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                  <text>Ephemera Digitization &amp; Preservation</text>
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                <text> Lablache Face Powder Advertisement </text>
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                <text>Ben Levy Co.</text>
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                <text>Gender &amp; Women’s Studies</text>
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                <text>This is an advertisement for Lablache Face Powder, a Ben Levy Company product, a French perfumery from Boston, Massachusetts, produced in the early 20th century. The ad is decorated with floral borders and a woman's profile portrait; it projects elegance and sophistication in beauty advertising during this time. In addition to the skin benefits of the product's application, "smooth, velvety skin" and its ability to protect from sunburn, the ad conveys the growing obsession with beauty products at this time, and the promotion of women's complexions as a sign of social distinction. Ads like this would have appeared in magazines published in the early 1900s, when face powders were sold as mass-produced products at a time when beauty standards around women's appearance underwent major changes.&#13;
&#13;
ID:  The picture is an antique black and white advertisement. The border spanning the top and sides is decorative and includes a vine and rose design. This particular ad features a circular portrait of a woman with a high and full hairstyle, looking just to the right. The bold word "LABLACHE," stretches across the lower half of the ad, and curves and vines decorate some of the letters. The ad also says "Face Powder" under the word "Lablanche" in a smaller font, and blocks of text surround both.&#13;
&#13;
Physical dimensions: 5"x4"</text>
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                <text>From the Collection of Lydia E. Ferguson</text>
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                <text>The Ladies' World</text>
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                <text>July 1907</text>
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                <text>Kailyn Williams</text>
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        <name>American advertisement</name>
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        <name>Beauty</name>
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                <text>"Science shows why Old Dutch Cleaner costs less to use"</text>
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                <text>C.P. Co.</text>
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                <text>History, Advertisement, Science, Agriculture, Advertising, Marketing</text>
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                <text>The back of a farmer’s wife magazine that contains an advertisement. The advertisement is about cleaning powder which uses evidence from a microscope to explain why their product is better. It has a yellowish look of old paper. It is very similar to other advertisements from the 1930s. This magazine uses the strategy of logos in an attempt to persuade people to buy Old Dutch Cleaner. &#13;
&#13;
ID: main imagine with a blonde woman and brown hair man looking at a microscope with a can of Old Dutch cleaner next to the microscope. Two images, one on each part of the object. One is Old Dutch powder under a microscope showing finer particles, while the other one is grit under the microscope. &#13;
&#13;
Physical Dimensions: 15” x 11”  </text>
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            <description>A related resource from which the described resource is derived</description>
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                <text>From the Collection of Lydia E. Ferguson  </text>
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                <text>November 1932  </text>
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                <text>Darby Marsh  </text>
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        <name>Ephemera</name>
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                  <text>Ephemera Digitization &amp; Preservation</text>
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                <text>A vintage print advertisement promoting Champion Spark Plugs, featuring a four-engine propeller airliner, a spark plug illustration, and an orange automobile. The ad claims that most airlines specify Champion Spark Plugs due to their dependability. Also includes text that encouraging consumers to choose Champion for reliable vehicle performance.&#13;
&#13;
Description (ID): In the center of the page, there is a silver four-engine plane flying over mountains and an airport. To the left of the page there is a spark plug with orange writing saying, “CHAMPION PATENTED.” There is an arrow pointing at the spark plug that says "THEY'RE DENPENDALE" in orange letters. On the bottom of the ad, there is an orange post-World War II car. &#13;
&#13;
Physical Dimensions: 9 ½ in x 6 ½ in</text>
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                <text>From the Collection of Lydia E. Ferguson</text>
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                <text>Popular Mechanics Magazine</text>
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                <text>February 1946</text>
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                <text>Caden Downey</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>This material is subject to copyright law and is made available for private study, scholarship, and research purposes only.</text>
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                <text>English</text>
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        <name>1940s Advertising</name>
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        <name>Automobile</name>
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        <name>Automotive equipment</name>
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        <name>Automotive parts</name>
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        <name>Internal combustion engines</name>
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        <name>Spark plugs</name>
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        <name>Vintage advertisement</name>
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                <text>This postcard from the early 1900s shows the Fort Meyer Gate entrance to Arlington National Cemetery in Virginia. It belongs to a souvenir pack called "Views of Beautiful Arlington, VA," which includes other famous spots like the Tomb of the Unknown Soldier. The picture shows a detailed iron gate and stone posts with eagle statues on top, all surrounded by a border decorated with crossed rifles. It was made by the Curt Teich Company, a famous maker of postcards that documented American travel and history during that time. &#13;
&#13;
ID: Vertical, color-tinted postcard showing a paved road leading through large, open black iron gates. Two tall, dark stone pillars flank the entrance, each adorned with a gold-colored eagle statue at the top. The scene is lush with green trees and a sunset sky of yellow and soft orange. A dark, ornate border surrounds the central image, featuring yellow corner squares with black silhouettes of crossed rifles and sabers. Small text at the top center reads "Fort Meyer Gate."&#13;
&#13;
Physical Dimensions: Standard Postcard size</text>
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                <text>From the Collection of Lydia E. Ferguson</text>
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                <text>B.S. Reynolds Co., Washington, D.C. </text>
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                <text>Florida’s Seminole Indians Postcard Booklet (Souvenir)</text>
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                <text>The Florida Seminole Indians postcard booklet is a souvenir that tourists could buy when they went to Florida in the middle of the 20th century. It has a bunch of postcards that show Seminole people doing everyday things while wearing traditional clothes like patchwork clothes. Some pictures show chicken huts, handmade tools, and parts of Florida's natural environment, like plants and animals that live there.&#13;
&#13;
The booklet shows how Seminole culture was shown to tourists and the general public, often focusing on things that were visually appealing and unique to the culture. It is a record of cultural practices, but it is also a selective and commercialized view shaped by tourism and consumer interest. This means that the pictures might show some traditions but not the whole picture of Seminole life. Overall, the booklet shows how Native American culture was turned into a souvenir, which changed how people thought about and remembered the Seminole people.&#13;
&#13;
ID: Foldable paper booklet with a printed cover and multiple numbered postcard images (1–16), each with a short description</text>
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                <text>From the Collection of Lydia E. Ferguson</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>This material is subject to copyright law and is made available for private study, scholarship, and research purposes only.</text>
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            <description>A name given to the resource</description>
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                <text>2010 FIFA World Cup Tickets and Official Ticket Guide</text>
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                <text>Fédération Internationale de Football Association (FIFA)</text>
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                <text>This artifact consists of four original tickets from the 2010 FIFA World Cup along with an official ticket guide booklet. The tickets are for a Group E match between the Netherlands and Japan, representing entry into one of the most historically significant sporting events, as it was the first World Cup held on the African continent. Beyond their practical use, these tickets symbolize a moment of unity, national pride, and global recognition for South Africa following the end of apartheid. As someone originally from South Africa, this artifact holds deeper cultural meaning, reflecting not only a global event but also a defining moment in the country’s modern identity. The accompanying ticket guide provides insight into how the event was organized and experienced by fans.&#13;
&#13;
ID:&#13;
The artifact includes four rectangular paper tickets arranged in a slightly overlapping formation on a flat surface. Each ticket is predominantly yellow with a gradient background and features a bold black silhouette of a soccer player kicking a ball, surrounded by curved streaks of red, green, and yellow, reflecting the colors associated with South African identity. Printed text on the tickets includes match information such as “Netherlands vs Japan,” “Match 25,” and detailed seating information including section, row, and seat numbers. Along the right edge of each ticket is a vertically printed barcode used for entry scanning. Behind the tickets is a red and orange booklet labeled “2010 FIFA World Cup South Africa Official Ticket Guide,” decorated with flowing graphic lines and the official FIFA World Cup logo. Positioned next to the booklet is a small plush figure of Zakumi, the official World Cup mascot, characterized by its yellow body, green hair, and soccer-themed design. &#13;
&#13;
Physical Dimensions: Tickets: Approximately 6.5 inches by 3 inches each; Guide booklet: Approximately 5 x 7.5 inches</text>
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                <text>Personal Collection (Family Collection from South Africa)</text>
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                <text>Liam Dingle</text>
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            <description>Information about rights held in and over the resource</description>
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                  <text>Ephemera Digitization &amp; Preservation</text>
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                <text>General Electric Automatic Dishwasher Advertisement</text>
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                <text>Domestic labor, Household technology, Advertising, American consumer culture</text>
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                <text>A 1958 magazine advertisement promoting the General Electric automatic dishwasher. The ad contrasts the labor of handwashing dishes with the convenience of GE’s new appliance, using illustrated scenes of dishwashing and a modern kitchen photograph. It emphasizes domestic efficiency and shows the dishwasher as a labor saving addition to the mid-century home.&#13;
&#13;
ID: Across the top of the page are three illustrated panels arranged horizontally, each showing a woman washing or drying dishes, accompanied by humorous captions questioning daily dishwashing routines. Below these illustrations is a large photograph of a mid-century GE kitchen, featuring an open dishwasher filled with neatly arranged dishes. Text blocks flank the image, describing the appliance’s benefits and convenience. The General Electric logo is positioned at the bottom center of the advertisement.&#13;
&#13;
Physical Dimensions: 8 in × 11 in</text>
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                <text>“The GM ODYSSEY: SCIENCE NOT FICTION” </text>
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                <text>Advertisement for General Motors or GM found inside of an American Visions Magazine from 1986, introducing new technology that will be used in and on future GM models. Including electronic navigation systems, instrument panels, and electronic POD systems soon to be added into new vehicles for better driving assistance. As well as computer simulated aerodynamic modeling, creating better designs, using “Magnequench” material to improve performance and reliability. Having new strategies to predict future needs for GM vehicles and machines that check for issues. Describing the new use of technology as “an odyssey into the unknown”, introducing new concepts in the year 1986. Trying to prepare the public for what is to come in future GM vehicles. &#13;
&#13;
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                <text>From the Collection of Lydia E. Ferguson</text>
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                <text>Jordan Herrera</text>
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                <text>"Consider your Adam's Apple" Lucky Strike Ad</text>
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                <text>A small pack of cigarettes that makes it safer to consume in your throat than other tobacco products. Lucky Strike exposes ultraviolet rays that expels certain harsh irritants that is shown in all raw tobacco products. Lucky Strike is a U.S. cigarette brand recognized for its red, white, and green package and the background it has in American tobacco history. Lucky Strike was started in the late 1800s but was a well-established brand through much of the 20th century primarily due to the slogan "It's Toasted," indicating that, when Lucky Strike cigars are manufactured, the tobacco inside is heat-cured instead of sun-dried. &#13;
&#13;
ID:  A woman is pointing towards her throat to symbolize that people should protect their Adam's apple and esophagus. Lucky strike shows they are a safe option because they don't irritate the throat at all and come in the package already heated to get rid of irritants and harsh chemicals that other tobacco products display. The box of the cigarettes is dark green with a lucky strike logo in bolded red with words bolded black saying lucky strike.&#13;
&#13;
Physical Dimensions: 14 inches in height and 6 inches in width</text>
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                <text>Willie Harper</text>
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                <text>Send No Money!</text>
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                <text>Oliver Typewriter Company</text>
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                <text>Full-page ad for the Oliver No. 9 typewriter with the title "Send No Money" Published in the April 7, 1922, issue of The American Legion Weekly, a post-World War I magazine distributed to American veterans.  Offering a five-day free trial, an extended payment plan, and a discounted price, the advertisement exemplifies typical marketing techniques used by the mail-order industry in the early 20th century.  Along with a comprehensive coupon for mail ordering, it visually displays the typewriter.&#13;
&#13;
ID:  Oliver typewriter (model No. 9) taking up the top two-thirds of the page which is large and centered. The machine is topped by a block of text stating the offer “FREE TRIAL — Over a Year To Pay” with circular badges saying “Was $100” (left) and “Now $55” (right). A bold, large headline stating “Send No Money!” is placed under the image and in large text, and goes from the left side of page to the right.   The headline is followed by a paragraph copy explaining the free trial and payment plan, smaller print with testimonial references and a boxed mail-order coupon at lower right for fields of name, address, city/state, and occupation. The left margin features “Famous Users of the Oliver” (various companies). Fine print discloses the trial period (five days), return policy, and installment terms ($3 after trial then $4/month). The whole layout makes use of strong typographic contrast to grab attention to price and the “no money” offer.&#13;
&#13;
Physical Dimensions: 11”x 8”</text>
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