Fantômas (1913, dir. Louis Feuillade) (via)

The 400 Tricks of the Devil /The Merry Frolics of Satan (1906, dir. Georges Méliès) (via)

Dream of a Rarebit Fiend (1906, dir. Edwin S. Porter) (via)

Georges Méliès in The Living Playing Cards (1905, dir. Georges Méliès) (via)

Lillian Gish in The Lily and the Rose (1915, dir. Paul Powell) (via)

Charlie Chaplin in the final scene of The Tramp (1915, dir. Charlie Chaplin)

The Red Spectre (1907, dir. Segundo de Chomón, Ferdinand Zecca)

In the film, a demonic magician performs a series of magic tricks, including trapping miniaturized people in bottles (the scene above is online here).

The film was shot in black-and-white, and colors were later applied using stencils, a mechanical process that replaced the more labor intensive hand-tinting. 

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1910’s-era movie theater etiquette Public Service Announcements (via 1,2)

Most early movie theaters had only one projector so “etiquette slides” were used to divert the audience while reels were being changed. These glass slides often featured lighthearted instructions for proper behavior while viewing a film.

Scenes from The Golden Beetle (1907, dir. Segundo de Chomón), a 3-minute fantasy trick film notable for its spectacular use of color, which was done by hand. Online here.

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Georges Méliès (far right, standing) with his wife, Eugénie Genin (seated, with hat), and other relatives, circa 1890 (via)

From the lost film Sortie sans permission (c.1898-1908, dir. Georges Méliès) (via)

Edison Studios, circa 1907–1914 (Bronx, NY) (via)

A silent film studio in action - relatively simple, three-sided sets could be built side by side to make maximum use of the space, with two or more films shooting simultaneously.

Georges Méliès (left, standing) as a medium in the lost film Phantom Apparitions (1910, dir. Georges Méliès) (via)

1899 (via)

Jeanne d’Alcy in La source enchantée (c.1890s, dir. Georges Méliès) (via)