Frederick S. Armitage

In this spirited and suggestive film, an aggressive young man is drenched in rich, high-protein comeuppance, after he attempts to tell a dairymaid her buttery business.

A portly clubman comes home after a social session considerably the worse for the wear. In the hall he encounters a suit of armor which has all the appearances of being alive; and he is so badly frightened that he collapses in a chair, where he is discovered by his wife, and marched off to bed.

A filmed record of a fan dancer performing a dance using two white sheets suspended from poles which she frantically twirls around herself to create a succession of patterns.

Stage star Anna Held (1872-1918) riffs on her once-famous scene from the comedy Papa's Wife (1899-1901) featuring a naif getting tipsy on her first champagne, in this "photographic interview", filmed in 68mm by Frederick S. Armitage. AM&B's Picture Catalogue of 1902 pitched it as "A stunning picture of the well-known actress in the drinking scene which made such a hit in Papa's Wife. The figure is shown in bust view, making the head very large and giving a clear view of the facial expressions of the beautiful artiste." The company said that both "make hits either in the Biograph [35mm projection service] or Mutoscope" [hand-cranked peep-show viewer].

The milk of human unkindness flows in this 1899 revenge comedy from the American Mutoscope & Biograph Company, in which a put-upon dairymaid throws off the chains of patriarchal and class oppression—or rather wields them in righteous anger.

“The filmmaker took several different scenes shot earlier between 1896 and 1899 and double-printed two sets of images together to create a new artistic creation. The transformation of a stage dance into a unique ciné-dance could only be possible in cinema - Bruce Posner

In this spirited and suggestive film, an aggressive young man is drenched in rich, high-protein comeuppance, after he attempts to tell a dairymaid her buttery business.

A portly clubman comes home after a social session considerably the worse for the wear. In the hall he encounters a suit of armor which has all the appearances of being alive; and he is so badly frightened that he collapses in a chair, where he is discovered by his wife, and marched off to bed.

A filmed record of a fan dancer performing a dance using two white sheets suspended from poles which she frantically twirls around herself to create a succession of patterns.

Stage star Anna Held (1872-1918) riffs on her once-famous scene from the comedy Papa's Wife (1899-1901) featuring a naif getting tipsy on her first champagne, in this "photographic interview", filmed in 68mm by Frederick S. Armitage. AM&B's Picture Catalogue of 1902 pitched it as "A stunning picture of the well-known actress in the drinking scene which made such a hit in Papa's Wife. The figure is shown in bust view, making the head very large and giving a clear view of the facial expressions of the beautiful artiste." The company said that both "make hits either in the Biograph [35mm projection service] or Mutoscope" [hand-cranked peep-show viewer].

The milk of human unkindness flows in this 1899 revenge comedy from the American Mutoscope & Biograph Company, in which a put-upon dairymaid throws off the chains of patriarchal and class oppression—or rather wields them in righteous anger.

“The filmmaker took several different scenes shot earlier between 1896 and 1899 and double-printed two sets of images together to create a new artistic creation. The transformation of a stage dance into a unique ciné-dance could only be possible in cinema - Bruce Posner

The scene opens with a salesman displaying corsets to the buyer of a country store. He calls in a female model and tries a corset on her. While the buyer is looking at the figure, the salesman removes the head and arms and finally shows that instead of legs, she has a wire frame. This is one of the most effective trick pictures in our list.

Time-lapse photography showing the one month-long demolition of the Star Theatre in New York.

The film is part of Eye Filmmuseum’s Mutoscope and Biograph Collection. This collection consists of about 200 films preserved on their original 68 mm format. The digital file provided is scanned in 2022 at Eye Collection Center, from the 35 mm duplicate negative that was made in 1998. After the first analogue preservation round made 25 years ago, Eye is now undertaking the digital restoration of the Mutoscope & Biograph Collection. “Mardi Gras Carnival” became the focus of attention, thanks to its inclusion within ‘The Artistry of REX’ exhibition, that opened in the summer of 2022 at the Louisiana State Museum.

Filming of a character sketch by the well-known vaudevillian Charles E. Grapewin. On a bare stage backed by a dark curtain, a man dressed in a three-piece suit and overcoat holds a racing program and excitedly watches a race supposedly taking place offstage.

Seeing New York by Yacht.

Special effects film with a train double exposed on the negative, creating a ghostly image.

A woman barber is putting the finishing touches on a customer, who is so pleased with the operation that he puts his arms around her and kisses her. As he does so, a big sign on the wall changes to read: 'Kisses, one dollar Extra;' and the customer is compelled to pay up. - AMB Picture Catalogue 1902

An excellent picture of this popular excursion boat, taken on the second day of the International Cup Race Oct. 5, 1899. The racing yacht 'Columbia' appears at anchor in the background.

A woman in ballet slippers wearing a large white hat and a long white dress - with ruffles, puffy sleeves and petticoats - dances across water with roiling waves behind her. She holds the edges of the skirt with her hands, lifting and twirling, sometimes exposing her bloomers and a dark garter on one leg. Her style combines ballet with the exuberant kicks and twirls of a burlesque dance hall. With churning waves behind her, the water seems to wash beneath her feet. The film of the dancer, "M'lle. Cathrina Bartho" (1899), is superimposed on that of the water, "Upper Rapids, from Bridge" (1896).

In this picture there is a limited amount of action in the pose. As the curtains are drawn aside the shell appears shut. It gradually opens, disclosing the model curled up in a recumbent position. She slowly arises as if awakening, and gracefully assumes the final position of the pose.

"This is a street scene. The rain has just ceased, and passers-by are lowering their umbrellas. A well-dressed young man meets a pretty girl beneath an awning over a shop door. While they are standing there, the shopkeeper lowers the awning, which has accumulated a lot of water, and the two are thoroughly drenched. This picture has made a big hit."

This scene is laid in a barber shop. A customer enters and takes his seat in the chair. The barber places the cloth about his neck, sharpens his razor, and then goes mad. He seizes a huge knife, cuts the man's head off, and takes it to a table some distance away. There he lathers and shaves the face; then taking the head back to the chair, he places it in his proper position on the trunk. The customer thereupon rises, none the worse for his experience, pays his bill, and leaves the shop.

Two sets of images are superimposed. From the side, we see a two-masted ship. Across the deck walks a skeleton. It sits down, its legs akimbo. The legs separate and continue a dance while the body of the skeleton faces us and the skull moves its jaw bone. It rises and the legs rejoin the skull and body for an additional jig back and forth on deck.

This is a single camera position film of muscle-flexing exercises by a professional physical culturist. The expansion, contraction, and flexing of the muscles and chest were done to display not only the prowess but also the control of the demonstrator.

From a single camera position, two young women are photographed lighting a cigarette. After several puffs, one of the young ladies becomes faint, and the other one tries to revive her fallen friend.

A combination of the picture entitled "The Ballet of the Ghosts," and a surf scene; the resulting effect being that the ghostly figures rise up out of the surf and come to the shore, cast their draperies aside and dance a few steps of the ballet, after which they again take up their draperies, and having covered themselves, retreat into the waves.

Photographed February 5, 1900.

A splendid picture of the remarkable centrifuge railroad at Coney Island in which the car makes a complete circle in its course around the track, commonly known as "Loop the Loop."

The great geyser at Yellowstone National Park, Wyoming. c. 1901.