Flying Cars COLOR IMAGE

Flying Cars FREE COLOR IMAGE: Title: Le Sortie de l'opéra en l'an 2000 / A. Robida. Creator(s): Robida, Albert, 1848-1926, artist. Date Created / Published: 1882? Medium: 1 print : lithograph, hand-colored.

Summary: Print shows a futuristic view of air travel over Paris as people leave the Opera. Many types of aircraft are depicted including buses and limousenes, police patrol the skies, and women are seen driving their own aircraft.

Reproduction Number: LC-DIG-ppmsca-13553 (digital file from original item)

Rights Advisory: No known restrictions on publication.

This image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF. Works published before 1923, in this case 1882 ca., are now in the public domain.

This image is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris), in this case Albert Robida (1848, Compiègne, Oise – 1926), and that most commonly runs for a period of 50 to 70 years from the last day of that year. +sookie tex

Call Number: Unprocessed in PR 13 CN 1964:R1 [item] [P&P] Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA.

Notes: Title from item. Accession box no. 46. Subjects: Aircraft--France--Paris--1880-1890. Science fiction--1880-1890. Format: Conjectural works--1880-1890. Humorous pictures--1880-1890. Lithographs--Hand-colored--1880-1890. Collections: Miscellaneous Items in High Demand.

Ullr Uprising, by Henry Beam Piper PAUL ORBAN IMAGE

Ullr Uprising, by Henry Beam Piper FREE PAUL ORBAN IMAGE: The big armor-tender vibrated, gently and not unpleasantly, as the contragravity field alternated on and off. Sometimes it rocked slightly, like a boat on the water, and, in the big screen which served in lieu of a window at the front of the control-cabin, the dingy-yellow landscape would seem to tilt a little. The air was faintly yellow, the sky was yellow with a greenish cast, and the clouds were green-gray.

No human had ever set foot on the surface, or breathed the air, of Niflheim. To have done so would have been instant death; the air was a mixture of free fluorine and fluoride gasses, the soil was metallic fluorides, damp with acid rains, and the river was pure hydrofluoric acid. Even the ordinary spacesuit would have been no protection; the glass and rubber and plastic would have disintegrated in a matter of minutes. People came to Niflheim, and worked the mines and uranium refineries and chemical plants, but they did so inside power-driven and contragravity-lifted armor, and they lived on artificial satellites two thousand miles off-planet. Niflheim was worse than airless; much worse.

The chief engineer sat at his controls, making the minor lateral adjustments in the vehicle's position which were not possible to the automatic controls. At his own panel of instruments, a small man with grizzled black hair around a bald crown, and a grizzled beard, chewed nervously at the stump of a dead cigar and listened intently. A large, plump-faced, young man in soiled khaki shirt and shorts, with extremely hairy legs, was doodling on his notepad and eating candy out of a bag. And a black-haired girl in a suit of coveralls three sizes too big for her, and, apparently, not much of anything else, lounged with one knee hooked over her chair-arm, staring into the screen at the distant horizon.

"I can see them," the girl said, lifting a hand in front of her. "At two o'clock, about one of my hand's-breaths above the horizon. But only four of them."

The man with the grizzled beard put his face into the fur around the eyepiece of the telescopic-'visor and twisted a dial. "You have good eyes, Miss Quinton," he complimented. "The fifth's inside the handling machine. One of the Ullrans. Gorkrink."

Ullr Uprising, by Henry Beam Piper (March 23, 1904 – c. November 6, 1964) This etext was produced from Space Science Fiction, February and March, 1953. Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.

This work is in the public domain because it was published in the United States between 1923 and 1963 and although there may or may not have been a copyright notice, the copyright was not renewed. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office.

This image may however not be in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris), in this case PAUL ORBAN (1896-1974), and that most commonly runs for a period of 50 to 70 years from December 31 of that year. This image may not be in the public domain in these countries, which moreover do not implement the rule of the shorter term to US works, If your use will be outside the United States please check your local law.

TEXT and IMAGE CREDIT: Space Science Fiction, February and March, 1953. Ullr Uprising, by Henry Beam Piper PAUL ORBAN. +sookie tex

The Supreme Court of the United States PHOTO

The Supreme Court of the United States FREE PHOTO - The United States Supreme Court in 2010. Top row (left to right): Associate Justice Sonia Sotomayor, Associate Justice Stephen G. Breyer, Associate Justice Samuel A. Alito, and Associate Justice Elena Kagan. Bottom row (left to right): Associate Justice Clarence Thomas, Associate Justice Antonin Scalia, Chief Justice John G. Roberts, Associate Justice Anthony Kennedy, and Associate Justice Ruth Bader Ginsburg.

The Supreme Court consists of the Chief Justice of the United States and such number of Associate Justices as may be fixed by Congress. The number of Associate Justices is currently fixed at eight (28 U. S. C. §1). Power to nominate the Justices is vested in the President of the United States, and appointments are made with the advice and consent of the Senate. Article III, §1, of the Constitution further provides that "[t]he Judges, both of the supreme and inferior Courts, shall hold their Offices during good Behaviour, and shall, at stated Times, receive for their Services, a Compensation, which shall not be diminished during their Continuance in Office."

Constitutional Origin. Article III, §1, of the Constitution provides that "[t]he judicial Power of the United States, shall be vested in one supreme Court, and in such inferior Courts as the Congress may from time to time ordain and establish." The Supreme Court of the United States was created in accordance with this provision and by authority of the Judiciary Act of September 24, 1789 (1 Stat. 73). It was organized on February 2, 1790.

Jurisdiction. According to the Constitution (Art. III, §2): "The judicial Power shall extend to all Cases, in Law and Equity, arising under this Constitution, the Laws of the United States, and Treaties made, or which shall be made, under their Authority;-to all Cases affecting Ambassadors, other public Ministers and Consuls;-to all Cases of admiralty and maritime Jurisdiction;-to Controversies to which the United States shall be a Party;-to Controversies between two or more States;—between a State and Citizens of another State;-between Citizens of different States;—between Citizens of the same State claiming Lands under Grants of different States, and between a State, or the Citizens thereof, and foreign States, Citizens or Subjects.

"In all Cases affecting Ambassadors, other public ministers and Consuls, and those in which a State shall be Party, the supreme Court shall have original Jurisdiction. In all the other Cases before mentioned, the supreme Court shall have appellate jurisdiction, both as to Law and Fact, with such Exceptions, and under such Regulations as the Congress shall make."

Appellate jurisdiction has been conferred upon the Supreme Court by various statutes, under the authority given Congress by the Constitution. The basic statute effective at this time in conferring and controlling jurisdiction of the Supreme Court may be found in 28 U. S. C. §1251 et seq., and various special statutes.

This work is in the public domain in the United States because it is a work of the United States Federal Government under the terms of Title 17, Chapter 1, Section 105 of the US Code.

This file is a work of a United States Federal Government employee, taken or made during the course of the person's official duties. As a work of the U.S. federal government, the file is in the public domain.

Generally speaking, works created by U.S. Government employees are not eligible for copyright protection in the United States. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. +sookie tex

By Steve Petteway, Collection of the Supreme Court of the United States (Roberts Court (2010-) - The Oyez Project) [Public domain], via Wikimedia Commons.

TEXT CREDIT: A Brief Overview of the Supreme Court

Bathyscaphe Trieste Marianas Trench Challenger Deep PHOTOS

Bathyscaphe Trieste Marianas Trench Challenger Deep FREE PHOTOS - In October 1959, after being fitted with a stronger pressure sphere, Trieste was transported to the mid-Pacific to participate in Project "Nekton", in which she conducted a series of very deep dives in the Marianas Trench. On 23 January 1960, she reached a record depth of 35,800 feet in the Challenger Deep, off Guam, the deepest point in any of the World's oceans.

Photo 1 #: NH 96799 U.S. Navy Bathyscaphe Trieste (1958-1963)

Is hoisted from the water by a floating crane, during testing by the Naval Electronics Laboratory in the San Diego, California, area. Trieste was being prepared for transportation to the Marianas Islands for a three-month series of deep-submergence operations. On 2 October 1959, she was loaded on the frieghter Santa Maria for the trip to the mid-Pacific.

U.S. NHHC Photograph.

Photo 2 #: NH 96797 U.S. Navy Bathyscaphe Trieste (1958-1963)

Just before her record dive to the bottom of the Marianas Trench, 23 January 1960. The dive, to a depth of 35,800 feet in the Challenger Deep, off Guam, was made with Lieutenant Don Walsh, USN, and Swiss scientist Jacques Piccard on board. Waves were about five to six feet high when the two men boarded Trieste from the rubber raft seen at left.
USS Lewis (DE-535) is steaming by in the background.

U.S. NHHC Photograph.

Photo 3 #: NH 96807 U.S. Navy Bathyscaphe Trieste (1958-1963)

General arrangement drawing, showing the bathyscaphe's main features. Drawing was released in connection with Trieste's record dive to 35,800 feet in the Challenger Deep, off Guam, on 23 January 1960.

U.S. NHHC Photograph.

Notice: Privacy Policy

1. This is a World Wide Web site for official information about the Naval History and Heritage Command (NHHC) and naval history. It is provided as a public service by the NHHC. The purpose is to provide information and news about the Naval History and Heritage Command and naval history to the general public.

2. All information on this site is in the public domain and may be distributed or copied unless otherwise specified. Use of appropriate byline/photo/image credits is requested.

This file is a work of a United States Department of Defence employee, taken or made during the course of the person's official duties. As a work of the U.S. federal government, the file is in the public domain.

Generally speaking, works created by U.S. Government employees are not eligible for copyright protection in the United States. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. +sookie tex

TEXT and IMAGE CREDIT: Naval History and Heritage Command

Metropolis (film 1927) IMAGES

Metropolis (film 1927) FREE IMAGES. Title: [Metropolis] / Klebrand. Date Created/Published: [Germany : s.n., 1926] Medium: 1 print (poster) : lithograph, color ; 143 x 94 cm.

Summary: Poster for Fritz Lang's film "Metropolis" shows the character Maria in Rotwang's transformation machine. Reproduction Number: LC-USZC4-13519 (color film copy transparency, top) LC-USZC4-13520 (color film copy transparency, bottom)

Rights Advisory: No known restrictions on publication.

Call Number: POS - Ger .K3, no. 1 (F size) [P&P] Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. Notes: Title devised by Library staff. Exchange ; Metropolitan Museum of Art.

Subjects: Science fiction--1920-1930. Format: Lithographs--Color--1920-1930. Motion picture posters--German--1920-1930. Collections: Posters: Artist Posters.

Directed by: Fritz Lang. Produced by: Erich Pommer. Written by: Thea von Harbou, Fritz Lang (uncredited). Starring: Alfred Abel,
Brigitte Helm, Gustav Fröhlich, Rudolf Klein-Rogge. Music by: Gottfried Huppertz (original version). Cinematography: Karl Freund, Günther Rittau, Walter Ruttmann. Distributed by: UFA. Release date(s): 10 January 1927. Running time: 153 minutes/24 frame/s. Country: Weimar Republic. Language: Silent film, German intertitles.
Budget: 5,100,000 Reichsmark (est.). +sookie tex

Unedited Images: JPEG (54kb) || JPEG (156kb) || TIFF (60.6mb)



Unedited Images: JPEG (51kb) || JPEG (149kb) || TIFF (60.0mb)

TEXT RESOURCE: Metropolis (film) From Wikipedia

Patrick Henry IMAGE

March 23, 1775 Patrick Henry delivers his speech – "Give me Liberty, or give me Death!" – at St. John's Church in Richmond, Virginia. Patrick Henry FREE IMAGE

Patrick Henry, by George Bagby Matthews (1857 - 1943) Thomas Sully (1783-1872) Oil on canvas, 1891 ca. Sight measurement Height: 29.5 inches (74.9 cm) Width: 24.63 inches (62.5 cm) Signature (lower left corner): G MAtthews Cat. no. 31.00011.000.

The earliest portraits of Patrick Henry appear to have been painted by the Sullys–-Lawrence and his younger brother Thomas. Lawrence Sully’s 1795 miniature of Henry, thought to be a life study, passed down in the Henry family and is now owned by the Mead Art Museum of Amherst College in Massachusetts. In 1851 Thomas Sully painted a half-length portrait of Henry now owned by the Virginia Historical Society in Richmond; the Senate’s portrait by George Matthews is a copy of the Thomas Sully painting.

The documentary history regarding the Senate’s acquisition of the Henry portrait is incomplete. It likely was purchased by the Senate while Matthews was employed at the Capitol–-intermittently over a 50-year period–-as a painter and restorer of art. Yet, the earliest reference to the portrait does not appear until an 1891 letter from Architect of the Capitol Edward Clark to Librarian of Congress Ainsworth R. Spofford, which lists artwork owned by Congress. A 1926 anecdotal account adds Washington Post illustrator Barney Hughes to the circumstances surrounding the painting’s creation. Matthews and Hughes apparently shared a studio; Hughes was reported to have “touched up” the Matthews portrait of Henry, making it more acceptable to a disinclined acquisition committee.

Born in 1857 in Tappahannock, Virginia, Matthews studied in Paris in the early 1880s. In his American work, he concentrated on Southern historical figures. His portrait of John Paul Jones was acquired for the Capitol in 1890. +sookie tex

This image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF. Works published before 1923, in this case 1891 ca., are now in the public domain.

TEXT CREDIT: U.S. Senate

The Girl in the moon PHOTO

The Girl in the moon FREE PHOTO. Title: The Girl in the moon. Date Created / Published: c1923. Medium: 1 photographic print : stereograph, unmounted. Summary: Scantily clad woman on crescent shape of moon; seated, facing left, with left arm raised. Reproduction Number: LC-USZ62-95644 (b&w film copy neg.)

Rights Advisory: No known restrictions on publication. No renewal in Copyright office.

The Library of Congress generally does not own rights to material in its collections and, therefore, cannot grant or deny permission to publish or otherwise distribute the material. For further rights information, see "Rights Information" below and the Rights and Restrictions Information page (www.loc.gov/rr/print/res/rights)

Rights Advisory: No known restrictions on publication. No renewal in Copyright office. Reproduction Number: LC-USZ62-95644 (b&w film copy neg.) Call Number: LOT 11542-1 [P&P] Medium: 1 photographic print : stereograph, unmounted.

Call Number: LOT 11542-1 [P&P] Notes: Copyright by Exhibit Supply Co. No copyright renewals. No. 5. Subjects: Women--1920-1930. Format: Glamour photographs--1920-1930. Photographic prints--1920-1930. Stereographs--1920-1930. Collections: Stereograph Cards.

Please use the digital image in preference to requesting the original. All images can be viewed at a large size when you are in any reading room at the Library of Congress. In some cases, only thumbnail (small) images are available when you are outside the Library of Congress because the item is rights restricted or has not been evaluated for rights restrictions.

As a preservation measure, we generally do not serve an original item when a digital image is available. If you have a compelling reason to see the original, consult with a reference librarian. (Sometimes, the original is simply too fragile to serve. For example, glass and film photographic negatives are particularly subject to damage. They are also easier to see online where they are presented as positive images.)

The first Stanley Cup champions 1893 PHOTO

The first Stanley Cup champions, 1893 FREE PHOTO, Back in 1893, the Montreal Amateur Athletic Association (MAAA) won the very first Stanley Cup championship.

The first Stanley Cup champions, 1893. Source: Kings of the Ice: A History of World Hockey. authors, Andrew Podnieks... [et al.] ; editors, Sheila Wawanash... [et al.]. -- Richmond Hill (Ont.) : NDE Pub., 2002. -- 1023 p. : ill. (some col.), portr. ; 28 cm + 1 dis. -- ISBN 1553210999 (rel.). -- P. 19

Library and Archives Canada: © Public Domain. Credit: Hockey Hall of Fame. nlc-10085

This Canadian work is in the public domain in Canada because its copyright has expired due to one of the following:

1. it was subject to Crown copyright and was first published more than 50 years ago, or it was not subject to Crown copyright, and
2. it is a photograph that was created prior to January 1, 1949, or
3. the creator died more than 50 years ago.

This image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF. Works published before 1923, in this case 1893, are now in the public domain. +sookie tex

Prayer Meeting in Uncle Tom's Cabin Image

Prayer Meeting in Uncle Tom's Cabin FREE Image: March 20, 1852: Uncle Tom's Cabin is published.

The room was soon filled with a motley assemblage, from the old grayheaded patriarch of eighty, to the young'girl and lad of fifteen. A little harmless gossip ensued on various themes, such as where old Aunt Sally got her new red headkerchief, and how "missis was a going to give Lizzy that spotted muslin gown, when she'd got her new berage made up;" and how Mas'r Shelby was thinking of buying a new sorrel colt, that was going to prove an addition to the glories of the place. A few of the worshippers belonged to families hard by, who had got permission to attend, and who brought in various choice scraps of information, about the sayings and doings at the house and on the place, which circulated as freely as the same sort of small change docs in higher circles.

After awhile the singing commenced, to the evident delight of all present. Not even all the disadvantage of nasal intonation could prevent the effect of the naturally fine voices, in airs at once wild and spirited. The words were sometimes the well-known and common hymns sung in the churches about, and sometimes of a wilder, more indefinite character, picked up at camp-meetings.

The chorus of one of them, which ran as follows, was sung with great energy and unction:—

"Die on the field of battle,
Die on the field of battle,
G lory hi my tool."

Another special favourite had oft repeated the words—

"Oh, I'm going to glory — won't you come along with me?
Don't you we the angels beck'ning, and a calling me away f
Don't you see the golden city and the everlasting day f

There were others, which made incessant mention of" Jordan's banks," and " Canaan's fields," and the "New Jerusalem;" for the negro mind, impassioned and imaginative, always attaches itself to hymns and expressions of a vivid and pictorial nature; and, as they sung, some laughed, and some cried, and some clapped hands, or shook hands rejoicingly with each other, as if they had fairly gained the other side of the river.

Various exhortations, or relations of experience, followed, and intermingled with the singing. One old grey-headed woman, long past work, but much revered as a sort of chronicle of the past, rose, and leaning on her staff, said: 4

'"Well, children! Well, I'm mighty glad to hear ye all and see ye all once more, 'cause I don't know when I'll be gone to glory; but I've done got ready, children ; 'pears like I'd got my little bundle all tied up, and my bonnet on, jest a waitin' for the stage to come along and take me.

This image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF. Works published before 1923, in this case 1852, are now in the public domain.

This image is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris), in this case Charles Howland Hammatt Billings (1818–1874), and that most commonly runs for a period of 50 to 70 years from the last day of that year. +sookie tex

TEXT and IMAGE CREDIT: Uncle Tom's cabin. Author: Harriet Beecher Stowe. Contributor: Harriet Beecher Stowe. Edition: braille, unabridged. Publisher: Dent, 1852. Original from the University of California. Digitized: Oct 17, 2008. Length: 442 pages. Subjects: Social Science › Slavery, Abolitionists, African Americans, African Americans--Fiction, Afro-Americans.

Henry Wells and William Fargo Images

Henry Wells and William Fargo FREE Images: March 18, 1850 – American Express is founded by Henry Wells (December 12, 1805 – December 10, 1878) and William Fargo (May 20, 1818 – August 3, 1881),.

Early in 1850, negotiations were entered into by Wells & Co., Livingston and Fargo, and Butterfield, Wasson & Co., for the consolidation of the three into one grand line. The result was, that the property and good will of Wells and Co. were put in at a valuation of $50,000, and those of Livingston and Fargo, at $50,000; Butterfield, Wasson and Co. put in theirs at $25,000, and made up the difference in cash.

Two firms were then made of the three, viz.: "Wells, Butterfield and Co.," and "Livingston, Fargo and Co.," but comprised in a joint-stock concern, under the style of "The American Express Company." It was stipulated that this arrangement should last ten years. Henry Wells, then absent in Europe, was elected president of the new company, Wm. G. Fargo, of Buffalo, secretary; John Butterfield, of Utica, line superintendent; and Alexander Holland, of Schenectady, treasurer.

The latter (a son-in-law of John Butterfield) was appointed New York agent, and the duties of this important, responsible, and laborious office, as well as those of the treasuryship, he has discharged for several years past with excellent judgment and the most exemplary fidelity. It would be hard to find a more unselfish, true and manly person than Alexander Holland. T. B. Marsh was a very useful man in the Buffalo office.

James C. Fargo was agent at Chicago, and general superintendent of the northwestern division. The Fargos are pre-eminently an Express family. Charles Fargo, the very popular agent and assistant superintendent at Detroit, in 1860, was the proprietor of the Lake Superior Express. Chas. S. Higgins, for some years general superintendent of the southwestern division, distinguished himself as an Express manager.

Henry Wells

First President of American Express

Other prominent and invaluable agents were W. B. Peck, at Buffalo; Dr. Arnett, at Suspension Bridge, A. Seymour, at Geneva; Major Doty, at Auburn; L. B. Van Dake, at Kochester, and Benedict, at Troy, N. Y.

In 1852, Henry Wells, Wm. G. Fargo and others, projected Wells, Fargo and Co.'s California Express, of which we shall speak more fully by and by. In that or the following year, Wells, Butterfield & Co. removed the New York office of the American Express to the spacious and convenient store No. 62 Broadway, where they remained until the completion of their edifice in Hudson street.

In the meantime, the bank exchanges performed by the company between St. Louis, Cincinnati, Chicago, Detroit, Buffalo, Albany, New York, and intermediate points, had become in itself an immense business. The parcel and freight Express, also, had increased a hundred fold within ten years.

William Fargo

This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1923 are copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923 (in this case 1858) are now in the public domain.

TEXT and IMAGE CREDIT: History of the express companies: and the origin of American railroads, Together with some reminiscences of the latter days of the mail coach and baggage wagon business in the United States, Author: Alexander Lovett Stimson. Edition: 2. Publisher: A. L. Stimson, 1858, Length: 287 pages. Subjects: Express service Railroads. +sookie tex

On Saint Patrick's Day an Irishman's idea of the World High Resolution Color Image

+sookie tex. On Saint Patrick's Day an Irishman's idea of the World. Public Domain ClipArt Stock Photos and Images.  FREE High Resolution Color Image: Title: On the seventeenth -- the Irishman's idea of Atlas / K. Creator(s): Keppler, Udo J., 1872-1956, artist.

Date Created/Published: N.Y. : Published by Keppler & Schwarzmann, Puck Building, 1911 March 15. Medium: 1 photomechanical print : offset, color.

Summary: Illustration shows an old Irish man as Atlas holding aloft a globe that shows "Ireland" as comprising an entire hemisphere, in his other hand he holds a shillelagh. Shamrocks line the sides and bottom of the design and the title "Puck" is composed of Celtic knots.

Reproduction Number: LC-DIG-ppmsca-27718 (digital file from original print)

Rights Advisory: No known restrictions on publication.

This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1923 are copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923 (in this case March 15. 1911) are now in the public domain.

Unedited Image JPEG (59kb) || JPEG (168kb) || TIFF (76.0mb)

This image may however not be in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris), in this case Udo J. Keppler, 1872-1956, and that most commonly runs for a period of 50 to 70 years from December 31 of that year. This image may not be in the public domain in these countries, which moreover do not implement the rule of the shorter term to US works, If your use will be outside the United States please check your local law.

Call Number: Illus. in AP101.P7 1911 (Case X) [P&P] Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA http://hdl.loc.gov/loc.pnp/pp.print.

Notes: Title from item. Illus. in: Puck, v. 69, no. 1776 (1911 March 15), cover. Copyright 1911 by Keppler & Schwarzmann. Subjects: Atlas (Greek deity)--1910-1920. Irish--1910-1920. Saint Patrick's Day--1910-1920. Older people--1910-1920. Globes--1910-1920. Shamrocks--1910-1920. Ireland--1910-1920. +sookie tex

Dr. Robert H. Goddard with his 1926 rocket

Robert H. Goddard First liquid fueled rocket launched Mar 16, 1926

Goddard registered more than 200 patents related to rockets. His most important experimental breakthrough came in 1926, when he built and tested the first successful liquid-fueled rocket. On March 16, in a field near Worcester, Massachusetts, his rocket flew for just 2.5 seconds and rose to a height of only 41 feet, but it proved that liquid-fueled rockets worked. Eventually he needed a larger area to safely launch rockets, and Goddard moved his research to Roswell, N.M., in 1930.

There, Goddard and a small team of assistants built rockets which used high-speed pumps to deliver fuel to rocket engines, another fundamental idea still in use today. His most significant effort in New Mexico came in 1941, when one of his rockets rose to a height of 9,000 feet. After the U.S. entered WWII, Goddard tried to convince the military of the potential value of rockets, but the government saw no usefulness to the war effort in his research. Disappointed, Goddard instead went to the U.S. Navy to work on jet-assisted takeoff rockets for aircraft, and to develop a "throttleable" rocket engine.

Goddard's ideas established several fundamentals of modern rocketry and space flight. Along with his mathematical calculations establishing the idea of "escape velocity" (the speed required to break away from earth's gravitational pull), Goddard proved that rockets would provide thrust in a vacuum, that is, they would work outside of the earth's atmosphere.

In addition to building and launching the first liquid-fueled rocket, Goddard also was the first to put scientific instruments on a rocket. Among his other inventions was the concept of using gyroscopes to stabilize rockets, and steering rockets by using moveable vanes to deflect exhaust gas. Goddard also pioneered "film cooling" using a rocket's liquid fuel to cool the engine and keep it from melting. This key technical feature can be seen in the German V-2 and many other modern rocket engines, some developed in the U.S. after WW II in part by the same German engineers who were influenced by Goddard's pre-war work.

Dr. Goddard with his 1926 rocket, the first liquid-fueled rocket. (U.S. Air Force photo)

Goddard was not credited for his pioneering work until after his death in 1945 at age 62. In 1959 Congress recognized him with a gold medal, and only then was he rightly honored as the "father of space flight." That same year, the National Aeronautics and Space Administration (NASA), named the Goddard Space Flight Center, Md., in his honor. In 1960 the government awarded his estate $1 million for the use of his many rocket patents.

Finally, the New York Times -- having famously ridiculed Goddard's intellect in 1920 -- admitted it was wrong after Apollo 11 lifted off on its way to the moon in 1969.

www.nationalmuseum.af.mil is provided as a public service by the National Museum of the United States Air Force, Public Affairs.

Information presented on www.nationalmuseum.af.mil is considered public information and may be distributed or copied. Use of appropriate byline / photo / image credits is requested.

This file is a work of a United States Department of Defence employee, taken or made during the course of the person's official duties. As a work of the U.S. federal government, the file is in the public domain.

Generally speaking, works created by U.S. Government employees are not eligible for copyright protection in the United States. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. +sookie tex

TEXT CREDIT: National Museum of the USAF

United States slave trade, 1830 IMAGE

United States slave trade, 1830 FREE IMAGE Title: United States slave trade, 1830. Date Created / Published: [Philadelphia? : s.n.], 1830. Medium: 1 print : engraving on wove paper ; 10 x 17 cm. (plate)

Summary: An abolitionist print possibly engraved in 1830, but undocumented aside from the letterpress text which appears on an accompanying sheet. The text reads: "United States' slave trade, 1830. The Copper Plate from which the above picture has just been engraved, was found many years ago by workmen engaged in removing the ruins of Anti-Slavery Hall, in Philadelphia, which was burned by a mob in 1838.

No previous impression of the Plate is known to its present owner. A scene in the inter-State Slave trade is represented." The writer goes on to describe the scene as a group of slaves in chains, with a mother "fastened to her children," being sold by a trader on horseback to another. "Both dealers have whips in their hands. A ship and a boat, each loaded with slaves, are seen on the left. In the background, slaves are working in gangs, and one man is being flogged. The United States Capitol, surmounted by its flag, overlooks the scene in the distance. The engraving....is an interesting contribution to American History. Price 20 cents."

Reproduction Number: LC-USZ62-89701 (b&w film copy neg.)

Rights Advisory: No known restrictions on publication.

Call Number: PC/US - 1830.A000, no. 1 (A size) [P&P] Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA http://hdl.loc.gov/loc.pnp/pp.print

Notes: The author suggests that this impression was printed some years after 1838. The author's use of "engraved" is evidently being a misnomer for "printed," since he mentions later in the same text the absence of earlier impression.

Title appears as it is written on the item. Forms part of: American cartoon print filing series (Library of Congress) Published in: American political prints, 1766-1876 / Bernard F. Reilly. Boston : G.K. Hall, 1991, entry 1830-1.

Subjects: United States Capitol (Washington, D.C.)--1830. Slavery--1830. Philadelphia (Pa.)--1830. Washington (D.C.)--1830. Format: Engravings--1830. Political cartoons--1830. Collections: Cartoon Prints, American +sookie tex

Sir William Herschel IMAGE

Sir William Herschel IMAGE - Herschel is one of the names that everybody knows. The father, Sir William Herschel, discovered a new planet—the planet Uranus—in 1781, and from that time until his death, in 1822, he was the most famous astronomer of the world. His son, Sir John, was a famous astronomer too. Their two lives covered more than a century, and their active work extended over ninety years.

The father of Sir William was the master of the band in the Royal regiment of guards in Hanover, and the son, William, was brought up to be a musician. When he was fourteen years old he was taken into the band to play the oboe. England, you know, was then and is now governed by Hanoverian sovereigns (George I was the first one), and the regiment of guards was sent into England in 1755 when Herschel was seventeen years old. We know very little about his eirly life except that he was interested in study, and spent a part of his very scanty pay to buy a copy of a famous book—Locke on the Human Understanding—which you will read when you are in college, no doubt. This is a little thing to know, but it shows that Herschel was studious from the very beginning. In 1756 he left the band of the guards and went to England to make his living by music. Recollect that he was absolutely without friends.

In a few years he became celebrated as a musician. In 1766 he was organist at a church in Bath and the leader of concerts where great works were given— Handel's Messiah, for example. In ten years he had made a place for himself and a good income. He was busy for fourteen hours out of the twenty-four, successful, respected; and those who met him every day probably thought that here was a man settled for life. But it was not so.

Every moment that he could spare was given to study. What other men get in college and at leisure he made up at the end of a long day's work. Mathematics, optics, astronomy, he studied in the best books he could find. He learned to read Latin, Italian, French, and so forth. German was his mother-tongue, and of course he knew English.

This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923 in this case 1881, are now in the public domain.

IMAGE CREDIT: Sir William Herschel, his life and works Author: Edward Singleton Holden. Publisher: Allen, 1881. Original from: Oxford University. Digitized: Jul 4, 2006.

TEXT CREDIT: Stories of the great astronomers: conversations with a child. Appleton's home reading books: Natural history. Author: Edward Singleton Holden. Publisher: D. Appleton and company, 1901. Original from: Harvard University. Digitized: Apr 24, 2008. Length: 265 pages. Subjects: Astronomers, Astronomy. +sookie tex

Adam Smith Image The Author of The Wealth of nations

Adam Smith Image, Title: The Author of The Wealth of nations / Kay, fecit. Creator(s): Kay, John, 1742-1826, engraver. Date Created/Published: [Edinburgh] : John Kay, 1790. Medium: 1 print : engraving. Summary: Full-length standing profile portrait of Adam Smith pointing at book on small table. Reproduction Number: LC-USZ62-101759 (b&w film copy neg.)

Rights Advisory: No known restrictions on publication.

This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923 in this case 1790, are now in the public domain.

This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris in this case John Kay, 1742-1826 and that most commonly runs for a period of 50 to 70 years from December 31 of that year. +sookie tex

Call Number: PC 3 - 1790 - Author of The Wealth of nations [P&P] Notes: Forms part of : British Cartoon Prints Collection (Library of Congress) Subjects: Smith, Adam,--1723-1790.

Format: Engravings--British--1790. Portrait prints--British--1790. Collections: Cartoon Prints, British.

JPEG (67kb) || JPEG (196kb) || TIFF (12.8mb)

Adam Smith, the celebrated author of ' an Inquiry into the Nature and Causes of the Wealth of nations,' was born in the town of Kirkcaldy on the 5th of June 1723. His father, at an early period of life, practised as a writer to the signet in Edinburgh, and officiated as private secretary to the Earl of Loudon, during the time his Lordship was principal secretary of state for Scotland and keeper of the great seal, but afterwards settled at Kirkcaldy, where, for some time before his death, he held the office of comptroller of the customs.

TEXT CREDIT: An inquiry into the nature and causes of the wealth of nations: with a life of the author. Also, a view of the doctrine of Smith compared with that of the French economists; with a method of facilitating the study of his works.

Volume 1: An Inquiry Into the Nature and Causes of the Wealth of Nations: With a Life of the Author. Also, a View of the Doctrine of Smith Compared with that of the French Economists; with a Method of Facilitating the Study of His Works, Garnier (Germain, M.)

Authors: Adam Smith, Garnier (Germain, M.) Publisher: Creech, 1806. Original from: the New York Public Library. Digitized: Jul 20, 2009. Subjects: Business & Economics › Economics › General, Business & Economics / Economics / General, Business & Economics / Economics / Theory, Economics

Purim carnival Queen Esther in Tel Aviv Photo

Title: Purim carnival in Tel Aviv. 1934. Purim celebration in Tel Aviv. Yemenite carnival queen representing Queen Esther Creator(s): American Colony (Jerusalem). Photo Dept., photographer Date: Created / Published: 1934.

Medium: 1 negative : glass, dry plate ; 4 x 5 in. or smaller. Reproduction Number: LC-DIG-matpc-00240 (digital file from original photo)

Rights Advisory: No known restrictions on publication. Photographs in the G. Eric and Edith Matson Photograph Collection are in the public domain.

Call Number: LC-M31- 4226 [P&P] Repository: Library of Congress Prints and Photographs Division Washington, D.C. 20540 USA. Notes: Title from: Catalogue of photographs & lantern slides ... [1936?]. Gift; Episcopal Home; 1978.

Subjects: Israel--Tel Aviv. Format: Dry plate negatives. Collections: Matson (G. Eric and Edith) Photograph Collection. Part of: G. Eric and Edith Matson Photograph Collectio.

The G. Eric and Edith Matson Photograph Collection is a rich source of historical images of the Middle East. The majority of the images depict Palestine (present day Israel and the West Bank) from 1898 to 1946. Most of the collection consists of over 22,000 glass and film photographic negatives and transparencies created by the American Colony Photo Department and its successor firm, the Matson Photo Service. Over 1,000 photographic prints and eleven albums are also part of this collection.

Unedited Image: JPEG (62kb) || JPEG (142kb) || TIFF (15.3mb)

Purim gragger image

Purim gragger image, PURIM: Jewish feast celebrated annually on the 14th, and in Shushan, Persia, also on the 15th, of Adar, in commemoration of the deliverance of the Persian Jews from the plot of Hainan to exterminate them, as recorded in the Book of Esther. According to that book the feast was instituted as a national one by Mordeeai and Esther. For a critical view of Purim see Estiikr. In the present article are treated only the various features of the feast as developed after its institution.

Aside from the much-mooted question whether Purim is of Jewish or of heathen origin, it is certain that, as it appears in the Book of Esther, the festival is altogether devoid of religious Non- spirit—an anomaly in Jewish religious Religious history. This is due to the worldly Character, spirit of the Book of Esther. The only religious allusions therein are the mention of fasting in iv. 16 and ix. 31, and perhaps the expression of confidence in the deliverance of Israel in iv. 14.

This secular character has on the whole been most prominent in this festival at all times. Like Hanukkah, it has never been universally considered a religious holy day, in spite of the fact that it is designated by the term "yom-tob" (Esth. ix. 19, 22). Accordingly business transactions and even manual labor are allowed on Purim. although in certain places restrictions have been imposed on work (Shulhan 'Aruk, Orah Hayvim, 696)

Nevertheless Purim lias been held in high esteem at all times and in all countries, some even maintaining that when all the prophetical and bagiographical works shall be forgotten the Hook of Esther will still be remembered, and, accordingly, the Feast of Purim will continue to be observed (Yer. Meg. i. 5a; Maimonides, "Yad," Megillah, iii. 18: comp. Sehudt, "Jl'idische MerkwOrdigkeiten," ii. 311). It is also claimed that Purim is as great as the day on which the Torah was given on Sinai (" Mordekai" on 1?. M. ix., end; conip. Lampronti, "Pabad Yizhak," ».t>. "Purim ''). In Italy the Jews, it seems, have even used the word "Purim" as a family name, which also proves the high esteem that the festival enj o y 8 a m nng them (Vogelstein and Hieger, "Gesch. der Juden in Rom," ii. 420; but comp. Steinschneider in "M o n a t s sehrift," 1903, p. 175).

The Book of Esther does not prescribe any religious service for Purim ; it enjoins only the annual celebration of the feast among the Jews on the 14th and 15th of Adar, c o m m a n ding that they should "make t h e m days of feasting and joy, and of sending portions one to another, and gifts to the poor." It seems, therefore, that the observance of Purim was at tirst merely of a convivial and social nature. Gradually it assumed religious features.

This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923 in this case 1908, are now in the public domain.

TEXT and IMAGE CREDIT: The Jewish encyclopedia: a descriptive record of the history, religion, literature, and customs of the Jewish people from the earliest times to the present day, Volume 10. The Jewish Encyclopedia: A Descriptive Record of the History, Religion, Literature, and Customs of the Jewish People from the Earliest Times to the Present Day, Isidore Singer.

Editors: Isidore Singer, Cyrus Adler. Translated by: Isidore Singer. Publisher: Funk & Wagnalls Company, 1907. Original: from the University of Michigan. Digitized: Jan 6, 2011. Subjects, Religion › Judaism › General, History / Jewish, Jewish encyclopedia
Jews, Religion / Judaism / General.

Damascus Tomb of Saladin

Title: Damascus. General view. Tomb of Saladin / Bonfils. Creator(s): Bonfils, Félix, 1831-1885, photographer. Date Created / Published: [between 1870 and 1880] Medium: 1 photoprint : albumen. Reproduction Number: LC-USZ62-106216 (b&w film copy neg.)

This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923 in this case c1875, are now in the public domain.

This file is also in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris in this case Félix Bonfils, 1831-1885, and that most commonly runs for a period of 50 to 70 years from December 31 of that year. +sookie tex

Rights Advisory: No known restrictions on publication in the U.S. Use elsewhere may be restricted by other countries' laws. For general information see "Copyright and Other Restrictions... "(www.loc.gov/rr/print/195_copr.html)"

Call Number: LOT 7740, p. 35A [P&P]

Notes: "No. 227" written in image. In album: Constantinople, Smyrna, Beyrout, Ba'albec, Damascus, p. 35A, pl. 69. Subjects: Saladin,--Sultan of Egypt and Syria,--1137-1193--Tomb--Syria--Damascus. Tombs & sepulchral monuments--Syria--Damascus--1870-1880. Dwellings--Syria--Damascus--1870-1880.

Format: Albumen prints--1870-1880. Collections: Miscellaneous Items in High Demand.

The bell of St. Patrick

The Irish for a bell is clog, akin to the English clock. St. Patrick and his disciples constantly used consecrated bells in their ministrations. How numerous they were in Patrick's time we may understand from the fact, that whenever he left one of his disciples in charge of a church, he gave him a bell: and it is recorded that on the churches of one province alone—Connaught—he bestowed fifty. To supply these he had in his household three smiths, whose chief occupation was to make bells. The most ancient Irish bells were quadrangular in shape, with rounded corners, and made of iron: facts which we know both from the ecclesiastical literature, and from the specimens that are still preserved.

The bell of St. Patrick, which is more than fourteen hundred years old, is now in the National Museum in Dublin, it is the oldest of all; and it may be taken as a type of the hammered-iron bells. Its height is (5 A inches: at the mouth the two dimensions are 4$ by 8| inches. It is made of two iron plates, bent into shape by hammering, and slightly overlapped at the edges for riveting. After the joints had been riveted, the bell was consolidated by the fusion of bronze into the joints and over the surface—probably by dipping into melted bronze— which also increased its resonance. This is the bell known as the "Bell of the Will"; and it is much celebrated in the Lives of St. Patrick. A beautiful and costly shrine was made to cover and protect this venerable relic, by order of Donall O'Logl1lin, king of Ireland (died 1121): and tlns gorgeous piece of ancient Irish art, with O'Loghlin's name and three others inscribed on it, is also preserved in the National Museum.

Many others of these venerable iron bronzed bells, belonging to the primitive Irish saints, are preserved in the National and other Museums, several covered with ornamental shrines.

This Image (or other media file) is in the public domain because its copyright has expired. This applies to the United States, where Works published prior to 1978 were copyright protected for a maximum of 75 years. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office. Works published before 1923 in this case 1908, are now in the public domain.

TEXT and IMAGE CREDIT: A smaller social history of ancient Ireland: treating the government, military system and law, religion, learning and art, trades, industries and commerce, manners, customs and domestic life of the ancient Irish people.

Author: Patrick Weston Joyce. Edition: 2. Publisher: Longmans, Green and Co., 1908. Original from: Princeton University. Digitized: Apr 2, 2009. Length: 574 pages. Subjects: Ireland.

King Kong (1933 film) Original theatrical poster

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March 2, 1933 – The film King Kong opens at New York's Radio City Music Hall. King Kong (1933 film) Original theatrical poster. Directed by: Merian C. Cooper, Ernest B. Schoedsack. Produced by: Merian C. Cooper, Ernest B. Schoedsack, David O. Selznick (executive) Screenplay by: James Ashmore Creelman, Ruth Rose. Story by: Merian C. Cooper, Edgar Wallace.

Starring: Fay Wray, Robert Armstrong, Bruce Cabot. Music by: Max Steiner. Cinematography: Eddie Linden, J.O. Taylor, Vernon Walker. Editing by: Ted Cheesman. Distributed by: RKO Radio Pictures (Original) Turner Entertainment (Current via Warner Bros.) Release date(s) March 2, 1933. Running time: 105 minutes.

Country: United States. Language: English. Budget: $675,000. Box office: $1,700,000.

This work is in the public domain because it was published in the United States between 1923 and 1963 and although there may or may not have had a copyright notice, the copyright was not renewed. See Circular 1 "COPYRIGHT BASICS" PDF from the U.S. Copyright Office.

This file however MAY NOT be in the public domain in countries that figure copyright from the date of death of the artist (post mortem auctoris). It may be copyrighted in jurisdictions that do not apply the rule of the shorter term for US works, If your use will be outside the United States please check your local law.

Public domain explanation

A search of U.S. copyright renewal records for 1960 and 1961 reveals no evidence that the then corporate heir to the corporate author of the work--RKO General--renewed copyrights to this poster or any collection of posters or any collection of material that might encompass this poster as would have been required to maintain copyright protection, if any.

There is no evidence that the work's corporate author's descendant corporation--RKO Pictures LLC--claims or has ever claimed copyright on the image.

TEXT RESOURCE: King Kong (1933 film) From Wikipedia