The Flickr Libraryofcongress Image Generatr

This richly detailed photograph captures a close-up view of the exquisite coffered ceiling in the Library of Congress, located in the Thomas Jefferson Building in Washington, D.C. One of America’s most architecturally significant public spaces, the ceiling showcases the Beaux-Arts splendor that defines this national landmark.

Each coffer in the ceiling is adorned with concentric square moldings painted in ivory, deep red, and gold. At the center of every panel lies a gilded rosette, encircled by pearl-like beading and floral motifs. The design is a harmonious blend of neoclassical and Renaissance influences, reflecting the Library’s mission to celebrate knowledge, beauty, and human achievement through timeless craftsmanship.

The image also reveals vertical bands of ornamental plasterwork, which separate the rows of coffers with symmetrical carvings of vines, blossoms, and classical reliefs. These flourishes add a sense of vertical rhythm and reinforce the building’s commitment to visual storytelling and intellectual refinement. This ceiling is more than mere decoration—it’s a carefully crafted narrative of artistry and order.

This view focuses on a ceiling located in the David M. Rubenstein Treasures Gallery, a space that houses some of the Library’s most iconic historical artifacts. The coffered ceiling’s dazzling repetition and geometric order make it a favorite among architecture lovers and photographers alike, especially those drawn to patterns, symmetry, and fine detail.

What makes this ceiling particularly arresting is its interplay of color, shadow, and gilding. As natural light filters through nearby stained glass windows and ambient lighting casts soft illumination across the ceiling’s surface, the depth of the reliefs becomes more pronounced. This interplay gives each rosette a jewel-like presence, as if the ceiling were encrusted with precious emblems of learning and legacy.

Architectural elements like this ceiling serve a dual purpose—both structural and symbolic. Structurally, coffering reduces the weight of a vaulted ceiling, while symbolically it elevates the space into something akin to a temple of knowledge. The craftsmanship echoes the classical ideals of harmony, proportion, and enlightenment that have guided Western architecture for centuries.

Photographed with a keen eye for alignment and a centered vantage point, this image invites the viewer to pause and contemplate the detail above them—an element often missed when visiting such a grand space. Whether you're visiting for research, architecture, or inspiration, the Library of Congress offers a wealth of visual beauty—and this ceiling is one of its quiet masterpieces.

This photograph showcases the breathtaking grand staircase and soaring marble colonnades inside the Thomas Jefferson Building of the Library of Congress in Washington, D.C. Renowned as one of the most architecturally stunning public interiors in the United States, this space blends classical grandeur with masterful craftsmanship and symbolic artistry.

The image captures the full elegance of the stairway, flanked by double-tiered rows of Corinthian columns made from polished white marble. These stately columns rise toward elaborately decorated arches and a vaulted ceiling adorned with vividly painted frescoes featuring allegorical female figures, floral patterns, and golden medallions. The Beaux-Arts style is on full display, blending neoclassical ideals with Renaissance-inspired decorative motifs.

To the right of the staircase, you can see part of the entrance to the Main Reading Room, as well as the inscription “Library of Congress” carved into the stone frieze. The grand hall is bathed in warm, ambient light, illuminating the intricate relief work and ornate capitals that line the second-floor gallery. Above, daylight streams in through circular windows, enhancing the color and dimension of the frescoes that depict themes such as Science, Literature, Music, and Philosophy—each rendered with symbolic detail.

The photograph captures not only the monumental architecture but also the life of the building—visitors traverse the stairways, admire the rotunda, and engage with the space, bringing energy to this revered cultural institution. The soft gold handrails, gleaming marble, and ornamental carving details evoke a sense of historical reverence and civic pride.

Completed in 1897, the Jefferson Building was the first purpose-built structure for the Library of Congress and remains a national treasure. Its architects—John L. Smithmeyer and Paul J. Pelz, later joined by Edward Pearce Casey—designed the interior as a temple to knowledge, filled with visual references to great thinkers, poets, and traditions from both classical antiquity and American heritage.

This stairwell is a favorite subject for architectural photographers, art historians, and visitors drawn to the sheer opulence and harmony of design. Its symmetry, use of light, and rich ornamentation make it a compelling subject that rewards close observation. Every column, cornice, and arch tells a story about the American ideal of an enlightened, educated citizenry and the importance of public knowledge.

Whether you’re admiring the details of the sculpture, the flow of the stairwell, or the breathtaking ceiling above, this image captures a moment of pause within one of the world’s most visually inspiring libraries.

This expansive image captures the iconic Main Hall of the Thomas Jefferson Building at the Library of Congress in Washington, D.C., a masterwork of Beaux-Arts architecture and one of the most stunning public interiors in the United States. The photograph shows multiple tiers of elaborately carved marble columns, ornate arches, and frescoed ceilings adorned with classical symbolism and Renaissance-inspired decoration.

Completed in 1897, the Jefferson Building was the first purpose-built structure for the Library of Congress. Designed by Paul J. Pelz, John L. Smithmeyer, and later enhanced by Edward Pearce Casey, the architecture embodies an ethos of civic grandeur and intellectual pride. The image reveals the breathtaking symmetry and meticulous craftsmanship that define this monumental space. The structure combines Carrara marble, gold leaf, and colorful murals to evoke the human pursuit of wisdom, creativity, and governance.

At the heart of the composition is the central staircase, flanked by bronze railings and guarded by statuary. The golden glow of interior lights enhances the delicate carvings, coffered ceilings, and sculpted medallions. Inscriptions throughout the hall celebrate influential thinkers, artists, and ideals, while frescoes above the second-floor loggia depict mythological figures, muses, and personifications of knowledge such as Philosophy, Science, and Law.

Visitors populate every level, demonstrating the building's role as both a working research library and a major tourist attraction. The photograph also highlights the building's sophisticated interplay of space and light. Tall arched windows along the upper level allow soft daylight to filter through, illuminating the painted vaults and casting gentle shadows across the marble.

From the tile mosaics underfoot to the elaborately decorated ceilings, the Main Hall of the Library of Congress is a true testament to American artistry, architecture, and ambition. The hall’s scale and detail reflect the institution's mission: to support democracy through universal access to knowledge. Every surface and sculpture reinforces this vision, connecting the past with the present through classical references and humanistic themes.

This image will appeal to lovers of historic architecture, art history, neoclassical design, and symbolic public spaces. It's also a powerful representation of how public buildings can inspire civic engagement and intellectual curiosity. The Jefferson Building, with its elaborate structure and allegorical richness, offers endless opportunities for exploration—both visual and scholarly.

Whether you're standing on its marble floors or gazing up at its celestial vaults, this space remains one of the most awe-inspiring destinations in the United States—and this image captures that spirit perfectly.

This vibrant image captures a striking illuminated art installation on view at the David M. Rubenstein Treasures Gallery in the Library of Congress, located in the Thomas Jefferson Building in Washington, DC. The display functions as a visual prelude to the breadth of human culture and knowledge preserved by the Library of Congress. Framed under the ornate Beaux-Arts architecture of the Great Hall, the panel blends imagery across cultures, languages, disciplines, and eras—offering a kaleidoscopic snapshot of civilization's layered record.

At the center of the artwork is a detailed illustration of a palmistry hand, labeled with Latin descriptors on each finger and segment, symbolizing humankind's ongoing desire to find meaning in lines—whether on the body, the page, or in history. Surrounding the hand are five quadrants that draw from the diverse holdings of the Library.

In the upper left, a vibrant Tibetan-style Buddha thangka radiates spiritual calm and visual intensity, surrounded by traditional architectural forms and bustling scenes below. This reflects the Library’s world religion and sacred text collections. Beneath it, an 18th-century-style calligraphy sample sheet in ornate script showcases penmanship as both art and education. The swirls and flourishes embody Western ideals of order, refinement, and the beauty of the written word.

On the opposite side, the upper right features a glamorous black-and-white photograph of an elegant performer, arm raised in theatrical gesture—an image that suggests the importance of theater, film, and performance art in shaping collective memory. The photograph likely represents contributions to the performing arts archives held by the Library.

The lower right corner features Persian or Arabic script—a lyrical cascade of handwritten text in black and sienna tones. This piece, possibly a manuscript or letter, speaks to the Library’s rich Islamic and Middle Eastern collections, emphasizing the global scope of its preservation mission.

Altogether, the installation becomes more than decorative—it’s a statement on cultural plurality, human creativity, and the universal drive to communicate. From music and manuscripts to language, gesture, and spirituality, this collage asserts that libraries are guardians of more than books; they are stewards of human expression.

The image was captured during a public exhibit, and visitors are seen nearby engaging with the surrounding space. The composition balances strong lighting, sharp resolution, and symmetry, drawing the viewer into a world of curated wonder.

As part of the Rubenstein Treasures Gallery, this display is a reminder that the Library of Congress is not merely a repository of information, but a living tribute to the shared inheritance of knowledge, beauty, and story across time and borders.

Majestic and meticulous, the Minerva mosaic commands the center of the Grand Staircase inside the Library of Congress Thomas Jefferson Building in Washington, DC. This captivating photograph captures visitors ascending toward a radiant homage to wisdom and knowledge beneath a vault of gilded murals and intricate architectural detailing.

The mosaic of Minerva, Roman goddess of wisdom and war, was designed by artist Elihu Vedder and completed in 1896. She stands armored, holding a spear and a scroll labeled “Wisdom is the Foundation of Knowledge,” surrounded by books, an owl, and symbols of the liberal arts. As one of the few mosaics in the building—made with thousands of glass tesserae—it creates a jewel-like focal point for the grand staircase.

Above, vaulted ceilings burst with allegorical frescoes painted in bold hues of gold, green, and terracotta. Each triangular spandrel features personifications of fields like Philosophy and Commerce, complementing Minerva's intellectual domain. The ceiling medallions include emblems of American publishing and printing, echoing the Jefferson Building’s role as a temple of learning.

Framed by towering Corinthian columns of Tennessee marble, the staircase’s composition is classical in inspiration and national in ambition. The symmetry of the scene emphasizes not just architectural balance, but philosophical harmony: beauty, intellect, and democratic accessibility. As visitors ascend the stairs—some pausing to admire the detail, others guided by curiosity—they become participants in the civic ritual of discovery.

The Thomas Jefferson Building opened in 1897 as the nation’s first structure specifically built to house the Library of Congress. Its Beaux-Arts style was chosen to evoke European palaces of knowledge while asserting American artistic maturity. The Grand Staircase and Minerva mosaic form a key axis in this vision—one that ties classical virtues to national values.

The photograph, taken during public hours, reflects how living architecture bridges past and present. Visitors wearing modern clothes interact casually with a backdrop of myth and marble, underscoring how the ideals embodied here are not frozen in time. They are meant to be climbed toward, questioned, and reinterpreted.

Whether seen as a work of art, a civic symbol, or an architectural masterpiece, this view of the Minerva mosaic offers insight into the American belief in knowledge as power. It is both aspirational and grounded—a literal and figurative elevation of learning.

This awe-inspiring photograph captures the intricate coffered ceiling and classical mural at the David M. Rubenstein Treasures Gallery in the Library of Congress, located in the Thomas Jefferson Building in Washington, D.C. Known for its ornate Beaux-Arts architecture, the Library is one of the most visually stunning public buildings in the United States, and this image highlights one of its grandest interior perspectives.

The image looks upward toward a magnificent barrel-vaulted ceiling, densely patterned with coffered panels arranged in rhythmic symmetry. Each coffer is richly adorned with gilded rosettes, classical motifs, and red-and-gold accents that catch the warm lighting and draw the viewer’s eye toward the far end of the gallery. This architectural feature not only reflects opulence but also nods to Renaissance and Roman design traditions, evoking temples of knowledge and cultural refinement.

At the end of the barrel vault, a monumental mural frieze spans the upper wall, depicting a classical allegory of human advancement through knowledge. Painted figures are gathered in robes, holding scrolls and instruments, representing literature, music, mathematics, and other disciplines preserved and celebrated by the Library of Congress. The composition blends storytelling and symbolism, emphasizing the institution's mission as a keeper of civilization’s intellectual legacy.

Below the ceiling and mural, the gallery houses exhibits of priceless documents, maps, and manuscripts. Though darkened in this photograph to preserve the archival materials, the modern display cases offer a sharp contrast to the ornate ceiling above, creating a dramatic interplay between historic preservation and contemporary curation.

This juxtaposition between the gilded ceiling and sleek exhibition design underscores the Library of Congress’s dual role: safeguarding the past while ensuring accessibility for the present and future. Visitors often pause beneath this architectural masterpiece to admire not just the knowledge housed here but the grandeur of the space itself.

The David M. Rubenstein Treasures Gallery regularly features items such as Thomas Jefferson’s draft of the Declaration of Independence, Abraham Lincoln’s pocket Bible, and ancient texts from civilizations across the globe. Every detail of this gallery—down to the ceiling coffers and mural allegories—reinforces the gallery’s reverence for scholarship, history, and creativity.

Taken with care and a keen eye for alignment, the photograph showcases not just the craftsmanship of the ceiling but its power to inspire awe and reverence. Whether you're an architecture aficionado, a history buff, or simply a curious traveler, this ceiling invites upward gazes and deeper thoughts.

Bathed in golden light and adorned with opulent neoclassical detailing, the Main Reading Room of the Library of Congress Thomas Jefferson Building stands as one of the most iconic interiors in the United States. Located on Capitol Hill in Washington, DC, this soaring, cathedral-like chamber is the symbolic and intellectual heart of the Library of Congress, the largest library in the world.

Completed in 1897, the Jefferson Building represents the Gilded Age’s pinnacle of architectural ambition. Its Main Reading Room is more than a space to consult books—it is a secular temple to knowledge, civic aspiration, and democratic access to information. The photograph captures a perfectly centered view looking down into the vast rotunda, where glowing reading lamps align in elegant arcs across wooden desks, arranged beneath the massive dome.

The soaring dome, rising 160 feet above the floor, is richly decorated with sculpted coffers, gold rosettes, and allegorical murals. Eight colossal Corinthian columns—crafted from St. Genevieve marble—frame arched alcoves that house over 100,000 volumes. Above these alcoves, windows framed in stained glass and red marble filter in natural light, further enhancing the room's ethereal quality.

Along the balustrade, eight heroic statues by artist Paul Wayland Bartlett represent the great disciplines of human thought—Religion, Commerce, History, Art, Philosophy, Poetry, Law, and Science. Each figure sits atop a pedestal carved with the names of legendary thinkers such as Plato, Homer, Newton, and Bacon, reinforcing the library’s global scope and philosophical underpinnings.

In the foreground, the circular reference desk—often staffed by expert librarians—anchors the space with a sense of purpose and function. Visitors, scholars, and researchers from across the world come here to consult rare texts, congressional records, and historical manuscripts. Though photography is allowed only from the viewing gallery, this image provides a rare, symmetrical glimpse into the architectural and intellectual grandeur of the space.

Designed by John L. Smithmeyer and Paul J. Pelz, and later refined by Edward Pearce Casey, the Jefferson Building’s Main Reading Room embodies the nation’s highest ideals: the belief that knowledge should be preserved, celebrated, and made accessible to all. Its magnificence is not merely ornamental—it’s intentional, meant to inspire reverence for learning and civic responsibility.

This photograph captures not only the architectural brilliance of the space, but also its emotional gravity. The soft glow of the desk lamps, the rhythmic repetition of arches, and the majestic curves of the dome invite quiet contemplation and deep study. For many, the Main Reading Room is not just a national treasure—it’s a spiritual experience, reminding us that libraries are sanctuaries of memory, progress, and hope.

Glowing with gold and echoing with centuries of intellectual ambition, the oculus of the Library of Congress Main Reading Room captures the spirit of American enlightenment like no other architectural feature. This richly detailed ceiling, located in the heart of the Thomas Jefferson Building in Washington, DC, is one of the most awe-inspiring interiors in the United States.

Completed in 1897, the Jefferson Building is a celebration of neoclassical exuberance and the belief that beauty and knowledge should go hand in hand. At its literal and symbolic center is this breathtaking coffered dome, painted and gilded, culminating in a circular oculus that lets daylight pour through the structure’s pinnacle.

Around the oculus, allegorical figures representing Human Understanding, Justice, America, History, Philosophy, Poetry, Religion, and Science are arranged in a vibrant fresco, their flowing robes and serene faces painted in a muted, classical palette. Each figure is paired with a banner bearing virtues such as Love, Wisdom, Valor, Fame, Peace, and Freedom—a visual vocabulary of American civic ideals and cultural aspirations.

Seen from this low vantage point, the photograph emphasizes the dome’s vertical drama and geometric complexity. The layered coffers ripple outward from the oculus like a celestial mandala, each golden panel containing a floral rosette that echoes Renaissance ceilings in Florence and Rome. Yet this space is unmistakably American—its size, scale, and democratic purpose signal that it belongs not to a monarch, but to a people.

Reflected in the glass railing below is a silhouetted statue of Thomas Jefferson, his back turned as if contemplating the luminous knowledge housed all around him. The mirrored panels help frame the dome's curve while also reinforcing the sense that this space is meant for reflection, literally and metaphorically.

The dome rises nearly 160 feet above the floor of the Main Reading Room and is one of the most visually striking features of the Library’s Beaux-Arts architecture. Designed by Edward Pearce Casey and executed with stunning fidelity to classical principles, the room is meant to inspire reverence for learning and public service.

For many, walking into this room is like entering a cathedral of the mind—a secular sanctuary where beauty and knowledge are inseparably intertwined. Scholars, tourists, and students alike pause beneath this dome to look upward, mouths agape, momentarily transported by the sheer artistry and civic optimism overhead.

This photo captures that transformative experience: not just the architectural details, but the emotional and symbolic gravity of the space. The Library of Congress isn’t just the largest repository of knowledge in the world—it is one of the most beautiful, and this dome is its crown jewel.

Bathe in light, marble, and meaning—the Great Hall of the Library of Congress Thomas Jefferson Building in Washington, DC is more than an entranceway. It's a declaration that knowledge deserves a palace. This photograph, taken from the second-floor loggia, captures the hall’s luminous grandeur, from its soaring Corinthian columns to the allegorical ceiling murals that inspire reverence in all who pass beneath them.

Completed in 1897 during America’s Gilded Age, the Jefferson Building is the oldest of the Library’s facilities and one of the most ornate public buildings in the country. Its Beaux-Arts architecture is exemplified by this loggia, which wraps around the central atrium like a gallery of civic pride and classical elegance. Here, marble balustrades and arched colonnades frame views of the bustling entryway below, where visitors gaze upward in wonder.

Above, a brilliantly illuminated ceiling features a mosaic of fresco medallions and symbolic figures, each representing virtues such as Poetry, Science, Art, Philosophy, and Law. Painted by a team of 19th-century artists under the direction of Edward Pearce Casey, these murals align with the building’s founding principle: to showcase the best of human achievement in literature, learning, and culture.

Circular lunettes beneath each arch hold female allegorical portraits symbolizing abstract ideals. A closer look reveals gilded phrases etched into friezes, such as "The true university of these days is a collection of books." Every surface tells a story, and every story points to a belief in democracy through access to knowledge.

The photograph’s perspective from the second floor emphasizes the architectural rhythm of repeating arches and paired columns, creating a harmonious procession of forms. The verticality of the space is softened by the warm glow of reflected light off the white Tennessee marble, punctuated by shadows cast from the dramatic ceiling.

Below, in the distance, visitors cluster near the overlook to glimpse the famed Main Reading Room—but here, we linger in a space just as vital. The loggia serves as a contemplative promenade, where the public engages not only with books, but with the visual language of American ideals.

The Jefferson Building was part of a broader movement to elevate the status of libraries from quiet book depositories to temples of civic enlightenment. In no space is that ambition more fully realized than this Great Hall, where classical architecture meets a uniquely American aesthetic of optimism and intellectual freedom.

This image offers a moment of stillness within a space designed to move the soul. It’s a reminder that architecture, at its best, doesn’t just shelter us—it inspires us.

The Library of Congress Thomas Jefferson Building stands as one of the most spectacular examples of Beaux-Arts architecture in the United States, and its magnificent interior is on full display in this richly detailed photograph. Located on Capitol Hill in Washington, DC, this building is not only a temple of knowledge but also a visual celebration of art, history, and national identity.

Completed in 1897, the Jefferson Building was the first structure built specifically to house the Library of Congress, the largest library in the world. Its grand halls are renowned for their breathtaking decorative schemes—lavishly painted ceilings, sculpted marble columns, mosaic floors, and symbolic frescoes—executed by some of the most talented American artists of the late 19th century.

This image captures the stunning Great Hall, where fluted Corinthian columns rise two stories beneath soaring, vaulted ceilings adorned with allegorical murals. Light pours in from the arched windows and skylights, illuminating the gold-leaf embellishments, classical motifs, and mythological figures that represent the arts, science, history, and learning. The intricate interplay between light and marble evokes the spirit of a European palace, yet the building’s purpose remains deeply democratic—accessible to the public and dedicated to the preservation of human knowledge.

Above the arches, the richly colored ceiling panels feature painted personifications of wisdom, philosophy, and literature, along with Latin inscriptions and flourishes inspired by ancient Roman and Renaissance styles. The architectural detailing is as educational as it is ornamental, inviting visitors to reflect on the foundations of intellectual pursuit and civic life.

In the foreground, the photograph’s crisp perspective frames the symmetry and grandeur of the space. Every element—from the balustrades and staircases to the ceiling medallions and sculptural embellishments—speaks to a national ambition to celebrate learning and culture at a monumental scale. Visitors line the upper balconies, peering over into the main hall and engaging with the exhibits and architecture alike.

Designed by John L. Smithmeyer and completed under the supervision of Paul J. Pelz, the Jefferson Building's interior decoration was coordinated by architect Edward Pearce Casey, whose vision brought together dozens of artists, sculptors, and craftsmen in a collective act of national storytelling.

The Library of Congress is home to over 170 million items, but its Thomas Jefferson Building is itself a priceless artifact. The structure is a profound reminder that architecture can be more than shelter—it can be a physical embodiment of ideals. Through this image, viewers are transported into a space where art, intellect, and public service converge.

Bain News Service,, publisher.

Buying Easter flowers, Union Sq. [New York]

4/19/08 (date created or published later by Bain)

1 negative : glass ; 5 x 7 in. or smaller.

Notes:
Forms part of: George Grantham Bain Collection (Library of Congress).
Title from data provided by the Bain News Service on the negative.

Subjects:
New York
Children

Format: Glass negatives.

Rights Info: No known restrictions on publication. For more information, see George Grantham Bain Collection - Rights and Restrictions Information www.loc.gov/rr/print/res/274_bain.html

Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print

Part Of: Bain News Service photograph collection (DLC) 2005682517

General information about the George Grantham Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain

Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.00294

Call Number: LC-B2- 59-2

Bain News Service,, publisher.

[Briarcliff Auto Race] F.W. Leland in "Stearns"

[no date recorded on caption card]

1 negative : glass ; 5 x 7 in. or smaller.

Notes:
Forms part of: George Grantham Bain Collection (Library of Congress).
Title from data provided by the Bain News Service on the negative.

Format: Glass negatives.

Rights Info: No known restrictions on publication. For more information, see George Grantham Bain Collection - Rights and Restrictions Information www.loc.gov/rr/print/res/274_bain.html

Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print

Part Of: Bain News Service photograph collection (DLC) 2005682517

General information about the George Grantham Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain

Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.00296

Call Number: LC-B2- 59-7

Bain News Service,, publisher.

Union Square, Easter Sunday

4/18/08 (date created or published later by Bain)

1 negative : glass ; 5 x 7 in. or smaller.

Notes:
Forms part of: George Grantham Bain Collection (Library of Congress).
Title from data provided by the Bain News Service on the negative.

Subjects:
New York

Format: Glass negatives.

Rights Info: No known restrictions on publication. For more information, see George Grantham Bain Collection - Rights and Restrictions Information www.loc.gov/rr/print/res/274_bain.html

Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print

Part Of: Bain News Service photograph collection (DLC) 2005682517

General information about the George Grantham Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain

Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.00288

Call Number: LC-B2- 58-6

Bain News Service,, publisher.

Police search Max Dolinger after bomb throwing, Union Square, anarchist riot, New York

3/28/08 (date created or published later by Bain)

1 negative : glass ; 5 x 7 in. or smaller.

Notes:
Forms part of: George Grantham Bain Collection (Library of Congress).
Title from unverified data provided by the Bain News Service on the negatives or caption cards.

Subjects:
New York

Format: Glass negatives.

Rights Info: No known restrictions on publication. For more information, see George Grantham Bain Collection - Rights and Restrictions Information www.loc.gov/rr/print/res/274_bain.html

Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print

Part Of: Bain News Service photograph collection (DLC) 2005682517

General information about the George Grantham Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain

Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.00291

Call Number: LC-B2- 58-12

Bain News Service,, publisher.

"Hattie" and Hattie Snyder [trainer and elephant]

[no date recorded on caption card]

1 negative : glass ; 5 x 7 in. or smaller.

Notes:
Forms part of: George Grantham Bain Collection (Library of Congress).
Title from data provided by the Bain News Service on the negative.

Format: Glass negatives.

Rights Info: No known restrictions on publication. For more information, see George Grantham Bain Collection - Rights and Restrictions Information www.loc.gov/rr/print/res/274_bain.html

Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print

Part Of: Bain News Service photograph collection (DLC) 2005682517

General information about the George Grantham Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain

Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.00286

Call Number: LC-B2- 58-3

Bain News Service,, publisher.

On Grand St. [New York]

[no date recorded on caption card]

1 negative : glass ; 5 x 7 in. or smaller.

Notes:
Forms part of: George Grantham Bain Collection (Library of Congress).
Title from data provided by the Bain News Service on the negative.

Subjects:
New York
Children

Format: Glass negatives.

Rights Info: No known restrictions on publication. For more information, see George Grantham Bain Collection - Rights and Restrictions Information www.loc.gov/rr/print/res/274_bain.html

Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print

Part Of: Bain News Service photograph collection (DLC) 2005682517

General information about the George Grantham Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain

Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.00277

Call Number: LC-B2- 56-12

Bain News Service,, publisher.

Police hurry to bomb-throwing scene, Union Square, anarchist riot, New York

3/28/08 (date created or published later by Bain)

1 negative : glass ; 5 x 7 in. or smaller.

Notes:
Forms part of: George Grantham Bain Collection (Library of Congress).
Title from unverified data provided by the Bain News Service on the negatives or caption cards.

Subjects:
New York

Format: Glass negatives.

Rights Info: No known restrictions on publication. For more information, see George Grantham Bain Collection - Rights and Restrictions Information www.loc.gov/rr/print/res/274_bain.html

Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print

Part Of: Bain News Service photograph collection (DLC) 2005682517

General information about the George Grantham Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain

Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.00292

Call Number: LC-B2- 58-13

Bain News Service,, publisher.

On Grand St. [New York]

[no date recorded on caption card]

1 negative : glass ; 5 x 7 in. or smaller.

Notes:
Forms part of: George Grantham Bain Collection (Library of Congress).
Title from data provided by the Bain News Service on the negative.

Subjects:
New York

Format: Glass negatives.

Rights Info: No known restrictions on publication. For more information, see George Grantham Bain Collection - Rights and Restrictions Information www.loc.gov/rr/print/res/274_bain.html

Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print

Part Of: Bain News Service photograph collection (DLC) 2005682517

General information about the George Grantham Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain

Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.00278

Call Number: LC-B2- 56-13

Bain News Service,, publisher.

Varsity lacrosse team, Columbia University, E.A. Turpin,Jr., Capt.

4/17/08 (date created or published later by Bain)

1 negative : glass ; 5 x 7 in. or smaller.

Notes:
Forms part of: George Grantham Bain Collection (Library of Congress).
Title from data provided by the Bain News Service on the negative.

Subjects:
New York

Format: Glass negatives.

Rights Info: No known restrictions on publication. For more information, see George Grantham Bain Collection - Rights and Restrictions Information www.loc.gov/rr/print/res/274_bain.html

Repository: Library of Congress, Prints and Photographs Division, Washington, D.C. 20540 USA, hdl.loc.gov/loc.pnp/pp.print

Part Of: Bain News Service photograph collection (DLC) 2005682517

General information about the George Grantham Bain Collection is available at hdl.loc.gov/loc.pnp/pp.ggbain

Higher resolution image is available (Persistent URL): hdl.loc.gov/loc.pnp/ggbain.00280

Call Number: LC-B2- 56-15