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                <text>Accessioning Number 2011.2.290</text>
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                <text>A leather tooled box. The top of the makeup box features a leather handle and a medal engraved label that has the name: "Clara Bow" on it. The outside of the box features a leather floral and leaf design. Contains a metal clasp on the front side of the box. The bottom of the makeup box has metal circular feet. The inside of the makeup box lid has a glass mirror which is held by two red leather straps. The inside of the box has fragments of red leather.</text>
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                <text>PAR Room 103&#13;
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                <text>Condition Report: There is abrasions around the entire outside of the makeup box. The handle is also very worn with embrittlement. There is several different accretions around the outside of the makeup box. the inside features a lot of discoloration. There are loose pieces of leather on the inside along with a piece of wool. The inner sides of the painting is fraying. There are colors from makeup on the edges of the inside of the makeup box. There is flaking on the inside of the box from the leather. The mirror is being effected by desilvering.</text>
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                <text>Artisan - Custom Made</text>
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                <text>A leather-bound Kathleen Mary Quinlan makeup kit. The external material is a light brown leather, with a handle and a lock. Inside the box are three areas or storage, two levels in the main section, and one on the lid. The box contains a number of cosmetic products, fixed in under leather straps. The bottom row contains a long, empty class bottle. The second tow contains two pink cylindrical jars, one of hand cream one of night cream. The third row contains two glass jars, one of a peach shade of blush and the other deodorant cream, and a plastic container of cake mascara and one applicator. The jar of the blush is full. The fourth row contains an empty pink, plastic compact and a small, gold-colored square compact with rouge. The lid section two glass bottles, one labeled "eye bath" the other "special formation lotion." Attached to a cavity in the lid is a square mirror. Under the main panel are one plastic hair cap and one plastic body cap and three nail files. &#13;
&#13;
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                <text>It is unknown if the leather case itself is also of the Kathleen Mary Quinlan brand, as there is no outside label. The leather straps that hold branded products on the interior appear to be specifically made to fit the exact dimensions.</text>
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                <text>&lt;a href="http://collectingvintagecompacts.blogspot.com/2013/05/kathleen-mary-quinlan-from-masseuse-to.html"&gt;"The Kathleen Mary Quinlan Story - From Masseuse to Cosmetics Royalty&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Clara Bow was a film icon known for her good looks, which she accentuated using the styles of makeup popular in the 1920s and 1930s. Photoraphs of Clara from UNLV Special Collections show her use of cosmetics, &lt;a href="http://d.library.unlv.edu/digital/collection/box/id/985" target="_blank" rel="noopener"&gt;here&lt;/a&gt;, &lt;a href="http://d.library.unlv.edu/digital/collection/box/id/1166" target="_blank" rel="noopener"&gt;here&lt;/a&gt; and &lt;a href="http://d.library.unlv.edu/digital/collection/box/id/1397" target="_blank" rel="noopener"&gt;here.&lt;/a&gt;</text>
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                <text>Octagonal hand-drum with cattle leather stretched over stapled/glued yellow pine wood. Sinew ties to hold leather on both sides in place. Front side features four decorative horses &#13;
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                <text>The movie projector is brown in color, functioning nobs and they are silver in color barely tarnishing, electrical cord nearly intact. The "on and off" switch is broken (it's missing the back part and the button). The light box still has the top with the intact light bulb. We have the original lens, its intact but it is not attached to the projector. It has a "Kesytone" company plaque with all the manufacture information. It has written in it 16mm model A74 No 822663 from the Keystone brand and an UL (underwriters laboratory) so it may have been certified.</text>
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                <text>Accessioning Number: 2011.3.3 </text>
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                <text>PAR Room 103; "Workroom" 2-13-20</text>
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                <text>This Keystone Kinescope Projector model A-74 was first advertised in the 1933 Keystone Camera and Projector Catalog. An earlier model of this projector is also in the n the Henry Ford Collection. &lt;br /&gt;Link to-&lt;a href="http://www.collectingkeystone.com/2014/01/23/keystone-camera-and-projectors-catalog-1933/" target="_blank" rel="noopener"&gt;Online Collection for Keystone MFG Co.&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Link to-&lt;a href="https://www.thehenryford.org/collections-and-research/digital-collections/artifact/296854" target="_blank" rel="noopener"&gt;Henry Ford Digital Collection&lt;/a&gt;</text>
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                <text>The wooden Milliner's Hat Stretcher is a device typically found in a milliner's, for correctly sizing hats to the customer.  It has a flat platform, cracked from age, raised from the surface it sits on by four rubber feet, screwed to the base.  The feet are hardened and cracked by age.  The sizing apparatus consists of two wooden halves, connected by two bars which the movable portion slides on, which pass through the movable half and turn town to bolt through the base.  A thin plastic sizing template is mounted to the base with pins, graduated in hat size, centimeters of circumference, and inches of circumference.  Movement of the sizing mechanism is via a coarse threaded rod through both halves, terminated on the back by a riveted collar and turned by a simple cylindrical bar at the front end.  There is a hole through the movable half which the upper guide pin moves through.</text>
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                <text>A 3D object associated with fitting hats at a milliner's shop.</text>
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                <text>Vintage sources on 1920s and 1930s Millinery Practices:&lt;br /&gt;&lt;a href="https://books.google.com/books?id=jNtZzGa3RNIC&amp;amp;pg=PA495&amp;amp;dq=Milliner%27s+Hat+Stretcher&amp;amp;hl=en&amp;amp;newbks=1&amp;amp;newbks_redir=0&amp;amp;sa=X&amp;amp;ved=2ahUKEwjDo-f9tv_nAhWnCTQIHWYqC0cQ6AEwAXoECAQQAg#v=onepage&amp;amp;q=Milliner's%20Hat%20Stretcher&amp;amp;f=false"&gt;1938 - Job Descriptions for the Retail Trade, Volume 2 - Milliner - Millinery Artist&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://books.google.com/books?id=hP1PAAAAYAAJ&amp;amp;pg=RA3-PA3&amp;amp;dq=Milliner%27s+Hat+Stretcher&amp;amp;hl=en&amp;amp;newbks=1&amp;amp;newbks_redir=0&amp;amp;sa=X&amp;amp;ved=2ahUKEwjDo-f9tv_nAhWnCTQIHWYqC0cQ6AEwAHoECAMQAQ#v=onepage&amp;amp;q=Milliner's%20Hat%20Stretcher&amp;amp;f=false" target="_blank" rel="noopener"&gt;Illustrated Milliner Company. “The Illustrated Milliner: American Authority on Millinery, Manufacturer's Edition, Volume 23.8” (August 1922): 19m&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;Contemperary Sources:&lt;br /&gt;&lt;span&gt;Reynolds, William and Rich Rand. &lt;/span&gt;&lt;i&gt;&lt;span&gt;The Cowboy Hat Book&lt;/span&gt;&lt;/i&gt;&lt;span&gt;. Salt Lake City: Gibbs Smith, 2003.&lt;/span&gt;&#13;
&lt;p&gt;&lt;span style="font-weight: 400;"&gt;Hopkins, Susie. &lt;em&gt;The Century of Hats: Headturning Style of the Twentieth Century&lt;/em&gt;. Chartwell Books, 1999&lt;br /&gt;&lt;/span&gt;&lt;/p&gt;&#13;
&lt;a href="https://books.google.com/books?id=jNtZzGa3RNIC&amp;amp;pg=PA495&amp;amp;dq=Milliner%27s+Hat+Stretcher&amp;amp;hl=en&amp;amp;newbks=1&amp;amp;newbks_redir=0&amp;amp;sa=X&amp;amp;ved=2ahUKEwjDo-f9tv_nAhWnCTQIHWYqC0cQ6AEwAXoECAQQAg#v=onepage&amp;amp;q=Milliner's%20Hat%20Stretcher&amp;amp;f=false"&gt;&lt;/a&gt;</text>
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                <text>A device like this would have been used to stretch hats. Cowboy hats, usually being made out of a combination of felt and leather,  required a great deal of work to manufacture. A hat stretcher was used to stretch the fit of finished hats that would normally be initially tight for the wearer, and to make a custom fit.</text>
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&#13;
The other two appear to be very aged, indicative of what store the item was purchased at. One sticker contains the name of the store, with faded yellow ink below it "P-222", the other says "Acoma Canteen."  The store has been active since 1976.</text>
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                <text>Dillingham Rick, Melinda Elliott and Joan Kathryn O'Donnell. Acoma &amp;amp; Laguna Pottery. Seattle: School of American Research Press, 1992. &lt;br /&gt;&lt;br /&gt;Lanmon, Dwight P., Francis Harvey Harlow. The Pottery of Acoma Pueblo. Museum of New Mexico Press, 2013. &lt;br /&gt;&lt;br /&gt;Sikorski, Kathryn A. Modern Hopi Pottery. Logan: Utah State University Press, 1968.</text>
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                <text>Creator indicative of a sticker on the back.&lt;br /&gt;&lt;a href="https://www.garlandsjewelry.com/collections/pottery" target="_blank" title="Text from sticker" rel="noreferrer noopener"&gt;Garland's Navajo Rugs, Sedona AZ&lt;/a&gt;</text>
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                <text>This is a aqua-green robe with floral patterns of the same color depicting flowers and possible tree branches. The robe features a tag on the neck stating "Made in British Crown Colony of -Hong Kong-" with a red "Size 12." The interior of the robe is lined with a silk-type material of light olive-green color. The left sleeve cuff and the lower right sleeve have slight yellowish staining, and the seams running down the robe are slightly lifting. The robe bears a sash of the same color/design.</text>
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            <description>Information about rights held in and over the resource</description>
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                <text>The object is available for education and research purposes and are a part of the UNLV Division of Educational Outreach Collection. This image may not be reproduced for commercial purposes without the express written consent of the UNLV Division of Educational Outreach Collection</text>
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                <text>This is a physical object related to household or societal fashion.</text>
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            <description>The file format, physical medium, or dimensions of the resource</description>
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                <text>PAR Room 103: "Workroom" 2-13-20</text>
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                <text>This robe was made in Hong Kong. The creation of the artifact coincides with the period of history in which Postwar Hong Kong became known for their export of textiles. Although this activity has its roots in the 1940s, it was the 1950s and 1960s where this increased considerably. Hong Kong, then still a British colony, began mass producing textiles for western consumption. Their textile industry, which was British financed but run by Chinese entrepreneurs, was a significant portion of their economy.</text>
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                <text>Au, Kin‐fan, Kwok‐wing Yeung. “Production shift for the Hong Kong clothing industry.” &#13;
Journal of Fashion Marketing and Management 3.2 (February 1999): 166-178.&#13;
Buckley, Roger. Hong Kong: The Road to 1997. Cambridge: Cambridge University Press, 1997.&#13;
Hiemstra-Kuperus, Els, Lex Heerma van Voss. The Ashgate Companion to the History of Textile &#13;
Workers, 1650-2000. Routledge, 2010.&#13;
Roy, Tirthankar. The Economy of South Asia : From 1950 to the Present. Palgrave Macmillan, &#13;
2017.&#13;
Tsang, Steve Yui-Sang. A modern history of Hong Kong. Bloomsbury Publishing, 2003.&#13;
Yoo, Becky P.Y. “The Textile and Clothing Industries Under the Fifth Kondratieff Wave: Some &#13;
Insights from the Case of Hong Kong.” World Development 30.5 (May 2002):  847-872</text>
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                <text>A leather bound book. The front cover features the name "Rex Bell" in beveled letters. The cover also features an embossed/engraved image of a cowboy on a horse in the desert. The back cover features an embossed/engraved floral image. There is also sewn leather edging. The inside features blank sheets of paper that are tied together with a lace. The lace tie features a floral piece on the back. </text>
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            <name>Rights</name>
            <description>Information about rights held in and over the resource</description>
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              <elementText elementTextId="957">
                <text>The object is available for education and research purposes and are a part of the UNLV Division of Education Outreach Collection. This image may not be reproduced for commercial purposes without the express written consent of the UNLV Division of Education Outreach Collection.</text>
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          <element elementId="42">
            <name>Format</name>
            <description>The file format, physical medium, or dimensions of the resource</description>
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              <elementText elementTextId="958">
                <text>Length: 24 in.&#13;
Width: 6 in. &#13;
Height: 17 in.</text>
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            <name>Language</name>
            <description>A language of the resource</description>
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              <elementText elementTextId="959">
                <text>English</text>
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            <name>Type</name>
            <description>The nature or genre of the resource</description>
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                <text>Physical Object</text>
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          <element elementId="53">
            <name>Abstract</name>
            <description>A summary of the resource.</description>
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              <elementText elementTextId="961">
                <text>The leather is worn with lots of abrasions. The left side of the suitcase has a tear. The clasps are missing the screws that hold them to the suitcase and a few are loose. In particular, on the left side clasp there is an incredibly loose screw. The handles are incredibly worn. The leather on both handles is cracked and falling apart. There are a lot of accretions on the outside and inside of the suitcase. The stitching along the outer edges is starting to fray.</text>
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          <element elementId="37">
            <name>Contributor</name>
            <description>An entity responsible for making contributions to the resource</description>
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              <elementText elementTextId="962">
                <text>UNLV Division of Educational Outreach</text>
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          <element elementId="88">
            <name>Mediator</name>
            <description>An entity that mediates access to the resource and for whom the resource is intended or useful. In an educational context, a mediator might be a parent, teacher, teaching assistant, or care-giver.</description>
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              <elementText elementTextId="963">
                <text>Entry created by Kristen Phipps and Timothy Brown</text>
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            <name>Identifier</name>
            <description>An unambiguous reference to the resource within a given context</description>
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                <text>Boyle Luggage Company</text>
              </elementText>
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            <name>References</name>
            <description>A related resource that is referenced, cited, or otherwise pointed to by the described resource.</description>
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              <elementText elementTextId="1573">
                <text>The Boyle Luggage Company was based in New York and made many of their cases with pigskin. The ranch markings appear to be costom additions to the luggage. However, the location of the markings on the case indicate that they were made before the luggage was constructed.&amp;nbsp;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://books.google.com/books?id=Fp1AAQAAMAAJ&amp;amp;pg=RA1-PA605&amp;amp;lpg=RA1-PA605&amp;amp;dq=Boyle+luggage+company+pigskin+case&amp;amp;source=bl&amp;amp;ots=kyCcDZZ1wK&amp;amp;sig=ACfU3U1iuER9o_oj6goYLJJlB2fJs5KoJw&amp;amp;hl=en&amp;amp;sa=X&amp;amp;ved=2ahUKEwiVx7jIhJboAhXWu54KHeaTDX4Q6AEwFXoECAgQAQ#v=onepage&amp;amp;q=Boyle%20luggage%20company%20pigskin%20case&amp;amp;f=false" target="_blank" rel="noopener"&gt;Boyle Luggage Advertisement&lt;/a&gt;&lt;br /&gt;&lt;br /&gt;&lt;a href="https://books.google.com/books?id=nXEbAQAAMAAJ&amp;amp;pg=PA533&amp;amp;lpg=PA533&amp;amp;dq=boyle+luggage+company+inc.+new+york&amp;amp;source=bl&amp;amp;ots=qrf16-ZLe0&amp;amp;sig=ACfU3U0haGlI5pkbEM4KOhBDbikMvUtuYQ&amp;amp;hl=en&amp;amp;sa=X&amp;amp;ved=2ahUKEwjQ6IS4i5boAhUKsJ4KHRGKCRMQ6AEwAHoECBwQAQ#v=onepage&amp;amp;q=boyle%20luggage%20company%20inc.%20new%20york&amp;amp;f=false" target="_blank" rel="noopener"&gt;Boyle Luggage image for U.S. Patent Office.&lt;/a&gt;</text>
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    <tagContainer>
      <tag tagId="30">
        <name>luggage</name>
      </tag>
    </tagContainer>
  </item>
</itemContainer>
