“Gleanings from Westminster Abbey.” The second edition which came out in 1863, not long after the first edition sold out far more rapidly than had been hoped for. By George Gilbert Scott who was architect and Surveyor of the Fabric at the Abbey from 1849-1878 with help from William Burges and eleven other learned gentlemen most of whom were Fellows of the Society of Antiquaries. Where kings of England have been crowned going back to before Henry V of Agincourt fame was crowned here in 1413.

ORIGIN OF WINDOW TRACERY: Triforium, Peterborough Cathedral, A.D. 1140. – Saint Maurice, York. ca. 1160 – Porch of Saint Mary’s Shrewsbury, ca. 1180. Plate II, Page 44 of Gleanings from Westminster Abbey. George Gilbert Scott and William Burges et al, authors. Orlando Jewitt, engraver. Second edition, published in 1863 by John Henry and James Parker, Oxford and London, printers, publishers and booksellers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/gleaningsfromwes00scot_0/page/n44/mode/1up
PROGRESS OF WINDOW TRACERY: Bourges Cathedral – Chartres Cathedral – Tours Cathedral. Plate III Page 46 of Gleanings from Westminster Abbey. George Gilbert Scott and William Burges et al, authors. Orlando Jewitt, engraver. Second edition, published in 1863 by John Henry and James Parker, Oxford and London, printers, publishers and booksellers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/gleaningsfromwes00scot_0/page/n46/mode/1up
PROGRESS OF WINDOW TRACERY: Auxerre Cathedral – Bourges Cathedral – Saint Martin des Champs, Paris – Sainte-Cbapelle, Paris. Plate V, Page 49 of Gleanings from Westminster Abbey. George Gilbert Scott and William Burges et al, authors. Orlando Jewitt, engraver. Second edition, published in 1863 by John Henry and James Parker, Oxford and London, printers, publishers and booksellers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/gleaningsfromwes00scot_0/page/n49/mode/1up
CLERESTORY WINDOWS: Choir – Northeast angle of nave, a. Eastern jamb temp, Henry III. b. Western Jamb Temp, Edward I – Junction of styles, Nave. a. Eastern jamb, temp. Edward I. b. Western jamb temp, Richard II. Plate X, Page 74 of Gleanings from Westminster Abbey. George Gilbert Scott and William Burges et al, authors. Orlando Jewitt, engraver. Second edition, published in 1863 by John Henry and James Parker, Oxford and London, printers, publishers and booksellers. Collections of the Getty Research Institute. Artwork in the public domain due to age. via https://archive.org/details/gleaningsfromwes00scot_0/page/n74/mode/1up

These are just the window tracery engravings there is a lot more in this book. So more coming

Realtor lined up and its off for a fun afternoon of time-traveling house shopping. More interesting than the 2026 kind because you can check out the 1955 fashions in decor from back before someone at Wayfair made the rules. Collections of the University of Washington Libraries, Seattle, Washington State USA.

Alger house, exterior view of carport. 2320 Delmar Drive, Seattle, Washington, USA. Roland Terry/Terry and Moore, architect. 1955 photograph. Dearborn-Massar, photographers. Dearborn-Massar Photographs Collection, University of Washington Libraries Special Collections. Under copyright. https://digitalcollections.lib.washington.edu/digital/collection/dearmassar/id/2047/rec/1
Alger house, exterior view of deck. 2320 Delmar Drive, Seattle, Washington, USA. Roland Terry/Terry and Moore, architect. 1955 photograph. Dearborn-Massar, photographers. Dearborn-Massar Photographs Collection, University of Washington Libraries Special Collections. Under copyright. https://digitalcollections.lib.washington.edu/digital/collection/dearmassar/id/2044/rec/2
Alger house, exterior view of patio bar. 2320 Delmar Drive, Seattle, Washington, USA. Roland Terry/Terry and Moore, architect. 1955 photograph. Dearborn-Massar, photographers. Dearborn-Massar Photographs Collection, University of Washington Libraries Special Collections. Under copyright. https://digitalcollections.lib.washington.edu/digital/collection/dearmassar/id/2048/rec/5
Alger house, interior view of living room. 2320 Delmar Drive, Seattle, Washington, USA. Roland Terry/Terry and Moore, architect. 1955 photograph. Dearborn-Massar, photographers. Dearborn-Massar Photographs Collection, University of Washington Libraries Special Collections. Under copyright. https://digitalcollections.lib.washington.edu/digital/collection/dearmassar/id/2050/rec/7
Alger residence, interior view of the kitchen. 2320 Delmar Drive, Seattle, Washington, USA. Roland Terry/Terry and Moore, architect. 1955 photograph. Dearborn-Massar, photographers. Dearborn-Massar Photographs Collection. Property of MSCUA, University of Washington Libraries Special Collections. Under copyright. https://digitalcollections.lib.washington.edu/digital/collection/dearmassar/id/979/rec/14
Alger residence, interior showing light fixture in living room. 2320 Delmar Drive, Seattle, Washington, USA. Roland Terry/Terry and Moore, architect. 1955 photograph. Dearborn-Massar, photographers. Dearborn-Massar Photographs Collection. Property of MSCUA, University of Washington Libraries Special Collections. Under copyright. https://digitalcollections.lib.washington.edu/digital/collection/dearmassar/id/867/rec/15
Alger residence. Another view of the patio bar as seen from the side with a bookcase on the right so presumably a library or den. 2320 Delmar Drive, Seattle, Washington, USA. Roland Terry/Terry and Moore, architect. 1955 photograph. Dearborn-Massar, photographers. Dearborn-Massar Photographs Collection. Property of MSCUA, University of Washington Libraries Special Collections. Under copyright. https://digitalcollections.lib.washington.edu/digital/collection/dearmassar/id/977/rec/22

The house is still there. It turns up on Redfin which states that it was built in 1955 so photographed right after it was built though whether for the architects or the owners I don’t know. These images (and more with them, 22 in all) are archived as part of a collection of Dearborn-Massar photographs. They were professional architectural photographers in the Pacific Northwest during the period 1943-1963.

With some of these the bedrooms and bathrooms weren’t photographed because they were private spaces as opposed to patio bars, carports and living rooms. I expect that is why there are no photographs of them.

Off for an afternoon at the hairdresser’s salon on the street where the furriers minks dress every window. From 1936 so perfect for that total Art Deco effect. Imagery trade catalogue put out by Société Gallia, published by Félix Boudou & Cie and printed by Imprimerie Crémieu, all of Paris France. Curlers that lookelectrified, cologne, etc, etc. Archives of the Bibliothèque Forney

GALLIA la Marque de la Qualité. SOCIÉTÉ GALLIA, Félix Boudou & Cie 8, Rue Notre-Dame-de-Lorette PARIS. Téléphone: TRUDAINE 97-10, 97-11, 97-12; Adresse télégraphique: GALIATISTE-9-PARIS; Compte courant chèques postaux: Paris 1099.58. — R. C. Seine 84,444 —– Title page of a 1936 commercial catalogue put out by Société Gallia. Félix Boudou & Cie, publisher. Imprimerie Crémieu, printer. Collections of the Bibliothèque Forney. Artwork itself in the public domain due to age. https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0002154404/v0002.simple.highlight=emaux%20de%20briare.selectedTab=thumbnail
FLÈCHE D’OR. l’Appareil GALLIA à bas voltage. Appareil flèche d’or a enrouleurs (left) – Appareil flèche d’or à boites de suspension (right). Image 9 of GALLIA la Marque de la Qualité a commercial catalogue put out by Société Gallia in 1936. Félix Boudou & Cie, publisher. Imprimerie Crémieu, printer. Collections of the Bibliothèque Forney. Artwork itself in the public domain due to age. https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0002154404/v0009.simple.highlight=emaux%20de%20briare.selectedTab=thumbnail

LE NINON. SYSTEME POUR L’INDEFRISABLE DES FINES MECHES DE LA NUQUE – – – ET DES GUICHES – – – b/227 SEPARE-MECHES NINON; B/220 CHAUFFEUR NINON; B/222 RESISTANCE NINON; B/224 BIGOUDI NINON. Image 18 (left) of GALLIA la Marque de la Qualité a commercial catalogue put out by Société Gallia in 1936. Félix Boudou & Cie, publisher. Imprimerie Crémieu, printer. Collections of the Bibliothèque Forney. Artwork itself in the public domain due to age. https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0002154404/v0018.simple.highlight=emaux%20de%20briare.selectedTab=thumbnail

L’OLÉOLIVE. Shampooing à l’huile d’olive, joint crux qualities d’un détergent énergique, les bienfaisants effets d’un traitement efficace des cheveux secs et fragiles. L’OLEOLIVE mousse abondamment. L’OLÉOLIVE employé pour le massage du cuir chevelu ambliore rapidement l’état de la chevelure et favorise les résultats de l’Ondulation Indéfrisable. L’OLÉLIVE s’emploie en tres petite quantité. C’est le shampooing le plus économique. Image 31 of of GALLIA la Marque de la Qualité a commercial catalogue put out by Société Gallia in 1936. Félix Boudou & Cie, publisher. Imprimerie Crémieu, printer. Collections of the Bibliothèque Forney. Artwork itself in the public domain due to age. https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0002154404/v0031.simple.highlight=emaux%20de%20briare.selectedTab=thumbnail
SECHAGE. Image 33 of of GALLIA la Marque de la Qualité a commercial catalogue put out by Société Gallia in 1936. Félix Boudou & Cie, publisher. Imprimerie Crémieu, printer. Collections of the Bibliothèque Forney. Artwork itself in the public domain due to age. https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0002154404/v0033.simple.highlight=emaux%20de%20briare.selectedTab=thumbnail
SIÈGES POUR ENFANTS: D/615 “Mary” – D/610 “Maggie; D/597 Pégase – D/596 Pérée; D/620 “Bobby. Image 47 of of GALLIA la Marque de la Qualité a commercial catalogue put out by Société Gallia in 1936. Félix Boudou & Cie, publisher. Imprimerie Crémieu, printer. Collections of the Bibliothèque Forney. Artwork itself in the public domain due to age. https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0002154404/v0047.simple.highlight=emaux%20de%20briare.selectedTab=thumbnail
INSTALLATION “CONFORT.” Image 97 of of GALLIA la Marque de la Qualité a commercial catalogue put out by Société Gallia in 1936. Félix Boudou & Cie, publisher. Imprimerie Crémieu, printer. Collections of the Bibliothèque Forney. Artwork itself in the public domain due to age. https://bibliotheques-specialisees.paris.fr/ark:/73873/pf0002154404/v0097.simple.highlight=emaux%20de%20briare.selectedTab=thumbnail

The homeplace of a British lord with Ancient Egyptian doodads sprinkled around. Not as odd as the lord who managed to illegally purchase a sarcophagus that had been buried in a desert tomb so he could be interred in it later, however. Imagery from the privately published 1851 work “Ædes Hartwellianæ: or, Notices of the manor and mansion of Hartwell.” Written by W. H. Smyth and found in a back corner of the Internet Archive.

Ædes Hartwellianæ: or, Notices of the manor and mansion of Hartwell. Captain W. H. Smyth, Royal Navy, author. Printed in London in 1851 for private circulation by Jobn Bowyer Nichols and Son, Parliament Street. Title page. Collections of the Getty Research Institute. In the public domain due to age via https://archive.org/details/deshartwellianor00smyt/page/n10/mode/1up
Hartwell House, Reduced from a large view painted in 1749. James Basire, Engraver. Image 61, Plate III of Ædes Hartwellianæ: or, Notices of the manor and mansion of Hartwell. Captain W. H. Smyth, Royal Navy, author. Printed in London in 1851 for private circulation by Jobn Bowyer Nichols and Son, Parliament Street. Collections of the Getty Research Institute. In the public domain due to age via https://archive.org/details/deshartwellianor00smyt/page/n61/mode/1up
Lees of Cheshire (left) – Lees of Hartwell (right). Coat of arms. James Basire, engraver. Page 98, Image 126 of Ædes Hartwellianæ: or, Notices of the manor and mansion of Hartwell. Captain W. H. Smyth, Royal Navy, author. Printed in London in 1851 for private circulation by Jobn Bowyer Nichols and Son, Parliament Street. Collections of the Getty Research Institute. In the public domain due to age via https://archive.org/details/deshartwellianor00smyt/page/98/mode/1up

The Muniment Room at Hartwell House. James Basire, engraver.Page 101, Image 128 of Ædes Hartwellianæ: or, Notices of the manor and mansion of Hartwell. Captain W. H. Smyth, Royal Navy, author. Printed in London in 1851 for private circulation by Jobn Bowyer Nichols and Son, Parliament Street. Collections of the Getty Research Institute. In the public domain due to age via https://archive.org/details/deshartwellianor00smyt/page/101/mode/1up
Three statues carved in oak (out of a total of twenty-four) that decorate the staircase leading to the main apartments at Hartwell House. James Basire, engraver. Page 111 image 140 of Ædes Hartwellianæ: or, Notices of the manor and mansion of Hartwell. Captain W. H. Smyth, Royal Navy, author. Printed in London in 1851 for private circulation by Jobn Bowyer Nichols and Son, Parliament Street. Collections of the Getty Research Institute. In the public domain due to age via https://archive.org/details/deshartwellianor00smyt/page/111/mode/1up
Two Ancient Egyptian mummies included as illustrations although it appears from the text that these two mummies were not in Dr. Lee’s Hartwell House Collection. James Basire, engraver. Page 170 image 199 of Ædes Hartwellianæ: or, Notices of the manor and mansion of Hartwell. Captain W. H. Smyth, Royal Navy, author. Printed in London in 1851 for private circulation by Jobn Bowyer Nichols and Son, Parliament Street. Collections of the Getty Research Institute. In the public domain due to age via https://archive.org/details/deshartwellianor00smyt/page/170/mode/1up
Ancient Egyptian women wearing headresses (left) – female of the Tlascaltecas (Mexican) right. James Basire, engraver. Page 182 image 211 of Ædes Hartwellianæ: or, Notices of the manor and mansion of Hartwell. Captain W. H. Smyth, Royal Navy, author. Printed in London in 1851 for private circulation by Jobn Bowyer Nichols and Son, Parliament Street. Collections of the Getty Research Institute. In the public domain due to age via https://archive.org/details/deshartwellianor00smyt/page/182/mode/1up

The Egyptian Structure over the Hartwell Fountain. After a drawing by Cleghorn. James Basire, engraver. Page 222 image 259 of Ædes Hartwellianæ: or, Notices of the manor and mansion of Hartwell. Captain W. H. Smyth, Royal Navy, author. Printed in London in 1851 for private circulation by Jobn Bowyer Nichols and Son, Parliament Street. Collections of the Getty Research Institute. In the public domain due to age via https://archive.org/details/deshartwellianor00smyt/page/n259/mode/1up

ENCKE’S COMET. As seen at its re-appearance on the 22nd of September 1848, At the Hartwell Observatory. James Basire, engraver. Page 385 of Ædes Hartwellianæ: or, Notices of the manor and mansion of Hartwell. Captain W. H. Smyth, Royal Navy, author. Printed in London in 1851 for private circulation by Jobn Bowyer Nichols and Son, Parliament Street. Collections of the Getty Research Institute. In the public domain due to age via https://archive.org/details/deshartwellianor00smyt/page/n385/mode/1up

Off to buy a new pair of dancing slippers and back soon. Being a plus one at a party at the fanciest club in Louisville, Kentucky and that means fancy. Caviar, champagne, a fifty piece dance orchestra . . .

“Annual Outing of the Advertising Club of Louisville at the Louisville Boat Club, Louisville, Kentucky, 1929: According to the Friday morning edition of the Courier Journal from September 20th, 1929, this is the annual outing for the Advertising Club of Louisville, which is being hosted at the Louisville Boat Club at 4200 River Road. The planned outline of events as given by the paper says that prior to the dinner they held athletic events and played bridge and that after the dinner there was to be a dance. There is a large table with a tablecloth over it that has plates, cutlery, food, and flowers spread atop it. Sitting around the table are white men and women of various ages dressed in formal party-going attire. There are helium balloons tied to various chairs. There are three African American men standing behind the people sitting at the table. Two of these men are wearing tuxedos standing around what are presumably music stands holding sheet music. The other man is holding a bundle of helium balloons.” September 20, 1929. American. Caufield and Shook, photographers. No known copyright as of 2026. Caufield and Shook Collection, University of Louisville Libraries. https://digital.library.louisville.edu/concern/images/ulpa_cs_104782?locale=en
Crowd of white women and men pack the Club Madrid dance floor. Club Madrid, also referred to as Madrid Ballroom, was located at Third and Guthrie Streets inside the Louisville Recreational Building in Louisville, Kentucky. The club opened in 1929 and featured dancing and live music. It closed in 1952. 1929 image. American. Caufield and Shook, photographers. No known copyright as of 2026. Caufield and Shook Collection, University of Louisville Libraries. https://digital.library.louisville.edu/concern/images/ulpa_cs_104746?locale=en
Club Madrid, Southeast corner Third Street and Guthrie, Louisville, Kentucky: Large crowd of people at tables with white table cloths and on the dance floor in a ballroom. The men wear suits white tuxedos, and the women wear long dresses. An all woman band, likely trumpet player Joy Caylor and “Her Swinging Co-Eds,” is visible on the stage in the background. The ballroom is decorated with painted palm trees on the back wall and ornate chandeliers. May 31 1944 image. American. Royal Photographic Company, photographer. No known copyright as of 2026. University of Louisville Libraries Collection. https://digital.library.louisville.edu/concern/images/ulpa_r_08081_00?locale=en

An envisioning. July 2022, and a late morning heading toward crab salad luncheon with the ladies’ time at the Active Retiree Inn at Glimmerglass Bluffs.

Oh to be here.

The servers setting up the dining room. More guests than the invitation had promised, at least as far as one can tell from the number of dishes and courses listed. Only five items and two desserts, but an entire horseshoe table like the kind the Governor had at his banquet back in Boston that time, the one that was supposed to be lobster but the lobsters weren’t leaping into the traps. Gallons of baked beans garnished with parsley instead. This lunch better, for sure, what with not even a can of baked beans for miles and three bowls of marshmallow-studded ambrosia already.

Please click through the link to read the rest if you’d like. It’s all published to my Substack including this image and a second one.

https://sarahbguestperry.substack.com/p/an-envisioning-july-2022-and-a-late

Art grilles in wood that must have been stylish considering a buyer at Boston’s Jordan Marsh put together a trade catalogue of them. From 1895. I grew up in a Queen Anne house in suburban Boston that had one and remember other houses with them. I had thought that they came from the woodworking shops of Boston’s South End but no they appear to have come from the store where 70 years later my mother refused to let my sister and myself buy go go boots. Who knew!

MODERN ART GRILLES. Front cover of a trade catalogue published in 1895 by Jordan, Marsh and Company, Boston. American. Collections of the Canadian Center for Architecture. Cc0 License/Public Domain Mark 1.0. via https://archive.org/details/JordanMarshCoCCA90042/mode/1up
Art grille in wood with a statuette sitting on the shelf. Number 1000. Came in mahogany, walnut, or Prima Vera (blond mahogany) with a choice of finishes; White or Tinted in an enamel or dull finish, White and Gold using gold liquid or pure gold leaf, or All Gold using gold liquid or pure gold leaf. Page 3 of MODERN ART GRILLES, a trade catalogue published in 1895 by Jordan, Marsh and Company, Boston. American. Collections of the Canadian Center for Architecture. Cc0 License/Public Domain Mark 1.0. via https://archive.org/details/JordanMarshCoCCA90042/page/n3/mode/1up
Art grille in wood with a vase of flowers sitting on the shelf. Number 1006. Came in mahogany, walnut, or Prima Vera (blond mahogany) with a choice of finishes; White or Tinted in an enamel or dull finish, White and Gold using gold liquid or pure gold leaf, or All Gold using gold liquid or pure gold leaf. Page 5 of MODERN ART GRILLES, a trade catalogue published in 1895 by Jordan, Marsh and Company, Boston. American. Collections of the Canadian Center for Architecture. Cc0 License/Public Domain Mark 1.0. via https://archive.org/details/JordanMarshCoCCA90042/page/n5/mode/1up
Art grille in wood screening off the staircase that ascends from the front hall with drapery attached to the arched part of the grille over on the left. Number 1021. Came in mahogany, walnut, or Prima Vera (blond mahogany) with a choice of finishes; White or Tinted in an enamel or dull finish, White and Gold using gold liquid or pure gold leaf, or All Gold using gold liquid or pure gold leaf. Page 9 of MODERN ART GRILLES, a trade catalogue published in 1895 by Jordan, Marsh and Company, Boston. American. Collections of the Canadian Center for Architecture. Cc0 License/Public Domain Mark 1.0. via https://archive.org/details/JordanMarshCoCCA90042/page/n9/mode/1up
Art grille in wood with a floor to ceiling velvet? drapery attached to the screen by beadwork ? and a tassel on the left and a carved wooden griffin or dragon on the right. Number 1026. Came in mahogany, walnut, or Prima Vera (blond mahogany) with a choice of finishes; White or Tinted in an enamel or dull finish, White and Gold using gold liquid or pure gold leaf, or All Gold using gold liquid or pure gold leaf. Page 11 of MODERN ART GRILLES, a trade catalogue published in 1895 by Jordan, Marsh and Company, Boston. American. Collections of the Canadian Center for Architecture. Cc0 License/Public Domain Mark 1.0. via https://archive.org/details/JordanMarshCoCCA90042/page/n11/mode/1up
Art grille in wood, personalized with the name “Everitt.” Number 1025. Came in mahogany, walnut, or Prima Vera (blond mahogany) with a choice of finishes; White or Tinted in an enamel or dull finish, White and Gold using gold liquid or pure gold leaf, or All Gold using gold liquid or pure gold leaf. Page 10 (bottom image) of MODERN ART GRILLES, a trade catalogue published in 1895 by Jordan, Marsh and Company, Boston. American. Collections of the Canadian Center for Architecture. Cc0 License/Public Domain Mark 1.0. via https://archive.org/details/JordanMarshCoCCA90042/page/n10/mode/1up
A very elaborate wood art grille with floor to ceiling draperies with fringe on the left with a glimpse of the newel post leading to the staircase ascending to the second floor with a built in bench on the right in front of the stairs. Number 1025. Came in mahogany, walnut, or Prima Vera (blond mahogany) with a choice of finishes; White or Tinted in an enamel or dull finish, White and Gold using gold liquid or pure gold leaf, or All Gold using gold liquid or pure gold leaf. Page 12 of MODERN ART GRILLES, a trade catalogue published in 1895 by Jordan, Marsh and Company, Boston. American. Collections of the Canadian Center for Architecture. Cc0 License/Public Domain Mark 1.0. via https://archive.org/details/JordanMarshCoCCA90042/page/n12/mode/1up
Art grilles in wood, Numbers 1028 and 1029. Came in mahogany, walnut, or Prima Vera (blond mahogany) with a choice of finishes; White or Tinted in an enamel or dull finish, White and Gold using gold liquid or pure gold leaf, or All Gold using gold liquid or pure gold leaf. Page 12 of MODERN ART GRILLES, a trade catalogue published in 1895 by Jordan, Marsh and Company, Boston. American. Collections of the Canadian Center for Architecture. Cc0 License/Public Domain Mark 1.0. via https://archive.org/details/JordanMarshCoCCA90042/page/n13/mode/1up
Art grilles in wood, Numbers 1030 and 1031. Came in mahogany, walnut, or Prima Vera (blond mahogany) with a choice of finishes; White or Tinted in an enamel or dull finish, White and Gold using gold liquid or pure gold leaf, or All Gold using gold liquid or pure gold leaf. Page 14 of MODERN ART GRILLES, a trade catalogue published in 1895 by Jordan, Marsh and Company, Boston. American. Collections of the Canadian Center for Architecture. Cc0 License/Public Domain Mark 1.0. via https://archive.org/details/JordanMarshCoCCA90042/page/n14/mode/1up

My parents weren’t having a baby in 1948 but somebody was and maybe they looked through “It’s Lullabye Time,” a trade catalogue from the Lullabye Furniture Corporation of Stevens Point, Wisconsin. I assume they mailed these out to a mailing list of expectant mothers or you could walk into a furniture store and pick one up.

Front cover of It’s LULLABY Time. Stamped patent office – January 17 1948 – Design Division A trade catalogue put out by a trade catalogue from the Lullabye Furniture Corporation of Stevens Point, Wisconsin. American. Cc0 License 1.0. via https://archive.org/details/lullabye-furniture-1948/page/n4/mode/1up
CRADLE SONG (page 1 of 2). Page 1 of It’s LULLABY Time. Stamped patent office – January 17 1948 – Design Division A trade catalogue put out by a trade catalogue from the Lullabye Furniture Corporation of Stevens Point, Wisconsin. American. Cc0 License 1.0. via https://archive.org/details/lullabye-furniture-1948/page/n1/mode/1up

“Dude Ranch” Ensemble. Every little boy or girl will give a big “yip-e-e-e hi-ho” for a Dude Ranch room. What fun to be a cowboy or a cowgirl, to live and entertain the neighborhood small set in a bedroom-playroom that is authentically western to the core. Here truly is an atmosphere for little people that will stimulate self-reliance, fire the imagination and accentuate the habits of neatness and responsibility. Page 7 of It’s LULLABY Time. Stamped patent office – January 17 1948 – Design Division A trade catalogue put out by a trade catalogue from the Lullabye Furniture Corporation of Stevens Point, Wisconsin. American. Cc0 License 1.0. via https://archive.org/details/lullabye-furniture-1948/page/n7/mode/1up
“Dream Boat” Ensemble. What fun to have a sailor room… to be the skipper of this charming youth group of breath-taking beauty. Shown here in glowing, natural honey birch, Dream Boat is also available in lovely pastel enamel as illustrated in the Infant’s Set on the opposite page. But regardless of the finish you may choose, the trim, nautical lines of this set will win the heart of your little boy or girl, and the open admiration of all others who see it. The side rails of the bed are turned in a natural rope twist, the drawer pulls fashioned to appear as net floats. Other marine touches, such as the anchor backed mother’s chair, and the rounded wave corners of all pieces, make this an enchanting, happy room. Page 11 of It’s LULLABY Time. Stamped patent office – January 17 1948 – Design Division A trade catalogue put out by a trade catalogue from the Lullabye Furniture Corporation of Stevens Point, Wisconsin. American. Cc0 License 1.0. via https://archive.org/details/lullabye-furniture-1948/page/n11/mode/1up
“Piggy Bank” Infants’ Set. Here is a delightful, charming room for baby that goes straight to the heart of all who see it—a combination of essential, functional pieces that suggest happiness on sight. Yet this Piggy Bank group, or any other pleasing Lullabye ensemble, represents much more than just furniture to carry you through the period of infancy and the baby years. Basically, this furniture is planned so that as baby | grows, the room grows too, developing into a youth room. Only one of these original pieces — the crib—will sooner or later find its way to retirement. All of the rest, the chifferobe, costumer, toy chest and | mother’s chair carry on through all of the years from babyhood to high school days. Along with the youth bed, a writing desk, and perhaps a child’s table and chair set, are the only major additions that need be added to give your little boy or girl a fully ensembled, functional child’s room. Page 14 of It’s LULLABY Time. Stamped patent office – January 17 1948 – Design Division A trade catalogue put out by a trade catalogue from the Lullabye Furniture Corporation of Stevens Point, Wisconsin. American. Cc0 License 1.0. via https://archive.org/details/lullabye-furniture-1948/page/n14/mode/1up
BYE BYE BABY BUNTING. Page 29 of It’s LULLABY Time. Stamped patent office – January 17 1948 – Design Division A trade catalogue put out by a trade catalogue from the Lullabye Furniture Corporation of Stevens Point, Wisconsin. American. Cc0 License 1.0. via https://archive.org/details/lullabye-furniture-1948/page/n29/mode/1up

Lullabye Furniture was founded in 1897. They closed in the 1990s.

Only two more weeks and its off to Camp Quinibeck to have fun until school starts. Camp Quinibeck was on Lake Fairlee in Vermont; one of these images is from a local historical society, the others are from a 1912 photograph album that must have belonged to a camper or maybe a counselor.

Campers presenting a classical tableau. Performances of this type were prepared for camp and public audiences. Camp Quinibeck, Lake Fairlee, Vermont. Photograph, ca. 1915. American. Photographer not given. Collections of the Fairlee Historical Society. Photograph itself in the public domain due to age. via https://larrycoffin.blogspot.com/2010/07/going-to-summer-camp.html
Tableau with two campers and two counselors. Must have been wrapped around the Alaska Gold Rush as the young woman on the left is holding a mining tin pan and the box the young woman on the right is holding says “Fairbanks Gold Dust Washing Powder.” 1912. From a black paper photo album of photographs of Camp Quinibeck, Lake Fairlee, Vermont with the first photograph labeled “Camp Quinibeck 1912.” Image © 2026 Caroliniana Rare Books. Fair use license with the photograph itself being in the public domain due to age. https://www.carolinianararebooks.com/pages/books/12487/photo-album-of-camp-quinibeck-in-vermont
Camp Quinibeck 1912. Cabins and dining hall/main building, Camp Quinibeck, Lake Fairlee, Vermont. 1912. From a black paper photo album of photographs of Camp Quinibeck, Lake Fairlee, Vermont with the first photograph labeled “Camp Quinibeck 1912.” Image © 2026 Caroliniana Rare Books. Fair use license with the photograph itself being in the public domain due to age. https://www.carolinianararebooks.com/pages/books/12487/photo-album-of-camp-quinibeck-in-vermont
Tableau/pageant/play with campers in various costumes including a sailor, a clown and a Chinaman sitting in the middle of the front row. Camp Quinibeck, Lake Fairlee, Vermont. 1912. From a black paper photo album of photographs of Camp Quinibeck, Lake Fairlee, Vermont with the first photograph labeled “Camp Quinibeck 1912.” Image © 2026 Caroliniana Rare Books. Fair use license with the photograph itself being in the public domain due to age. https://www.carolinianararebooks.com/pages/books/12487/photo-album-of-camp-quinibeck-in-vermont

Campers wearing their middy tops and gym skirts. Camp Quinibeck, Lake Fairlee, Vermont. 1912. From a black paper photo album of photographs of Camp Quinibeck, Lake Fairlee, Vermont with the first photograph labeled “Camp Quinibeck 1912.” Image © 2026 Caroliniana Rare Books. Fair use license with the photograph itself being in the public domain due to age. https://www.carolinianararebooks.com/pages/books/12487/photo-album-of-camp-quinibeck-in-vermont
Exercise? Maybe a competition with a neighboring camp? Camp Quinibeck, Lake Fairlee, Vermont. 1912. From a black paper photo album of photographs of Camp Quinibeck, Lake Fairlee, Vermont with the first photograph labeled “Camp Quinibeck 1912.” Image © 2026 Caroliniana Rare Books. Fair use license with the photograph itself being in the public domain due to age. https://www.carolinianararebooks.com/pages/books/12487/photo-album-of-camp-quinibeck-in-vermont
Waterfront with a row boat in the foreground and campers swimming, boating and canoeing. Camp Quinibeck, Lake Fairlee, Vermont. 1912. From a black paper photo album of photographs of Camp Quinibeck, Lake Fairlee, Vermont with the first photograph labeled “Camp Quinibeck 1912.” Image © 2026 Caroliniana Rare Books. Fair use license with the photograph itself being in the public domain due to age. https://www.carolinianararebooks.com/pages/books/12487/photo-album-of-camp-quinibeck-in-vermont

This was only Camp Quinibeck’s second summer from what I am finding. It would have been one of the earliest camps for girls. They closed decades later so there is a Facebook page with 1960s images but nothing this old. There are probably more in the historical society collections but other than the first image here which is from someone else’s blog post none of the other pictures appear to have been scanned and available online.

Also, counselors in black face and a camper in costume as a Chinaman was perfectly fine in 1912 Vermont.

Pretending to be a Native American in the “Pageant at Cooperstown.” From a set of postcards put out by Brown Brothers; it is likely that the photographs are from Cooperstown’s James Fenimore Cooper Sesquicentennial Celebration in August and September of 1940. These are from Auger Down Books but Abe Books has a set too.

Actors dressed as leather- and fur-clad pioneers, and others in war bonnets and loincloths being Indians/Native Americans. Part of the “Pageant at Cooperstown” which was part of the Cooperstown’s James Fenimore Cooper Sesquicentennial Celebration in August and September of 1940. American. Brown Brothers, publishers. Image © 2026 Auger Down Books. Fair use license. https://www.augerdownbooks.com/pages/books/List2819/american-authors-upstate-new-york-brown-brothers/eight-real-photo-postcards-likely-from-the-james-fenimore-cooper-sesquicentennial-celebration
Scene with three actors, a riverboat and a birchbark canoe. Hard to tell. Part of the “Pageant at Cooperstown” which was part of the Cooperstown’s James Fenimore Cooper Sesquicentennial Celebration in August and September of 1940. American. Brown Brothers, publishers. Image © 2026 Auger Down Books. Fair use license. https://www.augerdownbooks.com/pages/books/List2819/american-authors-upstate-new-york-brown-brothers/eight-real-photo-postcards-likely-from-the-james-fenimore-cooper-sesquicentennial-celebration
Actors who might be portraying the parents of James Fenimore Cooper. Maybe not. Hard to tell. Part of the “Pageant at Cooperstown” which was part of the Cooperstown’s James Fenimore Cooper Sesquicentennial Celebration in August and September of 1940. American. Brown Brothers, publishers. Image © 2026 Auger Down Books. Fair use license. https://www.augerdownbooks.com/pages/books/List2819/american-authors-upstate-new-york-brown-brothers/eight-real-photo-postcards-likely-from-the-james-fenimore-cooper-sesquicentennial-celebration

James Fenimore Cooper wrote “The Last of the Mohicans” and other novels. Also, I’ve been to Cooperstown but a long time ago. After summer camp ended, my grandparents would take two grandchildren at a time (there were five of us altogether) and we would take week long trips going to various places in upstate New York. One year they took myself and my sister to Cooperstown.

Learn more about the pageant here https://jfcoopersociety.org/content/04-crit/articles/nyhistory/1941nyhistory-sesquicentennial.htm