Collections

The Saint Lawrence River photo album contains 33 photographs taken during a vacation in northern New York State including views of the Saint Lawrence River, Lake Placid, Lake George, and Cornell University in Ithaca, New York.

The Saint Lawrence River photo album contains 33 photographs taken during a vacation in northern New York State including views of the Saint Lawrence River, Lake Placid, Lake George, and Cornell University in Ithaca, New York. The album (14 x 20 cm) is bound in a black cloth binding. Images of particular interest include views of a steamboat leaving Clayton, New York, the grounds of the Thousand Island House in Alexandria Bay, views of Wilmington Notch in the Adirondack Mountains, and a picnic scene at Big Rock near Elizabethtown, New York.

The Same-sex affection and gender studies photograph collection contains approximately 150 examples of photographs that illustrate closeness between subjects of the same sex as well as aspects of non-traditional gender presentation.

The collection includes photographic examples in multiple formats with real photo postcards, tintypes, cabinet cards, cartes de visite, and small format mounted photos being the most numerous. 145 images are contained in Box 1 of the collection while an additional 5 photographs on larger format card mounts are stored in Box 2. Images mainly consist of portraits of men posing familiarly with other men, women posing familiarly with other women, and portraits of groups and individuals engaged in cross-dressing. Due to the subjective nature of assessing these images combined with historical differences in what was considered socially acceptable displays of affection and the general lack of verifiable context, many of these photographs remain open to a variety of interpretations.

Numerous photographs show same-sex duos and larger groups holding hands, placing their hands on each other, leaning on each other, or demonstrating affection in some other observable way. Most subjects are unidentified, though occasionally individuals have been identified through the presence of inscriptions. In some cases, individuals pictured together have been confirmed to be relatives.

Numerous photographs of male and female individuals and groups engaged in cross-dressing are also present. In many instances, the cross-dressing most likely occurred for humorous reasons.

• Postcard showing two men embracing with the printed caption "We're looking for girls at Lansing, Mich."
• Real photo postcard bearing a studio group portrait of two men, one of whom appears to have an unbuckled belt.
• Cabinet card studio group portrait by Beardsley of Charlotte, Michigan, showing two men, one of whom holds a guitar, whose arms appear to align behind them in a manner that suggests they may have been holding hands.
• Two different group portraits of the same female couple identified through inscriptions as "Agnes Davis" and "Anna Wickerham."
• 1940s group portrait of four men included in a souvenir packet for “Swing Rendezvous,” a New York City-based lesbian/gay bar.
• Real photo postcard bearing a portrait of an unidentified man wearing women's clothing, including a dress, flower-laden hat, and beaded necklace.
• Postcard showing a man wearing women's clothing sat on a bench with the printed caption "The Male is late!"
• Outdoor portrait of two women dressed in men's clothing captioned "A pair of Peaches."
• Real photo postcard captioned "Four of a kind" showing two cross-dressed male-female couples sitting together, with the women sat in the men's laps.
• Series of four images showing a woman posing in World War I-era soldier's uniform.

The San Francisco earthquake and fire photograph album contains 29 photographs taken by photographer Arnold Genthe showing the aftermath of the 1906 earthquake in San Francisco.

The San Francisco earthquake and fire photograph album contains 29 photographs taken by photographer Arnold Genthe showing the aftermath of the 1906 earthquake in San Francisco. The album (24 x 32 cm) has pebbled black cloth covers. Images include scenes of billowing smoke over the city being watched by crowds of onlookers; survivors wandering among the ruins; tnets set up in Union Square and Portsmouth Square; the destruction in the city center, between Russian Hill, Telegraph Hill, and Market Street; and wagons removing rubble.

Inside the front cover there is a laid in program for a "Port of Oakland Day Luncheon" held on October 27, 1949, a newspaper clipping regarding Benjamin F. Steacy, and a typed note on "Steacy's Restaurants" stationery stating "This album dedicated to the earthquake and fire San Francisco, April 18 1906. The following pictures were taken by a friend of my dads. Ben F. Steacy April 21 1948."

The San Francisco Earthquake photograph album contains 48 photographs showing the aftermath of the 1906 earthquake in San Francisco.

The San Francisco Earthquake photograph album contains 48 photographs showing the aftermath of the 1906 earthquake in San Francisco. The album (27 x 18 cm) has pebbled black cloth covers and includes a laid in handwritten table of contents. Images include views of ruins of City Hall, the Crosby Building, the Granada Hotel, and Grace Church; temporary tent and tin-shack housing; a tent camp in Golden Gate Park; people cooking on the street using makeshift stoves; views showing the devastation of Russian Hill, North Beach, Chinatown, and Telegraph Hill; a group of men playing checkers in the street; a hospital tent; a crowd lining up in front of a tent with the sign, "W.C.T.U. Free Reading Room"; a young African American girl sitting beside a tent with an infant in a box beside her; and an African American man sitting in a tin shack with the sign, "Show Maker."

The Schafer Brothers Logging Company photograph collection consists of 18 images related to the business’s logging operations in western Washington State from the mid-1890s to 1940.

The photographs are stored in plastic sleeves and kept in a black vinyl-covered ringed notebook (38.5 x 32 cm). Five of the images are 30 x 35.5 cm while the other thirteen are 20.5 x 25.5 cm. The photographs in this collection detail important aspects of the Schafer Brothers Logging Company’s development as an enterprise. At least four of the photographs were taken by Clark Kinsey. Other attributed photographers include Anderson Photo., Jones Co., H. C. Nelson, E. A. Smith, K. S. Brown, and Stan Spiegle. Certain photographs bearing the stamp of K. S. Brown appear to possibly be copies of other photographers’ work that was reproduced at a later date.

The 30 x 35.5 cm images include the following:

1) Outdoor group portrait of seven men working in the woods in Brady, Washington; photograph by Clark Kinsey, No. 44 (ink signature on verso: Carl A. Schafer)

2) Outdoor group portrait of numerous company employees including many Native American men from the Quinault Reservation; “No. 1 Schafer Lumber Co.”; (ink signature on verso: Carl A. Schafer)

3) Outdoor group portrait of numerous company employees at a company picnic observing logrolling contest; “Schafer Bros. Annual picnic Aug 14 / 27”; photograph by Clark Kinsey, No. 51 (ink signature on verso: Carl A. Schafer)

4) Outdoor view of a 41-ton Heisler geared steam locomotive, the company’s first locomotive, with crew; “Schafer Bros. Logging Co. Brady, Wn.”; photograph by Clark Kinsey, No. 48; (ink signature on verso: Albert Schafer)

5) Outdoor group portrait of 17 log foremen; “Schafer Bros. Log Foreman [sic] # 91”; photograph by Clark Kinsey, No. 91; (ink signature on verso: John D. Schafer)

The 20.5 x 25.5 cm images include the following:

6) Ca. 1899 view of the Schafer family home built in 1895 showing members of the Schafer and Mueller families (related through Anna Schafer’s first marriage) [includes touchups made directly onto the photograph with a marker]; (photographer’s stamp on verso: Copy Negative No. 7470 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

7) Outdoor group portrait of several members of the Schafer, Mueller, and Comfort families with horse-drawn carts, dogs, and homestead visible in background [includes touchups made directly onto the photograph with a marker]; “Old Homestead”; (stamp on verso: Copy Negative No. 7473 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

8) Outdoor group portrait of several men including the Schafer brothers with crew members, two of which are entirely illustrated through negative retouching, and a team of oxen while posing with tools near noteworthy logging harvest; “Aug 21-1901 30 x 84 = 7000 Schafer Bros. Logging Co.”; (stamp on verso: Copy Negative No. 7543 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

9) Outdoor view showing team of oxen hauling trees to the river with Peter Schafer (at right holding goad stick), Roy Gill (at center riding bull), and another individual [includes touchups made directly onto the photograph with a marker]; (stamp on verso: No. 14647 The Jones Photo Co. Aberdeen, Washington)

10) LOCATED BEHIND #9; Outdoor view showing team of oxen hauling trees to the river with Peter Schafer (at right holding goad stick), Roy Gill (at center riding bull), and another individual; “Preacher Slough Sep 6 - 1897 Peter Schafer”; (stamp on verso: Copy Negative No. 7466 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

11) Outdoor view showing August Maas, Peter Schafer, and Hubert Schafer operating one of the company’s first steam donkeys [includes touchups made directly onto the photograph with a marker]; “Schafer Bros. Log Co. on Satsop”; photograph by E. A. Smith; (stamp on verso: Copy Negative No. 7475 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

12) Outdoor view showing a steam donkey railroad operation hoisting and loading logs; (stamp on verso: No. 17371 The Jones Photo Co. Aberdeen, Washington Jun 27 1940)

13) Outdoor group portrait showing in order of appearance from left to right: Hyasman (first name possibly George; Native American), Hubert Schafer, Albert Schafer, Ed Kesterson, Herman Mueller, Ben Kesterson, and John Minkler standing on a logjam in the Satsop River in 1898 [includes touchups made directly onto the photograph with a marker]; (stamp on verso: Copy Negative No. 7474 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

14) Outdoor view showing an enormous logjam on the Satsop River ca. 1907 with a group of workers posing in foreground [includes touchups made directly onto the photograph with a marker]; “Schafer Bros. 3000000 ft. in the River”; photograph by H. C. Nelson; (stamp on verso: Copy Negative No. 7471 K. S. Brown Photo Kenwood 1921 6838 - 32nd N.E. Seattle, Wash.)

15) Outdoor view showing lumber staging area on water; “140 Fir Peeler logs selected for wide Veneer or Plywood stock. Schafer Brothers Logging Co. Montesano, Wash.”; photograph by Anderson Photo. ; (stamp on verso: Anderson Photo 119 E. Heron St. Aberdeen, Wash.) (ink signature on verso: Paul A. Schafer)

16) Outdoor view showing large group of people gathered for company picnic; “Schafer Bros. Picnic Everybody Eat”; photograph by Anderson Photo. ; (stamp on verso: Anderson Photo 119 E. Heron St. Aberdeen, Wash.) (ink signature on verso: Paul A. Schafer)

17) Outdoor view of stone monument at entrance to Schafer State Park with large metal plaque that reads: Honoring the Memory of John D. & Anna Schafer Pioneers of 1871 This Park is Dedicated by Their Sons Peter, Hubert and Albert in 1924; “#14”; (stamp on verso: No. 15774 The Jones Photo Co. Aberdeen, Washington Jul 1938)

18) Outdoor view showing a man standing on a dirt path in the woods staring up at the trees; (stamp on verso: Reproduction Rights Reserved by Stan Spiegle Aberdeen, Washington)

The Shriners' excursion tour photograph albums (2 volumes, each 15.5 x 20 cm) contain 95 photoprints of photographs taken during a cross-country train and ship excursion by a group of Shriners ca. 1898.

The Shriners' excursion tour photo albums (2 volumes, each 15.5 x 20 cm) contain 95 photoprints of photographs taken during a cross-country train and ship excursion by a group of Shriners ca. 1898. Images show a range of different places around the United States, including: St. Joseph, Missouri; Des Moines, Iowa; Big Spring, Texas; Phoenix and Tuscon, Arizona; Redlands, San Francisco, and Los Angeles, California; and Honolulu, Hawaii. The Shriner group appears to have chartered their train as there are photographs documenting a train breakdown in Arizona and stops in various stations show it to be decorated with banners. Several images includes women and young boys wearing fezzes, indicating that families participated in the trip. There are also several photographs of cowboys and Native Americans in Arizona and Texas. Images taken in California include views of Los Angeles rooftops, Golden Gate Park and San Francisco Bay, Mt. Shasta and San Bernadino, and palms and a grapefruit grove at Baldwin's Ranch in Redlands. There are several images of ships including the S.S. Sierra, the committee boat Fearless, a quarantine boat, an Austrian training ship at Honolulu, the American battleship U.S.S. Wisconsin, and unidentified ocean steamers in San Francisco Bay.

The albums are half bound with red leather bindings, have red cloth boards and are housed in light blue boxes.

The Thomas M. Bridges Crow Creek and Fort Hall Reservations collection contains approximately 242 photographs in 5 albums, 13 loose photographs, a Catlinite pipe bowl, and a ball headed war club. These materials were associated with Dr. Thomas Miller Bridges, a physician and surgeon who was employed on Native American reservations during the late 19th and early 20th centuries.

The Thomas M. Bridges Crow Creek and Fort Hall Reservations collection contains approximately 242 photographs in 5 albums, 13 loose photographs, a Catlinite pipe bowl, and a ball headed war club. These materials were associated with Dr. Thomas Miller Bridges, a physician and surgeon who was employed on Native American reservations during the late 19th and early 20th centuries.

Photographs

Volume 1: This album (18.5 x 29.5 cm) has pebbled black faux leather covers with “Photographs” stamped in gold on the front and contains 51 photographs, all of which pertain to Crow Creek Reservation and primarily date to ca. 1892-1896. Detailed printed captions have been cut and pasted beneath every image in the album. Several captions have dates that were crossed out for unknown reasons. A handful of images also have numbers inscribed next to them. It is uncertain who took the majority of these photographs, though at least one photograph included in this album (a studio portrait of “White Ghost,” Yanktonai chief) has shown up elsewhere on mounts produced by a photographer based in Chamberlain, South Dakota, named H. B. Perry. It is possible that Perry produced a substantial number of the photographs in this album. Dr. Bridges may have also contributed many photographs.

• Portrait of Anna Lee Bridges at 18 months old
• Group portrait captioned “With the Sioux, an Indian’s home” that shows Dr. Bridges standing outside of a home next to a Native American family
• Group portrait of Crow Creek Agency employees including William Fuller (carpenter), R. Ryerson (blacksmith, miscaptioned as “N. Ryerson”), Joseph Wertz (miller), S. M. Childers (farmer), and Dr. Bridges
• Multiple views of Crow Creek Agency buildings including the physician’s residence, Grace Howard Mission School, church and parsonage (William Fuller also appears in this image), hospital, aspects of the Crow Creek Indian School complex (including the girl’s and boy’s buildings, school rooms building, and dining room), and trader’s store
• Group portrait of five men holding various tools captioned “the blacksmith and his helpers”
• Two photographic reproductions of oil-on-canvas paintings by agency carpenter William Fuller, including a depiction of a scaffold burial overlooking Lower Brule Reservation painted ca. 1882 and a bird’s-eye view of the Crow Creek Reservation painted in 1893
• Image captioned “A war party of Sioux Indians, So. Dak., 1893” that is possibly related to Sun Dance-Fourth of July celebrations
• At least four images related to beef issue on Crow Creek Reservation
• Three images documenting the transportation and assemblage of 500 wagons that were granted for issue at Crow Creek Reservation
• Group portrait of members of the Crow Creek Indian Police
• Group portrait of three men identified as “Burned Prairie,” “Robt. Philbrick” (Robert Philbrick, also known as Tahcaduzahan/Swift Deer), and “Wounded Knee” who are described as “Judges of the Court of Indian Offenses, Crow Creek Indian Agency, S.D.”
• Group portrait of Crow Creek Agency employees including Robert Smith (blacksmith), Iron Shield (policeman), Dr. Bridges, Joseph Sutton (farmer), J. F. Geigoldt (issue clerk), J. C. Fitzpatrick (chief clerk), Fred Treon (U.S. Indian agent), and Thomas Stevens (assistant clerk)
• Studio portraits of “‘White Ghost’, Chief of the Yanktonai Sioux” and “‘Iron Nation’, Chief of the Brule Sioux,” both of whom can be seen wearing mixtures of western and traditional clothing and holding objects such as a turkey feather fan, rifle, and pipes
• Group portrait of two women wearing dentalium shell earrings (one of whom carries a child on her back) identified as “Fire Tail” and “Visible Lightning” posing outside of a tipi next to an empty chair draped with a blanket
• Outdoor portrait of a man identified as “Two Crow” seated outside of his log cabin home
• Outdoor portrait of a man identified as “Talking Crow” holding a rifle and wearing a feather headdress, arm bands, and otter fur breastplate fitted with mirror discs while sitting on a horse dressed in a buffalo scalp horse mask (images of horses wearing these masks are exceedingly rare)
• Outdoor portrait of “‘Bull Ghost’, a sub-chief of the Yanktonai Sioux” seated before a tipi on a blanketed chair wearing a mixture of western and traditional clothing including an otter fur turban, hair feather, moccasins, and wool leggings while holding a tobacco bag, tomahawk, and pipe
• Group portrait of ten schoolgirls posing with teacher Mary A. Reason
• Photograph taken outside the home of a medicine man named “Eagle Dog” (possibly the man standing at left wearing a grizzly bear claw necklace) showing pots, pans, chairs, and animal skins drying
• Group portrait captioned “A dancing party of Sioux Indians” showing nine men gathered around a drum while dressed in traditional clothing including otter fur bandoliers, moccasins, leg garters affixed with dance bells, an otter fur breastplate, and a split horn war bonnet
• Photograph showing several men on horseback captioned “A band of Sioux, at the Agency, July 4th 1895?” with the year listed in the caption crossed out.

Volume 2:This album (18 x 30 cm) has pebbled black leather covers and contains 5 photographs. While no captions or dates are provided, most of these images were likely taken ca. 1910. Four of the images are outdoor group portraits that appear to have been taken during a lakeside cottage trip to an unidentified location, possibly somewhere near Idaho Falls or Yellowstone National Park. A young girl (likely Berenice Bridges) appears in three photos wearing a white dress, while Dr. Bridges likely appears in two photos sporting a long beard. Several other unidentified individuals (likely including Maggie and Anna Lee Bridges) are also present in these images. The fifth photograph in this album is a group portrait of four unidentified individuals, including three Native American people (two older adults and one child) and a white woman, standing outside of a tipi.

Volume 3: This album (19 x 26 cm) has red string-bound cloth covers with “Photographs” stamped in gold on the front cover and contains 47 photographs, the majority of which document aspects of Fort Hall Reservation and primarily date to ca. 1896-1899. Detailed printed captions have been cut and pasted beneath most images in the album. A handful of images also have numbers inscribed next to them. While some images may have been produced by Dr. Bridges himself, many of these photographs (especially images from regions outside of Fort Hall Reservation) were likely taken by other photographers.

• Group portrait of the “Conn. Indian Association Scholars and others,” with missionary, educator, and close friend of the Bridges family Amelia J. Frost identified in the lineup
• Images of various Fort Hall Agency buildings such as the Fort Hall Indian School, the physician’s and agent’s residences, main office
• Several pictures of Fort Hall Indian School employees and students including a group portrait of the Fort Hall Indian School brass band
• Photograph showing a well being bored
• Several images documenting a train wreck on the O.S.L.R.R. at Ross Fork, Idaho
• Outdoor portrait of Cahuilla basket maker Ramona Lubo captioned “Ramona at Cahuilla”
• Photograph of human remains inside of a coffin captioned “Sioux grave, method of bur-ial in the sixties, after the Government stopped bur-ial in trees or on scaffolds”
• Two photographs, including one captioned “Dress Parade,” that show two unidentified Native American men wearing traditional clothing (the man wearing a bone hairpipe breastplate may possibly be Levi Levering, also known as He’-con-thin’ke or White Horn, an Omaha Indian teacher at Fort Hall Indian School)
• Three images showing US Army 4th Cavalry Troop F performing drills
• Group portrait of Anna Lee Bridges with friends “Eulia Churchill” and “Maggie Funkhouser”
• Group portrait of two white girls identified as “Maggie & Bertie Funkhouser” wearing Native American costumes
• Group portrait of Fort Hall Agency employees taken in 1899 including W. H. Reeder (carpenter), C. M. Bumgarner (farmer), Dr. Bridges, P. J. Johnson (blacksmith), M. Timsanico (interpreter), Paul Bannock (stableman), W. H. Evans (farmer), E. C. Godwin (clerk), Lieut. F. G. Irwin (acting agent), C. M. Robinson (issue clerk), and Ed. Lavatta (farmer)
• Four images related to the Warm Springs Indian Agency in Oregon
• Two views of the San Gabriel Mission Church, one of which was produced by Warren Bros.
• Two views of Mt. Putnam
• Group portrait of Native American boys of various ages wearing military-style uniforms captioned “School boys, Ft. Hall Indian School, Idaho”
• Group portrait showing the family of Old Ocean (Bannock guide said to have aided Lewis and Clark) aged “112 yrs old.”

Volume 4: This album (23 x 26 cm) was produced by the Eastman Kodak Company and has string-bound black cloth covers with “Photographs” embossed in gold on the front cover. It contains 85 photographs, the majority of which document aspects of Fort Hall Reservation and primarily date to ca. 1896-1899. Detailed printed captions have been cut and pasted beneath many images in the album. Dr. Bridges possibly produced all or most of these images and captions himself.

• Several views of various Fort Hall Agency buildings
• Several views related to travels in Teton Pass, Jackson Hole, and Snake River in Wyoming
• View of the “Conn. Indian Association Mission School” with an additional manuscript caption stating “Miss [Amelia] Frost’s first mission"
• Several group portraits of Native American and white cowboys
• Outdoor portrait of an unidentified Native American man on horseback wearing a split horn bonnet
• Two images related to Fort Hall Agency beef issue
• Image showing several people examining an older Native American woman captioned “Granny Pokibro, on parade”
• Multiple images that include Anna Lee Bridges
• Several images showing members and officers (including Lieut. Holbrook and Capt. Hatfield) of US Army 4th Cavalry Troop F
• Three photos of Omaha Indians including two portraits of an unidentified Omaha man (possibly Levi Levering) wearing a feather headdress as well as a group portrait showing Levi Levering sitting beside his wife Vena Bartlett Levering while she holds their infant child
• Group portrait of three members of the Fort Hall Reservation Police crossing Snake River
• Images of geysers, waterfalls, and other scenery likely taken at Yellowstone National Park
• Two solo portraits (including a man identified as “F. M. Parsons”) of men standing at the top of the Malad Divide
• Portrait of a young child identified as “Little Bill Mo-cats Jr.”

Volume 5: This album (18 x 29 cm) has black pebbled faux leather covers and contains 54 photographs primarily related to Fort Hall Reservation ca. 1896-1899. Detailed printed captions often including sequential numbers have been cut and pasted beneath most images in the album. Some album pages have missing photographs with captions still present. Dr. Bridges may have produced many of these images and captions himself.

• Three group portraits of a Fort Hall Agency employee picnic held near the head of Ross Fork Creek in 1898
• Image showing “Bannock and Shoshoni Indians horse racing” far in the distance
• Image of hay being stacked at Fort Hall Agency
• Several views of various Fort Hall Agency buildings including the carpenter’s residence, physician’s residence, and agent’s office
• Outdoor portrait of an unidentified Bannock girl on horseback captioned “No. 67. Bannock Indian Girl, showing squaw saddle”
• Group portrait taken in 1899 of Levi Levering (far right) and Rueben P. Wolfe (far left), both Omaha Indian teachers employed at Fort Hall Indian School, posing with their wives Vena Bartlett Levering (second from right holding infant) and Rose E. Cordier (second from left, also known as Rose Wolf Setter and Rose C. Setter)
• Group portrait of two white girls dressed as “Imitation Indians”
• Group portrait of several Omaha Indian men likely visiting Fort Hall Reservation dressed in “handsome native dress of buck-skin & beads”
• Two halftone reproductions of photographs taken by Lee Moorhouse in October 1898 of infant Cayuse twins Emma and Edna Jones (also known as Tax-a-Lax and Alompum) in cradleboards (miscaptioned in album as “Umatilla Indian twins”)
• Image of a scaffold burial captioned “a man and his wife buried in 1872, this negative was made in 1886”
• Photos of a Chinese merchant and a Chinese grave at Fort Hall Agency
• Eight images documenting a rabbit drive
• Portrait of Old Ocean “age 112”
• Three images of buildings in Salt Lake City, Utah, identified as the “Mormon temple,” the “Bee-hive,” and “Eagle Gate”
• Portrait of an unidentified man standing inside of the dispensary at Cheyenne River Agency, South Dakota
• View of an uncovered sweat house
• Six images showing various buildings, issue day, and hay work scenes at San Carlos Agency, Arizona
• Photograph showing a man and dog outside of a building captioned “Pump house, Lower Brule, S.D.”
• Image of a building with a sign above the front entrance reading “Govt. Trading Post.”

Loose Images: Also present are 13 loose photographs. Items of interest include an unmounted photographic reproduction of a ca. 1880 lithograph depicting a group of Native Americans preparing a scaffold burial with a typed caption on the verso reading “Scaffold burial, as practiced by the Crow Indians, elevating the corpse to the scaffold. (Copied by permission, from the 1st annual report of the Bureau of Ethnology)”; an unmounted group portrait of several Mohave people including two women and seven children; an unmounted portrait of an unidentified Native American man seated outside of a dwelling made of mud and straw captioned “An old time medicine man and his hut”; an unmounted group portrait taken outside a Fort Hall Reservation building captioned “School House, teacher & pupils at Ross Fork”; an unmounted view of a building captioned “Fort Hall. Location. The old adobes”; a studio portrait of an adult Anna Lee Bridges wearing a nurses uniform taken by F. R. Lambrecht, likely ca. 1918; and a studio portrait of Berenice Bridges as a child.

Realia

The first piece of realia is a pipe bowl (7.5 x 3.5 x 3 cm) made from Catlinite that likely dates to the 1850s and is most probably of Lakota/Dakota origin.

The second piece of realia is a ball headed war club (54 x 15 x 6 cm) that likely dates to the 1860s and is most probably of Lakota/Dakota origin. The club is made entirely of carved wood. The ball head is painted black and is lacking a spike while the main body is decorated with brass upholstery tacks on one side.

Both of these items were likely acquired by Dr. Bridges as a result of his personal interest in Native American material culture.

Views of Early St. Louis contains 27 photographs of scenes from St. Louis, Missouri, between 1840 and 1895 that were assembled by German American photographer Emil Boehl during the late-1890s, including several photographic reproductions of various works by other artists such as Daguerrean photographer Thomas M. Easterly.

Views of Early St. Louis contains 27 photographs of scenes from St. Louis, Missouri, between 1840 and 1895 that were assembled by German American photographer Emil Boehl during the late-1890s, including several photographic reproductions of various works by other artists such as Daguerrean photographer Thomas M. Easterly.

The album (35 x 45 cm) has red leather covers with “Views of Early St. Louis” stamped in gold on the front. Of the 27 photographs included in this album, 15 are pasted-in while 12 were printed directly onto the album pages. Images vary in size, with some taking up nearly an entire album page.

The following list represents the album’s contents in order of appearance and includes image titles (with supplied titles appearing in brackets), additional captions, various forms of Emil Boehl’s photographer credits, image descriptions, and original sources for images known to have been photographically reproduced by Boehl:

• Street scene looking south down 4th Street from Washington Avenue in 1840. People can be seen on horseback and mingling outside of residences. Several buildings are depicted, including steepled churches and the Old Courthouse. Photographic reproduction of a watercolor by commercial artist Albert Byron Greene in 1889. Writing present in the bottom right-hand corner of the original watercolor reads: “Made for Mrs. McKee Mar. 89. A. B. Greene.”

• View of Chouteau Pond in 1850. “Back of Chouteau Mansion on Clark Ave bet. 11th & 12 sts” inscribed on back of page. Photographic reproduction of original daguerreotype by Thomas M. Easterly, ca. 1850.

• View of numerous steamboats docked at St. Louis Levee. Photographic reproduction of original daguerreotype by Thomas M. Easterly, ca. 1852/53.

• View of the Old Spanish Fort (later Roy’s Mill, Riverfront). The steamer Wyoming can be seen near the riverbank. Photographic reproduction of original daguerreotype by Thomas M. Easterly, ca. 1850.

• View of the house of Pierre Chouteau on Main Street beside the Durkee & Bullock Banking House (possibly ca. 1865)

• View of the Planter’s House Hotel on 4th Street in 1865.

• View of Christ Church, demolished in 1860. Photographic reproduction of original lithograph by J. C. Wild published in 1840.

• View of Christ Church, demolished in 1860. Photographic reproduction of original lithograph by J. C. Wild published in 1840.

• View of the Old Cathedral (also known as the Basilica of St. Louis, King of France) located on Walnut Street between 2nd and 3rd Streets. “2nd & Walnut” inscribed on back of page.

• View of the Pierre Chouteau Mansion on Clark Avenue between 11th and 12 Streets. “Bet 11th & 12th on Clark Ave” inscribed on back of page.

• View of the first public high school in St. Louis located at the corner of 15th and Olive Streets. Large crowd of people gathered in foreground. “15th & Olive” inscribed on back of page.

• View of the old jailhouse located at the corner of 6th and Chestnut Streets. Illustrated clouds added through negative retouching. “Later Lynch’s Slave yard” inscribed on back of page.

• View of the house of James H. Lucas located at the southwest corner of 9th and Olive Streets. Image appears to be a photographic reproduction of another photograph. Partially cutoff writing present in the bottom left-hand corner of the original photograph reads: “…[B? or S?] [?] Lucas 1898.”

• Street scene looking north up 4th Street from Olive Street showing numerous pedestrians, buildings, and a trolley car.

• View of a residence on Olive Street between 6th and 7th Streets. Image appears to be a photographic reproduction of another photograph.

• Street scene looking south down Broadway from Olive Street showing numerous buildings and wagons.

• View of Centre Market building located at 7th and Poplar Streets.

• Lacking title. Possibly view of Fair Grounds Race Track, ca. 1876.

• View of St. Louis Medical College building (also known as Pope’s College) at 7th and Clark Avenue in 1876. Image appears to be a photographic reproduction of another photograph.

• View of the St. Louis Mercantile Library building. Image appears to be a photographic reproduction of another photograph.

• Bird’s-eye view of downtown St. Louis. Numerous buildings visible, including the old St. Louis Post Office (Custom House). One building near the foreground is marked with an “x” while an inscription on the roof of the building reads: “Broadway”; an additional inscription in the upper left-hand corner reads “x EHL. Born 1839.”

• View of the Grand Republic steamer.

• Street scene looking south down 12th Street from Washington Avenue showing horse-drawn carriages, numerous buildings, and a large crowd in the background gathered around the Statue of Liberty Replica at 12th and Pine Streets.

• View of Pope’s Theater with a group of people standing outside. “9th & Olive” inscribed on back of page.

• “Wash. Ave bet.” inscribed and crossed out on back of page; “68?” inscribed on back of page

• View of the St. Louis Exposition and Music Hall seen from the corner of Olive and 14th Streets

• View of The Elephant Rocks in the Saint Francois Mountains (now Elephant Rocks State Park). Graffiti can be seen etched into the rocks, while an unidentified man (possibly Emil Boehl) stands at center.

The Warrensburg, Missouri photograph albums consist of two photograph albums containing 21 studio portraits, including several portraits of members of an African American family based in Warrensburg, Missouri during the 1870s.

Although these two albums were purchased together as a single lot from the same source, it is unclear if or how the individuals who are represented in each respective album are related. For conservation and preservation reasons, the original photographs have been removed from these albums and replaced with facsimile scan copies. The original photographs have been housed alongside the albums.

Volume 1:

This album (10 x 12 cm) contains four cartes de visite and six tintypes, all of which are formal studio portrait photographs. The album is made of pebbled black leather covers with a leather closure and has “Album” stamped in gold on the spine. The ownership stamp of “Lon. Fickas” (likely Benjamin Alonzo Fickas) appears twice in the album. “Warrens Brug (sic) Johnson Count Mo” is inscribed on a page near the back cover.

Eight or nine African American individuals are depicted in these photographs, some of whom may be identified through inscriptions on the photograph versos and/or inscriptions made directly onto the album pages. However, it appears that these photographs may have been moved around at some point as some of the album inscriptions do not seem to match up with subjects. Several images have hand-painted details including gold jewelry.

Pg. 1 of this album contained a carte de visite portrait of an African American man bearing a verso inscription that reads “Warrens Brug (sic) Mo march 11 1875 Less Will Wis 25 years old march 1”; there is also an inscription on the album page that reads “Renie (or Remi?) Hatton.” Pg. 2 held a tintype of an African American woman wearing a light blue ribbon that was colored by hand. Pgs. 5 and 11 both contained copies of the same carte de visite portrait of an infant African American child being held in place by a hidden mother; an inscription on pg. 5 reads “Lewis ?” while an inscription on pg. 11 reads “John Butler.” Pg. 7 contained a tintype of a young African American woman that includes a paper flower scrap with printed text reading “Charity” pasted at the top of the photograph sleeve. Two locks of women’s hair were stored in the album, one between pgs. 8 and 9 and the other between pgs. 12 and 13. Pg. 9 contained a full-length tintype portrait of an African American woman that bears a verso inscription reading “John Butler Warrensburg Mo,” while an inscription on page 10 also reads “kizher? Butler Was 27 year old June 1 1876.” This inscription may possibly be referencing a woman named Kizzie Butler who was recorded as living with her husband John Butler in Warrensburg in the 1870 census and was later included in Dawes Act Rolls under “Choctaw Freedmen.” Pg. 13 contained a tintype of an African American woman seated while holding a book (likely a bible). Pg. 15 contained a half-length portrait tintype of an African American man, while pg. 16 contained a tintype of an African American woman (possibly the same woman represented in the tintype from pg. 9) seated while wearing a white dress and hat. A small loose unmounted gelatin silver print portrait of an African American girl was also present between pgs. 16 and 17.

Volume 2:

This album (14 cm x 10 cm) contained eleven studio portrait photographs, nine of which are tintypes. The album has brown leather covers with a metal closure and has a floral motif rectangle around the word "Album" all stamped in gold on the front cover. None of the subjects represented in this album are identified, and none of these portraits appear to depict any of the individuals who are represented in Volume 1.

Most of the portraits that were housed in this album are of unidentified white men, women, and children. Also present is a group portrait tintype showing a family of possible African and/or Native American descent and a carte de visite portrait of a young African American girl taken by “Simpson 424 E Wash St.” (possibly William Simpson of Indianapolis). Also of note is a carte de visite portrait taken by J. F. Ryder of Cleveland of a white actress (possibly a burlesque dancer) leaning on a chair.

The Western views - Kodak snapshot album contains 104 photographs primarily of Western landscapes including canyons, rivers, waterfalls, and the Monterey, San Francisco, and Santa Cruz coasts.

The Western views - Kodak snapshot album contains 104 photographs primarily of Western landscapes including canyons, rivers, waterfalls, and the Monterey, San Francisco, and Santa Cruz coasts. The album (26.5 x 32 cm) is fully bound in leather with gilt lettering "Kodak" on the front cover. Most of the locations depicted are represented in one or two photographs with the exception of Yellowstone (approximately 20 images) and the Grand Canyon (approximately 12 images). Other photographs show trains and train tracks, with two photographs of train station gardens in Sacramento and Ypsilanti, Michigan. Non-western locations and objects depicted include the Hudson, Niagara, and Mohawk Rivers, Niagara Falls, Minnehaha Falls, and Stone Arch Bridge in Minneapolis. In general people appear to be incidental to the scenery, save for two photographs showing posed groups; one in front of a topiary maze, and another in a grove of giant trees. Most photographs have numbers and captions derived from labeled negatives.