THE AUTO-SOMNAMBULIST. © Winthrop Press; 18Apr1906;
H75818.
BEFORE THE BALL. © Winthrop Press; 18Apr1906; H75820.
BOLD BANK ROBBERY. © Lubin Mfg. Co.; 25July1904; H48436.
CASEY AND HIS NEIGHBOR’S GOAT. © Thomas A. Edison;
3Oct1903; H36501.
THE CHARIOT RACE. © Kalem Co.; 22Nov1907; H102798.
CHEST AND NECK DEVELOPMENT. © Winthrop Press;
18Apr1906; H75807.
CLOWN JUGGLER. © Winthrop Press; 6Sept1906; H82617.
THE COLONEL’S FRIEND. © Frank Graham; 12July1905;
H63157.
DAD’S A GENTLEMAN TOO. © Frank Graham; 12July1905;
H63156.
DEEP BREATHING AND CHEST EXPANSION. © Winthrop
Press; 18Apr1906; H75806.
DEVELOPING MUSCLES OF BACK AND CHEST. © Winthrop
Press; 18 Apr 1906; H75812.
DEVELOPING MUSCLES OF CHEST AND ABDOMEN. ©
Winthrop Press; 18Apr1906; H75808.
DIAL’S GIRLS’ BAND, LUNA PARK. © Eugene Dial; 25Oct1905;
H67888.
DREAM OF THE RACE TRACK FIEND. © American Mutoscope &
Biograph Co.; 6Oct1905; H67066.
EAST SIDE URCHINS BATHING IN A FOUNTAIN. © Thomas A.
Edison; 3Oct1903; H36495.
EPILEPTIC SEIZURE NO. 8. © Walter G. Chase; 13Jan1906;
H71845.
EVERYBODY WORKS BUT MOTHER. © Winthrop Press;
22May1906; H78024.
THE EXTRA TURN. © Thomas A. Edison; 3Oct1903; H36496.
A FAIR EXCHANGE. © Biograph Co.; 22Sept1909; J132094.
GAME OF CHESS. © Winthrop Press; 18Apr1906; H75815.
GOLD IS NOT ALL. © Biograph Co.; 1Apr1910; J139986.
GOOD NIGHT. © Winthrop Press; 18Apr1906; H75817.
GOODBYE JOHN. 70 mm. © Winthrop Moving Picture Co.;
24May1907; H94484.
THE GREAT TORONTO FIRE, TORONTO, CANADA, APRIL 19,
1904. © George Scott & Co.; 27May1904; H46445.
HAVE A LIGHT, SIR. © Winthrop Press; 22May1906; H78023.
HERE’S TO THE PRETTIEST. © Winthrop Press; 18Apr1906;
H75811.
HIS LAST BURGLARY. © Biograph Co.; 26Feb1910; J138678.
IRISH REEL. © Winthrop Press; 6Sept1906; H82614.
IT WAS COMING TO HIM. © Winthrop Press; 18Apr1906;
H75810.
KISSES SWEET. © Winthrop Press; 22May1906; H78021.
MARRIED FOR MILLIONS. © American Mutoscope & Biograph
Co.; 26Dec1906; H88152.
MR. BUTT-IN-SKY. © Winthrop Press; 18Apr1906; H75809.
NEW YEAR’S TOAST. © Winthrop Press; 22May1906; H78022.
NEW YORK CITY PUBLIC BATH. © Thomas A. Edison;
3Oct1903; H36497.
THE OATH AND THE MAN. © Biograph Co.; 26Sept1910;
J145784.
PARADE, FIFTIETH ANNIVERSARY ATLANTIC CITY, N. J. ©
Percival L. Waters; 22June1904; H47450.
PENNSYLVANIA MONUMENT AT FORT MAHONE NEAR
PETERSBURG, VA. © Columbia Photograph Co.; 18Dec1909;
J136000.
THE PHYSICAL CULTURE GIRL. © Thomas A. Edison;
3Oct1903; H36499.
POKER IN THE WEST. © Winthrop Press; 18Apr1906; H75814.
RECEPTION OF PRESIDENT TAFT IN PETERSBURG,
VIRGINIA, MAY 19TH, 1909. © Columbia Photograph Co.;
29July1909; J129814.
A ROMANCE OF THE RAIL. © Thomas A. Edison; 3Oct1903;
H36500.
SERIOUS SIXTEEN. © Biograph Co.; 23July1910; J143502.
SHE WAS GOOD TO HIM. © Winthrop Press; 18Apr1906;
H75805.
SUBSTITUTE FOR SMOKING. © Winthrop Press; 18Apr1906;
H75819.
TAKING HIS MEDICINE. © Winthrop Press; 18Apr1906; H75816.
THREE OF A KIND. © Winthrop Press; 6Sept1906; H82616.
THROUGH THE BREAKERS. © Biograph Co.; 8Dec1909;
J135642.
TRYING IT ON THE DOG. © Winthrop Press; 6Sept1906;
H82615.
THE TWO BROTHERS. © Biograph Co.; 14May1910; J141292.
TWO CHAPPIES IN A BOX. © Thomas A. Edison; 3Oct1903;
H36498.
TWO LITTLE WAIFS. © Biograph Co.; 3Nov1910; J147286.
THE TWO PATHS. © Biograph Co.; 4Jan1911; J150122.
UNEXPECTED HELP. © Biograph Co.; 30July1910; J143826.
WHITE STAR S. S. BALTIC LEAVING PIER ON FIRST EASTERN
VOYAGE. © Thomas A. Edison; 16July1904; H48202.
WILLIE’S FIRST SMOKE. © Thomas A. Edison; 4Feb1899; 10649.
YOU WON’T CUT ANY ICE WITH ME. © Winthrop Press;
18Apr1906; H75813.
 Motion Pictures
1894–1912
An alphabetical list, under title, of
copyrighted works identified by
Howard L. Walls as motion
pictures that were registered
during the period 1894–1912. For
full information relating to the
contents of the entries see How
To Use This Catalog, p. X.
 A
A B C’S OF THE U. S. A. © Lubin Mfg. Co.; 16Feb1909; H122975.
THE “ABBOT” & “CRESCEUS” RACE. © Thomas A. Edison;
21Aug1901; H7988.
THE ABDUCTORS. © American Mutoscope & Biograph Co.;
24July1905; H63799.
ABE GETS EVEN WITH FATHER. © Biograph Co.; 1c 5Dec1911;
J163419.
AN ABSENT-MINDED CUPID, scenes 1–3. © Edison Mfg. Co.;
9July1909; J129735–37.
ACADEMY OF MUSIC FIRE. © American Mutoscope & Biograph
Co.; 7Dec1903; H39143.
AN ACADIAN ELOPEMENT. © American Mutoscope & Biograph
Co.; 16Sept1907; H99704.
ACCIDENTS WILL HAPPEN. © American Mutoscope & Biograph
Co.; 7Feb1903; H27981.
ACCIDENTS WILL HAPPEN, scenes 1–2. © Edison Mfg. Co.;
13May1910; H141613–14.
THE ACCOMODATING COW. © American Mutoscope & Biograph
Co.; 11Nov1902; H23777.
THE ACROBATIC BURGLARS. © The Vitagraph Co. of America;
19July1906; H80934.
ACROBATIC MONKEY. © Thomas A. Edison; 15Mar1898; 17709.
ACROBATIC PILLS. © S. Lubin; 25Mar1908; H107906.
ACROSS THE SUBWAY VIADUCT, NEW YORK. © American
Mutoscope & Biograph Co.; 8Feb1905; H56521.
AN ACT OF UNSELFISHNESS. SEE Liberty for an Hour.
THE ACTOR ANNOYS THE BOARDERS. © S. Lubin; 24July1907;
H97080.
THE ADJUSTABLE BED. © American Mutoscope & Biograph Co.;
19May1905; H61112.
ADMIRAL CIGARETTE. © Thos. A. Edison; 5Aug1897; 44332.
ADMIRAL DEWEY AT STATE HOUSE, BOSTON. © Thomas A.
Edison; 25Oct1899; 69558.
ADMIRAL DEWEY LANDING AT GIBRALTAR [Spanish-
American War]. © Thomas A. Edison; 27Sept1899; 62823.
ADMIRAL DEWEY LEADING LAND PARADE [Spanish-American
War; Dewey Homecoming, New York City]. © Thomas A.
Edison; 5Oct1899; 64681.
ADMIRAL DEWEY LEADING LAND PARADE, no. 2. [Spanish-
American War; Dewey Homecoming, New York City]. © Thomas
A. Edison; 7Oct1899; 65369.
ADMIRAL DEWEY PASSING CATHOLIC CLUB STAND [Spanish-
American War; Dewey Homecoming, New York City]. © Thomas
A. Edison; 5Oct1899; 64680.
ADMIRAL DEWEY RECEIVING THE WASHINGTON AND NEW
YORK COMMITTEES [Spanish-American War; Dewey
Homecoming, New York City]. © Thomas A. Edison; 2Oct1899;
63830.
ADMIRAL DEWEY TAKING LEAVE OF WASHINGTON
COMMITTEE ON THE U. S. CRUISER “OLYMPIA” [Spanish-
American War; Dewey Homecoming, New York City]. © Thomas
A. Edison; 2Oct1899; 63831.
ADMIRAL SAMPSON ON BOARD THE FLAGSHIP [Spanish-
American War; New York City Welcome to Admiral Sampson’s
Fleet after Battle of Santiago Bay]. © Thomas A. Edison;
3Sept1898; 52057.
THE ADOPTION, scenes 1–4. © Edison Mfg. Co.; 11Nov1910;
J148065–68.
ADRIFT. © Universal Film Mfg. Co.; 1Aug1912; J171841.
Welcome to our website – the perfect destination for book lovers and
knowledge seekers. We believe that every book holds a new world,
offering opportunities for learning, discovery, and personal growth.
That’s why we are dedicated to bringing you a diverse collection of
books, ranging from classic literature and specialized publications to
self-development guides and children's books.

More than just a book-buying platform, we strive to be a bridge

connecting you with timeless cultural and intellectual values. With an
elegant, user-friendly interface and a smart search system, you can
quickly find the books that best suit your interests. Additionally,
our special promotions and home delivery services help you save time
and fully enjoy the joy of reading.

Join us on a journey of knowledge exploration, passion nurturing, and

personal growth every day!

ebookbell.com