Nederlandsche Biograaf en Mutoscope Maatschappij

As Camilla sleeps in the garden of Tollhouse Inn, Roland steals a vial of elixir from under her skirt.

A short clip of Wilhelmina and her mother Emma in a horse-drawn carriage, receiving flowers from the crowd.

In April the bloemencorso (flower parade) takes place in Haarlem in the Netherlands. This shot shows groups of carriages, festooned with flowers parading in a grassy area with onlookers.

Part of the 'Giant Postcards' series, a filmed entr'acte screened during the play 'De Nieuwe Prikkel' by August Reyding. Camilla and Roland take the pont across the IJ to go to the Tolhuis amusement park.

A man with a tin of Van Houten Cocoa is treated to a splash of water.

Prinsengracht is one of the main canals of Amsterdam. While on board of a ship, we'll get to see the city buildings, its bridges, and every day scenes: from people walking down the streets to carriages, other ships and so on. It's just a regular non fiction movie -hundreds alike were made showing beautiful (sometimes not so) exotic places-. But this one was particularly special to me, must have been its saddened atmosphere. Filmed by Emile Lauste (according to the information I've compiled), this man was sent over to the Netherlands by the Biograph Company to film some movies in this country (Lumière agents worked in a very similar way).

Windmills along the River Zaan.

Footage of a parade party in the Netherlands.

Near the fountain on Amsterdam’s Frederiksplein, various people kneel down in venerating poses. The film was shot from the Paleis voor Volksvlijt.

A crowd swarms on Amsterdam’s Dam Square in front of the horse tram. In the background, we see the outline of Central Station.

By offering him a drink, the doctor gets the bed-ridden patient back on his feet in a snap.

In September of 1899, the French cameraman Emile Lauste visited the Netherlands for the second time that year. [...] One of the subjects that Lauste briefly filmed was children on the island of Marken. We see the children passing by in a rowboat, and dancing in a circle. The traditional costumes and the watery environment looked very exotic to foreign audiences. The footage jibed very well with the perceptions that people had of the Netherlands in those days.

Short film of the audience leaving the afternoon show at Circus Carré in Amsterdam. In the early years of film, shots of visitors after a performance, churchgoers after a service, or workers leaving the factory were a proven success. Often the images were shown only a few days after they had been shot. These screenings attracted many curious viewers who enjoyed looking for images of themselves, of relatives, or acquaintances.