cometadata/datacite-titles-descriptions-related-identifiers huggingface dataset:
DOI: 10.25549/whit-ouc11399neg3
title: Dick Whittington Photography Collection, 1924-1987

description: The "Dick" Whittington Studio was the largest and finest photography studio in the Los Angeles area from 1924 to 1987. Specializing in commercial photography, the Whittington Studio took photographs for nearly every major business and organization in Los Angeles; in so doing, they documented the growth and commercial development of Los Angeles. Clients included Max Factor, the Broadway, Bullock's, and May Co. department stores, the California Fruit Growers Association, Signal Oil, Shell Oil, Union Oil, Van de Kamp's bakeries, Forest Lawn, Sparkletts Water, CBS, Don Lee Television, Goodyear Tire and Rubber, real estate developers, construction companies, automobile, aircraft, and railroad companies, and drive-in theaters. Another notable client was the University of Southern California, which contracted with the Whittington Studios for coverage of athletic and other events. The collection consists primarily of roughly 500,000 negatives; the rest are photoprints. Supporters The collection is only partially digitized, but thanks to the generous help of the National Endowment for the Humanities (NEH) and the National Historical Publications and Records Commission (NHPRC), the USC Libraries has digitized 76,645 at-risk negatives in obsolete formats from the 1920s to 1940s.
DOI: 10.25549/whit-ouc11399negz
title: Dick Whittington Photography Collection, 1924-1987

description: The "Dick" Whittington Studio was the largest and finest photography studio in the Los Angeles area from 1924 to 1987. Specializing in commercial photography, the Whittington Studio took photographs for nearly every major business and organization in Los Angeles; in so doing, they documented the growth and commercial development of Los Angeles. Clients included Max Factor, the Broadway, Bullock's, and May Co. department stores, the California Fruit Growers Association, Signal Oil, Shell Oil, Union Oil, Van de Kamp's bakeries, Forest Lawn, Sparkletts Water, CBS, Don Lee Television, Goodyear Tire and Rubber, real estate developers, construction companies, automobile, aircraft, and railroad companies, and drive-in theaters. Another notable client was the University of Southern California, which contracted with the Whittington Studios for coverage of athletic and other events. The collection consists primarily of roughly 500,000 negatives; the rest are photoprints. Supporters The collection is only partially digitized, but thanks to the generous help of the National Endowment for the Humanities (NEH) and the National Historical Publications and Records Commission (NHPRC), the USC Libraries has digitized 76,645 at-risk negatives in obsolete formats from the 1920s to 1940s.
DOI: 10.25549/whit-ouc11399kd4m
title: Dick Whittington Photography Collection, 1924-1987

description: The "Dick" Whittington Studio was the largest and finest photography studio in the Los Angeles area from 1924 to 1987. Specializing in commercial photography, the Whittington Studio took photographs for nearly every major business and organization in Los Angeles; in so doing, they documented the growth and commercial development of Los Angeles. Clients included Max Factor, the Broadway, Bullock's, and May Co. department stores, the California Fruit Growers Association, Signal Oil, Shell Oil, Union Oil, Van de Kamp's bakeries, Forest Lawn, Sparkletts Water, CBS, Don Lee Television, Goodyear Tire and Rubber, real estate developers, construction companies, automobile, aircraft, and railroad companies, and drive-in theaters. Another notable client was the University of Southern California, which contracted with the Whittington Studios for coverage of athletic and other events. The collection consists primarily of roughly 500,000 negatives; the rest are photoprints. Supporters The collection is only partially digitized, but thanks to the generous help of the National Endowment for the Humanities (NEH) and the National Historical Publications and Records Commission (NHPRC), the USC Libraries has digitized 76,645 at-risk negatives in obsolete formats from the 1920s to 1940s.
DOI: 10.25549/maw-ouc113889247
title: Standing Figure Wearing a Skirt or a Kilt

description: Many Mesoamerican cultures practiced body modification, which marked a person's status and cultural affiliation. When babies are born, the center of their skulls are made of very flexible cartilage. Mesoamericans bound the heads of newborn babies in different ways to create different head shapes.
DOI: 10.25549/maw-ouc113889230
title: Standing male figure holding a dog and a bowl

description: A standing Colima male holds a dog and an empty bowl. He wears a turban headdress, ear ornaments, and an elaborate pair of textile pants. The dog served as a pet, an alarm, a good source of protein and a guide to the underworld.
DOI: 10.25549/maw-ouc113888898
title: Seated mother holding a child

description: Seated female presents her child.
DOI: 10.25549/maw-ouc113888899
title: Seated mother holding a child

description: Seated female presents her child.
DOI: 10.25549/maw-ouc113889315
title: Seated horned figure holding a child

description: A seated male shaman presents a child. There are three horns on the shaman's headdress. His shoulders bear the marks or modules of scarification. The act of cutting the wound can be done in a short time, but the healing process can take up to a year.
DOI: 10.25549/maw-ouc113887036
title: Aztec tripodal bowl : eagle design

description: A ceramic tripodal bowl with a simple red-brown interior has an elaborately decorated exterior. The central roundel depicts the profile of an eagle wearing a feathered headdress surrounded by a geometric pattern.
DOI: 10.25549/maw-ouc113887033
title: Aztec tripodal bowl : eagle design

description: A ceramic tripodal bowl with a simple red-brown interior has an elaborately decorated exterior. The central roundel depicts the profile of an eagle wearing a feathered headdress surrounded by a geometric pattern.
DOI: 10.25549/maw-ouc113887048
title: Pitcher with two effigy heads : Aztec ewer

description: Elaborate twisted hairdo: knotted on top -- possibly female. Concentrations of broken figurines (flat) in household context or debris rather than public buildings or temples suggest a personal or family context. the figurine called "ginger bread" flats, were manufactured by pressing wet clay into clay molds. They were removed for drying, firing, and painting. Fingerprints on the back.
DOI: 10.25549/maw-ouc113887044
title: Aztec quartz crystal rabbit pendant

description: According to Aztec mythology, the rabbit passed a group of Aztec gods as the second sun was resting at night. One of the gods grabbed the rabbit and pressed it against the second sun causing it to lose its heat and light. The decimated second sun became the rabbit in the moon.
DOI: 10.25549/maw-ouc113887089
title: Aztec redware Nahua pitcher

description: This redware pitcher has a step-fret design around its neck, which references mountains and rain. A wide body band contains a large floral element that suggests a peyote bud.
DOI: 10.25549/maw-ouc113887522
title: Copper turtle bell pendant

description: The turtle bell was first formed with beeswax. Then the turtle bell wax model was embedded in a fine clay material. The clay matrix and the beeswax mold was slowly heated to melt the wax; hardening the clay mixture and creating a hollow negative turtle space. Molten copper was poured into the hollow space; it hardened and formed the turtle bell.
DOI: 10.25549/maw-ouc113887568
title: Meandering nose ring

description: Metallurgy was introduced into Nayarit, Mexico c. Ad 800. The Aztec, the Mixtec, and the Tarascans excelled in copper and gold during the Post-Classic period. However, jade was always more important to the Mesoamericans than gold, a disappointment for the conquistadors.
DOI: 10.25549/maw-ouc113887573
title: Tear drop bell

description: Bells, ax-shape knives, and other ornaments of copper became very prevalent during the Toltec period in Post-Classical Mexico. The Post-Classic Period is divided into Early, Middle, and Late or AD 900 to AD 1200 to AD 1400 to AD 1521.
DOI: 10.25549/maw-ouc113887533
title: Tear drop bell

description: Bells, ax-shape knives, and other ornaments of copper became very prevalent during the Toltec period in Post-Classical Mexico. The Post-Classic Period is divided into Early, Middle, and Late or AD 900 to AD 1200 to AD 1400 to AD 1521.
DOI: 10.25549/maw-ouc113887196
title: Rock Crystal Labret

description: Mixtec artisans were known to be exceptional craftsmen. This fact is reflected in this quartz labret. The stone had to be core flaked, pressure flaked, and abraded. All of these procedures require great skill, patience, care, and unbelievable amount of time.
DOI: 10.15468/dl.u3zrat
title: Occurrence Download

description: A dataset containing 356 species occurrences available in GBIF matching the query:
{
 "and" : [
 "HasCoordinate is true",
 "HasGeospatialIssue is false",
 "TaxonKey is Uncaria tomentosa"
 ]
}

 The dataset includes 356 records from 57 constituent datasets; see https://api.gbif.org/v1/occurrence/download/0001193-260226173443078/datasets/export for details.
 
Data from some individual datasets included in this download may be licensed under less restrictive terms.
DOI: 10.25549/maw-ouc113887385
title: Aztec stone sculpture

description: Elaborate twisted hairdo: knotted on top -- possibly a female. Concentrations of broken figurines (flat) in household context or debris rather than public buildings or temples suggest a personal or family context. the figurine called "ginger bread" flats, were manufactured by pressing wet clay into clay molds. They were removed for drying, firing, and painting. Fingerprints on the back.
DOI: 10.25549/maw-ouc113887250
title: Purepecha hatchet : sling blade

description: The Purepechas or Tarascans are one of the few Mesoamerican cultures to work or forge metal. Copper ore was smelted to form tools and weapons. This bronze sling blade, called an asymmetrical hoe or a Taregue, was used to clear brush or as a digging stick.
DOI: 10.15468/dl.vd3nuf
title: Occurrence Download

description: A dataset containing 0 species occurrences available in GBIF matching the query:
{
 "and" : [
 "HasGeospatialIssue is false",
 "HasCoordinate is true",
 "OccurrenceStatus is Present",
 {
 "not" : {
 "BasisOfRecord" : [
 "is one of (Fossil, Living Specimen)"
 ]
 }
 },
 "DistanceFromCentroidInMeters is greater than or equal to 2000",
 "Geometry POLYGON ((105.610544 14.999999, 179.999961 14.999999, 179.999961 65.08290100000001, 105.610544 65.08290100000001, 105.610544 14.999999))",
 "TaxonKey is Neoglyphidodon thoracotaeniatus"
 ]
}

 The dataset includes 0 records from 0 constituent datasets; see https://api.gbif.org/v1/occurrence/download/0001195-260226173443078/datasets/export for details.
DOI: 10.25549/maw-ouc113887240
title: Purepecha hatchet : sling blade

description: The Purepechas or Tarascans are one of the few Mesoamerican cultures to work or forge metal. Copper ore was smelted to form tools and weapons. This bronze sling blade, called an asymmetrical hoe or a Taregue, was used to clear brush or as a digging stick.
DOI: 10.25549/maw-ouc113887375
title: Copper tweezers, crescent pinchers, spirals

description: The Tarascans embellished their crescent shaped tweezers with hammered spirals. They were worn as emblems of status or authority.
DOI: 10.25549/maw-ouc113887377
title: Tweezers : spherical pinchers

description: Tweezers were very common in the Central South American Andes, but not in Mesoamerica. The elite Tarascans wore tweezers as a pendant. They probably were more than an object to remove facial hair. The tweezers were more like badge of office or status.
DOI: 10.25549/maw-ouc113887349
title: Tarascan burnished redware pipe

description: The Purepecha or Tarascans in Mechoacan were contemperaneous of the Mexica or Azteca of Central Mexico. The Tarascans excelled in many craft areas, especially clay, metal, and stone. This burnished redware pipe represents elegance, but simplicity in design.
DOI: 10.25549/maw-ouc113887246
title: Three Obsidian Winged Labrets, A

description: Obsidian is a volcanic glass-like stone cleaves concavely. Working with obsidian requires great skill. The process involves core flaking, pressure flaking, drilling, abrading as well as polishing. It is very labor intesive. Two of the labrets have been inlaid with a white material.
DOI: 10.25549/maw-ouc113887357
title: Tripodal pillow rattle bowl

description: Three pillow shaped rattle legs support a flared bowl. The exterior of the tripodal bowl is decorated with red linear designs, while the bowl's interior has a criss-cross patterned center with five insects on the bowl's shoulder.
DOI: 10.25549/maw-ouc113887258
title: Tripodal pillow rattle bowl

description: Three pillow shaped rattle legs support a flared bowl. The exterior of the tripodal bowl is decorated with red linear designs, while the bowl's interior has a criss-cross patterned center with five insects on the bowl's shoulder.
DOI: 10.25549/maw-ouc113891121
title: Spouted ewer with concentric circular designs : tea pot : serving vessel

description: This unique serving vessel, in the form of a teapot or ewer, features a funnel opening, a stirrup handle, and a curved spout. The center of the vessel has a depressed top with a protruding button. The artist used a resist slip process to create the white slip design on red slip ground.
DOI: 10.25549/maw-ouc113887197
title: Rock Crystal Labret

description: Mixtec artisans were known to be exceptional craftsmen. This fact is reflected in this quartz labret. The stone had to be core flaked, pressure flaked, and abraded. All of these procedures require great skill, patience, care, and unbelievable amount of time.
DOI: 10.25549/maw-ouc113887326
title: Copper human face pendant : 3

description: These hollow, open-back copper masks were cast using the lost wax technique. There is a strap across the back so they could be secured to a headdress or a textile. The masks contained small bells which would tingle when moved.
DOI: 10.25549/maw-ouc113887324
title: Copper human face pendant : 3

description: These hollow, open-back copper masks were cast using the lost wax technique. There is a strap across the back so they could be secured to a headdress or a textile. The masks contained small bells which would tingle when moved.
DOI: 10.25549/maw-ouc113887328
title: Eagle effigy vessel : avian form

description: The harpy eagle is the largest bird predator in Mexico and Central America. With power and speed, it is able to fly through the junble canopy and catch a monkey. The Mixtec admired the skills of the harpy eagle and used the eagly as part of their iconography. On this harpy eagle vessel, there are rows of feathers and between some of the rows there are flint blade knives tipped with red blood.
DOI: 10.25549/maw-ouc113887360
title: Eagle effigy vessel : avian form

description: The harpy eagle is the largest bird predator in Mexico and Central America. With power and speed, it is able to fly through the junble canopy and catch a monkey. The Mixtec admired the skills of the harpy eagle and used the eagly as part of their iconography. On this harpy eagle vessel, there are rows of feathers and between some of the rows there are flint blade knives tipped with red blood.
DOI: 10.25549/maw-ouc113887361
title: Anthropomorphic xantil : cult image : incense burner

description: Burning Copal incense in the body of the Xantil produced a dense sweet smoke which emerges from his mouth. Xochipilli-Macuilxochitl, the young solar diety of sensuality, will appear to be chanting or singing. The god wears a bird-hed helmet with a crest, a long nose bar, a pair of round ear ornaments, a white collar, bracelets and knotted sandals.
DOI: 10.25549/maw-ouc113887359
title: Anthropomorphic xantil : cult image : incense burner

description: Burning Copal incense in the body of the Xantil produced a dense sweet smoke which emerges from his mouth. Xochipilli-Macuilxochitl, the young solar diety of sensuality, will appear to be chanting or singing. The god wears a bird-hed helmet with a crest, a long nose bar, a pair of round ear ornaments, a white collar, bracelets and knotted sandals.
DOI: 10.25549/maw-ouc113887340
title: Anthropomorphic xantil : cult image : incense burner

description: Burning Copal incense in the body of the Xantil produced a dense sweet smoke which emerges from his mouth. Xochipilli-Macuilxochitl, the young solar diety of sensuality, will appear to be chanting or singing. The god wears a bird-hed helmet with a crest, a long nose bar, a pair of round ear ornaments, a white collar, bracelets and knotted sandals.
DOI: 10.25549/maw-ouc113887337
title: Seated figure looking up with crossed legs

description: The seated male figure sits with his legs crossed and his arms resting. He looks up to reveal a simplified face; eyebrows, eyes, nose, mouth, ears and ear ornaments. A minimal figure that gives a sense of detail.
DOI: 10.25549/maw-ouc113887104
title: Mixtec tripodal polychrome olla

description: The structure of this Mixtec vessel consists of a circular collar rim, a heart shape olla, and tripodal legs. Around the rim appears open mouth creatures with multiple eyes. The black heart-shape olla contains fantastic menacing creatures in what appears to be a liquid environment. Three white and red legs with red spirals support the vessel, which depicts the watery realm of the underworld, Mictlan.
DOI: 10.25549/maw-ouc113889688
title: Chupicuaro standing female figure

description: A female figure stands with her hands on her swollen abdomen with a smile on her face. Geometric stars decorate her eyes, nose-mouth area, and the sides of her abdomen.
DOI: 10.25549/maw-ouc113889592
title: Chupicuaro standing female figure

description: A female figure stands with her hands on her swollen abdomen with a smile on her face. Geometric stars decorate her eyes, nose-mouth area, and the sides of her abdomen.
DOI: 10.25549/maw-ouc113889596
title: Standing male figure with hands on his abdomen : larger figure

description: The taller male figure is dressed similarly to the smaller figurine. His hands are on his abdomen. Both sculptures have retained traces of their pigments.
DOI: 10.25549/maw-ouc113889593
title: Standing female figure with hands on her abdomen

description: The hands on the abdomen of this young lady indicate she is a fertility figure, buried with the deceased to ensure fertility in the afterlife. She has an elaborate hairdo, headband, earspools, and bracelets. The black pigment on her body suggests body paint or clothing.
DOI: 10.25549/maw-ouc113889598
title: Chupicuaro olla

description: A tall cylindrical neck olla has a funnel mouth and a flared rim. The body has been squared with rounded corners. The body has been painted with an anthropomorphic/geometric design.
DOI: 10.25549/maw-ouc113887403
title: Piercing tool or perforator

description: Mesoamerican people pierced their noses, low lips, and ear lobes for decorative purposes. Tongues and penises were pierced for ritual bloodletting or self-sacrifice. Both of these areas heal rapidly.
DOI: 10.25549/maw-ouc113887464
title: Piercing tool or perforator

description: Mesoamerican people pierced their noses, low lips, and ear lobes for decorative purposes. Tongues and penises were pierced for ritual bloodletting or self-sacrifice. Both of these areas heal rapidly.
DOI: 10.25549/maw-ouc113887511
title: Piercing tool or perforator

description: Mesoamerican people pierced their noses, low lips, and ear lobes for decorative purposes. Tongues and penises were pierced for ritual bloodletting or self-sacrifice. Both of these areas heal rapidly.
DOI: 10.25549/maw-ouc113887468
title: Pierced blackware ear spool

description: Red-brown clay was probably pressed into a circular mold and allowed to become a leather hard disc. The disc has curved concave sides for wearing as an earspool. The disc was pierced with a bilateral radiating design. The pierced ear spool was fired in a reduced carbon friendly environment
DOI: 10.25549/maw-ouc113887562
title: Copper nose ring

description: The lost wax technique was used to create this copper nose ring. The nose ring was fabricated in beeswax, embedded in a fine clay mold, heated to dry out the clay mold and melt the wax out. Molted metal is poured into the negative space mold to form the copper nose ring. The molten copper cools and solidifies. The hot mold/metal is placed into cool water to break the mold and free the copper nose ring.
DOI: 10.25549/whit-ouc11399kb3y
title: Dick Whittington Photography Collection, 1924-1987

description: The "Dick" Whittington Studio was the largest and finest photography studio in the Los Angeles area from 1924 to 1987. Specializing in commercial photography, the Whittington Studio took photographs for nearly every major business and organization in Los Angeles; in so doing, they documented the growth and commercial development of Los Angeles. Clients included Max Factor, the Broadway, Bullock's, and May Co. department stores, the California Fruit Growers Association, Signal Oil, Shell Oil, Union Oil, Van de Kamp's bakeries, Forest Lawn, Sparkletts Water, CBS, Don Lee Television, Goodyear Tire and Rubber, real estate developers, construction companies, automobile, aircraft, and railroad companies, and drive-in theaters. Another notable client was the University of Southern California, which contracted with the Whittington Studios for coverage of athletic and other events. The collection consists primarily of roughly 500,000 negatives; the rest are photoprints. Supporters The collection is only partially digitized, but thanks to the generous help of the National Endowment for the Humanities (NEH) and the National Historical Publications and Records Commission (NHPRC), the USC Libraries has digitized 76,645 at-risk negatives in obsolete formats from the 1920s to 1940s.
DOI: 10.25549/whit-ouc11399kb5q
title: Dick Whittington Photography Collection, 1924-1987

description: The "Dick" Whittington Studio was the largest and finest photography studio in the Los Angeles area from 1924 to 1987. Specializing in commercial photography, the Whittington Studio took photographs for nearly every major business and organization in Los Angeles; in so doing, they documented the growth and commercial development of Los Angeles. Clients included Max Factor, the Broadway, Bullock's, and May Co. department stores, the California Fruit Growers Association, Signal Oil, Shell Oil, Union Oil, Van de Kamp's bakeries, Forest Lawn, Sparkletts Water, CBS, Don Lee Television, Goodyear Tire and Rubber, real estate developers, construction companies, automobile, aircraft, and railroad companies, and drive-in theaters. Another notable client was the University of Southern California, which contracted with the Whittington Studios for coverage of athletic and other events. The collection consists primarily of roughly 500,000 negatives; the rest are photoprints. Supporters The collection is only partially digitized, but thanks to the generous help of the National Endowment for the Humanities (NEH) and the National Historical Publications and Records Commission (NHPRC), the USC Libraries has digitized 76,645 at-risk negatives in obsolete formats from the 1920s to 1940s.