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30 Vintage Photos of People in Libraries

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Story time duty is nothing new for librarians, as you can see in this image, taken by Jessie Tarbox Beals in 1910. A librarian is sharing a Native American legend about the Northern Lights with an audience of youngsters from a nearby Jewish school.

Librarians Helping People 

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Librarians are vital in helping people locate and check out books. Here we see a 1941 image of two different librarians struggling to keep up with the crowd of youngsters at the Brooklyn Public Library’s children’s room.

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Until 1976, blind children had their own schools and libraries with books written in braille. Blind children collect books from the braille library at the Berlin Institute for the Blind, 1920. 

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Here’s a view from the perspective of one of the librarians, as we see her help a young girl check out a book.

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This Woodrow Wilson High School student librarian doesn’t look too excited to be learning the ropes for her new position, does she? The image was taken by Ester Bubley in 1943.

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During WWII, rationing registration often took place at local schools. Here we see one such event occurring in a school library in Lititz, Pennsylvania. The school principal, M.C. Demmy, handled the registration while the town librarian, Mrs. Searle, overlooked the process and kept a watchful eye on the library itself. This image reminds us that libraries often play important roles in communities that extend beyond the simple lending of books. Photo taken by Marjory Collins in 1942.

Checking Out the Books

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Not all of a librarian’s duties involve directly helping the public though. They also must organize new additions to the collection, put back books taken from the shelves, and otherwise keep things running smoothly. Here is Dr. Giles E. Dawson, a reference librarian at the Folger Library, inspecting a new collection of 9,000 rare, antique books valued at $2.5 million. All of the books were printed before 1640, and 787 of them were the only copy known to exist at the time the titles were purchased. 1938, Harris & Ewing

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A woman inspects a map bigger than she is. The giant book was loaned for an exhibition at the Manchester Central Library in February, 1937. 

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Remember that before television became the norm as a means of entertainment, books were a critical part of a person’s recreation. That’s why even Farm Security Administration camps developed during the Great Depression would often feature libraries, like this one at the Arvin camp for migrant workers. Here is the librarian for the small collection, as shot by Dorothea Lange in 1938.

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Similarly, here is a librarian at work for the small library built for the Casa Grande Valley Farm Collective that was created as part of the New Deal. 1940 image by Russell Lee

See Also: 24 Awesome Librarian Tatoos

Groups of Librarians 

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Just like any occupation, librarians have a number of trade organizations to represent the interests of their profession, and many of these organizations are over 100 years old. In fact, the American Library Association has been going strong for over 136 years now, helping to fight censorship, support libraries, and promote literacy all the while. Here’s a shot of the association after a big 1919 meeting at the New Monterey Hotel in New Jersey. I’ve broke it into multiple sections so you can actually see the entire image, but if you want to see it all assembled, click this link to see the whole thing on The Library of Congress site.

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This smaller group shot features members of the Special Libraries Association and was taken after their 20th annual convention in Washington D.C. in 1928. While the Special Libraries Association currently represents a number of information professionals who do not even work in libraries, at the time they differed from the ALA in that the members of this group all worked for business, government, law, finance, non-profit and academic organizations and institutions, whereas members of the ALA could work in any type of library anywhere.

Librarians Posing 

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While most librarians operate on a local level, a few reach national positions like the Librarian of Congress. Here is one such success story, that of Ainsworth Rand Spofford, the sixth Librarian of Congress, photographed sometime around the time his term ended in 1897.

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His successor, Dr. Herbert Putnam, was relatively young when he started working in the position. Here he is around 1900.

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And here is Dr. Putnam again near the end of his 44 years of service in the Library of Congress in 1939.

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All the way over in Australia, in 1901, the two houses of Parliament decided they needed to establish a library where all records of parliamentary hearings could be stored. Arthur Wadsworth, Head Librarian of the Victorian Parliamentary Library, was named as a temporary librarian for the new Commonwealth Parliamentary Library until it found a permanent home – and he kept the position for 26 years. Image courtesy of the National Library of Australia.

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While it might not be as big of a deal as the Library of Congress or the Commonwealth Parliamentary Library, I’m sure most librarians would jump at the opportunity to serve as the Librarian of the Smithsonian National Academy of Science. Here is the 1924 librarian in the position, Paul Brockett.

Around the World 

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Librarians at El Azhar Mosque at Cairo in 1950. 

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Russian refugees look for books at a compact Russian library in Paris, 1906. 

Interiors

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The inside of the Gladstone Library in 1920. If you find yourself completely engrossed in a book, you can always stay the night. 

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Karl Marx was a frequent visitor of this enormous library known as the Reading Room in the British Museum. Picture taken in 1925.

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An inside peek at Mudie's lending library in 1910. 

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Here is the gorgeous personal library of Chatsworth House in Derbyshire, circa 1930. 

Hard at Work

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The House of Commons Library in London has adopted the saying, "contributing to a well-informed democracy." Here are some men working to do just that, November 1919.

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A woman sorts photographs at the Keystone Press Agency picture library in 1951. 

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A librarian in the (at the time) new National Central Library places books into a dumbwaiter to transport them to another floor. The Carnegie United Kingdon Trustees poured $50,000 into the library, which was a lot of money back in 1933.

Students

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A librarian explains the progress of the war to schoolchildren at Roath Library, Cardiff, November 1939.

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Libraries often double as an art gallery for young students' creations. See children gather around a student-created model of Battersea Fair displayed in the Beckenham Central Library. It took the hard work of four Beckenham students to create in 7 months. 21st November, 1952. 

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1955: A student leafs through a book in the Bennet Library at the Wyoming Seminary, a prep school in Northern Pennsylvania

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A young boy repurposes a pile of books as a step ladder to reach a higher shelf at the Police Athletic League library in 1955. The library was designed to provide children with recreational activities to keep them off the streets and out of trouble. 

Bonus: A young boy checks out a book from the mobile library in 1955. Mobile libraries and book mobiles are still around, transporting books to retirement homes and areas with no library. 

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Restaurant Seeks Donations to Big Mouth Billy Bass Adoption Center
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Kevin Burkett, Flickr // CC BY-SA 2.0

If you’ve ever wondered where all those Big Mouth Billy Bass singing fish that flew off shelves in the early 2000s have gone, take a look inside a Flying Fish restaurant. Each location of the southern seafood chain is home to its own Big Mouth Billy Bass Adoption Center, and they’re always accepting new additions to the collection.

According to Atlas Obscura, the gimmick was the idea of Dallas-based restaurateur Shannon Wynne. He opened his flagship Flying Fish in Little Rock, Arkansas in 2002 when the Big Mouth Billy Bass craze was just starting to wind down. As people grew tired of hearing the first 30 seconds of “Don’t Worry Be Happy” for the thousandth time, he offered them a place to bring their wall ornaments once the novelty wore off. The Flying Fish promises to “house, shelter, love, and protect” each Billy Bass they adopt. On top of that, donors get a free basket of catfish in exchange for the contribution and get their name on the wall. The Little Rock location now displays hundreds of the retired fish.

Today there are nine Flying Fish restaurants in Arkansas, Texas, and Tennessee, each with its own Adoption Center. There’s still space for new members of the family, so now may be the time to break out any Billy Basses that have been collecting dust in your attic since 2004.

And if you’re interested in stopping into Flying Fish for a bite to eat, don’t let the wall of rubber nostalgia scare you off: The batteries from all the fish have been removed, so you can enjoy your meal in peace.

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13 Stylish Facts About dELiA*s
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Lucy Quintanilla

Millennial women across the United States will remember rushing to their mailboxes after school to grab the hottest catalog of the ‘90s: dELiA*s. The groundbreaking magalog, which debuted in 1994, was, by 1998, sending out 55 million catalogs a year. REaD oN fOr A fEw fUN fACts aBoUt dELiA*s.

1. THE COMPANY WAS FOUNDED BY TWO MALE YALE GRADS.

Stephen Kahn and Christopher Edgar, former Yale roommates, were in their 20s when they started dELiA*s in New York in 1993. Kahn—who, after Yale, had studied political philosophy and Victorian history at Oxford—had taken a job at the brokerage firm PaineWebber and was studying for his MBA at night. But he was bored. He wanted to run his own company. “I was interested in being more creative,” Kahn told Crain’s New York Business in 1998. “And I wanted to make a lot of money.” He convinced Edgar to leave his comparative literature Ph.D. program at Columbia University to start the company. Kahn provided $100,000 of his own money, and his father provided another $100,000.

2. DELIA*S WAS ORIGINALLY AIMED AT COLLEGE-AGED WOMEN.

In the early ‘90s, 90 percent of catalogs were aimed at women aged 30 to 50; it was seeing fashionable undergrads at Columbia that inspired Kahn and Edgar to launch a catalog aimed at selling clothes to college-aged women. They called the catalog dELiA*s. (Where that name came from is a mystery.) Initially, they created 20,000 catalogs and, in 1994, hired students to distribute them around college campuses.

But the response from college women, Kahn told Chief Marketer in 1998, was “lukewarm.” After running ads for the catalog in a few magazines, they found a new market: the college students’ little sisters. “We got a huge response from high school kids,” Kahn said. “So basically the market found us.”

They expanded their customer base to include 10- to 24-year-olds with the goal of giving girls who might not live in areas with tons of shops for them an opportunity to buy cool clothes. (Fortune’s summation of the company’s strategy, from a 1997 article, is too amazing not to share: “Today’s average 14-year-old girl in Des Moines is just as hip to what’s hot as the 14-year-old in suburban Los Angeles … She, too, wants shiny avalanche pants and baby-T’s, but she’s stuck in the backwoods with nowhere to shop but her local Wal-Mart. Delia’s body glitter, like Dorothy’s red shoes, transports her from the farm to Melrose Avenue.”) “We felt that this group was not well served,” Edgar told The New York Times in 1997. “There wasn’t a recognition of these kids as real consumers.”

The first catalog hit campuses in the fall 1994, and quickly became a hit: Within four years, the company had annual sales of $158 million. When it went public in 1996, Kahn’s 57 percent share of the stock was worth $163 million.

3. KAHN AND EDGAR WOOED INVESTORS BY COMPARING dELiA*s TO MTV.

In the ‘90s, it was tough to get investors to put their money into catalogs. According to the Los Angeles Times, they “often doubted that teens will bother to leaf through pages and manipulate measuring tapes.” But dELiA*s was able to land financing by comparing its catalog to MTV’s programming. “We told them to think of us as a ‘channel’ through which you can program different types of apparel brands,” Evan Guillemin, the company's chief financial officer, told the Los Angeles Times in 1997. “We, like MTV, stay constant … but we’ll provide them with a constantly changing assortment of designs and brands.”

4. CREATIVE DIRECTOR CHARLENE BENSON HAD A DAY JOB AND WORKED ON DELIA*S AT NIGHT FOR THE FIRST YEAR.

The cover of the first-ever dELiA*s catalog
The cover of the first-ever dELiA*s catalog.
Courtesy of Charlene Benson

With its irregular capitalization and engaging photos, dELiA*s was a standout from the start. That strategy came from creative director Charlene Benson and her collaborators. Benson was the art director of Mademoiselle magazine when she got the dELiA*s gig—and she kept that day job for a full year while producing the catalog at night.

How Benson got the dELiA*s job is what she calls a “folksy” story: One of her friends, the writer Hilton Als, met Kahn at an art show, and they got to talking about the catalog. Benson went in for an interview. The office was casual; “It looked like they had collected all the furniture off the street,” Benson tells Mental Floss. “They didn’t really have an idea of what it should be yet. They wanted to know if I knew how to put together a photo shoot, how to do the layout, how to talk to printers. It was more of the business part of it.”

Given pretty much free rein—albeit on a shoestring budget—Benson hired some help and got to work … at night, after she finished at her day job. And though she loved working at Mademoiselle (which was, she says, “wonderful”), dELiA*s gave her a different kind of opportunity. “I did all of the things that I didn’t get to do at Mademoiselle—choose the pictures where the girls were making faces, and have kind of more chaotic layouts, and just have a certain kind of fun and a certain kind of real girl-ness that I always missed working at a Condé Nast fashion magazine,” she says.

That included randomly capitalized type. “We really liked that mixed up and down type,” Benson says. “Sassy had kind of done something like that [before dELiA*s] and we really liked it. But because I was such a bad typist a lot of times my typing would kind of look like that, so it was like, ‘This feels right.’”

Benson didn’t do any market research to create the catalog, but she did look at teen magazines that were available at the time. “When I looked at teen stuff it was a lot of ‘how to kiss a boy,’ or ‘how to know if he likes you.’” She and her team decided to do the opposite: “It was kind of like, ‘Let’s do something where that’s not in the picture yet or maybe it’s not the most important thing to her—that she’s more creative, and she’s more interesting, and she’s more about her friends still.”

The copy in the catalog (an example: “wOulD YoU rAtHeR bE iN a cAve oF sNakEs oR a bAthTub fUlL oF sluGs?”) also reflected that—something Benson says parents appreciated. “I got a lot of nice notes from moms that would be like, ‘Oh thank you for the funny copy. My daughter and I had a really beautiful moment reading it together.’”

The first catalog, which Benson says “wasn’t totally baked,” was a huge success; Edgar came back to Benson in two months and said they’d sold every piece of merchandise. “He was like, ‘So we want to do another one,’ and I was like ‘Wow, didn’t you find that first one really difficult?’,” Benson says, laughing. “And so we did another one. ... I did that for a year and was still working at Mademoiselle and I just basically had no life,” Benson says. After that year, Kahn and Edgar asked Benson to come on full-time, and she left Mademoiselle. “That’s really when we made the catalog grow.”

5. THERE WAS A “FICTIONAL DELIA.”

Though no one knows where the name Delia came from (Benson calls it "one of the great mysteries"), according to Jim Trzaska, dELiA*s' photo producer, there was a fictional Delia who “was supposed to be a girl’s girl who loved hanging out with her friends above all else, and dressed for herself rather than to attract boys. That naturally set the tone at the photo shoots as well.”

6. THE CREW HAD A STRATEGY FOR MAKING PHOTO SHOOTS FUN.

A page from the Summer '97 dELiA*s catalog.

Rarely will you find a girl in a dELiA*s catalog smiling; she’s more likely to be making a funny face or looking like she’s having the time of her life. They were looking for a particular type of girl, Benson says—someone who was expressive. "Sometimes I would ask them, 'Do you want to be an actress someday?' The actual shoots were super fun. We just had the funniest crew, and the stylist that we worked with consistently, Galadriel Masterson, was just really, really funny and she had this way of teaching the girls how to be on set and how to express themselves. She had a really good idea for how to put the stuff together because we weren’t match-y and we weren’t outfit-y. We just shot a lot of film until we got the funny pictures we wanted." Benson brought on Kevin Hatt to photograph the early catalogs, and later, Mei Tao shot them.

According to the models who participated in those shoots—who typically had already appeared in teen mags like Seventeen—they really were awesome. “Every single one was fun,” model Kim Matulova told MTV. “There was always a lot of energy and it was very natural, unforced, and spur-of-the-moment. [The photographer] would just turn on the music and let us girls do our thing, and he’d capture it.”

The photographer shot on Polaroid, and the models would get to take some photos home at the end of the shoot. “I have a huge box at my mom’s house full of old Polaroids and outtakes,” Matulova said.

A page from the Summer '97 dELiA*s catalog.

The crew also had a strategy for getting girls to let loose. “One thing that always got a big reaction from everyone on set was a fake boy named ‘Billy’ who was invented by our lead stylist, Galadriel Masterson,” Trzaska told Refinery 29. “Depending on what kind of mood we needed from the model, ‘Billy’ could be anyone from a shady ex-boyfriend to a bratty little brother or a gay best friend. He definitely helped us get the shot on more than one occasion.”

7. YOU MIGHT FIND SOME FAMOUS FACES IN YOUR OLD CATALOGS.

Miranda Kerr, Brooklyn Decker, Rosie Huntington-Whiteley, Cassie, and Krysten Ritter all struck a pose for dELiA*s back in the day.

8. AT ITS PEAK, THE COMPANY GOT THOUSANDS OF CATALOG REQUESTS DAILY.

Courtesy of Charlene Benson

According to Chief Marketer, by August 1998, Delia’s was receiving 3000 to 5000 catalog requests every single day. (Some outlets suggest the number was as high as 7000 requests a day.) The company had a whopping 5 million names in its database, each one accompanied by its precise order history.

According to The Cut, 4 million people—or 10 percent of the 40 million female Millennials currently living in the United States—have requested a dELiA*s catalog.

9. THERE WERE PLENTY OF COPYCATS.

Not surprisingly, dELiA*s' massive success led to a number of “magalog” competitors, including Zoe, Wet Seal, moXiegirl (or mXg), Alloy, Airshop, and Just Nikki. But Kahn was not threatened by the competition. “People will try to play catch-up,” he told Chief Marketer. “There will be a shakeout on the imitator side. Most of these guys will lose a lot of money for a long time.”

10. THERE WAS A SPIN-OFF FOR BOYS.

Droog, a.k.a. dELiA*s for boys, launched in 1998. Though it, too, aimed for a market Kahn and Co. thought was untapped, its approach was different than its big sister’s: Instead of being shot in a studio, Droog was shot in fields and parking lots. Its centerfold featured a car, shot head on, bearing a license plate which read “Droog.” The name was the result of a company contest. It was, Kahn told Catalog Age in 1999, a “natural progression from dELiA*s” that featured “streetwear, workwear, and urban and athletic lines.”

Sadly, Droog did not find the same success as dELiA*s; according to Catalog Age, it folded in 2000.

11. THERE WAS A CATALOG FOR HOME FURNISHINGS, TOO.

Contents, which featured roomwares for teens, launched in the late ‘90s. Says Benson, who collaborated with a designer named Whitney Delgado on the catalog: "I love the pictures so much, and those crazy rooms that we built."

12. THE BRICK-AND-MORTAR STORES POSED A PARTICULAR CHALLENGE FOR BENSON.

A Delia's storefront.
Mike Mozart, Flickr // CC BY 2.0

Following the launch of its website in 1998 (which, according to Chain Store Age accounted for two to three percent of the company's total sales in just two weeks online), dELiA*s began opening brick-and-mortar stores in 1999. Creating the look of the stores was, according to Benson, a tough but rewarding assignment.

To help, the company enlisted visual merchandiser Renee Viola and hired store designer John Farnum, who had worked with Nike. “The tricky part was like ‘OK, we have this thing, it looks like this and feels like this in print. How do we bring what’s happening here into the stores?’” she says. “We didn’t want to lose what we had. From a design standpoint and a building creative team standpoint, it was super fun—I haven’t been in a store development process that was so collaborative since. It was quite wonderful.”

13. THE COMPANY WAS SOLD, WENT OUT OF BUSINESS, AND CAME BACK FROM THE DEAD.

In 2003, amidst decreasing sales, dELiA*s was sold to Alloy, its former competitor, for $50 million. (Catalog Age called it “one of the hottest pairings in teendom since Britney and Justin.”) Alloy at first absorbed the company; then, two years later, spun it off again so it was a separate entity. In 2014, after it lost $57 million, dELiA*s filed for bankruptcy; all of its retail locations and its website were shuttered by March 2015.

But that wasn’t the end. In early 2015, Delia’s was purchased by Steve Russo and other investors and relaunched that August. “In speaking to women who came of age in the ‘90s, they all said they couldn’t wait to receive their dELiA*s catalog in the mail after school,” Russo told The Huffington Post. “The company in those days was visionary, with its inclusive product assortment. We saw an opportunity to revive that excitement in every girl again through print catalogs, exciting new social media campaigns, and a strong e-commerce presence.” You can shop here.

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