Angelina Weld Grimke

  • Angelina Grimké was born on February 27, 1880 in Boston, Massachusetts
  • She was born into a biracial family of abolitionists and civil rights activists
  • Her aunts were well known abolitionists Angelina and Sarah Grimké
  • Angelina graduated from the Boston Normal School of Gymnastics in 1902
  • After graduating, she became an English teacher in Washington, D.C.
  • She taught at Armstrong Manual Training School and then later taught at Dunbar High School in 1916
  • While teaching she also continued her education by taking classes at Harvard during the summer
  • Around this time Angelina began to write poems and essays on racisms that were published in The Crisis, an NAACP newspaper
  • She produced her play, Rachel, in 1916 and published it in 1920
  • Angelina wrote the play for the NAACP to protest against the film, The Birth of a Nation (1915)
  • Rachel is also considered one of the first plays to protest against racial violence and lynching
  • She is considered to be part of the Harlem Renaissance since many of her poems and essays were published in anthologies from that period
  • Many of her poems explore racism but she also writes about her sexuality (it is believed that she was either bisexual or a lesbian)
  • In 1928, her father became sick and she took care of him until he died in 1930
  • After her father’s death she moved to Brooklyn, New York where she lived out the rest of her life
  • Angelina died on June 10, 1958 in New York

Sources: wikipedia, pinterest, britannica, sappho



Hand-and-a-Half Sword

  • Dated: first half of the 16th century
  • Culture: North European
  • Measurements: overall lenght 92.5 cm

The sword is presents in excavated condition. It features a broad double-edged blade cut with three narrow central fullers over nearly its entire length on each side, the iron hilt comprising a figure-eight shaped guard made of a single slender tapering circular-section bar in the form of a snake bent round upon itself, flat sharply tapering tang, and large rounded pommel with a separate rosette-shaped brass button.

Source: Copyright © 2014 Bonhams



Miniature Ottoman Gem-set Dagger

  • Dated: 19th century
  • Medium: steel, green glass, rubies, emeralds, gold, velvet,
  • Place of Origin: Turkey
  • Measurements: 11.7 cm. long

This miniature dagger is based on a 17th century prototype, an emerald-hilted example of which can be seen in the collection of Topkapi Saray, Istanbul, inv. no. 2/ 152. The dagger features a green glass hilt with quillons set with rubies and emeralds, the gold damascened blade features an inscription.

The gilt scabbard is set with further rubies and emeralds and chased to depict a trailing vine, verso with a trailing vine and scale design chape. The suspension loop comes with a chain with faceted sections and green glass beads, in original fitted velvet box with the tughra of HIH Princess ‘Adile Sultana (1825-1898).


  1. Princess ‘Adile Sultana (1825 -1898) or HIH Princess ‘Adile Sultana (Turkish: Adile Sultan) was the daughter of Sultan Mahmud II (1785-1839) and sister of the Sultans Abdulmecid I and Abdulaziz. She was an Ottoman princess, a renowned female Diwan poet and a philanthropist.
  2. Born in Constantinople, Adile Sultana lost her mother at a very young age, and was raised by Nevfidan Kadin, the chief sultana in the palace. She received a high standard of education and was, like her father, very interested in the arts.
  3. In 1845, Adile Sultana married the commander of the fleet Kapudan-i Derya Mehmed Ali Pasha, who served briefly as Grand Vizier to Sultan Abdulmecid (1823-1861).
  4. She lost her three children and later her husband in 1868. In deep mourning, she entered the order of Naqshbandi and devoted herself to charitable activities before her death in 1898. She was interned in the mausoleum of her husband in Eyüp, Istanbul. 
  5. Adile Sultana’s literary works were as successful as those of Leyla Hanim and Fitnat Hanim, two renowned female poets of her era. However, her works are important as they shed light on palace life and the administration of the Ottoman Empire.
  6. She composed a poem about the murder of her younger brother Sultan Abdulaziz (1830-1876), officially deemed a suicide. She also assisted in publishing the printed version of the Divan of Suleyman the Magnificent (1494-1566). A compilation of her poetry ‘Adile Sultan’s Divan was published in 1996.

Source: Copyright © 2014 Bonhams



Nope. But the real story is better. Bolding mine:

The late Ruth Thompson, a cell painter on “Snow White” who later became a multiplane scene planner, recalled: “We tried everything - airbrush, drybrush, even lipstick and rouge, which is perhaps the basis for the legend because we did, in fact, try it. But nothing worked.

The airbrush was difficult to control on such a small area; drybrush was too harsh; lipstick and rouge unwieldy and messy. Everything proved to be impractical and all hope seemed lost to give Snow White her little bit of color when the idea of using a dye was proposed.

Again Ms. Thompson: “Someone suggested a red dye because the blue day we added to give Donald Duck his distinctive sailor-blue never really could be washed off the cell without leaving a bluish stain where the paint had been applied.”

Ever since the mid 30’s when color became the norm for all the cartoons, not just the “Silly Symphonies,” all paints and inks were made at the studio. During this period as well cells were routinely reused for economic reasons, thus the need to wash them off. Apparently Donald’s special blue color was made with a dye added to the usual powdered pigments. “So we tried that.” As the women gathered around in what must have seemed just another dead-end effort, all eyes became fixed on the red dot which soon became a small glow with no perceptible edge. The hushed silence soon gave way to sighs of relief. The method had finally been found. Now the application.

Among the studio’s many inkers (an extremely demanding profession), was one young lady whose training and skill was unique: Helen Ogger. Just being an inker placed one within the elite confines of this most “holy of holies” area of the Nunnery, as the Ink and Paint Department was so called (Walt had strict and quite Victorian views that the sexes not mingle at the workplace, allowing no male personnel save the “gofer” boy and the paymaster “Mr.” Keener to enter this domain of mostly unmarried women ). But Helen was in addition a very fine cartoonist and one of the few women at Disney’s or anywhere else, who could animate.

Such a seemingly insignificant detail (as the cheek colors) might be thought not worthy of special mention (she, as well as the other inkers and painters, was given no screen credit). But when one adds up the number of footage required to be tinted freehand on each individual cell, the hours suddenly turn into weeks and months. In fact, such a treatment was never attempted again on such a scale and even today, the publicity stills from “Snow White,” most of which do not have the added blush, bear witness to how that little touch of extra care adds to the vitality we see on the screen.

The work was done on all close-ups, most medium shots, and even on some long shots. The Queen was also similarly tinted. Hundreds of hours were needed to complete this task, arduous, repetitive and, of course, hard on the eyes. Ultimately a handful of other girls were needed to assist Helen as the clocked ticked toward the deadline.

Helen had to place several cells together on an animation board, one atop the other, just like in the process of animation, in order to get the ‘registration’ right (the spot of red just right in relation to the preceding and following ones) - all of this without any guide. She would work out her own extremes and then ‘animate’ the blush in inbetweens. Her work deserves admiration and gratitude and it is unfortunate that her contribution has remained unknown and her anonymity unaltered during her lifetime. She was paid, as were the rest of the Inkers, $18 a week, which included a half-day on Saturday and the many, many hours of unpaid overtime “Snow White” would require - all given unstintingly, (by everyone involved, it should be added), to a project whose joy in participating was its own reward.

She eventually became head of Inking and Special Effects and even taught classes in animation at the studio. She left in 1941 (apparently part of the terrible strike that would leave the Disney Studio changed forever), taking her skills with her. She died in Glendale in February of 1980. Perhaps it is safe to say that her departure was critical to the abrupt demise of this now unique effect (it was also used, though on a much smaller scale in both “Pinocchio” and “Fantasia”). None of the other inkers or painters were animators and it is this fact, not just the factor of economy nor the changing tastes, which surely must be considered a reason why such details were never attempted again. The golden age was over.