Chapter I: Front Matter (1)

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Motion Pictures
1894–1912
Identified from the Records of the United States Copyright Office

by
Howard Lamarr Walls

1953

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.

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 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.

ADVANCE GUARD, RETURN OF N. J. TROOPS [Spanish-American War]. © Thomas
A. Edison; 7Oct1898; 59211.

ADVANCE OF KANSAS VOLUNTEERS AT CALOOCAN [Spanish-American War]. ©
Thomas A. Edison; 5June1899; 37443.

THE ADVENTURES OF A BABY, scenes 1–4. © Thos. A. Edison, Inc.;
9Aug1911; J158325–28.

ADVENTURES OF A DRUMMER BOY. © The Vitagraph Co. of America;
26Feb1909; H123374.

THE ADVENTURES OF AN OLD FLIRT, scenes 1–5. © Edison Mfg. Co.;
6Feb1909; H122674–78.

THE ADVENTURES OF BILLY. © Biograph Co.; 1c 21Oct1911; J161914.

ADVENTURES OF DOLLIE. © American Mutoscope & Biograph Co.; 10July1908;
H113248.

THE ADVENTURES OF FIFINE. © The Vitagraph Co. of America; 20July1909;
J129600.

ADVENTURES OF MR. TROUBLES. © S. Lubin; 13June1908: H111808.

THE ADVENTURES OF PERCY WHITE AND PAULINE WELLS. SEE The Two Traveling
Boys.

THE ADVENTURES OF SHERLOCK HOLMES; or, HELD FOR A RANSOM. © The
Vitagraph Co. of America; 6Sept1905; H65145.

THE ADVENTURES OF ULYSSES. SEE The Homer’s Odyssey.

THE AEROPLANE INVENTOR, parts 1–2. © Ingvald C. Oes; 1c 20Apr1912;
J168388–89.

THE AFFAIR OF AN EGG. © Biograph Co.; 1c 6Sept1910; J144968.

AN AFFAIR OF ART, scenes 1–3. © Edison Mfg. Co.; 24June1909;
H128783–785.

AN AFFAIR OF HEARTS. © Biograph Co.; 23May1910; J141593.

AN AFFAIR OF HONOR. © American Mutoscope & Biograph Co.; 11Nov1902;
H23803.

AN AFFAIR OF HONOR. © S. Lubin; 13May1901; H4282.

“AFRICANDER” WINNING THE SUBURBAN HANDICAP, 1903. © Thomas A. Edison;
27June1903; H33004.

AFTER LAUNCHING. © Thomas A. Edison; 10Mar1898; 16426.

AFTER MANY DAYS, scenes 1–4. © Thomas A. Edison, Inc.; 9July1912;
J171198–201.

AFTER MANY YEARS. © American Mutoscope & Biograph Co.; 28Oct1908;
H117541.

AFTER MANY YEARS. © Imp Films Co.; 18Jan1912; J164578.

AFTER MIDNIGHT; or, A BURGLAR’S DAUGHTER. © The Vitagraph Co. of
America; 1Apr1908; H108126.

AFTER THE BACHELORS’ BALL. © Lubin Mfg. Co.; 20Mar1909; H124439.

AFTER THE BALL. © Biograph Co.; 1c 3Jan1911; J150107.

AFTER THE EXPLOSION. © American Mutoscope & Biograph Co.; 9June1904;
H46948.

AFTER THE FIRST SNOW. © American Mutoscope & Biograph Co.; 13July1903;
H33408.

AFTER THE RACE—YACHTS RETURNING TO ANCHORAGE [America’s Cup Races;
Columbia and Shamrock I]. © Thomas A. Edison; 20Oct1899; 68177.

AFTERNOON TEA ON BOARD S. S. “DORIC.” © Thomas A. Edison; 22June1898;
38227.

THE AGGRESSOR. © Independent Moving Picture Co.; 19Oct1911; J161543.

AGUINALDO’S NAVY [Spanish-American War]. © American Mutoscope &
Biograph Co.; 18Apr1902; H16737.

AÏDA, scenes 1–4. © Thomas A. Edison. Inc.; 5May1911; J155335–38.

THE AIRSHIP; or, 100 YEARS HENCE. © The Vitagraph Co. of America;
2Apr1908; H108161.

AIRY FAIRY LILLIAN TRIES ON HER NEW CORSETS. © American Mutoscope &
Biograph Co.; 3Nov1905; H68182.

AL TRELOAR IN MUSCLE EXERCISES. © American Mutoscope & Biograph Co.;
3May1905; H60288.

ALADDIN UP-TO-DATE, scenes 1–4. © Thomas A. Edison, Inc.; 4Sept1912;
J176523–26.

ALCOHOL, THE POISON OF HUMANITY. © Eclair Film Co.; 1c 22Jan1912;
J165361.

ALGY, THE WATCHMAN. © Biograph Co.; 1c 8June1912; J170133.

ALGY’S GLORIOUS FOURTH OF JULY. © American Mutoscope & Biograph Co.;
7June1902; H18744.

ALICE’S ADVENTURES IN WONDERLAND, scenes 1–4. © Edison Mfg. Co.;
9Sept1910; J145542–45.

ALL A MISTAKE. © Imp Films Co.; 27Jan1912; J165053.

On same reel with A Day on a Buffalo Ranch.

ALL ABOARD! or, FUNNY EPISODES IN A STREET CAR. © The Vitagraph Co. of
America; 18June1906; H79499.

ALL FOR HER. © Imp Films Co.; 2May1912; J168880.

ALL FOR THE LOVE OF A LADY, scenes 1–4. © Thomas A. Edison, Inc.;
14Mar1911, J153379–82.

ALL ON ACCOUNT OF A BUTTERFLY. © S. Lubin; 3Oct1908; H116473.

ALL ON ACCOUNT OF A LAUNDRY, scenes 1–3. © Edison Mfg. Co.; 24May1910;
J141785–87.

ALL ON ACCOUNT OF THE MILK. © Biograph Co.; 1c 15Jan1910; J137280.

ALL THAT GLITTERS IS NOT GOLD. SEE Plain Mame.

ALLABAD; the Arabian wizard. © American Mutoscope & Biograph Co.;
11Nov1902; H23812.

ALL’S FAIR IN LOVE, scenes 1–3. © Edison Mfg. Co.; 29Oct1909;
J134001–003.

ALL’S FAIR IN LOVE AND WAR. (First and last scenes). © Capital Film
Co.; 8Oct1910; J146805.

ALL’S WELL THAT ENDS WELL. SEE A Case of Spirits.

ALMOST A HERO, scenes 1–4. © Edison Mfg. Co.; 23Sept1910; J145940–43.

ALMOST A KING. © American Mutoscope & Biograph Co.; 23Dec1903; H39906.

ALONE. © American Mutoscope & Biograph Co.; 28July1904; H48624.

ALONE IN NEW YORK, scenes 1–4. © Thomas A. Edison, Inc.; 27Aug1912;
J176439–42.

ALPHONSE & GASTON. © American Mutoscope & Biograph Co.; 11Nov1902;
H23787.

ALPHONSE AND GASTON. © American Mutoscope & Biograph Co.

1–2. © 31Oct1903; H37437–38.

3. © 27Oct1903; H37366.

ALPHONSE & GASTON HELPING AN IRISHMAN. © American Mutoscope & Biograph
Co.; 11Nov1902; H23785.

AN ALPINE ECHO; or, THE SYMPHONY OF A SWISS MUSIC BOX. © The Vitagraph
Co. of America; 11Sept1909; J131598.

ALWAYS ROOM FOR ONE MORE. © American Mutoscope & Biograph Co.;
11Sept1905; H65316.

THE AMATEUR CHAMPION. © S. Lubin; 21Aug1907; H98644.

THE AMATEUR HYPNOTIST. © S. Lubin; 28Jan1908; H105598.

AMATEUR NIGHT; or, GET THE HOOK. © The Vitagraph Co. of America;
15Apr1907; H92666.

AMATEUR NIGHT, scenes 1–4. © Edison Mfg. Co.; 7Dec1910; J148700–03.

THE AMATEUR WILLIAM TELL, scenes 1–3. © Edison Mfg. Co.; 10Sept1909;
J131581–83.

AMBULANCE AT THE ACCIDENT. © Thomas A. Edison; 25Oct1897; 60592.

AMBULANCE CALL. © Thomas A. Edison; 25Oct1897; 60591.

AMERICAN AND CUBAN FLAG. © Thomas A. Edison; 5Mar1897; 15442.

AMERICAN FALLS FROM ABOVE, AMERICAN SIDE [Niagara Falls]. © Thomas A.
Edison; 12Dec1896; 67877.

AMERICAN FALLS—FROM BOTTOM, CANADIAN SHORE [Niagara Falls]. © Thomas
A. Edison; 24Dec1896; 70074.

AMERICAN FALLS—FROM INCLINE R. R. [Niagara Falls]. © Thomas A. Edison;
24Dec1896; 70073.

AMERICAN FALLS, GOAT ISLAND [Niagara Falls]. © American Mutoscope &
Biograph Co.; 24Apr1903; H30733.

AMERICAN FALLS, GOAT ISLAND [Niagara Falls]. © American Mutoscope Co.;
7Jan1897; 3560.

AMERICAN FALLS, LUNA ISLAND [Niagara Falls]. © American Mutoscope &
Biograph Co.; 24Apr1903; H30732.

AMERICAN FALLS, LUNA ISLAND [Niagara Falls]. © American Mutoscope Co.;
7Jan1897; 3553.

AMERICAN FLAG. © Thomas A. Edison.

THE AMERICAN FLEET IN HAMPTON ROADS, 1909, AFTER GIRDLING THE GLOBE. ©
Edward Daniel Macfee, Jr.; 26Mar1909; H124864.

THE AMERICAN SOLDIER IN LOVE AND WAR, no. 1–3. © American Mutoscope &
Biograph Co.; 21July1903; H33641–43.

AMERICAN SOLDIERS DEFEATING FILIPINOS NEAR MANILLA [i.e. MANILA]
[Spanish-American War]. © Siegmund Lubin; 11Aug1899; 51687.

AMETA. © American Mutoscope & Biograph Co.; 24Apr1903; H30752.

THE AMOROUS MILITIAMAN. © American Mutoscope & Biograph Co.;
10Dec1904; H54666.

AMOSKEAG VETERANS, NEW HAMPSHIRE [McKinley Inaugural Parade]. © Thomas
A. Edison; 8May1897; 28514.

ANCIENT AND HONORABLE ARTILLERY OF LONDON ON PARADE. © Thomas A.
Edison; 20Oct1903; H36946.

THE ANCIENT AND HONORABLES HOMEWARD BOUND. © Thomas A. Edison;
20Oct1903; H36947.

AND A LITTLE CHILD SHALL LEAD THEM. © American Mutoscope & Biograph
Co.; 13Mar1909; H123958.

AND A LITTLE CHILD SHALL LEAD THEM. © S. Lubin; 15Feb1908; H106260.

AND HIS COAT CAME BACK. © The Vitagraph Co. of America; 28Jan1909;
H122212.

AND PAT TOOK HIM AT HIS WORD. © American Mutoscope & Biograph Co.;
12Jan1904; H40816.

AND THE DOG CAME BACK. © S. Lubin; 25Mar1907; H91920.

AND THE VILLAIN STILL PURSUED HER; or, THE AUTHOR’S DREAM. © The
Vitagraph Co. of America; 23Nov1906; H85585.

THE ANGEL AND THE STRANDED TROUPE, scenes 1–4. © Thomas A. Edison,
Inc.; 12June1912; J170311–14.

THE ANGEL CHILD, scenes 1–4. © Edison Mfg. Co.; 14Dec1908; H119660–63.

AN ANGELIC SERVANT. © Geo. Méliès; 13Dec1907; H103575.

ANGLER’S NIGHTMARE. © Geo. Méliès; 13Sept1905; H65360.

THE ANIMATED COSTUMES. © Geo. Méliès; 29Sept1904; H50961.

AN ANIMATED DUMMY. © S. Lubin; 9Dec1907; H103459.

THE ANIMATED DUMMY. © S. Lubin; 28Jan1908; H105596.

AN ANIMATED LUNCHEON. © Thomas A. Edison; 28Feb1900; D4731.

ANIMATED PAINTING. © Thomas A. Edison; 16Feb1904; H42209.

ANIMATED PICTURE STUDIO. © American Mutoscope & Biograph Co.;
20Nov1903, H38401.

THE ANIMATED POSTER. © Thomas A. Edison; 28Oct1903; H37395.

ANIMATED SNOWBALLS, scenes 1–5. © Edison Mfg. Co.; 12Mar1908;
H107645–49.

ANNA HELD. © American Mutoscope & Biograph Co.

ANNA HELD, no. 10. © American Mutoscope & Biograph Co.; 11July1901;
H5921.

ANNABELLE IN FLAG DANCE. © American Mutoscope Co.; 18Dec1896; 68818.

ANNUAL BABY PARADE, 1904, ASBURY PARK, N. J. © Thomas A. Edison;
12Sept1904; H50382.

ANNUAL CELEBRATION OF SCHOOL CHILDREN, scenes 1–4. © Edison Mfg. Co.;
26Nov1909; J135652–55.

ANNUAL PARADE, NEW YORK FIRE DEPARTMENT. © Thomas A. Edison;
17May1904; H46128.

ANOTHER JOB FOR THE UNDERTAKER. © Thomas A. Edison; 15May1901; H4369.

ANOTHER NAME WAS MAUDE. © American Mutoscope & Biograph Co.; 2May1906,
H76575.

ANTI-RACE SUICIDE. SEE The Strenuous Life.

ANTONY AND CLEOPATRA; the love story of the noblest Roman and the most
beautiful Egyptian. © The Vitagraph Co. of America; 26Oct1908;
H117451.

THE APPARITION. © George Méliès; 12Oct1903; H36705.

LES APPARITIONS FUGITIVES. © George Méliès; 23Feb1904; H42523.

APPLE PIE, scenes 1–3. © Thomas A. Edison, Inc.; 19June1912;
J170527–29.

APPOINTMENT BY TELEPHONE. © Thomas A. Edison; 15May1902; H17675.

APPRENTICE BOYS AT NEWPORT [R. I.] NAVAL TRAINING STATION, scenes 1–3.
© Edison Mfg. Co.; 10Aug1909; J130716–18.

APRIL FOOL, scenes 1–4. © Thomas A. Edison, Inc.; 29Mar1911;
J153735–38.

AN APRIL FOOL JOKE. © American Mutoscope & Biograph Co.; 11June1903;
H32494.

AQUARIUM. © American Mutoscope Co.; 7Jan1897; 3536.

ARAB ACT, LUNA PARK [Coney Island]. © American Mutoscope & Biograph
Co.; 6Oct1903; H36553.

ARABIAN GUN TWIRLER. © Thomas A. Edison; 20Mar1899; 20770.

ARABIAN JEWISH DANCE. © Thomas A. Edison; 17June1903; H32802.

THE ARBITRATOR. © American Mutoscope & Biograph Co.; 8Jan1904; H40724.

AN ARCADIAN MAID. © Biograph Co.; 1c 3Aug1910; J143884.

ARCHIBALD CHUBBS AND THE WIDOW, scenes 1–4. © Thomas A. Edison, Inc.;
27Mar1912; J167602–05.

AN ARDENT WOOER. SEE The Perpetual Proposal.

ARE YOU THE MAN? © Lubin Mfg. Co.; 18May1909; H127182.

THE ARMENIAN ARCHBISHOP, ROME. © American Mutoscope & Biograph Co.;
12Sept1903; H35646.

ARMOUR’S ELECTRIC TROLLEY [Chicago]. © Thomas A. Edison; 31July1897;
43409.

ARMS AND THE WOMAN, scenes 1–4. © Edison Mfg. Co.; 30Nov1910;
J148450–53.

THE ARMY OF TWO, scenes 1–6. © Edison Mfg. Co.; 30Oct1908; H117654–59.

AROUND NEW YORK IN 15 MINUTES. © Paley & Steiner; 31Jan1905; H56326.

AROUND THE FLIP-FLAP RAILROAD. © American Mutoscope & Biograph Co.;
18Apr1902; H16733.

AROUND THE MULBERRY BUSH. © American Mutoscope & Biograph Co.;
5Sept1902; H21503.

AN ARREST AT NEW HAVEN, CONN., no. 93. © American Mutoscope Co.;
4Feb1897; 9241.

ARREST IN CHINATOWN, SAN FRANCISCO, CAL. © Thomas A. Edison;
25Oct1897, 60596.

ARREST OF A SHOPLIFTER. © American Mutoscope & Biograph Co.;
12Sept1903; H35649.

ARRIVAL MAHUKONA EXPRESS, KOHALA, HAWAII. © Thomas A. Edison;
11Aug1906; H81956.

ARRIVAL OF EMIGRANTS [i.e. IMMIGRANTS], ELLIS ISLAND. © American
Mutoscope & Biograph Co.; 9May1906; H77049.

ARRIVAL OF MCKINLEY’S FUNERAL TRAIN AT CANTON, OHIO. © Thomas A.
Edison; 26Sept1901; H9082.

ARRIVAL OF PRINCE HENRY [OF PRUSSIA] AND PRESIDENT ROOSEVELT AT
SHOOTER’S ISLAND. © Thomas A. Edison; 1Mar1902; H14607.

ARRIVAL OF THE GOVERNOR GENERAL, LORD MINTO, AT QUEBEC. © Thomas A.
Edison; 17Feb1902; H14291.

ARRIVAL OF TOKYO TRAIN. © Thomas A. Edison; 22June1898; 38208.

ARRIVAL OF TRAIN AT MUSKOKA WHARF. © American Mutoscope & Biograph
Co.; 6Mar1903; H29004.

ARRIVAL OF TRAIN, CHEYENNE. © American Mutoscope & Biograph Co.;
29May1903; H32294.

ARRIVAL OF TRAIN, TIENTSIN. © American Mutoscope & Biograph Co.;
23May1902; H18044.

ARRIVAL OF TRAIN, TOKIO, JAPAN. © American Mutoscope & Biograph Co.;
19Oct1903; H36867.

THE ART OF MAKING SILVER PLATE. © Imp Films Co.; 1June1912; J169857.

THE ART OF MAKING UP. © American Mutoscope & Biograph Co.; 18Apr1902;
H16726.

ART STUDIES. © American Mutoscope & Biograph Co.; 6Mar1903; H29003.

THE ARTIST AND THE BRAIN SPECIALIST, scenes 1–3. © Thomas A. Edison,
Inc.; 22May1912; J169667–69.

THE ARTIST’S DILEMMA. © Thomas A. Edison; 14Dec1901; H11475.

THE ARTIST’S DREAM. © American Mutoscope & Biograph Co.; 24Feb1903;
H28555.

AN ARTIST’S DREAM. © Thomas A. Edison; 21Mar1900; D6369.

THE ARTIST’S JOKE, scenes 1–4. © Thomas A. Edison, Inc.; 10July1912;
J171202–05.

AN ARTIST’S MODEL WANTED. © S. Lubin; 1Aug1908; H114115.

ARTIST’S POINT. © American Mutoscope & Biograph Co.; 11May1903;
H31668.

THE ARTIST’S REVENGE. © The Vitagraph Co. of America; 31July1909;
J130047.

THE ARTIST’S STUDIO. © American Mutoscope & Biograph Co.; 29May1903;
H32295.

AS A BOY DREAMS. © Independent Moving Picture Co.; 24Aug1911; J159098.

AS IN A LOOKING GLASS. © American Mutoscope & Biograph Co.; 29May1903;
H32297.

AS IN A LOOKING GLASS. © Biograph Co.; 1c 20Dec1911; J163801.

AS IT IS IN LIFE. © Biograph Co.; 1c 6Apr1910; J140186.

AS SEEN ON THE CURTAIN. © American Mutoscope & Biograph Co.;
20Jan1904; H41044.

AS THE BELLS RANG OUT. © Biograph Co.; 1c 23July1910; J143501.

ASAKUSA TEMPLE, TOKIO, JAPAN. © American Mutoscope & Biograph Co.;
19Oct1903; H36868.

ASHES, scenes 1–4. © Edison Mfg. Co.; 7Jan1910; J137021–24.

ASIA IN AMERICA, ST. LOUIS EXPOSITION. © American Mutoscope & Biograph
Co.; 28May1904; H46575.

ASSEMBLING A GENERATOR, WESTINGHOUSE WORKS. © American Mutoscope &
Biograph Co.; 10May1904; H45598.

ASSEMBLING AND TESTING TURBINES. WESTINGHOUSE CO. WORKS. © American
Mutoscope & Biograph Co.; 23July1904; H48412.

THE ASTONISHING FRAME. © Geo. Méliès; 12Oct1904; H51561.

ASTOR BATTERY ON PARADE [Spanish-American War]. © Thomas A. Edison;
27Jan1899; 8651.

THE ASTOR TRAMP. © Thomas A. Edison; 27Nov1899; 77520.

AT JONES’ FERRY, scenes 1–4. © Thomas A. Edison, Inc.; 8Sept1911;
J159984–87.

AT THE ALTAR. © American Mutoscope & Biograph Co.; 26Feb1909; H123389.

AT THE COTTAGE DOOR. © American Mutoscope & Biograph Co.; 9June1904;
H46942.

AT THE DENTIST. © Lubin Mfg. Co.; 16Feb1909; H122976.

AT THE DRESSMAKER’S. © American Mutoscope & Biograph Co.; 6Oct1903;
H36557.

AT THE FOOT OF THE FLATIRON. © American Mutoscope & Biograph Co.;
2Nov1903; H37499.

AT THE FOUNTAIN. © American Mutoscope & Biograph Co.; 27Sept1902;
H22093.

AT THE FRENCH BALL. © American Mutoscope & Biograph Co.; 20June1908;
H112127.

AT THE HOTEL MIX-UP. © Geo. Méliès; 26Aug1908; H115114.

AT THE POINT OF THE SWORD, scenes 1–4. © Thomas A. Edison, Inc.;
16Feb1912; J166543–46.

AT THE STAGE DOOR; or, BRIDGET’S ROMANCE. © The Vitagraph Co. of
America; 19Feb1908; H106451.

AT THE THRESHOLD OF LIFE, scenes 1–4. © Thomas A. Edison, Inc.;
13Oct1911; J161649–52.

AT THE WESER (SONG). © Lubin Mfg. Co.; 5Feb1909; H122571.

ATHLETIC AMERICAN GIRLS. © The Vitagraph Co. of America; 16July1907;
H96627.

THE ATHLETIC GIRL AND THE BURGLAR, no. 1–2. © American Mutoscope &
Biograph Co.; 3May1905; H60295–96.

ATLANTA AUTOMOBILE SPEEDWAY RACES, scenes 1–4. © Edison Mfg. Co.;
29Nov1909; J135825–28.

ATLANTIC CITY BATHERS. © American Mutoscope Co.; 18Dec1896; 68826.

ATLANTIC CITY BOARDWALK. © American Mutoscope Co.; 18Dec1896; 68820.

ATLANTIC CITY BOARDWALK, no. 102. © American Mutoscope Co.; 4Feb1897;
9243.

ATLANTIC CITY FIRE DEPARTMENT. © American Mutoscope & Biograph Co.;
26Apr1902; H17043.

ATLANTIC CITY FLORAL PARADE. © Percival L. Waters; 22June1904; H47449.

AN ATTACK BY TORPEDO BOATS. © American Mutoscope & Biograph Co.;
4Apr1903; H30184.

ATTACK ON FORT BOONESBORO. © American Mutoscope & Biograph Co.;
23June1906; H79819.

THE ATTACK ON PORT ARTHUR [Russo-Japanese War]. © William N. Selig;
12Mar1904; H43183.

THE ATTACK ON THE MILL, scenes 1–4. © Edison Mfg. Co.; 12Aug1910;
J145115–18.

ATTEMPT TO ESCAPE THAT LED TO MISFORTUNE. © American Mutoscope &
Biograph Co.; 13July1903; H33418.

AU CLAIR DE LA LUNE. © Geo. Méliès; 15Jan1904; H40879.

AUNT EMMY’S SCRAP BOOK. © S. Lubin; 16Dec1908; H119725.

AUNT JANE AND THE TOBASCO SAUCE. © American Mutoscope & Biograph Co.;
7June1902; H18747.

AUNT JANE’S EXPERIENCE WITH TOBASCO SAUCE. © American Mutoscope &
Biograph Co.; 30Jan1903; H27772.

AUNT MIRANDA’S CAT, scenes 1–4. © Thomas A. Edison, Inc.; 8May1912;
J169302–05.

AUNT SALLIE’S WONDERFUL BUSTLE. © Thomas A. Edison; 14Aug1901; H7640.

AUNTIE TAKES THE CHILDREN TO THE COUNTRY. © S. Lubin; 10Oct1908;
H116792.

THE AUTHOR’S DREAM. SEE And the Villain Still Pursued Her.

AUTO BANDITS OF PARIS, 2 parts. © Société Francaise des Films et
Cinematographes Eclair; 1c 6July1912; J170857.

AUTO BOAT RACE ON THE HUDSON. © American Mutoscope & Biograph Co.;
18June1904; H47332.

AN AUTO HEROINE; or, THE RACE FOR THE VITAGRAPH CUP AND HOW IT WAS
WON. © The Vitagraph Co. of America; 10Oct1908; H116781.

THE AUTO MANIAC. © The Vitagraph Co. of America; 27Mar1909; H124899.

THE AUTOMATIC LAUNDRY. © S. Lubin; 9Mar1908; H107120.

THE AUTOMATIC WEATHER PROPHET. © Thomas A. Edison; 21Mar1901; H2475.

AN AUTOMOBILE CHASE. © Geo. Méliès.

1. In the Mountains. © 20June1905; H62442.

2. The Town—Due at Dijon. © 20June1905; H62443.

3. The Garage. © 11July1905; H63096.

4. In the Country. © 11July1905; H63097.

5. Monte Carlo. © 11July1905; H63098.

AUTOMOBILE PARADE. © Thomas A. Edison; 6Feb1900; D3293.

AUTOMOBILE PARADE ON THE CONEY ISLAND BOULEVARD. © Thomas A. Edison;
29Nov1901; H10870.

AUTOMOBILE RACE FOR THE VANDERBILT CUP [Long Island, N. Y.]. ©
American Mutoscope & Biograph Co.; 17Oct1904; H51702.

THE AUTOMOBILE THIEVES. © The Vitagraph Co. of America; 22Sept1906;
H82958.

AUTOMOBILING AMONG THE CLOUDS. © American Mutoscope & Biograph Co.;
1Oct1904; H51121.

THE AUTO-SOMNAMBULIST. © Winthrop Press; 18Apr1906; H75818.

AVENGED; or, THE TWO SISTERS. © The Vitagraph Co. of America;
16June1908; H111879.

B.P.O.E.—THE BENEVOLENT PROTECTIVE ORDER OF ELKS CONVENTION AT
ATLANTIC CITY, JULY 10 TO 15, 1911, scenes 1–4. © Thos. A. Edison,
Inc.; 27July1911; J158539–42.

On same reel with Playing The Game.

The Entrance to the Church. H48336.

The Square. H48337.

The Drawing Room. H48338.

The Kitchen. H48339.

THE BATTLE OF TWO PALMS—ACTION OF MARCH 12, 1912, AT BENGHASI,
TRIPOLI, BETWEEN THE ITALIAN AND TURKISH ARMIES, parts 1–2. © Crown
Feature Film Co.; 1c 25June1912; J170522–23.

BI-CENTENNIAL CELEBRATION AT MOBILE. © Independent Moving Picture Co.;
31July1911; J158307.

On same reel with The Skating Bug.

THE BICYCLE BUG’S DREAM. © Independent Moving Picture Co.; 18Sept1911;
J160857.

Comments

Motion Pictures, 1894-1912Chapter I: Front Matter (1)

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